Coronavirus at Eastman Eastman’S Varied Responses to an International Pandemic the Pandemic Has Reminded It’S About Everyone Pitching In

ALUMNI Music Leadership Moves Online Football and Fiddling EASTMAN

NOTESWINTER 2021

Coronavirus at Eastman Eastman’s varied responses to an international pandemic The pandemic has reminded It’s about everyone pitching in. us how making and enjoying It’s about helping our students and graduates find their way. It’s about promoting equity music together raises spirits and access. And it’s about connecting all and builds connectivity. We are members of the Eastman community to support one another. We are also raising proud of how our community resources to support students in their journey has come together to find through scholarships and innovative programs inventive ways to ensure that equip them with the skills to adapt to disruptions in the industry. Will you join us? the music continues. Thank you for considering a gift to Together for Rochester Eastman to support talented a one-year campaign to make life better musicians during these rochester.edu/together unprecedented times. #TogetherForRochester

Visit esm.rochester.edu/gift today. { WINTER 2021 }

A socially distanced rehearsal in Kilbourn Hall, and in front of a green screen, with members of Eastman Opera Theatre’s virtual production Our Voices. 2 From the Dean 3 12 Bringing Music Leadership Brief Notes Online A popular Eastman graduate degree program 4 widens its range and its potential audience. Alumni On the Move 21 14 Challenges and Creativity School News Eastman’s newest faculty members on the challenges of teaching during a pandemic. 26 Recordings Coronavirus at 16 Orff at Eastman Celebrating 25 years of Summer Orff Schulwerk 28 6 education Alumni Notes Eastman 18 Football and Fiddling 33 The COVID-19 pandemic of 2020 has Frank Teremy ’65E was a skilled performer, In Memoriam affected every aspect of Eastman life, whether holding a football or a violin. 34 from the graduating Class of 2020 to Faculty Notes the incoming Class of 2024.

36 ON THE COVER: The Eastman Philharmonia under Neil Varon observing health protocols during a rehearsal in Kodak Hall. Student Notes Photograph by Adam Fenster.

Eastman Notes is now being offered digitally—Opt-out of the Print Edition! Each edition will be posted online at esm.rochester.edu/notes, and older editions are archived. If you no longer want to receive the print version, please contact Eastman’s Communications Office at 585.274.1050, or [email protected], with your full name and your current mailing address.

JOSHUA LAU Winter 2021 | Eastman Notes 1 { FROM THE DEAN }

EASTMAN For Music’s Sake NOTES Dear Friends, Leonard Bernstein many decades ago is as applicable Volume 38, Number 2 today as at any time in history. He wrote: Winter 2021 The events of the past ten months have been life-alter- ing for all of society, including previously unimagined I think it is time we learned the lesson of our century: EDITOR challenges for music institutions around the world, of that the progress of the human spirit must keep pace David Raymond which Eastman was no exception. However, since the with technological and scientific progress, or that CONTRIBUTING WRITERS onset of the COVID-19 pandemic last March, I have been spirit will die. It is incumbent on our educators to Jessica Kaufman continually awed, inspired, and moved by how our stu- remember this; and music is at the top of the spiritu- Katey Padden David Raymond dents, faculty, and staff rose to the enormous tasks and al must list. When the study of the arts leads to the Stephania Romaniuk challenges we faced. adoration of the formula (heaven forbid), we shall be CONTRIBUTING Throughout the summer, we heard repeatedly lost. But as long as we insist on maintaining artistic PHOTOGRAPHERS from our students about the importance of returning vitality, we are able to hope in [our] future. Adam Fenster to campus to study and make music with their class- Joshua Lau Michelle Martorell mates. And throughout the semester, we heard again None of us can predict what the future of music will Courtney Morton and again from students and their families how grate- be. No one knows if all music institutions will survive DESIGN ful they were to be making music together, in-person. the economic hardship caused by the pandemic, or if Tucker Creative This burning desire—no, this absolute need—to make audiences will soon fill our concert halls, or of the unfore- Company PRINTING Canfield & Tack This burning desire—no this absolute need—to make music with Office of Communications others provides ample evidence for optimism about the future of DIRECTOR OF COMMUNICATIONS music beyond the current pandemic. Jessica Kaufman EDITORIAL DIRECTOR David Raymond music with others provides ample evidence for opti- seen opportunities in music that might be created with SENIOR DESIGN AND CREATIVE mism about the future of music beyond the current new technologies. What we do know is that throughout MANAGER Michelle Martorell pandemic. history, humans have made it their purpose to create PUBLIC RELATIONS AND SOCIAL The ability to make and appreciate music is a part of and experience music. The intense desire and absolute MEDIA COORDINATOR our humanity, and it is essential to our well-being. While commitment by our students this past semester indicate Katey Padden there are countless magnificent sounds in nature—the that this generation of young musicians will do the same. GRAPHIC AND WEB DESIGN ASSISTANT evocative songs of whales; the haunting howls of coyotes I am encouraged and optimistic knowing that today’s Courtney Morton and wolves; the captivating cacophony of songbirds in the Eastman students will be at the forefront of shaping and SECRETARY spring and geese in the fall—only humans come together creating our musical future. Olga Malavet for the very purpose of making music. This is music for music’s sake—not providing background music, or music Meliora, Published twice a for dancing at a club or celebration, or for any reason year by the Office of other than people expressing thoughts, feelings, and Communications, emotions that are inexpressible in words or by other Eastman School of Music, 26 Gibbs Street, art forms. Rochester, NY 14604, During this time of Zoom lessons, asynchronous cours- Jamal J. Rossi (585) 274-1050. es, and virtual ensembles, the sentiment expressed by Joan and Martin Messinger Dean

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2 Eastman Notes | Winter 2021 { BRIEF NOTES }

Not a true goodbye: Mitzie Collins ’63E remains part of Rochester’s musical life. Notes for Votes for Women! This fall—in plenty of time for Election Day—the University of Rochester/Eastman An ECMS Icon Sonatine for viola and Women’s Chorus produced a video performance of the suffrage song “Votes for Retires piano, which spent several Women” by Eleanor S. Smith (1858-1942), arranged for them by Professor Philip decades on a library shelf Silvey and produced by Music Teaching and Learning PhD student Ben Guerrero. Last summer, Mitzie before violist Juliet Collins ’63E retired after White-Smith ’98E (DMA), Originally presented at the Seneca Falls Dialogues conference in celebration of the 25 years on the Eastman researching Kay’s 1942 100th anniversary of the 19th Amendment, it’s now available on YouTube. Community Music School Viola Sonata, found a “This substitution for what was originally going to be a live concert performance faculty. As hammered reproduced manuscript motivated me to create a virtual choir video,” says Silvey. He, Guerrero, and the dulcimer and folk music of the earlier, five-minute chorus have since produced a tribute to women graduates of the University, featur- expert, shape-note singer, work. Juliet assisted in the organist, and radio and Sonatine’s publication, but ing Renée Fleming ’83E (MM) and former Sibley Librarian Ruth Watanabe. recording artist, Mitzie, who it wasn’t performed until was voted 2014 Musician July 31, 2020 by Boston of the Year by Rochester’s Symphony Orchestra vio- Black American artists—is Jason Painter Price ’04E his death, he was a faculty Mu Phi Epsilon Music list Mary Ferrillo, who was not mainstream is a sad (MM), ’05E (DMA), a member in Sound Design Fraternity, is still a staple amazed to find that she was thing for our country.” founder of the celebrated in the Theatre Department of the Rochester musical giving its world premiere. There’s more about new music ensemble Alarm of Michigan State community; in the words Ulysses Kay (1917-1995) Ulysses Kay in Columbia Will Sound during his University. Jason is shown of ECMS director Petar was an important com- University’s digital archive. time at Eastman, died on here in Alarm Will Sound’s Kodzas, “we know this is poser during his lifetime: November 1, 2020 at the production 1969, performed not a true goodbye!” “His orchestral works Monumental age of 45. At the time of in Kilbourn Hall in 2013. were premiered by major Memories A Kay Rediscovery orchestras and conductors,” The late Krzystof As a student, Ulysses says Juliet. “The fact that Penderecki (1933-2020) Kay ’40E (MM) wrote a his name—like many other made two notable visits to Eastman. In February 1972, the Philharmonia under Walter Hendl premiered Penderecki’s Partita, a commission for the school’s fiftieth anniversary, later performing it in Carnegie Hall. In February 2004, a “Penderecki Week” was highlighted by Professor Oleh Krysa’s performance of his violin concerto Metamorphosen. At that time, Professor of Composition David Liptak described Penderecki’s During 2004’s Penderecki Week, the composer coached music as “filled with vitality, Eastman faculty members (including violist George Taylor) in adventure, and a sense of Active in theater, music, and sound design, Jason is shown here his music. the monumental.” with Alarm Will Sound, which he co-founded while at Eastman.

MITZIE COLLINS: MARY ANN BLAIR; PENDERECKI: GELFAND-PIPER PHOTOGRAPHY; PRICE: MICHAEL CLAYVILLE Winter 2021 | Eastman Notes 3 { ALUMNI ON THE MOVE }

Maria Schneider ’85E (MM) Composer, arranger, orchestra leader

■ Maria, and her Maria Schneider Orchestra, were multiple winners in the 2020 Annual DownBeat Critics Poll, winning plaudits as Big Band, Composer, and Arranger. Maria’s ambitious double album Data Lords was recently released to great acclaim, and was nominated for a 2021 Grammy Award as “Best Jazz Large Ensemble Album.”

Andre Myers ’96E Jasmine Daquin ’19E (MM) Composer, educator Oboist and website founder

■ Andre is based in Redlands, ■ Jasmine, a busy freelance oboist California, but he has a good friend in in New York, recently started Albany, New York: Albany Symphony Black Classical Music Educators Orchestra Music Director David Alan (blackclassicalmusiceducators. Miller recently premiered his Pulp com), an online space for young Anthem: Reflected Glory (dedicated to and adult musicians seeking private nurses during the COVID pandemic) lessons with a Black classical music with ASO new-music ensemble The educator, and for Black classical Dogs of Desire; and in November music educators to professionally performed Andre’s Black & Alive engage with each other. BCME had with the ASO. (Details at a successful launch on July 19, 2020 albanysymphony.com.) and 3,000 visits in its first month.

4 Eastman Notes | Spring 2021 MARIA SCHNEIDER: BRIENNE LERMITTE; ANDRE MYERS: A. BAUCHOWITZ; JASMINE DAQUIN: KAILA DELANEY { ALUMNI ON THE MOVE }

Maurice Cohn ’20E (MM), current DMA student Brian Giebler ’10E Cellist, conductor Tenor

■ Brian’s recent release A Lad’s Love (Bridge Records 9542) features 20th-century British songs by Britten, Quilter, Ireland, and others, on themes of friendship, unrequited love, and war. A Lad’s Love debuted at #14 on Billboard’s Classical Chart in July and was chosen Record of the Week by Cleveland’s WCLV. Gramophone said that Brian “imbues every phrase with warmth and clarity . . . in vivid conversation with pianist Steven McGhee.” In addition to all the critical acclaim, Brian recently added a 2021 Grammy nomination for Best Classical Vocal Recording, and in January was voted Musical America’s Artist of the Month.

■ Maurice won a 2020 Georg Solti Foundation U.S. Career Assistance Award, and was semi- finalist in the Guido Cantelli Conducting Competition in September 2020. Besides conducting Eastman’s OSSIA, New Horizons Orchestra, and Philharmonia, Maurice has served as cover conductor for Robert Spano and the Atlanta Symphony Orchestra, the Oberlin Contemporary Music Ensemble, and Chicago’s Zafa Collective.

MAURICE COHN: WALTER NOVAK; BRIAN GIEBLER: BRIDGE RECORDS Winter 2021 | Eastman Notes 5 COVID, Challenges, Creativity, Collaboration

he coronavirus pandemic has changed the world, and to be, viewed on a computer screen; but Eastman returned to a recog- during the last year it has certainly changed Eastman, nizable semblance of classes, rehearsals, practice, and performances, affecting everyone from incoming first-year students to including in-person music-making. our full faculty and staff. In the words of Eastman Opera Theatre’s Assistant Artistic Director Once the virus spread widely and shutdowns began in Stephen Carr ’00E, “Adversity breeds creativity.” This year, creativity Tthe early spring, almost overnight our vocabularies expanded to include and collaboration prevailed. such phrases as mitigation techniques, hybrid learning, aerosol contact, Eastman became virtual mid-March, when the University shut down, and Zoom calls. Dr. Fauci and Dr. Chatbot, acronyms like PPE and CDC, sending most students and faculty—and many staff members—home. constantly changing social distancing and cleaning protocols, became “Some staff learned to work remotely, overcoming challenges to part of our daily lives. this new way of working and interacting,” says Elaine Tennity, Human The pandemic reduced most of the school’s on-campus population Resource & Administrative Operations Director, adding that off-site and created headaches, heartaches, computer glitches, and unwelcome workers navigated furloughs and flexible schedules to meet work and furloughs. But this is, after all, Eastman, and as you’ll read, the pandemic home-life demands. “Essential personnel continued to work on-site created many surprising, and even positive, opportunities for ingenuity, seven days per week, to provide the best possible experience for our collegiality, and creativity, for thinking out of the box and replacing old students.” ways with new methods. A plan to keep the school functioning was an urgent necessity, and After an abrupt end to the spring 2020 semester, Eastman has now an Eastman Covid-19 Task Force was immediately formed to make a closed out a successful fall semester. Much of it was, and will continue plan to keep the school functioning in the spring, to move forward in the summer and fall, and to ensure that all information was transpar- Even on a summery afternoon, on-campus Eastman students followed pandemic ent and readily accessible to all members of the Eastman community. safety guidelines. At left: voice major and ESM Resident Advisor Raffi Wright An immediate challenge was training faculty and staff members how ’22E (voice); at right, percussion major David Dong ’21E. to effectively teach and work online. Institute for Music Leadership

6 Eastman Notes | Winter 2021 MICHELLE MARTORELL Director Jim Doser says “IML, with help from the University’s Online Learning team and Eastman’s Technology and Media production Department, created an asynchronous online mini-course for faculty called Getting Started with Online Teaching. And ten different departments were represented in Zoom help desk sessions with IML coaches.” Among those working on campus throughout the spring were the members of Eastman’s Facilities Department, charged with many of Eastman’s day-to-day operations, headed by Executive Director of Operations Kevin Gibson and Mike Zavaglia, Director of Facilities and Auxiliary Operations. They had a long list of immediate, and continuing, requirements to address, says Zavaglia: controlling ID card access and key access, establishing a safe work Socially distanced song: a lesson with Nicole Cabell and first-year student Emelia Boydstun. environment, providing Personal Protective Equipment (PPE), and educating the community through signage A Virtual Year: Eastman Music and Traditions Online describing new practices and protocols. “Safety, security, and disinfecting have been and By necessity, almost all of Eastman’s events and concerts migrated online in continue to remain the top priority,” he goes on, as was the course of the past year, but our desire to stay connected kept our music dealing with an ever-changing set of local, state, national, making and our traditions alive. “These events couldn’t be held in person,” says and University of Rochester COVID-19 requirements Communications Director Jessica Kaufman, “but thanks to a spirit of collaboration and guidelines: “New cleaning , disinfecting, air change, among many different departments, we were able to create, or recreate, all of ventilation, filtration, reporting and regulatory protocols them online.” were being developed and changing rapidly. Occasionally We continue to make music of all kinds for a wide, if remote, audience. Eastman within the same business day.” Connects was a much-needed source of creativity and meaningful music-making Closing the doors to public access at Eastman pro- during initial shut-down phases, bringing together brief music videos by faculty foundly affected Eastman’s Concert Office, whose and staff members, alumni, and students, and even Leonard Bernstein’s “Make Our director, Mike Stefiuk, found himself in the difficult posi- Garden Grow” from Candide, performed by a large ensemble of Eastman Opera tion of announcing formal postponement of all spring Theatre students, faculty, and staff. 2020 events. On a smaller but delightful scale, Eastman’s composition symposium presented “We gave our patrons everything from full, no-ques- a series of Tiny Pieces. Says Composition Department chair David Liptak, “We all tions-asked refunds to donations and credits for future wrote pieces, about 30 seconds each, that were recorded in our various homes events,” he says. The Concert Office also schedules all using only what we had at hand. The idea turned out to be 28 tiny new pieces on a faculty performances, student recitals, and other events, YouTube channel, which also includes a five-minute compilation.” and continued, as he puts it, “operating at breakneck Collaborating and rethinking also brought Eastman traditions online that could speed” in moving all these events online. have been much missed. Our first major wholly virtual event was the2020 “Our industry, one of the hardest hit, is struggling to Commencement, which included all the usual ingredients, including messages find its footing and that major level of uncertainty per- from Dean Rossi and Senior Class President Sophie Volpe, music from the Eastman vades,” says Stefiuk of the future. “It’s likely that we’ll Trombone Choir, and many special, interactive features as well. see a very different environment, with physical and psy- Similarly, we celebrated our firstVirtual Convocation 2020 on August 29, fea- chological barriers for audiences looking to get back into turing live, but socially distanced, performances from Kilbourn Hall by Eastman’s the concert halls.” new performance faculty members (see page 14-15). Masks did not dampen their For Helen Smith, Eastman’s Director of Technology bravura, and the added element of livestreaming their performances to our com- and Media Production (TMP), making sure lessons munity near and far was a positive send-off to the academic year. and classes would continue remotely was the para- December 11 brought a virtual version of Eastman’s fabled Holiday Sing. mount concern. “The weekend before we shut down,” Dean Rossi was still able to host this traditional event of music and camaraderie. In she recalls, “we purchased and collected up as many addition to wonderful submitted videos, a large virtual choir (including alumni and webcams, microphones, laptops, MIDI keyboards, and their families) joined in the beloved Dona Nobis Pacem. It was a fitting conclusion accessories that faculty and staff might need to be able to a fall semester in which “so much music was made,” as Dean Rossi gratefully to teach and work remotely. They were already in short acknowledged. supply and prices were rising fast. I kept them in my garage and provided a curbside pickup and delivery Some of the events mentioned here are still available for watching on the Eastman website service.” and on YouTube.

MICHELLE MARTORELL Winter 2021 | Eastman Notes 7 Professor Russell Miller’s Graduate Voice Repertoire class brought students Director of Choral Activities William Weinert conducts masked and socially together in Howard Hanson Hall—and virtually (see screen). distanced members of the Eastman Chorale.

Urgent training sessions and documentation were vital to help stu- How did this work in a musical and teaching environment? dents, staff, and faculty use Zoom and “Blackboard” for meetings and “The circumstances called for innovative thinking,” says Philip Silvey, lessons. With help from the University’s Online Learning team and Associate Professor of Music Teaching and Learning and director of the Eastman’s Institute for Music Leadership, they were also able to improve Women’s Chorus. “Early on, I abandoned the idea of trying to approxi- remote teaching tools like Zoom audio to support the very best experi- mate what we might have done. Instead, I opted to rethink my approach ence for high quality music teaching. altogether.” (You can read about the results of Silvey’s work with the Smith adds, “We worked on a project coordinated by Yale, along with Women’s Chorus in “Brief Notes” on page 2.) other schools including Juilliard and “I can get a reasonable sense of the Peabody, to work with Zoom developers physical side of things,” says Professor to create a new Music Mode. This pro- “We were challenged to draw of Piano Alan Chow, whose current stu- vided higher quality audio and improved dio includes students in six states and the experience for faculty and students. a clear line of differentiation four countries, all studying remotely. In addition, we’re always learning about “Fingerings are a little difficult to catch, new audio applications to use in conjunc- between who could teach but I can address the torso, upper arms, tion with Zoom.” wrist, hand position, etc., without any Eastman’s IT also supported in person for music making effort. Zoom improved their sound set- Summer@Eastman, which moved all ting significantly since the start, but of its offerings completely online (see experiences, and who had to nothing substitutes for hearing the stu- School News). Smith says that the expe- move to online instruction.” dent’s sound in person.” rience of her staff during the spring and Bob Sneider, who is an Associate summer made her department aware —Donna Brink Fox, Senior Associate Dean of Professor of Jazz and Contemporary of some urgent technology needs: new Academic and Student Affairs Media as well as an Eastman Community audio and video recording and streaming Music School (ECMS) instructor, has equipment, new permanent recording and Zoom equipment around the been hosting Zoom master classes with such leading jazz artists as school, and expanded Wi-Fi coverage. Wycliffe Gordon, Maria Schneider and many others. The classes are With classes and lessons adapting in spring, the way was paved to plan streamed live on the ECMS Facebook page and remain catalogued for for the fall. “We were challenged to draw a clear line of differentiation viewing. between who could teach in person for music making experiences, and “The Facebook views of the streamed classes are well into the tens who had to move to online instruction,” says Donna Brink Fox, Senior of thousands,” says Bob. “We get “likes and comments” from all around Associate Dean of Academic and Student Affairs. “We decided to move the globe … This has brought excitement to our collective ECMS/ESM most academic courses to asynchronous online delivery to create the jazz population when it’s been deeply needed.” most flexibility in students’ schedules.” “Our class felt most fortunate to be allowed to meet in person,” says Many students—about 60 per cent, according to John Hain, Associate Professor Russell Miller of this fall’s Graduate Voice Repertoire class. Dean of Academic and International Affairs—opted to return to campus “Even singing masked and twelve feet apart, having the experience of this fall “so they could take advantage of in-person lessons, ensembles, making and hearing live music again in the same space almost brought and chamber music rehearsals.” He adds, “However, students choosing tears to our eyes.” to remain at home took their lessons and participated in ensembles in Assistant Professor of Ethnomusicology Anaar Desai-Stephens taught a completely online format.” two “virtual synchronous” graduate seminars which brought together

8 Eastman Notes | Winter 2021 MICHELLE MARTORELL students in China, Hong Kong, and across the United States. “While admitted students visit campus in April before making their decisions. the ‘Zoom box’ is not the same as being physically present with each Our faculty was making a sudden shift to teaching their current students other,” she says, her students “really showed up in the fullest sense to online, but they also engaged with admitted students for remote lessons offer their brilliant insights and thoughts, even when they felt isolated, and visits to studio classes.” tired, and stressed by the condition of the world.” Ardizzone adds, “We’ve actually found that we’ve connected more The fall also brought Eastman’s ensembles back, but in a much dif- directly with prospective students. We’ve been talking to students face- ferent rehearsal and performance environment. Musicians perform to-face over Zoom whether they are in New York State, overseas, or in at prescribed distances apart (depending on their instrument) and any number of small towns that we would not have the chance to visit wearing masks. Strict disinfecting and cleaning protocols are followed in person during a normal session.” before and after playing, and concerts are limited to one hour in length For the class of 2025, Admissions has just completed a summer and and livestreamed only. (One ensemble, Musica Nova, moved all of its fall recruitment season that involved no travel and no on-campus vis- activities online.) itors, but did include virtual college fairs, school visits, and webinars “Our hall management team and stage crews have done an extraor- throughout the fall. dinary job of working within new environments with new rules and “Last March, we moved our weekly on-campus info sessions and tours safety precautions to follow,” says Mike Stefiuk. “They’ve kept things online,” says Ardizzone. “Over the summer we invested in bolstering our rolling for all the Eastman ensembles.” online resources, starting with a professionally made tour video, with The music itself changed. Instead of large-scale choral, orchestral, our student tour guides walking through our mostly empty facilities. and wind ensemble works, repertoire plans changed to programs of We also had professional 3-D photography shot in our three main per- shorter works for smaller, sometimes chamber-sized groups. According formance spaces: Kodak Hall, Kilbourn Hall, and Hatch Recital Hall.” to Director of Choral Activities Bill Weinert, “Our students have com- They all live on the Eastman website as Experience Eastman, along pletely committed themselves to maximum energy and artistry in this with a digital version of Eastman’s undergraduate brochure, links to period of much smaller ensembles.” Chamber music, an essential part Spotify playlists, our YouTube page and other social media channels, of Eastman’s musical life, continued to thrive, and the end-of-semester and the opportunity to sign up for an online info session. Chamber Music Extravaganza went on as scheduled in December. “The modern, interactive website not only allows a beautiful and “Our students overcame masks, bell covers, distancing, and half-hour information-packed resource for prospective students and families rehearsal time limits, and they played their hearts out,” says Associate during this unusual time,” says Director of Communications Jessica Professor of Flute and Piccolo Anne Harrow, who’s also chair of the Kaufman, “but we know it will also continue to serve us well in the Chamber Music Department. “Those of us who watched the Chamber future.” The Eastman Experience was just one of many technical and cre- Music Extravaganza livestreams shared with them the magic created ative challenges faced by Eastman’s Communications Office, Kaufman only when musicians play live music together.” explains. “We were very lucky to have gotten through our audition season and “The move from traditional in-person events to ‘virtual’ created all five on-campus audition days before things shut down in March,” challenges for the Communications team, but also allowed for cre- says Matthew Ardizzone, Associate Dean of Admissions and Enrollment ative opportunities … how to make traditional in-person events such as Management. “What we missed out on was the opportunity to have Commencement, Holiday Sing, and opera performances not only feel

Associate Professor Guy Johnston (far left) rehearsing a string quintet in a Distant, but working together: first-year violinist Jaewon Jun in the studio of room of Miller Center. Professor Renée Jolles.

MICHELLE MARTORELL (RUSSELL MILLER, WILLIAM WEINERT, GUY JOHNSTON); COURTNEY MORTON (RENÉE JOLLES) Winter 2021 | Eastman Notes 9 Giving Voice in a Turbulent Year When the COVID pandemic caused This virtual experience brought the sudden cancellation of last spring’s together the entire EOT team: direc- planned production of Sweeney Todd, tors Lindsay Warren Baker, Stephen Eastman Opera Theatre knew that its Carr, Steven Daigle, and Madeleine fall production was likely not going to be Snow (current MM degree candidate), done live. They also wanted it to reflect a and music directors Timothy Long and turbulent, politically and socially divisive Wilson Southerland. Each performance year. video included a Q&A with a produc- Thus, Our Voices: Immersive Composer tion’s director and composer: an insider’s Collaborations was created. In a remark- look into the process, the importance and ably creative and collaborative spirit, meanings behind the composer’s words, Putting an opera together on a computer screen: Alexandra beyond what traditionally would have and behind-the-scenes insight into each Hotz ’20E records “Once Upon a Time” from Anthony been a single fall production, or in some production. Davis’s Tania. cases (like last year’s Mahagonny- “It has never been more essential to Songspiel and Emperor of Atlantis), a learn how to tell stories through music Narrating contemporary events with a double bill, EOT offered Our Voices: six and to reflect our turbulent but hopeful contemporary sensibility requires contem- online productions, each a premiere, times through art,” shares composer porary music, and each segment of Our each a work of a different composer (see Missy Mazzoli. “I am confident that the Voices featured music from a remarkable inset box). next generation can do this in surprising, list of composers: Steven Daigle, director of Eastman vital and moving ways. Eastman Opera Anthony Davis, who won the 2020 Pulitzer Opera Theatre, says: “COVID-19 made Theatre has given them this opportunity.” Prize in Music for his opera The Central Park us consider innovative new projects that Each composer took part in group dis- Five. fuse social distancing guidelines on the cussions and individual coachings with performance stage with modern technol- students and faculty members, through Ricky Ian Gordon, whose vocal music has ogy to connect us on a computer screen. zoom meetings and rehearsals, phone been compared to Bernstein and Sondheim Adaptability and collaboration are an inte- calls and emails, and guided the process and praised by the New York Times as “caviar gral part of the training for the Eastman up to the video recordings in Kilbourn for a world gorging on pizza!” Eastman Opera voice student, with or without COVID-19.” Hall. Theatre recently produced his opera The The Our Voices performances went “Our students took an active role in the Tibetan Book of the Dead. live on a special website created by the scenic, costume, and lighting design of Lori Laitman whose operas, choral works, Eastman Communications Office (esm. their own performances,” says Associate , and songs are widely performed throughout rochester.edu/voice/eastman-opera-the- Artistic Director Stephen Carr. The result the world. The Journal of Singing praised “her atre/our-voices/), starting Wednesday, is “something Eastman’s opera students exceptional gifts for embracing a poetic text December 16, and are still available there rarely experience: a fully immersed and giving it new and deeper life through and on Eastman’s YouTube channel. One creative, collaborative journey. We hope music.” benefit of this virtual experience is a that they’ll emerge from this time with a much wider, and more widely dispersed, deeper understanding and greater appre- Missy Mazzoli, recently deemed “Brooklyn’s audience than an in-person audience for ciation of all that goes into this most post-millennial Mozart” (Time Out an Eastman Opera production. collaborative of art forms.” NY), and one of the first two women to receive a mainstage commission from the Metropolitan Opera. Ben Moore, whose “easy tunefulness” and “romantic sweep” have attracted Deborah Voigt, Susan Graham, Frederica von Stade, and Audra McDonald to perform his songs.

Errollyn Wallen, described as a ‘renaissance woman of contemporary British music” by The Observer, a respected pop singer-song- Soprano Anneliese Wolfanger sings “Poor Girl’s Ruination/The Dream Keeper” from writer and a composer of new vocal and Ricky Ian Gordon’s Heart Melodies. instrumental music.

10 Eastman Notes | Winter 2021 JOSHUA LAU meaningful, but also be accessible and visually appealing in a completely different, online format. Communications work also encompassed functional needs such as the creation and upkeep of the Fall Restart/ COVID-19 resource website.” “Being able to quickly create websites that informed our Eastman community, and also united and provided entertainment (like Eastman Connects) was a challenge, as well as very satisfying,” says Senior Creative and Design Manager Michelle Martorell. (This was in addition to re-imagining and promoting many other events; see page 7 for details.) “We’ve engaged alumni from around the world through our online events,” says Director of Advancement Cathy Hain. “Outside of Meliora Weekend, we’ve never hosted an event with alumni simultaneously attending from Singapore, Vienna, Los Angeles, and Boston. We sent out an invitation on a Friday, and three days later had 110 oboe alumni registered to join us for a happy hour with Professor Killmer. We’ve also been proud to share presentations by our talented alumni about BIPOC compositions, lessons about career paths with jazz alumni, and preconcert conversations before livestreamed Eastman ensemble performances, with the broad University of Rochester constituency.” She concludes, “Even when we can’t get together in person, it’s clear that the Eastman community wants to stay connected.” “In the end we enrolled a strong class,” says Matthew Ardizzone. But once the members of the Class of 2024 began arriving in late August, how did we go from making the connection to making them feel connected? One of the people most responsible for this was a “first year” himself; Willord Simmons began as Eastman’s Assistant Director for Student Activities and Engagement in July, only several weeks before our first- year students arrived. Wind and brass students played with face and instrument masks, as shown here Willord and Assistant Dean of Student Affairs Robert Bones created in an Eastman Symphony Orchestra rehearsal. opportunities for students to take part in such socially distanced events as movie screenings, lawn games in the Student Living Center courtyard, The flow of music did not stop, Eastman was far from silent, and the two food truck events, and giveaways of prepackaged items like caramel fall semester ended on a positive note; we were even able to end in the apples and stuffed animal kits. traditional manner, with a virtual, and extremely successful version of Many students, of course, were not living on campus at all. “Many our Holiday Sing (see page 7). As of this issue’s publication time, Holiday first-year students who studied remotely this semester were challenged Sing had received almost 5,500 hits online. with feeling connected to our campus,” says Willord, citing “their lack The semester’s success was made possible, says Dean Rossi, by “the of prior physical experience, coupled with a sense of community that tremendous efforts demonstrated by our faculty and students in the had not been developed.” online environment, the remarkable dedication of our staff, and every- Some solutions to that unique challenge involved, like their classes one’s diligence and adherence to our safety protocols—something for and lessons, combining virtual and hybrid events: games, bingo and which we can all be very grateful.” trivia nights, Netflix viewing parties, social media challenges, and guided Helen Smith describes “a much more productive working environ- painting nights with an artist. ment. We are still recording and livestreaming concerts and enabling “Our students also faced challenges with mental wellness,” says audiences to continue watching these online. In addition, we continue Willord. “Many students felt overwhelmed and burnt-out, more quickly to make virtual ensemble videos for performers who are not able to be than usual, and expressed their fatigue in various ways. The Office for together in person.” Student Activities partnered with University Health Service and UCC “Now, more than ever, we are constantly communicating with other to provide students with wellness programming such as virtual yoga, departments, faculty, and students, to keep things as normal as pos- meditation, and warm-ups.” sible,” says Mike Stefiuk. “While we miss the real-time collaboration In an Eastman Connects video made last spring, Dean Jamal Rossi with our colleagues, we are finding that we can be just as productive quoted Aaron Copland: “To stop the flow of music would be like the and communicative working remotely.” stopping of time itself, incredible and inconceivable.” He added: “With “Throughout the past nine months,” says Donna Brink Fox, “the the school now silent, what once was inconceivable now seems nearly faculty and the staff have demonstrated extraordinary resilience. They credible,” and urged everyone to “enrich the lives of others with music remained deeply committed to providing the most positive experience during this period, when the world needs music to lift our spirits and for students. Their collaboration has been enormously inspiring as we nurture our souls.” move through the corona chaos towards the new year.”

MICHELLE MARTORELL Winter 2021 | Eastman Notes 11 Moving Music Leadership Online

or almost a decade, Eastman’s Institute for Music Leadership Some master’s level music leadership courses already existed online; (IML) has been a leader in online learning through its spe- now all required Music Leadership core courses will be taught online F cial events, master classes, and certificate courses. Now, IML and can be accessed from anywhere. In addition, select elective courses has done the same with its highly regarded Master of Arts in Music will be available online from other departments, including secondary Leadership degree, first offered in 2018. lessons. Just before the start of the Fall 2020 semester, the New York State The Master of Arts in Music Leadership degree is designed for musi- Education Department (NYSED) approved Eastman’s Master of Arts cians who seek to lead traditional and/or non-traditional musical arts in Music Leadership degree program for fully online delivery. This was organizations. Because artistic and managerial skills are essential for the a big step, but one that will widen the IML’s audience. music leaders of today and tomorrow, this degree combines academic “I am incredibly excited to see the Master of Arts in Music Leadership and musical studies. transition to an online degree,” says Rachel Roberts ’03E, IML’s Graduate The coursework falls into five categories: Degree Program Director. “This delivery eliminates many barriers that future students, regardless of their location of study, may have previously • Innovative Musical Leadership encountered when wanting to access this curriculum.” • Administration • Marketing and Engagement Rachel Roberts ’03E (above) is Eastman’s IML Graduate Degree Program • Music Electives Director. • Internship/Mentorship

12 Eastman Notes | Winter 2021 MICHELLE MARTORELL This degree also fulfills the NYSED requirement for K-12 Music Teachers to advance from initial Certification in Music to Professional Certification. Cross-Country All of the existing courses are transitioning to a mostly asynchronous online format that maintains the focused study and and Cross-Campus collaborative learning environment that is central to IML’s Music More IML Online Initiatives Leadership degree. In addition, this highly interactive format allows maximum flexibility for student locations and schedules. Eastman’s Institute for Music Leadership Current MA student Jane Koelsch, originally from North Carolina, has long offered online instruction and received her undergraduate degree in clarinet performance from other events, including such profes- the University of North Carolina, and found the Music Leadership sional resources as the Eastman Case degree when researching opportunities to pursue her career interest Studies, which recently released its ninth in non-profit arts. She has been favorably impressed by the expe- series, and its Career and Leadership rience, knowledge and training available to her at Eastman. “The Certificate. biggest thing is having the ability to communicate with each other,” she says. “We can be face-to-face in class discussions.” Last summer, IML, and seven other peer “The online Music Leadership courses are engaging and filled institutions, presented the online series with wonderful information!” says Sarah Bertrand ’15E (MA), a Virtual Visionaries—not a class, but an former voice student and now administrative assistant in the Office online series of discussions with profes- Stephanie Venturino ’17E and ’19E (MA of Academic Affairs. “The instructors create a collaborative learn- sionals across the performing arts about ing environment. The information is all very organized, and the sustaining arts organizations and careers during the pandemic. students are given all of the tools needed to succeed in the online Plans are in place to continue the series. environment.” This online master’s degree, say Roberts and IML director Jim IML also plans to offer—in person, virtually, or as a hybrid—its Doser ’79E, ’89E (MM), helps to keep the Institute for Music popular Leadership Conference for music school leaders, admin- Leadership—and Eastman—in the forefront of online learning istrators, and faculty members from June 16-19, and its Leadership and experience for college-age and older students. Academy for rising juniors, seniors and graduate students from “The Music Leadership program offers students and young pro- June 23-26. fessionals the opportunity to master the skills necessary to thrive in the performing arts while gaining valuable experience,” says cur- In addition, IML helped the Eastman Community Music School rent student Zeke Fetrow, who was also the first Eastman student (ECMS) launch its first fully online course, in AP® Music Theory, with funding from the University’s Educational IT Governance Jim Doser recalls numerous Committee. It revamps the IML’s fundamental-focused eTheory LIVE conversations with promising course as an AP® Music Theory offering for pre-college students in Rochester, and throughout the country. prospective applicants who had to pass on the opportunity for ECMS director Petar Kodzas lauds this fruitful “cross-campus the degree because they couldn’t collaboration” among ECMS, IML, and the University. “ECMS and leave their jobs or families. the Institute for Music Leadership, while traditionally having very different roles and goals at Eastman, have united for this wonderful “ The answer to them then had to joint collaboration.” be ‘no’,” says Doser. “The answer Jim Doser ’79E, ’84E (MM) now is ‘yes.’” The course was designed and is taught by current PhD music theory student Stephanie Venturino ’17E and ’19E (MA), who has to complete a Music Leadership minor. “Eastman is leading the taught face-to-face courses for ECMS since 2010; and, since 2015, field as a model for what engaging and rigorous online-education has designed and taught hybrid online aural skills classes through can look like.” ECMS. “I approached Petar about a possible ECMS involvement Jim Doser recalls numerous conversations with promising pro- with the IML’s AP® Music Theory course,” says Stephanie, “and spective applicants who had to pass on the opportunity for the things went from there!” degree because they couldn’t leave their jobs or families. “The answer to them then had to be ‘no’,” says Doser. “The answer Thirty-two students, from Connecticut to California, are currently now is ‘yes.’” enrolled in the course; Stephanie is excited about the future growth of the program, as well as its implications for the development of For more information, go to esm.rochester.edu/admissions/grad/ma/ other pre-college programs at the University. leadership.

STEPHANIE VENTURINO: ARIANDAVID PHOTOGRAPHY Winter 2021 | Eastman Notes 13 Challenges and Creativity Eastman’s new faculty members faced a challenging first semester

Five full-time faculty members joined Eastman in the summer of How have you adapted your teaching to online and socially dis- 2020. They immediately began their Eastman teaching careers in tanced environments? a semester unlike any other to date. The COVID-19 pandemic has created completely new challenges for education in general, and What have been some particular challenges for you? for music education and performance in particular. The pandemic has affected every aspect of life at our school, from After several months of meeting those challenges, we are intro- administration, to your fellow faculty members, and especially to ducing our new faculty members in Eastman Notes with their your students. What does Eastman’s overall reaction to this unique answers to some timely questions: situation say to you about our school?

Nicole Cabell ’01E of Rochester. When I relay to my friends and family the measures Assistant Professor of Voice Eastman has taken toward keeping us safe and active, the reaction is always relief and admiration. “ My remote students at Eastman have been enthusiastic, positive and YooJin Jang game for thinking outside Assistant Professor of Violin of the box in our sessions, and I’m happy to say they “ Honestly, I would say are all showing wonderful Eastman’s reaction progress.” and preparation were phenomenal! Many schools While this pandemic has been devastating to most of us in the are still not allowing arts community, it has also challenged us to find creative and innovative ways of adapting and moving forward. Online lessons began in-person teaching.” immediately for me at my previous institution, DePaul School of Music, in March of this year. Having traveled for months at a time in years past due to my performing career, I’ve had to navigate the unique challenges of online voice lessons before. However, it was I must say “So far, so good!” I have two online students, one in China truly a “deep end of the pool” situation in March, and I clocked over and one in the United States; the rest are in in person. It is not the 100 hours in that final quarter. It was a rather smooth transition teaching experience any of us expected, but all semester my students when I began at Eastman with the remote students I was tasked with remained eager to learn and worked hard. teaching. There are shortcomings to online learning in seeing how the stu- I love any lessons I am privileged to teach, both in person and dents use their bodies to play. I sometimes ask them to go further online. My remote students at Eastman have been enthusiastic, pos- away from their cameras so I can see the full body and different itive and game for thinking outside of the box in our sessions, and I’m angles. On the other hand, I can also ask them to come quite close, happy to say they are all showing wonderful progress. They deserve to show me their hands or arms close up. Acoustically, though the tremendous praise for their positivity and willingness to learn in this students have microphones it is difficult to know if I am getting unusual situation. an accurate idea of their full tone, or to be sure of their tone It’s no surprise that Eastman’s response to the pandemic has prov- quality. en admirable. We’ve had a strikingly low number of covid cases at Honestly, I would say Eastman’s reaction and preparation were Eastman (most of the semester saw us at 0!), as well as the University phenomenal! Many schools are still not allowing in-person teaching.

14 Eastman Notes | Winter 2021 NICOLE CABELL: ERIK A. DUFOUR It is sad when I come to school and see it is so empty, but I am grateful The biggest challenge for me has been adapting to asynchronous that Eastman manages so many details to make sure that everyone is instruction. I miss being able to interact with my students and it’s dif- safe for lessons and chamber music practice. ficult to gauge how well my students are understanding the material when we aren’t able to interact in a live setting. I’ve had to modify the way I introduce new topics significantly in this format, which isn’t always ideal. But one positive outcome is that I’ve learned how to use Benjamin Baker ’18E (MA) a lot of new technologies, some of which I think will be useful even Assistant Professor of Music Theory when we can resume face-to-face instruction. I’m so proud to be a part of the Eastman community. This semester hasn’t been easy for anyone, but our faculty, staff, and students have “ I’m so proud of my students worked hard to protect the health and safety of everyone in our com- for their flexibility and munity. I’m also very proud of my students and teaching assistants. engagement. And I’ve We all miss being able to work together face-to-face, but everyone has come to value the added kept such a positive attitude and has been so cooperative through- potential for multimodal out the semester. Their hard work keeps me motivated to get through what is arguably the most challenging semester I’ve ever experienced. communication afforded by And I’m grateful to have such wonderful and supportive colleagues. online videos.” Teaching asynchronously can be a very isolating experience, and I am so grateful to my colleagues who have reached out in various ways. It’s made my first-semester experience much more positive than oth- For me, the biggest disadvantage of teaching music theory online is erwise might have been. that I miss the chance to be in a room with 50 enthusiastic, talented first-year Eastman students three times a week! Feeding off their energy and musicality, gauging their reactions in real time to be sure they’re hanging with the content, even experiencing music together Joseph Rackers ’01E (MM), in the same time and place—there’s simply no substitute for it in an ’05E (DMA) online environment. Professor of Piano I’m so proud of my students for their flexibility and engagement. And I’ve come to value the added potential for multimodal communication afforded by online videos. I can fit a score, a grand staff, a “As I come to school several light-up keyboard, and my face on the screen all at once—that’s tough days each week for in-person to do in a live classroom, and it makes teaching some basic music the- lessons, it has been ory ideas much easier. inspiring to see the Eastman I’m really inspired by the sacrifices that students, faculty, and staff community come together, are continually willing to make to participate in the Eastman community. These sacrifices testify to just how special a place this is. following all health and I’m grateful for the hard work our leadership is doing to preserve safety protocols.” Eastman’s vitality, while encouraging us all to care for ourselves, and for one another, during this strange season. It is a process and I continue to work to improve at online piano teaching each day. The fundamentals are an excellent instrument, strong internet connection, good sound equipment and a thorough Sarah Marlowe ’13E (PhD) understanding of the technologies to activate the best possible Assistant Professor of Music Theory sound for both the teacher and student. I have been impressed with how students have adapted, continuing to make progress each week during circumstances that are especially challenging for them. “ We all miss being able to As I come to school several days each week for in-person lessons, work together face-to-face, it has been inspiring to see the Eastman community come together, but everyone has kept such following all health and safety protocols. The school has done an out- a positive attitude and standing job developing and implementing procedures, which allows has been so cooperative me the privilege of being able to teach in-person during this time. throughout the semester.”

Winter 2021 | Eastman Notes 15 multidimensional, multi-sensory approach . . . and an all-inclusive philosophy that seeks to reach the ‘whole child.’” The story of Orff Schulwerk teacher education at Eastman begins with The Roots Orff’s work in Germany in the 1920s. During the era of Dalcroze, Laban, and the flourishing of modern dance, Orff began teaching an evening course primarily for young women interested in music, improvisation, and Legacy of and dance instruction. Orff worked with dancer and choreographer Dorothee Günther to cultivate in students a united musical expression, centered in rhythm, repetition, and simple forms, and eventually incorporated marimbas, xylophones, timpani, and other percussive Summer Orff instruments into instruction. Their work quickly gained in popularity, and together with his pupil Gunild Keetman and the school accompanist Hans Bergese, Orff published several volumes of elemental music exercises (Orff-Schulwerk). Schulwerk By 1945, however, the Güntherschule building where they had been teaching was a bombed-out ruin. After the war, a Bavarian radio station invited Orff to develop a The summer of 2019 saw the 28th and final series of music education broadcasts for elementary students. Orff and year of Orff Schulwerk teacher certification Keetman recast the Schulwerk for children, and Musik für Kinder was during Eastman’s summer session. Recent Music born. Thanks in large part to the efforts of Arnold Walter, a Czech lawyer and musicologist who later became the director of the faculty of music at Teaching and Learning graduate Stephania the University of Toronto, and his student, Doreen Hall, the Schulwerk Romaniuk E’20 (MA) traces the beginnings of was translated and adapted for North American English-speaking music the Orff programs in 1920s Germany to their teachers, eventually appearing at the 1956 Music Educators National Conference in St. Louis. adoption and flourishing at Eastman. Hall went on to advocate for the approach in North America, and one of her students, Ruth Pollock Hamm, began offering workshops By Stephania Romaniuk and courses in the Orff approach at Eastman beginning in the summer of 1966. Hamm became a founding member of the Orff-Schulwerk n July 26, 2019, under director Dr. Donna Brink Fox, and fac- Association, now the American Orff Schulwerk Association (AOSA), and, ulty members Jim Solomon, Mary Helen Solomon, Dr. Janet in 1970, Rochester was the third AOSA chapter to receive its charter. ORobbins, and Karen Medley, the Orff Schulwerk Teacher Once those summer workshops concluded, Eastman experienced Education Course at Eastman graduated its final cohort of ambitious an Orff pedagogy instruction lull until the 1990s, when a young faculty music educators seeking certified instruction in the Orff approach. member proposed hosting a summer Orff Schulwerk teacher educa- Over 28 consecutive summers, the program accepted 976 total reg- tion program on campus. Dr. Donna Brink Fox, then music education istrations across three certification levels, serving 582 students from department chair and responsible for supervising student teachers, the United States, Canada, Brazil, Taiwan, and beyond. By the final had heard Rochester-area educators express interest in taking Orff year, students of previous years’ participants Schulwerk certification over the summer. Many who had themselves decided to pursue careers teachers felt that the cost of out-of-town trav- as music educators had even begun attending el was prohibitive, and they were enthusiastic to gain their Orff certification levels. about the prospect of studying in their home Each summer’s Orff Schulwerk Teacher city. Although the local AOSA chapter hosted Education program taught music educators the Orff workshops, these educators “wanted a philosophy and approach to music instruction more grounded and foundational understand- developed by Carl Orff (1895–1982). Orff felt that ing of the Schulwerk. They wanted to put it into a child’s musical imagination could be awakened a larger context so they could see the progres- by what he termed elemental music—music that sion and take it somewhere with their children,” was accessible, characteristically rhythmic, explained Fox. repetitive, dramatic, united with speech and Fox knew she wanted to create a unique movement, and with simple forms. The first Eastman summer Orff class, 1992 stamp for the levels courses taught at Eastman. Over week-long sessions, educators sang, She asked for a multi-year commitment from spoke, moved, danced, played instruments, improvised, read music, then-Associate Director at Eastman, Jon Engberg, who agreed to support arranged, and composed, and learned to appropriately sequence these the program. Following close-knit discussions with local teachers, Fox learning activities in their own classrooms. As instructor Jim Solomon invited Jim and Mary Helen Solomon from Florida to teach the first explained: “Orff is not a series of gimmicks or techniques . . . It is a Orff Level I course at Eastman in 1992.

16 Eastman Notes | Winter 2021 DONNA BRINK FOX An Orff Schulwerk “Dream Team” in summer 2019, clockwise from left rear: Donna Brink Fox, Jim Solomon, Janet Robbins, Mary Helen Solomon, Karen Medley.

Levels II and III were added in subsequent years, and Dr. Janet What held this program and these educators together for 28 years? Fox Robbins from West Virginia University and Karen Medley (herself an describes a keenly felt bond among faculty and students. Participants’ Eastman graduate) joined the faculty roster. Early participants were schedules included not only the required classes in pedagogy, movement, mostly local teachers, but over time the pro- recorder, composition, and so on, but tutti hours gram attracted students from all over the world. where all the levels came together to learn and Among the distinguishing factors of the make music, and social gatherings like drum Orff Schulwerk Teacher Education program jams and live music nights. All were encouraged at Eastman was the far-reaching influence to feel welcome and part of a larger community: of its faculty and participants. They took on “It was like magic,” Fox recounts. leadership roles in the AOSA, presented at con- For nearly 30 years, the Orff pedagogy pro- ferences, published articles, and advocated for gram at Eastman inspired and enabled music Orff instruction locally, nationally, and beyond. educators to cultivate meaningful musical Fox wanted to promote research as a unique expression among their students. After sev- feature of the Eastman program. She invited eral faculty members retired in 2019, the Robbins to develop and lead the OrffSPIEL summer program moved to Nazareth College, (Schulwerk Project Implementing Eastman Orff 25th anniversary class, 2019 but the legacy of the Eastman Orff Schulwerk Levels), where teachers were encouraged to Teacher Education Course lives on in each reflect on their own practice of the Orff approach once they returned of its students who were touched by this unique approach. As Orff to their classrooms. The findings from this research were published believed, “elemental music gives to the child powers that cannot oth- in The Orff Echo and presented at the AOSA national conference in erwise come to fruition . . . and is a determining factor for the whole of Philadelphia in 1996. his life.”

AMANDA SHARPE Winter 2021 | Eastman Notes 17 and ByFootball David Raymond Fiddling hroughout much of his life, Frank Teremy ’65E has moved “I told Professor Taylor, ‘I don’t think I’ll ever be Jascha Heifetz,’ And between two worlds: the dignified world of classical music as asked him what he would think of my joining the team.” Taylor gave Ta violinist, and the rough and tumble world of pro soccer and Frank his approval to play soccer for the University while completing football. As he puts it, “I’ve rubbed elbows with great musicians and a bachelor’s degree at Eastman, graduating in 1965. bumped heads with great athletes.” He continued to play soccer locally, and The Teremy family were refugees soon caught the attention of an NFL coach after the failed 1956 Hungarian upris- thanks to his expertise at soccer-style ing and Communist takeover, arriving in kicking, in which the player uses a side Rochester when Frank was sixteen years swing, kicking with his instep instead of old. Their father was considered an “ene- his big toe. In Frank’s case, it resulted in a my of the people” in Hungary, but the four powerful and more accurate kick, often 50 Teremy brothers became outstanding or 55 yards long. (This style of kicking was students in America: Steve at Rochester new to the pro football world in the 1960s.) Institute of Technology, where he received In early 1966, Frank was recruited by a business degree and is also in the Soccer the Dallas Cowboys. During training in Hall of Fame; Paul at Monroe Community California, he befriended Don Meredith, College, where he is also a member of not only a famous quarterback, but also a the Soccer Hall of Fame; Peter, also an country singer and guitarist who coached engineering student at RIT; and Frank at the Eastman-trained violinist in songs Eastman, where his violin teacher was the like “The Eyes of Texas Are Upon You” revered Millard Taylor, who taught here Frank with football ...... and with violin. for the team’s “rookie shows.” (As Frank from 1944 to 1979. says, “music is a great equalizer.”) Frank’s talents also extended to athletics: while at Eastman, he was a Frank only played three months before he was released from the member of the University of Rochester Soccer Team, which most violin- Cowboys. But he was realistic: “Danny Villanova was an excellent kicker ists would consider a dangerous hobby. “In my senior year,” he recalls, and punter, there was no way a rookie would replace him.”

The 1966 Dallas Cowboys offense included Frank Teremy, No. 18. A 1978 review of The Budapest.

18 Eastman Notes | Winter 2021 COURTESY FRANK TEREMY In a 1981 interview in the Rochester Times-Union, Stephen Wigler wrote:

Teremy says . . . “You have to have a sense of timing in music and sports. You need physical stamina in music, too. To hold the fiddle for two or three hours, you have to have arms like a bear.”

When Teremy walks through the restaurant, his fiddle on his After leaving Dallas, Frank played football and soccer in Orlando, Richmond, and Rochester. arm, he said he gets a feeling of intensity much like the rush he once got on the soccer and football fields . . .

“You don’t get that feeling unless you’re performing. When you perform, you can’t do it tomorrow. You have to do it now.” Frank with his family: in front, Frank and Carmen; in the back, A romantic European atmosphere (left-right): Bandi Kallay, their children Carmen, Frank, and Rosita. Carmen, and Frank play at the Budapest.

He joined the Continental League and, in his words, “worked my rooms were named after Franz Liszt and Béla Bartók, Hungary’s great way north, to see if anybody could use me.” He played with the Orlando composers. Panthers and Richmond Rebels, and eventually the Rochester Wolves Steve Teremy looked after the business side; the music was performed and Rochester Warriors. by Frank, returning to his violin; Carmen on piano and vocals; and cim- By the 1970s, his life consisted of much more than football. He was balom virtuoso Bandi Kallay, whose playing Professor Emeritus (and married to Carmen Fernandez-Martinez ’65E (MAS), a talented singer, Budapest customer) Vincent Lenti ’60E. ’63E (MAS) describes as “up pianist, and Metropolitan Opera finalist who had studied in Rome as a there with hearing the Vienna Philharmonic, or a recital by Oistrakh Fulbright scholar. They were settled in Rochester, had three children, or Horowitz. He was amazing but apparently only when under the and he realized “I needed a stable job—one where they don’t let you go influence of his favorite Hungarian plum brandy. Happily, he was in when somebody else comes along.” that condition whenever I heard him.” He accepted a position in the Rush-Henrietta music department, In the days when Rochester’s newspapers had frequent restaurant where he directed the high school orchestra and taught strings for reviews and “after dark” pages, the Budapest was a popular spot with six years. After receiving a master’s degree in counseling from SUNY musicians (many of them from Eastman) and sports figures. Brockport in 1972, he became a counselor at Brighton Middle School. Frank continued to keep in touch with Eastman; in 1984, the Budapest He continued to play in the Rochester Soccer League until 1976, when catered a Bartok quartet marathon here. The following summer, Frank a broken leg forced him to give up any dreams of sports. visited Nazareth College, as a presenter at the New York State School Music came, indirectly, to the rescue. Frank and his brother Steve Music Association on “Authentic Hungarian and Gypsy Playing Styles.” bought a restaurant—the Budapest, at 253 Alexander Street, a few blocks Needing to be home more often for his family, Frank sold the Budapest from Eastman. Besides authentic European decoration and food, the in 1985. He continued at Brighton Middle School as a guidance counsel- Budapest also offered authentic European music: light classics, Romani or. “Home”, overlooking Irondequoit Bay, is now full of memorabilia of (then called Gypsy) music, popular Viennese operetta. Even the private Hungary, of his family, and of his varied life in sports and music.

COURTESY FRANK TEREMY Winter 2021 | Eastman Notes 19 We are grateful to the Wegman Family Foundation for providing a $2 million challenge to encourage others to create endowed scholarships at the Eastman School of Music.

There are still limited funds remaining. If you are interested in learning more about how your scholarship contribution can be matched through the Wegman’s Challenge, contact us at [email protected]. *List of scholarships current as of October 1, 2020. { SCHOOL NEWS }

We are grateful to the Wegman Family Foundation for providing a $2 million challenge to encourage others to create endowed scholarships at the Eastman School of Music.

We are pleased to announce the following Laura L. Fulton and Martin P. Zemel 28 scholarships that have been inspired Eastman School of Music Endowed Scholarship through this challenge. Lowell and Sally Weitkamp Merit Scholarship Fund Mangelsdorf and Rosengren Scholarship Fund Abigail R. Stern and David H. Stern at the Eastman School of Music Endowed Scholarship for Strings Marcia Baldwin Scholarship for Voice Alan E. Curle and Andrew S. London A virtual celebration: Gateways 2020 brought together Eastman alumni, faculty members, students, and many distinguished guest artists and lecturers. Endowed Scholarship Margaret and Stephen Weber Memorial Scholarship Fund Dan Ross Oboe Scholarship Marjorie B. Morris Scholarship Gateways Festival 2020: Daniel McIntosh and Patricia A. Parsons Endowed Scholarship Marlan and Angela Carlson Acts of Courage, Messages of Hope Dual Degree Scholarship Dexter N. Weikel Memorial Scholarship The 2020 Gateways Music Festival, in association with Eastman School famous soprano and new Eastman faculty member Nicole Cabell Myra and Larry Brodney and Maureen Adduci of Music, took place virtually from November 9 to 13, this year as a vir- ’01E, pianist Lee Wright ’03E, ’18E (DMA), and cellist Teryle Watson Edwin I. and Nancy Colodny Scholarship and Drew Mittelman Scholarship Fund tual chamber music festival. The exciting lineup included solo recitals ’72E, as well as Eastman Professor of Viola George Taylor. A by Anthony McGill, principal clarinet of the New York Philharmonic Gateways Ensembles concert featured the Gateways Brass Collective, Evelyn Rothstein ’42E, ’45E (MM) Scholarship Nathan J. Laube Organ Scholarship and 2020 Avery Fisher Prize winner, and South African-born cellist which includes Herb Smith and trombonist Isrea Butler ’04E, Gail A. Lione Eastman School of Music Scholarship Richard and Sidney Killmer Thapelo Masita ’17E. ’06E (MM). Undergraduate Oboe Scholarship “Making music in times such as these is a true act of courage,” says A highlight of the festival was the series of four lectures named for Jamal and Pamela Rossi Scholarship Fund Lee Koonce ’96E (MM), Gateways President & Artistic Director. “Our the late Eastman and University of Rochester dean and Gateways sup- Rosemary Utz and Douglas H. Jones Family Gateways musicians have poured their hearts and souls into their per- porter Paul J. Burgett, ’68E, ’72E (MA), ’76E (PhD), which presented Jay S. and Jeanne Benet Scholarship Endowed Ethnomusicology Scholarship formances this year, and they are sending powerful messages of hope four lecturers: Dwandalyn Reece, curator of the National Museum of and healing to City of Rochester, the Eastman School of Music, the African American History and Culture; Garrett McQueen, leading a Joyce Osborn Violin Scholarship Sonny Stitt Scholarship University of Rochester and the world.” discussion about the Black Lives Movement and classical music; Tammy Kathleen and Richard Magere Scholarship After an opening concert “Celebrating Rochester’s Own” on November Kernodle, president of the American Musicological Society, on music, Tanya Lesinsky Carey and Gerald V. Carey 9, the Festival continued with chamber music performances, solo recit- Black women, and the 19th amendment; and WQXR radio host Terrance Keith S. Reas and Tomás C. Hernández Scholarship at the Eastman School of Music als, panel discussions, talks, a screening of the filmWhat Happened, McKnight, leading a conversation about the impact of the Covid-19 Centennial Scholarship William E. Runyan ’73E (MA) ’83E (PhD) Miss Simone?, and a five-day residency with students from ROCmusic, pandemic on the lives of musicians. Endowed Scholarship Rochester’s El Sistema-inspired community music education program, Founded in 1993 by concert pianist and now-retired Eastman Kessler Family Scholarship who performed at the concluding concert. Associate Professor Armenta Hummings Dumisani, the Gateways Along with Thapelo Masita, Gateways featured a number of oth- Music Festival connects and supports professional classical musicians er Eastman alumni. Celebrating Rochester’s Own included Rochester of African descent and enlightens and inspires communities through There are still limited funds remaining. If you are interested in learning Philharmonic Orchestra trumpeter Herb Smith ’91E, internationally the power of performance. more about how your scholarship contribution can be matched through the Wegman’s Challenge, contact us at [email protected]. Winter 2021 | Eastman Notes 21 *List of scholarships current as of October 1, 2020. { SCHOOL NEWS }

March. By mid-April, it was announced that the campus would remain closed through the summer; we would not be able to bring any students or faculty to campus for an in-person experience. We hated the thought of canceling Summer Session altogether, so we decided that our only option was to pivot quickly and move as many programs as possible online. We had never run an all-online Summer Session before and had no idea how it would turn out: would faculty be willing to teach online? Would anyone sign up? Could online classes really be engaging and fun? We consulted with faculty, then took a deep breath and dove in: on April 22, registration opened for a full slate of more than 40 all-online courses and workshops. The response blew us away! 2020 turned out to be our busiest year to date: we received over 500 registrations from students in 43 states and 11 countries. Students and parents told us repeatedly how happy they were that we made online programs available, especially because many other summer programs were forced to cancel this year. Our faculty were also quite positive about the experience: even though class Nicki Roman ’18E (DMA) was a guest speaker for Summer interactions were limited by distance, technology issues, and less-than-optimal audio 2020’s Eastman Saxophone Online Workshop (ESOW). quality, they felt that they were still able to connect with students and create a sense of community within each group. “It was nice getting to jump on and Although most participants would have preferred an in-person experience, in post- be a small part of the workshop. I’ve class surveys students pointed out several unexpected benefits of our online summer: they were pleasantly surprised by the opportunity to take class with students from all met countless young and inspiring over the world, the quality of instruction, the budget-friendly tuition, and the conve- saxophonists when I used to teach at nience of learning from the comfort of home. One student in particular confirmed that our efforts paid off: “Being ‘virtual’ is not this program prior to departing from ideal for anyone. You all were able to make the absolute best out of the circumstances Rochester a few years ago. This session and provide everyone with a very rich opportunity to learn. Thanks for the experience, but also thank you for continuing the workshop in the first place. The willingness was no different. Go saxophones!” and work to move this event online speaks volumes about you and your colleagues at Eastman.” —Nicki Roman ’18E (DMA) —Andrea Schuler ’91E, ’93E (MM), Summer@Eastman Program Coordinator (continued on page 24) An Excellent Online Summer Adventure Continues Nothing about Summer@Eastman 2020 happened the way we expected. We had already spent most of the 2019-20 school year planning for our in-person courses, institutes, and pre-collegiate residential programs when COVID-19 restrictions closed Eastman’s campus in

Summer@Eastman Director Sylvie Beaudette (top, center) and her French Lyric Diction students (Kayleigh DeBrine, Emma Ginzel, Daniela Monzon, Mimi Law, Eastman Community Music School instructor Nobuko Moriwaki ’86E, ’89E (MM) and a student Francis Mok, Molly Petrik). demonstrate that piano lessons can still be fun online (see page 24).

22 Eastman Notes | Winter 2021 SYLVIE BEAUDETTE (FRENCH LYRIC DICTION); MICHELLE MARTORELL (NOBUKO MORIWAKI) { SCHOOL NEWS }

ECMS Plays On this Fall These photos by Eastman’s Senior Design and Creative Manager Michelle Martorell show that this fall, Eastman Community Music School proved that lessons can be safe and fun. (See page 24 for more ECMS news.)

On page 22, piano Instructor Nobuko Moriwaki teaches an unidentified but enthusiastic young student.

At left, a clarinet duet with Andrew Brown ’08E (MM) and student Madison Edwards; below, Meghan Demirer aims for a high note in her lesson with voice department chair Teresa Ringholz ’81E, ’83E (MM)

MICHELLE MARTORELL Winter 2021 | Eastman Notes 23 { SCHOOL NEWS }

(continued from page 22) • Led by Bob Sneider in collaboration with the JCM Department, we produced more Summer@Eastman 2020 broke records in terms of num- than twenty master classes by leading figures in jazz (see page 8). bers and geographical reach. The all-online format made • Winterfest, our traditional showcase for ECMS musicians of all ages, went forward it possible for high school, collegiate, and adult students, during the weekend of December 18 through 20, safely accommodating in-person from across the United States and from the Netherlands, soloists and ensembles. China, Germany, Canada, Hong Kong, Uruguay, • The were pleased to carry on our tradition of partnership with Linkages of Rochester Singapore, Mexico, and Portugal, to participate. to celebrate the Sister-City Relationship between Rochester and Velikiy Novgorod After much consultation, several meetings, and looking in Russia on January 7 in Hatch Recital Hall. This year’s smaller and live-streamed at the current situation in the United States and abroad, version celebrated Russian music with solo and duo performances from ECMS and we have concluded that Summer@Eastman 2021 also ESM students and alumni. Special thanks to ECMS Instructor Howard Spindler needs to be online. We feel strongly that the best way ’81E, who helped to found this annual tradition in 2007, so that it could continue to ensure a large number of participants and to keep in some form this year! everyone safe is to offer all of our programs, institutes, and courses online again (see inside back cover). Last year we learned that it’s possible to celebrate our students, faculty, and their Thanks to the willingness and creativity of the Summer achievements online while adhering to performance guidelines. We want all our faculty, our Summer@Eastman 2020 online experiment students to experience music-making in our extraordinary facilities. Even without was a great success and exceeded our expectations. Visit in-person audiences, we know they are with us! summer.esm.rochester.edu to see what’s in store for —Petar Kodzas ’99E (DMA), ECMS Associate Dean and Director; Summer 2021! Eli Campbell, ECMS Media & Events Coordinator — Sylvie Beaudette ’93E (DMA), Summer@Eastman director New Eastman Staff Members New Paths for Community The Eastman community welcomed three important new staff members during 2020. In February Anthony Spall came from the University of South Florida Sarasota-Manatee Music School as Eastman’s Office of Student Affairs Coordinator (Sec. IV), managing the Student There was nothing virtual about the past few months at Living Center Front Desk, ID processing, and coordinating the Office of Student Eastman Community Music School! This summer, many Affairs. Anthony is a University of Rochester graduate in Political Science and fluent “real” and wonderful students from around the world in ASL. joined us, and more than ever before took individual During the summer, Willord Simmons joined the Student Living Center staff in the lessons. We were not physically near one another, but crucial role of Assistant Director for Student Activities and Engagement. Willord our bonds were genuine and long-lasting. completed his master’s degree in Higher Education at Harvard University last spring In the fall, we made necessary safety accommoda- semester, and also holds the bachelor’s degree in flute performance from DePaul tions for in-person learning, and reached students from University. Europe, Asia, South America, and across the United Meredith Gangler joined Eastman as our new Ensembles Librarian/Manager last States in online lessons and classes. We also offered summer. She graduated from Eastman in 2004 with a BM in Horn Performance and in-person ensembles for Rochester students. also has Masters’ degrees from New England Conservatory and Southern Methodist Our ECMS community reacted to challenges with University. She has served as a librarian with the Cape Cod Symphony Orchestra, Aspen extreme creativity: Music Festival, and Boston Philharmonic and Boston Philharmonic Youth Orchestras, and was Senior Library Coordinator for Boston University School of Music. • Our faculty recorded a “petting zoo” with instrument-specific messages and held an online open house. • We postponed auditions for the Eastman Pathways program, offering free online workshops with ECMS faculty members to RCSD students. • The Eastman at Washington Square series celebrated its 25th anniversary. We were unable to perform in the inspiring First Universalist Church sanctuary, but continued with live streamed recitals from Sproull Atrium (see back cover). • In collaboration with the Office of Admissions, Institute for Music Leadership, and Technology and Media Production, we presented workshops on Majoring and Minoring in Music and Demystifying the Recording Process. Anthony Spall Willord Simmons Meredith Gangler ’04E

24 Eastman Notes | Winter 2021 { SCHOOL NEWS }

Sibley Library’s Guide to Music of the African Diaspora The Sibley Music Library’s online research resources now include a guide to Music by People from the African Diaspora, created by Cataloging and Reference Librarian Rick McRae “to diversify and widen repertoire with musicians of color in the Western Classical music tradition.” Rick compiled bib- liographic and online resources from Sibley and other libraries Exploring Beethoven: the members of the Ying Quartet are Robin Scott and Janet Ying ’92E, relating to music violins; Phillip Ying ’91E, ’92E (MM), viola; and David Ying ’92E (DMA), cello. traditions originat- ing from Africa and Sibley Music Library’s Rick McRae. The Yings Celebrate Beethoven musicians of African descent. These cultures enriched the New World The Ying Quartet, in partnership with Eastman, Chautauqua Institute, and Bowdoin with such musical styles as spirituals, gospel, blues, International Music Festival, is presenting the Beethoven String Quartet cycle through- jazz, and numerous Latin American genres. out 2020-2021, in honor of Beethoven’s 250th birthday, in a series titled Only Art Students and faculty members planning recitals Held Me. or writing research papers can find bibliographies, This is the first time in their 30-year history that the Yings have presented a musical scores, discographies, journals, audio and Beethoven cycle in one series. They chose the series title from Beethoven’s own words video resources, and more by using this guide as a in a heartbreaking letter of 1802 now known as the “Heiligenstadt Testament”: in the starting point or a browsing tool. face of great personal adversity, he admits that he considered taking his own life, but —David Raymond “only the Art”—his music—“held me back.” “These works live with you your whole life, and our appreciation for them has only deepened,” says violist Phillip Ying. “2020 has given us pause to think about what we value most and who we want to be. Beethoven’s quartets probe the human condition • Best Chamber Music/ Small Ensemble Performance, in honesty and intimacy, and affirm the profound strength of the soul.” Classical: Contemporary Voices, Pacifica Quartet fea- The first in the series of ten concerts was held December 6 and included Beethoven’s turing Brandon Vamos ’92E; Hynes: Fields with Third first (Op. 18, No. 3) and last (Op. 135) quartets, followed by an interview with the Yings. Coast Percussion Additional concert dates and special features will be announced; visit https://chq.org/ • Best Classical Solo Vocal Album: A Lad’s Love, Brian assembly on performance dates, or view on demand at any time. Giebler ’10E; Smyth: The Prison with Sarah Brailey • Best Large Jazz Ensemble Album: Gregg August Eastman’s 2021 GRAMMY Nominations ‘87E, Dialogues On Race; John Hollenbeck ’90E, ’91E (MM) with Associate Professor Gary Versace, Songs Congratulations to the following Eastman alumni on receiving 2021 GRAMMY Award You Like A Lot; Maria Schneider ’85E (MM) Orchestra nominations: featuring Versace, Data Lords • Best Instrumental Composition: Maria Schneider, • Best Engineered Album, Classical: Hynes: Fields, Third Coast Percussion, mastering composer, Sputnik engineers, featuring Sean Connors ’04E • Best Engineered Album, Non-Classical: Black Hole • Producer of the Year, Classical: Blanton Alspaugh, for Smyth: The Prison, with Sarah Rainbow, Bob Ludwig ’66E, ’01E (MM), mastering Brailey ’04E; Jesse Lewis, for Gunn: The Ascendant with Roomful of Teeth featur- engineer ing Martha Cluver ’03E and Eric Dudley ’01E, and Hynes: Fields with Third Coast Percussion; Elaine Martone, Bound For The Promised Land with Jessye Norman See pages 4-5 and 26-27 for more about some of these ’13E (HNR) recordings. Eastman also has many alumni included in • Best Choral Performance, Classical: Moravec: Sanctuary Road with Malcolm J. orchestras and operas included on nominated albums. Merriweather ’10E (MM) Winners will be announced on Sunday, March 14, 2021.

Winter 2021 | Eastman Notes 25 { RECORDINGS }

1 2 3 4 5

6 7 8 9 q

TRIO ACCENTO FRANZ SCHUBERT WALTER JURMANN CHARLES PILLOW LINDA CHATTERTON 1 Extant Blues 3 Impromptus, D. 899; 5 Windy City 7 Chamber Jazz 9 Songs and Dances for Albany Records Sonata in B-flat, D. 960 Musicals Lost and Found Summit Solo Flute Centaur Records Proper Canary This piano trio, consist- For this premiere record- Another excellent example ing of violinist Limor Two of Schubert’s greatest ing sponsored by the of Eastman professors Linda ’90E quotes the Toren-Immerman, cellist piano works are played by Operetta Foundation, playing together has JCM saying “All music is either Garik Terzian, and pianist Associate Professor (and Eastman Opera Theatre’s colleagues Gary Versace a song or a dance”—and Nora Chiang Wrobel ’86E, Van Cliburn Competition Steven Daigle revised the (piano and accordian), Jeff demonstrates its truth is a noted advocate of winner) Alexander Kobrin. original book and provides Campbell (bass), and Rich in this program of seven contemporary composers. In an extensive review, musical direction for a Thompson (drums), joining works for solo flute. Extant Blues presents mu- Fanfare critic Jerry Dubins 1946 musical that never saxophonist Charles Pillow Composers include Marin sic by five living composers, called Alex’s playing of the made it to Broadway. With and a large instrumental Marais, C.P.E. Bach, and including Almost Morning Impromptus “beautifully a romance-versus-gambling ensemble in music by Arthur Honegger. by Jeff Beal ’85E. wrought” and the sonata plotline, Windy City is de- Wayne Shorter, Monk, and “one to cherish.” scribed as “Guys and Dolls Charles himself. MILES OSLAND TED MOORE TRIO four years before Guys and q Collaborations Vol. 1: 2 The Natural Order DENIN KOCH Dolls.” LISA ALBRECHT From One Vice to Another of Things 4 Re:manhattan project 8 Sound and Resound Mark Masters Origin Records deninkochmusic.com BONNIE BOYD, STEVEN Barkeater Music DOANE, BARRY SNYDER Saxophonist Miles ’87E This new album continues Denin ’20E (MM) 6 Aquarelles Lisa Albrecht ’86E, second (MM) joins in jazz duos the musical relationship released his debut album Bridge trombone of the Rochester with drummer Paul between drummer Ted on August 6, 2020, the Philharmonic Orchestra, Deatherage and Miles’s Moore ’73E and pianist 75th anniversary of the Aquarelles brings together opens her recital with the University of Kentucky Phil Markowitz ’74E that bombing of Hiroshima. three outstanding Eastman crunchy dissonances of colleague, guitarist Dieter started in 1970, while both His ten-movement suite for professors—flutistBonita Charles Ives’ Processional. Hennings Yeomans ’05E were Eastman students. jazz quintet is inspired not Boyd ’71E; cellist Steven The program includes (MM), ’15E (DMA). Booklet The “natural order” consists only by the gravity of the Doane; and pianist Batry composers from Franz Liszt notes are by fellow saxo- of Ted, Phil, and renowned Hiroshima bombing, but Snyder ’66E, ’68E (MM)— to Alfred Schnittke, Lisa phonist and former IML bassist Kai Eckhardt; the also by living in a society in an effervescent program is joined by DMA organ director Ray Ricker ’73E. “things” are Ted’s orig- where the economy is driv- of chamber music. Audio student Amanda Mole and inal compositions and en by atomic production. engineer was Eastman’s the Hohenfels Trombone arrangements, influenced Rich Wattie, and the book- Quartet. by Brazilian, Spanish, and let notes are by Marjorie classical composers.. Roth ’86E (MM), ’90E (MA), ’06E (PhD).

26 Eastman Notes | Winter 2021 { RECORDINGS }

w e r t y

u i o p p

KRYSZTOF PENDERECKI LOUIS KARCHIN Oratorio Society of New of conductors and Weiskopf ’80E on sax and w Saint Luke Passion r Five Compositions York Chorus and Orchestra soloists from the WDR David Finck ’80E on bass) BIS Records (2009-2019) is joined by baritone Sinfonieorchester in a program of standards Bridge Records Malcolm J. Merriweather Cologne for this collec- and Fedchock originals that The Montreal Symphony ’10E (MM) and other tion of Berio’s series of Jazz Journal calls “Straight Orchestra, under Kent This is the second Bridge soloists for a recording that pieces called Chemins, from the shoulder, unpre- Nagano, performed this CD of music by Lou ’73E: BBC Music calls “admirable for various instruments. tentious jazz.” huge, powerful choral Chamber Symphony, . . . a powerful new work . . . Brad’s contribution, with work at the 2018 Salzburg Rochester Celebration, the vocal performances saxophonist Lutz Koppesch, EMERALD BRASS QUINTET Festival; vocal soloists Postlude, Quest, and are outstanding.” (See also is Récit, an arrangement p Danzón include baritone Lucas Barcarole Variations. page 25.) of Chemins VII. This set Albany Records Meachem ’02E. Krysztof The music, he says, “is recently won the Deutschen Penderecki visited Eastman associated with locales LUDWIG VAN BEETHOVEN Schallplattenkritik prize. The Emerald Quintet— twice, in 1972 and 2004; central to my composing y Piano Concertos 2, 4, Brett Long ’08E (MM), ’13E see “Brief Notes,” p. 3. over the years: Rochester and 5 EMRE YILMAZ (DMA) and Max Matzen Celebration and Barcarole Harmonia Mundi i Detour ’07E (MM), ’11E (DMA), MARIA SCHNEIDER Variations were premiered Emremusic (emre.live) trumpets; Leslie Hart ’05E e Data Lords at Kilbourn Hall.” The Kristian Bezuidenhout (MM), ’11E (DMA), horn; Artistshare performances feature a ’01E, ’04E (MM) brings This is the latest album Chris Van Hof ’08E (MM) large group of outstanding his imaginative talents as from Istanbul-born, New trombone; and T. J. Ricer The latest by Maria ’83E players, including soloists fortepianist to bear on three York City-based guitarist ’10E (DMA), tuba—play (MM) is a double CD long Peggy Kampmeier ’85E very familiar Beethoven and composer Emre ’03E, Chris’s new arrangements in the making. The first CD and Professor of Violin concertos, with Pablo who is also a yoga prac- of music by Piazzolla, is inspired by the growth of Renée Jolles. Heras-Casado conduct- titioner and a SAG voice Ravel’s Mother Goose Suite, digital data and its “lords”; ing the Freiburg Baroque actor. “All songs in the Stravinsky’s Pulcinella, the second CD reflects on PAUL MORAVEC Orchestra. BBC Music Detour album are written, and works by other the natural world and con- t Sanctuary Road praised them as “invigorat- performed and produced by composers. trasts to the first in feeling Naxos ing” and showcasing Kris’s me. Happy listening!” and tone (see also pages 4 “exciting playing”. Do you have or performanc- and 25). The Pulitzer Prize-winning JOHN FEDCHOCK NY SEXTET es on a recent or forthcom- composer wrote this 2019 LUCIANO BERIO o Into the Shadows ing CD? Send an email to oratorio about William u Chemins Summit Records alert us that it is available, Still, who during fourteen Bastille musique with the cover art if possible. years in the service of the The tenth album by trom- See Alumni Notes in each Underground Railroad Musica Nova’s Brad bonist John ’85E features issue for additional news of helped nearly 800 former Lubman joined a team his sextet (including Walt alumni CDs. slaves to escape. The

Winter 2021 | Eastman Notes 27 { ALUMNI NOTES }

checking his scores of 1950s original band music: Holst Francis Brancaleone ’58E Suite in E-flat! He wore a published “The Golden white turtleneck sweater—a Years of an American new look to me! Catholic Institution: “I studied with former Annotated Chronicle Philadelphia Orchestra of the Pius X School of principal Rufus Arey. One Liturgical Music from 1946 afternoon I was working to its Transformation as on one of the most difficult the Music Department of compositions for clari- Manhattanville College net: Debussy’s Premiere 1969-1970” in the spring Rapsodie. Mr. Arey sponta- 2020 Sacred Music. neously invited me to play for Howard Hanson and 1 Darrell Leland several faculty members. Johnston ’53E (MM) A mix of joy and nerves writes: “I was the first chair ensued, and an experience I clarinetist in the very first will never forget. Eastman Wind Ensemble “After Eastman I headed with the esteemed to my home state of Frederick Fennell. This California. For 35 years I Master’s program and was Professor of Music, Institution were pivotal in Director of Bands, and my career and life. I walked Department Head at San 2 into the first rehearsal with Jose City College. I am Bernard Rubenstein ’58E the newly formed EWE. especially proud of found- On a tall stool sat Fennell, ing the San Jose Wind Symphony (SJWS) and Cuban conductors, one of Philharmonia in Walker’s was privileged to be their whom just finished her first Lyric for Strings; graduate conductor for 44 years, season with the Edmonton conducting student Austin and now artistic director Symphony. I continue this Chanu introduced it as “a emeritus. SJWS is based on mentoring with WhatsApp lament written after the Frederick Fennell’s concept and think it most important death of [Walker’s] grand- of orchestra brass plus a to keep cultural relations mother. As we perform this small woodwind section, between our two countries composition, the emotion but generally was much strong. This photo was tak- and gravity of the music larger, based on the vast en when I was rehearsing can be felt as a lament for amount of musical talent the premiere of Carl Orff’s the deaths of over 200,000 in the Bay Area. This fine Prometheus (1968) at the from COVID-19 and the Wind Symphony continues Stuttgart Opera. Orff joined murders of countless in- today, many of its musi- me at the keyboard and nocent Black people at the cians contributing for as said, ‘Let’s make some more hands of the police.” many as 10 to 30 years.” noise!’”

2 Bernard Rubenstein The Los Angeles 1960s ’58E writes: “I have had a Philharmonic’s online series 3 The Hidden Habits of fulfilling conducting career SOUND/STAGE includes Genius, the seventh book around the world—Asia, an episode featuring com- by Craig Wright ’66E, Europe, Central and South poser George Walker ’56E was recently published by America—including concert (DMA) , who died in 2019. Harper Collins. It was an and opera at Eastman. For The series also includes Amazon Book of the Month the last dozen or so years, oboist Marion Kuszyk ’90E for October, a Wall Street I guest conducted major (MM), and other Eastman Journal Book of the Month orchestras in Cuba, includ- alumni who are members for November, and a finalist ing the Cuban National of the LA Phil. In October, for the Next Big Idea’s Book Symphony, and had the Professor Neil Varon of the Year. Now a professor 1 pleasure of tutoring young conducted the Eastman emeritus, Craig continues Darrell Leland Johnston ’53E

28 Eastman Notes | Winter 2021 { ALUMNI NOTES } to teach Yale’s “genius Germany’s largest youth course” during the summer music competition. term. His Yale/Coursera course, “Introduction 5 Jeffrey Irvine ’77MM, to Classical Music,” has Fynette H. Kulas Professor 175,000 students enrolled. of Viola at the Cleveland In 2004 Craig was awarded Institute of Music since an Honorary Doctorate 1999 and Artist Faculty of Humane Letters by the member at the Aspen University of Chicago, Music Festival, is the and in 2010 elected to the American String Teachers American Academy of Arts Association’s 2020 Teacher and Sciences. He lives on of the Year. (Previous Longboat Key, Florida. winners include Jeffrey’s Eastman teachers, Charles Castleman and Donald 1970s Weilerstein.) Jeffrey received his award at the ASTA National Conference in Orlando on March 5, 2020, and also gave the Collegiate Viola Master Class. His students are in chamber music, orchestral, and teaching positions all over the United States and around the world.

Two compositions by Geary Larrick ’70E (MM) 4 were performed virtually Peter Haseley ’75E for the annual Shenandoah 4 Peter Haseley ’75E and Valley Bach Festival: “Trio ’77E(MM) retired in 2019 Sonata” for three timpanists after 24 years as the direc- (four drums each), and tor of the municipal Clara “Trio for Tambourines.” Schumann Musikschule in Geary is retired from the Düsseldorf, with over 7000 University of Wisconsin— enrolled pupils one of the Stevens Point. 5 Jeffrey Irvine ’77MM largest in Germany. He has also been a faculty member A Practical Guide to in piano and piano pedago- Becoming a Composer: roadmap to becoming a gy at the Robert Schumann A Wealth of advice, Tips, better composer, to ad- Musikhochschule since Strategies, and Examples, vancing one’s skills, and to 1997. Since 2017, Peter a new book by Arthur J. increasing one’s creativity . has been the chairman Michaels ’70E, is now . . loaded with vital lessons, of Jugend musiziert in available on Amazon. practical ideas, and useful North Rhine-Westphalia, Arthur describes it as “a guidance, to help those early in their journeys as composers.”

1980s Renée Fleming ’83E (MM) hosts Music and Mind LIVE!, a series, in collaboration with the Kennedy Center, of discussions of the LIVE! is available on the (DMA) performed a portion ways that music and arts Kennedy Center’s YouTube of their show The Women influence human health. On channel. Have Something to Say on August 4, Renée was joined The Kennedy Center’s Arts by Todd Frazier ’92E, On October 13, 2020, Across America livestream the director of Houston Isabelle Ganz ’80E (DMA), from Houston. The Women Methodist Hospital’s Nicole Kenley-Miller Have Something to Say 3 Center for Performing Arts ’00E (MM), and tells the stories of female Craig Wright ’66E Medicine. Music and Mind Shannon Hesse ’06E musicians through new

Winter 2021 | Eastman Notes 29 { ALUMNI NOTES } song texts and monologues Competition in August, two recent solo albums on written by the musicians and the Music Teachers Innova: Giantess, featuring themselves. The lives- National Association works by Carter Pann tream is on The Kennedy (MTNA) Southern ’94E, who also performs, Center’s Facebook page; an Division Competitions last Shulamit Ran, former in-person performance is December. Thomas also Eastman composition scheduled for March 5-8, presented the monthly professor Augusta Read 2021 in Houston. MTNA Webinar session to Thomas, Valerie Coleman, the organization’s member- and Misook Kim. Kate ship of 25,000; participat- Carter ’05E (MM) also ed on a panel at the first performs on Giantess. MTNA Virtual Conference; horn alone. Each composer Jennie is also featured on and presented sessions and is a woman and three are Vox as a member of the taught master classes at women of color. But I let Heare Ensemble with Kurt the Shanghai Conservatory that speak for itself. I hope Fowler ’92E (MM), DMA International Piano alumni find this album ’96E (DMA) and Jennifer Pedagogy Conference interesting and inspiring.” 7 Blyth ’93E (MM), ’96E and Shanghai Music Rick Sherman ’81E (DMA), performing music Teachers Association Piano Henry Ricardo (Ric) by George Crumb, Narong Pedagogy Conference. Ramirez ’89E (DMA) 5,700. A student of Bonita Prangcharoen, Stacy Canadian Music Teacher recently retired as Director Boyd, Richard was principal Garrop, and Carter Pann. published an article by of Music, Holy Name flutist of the Rochester Tom in September 2019. Cathedral, Chicago, where Philharmonic Orchestra Natasha Farny ’98E (MM) Sacred Music Press has re- (Tom is pictured during he directed five choral from 1984 to 1993, and has writes: “In January 2020, leased J. William Greene’s a lecture-recital at the ensembles and was respon- produced six solo record- my debut CD, called French ’85E (DMA) twelfth Shanghai Conservatory in sible for liturgical music ings. Richard was praised Cello Music, came out on collection of organ music. October 2019.) for the cathedral’s many by MSU as “a world-class the Centaur label. That Unexpected and Mysterious events. Ric’s oratorio: Huei musician and teacher” and same month, I performed is a large collection of me- In March 2020, Brenda tlamahuicoltica—The Great “a brilliant, charismatic the Tchaikovsky Rococo dium difficulty, containing Lynne Leach ’83E (MM), Event (2008) relates the and commanding musical Variations with Glenn large-scale pieces based on ’87E (DMA) presented a story of the apparition of voice.” Cortese and the Syracuse hymn melodies, as well as master class in orchestral the Virgin Mary (Lady of Symphony, and in April, free pieces. conducting to students Guadalupe) to Juan Diego Composer David Evan was promoted to Full at the St. Petersburg in 1531. When in Rochester, Thomas ’83E has Professor at the School of Flautist and Arts Educator Conservatory of Music. Ric studied dance and released Fruit of the Spirit: Music at SUNY Fredonia.” Diane Kay-Clark ’82E re- The focus was on American choreography with Garth Chorale Preludes for Organ. tired in June 2020, after 35 repertoire: Beach, Barber, Fagan (The Lion King). Learn more about David 9 Gregory Jones ’92E and a half years of teaching Bernstein, and Gershwin. and his music at davidevan- (DMA) is now Associate for the School District of 7 Richard Sherman thomas.com. Dean for Outreach and Philadelphia. She was the Jacqueline Leclair ’88E ’81E, Professor of Flute Engagement at Florida city’s first African American has just released Music for at the Michigan State State University, following female Band Director of English Horn Alone, on New University College of 1990s his years as Director of the major magnet music pro- Focus Recordings 272. It’s Music, East Lansing, is the 8 Jonathan G. Bayley School of Music for Purdue grams. Diane has served her first solo recording, and winner of MSU’s 2020 Beal ’92E (MM) retired from University Fort Wayne, many ensembles across the Jacqueline adds “I believe Outstanding Faculty Award, the University of Windsor and as a faculty member at city, sharing her love for it is an historical first as an which recognizes recipi- (Ontario) in 2017 and is Truman State University. music with so many, while album of pieces for English ents from a faculty pool of now professor emeritus. Gregory continues to maintaining her freelancing In 2019 and 2020 he appear as a guest trumpet opportunities. Her love published articles in the and conducting clinician for the arts will continue Journal of Teaching and and performer, with recent on forever, through her Learning, International appearances at the Jinbao students. Journal of Music and XKing Festivals in Education, and Journal of China and the Albanian 6 Thomas Lanners Peer Learning, as well as International Brass Festival ’89E (MM), ’91E (DMA), Nine English Madrigals in Tirana, Albania. Professor of Piano at for Three Flutes (ALRY Oklahoma State University, (United Music and Media) q Jim Shearer ’90E served as an adjudica- Publications). (DMA) just released his tor for the #StayHome most recent CD, Secret International Piano Jennie Oh Brown ’93E Frets (Summit Records), Competition. Other jurors (MM), ’97E (DMA) is a an album of unusual duets hailed from Russia, Sweden, featured guest artist for for solo tuba and various Italy, Bulgaria, and Austria. the Chicago Flute Club’s string instruments. Jim Lanners also judged the Fluting with the Stars vir- is a Regents Professor of Shanghai International 6 tual series for 2020-2021. Music at New Mexico State Young Artist Piano Thomas Lanners ’89E Jennie is also featured on University, Las Cruces.

30 Eastman Notes | Winter 2021 { ALUMNI NOTES }

q Jim Shearer ’90E

Crying Forth: Flute Music by Women Across Time. The album charts the evolution of flute repertoire from the Romantic era to the present day, and the overlooked role of female composers in shaping that repertoire. Sarah is Associate Professor at University of Maryland, and Daniel is Assistant Professor at University of Maryland, Baltimore County. 8 Jonathan G. Bayley ’92E Mariusz Kozak ’03E Keve Wilson ’92E and her Center in Washington D.C., (MM), Associate Professor husband Kerry celebrate recital tours in the Yunnan of Music at Columbia musicians on their new and Sichuan provinces of University, recently YouTube channel, A Couple China, and summer festi- published Enacting of Musicians. Keve and vals in France, Germany, Musical Time: The Bodily Kerry interview colleagues Italy, Austria, and China. Experience of New with diverse and interesting Music (Oxford University careers, and talk about their Vincent Calianno ’06E Press). The book “address- journeys from college to (MA) was commissioned by es the nature of musical now. the American Composers time from the perspective Orchestra for trombonist of embodied and enacted Mike Seltzer. Vincent is cognition.” 2000s equally involved in writing Jeffrey Brown ’01E concert music and com- Guitarist Zoë Johnstone (MM), ’04E (DMA) is the mercial/film music; read Stewart ’01E was appoint- new director of the Western more about Vincent and his ed Guitar Department Illinois University School of music at droplid.com. Chair at the Peabody Music. Jeffrey joined WIU’s Preparatory, following SOM faculty in 2009, Flutist Sarah Frisof ’04E a nationwide search. In and has performed at the and pianist Daniel Pesca addition to overseeing the 9 Dame Myra Hess Series ’05E, ’16E (DMA) released Preparatory guitar depart- Gregory Jones ’92E in Chicago, the Kennedy a duo recording: Beauty ment, Zoë co-directs the

Winter 2021 | Eastman Notes 31 { ALUMNI NOTES }

annual Fret Fest, Peabody’s in May 2020 from Duke ’13E, flute;June Kim ’14E, day-long celebration of the University School of oboe; Rebecca Tobin ’14E, guitar, and the Peabody Medicine, and started res- clarinet; Russell Rybicki Summer Guitar Intensive. idency in General Surgery ’14E horn; and Quinn at Vanderbilt University Delaney ’14E, bassoon) The Concordia Quartet Medical Center in July. She performed outdoor, made its debut in February hopes to become a pediatric socially-distanced concerts to a live audience. The surgeon. Meredith and her in parks, nursing homes, quartet, which includes husband Laudon Schuett and schools in Goodland, violinist Edward Tan ’10E (MM), ’14E (DMA) and Colby, Oakley, St. Francis, ’07E, performed its second their parrot, Tico, are look- and Weskan, all towns in concert from their homes ing forward to their next rural Western Kansas. Two during COVID quarantine. chapter in Music City. of the regular members Their concert of music by were not able to travel Beethoven, Mozart, and Owen Broder ’12E and during the pandemic, so Borodin can be viewed on his colleagues Sirintip for this trip Katie Hart YouTube. and Thana Alexa start- ’14E was the oboist and ed Live From Our Living Justin Cummings was the w Marguerite Lynn Rooms, an online platform bassoonist. Midic Winds Williams ’01E joined the to present live-streamed recorded a concert in the Minnesota Orchestra performances and music- Carnegie Arts Center in as Principal Harpist in related events to raise Goodland, Kansas, that was September 2020. Prior to funds for emergency relief streamed online on October joining the orchestra, she to musicians whose perfor- 9 through New World was the Principal Harpist mance careers have come Symphony’s Live from our for the Chicago Lyric Opera to a halt. Their inaugural Living Room series. Orchestra. She remains on Festival & Fundraiser pro- e the faculties of the Chicago vided support for 65 grant Meredith Achey ’10E and Laudon Schuett ’10E College of Performing Arts, recipients. The series has 2020s Roosevelt University, and raised more than $130,000 Augustana University. Professor of Cello at Illinois Soprano Joanna Hunjii Bienen School of Music at so far. Rolling Stone called Peter joined Augustana in State University for the Kim ’20E (DMA) was the Northwestern University. it “the first jazz festival of 2017 as the conductor of 2020-2021 school year, First Place winner in the the quarantine era.” the Augustana Orchestra, as well as the position Quebec International and helped to create of Adjunct Instructor of Online Voice Competition. 2010s Peter Folliard ’17E (DMA) Augustana’s world-class Cello at Illinois Wesleyan e Meredith Achey ’10E is the inaugural Dean of recording studio, Studio 47, University.” Rayvon Moore ’20E graduated with her MD the School of Music at which produces a number (DMA) has been appointed of podcasts and recordings. Celeste Pellegrino ’16E Director of Choral Activities and Larisa Bainton ’16, ’16E at Friends University in Matthew Gregoire ’15E are the cofounders of Wichita, Kansas. joined the bassoon section Due Donne Productions, of The President’s Own a Boston based travel- Stephania Romaniuk ’20E United States Marine Band ing opera company. The (MA) is one of Calgary in Washington, D.C. in May company’s recent project, Opera’s Community 2020. Prior to joining the an animated 30-minute ver- Ambassadors. This new band, he was a regular sub- sion of Hansel and Gretel program is designed to stitute for the Springfield with the popular video provide broader access (MA) Symphony Orchestra, game, Animal Crossing: to musical education and a freelance musician New Horizons, as the back- and vocal training by throughout New England. ground, has gone viral! You sending singers to work He has also performed in can enjoy it on YouTube. directly with community the Chautauqua, Colorado partners, in Stephania’s College Summer Music, Composer and pianist case the Calgary Immigrant Norfolk Chamber Music, Ania Vu ’17E is one of four Women’s Association. “I and Vermont Mozart winners in the Megalopolis truly believe anyone can festivals. Saxophone Orchestra’s call sing,” she says. “Everyone for scores. She is currently has a voice to share, and Cora Swenson Lee ’10E, pursuing a Ph.D. in com- that voice is connected to ’18E (DMA) was awarded position at the University each person’s voice.” (See first place of the 2019-2020 of Pennsylvania and next p. 16 for an article by American Prize in summer she will attend Stephania.) Instrumental Performance\\ Tanglewood as a Composer (Professional Division). Fellow. Will Talley ’20E (DMA), She adds, “I was also has been appointed r w recently offered as position In September the Midic Director of Bands at Ohio Marguerite Lynn Williams ’01E Instructional Assistant Winds (Johanna Gruskin University.

32 Eastman Notes | Winter 2021 { ALUMNI NOTES }

Daniel A. McAninch ’48E, William W. Pursell ’52E, ’63E IN MEMORIAM Mary Nicol (Shenk) Dodd Robert M. Finster ’49E (MM), ’57E (DMA), ’50E, ’53E (MM), August ’53E (MM), ’95E (DMA), (MM), ’69E (DMA), 1930s August 2020 2020 September 2020 February 2020 Priscilla (Brown) Ian S. McLuckie ’49E, June James A. Duane ’54E, April Robert E. Resseger ’54E, Audrey H. Gardner ’62E Beckwith ’39E, March 2018 2020 ’56E (MM), May 2020 (MM), August 2020 2006 Janice (Wignall) Mitchell Samuel J. Fricano ’55E, Kazmera (Cole) Schenck Jeremy Niles Kempton ’46E, March 2020 July 2020 ’55E, November 2019 ’66E, January 2020 1940s Angela (Bonomo) Nassar James R. Fuller ’56E, Richard C. Skerlong Edward Oleh Machonkin Ann (Field) Bell ’48E, ’49E, August 2020 October 2020 ’58E (MM), February ’68E (MM), May 2020 February 2020 Virginia (Tousley) Doris (Hedges) Gallemore 2020 Priscilla (Beeson) Harvey Biskin ’49E, ’50E Nordbeck ’43E, March ’51E (MA), August 2020 Tamara Lynn Schmiege Marshall ’61E, July 2020 (MM), June 2020 2020 Carol (Dunbar) Greenfield ’53E, January 2020 David F. Martin ’60E, ’61E Arthur M. Campbell ’49E Charles F. Roberts ’49E, ’55E, September 2020 Donald Edward Stevens (MM), April 2020 (MM), ’59E (PhD), June March 2020 Andrea (Toth) Haines ’53E, October 2020 James M. Pyne ’69E (MM), 2020 Catherine (Lindsay) ’59E, ’63E (MM), May Catherine (McFadden) September 2020 Henry C. Campbell ’48E, Ward ’47E, January 2020 Young ’54E, ’60E (MM), David C. Pinnix ’64E, ’69E ’49E (MM), March 2020 2020 Marian C. Hanshaw ’52E June 2020 (DMA), June 2020 Virginia (Nicholson) (MM), December 2019 Joseph A. Zawistowski Stanley N. Shumway ’63E Dent ’45E (MM), April 1950s James Barry Hilbert ’55E, ’56E, January 2020 (PhD) 2020 Alan D. Abel ’51E, April January 2020 Jackson A. Stauber ’69E, Doriot Anthony Dwyer 2020 1960s James E, Hughston ’57E, January 2020 ’43E, March 2020 Helen (Bilhorn) Nancy Arlene Bachus ’68E April 2020 Carolyn (Heffler) Katherine (Dryer) Baumgartner ’55E (MM), (MM), September 2020 Jack M. Jarrett ’57E (MA), Steppe ’63E, September Fitzpatrick ’45E, July June 2020 Vivian B. Clemons ’61E, August 2020 2020 2020 Neil T. Bunker ’53E, June February 2020 George T. McWhorter Robert F. Taylor ’64E William (Hutchison) 2020 Shirley Graham ’57E, April 2020 (MM). May 2020 Hodgson ’17E, October Franklin F. Butler ’54E, Cole-Cartman ’61E, Sister Mary Daniel Meahl David W. Ward ’60E, 2020 ’59E (MM), July 2020 August 2020 ’56E, ’62E (MM), July ’66 (DMA), February Roy H. Johnson ’49E, Jenny (Ziemer) Coris ’51E, George W. Corwin ’68E 2020 2020 ’51E(MM), January 2020 January 2020 (DMA), March 2020 Jeanne M. Mertz ’50E, Arthur E. Winden ’62E, Barbara (Connolly) E. Katherine Crews ’50E Richard Lawrence Field December 2019 July 2020 Kaplan ’46E, August 2019 (MA), July 2020 ’69E, December 2019 1970s Robert H. Crowley ’71E, January 2020 Arthur Lawrence Fischman ’70E, April 2020 A Baird Knechtel ’71E, May 2020 Robert Kowalski ’75E, July 2020 Susan Ann (Nichols) Thomson ’76E, July 2020 George A. Winters ’74E (MM), November 2019 1980s Janet Sue Ahlquist ’89E (MM), April 2020 Joel Craig Davis ’87E, ’88E (MM), March 2020 Paul Alban Sturm ’81E (MM), August 2019 2000s Jennifer (Daise) Berry ’04E, July 2020 Joseph J. Santora ’02E (MM), January 2020

In Tribute reflects deaths r of Eastman alumni through Midic Winds (Johanna Gruskin ’13E, flute; June Kim ’14E, oboe; Rebecca Tobin ’14E, clarinet; Russell Rybicki ’14E horn; and Quinn Del- October 31, 2020. aney ’14E, bassoon)

Winter 2021 | Eastman Notes 33 { FACULTY NOTES }

1 Michael Alan Anderson The summer 2020 juror in the 2020 Fischoff of Trustees, effective July American Choral Review, Competition, in which 1, 2020. Vince retired on published by Chorus Eastman’s Scio Saxophone June 30, after an amazing America, was the valedic- Quartet won a Bronze 57 years of service to our tory issue of a publication Medal. school as a professor and that had a strong Eastman as school historian. His connection since its Professor of Musicology upcoming book Nurturing founding by musicology and SSCM President the Love of Music: Robert professor Alfred Mann in 3 Roger Freitas was Freeman and the Eastman 1961. Professor of Choral the conference orga- School of Music is the third Conducting William nizer for the Society for volume of his history of our Weinert continued as edi- Seventeenth-Century school. (See page 25 for tor after Mann’s departure, Music’s twenty-eighth an- more faculty milestones.) and Associate Professor nual conference, which took 4 Guy Johnston ’03E of Musicology 1 Michael place June 26-28. Dean Gaelen McCormick ’92E, Alan Anderson has served Donna Fox welcomed the the Program Manager of on the editorial board since participants. Eastman Performing Arts 2010. Says Michael, “This Medicine, was recently issue has an article by 4 Associate Professor of elected to the board of the DMA choral conducting Cello Guy Johnston ’03E National Organization for student Anna Lenti ’11E, has joined other distin- Arts in Health (NOAH). and an interview with New guished British musicians Gaelen also teaches York Polyphony by my in giving online recitals, double bass in the ECMS wife (Laura Lynch) and me. including two in very posh and career skills at the I know Chorus America venues. In late June, Guy collegiate level for the Arts was very proud of these appeared in a “Live from Leadership Program. Eastman contributions.” Wigmore Hall” recital with the noted pianist Melvyn Professor of Musicology The Milken Archive of Tan, performing Beethoven, Honey Meconi, who is also Jewish Music newsletter Schumann, and Chopin. chair of the College Music featured an interview And in September he took Department, has been with Professor of Flute part, again with Melvyn Tan awarded the first Arthur 2 Bonnie Boyd ’71E about and clarinetist Julian Satz professorship. Arthur her recording of Leonard Bliss, in the first online Satz ’51 bequeathed the Bernstein’s Halil. Bonnie recital of the Hatfield largest endowed gift ever in has performed this 1981 House Chamber Music support of the humanities composition many times, Festival, playing Beethoven, at the University’s School but in 1993 she had the Schubert, and Mendelssohn of Arts & Sciences, and to opportunity to record its (available on YouTube). establish the Arthur Satz original chamber version. Department of Music. Vincent Lenti ’60E, ’63E Assistant Professor of (MAS) was appointed Landscape Greeting, Chamber Music Elinor Professor Emeritus of Piano by Professor Robert 3 Freer served as a virtual by the University Board Morris ’65E, was recently Roger Freitas

34 Eastman Notes | Winter 2021 MICHELLE MARTORELL (MICHAEL ANDERSON); KAUPO KIKKAS (GUY JOHNSTON) { FACULTY NOTES } premiered by the Fresno Philharmonic, conducted by Rei Hotoda. You can watch an interview with Bob and Hotoda here, and hear Landscape Greeting in performance, in separate videos on YouTube.

The 2020 Keybank Rochester Fringe Festival was, of course, virtual, but two Eastman faculty members were involved in com- pelling presentations. JCM Assistant Professor Dave Rivello ’89E (MM) presented Worlds Collide with drummer Shawn Drogan, “a sonic journey encompass- ing modern jazz, electronic, experimental, and classical music elements.” And Professor of Music Theory Matthew Brown and the TableTopOpera presented Echoes of ’64, a timely show describing the racial tensions that exploded in Rochester from July 24–26, 1964, days before Duke Ellington visited Eastman.

A recent music video shows Professor of Viola George Taylor, with dozens of his Eastman students and alumni, performing the composition We Shall! by 2 Professors Bonita Boyd ’71E, Barry Snyder ’66E, ’68E (MM), and Steven Doane are not just distinguished teachers and soloists: they Andy Maskiell, arranged by form a popular trio, which recently released Aquarelles, an acclaimed CD on Bridge Records. The repertoire includes music for flute, cello, Benjamin Magruder, based and piano by Martinů, Damase, Gaubert, and Weber. (See “Recordings,” p. 26, for more information and a picture of the CD booklet.) on “We Shall Overcome.”

Eastman had a strong pres- In June 2020, the following Eastman faculty members were recognized for their years of service. ence in this year’s Classical Singer Competition, which 40 years Clay Jenkins—Professor of Susan Uselmann—Assistant brought together singers Robert Morris—Professor of Jazz Studies & Contemporary Professor of Humanities and from all over the world. Composition Media English Professor Katherine Reinhild Steingröver—Professor of Ciesinski and new Eastman 35 years German The following Eastman faculty mem- faculty member Nicole David Headlam—Professor of Music David Temperley—Professor of bers were promoted: Alan Chow, Cabell ’02E each presented Theory Music Theory Professor of Piano; Roger Freitas, a Zoom master class, and Elizabeth Marvin—Professor of Professor of Musicology; Mark Nicole also judged the Music Theory 15 years Kellogg, Professor of Euphonium, final round of the High —Instructor of Music Trombone, and Brass Chamber School Classical division. Wade Richards 30 years Teaching & Learning Music; Alexander Kobrin, Associate Matthew Ardizzone ’97E —Professor of Professor of Piano; Jonathan (DMA), Associate Dean Anthony Caramia Piano 10 years Retzlaff, Professor of Voice; and of Admissions, offered an —Associate Professor —Instructor of Dariusz Terefenko, Professor of hour-long expo session. Jean Pedersen Amy Metzendorf of History Yoga Jazz Studies & Contemporary Media. And Joel Balzun ’15E won —Associate Stephen Carr was reappointed as first prize in the Emerging Philip Silvey 20 years Professor of Music Teaching & Associate Professor of Opera and Professional Singer —Assistant Learning Musical Theatre Studies. division, performing an Sylvie Beaudette Professor of Chamber Music aria from Puccini’s Gianni Schicchi.

MICHELLE MARTORELL Winter 2021 | Eastman Notes 35 { STUDENT NOTES }

For an October 19 Eastman as the individual who best Philharmonia concert, mas- exemplifies the above charter’s student Austin Chanu acteristics at the national included a work by the con- level. Alexis is a FORTE temporary American com- student of Katherine poser Jessie Montgomery Ciesinski who completed titled Banner—a medita- her student teaching in the tion for strings on “The fall 2020 semester. Star-Spangled Banner”, re- imagined for a 21st-century, Doctoral student Sam multicultural America. Reenan won the Irna Priore Prize for the best student 2 Pianist Hanxiao Lai, a paper presented at the Keane Southard senior student of Alan Music Theory Southeast Chow, won Second Prize in 2020 Conference, for his Grove. In addition to a cash the Senior Division of the paper “The ‘Rondo’ and prize, the ensemble will Beijing International Music the ‘Burleske’ in Mahler’s premiere Keane’s work in Festival Piano Competition Rondo Burleske.” New Hampshire after the in July. pandemic is over. Emma Shaw, a student of 1 Alexis Peart has been Peter Kurau, was recently DMA student Yidi Song, awarded the National, hired as a first call substi- from Bonnie Boyd’s studio, Province, and National tute horn with the Orlando won First Place in the Collegiate Leadership Philharmonic Orchestra, Arizona Flute Association’s Awards by Sigma Alpha and Marie Smith, current Collegiate Young Artist Iota, the national music fra- DMA student, was hired Competition. ternity. The criteria for se- this fall as instructor of lection include leadership, Horn at Colby College in Sophomore David Wang, fraternity service, campus Maine. a student of Michael activities and honors, and Burritt, won two first place scholarship. The National 2 Keane Southard, a PhD honors in the 2020 China Collegiate Leadership composition student, won International Online Award is the highest honor second prize (out of 210 Percussion Competition a collegiate member can re- entries) in the Dartmouth (Snare Drum Solo and ceive from SAI. The award College Wind Ensemble’s Marimba Solo), as well as recipient is selected from Composition Competition first place in the online eight regional nominees for his The Dove in the Ash “Music Emergency

3 Yi Xiang

Contest” competition 3 Yi Xiang, a student held by the Italian Chapter of Bonnie Boyd, won of the Percussive Arts First Place in the National Society. David shared the Flute Association’s Young first prize with young per- Artist Competition and cussionists from Hungary the Award for the Best and Poland. Performance of the Newly Commissioned Work. Gary Wang, a double Yi will play a solo recital master’s student in jazz at next year’s NFA composing and arranging Convention in Washington, and media /film composing, D.C. Yi also won First Prize was awarded first place in the Seattle Flute Society’s in the American Society Young Artists Competition. of Music Arrangers and Composers annual compe- Nathaniel Zhang, a tition, including a $1,000 third-year student of Irwin Kostal Scholarship for Marina Lomazov, won Orchestration. Gary com- second prize in the Concert posed his winning “Lullaby Artist Division II of the 1 and Dreams” in the in the Chicago International Alexis Peart studio of Bill Dobbins. Piano Competition.

36 Eastman Notes | Winter 2021 JOHN EGAN EASTMAN SCHOOL OF MUSIC • UNIVERSITY OF ROCHESTER

ONLINE FOR 2021!

OPENING A VIRTUAL WINDOW TO THE

EASTMAN EXPERIENCE LIKE NEVER BEFORE!

We’re excited to bring you a wide variety of programs for musicians of all ages. Please visit our website to explore our new slate of collegiate courses, online institutes and workshops, and Eastman Experience programs at summer.esm.rochester.edu NON-PROFIT ORGANIZATION U.S. POSTAGE PAID 26 Gibbs Street PERMIT NO. 780 Rochester, NY 14604-2599 ROCHESTER, NY

Haydn by Virtual Virtuosi Eastman at Washington Square, the noontime concert series The November 5 concert offered Haydn’s Quartet in G Minor, presented by Eastman Community Music School, continued virtually Op. 20, No. 3 performed on baroque string instruments by student this fall from Miller Center Atrium, rather than Rochester’s First violinists Ela Kodzas and Lydia Becker; James Marshall, viola; Joëlla Universalist Church. “When I sent out an invitation to perform, the Becker, cello. “Our virtual audience is growing every week,” says response was overwhelming,” says Irina Lupines, ECMS Instructor Irina. “It is especially nice that now family and friends are able to in Piano and director of the concert series. “Eastman faculty and listen wherever they are.” students are eager to share their music with others.” Photograph by Michelle Martorell