EASTMAN NOTES

A BIANNUAL PUBLICATION FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC JUNE 2003 Dear alumni,

N SPRING 2001, on the back will be signifi cantly expanded and Eastman graduates of all ages, all over cover of Eastman Notes, the Offi ce enhanced, with a range of services added, the world, in any profession or practice of Alumni Relations made a bold the most notably an interactive, search- are encouraged to be actively engaged in announcement: Eastman’s com- able, secure online alumni directory. the life of their alma mater. mitment to its alumni is envisioned Other exciting services featured on the ■ Subscribe to EastmanMAIL, the Ias never before. We are designing a pro- site will include online notifi cation of and quarterly online newsletter for Eastman gram that will provide alumni with a registration for Eastman alumni events alumni and friends. If you didn’t receive vibrant connection to the School, through in your region (a service that debuted this the Spring 2003 issue, we may not enhanced communications, expanded winter with the Eastman in New York have your current email address. Go to programming, and greater opportunities concert and reception) and an electronic www.rochester.edu/Eastman/alumni to for alumni to interact with each other and forum for sharing news of your accom- update your address. with current students. plishments, promoting your upcoming ■ Be a Class or Studio Scribe. Connect The fi rst order of business was to performances or announcing CD releases with those who shared your Eastman ensure we could contact you, a process or publication of scholarly works, or experience, whether it’s with those who that culminated with the publication of engaging in a discussion of the state of the studied with the same teacher or with the 2002 Eastman School of Music Alumni arts in society today. those who graduated in the same year. Directory (in book and CD-ROM format). Of course, Eastman alumni don’t wish ■ Become an Admissions Ambassador or Next, at every possible opportunity – at to interact in cyberspace alone. In cities Career Connector. concerts in Kilbourn Hall, in passing on with concentrated populations of Eastman ■ Return to Rochester for Alumni Week- end 2004. Mark October 15-17, 2004 on your calendar, and watch for announce- ments about programs and plans for a Eastman graduates of all ages, all over weekend of music, friends, and fun. To learn more about volunteering as a the world, in any profession or practice Class Scribe, Studio Scribe, Admissions Ambassador, or Career Connector, write to me at either address below. Calls for vol- are encouraged to be actively engaged unteers will also be made in an upcoming issue of EastmanMAIL and by direct mail in the life of their alma mater. to all alumni. As your newly appointed Director of Alumni Relations, I am honored to be Gibbs Street, by email and snail-mail, alumni or where professional conferences charged with building a robust alumni and in conversation at special Eastman bring Eastman alumni together, you’ll be relations program. Share your ideas for alumni events throughout the country invited to exclusive events throughout the programming or activities by writing to and at Alumni Weekend 2002 in Roch- U.S. and abroad. me at [email protected] or ester – we listened to what you had to You’ll also have opportunities to network Development and Alumni Relations, 26 say about your relationship to your alma with, lead, advise, and mentor prospective Gibbs Street, Rochester, New York, 14604. mater and with your fellow alumni. and current students, as well as your fellow I am excited to be collaborating with you, Three themes came up repeatedly in alumni, through a brand new alumni vol- and I look forward to meeting you on Gibbs these conversations: unteer network supporting Admissions and Street or wherever Eastman alumni are ■ your pride in your Eastman education Career Services. And whether your mile- throughout the world. and your desire to promote its value to stone reunion is on the horizon or is a few others, especially prospective students; years away, you can assume a leadership All the best, ■ your wish to stay connected socially role in connecting with your classmates and professionally with your alumni col- as a Class or Studio Scribe, ultimately leagues and your former teachers; and encouraging them to return to Rochester ■ your keen interest in staying engaged for Alumni Weekend 2004. in the life of the School as volunteers and That’s not all. We’re also partnering leaders. with the alumni relations offi ces of the Christine E. Corrado Exciting new services, benefi ts, and other academic divisions of the University Director of Alumni Relations opportunities are in development. This of Rochester to send you notice from time fall, the Eastman Alumni Relations web- to time of other divisions’ alumni activi- site (www.rochester.edu/Eastman/alumni), ties in your region. EASTMAN NOTES INSIDE VOL. 21/NO. 27 JUNE 2003

Published twice a year by the Offi ce of Communications, Eastman School of Music, 26 Gibbs Street, Rochester, NY 14604 585-274-1040 FEATURES DEPARTMENT NEWS Email: [email protected] 2 Meeting a modern master 23 Chamber Music & Accompanying In 1966, Igor Stravinsky and Eastman 24 Conducting & Ensembles met for the fi rst time David Raymond 26 Musicology Editor 6 “Forget that I am black, and never forget that I am black” 27 Woodwinds, Brass, & Percussion Christine Corrado Paul Burgett remembers Martin Luther 28 Sibley Music Library Mark Willey King and Eastman in the ’60s Christina Zikos 9 A singer’s journey Contributing writers A conversation with Sanford Sylvan IN TRIBUTE Widya Widjaja 10 Why opera is hot Student intern From Monteverdi to Sondheim – 29 Patricia Arden it’s all just show business Emily Davis Vanderpool Kurt Brownell 12 Masters in these halls Gelfand-Piper Arpad Piros A year of master classes at the Bob Klein Photography Eastman School In memoriam Louis Ouzer Sue Weisler Contributing photographers SCHOOL NEWS NOTES

Amy Vetter 14 Tracing the organ master’s secrets: 26 Alumni notes Photography coordinator Eastman students visit Sweden 33 “To my patient admirer …” Steve Boerner Faculty share their strengths 35 ESM alums on CD Graphic design at ESM Colloquia 37 An Eastman trio in South Carolina 15 A sparkling Eastman Opera season Susan Robertson 38 Celebrating a 90th birthday and six Associate Director for Communications 16 ESM Jazz: A swinging winter decades of association with Eastman and spring 39 Faculty notes “Eastman Made Easy” by ESM Ambassadors 40 Student notes On the cover 17 Sound advice from a second fi ddle One of Eastman’s happiest traditions, the “You have made music come alive …” Eastman Children’s Chorus, was revived this year, with director Laurie Jenschke 18 A new-old look for Eastman Theatre bringing together a group of 28 children “All are welcome”: Gateways from all over the Rochester area. Less celebrates fi fth birthday than a year old, it’s already a seasoned group. During the year, the Chorus sang in 19 Violas and videocams Albany, gave several concerts at Eastman, 20 Musical treasure house: Eastman and performed as fairies in Eastman Opera Studies in Music Theatre’s April production of A Midsum- mer Night’s Dream. 21 Eastman continues on the Pathways PHOTO BY GELFAND-PIPER to success Messinger Grants give students “real world” experience 22 Ellison, Tyzik, Mennin Join Eastman Board of Managers

JUNE 2003 1 “It takes time, aging, to make a classic.” A musical dynamo at rest: Lou Ouzer photographed Igor Stravinsky at Hutchison House.

2 EASTMAN NOTES Meeting a modern master In 1966, Igor Stravinsky and Eastman met for the fi rst time

BY DAVID RAYMOND F, IN 1966, you circulated a poll among American musicians asking them to name The Greatest Living Composer, the winner, no contest, would have been Igor Stravin- sky. So it was a tremendous surprise when I Eastman School Director Walter Hendl announced in January 1966 that Stravinsky would visit the School for a “Stravinsky Week” from March 7–12. At that time, Stravinsky was 83, and at the end of a long career as pianist, conductor, writer – and composer of Petrushka, Le Sacre du Printemps, Les Noces, The Rake’s Progress, and other revolution- ary masterpieces, making him one of the few living classical composers who was a household name. The octogenarian Stravinsky was also the virtual incarnation of 20th-century music, composing fl inty, uncompromising 12-tone pieces that sounded like the work of a much younger composer. LOUIS OUZER TURN TO PAGE 4 ➧

JUNE 2003 3 LOUIS OUZER “If you played what was on the page, he was happy,” says percussionist Ruth Cahn (pictured in the rear) of performing under Stravinsky in 1966.

His age notwithstanding, 1966 was “It takes time, aging, to make a classic,” “The clarity of Stravinsky’s composi- a busy year for the composer. CBS-TV Stravinsky was quoted. “Wine ages in six tions was not matched by the clarity of his broadcast a special about him. In June years, not so with music.” conducting,” says Cahn, adding that this and July, a Stravinsky Festival in New In March 1966, current Eastman School was also her experience when performing York’s Philharmonic Hall included Director and Dean James Undercofl er was Aaron Copland’s music under the compos- Leonard Bernstein conducting Le Sacre a junior, and associate principal horn in er’s baton. du Printemps, among much else. And the Philharmonia (he played the solo horn “There was no sense of interpretation Stravinsky completed his last important part in The Flood). in Stravinsky’s conducting. We learned work, Requiem Canticles, fi rst performed “Walter Hendl wanted to burnish the quickly that if you simply played what in October 1966 at Princeton University. School’s reputation,” says Undercofl er, was on the page, he was happy.” “and one of the fi rst things he did was to his was Stravinsky’s fi rst visit to invite Stravinsky. It was a prime experi- ost of the musical preparation Rochester (and his next-to-last ence, a major, major thing. – and the conducting of every- – he guest-conducted the Roch- “Stravinsky was truly larger-than-life; thing on the Philharmonia ester Philharmonic in 1967). there really is not a comparable world fi g- concert except Fireworks and DirectorT Hendl and Stravinsky had been ure in music today.” FirebirdM – was done by Stravinsky’s assis- close friends since Hendl played the piano “We were out of our skulls with excite- tant Robert Craft, whom both Cahn and in the 1946 New York Philharmonic pre- ment,” recalls Ruth Cahn – now CED Undercofl er recall as a brilliant musician miere of Stravinsky’s Symphony in Three faculty member and Summer Session with an infallible ear and technique. Movements. Soon after, Hendl conducted director, then a percussionist in the Phil- “A circle of people accompanied Stravin- Stravinsky’s Ebony Concerto at the com- harmonia. “The giant of 20th-century sky everywhere – you couldn’t get near poser’s request. music was coming to our school! him,” recalls Undercofl er. “Every day the On arriving in Rochester, the composer, “We all gathered on the Eastman students had a Stravinsky Watch: ‘Where accompanied as always by his wife Vera Theatre stage for the rehearsal with is he now?’ Now that I’m one of the people and his assistant Robert Craft, gave Stravinsky – I think we were there an who creates the circle around celebrities a press conference. The Times-Union hour early, practicing – and the excite- who visit the School, I understand that summed it up: “He refused to comment ment was mounting. Finally, the stage you have to surround them.” on the work of fellow contemporary com- door opened, we all stood up, and the Cahn recalls Stravinsky as being “very posers, declined to guess the direction giant of 20th-century music entered – and distant with the students,” communicat- music will take in the last half of the 20th I couldn’t see him, as he was only about ing exclusively with Hendl and Craft century, and said electronic music ‘doesn’t four feet high! Then he got on the podium, in French. “Not one word of English did exist for me.’ ” and I still couldn’t see him.” I hear from him. Of course, if he had

4 EASTMAN NOTES singled any of us out, we’d have curled up and died! “We were in obvious awe of him, and he obviously enjoyed it. He acted like a prima donna – but if anybody had a right to do it, it was Stravinsky.”

he week at Eastman was a cel- ebration of Stravinsky’s music, classic and otherwise. The composer’s “Offi cial Welcome to TEastman” concert, on March 7, 1966, was a challenging combination of new and old Stravinsky performed by students. The pro- gram included the Shakespearian Songs and Elegy for JFK, both diffi cult late works, sung by mezzo-soprano Joyce Castle. “Stravinsky was there, Vera was there, Robert Craft was there,” Castle recalls. “I wasn’t nervous; I remember being excited and extremely focused, because the songs were very, very intricate. But what an amazing opportunity! I also recall a Q-and- A session with Stravinsky in Kilbourn Hall, and hanging on every word he said.” Castle later performed two roles, Baba the Turk and Mother Goose, in Stravin- sky’s opera The Rake’s Progress. And, she recalls, “Strangely enough, I sang the Shakespeare Songs for the second time just last December, at the University of Kan- sas” (where she is an artist in residence). A Philharmonia program on Fri day, the culmination of Stra vinsky Week, simi- larly demonstrated Stravinsky’s long and remarkable career, from the late-Romantic Symphony in E-fl at (written in 1908) to Variations and The Flood, atonal works from the ’50s and ’60s. It ended with Stravinsky conducting his most popular work, then and now, The Firebird. The Times-Union’s George Kimball, noting that the 3,000 audience members gave the composer three separate ova- tions, called it a “once-in-a-lifetime” event, and the Democrat and Chronicle’s Harvey Southgate wrote: “The 83-year-old com- LOUIS OUZER poser, walking with a limp but seemingly “I can still see in my mind’s eye … Stravinsky on the podium,” says Director and Dean James inspired by the young orchestra before Undercofl er, then a hornist in the Philharmonia. him, conducted [The Firebird] with vigor and enthusiasm, placing every detail of diffi cult later music, including parts of issue of Eastman Notes, in September the brilliant score in precisely the place he The Flood, which at least one renowned 1966, Hendl noted: “I have always felt wished it.” professional orchestra could not manage there is real value in any encounter with Southgate concluded, unarguably, “This after a week of rehearsals and a dozen a creative force. The phenomenon that is was indeed one of the special nights in performances. The fl exibility of the young Stravinsky of course, is entirely unique, Rochester music.” versus the rigidity of the routiniers is an and this was quite an encounter.” old theme, of course, but you can hardly “When great things happen to you, you oon after his visit, the seldom- imagine the pleasure this student orches- don’t always know that they’re happen- pleased Stravinsky was quoted tra gave me.” ing,” says Undercofl er. “But I can still see in the New York Review of Books His friend returned the compliment. In in my mind’s eye, as clear as day, (May 11, 1966): “Only a few weeks the concert program, Walter Hendl called Stravinsky on the podium. I remember Sago I heard the Eastman School orchestra Stravinsky “the most illustrious example thinking to myself as I sat in the orches- [the Philharmonia] play to perfection, on of an individual who exemplifi es both the tra, ‘You must remember this. This won’t a minimum of rehearsal, some of my most knower and the doer.” And in the very fi rst happen again.’ ” ❧

JUNE 2003 5 BY PAUL BURGETT Court decision that overturned the separate words, “A submerged social group, pro- T IS WITH an eerie sense of déjà but equal doctrine, the 1955 Montgomery, pelled by a burning need for justice, lifting vu that I stand before you today, in Alabama bus boycott led by Dr. King that itself with sudden swiftness, moving with this hall, 35 years after the assas- enunciated the effectiveness of passive, non- determination and a majestic scorn for sination of Dr. Martin Luther King violent resistance, the 1957 civil rights bill risk and danger, created an uprising so Jr. As an Eastman School senior that addressed, however weakly, the issue of powerful that it shook a huge society from and president of the student asso- the right of blacks to vote. its comfortable base,” (Why We Can’t Wait, Iciation, I stood in this very spot, almost And then came the remarkable period Chapter 1). 35 years ago, a week after his murder, known as “the Sixties,” that lasted from In the midst of the brewing maelstrom and looked out on an assembly of faculty, mid-decade until the end of the Vietnam of civil and cultural ferment and unrest, students, and staff, friends and colleagues. War in 1975. It was marked by direct this “colored boy” or “negro” (which is how I and others on this stage cried out, musi- action and confrontation, police brutal- people of color were referred to back then), cally and otherwise, on behalf of a shocked ity, mass arrests, riots, and civil unrest in arrived at Eastman in 1964. It was a community, our inconsolable grief that his our cities. Non-violent political and social very important year in the history of civil “Forget that I am black ... loss occasioned and our hopes that such a rights in this country and in Rochester. loss might redeem. The ashes from the infamous Rochester In commemoration That was a long time ago. But it is well race riot of that summer, just a few blocks of Martin Luther King, to remember such an important time from here, were still warm and smolder- Jr. Day, the Eastman and I extend my appreciation to Director ing. The complex sentiments of violence School gathered on Undercofl er and to you for the opportunity and disappointment, promise and possibil- Monday, January 20, to do so today. Trying to decide what to ity, echoed throughout the country in that in Kilbourn Hall, to say on this occasion is no small challenge. year, no less so here in Rochester. celebrate Dr. King’s It would be easy to identify and deliver a Coming as I did from St. Louis, some life and legacy. This host of King quotes and offer commentary. people here referred to my hometown as fi rst formal recogni- But that has been done over and again in “the South.” That always startled me, tion at Eastman of these past 35 years. Offering a recital of because “the South,” in my mind, meant the national holiday Dr. King’s biography is tempting and easy. segregationist Senator James Eastland’s featured performances by Thomas Rosenkranz But I will resist that as well. Mississippi or racist Governor George MM ’01, piano; the Eastman Children’s Choir Wallace’s Alabama, or Dr. King’s birth- directed by Laurie Jenschke; and Dean of y comments today will con- place of Georgia, or his death place, Students M. Phyllis Wade, contralto. The key- sider, as they must on such Tennessee. Even though I didn’t think of note address was delivered by Vice President an occasion, race in America, myself as a southerner, nonetheless, com- and General Secretary of the University and but more pointedly, thoughts ing from a border state on the proverbial alumnus Paul Burgett BM ’68, MA ’72, PhD Mabout race relative to life and work in “Mason-Dixon Line,” I knew painfully well ’76. Dr. Burgett’s moving and personal address a professional school of music, such as and from fi rst-hand experience the evils opened with a compelling paradox. Eastman. In doing so, I begin by posing a of racism. paradox and asking you to contemplate it. It was virtually impossible for a person Forget that I am black and never forget of color to grow up in the United States that I am black. action initiated by King and many others and not know at some profound, psy- I shall return to this paradox in a resulted in decisive federal legislation chologically hard-wired level, that he or moment. First, though, some background. including the landmark 1964 Civil Rights she was the victim of divisive, isolating The end of World War II ushered in the mod- Act and the Voting Rights Act of 1965. and alienating social forces that worked ern civil rights era. Starting in 1954 with Change was in the air. It was exhilarat- inexorably not only to deny full enfran- the Brown v Board of Education Supreme ing and anxiety provoking. In Dr. King’s chisement as a citizen, but in subtle ways,

6 EASTMAN NOTES even full recognition as a human being. What I found here startled me. I expe- seemed to “forget that I was black,” in the The residue of such astonishing ideas was rienced and began my contemplation of sense that it didn’t matter. And it seemed entombed in the racist legal architecture the paradox: “Forget that I am black and to me that others around me were inclined and social mores and attitudes of this never forget that I am black.” to do the same thing. It was a little schizo- country, even as those were being system- phrenic. Mind-altering. Not unpleasant, atically challenged and slowly dismantled. usic, the principal sacrament mind you. It was different. Curious. And, Hoyt Fuller, an important black literary of this culture, so thoroughly on refl ection, by today’s standards of self- critic, expressed the dilemma powerfully dominated the environment awareness, even a little disturbing. as late as 1968, when he wrote: here that everything was Now, there probably were a lot of reasons “No manner of well-meaning rhetoric Msecondary to it, including, it seemed, race. for this. First is music itself. Music making about “one country” and “one people,” and One stepped into this place and, in a sense, is compelling. And done well, as we know, it even about the two races’ long joint-occu- transcended the mundane. To paraphrase requires concentration, attention, coopera- pancy of this troubled land, can obliterate a reference of Dr. King’s, being here at tion, and work that doesn’t brook too many the high, thick dividing walls which hate Eastman was like “going to the moun- distractions. We struggle with the notes, and history have erected – and maintain taintop.” We lived in a bubble at 26 Gibbs with the score, to make them disappear, to – between them. Street, in the practice annex, in the Sibley transcend them. The payoff, of course, is “The world of the black outsider, however Library, and in the dorms. And in a real beauty that at times is sublime and other- much it approximates and parallels and sense the ravaged and riot torn Joseph worldly. (And sometimes not!) imitates the world of the white insider, by Avenue, only a few blocks from here, with I say so even though that music was its very nature is inheritor and generator the ashes still warm and smoldering and extraordinarily exclusive. You see, in those of values and viewpoints which threaten hopelessness in the air, may as well have days, America’s classical music, jazz, for the insiders. The outsiders’ world, feed- been as distant as the most distant planet. example, was not on the curricular menu, ... and never forget that I am black.” ing on its own sources, fecundates and That world, out there, for the most part, except for the summer workshops of vibrates, stamping its progeny with its very didn’t enter our very exclusive, musical Ray Wright. And the music of other than special ethos, its insuperably logical bias.” world here. Our world, though real in one western European and American cultures And so, the luggage of my mind packed sense, was utterly unreal when juxtaposed was unknown here. Fortunately that with the weight of this black “very special to the harsh realities that existed within has changed. ethos and insuperably logical bias” of a stone’s throw of here and constituted The counterpoint to our immersion in which Hoyt Fuller spoke, with the exciting the trenches in which Dr. King and others the music, believe it or not – and I know promise of a vision for black Americans sweated and toiled, lived and died. that undergraduates here, especially, still advanced by Dr. King and others tucked But because music dominated so thor- struggle with this – was the important in my pockets, and with exciting hopes oughly, I felt for the fi rst time in my life, liberating experiences in the humanities and dreams of opportunities that accom- the weight of race shift slightly from its here at Eastman. Under the guidance pany all college freshmen, I entered the central position, to the sidelines of my of the humanities faculty, my newfound Eastman School with a certain lilt in my consciousness. The cataracts of the effects occasional feelings of racelessness were step, halting confi dence in my mien, and of race, in the lens of my personal vision, metabolizing in a context of disquieting like all freshmen, utter terror in my heart. were relieved a little. For long moments, I TURN TO PAGE 8 ➧

JUNE 2003 7 ➧ FROM PAGE 7 to stimulate that interest except for some the following question: “You’re a terrifi c intellectual inquiry that called into ques- faculty who said to me, “We don’t know candidate, but can you really be dean of all tion everything I understood about myself much about it, but let’s learn together.” the students?” and the world I inhabited. A course in I commented earlier in this address I knew exactly what the person meant. existential thought unleashed furious, that it was virtually impossible for a In that moment, after years here as a explosive, and terrifying critical thinking person of color to grow up in the United student, as a well-known member of the that changed me forever, including decon- States and not have a hard-wired under- Eastman community, for the fi rst time structing the myth of race. “I stand on a standing about race. But like music, it is ever as far as I could recall, the dilemma of precipice,” I remember writing in a paper quite another thing to transcend simple race confronted me at my Eastman home for the course, “Naked to the world with understanding with deeper knowledge with razor-like impact. “Sharp as steel in no race, no name, no place, no station. and appreciation that comes only with my discontent,” to quote Harlem Renais- Only beginnings, halting fi ts and starts in intellectual inquiry and study. Surely I sance poet Claude McKay, in reaction to the reconstruction of my identity.” knew what it meant to be black. I had the the question, I replied with the confi dence In this environment, to my great sur- skin color, kinky hair, and experiences of and certainty that I had acquired here: prise, I exploded in a blur of social and rejection and alienation to prove it. But I “Forget that I am black and never forget musical growth and maturing. That is not didn’t have much knowledge. I didn’t have that I am black.” Eastman’s dean of stu- to say that race was not an issue amongst the intellectual infrastructure, the his- dents I became, and lived the legacy of my fellow students. In fact, probably tory, the theory, that could enable me, in a that paradox in splendid community with because of the times, we talked about it profound and transcendent way, to “never faculty and students for many years. incessantly. Two friends from George Wal- forget that I was black.” lace’s Alabama and I huddled in the dorm Once again, tucked away in the Sibley egrettably, life on Joseph Ave- exchanging information, almost furtively, Library, I engaged in a fury of intellectual nue, still just a few blocks from about ourselves. They, telling me about activity, of critical thinking that changed here, continues to smolder with the Ku Klux Klan in their hometown and me forever. My identity as an undergrad, unrealized hopes, hunger, unem- neighbors who belonged. And me telling reconstructed in halting fi ts and starts Rployment, illiteracy, and desperation. Imagine the effects of generations of such conditions? What would Dr. King think? Even in the face of continuing triumphs “ The Eastman School and achievements (of which there are many) and failures and disappointments, was the crucible in which and the seeming eternity of lingering, continuing challenges, Martin Luther King persisted in believing his vision the paradox was forged.” of America, and he was certain that we would get there, even though he knew we them about what it was like to be denied years earlier, was fi lled out with the had a long way to go. In his fi nal and most service in a restaurant because of my race. magnifi cent history and traditions of apocalyptic sermon, delivered in Memphis Such an unlikely juxtaposition it was. The African-American peoples, and especially on the eve of his assassination, almost as words of countless conversations such as their musicians. And to my great surprise, though he knew that his end was near, these tumbled out in a torrent, as though coincidentally, I learned that the Eastman Dr. King said: they had been pent up for a lifetime. And School had played a central role in impor- “We’ve got some diffi cult days ahead. But of course, they had. tant parts of that history. How many of it doesn’t matter with me now. Because I’ve you here today know about that? (Still, been to the mountaintop. And I don’t mind. y point is that something Dett, Carter, Walker, Kay, Warfi eld, and on Like anybody, I would like to live a long very important, something and on.) life. Longevity has its place. But I’m not that had to do with race was “Forget that I am black and never concerned about that now. I just want to do able to happen to me here. I forget that I am black.” The two parts God’s will. And He’s allowed me to go up Mwas able to “forget that I was black.” On of the paradox are now joined. And the to the mountain. And I’ve looked over. And refl ection, that was an astonishing and Eastman School was the crucible in which I’ve seen the Promised Land. I may not get life-changing experience. the paradox was forged. Music and ideas, there with you. But I want you to know But meanwhile, just a few blocks from taken together, coalesced into something tonight, that we, as a people will get to the here, in the aftermath of riots and unrest beautiful. What power lies at the tips of Promised Land. And I’m happy, tonight. following Dr. King’s assassination in 1968, our fi ngers as they address the keyboard I’m not worried about anything. I’m not life on ravaged Joseph Avenue, still lit- or the fi ngerboard? What power lies in the fearing any man. Mine eyes have seen the tered with burned out hopes, could “never confrontation with ideas? And what truth glory of the coming of the Lord.” forget that it was black.” and transcendent beauty emerges from I want to suggest, in closing, that our Some years later, I returned to Eastman combining the two? eyes here at Eastman, similarly, must see to pursue graduate study. As a PhD stu- Yet life on ravaged Joseph Avenue was such glory. I know fi rst hand the power dent, I developed an interest in the music still littered with hopes struggling to sur- of this place: The power of music and of black Americans. It must have been the vive, and cynicism about whether “freedom” ideas to liberate the mind and the spirit, times. I had a huge bushy afro haircut, wore would ever come to that part of the world. the power to forge unity among human bell-bottom pants and ruffl ed shirts, said Twenty-two years ago, as I was being beings, in all their complex dimensions, things like “can you dig it” and “right on.” considered to be Eastman’s new dean including race, and the power both to There wasn’t much here at Eastman then of students, someone here asked me express and to harmonize the paradox. ❧

8 EASTMAN NOTES better at everything, and have really good A conversation languages. How many German singers do you fi nd singing Copland? But lots of with Sanford Sylvan Americans sing wonderful Schubert. Is Winterreise a piece you waited a long time to perform? I started learning it when I was 20. I didn’t perform it until I was 40. So yes, it’s something you do when you’re older. A singer’s What makes it so diffi cult to perform? There is no obvious route into Winter- reise, no obvious interpretation. It’s like the Eskimos having twenty words for snow, or whatever – here there are 24 different turns of a story of grief and madness. Dietrich Fischer-Dieskau [the great Lieder singer and interpreter of journey Winterreise] has even wondered whether it should be performed at all. This is a horrifying story, especially for BY DAVID RAYMOND (The Winter’s Journey) in the Kilbourn the early 19th century, when the issue of ARITONE SANFORD SYLVAN Concert Series. exile was very different than it is today, and has recorded songs by Copland, Sylvan pulled no punches in interpret- the idea of being a stranger, fremde, is very Fauré, and Schubert, as well as ing this bleak, death-haunted important in German culture. John Adams’ Wound Dresser, and cycle of 24 songs, unfl inchingly For example: I live near Bos- createdB leading roles in Adams’ operas depicting a jilted lover’s descent ton. But if I decide to move to, Nixon in China and The Death of Kling- into self-exile and madness. say, Albany, there will still be hoffer. But he has also been acclaimed Sylvan talked to Notes about a university nearby; there will (by The Boston Globe) as “America’s fi nest Schubert’s great work, and still be people of culture. Lieder singer.” about life as an American But in Schubert’s time, an Sylvan proved his mastery at Eastman singer of German songs. exile didn’t have a choice. He in March, when he and his longtime would be exiled from city and accompanist David Breitman performed Is the Lieder recital a recondite court life, and thrown into a one of the pinnacles of the German experience for Americans? place of horrible poverty, with Sanford Sylvan art-song repertory, Is the audience getting smaller? no culture of any kind. Given Schu bert’s cycle The audience wasn’t small at Eastman! Schubert’s own feelings of inner and outer Die Winter- There has never been a large audience for exile – because of poverty, because of being reise Lieder. It’s like chess: Many people are ill with syphilis, because of being a gay devoted to it, and many more couldn’t man in Vienna – he could tell this story. care less about it. We are so tied That’s why the emotional terrain covered up with popular culture these in Winterreise is darker than anything. days that we forget that many And Schubert’s music is so stark and things will not be popular. It’s unadorned – the singer creates all the line an old myth: If it doesn’t sell, it’s there is. If you falter, it’s obvious. No fancy not important. gestures; everything you do must be hon- Do the audiences for opera and est and clear. recitals overlap? How has your interpretation developed over Yes, there’s some overlap, but if 20 years? you love opera, that doesn’t mean Winterreise was the fi rst thing David Franz you love Lieder. If you love opera for Breitman and I read through as musi- Schubert the words and music, yes, you’ll prob- cal partners, and we had it pretty much ably like Lieder. If you like opera worked out even then. for the costumes and scenery, But every night the performance then you probably won’t. changes. I fi nd myself trusting the piece Do many singers do both? more and more each time, listening for the Yes, but this is not sense of where to pause or where to put new; singers have my feet onstage. I’m fi nding it easier to let always done opera the material speak. and recitals. This Having the right accompanist must be is especially true important. of American sing- It’s essential. David and I have worked ers. We are better together for 20 years. Each of us knows trained because we how the other thinks and feels. This col- are expected to be laboration is an amazingly fertile gift. ❧

JUNE 2003 9 and (as with grownups) a good story well told. (As I told the students I directed in Eastman’s fi rst opera-in-the-schools pro- Why gram, “Opera à la Carte”: if you can get your message across to third graders, grownups are a cinch.) And, for better or worse, opera is per- opera ceived as “glamorous.” Those of us who regularly encounter prima donnas with- out their wigs and makeup might have a different view, but being worked over by a “stylist” and shot by Annie Liebovitz for Vanity Fair has been known to sell tickets. An increasingly important factor is the operatic repertory’s ability to branch out to classy versions of musical theater is pieces. For instance: Sweeney Todd, with Bryn Terfel, played as a regular sub- scription production at Lyric Opera of Chicago. The piece was previously done in semi-staged form both at the New York Philharmonic and the Ravinia Festival. From Monteverdi to Sondheim – Not only was West Side Story included HOT in a recent season at La Scala, but this past March, in something dubbed a it’s all just show business “Broadway Musical Gala,” those hallowed walls reverberated to the strains of “Sweet Transvestite” and “Time Warp” from The Rocky Horror Show. If there are any Tran- BY RICHARD PEARLMAN sylvanian Transvestites out there today . . . your time has come. SHORT answer As Director of Opera and musical theater in staged Eastman Opera to the question concert format can be a very exciting Theatre from 1976 way for “Operahotness” to interact with of “Why is opera to 1995, Richard symphony programming. The previously Pearlman staged hot?” is contained mentioned Ravinia Festival has begun a everything from Mon- series of such events centering on the works in a quote from teverdi’s Coronation of of Stephen Sondheim. The results have Poppea to a Kurt Weill a recent issue of Opera News: been artistically rewarding, theatrically A revue. Pearlman left vibrant, and dynamite at the box offi ce. “The audience for opera is grow- Eastman to direct the Another strong suit is the possibility Lyric Opera Center for ing because it’s an art form that of cross-fertilization with performing American Artists (at Lyric Opera of Chicago). entities other than opera companies. can embrace spectacle, straddle He returned last November to judge the Friends For example: Mother Bones, a through- of Eastman Opera Voice Competition and to the classic and the contemporary, composed opera produced by the Salvage share his thoughts and experiences with Vanguard Theater Company in Austin, and speak to our unconscious. Eastman students in a lecture presented as part Texas, has 15 actor-singers; an orchestra of the Catherine Filene Shouse Arts Leadership It is fueled by energy, generosity of 12; supernatural characters who fl y; Program Guest Speaker Series. This article is a musical house of bones; and a fi nale and impulse.” taken from his notes for the lecture. in which the entire stage bursts into I would also say that any fl ames. This by a company that has built art form that uses the human its reputation on a rock ’n’ roll aesthetic, Opera is visual, in an age when mounting shows in live music clubs. Com- voice, sometimes stretched to visual stimulation plays an increasingly poser Jason Neulander says, “ ‘Musical the outer limits of its range and important part in how people process Theater’ is a phrase that turns twenty- experience. At outreach performances, somethings off, but they think opera is amplitude, as a metaphor for kids’ reactions to opera are signifi cant: kind of cool.” heightened states of emotion, is sections where the action stops and the Are there more bright spots? You bet. singing takes over work much less effec- ■ The decreasing number of “household going to appeal to a lot of people tively in performances for kids. What name” singers means opera companies will – witness opera’s sister art form: most grabs them are great costumes, fi ght have to rely on different strategies to stay scenes, any hint of two sexy people con- in business – like dance companies, who for rock ’n’ roll. necting – that’s always good for a giggle – years have been creating their own stars.

10 EASTMAN NOTES ■ The increasing diffi culties opera com- ■ Some people in opera have gotten over this idea – classical music on cable televi- panies have obtaining visas for less than the fi xation about whether or not a new sion, in a format that doesn’t preach to the fi rst magnitude singers create opportuni- work is a masterpiece and are asking the choir – is an idea whose time has come. ties for American artists. right question: Does it connect with and Now, in saying that opera is show ■ Maybe the creative forces who fi nd no move an audience right here and now? business, I am not proposing projects shelter in the newly “Disneyized” world I think that what all of us have to do is like Wagner’s Ring with Andrea Bocelli of producing Broadway shows can fi nd it redefi ne our ideas of success. Will opera as Siegfried and Charlotte Church as with opera companies, and some as yet and classical music ever be a big item in Brünnhilde. In fact, the most dangerous unthought-of – but wondrous – hybrid theat- Prime Time? Not bloody likely. But if we possible temptation for an artistic entity rical form will evolve for our young century. don’t have audiences of millions out there, is to succumb to a simplistically commer- ■ In September 2002, 140,000 people what’s wrong with reaching hundreds of cialized mentality. Successful popular art, showed up on the Boston Common for two thousands, people who watch cable TV at from Shakespeare to Six Feet Under, has performances of the Boston Lyric Opera 11:30 p.m.? always been about connecting with the Company’s Carmen. When I was at Eastman, we did four human heart, going to dangerous places ■ La Bohème joined The Lion King and opera videos for the local Time/Warner (and getting there before the crowd), and The Producers on Broadway this fall. cable company. The composers were maintaining the balance of enlightenment Could Puccini be up for a “Best Musical Mozart, Puccini, Rossini, and Gounod, and and entertainment. Revival” Tony Award? our dream was some guy in his undershirt The group sponsoring this talk today calls ■ Two new American operas – Jake popping a beer can and watching Monday itself an “arts leadership” program, and that Heggie’s Dead Man Walking and Mark Night Opera. about sums it up. Leadership is going to Adamo’s Little Women – have been pro- The project was sponsored by Chase involve continually reinventing yourselves duced by 16 different companies across Bank, and ended up breaking even for and the circumstances of your professional the country. Both works are their young the cable company. It got decent, if not lives. The arts no longer exist in some ideal- composers’ fi rst operas. (The fi rst operas of overwhelming, ratings, and it was highly ized world outside the context of life on this Verdi and Mozart are historical curiosities benefi cial to singers who had to learn planet. If I may be permitted to quote from at best.) about honesty in acting while facing a what I said to the Class of 1995: ■ The works of Philip Glass and Steve camera closing in on them. “I hope if your Eastman experience has Reich are bringing opera to audiences of Circumstances, mainly budgetary, con- taught you nothing else, it has impressed many regional theaters that fi ve years spired against the sound quality of the fi nal on you that music can answer the mean- ago did not have the word “opera” in their product. This prevented the results from spirited rhetoric abroad in the land today vocabularies. being a candidate for syndication. I con- and change the world . . . sometimes begin- tinue to believe, however, that some form of ning with one third grader at a time.” ❧ Finding the voices of tomorrow On November 23, eight Eastman students, for some balance of where they are right specially chosen by the voice faculty, sang now and what their potential might be. in the second annual Friends of Eastman Voice type is important: The higher the Opera Voice Competition. Adjudicating was voice, the sooner the readiness. Women a major friend of Eastman Opera: Richard can be ready to go in their early 20s, ten- Pearlman, former director of ESM Opera ors and baritones in their late 20s to early Theatre. He found his task challenging: “The 30s, basses in their late 30s. kids in today’s competition were very gifted, “Other factors are expressiveness and very well taught, and at various stages of what a singer chooses to sing. Singers accomplishment.” should be encouraged to take interpre- And the winners were: tive risks and go someplace they haven’t First Prize: Mezzo-soprano Christina Gill, gone before. We’re living in an era of senior in Robert McIver’s studio. Chris- standardized packaging. Presentation and tina has had a very good year: Besides KURT BROWNELL appearance have some importance, but I performing lead roles in The Turk in Italy An accomplished group: Valerie Kopinski, mostly look for what I call ‘the X-factor,’ and A Midsummer Night’s Dream, she Christina Gill, Eastman Opera conductor Benton what is special and memorable about this won the Eastman Concerto Competition Hess, adjudicator Richard Pearlman, Sonya person that truly makes them stand out in the fall, and made her debut with the Rodriguez-Bermejo, Eastman Opera director from the competition. Without this qual- National Symphony Orchestra under Steven Daigle, Erin Palmer. ity they will never have a career. Also, Marvin Hamlisch in March. singers, to be successful, need relentless Second Prize: Soprano Valerie Kopinski, Honorable Mention: Soprano Erin Palmer, self-appraisal and [the] realization that master’s degree student in Rita Shane’s senior in Carol Webber’s studio. they are proprietors of a small business, studio. Pearlman offered some thoughts on his the product of which is themselves!” Third Prize: Soprano Sonia Rodriguez role as a competition judge: “The most The next FEO Voice Competition Bermejo, master’s student in Carol Web- important thing to keep in mind is how will be held November 22, 2003, in Kil- ber’s studio. young [the competitors] are. One listens bourn Hall. ❧

JUNE 2003 11 Masters in these halls A year of master classes at the Eastman School

HE EASTMAN SCHOOL has always offered out- standing concerts and outstanding instruction for musicians, and some of the School’s best moments occur when the two are combined. Visiting artists, including Rochester Philharmonic guest soloists, Toften extend their visits by a few hours or a few days to give master classes at the school, usually open to all Eastman people and sometimes the general public. They can be highly technical, but they also offer unique opportunities for outstanding artists to show just how they do it. (As you’ll see in the case of Andrew Marriner’s Internet2 clarinet master class, sometimes the guest artist doesn’t need to be here at all.) The 2002–03 school year, like every year at Eastman, was rich in master classes. Here are scenes from several of this year’s out- standing events.

KURT BROWNELL GELFAND-PIPER ▲ Choral conductors On January 25, Eastman and the American Choral ▲ Andrew Marriner When a performer can’t make it to Eastman for a Directors Association co-sponsored a symposium, Preparing the Conductors concert, it’s usually bad news, but in this case it didn’t matter a bit. On a of Tomorrow. After beginning in the early 1990s in Buffalo, the series was cold February day, Internet2 technology enabled students in Rochester and dropped for several years. It was revived at Eastman and was a great success. in Miami to have a real time master class with Andrew Marriner, principal William Weinert, Eastman’s director of choral activities and coordinator of clarinetist of the Academy of St. Martin in the Fields and London Symphony the conference, called the event – a very full day of sessions and master Orchestra, and professor at the Royal Academy of Music. Based in Miami, classes – “very good,” and thinks that it will continue every other year Marriner listened to Trevor O’Riordan and Bill Kalinkos play for him in the at a different school. The symposium attracted more than 60 people from Student Living Center’s Ciminelli Lounge. seven different states, but Eastman presence was strong, with presenta- “Your fi nger technique is immaculate. You’ve solved it,” said Marriner tions by alumni Susan Wharton Conkling, MM ’89, PhD ’94 (now teaching to Trevor after he aced a tricky passage from Ravel’s Daphnis et Chloé. at Eastman), and Hugh F. Floyd, MM ’85 (now at Oberlin); and master class “If I come to Eastman, will you tell me how to do it?” participation by graduate student Sun Min Lee.

12 EASTMAN NOTES GELFAND-PIPER ▲ The Orlando Consort, a vocal quartet from Oxford whose singing was brought more delicious sounds, and advice on some of the fi ne points of described by the Sunday Times as “staggeringly beautiful,” made its Kil- early-music singing style, to a master class in Hanson Hall that included a bourn Hall debut on November 5 with a program called Sounds Delicious: group singalong – or singaround. (Members: Robert Harre-Jones, counter- Music and Feasting in Medieval and Early Renaissance Europe. They tenor; Charles Daniels and Angus Smith, tenors; Donald Greig, baritone.)

GELFAND-PIPER SUE WEISLER ▲ Paul Badura-Skoda fi lled Kilbourn Hall for a February 18 recital stop on ▲ Renée Fleming Fresh from winning a “Best Classical Vocal Perfor- his 50th anniversary tour. The veteran Austrian pianist also drew crowds to mance” Grammy, the illustrious alumna visited her hometown in mid-March the Eastman Theatre stage the next day, when he gave master classes on for a concert with the Rochester Philharmonic Orchestra and a master the piano sonatas and chamber music of Beethoven. He busily made notes class at the Hochstein School of Music, sponsored by the RPO and Young in his scores as each student performed, then jumped up to illustrate his Audiences of Rochester. The participants included two Eastman students: points at a second piano. soprano Mari-Yan Pringle (master’s student, far left), who sang arias from “Show what a personality you are,” Badura-Skoda advised freshman Figaro and Freischutz; and mezzo-soprano Christina Gill (senior, far right), pianist Hong Xu in interpreting the exaggerated humor of Beethoven’s who sang arias from Così fan tutte and Carmen. Sonata in F, Op. 17. “You’re not such a timid guy!” He also advised one Also in the photo: soprano Galina Fesnyk (Roberts Wesleyan College); young musician on accepting applause: “You must be more grateful!” Fleming; alto Michelle Kmentt and tenor A.J. Simms, both from Churchville- Chili High School.

JUNE 2003 13 SCHOOL NEWS Tracing the organ master’s secrets BY MARK WILLEY of repertoire and the unique Last January, 29 East man sound world of the North Ger- organ students departed for a man period. two-week study tour to the city Department Chair David of Göteborg, Sweden. Göteborg Higgs arrived on January 8, is the former home of Professor and we began a full schedule Hans Davidsson, who served of learning and exploration. as a faculty member at the The variety and specifi city University of Göteborg and of instruments in Göteborg founded the Göteborg Organ enabled in-depth study into an Art Center (GOArt) before equally diverse range of reper- coming to Eastman in 2001. toire, from Mathias Weckmann Professor Davidsson continues and J.S. Bach to Mendelssohn, to serve as general director of Widor, and Max Reger. We GOArt and maintains a con- were also able to see fi rst-hand nection to the University. the different characteristics The instruments assembled of construction in each instru- COURTESY OF AMY BLUM by the GOArt Center include ment and style. Quality and Eastman organ faculty and students explored fi ve very different instruments a mean-tone organ by John care of construction were in assembled by Göteborg’s GOArt Center. Professors David Higgs and Hans Brombaugh housed in the Haga audible evidence in all of these Davidsson are shown in this photograph. church; a 19th-century French instruments. Symphonic style organ by the housed in the Örgryte Church. instruments. The North Ger- The seminars and master Dutch builder Verschueren We had round-the-clock access man organ in particular was classes highlighted various located in a specially built hall to these instruments for a full one of our main reasons for the aspects of history, construction in the music building of the schedule of concerts, master trip to Sweden. This instru- and interpretation. Particu- University; a “Father” Henry classes, group lessons, and indi- ment, fi nished in 1999, was the larly memorable was Swedish Willis organ built in 1871 vidual practice. result of 10 years of in-depth organist Jan Börjesson’s dem- housed in the Örgryte Church; William Porter, Eastman’s research by scientists of the onstration of the French an organ in the Swedish professor of harpsichord and Chalmers Institute of Technol- harmonium. This instrument, Baroque style, built by Gus- improvisation, introduced ogy in Göteborg and master with its subtle and expres- tavsson in the Backa church; us to each of the organs with organ builders at GOArt. The sive effects, is a critical link to and an organ built in North improvisations demonstrating result is an instrument capa- understanding organ music German baroque style, also the various registrations of the ble of interpreting the depth TURN TO PAGE 15 ➧ Faculty share their strengths at Eastman Colloquia Teachers make time for stu- and the Ying Quartet explored there – and 200 or so pages dents, but they should also Haydn (see page 27), and Hans about what I did there.” make time for each other. Davidsson and David Higgs On April 24, voice faculty That’s the philosophy behind discussed the Eastman- members Robert Swen sen, Eastman’s faculty colloquia, Rochester Organ Initiative. Kathryn Cowdrick, and “An opportunity to share ‘what On January 23, Associate Russell Miller presented An we do’ with our colleagues,” Professor Ernestine McHugh Afternoon of Song, pieces says Academic Dean Betsy presented recollections and by Schubert, Schumann, Marvin, who started the series photographs of her life among Donizetti, and musical theater last year. “They are a place the Gurung people of Nepal composers. Students took part for collegial exchange across in the 1970s. This tightly knit as well, singing in ensembles departments and disciplines.” Buddhist community is the and in a demonstration of The colloquia are held subject of McHugh’s Love and voice teaching, “To give the twice each semester, and the Honor in the Himalayas: Com- audience a more complete GELFAND-PIPER presentations are balanced ing to Know Another Culture view of what we performing Ernestine McHugh reads from Love between performance and (University of Pennsylvania, faculty in the voice and opera and Honor in the Himalayas at the scholarship. In the fall, musi- 2001), described by the author department are about,” in January 23 colloquium. cologist Gretchen Wheelock as, “The story of how I got Swensen’s words. ❧

14 EASTMAN NOTES SCHOOL NEWS

➧ FROM PAGE 14 from the French and Ger- man Romantic periods. Also noteworthy was an afternoon session at the Örgryte Church exploring the tradition of hymn singing with an organ tuned in mean-tone. It was a surprise to hear how beautifully this tem- perament blended with and supported our singing. Our schedule in Göteborg included eight student recitals performed on seven differ- ent organs. We had been told by our Swedish hosts not to expect large audiences, as this was not the regular season for concerts. It was a pleas- ant surprise then to fi nd full and appreciative audiences at every one of the concerts. GELFAND-PIPER On January 12, we enjoyed The Turk, the Italian, his wife, and her lover: Eastman Opera presented Rossini’s Turk in Italy in November. a recital given by Professor Higgs on the Swedish Roman- tic organ at Vasa church, with A sparkling Eastman Opera season works by Sowerby, Bolcom, Mendelssohn, Karg-Elert, and Eastman Opera Theatre’s the University of Chicago and a fancy Eastern European per- Liszt. fi rst presentation of the sea- editor-in-chief of the Complete fume shop on February 13–16, One of the most anticipated son was Rossini’s delightful Edition of Rossini’s works, when Eastman Opera Theatre events on our schedule was an comedy Il turco in Italia (The visited Eastman on October 9 presented She Loves Me. The extensive tour of the GOArt Turk in Italy), in an English for a master class, coaching stu- show, which originally starred organ research workshop translation, from October dents in the fi ner points of their Barbara Cook, was not a great and facilities, followed by 31–November 3 in Kilbourn characterizations and of the success on Broadway in 1963, workshops on organ building, Hall. While not as popular as but Eastman loved She Loves clavichord building and design, Rossini’s Barber of Seville, this Me, which ran for four sold-out and tuning and temperament. opera is becoming steadily performances. Our fi nal concert took place more popular in Europe, The plot – two store clerks on January 17, on the organs though it’s still a relative rar- who can’t stand each other of the Örgryte church. The ity for American audiences. at work turn out to be lonely concert brought together many The title character is a hearts correspondents, and fall of the aspects of scholarship Turkish monarch searching in love – is taken from a 1930s and performance that we had for an Italian wife. His ideal Hungarian play, and familiar studied over the previous two candidate happens to be mar- from such movies as In the weeks, and was a fi tting close ried and have a young suitor. GELFAND-PIPER Good Old Summertime and to a rich learning experience. ❧ A poet in search of an opera Georg Nowack (Grant W. Knox) met You’ve Got Mail. But it really libretto subject observes them his “dear friend” Amalia Balash sings in the hands of composer Mark Willey is a masters all, occasionally changing (Danielle McCormick) at the end of Jerry Bock and lyricist Shel- stu dent of Professor Hans events to suit his purposes. February’s She Loves Me. don Harnick, who made She Davidsson and a TA for the The frothy, sometimes inten- Loves Me a modern operetta. organ department. He main- tionally disturbing plot is ebullient score (which includes Director Steven Daigle and tains a large portion of the decorated with some of Rossi- a few pieces not by Rossini). conductor Benton Hess chose Eastman organ department ni’s most virtuosic music, an The lesson was well taken: She Loves Me to give opera stu- website (www.rochester.edu/ exemplar of bel canto style. Democrat and Chronicle music dents a chance to develop their Eastman/organ), which The students in both casts critic John Pitcher described musical-comedy chops, and includes a detailed descrip- of The Turk in Italy benefi ted the opening night performance they did so enthusiastically. The tion of the Sweden study trip, from advice from a very knowl- of The Turk in Italy as “spar- witty, romantic score sounded complete with pictures and edgeable source. Musicologist kling and highly entertaining.” beautiful and the staging used downloadable audio fi les. Philip Gossett, professor at Annex 804 was turned into the space ingeniously. ❧

JUNE 2003 15 SCHOOL NEWS

ESM jazz: a swinging winter and spring December 5 was a great night for Bills fans – fans, that is, of pianist Bill Dobbins (who recently returned to the Eastman faculty after eight years in Germany leading the WDR Big Band) and of Bill Hol- man, the composer, arranger, saxophonist, and bandleader who was a special guest at this Eastman Jazz Ensemble concert. The two came together when Dobbins conducted Holman’s arrangement of Limehouse Blues; Holman also led several of his own arrange- ments and originals. In December, Eastman jazz students also brought their talents to downtown Rochester’s Midtown Plaza for “Friday Jazz,” a music series that began last December and continued through May. The suggestion for jazz at Mid- BOB KLEIN PHOTOGRAPHY town came to Eastman School Veteran jazz saxophonist, composer, and arranger Bill Holman joined the Jazz Ensemble for its fi rst concert of the TURN TO PAGE 17 ➧ season in December.

“Eastman Made Easy” by ESM Ambassadors Can the Eastman dorms now Corrado, “For Eastman, the be referred to as an “embassy”? benefi t is in the assurance that Thanks to the Offi ce of Stu- we are putting our ‘best faces dent Life (formerly Student forward’ – that prospective Affairs) and willing student students and their families, leaders, 11 “Eastman Ambassa- as well as visiting alumni, are dors” now assist various School interacting with knowledge- offi ces, including Admissions, able and enthusiastic current Alumni Relations, and Career students.” Services. The students form a The inaugural team of volunteer corps who can easily Ambassadors, selected after a be tapped to pitch in during rigorous application process, Alumni and Family Weekends, includes Julie Barnes, Ellie Die- and to give campus tours to pro- ner, Laurianne Fleming, Nick spective students and parents. Hodges, Chris Lyons, Sarah The students are compen- McCaffrey, Diana Owens, Domi- sated for some of their activities, nique Paliotta, Jeff Willy, Colin as well as the opportunity to COURTESY OF SIGRID LONG Wise, and Kathryn Withers. expand their leadership skills, Members of the UR Meridians joined the inaugural team of Eastman While the Eastman Ambas- especially in the areas of public Ambassadors for this photo. The Ambassadors include (left to right): Chris sadors enjoy an auspicious title, speaking, organization, recruit- Lyons (in a turtleneck), Dominique Paliotta, Ellie Diener, Colin Wise (front they understand that their dip- ment, and event planning. row); Kathryn Withers (second row); Nicholas Hodges and Jeff Willy (third lomatic privileges do not apply According to Director of row); Julie Barnes (fourth row). Not pictured are Laurianne Fleming, Sarah when it comes to University Alumni Relations Christine McCaffrey, and Diana Owens. parking tickets. . . . ❧

16 EASTMAN NOTES SCHOOL NEWS

➧ FROM PAGE 16 Workshops. “Enriching the 77-minute CD featuring the Perry’s own Acquiescence and Director and Dean James Rochester community through famous tenor sax player with standards like How Deep Is the Undercofl er through Eastman music has always been an the Eastman Jazz Quartet: Ocean and Stella By Starlight. alumnus Ned Corman, founder important part of an Eastman Harold Danko, piano; Clay Jen- In his booklet notes, Danko of the Commission Project. education,” says Undercofl er. kins, trumpet; and ESM alums calls Rich Perry at Eastman “a Undercofl er shared the idea “Our students seized this and faculty members Jeff very special evening for both with Harold Danko, chair opportunity, and I commend Campbell (BM ’92, DMA ’02) the performers and listeners: of the jazz department, who them for it.” on bass and Rich Thompson Rich was really ‘on’ from the thought it would be an excel- This winter also saw the (MM ’84) on drums. The tracks, fi rst to last notes played, and lent project for students in release of Rich Perry at East- recorded live on March 21, everyone present was in the the School’s Jazz Performance man (SteepleChase 31533), a 2001 in Kilbourn Hall, include zone with him.” ❧ Some sound advice from a second fi ddle Abram Loft’s new book is titled observes, but there ics of musical never kept a journal – “But How to Succeed in an Ensem- are few about the ensembles, the I do remember every damn ble. The title doesn’t continue interplay among book has something thing!” . . . By Someone Who Did! But it the members of to interest just “I don’t think you can know might well have. musical groups. about everyone. too much,” says Loft of a life in Loft is distinguished And not surpris- As Loft observes, music. professor emeritus of chamber ingly, when four “Who does not have “Success in chamber music music at Eastman, where he strong-willed, to survive in an depends on the enterprise, taught from 1979 to 1986. highly trained art- ensemble of some know-how, intelligence and Before that, he was second ists join together, sort?” imagination of the people who Abram Loft violinist of one of America’s they don’t always Loft, who still play it. You may have expertise most durable chamber get along, as his refl ections on lives in Rochester, visited in handling the business side ensembles, the Fine Arts an artistically productive but Eastman for a book signing of your ensemble, but that Quartet. After hearing Loft’s occasionally fractious 25 years in April. He seems to have doesn’t mean a row of beans contribution to a Fine Arts in the Fine Arts Quartet attest. total recall of his many years unless you have something performance, Chicago critic While it’s about the dynam- of music making; he says he worth selling.” ❧ Robert C. Marsh remarked, “a great second violinist plays second fi ddle to no one.” If you guessed that Abe “You have made the music come alive …” Loft has a lot of advice to offer The concert is the chamber position must make its way to its of music, then you have been young musicians, you’re right. musician’s reward. You have end, with all the interplay between wasting your time – not just the His new book (Amadeus Press) been through the rehearsal pro- voices, the happy accidents of the months and years you have spent is directed to students and cess; discussed, debated, argued, live performance, and the sense in the ensemble, but all those professional musicians who fought over details of intonation, of uninterrupted growth and con- years of study you expended to be have realized that not every dynamics, infl ection, tone color, tinuity of the music that the word able to function within an ensem- musician can follow what Loft pacing, projection, mood, and concert implies. ble in the fi rst place. calls “the yellow-brick road to whatever else – more than you This is the payback for all the But do not even think about it. Carnegie Hall.” could ever imagine arising in any hassle, the business of deal- Think only of being lucky enough With chapter titles like composition. You are safely at ing with your colleagues, your to do what you are doing, even “Forming an Ensemble the concert hall, actually seated management, travel agents, the if it is the tenth time this season – Appraising the Team,” onstage in front of an expectant airports, railroad terminals, crit- that you are performing the “Rehearsal in the Real and audience. You start the program, ics, rented cars, bad weather, “Death and the Maiden” quartet Ideal Worlds,” and “The Busi- with the excitement of a com- fl ight cancellations, all the other of Schubert. There is again that ness Side of Ensemble Life,” bined burst of adrenaline and niggling details that surround the pleasure of hearing the work How to Succeed in an Ensem- expectancy about what will unfold oasis that is the concert experi- build itself from fi rst note to last. ble is part autobiography, part during the performance. And you ence. If you cannot enjoy that You have made the music come musical musings, and part know that no one in the group, not sense of control and personal alive, even if it does vanish with common-sense guide to profes- even you, can stop the creative fulfi llment that comes from your its last vibration. sional ensemble life. process by saying, “No! Let’s try role in the ensemble’s free-fl owing – From How to Succeed in an Many studies have been that passage again.” The com- reconstruction of a truly fi ne piece Ensemble, by Abram Loft made of group dynamics, Loft

JUNE 2003 17 SCHOOL NEWS

A new-old look for Eastman Theatre One of the pleasures of attend- ing the Eastman School – and of living in Rochester – is hearing and performing music in the beautiful and historic Eastman Theatre. It has been a major performance venue and an architectural landmark since 1922, which means it is starting to show its age in some respects. A plan, announced this MACON CHANTREUIL JENSEN & STARK ARCHITECTS spring by Director and Dean The fi rst phase of the Eastman Theatre “renaissance” is slated to begin in summer 2003, with signifi cant improve- James Undercofl er, proposed ments to the Theatre stage. improvements to a structure of which every Eastman ter venue for concerts, opera, ■ New, sophisticated rigging As Rochester Philharmonic student and alumnus has fond dance, and other events. that will allow for more variety Music Director Christopher memories. Once completed, the renova- in set design and scenery Seaman put it in a recent Musicians know that while tions – at an approximate cost ■ Dramatically improved Democrat and Chronicle arti- the Eastman Theatre is beau- of $5 million – will comprise: stage lighting cle, “In the end (hardening the tiful, there are acoustical ■ An elegant, new custom ■ New sprinkler and smoke walls) will provide everybody drawbacks. shell (stage ceiling and mov- detection equipment above with a better night out.” The fi rst phase of the reno- able walls) for more fl exibility stage “Our ultimate goal,” says vation, scheduled for summer of use and improved acoustics ■ Transparent coating on Director and Dean James 2003, will result in a greatly ■ A new, sprung wooden fl oor all Theatre walls, creating a Undercofl er, “is to make the improved stage that will that will better accommodate sound-refl ective surface for Eastman Theatre an even enhance the experience both dance enhanced acoustics better venue for concerts and visually and acoustically for ■ A greatly improved orches- The improvements are not other performance – a major audiences and performers. The tra pit with new mechanical always visible, but musicians contribution to the renaissance Theatre will become a bet- components and hydraulics will defi nitely fi nd them audible. of downtown Rochester.” ❧

“All are welcome”: Gateways celebrates fi fth birthday The Gateways Music Fes- calls Gateways “a place where tival provides performing people look to be developed opportunities for African- and appreciated.” American classical musicians, The Gateways Festival was and it “improves the odds of founded in 1994 by Hummings African-Americans hearing, in Winston Salem, North Caro- performing, and otherwise lina, and was brought to the participating in the art of clas- Eastman School in 1995 by sical music,” says Gateways then Director Robert Freeman. COURTESY OF ARMENTA HUMMINGS Artistic Director and Eastman Gateways is not sponsored Violinist Tai Murray, director Armenta Adams Hummings, cellist Troy Stuart, Associate Professor Armenta by Eastman, but many of the and violist Amadi Hummings at a Gateways chamber music event. Adams Hummings. She also TURN TO PAGE 19 ➧

18 EASTMAN NOTES SCHOOL NEWS

➧ FROM PAGE 18 concerts and other events take place here. The 2003 Gateways Festival held a preview concert on Palm Sunday, April 13, at Bethel CME Church in Rochester. Special guests were the distin- guished tenor George Shirley and three Eastman faculty members: violist George Tay- lor; violinist Oleh Krysa; and pianist Tatiana Tchekina. This year’s festival, the fi fth, will be the largest, and longest ever, running from August 20 to October 5. Some of the famous guest musicians include Boston Symphony Orchestra harpist Ann Hobson Pilot, composer Delores White, conductor Michael Morgan, and Tai GELFAND-PIPER Murray, the fi rst African- Beijing Viola Ensemble Director Wing Ho led his 15 students into Room 310 carrying their violas and video cameras. American violinist to be featured in the Chicago Sym- phony’s regular season. And as always, there will Violas and videocams be a Gateways Festival Eastman students interested in visit, the group participated Orchestra, made up of Festi- learning more about the Beijing in intensive master classes, val participants, performing Viola Ensemble last Febru- toured the School, interacted Beethoven’s Triple Concerto ary found that the Ensemble with students, and presented and Shostakovich’s Symphony was equally curious about a special noontime concert in No. 5, among other pieces. The them. Several of the Chinese Kilbourn Hall. schedule includes: students entered the master Their conductor explained August 20–22: Chamber Music class aiming video cameras, that the Beijing students’ in the Home series taping their audience and sur- U.S. tour performances began August 23: Youth Concert (Kil- roundings. Soon the videocams before they even left China: Ho, bourn Hall) were replaced with violas, and a U.S. citizen, was not permit- August 24: Festival Orchestral Eastman students and their ted to accompany his students Concert (Hochstein School); Chinese guests spoke the same to the U.S. embassy in Beijing Choral Concert (Kilbourn language of music while receiv- to apply for travel visas. In Hall); Orchestral/Choral Con- ing constructive critique. order to “prove” that they were cert (Eastman Theatre) Ensemble director Wing Ho, indeed music students, the Five additional weeks, an acclaimed soloist and cham- Ensemble was asked to per- from August 25 to October 5, ber musician, and chair of the form at the embassy, in front include events at Eastman viola department at China’s of several hundred other visa (through September 14), as Central Conservatory, brought applicants. They were a big hit! well as appearances through- his gifted students to America The Ensemble was formed out Rochester at churches, “to open their eyes.” Indeed, in January 2000. Many of its colleges, schools, and com- the 15 young violists received members (the youngest just munity centers by young a diverse education while at 13 years old) are winners of Gateways artists “ready to test Eastman, opting to stay an national viola competitions in their musical stamina in solo GELFAND-PIPER additional day in Rochester, China, and selected to attend recitals,” in Hummings’ words. Eastman violists got performing which included spending hours the Conservatory. The group “Churches are now beginning advice from Wing Ho (top); in the Sibley Music Library has performed in major cities to ‘adopt an artist’ and be Chinese students were taught by stacks and taking a nonsched- of China, as well as in Japan, responsible for being their host Eastman’s John Graham (middle) uled trip to local Marketplace Korea, Taiwan, Canada, and and promoter.” ❧ and George Taylor (bottom). Mall. As part of their offi cial the U.S. ❧

JUNE 2003 19 SCHOOL NEWS

Musical treasure house: Eastman Studies in Music For almost 80 years, “ESM” scholarly work in music likely lishes important recollections are Berlioz: Past, Present, has stood for Eastman School to have lasting value,” accord- of reminiscences and other Future, a collection of critical of Music, but now it also ing to Locke. The fi rst documents: the memoirs of essays edited by Peter Bloom, stands for Eastman Studies Eastman Studies book came composer Arthur Farwell and and The Musical Madhouse, in Music, a series of scholarly out in 1994; now 20 titles are of Broadway arranger Robert Alastair Bruce’s translation books that is a division of the available. They have been Russell Bennett, the collected of Berlioz’s Grotesques de la University of Rochester Press. favorably reviewed in Ameri- essays of Elliott Carter, and Musique (1859). Senior editor and Eastman can, English, and continental (forthcoming) Claude Debussy The composer of the Sym- musicology professor Ralph music journals and magazines, As I Knew Him, by Arthur phonie fantastique and Les Locke has guided the series and several are now available Hartmann, a professor of vio- Troyens was a lively, opinion- since it began in 1989. Besides in paperback. lin at Eastman in the 1920s. ated, and extremely witty Locke, the Eastman Studies in “Now we receive manuscripts For the bicentennial of writer, as readers of his Music Editorial Board includes over the transom all the time,” Hector Berlioz (1803–1869), memoirs know. Grotesques musicology professors Ellen says Locke. “This has allowed Eastman Studies has pub- is a frolicsome collection of Koskoff, Patrick Macey, and us to increase the number of lished three books that anecdotes, open letters, and Gretchen Wheelock, and the- titles from one or two a year to enhance our knowledge of an comments on the absurdi- ory professor Robert Wason. four or fi ve, while maintaining incompletely understood com- ties of 19th-century Parisian (Kerala J. Snyder, now profes- the highest standards of schol- poser. Already available was concert life, now available for sor emerita, was an early and arship and writing.” Berlioz’s Semi-Operas: “Romeo the fi rst time in English. The important board member.) Topics covered in ESM et Juliet” and “La Damnation forward, by Berlioz authority The press publishes books books range from Chinese folk de Faust,” by University of Hugh Macdonald, puts the on many aspects of history, music, to Balinese gamelan, Rochester Professor of English work in helpful context for the theory, musicology, and ethno- to theories of fugue in the Daniel Albright. The most reader, and the footnotes iden- musicology: “Any serious, Baroque era. ESM also pub- recent (published this spring) tify many forgotten fi gures. ❧ University of Rochester Press

University of Rochester Press 668 Mt. Hope Avenue Rochester, NY 14620 Ph: 585-275-0419 * Fax: 585-271-8778 www.urpress.com [email protected] To receive the discount, please mention this ad when ordering NEW AND FORTHCOMING TITLES FROM OUR EASTMAN STUDIES IN MUSIC SERIES Berlioz: Past, Present, Future Wagner’s Meistersinger: Performance, History, Representation Edited by Peter Bloom Edited by Nicholas Vazsonyi A collection of essays commemorating Hector Berlioz's A volume of collected essays, which engage Wagner's Die Meistersinger von life and work on the 200th anniversary of his birth. 15 b/w illus, 232pp, 1 58046 047 X, List Price: $70.00 Nürnberg from the perspective of both active performers and academics in a Discount Price: $52.50 wide range of disciplines. Berlioz's Semi-Operas: Roméo et Juliette and 9 b/w illus, 256pp, 1 58046 131 X, List Price: $85.00 Discount Price: $63.75 La Damnation de Faust Music’s Modern Muse: A Life of Winnaretta Singer, Princesse de Polignac Daniel Albright Sylvia Kahan "A delightful book. Albright's work will inform and entertain A biography of Winnaretta Singer-Polignac, heiress to the Singer Sewing admirers of Shakespeare, Goethe, and Berlioz alike." Machine fortune, who befriended and subsidized some of the most important —Julian Rushton, author of The Music of Berlioz 2 b/w illus, 204pp, 1 58046 094 1, List Price: $75.00 musical and literary artists of the 20th Century, including Stravinsky, Proust, Discount Price: $56.25 Ravel, Cocteau, and Colette. The Musical Madhouse: An English Translation of Berlioz's 30 b/w illus, 490pp, 1 58046 133 6, List Price: $65.00, July 2003 Discount Price: $48.75 Les Grotesques de la musique “Claude Debussy As I Knew Him” and Other Writings by Arthur Hartmann Hector Berlioz; Edited and translated by Alastair Bruce Edited by Samuel Hsu, Sidney Grolnic and Mark A. Peters Introduction by Hugh Macdonald. This is the first complete A volume of memoirs and letters exploring the friendship of composer Claude translation into English of Berlioz's second collection of musical Debussy and violinist Arthur Hartmann. articles, originally published in 1859. 40 b/w illus, 210pp, 1 58046 132 8, List Price: $70.00, May 2003, Discount Price: $52.50 30 b/w illus, 455pp, 1 58046 104 2, List Price: $85.00, September 2003, Discount Price: $63.75

20 EASTMAN NOTES SCHOOL NEWS

Eastman continues on the Pathways to success The Eastman School recently course of study to prepare received a three-year, $1 them for a college education million grant for Eastman and career in music. Deserv- Pathways under the Talented ing students accepted at the Students in the Arts Initiative, Eastman collegiate level may a collaboration of the Doris be eligible for full-tuition Col- Duke Charitable Foundation legiate Pathways scholarships, and the Surdna Foundation. with the understanding that Eastman was only one of two they will return their gifts institutions honored with this to the community by serving award in 2003. as mentors to pre-collegiate Under the terms of the teens, and as music teachers or current grant, the Surdna artists-in-residence in urban Foundation will provide public schools for three years $240,000 in outright funds after graduation. In the words in 2003-2005 to support GELFAND-PIPER of Howard Potter, the Associ- program costs, including Com- The Eastman Pathways Woodwind Quintet performed in an open rehearsal ate Dean for Continuing and munity Education Division during the April 24 Eastman Pathways Open House. Pictured are Zalika Community Education, “a pro- scholarships; professional Gomes (clarinet), Tondreka Pullings (bassoon), and Shannon O’Mara (horn). gram like this sticks with kids development opportunities for The other quintet members are Jessica Isaac (fl ute) and Janelle Doi (oboe). for the rest of their lives.” CED faculty artists; program On the afternoon of April coordination and mentoring Education Division scholarship Eastman Pathways is part 24, a select audience of repre- costs; and other administrative program offering weekly music of the William Warfi eld Part- sentatives from foundations and artistic services. lessons to deserving Rochester nership between the Eastman supporting the program The Doris Duke Chari- sixth-through-twelfth-grad- School of Music and the Roch- observed lessons in percus- table Foundation will provide ers. Pathways now provides up ester City School District. It sion, voice, and fl ute, as well $760,000 over three years in to 75 inner-city children each strengthens the music program as rehearsals of the Eastman endowed funds, which must be year with weekly instrumental for all Rochester city students, Pathways Woodwind Quin- matched on a dollar for dollar or vocal lessons. The CED’s as Pathways teens bring their tet and Eastman Children’s basis. When fully endowed, resources and offerings – Youth musical skills and enthusiasm Chorus. In his introductory the endowment’s annual inter- Gamelan, Eastman Children’s back into their public school remarks, Eastman Director and est and earnings will support Chorus, theory, keyboard, and performing ensembles. Dean James Undercofl er stated: Eastman Pathways. chamber classes, and more – Students of exceptional “Pathways is one of those pro- Eastman Pathways origi- are also available to Pathways musical ability and commit- grams that’s so right, it makes nated in 1997 as a Community participants. ment may follow a rigorous you proud to be part of it.” ❧

Messinger Grants give students “real world” experience Thanks to a generous gift from travel, choosing repertoire, and The most recent Messinger fi t into the long-standing Martin Messinger, a member generating publicity. Given Grant recipients (approved for entrepreneurial spirit of the of Eastman’s board of manag- the creativity of Eastman at least partial funding) are Eastman School – not really ers, the School instituted the students, this has led to some Alexandra Nguyen, MM ’00 unusual for a music school Messinger Grants in 1998. innovative ideas. and DMA candidate, for two founded by one of the greatest These grants have three mutu- The fi rst Messinger grant performances in New York entrepreneurs in American ally supportive purposes: to was awarded to conductor City; Alice Carli, MA ’90, and business history. George develop students’ “real world” James Anderson, to produce Philip Carli, MA ’90, PhD ’03, Eastman himself declared entrepreneurial skills; to and perform a family program, who prepared the 11-member that the Eastman School’s increase awareness of the including Prokofi ev’s Peter and Flower City Society Orchestra purpose was “to educate the Eastman School throughout the Wolf, in the small town of for accompaniment of the silent informed musician,” and long- New York State; and to estab- Lodi, New York. Since then, fi lm Peter Pan in Rome, New time director Howard Hanson lish new donor relationships. many other Messinger grant York; and Michael Moran, BM stated “The Eastman School Students themselves must winners have provided a great ’03, whose Amphion Percussion of Music is aiming at creating do all the “nuts and bolts” variety of imaginative propos- Group gave an outreach perfor- all-around musicians, instead work of presenting a concert: als for bringing classical music mance in February 2003. of merely specialists in one booking a hall, organizing to the community. The Messinger Grants branch or other of music.” ❧

JUNE 2003 21 SCHOOL NEWS $ONOR!DVISED&UND 0HILANTHROPY Ellison, Tyzik, Mennin join 3IMPLIlED Eastman Board of Managers Eastman expands the ranks School from 1962–1983. In of its Board of Managers once New York, Ms. Mennin studied 7HENTHE5NIVERSITY"OARDOF4RUSTEESVOTEDLASTFALLTOESTABLISH ADONORADVISEDFUND -ARTIN-ESSINGER 4RUSTEEANDMEMBEROF again as it welcomes vocalist at the Traphagen School of %ASTMANS"OARDOF-ANAGERS SAWTHEBENElTSIMMEDIATELY and music advocate Martha Fashion, the Parsons School of Joanna Ellison, photographer Design, and the Art Students Georganne Mennin, and com- League. She now enjoys a suc- poser and conductor Jeff Tyzik. cessful career in photography. h4HE5NIVERSITYSDONORADVISED Board membership now totals Her work is in numerous pri- FUNDSIMPLIlESCHARITABLE 22. Each new board member vate collections, and has been PLANNING4HEREARENOFEES will serve a three-year term to exhibited in galleries through- ANDOURCHARITABLEINTERESTS end in 2006. out America, Europe, South BENElTFROMTHE5NIVERSITYS America, and Africa. ENDOWMENTMANAGEMENTAND Martha Joanna Ellison THEADMINISTRATIVESERVICES Martha (Kirchenbauer) Elli- Jeff Tyzik OF4)!! #2%&!FTERMY son completed bachelor’s and Another illustrious Eastman YEAR ENDGIFTTOTHEFUND master’s degrees at Eastman, alumnus, Jeff Tyzik holds ISMADE )CANTAKEMYTIME DECIDINGWHENANDWHERETO as well as a Performer’s Certif- bachelor’s and master’s MAKEINDIVIDUALCONTRIBUTIONS icate. She taught on the voice degrees from the School. He TOANY)23 QUALIlEDPUBLIC faculty of Virginia Common- worked with Chuck Mangione CHARITY)SUPPORTv wealth University, Richmond, as a performer and assistant Virginia, and later in the producer from 1975–1980, and music department of Dun- began working with Doc Sever- barton College, Washington, insen as a composer, arranger, D.C. Preferring the fl exibility and producer in 1978. Tyzik 7ITH2OCHESTERSDONORADVISEDFUND YOU of a private studio, she left earned a Grammy for The s CREATEACHARITABLEFUNDFROMWHICHFUTURE academia and maintains a life Tonight Show Band with Doc DISTRIBUTIONSCANBEMADEOVERTHEYEARS of performance and private Severinsen, and Grammy nom- s SUPPORT%ASTMANANDOTHERDONOR PREFERRED teaching. In an effort to ease inations for The Tonight Show CHARITIES the struggle of solo performers Band with Doc Severinsen Vol- s PAYNOFEES on a grass roots level, she reg- ume II and Facets. s TAPINTOPROFESSIONALASSETMANAGEMENTAND ularly hosts musical evenings Tyzik has composed theme CHOICEOFINVESTMENTOPTIONS in her home. music for major television net- s RECEIVEANIMMEDIATEINCOMETAXDEDUCTION Ellison is board chair of the works, and for the Maynard s ENJOYTHEmEXIBILITYTOCONTROLGRANTSTOCHARITIES Vocal Arts Society, which pres- Ferguson and Woody Her- ONYOURTIMETABLEANDNOTINAYEAR ENDRUSH ents its series in the Kennedy man Orchestras. The London s STAYINFORMEDWITHQUARTERLYINVESTMENTAND Center, and she serves on the Symphony, the Rochester GIFTINGREPORTSPROVIDEDBY4)!! #2%& music committee of the Cos- Philharmonic, and the Summit s REAPTHEBENElTSOFGIFTCREDIT mos Club, Washington, D.C. Brass have recorded his music. She is active musically and He has released six of his own as a parishioner at St. John’s albums on Capitol, Polygram, Church, Lafayette Square, in and Amherst Records. Washington, and lives with her Since 1993, Tyzik has been husband, Richard Ellison, in the principal pops conductor Alexandria, Virginia. of the Rochester Philharmonic Orchestra, creating innovative Georganne Mennin programs for the RPO’s educa- $OYOUNEEDTOSIMPLIFYYOURGIVING Georganne (Bairnson) Mennin tional series, Sunday Casual received a master’s degree in Matinees, and “Around the 4OLEARNMORE CONTACTTHE/FlCEOF4RUSTSAND%STATES -T(OPE!VENUE 2OCHESTER .EW9ORK violin from Eastman. After Town” concerts.      ORKRECKEL ALUMNIROCHESTEREDU graduation, she moved to New He also is a popular guest WWWPLANNEDGIFTSORGROCHESTER York City with her husband pops conductor at orchestras Peter Mennin, the distin- around the country. guished American composer Tyzik lives in Rochester and president of the Juilliard with his wife, Jill. ❧

22 EASTMAN NOTES DEPARTMENT NEWS

ties, and on occasion sit in with the group. The Freshmen String Quar- tet and Woodwind Quintet experiences have provided an excellent foundation for incoming students, as they have learned both how to create successful chamber music performances and how positive interpersonal rela- tionships make them possible. For upperclassmen, the most outstanding performances of string, piano, woodwind and brass chamber music are showcased in special honors concerts in Kilbourn Hall at the end of each semester. The GELFAND-PIPER Hyperion String Quartet, Chamber music study requires the technical ability of a virtuoso and the musical insight of a scholar. 2002 graduates of Eastman, represented the school with CHAMBER MUSIC & ACCOMPANYING distinction at the 2002 Coleman Chamber Music Competition, where they were given the Russell Award. BY DAVID YING of true scholars. Judging by man’s fi nest graduate string, Finally, the cornerstone uring fall 2002, the the extended ovation from a piano and wind performers, Music for All program helps string quartet music packed Kilbourn Hall and the assembles in various mixed Eastman students, under- of Bela Bartók head- electric excitement of the 24 combinations to present a graduate and graduate alike, D lined the work of the students backstage after the series of four concerts through- understand the communica- Chamber Music Department. concert, not to mention the out the year in Kilbourn Hall. tive nature of their art in A new performance and analy- proud smiles on the faces of They also represent the school some of the most real-life sis seminar team-taught by the instructors, it was a won- in the Rochester community situations they will encounter theory professor Steven Laitz, derful success on all counts. and beyond, culminating in a during their studies. In these violist John Graham, and the The work of the Eastman yearly concert at the Cathe- performances for the greater Ying Quartet brought together Chamber Music Society con- dral of St. John the Divine in Rochester community, virtu- 24 graduate and undergradu- tinues to reach out to local New York City. Members of ally every chamber music ate string players. Weekly and regional audiences. This the Ying Quartet coach and group at Eastman has the lectures and creative exercises group, comprised of 15 of East- supervise the Society’s activi- opportunity to draw on its col- assembled by Dr. Laitz were lective musical, creative, and interspersed with master communicative skill to engage classes and coachings designed its public in the great art we to fuse analytic reasoning with are all privileged to share. musical interpretation. At the The Chamber Music end of a semester fi lled with Department looks forward to diligent work in the rehearsal developing new ways to pro- studio as well as in the class- vide richly satisfying musical room, these 24 students experiences to the Eastman presented a marathon concert community as well as to the of Bartók’s Six String Quartets world beyond. Next on the and published original analyti- agenda is the revival of a vocal cal research on their respective chamber music course, inspir- quartets. ingly taught by Jan DeGaetani The demanding nature of in the late ’80s. Stay tuned. . . . ❧ these works required per- GELFAND-PIPER formances at the top of each Jean Barr, co-chair of the chamber music department and director of the David Ying is assistant profes- student’s technical ability, as accompanying program, recently celebrated her 25th year of teaching at sor of cello and co-director of well as the musical insight Eastman. the chamber music program.

JUNE 2003 23 DEPARTMENT NEWS

GELFAND-PIPER Must be a Musica Nova concert! This year, the adventurous group played classics by Maxwell Davies and Berio, and a new work by student Winnie Cheung.

della Battaglia and Lodovico Rush, and the Virginia and CONDUCTING & ENSEMBLES Viadana’s La Montavana and Vancouver Symphony Orches- La Padovana (all transcribed tras in Phantom of the Opera by Scatterday); and student starring Lon Chaney. composer Kyle Blaha’s Sections. In November 2002, he BY WILLIAM WEINERT . . . and the mountains rising “We are enthusiastic about conducted the Seoul National WITH FACULTY REPORTS nowhere, and Welcher’s Zion plans for a concert tour to University Wind Ensemble his year, the depart- (October 28). Japan in June 2004, sponsored in South Korea, then pre- ment welcomed two new He also conducted Musica by Kodak and Sony,” says Scat- pared the Tokyo Kosei Wind faculty members, Mark Nova in Mark Mellit’s Spam, terday. “Increased community Orchestra for a concert at the T Scatterday and Neil Varon. Jorge Liderman’s Notebook, outreach and involvement is Midwest Orchestra and Band Scatterday’s inaugural EWE Lutoslawski’s Chain I and also a primary goal for the Clinic in Chicago in December. concert at Eastman on Sep- Judith Weir’s Musicians Wres- wind ensemble program.” In April, he guest conducted tember 27 was an all-Czech tle Everywhere (November 4); After the EWE 50th the United States Army Field concert, including soloist James and the Eastman Symphony Anniversary week, Donald Band, the Wind Ensemble at Thompson, trumpet, and guest Orchestra (ESSO) in Rach- Hunsberger presented work- Florida State University, and composer Karel Husa, whose maninoff’s Symphonic Dances, shops and conducted at the the Allentown (PA) Band’s Music for Prague 1968 was Schubert’s “Unfi nished” Sym- Southern Division, in Atlanta, 175th Anniversary Concert. featured. With former EWE phony, and Tomasi’s Trombone and the Southwestern Divi- Also in April, the Eastman conductor Donald Hunsberger, Concerto (December 11). sion, in Houston, of CBDNA. Wind Orchestra gave a concert he shared performances of new First performances by He also conducted the Roches- of Hunsberger transcriptions music by Composition Depart- the EWE this year included ter Philharmonic Orchestra in of Shostakovich, Kabalevsky, ment Chair Robert Morris and Roberto Sierra’s Octeto para the accompaniment to Charlie Bernstein, and Ravel, with Peter Graham, Schwantner’s vientos; Andrea Gabrieli’s Aria Chaplin’s silent fi lm The Gold Hunsberger joining the

24 EASTMAN NOTES DEPARTMENT NEWS

ensemble in performances of demanding vocal part), and Modern, and the Steve Reich active, through a number of Bach’s Fantasia and Fugue the Luciano Berio Festival in Ensemble took Three Tales new initiatives. in C minor and Debussy’s May, with Musica Nova and on tour to Spoleto USA, The Eastman Chorale, Sarabande. the Philharmonia perform- Amsterdam, Turino, London, under William Weinert, toured With the Northwestern ing the contemporary Italian Baden-Baden, the Brooklyn to Stamford, Connecticut, University Symphony Orches- master’s Points on a curve to Academy of Music, Paris, Lis- Boston, and Utica in Novem- tra, Hunsberger recorded a fi nd . . ., Chemins IV, Corale, bon, Berlin, Perth, and Hong ber, and looks forward to CD with former ESM faculty and Sinfonia, with soloists Kong. A DVD of Three Tales an upcoming tour to Michi- Barbara Butler and Charles Geyer including ESM alumni Mar- will be released in April 2003. gan and Ohio in November performing his own Carmen garet Kampmeier, Jackie LeClair, During 2002–03, Lubman 2003. Choral highlights of Fantasia, Under Gypsy Skies, and Courtney Orlando. also created more than 100 the current season included and A Stephen Foster Set, all This fall, Lubman also con- short works of computer Eastman-Rochester Chorus written for them over the past ducted the first performances music. WNYC’s John Schaefer performances of Schubert’s decade. Each work features of Three Tales, the new multi- played three of these elec- Mass in A-fl at (conducted by Barbara and Charlie on trum- current DMA student Sun Min pet, piccolo trumpet, cornet, Lee) and Christopher Rouse’s and fl ugelhorn. Karolju in December, and the Hunsberger adds: “In addi- Brahms Requiem on May 4. tion to writing and editing for Eastman’s American Cho- the Hunsberger Wind Library ral Directors’ Association published by Warner Bros. (ACDA) Chapter has initiated Publishing, my sailboat is ChoralXchange, a liaison pro- getting more use and my golf gram with area high schools to game is steadily improving.” identify future choral leaders Neil Varon, director of orches- and provide them with a series tras and conductor of the of experiences at Eastman to Eastman School Symphony enhance and supplement their Orchestra and Eastman Phil- high school experiences. In harmonia, says about this addition, the chapter hosted a year’s activities, “This year has one-day symposium on Janu- been great for ‘C and E’; all my ary 25 on The Preparation colleagues and I work together of Tomorrow’s Conductors, beautifully, trying to make a drawing participants from better ensemble experience seven states. Weinert’s guest for the students. I have tried conducting activities include to program many different an appearance in Alice Tully styles, and motivate each of my Hall on April 21, conducting a orchestras into playing better, collegiate festival chorus and and I think we are on our way.” orchestra in works of Mozart. The student orchestras’ The 2003 ACDA National repertory this year included Convention honored James symphonies by Beethoven, John (DMA ’02) with the Julius Mahler, and Shostakovich, and Herford dissertation prize for concertos by Rachmaninoff, his work on musical allusions Bartók, and more; Varon also in the choral works of Brahms. conducted the Eastman Cham- GELFAND-PIPER At the same convention, three ber Orchestra and Eastman Formerly professor of conducting at Cornell, Mark Scatterday succeeded Eastman students – Brian Rus- Virtuosi in a wide variety of Donald Hunsberger as the fourth director of the Eastman Wind Ensemble. sell, Julia Kemp and Nathaniel repertories. Voelker – were among the 16 Brad Lubman and Eastman media piece (video with opera) tronic pieces on his show, New invited contestants in the Musica Nova continue to by Steve Reich and Beryl Korot. Sounds, in February, several ACDA National Student Con- offer invigorating, top-drawer New York Times critic Paul more were featured on Long ducting Competition, performances of new music Griffi ths described the pre- Island radio station WUSB’s out numbering contestants (Even when it’s “old” music miere (in Vienna) as “. . . tightly Friday Classics, and two were from any other institution. ❧ from the 1960s!) Highlights and excitingly given by mem- choreographed by the Zambou- of the spring included the bers of the Ensemble Modern nis Performance Ensemble in Professor William Weinert Peter Maxwell Davies classic [of Frankfurt] and Synergy Miami Beach, Florida. is director of choral activities Eight Songs for a Mad King Vocals under Bradley Lub- The choral area at Eastman and co-chair of the conducting (with Caleb Burhans singing the man.” The conductor, Ensemble has also remained extremely & ensembles department.

JUNE 2003 25 DEPARTMENT NEWS

DMA ’99, PhD ’01), now on the MUSICOLOGY faculty of Rutgers University. And the Society for Eth- nomusicology continued to enjoy the spirited and ener- BY RALPH LOCKE getic presidency of our Ellen he graduate students Koskoff, professor of ethnomu- and faculty of Eastman’s sicology in our department. musicology depart- Professor Koskoff also won the T ment had another busy coveted ASCAP-Deems Taylor year as teachers, scholars, and, Award for her book Music in sometimes, performers. Lubavitcher Life (University of We continue to offer a wide Illinois Press). range of expertly taught Other conferences and such music history and musicol- kept grad students and faculty ogy courses, ranging from the on the go, and spread aware- undergraduate three-semester ness of Eastman’s strength in chronological “core” sequence music history and musicology on Music and Society to as far as Sofi a, Bulgaria, where seminars for DMA and PhD Gabriela Ilnitchi read her paper students. Seminar topics “The Iconography of Davul and this past year have included Zurna in the Balkans: A Prelim- “Russian Music,” “Classic-Era inary Assessment” in October Piano Sonata,” “Music and 2002. Combining a bit of detec- Patronage in the Renaissance,” tive work with performance and “Music, Gender, and the savvy, Kim Kowalke conducted Body.” Frank Loesser’s Broadway Also, Ellen Koskoff and other opera, The Most Happy Fella, members of the musicology at the College Light Opera faculty took the lead in creat- Company (Falmouth, Massa- ing two exciting new programs chusetts). With the help of the at Eastman: a Certifi cate in composer’s widow, Jo Sullivan COURTESY OF ANGELA CUCCI World Music and a Diploma in Loesser, Kowalke restored It wasn’t an Eastman production, but last summer’s revival of The Most Happy Ethnomusicology. two arias and some dialogue Fella at the College Light Opera Company (Falmouth, MA) starred alumnus We are proud to say we take cut prior to the Broadway Michael McKinsey as Tony and current UR student Angela Cucci as Rosabella. teaching seriously (which premiere in 1956. Sullivan Music director was musicology professor and UR music department chair doesn’t mean we don’t also liked the result so much, she Kim Kowalke, who reinstated pieces cut from Frank Loesser’s original score. have fun with it). For the third now wants the restored pieces Below: original logo from the1956 production of Most Happy Fella. year in a row, one of our grad rented to theater companies students – this time Heidi Owen History is available from the as an integral part of the per- – won the University-wide English publisher Ashgate. formance materials. The Most Curtis Teaching Award. Heidi’s Five current or recent musi- Happy Fella cast included two prize-winning course was a cology students presented alumni of Kowalke’s University remedial survey course that papers at the annual meeting of Rochester Musical Theater she taught to selected entering of the Society for American Workshop: Michael McKinsey graduate students – primarily Music (in Tempe, Arizona): and Angela Cucci. from the MM and DMA pro- Jeremy Grimshaw, Rob Haskins, Speaking of performance, grams – who lacked adequate Adriana Martinez-Figueroa, Amy Martin Scherzinger, while on background in music history. Wlodarski, and Ronald Morgan a visit back home in South Eastman folks contributed (MA ’91), now teaching at the Africa, traveled to Zimba- heavily to Teaching Music University of Hawaii. bwe to purchase 10 mbira History, a book of practical- our department: Maria Archetto At the AMS national meet- dza vadzimu for the School, minded essays compiled and (PhD ’91), Marjorie Roth (ABD; ing in Columbus, Ohio, papers enabling our department edited by Mary Natvig (PhD ’91), also DMA in fl ute), Professors were presented by Eastman to add a third performing now on the faculty at Bowl- Patrick Macey and Ralph Locke, graduate students Su Yin Mak ensemble (besides Gamelan ing Green State University. Michael Pisani (PhD ’96), and and Elizabeth Wells, as well as Lila Muni, directed by Profes- The book contains chapters Robert Fink (who taught in our by faculty members Roger Frei- sor Koskoff, and the Eastman by six other present or former department for several years tas and Martin Scherzinger, and Capella Antiqua, directed by students or professors from in the 1990s). Teaching Music by Antonius Bittmann (MM ’94, TURN TO PAGE 27 ➧

26 EASTMAN NOTES DEPARTMENT NEWS

➧ FROM PAGE 26 temporaries (at University of ies was edited by Professor mance central to the mission Professor Macey). He also was Michigan, Ann Arbor). Emerita Kerala J. Snyder and of musicology at Eastman. named the Society for Music There is no space for me includes contributions by These past three years, I’ve Theory’s Emerging Scholar for to list the dozens of articles major scholars from a number enjoyed sharing news of our the year 2002 – a signal honor published by one or another of countries, including a Uni- department. My term as chair – and organized three concerts member of our department. versity of Rochester Professor is about to end, so next time of recent African music, includ- But I’m delighted to draw of History, Celia Applegate you’ll be hearing from my suc- ing some new pieces of his own. attention to two very special, (daughter of Joan Strait Apple- cessor: Gretchen Wheelock, Another nice blending of elegantly illustrated publi- gate, PhD ’66), and three one of the most beloved profes- performance and scholarship: cations that appeared this Eastman professors: William sors at Eastman, and recipient Gretchen Wheelock presented a past year. Janna Kysilko, when Porter (harpsichord and organ of the Eisenhart Award for paper in Eisenstadt, Austria, only in her second semester improvisation), Hans Davidsson excellence in teaching. on “The ‘Rhetorical Pause’ and here, edited a book of famous (organ), and editor Snyder Under her watchful eye, Metaphors of Conversation in composers’ letters that exist herself. The accompanying music history and musicology Haydn’s String Quartets,” and in manuscript in the Ord- CD, which includes recordings will continue to interact to repeated it at Eastman with way Collection, now at the of music played (in one case mutual profi t with the per- assistance from Eastman’s Schubert Club of Minneapolis. by Professor Davidsson) on forming activities of Eastman wonderful Ying Quartet in a live And Oxford University Press the six organs discussed most as a whole. ❧ demonstration. She and Penel- brought out The Organ as extensively in the book, has ope Crawford coordinated a Mirror of Its Time: North Euro- been much praised – showing, Professor Ralph P. Locke is conference on improvisation in pean Refl ections, 1610–2000. once again, that interweaving chair of the department of music of Mozart and his con- This rich collection of stud- of scholarship and perfor- musicology.

WOODWIND, BRASS & PERCUSSION

BY JOHN MARCELLUS the ensemble for this impor- Rochester area at the Eastman and appeared with the Los ur department contin- tant appearance. This group School Bookstore (25 Gibbs Angeles Philharmonic, Seattle ues to appear on the was also featured during the Street). The CD retails for $15. Symphony, and Calgary national and interna- Bemus Bay Pops Labor Day The trumpet class also Philharmonic. During the O tional musical scenes. Weekend, near Jamestown, continues to be very visible. summers he is associated with The Brass Guild of Eastman, New York. Brian Shaw was the winner of the Lake Placid Trumpet Insti- under the direction of Profes- In October, the Eastman Brass the ITG Solo Competition in tute and the Music Academy of sor James Thompson, was a toured Germany, including Manchester, England, where the West. featured group at the New appearances in Düsseldorf, Professor Jim Thompson also John Hunt, acting chair of York Brass Conference held in Refold, Freiburg, Stuttgart, premiered the Concerto for the woodwinds, brass, and New York City, April 13, 2002. and at the largest brass Trumpet and Wind Ensemble percussion department during The Bionic Bones, the jazz festival in Europe, held in by Dana Wilson (PhD ’82). the sabbatical of John Marcel- trombone ensemble within Sauerland. A highlight of the Stephanie Richards was lus, continues to appear at the the Eastman Trombone tour was the concert at the also a scholarship winner to Round Top Festival in Texas Choir, was the winner of the Ganter Brewery in Freiburg. appear at the ITG Festival during the summers. Ralph Kai Winding Jazz Trombone Eastman Brass has just and Ryan Gardner recently won Sauer (BM ’65) of the Los Ange- Ensemble Competition of released Calls and Echoes the substitute position with les Philharmonic arranged his the International Trombone (CD 1001) on the School’s the Rochester Philharmonic schedule to fi ll in for Professor Association, and performed at Eastman in Concert label, Orchestra. DMA candidate Marcellus, which was a great the International Trombone bringing some of its fi rst-rate Jason Price presented sev- bonus for the current students Festival held at University of music and music making to eral recitals on tour, and was in the trombone class. North Texas, May 23–26, 2002. disc, including music writ- invited to study with Marcus Professor Marcellus per- Mark Kellogg, associate profes- ten and arranged by Verne Stockhausen in Germany. formed many solo and master sor of euphonium, trombone, Reynolds, Eastman professor Professor Thompson contin- classes in 2002, including the and brass chamber music, emeritus. It is available at ues to hold master classes in NAMM show in Los Angeles with Phil Ostrander, trombone www.cdstreet.com/artists/ Germany, Greece, Canada, with Bones West (and teaching assistant, prepared eastmaninconcert, or in the Norway, Spain, and Japan, TURN TO PAGE 28 ➧

JUNE 2003 27 DEPARTMENT NEWS

➧ FROM PAGE 27 Ralph Bigelow (BM ’51, MAS SIBLEY MUSIC LIBRARY ’53), UCLA, University of Northern Arizona (with Pete Vivona, BM ’61, DMA ’84), Arizona State University at BY DAN ZAGER tion restrictions), other aspects and the button marked “Sibley Tucson, Mannes College, Man- t the beginning of the of the Sibley website are avail- News” is a good way to keep up hattan School of Music, New fall semester 2002, able to all, notably our online with new developments at the York Brass Conference, Alec Sibley Music Library catalog (Voyager). We have Library. So please explore the Wilder Birthday Celebration A launched its new used four primary categories new Sibley website. in New York, UNC Charlotte website (www.rochester.edu/ to group content at the site: Also new with the 2002–2003 (with Fred Boyd, BM ’69, MM Eastman/sibley/). Whether Library Services; Ruth T. academic year is a small but ’71), USC Greenville, SC, USC you are resident at Eastman Watanabe Special Collections; important reconfi guration of Rock Hill, USC Columbia, or an Eastman graduate far Music Resources; and General space on the third floor. We North Carolina School of the from Rochester, this website Reference Resources. The last expanded Sibley’s record- Arts, Central Washington is the primary entry to the two categories are subdivided ings shelving area in order to State University (with Mark rich resources of Sibley Music into materials accessible accommodate a rapidly grow- Babbitt, BM ’93), and the Uni- Library. While some resources “From Campus” and “From ing collection of CD and video versity of Oregon. are necessarily restricted to Anywhere.” Alumni can make recordings. This academic Marcellus also gave recit- Eastman students and faculty good use of these materials year brought a signifi cantly als accompanied by Eastman (due to copyright or subscrip- available “From Anywhere,” increased allocation for pur- graduate Stephanie Dickinson at chase of recordings, so the new the University of Georgia, and space became available at a Jan Grimers at Louisiana State crucial time. In general, by real- University. locating the Sibley budget for Bonita Boyd, during her fi rst the fiscal year 2002–2003, we sabbatical in 26 years at the are spending signifi cantly more Eastman School, devoted her on adding new scores, record- efforts to master classes and ings, and books to the collection. recitals. Teaching and coach- A future issue of Eastman ing during her absence from Notes will bring word of another Eastman were Donna Shin and strategy for continuing to build Anne Harrow. strong collections at Sibley. The WWBP department We are, in fact, looking to sponsored, with Nazareth Col- the future these days as we lege, the fourth annual Alec plan a fall 2004 celebration Wilder Birthday Celebration for the 100th anniversary in February of 2003. This of Sibley Music Library. The was organized by Sean Reed, Library was founded in 1904 current trombone teaching as a music collection “for the COURTESY OF DON VER PLOEG assistant at Eastman and use of all music-lovers in Instructor of Trombone at Commissions score at Sibley Rochester,” thus predating by Nazareth College, with John More than 150 original scores from The Commission Project, com- some 17 years the founding of Marcellus. missioned from more than 50 composers since 1994, will be per- the Eastman School of Music. The music of Wilder was manently stored at the Sibley Music Library. Jim Farrington, head We will celebrate Sibley’s featured and included faculty of public service at Sibley, suggested the idea to TCP founder Ned 100th during Alumni Weekend member Don Harry and his Corman, BM ‘59. (Corman, special collections librarian David Peter 2004 (October 15–17). We are students; Bob Sneider, guitar, Coppen, and Farrington are pictured above.) planning a rich panoply of with Sean Reed, Jim Thomp- The TCP collection includes scores by such internationally known concerts, lectures, and exhibits son and Ruth Cahn on marimba, composers as Max Roach, Ron Carter, and Tania Léon, as well as to celebrate the central place John Marcellus and the Bionic two alumni: David Liptak’s Chaconne for string quartet, and Jeff of Sibley Music Library in the Bones. Norman Carey’s daughter Beal’s orchestral score for Buster Keaton’s The General. education of generations of Elena was featured in a Wilder “The Sibley Music Library is pleased to receive the scores that Eastman graduates. Please medley. ❧ have been brought to life as a result of The Commission Project,” mark that weekend on your said David Coppen. “The original music brought forth by TCP is a calendar and plan to attend. ❧ John Marcellus is professor valuable component of the musical education of our young people, of trombone and chair of the and it refl ects true artistry on the part of both the composers and the Dan Zager is librarian and woodwind, brass, and percus- student performers.” chief administrator for Sibley sion department. Music Library.

28 EASTMAN NOTES IN TRIBUTE

In memoriam 1950s Notices of the death of the following Eastman alumni were reported Nancy (Stepleton) Apgar between September 2002 and April 2003. Notices are listed in alpha- (BM ‘50), August 2002 betical order under decade of earliest degree received. James E. Brauninger (BM ‘51), August 2001 June (Bruce) Trayhern John C. Bridges 1920s (BM ‘36), June 2002 (BM ‘53, MM ‘57), December Dorothea (Douglass) Babcock 2002 (BM ‘28), July 2002 1940s Mitzie Kino Grace (Laube) Cameron John Boda (MM ‘58), November 2002 (BM ‘28), October 2002 (MA ‘45, DMA ‘56), April 2002 Oscar J. McCullough Patricia Arden Marion (Morrow) Jacobson, Richard S. Fischer (MM ‘52), November 2002 The Eastman community was (BM ‘26), April 1997 (BM ‘45, MM ‘51), January 2003 C. Warren Shelton saddened by the death on Kathryn (Makin) Loeffl er Robert H. Good (MA ‘53), October 2001 January 12 of former faculty (BM ‘27), September 2002 (BM ‘42, MA ‘51), November Howard S. Vogt member Patricia Arden. 2002 (BM ‘51, MM ‘52), August 2002 Arden studied with Joseph 1930s Mary (Gardner) Oliver Joan L. (Franks) Williams Brinkman (a student and asso- Florence R. Borkey (MA ‘46), December 1995 (BM ‘52), January 2003 ciate of Artur Schnabel) at the (BM ‘33), January 2003 Rhoda (Shapiro) Rabin University of Michigan, where Catherine F. Carnes (BM ‘48), April 2003 1960s she received degrees in piano (BM ‘32), December 2002 William Heaton Schempf Albion Matthew Gruber and was awarded the School Margaret (Kennedy) Farish, (MM ‘41, PhD ‘60), June 2002 (PhD ‘69), December 2002 of Music’s highest honor, the (BM ‘39, MA ‘46), February Eleanor (Wright) Stanlis, Arthur D, Montzka Stanley Medal. After graduat- 2003 (BM ‘45), December 2002 (MA ‘62), November 2002 ing, Arden was a member of the Florence (Knope) Freeman Howard G. Tappan, Kenneth Carlton Partchney university’s faculty, performing (BM ‘30), March 2002 (BM ‘48), July 2002 (MM ‘63), August 2002 throughout Michigan and Indi- Marjorie (Flynn) McCutcheon Bonnie J. (Tramp) Copeland Eugene Kendrick Wolf ana. From 1975–1985, she was (BM ‘33, MM ‘64), October 2002 (BM ‘42), November 2002 (BM ‘61), December 2002 coordinator of the piano pro- Frances (Dunlap) Nimaroff Dorothy (Albrecht) Vragel gram at Princeton University, (BM ‘32), January 2003 (BM ‘43), September 2002 1970s until she moved to Rochester to Arlene J. (Anderson) Reed Marge (Lisowski) Walawender Pamela (Dvorak) Miller join Eastman’s piano faculty in (BM ‘35), October 2002 (MA ‘48), May 2002 (MA ‘70), March 2003 1986. She retired in 1994. Although trained as a classical musician, and an retirement a colleague wrote, accomplished soloist and cham- Emily Davis “I have rarely come across a Arpad Piros ber musician, Arden was also a teacher who could demand Arpad Piros of the Eastman performer of “popular” music in Vanderpool such high standards from their facilities staff died January her pre-college days, at the end Emily Davis Vanderpool, a long- students and still inspire not 20, after a courageous battle of the swing era, at the Vari- time member of Eastman’s piano only their respect, but also with leukemia. After his death, ety Club, on the radio, and for faculty, died on January 31. their devotion.” Director and Dean James many service clubs in the vicin- Born in Williamsport, PA, Vanderpool gave much of her Undercofl er wrote: “Arpad was ity of her home in Indianapolis. Vanderpool graduated with life to service. In May 2001, a master craftsman – a gifted While at Eastman, she a master’s degree from the Genesee Hospital awarded her carpenter and electrician who gave a number of concerts in Juilliard School of Music a Certifi cate of Appreciation improved and touched many Kilbourn Hall as a soloist, or in 1947 and held her piano for 31 years of volunteer ser- lives in the Eastman commu- with fellow faculty pianist debut in Carnegie Hall. From vice. She was faculty advisor nity through his talents and Tony Caramia. She played not 1947–1951, she was adjunct of the Sigma Theta chapter kind heart. An employee of the only classical pieces, giving the professor of piano at Ran- of Sigma Alpha Iota music University since 1987, Arpad premiere of David Diamond’s dolph-Macon Women’s College sorority. In the early 1960s, joined the Eastman facilities Prelude, Fantasy, and Fugue in in Lynchburg, VA. In 1951, she after a talented blind student, staff in 1989. His contribu- March 1991, but also music by accepted a faculty position at Jack Henry, was sent to her tions to the School will never such great American jazz, pop, the Eastman School of Music, for instruction in piano, she be forgotten by all of us who and musical theater compos- where she served until she received certifi cation as a remember him fondly. We ers as George Gershwin, Scott retired as associate professor Braille translator from the remain grateful for Arpad’s Joplin, Richard Rodgers, and of piano in 1990. National Library of Congress many years of service and Cole Porter. ❧ On the occasion of her in Washington, D.C. ❧ dedication to Eastman.” ❧

JUNE 2003 29 ALUMNI NOTES

The following news is based on information received from as co-principal bass for the “Waging Peace Through Sing- Eastman alumni and other sources from October 2002 to April Oklahoma City Philharmonic ing” program at the University 2003. If you have alumni news to report, please e-mail Orchestra since 1988, perform- of Oregon. His latest book, [email protected] and include the years of grad- ing in over 5000 concerts. New Music of the Nordic Coun- uation and degrees received. tries (Pendragon Press), has Pianist Roy Hamlin Johnson (BM just been published. White is ’47, MA ’49, faculty ’53-’55) ’49, MM ’51, DMA ’61) received editor of this new reference, performed in the Stockbridge an Honorary Doctor of Music and author of Part III, “New 1930s (MA) Chamber Concerts, a degree from the University of Music of Iceland.” summer series she founded Michigan, Ann Arbor, at the in 1975 and that is now in its University’s fall 2002 com- Nancy Bookout Wolcott (BM ’54) WHRB (Harvard Radio Broad- 28th season. Hagenah is cur- mencement. Johnson has been was elected dean of the Toledo casting, Cambridge, MA) rently working on The Piano emeritus professor at Univer- (OH) Chapter of the American celebrated composer Gardner Without Hammers, a book sity of Maryland, College Park Guild of Organists. She has been Read’s (BM ’36, MAS ’37) 90th based on the principles of her since 1992. director of music at the First birthday by dedicating the day, teacher, the legendary Isabelle Presbyterian Church of Bowling January 2, 2003, to playing Vengerova, and regularly Green (OH) for 17 years, and representative works from his conducts the International prior to that held a similar posi- six decades of composition, as Piano Seminars sponsored by 1950s tion at Ashland Baptist Church, well as interviews from and ENESCO in Europe. Toledo, for 15 years. about him. Walter Moeck (BM ’47), accord- The Nancy Van de Vate (BM ’52) Last spring, Helen Bilhorn ing to a 2001 profi le in the Prize for Orchestral Music, Baumgartner (MM ’55) was Daily News-Sun (Sun City, fi rst awarded in 1996, is being promoted to the position of 1940s AZ), was named “Outstand- continued on an annual basis professor at Gustavus Adol- ing Man of the 21st Century” as the Nancy Van de Vate phus College, St. Peter, MN. by the American Biographical International Composition The Alumni Association also Tubist Donald Stauffer (BM ’41, Institute, and profi led in the Prize for Opera. The prize, presented her with a bronze MM ’42) received an honorary 2000 editions of Who’s Who in intended to recognize women sculpture in recognition of her Resolution from the Jefferson Entertainment, Who’s Who in composers and encourage pub- 35 years of teaching. County Commission (Bir- Classical Music in America, lic production of their works, is mingham, AL) for his second and the Cambridge, England, administered by the American A new CD by George Walker 30-year career of public service edition of Who’s Who in Inter- music publishers, Vienna Mas- (DMA ’56), George Walker in after retiring as Commander national Music. The lifelong terworks (BMI), and Vienna Concert, was released by Albany of the United States Navy Republican Party leader was Master Composers (ASCAP). Records last September. In addi- Band in 1973. Stauffer was also named a Community tion, the New World Symphony cited for his work as associate Leader of America. The University of California (Miami) opened its fall 2002 professor of music at Birming- Press has announced the pub- season with Walker’s Pageant ham Southern College and Last summer, the Park Ridge lication of Proof through the and Proclamation for Orchestra. Samford University, as well as (IL) Herald-Advocate reported Night: Music and the Great for founding and directing the that Frank York (X ’48) was War, a book and accompany- Three of Sydney Hodkinson’s Birmingham Community Con- honored by the Illinois Council ing CD by Glenn Watkins (Ph.D. (BM ’57, MM ’58) compositions cert Band for 23 years. of Orchestras with a Lifetime ’53). Watkins is Earl V. Moore were premiered in 2002: String Achievement Award, which Professor Emeritus at the Uni- Quartet No. 4 at Le Baron A piano teacher for 63 years, was presented to him by Illi- versity of Michigan, Ann Arbor. Recital Hall, Alabama in Betty Ferris Nolting (MM ’42) was nois Senator Dave Sullivan. February; Hammer at Weill recently chosen to be the first York founded the Park Ridge John White (MM ’54, Ph.D. Recital Hall, NYC in June; and Music Teacher of the Year by the Fine Arts Symphony in 1961, ’60) has been awarded the Requiescant at Aspen Music Georgia Music Teachers Associ- and, as its musical director, Fulbright-University of Festival in July. ation. Nolting is a past president continues to put on a summer Vienna Distinguished Chair of both her local and state MTA. series of free concerts that in Humanities and Social Samuel Jones (MA ’58, PhD ’60) She continues to give workshops draws thousands. Sciences for the winter 2003 was one of only nine American to MTA organizations in the semester. White, professor composers selected to par- Atlanta (GA) vicinity. The city of Oklahoma City, emeritus at the University of ticipate in the fourth season OK proclaimed May 12, 2001 Florida, continues to compose of Music Alive, a short-term Listed in the International Horace “Hap” Apgar, Jr. Day. actively; in 2002 his chorus residency program (2003– Who’s Who of Music and Apgar (BM ’49) has played in and orchestra work, Abraham 2004) organized by Meet The Musicians’ Directory, pianist the Oklahoma City Symphony Lincoln Walks at Midnight, Composer and the American Elizabeth Artman Hagenah (BM since 1952, and has served received “Top Honors” in the Symphony Orchestra League.

30 EASTMAN NOTES ALUMNI NOTES

Jones, who is composer in MM ’63) was named 2002– organ works, The Organ at in the winter 2002–2003 Jour- residence for the Seattle 2003 Christopher Hogwood MacMurray College Volume II, nal of the National Association Symphony, was one of six com- Research Fellow at Boston’s on the college’s renowned 1952 of College Wind and Percussion posers commissioned by that Handel & Haydn Society. Aeolian-Skinner pipe organ. Instructors. Larrick wrote his organization to provide a work The recording was a sabbatical fi rst article for NACWPI when for their 100th season. Fred Lieberman (BM ’62) has project commemorating the he was a graduate student at completed a second book on 50th anniversary of the organ Eastman in 1968, studying Marilyn (Smith) Sandness (BM composer Lou Harrison, who in Annie Merner Chapel at the with John Beck. He has fi ve ’58), chair of the American passed away recently at age college. The program includes books listed in Books in Print Music Therapy Association 85. The book, Lou Harrison compositions by Dudley Buck, 2002–2003. In early 2003, Lar- Academic Program Approval (University of Illinois Press), John Eggert, Leo Sowerby, Cal- rick gave youth concerts at committee, has been appointed inaugurates a new series on vin Hampton, and others. Gesell Institute and Family to its new Education and American composers, and Resource Center in Stevens Training advisory board. Also should appear in early 2004. Last August, Lehigh University Point, WI. presently serving as Presi- Lieberman is also working on Press released a biography by dent of the Dayton Alumni an authorized book on the life Paul S. Larson (MA ’66) entitled Some news from Frederick Koch Chapter of Mu Phi Epsilon and music of John Adams, and An American Musical Dynasty: (DMA ’70): In January, the International Professional would appreciate anecdotes A Biography of the Wolle Fam- Jocelyn Chang Trio premiered Music Fraternity, Sandness has about Adams from the Eastman ily of Bethlehem, Pennsylvania. his Trinitas for fl ute, harp, and recently been appointed to its community ([email protected] The Moravian Wolle family’s cello. Last year, the Wooster foundation board as a director. or 831-425-5014). musical impact has infl uenced Symphony performed his Con- Bach performance across the certino for piano and orchestra, This past Christmas, the choir The Sacramento Bee reported United States. and in October, Koch’s Antithe- of St. Paul Church in Macomb last August that Carter Nice sis for two pianos was included (IL) gave the world premiere of (BM ’62) returned to Sacra- Linda Maxey (MA ’67) received in the contemporary music a new Christmas carol written mento to guest conduct the an honorary doctorate award festival held at Bowling Green by their organist-composer, Vin- Bear Valley Festival Orchestra. from the Lithuanian Music State University. cent Frohne (MM ’59, PhD ’63). Nice conducted the Sacra- Academy in April 2002. Among The composition, The Snow mento Symphony Orchestra her many activities last year, The Dallas Symphony Orches- Lay on the Ground, is based for 13 seasons until 1992. Maxey hosted the Academy’s tra has received a $1 million on a tune by Edvard Grieg. International Percussion Fes- gift in the name of recently Another work by Frohne, The Canadian percus- tival, performed as featured retired Dallas Symphony Adam’s Chains, was recently sion ensemble Nexus has soloist at the East Texas Association President Eugene performed in Umea, Sweden. announced the retirement of State Day of Percussion, and Bonelli (PhD ’71) and his wife, John Wyre (BM ’63), one of its presented master classes at a Charlotte. The gift came from As part of St. Peter’s (NYC) founding members. Wyre gave number of U.S. universities as an anonymous donor and will Lutheran Church’s yearly fall his fi nal performances with well as at the Estonian Music endow the principal timpani Service of Remembrance, a new the group last October in a Academy, Tallinn. chair in perpetuity. work by Katherine Hoover (BM concert with the Toronto Sym- ’59) was premiered. Requiem, phony Orchestra. 2002 marked the completion Longtime Culver City (CA) with poetry by Walt Whitman, of 30 years as the principal resident and professor of was written as Hoover’s musi- Edward Wood (BM ’64) has bassoon of the Knoxville Sym- music and humanities at Los cal statement on the events of released a CD, 21 Variations phony and bassoon teacher at Angeles City College Luther L. September 11, 2001. on a Theme of Andrew Wood, the University of Tennessee Henderson III (BM ’71, MM ’73) for piano (www.eroica.com). for (Duane) Keith McClelland was elected chair of the Culver John Glenn Paton (MM ’59) sang Another CD of his, Music for (BM ’68). In August 2002, City Cultural Affairs Commis- on a faculty recital at Moor- Woodturning, in conjunction McClelland’s former student sion last fall. Henderson has park (CA) College, performing with the wooden sculpture Steven Ingle (MM ’96) and his appeared as guest conductor Verses from Ogden Nash for “Cycles” by his sister, Virginia wife Jennet (Noble Hearne) Ingle for the Grammy Awards and tenor, French horn, and piano Dotson, and his video Ten New (BM ’96) performed an oboe/ the Tonight Show. by Robert Jordahl (PhD ’66). England Scenes for Canvas, bassoon recital at UT. Piano, and Camera, are on a After over 25 years as a mem- two-year tour of the U.S. with ber of the Princeton University the Challenge VI art exhibition. music faculty, Michael Pratt 1970s (BM ’71) conducts the Prince- 1960s Currently a professor of music ton University Orchestra, at MacMurray (IL) College, directs the Program in Music Musicologist and conductor Jay Peterson (BM ’65, MM ’66) Geary Larrick’s (MM ’70) article Performance, and co-directs Mary (Hadcock) Greer (BM ’61, has made a CD of American “Music as Therapy” appeared TURN TO PAGE 32 ➧

JUNE 2003 31 ALUMNI NOTES

➧ FROM PAGE 31 of Oklahoma. Founder of the School (MD), and recently com- The American Guild of Organ- the Composers’ Ensemble. He nationally recognized Uni- pleted her Teacher’s Certifi cate ists (AGO) re-elected John also is music director of the versity of Oklahoma Clarinet in Orff Schulwerk Pedagogy Chappell Stowe (MM ’79, DMA Delaware Valley Philharmonic. Symposium, Etheridge has at George Mason University. ’83) as its vice president last been professor of clarinet in She is also music director at July. Professor of organ at Pianist and writer Michael the OU School of Music since Mays Chapel United Meth- the University of Wisconsin- Walsh (BM ’71) recently had 1975. He also is a member odist Church. Her husband, Madison, he also is an active his new novel, And All the of the Oklahoma Woodwind Wolfgang Justen, is dean of the recitalist, adjudicator, and Saints, published by Warner Quintet and performed with Peabody Conservatory. presenter of workshops. John’s Books. The screen rights have the Oklahoma City Philhar- wife, Linda Morgan Stowe (MM been sold to MGM studios. monic for nine years. Two former students of com- ’79), was appointed school Cadet Kelly, an original Disney poser Allen Gimbel (BM ’78) organist/director of chapel Channel movie cowritten by Last May, Diana Mittler Bat- organized a tribute concert music at St. Paul’s School, a Walsh and Gail Parent, gar- tipaglia (DMA ’75) conducted last fall at Palm Beach Atlan- boarding school in Concord, nered the highest ratings of Schubert’s Mass in E-fl at tic College (FL). Included on NH. Her duties include plan- any original movie in 2002. major and shorter works at the program were chamber ning of liturgical and musical the Lehman Concert Hall music works for voice, piano, activities in the chapels, play- Vibraphonist and composer (NY) with the Lehman College and strings. After teaching for ing for fi ve weekly services, and Ted Piltzecker (BM ’72) can and Community Chorus. The several years at Lawrence Uni- classroom and private teaching. be heard on the new George 2001–2002 season marked versity at Appleton, Wisconsin, Shearing Quintet CD, The Battipaglia’s 23rd season as Gimbel retired in 1997 and The Boston Globe reported Rare Delight of You (Telarc). pianist and director of the Con resides in West Palm Beach. last August that the Boston Last November, he performed Brio Ensemble. Symphony Orchestra ratifi ed with classical cellist Yehuda The music of Delaware com- a four-year contract negotiated Hanani at the Norman Rock- Rebecca (Lyden) Leff (BM ’75) poser William Copper (BM ’79) partly by BSO managing direc- well Museum in Stockbridge was one of 200 teachers chosen will receive over 85 perfor- tor Mark Volpe (BM ’79) and (MA); in December, with nationwide to take part in a mances around the world this fl utist Fenwick Smith (BM ’72), organist Dorothy Papadakos summer 2002 NASA Educa- year, with premieres of nine chair of the players’ committee. at the Cathedral of St. John tor Workshop at the Kennedy works. A resident of Wilming- the Divine (NY); and in April Space Center – a fully sub- ton, Copper studied with some Walter Saul (MM ’79, DMA at Purchase College, with col- sidized two-week intensive of the best-known composers ’80), professor and chair of the leagues including trombonist workshop focusing on science in the world, including George music department at Warner Jim Pugh (BM ’72). Piltzecker and technology. Crumb, Krzysztof Penderecki, Pacifi c College, Portland, OR, presented a workshop, “The and Joseph Schwantner. was the recipient of the 2002 Solo Vibraphone,” at the Curtis Olson (MS ’75), professor Kendall Faculty Achieve- International Association of of trombone at Michigan State Clarinetist Michael Drapkin ment Award for Excellence Jazz Educators Conference in University, was honored with (BM ’79), who gave a master in Scholarship, as well as his Toronto in January. the 2002 Neil Humfeld Award class and two Arts Leadership thirteenth ASCAP Standard for Excellence in Teaching. lectures at Eastman in 2001, Composer Award. As com- In April, Jeff Tyzik (BM ’73, Olson was profi led in a long has been elected to the board poser and performer, Saul just MM ’77) conducted the fi rst article in the October 2002 of directors of Youth Education released the CD From Alpha performance of his Trombone International Trombone Associ- in the Arts. In December, his to Omega, 24 preludes and Concerto with the Rochester ation Journal highlighting his transcription of Saint-Saëns’ fugues in all the major and Philharmonic and its fi rst teaching and performing career Introduction and Rondo minor keys for solo piano. For trombonist, ESM associate and listing his compositions. Capriccioso (originally for ordering information, contact professor Mark Kellogg (X ’86). violin and orchestra) was pre- wsaul@warnerpacifi c.edu. Democrat and Chronicle In a series of concerts around miered by Chicago Symphony reviewer John Pitcher called the state this year, the Louisi- clarinetist John Bruce Yeh Tyzik “not only an accom- ana Philharmonic Orchestra is with the Glenbrook Symphony plished classical conductor but performing a new composition (NY). Drapkin plays with 1980s also a composer of genuine by Robert Kapilow (MA ’77). This Music Amici, a chamber music gift,” and said Kellogg “boasts New, Immense, Unbounded ensemble, and also appears a lyrical tone and a virtuoso World was commissioned for with the group Musicora. Karen Griebling (BM ’80) hosted technique.” the bicentennial celebration of a fi ve-day Festival of Women the Louisiana Purchase. The Midland-Odessa (TX) Composers at Hendrix College, David Etheridge (DMA ’74) was Symphony appointed Madeline Conway, AR, where she is asso- recently awarded the David Kim Weisheit (BM ’77) works Neely (BM ’79) to the post of ciate professor of music. Guests Ross Boyd Distinguished Pro- as an early childhood music concertmaster for the 2002– included Katherine Murdock fessorship at the University teacher at Garrison Forest 2003 season. (PhD ’86) and Karen’s sister

32 EASTMAN NOTES ALUMNI NOTES

Margi Griebling-Haigh (BM ’82). Margi has been named “Ohio well, with such current stars Composer of the Year” and was as Bryn Terfel, Yo-Yo Ma, and also nominated for a Governor’s Renée Fleming. (There’s even Award by the State of Ohio. a little nineteenth-century, Her husband, Scott Haigh, is as the composers include fi rst assistant principal bass of Johann Strauss II.) the Cleveland Orchestra, and A few got away, Zinsmeis- gave a master class at Eastman ter admits, including the last November. guitarist Andres Segovia and the pianist Martha Argerich. Violinist Kate Light (BM ’80, One of the greatest 20th-cen- MM ’82) saw the publication tury composers also declined. of her second book of poetry, Zinsmeister sent Jean Open Slowly (Zoo Press), in Sibelius “a box of American March. She is a member of the COURTESY OF OLIVER ZINSMEISTER cigars, which he loved, and New York City Opera Orches- A marimba player in Russia sent Oliver Zinsmeister this group photo of thought I would receive an tra and a freelance musician ten Russian composers. “Five I did not know,” he says, “but the other autographed photo. No photo, and writer. fi ve we all know: Khatchaturian, Prokofi ev, Shostakovich, Glière, and but I did receive a thank-you Kabalevsky.” Seated in the front row are Khatchaturian (no. 1), Shosta- note” – and, eventually, from In May, Leo Schwartz’s (BM ’80) kovich (no. 3), Glière (no. 4), and Prokofi ev (no. 5); Kabalevsky is stand- the Sibelius Society, a picture Twelfth Night: Songs for Male ing second from the left, second row. to go with it. (See below.) Chorus and Small Orchestra “Two of my favorite photos was premiered by the New Jer- would have to be Toscanini sey Gay Men’s Chorus at Rider “To my patient admirer . . .” autographed and a beautiful and Rutgers Universities. Leo is colored photo of Herbert von currently working on a setting Oliver Zinsmeister is a Roch- of autographed photographs Karajan,” he adds, although of Whitman’s Leaves of Grass ester native, and in a sense of musicians. “I have 800 his photo of Sir Georg Solti for countertenor and strings, an Eastman School native. photos, so am doing pretty also sounds interesting: “[he] two works for male chorus, and He began studying percus- well,” he writes modestly. could not fi nd a place to sign, a new musical-theatre work. sion in 1922, and wrote The collection is a Who’s Who so he just wrote ‘Solti’ on his Notes that he is “quite sure of twentieth-century music, bald head.” Bucks County (PA) coloratura I was the fi rst percussion with such legendary names Not surprisingly, Zinsmeis- soprano Susan Whitenack (MM student at Eastman,” where as Leonard Bernstein, Vladi- ter’s collection was recently ’80) made her debut in May he was invited to study by mir Horowitz, Lawrence appraised for $33,800 – par- with the Natchez (MI) Opera his teacher William Street, Tibbett, Sir Thomas Bee- ticularly valuable because of Festival as “Queen of the one of the fi rst ESM faculty cham, Aaron Copland, and the celebrities’ handwritten Night” in their production of members. “I was a Prepara- Bidu Sayao; 21st-century as inscriptions or notes. ❧ Mozart’s The Magic Flute. She tory Student and received sang this role with Oswego my lessons gratis for play- Letter from Jean Sibelius thanking (NY) Opera last November and ing in the Eastman School Zinsmeister for the box of previously with Eugene (OR) Symphony … The orchestra “excellent cigars.” Opera and other prominent was quite small then and regional opera companies. met in the Tuning Room.” He also met his future wife New York Philharmonic at Eastman – an organist Orchestra principal percus- named Gladys Shaw, BM ’36. sionist Christopher Lamb (BM Zinsmeister never graduated ’81) was the featured ’Face from Eastman; he was called to Face’ artist for a recent in 1935 to audition for the issue of Sabian Tempo. Lamb United States Marine Band, who helped design new hand where he was principal per- cymbals with Sabian has cussionist and xylophone premiered three NYPO-com- soloist from 1935 to 1955. missioned percussion concerti Zinsmeister, who now – including one by professor lives in Annapolis, also emeritus Joseph Schwantner told Notes about his – over the past seven years. He remarkable collection TURN TO PAGE 34 ➧

JUNE 2003 33 ALUMNI NOTES

➧ FROM PAGE 33 MCM Artists (Millbrook, NY) tribution to Aaron Copland’s Faring well in his fourth year is on the faculty of Manhattan has appointed Nancy Chris- Appalachian Spring suite in a as associate conductor of the School of Music. tensen (BM ’83, MA ’86) as concert attended by more than Savannah Symphony Orches- associate managing director. 2,400 people. tra, Chelsea Tipton II (BM ’86) is After working as assistant busy guest conducting during concertmaster of the Alabama In collaboration with Dallas’ Allyn Van Dusen (MAS ’84) the 2002–2003 season of the Symphony Orchestra for 11 Sixth Floor Museum, the Dal- recently won the audience Chicago Symphony Orchestra, years, violinist Steven K. Leon- las Symphony Orchestra will prize in the fi rst ever global, Florida Orchestra, Houston ard (BM ’81) is currently the mark the 40th anniversary of internet-based vocal com- Symphony, Louisiana Phil- director of the Metropolitan President Kennedy’s assas- petition CyberSing 2002, harmonic and the Florida Youth Symphony Orchestras of sination in Dallas with two sponsored by the Lotte Leh- Philharmonic. Atlanta’s String Orchestra and staged performances of Leon- mann Foundation. Chamber Ensemble Program. ard Bernstein’s Mass under Steve Ullery (BM ’86) has been Leonard teaches over 120 stu- conductor William Eddins (BM In April, composer Jeff Beal the double bass instructor at dents as an elementary string ’83, MM ’86). The music-the- (BM ’85) won an Emmy Award Miami University (Oxford, teacher in the DeKalb County atre work was commissioned for his score to Peggy and OH) for three years in addition School System, and works with by Jacqueline Kennedy Onas- Dorothy, a 2002 Winter Olym- to playing in the Dayton Phil- the county’s Youth Symphony sis for the 1971 opening of the pics documentary by Lisa Lax harmonic Orchestra. He has string sections. John F. Kennedy Center in profi ling the lives and careers a son, David, and a daughter, Washington, D.C. of Peggy Fleming and Dorothy Kathryn. Kevin L. Wilson (MM ’81) has Hamill. Excerpts can be heard been promoted to Director, Renée Fleming (MAS ’83) won a at www.jeffbeal.com. Dana Marsh (BM ’87), who Corporate Development of Grammy award for Best Clas- founded Musica Humana American General Financial sical Vocal Performance for Antonio Garcia (MM ’85) per- Oxford, a consort choir and Services, Evansville, IN. her Decca recording Bel Canto. formed and lectured at the period instrument ensemble, Last fall, Fleming performed sixth South African Associa- is currently pursuing a Doc- Last August, Scott S. Swope to an invitation-only audience tion of Jazz Educators (SAJE) tor of Philosophy degree in (MM ’81, DMA ’84) was that included President and Conference at the end of last musicology at the University appointed assistant professor Mrs. Bush in the “Concert year in Pretoria, South Africa. of Oxford. In November, the of voice at the University of for America” at the Kennedy There he soloed as guest artist ensemble made its fi rst Ameri- Nevada Las Vegas. Currently, Center, which aired on NBC. with the University of Cape can tour with concerts in Los Swope is also on a three-year She was also featured in the Town and Technikon Pretoria Angeles. Marsh is also active term, beginning in 2000, as Metropolitan Opera’s season Big Bands and presented an singing with the Choir of New Treasurer of the German Voice opener, a showcase for Placido improvisation workshop. College. Teachers Association (BDG); Domingo on his 20th opening he helped plan and organize night. In addition, the Min- Artistic Director/Conductor of Baroque trumpet player John the national congresses of the nesota Orchestra launched the Boston Chamber Orches- Thiessen (BM ’87) was the BDG in Detmold (2001), in its 100th season at Orchestra tra Brenda Lynne Leach (MM ’85, featured artist in a recent Hamburg (2002) and upcoming Hall with Fleming and Yo-Yo DMA ’87) recently returned interview by Judith Malafronte congresses. He was appointed Ma as guest soloists. from a tour in Russia where in Early Music America maga- to the governing council of she was a guest conductor with zine. Thiessen is a regular with European Voice Teachers Asso- In April 2002, John Cipolla the Moscow Chamber Orches- the American Bach Soloists, ciation (EVTA) in 2001. (BM ’84) presented a paper at tra, the St. Petersburg State Tafelmusik, Philharmonia CMS Mid-Atlantic Chapter on Symphony Orchestra, and the Baroque Orchestra, and Han- In December, Glenn Price (MM New Orleans Jazz musician Novosibirsk Philharmonic del & Haydn Society. His ’81, DMA ’86) presented a Sidney Bechet. Currently Orchestra and Choir. She also recordings appear on many concert by the wind ensemble fi nishing his DMA in clarinet performed an organ concert in labels including Sony Classical of University of California performance at the University St. Petersburg’s Grand Phil- Vivarte and EMI. at Northridge called Tribute, of North Carolina at harmonic Hall. celebrating the Eastman Wind Greensboro, Cipolla has begun Lawrence Neumann (BM ’87), Ensemble and former directors a teaching position in clarinet Arizona State University currently in the Chicago (and fellow alums) Frederick and saxophone at Western recently appointed John Ericson Symphony’s viola section, was Fennell (BA ’37, MA ’39) and Kentucky University. (MM ’86) assistant professor of recently appointed to the fac- Donald Hunsberger (BA ’54, MM horn. Ericson’s CD The Art of ulty of Roosevelt University. ’59, DMA ’63). Special guest In a review of the San Antonio Brass also was released in the conductor was Frederick Fen- Symphony season opener in spring of 2002 with the Pots- Unmistakably Modern, the nell himself. Eastman alumni the San Antonio Express-News, dam Brass Quintet and his fi rst solo CD by pianist Corey were guests of honor at the principal fl utist Tal Perkes (BM website, Horn Articles Online, Jane Holt (MM ’88), showcases reception afterwards. ’84) was praised for his con- recently passed 30,000 visitors. works for solo piano and for

34 EASTMAN NOTES ALUMNI NOTES

piano and tape by some of the performed two concerts in Tampa Bay area’s fi nest musi- the Great Hall of the Moscow cal talents, including Eastman Conservatory with famed saxo- ESM alums on CD graduate David W. Rogers (BM phonist Frederick Hemke (MM Eastman alumni make music not only on stage, but also in recording ’89, PhD ’97). Many of the ’62), senior associate dean of studios. Notes often receives CDs of all kinds of music performed works were fi rst performed at the Northwestern University by Eastman grads, and we thought it would be a good idea to share the internationally renowned School of Music. some recent acquisitions with you (and we’re sure the grads would Bonk Festival of New Music in think so too). These are not reviews, but we hope this information Tampa and St. Petersburg. Violist Peter Sulski (BM ’90) encourages you to check out a recording for yourself. And if you’re resigned in 1999 from the putting out a CD of your own, please let us know. Leon Shernoff (BM ’88) writes London Symphony Orchestra, that he “is now the editor and having joined in 1992. He then Michael Torke (BM ’84), one of the most publisher of Mushroom, the traveled to the Middle East performed and commissioned of American Journal of Wild Mushrooming, and was head of strings at the composers, was Associate Composer of which is sort of a fishing National Palestinian Conser- the Royal Scottish National Orchestra from magazine (and more!) for vatory. In 2000, he became 1998 to 2001. The RSNO and music director people who hunt wild edible principal violist of the Cyprus Marin Alsop just released a CD of recent mushrooms. The highlight of Chamber Orchestra. Sulski Torke orchestral pieces written during his his mushrooming at Eastman now lives in New England, residency: Rapture (Percussion Concerto); was Prof. Liptak talking him where he is on the faculties of An American Abroad; and Jasper (Naxos 8.559167). The concerto out of gifting John Cage with College of the Holy Cross and was written for Scottish percussionist Colin Currie, who performs it a sack of freshly collected wild Clark University. here. Andante.com’s Matthew Westphal was rapturous about Rap- oyster mushrooms; now he is at ture: “an energetic, smile-inducing, adrenaline-pumping delight. Any it full time and professionally.” Bassoonist/conductor Byung- American orchestra that wants to excite younger audiences should More information: leon@ Hyun Rhee (BM ’91) began his be rushing to program it.” mushroomthejournal.com. second season as associate Trombonist John Fedchock (MM ’85) conductor with the Nashville has a third CD just out, with his New Gene Dobbs Bradford (BM ’89) Symphony Orchestra, receiv- York Big Band. No Nonsense (Reservoir is the executive director of ing great critical acclaim for RSR CD 170) consists of fi ve original St. Louis’ Jazz at the Bistro. their Beethoven Festival. Fedchock compositions, and fi ve He was recently named one He also debuted with Nash- arrangements of music by Freddie of the top “40 Under 40” busi- ville Opera, conducting Hansel Hubbard, Duke, Ellington, and others. Also ness leaders in the St. Louis und Gretel. on No Nonsense is another ESM alum, community by the St. Louis saxophone soloist Charles Pillow (MM ’84). Business Journal. Cellist Robert deMaine (BM ’92, MM ’93) was named Pianist Angela Jia Kim (BM ’95) describes The Evansville Philharmonic the James C. Gordon Princi- her new release Dances and Fantasies Orchestra announced that pal Cello Chair of the Detroit (Miro 5994): “The pieces that I chose Teresa Cheung (MM ’89) has Symphony Orchestra last really are musical stories that are so entered into a new two-year October. A student of Steven vividly described through rhythm, color, contract with the orchestra Doane and Paul Katz, deMaine sound, and emotion.” The vivid program and will begin her fourth year made his fi rst appearance with includes Ravel’s Valses nobles et senti- with a promotion to resident the DSO at Orchestra Hall on mentales and Pavane pour une Infante conductor. Last summer New Year’s Eve. défunte; Scriabin’s Sonata-Fantasy No. 2 ; Schubert’s “Wanderer Cheung was named by the Fantasy,” and Mozart’s Fantasia in D minor, K. 397. Kim is also pianist Stein Foundation for the Arts The Society for the Performing in the Trio Movado. and Sciences as the recipient Arts, the largest presenter in Pianist and composer Bill Cunliffe (MM of the JoAnn Falletta Conduct- the Southwest, has committed ’81), whose CV includes classical pieces ing Award. to present Breath of Life, an and arrangements for Buddy Rich and opera-in-progress by Todd Frazier the Cincinnati Pops, was nominated for (BM ’92) for a 2004 premiere a 2003 “Best Instrumental Arrangement” and tour. The opera, which Grammy, for “Angel Eyes” on trombonist was featured last September 1990s Alan Kaplan’s Lonely Town. Cunliffe and in the Houston Chronicle, has fl utist Holly Hofmann have released Just received much international Duet, vol. 2 (Azica AJD-72224), with jazz-tinged arrangements of Douglas Cleveland (BM ’90), attention throughout North music by Richard Rodgers, Delius, and Vivaldi, as well as originals by assistant professor of organ America, Canada, Germany Cunliffe and Hofmann. at Northwestern University and England. in Evanston, IL, recently TURN TO PAGE 36 ➧

JUNE 2003 35 ALUMNI NOTES

➧ FROM PAGE 36 In August, Patrick Gnage (BM of performance, education, (DMA ’95) was named Wash- ’93, MM ’ 95), primary bass and outreach activities, while ington State Composer of the Daniel W. Koontz (BM ’92) soloist with the Dallas Bach receiving mentoring from ACO Year by the Washington State was recently awarded a Society, made his New York artistic and administrative Music Teachers Association. commission from The Fromm City operatic debut as La Dis- staffs, and musicians. Carillo The award includes a com- Music Foundation at Harvard corde in Charpentier’s Les Arts is also one of four composers mission for a new work to be University. Past recipients Florissants, a production by selected for Synergy, a premiered at the WSMTA include Elliott Carter and the New York Baroque Dance fi ve-day workshop with Conference in June. WSMTA Ralph Shapey. Koontz plans Company and Concert Royale. professional musicians that has also nominated Yasinitsky to use the award to write a culminated in a concert by for the MTNA-Shepard Distin- new piece for Sequitur, a New Violinist Kelly Hall-Tompkins members of the University of guished Composer of the Year. York City-based contemporary (BM ’93) was guest soloist Southern California Thornton In addition to his many com- ensemble. As a Guggenheim with the Dallas Symphony in Symphony and the Los positions, Yasinitsky recently Fellow for 2002, he composed March, performing Ravel’s Tzi- Angeles Philharmonic. completed First Flight, a two- Ciphers for the Furious gane and William Grant Still’s movement work commissioned Band. Koontz, a native of Suite. In March, her new piano Classical guitarist Peter and performed on tour by the Southhampton, LI, is also trio, the Aurelia Trio – with Fletcher (MM ’95), whose recent USAF Band of the Golden working on The Life of Towns, pianist Craig Ketter (BM ’91, recording of the music of West in commemoration of the commissioned by Choral MM ’93) – performed its fi rst Mompou has impressed inter- Wright Brothers. Society of the Hamptons, and concert in a benefi t for Holy national critics, gave in-store has recently written music for Trinity Lutheran Church in performances in Atlanta (GA) Soprano Elizabeth Calleo (MM area theater groups. Manhattan. and Charleston (SC) in Janu- ’96) recently sang the role of ary 2003, as well as short tour Morgana in Handel’s Alcina at Currently teaching oboe at Composer Christopher Jentsch of New Jersey in April. In Feb- the Opéra National de Mont- Lamont School of Music, Lisa (MM ’93) has been selected ruary, he performed his new pellier. Luc Décygnes, reviewer Brende Martin (BM ’92) per- for an American Composers transcription of Erik Satie’s for Le Canard enchainé, said formed as principal oboe in the Forum Composers Commis- Sports et divertissements in her “stylish speed almost made Central City Opera Orchestra, sioning Program (CCP) grant. Pace Academy’s Royal Concert us forget Natalie Dessay in the and was assistant principal of Jentsch will use the grant Series, in addition to Renais- same role.” the Colorado Symphony dur- to write a suite for a large sance lute music at the Pace ing the 2000–2001season. jazz ensemble; the piece will Fine Arts Centre (GA). Pianist Robert Baldwin (MM receive its premiere by Jensch ’97) recently performed a In March, Marilyn Nonken (BM Group Large at New York’s A successful tour by pia- benefi t concert at Immanuel ’92) appeared at New York’s Knitting Factory during Win- nist Angela Jia Kim (BM ’95) Church, Rochester (NY) for Miller Theater as part of the ter 2003–04. included a performance on the restoration of this historic “Sounds French” festival of the Dame Myra Hess Concert landmark. His program fea- contemporary French music. Pianist Mauricio Náder (MM Series in Chicago, and a live tured compositions by Bach, The programs included the ’93) performed Mozart’s Piano appearance on WMFT-FM Chopin, Ravel, Gershwin, and U.S. premiere of Gérard Concerto K. 414 in a concert Chicago radio. One of her others. Grisey’s Vortex Temporum and with the Mexico City Cham- performances taped in New the world premiere of Tristan ber Orchestra in October, and York City’s Steinway Hall was Courtney Hershey Bress (BM ’97), Murail’s Les Travaux et les Rachmaninoff’s Concerto No. 3 broadcast on Japan’s NHK second-year principal harp- Jours (written for her). Said with the Queretaro Philhar- Television. ist of the Colorado Symphony andante.com’s Jason Royal: monic in February. In addition, Orchestra, was given a glowing “Nonken is fearless: this pro- he gave multiple solo and Christopher M. Wicks’ (x ’95) Six review in an October issue of gram had more notes than one chamber recitals in Novem- Woodwind Quintets for the the Denver Post for her perfor- cares to think about, and she ber and February, including Seasons of the Liturgical Year mance in the Glière Concerto. blazed through all of them with piano music of Chopin, Liszt, was performed in January at ease and a bit of sang-froid.” Mendelssohn, Ravel, Ibarra, the First Presbyterian Church, In July, Eric Fung (BM ’97, and Falla, as well as music by Portland, OR by the Alder MM/MA ’99), former student of Lawrence Loh (BA ’92) has been Spanish composers for voice Street Woodwind Quintet. Last Professor Natalya Antonova, promoted from assistant con- and piano. July, Wicks also presented an was awarded a joint Second ductor to associate conductor at organ recital (including the Prize in the 13th Interna- the Dallas Symphony Orches- Carlos Carrillo (BM ’94) famous “Toccata” from the tional Johann Sebastian Bach tra, effective this September. was named the American Suite, Op. 5 by Durufl é) on the Competition (Piano Division) Composers Orchestra’s Van church’s new Jaeckel organ. in Leipzig. Prizes include the The Empire State Youth Lier Composer Fellow for 2002. title of ‘Bach Prize Winner” Orchestra has named Helen Cha- Through the fellowship, he will Washington State University and concert engagements. In Pyo (MM ’93) as music director. participate in a wide variety music professor Greg Yasinitsky February 2003, he presented a

36 EASTMAN NOTES ALUMNI NOTES

solo recital at the Hong Kong Arts Festival.

A member of the Chautauqua (NY) Symphony Orchestra last summer, Eva Stern (MM ’97) was appointed visiting assistant professor of viola at Bowling Green State Univer- sity in Ohio for the 2002–2003 academic year.

Clarinetist William E. Bernier (BM ’98) joined “The Presi- dent’s Own” United States Marine Band last July. Subse- quently, Bernier performed at the White House, in the Wash- ington, D. C. metropolitan area, and across the country during the band’s annual con- cert tour in the fall.

Thomas Lausmann (MM ’98) COURTESY OF DONALD SHETLER joined the music staff of New York City Opera as an An Eastman trio in South Carolina assistant conductor in Sep- The February 10 concert of the Florence, South Carolina, Symphony Orchestra turned out to be an Eastman tember, where his assignments reunion. Manny Alvarez, BM ’58, conducted the program, Music from Grand Operas (Opera Without Words), included musical preparation William Terwilliger, BM ’84, BM ’86, DMA ’90, was the violin soloist in Massenet’s “Meditation” from Thaïs of the NYCO premiere of Mark and Sarasate’s “Carmen” Fantasy, and professor emeritus Donald Shetler played cello in the orchestra, as Adamo’s Little Women. He he has since 1989. continues to serve Washington Shetler also sent us this photograph, noting: “as always, all three of us are proud of our ’Eastman Connec- Opera, and is principal coach tion.’ ” Shetler adds, “Consulting work and performing with ’Fiori da Musica,’ my trio, keeps me busy. I also and casting consultant for the teach cello and until recently was tenor section staff singer at historic St. Philip’s Church in Charleston.” Wolf-Trap Opera Company.

The Atlanta Symphony Orches- Composer Institute, from Octo- United States Navy Band, the tra announced the appointment ber 25–31, 2003. premiere band of the Navy, of Jeff Thayer (BM ’98) to assis- based in Washington, D.C. 2000s tant concertmaster, third chair. Mary Elizabeth “Betsy” Fitzgerald (BM ’99), who supports US Leaving his position as coor- Miles Brown (BM ’00) writes For fall and spring 2002–2003, Military members and their dinator of music education at from Ithaca: “My band’s CD Teresa Winner Blume (MM ’99) families in the greater Tokyo the University of Connecticut, has just been released! The and Kevin Blume (MM ’99) have Metropolitan area, in addition Mitchell Robinson (PhD ’99) has name of the band is Sons, both been hired by Opera Car- to those residing at Misawa joined the faculty at Michigan Brothers, and Wrestlers, and olina in Charlotte (NC) for the Air Base on the island of Kok- State University in E. Lansing the album is called Former Young Artist Opera Outreach kaido, has been named the (MI) as director of student Miss Sunshine. A tour is being Tour featuring Barab’s Little new director for USO Yokota. teaching and teacher of vari- scheduled soon!” Contact Miles Red Riding Hood. They also This summer marked the Sec- ous music education courses. at [email protected]. have been hired separately for ond Annual Vivace Performing Robinson and his wife Cathy various mainstage productions Arts Program, held at Yokota are expecting their second son. The Napa Valley (CA) Phil- with Opera Carolina including Air Base. Teachers included harmonic has appointed Jenny Amahl and the Night Visitors, alumni Marguerite Lynn Williams Mariusz Smolij (DMA ’99) has Kim (BM ’00) its new principal The Mikado, and Carmen. (BM ’01) and Kozue Jinnouchi been appointed music direc- horn. (BM ’00). tor of the Acadiana Symphony Todd Coleman (MM ’99) is one of Orchestra (Lafayette, LA). He The Midland-Odessa (TX) only eight composers selected Trumpet players Steve Haase will continue to serve as music Symphony has named Craig to participate in the Minnesota (BM ’99) and Eric Lopez (MM director of the Riverside Sym- Leffer (BM’ 00) principal cello. Orchestra’s second annual ’97) won positions with the phonia in Lambertville, NJ. TURN TO PAGE 38 ➧

JUNE 2003 37 ALUMNI NOTES

➧ FROM PAGE 37 In November 2002, Megan Sesma In December 2002, Elizabeth (BM ’02) won the newly created McDonald (MM ’00) appeared harp position with the United in the Canadian Opera States Coast Guard Band, Company’s Ensemble Studio based in New London, CT. The production of Britten’s Turn band has never had a full-time of the Screw; she understud- harpist until now. Megan hopes ied the title role in Janácek’s to start an MM at Yale soon. ❧ Jenufa for the company in January–February 2003. In 2002 she appeared with Cho- rus Niagara, gave a number Ensembles of recitals in Ontario with the Mozart Society and the Off The Claudia Quintet – led by Centre Music Series, and was Eastman graduate and com- named Laureate of the Jeunes poser-percussionist John Ambassadeurs Lyriques. Hollenbeck (BM ’90, MM ’91) – recently completed their fall Michael McKinsey (BM ’02) was tour with a performance at a third prizewinner in the Eastman. The group was tour- 2003 Lotte Lenya Competi- ing in support of its fi rst tion for performance of theater recording, The Claudia Quin- music by Kurt Weill and other tet, released on CRI/Blueshift composers. Misty Ann Sturm in January 2002. (BM ’00) and Amy Van Looy (BM ’00) were chosen as fi nalists in As members of Quintet Attacca, regional auditions. oboist Erica Burtner Anderson and bassoonist Collin Anderson (BM A recording of Steve Reich’s ’95 and BM ’89, respectively) Tehillim and The Desert AMY VETTER recently won the Senior Wind Music produced by Clay Green- First Prize and the Grand Prize berg (BM ’01) was released Celebrating a 90th birthday and at the 2002 Fischoff National by Cantaloupe records last six decades of association with Eastman Chamber Music Competition. September. Greenberg was On a glorious autumn afternoon last October, Professor Emeritus The prize include $8,000 and assistant conductor and per- John Celentano (BM ’37, MM ’41) celebrated his 90th birthday at a 2002–2003 winner’s tour of cussionist for Tehillim, and Rochester’s Inn on Broadway, with wife Mary Celentano at his side Indiana, Illinois, Michigan, singer, percussionist and key- and surrounded by former faculty colleagues, students, and friends. Minnesota, and the Emilia boardist for The Desert Music. The highlight of the luncheon was the presentation by Director and Romagna Festival in Italy. Dean James Undercofl er (BM ’67) of the Alumni Achievement Award The Akron Symphony recently to Professor Celentano for his passionate advocacy of the impor- The Lyric Brass Quintet, featur- appointed Margaret Sippey (MM tance of chamber music study, for instilling technical skill in his stu- ing Andrew Spang (MM ’95) on ’01) to the position of principal dents, and for fostering intellectual curiosity in young musicians. tuba, recently released their fl ute. second CD, Christmas Around the World. The disc features 25 After serving as the substitute ’01) completed his third season Lars Frandsen (DMA ’02) now unique arrangements of holi- harpist with the Chicago Sym- with the Ohio Light Opera this coordinates the Guitar Depart- day favorites from all over the phony Orchestra, Marguerite Lynn summer, under the direction ment at the Conservatory of globe, many by Spang. Williams (BM ’01) has obtained of Eastman Opera Director Music at Brooklyn College of a new job at the Chicago Sym- Steven Daigle. Wannen also the City University of New Jason Treuting’s (BM ’99) per- phony as the administrative modeled and acted commer- York. He and his wife Sabrina cussion group So Percussion assistant for Civic Orchestra. cially in Hong Kong. recently had a baby daughter, recently commissioned and Over the summer, Williams Isabella Imani. premiered David Lang’s new toured Russia and Armenia Janinah Burnett (MM ’02) last percussion quartet at Miller with the American Russian summer was one of several Violinist Rebecca Geiger (BM Theatre (NY). They have just Young Artist Orchestra. singers who won the role of ’02) won the Ithaca College fi nished a tour of Texas and Mimi in Baz Luhrmann’s new, Concerto Competition in Janu- Minnesota and were in resi- Living in New York since controversial, and very suc- ary. In March, she played the dence at UT Austin, working graduating from the Take Five cessful Broadway production Barber Concerto with the with students and presenting Program, David Wannen (BM of La Bohème. Ithaca Orchestra. master classes and concerts. ❧

38 EASTMAN NOTES FACULTY NOTES

Ruth Cahn (BM ’68) was elected Associate professor of organ recording offers a selection of famous names in Berlioz schol- to the Board of Directors of David Higgs’ September per- masterpieces taken from live arship, including professor of the Percussive Arts Society formance of Copland’s Organ performances recorded in the musicology Ralph Locke, who – a leading International Symphony with Michael Tilson 1980s including Beethoven’s spoke about Berlioz’s sympho- organization for percussion- Thomas and the San Francisco Waldstein Sonata, Liszt’s nies on a panel including Hugh ists with wide ranging interest Symphony was described as Mephisto Waltz, and Spanish McDonald, David Cairns, and in diverse performances. “superbly persuasive” in the Rhapsody. In March, Laires Colin Davis himself. Currently, Cahn is Summer San Francisco Chronicle. was honored by the Rochester Session director and a Jack Alumni Chapter of Mu Phi Two articles by Ernestine Frank instructor in the Com- As part of a series of outreach Epsilon as Musician of the McHugh, associate professor munity Education Division of activities for African-Ameri- Year. Performers at the March of anthropology and religion, the Eastman School of Music. can children supported by the 30 Kilbourn Hall concert in his were published in Cultural College of Fine Arts at the honor included Nelita True, Nich- Anthropology and Ethos: Good news for Harold Danko, University of Texas at Austin, olas Goluses, and Thomas Paul. Journal of Psychological chair of Jazz and Contempo- pianist and Associate Professor Anthropology last year. In rary Media: in the 2003 down Armenta Hummings is collabo- Lecturer of piano Vincent Lenti, October, McHugh also helped beat magazine Student Music rating with UT Assistant in his 40th year at Eastman, organize a conference in Madi- Awards, the Eastman School of Professor Christopher Adejumo was the recipient of the Eisen- son, Wisconsin called “War on Music Quartet won in the Jazz in a program that will involve hart Award for Excellence Terrorism/War as Terrorism,” Group (College Outstanding children ages 6–15 from vari- in Teaching. Lenti also was sponsored by the Association Performances) category; the ous elementary schools and among Eastman representa- for Himalayan and Nepali quartet consists of Danko, Clay high schools of East Austin. tives at the New York State Studies in honor of the Inter- Jenkins, Jeff Campbell, and Rich Through music and drawing, Music Teachers’ Convention national Year of the Mountain. Thompson. And Danko received the artists engage the children last October, presenting a a special honor as Jazz Educa- in an exploration of color and session on Chopin. Other This spring, Associate Professor tor of the Year. expression. The children also participants included fel- of Conducting and Ensembles/ participate in a concert by low Eisenhart Professor and lutenist Paul O’Dette shares Harold Danko, associate profes- renowned African American Associate Professor of Music the artistic and musical direc- sor of jazz and contemporary performers. Education Donna Fox, who tion of the Boston Early Music media, Ramon Ricker, professor presented a session on early Festival with Stephen Stubbs. of saxophone, and James Willey, In October, Professor of Musi- childhood music, and professor The June 2003 event, featur- composition instructor, have cology Ellen Koskoff’s book, of voice Bill McIver, who gave a ing the modern premiere of the been chosen as recipients of Music in Lubavitcher Life master class. Lenti also serves German opera Ariadne (1691) 2002–2003 ASCAP (American (University of Illinois Press, as School historian and reports by Johann Georg Conradi, was Society of Composers, Authors, 2001), won an ASCAP Deems considerable progress on his previewed in the spring issue of and Publishers) Awards. Taylor Award. forthcoming book chronicling Early Music America. the early years of the School. Assistant Professor of Sacred Professor of Piano Fer- In March, tenor Robert Swensen, Music Peter DuBois performed nando Laires received a March’s Lincoln Center Berlioz associate professor of voice, an organ dedication recital in glowing review for his new festival, Fantastic Voyages, fea- sang the title role in Stravin- March at the Webster (NY) CD, Fernando Laires in tured concerts by the London sky’s Oedipus Rex for the Presbyterian Church, paying Concert (Sinfonia Records), Symphony Orchestra under Montpellier Opera, France. The tribute to the church’s new 38- from the European Piano Sir Colin Davis, and discus- Narrator was fi lm star Gérard rank Schantz organ. Teachers’ Association. The sions by some of the most Depardieu. ❧

STUDENT NOTES

Eastman won three major Aki. In Jazz Arrangement: Eric and the Prague International recently, the Empire State Piano awards in down beat mag- Schmitz, For Bud. Piano Masterclasses; Mark DiP- Competition, Sergio Monteiro, azine’s 2003 Student Music into (MM) appeared as soloist gave 12 recitals in Brazil; sopho- Awards. In the Jazz Group Eastman’s piano students were with the New England Youth more Daniel Pesca performed Category (College Outstand- an active presence all over the Ensemble in Carnegie Hall and at the TCU/Cliburn Institute ing Performances): Robert world last summer: I-Hsuan in England, Scotland, Zimba- in Texas; winner of Eastman Koenigsberg Sextet. In Original Cheng (DMA) was admitted bwe, and South Africa; winner Beethoven Concerto Competi- Composition/Best Song: Tobias and performed at the Paris of last year’s Eastman Bartók tion Julia Siciliano was admitted Robert-Koenigsberg, Song for International Summer Sessions Concerto Competition and more TURN TO PAGE 40 ➧

JUNE 2003 39 STUDENT NOTES

➧ FROM PAGE 39 soprano Christina Gill received As part of Rochester Philhar- Ridge Symphony, and was to the Konzertarbeitswochen a glowing mention for her monic Orchestra staff, senior re-engaged to play with the 2002 in Goslar, Germany; and singing of the “Seguidilla” and violist Teddy Sainphor has been orchestra for the third time Amber Shay (DMA) gave several “Habanera” from Carmen. Gill promoted to patron services next season. solo and chamber music per- made her national debut at assistant manager. Sainphor is formances at the International the John F. Kennedy Center slated to graduate in the fall. Thomas Rosenkranz won the Summer Music Academy in for the Performing Arts in its American Pianists’ Association Leipzig, Germany, and work- special “Stars of Tomorrow” Five Eastman students, Debbie Fellowship Award Competi- shops in Norway. concert – part of the National Stanley (voice), Marc Andersen tion. In January, Tom played Symphony Orchestra (NSO) (viola), Kyle Blaha (composi- a half solo recital and a con- Gregory DeTurk won the Eighth Pops Series. She was one of six tion), Megan Hall (horn), and certo with the Indianapolis Hamamatsu International guests to perform under the Matthew Schreibeis (composi- Chamber Orchestra, and then Piano Academy Competition. baton of NSO’s Principal Pops tion), have received DAAD gave a three-day residency in DeTurk, who also was the Conductor Marvin Hamlisch. grants from the German Aca- Indianapolis. winner of the Piano Academy demic Exchange Service for a Scholarship, was one of nine Dong Gon Lee won fi rst place in three-week summer course in Zuzanna A. Szewczyk received a talented students featured the horn division of the Donga Germany. Stanley will attend Jack Kent Cooke Foundation in the RPO’s fi rst Casual International Competition Bayreuth while the others Graduate Scholarship begin- Sunday Matinee concert last held in October/November in plan to attend Humboldt Uni- ning in the fall of 2003. She November. Also featured were Seoul, South Korea last year. versity in Berlin. was among 43 scholars chosen pianist Hong Xu, cellist Guy He received a cash prize of from 841 applicants. Johnston, soprano Erin Palmer, $1,500 and an exemption from Frederick Teardo was one of only percussionist Jillian Pritchard, mandatory military service. six semifi nalists from around A. Timothy Pyper was selected and Jazz Ensemble members the world who have been cho- as 2003 winner of the Anne James Hirschfeld (trombone), Three graduate Eastman sen to compete in the semifi nal Theodora Cummins Prize for Mamiko Kitaura (piano), Ted Poor guitarists – Michael Patilla, round of the third triennial outstanding achievement in (drums), and Ike Sturm (bass). Shih-yu Liu, and Benjamin Dallas International Organ the humanities. Gateno – all from the studio Competition. Sophomore Laurianne Flem- of Nicholas Goluses, received The Meliora Woodwind Quintet ing has been crowned Miss second, third, and fourth Pianist Amy Sze (DMA) has was chosen to compete in both Oswego County 2003 in prizes, respectively, in the won the Eastern Division of the Coleman and Fischoff October and received a $1500 Volos International Guitar the Music Teachers National Chamber Music Competitions. cash scholarship. Fleming Festival Competition Association (MTNA)-Steinway performed a piano solo for her in Greece. The festival Collegiate Artist Piano Com- Di Zhu won First Prize solo in talent presentation in the Miss provides a steppingstone to petition held in Elizabethtown, the New York Piano Competi- America preliminary before students seeking to establish PA, in January. tion, and Second Prize in the competing for the title of Miss international performing Four-Hand Division. New York in this coming June. careers. Now in its 25th year, Zhe Li, doctoral student in more than 350 educators and the class of Fernando Laires, Soyoon Lee took part in the In the March issue of The soloists participated in the performed Beethoven’s Piano Kingsville International Piano Washington Post, mezzo- festival. Concerto No. 4 with the Oak Competition. ❧

CORRECTIONS

In the last issue of Notes, also named William Preucil, if Notes’ description as “A consulting several dictionaries, distinguished violist William who was professor of violin at biannual publication” (i.e., we discovered … that no one Preucil (BM ’52, MM ’56) was Eastman and fi rst violinist of published twice a year, seems to know for sure. So we incorrectly reported as the the Cleveland Quartet. as opposed to every other chose Webster’s and the OED concertmaster of the Cleveland year) should be changed to as our authorities, and will Orchestra. The article was After our last issue, some “A biennial publication.” stay with “biannual.” ❧ actually referring to his son, correspondents wondered Which word is correct? After

40 EASTMAN NOTES Photo by Amy Vetter Amy Photo by

EASTMAN SCHOOL OF MUSIC - LEGEND #001983

On the evening of January 15, 1983, a distinguished audience gathered in Washington, D.C. at the Kennedy Center to hear the first concert of a five-city whirlwind tour by The Eastman Philharmonia.

The Philharmonia and conductor David Effron accompanied a rookie in the world of music. Newly retired first baseman, team captain, and home run hitter for the Pittsburgh Pirates, Willie Stargell was recruited to narrate “New Morning for the World.” Written by Eastman School professor and Pulitzer Prize-winning composer Joseph Schwantner, the composition for speaker and orchestra was inspired by the moving words of Martin Luther King, Jr. THERE WAS NO ROOM FOR ERRORS IN THE SEASON OPENER.

The last work on the program, “New Morning for the World” brought a standing ovation— kicking off a grand slam tour for this all-star team.

With heartfelt thanks, Willie presented his Eastman teammates with a signed commemorative Louisville Slugger for helping him hit this one out of the ballpark.

For over 80 years, the Eastman School of Music has been inspiring artistry, scholarship, leadership ... and creative teamwork.

Support the Eastman Fund today and help keep the legends alive.

The Eastman School of Music T 866-345-2111 (toll free) T 585-274-1044 www.rochester.edu/Eastman/giving T [email protected] GELFAND-PIPER Badura-Skoda and Beethoven at Eastman Paul Badura-Skoda, the great Austrian pianist and a foremost interpreter of Mozart, Beethoven, and Schubert, cel- ebrated the fi ftieth anniversary of his American debut this year, and included Eastman in his round of concerts. While at the School, he gave two invaluable master classes in Beethoven’s piano sonatas and chamber music. For a story highlighting this and several other master classes and workshops with noted musicians this semester, see page 12.

University of Rochester Eastman School of Music NON-PROFIT 26 Gibbs Street ORGANIZATION Rochester, NY 14604-2599 U.S. POSTAGE PAID PERMIT NO. 780 ROCHESTER, NY