Ledger Lines SCHOOL of MUSIC and DANCE
November 3, 2006: Ceremonial groundbreaking for the additions to the music building. See story, page 3.
NEWSLETTER for ALUMNI & FRIENDS February, 2007 Vol. XIX, No. 1 Ledger Lines UO High School is the biannual newsletter of the University of Oregon School of Music and Dance. Letters, photos, and contri- Summer Music Camps butions from alumni, friends, and faculty are always welcome. July 8–14: Address correspondence to: th LEDGER LINES 60 Annual Concert Band Camp School of Music and Dance 1225 University of Oregon Eugene OR 97403-1225 July 15–21:
EDITOR: Scott Barkhurst Marching Band Camp [email protected] (Drum Major, Section Leader, CONTRIBUTORS: Fred Crafts, Charles Dowd, George Evano, DeNel Stoltz. Color Guard, Percussion)
PROOFREADERS: Laura Littlejohn, Carol Roth July 22–27:
COVER PHOTO by Jack Liu: Jazz Improvisation Camp Ceremonial groundbreaking for the addi- tions to the music building took place on November 3. See story, page 2. FOR BROCHURE OR MORE INFORMATION, contact: Sarah Turley Summer Camp Coordinator SCHOOL OF MUSIC STAFF 1225 University of Oregon DEAN: Brad Foley Eugene OR 97403-1225 [email protected] Phone: (541) 346-2138 ASSOCIATE DEANS: E-mail: [email protected] Ann Tedards–Graduate Studies [email protected] Jeffrey Williams–Undergraduate Studies [email protected] School of Music & Dance ADVANCEMENT COUNCIL DANCE DEPARTMENT: Jenifer Craig, chair Chair: Mira Frohnmayer, ’60, Niles Hanson, Northwest Stamp, Rosen [email protected] Pacific Lutheran University emeritus Products Sunvisor; Eugene, OR voice professor; Yachats, OR DEVELOPMENT STAFF: Sue Keene, ’72, UO Foundation Trustee; DeNel Stoltz, director Vice-Chair: Zarah Dupree, Sherman- Eugene, OR [email protected] Clay/Moe’s Pianos; Portland, OR Dana Clark, assistant development officer Mia Hall Savage, ’72, ’73, Pacific Youth [email protected] Past Chair: David Hilton, Choirs; Portland, OR Kat L’Estrange, program assistant Merrill Lynch & Company, Inc.; [email protected] Eugene, OR Lynn Sjolund, retired choral director and music educator; Medford, OR MAIN OFFICE: Marcia Baldwin, emeritus voice professor, Eastman; Yachats, OR John Tachouet, ’64, retired owner, Phone: (541) 346-3761 The Equity Group; Portland and Fax: (541) 346-0723 Judy Clinton, architectural designer; Bend, OR Bend, OR Web: music.uoregon.edu Roberta Hall, ’60, ’81, Umpqua Symphony John Wells, violinist; Springfield, OR Association; Roseburg, OR
Mary Ann Orchid Hanson, arts patron; Eugene, OR 1
of our piano faculty. They are used FROM THE TOP regularly for teaching and practicing and have been a great addition to Brad Foley, Dean our piano inventory. Just before fall term began, we had an opportunity Music Building Project to purchase an additional three new Moves Forward Steinway Model O grand pianos. These instruments were acquired s the Winter 2007 term begins, through the savings of annual giving A I think back on the successes dollars over the past five years. Our of our MarAbel B. Frohnmayer new model Os are housed in three music building project and the classrooms, assisting students and tremendous energy that surrounded faculty throughout the school. These our November 3 groundbreaking three pianos are designated to be event. It was a remarkable and relocated in the three new class- memorable event, despite the rain. rooms in the Leona DeArmond wing We were delighted to announce the following our fall 2008 move into commitment of UO alumni Thelma new spaces. You may be interested and Gilbert Schnitzer of Portland to know that these are the first piano for an additional $1 million pledge, purchases in more than a decade. which permits us to name the entire These six new pianos represent a Community College on March 3 as Performance Wing of the facilities huge leap in our piano campaign, a preview to their appearance at the for Thelma. Subsequently, we an- and we appreciate the support of our American Bandmasters Association nounced the naming of the new Aca- donors and friends as we continue Conference in San Luis Obispo, CA demic Wing that will house class- to seek further support for this cam- the following week. The UO Reper- rooms, office/studios, and practice paign priority. tory Dance Company will continue rooms in honor of Leona DeArmond to interact with audiences across in gratitude for the substantial gifts the state with programs scheduled throughout the project by Bob and Six new Steinway pianos in Astoria on April 27, Cottage Leona DeArmond of Medford. were added to our piano Grove on May 4, and three Eugene Their gifts, along with the area high schools during April and hundreds of others, including Lorry inventory this past year— May. A variety of music and dance Lokey’s $5 million and the $7.6 our first piano purchases faculty and student performers, million in state matching bonds, in more than a decade including the UO Repertory Dance brings us to our total project goal of Company, will appear at the Tower $17.8 million. Although we have Theater in Bend on May 10 and at met our project goal, I would be Oregon Outreach the Ginger Rogers Craterian Theater remiss if I did not mention that The School of Music and Dance in Medford on May 15. Then we go responsible stewardship of our new will continue to provide opportuni- back to Portland on May 19 to hear facilities will require the next phase ties for alumni and friends to hear the world premiere of Professor of fundraising: an endowment to and see our programs across Oregon Robert Kyr’s newest symphony with cover increased operating costs in the coming months. We con- the Oregon Symphony. I am very as well as funds to equip the new tinue our music series for the third proud of the statewide presence of teaching, practice and rehearsal consecutive year in Lakeview with our school’s students and faculty rooms with furnishings and pianos, programs featuring our graduate stu- and hope that many of you will have commensurate with the state-of-the- dents from the areas of jazz studies, an opportunity to see one of these art facilities in which they will be voice, and brass on January 21, Feb- many outreach events. housed, and commensurate with the ruary 18, and April 22. Music fac- quality of the faculty and students ulty will present a wonderful variety Best wishes to all of you in 2007. using them. of chamber music in Portland on March 1 at the Sherman-Clay piano Piano Campaign Gains Momentum store in the Pearl District as a part I am pleased to announce, of the “First Thursday Art Walk,” thanks to the generosity of private a free program. The Oregon Wind donors, that we acquired three new Ensemble will perform as a part of Steinway Model B grand pianos this the Umpqua Symphony Associa- fall that are housed in the studios tion Series in Roseburg at Umpqua 2
she would have gone to The Juilliard WHAT’S NEW School. Both were just fifteen when Gilbert spotted Thelma from the window of his father’s downtown Groundbreaking ceremony, gift Portland office as she walked to a pi- ano lesson. Gilbert said he lost little announcement launch new era time in finding an opportunity to in- vite her to dancing lessons. With the Schnitzer’s $1 million gift tops off money needed for exception of their first two years in construction of the new additions college (Gilbert at UO, Thelma at the University of Washington), they’ve ortland’s Thelma and Gilbert been inseparable ever since. P Schnitzer have answered a Now 87, the pair married just matching gift challenge issued by before the start of their junior year. Business Wire founder Lorry Lokey Thelma transferred to the UO, where with a $1 million contribution for a she studied with George Hopkins, a major expansion and renovation of legendary piano professor. “He was the University of Oregon’s MarAbel marvelous, just wonderful,” she said B. Frohnmayer Music Building. of Hopkins, with whom she contin- The Schnitzers’ gift puts fund- ued to study after graduation. raising efforts for the $17.8 million construction phase of the project Project timeline and funding over the top, UO President Dave Work is expected to start in early Frohnmayer announced during the 2007 on two significant additions, Nov. 3 groundbreaking ceremonies the Thelma Schnitzer Performance featuring performances by students Wing and the Leona DeArmond in the UO School of Music and Academic Wing. Dance. Thelma and A total of $10.2 million in pri- Frohnmayer announced that the Gilbert Schnitzer vate contributions has leveraged the building’s new performance wing allocation of $7.6 million in bonds will be named for Thelma Schnitzer, by the Oregon Legislature. Lead a 1940 UO music graduate. He also Schnitzer gift stands for donors include the DeArmonds, the said the new academic wing will two great loves Schnitzers, Lorry Lokey, who has be named for Leona DeArmond, a The Schnitzers, who celebrated contributed a total of $5 million, 1951 UO music graduate. Leona and their 68th wedding anniversary and Kathleen Daugherty Richards her husband, Bob, have been key in July, were unable to attend the Grubbe of Eugene. contributors toward the project. groundbreaking. In a telephone “This project is a gift to all Or- interview, they shared their reasons egonians and we are delighted that for increasing their original pledge “This project is a gift to the new wings of this building will of $250,000 for the project to a total all Oregonians, and we carry the names of such outstanding of $1.25 million. alumni,” Frohnmayer said. “The “Music is my passion,” said are delighted that the new University of Oregon is home to one Thelma, a 1940 UO music graduate wings of this building will of the top three music schools on known for her philanthropic sup- carry the names of such the West Coast. Two years from now, port of the arts. “We are doing this outstanding alumni” our music building will at long last because of our love for music. We reflect our music faculty’s national want that love to grow in the next —Dave Frohnmayer and international reputation for generations. It enriches us to do this excellence.” for people.” Project scope The first significant campus con- Gilbert, a 1940 UO business Plans designed by BOORA struction for music in nearly three graduate who founded Schnitzer Architects of Portland call for 29,000 decades, the project will increase Investment Corporation, says the gift square feet of new construction plus the size of the music building by 50 also memorializes his “lifelong love renovation of 15,000 square feet. percent, renovate existing facilities, affair” with Thelma. “I am a lucky When complete, the building will be and join old and new portions of the man,” he said happily. “I have a enlarged to a total of 90,000 square building to achieve an integrated lovely wife.” feet, including Beall Hall. whole. If not for Gilbert, Thelma said, The performance wing, to be 3 located on the northeast corner of Renovation highlights include uttin up the bricks the existing building, will contain a makeovers for four seminar rooms; P ’ symphony-sized rehearsal hall. The expanded, secure areas for the Efforts are underway to name existing choral rehearsal room will electronic music program; and an the bricks in the new Penny Vander- be reborn as Thelma Schnitzer Hall, increase in the number of offices for wicken Duprey Courtyard near the a versatile and intimate performance administration. new academic music wing. Donors and teaching venue with permanent The $17.8 million project is may leave a legacy for themselves or risers, state-of-the-art audio-visual the first phase of a long-range com- loved ones, with bricks available for equipment, and a grand piano. Other prehensive plan for improving UO $250 or $1000. Proceeds will help improvements include new, dedi- music and dance facilities. The plan equip the new building. cated rehearsal spaces for the jazz addresses anticipated future needs For more details, contact program, the addition of a dedicated for Phase Two, which could include Dana Clark at (541) 346-5695 or percussion studio and percussion an additional concert hall, more fac- [email protected] classrooms, a new recording studio, ulty teaching studios and additional and new practice rooms for students. renovation work. The academic wing, to be built Clark hired as next to the Pioneer Cemetery, will New fundraising goals enclose the historic courtyard that The additions to the building major gift officer will be made into a beautiful, central will likely increase annual operating Dana Clark, program assistant gathering space, and named in costs by more than $50,000, accord- for the School of Music and Dance honor of Leona DeArmond’s voice ing to Dean Brad Foley. Development Office for the past two professor, the late Penny Vander- “Responsible stewardship of years, was hired February 1, 2007, wicken Duprey. The academic wing these new facilities will require as assistant development officer—a will provide a new teaching studio an endowment to cover increased new position for the school. Clark for the Community Music Institute; operating costs,” Foley said. “Efforts will join Director of Development a new music education teaching also are under way to raise funds DeNel Stoltz in major gift fundrais- lab that also will serve as a 65-seat for classroom media, risers, student ing. Clark will also continue to man- classroom; approximately 28 new seating, and faculty studio furnish- age all of the development events acoustically isolated faculty teach- ings. We also need at least 30 new for the School of Music and Dance, ing studios; new 35-seat classrooms pianos to equip the new faculty oversee scholarship stewardship, and additional practice rooms for teaching studios, classrooms, and the annual giving program, and the students—which will nearly double rehearsal rooms.” named brick initiative. the number of practice rooms for With money already in hand to Clark has an extensive back- students. cover construction costs, Foley said ground in the school’s new fundraising fundraising list and events. includes a $1.5 She was million endow- a regional ment for building director for operations, $1 the American million for pianos Heart Asso- and $600,000 ciation in Eu- for equipment, gene for three furnishings and years. She ran instruments for Dana Clark her own event the building. u management and fundraising com- pany that coordinated the “Celebrity To view the Waiter a la Carte” annual fundraiser building plans in for Looking Glass Youth and Family more detail, visit Services, the Light of Liberty Fourth the school’s web- of July Celebration for Springfield site at http:// mu- Utility Board, and the Urology sic.uoregon.edu Foundation Symposium. Clark can be reached at (541) 346-5695 or [email protected]. Kat L’Estrange Bob and Leona DeArmond applaud the official naming has been hired as program assistant of the new wings to the music building. to fill Clark’s previous position.u 4
the leadership classes. DEVELOPMENT Amador colleagues had nothing but accolades for June—the person, the educator, and administrator. June Winter Leaves $1 Million Cheree Heathershaw, retired Amador librarian, noted that “June Estate Gift for Scholarships was a talented, kind, extremely con- scientious, ethical, and productive By DeNel Stoltz top two priorities for the school,” educator. She was quiet in her man- Director of Development said Dean Brad Foley. “I am grateful ner and techniques, but as I came for June’s generosity and foresight in to experience the dynamics of high une Winter, a 1952 UO Art Edu- supporting our students—the future school administrative responsibili- Jcation alumna, was devoted to musicians, educators, scholars, com- ties in my role as librarian, I learned music, dance, and the arts. So great posers and choreographers. what a powerhouse June Winter was her love for these disciplines, was.” and her fondness of her alma mater, “June was the guiding backbone that she left a legacy to support for the standards that we set for the music and dance students forever school for years,” said retired princi- with a bequest of more than $1 mil- pal Cyril Bonnano. “She demanded lion for student scholarships. She the highest expectations and quality passed away in March, 2005. With from everyone—colleagues, faculty, her estate gift, the school recently and students. A lot of her work was established the Lotta Carll Endowed behind the scenes, but she did not Scholarship, named for her grand- seek public recognition for it.” mother, per June’s wishes. “Always first to volunteer to Lotta Carll was a founding supervise and attend the student member of the Phi Beta Patronesses, music, drama, and art programs or a music, art, and dance fraternity performances, June loved music and in Eugene. Although it became had an extensive record collection,” defunct several years ago, the Phi said retired colleague Barbara Nor- Beta Alumni group in Eugene is still ton. She had season tickets to opera, very active, and several members June Winter as assistant principal at symphony, and other music and today knew Lotta. Lotta’s daughter, Amador High School in 1965 dance performances at Davies Hall Charlotte Carll Winter, established in the Bay Area. She loved watching the Lotta Carll Scholarship at the ice skaters perform, with a keen School of Music and Dance in 1962 “The Lotta Carll Endowed appreciation for their choreography, Scholarship will generate upwards and was also an avid sports fan. of $40,000 annually for music and “Although June was a very quiet dance scholarships, which will and private person, she had a pres- The Lotta Carll Endowed assist us in recruiting the most ence about her,” close friend and Scholarship will gener- talented performers now and into retired colleague Connie Bishop re- ate upwards of $40,000 perpetuity.” called with fondness. “She was very • • • petite and short but had strength of annually for music and June Winter grew up in Port- character that commanded respect dance scholarships. land, Oregon. Her mother was a high from students, teaching staff, and school principal in the area, and administrative staff alike. Home, June followed suit. After earning the ocean, and Oregon were really in memory of Lotta when she passed her B.A. in Art Education from the important to June, as was education. away. Charlotte and June supported University of Oregon, she taught She was a warm and gentle person, this scholarship for decades by English in high school and was a with a generous heart,” said Bishop. making annual gifts to it. This year’s high school counselor. In 1964 she Clearly this was the case, since Lotta Carll Scholarship recipient is joined the faculty of Amador High June made such a thoughtful gift I-Yi Pan, a master’s student in piano School in Pleasanton, California. that will have a positive impact on accompaniment, studying with After one year, she became assistant the school, by touching the lives of David Riley. principal, a post she held until she many students for generations to “Support for scholarships has retired in 1992. She was also in come. u been and continues to be one of my charge of the school newspaper and 5
Jackie, inspired by her sister Sisters endow two scholarships Euphemea’s generous bequest and their mutual love of music, recently Two gifts for significant scholar- Giustina Newlove. “She loved music made a gift of $200,000: half to ships have been given by generous and played the piano until a year endow the Jacqueline Laraway Gius- UO alumni and sisters: a bequest by before she died.” tina Scholarship for music students, the late Euphemea Laraway Culp This year is the first that the Eu- and half to purchase a new Stein- ‘36, and a current gift by Jacqueline phemea Laraway Culp Scholarship way concert grand piano, which will Laraway Giustina ‘43, of Eugene. is fully distributing funds, and it feature prominently in a myriad of Although eight years younger, Jackie will generate more than $4,000 an- Beall Concert Hall performances. followed in Euphemea’s footsteps, nually in perpetuity to support the “Growing up, I played violin graduating from University High most talented music students. It is in the symphony in junior high School and then the University of currently supporting two students: and high school,” Jackie noted. “I Oregon. Both majored in English, Jill Combs, a master’s student in the also took a lot of modern dance and both were members of Delta piano pedagogy program studying and tap dance at the UO, and like Gamma sorority. with Claire Wachter; and Alexis Euphemea, feel a strong connection Music was a big part of Jackie Gibbons, a freshman from Marion, to the School of Music and Dance. and Euphemea’s lives from the time Illinois, studying piano performance I am delighted to make this gift to they were children. “Our grand- with Alexandre Dossin. support talented music students for mother played the organ at church,” In her senior year of undergradu- years to come and I look forward to said Jackie. “Our mother, Florence, ate study, Jill Combs was trying to meeting the recipients each year.” u played the piano beautifully, and decide which graduate school to we were immersed in music.” In the attend. “I was leaning toward the 1920s their father, Seth Laraway, University of Oregon because of owned Laraway’s Piano and Music the piano pedagogy program, its Recent Donors in Eugene. He sold pianos, sheet strong piano faculty, and diverse We are grateful to the following music, and Victrola phonographs. music classes,” she said. “I had not individuals for their thoughtful Euphemea chose to make a received any financial aid, though. gifts to the School’s priorities: $220,000 estate gift to endow a When I found out that I was being music scholarship in her name awarded the Euphemea Laraway — Building Initiative — when she passed away, which was Culp Scholarship, I felt that I had • Cal ‘50 and Marilyn Smith ‘50: in 2002. The Euphemea Laraway the support I needed to choose the Additional $13,682 gift to the Culp Endowed Scholarship was es- University of Oregon for my studies. building maintenance fund. tablished in 2003. “Euphemea loved It is inspiring to hear that Euphemea the UO and was very proud that was a pianist until nearly the end of — Scholarships — she was a Duck,” said niece Natalie her life. I am honored to receive a • Estate of June Winter ‘52: scholarship from $1,081,764 to endow the Lotta such a woman.” Carll Scholarship for music and Alexis Gib- dance students. bons explained, • Jacqueline Laraway Giustina “The scholarship ‘43: $100,000 to establish the I received was Jacqueline Laraway Giustina the only way that Scholarship for music students. I could attend • Bob ‘52 and Leona ‘51 DeAr- the UO. The mond: Additional $30,000 to the piano professors Robert and Leona DeArmond are excellent Scholarship for voice students.
and my playing — Instruments & Equipment — abilities have been • Jacqueline Laraway Giustina enhanced greatly ‘43: $100,103 for a new Steinway from the short concert grand piano, model D; time that I have it will be used in Beall Hall. spent here. I have learned effectively For more information on making a as a result of the gift, contact DeNel Stoltz at (541) Sisters in philanthropy: Euphemea Laraway Culp talent and diversity 346-5687 or [email protected]. and Jacqueline Laraway Giustina. in the school.” 6
Hladky tribute draws a crowd New scholarship named for revered cello professor
Emeritus cello professor Robert time friend and former student of Hladky, who taught cello, bass and Hladky, announced a surprise birth- music history at the School of Music day gift that the Planning Committee and Dance from 1961–1993, turned set up: the Robert Hladky Cello and 80 on October 6, 2006. In honor of Bass Scholarship. Hladky’s 80th birthday, a group of his “We started with the idea of a former students produced a festive fun concert celebration, gathering cello and bass ensemble concert on as many former students to perform October 17 in Beall Concert Hall. together as we could locate,” said More than thirty of Dr. Hladky’s Bowles. “From there, it blossomed former students performed in the into the idea of endowing a scholar- tribute concert, and he joined them ship.” Committee members included on Villa-Lobos’ Bachianas Brasili- Bowles, Ken Finch, Georgienne Puls eras No.1 and a string adaptation of Young, John Gibbens, Greg Dugan, “Mighty Oregon,” with Hladky on Jeff Bradetich, and Julie McCornack the bass drum, just like at Home- Sadie. Hladky gives his patented bass drum coming games. The concert was Former Hladky students, col- performance on “Mighty Oregon.” followed by a birthday reception leagues, and other friends have featuring a cello-shaped chocolate given generously to the scholarship. cake, complete with bow. A recent gift from Bob and Joan the scholarship to be endowed. The At the concert, Susan (Rockey) Hladky brought the funds raised to endowment will generate an annual Bowles (B.M. ‘75, M.M. ‘77), a long- the $25,000 level, which enabled scholarship in Hladky’s name in per- petuity, and his legacy will continue to touch the lives of cello and bass students for generations to come. Initially the scholarship will generate $1,000 annually. With in- state undergraduate tuition currently just under $6,000 per year, the goal is to increase the endowment with additional gifts so that it will gener- ate significantly more scholarship funds each year in order to recruit the most talented cello and bass performers. u
To make a tax-deductible gift to the Hladky scholarship Contact DeNel Stoltz, Director of Development, School of Music and Dance, 1225 University of Oregon, Front Row: Dale Bradley, Jon Brand, Robert Hladky, Susan Rockey Bowles, Eugene OR 97403-1225; phone Ken Finch. Middle Row: Kari Epstein Haugen, George Struble, Greg Dugan, (541) 346-5687, or e-mail Jason Heald, Jeff Bradetich, Bruce deBord, Jim Lund, Jim Pelley, Ty Young, [email protected]. Checks Maria deRungs McKinney, Laura Yeater Handler, Georgienne Puls Young, should be made out to “UO David Chinburg. Back Row: Nathan Waddell, Patricia Lyons, Greg Nathan, Foundation/School of Music Paul Joines, John Gibbens, Julie McCornack Sadie, Alice Reberger Volwiler, and Dance” noting that it is for Bill Hunt. Also in attendance, but not in the picture: Jeff Defty, Sara McLennan the Hladky scholarship. Garrett, Rhonda Johnson, Forrest Moyer. 7
The beat gets better with new KUDOS
Saul Goodman Dresden timpani Jamie Lynn Webster, Ph.D. student in musicology and ethnomusicol- Five “New Yorker” timpani are custom built for UO ogy, was a student representative The UO School of Music and copper bowls are found in the finest at the American Musicological Dance has purchased five timpani of orchestras in the U.S. Society’s annual meeting in L.A. the same high quality as a Steinway “These five Saul Goodman piano. UO students are now able to New Yorker Dresden style pedal Megan Williams, a junior voice perform, compete, and record on a timpani have a beautiful, round, major studying with Charles Turley, world class percussion instrument. warm focused pitch center, with an participated in Opera in the Ozarks Students in the Percussion Stud- extended range of good tessitura, last summer, where she was named ies Program play timpani, marimba, providing two full octaves necessary “Most Improved Female Singer.” multi-percussion, orchestral snare for the performance of the modern While there, Megan also performed drum, and drumset. For thirty years, repertoire of Stravinsky, Bartok, in Suor Angelica and La Traviata. UO percussion- Carter, Kraft and ists have compet- Corrigliano,” $500 Graduate School Research ed in auditions at “Our percussion students said Dowd. “We Awards for 2006–07: a disadvantage, are now able to perform, have needed a • Matthew Lynn Strauser, D.M.A. unable to train compete, and record on ‘Steinway qual- candidate in music education with on top quality ity’ percussion supporting area in choral conduct- timpani. Custom a world class percussion instrument in ing; to support his data collection to built to specifica- instrument.” our inventory analyze choral rehearsal techniques. tions supplied for many years.” He will purchase MP3 recorders and by percussion professor Charles The hand built timpani took three record rehearsal sessions conducted Dowd, the five new timpani will years to make, and are the same kind by successful choral directors. provide a truly professional sound used by the New York Philharmonic, • Kaori Noland, Ph.D. student in to the University Symphony, Oregon other major orchestras, and conser- music theory with supporting area Wind Ensemble, Oregon Percussion vatories. in piano pedagogy; to support her Ensemble, faculty recitals, degree “My thanks to Dean Brad Foley travel to the International Chopin recitals, and audition recordings. for adding these long awaited timpa- Conference in Warsaw, to present Manufactured by Morris Lang ni to the UO instrument collection,” her paper “Grundgestalt and Octa- of the New York Philharmonic, said Dowd. Dowd plans to perform tonic Manifestation in Chopin’s G the Saul Goodman timpani are re- Elliott Carter’s Eight Pieces for Four minor Ballade, Op. 23” and conduct nowned for their perfect intonation, Timpani (one player) on the new research at the Schoenberg Institute and they provide a more focused timpani in an upcoming recording, in Vienna, Austria. low end pitch center necessary for underwritten by the proceeds from • Jerry Hui, master’s student in good overall intonation in a large en- Dowd’s Philip H. Knight Professor- composition; to support production semble. The round, hand-hammered ship. u of his multimedia thesis composi- tion Erythros. Hui also had his piece “Moon Is Bright” premiered last year Aaron Jester, a master’s candi- Photo by Cliff Coles by the Hong Kong Young People’s date in percussion performance, Chorus. In October his choral set, poses with the school’s new “Three Facets of Love,” was per- Saul Goodman timpani. formed at the Society of Composers Inc. Student National Conference. • Hashem Assadullahi, master’s student in jazz studies; to study with saxophonist Rich Perry, whose solo, 29, Rue Jacob, Assadullahi is study- ing for his master’s recital. • Helena Kopchick, master’s student in bassoon performance; to appear as a guest artist/lecturer and give master classes at Washington State University. u 8
they learned the organ repairman, HISTORY Karl Mauracher, was snowed in at his home in the Ziller valley until the spring thaw. Saving “Silent Night” What was to be done? Father Mohr, an amateur poet, had written Edmund Cykler’s ancestors brought the United States a short poem and suggested Gruber could set it to music that could a forgotten carol and lifted it to popularity be sung by the youth choir at the midnight service. Gruber, a highly skilled musician, was inspired by the poem. The simple melody spilled out of Gruber’s pen onto the paper. Within a few minutes he had finished the song. He rushed to Mohr, who liked what be heard and hastily assembled a choir of six boys and six girls to learn the music. “Silent Night” was sung for the first time during the church service by the choir with Gruber accompanying on his guitar. The haunting song touched the audience deeply. But after the service, it was set aside and forgotten. Even Gruber forgot “Silent Night” until Mauracher came to fix the organ in the middle of May. When the repairman asked what music was used at the Christmas service, Gruber showed him his new song. Mauracher asked for a copy to take home. Three years later Maura- cher shared the song with Josef Rain- By Fred Crafts “He got interested not only in er, who had formed a choir with five Editor’s note: This article first appeared folk songs but in the family itself of his eight children. The quintet in The Eugene Register-Guard in 1980. when he discovered we had a sing- was one of the first of the yodeling Reprinted by permission. Professor Ed ing group way back in the early part Tyrolese family singing groups that Cykler passed away in 1988. of the 19th century that toured all over Europe and the United States. ilent Night,” one of the most London was wild about them—St. S beloved Christmas carols, was Petersburg, Munich, all these cities. unknown in America until a Tyro- They were a little like, let’s say, The lean singing family brought it from Beatles of that particular time.” Austria to New York in 1839. Yet, despite their enormous This facet of the song’s history popularity, the Rainers slipped from was revealed by Edmund Cykler, view and are unknown today. It is a a professor emeritus of music at curious footnote to history, though, the University of Oregon, who is a that without them “Silent Night” descendant of the singing family, the probably would have fallen into Rainers. “I was told about this busi- oblivion, too. ness of ‘Silent Night, Holy Night’ “Silent Night” was written by through my second cousin (Josef Josef Mohr, 26, curate of St. Nikita’s Argus-Rainer) who lived in the vil- Church in Oberndorf, and Franz lage (Fuegen, in the Austrian Alps), Gruber, 31, the church organist, as where my mother was born,” Cykler a last-minute diversion when the says. organ failed on Dec. 24, 1818, and The late Edmund Cykler 9 started a fad in Europe from about and the men flanking them, each son, who was studying in Salzburg. 1820–50. Members of the Rainer resting his hands on his hips or belt. Gruber, in a terse letter, ex- family liked the song, but because They popularized the concert hall plained how the song was written, it was a Christmas carol, they didn’t informal ensemble-singing and free then grumbled that changes had sing it publicly until Dec. 24, 1822, harmonizing in the ‘mountain style.’ been made in the original tune—the when they performed for Count This accounts for the otherwise fourth, ninth and eleventh bars had Ludwig von Donhoff at his castle in inexplicable fact that all later Ameri- been altered, and the descent clef Fugen and his guests, Kaiser Franz can troupes had ‘Alpine’ songs in had been mistaken for a treble clef, Joseph I of Austria and Czar Alex- their repertoire.” resulting in the song being sung a ander I of Russia. Alexander was so The Rainers’ popularity was at third too high in pitch. impressed by an all-time high Although the record was finally the singers he when it first sang straight about the song’s authorship, invited them to Americans, starved for “Silent Night” be- the men who wrote it didn’t make a St. Petersburg. “cultural” events, took the fore an American dime. In fall of audience on Dec. Father Mohr, who left the parish 1824 the Rainers Rainers to their hearts. The 24, 1839, in New in 1819, moved from job to job for left home on foot group drew big crowds up York. The group ten years before finally settling at for St. Peters- and down the Eastern sea- had intended to a ski resort on the Niedre Tauren, burg, but they board until it returned to sing at the Trinity where he remained for the rest of his found the going Church, but it had life. He died in 1848 after contract- so tough they the Swiss Alps in 1843. burned down. ing pneumonia on the journey home decided to stay Consequently, from administering last rites to a closer to home and to tour Germany. an outdoor service was held at the lady. Although Mohr apparently They were a big hit. Hamilton Memorial in New York. completed many other religious The Rainers sang in Germany The song spread like wildfire. writings, none has survived. and Austria in 1825 and by May Meantime in Germany, “Silent Gruber fared much better. He 1826 they were in London. London- Night” was only modestly known. was a respected musician, and in ers loved them. They were invited In the Rainers’ absence it was being 1833 got the post of director of the to all the best parties and appeared kept alive by the Strasser children choir and organist of the principal with the finest singers and instru- from Laimach, known as the Ziller church in Hallein near Salzburg. He mentalists of the day. They made Valley Larks. Just before Christmas wrote some 90 compositions, most lots of money, were the talk of the 1831 they were at the Leipiz Fair of a religious nature, that gained town, and many of their songs were with their parents, who were selling some notoriety at the time. His published. But at the height of their gloves. To draw attention, they sang mass for mixed chorus and small popularity in 1829, they retired. “Silent Night.” In the audience was orchestra is still occasionally played In 1838 a new group of Rainers re- Franz Alscher, a church organist and in Germany. He died in 1865 at the turned to EngIand, but were unable music publisher. He copied it down age of 78. to repeat their earlier triumphs. In and published it Over the search of new audiences, the Rainers in 1840, without years, “Silent sailed to New York in November. mention of au- In those days publishing a Night,” thanks Americans, starved for “cultur- thor or composer, piece of music wasn’t very largely to the al” events, took the Rainers to their in a collection Rainers, gained hearts. The group drew big crowds called “Four profitable ... They didn’t in popularity. up and down the Eastern seaboard Genuine Tyro- have radio, didn’t have Now it is sung until it returned to the Swiss Alps lean Songs.” television, any of those all around the on June 12, 1843. The song things, to popularize them. world. Cykler The Rainers’ impact on America became the favor- says his cousin is almost beyond comprehension. ite carol of King collected ver- They took the country by storm. Wilhelm IV of Prussia who, noting sions in 64 different languages. Musicologist Hans Nathan, that its authorship was unknown “It was sung around but not writing in Musical Quarterly, said, (musicologists had ascribed the song widely for, oh, maybe 20 or 30 years “They transplanted from Europe to the likes of Kaspar Aiblinger, before it really became popular and the idea of ‘family’ performances. Ludwig von Beethoven, Wolfgang before it was heard enough that They also established the group- Mozart, and Franz Joseph Haydn people began to use it as a Christmas arrangement that was adopted by and his brother Michael Haydn), or- carol,” he says. their successors in America, with dered an investigation. The inquiry one or two ‘sisters’ in the middle, reached Gruber, now 67, through his Continued next page 10
Festival on July 15. OREGON BACH FESTIVAL The glittering lineup of musical stars includes the last (and least) of Bach’s musical progeny, PDQ Bach, sharing the stage with his alter ego 2007 Festival Goes Professor Peter Schickele in “The Jekyll and Hyde Tour” June 30. “Outside the Bachs” Violinist Midori, the former child star still amazing audiences he creativity of great compos- hero’s story from the slaying of after 24 years, makes her Festival ers, the versatility of our Goliath to an exalted Dance Before debut July 3 in an orchestra concert musicalT forces, and the virtuosity of the Ark. Kirk Boyd of Willamette conducted by Jeff Kahane. stellar artists—essential ingredients Repertory Theatre will theatrically Trio Voronezh returns July 10 in of every Oregon Bach Festival. But stage this “symphonic psalm” in an the second of two Fest@First con- in 2007, they get a slightly different exciting Festival premiere July 12. certs at Eugene’s new First Baptist spin as the Festival goes “Outside Beethoven said the aim of his Church. This year’s show pairs the the Bachs” to explore unexpected Missa Solemnis was to “perma- inimitable Russians with orchestra, musical treasures beyond the pen of nently instill religious feelings conducted by Philip Brunelle of J.S.B. The UO’s internationally ac- not only into the singers but also Minneapolis’ Vocal Essence. claimed choral-orchestral event runs into the listeners.” The power and It will take all of the Silva Hall June 29–July 15. immensity of this work closes the stage to accommodate five pianos. The Festival opens with the But it may not be large sweeping majesty of the Brahms Ger- enough to hold the man Requiem, a masterwork deeply enormous talent of understood and always movingly the 5 Browns, piano- conducted by Helmuth Rilling. playing siblings and Rilling serves the second course Juilliard grads who in his three-year recording project of have made news from the 18th century giant Joseph Haydn NBC’s Weekend Today July 8 with the Theresiemesse, never to chart-topping classi- before performed at the Festival. cal albums. Their July Arthur Honegger’s King David 13 concert is their first dramatically tells the Old Testament The 5 Browns perform on July 13 concert in Oregon. Intimate Evenings chamber con- certs in Beall Hall and Soreng The- SILENT NIGHT, continued “One of the things that interests atre include flutist Lorna McGhee “In those days publishing a me about this song is its complete and friends July 2; piano recitals piece of music wasn’t very profit- childlike simplicity,” Cykler says. July 5 with Kahane and July 11 with able. If you sold 500 or 1,000 copies “If you just think of the very first Bernd Glemser (prize winner in 17 of something, that was a tremen- motive in the song, the first ‘Silent international competitions); jazz-fla- dously big edition. It wasn’t like Night, Holy Night,’ it is nothing vored improvisations on Bach with today where you put out a popular more than ‘Ring Around the Rosie’ German pianist Robin Engelen’s song and sell a million copies. in a different rhythmic form. The trio July 7; and chamber music with Things didn’t spread quite so fast. whole song is practically built on Triad, featuring Eugene-born clarinet They didn’t have radio, didn’t have this little simple theme, so that once virtuoso Carey Bell on July 14. television, any of those things, to it got to the people it became very J.S. Bach’s brilliant light will popularize them. It had to be done popular. shine in performances of his double by somebody actually singing it to “It’s not a remarkable song,” concerto and violin concerto July an audience. When a song is sung Cykler says. “It’s no great work. It 1, with the motet Singet dem Herrn only one day in the year, that also isn’t even a true folk song, but it is July 8, in Kimberley Marshall’s works against it.” certainly in the style of children’s organ recital July 9, and in four Dis- Ironically, Cykler says “Silent folk music, which is very much covery Series lecture concerts. Night” led a charmed life. Thanks to alike the world over. That’s why the Festival tickets are sold online the enormous popularity of singing song was suitable to people in Asia and by mail. To receive a preseason groups like the Rainers, it stayed or Africa or North Europe or South newsletter and brochure, go to www. alive, no matter how badly the odds Europe or wherever it happened to oregonbachfestival.com or call (800) were stacked against it. go.” u 457-1486. uJeffrey Stolet 11
Research Commission Seminar Jenifer Craig created the lighting FACULTY and the ISME World Congress last design for the Oslund+Company summer. The paper also will be dance concert in Dougherty Theatre. Barbara Baird presented a duo- published in The International She produced the concert, featuring organ recital with Julia Brown at St. Journal of Music Education. Chase, a guest artist Mary Oslund, with the Mark’s Lutheran Church in Salem. charter member of the newly formed 27 students of her Dance Production That same evening, she played in National Collegiate Choral Organi- I class. One of the works, “Thicket,” the AGO Eugene Chapter’s annual zation, presented on the national was danced by Sarah Ebert (M.F.A. Pipe Screams Halloween concert panel discussing the topic “Teaching 2005) to Christian Cherry’s original at Eugene’s First United Methodist Undergraduate Choral Conducting” composition. Church, raising more than $1,000 to for the 2006 national conference help air “The Organ Loft” on KWAX in San Antonio. Invited for a third Alexandre Dossin made three radio. Baird was a last-minute stand- year, Chase presented “Multicultural orchestral appearances in Brazil in harpsichord soloist in Bach’s Choral Repertoire for all Choirs—A (Caxias Symphony Orchestra, Brandenburg Concerto No. 5 with Reading Session” to the Oregon Porto Alegre Symphony, Petrobras the Oregon Mozart Players in four ACDA at its 2006 annual summer Pro-Musica Symphony) and gave consecutive concerts. In December workshop in Portland. solo recitals in Chicago, Newport she accompanied the firstMessiah (OR), Curitiba (Brazil), Eugene, sing-along in Reedsport, OR. Steven J. Chatfield and M.F.A. and Shreveport, Lake Charles, and student Caroline Goodnight collabo- Lafayette, LA. He also gave two Judy Weigert Bossuat published an rated with the Research Committee performances in Moscow, Russia: at article in Volume 34, No. 4 of the of the International Association the Brazilian Embassy and in a gala American Suzuki Journal, titled for Dance Medicine and Science concert dedicated to Professor Sergei “But I Paid for Thirty Minutes….” (IADMS) on a panel presentation Dorenksy’s 75th birthday. Dossin also Last summer she trained teachers titled “The Science of Qualitative gave master classes in several cities, and students at Suzuki Institutes in and Quantitative Research with and was invited to be on the jury for Fairbanks AK, Salt Lake City UT, Dancers.” This was the plenary the Los Angeles Liszt International Newberg OR, Ithaca NY, and was session for the 16th annual meeting Piano Competition. He gave lecture- music director and teacher trainer of IADMS, in West Palm Beach, recitals at the North American Coun- at the Northwest Suzuki Institute Florida. cil of Latin Americanists, Osher in Eugene. She now serves on the national board of the American String Teachers Assn. Bossuat was Peter Bergquist’s edition of Orlando di Lasso’s motets is now complete. The named in Who’s Who in America, final volumes ofOrlando di Lasso: The Complete Motets, published by A-R Who’s Who in American Education, Editions Inc., with Peter Bergquist as general editor, have just appeared in and Who’s Who of American Women print. The edition, in 21 volumes and a supplement, contains 575 musical 2005–06. works in more than 4800 pages of music and text. The edition grew out of Bergquist’s earlier work as an editor of Lasso’s music for A-R Editions and Shannon Chase was a visiting pro- Bärenreiter. During his Fulbright research in 1985 he formed connections fessor of choral music education for with scholars in Munich, where Lasso served the Bavarian court from a term at the University of Memphis 1556–94. The idea of a new edition of the motets gradually took shape while School of Music, offering graduate Bergquist worked on four Lasso volumes for Bärenreiter, and in 1991–92 seminars in “Choral Literature & he formulated the proposal for the edition that A-R Editions accepted. A Techniques” and “The History and grant from the German Academic Exchange Service (DAAD) for research in Philosophy of Music Education. Munich helped in planning the edition, and ma- She also was guest conductor of the jor funding for its support was provided by the Chamber Choir. On the international National Endowment for the Humanities. Three platform, she presented a collabora- colleagues edited eight volumes of the edition; tive research project (with Professor Bergquist edited the remaining thirteen himself. Emeritus Randy Moore and UO Professor Emeritus C. Bennett Pascal of the UO alumna Hsiao-Shien Chen) titled Department of Classics provided invaluable con- “Accuracy of Pitch and Intervals sultation to all the editors on the Latin texts and when Echo Singing with Hand translations. Colleagues in Munich, at the UO, Movements and Notation by Eight and elsewhere have been unfailing in their sup- and Ten Year Olds from Taiwan, port of the project. The edition has been warmly U.K. and U.S.A.” at the International received in published reviews and personal com- Society for Music Education (ISME) munications. u 12
FACULTY, continued New CD features Dowd and Freeze Lifelong Learning programs, and Charles Dowd performed, composed, and recorded a collection of his com- the College Music Society’s Pacific positions and arrangements on a new CD by Sony, titled bus dust & dogs. Northwest Chapter meeting. The Charles Dowd Goodvibes Jazz Duo, with Dowd on jazz vibraphone and Tracy Freeze (D.M.A. 2004) on jazz marimba, features acoustic chamber jazz Maria Dossin gave solo organ recit- for the highly specialized genre of the vibraphone and marimba duo. The als in Wisconsin and Brazil; attend- CD was released January 19 as part of The Oregon Jazz Festival. ed the AGO National Convention In other activities, Dowd was an in Chicago; gave an organ recital on The CHARLES Featuring TRACY adjudicator in Austin, Texas, at the campus as well as interdisciplinary DOWD Goodvibes Jazz Duo FREEZE Percussive Arts Society International lectures on Russian music for the Convention Mock Orchestral Tim- UO Russian and Eastern European pani Auditions. In Mexico, Dowd Studies Center; and performed at a was the featured jazz drummer with fundraising recital for the Eugene The Jazz Mummies, a group from Chapter of AGO. bus dust & dogs Orquesta Sinfonica de Guanajuato. Dowd was principal timpanist with John Jantzi was a guest performer the Oregon Bach Festival, Eugene and accompanist in Haydn’s Mass Symphony, and Oregon Coast Music in Time of War at Carnegie Hall on Festival last spring and summer. u May 22 conducted by Willamette University choral director Wallace Long and a chorus of 270. Jantzi performed for the sixth time for the CoCo Loupe collaborated with com- on 8bells Records. He performed Oregon Bach Festival in a solo organ poser Brian McWhorter on “Black “Gute Nacht” on Berio: The Com- concert given on May 6 at First is White,” a new solo she performed plete Sequenzas and Other Solo Christian Church, playing a program for the New Faculty Student Forum Works, which was released on Mode of all Mozart and Bach organ master- and at Dance Quarterly. Loupe has Records. pieces. In the fall he gave a solo or- commissioned a new solo from gan program of Handel, Mozart, and Matthew Rose, former member of Phyllis M. Paul coordinated and J.S. Bach for the annual Water Music the Martha Graham Dance Company administered the UO’s annual Orff Festival at the Long Beach Peninsula and former member and current Schulwerk Level I Summer Teacher Church Center, performing on a rehearsal director of the Mark Morris Training Course; participants in- Bond tracker organ. In his seventh Dance Group, NYC. cluded elementary music specialists year as chorus master of Eugene from Florida, Missouri, Oregon, and Opera Company, Jantzi prepared the Brian McWhorter, our new trumpet Washington. She was an invited chorus for its Pirates of Penzance professor, toured Holland with presenter for the OMEA District 12 production in December. Meridian Arts Ensemble (MAE), Fall In-Service Conference: “Practi- performing at The Concertgebouw, cal Ideas for Improvising in the Steve Larson’s article, “Musical Ges- Muziekgebouw, and the Frits Philips Elementary Music Classroom.” ture and Musical Forces: Evidence Muziekcentrum, and recorded music from Music-Theoretical Misunder- by Latin American composers for Timothy A. Paul was director of the standings” appeared last summer Channel Classics (tentatively titled UO Summer Concert and Marching as a chapter in the book Music and Vida). MAE also was in a NEA spon- Band Camps. He also was conductor Gesture, edited by Anthony Gritten sored residency at SUNY Fredonia for the Emerald Band and for the and Elaine King (Ashgate Publica- where he concertized, coached, and OMEA District 7 Middle School tions). In the fall, Larson gave pre- lectured. McWhorter was featured as Honor Band. Paul was an invited sentations for panels at the annual a soloist at the 2006 Festival of New presenter at the OMEA District 12 national meetings of the Society for Trumpet (NYC) for the third year Fall In-Service Conference: “The Music Theory (Los Angeles) and the and at the UO’s Music Today Festi- Development and Application of College Music Society (San Antonio) val with the Oregon Wind Ensemble, an Instrument To Help Conductors and gave lectures on musical forces performing Luciano Berio’s rarely Identify Quality Wind Band Litera- and the Chopin Nocturne in D-flat performed O King. McWhorter was ture.” Major for colloquia at the University featured with the group Renwicke of Victoria and the University of (Baton Rouge) on It’s OK to Sit in Stephen Rodgers presented “Berlioz British Columbia. the Middle of the Road Henry, an and the Nineteenth-Century Ro- album of improvised music released mance: Convention, Ingenuity, and 13
Autobiography in His Songs (1842- 50)” at the meeting of the American Double premiere for Kyr Musicological Society and the Soci- ety for Music Theory in Los Angeles Composer Robert Kyr, professor and chair of composition studies, will last November. He also received a have a rare opportunity this spring: the premiere of two large-scale sympho- contract from Cambridge University nies within one month. His eleventh and twelfth symphonies have been Press for his book, Berlioz and the commissioned by the New West Symphony (Los Angeles) and the Oregon Metaphor of Form, a study of the Symphony (Portland), respectively. interaction of program and structure His eleventh symphony is titled Yosemite: Journey of Light and is a fu- in Berlioz’s instrumental music. sion of his music with the still and motion picture photography of Lawrence Janss, a student and protege of the famed photographer Ansel Adams. The Victor Steinhardt has stayed busy in photographs will be projected on a large screen above the orchestra during semi-retirement by playing a series the performances; the work will also be available on DVD. The performanc- of benefit recitals in private homes es will be April 13 at Oxnard Performing Arts Center; April 14 at Thousand for the Oregon Mozart Players, plus Oaks Civic Arts Plaza; and April 15 at Wadsworth Theater (Brentwood). a recent Beall Hall performance of Kyr created his twelfth symphony for Carlos Kalmar and the Oregon Mozart’s Piano Quartet in E-flat Symphony, which previously commissioned his Fanfare for a New Dawn Major with violinist Glenn Dicterow, for Kalmar’s inaugural season with the orchestra. The work is a “variation violist Karen Dreyfuss, and cellist symphony” on the medieval tune, “L’homme arme” (“The Armed Man”), Steven Pologe. which serves as the theme for a dramatic journey from conflict to reconcili- ation, a waging of peace through music. The performances will be at the Amy Stoddart presented a paper, Arlene Schnitzer Concert Hall in Portland, May 19–21. “Teaching the Whole Dancer: Ex- Kyr also had major premieres with two prominent vocal ensembles last periencing Dance History Through fall. The Grammy award-winning men’s ensemble Chanticleer gave four Multiple Intelligences,” at the 2006 performances of “In Praise of Music” which was a co-commission with National Dance Education Organiza- the Chase Foundation, and later presented it at The Library of Congress. tion conference October 20 in Long “Seven Spells,” commissioned by the New England Foundation for the Arts, Beach, CA. She also presented a was premiered in Boston as an intercultural project between the American paper, “Bodystory: An Historical women’s ensemble Tapestry and the Latvian women’s chorus Putni. and Analytical Examination of Bal- Kyr also directed the latest incarnation of the Music Today Festival, anchine’s Choreographic Period,” at which was offered in 2006–07 as a “double festival” in two sets of four the Congress on Research in Dance’s concerts each. u 38th annual conference in Tempe AZ.
Jeffrey Stolet, director of intermedia music technology, presented his original electronic compositions and lectures about composition and digital media last fall in Tokyo, Hong Kong, Shanghai, Beijing, New Orleans, and New York, includ- ing presentations at the National Institute of Informatics and the International Academy of Media Arts and Science (Japan), the Beijing Musicacoustic 2006, the Shanghai
International Electroacoustic Music PHOTO BY NIDEVER JURETTA Festival, and the 2006 International Computer Music Conference. He also gave six lectures in New York City—supported by the Rockefeller Center—about performance and digital media. 2006 Music Today Festival: Robert Kyr (left) and Portland Youth Choir Charles Turley performed exten- director Mia Hall Savage with two Estonian guest artists, composer Veljo sively at Opera in the Ozarks last Tormis and conductor Hirvo Surva. Tormis and Surva were Robert Trotter summer, singing the roles of Gianni Visiting Professors fall term. 14
FACULTY NEWS, continued phony, and Colorado Music Festival principal percussionist with the Orchestra. She was a guest artist at Eugene Opera, and as a member of Schicchi (Gianni Schicchi) and Ger- the Western U.S. Horn Symposium the Eugene Symphony. u mont (La Traviata). Also serving as in Las Vegas, performed Mozart’s the scenes director for Opera in the third horn concerto with the UO Ozarks, Turley directed more than Symphony, gave pre-concert talks thirty young professional singers in for the Colorado Music Festival, and sixteen scenes, resulting in several performed as a chamber musician on performances. While there, he per- the “Classically Kids” CMF series in aculty nsembles formed in recital with award-win- Boulder, CO. F E ning composer Larry Alan Smith, The Oregon String Quartet collabo- singing Smith’s song cycle, Songs Marc Vanscheeuwijck, after pre- rated with New York Philharmonic of Time, Patience, and Longing. senting three seminars on various concertmaster Glenn Dicterow, Turley was a national semi-finalist aspects of 18th-century performance Manhattan School of Music faculty in the 2006 NATSAA Competition practice at the Brussels and The violist Karen Dreyfus, Oregon Mo- at the NATS National Convention in Hague conservatories (Belgium zart Players concertmaster Alice Minneapolis, where he was awarded & The Netherlands) last spring, Blankenship, and principal cellist more than $1000 in prize money. spent the spring and summer doing Ann Grabe in a performance of the research in libraries and archives in Mendelssohn Octet. Also on the Bologna and performing as a tenor concert was a Mozart Piano Quartet and bass violinist with the Belgian in which Steven Pologe and Victor Baroque orchestra Les Muffatti in Steinhardt joined Dicterow and several European early music festi- Dreyfus. The Quartet released their vals. He presented papers on aspects second CD, All that Jazz, on the of chamber music by Bolognese late Koch International label in October. 17th-century composer Giovanni Battista degli Antonii at the bien- The Oregon Brass Quintet, with nial conference on Baroque music the addition of new members Brian in Warsaw (Poland), and at the Los McWhorter and Lydia Van Dreel, Angeles meeting of the American went on a two-day performance and Musicological Society. In December recruiting trip to the Portland metro he participated in a CD recording area, performing and coaching stu- in Belgium of concertos by Johann dents at five high schools: Gresham, Christoph Pez with Les Muffatti, and Sandy, Cleveland, David Douglas, his article on Giacomo Antonio Perti and Clackamas. u appeared in the scholarly journal Rassegna Storica Crevalcorese in Charles Turley in the role of Ger- December 2006. mont in the Opera in the Ozarks 2006 production of La Traviata (pic- Sean Wagoner secured publication tured with soprano Cynthia Karp). with TRN Music Publisher for his wind ensemble composition Ke`anae which was premiered at last year’s Bassoonist Steve Vacchi participated OMEA Conference. Wagoner also in 31 performances since October, renewed his publishing relation- including work with the Eugene ship with The Lorenz Corporation Opera, Oregon Ballet Theatre, to distribute his arrangements for Eugene Ballet, Colorado Symphony jazz ensemble. Last April he gave a Orchestra, and in recital with the solo percussion recital that featured Oregon Wind Quintet and with guest Minoru Miki’s Time for Marimba bassoonist Frank Morelli and oboist and André Jolivet’s Concerto Pour Marc Fink. Percussion et Orchestre. Wagoner also performed with the Cascade Lydia Van Dreel performed with the Festival Orchestra in Bend, the Eugene Symphony, Oregon Mozart Oregon Festival of American Music, Brian McWhorter (standing) works Players, Eugene Ballet, Florida and continues as principal timpanist with brass students at Clackamas Orchestra, Florida West Coast Sym- with the Oregon Mozart Players, High School. 15
Edgardo Simone received both Distinguished Alumni for 2007 his bachelor’s (1982) and master’s degree (1983) from the UO School Ray Miller and Edgardo Simone to be honored in June of Music, where he studied with Hal Owen, Peter Bergquist, and Wayne Two alumni from the School Rehearsal at Versailles (Moliere) Bennett, among others. He also was of Music and Dance will again be and The Shepard’s Chameleon accepted into the doctoral programs honored at our Commencement (Ionesco). He has worked with at Harvard University and the East- ceremonies this spring, and both playwrights to develop and produce man School of Music. will also be feted at a special Friday new work, such as Leaning Towards Simone has distinguished him- dinner the evening before. Infinity based on a novel by Sue self with an exhaustive list of film The reception and dinner are Woolfe, Daughters by Shirlene Hol- scores, either as the composer or the open to all music and dance alumni, mes, Streams by Jean Colonos, and orchestrator. In the latter category, as well as to friends of the School of Crowning Glory by Brad Bailey. He he has worked on numerous films Music and Dance, and the Univer- has written and directed some of his with composers Danny Elfman, sity of Oregon. own work, such as the play Tragedy Steve Bartek, and Ernest Gold. at Kent State, and dance dramas Additional Dr. Ray Miller received his M.S. based on the events of 9/11 and the orchestra- in Dance (1977) and a Ph.D. in The- plight of runaways in Atlanta. tions have atre (1984) from the University of Miller has delivered papers on been with Oregon. His professional credentials musical theatre, dance aesthetics, Richard Ein- encompass musical theatre, theatre and dance/theatre history and peda- horn, Amotz and dance history, dance aesthetics, gogy at the Congress on Research in Plessner, modern and jazz/tap technique, Dance, Association for Theatre in Ken Thorne, mime and pantomime, directing, Higher Education, Writing Across BC Smith, and choreography. the Curriculum National Confer- Robert Dras- Dr. Miller has directed and/or ence, Southern Humanities, and nin, Richard choreographed more than 200 other academic conferences. He Markowitz, musicals, operas, plays and/or dance has written articles and reviews for and Michael concerts, numerous academic journals, and Edgardo Simone Kamen. including Praeger Press will soon publish his revivals of book on the history of dance on the Among his film credits as com- You’re a American musical theatre stage. He poser or orchestrator in the past six Good Man, currently is president-elect for the years: Men in Black, Skin Walkers, Charlie Congress on Research in Dance. Spiderman and Spiderman II, Big Brown and Fish, Charlie and the Chocolate Fac- the rock tory, Corpse Bride, Charlotte’s Web, opera The School of Music & Planet of the Apes (2001), and Meet Survival the Robinsons. of St. Joan; Dance Distinguished Simone has won several presti- choreo- Alumni Dinner gious awards, including: American graphing the Music Center/NEA Grant (1993); Ray Miller outdoor Date: Friday, June 15, 2007 Young Composer’s Award from the drama Trumpet in the Land; and Time: 6–7 p.m. social hour National Association of Composers directing and choreographing musi- and exclusive entrance to the (1988); and BMI Composition Award cals for the Bowling Green Summer museum’s exhibits; 7–9 p.m. (1987). u Music Festival, including Godspell, dinner award ceremony. Grease, Joseph and the Amazing Location: Reception Hall, Jor- Technical Dreamcoat, and Little dan Schnitzer Museum of Art UO Alumni Reception Shop of Horrors. He also directed on the UO campus. and choreographed the Southeastern Cost: $25 at Northwest MENC premier of the Harry Chapin musi- Contact: Development Office, All UO music alumni are invited cal, Lies and Legends. phone (541) 346-3859 or e-mail to a Friday evening reception at In addition to musicals, Miller [email protected] the Northwest MENC Conference has directed productions of plays RSVP: by June 8, 2007 in Portland, Feb. 16 from 6:15-7:30 such as Masterpieces (about the p.m. Place TBA; check with the UO Bronte family), Hamlet, Galileo, The booth in the Exhibit Hall. u 16
of Jazz Educators. He was inducted in Seattle. He was a founding mem- ALUMNI into the Washington Music Educa- ber of the Portland ensemble Giant tors Hall of Fame in 2004. During Bug Village (celebrating their tenth Klement Hambourg (D.M.A. 1975) is his career, his concert and jazz anniversary in 2006) and has played now a resident of Victoria, B.C., hav- bands were selected to perform at guitar, keyboards, and violin with ing retired from the faculty of Leba- state and Northwest music educators such groups as The Persimmons, non Valley College in Pennsylvania conferences. He looks forward to Los Placemats, and the Julia Korena as professor emeritus in 1997. In having more time for guest conduct- Band. He has worked as a software 2002 he established the Celebration ing, adjudicating festivals, and help- technician for Intel since 1996 of Chamber Music series in Victoria, ing out at the Washington Music and recently became certified as a now in its fifth season. The series Educator’s office. medical assistant. In March 2005 presents diverse programs of trios, he was married to Karen Parrow, a quartets, and vocal chamber music. Paul Chandler (B.S. Mus. 1988) is a middle-school science teacher in CCM has established a Performance member of the music committee at the Vancouver school district. They Award for outstanding young musi- the Unitarian Church in Vancouver, live in Portland and welcome corre- cians, two of whom will perform at WA, and also serves as a featured spondence from old or new friends. the opening concert on October 15. musician and piano accompanist for Email: [email protected] Website: Klement is also active as a board Sunday services. His fiddle compo- http://chandler.i.am member of the Greater Victoria Per- sition, Charlottesville, is included forming Arts Festival. on a CD featuring members of the Matt Aiken (B.Mus. 1994) continues congregation
Members of the Oregon Marching Band and Brigham Young University’s Marching Band get acquainted at a pep rally for the Las Vegas Bowl. Cuarteto Casals with COMING EVENTS Thomas Gallant, oboe For more information about Chamber Music Series, March 4 UO School of Music programs, FACULTY & GUEST ARTISTS: events, and faculty, Linda DiFiore, contralto check our web site: Faculty Dance Concert Guest Artist Recital, March 9 music.uoregon.edu February 15-17
Kartik Seshadri & SPECIAL EVENTS: An equal-opportunity, affirmative-action institution committed to cultural diversity and compliance with Arup Chatterjee PORTLAND EVENT the Americans with Disabilities Act. This publication World Music Series, Feb. 16 will be made available in accessible formats upon Chamber music by UO music faculty request. Accommodations for people with disabilities March 1 • 7 p.m., Sherman Clay Pianos will be provided if requested in advance. Kraig Scott, organ Guest Artist Recital, Feb. 18 FLUTE DAY Oregon String Quartet Workshops, reading sessions, Faculty Artist Series, Feb. 22 and concert. March 17 • Beall Hall
Oregon Brass Quintet BEND EVENT Faculty Artist Series, Feb. 27 UO Music and dance ensembles; free to UO alumni Toby Koenigsberg, jazz piano May 10 • 7 p.m., Tower Theatre Matt Pivec, saxophone Faculty & Guest Artist, March 1 MEDFORD EVENT UO Music and dance ensembles; Masters of Traditional May 15 • 7 p.m., Craterian Ginger Irish Music Rogers Theater World Music Series, March 3
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