Eastman Notes June 2004

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NOTES

DECEMBER 2004 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR

Worth a thousand words

Dear Eastman Alumni: As far as I know, George Eastman’s portrait has always hung in the School’s Main Hall. I wonder how many of the students who have passed by it over the NOTES years had more than a vague idea who Eastman was. They had ample opportunity Volume 23, Number 1 to fi nd out this year: the City of Rochester celebrated Eastman’s 150th birthday, December 2004 and the school bearing his name enthusiastically joined in. Eastman’s contributions are thrice-told tales around here, but they remain Editor a remarkable American story. Endowing a great American music school in an David Raymond upstate New York manufacturing city was an odd about-face for a turn-of-the- Assistant editor century captain of industry; but we can be glad a self-described “musical moron” Christina Casey decided to use his money and moral support to back his audacious proposal. Contributing writers Rochester’s community life, and America’s musical life, have never been the Martial Bednar Amy Blum same since 1921. Christine Corrado During the past few months, Mr. Eastman’s School Jun Qian showed off an acoustically improved concert hall; pre- Anna Reguero miered a new choral work and a new opera; planned a Russell Scarbrough Suzanne Stover new home for its Community Music School; hosted its Colin Wise most successful Alumni Weekend ever; welcomed im- Contributing photographers portant guests and alumni, including Mitch Miller (who Kurt Brownell received his BM in 1932, the year George Eastman died), Don Cochran Charles Strouse (BM ’47), and Dominick Argento (PhD Gelfand-Piper Photography ’58), all still going strong; and greeted the fi rst volume of Paul Grigsby Amy Vetter Vincent Lenti’s Eastman School history. (We gave you a morsel of this book in the December 2003 issue of Notes; Photography coordinators now the fi rst course of the meal is ready—see the order Nathan Martel George Eastman Amy Vetter card in this issue.) We also celebrated the centennial of Design the Sibley Music Library, which is actually older than the Eastman School. All Steve Boerner Typography & Design of these great events are included in this issue, and Eastman would be pleased to see that our coverage includes lots of photographs. Published twice a year by the Offi ce of I’ll close with the straightforward words of George Eastman himself: “There Communications, Eastman School of Music, 26 Gibbs Street, Rochester, NY, are no drawbacks to music. You can’t have too much of it.” If the School ever de- 14604, (585) 274-1050. cides to add a companion phrase to “For the enrichment of community life” on the Eastman façade, that seems as good a choice as any.

Editor Printed on recycled paper: 100% recycled ﬁ bers, 50% post consumer waste, processed chlorine-free.

PHOTOGRAPHS BY DON COCHRAN (TOP) AND COURTESY GEORGE EASTMAN HOUSE INSIDE

FEATURES 5 Eastman celebrates Mingling, memories, and music: Alumni Weekend 2004 8 Hands across the sea “I told the students, ‘This will change your life’ ” 10 The Wind Ensemble journeys East EWE members report on a triumphant tour

25 MEMBERS OF EASTMAN’S 50TH ANNIVERSARY CLASS AT ALUMNI WEEKEND 2004 14 The curtain rises … 5 PROVED THAT 1954 WAS A VERY GOOD YEAR INDEED … and a renovated theater stage delights the Eastman community’s eyes and ears THE EASTMAN 8 WIND ENSEMBLE 16 A world treasure turns 100 TAKES TOKYO (AND The Sibley Music Librarian on scholarship TAIWAN, AND KYOTO, and stewardship AND HAMAMATSU, 19 “We’re the lucky ones” AND . . .) Joyce Castle (MM ’66) on giving recitals and changing the world

CONVERSATION DOMINICK 17 Dominick Argento: 17 ARGENTO, “Someplace to go emotionally” MASTER OF VOCAL A PPulitzerulitzer PPrize-winningrize-winning ccomposeromposer MUSIC, RETURNS TO makesmakes tthehe hhumanuman cconditionondition ssinging HIS ALMA MATER 2 COMING EVENTS 3 LETTERS THE SIBLEY 4 CORRECTIONS 16 MUSIC LIBRARYLIBRARY CCELEBRATESELEBRATES 21 SCHOOL NEWS A CENTENNIAL OF 28 DEPARTMENT NEWS SCHOLARSHIPSCHOLARSHIP WWITHITH HIGH STYLE 31 IN TRIBUTE 33 ALUMNI NOTES 35 EASTMAN ALUMNI ON CD 45 FACULTY NOTES 48 STUDENT NOTES

ON THE COVER: The newly renovated Eastman Theatre stage is a splendid treat for the eyes, especially in this ON THE INTERNET: More news about the Eastman School of Music, photograph by Don Cochran. And it sounds as good as it looks! including the full text of Notes and expanded alumni information, can be found online at www.rochester.edu/Eastman. Coming Events: 2005 January 17, 2005 • Martin Luther King, Jr. Day Observance with Alvin Parris (BM ’73)

January 28, 2005 • Concert featuring Joseph Schwantner’s New Morning �� for the World narrated by Rev. Harmon E. Stockdale, �� with Eastman Philharmonia conducted by Neil Varon �� February 2005 • Visit by Sir Harrison Birtwistle �� February 26, 2005 �� • Eastman Wind Ensemble at Carnegie Hall

February 27, 2005 • Alumni Brunch in Manhattan �� March 31, April 1–3 • Eastman Opera Theatre: �� Puccini: La Rondine (in Italian) �� April 15 • Eastman Philharmonia, with �� guest conductor Walter �� Hendl leading Rachmaninoff’s �� Symphony No. 2 �� May 21–28 • Eastman Community Music �� School Spring Festival Week ��

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2 Eastman Notes | December 2004 LETTERS

In this context, I would like to mention Pioneering women that the fi rst two women ever to receive doc- It was very nice to see the fi ne photograph �� torates in music composition in the United of Doriot Anthony Dwyer, taken with conduc- States were both connected to Eastman. tor Charles Munch after her debut as princi- Emma Lou Diemer, who received her doc- pal fl utist of the Boston Symphony Orchestra. torate from Eastman in 1960, was the fi rst. When I was growing up in Los Angeles, and My doctorate in composition, received from attending concerts of the Los Angeles Phil- Florida State University in 1968, was the sec- harmonic Orchestra, I remember well seeing ond awarded to a woman in the U.S. My dis- Doriot Anthony performing with the orches- sertation director, John Boda, had received tra as second fl utist (1946–52), and it was his own doctorate in composition from heartwarming to learn of her appointment to Eastman, where I had been a piano major, Boston’s orchestra in 1952 (not 1950 as stated studying with Cecile Genhart in 1948–49, in the photo caption) as the fi rst woman prin- and again in the summer of 1950. Although �� cipal in that orchestra’s long history. However, I did not complete my degree at Eastman, I the broad statement on page 15, giving her have always regarded my time there as the the distinction of being “the fi rst woman ap- most important part of my professional de- earlier principal players were pace setters, pointed principal chair of a major American velopment as a musician. and all the women following, up through orchestra” is simply not true. —Nancy Hayes Van de Vate, ’52 the present, do indeed owe them a debt of In making such a claim one is ignoring Vienna, Austria gratitude for helping eliminate the stigma the many principal harpists of our major of being a female section leader. organizations, going back to the initial sea- —Norman Schweikert, BM ’61 Memories son of the Metropolitan Opera in 1883–84 Washington Island, WI (Madame Maretzek). During my 40-plus of Merry Mount years of studying U.S. orchestra history and I enjoyed reading the article about Merry I was delighted to fi nd the article “A Great collecting rosters of all the major American Mount. I was in the production ESM pre- Cloud of Witnesses,” which pays tribute to orchestras, I can say that women principal sented in the 1950s and on the Mercury great women in music. One of the musicians harpists, prior to 1952, have been initially recording. I worked for Dr. Hanson as an un- highlighted was Doriot Anthony Dwyer … appointed to the orchestras of Cincinnati dergraduate scholarship student, then as his described as being the granddaughter of the (1895), Pittsburgh (1897), Chicago (1900), graduate assistant. He was a very thoughtful great suffragist, Susan B. Anthony. Ms. An- St. Louis (1900, and perhaps earlier), Phila- and generous man, hiring me outside the thony never married or had children, having delphia (1902), Minneapolis (1903), San School to paint, garden, and do odd jobs chosen to devote her entire life to winning Francisco (1911), Baltimore (1916), Detroit around their house and to help when they the vote for women. Was Dwyer Ms. Antho- (1918), and Rochester (1923, followed in gave parties in their home, always overpay- ny’s grandniece? 1936 by the appointment of Eastman’s being me. I got to meet and visit with many —Ilene Chanon, MM ’92 loved Eileen Malone), just to name a few of interesting and impressive people. When Los Angeles, CA the more prominent ones. things were unusually fi nancially tight for If only wind players are under consider- In fact, her distant cousin. In researching the me I could always go paint his storm shut- ation, there are still a few who predate 1952, correct answer, Notes was pleased to discover ters—a never-ending assignment. namely Helen Kotas, principal horn in Chi- that the pioneering Ms. Dwyer (BM ’43) not —Craig Hankenson, BM ’57, MM ’59 cago (1941), Eastman’s own Dorothy Ziegler, only received the University of Rochester’s Tampa, FL principal trombone in St. Louis (1944), and Hutchison Medal in 1995, but also was named Harriet Peacock, principal fl ute in India- “Supersister #29” in a 1983 series of trading The statement on page 10 regarding the napolis (1946). cards of outstanding women. 1955 revival of Merry Mount implies that the In bringing these facts to light I do not in- Mercury recording of extended excerpts by tend to belittle in any way Doriot Anthony “Distinguished African-American Com- students was made by the 1955 cast. The re- Dwyer’s wonderful career and accomplish- posers: An Eastman Connection” by Paul cording was actually made in May 1962. I ments, but only to put things into proper Burgett, and “A Great Cloud of Witnesses” by have in my possession a letter from Dr. Han- perspective. There is a lot of history out there Susan Wharton Conkling, highlight the im- son dated May 6, 1962, thanking me for the that is little known, and broad statements, portant role Eastman has played throughout performance and recording of Merry Mount, without proper research, can produce erro- its history in educating all American musi- “Which made me [Hanson] very happy.” neous conclusions. Certainly Dwyer and the cians, not just a privileged few. CONTINUED ON PAGE 4

December 2004 | Eastman Notes 3 LETTERS

CONTINUED FROM PAGE 3 Kilbourn Hall recital and later for a broadcast The excerpts to be recorded were per- over CBS! I owe much to these wonderful formed in Eastman Theatre on Friday evening people and am sure they are sorely missed prior to the Saturday morning recording ses- by many. sion. Unfortunately I do not have a copy of the As the fi rst member of a family to fi nish program, but I do have a copy of the recording, high school, and having had minimal expe- which was not issued for several years. rience in music, I am particularly indebted I sang the leading baritone role [Wres- to Eastman, fi rst for granting me admis- tling Bradford, originally sung by Lawrence sion, and second for the magnifi cent educa- Tibbett]. Quite a challenge for a 25-year-old, tion which has provided me with a long and when one considers that we had a rehearsal happy career in music. on Thursday morning, again on a Friday —Robert W. Ottman, BM ’38, MM ’44 Merry Mount at the Met: a scene from the morning, followed by the concert and the re- Denton, TX original 1934 production. cording on Saturday. I had become a member of the New York City Opera in September 1961, leaving Eastman a few hours short of Remembering Corrections completing the MM degree … Crozier and Kennan Laurence Rosenthal (BM ’47, MM ’51) Other members of the cast, Charlene sent us a nice note and a few corrections to Chadwick and Calvin Cullen, who were I was saddened to see the notices concern- the June issue’s article on his musical Sherry!, at that time husband and wife, are now ing the loss of Catharine Crozier and Kent namely: that he is writing a concert piece for deceased. I believe that Lenita Chadima Kennan. Catharine was in my freshman the- the concertmaster of the Toronto Symphony (“Shadima”, the record jacket says) teaches ory class (1932) and was kind enough to ac- (not Montreal); that Robert Sher, who pro- in California. company me on several singing occasions. duced the Sherry! CD, is an independent pro- —Gerald Crawford, BM ’59, MM ’72 Ken was my orchestration teacher. For an ducer and not an employee of Angel Records; Oberlin, OH assignment to write a piece for winds and and that the recording was made not in the strings, I wrote a short three-movement Czech Republic, but in Bratislava, the capi- This letter is taken from two e-mail messages work, my only instrumental composition. To tal of Slovakia. We thank him for setting the from Mr. Crawford. my surprise, Dr. Hanson chose it for part of a record straight, so to speak.

Searching for Souzay After Gérard Souzay died on August 17 at the age of 85, he was eulogized as a master interpreter of song, particularly the vocal works of Fauré, Debussy, Ravel, and Poulenc. We wondered if the great French baritone ever visited Eastman. A ﬁ le folder of photographs revealed that he did, apparently during the 1982–1983 school year. The photos are undated, but one was printed in the April 1983 Eastman Notes, simply captioned, “Master class: baritone Gérard Souzay.” If you took part in the master class, or simply remember Souzay’s visit, please tell us more! Send your memories to Eastman Notes, Ofﬁ ce of Communications, Eastman School of Music, 26 Gibbs St., Rochester, NY 14604, or [email protected].

4 Eastman Notes | December 2004 PHOTOGRAPHS COURTESY EASTMAN SCHOOL OF MUSIC ARCHIVE Alumni Weekend 2004: Lots of music and lots of memories

f there seemed to be a lot of celebrating going on at Alumni The School welcomed Pulitzer Prize-winning composer Weekend 2004 (October 15–17), well, there was a lot to cel- Dominick Argento (PhD ’58) back for the premiere of his Four ebrate: the 100th anniversary of the Sibley Music Library; a Seascapes for Chorus and Orchestra, commissioned by the renovated Eastman Theatre stage; the publication of the ﬁ rst School for the centennial of Sibley Music Library, and performed Ivolume of a history of the Eastman School; two very different musi- by the Eastman-Rochester Chorus and the Philharmonia, led cal premieres; recognition of beloved alumni and faculty. And there by William Weinert. Argento’s new work—witty, lyrical , and were a lot of people celebrating—the largest number ever at an (unsurprisingly) very singable—was a hit with the chorus, and Eastman Alumni Weekend. with the large audience at the October 16 premiere. Argento For more highlights and many more photos of Alumni Weekend was generous with his time at Eastman, attending rehearsals and 2004, visit www.rochester.edu/Eastman/alumni/weekend. leading master classes for voice and composition students.

PHOTOGRAPHS BY GELFAND-PIPER PHOTOGRAPHY December 2004 | Eastman Notes 5 At the October 15 Wind Ensemble concert, trombonist Jim Pugh (BM ’72) performed (ﬂ awlessly) the premiere of a reconstructed 1945 concerto by Hollywod composer/conductor Nathaniel Shilkret (1896-1982). Mark Scatterday also led the EWE in Short Cut Home by Dana Wilson (PhD ’82).

Alumni Achievement Awards were given to Doris Bogen Preucil (BM ’54), left, and, posthumously, to Frederick Westphal (MAS ’39, PhD ’48), accepted by his widow Hinda, right. Doris began the Preucil School in 1974 in Iowa City, turning it into an important training ground for young string players. She pronounced Marvin Rabin (MAS ’48), a leading ﬁ gure in American string herself “overwhelmed and grateful.” education, was saluted at Alumni Weekend. Rabin and Dean Hinda Westphal recalled Howard Hanson James Undercoﬂ er (center) are shown with Associate Professors telling her husband, “If you’re going to Christopher Azzara (left) and Louis Bergonzi (right). Also feted run a music program, get it right!” He during Alumni Weekend were two legendary Eastman faculty did, as chair of the music department at members: hornist Morris Secon received an Alumni Mentor California State College, Sacramento, from 1948 to 1963. Westphal Tribute; and percussionist William Street’s portrait was added to “loved Eastman and everything it stood for,” said Hinda. Cominsky Promenade.

PHOTOGRAPHS BY GELFAND-PIPER PHOTOGRAPHY (TOP), 6 Eastman Notes | December 2004 COURTESY OF THE WESTPHAL FAMILY (FREDERICK WESTPHAL) AND BY KURT BROWNELL Fast facts Here are a few facts about Eastman’s biggest Alumni Weekend ever, courtesy of Alumni Relations Director Christine Corrado: 322 Approximate number of participants (alumni, friends, faculty, staff, students) 16,911 Pieces of mail sent to get those Alumni saw the new Eastman Theatre stage up close and personal with tours led by participants to attend Lou Wiesner, director of facilities (left) and stage manager Ron Stackman (right). 45 Alumni in attendance celebrating Vincent Lenti (BM ’60, MAS ’63), their 50th reunion authority on all things Eastman, lectured on the early history of 60 the Eastman School, pointing Balloons spread throughout out vanished landmarks that a the School few alumni still remembered. Lenti also signed copies of For 0 the Enrichment of Community Balloons burst before the end Life (University of Rochester of the Weekend Press), the ﬁ rst volume of his history of the School. 5 Eastman ensembles that performed 8 Open rehearsals (including Eastman Community Music School) 350 Penlights distributed to alumni and friends 1,198 Patrons at EWE concert on Friday 1,310 Patrons at Phil/ERC concert on Saturday 6 Corporate and group sponsors Concurrent with Alumni Weekend was the centennial celebration of the Sibley Music Library. Alumni attended lectures by visiting scholars and librarians, visited behind the 150 scenes, and enjoyed a beautiful exhibit of images of the treasures in the Sibley Library Proud Eastman Fund donors vault—also to be seen in a new book, A World Treasure, examined here by George W. who attended Alumni Weekend Hamlin IV, chairman of Eastman’s Board of Managers.

PHOTOGRAPHS BY KURT BROWNELL December 2004 | Eastman Notes 7 Hands across thesea The Wind Ensemble’s triumphant return to Asia

By David Raymond fter a four-year absence, the Eastman Wind There are 16,000 bands in Japan; add to that the EWE’s near-legend- The fi rst stop on the Wind alumni—Danzante by Eric Ewa- In addition to concerts, students also visited Japanese school bands Ensemble, presented by Sony Music Foundation, ary status among Japanese musicians, and you have the makings of a Ensemble’s Far East tour was zen (BM ’76) and Leader, Lieder as guest performers and directors, where they were greeted with toured the Far East last spring, visiting numerous rousing reception that any American Idol fi nalist might envy. Of the a prestigious one: a featured by Dana Wilson (PhD ’82). enthusiasm. Scatterday estimates that twenty per cent of their audi- cities in Japan as well as Taiwan and Macau. Be- Ensemble’s 18 concerts, 16 were sold out. concert at the 2004 Japan Band There were also ties with ences consisted of students who played in school bands. tween 1990 and 2000, Sony sponsored six tremen- “There were six or seven encores every night—the audience Clinic in Nemu. The audience tradition. Bennett’s Old Ameri- dously successful biannual trips to Asia by the EWE, clapped until the last person left the stage,” says Scatterday. “After the included more than 900 band can Songs was a tribute to EWE catterday couldn’t be prouder of the students: “They had Aled by former director Donald Hunsberger. In 2002, the Ensemble concerts, they were asking us to sign posters, programs, cell phones, directors from all over Japan. founder Frederick Fennell, who a good time, but they also came off the tour as more mature, celebrated its 50th anniversary, Dr. Hunsberger retired, and Mark instrument cases, shirts, you name it.” led this work on the group’s origi- professional players, and a great refl ection on the School. They Scatterday took over the baton, making for a crowded transitional As a student, Scatterday was Hunsberger’s associate conductor nal 1953 Mercury recording; and Donald Hunsberger’s arrangements stopped being kids to me.” The “Maestro with Youthful Zest” year, so tour plans were temporarily put on hold. But soon afterward, on the 1992 tour, but this was his debut as the EWE’s conductor of Bach and Rachmaninoff saluted the man who led the Ensemble Swas invited back to conduct at the grand opening of Tokyo’s Noria Ohga Sony and Eastman began plans to resume the tours in 2004. and music director. “To them I was this young guy, wet behind the for nearly 40 years. (Hunsberger also took part in the fi nal concert, Hall in summer 2005, and Scatterday is already planning 2006. Preparation for this trip, which was also supported by the Ameri- ears, who had to prove that I could lead the Ensemble at the level conducting an encore and receiving a bouquet of fl owers.) A selection “Last spring, I told the students, ‘This will change your life,’” says can Embassy in Japan and the All-Japan Band Association, with the they expect.” of Sousa perennials like Hands Across the Sea, Semper Fidelis, and The Scatterday. “And it did. A lot of rehearsal time and training went into collaboration of Eastman Kodak and the Yamaha Corporation, took Washington Post ccelebratedelebrated tthehe MMarcharch KKing’sing’s 1150th50th bbirthdayirthday iinn 22004.004. this, but there was no way to prepare them for how it would change a year and a half. The itinerary began to be worked out in fall 2002, ut between the time Scatterday lifted his baton for the Choosing the tour repertory was one of the more challenging parts their lives. I knew that personally and professionally they would and Scatterday auditioned prospective players for the EWE in Octo- fi rst concert in Nemu on May 20, and put it down at the of the negotiations, Scatterday recalls. “The Japanese enjoy more come out of this as different persons—I see it so much this year with ber 2003. In the ensuing months, along with intense rehearsals, the last, in Tokyo on June 6th, hosts, guests, audiences, and popular music in a concert—Star Wars and things like that—than the returning students. Certainly it has become one of the most im- Ensemble experienced the numerous hitches and slip-ups—from the Japanese media were delighted with the group and we would, and our original programming proposal was not even portant experiences we have to offer them here at Eastman!” tangled visa applications to customs problems with the instruments— Bits new leader; one newspaper dubbed Scatterday “Maestro with close to what they wanted. So we tried to balance serious works you would expect in shepherding 54 students from several different Youthful Zest.” with more popular pieces, like the Bernstein Candide Overture and ➤ Did you take part in an earlier Eastman Wind Ensemble Asian tour, countries to the other side of the world. The tour repertory included major contemporary works by Ro- the Sousa marches. between 1990 and 2000? Share your memories with us! Mail to Eastman But happily, the plane fi nally took off on May 19, and the 2004 berto Sierra, Philip Sparke, and Joseph Turrin, and two concertos “But everything was good music—and really, this was less about Notes, Offi ce of Communi cations, Eastman School of Music, 26 Gibbs St., EWE Far East Tour was every bit as successful as its predecessors. written for Professor of Trumpet James Thompson by noted Eastman new music and more about being a professional on tour.” Rochester, NY 14604, or e-mail [email protected].

8 Eastman Notes | December 2004 PHOTOGRAPH COURTESY MARK SCATTERDAY December 2004 | Eastman Notes 9 thenthen hadhad ourour ﬁ rstrst karaokekaraoke experience.experience. It’sIt’s likelike sittingsitting inin a roomroom watchingwatching TV,TV, butbut withwith badbad MIDIMIDI ﬁ lesles ofof familiarfamiliar AmericanAmerican tunestunes The Wind Ensemble coming out as youyou sing along at the top of youryour lungs into a micro-micro- phone.phone. ItIt wwasas mormoree fun that I can put into worwords.ds. HamamatsuHamamatsu hhadad bbyy ffarar tthehe nnicesticest hhotelotel wwee sstayedtayed iin.n. IItt wwasas uunchar-nchar- acteristic, a spacespace-aged-aged strstructureucture towtoweringering above a larlargege citcityy with a journeys � � � � � � � � � � � � lowlow sskyline.kyline. BBecauseecause tthishis ccityity iiss kknownnown fforor iitsts eeel,el, mmanyany ooff uuss aatete tthehe JapaneseJapanese delicacydelicacy forfor dinnerdinner thatthat night.night. TheThe concertconcert hallhall waswas thethe bestbest yet,yet, and our concertconcert wwasas a success.success.

e toured the YamahaYamaha FactoryFactory inin HamamatsuHamamatsu thethe � � � � � next daday.y. TThehe factorfactoryy workworkersers showshoweded us how each instrumentinstrument isis made,made, fromfrom thethe initialinitial piecepiece ofof metalmetal �� or wood to the fi nal engrengravingaving on the custom-made �� Winstrument.instrument. TThehe wworkersorkers ttookook ggreatreat pprideride iinn tthehe mmakingaking ooff aann iinstru-nstru- �� ment, making it seem likelike an art.art. Each section of the Ensemble waswas East �� takentaken to its rrespectiveespective rroomoom to trtryy out the newnewestest and best YYamahaamaha By Anna Reguero �� instruments.instruments. TheyThey even treatedtreated manymany of us to freefree accessories.accessories. TheThe �� instrumentsinstruments provedproved toto bebe veryvery reliablereliable andand ofof goodgood quality,quality, butbut somesome He who travels far will often see things far removed from what he �� lackedlacked thethe personalizedpersonalized soundsound thatthat anan instrumentinstrument withwith slightslight im-im- believed was Truth. When he talks about it in the fi elds at home, �� perfections can give. he is often accused of lying, for the obdurate people will not believe TheThe nextnext majormajor citycity wewe visitedvisited waswas Kyoto.Kyoto. SomeSome highlightshighlights werewere thethe what they do not see and distinctly feel. KinkakujiKinkakuji Temple,Temple, or the Golden Pavilion,Pavilion, a beautiful temple with a —Herman Hesse, The Journey to the East roofroof of gold standing in the middle of a pond surroundedsurrounded by meticu-meticu- lous gargardens;dens; NNijojoijojo CCastle,astle, the home of the fi rst TokugawaTokugawa shogun; he Eastman Wind Ensemble took its journey got blank faces when asking about the prices for checking my e-mail. and Sanju-sangendo TTemple,emple, wherwheree the 1,1,000000 BuddhasBuddhas,, called KKan-an- to the East in May 2004. After taking multiple Tour stops As the tour went on, we found that English as a spoken language was non, stand in guardguard of one gigantic seated Buddha, all made in the planes and buses, we arrived in Nagoya, Japan. The Eastman Wind Ensemble unknown to most Japanese, despite American pop music playing in 12th and 13th centuries. It was night, and we were all exhausted from the visited numerous cities in Japan, as every imaginable public place. Kyoto’sKyoto’s concertconcert hallhall waswas thethe mostmost modernmodern architecturearchitecture inin thethe day of travel we had just endured. The beauti- well as Taiwan and Macau, China. Nemu was exquisite. We dined and relaxed on the coast of Japan, en- whole city.city. AcousticsAcoustics werewere diffi cult, with both seating and an organorgan ful, brightly lit Japanese characters reminded Here is a list of stops (all are in joying mineral water public baths, beautiful nature walks, or even bike lining the back of our stage,stage, but the concertconcert waswas an amazing experi-experi- us that we were far away from the United States. But I don’t Japan unless otherwise noted): rides. We were almost fooled into thinking that this tour was a vacation. ence with another fabulous audienceaudience.. Tthink any of us could have guessed how far we really were AfterAfter a sstoptop iinn HHimejiimeji fforor a cconcert,oncert, aandnd a llookook aatt tthehe HHimejiimeji ccastle,astle, May 19 Nagoya from the familiar. ur real purpose there was the Yamaha Band Clinic, the most magnifi cent of all the castles left in original form in JJapan,apan, May 20–22 Nemu With travel and concerts nearly every day, we struggled to where Mark Scatterday and James Thompson gave wewe hheadedeaded bbackack ttoo TTokyo,okyo, fforor tthehe llargest,argest, mmostost ssignifiignifi ccantant cconcertoncert May 23 Toki make time for sightseeing and fun. The morning after we ar- lectures, and we played two concerts. After our fi rst we would give on the tour. May 24 Matsudo rived, some took immediate advantage of our time in the East concert, the applause was enormous. As Dr. Scatterday WeWe startedstarted the dayday with a children’schildren’s concert.concert. Each section of the May 25 Tokyo and headed over to the Nagoya Castle before we left for Nemu. Oturned around to begin our fi rst encore, the applause stopped on Ensemble prpreparedepared a small exexcerptcerpt of something famous or fun for May 26 Hamamatsu Others explored more cultural activities, such as Internet cafés. a dime and there was silence the millisecond before our fi rst note thethe JapaneseJapanese children,children, demonstratingdemonstrating thethe differentdifferent instrumentsinstruments inin �� May 27 Nagoya I soon realized that English was of little help in Japan when I sounded. It took all of us by surprise, and although we started and a wind ensemble.ensemble. (This(This waswas most successfully accomplished by the May 28 Matsumoto continued the concert without a hitch, we were astounded by the percussionpercussion sectionsection’s’s version of “Flight of the Bumble BeeBee.”).”) May 29 Utsunomiya politeness of the teachers and students and the immense joy they OurOur mmainain cconcertoncert ddrewrew aann aaudienceudience tthathat fi llledled tthehe nnewew TTokyookyo �� May 30 Iga-Ueno got from our playing. Listening to the ensembles from Japan, we all OperaOpera CityCity ConcertConcert Hall,Hall, a gemgem designeddesigned inin a shoeboxshoebox shapeshape thatthat May 31–June 3 Kyoto agreed that the Japanese students had a knack for playing precisely closed in as it got closer to the unusually high ceilingceiling.. WWithith its unun-- June 4 Himeji and together, but that they could learn from our musicality. surpassed acoustics and visually inspiring setting,setting, this hall has been June 5 Nagoya After playing a few concerts, we started to feel like rock stars. Be- described as a mirmiracleacle by manmanyy of the world’world’ss leading arartists.tists. June 6 Tokyo fore a concert, we’d be greeted by screaming schoolchildren wanting TheThe beautiful,beautiful, intricateintricate soundssounds ofof thethe PhilipPhilip SparkeSparke Dance Move- June 7–8 Taipei, Taiwan �� our autographs and pictures. Each time, we’d say to them, “Can we ments ssparkledparkled mmoreore cclearlylearly tthanhan eever.ver. WWee hhadad rreallyeally ggrownrown ttogetherogether June 9 Macau, China bring you back to Rochester with us?” musically,musically, aandnd iitt aallll ccameame tthroughhrough iinn oourur TTokyookyo cconcert.oncert. AAss a sspecialpecial � � � � � � June 10 Taichung, Taiwan Our next major stop was Tokyo. A huge city of lights, shop- surprise,surprise, whenwhen wewe gotgot toto thethe SousaSousa marches,marches, DonaldDonald Hunsberger,Hunsberger, June 11 Narita ping, culture, and nightlife—we were not “lost in translation” here. former conductor of the WindWind Ensemble,Ensemble, came on stage and led the June 12 Return to U.S.A. Arriving late at night, some of us headed out to get some sake and CONTINUED ON PAGE 12 �� December 2004 | Eastman Notes 11 CONTINUED FROM PAGE 11 Eastman Wind Ensemble we squeezed beauty out of every most emotion-fi lled Sousa I have ever played or heard. The crowd Director Mark Scatterday, note, knowing it was the end. We mobbed us after the concert, unrelentingly asking for autographs and accompanied by several also played in homage to Dr. Scat- pictures. Had we gone home that day, the tour already would have members of the Ensemble, led terday, with all the guys in the En- been a major success for all of us. workshops with high school semble slicking back their hair in Our next stop was Taipei, Taiwan. We stayed in a youth hostel-like band students at Kyoto’s Scatterday style to surprise him hotel, but who can complain when you’re in Taipei? The famous Karuizawa Junior High School. as he walked out to conduct us. Night Market of inexpensive food and shopping proved to us that We were sad as we played, we had traversed yet another culture—one that was more individual, knowing that we would miss the music, the cultures of Asia, and, of where more English was spoken, and where the city and people were course, each other. We had truly become the professional Eastman grittier, and another concert was completed. Wind Ensemble, rather than merely a group of students. The biggest surprise on the whole tour came in the little city of Not only did we learn from playing with each other, but our men- Macau, China. Macau had been ruled by the Portuguese, who built tor and beautiful soloist, Professor Jim Thompson, always had an it into the trading crossroads between China and Europe before the encouraging word for us. Without our stage manager, Ron Stackman, British settled Hong Kong. The European infl uence was hard to miss. the tour would never have gone as smoothly as it did. And of course, We walked through the streets of Macau feeling like we were walking Mark Scatterday inspired us musically each night. through little streets of Portugal, taking only about an hour to see Spending a month in Asia, you become part of the culture. You learn the city in its entirety. Students from the University of Macau took how to walk and talk like you know what’s going on. You learn to like us on a tour and were informative and gracious to us, even though raw fish, and start believing that noodles are the greatest staple food we only had a short time to see the sights. ever invented. You learn that international calls are expensive, and that bullet trains are far more effi cient than Amtrak. You learn that having ur concert was titled Genesis—an appropriate name coffee and beer in vending machines is nothing less than genius. for the program, which included Joseph Turrin’s Hemi- You also learn that America is everywhere: from funny translations, spheres, a piece about creation. We were greeted after to American pop music in all public places, to the McDonald’s on the the concert by a large group of people who had traveled corner, and even the clapping that accompanied our Sousa marches. O from all over China to have the opportunity to hear the Eastman As far as you go, you can never really get away from home. Wind Ensemble. A special buffet was set up for us afterward by the Though it may be hard to believe these experiences without the personnel from Macau, who had worked hard to bring us there. realization of seeing and feeling them, our journey to the East was A day was too short for such a unique city as Macau, but it was nothing less than incredible. Domo Arigato Gozaimasu! time to play our final concert back in Taichung, Taiwan. But even in challenging circumstances, tired from over three weeks of traveling, ➤ Anna Reguero is a DMA candidate in clarinet.

12 Eastman Notes | December 2004 PHOTOGRAPH COURTESY MARK SCATTERDAY Building a bridge with music By Jun Qian

Even as a native of China, the visit to Japan was a great cultural experience for me. The Chinese and Japanese are close, but our cultures are very different from each other. The Japanese students are hard working and serious in their musical program, and they really enjoy music. Dr. Scatterday, assistant conductor Paul Shewan, percussionist Bobby Marino, and I took part in coaching sections at a junior high school, playing along with students in the band. I also got to practice Musical ambassadors on the road in Japan: EWE members Josh conducting. The experience of training a whole band was very help- Cullum (tuba), Amy Tori (fl ute), Patti Kline (harp), and Colin Wise ful for me. The students gave each of us many notes of appreciation (trombone), with two new friends. and even gifts, like chopstick holders. The Japanese everywhere were very excited to meet and talk with us. We were interviewed by local newspapers and TV, and saxophon- ist Chisato Eda and I were interviewed for two of the biggest music Memories of Japan magazines in Japan, The Clarinet and The Saxophone. The people in By Colin Wise Japan respect artists greatly, which I didn’t always see in America! I returned to Kyoto in October to perform the Luciano Berio Four months down the road, Japan seems like somewhere awfully Sequenza for clarinet. I felt grateful to be returning to Japan. I hope far away. It seems crazy to me that I had the chance to perform there we can build a bridge between East and West—that is how I think just a few months back. With school bearing down on me, I’m ec- of my work. static to take a short break to look back at my tour experience. There were so many wonderful things about traveling abroad—see- ➤ Jun Qian (DMA candidate in clarinet) recently returned ing the landmarks of a completely foreign culture, eating great food to his native Shanghai, China, as fi rst clarinetist in the Shanghai (well, mostly great), and performing for enthusiastic audiences in Philharmonic Orchestra. every city. I think the one thing that really stands out for me is the incredible hospitality we experienced throughout the tour. In each new place, people were so excited to meet and hear us, and they didn’t mind that most of us knew no more than two Japanese phrases. At a Yamaha resort in Nemu, we were scheduled to play two concerts and a short clinic. Before the fi rst concert, we were waiting outside near a grassy lawn area, and a few guys from the Wind Ensemble decided to try to join in a game of “Red Light, Green Light” with a bunch of Japanese junior high age schoolchildren. The kids loved it, and so did all of us watching, because these particular guys didn’t know the words “red,” “green,” or “light” in Japanese. The kids didn’t care; they loved the company and afterward swarmed us for pictures. The reception was pretty similar at every other stop along the way. People were so incredibly friendly and always wanted pictures or autographs. There were usually a couple of teary-eyed girls in each city too as our bus was pulling away—all of us guys became Japanese heartthrobs! To be received in such a warm fashion was truly an un- forgettable experience, and I’m so glad to have been able to share our Karuizawa’s band students were joined by EWE members Jun Qian, music with such wonderful people. clarinet (left front), Paul Shewan, trumpet and assistant conductor (right of center), and Robert Marino, percussion (back row). ➤ Colin Wise is a senior trombonist.

PHOTOGRAPHS COURTESY JUN QIAN AND COLIN WISE December 2004 | Eastman Notes 13 By David Raymond he Eastman Theatre started life in 1921 as a on time, under budget, and as perfect as they could THE RISES! huge and handsome venue for silent movies make it. “I don’t know if I’ve ever seen as much pride with musical accompaniment; it became the in a job,” says Eastman School Director of Facilities School’s—and Rochester’s—main concert Lou Wiesner. CURTAIN hall several years later. But like a ’20s silent- The new shell and other goodies were unveiled to ... and the Eastman Theatre stage is reset Tscreen matinee idol who remained beautiful to look at the public on October 6, to rave reviews. “This is what but whose fl at, colorless voice was exposed in talkies, George Eastman would have done if he could have,” the transition was diffi cult: the Eastman Theatre was said Dean James Undercofl er. University of Rochester never an acoustically successful concert hall. President Thomas Jackson called it a “visual feast … an Now, eight decades later, the Theatre both looks and anchor for the performing arts in Rochester.” Roches- sounds great, after a $5 million renovation that was ter Mayor William Johnson hailed it as “a community unveiled this fall to great approval. jewel”; Monroe County Executive Maggie Brooks as The most dramatic improvement to the stage is a “a landmark.” And to Rochester Philharmonic Music custom-made shell, allowing more fl exibility on stage, Director Christopher Seaman, it was “one of the most improving acoustics, and better refl ecting the 1920s beautiful stages I have ever seen.” neo-Renaissance splendors of the murals, reliefs, and The acid test, of course, was in hearing live music chandelier of the Theatre’s interior. It is made up of performed in the Theatre. Audiences got to hear for right, left, and rear walls, and two eight-ton ceiling re- themselves with the opening Rochester Philharmonic fl ectors that move in and out of the theater electroni- concerts of the 2004–2005 season on October 7 and 9; cally by a central computer system. the following weekend—Alumni Weekend 2004—full The stage also features tuning ports (which harmo- houses enjoyed the Eastman Wind Ensemble, Eastman- nize with the original design) at the back and sides of Rochester Chorus, and Philharmonia. the stage, which can be opened and closed according to musicians’ needs. Less visible, but equally signifi - n his review of the RPO concert, the Democrat and cant, renovations to the stage also include a greatly Chronicle’s John Pitcher wrote of the sound on the improved orchestra pit, with all new mechanics and fi rst fl oor, “Clearly, the new shell and hardened side hydraulics; new rigging with computerized controls; I walls did their job, refl ecting the music back into and dramatically improved stage lighting. In addition, the hall, creating a perfect balance—from the glorious the walls of the house of the Theatre have been hard- top of the fl utes to the guttural bottom of the basses.” ened with a transparent chemical coating to help im- Clearly, the Theatre’s notoriously dry, muffl ed acous- prove acoustics. tics have come out of their shell. Christopher Seaman Hoffend also installed its trademarked Vortek auto- compared it to “singing in a closet full of clothes and mated rigging system, allowing anyone to push a but- then going to sing in the Sistine Chapel.” ton on a computer screen to activate a motorized hoist Further improvements, at $7–$8 million, are sched- and 46 computer-controlled pipes. Each pipe can hold uled for summer 2006. They include moving the back 1,700 pounds and can move 180 feet per minute. wall of the hall forward about a dozen rows (eliminating about 500 seats), eliminating the acoustical dead he shell was designed by Chaintreuil Jensen zone beneath the mezzanine, refurbishing and enlarg- It’s an eyeful and an earful: the new Eastman Theatre stage, moments after it was revealed to the public on October 6. Stark Architects and built by Hoffend and Sons. ing the lobby, and adding box seats, which are excel- Adirondack Scenic did the finishing work. The lent sound refl ectors. T School also consulted with Fisher Dachs Associ- For now, though, the general consensus is that the ates, internationally recognized leaders in theater de- great old Theatre has come into its own again. “We sign and renovation, and Akustiks, a Connecticut-based can add ourselves to the list of cities known for their fi rm specializing in concert hall and theater acoustics. great halls,” said James Undercofl er with great pride on All involved worked rapidly to bring the project in October 6. “Paris, Vienna, London … and Rochester.”

Snapshots from the creation of a new stage (left to right): building the shell; detail of the pillars; preparing to install the ceiling.

PHOTOGRAPHS BY KURT BROWNELL (TOP) AND AMY VETTER December 2004 | Eastman Notes 15 In October 2004, Eastman celebrated the 100th anniversary of the Sibley Music Library. In keeping with Sibley Music Librarian Dan Zager’s dictum that “The best way to observe the anniversary of this signifi cant library is to engage with music in various ways,” the celebration included tours, lectures, demonstrations, exhibits, and the annual meeting of the New York State/Ontario Chapter of the Music Library Association. At the opening a reception for the gala two weeks, Dan Zager gave the following address: n 1904 Hiram Watson Sibley founded a public music library and designated it “for the use of all music-lovers in world Rochester.” As George Eastman’s vision for a school of music began to take shape in 1918, Sibley revisited the purpose and scope of this library for musical amateurs and began Ito provide for its enhancement as a library to serve a professional treasure music school. Thus, in its very fi rst year of existence, 1921–22, the Eastman School of Music incorporated a music library that had its beginning some seventeen years earlier. Under the direction and “Libraries are not book care of three superb librarians— warehouses, nor are they Barbara Duncan, Ruth Watanabe, information centers, or virtual and Mary Wallace Davidson, the way stations. They are what Sibley Music Library continued they always have been: a to grow, along the way becom- vibrant place, where creative ing the largest academic music works meet inquiring minds library in the country. through librarians’ guidance, Many alumni recall with great teachers’ clues, students’ fondness the time they spent in serendipity, or some other Sibley Music Library. Emblem- magical force of discovery.” atic of this great fondness for —Mary Wallace Davidson Sibley is a comment by Domi- Originally in The Sibley Muse, nick Argento, who noted that December 1999 his love of English literature was sustained in part by the time he spent reading in Sibley Music Library. We are particularly pleased that Dr. Argento accepted the commission to write a piece to mark the Sibley Centennial (see page 17). My colleagues and I take very seriously our stewardship of this library collection. We take seriously our task to care for the materials already in the collection—materials as old as a manuscript codex from the eleventh century, and as recent as a compact disc recording released in 2004. We take seriously our obligation to future generations of musicians—an obligation to expend our fi nancial resources wisely by continuing to build a carefully chosen collection of scores, recordings, books, and journals—that interlocking sequence of information turns formats that enables us to see in the graphic notation of scores the musical thought of composers and improvisers, to hear that music in recorded performances, and through books and journals to refl ect on the place and function of music in human societies. We collect and preserve these documents of our musical heritage, and in so doing we provide a place that will nurture the musical and intellectual curiosity of this and every subsequent generation of Eastman students. That is our role as stewards of this library, and we regard it as a high privilege. 10016 Eastman Notes | December 2004 PHOTOGRAPH OF THE ROCHESTER CODEX (1070–1103) BY AMY VETTER, FROM A WORLD TREASURE: THE SIBLEY MUSIC LIBRARY CONVERSATION Dominick Argento: “Someplace to go emotionally”

By David Raymond How did you get interested in music? Was a composition major?” That’s why I eventu- your family musical? ally went to Eastman. It was known as a school for composers. Not at all! My father ran a small café in York, and like a lot of immigrant parents, wanted What composers did you admire? his children to study music. So I took piano Stravinsky was my hero, at least until The lessons when I was 13 or 14, and that didn’t Rake’s Progress (1951). Then he changed work. But when I was 16, I discovered the his style to serial, atonal music, and I lost piano on my own. Then I heard Rhapsody interest. He was replaced in my pantheon by in Blue and thought it was great, so I Benjamin Britten, whose work I got to know went to the York Public Library and got as musical director for a contemporary opera out a biography of George Gershwin. The group. Bartók was also a great ﬁ gure to me. Gershwin book mentioned Stravinsky, so I bought the record of The Rite of Spring, How about Americans? which was tremendous. Then I got out a As I mentioned, I loved Gershwin, and I also Dominick Argento was born in library book about Stravinsky that mentioned admired Copland at that time. But I came to 1927 in York, Pennsylvania, and his teacher, Rimsky-Korsakov, so I went and see that they could not be an inﬂ uence on received degrees in piano and heard Scheherazade. And so on, all the way my own music. I used to admire some of the composition at the Peabody back to Bach. composers that Howard Hanson conducted Conservatory before coming to Did you want to be a composer from the in his concerts: Roy Harris, Roger Sessions, Eastman (PhD ’58). He recently beginning? Samuel Barber. retired after almost 40 years teaching at the University of I wanted to be Chopin or Rachmaninoff; I How was your Eastman experience? Minnesota. would write my own piano pieces and tour Hanson was particularly kind to me. When I everywhere playing them. I got discouraged In those 40 years, Argento wrote The Boor (1957), he saw to it that the very quickly! But when I went to Peabody, became America’s most per- School paid for copying the parts—about one of my teachers said, “You’ve got a knack formed composer of opera. for harmony, did you ever think of becoming CONTINUED ON PAGE 18 He has written Postcard from Morocco (1971), Miss Havisham’s Wedding Night (1981), Casano- Four Seascapes is a setting of passages by four of Argento’s favorite authors: va’s Homecoming (1984), The Herman Melville, Thornton Wilder, Henry James, and Mark Twain. Aspern Papers (1988), and The Dream of Valentino (1994).

Argento’s vocal and choral music includes the Pulitzer Prize- winning From the Diary of Virginia Woolf (1975), written for Janet Baker; the Grammy-winning Casa Guidi (1982) for Frederica Von Stade; and most recently, Four Seascapes for Chorus and Orchestra, commissioned by the Hanson Institute to celebrate the Sibley Music Library’s centennial, and ﬁ rst performed October 16 by the Eastman-Rochester Chorus and the Philharmonia.

PHOTOGRAPH BY GELFAND-PIPER PHOTOGRAPHY CONVERSATION

What is it like writing for speciﬁ c performers?

A composer can write a song abstractly, but to write for a speciﬁ c voice humanizes it. You come up with a better product. When I write a song, I want to feel that I’m ﬂ atter- ing the singer, making them sound as good as possible.

When I was writing for Frederica Von Stade [for whom Argento wrote Casa Guidi], I listened to all her recordings, heard what she could do, and tried to write something that ﬁ t her psyche. In Flicka’s case, I discovered not only a gorgeous voice and a terriﬁ c technique, but also this wonderfully feminine personality, which was ideal for Elizabeth Barrett Browning.

I notice you don’t have a Symphony No. 1 or other abstract pieces in your catalogue.

I am not interested in writing music for its intrinsic design, creating a thing in sound, as Postcard from Morocco (1971), shown here in an Eastman Opera Theatre production, some composers are. I need someplace to go is one of the most frequently performed of Argento’s 13 (so far) operas. emotionally. For me, the music always should have a narrative element. I’ve never written CONTINUED FROM PAGE 17 me the chance to develop. There must be music whose primary intention was not to $1,000, which was a lot of money then. Han- 50,000 composers living in New York City, move the person listening to it. son also recommended me for a Guggenheim and it’s like the stock market: Del Tredici’s up Fellowship, which led to my spending a year in fi ve points today, Druckman is down three. What are you working on now? Florence before getting the job in Minnesota. It’s crazy. I tell all my students, “For God’s I’m becoming the collegiate composer! sake, whatever you do, don’t head for New Did you go to Minneapolis thinking you’d After the Eastman commission, I received York after you graduate! Find a community soon move somewhere else? commissions from the Yale Glee Club, and that needs what you do.” I’m negotiating with the Harvard Glee Club. (Laughing) Oh, God, my wife and I hated it at The Schubert Club of St. Paul—a very classy fi rst! The city, the school, the weather, every- What caused your interest in vocal music? recital organization, which commissioned the thing. We didn’t unpack for four years, hoping I made the same mistake that Mozart, Verdi, Virginia Woolf songs—would like something I’d be called somewhere else. But it turned and Strauss did: I married a soprano! When for its 125th anniversary. And I am working out to be the best place I could have landed. I came to Eastman I was mainly writing on a monodrama for the baritone Hakan In what way? instrumental music, but Carolyn changed Hagegard, based on the Pirandello play The my attitude. Man with the Flower in His Mouth. It is a community that supports music and the arts extremely generously. The locally- Most of your vocal texts are prose, rather Why was the Four Seascapes commission based corporations—3M, Pillsbury, Target— than poetry. Why? attractive to you? give 5 percent of their profi ts to community I find poetry to be a very public mode of Libraries have been a big part of my life. service, and a lot of that goes to music and expression. The poet knows he is writing some- When I was at Eastman, I spent as much time theater. That Lutheran ethic that Garrison thing to be published. Letters and journals, on in the Sibley Library as I did in the Annex. I Keillor likes to talk about is very good for the other hand, generally were not meant to was amazed to discover that along with all the arts too. be published, and are very private, intimate the music books and scores were stacks and At fi rst I feared I would be invisible to the documents—pure, clean, honest thoughts. My stacks of literature. The texts of the Four world of contemporary music, but being subject matter is the human condition, and Seascapes are all by writers I discovered and away from the pressure of New York gave they offer me a greater play of emotion. enjoyed while at Eastman.

18 Eastman Notes | December 2004 PHOTOGRAPH BY GELFAND-PIPER PHOTOGRAPHY COMMENCEMENT

“More I Cannot Wish You”: Joyce Castle concluded her Commencement address with an a capella rendition of a very appropriate song from Frank Loesser’s Guys and Dolls.

Mezzo-soprano Joyce Castle (MM ’66) is one of America’s most respected concert and opera singers. At Eastman’s “ ’ 2004 Commencement, held May 15, she Were returned to her alma mater to receive an Alumni Achievement Award and the to give the Commencement address. lucky By Joyce Castle Provost Phelps, Dean Undercoﬂ er, distinguished faculty, families and friends, members of the graduating class of 2004—Fellow Musicians! I am honored to be with you today—and to share in this important occasion , in your lives. It’s great to be back in the “hallowed halls” ones of Eastman. There are so many memories! In this beautiful Eastman Theatre, I remember the concerts, performances, rehearsals that I attended. you know” On one occasion I sat out there and watched and listened to the great Canadian contralto Maureen Forrester rehearse CONTINUED ON PAGE 20

PHOTOGRAPH BY KURT BROWNELL December 2004 | Eastman Notes 19 CONTINUED FROM PAGE 19 to a higher consciousness. Music sustains me. It heals me. It has been Mahler’s Lieder eines Fahrenden Gesellen with the Philharmonic. She just and will most certainly be my life. It is, in short, life enhancing. sat there with her arms crossed, spinning out those high pianissimi pas- And life is not simple today. The world is not simple. It probably sages. It was thrilling to me, a young singer who was trying to fi gure out never was. There is danger; there is hunger, unrest, indeed war. Since how in the world I ccouldould sspinpin ooutut tthosehose hhighigh ppianissimiianissimi ppassages.assages. 9/11 we have been shaken to our depths. Can you trust the person I remember a rehearsal with the Cleveland Orchestra. Maestro you are sitting with on the plane? People are frightened to step out, George Szell was conducting. When I came into the hall he had just some are frightened to travel—to reach out to another. Ah, but music stopped the orchestra. It was very quiet and he was speaking in icy can reach out. Music can be the bridge between other cultures, coun- tones to one of the reed players. It was not a “warm and fuzzy” re- tries, religions. We have a common language, you know. Music. We hearsal! I was getting a glimpse of how much might be required to need more music. be in the profession. Someone asked Leonard Bernstein what kind of music he liked. I sang my fi rst performance of Mahler’s Kindertotenlieder herehere wwithith He said, “I like good music.” Jazz, pop, folk, musical theater, elec- the Philharmonia … My fi rst “Mistress Quickly” [in Verdi’s Falstaff] tronic, classical—but good music. and “Third Lady” [in Mozart’s Magic Flute] with the opera department … Carmen arias and El Amor Brujo with the Civic Orchestra. ome of you are composers, and can give us just that! Some One very, very special time “in my day” was when I sat in on an of you are music historians, some theorists, musicologists, orchestra rehearsal, in the orchestra room in the Annex. Robert Craft conductors—and many of you are, as I am, performers. What was conducting our Philharmonia in Igor Stravinsky’s Rite of Spring, gifts we have! Maybe you can perform the Second Violin So- with the great composer sitting right beside him. And I believe Dean S nata of Prokofi ev, the Strauss cello sonata, Liszt’s organ masterpiece Undercofl er was in that orchestra. Am I right? [She was.] Ad nos. You pianists may be able to play the F minor Ballade of Cho- Next door is our great Kilbourn Hall, where you and I have given pin. Maybe you can sing Schubert’s song cycle Die Schöne Müllerin, our recitals. I remember very well my fi rst one. I just barely made or play the brass parts in Wagner’s “Ring” and Strauss’ tone poems. it to the end! I refer to that recital as “The Last Gasp.” But I learned How lucky we all are to have these gifts. something that afternoon, and the next one was a little better. It was I believe we are all brought into the world with talents and gifts. part of the journey—and the journey never ends. And gifts are to be given. Certainly in the front rows here there is I grew up in the Midwest, in the little town of Baldwin, Kansas great talent. I look forward to hearing you. You have something very (population 2,500). I “went away” to college—13 miles! Very brave!! special within each one of you. Something unique. There is no one I know many of you were much braver than I! I went to the Univer- like you. I challenge you to search for the very best you have within you—that spark of divinity. If I sing “like” Christa Ludwig, then I am a poor imitation of Christa Ludwig. But if I delve deep and make the “If I did not believe in the songs my own I have the possibility—the possibility—to bring something unique to the performance. Sing with your own voice—per- power of music ... to transform it your way. It is a lifetime quest. That’s the beauty of it. Andres Segovia, the form the human spirit, I great classical guitarist, said, “I practice fi ve hours a day—no more. Work is a necessity and a pleasure. It is like the pictures of Jacob’s would not be in the business.” Ladder, with all the angels climbing up and down the rungs—although they have wings!” You have the spark, but you have to work sity of Kansas, where I received a BFA in Voice and Theater. I have to keep it. been teaching voice there now for 3 years, as well as continuing my A musician always has something to learn. My voice teacher at very long career (35 years—if you are counting). I was nervous that Eastman was Julius Huehn. I remember the day I went in for a lesson fi rst week I began to teach, until I realized I was just continuing to and asked him what he had done on the weekend. He said, “I learned make music, as I have done all my life. But now I am also pursuing 535 to 541.” He was learning all the Schubert songs—634 of them. that goal with another voice—with other voices. Henry Moore, the great British sculptor, said, “Find something you We’re the lucky ones, you know!! We‘re the lucky ones … we who love to do, something you can devote your life to, every day, for as are in the arts. If I did not believe in the power of music, theater, long as you live. And the most important thing: it must be something dance, the visual arts, and great literature to transform the human you cannot possibly do.” Set the bar high—always strive for more. It spirit, I would not still be in the business. is a great gift to “work” at what you love. What can music do? I believe it can change the world. Well, it can Work hard, but be kind to others. It will show in your music. Be change one person’s world, and really, that might be enough to make kind to yourselves. It will show in your music. all the difference. Music can make us laugh, make us think—think I can wish nothing more this day but that you fi nd your bliss, your about something differently, remember, forget … and it can raise us love, your own special voice in the world.

20 Eastman Notes | December 2004 SCHOOL NEWS

The Eastman Jazz Ensemble and three major players: bassist Jeff Campbell, trumpeter Clay Jenkins, and conductor Bill Dobbins. Eastman heats up third International Jazz Festival

By Russell Scarbrough liners, such as Sonny Rollins, Tony Bennett, tion” of the Eastman Jazz Ensemble is made Dave Brubeck, and this year, David San- up of current members and recent alumni, When Commencement is over in May, born, Oscar Peterson, and Bobby McFerrin and performs highlights from its past season much of Eastman kicks back to enjoy a and Jack DeJohnette, have fi lled the The- and student compositions. few laid-back, warm months of summer. atre every night. Smaller acts, particularly Since Down Beat’s Student Music Award However, for the faculty and remaining international ones relatively unknown to winners are announced in May, the RIJF is students of the Jazz & Contemporary Media American audiences, played in Rochester’s the perfect opportunity to feature Eastman’s (JCM) Department, things get even busier. traditional upscale jazz venues—Milestones, winners. In 2004, not only did individual Ensembles rehearse, new music is passed the Montage Grille, and Max of Eastman soloists Dalton Ridenhour and Jared Schonig out, and the whole community begins to Place—as well as Kilbourn Hall. win accolades for Outstanding Soloist, but anticipate what has become not just the Sunday night has become Eastman’s night also a student ensemble, the Very Tall Band biggest jazz event, but also one of Rochester’s to shine at RIJF. Emceed by Jazz Department (so named because several members stand most popular events of the year. chair Harold Danko, the Eastman Jazz Show- well over six feet tall) won awards for Best Inaugurated in 2002, the Rochester Inter- case gives students the opportunity to play College Jazz Instrumental Group. national Jazz Festival (RIJF) has grown into before a capacity crowd of jazz enthusiasts, Eastman faculty members are also familiar a major regional attraction that brings the local and national jazz press, and other out- faces. Harold Danko and Bill Dobbins joined biggest names in jazz to upstate New York. of-town musicians. Showcase concerts have Marian McPartland for a three-piano concert Skeptics questioned if Rochester could sup- featured the Eastman Youth Jazz Orches- on the Eastman Theatre stage, which also port it, but three years and over 100,000 tra, the jazz department’s latest Down Beat featured drummer Rich Thompson and bass- attendees later, the RIJF is a bona fi de suc- magazine Student Music Award winners, ist Jeff Campbell. Trumpeter Clay Jenkins cess story. Along with a number of festival and the Eastman Jazz Ensemble, directed by and guitarist Bob Sneider are also frequent partners, Eastman has been a major sponsor Bill Dobbins. RIJF performers, and the Dave Rivello En- of the festival, guaranteeing a showcase for The Eastman Jazz Ensemble is recognized semble is becoming a staple of the festival. Eastman jazz faculty and students. as one of the premiere collegiate big bands in For the entire festival, Gibbs Street was the country, and the RIJF offers a chance for ➤ Russell Scarbrough is a DMA candidate closed to traffi c, allowing for vendors and a the ensemble to play in the international jazz from the Jazz & Contemporary Media large stage with free concerts. Major head- spotlight on its home stage. The “RIJF edi- Department at Eastman.

PHOTOGRAPH BY PAUL GRIGSBY December 2004 | Eastman Notes 21 SCHOOL NEWS

Wired for sound: Eastman masters the innovations

When an Eastman School Dean begins the playing Renaissance lute pieces: live, and annual Convocation by invoking not Bach low-tech, perhaps, but lovely. and Beethoven, but BlackBerries—not to Another example of technological prow- mention such other technological marvels as ess occurred on October 11, when composer- iPods, MP3s, PDFs, and Internet2—it’s clear conductor Pierre Boulez visited composition that change is in the air. students at Eastman—and, simultaneously, at For the September 2 Convocation—tradi- three schools in Great Britain—in a videocon- tionally the time for a formal address—Dean ference. Boulez also fi elded questions from James Undercofl er gave only a brief report students at York, Bangor, and Edinburgh Uni- on the importance of musicians keeping up versities. Eastman has participated in several with technological advances: Internet2 master classes, but this was its fi rst “I want you to imagine technology as a videoconference on such a large scale. Virtual virtuosity brought Pierre Boulez member of your ensemble, your string quar- Eastman composition students Jake together with Eastman composition tet, your jazz trio. Technology needs to be Bancks, Vera Ivanova, Marco Alunno, Alex- students on October 11. thought of from the very start of your process, ander Miller, David Plylar, and Jairo Duarte and integrated fully as you move to your proj- To prove his point, Undercofl er switched asked about developments in composition in ect completion, whether that be a recording, to moderating a live video discussion from the second half of the 20th century, the role a downloadable fi le, a streaming webcast, or London with Clive Gillinson, managing di- of national schools of composition, serial- a live performance involving technology.” rector of the London Symphony Orchestra ism, and concert programming, among many Dean Undercofl er left the audience with and newly appointed Executive and Artistic other questions. While he has mellowed two messages: “One, master these innovations Director of Carnegie Hall. After their con- since his avant-garde days, the éminence grise or they will master you. And, just as impor- versation, the fl oor was opened for questions (80 next year) still peppered his thoughtful tant: know that the speed with which these in- and answers; Eastman and London—3000 answers with such aphorisms as “Theories novations are evolving is outpacing content. It miles and fi ve hours apart—came together are there to be demolished” and “You have is your responsibility to ensure the integrity of without a hitch. The Convocation ended to provoke reaction. The thing I hate most our art form as technology incorporates it.” by going back 400 years, with Paul O’Dette is indifference.”

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22 Eastman Notes | December 2004 SCHOOL NEWS

“Happy birthday, Mr. Eastman”: A musical party While he often preferred to remain an anonymous donor, George Eastman (1854– 1932) always enjoyed a musical party. So he was surely here in spirit on his 150th birthday, July 12. The Eastman School celebrated in a concert with faculty and student performers playing music by Haydn, Strauss, and Kaba- levsky. Professor Vincent Lenti, whose book on the early years of the School has just been published, spoke about Eastman’s original plans and vision for the School, the Eastman Students, faculty, and friends gathered to celebrate Mr. Eastman’s 150th. Theatre, and music education in Rochester: he was personally convinced that music had the ability to elevate the life of the commu- Some Eastman tycoon trivia nity,” said Lenti. On the same day, the University’s Rush ■ During his lifetime, George at Main and Gibbs Streets, and Rhees Library opened a yearlong exhibi- Eastman gave away $100 million paid for their construction. The tion, Eastman’s Princely Bequests to Rochester: (about $2 billion today)—$17 School opened in 1921, and the Music, Medicine, and Research. million of it to build the Eastman rest is history! The gala evening was topped off with a Theatre and Eastman School. ■ Eastman’s art collection of chorus of “Happy Birthday, Mr. Eastman”— ■ Eastman also gave substantial 40 paintings included works by and, of course, a cake! Many Eastman teach- gifts of money to Tuskegee and Rembrandt, Frans Hals, and An- ers, students, and friends joined in the party Hampton Institutes, and to MIT— thony Van Dyck, as well as many on the Cominsky Promenade. where students still touch the nose 19th-century landscapes and By the way, Mr. Eastman’s concert took of his statue before taking tests. bronzes. Most of them are now place in Kilbourn Hall, because the theater ■ In 1918, Eastman bought the DKG Insti- in the University’s Memorial Art Gallery. bearing his name was closed down for a sum- tute of Musical Art for $28,000. Soon after, ■ George Eastman also inspired art! As far as mer-long sprucing up, with extensive work he sold it to the UR for $1. Eastman chose the we know, he’s the only American industrialist done to the stage in particular (see page 14). site for the new UR music school and theater to be the subject of a Japanese comic book. Honoring Professor Emeritus Everett Gates

Nurturing the talents of future music As an educator and musician, Professor album for him to enjoy. In addition to col- educators while paying tribute to one of our Gates touched our lives by sharing his art- lecting these memories, we are establishing beloved former teachers is a ﬁ tting way to istry and wisdom with us. He returned to a String Music Education Scholarship in his acknowledge the importance that a quality his alma mater as professor of music educa- honor. Please send memories and gifts to the music education has played in our own lives. tion in 1958, was promoted to the chair of Eastman School of Music, Development Of- Therefore, it is with great pleasure that we the department eight years later, and retired ﬁ ce, 26 Gibbs Street, Rochester, New York invite you to join us in honoring the distin- in 1979. 14604. Checks should be made payable to guished career of music educator and string Please share with us any special memo- the Eastman School of Music. For more in- specialist Professor Emeritus Everett Gates, ries you may have of him. We will collect formation please contact Melissa Head at BM ’39, MM ’48. these memories and present them in an 585-274-1044.

PHOTOGRAPH BY GELFAND-PIPER PHOTOGRAPHY December 2004 | Eastman Notes 23 SCHOOL NEWS

From Eastman to Egg Harbor (and back) The road to Eastman can lead from any- where, even a dairy farm in northeastern Wisconsin. It did for bassist Jeff Campbell, assistant professor of jazz studies and contemporary media, and it’s increasingly true for more Eastman students. According to Campbell, Jim Dutton, a percussionist and teacher in Chicago, gave a concert to the locals of Egg Harbor, Wis- consin, in 1975, and the next year “literally bought the farm”—a dairy barn—with the aim of establishing a music school. Camp- bell describes the area, on Green Bay, as “the Cape Cod of the Midwest, with a mix of local farmers and millionaires.” Eastman’s “Practical Harpist” workshop, directed by Professor Kathleen Bride (pictured), The new Birch Creek Music Center estab- is a highlight of every summer session, attracting young harpists from all over the country. lished itself quickly. The Center now offers four two-week sessions each summer: one each of symphony and percussion and steel High standards and high spirits band; two of jazz. Last year Birch Creek hosted 201 students, and it has also attracted at Summer Session 2004 important composers like Peter Schickele and Libby Larsen. Summer 2004 was cool and wet in Roch- and alumni Richard Erickson (MM ’77) and Birch Creek has also established a strong ester, but that didn’t dampen the spirits of Jeffrey Brillhart (MM ’79). Kilbourn Hall relationship with the Eastman School. Be- Eastman’s Summer Session students, who was fi lled almost every evening with musi- sides Campbell, Eastman faculty members on enjoyed a smorgasbord of classes, workshops, cal events, including a festive musical cel- its staff include Clay Jenkins, Rich Thompson, and concerts from June 27 to August 6. ebration of George Eastman’s 150th birthday and Bob Sneider—and it has hosted a long Returning favorites included Eastman’s (see page 23). list of Eastman alumni and current students. popular jazz and Music Horizons programs, Reviewing a very busy six weeks, Summer The Center’s symphony and jazz programs and Canadian Brass Weekend, with mas- Session Director Ruth Cahn said, “Institutes are fruitful recruiting grounds for Eastman. ter classes (and of course an entertaining ranging from the Canadian Brass to Orff One of the earliest recruits was Jeff Camp- concert) by the world’s most popular brass Schulwerk renewed their attendees’ energies bell himself, who fi rst visited Birch Creek quintet. The ever-growing Eastman Piano for another year of performing and teaching. in 1989. He studied with Tony Garcia (MM Competition, held in early August, attracted Our ‘Summers Only’ Music Education majors ’85), who encouraged him to attend Eastman. 25 teenage competitors from all over the were stimulated by intensive work with the Campbell not only got his DMA degree, he world. Organ Building in 18th-Century Cen- Music Education faculty. Graduate students joined the Eastman faculty, and now encour- tral Germany, led by Assistant Professor of enjoyed the opportunity to deepen their work ages Birch Creek students to come here. Organ Hans Davidsson, Sibley Librarian in theory and musicology, with decidedly less The program is an ideal “total immersion” for Daniel Zager, and organ technician Robert stress than during the school year. The Com- students, says Campbell: “On Monday morn- Kerner included the hands-on renovation munity Music School residential programs ing they audition. On Wednesday night they’re and installation of an organ in Rochester’s had the largest registration numbers ever. playing their first concert. And they play eight Asbury First United Methodist Church. These extraordinary young musicians refl ect concerts in each two-week session. Birch Organ offerings also included ImprovFest, ongoing dedication and commitment to the Creek has become well-respected, and some with recitals by Professor William Porter, art of music—the future indeed looks bright.” good networking goes on in those weeks.”

24 Eastman Notes | December 2004 PHOTOGRAPH BY GELFAND-PIPER PHOTOGRAPHY SCHOOL NEWS

EROI 2004: A heroic festival goes international

For the third annual Eastman-Rochester give life to the largest, best preserved late Organ Initiative (EROI) Festival, October 21– Baroque organ in Northern Europe.” 24, the School welcomed an international The EROI Festival’s opening event wel- contingent of infl uential organ builders, comed Vygaudas Usackas, the Lithuanian prominent organ scholars and researchers, Ambassador to the United States; Ambassador and important European dignitaries. Kjell Anneling, Consul General of Sweden; In collaboration with the Lithuanian Min- Professor Kestutis Masiulis, deputy mayor istry of Culture, the Göteborg Organ Art Cen- of Vilnius; Rimas Chesonis, the Lithuanian ter (GOArt) in Sweden, and the Episcopal honorary consul of Upstate New York; and Diocese of Rochester, Eastman presented its members of the local Lithuanian-American most recent EROI organ project, and the first- Association. Additional EROI highlights ever global cultural heritage project of its included the American premiere of Hans- kind: the building of a reproduction of an his- Ola Ericson’s Organ Mass for organ and tape, toric 1776 Lithuanian organ, to be installed scholarly lectures, professional workshops, in Rochester’s Christ Church (Episcopal) in and presentations by nearly a dozen instru- Lithuanian musicians and dancers at Christ 2008, and the simultaneous restoration of the ment builders. EROI also honored the late Church added spice to the EROI Festival. original Adam Gottlob Casparini instrument Dirk A. Flentrop, one of the most infl uential in Vilnius, Lithuania. The new instrument organ at Vilnius’s Church of the Dominicans organ builders in North America. will be named the Craighead-Saunders Organ, (Holy Ghost Church) is miraculously well “The EROI Festival is fast becoming one of in honor of two legendary Eastman organists, preserved. Says Professor Hans Davidsson, the most important and fruitful meetings for David Craighead and Russell Saunders. “This project will provide both Eastman and some of the organ world’s most infl uential One of the most valuable musical artifacts the Rochester community with an organ movers and shakers,” says David Higgs, organ of its time in Europe today, the Casparini suitable for the music of J.S. Bach, and help department chair. Celebrate along with Mitch

Eastman started out the school year out William Johnson proclaimed “Mitch Miller with a bang, and some help from a very fa- Day,” saying, “You never forgot your home mous alumnus, Mitch Miller (BM ’32). On town, and we will never forget you.” Eastman September 9, a ceremony formally reded- Director James Undercofl er said “It is a privi- icated Eastman Place (the building at 25 lege for the Eastman School to salute [Mitch] Gibbs Street that houses the Sibley Music in this way—and fi tting that a building in the Library, as well as various Eastman adminis- heart of his home town will carry his family’s trative offi ces and the bookstore) as “Miller name forward for future generations.” Center”. While Mitch has been at the top In a few remarks of his own, Miller praised of the music business for decades, and in the Rochester public school system of his 2000 received a Grammy Award for Life- youth. (In August, Miller also served as time Achievement, he put the spotlight on honorary chairman of the 100th anniver- his family for this event. Miller Center is sary celebration of Rochester’s East High named not after Mitch Miller but, at his in- School—born in 1911, he was in the Class sistence, dedicated to the memory of his par- of 1928—leading 1600 people in the EHS ents, Abram Calmen and Hinda Rosenblum alma mater.) Miller. Several members of his family joined The master oboist, record producer, and him for this festive event. TV star also put in a heartfelt plug for fi nan- Never to be forgotten: Mitch Miller and The ceremony was also well attended by cial support for arts education, reminding James Undercofl er at the dedication of local political leaders and many members of the audience: “No one remembers the names Miller Center. the Eastman community. Rochester Mayor of great generals, but the arts are forever.”

PHOTOGRAPHS BY KURT BROWNELL December 2004 | Eastman Notes 25 SCHOOL NEWS

Highlights of Giving: July 1, 2003–June 30, 2004

Through the generosity ooff aalumni,lumni, ffriends,riends, ■ Alumni and friends contributed $71,511 in music lessons, classes, mentoring and advise- faculty and staff, the Eastman School of annual gifts designated for specifi c purposes. ment to talented students from the Roches- Music raised $4,201,660 in gifts and grants Annual gifts are available for use in the year ter City Schools. in Fiscal Year 2004¹ to help support and sus- in which they are received. tain the mission of the School and the vision Foundation and corporate giving of its leadership. An impressive 50% of all Special appeals ■ The Catherine Filene Shouse Arts Leader- funds received were gifts from alumni. ■ The Eastman School raised $31,980 in ship Program benefi ted from an endowment scholarship funds through special appeals gift from The Starr Foundation, which has honoring two legendary former faculty funded this program through grants totaling Fast facts members, fl utist Joseph Mariano, and the $435,000 since 1998. Annual giving late Orazio Frugoni, pianist. ■ Eastman Pathways was supported through ■ Gifts to the Eastman Fund totaled $200,154, ■ The Eastman School met its fi rst of three grants from the Surdna Foundation, Ronald providing a key source of unrestricted sup- annual challenge grant goals through the McDonald House Charities, Fred & Floy port for the School’s areas of greatest need, Talented Students in the Arts Initiative, a Willmott Foundation, The ASCAP Founda- including student scholarships. collaboration of the Doris Duke Charita- tion, and Target Stores. A local corporate ■ 19.3% of alumni made a total of 1,611 gifts ble Foundation and Surdna Foundation, by appeal raised additional funds for this pro- to the Eastman Fund, with an additional 90 raising $252,718 for an endowment for gram, as well. gifts coming from friends. Eastman Pathways, a program that offers ■ The Ewing Marion Kauffman Foundation

The beneﬁ ciaries

“I still can hardly believe I am here, at this “Participating in the Friends of Eastman school, as it was a dream of mine as a little Opera Competition is an honor since stu- girl. I look forward to waking up every day, dents are selected by the faculty and given as I enjoy the extremely intense atmosphere the opportunity to be heard by an outside which is the Eastman community. I am so adjudicator who is well established in the excited to further my amazing musical edu- ﬁ eld. Winning the Lynne Clarke Vocal Prize cation here at Eastman.” was encouraging because it reinforced my ability to trust that every minute in the —Kathryn L. Blomshield practice room was well spent.” Second year BM student in vocal performance and scholarship recipient —Mari-Yan Pringle Master’s degree candidate in vocal “For a long time, I dreamt of going to performance from Queens, NY, and winner Eastman to further my education. When of the 2003–04 Lynne Clarke Vocal Prize I was accepted I was overcome with joy. I was very worried that my dreams and career aspirations would be smothered because of lack of funds. I was very excited when I was Pictured above is Matthew Thompson, informed that I would be a recipient of the Ronald McDonald House Scholarship recipi- Betty Knable Scholarship Fund. This scholar- ent and recent graduate from the Eastman ship was the deciding factor that allowed Pathways program. One of Pathways’ many me to attend Eastman. With your support, successes, Matt earned the Preparatory my education and career goals can now be Diploma in saxophone from the Eastman met with success.” Community Music School in June, and was admitted to Pennsylvania State University as —Christopher Venditti a business and music major. First year BM student in music education

26 Eastman Notes | December 2004 PHOTOGRAPHS BY JANITA K. BYARS (MATTHEW THOMPSON) AND KURT BROWNELL (MARI-YAN PRINGLE) SCHOOL NEWS

awarded $180,000 for Eastman’s Institute for Preparatory Department. Mr. Messinger’s �� Music Leadership, as part of its fi rst payment cherished memories and a strong commit- on a 5-year $3.5 million grant to the Univer- ment to philanthropy moved him to make �� sity of Rochester to support campus-wide a leadership gift that helped the Eastman �� entrepreneurship initiatives.² School purchase the building at 10 Gibbs �� ■ Foundations and corporations awarded Street, which will serve as the future home �� grants for scholarships, as well as sponsor- for the Eastman Community Music School. ships for special events, including Alumni Once renovations are completed, the build- �� Weekend 2004, the Eastman Wind En- ing will be renamed in memory of his mother, �� semble Japan Tour, and the Eastman Horn Anne Waltuck Messinger, who, in Mr. Mess- �� Choir Tour. inger’s words, “began this whole process by �� bringing her little boy all the way from Irond- Major gifts, deferred gifts equoit to learn music and play the piano.” The and bequests new Messinger Hall will house administra- ■ Martin Messinger, member of the Eastman tive offi ces, teaching studios and classrooms Board of Managers, made a leadership gift of of the Eastman Community Music School. $1 million to help purchase a new building �� for the Eastman Community Music School. Snapshots of giving ■ Mary and John Celentano, BM ’37, MM ’41 and long-time Eastman professor of cham- “I support the Eastman School because it is �� ber music, made signifi cant deferred gifts to to this institution that I credit my coming �� support a string scholarship and the chamber of age. There is no doubt in my mind that I �� music program at the Eastman School. received the fi nest musical education avail- ■ Estate gifts totaled $543,492. able at any music school in the 1960s. But as important is the atmosphere of integrity and total professionalism which pervaded every Those honored through aspect of life at ESM. The experience guides gifts to Eastman my thinking to this day.” �� —Martha J. Kirchenbauer Ellison, �� Warren Benson Scholarship BM ’66, MM ’68 A Hollywood studio percussionist and long- Board of Managers, �� time member of Frank Zappa’s bands, Ruth Eastman School of Music �� Komanoff Underwood established the War- �� ren Benson Scholarship in Composition at “That Eastman has a worldwide reputation �� the Eastman School of Music as a way to as one of the most fertile training grounds �� permanently honor her former percussion for future musical leaders is no accident. It teacher, with whom she studied at Ithaca is cultivated by an extraordinarily talented, College. By his own example, he instilled dedicated, and passionate faculty and staff in his students the responsibility to elevate who are remarkable in their openness to �� the world through their art and good deeds. constant reinvention and growth. And it is �� Mrs. Underwood says that she lives by these made possible by the fi nancial generosity of �� principles to this day and shares with her all its patrons. I am proud to be an alumnus, own students the techniques and values he faculty member, and committed supporter of �� taught her. Warren Benson served as Profes- the dynamic environment that is Eastman.” �� sor of Composition at the Eastman School —Phillip Ying, BM ’91, MM ‘92 �� from 1967 through 1993. Assistant Professor of Viola, �� Eastman School of Music Messinger Hall: New “Home” for Eastman Community Music School ➤ An in-kind gift of a harp from Julia S. Martin Messinger, member of the Eastman Anderson was inadvertently omitted in the Board of Managers, recalls his mother com- report on Giving. We gratefully acknowledge �� pelling him to take piano lessons in Eastman’s this gift and regret the error. ��

¹ Adjusted total as of Sept. 27, 2004 ² Not included in ﬁ scal year 2004 year-end giving totals December 2004 | Eastman Notes 27 DEPARTMENT NEWS Theory

By Steven Laitz Subversion in Luigi Nono’s Choral Works Chuck is now teaching at the UUniversityniversity of in Theory and Practice”, and Dave Headlam Michigan (Ann Arbor), Ian Quinn at Yale, Eastman’s Theory Department continues recently completed two articles on Berg: Scott Murphy atat thethe UniversityUniversity ofof KansasKansas its tradition of growth and productivity, with “Process in the String Quartets of Alban Berg” (Lawrence), Adam Ricci at the University of important promotions, new seminars, nu- and a study of Berg’s twelve-tone techniques North Carolina (Greensboro), Su Yin Mak atat merous presentations and notable publica- using computer program to generate row the Hong Kong Academy for Performing Arts, tions. Matthew Brown and Dave Headlam alignments. His article “Walter O’Connell’s and Dariusz Terefenko has joined Eastman’s were both promoted to full Professor, and ‘Tone Spaces’: An Early View of the Order faculty for a one-year joint appointment in seminars offered this year included Marie Position/Pitch-class Exchange” will appear theory and jazz. Rolf’s’s ““AnalysisAnalysis and PPerformanceerformance of FFrenchrench in the University of Western Ontario Studies For the past two years, we have been Art Song”, Bob Wason’s “Music of Bill Evans”, in Music. involved in many curricular changes at Matthew BaileyShea’s “Wagner’s Ring”, and William Marvin’s “The Function of ‘Rules’ the undergraduate level: overhauling the Dave Headlam’s “Knets and Perle.” in Die Meistersinger von Nüremberg” has existing fi ve-semester curriculum in order Debussy received the lion’s share of the appeared in The Journal of Musicology, and to provide more practical application of department’s attention this year. Marie Rolf Ciro Scotto’s review article “The Confl ict theory concepts (including compositional is completing editorial work for a volume Between Particularism and Generalism in and improvisational projects); integrating of Debussy’s songs for the Oeuvres complètes Andrew Mead’s Introduction to the Music of the written and aural curricula much more; de Claude Debussy, and her facsimile edition Milton Babbitt,” appeared in JMT, while his and adding a late-summer theory “prelude” of Debussy’s previously unknown song “Les “Transformation Networks, Transpositional for entering freshman who do not yet Gautiers” has been published by the New Combination, and Aggregate Partition in possess the necessary musical background York Public Library. Processional by George Crumb” will appear to undertake the freshman theory and aural Matthew Brown’s book on Debussy’s Ibéria in a University of Colorado Press collection. skills curricula. (Oxford University Press) appeared, and his Robert Morris’ (Affi liate Faculty) “Pitch- This year, our attention has shifted to the Explaining Tonality: Schenkerian Theory and Class Duplication in Serial Music: Partitions graduate degrees, including a full review of Beyond (University of Rochester Press) will of the Double Aggregate” appeared in the MM and DMA requirements and courses follow this winter. Brown is also preparing Perspectives of New Music, and a half dozen for the performers, as well as a substantial re- a critical edition of Debussy’s Images, 3ème forthcoming articles will appear in Intégral, evaluation of our MA and PhD programs. série for the Oeuvres complètes de Claude De- Perspectives of New Music, a textbook edited Stimulating lectures and special presenta- bussy with Pierre Boulez, and he is complet- by Michael Tenser, a festschrift for Thomas tions this year supported by the Theory De- ing yet another study of the French master DeLio, and the Proceedings of IRCAM. partment include visits by Tom Mathieson entitled Debussy Redux. Davy Temperley, after winning the (actually part of the Sibley Music Library’s Matthew BaileyShea is pleased as punch Society for Music Theory’s prestigious centennial celebration), Warren Darcy, and with the birth of his son, Kilian BaileyShea. Emerging Scholar Award for his book The Walter Frisch. Look for four of Matthew’s articles to appear Cognition of Basic Musical Structures (MIT The ongoing series of biweekly graduate in various journals in the coming months. Press) last year, will have several articles symposia will feature lectures by both stu- Norman Carey’s “Coherence and Same- appear, including “Communicative Pressure dents and faculty. And the Eastman/Univer- ness and the Evaluation of Scale Candidacy and the Evolution of Musical Styles”, “An sity of Rochester/Cornell University Music Claims” appeared in JMT. Evaluation System for Metrical Models”, Cognition Symposium plans four sessions On the pedagogical front, Betsy Marvin’s “Bayesian Models of Music Structure and this year. Please visit our website for an- The Musician’s Guide to Theory and Analysis Cognition”, and “End-Accented Phrases: An nouncements of dates and topics. (co-authored with Jane Clendinning and Joel Analytical Exploration.” Finally, Bob Wason, We are very proud that a new volume Phillips) has just appeared, as has the second after successfully enduring the installation (14/15) of Intégral, the graduate student- edition of Bob Gauldin’s Harmonic Practice of fi ve stents in his right coronary artery, has run journal which after nearly two decades in Tonal Music (look also for his half dozen completed his article “From Harmonielehre continues to be one of the premiere journals new articles in the Journal of Music Theory to Harmony: Schenker’s Theory of Harmony in the fi eld, has just appeared. Vol. 16/17 is Pedagogy, Music Theory Spectrum, Journal of and its Americanization.” due in late spring. the American Liszt Society, and Sonus). Last spring six of our students completed Jeannie Guerrero has published their PhDs and, as has become the norm ➤ Steven Laitz is chair of the Theory “Multidimensional Counterpoint and Social around here, had jobs waiting for them. Gavin Department.

28 Eastman Notes | December 2004 DEPARTMENT NEWS

Institute for Music Leadership

By Ellen Koskoff years, and carry out a semester-long indepen- in each—and seven more are currently in dent fi eldwork project with an advisor. the application process. Our fi rst graduate, In the fall of 2002, the IML instituted two Students who enter these programs are Peter Wise (BM, Percussion), received the new programs, the Certifi cate in World Music matched with an advisor, chosen from an certifi cate in 2003; in 2004, Sean Conners and the Diploma in Ethnomusicology. These inter-departmental group of faculty, who (BM, Percussion) and River Campus optics programs allow interested Eastman students, follows the student through the program to student Daniel Eversole (BME, optics) both undergraduate and graduate, to receive completion. Faculty currently serving on the received theirs. recognition for their study of the world’s mu- Ethnomusicology Programs Committee are: In 2004, the Diploma Program graduated sical traditions (World Music Certifi cate) and Professors Gabriella Ilnitchi (Musicology, two students, both of whom have gone on to the discipline of ethnomusicology (Diploma Southern and Eastern Europe); Tom Gib- graduate school to study ethnomusicology: in Ethnomusicology). Both programs involve son (Anthropology, Southeast Asia); Er- Carolyn Ramzy (BMMUA)(BMMUA) at Florida State the study of, and hands-on experience with, nestine McHugh (Humanities at Eastman, University in Tallahassee; and Hillary Over- research, performance, and fi eldwork, all Anthropology and Religious Studies at the berg (BA, Anthropology) at the University central activities to the discipline of ethno- River Campus, South Asia); Martin Scher- of Pittsburgh. musicology. The programs are open to both zinger (Musicology, South Africa); Rob- Students interested in applying for either Eastman and River Campus students. ert Morris (Composition, India); Kathy program should contact Ellen Koskoff, Students in both programs must take Robinson (Music Education, West Africa); Director, Ethnomusicology, ekoskoff@esm. World Music, an Anthropology elective, and and Ellen Koskoff (Musicology,(Musicology, thethe rochester.edu. An application form can participate in the gamelan or mbira ensem- United States and Indonesia), Director of be obtained from the Institute for Music ble for at least one year. In addition, Diploma Ethnomusicology Programs. Leadership Offi ce. students must take Introduction to Ethno- Since the 2002–03 academic year, twenty musicology, participate in ensemble for two students have entered these programs—ten ➤ Ellen Koskoff is Professor of Ethnomusicology.

Humanities By Jonathan Baldo the ﬁ rst time in her life, managing to plant bines all my areas of interest and experience: a few dozen tulip bulbs in her new backyard program administration, teaching of compo- Weather or not ... That was the dilemma before the ﬁ rst snowfall. sition, and the teaching of ESL.” Every one facing Caterina Falli as she wondered Caterina was part of a “west coast trade.” of her colleagues concurs that Caterina and whether to relocate from Berkeley to Roch- She replaced Tom Bauer, who had built Eastman seem made for each other. ester early this summer. Fortunately for us, our program from the ground up, after he Two new course offerings in the Humani- Caterina found the prospect of teaching moved to Oregon, rejoining his wife who ties Department train the spotlight on in- English to our talented international music went west to take advantage of a job opportu- ternational relations and the contemporary students immensely appealing. In the midst nity. An accomplished violist who performed world. Jean Pedersen, our specialist in of what is still a beautiful fall, she is settling in the New York All-City Orchestra, Caterina French history and women’s history, is cur- into the oh, so subtle charms of Rochester. taught English as a Second Language (ESL) rently teaching a scintillating new course Meanwhile, we are collectively trying to help to arts students at the Academy of Art Col- with a broad international sweep, entitled her forget the more obvious charms of the lege in San Francisco, as well as Chabot Col- “International Human Rights.” Jean created San Francisco Bay Area. She has purchased lege, San Francisco State University, and the the course in response to students’ persistent a house, an impossible dream in her former American Language Academy. She relishes questions in her other courses: “I designed location, and she has been wowed by the the opportunity to teach in an environment the course because questions about human ease of living in Rochester as well as its thriv- dedicated to the arts, and “to be part of a rights were coming up independently in so ing cultural life. “Rochester seems a place friendly, warm, relaxed community as op- many of my other electives—in my courses where one can really grow roots,” she composed to the high-pressured, fast turnover I on feminism, on comparative revolutions, mented. And in support of her new sense of experienced in San Francisco … One of the on World Wars I and II, and even on the rootedness, she has taken up gardening for things I love about this job is that it com- CONTINUED ON PAGE 30

December 2004 | Eastman Notes 29 DEPARTMENT NEWS

CONTINUED FROM PAGE 29 Our anthropologist and comparative reli- from across the university and outside of it Western Cultural Tradition. Many of the gionist Ernestine McHugh has developed a as well.” students taking the course told me that they new offering for the spring semester entitled The newest book by a member of the de- wanted to ‘learn more about the world,’ and “Culture and Religion: Fundamentalisms.” partment is Reinhild Steingröver’s Not So I hope the international readings are satisfy- Addressing the social and cultural forces Plain As Black and White: Afro-German History ing that desire.” that drive various fundamentalist move- and Culture, 1890-The Present, co-edited with Her elective combines the history of ments, especially those in Christianity and historian Patricia Mazon of the State Univer- human rights with a survey of contempo- Islam, the course will present a historical sity of New York at Buffalo, slated to appear rary human rights topics. “We’ve studied the overview before examining contemporary in January from the University of Rochester enunciation of human rights ideals in docu- belief systems and their motivational ma- Press in their African Diaspora Series. This ments such as the English Bill of Rights, the trices. She explains, “I hope that the course interdisciplinary collection of essays from the American Declaration of Independence, the will give students a broad understanding of areas of fi lm studies, history, literature, and French Declaration of the Rights of Man and the faiths that are sometimes represented popular culture studies explores the often- the Citizen, and the United Nations’ Univer- very narrowly by the mainstream media, ignored experiences of this German minor- sal Declaration of Human Rights. We’ve also which might focus on their most zealous ity and points toward connections with the looked at confl icts over how to implement adherents.” larger area of diaspora studies. The collection those ideals by looking around the world at Ernestine has been invited to participate grew out of a conference in 2000 hosted by arguments over religious freedom, women’s in a presidential session at a centenary con- the State University of New York at Buffalo rights, the abolition of slavery, and the end ference honoring the enormous contribu- and organized by the book’s co-editors. The of imperialism.” tions of her mentor, Gregory Bateson, to the conference, like the book, “brought people Students conduct research and deliver an fi eld of anthropology. Bateson’s daughter, together from across disciplines—particu- oral presentation on a topic of their choice, Mary Catherine Bateson, a distinguished an- larly German studies, African Studies—that from Denmark’s human rights record and thropologist in her own right, extended the don’t ordinarily work together.” the International Court of Justice, to the honor to Ernestine and to two or three oth- Former colleague, department chair, and Magna Carta, the situation of women in ers who had worked with him in his lifetime. Professor of History at the Eastman School Afghanistan, the Soviet constitution in the- Ernestine sums up his importance as follows: David Roberts has been named Albert Berry ory and practice, the religious beliefs of the “Bateson, a founder of the fi eld of cybernetics Saye Professor of History at the University American founders, and the argument over and of family therapy, interpreted anthropol- of Georgia. He delivered the inaugural lec- whether or not to raise the minimum wage. ogy in the broadest sense, stressing the im- ture in his new position, “An Indirect Italian According to Jean, “Our standards for human portance of both science and imagination in Angle on a Few Big Historical Questions,” rights continue to increase, and our ability ethnological work. earlier this year. Congratulations to you, to ensure them may never be able to keep He worked in Bali, New Guinea, and the David, from all of us at the Eastman School. up. I hope by studying the ways of the past wards of psychiatric hospitals, and he con- we may continue to fi nd new directions for ducted animal studies with dolphins, otters, ➤ Jonathan Baldo is chair of the Humanities the future.” and octopi. He inspired a diverse audience, Department.

��

�� IN TRIBUTE

Frederick Fennell Audre “Pinny” Cooke In memoriam As Eastman Notes was on press, we received On August 1, 2004, Audre “Pinny” Cooke, word of the death of Frederick Fennell (BM a member of Eastman’s Board of Manag- 1930s ’37, MS ’39) on December 7, 2004, founder of ers and an important fi gure in local politics the Eastman Wind Ensemble and a beloved and philanthropy, died at her home of can- Velora (Beck) Atkins member of the Eastman community. A lon- cer. She was the fi rst woman from Mon- (MAS ’38), July 2004 ger tribute to Fennell will appear in the June roe County elected to the New York State Lorn E. Christensen issue of Notes. Assembly, where she served from 1978 to (MAS ’36), March 2004 1990, focusing her efforts on community and Ruth (Thompson) Colman social service. (’34), June 2003 Philip West After leaving offi ce, Mrs. Cooke served as Helen (Maddock) DeJager On June 26, 2004, a volunteer on numerous boards, including (BM ’35, MAS ’37), September Philip West died the Rochester Philharmonic Orchestra and 2004 after a long bat- the Eastman School of Music, whose Board Frances (Hoopes) Haggett tle with leukemia. she joined in January 2002. (BM ’36), November 2003 During his tenure Mrs. Cooke is survived by her husband, Anita (Easton) Hamstrom at Eastman, West Henry Cooke; three children, Margy Cooke (BM ’39), March 2004 served as professor Taylor, Bess Lewis, and Jon Cooke; and fi ve Peter Sijer Hansen of chamber music grandchildren. (MAS ’35), July 2004 and founder/direc- Irene Manning (Harvuot) Hunter tor of the Eastman InterMusica Ensemble. (BM ’34), May 2004 Born in Asheville, North Carolina, in 1931, Scott Parkinson Rachel (Greene) James Philip West attended East Tennessee State Many Eastman alumni were shocked to (BM ’38), May 2003 University, Cincinnati College of Music, learn of the death of Scott Parkinson (BM Simon Karasick and the Manhattan School of Music. In the ’98), principal trombone of the Buffalo Phil- (BM ’33), November 2004 1960s, he was a busy free-lance musician in harmonic Orchestra, on July 13, 2004. Scott Laura (Ford) Kempers New York City, playing oboe, English horn, was aged only 27. (MAS ’39), November 2003 shawm, and krummhorn with the New York Born in Washington, DC, Scott came from Claire (Root) Parsons Philharmonic, New York Pro Musica, and a long line of Eastman-trained musicians, in- (BM ’33), October 2004 many other ensembles. cluding his grandparents, Thomas (BM ’32, Donald M. Pearson In 1969, West married the renowned MAS ’35, PhD ’48) and Catherine (BM ’32) (BM ’39, MAS ’41), February 2004 mezzo-soprano Jan DeGaetani. They joined Gorton; his second cousin, oboist James Gor- John N. Sims the Aspen Festival’s artist faculty in 1972, ton (BM ’69); and his mother, violinist Judy (MM ’55), January 2004 and the Eastman School of Music faculty in Parkinson (MM ’64). Scott’s own musical Mervin S. Snider 1973. They gave many collaborative recitals; loves began with the Star Wars and Looney (MAS ’39), June 2003 West also prepared new editions of songs by Tunes themes, and soon extended to classical Kemble A. Stout Mahler and Berlioz for Jan DeGaetani’s fi nal symphonic masterpieces. (MM ’38, PhD ’51), July 2004 recording, which was nominated for a “Best When he came to Eastman in the mid- Charlotte (Jenney) Westman Classical Vocal Performance” Grammy. After 1990s, Scott already had won awards as a (BM ’37), June 2003 DeGaetani’s death in 1989, Philip West con- trombonist; here he earned an Emory Rem- Ethel E. (Burtis) Wood tinued at Eastman until 1995, giving numer- ington Scholarship and a Performer’s Certifi - (BM ’34), February 2004 ous recitals of new or unusual music for oboe cate before going on to the Juilliard School, and English horn. where he studied with Joseph Alessi. He 1940s A memorial for West was held on Novem- played in several top-rank orchestras before ber 5, 2004, at the Century Association in being hired by the Buffalo Philharmonic Or- Jennie (Perrello) Alesse New York, with music performed by the chestra in 2000 and named principal trom- (BM ’48), June 2003 Emerson String Quartet and Gilbert Kalish. bone in 2004. In 2002, Scott married Robin Eugene A. Barnard He is survived by his wife, Carole Cowan; his Leech, whom he met at Juilliard. (MAS ’48), February 2004 daughter and son-in-law, Francesca and Nich- To read memories and see photographs of Margaret (Bussell) Black olas Watson; his son, C. Mark DeGaetani; Scott, and to add memories and photos of (MAS ’45), April 2003 and his granddaughter, Danica Watson. your own, visit www.rememberscott.net. CONTINUED ON PAGE 32

December 2004 | Eastman Notes 31 IN TRIBUTE

CONTINUED FROM PAGE 31 Ella Marie (Bailey) Southern Dewey J. Rosman (BM ’47, BA ’49), November 2003 (MAS ’54), September 2004 Paul Henry Brainard Wesley F. Teply Christian A. Rosner (BA ’49; MM ’51), May 2004 (MAS ’45), March 2003 (PHD ’57), October 2003 Elsie M. (Resue) Calvete Frances (Newman) Thiel Lois (Legge) Tustin (BM ’41), July 2004 (BM ’41, MAS ’42), June 2003 (BM ’51), July 2003 Betsey (Stanton) Edwards Mary (Hargis) Underhill (’48), July 2003 (MAS ’43), April 2003 1960s Donald L. Engle Lucile (Hammill) Webb (MA ’41), January 2004 (BM ’42, MM ’45), June 2004 Barbara F. (Sharman) Holmes Richard S. Fischer Nancy (Arthur) Williams (MM ’64), February 2004 (BM ’45, MM ’51), January 2003 (MAS ’49), June 2004 Virginia (Whitehead) Jensen Forrest Ray Goodenough, Jr. (BM ’62), April 2003 (MAS ’43) 1950s Laurence R. Taylor Shirley A. (Bentz) Green (PhD ’63), August 2004 (BM ’42), March 2003 Richard J. Barnett David Vandemeer Jean (Halbing) Hay (BM ’51), February 2003 (BM ’60), January 2003 (BM ’44), July 2004 Francis D. Bundra Toni Jo (Lavier) Weinstein Karl M. Holvik (MM ’57), July 2004 (BM ’64), January 2004 (MAS ’47), September 2003 Julia Dispenza M. Charlotte Jammer (BM ’58), April 2004 1970s (BM ’41), February 2004 John Erickson Elwood J. Keister (MM ’51), February 2004 Clive F. Amor (MAS ’47), May 2003 Sonya Haddad (BM ’70), August 2004 D. Kent McDonald (BM ’58), June 2004 Donald Alan Bick (BM ’49, MM ’52), May 2004 Richard B. Lane (BM ’70), October 2004 Stanley J. Mikulewicz (BM ’55, MM ’56), September 2004 Robert Michael Dawley (BM ’40), September 2003 William P. Latham (BM ’70), October 2003 Victor J. Molzer (PhD ’51), February 2004 Marilyn Elizabeth Gillette (’43), December 2003 Margaret (Scott) Lorince (BM ’70, MM ’73), August Louis O. Nelson (MM ’50), July 2004 2004 (BM ’40), July 2003 Fred J. Marzan Daniel David McCooey Janet Remington (BM ’52), June 2003 (BM ’75), April 2004 (BM ’43), August 2004 Sr. Mary de La Salle McKeon Deborah (White) Whitney Erma Roswig Richman (PhD ’57), February 2004 (MM ’75), July 2003 (BM ’48), November 2003 Mary (Williamson) Ohnsman Alice (Mack) Rowe (BM ’54, MM ’55), August 2004 1990s (MA ’42), December 2003 M. Edward Puffer Earl V. Schuster (BM ’50, MM ’56), October Scott Edward Parkinson (BM ’40), November 2003 2003 (BM ’98), July 2004

➤ We know that timely reporting of alumni deaths is important to our readers. At the same time, we must ensure that our reports are accu- rate. Therefore, we ask that friends and family send us either an obituary or a letter of conﬁ rmation in notifying us of someone’s death. Please write to Eastman Notes, Ofﬁ ce of Communications, 26 Gibbs Street, Rochester, NY 14604.

32 Eastman Notes | December 2004 ALUMNI NOTES

is Kris Kristofferson.) Jim received 1930s the news on August 30, and his for- Send your news! mal induction took place at The Frederick Fennell (BA ’37, MS ’39) 38th Annual CMA Awards on CBS, turned 90 on July 2, 2004; that Do you have an announcement you’d like to share with your November 9. He is being honored weekend he conducted the Blossom fellow alumni? Send your personal and professional news to for his many years as a successful Festival Band in his native Cleveland, record producer for Columbia, RCA, Notes, Offi ce of Communications, Eastman School of Music, sharing the podium with Loras Dot, MCA, and Capitol Records, John Schissel for an “American 26 Gibbs Street, Rochester, New York 14604. signing such artists as Garth Brooks, Salute” concert. In an article for Reba McEntire, the Oak Ridge Boys, the Cleveland Plain Dealer, Schissel Fax: 585-274-1089 George Strait, and Tanya Tucker. Jim recalled playing tuba under Fennell’s E-mail: [email protected] was CMA Chairman of the Board in direction at the Interlochen Arts 1976, and remains active as a con- Academy while in high school. Deadline for the June issue of Notes is April 22, 2005. sultant, independent producer, and Fennell also took part in Eastman trustee of the CMA. He has been a Alumni Weekend 2004 in October. News of your upcoming events such as concerts and lectures professor at Blair College, Vanderbilt can be posted live on the Eastman alumni website: University, since 1991. Robert W. Ottman (BM ’38, www.rochester.edu/Eastman/alumni MM ’44) brings Notes up to date on Composer Crawford Gates (PhD ’54) a long career: after receiving a PhD writes: “My opera entitled Joseph! from University of North Texas, he Joseph!, based on the life of the Amer- joined the faculty “as head of the Robert E. and Shirley (Graf) page 16) is also mentioned. The piece ican ’Mormon’ prophet Joseph Smith, theory department and director of a Durling (BM ’49) of Camillus, NY, was the subject of a preview on NPR’s had its tryout in Assembly Hall on madrigal group. The fi rst of my the- celebrated their 50th anniversary All Things Considered in October. Temple Square in Salt Lake City, ory textbooks was published in 1957. on May 30 at a celebration hosted April 30, 2004, to two packed houses Writing and revising continued after by their children. Shirley, a charter Paul and Helen Baumgartner and standing cheers! It appears to retirement in 1980 and has kept me member of the Syracuse Symphony, (both MM ’55) appeared in a classi- have a promising future. The work busy up to the present. Now at age retired after 35 years as a violin- cal piano duet concert on August in was commissioned by Milton Bar- 90 I have fi nally decided to quit and ist. She was also a string teacher for Cross Church, Decatur, GA. low of Washington, DC. My Sym- relax.” (See also “Letters,” page 3). many years in the West Genesee phony No. 7: A Triumphal Trilogy (for School District. Shirley still enjoys Bassist Ron Carter (BM ’59) per- soprano, chorus, and orchestra) was H. Owen Reed (PhD ’39) was playing in string quartets and bridge formed with his quartet at the premiered in Cincinnati on August named 2004 Alumnus of the Year with friends. Duffi n Theater in Lenox, MA on July 8, 2003, celebrating the centennial of by the Alumni and Friends of the 3, and at the Democratic National the international professional music Louisiana State University School of On August 14, the Goodenough Convention in Boston later in July. In fraternity Mu Phi Epsilon, with the Music. During March 24–30, 2004, Performance Hall, honoring for- August, Carter and his quartet played composer guest conducting. The several of his chamber, orchestra, mer teachers Forrest Goodenough Yoshi’s in Oakland, and described his work was commissioned by Mu Phi and wind ensemble works were per- (MAS ’43) and his wife Dorothy, fascination with Brazilian pop music Epsilon. Marvelous response.” formed, and he also gave a lecture was dedicated at the Texas School in an interview on SFGate.com. on “The Materials of Music.” Reed’s for the Blind and Visually Impaired Composer Katherine Hoover Overture for Strings, and his most in Austin, TX. This kick-off event Thomas C. Ferguson (MM ’56, (BM ’59) has enjoyed performances popular work, La Fiesta Mexicana, announced the creation of All Blind PhD ’72), currently teaching at the of her music this year from Seattle to were recently recorded. The 94-year- Children of Texas, a non-profi t orga- Community College of Southern New York City. In 2005, her Kokopeli old Reed comments, “I still have a lot nization to support the unique edu- Nevada, is the proud composer of will be performed in Rhinebeck, NY, of work left to do!” cational needs of blind and visually the University of Memphis football and her El Andalus will be played impaired children throughout Texas. fi ght song, which has been continu- at the 92nd Street Y, New York, by A fund established to honor Forrest ously sung for more than 40 years. In cellist Sharon Robinson and pianist 1940s and Dorothy will be used to renovate October 2004, Ferguson was hon- Joseph Kalichstein. the school auditorium. ored by UM for writing “Tiger Fight Ella Cripps (BM ’47) has been Song,” which had lyr- Sara Jarvis Jones (BM ’50) commis- organist of First United Methodist ics by the late Edwin sioned a double reed trio from com- Church, Geneva (NY) since she 1950s Hubbard. To hear an poser Graham Reynolds. The Modal graduated from Eastman, and its instrumental version Cycle has one part in each of the choir director since 1979, so the Dominick Argento by the U of M band, go modes, beginning and ending in the members of the church decided (PhD ’58) recently to music.memphis.edu/ Ionian mode. The work had its pre- to celebrate her life and work at a published Catalogue multimedia.html. miere in Austin, TX on September dinner on August 27. “Ella’s Evening” Raisonné as Memoir 14, 2004, with oboist Rebecca attracted about 200 people, and was (University of Jim Foglesong Henderson (MM ’85), bassoonist written up in the Finger Lakes Times. Minnesota Press), a (BM ’50) is one of the Kristin Wolfe Jensen, and pianist Ella’s son Richard Cripps (BM ’70, combination of autobi- two newest inductees Michelle Schumann. Rebecca is an MM ’72) taught music in the ography and catalogue into the Country Music associate professor at the University Hannibal and Central Square (NY) of his works up to Assocation’s Hall of of Texas, Austin; her CD … is but school districts, and agreed 2002. Four Seascapes, a choral work Fame—and, we are quite sure, the a dream was recently released on that this tribute to his mother was Argento wrote for the 100th anni- fi rst Eastman graduate to receive this Boston Records. “long overdue.” versary of Sibley Music Library (see honor. (His fellow 2004 inductee CONTINUED ON PAGE 34

December 2004 | Eastman Notes 33 ALUMNI NOTES

CONTINUED FROM PAGE 33 season as music director of the San website. She has given recent recit- MILLing in the ENNium, includes Stanley Leonard (BM ’54) presented Diego Chamber Orchestra, which als of her own music at St. Mary’s “Ultimate Symphonius 2000,” com- master classes and conducted the he founded in 1984. The concert Cathedral in San Francisco and the missioned for the Millennium, add- premiere of a new percussion ensem- prompted a profi le of Barra in the new Cathedral of Our Lady of the ing four later works to the program. ble work titled Kymbalon at Louisiana San Diego Union-Tribune. The proud Angels in Los Angeles. Recent publi- All fi ve use Priscilla’s art videos, along State University in April. Canto, his conductor pointed out the orches- cations by MMB include four of her with recorded and live performances new recital piece for solo timpani tra’s budget has risen from $500,000 orchestral works: Concerto in One by the couple. Grants from The and trombone, was premiered in Fort in 1984–85 to $1.3 million this year, Movement for Piano, Concerto in One American Music Center and the New Worth, TX in this fall by the timpa- and it has made seven recordings for Movement for Organ, Santa Barbara York Foundation for the Arts enabled nist and trombonist of the Fort Worth Koch International Classics. Overture, and Homage to Tchaikovsky the McLeans to give mini-residencies Symphony. Another premiere of his (the latter two works written for the at Kingston University (London) and new percussion work titled Zanza Ross Beacraft (BM ’69) writes: “I Santa Barbara Symphony). She has the Royal Northern College of Music was presented in April at UCLA by just returned from a very success- also written a number of new percus- (Manchester) in May. Mitchell Peters (BM ’57, MM ’58) ful tour of South America with the sion pieces for C. Alan Publications, and the UCLA Percussion Ensemble. Chicago Brass Quintet, with per- including Toccata for Six for mallet Pianist Steven Herbert Smith (MM formances in Bogota, Colombia, percussion and Toccata for Timpani, ’66, DMA ’78), a professor at Penn In early October, pianist John Perry Florianopolis, Porte Alegre, and Sao as well as a collection of intermedi- State, recently returned from a con- (BM ’56, MM ’58) presented a recital Caotano, Brazil. I’ve been with the ate piano pieces for FJH Publications. cert tour to Australia and New Zea- and master class at Humboldt State quintet for over 25 years and con- land. He gave recitals and master University (CA). His recital program tinue to tour throughout the United On October 24, Tenor Concerto for classes at the University of Melbourne, consisted of Beethoven’s last three States, Asia, and South America trombone and orchestra, by Joseph and the University of Waikato in piano sonatas, Opp. 109, 110, and 111. with them.” For more information, Fennimore (BM ’62), was premiered Hamilton, New Zealand, and also per- visit chicagobrassquintet.com. Ross by the Schenectady Symphony formed lecture-recitals at Melbourne Don Schmaus (BM ’58, MM ’65) is is director of admissions for the with conductor Charles Schneider and the University of Auckland. The semi-retired, but continues as direc- DePaul University School of Music, and trombonist Andrew Pollack. repertory included works of Ravel, tor of instrumental ensembles at and serves as principal trumpet with Fennimore, who teaches piano pri- Messiaen, William Bolcom, Don Valencia Community College, East Chicago Opera Theatre, Concertante vately in the Capital Cities area, was Freund (MM ’70, DMA ’73), John Campus, Orlando, FL. Don retired di Chicago, and the Elgin Symphony. the subject of a pre-concert profi le in Beall (PhD ’73), and Michael Berke- from the public schools of Seminole the Albany Times Union. ley. Earlier in the 2003–04 season, County, FL, where he was named Elizabeth Bankhead Buccheri Smith performed the Second Piano “Teacher of the Year” at Lyman High (MM ’66, DMA ’79) received the Guests of the Pfi ster Hotel in Milwau- Concerto of Brahms with the Nittany School and was recently inducted honorary Doctor of Fine Arts degree kee enjoy the pianism of Jeffrey Hol- Valley Symphony. He also performed into the Lyman Hall of Fame. He at the 111th Commencement Con- lander ((BMBM ’’60,60, MMMM ’’61),61), wwhoho hhasas with his wife, soprano Theresa V. often travels around the country as vocation of North Park University played the 7-foot grand in the hotel’s Smith, at West Virginia University, an instrumental music adjudicator. in Chicago on May 8. She continues lobby lounge for 22 years. Jeffrey has Morgantown, and Interlochen, Michi- her associations with Lyric Opera of retired as a professor at the Univer- gan; and at universities in Illinois and After a Grand Pause, Steve Toback Chicago and the Chicago Symphony sity of Wisconsin, but still performs Ohio, with tenor Richard Kennedy. (BM ’58, trumpet) and Mary Orchestra, and is in charge of the col- almost nightly at the hotel, which has Newton Zweig (BM ’59, double laborative piano program at North- released a CD of his playing. He does Philip Swanson (BM ’62, MM ’64) bass) decided to take the repeat in western University’s School of Music. do requests, sometimes for famous received the National Service Award 2003 in Monterey, California. people: Doc Severinsen asked for from the National Flute Association Percussionist Bill Cahn (BM ’68) “Embraceable You,” and recently Sir (NFA) at its recent convention in Carol Dawn (Moyer) Winkelman recently completed his fourth visit as Paul McCartney and his wife asked for Nashville. Philip, who was one of the (BM ’58, MM ’59) sang Bernard Artist-in-Residence at Showa College “their song,” “The Very Thought of You.” founders in 1972, is only the second Rogers’ Three Japanese Dances with of Music and the Arts in Kanagawa, person in its history to receive this the North Carolina School of the Japan, October 3–16. The residency Helene Lederman Levin (BM ’69) award. Having retired from the fac- Arts Wind Ensemble, directed by consisted of workshops, master classes, writes: “After teaching general music ulty of Northern Arizona University James Kalyn (DMA ’92) on May 16 private lessons, rehearsals, and a con- for 31 years, I recently retired from in 2000, he and his wife, Helena, in Winston Salem, NC. She was the cert featuring Bill’s compositions. the White Plains (NY) City School now reside in Tucson, AZ, where he soprano in the original recording District, White Plains, NY, and continues to teach privately, pres- with the Eastman Wind Ensemble, Emma Lou Diemer (PhD ’60) moved to Sarasota, FL. I am now ents occasional solo and chamber directed by Frederick Fennell, for has recently completed chamber singing with the Key Chorale, the music recitals and master classes, Mercury Records. music commissions for Curvd Air offi cial chorus of the West Coast and rehearses and performs with in Sacramento; the Essex Chamber Symphony Orchestra, and enjoy- fl ute choirs of the Tucson Flute Club Players in Andover, MA; North/ ing being the grandmother of seven- (an organization he founded while a 1960s Consonance in NYC; and a major month-old Emma Elizabeth Levin!” faculty member at the University of work for chorus and orchestra for Arizona in the early 1970s). William Anderson (BM ’63, the San Francisco Choral Society for This spring, McLean Mix (also MM ’64) became president of a 2005 premiere. Her Concerto in known as Barton and Priscilla the 6,000-member Ohio Music One Movement for organorgan and cham- McLean, both MM ’66) completed a 1970s Education Association on July 1, ber orchestra was recently recorded record number of concerts, installa- 2004. He will serve a two-year term. by Marilyn Mason and the Czech tions, and residencies during a 5000- Last June, J.T. Aldredge (BM ’74, National Symphony for release on mile tour of university venues in the MM ’75), of Boston. MA, was certi- In October, Donald Barra (BM ’61) Albany Records, and will join about Northeast, Midwest, and Southwest fi ed by the International Association led the opening concert of his fi nal 20 of her works listed on the Borders United States. Their concert, CONTINUED ON PAGE 37

34 Eastman Notes | December 2004 ALUMNI NOTES

Eastman alumni on CD

Concert in the two LPs Knaub made with pianist Barry Sny- and the new Blue adds a guitarist (Chuck Garden, the latest der in the ’60s and ’70s on the Golden Crest Loeb) to the mix. Producer Gary Guthrie CD by Maria label—works for bass trombone and piano writes, “While the bass (Paul Chambers) in Schneider (MM ’85) by Alec Wilder, Donald White, Halsey Ste- the original 1959 lineup played a valued role, and her Orchestra, vens. The digital transfer of the album was he was never set free to solo and air it out. was released in made by another Eastman alumnus, Robert In my opinion, David’s enhancements may be July to rave reviews. Kraft (BM ’60). worth the price of the CD alone—especially Maria’s impressionistic, Latin-tinged music his hair-raising bowed solo at the end of A. Oscar Haugland was described by The Los Angeles Times “Blue in Green.’” (DMA ’56)—now as “like no other in the jazz world … the professor emeritus No Sale Value (or expression of a mature and complex musical at Northern Illinois N$V if you prefer) mind,” and the Washington Post’s Terry University—just offers “Mind-bend- Teachout suggested that her Bulerias, Soleas, released two discs ing logic. Soulful y Rumbas deserved a Pulitzer Prize. Concert of his own composi- melodies. Body in the Garden is available only from tions, Door County Suite and Petite Suite for shaking grooves.” www.mariaschneider.com—Maria’s new my Grandchildren, both performed by pia- Not to mention website is powered by ArtistShare. nist William Goldenberg. The fi rst suite gives several Eastman alums: the group’s founder Kate Light (BM ’80, impressions of different businesses in Door Pat Donaher (BM ’97); Joshua Valleau (’00); MM ’82) collabo- County, IL—shops, restaurants, and lodg- Chris Vatalaro (’00); and Tim Albright (’98), rated with composer ings; the second translates into music the all seeking to merge “high ideals and pop Bruce Adolphe on personality traits of Blaz, Zarja, Kelly, Amelia, culture, their conservatory training, and what Oceanophony, com- Solveig, and Anders. they heard on New York’s high octane dance missioned by the La scene.... Breakbeat, funk, nu-bop, livetronic, Heidi Lowy (MM ’73, Jolla Chamber Music avant-garde—No Sale Value at once PC ’74) has recorded Society to celebrate the 100th anniversary of embraces and defi es all conventions.” For two cornerstones the Scripps Institute of Oceanography. The more information visit www.nosalevalue.com. of the piano reper- 45-minute piece, with poems and other texts tory—the complete Guitarist Matthew by Light, has been performed by the Cham- sonatas of Mozart Ardizzone (DMA ’97) ber Music Society of Lincoln Center and the (Musical Heritage sends along Los Angeles Chamber Orchestra, and is now Society, 6 CDs, also available separately on two recent CDs available at www.pollyrhythm.com. Musicians Showcase), and the complete featuring his playing, Jeff Beal (BM ’85) piano works of Ravel (Bayer, 2 CDs). Both Mazurka! and won an Emmy have been warmly reviewed: Fanfare called Duo Forza (with last year for his her Mozart “beautifully executed,” and violinist Movses Pogossian, music by Paganini, theme for the USA reviewer Donald Satz praised her “abundant Rossini, Ibert, Piazzolla, and others). Matthew Network show drive” and “emotional depth” in Ravel. adds, “Mazurka! was the result of my Monk—now it is doctoral studies at Eastman (specifi cally, my In the last issue available, along with lecture recital topic).” The CD won a 2001 of Notes, bassist 30 other musical tracks Beal wrote for the Crystal Award of Excellence (Communicator David Finck (BM ’80) show, on a soundtrack CD (Varese Sara- Awards). Both CDs are available from announced that he bande). It includes a 2½-minute arrangement www.matthewardizzone.com. was one of several of the Monk theme, which Adrian Monk will jazz musicians work- In October, Albany Records released a undoubtedly enjoy playing while he cleans ing on A New Kind of two-disc set of six major chamber works his apartment yet again. Blue—a contemporary rethinking of the clas- by Dan Locklair, DMA ’81 (TROY 701-02; Donald Knaub (BM ’51, MM ’61), former pro- sic Miles Davis album for 1959, Kind of Blue. for information see www.jamesarts.com/ fessor of tuba and trombone, announces the The CD was released in June. Grammy-win- releases/sept04). This set joins Albany’s release of Retread, a digital remastering of ning trumpeter Randy Brecker “plays” Miles, CONTINUED ON PAGE 36

December 2004 | Eastman Notes 35 ALUMNI NOTES

CONTINUED FROM PAGE 36 Fusco (BM ’81), Thomas Sperl (BM ’84), Bryan Renée Fleming’s Dumm (BM ’84), Molly Fung-Dumm (BM ’86). (MA ’83) latest Decca previous release, Dan Locklair: Orchestral Panoramicos is available from the Eastman release, a collection Music (Troy 517), which England’s Music & School Bookstore, or by e-mailing of Handel arias, was Vision Daily called “a signifi cant release … Musicalligraphics at [email protected]. released in plenty of vibrant, life-affi rming music with wide appeal time for her Decem- and solid craft.” Shared Spaces (Equi- ber appearance at librium EQ 68) wins Laura Mann (BM ’65, the Met in that composer’s Rodelinda. Flem- this issue’s award MM ’72) has just ing is accompanied by Harry Bicket and the for Most Eastman released The Joy of Orchestra of the Age of Enlightenment; the Alumni on a Single Christmas, a col- program includes the fi rst recording of an Release. This collec- lection of favorite aria from Lotario. tion of contempo- holiday songs like rary music for horn, percussion, clarinet, and Philip Wilder “The First Noël,” winds features percussionist John R. Beck (BM ’90), member “Gesu Bambino,” and “O Holy Night” in new (MM ’83) and Christopher Norton (BM ’83, and artistic adminis- arrangements by Stefan Scaggiari (BM ’68) MM ’86), hornists Lynn H. Beck (BM ’84) trator of Chanticleer, and interspersed with Biblical readings and Leslie Norton (BM ’84), clarinetist Kelly can be heard on the (Lightlam Music 1225). Burke (BM ’82, MM ’84), and conductor ensemble’s latest The reissue of clas- James Kalyn (DMA ’92). Among the pieces on release, How Sweet sic American works the CD is a Divertimento for Wind Quintet the Sound, a collection of hymns, gospel by David Diamond and Percussion by longtime Eastman faculty songs, and spirituals. (Assistant Professor of (NA ’37) conducted member and Professor Emeritus Verne Reyn- Musicology Roger Freitas is a former mem- by Gerard Schwarz olds. The title work, by Lynn Glossock, was a ber of Chanticleer.) Wilder was featured in continues, most 2000 co-commission by six horn and percus- a September 18 NPR Weekend Edition piece recently with two of sion couples, including the Becks, the Nor- about the album and one of its songs in par- Diamond’s most impressive symphonies, tons, Robert (DMA ’98) and Julie Bridge, and ticular, “Jesus Hits Like an Atom Bomb,” writ- nos. 2 and 4, with the Seattle Symphony D. Thomas (DMA ’00) and Christina Toner. ten in the late 1940s by Lee McCullum. (Naxos 8.559154). Samuel Adler, Winter (Albany Greg McCallum composition TROY 670), a new CD (MM ’90)’s Southern department chair by trumpeter Chris Quilt (MSR Classics for many years, has Gekker (BM ’76), is a MS 1092) is a tribute a good chunk of his program of music by to southern compos- work represented on two other members ers and southern a recent Naxos CD: of Eastman’s Class culture, with music his Symphony No. 5, We Are the Echoes, and of ’76: Eric Ewazen and David Snow. The by Gottschalk, Kenneth Frazelle, William two vocal works, Nuptial Scene; The Binding, program includes Ewazen’s Three Lyrics, Ele- Grant Still, and Frederick Rzewski, among along with Sephardic choruses and liturgical gia, Elizabethan Songbook, Aftershock, and others. The booklet cover represents south- works (Naxos 8.559415). The CD, part of the Hymn for the Lost and the Living, and two ern culture too—an original quilt design by label’s Milken Archive of American Jewish suites by Snow, Winter and A Baker’s Tale. Durham, NC fi ber artist Susan E. Brown, com- Music, demonstrates Adler’s continuous missioned by McCallum. involvement with Hebrew liturgy and Jewish themes. Adler himself conducts his Margi Griebling-Haigh (BM ’82) just released symphony, and Eastman involvement is high, ➤ Some other alumni CDs are mentioned in Panoramicos, a CD of mixed chamber music. with vocal and instrumental contributions the “Alumni Notes” section of this issue. Her compositions La Bergére des Brises for from current DMA student Ted Christopher, fl ute/piccolo, oboe/English horn, and piano, Do you have music or performances on a Freda Herseth (MM ’79), Margaret Bishop Hebert Variations for piccolo and piano, and recent or forthcoming CD? Notes wants to Kohler (MM ’89), Barbara Harbach (DMA ’81), Bocadillos Panoramicos for viola and piano, know! Send promo copies to Eastman Notes, and current faculty members Bonita Boyd are included, along with works by David Offi ce of Communications, Eastman School and George Taylor. Morgan and Erwin Schulhoff. Performing on of Music, 26 Gibbs Street, Rochester, NY the CD are fellow Eastman alumni Randall 14604; or just alert us that it is available.

36 Eastman Notes | December 2004 ALUMNI NOTES

CONTINUED FROM PAGE 34 appeared in an interactive family con- is Dance for Four Drums, premiered ducted the Lehman College and of Culinary Professionals (IACP) in cert in Lincoln Center’s Mostly Mozart in August at the Central Wisconsin Community Chorus and Orchestra the Certifi ed Culinary Professional Festival, which included music by Saint- Children’s Museum in Stevens Point. in two semi-annual concerts in the (CCP) certifi cation program. The Saëns, Rimsky-Korsakov, and Kapilow’s He delivered a paper called “Music Lehman Concert Hall. CCP credential globally distinguishes own chamber work And Furthermore and Local Government” to the 15th top chefs, authors, educators, and They Bite. For adults, Kapilow pre- Conference on the Small City and David Myers (MM ’73), associ- professionals who have achieved sented one of his famous “What Makes Regional Community on September ate director of the Georgia State a high level of knowledge, leader- It Great?” programs on Mozart’s 30 at the University of Wisconsin, University School of Music, received ship, experience, and professional- “Jupiter” Symphony (also just out on an Stevens Point. He has a music review the Outstanding Faculty Scholarship ism within the realm of culinary Artemis records CD). His most recent in the fall 2004 issue of Multicultural Award for 2004 from the University’s arts. J.T. currently works at the Omni concert work, Summer Sun, Winter Review, and also performed on per- College of Arts and Sciences. Dr. Parker House in Boston, and recently Moon, a choral symphony on the Lewis cussion and piano at the University Myers is the founding director of the received an Honorable Mention and Clark Bicentennial, was com- in Stevens Point in September. Center of Education Partnerships in Culinary Academics from the missioned by orchestras in St. Louis, in Music, a national research and Cambridge School of Culinary Arts. Kansas City, and Louisiana, and first John McKay (MM ’75,’75, DMA ’78) resource center that fosters collabo- performed September 19 in Kansas. recently retired after teaching piano rations among the University, arts Jeffery Briggs (BM ’70) and and history for 28 years at Gustavus organizations, and school, and pro- Deborah Plutzik BriggsBriggs (BM ’80), Louis Karchin (BM ’73) contributed Adolphus College, St. Peter, MN. He vides opportunities for Georgia State who met at Eastman in the late 1970s, a new work to Paul Auster: Poetry and is also the founder and director of students to interact with professional both had a noteworthy year. Deborah Music, presented at the New York’s a summer series called Minnesota musicians and peers in a variety of was named among Maryland’s Guggenheim Museum on Septem- Valley Sommerfest, which celebrated projects. Dr. Myers also serves as Top 100 Women for 2004, and Jeff ber 11 and 12. The noted novelist its 15th year of continuous concerts director of Graduate Studies and of was named 2003 Ernst and Young read from his recent Collected Poems, this summer. John and his wife Sara the music education PhD program Maryland Entrepreneur of the Year and the musical program included (Sally) recently celebrated their 40th for the School of music. for Software. new vocal pieces by Karchin, Mil- wedding anniversary. ton Babbitt, Lee Hyla, Roger Rey- In June, Monte Keene Pishny-Floyd On the Jewish Holy Day of Yom nolds, and Charles Wuorinen. There On October 1, Chief Warrant Offi cer (PhD ’72) presented a paper on Kippur, October 25, Cantor Jay was a defi nite Eastman emphasis Kenneth W. Megan, Jr. (BM ’73) “Arnold Schoenberg’s Brilliant Moves” Frailich and the choral forces of among the singers, who included was appointed director of the United at the Schoenberg Center in Vienna. University Synagogue of Brentwood, baritone Thomas Meg- States Coast Guard CA, premiered We Remember Them, liorianza ((MMMM ’’95),95), Band—only the sixth Edwin A. Rieke (DMA ’75), organist by Michael Isaacson (PhD ’73). mezzo-soprano Mary in its 80-year his- and director of music at St. Mark’s The work is a choral memorial for Nessinger (MM ’90), tory. Megan joined the Episcopal Church, San Antonio, TX, three noted Jewish fi lm composers and soprano Lucy Coast Guard Band in played a recital on October 3 at San who passed away during the sum- Shelton, who was a vis- June 1975. Megan has Antonio’s University United Method- mer of 2004: Jerry Goldsmith (The iting assistant professor been the Band’s assist- ist Church. The program included Omen, The Boys from Brazil); David of voice in 1979. ant director, director works of Bach, Bruhns, Dupre, Phil- Raksin (Laura), and Elmer Bernstein of public information, lips, Vierne, and Bourgeois. (To Kill A Mockingbird, The Ten Frederick Koch radio producer, and Commandments). “I wanted to fondly (DMA ’70) was supervisor of its popu- Jazz pianist and composer John express how important their musical nominated as a dis- lar Young People’s Con- Serry (BM ’75,’75, MM ’90), who has example was to so many of us in the tinguished alumnus Kenneth W. Megan, Jr. certs and Recital Series. relocated from New York to London, professional community, and to me by the Cleveland In 1989, Megan set up now teaches lessons and an ensem- personally,” said Isaacson. Institute of Music. Koch’s Triptych the fi rst tour of an American military ble class at the Royal Academy; he for chamber orchestra with piano band in the Soviet Union—and con- also performs frequently in London. Robert Jesselson (MM ’79), pro- was premiered by the Cleveland ducted a joint performance of Sousa’s fessor of cello at the University of Chamber Symphony, and he and “Stars and Stripes Forever” with the This October, Michael David South Carolina, just returned from baritone Andrew White gave con- Leningrad Military District Band. Shemancik ((BMBM ’’79),79), a mmusicusic tteachereacher two months’ teaching and perform- certs of his songs at Baldwin-Wallace at Pittsford Sutherland (NY) High ing in South Korea and Taiwan. In Conservatory and Akron State Diana Mittler-Battipaglia School, traveled to Japan and Okinawa December 2003, The New York University. The Cleveland Museum (DMA ’74) celebrated her 25th sea- as part of a program sponsored by the Times featured an article by Bernard of Art sponsored a concert of his son as pianist and director of the Japanese government aimed at get- Holland on “Pulling Strings to Get music on June 23. Koch recently was Con Brio Ensemble. This season’s 14 ting educators from the United States Violins Back in Children’s Lives,” also guest composer at Principia concerts included performances at to study the country’s culture and about Jesselson’s USC String Project, College in Elsah, IL, where his the Donnell and Flushing Libraries, education system. Shemancik trav- which is the national model for 36 daughter graduated, and recently Lehman College, and in Queens, eled to Japan with the Eastman Wind other String Projects at universi- received a grant from the Bascom Nassau, and Suffolk Counties, featur- Ensemble while a student here. ties around the country. Jesselson Little Fund of Cleveland to assist him ing trios, sonatas, and vocal works will teach this summer at Killington in bringing out a new CD. by Beethoven, Schumann, Dvorˇák, The Trombone Concerto by Jeff Tyzik Music Festival and at the North Grieg, Schoenberg, and others. She (BM ’73, MM ’77) was on the open- Carolina School of the Arts. Geary Larrick (MM ’70) has pub-pub- also appeared as guest artist with ing program of the Hartford (CT) lication references from 1987 to the Lehman Woodwind Quintet in Symphony Orchestra’s 2004–05 sea- Rob Kapilow ((MAMA ’’77)77) ccontinuesontinues ttoo 2003 in Répertoire International November, performing works by son, performed by HSO principal spread the word about great music de Litterature Musicale (RILM) Mozart and Roussel. During the David Garcia with music director to kids and parents. This summer he Abstracts. Geary’s latest composition 2003–04 academic year, she con- CONTINUED ON PAGE 38

PHOTOGRAPH COURTESY UNITED STATES COAST GUARD December 2004 | Eastman Notes 37 ALUMNI NOTES

CONTINUED FROM PAGE 37 of works by Bach. I also performed Jazz vocalist Sandra Dudley Edward Cumming conducting. Tyzik 1980s the role of Roberto in a concert (MM ’85) writes that she has been wrote the concerto for trombonist version of Irma La Douce in February assistant professor of commercial Mark Kellogg (BM ’03), who gave Reuel D. Ash (MM ’81) has joined 2004, with In Tandem Theatre of voice at Belmont University since the fi rst performance in April 2003 the Cincinnati offi ce of Ulmer & Milwaukee.” 1995, and has two new recordings: with the Rochester Philharmonic Berne LLP as a senior attorney in Big Band Refl ections of Cole Porter Orchestra. the fi rm’s Bankruptcy and Creditors’ Wind, the Colliding Sound of Time (Summit) and her fi rst solo project, Rights and Business Litigation (2003), by Gordon Chin (MM ’84, Close to You (Bella). More informa- Chris Vadala (BM ’70), directordirector of Groups. In addition to his law prac- DMA ’89), was performed by cellist tion is at www.sandradudley.com. jazz studies and professor of saxo- tice, Ash is on the board of directors Felix Fan and percussionist She-e phone at the University of Maryland, of the Cincinnati Chamber Music Wu at the Taipei Cultural Center’s As always, soprano Renée Flem- is listed in John Laughter’s book The Society, where he has been program annual “Taiwan Connection” con- ing (MAS ’83) headlined some History of the Top 40 Sax Solos (1955– director since 2002. cert at Alice Tully Hall on June 18. high-profi le musical events in the 1998) and Lewis Porter’s Encyclopedia New York Sun reviewer Adam Baer past few months. Two of the most of Jazz. A frequent performer with Jeff Beal (BM ’85) scored the doc- described the work’s prominent were the the National and Baltimore sympho- umentary The Buried Secret of M. style as “an aesthetic Philadelphia Orches- nies, he’s also conducted 33 All-State Night Shyamalan, which aired on that makes music into tra’s Richard Strauss Jazz Ensembles in the past 10 years. the Sci-Fi network on July 18. Music poetry … Ms. Wu program at Carnegie from Beal’s Emmy-winning Monk kicked a bag of ping- Hall (she sang the Four Eden Vaning-Rosen (MM ’72) has soundtrack is now available (see pong balls abruptly Last Songs, conducted just published From Rote to Note, the “Eastman Alumni on CD,” page 35), open and dropped an by Christoph Eschen- 19th book in her series of Step-by- and a soundtrack from the HBO Oriental fan onto the bach) on October 6; Step Method Books for Violin, Viola, series Carnivale should be released in fl oor, threw a bowl and the fi rst Metropoli- and Cello (Ebaru Publishing, www. late 2004/early 2005. of rice pebbles onto a tan Opera production ebaru.com). It presents an innova- drum, and blew into of Handel’s Rode- tive approach to learning to read Todd Beaney (BM ’85) is teach- wine bottles. But this linda, which opened notes for students of both the Suzuki ing music at Rye (NY) Middle/High wasn’t postmodern in December. Renée’s and traditional methods. School, and is music director at shtick: rather, the effect was like a book, The Inner Voice: The Making of Wilton Baptist Church in Wilton, CT. poem being read by different voices.” a Singer, was published in November Michael Walsh (BM ’71) writes, His new CD, Higher Ground, features by Viking. (See also “Alumni on CD,” “Thought you might like to know that new arrangements for violin and Jonathan Dubay (BM ’85) is in his page 36.) my latest novel, And All the Saints, piano of hymns and worship songs; eleventh season as a member of has been named a winner of the order from [email protected]. the Oregon Symphony. He recently Joseph Gilman (MM ’87) was one of 2004 American Book Award. The released his fi rst CD, the 44 Duos fi ve fi nalists in the Great American novel, published in 2003, is the fi c- Diane Bishop (BM ’83) and Robin for Two Violins by Bela Bartók, on Jazz Piano Competition in April in tionalized ‘autobiography’ of the last Stamper (BM ’81) performed on the DoubleStop label. Jonathan’s Jacksonville, FL. The event kicked off great Irish gangster in Prohibition the Orlando (FL) Philharmonic two children, ages 2 and 5, inspired the 2004 Jacksonville Jazz Festival. New York, Owney Madden.” Orchestra’s Sounds of Summer series him to write, produce, and perform on June 24. Diane is principal bas- with the Tears of Joy Theatre in a Margi Griebling-Haigh (BM ’82) John Ward (BM ’75) of Blue Hill soonist of the Orlando Philharmonic, family puppet show entitled The recently published several cham- Congregational Church, Bangor, ME, and Robin is employed by the Wooden Boy at the Portland Center ber works: The Windrush Madrigals has passed with distinction the asso- Orlando Opera as music supervisor for the Performing Arts. The show and Kajalamagee are published by ciate examination of the American and chorus master. They performed combined Bartók’s violin duos with Jeanne, Inc.; and Hebert Variations Guild of Organists. Ward, a member an aria from Mozart’s Abduction from Hungarian and Rumanian folk tales. and Bocadillos Panoramicos are pub- of the Guild’s Bangor Chapter, also the Seraglio, transcribed for bas- It was funded by a grant from the lished by Musicalligraphics. (See also won the Associateship Prize for high- soon and piano by Barrick Stees Oregon Symphony and the John S. “Alumni on CD,” page 36.) est score on that examination, along (BM ’81). The Executive Director and James L. Knight Foundation. with the S. Lewis Elmer Award for of the Orlando Philharmonic is yet Michael Kissinger (DMA ’89) cel- the highest overall score on any of the another Eastman bassoonist—David ebrated the seventh anniversary of upper-level exams given by the organ- Schillhammer (BM ’87). the Vancouver (WA) Wine & Jazz ization. Ward works extensively as an Festival, which he founded in 1998. organist, pianist, conductor, singer, Elizabeth Blades-Zeller (MM ’84, An August 25 article in The Oregonian composer, theater artist, and teacher. DMA ’93) visited the University of quoted Kissinger, and featured the Rhode Island on October 23 to give Festival as an event central to the Robert Weeks (BM ’77), of St. a seminar for singers on the benefi ts continuing renaissance of downtown Albans, VT, competed in the Van of the Feldenkrais Method, “Singing Vancouver. Cliburn Piano Competition for with the Whole Voice.” Outstanding Amateurs—the only Mark Laubach (MM ’84) was the competition in the United States Robert Carroll (BM ’87) writes: subject of a profi le in the Wilkes- open to pianists 35 or older whose “Though a clarinet major while Barre (PA) Times Leader, focusing primary source of income is not in school, my ‘second career’ as a on his 18-year career as minister derived from the piano. Weeks was vocalist has suddenly emerged. I was of music at St. Stephen’s Episcopal one of 75 contestants chosen to per- the bass-baritone soloist with the Church in Wilkes-Barre. Mark— form in the three-round competition, Milwaukee Symphony Orchestra Jonathan Dubay and whose father and two uncles are which began May 31. and Chorus in May 2004 concerts The Wooden Boy Lutheran pastors—is also an adjunct

38 Eastman Notes | December 2004 PHOTOGRAPH COURTESY JONATHAN DUBAY ALUMNI NOTES

faculty member at Marywood include Cowboys, Indians, Bears, and University, teaches organ students, Whips—Folk Songs of Gay America and gives private organ lessons. (Boston Gay Men’s Chamber Chorus, February), and a bassoon sonata Mezzo-soprano Ava Baker Liss (with Felicia Foland). For informa- (BM ’86) presented the West Coast tion, score samples, and audio fi les, premiere of the 35-minute song visit www.leoschwartz.com or con- cycle Songs of Love and Sorrow, by tact Leo at [email protected]. composer-pianist David Burge (DMA ’56), at two Southern Daniel Nathan Spector (BM ’84) California venues: the Mingei combined piano playing and acting International, in San Diego, and in his performance as Mitch Albom the Athenaeum, in La Jolla. The in Tuesdays With Morrie, a stage adap- November programs also featured tation of Albom’s popular book pre- other new works by Burge, published sented at the Laguna Playhouse in by C.F. Peters Corporation. California in September. Daily Variety called Daniel’s performance “impres- Composer Dan Locklair (DMA ’81) sive … his steadily evolving compas- had a number of important premieres sion is fully believable.” earlier this year. His symphony for chamber orchestra, In the Autumn Mezzo-soprano Allyn Van Dusen (MA ’84) as Count Orlofsky in the Bassist Bob Stata ((BMBM ’’84,84, MMMM ’’85)85) Days, was performed by the Lake Rochester Opera Factory production of Johann Strauss’s Die Fledermaus. was featured in the “First Person” sec- Superior Chamber Orchestra on June tion of the Rochester Democrat and 24 in Duluth, MN. His Salem Sonata, but with one stanza in modal SATB Central Florida Cultural Endeavors Chronicle in October. He wrote of his premiered in March by organist harmony, and is very accessible for series. The group is quartet-in- experience fi ghting a brain tumor, Peter Sykes, was recorded for Raven; the average parish choir.” residence at Victoria University, diagnosed in 2003. Bob continues to and a new organ work, In Mystery Wellington, and often acts as New play in the Mambo Kings and give and Wonder, was commissioned by Tom Nazziola (BM ’88) writes: “I Zealand cultural ambassadors. music lessons in his home; his second Casavant Frères for the company’s recently composed a choral work, CD, Get This, was released in May. 125th anniversary, and performed Another Spring, which received a Ed Reid (BM ’82, MM ’87), trumpet worldwide on November 13–14. world premiere by VocalEssence of instructor at the University of Ari- Jeff Stockham (MM ’82) spent a His organ piece “The Peace May Minnea polis in October. My ensem- zona, will take 18 trumpet and other busy summer leading and perform- Be Exchanged,” from Rubrics, was ble, The BQE Project, is currently brass, students, percussionists, and a ing throughout New York State played at the Washington National touring the East Coast with live per- conductor to Bangkok, Thailand, to with his Civil War brass band, the Cathedral funeral service for former formances to James Whale’s Frank- compete in the International Trum- Excelsior Cornet Band. The band President Ronald Reagan. As Bright as enstein, featuring a new score which pet Guild Competition in summer performs authentic Civil War brass Lightning: The Hymns of Dan Locklair I composed earlier this year. I will 2005. Last year, 13 of Reid’s students band music on original 1860s-period was recently published by Zimbel also premiere a new score to Sherlock went to Fort Worth, TX, as the fi rst brass instruments drawn from Jeff’s Press. For more information on Dan’s Jr. (a Buster Keaton fi lm) at Lincoln UA students to compete as a trum- collection. Jeff has also been actively music, visit www.locklair.com. (See Center later this fall. For more info pet ensemble. Reid is also principal performing as solo E-fl at cornet in also “Alumni on CD,” page 36.) visit www.thebqeproject.com.” trumpet of the Tucson Symphony concerts and reenactments with the Orchestra and a member of the New Federal City Brass Band of Baltimore, Bryan McElhaney (BM ’88) and Miles Osland (MM ’87), currently Sousa Band. one of the nation’s premier Civil Carla Budzian McElhaney (BM ’89) director of jazz studies and profes- War brass bands. In many of these look forward to the birth of their sor of saxophone at the University of Award-winning composer and con- concerts, he has performed Joseph second child in March 2005. Bryan Kentucky, recently returned from a ductor Maria Schneider (MM ’85) Kuffner’s 1823 “Polonaise for Keyed and Carla are both on the faculty of two-week stay at the Conservatorio headlined the Cornell Jazz Festival, Bugle,” utilizing an original 1820s Baldwin-Wallace Conservatory in de Tatui in São Paulo, Brazil, as an joining the Cornell Jazz Ensemble on keyed bugle from his collection. Berea, OH. artist-in-residence. While in São May 1 and leading a reading session Paulo, Professor Osland taught saxo- of student composers’ charts on May Keith Thomas (BM ’88), principal Leslie Odom Miller (MA/DMA ’89) phone technique, improvisation, 2. Maria’s involvement in ArtistShare. oboe of the Spokane Symphony, writes, “I’m starting my 16th year and jazz technique master classes. com—the only place where her was featured with other orchestra as associate professor of oboe and Osland also traveled to Jau, a rural acclaimed new album, Concert in the soloists in an October 8 performance music theory at the University of city near the birthplace of the great Garden, is available—was the sub- of Haydn’s Sinfonia Concertante. An Florida. I am also the coordinator of soccer star Pele, for an outreach ject of an interview in the November artist-clinician for Jones Double graduate studies. Kenneth (Kenny) clinic and performance with the 2004 Down Beat. (See also “Alumni Reed Company, Thomas also plays Virgil Miller was born October 10, Experimental Jazz Orchestra at the on CD,” page 35.) organ and harpsichord, serving as 2003. We are truly enjoying our new “Sound Station” music school (a con- organist at the Cathedral of Our Lady addition to our family!” verted train station). Leo Schwartz (BM ’80) has just of Lourdes. begun Composer, a newsletter Karl E. Moyer (DMA ’80) writes: “I Violinist Helene Pohl (BM ’85) was about his work and performances. The High Desert Museum, Bend, have published a new setting of the featured with her colleagues in the Featured in the fi rst issue is his OR, presented the cantata We Have English carol This the Truth Sent from New Zealand String Quartet in an choral work A Splash of Christmas, Spoken—Voices from Native America Above, GIA-G6140. It largely involves article in the Daytona Beach (FL) for male chorus and piano or wind by Clyde Thompson (BM ’84), a set- melodic materials in the voice parts News-Journal, before a concert in the ensemble. Upcoming premieres CONTINUED ON PAGE 40

PHOTOGRAPH COURTESY ROCHESTER OPERA FACTORY December 2004 | Eastman Notes 39 ALUMNI NOTES

CONTINUED FROM PAGE 39 wife Marci Rubinoff are the proud Department at SUNY at Binghamton, Eric Fung (BM ’97, MM and ting of words of Native Americans parents of Zachary, who was born in in conjunction with his status as MA ’99) was featured in the March from the pre-Columbian era to the July 2003. professor of organ and artist-in- 2004 television documentary series end of the 19th century. Having residence, Edwin Link Endowed Young Chinese Musicians, produced recently retired from nine years “Lamy Resident Combines Art and Chair. Biggers has been on the by Radio Television Hong Kong. of service as Central Oregon Empathy,” a September 8 profi le in SUNY-Binghamton faculty since (Also interviewed were piano profes- Community College’s professor the Santa Fe New Mexican, focused 1992, and has an active career as a sor Natalya Antonova and theorytheory of music, director of the Cascade on Bill Williams (BM ’87), princi- concert artist and workshop/master professor Steven Laitz.) In April Chorale, and director of the Central pal trumpet of the Santa Fe Opera, class presenter in the United States 2004, Eric performed Saint-Saëns’ Oregon Concert Band and College who has also played in orchestras in and Europe; he is also active as a Concerto No. 2 in G Minor with the Choir, Thompson now dedicates San Diego, Syracuse, Barcelona, and consultant for organ projects in the Hong Kong Philharmonic Orchestra his time to composing; other recent Berne. Bill has also earned a doctor- United States. conducted by Matthias Bamert, works include commissions for the ate in psychology, concentrating on and on May 22, he made his New centennial of the First Presbyterian stress and how we react to it. Bill In September, Philip Carli (MA ’90, York solo debut at Carnegie Weill Church of Bend, for the opening and his wife Margot—also a trum- PhD ’03) joined forces with fellow Recital Hall, playing Bach’s Goldberg of the Tower Theater, and for the peter—recently accepted positions silent fi lm accompanist Sebastian Variations and Beethoven’s Bagatelles Cascades Theatrical Company. in the San Francisco Symphony, and Birch to play for several German and Eroica Variations, Op. 35, praised will return to Lamy in the winter. and Japanese silent movies by by critic Harris Goldsmith in New Mezzo-soprano Allyn Van Dusen F.W. Murnau and Yasijuro Ozu York Concert Review. (MA ’84), a senior paralegal in a “Diane and Laura”—a duo consist- at the Cleveland Museum of Art Rochester fi rm with a primary area ing of harpist Laura Zaerr (MM ’86) and the Cleveland Institute of Art Samantha George (BM ’92, of expertise in commercial real and fl utist Diane Hawkins—opened Cinematheque. Philip also accom- MM ’93), associate concertmaster estate, continues to teach and to per- Oregon State University’s Music à la panied silent comedies by Buster of the Milwaukee Symphony, was form widely in the Rochester area. Carte concert series on September Keaton and Stan Laurel on October 2 a fi nalist for the job of concertmas- She recently completed a run in 30. The duo also has a holiday CD, in Massillon (OH). ter of the Oregon Symphony in May. the ensemble cast of Geva Theatre’s Wol-cum Yole. She was one of two fi nalists chosen production of Camelot, and next Chindarat Charoenwongse from 11 candidates. year will perform at the Hochstein (DMA ’93) conducted a piano work- School and in the Strong Museum’s 1990s shop and master class for teachers David Hamilton (MM ’97) was Making American Music series. Allyn and students in the Alfred Publishing named interim principal at recently played Count Orlofsky in Marci Alegant (MM ’95) was Method in Bangkok in July. Churchville-Chili (NY) Junior High the Rochester Opera Factory produc- recently appointed associate dean School, where he has also served as tion of Johann Strauss’s Die Fleder- for student academic affairs at the On September 20, pianist Tracy director of music and performing maus. The October production also Oberlin College Conservatory of Cowden (MM ’95, DMA ’00) took arts and director of student perfor- included alumni Danielle Frink Music, where she has been assistant part in the fi rst faculty-guest recital mance. David is currently work- (MM ’99), Laura Enslin (MM ’01), dean for three years. Marci is an at the Virginia Tech School of the ing on a second master’s degree, in and JJ Hudson (DMA ’04), con- active choral conductor and singer. Arts. She accompanied mezzo- educational administration, from ducted by Gerard Floriano (MM ’86, Husband Brian (PhD ’93) is a profes- soprano Katrina Zook in Dutch, Canisius College. DMA ’95). sor of music theory at Oberlin. Their English, and American folk and art son Jordan, now 16, is a talented songs. In May, Heath Hendershot (BM ’90, Jeffery Watson (MM ’88) is per- musician, athlete, and negotiator. MA ’99) assumed the job of prin- forming widely throughout the Bruce Diehl (double BM ’90) cipal of Oxford School, Oxford, Americas as the pianist of the popu- Laura Barron (BM ’90) now resides writes that he and his wife Diane CT. Hendershot had previously lar tango group QuinTango. He’ll in the mountains of Flagstaff, AZ, “welcomed their fi rst child, Jeremy been principal of the William H. also be soloist in Falla’s Nights in with her husband Geoff, where David Diehl, into the world on Batchelier School in Winstead, CT. the Gardens of Spain with the Pan she has been the fl ute professor at May 19, 2004. Jeremy and the American Symphony in February. Northern Arizona University since entire family are surviving the fi rst Gregory Jones (DMA ’92) recently 2001. She also frequently tours the few months by listening to the toured China for a second time Dave Wiffen (MM ’88) is currently United States and Canada giving Baby Vivaldi CD, featuring several with solo recitals and master classes teaching saxophone at his other alma recitals, master classes, and yoga Eastman alums including Tom at Tainjin Conservatory, Nanjing mater, Wilfred Laurier University, workshops for musicians. Recently, Nazziola (BM ’88), Aaron Drake Conservatory, Weifan Ministry of and at the University of Western Carl Fischer published her book/CD, (BM ’90, MM ’93), and Dan Willis.” Culture, and Shandong University. Ontario. He is busy freelancing in Expressive Etudes for the Flute, which Bruce continues as director of jazz He was also a soloist with the Tianjin the Toronto area and is presently includes familiar works by Boehm, studies at Amherst College and Symphony Orchestra. Jones is a member of the Stratford Festival Andersen, and Karg-Elert, as well as director of the Smith College Jazz professor of trumpet at Truman Orchestra for the 2004 season. He lesser-known gems by Furstenau and Ensemble, which recently toured State University in Kirksville, MO, has played in shows in Toronto, Soussmann intended to be peformed the Pittsburgh area in an exchange and can be heard on his recent CD, including The Full Monty and The as concert pieces at the college and with Michael Sakash (MM ’99) and Alternate Voices: Chamber Music for Producers. Dave is a founding mem- professional level. The book/CD is his jazz ensemble at Washington & the Trumpet. ber of the New Berlin Chamber available through Flute World and Jefferson College. Ensemble, a woodwind group that most other music retailers in the Jane C. Kang (BM ’94) married plays in both classical and jazz styles. United States. Candice Dlugosch (BM ’97) recently Alexander T. Limkakeng, Jr., MD, on The NBCE has performed many con- won an appointment as hornist with September 18, 2004 in Chicago. Jane certs across Canada, and has released Jonathan Biggers (DMA ’91) has the U.S. Army Band and Chorus, is director of business development a CD called La Dolce Vita. He and his been appointed chair of the Music based in Heidelberg, Germany. at 21 CD Inc., a Durham, NC-based

40 Eastman Notes | December 2004 ALUMNI NOTES

Jocelyn Swigger (MM ’97, MA ’02, DMA ’02) was appointed assistant professor of piano at Gettysburg College, Gettysburg PA. Perhaps even more important, she appeared in an episode of the nationally-syndicated cartoon BoNanas, by her ﬁ ance, artist John Kovaleski—who proposed to her in print on July 6, 2004!

digital marketing fi rm. Alexander is Pamela (Spindler) Kuhens (BM ’93) ond violinist Gabriel Pegis in the In May, pianist Mauricio Náder an emergency medicine resident at is no longer a performing musician, orchestra’s fi rst performances of (MM ’93) appeared with the the John H. Stroger Hospital of Cook but actively seeks ways to enjoy Mozart’s Concertone for Two Violins Orquesta de Cámara de Bellas Artes, County (IL). quality live music, a challenge in and Orchestra, K. 190, conducted by Mexico City, in J.S. Bach’s Concerto the northwestern suburban areas Marin Alsop. for Four Pianos and Mozart’s Erin Kaste and Elizabeth Carter around New York City. She spent the Concerto for Three Pianos. In June (both BM ’94) announce the birth of past few years acquiring a master of The Channel Islands Chamber he appeared with the Mexico City their son Alexander Gabriel Carter social work degree and working as Orchestra, a new orchestra of profes- Philharmonic Orchestra in Mozart’s on October 29, 2003. Erin has been a research assistant in the Ossining sional and serious amateur musicians Concerto No. 21, and gave several member of the Memphis Symphony (NY) School District. Her favorite led by KwanFen Liu (MM ’98), gave recitals of music by Mozart, Castro, violin section since 1996. Elizabeth pastimes and greatest joys lie in her its fi rst performance on September Lavista, Bartók, and Mussorgsky. (Betsy) has been the MSO’s music marriage to NYC fi refi ghter Billy 19 at First United Methodist Church, librarian since 1997, and is a regular Kuhens, and raising their daughter Ventura, CA. Further concerts are Ted Nelson (BM ’95) recently sub in the trumpet section. (born June 6, 2002) and his three planned for February and May. accepted a position with the children (ages 16, 12, and 10) in a Cincinnati Symphony Orchestra, and Candela, a group of four American truly happy home. See-Yin (Oliver) Lo (MM ’96, is relocating to Ohio with his wife musicians who create jazz-based DMA ’00) was promoted to tenured Suzanne (Kibby, BM ’94). music with Japanese melodies and Shizuo “Z” Kuwahara (BM ’98) associate professor in August at East instruments, was profi led in the July writes, “I have been promoted to Tennessee State University, Johnson In the fall/winter 2002 issue of Notes, 18 Japan Times. One of the group’s associate conductor of the Virginia City. He teaches voice and vocal ped- Charles Nichols (BM ’90) was pro- members is jazz pianist Jonathan Symphony Orchestra (Norfolk, VA). agogy, and is the director of opera fi led as the creator of the vViolin and Katz (MM ’91). “I suppose we’re I recently resigned from American theatre. He and his wife, Helen, have vBow (“v” standing for “virtual”). In jazz by default, because jazz swal- University (Washington, DC) as two children (aged 4 and 1), who September, Nichols, who teaches lows up everything,” Katz was quoted. an assistant professor and music keep them busy (happily). He really at the University of Montana, cre- Candela’s latest CD, Rise Above, was director of American University misses Eastman and still thinks it is ated something else: the Mountain released in July. Symphony Orchestra. I will remain the greatest place of all! Computer Music Festival, a one- at College of William & Mary night concert of new computer On October 25, pianist Angela (Williamsburg, VA) as an assistant Becky (Van Nest) Meisel (BM ’97) music with a difference. Nichols Jia Kim (BM ’95) gave a recital in professor and music director of writes that she and her husband held it outside, creating a laid-back Centerville, IA, sponsored by the the William & Mary Symphony Cameron had their fi rst child, Clara atmosphere by encouraging audi- Centerville Con cert Association, part Orchestra. I will be conducting the Lynn Meisel, on December 8, 2003. ences to bring a lawn chair and a of a 22-concert tour throughout the Baltimore Symphony Orchestra this picnic dinner. “I want people to feel Midwest. summer in its U.S. tour, and return Nicola Melville (MM ’92, DMA ’98) free to get up and move around and to conduct the Buffalo Philharmonic was appointed associate professor enjoy themselves,” said Nichols in The Choral Society of the Hamptons next season.” of piano at Carleton College, MN. The Missoulian. “… I’ve programmed presented the world premiere She previously taught at Heidelberg the concert so that if you don’t like of The Life of Towns by Daniel Arisa Kusumi (BM ’95) and Sean College (OH). the piece you’re listening to, chances W. Koontz (BM ’92) on July 11 at Sullivan were married August 26 in are you’ll like the next one.” Bridgehampton Presbyterian Church. Asheville, NC. Arisa continues to Andrea Mikolajczak (BM ’90) The work is a musical setting of perform as a singer, appearing this writes: “Some neat news: the Buffalo Pianist Jiyoung Oh (MM ’99) gave poems by Anne Carson and was summer at the Marlboro Festival and Bills are playing a song that my a recital of music by Beethoven, commissioned by the Choral Society. last year at the Verbier Festival. buddy Chuck Duran and I wrote Chopin, Schumann, and Brahms Koontz’s score encompasses a wide for them! The ‘Jills’ will be dancing at Episcopal Church of the Good array of musical styles. Currently On April 22 and 24, Timothy Lees to it during half time. It rocks! If it Samaritian, Corvallis, WA, on Koontz is completing a commission (BM ’92), concertmaster of the catches on … you might even hear October 24. for the New York contemporary Cincinnati Symphony Orchestra, it on the radio in Buffalo sometime. music ensemble Sequitur. appeared with CSO principal sec- Best wishes to all!” CONTINUED ON PAGE 42

December 2004 | Eastman Notes 41 ALUMNI NOTES

CONTINUED FROM PAGE 41 State Chamber Orchestra in St. a fi rst violinist with the WSO and a Eschenbach on concert program- Sean Owen (BM ’95, DMA antici- Petersburg, and was a fi nalist in the Suzuki violin teacher. ming, and will oversee tours, educa- pated ’06) won second prize in Tokyo International Conducting tion, and other artistic initiatives. the 2004 National Flute Associa- Competition. A composer as well, Brant Taylor’s (BM ’93) dual career tion Young Artists Competition this his Night has been widely performed; as a cellist in the Chicago Symphony Harpist Louise Vickerman summer at the NFA Convention his most recent composition is and in the cocktail music ensemble (MM ’95) performed Debussy’s in Nashville, TN. He maintained The Snowmaiden. In November, Pink Martini, was the subject of a Danse sacrée et Danse profane with an extensive private teaching stu- Rumbelow hosted his Eighth Annual profi le in the Fort Worth-Dallas Star- the Utah Chamber Orchestra in dio before returning to Eastman in Conductors Workshop featuring Telegram in July. Taylor performed August, and was profi led in the 2003. Sean is a Nationally Certifi ed Donald Hunsberger (BM ’54, and taught at the Mimir Chamber Deseret Morning News. Teacher of Music by Music Teachers MM ’59, DMA ’63). Music Festival at Texas Christian National Association and is a student University, but he’s also success- Patty (Grimes) Welch (BM ’91, of Bonita Boyd. Barbara Showalter (MM ’98) was ful performing in the “cutting-edge MM ’97), along with her Irondequoit recently appointed adjunct instructor group that has revived the European (NY) High School students, was Scott Provancher (BM ’98), recently of horn at McMurry University, café-music tradition,” as the paper presented with the award for named executive director of the Hardin-Simmons University, and described Pink Martini. “Good music Outstanding Youth Service to the Louisville Orchestra, was the subject Abilene Christian University, TX. is good music,” Taylor was quoted: Mary Cariola Children’s Center in of a profi le in the April 18 Louisville “Being a musician in the 21st century April 2004. Patty’s students have per- Courier-Journal. In September, Richard J. Shuster means being diverse and adaptable.” formed for the center for the last 10 (MM ’96), assistant professor of years, and helped to raise money for Kevin Puts (BM ’94, DMA ’99), piano at Texas Women’s University, Rainbow Body, the award-win- the school for the last four years. She currently teaching at the University presented a guest recital at Baylor ning orchestral piece by Chris was recently appointed educational of Texas at Austin, is a busy University. The program included Theofanidis (MM ’92), continues consultant for the Moonbeam2earth composer. He recently completed Prokofi ev’s Visions fugitives, George to rack up performances. In a review Project, Inc., a not-for-profi t arts out- River’s Rush, a short orchestral piece Crumb’s Eine Kleine Mitternacht of an October 2 performance by reach program serving the inner city to open the St. Louis Symphony’s Musik, and Brahms’s Sonata No. 3. the Haddonfi eld (NJ) Symphony of Rochester. Welch will join Monroe 125th season, and Vespertine Orchestra under Rossen Milanov, County School Music Association Symphonies, inspired by the music Pianist Ramasoon Sitalayan critic David Patrick Stearns wrote: President Tom Indiano (BM ’78) as of the Icelandic pop singer Björk, (MM ’99) gave a solo recital of works “The piece achieves ecstasy hon- president-elect for 2004–2006. premiered by the Marin Symphony by Mozart, Chopin, Scarlatti, Liszt, estly … you’d be tempted to compare in April. Kevin is also working on a and Gershwin at the Chintakarn Rainbow Body to movie music if you Guitarist Evan White (BM ’97) piece for the Minnesota Orchestra Music Institute, Bangkok, Thailand, could imagine a movie good enough recently celebrated his third wed- to premiere in 2006, a percussion on July 3. to deserve it.” ding anniversary with wife Mandie concerto for Evelyn Glennie, a violin and the recent arrival of their fi rst concerto, and a cello concerto for Timothy W. Sparks (MM ’91) and Anthony Tobin (BM ’90) was fea- child, daughter Casey. Evan is cur- Yo-Yo Ma. his wife Amy announce the birth of tured guest artist at a Mostly Mozart rently the programming coordinator their son, Jason Thomas Sparks, on Festival at Northwest Missouri State for the New Jersey Performing Arts Byung-Hyun Rhee (BM ’91) writes: June 22. University in March, where he gave Center (Newark, NJ) and is the pro- “I’m currently in my fourth season a recital, lecture, and master class. ducer of NJPAC’s outdoor summer as associate conductor with the After 15 years in Europe and the In May he toured Austria, Germany, music festival Sounds of the City. New Nashville Symphony. In May, I was Middle East, violist Peter Sulski and The Netherlands with violin- Jersey Performing Arts Center, one of awarded the Bruno Walter Memorial (BM ’90) is back in his hometown of ist Christina Hoefer of the Holland the largest in the nation, was praised Foundation’s Assistant Conductor Worcester, MA, where he is on the Symfonia, and in June traveled to by The New York Times as “one of the Chair. Also in 2004, I led the faculty at College of the Holy Cross, Sao Paulo, Brazil, where he per- world’s great concert halls.” Nashville Symphony in its Fourth Clark University, UMASS Lowell, formed as part of a cultural exchange. of July concert with the Oak Ridge and the Joy of Music Program. His This fall he was the piano coach for Highlights in 2004 for Christopher Boys, Sarah Evans, and Phil Vasser, performing projects include working Camilla Belle and Elisha Cuthbert for M. Wicks (’95) included the per- which was broadcast nationwide on with Mistral, the touring group of the motion picture Dot. formance of his Cello Concerto by the Great American Country cable the Andover Chamber Music Society, the Marylhurst (OR) Symphony network.” and leading the Clark Sinfonia string Pianist Gustavo Tulosa (DMA ’97) Orchestra and soloist Victoria ensemble. performed in the Alumni Artists Tikhonova in April; the premiere of Robert W. Rumbelow (DMA ’96) is Series at the University of Redlands his setting of Psalm 98 by the Long in his ninth year as conductor and Cheryl Ann Terwilliger (MM ’94) (CA). Gustavo is director of the Fine Island Choral Society in Manhasset, director of wind ensemble activities and Cathy Ann Harris affi rmed their Arts Program at Brookhaven College, NY in May; and the premiere of his and conductor of opera at Columbus partnership in New York City on Dallas, TX. Missa Brevis by the Luscinia Youth State University (GA). He and the June 27. Cheryl is director of instru- Choir Opava at the Jihava Choral CSU Wind Ensemble have two CDs mental music and chair of the visual The Philadelphia Orchestra has Festival in the Czech Republic in June. on Summit, Journey and Wind Legacy, and performing arts department at named Kathleen Van Bergen and performed at the 2003 National the Bullis School in Potomac, MD. (BM ’98) its vice president of artis- Deborah A. Wilson (MA ’92), CBDNA Conference in Minneapolis. tic planning. She worked at the St. musicology professor at Ohio State CSU commissions include Symphony Violinist Jeff Thayer (BM ’98) was Louis Symphony for the last fi ve University of Marion and cellist with in E-fl at for Wind Orchestra by Shafer soloist at the opening concert of years, most recently as vice president the Westerville Symphony, recently Mahoney (MA ’98, PhD ’99). the Williamsport (NY) Symphony and director of artistic administra- joined the WOSBach 91.1 FM Advisory He is an active guest conductor, Orchestra, performing the Brahms tion. In Philadelphia, Kathleen will Council, which provides a local voice recently leading the Hermitage Concerto. Jeff’s mother Pat Thayer is work with music director Christoph to the larger WOSU stations.

42 Eastman Notes | December 2004 �� Composer Adeline Wong (BM ’98) Ottawa, under the baton of Maestro �� heard the premiere of her Star- Pinchas Zukerman.” burst by the TasmanianTasmanian SSymphonyymphony �� Orchestra at the Australian Compos- Eric Goldman (BM ’02) writes, ers’ Orchestral Forum in November. “I’ve been named the fi rst ever �� Adeline was the subject of a feature Posner Intern at the Carnegie article in the New Straits Times of Mellon University Libraries. I will Malaysia on September 29. be preparing the fi rst exhibit in the �� newly opened Posner Center. The �� internship, which lasts all summer, 2000s will result in an exhibit using an �� original copy of Kepler’s Harmonices �� Assata Alim-Clark (BM ’00) writes, Mundi (1619), and will discuss �� “My husband Paul and I are pleased Music of the Spheres.” Eric was also �� to announce the birth of our fi rst recently named bassoon alternate child, a son, Morgan Elijah Clark, on for the new Pittsburgh Live Chamber �� April 20, 2004 at 4:20 p.m., weigh- Orchestra. �� ing 6 pounds, 13 ounces.” �� Nathan Heleine, Madeline Sturm Aaron Brock (DMA ’03) waswas a semi- (BM ’02), and Matt Blanchard �� fi nalist in the 2004 JoAnn Falletta (BM ’01) have formed Boom Design �� International Guitar Concerto Group, Inc., (www.boomdesigngroup. �� Competition, held in June in Buffalo, com), to create websites and print NY. The Canadian native was the materials for artists, musicians, and fi rst recipient of Eastman’s Andres related businesses, actively seeking Segovia Award, in 2003. opportunities to join the worlds of music and visual arts. In October, Leah Brockman (BM ’01) was appointed (via audi- A successful sub! Hornist Mark tion) to the principal horn posi- Houghton (BM ’02) of the tion in the Shenzhen Symphony Phoenix Symphony Orchestra Orchestra of China. was imported by the Fort Worth Symphony Orchestra for its summer Miles Brown (BM ’00 in double Tchaikovsky Festival, led by Miguel bass, music education, and jazz) Harth-Bedoya. In a review for the reports that he was recently hired Dallas Morning News, Scott Cantrell as full-time orchestra teacher at (whom some may remember from Kings Park High School on Long the Rochester Times-Union in the Island, “mainly due to the fact that I 1980s), praised Mark’s “tone of bur- went to Eastman! It’s a pretty good nished elegance and amazing expres- job, and allows me to do a lot of sive range, and he delivered some playing on the side. I live in Forest protracted decrescendos that took Hills, Queens, and got married a few the breath away … formal auditions �� months ago. Her name is Efrat, and [for the principal horn chair] will be she’s a spectacular violinist from held in October. Can we just hire Mr. �� Knoxville, TN.” Houghton?” Somebody listened: in �� October, Mark was appointed FWSO Eric Dudley (BM ’01) waswas appointed principal horn! �� assistant conductor of the Cincinnati �� Symphony Orchestra. He will serve Cynthia Johnston-Turner as cover conductor for CSO music (DMA ’04) was recently appointed �� director Paavo Jarvi and music direc- director of wind ensembles and assis- �� tor of the Cincinnati Symphony tant professor of music at Cornell Youth Orchestra. He studied con- University. She will continue as �� ducting at Yale with Lawrence resident conductor of the University Leighton Smith. While an Eastman of Rochester Wind Symphony, and �� student, Eric won the Louis Lane continues to be active as a guest con- �� Prize in Composition. ductor and clinician throughout the United States and Canada. �� Renée-Paule Gauthier (MM ’00) �� writes, “I have recently terminated Emily John (BM ’02) is the direc- my position with the New World tor of Treble Voices of Queens, a Symphony and joined the ranks new choral program for singers aged of the fi rst violin section of the 10 to 18, affi liated with the Center �� National Arts Centre Orchestra in CONTINUED ON PAGE 44 �� ALUMNI NOTES

CONTINUED FROM PAGE 43 participated in the 2004 Las Vegas mances of Brahms’ Alto Rhapsody Cellist Barbara Altman (BM ’66, for Preparatory Studies at Queens Music Festival. and Humperdinck’s Hansel and Gretel MM ’69) and pianist Ian Altman College. Emily was profi led in the (the Cincinnati Enquirer called her (BM ’69, MM ’72) performed in July 23 issue of Newsday. Connor O’Brien (NA ’01) has been performance as the Mother and recital September 7 in Max Noah named executive music supervisor Witch “a standout”). Recital Hall, Porter Hall, Georgia Caroline Kang ((BMBM ’’02)02) wwasas oonene for The Kustomizer, a new reality College and State University, in of 10 recipients of the Parisian show that premiered November 22 Violinist Solomiya Soroka a program of music by Chopin, Scholarship of Oneonta, NY, given on The Discovery Channel. A prize- (DMA ’03) gave a recital with pia- Haydn, Vitali, Rochberg, and Popper. to community projects and organi- winning singer-songwriter, Connor nist Arthur Greene on July 3 at the Barbara is principal cellist of the zations that involve area youth. The is in the studio working on his “Grazhda” Music and Art Center of Macon Symphony; Ian teaches at scholarship enabled her to study early third album. Greene County (NY). The Center is Mercer University. Their son, guitar- music and Baroque cello at the Longy part of a Ukrainian cultural complex ist Ben Altman (BM ’01), studying School of Music, Cambridge, MA. Alex Postelnek (BM ’00), percus-percus- in the Catskills. at the Peabody Conservatory, opened sionist, was selected to perform Mercer University’s concert series on Melissa Kelly (MM ’02) sang with Yo-Yo Ma and the Silk Road This fall, Jassen Todorov (MM ’00) August 26. Mimi in the Riverside (NY) Ensemble in concerts at Carnegie fi nished a cycle of the complete Opera’s production of La Bohème Hall this fall. Alex recently com- Mozart sonatas for violin and piano In October, clarinetist Patricia in November 2003, and appeared pleted his master’s (MFA) degree with pianist William Corbett-Jones Martin (BM ’84) and her colleagues in the Bronx Opera’s La Traviata in in world music from California at San Francisco State University. in the Angelle Trio (Jennifer Cassin, May 2004. She returned to Lawrence Institute of the Arts. Alex is based An SF Weekly profi le of Jassen also viola, Chan Kiatlim, piano) gave con- University in June as a soloist in in Los Angeles, where he has been described his adventures as an ama- certs in Baton Rouge and Lafayette, Penderecki’s Credo. producing concerts with the Music teur pilot. LA. All three teach at the University Circle of Los Angeles, teaching, and of Louisiana at Lafayette. In May, Peter Kolkay (MM ’00) won performing throughout Southern one of the most prestigious prizes California. Ensembles Alarm Will Sound, the contemporary for young musicians, an Avery Fisher music group founded at Eastman Career Grant—the fi rst bassoonist Harpist Megan Sesma (BA(BA and In March 2005, the Osland and consisting of Eastman alumni ever to do so. Peter is visiting BM ’02) performed with the U.S. Saxophone Quartet, which includes including musical director Alan assistant professor of bassoon at Coast Guard Chamber Players in a Miles Osland and Lisa Parent- Pierson and managing director West Virginia State concert called “Musical Osland (both MM ’87), will be the Gavin Chuck (MA ’96,’96, PhD ’04), University, but his Recollections in chamber music ensemble in resi- began a two-year, part-time residency concert calendar for Tranquility” on October dence for the Iowa Arts Council. this fall at Dickinson College. The 2004–2005 is also 24 at the Coast Guard During the two-week residency, the group will offer two full-ensemble well fi lled. He’ll play a Academy. She took part Oslands will perform for over 20,000 performances each year, plus four special quintet version in works by Hovhaness students, ranging from kindergarten to six other concerts involving of Peter and the Wolf and Pasculli, and was to college age. The group’s second smaller groups. at New York’s 92nd soloist in Four Etudes recording on the Sea Breeze label has Street Y, give recitals in for Harp by Jan Fischer. been hailed by critics as “a record- The Ike Sturm Ensemble gave Chicago and Utica, and ing with a rich montage of classical three Rochester-area concerts on tour the West Coast Kate Sheeran and jazz styles, delivered with excep- September 24-26. Besides bassist with the chamber (BM ’02) was recently tional quality and passion.” Ike Sturm (BM ’00, MM ’03) and ensemble Concertante. appointed as horn his sister, clarinetist Maddy Sturm He will also join fellow instructor (adjunct) at The Fader Quartet won the (BM ’02), the lineup includes alumni bassoonist Rufus Peter Kolkay Dickinson College, PA. Saunderson Award at the 58th Matt Blanchard (BM ’01), Mike Oliver in the fi rst Kate is also working as Annual Coleman Chamber Ensemble Williams (BM ’03), Matt Curlee performances of a Concerto for Two publicist for the contemporary music Competition in Pasadena, CA. The (MA ’01), Ryan Ferreira (BM ’02), Bassoons and Orchestra by American ensemble Alarm Will Sound, formed quartet’s members include two and Ted Poor (BM ’03). composer Harold Meltzer—a piece at Eastman and now based in New Eastman alumni, pianist Melody commissioned by Concert Artists York City. Fader (BM ’99) and cellist Caitlin Trombonists Michael Clayville Guild to showcase Kolkay’s talent. In Sullivan (BM ’03). The other mem- (BM ’00), Christopher Beaudry his recitals, Peter is often joined by Faith Sherman (BM ’03) won the bers are Jonathan Chu, violin, and (BM ’02, MM ’03), Michael Selover his fellow alumna, pianist Alexandra $5,000 Norman Treigle Memorial Youming Chen, viola. (BM ’02), and John Widmer Nguyen (MM ’00, DMA ’03), who Award in the Opera Scholarship (BM ’02) have formed Novus, in resi- was named Eastman’s assistant dean Competition, held April 17 at the The members of the Marian dence at Rice University (TX). The of academic affairs and director of University of Cincinnati College- Anderson String Quartet—includ- quartet performs a repertory of tran- career services in May. Conservatory of Music. The award ing violinist Marianne Henry and scriptions, arrangements, and origi- guarantees the mezzo-soprano a violist Diedra Lawrence (both nal compositions from Pink Floyd to Pianist Mirna Lekic (BM ’02) stage audition with the New York NA ’95)—recently joined the Brazos Olivier Messiaen. received the 2004 New York City Opera and a full-tuition scholar- Valley Symphony Orchestra as Foundation for the Arts Artist ship to the Conservatory. On April string section leaders. In 1991, the The Crown City Brass Quintet Grant for a solo recital as part of 25, Faith also won fi rst place and a Anderson Quartet was the fi rst made its debut in the Chamber the Bascarsija Nights International $1,000 cash award in the Dayton African-American chamber ensemble Music Palisades series on October Festival in Sarajevo. In May, Mirna Opera Guild Annual College Vocal to win a classical music competition: 19, in Pacifi c Palisades, CA. The completed her MM at the Mannes Competition, and during April the International Cleveland Quartet group includes hornist Sarah College of Music, and this summer and May appeared in CCM perfor- Competition. Bach (BM ’97).

44 Eastman Notes | December 2004 PHOTOGRAPH COURTESY PETER KOLKAY FACULTY NOTES

Humanities Department Chair “Your work, both with young children Jonathan Baldo’s essay “Solitude and in the preparation of teachers, as an Effect of Language in Gabriel will continue to have a positive infl u- Garcia Marquez’s Cien anos de Celebrating service ence for generations to come.” The soledad” was recently reprinted award was given at the Elementary in Modern Critical Interpretations All-County Festival in Rush- of Gabriel Garcia Marquez’s “One Henrietta, NY. She says: “I think it’s Hundred Years of Solitude,” edited important because it represents a by Harold Bloom (Chelsea House positive link between the university Publications, 2003). His essay faculty who prepare music teachers, on Shakespeare’s Henry VIII, and the school music teachers who “Necromancing the Past in Henry are engaged every day in teaching VIII,” will appear later this year in young students. There is often a ste- English Literary Renaissance. reotype that university are off in the ‘ivory tower’ and don’t know much Assistant professor of chamber music about the ‘real world’ of music teach- and accompanying Sylvie Beaudette ing and learning. I’m very honored to (DMA ’93) teams with soprano have my work recognized for cross- Eileen Strempel (BM ’88) on the ing this boundary.” CD Love Lies Bleeding: Songs by Libby Larsen (Centaur 2666). The program Elinor Freer, assistant professor of Larsen’s Cowboy Songs, Sonnets of chamber music and director of from the Portuguese, and Try Me, Good the “Music for All” program, and King: Last Words of the Wives of Henry Steven Laitz her husband David Ying (DMA VIII, is dedicated to the memory of ’92), assistant professor of violon- At the fi rst faculty meeting of the Strempel’s teacher and former voice cello, will take over leadership of the department chair William McIver, 2004–2005 academic year, the Skaneateles Festival starting in 2005. who died in summer 2003. following faculty members were They replace pianist Diane Walsh recognized for their years of service: as directors. Ying and Freer are also Malcolm Bilson, visiting professor founders and directors of a weeklong of historical keyboards and affi liate summer chamber music festival in faculty member in musicology, gave 25 years Missoula, MT. a fortepiano recital at Gettysburg Richard Grunow, music education College (VA) on October 17, 2004. Richard Grunow Professor Emeritus of Piano Frank The program included sonatas by Glazer was profi led in a September Beethoven, Haydn, and Mozart. 20 years issue of the Portland (ME) Press Herald. The 89-year-old pianist—one Professor of Violin Lynn Blakeslee Donna Brink Fox, music education of the few surviving protégés of Artur returned last summer to Raabs Gretchen Wheelock, musicology Schnabel—played several recitals Musik 2004, performing and giving this fall, and is artist-in-residence chamber music master classes with at Bates College. “I’m told, and I an international faculty from July 16– 15 years believe it’s true, that I am playing August 18. The symposium is held in now better than ever,” says Glazer in Schloss Raabs, a beautiful old castle Louis Bergonzi, music education the interview. Glazer’s September 24 overlooking a lake. For information Kathleen Bride, harp Donna Brink Fox recital at Bates included Schumann’s on the Academy, visit www.raabs- John Graham, viola Faschingsschwank aus Wien, “a piece musik.com. I’d been meaning to perform for 60 Steven Laitz, theory years but never got around to!” This year’s ASCAP Award recipients include Harold Danko, chair of 10 years Professor of Violoncello Alan the Jazz and Contemporary Media Harris was honored by Eva Jantzer department, and Ramon Ricker Douglas Humpherys, piano Memorial Cello Center of the (DMA ’73), Professor Saxophone and Timothy Scheie, humanities Indiana University School of Music director of the Institute for Music William Weinert, on September 19, 2004. Harris was Leadership. Both men have previ- given the award of Chevalier du ously won this award, based upon the conducting and ensembles John Graham Violoncelle, as was Bonnie Hampton unique prestige value of each writer’s of the Juilliard School. He also gave catalog of original compositions. a master class, and was the special recital of music by Bohm, J. S. Bach, of Theory Betsy Marvin, who held guest at a dinner hosted by Janos Assistant Professor of Organ Hans Frescobaldi, and Messiaen. the job for the past four years with Starker, president of the Center. Davidsson was organist-in-resi- distinction. In March 2004, she dence at the Eccles Organ Festival Professor of Music Education was given the Richard H. Snook David Higgs, organ department chair, in Salt Lake City in October 2004. Donna Brink Fox is Acting Dean of Memorial Award by the Monroe gave a solo recital during the July He lectured, gave master classes Academic Affairs for the 2004–2005 County School Music Association, 2004 Atlanta Summer Organ Festival. and private lessons, and played a academic year, replacing Professor bearing the following inscription: CONTINUED ON PAGE 46

PHOTOGRAPHS COURTESY EASTMAN SCHOOL OF MUSIC ARCHIVE December 2004 | Eastman Notes 45 FACULTY NOTES

CONTINUED FROM PAGE 45 was performed in the park. That Armenta Hummings, instructor in piece required 100 minutes and 65 Eastman names new piano, was recently selected as one musicians of all kinds positioned all of 100 Outstanding Alumni of the over the park; the new work calls Juilliard School, and will be profi led for only 11, who sat with the audi- faculty members in a publication commemorating the ence for three performances of the School’s centennial in 2005–2006 piece, all “to exalt ordinary things,” as Morris says. Sophia Gibbs Kim (MM ’98), Jack This year, Eastman welcomed eight new faculty mem- L. Frank Instructor in fl ute in the Afterlight, an orchestral work by bers, in the voice, humanities, musicology, jazz/theory, Eastman Community Music School, Associate Professor of Composition and woodwinds/brass/percussion departments. East- recently spent fi ve weeks in Siberia Carlos Sanchez-Gutierrez, was man’s faculty now comprises 140 accomplished artists, as a member of the American- one of fi ve fi nalists in the Malaysian Russian Young Artists Orchestra. She Philharmonic International scholars, and teachers. participated in day-to-day activities Composers Competition, held in of the Novosibirsky Philharmonic, November in Kuala Lumpur. performed in a concerto concert and Edward (Ted) Christopher in a solo recital, and taught at the Guitarist Bob Sneider and Assistant professor of opera Special School for Gifted Children. pianist Paul Hoffman, both of the Community Music School Edward (Ted) Christopher fi lls the new position of W. Peter Kurau (BM ’74), Professor faculty, are featured on the new CD assistant professor of opera, under the guidance of of Horn, was appointed principal Interconnection (Sons of Sound). Benton Hess and Steven Daigle. He has appeared horn of the Rochester Philharmonic Their musical interconnection is Orchestra in September 2004. Kurau just fi ne: a reviewer for Vintage throughout the U.S., Canada, and Europe in repertoire served as Assistant Principal/Acting Guitar wrote,wrote, ““YouYou never miss ananyy ranging from Baroque opera to American music theater. Principal Horn from 1983-1995, sounds. The two carry all the music A member of the Juilliard Opera Center and the San and had served as Acting Assistant without any problem at all … It’s Francisco Opera Merola Program, he has collaborated Principal Horn since September 2002. an impressive, extremely listenable piece of work.” with such artists as Ned Rorem, Frank Corsaro, and Loud is Still Good! Professor Gerard Schwarz, and has been featured on many of Trombone John Marcellus Professor of Piano Barry Snyder recordings. He has directed productions and scenes celebrated his 65th birthday (BM ’66, MM ’68) made his Alice with New England Lyric Operetta, Ohio Light Opera, (September 19, 2004) with a “Senior Tully Hall debut on October 28— Recital” in Kilbourn Hall that nearly four decades after coming to and Eastman Opera Theatre. Christopher received featured a large roster of Eastman international attention by winning bachelor’s and master’s degrees from the Curtis faculty and students. three awards at the 1966 Van Cliburn Institute of Music, and is working toward the DMA International Piano Competition. degree at Eastman. Ernestine McHugh, associate pro- Snyder gave a preview of his New fessor of anthropology and reli- York program—music by Ravel, gion, was invited to present a paper Brahms, Haydn, Rachmaninoff, and at the American Anthropological Fantasy-Inventions by Carter Pann Melina Esse Association meetings this fall on a (BM ’94), written for the occasion— Assistant professor of musicology Presidential Session in honor of the in Kilbourn Hall on October 5. centenary of Gregory Bateson’s birth. Melina Esse (assistant professor The paper is called “Paradox Play and Assistant Professor of Chamber of musicology) just received Purpose: Rethinking the Boundaries Music Phillip Ying (BM ’91, MM her PhD in music history and of the Self.” In October, she also ’92) was appointed this spring to literature from the University gave an invited lecture, “Long-term the board of directors of Chamber Fieldwork: Promises, Possibilities, Music America. In addition, Phillip of California at Berkeley. Esse’s and Problems,” for the Committee and his siblings/colleagues in the special interests include opera on Human Development at the Ying Quartet will release the fi rst and melodrama, fi lm sound, the University of Chicago. Her article recording in their LifeMusic commis- “diva” in pop, opera, and jazz, “Moral Choices and Global Desires: sion series in December. It includes Globalization and Feminine Identity works by Kevin Puts (DMA ’95), music gender and sexuality, and in Nepal” is in the December issue Paquito D’Rivera, Carter Pann (BM music criticism and cultural exchange in and through of Ethos: the Journal of the Society for ’94), and Michael Torke (BM ’84). music. She has been published in the Cambridge Opera Psychological Anthropology. Journal and the American Musicological Society, and Zvi Zeitlin, Distinguished Professor Professor of Composition Robert of Violin, received the 2004 Edward has presented at the North American Society for the Morris (BM ’65) went back out Peck Curtis Award for Excellence Study of Romanticism, Feminist Theory and Music, into the great outdoors for the fi rst in Teaching. Professor of Viola John and the San Francisco Opera. Esse received a master’s performance of his Coming Down Graham received the 2004 Eisenhart degree from the University of Virginia, where she to Earth, premiered by OSSIA on Award. Both professors were recog- October 3, 2004, in Webster Park. nized at the Convocation ceremony taught keyboard skills and created performing scores Three years ago, his Playing Outside on September 2. for a recorder ensemble.

46 Eastman Notes | December 2004 FACULTY NOTES

Caterina Falli has appeared with many regional opera com- Dariusz Terefenko panies and at various music festivals, and has Assistant professor of humanities Assistant professor in jazz studies and premiered works by Aaron Jay Kernis, Stew- contemporary media, and of music theory Caterina Falli (assistant professor of art Wallace, Ricky Ian Gordon, James Sellars, humanities) has 10 years of experience and Richard Wilson. She has appeared on Already having dou- in teaching English as a Second Language television, radio, ble master’s degrees (ESL). Since 1992, Falli has taught at and in concert from Eastman (MM California’s Chabot College, San Francisco with the popular in jazz, 1998; MA State University, and at the Academy recital series, the in theory, 2003), of Art College, teaching reading, writing, New York Festival Dariusz Terefenko international business communication, and of Song, and can be has a unique joint leading ESL study groups for art courses. heard on Koch Inter- appointment. Prior to these positions, she was the ESL national Classics Terefenko received program director for the American Language and RCA Red Seal a PhD in theory this year with a dissertation Academy in Berkeley. Her academic degrees recordings. Holvik on Keith Jarrett’s transformation of standard are from San Francisco State University and spent fi ve summers as an Opera Fellow at tunes. He teaches jazz history, theory and McGill University. the Aspen Music Festival, where she was a improvisation through the jazz department, student of Jan DeGaetani and Arleen Auger, and intermediate keyboard skills and tonal Constance Haas and has returned as a guest artist, appearing improvisation through the theory depart- with baritone William Sharp. Most recently, ment. Terefenko frequently returns to his Associate professor of voice Holvik taught voice at New York University native Poland to present lecture-recitals on Constance Haas (associate professor of and Vassar College. the history of jazz at the Universities of Kra- voice) was visiting professor of voice (part- kow and Katowice, and has given recitals at time) during the 2003–2004 academic Chien-Kwan Lin the Festival of Polish Piano Music. year, and most recently taught at the Assistant professor of saxophone University of Wisconsin (Madison). She has Holly Watkins performed with the opera companies of Chien-Kwan Lin has Assistant professor of musicology Seattle, Portland, Vancouver, San Francisco been named assis- (Merola Program), Anchorage, Milwaukee, tant professor of Holly Watkins and at the University of Washington and saxophone, having received a PhD in Pacifi c Lutheran University. Haas also has been a part-time music history and been a recitalist and oratorio soloist with instructor of saxo- literature from the Seattle and Spokane Symphonies and phone since 2002. the University of the Northwest Chamber Orchestra, among Lin has appeared as California at Berke- others. She received a master’s degree soloist with the Bos- ley, where she was and DMA in vocal performance from the ton Modern Orchestra Project, Tanglewood awarded the nation- University of Washington in Seattle. Other Music Center Festival Orchestra, New World ally competitive professional training includes vocal work in Symphony, and Portland (ME) Symphony, as Alvin H. Johnson AMS 50 Dissertation Fel- Sienna, Italy, and private study with Mary well as the Boston and Rochester Philhar- lowship. Her interests include European and Curtis-Verna, Lucille Evans, Frank Guarrera, monic orchestras. Lin recently presented American art music of the 19th and 20th and Professor Kohn in Salzburg. Ms. Haas has the joint world premiere of Michael Col- centuries, German opera, rock and alterna- given workshops in the Alexander Technique grass’ Dream Dance with the United States tive music from the 1970s onward, and Ger- to singers and actors Continental Army Band, and premiered two man industrial music and politics in the 1970s commissioned works by Lei Liang and Brian and ‘80s. She has published and presented Karen Holvik Cobb at the 2003 World Saxophone Con- for such organizations as the Lyric Opera gress. Lin holds a performer’s certifi cate from of Chicago, Nineteenth Century Music, the Assistant professor of voice Eastman, where he is completing his DMA. American Musicological Society, and the Fel- Soprano and Eastman alumna Karen Holvik He received bachelor’s and master’s degrees lows Groups at the Townsend Center for the returns to her alma mater as assistant profes- from the New England Conservatory, where Humanities, and is managing editor of the sor of voice. Holvik has pursued an eclectic he was the recipient of the George W. Chad- musicology journal Repercussions. Watkins musical career in the U.S. and Europe, singing wick Medal, bestowed upon the Conservato- received her undergraduate degree in phys- both popular and classical repertoire. She ry’s most outstanding graduate. ics from the University of Virginia.

December 2004 | Eastman Notes 47 STUDENT NOTES

Eastman’s 2003–2004 Composition Horn Symposium in Lahti, Finland, it France and a student of Nicholas from Oleh Krysa’s studio, placed fi fth, Prize winners included Kyle Blaha was invited for three performances at Goluses, won second prize in the playing the Mendelssohn E Minor (Howard Hanson Orchestral Prize), the 2004 Symposium, which was held Hermoupolis (Greece) International Concerto, and won a $3000 award. Vincent Calianno (Howard Hanson July 24–20, 2004 in Valencia, Spain. Guitar Competition, held in July. Ensemble Prize), Vera Ivanova Mark Pacoe, current DMA stu- (Louis Lane Prize), Chris Winders The Reverie Winds, a freshman wind Violinist Kitty Cheung, from the student of David Higgs, gave a recital (McCurdy Prize), Arthur Williford quintet coached by Anne Harrow, dio of Charles Castleman, was the on August 27 at St. Paul’s Catholic (Anthony & Carolyn Donato Prize), won third prize in the Chicago Flute soloist in a Mozart concerto with Church, Butler, PA (where he and Marco Alunno, Jairo Duarte, Club Chamber Music Competition in the City Chamber Orchestra of Hong grew up). He is presently associ- and Ben Hackbarth (Wayne Brewster May 2004. They were presented in Kong in October. ate director of music ministries at Barlow Prize). Classical Walpurgis concert in January as a result. They the Cathedral Basilica of the Sacred Nacht bbyy David Plylar wwasas chosenchosen were the youngest contestants. Krzysztof Czerwinski, a student Heart, Newark, NJ. for performance by the Eastman of David Higgs, won the fourth Philharmonia in spring 2005, and The Destino Winds completed a resi- annual West Chester University Jun Qian, a doctoral student of was read at the Minnesota Orchestra’s dency in Lake Placid, NY, sponsored Organ Competition in West Chester, Kenneth Grant, was appointed Composers Institute in November. by the Lake Placid Sinfonietta. During PA in May. fi rst clarinetist of the Shanghai April they performed and taught in Philharmonic Orchestra. He returned The Shema Trio, consisting of pia- schools, receiving rave reviews. Christopher Lane was a semifi nalist to his native city in October 2004. nist Joon Hee Kim, violinist Saehee in the American Guild of Organists Uhm, and cellist Sae Rom Kwon, Organists Yeon-Hee Sim, Crista National Competition, held at the Jonathan Ryan, a master’s student competed in the Coleman Chamber Miller, Michael Unger, and Eun AGO Convention in Los Angeles in of David Higgs, won fi rst prize in the Music Competition, held in April Young Kim were selected as semi- July 2004. College/Young Professional Division 2004 in Pasadena, CA. The Trio won fi nalists in the Odense, Denmark of the 2004 Albert Schweitzer Organ the Russell Award and was the high- International Competition, held in Grace Lee, from the studio of Competition, in Wethersfi eld, CT. est-ranking piano trio. They received August 2004. Oleh Krysa, won the Silver Medal The award includes a cash prize of $2,000, and performed on the win- in the First International David $3500, and a spring concert perfor- ner’s concert in Pasadena. In 2004 In September 2004, Gretchen Oistrakh Violin Competition, held mance at First Church, Wethersfi eld. the trio was coached by Elinor Freer; Snedeker, Juliann Welch, and Jonas from September 7–18, 2004 in it has previously coached with Sylvie Thoms, all students of Peter Kurau, Odessa, Ukraine. She performed the This summer, sophomore cellist Beaudette and Timothy Ying. The were offered positions as third horn, Shostakovich Violin Concerto No. 1. Brian Sanders won a Very Special trio members also won Eastman’s fourth horn, and fi rst substitute, The prize consisted of $10,000, plus Arts Earl and Eugenia Quirk John Celentano Award for Excellence respectively, with the Utica (NY) a special prize for the best perfor- Scholarship, which encourages in Chamber Music. Symphony. mance of Prokofi ev’s Sonata No. 1. Wisconsin students with disabilities (The Shostakovich and Prokofi ev to further their education in the arts. The Eastman Horn Choir wwasas suchsuch Third-year DMA guitar stu- works were fi rst performed by Brian was born with only a thumb a success at the 2002 International dent Linda Chellouf, a native of Oistrakh.) Ainur Zabenova, also and forefi nger on his right hand.

2003–2004 Student Awards

At Eastman’s 2004 Commencement, Andres Segovia Award for Musical Ornest Award for Excellence in Vocal the following prizes not mentioned in Accomplishment and Human Endeavor: Performance: Jonathan Michie, Rachel Rowe “Student Notes” were presented: Nathan Fischer, Shiuen-Huang Tzeng Andrew J. Bogiages Memorial Prize Excellence in Accompanying Awards: Robert Wayne Barlow Award in Bassoon: Renee DeBoer Korey Barrett, Ji Eun Han, Daniel Pesca, for Excellence in Harp Performance: Zildjian Prize to an Outstanding Percussion Jeremy Samoleski Katie Elizabeth Buckley Student: Sean Connors Barbara M.H. Koeng Award for Jessie Kneisel Lieder Prize for Vocalists: 2003/2004 Teaching Assistant Prizes: Accompanying: Ji Eun Han Michael Kelly (First Prize), John Fetter, Jennifer Gliere, Clay Debra Lynn Stanley (Second Prize), C. Eschenbach Award for Accompanying: Greenberg, Cynthia Johnston-Turner, John Ali Grandey (Third Prize); Korey Barrett Koslovsky, Lina Morita, Brian Van Arsdale Virgil Hartinger (Honorable Mention) Raymond and Maxine Schirmer Prize in Jazz Iwa Watanabe Award: Kevin Su Fukugawa Jessie Kneisel Lieder Prize for Pianists: Composition: Russell L. Scarbrough Chung-Hua Weng (First Prize); Presser Music Award: J. Daniel Jenkins Raymond and Maxine Schirmer Prize in Jazz Mark Daniel Breeden (Second Prize); Linda Muise Student Life Award: Performance: Daniel N. Loomis, Man-Shan Yap (Third Prize); Juliet Grabowski Clarence Hines, Brian VanArsdale Daniel Pesca (Honorable Mention)

48 Eastman Notes | December 2004 ��

��

�� A nightingale sang on Gibbs Street

Charles Strouse (BM ’47) returned to Eastman as composer and librettist of East & West, a double bill premiered by Eastman Opera Theatre in November. East, based on Hans Christian Andersen’s The Emperor and the Nightingale, received a colorfully staged performance inﬂ uenced by Chinese theater. (For a complete report on East & West, see the June issue of Notes.)

PHOTOGRAPH BY GELFAND-PIPER PHOTOGRAPHY

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