Robot Attack!!!

or How Music Robots and Custom Circuits Will Change Music in the 21st Century By Sam Pluta along with your composition or improvisa- (WS summer staff ’01–02; faculty ’03–08) tion. The traditional approach would be to use a drum machine or some kind of sampler. Anyone who grew up after 1950 will most When a real drummer hits a snare, no likely approach the following article with an how hard he tries to be consistent, the sound understandable level of doubt. From the maid of each snare strike will be minutely different. on The Jetsons to C3PO in Wars; from With the sampled drum, the same sample is Vicki in Small Wonder to Data in Star Trek, used each and the listener will become Hollywood has continually barraged us with bored with it. convincing humanoid robot characters, who take on human roles, have human thoughts, The last issue is an issue of visuals. Much live and perform human tasks. Yet, in our daily electronic laptop performance leaves the viewer Recitative lives, not only have these idealis- wondering if the guy on stage is tic visions of a robot future creating music or simply check- failed to become reality, but also, ing his email. even the simplest of robots has Fall 2008 The three problems that are out- been left out of our increasingly lined above can be solved, at digital culture. However, as elec- least partly, by recent innova- tronic musicians are becoming tions in computer music. more and more interested in Composers and engineers are robotic instruments and hand- finding new ways to interact with computers built electronic control devices, all signs point so that more information can pass between the to a more promising future of robot music. hands of the performer and the electronic cir- This future is not without its particular idio- cuitry, and finding new ways of using robots syncratic hurdles, however. Simply put, one to make sounds so that more information is problem of live electronic music is an issue of included in the sonic signal. information flow. Traditional methods of get- A perfect example of such an advancement in ting data from a performer to a computer do interaction is the Wii controller, designed for not include enough information exchange use in Nintendo’s most recent gaming system. between the carbon-based life form and the At some point, Nintendo decided that they silicon-based microchip. The easiest method could not compete graphically with the other of getting data from a performer to a computer gaming systems on the market, so instead, is with a MIDI keyboard. The problem with they decided to make the controller the focus this method is very clear when we think about of their new gaming system. The Wii con- a cellist, say Jane O’Hara, playing the cello. troller uses an accelerometer to measure the Through her simple interaction with the cello movements of a gamer, thus passing more — left hand holding the note, right hand information from the player to the game than moving the bow across the string — Jane is a traditional controller, making a player’s able to send a ton of data into the instrument. interaction with the game more rewarding. The MIDI keyboard, on the other hand, does Because of this, many people have begun to not achieve this. By pressing a key, the per- use the Wii as a musical controller. former basically has a switch; he can turn the instrument on and off by striking and releas- Another example is Jeff Snyder’s MEAPBook, ing the key, and by hitting the key at which presents the performer with forty-two different velocities, tell the machine how loud buttons. Each button is a continuous con- Stories from New York: to play. The information is binary and instan- troller, meaning if more of your finger is Things You Don’t Admit ...... page 2 taneous, not changing over time like the cello pressing the button, a higher number is Walden… in Iowa? ...... page 3 bow on the string. So, unlike a real cellist’s passed to the computer; if less of your finger JCC Corner...... page 3 playing, the results are a dull sound and a is touching the button, a lower number is Walden Partners boring performance. passed to the computer. The beauty of the continued on page 11 with PRISM and ICE ...... page 4 The second problem in live electronic Learning Community ...... page 5 performance is sound. Say you want to Contributors to make an interesting drum track to play The Walden School...... pages 6 – 7 News and Goods...... pages 8 – 10 The Play Is the Thing ...... page 11 Alumni Spotlight: James Athey...... page 12 Stories from New York: Things You Don’t Admit

By Caroline Mallonée (WS ’87-92; TTI ’07; basement of Hunter College High School We all met at Walden, and we are indebted summer staff ’96; faculty ’98–00; ’02–08) on the Upper East Side, where Walden to the place for what it fosters: a high level alumnus and faculty member Shawn of musicianship, a comfort with improvisa- Walden is a fun place. It is a place where Crouch teaches. Once we met at Walden tion, a sense of whimsy. We’re called people have fun, where people are funny, alumna and guest artist Meighan Stoops’s Glissando bin Laden and His Musichideen. where the fun is palpable. Are announce- apartment in midtown and had chili. It’s ments fun? They are at Walden! Is the informal and flexible — if someone has a Sunday reminder that crews change fun? It cold or there’s a concert is at Walden! Is meet- to go to, we forgo ing a deadline fun? “Can the choir sightread rehearsal that week. Always, at Walden! Monteverdi for fun? When the group I’ve recently moved to Yes, indeed. formed, each member New York City. As Do we? Of course!” selected a piece: a with all transitions, favorite from Walden there is much uncer- (To My Old Brown ) or elsewhere tainty (navigating a new city, settling into (Walden alumna and faculty member a new apartment), but I have good friends Renée Favand picked Poulenc’s O Magnum Sam Pluta here, including a host of Walden friends, Mysterium); a gem we had always wanted to and for that I am thankful. I’m in two That’s right. We were a little worried for a sing (I picked Josquin’s Ave Maria); an ensembles with Walden faculty members, while that the FBI would read our emails original composition (Walden alumnus and visiting artists, TTI alumni and former about band practice, but they’ve left us faculty member Jim Altieri brought his Walden students. alone so far. Glissando bin Laden is piece, Of All Things Most Yielding). We also Alexander Ness. We all have band names: A choir of Waldenites has met occasionally sang through a student Festival piece at the since 2006 on Monday evenings in the Jim Altieri is P. Rust, I’m Leffe Blonde and Sam is Mr. Glitch. Meighan Stoops just joined the band, and Walden faculty mem- ber Aurora Nealand played a show with Recitative Glissando last fall, but neither of them has Fall 2008 a band name yet (as far as I know). FOR THE STUDENTS, ALUMNI, PARENTS Glissando bin Laden and His Musichideen AND FRIENDS OF THE WALDEN SCHOOL is not on my résumé either. AND THE JUNIOR CONSERVATORY CAMP Carrie Mallonee Having relocated to this great city, I feel Esther Landau Board of Directors Editor Ellen Bernard, Chair and Jim Altieri incredibly lucky to be a part of such Anne Deane Berman John O’Meara, Vice Chair groups. Can the choir sightread Monteverdi Founding Editor Andrew Jacobs, Secretary Leslie Stephens, Treasurer end of rehearsal once, someone having for fun? Yes, indeed. Do we? Of course! Can Stillwell Design David Callan Design and Layout found it in a choir folder. After rehearsals, the band play Scandinavian fiddle tunes in Todd Cleary Marshall Bessières Michael Cornog we make merry. We’d walk to the subway just intonation, our sound echoed and Brad Evans Robin Kenney together, a lucky member hails a cab, and reverberated, captured and manipulated in Esther Landau Laura Mehiel Sam Pluta Rita Mitra we bid adieu until the next rehearsal. real time on Macintosh computers? Yes, we Jeff Snyder Molly Pindell can, and of course we do. Meighan Stoops Susan Rosen Our group is called Choir in the Hole. That’s Photography Leo Wanenchak right — you’d yell it: CHOIR IN THE There are details I don’t want to admit Administration Emeriti Directors HOLE! It’s a warning. It’s not on my résumé. about my life in New York, like the fact Seth Brenzel Lynn Taylor Hebden that the nearest landmark to my first apart- Executive Director Charlton MacVeagh, Jr. I am also in an experimental microtonal Brad Evans Pamela Layman Quist ment in Brooklyn was a White Castle. Office Manager improvising band. We’re making some of Advisory Council Marguerite Ladd Samuel Adler the most exciting and interesting music There are things about my New York & Molly Pindell Martin Bresnick I’ve heard. Two violins lifestyle I don’t admit Directors of Operations Nansi Carroll (Jim Altieri and I), two to everyone. Esther Landau Joel Chadabe computers (Walden fac- Director of Development Chen Yi But… Tom Lopez Jeffrey Cohen ulty members Sam Pluta George Crumb Am I proud to be a Director, and Alexander Ness) and Computer Music Program Leon Fleisher part of a group of Mona Golabek bass clarinet (Meighan Caroline Mallonée, Lynn Taylor Hebden Waldenites living in Assistant Academic Dean Stoops) make for an Jennifer Higdon New York City? Yes, I and Director, Paul Lansky exciting and original Composers Forums am! I am in a band Eugene O’Brien sound. We’ve had a few Patricia Plude Elmar Oliveira called Glissando bin Director, Pauline Oliveros shows in New York; Teacher Training Institute Laden and his Curtis Roads we’ve got a MySpace Pamela Layman Quist Christopher Rouse Musichideen! I am a Allan Schindler page. I once met a col- Alexander Ness Assistant Director, member of Choir in Teacher Training Institute Joseph Schwantner league of Sam’s and when Leo Wanenchak John Weaver the Hole! Come hear us! It’s so much fun! Academic Dean & Director, I revealed I was in the band, her eyes Choral Program widened with admiration. We make really The Walden School fascinating music. 31A 29th Street San Francisco, CA 94110 415.648.4710 [email protected] www.waldenschool.org page 2 | Recitative Fall 2008 Walden… in Iowa?

By Brooke Joyce (YMP faculty ’00–04; performance as well as theory, “was reminded consider what Heather Armstrong, Luther’s TTI faculty ’06–08) of the virtually unlimited number of creative oboe professor (who happens to teach theory Luther College is a small liberal arts school with ways in which to teach theory and musician- and play piano on the side), says about TTI: a big music department in northeast Iowa. When I ship to students. We theorists in particular “What I appreciated the most about Walden began teaching here in 2005, I immediately recog- get entrenched in teaching patterns very eas- was the freedom to learn, express, experience nized a wonderful opportunity to share my Walden ily, and the overall TTI experience helped and create in a supportive community of musicianship training with my students and col- remind me of that variety.” When asked other creative individuals. It was something I leagues. We began doing hand over hand drills, what she learned at TTI that she’s been able needed for myself — to remind myself that improvisation activities and even an occasional to incorporate into her own teaching, she it’s okay to make mistakes, and that some- “frolic,” much to the delight (mostly) of these says, “I feel like I have broken out of a peda- the world opens up when you try new staid, polite Midwesterners. As I began transi- gogical rut with the help of TTI. I now feel things. Because of my personal experience, tioning into my new role as a Teacher Training like I have much more confidence in terms of it’s also something that has become impor- Institute faculty member, I began to talk more asking students to create and improvise, and tant to me in my teaching, both in the specifically to my colleagues about the possibility of I have tried this year to make composition/ classroom and in the studio — trying to cre- attending TTI. In the summer of 2007, three fel- improvisation more a part of my daily teach- ate an and a for students to low Luther faculty members and one former ing routine.” explore and learn freely and openly. And I try student attended TTI. A year later, they’re still But TTI is more than a laboratory for theory to show them that I’m still learning and talking about it! teachers. To remind us that not every TTI growing (and making mistakes) too!” participant is a theory teacher in “real life,” and that Walden’s musicianship curriculum When you first meet Kathy Reed-Maxfield, extends to all kinds of creative endeavors, you can immediately imagine her as a life- long Waldenite; she is one of those musicians who does it all — performing, teaching, improvising — and she does it all with cre- JCC Corner: ativity and humor. For her, Walden helped A Fateful Encounter with Mrs. C confirm some of her own ideas about music: at Walden, she appreciated “the constant Junior Conservatory Camp visitor Patricia after we’re born, we speak before being able reminder and demonstration of the spirit of Melcher Bissell’s article “Improvising to read. Why not teach students to “speak” fun and adventure and challenge in the best Attitudes” was recently published in music through musical improvisation, American Music Teacher, a publication of the including playing songs “by ear,” before “I feel like I have broken out of a Music Teachers National Association. Even learning to read notes? Authors William pedagogical rut with the help of TTI.” though Bissell was not a camper — she Anderson and Joy E. Lawrence state: attended camp just briefly one summer — — Amy Engelsdorfer (TTI ’07) Children should be able to physically feel she found herself transformed by working and respond to musical stimuli before being with Grace Newsom Cushman. As you will asked to identify such stimuli on a cogni- clearly see, she has framed her teaching way that is the essence of music making.” tive level. Such an approach to musical around the principles she learned that sum- She also picked up on the “fun ways to drill study clearly parallels the pedagogical mer, and continues developing the ideas in stuff, often while improvising at the same principle of sound before sight. her own work. Her substantive article can be time; my classes have especially had fun The summary read in its entirety in the magazine, or at playing ‘telephone.’” The importance of improvisational keyboard www.encyclopedia.com/doc/1G1-172292052.html. skills of 17th- and 18th-century Europe Marie Palmquist is another of those people Here are some highlights: who, had they known about Walden as a gave way to technique and interpretation in child, would have come to Walden every the 19th and 20th centuries. However, it summer. For Marie, TTI was about the com- The opening was central to some groups of American munity: “I learned that tight-knit artistic I always enjoyed improvising on the piano colonists in their religious hymns, as well as communities can flourish in many settings, as I was growing up in a small town near a African-Americans in their folk and spiritu- and the most exciting thing was to be in farming community in western New York al songs and development of jazz and gospel such a supportive and collaborative place State. However, when I took piano lessons, music. In addition to being one of the with other educators and musicians and com- this creativity was discouraged. According National Music Education Standards, the posers.” As a senior about to begin her to my teachers, there was only one right importance of music improvisation today student teaching semester, she has “already way to play the piano: from the written can be seen by thousands of online entries incorporated much of what I learned at TTI notes. “Good” music meant only notated on the subject. And, jazz improvisation is into my hands-on education classes and music… Throughout my musical studies recognized with the many college courses practicums. I was introduced to a method of and professional career, I have constantly and workshops offered in this subject, as discovery learning that values student- heard music teachers express negative atti- well as in the popularity of jazz performers teacher dialogue, letting students become tudes towards improvisation and throughout the world. motivated by what they can discover. improvised music, such as jazz. Enjoy making music without notation. Let Introducing third graders to some essentials Why improvise? your students experience the joy of improvis- of sound and music with Bach, John Cage, ing on the musical keyboard from the very The word improvise is defined as “to invent, and Paul Koonce was really exciting.” (Note first lesson. compose or recite without preparation… to to you computer music folks out there — yes, she did make or do something using whatever you Reprinted from American Music Teacher, play Paul Koonce’s music to a class of third graders!) have or without arranging it or planning it Volume 57, No. 3, December/January Luther faculty member Amy Engelsdorfer, in advance.” One could say to improvise 2007/2008, with permission of Music Teachers who teaches theory and ear-training and has means to “make it up as you go along.” We National Association. a background in music education and flute improvise when we speak. For several years

Recitative Fall 2008 | page 3 Walden Partners with PRISM and ICE

by Esther Landau Marathon Rehearsals generation of players and our generation of For PRISM saxophonist Matt Levy, the com- composers.” More than half of ICE’s concerts Every year at Walden, one graduating senior missioning process creates excitement for the are free and open to the public, and 80% of is selected to compose a work for PRISM new work, and a returning admiration for what the 400-plus world premieres the group has Saxophone Quartet; and starting in 2006, we happens at Walden. The commission also given in the past six years have been by com- launched a similar project with the means three consecutive days of 10-hour posers under the age of 30. ICE’s Executive International Contemporary Ensemble. The rehearsals on a series of intense weekends. “Our Director Claire Chase (WS Visiting Artist PRISM Quartet commission includes a pre- first rehearsal weekend is for just understanding ’05–08) says: “We’re deeply committed to miere performance and the the work, and for figuring nurturing the next generation (Walden’s gen- ICE commission results in a “We view Walden as a really out how to prepare it for the eration!) of young talents. We’re living in a professionally recorded read- magical place unlike anything next group of rehearsals. very exciting time right now, a time in ing of the new work. we’ve ever encountered where Then, over the course of three which the lines are blurring between com- These commissions mean dif- at a very young age you have weekends, we try and make posers, performers, improvisers and ferent things to everyone who an opportunity to explore, the piece our own.” organizers, and a time in which we all have participates in the process. develop your artistry and your an extraordinary opportunity to create our compositional voice — it’s Levy says it’s different work- own creative paths and career paths.” Inspiration spectacular.” ing with student composers For 2007 PRISM commis- versus professionals — and Describing the ensemble’s work with 2007 sion awardee, Torrey Cheah, — Matt Levy, PRISM Quartet students, too, can be at very commission awardee Andrew Barnes being selected was a surprise. different stages in their Jamieson, Chase says: “Andrew was terrific “There were so many incredible composers studies. Younger students tend to write in a to work with — totally prepared, profession- studying at Walden, and I felt like my gradu- more conventional way — they don’t call for al, and a delight in all ating class had more than its fair share.” She extended techniques that doctoral candidates stages of the process. It’s continues, “I was very happy with the way it or students at conservatories might explore. always a joy for us to see turned out — and especially with how beau- But he feels it’s appropriate that younger a young composer rise to tifully Prism interpreted the piece. It was an students should start with the basics. the occasion of a profes- incredible opportunity, and I’m very grateful sional environment, and Considering what makes a “good” saxo- to Prism and Walden for it.” Andrew did just this. He phone quartet, Levy says: “We’re not biased was incredibly insightful Her work, and yes I said yes, grew out of in any way; we play some quartets that are and helpful in the Torrey’s interest in James Joyce’s Ulysses. “It’s very tonal, others that are dissonant and Torrey Cheah rehearsal process and in very complex writing, but even though it abstract. I think that like any other chamber the studio. We love it when a composer can be really technical and esoteric, it can work, when a piece truly develops an idea in knows what he or she wants, and can articu- also be extremely moving and personal. I an organic but unpredictable way, it is very late it! One of the many great things about took the phrase “his heart was going like satisfying. Coming up with the building Walden is that the summer experience really mad and yes I said yes I will Yes” from the blocks and motivic material is one thing, but prepares young composers to use their time last chapter — the Penelope chapter and to develop it over time is another. It really well in rehearsals, and to talk to performers Molly Bloom’s monologue — and used the speaks to a student’s ingenuity and creativity, in a helpful, respectful, inspiring way. I have pitch contour of the words as a starting point how they can make their composition some- some graduate students that could learn a for my piece. and yes I said yes is about the thing that has meaning and depth. That’s thing or two from Walden students about journey from thought to thought, and loyal- where a great teacher comes in, in helping a this area of expertise!” ty to first one gesture, then another. student achieve their vision, by always ask- Eventually, the two gestures learn that they ing the student ‘Is this all? Have you truly Building Community can coexist, building upon each other to cre- fulfilled your idea?’” As all Walden and Junior Conservatory ate complexities, conversations Camp alumni can testify, there is tremendous Supporting Young Composers and arguments, only to ulti- benefit to writing a new work for musicians Levy goes on: “The Walden pieces mately return to the you know, at every stage in one’s career. The we’ve premiered have really been a beginning.” conversation and support flows in both direc- hit with our audiences. And some of tions. Claire Chase recognizes the value of Openness and the students we’ve worked with cultivating these symbiotic relationships, Communication have gone on to gain real promi- encouraging young composers to bring their Andrew Barnes Jamieson, the nence; we’re happy to help them Walden learning into the rest of their musi- 2007 ICE commission awardee, forge their careers. At Torrey cal lives: “Foster mutually beneficial was equally pleased with the Andrew Barnes Cheah’s premiere, we were also relationships with like-minded musicians, quality of playing in the Jamieson playing a quartet by Martin ensembles, and organizers. Composers need ensemble, even from the first Bresnick, who was present for the performers; performers need composers. reading of the piece. “It was already where I performance. He got up and reminisced Write pieces for your performer friends; learn would have expected a professional ensemble about being in Torrey’s position many years from them and soak up every second of the to be after a two-hour rehearsal.” Although ago, and talked about his current role as a process. Take risks and have fun!” his work didn’t require any compositional mentor. He spoke of how gratified he was to changes, Andrew came away from the experi- hear her having this opportunity also. He These “mutually beneficial relationships” are ence with a deeper understanding of some grew sentimental in considering her work.” what Walden is built on. After 36 years of technical issues in ensemble writing. His honoring, inspiring, challenging, and sup- Our other student-commissioning ensemble, advice to other composers working in a simi- porting young musicians, we are pleased to ICE, is “a group of young musicians who are lar situation is to have a good idea of what partner with PRISM and ICE in offering passionate about the music of our time, who you want from the beginning. “Anybody these two commissioning programs. They are are interested in creating new ways — dis- who’s playing your music will be asking you a natural extension of something Walden tinctly 21st century ways — of presenting questions. There will always be things you students experience every summer, and we this music, reaching new audiences, and fos- hadn’t thought about, and it’s good to be open look forward to many future collaborations tering mutual understanding between our to that.” and world premieres. page 4 | Recitative Fall 2008 Learning Community (Or, what I did on my summer vacation.)

By Seth Brenzel nearly a dozen members of our Young Dahlia Bolaños (the daughter of Walden’s Musicians Program 2008 faculty, commit- nurse), got into the act, and was learning to This past summer, during our board’s annual ting themselves to sing along with the chorus by the meeting, all of us learned to sing Be Grateful learning and re-learn- end of the program. and Don’t Be Wasteful, a blessing composed by ing material they had Walden alumnus Leland Kusmer. (I have partici- What makes such a learning just taught. (Weren’t pated in other boards, but none of them have had community sustainable is that, in they worn out from singing as part of their agenda!) The act of fact, one is never “done” with the the past five weeks of singing and learning something new together rep- musicianship course. One is never teaching?!) Here were resented what I have come to realize is inherent in done with the overtone series, or several very experi- the Walden experience: we are a community of pas- cycles, or modes, 9th chords, enced private sionate learners. intervals, or the principles of instrumental teachers discovering the over- musique concrète. Through the constant cycle tone series — again. Here were college of discovery, drilling and practicing, and students, having spent their whole year then creation, a musician’s understanding of immersed in courses in aural skills, theory musical materials can always be deepened — and composition, now learning about the in fun and infinitely engaging ways. pentatonic modes and moving away by 3rds. And there I was, listening to Leo In both programs, musicians Wanenchak demonstrate the dif- come to Walden to explore ference between the piano’s their creativity, through “perfect” 5th and the human improvisation and composition. voice’s perfect 5th; while I had That is why I often refer to In August, I found myself back in a music learned this before, it nonetheless Walden as a community of cre- classroom again for the first time in many came alive for me yet again in that atives. But I now see that years. There I was, studying with some of classroom this summer. There we another essential element of the same teachers (including Pat Plude and were — teachers — drawn to learn Walden is that all involved — Pam Quist) who new approaches for teachers, students, and even had laid the musical teaching familiar administrators — participate as foundations for me material, eager to learn learners, and we do this together, when I myself new material, and pas- in community. attended Walden sionate to learn new ways of back in the 1980s. inspiring students. Had I not learned In other news… While TTI launched five years what I was sup- ago as a separate program, the I wanted to take this opportunity to posed to those many training of teachers has been part acknowledge Ruth Franklin for her six years years ago? Had I of Walden’s flagship Young of service as a Walden board member. Ruth been sent back to Musicians Program from the very beginning; and I went to Walden together many years repeat musicianship classes and learn my YMP teachers commit themselves to an ago, and it was a joy to work with her these hand-over-hand drills over again? intensive teaching workload and a program past years in her capacity as secretary, chair of No, in fact I had chosen to be there. And of apprenticeship where our senior faculty the Planning and Program Development what an amazing experience it was for me to (Tom Lopez, Pat Plude, Leo Wanenchak and Committee and as a member of the board’s be able to sit in the classrooms of these mas- Pam Quist) provides guidance and consulta- executive committee. She was instrumental ter teachers, now in the context of Walden’s tion throughout the summer. Indeed, it is in our recent adoption of a five-year strategic Teacher Training Institute (TTI). My fellow this modeling of teachers as learners that plan that is guiding the work of the board students (aka music teachers) formed a won- keeps our programs vital. and the School, and her contributions are derful community of creative musicians, many. Thank you, Ruth. spanning an age range of 18–63. We went to And I also wanted to welcome Laura Mehiel class, did our drills, sang, composed music, back to the board of directors. After a one- hiked Mt. Monadnock, and explored the year hiatus, she has rejoined the board and ways we would teach the materials presented serves this time on the Development and in class in myriad teaching situations. I, for Nominating & Governance Committees. one, left the week awed by the material, the Since 1994, Laura has served almost continu- manner in which it was taught, and by the ously on the board of directors of the School. collective sense of joy and discovery that We are lucky to have her back, to be sure, swept over the program’s participants. As I’ve come to expect, the 52 young people and I am looking forward to her continued What struck me about the week perhaps who participated in Walden’s 2008 Young contributions to Walden. more than anything, however, was the way Musicians Program came that the community formed not only around together once again to form a teaching, but also around learning. Here were learning community. I was continually impressed by how returning students would men- tor and encourage new students to learn our many tra- ditions, how all of our students committed themselves to learning in their classes and in chorus, and by the joy in learning new things that was present throughout the sum- mer. Even one of our youngest, two-year-old

Recitative Fall 2008 | page 5 News and Goods

The Walden School welcomes news and information from members of the Junior Conservatory Camp and Walden School communities to include in our print and online newsletters. News may be sent via mail or email. We will publish your contact information only if you specifically request that we do so. Please send info to [email protected] or The Walden School, 31A 29th St., San Francisco, CA 94110. We reserve the right to edit submissions and regret we cannot publish all information provided. For more news and event listings, go to www.handoverhand.org. After working for several years at a top tier Chanticleer premiered my new composition The International Contemporary consulting firm (and designing jewelry on The Homecoming: In Memoriam Martin Luther Ensemble (with Claire Chase, WS Visiting the side) Karen (Wu) Audi (WS ’79, ’81) King, Jr., commissioned for the 40th anniver- Artist ’07–08) welcomes new member and a friend created Aha! Chinese, a program sary of Martin Luther King’s death.” Shawn Nathan Davis (WS Visiting Artist to teach children how to understand and Crouch (WS ’93–94, ’96; staff ’97; faculty ’01–08). ICE presented an entire program of speak Mandarin. There are games and edu- ’99–07; TTI ’08) also received a commission Davis’ work in April in New York. The cational activities at the site: from the vocal ensemble and looks forward to pieces on this program were the fruits of www.ahachinese.com. Karen has an MBA from its world premiere in March. Nathan’s close collaboration with several The Wharton School of Business and a ICE musicians, featuring the world pre- Violinist Miranda Cuckson (Visiting Artist Ph.D. in Analytical Chemistry from Duke mieres of a piece for solo marimba and a ’08) recently performed a program of new University. She says, “My two summers at mixed quintet. music at Mannes College; her colleagues Walden were some of the most magical ones included pianist Blair McMillen (Visiting Andrew Jacobs (WS ’85–90; Board of my childhood.” Artist ’01–02). Centaur Records just ’05–08) is currently Chief Operating Officer Lydia Brindamour (WS ’07) and family released a CD of Miranda performing works and General Counsel of Hutchin Hill visited Oberlin in the spring, where Lydia by Donald Martino. She’s also performing Capital, LP, based in New York City, where met Michael Rosen (WS ’04–05) and Kate all the Beethoven sonatas at Madison he lives with his wife Kathy Park. Ettinger (WS ’03–05), and heard a choir Avenue Presbyterian Church in recitals in Alex Kazenoff (WS ’05) just began his fresh- piece by Meade Bernard (WS ’02–06). January and March. Check the events calen- man year at the Berklee College of Music. Meade’s program notes attributed “all this dar at www.handoverhand.org for details. compositional grace to Walden School, a This fall, Ha-Yang Kim (Visiting Artist Nick DeMaison (WS faculty ’04–07) has small piece of paradise in Dublin, NH.” ’01–07) will be touring with Meredith moved, saying: “It seems that the time is Monk and Co., performing Monk’s Songs In the spring, Ann Callaway (JCC ’65–67; almost right to abandon the south left coast of Ascension in New York, Stanford, and WS faculty ’74–76, ’78–84, ’99) finished a and move back to the center of the . Los Angeles. commission for the 25th anniversary of the Having completed my doctoral exams here San Francisco-based Composers Inc. It’s a in San Diego, I’ve decided to jump ship Tom Lopez (Walden faculty ’99–01; admin- trio for horn, violin and piano and is enti- while the jumping is good, and head for istration ’01–08; TTI faculty ’05–08), tled Ballade. New York.” recently received a 2007–08 Oberlin Teaching Excellence Award. This award rec- Amy Catlin-Jairazhboy’s (JCC ’61–65; fac- Carol Thomas Downing (WS faculty ognizes commitment to excellence and ulty ’63–65) recent projects include new ’82–86, ’88–94; visiting artist ’05) ran innovation in teaching. Tom is Associate titles available on her website on subjects Fiddle Camp again this summer in Norfolk Professor of Computer Music and Digital ranging from the Goddess and Pakistan to for a week in July. She also sends a YouTube Arts at the Oberlin Conservatory and director Rajasthani puppetry. The website is: link of her student fiddler and tin whistle of the school’s Contemporary Music Division. www.apsara-media.com. group performing at a festival: www.youtube.com/watch?v=11NmaWqCspg Monica Lynn (TTI ’04–06) had her doctor- Chanticleer, an award-winning men’s vocal al composition recital in mid-May at UC ensemble based in San Francisco, has made Arno Drucker, Walden supporter and father Santa Cruz. The concert included Monica’s two Walden connections of late. David of David Ducker (WS ’77–78, ’82; faculty new works for Western instruments, the Conte (Visiting Artist) writes: “In September, ’84–86, ’88; board ’98–05), recently received Chinese gu-zheng (table harp) and the the Johns Hopkins Heritage Award, an Japanese koto. Malcolm Gaines’ award honoring alumni and friends of Johns Hopkins University who have contributed Caroline Mallonée (WS ’87–92; TTI ’07; Key Lime Pie outstanding service over an extended period staff ’96; faculty ’98–08; administration to the progress of the University or the ’06–08) is looking forward to counter)induc- activities of the Alumni Association. tion’s performance of her work Throwing 1 store-bought graham cracker crust Mountains at Tenri Cultural Center in New 1 can sweetened condensed milk Thomas Hecht (WS ’78; faculty ’82–84; York City on October 12th. 3/4 cup key lime juice (Regular limes work visiting artist ’00) directed a Summer Piano as well. I use a bit more for extra tangi- Institute in Singapore this year. The week- In April, Ned McGowan (Visiting Artist ness.) long program of master classes and recitals ’01–04) performed the premiere of 3 large egg yolks (4 if you want a more was for young pianists of all nationalities Bantammer Swing, his new concerto for custardy texture) between the ages of 14–17. contrabass flute, with the American fresh whipped cream Composers Orchestra at both Carnegie Hall Ellen “Pogo” Hoffman (JCC ’60–67) and at the Annenburg Center for recently celebrated the 10th the Arts in Philadelphia. His anniversary of the Berkeley Preheat oven to 325 degrees. Using a hand band, Hexnut, will perform at Broadway Singers, a 75-member mixer on medium, combine egg yolks and Paradox in Tilburg (Netherlands) community chorus she founded. condensed milk in a large bowl until well in December. mixed. Add lime juice a little at a time and They performed music from The continue to mix for three more minutes. Follies and Kismet, as well as jazz The 2007 recipient of the Pour mixture into crust and bake for 22 and other popular favorites at two ASCAP Foundation’s Irving minutes, until the middle is firm. Remove concerts in mid-April. The Singers Berlin Family Fund Award at from oven and cool completely. When ready then performed with the Oakland Walden, Mackenzie Melemed to serve, spread whipped cream on top. Yum! East Bay Symphony and guest star (WS ’06–07) performed at the Rita Moreno. Mackenzie Melemed ASCAP awards ceremony in page 8 | Recitative Fall 2008 News and Goods (continued)

December in New York. He also recently As a part of their class, Women in Music, assortment of pianos, organs, synthesizers, placed second in the Concord with instructor Marie-Louise Catsalis, stu- guitars, basses, harp, sitar and singing (Massachusetts) Concerto Competition. One dents had to create a brief video bowls, as well as programming drums, per- of the judges turned out to be Richard presentation on a composer whose music cussion, tabla, banjo, fiddle, and Tibetan Pittman (JCC faculty ’60). would then be heard in concert. In Pam’s temple blocks.” case, the video was of an interview conduct- Brendan Milburn (WS ’88)) recently col- Bob Weaver (JCC ’56–63) writes: “I ed by Leslie LaBarre, a freshman laborated with his graduate school caught up with Ruth (Young) McGuire composition student of Pam’s this year. classmate, David Javerbaum on WATT?!?, (JCC ’50’s–60’s) in Vienna, Austria, by Pam’s featured works were her Romanze for a show about the life and times of James phone recently. In 1962 she moved to horn and piano, and “Pie Jesu” from Watt (Secretary of the Interior during Austria and has been making music in Requiem for the People. Reagan’s presidency). Javerbaum is the head Vienna ever since. She has 8 writer/executive producer of the Daily Show. Alicia Rabins’ (WS ’88–93) children, 6 of whom have band, Golem, recently toured doctorates and the other two Jonathan Miller (WS faculty ’01–02) has with the Walkmen. They played of whom have earned masters been musically quite busy. “I’ve been happy in Washington, DC, New York, degrees. Ruth was organist at to compose everything from horror film Toronto, Montreal, Chicago, two churches in Vienna, one music to trip-hop to industrial — and every- Michigan, Columbus, and final- for 17 years, and the other thing in between.” His work can be heard ly at the WEMA Fest one for 19 years. She retired on the sound tracks for on the in Springfield, MA. in 2000 from that and has , Greenovate on TLC, Flip Golem concentrated on composing That House! on TLC and Discovery Home. Leah Reid (WS ’99–00) is since then.” attending Stanford University’s graduate Loretta Notareschi (WS staff and faculty program for composition. Asa Williams (JCC ’70–72) had one very ’97–05, ’08; TTI ’08) had works performed Walden/JCC-rich weekend this spring. several times in the Bay Maria Shao (TTI ’06–07) has accepted a After attending an Atlanta Symphony con- Area in May. Santa Clara position as music teacher for grades K–6 at cert with guest conductor Hugh Wolff University presented her St. Nicholas School in Los Altos Hills, CA. (JCC ’72) Asa writes: “I met Hugh last Love Songs on texts by e.e. Maria also graduated with an MA in night for the first time in 34 years. He still cummings, and the Pastoral Ministries, with an emphasis in looks like Hugh of old. And yes, his hair is Sacred and Profane Liturgical Music from Santa Clara still red. He talked about his three boys, his Loretta Chamber Chorus pre- University in June 2008. wife (a harpist by the way), a bit about JCC, Notareschi miered her Italia Mia Gregory Shiff (WS ’96) updates us: “My and his forthcoming move to Boston.” He (with text by Petrarch) in wife Deborah and I spent the summer of ’06 continues: “I heard from Tamar Bloch this Berkeley and San Francisco. in Spain and had this great, really creative morning via email. While responding to Tierney O’Brien (WS ’03–05; staff ’08) is at time. When we landed back in New York her, Arturo Salinas called me from Mexico. the University of Delaware, where she was on that fall, I was really charged up with and Now you wrote. Thank you all for making the dean’s list last spring. She plays with the had composed a lot of great music. And this a very pleasurable weekend.” orchestra, the wind ensemble, after working with a variety of William Wisnom (WS ’97–98) currently a wind quintet, and the small independent labels over serves as organist and choirmaster at marching band. Her mother the years, I yearned for more Memorial Episcopal Church in Baltimore. reports: “The band had its control and wanted to do a Bill was a piano student of Carol Prochazka annual banquet, and Tierney larger scale project. Thus, The (JCC ’72; Walden faculty ’76, ’78, ’81, was named one of the out- Vacationist was born. The first ’83–84, ’92, ’95–97) and an organ student of standing rookies. She is four releases on the label com- Leo Wanenchak (WS faculty ’77–81, having another great semester, prise a concept series. These ’83–84, ’89–93, ’95–08; administration which includes her continued four EP’s each feature frag- ’99–08; board ’04–08; TTI faculty ’05–08). studies in music composi- ments of Deborah’s text online tion.” Tierney served on staff Gregory Shiff (www.TheVacationist.net), on Hugh Wolff (JCC ’72) has been made at Walden this summer. the 12-inch jacket, and in the Director of the Orchestral Program at New other promotional material. Individually, England Conservatory. Wolff’s upcoming Nat Osborn (WS ’00–03) just graduated the texts are quite abstract, but taken performance with the NEC Symphony from Skidmore College, where his senior together, the narrative begins to Orchestra on October 22 composition recital included jazz, a string emerge. The first record came will feature works by quartet and a performance by his rock band, out at the end of ’07, and at the Messiaen, Schumann, The Free Radicals. They have released end of May we released one remix Prokofiev and Berlioz. an EP available through CD Baby: of the first EP each week at http://cdbaby.com/cd/nofreeradicals. Sarah Ye’s (WS ’01–05) Beatport.com’s online store, fol- mother reports that Sarah Joo Won Park (TTI ’05 with certification) lowed in the first week of June by just finished her first year at writes: “I have accepted a job offer from the next part in the series “The Brandeis. “She returned to Community College of Philadelphia. As an Ventriloquist & The Mime” by Beijing for the summer to Assistant Professor, I will be teaching music myself and the Scandinavian intern for two months as a technology and music theory classes starting composer Robin Crafoord. research analyst for a think this fall. Hugh Wolff Josh Taylor (WS ’89–92) writes tank examining non-tradi- In May, Pamela Layman Quist (WS & TTI of his work on a recent production of tional security issues that may impact faculty and administration ’68–06) was fea- Godspell in Gaithersburg, Maryland: “I US-China relations, before completely tured on a concert series at Santa Clara directed the music and also recorded and switching gears and becoming an intern for University focusing on women composers. tracked all of the arrangements, playing an continued on next page

Recitative Fall 2008 | page 9 News and Goods (continued) continued from page 9 All are doing well. In August, the family Celebrations of Walden the US Olympic Committee for the month moved to Austin, TX where Caroline joined Several spring events brought together of August and the Beijing Olympics. the music faculty at the University of Texas. alumni, parents and friends in the New Somewhere in all this, she also found time Grandparents Mary Anne O’Meara (JC York and San Francisco areas. For Cody to continue her Arabic language studies and ’62–65; board ’99–01) and John O’Meara Wright and Maho Nabeshima-Wright, to keep up with her baking.” (board ’04–08) are also doing well. April 20 was the date of their debuts at Carl Roskott (JCC) Carnegie’s Weill Recital Hall in New York. Transitions passed away in June. Friends gathered for Italian food beforehand Major Life Events in Carl was for many years and then went to hear Maho’s collaborative the Walden/JCC Family Music Director and recital with flutist Margaret Cornils; the Conductor of the program featured a premiere by Cody. Fall 2008 weddings of Waldenites include: Charlottesville and Waldenites present were: Seth Brenzel, Shawn Crouch (WS ’93–94, ’96; staff ’97; University of Virginia Amelia Lukas, Oliver Kisielius, Cara faculty ’99–00, ’02, 05–07); Renée Favand Symphony. Pam Quist Haxo, Anne Haxo, Shawn Crouch, (WS ’85, ’87–90; faculty ’93–97, ’99, writes: “One of my Carl Roskott Renée Favand, Danielle Oberdier, and ’05–07); and Russell Nadel (WS ’00–01; fondest memories of Rita Mitra. TTI ’05–06). Carl was taking a Peabody graduate class One week later in Menlo Park, CA, Teresa alongside him and Hugh Wolff. It was a New children in McCollough hosted a Walden event, and also class on 20th-century music with Robert the Walden family provided a live musical program, along with Hall Lewis in which the three of us came to include: Cyrus Tom Colohan and David Dueñas. Guests the conclusion that ALL early 20th-century Alexander included Pat Plude, Seth Brenzel, Esther music could be reduced to motivic cells of Brenzel, born to Landau, Brad Evans, Katherine Cooke, minor thirds and half-steps.” Please send Jason and Emma Eisenberg, Marshall Bessières, your memories of Carl to alumni@walden- Neathery Ruth Rainero, Michèle Sharik, Steve school.org for inclusion in a commemorative Brenzel (WS Astle, Pam Quist, Cody Wright and Maho article on the alumni website. ’84–89) in Nabeshima-Wright, and many others. August; Eleanor Major Jonathan Weaver, son of John and On May 3rd, alumnus and board member Eleanor Love Love Chesney, Marianne Weaver (John: JCC faculty Andrew Jacobs and his wife Kathy Park Chesney born to Chris ’51–68; Visiting Composer ’97; Advisory hosted a fundraiser for Walden at their home Chesney and Sarah Cornog (WS ’83–89) in Council ’02–08; Marianne: JCC ’66–68), in Manhattan. Guests included Seth Brenzel, August; Amelie Akiko Wright, born to was killed in a traffic accident in Missouri Alex Ness and Shawn Crouch, and many Cody Wright (faculty ’00–04, visiting in July. Jonathan, 36, was travelling to visit others. Gabriel Jodorkovsky provided jazz artist ’07) and Maho Nabeshima (TTI ’06; friends and family before deployment to the piano music for part of the evening. Jed visiting artist ’07) in June. Persian Gulf. An excellent musician, McGiffin (WS ’89–92; TTI ’05) and his Jonathan sang all his life. A memorial serv- girlfriend Megan Meagher were responsible ice was held at the church that Jonathan and his wife, Meredith, attended in Leavenworth, Kansas. John played the serv- ice, Marianne played two flute pieces, Bob Weaver sang John’s Psalm 23, Bob and Anne’s daughters Cindy and Debbie read scriptures, and Jonathan’s sister, Kirianne (Pastor of the Presbyterian Church of Isaac O’Meara Traub with Northville, NY) preached the sermon. mother and grandmother Del Sol String Quartet Caroline O’Meara (WS ’88–95, staff ’98) delivered Isaac O’Meara Traub on May 2nd. for all of the delicious food and drink, and for making the event a wonderful success. Creative Music Training in Beautiful New Hampshire A resident of both San Francisco and Dublin, New Hampshire, Walden friend The Walden School Peter Pap hosted an event at his rug gallery in San Francisco on June 1. Among Save the Dates the many guests were were Seth Brenzel, for Summer 2009 Malcolm Gaines, Pat Plude, Leo Wanenchak, David Ruschke, Paul Young Musicians Program Nauert, Leland Kusmer, Brad Evans, June 27 to August 2, 2009 Esther Landau, Kat Thompson, Krisjana Thorsteinson, Marshall Bessières, Sarah Summar, Susan Rosen, Michael Rosen, Teacher Training Institute Ilana Rainero-de Haan, Ruth Rainero, Summer Intensive Ellen Hoffman, Cliff Reilly, Sabrina August 4 – 11, 2009 Wise, and Hunter Jones (WS ’07–08), whose work Books and Tables was performed Contact us if you’re at the event by the Del Sol String Quartet interested in applying. (Visiting Ensemble ’06). www.waldenschool.org (415) 648-4710 [email protected] page 10 | Recitative Fall 2008 The Play Is the Thing: A Profile of Nathan Felde (JCC ’63–65) By Esther Landau playing on a violin strung and tuned a fifth Robot Attack!!! As the Director of Development for Walden I lower. He didn’t get a proper viola until the spend a great deal of my time making heart- 8th grade. (continued) felt requests to foundations and individuals After attending JCC, Nathan went to for their support. It is extremely rare for a gift Interlochen for a semester and then to the continued from page 1 to come in completely unsolicited. And yet Musikk-konservatoriet in Oslo, Norway, device is that there is no way to pass a con- that is exactly what happened on December where he studied with Eillef Gunstrom, stant number to the computer. No matter 19th, via email. Near the end of the work day, Principal Violist in the Oslo Philharmonic. how still you hold your finger, the number a message from Junior Conservatory Camp After beginning his studies at the School of being passed along to alumnus Nathan Felde appeared without fan- Music at the University of Louisville in the computer is con- fare in my inbox. It read: Kentucky, he took an elective course in design stantly changing, Esther, and got hooked. He switched his major to though perhaps hover- I am contemplating the donation of a fair- design and the rest, as they say, is history. ing in a general region, ly fine viola to the Walden School to Currently a designer and professor of design very similar to a cellist obtain a tax benefit for 2007. It was pur- at the Art Institute of Boston at Lesley bowing a single note chased in 1988 and is in perfect condition. University, Nathan lives in Newburyport, on the cello — almost It is a copy of a great old Dutch viola Massachusetts. constant, but not Sam Pluta playing the quite. In this way, the made by Steven Reilly of Guarneri House When Nathan bought his most recent viola, MEAPBook amount of information in Grand Rapids, Michigan. he felt fortunate to have obtained a great passing between the performer and the com- Since this was very close to the end of the instrument, even if it was later in life. “It puter is exponentially higher with the tax year, we swung into action. Having was a wonderful copy by Steven Reiley and MEAPBook than with a MIDI keyboard. never received an in-kind gift of this sort, Steven McCann of a great old Dutch viola. we had some quick learning to do, but learn It was the instrument I wished I had had Composers can now easily and inexpensively we did. Nathan was able to quickly secure a when I was a student. But, as it turned out, build mechanical instruments to replace professional appraisal of the instrument so I did not play it enough in the most recent samples. Kinetic sculptor and robot builder that we could process the donation and issue years to justify owning it, and it seemed Doug Repetto says, “Robotics and custom him a receipt. that to sell it was not as significant as electronics have gotten much more accessible to Then commenced the Great donating it to The Walden School. Its value non-specialists. A high school or middle school Transcontinental Viola to Walden, which carries student can get started in robotics with surplus Airlift of 2007. By happy on the traditions of the equipment for less than $100.” For example, coincidence, Walden’s Junior Conservatory the development of the Arduino platform has Executive Director Seth Camp, and where I made microchip control for robots accessible to Brenzel had plans to pass learned so much about anyone and books like Nic Collins’ Handmade through Boston over the music that I would not Electronic Music have introduced a whole new New Year’s holiday, so have otherwise known, generation to the art of hardware hacking. Nathan, a resident of nearby just seemed greater.” My group exclusiveOr built a mechanical drum- Newburyport, was able to The decision to donate mer out of old hardware relays (electro-magnetic meet with him at a café for “I hope this donation to The Walden the viola was both diffi- switches) that we found in the basement of the the handoff. School is fruitful and serves as a small cult and easy. “There were Computer Music Center at Columbia. The JCCers of a certain era will gesture of my appreciation of the time moments of doubt, and it instrument replaces the drum machine and undoubtedly recall the I spent at the Junior Conservatory was clearly an emotional sounds much better because it is mechanical, Feldes — Noel, Sylvelin, Camp and lately at Walden.” decision — tempered thus making the sound in the physical world, Nathan and Marcus — play- with some good reason. It not the digital domain. The instrument also ing in a quartet that regularly performed was also quite amusing to meet Seth Brenzel looks cool (it has all kinds of wires coming off of student works. In what may have been the on a Saturday morning in the Italian North it), the audience can see it move when a sound is slowest formation of a string quartet in End of Boston at Mike’s Bakery carrying a made, and it also functions as a video mixer/con- recorded history, the Felde quartet was built ‘violin case.’ It caught a bit of attention and troller. This means our video display is synched organically, sibling birth by sibling birth. did seem a bit like a scene out of a movie.” up to our drum sound, adding an additional As Nathan explains it, “It followed a natural When asked if he would recommend this level of audio-visual interaction. order of the first child [Noel] playing first type of donation to other alumni, Nathan In the last few years, there have been amazing violin, the second [Sylvelin] playing cello, replies, “Absolutely. It frees up possibilities advances in human-computer interaction. In myself on the viola and my younger brother for everyone and just creates more music on addition to this, robotics and hardware hacking [Marcus] playing second violin. Of course, earth. And for musical instruments, after all, have become cheaper and easier than ever eventually there were three younger siblings ‘the play is the thing.’” before. People often ask me what instrument I [cellist Byron Luke and violinists Jon play. When I say “the laptop” they usually look “Rocky” and Gloria]. The last two were at me funny and ask, “No, really, what instru- If you or someone you know might be inter- noted for playing a movement of Bach’s ment?” I can only imagine what will happen in ested in making a similar donation, please Double Violin Concerto with the rest of the the future when they ask my robot and he contact Esther Landau, Director of Feldes when they were in grade school. responds, “I play the drums.” Development, at [email protected]. Nathan began music lessons when he was in YouTube is a rich resource for those wanting to the fourth grade, at the same time the fami- know more about electronic music and musical ly quartet formed. At the time he was too robots. If you want to explore the topics and people small to play a full-size viola, so his teacher, mentioned in Sam’s article, including exclusiveOr, Joseph Firszt in Berea, Kentucky, had him Nic Collins, Wii (SuperCollider or Max), Arduino, and MEAPBook, do a search on www.youtube.com.

Recitative Fall 2008 | page 11 Alumni Spotlight: James Athey (WS ’97–98) by Esther Landau girlfriend, Jillian; he’s a software developer for Tresys Technology in James Athey’s two summers at Columbia, Maryland, where he works Walden couldn’t have been less similar. on computer security products. He Composing that first summer was a keeps his hand in music, though; he’s real challenge for him. He hadn’t done been studying with a voice teacher, any significant work in composition and he recently went to a songwriting before that point. He recalls, “I strug- seminar. And he’s well set up at home gled to get into the right mind set, with what he calls a “modest musical produce enough material, and main- rig;” a synth, a Mac with a big screen, tain a focus on a particular track.” He and firewire sound block. felt that the piece he wrote for Festival Week that year was kind of disjointed, James says, “When I was a teenager and he was aware of other student’s going through it, Walden seemed work sounding strong. The following terribly, terribly profound. As an adult summer was the polar opposite; James I’ve had to remind myself what was so had found his focus. He remembers important about it — I think it was people who had known him the previ- the intellectual independence. I don’t ous summer complimenting his think teenagers are given much of a musical development. In some way, chance to be intellectually independ- Walden provided the crucible for ent; you’re given an assignment for James to mature as a musician. As he school and you’re given structure and puts it, “It’s like I needed that really instructions. Then you get to Walden, hard experience.” and no matter whether you’re 9 or 18, the teachers give you some tools and After Walden, James attended Yale, then put the ball squarely in your where he spent lots of time singing court. And that’s tremendously and taking music classes. He covered exciting for a young person.” nearly enough requirements to major in music, but in the end completed his degree in computer science. He now lives in Washington, DC with his

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