Ledger Lines SCHOOL of MUSIC and DANCE

The Oregon Marching Band performs at a Holiday Bowl pep rally in San Diego.

NEWSLETTER for ALUMNI and FRIENDS February, 2009 Vol. XXI, No. 1 Ledger Lines — Special Events — is the biannual newsletter of the University of Oregon School of Music and Dance. Letters, photos, and contri- Sunday, March 1 • 1–3 p.m.: butions from alumni, friends, and faculty are always welcome. Grand Opening Tour & Concert Address correspondence to: Alumni and friends are invited LEDGER LINES to tour the new additions and School of Music and Dance renovations to the MarAbel B. 1225 University of Oregon Eugene OR 97403-1225 Frohnmayer music building from 1-3 p.m., followed by a 4 p.m. EDITOR: Scott Barkhurst concert at the Hult Center. The [email protected] concert will feature the Univer- CONTRIBUTORS: Jenifer Craig, George sity Symphony, Oregon Wind Evano, DeNel Stoltz, Eric Wiltshire Ensemble, Chamber Choir, and UO Repertory Dance Co. PROOFREADERS: Laura Littlejohn, Carol Roth See story on page 2. COVER PHOTO by Scott Barkhurst Tuesday, April 7 • 7 p.m. Tower Theatre in Bend MUSIC & DANCE Thursday, May 21 • 7 p.m. ADMINISTRATION Ginger Rogers Theatre in Medford DEAN: Brad Foley [email protected] School of Music and Dance ensembles will return to Bend and Medford after the success of our recent programs there. ASSOCIATE DEANS: Ann Tedards–Graduate Studies This year will feature a special farewell program honoring [email protected] UO President Dave Frohnmayer. Free admission! Jeffrey Williams–Undergraduate Studies [email protected] DANCE DEPARTMENT: School of Music & Dance ADVANCEMENT COUNCIL Jenifer Craig, chair [email protected] Chair: Al King, ’76, vice president/ David Hilton, Merrill Lynch & Company, Inc.; DEVELOPMENT STAFF: investment officer, RBC Dain Rauscher; Eugene, OR DeNel Stoltz, director Springfield, OR [email protected] Marilyn Kays, arts patron; Eugene, OR Amy Salmore, program assistant Vice-Chair: Niles Hanson, NW Stamping & Natalie Giustina Newlove, arts patron; [email protected] Precision Co., Rosen Products Sunvisor Eugene, OR Systems; Eugene, OR MAIN OFFICE: Jay O’Leary, M.D., arts patron; Eugene, OR Phone: (541) 346-3761 (music) PAST Chair: Mira Frohnmayer, ’60, (541) 346-3386 (dance) professor emerita, Pacific Lutheran Mary Glass O’Leary, ’55, arts patron; Fax: (541) 346-0723 University; Eugene, OR Eugene, OR Web: music.uoregon.edu Jenifer Craig, ’71, ’73, Associate Professor Mia Hall Savage, ’72, ’73, Pacific Youth and Chair of Dance, UO; Eugene, OR Choirs; Portland, OR John Wells, violinist; Springfield, OR Mary Ann Hanson, President, Eugene Symphony Association Jeffrey Williams, Professor and Associ- and arts patron; Eugene, OR ate Dean of Music; Eugene, OR 1

a generous gift from Helen Young FROM THE TOP Copple Gerlinger that enables us to acquire three additional Steinway Brad Foley, Dean pianos, completing two-thirds of our piano initiative. Please keep in mind am writing my remarks for this that an outstanding music and dance I issue of Ledger Lines from my school is always in need of excellent new office in the renovated 1920s instruments and equipment related wing of the MarAbel B. Frohnmayer to furnishing classrooms, studios, Music Building, where I can look and production spaces. Immediate over into the new Florence “Penny” needs include five more Steinway Vanderwicken Duprey Courtyard grand pianos and four uprights. Our and see the new sculptures that you goal is to fund the replacement of will read about on page three. one grand piano and two uprights While I eagerly await new fur- each year in order to upgrade and niture, the faculty and staff are maintain the excellence of our fleet enjoying the new and improved sur- of 114 pianos. Our development roundings a great deal. Yes, we have staff and I would be happy to speak completed our moves thanks to the with you about both annual or exemplary organizational efforts of planned gifts to support these kinds Janet Stewart and Laura Littlejohn, of needs. us achieve them: along with the outstanding support The new MarAbel B. Frohnmay- 1) Connection: $10.3 million and help of many others including er Music Building and the twenty raised for the $19.3 million MarAbel Rick Blake, Lance Miller, and Alan new pianos were a part of the Uni- B. Frohnmayer Music Building, plus Phillips. versity’s campus-wide Campaign $7.6 million from state bonds. All but one or two members of Oregon, which began with a goal of 2) Discovery: $1,441,743 raised the music faculty and staff were raising $600 million. The campaign toward a $1 million goal for equip- relocated in the past two months, ment and instruments. and most of our graduate teaching 3) Opportunity: $2,749,101 raised fellows also have new office/studio The School of Music and toward $1 million for scholarships. space. It has been quite an undertak- 4) Inspiration: $284,285 plus ing that came off quite smoothly. Dance has surpassed its $750,000 irrevocable bequest raised Twenty new pianos have been pur- original campaign goal toward $500,000 goal for guest art- chased and put in place thanks to of $10 million and has ists and scholars, including the generous donors. We are presently ChamberMusic@Beall series. in the final stages of painting some raised $17,508,638 As you read through this issue, of our older building wings and fi- you will note that we continue to nalizing the ordering and installation began January 2001 and concluded provide the university, community, of new furnishings, with the hope of December 31, 2008. To date, more and state with outstanding programs having all in place by March 1. than $820 million has been raised. that enrich lives through music and Considering the current econom- I am pleased that the School of dance performances. Our faculty ic situation across the nation, we are Music and Dance has surpassed its and student scholars continue to most fortunate to have completed original campaign goal of $10 mil- speak, publish, and present their our project so that our faculty, stu- lion and has raised $17,508,638 work at the national and internation- dents, and staff finally have facilities from 7,867 documented gifts. We al levels, and we feel fortunate that befitting their talents. I continue to are immensely grateful to the many we work in a profession that can in- feel very fortunate to be part of such generous alumni, donors and friends spire and enrich lives, and in some an incredible school and university who have contributed at every level small measure relieve the stresses that has been so supportive of our to our campaign to make our dreams from the difficult times many are project over the past decade. Please of new facilities a reality, as well as facing. I hope that all of you will join us for our building dedication our other campaign priorities. continue to support the arts during and grand opening events the week While we still have fundraising the coming months. Best wishes in of March 1. (See details on page 2.) work to do, I would like to share 2009, and we hope you can join us We continue to complete our a recap of our campaign priorities on March 1-6. current project with the acquisition within the four cornerstones of Cam- of new equipment and furnishings. paign Oregon, and I applaud our do- We were very pleased to receive nors for their leadership in helping 2

WHAT’S NEW New Music Wings Ready for Grand Opening Alumni invited for tour and concert on March 1

t long last, the construction A and renovation at the School of Music and Dance are complete. Crews have been putting finishing touches in the various new spaces during the first weeks of winter term, and everyone is settling in to their new surroundings. It’s truly a new era for our students, faculty, and staff! Reception-lounge area The new academic wing

Foyer of the academic wing The new performance wing

Join Us ! Sunday, March 1: 1:00 pm Alumni and friends are invited to tour the new additions and renovations to the MarAbel B. Frohnmayer Music Building from 1-3 p.m., followed by a 4 p.m. concert at the Hult Center featuring the University Symphony, Oregon Wind Ensemble, Chamber Choir, and UO Repertory Dance Co. Take the building tour and get half-price tickets to the Hult Center concert! Friday, March 6: 10:30 am Official dedication ceremony with UO administration, dignitaries, and media. Large rehearsal hall in Tours following the ceremony. the performance wing 3

Cadenza, Calypso, and Fandango Keys to Success: pianos still needed While the two new wings in the music 9 building are getting most of the attention, Replacement Plan Next Priority a trio of original sculptures in our new Penny Vanderwicken Duprey courtyard is Thanks to the immense generos- turning heads as well. Richard Swanson, ity of donors during the past three the artist who created the dynamic sculp- years, we have been able to purchase tures, said “I think of these sculptures as 22 new pianos, primarily Stein- musical phrases—no hidden meanings, just ways, to furnish our new spaces in something pure, lyrical, and sometimes the MarAbel B. Frohnmayer Music loopy, with the interval between notes as Building. essential as the notes themselves.” We still need nine more to com- Swanson said his goal for this commis- pletely furnish the new spaces with sion was to set up rhythmic interactions appropriate pianos: that would engage the courtyard space • three Steinway Concert D grand with a visual expression of exuberance. pianos at $90,000 each (for large re- From the beginning, a series of sculptures hearsal rooms) placed throughout the courtyard seemed a • two Steinway Model B grand better choice to him than a single central Calypso pianos at $60,000 each sculpture. • four upright Yamaha pianos at He chose a black surface to suggest musical $5,000 each notation, with a highlight of blue for color. Our original plan to put new pi- “My choice of names for these sculptures, anos in new spaces was abandoned Cadenza, Calypso and Fandango, reflects with the current economic down- their personalities as well as their relation- turn. Many instruments that were ship to music and dance” said Swanson. out of service for future rebuilding, Swanson encourages visitors to think of or that we hoped to trade, were put the whole installation as an evolving com- back in service just so we would position that changes as they walk around, have a piano in the room. New pia- through and under the sculptures. “Music nos will be placed in teaching stu- drifting into the courtyard from the prac- dios, classrooms, and practice rooms tice rooms merges with the visual rhythms, when additional gifts enable us to adding flavor and complexity,” he said. purchase more pianos. “Movement of clouds, people, leaves in the We currently have a fleet of 114 breeze—all add to the melody. Have fun!” pianos. Our goal is to establish a The commissioning of these public donor-funded program of replacing sculptures one grand piano and two upright Cadenza was made pianos annually. This will require possible by current gifts of $70,000–$80,000 an- the State of Oregon One Percent For Art in nually or an eventual endowment of Public Buildings Program, through a com- $1,800,000 to $2,000,000. petitive selection process administered by We hope to replace six Model O the Oregon Arts Commission. u grands and six uprights in the very near future. u

Named bricks for the Florence “Penny” Vanderwicken Duprey Courtyard are still available for $250 and $1000. All proceeds will go toward furnishing and equipping the new spaces in the MarAbel B. Frohnmayer Music Building. Leave a legacy and become a part of UO music history today! Contact DeNel Stoltz at 346-5687 or e-mail [email protected] Fandango 4

He finally returned to farming on his DEVELOPMENT family homestead, which can be vis- ited today. Cal Young Road is named in his honor. Pioneer family alumna enables Helen was born in 1911 and raised in Hood River, Oregon, on a purchase of three Steinways 300-acre farm during the Depres- sion. Sharing her mother’s love for Helen Young Copple Gerlinger gives $100,000 music, she decided to major in it, and her mother sacrificed so that she by DeNel Stoltz, advocate for the University of Or- was able to attend the University of Director of Development egon. Irene was a distant relative of Oregon. Her college tuition came Carl Gerlinger, whom Helen married from “egg money” from the chickens elen Young Copple Gerlinger, in 1932 until he passed away three that her mother raised on the farm. H a piano alumna from the 1930s years ago, at the age of 96. Construc- A Family of Ducks and a lifelong friend of MarAbel and tion of Gerlinger Hall was completed Helen met Carl Gerlinger on Otto Frohnmayer, recently made a in 1921, the same year that Beall campus, and they were married two $100,000 gift to the school to name Concert Hall and the original School years later, when Carl graduated in the new practice room suite in the of Music and Dance facilities were 1933. She decided not to return to MarAbel B. Frohnmayer Music built. Gerlinger Annex, adjacent to college, since paying for it was such Building. Gerlinger Hall, a hardship on her mother and there Helen, an en- was added in were no jobs for her. She instead thusiast of Stein- the 1970s, and went home to help her mother on way pianos, was is home to our the farm. Carl worked at Dallas Ma- inspired to make Department of chine and Locomotive Works and the gift to honor Dance. later Gerlinger Carrier until 1946. MarAbel as well Helen comes In 1947 he and his father opened as to enable the from a long line West Salem Machinery Company. purchase of three of University of They had two daughters, Ann Ger- more Steinway pia- Oregon Ducks as linger Lyman and Mary Gerlinger, nos. One of these well as Oregon who both became UO Ducks. Ann is now available pioneers. Her met and married Ron Lyman, who to students using grandparents, played football for the Ducks from the new practice Charles Walker 1949-52. Ann served on the UO rooms; another Young and Mary Foundation Board of Trustees from is in the new 35- Gillespie Young, 1986-93. student classroom; came to Oregon “The Gerlinger family has a long and the third one with the wagon and storied generous relationship is a grand piano for train from Inde- with the University of Oregon, and our jazz piano pro- pendence, Mis- has for generations,” President Dave fessor’s teaching souri, in May Frohnmayer remarked upon hearing Helen Copple Gerlinger, studio, completing 1852 and arrived the news of the gift. “This is just the from the 1931 Oregana. the purchase of in Eugene four latest of many heart-warming gifts one new Steinway grand piano for months later. from their family that have made the each of our piano performance pro- Their son and Helen’s uncle, Cal quality and stature of our campus so fessors. Young, is considered to be Eugene’s much better.” “I am delighted to make this gift, “first citizen.” Mr. Young was very And what might MarAbel have knowing it will help young musi- active in the city’s business and said about this gift? “Oh, that’s just cians just beginning their careers,” civic affairs, including serving on perfect!” mused President Frohn- said Gerlinger. the school board, organizing the mayer about his late mother, whose A Historical Name Oregon Trail Pageant parades, and name the music building proudly The Gerlinger family name is along with J.A. Church, serving as bears. u quite familiar and historic on cam- UO’s first football coaches in 1894. pus. In fact, two buildings sport the He ran a meat market in Eugene, For more information on making a family name: Irene Gerlinger Hall, then worked in a mine. After that gift or bequest, contact DeNel Stoltz named for the first woman regent, he managed the Heilig Theater for at (541) 346-5687 or e-mail who was also an avid fundraiser and two years after it opened in 1903. [email protected] 5

who documented African-American DANCE life from 1936-1975 as a photojour- nalist for the Pittsburgh Courier. The photographer, known for capturing Ronald K. Brown residency his subject in “one shot,” was honored in Eugene with an exhibit of by Jenifer Craig his photos at DIVA, and as the focus Chair, Department of Dance of a very special workshop conducted by Ron with Eugene middle all term opened with unusual school students, who developed F excitement as the Department of family history through photography Dance reaped the benefits of more and movement. than a year of collaborative plan- The Eugene residency, including ning with the Hult Center to bring the Hult Center performance, could Ronald K. Brown and his company, not have been possible without the Evidence, to Eugene. support of the UO Department of Jetting to Eugene from New Dance, in particular the Boekelheide York, Ron arrived to teach at the UO UO Creativity Award and diversity for one amazing Friday on October funds allocated from the provost. 10. He first taught a master class The overwhelming success of for more than 40 dance students in the Ronald K. Brown residency has the upper level technique classes. reverberated throughout the depart- Later that evening, he conducted an ment, and is caught in the words intense and exciting three-hour rep- from student papers and conversa- ertory experience for a select group tions in the studios, classrooms, and of advanced dancers. He taught in Dougherty Dance Theatre, Ron office. Dance composition students portions of dances that they would presented the philosophy central were particularly affected by their soon see locally. After rejoining his to the methods he employs to meld experiences in the classes and lec- dancers in Minnesota, they all flew his love and respect for music and tures. Here is a sampling from their to Eugene for three more days filled dance. He then welcomed questions papers: with community workshops and ac- from the students and faculty pres- “My experiences with Ronald K. tivities at the University of Oregon. ent, which led to a lively discussion. Brown as a person, teacher, chore- Friday, October 24, Ron taught a Brown’s choreographic work, ographer, and dancer have had huge second class to the UO students he “One Shot,” a dance exploration of positive impacts on my personal had met on his first visit. After that, African-American history and cul- goals for my dancing. What I once he offered a class open to all levels ture, was central to his Eugene resi- thought of dance and what it does of dance students at the UO, taught dency and the stirring performance for me has been positively modified by his associate artistic director Ar- by his company, Evidence, at the by his presence and talent. Ronald cell Cabuag and dancer Otis Dono- Hult Center on October 26. It was in- K. Brown’s visit served as a huge in- van Herring. Later in the afternoon spired by the work of Teenie Harris, spiration for me and my dancing....” “It was evident in the choreog- raphy, as well as in Ron Brown’s UO dance students get a spirited words, that openness to the world, workout with Ronald Brown. to difference, and to learning and listening were very important to him....” “One of the major things I will take with me from this residency PHOTOS BY MICHAEL BY PHOTOS BRINKERHOFF is the knowledge that I have end- less options as a choreographer and dancer. I need to be open for discovery and always explore what I don’t know, and that as long as I’m respecting my art, I will also be enjoying my art. I am very thankful to have experienced this with the department ....” u 6

anniversary of Handel’s death with OREGON BACH FESTIVAL the world premiere commission of a new Messiah by prolific Swedish composer Sven-David Sandström. Recipient of premieres by the Swed- Bach Festival plans ish Radio Orchestra, Royal Con- certgebouw, BBC Symphony, and celebratory season Rilling’s Stuttgart Bach Academy (Magnificat in 2005), Sandström is Themes and variations weave through 40th Festival resetting Handel’s Messiah text for chorus and orchestra for a joint com- icking off a two-year 40th mission by the OBF and the Interna- K anniversary celebration, the tional Bach Academy. 2009 Oregon Bach Festival presents Sandström’s Messiah premiere “Themes and Variations” that in- on July 9 in Eugene’s Hult Center is clude a major world premiere; guest one of a three-part Messiah celebra- artists from the Met, Broadway, and tion that also includes a community beyond; and new partnerships rang- “InChoir” sing-along July 1 and a ing from a Fourth of July fireworks full-concert version of Handel’s orig- program to worldwide broadcasts. inal in the Festival finale July 12. Concerts take place June 26-July Sandström will be in residence 12, 2009, in Eugene and Portland, for the Messiah premiere and the with a pre-season concert in Bend, Composers Symposium program di- Oregon. With renovations at the rected by UO Professor Robert Kyr. School of Music completed, the The Festival celebrates “Shake- Festival returns its chamber music speare and Music” with a theatri- program and a portion of its busy rehearsal schedule to Beall Concert Hall and the music building. The Festival marks The year 2009 will see signifi- the 250th anniversary cant anniversaries of great compos- Frederica von Stade ers: Henry Purcell, G.F. Handel, artistic director, returns to conduct of Handel’s death with Franz Joseph Haydn, and Felix the chorus, orchestra, and soloists the world premiere of a Mendelssohn. OBF begins its honors on Friday, June 26, in Eugene and new Messiah by prolific on opening night with The Creation, the next night, June 27, in Portland’s Swedish composer Haydn’s vivid setting of the genesis Arlene Schnitzer Concert Hall. story. Helmuth Rilling, the founding The Festival marks the 250th Sven-David Sandström.

cal staging of Felix Mendelssohn’s Helmuth Rilling will again lead the Festival forces. incidental music for A Midsummer Night’s Dream July 5. Actors from the Oregon Shakespeare Festival will narrate, and the Eugene Ballet will interpret through dance. In homage to Festivals past, opera star Frederica von Stade (at the start of her 2009–10 farewell tour) tops the list of guest stars. The former Met diva appeared at the 1989 and 1991 Festivals; in 2009 she headlines a July 2 gala concert conducted by Jeffrey Kahane.

Other guests for 2009: • Tony Award-winning dancer- choreographer Savion Glover tap-

PHOTO BY JON BY CHRISTOPHERPHOTO MEYERS ping to Bach, Vivaldi, Mozart, and 7 more in “Classical Savion,” his ac- claimed touring show with live or- Olympic Postcard from China chestra and jazz band on July 10. • Jeffrey Kahane, in residence OMB director Eric Wiltshire and twelve UO students for three chamber music programs and to conduct a portion of a free were selected for the Olympic Orchestra last year July 4 fireworks show that includes Gershwin’s Rhapsody in Blue. his past summer, twelve huge resort modeled after the forbid- • Violinist Monica Huggett and T students from the Oregon den city, where they rehearsed and her Portland Baroque Orchestra for Marching Band shared the experi- met students from around the world. the cycle of Bach’s six Brandenburg ence of a lifetime when they trav- The performance in Tianan- Concertos in Portland and Eugene eled to China as part of the Beijing men Square was covered by inter- June 29–30 and the Purcell tribute 2008 Olympic Orchestra. national media, and was the first July 3 in Beall Concert Hall. The orchestra, in reality a march- performance by a western group in • On Ensemble, an LA-based ing band made up of more than Tiananmen Square. percussion quartet deeply rooted 1,800 high school and college musi- One of the highlights of the trip in the traditions of taiko. Their ap- cians from around the world, gath- was the performance at the Olympic pearance is timed to coincide with ered in Beijing venue at Tian- the June 24 opening of the Jordan for performances Amyjin. Students Stoddart Schnitzer Museum of Art’s exhibit in celebration traveled in a “The Tokaido Road.” The OBF is of the 2008 convoy of 58 also a collaborator with the UO Olympic Games. tour buses with Museum of Natural and Cultural Three groups, a police escort, History’s 2009 exhibit “World Har- each with 600 or then played for mony—Traditional Musical Instru- more members, an enthusias- ments from Around the World.” made up the full tic live crowd • The Stangeland Family Youth orchestra: the and television Choral Academy, conducted by “Red Orchestra” broadcast. Fol- Anton Armstrong, sings settings from the U.S., lowing the of Shakespeare texts by jazzman the “Green Or- performance George Shearing and Vaughan Wil- chestra” from they were able liams’ Serenade to Music in their Australia and to attend an July 7 headline concert at the Hult Japan, and the Olympic soccer Center. The SFYCA is a national “Gold Orches- match, featur- program for high school singers tra” from China. ing China vs. directed by UO music alumna Mia Performance Sweden. Hall Savage. venues included During the Tiananmen fifteen days New Partnerships Square, the students spent • Extending a reach that began Great Wall, and in China, they in 2008, the Festival will perform Tianjin. were able to twice in Portland and a pre-season The UO stu- see many of the presentation of Bach’s Circle, a Ba- dents were part famous tourist roque ensemble, in Bend’s Tower of the 300-mem- destinations, Theater June 23. ber Northwest including the • The OBF has reached a broad- contingent, attending periodic re- Summer Palace, the Forbidden City, cast agreement with Minnesota hearsals in Seattle, and culminating the Great Wall, and many other sites Public Radio to syndicate a series in a week of rehearsals before de- in and around Beijing. They also of concerts from 2008 over the next parting for China on August 1. These traveled by train to Shanghai, where 12 months. The series is expected to rehearsals were directed by Oregon they enjoyed world class shopping get network distribution across the Marching Band director Eric Wilt- and incredible skylines. u U.S. and reach 400 million listeners shire, and included a performance worldwide. in Seattle’s annual Torchlight Pa- Tickets go on sale February 3. rade, with more than 300,000 people For full Festival information, call in attendance. (800) 457-1486 or see the website: In China, all band members www.oregonbachfestival.com u stayed at the Grand Epoch Village, a 8

Bradley Hall. He was a visiting artist premiered two of Kyr’s works (Work- FACULTY and gave master classes at Loyola ing Fire and Fireworks Variations) at University, Concordia College, and Symphony Space in New York City Molly Barth appeared as piccolo at the University of Wisconsin-La with Kyr conducting. A second ver- soloist with the Salem Chamber Crosse. In October, Dossin organized sion of Balulalow (for treble chorus) Orchestra, performing Vivaldi’s Pic- and performed in an all-Liszt recital was premiered by the Pacific Youth colo Concerto in C Major. She also with UO piano students, performed Choir (Mia Hall Savage, conductor) appeared with Portland-based en- at the opening of the UO’s White at the Northwest Regional ACDA semble Fear No Music in a concert Stag building in Portland, and was Convention in Vancouver, British dedicated to the 100th birthday of Ol- a guest lecturer for OMTA in Cor- Columbia. Kyr’s tenth symphony, ivier Messiaen. During the summer, vallis. In December, he flew back to Ah Nagasaki: Ashes into Light, was Barth gave several performances at Brazil for two piano and orchestra premiered in St. Paul, Minnesota, by the Astoria Music Festival and with performances in São Paulo and the Minnesota Chorale and two Portland Summerfest/Opera in the recorded a CD for Schirmer/Hal prominent Japanese choruses, along Park. Barth and Brian McWhorter Leonard, to be released in March in with a host of other creative part- co-founded the Beta Collide New the Schirmer Performance Editions ners. Three hundred performers Music Project. Beta Collide per- Series; this project will include Dos- were involved in this international formed concerts in Eugene and Port- sin’s editorial remarks on the score project. land with Nicholas Isherwood and of Tchaikovsky’s The Seasons, and David Riley, among others. Positive it will be published in a score/CD Steve Larson performed piano and reviews of both concerts appeared combination. Dossin’s fifth CD, with percussion in a “Bossa Nova 50th in The Oregonian and The Register- piano music of Dmitry Kabalevsky, Anniversary Celebration” with Sonja Guard. For more information, visit was released worldwide by Naxos in Rasmussen (voice), Don Latarski betacollide.com. January. (guitar), Carl Woideck (saxophones), Tom Bergeron (saxophone), Mark Alexandre Dossin was invited to re- Robert Kyr composed more than two Schneider (bass), Josh Hakanson turn to the Astoria Music Festival as hours of music last year, and many (drums), and Kimberly Cullen (per- a soloist for two orchestral appear- of his new works received premieres cussion) in Beall Hall in November ances in June. After the festival, he in major venues. A Time for Life, an (see photo below). During an Octo- flew to Brazil for a solo performance hour-long environmental oratorio, ber residency at the Eastman School with the Porto Alegre Symphony was performed by Cappella Romana of Music in Rochester, he gave a lec- Orchestra. Dossin participated in the in Portland and Seattle; Balulalow ture on improvisation and structure Oregon Bach for men’s chorus was broadcast na- in baroque music and jazz, a semi- Festival’s tionally on Performance Today (ra- nar on jazz analysis, and a music “Schuber- dio), PBS (television) and simulcast cognition presentation for the East- tiade,” and to select movie theaters nationwide man-Rochester-Cornell Music Cogni- gave four in performances by the Viking Cho- tion Symposium. And this year saw lecture-recit- rus at the renowned St. Olaf Christ- the release of his recording Torch als for OBF’s mas Festival; the Fireworks New Songs Volume One — Close Enough Elderhostel Music Ensemble commissioned and for Love with vocalist Cynthia Beal. program. He was a guest faculty member at Oregon State University, teaching master classes and performing twice during PianoPower summer camp. Dossin was a soloist with the Eugene Sym- phony three times in September during the ESO’s conductor search; all three performances received standing ovations, and he has been invited to be a soloist for the 2009–10 season. In the fall, Dossin performed four solo recitals in Wisconsin, Illi- nois, and Minnesota, including a re- Faculty and friends celebrated the 50th anniversary of Bossa Nova with a turn to Chicago’s prestigious Preston concert in Beall Hall. 9

Anne Dhu McLucas was an invited dent Participation in Summer Band Examination of the International keynote speaker at a conference on Camps”; was an invited presenter Scope of Papers Presented at the “Child’s Children: Ballad Study and for the OMEA District 12 In-Service ISME Research Commission.” Its Legacies,” held at Harvard Uni- Conference, “How Art and Func- versity in December. Her paper was tion Can Co-Exist (A Hands-On Ap- Stephen Rodgers presented a paper, on the Robin Hood ballads, and was proach for Conductors)”; and served “‘Emotional Imitation’ and ‘Physi- titled “To the Tune of …: The Robin as director of the UO Summer Sym- cal Imitation’ in Berlioz’s Roméo au Hood Legacy in Music.” phonic and Marching Band Camps. tombeau,” at the meeting of the So- ciety of Music Theory in Nashville, Brian McWhorter recorded with Harry Price, chair of our music TN, in November. He also wrote pro- Natalie Merchant for her forthcom- education department, is one of this gram notes and gave several pre-con- ing album with producer Andre year’s recipients of the UO Fund cert lectures for Chamber Music@ Levin, and was appointed principal for Faculty Excellence Awards. The Beall performances by the Academy trumpet of Eugene Symphony for award is given to UO faculty for of St. Martin in the Fields Chamber the 2008/2009 season. His most exemplary work in their respective Ensemble and The Aulos Ensemble. recent album, Timbrando, was re- areas of expertise. Price’s work has viewed by NPR’s All Things Consid- appeared in every major journal in Doug Scheuerell performed North ered, and he performed a Timbrando the music education field, and his Indian classical music with trumpet CD release show with Meridian Arts research presentations around the player Aaron Shragge at Sound- Ensemble at Manhattan School of globe have established him as an Bytes and a concert at Collier House. Music. Other performances included international authority. Price was an Elliott Carter 100th birthday cel- a Keynote Speaker in July 2008 at Idit Shner performed a classical re- ebration with Sequitur at the Library “Pre-Seminar of the Research Com- cital for saxophone and flute; gave of Congress; a concert with Beta mission of the International Soci- a lecture about Villa-Lobos and the Collide in the UO’s new White Stag ety for Music Education Research saxophone; performed with the Building in Portland; a faculty recit- (ISME)” at Oregon Mozart Players; and played al with the Oregon Brass Quintet. the Univer- more than 15 jazz concerts featur- sidad del ing music from her new jazz CD, all Phyllis M. Paul presented a research Pais Vasco during the past four months. Her paper at the North Carolina Music in Bilbao, CD, Tuesday’s Blues, was released in Educators Annual In-Service Con- Spain, and September on OA2 records, and has ference, “A Comparison of Rote gave two received extensive radio airplay in Teaching Methods on the Song talks, “Se- the U.S., Slovakia, Portugal, Israel, Retention Accuracy of First and quence of and Australia. An excerpt from one Second Grade Students.” She began Event (Se- review: “An astonishingly assured serving two-year terms as chair of quential debut that heralds the arrival of a MENC’s Affective Response Special Patterns) of major new talent.... —Matt Cibula, Research Interest Group (SRIG) and Teaching in emusic.com as Northwest Division Representa- Music Education: 25 Years of Inves- tive for MENC’s Early Childhood tigations” and “Do you Hear What I Ann Tedards spent a busy year on SRIG, and joined the OMEA K-12 See?” He also had a poster presenta- sabbatical in 2007–08. Her perfor- Music Education Standards Publica- tion with co-author Alison Mann mances included solo recitals at tion Editorial Board. With co-author (Ph.D. 2008), now on the music fac- Willamette University, University Timothy A. Paul, she had an article ulty at Kennessaw State University of Massachusetts, Bowdoin Col- accepted in Contributions to Music in Georgia. The paper, titled “The lege, Brooklyn College’s Institute Education, “The Effect of Changing Effect of Conductors on Evalua- for Studies in American Music, and Syllables to Facilitate Slurring by tions,” was presented at the 28th at the UO Department of Dance’s Middle School Trumpet Students.” ISME World Conference in Bologna, Faculty Concert. She gave a voice Italy. Also in July, Price presented master class at Bowdoin College Timothy A. Paul conducted the Eu- a paper co-authored by Clifford and gave research presentations at gene Symphonic Band during their Madsen, Marie Webb, and Rachel the Hawaii International Confer- performance at the OMEA Annual Cornacchio (Ph.D. 2008), now on ence of Arts & Humanities (“Whose Conference; presented a research the music faculty at Messiah College Antonia? Libby Larsen’s My Antonia paper at the North Carolina Music in Pennsylvania; it was presented and the Transformative Force of Educators Annual In-Service Con- at the 22nd International Seminar Memory” and “Libby Larsen’s Wom- ference, “A Descriptive Analysis on Research in Music Education, in en of the Wild West: Belle Starr, of Various Factors Concerning Stu- Porto, Portugal, and was titled “An continued next page 10

FACULTY, continued Our New Tenure-Track Faculty Calamity Jane, Antonia Shimerda, and Margaret Elliott”), repeating the Molly Barth, our new flute professor, holds latter presentation at the Society for degrees from the Oberlin College-Conservatory of American Music’s 34th Conference. Music, Northwestern University, and the Cincinnati Tedards received a grant from the College-Conservatory of Music. Barth is a Grammy- UO Center for the Study of Women Award winning flutist who is an active solo, chamber, in Society to present concerts of mu- and orchestral musician specializing in the music of sic centered on American composer today. Barth has toured extensively throughout the Libby Larsen. At the 2007 joint an- world and recorded four CDs with Cedille Records. nual meeting of CMS/NASM, she She has taught at Willamette University, and held gave a presentation on the prepara- residencies at the University of Richmond and University of Chicago. tion for college teaching in graduate Her chamber music experience includes Fear No Music, Third Angle programs. Tedards also coordinated New Music Ensemble, eighth blackbird (founding member), MusicNow, the outreach performances in Lakeview, Fulcrum Point New Music Project, and Contempo Performances. Her many Oregon, by our graduate students. awards include a 2008 Grammy (best chamber music performance), three CMA/ASCAP awards for adventurous programming, and a 2000 Naumberg Professor Emeritus Richard Tromb- Chamber Music Competition (first prize). ley, now living in Hawaii, was invit- Nicholas Isherwood joins our voice faculty as ed to present a paper at the January director of opera studies. He has a B.A. and a B.Mus. 2009 International Conference on from Oberlin and the Diplôme d’Etudes Approfon- Arts and Humanities. His presenta- dies from the Ecole des Hautes Etudes. With a focus tion was titled “The Fate of Art Mu- on early and contemporary music, his career has led sic at the End of the 20th Century: A him to perform in such venues as La Scala, Covent wakeup call in progress.” Garden, the Salzburg Festival, all three Berlin opera houses, and Tanglewood. He has sung on five con- Bassoonist Steve Vacchi performed tinents, working with conductors such as William 20 times since late September, in- Christie, Joel Cohen, Nicholas McGegan, Zubin Meh- cluding work with the Eugene Sym- ta, Helmuth Rilling, and numerous contemporary composers. He has record- phony, Eugene Opera, Oregon Ballet ed 52 CDs, made several films, and directed productions of Adriano Banch- Theatre, Oregon Symphony, and the ieri’s La Pazzia Senile, John Cage’s Song Books, Bruno Maderna’s Satyricon, Oregon Wind Quintet. He performed Mauricio Kagel’s Phonophonie, and Karlheinz Stockhausen’s Am Himmel on faculty recitals with flutistMolly Wandre Ich. Isherwood recently performed in Krenek’s opera Dark Waters in Barth and hornist Lydia Van Dreel Berlin; sang music by Roman composers for solo voice and electronics at UC- and an improvisatory duet by UO Berkeley; gave two performances of Stockhausen’s Lucifers Tanz in England; alum Doug Detrick on the Sound- Schönberg’s Ode to Napoleon and Rihm’s Hölderlin Fragmente in Italy; and Bytes series. With the Oregon Wind sang in the world premiere of Stockhausen’s Havona for bass voice and tape. Quintet he helped recruit in high schools in Corvallis and Salem. Shannon Mockli, the newest member of our Vacchi produced fall chamber con- dance faculty, received her M.F.A. and the L. Scott certs for UO students at the Jordan Marsh Mentorship Award from the University of Utah Schnitzer Museum of Art, the Living Department of Modern Dance in 2008. Mockli has Learning Center, and Beall Hall. danced with choreographers Stephen Koester, Harry Mavromacalis of Dance Anonymous, Doug Elkins, Laura Zaerr hosted the second an- Brent Schneider, Eric Handman, Abby Fiat, Tandy nual UO Harp Day on Nov. 1 with Beale, Lisa Race, Pamela Geber, and Satu Hummasti. workshops, lectures, master classes, She has performed at the La MaMa Theater in New concerts, exhibits, and a mini-harp York City, White Wave Dance Festival in Brooklyn, New York Dance Alli- store provided by Salvi Harps. Eliza- ance 50th Anniversary, Northwest ACDFA 2006-08, and at the Rose Wagner beth Richter from Ball State Univer- Performing Arts Theater in Salt Lake City. She has taught modern dance sity, Indiana, was the featured artist technique, improvisation, composition, and video technology at the Univer- along with Professor Emerita Sally sity of Utah and in the surrounding community. Mockli was videographer Maxwell and alumna Alex Perdew. and editor for Jacob’s Pillow Dance Festival Summer 2004 and Bates Dance A total of 32 participants came from Festival 2005, and has worked with an independent video production com- all over the state to learn from and pany in Salt Lake City, the University of Utah Modern Dance Audio/Video enjoy the events. u Department, and as an independent videographer. uJeffrey Stolet 11

Simon Hutchinson (Ph.D. student in Student News and Awards composition with a supporting area in ethnomusicology): $575 to attend Pianist Ben Corbin, violinist Han- Graduate School Research The Korean Traditional Music Work- Jun Lee, and cellist Talia Lindsley Awards for 2008–09 shop for Overseas Musicologists, won the Oregon State Chamber offered in June 2009 by the National Music Competition of the MTNA, Shawn Alger (master’s student in Center for Korean Traditional Per- and went on to win the MTNA musicology): $500 to support work forming Arts. Northwest Division Chamber Music on his thesis topic by conducting Competition. They will compete in archival research in the Center for Tyler Kinnear (master’s student in the national finals in Atlanta. Corbin Western History and Genealogy musicology): $350 to support work studies with Dean Kramer, David at the Denver Public Library, the on his intended thesis topic by con- Riley, and Claire Wachter; Lee stud- Colorado Historical Society, and the ducting research at the archive of ies with Kathryn Lucktenberg; and historical society and museum in American composer Alan Hovhan- Lindsley studies with Steven Pologe. Ouray, Colorado. ess at the University of Washington.

Kanako Ishihama won the Oregon Amy Cohen (master’s student in mu- Mark Samples (Ph.D. student in State Piano Competition of the Mu- sic education): $500 to support work musicology with a supporting area sic Teachers National Association, on her intended master’s project in ethnomusicology): $575 to sup- and then took second place at the topic by helping her acquire a col- port work on his intended disserta- MTNA Northwest Division Piano lection of curriculum references not tion topic by conducting archival Competition. Kanako is a master’s readily available on campus or in the research at the Bibliothèque de student of Dean Kramer and Claire region. l’Opéra Nationale de France in Paris. Wachter.

UO Faculty form The UO-Humboldt State connection New Music Ensemble

Beta Collide is a leading-edge new music ensemble directed by flutist Molly Barth and trumpeter Brian McWhorter. Beta Collide fo- cuses on “the collision of musical art forms, from complex to ambient; from low-brow to high-brow; from radically extended technique to site- specific improvisation.” Recent projects include collabo- rations with Mark Applebaum, Scott Rosenberg, Stephen Vitiello and Amit Goswami (the physicist in the filmWhat the Bleep Do We Know?). The group played at the UO’s White Stag Building opening, and was named in The Oregonian’s list of the Best in Classical Music for 2008. For this term’s Music Today Fes- tival, Beta Collide joins Wii-wield- Robert Ponto (far left) poses with UO alumni Paul Cummings (D.M.A. 2007), ing Jeffrey Stolet, dancers Walter Ken Ayoob (M.M. 1981), and Gil Cline (D.M.A. 1990) at Humboldt State Uni- Kennedy and Shannon Mockli, versity, where Ponto guest conducted the HSU Symphonic Band. Cummings pianist David Riley, and bassist is the current band director and also conducts the orchestra at HSU; Ayoob Tyler Abbott. Works include world formerly conducted the HSU orchestra, musical productions at HSU, and premieres by Robert Kyr and Doug- two local orchestras; Cline conducted the HSU Band from 1991-93 and now las Detrick, and music by John Cage, conducts the campus/community British Brass Band. György Ligeti, and John Fonville. u 12

counter-intuitively, I then had more PROFILE fun, felt less pressure, and was much more fulfilled by the whole affair. I had become so hesitant to tell Life as The Duck people that even after graduation it was a few years before my men- Tyson Wooters (B.Mus. 2003) spent the same so that we owned that time tor in the professional motivational four years as one of The Duck mas- after every score. speaking world cajoled me into writ- cots (there are usually 2-3 in any giv- I also used conducting in Mac ing my keynote speech around the en year) and was Head Duck for two Court to get the Pit Crew to stomp, whole experience. Now the speech years. The Duck’s human identity is clap, or yell all at the same time. I starts off with a short video of The kept secret during his or her reign, also never forgot the band once I left Duck. I have the most incredible but once out of the closet they are it. I made a sign that said, “Applause time telling the stories and watch- free to talk about their former alter for band” to be held up after songs. ing the laughing and the smiles that egos. Ledger Lines interviewed Tyson The first time I held it up they didn’t come. My most popular keynote during the 2008 football season: give the band as much applause speech is called “Always Wear Your as I thought they should have, so Head.” How did you get The Duck job? I pulled down the sign, shook my Completely dumb luck. They finger to scold them, and held it up Where else did you make appear- needed someone mid-year, and I again. That band works hard and ances as The Duck? had cultivated my relationship with deserves some credit! Duck Athletic Fund auctions, Laraine Raisch and Corine Lewis in grand openings, parties, basketball the cheerleading office while I tournaments, Winterhawks, was in the Green Garter Band. I Seahawks and Blazer games stumbled onto the Duck squad (see photo) and one National in conversation with the then- Mascot Championships—which Head Duck when he told me we won! they needed someone new. I am the only Duck I’m aware of who Favorite memories overall? never had a formal audition. Crowdsurfing, riding the What I did was just put the suit Harley into Autzen Stadium, the on with some supervision and ESPN commercial shot in the walk around campus in it. I’d Rose Bowl, and the sweetest hug really call it more of a vetting I ever got from a four-year-old process than an audition per se. girl at a volleyball game. Once the Head Duck, Malachi, saw that I had the right frame of Ever consider being a profes- mind (insanity) and that I wasn’t sional mascot? going to embarrass the UO or I did think about it, hav- anything, I was in. Tyson Wooters (as The Duck) tries a ing met a number of pro mascots slam at a Trailblazers game. during my tour of duty. But after a Did being a music major help in visit with the San Jose Sharks (pro your Duck duties? Most difficult aspect of the job? hockey) mascot, I realized that even My musical training did come in The most difficult and rewarding though the money can be good (de- handy many times. I conducted the part of the job was maintaining my pending on the sport and the team), band in the ducksuit a few times, anonymity. Most of the band/music it can also mean 400 appearances even the National Anthem once. folks that hung around the games per year and being on the road all That was super fun. knew me because I unfortunately let the time. When The Duck does push-ups the cat out of the bag right off. After after the football team scores, the a while I began to approach the job Bring us up to date on what you crowd has a tendency to rush the with more integrity. After all, the have been doing since graduation. counting faster than The Duck is only hard and fast rule of mascotting My degree was in music educa- doing his push-ups. So I used my is not to let anyone know who you tion (listed officially on my gradu- conducting skills to get them to are. I began referring to The Duck in ation announcement as a Bachelor count at MY tempo. I trained all the third person and started approach- of Music in Music Education, with other guys on the Duck squad to do ing it like a secret alter ego. Perhaps continued next page 13

Richard Benedum was the Distinguished Alumni for 2009 Alumni Chair in the Humanities and Professor of Music at the University Ann Rodiger (B.S. Dance, 1973) and Richard of Dayton. He served as the Depart- Benedum (D.M.A. 1972) to be honored in June ment of Music chair from 1980-88, and from 1996 to 2001. His many Ann Rodiger has extensive expe- She has worked with people awards include the College of Arts rience and training in the Alexander from many different walks of life, and Sciences Award for Teaching Technique, including 25 years of including health care professionals, (1994); the a thriving private practice in New secretaries, musicians, directors, ac- Ohioana Li- York City, and eight years of teach- tors and dancers in movement re-ed- brary Associa- ing an Alexander Technique Teacher ucation and repatterning. She works tion Music Ci- Training Course. Her expertise in- with repetitive stress injuries, vocal tation (1995); cludes movement analysis and ob- malfunctions, back pain, people re- the inaugural servation, movement fundamentals covering from injuries and surgery, Opus Award and awareness, movement record- as well as those with symptoms of as the out- ing, and cultivation of change in stress. standing arts people’s movement behavior. Rodiger has taught at the gradu- educator in ate and undergraduate level, and greater Dayton developed curriculum and teaching (1996); the Ann Rodiger with methods at many universities, in- University of Dayton Alumni Award one of her familiar cluding: California State University for Teaching (1998), and the Ovation subjects at Hayward, University of Illinois Award from the Vocal Arts Resource at Urbana, University of Wisconsin Network of Ohio (2001). He also is at Milwaukee, University of Hawaii the founder and former music direc- at Manoa, The Juilliard School, and tor of the Dayton Bach Society, and City University of New York. Her has conducted all the major orato- international teaching and travel rios and numerous cantatas of Bach, experience includes workshops in as well as other major works from Germany, France, and Switzerland. the 17th to the 20th centuries. As a Labanotation expert, she Dr. Benedum directed seven has notated, reconstructed and Summer Seminars and Institutes for checked many dance scores from teachers, based in Vienna and study- Labanotation. ing the music of Mozart, for the Na- LIFE AS THE DUCK, continued Rodiger holds an M.A. in dance tional Endowment for the Humani- an emphasis in Trampoline Per- from The Ohio State University and ties between 1990 and 2001, and formance and a minor in Mascot is a member of the American Society led another in 2003. He wrote and Studies), and I took a temporary of the Alexander Technique. She is produced a series of programs for job teaching at a middle school in the Director for the Balance Arts Al- National Public Radio on “Mozart: Salem. I finished out the year there, exander Technique Teacher Training His Music and His Letters.” He has and then moved on to being a mo- Program in New York City. been a review panel member for the tivational speaker, trainer, and per- National Endowment for Humanities sonal coach. four times and a consultant for the I have more fun and meet more o Ohio Arts Council and Ohio Human- interesting people than ever before, Ann Rodiger and Richard ities Council. working with kids and adults of After receiving his D.M.A. in nearly all ages. No two work days Benedum will be the organ performance from the Univer- really look the same, as I travel a lot featured speakers at sity of Oregon, he studied organ and for my business and for pleasure. School of Music and conducting with Helmuth Rilling in My most recent international trip Dance Commencement Stuttgart and musicology with Chris- was to Peru and the next one will toph Wolff at Harvard. His research be to travel Europe for a couple of interests include compositional pro- months, followed by a conference Saturday, June 13, 3 p.m. cess in Bach’s works, the meaning for work. Life is grand! u Beall Concert Hallo and pattern of articulation marks in Bach’s autograph manuscripts, and Tyson Wooters’ website is at the operas and early biographical www.tysonwooters.com studies of Mozart. u 14

John Mansfield (B. Mus. 1985) is a park, at the Cabaret at Milwaukee ALUMNI shareholder in the Intellectual Prop- Repertory Theatre, and will be per- erty and Patent Law practice group forming in a new show at Oregon Matt Cooper (B.Mus., 1984) per- of the Portland law firm Schwabe, Cabaret Theatre this February and formed a solo classical piano recital Williamson & Wyatt, focusing on March: “Kickin’ the Clouds Away,” in October at Western Oregon Uni- intellectual property litigation and featuring music of the 1920s and versity titled “Improvisation-NOT!” advice, including patent, trade se- 30s. Last year she choreographed A and a jazz performance the following cret, trademark, copyright, and other Comedy of Errors at Oregon Shake- night with Tom Bergeron’s group, intellectual property matters. Man- speare Festival and Ring ‘Round the Whirled News. He also performed sfield also is Chairman of the Board Moon and Many Moons at Southern in a piano trio with Eastern Wash- of All Classical KBPS, Portland’s 24- Oregon University, and choreo- ington University jazz faculty Brian hour classical music radio station. graphed an opera, Merry Wives of McCann and Michael Waldrop. Last Windsor, for Rogue Opera. She was April he taught at the Whitman Col- Natalie Haworth-Liu (B.Mus. 1999) happy to be invited to dance in a lege (Walla Walla) Jazz Workshop, announced the debut of the Blithe Renaissance dance greenshow for and performed in an evening gig Duo last fall. She and her good the opening of the outdoor season with fellow workshop faculty. Other friend and colleague, Meerenai at Oregon Shakespeare Festival. She teaching activities include a master Shim, formed the duo as a way to still teaches dance at SOU part-time, class at Western Oregon University explore the vast and ever expanding and produced and performed in a and adjudicating the Boise Sonatina flute duo literature, with and with- tap dance show, Swing Shift, at the Festival. Matt performed a jazz con- out piano. They had a well-received Black Swan Theatre in Ashland. cert with University of Idaho jazz debut performance at San Francisco Last year Suzanne co-founded the faculty Vern and Vanessa Sielert in State University in September. Oregon Tap Society, which is dedi- Baker City Dec. 3. He continues to cated to bringing excellent tap teach- teach piano, jazz studies, and theory Suzanne Seiber (M.A. Dance, 1994) ers and performers to the Rogue at Eastern Oregon University, where traveled to Milwaukee in December Valley. he has been since 1991. to choreograph a new musical, Dog-

Richard Fuller records CD on Haydn’s piano Pianist Richard Fuller (M.Mus. 1971), who received the music school’s Distinguished Alumnus Award in 2002, has recorded a CD of Joseph Haydn’s piano music on Haydn’s piano. Fuller has lived in Austria for the past 25 years, researching the music of Haydn, Mozart, and their contem- poraries as well as performing their music on historical pianos. The CD was released on the Gramola, Wien label in November, commemorating the 200th anniversary of Haydn’s death. The instrument used for the recording is housed in Haydn’s birthplace, now a museum in Rohrau, about 50 miles east of Vienna. The instrument was restored to playing condition in 2003 and Fuller has performed regularly on the instrument since that time. The unsigned piano, built in 1782, was used for performances by Haydn as late as 1800, according to records in the archives of the province of Lower Aus- tria. Though unsigned, the piano bears remarkable resemblance to several of the most significant surviving instruments built by Anton Walter (among them, the so-called “Mozart-Piano” in Salzburg and a second piano known to have been used by Haydn in the castle at Eisenstadt, Burgenland). In addition to a 2009 series of performances dedicated to the complete piano sonatas of Haydn performed on Haydn’s piano, Fuller is musical director of a project emphasizing Haydn’s piano, chamber, and vocal music. Fuller performed this January at Southern Oregon University in Ashland and in the Tri-Cities area with Austrian violinist Maria Bader-Kubizek, with whom he has also recorded a CD of violin sonatas by Mozart, using both the original J.A. Stein fortepiano and the “Leopold-Mozart violin” once owned by Mozart’s father and now in the instrument collection of Vienna’s Art His- Richard Fuller tory Museum. Check Fuller’s website at RichardFullerFortepiano.com u 15

Dan Flanagan (M.M. 2003) performed Bach’s Concerto for Oboe Geeting publishes Starker bio and Violin with oboist Tom Nugent and the Sacramento Philharmonic Joyce Geeting (D.M.A. 1978) has Solo Sonata. His recording of this re- in November, and with the Reno published a book about Janos Stark- markable piece won him the Grand Baroque Ensemble in December. er, the “King of Cellists,” whose Prix du Disque and launched the impact on the world of cello play- beginning of his phenomenal re- Cristina Cruz-Uribe (B.Mus., 2007) ing and teaching in the twentieth cording career, his output not even received a pre-dissertation fellow- century is legendary. As a youth, he approached by any cellist in the his- ship from the MacMillan Center at played in coffee houses, and as an tory of the instrument. Yale University to support seven adult gave more than a thousand op- “Four years ago I sent a birthday weeks of research in Lima, Peru, era performances with the Metropol- card to Starker,” says Geeting, “con- in summer 2008. She presented a itan Opera, a thousand concerts with gratulating him on his 80th birthday, paper in Guadalajara, Mexico, and the Chicago Symphony, and more along with a copy of the book to let her essay, “Música y Hagiografía en than a thousand him know that la Relación escrita por Madre Josefa of his own con- it was going to de la Providencia (Lima, 1746-47),” certo and recital print. He wrote is scheduled to appear in 2009 as performances. back, telling me part of an edited volume on musi- By the age not to release my cal instruments in colonial Latin of twelve, Janos book, since his America, published by the Instituto Starker already was coming out de Investigaciones Estéticas at the had five students. the same month. Universidad Nacional Autónoma de As a young stu- So I waited four México. She is currently working on dent at the Franz years for the suc- a Ph.D. at Yale. Liszt Academy cess of his book. of Music in Bu- However, that Gordon Tsai (B.Mus. 2008) is now in dapest, he was meant redoing a master’s program at the University performing the much of my book. of Nevada at Reno, where he per- string quartets of My approach dif- formed Mozart’s Violin Concerto No. Bartok, Debussy, fers from his. I 4 for the Midori master class on Nov. Beethoven, and wanted to know 15, and later performed the concerto many other what makes him with the Ruby Mountain Symphony works. At age tick, what influ- in Elko, NV. fifteen, a boy in ences in his life knee pants, he made him the performed the Joyce Geeting unique and re- Alumni Solo Sonata by markable individ- Kodály with the composer in the au- ual he is. From where did he draw Nominations dience. The performance was stun- his dedication to excellence in per- ning, unbelievable to listeners, with formance, recording and teaching?” Requested technical feats never before dreamed The late Eleonore Schoenfeld Alumni of the School of of by composers. Rave reviews ap- said “The depth of Janos Starker’s Music and Dance are invited peared in major papers around the artistry and passion, perpetuated to submit nominations for the world. Even Musical America was in the recording repertoire like no annual Distinguished Alumni talking about it, calling this perfor- other cellist, is brilliantly docu- Awards. mance in Budapest a miracle. mented in this book. It will continue Dean Foley confers with an That was the night that launched to be a source of inspiration for gen- advisory committee to make the Starker’s reputation. However, his erations to come. His monumental final selections, and suggestions career was delayed by World War II dedication to his art, his life shaped for nominees are welcome. and its devastation, which many of by events in the world around him, Names and a brief summary his family and friends in Hungary illuminates his enormous contribu- of the candidates’ background did not survive. At the war’s end he tion to the universal need for mu- and accomplishments may be was able to cross borders with some sic.” sent or e-mailed to Dean Brad fast talking, false papers, and dance For an autographed copy of Foley ([email protected]), music he played for the Russian the book, call Geeting at (818) 340- preferably before November 1. soldiers. He landed in Paris, where 3940. Or you can order directly from he made his debut with Kodály’s BookMasters (800) 247-6553. u 16

Helen Vagner, wife of long-time UO Betty Jean Bartholomew died Oct. IN MEMORIAM band director Robert Vagner, died 11 of pancreatic cancer at age 84. Nov. 25 of age-related causes at She earned her bachelor’s degree Brandon Young Southworth passed age 94. She was born in Monegaw from the University of Oregon in away peacefully on December 25 Springs, Missouri, and married Rob- 1945. She was a noted piano and at age 92. She graduated from the ert Vagner in 1937 in Greeley, Colo- organ recitalist and church musi- University of Oregon in 1938, and rado. She held bachelor’s and mas- cian in six states during her life- was president ter’s degrees from Colorado Teachers time, most recently at the Episcopal of Kappa Alpha College. She was a teacher in Eugene Church of the Resurrection in Eu- Theta sorority. schools for many years and previ- gene. She established the Leadership She was a harp ously taught Program for Church Musicians in student of Doris art in Laramie, the Diocese of Oregon, where she Helen Calkins Wyoming. She held positions in education and of Eugene and is survived by administration. Bartholomew pre- of Kajetan Attl a daughter, sented workshops at AGO National in San Fran- Elizabeth Vag- and Regional Conventions, and for cisco. She was ner of Santa the American principal harpist of the Duluth Su- Monica, Calif. Choral Directors perior Symphony Orchestra in Dulu- Robert Vagner Association, the th, MN from 1940 to 1975. She was died in 1989. Association of on the music faculty of the Univer- Remembrances Anglican Musi- sity of Minnesota Duluth, the Uni- may be made to the Robert S. Vagner cians, and at versity of Wisconsin Superior and Endowment Fund, which Helen es- diocesan con- the College of St. Scholastica, and tablished at the UO School of Music ferences. As an taught many private harp students in 1998. The endowment supports active member in addition to her own performing. faculty and programs in the band of the American Memorials are suggested to the Lane and conducting areas. Guild of Organ- County Historical Society. ists, she was dean of the Seattle, Wash., chapter, and from 1975 to 1981 she served as a regional and national councillor. In 1978, she HAVE WE HEARD FROM YOU LATELY? became the first woman to chair an AGO National Convention, and in 2001, she served as chair of the AGO 2/09 UO School of Music & Dance Alumni Region VIII Convention. The AGO bestowed the Edward A. Hansen WHAT’S UP? Leadership Award on Betty Jean NAME______Class of ______Bartholomew at its Annual Meeting in 2004; the prestigious award is Degree______presented biennially, in conjunction Comments______with the AGO National Convention, ______to recognize individuals who have ______demonstrated outstanding leader- ______ship in the AGO. She was past dean of the Eugene Chapter, and chair of ______its Special Projects Advisory Com- ______mittee, whose primary focus is to My current address: (please print) This is a change of address create scholarships to sponsor organ Address______performances at the Oregon Bach Festival. She was also a long-time City______State______Zip______member of Phi Beta and co-chair of Phone (day)______(eve)______the local alumni chapter. Remem- brances may be made to Eugene ____ I have more news to share! Call me for a more complete update. Chapter of the American Guild of Organists, the Anglican Musi- You may also send your alumni news for Ledger Lines via e-mail c/o cians Foundation, or the Episcopal editor Scott Barkhurst: [email protected] Church of the Resurrection. u UO High School Orff Schulwerk Level I Summer Music Camps Teacher Certification Dr. Timothy Paul, Director Course AOSA Approved July 5–11, 2009: 61st Annual Concert Band Camp Eugene, Oregon June 22–July 3, July 12–18: 2009 Marching / Leadership Camp (Drum Major, Section Leader, Color Guard, Percussion) July 19–24: Jazz Improvisation Camp INSTRUCTORS: FOR BROCHURE OR MORE INFORMATION, contact: Jim Solomon and Kim Rottschaeffer, Camp Coordinator Peggy McDonnell 1225 University of Oregon Eugene OR 97403-1225 Tuition and Fees: Non-Credit: $650 E-mail: [email protected] Graduate Credit: 1-6 Hours, Phone: (541) 346-2138 Fax: 346-6188 $50 per credit hour (in addition to the $650 workshop fee)

For all pertinent info and registration form, see our website: http://music.uoregon.edu/ EventsNews/Camps/Orff.htm

For brochure or more information contact Dr. Phyllis M. Paul: 541-346-5579 [email protected]

Registration Coordinator Ceci LaFayette; 541-346-5144; [email protected] Angela Hewitt, piano COMING EVENTS Guest Artist, March 3 For more information about UO School of Music and Dance FACULTY & GUEST ARTISTS: Chulrua, Irish music programs, events, and faculty, World Music Series, March 6 check our web site: Eun Soo Sun, piano music.uoregon.edu Guest Artist, Feb. 12 Altenberg Trio Chamber Music@Beall, March 8 Faculty Dance Concert An equal-opportunity, affirmative-action institu- February 12-14 Idit Shner, classical saxophone tion committed to cultural diversity and compli- ance with the Americans with Disabilities Act. Faculty Artist Series, March 13 This publication will be made available in acces- MUSIC TODAY FESTIVAL: sible formats upon request. Accommodations • DaCapo Chamber Players SPECIAL EVENTS: for people with disabilities will be provided if Vanguard Series, Feb. 15 requested in advance. • Beta Collide UO OPERA: Dido and Aeneas Vanguard Series, Feb. 16 Feb. 20-21 • Sheldon High Auditorium • Fear No Music Vanguard Series, Feb. 17 BEND EVENT • Charles Dowd, Timpani April 7 • 7 p.m., Tower Theatre Faculty Artist Series, Feb. 20 Featuring a variety of UO music and • Joe Powers, Harmonica dance ensembles; Free admission Vanguard Series, Feb. 21 MEDFORD EVENT Portland Baroque Orchestra May 21 • 7 p.m., Craterian Ginger Chamber Music@Beall, Feb. 22 Rogers Theatre Jeffrey Work, trumpet Featuring a variety of UO music and dance ensembles; Free admission Guest Artist, Feb. 23

Nonprofit Organization U.S. Postage PAID School of Music and Dance Eugene OR 1225 University of Oregon Permit No. 63 Eugene OR 97403-1225

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