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Home , Americans in Europe, Doriot Anthony Dwyer, Empire Jazz, George Walker (composer), Helen Huang, Jeremy Siskind

CONVERSATION EVENTS Eastman Loves Lenny Mark Watters Walker 95, Adler 90 EASTMAN

NOTESFall 2018

‘The Beauty Is . . .’ Eastman Opera Theatre’s The Light in the Piazza ONE.

MANY.

MELIORA WEEKEND OCTOBER 4–7 • 2018 •

ALL.

You live ever better, every day, creating a ripple of positive change wherever MELIORA WEEKEND you go. This fall, bring it for our 18th celebration with classmates and OCTOBER 4–7, 2018 the entire Rochester family. Get back to the very best of your University roots, across the River Campus and Medical Center, to the Don’t miss the festivities! and Memorial Art Gallery. Register today at rochester.edu/melioraweekend CELEBRATE, RECONNECT, AND RENEW YOUR SPIRIT OF MELIORA. Featuring Soledad O’Brien, Michael Steele, Ron Chernow, Nasim Pedrad, Pink Martini and more! { Fall 2018 }

Marian McPartland supported (and frequently performed with) Eastman faculty members and students. Here she is shown with Jeremy Siskind ’08E in 2006. Jeremy has gone 2 on to a great career of his own. From the Dean 3 Brief Notes 6 “The Beauty Is . . .” Eastman Opera Theatre lights up Kodak Hall. 4 Alumni on the Move 10 Facing Challenges and 26 Dreaming Dreams School News Thoughts on a musical life from our new faculty members. 32 Recordings All the Things 16 Walker 95, Adler 90 35 Tributes to two great Eastman, and American, Alumni Notes 12 composers. She Was 37 Dazzling , total musician, 18 Eastman Loves Lenny Tributes caring mentor, and a woman with The American maestro had some early and 40 a very full vocabulary: Eastman unexpected ties to Eastman. In Memoriam salutes Marian McPartland 22 Composing a Community 41 (1918–2013), 100 years young. For almost a century, Eastman musicians have Faculty Notes given back to the Rochester community. 42 Student Notes ON THE COVER: “Oh, my Clara, love if you can and be loved!” The last moment of The Light In The Piazza, captured by Nic Minetor.

KURT BROWNELL Fall 2018 | Eastman Notes 1 { FROM THE DEAN } Ever Better . . . NOTES Volume 36, Number 1 I often close my messages to you with the Latin word This list is so much more than a clever acrostic. It outlines Fall 2018 “Meliora.” This motto of the is a set of shared values by which we agree to interact as a EDITOR usually translated as “Ever better.” I like to think that community and hold ourselves accountable. While the David Raymond it is the ideal adage for musicians—constantly striving Eastman School of Music has exemplified these values CONTRIBUTING WRITERS to hone our art and craft as performers, composers, for almost a century, I assert that the strength of the Dan Gross David Higgs scholars, teachers, and leaders. But what Jessica Kaufman does Meliora mean when applied to our Blaire Koerner relationships with others within our com- David Raymond Andrea Schuler munity? Does it mean the same thing to CONTRIBUTING all of us? Does it include all of us? Does it PHOTOGRAPHERS help ensure that everyone feels safe, val- Kurt Brownell Adam Fenster ued, and welcomed? Michelle Martorell In March 2018, the University’s Vision Nic Minetor and Values Committee—comprised of John Schlia Grant Taylor students, faculty and staff, including our DESIGN own Professor Donna Brink Fox, senior Steve Boerner associate dean of academic and stu- Typography & Design, dent affairs—strived to develop a values Inc. statement that sought to answer these PRINTING Canfield & Tack, Inc. questions and communicate our shared commitment to mutual respect, equity, A set of Meliora wind chimes helped usher in Meliora@Eastman 2017. OFFICE OF diversity, and inclusion. After robust COMMUNICATIONS review by the entire University community, the follow- Eastman community emanates not singly from a mutual ASSISTANT DIRECTOR, CONTENT AND PUBLIC ing statement was adopted by the Board of Trustees in love of music, but as importantly, from our deep and RELATIONS May 2018, further expanding the meaning of Meliora honest respect for every individual person. Our shared Jessica Kaufman across the University. sense of community is very much a part of the “Eastman EDITORIAL DIRECTOR David Raymond Our Values are summarized as follows: Experience.” CREATIVE ARTS DIRECTOR As the Eastman School of Music approaches our next Michelle Martorell Meliora: We strive to be ever better, for everyone. century, we will continue to ensure performance and SECRETARY academic excellence. As we strive to be “ever better” Equity: We commit to diversity, inclusion, and access. Olga Malavet we recognize that the spirit of Eastman community Leadership: We take initiative and share responsibility developed here on Gibbs Street will ultimately impact for exemplifying excellence. a far larger community through alumni and friends of the school. May we all carry our musical talent and our Integrity: We conduct ourselves with honesty, dedication, Meliora Values into the communities where we live and and fairness. work around the world. Published twice a Openness: We embrace freedom of ideas, inquiry, and year by the Office of expression. Meliora, Communications, Eastman School of Respect: We value our differences, our environment, and Music, 26 Gibbs Street, our individual and collective contributions. Rochester, NY 14604, (585) 274-1050. Accountability: We are each responsible for making our Eastman-Notes@ community ever better, through our actions, our words, esm.rochester.edu and our dealings with others. Jamal J. Rossi, Joan and Martin Messinger Dean

Find us on and Twitter. As we strive to be “ever better” we recognize that the spirit of Eastman community developed here on Gibbs Street will ultimately impact a far larger community through alumni 10% Total Recovered Fiber 100% Post-Consumer Fiber and friends of the school.

2 Eastman Notes | Fall 2018 JOHN SCHLIA { BRIEF NOTES }

XRIJF Grants a Scholarship Grant Le, a bassist from the Chicago area, is this year’s recipient of the Xerox Roch- ester International Festival/Eastman School of Music (XRIJF/ESM) Jazz Festival Scholarship. The summer before his senior year, Grant attended the Birch Creek Summer Music Camp, where he studied with Eastman JCM professor Jeff Campbell. “Earning this scholarship is such an honor,” says Grant. “I can’t wait to continue my jazz studies at Eastman this fall.”

New York Rite of Spring Bassoonist Peter Kolkay ’00E (MM) made a cameo appearance of a sort in the April 16, 2018 New Yorker. Tom Gauld’s cover “ to Spring” included a few notes from a couple of spring-inspired musical works, includ- ing the first measures of Stravinsky’s Rite of Spring. If you visit the New Yorker Lots of Lenya Love website and hover over the The Lotte Lenya Competition has now been held in Eastman’s Kilbourn Hall for twenty years, and among cover, you’ll hear Peter’s its finalists are usually Eastman students or alumni.Laura Sanders ’16E, ’18E (MM), shown on the left, confident playing. was one of the three winners of the 2018 competition. Reilly Nelson ’11E, right, received a runner-up prize, and Lyndon Meyer ’10E (MM), shown with Reilly, served with distinction as one of the two staff . Superhero Symphonies Zap! Boom! Pow!, a comic The competition, founded by Eastman Professor Kim Kowalke, President and CEO of the Foundation book about superhero for Music, has exceeded more than $1 million in prize money. composers by Lucy A. ’81E (MA) is in Warner “Music is Coming” its second printing, and Garret Reynolds ’18E the second book in the (MM) is not only the series, Zap! Bam! Now!, was first person to receive recently released by Spring Eastman’s Master’s Degree Promise Productions. The in Contemporary Media & series, illustrated by Patrick Film Composition, he’s also Ackerman, includes more the first to put it to work. than 15 composers. Garret was just hired as an assistant to Ramin Djawadi, composer of the series. Garret joins Djawadi’s tour of “Game of Thrones” in Concert—titled Music Jeffrey Barker ’06E John Beck ’83 (MM) Erin Hannigan ’96E (MM) is Coming, in reference to the show’s tagline “Winter An Excellent Eastman recipients of the Ford by Ford. The winners’ is coming.” A world tour Alumni Trio Musician Awards for videos describing their of “Game of Thrones” in Jeffrey Barker ’06E, Excellence in Community work in community Concert began in May John Beck ’83E (MM), Service, a program of outreach and musical 2018 in Madrid and ends in and Erin Hannigan ’96E the League of American education can be found at Toronto in October. (MM) are among the made possible americanorchestras.org/

MATT WITTMEYER (LOTTE LENYA COMPETITION); BRAD KEVELIN (BARKER); LAURIE BECK (BECK); TERESA BERG (HANNIGAN) Fall 2018 | Eastman Notes 3 { ALUMNI ON THE MOVE }

Tonia Ko Leslie B. Dunner ’10E, composer, sound artist, visual artist ’78E, conductor and music educator

■■Tonia recently received ■■Leslie, who received his two significant honors: a 2018 Eastman degree in Guggenheim Fellowship, and an performance, is the new appointment as Postdoctoral conductor of the Interlochen Arts Researcher at Chicago’s Center for Academy . Leslie has Contemporary Composition. They’re also been music director of the the latest in a string of awards South Shore Opera from the Fromm Music Foundation, since 2014, as well as music Chamber Music America, the director of the Joffrey Ballet and Academy of Arts and Letters, and assistant conductor of the Detroit Broadcast Music, Inc. (BMI). This Symphony Orchestra spring Tonia was a resident at the MacDowell Colony.

4 Eastman Notes | Fall 2018 MATT DINE (KO); 21C MEDIA (DUNNER) { ALUMNI ON THE MOVE }

Nabaté Isles ’99E, jazz musician and sports broadcaster

■■Nabate’s two thriving careers reflect his two passions. As a jazz trumpeter and composer, he recently won a Grammy, and his debut album Eclectic Excursions was released on July 20 (see “Recordings,” p. 32). Nabaté also hosts sports radio and TV shows, including So Much to Talk About on Sirius XM’s NBA Radio. “I’m blessed to be involved in these two fields at such a high level. Eastman taught me to be adaptable. Music practice is about diligence, problem solving, and why you practice—evaluating your time and seeing what you can accomplish.”

Yi-Yang Chen Marc C. Thayer ’12E, pianist and composer ’93E, ’95E (MM)

■■Doctoral candidate Yi-Yang won the first, audience, and orchestra prizes at the 4th Sussex International Competition this spring. Yi-Yang will record a CD, perform concertos with the Worthing, Northampton, and Ealing Symphony Orchestras, give solo recitals throughout the United ■■Marc is the new Executive Director Kingdom, and join the of the Pierre Monteux School and jury at the 2021 Sussex Music Festival in Hancock, Maine, Competition. celebrating their 75th anniversary. This is in addition to his position as Executive Director of Symphony NH in Nashua, New Hampshire.

ADERON MOTHERGILL/A GIRL PRODUCTIONS (ISLES); ANDREW MARDELL (CHEN); PIERRE MONTEUX SCHOOL (THAYER) Fall 2018 | Eastman Notes 5 Two key scenes from The Light In The Piazza: (left) Margaret Johnson (Hannah Carroll) tells her husband of her daughter Clara’s (Julia Fedor) love for a young Italian man; and (right) Clara (Natalie Vatcher) and Fabrizio (Achilles Bezanis) met in Florence and immediately fall in love.

Beauty‘The Eastman Opera ’Theatre lights up Is . . . Kodak Hall By David Raymond and Jessica Kaufman

The Light in the Piazza is an atypical Broadway musical. It won six in 2006, including one for its composer and lyricist, , and ran more than a year. But with its thoughtful, gently romantic story, ambiguous ending, and warm, rhapsodic musical ambiance, it is unlike almost any other Broadway musical. The vocals are challenging; the orchestra has no drums, , or saxes, but does include eighteen violins and a harp; and much of its lyrics and dialogue are in Italian. Those may be anomalies for Broadway, but they made The Light in the Piazza a perfect choice as the first Broadway musical presented by Eastman Opera Theater in Kodak Hall. The production, directed by Stephen Carr, with musical direction by Benton Hess, marked a turning point for the Opera department and the school. But it was a turning point in a process that began many years earlier. In an Eastman Notes article from 2002 (several years before The Light in the Piazza opened), Eastman Opera Theater director Stephen Daigle said: “Most stage performers are now training in voice and opera. The day of the musical starring the actor who’s a

6 Eastman Notes | Fall 2018 NIC MINETOR

Kilbourn Hall; The Light in the Piazza required a larger space, and its unusual requirements presented unusual challenges. “A tricky game in a foreign country” The Light in the Piazza is based on a novella by Elizabeth Spencer, adapted by Craig Lucas. It takes place in in the summer of 1953. Margaret Johnson, the wife of an American businessman, and her daughter, Clara, are on an extended trip to Italy. They are introduced, exploring the city of Florence. When they are in the town square, Clara’s hat is blown away by a breeze and is retrieved The detailed model of the set for the show, designed and executed by by a charming young man named Fabrizio. It’s love at John Haldoupis, includes set pieces for many individual scenes. first sight ...... with complications. In addition to the cultural differ- Bringing 1950s Italy to Kodak Hall ences between the young lovers, Clara is much older than she appears: her childlike directness is actually the result The set, costumes, and lighting of Eastman Opera Theatre’s The of a childhood accident which left her with the mental Light in the Piazza worked together to evoke a specific place and capacities of a young girl. Margaret is forced to “play a time—Florence, Italy in the early 1950s. Italy’s classic antiqui- tricky game in a foreign country,” but she is unable to ties and postwar American influences were all reflected in the suppress the truth about Clara’s age to Fabrizio’s family. production. Margaret decides not to stand in the way of Clara’s love, John Haldoupis, highly regarded in Rochester theater as a direc- and faces her own unhappy marriage. The story has the tor and a designer, did his first work for Eastman Opera Theatre in emotional weight and subtlety of one of Henry James’s designing the set for the show—a set that would not only reflect the tales of in Europe, especially when enhanced beauty of the Italian settings, but also work fluidly to effect frequent with Guettel’s intricate music and lyrics. scene changes. Says Stephen Carr: “Jack’s designs allowed the story “The Light in the Piazza was our first Broadway musical to flow seamlessly from location to location—no easy task in a presented in Kodak Hall,” says director Stephen Carr, space the size of Kodak Hall!” “and in many ways, it seems the perfect title to have that Nic Minetor’s lighting gave the show an Italian-sunshine glow, distinction. With its demanding vocals, emotional sto- particularly effective during Clara and Fabrizio’s wedding at the very ryline, and sweeping score, it seems a natural extension end (see cover). Some of the elegant costumes were vintage 1950s of the operatic tradition that has long been the bread-and-butter of dresses and suits. Eastman Opera Theatre. But it also marks an exciting step forward for us, because in fully embracing the evolution of the art form we’re hit-or-miss is pretty much over . . . we’re moving into an age when also able to expand the variety of productions Eastman can offer the classical trained voices are more the norm in musical theater, and more Rochester community.” performers can do justice to the music.” In the name of what Carr calls “staying on the dramatic train” of the To which Benton Hess, who had started the season before (2001– show, the students had to get used to wearing body mics—not (usually) 2002) as music director of Eastman Opera Theatre, added, “More and an option in opera. To impress on them the importance of delivering more, the kinds of theater pieces being written now require legitimate lyrics and dialogue clearly in a large venue, Carr took them to the Kodak voices . . . Our students can be well-versed in all styles, which is in their Hall balcony to see how their words and gestures had to be calibrated. best interests.” “If we’re not understood,” he sums up, “we might as well be oboes.” Sixteen years later, along with operatic classics like Le Nozze di Figaro, The composer and lyricist of The Light in the Piazza, Adam Guettel, La Bohème, and Manon, and modern works like ’s Les Enfants is not only a classically-trained composer; he is the son of Mary Rodg- Terribles and Hydrogen Jukebox and Ned Rorem’s Our Town, EOT has ers, the composer of Upon a Mattress, and the grandson of one of presented numerous musicals that started life on or off Broadway:The Broadway’s great composers (and occasional lyricists), . Fantasticks; ; She Loves Me; a string of titles: His other popular works include the musical Floyd Collins and a song Company, Assassins, , , and ; cycle, Myths and Hymns. EOT was fortunate to have Guettel in residency and now The Light in the Piazza. Eastman voice and opera students are for several days during the rehearsal period. indeed “well-versed in all styles.” Exceptionally for a busy and successful composer, Guettel initiated “I want to give Steve Daigle credit for this,” says Stephen Carr. “He the visit, contacting EOT Director Steven Daigle when he discovered was opening up the Eastman Opera repertoire as early as the 1990s.” that Eastman would be doing The Light in the Piazza. For several days in All those productions were presented in the Opera Studio or in February, Guettel worked with the students on musical interpretation

8 Eastman Notes | Fall 2018 MICHELLE MARTORELL and character development, and provided insights into his own creative The students in the cast of The Light In The Piazza benefited from rehearsals and process. coaching with the show’s composer-lyricist, Adam Guettel (right front at the “They adored him,” says Benton Hess. “Adam is very protective of table; music director Benton Hess is behind him). The students, left to right, are Lauren Nash Silberstein, Virginia Sheffield, Achilles Bezanis, Mark Hosseini, the piece, but if a student came up with a good idea in rehearsal, he Marie Therese Carmack, Natalie Vatcher, and Mason Lambert. was open to that.” “Having a wealth of talented musicians is a gift,” said Guettel shortly “When it was proposed, I was not enthusiastic,” Hess admits. “You after his Eastman visit. “The caliber of Eastman students is at such a know me: wind me up and I’ll conduct Tosca. This just didn’t seem like high level. They’re game for anything, and they’re very serious about my genre, which is French and Italian opera.” He then watched a video their work. of the original New York production, began studying the score, and “Piazza, at its heart, is about love. To work with a young cast of students quickly changed his mind. on capturing that love, and the honesty in the lyrics and music—that’s the “I adore it. Adam wrote a brilliant piece, which I think is more operatic joy of teaching and seeing your work continually come to life.” (Guettel than perhaps even he, himself, knows. The music is lyrical, very beautiful, returned to Eastman in April for the opening night.) and compelling. It’s a great sing . . . and it’s difficult. “There is so much depth in the piece—at first you think it’s about Clara and Fabrizio, but you gradually realize it’s about Margaret Johnson. “The joy you feel” One of the play’s themes is the inadequacy of language. Many of the The Light in the Piazza marked Benton Hess’ last show as music direc- characters have difficulty communicating with each other because of tor of Eastman Opera Theatre, before his retirement at the end of the their language barrier. Or the lovers are so overcome with passion they academic year. (His replacement, Timothy Long, began this fall; see only sing ‘ah’. page 10.) For a musician and teacher so identified with and experienced “The story is simple on its surface but complex at its core, and we were in opera, bowing out from a long Eastman career as the conductor of a all emotionally engaged to the extreme in this production. Not a single Broadway musical may sound odd. It sounded odd to him, too. rehearsal passed when I didn’t want to burst into tears . . . from joy!”

NIC MINETOR Fall 2018 | Eastman Notes 9 Facing Challenges and Dreaming Dreams Eastman’s newest faculty members share their thoughts on creating a new, aware, and interesting generation of musicians.

By Jessica Kaufman

Five new full-time faculty members joined Eastman this cross-cultural interactions that shape all musical sound semester, and we are introducing them in Eastman Notes and practice, and to be able to articulate the intercon- by asking them two questions: nections between the music they play and other forms of music out there in the world. And I want them to find Where do you see music moving in the future, and what creative ways of using music to connect with the topics are the current challenges of the world? and issues that they care about. This is a time in which What is your in educating the next generation the most exciting artists will be, I think, the ones who of artists? are always actively thinking about what it means to be a performer, the responsibilities and exciting opportu- nities that this role affords. Anaar Desai-Stephens Anaar Desai-Stephens Assistant Professor of Musicology Guy Johnston ’12E Given the national and global political climate—multiple Associate Professor of Cello refugee crises, rising authoritarianism, environmental disasters, and more—I think that the world of classical I think one of the main challenges is to keep music alive music must find ways of addressing these pressing issues. and active in schools. I’m curious to know how the system We need to come up with new venues and formats for works in the States, because in the UK we are constantly presenting music, innovative ways of connecting with battling with the government wishing for more focus audiences, and meaningful ways to tap into the conver- on music in schools. We have to work hard to be sure sations that really matter to people today. It’s an exciting every child has access to music. One of the most fulfilling opportunity to re-situate classical music as part of a aspects of my music festival at Hatfield House is seeing global cultural dialogue about the issues that matter the children at our education concert, who might not have most today. been to a classical concert before, responding to what Guy Johnston As a globally-minded ethnomusicologist, my priority they are seeing and hearing. Every child should be given is to create interesting musicians—individuals who can the chance to be a musician. It’s such a positive influence think creatively and carefully about what they are playing in so many ways, learning to listen to each other, being and programming. I want my students to be aware of the creative, developing a new skill and making many new

10 Eastman Notes | Fall 2018 friends through the process. Music builds communities. we learn to look at ourselves honestly and make decisions. My top priority is to give the next generation their best This comes from using both sides of the brain in score chance in preparation for the profession, sharing all the study, linguistic study, and then letting the imagination knowledge and experience I’m continuing to build on, inform us toward making individual viewpoints. It goes and being as supportive as I possibly can be through the beyond simply making music and requires us to be cit- process. It is not easy to make a living as a musician, and izens of the world. the desire has to be burning inside to keep us all going and to fulfill our dreams. Rachel Roberts ’03E Associate Professor of Music Leadership; Marina Lomazov Graduate Degree Program Director, ’93E, ’00E (DMA) Institute for Music Leadership Marina Lomazav Professor of Piano The past decade has demonstrated an exponential increase in musicians creating new pathways of perfor- Much has been written about the challenges facing the mance mediums, including locations, experiences, and classical music world, with the word “challenge” carrying collaborations of all forms. In roughly the same time a negative connotation. But a challenge can become a tre- period, our country—and the world—has experienced mendously positive force, it causes us to invent, to create increasing obstacles to surmount, inclusive of economic, new paths, to build new models. It has been happening environmental, equity, and equality challenges (among already—musicians using social media to self-promote many others). instead of relying on managers, presenters exploring I believe the future of music lies at the crux of these new venues to bring concerts to audiences, performers two seemingly disparate ideas. How can music continue experimenting with juxtapositions of styles in non-tra- to integrate into cultures, societies, and everyday lives ditional concert formats. in meaningful ways? How can music continue to grow The classical music canon itself, the body of work by Timothy Long as a recognized and integral tool for economic and cul- some of the greatest minds in history, is part of our collec- tural problem-solving? There will always be a need for tive heritage, and it is being fed by new voices in music all highly trained musicians who can create and share music the time. It will continue to adapt to a new environment, with the world around us. What comes with the title of as it has done over the centuries, and will continue to ‘musician’, I believe, is the responsibility of being (1) an remain one of the most powerful and influential sources articulate advocate for the what and why we do what we of inspiration for future generations. do, and (2) the creative doer behind the music that takes Each talent is unique and each young person needs a leadership role in our world. continuous care and attention for their talent to be My top priority is to ensure that artists stay curious. fully realized. I see my role at times as that of an edu- The practice of music and the practice of leadership are cator, a mentor, a coach, and eventually as a friend and intertwined artforms that need to be practiced, crafted, a colleague. reflected upon, and cared for each and every day. While we can teach and aspire to share all of the knowledge Rachel Roberts ’92E (MM) and insights that support the development of musicians Timothy Long and leaders, we can never teach it all. The world changes Associate Professor of Opera; every day, just as policies change, economies change, and Music Director, Eastman Opera Theatre our own individual lives change. Amid this continuing ON THE WEB We also change, the one constant is the mindset that each artist asked a third question: In , where I’ve lived for many years, clas- carries with them daily. How can we create leaders who What upcoming project are you sical music is moving out of the concert hall and into continually embody a reflective, critical mindset to their excited about? atypical venues that reach out to newer and more diverse craft? How can we create leaders who have the mindset To read the answers, go audiences. It is hugely important to embrace this and to of self-efficacy, and surround themselves with opportu- to esm.rochester.edu/ think of how we can fit into our modern cultures. The nities to continue learning, growing, and developing? I blog/2018/09/facing- challenge is in creating careers within this expanding aspire to help inculcate a generation of leaders in music challenges-and-dreaming- dreams-qa-with-five-new- paradigm while maintaining the great knowledge that that will go out to lead in the music world, now and into eastman-faculty-members/ we receive from knowing traditions of the past. the future, regardless of the changes that will inevitably Expanding on the above, the top priority in my teach- evolve along the way. For more biographical information on each faculty ing is to create thinking, pro-active artists. For many member, go to their individual years, we were simply taught to obey our teachers. There Jessica Kaufman is Eastman’s Assistant Director of pages at esm.rochester.edu/ is a certain safety in this, but it’s absolutely essential that Public Relations. faculty/

Fall 2018 | Eastman Notes 11 All the

ThingsShe

Eastman celebratesWa Marian McPartland s By Dan Gross

Marian McPartland (1918–2013) was a much-beloved Can you talk about Marian’s connection to Rochester? presence on National Public Radio as host of Marian McPartland’s for more than three decades. Jeff Campbell: Her attorney, Tom Hampson, lived here. So when- Piano Jazz offered listeners an intimate, insider’s ever she had legal issues to deal with, she came to Rochester; perspective on the elusive world of jazz improvisation. her physician lived here too. She also worked with Ray Wright On her weekly broadcast, the British-born McPartland at Eastman, and of course she knew Harold (Danko) and Bill interviewed and performed with practically every major (Dobbins). Plus, she did so many concerts here—before my time, jazz musician of the post-World War II era. but I’ve heard people talk about those years after, so she did have Over the course of her illustrious career as a per- a fan base in this community. former, educator, and writer, Marian McPartland also performed many times at Eastman. A Marian Harold Danko: She always liked to come up and visit. I didn’t know McPartland Centennial Celebration, on Friday, March that; I knew her in New York, but when I came to Rochester I had 23 in Kodak Hall, was an evening of jazz by Eastman no idea that she was so connected. It was a pleasant surprise. faculty members, with guests Monty Alexander, Bill Charlap, and Renée Rosnes celebrating the 100th anni- Everyone thinks of Marian as the host of Piano Jazz, but it’s versary of Marian’s birthday, and her rich legacy in strangely overlooked that she was an incredible pianist. Rochester and around the world. Professor of Jazz Studies and Contemporary Campbell: She was. I got to play in her trio. I played with her quite Media Jeff Campbell ’92E (MM) and pianist Harold a few times with [drummer and JCM Associate Professor] Rich Danko, JCM professor emeritus, played with Marian Thompson ’84E (MM), and we traveled around the state. I got to McPartland numerous times. I spoke with them about be in a dressing room with her behind the scenes, and I got to talk Marian, her life, and the celebration of her centennial. with her about tunes and rehearse with her.

12 Eastman Notes | Fall 2018 TIM HALL/REDFERNS VIA GETTY IMAGES Marian McPartland in a photograph from the late 1980s. “She was a really funny and generous person,” says Professor Emeritus Harold Danko. “She was not only a great musician, but a great friend to musicians.”

Fall 2018 | Eastman Notes 13 “She always liked to come She’d say things like: “Let’s play ‘All the Things You young guy in New York, so excited to be on her first one up and visit”: McPartland Are,’” with that great British accent, and she would just hundred shows, but she was so casual and talented that frequently visited Eastman, start playing, and I would think to myself: “Oh, my gosh, the key didn’t matter to her. perfoming with faculty members and students alike. she’s in C-sharp major. Wow.” She was just so fluid in her When I asked her about certain harmonic ideas, she Here she is shown during capacity as a musician, and she wasn’t gimmicky with the would reply, “Oh, it’s not trial and error; I’ve been doing a 2006 visit with bassist fact that she could do that. She did it because—at least in it a lot longer than you.” It didn’t come out of this stud- Jeff Campbell (left) and my opinion—it was refreshing. It was a new challenge, a ied place, it came out of a natural musicianship, and she drummer Rich Thompson new opportunity to advance her musicianship. could play with anyone. If she were playing an AABA tune, (right) of Eastman’s Jazz and Contemporary media each “A” section was never alike. She would maybe start Department. Danko: First off, when I did the show with her, she had out simple, and then do something more complex, or the absolutely no planning, she would just wing it. “What key opposite. She had a way of naturally approaching these would you like to do this in?” she would ask. I’m just a tunes, and going wherever the tune went.

14 Eastman Notes | Fall 2018 KURT BROWNELL “Refreshing” is a great word. When Piano Tom Hampson that, he said, “That’s just another day in Jazz first came on the air, it was refresh- the life.” She would do always do what was a no-brainer ing in its style and approach, not to and the right thing to do. mention the buzzword, “women in jazz.” So I was able to the duo concert with her, and she Can you reflect on that legacy? invited me on Piano Jazz, and it was so easy. The way she would handle herself was very casual, and despite Campbell: Marian told me that the reason the English demeanor she had . . . I’m sure you’ve heard she got that show is because Alec Wilder of her swearing, which was the most wonderful thing. set her up, through some work he was doing with NPR. He just moved a desk, No, I don’t think I have! moved a couple of books out of the way, and set things just right, so when they Danko: She had a jazz musician’s mouth. She was mar- needed somebody [for a new show], she ried to Jimmy McPartland [jazz cornetist who played was available and so was the guest. He with Benny Goodman and Tommy Dorsey, among other prepped them for her. bands], and she was the young babe then. She would As far as “women in jazz” goes, I can’t arrive someplace, and if the luggage wasn’t there, she speak for Marian. But she was always would say: “Where’s the f***ing luggage?” with that looking out for everybody. Any person accent. The first time you heard it . . . it would take you that she could have stewardship with, she aback, and then you would savor it. She had a very full would. She was always looking to help vocabulary. people, and she was always looking to find One other example of her generosity that should be someone to help expose them to more noted is that she had two of my piano students, Jeremy people, or to advance them musically, or Siskind ’08E and Chris Ziemba ’08E, ’11E (MM), on Piano with their career, or all of the above. Jazz. She just heard them play, and she liked them, and One time she did her show here with invited them on the show. some of her English colleagues. I played She did present a series here, four years in a row for along with her, and her left arm was bro- a scholarship, presenting Roberta Piket, Jason Moran, ken, so she asked if I could play the low Reginald Robinson, and Eldar Djangirov early on in their notes! She was so uplifting with other peo- careers. She contributed money to the school, and I was ple, and that’s why we wanted to celebrate able to send two students to Europe for workshops. She her with this concert, because everyone was so generous, and did a lot more than she gets credit she ever met she uplifted in some way. She for. was a boon to their existence. Can you give us a backstage-pass version of the devel- Danko: She was a really funny and gen- opment of this concert? erous person. She was not only a great musician, but a great friend to musicians, Danko: This whole thing was instigated with me and and she made herself very available to Teresa Chen ’15E (MM), a doctoral student who remind- everybody. ed me of Marian’s upcoming centennial a couple of years I first met her while I was at the ago. I looked to see if anyone was doing anything special, with Thad Jones and Mel Lewis, and she and I found the answer was “no.” I said, if no else is doing was around and always friendly. Then I it, Eastman should do it. got to really know her when we were both on the faculty at the Manhattan School of Music for their jazz program, around 1984 Campbell: Harold really hatched it, and he worked with I believe. She’d been hired as a big name to come in and teach, and I was among the Keith Elder [former Eastman Director of Concerts] to first hired professionals. make it happen. Then of course Harold retired, and Keith She’d never taught, really, and she would ask: “I have these people fourteen times left Eastman, and then [pianist] Gary Versace joined the this semester, what do I do?” She was just having them learn tunes and transpose. I faculty . . . the ball was in the air, and we couldn’t let the had some private students and she had some private students, and I had a piano styles ball drop, so we had to step up. Gary was quietly very class in my apartment. At that point I was an assistant professor and I would take key in helping us develop the right pianists and the right students, but they had to come to me. She would come to the apartment for these people for the best fit. Bill Dobbins organized several classes and bring wine. student ensembles to play Marian’s music, or play music I love telling this story too: it was the beginning of the jazz program at MSM, and they that she performed and is associated with. asked her to do a solo concert as her arrival concert. She said, “Why don’t Harold and Right now I’m looking around my office, and I see her I do a duo concert?” She threw that right to me in that way. I remember when I told handwriting on a lead sheet of “While We’re Young” . . .

Fall 2018 | Eastman Notes 15 Eastman Celebrates Two Great American Composers “Unrelenting Artistry”

It was fortuitous for me to read an article in the New York Times in 1954 about the DMA Degree created by Dr. at Eastman when I was teaching Born June 27, 1922 It is with sadness at Dillard University, a small in Washington. D.C. that I announce the black private college in New George Walker The first African-American passing of George Orleans. I applied for admission composer to win a Pulitzer Prize (for for Voice and Orchestra, Theophilus Walker on into the graduate program and 1996), his honors include the Dorothy Maynor Outstanding August 23, 2018, at Arts Citizen Award from the Harlem School of Arts; the Detroit the age of 96. George was extremely happy to receive Symphony’s first annual Classical Roots Award; and induction into was always very proud a fellowship. During that time the Washington (DC) Music Hall of to be an alumnus of Dr. Hanson proposed that DMA Eastman’s celebration of George Walker’s 95th Fame. our school, and I am candidates could select a project birthday was a happy The first African American to grateful that we were that was not a dissertation for homecoming. Walker is graduate from Eastman with a able to honor him this shown here with pianist Redi the DMA Degree. I chose to doctorate, his Eastman accolades also past April. Llupa, who gave a recital of include an Alumni Achievement Award, —Jamal Rossi, compose my Piano Sonata No. 2. Walker’s five piano sonatas. the Rochester Distinguished Scholar Joan and Martin This work has become one of the Medal, and an honorary doctorate. Messinger Dean most performed American piano George Walker’s five piano sonatas span his entire composing sonatas. I am most grateful for the career, from 1953 to 2003. According to Redi Llupa, “each of them has a distinctive sound and continuity of my connection with approach to the sonata form.” Eastman, a wonderful institution. Two of George Walker’s most notable works are his 1946 Lyric for Strings (probably his most played orchestral work) and Lilacs for Voice and Orchestra, which won the 1996 Pulitzer Prize The support that Eastman has in Music. His long list of compositions includes two Eastman commissions: Foils for Orchestra given me since I graduated in 1956 (Hommage à Saint George) and An Eastman Overture, which was recorded by David Effron and the has been truly amazing. Eastman Philharmonia in 1982. Besides his five piano sonatas, Walker also wrote fiveSinfonias and —George Walker (2018) concertos for piano, , violin, and cello (commissioned by the ).

16 Eastman Notes | Fall 2018 JOHN SCHLIA his spring, Eastman proudly celebrated the 95th birthday year of a composer who headed Eastman composition department for composer and pianist George Theophilus Walker ’56E (DMA) thirty years, the set—and the celebration—included many current T in an April 2 recital comprised of Walker’s five piano sonatas— Eastman faculty members and students. works ranging from before his Eastman days to 2003—performed by A newspaper reporter once summed up the career of George guest pianist Redi Llupa. (Sadly, George Walker died shortly after- Walker with the phrase “unrelenting artistry.” That phrase can also wards, just after his 96th birthday—see Dean Jamal Rossi’s note.) describe the achievements of both these prolific and long-lived Almost exactly a month later, Eastman hosted a CD release composers, whose ties to Eastman remain close and who, in the event for One Lives but Once: a 90th birthday celebration of the words of Professor of Guitar Nicholas Goluses, “represent the best music of Samuel Adler. Fittingly for a compendium of the work of of what our profession can become.”

One Lives but Once is a three-CD com- pendium from Linn Records of music from throughout Adler’s career. The third disc features Eastman facul- ty members and Eastman student ensembles. In the words of Professor of Composition (and former student of Adler’s) David Liptak ’75E (MM), A composer could not ask for a Born March 4, ’76E (DMA), “The range of music more meaningful birthday present 1928 in Mannheim, found here is astonishing”: Samuel Adler than these three CDs which span • Concerto for Guitar and Orchestra Adler’s output includes more than 400 published (1994), with Nicholas Goluses and so much of my musical output for musical works, four books including the standard text- the Eastman Philharmonia Chamber so many years. I am especially book The Study of Orchestration and his autobiography Orchestra, conducted by Neil Varon; grateful for the participation Building Bridges with Music: Stories from a Composer’s • Into the Radiant Boundaries of Light Life. Adler was inducted into the American Academy of the Eastman School in this (1993), with Goluses and Phillip Ying of Arts and Letters, the American Classical Music project, since I was associated ’91E, ’92E (MM), viola; Hall of Fame, and Germany’s Akademie der Künste. with the school for 30 years • Ports of Call (1992), with Associate ASCAP presented him with the Aaron Copland Award Professor Julian Athayde and and it has meant so much in my for Lifetime Achievement in Music (Composition Professor Renée Jolles, violinists, and life. I am thankful to Nicholas and Teaching). Renée Jolles, and Goluses; Adler was on the Eastman faculty from 1966 to Goluses, the many colleagues also • Five Choral Scherzi (2008), with 1995, chairing the composition department from featured, and the administration Randolph Kelly, viola, Goluses, and 1974 until his retirement. He received the University of the school for their commitment the Eastman Chorale conducted by of Rochester’s Lillian Fairchild Award, was desig- Professor William Weinert. to making this such a very nated “Phi Beta Kappa Scholar” for 1988–1989, and successful venture. received Eastman’s Eisenhart Award for Distinguished One Lives but Once also includes —Samuel Adler Teaching. several of Adler’s orchestral works, with his wife, Emily Freeman Brown Eastman came out in force to celebrate the beloved Sam Adler’s 90th birthday. Front, left to right: Emily Freeman ’89E (DMA) conducting, and pro- Brown, Samuel Adler, Nicholas Goluses. Back, left to right: Phillip Ying, Matthew Brown, David Liptak, Juliana gram notes by Professor of Theory Athayde, William Weinert, Renée Jolles, Neil Varon. All took part in producing One Lives But Once. Matthew Brown.

MICHELLE MARTORELL Fall 2018 | Eastman Notes 17 After his graduation from Harvard and conducting and piano study at the Curtis Institute, ’s conducting career started to take off . . . partly in Rochester.

18 Eastman Notes | Fall 2018 Thebestof allpossible musicians The great Leonard Bernstein and his ties to Eastman and to Rochester

By David Raymond

f you follow classical music—or any kind Bernstein’s Clarinet Sonata (1941–42). Oppen- of music—you are probably aware that heim gave the New York City premiere of this August 25, 2018 marked the centennial of work, and later recorded it with Bernstein at the I Leonard Bernstein (1918–1990), the unique piano. Oppenheim’s life converged personally and composer/conductor/educator/TV personality/ professionally with Bernstein’s at many points: as recording artist/public intellectual who defined director of the Masterworks (classical) division American classical music for decades. of Columbia Records in the 1950s; working for In the 1940s and 1950s, Bernstein was a quint- Robert Saudek Associates and CBS, which pro- essential New Yorker (even though he was born duced several Bernstein TV specials in the 1960s; in Lawrence, Massachusetts), and later became and as dean of the New York University School of a true citizen of the world. But in the early part the Arts, where Bernstein helped inaugurate a of his career, Bernstein had some interesting ties, musical theater writing program in the mid-1970s. to the Eastman School of Music and to Rochester. Bernstein was friendly with such important 20th-century American composers as Aaron Friends in High Places Copland, William Schuman, and the Rochester- He was a graduate of Harvard and Curtis, but born David Diamond (1915–2005). Originally Bernstein had several close, longtime friends with in Eastman’s Class of 1937, Diamond spent a Eastman ties who became prominent in Ameri- brief, contentious time here before studying can musical life. Perhaps the closest was David in Paris with Nadia Boulanger. For many years, Oppenheim ’43E (1922–2007), the dedicatee of Bernstein played Diamond’s music regularly with

LIBRARY OF CONGRESS Fall 2018 | Eastman Notes 19 the New York Philharmonic; he premiered Diamond’s This summer’s revival of of the Boston Symphony Orchestra for many years, Fifth Symphony in 1966 (on a concert that included the Bernstein’s Candide at the Ohio who played the American premiere of his Halil (1981); premiere of Diamond’s Piano Concerto with former Light Opera was thoroughly and Thomas Stacy ’60E, solo English Horn of the New Eastman faculty member Thomas Schumacher as the Eastman-centric: director York Philharmonic, who recorded Copland’s Quiet City soloist), and recorded Diamond’s Fourth Symphony—the Steven Daigle, co-chair of the under Bernstein. Voice and Opera Department original Columbia LP has on the flip side a Sinfonietta and director of Eastman Opera by Jacob Avshalamov ’42E, ’43E (MM) (1919–2013). Theatre, chose five Eastman Bernstein at the RPO (Diamond, a violinist, also played in the Broadway pit alumni among the leads. Bernstein had a spectacular debut in 1943, conducting the orchestras for Bernstein’s Wonderful Town and Candide.) Four of them are pictured New York Philharmonic at a few hours’ notice when Bruno Another Eastman connection was the British-born here, left to right: Jonathan Walter fell ill. Despite that initial liftoff, however, for the Heller ’17E (Martin), Stephen Goddard Lieberson ’37E (1911 - 1977), longtime president Faulk (Candide—not an rest of the 1940s Bernstein was a struggling, but active, of Columbia Records. Besides producing many classical alumnus), Ted conductor (buoyed by his success as the composer titles for Columbia (with an emphasis on contemporary ’09E (DMA) (Voltaire and of the ballet Fancy Free and the musical On the Town). composers, including Americans), and signing artists Doctor Pangloss), Ivana Among the orchestras he conducted was the Rochester like Glenn Gould and , Lieberson was a Martinic ’14E (Cunegonde), Philharmonic, in concerts during 1945 and 1947. and Hannah Kurth ’15E (The revered producer of Broadway cast recordings: perenni- Old Lady). Also involved in His last concert with the RPO was an all-Beethoven pro- als like , , and My Fair Lady, and four OLO’s Candide were Spencer gram on March 27, 1947, and he never returned, perhaps of Bernstein’s musicals: On the Town, Wonderful Town, Reese ’15E (MM) (Governor because he had had hopes of taking over the orchestra. Candide (with David Oppenheim), and West Side Story. and choreographer), Yvonne No recordings or broadcasts survive of Bernstein’s RPO Bernstein of course had many friends among orches- Trobe ’17E (MM) (ensemble), performances, but the programs indicate that numerous and Rachel Kobernick ’20E tral musicians. Two of the most prominent Americans (assistant director). Bernstein trademarks were already in place. He conduct- he worked with were Doriot Anthony Dwyer ’43E, first ed concertos by Ravel and Beethoven from the keyboard;

20 Eastman Notes | Fall 2018 MATT DILYARD he promoted music by Shostakovich and Cunegonde at Carnegie Hall and at the LA Copland; and he boosted his own music. His Opera. Kathryn Lewek ’06E, ’08E (MM) November 1945 performance of his “Jeremiah” was Cunegonde for Glimmerglass Opera Symphony featured an Eastman student, mez- in 2015, and sang “Glitter and be Gay” zo-soprano Zelda Goodman (Manacher) ’45E. at this year’s gala for the Washington National Opera. (Read about a third Bernstein at Eastman? Eastman Cunegonde on page 20.) In his Serving a Great and Noble Art, Eastman While Candide has grown in favor, School of Music Historian Vincent Lenti men- Bernstein’s most famous work is tions Bernstein a few times, in connection with undoubtedly a show in a very different the period in the early 1960s after Director style: the musical West Side Story (1957). Howard Hanson announced his retirement. Musicologist Elizabeth Wells ’96E (MA), In 1961, Sol Linowitz, the chairman of the ’04E (PhD) is the author of “West Side board of Xerox and a University trustee, Story”: Cultural Perspectives on an Amer- suggested that three prominent American ican Musical (Scarecrow Press, 2010), musicians—Bernstein, violinist , based on her Eastman doctoral disser- and , music director of the Above: Clarinetist and record tation. Here’s a mini-interview with Elizabeth about Boston Symphony Orchestra—be approached producer David Oppenheim this landmark show: for advice on a replacement. (Bernstein’s sug- ‘43E, shown with Bernstein gestion, Lukas Foss, was dismissed by Hanson.) in the 1950s. Below: Eastman What made West Side Story such a revolutionary and The following year, Bernstein’s name appeared PhD Elizabeth Wells has important Broadway musical? written a scholarly study on a long list of possible director candidates, of Bernstein’s Broadway West Side Story was seen as “original” and “revolutionary” but Hanson’s eventual replacement, conductor masterpiece. but in fact it relied on Broadway’s most important and , was a former Curtis classmate prominent features, just used them brilliantly. Perhaps of Bernstein. the most important thing about the work was how it pushed the envelope musically (in terms of difficulty Two of the Best of and complexity of the music) and its integration of dance. All Possible Musicals Among his many achievements, Leonard How would you describe Bernstein‘s standing among Bernstein wrote a thoroughly glittering American composers? score for Candide (1956). This operetta was a Bernstein’s legacy is still being assessed. In his own Broadway flop, but has gradually entered the time, his tonal and more “popular” style was opposed to opera repertoire. (Its overture immediately entered current trends in composition, but those very features the orchestral repertoire.) Several recent productions that made him most attractive to audiences are the have featured Eastman sopranos in the role of Candide’s aspects of his work that are now being appreciated in put-upon girlfriend Cunegonde, and given them an our age of musical ecumenicism. I think that Bernstein opportunity to knock audiences dead with the score’s will not go down as one of the great composers of the showpiece: “Glitter and be Gay.” century, but will definitely be remembered as one of the Earlier this year, Erin Morley ’02E performed very very good ones.

Howard Hanson: Symphony No. 6 MORE MEMORIES To celebrate its 150th anniversary in 1967, the New OF LENNY If you York Philharmonic commissioned large-scale works ever encountered Leonard Bernstein from 18 prominent composers. The list includes as an orchestral Howard Hanson’s next-to-last symphony, whose musician, a student dedication “To Leonard Bernstein and the New York conductor, or a Philharmonic” is in Hanson’s handwriting at the top concert or TV of the score. Hanson, who had retired as Eastman audience members, please send your director in 1964, conducted the premiere in New memories to York on February 29, 1968, between Bernstein-led Eastman-Notes@ performances of Ives and Berlioz. Hanson’s style was esm.rochester.edu considered old-fashioned in 1968, but the Sixth is now considered one of his best works.

LIBRARY OF CONGRESS (OPPENHEIM); MICHELLE MARTORELL (SCORE) Composing a Community

We’ve titled this feature Composing a Community, but the Pathways encourages talented high school students in programs described here enrich not one but two communities— the Rochester City School District to study in the Eastman Rochester’s, and Eastman’s. Only one is called “Eastman Community Music School; their interest in music may have Pathways,” but in truth all the programs and scholarships been stimulated in grade school by participation in ROCmusic. featured here offer paths to musical excellence. Students who have what it takes to enter Eastman can be In order of their founding, they are: helped by a William Warfield Scholarship or LINKS Scholarship. If they go on to professional careers as an orchestral musician, • Links Scholarship they can polish their artistry and experience camaraderie by • William Warfield Scholarship returning to participate in the Gateways Music Festival. • Gateways Music Festival • Eastman Pathways Taken all together, they create an “Eastman Pathway” that leads • ROCmusic to an accomplished and meaningful life in music.

KURT BROWNELL SPECIAL FOLDOUT FEATURE •

{ SCHOOL NEWS } New Images, New Sounds On March 22 and 23, Eastman Audio Research Studio (EARS) presented its inaugural Image/Sound Festival. This informal festival brings together image and sound constellations, confluences, and collisions in forms previously unknown at Eastman. EARS was joined by eminent Austrian video artist Claudia Rohrmoser, com- Constellations, confluences, poser Brigitta Muntendorf, and collisions: a scene from and the award-winning one of the multimedia works Ensemble Garage from presented by the Visual Cologne, Germany, as well Studies Workshop at the as the Empire Film Music EARS Image/Sound Festival. Ensemble, performing new works by Jose Benjamin Escobar and Claire Caverly. Rohrmoser was featured in a screening, and in a spe- cial workshop in partnership with the Visual Studies Workshop. The highlight of the festival was a concert by Ensemble Garage of works from different composers, video, and multimedia artists, focusing on the interaction of seeing and hearing within the performative context. Eastman Audio Research Studio is a platform for research, experimentation, and the creation of new works. The studio strives to encourage and enable the creation of new works at the intersection of musical expression and sound technology. An International Impulse Eastman’s partnership with the Musikhochschule Freiburg, created in the mid-1980s, fosters a lively inter- national exchange of the latest research in music teaching and learning, and intensifies scholarly collaboration between students and faculty members of both schools. As part of a two-year grant from the German govern- ment, this spring the partnership culminated in Impulse III: A program of avant-garde films and music performed at Eastman on May 6. It included performances of George Antheil’s Ballet Mécanique (1924) for four and per- cussion; Entr’acte, with music by Erik Satie; and Inflation by film maker Hans Richter, with music later composed by Morton Feldman. All three performances were accompanied by the Eastman Percussion Ensemble, directed by Eastman Professor Michael Burritt and conducted by Bernhard Wolff, Professor of Percussion at the Hochschule in Freiburg. The four pianists included two professors from Freiburg, Mathias Trapp and Alfonso Gomez, and two doctoral students from Eastman, Kurt Galvan and Jeremy Vigil. The concert was repeated in Freiburg, led by Michael Burritt, with Freiburg percussion students and pianists from both schools. Reinhild Steingröver, Professor of German at Eastman

26 Eastman Notes | Fall 2018 MICHELLE MARTORELL { SCHOOL NEWS }

Flying High . . . Back to Eastman Eastman hosted the United States Air Force Concert and Singing Sergeants on their spring tour, and also hosted many alumni musicians in the Band. Shown left to right are Technical Sgt. Kris Westrich (, former ECMS student), Master Sgt. Adam Green ’98E (percussion), Technical Sgt. Blakely Carrol-Rosengaft ’06E (MM) (trumpet), Technical Sgt. Brian Wahrlich ’06E ’08E (MM) (clarinet), Technical Sgt. Jeremy Klenke ’08E (clarinet). Not pictured is Technical Sgt. Ashley Keeks (soprano sax, former ECMS student).

and Affiliate Professor in Film Studies at the University Undergraduate student Jiaqi Shao played in the of Rochester, elaborates: “The partnership strengthens “Rising Stars” concert, which was recorded for NPR’s international exchange between students. The Freiburg Pipedreams Live program. Featured performers includ- students visit my Eastman classes and speak about ed Michael Unger ’04E (MM), ’07E (MM), ’13E (DMA), the differences between studying at conservatories in now a faculty member at Cincinnati, Nicole Keller ’99E Germany and in the United States. I am developing a (MM), at Baldwin-Wallace), Jenny Pascual ’01E (DMA), study abroad/hybrid Humanities course with Freiburg music director of St. Patrick’s Cathedral, Jamie Bobb for Eastman students.” ’91E (MM), associate professor at St. Olaf, Tom Trenney ’02E (MM), of First Congregational Church, Lincoln, Powerful Pipes, Rising Stars: Nebraska, and Damin Spritzer ’99E (MM), assistant pro- fessor at University of Oklahoma. Kansas City native Eastman at AGO 2018 Emma Lou Diemer ’49E (MM), ’60E (PhD) composed a The 2018 National Convention of the American Guild new piece for the convention, Remembering, premiered of Organists was held from July 2 through 6 in Kansas on July 4 by Chelsea Chen. City, . Eastman’s organ department always Between 80 and 100 people attended the Alumni makes a sterling showing at this event, but this year was Reception on July 3, where we announced Eastman’s exceptional. More than 35 Eastman students, alumni, or future “Wm. A. Little Fellowship in Organ” bequest, with faculty members performed, lectured, presented, record- Professor Little giving an impromptu talk about his admi- ed, composed, turned pages, or did other things to make ration for the Eastman organ education, and his faith in this convention a success. the future of the organ department here. It was inspiring. At the competition, three of the nine semifinalists were The reception was a resounding success, and I heard Eastman students. Two made the finals, and received the such comments as “What a wonderful vibe in the room second and third prizes, respectively: Caroline Robinson that night,” “What’s happening at Eastman gives me ’16E (MM) and Daniel Chang ’18E (MM). Both Caroline faith in the future,” “Eastman is so successful—what’s and Dan are current DMA students here. Our third semi- your secret?,” “I’m so proud to call myself an Eastman finalist was current MM student Isaac Drewes. alum,” and most importantly, “Thank you for having this

MICHELLE MARTORELL Fall 2018 | Eastman Notes 27 { SCHOOL NEWS }

created by Music for All in our new Eastman to Go program,” says Mark Kellogg, associate professor of Euphonium, Trombone, and Chamber music and, with Chamber Music department chair Elinor Freer, co-di- rector of Eastman to Go. “Our goal is to help Eastman students perform at a high artistic level, while we help them connect with our community in a meaningful way.” Laura Souza is Eastman’s New Assistant Director of Engagement This spring, Laura Souza was appointed as Eastman’s Assistant Director of Engagement. In this role, she over- sees Eastman’s initiatives to engage alumni, donors, and friends, through events, communications, stewardship, alumni programming, and annual fund efforts. Laura’s passion for music led her to receive her bachelor’s degree in music education and later a master’s degree in flute performance. She is cur- rently pursuing an MBA at the University’s Simon School of Business where she is combining her love for music with business. Laura has been with Laura Souza the Eastman School of Music for over two years now and has fallen in love with the community. She is always happy to meet and talk with alumni and help them share their news with the ever-reaching Eastman family. Laura has worked end- lessly to progress Eastman’s outreach as well as provide a welcoming presence for current students, donors, and alumni. We look forward to her continuing efforts! Want to get connected? You can contact Laura at Creative Expressions! The wonderful party—I look forward to it as the highlight of [email protected]. Scio Sax brought its each convention.” Eastman to Go presentation For more information about Eastman at AGO 2018 go to the Rochester Children’s School. Shown here are to esm.rochester.edu/blog/2018/07/ Summer@Eastman 2018 . . . Clancy Ellis (left) and Uday —David Higgs, chair, Department of Organ, by the Numbers Singh (right); the other Historical Keyboards, and Sacred Music members are Siobhan Plouff It’s time for our annual “summery summary”! We defi- and Michael Matthews. nitely put the 40 days of Summer@Eastman 2018 to Eastman on the Go good use. Here are some numerical highlights of the sea- This year, Music for All became Eastman to Go, launching son. Many thanks to all the faculty and staff who helped its new identity with free community outreach events compile this list! in March and April. Eleven different Eastman student Summer students came to Eastman from 35 states chamber ensembles visited elementary through high (plus Washington, DC) and 13 countries. Our youngest schools, libraries, and retirement homes. student was 9 years old (Adventure Music Camp); the Eastman to Go allows our chamber music students to oldest student was 87 (New Horizons Orchestra Camp). forge relationships with schools and community venues #lifegoals across the Rochester area, and gives them opportunities We offered 37 programs this summer, 6 of which were to share their passion with a broader audience. new for 2018. “I’m so glad that we are building on the momentum We welcomed 40 guest Summer instructors and pre-

28 Eastman Notes | Fall 2018 MICHELLE MARTORELL { SCHOOL NEWS }

An Eastman Alumni Power Trio Each year, the Rochester Music Hall of Fame recognizes outstanding Taylor, and ; and veteran bassist Tony Levin ’68E, current- musicians with ties to Rochester. The 2018 inductees included John ly a member of the Peter Gabriel Band, King Crimson, and Stick Men. Beck ’55E, ’62E (MM) longtime Rochester Philharmonic Orchestra The three musical greats performed April 22 to a sold-out Kodak musician, Eastman faculty member, and Professor Emeritus of Hall, joined by Professor Michael Burritt ’84E, ’86E (MM), Eastman Percussion; prolific pop-rock drummer Steve Gadd ’68E, who per- percussion coordinator Brian Stotz ’79E, and John’s son, John R. Beck forms in studio and on tour with such artists as Paul Simon, James ’83E (MM). senters in 2018, including Donald Hunsberger ’54E, ’59E young jazz musicians, and 77 classical instrumentalists (MM), ’63E (DMA) (Summer Wind Conducting Insti- and singers attended Music Horizons–the largest enroll- tute), George Vosburgh ’79E (Eastman Summer Trumpet ment in Music Horizons’ history. Institute), Ann Howard Jones (Choral Masterworks– 13 cellists performed a sizzling of Manuel Haydn’s The Creation), and Allen Vizzutti ’74E, ’76E de Falla’s Danse rituelle du feu on the Eastman Cello (MM) (Eastman Trumpet & Trombone Retreat at Keu- Institute’s Cello Ensemble concert. ka). 17 of these guests were new to Summer@Eastman. 293 is the total number of singers who participated From distilleries and rehearsal spaces to concert halls in this year’s Summer Sings (community choral reading and cathedrals, Summer@Eastman performances were sessions open to the public, led by William Weinert). The held in 11 venues this year (at Eastman, around Rochester, best-attended Sing this summer: Haydn’s Creation (82 around Keuka Lake, and in San Francisco). singers, plus 12 student conductors from the Eastman 15 Eastman students (from 5 countries) participated Choral Institute, 3 onstage soloists, 1 very busy collabo- in the University of Rochester ONCampus Intensive rative pianist, and 1 worm). English Program (ESL) for 8 weeks during the summer. 52 is the number of performances on this year’s sum- We estimate they traveled a combined total of 95,000 mer concert calendar. Admission to 33 of those concerts ON THE WEB We have many miles to get here! was free. more fun Summer 2018 facts The 21 higher music education arts administrators —Andrea Schuler, and stories at esm.rochester. who attended the Eastman Leadership Conference hold Summer at Eastman Program Coordinator edu/blog/2018/08/ at least 16 different job titles between them. The most musical instrument among ELC participants: Eastman’s Summer of Leadership: (Jim Doser ’79E, ’84E (MM) and Jamal Rossi ’87E (DMA), who both presented at ELC, are saxophon- Learning and Connecting ists as well). This June, 42 music leaders from 36 universities and The Eastman Community Music School’s acclaimed colleges attended two Eastman Leadership events to summer intensive programs for high-school students further their professional education. had a banner year: Summer Jazz Studies welcomed 47 The Eastman Leadership Conference focused on

JAMES DOLAN/ROCHESTER MUSIC HALL OF FAME (HALL OF FAME); GRANT TAYLOR (SUMMER@EASTMAN) Fall 2018 | Eastman Notes 29 { CONVERSATION } Sounds and Images: A Year with the Beal Institute A conversation with Mark Watters By Dan Gross

Eastman’s involvement in the Xerox Rochester International Jazz Festival (XRIJF) has always been extensive. This year, along with concerts by faculty members, students, and alumni, Eastman presented something new, a Jazz at the Movies concert presented by the Beal Institute for Film Music and Contemporary Media and led by its director, Mark Watters. The concert not only showed off the prowess of Eastman students, it also “Music is just one aspect of demonstrated the results it”: Beal Institute director of the first year of the Mark Watters makes sure Beal Institute (founded, of his students learn the art and course, by another Emmy- the craft of film and video winning film composer, composition. ’85 MM).

Can you recap your first year with the Beal Institute? It’s been a flurry of meetings, and introductions, and a whirlwind of future ideas, endeavors, and projects. We’re setting up relations with Rochester Institute of Technology, the Eastman Museum, and various gaming developers in the area. I had six incredibly talented students, and we did a total of nine recording sessions with various groups, all made up of Eastman students. Students got a chance to write in a huge variety of styles, and challenges. The purpose is to build a real portfolio that they can use to go out and take the next step.

It must be challenging doing the first year of any pro- gram, figuring things out on the go. How did you and your students respond to that? A group this small—only six—allowed me to tailor the curriculum to each student’s strengths and weaknesses. Some students are really gifted in computer technology, and some are really gifted in orchestration and more tra- ditional areas, so we’re able to handpick the challenges and the assignments to fit their needs. The program will always be limited to six per year, which is essential; we want it to be exclusive. Activities this year under the Beal Institute umbrella included: (top) recording sessions with The students were wonderful with offering feedback; student composers leading their own music; (bottom) a popular Jazz at the Movies concert at the Xerox Rochester International Jazz Festival, sponsored by the Kenlou Foundation Fund. they’re very up on things. The administration has been

30 Eastman Notes | Fall 2018 MICHELLE MARTORELL (TOP); GRANT TAYLOR (BOTTOM) { SCHOOL NEWS } wonderful in its support of the program: buying new equipment, new software, working with the faculty to have access to the players we need at the school.

Cooperation between Eastman and other institutions in scoring, composition, and new media was absent since Ray Wright was at Eastman. Why was it important to bring it back? Music is just one aspect of it. The students have to have experience scoring projects with the filmmakers. It’s one thing for me to have them re-score a scene from some well-known TV show, but they have me there to guide them. That’s what we do the first year. The second year, they’ll have to sit at a table with filmmakers who may not know how to describe what they want musically, but part of the job of being a composer is bringing knowl- edge and skills specific to music to a very collaborative A Shining Sendoff to the Class of 2018 art form. It’s a very important skill, and it can’t be dupli- 239 students received bachelor’s master’s, and doctoral degrees at cated any other way. Eastman’s 2018 Commencement—our school’s 93rd—on May 20. Our relationship with RIT is essential because there Commencement speaker Jane Chu, until recently the chair of the is no film school at UR, and RIT is so highly regarded in National Endowment for the Arts, gave a rousing address, and was their animation school, their film school, and their video also the recipient of Eastman’s Luminary Award for an individual game development school. who has given “extraordinary service to music and the arts at the The Eastman Museum has a wonderful archive of national and local levels.” Anne Harrow ’81E, associate professor of older films—even silent films—that do not have scores, flute and piccolo, was a very popular choice for Eastman’s Eisenhart so it’s a great, great opportunity for the students to be Award for Excellence in Teaching—in the words of Dean Jamal able to do something original, and not have to mimic Rossi, “a teacher can make a huge contribution to Eastman, even another composer’s style. That is still an important when playing the smallest instrument in the orchestra.” Anne is part part of what we have to do, however, because it’s a way of a family that has (so far) sent 19 members to Eastman, including for filmmakers to describe in non-musical terms what her daughter Hannah, currently a DMA student in voice and direc- they’re looking for. tor of the Pathways program (see page 24) Tell us about Jazz at the Movies. One of the first things I was told when I got this job was: providing tools, resources, and networking opportunities for music school “You need to come back and go to the XRIJF.” I was so administrators, featuring lead faculty Deans Jamal Rossi, Mary Ellen blown away with how it takes over the city; it’s such a Poole (University of at Austin) and Robert Cutietta (University of huge event. And it’s so cool that Eastman is at ground Southern California–Thornton). Participants represented all levels of zero, right there at the center of it. music school administration, from department chairs to deans. I immediately told Dean Rossi that I would love to do One attendee, Allegra Montanari, is the recently appointed Director a “jazz at the movies” concert. We had a meeting with of The Center for Arts Leadership at Roosevelt University in Chicago. [XRIJF director] John Nugent, and John could not have As the inaugural year for this center approaches, her role is to plan and been more excited. Right there he committed a date and initiate an entire program, so she came to Eastman for guidance. She a venue, and said “Do whatever you want to do.” commented: “You set the tone for incredible conversations and new friendships. I can’t thank my fellow learners enough for sharing their Did the movies play behind and along with the experience and expertise and for creating a welcoming community.” orchestra? One of Allegra’s students, Alexander Fruin, attended the Eastman No, I didn’t want to take that technical challenge on. We Leadership Academy the following week. Music school juniors, seniors, did this with a ——so we were limited and graduate students interested in improving their leadership and to scores that were written for that group. We did the professional skills participated in intense study, interactive workshops, main titles of Man with a Golden Arm, Walk on the Wild and collaborative learning activities. Side, Mission Impossible, and those were great to play Thank you to all of our Conference and Academy faculty (includ- along with. But there was no click track, no headphones. ing many Eastman administrators and faculty members) for helping We played scenes and images, and edited video packag- Eastman to be the location for current and aspiring music leaders to es without sound, while we played the music, just to give come for information, networking, and inspiration! the audience a visual sense of the movie. —Blaire Koerner, Careers Advisor, Institute for Music Leadership

J. ADAM FENSTER Fall 2018 | Eastman Notes 31 { RECORDINGS }

1 2 3 4 5

6 7 8 9 q

LOMAZOV/RACKERS MARC BLITZSTEIN bird theme in “Serge’s “love, death, fear, and the companion album, Renée PIANO DUO 3 The Cradle Will Rock Birds.” need to connect” (Musical offers a survey of musical 1 The Rite of Spring; Bridge Records America). This recording theater songs from Jerome Three movements from MAX STERN features the cast of the Kern’s “All the Things You “Petrushka” In July 2017, Opera Archive Recordings opera’s well-received pre- Are” to Pasek and Paul’s “So MSR Classics Saratoga (NY) performed (1966–2008) miere; Opera News praised Big/So Small” from Dear Marc Blitzstein’s 1937 MS Recordings the “melodic, tonal style” of Evan Hansen. Marina Lomazov ’93E, ’00E opera The Cradle Will Rock Robert’s music. (DMA), who joins the East- with its rarely-heard origi- This “musical autobiogra- CHICAGO HARP QUARTET man piano faculty this fall nal orchestration, and it is phy” collects recordings KRISTIAN BEZUIDENHOUT 9 Dance Sketches (see p. 11), and her partner heard on this live recording. of 21 pieces by Max ’69E, 6 Schubert: Winterreise chicagoharpquartet.com Joseph Rackers (MM ’01, The cast, conducted by from music for the Jewish 7 Bach: Sonatas for DMA ’05) perform a pro- John Mauceri, includes liturgy to a musical theater Violin and Harpsichord Two of the members of gram of Stravinsky ballets Jorgeandrés Camargo piece—and two pieces Harmonia Mundi the quartet are alum- arranged for piano . ’12E as Dr. Specialist and recorded during Max’s ni: Marguerite Lynn Marina and Joseph were in- Garrett Obrycki ’13E as a Eastman studies: Variations He is best-known for his Williams ’01E, and Julie terviewed in the May 2018 steelworker. The two-disc for on a many Harmonia Mundi Spring ’05E; the others Gramophone, whose review set includes a rare record- Pergolesi Theme, his first recordings of Mozart are Catherine Yom Litaker stated that “security and ing of Blitzstein discussing composition presented concertos and sonatas, but and Emily Ann Granger. clarity essentially define the opera’s opening night. at a composers’ forum, fortepianist Kristian ’01E, This self-produced album [their] performances.” and Sonnet for Orchestra, ’04E (MM) has become a includes music by Bissill, NEW ENGLAND JAZZ conducted by Walter Hendl “go-to” musician for music Broughton, Ortiz, Patterson, NABATÉ ISLES ENSEMBLE at a Festival of American by many other composers. and Sorrentino, plus 2 4 Music. “There is a little bit of music by Eclectic Excursions Peter and the Wolf RENÉE FLEMING NSI/Universal NEJE.org of ESM history here,” says 8 Falla, Delibes, and Liszt. Max, “and I wanted to share Carousel [2018 The debut album from Steven Bulmer ’82E, it with the ESM communi- Broadway cast] VICENTE AVELLA Craft Recordings Nabaté ’95E features the bassist and president of ty.” See p. 35 for more news q Rising Grammy winner as trumpet the New England Jazz from Max. Broadway Pandora’s Boombox Records soloist in his composition Ensemble, produced this Decca “Find Your Light”, with CD of a new arrangement ROBERT PATERSON Rising is Vicente’s ’98E singer Alita Moses (also of Prokofiev’s work by Walt 5 Three-Way Renée ’83E (MM) received (MM) second album: a available as a single on Gwardyak, with a “hipster” American Modern Recordings a Tony Award nomination collection of instrumental iTunes). Other perform- rewrite of the libretto by for her Broadway musical music arranged for piano ers include Beth Meyers Giacomo Gates. Jeffrey The situations in this eve- debut as Nettie Fowler in and a supporting ensemble ’00E, ’02E (MM), viola; Holmes ’77E, ’79E (MM), ning of one-act operas by this lavish revival of the of strings, guitars, vocals, Kaveh Rastegar ’01E, on primary trumpet soloist Robert ’95E and librettist Rodgers and Hammerstein percussion and electronics. guitar and acoustic and and conductor, contributes David Cote involve android classic, in which she sings Vicente’s compositions electric basses; and Eric an original composition, lovers, dungeons, and “June is Bustin’ Out All embrace and live comfort- Stephenson, cello. (See also “Wolves,” and an unusual shedding taboos, but along Over” and “You’ll Never ably in the classical and “Alumni on the Move,” p. 5.) arrangement of Prokofiev’s with sex, it’s also about Walk Alone.” In a new pop worlds.

32 Eastman Notes | Fall 2018 { RECORDINGS }

w e r

Charles Pillow at the 2018 Rochester Jazz Festival.

CHARLES PILLOW LARGE ENSEMBLE Electric Miles • Summit/MaMa Going the Extra Miles Charles Pillow’s ’84E (MM) Electric Miles is a large-en- t y u semble adaptation of Miles Davis’ seminal 1969 recording Bitches Brew. Also ENSEMBLE 365 Jared Schwartz ’06E and and Done Ellis, among featured are Michael Davis w Eastern Currents pianist Mary Dibbern, others. Mark Foster ’78E ’82E, Luke Norris ’17E, CJ Romeo Records displays the power and performs as percussionist. Ziarniak ’17E, Karl Stabnau poetry of this composer’s The EJO is ending with ’11E, Charlie Carr ’17E (DMA), Ensemble 365, includ- remarkable imagination. It Bill’s retirement. ing pianist Mirna Lekic was awarded Best Lieder Julian Garvue ’17E, Abe Nou- ’02E (DMA), presents a Recording of 2017 by Voix TIMOTHY WHITEHEAD ri ’18E, and Jack Courtright journey through contem- des Arts and a Best Album u Mid-century Sonatas ’18E, with current students porary Asian music, with of 2017 by TheatreJones. for Horn and Piano Colin Gordon and Gabe Ramos. works written in the past Little Cottage Records forty years by Franghiz NICK FINZER Tell us about Electric Miles. Ali-Zadeh, Bun-Ching Lam, t No Arrival Most Eastman students A number of tunes come from Bitches Brew, but some Ramin Heydarbeygi, Ravi Posi-Tone Records know that Hindemith wrote are from Miles’ In a Silent Way, Jack Johnson, and one Shankar, Toru Takemitsu, at least one sonata for and Ming-Hsiu Yen ’02E. Jazz trombonist Nick virtually every instrument, or two others. Bitches Brew has so much mystique; ’09E celebrated the CD from piccolo to tuba, with that music is underappreciated still, though it’s one of JOHN SERRY release with a concert in piano. Timothy ’02E kicks Miles’s best-selling records. The guys on that record e Disquisition Washington, DC with three off a “Paul Hindemith started the fusion movement: Joe Zawinul, Wayne CD Baby other Eastman alumni: Project” with this recording Shorter, Chick Corea, Herbie Hancock, Dave Holland. pianist Chris Ziemba ’08E, of Hindemith’s two horn Disquisition consists of sev- ’11E (MM); drummer Kevin sonatas, as well as those Tell us about your arranging process. en original compositions McDonald ’10E; and bassist of Bernard Heiden and I wanted a vehicle for trumpet soloists, namely Tim by Grammy-nominated Miles Brown ’00E, ’12E Halsey Stevens, with NYPO pianist-composer John (DMA). Nick was recent- Associate Principal Horn Hagans and [JCM Professor] Clay Jenkins. They did a ’75E, ’90E (MM), perform- ly appointed Assistant Richard Deane. fantastic job evoking the spirit of Miles. I tried to fig- ing with Paolo Ghetti on Professor of Jazz Trombone ure out what to highlight to allow room for the soloists. bass and Bruno Farinelli on at the University of North JEFF BEAL There’s more thematic material than you think on drums. CDs and downloads Texas. House of Cards Symphony; those records. In “Pharaoh’s Dance” . . . the way [Miles] are at cdbaby.com. (Did you Flute Concerto; skirts around the melody until the very end, you have know that Jazziz magazine EMPIRE JAZZ ORCHESTRA Six Sixteen; Canticle is named after one of John’s y Finale BIS Records to listen to it twenty times to figure out that it is a albums?) EJO Recordings melody. You had to dig into that. Jeff ’85E (MM) conducts JARED SCHWARTZ The EJO, directed by four recent compositions You recorded the album first and then played it at r Liszt: Songs for Bass William Meckley ’85 with the Norrköping last year’s XRIJF! Voice and Piano (PhD), has released this Symphony Orchestra of Which isn’t a bad way to do it. Recording music you Toccata Classics set of live performances . Flutist Sharon haven’t fully rehearsed can be a really good situation; of original scores by Billy Bezaly and guitarist Jason The first recorded collec- Strayhorn, Duke Ellington, Vieaux are the soloists in it catches everyone in their most emotionally and tion of ’s songs Oliver Nelson, Rufus Reid works written for them. (See intellectually alive state. You’re a little afraid, but good for bass voice, featuring (a guest artist on Finale), Alumni News, p. 37). music comes out of that. —Dan Gross

Fall 2018 | Eastman Notes 33 { ADVANCEMENT NOTES }

Making a Difference with Smaller Gifts

Did You Know? Last year, gifts to Eastman of $500 or less, collectively, funded the equivalent of five full tuition scholarships. Every gift—no matter the size—makes a difference!

Day of Giving Thank you to everyone who made Eastman’s Day of Giving a success! On May 1, 2018, the Eastman com- munity helped raise $204,297 for the School. Save the date for Day of Giving 2019—May 1, 2019! Dean Jamal Rossi welcomes Eastman donors to a side-by-side experience with the Eastman Wind Ensemble Your Support . . . during one of their weekly rehearsals. Your support of the Eastman GEORGE EASTMAN CIRCLE SCHOLARSHIPS School ensures our ability to continue to provide a world- class educational experience by Make an Immediate Difference investing in these priorities: When you create one of these scholarships, 100% of your contribution goes to a spe- • Scholarships Initiative New George Eastman Circle Scholarships cific student each year. With a minimum • Eastman Annual Fund Established in 2018–2019 Academic Year commitment of $5,000 • Special Performances • Charles T. and Margaret Goodhue Composition annually for a period of • Innovative Programs Scholarship in Honor of Samuel Adler five years, you can make • Community Outreach • Daniel McIntosh and Patricia A. Parsons George an immediate difference • Student Travel Eastman Circle Scholarship in a student’s life by • Dietlinde Schneider Payne George Eastman For information about supporting helping to remove the Circle Scholarship Fund scholarships or other special obstacles that stand between exceptional • George and Vee Angle George Eastman Circle programs and projects, please talent and a world-class music education. Scholarship contact: Annual Scholarships: • Jeff and Joan Beal George Eastman Circle Eastman School of Music • Connect you with a student studying at Scholarship Fund Office of Advancement the Eastman School of Music. • Jim and Janet Morris George Eastman Circle 26 Gibbs Street • Can be established in your name or the Scholarship Rochester, NY 14604-2599 name of someone you with to honor. • Joseph G. and Pat Murray Kelly Voice GEC 585.274.1040 • Qualify you for membership in Scholarship in Memory of Sister Edwina Butler 866.345.2111 (outside 585 the George Eastman Circle, the ’52E (MM) area code) University’s leadership annual • Susie Truesdell and Stephen Gates George giving society. Eastman Circle Scholarship

34 Eastman Notes | Fall 2018 JOHN SCHLIA { ALUMNI NOTES }

January. Commissioned after 47 years as an orches- 1940s for the orchestra’s principal tral trombonist. Gregory ’47E, com- flutist, Jeffrey Khaner, it played with the North poser of such hit musicals was hailed as “a thrill to Carolina Symphony before as Bye Bye Birdie, Applause, hear” and “brimming with he joined Gordon Cherry and , celebrated his . . . amity and warmth.” ’71E in Vancouver, and 90th birthday on June 7. Last year Sam’s String the two worked together In April, Charles heard Quartet was premiered by until Gordon’s retirement a concert version of his the Harrington Quartet, in 2009. Gregory plans show Dance a Little Closer which has performed it in a to continue teaching (written with lyricist Alan half-dozen major venues. trombone, euphonium, Jay Lerner), which ran only and chamber music at 1 2 one performance in 1985. 2 In May, the Chicago the University of British Elizabeth Buccheri ’66E Patricia Rusk ’63E This time around, the score, Academy of the Arts—a Columbia and Western (MM), ’79E (DMA) performed at New York’s Fame-like preparatory high Washington University. Green Room 42, was a hit. school for the performing Charles was on hand to and visual arts—presented After finishing second in greet fans and sign copies Patricia Rusk ’63E with the July 2017 Fallsview of his memoir, Put on a its Faculty Legacy Award. Casino (NY) Blackjack Happy Face. Patricia has performed Tournament for $10,000, professionally since age Arthur Fischman ’70E thirteen and taught since returned in November 1960s age sixteen, working as a and took the first prize of 1 The Solti Foundation musical director, pianist, $25,000! This was Art’s U.S. renamed its Opera arranger, and coach for 19th tournament win. program The Elizabeth musical theatre and cabaret. Buccheri Opera Residency. She joined The Academy in Geary Larrick ’70E (MM) Elizabeth ’66E (MM), 1997 and in 2011 became reviewed James A. Strain’s ’79E (DMA) was the first Musical Theatre Chair Percussion Dictionary in American musician to Emeritus. Patricia remains the Spring 2018 National receive the Solti Foundation active as a board member Association of College Wind Award, given for her musi- of the Musicians Club of and Percussion Instructors cal preparation of Sir Georg Women, and as a found- Journal. Solti’s Decca recordings ing member of Chicago of Schoenberg’s Moses Cabaret Professionals. She 3 John McNeill ’70E, Und Aron, Wagner’s Die continues to musical direct ’73E (MA) writes: “After 50 Meistersinger, and Verdi’s productions and team teach years with the Rochester Otello with the Chicago in the Academy’s Musical Philharmonic Orchestra Symphony Orchestra, Theatre studio classes. I am ‘hanging up’ my Chorus, and soloists. triangle and retiring. It’s Max Stern ’69E, professor been a great journey and I Emma Lou Diemer’s ’60E emeritus at Israel’s Ariel look forward to continuing (PhD) 90th birthday was University, has published to support the RPO and 3 celebrated on two different Speech of the Angels (KTAV Eastman, this time from the John McNeill ’70E, ’73E (MA) occasions. On November Publications). Designed for audience perspective.” 4 the Santa Barbara Music non-musicians, it discusses The video will tour to at the Colburn School Club sponsored a concert the basics of music theory In April, several works by and Ireland in autumn Conservatory of Music which included Emma from philosophical, histor- David Owens ’72E were re- 2018. David’s video compo- in Los Angeles and two Lou performing her piano ical, and spiritual perspec- corded by Albany Records sition Optimal harmonic fi- years as coordinator of the collection for children tives. Max adds, “Biblical by Boston-area perform- delity control was screened Piatigorsky International Travels Through Sound, and Motifs as a Source of ers: Sky Legends—Twelve in May, during the Festival Cello Festival (USC 2016). her organ pieces Toccata Inspiration for Artists at the Vignettes on the Signs Internacional de Video Arte Kathy adds: “No retirement for a Joyful Day, Morning Turn of the 21st Century, a of the Zodiac for piano y Música Visual 2018. is planned, as work is just Has Broken, and Fiesta. conference inspired by my four-hands; Soliloquy VII, a too interesting.” On November 13, the Los book Bible and Music, took solo piece; Sonata for Cello Kathleen Tesar ’79E earned Angeles Chapter of the place in Cietszyn, Poland, and Piano; and Soliloquy II. her Doctor of Education in Orlan E. Thomas ’73E AGO presented a concert of on October 25 and 26. I was Organizational Change and (DMA) has posted all Diemer hymn and chorale invited as opening speaker David Snow ’76E was one Leadership degree from his printed materials on prelude settings and free and guest composer for a of 13 composers contribut- the University of Southern oboe instruction, and his pieces at Westwood United concert of my works.” ing scores to Le Ballet de California Rossier School oboe and English horn Methodist Church. la Nuit, a 13-hour collective of Education in May 2018. music arrangements, work of screen dance pre- Kathy is currently Associate online at lulu.com/spot- A new flute concerto by 1970s miered on May 17, 2018 at Dean for Enrollment light/OrlanThomasOboe ’60E (PhD) Gregory Cox ’71E retired the Festival International de Management at The Publications. Orlan’s was premiered by the from the Vancouver Vidéo Danse de Bourgogne , following Music for Two Oboes Orchestra in Symphony in February, in Cerisy-la-Salle, France. 14 years in administration contains solo parts from

Fall 2018 | Eastman Notes 35 { ALUMNI NOTES } the standard orchestral Randy Crawford ’85E new department chairs repertoire, for which he has (MM) has been working and deans throughout the created a second oboe voice in Las Vegas since 2000, SUNY system. Bill also derived from the original with performers including teaches high-performance . Danny Gans, Frankie Valli, race track driving as a the Four Tops, Boyz II Men, national instructor for the Martin Nievera, percus- Porsche Club of America. 1980s sionist David Ringenbach Larry Aberman ’86E ’74E, saxophonist Jim writes: “I’ve just celebrat- Spoto ’77E, and, most 1990s ed my 15th year playing recently, John Fogerty. Lydia Brown ’93E drums in Cirque du Soleil’s Randy also works with the recently began her new Zumanity at the New York group Jazzmin, alongside appointment as Chair of New York Hotel and Casino Four Freshmen alumnus the Collaborative Piano 4 5 in Las Vegas. I’m adjunct Rod Henley, recreating Department at the Juilliard John Fedchock ’85E (MM) Linda Lister, ’93E (MM) professor of drum set their iconic music in SATB School. studies at UNLV as well as format. a professor of jazz studies Carmen Creel ’92E at Nevada School of the 4 John Fedchock ’85E is the new Executive Arts. Since my last check-in, (MM) appeared on the cov- Director of The Fischoff some 15 years ago, I’ve also er of the April 2018 issue National Chamber Music gotten married and we have of International Trombone Association. Carmen began three lovely kiddos! I’ve Association Journal. The her new post in July. never been prouder to be feature article included an an Eastman graduate!” interview by Eric Nemeyer Guitarist Peter Fletcher (MM ’80) and Tony Garcia ’95E (MM) made his (MM ’85), pictures from Detroit solo recital debut at John’s past, and a solo tran- the Cathedral of the Most scription and analysis. Blessed Sacrament. The recital consisted of works John Hunter ’84E, ’98E by Bach, Paganini, Walton, (MM) has created Stages and Albéniz, and Peter’s to Success, a new podcast transcriptions of music by on which he interviews Satie. musicians from varying 6 Jason McCool ’98E and Maria Finkelmeier ’09E (MM) backgrounds on their This spring, violinist journeys to success. The Kelly Hall-Tompkins New Music’s collaborative the pindrop sessions, a A new flute concerto byJeff guests include Eastman ’93E was appointed the poetry and music commis- classical-ish series I run Beal ’85E was premiered on Associate Professor of Tuba Cincinnati Symphony’s sioning project, The Big for Aeronaut Brewery in May 3 in Minneapolis by Don Harry and Associate inaugural “Classical Roots” SCORE. Somerville, MA. This photo flutist Sharon Bezaly and Professor of Trumpet and Artist-in-Residence. Kelly is of myself and Maria the Minnesota Orchestra Brass Chamber Music worked with CSO musi- Hideaki Hirai ’94E studied Finkelmeier ’09E (MM), conducted by Osmo Väns- Doug Prosser ’94E, and cians, local students, and conducting under David who co-runs the fantastic ka. After “pre-premieres” principal trumpet of the members of the community Effron while pursuing a UR Masary Studios, featured in in 2017 of excerpts at Rochester Philharmonic April 2 to 5. She shared degree in Political Science. the event. Maria was award- Gonjiam Music Festival in Orchestra, Chris Wu ’86E, her journey from student He was appointed the mu- ed a grant from the Paul R. Seoul and with the Leipzig ’88E (MM). to professional as an sic director and conductor Judy center for Innovation Gewandhaus Orchestra, Be- African-American classical of the New York Festival and Research in support zaly recorded the piece for The world premiere of musician and joined CSO Orchestra, and made of this event, and it was a BIS. It will be released with Noel’s Psalm (A Sonata for musicians in a performance his debut at the Wiener real thrill to have our alma “House of Cards” Sympho- Organ) by Dan Locklair of Stravinsky’s The Soldier’s Konzerthaus with Ensemble mater support our work ny, which Jeff based on his ’81E (DMA) was performed Tale for clients at the City Wien Klang. He is now their presenting classical music Emmy-winning score for by Dr. Robert Parkins in Gospel Mission. principal guest conductor. in a brewery. The series was the popular Netflix series. March at Duke University offered as a partnership in Durham, North Jennifer Hambrick’s ’92E 5 Linda Lister, ’93E with WGBH, and made In October 2017, John Carolina. poem “Thorn Tree” was set (MM) writes “I am pleased real waves changing how Cipolla ’84E returned to as an orchestral song by to share the news that my classical music is present- teach and perform recitals William Meckley ’85E composer Jacob Reed and book So You Want to Sing ed in the Greater Boston for a fourth year at the (PhD) retired from his premiered in April 2018 Light Opera: A Guide for community!” International Clarinet position as Dean of the by the McConnell Arts Performers has recently Meeting in Loures, School of Music at SUNY Center Chamber Orchestra, been published by Rowman As of January 1, 2018, Portugal. In December Schenectady and as Music Worthington, Ohio. and Littlefield.” Jacinto Nunez ’93E is 2017, John completed his Director of the Empire Jazz Jennifer recently received a partner in the law firm 32nd season as a member Orchestra. (See Recordings, commissions from the 2017 6 Jason McCool ’98E Vorys, Sater, Seymour of the Radio City Music p. 33.) He presents VIVO Music Festival and writes: “This photo was and Pease LLP. Based in Hall Orchestra. leadership workshops for the Johnstone Fund for taken after the finale of Columbus, Ohio, this firm is

36 Eastman Notes | Fall 2018 { ALUMNI NOTES }

Shown in 1984: Dean of Students Paul Burgett; Associate Director and Dean Jon Engberg; and Eastman Director Robert Freeman. Paul Burgett TRIBUTES Jon Engberg ’68E, ’72E (MA), ’76E (PhD) The Eastman community ’54E, ’56E (MM), ’70E (DMA) recently lost two of its Paul Burgett’s University of Rochester connection of most distinguished and Jon Engberg came to Eastman in 1950 as a first-year cel- more than 50 years began in 1964, when he arrived at beloved alumni: Paul list from Los Angeles, and enjoyed a long and prosperous Eastman from St. Louis as a first-year student violin- Burgett and Jon Engberg. affiliation with Eastman, culminating in twenty years ist. He eventually received three Eastman degrees, and Both of these gentlemen of service as Eastman’s Associate Director of Academic served as Eastman’s Dean of Students from 1981 to 1988. received multiple degrees Affairs and Associate Dean of Graduate Studies (1975 For the University he was, most recently, Vice President, from Eastman before to 1995). In 1985, Jon Engberg proposed an innovative Senior Advisor to the President, and University Dean. going on to distinguished chamber music outreach program for Eastman students, In October 2014, the Board of Trustees honored his careers as academic which ten years later became Music for All (now Eastman leadership and service by naming the Paul J. Burgett leaders at Eastman to Go—see School News, p. 26). Intercultural Center. and the University. While a member of the U.S. Marine Band Chamber In 2015 Paul Burgett received Eastman’s Distinguished Their contributions to Orchestra in Washington, D.C., from 1955 to 1959, he, Alumni Award. Among many examples of his service to our school are legion, with violinist Donald Portnoy and pianist Arno Drucker, Eastman, Paul Burgett played a pivotal role in forging and their passing is formed the American Arts Trio, which played together the partnership between the Gateways Music Festival heartbreaking. These until 1975, taught at West Virginia University (1959– and the Eastman School of Music, and as chair of the dear friends of our school 1975), presented concerts, and appeared as soloists with Gateways Board of Directors. He was also a memorable will be deeply missed. orchestras in the United States and abroad. speaker, no matter what the occasion. Many Eastman Before returning to Eastman in his administrative —Jamal Rossi, alumni remember his likening of their future challenges role in 1975, Engberg served for five years (1970–1975) Joan and Martin to a “fiery furnace”: “Eventually you will open the door as chair of the Division of Music at West Virginia Messinger Dean and you will step out of the furnace strong . . . tempered University’s Creative Arts Center. Jon Engberg received like steel with whatever the challenge might have been.” a Distinguished Alumni Award in April 2015.

EASTMAN SCHOOL OF MUSIC ARCHIVES Fall 2018 | Eastman Notes 37 { ALUMNI NOTES } among the 150 largest law Gledhill ’12E (MM), Pedro firms in the United States. Zenteno ’15E, Jacinto is a partner in the Kratchmer ’16E (MM), Vorys Akron office and a and I traveled to Chile to member of the finance, en- participate in training, con- ergy and real estate group. ferences, teaching, and per- forming related to teaching In March, Alarm Will artistry, entrepreneurship, Sound presented This and social change through Music Should Not Exist, the power of music. We are a concert-podcast fusion this year’s members of the devoted to the music of Global Leaders Program György Ligeti, in a sold-out (and Pedro is the Academic Zankel (Carnegie) Hall. 7 Director). AWS’ Artistic Director Alan Christopher Theofanidis Pierson ’XXE conducted ’92E (MM) Anna Dagmar’s ’00E song and John Orfe ’99E was “Mercy” was premiered the soloist in Ligeti’s Piano Theofanidis ’92E (MM) in April at the National Concerto, performing with is a 2018 recipient of an Gallery in Washington, DC. “. . . nearly supernatural Arts and Letters Award in “Mercy” honors the work ease” (New York Classical Music from the American of Sister Marilyn Lacey, Review). According to Academy of Arts and founder of Mercy Beyond Concerto.net, “Mr. Pierson Letters. Borders. directed with what can only be described as subatomic Gregory Yasinitsky Stephen Fraser ’04E alacrity.” ’95E (DMA) received (MM) has been appointed the American Prize in Director of Music and In February, cellist Composition for his Jazz Organist at St. Malachy’s Catherine Rimer ’94E Concerto for Piano and Church–The Actors’ Chapel (MM) returned to Kilbourn Orchestra. in New York City. Hall to perform in the final q concert of an American tour 2000s Soprano Jennifer 8 by the Orchestra of the Age Gliere ’03E (MM), ’05E Henry Cheng ’07E of Enlightment, of which 8 Henry Cheng ’07E, (DMA) made her debut in she has been a member music director of the May with New York’s Opera since 1995. Klangkraft Orchestra in Amore in a cornerstone role Germany, won the first of the soprano repertoire: Shane Shanahan ’95E has prize at the 2018 European Violetta Valery in Verdi’s been named co-artistic Union Conducting La Traviata. Jennifer’s sing- director of The Silk Road Competition. The first prize ing and acting in this great Ensemble, replacing found- concerts will be held in tragic role were widely er Yo-Yo Ma as a leader Italy, Hungary, Bulgaria, the praised: Operawire’s review of this much-recorded, Czech Republic, and Poland was headlined “Jennifer Grammy-winning world in the 2018–2019 season. Gliere Enchants as the Life, music group. and Death, of the Party”! 9 Stacey Chou ’13E Reviewer Logan Martell 7 Composer Christopher writes: “In January, Sophie called Jennifer a “delicate powerhouse . . . displaying vocal effervescence as good as any champagne.”

After five seasons at Grand Opera, in July Paul Hopper ’09E has joined the as Associate Artistic Administrator.

w Michael Lee ’08E won the 2018 New Orleans Chamber Orchestra/ Spectri Sonori Composition Competition for his Echoes 9 for piano and strings. Sophie Gledhill ’12E (MM), Pedro Zenteno ’15E, Angela Michael’s Unmasked is one q Kratchmer ’16E (MM), Stacey Chou ’13E of three winners of the 2018 Jennifer Gliere ’06E (DMA)

38 Eastman Notes | Fall 2018 { ALUMNI NOTES }

ICC “The Contemporary on the main stage of Guitar” Composition the Met. Competition. r In August, Chad Staff SergeantJ.G. Miller Goodman ’11E began ’06E was invited to his new appointment as compose the U.S. Cyber the Music Director and Command March, pre- Conductor of the Contra miered by The United Costa Chamber Orchestra States Army Field Band in in Walnut Cree, California. recognition of the elevation of the U.S. Cyber Command Soprano Helen Huang to the Department of ’13E made her debut as a Defense’s newest Unified Resident Artist with the Combatant Command. w e r Portland Opera in February. Michael Lee ’08E Joshua Tan Kan Ming ’01E Chad Goodman ’11E Jennifer Pascual ’01E Music Center. She was Lyra Pramuk ’13E was (DMA) is the first woman previously provost and featured in Vogue after her to hold the position of dean of the San Francisco performances in Berlin that Director of Music at St. Conservatory of Music and bring together an “ecosys- Patrick’s Cathedral (NYC). assistant dean of Mannes tem of vibrations—body, She also hosts the weekly School of Music. movement, voice, effects, Sirius XM Radio program speakers, into the ears and Sounds from the Spires, e Joshua Tan Kan Ming bodies of the audience.” exploring the world of sa- ’01E has been appointed cred music as seen through Principal Conductor of the The Glenn Miller the eyes of the Catholic Singapore National Youth Orchestra’s Valentine’s Day Church. Earlier this year, Orchestra, in addition to are produced by Bronwyn’s show in Rochester brought she interviewed her former his position as Associate label, BWYNWYH back alumni Erik Stabnau Eastman organ professor, Conductor of the Singapore Productions. ’14E (saxophone), Brendan David Higgs. Symphony Orchestra. The Lanighan ’15E (trombone), Founding Conductor of Paul Radke ’15E has Al Piela ’16E (MM) (trum- Jaclyn Rainey ’09E, the Youth Orchestra was been appointed Second Baumler ’13E released a pet), and Karl Stabnau ’11E, recently third horn of Vivien Goh ’69E; Lim Soon Trombonist of the Los book for parents and teach- ’14E (MM), promoter for the the Atlanta Symphony, Lee ’87E was the Principal Angeles Philharmonic ers of young musicians show (and Erik’s brother). became Associate Principal Conductor from 2005 to Orchestra. entitled Kids Aren’t Lazy: Past members include Horn of the Los Angeles 2010. Developing Motivation & Steve Walters ’82 (MM) Philharmonic in September Daniel Ketter ’10E, ’17E Talent through Music. It be- (trumpet), Jacob Dupre 2018. Cherry Tsang ’07E (MM), (DMA) was appointed came the #1 new release in ’14E (piano), and Mike ’12E (DMA) and Felix assistant professor of cello nine Amazon categories in Forfia ’16E (MM) (bass). Geoffrey Saunders ’09E Ungar ’14E (DMA) recently in the music department of its first two days of release. performed at Kodak welcomed a new daughter, Missouri State University. Doris Lee ’09E, ’11E (MM) Hall in January with Zevkah. In April, baritone Alan and Johnny Ng ’12E (MM) Mark O’Connor and the Thomas Viloteau ’17E Cline ’16E (MM) competed welcomed the birth of their O’Connor Band. Saunders Marguerite Lynn Williams (DMA) will join the in the 2018 Metropolitan new daughter, Hazel. met O’Connor at the Frost ’01E is the new head of the Conservatory faculty of Opera National Council School of Music, where he Harp Department at the John Hopkins Peabody Semifinals in New York. Singer-songwriter Sara was working on his DMA Bienen School of Music, Institute in the fall of 2019 Alan was one of ten region- Sommerer ’15E performed degree. He graduated last Northwestern University. teaching guitar. al winners who competed at the Mercury Lounge in year, moved to Nashville, She is also on the faculty and won his first Grammy of the Chicago College of Three recent alumni have with the O’Connor Band. Performing Arts, Roosevelt news of budding opera Send us your news and photos! University. careers. Matthew Swensen Do you have an announcement you’d like to share with Drummer, composer, and ’15E is a member of the en- your fellow alumni? Send your personal and professional band leader Jared Schonig semble of Oper Frankfurt, news to Eastman Notes, Office of Communications, ’05E came back to Eastman 2010s and opened the 2018–2019 Eastman School of Music, 26 Gibbs Street, Rochester, last spring as a clinician, Bronwyn Higgins ’07E season there as Tamino in NY 14604. working with the next appeared on Netflix’s Die Zauberflöte. Nicholas generation of jazz drum set (Episode 7) Huff ’17E (MM) has joined E-mail: [email protected] players. performing two original the Florentine Opera in Please do not edit, crop, or resize your digital images. songs. Her new EP album Milwaukee, and Brianna J. Send the original, full-size file downloaded from your Kate Sheeran ’02E, who re- Lounge Acting (digital Robinson ’18E (MM) has camera or smartphone or provided by the photographer. ceived her Eastman degree distribution only), and the joined the Boston Lyric in horn performance, is full-length album Minds Opera. We reserve the right to edit submissions for clarity the new executive director Somewhere Else (physical and length. The deadline for the Spring 2019 issue of of Manhattan’s Kaufman and digital distribution) Lauren Alexandra (Haley) Eastman Notes is December 14, 2018.

Fall 2018 | Eastman Notes 39 { ALUMNI NOTES }

Muriel (Warren) Halstead Claire Wissler Van ’48E, February 2018 Ausdall ’52E, January Thelma Harper ’46E, 2016 October 2016 Robert B. Whitcomb ’59E Shirley (Schell) Hayden (PhD), April 2018 ’43E, February 2018 Shirley (McGough) Mary-Helen (Scanlon) Zielinski ’58E, February Kennedy ’44E, April 2018 2018 Lora (Gahimer) 1960s Koomanoff ’47E (MM), Jane K. Brown ’63E (MM), March 2018 November 2017 Charlotte (Butcher) Joyce (Hansen) Colotti Madsen ’45E, July 2017 ’61EE 9MM), January Helen (Shearer) Renwick 2018 ’44E, January 2018 Calvin O. Dash ’62E Norman E. Roberts ’44E, (DMA), April 2005 January 2018 Tony H. DeChario ’62E, Helen (Forrestel) Spink ’63E (MM) ’44E, February 2018 Quenten D. Doolittle ’60E Janet (Fee) Stark ’45E, (DMA), March 2018 May 2018 Gretchen N. (Diez) Evans Mary (Weir) Tanenbaum ’60E (MM), January 2018 t ’49E, February 2018 Sam Jones, Ibrahim Maalouf, Alejandro Lopez ’12E, Jonathan Heim ’12E, Arda Cabaoglu ’16E (DMA) Mary Maurelia Hueller ’67E (DMA), November 1950s  2017 Lawrence B. Angell ’54E, Donald W. Justice ’67E, ’56E (MM), December ’71E (MM), January 2018 2017 Charlotte (Berry) Klein Charles F. Bath ’58E (MM), ’63E (MM), June 2018 January 2018 Roger Barnett Larsson Will Gay Bottje ’55E ’69E, March 2018 (DMA), January 2018 Albert H. Merz ’64E, Mary Edwina Butler ’52E December 2017 (MM), December 2017 Margaret (Murray) Nancy J. Draper ’52E Roberts ’69E, June 2018 (MM), January 2018 Elizabeth Stockfield Marilyn (Bukowsky) Rousseau ’63E, December Friederich ’51E, May 2018 2017 Crawford Gates ’54E Howard John Scheib ’66E (PhD), May 2018 (MA), March 2018 Mary Kay (Clark) Jackson ’52E, March 2018 1970s Gladys (Levy) Kanack Maria Floros ’76E (MM), ’56E, December 2017 May 2018 Jean Lavin ’56E, ’60E Barbara (Hullender) (MM), January 2018 Gauldin ’72E (MM), June y Barbara Ann (Miller) 2018 Susan Zhang ’13E (MM) and Nick Luby Margolis ’53E, March Dean Robert Witten ’73E, NYC. You can hear Sara’s new principal trombone locations. During the sum- 2018 March 2018 recently released first of the Charleston (SC) mer of 2018, The Concert ’54E Robert Palmieri  1980s single, Overthinking, on all Symphony Orchestra. Truck traveled to Maryland, (MM), November 2017 Charles Manly Aull ’82E music platforms. Georgia, South Carolina, Thomas N. Peterson ’57E, (MA), March 2018 Aaron Eckert ’16E (MM) and North Carolina. February 2017 David O. Belcher ’89E t Trumpeters Arda won a jazz trombone posi- Pictured are Susan and her Margaret (Harter) Pellett (DMA), June 2018 Cabaoglu ’16E (DMA), tion with the Army Blues. co-director Nick Luby. ’52E (MM), April 2018 Tamara (Mickel) Hall ’84E, Jonathan Heim ’12E, Mary (Moore) Remington December 2017 Alejandro Lopez ’12E, and y Pianist Susan Zhang ’51E, April 2018 Mary Kinder Loiselle ’89E Sam Jones—all students ’13E (MM) co-founded IN MEMORIAM Arthur S. Ricketts ’50E, (MEG), February 2018 of James Thompson—per- and now co-directs The January 2018 1930s formed as the Levantine Concert Truck, a mobile, Donald C. Robbins ’55E, 2000s Mary Vola (Jacobs) Trumpets for the world pre- fully-functioning concert April 2018 Matthew C. Parks ’02E, O’Connor ’38E, January miere of Ibrahim Maalouf’s hall on wheels (with lights, John Maxwell Schlenk May 2018 2018 Levantine Symphony No. 1 a sound system, and a digi- ’57E, January 2015 at the Kennedy Center. tal grand piano) that deliv- 1940s John W. Tamblyn ’50E In Tribute reflects deaths ers performances of clas- Jean (Tierney) Baker ’41E, (MA), ’61E (PhD), January of Eastman alumni through Chris Lindgren ’16E is the sical music to unexpected January 2018 2018 July 31, 2018.

40 Eastman Notes | Fall 2018 { FACULTY NOTES }

Visiting instructor of Italian This year’s Rochester Marco Faini was awarded Forum, the University’s Celebrating a highly competitive lifelong learning program, three-year Marie Curie featured the Eastman Service Global fellowship by the Saxophone Project (ESP) In May of this year, European Commission. along with its founder, Eastman recognized Marco will be based in professor Chien-Kwan Lin 29 colleagues for their Toronto for two years, and ’07E (DMA). Lin spoke at combined 692 years of will spend one year at the the Forum about ESP, its service. University of Venice. growing popularity, and his Full-time faculty hopes that classical sax- members: ophone will further reach mainstream audiences. 55 years • Vincent Lenti 2 Professor of Music 40 years Theory and Chair of the 1 • Marie Rolf Music Theory Department Nathan Laube (far right) with Mark and Randi Woodworth Betsy Marvin ’81E, ’89E 35 years (PhD) is the recipient of • Jonathan Baldo the inaugural Eastman 30 years Diversity Award, estab- • Jean Barr lished this year to recog- • Kenneth Grant nize contributions to the • W. Peter Kurau principles and practice • Alan Harris of diversity and inclusion made by individuals and/or 25 years groups within the Eastman • Natalya Antonova community. • Nicholas Goluses Lisa Jakelski, associate • Oleh Krysa professor of musicology, Professor of Composition 20 years received the 2018 Honorary Carlos Sánchez-Gutiérrez • Roger Freitas Award of the Polish is the host of La Música de • Don Harry Composers’ Union for her México, sponsored by the 2 Betsy Marvin ’81E, ’89E (PhD) • James Thompson book Making New Music in Mexican Cultural Institute Cold War Poland, pub- in Washington, D.C. The originally from who Professor of Voice Benton 15 years lished by the University of series includes some of now reside in this country.” Hess, Distinguished • Carlos California Press. The book Mexico’s and the United Some Eastman-affiliated Professor of Violoncello Sanchez-Gutierrez discusses the sources of States’ most renowned com- artists have joined Carlos, Alan Harris, and Professor 10 years Polish contemporary music, posers, musicians, and aca- including guitarist Dieter of Piano Nelita True, who • Michael Anderson with particular emphasis demics. As stated by Carlos, Hennings ’17 (DMA). is shown here with her • Michael Burritt on the role of the “Warsaw “The idea behind this students and colleagues • Katherine Ciesinski Autumn” festival in series is—given the recent 3 This spring, Eastman and her retirement portrait, • Seth Monahan English-speaking scientific anti-immigration rhetoric— said a bittersweet goodbye which like Benton’s and • Jan Opalach and reading circles. to show the contribution to and thank-you to three Alan’s, will join the panthe- U.S. culture made by a num- much-loved retiring faculty on of “Eastman Legends” in Part-time faculty 1 Eastman recently ber of distinguished artists members: Distinguished the Cominsky Promenade. members: announced The Nathan J. 45 years Laube Organ Scholarship. • Jurgen Thym Named after Assistant Professor of Organ Nathan 40 years Laube, the scholarship will • Christel Thielmann support undergraduate and 25 years graduate organ majors in • Anne Lindblom the Department of Organ, Harrow Sacred Music, & Historical Keyboards. The scholar- 20 years ship has been established • Rosemary Elliott by a donation from Mark 15 years R. Woodworth and Randi • Elinor Freer Ravitts Woodworth, parents of Nathan’s fourth-year 10 years organ student Madeline • Charles Ross Woodworth. The Laube • Glenn West Scholarship was announced at in Chicago on October 3 6, 2017. Nelita True

MICHELLE MARTORELL (MARVIN, TRUE) Fall 2018 | Eastman Notes 41 { STUDENT NOTES }

Alexis VanZalen, PhD Recital Hall on March 15. candidate in Musicology, is Eastman’s Presser Music Nathan Kay, a student of Award recipient for 2018. Clay Jenkins, won first This summer, she traveled place in jazz trumpet at to France for archival the National Trumpet research, visiting many Competitions at The important French baroque University of North Texas. organs that remain in work- ing condition. Two students of Larry Zalkind and Mark Kellogg Flutist Adam Sadberry, had a successful trip to this a senior from the studio year’s American Trombone of Bonnie Boyd and an Workshop, hosted by the ECMS instructor, won the U.S. Army. Jack Courtright Detroit Symphony Orches- won in the Under-21 ATW tra’s African-American Jazz Competition, and Fellowship. Adam will be a Michael Martinez won member of the DSO flute the open age bracket of section for the next two the ATW Classical Solo Tremendous Trombonists years. Adam was also First Competition. The tremendous Amendous Trombone Quartet—left to right, Ben Dettelback, Nick Prize Winner in the Na- Crane, Gabriel Ramos, and Jack Courtright—represented Eastman this spring in the tional Association of Negro Alison Chiang and Nathan Conservatory Project at Washington, D.C.’s Kennedy Center for the Performing Arts. Musicians’ Scholarship Cheung, two DMA students Competition for Winds and of Natalya Antonova, Percussion. Adam and Yidi took the first and sec- Three Eastman pianists Competition, held at was recently appointed Song ’18E are this year’s ond prizes, respectively, took top prizes in the Syracuse University. Chase as the Director of Wind winners of the Tal Perkes in the Lewisville (TX) MTNA–Stecher and Loomer won First Prize in Ensembles for the College Flute competition, created International Competition. Horowitz Two-Piano the Taylor Undergraduate of New Jersey. by John Hunter ’84E, ’98E Doug Humpherys’ student Competition. Nathan Organ Competition in (MM) in remembrance of Jidong Zhong (MM) won Cheung, DMA student of Atlanta. An April concert at Tallon Perkes ’84E. First Prize at the MTNA/ Natalya Antonova, with Vanderbilt Presbyterian Steinway National Young his duo partner Eric Tran, Lauren Nash Silberstein, Church in Naples, Florida, Abigail Easterling, flutist Artists Competition, which won first prize, andTarin a master’s student of Katie presented three doctoral in the studio of Bonnie was held in March. Supprakorn and Hana Cowdrick, won first place organ students and winners Boyd, was the First Prize Chu, DMA students of in the Mendelssohn Club of Eastman’s Cochran Prize: winner in the Yamaha 1 This spring, Jenny Nelita True, were awarded of Albany’s Dolven Award Thomas Gaynor, Karl Rob- Young Performing Artist Chen, a DMA student second prize. Singing Competition. son, and Zachary Zwahlen. Competition. of Douglas Humpherys, Veena Akama-Makia, also The Cochran Prize was won first prize in the 2019 This spring, DMA con- a student of Katie’s, is this created by the VPC congre- DMA student Nicki Lowry Award competition. ducting student Mark year’s recipient of the Links gation to honor the 20th Roman won First Prize Jenny will perform her Powell spent a week in Scholarship (see p. XX). anniversary of its music in the Collegiate Solo Weill Hall recital on March residence at the Boston director, James B. Cochran Competition at the North 21, 2019. Conservatory, working with Master’s student Isaac ’80E (MM), ’92E (DMA). American Saxophone eight student composers Drewes won the Lynnwood Alliance (NASA) Biennial Max Lin, a junior from and the Composer’s Wind Farnam Organ Competition Eastman fielded five 2018 Conference. (This is the Bonita Boyd’s studio, won Ensemble. Mark concluded last spring in Montreal. DownBeat award winners third straight time an First Prize in the Kentucky the week with premiere per- Isaac is from the studio of for outstanding composi- Eastman saxophonist has Flute Society Collegiate formances of each student’s David Higgs. tions and arrangements: won this competition.) Artist International new work. Jonathan Fagan, Jon Jiaqi Zhao (DMA) was Competition. Amanda Mole, a DMA stu- Rarick, George Darrah, also named a finalist, and Hannah Harrow is the new dent of David Higgs, signed Theresa Chen, and Colin Crake (junior) was Coordinator of Eastman’s with Karen McFarlane Assistant Professor Dave a semi-finalist. All are Pathways program, which Artists, Inc., and will be Rivello ’80E, leading our students of Associate provides free instruction to represented by them for all New Jazz Ensemble. Professor Chien-Kwan Lin. students in the Rochester North American bookings. City School District. Soprano and doctoral DMA pianist Jiale Li, Hannah is an ECMS Voice DMA guitarist Austin student Keely Futterer ’14E student of Nelita True, Intern, while pursuing her Wahl, a student of Nick (MM), ’18 EE (MM) was the was this year’s recipient of Master’s Degree in Vocal Goluses, won First Prize third prize winner in this the Lowry Award, which Performance. in the Lone Star Guitar summer’s Bologna Interna- is sponsored through the Festival and Competition tional Opera Competition. generosity of the George Ryan Chan, a first-year in Texas. Keely performed in a win- D. and Freida B. Abraham MM student, won First ners’ concert in Bologna, Foundation. He gave a recit- 2 Prize at the Arthur Poister DMA conducting candi- and in a Gala Concert at al in Carnegie Hall’s Weill Jenny Chen Memorial National Organ date Eric Laprade ’08E Varna State Opera.

42 Eastman Notes | Fall 2018 ONE. EASTMAN SCHOOL OF MUSIC

MANY. YOUR SUPPORT MELIORA fosters musicians who create WEEKEND OCTOBER 4–7 unique ways to bring • 2018 • music to the world.

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Music in the American Wild Ensemble performs at Purchase Knob in Great Smoky Mountains National Park. Photo credit: Geoff Sheil

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Mostly Modern, Essentially Eastman The new Mostly Modern Festival’s inaugural season was held from June Pictured are: Row 1: Michael Turner ’21E (trombone), Liz Rosa ’17E (bas- 4 through 18 in Saratoga Springs, New York. The new music festival’s soon), Holly Workman ’17E (violin), Shannon Steigerwald ’16E, ’18E (MM) co-founders are two UR/Eastman alumni: violinist Victoria Paterson ’93 (violin), Laura Hundert ’18E (clarinet), and Robert Paterson (percussion). and her husband, composer Robert Paterson ’95E, who are also artistic Row 2: Alan Pierson ’06E (DMA) (conductor), Jack Connolly ’21E (trom- directors of New York’s American Music Ensemble. Victoria and Robert bone), Tim Albright ’98E (trombone), Anna Dunlap ’18E (harp), Luke were able to call on a large number of Eastman alumni and current Simonson ‘18E (MM) (oboe), Lauren Tian ’17E (MM) (conductor), Keve students, who gathered for this photograph. Wilson ’91E (oboe), Victoria Paterson (violin), Amanda Brin ’02E (violin).