MUSIC KITCHEN’S CONVERSATION: THE MET’S The ‘Evolution’ of IML Kelly Hall-Tompkins Mary Jo Heath EASTMAN

NOTESSpring 2016

Sharing the Journey Hollywood’s Jeff and Joan Beal on the significance of their gift to Eastman From Eastman to the Met Your support helped her get there.

Katie Lewek (BM ’06, MM ’08) performs at the Met and around the world.

Investing in Eastman musicians through scholarships fosters the next generation of artists, scholars, educators, and leaders who will make an impact on the world.

Who’s your student? { Spring 2016 }

Glass and Ginsberg’s theater piece-cum-song cycle Hydrogen Jukebox took Eastman Opera students and audiences on a wild, but rewarding, theatrical ride. 2 From the Dean 3 8 Sharing the Journey Brief Notes Hollywood’s Jeff and Joan Beal on the 26 significance of their gift to Eastman. Conversation 10 Eastman Goes Global 28 The school begins to step up School News its international outreach. 32 12 A Deeper Resonance Recordings Rage Against Kelly Hall-Tompkins’ Music Kitchen 18 celebrates a tenth season. 34 Alumni Notes The Machine 14 “A very natural evolution” Eastman Opera Theatre tackles its IML director Jim Doser on staying 38 ahead of the musical curve. Tributes, first Philip Glass opera—and Allen In Memoriam Ginsberg’s raging, sometimes shocking 20 Tales of 2 Instruments exposé of 20th-century America. Two legendary string instruments, 39 several lucky Eastman students. Faculty Notes ON THE COVER: Jeff and Joan Beal received a framed 22 A Weekend of Wonders 40 photograph of the 1920s-era Eastman Theatre during their Meliora Weekend at Eastman: Student Notes announcement in Kilbourn Hall. PHOTO BY ADAM FENSTER “A musical and intellectual feast.”

NIC MINETOR Spring 2016 | Eastman Notes 1 { FROM THE DEAN }

NOTES Eastman’s Core Volume 33, Number 2 Spring 2016 Anyone who has ever engaged in exercising understands that building one’s core muscles is an important part EDITOR David Raymond of a sound fitness routine. A strong core has numerous

CONTRIBUTING WRITERS benefits and leads to better balance, stability, and athletic John Fatuzzo performance. Likewise, musicians spend countless hours Peter Folliard Emily Helenbrook over many years developing a beautiful tone—one that Richard Kessel has a focused core or center, and might be described as Katrina Leshan bell-like, resonant, or ringing. Andrew Psarris David Raymond The core of any endeavor is often considered to be ‘at Helene Snihur the center,’ and it is generally considered strong and sure. CONTRIBUTING The core of Eastman’s values is artistic excellence. PHOTOGRAPHERS Kurt Brownell Everything else radiates out from this center. Adam Fenster Music conservatories and schools around the world Gelfand-Piper Photography Kate Melton have been engaged for many years in considering the Brandon Vick best ways to prepare students for a rapidly changing PHOTOGRAPHY COORDINATOR music world. Eastman has always been uniquely com- Karen Ver Steeg mitted to a broad education—one in which our students DESIGN Steve Boerner Typography understand the theoretical underpinnings of music, the & Design, Inc. historical and societal context that have shaped music PRINTING throughout the ages, and the roles and responsibilities Canfield & Tack, Inc. of artists in society. We have also been deeply invested OFFICE OF COMMUNICATIONS in developing the leadership skills of our students for EXECUTIVE DIRECTOR more than two decades. Richard Kessel As we look to the future, we continue to believe that ASSISTANT DIRECTOR, PUBLIC RELATIONS preparing our students with a thorough understanding of Helene Snihur music, as well as the music industry, are keys to launching CREATIVE ARTS DIRECTOR them into fulfilling careers. We also encourage students Karen Ver Steeg to recognize that they are embarking on careers that EDITORIAL DIRECTOR David Raymond

SECRETARY Olga Malavet The core of any endeavor is often considered to be ‘at the

Published twice a center,’ and it is generally considered strong and sure. year by the Office of Communications, Eastman The core of Eastman’s values is artistic excellence. School of Music, 26 Gibbs Street, Rochester, NY Everything else radiates out from this center. 14604, (585) 274-1050.

Eastman-Notes@ require lifelong learning, as well as the willingness and Furthermore, however the music world changes, and esm.rochester.edu ability to be versatile and adaptable. whatever skills might be required by musicians in the While all of these elements are important, they are future, an emphasis on musical quality must always be incomplete without a core of artistic excellence. A focus the foremost priority. Artistic excellence will always Find us on Facebook on artistic excellence is the central value that gives remain at the core of an Eastman education. and Twitter. strength and integrity to being an outstanding musi- cian. The commitment, work, challenges, frustration, perseverance, and fulfillment that come from striving toward, and achieving, real musical excellence are expe- Visit the Apple Store riences that remain with people throughout their lives. to download and read Notes on your iPad. Whether a student embarks on a career as a performer, composer, scholar, teacher, advocate, music engineer, Jamal J. Rossi arts administrator, or any other career path, the expe- Joan and Martin Messinger Dean rience of achieving artistic excellence is the ultimate 10% Total Recovered Fiber 100% Post-Consumer Fiber “transferable skill.”

2 Eastman Notes | Spring 2016 { BRIEF NOTES }

Blog Brothers Eastman’s website has a blog about all things Eastman . . . or as many things as Andrew Psarris and John Fatuzzo can fit into it. Andrew, who received a BM in trum- pet last spring and is finishing a degree in Financial Economics at the River Campus, was our 2014–15 Arts Leadership Program intern and continues to work in the An Eastman Ebook Communications Office, Eastman is pleased to which creates Eastman introduce a new, compli- Notes; his “The End of the mentary ebook, 5 Steps to Chapter” appeared in the Auditioning Success. This fall 2015 issue. John, a online publication, created master’s student in trumpet, by the Admissions and was last fall’s ALP intern in Communications Offices, Communications. Andrew provides a wealth of ideas and John are prolific writ- to help students and teach- ers of social media posts, ers prepare for a successful blog entries, program notes, From their cubicle in Communications, brothers in bloggery John Fatuzzo (seated) audition experience, reduce and articles; you’ll see their and Andrew Psarris survey all aspects of Eastman. stress, and improve per- names and words frequent- formance in auditions and ly throughout this edition to music education in the Education wrote: “Mr. self-assessment, drawing interviews. It may be down- of Eastman Notes. UK. You can read more Alegant has explored the from every genre to help loaded directly from the about Catherine and her notion of ‘scuba diving’ in ‘students to engage with Eastman admissions page. CJA, MBE remarkable career at www. his teaching, focusing on the music they love as Eastman alumni frequently catherinearlidge.co.uk and covering less material deeply and rigorously win prestigious awards, but www.thestringcredibles.com. in greater depth . . . as possible,’ he Catherine Jane Arlidge Instead of lectures, says. ‘I am moti- (MM ’88), a violinist in An Alegant Honor quizzes, and ex- vated by a desire the City of Birmingham One of the four U.S. aminations, [his] to share the Symphony Orchestra for Professors of the Year for curriculum for transformative the past 25 years, may be 2015, chosen from almost budding musicians power of music— the first to be included 400 nomiinees, is Brian uses self-designed my awe of it.’ ” in Queen Elizabeth II’s Alegant (BM ’93), a pro- projects and New Year’s Honours List. fessor of music theory at On January 1, Catherine Oberlin. The winners were received the MBE (Member recognized in November at of the British Empire) from a ceremony in Washington. the Queen for her services The Chronicle of Higher

Eastman on Your Smartphone Eastman has also launched a new mobile responsive website which adapts to the screen on your iPhone, Android, or Windows device and allows for better visibility and easier navigation. Check it out at: esm.rochester.edu.

Dressed for scuba diving: Catherine Arlidge was recently honored by Queen Elizabeth for 2015 CASE Professor of the her innovative work in music education in Britain. Year Brian Alegant.

KAREN VER STEEG (PSARRIS AND FATUZZO); LISA CARPENTER (ARLIDGE); TANYA ROSEN-JONES/OBERLIN (ALEGANT) Spring 2016 | Eastman Notes 3 Serious Songs, Serious Singers Eastman voice students benefited from the voice of experience student, who performed one of Brahms’ Four Serious Songs. last fall, in the form of a Kilbourn Hall master class by Renée After excellent practical advice about open and closed vowels, Fleming (MM ’83). The superstar soprano was recently compressed sound, and subtleties of German pronunciation, appointed Eastman’s first Distinguished Visiting Artist, and Renée left Aaron and Chris with “Just one last thought . . . All the will return to the school in April. In September, she put several time you took to show us what you’re feeling, that’s what people voice and accompanying students through their paces, including will remember. That’s what makes a special performance. That’s baritone Aaron Bigeleisen, a junior and student of Robert what artistry is. It’s that simple. It’s not how you sing the high Swensen, and pianist Christopher Kayler, a second-year doctoral note. It’s that moment.” Photograph by Adam Fenster

4 Eastman Notes | Spring 2016 Spring 2016 | Eastman Notes 5 A Tradition Rebooted Rochester’s December weather was generally anything but wintry. But no matter the weather, Eastman’s Holiday Sing will always draw a big, happy crowd of students, faculty and staff members, and alumni . . . and their portable electronic devices. Photograph by Adam Fenster

6 Eastman Notes | Spring 2016 Spring 2016 | Eastman Notes 7 Jeff Beal (BM ’85) is a respected trumpet player and arranger, as well as a prolific composer for film, television, and the concert hall. He’s received multiple Emmys, most recently for the popular Netflix series House of Cards. (And he’s a much nicer guy Sharing than Frank Underwood.) Joan Beal (BM ’84) has performed as a classical vocalist with the New York Philhar- monic and the San Francisco Contemporary Music Players, and as a studio singer on more the than one hundred film scores, as well as in television programs, documentaries, and operas. Together, the Beals recently committed two million dollars to create the Beal Institute for Film Music and Contemporary Media at the Eastman School of Music. The Beal Institute will provide students with instruction and experiences that pre- Journey pare them for the increasing and evolving opportunities to write, produce, and perform music for film and digital media. Jeff and Joan Beal announce At the announcement of the gift in August 2015, Dean Jamal Rossi explained, “Jeff will serve as the artistic director of the Institute, and both he and Joan will continue to their major gift—and explain be involved with our school and our students. This gift will support students; it will pro- the significance of Eastman’s vide technology upgrades and pave the way for special multimedia projects that cross boundaries. It will make possible special residencies for today’s leaders in film music new Beal Institute. and contemporary media to come here and spend time with students at Eastman.”

8 Eastman Notes | Spring 2016 ADAM FENSTER and evolve; I’m reading my notes off an iPhone, [and] I “It’s at the heart of our wouldn’t have done that thirty years ago. We’re so thank- shared journey”: Jeff Beal ful to be a part of this initiative, and we look forward to speaks at the Beal Institute helping shape and guide future generations. announcement on August 29, 2016. From left to right: Jeff and Joan Beal; Eastman Jeff Beal: Little rock, big puddle Dean Jamal Rossi; University I graduated from this institution as a trumpet player, and Provost Peter G. Lennie; I guess I’m a good example of the type of school this is. and current JCM student When I came here as an undergraduate I couldn’t major Max Berlin. in jazz, or in contemporary media, or in film scoring. Yet because I was here, I could study all of those things. Eastman has a very special culture . . . there is this very sort of open atmosphere [and] a feeling that students and faculty are free to sort of percolate and cross-fertilize in whatever ways they feel passionate about. I think this is a really perfect time for us to make this initiative. Professional orchestras in the United States “If I wanted to think of the metaphor of what we are doing, it’s kind of like we’re taking a little rock and throwing it into the puddle that is Eastman, and it’s the rippling out of those waves that’s really going to be fun to see.”

and all over the world are starting to tiptoe back into bringing film music into the concert hall. One of the things I love about Eastman is that [we also have] a humanities department, and film is taught as a form of literature here, and I’m a firm believer that great film music is legitimate literature for the concert hall. Not all of it is great, not all of it’s good, not all of it deserves to be there, but the [best of it] can be part of a symphonic program. I think not only Joan Beal: “A shared journey” are the students who come here [going] to write for film; Eastman is where all of this started for us; it’s at the heart the next generation of orchestra musicians are going to of our shared journey as musicians and also as a couple. need to know how to perform this music. We were taught to explore our own unique artistry by our If I wanted to think of the metaphor of what we are many mentors and professors here, but also by our fellow doing, it’s kind of like we’re taking a little rock and throw- students. Our training at Eastman gave us the skills and ing it into the puddle that is Eastman, and it’s the rippling confidence to leave and go out into the world and that’s out of those waves that’s really going to be fun to see. So exactly why we keep coming back. part of the fun of doing this now, and the reason we’re There’s a specific skill set required to write, perform, attaching our name to it, is that we have such a wonderful and record music for film and media, and it’s not tradi- and emotional artistic debt we want to pay back to this tionally taught in music schools, but Jeff was offered school. But we’re also putting our name on it because we these classes at Eastman here in the 1980s . . . and we want to be accountable to it. were able to learn about this craft from the wonderful We get emails all the time from people wanting to Rayburn Wright. Jeff and I firmly believe that film and study, so now I have a new answer for them. I can say, contemporary media studies can be included, not at the “You want to learn how to write film music?” or more expense of artistic growth or classical studies, but rather, important, “You want to become a great musician?” for interested students, alongside traditional studies. (which is really what you need to do in order to become As the world changes, our musical expressions expand a film composer). Now I can say, “Go to Eastman!”

Spring 2016 | Eastman Notes 9 ravel broadens the mind, and it can also lead to fresh and exciting ideas—which in Eastman’s case will have a far-reaching effect on the school’s future. Eastman Dean Jamal Rossi took two trips Tto China in the fall 2015 semester. The first trip was an invitation to deliver a keynote address at the 75th anni- versary celebrations of Beijing’s Central Conservatory of Music. This celebration brought together representatives from music schools all over the world. Dean Rossi says, “It was interesting to recognize that music institutions around the world are dealing with similar questions and issues. A principle concern for American music schools is the changing nature of music—how do we prepare our students for the con- temporary musical world? Chinese conservatories are considering career opportunities within the country for the tremendous number of students currently enrolled. European schools are increasing their focus on entre- preneurship and the kind of issues Eastman has been teaching for many years through the Institute for Music Leadership. We are all focused on preparing our students for a changing professional music landscape.” Eastman Looks Dean Rossi returned to Southeast Asia in November along with Provost Peter Lennie and Dean Andrew Ainslee of the Simon Business School. Together, they visited universities and hosted alumni receptions in Seoul, Beijing, Hong Kong, and Singapore. Upon his return, Dean Rossi stated, “One of the hall- marks of Eastman’s Strategic Plan, Eastman 2021 (see page 28), is an increased focus on global engagement. We have a renewed commitment to our conservatory exchange program, and we will be making certain that all initiatives strengthen Eastman’s position as an inter- nationally-recognized music school.” The Conservatory Exchange Program, long active at Eastman, has fostered East student and faculty exchanges with music schools around . . . and Forward the world, including London’s Royal College of Music, the Paris Conservatoire, and Beijing’s Central Conservatory. Besides new music school partnerships, the “renewed By David Raymond commitment” will also involve sending several Eastman

Beijing is the home of China’s Central Conservatory. Above, left to right: 2015 Evans Lam Scholarship students Brendan Knight, Ryder Eaton of Eastman, Kenneth Imade, and Becky Chu sightseeing at Beijing’s Forbidden City.

10 Eastman Notes | Spring 2016 ensembles abroad this spring and summer. Between late May and the end of July, Eastman Saxophone Project will perform in Beijing and other Chinese cit- ies; Eastman Broadband will return for a residence in Italy; and Harmonie, a wind octet drawn from Eastman Wind Ensemble, will perform in Vienna, Prague, and throughout Germany. “We need to think strategically about Eastman’s global engagement,” says Dean Rossi. “Where should we recruit our international students, and why? What would be the ideal balance of American and international students. How can we best support our international students?” He adds that Eastman is establishing a new academic advising position focusing on the special needs of inter- national students. John Hain has served as Eastman’s Associate Dean of Academic Affairs since August 2008; he also accompanied Dean Rossi on the university trip to Asia in November, after which the dean added a couple of significant words to Hain’s title. As Associate Dean of Academic and International Affairs, Hain will be in charge of the effort “Chinese conservatories mobility between China and the West shows signs of to engage international students more fully at Eastman, have their own style,” says decreasing. While last November’s Eastman trip to Asia and also to stimulate interest among Eastman faculty Dean Jamal Rossi. “They try included several cities in China, it also included numer- members and students in studying abroad. to balance western and tradi- ous locations in Southeast Asia; Hain is also interested “We want to make sure we’re not falling behind in global tional Chinese music, which in expanding outreach to Japan (Eastman currently has is a very healthy thing”—as outreach,” says Hain. “Eastman has always had an excel- in this Chinese-instrument no Japanese students) and South Korea. lent study abroad program. But now we want to make our orchestra from Beijing’s “While we have a lot of students from Asia,” says Hain, program even more robust, with more conservatories Central Conservatory. “we don’t have many of our students interested in going in more countries, engaging not only our international to Asia yet.” Hain is enlisting current Eastman facul- students, but also engaging current faculty members and ty members with ties to Asia, such as Associate Professor of Violin Bin Huang and students.” In his new position, Hain will lead Eastman’s Associate Professor of Saxophone Chien-Kwan Lin, to stimulate interest among stu- international outreach, about one-fourth of his job. dents in traveling there. The school’s special focus will be on countries like Hong Kong In the 2016 Eastman admissions bulletin, students and Singapore, where English is widely spoken and there is no language barrier. “Part of are listed as coming from a total of 37 countries, many of [our students’] careers will be learning to navigate a global economy,” says John Hain. them in Asia: China, South Korea, Hong Kong, Singapore, Ryder Eaton, a Jazz and Contemporary Media major who was a recipient of the Evans Indonesia, Mongolia, and Thailand. In this new outreach, Lam Scholarship, made possible by a member of the University of Rochester’s Board Asia will remain “a big player,” in Hain’s words. of Trustees. Ryder, along with five other University of Rochester students, spent six For several decades, China has been the biggest of weeks last summer in Hong Kong and China, and his response to the scholarship the big players, sending thousands of young classical committee was enthusiastic: “A summer in Hong Kong was a glimpse into . . . musicians to the United States for training. John new experiences, and it has instilled in me a hunger for the new like I haven’t Hain sees that number reaching a plateau soon, as experienced before.”

ADOBE STOCK (BEIJING); PROVIDED (OTHER IMAGES) Spring 2016 | Eastman Notes 11 A Deeper Resonance Kelly Hall-Tompkins (BM ’93) is the founder of Music Kelly Hall-Tompkins’ Music Kitchen Kitchen: Food for the Soul, a community-service oriented celebrates a tenth season music series in New York City. Music Kitchen perfor- mances bring emerging and established professional By John Fatuzzo musicians together to perform for and share music with New York City’s homeless population. This year, Music Kitchen is celebrating its tenth year of performing in New York City homeless shelters. In ten years, Music Kitchen has presented 80 cham- ber music concerts in New York, Los Angeles and Paris, with over 150 emerging and iconic artists, such as Emanuel Ax and Glenn Dicterow, and reached an esti- mated 12,000 shelter clients. Music Kitchen has been featured in the New York Times and on CBSNews.com, ABCNews.com, and the Hallmark Channel, among oth- er media outlets.

Your organization recently celebrated its tenth year of bringing great concerts to the homeless. Tell us what this anniversary meant to you and your organization. Top: In the shelter at New York’s Holy Trinity Lutheran Church, December 2009: back row, left to right: Mark O’Connor, with violin; Joseph Rucco; Michael Grant; Omowale Adewale, shelter It’s hard to believe that it has been a decade. Over the coordinator. Front row: Eddie Mobley; Cleveland (yellow shirt); Kelly Hall-Tompkins; and Jermane years I have pursued ambitious goals and passionate pro- Coit. Bottom: A Music Kitchen concert in a church basement in New York. gramming, and whenever I look up, we’ve achieved more

12 Eastman Notes | Spring 2016 RICHARD TERMINE (TOP); GREGORY ROUTT (BOTTOM) of these major milestones. Many have shared Have you worked with any Eastman alumni with me the impact of these concerts. There with Music Kitchen? are others who appreciate them in their own “I really felt at peace, within Yes! I love to work with my Eastman alum- quiet way and only after the concert is over my mind and soul listening ni colleagues. Artists who I am aware of as do I see the powerful written words they left Eastman graduates are Jeff Ziegler (cello, BM behind. Music Kitchen concerts are certainly to Music Kitchen. I thank ’95), Craig Ketter (piano, BM ’91, MM ’93), not the resolution of the significant problem David Barry (piano), Robert deMaine (cello, that is homelessness. But they are part of the God that I am born and yet BM ’92, MM ’93), Wayne Smith (cello, BM healing, part of a holistic solution, and, cer- alive . . . So many trials and ’96), Brett Deubner (viola BM ’90, MM ’92), tainly, an important part of inclusiveness and . . Thank you for Aron Zelkowicz (cello, BM ’96), Kenneth expanding the arts to underserved communi- tribulations . Law (cello, BM ’89), Joe Chappel (baritone), ties. I have begun to see former Music Kitchen coming over.” my husband Joe Tompkins (percussion, audience members in other public places—they BM ’92), and last but not least, now-attor- recognize me and will introduce themselves to Sincerely, Barbara M. ney Christian Carbone (tuba, BM ’93). thank me. It’s a wonderful feeling. They represent the type of well-round- ed, imaginative artists I seek to reach How was Music Kitchen was founded? Music Kitchen’s artistic ideal. I founded Music Kitchen as a result of many dif- “Kelly, Thanks you have ferent influences and experiences over the years. Could you describe the reaction of your One: As a high school member of my hometown the ability to take me audience during and after Music Kitchen orchestra, I used to wish that there was a way that I performances? What do these reactions mean could bring people on stage with me to experience musically to places I’ve to you and your colleagues? the music as powerfully as I did. never been. Anna what a I continue to be moved and inspired at the pro- Two: Chamber music parties. People who found responses that listeners have. In many knew each other or were perhaps meeting for beautiful gentle instrument. cases the clients know in advance that there will the first time would come together and play be a Music Kitchen concert, and as a result, may chamber music before a large audience of Thank you very much.” try to be assigned to a particular shelter venue in guests. In many ways they would perform order to hear it. with more intensity, heartfelt emotion and But often, they are surprised to find musicians. electricity than if they had been rehearsing for a concert After only a few minutes of music, there is a warm engagement. That stayed with me. rapport between the musicians and the listeners, with Three: My grandmother only recently retired from her much laughter and eagerly offered exclamations of joy church group of pioneering women in central Florida and gratitude in the music. The transformation who served the homeless a home-cooked break- from the beginning of the concert to the end of the fast in the park every other Saturday for 13 years. concert is practically palpable. Though I never made a specific correlation to Sometimes the music causes an otherwise reclu- Music Kitchen until I was already many years “If I say I like I sive person to open up about deeply personal into it, I know my grandmother’s persistent emotions or experiences. But again, it is often not humanitarian spirit is a major inspiration for would lie so I say the until after I leave that I read the most profound me in this endeavor. truth, I love it.” comments, written on the cards I hand out at the In 2004, I played a runthrough of a violin beginning. concerto prior to the public performance for the —Luis G. (shelter client) The musicians who play Music Kitchen homeless shelter program at my church. My hus- concerts consistently report that their per- band Joe was the volunteer cook coordinator and formances have an even deeper resonance I was an occasional volunteer cook, so we knew the than in traditional concert settings. setting. The experience that night was incredible for me because even with that violin concerto with no accom- What advice would you give to a musician who has “Only after the concert paniment, they were moved and so grateful. Immediately is over do I read the most similar interests in sharing music with the homeless things came together in my mind: chamber music, the profound written comments shelter population? most community-oriented, intimate and expressive of all [audience members] left It is important not just to have a dazzling technique, but musical genres, was the perfect vehicle to actually reach behind,” says Kelly. to use that facility to artistically express something deep people most in need. I immediately contacted some arts within you, and to really connect to the listener. When philanthropists I knew who loved the idea and provided that happens, it doesn’t matter what repertoire you play, me with some beginning capital. The next season Music or who you’re playing for, but they will be drawn in and Kitchen was off and running! magical things can happen!

Spring 2016 | Eastman Notes 13 “It felt to me, and still does feel to me, like a very natural evolution in my career,” says our Institute for Music Leadership’s new director.

14 Eastman Notes | Spring 2016 KATE LEMMON “A very natural evolution” The IML’s Jim Doser on the future of musical careers

By Andrew Psarris

Eastman is known for many great and innovative Besides telling me “everything,” what has changed since you were doing your initiatives, not the least of which is our Institute for bachelors at Eastman? Music Leadership and its Arts Leadership Program Where we are sitting: the IML is the biggest difference. Much of the curriculum is the (ALP) program. These were the vision of former same; I took the same courses you did. It’s still about high-level musical instruction Eastman dean James Undercofler, and of IML director and studying with a high level teacher. Also there were the theory and history and Ramon Ricker, long-time Eastman saxophone professor comprehensive humanities requirements that students have. I remember thinking and senior associate dean for professional studies. how difficult it was that we had to take humanities courses and write papers because After Ray Ricker’s retirement, an international search I needed to be in the practice room, but now 95% of what I do is writing! commenced for his replacement. In the spring of 2015 the school announced James Doser as the new director When did you start teaching in Penfield? They must have been sad to see you of the Institute for Music Leadership. leave after all those years. Jim Doser is an Eastman alumnus, having obtained 1979 was my first year, shortly after my graduation from Eastman. I student-taught a Bachelor’s Degree in Music Education (where he in Penfield and was hired the following year. I was there for 36 years. They might studied with Ray Ricker) in 1979 and a Master’s Degree have been sad briefly, but change is good, and I know there are wonderful people in Jazz in Contemporary Media in 1984. He taught in continuing to do great things there. the Penfield school district for 36 years before leaving to become the director of IML, and also founded and How did your job in Penfield change during your tenure? Which things did you add ran a successful business for two decades: Triton Music, or create in the curriculum? producing jazz camps for adults. Penfield has always had a strong connection with the Eastman School; many of our Jim and his wife Betsy have four children: Tom (BM faculty members are Eastman alums, and in that sense it’s very much a pipeline ’12, BA ’12), Chris (BM ’15, BA ’15), Rebecca (a senior school. The Penfield program was an excellent program predating my start there, at St. Lawrence University), and Jeff (a sophomore at so I felt I was just continuing great traditions both there and at Eastman. That SUNY Geneseo). Jim continues to play saxophone pro- being said, some things did change: we incorporated some really interesting proj- fessionally with the Rochester Philharmonic Orchestra ects. One was the development of a studio orchestra, for which we commissioned and various professional combos throughout the city. many pieces and featured world-class artists. We also had some unique relation- I had the opportunity to sit down with Jim Doser and ships and collaborations with institutions both local and national. For example, ask him about his career as a music educator, and his we did some commissioning work with Eastman and the Rochester Philharmonic visions for the future of IML. Orchestra, as well as bigger projects with the Smithsonian Institution and the

Spring 2016 | Eastman Notes 15 National Endowment for the Arts. For a high school, we really had a broad national demanding; it’s kind of like auditioning for an orchestra, exposure and network. there are so many steps to your preparation. I learned a lot and was grateful about going through it. Have many of the students you had gone on to Eastman or to careers in music? They certainly have! One of the unique things about the Penfield program was its Are more and more students who are interested in comprehensive excellence in every area: choral, orchestral, band, jazz, and classroom Eastman finding that the IML helps seal the deal for music. I think the real mark of a successful program of any school, or of any kind, is them? when you hear about students who are involved in the music of their community in As far as “sealing the deal” goes, that would be a question some way. We would hear frequently about people who were involved, or encouraged for Matthew Ardizzone (Eastman’s Dean of Admissions), their children to become involved, on some level. but I know that there is a significant amount of interest from current students in the IML and ALP program. What did you do with the Smithsonian? When we ask, “Why are you interested in the ALP pro- The Smithsonian was creating a traveling exhibit called The Jazz Age in Paris; it was gram?” they respond with, “I saw it in the admissions about the Harlem Renaissance. They had presented their Duke Ellington traveling packet and the brochure and I thought it was interesting exhibit at the Strong Museum and my band played for the exhibit opening, so I called and relevant to my career.” I also know that parents are their director of American music, John Hasse, and told him I had an idea. They invited very pleased to hear about this, myself included. I have us to Washington to present a proposal: to write a curriculum for this time period, four kids and I am a professional musician, but when which included English language arts materials, visual arts materials, social studies, and confronted with the possibility that my son is going into Jazz. We wrote a curriculum that included not only the lesson plans, but also included music performance, I asked questions such as: “What slides (in those days), CDs of period music, and original compositions in those styles exactly do you think it is you’re going to do when you

“We can no longer just teach students a set of skills; we cannot wall ourselves off in a practice room. We need to teach them how to look at what the next problem is and how is one going to solve it. The whole concept of entrepreneurial thinking is paramount.”

for jazz ensemble. The Smithsonian produced it and made it available to any and every graduate?” It seems this program is very valuable for high school in the cities where their exhibit toured, for free. It was a very successful students in helping to distinguish Eastman from other project, and it took a long time to prepare. Our team won the Smithsonian Award for schools. education that year. The ALP is 20 years old now, and life is very different When did you learn about the IML vacancy? When you heard about it, did you think from what it was 20 years ago. How do our programs immediately “I’d be great for that,” or did someone ask you to try out for it? need to change? I had been teaching in the IML as part of the Arts Leadership Program for a while in We can no longer just teach students a set of skills; we addition to my job in Penfield, and I knew Ray was retiring. I did not quite know what cannot wall ourselves off in a practice room. We need the process would be, or when it would open up and be officially announced. But it felt to teach them how to look at what the next problem is to me, and still does feel to me, like a very natural evolution in my career. I’ve been and how is one going to solve it. The whole concept of in education, I’ve been an entrepreneur—I owned a business for twenty years, Triton entrepreneurial thinking is paramount. Music, that was very successful—and I realized while teaching in this program that I’ve always thought like an entrepreneur. I didn’t know what to call it, but I always Are there other schools with institutions similar to this was looking for something new, or how to add value to something that was there. All of one? What sets this one apart from those others? those experiences really led me to see this position as the next step for me: a realization There are some other very, very good programs around, that if this was going to happen, it would draw upon all my strengths and experiences. such as the one at New England Conservatory. There are some other schools that have various versions and Can you talk about the process of getting hired for this position? resources for students. I think what distinguishes us is I joke because I think it takes less time to elect a president of the United States! This the curriculum offerings we have. We have many cate- process was very long, but I really did enjoy each step. There are several rounds but gories, from entrepreneurship, leadership, performance, once selected as a finalist, the part I particularly enjoyed the most was spending the to healthy musicianship. When I’ve spoken to colleagues day here and meeting with the many groups and individuals that represent facets of around the country specifically about our online program Eastman and the River Campus. It was in these meetings that I had the opportunity and I tell them the types of courses we have, they say, “We to articulate my ideas. It worked out very well. I grew a lot in that process. It was don’t have the capacity to offer that. We don’t have the

16 Eastman Notes | Spring 2016 expertise.” But these programs are embedded in many facets of the Eastman School. Staying Ahead of the Curve: Do you have a hard time convincing the faculty of the Jim Doser on New IML Developments worth of some of these programs? Everyone here that I have interacted with has been sup- IML is a staple here at the Eastman School; it has helped a lot of people, including portive of the mission of the IML. Even so, the students are myself. What do you see now as the future of this program? the real drivers for these types of offerings. They, more and One of the things I’ve always known is that the IML, specifically the Arts Leadership more, recognize the need for skills in addition to excep- Program, has always been far ahead of the curve in thinking about helping musicians tional musicianship for success in today’s music world. today. This is an incredible position that we hold now, and we have lots of things, not simply visions but actual plans, underway: What are the current trends in the music business? How does IML fit into these? The Eastman Career and Leadership Certificate will be available to students all over I see three trends. The first is the concept of community the country and the world in bachelor’s, master’s, or doctoral degree programs, or to engagement. This term has been around for a while and independent students who may have already completed school and want to have the has meant different things. When it started out, it was Arts Leadership information and skill set. We will offer a series of five courses for six code for: “We are going to teach people why they should credit hours over the course of four semesters that students can take 100% online. really pay attention to classical music.” Now I think we This certificate can show up on their own school transcripts. Our plan is to implement have evolved to where community engagement means this program in September 2016. We are designing the courses for an online format. finding ways for our communities to relate in meaning- ful ways to music from their perspective, not from our Case Studies are basically researched synopses of a problem that a business has perspective. We are going to see a real evolution and faced, for good or bad, documenting what resources they used and what solutions development of that way of thinking. they came up with. This will be turned around and used as a tool for student instruc- This does not at all mean that the artistic integrity of tion to say: How would we solve this problem? What strategies can we come up what we do needs to change. We just need to find ways to with to tackle a similar problem? We are developing our own program for publishing help people relate to it; how we can take what we do and a series of case studies in the music industry; this will be available in July 2016. relate it to something they find important. It is expand- ing our horizons. Maybe we shouldn’t always be asking The Master of Arts Degree in Music Leadership is a holistic program for students people to come to us; maybe we should be going to them. and professionals who at their core are musicians, but who also want to create their A second development is technology, which is having own business, or have an entrepreneurial idea; perhaps they want to be an arts such a profound effect on what we do. In many ways administrator in the music world. We hope to launch this program in September that effect is negative, but it’s a net positive, because as 2017 as the middle prong of a three-pronged arts leadership track at Eastman. The we stay glued to our computers and our phones I think Arts Leadership Program would be first prong leading to the Master of Arts degree. it raises the value of face-to-face, live musical experi- Students could stop there, or go on to the Simon School to complete an MBA with a ences. Even though it’s all changing so quickly, I think concentration in music leadership. that finding a way to bring that notion to people will be really significant. The fourth program would be an IML Center: a resource area for students to have The third trend is the whole concept of how musicians collaborative work-space, all kinds of resources, and a center for networking and and composers get paid, and what effect streaming has had mentorship by alumni. For example: I recently spoke to a student who had a legal on digital licensing agreements. We are in this whirlwind question about starting a business; instead of her hiring an attorney, I knew an of activity and it’s not necessarily been good. Musicians Eastman graduate I could connect with her. We see this as an intermediate step are finding fewer and fewer ways to earn money from between course work and a business incubator; a place where students can access recording. Eventually we are going to come out of this information and work collaboratively. whirlwind and settle on something that is going to work. The final project is the development of a prototype for a newMaster Class instruc- Is there anything else you want to add? tional/community building tool for faculty members, based on the concept now on A final connection perhaps . . . the market of master classes—which has nothing to do with music. Master classes I do have interesting non-musical connections to allow people to go online and take classes with people who are well-known in their Eastman. My grandfather, Elmer Spitz, was one of the field. For example, a tennis student could access an online master class with Serena original electricians who hung the Eastman Theatre Williams. Our prototype is in the video stage now with Michael Burritt (professor chandelier, which I think about every time I go in there. of percussion). This would be for any faculty member who is interested. This is not Also, my father, Warner Doser, was a construction just about delivering instruction online, it’s more about building a community where superintendent who supervised the renovation of the people can interact and share information. The instructor can share information old Sibley Library and the construction of the YMCA. with them, using tools like real time video streaming, and in the process people can My family has four generations of Eastman Involvement. build connections with each other through this medium.

Spring 2016 | Eastman Notes 17 oice student Alan Cline called Hydrogen Mary Griswold: Creating a Unique World Jukebox “the definition of unique,” and his description of the fall Eastman Opera Theatre The action for Hydrogen Jukebox takes place in a “new age church.” Could you tell production seems as apt as any other. Part us about how you and Prof. Daigle [Eastman Opera Theatre director Steven Daigle] opera, part song cycle, part protest meeting, interpreted this for the set design? part religious experience, and part sixties-style Our production takes place in an alternative sacred space, a space which incor- happening and “turn on,” this 1990 collabora- porates symbols of many aspects of modern life, but one in which the worshipers Vtion between between composer Philip Glass decide that maybe they don’t believe all that stuff anymore. This is what we came up and poet Allen Ginsberg is a panorama of the last fifty with after trying out a number of ideas suggested by the poetry, such as a train sta- years of American social and political history. tion or airport because there is so much traveling in the poems. The combination of Glass and Ginsberg—as inter- preted by director Steve Daigle, music director Benton What are some of the particular challenges in designing the set for Hydrogen Jukebox? Hess, choreographer Spencer Reese, and set design- There is nothing in the libretto to suggest anything about how to stage the piece, er Mary Griswold—proved to be an unforgettable one, who the characters are, where we are in time or space. The challenge of the piece is performed before sold-out audiences in Kilbourn Hall to figure all of this out in some way. That’s also why it was so much fun. in early November. Here are excerpts from interviews with Griswold, Cline, and Isaac Assur about the chal- For those who may not know much about theatre set design . . . could you briefly walk lenges and rewards of designing and interpreting this, us through the process of designing a set? yes, unique music theater work. I read the libretto thoroughly to see about any plot requirements that need to be considered, i.e. doors, windows, closets to hide in, etc. As scenic designer, I start by From interviews with Mary Griswold (by John Fatuzzo) figuring out the ground plan. At some point, the director and the other designers and Alan Cline and Isaac Assor (by Andrew Psarris). will have agreed upon a time period or style and a color palette and I will do research as needed. Next I make a scale model, do paint elevations, and make drawings for the shop to estimate costs and build the sets. At Eastman I am also the scenic artist so I will begin painting as soon as there is some scenery to paint. RAGE Against the MACHINE Glass and Ginsberg ask the musical question “What’s the enemy, year after year?”—and Eastman Opera Theatre sings the compelling answer.

18 Eastman Notes | Spring 2016 NIC MINETOR Alan Cline and Isaac Assor: From Bass-baritone to Beat-poet patterns and repetitive phrases that persist through the work. The longer that a performer has to get What is your role like? something like this into their body and into their con- Isaac: The Bass-baritone role has been a highly rewarding challenge. In the begin- sciousness, the better the chance that they can portray ning of the opera, he is the pastor of the dystopian church. Throughout the opera he it better to an audience after all. questions his faith in this machine and struggles to find his true inner voice, rather than preaching on behalf of this repressive “god.” I heard that the bass-baritone role is based on Ginsberg Alan: The role is very challenging. There are certainly roles in standard repertoire himself. Is this true? that are longer or more complicated, but the sheer energy requirements and mental Alan: You may have heard right! Through the course endurance are remarkable! From the time that I set foot on stage until the moment of the work each of the six characters goes through we take our final bows, the character is off stage for no more than two minutes. That deep changes, but one of the constant factors is that means nearly two hours of constant vocalizing and perpetual motion. No water for the Bass-baritone character is the font from which the the first 70 minutes or so and lots to remember! poetry and the reality flows once the transformation begins. We transform essentially into a character that Describe your preparation for a role of this magnitude. parallels Ginsberg in many ways, just in time to deliv- Isaac: The biggest challenge in preparing this role has been internalizing the music er a big monologue in the middle of the show, which and poetry in order to focus on creating a character. Studying the poetry and music was, coincidentally, the very poetry that began the was just the tip of the iceberg for this opera. More important is creating a through- Ginsberg/Glass collaboration. Tons of cool stuff here! line through the text and choreography, especially since the score doesn’t explicitly Isaac: In our production, as the preacher discovers tell you the story. As a performer, you have to be sure of the story you are trying to his inner voice, he returns to a time in which he takes tell so that you can create this world for the audience. on the archetype of the Beat-poet, leading his congre- Alan: The first step I take always when preparing a role is to take a close look gation to reject the machine they once worshipped. at the text. And even though the poetry is in English, with the surreal nature of In a way, the Beats were preachers in that they sought the language used and the plethora of historical references, a translation process truth out of what they perceived as the lies surround- was absolutely essential. After that, it was trying to come to terms with all of the ing them.

One of the two casts of Hydrogen Jukebox, performing before a large open mouth representing Moloch, or inhuman forces in society. Left to right: Cassidy Thompson, Teresa Perrotta (in back), Alan Cline, Jessica Newman, Daniel Lyng, Jonathan Heller.

Spring 2016 | Eastman Notes 19 Tales of Instruments Two legendary2 string instruments, several lucky Eastman students.

“It is very cool to play this bass” By John Fatuzzo Eastman was a temporary home for the 200-year old dou- ble bass once owned by Serge Koussevitzky (1874–1951), famed Russian double bass virtuoso and music director of the Boston Symphony Orchestra from 1924–1949. In November, Madeleine Crouch, the Director of the International Society of Bassists, reached out to James VanDemark, Professor of Bass, about temporarily adopt- ing the bass after it underwent repairs by Rochester luthier Michael Griffin. VanDemark, who has close ties with the instrument, gladly accepted the offer. Koussevitzky’s widow gifted the double bass in 1962 to Gary Karr, who at the time was a young virtuoso and is a leading performer and teacher of the instrument. VanDemark was a student of Karr in the 1970s and recounted his first experience in playing the instrument. “In 1970, I arrived in Canada to play Principal Bass of the Hamilton Philharmonic and continued my studies with renowned bassist Gary Karr, then living in Halifax. As a lesson necessitated flying from Toronto to Halifax, I rarely brought my own bass. Karr had received the Koussevitzky bass . . . and as he performed on it somewhat infrequently, the instrument was often available for me to play on at lessons. It was set up rather differently from the instruments that Karr and I played (which were matching basses by the American luthier Lawrence LaMay, which

20 Eastman Notes | Spring 2016 ADAM FENSTER (VANDEMARK AND PHILLIPS); DONNA SANTOS/CANADA COUNCIL FOR THE ARTS (POTTS) enabled us to play double concertos together fairly easily) adding to—his reinvention as the legendary conductor “Probably the most famous but was enormous fun and a challenge to play on.” of the Boston Symphony and a champion of American bass in the world right Karr donated the instrument to the International music. It’s a thrill to touch it and to play it. The sound of now”: the two-century-old Society of Bassists in 2004 and it has made appearanc- the upper register is absolutely exquisite.” Koussevitsky double bass, es at biannual conventions for the organization since, Caroline Samuels, a sophomore bass performance in the good hands of James VanDemark and doctoral including the 2013 event at Eastman. The bass returned student, says, “I’ll admit, it is very cool to play this bass. student Spencer Phillips. in November when Colin Corner, principal bassist of the At first, I was almost intimidated to play it, and I know Atlanta Symphony Orchestra, performed Koussevitzky’s the rest of [us] also felt intimidated to be standing in Concerto with the Rochester Philharmonic Orchestra. front of it. It’s amazing because this bass has been passed The opportunity to show the bass to his own students along thorough so many people; from Koussevitzky, to and hear them play it was a heartwarming experience for Gary Karr, to the ISB Society, who has loaned it out to VanDemark. “The delight of seeing, playing and sharing many of the world’s leading bassists. It is a cool feeling a very famous ‘old friend’ with my students that I haven’t to be playing the same instrument that so many ‘greats’ seen in 45 years is truly a once in a lifetime experience. have also played. This is probably the most famous bass Koussevitzky’s performances on this bass catapulted him in the world right now, and we were so lucky to have it to fame in the early 20th century prior to—and maybe for a few weeks.”

“I’m beyond excited to play this incredible instrument” By Andrew Psarris to get the chance to play this incredible instrument for Recent alumnus, good friend of mine, and star of last the next three years. year’s Eastman Ultimate Frisbee team, RPO violinist Jeremy Potts (MM ’15) has accomplished something few Why is this violin so famous? could ever hope to accomplish. He is in possession of a The violin I have was made by Enrico Rocca in 1902. He world-renowned violin loaned to him for three years after was one of the foremost violinmakers in Genoa, Italy at winning a nationally acclaimed competition. the beginning of the 20th century. He followed in the footsteps of his father, Giuseppe Rocca, who was another What was this competition? highly esteemed Luthier in Turin in the mid to late 1800’s. It’s the Canada Council for the Arts Musical Instrument This particular violin was made at the zenith of Rocca’s Bank Competition. It’s open to promising young career, and it really shows in both appearance and sound Canadian Musicians on the verge of/in the midst of a quality. It’s in nearly perfect condition and has a very solo or chamber music career. It happens every three pure, even and full-bodied sound. years and the competition is very intense, with musicians from their early twenties to late thirties. Who played it in the past? I have an interesting connection to a past player of this Violinist Jeremy Potts with What did you play? Who were the judges? instrument. It was previously loaned to Kerry DuWors, his “nearly perfect” Enrico I had to play an audition comprising of no more than 20 an Eastman DMA alumna who completed her under- Rocca instrument, made in minutes of music and an extremely thorough interview graduate degree at the University of Victoria, studying Genoa in 1902. round. Afterwards, I got the call saying that I was suc- with the same teacher I did. cessful in the competition and that I would be picking my new instrument the next morning! I was ecstatic. How will this violin and this competition make you a We only had 20 minutes to choose our instrument, better player? but earlier in the week we were given an hour by our- In the short time I’ve had with the instrument, I can selves in the shop to play each one. The more high-profile already hear and feel the immense positive differences instruments, such as the Stradivaris and Guarneris, were from my old instrument. There are so many more colors the first to go. However, I was very pleased to see that I can experiment with, and the amount of effort needed to one of the instruments that I particularly enjoyed was create a clear, projecting tone is almost nonexistent. This still available when my turn came around. In addition to instrument’s unique character will really shine in chamber picking out our instruments we all had a lesson with the and solo settings. It inspires me to continually experiment luthiers on how to maintain our instruments. with new sounds and approaches. The competition itself They would take the time to adjust and set up your was a huge learning curve for me. The extremely high level instrument to your liking, which for me included the of technical and artistic expectations from the jury made addition of a new shoulder rest, chinrest, strings, rosin, me prepare more thoroughly than I’ve ever had to before, humidifier and brand new violin case. I’m beyond excited and made me re-evaluate my habits and musical approach.

Spring 2016 | Eastman Notes 21 A Weekend of Wonders October 8–11, 2015 marked the first year of Meliora@ line between regret and fear when it comes to deciding Eastman: the combining of two alumni traditions, the what to do next. University of Rochester’s Meliora Weekend and Eastman In walks Isaacson, saying that: Rochester has always Weekend. The long weekend was filled with interesting been a hotbed of innovation through institutions like events, and guests ranging from Steve Jobs and Benjamin Eastman and the University of Rochester. That’s going to Franklin’s biographer to the star of Wicked. be the next wave of digital revolution—those who connect Our bloggers Andrew Psarris, John Fatuzzo, and Peter the humanities and technology. Just because you have Ben Franklin’s biographer and Folliard were involved in the celebration. We excerpt their one interest does not ever mean that you cannot fully the toast of Broadway: author blog posts here. You can read the complete posts on the explore another and tie the two together. Even the great Walter Isaacson (above) Eastman website: esm.rochester.edu/blog Leonardo Da Vinci, painter of the Mona Lisa, champi- and diva Kristin Chenoweth oned scientific research. This is where creativity comes (right) headlined Meliora From Insatiable Learning to Innovation from—combining your interests. Weekend at Kodak Hall. Meliora Weekend gives students the opportunity to talk When Steve Jobs was rehired by Apple, he sought to to esteemed alumni and guest speakers. I have had the create an environment where people were always bump- opportunity to meet Bill Clinton, Robert Gates, Doris ing into each other. Instead of disjointed buildings, he Kearns Goodwin, and this year’s keynote speaker, Walter created a central hub where ideas could be expressed, Isaacson, who was the managing editor of Time, the CEO and collaboration and teamwork would flourish. “That is of CNN, and is now the CEO of the Aspen Institute. He has why it is important to have a quadrangle at your school,” written biographies of Albert Einstein, Henry Kissinger, said Isaacson; a physical space where people can casually Benjamin Franklin, and most recently, Steve Jobs. stumble upon ideas together. At Eastman, Lowry Hall It sounds clichéd, but what Isaacson had to say was acts as “our quad.” inspiring. I love music, I always have, but sometimes I Loving learning, and having an insatiable appetite wonder, “How am I going to make this work?” I sit on the for figuring things out, is another component of great

22 Eastman Notes | Spring 2016 MATT WITTMEYER innovators. “In Leonardo Da Vinci’s journals he writes Wing and Pushing Daisies, for which she won an Emmy. On Kristin Chenoweth was a very very specific things such as, ‘Why is the sky blue?’ or Friday afternoon, October 9, a few hours before a sold-out “popular” guest, especially ‘How do birds fly?’ ” Another example is Albert Einstein. concert in Kodak Hall, she treated the Eastman commu- with voice students (from Hundreds of great physicists were working on perplexing nity to a brief talk about her life and her philosophies on left to right) senior David problems in the early 20th century, but it was a Swiss music, and then took questions from the audience. Sean McNeeley, junior Brent Doucette, and seniors patent clerk whose curiosity jumped out of the pages of On playing roles onstage, she said: “While you must Laura Sanders and Nicole history and who wrote the theory of general relativity. have the chops, I believe the most important part of being Beauregard, who were among In many ways this is the frontier—our ability to satisfy on stage is the acting; I’ve always been an actor . . . don’t the students Chenoweth our need to figure things out. you think Mozart, when he heard the great singers of his invited to perform onstage as This talk reminded me that music can complement time, would have loved an actor?” back-up singers. everything else I do. There are careers at the crossroads Her proudest moment was when she took the stage in of the arts and technology that will provide sustainable Carnegie Hall as a solo artist, and that from that time she futures for those who are willing to be curious and col- has never stopped trying to grow and develop as an artist laborate with others. The great innovators are doing and continually discovering new things about her voice. this already, and as a part-time musician and part-time She shared a story about auditioning for a part that academic, it’s great to know there are people who value required a tall girl with a high C. She had the high C, but the bridges between the two. —Andrew Psarris she is less than five feet high. She went into the audition anyway, and sang the heck out of the high C. Eventually A “Wicked” Good Performer from Broadway they changed the part, and she won the role, because she Kristin Chenoweth won a Tony Award for her perfor- sounded so great. mance as Sally Brown in You’re a Good Man, Charlie Brown When asked how she prepares for a role, she simply on Broadway, and acclaim for her performance as the first replied, “I go to the park and watch people.” Glinda in Wicked. Her television series include The West —Andrew Psarris

KATE MELTON Spring 2016 | Eastman Notes 23 All smiles all the time! Prolific Welcoming an Alumnus and a Modern Master rehearsal on Saturday afternoon, when he realized that composer Eric Ewazen heard The renowned composer Eric Ewazen (BM ’76) was an he was hearing his own music performed in Kilbourn plenty of performances of honored alumnus during Meliora Weekend. Ewazen’s vis- Hall for the first time. He was happy to take pictures his brass music during the it included a master class of his music on Friday, October with students, sign copies of scores and parts, and share weekend, and received a 9, and receiving the Distinguished Alumni Award during stories of his own Eastman experiences. Distinguished Alumni Award from Dean Rossi (shown Saturday afternoon’s Brass Cavalcade (October 10). As —John Fatuzzo applauding). a brass player and performer in both of these events, I had the opportunity to meet and work with Dr. Ewazen. Setting Out on a Magnificent Journey Our brass quintet was asked to perform selections from It’s rare to see the Eastman Student Symphony Orchestra Ewazen’s Colchester Fantasy in Friday’s master class. I had and Philharmonia share the stage in Kodak Hall, but Neil Violist Alex McLaughlin and played one or two of his works in the past, and was aware Varon featured both orchestras during a “homecom- conductor Peter Folliard that he had written a good deal of music for brass instru- ing” concert on Saturday, October 10. ESSO began with collaborated for the North American premiere of Nicolas ments, but I did not know of his background with Eastman Smetana’s The Moldau, and Philharmonia concluded Bacri’s Piccolo Concerto and was relatively unaware of some of his compositions. with the Brahms Symphony No. 2. Between these two Notturno on October 10. The master class included sonatas for each brass masterworks, we heard the North American premiere of instrument with piano, our brass quintet, and a violin, Piccolo Concerto Notturno for solo viola and viola ensem- horn and piano trio: all staples of the modern repertoire ble, by the French composer Nicolas Bacri (b. 1961). The for that instrument or ensemble. Listening to these works piece is a co-commission between Eastman and the Paris with the composer in the room, and with the knowledge Conservatory Alex McLaughlin, a sophomore student of that these pieces are just a fraction of his musical output, Carol Rodland, played the solo part, and I conducted. it puts into perspective how much Eric Ewazen has con- Alex McLaughlin recalled: “When I first started work tributed to the brass repertoire. There is really something on the Bacri, I had a sort of ‘musician’s block’; I didn’t special about playing music for the person who wrote exactly know where to even begin, or even what to begin it, having the opportunity to work with a composer, and with. I had experience on learning new pieces of music, hearing stories of how he was inspired to write each piece. but all of them had been freshly composed short pieces Dr. Ewazen was all smiles all the time, and repeatedly with the guidance of their composers for a world pre- expressed how impressed he was by the performances of miere of around thirty or forty people. his music. He was ecstatic during the Brass Guild dress The amount of freedom I had with the piece was

24 Eastman Notes | Spring 2016 JOHN FATUZZO (EWAZEN); VASILIY BAZIUK (ORCHESTRA) actually paralyzing me from getting any quality work —something recent graduates never had to contend with Among the alumni sharing done on it . . . [my interpretation of] the concerto was —or going on a two-month long international tour with the 50th Year Reunion table essentially small, related fragments that weren’t really the Philharmonia under Howard Hanson in 1962. As a at the Gala Dinner were Linda all that well held together. It was [only later that I] truly roving reporter, I was able to attend the Gala Dinner. Kinyon McClusky, second began to develop the fragments into something more While there, Dean Rossi honored the 50th anniversary from left; Susan Huneke Simon, fourth from the left: convincing: more like a full work of art. alumni, whom you can see in the photos wearing their Mindy Blahovec Grohman, Six weeks of intensive work on the Bacri not only medals. But he also honored those who had graduated fifth from the left; Daniel helped me really develop my interpretation of the con- earlier, including one woman who graduated in the 1940s! Stern, second from the right certo but also my mindset as a musician. Musically, I As a recent Eastman graduate, it is too early for me to get (all BM ’65); and Bonnie had reached a higher plane of understanding: my mind nostalgic, but I can put myself in their shoes. I remember Swartley Martin, far right (BM ’65, MA ’87). was constantly in motion while playing, continuously our late Dean Doug Lowry saying, “When I travel the coun- searching for things in the music to bring out; melodies, try and meet our alumni who are in different fields, I ask intervals, phrases, everything. I was now able to fully them, do they regret going to Eastman now that they are in embrace the freedom that previously constricted me and a field other than music?” They would always tell him no, play the concerto for what it was: a complex work for viola. because the education they received at Eastman conferred In all honesty, winning the competition was trivial in upon them the discipline and perseverance to do extremely comparison to the journey this piece was. As a musician, well in almost anything. That is the story of many people I I matured so much in a relatively short amount of time, met: engineers, lawyers, and doctors who went to Eastman. and had a new fire that motivated me to really give the Being a double degree student myself, this is especially Bacri everything I had to offer and more . . . I was truly meaningful. I have interests other than music; so to see excited to share this magnificent work with the American people who thought the way I do fifty years ago, and who audience.” —Peter Folliard came out all right, was more than simply consequential. Meliora Weekend is always an intellectual and musical “A musical and intellectual feast” feast. I think about what the world and Eastman will be During Meliora Weekend 2015, I had the opportunity like in 50 years, when my 50th anniversary will occur. to meet with many alumni and hear the stories they had If Eastman is anything like it is today, it should still to tell: whether about walking from the Prince Street be a wonderful place for musical immersion. Meliora dorms to Eastman every morning in the snow and cold Weekend 2065, book it. —Andrew Psarris

KATE MELTON Spring 2016 | Eastman Notes 25 { CONVERSATION }

In September 2015, Mary Jo Heath (PhD ’88) became just the fourth full-time Radio Host in the history of the Metropolitan Opera. As the new voice of the Met, Heath’s “Putting broadcasts can be heard nearly 80 times per season on 570 different U.S. radio stations and 47 more overseas. Eastman will hear Mary Jo’s voice in person on May 15, when it together she gives the address at the commencement ceremony in Kodak Hall. There are some excellent articles online theory papers), and I usually checked about your new appointment, namely the opera score out of Sibley Library those published in Opera News and the and took it with me—it was a great way is serious New York Times. Can you give us your to get to know lots of operas. Along the side of the story? How did you become way, I also hosted my own opera show interested in radio hosting, and how did from time to time and did a lot of fill-in good fun” you end up becoming the new Radio work for the full-timers. Radio really got Host for the Metropolitan Opera? into my blood, and I kept returning to it Mary Jo Heath During my first year at Eastman, there in the following 25-plus years. Looking was a posting on the bulletin board in back, I guess it was the first stage of my gives voice to the Met the main hall that WXXI radio was look- journey to the Met. ing for part-time announcers to work By John Fatuzzo weekends. I got the job and worked How did your Eastman schooling every Saturday afternoon for six years. I prepare you for your career, either as a Mary Jo in the Met’s broadcast booth, where she takes part listened to a lot of Met broadcasts (while radio host or your previous positions? in more than 80 broadcasts each season. grading freshmen and sophomore music It all counts—my entire career has been

26 Eastman Notes | Spring 2016 JONATHAN TICHLER/METROPOLITAN OPERA { CONVERSATION } about classical music in one way or What are some aspects of your another, and everything I have learned profession that listeners may find figures into it in some way. I still con- interesting or may simply not sider myself a student even though I know about? I still consider myself have been out of school for more than Probably that it takes a lot of work to 25 years. A big part of the fun has been make it sound completely spontaneous. a student even though I have applying what I know about music in I love it that people think we turn on been out of school for more different ways in different jobs. the microphones, start talking, and it all As senior producer, I created lots of works out perfectly (a comment we hear than 25 years. features about music for the broadcasts surprisingly often). On the contrary, to enhance the listening experience for everything is planned, rehearsed, and the radio audience. Last year I produced timed very carefully to make sure we a five-minute feature on the musical relay the most important things to the language of Bartók’s Bluebeard’s Castle audience and leave time for the station which was based on a chapter from my breaks, interviews, etc. Ira Siff delivered At the Met, I have gotten to dissertation about the opera—putting his commentary points for all of the it together was serious good fun. I also 2015–16 Saturday radio season in June, know works by Shostakovich, “drove the boat” during the live shows and we’ve been putting it together with and there my product management the synopsis and other ideas ever since. Tchaikovsky, Janácek, the skills really came in handy running a We rehearse each script several times to Donizetti trilogy about the big, complicated broadcast in real time trim for time, focus on the main points, with lots of elements, four timers run- make sure it’s understandable in a sin- Tudor Queens, Massenet, ning, and knowing that things could gle hearing, and so on. change at any second. and, I have to confess, many As host, I prepare for each opera from In a recent New York Times article, you Verdi operas. the musical side first. I look through briefly mentioned taking voice lessons the score, read some history and back- from Renée Fleming, who has recently ground, make a lot of notes, sit at the been appointed a Distinguished Visiting piano and play through lots of it. And Artist at Eastman. Can you elaborate on I go to rehearsals at the Met—that’s this experience? the best thing ever. All this study often Since I had studied piano and voice for becomes the source of discussions with a long time when I came to Eastman, I I love it that people think my commentators during the broad- wanted to keep in touch with the “prac- we turn on the microphones, casts (William Berger on the SiriusXM ticing musician” side of life. I signed up shows during the evenings, Ira Siff on for voice lessons and was assigned to start talking, and it all works the Saturday matinées). Both of the a graduate student . . . a young sopra- commentators are great, they know the no named Renée Fleming. She was a out perfectly . . . operas really well and their approach very good teacher, and we’ve remained is different from mine. That’s where it friends. gets really fun—exchanging ideas live on It has been such a pleasure watching the air. her grow from young grad student, to Every season there are a few operas young soprano getting jobs, followed by I’ve never seen before—and I love that! the major ascent to becoming a wonder- . . . when I came to Eastman, At the Met, I have gotten to know works ful artist and a big star. I got to hear her by Shostakovich, Tchaikovsky, Janácek, a lot during the 1990s when I was living I wanted to keep in touch the Donizetti trilogy about the Tudor in Europe—I would arrange my busi- Queens, Massenet, and, I have to con- ness trips to the major cities while she with the “practicing fess, many Verdi operas. I have adored was there performing and we’d catch up. musician” side of life. I signed getting to know Verdi better. Having the Our girls have grown up together, and background to absorb something about we’ve cheered each other on during our up for voice lessons and these glorious works quickly is really respective journeys. I have loved being important since we do over 80 broad- in the audience smiling and applauding was assigned to a graduate casts of more than 25 different operas at many of her greatest performanc- student . . . a young soprano every season, starting in September to es in the United States and Europe. continuing into May. Lucky me. named Renée Fleming.

Spring 2016 | Eastman Notes 27 { SCHOOL NEWS }

Eastman 2021: Continuing the Eastman Legacy

Film music, multi-disciplinary By Richard Kessel its financial strength; and, most important, continuing music, and contemporary On October 8, 2015, the University of Rochester Board to recruit exceptional faculty members and students. music (like this March 2015 of Trustees approved Eastman 2021: Shaping the Future The 2021 Plan provides an outline of the realistic concert by Musica Nova of Music, a comprehensive strategic plan from Joan and opportunities, challenges, and action steps that Eastman with guest composer-pianist Martin Messinger Dean Jamal Rossi designed to guide will embrace in the coming years to reaffirm its position Moritz Eggert) are among the focal points of the Eastman the Eastman School of Music of music into its centennial as one of the leading institutions of music education in 2021 strategic plan. in 2021. the world. The strategic initiatives that will take place in The writing of the plan was preceded by almost a year the coming years include expanding the traditional focus of intense and inclusive discussion about the school we on classical and jazz performance and scholarship to are today, and the school we intend to be tomorrow. include vital new programs that focus on contemporary Faculty, staff, students, alumni, donors, and friends par- and digital media, leadership, improvisation, and new ticipated in nearly 50 meetings and gatherings. music. The plan also includes reimagining the under- The plan establishes the goals of: developing innova- graduate curriculum to become more individualized tive programs that will transform the study of music; and customized, and to provide greater opportunities for establishing creative projects and partnerships that have collaboration and multi-disciplinary projects. consequence in the music world; erecting world-class Eastman’s esteemed reputation is also based upon facilities in which to study and make music as well as ren- the projects it pursues, as well as partners with which it ovating and enhancing existing facilities; building upon collaborates, the quality of its facilities, and its impact

28 Eastman Notes | Spring 2016 KURT BROWNELL { SCHOOL NEWS }

Diversity American Style Saturday night, August 29, 2015, marked an Eastman, and a University, first, as the entire new undergraduate population, more than 1,300 freshmen and on society. The projects that will advance and enhance transfer students gathered at Kodak Hall to witness a Celebrate Diversity the school’s international presence include the new Beal performance. The two-hour show presented a dazzling display of student Institute for Film Music and Contemporary Media and music and dance groups representing many ethnic traditions from Eastman the establishment of a roster of Distinguished Visiting and the College, and the excited audience erupted in cheers throughout. Among Eastman’s ensembles was the American folk-music group Americana Artists, who will have a formal and ongoing relation- (pictured left to right: Alex McLaughlin, Ben Baker, Craig Rogoff, Kai Davino- ship with Eastman. The institution’s first Artist, Renee Collins, Sam Edwards, Austin Wahl, Tahlia Cott, Spencer Jensen); for a look Fleming (MM ’83), was appointed in September 2015, and at many of the other colorful acts, visit the University of Rochester You Tube the school will appoint additional artists in the coming channel under “Celebrate Diversity Event.” years. Eastman will continue to develop opportunities for students, faculty members, and ensembles to perform in national and international venues that reinforce their strategic plan includes a commitment to providing skills and performance experiences. students with the tools and knowledge to embrace and Eastman’s performance venues are considered among thrive using current technology and to be adaptable to the finest in the world, thanks to their artistic design the inevitable technological changes they will encounter elements and extraordinary acoustics. Eastman 2021 in the decades ahead. A variety of new distance learning includes updates and renovations to these historical opportunities will be launched through the Institute of spaces to maintain their world-class stature, as well as Music Leadership’s Center for Music Innovation. the building of new facilities to expand academic and These efforts, along with others outlined inEastman performance opportunities. 2021: Shaping the Future of Music, will serve as a blue- As innovation has been an integral part of the Eastman print to continue the Eastman legacy into its second experience throughout its history, the Eastman 2021 century and beyond.

KEITH BULLIS/UNIVERSITY OF ROCHESTER Spring 2016 | Eastman Notes 29 { SCHOOL NEWS }

The Summer@Keuka jazz A Return to Keuka horn of the Houston Symphony and professor of horn at Rice University’s Shepherd School of Music, held the first band, directed by Doug A highlight of Eastman’s 2015 summer programs was the Stone, included, from left to of three planned Eastman residencies on October 19 and second year of Summer@Keuka Summer Music Camp. right, Jacob Nathenson, Nigel 20, including master classes and lectures. VerMeulen will The popular camp brought 35 middle and high school Luke, Matthais Roth, Tara return twice in spring 2016. Willgens, Zachary Bushey, music students to Keuka College in July for two weeks Eastman’s Italian Baroque Organ celebrated ten years and Gina Huang. of instruction in instruments, jazz, and voice, as well as at the Memorial Art Gallery with a festival of concerts, after-hours summer fun on Keuka Lake. master classes, and papers exploring the importance and This was the first Eastman@Keuka under the direction influence of the organ and its repertoire. From October of Gaelen McCormick, ECMS instructor in double bass, 22 to 25, Eastman faculty members and students were who stated, “When I went to the Keuka program for the joined by a number of foreign scholars and organ vir- EASTMAN@KEUKA 2016 runs first time, within a few days, I could see these kids felt tuosi. Past and present organ faculty members David from July 10 through 22, this was their other family. It was so gratifying to see 2016. Find information on Higgs, Hans Davidsson, and William Porter joined in a that . . . the amount of support from the other students all Summer@Eastman 2016 celebration concert on October 25. Performing History was amazing, and that is just one of the many things that programs at summer.esm. with Eastman’s Italian Baroque Organ was sponsored by rochester.edu. makes Keuka special.” the Humanities Project, a program of the University of Rochester Humanities Center. A Semester of Masters The eminent Japanese composer Jo Kondo was Renée Fleming was among the earliest of prominent the school’s Howard Hanson Visiting Professor of musicians visiting Eastman during the fall semester (see Composition in December. Events in Kondo’s hon- p. 4); but there were many more who offered their artistry or included a preview screening of A Shape of Time, and expertise. a new documentary on his composing process, and The renowned hornist William Ver Muelen, principal an OSSIA ensemble concert which, along with other

30 Eastman Notes | Spring 2016 KURT BROWNELL { SCHOOL NEWS }

I ♥ Eastman A new Eastman tradition, I ♥ Eastman Day encourages students to tell the world why they love the Eastman School of Music, thank those who have helped make it the place they love, and be recognized and celebrated for showing their Eastman Pride. January 22, 2016 was the first annual I ♥ Eastman Day, during which 178 students wrote 300 thank- you notes to donors and filled a wall with all of the reasons why they love Eastman. Freshman Logan Moore, Abraham Bonilla (BM ’19), and Reilly Spitzfaden (MA ’17) got to pose with University mascot Rocky.

works of Kondo’s, premiered his Variations (triskelion), composed specifically for OSSIA. The concert also included the first performance ofWelcome, Jo, a “musi- cal surprise” by Composition Department Chair Carlos Sanchez-Gutierrez. Sisters in Adversity For Eastman Opera Theatre’s Winter 2016 studio production, director Stephen Carr and musical director Ksenia Lelëtkina presented a double bill of one-acts by two Italian masters of tragic verismo (veristic, or “truthful” opera with realistic characters): Puccini’s Suor Angelica (Sister Angelica) and Giordano’s Mese Mariano (Mary’s Month). According to Stephen Carr, these operas had never been performed together, but the pairing proved to be an emotionally wrenching evening of music theatre. Carr’s staging was, in his words, “the exploration of one unifying thematic thread: confinement.” The leading characters are both young mothers of illiegitimate children, “impris- oned by their circumstances, by the judgment of their families, by a patriarchal society, by the dictates of their religion . . . it is a sad testament to how little these factors Soprano Keely Futterer played Puccini’s tragic Sister Angelica. Forced into a convent, Angelica is have changed for women.” kept from her son until she take poison distilled from flowers and finally meets him in heaven.

Save the Date! Meliora@Eastman 2016 October 6–9, 2016 Eastman School of Music: www.esm.rochester.edu/alumni/weekend/

PHOTO AND LIGHTING BY NIC MINETOR (OPERA); ADAM FENSTER (I HEART EASTMAN) Spring 2016 | Eastman Notes 31 { RECORDINGS }

1 2 3 4 5

6 7 8 9

RENÉE FLEMING AND their modernist stuff in KRISTIAN BEZUIDENHOUT Jean Martinon (1910–1976) 5 EMERSON STRING QUARTET intense one-movement Beethoven/Haydn/ includes a rarity: the q 1 Berg: Lyric Suite; works by members of the Mozart Seventh Symphony, or Wellesz: Sonnets Latin American composers’ Harmonia Mundi “Variation Symphony,” by Elizabeth Barrett collective áltaVoz: Felipe by Peter Mennin (PhD “quite an ESM convergence Browning Lara, José Luis Hurtado, Kristian (BM ’01, MM ’47), premiered by . . . The album was recorded Decca Mauricio Pauly, and Jorge ’04) accompanies ac- Martinon and the Chicago and mastered by David Villavicencio Grossmann. claimed British tenor Mark Symphony Orchestra Schall (BM ’96). One of the Renée (MM ’83) may Gramophone cited Padmore on the fortepiano in 1967. Recorded soon pieces on the album is a be more readily associ- “Impressive performances in Beethoven’s cycle An afterwards, it has not been world premiere recording ated with Mozart and from an ensemble surely die ferne Geliebte, songs reissued on CD until now; of a work by Marc Faris Richard Strauss than with poised to take on the by Haydn, and a Masonic ClassicsToday.com called (BM ’94).” 20th-century Viennese mantle of the fabled Arditti cantata by Mozart. This the Mennin symphony “a modernism, but here the Quartet.” An earlier disc album was nominated for masterpiece.” ERIN MORLEY soprano joins the Emerson features JACK performing a “Best Classical Vocal q Mozart: La finta Quartet for convincing two works by the 2014 Performance” Grammy, and GREG CHUDZIK giardiniera performances of a recently- Pulitzer Prize-winning was included on the New 8 Solo Works Vol. 1 Erato DVD discovered vocal alterna- composer John Luther York Times’ Best Classical New Focus tive for the finale of Alban Adams. Recordings of 2015 list. Mozart was only 18 when Berg’s masterpiece, and This new album by Greg he wrote this opera, but it an extremely beautiful WALTER SAUL PATRICK JONES (BM ’06)—a frequent contains many elements of twelve-tone work for voice 4 Orchestral works 6 La Souplesse performer with Talea his mature masterpieces. and string quartet by the Naxos Jeanné Publishing Ensemble, Ensemble Signal, This whimsical production German-British composer and Wet Ink—features from the Lille Opera stars Egon Wellesz (1885–1974). In his compositions, Walter Patrick (MM ’98) demon- original compositions for soprano Erin (BM ’02) (MM ’79, DMA ’80), the strates souplesse, or bass guitar and laptop leading an excellent cast. JACK QUARTET recipient of 24 ASCAP flexibility, on this program inspired by four influential “In the title role, fast-rising 2 áltaVoz Composers awards, creates” musical featuring several quintes- composers in Greg’s life: American soprano Erin New Focus icons, windows of sonic sential pieces for saxo- Biodun Kuti, Steve Reich, Morley virtually steals light which point towards phone and piano by Bozza, Bill Frisell, and John Luther the show, as she should . . . 3 John Luther Adams: Christian spirituality.” This Martin, Lacour, and his own Adams. singing with lovely, pellucid The Wind in High Places varied CD includes his Kiev arrangements of music by tone.” (Gramophone) Cold Blue Label 2014, a Violin Concerto, Bach and Verdi. CHRISTOPHER CHAFFEE A Christmas Symphony AND JOSHUA NEMITH DAVID EVAN THOMAS JACK—violinists (painting four scenes from PETER MENNIN 9 Four Prayers Three By Three Christopher Otto (BM ’06) the Nativity), an Overture 7 Symphony No. 7 Open G Records Klavier and Ari Streisfeld (BM for the Jubilee (inspired by RCA ’05), violist John Pickford the abolition of slavery), Flutist Christopher (BM In the blue glen, a Richards (BM ’02, MM From Life to Greater Life, RCA’s box set of recordings ’95) is joined by pianist four-movement work ’04), and cellist Kevin and the profoundly peaceful made for that label by the Joshua (BM ’95) for an al- by David (MM ’83), is McFarland (BM ’04)—show Metamorphosis. great French conductor bum that Christopher calls featured on this program

32 Eastman Notes | Spring 2016 { RECORDINGS }

w e r t y

u i o p a

of contemporary works, Professor of Saxophone) eliminates countless errors SCOTT WORTHINGTON by Conspirare, conducted David’s recent awards and drummer Dave in older publications.” i Prism by Craig Hella Johnson, include a 2015 Sinfonia/ Ratajczak (BM ’80). “These populist records includes the first recording McKnight Foundation New men alternately bring fire, SERGIO MONTEIRO of Ode to Common Things, Works Award for his Suite soul, grace, and muscle to y Music of This album of original Cary Ratcliff’s (BM ’75, Populaire, and a Renée B. the wonder-filled music on Henrique Oswald music for solo double bass DMA ’89) substantial Fisher Composer Award Like It Is,” sais Allaboutjazz. Naxos Grand Piano by Scott (BM ’09) has been setting of poems by Pablo for 2017, awarded by the com. included on playlists by the Neruda. Neighborhood Music Sergio (DMA ’07) is chair New Yorker’s Alex Ross and School of New Haven, CT. STEPHEN SHEWAN of the piano department the Boston Globe’s Steve COWBOYS AND FRENCHMEN r Orchestral and of the Wanda Bass School Smith. The Rambler said, a Rodeo JENNIE OH BROWN Instrumental Music of Music, Oklahoma City “Worthington’s roots clearly Outside In Music w Looking Back: Albany Records University. Besides this lie in the experimental tradi- Flute Music of Joseph new disc of rarely heard tion, but his music has heart This new, NYC-based Schwantner This program of music music by a forgotten and poetry too . . . a compos- jazz quintet includes four Innova Recordings for wind ensemble, Brazilian composer (1852– er of subtlety and skill.” Eastman graduates: Owen string orchestra, and 1931), Sergio will release Broder (BM ’12), Ethan This first album byJennie various chamber-music two more CDs: transcrip- DARRELL GRANT Helm (MM ’14), Chris (MM ’91, DMA ’97) features combinations by Steve (BM tions of Liszt’s symphonic o The Territory Ziemba (BM ’08, MM ’11), music by the American ’02) also features a number poems, and 20 sonatas by PJCE Records and Matt Honor (BM ’12), composer who taught at of Eastman alumni: Alice Scarlatti. on a new album produced Eastman for many years. Meyer (BM ’81), clarinet, The latest release by by Nick Finzer. Their music Jennie is artistic director Emily Shewan Britton DONNA COLEMAN pianist and composer blends traditional American and flutist of Picosa, a (MM ’08), horn, and Paul u The Lost Lady Darrell (BM ’84) is his first folk and pop music with chamber ensemble in the Shewan (MM ’83), trumpet. ABC Classics since 2007. The ensemble elements of contemporary Chicago area, the director includes Grammy winners R&B and modern jazz, as and a faculty member JARED SCHWARTZ The Lost Lady criss-crosses Brian Blade, drums, and well as inspiration from of Credo Flute, and she t Gabriel Fauré: Songs the Atlantic Ocean in Steve Wilson, sax. Darrel’s everything from Buddhism teaches at Wheaton and for Bass Voice and Piano search of musical treasures Oregon Territory Ensemble to “the cultural vibrancy of Elmhurst Colleges. Toccata Classics that traverse eras and styles premiered The Territory New York City.” to tell the story of ragtime, at the 2014 Portland Jazz JOHN FEDCHOCK Jared (MM ’06) is joined of J.S. Bach the improviser Festival. Do you have music or e Like It Is by pianist Roy Howat for and borrower, and of performances on a recent Summit Records the first collection of Fauré Chopin’s improvisations CARY RATCLIFF or forthcoming CD? Notes songs conceived for a bass that influenced jazz pianists p Pablo Neruda: wants to know! Send promo The latest album from voice. Says Jared: “This a century later. Pianist The Poet Sings copies to Eastman Notes, trombonist John (MM recital program draws out Donna (DMA ’87) plays Harmonia Mundi Office of Communications, ’85) and his New York Big connections of poets and the music of Scott Joplin, Eastman School of Music, Band also features fellow poetic themes. This is the William Albright, William Recently nominated for a 26 Gibbs Street, Rochester, Eastman alumni Charles first recording based on the Bolcom, and Ernesto “Best Choral Performance” NY 14604; or just alert us Pillow (MM ’84, currently new Peters Edition, which Lecuona. Grammy, this recording that it is available.

Spring 2016 | Eastman Notes 33 { ALUMNI NOTES }

“Music Mind Reading”: par- 1960s ticipants think of random Thom Ritter George (BM song melodies, I sense the ’64, MM ’68) has been tune on their mind, and appointed conductor of then play it on the piano!” the Symphony Orchestra Sidney’s “Music Mind at Lawrence University’s Reading” has been featured Conservatory of Music. on WGN-TV and FOX-TV’s Good Day Chicago. Vivien Goh (BM ’69) con- ducted the Alumni of the Antonio García (MM ’85) Singapore Youth Orchestra was promoted to Professor at their 35th Anniversary of Music at Virginia concert, July 5, 2015. The Commonwealth University, concert, held at Victoria where he has served as Concert Hall, was part of Director of Jazz Studies the celebration of the 50th 1 2 since 2001. Tony also anniversary of the Republic Hollis Thoms Peter R. Webster (MM ’71; PhD ’77) received the VCU School of Singapore. Vivien’s (PhD candidate ’77–’79) of the Arts 2015 Faculty book Rehearsal for Life, Award of Excellence for co-authored with Wong served 26 years as Music his teaching, research, Shermaine was launched at Librarian and 20 years in and service, and contin- this concert. the Catalog Department, ues to serve on the board retiring as Director of of The Midwest Clinic On September 12 and 13, Technical Services. Martha and as Jazz Editor of the 2015, singers and instru- adds, “Early in my library International Trombone mentalists at the Church career, I returned to Association Journal. He of the Resurrection in Eastman for a couple of has also been appointed a Burtonsville, MD, per- summers to take courses in Research Faculty mem- formed September Morning, Music Librarianship, taught ber at The University of a memorial anthem written by Ruth Watanabe, and KwaZulu-Natal (Durban, by composer David Kanter in preservation of music South Africa), after leading (BM ’68), written shortly library materials. I taught a three-year exchange after the 9/11/01 attacks in music history, theory, and 3 program of faculty and New York, Pennsylvania, piano at Roberts Wesleyan Cityscape by Paula Santirocco (MM ’88) students between UKZN and Virginia. “Like many College in North Chili in and VCU. other artists, I struggled to the early 1960s.” Universities of Cambridge by the National Association express my feelings during and Oxford. of Music Education Violinist Madeleine that time,” says Kanter. “I 1970s (NAfME). He recently re- Mitchell (MM ’81) under- wanted to lament the losses 1 Hollis Thoms (PhD tired as Professor Emeritus took a major three-week and celebrate the patrio- In 2015, Geary Larrick candidate ’77–’79) had from Northwestern coast-to-coast solo tour tism destined to become a (MM ’70) celebrated the a recital of his chamber University’s Bienen School of the United States last part of our national history. 25th anniversary of the music presented last May of Music, and is now fall, giving recitals of publication of his second at St. John’s College, Scholar-in-Residence at British music, master Martha Powell (MM, book, Music in the Bible Annapolis, Maryland. the University of Southern classes, and talks at Union ’60) retired June 17, 2015 (1990), available in the In October, his opera California’s Thornton College, Vermont, Boston after nearly 46 years as Sibley Music Library, Conversations, based on School of Music. Conservatory, USF, MWSU a librarian at the James as well as libraries of short stories by Hemingway with Ruth Morrow (ESM P. Boyce Centennial Harvard, Yale, Stanford, and Joyce, was premiered ’80), UA, DU, UCLA, and Library, Southern Baptist Miami, Indiana, Oklahoma, at Concordia College, 1980s San Francisco. Earlier in the Theological Seminary, Wisconsin, and Maryland and in February his opera Sidney Friedman (BM year she performed as a so- Louisville, Kentucky. She Universities, and the based on Shakespeare’s ’80) notes, “In February loist in Moscow, Singapore, sonnets will be premiered 2015, my new musical Vienna, and London’s to commemorate the Midsummer Night’s Scream Wigmore Hall, and judged Send your news! 400th anniversary of was read at the Los Angeles the Western International Shakespeare’s death. Sonja Academy for New Music Strings Competition in Do you have an announcement you’d like to share with (Thoms) Winkler (BA ’03) Theater; in March, my China. Madeleine is a your fellow alumni? Send your personal and professional will conduct the premiere bassoon concerto Eclipse Professor at London’s Royal news to Eastman Notes, Office of Communications, of the Shakespeare opera, was performed by Molly College of Music. Eastman School of Music, 26 Gibbs Street, Rochester, and Jonas Thoms (BA Murphy. As a professional NY 14604. ’06) played the horn in mentalist, I was recently Recent premieres by com- Fax: 585-274-1089 Conversations. featured on ABC’s 20/20, poser Akmal Parwez (PhD E-mail: [email protected] NBC’s Today, and ABC’s ’81) include Ersilia, una We reserve the right to edit submissions for clarity 2 Peter R. Webster (MM The View. Perhaps most in- citta invisibile for man- and length. The deadline for the Fall 2016 issue of ’71; PhD ’77) was honored as teresting to Eastman Notes dolin and guitar, in Italy; Eastman Notes is May 31, 2016. the 2014 Senior Researcher readers, I have perfected Bientot for soprano and

34 Eastman Notes | Spring 2016 { ALUMNI NOTES } piano, in Bucharest; Tanta Pasion for solo clarinet, in Cartagena; In the Name of BACH for solo cello, in Los Angeles; Rubaaii for soprano and ensemble and Fleeting Fragrance for soprano saxophone and string quartet, at New York’s Jan Hus Presbyterian Church, where Akmal was bass-baritone soloist in his Haiku Triptych—Three Haiku of Matsuo Basho (in the original Japanese) with pianist Francois Nezwazky. In addition, Akmal’s Through Letchworth Park, Swiftly was performed on tour in Potsdam, Rochester, Latham, and New York by the Crane Harp Ensemble under its director, Jessica Suchy-Pillalis (MM ’79 and ’82).

3 Paula Santirocco (MM ’88) writes: “After playing flute in Cleveland for many years, I have moved back to Rochester and am indulg- ing my other love, painting. A recent exhibition of my work was sponsored by the Arts and Cultural Council of Greater Rochester. This was my second show in 2015. I am currently work- ing on a series of paintings, each portraying one of my sonnets, which I will launch with a companion book. I loved being an orchestral musician but feel I can express myself far better on a canvas.”

4 For his wedding to Gwinn Griffin on September 26, 2015, composer and arranger Kim Scharnberg (BM ’82), whose Broadway credits include Jekyll and Hyde, The Scarlet Pimpernel, and Little Women, turned the reception into a “starry benefit concert” for the restoration of the Norfolk (CT) Music Shed that—along with Frank Wildhorn and Linda Eder, 4 the composer and star of Whether or not they played Mendelssohn’s march, the wedding Jekyll and Hyde—featured reception of Kim Scharnberg , top, was a musical occasion for his many Eastman alumni. fellow Eastman alumni including John Fedchock, trombone; Jim Kim adds: “Alumni in the Hynes, trumpet; Charles Pillow on winds; and David Finck, bass.

Spring 2016 | Eastman Notes 35 { ALUMNI NOTES }

Jim Wilt, Class of 1986 . . . and MM ’16 The prospect of winning a job with a major master classes at Eastman to finish my degree. symphony orchestra while still in school is The dates they proposed coincided with a attractive for any musician. The few who vacation week for the orchestra, so I was able have done it usually go on to long, successful to make the trip. It has provided a nice sense careers. James Wilt, the current Associate of closure.” Principal Trumpet of the Los Angeles What aspects of his Eastman education Philharmonic and Professor of Trumpet at have proved most valuable in his career? “In the Colburn School, achieved just that. In a lot of ways, I was learning as much from January 1986, just three weeks into the final the other students as I was from the facul- semester of his master’s degree at Eastman, ty. My teachers would say, ‘You see us for an Jim won a full-time position with the Denver hour a week, but you see each other the rest Symphony. This November, after nearly thirty of the time’, and encouraged us to learn from years of full-time orchestral experience, Wilt and teach each other. There’s plenty of time returned to Eastman to complete his degree. for competition later; stand on each other’s It was not an easy decision to leave school shoulders now and learn from each other.” just six credits shy of his degree. “Within two Wilt returned in November to lead two weeks of the audition, I had already packed up trumpet studio classes in fulfillment of his my gear. The head of graduate studies under- master’s degree. He worked with under- stood and granted me permission to leave the graduate and graduate students on standard program. My mother, on the other hand, was For Jim Wilt, returning to Eastman alongside his orchestral excerpts, solos, and etudes, and dis- definitely not happy about it! By mid-Febru- son Liam and finishing his degree requirement cussed his personal preparation for auditions after 30 years provided “a nice sense of closure.” ary of 1986, I was in Denver playing my first and performances. He also generously gave full-time job. It was a nice place to start.” ’18), re-connected his father with Eastman. private lessons to several trumpet students at Wilt enrolled at Eastman for several years Liam was accepted to the Eastman trom- no charge. To a room of nearly thirty aspiring after moving to Denver, and at one point took bone studio and the University’s Computer professional trumpeters, Wilt shared some an orchestration class in Colorado, applying Science program. After a 30-year absence, hard-earned advice: two credits towards his degree. His final proj- Jim returned in August 2014 to drop his son “Be brutally honest in your assessment of ect for the course: arranging a recessional for off for his freshman year. yourself, which can be difficult to do. Hold his wedding. As a full-time orchestral musi- “It was really impressive seeing the growth your playing to the highest level and don’t cian, a master’s degree was not imperative, of the school,” he recalls. Obviously the spirit compare yourself just to people your age. Be but, he says, “Finally, I felt like it was never is still here, and there’s such a sense of histo- analytical and start to address things you need going to happen and it was a tough call for ry. When you walk into Lowry Hall, you say to fix. It’s human nature to want to hide our me.” Jim withdrew from school and contin- ‘Whoa!’ It doesn’t feel like just a school, but warts, but they won’t go away on their own. ued to play in the orchestra. a prestigious institution.” . . . I’m not saying that we have to be perfect, He then moved to Texas, where he played Jim and Eastman soon reconnected. “The because even the fear of being imperfect can associate principal trumpet with the Houston alumni office contacted me to see how Liam hurt us. Symphony for 14 years (with the exception of a was doing. It was during that conversation “Our music has to be compelling and year and a half in the New York Philharmonic) that I explained that I was not technically interesting. The listener wants an emotion- and taught at Rice University. In 2003, he an alumnus. We talked about my unfinished al connection to what you’re playing. I don’t and his family moved to Los Angeles, after degree. The Graduate Studies committee think anyone should forget that idea, no mat- he auditioned for the position he has today. reviewed my resume and recording history, ter what they are playing.” Eleven years later, Jim’s son, Liam (BM and came up with a suggestion of conducting —John Fatuzzo band include Jim Hynes (BM ’80) on bass, and (BM ’81, MM ’83), Scott as Supervisor of Fine/ conducted a concert in (MM ’81) on trumpet, John me, conducting/arrange- Hartman (BM ’81, MM ’83), Performing Arts and Beijing with the China Fedchock (MM ’85) on ments. Audience members Sara Sommerer, and David Related Areas for the National Symphony trombone, Charles Pillow included Diana Basso (BM Mallamud (BM ’98).” Hillsborough Township Orchestra Chorus on May (MM ’84 and current associ- ’81), Matt Dine (BM ’84), (NJ) Public Schools. 25, 2015. His Chinese ate professor of saxophone) Kevin Honeycutt (BM ’85), 1990s translation of Professor on alto sax and woodwinds, Mario Mercado (MA ’81, Xiaolun Chen (MM ’90), Richard Miller’s Securing Jon Werking (MM ’85) PhD ’85), Don Robinson Michael Callahan (BM professor of music at Baritone, Bass-Baritone, on piano, David Finck (BM ’81), Frank Tamburro ’98) was recently hired Pensacola State College, and Bass Voices has been

36 Eastman Notes | Spring 2016 JOHN FATUZZO { ALUMNI NOTES } published by People’s the Verona Quartet, an College-Conservatory. His Music Publishing in award-winning chamber Barlow Prize solo organ Beijing. His translation of group that recently placed commission, Exodus, was the other two Miller books, third in the Melbourne recorded by Randall Harlow Training Tenor Voices and International Chamber at Rockefeller Chapel in Training Soprano Voices, Music Competition. The Chicago. Aaron’s Concierto were published later this quartet was named the de Milonga, based on the year. Quartet in Residence at golden era tangos of the Juilliard, starting in the early 20th century, was A group of Eastman fall of 2015. Jonathan is a premiered in October at alumni attended the former student of Lynette the Bowling Green New Savvy Musician in Action Lim (BM ’84) Music Festival, with pianist conference in June 2015 Solungga Liu (MM ’96, at the University of South Alison Lowell (BM ’06) DMA ’01). Carolina. The conference, performed a duo oboe founded by David Cutler 5 recital of contemporary The members of the Midic Winds returned to Eastman to join (MM ’96) was an inten- Asian works at the 2015 2010s the Wind Ensemble in a Robert Russell Bennett rarity. sive, experiential five-day International Double Reed Patricia Gingras (PhD workshop designed to help received a Chamber Music contract as the Memphis Society Conference in ’13), Professor of Music attendees increase income America New Jazz Works Symphony Orchestra’s Tokyo, Japan. Education at Houghton and impact. Among the commission. He will be Principal Conductor begin- College, was the re- Eastman alumni attendees writing an extended work ning with the 2016–2017 Jeffrey J. Meyer (BM ’04) cent recipient of the were Mihoko Watanabe for his chamber jazz ensem- season. Robert previously has accepted the position Council for Research in (MM ’95), Melanie Pozdol ble Jentsch Group No Net served as music director of Director of Bands and Music Education’s 2012 (MM ’12), Nina Elhassan (YouTube/ChrisJentsch). of the Winston-Salem Brass Studies at Sul Ross Outstanding Dissertation (BM ’12), Xuan Zhang (BM The commission supports Symphony, artistic director State University. His wife, Award. Patricia’s disser- ’14), Alison Lowell (BM several performances of Arizona Musicfest, Mary Elizabeth Thompson, tation, Music at Home: ’06), Peter Ferry (BM ’13), and a recording, with the and music director of the premiered his composition A Portrait of Family Aron Zelkowicz (BM ’96), premiere probably in the Portland (ME) Symphony Metro Chapultepec for Music-Making, was recog- Andrew Friedrichs (BM fall of 2016. This followed Orchestra. Robert has flute/piccolo and electron- nized for its advancement ’12), Gavin Chuck (PhD Chris’s third New York guest-conducted the MSO ics at the 2015 New York of overarching values of ’04), and Michael Harley State Council on the since 2006, and was rein- City Electroacoustic Music music education, employ- (DMA ’11). Arts (NYSCA) Individual troduced to the Memphis Festival. ment of a rigorous and Composer Commission. community at a special out- innovative methodology, Pat Donaher (BM ’97) For this modified aleatoric door concert with fireworks Stan Pelkey (BM ’04 ESM, and its insightful implica- recently took a position chamber music project, during the Bass Pro World River Campus ’06) recently tions for improving practice teaching jazz full time called This With That, Chris Hunting and Waterfowl joined the faculty of the and forwarding theoretical at Lexington (MA) High will collaborate with Buffalo Expo on October 23. College of Music at Florida constructs. School. This year the composer John Bacon, Jr. State University, where band capped a series of The premiere took place in The International he serves as Associate 5 Five recent Eastman regional festival prizes by Buffalo in November, 2015. Contemporary Ensemble Dean of Engagement and alumni—bassoonist finishing third in Jazz at (ICE) recently announced Entrepreneurship. Stan Quinn Delaney (BM ’14), Lincoln Center’s Essentially Christopher Koch (BM that Vanessa Rose (BM directs public relations and clarinetist Rebecca Tobin Ellington competition. ’93) is music director of ’98) has been named its media activity, coordinates (BM ’14), oboist June Kim Lexington was the only the Springfield Regional new Executive Director. guest artists and special (BM ’14), flutistJohanna public high school to finish Opera, sharing artistic Vanessa comes to ICE from events, and promotes the Gruskin (BM ’13), and in the top five. In 2016, the duties with renowned the Lark Play Development extensive concert season. hornist Russell Rybicki Lexington Jazz Ensemble tenor Michael Spyres. Center where she served as He also leads the College’s (BM ’13), who form the and Jazz Combo will tour He is also music director Director of Development, undergraduate music entre- Midic Winds—returned Germany and Austria. of the Springfield-Drury and as Managing Director preneurship program. Stan as soloists for an Eastman Civic Orchestra, which of The Knights, the New recently published his sec- Wind Ensemble concert Our Fall 2015 issue stated was a placed winner York-based orchestra ond book, Anxiety Muted: on October 16, performing that the opera Breath in the American Prize collective. American Film Music in Robert Russell Bennett’s of Life, by Todd Frazier Competition, and an a Suburban Age (Oxford Concerto Grosso for (BM ’92), was to have its associate professor of University Press). Woodwind Quintet and premiere performance in music at Drury University, 2000s Wind Orchestra. Houston last September. where he has led the Wind Maria (Harrold) Serkin Aaron Travers (BM ’05), The premiere was given Symphony to multiple con- (BM ’03) recently accepted Assistant Professor of Stephanie Price (MM ’14) in September, but at Texas ference performances and the position of Assistant Composition at Indiana writes: “I am excited to of- Tech University, Lubbock, composer commissions. He Professor of Horn at University, won second ficially announce that I will Texas, and involved Patrick is also increasingly active the University of North prize in the Zemlinsky be a Visiting Artist this year Ankrum (DMA ’10) and as an early music perform- Carolina School of the Arts Composition Competition, at Ohio University School Gregory Brookes (MM er, specializing in recorder. in Winston-Salem. earning a commission of Music. As the visiting ’01). We regret the error. for a new orchestral work artist I will be teaching Robert Moody (BM ’91) Jonathan Lim (BM which was premiered last chamber music and viola Chris Jentsch (MM ’93) has been signed a two-year ’07) is violinist with March at the Cincinnati masterclasses.”

Spring 2016 | Eastman Notes 37 { ALUMNI NOTES }

IN MEMORIAM TRIBUTES 1930s Mary Hamilton Dann (BM ’35, MM ’37), Lynn Blakeslee November 2015 Lynn Blakeslee, Eastman Professor Emerita of Violin, Olive M. Dawson (BM ’39, died suddenly in Austria on August 10, 2015. Lynn MA ’52), November 2015 Blakeslee’s teachers read as a history of violin per- 1940s formance and pedagogy: Sascha Jacobsen (a student Grace B. (Baird) Bartlett of Franz Kneisel), Efrem Zimbalist (Leopold Auer), (BM ’43), August 2015 Elsworth F.L. Blood Ricardo Odnoposoff (Karl Flesch), Franz Samobyl, (MA ’48), June 2010 and Sandor Vegh (Jenö Hubay). She graduated from Marcia Sklest Goldsmith the Curtis Institute of Music, and earned a Concert (BM ’45), October 2015 Diploma with Distinction from the Akademie für Musik Gloria O. Garrison und Darstellende Kunst. She performed in London, (MM ’48), August 2015 Margaret (Heidner) George Vienna, Munich, and Berlin; during the Cold War, the (BM ’47), August 2015 State Department presented her in recitals in Budapest Thelma Hunter and Bucharest. She was a member of Die Wiener (MA ’47), August 2015 Solisten, the Wiener Kontrapunkte, and the Deutsche Howard Ingley (BM ’47, Bach Solisten, and concertmaster at Theater an der MM ’48), May 2002 Rose L. Matthews Wien. While heading Chamber Music at the Mozarteum (BM ’45), November 2015 in Salzburg, she was first violinist of the Streichquintett Elaine Osseck Mozarteum, and presented a summer chamber music Artistry, dedication, musical insight—and toughness: much- (BM ’47), January 2016 festival and violin workshop at Schloss Raabs, Austria. loved violinist and teacher Lynn Blakeslee is shown in her Nell (Johnston) Sins Eastman retirement portrait, from 2013. She taught violin at Eastman from 1987 until 2013. (BM ’49, MM ’52), November 2015 “Lynn Blakeslee was a much revered teacher, per- my professional life . . . I credit her with completely Charlotte V. (Reed) Smith former, and colleague,” says Eastman’s Strings, Harp, changing my technique, helping me diagnose technical (MA ’46), September 2015 and Guitar Department co-chair James VanDemark. problems in myself and others so I can solve problems Jane (Albright) Solomon “She exemplified a phenomenal standard of artistry, on my own, and giving me the thick skin I needed to (BM ’46), November 2015 technique, and musical insight that left all of us breath- make it in this tough business. A compliment from her Anita M. (Spaulding) Swan (BM ’48), less. She was a devoted and demanding teacher [and] a was something to treasure—you knew you earned it . . . September 2015 colleague of wit and wisdom.” She was an extremely dedicated teacher who was in it Martha (Hylander) White One of Blakeslee’s students, Nashville Symphony for the long haul with her students. She was a fantastic (MM ’48), July 2015 violinist Zeneba Bowers (BM ’94, MM ’96), said: “It’s violinist whose musicianship inspired me. She will be Mary-Therese Wood impossible for me to overstate Lynn’s impact on sorely missed. Godspeed, Lynn.” (BM ’45), October 2015 1950s Mary French Barrett (BM ’53, MM ’53), Elizabeth Bock November 2015 Elizabeth Bock, secretary and admin- Rochester’s motto: Meliora—ever bet- Donald O. Braatz (MA ’53), October 2015 istrative assistant for the music ter!”, says Christopher Azzara, current Ernest E. Etzweiler education department since fall 2007, chair of the music education depart- (MM ’57), August 2015 died on Monday, March 7 after a long ment. “She was incredibly valuable Marilyn A. (Alderman) illness. Elizabeth’s professional accom- to the Music Education Department Swafford (BM ’54), plishments included improvements in and the whole of the Eastman School May 2015 the pre-internship review process for of Music. Her initiative and quality 1960s student teaching assignments, and super- of work were exemplary. Elizabeth’s John Gerlicher Hayden vising the many arrangements made with ability to work with others and develop (BM ’62), October 2015 Ruth M. Moore local schools where music education stu- relationships with students, faculty, (MA ’60), August 2015 dents spend field experience hours; but and staff created a wonderful work Elizabeth Bock 1970s Elizabeth is best remembered for her environment.” Chris Alan Matten generosity and warmth to all who passed through the To Erik Koski (MM ’13), Elizabeth meant “so much to (BM ’76), July 2015 music education corridor, whether they were distin- every music education student at Eastman. She treated 1980s guished guests, faculty members, current students, or us as her own family and created a loving, tight-knit Beth J. (Pierce) Nelson prospective students. department . . . she reminded us that all work and suc- (MM ’82, DMA ’88), “Elizabeth Bock epitomized the University of cess is built upon personal relationships.” October 2015

38 Eastman Notes | Spring 2016 KURT BROWNELL (BLAKESLEE); GERRY SZYMANSKI (BOCK) { FACULTY NOTES }

1 Donna Brink Fox 1 Donna Brink Fox, Se- nior Associate Dean of Ac- ademic and Student Affairs and Eisenhart Professor of Music Education, was re- cently named the Lifetime Achievement Award winner by the University’s Susan 2 Seth Monahan B. Anthony Center. Donna was honored for her signif- Agency Revisited,” which and Stephen Stubbs, nominated in the category the Music Theory Society icant professional stature appeared in the Fall 2013 co-artistic directors of the of Best Large Jazz Ensem- of New York State. He has and influence; for her com- issue of the Journal of Boston Early Music Festival ble; composer-arranger returned to his first musical mendable, trailblazing body Music Theory. The award (BEMF), are the conductors Maria Schneider (MM ’83) love with a jazz piano trio of work; and her willingness recognizes significant of Steffani’sNiobe, Regina also was nominated in that whose repertoire includes a to use her experience and contributions to music Di Tebe, nominated for Best category. Both Laube and number of Bill Evans tunes. skills to help other women theory, analysis, or history Opera Recording. Earlier Schneider were winners. Ralph recently published advance as leaders. (We will of theory in work published this year, the recording won Music and the Exotic from have more about Donna in the previous three years. the Echo Klassik, Diapa- Eastman professors emeriti the Renaissance to Mozart, and the award in the next This year, Seth also pub- son d’Or de l’année, and. Bob Wason (Music Theory) a companion to his Musical issue of Eastman Notes.) lished Mahler’s Symphonic Jahrespreis der Deutschen and Ralph Locke (Musicol- Exoticism: Images and Re- Sonatas (Oxford University Schallplattenkritik awards. ogy) remain busy even in flections (2009). It demon- Lisa Jakelski, Assistant Press), showing how Mahler In addition to Paul, the retirement. Bob has recently strates how composers and Professor of Musicology used the century-old following Eastman musi- given papers and presenta- their artistic collaborators is a recipient of the Polish sonata-allegro form of cians performed in Niobe: tions in Darmstadt, Amster- conveyed the multiple Studies Association’s 2015 Mozart and Beethoven as Christel Thielmann (viola dam, Würzburg, Freiburg, meanings of ethnic and Aquila Prize for the best the basis for some of his da gamba), John Thiessen and Mannheim. Earlier this cultural Otherness. Ralph’s English-language article in most innovative symphonic (trumpet), and Beiliang Zhu year he published an article book has received glowing Polish studies. She is one of stories. (baroque cello). Laube is a on “tonality and centric- reviews; Tim Carter of the three humanities scholars performer on Paulus: Three ity” in Bartók’s music in University of North Caro- to receive the award, which 3 Professor of Lute Paul Places of Enlightenment; Theory and Practice, and lina called it a “magisterial was announced in Novem- O’Dette, Assistant Profes- Veil of Tears and Grand he is writing A Companion tour,” and it was recently ber, during the national sor of Organ Nathan Laube, Concerto for Organ and to Heinrich Schenker’s awarded an honorable men- convention of the Associ- and Assistant Professor of Orchestra, nominated in the Theory of Harmony, with tion by the PROSE Awards, ation for Slavic, Eurasian, Jazz Studies Dave Rivello category of Best Classical Matthew Brown and from the Association of and Eastern European were Eastman faculty nom- Compendium. Rivello is the William Drabkin, as well as American Publishers, in the Studies in Philadelphia. inees for the 58th annual producer of Lines of Color a keynote address for the category of Music and the Lisa’s “Pushing Boundaries: Grammy Awards. O’Dette by the Gil Evans Project, April 2016 conference of Performing Arts. Mobility at the Warsaw Au- tumn International Festival of Contemporary Music” appeared in the February 2015 issue of East Europe- an Politics and Societies.

2 Seth Monahan, asso- ciate professor of music theory, received the Society for Music Theory’s 2015 3 Emerging Scholar Award Eastman artists given 2016 Grammy nods included (left to right): Paul O’Dette, Maria Schneider, Dave Rivello, and Nathan Laube; for his article “Action and Schneider and Laube won in their categories.

KURT BROWNELL (MONAHAN) Spring 2016 | Eastman Notes 39 { STUDENT NOTES }

A “Name-Bearer” for Bach In August 2015, David Chin led the first performance of Bach’sSt. John Passion in his native Malaysia. David, a DMA student in choral conducting, is a “name bearer” for Eastman in Asia, bringing immortal music to people who had never heard it.

How did your Eastman training help you prepare for this performance? I am very thankful for studying in a terrific program with ample podium time for choral and instrumental conducting. I am also extremely grateful for my mentor, Dr. William Weinert, who encouraged me to conduct my very first Bach concert in 2012: an orchestral suite, a cantata, and the Magnificat. I fell in love with Bach, 1 and I have not stopped studying and conducting his works. Thomas Gaynor (MM ’14) In April 2014, the Rochester Bach Festival invited me to conduct the St. John Rosie Curren, a violin Prize given by the Harvard Passion for the first time; Dr. Weinert was very supportive at my final rehearsal. student of Renée Jolles, Musical Association. The During the break, I told him that I didn’t feel mature enough to conduct this mas- recently won the year-long Foote competition involves terpiece. He told me that I would be, when I had conducted it the fourth or fifth Cologne Fellowship funded a cash prize of $5000 time. I never thought that I would be conducting the Malaysian premiere! by Modern Languages and the requirement for and Cultures for 2016/17; Thomas to perform a she’ll succeed ESM voice recital in Boston this spring. What was the reaction of people in Malaysia, hearing the music for the first time? major Betsy Pilon, who is Eastman Students have Both sold-out audiences were very attentive, focused, and engaged. Subtitles were teaching and studying in won this prize four times in projected in German, English, and Mandarin throughout, and the “tradition” of hav- Cologne this year. its 25-year history: the Ying ing the audience sing the chorales was Quartet (1990), pianist 1 introduced to Malaysia. I think that the Organist Thomas Anthony Padilla (1992), Gaynor (MM ’14), a doctor- the Arabesque Winds chorales were written for all to partici- al student of David Higgs, (quintet, 2009), and, last pate in, even during Bach’s time. There took first prize in the Third year, Beiliang Zhu (Baroque were some very touching moments— International Bach-Liszt cellist). I was in tears when the audience sang. Organ Competition in Erfurt/Weimar, Germany. 2 Andrew Winslow (BM The two-week-long compe- ’17), a music education What did this performance mean to tition took place on six dif- major and current president you specifically? ferent organs, both modern of the Eastman Students’ 2015 was Bach’s 330th birthday anni- and historic. Association, was a dele- versary, my thirtieth, and my tenth gate at the Association year away from Malaysia. I was hoping Pianist Wenjie Lu, a doctor- of College Unions al student of Barry Snyder, International (ACUI) to “give back” to my homeland through performed in Weill Recital Region VII conference, held this concert. Also, my parents have not Hall at Carnegie Hall on at Temple University in had an opportunity to see my Rochester October 21, as part of the Philadelphia. Eastman won David Chin and his mentor, Professor concerts, so I am glad they were able “Eastman in New York an award for its “Celebrate William Weinert. to witness this performance. Since this City” series sponsored by Diversity” orientation event the George D. and Frieda (see p. 29). Andrew called concert was my own idea, I did everything from A to Z, and was thankful for net- B. Abraham Foundation. the conference “an invalu- working, leadership, and entrepreneurship skills I developed at Eastman. I took Wenjie, recipient of able experience.” some money out of my own pocket, but I could not think of a better way to spend Eastman’s Lowry Award, it. I hope to inspire more people through this music as I have been inspired. performed music by Haydn, Tan Dun, Ravel, and Liszt.

How, through this performance and others, is Eastman’s influence felt throughout DMA viola student the world? Alexander Trgystad pub- Since coming to Eastman, my career has brought me all over the world, and I have lished a substantial article collaborated with some of the best musicians in Asia. Eastman has definitely made on the Telemann Viola a name in Asia, especially in the last five to ten years, and I am very proud to be Concerto in the fall 2015 issue of the Journal of the one of the “name-bearers.” I remember watching Masaaki Suzuki (one of the most American Viola Society. respected Bach authorities of our time) conducting the St. John Passion from the harpsichord on YouTube; my response was “I want to be like him when I grow up,” Guitarist Thomas Viloteau, I never thought I would do it two years later—and I did, twice, and for the third a student of Nicholas time in Hong Kong next June! —Andrew Psarris Goluses, was recently se- 2 lected for the Arthur Foote Andrew Winslow (BM ’17)

40 Eastman Notes | Spring 2016 ELAINE CHOY (CHIN)

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Classic Jazz, Youthful Fans “Most trumpet players either go into jazz or into classical playing. If you’re lucky and focus for many years, you may play professionally in one genre. Wynton Marsalis is at the top of both! He is the consummate professional; that is why when I heard JLCO would be in town in early December, I didn’t hesitate to buy a ticket. As usual, they were magnificent. In my five years at Eastman I have seen more than 120 concerts, but there are only a few I can remember clearly - the ones that stand out, the best of the best. The Jazz at Lincoln Center Orchestra holiday concert was one of the four or five that I will forever remember.” —Andrew Psarris (BM ’15) Marsalis and the LCJO’s December 5 concert in the Eastman Presents series was also memorable for 104 Rochester City School District students who were given tickets to the show by Eastman’s Concert Office—and got to meet Wynton afterwards in Hatch Hall. Photographs by Dave Jones