EASTMAN

NOTESSpring 2013

EWE@ An American Treasure NOW AVAILABLE The laTesT in The long line of classic easTMan WinD enseMBle recorDings

Stravinsky: Octet and L’Histoire du Soldat The Eastman Wind Ensemble’s history of recording began Eastman Wind Ensemble (in the Octet) in 1954 and includes many outstanding performances of the greatest 18th, 19th, 20th, and 21st century wind repertoire. Eastman Virtuosi with Jan Opalach, narrator The tradition continues with this exciting new recording (in L’Histoire du Soldat) of two classic Stravinsky works.

Mark Davis Scatterday, conductor On the AVIe lAbel AVAIlAble frOm AmAzOn.cOm, Itunes, ArkIVmusIc, And Other OnlIne musIc sOurces

EWE_Ad_Notes_Spring13.indd 1 3/21/13 2:15 PM { Spring 2013 }

Mark Davis Scatterday, who took over the directorship of the Eastman Wind Ensemble in 2002, is only the fourth director in the EWE’s long history.

5 Brief Notes 24 School News 28 Recordings 8 18 The Exploring 30 An American Alumni Notes 14 Argento Great 36 Treasure Papers Britten Tributes, In Memoriam The Eastman Wind Ensemble was The Pulitzer Prize- Eastman celebrates America’s first, and is still its best, winning composer the composer’s 38 (PhD ’58) celebrates centenary with two of Faculty Notes symphonic wind ensemble—and is now his 85th birthday with his most important and 39 a lively sexagenarian. a rare revival. individual works. Student Notes ON THE COVER: One American artistic icon meets another in Doug Fitch’s whimsical imagining of “Mount EWE.” 40 All four Eastman Wind Ensemble directors are represented, left to right: Frederick Fennell; Mark Davis Scatterday; From the Dean A. Clyde Roller; and Donald Hunsberger. Illustration by Doug Fitch.

Kurt Brownell Spring 2013 | Eastman Notes 1 { Letters }

EASTMAN About an Israeli composer . . . Max Stern (BM ’69) noted that we didn’t print a picture awarded Alaska a billion dollars and lots of land, and NOTES of his recent CD Songs of Ascents in our Summer 2012 established 13 regional Alaska (Native) Corporations Volume 31, Number 1 Notes, so he sent a copy of it. The CD has been acknowl- to handle their money. He wrote a manuscript of his Spring 2013 edged by the Israeli National Library. He also noted that work which I prepared for printing. It was published in his piece of the same for 2003 with the title The Fight For It: The Largest Peaceful Editor bassoon and cello was the Redistribution of Wealth in the History of Mankind, The • David Raymond subject of a recent master Creation of the North Slope Borough. Contributing Writers class at Kansas State My father William Lewis Paul (aka Shquindy Tee- • Bradley Bambarger University which can be hit-ton) wrote a manuscript titled The Alaska Tlingit, • Michael Isaacson viewed on YouTube. He Where Did We Come From?, which I prepared for • Douglas Lowry • Suzanne Mueller adds, “Unrelated to the publication in 2011. I am completing a biography • David Raymond above, I read the [Summer of my grandmother, Kah-thli-yudt Tee-hit-ton, aka • Helene Snihur 2012] issue with much Matilda Kinnon Paul Tamaree (1860–1953). It is fin- Contributing nostalgia. I remember ished except for family trees of both her antecedents Photographers John Thomas from years I played in the RPO and and descendants. Lineage of Alaskan Natives is traced • Kurt Brownell around school, as I remember when Zvi Zeitlin arrived through the mother. • Adam Fenster during my sophomore year. In addition I remember Frances Paul DeGermain (BM ’46) • Gelfand-Piper Photography both Bonnie Boyd and Vinny DiMartino as freshmen, aka Shah-nah-Xee Nahn-ya-ahyi • Kate Melton who recorded one of the works of my student days. Now • Gerry Szymanski some are retiring and some have left us entirely.” • Rachel Leigh Van Pelt And an English Alumna • Brandon Vick I just wanted to say what a super edition the Summer An Alaskan Family . . . 2012 was. The cover picture and other colourful Photography Coordinator I was born in Ketchikan, Alaska, in 1924. I am an illustrations were striking, the feature on Debussy • Karen Ver Steeg Alaska Tlingit Native. When I finished college, I went was most interesting. Thank you for including my Design back to Alaska and stayed there until 1957, when my small news piece—I so enjoyed seeing fellow alumni • Steve Boerner family and I moved to Seattle, WA. I never tried to after 30 years on my tour of classes and recitals. I was Typography make a living in music but it was a very important part also pleased to meet Joel Seligman in London on his & Design, Inc. of my life: giving recitals in Alaska; singing in large and European tour in the summer. I wish I could have small choruses in Seattle; 29 years as a paid chorister attended the Eastman Weekend but am very busy with Published twice a year by the Office in the choir of St. Mark’s Episcopal Church; chorister concerts (including Debussy and Delius 150th birthday of Communications, in the Seattle World’s Fair Opera in 1962, performing events) and premieres. Eastman School of Aida and Carmen. Madeleine Mitchell (MM ’81, Fulbright/ITT Fellow) Music, 26 Gibbs Street, I retired from The Boeing Company after 30 years, London, England Rochester, NY 14604, and did what I really wanted to do. My brother Fred Paul (585) 274-1050. nursed The Alaska Land Settlement Act of 1971 through Madeleine is a Professor at the Royal College of Music, Eastman-Notes@ Congress and developed The North Slope Borough and Director of the London Chamber Ensemble and esm.rochester.edu which had the oil companies as their tax basis. Congress www.redviolin.co.uk

From the Editor The great American jazz pianist many music schools including Eastman. and composer Dave Brubeck died of And such Brubeck compositions as heart failure on December 5, 2012, in Take Five, Blue Rondo à la Turk, and Connecticut, one day short of his 92nd UnSquare Dance are still popular. Doctor Brubeck A jazz legend is honored birthday. Brubeck, whose main teacher Brubeck visited Rochester several at Eastman Weekend was Darius Milhaud, brought elegance times late in his career as a guest of the and a chamber-music quality to his Rochester International jazz Festival, EROI 2008 music making, and his “jazz goes to and in October 2008 he was delighted A 1776 organ honors two 20th-century masters Stephen Hough college” tours in the 1950s proved that to receive an honorary doctorate from The articulate, award-winning pianist visits Eastman this native American music deserved a the University of Rochester—as this 10% Total Recovered Fiber Winter 2009 FOr ALUMni, PArentS, AnD FrienDS OF tHe eAStMAn SCHOOL OF MUSiC 100% Post-Consumer Fiber place in academia—a lesson learned by Eastman Notes cover shows. 1_Notes_Winter09_FCover.indd 1 3/10/13 3:14 PM

2 Eastman Notes | Spring 2013 Sunday, JuLy 14 – Friday, JuLy 26, 2013

Jazz I StringS Voice I guitar World-class music programs in the breathtaking Finger Lakes, for middle and high school students

For applications and scholarship information, please visit esm.rochester.edu/keuka

ESM@Keuka_Notes_ad.indd 1 3/21/13 9:26 AM July 1–August 9, 2013 Institutes, courses, workshops, lessons and ensembles for all levels of musicianship, including • Our award-winning Music Horizons program • Summer Jazz Studies • Institutes for harp, guitar, viola, saxophone, trombone, world music • Courses for college students, teachers, and professionals

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What are YOU doing this summer?

SummerAd_Notes_Spring13.indd 1 3/21/13 2:08 PM { Brief Notes }

Chris Martin Rouses CSO Chicago Symphony Orchestra principal trum- pet Christopher Martin (BM ’97) had his chance to shine in front of the CSO when he premiered Heimdall’s Trumpet, a new concerto by Christopher Rouse (the Pulitzer winner who taught composition at Eastman for many years), in December. “Martin soared to the ecstatic heights and plunged to the subterra- nean depths of his instru- ment with virtuosic aplomb. The sheer nonchalance with which he tossed off these death-defying feats was jaw-dropping,” said critic John Van Rhein.

Festive Pianists Eastman’s current piano department chair, and a previous one, both have good reason to feel festive. Douglas Humpherys (DMA ’95) was recently first performed at Eastman has gone before, recently appointed Artistic Director Among the many tributes to the 100th birthday of John in 2010, was selected from completed a successful of the Gina Bachauer Cage last year, the percussion group Nexus was in there nearly 250 entries for the Kickstarter campaign to International Piano swinging (and striking) last November, in a revival of $5,000 prize. She’s collab- fund its first CD:Breaking Foundation. He was the Kenneth Patchen’s radio play The City Wears a Slouch Hat, orating with her husband In, a disc of original compo- first Gold Medal winner of a 40-minute work featuring Cage’s music. Nexus (which Jairo Duarte-López (MA sitions and arrangements the Bachauer Competition includes Bill Cahn BM ’68 and Bob Becker BM ’69) ’10) on an operatic version (including the now-classic in 1976. And Professor of performed the piece at the Percussive Arts Society of Lorca’s Blood Wedding, YouTube fave Lady Gaga Piano Rebecca Penneys International Convention and later at Bard College. commissioned by Montclair Saga). The members recently announced a (NJ) State University. are Brittany Harrington new home for her own Tampa—for more informa- Eastman dissertation, (BM ’10), Yuki Katayama summer piano festival and tion visit rebeccapenneys on the early years of the Winds of Fortune (BM ’11), Kara La Moure competition. Located at pianofestival.org/. Boston Pops, was called Breaking Winds, the (BM ’10), and Lauren Chautauqua for many years, “Classical Music for People Eastman–born bassoon Yu (BM ’11); for updates now it is in a state-of-the-art Music Milestones Who Hate Classical Music”, quartet that boldly goes and information visit venue at the University Ayden Adler’s (MA but she’s obviously not where no bassoon quartet www.breakingwinds.org of Southern Florida at ’97, DMA ’99, PhD ’07) one of those people. Last summer, Ayden joined the New World Symphony as Senior Vice President of Musician Advancement and Dean, after a stint as executive director of Orpheus Chamber Orchestra and a previous managerial post with the Atlanta Symphony. Michaela Eremiasova (PhD ’11) is the winner of the 2013 ASCAP Foundation Rudolf Nissim Prize for her Emblems for violin and chamber Douglas Humpherys Rebecca Penneys orchestra. Michaela’s piece, Breaking Winds aren’t broke, thanks to Kickstarter.

Emy Martin, courtesy of the John Cage Trust (Nexus); Kate Lemmon (Breaking Winds) Spring 2013 | Eastman Notes 5 A Leap into 1969 The Beatles and Karlheinz Stockhausen never actually met, but their imagined powwow is the jumping-off point for Alarm Will Sound’s multi-media concert 1969. The celebrated New York new music group, which got its start at Eastman more than a decade ago, returned in February to perform 1969 in Kodak Hall. The show included music not only of Stockhausen and Lennon and McCartney, but Luciano Berio (pictures) and Leonard Bernstein, along with the political and social struggles of the late 1960s. Photograph by Adam Fenster

6 Eastman Notes | Spring 2013 Spring 2013 | Eastman Notes 7 Dominick Argento: The Lyric, The Literary, and a in Opera LifeBy Bradley Bambarger

here is a neat symmetry to composer Dominick Argento’s career these days. His opera based on a Henry James novella, The Aspern Papers, was revived in April with a starry cast by the Dallas Opera 25 years after the work was given a premiere there that was a landmark for both company and composer. The T85-year-old, Pennsylvania-born Argento has lived in Minneapolis since 1958—moving there just after receiving his Ph.D. at Eastman—and over the years since, the Minnesota Opera had come to mount all of his major operas but one. That lone outlier, The Dream of Valentino, will be staged by the company next season, in a freshly revised version by the composer, to mark the work’s 20th anniversary. Argento—who has composed 14 operas in his career—won a Pulitzer Prize in 1975 for his song cycle From the Diary of Virginia Woolf, written for revered English mez- zo-soprano Janet Baker. He earned renown for his way with complex literary texts (often writing his librettos Argento during a 2004 himself), as well as his trademark of placing primacy on master class at Eastman in 2004 (top left). Frederica the lyric voice in his works. Some of the happiest mem- Von Stade in the premiere ories of Argento’s career are associated with that initial of Argento’s The Aspern Dallas Opera production of The Aspern Papers, he says, Papers (bottom left); a scene though the composer is excited about the revival, too. promoting the 2013 Dallas “There are real superstars in this cast—Susan Graham Opera revival, with the model wearing the same dress and Nathan Gunn, it’s hard to beat that pair—just as there from 1988. were 25 years ago, with Frederica von Stade and Richard Stilwell,” Argento says. “The original production was wonderful—it was broadcast in ‘Great Performances’ on PBS, which you can see on YouTube now. To me, everything was right with it, and that’s rare, because a composer almost always has something to complain about. I remember thinking at the time that it was so unbelievably good that it would never be surpassed. The new Dallas production, though, has given me high hopes.” Argento wrote his first produced opera,The Boor, during his days at Eastman, where he studied with Alan Hovhaness, Bernard Rogers and Howard Hanson. Last autumn, it was announced that Argento made a commitment through a charitable remainder trust to endow a professorship at Eastman at $1.5 million. In honor of Argento, the

8 Eastman Notes | Spring 2013 Gelfand-Piper Photography (Argento); The Dallas Opera (Von Stade) The Dallas Opera Spring 2013 | Eastman Notes 9 endowed position will be named the Dominick J. Argento adds. “Now we have so many great singers devoted to the Professorship. According to Douglas Lowry, Joan and art form here—and they’re not just great singers, but Martin Messinger Dean of the Eastman School, the gift great actors, too. That’s been another real evolution in will support the school’s faculty in presenting new musical my time. One used to be overjoyed if a singer got through ideas and developing adventurous concepts in teaching a part without knocking over the furniture onstage, but music and performance. now the acting among opera singers is tremendous, so Recalling his time at Eastman, Argento says: “It was that the theatrical realism has been infinitely enhanced. such an inspiring experience, even beyond the extraor- That can only help build the audience for opera.” dinary musical education. My teachers—Hovhaness, Rogers, Hanson—were such major figures. Getting to fter leaving Eastman, Argento married a know their music and their philosophies meant every- singer, soprano Carolyn Bailey, and they set- thing to me—and the confidence they instilled in me tled in Minneapolis, where Argento would changed my life. They were so encouraging about my help found the company that would become work, so helpful. Hanson did me incredible kindnesses. AMinnesota Opera. He also taught music theory and Orchestral parts are expensive to copy out, and I didn’t composition at the University of Minnesota for some have the money to have it done for The Boor, so he had 40 years, now holding the title of professor emeritus. the school pay for it. He also helped me get a publisher, “I thought I’d stay here for a year and then go off to one Boosey & Hawkes, right out of Eastman, which was an of the coasts where the action was, to New York or San Argento’s first opera, The enormous boost. And Frederick Fennell, a prominent Francisco, but that’s not how it worked out,” Argento says. Boor, was performed at conductor, led the first performance of my opera at “I found so many opportunities for me, so much support. Eastman in 1957. His Postcard Eastman. It was quite a start.” It’s a cultured community here, a place where people from Morocco (1971), one of In the more than half-century since his days at have a real need for art. Going to the opera in New York the most frequently produced American operas, was Eastman, Argento has seen American opera undergo sometimes seemed just like the thing to do for certain performed by Eastman Opera a rich evolution that seemed highly unlikely, he says: types, but people here craved what art could bring them Theatre in 1994. “When I started out, you were lucky to see one American emotionally. The Scandinavian, Lutheran roots of this community make it very sincere, I think. Of course, it’s colder than hell here—in fact, there’s a snowstorm as we speak, nothing new—but there’s a literary quality to the community that I’ve always loved, with good education and a nice tradition of liberal politics.” Katherine Ciesinski, now a professor of voice at Eastman, featured in the original 1988 cast of The Aspern Papers, with the mezzo-soprano singing alongside Von Stade, Stilwell, and Elisabeth Söderström. Ciesinski also starred in the second production of The Aspern Papers, at Washington Opera, and she sang in The Dream of Valentino, too. She first met Argento in Minneapolis in the early ’80s, when she sang his song cycle From the Diary of Virginia Woolf. She was struck by the composer’s “incredibly dry wit, his magnificent brain and his self-ef- facing qualities—he is not grandiose in any way,” she says. “He takes a childlike delight in what the human voice can produce—not unsophisticated at all, but marked by his literary curiosity and sparkle.” opera a year. My fellow students weren’t interested Ciesinski spent time with Argento later in Florence, in opera at all: It was all string quartets, symphonies, Italy, a place he first went on a Fulbright Fellowship and abstract music—not vocal and choral music or opera. loved so much that he ended up making it a home away There just wasn’t any market for it here, with no commis- from home. She recalls: “I got another image of him there, sions. You really need to have a commission to embark in a more creative mode. He was inspired by the spirit on an opera, because it takes two or three years to write of Florence, the undulations of the river, the poetry you one—and you have to have something for food and shelter find in every shape and place in Italy.” Argento’s wife, while you do it. Carolyn, passed away in 2006. Ciesinski describes their “Another thing to remember is that, 50 years ago, there relationship as marked by “playful banter—they were were hardly any American opera singers interested in always kidding each other.” The composer wrote the cho- American repertoire and contemporary music,” Argento ral work Evensong: Of Love and Angels in memory of his

10 Eastman Notes | Spring 2013 Eastman School Archive wife, with the premiere in 2008 at the National Cathedral critics have faulted for a lack of modernist edge—Cerny in Washington, D.C., as part of the institution’s centenary. says: “It’s my opinion that classical music has reached the The Dallas Opera’s premiere of The Aspern Papers was point where composers are valued on their originality a milestone for all concerned, according to Keith Cerny, and their impact, not whether their work is defined as the company’s general director and CEO: “The original conservative or avant-garde. What I find most interesting premiere was extremely important for the Dallas Opera, about Argento’s career is his love of the human voice in as it was a major commission for a company known for performance, whether choral or solo, and his ability to outstanding singing and debuts—but far less so for com- draw musical inspiration from eclectic literary sources. missions of new works,” he says. “Our commissioning We should also acknowledge Argento’s consistent cre- of such 21st-century works as Jake Heggie and Gene ative output over the course of a long career that hasn’t Scheer’s (BM ’81, MM ’82) Moby-Dick might not have been possible without the invaluable experiences we gained in mounting earlier world premieres, beginning with The Aspern Papers.” Although The New York Times review of The Aspern Papers in 1988 described the composer’s idiom, with a hint of dis- taste, as that of “genteel melodrama,” the critic went on to call Argento “a melodic athlete—his wind is strong and his step graceful . . . Impressive, too, is Mr. Argento’s ability to curry favor with the voice—indeed, with everyone and everything connected to this venture. His orchestrations have a fragile glow to them that lets the sound of singers soar out freely.” A later New York Times piece, from 2006, put the ups and downs in the new world of American opera in context, including Argento’s work. The writer, critic Anne Midgette, pointed out that good receptions at the premieres of Argento’s operas yet ended, since he’s working with Minnesota Opera on The Aspern Papers debuted in The Voyage of Edgar Allen Poe (1976) and Casanova’s those revisions to another work right now.” Dallas in 1988 with a starry Homecoming (1985) didn’t guarantee the works as many Reflecting on what has sustained him through the cast. Shown around the piano revivals as might have been expected. Cerny says he thinks challenges of a career in opera of 56 years and counting, are (front) soprano Elisabeth he knows why: “Opera is a very expensive art-form to pro- Argento comes back to something he learned at Eastman: Söderström and tenor Neil Rosenshein; (back) mezzo- duce, which presents special challenges to composers as “Bernard Rogers taught me integrity—that being a com- sopranos Katherine Ciesinski well as the opera companies with which they collaborate. poser isn’t just handling notes and instruments; it’s about and Frederica Von Stade, and And audiences often prefer to experience a brand new what you’re trying to achieve with music, the why of baritone Richard Stilwell. work rather than a revival of an earlier composition—no writing music,” he says. “As a teacher, he really made matter how worthy. This situation isn’t limited to Mr. me think about such things, and I never stopped. My Argento, by any means. interest has always been in people, feelings, emotions. “In the lifecycle of a new opera, the 25-year mark is My purpose, I’ve always thought, is to move people to important so that audiences can begin to evaluate the think about who we are—in fact, every opera I’ve ever ‘staying power’ of a particular work,” Cerny adds. “What’s written is really about people discovering who they are.” remarkable is that, although it’s based on a story by Henry James, The Aspern Papers almost entirely reflects one Bradley Bambarger has written about music for man’s theatrical conception and vision—a very rare Billboard, DownBeat, Gramophone, and Listen, thing in our team-oriented performing arts world. As among many others. He has also penned liner notes for both composer and librettist, he exercised a tremendous albums on such labels as ECM, Harmonia Mundi, Sony influence on the tone and atmosphere of the original Classical, Decca, Deutsche Grammophon and Angel/ production—and on the casting, too.” EMI. He founded and curates the new jazz concert series As for the lyric style of Argento’s music—which some Sound It Out in New York City, where he lives.

Courtesy of Boosey & Hawkes Spring 2013 | Eastman Notes 11 Where were you in ’62? If you were graduating from Eastman, then you belonged at Eastman Weekend’s celebration of 50 year graduations (from 1961 and 1962). All Eastman, Each alumnus and alumna received a ribboned medallion from Douglas Lowry and Joel All Weekend Seligman. They only come around every couple of years, so Eastman Weekends are always chock-full of great events, but Eastman Weekend 2012 seemed chock-fuller than usu- Noted entrepreneur al of concerts, ceremonies, other special events and (of Paul Judy, member of course) ample opportunities for socializing. Several of the Eastman National Council, received the the weekend’s highlights are detailed here, but they also University of Rochester’s included a 15th anniversary reunion of Arts Leadership Dean’s Medal from program students, a celebration of the 20th anniversary Dean Lowry at Saturday of Eastman’s guitar program, and lots more. night’s Gala Dinner, commemorating his ON THE WEB To see photographs of the “lots more,” leadership of the visit www.esm.rochester.edu/alumni/weekend Institute for Music Leadership.

12 Eastman Notes | Spring 2013 Kurt Brownell (50th Anniversary); Gelfand-Piper Photography (Gala Dinner) Eastman Weekend opened with a tribute to Ray Wright, Eastman’s great jazz professor of the 60s through the 80s. A concert brought back a stageful of noted jazz alumni to perform with both ESM jazz ensembles, then at a “jazz club” well into the wee hours. The weekend 2012 marked the 50th anniversary also included a session of the Eastman Philharmonia’s of “reminiscing on Ray,” a historic tour of Europe and studio orchestra reading Russia under Howard Hanson of Wright arrangements and Frederick Fennell. Orchestra led by Don Hunsberger, members from the tour gathered and the dedication of to have lunch and to share warm rehearsal room 120 as the memories of a remarkable Cold Ray Wright Room (see War adventure. plaque at left).

Gelfand-Piper Photography (Ray Wright Tribute); RACHEL LEIGH VAN PELT (European Tour Reunion) Spring 2013 | Eastman Notes 13 Six decades of concert tours, Fanfares from performances, and recordings have made Uncommon Men the Eastman Wind Ensemble an American (and Women) institution

14 Eastman Notes | Spring 2013 n February 8, 1953, a new kind of musi- does best, pairing classic wind repertoire by Mozart and cal group gave its first performance at Stravinsky with two brand-new pieces by Roberto Sierra Eastman, when Frederick Fennell led the and Eastman’s Dean, Douglas Lowry. Eastman Wind Ensemble’s first concert in In its six decades, the Eastman Wind Ensemble has had Kilbourn Hall. Audience members expect- only four conductors, three of them alumni. Its found- ing a wind band playing Sousa marches er, the remarkable Frederick Fennell (BA ’37, MS ’39), might have been intrigued by that first remained a frequent guest at Eastman and a doyen of At the EWE’s 50th program, a high-minded affair which the wind ensemble, conducting internationally until anniversary concert in included music by Riegger, Mozart, and Hindemith. his death in 2003. He was followed from 1962–1964 February 2002, the baton was passed from Donald OThe Eastman Wind Ensemble—aka “EWE”—has been by A. Clyde Roller, who left Eastman for the Houston Hunsberger to Mark Davis part of Eastman, and the School’s frequent ambassador Symphony and died in 2007; then by Donald Hunsberger Scatterday. All four directors at home and abroad, for six decades.. Its many recordings (BM ’54, MM ’59, DMA ’63) from 1965 to 2002; and from were present and on the familiarized listeners all over the word with unusual 2002 to the present by Mark Davis Scatterday (DMA podium at the concert: (often brand-new) wind repertoire, inspiring genera- ’89). Hunsberger and Scatterday led the EWE’s 60th Frederick Fennell (also shown in the background tions of aspiring players and conductors. Celebrating anniversary celebration concert in February, and both photo, from 1953); this year’s anniversary with a concert 60 years to the talked to Eastman Notes on the Ensemble’s past, present, Hunsberger; Scatterday; day after their first appearance, the EWE did what it and future—which includes an exciting new recording. and A. Clyde Roller.

Eastman School Archive Spring 2013 | Eastman Notes 15 anyone in 1952–53 had any idea what the whole move- “An irreplaceable ment would develop into during the next few decades. What was the initial public reception like? experience” The popular opinion was that this was a much cleaner sound with clearer timbres and balances. The repertoire Don Hunsberger on four decades was aimed at original works, not the orchestral tran- scriptions that were the mainstay of most symphonic and more with the EWE band programs. The Mercury recordings quickly spread the concept; however, there was a deep division among many band directors based on how strongly you liked Donald Hunsberger, director of the Eastman Wind and supported the huge symphonic band versus this Ensemble from 1965 to 2002, certainly counts as the EWE’s fifty-piece ensemble sound. During the remainder of the most durable director. He remains a frequent presence Fennell decade, ore recordings and individual tours to conducting the EWE. Don agreed to answer some questions the National CBDNA Conference (Chicago) and Carnegie about his remarkable tenure. Hall helped increase the Ensemble’s stature nationwide.

You were in the original EWE and its first concert. Do you Did you perform regularly in that first year? Was the EWE have any particular memories of the experience? an accepted part of the academics here from the start? Yes, I was in the first EWE playing euphonium (there Once Fred Fennell set his instrumentation and person- was no “doubling” type program then, so we trombonists nel, it remained constant for the entire academic year. played euphonium, clarinetists played saxophone, etc.). (We didn’t start the current rotation system until later All the brass and woodwind performers in the School in the 1960s.) Since he administered the entire ensemble played at one time or another in the Symphony Band, program (orchestras, wind ensemble, symphony band) a 100+ member, heavily-doubled ensemble patterned the EWE merely became part of the overall offerings of after the large symphonic bands of the University of the department. Michigan, Illinois, Indiana, etc., so it was more enjoyable and musically rewarding to play in a smaller one-on-a- What are a couple of your most vivid memories of per- part (two on each clarinet part) ensemble patterned after forming in and leading the EWE? an expanded orchestra wind section. But, I don’t think Seeing how the Ensemble developed as an international

the bestselling Carnaval (still in print), Live in Osaka , to Manhattan Music . The latest in the distinguished series “Eastman . . . here it is!” was released in February by the British-based label Avie. The new CD spotlights Stravinsky: EWE members Mark Scatterday on Stravinsky play the Octet, and ESM faculty members of Eastman Virtuosi perform L’Histoire du soldat, under the name and the EWE Eastman Virtuosi. Both works are led by the EWE’s cur- rent director, Mark Scatterday, who says one of his goals for the recording was “to put students and their teachers Under its present director, Mark Davis Scatterday, the together on the same recording. I wanted something that EWE has had a lively decade, including tours taking would say ‘Eastman School of Music—here it is!’ ” them throughout East Asia, a triumphant appearance Scatterday decided to work on a Stravinsky project, at the Midwest Clinic in 2009, and several well-received though his other ideas included CDs of music by Karel recordings, including Manhattan Music (2005), which Husa and Roberto Sierra. Thinking that “we seemed to was nominated for a Juno (Canada’s Grammy Award), have the right players for the piece,” he chose Stravinsky’s and preceded their latest project. Octet. Wanting to pair it with something appropriate The history of the Eastman Wind Ensemble can be by Stravinsky, he settled on L’Histoire du soldat, as per- followed in recordings: from the very first Mercury issue, formed by an array of Eastman faculty members. American Concert Band Masterpieces, in 1954, through These pieces have been recorded many times, and very many more Mercury releases, to a successful Sony col- well, including a couple of recordings led by the composer laboration with trumpeter Wynton Marsalis including himself. Scatterday admits that courting comparison

16 Eastman Notes | Spring 2013 leader in repertoire development and performance practices, and then how we applied these new works to Donald Hunsberger match the needs of the students in learning these com- positional styles and performance techniques. This, plus working with many, many students in the ensembles, has been one of the greatest rewards over the 37 years I was responsible for leading the program. One of our goals was to be certain that each student experienced all the new performance requirements currently in practice. Graduates would frequently say, “I learned how to play my instrument in my private lessons; I learned orchestral repertoire in the Philharmonia and ESSO; and I learned how to play in an ensemble in the EWE.” When the Mercury recording program fell apart in the later 1960s, we turned to touring as a way to get the Eastman message out to the industry and the public. The seven tours we did in Japan and Southeast Asia were an irreplaceable experience and the numerous American tours reached many conductors and instrumentalists on a personal level. few who would be capable of maintaining and projecting ON THE WEB You can watch the principles and ideals of the wind ensemble program. a video about the history of What were your feelings on “passing the baton” to Mark When Mark was selected for his own unique skills the EWE, with commentary from Donald Hunsberger and Scatterday? following a national search, I was very pleased, as I knew Mark Davis Scatterday, on the When I decided to retire in 2002, I had been on the fac- the great success he had in building the wind program at University YouTube channel: ulty for 40 years, I was about to turn 70, and the EWE Cornell and in administering the music program there. I http://bit.ly/WExQtw was a grand 50 years old! What better time to close the was certain that he would continue the traditions of the ET curtain than the combination of those three cele- EWE—as he demonstrated earlier this month with the brations!? I was blessed to have mentored many, many 60th Anniversary of the EWE, along with the concurrent fine people in our DMA conducting program and in the Fifth Annual Fennell Conducting Workshop presented ensembles over the years, and felt that there were quite a by the Conductor’s Guild.

with them is daunting, but he welcomed the chance to show off his players in more standard repertoire. Mark Scatterday “My field is so full of the latest, the greatest, the new- est,” he says. “That’s because we are concerned with building up the repertoire.” The Stravinsky project, he says, is a wonderful chance to show that the wind ensemble is “such a flexible group—it can include so many different sounds.” If it is successful, it may be followed by another Stravinsky CD—including the composer’s original and revised versions of the Symphonies of Wind Instruments, and the Piano Concerto.

Stravinsky: Octet and L’Histoire du soldat  (Avie Records 2277) is available from Amazon.com, iTunes, ArkivMusic, and other online sources.

Steve Boerner (Hunsberger); Kurt Brownell (Scatterday) Spring 2013 | Eastman Notes 17 Benjamin Britten in 1954, photographed by Yousuf Karsh

18 Eastman Notes | Spring 2013 Encounters with Britten 2013 marks the centennial of one of the 20th-century’s greatest and most-performed composers, Benjamin Britten (1913–1976). ¶ If Eastman isn’t quite celebrating a Festival of Britten, some of the modern master’s significant works have been on the schedule this year. ¶ Eastman Opera Theatre’s fall production was his chamber opera The Rape of Lucretia; this May, Eastman Rochester Chorus presents Britten’s War Requiem, one of the 20th-century’s great choral works.

Courtesy The Estate of Yousuf Karsh Spring 2013 | Eastman Notes 19 Looking Into Lucretia’s World By Suzanne Mueller

During the last decade or so, Eastman has presented sever- female characters. In this staging her character felt al of Britten’s operas under the direction of Steven Daigle: intense personal empathy with Lucretia, as the Female The Turn of the Screw, Albert Herring, A Midsummer Chorus had also experienced rape. Laura explained, “This Night’s Dream, and last fall, The Rape of Lucretia. One role tied the tale of ancient Rome to present day. [I played of Britten’s less frequently produced pieces, this tragedy a] modern woman, victimized by rape, who related her set in ancient Rome but given a Christian framework is trauma to family and friends through literature. She a challenging work for young singers. The can’t come out and say it yet, which makes original version of this article appeared in the drama much more personal and very the Fall newsletter of Friends of Eastman intense. The Female Chorus also speaks Opera. We thank FEO and writer Suzanne for women as a whole as they carry so many Mueller for permission to reprint it. burdens, from folding laundry to planning funerals. At one point the Female Chorus What is it like to inhabit a disturbing oper- sings, ‘Time carries men but time treads atic world of conflict between good and upon the tired feet of women.’ This gives evil? If the opera was written by Benjamin the Female Chorus a universal message.” Britten, according to some starring mem- Laura spoke of her effort to achieve bers of the cast of The Rape of Lucretia, it a balance between acting a demanding is an amazing experience. Britten’s twen- emotional role and performing the music. tieth-century treatment of a tragic ancient “It’s almost scary to indulge in this kind tale of power, corruption, violence, and of show, but it has been an exciting and virtue, was presented by Eastman Opera wonderful experience.” Theatre October 25–28. Ben Curtis, a master’s degree candidate Senior Sophia Feddersen played the role in Voice and Literature, played the villain- of Lucretia for the Thursday/Saturday ous Prince Tarquinius in the Thursday/ performances. Britten’s music is challeng- Saturday performances. Ben, a gregari- ing rhythmically, vocally, and melodically, ous fellow originally from California, said, but Sophia loved the challenge. “Eastman “Britten was a master at setting the text— prepares you technically for emotionally emphasizing words with high notes or low intense roles with music that is clearly notes to convey emotion. I can feel the within a student’s vocal range,” she says. aggression in the character in just the way “This was a chance to employ my skills in it is written in his music . . . it provides the this compelling libretto and disturbing opera of inno- leering, aggressive, single-mindedness of Tarquinius’s cence and corruption.” It was her first experience playing character. I don’t feel I have to or should adopt the per- a character who incurs trauma and suicide. She talked Eastman Opera presented sona of this character. That is a dangerous idea. over the role with friends, teachers, and her parents, Britten’s stark parable of “I try not to overthink it, because I don’t want to com- determining how she would commit to the part while innocence and evil as its plicate it or internalize it too much. I want to perform it remaining secure emotionally, and Steven Daigle direct- fall 2012 production. In one on stage, put it aside, and go home to a nice dinner with ed the opera in such a way that she could manage the role of the two student casts, my wife.” Of his character, Ben says, “Tarquinius was an Lucretia was played by without losing herself. soprano Melissa Fajardo immature man, used to taking anything he desired, and “The biggest challenge to the acting was to play Act and Tarquinius by baritone always indulged his fantasies. We’ve all known people One, before the rape, differently from Act Two when Garrett Obrycki. like that. There is a deep darkness in Tarquinius. There Lucretia is altered by the rape,” she said. From this opera is nothing good about him.” Sophia discerns that rape is an act of power, a tool of All three of the students said The Rape of Lucretia was oppression, and an attack on chastity and innocence. the most intense piece they had ever performed, [but] Laura Osgood is in the third year of her doctoral felt that they could confidently go forward to new venues studies. She played the Female Chorus in the opera at with this role in their repertoire. Their hope is that this the Friday/Sunday performances. The Female Chorus opera will cause people to question, discuss, and take reflects and narrates the thoughts and emotions of the action against the evils of the world.

20 Eastman Notes | Spring 2013 Kate Melton “The Poetry Is In The Pity” By David Raymond

2013 is Britten’s centenary, and 2012 marked the 50th The War Requiem was first performed in 1962 in the anniversary of one of his most celebrated works, the space it was intended for. Acoustically, Coventry left War Requiem, This coincidence led Eastman’s Director much to be desired, but the work was still a tremendous of Choral Activities, William Weinert, to program the worldwide success—of a kind difficult to imagine for a new War Requiem this spring with the Eastman Rochester classical work today, says Weinert. It was performed soon Chorus. It was still a relatively recent work when Weinert after in London and Berlin, and its American premiere first heard it in 1979 in was given in the summer Madison, Wisconsin; since of 1963 by the Boston then he has conducted it Symphony Orchestra once at Eastman, in 1997. under Erich Leinsdorf, By the 1960s Benjamin with Nicholas Di VIrgilio Britten was recognized as (BM ’58) as the tenor solo- a leading opera compos- ist; the performance is er, and perhaps England’s available on a DVD. Britten greatest contemporary led a Decca recording of composer, period. Early the War Requiem with in the decade he was Pears, Fischer-Dieskau, commissioned to write and, finally, Vishnevskaya, a choral requiem mass which sold 200,000 copies to be performed at the in a few months and has re-dedication of Coventry never been out of print. Cathedral, which had The War Requiem has been bombed and nearly retained its initial power destroyed during World and is now considered a War II. Musically, he was classic contemporary cho- an obvious choice for such ral work. a high profile commission; One challenge of per- politically, a somewhat controversial one. Britten was England’s Coventry forming a piece this ambitious is the sheer space needed a pacifist and during World War II was a conscientious Cathedral, partially destroyed for it. The massive undertaking required that Eastman objector—which did not endear him to some people. by Nazi bombs in 1940, was buy a stage extension for the refurbished Kodak Hall, He chose to approach it in an original and audacious the inspiration of Britten’s which juts out over several rows of seats at the front. way. This is a requiem by an imaginative and expert com- War Requiem—and the Britten calls for a large chorus, a children’s chorus, a site of its first performance poser of opera and art songs. Britten uses the traditional in 1962. large symphony orchestra with plenty of brass and per- Latin text of the Requiem interspersed with poems by cussion, a chamber ensemble of 12 players, and three Wilfred Owen, who served in World War I and was killed soloists. Weinert reckons there will be about 300 musi- only a week before the Armistice. His poetry offers a scald- cians involved. ing critique of the waste and folly of war, ”the monstrous The chorus and the soprano (with the full orchestra) anger of the guns,” tempered by a compassionate look at are confined to the Latin Mass for the Dead, as is the the soldiers on either side. As he said in a line quoted by children’s chorus, accompanied by organ. The tenor and Britten on his score: “My subject is war, and the pity of war. baritone soloists sing the Owen poems, with a prismat- Eastman-Rochester The poetry is in the pity. All a poet can do today is warn.” Chorus, William Weinert, ic accompaniment by the chamber ensemble. Britten In keeping with the idea of reconciliation, Britten conducting, performs moves back and forth among these varied and contrasting wrote with soloists in mind who were British (tenor Peter Benjamin Britten’s War forces with almost cinematic vividness. Pears), German (baritone Dietrich Fischer-Dieskau), and Requiem on May 3 at Kodak Huge as the War Requiem is, says Weinert, “Britten Russian (soprano Galina Vishnevskaya, though Heather Hall at Eastman Theatre. Also wrote very cannily for these forces and put them together performing will be Eastman Harper substituted when the Soviet government would Chorale, Philharmonia, with great skill. It’s a very complicated work, but nobody not allow Vishnevskaya to travel to England.). Britten Children’s Chorus, and is asked to sing anything way beyond their capabilities. conducted vocal soloists. In a way, it’s not as difficult as it sounds.”

Robert Lussier Spring 2013 | Eastman Notes 21 Eastman revisits Kurt Weill’s “American Opera” Street Scene A

of SlBy David Raymond ice Life n the late 1940s, Kurt Weill not only was a a German Singspiel like Fidelio or The Magic Flute. The thoroughly assimiliated German émigré, he show was advertised as a “dramatic musical,” but the title was a successful Broadway composer. His big page of the published score announces “Street Scene, An hits were Lady in the Dark and One Touch of American Opera.” Street Scene was produced in Germany Venus, but his shows also included the anti- and by the New York City Opera in the 1950s, and the war musical Johnny Johnson and a modern work has definitely found its home in opera houses. operetta, The Firebrand of Florence. 1947 Eastman itself put on Street saw the production of his most ambitious Scene as early as 1953, then again work, Street Scene—a full-fledged opera for in the early 1990s. The conductor Broadway. (His German theater works with was Kim Kowalke, now profes- Bertolt Brecht, notably the Threepenny Opera sor of musicology at Eastman and Mahagonny, were nearly unknown in the United and Turner Professor of the States, and he preferred it that way.) Humanities in the University’s IIt was based on a Pulitzer Prize-winning play from College of Arts and Sciences. 1929 by Elmer Rice which caused a sensation with its Kowalke’s relationship to the evocation of a day in the life in a New York tenement opera remains constant; in fact, house. The huge cast of characters, many of them recent he is preparing Street Scene for the immigrants, reflects the range of life in the building, but complete edition of Weill’s music. the play focuses on a single family, the Maurrants, whose Eastman Opera Theatre direc- domestic problems culminate in adultery and murder. tor Steven Daigle is staging the Weill had seen Street Scene in Germany, and he recalled 2013 Street Scene in a season which its gritty naturalism when he sought a subject for the included Benjamin Britten’s Rape opera he yearned to write for Broadway. Before the open- of Lucretia (which was also pro- ing, he wrote in the New York Times: “It was a simple duced on Broadway—briefly—in story of everyday life in a big city, a story of love and 1947) and Handel’s Orlando. passion and greed and death . . . And it seemed like a great According to Daigle, there are challenge to me to find the inherent poetry in these peo- numerous practical reasons for a school opera depart- Kurt Weill (1900–1950) ple and to blend my poetry in these people and to blend ment to put on a show as huge as Street Scene. arrived in New York City with my music with the stark realism of the play.” “One important reason is the size of the piece,” says his wife, Lotte Lenya, in the As Weill’s Broadway shows often did, Street Scene Daigle. “Street Scene has a very large cast, and they all 1930s, and soon became brought the composer together with some noted lit- have important roles to play. For all the characters and one of Broadway’s most adventurous composers. erary figures. The Harlem Renaissance poet Langston all the different musical styles that Weill uses, it’s also a Hughes wrote most of the lyrics (firmly guided by Weill) very tight show—it only has one set—so it is also ideal in and Elmer Rice adapted his original script—one reason terms of building a performing ensemble.” Street Scene contains so much dialogue, comparable to Street Scene dates from an interesting period for

22 Eastman Notes | Spring 2013 Getty Images American opera, just after World War II and into the in some cases sing in extreme vocal styles,” says Daigle. 1950s—when works by such composers as Gian Carlo Street Scene includes a blues, a swinging jitterbug (which Menotti (The Consul, The Saint of Bleecker Street) and generally stops the show), a children’s games scene, a Marc Blitzstein (Regina) were not only performed in sweet Rodgers-and-Hammerstein-style ballad for a girl opera houses, but often made their bows on Broadway, graduating from high school, and much more. Most of this sometimes for substantial runs. “Even Stravinsky want- music is given to secondary characters; the leads—the ed to have The Rake’s Progress Maurrants, their daughter Rose, produced in a Broadway the- and their neighbor Sam Kaplan, The original Street Scene ater,” says Kowalke. Street Scene a shy, bookish young man who program cover shows one of the opera’s few lighthearted, was very favorably received is in love with Rose and dreams if ironic, moments: two (in a season that also includ- of running away with her—sing nursemaids reading about ed Brigadoon and Finian’s music of operatic breadth and the murder that occurred in Rainbow). Its 148-performance impact. the preceding scene. run was short for a Broadway Conducting Street Scene made musical, but very impressive for Kim Kowalke realize what a dif- a new American opera. Classical ficult, but rewarding, work it is. music critics and composers such “It is so eclectic—kaleidoscopic as Aaron Copland admired the really—in its musical idiom. It is piece (Kowalke points out that difficult to give all those differ- the young Leonard Bernstein ent musical styles and moments was less impressed—“but then their due while keeping a sense ten years later he rewrote it as of forward motion.” West Side Story.”). Well performed, it all hangs “The idea of ‘American opera’ together, as Weill knew it would. really accelerated in the 1950s,” In a note for the Columbia says Daigle. “With works like The Records original cast recording Crucible, Susannah, and The Tender Land you see com- (produced by the Eastman-trained Goddard Lieberson) posers writing on American subjects and influenced by Weill wrote, “. . . not until Street Scene did I achieve a real American musical styles.” In contrast to those evocations blending of drama and music.” of rural life or American history, Street Scene draws on “A show like this epitomizes our lyric theater pro- urban American pop music of the 1940s. “Weill wanted gram—choosing repertoire that reflects all lyric theater Eastman Opera Theatre to reproduce the music of a summer night in New York forms,” says Steve Daigle. “And while Street Scene is a slice presented Street Scene by Kurt Weill, Elmer Rice, and City,” says Kowalke. of life from the past, it also has a theme that couldn’t be Langston Hughes, April 4–7, “This show calls for well-rounded performers with more relevant today. How do Americans negotiate the 2013 in Kodak Hall at the ability to dance, to act (sometimes in dialect), and melting pot of our society?” Eastman Theatre.

The Kurt Weill Foundation for Music Spring 2013 | Eastman Notes 23 { School News } Delightful, Delectable, Debussy It was Extravagant, it was Inspirational, it was Intimate, it was Theatrical . . . it was The Prismatic Debussy, Eastman’s salute to the 150th birthday of this most innovative and most seductive of composers. The month-long celebra- tion in October brought together almost all departments of the School. “The enthusiasm with which the Eastman community embraced the festival was manifested by numerous con- certs featuring Debussy’s compositions and even new works inspired by him,” says Professor of Musicology Marie Rolf, who was also Artistic Director of The Prismatic Debussy. Things got off to a rousing start on October 13 (Saturday night of Eastman Weekend) with Extravagant Debussy, narrated by Marie Rolf and involving the Eastman School Symphony Orchestra, Philharmonia, Eastman Wind Ensemble, and, in the grand finale from Debussy’s Martyrdom of St-Sebastian, the Eastman Chorale. Theatrical Debussy was an imaginative retelling of his great opera Pelléas et Mélisande . . . without singers! Debussy’s score was arranged for a small ensemble of classical and jazz musicians, accompanied by projected panels from a comic-book retelling of the opera’s story by P. Craig Russell (who was a guest during the weekend and gave a talk about his work at the Memorial Art Gallery). Eastman composers Carlos Sanchez-Gutierrez, David Liptak, and Brad Lubman contributed new musical works to Inspirational Debussy, a Musica Nova concert—their inspiration being Debussy’s evocative piano prelude “Des pas sur la neige” (“Footprints in the Snow”). Debussy was truly prismatic in Intimate Debussy, as Eastman students and faculty members provided a prism concert of non- stop transcriptions of such favorite Debussy pieces as Prelude to the Afternoon of a Faun, “L’Isle joyeuse,” and “Golliwog’s Cakewalk.” Debussy Premieres was a day devoted to study and performance of Debussy’s songs, with internationally known scholars joined by Eastman voice students and guest soprano Elizabeth Calleo (MM ’96). “Eastman’s marriage of artistry and scholarship was front and center throughout,” says Rolf of this day . . . where five Debussy songs were premiered and presented in historical and analytical context.” She adds: “All events were open to the Rochester com- munity (whose positive response, whether at a flash Professor Marie Rolf, director of Eastman’s Graduate mob at a local mall or at a concert in Kodak Hall, was Studies Program and a world-renowned Debussy scholar, overwhelming) and, on the last day, even linked to two For much more hosted “Extravagant Debussy”, the opening night of the information about The locations in the United Kingdom via Internet2 simulcast.” Prismatic Debussy Festival, which featured narration and Prismatic Debussy, visit www. “Audience members at the concert involving the video projections. esm.rochester.edu/debussy/ School’s large ensembles (Extravagant Debussy) were

24 Eastman Notes | Spring 2013 Steve Boerner { School News }

stunned by how immensely varied the composer’s out- organ recital in Leipzig by Felix Mendelssohn, which put is,” says Professor of Musicology Ralph Locke. “The reunited current organ faculty members David Higgs JCM professor Jeff Campbell reports on the Prism concert in Hatch Recital Hall and the video-en- and William Porter with Hans Davidsson; further recitals Eastman Jazz Ensemble’s riched chamber performance of Pelléas et Mélisande by Eastman students, Jacques van Oortmerssen, Robert February 2 performance in revealed how strong the ‘bones’ of his music are: they Bates, and Edoardo Bellotti; and a festive program of con- Chicago’s New Trier Jazz can be fleshed out in different instrumental colors and certos and cantatas by Bach and G.H. Stölzel, featuring Festival: “The band played still weave a magical spell.” the Boston Early Music Festival Chamber Ensemble beautifully for a very large audience of high school under Paul O’Dette. students, their parents, EROI 2013: Bringing Back Bach Plans are underway for the 2013 EROI Festival, whose and band directors. The focuses will be several centuries beyond Bach: Spectrum of festival T-shirt lists the When you think of Johann Sebastian Sounds: Aspects of Twentieth-Century Organ Composition headliner, Count Basie Bach, do you immediately think and Performance, to be held September 26–29. Orchestra, along with the “organ”? If so, you were probably at Eastman Jazz Ensemble, Eastman between September 27–30 so lots of kids will be for this year’s EROI Festival, Bach A Quartet Goes to Washington wearing our name around their respective schools. and the Organ. A student string quartet proudly represented Eastman Our students were able A joint presentation of Eastman at the Inauguration of President Barack Obama in to mingle and converse Rochester Organ Initiative and the Washington on January 21, 2013. Violinists Che Ho Lam with the Basie band American Bach Society, the popular fes- and Markiyan Melnychenko, violist Kelsey Farr, and cellist members; Dennis Mackral tival brought Bach lovers, performers, and scholars to Hyeok Kwon were selected after a School audition pro- [director of the Basie Band] performed with us Rochester for several days of lectures, panel discussions, cess at the invitation of U.S. Senator Charles Schumer, as well. All in all, it was a and of course music. A vast of assortment of Bach’s organ chairman of the 2013 Joint Congressional Committee huge success.” music was performed in mostly sold-out concerts. Many on Inaugural Ceremonies (JCCIC). The JCCIC hosts were at Christ Church, home of the Craighead-Saunders the luncheon, held in the U.S. Capitol immediately fol- Organ, whose clear, penetrating tone makes it an ideal lowing the swearing-in ceremony and Inaugural address. instrument for Baroque music in general, and Bach’s Appearing as the Eastman String Quartet, the students music in particular. performed before a distinguished audience that includ- Highlights included a recreation of an 1840 all-Bach ed President Barack Obama, Vice President Joseph

Courtesy of Jeff Campbell (jazz) Spring 2013 | Eastman Notes 25 { School News }

Eastman’s “inauguration quartet”: Violinists Che Ho Lam and Markiyan Melnychenko, violins; Kelsey Farr, viola; and Hyeok Kwon, cello.

Biden, former Presidents, Senators, Representatives, and Cabinet officials. “This appearance underscores Eastman’s reputation as a music school of the highest caliber, whose alum- ni appear in renowned venues around the world,” said Eastman Dean Douglas Lowry. “Our distinguished alumna Renée Fleming performed during the last inau- guration celebrations, and we’re thrilled that Eastman Fearless, fringey and a students were part of the 2013 inaugural events!” bit freaky: an Eastman- The Eastman String Quartet’s program spotlighted created adaptation of Oscar Wilde’s Salome work by fellow Eastman students: arrangements of featured an eclectic score Copland’s “Hoedown” and the University of Rochester’s and a student cast ready alma mater “The Genesee” by master’s degree students for anything, making for Reuben Allen and Michael Conrad, respectively. The quar- one of the Fringe Festival’s tet also performed music by Haydn, Mozart, Dvořák, and most memorable shows. Scott Joplin, and “America the Beautiful.” The students described the Inaugural Luncheon per- formance as the opportunity of a lifetime. Kelsey Farr attended the Inauguration in 2009, but never expected to be part of the activities four years later. Che Ho Lam recalled watching the 2009 Inauguration on television in his native Hong Kong, and said “it was definitely a privilege” to be part of the current celebrations. Eastman Goes to the Fringe . . . and Beyond From September 19–23, 2012, Rochester’s arts commu- nity walked on the wild side, or at least on the artistic fringe, and Eastman joined in enthusiastically. The first

26 Eastman Notes | Spring 2013 Adam Fenster (Quartet); Gerry Szymanski (Salome) { School News }

Rochester Fringe Festival, which took place at numer- music from Indiana University Notable Visitors ous venues all over downtown, included a number of in 1993, Elder worked in vari- The academic year performances involving Eastman students. One of the ous operations roles for Boston has brought many hits of the Fringe Festival was Hide the Moon: based on University School for the Arts and distinguished visitors Salome, a musical retelling of Oscar Wilde’s Salome; it the Boston and Detroit Symphony to Eastman, as it always used music from Ella Fitzgerald to Björk (arranged by Orchestras. A tubist, he also has does. A sampling of junior Matthew Moisey) instead of Richard Strauss. Part performed as a freelance musician outstanding scholars and performers in our opera, part cabaret, part rock concert, and quite deca- with various ensembles, includ- halls during the past dently appealing on its own. ing the Tanglewood Music Center few months includes: Senior percussionist Peter Ferry presented The Orchestra, Motor City Brass Band, Keith Elder Nostalgia Project, a multimedia performance in Hatch Plymouth Philharmonic, and the The 2012 EROI Festival Hall. The piece is a collaboration between Peter and Matt New England Brass Band. brought the fine mu- sicians of the Boston Evans (BM ’12) with two Rochester Institute Technology Elder received his Jurist Doctorate from New England Early Music Festival students. At the beginning of the piece, Peter asked the School of Law in May 2006 and currently has a pri- Chamber Ensemble, audience to submit photos to him on their smartphones; vate legal practice in Kingston, Mass., where he is the and world-renowned they were added to a bank of other pictures which President of the Plymouth Sunrise Rotary Club. Bach scholars appeared on the screen above his as he performed. Peter “Keith’s leadership, background and enthusiasm will Christoph Wolff of Harvard, Peter Wollny also showed his partner in a performance of Steve Reich’s add a wonderful dimension to Eastman,” said Michele of the Bach-Archive Clapping Music . . . Peter Ferry—and got the audience Gibson, Senior Associate Dean at Eastman School Leipzig, and Peter involved in it as well. of Music. Williams.

Duo Diorama—vio- Keith Elder Eastman’s New Eastman’s 2012 Teaching Assistant award winners were: linist Ming Huan Xu Director of Concert Activities William Cahill Smith, Class Piano; Samantha Inman, Written and pianist Winston Theory; Samuel Bivens, Written Theory; Sora Oh, Sight Choi—were guest In November, Keith Elder, an attorney and former Reading; Matthew T. Evans, Chamber Music Coaching; Erik artists this fall. Their Koski, Music Education Voice Class; and Melanie Pozdol, arts administrator with major orchestras, was named recital included the Secondary Oboe Lessons. “These winners were selected from Eastman’s Director of Concert Activities. In addition premiere of . . . gradu- a finalist group of 15 nominees who had been recommended ally . . . by Professor of to providing leadership to the concert office staff, Keith from their individual departments, “ says Donna Brink Composition Robert advises the Dean on the School’s concert series, manages Fox, Dean of Academic Affairs. “They represent various Morris. all aspects of the School’s performance venues, and over- approaches to teaching: large-group, small-group, and private studio instruction. They are the most accomplished sees the operations of the Eastman Theatre Box Office, On March 6, Leon young teachers within our community, and we so appreciate Theatre Shop, and concessions. Botstein—president of the energy and dedication they bring to our program.” Bard College and a not- After receiving his Bachelor of Science degree in ed conductor and writer on music—delivered the 2013 Glenn E. Watkins Lecture in Hatch recital Hall, on “The Future of Performance and Concert Life in Historical Perspective.”

Gerry Szymanski (Teaching Assistants) Spring 2013 | Eastman Notes 27 { Recordings }

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Tom Nazziola Shirantha Beddage of the Orquestra Sinfonica Cash features T. J. Ricer Patricia Petibon  From Here to There  Identity Brasileira and a Fulbright (DMA ’10) on bass and  Nouveau Monde www.tomnazziola.com Addo Records Professor of Music at vocals, Eric Carlin (MM, DG 479.0079 Available at CDbaby.com www.shiranthabeddage.com the Federal University. It DMA in progress) on guitar features music written by and vocals, Allan Ward The noted early-music so- Tom (BM ’88) explains: This is Shirantha’s (DMA the Brazilian composer (MM and MME) on drums prano offers a collection of “Works from this album ’07) second album as lead- Ney Rosauro, including a and vocals, and Sara Ricer songs and arias by Rameau, span a variety of medi- er; it features his original new two-part work written (Parulski) (BM), vocals. Purcell, Handel, and others; ums including orchestral, compositions as played especially for the occasion. Cash classics like “I Walk among the supporting film, choral, soloist and by a conglomerate of mu- Monica Johnson (also the Line,” “Folsom Prison musicians is baritone Kevin chamber ensemble. A sicians from Toronto and MM ’82) is featured on one Blues,” and “I’ve Been Greenlaw (BM ’95). host of well-known artists New York, including Dave piece as vocal soloist.” Everywhere”, alongside are featured, such as Dan Restivo, Mike Downes, songs ranging from Bob Greg Danner Willis (BM ’91), Jack Mark Kelso, Larnell Lewis, Baton Rouge Marley’s “Redemption  The Music of Morer, Conrad Harris, and Nathan Eklund. Symphony Orchestra Song” to Sting’s “I Hung Greg Danner, Vol. 1: John Arrucci (BM ’80),  Weill/Ibert/Berg My Head” make this a Walls of Zion Doug Oberhamer, Victoria Cynthia Green Libby Concertos Johnny Cash tribute album Available from Rhapsody, Paterson (BA ’93), David  The Lotus Pond Sonoluminus DSL 2161 that brings a different Amazon.com Nyberg, Laura Keopke, Dave MSR Classics energy to the music while Anthony, VocalEssence, and These three concerti were respecting the source. Greg (MM ’80), Professor many others.” Cynthia (DMA ’83) offers all composed between 1923 of Theory and Composition an intriguing program of and 1925 for string instru- Maki Sekizuka at Tennessee Tech Michael Isaacson contemporary chamber ments with wind orchestra;  Yumeji Takehisa and University, presents the  An American Hallel music for oboe by Gamal featured soloists are violin- Taisho Era Romance first volume of his music for Michaelisaacson.com Abdel-Rahim, Do Hong ist John Gilbert (BM ’81), YZBL-2501 winds, including record- Quan, Macelle Soulage, cellist George Work (BM oikawa-classic.com/ ings by the Rutgers Wind Michael (PhD ’79) writes Derek Limback, Elizabeth ’79, MM ’81), and pianist Ensemble, Drake University that when he was Robert Vercoe, and Hilary Tann, a Dmitri Shteinberg, and the Maki (MM ’04), a mezzo Wind Symphony, U. S. Air De Cormier’s teaching guest of Eastman’s Women Baton Rouge Symphony soprano, recently released Force Band of Mid-America, assistant in Choral Music in Music Festival in 2011 Orchestra led by its music this collection of Japanese and the Tennessee Tech at ESM in 1971, strong ties and 2012. director, Timothy Muffitt art songs from the Taisho Symphony Band. were formed that enabled (DMA, ’96). The recording Era (1912–1926). Yumeji them 41 years later to K. David Johnson/ has received rave reviews Takehisa (1884–1934) was a Moira Danis collaborate on this new CD Monica L. Johnson and a Grammy nomination. popular Japanese poet and  Some People’s Lives of Isaacson’s choral music—  Memories of Brazil painter who designed sever- EPD 81124 (available at performed by Counterpoint Available from CD Baby  CASH Back: A Tribute al covers for music publisher cdbaby.com) (accompanied by Diane to the Man in Black Senoo Ongaku Shuppansha. Huling (BM ’75, MM ’81) Dave (MM ’82) writes: Available on Amazon.com The CD features pieces In her third CD, Moira (BM and with the famous actor “Memories of Brazil reflects and CDbaby performed by three more ’80) provides a generous Theodore Bikel as narrator on my years in Rio de Japanese singers with piano helping of cabaret caviar, (see p. 31). Janeiro, as solo timpanist This new tribute to Johnny accompaniment. including songs by Janis

28 Eastman Notes | Spring 2013 { Recordings }

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Ian, Stephen Sondheim, Cy Leslie Norton (BM ’84), Walton—and the “Wedding Carlos Sanchez-Gutierrez artist, with Mozart as a spe- Coleman, Jimmy Webb . . . and Chris Norton (BM ’83, Dance” from Fiddler on  Diaries cialty; he is recording all of and Charles Strouse (BM MA ’86). The first ALIAS the Roof. Urtext Digital Classics that composer’s solo piano ’47): “Anyone Who Loves,” CD, Hilos, was nominated JBCC211 music. Here he turns to two from his 1982 musical for a 2011 Grammy, and Allen Vizzutti popular Mozart concertos, Dance a Little Closer. Moira this one has quickly sold  Ritzville Professor of Composition accompanied by Freiburg introduced Some People’s out its first printing. Available at vizzutti.com Carlos Sanchez-Gutierrez Baroque Orchestra. Gram- Lives at a release party and iTunes has a new CD of recent ophone gave the CD four at New York’s Don’t Tell Bruce Nolan music for large ensem- stars for performance and Mama on December 7.  Brahms: Complete Trumpeter and composer bles: Diaries, performed five for sound, and described Late Works for Clarinet Allen (BM ’74, MM ’76) has by Eastman BroadBand Kris’s playing as “character- Renée Fleming been featured on albums Ensemble, formed at istically thought-provoking.”  Strauss: Der Hommage by Sinatra, Streisand, and ESM by Carlos and fellow Rosenkavalier Mozart: Clarinet Trio, Prince; his latest solo faculty composer Ricardo Nicholas Goluses Decca 0289 478 1507 K. 498; Clarinet Quintet, album, Ritzville, features Zohn-Muldoon.  From Afar K. 581 the legendary Chick Corea Albany Records Renée (MM ’83) plays one and Stanley Clarke, along Nicole Cabell of her most famous roles, The Orchestral Clarinetist with Los Angeles jazz stars.  Silver Rain Professor of Guitar the Marschallin in Richard www.BruceNolan.com Says Allen: “Ritzville is Blue Griffin 253 Nicholas Goluses, who just Strauss’s bittersweet com- (also available from CDBaby, a calling card for a fresh returned from a concert edy, in this performance Amazon.com, iTunes, new musical chapter about A winner of the Cardiff tour of Ireland, recently from Munich conducted by Rhapsody) to unfold.” Song Competition, soprano released From Afar, a sur- Christian Thielemann and Nicole (BM ’01) sings songs vey of solo guitar music by featuring Sophie Koch and Bruce (BM ’75) has had Missy Mazzoli with words by Langston Falla, Ponce, Britten, Mikos Diana Damrau (previously no less than four releases  Song From the Hughes and music by Ricky Theodorakis (of Zorba the released on DVD). Renée in the last year. The CDs Uproar: The Lives Ian Gordon, who accompa- Greek fame), and Joseph won a Grammy for her of Brahms and Mozart and Deaths of Isabelle nies her. Gramophone com- Schwantner, the Pulitzer earlier Decca CD Poèmes masterpieces feature pia- Eberhardt pared Gordon’s songs to the Prize-winning composer (see Eastman Notes, Winter nist Robert Spillman (BM New Amsterdam 42 best of Samuel Barber, and who taught at Eastman for 2012). ’57, MM ’59); Hommage praised Nicole for “a voice many years. includes short solo and This multi-media chamber of arresting opulence and ALIAS Chamber Ensemble chamber works by Debussy, opera by a young compos- intensity.” Do you have music or  Boiling Point: Ravel, Messiaen, Berg, er hailed as “Brooklyn’s performances on a recent Music of Kenji Bunch Stravinsky, and Lauridsen; post-millennial Mozart” Kristian Bezuidenhout or forthcoming CD? Notes Delos DE 3430 The Orchestral Clarinetist by Time Out New York,  Mozart: Piano wants to know! Send promo is a USB Flash Drive with had a sold-out premiere in Concertos K 453 and copies to Eastman Notes, The new music group, Bruce’s performances of ex- February 2012. This orig- 482; Rondo in A, K 386 Office of Communications, ALIAS, based in Nashville, cerpts from a multitude of inal cast CD included the Harmonia Mundi 902147 Eastman School of Music, includes violinist Zeneba clarinet solos in orchestral NOW Ensemble, including 26 Gibbs Street, Rochester, Bowers (BM ’94, MM ’96), literature, from Beethoven soprano Katie Maroney Kris (BM ’01, MM ’04) is NY 14604; or just alert us Licia Jaskunas (MM ’91), to Wagner to Sibelius to (DMA ’10). already a prolific recording that it is available.

Spring 2013 | Eastman Notes 29 { Alumni Notes }

in spring 1950. “Years later, 1930s while I was teaching at the This season is Elizabeth University of South Florida, Jones’s (BM ’39) 61st in we had Dr. Hanson come the alto section of the down and work with our Worcester (MA) Chorus. composition students here Founded in 1858, it is the in Tampa. He immediate- third-oldest community ly remembered all of the choir in America. She is in Eastman graduates on our rehearsal to perform under faculty. I have a warm spot the direction of Christopher in my heart when I recall Shepard. Performances this his memories.” season include Broadway classics, Mozart and Haydn Three friends from the masses, and a concertized class of 1954 had a reunion Carmen, as well as the in Boston in May. Nancy    traditional Messiah. Arnold Berleant (BM ’53, D. Donald Cervone Kenneth W. Megan Burris Roberts has retired MM ’55) (BM ’55, PhD ’70) (MM ’73) to New Hampshire after living in France for 21 1950s  As an early commemo- David Dalton (BM ’59, MM professor emeritus. Dalton years, where she became John Beck (BM ’55, MM ration of his 80th birthday, ’61) was honored at the first met Primrose when the a highly regarded painter. ’62) had a busy year as a D. Donald Cervone (BM 2012 International Viola latter was a visiting artist Doris Bogen Preucil is performer and clinician. ’55; PhD ’70) assembled Congress held at ESM (see at Eastman, in the summer still teaching violin at the In March he attended the former members of The the Summer 2012 Eastman of 1961. school she founded in University of Arkansas Brockport Singers, a cham- Notes) for his advocacy of 1975, the Preucil School of Percussion Festival; in ber chorus he conducted the viola and its literature. Ann (Myers) Patrick Music in Iowa City, Iowa. April he was in residence from 1968–1982, while Included are his published Green (BM ’57, MM ’59) Toni Chandler Rapier is at the Akademia Muzyczna on the faculty at the State collaborations with his announces the publication in her 41st year of playing im. I.J. Paderewskiego in University of New York, teacher, William Primrose, of three piano pedagogy cello in the Boston Pops Poznan, Poland; in May College at Brockport. Two in the great violist’s books: Piano Music for Esplanade Orchestra. Also and July he participated in days of rehearsals culminat- memoir, and Playing the Little Fingers, Primer and included is William Preucil Percussion Rochester (see ed in a public presentation Viola: Conversations with Books 1 and 2, by Dover (BM ’52, MM ’56), Emeritus the Summer 2012 Eastman at the First Baptist Church William Primrose (Oxford). Publications. Professor of Viola at the Notes) and in Eastman’s of Brockport, June 10, 2012. David and Primrose are the University of Iowa. Summer Percussion The program included co-founders of the Primrose Vance Jennings (BM ’50) Institute. He returned to the first performance of International Viola responded to fellow alum Poland in August to partic- Cervone’s second setting Archive at Brigham Young John Ricca’s request for 1960s ipate in Międzynarodowe of the text of Nunc dimitiis, University, the world’s larg- anecdotes about Howard In summer 2012, Elizabeth Forum Perkusji (Żagań), composed especially for est repository of materials Hanson in the last Eastman Buccheri (MM ’66, DMA participated in Giornate the occasion in memory related to the instrument. Notes. He played princi- ’79) was appointed Head della Percussione as a of deceased members of Dalton was president pal clarinet in the Senior of Music for the Aspen judge and clinician, and the Singers and deceased of both the American Symphony under Hanson, Opera Theatre. The Aspen in October-November colleagues of the Music and International Viola performing the Debussy website reads: “Pianist/ attended the Percussive Department. Societies, and is now BYU Rapsodie under his baton Coach Elizabeth Buccheri Arts Society International has enjoyed a decades-long Convention in Austin, TX. career in opera. She has worked at the highest  Arnold Berleant (BM international level in her ’53, MM ’55) just published long associations with his eighth book, Aesthetics Lyric Opera of Chicago and beyond the Arts: New and the Chicago Symphony Recent Essays (Ashgate Orchestra. In recent years, Publishing Limited), a book Buccheri has served as of essays written over the Chair of the Artistic and past decade which contin- Awards Committee of the ues Berleant’s wide-ranging Solti Foundation U.S., which investigation of aesthetic provides monetary support experience, not only in the for the careers of young arts but in nature, the city, American conductors. Since and environment in gener- 1999, Buccheri has men- al. Arnold has lectured na- tored collaborative pianists tionally and internationally, at Northwestern University, and his books have been many of whom now work translated into Chinese, in opera companies and Greek, and Polish. universities in the United  Jennifer Sayre (BM ’71, MM ’72) States and Canada.”

30 Eastman Notes | Spring 2013 { Alumni Notes }

Bill Cahn (BM ’65) and his colleagues in Nexus (who include Bob Becker BM ’69) performed Steve An Unforgettable Eastman Reunion— Reich’s Clapping Music and Mallet Quartet at Toronto’s After Forty Years Royal Conservatory of In 1972, 26-year-old Michael Music on October 11, 2012. Isaacson (BM ’69) was a new The concert celebrated the 30th anniversary Eastman PhD student in composi- of the Soundstreams tion with Warren Benson, Rayburn Contemporary Music Wright, and Samuel Adler. Because Series; Musical Toronto of his experience as a high school said Nexus performed “with choral conductor for the New York such ease and grace, each of the performers were like City Board of Education, Michael extensions of each other.” was offered a teaching assistant- ship with the new Professor of On September 11, 2011, Choral Music, Robert De Cormier, Raymond Egan (ESM ’67) then in his early fifties. De Cormier conducted the premiere of his In Memoriam 9/11 for was musical director for Harry a cappella mixed chorus in Belafonte and Peter, Paul and Mary, Los Angeles. as well as Director of the New York Choral Society. Michael was thrilled 1970s to be learning the popular and clas- Geary Larrick (MM ’70) sical sides of the choral arena. has publication references Michael tells the rest of the story: in RILM Abstracts of Music “The De Cormiers were social peo- Literature (46), Books in ple . . . and often served as musical flown by so quickly?” I immediately Print (10), Music Index parents to the graduate students. Robert DeCormier, Louise De called to congratulate him, telling (86) and WorldCat (127). Cormier, and Michael Isaacson, During my assistantship, I pre- him that the CD sounded like the Geary performs each week reunited last year to record on solo marimba at Saint pared Chichester Psalms, sang in Michael’s American Hallel— work of a conductor in his prime. Paul’s United Methodist De Cormier’s performance of see “Recordings,” p. 28. “How can you retire, Bob? You Church in Stevens Point, Beethoven’s Ninth, and most sig- have at least one more CD that you Wisconsin. nificantly watched the maestro must conduct!’ ‘What’s that?’ he  The Director of the teach, rehearse, and relate to the singers in Eastman’s inquired, and I responded ‘A CD of my choral music— United States Coast Guard choral ensembles in music from the Renaissance to performed like only you can make the music happen.’ Band, Kenneth W. Megan the 20th Century. After a thoughtful pause De Cormier answered, ‘If you (MM ’73) was promoted “After graduation I moved to Los Angeles, where I get the financing, I’d be honored to conduct a program to the rank of Captain in carved out a busy career in academic and commercial of your music.’ the United States Coast Guard. Coast Guard composition and assisted film composers Alex North, In Fall 2012, they were reunited in Montpelier, Academy Superintendent Elmer Bernstein, and Walter Scharf. The De Cormiers Vermont, for a live Counterpoint performance of Rear Admiral Sandra Stosz and I kept in touch about our families and work proj- 66-year-old Isaacson’s An American Hallel with presented the commission ects. De Cormier recommended me to the Boston Pops, 91-year-old De Cormier conducting and Louise De to Kenneth in a ceremony providing orchestrations for John Williams and Joan Cormier elegantly narrating, The Seven Deadly Sins, during the Band’s con- cert at Fort Trumbull on Baez. I helped De Cormier produce CDs for the De with a libretto by east coast poet Nicholas Gordon, September 2, 2012. Over Cormier Singers and Counterpoint, a Vermont choral and Kohelet, a capella settings from Ecclesiastes. That the span of his career, group De Cormier had founded. For the Arabesque weekend they met again in Burlington, to record Kenneth has earned two label, we co-produced two CDs of operas from Terezin the program professionally for the ECM label. (See Coast Guard Meritorious [WWII concentration camp] by Victor Ullman and “Recordings,” p. 28.) Service Medals, two Coast Guard Commendation med- Hans Krasa. Michael concludes: “This heartwarming story of als, and the Coast Guard “Recently, as was his custom, De Cormier sent me a reunion that enabled creative networking, lifelong Achievement Medal. the latest CD of his own choral compositions and mentoring, and a mutually loving and respectful musi- arrangements, performed by Counterpoint. The cal relationship between teacher and student is true Ted Piltzecker (BM ’72) music and singing was, as expected, first rate. But I example of how Eastman continues to bring music to appeared as a guest per- former and composer at the was taken aback to read that De Cormier was retiring as the world by creating lasting communities of older and 10th Festival Internacional Counterpoint’s director because he had turned ninety! younger musicians. Now we’re happily thinking about de Percusión in Patagonia, “How could this be?” I thought; “How has time another CD we can create together.”

Courtesy of Michael Isaacson Spring 2013 | Eastman Notes 31 { Alumni Notes }

Argentina last July. In College, Annapolis). Carter Los Angeles again and (Hubbert) Lawson (BM quartet arrangements for October he performed at died on November 5, 2012, performing as a percus- ’86) was recently appoint- Village Vanguard Orchestra Kennesaw State University a month short of his 104th sionist for the Hollywood ed Elementary Music saxophonist Gary Smulyan in Georgia with Japanese birthday. Cirque production IRIS, A Teacher at Manitou Springs and legendary bassist artists Kenny Endo and Journey Through the World Elementary School, in George Mraz for a per- Yoko Kimura, and in On November 8 and 10, of Cinema. Film composer Manitou Springs, CO. John formance at New York’s February he returned to Jeff Tyzik (BM ’73, MM ’77) Danny Elfman wrote the adds: “We continue to live Birdland on September 30. South America as a guest at conducted the Rochester musical score.” in Florissant, CO, adjacent His new woodwind quintet, “Vibraciones,” an inter- Philharmonic Orchestra to the Florissant Fossil Beds Switchbacko was pre- national vibraphone and in the first performance Donald Zimmer (BM National Monument, with miered in Los Angeles on marimba festival in Lima, of his Images: Musical ’75) recently retired as our boys. Harry (age 18) November 12 by Midnight Peru. Ted is a professor of Impressions of an Art Concertmaster of the attends the University of Winds. music composition at the Museum. The 40-minute Chattanooga Symphony Colorado, and Aubrey (age SUNY Purchase, and was work, written to celebrate and Opera Orchestras after 15) attends the Fountain Eight ESM Alumni/ recently promoted to First the centennial of the 34 years of service. He was Valley School.” Faculty were among the 24 Pilot for the United States University’s Memorial honored at the opening performers and composers Coast Guard Auxiliary. Art Gallery, brings to life Masterworks concert in Stacia Lewandowski (BM featured at this summer’s seven works in the MAG September. He continues ’83) writes: “I am happy to Portland (ME) Chamber  Harpist Jennifer Sayre collection. Jeff has been to teach full-time at the announce that I have a new Music Festival, which cel- (BM ’71, MM ’72) performed the RPO’s Principal Pops University of Tennessee at pair of books out: Light, ebrated its 19th season in 16th-century Spanish music Conductor since 1994 and Chattanooga. Landscape and the Creative August: violists Lawrence along with soprano Karol has frequently led his music Quest: Early Artists of Neuman (BM ’87) and Steadman as a featured on the subscription series Santa Fe and Walking in Carol Rodland, cellists artist at the American as well. 1980s the Path of the Artists, both Brant Taylor (BM ’99), Harp Society National Gilya Hodos (BM ’87) published by Salska Arts, Marc Johnson (BM ’68), Conference in New York Gordon Stout (BM ’74, MA is President for the Santa Fe, NM.” and Natasha Brofsky (BM City in July. Jennifer ’80), professor of percus- Pennsylvania Music ’87), violinists Jennifer performed on a rare repro- sion at Ithaca College, Teachers Association. Kate Light (ESM ’80, ’82) Elowitch (Artistic Director, duction of an arpa de dos was inducted into the She is also the Artistic writes: “The Life and Love BM ’88) and Robert órdenes (cross-strung harp). Percussive Arts Society Director for The Dean’s of Joe Coogan, an opera Lehmann (MM ’92), and Attending the concert were Hall of Fame in November Concert Series at Thomas based on a Carl Reiner composer Michael Alec Jennifer’s students Renee 2012. Gordon was recog- Jefferson Medical College episode from The Dick Rose (PhD ’85). David of Arroyo Grande, nized for his contributions in Philadelphia, and the Van Dyke Show, with my CA, and Toni Krall of San to percussion performance, Music Director for the Bala libretto and music by Paul Oboist Jacqueline Leclair Luis Obispo, CA, plus for- scholarship, and commit- Cynwyd Library Concert Salerni, was performed in (BM ’88) has moved mer student Leslie Warren ment to the percussion Series. A faculty member at November by the Otterbein from Bowling Green Lin (BM ’86), of New York profession. His Mexican Penn State Abington, Gilya University Opera Theater State University (Ohio) City. Leslie was also active Dances is a standard also maintains a vibrant at Battelle Fine Arts Center to McGill University’s as an organizer of the piece for marimba players and active piano studio in in Westerville, OH. Our Schulich School of Music conference. throughout the world—and Merion Station, PA. one-act “sitcom” opera was in Montréal. She was oboe was written when he was a paired in performance with professor at BGSU for five Kathleen Tesar (BM ’79) junior at Eastman. John Lawson (BM ’84), Douglas Moore’s one-act years, and also the Director is celebrating 10 years at after 25 years as Second opera Gallantry.” of the MidAmerican Center The Colburn School in  Ron Wagner (BM Bassoon, recently audi- for Contemporary Music Los Angeles. Currently ’76) writes: “After living tioned and won the position This summer and fall saw for two years. At McGill, Associate Dean in the in Japan for three years of Principal Bassoon with performances of several Leclair is full-time oboe Conservatory of Music, playing percussion for the Chamber Orchestra important compositions professor and Chair of the she moved to Colburn the Cirque Du Soleil of the Springs, Colorado by Dan Locklair (DMA Woodwind Area. after serving four years show ZED, I am living in Springs, CO. Elizabeth ’81) In the Almost Evening as Eastman’s Director of (1983) for soprano, Admissions. Kathy oversees clarinet, and piano was 1990s admissions, registration, performed November 11 Joseph Byrd (MM ’96) is a international students, at Wake Forest University Facilitator-in-Training with probation/retention, and (Winston-Salem, NC); Shakespeare Behind Bars, compliance with state From the rising of the the oldest program of its licensing. sun . . . for brass, per- kind in North America, of- cussion, and organ was fering theatrical encounters One composer on anoth- premiered on September 9 with personal and social er: Hollis Thoms (PhD in Atlanta; Dance the Joy! issues to the incarcerated, candidate ’77–’79) recently for organ was performed allowing them to develop published an article entitled at the London Festival of life skills that will ensure “Rolling His Jolly Tub: Contemporary Church their successful reintegra- Composer Elliott Carter, Music in May. tion into society, exclusive- St. John’s College Tutor, ly the works of William 1940–1942” in The St. Bevan Manson (BM ’81, Shakespeare. It is the John’s Review (St. John’s  Ron Wagner (BM ’76) MM ’83) wrote string subject of Philomath Films

32 Eastman Notes | Spring 2013 { Alumni Notes } award-winning documenta- operatic counterparts of ry Shakespeare Behind Bars Frank Sinatra, Laurence (2005). Harvey, Janet Leigh, and Angela Lansbury.  Flutist Linda Chatterton (BM ’90) did Omri Shimron (BA a series of concerts and ’97, MM ’00, MA ’04, master classes in Iceland, DMA ’04) was recently England and Thailand this awarded tenure at Elon year, performing the music University and promoted of Roberto Sierra, Tania to Associate Professor in Leon, Edie Hill, and the the Department of Music. premiere of Ailis Ni Riain’s During the 2011–2012 chainstitchembroidered academic year, he per- in August at the British formed and lectured on Flute Society convention in Frederic Rzewski’s The  Jeremy Gill (BM ’96) Manchester. In the United People United Will Never States, her contemporary Be Defeated at Duke, music group Ensemble 61 Winthrop University, premiered Aaron Travers’s and at Virginia Tech. He (MA ’03, PhD ’05) Now Say completed a recording of Nay in St. Paul, MN. Linda this work in August 2012 recently received an Artist at the University of South Initiative grant from the Carolina School of Music. Minnesota State Arts Board In July 2012 he returned to and a Next Step grant the Chautauqua Institution, funded by the McKnight joining hands with Foundation. ESM Professor Rebecca Penneys, and alums John  Jeremy Gill (BM ’96) Milbauer (BM ’92) and edited and wrote the intro- Nicola Melville (MM ’92, duction for George Roch-  Christopher Heacox DMA ’98) for an annual berg’s A Dance of Polar  Linda Chatterton (BM ’90) (MM ’97) eight-hand/two-piano Opposites: The Continuing concert. In 2012–2013 he Transformation of Our Mu- Eastman Notes, Summer New York City made an Orchestra, led the PSO is scheduled to perform a sical Language, published 2012). At this convention, unusual discovery when he in its first concert of the solo recital at Randolph this fall by University of she was asked to perform answered a Craigslist ad season in October, with College (VA) and will be Rochester Press. In this in a memorial concert for offering old records: four Mason Bates’s Mothership, presenting two chamber book the renowned Ameri- piccolo instructor Jack 78-r.p.m. acetate discs of Tchaikovsky’s Piano recitals at Elon. He and his can composer, who died in Wellbaum, the former Kurt Weill’s Railroads on Concerto No. 1 with Andrew partner Huan (and their 2005, distilled a lifetime of piccoloist of the Cincinnati Parade—music for a patriot- Russo, and Copland’s two cats) now reside in insights about Western mu- Symphony (1950–1990). In ic pageant presented at the Symphony No. 3. The Greensboro, NC. sic across 300 years—and September 2012 she pre- 1939 New York World’s Fair, Portland Press Herald painted a picture of what he sented Bloch’s Suite Modale and a work that even Weill called it a “concert decid- D. J. Sparr (BM ’93) was believed our musical future with chamber orchestra scholars did not know had edly worth attending,” and commissioned by the may be. in the Springfield-Drury been recorded. Among the noted that the Tchaikovsky Washington National Music Festival, directed scholars Walker consulted and Copland pieces re- Opera to write a one-hour Aaron Goldman (BM by Christopher Koch were Eastman Professor of ceived standing ovations. opera, The Tao of ’99) recently won the (BM ’93). Musicology Kim Kowalke Muhammad Ali (A Ghost Principal Flute position in of the Weill Foundation for Kevin Puts (BM ’94, Story), with librettist Davis the National Symphony  In August 2012 Music, and bruce mcclung DMA ’99) is writing a new Miller. The project is part Orchestra, Washington, DC. Christopher Heacox (MM ’87, MA ’89, PhD ’95), opera based on the classic of WNO’s American Opera (MM ’97) was hired as the who wrote a book about Cold War spy thriller The Initiative. Mentors for the Maria Harding (BM ’93) executive director of The Weill’s Broadway musical Manchurian Candidate, program include composer is celebrating her 16th Florida State University’s Lady in the Dark and is to be performed by the Jake Heggie, librettist Mark season as Principal Flutist fine and performing working on one about Minnesota Opera in Campbell (see the entry with the Omaha Symphony. arts series Seven Days the music performed at 2014–2015. Kevin’s first for Kevin Puts, above), and In August 2012, she was of Opening Nights. The the World’s Fair (whose opera, Silent Night, won conductor Anne Manson. invited to perform at the multi-disciplinary series composers besides Weill the 2012 Pulitzer Prize for Also part of the project is National Flute Association presents music, dance, the- included Aaron Copland, music. Mark Campbell, the Scott Perkins (MA ’04; Convention’s ceremony atre, film, visual arts, and lit- Sir Arthur Bliss, and Ralph librettist of Silent Night, MA ’10; PhD ’11; see under honoring Eastman Flute erature September through Vaughan Williams). will provide the libretto 2000s). Professor Bonita Boyd (BM May including a two week based on the Richard ’71) as Ms. Boyd received festival in February. Robert Moody (MM Condon novel and John Casey Gavin Springstead a Lifetime Achievement ’91), Music Director of Frankenheimer film. No (BM ’97, MM ’99) is the Award from the NFA (see In 2007, Guy Walker of the Portland Symphony word yet on who will be new music director of

Spring 2013 | Eastman Notes 33 { Alumni Notes } the Hochstein School of his retirement in 2009. ’09) was a winner of the Music’s Youth Symphony Stephen can be heard with 2012 Young Concert Artists Orchestra. Casey is also the Chicago Symphony on International Auditions, director of the Hochstein the soundtrack of Lincoln, held on November 10 at School’s Youth Wind written by John Williams. the 92nd Street Y (NYC). Symphony, a member Each First Prize Winner will of Hochstein’s resident be presented next season ensemble.Twenty.21, and 2000s in three major debuts: at is active as a collabora- Baritone Andrew Bawden Merkin Hall in New York, tive pianist. Since 1999 (MM ’08) was awarded the Kennedy Center’s he has been a junior and Second Place in The Terrace Theater, and senior high instrumental American Prize in Vocal Boston’s Isabella Stewart music teacher in the West Performance’s Friedrich & Gardner Museum. Irondequoit (NY) School Virginia Schorr Memorial District. Award, college/university Guy Capuzzo (ESM ’00) art song division, for 2012.  Stephen Williamson (BM ’91) is Associate Professor  Stephen Williamson Andrew also won The of Music Theory at the (BM ’91) was recently American Prize – Chicago (BM ’06) recently gave ’06) writes: “I have had University of North announced as the new Opera Award in the spring a solo recital at the two releases this year: One Carolina–Greensboro. His principal clarinetist of the of 2012. Andrew, who won Chicago Cultural Center is Hold Tight EP on an book Elliott Carter’s “What New York Philharmonic. Rochester’s Classical Idol in Preston Bradley Hall international techno label Next?”: Communication, Stephen, who was previ- Competition in 2007, has for the Women’s Club of from Toronto, Thoughtless Cooperation, and ously with the Chicago recently performed with Musicians “Award Winners Music. And the other, Separation was recently Symphony Orchestra and Opera Vivente, Ash Lawn in Concert” Recital Series. released in August, is published by the University the Metropolitan Opera Opera Festival, Hubbard The recital featured works Pattern Patterns EP on of Rochester Press. Orchestra (2003-2011), Hall Opera Theater, and of Bach, Mozart, Bellini, Mexican City’s techno label replaces Stanley Drucker, Tri-Cities Opera. Larsen and others. Panta Muzik.” James Hirschfeld (BM the orchestra’s principal ’03) and John Pickford clarinet for 60 years before Soprano Megan Bell Ethan Borshansky (BM Soprano Julia Bullock (BM Richards (BM ’02, MM

It’s always a great time to reconnect with fellow Eastman School of Music alumni! The Rochester Alumni Exchange – a free online service - offers a variety of ways to keep Eastman and all of the University of Rochester’s schools connected to their alma mater and the 100,000 other Rochester alumni around the globe. These services include: Rochester Career Advisory Network All-Alumni Directory Create a profile and help other alumni and students in their Search a directory of all Rochester and Eastman alumni career choices. If you are interested in changing jobs or to find former classmates and alumni in your hometown careers, connect with other alumni who can share advice. or who work in your field or industry. Class Notes Facebook Connections Have a new job, perhaps expanding your family, or looking Are you a member of the largest social networking to just catch up? Use Class Notes to share your news and community? With just a few clicks, you can connect see what your classmates are doing. your Alumni Exchange and Facebook profiles and add Events Calendar Class Notes to your Facebook page. Find and register for alumni events around the world. It’s easy to do securely and quickly.

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34 Eastman Notes | Spring 2013 { Alumni Notes }

’04), who met while at will tour and record the Patrick Walle (BM ’09) Eastman, were married violin and piano encore. My is the new Third Horn/ July 6 at the Common opera Buried Alive is being Associate Principal Horn of Ground Center in developed by American the Nashville Symphony. Starksboro, VT. James is Lyric Theater and my opera a freelance trombonist in Maren of Vardo: Bride New York, and John is vio- of Satan is being work- 2010s list and executive director shopped at Center City Professor of Flute Bonita for the JACK Quartet. Opera. I am the Con Edison Boyd announces “Great Composer in residence at news from the Eastman Matilda Hofman (’09) has the Bloomingdale School Flute Studio! Luke been named the artistic of Music in NYC where I Fitzpatrick (BM ’10) director-conductor of the am working on a piece for won the Principal Flute Diablo (CA) Symphony, cel- the school’s strings and a position in the West Point ebrating its 50th anniver- requiem for JACK Quartet Band! Laura Kaufman sary season. Matilda kicked with Martha Cluver. “ (BM ’11) won First Prize off the season in October in the National Flute at the Lesher Center for the The “IfCM Collective” Association’s 2012 Young Arts in Walnut Creek. from the Institute for Artist Competition. Creative Music travelled Congratulations!” (For Leila Kelleher (MM ’07) to Northwestern Montana news of another Boyd writes: “My husband, and Washington during student, see Aaron  Peter Franck (PhD ’07) So Yoon Lee (MM ’02) the week of November 5 Goldman, 1990s.) was awarded the 2012 to present workshops and Outstanding Publication concerts with the support of Lin Lo-an (MM ’12) won by the Society of Music a Plum Creek Foundation the gold medal in the San Theory at their conference Great Classrooms Grant. Antonio International in New Orleans last week. It Led by drummer Chris Teal Piano Competition in is awarded for the most out- (MM ’09) and trombonist October, earning a $15,000 standing publication in the Nick Finzer (BM ’09), the prize and the opportu- field within the last 3 years group includes pianist nity to perform with the (and is awarded yearly).” Chris Ziemba (BM ’08, San Antonio Symphony. MM ’10), trumpeter Mike She was also honored for Pianist Alexandria Le (BM Kaupa (ECMS instructor) best performance of a ’05) is currently pursuing a and bassist Matthew Baroque work. DMA at SUNY Stony Brook Golombisky. During the (where she received an quintet’s 10-day tour, they Katie Maroney (DMA ’10) MM in 2007). She won the connected with over 1300 writes: “I’ve been singing Pro Musicis International  Mike Tetreault (BM ’01) students from sixth grade in NYC, constantly coming Award in September 2011, to University level, with across other Eastman and presented Carnegie She is a piano faculty music theory, and musi- a vibrant approach to alumni, which is wonderful, Hall (Weill Hall) and member at Texas Southern cianship. Current projects improvisation for all, song and an exciting thing I’ve Pickman Hall (Cambridge, University in Houston, TX. include a commission from learning, composition, been a part of this past year MA) solo debuts to glow- the Washington National performance, and (and continuing into 2013) ing reviews in April and Abigail Levis’s (BM ’09) Opera for a short opera technology. is the world tour of Einstein January 2012, respectively. performances this fall with librettist Nat Cassidy, on the Beach with the Philip She was also a winner of included recitals with performed at the Kennedy  Percussionist Mike Glass Ensemble and Robert Emerson String Quartet’s pianist Jonathan Ware in Center on November 19; Tetreault (BM ’01) was Wilson. There are a couple Ackerman Chamber Music the New York City area a commission from the unsuccessful in a January of other ESM people in Competition in April and in Portland, ME, and National Guild of Organists 2012 audition with the production—Hai-Ting 2012, and selected in May an appearance as alto for a work for choir and the Boston Symphony Chinn and Joe Damon 2012 to join Ensemble soloist in Messiah at the organ to be premiered at Orchestra, but his expe- Chappel are both also ACJW (run by Carnegie Ogunquit (ME) Playhouse their national convention rience was detailed in a singing, and David Crowell Hall, Juilliard, and the on December 8. in 2014; and the score for National Public Radio inter- plays with the Philip Glass Weill Institute). a film by Emmy-winning view with Guy Raz last July. Ensemble (Woodwind 3) Hornist JG Miller (BM ’06) director David Marshall. “If I think about these audi- so he’s involved naturally.  So Yoon Lee (MM ’02) was named a member of the tions and those processes Andrew Sterman is also an performed the Mozart U.S. Army Field Band. Jeff Myers (BM ’03) writes: and narrative in which each ESM alum, and has been Piano Concerto No. 26 with “We recently welcomed chapter is lightly improved playing with Philip Glass the Galveston Symphony Composer Scott Perkins Maximilian August Myers than the previous, then I’m for over 20 years. (See Orchestra in November (MA ’04; MA ’10; PhD into the world June 11 in encouraged,” Mike said to “Recordings,” p. 29) 2012, under conductor Roy ’11) was recently appoint- Honolulu, Hawaii. In the Raz. “I’m an infinitely better Ochoa. Dr. Lee is scheduled ed Assistant Professor same month I won the player having gone through University of British to have her recital series at of Music at DePauw Hilary Hahn online encore the preparation.” Check Columbia School of Music Fort Bend Recital Hall in University, where he teach- contest with my piece the npr.org for a transcript of recently announced the Stafford, TX in next spring. es courses in composition, angry birds of Kauai. She Mike’s interview. appointment of conductor

Spring 2013 | Eastman Notes 35 Eastman Jonathan Girard (DMA Gladys Apitzch Shell ’12), as Orchestra Director. (BM ’38), March 2013 Jonathan will conduct the UBC Symphony Orchestra 1940s and teach conducting Ruth D. Barnard courses. In the 2012–13 (BM ’40), September 2012 season he also conducts the Anthony J. Camesano MAIL UBC Chamber Strings. (x ’46), January 2012 A free monthly newsletter for Theodore S. Cline Eastman School of Music alumni, T. J. Ricer (BM ’10) (x ’48), September 2012 is now teaching Tuba, Alan J. Cope parents and friends Euphonium, and Music (MM ’46), August 2012 Education at the University Janice R. Elliott of Hawaii-Manoa, and (MM ’46), February 2013 plays tuba with the Royal John Leland Golz Hawaiian Band. (BM ’42, MM ’47), September 2012 Conner Gray Covington Phoebe Hansen (MM ’12) is Assistant (BM ’48), January 2013 Conductor of the Memphis Gloria (Greene) Iacone Symphony Orchestra, con- (BM ’48), November 2012 ducting various community Marian L. Jones and outreach concerts (x ’47), October 2012 while working closely with Ezra L. Kotzin Music Director Mei-Ann (BM ‘41), October 2012 Chen. Conner is also Music Lois J. Lambie Director of the Memphis (MA ’43), February 2013 Youth Symphony Program. Elaine M. Majors This past May, Conner (BM ’49), October 2012 competed in the Malko Ferdinand D. Pranzatelli Conducting Competition in (BM ’42), December 2012 Copenhagen, and was the Howard Scott youngest participant to ad- (BA ’41), September 2012 vance to the third round. In Elizabeth Seager Denmark he conducted the (MA ’48), January 2011 Danish National Symphony Alan R. Sigel for a jury headed by Lorin (MM ’47), March 2013 Maazel, and he recently Robert Murrell Stevenson competed in the Tokyo (PhD ’42), December International Conducting 2012 Competition. 1950s Stanley Mark Ackerman IN MEMORIAM (MM ’58), January 2013 The “Eastman Advantage” continues long after William F. Briggs graduation; in fact, if often lasts a lifetime, as our 1920s (MM ’58), March 2013 alumni maintain professional and personal contact with Carrie S. Day Virginia R. Brubaker (BM ’29), February 2013 (MM ’53), October 2012 each other — and with their School itself. Jacob Hamm 1930s (MM ’56), September 2012 EastmanMAIL, our monthly e-newsletter, will help you Vivian A. Bradshaw Charles T. House to do just that. Eastman is working to increase our (BM ’38), January 2013 (BM ’57), March 2013 Clark Brody David E. Jensen alumni outreach, and EastmanMAIL will provide you (BM ’36), November 2012 (BM ’55), August 2011 with announcements of alumni events in your region Lillian DeHart Robert T. Leblanc and elsewhere, important information about events at (x ’38), January 2013 (MM ’59), December 2012 Eastman, and much more useful news. O. Lee Gibson Mary Ruth Leonard (MA ’38), January 2013 (MM ’50), March 2013 Willis H. Page Stanford L. Martin To sign up for EasTmanmaiL, go To (BM ’39), January 2013 (BM ’50, MM ’52), www.esm.rochester.edu/alumni/publications/eastmanmail Angelina M. Parnall March 2013 (BM ’39), September 2012 Roland F. Moritz Previous issues are also available for your review. Norman Peterson (BM ’51, MM ’52), (BM ’30), November 2012 January 2013 Sara Riel Sally Lou Norem (x ’39), January 2013 (BM ’53), January 2013

Eastman_Mail_Ad_Spring13.indd 1 3/21/13 2:03 PM { Alumni Notes }

John V. Sinclair (MM ’50), March 2013 Jean Sloop (MM ’56, DMA ’75), September 2012 Noel S. Stevens (BM ’56, MM ’58, DMA ’59), February 2013 Marion Undhjem (MM ’51), February 2013 Lucille Van der Wyk (November 2012), MA ’53 Robert R. Vehar (MM ’59), January 2013 John W. Woldt (PhD ’50), January 2013 Ruth (Griffith) Yunker (BM ’52, MM ’53), November 2012

1960s Virginia Halfmann (BM ’65), November 2012 Marjorie Hartzell (BM ’60), January 2013 Dennis C. Kain (BM ’61), September 2012 In the late 1980s, Mary Joanne E. Robertson Wallace Davidson guided (MM ’66), August 2012 the Sibley Music Library Janet Sheldon to its new home in (MM ’60), April 2012 Miller Center. Lawrence R. Singer (BM ’64), December 2012 Tribute Joan W. Stanley (BM ’61), January 2013 Leigh D. Steiger Mary Wallace Davidson (BM ’68, MM ’73), Mary Wallace Davidson, Librarian of the Sibley Like her predecessors at Sibley, Mary built strong April 2012 Music Library from 1984 to 1999, died on October collections of books, scores, and recordings. Julia Sumberg Sutton (PhD ’62), July 2012 11 in Danvers, MA. Prior to coming to the Eastman Her work in continually developing the collections Robert G. Whitmore School of Music, Mary worked as a music specialist here is her invisible, but no less important, legacy. (PhD ’64), August 2012 at the Brookline (Mass.) Public Library (1962–1964), Faculty and students don’t know when they are using David Russell Williams Music Librarian at Radcliffe College (1964–1967) resources that Mary selected, but her work here includ- (PhD ’65), December and subsequently at Wellesley College (1967–1984). ed much in the way of developing and conserving the 2012 Mary concluded her career as Head of the Cook Music collections that will always be fundamental to teaching 1970s Library at Indiana University (2000–2004), before and learning, performance and scholarship at Eastman. Sherry Zannoth Cavalli retiring to the Boston area, where she volunteered Mary was a respected leader in the Music Library (MM ’72), November her time caring for the distinguished library of the Association, which she served as President from 1983 2012 Harvard Musical Association. She contributed a chap- to 1985, and in the International Association of Music Stanley Jack Gaulke (DMA ’78), June 2012 ter on “John Sullivan Dwight and the Harvard Musical Libraries, whose United States branch she served as Quentin Lee Lane Association Orchestra: A Help or a Hindrance?” to President from 2005 to 2008. In 1998 Mary received (MM ’73), January 2013 American Orchestras in the Nineteenth Century, ed. the highest recognition given by the Music Library Annette LeSiege John Spitzer (University of Chicago Press, 2012). Association, the Citation for Distinguished Service to (PhD ’75), August 2012 Mary’s most visible legacy at Eastman is the won- Music Librarianship. 1980s derful building that houses the Sibley Music Library. Beyond her enormous accomplishments as a music Douglas Howard Frew Dedicated in 1989, the building continues to look and librarian, Mary was a generous and caring person, one (BM ’80), January 2013 function very well. Mary designed the building with who invariably inquired about family members and Tallon Sterling Perkes space for our collections to grow; we still have signifi- delighted to keep up on the lives of her colleagues’ chil- (BM ’84), October 2012 cant expansion space for the circulating collections—a dren. We at Eastman were privileged greatly to have her 1990s rare circumstance among libraries these days. Many here—as librarian, colleague, and friend. Frederick Tyler Dunn of the staff members appointed by Mary continue to —Daniel Zager, Associate Dean (MM ’93), February 2013 work here. of Sibley Music Library

Eastman School Archive Spring 2013 | Eastman Notes 37 { Faculty Notes }

January 2013. The ADFL is a central resource for the language and liter- ature community in the United States and Canada. Approximately 1,000 college and university de- partments are members.

The Ying Quartet per- formed Samuel Barber’s String Quartet, source of the perennially popular Adagio for Strings, in 2010 at the Pierpont Morgan Library to celebrate the composer’s centenary; this work is featured on their newest Sono Luminus CD. Of special ESM interest is the coupling: Howard Hanson’s rarely performed Professor of Violin by a significant figure in String Quartet (1923) and Federico Agostini is the Michael Alan Anderson, Assistant Professor of Musicology, church music and the per- Concerto da Camera (1917). subject of a new video won two national awards this fall: an ASCAP Deems Taylor forming arts. The Yings used source ma- on Eastman’s YouTube Award for “Fire, Foliage and Fury: Vestiges of Midsummer terials from Sibley Library channel. Besides com- Ritual in Motets for John the Baptist,” an article in the  Elizabeth West Marvin in preparing their recording. ments from Professor journal Early Music History; and the Noah Greenberg Award, (MA ’81, PhD ’89), Professor Agostini, who joined the recognizing efforts between scholars and performers to of Music Theory, was ESM string faculty this foster outstanding contributions to historical performing recently awarded the Gail fall,the video includes practice, for his work with the Chicago-based vocal Boyd de Stwolinski Prize interview segments with ensemble Schola Antiqua. for Lifetime Achievement String Department chairs in Music Theory Teaching Alan Harris and James Concert with Eastman New and Scholarship, recogniz- VanDemark and scenes of Jazz Ensemble on October ing outstanding pedagogi- performances by Agostini 12, and giving a presen- cal contributions in music with Eastman Professor tation on “Improvisation: theory. She has published of Piano Enrico Elisi Music Literacy Beyond the in the areas of music cogni- and students Alexander Page” on the River Campus tion, music theory pedago- Tatarinov (violin) and on October 13. gy, and theory and analysis Eastman celebrates Olga Krayterman (piano), of atonal music, among Mendelssohn Rarities for as well as excerpts from Professor of Music many other areas. Two of organ and chorus on a new a 1988 video of Vivaldi’s Education Richard Grunow Marvin’s former students Loft CD. These accom- Four Seasons as performed went far afield in October, will be commissioned to plished early works include by Agostini with I Musici. giving presentations at write articles about her con- organ music performed The video is available at Long Island University, in tributions for the Journal of by Professor David Higgs http://bit.ly/12o3G1c. Mannheim, Germany, and Music Theory Pedagogy. and former professor Hans  Elizabeth West Marvin for the Wisconsin Music Davidsson, and choral Music Education depart- Educators Association in by St. Malachy’s—The Timothy Scheie, Associate works sung by the Christ ment chair Christopher Madison, WI. Actor’s Chapel. Named af- Professor of French, has Church Schola Cantorum, Azzara (MM ’88, PhD ’92) ter the prominent American been elected president led by Stephen Kennedy. presented and performed In November, David Higgs, composer who was also of the Association of Many other Eastman during Eastman/Meliora chair of the organ depart- organist at St. Malachy’s for Departments of Foreign students and recent Weekend 2012, performing ment, received the Paul many years, the award rec- Languages (ADFL) for a alumni also take part in in the Ray Wright Tribute Creston Award, presented ognizes artistic excellence one-year term beginning in this recording.

38 Eastman Notes | Spring 2013 Darren Leow (Anderson) { Student Notes }

Soprano Adelaide accompanied by From Boedecker won first prize the Top host Christopher in the National Opera O’Riley. The segment was Association’s 2013 Voice recorded live last summer Competition. She was at the Chautauqua Institute presented with the Nicholas Amphitheatre. Vrenios Memorial Award of $2000 and a scholar- John Liberatore, a PhD ship to the AIMS program student in composition, was in Graz. She will sing the this year’s winner of the leading role of Rose in Presser Music Award, given Eastman Opera Theatre’s by the Presser foundation production of Street Scene to support a graduate (see p. 22) and will perform student’s research project. at the Crested Butte Opera John used the funding to Festival this summer. spend eight weeks in Japan this summer, studying with Three Eastman stu- the composer Jo Kondo and dents placed in the discussing form, narrative, 2013 American Protegè and aesthetics. Competition, held in  Joel Callonia Dyson Carnegie Hall’s Weill Trombonist Grant Reed, Recital Hall. First Place a junior from the class perform in the 2012–2013 three Eastman students. Freshman soprano Emily winners included cellist of John Marcellus, is a Mid-Atlantic College Jazz Senior Michael J. Fuller Helenbrook was heard Henry Chen, student of finalist in the Trombone Orchestra, which will be and junior Michael singing on the popular Steven Doane, and pianist Competition sponsored performing in New York Franz, students of James national public radio series Sun Min Kim, student of by the Eastern Trombone City and Washington, DC. VanDemark, joined the bass From the Top broadcast Nelita True; Second Place Workshop and the United section, and violinist Evie on October 28. Emily per- winners included violist States Army Band. A  Soprano Joel Callonia Chen (a student of Mikhail formed “O luce di quest’an- Molly Goldman, student senior from Marcellus’s Dyson, a junior in the Kopelman) also attended ima” from Donizetti’s of Carol Rodland. In the studio, Matt Norman, is a studio of Robert McIver, the seminar. Linda di Chamounix, March 3 winners’ recital, finalist for the International is this year’s recipient Molly performed Edge Trombone Association Van of Eastman’s William of Amber by Professor of The Eastman Community Music School’s Pathways program Henry Prize. He’ll com- Warfield Scholarship, Composition David Liptak, graduated 12 students in May 2012: Chastity Henry, Elexus pete at the International and was featured soloist commissioned for the Johnson, Marcus Krieger, Hannah Krueger, Jamia McCuller, Trombone Festival in at the annual Warfield 2012 International Viola Emma Marshall, Yvana Melendez, Olivia Monin, Gaelynn Columbus, GA, in June. concert on January 13 in Congress held last spring at Petry, Matthew Sieber-Ford, Cestaris Torres, and Emmett Kilbourn Hall. Eastman. Tross. Nine Pathways students received an ECMS Diploma, Jiao Sun, a senior student six received a Certificate of Advanced Achievement, and of Rebecca Penneys, won When the prestigious New Mezzo-soprano Melissa three received a Diploma with Honors. Matthew Sieber-Ford first prize ($7,500) in the York String Orchestra Fajardo won the Friends entered Eastman as a freshman and jazz trumpet student XVII Chautauqua Piano Seminar performed in of Eastman Opera’s 12th in September 2012, and in May 2012 guitarist Adrian Di Competition, held in Carnegie Hall on December annual competition, held Matteo (BM ’12) became Eastman’s first Pathways graduate. August 2012 and involving 24 and 28, it included February 15 in Kilbourn 24 pianists from all over Hall. She received the the world. Lynne Clarke Vocal Prize, donated by John Clarke Professor of Percussion in honor of his late wife, a Michael Burritt founding member of the shares three recent Friends of Eastman Opera. accomplishments from Soprano Keely Futterer his studio: “Sidonie was awarded second place Wade (MM ’13) just won and received the new a position with the Army Annabel Muenter Vocal Band, Pershing’s Own, in Prize, donated in memory of Washington, DC. Colin Ms. Muenter, who chaired McCall (BM ’14) won first the voice competition prize in the Coeur d’Alène for many years. Soprano Concerto Competition Sophia Burgos was award- and performed with the ed the third prize, and bass orchestra is March. Andrea Zachary Burgess received Venet (DMA) took second Honorable Mention. prize at the New York City Marmiba Competition at Senior jazz guitarist Gabe NYU. Very proud of all Condon was selected to these folks!”

Melissa Zigouridi (Dyson); Courtesy of Jan Angus (Pathways) Spring 2013 | Eastman Notes 39 { From the Dean } Building Bridges

Much of what we do at Eastman has to do with building bridges. The recently released CD on the Avie label of some major works by Stravinsky—his Octet for Wind Instruments and L’Histoire du Soldat—performed by the Eastman Wind Ensemble and Eastman Virtuosi under the direction of Mark David Scatterday (with Jan Opalach as narrator in L’Histoire), represents a milestone of sorts. The project was part of a larger celebration of the 60th anniversary of the founding of the Eastman Wind Ensemble. In so many respects, this project, begun back in 1953 by Frederick Fennell, serves as a dramatic exam- ple of one of Eastman’s hallmarks: creative innovation. Fennell drew out of the symphony orchestra a subset, the “band” of winds, brass and percussion, and from its sonic possibilities built a new genre, with thousands of new works now composed for this ensemble. And the richness of this creative work continues today. Fennell drew on some of music’s seemingly infinite possibilities. This constant morphing is not only evidenced by the evolution of the wind ensemble, but in the many new music groups sprouting up across the land. Like of, for example, Sondheim’s Assassins and other high Alarm Will Sound, an innovative ensemble founded by quality works of musical theater. These represent more a group of Eastman alumni who wanted, among other than just aesthetic curiosities. A new genre is being built, Notable Events things, to turn some of music’s tried and true formulas bridging the legacy of opera with indigenous American Visit esm.rochester. for presentation on their heads. The result is an infusion musical theater. edu or the web of new repertoire brought to life as visionary drama, There is something going on at Eastman, a restless addresses given below with visuals, multimedia, popular music, and innova- curiosity and venturing forth. Our hallowed traditions to learn more about individual events. tive arrangements of classical “standards.” In this way, are not ignored, but are in fact fortified. And alongside music strives to reach new levels of dynamic engagement, those traditions emerge not just “new music,” but com- May 19, 2013 88th Annual mobilizing music as theater in a dramatically relevant, binations of music with other art forms. Commencement exciting context. Such convergences do not occur in an environment Kodak Hall at Eastman Current Eastman students also want to explore and that sees music as already having done its work. This Theatre re-imagine the typical concert experience. For this “something” inculcates our students with an ever-evolv- June 2–8, 2013 purpose, Eastman students formed Sound ExChange, a ing spirit interested in doing musical entrepreneurship, International Bass group that balances old and new work in out-of-the-way not just talking about it as if it is a suitable object of Conference places and whose philosophy is centered around one study. We wish to move music forward by tweaking its Hosted by Eastman basic theme: engagement. movements, freshening its possibilities, discovering new School of Music Isb.convention.com There are other bridges being built at Eastman, other angles of old repertoire we had perhaps not considered. mergers taking place. Eastman Opera Theater’s produc- When I come into the main hall at Eastman, I feel like June 21–29, 2013 Xerox Rochester tion of Kurt Weill’s Street Scene is one such example. Weill I am walking onto a grand movie set, a musical one. And International Jazz won a Tony for Street Scene, but the work is an example all around are bridges under construction. The endless Festival of a curious and growing phenomenon, a slow merger spirit of innovation . . . at Eastman. www.rochesterjazz.com of opera and musical theater that continues to capti- July 1–August 9, 2013 vate composers of operatic bent, much like the fusion of Summer@Eastman jazz and classical. ESM’s chair of opera and voice, Steve 2013 Daigle, displays his belief in this convergence by not just esm.rochester.edu/ programming Street Scene, but also prior productions summer July 14–26, 2013 Eastman@Keuka Summer Music Camp esm.rochester.edu/ keuka

40 Eastman Notes | Spring 2013 Adam Fenster CoM posinG a BRiGhTER Future

“Growing up in the Great Depression, an education at the Eastman School of Music would have been completely out of reach had it not been for a full, four- year scholarship I received my freshman year. This generous award paved the way for a successful musical career, and my gratitude has been an important impetus for joining the George Eastman Circle. I’m thankful that now I can make a difference for future generations of Eastman musicians.”

—Walfrid Kujala ’48E ’50E (MM) Principal Piccolo, Chicago Symphony Orchestra (retired) Emeritus Professor of Flute, Northwestern University Supports: Eastman School of Music Fund

Members of the George Eastman Circle, the University of Rochester’s leadership annual giving society, commit at least $1,500 in unrestricted annual funds to areas they care about most, for a minimum of five years. To learn more about joining, visit www.rochester.edu/giving/gec or call (800) 598-1330.

All gifts count toward The Meliora Challenge, a University-wide fundraising Campaign that was launched in October 2011 and runs through June 30, 2016. Visit campaign.rochester.edu. NON-PROFIT ORGANIZATION U.S. POSTAGE PAID 26 Gibbs Street PERMIT NO. 780 Rochester, NY 14604-2599 ROCHESTER, NY NOTES

Comic-Book Opera A highlight of Eastman’s fall concert schedule was Prismatic Debussy, a month-long festival of concerts and other events commemorating the 150th birthday of Claude Debussy. Events included an unusual presentation of music from the opera Pelléas et Mélisande: no singers, just a chamber jazz ensemble accompanying the story, which was told in panels from a comic-book version of the story by P. Craig Russell. For more on Prismatic Debussy, see pp. 24–25.