SPRING/SUMMER 2002 ANNETTE LEIN Lou Ouzer, pictured here in 2000, was always more comfortable behind the camera than before it.

LOUIS OUZER 1913–2002 Eastman loses a cherished friend The Eastman community was deeply saddened by the death on February 14 of Louis Ouzer, acclaimed photographer and cherished friend of so many at the School. Ouzer created countless images of Eastman’s peo- ple and architecture over a span of more than 60 years. “I decided on my own that I was going to docu- ment the School,” he said, and indeed, hundreds of celebrated musicians, historic events, and everyday activities on and around the campus were captured by his lens. As a tribute to the man who spent his lifetime memorializing Eastman, the School held a special pro- gram in Ouzer’s honor on March 30 in Kilbourn Hall. The event included remarks by Director and Dean James Undercofler, family members and close friends, and performances by the Eastman Trombone Choir and members of Eastman faculty. Three of the four pieces performed were Ouzer’s own compositions. (He began studying composition and piano at East- man at age 75.) LOUIS OUZER Closing the service were readings selected by Clockwise: A 1957 portrait of contralto Marian Anderson, a 1977 abstract of a Ouzer’s family and a slide presentation of his wide- cellist, and a 1978 candid shot of friends Marian McPartland and Alec Wilder ranging images with accompaniment by Professor of in front of Ouzer’s studio. Oboe Richard Killmer. ❧ INSIDE

VOL. 21/NO. 25 SPRING/SUMMER 2002

Published twice a year by the Office of Communications, Eastman School of Music, 26 Gibbs Street, Rochester, NY 14604 585-274-1040 FEATURES DEVELOPMENT NEWS Email: [email protected] 2 Classical music in America 20 Eastman Fund: Reaching for the goal Is anyone listening? asks Director and 21 Act on your philanthropic feelings Dean James Undercofler in his Susan Robertson convocation address Tax-wise giving: Retirement funds Associate Director for Communications 5The winds of change About the Kilbourn Society Christina Zikos The Eastman Wind Ensemble Editor celebrates 50 years with a conference and gala concert DEPARTMENT NEWS Martial Bednar 8 The American symphony Christine Corrado 22 Voice Executive Director of the Cleveland Eric Goldman Orchestra Thomas Morris lectured at 23 Chamber Music Jack Kreckel Eastman last fall Contributing Writers 24 Musicology 25 Sibley Music Library Kurt Brownell SCHOOL NEWS Gelfand-Piper Louis Ouzer 12 Composer George Crumb feted at IN TRIBUTE Elizabeth Lamark December festival Annette Lein 25 In memoriam Will Yurman Video link joins Eastman and Royal Contributing Photographers Scottish Academy 13 Opera stage ‘transformed’ by Susa NOTES Amy Vetter work Photography Coordinator 26 Alumni notes 14 Legendary jazz bassist Ron Carter Steve Boerner returns to Eastman 32 Faculty notes Graphic Design EJE ‘looks forward’ at Midwest Clinic 35 Student notes 15 Performers found ‘Playing Outside’ 16 Musica Nova presents American premiere of Zorn’s ‘Rituals’ in NYC ‘New Grove’ features Eastman faculty, staff, and alumni 17 Institute for Music Leadership (IML) brings ‘musictelling’ to Eastman 18 IML goes ‘live’ on the Internet IML/Eastman join prestigious Mellon Orchestra Forum 19 Noted guest speakers visit Eastman IML/Eastman Orchestral Studies On the cover Diploma Program Composer George Crumb guides Eastman student Deanna Oye in one of his unusual performance techniques. Story, page 12.

PHOTO BY GELFAND-PIPER

SPRING/SUMMER 2002 1 FEATURES

Americans, by and large, want their leisure activities convenient, when they Classical music want them, where they want them. This is especially true with post-baby boomers. The improved quality and access of digital technologies, especially in the recorded in America: arts, has enhanced these behaviors. The RAND Report demonstrates that market forces increasingly predominate, causing, among other outcomes, an ero- Is anyone listening? sion in the distinction between high art and popular art. When market forces pre- dominate, the maintenance of quality, as Director and Dean Undercofler’s convocation well as the creation of new work, is in jeopardy. address asks this challenging question And now, I quote, “To those convinced that the high arts form an aesthetic pin- nacle, the new world of the arts that we envision will be inferior because popular BY JAMES UNDERCOFLER tastes rather than true artistic excellence will become the primary arbiter of what s we begin a new academic year, I believe it is impor- does and does not get performed – in the tant that we take a look at our work as musicians nonprofit as well as the for-profit sector.” A further outcome of the effect of mar- and educators in the broader context of the arts in ket forces is the growth and dominance of America. This is a matter of utmost importance. I am large performing arts organizations char- acterized by conservative programming, asking that you will join with me in self-examination superstar soloists, and locations only in as an institution. the major cities. A The report describes a precarious pic- The Pew Charitable Trusts, a large private foundation known for ture for mid-sized organizations in small its philanthropy and support of the arts, especially in Philadelphia, and mid-sized cities. The effects of market forces combined with the changing chari- recently published a significant report prepared by the RAND Cor- table giving patterns of wealthy Ameri- cans create particular challenges for these poration, called The Performing Arts in a mid-sized organizations (such as the New Era. This report provides one of the Rochester Philharmonic, the Buffalo Phil- most vivid pictures of music, theater, and harmonic, and the Syracuse Symphony, to dance in the American marketplace ever I believe it is name three of our local mid-sized organi- produced and must be taken seriously by zations). us all. Furthermore, on the negative side, the The report confirms much that we know important that we report documents the working conditions empirically and from anecdote, but goes of performing artists. Its data show that, beyond, analyzing data and making rec- take a look at our by and large, the salary and benefits for ommendations for future research, policy performing artists have not grown sub- formation, and action. Here I will give a stantially for two decades. Referring to musician’s and college dean’s outline of work as musicians the draining of resources for a few select this report, then suggest how we, the com- superstar artists (an effect of market munity of the Eastman School of Music, and educators forces), RAND’s statistics on the average ought to respond to it. salary and working conditions of perform- I will now speak from the perspective of ing artists are disturbing. the RAND Report. How the arts are in the broader Two interesting trends cited in the viewed by Americans has changed. In this report catch our attention: post-cold war period, we are not as con- context of the arts One, niche performing arts markets are cerned about aligning our artistic output being made possible by the Internet and with our national identity. The arts now e-commerce. This is especially noticeable compete for attention and resources along in America. in classical music recordings and in with pressing social needs. avant-garde music. Composers, especially, have the opportunity to reach a worldwide

2 EASTMAN NOTES FEATURES

community through the Internet. We ment and the role of the university. It world. Not only are they (the universities) must recognize, however, that these cites the almost complete historic focus of major presenters, but they also play sig- sophisticated communities are small. public and private policy on the supply nificant roles in training of new artists Two, the avocational music world con- side of the performing arts, not on the and fostering innovation in the creation of tinues to expand. Although data are insuf- demand side. Policy and funding since the new work.” ficient, it appears that more Americans 1950s have encouraged more productions, are participating in the performing arts more organizations, and the education e turn now from my sum- as amateurs than ever before. This has and training of more artists. The arts mary of the RAND Report to been an area of particular interest to me. community has not questioned in any my own responses to it. I struggled with where and Whow to respond to this report, most espe- cially to the references to university music schools. I will focus on what I perceive as the encouraging but still limited role for higher education described here. The uni- versity is seen as a performing arts pre- senter, a trainer of artists, and a stimulus for innovation in the form of new musical and dramatic works. Because the univer- sity is less susceptible to market demands than are other major presenting organiza- tions, and because it can readily tap and highlight the creative talent of its faculty and students, the report predicts that it “may play a critical role in making sure that new artistic voices are heard.” This is a worthy role for us in the current per- forming arts environment – indeed one that we already fulfill – but it falls short of the much more powerful impact that we can have as arts educators. We are not merely trainers of artists, as the report defines us; we are educators of artists. Training differs significantly from educating. Training implies a type of ath- letic coaching with the intent to instill specific skills. Educating implies cultiva- tion of the mind that, of course, includes skill acquisition, but within the frame- GELFAND-PIPER work of understanding. In his fall convocation address, Director Undercofler described the recent RAND Report’s findings that And, although the blame for our being mid-sized performing arts organizations may be in jeopardy due to market forces. He outlined a plan for labeled “training” institutions can be Eastman’s response to the report. shared with many others, I wonder whether we, the university music schools, I have expressed my concern a number of serious or systematic way what causes abdicated our fundamental role as true times about what I have called the discon- Americans to choose to participate in the educators of musicians some time ago. nect between the huge number of people arts; what causes the development of Have we contributed to the sad conditions engaging in music at the avocational level artistic tastes? The report calls on arts described in the RAND Report? How and the professional music world. The policymakers to turn their focus now many of our graduating students under- report seems to applaud the growth of toward demand-side policy, away from stand, are able to discuss and formulate amateur involvement, as I do, but it also supply-side. This is a recommendation ideas about the purposes, functions, and expresses concern that with the decline of that will require careful thought on the effects of music? How flexible is their mid-sized professional organizations, part of educators. musicianship? How wide is their scope of amateur or semiprofessional organiza- In regard to the role of the university, musical abilities? Are they prepared to tions will take their places, resulting in an the report states, “University-based pre- negotiate and succeed in the “new era” unplanned and unfortunate decline in senting organizations are likely to be that RAND describes? quality. especially important to the future of the I contend that only when we can ensure The report highlights several issues of performing arts because they serve multi- that we are fully educating our students concern regarding future policy develop- ple functions within the performing arts TURN TO PAGE 4 ➧

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➧ FROM PAGE 3 cians will come together on a regular the professional education of musicians. can we fully develop and nurture an basis to perform symphonic and other Administratively, the Institute brings atmosphere that fosters innovation in all large repertory music. They will also play together the Arts Leadership Program, aspects of our art. Both educating the music and teach music of various genres the Orchestral Studies Diploma in future artist and fostering the creation of in all shapes and sizes of ensembles. Strings, the Sacred Music Diploma, Music new work are essential elements in equip- Repertory and opportunity will decide on for All, components of the Warfield Part- ping our graduates to address the enor- instrumentation and venue, not the nership with the Rochester City Schools, mous challenges in the current music ensemble itself. Eastman and all of its as well as new diploma and certificate marketplace and to create a new and contemporaries organize themselves proposals in progress. Professor Ray healthy musical future. I am certain that around their major ensembles, not on Ricker will direct the Institute, and has in order to be heard in the future, the repertory or diversity of experience for hit the ground running. graduates of all music schools, including their students. Perhaps it is time to those most elite, will need an education rethink and re-craft ensemble education llow me to end with a personal that is only partially visible to us now, but across the board. This would not mean the anecdote. This past summer I surely must include a commitment to the end of the Eastman Philharmonia or the attended a concert that ended nourishment and encouragement of the Eastman Wind Ensemble, certainly not; it with one of the most performed individual artistic voice and imagination. might, however, open the doors to both Alate 19th century symphonies. I confess how repertory is selected for performance that I thought cynically that this perform- ow are we doing at Eastman? and to a wider variety of ensemble experi- ance would be just another perfunctory Although we recently may “summer” performance. However, from the have re-crafted our core cur- very first note, it was clear that this was a riculum and added enriching new and completely fresh vision for this Hand empowering programs, for the most piece. I listened to it as if I had never part we continue to educate our students Undergraduate heard it before. The musicians responded for a music world of preexisting genera- with imagination and obvious freedom of tions, including mine. expression. The experience was stunning. We need to consider several possibilities: years should I had just written this address and con- One, perhaps our approach to educating templated how tragic it would be if this tomorrow’s artists has not been funda- be devoted music and these musicians could not be mental enough. I believe that we have heard reinventing this monumental work. been responding, in fact reacting, to the By “not heard,” I mean heard in a way conditions in the music marketplace by to broad-based that brings individual fulfillment and cramming more and more into an under- reveals a greater meaning within a wide graduate education that should be prima- and fundamental personal framework. The challenge to rily devoted to the development of artistry restore this deep experience to the Ameri- and musicianship. I feel strongly that the can public is monumental, but clear. We undergraduate years should be devoted to concepts. understand the problems. We have the broad-based and fundamental concepts, passion and the talent. However, we need while the graduate years, now de rigueur to question the role we have been playing, for musicians, should focus on specific ences for all students. I plan to appoint a consider how we can address the chal- career tracks. In direct response to these faculty and administrative committee to lenges at hand, and then act aggressively concerns, this year we will undertake an begin work on these ideas this fall. to change. I fear that without our all-out undergraduate curriculum review to reex- With the need to reinvigorate the univer- commitment, our art form will be heard amine the changes made three years ago sity approach to educating musicians, the by fewer and fewer Americans who under- and to revisit the question of the under- School’s newly formed Institute for Music stand less and less of what they hear. graduate core curriculum. Leadership becomes even more central. Because I feel very strongly that this is At the master’s level, I believe our plan This past summer the School formed such a critical time for us as professionals of creating and crafting diploma and cer- the Institute with the purpose of “provid- and pre-professionals in music, I encourage tificate programs that align with the MM ing Eastman students, alumni, and other you to respond to and discuss the contents to be visionary and effective. practicing musicians with the skills and of this talk. In addition, I encourage you to Two, if in fact the orchestral world’s experience they will need to respond to read the RAND Report. It is available great expansion of the 1960s and 1970s is and shape the changing musical environ- online at www.pewtrusts.com. in decline (we do not need the RAND ment external to Eastman.” Substantial Thank you for your attention. ❧ Report to confirm this), then we need to funding from the Mellon Foundation has question how we organize our ensemble helped to make this possible. A primary Eastman School Director and Dean James program. The musicians of the future will goal of the Institute will be to provide a Undercofler’s keynote address, “Classical almost surely play, teach, and interact critical link between Eastman and the Music in America: Is Anyone Listening?” with their communities in flexible configu- professional music world to inform and was delivered at Eastman’s Convocation, rations, musical genres, and styles. Musi- guide us as we rethink our approach to September 6, 2001.

4 EASTMAN NOTES FEATURES

Donald Hunsberger conducted the The Eastman Ithaca College Wind Ensemble in the premiere performance of Wind Ensemble Concerto for Percussion by Stephen Stucky (Cornell University resident celebrates composer). The concerto featured Gordon Stout (BM ’74, MA ’80), 50 years with professor of percussion at Ithaca College. It was commissioned for a conference and Hunsberger by his DMA conducting a gala concert grads in honor of his retirement.

WILL YURMAN The winds of change

hile the winds of February in Rochester sub- sided for four Wdays, wind band enthusiasts gathered at Eastman for a con- ference and gala concert in conjunction with the golden anniversary of the Eastman Wind Ensemble. The conference, “Focusing on the Future, Discovering our Heritage,” was attended by close to 300 wind music advo- cates, and featured workshops and presentations reflecting 50 years of musical diversity of the Eastman Wind Ensemble. A Friday night gala concert showcased the premiere of a new Bernard Rands work, Unending Lightning,Verne Reynolds’ Piano Concerto, Richard Rodney Bennett’s Four Seasons, and Karel Husa’s Percussion Concerto. The audience was treated to brief comments by Rands and Reynolds before their respec- tive pieces were performed. During the conference, Warner Brothers unveiled a multi-CD set, EWE at 50, fea- turing never-before-released GELFAND-PIPER recordings made by the EWE Eastman Theatre made a grand setting as Hunsberger conducted members of the Wind Ensemble and Eastman in the past eight years. ❧ Philharmonia in a session on orchestration for wind band and orchestra.

SPRING/SUMMER 2002 5 FEATURES

Larry Combs (BM ’61) West Point drummers performed Mozart’s in a session on Concerto for Clarinet rudimental drumming with members of EWE along with members in a setting for of Nexus. expanded harmonie- musik by Robert Rumbelow (DMA ’96).

GELFAND-PIPER GELFAND-PIPER

GELFAND-PIPER Hunsberger and EWE in a rehearsal of Mozart’s Serenade No. 10 in B-flat, the work that opened both the premiere concert of the EWE in Kilbourn Hall on February 8, 1952 and the golden anniver- sary concert 50 years later, to the day.

Professor Barry Snyder (BM ’66, MM ’68) as soloist in Verne Reynolds’ Concerto for Piano and Wind Ensemble; it was written for Snyder and dedicated to Hunsberger and the EWE.

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WILL YURMAN Above: Gail Williams performed the premiere of the wind ensemble version of the Concerto for Horn and Wind Ensemble by Dana Wilson (PhD ’82) with the Ithaca College Wind Ensemble.

Left: Close to 100 current and past EWE members performed together. GELFAND-PIPER

GELFAND-PIPER Above: Nexus members, with student timpanist Donald Albro, take a bow.

Left: Mark Davis Scatterday (DMA ’89), a student of Hunsberger, will be EWE’s fourth conductor starting July 1. He is pictured here with Nexus performer William Cahn (BM ’65, right). GELFAND-PIPER

GELFAND-PIPER Above: Four conductors represent the past, present, and future of EWE. From left: Frederick Fennell, Donald Hunsberger, Mark Scatterday, and A. Clyde Roller.

Left: Fennell conducts the alumni session.

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SPRING/SUMMER 2002 7 FEATURES

the curve. What will the orchestra need to thrive in the 21st century, and how can we The American help take charge of change – in manage- ment, governance, and performance? Look at the upheaval around us: • Music education in our schools, as we symphony: have known it, is at best vulnerable, man- dating that orchestras take increasing responsibility for establishing and imple- menting initiatives. What is going on? • The technology revolution is every- where, and will continue to evolve in ways we cannot even imagine and at speeds ALP guest speaker Thomas W. Morris discusses which appear unthinkable. The tradi- tional manner of how music has been elec- issues facing American orchestras tronically disseminated over the lifetimes of our institutions – radio and television broadcasts, recordings, and compact discs – is undergoing almost complete transfor- BY THOMAS W. MORRIS mation. At the same time, the competitive environment for electronic entertainment recently returned from a meeting conducted by the Andrew is exploding. How are we to reconcile the W. Mellon Foundation, part of its Orchestra Forum program apparent paradox between the instant availability of music anywhere and the in which 14 selected American orchestras receive substantial glorious excitement of the live concert funding and participate in biannual retreats of board leaders, experience? • The competition for contributed executive directors, and players. The Eastman School also is a income is dramatically escalating as the participant in this prestigious program. The purpose of the program number of organizations seeking funding I grows, as institutions’ funding needs is to probe the basic issues of how orchestras can further their dis- increase, and as government increasingly tinctive artistic profiles and elevate their artistic quality. I am fasci- shifts financing responsibility for many social causes to the philanthropic sector. nated with this question, and think about it constantly, not only in • While we have enjoyed an unprece- dented period of economic prosperity over my role as executive director of the Cleve- the past 10 years, the current state of the land Orchestra but in my ongoing work as economy is at best uncertain. Uncertain a consultant, writer, and teacher. I spoke economic times expose and magnify an of this last June in Seattle at the Ameri- organization’s underlying financial chal- can Symphony Orchestra League Confer- lenges, as has become apparent in many ence and appreciate the opportunity to orchestras. And all these economic con- expand and amplify on my thoughts. cerns existed prior to September 11, What indeed are the fundamental which only crystallized the reality of a issues facing American orchestras? How failing economy within a national and are we to successfully address them? And international context of fear. How will how well are we succeeding? The debate audiences hold up? How will support hold rages widely, and amidst the welter of up? How will society hold up? What next? rhetoric, three broadsides are being lev- What to do when the only certainty eled at orchestras: Orchestras must appears to be uncertainty itself? embrace the concept of “change”; orches- • Finally, community leadership is tras are basically dysfunctional; and the changing, particularly in the corporate traditional structure of artistic leadership sector with the craze of mergers, acquisi- solely vested in a music director is out- tions, downsizing, and the emergence of moded. Let me elaborate: the so-called “new economy.” As a result, First, “change” is happening every- the traditional template of “corporate where: It’s reshaping philanthropy, tech- leader” is being replaced with seemingly nology, audiences, and organizations. It’s interchangeable individuals without deep accelerating every day. And it’s challeng- HERBERT ASCHERMAN JR. ties to the communities in which they ing orchestra institutions to stay ahead of Thomas W. Morris work and whose focus on short-term

8 EASTMAN NOTES FEATURES

profitability and their own personal sur- environment is indeed challenging. But First, orchestras are and always will be vival has replaced the traditional model of there are also orchestras in which audi- owned by the communities in which they long service and commitment to the com- ences are not declining, are not aging, and reside – communities that must feel a pany and to the community. are engaged; orchestras with little labor tangible need for the orchestra and find The second fundamental issue faced by strife; orchestras which are financially value in its very existence. The board rep- American orchestras is the overwhelming secure and intellectually centered in their resents the owners, and an orchestra malaise, or perhaps it is the perception of communities and on the music of our time. without a strong board and even stronger malaise: And in such cases you never hear of the board leadership has not, will not, and How often we read of declining, bored need “to reinvent the concert experience.” cannot flourish. The greatest music direc- and aging audiences; of orchestra institu- tor, most cohesive internal culture, tions which are out of touch with intellec- et me dispense first with strongest executive director, and the most tual life of the communities in which they “change,” which has become the money will never be enough. It takes lead- reside. Writer Joseph Horowitz recently organizational buzzword of ership from the very top – always. said in the Financial Times, “Orchestras today. It is used as the very The board of a not-for-profit organiza- have opted out of intellectual life in a way Lrationale for coming to grips with the tion differs in several critical ways from museums and dance companies never did. information-based economy, or as a rally- those in the for-profit world, from which They’re motivated by fear: They’re doing ing cry for radical organizational reengi- most of our board members come: more concerts than the market can bear, neering. For orchestras, some assume it In the for-profit world, the board has and they’re terrified of losing subscribers.” implies blowing everything up and start- responsibility for policy and financial over- How often we read of frightful labor ing fresh. While I do not dispute that sight. In the not-for-profit world, it also strife, with cantankerous and distrustful orchestras today face extraordinary exter- has responsibility for raising and giving internal relations, and crippling work nal pressures, I do not believe in change money. In short, the board actually has a stoppages. for the sake of change. The essence of true significant operating function to perform, How often we read of desperate finan- institutional vision encompasses absolute which in itself mandates they assume cial crises caused by declining earned rev- adherence to those values and purposes ownership of the institution. Thinking that enue, stagnant fund-raising, inadequate which must remain timeless, as a context fund-raising can be totally dependent endowment, or runaway costs. In today’s for articulating how things must be differ- upon the hired executives will fail. climate of global economic distress, these ent. James Collins and Jerry Porras say, In the for-profit world, the hired execu- situations seem particularly prevalent in “The rare ability to manage continuity tives are not only required to lead, but in smaller and mid-sized orchestras such as and change is closely linked to the ability fact are part owners of the company them- San Jose and Colorado, but are starting to to develop a vision. Vision provides guid- selves. In the not-for-profit world, the materialize in such behemoths as Toronto ance about what core to preserve and hired executives – the music and executive and St. Louis. what future to stimulate progress directors – are in reality hired hands and And then there is that all-purpose cry – toward.” The crucial issue, therefore, in no way owners. What a mistake, there- the need “to reinvent the very concert becomes not only how to address this fore, to assume they are the institution, experience itself.” changing world but how not to. This whether in marketing, responsibility, or Third, there’s the question of the role requires a deep and honest understanding attitude. Music or executive directors who and function of music directors. Again, of what makes an orchestra successful, as refer to “my” orchestra just don’t get it. Joseph Horowitz talks about too many well as probing basic organizational prin- Second, a symphony orchestra cannot orchestras “vainly chasing the Toscanini ciples at work in any successful organiza- and should not be disguised. At the center model: mythic success in the old core tion – there are lessons to be learned. of what we do must always be great repertoire and hostility to the new.” Let me also dispense with the economy. orchestral music, presented with unbur- Opposing this is the viewpoint that the The perspectives of the past show us that nished, honest enthusiasm. Video screens, era of the maestro is over, as we face expansions inevitably do follow down- jugglers, marketing slogans, or program inevitably a future which dictates empow- turns in ever-changing economic cycles, concepts to tart up the supposedly boring ering the musicians through an open and just as the current and long-predicted ritual of classical music will never provide collaborative culture to assume a good downturn followed a period of exceptional lasting institutional answers. portion of artistic leadership themselves – growth. Yes, the stock market is currently Examples abound of orchestras forget- solving in one fell swoop the need for more down from where is was a year ago, but it ting these timeless and unchanging prin- present and better artistic leadership is not down further than it was in 1999, ciples in their frantic pursuit of so-called while at the same time establishing a and it is four times as large as it was in “change.” Many, goaded by the press or more fulfilling and satisfying work envi- 1989. sagging sales, have concluded the tradi- ronment for the musicians. There will always be different solutions tional concert experience is no longer rele- It is always dangerous to make such to different problems in different situa- vant, that audiences are inevitably generalizations, particularly when in fact tions. However, I fervently believe in sev- getting older and in danger of disappear- the very differences between orchestras eral principles which can provide a ing altogether, leading to the drastic need may be escalating. But what really is context for dealing with the enormous for defining the so-called “new concert going on here? Yes, there are, and always challenges, regardless of the orchestra, experience.” Upon examination, this have been, orchestras in crisis, and the the community, or the situation: TURN TO PAGE 10 ➧

SPRING/SUMMER 2002 9 FEATURES

➧ FROM PAGE 9 and Ives’ 4th Symphony. But so are Gaîté nicate the impact of music, not to compen- usually means nothing more than a Parisienne,Piston’s Symphony No. 6, Leroy sate for alleged weaknesses in the very theme program, talking from the stage, Anderson’s The Syncopated Clock,the concert experience itself. relentlessly popular repertoire or market- Emperor Waltzes by Johann Strauss, and And on marketing, let’s use our heads. ing come-ons such as one brochure which Suppé’s Poet and Peasant Overture. Marketing is not the answer to everything. breathlessly urges the audience to “imag- It is not even the top question. Think about ine concerts with martini bars and jazz in n performance, it is not enough it – there are three kinds of audiences: the lobbies.” Think for a moment what to merely get through a piece: • Existing audiences, or people who are underlying attitudes hyping the so-called Believe in the music, and always already going to concerts. We want them “new concert experience” in this way con- have something to say about it – not only to keep going, but also to go to veys about the orchestra’s inherent belief Oa point of view, recognizing that a unique more concerts. in its music, or the other subscription con- point of view will always meet willing • Predisposed audiences, or those who certs presented by the orchestra – the acceptance by some and unleash noisy have an interest in classical music but are equivalent of proclaiming that “our regu- hostility from others. This is the essence not attending yet, for whatever reason. lar concerts are really boring.” Or another of what performance is all about – or as We need to find them and convince them orchestra’s singular pursuit of star power, Charles Rosen recently put in the New not about classical music but about going whose brochure cover features a photo of York Review of Books, “the written score to concerts. Crystal Gayle larger than the one of its sets limits within which many possibili- • And finally, non-audiences, or those music director, and then buries the very ties can find a home. The critical problem who are neither convinced about classical name of the orchestra itself. Or another remains essentially how to decide which music nor going to concerts. While it with a picture of the music director in full of the many interpretations realize the would be great to convince them and get dress but barefoot, touting a season that work and which ones betray it.” In Cleve- these people to attend, a much higher will “knock your socks off.” These all con- land, Beethoven’s Symphony No. 5 is not institutional priority must be expended on vey an air of desperation. And none of it in programmed because it will sell but existing and predisposed audiences. the end is about “reinventing the concert because we have something to say about Marketing from inherent strength is experience” at all. Nor should it be. How it, making it not a comfortable expectation always the best strategy, aimed at exist- about simply trying to present better con- but a refreshing reacquaintance. ing and predisposed audiences first. Sell- certs as a more honest goal? On concert production, while we are in ing concerts as glorified singles nights, or I want to be crystal clear about my posi- the business of producing musical art, hyped with trendy adjectives, or built tion on this point. Vigilant pursuit of “how” concerts are presented can make purely around star power denigrates the “better concerts” does not mean experi- huge differences in how they are received center of our existence – the orchestra mentation and variety are taboo. Or that as long as the production elements are in itself and the music, which actually mat- if it’s not by Schoenberg, Carter, or service to the music. Instead of the ter to the center of our audiences. And, I Birtwistle, forget it. grandiose concept of “reinventing the con- can assure you from personal experience, cert experience,” how about using sheer such an approach works. In Cleveland, we he absolute rule in program- common sense to: have absolute faith in our audience’s ming is to create a sense of • Assure effective concert hall lighting; enthusiasm for adventure. And our adventure, to avoid being pre- • Use risers so the audience can actu- results prove we are right. dictable. Audiences, I have found ally see the orchestra; Finally, artistic vision is not the exclu- Trepeatedly and with absolute consistency, • Avoid having a sea of empty chairs and sive province of a music director, nor has respond to stimulation. It is the moral and haphazard music stands littering the stage it ever been in a successful orchestra. It legal duty of an orchestra to lead, not to in a small orchestra piece on a program; must be embedded into the very fabric of follow, taste. To do this effectively, one • See musicians appearing to acknowl- the institution and all of its constituents, must define carefully that fine line edge the audience with some enthusiasm and ultimately owned and demanded by between audience comfort and discomfort, at the end of a concert instead of random, the board, regardless of the process of who and then subtract one. Subtracting two bored chattering while packing up instru- actually defines it. A strongly articulated will create a negative backlash; adding ments, ready for the fastest exit; vision is never enough – it must be deeply one will ultimately bore an audience. • Have spoken introductions from the felt, widely held, and given reality in prac- Focusing on this principle in the long run stage for new and unfamiliar works, pro- tice. Vision can only be articulated if it keeps audiences engaged and attracts vided they are delivered by someone with actually exists; it never exists merely younger audiences. In short, it is the pre- the insight to help the audience under- because it can be articulated. requisite for building future audiences. stand the unknown, and with the ability • A clear vision forces us to remember And all programs must be packed with to speak persuasively; who we are, why we exist, and why we great music. Make no mistake about what • Be certain the audience is greeted by don’t exist; I am saying – concerts do not have to be polite, cheerful, knowledgeable ushers • A clear vision provides a strong insti- relentlessly grim affairs. Yes, I think instead of a group of bored gum-chewers. tutional context for shaping decisions; Schoenberg’s Variations Opus 31 is great If a piece of music demands extra-musi- • A clear vision mitigates any structural music. As are Sir Harrison Birtwistle’s cal elements – surtitles, videos – why not? ambiguities inherent in the organization; Earth Dances,Beethoven’s symphonies But the reason should be to help commu- • A clear vision inspires.

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In addressing challenges, we must not Second, we must not confuse the idea of vide inspirational experience by serving confuse the “process” of finding solutions shared decision-making with the absolute the art of music at the highest levels of with the very “content” of solutions. And need for more open and collaborative cul- artistic excellence.” We have lofty goals even more, we must not confuse “process” tures within our organizations. Processes and ambitious plans. And, all revolve as in fact being the “content.” Trendy con- for more input and greater communica- around an unflinching commitment to sultants today are full of workshops and tion are essential, but must be achieved artistic principles in service to our pur- seminars on “how to improve institutional without diluting the accountability for pose. I am unaware of any successful and alignment” or “how to empower the organ- decision-making. flourishing orchestra which is not singu- ization.” But they often forget – an orches- And third, true vision is based upon larly and purposely devoted on a daily tra is about vision, ideas, and adventure, clear core values, and values arise from basis to the overriding principle that around which processes must be formu- the common beliefs and actions of individ- nothing succeeds better than great con- lated. And vision is absolutely dependent uals – and I mean all the individuals – in certs of the greatest music performed at on individual leadership, not unlike the the organization. How can we each define the highest level of excellence with enthu- greatest pieces of music. There is a reason ourselves in maximum service to our art siastic commitment and contagious con- none have been written by a committee. within such institutions? I recently found viction. Doing so brings to an orchestra a clue in an astonishing book called the exactly the kind of crackling energy and urthermore, “leadership” is differ- Soul of a Chef, in which author Michael bristling vitality that proponents of ent from “management.” Tom Ruhlman recounts his journey in search “change for the sake of change” promise Peters has said, “Management of culinary perfection. He finally finds it in but can never deliver. with its attendant images – cop, Thomas Keller of the Napa Valley’s Freferee, devil’s advocate, dispassionate French Laundry, thought by many to be oes the Cleveland Orchestra analyst, naysayer, pronouncer – connotes the best restaurant in America if not the have challenges and problems? controlling, arranging, demeaning, and world. Ruhlman probes beneath Keller’s You bet we do, but our vision is reducing. Leadership connotes unleashing success to ascertain clues as to the true clear, our work ethic is all- energy, building, freeing, and growing.” secret of his accomplishment, and discov- Dencompassing, and our priorities in order. Warren Bennis and Bert Nanus define ers it in attitudes and values instilled Even so, there is not a day that goes by managers as “people who do things right”; throughout his career. He writes: “At the that we are not working hard to sharpen leaders as “those who do the right things.” bottom of Thomas Keller was a capacity to our focus, polish our performance level, And, strong enlightened leadership absorb himself absolutely in the mundane and keep moving our institution forward. always starts with the board. In the case tasks he performed daily. It began, appar- In short, we are not satisfied. of the Cleveland Orchestra, George Szell ently, at the Palm Beach Yacht Club, I do not minimize the perilous times in was a miraculous leader, and gets much of under the watch of his mom as he made which we find ourselves. But these are the credit for shaping the style and suc- hollandaise sauce daily. Every day, he sep- precisely the times during which we need cess of the orchestra, which persist to this arated yolks and whipped them hard over great art and music more than ever. day. But he did not do it alone. I give even the heat, then added clarified butter. Music, that wordless and ambiguous lan- greater credit to the board and board Every day, he was mystified by the thick, guage, can uniquely provide necessary sol- leaders who in 1946 decided on behalf of creamy result but terrified that it would ace and comfort for the worst, and the their community that Cleveland needed break at any instant. Every working day best, of times. an international orchestra, and then hired for two years. He never tired of it. On the The Cleveland Plain Dealer’s Donald the music director to do it, supporting him contrary, he reveled in it. It was the ‘high Rosenberg commented in mid-September, and fulfilling their own responsibilities in point of each day.’ He never took the hol- “where virtually everything else fails, making that dream a reality. landaise sauce for granted; it remained … great music has the power to lift us or So, what does this all mean today for a great mystery. It was never perfect. He provide a means of catharsis. It can put us orchestras? never mastered it. If he ever had, the task in touch with our psychological selves and First, orchestras need stronger leader- would have become monotonous, if not feelings as no other form of communica- ship – on the board, in the orchestra, and unbearable. But instead he pursued the tion.” We have been entrusted by our com- on the staff. The day of the tyrant is over perfect hollandaise sauce with relentless munities with the sacred mission of but one must not confuse the concept of intensity.” assuring a dynamic future for our institu- strong leadership with the style with The symphony orchestra will survive tions and for our art form, and our pursuit which strong leadership is exercised. I do and flourish if it pursues the goal of per- of that mission – whether as board mem- not believe there is any inherent struc- fect concerts by pursuing every single ele- ber, music director, executive director, or tural ambiguity in an orchestra organiza- ment that goes into perfection with musician – cannot be unlike Thomas tion – within the so-called “Bermuda relentless intensity. Such pursuit must Keller’s never-ending quest for perfection Triangle” of the board president, music not only be by each individual but by the in hollandaise. ❧ director, and executive director. There is institution as a whole. That is the secret no example of this not working wonder- of the Cleveland Orchestra. Our underly- Thomas W. Morris, executive director of the fully well if all three are the right people, ing purpose – a belief deeply held by Cleveland Orchestra, visited Eastman in and if they are bound together with a everyone associated with our organization March as a Catherine Filene Shouse Guest clearly understood common vision. and by its broader community – is “to pro- Speaker.

SPRING/SUMMER 2002 11 SCHOOL NEWS

Composer George Crumb feted at December festival Pulitzer Prize-winning Ameri- works, including the 1965 can composer George Crumb, Symposia, master classes, and concerts Madrigals Book I (Eastman known for his powerful and highlight the composer’s visit students Heather Gardner, evocative use of imagery along voice; vibraphonist John Hain; with the development of and double-bassist Justin unusual and extended per- McCulloch) and the 1979 formance techniques, was hon- Celestial Mechanics (Makro- ored at Eastman during a kosmos IV) for amplified piano, festival of his compositions. four hands (guest duo-pianists The three-day December event Robert Shannon and Haewon was the brainchild of doctoral Song). The 1970 Black Angels piano student, Thomas (Images I) for electric string Rosenkranz, with the help of quartet was presented by Professor of Composition Eastman’s own Suzie Kelly Robert Morris. Highlighting String Quartet who, according the festival were two free con- to John Pitcher of the Roch- certs of Crumb’s music: ester Democrat and Chronicle, • An all-piano recital fea- “created a fiendish din as they tured guest pianist-composer tossed off the music’s most dif- David Mattingly (MM ’87, ficult passages with ease and DMA ’93) performing the dramatic flair.” Similar acco- remarkable Makrokosmos, Vol- lades came for the celebrated umes I and II (1972–73) for 1970 song cycle, Ancient Voices amplified piano. As in many of GELFAND-PIPER of Children (Eastman Musica Crumb’s works, this set of “12 Composer George Crumb listens to a rehearsal of his music in Kilbourn Hall. Nova Ensemble, Clay Green- Fantasy-Pieces after the berg conducting, with East- Zodiac” utilizes unique nota- swirl). Mattingly, assistant Crumb himself, who predicts a man student Martha Cluver, tional devices: every fourth professor of piano at Susque- “brilliant future” for him. voice). Of the soloist, Pitcher piece is notated as a visual hanna University, has been • The second concert show- noted “[Cluver] is endowed symbol (a cross, circle, or called a “superb pianist” by cased a variety of Crumb’s TURN TO PAGE 13 ➧ Video link joins Eastman and Royal Scottish Academy The first transatlantic video- Boddice, professor of trumpet, tional Consortium is a tremen- Buffalo History Professor Patri- conference between two music doing the same for one of dously exciting development.” cia Mazòn, titled “German Cul- schools took place on November Thompson’s pupils. “This [was] the first use of ture and Society, 1790–2000.” 16, 2001 as the Eastman School Both schools worked closely Internet2 technology for The course, offered through of Music and the Royal Scottish in establishing this far-reach- transatlantic interactive edu- both schools, convened twice Academy of Music and Drama ing opportunity for interna- cation, particularly in a musi- per week, with each teacher (RSAMD) in Glasgow, Scotland, tional, musical brotherhood. cal context,” points out Kevin taking turns lecturing on a engaged in a “parallel” educa- Director and Dean James McPeak, director of technology wide array of related topics. tional musical exchange. Undercofler noted, “Eastman’s services and music production With compelling technologi- The two live trumpet master technology project with the at Eastman, and coordinator of cal advances on the horizon, classes took place through the Royal Scottish Academy forges the exchange. “It reinforced the the RSAMD and the Eastman technology of the US’ Inter- a dynamic international part- true nature of ‘distance learn- School anticipate an additional net2 and the UK’s Super- nership that begins to show ing,’ which is to link up similar partner in the Queensland JANET4. Eastman Professor one distinct future for classical communities of learning.” Conservatorium of Brisbane, of Trumpet James Thompson music teaching and perform- Closer to home, Eastman’s Australia. “Individual tuition, commenced the international ing. We are thrilled to be work- Reinhild Steingröver, assistant master classes, assessment, conference, giving a 30-minute ing with such brilliant and professor of German in the student recruitment, and the individual master class to a distinguished colleagues.” humanities department, co- professional development of student from the RSAMD, fol- Principal of the RSAMD, Sir taught a spring semester alumni will all be possible as lowed by Bryan Allen, head of Philip Ledger, concurred. “The course through similar video- the technology is refined,” brass at RSAMD, and Nigel establishment of an Interna- conferencing with University of noted RSAMD’s Ledger. ❧

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➧ FROM PAGE 12 with a flexible voice and angelic tone, bringing a sense of radiant warmth and urgency to every note she sang.” Both Ancient Voices and Madrigals are based on texts by the poet Federico Garcia Lorca, a friend of Salvador Dali, whose verse inspired many of Crumb’s compositions. The Eastman connection to the compositions is gloriously present: Crumb conceived Ancient Voices of Children for the late faculty member Jan DeGaetani, who premiered it in Washington, DC in 1970. Says Crumb: “Her voice was in my inner ear while I was compos- ing.” Along with Madrigals, the work became part of her artis- tic oeuvre, both in performance and on record. Former East- man professor of piano David Burge worked with Crumb at the University of Colorado in the early 1960s, encouraging the composer to experiment with the extended possibilities of the piano. The resultant dis- GELFAND-PIPER coveries became standard com- Eastman Opera Theatre opened its season with Conrad Susa’s unsettling Transformations, a work that sets to music position techniques for the Anne Sexton’s collection of poetry based on the Brothers Grimm fairy tales. The performance was”splendid” and the composer, used with great flair set “superb,” according to the Rochester Democrat and Chronicle. in Makrokosmos. “George Crumb’s remark- able music came on the scene in the late 1960s and repre- Opera stage ‘transformed’ by Susa work sented a new and unprece- Conrad Susa’s Transforma- activities room in a psychiatric plicated assignments.” (Opera dented voice in American new tions,a “musical entertain- ward during the 1970s – one to News.com). music,” says Professor of Com- ment” in two acts based on a which Sexton herself might The performance featured two position Robert Morris. “His book of confessional poetry by have been admitted. alternating casts of Eastman emphasis on exquisite and ele- Pulitzer Prize-winning author Tiffany Blake, whose charac- voice students, accompanied by gant timbres in the context of Anne Sexton, opened the East- ter was modeled after Sexton a non-traditional chamber performance ritual was imme- man Opera Theatre’s 2001– (Soprano 2), gave a “truly vir- orchestra with Hess conducting. diately noticed and applauded 2002 season. This Kilbourn tuoso performance … singing The score was “expertly con- by European composers, who Hall production marked the with immaculate tone, good ducted and immediately appeal- had up until that time only official debut of Eastman Opera support, and breath to spare,” ing,” according to the Rochester been interested in the most Theatre’s new music director, according to a review by Opera Democrat and Chronicle. radical of American composers, Benton Hess, who joined the News.com. The ensemble piece “Susa provides a unique look mainly Charles Ives and John faculty last July as distin- features just eight singers who into Anne Sexton’s psyche,” Cage.” guished professor of voice. do not have character names said Steven Daigle, director of Additional festival events Transformations is a collec- but play many roles through- the show and dramatic direc- included a theory symposium tion of poems based on the out the stories. tor of Eastman Opera Theatre. on Crumb’s music, a master Brothers Grimm fairy tales, The production requires “His use of musical vocabulary class (where four of his works which Sexton used to paint an singers of the utmost skill, along with his use of conven- were presented by Eastman emotional journey of her artistry, and versatility. “All tional styles services the students), and a composer’s deeply troubled life. The set- proved themselves eminently poetry, humor, and darkness of symposium. ❧ ting for the performance is an capable of handling their com- the work.” ❧

SPRING/SUMMER 2002 13 SCHOOL NEWS

Legendary jazz bassist Ron Carter returns to Eastman Legendary Eastman graduate jazz performance – and is the Ron Carter, widely recognized producer of 75 recordings. His as one of the most original and books include Building a Jazz influential bassists in jazz, Bass Line and Music of Ron returned to his alma mater Carter, which contains 140 of last fall for a special day that his published and recorded culminated in a concert with compositions. He has lectured, his acclaimed quartet in Kil- conducted, and taught the bourn Hall. With Kenny Bar- business of music at numerous ron (piano), Steve Kroon universities. For nearly 20 (percussion), and Payton years, he has been distin- Crossley (drums), Carter per- guished professor of music at formed an engaging program the City College of New York. of standards and classics ELIZABETH LAMARK “Ron Carter’s multi-faceted announced from the stage. Alumnus and jazz great Ron Carter returned to Eastman last fall with great fan- engagement with music exem- During his day-long visit to fare. Here he coaches student Ben Gallina in a master class. During his visit, plifies one of the primary goals Eastman, Carter also held a he also spoke with students and community members about his career and of an Eastman education,” said master class and presented a years at Eastman, and presented a concert with his quartet in Kilbourn Hall. Eastman School Director and lecture sponsored by the Dean James Undercofler dur- School’s Arts Leadership Pro- School of Music in 1961, he Carter has played with orches- ing Carter’s visit. “We are gram titled “Where Is the moved without a pause into a tras around the world. He has delighted to welcome home and Music Played?” dynamic, high-profile career. made four classical recordings, showcase one of our most dis- Described as “the epitome of Many of Carter’s more than including one that features his tinguished alumni.” jazz elegance and rectitude” by 3,000 jazz recordings are now own transcriptions and Carter returned to Eastman Down Beat magazine and con- classics. He was a member of arrangements of Bach chorales in May to attend commence- sidered a master of improvisa- Miles Davis’ legendary 1960s and cantatas. In the mid- ment ceremonies, where he tion, Carter earned his quintet, along with Tony 1970s, he started playing the received the Hutchison Medal, bachelor’s degree at Eastman Williams, Herbie Hancock, and piccolo bass, rather than the the highest honor bestowed in 1959. As a student, he Wayne Shorter. He also has larger jazz bass, in order to upon alumni by the University played in the Eastman Phil- performed with Cannonball “reinvestigate acoustic sounds of Rochester. ❧ harmonia and in his own jazz Adderley, Thelonious Monk, and to give the public a viable groups around Rochester. After Hubert Laws, Lionel Hamp- listening option.” He has won See another note on Ron Carter earning his master of music ton, and Joe Henderson. two Grammy Awards – one in in the Sibley Music Library degree from the Manhattan As a classical performer, jazz composition and one in column on page 25. Jazz Ensemble ‘looks forward’ at Midwest Clinic It was a night of premieres as the Eastman Jazz Ensemble performed at the 2001 Mid- west Clinic. Showcasing the works of Eastman student composers, Grammy-nomi- nated alumna Maria Schnei- der, and Jazz Ensemble Director Fred Sturm, the Ensemble presented “Looking Forward: New Music for Jazz Ensemble” to a packed ball- room in Chicago last Decem- ber. The EJE was the only university jazz group invited to perform at the prestigious COURTESY MIDWEST CLINIC TURN TO PAGE 15 ➧ The Eastman Jazz Ensemble at the Midwest Clinic in Chicago.

14 EASTMAN NOTES SCHOOL NEWS

➧ FROM PAGE 14 conference; the Eastman Wind Ensemble, Donald Hunsberger conducting, performed to thou- sands at the same conference in 2000. The concert included four premieres of original composi- tions by current Eastman jazz writing majors. McCoy Tyner’s The Man From Tanganyika was arranged and conducted by graduate student Jamey Simmons (recipient of the 2001 Down Beat magazine Student Music Award for “Best Jazz Arrangement”). A unique collaborative work, Worlds Apart, was co-com- posed by Sturm, Larry Dar- ling, and Eastman jazz COURTESY ROBERT MORRIS students Ted Poor, Ryan Fer- Hundreds of people roamed beautiful Webster Park on a glorious fall day to hear more than 50 Eastman musicians reira, and Ike Sturm. It performing Robert Morris’ unique Playing Outside. Above, student cellists perform in one of the park’s natural settings. explored electro-acoustic ele- ments as the Jazz Ensemble performed to pre-assembled Performers found ‘Playing Outside’ digital samples and computer tracks. It’s not every day that one intricate web of ski trails in the were enthusiastic about play- Renowned composer/band- hears live concert music per- summer of 1996. ing new music that expands leader Maria Schneider, a formed at Webster Park, a pic- “I was so fascinated by these the boundaries of what music 1985 Eastman graduate, turesque spot on the shore of wooded trails that I made a can be and where it can occur.” offered Tork’s Café,a funky Lake Ontario in Webster, New map of them with a friend. I Upon arriving at the park, contemporary composition, for York (northeast of Rochester). felt a connection between these audience members were given the occasion. Four new compo- Yet Robert Morris, a progres- trails and the kind of music I a program of events, showing sitions and arrangements by sive concert-music write, so I thought the spots in the park where Sturm, a 1984 graduate of the composer and chair it would be interest- and when musical events Eastman jazz program and a of the composition ing to bring them would take place. People could faculty member since 1991, department, con- together in a musi- choose to stroll through the also were showcased. ceived a composi- cal composition.” park to hear the music and The Jazz Ensemble per- tion for orchestra The composition sounds or be escorted by formed two works of historical and soloists to be was presented and guides to the main musical significance as well: the Gil played outdoors. performed by events. Various kinds of Evans arrangement of Dave Playing Outside is Ossia, an organiza- improvisational music, played Brubeck’s The Duke, recorded scored for more tion of young com- by soloists as well as full by Miles Davis on the 1957 than 50 musicians Robert Morris posers and ensembles, were heard on the Miles Ahead on Columbia scattered through- performers study- paths and in the park’s woods Records, featured second year out the park’s woods and ing at Eastman, as well as the and fields. master’s student Eli Asher on trails. The piece, exactly 100 School’s gamelan ensemble. By design, no one – including trumpet. minutes long, was performed “My piece would have been the composer – can hear all of And, celebrating the 75th on Sunday, September 30. impossible to bring to perform- the musical sections in one per- anniversary of the recording Because of the specificity of ance without Ossia,” said Mor- formance. The idea is to provide featuring Jelly Roll Morton’s the composition, the piece can ris. “The musicians played in a rich assortment of musical Blackbottom Stomp (recorded only be played in Webster various places in the park, experiences celebrating the in Chicago in 1926), the Park, and any future perform- both independently and in relations between people and ensemble presented their ren- ances will be mounted there. groups, sometimes moving the natural environment. ❧ dition with original solos in Morris, who has lived in from one location to another. authentic transcriptions by Rochester since 1980, came up Since Ossia has produced For more information, visit the Red Hot Peppers, Morton’s with the idea for this ambitious many exceptional and novel http://lulu.esm.rochester.edu/ band. ❧ work while hiking on the park’s pieces and events, the students rdm/playing.outside.

SPRING/SUMMER 2002 15 SCHOOL NEWS

Musica Nova premieres Zorn’s ‘Rituals’ in NYC In another vivid example of their growing involvement in the new music scene, East- man’s Musica Nova gave John Zorn’s Rituals its American premiere in The Great Hall at New York City’s Cooper Union in March. “It’s as multi-faceted as the composer himself,” is how Bradley Lubman, music direc- tor of Musica Nova, describes the mammoth 1998 work for singer plus 10 instruments. Drawing on his experience in a variety of genres including jazz, rock, hardcore punk, clas- sical, klezmer, film, cartoon, popular and improvised music, Zorn has created an influential body of work that defies aca- demic categories. Born and GELFAND-PIPER raised in New York City, he Musicians (such as student John Hain above) who perform experimental composer John Zorn’s work utilize a variety has been a central figure in of instruments to create unique sound textures. the downtown music scene since 1975, incorporating a eight wind and brass players ensemble. Lubman, assistant John Adams, Bernard Rands, wide range of musicians in plus piano; Arabia Felix (1973) professor of conducting and Magnus Lindberg, and various compositional formats. was written for flute, bassoon, ensembles at Eastman since Augusta Read Thomas have His experimental work with violin, piano, electric guitar, 1997, led Musica Nova in its praised the ensemble’s per- rock and jazz has earned him and vibraphone. Both Wuori- first appearance at Cooper formances of their works. a large cult following. nen and Zorn attended the Union in January 2000. The March concert was part Lubman’s program paired concert. Under his direction, the of the CooperArts series, which the Zorn piece with two “clas- Founded in 1966, Musica ensemble has become known brings New Yorkers high qual- sic” Charles Wuorinen works. Nova is the Eastman School of for its diverse repertory. Com- ity programs in the performing The Winds (1977) is scored for Music’s contemporary music posers such as Steve Reich, and literary arts. ❧ ‘New Grove’ features Eastman faculty, staff, and alumni The New Grove Dictionary of www.grovemusic.com. • Ellen Koskoff (Women in Music and Musicians II might Of particular interest to the Music) seem a long title for a work, Eastman community is that a • Vince Lenti/Ruth Watan- but hardly when you consider respectable number of Grove’s abe (Rochester) that the work comprises 25 entries are by or about people • Ralph Locke (6 items) million words in 29 hardcover affiliated with Eastman. At • Patrick Macey (Motet and volumes. least 12 current faculty and Josquin des Prez) Published early last year at staff members have con- • Marie Rolf (Samuel Adler) a list price of $4,850, the vol- tributed entries to the new • Kerala Snyder (17 items) umes primarily are purchased GELFAND-PIPER edition, including: • Robert Wason (Carl Fried- by music libraries and institu- New Grove is available in book form • Jennifer Williams Brown rich Weitzmann; Oscar Paul) tions. The old and new editions or online at www.grovemusic.com. (12 items) • Daniel Zager (Stanley reside on considerable shelf • Donna Brink Fox (29 Dance and Amiri Baraka) space on the second floor of our has made itself accessible to items) In addition, a number of our own Sibley Music Library. But anyone with a computer, offer- • Daniel Harrison (Hermann distinguished past faculty with this new edition, Grove’s ing an online version at Grabner) TURN TO PAGE 17 ➧

16 EASTMAN NOTES SCHOOL NEWS

➧ FROM PAGE 16 members have entries devoted to them in the new edition, including: • Warren Benson • Wayne Barlow • Jan DeGaetani • Emory Remington • Harold Gleason • Alfred Mann • Bernard Rogers Readers of Grove’s will find entries about some famous Eastman graduates: • William Warfield • Renée Fleming • Charles Strouse • Ron Carter • Louise Cuyler • Julianne Baird Finally, one can even learn more about the City of Roch- ester in an entry authored by current Eastman lecturer Vince Lenti and retired Sibley Music Librarian Ruth Watan- abe. According to Ralph Locke, KURT BROWNELL chair of the musicology depart- Tales & Scales musicians (from left): Neil Parsons, bass trombone; Deborah Sunya Moore, percussion; Patrick Ley- ment and a longtime Grove’s den, clarinet; and Zara Lawler, flute. fan, “It is hard to overestimate the importance of New Grove for the musical world. I think of New Grove as ‘the first and IML brings ‘musictelling’ to Eastman the last’: It is the first refer- In a special offering by the “musictelling.” The original Institution, and other promi- ence book that librarians and School’s new Institute for piece – written for Tales & nent stages across the country. other well-informed people Music Leadership, the East- Scales by Catherine Chuplis Tales & Scales also works look in for information on indi- man community experienced and Margaret Muldoon, with a with educators, music stu- vidual musicians and other Tales & Scales’ unique “music- musical score by composer dents, and orchestras in work- topics; and, at the same time, telling” in January. The George Tsontakis and choreog- shops designed to combine the it is most often ‘the last word’ nationally acclaimed troupe of raphy by Nusha Martynuk – arts with education. While in (because of its high reputation young musicians seeks to combines music and movement Rochester, members of the for accuracy). The fact that it ignite imaginations through built around the classic story troupe coached Eastman stu- is now available online and is the performing arts. about a young woman’s courage dents involved in the School’s being updated regularly The troupe presented a free to challenge the status quo. own outreach program, “Music makes it that much more cur- performance of the Greek Each year, Tales & Scales for All.” rent and reliable. The fact that myth, Pandora’s Box, for family collaborates with emerging “We’re very fortunate to have so many Eastman-related audiences in Kilbourn Hall. As composers, writers, and the- been able to bring Tales & authors contributed articles, children entered the hall, they ater directors to create a new Scales to Eastman and to and that a number of the were given the chance to greet work to tour throughout the Rochester,” said Susan Whar- School’s distinguished faculty the performers and touch and country, giving more than 200 ton Conkling, associate profes- and alumni have entries hear their instruments. performances in schools, arts sor of music education and one devoted to them, sends a great With minimal sets and cos- centers, and concert halls. The of the organizers of the visit. message to the broader public tumes, the group of four classi- troupe has brought its “The troupe’s innovative ap- about how special a place the cally trained musicians musictelling to the stages of proach to musical outreach is Eastman School is, where per- brought Pandora’s Box to life, the Boston Symphony, the helping our students to become formers, composers, and schol- becoming characters, objects, Chicago Symphony, the Smith- even better prepared to reach ars work together to mutual and dancers in a unique style of sonian Institution’s Discovery out to the Rochester commu- profit.” ❧ performance they term Theatre, the Chautauqua nity and make a difference.” ❧

SPRING/SUMMER 2002 17 SCHOOL NEWS

Institute for Music Leadership goes ‘live’ on the Internet If the article in the last issue a vital hub for creating, shar- of Notes introducing East- ing, and implementing new man’s new Institute for Music ideas and programs that will Leadership piqued your ensure the vitality and rele- curiosity, now there’s a way to vance of music in the 21st find out more – IML’s Web century. site went live in January. Receiving an average of The IML is the first center 400 visits per week, the IML of its kind in the country. site is useful to students, fac- Created in fall 2001 with ulty, staff, alumni, and pro- generous support from the fessional musicians who can Andrew W. Mellon Founda- look to the IML for profes- tion, the IML is envisioned as sional development. ❧ Find the IML’s new Web site at www.rochester.edu/Eastman/iml. IML/Eastman join prestigious Mellon Orchestra Forum “I was very fortunate to have City Symphony, New Jersey The November 2001 confer- has been extremely enlighten- been a part of this program, Symphony, Richmond Sym- ence, the first in which East- ing. We learned about both the especially right before I gradu- phony, Saint Louis Symphony man was in attendance, frustrations and the hopeful, ate and move into the real Orchestra, Seattle Symphony, focused on Leadership Train- positive side of orchestral world!” That’s the opinion of and Toledo Symphony. ing and was held at Harrison careers. There were a lot of Elizabeth Meyers, an Eastman Last year, another group of Conference Center at Lake fresh ideas floating around.” fellowship student discussing seven orchestras was added: Bluff, IL. As an Orchestra Interacting with orchestra her year of participation in a the Baltimore Symphony, Forum participant, IML Direc- musicians from the world out- unique meeting of musical Louisiana Philharmonic, New tor Ramon (Ray) Ricker was side Eastman stimulated the minds. Mexico Symphony, Orchestra allowed to choose two students students to analyze their own For the first time, a music environment. school has been invited to par- Says Meyers: “I see that ticipate in The Andrew W. Mel- there is an open-mindedness at lon Foundation’s Orchestra Eastman, a need to learn, and Forum, part of their Programs “Most people that I talked to not just play the same music for Orchestras, in support of the same way over and over strengthening orchestras were so enthusiastic about again. Change will come when through development of high the younger generations start quality programs, artistic mis- what Eastman is doing. to matriculate into orchestras. sion, musician involvement But it is crucial that they and leadership, and a greater understand the power they community role. They can’t wait to have us have to make change and not The Eastman School, under perceive themselves as ‘just the auspices of its Institute for playing with them!” another player’ receiving their Music Leadership (IML), now monthly paycheck.” completes the forum member- of Saint Luke’s, Pittsburgh to accompany him as Eastman The orchestra partners ship of 15 participating groups Symphony, Saint Paul Cham- representatives. learned how Eastman is from around the country. ber Orchestra, and San Fran- Ricker selected two fellow- preparing tomorrow’s musi- Since 1999, the Forum has cisco Symphony. ship students from the cians to meet the very chal- hosted twice-yearly meetings The addition of Eastman School’s Orchestral Studies lenges discussed at the Forum of participants, starting with a completes the list of innovative Diploma Program (see related conferences. Noted Meyers: base of seven orchestras, leaders in music who gather in article on opposite page), Eliz- “Most people that I talked to including the board chair, informal settings to share ideas abeth Meyers and Hannos were so enthusiastic about executive director, and two and offer guidance in the Mel- Strydom. what Eastman is doing. They musicians each from the lon Foundation’s continuing Meyers states, “My experi- can’t wait to have us playing Cleveland Orchestra, Kansas support of American orchestras. ence at the Forum conferences with them!” ❧

18 EASTMAN NOTES SCHOOL NEWS

Noted guest IML/Eastman speakers Orchestral visit Eastman Studies Diploma Eastman’s Catherine Filene Shouse Arts Leadership Pro- program gram, created in 1996, is now an offering of the School’s Insti- The Orchestral Studies tute for Music Leadership. In Diploma, offered in partner- order to achieve its fundamen- ship with the Rochester tal goals, namely, to inspire stu- Philharmonic Orchestra, dents with personal vision and gives advanced students of equip them with professional violin, viola, violoncello, and skills and experience, the ALP double bass important (as it is more commonly known) preparation for careers in regularly brings thought-pro- today’s competitive orches- voking musicians, including tral marketplace. performers, arts managers, pro- Those accepted as orches- moters, music writers, and tral fellows gain onstage music educators, to Eastman to professional playing experi- speak on a variety of music- ence and a deeper under- related topics. standing of offstage The 2001–2002 Catherine orchestral operations. OSD Filene Shouse Guest Speaker students receive a fellowship Series included an eminent to help offset the cost of lineup: studies. • Classical music critic for The heart of the program the Rochester Democrat and is the opportunity to perform Chronicle and National as a section player for six to Public Radio commentator 10 weeks on classical sub- John Pitcher on “A Crisis in scription concerts with the Criticism.” RPO. In addition, orchestral • Grammy Award-winning fellows learn the “business” bassist (and Eastman alum- side of what makes an nus) Ron Carter, named Jazz orchestra succeed. They Bassist of the Year by Down GELFAND-PIPER enroll in special classes Beat magazine, with a talk OSD students, such as Lindsey Wood above, have the opportunity to taught by Eastman faculty titled “Where Is the Music take electives like this Conductors’ Workshop taught by RPO Conductor and RPO musicians and Played?” Christopher Seaman (left). When asked why he takes time from his busy staff, and serve an intern- • Cleveland Orchestra exec- schedule to teach, Seaman replied, “I learned by trial and error. I might ship in the RPO’s adminis- utive director Thomas Morris have spared myself some of the ‘error’ had someone done this for me.” trative offices. ❧ on “The American Symphony Orchestra: What Is Going On?” (See feature on page 8.) dents on “real-world” issues • Musician and principal viving and Thriving in the Series lectures are free and and opportunities. pops conductor of the Roch- Arts Marketplace.” The couple open to the general public. Here are just a handful of ester Philharmonic Orchestra direct Ensemble 21, a major In addition, Arts Leadership 2001–2002 course offerings Jeff Tyzik co-taught a course player in New York City’s new Curriculum instructors regu- and speakers: on Studio Production music scene. larly invite additional guest • Joseph Horowitz, former Techniques. According to Robertson, speakers to lead their classes. executive director of the • Susan Robertson, East- “Hearing some of the strate- Indeed, the instructors them- Brooklyn Philharmonic man’s associate director for gies employed by these artist- selves often are noted authori- Orchestra, taught a 5-session communications, brought com- leaders is inspiring our ties from within or outside ALP course on “Classical poser Jason Eckardt and students to think in a more Eastman who advise under- Music in the U.S. – What’s pianist Marilyn Nonken entrepreneurial way about graduate and graduate stu- Wrong and How to Fix It.” (BM ’92) to her course, “Sur- their own careers.” ❧

SPRING/SUMMER 2002 19 DEVELOPMENT NEWS

Eastman Fund: Reaching for the goal BY CHRISTINE CORRADO ing on behalf of the Eastman enough already? Does the need and a fine measure by which hether you gradu- School of Music. How are you for support ever end?! the School and the University ated five years this evening?” From there, the Well, yes, yes – and no. administration gauge alumni ago, or 50, you’ve conversation turns to an enthu- Does the Eastman Fund cam- satisfaction with Eastman. It’s W noticed the pat- siastic pitch from the student paign ever reach its goal? also an important public tern. Each autumn, you receive encouraging you to make a gift The Eastman Fund cam- benchmark. The U.S. News a letter – sometimes from in support of your alma mater. paign renews annually on and World Report annual sur- Director James Undercofler, Between the letter and the July 1, the start of the School’s vey, “America’s Best Colleges,” other years from an enthusias- lively conversation, you’re per- fiscal year, and runs through uses alumni giving rates as tic alumnus, or once in a while suaded to make a contribution June 30 of the following year. one of several important fac- from a respected and adored to the Eastman Fund. Soon Results are shared with the tors in calculating rankings. faculty member. The tone and thereafter, you receive an offi- community in the Report The University of Rochester content of the letter varies cial receipt from the Univer- on Giving published the fol- (and therefore the Eastman every time, but the purpose is sity of Rochester, and a lowing fall. School of Music) falls into the always the same. The writer is grateful note of thanks from a Haven’t you been supportive “highly competitive” category seeking your support of the member of the Eastman staff. enough already? of National Universities – Doc- Eastman Fund. You feel good about support- Of course you have! And toral. In 2002, UR ranked 36th Soon after the letter arrives, ing your alma mater and you’re today’s students, faculty, and overall in a field of 249 univer- your phone rings one evening, off the hook for another year. staff are greatly appreciative. sities in the U.S. that offer a and the youthful voice on the And yet you wonder why Over the past five years, wide range of undergraduate other end introduces itself: this goes on year after year. alumni have participated in majors as well as master’s and “Hello, Ms. Alumna. My name is Does the Eastman Fund cam- supporting the Eastman Fund doctoral degrees. With a rank- Jennifer, and I’m a student at paign ever reach its goal? at an average annual rate of ing of 73 in alumni giving, the University of Rochester call- Haven’t you been supportive nearly 20%. That’s respectable, TURN TO PAGE 21 ➧ Act on your philanthropic feelings

As this issue of Eastman start but you can’t wait for Or, if you look forward to your personal and credit card Notes was going to press, the your pledge form to come, your annual call from a information. School’s administration was send a check payable to the young person studying at the in the process of planning for University of Rochester. University of Rochester, To make your gift by needs and opportunities dur- On the memo line of your whether an Eastman student electronic funds transfer ing the next fiscal year. By check, please write “Eastman or a College undergrad, enjoy If you prefer a measured, the time you read this issue, Fund.” Mail your check to: the conversation and make methodical approach to phi- the final total for 2002 will be your pledge in support of the lanthropy, you can arrange University of Rochester known, and the goal for 2003 Eastman Fund. for monthly withdrawals ESM – Development and will have been set. from your bank account by Alumni Relations You want the Eastman To make your gift electronic funds transfer Gift Office, 30 Wallis Hall Fund reach its goal in 2003, or pledge online (EFT). Download an EFT RC Box 270032 but you’re not sure what to Can’t wait for the mail, can’t authorization form from the Rochester, NY 14627 do. The Eastman School of find a stamp, or don’t have Web at www.rochester.edu/ Music offers you many ways To make your gift time to chat? Then make Eastman/giving/how.html.Print, to make your unrestricted over the phone your gift online using your complete, and mail it to the contribution to the Eastman Discover, MasterCard, or address on the form. Have your Discover, Master- Fund. Visa, or make a pledge for No matter how or how Card, or Visa ready and call payment at a later date. much you give, your support the Eastman School of Music To make your gift by mail Go to www.rochester.edu/ of the Eastman Fund makes Development and Alumni When a letter and pledge Eastman/giving and click on it possible for the Eastman Relations Office at: card arrive in your mailbox, “Annual Giving – The East- School of Music to continue respond right away! Or, if 585.274.1048 (locally), or man Fund.” We use a secure its tradition of excellence in you’re anxious to get the 866.345.2111 (toll-free, out- server and advanced encryp- professional arts education. Eastman Fund off to a quick side Rochester’s 585 area code) tion technology to protect Thank you! ❧

20 EASTMAN NOTES DEVELOPMENT NEWS

➧ FROM PAGE 20 alumni and friends of the regarding enhancements of is spent – judiciously, of course we’re in the top third of the School to the Fund can be used existing programs and imple- –within that same fiscal year. category! for any of the School’s critical mentation of new programs Come July 1 of each year, the Why does U.S. News and needs. By not specifying a use based, in part, on the amount slate is wiped clean, and the World Report consider alumni for their gifts, donors give the of available and anticipated campaign begins anew. giving participation rates when School the flexibility to enhance unrestricted funding. Addition- Once again, based on past ranking institutions of higher current programs and to create ally, when exciting opportuni- use and anticipated need, a education for quality? Participa- and support new programs as ties arise over the course of a goal will be set, appeals will be tion in annual giving programs needed. year, the Eastman Fund sent, phone calls will be made, is considered proof of pride. The These unrestricted gifts can assists in providing the budg- and generous alumni and reasoning, then, is that this be applied directly to such etary flexibility necessary to friends will respond to the show of pride in one’s alma important and ongoing needs as capture these opportunities. In ongoing need for unrestricted mater correlates positively with student scholarships, program fact, many of the exciting support of the Eastman School the value that alumni place on support, acquisition of new events and innovative pro- of Music. ❧ the experience and education instruments and technology, grams highlighted throughout they received as students. and enhancement of teaching this issue are made possible in See the sidebar “Act on your Alumni are not the only con- and performance facilities. part through generous support philanthropic feelings!” for tributors to the Eastman The Eastman Fund also is a of the Eastman Fund. ways you can help the East- Fund. The Eastman Fund also “current use” fund, meaning The current use status of man Fund meet its new is generously supported by that the funds are immediately your gifts to the Eastman 2002–2003 goal. other members of the Eastman available to the School in the Fund means that your gift community, including parents fiscal year they’re received. makes an impact immediately. Christine Corrado is assistant of current students, faculty, During the annual budgeting Yet, that very immediacy also director of Eastman’s annual staff, and patrons in the process, decisions are made means that the Eastman Fund fund. Rochester area who enjoy the public events offered by the School. As of mid-May, gifts from these generous friends Tax-wise giving: Retirement funds accounted for over 22% of the 2002 Eastman Fund! BY JACK KRECKEL Does the need for support ever A decision to provide for char- About the Kilbourn Society end? ity in an estate plan is a very Thanks to the vision of personal one, best made only The Eastman School of Music is named Eastman as a beneficiary founder George Eastman, the after giving thoughtful consid- grateful for the thoughtful and of a life income gift. All informa- School opened its doors in 1921 eration to family interests and generous long-range support of tion shared with Eastman is kept with a substantial endowment. priorities. It is often influenced numerous friends and alumni. confidential, and donors have the Careful and responsible man- by an altruistic desire to leave Unfortunately, the School often option of keeping their gift com- agement of the endowment a lasting legacy for genera- does not learn about bequest mitment anonymous. over the ensuing decades has tions to come. After deciding to intentions until the donor has For more information on how enabled Mr. Eastman’s gift – provide for charity, a donor passed away. to become a member of the strengthened by endowment should determine how best to The Kilbourn Society is a Kilbourn Society, or if you have gifts from many alumni and make that provision from a tax recognition society that acknowl- already made long-range friends – to sustain the School perspective. It may be advan- edges these generous contribu- provisions for Eastman, please and grow with its programs tageous to make a charitable tions during the donor’s lifetime. contact Kerri Melley in the and enrollment. gift from an IRA or other qual- Members have included the East- Development Office at Today, the Eastman Fund ified retirement plan rather man School in their estate, retire- [email protected] or plays an important role in the than from other estate assets. ment, or life insurance plans, or 585-274-1045. management of the endow- For example: Helen, a con- ment. While the endowment sistent donor, plans to leave a provides for the School in per- $100,000 bequest in her will to tion from the IRA when she simply to reverse the process, petuity because only a portion the Eastman School of Music receives it. Her distribution leaving the daughter her of its annual earned income is for scholarships. Among her may also be reduced by estate $100,000 as a bequest from the spent, the full impact of the other assets is a $100,000 IRA tax. general estate and designating Eastman Fund is felt each fis- that designates her daughter There is a better way for the Eastman School of Music to cal year because it is spent in as the sole surviving benefici- Helen to accomplish her gener- receive its $100,000 from the its entirety. ary. Because the IRA has not ous philanthropic purpose, IRA. Because Eastman is tax- Gifts to the Eastman Fund previously been taxed, the while avoiding a potential dou- exempt, it escapes the usual are considered unrestricted; daughter will have to pay ble taxation on her daughter’s income and estate tax on the that is, the monies given by income taxes on her distribu- inheritance. This solution is TURN TO PAGE 22 ➧

SPRING/SUMMER 2002 21 DEVELOPMENT NEWS

➧ FROM PAGE 21 tion of IRA or other retirement retirement plan assets. philanthropic goals, it is best IRA distribution. And, as estate plan assets earmarked for Gifts from retirement funds to consult with personal legal bequests are generally not charity.This is no longer neces- can be designated to support a and financial advisors. income-taxable, the daughter sary.Also, the charity’s portion variety of critical needs at the For more information on receives a far larger inheritance can be designated either as a Eastman School of Music tax-wise giving, please contact than she otherwise would. So, dollar amount or as a fraction including student scholar- Kerri Melley in Eastman’s through this tax-wise approach, of the total on the death benefi- ships, performance facilities, Development Office at both gifting purposes are ciary designation form avail- and innovative educational [email protected] or achieved and a significant able from the IRA custodian or initiatives. We would be 585-274-1045. ❧ amount of tax is avoided. retirement plan administrator. pleased to review these needs Prior to recent tax law It is important to note that it is and discuss tax-wise methods Jack Kreckel is Senior Associ- changes, donors were often these beneficiary designation of giving at your convenience. ate Vice President of Develop- advised by counsel to segregate forms, and not your will, that Before making any decisions ment, Trusts, and Estates for in a separate account that por- control the distribution of on how to accomplish your the University of Rochester.

DEPARTMENT NEWS

matter in Anne Sexton’s writ- Russell Miller joined Benton spring. It is testament to our VOICE ings; the audiences, however, Hess for the musical presenta- strong student talent pool that witnessed a deeply moving tion at the opening Convoca- we are able to double cast each human drama that touched tion in the fall, again in show. Kudos to the Daigle/ everyone, listener and per- Kilbourn. The two chose a Hess team for the extra effort BY CAROL S. WEBBER former alike, in what without delightful set of four hands double casting requires. It is he new team of Hess/ exaggeration could be called a piano pieces by Wagner, our policy to get as many stu- Daigle (co-directors of “transformational” way. Mozart, and Bizet. Miller also dents into productions as is Eastman Opera The- Our newest faculty member, performed in Buffalo in con- artistically viable. Tatre) began their first Robert Swensen, tenor, began cert with Donald McInnes, vio- We all watched together, in season together with a bold and the fall in Greece and Italy list. During this academic Bill McIver’s studio, the hor- brilliant production of Transfor- singing Oedipus Rex by year, Russell has taught as rors of September 11. Much mations by Conrad Susa. Stravinsky. He was welcomed guest faculty at CIM and has has been written about that The set, by Mary Griswold, with bravos when he sang a been doing a special residency day, and no words here can turned the Kilbourn Hall stage group of songs and arias on in coaching and accompanying express adequately what we into a surgically clean mental the October Virtuosi concert in at Bowling Green in Ohio. all have felt. It should be noted ward, and the characters in- Kilbourn Hall, accompanied by The rest of the faculty con- that our students were among habiting that space were etched Benton Hess. He was on the tinues to represent Eastman the first to organize blood in remarkable detail by an road again at the holidays in a variety of seminars and donations and fund-raising ensemble of students directed singing Messiahs, and joining symposia, as was noted in our efforts, and the faculty superbly by Steven Daigle. The his wife, mezzo-soprano last article. We are brimful assisted in every way, espe- pit orchestra, one of a size that Kathryn Cowdrick, for a joint again this year; each studio is cially encouraging all the stu- actually almost fits in Kil- concert in Arizona. Cowdrick at or beyond capacity. All stu- dents to stay in close contact bourn’s “non-pit,” combines joins the Eastman faculty in dios have performance classes with us and with their parents instruments from many styles the fall as assistant professor once a week, and we host three during this challenging time. of American music to serve a of voice. Departmental Recitals each We would like to encourage score that cleverly blends jazz, Robert McIver performed with semester. These events, com- as much direct contact with pop, and classical, captivating the Eastman Wind Ensemble bined with opera classes and you, our friends and alums, as enthusiastic audiences. as narrator in The Musicians three productions, keep our possible. Do you have ques- Led by Benton Hess, the of Bremen by Bernard Rogers students onstage where they tions for us? Ideas for possible singers and players achieved and as reader in the tongue are most eager to be. This internships or special projects the highest level heard here in twister Façade by Walton. The year’s opera season included for our students? We welcome many a year. It should be concert brought together a fine Transformations, as noted, your participation. ❧ noted that there was criticism audience of students and fac- Passion by Sondheim, and from some quarters in the ulty of many disciplines and Puccini’s La Bohème in the Carol Webber is professor of School regarding the subject was a great success. Eastman Theatre in the voice at Eastman.

22 EASTMAN NOTES DEPARTMENT NEWS

and Laura Griffiths.Freshmen CHAMBER MUSIC and transfer students partici- pate in Woodwind Quintet Seminar and perform in Kil- bourn Hall recitals and out- BY DEPARTMENT FACULTY reach programs including hamber music at East- “Eastman at Washington man has been steadily Square.” Highlighting the gaining momentum year’s work are interactive C over the past few years. presentations given by the At the end of the first semester seminar students to groups of we held our two honors cham- home-schooled children and ber music concerts in Kilbourn their parents, who are invited Hall. The performances were to Eastman as a special field very well received and there is trip. We are inspiring future starting to be a following for generations of great wind these concerts, both among the players and appreciative audi- students and from within the KURT BROWNELL ences! The Cerulean Quintet Rochester community. (Justin Berrie, Elizabeth Priestly, Although we were only able to Brian Hermanson, Rebecca Levy, select seven groups to perform and Mark Houghton) is partici- on the concerts, there were pating in an internship with over 20 groups that partici- Young Audiences of Rochester, pated in the auditions, and the and was selected in competi- overall level was high enough tive auditions. They will be that we really had a difficult presented for the third year in time choosing. a two-week residency in Ken- In the string and piano area tucky where they will be fea- we’ve been building on the tured in school and public strong heritage of chamber concerts. The quintet, coached music at the Eastman School, by Anne Harrow and Ken with Professors John Celentano Grant, recently performed on and Abram Loft, the Cleveland concert series in Honeoye Falls Quartet, and others having led and Fairport, NY. the way for many years. This Last semester was certainly fall, members of the string KURT BROWNELL busy and varied for Brass department faculty, along with Robert Mann, founder and first violinist of the Juilliard String Quartet for 51 Chamber Music, with 10 Mimi Hwang, Sylvie Beaudette, years (top photo), and William Preucil, concertmaster of the Cleveland groups receiving coaching. and the members of the Ying Orchestra and former first violinist of the Cleveland Quartet (bottom photo), These ensembles ranged from Quartet have been working both visited Eastman last November and held master classes. the more standard instrumen- with the chamber music tation of the brass quintet to groups on a weekly basis. with chamber music immedi- But the most encouraging sign horn quartets, trombone quar- We’ve also had master classes ately upon arriving here, stu- to us is the growth of a cham- tets, brass quartets, and even a given by Robert Mann (Juil- dents are able to continue ber music culture among cer- trumpet trio! While it certainly liard Quartet), William Preucil developing their skills for their tain of the students here at the can be a chore to find repertory (Cleveland Orchestra), Carey entire undergraduate careers, school. Many of them partici- for some of these combinations, Lewis (Lanier Trio), and the if they so choose. pate in several groups (even it challenges our students to Colorado Quartet. More than During the past holiday though they don’t receive credit commission new works from 40 groups (in the string and break, one of our string quar- for more than one) just for their colleagues or arrange piano area alone) were formed tets was selected to participate their own enjoyment. other pre-existing pieces for this year, perhaps as a result in the Juilliard String Quartet Woodwind Chamber Music their unique combinations. This of the String Quartet Seminar Seminar. In the spring semes- also is alive and well at East- “initiative out of necessity” is started four years ago and ter students from the presti- man! Over a dozen groups are another chamber music skill taught by the members of the gious Eastman Chamber Music enrolled for credit, rehearsing, that will serve our students Ying Quartet. This course is Society appeared in concert at receiving weekly coaching, and very well as they progress pro- mandatory for all freshmen St. John the Divine in NYC. performing at the School and fessionally.Acting as coaches and provides an overview of We’re also preparing to send in the Rochester community. for the semester were Mark Kel- the repertory for this impor- groups to some of the national Coaches include Professors Ken logg, Douglas Prosser, Don Harry, tant genre. By getting involved chamber music competitions. Grant, John Hunt, Anne Harrow, and Dietrich Hemann. ❧

SPRING/SUMMER 2002 23 DEPARTMENT NEWS

Musicology faculty have been MUSICOLOGY no less honored and productive! Kim Kowalke, who teaches both at Eastman and in the Univer- sity of Rochester’s College BY RALPH P. LOCKE Music Department, won his astman’s Department of fifth (!) ASCAP-Deems Taylor Musicology is a busy hive Award – this time for an article right now. Several of our on American interwar musical Efaculty members have, in settings of the poetry of Walt the past few years, profited Whitman. Jennifer Williams from leaves of absence funded Brown, who likewise teaches on in part or whole by outside both campuses, was elected grants. It was great to have Secretary of the Society for Sev- them all back here this year COURTESY RALPH LOCKE enteenth-Century Music and and teaching courses as dis- Director Undercofler congratulates Jürgen Thym (left), past musicology member of the Council of the parate as the freshman-level department chair for 18 years, on receiving Eastman’s Rayburn Wright Award. American Musicological Society. Eastman Colloquium (coordi- The award, named in honor of the late chair of jazz studies and contemporary Ellen Koskoff began her term nated by Ellen Koskoff), the media, recognizes faculty who have made exceptional contributions to the as president of the Society for required three-course under- intellectual, artistic, and curricular welfare of the Eastman School as a whole. Ethnomusicology.And Profes- graduate sequence on “Music sor emeritus Alfred Mann was and Society” from the Middle board instruments and their or the Eastman School’s Profes- made a lifetime member of the Ages to the present, and various music). sional Development Commit- Midwest chapter of the Ameri- PhD and DMA seminars, such Over the past year, musicol- tee, enabling them to carry out can Guild of Organists. as Gabriela Ilnitchi’s “Roman de ogy faculty members have various research projects or Further on the publishing Fauvel,” Martin Scherzinger’s reworked the aforementioned receive advanced training (such front, our newest colleague, “African Music and the West,” music-history core courses for as studying Baroque horn). Martin Scherzinger, brought forth and a course that was co-taught the new undergraduate cur- Amy Wlodarski’s Presser Music articles on topics ranging from by Gretchen Wheelock and riculum. All three semesters Award funding, for example, African music to “a motivic fortepianist Malcolm Bilson (an continue to give primary helped her travel to Poland to detail in Mozart’s Piano Sonata affiliate professor in our depart- emphasis to music of the West- deliver a paper about Hans in F Major (K. 280)” and from ment): “Eighteenth-Century ern art-music traditions, but Krasa’s opera Brundibar. symmetry in Webern to “the Chamber Music.” Considering the second and third make Jeremy Grimshaw’s funding psychoanalysis of music.” The that 10 tenure-track faculty some room now for discussion enabled him to spend a number massive and acclaimed North members in Musicology teach of folk music, popular music, of days in New York interview- America volume of the Garland here at Eastman and in the and jazz. We also rethought the ing the avant-garde composer Encyclopedia of World Music, University of Rochester’s Col- curriculum for MA/PhD stu- La Monte Young. co-edited by Ellen Koskoff, has lege Music Department, it is dents in musicology, and are The research is bearing fruit. appeared (but don’t drop it on easy to see that we represent as now able to offer a wider range At the national meeting of the your toe!). Jürgen Thym pub- wide a variety of approaches of seminars than previously. American Musicological Society, lished an article on Schu- and repertories as can be found The musicology graduate Jeremy presented a paper on mann’s Eichendorff Liederkreis; in any musicology department students have been particularly the philosophical underpin- Gretchen Wheelock, an essay in the country.And this does not active this past year, on campus nings of Young’s work. Another on “gender and genre in include faculty from other East- and beyond. Once again, two of graduate student, Sara Nichol- Mozart’s operas” in the book man and College departments the current musicology grad son, presented a paper there on Siren Songs; and Roger Freitas,a who at times teach courses for students – this time Jeremy quotations from classical music study of “the rage for wit” in us: lutenist Paul O’Dette, com- Grimshaw and Amy Wlodarski – in a song by the rock group the Italian cantata. poser Robert D. Morris, professor have won awards for their Mono. Su Yin Mak and Rob I like that word rage.You of English literature Daniel superb handling of evening dis- Haskins were honored with the could say that our department’s Albright (who published a book cussion sections for the under- department’s Elsa T. Johnson rage for exploring music in all on Berlioz this year), and two grad core courses in Music Dissertation Fellowship. And its facets informs everything we “musicologists-plus” who joined History: respectively, the East- Katherine Axtell,while taking a do in the classroom and else- Eastman a year ago and have man-wide Teaching Assistant full load of courses and holding where. And imaginatively inter- already made themselves Prize and the University-wide a teaching assistantship, has acts with the Eastman School’s utterly essential: the Director of Edward Peck Curtis Teaching nonetheless managed to com- rage for making music. ❧ Sibley Music Library, Dan Zager Award. In addition, Jeremy, plete a critical edition of the (Renaissance/Baroque sacred Amy, Rob Haskins, and Ayden Piano Quartet (1865) by the Professor Ralph P. Locke is music), and Organ Professor Adler all received funding from Swedish composer Elfrida chair of the Department of Hans Davidsson (Baroque key- either the Presser Foundation Andree (A-R Editions). Musicology.

24 EASTMAN NOTES ALUMNIDEPARTMENT NOTES NEWS

Caribbean, Latin, and African- ton, Sibley’s head of public SIBLEY MUSIC LIBRARY American Traditions services, selected over two (Schirmer Books, 1998), The hundred jazz CDs with this Latin Tinge: The Impact of generous gift. Latin American Music on the The wonderful thing about BY DAN ZAGER ings but some lesser-known United States (Oxford Univer- these three gifts is that they azz is an important part sessions as well. The record- sity Press, 1999), and Latin are complementary: While Ron of music making and ings date from the 1960s, ’70s, Jazz: The First of the Fusions, Carter’s gift provides some of teaching at Eastman. and ’80s and include Carter’s 1880s to Today (Schirmer the most important jazz JThree important gifts to work with Davis, Books, 1999) recordings from the 1960s Sibley Music Library during Eric Dolphy, Herbie donated nearly through the 1980s, John Storm the 2001–2002 academic year Hancock, Joe Hen- eight hundred com- Roberts’ gift provides Sibley have assisted us in enhancing derson, Freddie pact disc record- with important recordings of significantly our collection of Hubbard, Hubert ings to Sibley. Latin jazz. The monetary gift recorded jazz. Laws, Horace Sil- Rich in Latin from the Friends of the Ron Carter (BM ’59) is one of ver, and a host of jazz and inter- Libraries offers us the oppor- the great jazz bass players, other distinguished national jazz, this tunity to enrich our holdings known particularly for his jazz musicians. Ron Carter’s “Standard collection also in yet other areas of jazz. work with the Miles Davis This is a very Bearers” (1978) strengthens our Taken together, these three quintet. Ron has donated important gift for holdings in record- gifts make a positive differ- seven hundred recordings Sibley, putting into place a ings of world musics. ence in the breadth and depth from his personal collection. core repertory that will be of The Friends of the Univer- of recorded jazz at the Sibley He plays on all of these record- use to Eastman students for a sity of Rochester Libraries Music Library. ❧ ings – frequently as a side- long time to come. granted Sibley $5,000 for the man, sometimes as a leader. John Storm Roberts, author of academic year 2001–2002 to Dan Zager is librarian and The collection contains not (among other books) Black further bolster our holdings in chief administrator for Sibley only his most famous record- Music of Two Worlds: African, jazz compact discs. Jim Farring- Music Library.

IN TRIBUTE

George Yaeger (BM ’39), August Kathryn (Jackson) Owens Keith Kummer (BM ’51), In memoriam 2000 (BM ’47), October 2001 November 2001 Bernice Sawyer (BM ’47), 1920s 1940s January 2001 1980s Gertrude (Crowell) Sitzenstatter Fritz Aebischer (MM ’49), January Arthur Schoep (MM ’45), James Legg (BM ’84), November (BM ’29), December 2001 2002 December 2001 2000 Suzann Ashenar (BM ’41), Eleanor Stanlis (BM ’45), 1930s September 2001 December 2001 1990s Hermine (Teute) Anderson (BM Doris Mae Hardine (MM ’46), Floyd H. Stivers (MM ’42), J. Thomas Hannon (MM ’92), ’32, MM ’34), August 2001 October 2001 December 2001 January 2002 Catherine (Woodruff) Elliott (BM Walter James (BM ’41, MM ’42), Elliot Weisgarber (BM ’42, MAS ’32), January 2002 September 2001 ’43), December 2001 Others Michael Listiak (MM ’39), October Helen King (BM ’40, MM ’41), Laszlo Halasz (faculty), October 2001 October 2001 1950s 2001 Mildred (Banasik) Mahnke (BM John L. Kinyon (BM ’40), February James Brauninger (BM ’51), Fei-Ping Hsu (aka Xu Feiping, ’39), September 2001 2002 August 2001 attended ’79–’81), December Elizabeth C. Rogers (MA ’38), Ruth (Johnson) Langford (BM ’49), Joseph C. Fisher (BM ’53), 2001 December 2001 November 2001 November 2001 Raymond Schirmer (staff), Roelf E, Schlatter (BM ’36), Della (Rossi) Moser (BM ’46), Rankin Grimm (BM ’52), Nov. 2001 December 2001 October 2001 October 2001 Beatrice (Terwilliger) Hapeman Isaac Stern (HON DOC ’72), Mary Schoettle (MM ’36), Esther Oelrich (MM ’44), October (BM ’57), January 2002 September 2001 September 2001 2001 Giles F. Hobin (BM ’51), October 2001 Louis Ouzer, February 2002 Mildred (Stebbins) Turney (BM Elizabeth (Hiatt) Olmsted (BM ’40), M. Vivian Huppert (MM ’53), (see inside front cover) ’36), October 2001 November 2001 November 2001

SPRING/SUMMER 2002 25 ALUMNI NOTES

The following news is based tus of music and director of the established and directed that Green State University of on information received from Wisconsin String and Orches- institution’s electronic music Ohio, is in his fourth season as August 1, 2001–January 31, tral Development Program for studio. He has composed for director of the Elkhart County 2002. News received after Janu- the University of Wisconsin, nearly every conceivable (IN) Youth Honors Orchestra. ary 31, 2002, will appear in the Madison. chamber ensemble. A flutist, He is also playing trombone in next issue of Eastman Notes. he was the nation’s first recipi- the Elkhart County Symphony Alumni are listed in order of In March 2001, David Baumgart- ent of the DMA degree. Orchestra and euphonium in first Eastman degree received. ner (BM ’49), longtime princi- the Elkhart Municipal Band. pal cellist with the Hamilton- Samuel Fricano (BM ’55) had a Fairfield Symphony (OH), par- very happy mid-September Two new pieces by flutist and ticipated in a concert of music reunion with his former composer Katherine Hoover (BM s by H. Owen Reed (PhD ’39). This teacher, ESM Professor of ’59), Mariposas and Celebra- 1930 past March, the symphony Trumpet (1940–1980) Sidney tion, were premiered at the presented a program of music Mear.The two have lived in National Flute Convention in A commemorative event was by another Eastman alum, Florida for many years, each Dallas last August. Her Double held in January in honor of Robert Ward (BM ’39). unaware of the other’s location. Concerto for two violins and Thomas H. Kerr Jr. (BM ’37, MM After exchanging e-mails, they string orchestra was performed ’39, deceased 1988). The event, met on the occasion of Mear’s at Carnegie Hall in December, hosted by the Thomas H. Kerr 61st wedding anniversary. featuring soloists Pamela Commemorative Music Society s Frank and Andre Simonescu, of Howard University, where 1950 The University of Missouri- and the Orchestra of the New Kerr performed and taught for Columbia recently awarded York Festival of Strings, Jaime many years, included symposia In commemoration of his 44th their Faculty-Alumni Award to Laredo, conductor. with former students and a season with the Baton Rouge June S. Hamra (BM ’55) for dis- performance by distinguished Symphony Orchestra (BRSO), tinguishing herself both as a John Glenn Paton (MM ’59) soprano Kathleen Battle. Richard Norem (BM ’53, MM ’58) businesswoman and a per- recently performed songs by was named principal horn former. Hamra, vice president Granville Bantock on a faculty emeritus, the only BRSO musi- of marketing for Wendy’s of recital at Moorpark College cian ever to have received this Missouri, Inc, has served on (CA). Paton’s 26 Italian Songs s title. Other Eastman gradu- the President’s Advisory Coun- & Arias was published in a 1940 ates, Music Director and Con- cil on the Arts for the John F. new Japanese translation. ductor Timothy Muffitt (DMA ’95) Kennedy Center for the Per- Virginia Jones Campbell (MAS and Principal Trombone Larry forming Arts, and has been ’47) recently completed her Campbell (BM ’62), also serve instrumental in advancing the 40th year as director of music with Norem in the BRSO. In careers of aspiring performers. at Mount Vernon United addition, Norem’s fellow fac- 1960s Methodist Church of Alexan- ulty at the Louisiana State Texas author Thomas Hohstadt dria, VA. University School of Music (BM ’55, MM ’56, DMA ’62) Working for over 25 years with honored his 38-year tenure at recently had his book, I Felt the Cleveland Opera as direc- The Akron Symphony Orches- LSU by renaming the LSU God … I Think: Authentic Pas- tor of their outreach and edu- tra recently released a com- Faculty Brass Quintet to the sion in the 21st Century, pub- cation wing, Judith Ryder (BM memorative 3-CD set to mark LSU-Norem Brass Quintet. lished by Damah Media. ’60, MM ’61) is responsible for its 50th anniversary. The set Hohstadt’s previous book, more than 350 programs each includes performances by one One of the several known com- Dying to Live: The 21st Cen- season that reach 80–85,000 of the symphony’s longest- positions written in response tury Church (1999), was called students and adults through- tenured music directors, Louis to the tragedies of 9/11 has “one of the top 50 books every out the Midwest and beyond. A Lane (MAS ’47), who conducted arrived in the Sibley Music Christian should read.” recipient of the Vocal Arts the orchestra from 1959–1982. Library. The score of Threnody Resource Network’s Ovation for 9/11 by Will Gay Bottje Paul Hartley (BM ’57, MA ’60) Award (2000), Ryder is also co- Adding to a long list of awards (DMA ’55) was received recently accompanied violinist founder of the Thalia Piano and honors for his string recently in Special Collections. Matthew Tworek in a perform- Trio, and served for 15 years development and support of The threnody is a single-move- ance of Mendelssohn’s Sonata on the faculty of the Cleveland music for youth, Marvin Rabin ment work scored for string in F Major for Violin and Institute of Music. (MAS ’48) was awarded the orchestra, and will be placed Piano. The event took place 2001 Paul Rolland Lifetime with Dr. Bottje’s archival col- last November at St. Paul’s George Giroux (MA ’61) has Achievement Award from lection. The composer resides Cathedral, Buffalo. released a new jazz CD enti- ASTA/NSOA. Founder of three in Michigan, having retired tled Reflection. Recorded with youth orchestra programs, from Southern Illinois Univer- Kenley Inglefield (BM ’57), pro- his son Pete (producer, trum- Rabin is also professor emeri- sity (Carbondale), where he fessor emeritus at Bowling pet, and flugelhorn), the

26 EASTMAN NOTES ALUMNI NOTES

recording’s title comes from tled “Father & Son.” Sadly, the The winter 2001 issue of Mul- ter Musicians Series published the relationship between concert, part of a series pre- ticultural Affairs News, pub- by Oxford University Press. George Giroux and his son, sented by his family’s music lished by the University of The hardbound edition who produced the CD and fol- studio in Dayton, OH, marked Wisconsin-Stevens Point, pre- appeared in May 2001; a soft- lowed in his father’s footsteps the last public performance of sented “Twenty Years and bound version is scheduled to as a professional jazz musician Wasson’s father, who died in Counting,” an article by Geary be released this year. and music teacher. September. Larrick (MM ’70). The article addresses the author’s involve- Phil Markowitz (BM ’74), leader Sara Brown Bostley (BM ’64) is ment with a single composi- of the Phil Markowitz Trio for enjoying an active “retire- tion, Lahara, composed by the past seven years, per- ment,” teaching a course at s another Eastman alum, Bob formed at the Michael Schim- California State University, 1970 Becker (BM ’58). mel Center for the Arts in New San Bernardino; serving as York City last November in a treasurer of the Pacific South- Professor of Piano at Westmin- On a recital of February 4, concert presented by Pace Uni- ern Chapter of the College ster Choir College of Rider tenor Douglas Ahlstedt (MM ’71) versity’s Ewers Center for Arts Music Society; and acting as University, Ingrid Jacobson performed Schubert’s haunting and Multicultural Studies. The editor of her county’s newslet- Clarfield (MM ’70) presented a Winterreise at Kresge Theatre multimedia event featured ter to music teachers, the two-day Piano Pedagogy Work- in the College of Fine Arts, abstract paintings projected Sounds of Music. shop at the National Piano Carnegie Mellon University, onstage as the trio, which Teachers’ Institute held last Pittsburgh. Ahlstedt, associate includes Markowitz, Glenn John Buccheri (MM ’65, PhD July at Southern Methodist professor of voice at Carnegie Davis, and Gordon Johnson (BM ’76) was appointed Charles University, Dallas. At the Mellon, has performed through- ’74), premiered Markowitz’ Deering McCormick Professor World Piano Pedagogy Confer- out Europe, South America, new composition, Abstract of Teaching Excellence at ence, Clarfield introduced her Asia, and the US, including 189 Expression – Musical Portraits Northwestern University, most recent publication, performances at the New York of American Masters. where he has served on the Bürgmuller, Czerny & Hanon: Metropolitan Opera. music theory faculty since 32 Piano Studies Selected for After returning for her fourth 1967. He also was elected (not Technique and Musicality Richard Lawn (BM ’71, MM ’76) engagement as Brünnhilde appointed, as previously (released last August by Alfred has been busy with several with the Finnish National reported) president of the Col- Publishing Company). jazz-related projects: Unknown Opera, soprano Susan Marie Pier- lege Music Society. He cur- Soldiers, recorded with the 3rd son (BM ’74) returned as well to rently is serving the second of The Boston Symphony Coast Jazz Orchestra on the the Lyric Opera of Chicago to a 2-year term. The College announced that popular guest Sea Breeze Jazz label, is a play Kostelnicka in Jenufa. She Music Society is an interna- conductor Bruce Hangen recent CD release featuring 74 also premiered as the Prima tional organization of over (BM ’70) is expanding his role minutes of his music for big Donna in Venus and Adonis 8,000 faculty who teach music. with his appointment as princi- band. Lawn also completed a with the Canadian Opera Com- Its headquarters is in Mis- pal Pops guest conductor, effec- recent commission for the Uni- pany, and sang the New York soula, Montana. tive at the start of the 2002 versity of Northern Iowa, and premiere of Susan Kander’s Boston Pops season in May. is working on a jazz apprecia- A Cycle of Songs for Soprano, Lewis University of Romeo- Hangen, the first conductor to tion textbook and CD-ROM for Trumpet and Piano,written for ville, IL has named Wayne M. hold this title in the Pops’ 117- McGraw-Hill. the Coffin-Pierson Duo. Sheley (DMA ’67) its new vice year history, will double his president for academic affairs. schedule to lead 15 of 62 regu- The Vahktang Jordania/New During the 2000–2001 season, lar season concerts. Hangen Millennium International Diana Mittler-Battipaglia (DMA Ruth H. Fleishmann, who studied also is artistic and general Conducting Competition, held ’75) conducted the Lehman at Eastman in 1969, was director of the Portland Opera this past September in College and Community Cho- recently named to the Monroe Repertory Theatre in Maine, a Kharkov, Ukraine, awarded rus in performances of the Glo- Community College Founda- company he founded in 1995. Sandra Dackow (BM ’73, MM ria section of Bach’s Mass in B tion (Rochester, NY) board of ’77, PhD ’87) its Silver Medal minor and Mozart’s Requiem. directors. Fleishmann is execu- Composer Frederick Koch (DMA from an international pool of She has completed her 22nd tive director of the Marie C. ’70) recently had his String competitors. Dackow was the season as pianist and director and Joseph C. Wilson Founda- Quartet No. 2 performed by only American and the only of the Con Brio Ensemble, and tion in Rochester, NY. the Cavani String Quartet woman to advance to the has had an article, “Downsiz- with soprano Beverly Rinaldi. medal round. ing Elijah,” published by Steven Wasson (BM ’69, MM The performance took place Choral Cues (October 2000). ’71) gave the world premiere of last fall as part of the AKI fes- Erik Frederick Jensen (BM ’73, the second revision of his tival sponsored by the Cleve- MA ’75, PhD ’82) has written As part of a December pro- Piano Sonata No. 3, “Eclectics,” land Museum of Art and the about the life and works of gram co-sponsored by the Op. 38 in a July concert enti- Cleveland Composers Guild. Robert Schumann for the Mas- TURN TO PAGE 28 ➧

SPRING/SUMMER 2002 27 ALUMNI NOTES

➧ FROM PAGE 27 Active as a violinist and Logan Skelton (MM ’86) will be Director of the Capitol Hill Syracuse Friends of Chamber teacher, he was invited by teaching this summer at the Arts Workshop, Washington, music and the Society for New ESTA-France to speak at their Sixth Prague International D.C., Jeffrey Watson (MM ’88) Music, Syracuse, the Ahn Trio March 2001 conference. Piano Masterclasses. Skelton had several concert appear- performed Eric Ewazen’s (BM will represent the U.S. amid ances in February, including ’76) The Diamond World. Anne-Marie Reynolds (MA ’83, distinguished faculty members playing two performances of PhD ’99) spent last June in from around the world during Stravinsky’s Capriccio (con- Susan Hurley (MM ’79, MM ’82), Denmark working with the this intensive, two-week event. certo for piano and orchestra) accomplished composer of University of Copenhagen with the Kirov Ballet at the chamber music, ballet, and Press on her forthcoming book, Anthony Barone (MA ’88) has Kennedy Center, and singing orchestral and film scores, The Songs of Carl Nielsen. found a position that combines with the 16-member Palestrina recently completed the libretto Last fall, Reynolds also took two of his interests: He will be Choir for two concerts in Mary- and music for her first opera, part in a conference of interna- teaching music history as well land and Washington, D.C. Anaïs, based on the life and tional Nielsen scholars, held in as developing a Web site for writings of diarist Anaïs Nin. Birmingham, England. the Manhattan School of Composer Lance Hulme (MM The 45-minute, two-character Music. ’89) had his orchestral work chamber opera in one act was The Baltimore Sun gave spe- Stealing Fire performed by the performed in February at the cial mention to flutist Emily The First Church of Christ in Warsaw Philharmonic Orches- American Renegade Theater Skala (BM ’83) in the Balti- Hartford, CT announced that tra during their 2001 Warsaw Co. in North Hollywood, CA, more Symphony Orchestra’s David Senak (BM ’87) joined Autumn Festival. Hulme is where Hurley currently resides. November all-Brahms pro- them last summer as interim founder, director, and key- gram, presented at the Barbi- organist and director of music. boardist of the Karlsruhe, Ger- can Centre, London. many-based Ensemble The University of Michigan, Surprise, which also features Tim Riley (formerly Mikesell, Ann Arbor has appointed the talents of his wife, mezzo- 1980s MM ’85) was the keynote Colleen Conway (BM ’88, MA soprano Clara O’Brien (MM ’86). speaker at the Beatles 2000 ’92) assistant professor of The tango-spiced musical conference in Jyväskylä, Fin- music education. Her husband, Pianist Thomas Lanners (MM Camila,with book, music, and land. An updated edition of his Thomas Hodgman (DMA ’96) is ’89, DMA ’91) gave recitals and lyrics by Lori McKelvey (BM book Tell Me Why: A Beatles director of choral activities and master classes at Syracuse ’81), had a 7-week run at Commentary will appear in chair of the music department University and Louisiana Philadelphia’s Walnut Street May from Da Capo Press. In of Adrian College in Adrian, State University last Novem- Theatre until late October. The addition to lecturing on cen- MI. They proudly announce ber. He also served as one of cast raised $17,000 for the sorship in the arts on college the August 2001 birth of their three judges for the Music American Red Cross. campuses nationwide, he is second child, Thomas Richard. Teachers National Association finishing his fourth book, Elvis South Central Division Piano A member of the Hochstein and Tina: How Rock Transfig- In an early December press Competitions in Shreveport, School of Music faculty since ured Gender for St. Martin’s release, the Kurt Weill Foun- LA this past January. 1979 and its executive director Press. Since 1994, he has dation for Music announced since 1992, Margaret Quacken- edited his own journal of popu- the 2001 winners of the Kurt Sophia Hyun-Me Park (BM ’89, bush (DMA ’82) has been lar culture, millennium pop. Weill Prizes presented for Dis- DMA ’95) was recently pro- named the 2002 Musician of Riley can be reached through tinguished Scholarship in moted to associate professor of the Year by the Rochester his Web site, http://www.geoci- Music Theater. Lauded for his piano at Tarleton State Alumni Chapter of Mu Phi ties.com/triley60/. article, “ ‘Rigoroso ( =126)’: University. Epsilon. Quackenbush, who is The Rite of Spring and the also clarinetist of the Antara Nathan Williams (MM ’85) has Forging of the Modernist Per- Joel Tse (BM ’89) has been Wind Quintet, performed with joined the music faculty of the forming Style,” Robert Fink named to the position of prin- them at the January ceremony Interlochen Arts Academy as (MA ’88) has been awarded the cipal flute of the Hong Kong held in Kilbourn Hall. an instructor of clarinet. $500 prize in the article Philharmonic. Williams was formerly associ- category. Violinist Evan Rothstein (BM ’82) ate professor of clarinet at completed his DMA in violin East Carolina University of Paul Marquardt (BM ’88) cur- last May at Indiana University, Music and principal clarinet in rently works as a design engi- s where he has been a Summer the Winston-Salem Symphony. neer at EMC Corp. in 1990 String Academy chamber Hopkinton, MA. In addition to music instructor since 1997. In The University of Michigan raising his daughter, he per- In addition to teaching at July he was named to a re- recently appointed Nancy forms occasionally in the Southern Methodist Univer- search position at the Univer- Ambrose King (MM ’86, DMA Boston area with his wife sity, Michael Dodds (MA ’91, sity of Paris 8 (Saint Denis). ’99) professor of oboe. Ruxandra, also a musician. PhD ’97) is serving a 2-year

28 EASTMAN NOTES ALUMNI NOTES

term as secretary-treasurer of Steven Williamson (BM ’91) was Gregory Jones (DMA ’93) was a Pianist Mauricio Náder (MM AMS-Southwest chapter. Last recently appointed second clar- featured trumpet soloist with ’94) was busy last year in per- year, Dodds was published in inet of the American Ballet orchestras and bands in formances with several orches- The New Grove Dictionary of Theatre Orchestra. Athens and Kalamata, Greece tras throughout Mexico and an Music and Musicians and the last April, where he also pre- extensive concert tour of Garland Encyclopedia of The University of Illinois has sented master classes at their Colombia. His plans for 2002 Medieval Germany. named Jonathan Keeble conservatories. In September, include the Mexico premiere of (MM ’92) professor of flute. he traveled to China for con- the Concertino for piano and Soprano Melissa Fogarty (BM certs and master classes at orchestra by Colombian com- ’91) was a featured soloist with In a November recital at The Central Conservatory of poser Blas Atehortúa, with the the New York State Baroque Columbia University’s Miller Music in Beijing and the Tian- Fine Arts Chamber Orchestra, in performances in Syracuse Theatre, contemporary music jin Conservatory of Music. His along with various concerts and Ithaca of Monteverdi’s specialist and director of recording of chamber music and recitals in Mexico. Marian Vespers. Ensemble 21 Marilyn Nonken with trumpet Alternate Voices (BM ’92) performed the com- was released last fall. Jones The December debut recording Music director of the Phoenix plete piano works of Arnold serves on the Fulbright Selec- of distinguished young marim- Symphony Guild Youth Schoenberg. The New York tion Committee for Eastern bist Makoto Nakura featured Orchestra Robert Moody (MM Times noted that “Ms. Europe, Greece, and Turkey. Kevin Putz’ (BM ’94) composi- ’91) recently led the ensemble Nonken’s playing was impres- tions Canyon for solo marimba in a performance at Phoenix’s sive for its fleetness, gestural Pianist Marina Lomazov and Ritual Protocol for marim- Orpheum Theatre. sweep and imagination …” (BM ’93, DMA ’00), assistant ba and piano. The recording, professor of piano at Okla- entitled Ritual Protocol and Linda Neelly (MM ’91, PhD ’00) Composer Paul Stuart (MM ’92) homa State University, released by Kleos Classics, has been working with Sesame was recently featured in the received high praise for her also features Putz on piano. Street on the design of the Rochester Democrat and past season performance of Music Works Early Childhood Chronicle for his dual career Tchaikovsky’s Piano Concerto Rutgers University faculty Initiative,launched in Novem- roles as an engineer for East- No. 1 with the Plymouth (MA) member Antonius Bittmann ber at sesamestreet.com. The man Kodak and as the recent Philharmonic. She also per- (DMA ’95, MM ’99, PhD ’01) initiative is a 3-year early founder of the Equinox Sym- formed with the Spokane and was recently appointed univer- childhood music project that phony Orchestra, an uncon- Butte Symphony Orchestras; sity organist. Also, his two- includes 50,000 free videos ventional, 18-member had a live performance on the part article on Reger reception and an interactive area of free chamber group. A recent com- Dame Myra Hess Series in was published in the Journal music play on the Internet. position of Stuart’s, Crossing Chicago; an on-air interview of Musicological Research. the Bridge of Sorrow,was pre- and performance on WGBH of Music and Choral Director at miered in October at Nazareth Boston; and gave recitals and Rhoda Wang Jeng (DMA ’95) Kadimah School of Buffalo, College, Rochester. Several of master classes in France, performed the Saint-Saëns Leah Peer (MM ’91), has just the performers at that event Brazil, and the U.S. Piano Concerto No. 2 in G- released a CD (March 2002) of have an Eastman connection; Minor with the Pittsburgh central European music for these included Alla Kuznetsov, The Columbus (OH) Sym- Civic Orchestra last May. Jeng flute and piano with Aulos Duo Boris Zapesochny, Margaret phony recently appointed Jen- is on the faculty of Grove City partner, flutist Eileen Yu. Peer Leenhouts, Libba Seka, nifer Parker-Harley (BM ’93) to College (PA). also will present a session at Melissa Burton, Eva Brieger the position of second flute. the 2002 NYSSMA Conference Regan, and Ned Corman. She was also named a finalist Melissa Johnson (BM ’95) has entitled “A Multi-Disciplinary in the Young Artist Competi- been appointed to the clarinet Approach to Form in the Mid- Recently receiving a spirited tion of the National Flute section of the United States dle-School Classroom.” performance by the Atlanta Association. Army Field Band in Washing- Symphony Orchestra under ton, D.C. Andrea Schuler (BM ’91, conductor Robert Spano, Chris Alan and Shannon Spicciati MM ’93) reports that Seattle Theofanidis’ (MM ’92) Rainbow (BM ’93 and BM ’94, respec- Shane Shanahan (BM ’95) is a Opera’s August 2001 produc- Body was called “engaging and tively) live in the Seattle area percussionist with the Silk tion of Wagner’s Der Ring Des triumphant in the end, like the with their son, Andrew. Alan is Road Project under artistic Nibelungen included several best Americana.” Also, in Janu- an elementary school princi- director Yo-Yo Ma. The project, generations of Eastman stu- ary, the Pro Arte Chamber pal; Shannon recently was founded by Ma in 1998, dents, including Richard Sker- Orchestra premiered the first appointed lecturer in oboe and includes a 2-year-long series of long (MM ’58), Wesley Anderson three movements of Theofani- affiliate artist at Pacific festivals throughout the world Dyring (MA ’82), Roberta Downey dis’ viola concerto Lightning, Lutheran University. This past presenting new chamber (MM ’90), and Richard Eckert with life, in four colors comes year, she has also been playing works as well as traditional (DMA ’96), and Schuler down, composed for Kim assistant principal oboe with music from Eastern and West- herself. Kashkashian. the Seattle Symphony. TURN TO PAGE 30 ➧

SPRING/SUMMER 2002 29 ALUMNI NOTES

➧ FROM PAGE 29 apprentice conductor of the formance by Coo of works by tar, and harmony vocals. Smith ern composers. Shanahan was Oregon Symphony. Chopin and Philippine performed with the seven-time recently married and resides National Artist for Music nominated Evans at the Coun- in Brooklyn, NY. Former student of Christopher Lucrecia Kasilag was called “a try Music Awards, which aired Rouse and Joseph Schwantner, stirring performance” by the on November 7. Utah Symphony principal harp composer Russell Currie (MA Philippine Star. Louise Vickerman (MM ’95) re- ’97) presented the premiere of The Illinois Philharmonic, ceived rave reviews for her solo his opera Mackintosh in Van- Last July, harpist Jung Kwak Springfield, has appointed Erin performance in Saint-Saëns derbilt Hall, Grand Central (MM ’98) played with the Stodd (BM ’99) to the post of Morceau de Concert for harp Station, New York, sponsored Boston Pops Esplanade Orches- principal bassoon. and orchestra in November. in part by ESM. The work tra, Keith Lockhart conductor, Edward Reichel of the Deseret explores the life and ideas of in Seoul, Korea as part of their Stephanie Wernli (BM ’99) is a News noted: “Her performance noted Scottish architect Asian tour. After performing member of the clarinet section was subtle, intelligent and, Charles Rennie Mackintosh the Finale from Emile Deltour’s of the Chicago Civic Orchestra. above all, expressive. She made and his wife and artistic col- Concertino in Jazz for harp and She also was recently added to her instrument sing, playing laborator, Margaret McDonald. orchestra, the audience was the sub list of the Milwaukee with a vibrancy that made this treated to an arrangement of Symphony. work come alive.” The Salt The Duluth-Superior (MN) Rock Around the Clock. Lake Tribune said that Vicker- Orchestra has named Candice man “brought infectious vital- Dlugosch (BM ’97), former pupil The Saint Louis Symphony ity” to her performance. of Verne Reynolds and Peter Orchestra has promoted East- s Kurau, to the position of man Arts Leadership Program 2000 Elizabeth Calleo (MM ’96), stu- fourth horn. graduate Kathleen Van Bergen Co-leader of New York’s Teo dent of Carol Webber and (BM ’98) to director of artistic Macero Big Band, trumpeter daughter of violin professor Christopher Hutton (MM ’97, administration. She was previ- Eric Biondo (BM ’00) recorded Lynn Blakeslee, recently sang DMA ’01) recently joined the ously associate artistic admin- trumpet and vocal percussion two operas with the Montpel- faculty of the University of istrator for the orchestra. on Macero’s latest tribute al- lier Opera, France, where she is North Carolina, Greensboro as bum to Duke Ellington. Biondo artist in residence. She was fea- lecturer of cello and music his- Amy Eyles (BM ’99) was also won a spot on The Mon- tured in an interview recently tory. Last year he completed a recently named principal flute kees’ 2001 U.S. tour, during in a Montpellier newspaper. seven-city tour of his native of the Great Falls Symphony. which he appeared on The New Zealand, before teaching Tonight Show with Jay Leno In addition to his election as and performing as a member Betsy Williams Fitzgerald and LIVE with Regis Philbin. Sub-Dean of the Greater Hart- of the faculty at the Eastern (BM ’99) has founded a music He also participated in the ford (CT) Chapter of the Amer- Music Festival. camp, “Camp Vivace,” in Japan. world premiere of the avant- ican Guild of Organists, Jason Last summer, the capacity garde musical Crystal. Charneski (BM ’96) has been Last summer, Nathaniel Webster enrollment of 70 needy chil- named director of music and (BM ’97) sang two perform- dren ages 6–14 attended Alyce Johnson (MM ’00) was the arts for the First Church of ances of Haydn’s Die Jahres- music, drama, and dance recently offered the position of Christ, Hartford. zeiten in Germany. He also was classes. Fitzgerald plans to principal flute with the Beijing recently involved in the world hold the camp again next year. Symphony. She continues her Last November, Victor Fan (BM premiere of Lilith, presented duties as principal flute of the ’96) was on hand at the George by the New York City Opera. Clarinetist and student of Shanghai Symphony. Eastman House’s Dryden The- Kenneth Grant Andrea Levine ater to introduce his film, The Rick Basehore (BM ’98), princi- (BM ’99) was appointed to the Jenny Kim (BM ’00), a former Well. The film explores the pal oboe of the Northern Ken- New World Symphony in student of Peter Kurau, has psychological effects of combat tucky Symphony, recently November 2001. been appointed to the position through a Japanese private completed a 2-month appren- of assistant principal horn captured and thrown into an ticeship with the Ural Philhar- Damon A. Scott (MA ’99) has with the New West Symphony, old well with his despised monic in Yekaterinburg, Russia. been named assistant professor based in Thousand Oaks, CA. adversary. of mathematics at Francis Mar- Kim also won first prize in the Jonathan Arevalo Coo (MM ’98) ion University, Florence, SC. 2001 Pasadena (CA) Instru- Reportedly the search commit- presented free concerts in Jan- mental Competition. tee’s unanimous choice, Allen uary as part of a program of Since graduation from East- Tinkham (BM ’96) was appointed Manila Outreach Recitals. He man, Heather Smith (BM ’99) has Bassoonist Peter Kolkay music director of the Chicago performed with violinist relocated to Nashville, where (MM ’00) has been named Youth Symphony Orchestra, Melissa Lopez-Exmundo, who she accompanies country music assistant professor of bassoon launching the group’s 55th sea- studied with Eastman Profes- recording artist Sara Evans on at West Virginia University, a son. Tinkham was formerly sor Charles Castleman. A per- fiddle, mandolin, acoustic gui- position that his teacher and

30 EASTMAN NOTES ALUMNI NOTES

Eastman faculty member John ary, which includes teaching performed an all-Ligeti concert Nexus’ accompanying music Hunt held from 1980–88. In horn, a course in music for last March at New York City’s was performed on a special addition, Kolkay recently was non-majors, and performing in Miller Theatre. The concert selection of percussion instru- one of two first prize winners both the faculty wind and featured the New York pre- ments collected by the ensem- in the 2002 Concert Artists brass quintets. miere (and second American ble from around the world. Guild competition. He shares performance) of Ligeti’s Ham- the $5,000 prize with the Tenor Anthony Dean Griffey (BM burg Concerto for Horn and The energetic brass quintet chamber ensemble Antares, of ’01) was featured in an exten- Chamber Orchestra. Ligeti’s Prism recently completed a six- which Rebecca Patterson (BM sive profile of his varied and first orchestral work in nearly week Chamber Music America ’94) is a member. Kolkay’s unique career in the July 2001 10 years completes a series of residency in rural Maine. This accompanist, Alexandra Nguyen, issue of Opera News.His Octo- pieces featuring the horn and summer, Prism will be an is a current Eastman student ber solo performance of Ben- showcasing its ability to play ensemble in residence at Tan- and will appear with him at jamin Britten’s Serenade, for natural harmonics. glewood, summer home of the future performances. In the tenor, horn, and string orches- Boston Symphony Orchestra. same competition, baritone tra, op. 31 with the New York The 10-piece Bionic Bones Prism, entirely composed of Thomas Meglioranza (MM ’95), a Philharmonic, André Previn (made up of members of the Eastman grads – Matthew student of Carol Webber, took conducting, received a glowing Eastman Trombone Choir) Bickel (BM ’99), Samuel Bucci- the management award. review in The New York Times. have won the Kai Winding grossi (BM ’99), Steve Haase Jazz Trombone Ensemble (BM ’99), Erik Kofoed (BM ’99), The United States Army Field International Musician Competition sponsored by the and Aaron Moats (BM ’00) – has Band in Washington, D.C. has recently listed Cheryl Kohfeld International Trombone enjoyed a blossoming career, named Reis McCullough (BM ’00) (MM ’01) in their “On the Association, and appeared at including a recording project of to its clarinet section. McCul- Move …” column. Kohfeld won the International Trombone music for brass quintet and lough also has been appointed the position of assistant princi- Festival at the University of saxophone, through the Com- by audition to play in the pal viola for the Richmond North Texas, Denton, May mission Project. Band’s select clarinet quartet. (VA) Symphony. 23–27. Fresh from their European Daniel Bara (DMA ’01) has Marguerite Lynn Williams (BM Eastman’s Horn Choir has been debut in Amsterdam in May assumed the positions of direc- ’01) recently became an Associ- invited to perform at the Inter- 2001, the Webster Trio,featur- tor of choral activities at East ate Member in Harp of the national Horn Society meet- ing Michael Webster (BM ’66, Carolina University and musi- Chicago Civic Orchestra. She ing, to take place this summer MM ’67, DMA ’75) and Leone cal director of the Greenville is also the finalist and substi- in Lahti, Finland. Buyse (BM ’68), spent a week (NC) Choral Society. In March tute harpist for the New World in residence at Dartmouth 2001, Bara won first place in Symphony Orchestra (Miami, The Toronto-based percussion College with pianist Robert the graduate division of the FL), and won the alternate group Nexus, including Bob Moeling. The trio has recorded American Choral Directors prize at the American Harp Becker (BM ’69), Bill Cahn (BM with pianist Katherine Collier Association National Student Society’s Anne Adams Awards. ’68), and John Wyre (BM ’63) (BM ’70, MM ’72), and an Conducting Competition in began its 31st concert season upcoming CD will feature com- San Antonio. last September with the world poser Martin Amlin (MM ’76, premiere of a film score at DMA ’77) as guest pianist in Valerie Mohring Fuller (MM ’01) Ensembles George Eastman House’s Dry- his Trio Sonatina. The Webster has been appointed lecturer in den Theatre. A Page of Mad- Trio was founded in 1988 to horn at Southeast Louisiana Alarm Will Sound, an independ- ness,a 1926 Japanese silent promote interest in the combi- State University, Hammond. ent ensemble made up of East- film by Teinosuke Kinugasa, is nation of flute, clarinet, and She assumed her post in Janu- man students and alumni, a psychological drama, and piano. ❧

SPRING/SUMMER 2002 31 FACULTY NOTES

Jennifer Williams Brown, assis- tant professor of musicology, prepared an article on Cesti’s Orontea that will be published in the Cambridge Opera Jour- nal. Another article on Oron- tea will appear in Austria, 996–1996: Music in a Chang- ing Society.Brown also was elected secretary of the Society for Seventeenth-Century Music, and a member of the council of the American Musi- cological Society.

The Queen Elisabeth of Bel- gium Competition, in celebra- tion of its 50th anniversary, released a 12 CD set of its most distinguished perform- ances. Professor of Violin Charles Castleman, performing Léon Jongen’s Violin Concerto, shares billing on Disc 1 with KURT BROWNELL violin luminaries Leonid A birthday serenade Kogan and Jaime Laredo. Also, Distinguished Professor of Violin Zvi Zeitlin celebrated his 80th birthday and 35th year at Eastman with a stellar Castleman and a chamber faculty artist recital in February. At a reception afterward, his students serenaded him with a special, all-violin music program he founded performance of Happy Birthday while his family, friends, and well-wishers celebrated his continued success. were featured in a full-page article in Bucknell World. singer). One of his articles, to the New Horizons faculty at past year, including Wind Associate Professor of Organ “Singing and Playing: The Ital- the Aspen Music Festival and Sculptures for marimba, A Hans Davidsson – who also is ian Cantata and the Rage for School in Colorado. This honor Friendly Gift for solo piano, founder, artistic, and research Wit” (November 2001, Music entitles Harris to select three and Serenata Oscura for director of the Göteborg Organ and Letters), was awarded that students to study with him at chamber ensemble, the last Art Center (GOArt) in Göte- journal’s Westrup Prize for one Aspen for the next three years performed at Eastman in borg, Sweden – has been of “the most distinguished arti- on full scholarship. The Aspen October 2001 by Musica Nova, awarded one of Sweden’s most cles of 2001.” Music School runs for nine Brad Lubman, conductor. Sev- distinguished research weeks each summer, with an eral of Hodkinson’s composi- awards, the ÅForsk Research Part-time Instructor of Wood- international student body of tions are being published Prize, from the ÅF Foundation. wind Chamber Music Laura approximately 800 students. presently by Marion (Presser), This is the first time that the Griffiths (BM ’91) was a fea- including Hoo-Dat (2000), award, which cites Davidsson’s tured performer with the In January, the Rochester com- etude for comb and tissue prominent role in making Rochester Philharmonic munity was treated to a lec- paper. He taught composition GOArt (and Göteborg) a global Orchestra, under the direction ture by Associate Professor of during the spring 2002 semes- leader in organ innovation, of guest conductor Marco Music Theory David Headlam, ter at Indiana University and has been given to someone Parisotto, in Richard Strauss’ titled “Blues to Rock: Eric will return to the Aspen Music who is not primarily active in Oboe Concerto in D Major in Clapton and Jimmy Page Dis- Festival this summer. the field of technology. January. A member of the cover Robert Johnson and Eastman faculty since 1995, Muddy Waters.” Headlam’s Over the past year, Associate Professor of Musicology Roger Griffiths is also principal oboe presentation was the fifth in Professor of Bassoon John Hunt Freitas spent the last year on of the RPO, holding the Dr. the University of Rochester’s gave master classes and leave thanks to a fellowship Jacques M. Lipson Chair. Dur- Neilly Series, which brings recitals at Northwestern Uni- from the National Endowment ing the summer, Griffiths is prominent figures in the arts versity, University of Wiscon- for the Humanities, allowing principal oboe of the Mainly and sciences to the university. sin-Madison, Michigan State him to complete several arti- Mozart Festival in San Diego. University, the University of cles for publication and con- Professor Emeritus Sydney Michigan, and Ithaca College. tinue work on his book on Atto Distinguished Professor of Vio- Hodkinson enjoyed several pre- He also performed at the 2001 Melani (a 17th-century loncello Alan Harris was named mieres of his works over the conference of the Mid-South

32 EASTMAN NOTES FACULTY NOTES

Double Reed Society and the won for liner notes for a CD he 30th Annual Conference of the conceived, Songs of Alec Wilder International Double Reed (Albany Records). Society. He continues to hold summer faculty positions at Despite the war on terrorism the International Festival- that is raging in Afghanistan, Institute at Round Top (TX). Professor of Violin Oleh Krysa traveled to nearby Kazakhstan Associate Professor of Musicol- for a week in November to ogy Ellen Koskoff, in addition to headline three concerts under giving the address at the 2001 the title “Artists Against Ter- Eastman Commencement, rorism.” The opening concert, wrote a preface and essay for featuring Krysa and his wife the Garland Encyclopedia of and pianist Tatiana Tchekina, World Music: United States was held in the former capital and Canada, which she edited, city of Almaty in the splendid PHOTOS COURTESY WILLIAM MCIVER as well as an article for The Hall of Kazakhkonzert. The McIver (left) is joined by Amahl composer Gian Carlo Menotti and New Grove Dictionary of Music two other sold-out concerts Rosemary Kuhlman, who played the original “Mother.” and Musicians.Her book featured Krysa and a former Music in Lubavitcher Life was student from the Moscow Con- published last November with servatory, Gaukhar Murz- William McIver joins ‘Amahl’ the support of a publication abekova. originals for 50th anniversary subvention award from the Society for American Music. Associate Professor of Horn Eastman Professor of Voice 1952–1955, joined composer W. Peter Kurau gave perform- William McIver traveled to Gian Carlo Menotti and the Kim Kowalke, professor of musi- ances and a master class enti- New York in late November original mother in the cast, cology since 1986, presented tled “The Warm-Up as a to attend a special 50th Rosemary Kuhlman, for the lectures at Princeton, SUNY- Complete Routine” at a July anniversary broadcast of “premiere” anniversary Geneseo, American Symphony horn workshop, centered at the holiday staple Amahl showing at the Museum of Orchestra’s Orff Symposium in the Odesan Hostel, Seoul, and the Night Visitors. The Television and Radio in New York, the Chicago Arts Korea. Kurau was featured in first opera commissioned for Manhattan. The museum Club, and the Lyric Opera of performance alongside his television, Amahl was origi- offered public screenings of Chicago. His writings included wife, soprano Pamela Kurau. nally broadcast by NBC on the original broadcast from an article entitled “Dancing Christmas Eve 1951. December 4–9 at its New with the Devil: Modern Music The works of Professor of McIver, who sang the title York and Los Angeles loca- Publishing under the Nazis,” Composition David Liptak were role in the opera from tions. ❧ published in Modernism/ featured in recital last fall at Modernity, and a chapter for a the Phillips Collection (Wash- 9-volume handbook on 20th- ington), Alice Tully Hall, and century music published by at Columbia University. The Laaber. Kowalke spent two premiere of Liptak’s work, weeks last summer conducting Commedia,was given at the Titanic at the Highfield The- Phillips by the Verdehr Trio. ater, Cape Cod. Kowalke, in Pre-concert talks by the addition to Music Theory composer preceded all of the Department Chair and Profes- performances. sor Robert Wason, were among the winners of the 34th annual Ralph Locke’s 9-page contribu- ASCAP-Deems Taylor Award- tion to a 1997 IMS roundtable the top honor presented by the on “Directions in Musicology” American Society of Com- has now been included in Pro- posers, Authors, and Publish- ceedings of the 16th Meeting of ers (ASCAP) to authors and the International Musicological journalists for outstanding Society (Oxford University print and media coverage of Press, 2000). Locke, professor of music. Kowalke’s fifth award musicology, also presented came for his article titled, “I’m papers at two conferences in an American: Whitman, Weill, Canada: “Exoticism, Empire, Kuhlman and McIver performed Amahl in the early 1950s. and Cultural Identity.” Wason TURN TO PAGE 34 ➧

SPRING/SUMMER 2002 33 FACULTY NOTES

➧ FROM PAGE 33 (Morris also is an affiliate as well as recent performances by Professor Emeritus Alfred and the Problem of Representa- member of the School’s theory of such works. Mann. tion ca. 1900” at the national and musicology departments.) meeting of the Society for Last November, the Society for A. Joan Saab, assistant professor The Eastman Horn Choir has Music Theory, and “Historians, Music Theory presented Mor- of American studies, presented garnered a special invitation to Musicologists, Composers, and ris with its 2001 “Outstanding a paper entitled “Political Busi- present two performances at the Musically Exotic” at the Publication Award” for his ness and Intellectual Ballyhoo: the prestigious 2002 Interna- American Musicological Society article “Voice-Leading Spaces” Thomas Hart Benton and The tional Horn Symposium, con- chapter meeting in Montreal. published in Music Theory Arts of Life in America” at a vening in Lahti, Finland Spectrum. Morris won this conference, Beyond Good and August 4–11. Director and Professor of musicology Patrick same award-given for a distin- Evil: 100 Years of Mass Cul- Dean James Undercofler (BM Macey’s article “Josquin and guished article that consti- ture, held last fall at Carnegie ’67), former student of Milan Musical Rhetoric: Miserere tutes a significant contribution Mellon University. Yancich, and Associate Profes- mei, Deus, and Other Motets” to the field of music theory-in sor of Horn Peter Kurau (BM ’74), was published recently in The 1988, making him the only Several articles by Assistant former student of Professor Josquin Companion. This past person to have won it twice. Professor of Music Martin Emeritus Verne Reynolds, are fall marked the end of his two- Scherzinger appeared last year hard at work raising the neces- year term as chair of the New Professor of Piano Rebecca in the Journal of the Royal sary funds to support travel York State-St. Lawrence Chap- Penneys has been busy with an Music Association,the Indiana expenses for 25 horn students ter of the American Musicolog- array of performances and Theory Review, repercussions, to this tremendous venue. ical Society (AMS). master classes. She was an and Current Musicology. New artist-in-residence for a week compositions (works for string William Weinert, associate pro- Alfred Mann, professor emeritus with the Missoula Symphony, orchestra, seven cellos, and for fessor of conducting and of musicology, was invited to and guest artist/teacher at the piano) were performed in ensembles, returned to Hong deliver the opening lecture at University of Montana and Botswana, South Africa, Kong in December to once the mid-western (Region IV) Memphis State University. Canada, Belgium, Germany, again guest conduct the Good chapter meeting of the Ameri- She also spent time in both the Czech Republic, and sev- Hope Choral Festival, where can Guild of Organists. Coinci- Washington State and Florida eral states in the US. he also presented a workshop dentally, the conference was giving recitals and master for 50 Hong Kong choral con- held in Fort Wayne, IN, where classes. In October 2001, Pen- Professor of Piano Thomas ductors. Joining Weinert in Mann now resides. neys was featured in Clavier; Schumacher was on sabbatical performing at the festival’s organized and attended the in China during the spring New Year’s Day concert were John Marcellus, professor of first Penneys Alumni Confer- semester. Bastien Tai (MM ’99) and Emi trombone and chair of the ence; and performed in Takahashi (BM ’00 and current woodwind, brass, and percus- Rochester the world premiere Kerala J. Snyder, professor master’s degree student). Last sion department, teamed up in of a work written for her by emerita of musicology, gave a June, Weinert spent a week in December with students Amy Italian composer Lorenzo lecture entitled “Italy Meets residence at the Musikhoch- Salo and Isrea Butler to perform Palomo. In addition, she Germany: Italian Catholic schule Freiburg, where he con- at the United Nations in NYC. recorded two CDs for Fleur De Music in Orthodox Lutheran ducted the choir in two Their performance was part of Son Classics, to be released Lübeck” at the Smarano Inter- concerts of American choral a presentation sponsored by sometime this year. national Academy, Italy. music; in turn, Eastman the Austrian Consulate of the hosted Freiburg Professor of music of composer Franz Director of Eastman’s Insti- Jürgen Thym’s article “A Cycle in Conducting Hans Michael Hackl, who was also at the tute for Music Leadership and Flux: Schumann’s Eichendorff Beuerle in October to conduct event. Professor of Saxophone Ramon Liederkreis” appeared in the the Eastman Chorale. L. Ricker was recently chosen third volume of World and Although he’s perhaps best by a distinguished panel to Music Studies (Amsterdam: Professor of musicology known as a composer (he is receive the American Society Rodopi, 2001). Essays by Thym Gretchen Wheelock had her professor of composition and of Composers, Authors, and on Brahms, Bruckner, and essay “Konstanze Performs chair of the composition Publishers’ ASCAPLU$ Stan- Hindemith can be found in Constancy” published in last department), Robert Morris dard Award, based upon the Music History from Primary year in Siren Songs,a compila- recently received an impres- “unique prestige value” of Sources (Washington: Library tion of writings on opera sive honor in music theory. Ricker’s original compositions of Congress, 2000), co-edited edited by Mary Ann Smart. ❧

34 EASTMAN NOTES STUDENT NOTES

Baritone Brad Alexander was named a 2002 Adler Fellow of the San Francisco Opera. The program offers intensive train- ing to eight resident artists, and promises roles of increas- ing significance during the San Francisco Opera season.

In addition to winning second prize in the National Flute Association’s 2001 Interna- tional Orchestral Competition, senior flutist Justin Berrie has garnered the Flute Fellowship position at the Aspen Music Festival, and was a recent soloist with the Rochester Phil- harmonic and the Cleveland Youth Chamber Orchestras.

Fortepianist Kristian Bezuiden- hout,a graduate student of GELFAND-PIPER Rebecca Penneys, recently won Bell-canto the coveted first prize as well The Annual Festival of Handbells, featuring bell choirs from Bethany Presbyterian Church in Rochester, is a as the audience prize of the popular event each December. In 2001, Tom Trenney, a recent Eastman grad, conducted the third annual Festival of Flanders Early festival, where the audience was treated to traditional holiday music. Music Competition in Bruges, Belgium. The competition, part of what is arguably the most a performance by Ossia of substituting frequently with in the 2001 New York City prestigious early music festi- Young’s historic Trio for the Rochester Philharmonic String Seminar, featuring con- val in the world, has awarded Strings. Orchestra. certs in Carnegie Hall. the first prize only three times in its 38-year history. The Music Library Association Flutist Alison Jewett was run- Zhe Li,a third year doctoral recently awarded musicology ner-up for the piccolo position student in piano performance In August, freshman eupho- PhD candidate Rob Haskins in the Buffalo Philharmonic. and literature, was invited by nium player Aaron Ging won (DMA ’97) its Dena Epstein the Oak Ridge Civic Music the 2001 Leonard Falcone Award for Archival and In September, the International Association to be a soloist with Euphonium/Tuba Solo Compe- Library Research in American Herald Tribune Online included the Oak Ridge Symphony tition, Student Division, at the Music for his dissertation on a feature on Musika 2001, a 12- Orchestra last September. She Blue Lake Fine Arts Camp. John Cage’s late music. member chamber ensemble played Tchaikovsky’s Piano Ging studied with Tom drawn from the American Concerto No.1 in B Flat Minor. Riccobono (BM ’88) at the This past August, junior Russian Young Artists Orches- She has been invited to return Interlochen Arts Academy euphonium player Jonathan tra and including flutist and next year to highlight the before coming to Eastman. Herbert was a semi-finalist at doctoral student Sophia Gibbs orchestra’s opening concert. the International Tuba/Eupho- Kim. Upon the group’s decision Jeremy Grimshaw,a graduate nium Conference Solo Compe- to continue with performances Hornist Matt Marks was one of student in musicology, pre- tition in Lahti, Finland. in St. Petersburg, Russia, two finalists in the American sented a paper in November at Tallinn, Estonia, and the US in Horn Competition, held last the national meeting of the Brian Hermanson was recently in the immediate wake of the Sep- August on the campus of the American Musicological Soci- the finals for the principal tember 11 tragedy, Kim is University of Alabama. Marks ety in Atlanta. The paper, clarinet position in the Tucson quoted as saying, “We can’t be was selected from 46 entries in titled “The Sonic Search for (AZ) Symphony. Sharing the like diplomats who talk about the collegiate division of the Kolob: Mormon Cosmology final round with him were problems and then go home contest. and the Music of La Monte Andrea Levine (BM ’99) and with them unresolved. We have Young,” grew out of several Stephanie Wernli (BM ’99). performances to give.” Baritone and student of John interviews and conversations Maloy Lucas Meachem recently with the composer. This Senior hornists Mark Houghton This past December, Carmen won first prizes in both the spring, Jeremy is co-producing and Elizabeth Porter have been Lemoine played principal flute TURN TO PAGE 36 ➧

SPRING/SUMMER 2002 35 STUDENT NOTES

➧ FROM PAGE 35 including Miami, Naples, Civic Morning Musicale (Syra- Nashville, Louisville, and cuse) and Mario Lanza (Phila- Detroit. Trenney also has per- delphia) competitions. He was formed the organ accompani- also a prizewinner in the ment to several silent films, Opera Index Competition in including The Mark of Zorro. New York City. Elizabeth Wells (MA ’96), a PhD The New England Music candidate in musicology, will Camp has appointed Karla read her paper “Me and Velma Ordonez to its artist faculty. Ain’t Dumb: The Women of West Side Story” this summer Trevor O’Riordan,a master’s stu- at the Feminist Theory and dent in clarinet, recently won Music 6 Conference, to be held the orchestral audition compe- in Boise, ID. tition of the International Clarinet Association’s Clar- Amy Wlodarski (MA ’01), now inetFest, held in New Orleans. working on a PhD, has won The final round was judged by two major awards: the Univer- distinguished artists Frank sity-wide Edward Peck Curtis Cohen of the Cleveland Award for excellence in teach- Orchestra and Gregory Smith ing by a graduate student, and of the Chicago Symphony. The the Presser Music (Founda- first prize included $1,000, a tion) Award, which enabled her mouthpiece, and $300 in mer- to examine several archives in chandise from International TODD COLEMAN the Czech Republic last sum- Music Suppliers. Recital with a twist mer. Wlodarski also presented Bassoonist Eric Goldman recently had his Eastman experiences a paper on Hans Krasa’s PhD candidate Stan Pelkey (MA humorously chronicled in the film Eric and Eastman: Six Small Movies, Brundibar at Jagellonian Uni- ’96) had two contributions a collaborative effort between Professor of Bass James VanDemark versity in Krakow, Poland. ❧ appear in the new edition of and DMA candidate Todd Coleman. With music by Coleman and piano the New Grove Dictionary of accompaniment by Brian Boyce, the senior recital film featured guest Music and Musicians, includ- appearances by faculty members John Hunt and Bradley Lubman, CORRECTIONS ing an article on William Viner along with numerous cameo appearances by Eastman students. and a revised work list for Samuel Wesley. Pelkey’s article In an article titled “Leading far “Handel and Samuel Wesley: A rific brass and percussion work was awarded at the beyond Gibbs St.,” it was incor- Case Study in Handel Recep- work, onstage and off.” International Society of Poets rectly reported that Richard tion in the Later Georgian Convention in Orlando, FL. Killmer, professor of oboe, is an Period” was published in the The Lake Placid Music Festi- officer in the International Dou- London Handel Institute val will welcome DMA/Artist As first prize winner of the ble Reed Society. He asks us to Newsletter (Vol.11). Certificate candidate and Hamilton Ontario Symphony note that an Eastman alumna, flutist Donna Shin as a visiting Young Artist Competition, sen- Nancy Ambrose King (MM ’86, Students from the horn studio member of their artist faculty. ior flutist Sara Traficante was DMA ’99), was recently elected have been active in two featured as a soloist with the to the position of first vice presi- Upstate New York orchestras, Emi Takahashi (BM ’00), a mas- orchestra in a December 2001 dent of that organization. serving as extra players. In ter’s student, is back at East- concert. She also was named November, seniors Kate Sheeran man after a year of study in principal flutist of the 2001 In the same article, the infor- and Caia LaCour,junior Lindsey Freiburg, Germany. While Canadian Youth Orchestra. mation for W. Peter Kurau, asso- Wood, and sophomore Julie there, she presented a lecture ciate professor of horn, was Fagan performed the offstage on Hegel, gave a sold-out Winner of the Harold Gleason incomplete. In addition to horn parts in three perform- recital, and was featured on Emerging Artist Award,mas- serving as treasurer for the ances of Mahler’s Second Sym- Austrian television during a ter’s student and organist Tom International Horn Society, he phony, prompting the Syracuse music festival in Vienna. In Trenney presented recitals in also served two terms as vice Post-Standard to note the “ter- March, Takahashi’s poetry nine cities throughout the US, president. ❧

36 EASTMAN NOTES urt Photography Brownell ©K

EASTMAN SCHOOL OF MUSIC - LEGEND #001946

"Uninhibited." "Plenty of noise." "Unprecedented." "Flashy art." "Good jazz is just swell!"

In a time of radical change hot on the heels of the turmoil and destruction of World War II, jazz at Eastman was hep, cool, and unofficial... until an April evening in 1946.

That night, the 1946 Festival of American Music was invaded by "a program of contemporary American music in the jazz idiom." In a stunning break with precedent, original jazz works by Paul Nero, Alvin Waslohn, and Ray Wright were premiered by Jack End’s orchestra playing to an audience overflowing from Kilbourn Hall. AND THE AUDIENCE GAVE IT ALL RAPTUROUS APPROVAL.

Director Howard Hanson defended the audacity of performing popular music at the traditionally serious festival. "Jazz is not foreign to the students—and even the faculty —of the Eastman School... It has even been rumored that they have jazzed my own symphonies!"

For nearly 80 years, the Eastman School of Music has been inspiring artistry, scholarship, leadership... and white hot innovation in uniquely American music.

Support the Eastman Fund today and help keep the legends alive.

The Eastman School of Music T 1-866-354-2111 (toll free) T 585-274-1048 www.rochester.edu/Eastman/giving T [email protected] Come and celebrate Reminisce and Reunite Alumni Weekend: ALUMNI WEEKEND 2002 • Attend a performance by SEPTEMBER 13-15 Eastman Virtuosi and renowned alumnus Mitch Miller (BM ’32) • Tour a special exhibit in Sibley Music Library of jazz great Marian Invitations will be mailed soon, or go online to register and McPartland’s career see which of your classmates are planning to attend! • Listen in or play along with student ensemble rehearsals For more information: • Enjoy traditional Alumni Weekend 585.274.1043 (local) or 866.345.2111 (toll-free) Cocktails & Dinner E-mail: [email protected] • Interact with faculty and staff in www.rochester.edu/Eastman/alumni discussions of new developments at Eastman • Revisit and show your family the School, Theatre, and former Prince Street campus on special weekend tours • Reconnect with friends, reminisce with faculty, and network with fellow musicians!

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