Summer 2011 FOR ALUMNI, PARENTS, AND FRIENDS OF THE E ASTMAN SCHOOL OF MUSIC FROM THE DEAN

New plans, new purposes

The past academic year has been one of Eastman’s most energetic and productive ones. The Eastman Theatre Renovation and Expansion Project was completed in December 2010, to spectacular effect. But to truly commemorate the opening of the new Kodak Hall at Eastman Theatre, we figured there was no grander way to celebrate than to invite one of our own, famed soprano Renée Fleming (MM ’83), for a February concert to benefit the new Renée Fleming Endowed Scholarship Fund for Voice and Opera Students. Her three-hour concert on February 20 sold out Kodak Hall. Ms. Fleming, as gracious and gifted as her star billings declare, sang gorgeously and left the au- dience clamoring for more. And the Philharmonia, under Neil Varon, could not NOTES have sounded better. Renée reminded us from the stage that as she landed in Volume 29, Number 2 Rochester in the middle of a blizzard, she knew she was coming home. During Summer 2011 her brief visit, she generously met with students, old Rochester friends, faculty members, and supporters. It was a triumphant homecoming. Editor It was also a symbol of the one value we must fiercely protect: our artistic David Raymond standards. Similar standards are exemplified in the diverse musical and scholarly Contributing writers achievements of our faculty, alumni, and students. Our outstanding guest artists David Liptak Douglas Lowry and scholars, our forays into , our ever-expanding efforts at recon- Alice Matsumoto necting with alumni in places like Los Angeles and Chicago (and coming soon to Helene Snihur a city near you!)—all demonstrate, we hope, that actions are louder than words. Contributing photographers This year the School will celebrate its 90th anniversary by taking a fresh look Steve Boerner at artistic leadership, from composition to performance to execution to analysis. Kurt Brownell We will take a hard look as well at what it will take to marshal the forces of music Adam Fenster Gary Geer to create a vibrant and viable future for our beloved art form. Gelfand-Piper Photography For some of our reputable musical institutions, the story in 2010-2011 has Kate Melton been one of tribulation. Orchestras, and in general, seem to be Don Ver Ploeg in strife. Yet excitement and passion for music remains at an all-time high. Our Brandon Vick job is to capitalize on that enthusiasm. We must not only educate our young Photography coordinator musicians and scholars, we must inspire in them an unbridled sense of innova- Karen Ver Steeg tion and curiosity. Design It’s not just that music and the arts change, but that the institutions that sup- Steve Boerner Typography & Design port and nourish the arts change. Fundamentally. Not much looks the same Published twice a year by the Office of anymore because, well, it isn’t. If inspiration is one of the goals of music, then it Communications, Eastman School of must inspire in 21st-century cultural terms. When Renée Fleming bridged the Music, 26 Gibbs Street, Rochester, NY, gap between songs by Richard Strauss and songs by John Kander, the composer 14604, (585) 274-1050. of the musical Chicago, the same burnished Fleming voice sang both. Such risky [email protected] juxtapositions are precisely how new hybrid musics are born. So, whom do we want to inspire? To what do 21st-century temperaments re- late? And how? In May of this year, I encouraged our Class of 2011 thus: “Don’t just have a plan, have a purpose.” We believe that’s what we’re doing in the New Eastman Evolution: building a new purpose . . . for music.

10% Total Recovered Fiber Brandon Vick 100% Post-Consumer Fiber SUMMER 2011

Eastman Commencement 2011: a full house for the second Commencement DEPARTMENTS to be held in the restored Kodak Hall. 2 Brief Notes 1 4 Coming Events 1 5 Conversation Brava Renée! 1 6 School News America’s favorite soprano (MM ’83) returned triumphantly to Eastman 25 In Tribute last winter, filling Kodak Hall for a concert and benefiting her new 26 In Memoriam 4 scholarship for voice and opera students. 27 Alumni Notes 29 Alumni on CD 3 9 Faculty on CD The L.A. Connection 40 Student Notes Emmy-winning composer Jeff Beal’s (BM ’85) trek from Eastman 7 to Los Angeles put him “in the center of pop culture.”

ON THE COVER: Amor (Cupid, played by Helen Huang) saved the . . . this is the work of composing day in Eastman Opera Theatre’s winter production, Gluck’s Orfeo Professor of Composition David Liptak (MM ’75, DMA ’76), on ed Euridice. 10 creating his own music and being inspired by the music of others.

Adam Fenster Summer 2011 | Eastman Notes 1 BRIEF NOTES

■■ The 2011 Xerox Rochester International Festival (June 10–18) attracted 128,000 music fans to Rochester (and to Eastman). As always, a highlight was the annual XRIJF/ESM Jazz Scholarships program on June 13. This year’s recipients were drummer Michael Craig and trombonist Brendan Lanighan, starting as freshmen in September and studying with Rich Thompson and Mark Kellogg, respectively; and trumpeter Joe Kozlowski, transferring from SUNY Fredonia to study with Clay Jenkins. (Shown are, from left, Eastman’s Harold Danko, Festival Director John Nugent, Michael Craig, ECMS dean Howard Potter, Joe Kozlowski, Brendan Lanighan, and Festival Director Marc ■■ It’s hot on the fourth floor ofE astman’s East Wing! ESM’s new East Wing Media Production Suite, Iacona.) For more on Eastman which opened in December 2010, was named one of the “Top 20 New Rooms” in the June 2011 issue of at the 2011 XRIJF, see pages 20 MIX, a journal of music production. The “hottest new studios” include production rooms from Norway and 21. to New York City. Eastman’s suite, designed by Lawrence P. Swist, is the School’s hub of distance learning, Internet distribution, live broadcasts, and general archiving purposes.

2 Eastman Notes | Summer 2011 Xerox Rochester International Jazz Festival/Don Ver Ploeg (Jazz Scholarships); Helen Smith (East Wing) BRIEF NOTES

■■ The revered mezzo-soprano Jan DeGaetani, who taught at Eastman for almost two decades, died in 1989, but her artistry as a singer and doyenne of contemporary music lives on. She shone brightly as a recitalist with pianist Gilbert Kalish; Bridge Records salutes their prolific partnership with a new release taken from a 1987 recital at Carnegie Hall. Jan DeGaetani and Gilbert Kalish in Concert ranges from Haydn and Beethoven to Stanley Walden and Kenneth Frazelle (www. bridgerecords.com).

■■ Ricardo Zohn-Muldoon, associate professor ■■ In June, Professor of Oboe Richard Killmer, who joined the Eastman faculty in of composition, was a finalist for the 2011 1982, was named an Honorary Member of the International Double Reed Society. Pulitzer Prize for his cantata Comala, based on The Society noted: “. . . the enormous number of students you have worked with Pedro Páramo by Mexican novelist Juan Rulfo. who have made their mark on the double reed world is a true testament of your Comala appears on the recording Cantos, influence.” Killmer joins two otherE astman legends as an Honorary Member of the performed by Eastman BroadBand under the IDRS: bassoonist K. David Van Hoesen and oboist Robert Sprenkle, who died in 1988. direction of Juan Trigos, tenor Scott Perkins, and soprano Tony Arnold, narrated by fellow Eastman composer Carlos Sanchez-Gutierrez.

Bridge Records ( Jan Degaetani/Gilbert Kalish); Eastman Archives (Zohn-Muldoon, Killmer) Summer 2011 | Eastman Notes 3 rava Benée! R

4 Eastman Notes | Summer 2011 For Eastman Dean Doug Lowry, it was “a triumphant homecoming.” For 2,000-plus fans, it was a terrific three-hour concert offering everything from Don Giovanni and Richard Strauss to George Gershwin and Leonard Cohen. For her newly established Scholarship Fund for Voice and Opera Students, it was a $150,000 boost. Renée Fleming’s return to Eastman for a gala benefit concert on February 20 was definitely the event on the School’s calendar this year.

Renée and The Three Tenors: as an encore to the February 20 concert, graduate students Joshua Bouillon, Matthew Grills, and Eric Reiger joined the soprano in the Brindisi from Verdi’s Traviata. Shown left-right are Joshua, Renée, Eastman Philharmonia director Neil Varon, Matthew, and Eric.

Brandon Vick Summer 2011 | Eastman Notes 5 In spring 2011, the soprano headlined at the Met as Rossini’s seductive Armida (above, with tenor Lawrence Brownlee)

February/March/April: Renée starred at voice to the soundtrack of The Adventures Renée after the Met in revivals of Rossini’s Armida of Tintin, Steven Spielberg’s upcoming ani- (mounted for her last year and also avail- mated movie based on Hergé’s venerable Eastman: able on DVD) and, in a role now closely as- adventure comic books. She sang the “Jewel sociated with her, as Countess Madeleine in Song” from Faust, the signature tune of the Richard Strauss’ Capriccio. Tintin character Bianca Castafiore, soprano Capriccio, March: Release of Charlie Haden’s CD extraordinaire (and Capitaine Haddock’s Sophisticated Ladies (Concord Jazz), in which paramour). Castafiore, the great jazz bassist is joined by a roster of May/June: Concert and opera engage- great jazz divas—the lineup includes Diana ments in Berlin, Budapest, Warsaw, and Krall, Cassandra Wilson, and Renée singing in Paris, where she played Desdemona in Calleja, et al. the standard “A Love Like This”. Otello at the Opéra—and performed with April: Renée received a Fulbright Lifetime cast members of Glee for the American Achievement Award, and sang at New York’s Ambassador. Blue Note in a concert for Japanese earth- July: concert with the Israel Philharmonic quake relief. She also sang in the premiere under Zubin Mehta with tenor Joseph of a new work by Todd Frazier (BM ’92), We Calleja, a high-definition broadcast to movie Hold These Truths, an oratorio setting words theaters all over the world, and (just inciden- by Thomas Jefferson from the Declaration of tally) a performance at the Royal Wedding Independence to his inaugural address. The of Monaco. Kennedy Center performance took place on April 3, not long before Jefferson’s 268th ➤➤For information on the Renée birthday (April 13, 1743). Fleming Fund, contact Eastman’s Office May: In what might be called diva-to- of Advancement: 585-274-1040 or diva transference, Renée lent her singing [email protected].

6 Eastman Notes | Summer 2011 Marty Sohl/Metropolitan Opera THE L.A. CONNECTION: COMPOSER JEFF BEAL

By David Raymond

omposer Jeff Beal (BM ’85) might not and improvisation.” His experimentation resulted in a be a household name (yet), but his resume trumpet concerto he played while still a student, as well is filled with plenty of them: , as other compositions. Adrian , Jackson Pollock, Georgia During his years as Eastman, Jeff won an unprece- O’Keefe, and Stephen King—not to men- dented 11 DownBeat student awards for his playing, com- Ction Al Pacino and a dissolute Roman Emperor or two. posing, and arranging; he also met his wife and frequent As one of ’s most in-demand composers for collaborator, soprano Joan Sapiro Beal (BM ’84). One of TV and movies, Jeff has been involved in an impressive the students in Ray Wright’s now-legendary film scoring variety of projects—and won three for his courses at Eastman, Jeff has returned periodically for television scores. At Eastman’s 2011 Commencement, he performances with the Jazz Ensemble and master classes received the Distinguished Alumnus Award and gave the on film composing. Commencement address. He moved to New York after graduation, and like Jeff played classical trumpet as a student, and recalls many new graduates, discovered that acclaim as a stu- the galvanic effect playing Stravinsky’s Rite of Spring had dent did not immediately translate into success in the on him as a trumpeter in the Oakland Youth Symphony. “real” musical world. When Jeff was offered the opportu- As a young performer and composer, he also discovered nity to write the score for a Rochester- produced movie jazz and became intrigued with the idea of “combining comedy called Cheap Shots, he took it. He enjoyed his ap- the two genres—the intersection of written composition prenticeship, the Cheap Shots score attracted some notice

Summer 2011 | Eastman Notes 7 mentary films; and scores for such adven- turous HBO series as Rome and Carnivàle and such popular comedies as Ugly Betty and Monk (whose theme won him his first Emmy, in 2001). He won another Emmy for his vir- tuoso scoring of “Battleground”, an episode of Nightmares and Dreamscapes based on a Stephen King story. “The Battleground” had no dialogue at all; Jeff’s continuous music helped to tell the story of a gangster (played by William Hurt) who kills the CEO of a toy company and is then plagued by attacks from soldiers, heli- copters, and other deadly toys. For his soundtrack to Rome, Jeff had to conjure up a musical milieu that no lon- ger exists—ancient Rome. He studied an- cient Roman instruments (and collected and From Ugly Betty to Salome: Jeff Beal was honored with Eastman’s Distinguished Alumnus learned to play to a play a few of them). The Award for his contributions to film and television scoring. fact that no notated music survives from that (one reviewer compared it to the music of Fellini’s great composer, time was not at all a shortcoming, he says; what he needed to do was Nino Rota), and other assignments followed, including jobs writ- “try to capture the sensibility of the time.” ing for commercials and for the television series Unsolved Mysteries. “When I’m starting on a film,” he explains, “I will read the script He had found a new and congenial niche as a composer. “Writing and sketch out a few things. When the film has reached the rough for TV and movies tends to be fast-paced; there’s a great immediacy cut stage, I will start writing music. Technology now allows for a to it,” says Jeff. “That fits the tempo at which I like to work—and I much more interactive process between the composer and the di- like having a definite deadline to meet.” rector. The back-and-forth between me and the director can start Higher-profile assignments followed, including two films with earlier in the process, and as a result the music can inform the tone actor-director , Pollock and Appaloosa; a number of docu- of the piece.

Commencement 2011 highlights

“I’m hoping this makes up for that Performer’s Certificate I never got,” joked Jeff Beal (BM ’83) as he received Eastman’s Distinguished Alumnus Award. He had more serious things to say in his acceptance speech, including a mention of his battle with multiple sclerosis. He concluded with “The arts are our social and spiritual glue – they bring joy and transcendence and sometimes cartharsis to our lives. And we need them more than ever.” Associate Professor of English Jonathan Baldo, an Eastman faculty member since 1983, was an acclaimed choice for the University’s Edward Peck Curtis Teaching Award. Jon was praised as “an unsung hero of the faculty” by Dean Lowry, but he accepted this honor in characteristically charming and self-deprecating style: “I recently taught a class on the films of Alfred Hitchcock. As many of you know, one of Hitchcock’s favorite plot devices is the character of a man who is accused of a crime he did not commit and must prove his English professor Jon Baldo really was chosen for the University’s innocence. This morning, I know how that character feels – although Edward Peck Curtis teaching award, and deservedly so.

8 Eastman Notes | Summer 2011 Adam Fenster At the time of his visit to Eastman in May, Jeff was fin- ishing work on a new documentary: Wilde-Salome, star- ring Al Pacino and centering on a production of Oscar Wilde’s Salome (the basis of the Richard Strauss opera). This film, a follow-up to Pacino’s Looking for Richard III, was quite a challenge for the composer: “You have sev- eral different movies in one: first, the Oscar Wilde play itself; then a documentary about Oscar Wilde and his life; and finally one about Al himself as an actor and artist in this production of Salome. My job as composer was to balance those threads—to make them flow to- gether and feel right. It was a challenge, but creatively a lot of fun.” While his fame is steadily growing as a composer, Jeff Beal continues to be a creative force in the world of jazz, performing and composing and regularly releasing albums. He has also regularly produced concert works, from a string for the Ying Quartet to an upcom- Jeff wrote imaginative, atmospheric scores for two very different HBO series: ing piece based on his Wilde-Salome music. Rome (left) and Carnivàle (right). Jeff Beal is a respected talent in a town notorious for “The composer shouldn’t have the pretense that he’s adding to chewing up talent. “I have found a home in the L.A. artistic commu- the intellectual level of the film. My job is to read the emotions in a nity,” he says. “You have to find your tribe—people who share your scene and connect with the audience on a visceral, emotional level.” sensibilities and who connect with you. I’ve found, for example, that Along with drama and comedy film credits, Jeff is a noted com- HBO is very loyal to their artists. poser of music for documentaries. He has worked closely with the “I have to say, I’m very happy being plugged into and part of a domi- director Jessica Wu on In the Realms of the Unreal and the upcoming nant force in our culture. And while it’s a commercial environment, Last Day at the Oasis. “The composer can play a great role in a docu- a business, there are many people in the film community whose aspi- mentary,” says Jeff. “If you are immersed in what is happening on the rations and passions are very artistic, who care about making some- screen, you become a musical narrator.” thing good. There are artistic people in the center of pop culture.”

I am not distressed, I am delighted to be the man mistaken for the actual person who surely was chosen.” Eastman’s own major teaching award, the Eisenhart Award, went to Professor of Piano Natalya Antonova, who unfortunately couldn’t be present at the Commencement ceremony. This was a special occasion not just for soprano Anna Lenti, who graduated with a bachelor’s degree in Vocal Performance, but for her family—Anna’s degree was the eleventh Eastman degree earned by a member of her family. The list reads: • Anna Lenti (BM ’11) • Elizabeth Lenti, her sister (BM ’02) • Christina Lenti, her mother (BM ’72) • Anthony Lenti, her uncle (BM ’67, MM ’69, DMA ’79) • Marianne Lenti, her aunt (BM ’67, MM ’70, DMA ’79) And Eastman School historian and piano professor Vincent Lenti, An Eastman family affair: Vincent, Anna, Elizabeth, and Christina Anna’s father (BM ’60, MM ’62) Lenti on Commencement day.

Franco Biciocchi/HBO (Rome); Doug Hyun/HBO (CarnivÀle); Adam Fenster (Lenti) Summer 2011 | Eastman Notes 9 Imagination Ordering Revision Evaluation Re-ordering Re-considering Re-imagining

10 Eastman Notes | Summer 2011 . . . this is the work of composing.

By David Liptak

o introduce who I am and what I do, I will start with a few defini- tions. The words I define are not difficult, and, in fact, appear to be com- monly understood, their meanings agreed upon by large consensus. However, I think it is helpful to reflect upon these words which, combined as a phrase, define my professional life. Working backwards . . . Music is many things. Although I am happy to be in the presence of many kinds of music, I’m going to speak about the specific sort of music Twhich engages my attention as a composer and listener—and sometimes performer—in a more complete and substantial way. If asked to identify the things that make this kind dis- tinct within the larger possibility of music, I find myself saying things like: This is music that has internal and integrated structure which is derived from and partner to the musical substance. On March 22, 2011, Eastman This is music which engages understandings that have been established by past work. Professor of Composition David This is music that has the ambition to become unique and particular. Liptak gave a presentation on This is music which contains improvisation, but is not only improvisation. In that way, the music “Composing New Music” in the is a result of slowing down the “performance time” through reflection and consideration. Rochester Institute of Technol- ogy’s Caroline Werner Gannett Is this last definition what it means to “compose” music? The work of composing music of Series Visionaries in Motion. the type that I describe almost without exception takes longer than the performance dura- Notes presents some excerpts tion (as does the business of musicians preparing for a performance) . . . so, yes, producing from his talk—which also in- the music is an act of reflection and consideration. cluded recorded musical ex- Composing is also slowed by the technical process of producing the notation—the amples, and a live performance “script”—which, among other possible things, becomes the shared language between com- of Liptak’s Constellations by poser and performer. pianist Zuzanna Szewczyk. The The process of evaluation and repeated consideration (criticism) of the imaginative idea entire talk, with complete musi- defines “composition” from “improvisation,” although improvisation is almost always a part cal illustrations,can be seen and of the composition process. This may be improvisation as commonly understood—an act heard at www.cwgp.org/2010-11/ of performance of music which may be regulated by a set of guidelines or be more free in david_liptak.php. nature. Improvisation may also be an internal fantasy, in which ideas of sound are followed

Summer 2011 | Eastman Notes 11 by whimsy, in a way that satisfies the taste of the person who imag- tered my previous thinking about what it meant to compose music. ines them. We sometimes refer to this as “inspiration,” and we have Some influences have renewed importance whenever I visit legends of past composers who received their music from a divine the music I have come to know so well: the keyboard music of sphere, becoming agents for its delivery. I suspect, rather, that a com- Schumann; the early ballets of Stravinsky; the operas, especially poser like Mozart composed during a period of precise clarity (and A Midsummer’s Night Dream, of Britten; vocal music of the 14th and regularity) regarding a musical language that matched his unrivaled 15th centuries, mostly from Italy and France; anything by J. S. Bach; ability to speak it. Bartók’s string ; the Beatles; the smooth and silky music of What makes music “new?” Is music “new” because it has been re- Gershwin—these are just the beginning. cently composed? Yes . . . but there is more to it than that. Earlier, When I’m asked to describe what my music “is like,” my answer I identified one of the traits of the music that engages me as “hav- has always been a disappointment—certainly to me and probably to ing the ambition to become unique and particular.” How is this the one who asked the question. What I really want is for the ques- achieved? What does it mean? tion to be answered by listening to the work, probably more than Another way to address the question of “new-ness” or “original- once. The descriptions always fall short; they don’t translate the ity” is to speak about it in terms of degree. Does the music seem to intentions behind the music into the meanings or evocations that I relate to everything that came before by mostly “re-tracing” it, or would like to be stirred by the sounds. does it mostly seem to “build upon or from it?” Does it break away We’re not entirely helpless with words, however. We can speak completely, or does it cling to established forms and expectations? about the technical ways the music is structured, we can describe

A few favorite 20th-century composers of David Liptak’s: Igor Stravinsky; George Gershwin; Bela Bartók; and Paul, George, Ringo, and John.

Where does it place itself between these two extremes? Does it, in- the structure of the music in broad terms, or we can relate the story deed, seem to have “the ambition to become unique and particular?” of “how the music was composed” or “came to be.” In that way, we I’ve said that the music that interests me as a composer engages can create a framework for listening. When I said “technical,” I didn’t understandings that have been established by past work. This engage- mean analysis of the music in the professional language composers ment implies a relationship, and the least interesting response of the often use, or at least only that. It might be of some meaning to some new is a simple rejection or endorsement. listeners to know, for example, that a certain part of the music is J. S. Bach provides a good example. Considered old-fashioned written in “canon” at the 5th below, or that certain parts of the music and conservative in his lifetime, we now appreciate Bach’s innova- are constructed in three- and four- note chords which, when taken tive work for many reasons, not the least of which is his complete in combination, produce revolving patterns where all the available exploration of all the applications of a contrapuntal way of writ- chromatic notes are used up before the cycle begins again—a kind of ing only partially revealed by the work of his predecessors and “merry-go-round” of pitches turning over and over again. It might be contemporaries. of use to have descriptions about the music which are both guiding Every composer I know is also an avid listener, and conversations and suggestive, of the sort that we use in all our experiences with the between composers more often than not become a sharing of the identification of objects. The house is blue—the music is cool, silvery, music that captivates us, growing more animated as the repertory and flowing. The car is fast—the music races along energetically. discussed becomes closer to our own work. I remember hearing Music has been described as a “language,” and, especially, as a “lan- the recording of Luciano Berio’s Sinfonia soon after it was released guage that can express emotion and feeling.” I believe that there is in 1969, and this piece—and especially the third movement—shat- truth to this, but not in the direct way that sends a precise message

GeorgE Grantham Bain C ollection, Library of C ongress (Stravinsky); Alfredo Valente/Billy Rose Theatre Division, 12 Eastman Notes | Summer 2011 The New York Public Library for the Performing Art s, Astor, Lenox and tilden Foundations (Gershwin); Bettmann/Corbis (Bartók) from the composer, through a performance medium, to a receptive listener. In fact, I think the power music holds is much larger and A David Liptak sampler more complicated, impossible to pin down to a simple description Professor Liptak provided brief descriptions and examples or explanation. Listeners may come to know “sadness” when lis- of several of his works during his talk. Both words and music tening to music, but I doubt it has much to do with the composer’s can be heard at www.cwgp.org/2010-11/david_liptak.php. “sadness.” There is something, however, in music that allows for the Giovine vagha, i’ non senti (1996): . . . is drawn from a two- illumination of powerful thoughts and feelings that are within us. voice “ballata” by the 14th-century composer Francesco This is thing which grabs us—composers, too. Landini. The composition combines the Landini music with For me, composing is a multi-layered, fluid, and self-consuming music composed in an entirely different way, and the rela- activity. It is not unlike exploring the inside of a box that looks fa- tionship between the new and old work is presented in an miliar on the outside but is uncertain and disorienting as you enter. evolving and varied way. Spirits dwell within. Uncertainties abound. Memories, feelings, and other intruders appear suddenly, and everything needs to be con- Ice Flowers (2004) is a duet for the violin, from the west- trolled. Improvisation is tempered through technique, fire is cooled ern, European art music world, and the Japanese koto, one with water. of the oldest of instruments . . . This duality was behind my I want to rephrase what I said earlier, this time in the first person. work in writing the music. I want to play with, explore, and imagine new combinations of Speaking Your Mind (2006) features the [solo] viola with a quartet of percussionists performing on chimes, a tam-tam (or gong), bamboo wind chimes, temple blocks, and tom- toms. I like to think about the music as spreading outward from the soloist. Scintilla (1987) “A spark, a flash.” The music I write [often] begins with a central idea which is not really music. Often an image, or a line of poetry, or even a word, or some quality of movement (is it “quick, darting, or deft?”), or an illusion, or anything that is ordinary in the living of our lives that can seem so filled with possibility when examined closely. “December” from Folgore’s Months (2008), a setting of four texts from the 14th-century Italian writer Folgore da San Gimignano, in English translation. Folgore’s texts are 12 sonnets written for the famous “Spendthrift’s Club,” which flourished in his faded Tuscan city about the year 1280. “A internal structure in the new music that I write. I strive to blur the dozen extravagant youths of Siena had put together by boundary between structure and substance. equal contributions 216,000 florins to spend in pleasuring. I wish to explore a relationship between my new music and the It was their practice to give mutual entertainments twice a understandings of past work. I am interested in exploring my per- month; at each of which, 3 tables having been sumptuously sonal history with music. covered, they would feast at one, wash their hands at an- I search for music that is unique and particular. This search is other, and throw the last out the window.” endless. I want my compositional process to be wide open, to include all “Cygnus,” “Columba,” “Aquila,” from Constellations forms of whatever improvisatory imagination I can bring, but always (2010), a collection of nine movements for solo piano, and tempered through reflection and consideration. Imagination, order- the titles of each are taken from one of the 88 constella- ing, revision, evaluation, re-ordering, re-considering, re-imagining— tions that fill the skies at night … The third, sixth, and ninth this is the work of composing. pieces in the set depict “bird” constellations, and refer to There are always more questions than answers, more uncertain- Robert Schumann’s piano music. Cygnus (the swan) quotes ties than fixed understandings. As a composer, I feel every individ- from the first piece inKreisleriana . In Columba (the dove) ual work of mine is somehow not complete, falling short of finding there is a short “footnote” quotation of “The Prophet Bird” the elegance that I sense is being withheld from me. This keeps me from Waldszenen. And finally, there is a disguised quota- going; this lack of completion feeds the search for the secrets of tion of “Des Abends” from the Fantasy Pieces, op. 12, in the Muse. Aquila (the eagle).

Getty Images (Beatles) Summer 2011 | Eastman Notes 13 Announcing the return of … EastmanMAIL A free monthly newsletter for alumni, parents and friends

Eastman Opera Theatre Assassins, 2007

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October 12, 2011 • Eastman Family Weekend (UR Meliora Weekend)

November 3, 4, 5, 6 • Eastman Opera Theatre— Stephen Sondheim and John Weidman: Assassins➤ Kilbourn Hall

November 10-13, 2011 • EROI Festival 2011: Improvisation and Organ Pedagogy (presented with the AGO Committee on Professional Education) www.esm.Rochester.edu/EROI Dear Alumni, Parents, and Friends, October 2012 The “Eastman Advantage” continues long after graduation; in • Eastman Weekend 2012—including Ray Wright Jazz Alumni Reunion and fact, it often lasts a lifetime, as our alumni maintain professional and Tribute (October 12); personal contact with each other—and with their School itself. Debussy Festival Concert: EastmanMAIL, our revived monthly e-newsletter, will help you The Prismatic Debussy to do just that. Eastman is working to increase our alumni outreach, and EastmanMAIL will provide you with announcements of alumni events in your region and elsewhere, important information about events at Eastman, and much more useful news. We hope you will look forward to receiving EastmanMAIL each month!

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14 Eastman Notes | Summer 2011

EastmanMAIL_Ad.indd 1 8/22/11 1:13 AM CONVERSATION

“A touchingly human sound”: fortepianist Kris Bezuidenhout

By David Raymond

How did you start playing the fortepiano? Period performance practice has been When I arrived at Eastman, I was aiming to in the mainstream for a few decades now. get a DMA studying flute and piano, with Do you think performance standards Bonita Boyd and Rebecca Penneys. I thought have risen? I’d become quite a regular modern pia- Yes—string, wind, and brass players are much nist. But Malcolm Bilson and Paul O’Dette fussier about the instruments they play now, ignited the fire, showing me how under- and manufacturers produce higher qual- standing 18th-century notation would help ity instruments than they did 20 years ago. me in terms of playing Mozart and Haydn; Players concentrate less on how to play the the more I learned about early keyboards instrument and concentrate on making a and performance practice from them, the beautiful sound. more fascinated I became. Both Bonnie and Rebecca were amazing—neither felt Do you find the fortepiano revelatory for threatened by this in any way and both were the music of composers after Mozart, like Kristian Bezuidenhout (DMA ’06) very supportive. Beethoven and the Romantics? just turned 30, but he is hailed For “pre-Steinway” music—before the 1860s as an up-and-coming talent in Malcolm Bilson and Paul O’Dette are great or 1870s –the fortepiano can be revela- the world of early music. Or figures in the early music world—did they tory. Around that time, pianos began to be perhaps an already-arrived talent help you professionally as well? cross-strung, which gives greater density would be more accurate: His I can say without a hint of exaggeration to the sound. Straight-strung pianos from, concert and recital schedule that they opened many doors for me. The say, the 1840s, have greater transparency takes him all over the world, and early music world is relatively small but very and delicacy—a touchingly human sound, he has begun a nine-CD survey rich—it is full of gifted and well-connected you might say. If you are playing Schubert of Mozart’s solo piano music for people. Paul was able to arrange my first solo chamber music or accompanying Schumann’s the Harmonia Mundi label. Kris recitals at the Boston Early Music Festival, Dichterliebe with such an instrument, you was born in South Africa, moved and things snowballed after that. and your colleagues need to re-evaluate the to Australia with his family when The early music world is a little like the balance—the earlier piano doesn’t have that he was eight, and now lives new music world, I think: everybody in it has built-in force and dominance, so singers or in London. Now an instructor very strong opinions! I appreciated having string players don’t need to work as hard to of historical keyboards (part- guides to all that when I was starting out. be heard. time) at Eastman, Kris returned to Rochester in June to play a You are working through all of Mozart’s Where will you be performing after your Mozart recital in Hatch Recital mature piano music for your CD series. Rochester recital? Hall, sponsored by Pegasus Does his solo piano music call for improvi- I will be in Australia in July and August, and Early Music. sation as much as his piano concertos? performing for the first time at the Salzburg The sonatas are much more fully formed Festival in August. Then recitals in Wigmore than the concertos—the ornamentation Hall [London], Lucerne, and Bremen. is mostly written out, as one can see by In the fall I will be appearing with the comparing the manuscripts to the first edi- Concertgebouw Orchestra of Amsterdam, tion printed scores which came out during and for the first time with the Chicago Mozart’s lifetime. Mozart intended most of Symphony—performing Beethoven concer- these pieces not for himself to play, unlike tos with Trevor Pinnock! the concertos, but for students and the typi- cal Viennese “gifted amateur.”

Marco Borggreve Summer 2011 | Eastman Notes 15 SCHOOL NEWS

A highlight of the 2011 Women in Music Festival was an all-Hilary Tann concert at Downtown United Presbyterian Church, featuring the first performance of her choral work Exultet Terra, conducted by Lee Wright (BM ’03). Exultent feminae! Women in Music 2011 Eastman’s 2011 Women in Music Festival miere of her Exultet Terra with local choirs New York and to Union College (see back had it all: silent short films with live original Madrigalia and Musica Spei, and a double- cover of Eastman Notes). music, a preview of a new musical, a distin- reed from Eastman’s oboe and bas- • The George Eastman House presented a guished composer-in-residence, premieres soon studios. Her Shakkei was performed program of little-known short films from the of new works, a send-off concert for a tour twice: with Assistant Professor of 1920s and 1930s by Bauhaus master and avant- by Eastman musicians, and daily noontime Chien-Kwan Lin at Nazareth College, and garde artist László Moholy-Nagy, with music concerts with poetry readings. with oboist Kathleen Suher and Sinfonietta composed and performed by Eastman School As in the past seven years, all of the activi- Cordancia at the Sacred Heart Cathedral. of Music students (see Student Notes, p. 40). ties, coordinated by Festival Artistic Director (See p. 17 for an interview with Hilary Tann.) • The closing concert of the Women in Sylvie Beaudette and ESM student Eun Mi Other highlights: Music Festival included the world premiere Ko, celebrated the different roles women oc- • A reading performance of Lily, a Musical of Mausolée “á la gloire de Marcel Dupré” by cupy in the world of music. Portrait, a musical by Amanda Jacobs and the French composer Rolande Falcinelli Welsh-born composer Hilary Tann, who Lindsay Baker (Eastman Opera Theatre’s (1920–2006), performed by the University teaches at Union College in Schenectady, stage manager) based on Edith Wharton’s The of Rochester Symphony Orchestra under was this year’s composer-in-residence. House of Mirth, was presented by Empire State its director David Harman and organist Besides speaking on Welsh poetry in the Lyric Theatre at the Memorial Art Gallery. Timothy Tikke. University’s Neilly Lecture Series, Tann • The “Women in Music Festival Tour” spoke at local high schools and heard many preview concert at Nazareth College fea- ON THE WEB: For details on the 2011 Women performances of her music, including tured Eastman students, faculty, and alumni in Music Festival, visit www.esm.rochester. an “All Tann” program including the pre- in a program they took to City University of edu/wmf/.

16 Eastman Notes | Summer 2011 Kate Melton “Composing under the influence”: Hilary Tann Hilary Tann, the 2011 composer-in-residence of the Women in Music Fes- tival, was born in South Wales, studied at the University of Wales, Cardiff, and is now the John Howard Payne Professor of Music at Union College in Schenectady. Tann’s works have been performed by the Knoxville Sym- phony Orchestra, BBC National Orchestra of Wales, the Royal Liverpool Philharmonic Orchestra, and the Philharmonic Orchestra. She has recently been commissioned to write concertos for violin, alto saxo- phone, and cello. Growing up in South Wales, the composer developed a love of nature which has inspired all her music. Exultet Terra, for example, is subti- tled “Among Thy Trees” and invites the audience to consider the beauty, peace, and joy of the pastoral world. In addition to her musical activi- ties, Hilary Tann is also a member of the Route 9 Haiku Group, and has had poetry published in several of the group’s collections.

Did you always know you were meant to be a composer? One shouldn’t wish to be a composer—one has to compose. I started piano lessons when I was very young, and started writing music of my own when I was six. At eight I produced my first “writ- ten down” piece, inspired by the Wye Valley and in ¾ time. I real- ized that I expressed myself through writing music; I thought that everybody wrote music!

Your lecture at Eastman was called “Composing Under the Influence”—the influence of what? The influences are the rich musical traditions of Japan—and more than anything I am inspired by the beauty of nature—particularly the landscape of Wales, with its mountains and cliffs. As for being “under the influence”: I like the idea of being intoxicated with the music of another culture—not simply borrowing the language of another music and appropriating it without integrity, but making it your own. In 1984 I was teaching at Bard College and one night decided to take a break from marking papers to go to a Japanese concert on campus. It featured the shakuhachi, the vertical bamboo flute. What I heard sounded to me like my inner music, and I immediately took lessons on it for six years, in Japan and in the .

What about influences from other classical composers or works? I was an orchestral cellist—the outside second desk—which was an ideal position for a composer: I was close to the conductor and I could also hear all the other instruments. I remember playing Sibelius’s

Welsh-born composer Hilary Tann took bows for her music throughout the Women in Music Festival. Here she is seen at Nazareth College, after a performance of her Shakkei by Eastman saxophonist Chien-Kwan Lin.

STEVE BOERNER SCHOOL NEWS

En saga, a piece built over a very long pedal point, which made a great impression on me. I love music in the British pastoral tradition, especially the slow movement of Vaughan Williams’s Pastoral Symphony, with that long solo for the natural trumpet. I am fascinated by living composers, and I have an appetite for almost all contemporary music—though I don’t care for much Minimalist music, which often seems to me to be mechanistic to a fault. And like almost all composers, I have to have Bach—my “Desert Island Discs” composer.

Tell me more about your interest in haiku. What fascinates you about it? A haiku takes you back to a particular mo- ment, in one breath—you return to the cusp The BSO’s Sean Newhouse (BM ’03) returned to his alma mater in April to speak to of the moment, and more attuned to the conducting students and to lead the Philharmonia in . natural world. As an example, I’ll give you a haiku I wrote during a visit to my home town in Wales: Of the old church Here for the music: Eastman welcomes Oak, rhododendron, distinguished musical guests And yew. This captures that particular scene for The spring semester brought some out- 27, followed later the same day by a con- me, and my feelings when I saw it, perfectly. standing guest artists to Eastman, sharing cert on the Memorial Art Gallery’s Italian I don’t carry a camera with me or watch music and insights into music with students Baroque Organ by Tillmann Benfer, Tobias TV, so this is a way I record a moment— and faculty. The list this year included: Gravenhorst, and Rudolf Kelber. And on to me a haiku is more vivid than a snap- Graham Johnson, one of the world’s lead- March 29, Edoardo Bellotti, a previous visi- shot, and gives me an immediate visual and ing vocal accompanists (January 11 and 12), tor to Eastman, returned for a recital on emotional context. who has recorded the complete lieder of Christ Church’s Craighead-Saunders Organ Schubert and Schumann as well as many (see also “Faculty on CD,” p. 39). What was your reaction to Eastman’s other vocal CDs with a panoply of excellent Members of the artist faculty of the Women in Music Festival? singers. Johnson lectured on the art of ac- Conservatory, Beijing, visited Eastman I spend a lot of my life being regarded as a companying singers and gave master classes on April 26—part of the “Eastman China “woman composer”, but it was terrific to be in- on French and German art songs—his first Connection”. (Eastman musicians visited volved with a festival of good contemporary visit to the School since 1995. China two summers ago.) music. And such a diversity of music, too. Avant-garde jazz composer and trum- The concert featured traditional Chinese Break down the barriers! pet virtuoso Cuong Vu (March 31–April music and instruments such as the erhu It was a buoyant experience to encounter 1), whose trio includes drummer Ted Poor and pipa, and also the premiere of Into students who had done their work and didn’t (BM ’03), along with bassist Stomu Takeishi. Still Waters a Tear Drops, by Eastman Dean have to have things explained to them; re- Their three-day residence included a work- Douglas Lowry. hearsals really were all about the music. It was shop on improvisation for Eastman compos- Conductor Sean Newhouse (BM ’03), as if I was asthmatic and could finally breathe ers and a concert sponsored by the Warren who is now Assistant Conductor of the freely! And I was very happy to hear music and Patricia Benson Forum on Creativity, Boston Symphony Orchestra, visited on written by so many young women at Eastman. sponsored by the composition department. April 27 to speak to conducting students No less than seven German organists and lead part of a Philharmonia rehearsal. ➤➤A recent CD, Songs of the Cotton Grass, from Bremen’s Hochschule für Künste Newhouse had the proverbial “big break” collects several of Hilary Tann’s chamber were in residence at Eastman in March. last February, stepping in for the ailing James works (Deux-Elles label, available on CD and Winfried Dahlke, Klaus Eichhorn, and Levine to conduct the BSO in Mahler’s as an MP3 Download). Christophe Grohmann performed in an Ninth. That was his debut with the orches- Ms. Tann’s website is www.hilarytann.com. Eastman at St. Michael’s concert on March tra . . . on two hours’ notice!

18 Eastman Notes | Summer 2011 Adam Fenster Operatic ambition Eastman Opera Theatre’s ambitious spring 2011 season began in January with one of the landmarks of operatic history, Gluck’s Orfeo ed Euridice. Johnathon Pape’s production gave an Edwardian look and feel to this classic opera; it was a true col- laborative effort, calling upon Rochester’s Madrigalia as the chorus and Geomantics Dance Theatre. Orfeo was presented on a thrust stage in Harro East Ballroom, a large pop concert venue a couple of blocks from Eastman, and was seen by the largest audi- ences ever for a winter opera production. Spring brought a lavish Kodak Hall pro- duction of Jules Massenet’s romantic tragedy Manon, directed by Steven Daigle and con- Country girl-turned-courtesan Manon Lescaut (Claire Boiling) wows tout Paris in the ducted by Benton Hess. This was Eastman’s “Gavotte” from Act III of Massenet’s Manon. Bottom: Orpheus (Erin Gonzalez) mourns first production of this opera-house standard, his dead wife Eurydice (Jeong Eyn Joo). The Eastman production of Gluck’s opera was and musically, scenically, and sartorially it updated to the early 1900s. was on a very high level.

Gelfand-Piper Photography Summer 2011 | Eastman Notes 19 Eastman musicians shine at the Rochester International Jazz Festival This year’s Xerox Rochester ulty members; and closing each night with International Jazz Festival brought a thou- a at the Rochester Plaza State sand different guest musicians to town, and Street Bar and Grill. a good percentage of the participants up and The Harold Danko Group, with Harold down “Jazz Street” (AKA Gibbs Street) were Danko, piano, Dick Oatts, saxophone, Clay Eastman faculty and staff members, alumni, Jenkins, trumpet, Michael Formanek, bass, and students. and Jeff Hirshfield, drums, performed at Max of Eastman Place. Faculty and staff members Pianist Dariusz Terefenko performed Guitarist Bob Sneider was pretty much ev- music with the Smugtown Stom- erywhere all the time: giving one of the first pers on the Mary Jemison Boat on the Gen- festival concerts with his quartet playing esee River. Eastman students performing in XRIJF 2011 the music of ; joining the Dave Rivello conducted the “Producer’s included bassist/vocalist Katie Ernst and Vitale Brothers in the Rochester Club Ball- Performance” by saxophonist and Festival Trio Slaye: pianist Chris Ziemba, bassist room, trumpeter Mike Kaupa at the Central producer John Nugent in Kodak Hall, with Dave Baron, and (not pictured) drummer Library, and the ECMS Jazz Combo; hosting Dave’s new arrangements of “Yesterdays,” Kevin McDonald. a Youth Jam Session with other Eastman fac- “Moonlight in Vermont,” and other stan-

20 Eastman Notes | Summer 2011 Kurt Brownell (Katie Ernst); Adam Fenster (ChriS Ziemba) SCHOOL NEWS

dards. Also performing were pianist Bill Dobbins and bassist Jeff Campbell. Later in the Festival, the Dave Rivello Ensemble performed in Xerox Auditorium. On the outdoor Jazz Street stage: drum- mer Rich Thompson with the Rick Holland Uptown Society Jazz Orchestra; the New Horizons Big , directed by T.J. Ricer, and Eastman Music Educators , led by Bill Tiberio; and The Lawnmowers, including Kodak Hall stage manager and singer/guitarist Ron Stackman. Students The Bishop/McLeod Organ Trio, with Jeff McLeod, organ, Ben Bishop, , and John Fatum, drums, was featured in the Verizon Wireless Festival Big Tent. The students of the Eastman Jazz Perfor- mance Workshop Honors Units were fea- tured in three concerts on the Jazz Street Stage. The Xerox Rochester International Jazz Festival-Eastman School of Music Jazz Schol- arship Performance in Kodak Hall at East- man Theatre featured the Eastman Youth Jazz Orchestra directed by Howard Potter; and the Eastman Jazz Ensemble directed by Bill Dobbins, with Dick Oatts, alto saxo- phone, and Harold Danko, piano, in a pro- gram of the music of Thad Jones. The Eastman Youth Jazz Orchestra and Eastman Community Music School Jazz Combo (seniors and juniors from the EYJO) Trombonist, arranger, and composer extraordinaire: Bob Brookmeyer’s most recent visit were led by Howard Potter in Jazz Street to Eastman included the public premiere of his Christmas Tree by the EJE. Stage show. ESM alumni Three jazz legends, two premieres Accordionist, organist, and pianist Gary Ver- Bob Brookmeyer and Bill Holman, two ner for his instrumental arrangements and sace and his trio appeared at the Rochester legendary jazz arrangers and composers, compositions, was the guest of the Eastman Club as part of the “Viva Italia” series. visited Eastman in March. Besides the cus- Studio Orchestra under Bill Dobbins—and Double bassist /vocalist Katie Ernst (a tomary round of workshops, , and also performed as saxophone soloist, with brand-new graduate, BM ’11) performed at master classes, Brookmeyer and Holman Bob Brookmeyer on trombone. Another no- Max of Eastman Place. got to hear their music performed and con- table jazz concert at Eastman occurred in The Po’ Boys Brass Band—Evan Dob- ducted by Eastman musicians. February, when the Ensemble bins, Nick Finzer, Mike Frederick, Erik Ja- On March 1, Dave Rivello and the Eastman and guest conductor Ryan Truesdell per- cobs, T.J. Ricer, Chris Teal, and Chris Van New Jazz Ensemble gave the first public formed arrangements by the famed Hof —appeared on the Jazz Street Stage. performance of Brookmeyer’s recent work bandleader and composer , writ- Pianist Chris Ziemba (BM ’08, MM ’11) Christmas Tree, written for ’s NDR ten for the Claude Thornhill Orchestra in and his trio played at the Central Library of Big Band, who gave the first performance the 1950s and not performed publicly since. Rochester. on a radio broadcast; Brookmeyer con- The ECJE traveled to New York on March Trumpeter Rick Braun played the Harro ducted the rest of the program of his music. 13 to repeat this program in a “Celebrating East Ballroom. Holman, a three-time Grammy Award win- Gil Evans” concert at St. Peter’s Church.

Takehiko Tokiwa Summer 2011 | Eastman Notes 21 Hallelujah! Rochester alumnus Martin Messinger Sing it loud, sing it proud: 2010 was a endows position of Eastman School Dean remarkable year for appointments and awards to Eastman choral conducting grad- This spring Martin E. Messinger (UR ’49) uates and students, according to Director and his wife Joan made a commitment to of Choral Activities Bill Weinert. endow the position of Dean of the Eastman The roster includes: School of Music. On September 14, Douglas Lowry, Eastman’s sixth Dean, will be named • Craig Arnold (DMA ’91): Professor of the first Joan and Martin Messinger Dean of Conducting, Manhattan School of Music the Eastman School of Music. The deanship • Daniel J. Bara (DMA ’01): Director of provides a source of permanent funding in Choral Activities, University of Georgia support of programming and areas of criti- • Reed Criddle (MM ’08): Director of Martin E. Messinger Douglas Lowry cal need. Choral Activities, Utah Valley University A Life Trustee of the University, Martin traordinary philanthropic legacy at the • Hugh Floyd (MM ’85): Director of Choral Messinger has been a member of the University,” said University President Joel Activities, Furman University University’s Board of Trustees since 1989 and Seligman. “Their longstanding commitment • Gerald Gray (MM ’89): Director of Choral a member of the Eastman School of Music’s and generosity have enriched the academic Activities, SUNY Fredonia Board of Managers since 1998. He joined the experience for students and faculty. We are • Allen Hightower (MM ’90): Professor of Eastman School’s newly formed National particularly grateful for this leadership gift music and Conductor of Nordic Choir, Council in 2008. The Messinger family’s gen- that emphasizes the Eastman School’s pre- Luther College erosity helped provide a new home for the eminent role in music education.” • Harris Ipock (DMA in progress): Eastman Community Music School, dedi- “This commitment [to Eastman] is just Conducting Instructor, Hobart and cated in October 2005 in memory of Marty the beginning,” said Messinger. “It is my William Smith Colleges Messinger’s mother, Anne Waltuck Messinger. hope that others will join us in honoring the • James A. John (DMA ’01): Artistic Other areas of the University that have ben- Eastman School’s legacy of innovation and Director, Cerddorion Vocal Ensemble of efited from the family’s philanthropy over the artistry through generous endowed funding new York City last four decades are Rush Rhees Library, the for its faculty leaders.” • Deanna Joseph (DMA ’11): Director Debate Union, the Goergen Athletic Center, of Choral Activities, Georgia State the annual Library Recognition Award, and ➤➤Mrs. Joan Messinger died in the spring of University the Center for Jewish Studies. 2011, soon after this announcement was made. • Brian Kittredge (MM ’04): Interim “Marty and Joan Messinger built an ex- See p. 26 for a brief obituary. Director of Choral Activities, University of Alabama, Birmingham • Malcolm Merriweather (MM ’10): Assistant Conductor of New York Choral Another NEH grant to Sibley Library Society; music staff of Cathedral of This spring, Eastman’s Sibley Music members to continue the current pace of St. John the Divine, NYC Library received a National Endowment the project. • Laura Petravage (MM ’09): Conducting for the Humanities Preservation and Access Administering the project are Sibley Staff, American University Award of $300,000 to support its continu- Music Library’s Alice Carli, Conservator, • Gregory Ristow (DMA ’11): Director of ing efforts to digitize music scores in the and Jim Farrington, Head of Public Services. Choral Activities, De Pauw University public domain and provide free online ac- Linda Blair, Head of Cataloging, provides (fall 2011) cess to rare and unique scores that are no bibliographic assistance to the project. • Brian T. Russell (DMA ’10): 2010 Julius Her- longer protected by copyright, are not widely The Library’s scores digitization pro- ford Dissertation Award for The Psalm held by other libraries, and are not digitized gram has become an important source of Motets of George Phillipp Telemann elsewhere. In 2009 the Sibley Library re- music for scholars and musicians around • Tom Trenney (MM ’02): Artistic Director, ceived its first NEH grant, which resulted the world. To date, Sibley Music Library Abendmusik, and Minister of Music, in the digitization of 9,600 public domain has digitized more than 11,000 public do- First-Plymouth Church, Lincoln, NE scores—303,000 pages of digitized music. main scores and books, accounting for more • Erica Washburn (DMA in progress): The new grant supports the digitization of than three million downloads from the Director of Choral Activities, New 9,500 additional scores through September ’s Digital Repository England Conservatory of Music 2012, and the hiring of two additional staff “UR Research” (urresearch.rochester.edu).

22 Eastman Notes | Summer 2011 Eastman School (Lowry); University Communications (messinger) Thinking inside the ring: Eastman students learn boxing bass-ics He’s a heavyweight in the musical involves very rhythmic use of the hands and world, but at 5’6” and 138 pounds, professor arms. The speed bag necessitates an internal of James VanDemark is a “light- rhythm and excellent eye-hand coordina- weight” elsewhere. tion. Boxing also offers complete condition- When he took up boxing a couple of years ing, building upper body and leg strength ago to increase his strength and boost his and giving a huge cardiovascular workout, all stamina, J.B. found the result so striking of which have a really immediate application that he sent some of his women students to to playing a large upright bass.” his trainer for a conditioning and strength- According to Jessica Wolfe (BM ’11), “The building session. They, too, came back with exercises involved a lot of coordination and more confidence, stamina, and energy, re- strength building. I think boxing has cer- sulting in greater bow control and a bigger, tainly improved several aspects of my play- more focused sound. In April, Van Demark ing—strength, stamina, coordination, and sent 18 of his male and female students to confidence.” Rochester’s ROC Boxing & Fitness for an We’ll give the last word to Coach Dom: introductory regime led by a professional “In music, you have to have the fundamen- trainer, Dominic Arioli, AKA “Coach Dom”: tals down, like the scales. And in boxing you a rare, if not the first, collaboration between need the proper fundamentals. And in both, a music school and a boxing gym. you’ve got to practice. They say, ‘How do Great Jumpin’ J.B.! Bass professor James “Many of the basic gestures of boxing have you get to Carnegie Hall? Practice, practice, VanDemark jumps rope to build stamina. an immediate relationship to string playing,” practice.’ Well, how do you get to Madison Above: “Coach Dom” Arioli in the ring with says VanDemark. “Learning how to punch Square Garden? Practice, practice, practice.” student Ben Crofut (BM ’11).

Kurt Brownell Summer 2011 | Eastman Notes 23 SCHOOL NEWS

The joys of collaboration On January 22, Eastman marked the International Day of Collaborative Music, a Music Teachers National Association (MTNA) project to promote collabora- tive music making. Eastman’s partners in this venture included schools and musi- cal organizations throughout America and the world. The events included presenta- tions by many departments, the Eastman Community Music School, and wound up that night in Hatch Recital Hall with The TRUE Story of Cinderella, a short opera per- formed by voice students and narrated by Dean Douglas Lowry. Jean Barr, professor and director of the piano accompanying and chamber music degree program, coordinated Eastman’s Day Well on their way to 1,000: Eastman grad students Hilary Glen, Priscilla Yuen, and Helen of Collaborative Music and served on the Hou-Sandi (all MM ’11). Below, one of the colorful origami cranes. MTNA’s steering committee for the project. Barr notes that students “find themselves excited about making music with others, Eastman students and friends unite sharing ideas, and working out interpreta- to support Japan’s earthquake victims tions together.” Later in the semester, Eastman students By Alice Matsumoto brought their collaborative skills out into the community for the annual “Music for In Japanese culture, the crane is a sym- All” initiative (March 25–April 18). Eastman bol of hope, luck, and prosperity, and wind, string, and other chamber groups Japanese folklore says that folding 1,000 brought their music to public schools, li- paper cranes makes a wish come true. When braries, bookstores, and other locations, as we at Eastman first heard of the March 11 they have for 16 years. tsunami and earthquake disaster in Japan, we immediately thought of alumni and friends who are living and working there now, and decided to show our good wishes for the survivors. The “Day of One Thousand Eastman’s Day of One Thousand Cranes Cranes”, which I helped to organize and pro- also attracted people from the Rochester mote, was the first of several Eastman School Philharmonic Orchestra, the University efforts to raise money for Japan. community, and Eastman Community Music The event, sponsored by Eastman’s School students and parents. For all the ac- Office of Student Life, was held between tivity on Cominsky that day, the atmosphere 10 a.m. and 8 p.m. on April 1 in Cominsky was peaceful, and with all the different col- Promenade. All in the Eastman commu- ors of paper cranes, it was very pretty too. nity were invited to experience paper crane By the end of the day, 1009 cranes were Dynamic duo: at the keyboard, two folding and Japanese calligraphy and sam- folded, and donations totaling $1,550 were Eastman professors—Day of Collaborative ple Japanese tea, candy, and traditional raised for the American Red Cross. The Music director Jean Barr and Professor music. A slide show with images and up- cranes are on display at Eastman as a sym- of Piano Thomas Schumacher, in Hatch dated facts spread awareness about the bol of our peace, hope, and goodwill towards Recital Hall. catastrophic event. the victims of the disasters in Japan.

24 Eastman Notes | Summer 2011 Kate Melton (Collaborative Music); Brandon Vick (Cranes) IN TRIBUTE Eastman says good-bye to two legendary teachers

Stanley Hasty Verdehr (MM ’58, DMA ’64). “Those of us Fulbright grant for study at London’s Royal who studied with him were privileged be- College of Music in London during 1953- D. Stanley Hasty, Professor Emeritus of yond measure - we knew it then, we know 1954. The legendary British hornist Dennis Clarinet, died on June 22, 2011, at the age of it now, and always carry within ourselves Brain sat in on some of Reynolds’s RCM 91. He was one of the most respected and the remembrance of the time we spent classes, and one of his prized possessions successful clarinetists and pedagogues of the with him.” was a copy of Mozart’s fourth concerto with twentieth century, and many of his former According to Larry Maxey (MM ’60, DMA markings from Brain. students occupy significant musical posi- ’69), “Stan Hasty combined the analytical Reynolds performed with the Cincinnati tions throughout the United States. skills of a research scientist with the soul Symphony and American Woodwind Born February 22, 1920 in McCook, of a poet. The clarity and logic he applied Quintet, and was principal horn of the Nebraska, Stanley Hasty started playing clarinet in the ninth grade, taught by Val P. Henrich, principal clarinet of the Denver Symphony. In 1937, Hasty entered Eastman, to study with Rufus Mont Arey. After receiv- ing his Bachelor of Music degree in 1941, Hasty moved to New York City to pursue a career. Unable to find work as a musician, he moved to Los Angeles to study aeronauti- cal engineering, but eventually returned to New York, studying at the for one year. Stanley Hasty’s orchestral career spanned 25 years in six major orchestras: the National Symphony Orchestra, the orchestras of Indianapolis, Cleveland, Baltimore, and Pittsburgh, and the Rochester Philharmonic Orchestra. Professor Hasty also taught at the Cleveland Institute of Music, the New England Conservatory, the Juilliard School, “Privileged beyond measure”: Stanley Hasty’s 90th birthday weekend in May 2010 was a the Peabody Institute, and the Eastman celebration to remember, as he was surrounded by dozens of former students. School of Music, whose faculty he joined in 1955, retiring in 1985. to playing and teaching the instrument was Rochester Philharmonic Orchestra from Eastman awarded Stanley Hasty the surpassed only by the wonderful insights he 1959 to 1968, joining the Eastman faculty in Eisenhart Award in 1978 and the University brought to the music. I used to leave lessons 1959. While at the School, he was a found- Mentor Award in 1984. In 1980, Eastman and immediately sit down outside his door ing member of the Eastman Brass, which celebrated the “Hasty Festival”: four days of to write down everything I could remember toured and recorded extensively. In 1983, seminars, master classes, and concerts com- from the previous hour. Godspeed, Stan, and the quintet members received the Kilbourn memorating his 25 years at the school. And thanks for everything.” Professorship, recognizing their work in el- in May 2010, Eastman celebrated Stanley evating the brass quintet genre and expand- Hasty’s 90th birthday with a weekend that Verne Reynolds ing its repertoire. brought 66 Eastman clarinet alumni back to Verne Reynolds, professor emeritus of A respected composer, Verne Reynolds the School to celebrate. Horn at Eastman, teacher of many of published numerous original instrumental “Stanley Hasty . . . made it possible to America’s best horn players, and a noted and vocal works, and won an ASCAP Award do whatever I have achieved in my career composer, died on June 28, 2011. in 1979. He was particularly well-known and life through the logic and clarity of his Verne Reynolds received his bachelor’s among brass players for his transcriptions of teaching, the musical principles he espoused degree from the Cincinnati Conservatory pieces by composers from Samuel Scheidt to as well as the example he set as a person, of Music and his master’s degree from Rossini, as Centones (for brass quintet) and teacher and performer,” said Elsa Ludewig- the University of Wisconsin, as well as a Cantos (for horn choir). Among hornists, he

Courtesy Ramon Ricker Summer 2011 | Eastman Notes 25 IN TRIBUTE

In memoriam 1930s Jess T. Casey (MM ’51, DMA ’58), Lydia Hees DeMarco October 2010 (BM ’32), June 2011 O. Herbert Colvin Helen Oakland (PhD ’58), January 2011 (BM ’31), May 2011 Stanley E. Easter Eleanor Wright (BM ’55), January 2011 (BA ’38, MA ’40), Harris Goldman February 2011 (BM ’54, MM ’55). May 2011 1940s Truman Daniel Hayes (MM ’51), January 2011 Mary Ellen Fietzer Jean Eichelberger Ivey (BM ’41), January 2011 (MM ’56), May 2010 Bryant F. Figerold Ralph B. Lewis (x ’44), January 2011 (PhD ’58), January 2011 Longtime Eastman horn professor Verne Reynolds returned in Glennes Garlick Barbara Martinson 2000 to conduct the Horn Choir at the Holiday Sing. (MM ’43), January 2011 (BM ’56), April 2011 Mary Jane Grizzell Lois Pardue is also celebrated for his devilishly difficult 48 Etudes and his compre- (BM ’41, MM ’43), (BM ’52), February 2011 hensive book The Horn Handbook (Amadeus Press, 1996). January 2011 Marjorie Schempf Verne Reynolds was elected an Honorary Member of the John D. Haldane (MM ’50), June 2011 International Horn Society in 1994, a rare honor reserved for truly (BM ’42, MM ’46), Sublett H. Scott legendary musicians and educators. At that time, W. Peter Kurau, March 2011 (MM ’56), June 2011 now Professor of Horn at Eastman, wrote in tribute to his former D. Stanley Hasty Thomas C. Yalanis teacher: “I have had the privilege and honor to associate with him in (BM ’41), June 2011 (BM ’56, MM ’58), a variety of ways: as his student, as a musical collaborator, as a recipi- R. Joy Hujsak April 1994 ent of his home-grown vegetables, as a performer of his superb com- (BM ’45), December 2010 positions and arrangements, and as a teaching colleague at Eastman. Gloria R. Krause 1960s . . . He has been and remains one of my musical mentors, one whose (BM ’46), September 2010 Fredric J. Lewis supreme standards of artistic excellence have inspired me and gen- Esther E. Lenox (BM ’68), September 2009 erations of musicians and audiences.” (x ’49), March 2011 Audrey A. Paterson After Reynolds’s death, Professor Kurau stated: “The music world Jane S. Lockard (BM ’65), December 2010 and the Eastman School have lost an iconic figure in the profession (MM ’46), March 2011 Elaine Patton … [Verne Reynolds’s] legacy to the music world and the Eastman Katherine J. Pavlock (MA ’67), December 2010 School is profound and eternal, and we are all the richer for his con- (BM ’47), January 2011 tributions and his peerless standard of excellence.” Carl Piarulli 1970s (x’43), June 2011 Phyllis Anne Hutton Oswald G. Ragatz (MM ’74), April 2011 Joan Messinger (MA ’43), June 2011 Eldon Lavar Krantz Joan Messinger, who with her husband Martin Messinger (UR Marion K. Young (DMA ’74), December 2010 ’49) was an important donor to the Eastman School, died on April (x ’44), March 2011 Deborah Faye Miller 25, 2011. The couple was married for more than 54 years; Mrs. 1950s (BM ’72), May 2010 Messinger was the matriarch of a large and loving family. Her charitable interests included Jewish Camps, education, art, and the William G. Abray 2000s Westchester Reformed Temple. (MA ’53), September 2010 Robert Elliott Raymond Not long before her death, the Eastman School announced that the Shirley Basch (BM ’08), December 2010 Messingers had made a commitment to endow the position of the (x ’54), March 2011 School’s Dean. Later this year, current Dean Douglas Lowry will be named the Joan and Martin Messinger Dean of the Eastman School of Music (see School News, p. 22).

26 Eastman Notes | Summer 2011 Eastman School of Music Archives ALUMNI NOTES

Now John, who currently lives in 1920s Buffalo, is working on a biography Send your news! of Hanson. If you have memories Carrie Elizabeth Shaw Day received of Doctor Hanson from your years her bachelor’s degree from Eastman Do you have an announcement you’d like to share with your at Eastman, please contact John at in 1929, but she is still going strong, fellow alumni? Send your personal and professional news to [email protected]. celebrating her 105th birthday on Notes, Office of Communications, Eastman School of Music, April 27, 2011. In June Mrs. Day Lewis Rowell (BM ’55, PhD ’58) made her third visit to Bath (ME) 26 Gibbs Street, Rochester, New York 14604. presented two talks at Princeton Alumni Weekend; she was director University on March 28: “The Origins E-mail: [email protected] of music for the Bath School District and Evolution of the South Indian from 1954 to 1972. At the reunion, We reserve the right to edit submissions for clarity and length. Tala System” and “Tribal Musics Carrie sat at the piano to play the of India.” On April 13 the Indiana Morse High School fight song, “The The deadline for the Winter issue of Notes is November 20, 2011. University Symphony Orchestra, Blue and the White”—and followed under the direction of David Effron, News of your upcoming events such as concerts and lectures it up with a favorite of her own: Cole performed Lewis’s Overture to Porter’s “Night and Day”! can be posted live on the Eastman alumni website: “The Eumenides.” Organist Merlin www.esm.rochester.edu/alumni Lehman’s performance of Lewis’s Recitative and Variations on an Ayre by 1930s & 1940s Jeremiah Clarke (1966) was recently (MO), not only celebrated his 85th sung with the Peconic Bay choir and published on CD by St. Luke’s Elizabeth Artman Hagenah (BM birthday on February 22 with a con- in benefit recitals. Episcopal Church, Evanston, IL. ’47, MM ’49) founded Stockbridge cert of his chamber music, but also Chamber Concerts Inc. in 1975 with took part in it, as the reader in his William Alden Lee (BM ’54) writes: Gretel Y. Shanley (BM ’53, MM ’55) members of the Boston Symphony Lake Music. “In September 2005 Joan (née Joan presented a benefit solo recital— Orchestra. In 2009, Elizabeth Beals, BM ’54) and I were married Favorites: Yours and Mine—in January founded and acts as artistic director after more than 50 years’ separation, 2010 on Kaua’i, HI. Gretel can be for “Concerts At 7”, another success- 1950s having been sweethearts in the early heard on the recently reissued ful series with BSO artists, now in ’50s (after meeting in one of Tom Crystal CD Sextuor, with saxophon- its third summer season in Plainfield, The Rhode Island School of Design Canning’s theory classes) and having ist Harvey Pittel and the Westwood MA. In June 2009, Elizabeth gave a awarded Arnold Berleant (BM ’53, gone our separate ways after gradua- Wind Quintet, praised by Fanfare solo piano recital at Trinity Church, MA ’55) the degree of Doctor of tion, Joan ending up in Washington as “Delightful music—winningly Wall Street, NYC, and in August Fine Arts honoris causa, recogniz- State and Bill in Maryland.” Bill ends, played.” She performed in Dvorˇàk’s 2010, she performed Beethoven’s ing his contributions to the founda- “Please tell anyone who may or may New World Symphony with the “Archduke” Trio and Trio Op. 1 No. tional literature in environmental not have known us and is so inclined, Topanga (CA) Symphony Orchestra 1, and Mozart’s Trio K. aesthetics. Arnold, to get in touch with us, as we would last August. 548, with BSO mem- Professor of Philosophy love to see or hear from you.” bers Joel Moerschel (Emeritus) at Long Robert Spillman (BM ’57, MM ’59) (BM ’70) and Island University, is Stanley Leonard (BM ’54) was conducted performances of Bach’s B Catherine French. the author of seven inducted in the Hall of Fame of Minor Mass in March 2011 in Denver books and numerous the Percussive Arts Society at their and Boulder, CO, as part of the 30th Celebrations, a new articles on aesthetics annual international convention Anniversary season of the Boulder work for and environmental in Indianapolis in Bach Festival. and chamber orchestra philosophy, the editor November 2010. He by Margaret Vardell or co-editor of three joins other ESM per- The Baroque violon- Sandresky (MM ’44), collections of essays, cussionists—John cello piccolo is a rare was premiered by and founding editor Beck, Gordon Peters, instrument—but Arnold Berleant Timothy Olsen with of the on-line journal, William Cahn, Bob Eastman has one, (BM ’53, MA ’55) the Winston-Salem Contemporary Aesthetics. Becker and Fred D. thanks to a gener- Symphony under Robert Moody on Arnold is an honorary member of Hinger—in this roster ous gift from John December 21, 2010. the Finnish Society of Aesthetics, of percussionists who White (MAS ’54, PhD the Sydney Society for Literature have made significant contributions ’60). This five-stringed instrument, Robert Ward (BM ’39), Pulitzer and Aesthetics, and the Société fran- to percussion music and performing. smaller than a modern cello, is the Prize-winning composer of The çaise d’esthétique, and a honorary Stan is also heard as a timpanist on instrument for which J. S. Bach Crucible, was a recipient of the 2011 life member of the International the recent CD Acclamation. wrote his Sixth Suite and Vivaldi his National Endowment for the Arts’ Association for Aesthetics. concertos. We will have more about Opera Honors in June—the high- Robert Palmieri’s (BM ’54) article this fascinating addition to Eastman’s est award our nation bestows in The Rev. Carl Wayne Leazer (MM “Rachmaninoff versus Modern Music” early music instrumentarium in the opera. The other 2011 honorees are ’56) writes that he was “honored was published in the May/June 2011 next edition of Notes. stage designer John Conklin; Speight to have [my] composition Christ is issue of Clavier Companion. Jenkins, director of the Seattle Opera; born today/Hodie Christus Natus Est and mezzo-soprano Risë Stevens. featured in the Peconic Bay (NY) John Ricca (BM ’59, MM ’64) 1960s Masterworks Choir Christmas con- received his master’s degree the Robert Wykes (BM ’49), professor certs in December on Long Island.” year that Howard Hanson retired William M. Anderson (BM ’63, MM emeritus at Washington University Carl, a retired Lutheran Pastor, has from 40 years as director of Eastman. ’64), and Patricia Shehan Campbell

Summer 2011 | Eastman Notes 27 ALUMNI NOTES

are the editors and authors of soon and cello, which was played in chapters in the new third edition the Czech Republic, California, and of the three-volume Multicultural Portland, OR. Perspectives in Music Education (Rowman and Littlefield, 2010). 1970s Bill Cahn (BM ’68) and his col- leagues in Nexus celebrated the Soprano Julianne Baird (BM ’73, group’s 40th anniversary, and the MA ’76) and the early-music group 80th birthday of the great Japanese Parthenia performed a program composer Toru Takemitsu (1930– called Les Amours de Mai at the 1996), with three performances of University of Connecticut in mem- his work From me flows what you call ory of Bruce Bellingham, professor Time, written for them in 1990, with emeritus at UConn and a former the Syracuse Symphony Orchestra, Eastman faculty member. Kozuyoshi Akiyama, conducting. In In 1911, John Philip Sousa toured the world with his Band, but China was not April, Bill presented two percussion one of the stops. This was rectified almost a century later, on December Adria Benjamin (BM ’75) was workshops to college and high school 26, 2010, when The New Sousa Band and conductor Keith Brion left the recently appointed Professor students at the University of Mary United States for a nine-day concert tour of six cities in China, beginning of the Professional Practice at Hardin-Baylor in Belton, TX. in Shanghai and ending in Beijing. Among the band members was Eastman’s Mannes College, and Orchestra John H. Beck (BM ’55, MM ’62), who reports to Notes: “There were 62 Artistic Director of the OK Mozart Sharon Cuthbertson (ESM ’69) members of the band, 14 guests, a manager, and one stage crew. There International Festival. writes: “I was installed as Worship was ample time for sightseeing, the concerts were well received, and the Musician at the Lutheran Church experience was fantastic. Although this band has no relationship to the In January, Philip Collins (BM of the Incarnate in Davis, California Eastman School of Music, seven of its members are current or former ’70), former principal trumpet in September 2010. I also Eastman students.” Seen left to right in this photograph taken at the China for the Cincinnati Symphony and work as a licensed Therapist in National Army Band Hall in Beijing are: John R. Beck (MM ’84, snare drum Pops Orchestras, lectured on “So Children’s Mental Health in Contra and xylophone) his father John H. Beck, Dannel Espinoza (current DMA You Want to Be a Musician?” at Costa County.” student, baritone sax), Mark Ponzo (DMA ’90, cornet), Les Thimmig (BM ’65, Tennessee Tech University. bass clarinet), Ed Reid (BM ’82, MM ’87, cornet), and T.J. Ricer (BM ’10, tuba). Raymond Egan (ESM ’67) directed Richard Decker (BM ’72) has the premiere of his Mass for St. editor of Flute Talk magazine and the Canary Islands, and the United been appointed Vice President Luke’s on May 22, 2011 at St. Luke’s writes the monthly column “The States, with several appearances at of Artistic Administration for the Presbyterian Church, Rolling Hills Teacher’s Studio.” the Casals Festival in Puerto Rico. Rochester Philharmonic Orchestra. Estates, CA. The choirs were the St. Bill is a visiting instructor at the He was Vice President and General Luke’s Kirk Choir and the Holders of Donald King (BM ’64, MM ’65) University of Southern California, Manager for the Syracuse Symphony the Song Chorus; the soloists were writes: “I am retiring after my an Artist/Clinician for Zildjian Orchestra since 1990, and before that Elin Carlson, Ann-Marie Wightman, 38th year as a trombonist with cymbals, DW and Craviotto drums, a member of the SSO horn section. Amy Engelhardt, Matthew Terry, and the Kennedy Center Opera House ProMark and Cooperman drumsticks, Lisa Webb. The was Orchestra. After studies with Emory Aquarian drumheads, and Hamilton Stanley Friedman (DMA ’76) Proven Groove. Remington, I was in the U.S. Air stands, and is a member of the CSO was trumpet soloist with the Force Band, followed by exten- Board of Directors. Eroica Ensemble, conducted by Henry Fuchs (BM ’60) appeared sive freelancing at Wolf Trap Park Michael Gilbert, in his Classical as guest pianist with flutist Philip and other venues. I have played Ralph Sauer (BM ’65) conducted Concerto in C for performances Swanson (BM ’62) and the Foothills for over 125 different operas, every the brass section of the Helsinki in Memphis on April 9, 2011 and Chamber Ensemble in Tucson, major world ballet company, and Philharmonic Orchestra in a spe- in Jackson, Tennessee on April 10. Arizona on May 16, 2011, perform- many musicals.” cial concert on March 24, 2011; the Stanley teaches composition at the ing Mozart’s Piano Quintet K. 452 program included Aria and Dance by University of Mississippi and com- and Poulenc’s for Piano and Springsteen knows it, The Band Thom Ritter George (BM ’64, MM poses by commission. Woodwind Quintet. knows it, and now everybody knows ’68). While in Helsinki, Ralph taught it : Rolling Stone’s recent “Best of at the Sibelius Academy, going to Geary Larrick (MM ’70) celebrated Recent publications by Patricia Rock” issue singled out producer/ Oslo the following week to work two twenty-year musical anniversa- Dengler George (BM ’64, MM ’65) engineer Bob Ludwig (BM ’66, MM with the Norwegian Radio Orchestra ries in Stevens Point, WI: as a solo include FLUTE 101: Mastering the ’00) as the “Best Ears in Rock” for and the Norwegian Academy of marimba player for the Lighthouse Basics, A Method for the Beginning his outstanding work on hundreds of Music. Ralph is visiting professor at program at Saint Paul’s United Flutist with Teaching and Phrasing original recordings and remastering Arizona State University. Methodist Church, and as percus- Guides and The Flute Scale Book of classics by Queen and the Rolling sionist in the Grenadiers Band. (Theodore Presser, 2010), and Stones, to name just two. Max Stern (BM ’69) lectured last FLUTE 102: Mastering the Basics summer on “King David: Four In summer 2010, Bradford (Fabulous Flute Music Company, William Platt (BM ’66) retired Portraits in Music” (University of Meyerdierks (MM ’77) participated 2010), all written with Phyllis Avidan in September 2010 after 40 years Tartu, Estonia) and “The Influence in the teacher institute “Celebrating Louke. Patricia is currently the flute as Principal Percussionist of the of the Bible on Western Music” the 325th Anniversary of Johann professor at the Sewanee Summer Cincinnati Symphony and Cincinnati (Vilnius, Lithuania). His composi- Sebastian Bach’s Birth.” Sponsored Music Festival and the American Pops Orchestras. Bill recorded over tions are also widely performed, by the National Endowment for Band College. She is a consulting 100 CDs and toured Europe, Asia, particularly Song of Ascents for bas- the Humanities, Bradford traveled

28 Eastman Notes | Summer 2011 ALUMNI NOTES

Eastman alumni on CD

Composer James Kamran Ince (MM well as Gordon’s own Cilantro. Gordon, who Willey (BM ’61, MM ’84, DMA ’87) con- turned from flute to while at ’63, PhD ’72) and the ducts the Bilkent Eastman, adds: “Since retiring from ‘road gigs’ Esterhazy Quartet Symphony Orchestra, in 1990, I resettled in my home town of have been making soloists, and chorus Minneapolis. I occasionally travel in North beautiful music in an overview of his America with vocalist Stacey Kent. I perform together since 1977, compositions (Naxos regular in the local jazz scene, and I am a when Jim wrote his first string quartet for the 8.572553). Galatasaray (2005) is a rousing piano tuner and technician.” group. Now there are eight of them, all writ- salute to Turkey’s world-famous soccer (or, if ten for the Esterhazy, who recently recorded you prefer, football ) club, for chorus and American Portraits, a String Quartets nos. 3, 7, and 8 (Albany TROY orchestra; Requiem Without Words mourns program of recent 1245). (There is also a separate, downloadable Muslims, Christians, and Jews killed in the short orchestral version of Quartet No. 2.) The works’ inspira- 2003 terror bombings in Istanbul; his pieces by American tions and techniques range from serialism to Symphony No. 5 is an epic piece in the con- composers with 18th-century New England hymnody. Andrew servative style of a national anthem; Hot, Paavo Jarvi and the Porter’s New Yorker review of No. 3 can Red, Cold, Vibrant and Before Infrared are Cincinnati Symphony stand for all of these works: “Willey’s com- rocking, rhythmic short orchestral works. Orchestra, includes two by Eastman alumni. mand of modern harmonies, his metrical Carter Pann’s (BM ’94) Slalom, written in astuteness, shaping of form, and handling of Music of Ron Nelson 1999, is a musical “taste of the thrills of textures delight ear and mind.” “I really am (BM ’52, MAS ’53, PhD downhill skiing . . . a collection of scenes and very pleased with all aspects of this release,” ’57) is included on events one might come by on the slopes,” in says Jim Willey. “The hall was wonderful; the two new wind the composer’s words; Kevin Puts’ (BM ’94, Quartet really grasps these works and plays ensemble recordings. DMA ’99) Network is an early work (1997) them beautifully; we had a first-rate engineer, Fanfare, Capriccio, inspired by Minimalism, “metallic, driving, and Albany has done a grand job putting and Rhapsody and rhythmic, but it also relies heavily on everything into some sort of coherent pack- (Naxos 8.572528) includes Ron’s Fanfare for contrasts in texture.”(Cincinnati Symphony age. And the music is good if I do say so the Kennedy Center (performed by the Orchestra Media CSOM-945) myself—and I do.” Indiana State Wind Ensemble) and Medieval Suite (performed by the Kent State Wind Todd Reynolds the Contemporaries of Ensemble). John Boyd conducts both ensem- composer and Todd Ludwig van bles. And Ron’s Fanfare for the Hour of Reynolds the per- Beethoven praised his Sunrise opens Marquee Mojo, a new release former joined forces late piano sonatas for by the University of Nevada, Las Vegas Wind to produce their “most estimable Orchestra, Thomas G. Leslie, conductor Outerborough originality,” and they (Klavier 11185). (Innova 741). It con- remain some of the sists of two CDs—one of Todd’s own com- most revered pieces in the keyboard reper- Gordon Johnson (BM positions, the second of music by other toire. Fortepianist Penelope Crawford (BM ’74) describes his composers performed by Todd, who plays ’63) of the University of Michigan, an estima- Trios No. Five violin, viola, kick drum, and electric bass – ble musician in her own right, offers a new (Tonalities GJ 105; and sings. Todd’s thank-yous include one “to take on Beethoven’s Opp. 109, 110, and 111 in available at www. my fellow students and mentors at the her new CD “Magnificent Landscapes”: tonalities.com) as the Eastman School of Music, ’85 –’87, where I Beethoven’s Last Piano Sonatas. Penelope latest installment in was inspired to devote my life to improvisa- plays an 1835 Viennese Graf fortepiano, simi- “my ongoing obsession with The Piano Trio.” tion and the music of our time.” lar to the instrument used by the composer The program includes tunes by Cole Porter, (Musica Omnia 0308). Wayne Shorter, and even Victor Herbert, as

Summer 2011 | Eastman Notes 29 The Hungarian-born More chamber music original works for guitar and mandolin. The composer Miklós by Katherine Hoover album has received many positive reviews, Rózsa (1907–1995) was can be heard on a and David and Shawn have been performing known for such new Parnassus CD, throughout the Northeast in support of it. Hollywood film which includes the scores as Ben-Hur Colorado Quartet Timothy Sparks (MM and Spellbound, but performing her ’91) is the baritone he also wrote a considerable number of con- Strings Quartets 1 and 2, and the Rogen Trio soloist in a recent cert works, including concertos for Heifetz performing her Trio (Parnassus 96045). recording of Mahler’s and for Piatigorsky. A new CD by the Das Lied von der Budapest Symphony Orchestra MÁV, con- The chamber music Erde—in a rarely- ducted by Mariusz Smolij (DMA ’99) includes of Robert Paterson heard but very effec- Rósza’s Three Hungarian Sketches, Cello (BM ’95) is featured tive arrangement for chamber ensemble by Rhapsody with soloist Mark Kosower, and on the new CD Star Arnold Schoenberg. Timothy is joined by Hungarian Nocturne (Naxos 8.572285). Crossing, performed mezzo-soprano Ellen Williams and the by members of Duraleigh Chamber Players, conducted by Pianist Jeremy American Modern Scott Tilley (Centaur 3044). Siskind (BM ’08) Ensemble under Rob’s direction and available recently released at americanmodernensemble.org. For more Robert Lehmann Simple Songs (for news about Rob’s music and AME, see p. 38. (MM ’92) recently When the World released a recording Seems Strange). Beth Meyers (BM ’00, of chamber music for Among the musicians MM ’02) sends word strings by the joining Jeremy is drummer Ted Poor (BM ’03). of a recent CD by the Mexican composer DownBeat gave the CD four stars and flute/viola/harp-plus Manuel Ponce described Jeremy as “prodigiously talented” trio Janus, i am not (Centaur Records). Musicians on the CD and “impossible to pigeonhole.” (New Amsterdam include Jennifer Elowitch (BM ’88), Kimberly 024) , which has (Mitchell) Lehman (MM ’93), and William So Percussion, whose already enjoyed critical acclaim. It includes Rounds. members include music by Eastman alums Caleb Burhans Jason Treuting (BM (Keymaster) and Jason Treuting ((blank)). For Correction: The Los ’99), has taken the more information see www.janustrio.org. Angeles Philharmonic new-music world by Orchestra Trom- storm, and now has a The TangleTown Trio bones’ recent CD, new CD: a major new consists of violinist Jo Abide With Me: work for percussion, Paul Lansky’s ten-move- Nardolillo (DMA ’08), Hymns and Spiritu- ment, 28-minute In Threads, available from mezzo Sarah Mattox, als, was included in Canteloupe Music. and pianist Judith our Winter 2011 “Alumni on CD” roundup, but Cohen. The trio just we neglected to include a picture of the CD Bassoonist Peter Kol- released its first CD, booklet cover. So here it is, with help from kay (MM ’00) and pia- Song Nouveau (LarkFrost Publishing), Sonny Ausman (BM ’68), one of the featured nist Alexandra described as “songs of nature and life that are trombonists on the CD along with fellow Nguyen (MM ’00, beautiful, poetic, and immediately accessible.” Eastman alum Ralph Sauer (BM ’65). Abide DMA ’03) just with Me is available from cdbaby.com. released BassoonMu- David Miller (BM ’91) sic (CAG Records and guitarist Shawn ➤ Do you have music or performances on 106), a survey of 21st century American works Persinger, collectively a recent or forthcoming CD? Notes wants by George Perle, Paul Moravec, and Kather- known as Prester to know! Send promo copies to Eastman ine Hoover (BM ’59), among others. If you John, recently Notes, Office of Communications, Eastman enjoy the CD, catch Peter and Alexandra per- released Desire for a School of Music, 26 Gibbs Street, Rochester, forming this repertoire live at Merkin Hall in Straight Line (Innova NY 14604; or just alert us that it is available. New York on April 2, 2012! Recordings), an all-acoustic CD featuring 16

30 Eastman Notes | Summer 2011 ALUMNI NOTES

to Eisenach, Leipzig, and Potsdam, groups. One exciting new MACCM Germany with several other educa- project is the outreach program in tors. In March, his panel presenta- the nearby Toledo School for the tion “Effective Alternative Evaluation Arts we just founded. This fall, five for Online or On-Site Music Classes of our DMA students (our DMA pro- without Student Stress or Lowered gram is in contemporary music) will Standards” was presented at the meet ten Toledo School for the Arts third International Symposium on students after school (grades 6–12), Assessment in Music Education in mentoring them on creativity and Bremen, Germany. music composition. I feel invigorated and challenged in great ways by this As Director of the Jazz Department new role I play.” at UC Berkeley, Ted Moore (BM ’73) has been busy with performances Dan Locklair’s (DMA ’81) Pater and workshops. On January 30, Ted Noster was performed twice in performed with the UC Berkeley California in March—in Stanford Faculty Ensemble at the Jazz School and in San Francisco, by the Duke in Berkeley, CA. On February 5, he University Chorale. The a capella Bowling Green State University faculty members Lisa Gruenhagen (MM ’94, hosted a workshop with saxophone choral work was written in 2000 PhD ’08), Mary Natvig (BM ’81, MA ’82, PhD ’91), and Emily Freeman Brown great Mike Zilber, in which Ted and and has already been recorded (DMA ’90) attended BGSU’s Centennial Celebration on November 9, 2010. Mike performed in a sax trio, and on three times. Dan’s Organ Concerto February 16–18, he hosted and con- State University, effective June 30. in addition to generous financial was premiered in Winston-Salem, ducted three days of drum set work- Jeffrey comes to BGSU from the support, was accomplished in this NC on June 29; current commis- shops for students from Tokyo. James Madison University School program,” said Ken, who closed sions include an organ suite for The of Music, where he created the the concert with the Naples New Reformed Church of Bronxville (NY) Mark Mordue (BM ’75) retired as Harlem Symphony Initiative and was Horizons Band, which he directs. and a multi-movement work for the professor of euphonium and tuba at involved with the design, program- Harvard and Radcliffe Choral Society. Ball State University ming, construction, Organist Jim Cochran (MM this spring. He gave his and fundraising for a ’80, DMA ’92) was profiled in An Eastman-trained duo per- last concert with fellow new performing arts Naplesnews.com in June 2011, before formed in recital in Arlington faculty members in the center. he took part in an organ festival con- (MA)’s Menotomy Concert Series DaCamera Quintet on cert at Naples (FL)’s Philharmonic in February 2011: violinist Ricardo April 5. Mark plans to Waddy Thompson Center for the Arts which included Odriozola (BM ’87) and pianist play with the Marion (BM ’76) writes: “As 12 professional organists. Jim is Einar Rottingen (MM ’86), in a pro- Philharmonic and of June 27, 2011, I am director of music and organist at gram of music by Scandinavian and America’s Hometown Executive Director Vanderbilt Presbyterian Church. American composers—including Band, and also enjoy of the InterSchool three works written for them, one by fishing and sailing. Orchestras (www. In February 2011, bassist David Betsy Schramm (PhD ’93). isorch.org), which pro- Finck (BM ’80) and pianist Sir Jeffrey Showell Thomas Muraco (BM vides six graded orches- André Previn appeared in three eve- In October 2010, composer-vocalist (BM ’74, MM ’76) ’71) conducted the tras and a band for kids nings of jazz at The Blue Note in Akmal Parwez (PhD ’81) was invited Manhattan School of Music produc- in the public and private schools of New York City. by the University of Gujrat, Pakistan, tion of Verdi’s Falstaff in April. New York City. Also, on July 5, the to give a lecture-performance on third edition of my Complete Idiot’s Mark Foley (MM ’89) has been pro- “mystic music.” Akmal presented ten Clement Reid’s (BM ’77) Trio for Guide to Grant Writing was published.” moted to full professor of double of his vocal compositions, accompa- Tenor Saxophone and Percussion bass at the Wichita State University nied on the Saarangi, Harmonium, was premiered in Tacoma, WA, in School of Music. He continues to Taanpura, Tabla, and Dholak by pro- January, and on the Pacific Lutheran 1980s serve as principal bass of the Wichita fessional instrumentalists from PTV University Artist Series in February. Symphony Orchestra and as music (Pakistan Television). The event Summer Holiday for Band was fea- David Belcher (DMA ’89) was director of the KNOB Festival of received much media coverage, and tured by the Sumner High School named Chancellor of West Carolina New Music. the audience included prominent Symphonic Band in May 2010. University on April 8, 2011, officially musical and literary figures from all Last July, Clement participated starting his post on July 1. David’s In July 2010, Jackie Leclair (BM over the country. in the Aspen (CO) Composers previous positions were at Missouri ’88) was appointed Director of Conference, presenting “Aspects State University and the University the MidAmerican Center for Maria Schneider (MM ’85) writes: of Compositional Teaching,” and of Arkansas at Little Rock. Contemporary Music at Bowling “I’ve been composing a lot, and I performing Explorations for Piano Green State University College of hope to record two large works next and Theater Piece #2 for Toy Piano. Ken Carper (MM ’80), of Naples, Musical Arts, where she is professor year through ArtistShare.” Maria’s In February 2011, the Northwest FL, presented a “nearly solo” trum- of oboe. “I am responsible for plan- newest music includes Carlos Symphony Orchestra played pet recital March 6 at East Naples ning the yearly New Music Festival Drummond de Andrade Stories, writ- Clement’s Northwest Fanfare. United Methodist Church, as a ben- that takes place each October. 2011 ten for and the St. efit for a church in the Holguin dis- is the 32nd year of the Festival. I also Paul Chamber Orchestra, recently Jeffrey Showell (BM ’74, MM ’76) trict of eastern Cuba. “Increasing plan the Forefront Recital Series performed in Carnegie Hall, and was named dean of the College relationships between people here each season, presenting world-class Winter Morning Walks, also for of Musical Arts at Bowling Green and friends in Cuba was a goal. This, new music soloists and chamber Dawn Upshaw with the Australian

Summer 2011 | Eastman Notes 31 Chamber Orchestra, performed at band Christopher Sims, two dogs, the Ojai Festival (where the Maria and a cat . . . I had 15 great years as A musical theatre career Schneider Orchestra also performed). a professional flutist but eventu- ally started to feel I had done what takes off Cleveland Orchestra bassoonist I came to do in music and had one Jonathan Sidney Sherwin (BM ’80) more career left in me. Of course— Since she won Second Prize in the Lotte Lenya Competition was profiled in the Cleveland Plain medicine, what else! This has been in 2007—and graduated from Eastman a month later— Dealer in March—the article men- an extremely interesting and chal- Analisa Leaming’s career has taken off with a bang. While tioned his additional Eastman train- lenging road and I am very happy ing as a singer. to be on it. Now that I’m back in she graduated with a degree in vocal performance, she Rochester, I re-experience the joys of admits she just wasn’t that interested in opera—but she Jeffrey Turner (BM ’84) has ESM concerts, this time from a much loves musical theatre and decided to devote herself to it. accepted the position of Director more relaxed seat in the concert hall.” Not long after starting on the New York audition circuit, of Orchestral Studies at Duquesne University, where he will conduct In January 2011, Jonathan A. Sturm Analisa landed a plum job: an international tour of The the Symphony Orchestra and pro- (BM ’85) was Artist-in-Residence Sound of Music. “I figured I’d be cast as Third Nun or some - vide artistic and administrative lead- with the Des Moines Symphony, thing,” she says, “ but I was chosen to understudy the actress ership for the orchestral program. performing Astor Piazzolla’s Four playing Maria Von Trapp.” (She had played the role at the Jeffrey is completing his 24th season Seasons of Buenos Aires, working with as Principal Bassist of the Pittsburgh music students in Des Moines area Ohio Light Opera, directed by Eastman’s Steven Daigle.) The Symphony Orchestra. He is featured schools, and performing with the Des eight-month tour took Analisa to Taiwan, South Korea, and on the world premiere recording of Moines Youth Symphonies. In March various cities in China, where classic American musicals are Leonardo Balada’s Caprichos No. 4 Jonathan traveled to Kaliningrad, extremely popular. She returned to the United States and (Naxos 8.572176). Russia, where he performed Beethoven’s Triple Concerto and a another major tour, playing Grace, Oliver Warbucks’ secre- recital with the Ames Piano Quartet. tary, in Annie, directed by its lyricist and original director, In 2010 the APQ recorded their sev- Martin Charnin. (As readers of Notes surely know by now, enth and eighth CDs for Dorian/Sono Annie’s composer is Charles Strouse BM ’47.) Luminus. In May he performed the Piazzolla Four Seasons in Cleveland, Since then, Analisa has appeared in a Berkshire Theatre and during June was a guest violist production of Stephen Sondheim’s Sweeney Todd (and met at Stringwood chamber music camp Sondheim himself), and the recent City Center Encores! (MN). October saw the premiere revival of Frank Loesser’s Where’s Charley? This spring she of three of his own arrangements of violin showpieces in Des Moines. returned to Rochester to play Marian Paroo in Geva Theatre’s Jonathan also wrote three articles production of Meredith Willson’s The Music Man, “by far for a new encyclopedia on African the biggest thing I’ve done professionally.” Analisa’s Eastman in music, a book review of teachers, Robert Swensen and Kathryn Cowdrick, and a recent Cambridge University Press monograph on Jews in Haydn’s music, numerous Rochester friends came to the theater during the and a chapter on Louis Spohr’s early Music Man run to check out Marian the Librarian. opera Faust for the forthcoming Faust Stephen Wogaman (BM ’82) in Music (Oxford University Press). Jonathan is visiting professor of Stephen Wogaman (BM ’82) has chamber music at Drake University, been appointed as the fourth presi- in addition to his full-time work at dent of the Chamber Music Society Iowa State University. of Detroit, an organization founded in 1944 by the legendary radio per- sonality, Karl Haas. 1990s Susan (Gall) Sims (BM ’84) writes: Joseph Byrd (MM ’96) received “I am currently an orthopedic sur- the Doctor of Ministry in Spiritual gery resident at the University of Direction from the Graduate Rochester Strong Memorial Hospital Theological Foundation in South (seriously—I am not making this Bend, Indiana in May 2011. He was up!). I went back to school in 2004 also awarded the Charles Wesley to gather medical school pre-req- prize in Sacred Music and Liturgy for uisites and graduated in May 2010 his work on Dietrich Bonhoeffer’s from the Northwestern University Morning Prayer, a contemplative wor- Feinberg School of Medicine with ship liturgy based on Bonhoeffer’s my MD. I was very fortunate to Letters and Papers from Prison. match into the competitive field of On the footbridge at the ice orthopedic surgery at Strong and In April, soprano Elizabeth Calleo cream sociable: Analisa returned now live in Irondequoit with my hus- (MM ’96) took part in the pre- to Rochester to play Marian in The Music Man opposite John Bolton as Harold Hill. ALUMNI NOTES

miere of a new opera, The Second two Eastman Piano professors: Barry Woman, at the Théatre Bouffes du Snyder and Enrico Elisi.I was pro- Nord in Paris; libretto is by Bastien moted to Associate Professor with Gallet and the composer is Frédéric Tenure from Texas State University, Verrières, known in France for and recently performed and gave musicals and film scores. London’s master classes in England, Malaysia, Financial Times praised the opera, Turkey, and Taiwan.” adding that Elizabeth “performed heroically.” Thomas Lausmann (MM ’98) and his family relocated to Vienna, On February 27, 2011, two former Austria in September 2010, where Eastman freshman roommates col- he joined the full-time music staff at laborated on Beethoven’s Emperor the Wiener Staatsoper. In summer Concerto. Hwaen Ch’qui, known 2011 he returned to the Bayreuther during his undergraduate days as Festspiele for his fourth season as an Jeff Tomlinson (BM ’97, MM ’98), assistant conductor. was soloist; Jason S. Ladd (BM ’97) conducted the Marquette University Linda Lister (MM’93) writes: “In Symphony Orchestra. Hwaen 2011, my book Yoga for Singers: actively performs recitals through- Freeing Your Voice and Spirit Through Andrés Mojica (BM ’92) out the United States, Europe, and Yoga was published, and I became Japan, and was awarded the Special tra manager, artistic administra- the harp transcription of Rodrigo’s Director of UNLV Opera Theatre.” Prize at the 2008 tor, and her transition five years Concerto de Aranjuez in January International Piano Competition. ago into higher education fundrais- 2011, with Sinfonia Gulf Coast in Timothy Long (MM ’92), a native Jason is Assistant Director of ing. Carmen produces engagement Destin, FL. of Holdenville, OK, was recently Instrumental Music at Marquette. events at the World Economic Forum profiled in NewsOK.com. Timothy’s (Davos, ), the Aspen Kim Fraites-Dow (BM and career after Eastman has included Damon Coleman (x ’95), cellist with Ideas Festival, in major American BA ’98) was recently named Chief vocal coaching at the Juilliard School, the Toledo Symphony, performed cities, and in Chicago, and con- Development Officer for the Girl 12 years on the staff of the New York the Tchaikovsky Rococo Variations sults with small to mid-size arts and Scouts of Eastern Pennsylvania. City Opera, and teaching at SUNY under conductor Stefan Sanderling cultural organizations on the prin- Kim oversees fundraising, market- Stony Brook, as well as performances on April 2, 2011 at the Franciscan ciples of philanthropy and donor ing, and communications for the at the Kennedy Center and Lincoln Center of Lourdes College (OH). engagement. GSEP. She previously worked for Center’s Mostly Mozart Festival. the Philadelphia Orchestra, the In October 2010, Philippine pianist Peggy Dettwiler (DMA ’91) received Piatigorsky Foundation, and the Andrés Mojica (BM ’92) is in his Jonathan Arevalo Coo (MM ’98, the 2010 Elaine Brown Award for Juilliard School. third year as University Organist and PC ’99) gave concerts in Stockholm, Choral Excellence at the American Organ Professor at the University Gothenburg, Oslo, and Stavanger, Choral Directors Association of Kelly Hall-Tompkins (BM ’93) is of Puerto Rico, Rio Piedras. His promoting the solo piano music of Pennsylvania annual summer confer- President of the Board of the Bach monthly recitals on the new three- the late Philippine National Artist ence in State College, PA, in August Vespers at Holy Trinity Lutheran manual Casavant organ at the Lucrecia Kasilag (MA ’50), and 2010. The award is presented “to an Church (NYC). And the work with University theatre attract large audi- collaborating with French-Filipina individual for outstanding lifelong Music Kitchen continues to keep her ences ranging from 400 to 700 peo- soprano Armela Fortuna and Vienna- work in the choral art.” Peggy is pro- busy all over New York: the organiza- ple, exposing them to the pipe organ based Filipino tenor Abdul Candao. fessor of music and director of choral tion has presented more than 50 per- and its repertoire. activities at Mansfield University in formances since 2005. Tracy Cowden (MM ’95, DMA ’00) Mansfield, PA. Pianist Marilyn Nonken (BM was promoted to associate profes- Pianist Juyeon Kang (MM ’95, MA ’92), Director of Piano Studies at sor with tenure in the Department Melissa Dunne (BM ’98, MM ’00), ’99, DMA ’03) performed in recital at New York University’s Steinhardt of Music at Virginia Tech, where has been harpist with the United the Goethe Institute in Bangkok on School, received critical acclaim she teaches in the piano and voice States Army Field Band for 10 June 7, joined by pianists May Phang for her recent recording of Olivier areas. She was a recent soloist with years, and in the Fall of 2010 was and Sang Woo Kang. Juyeon per- Messiaen’s Visions de l’Amen (Bridge the Roanoke Symphony Orchestra, appointed Professor of Harp at formed three short pieces by Mozart 2010) with Sarah Rothenberg. Other and a chamber musician at the Catholic University. as well as Liszt’s Paganini Etudes. recent recordings include David Wintergreen Summer Music Festival. Laganella: The Calls of Gravity (New Eastman alumnae and sisters, Mary Jason Kwak (BM ’95) writes: “In Focus 2010), Chris Bailey: Immolation Carmen Creel (BM’92), Director Elizabeth “Betsy” Fitzgerald 2011, I received the Presidential Ritual (Innova 2010), and Roger of Principal Gift Recognition at (ESM ’99) and Marguerite Lynn Award for Excellence in Teaching Reynolds: The Complete Piano Music the University of Chicago, pre- Williams (ESM ’01) gave harp from Texas State University. This (Mode 2010). Marilyn’s upcoming sented on a panel at the Association recitals in Macon, Griffin, and St. is the second time I’ve received recordings include new works by of Donor Relations Professionals Simons Island (GA), in September this honor, the first time being in Miguel Chuaqui, Hugues Dufourt, national conference in San Francisco 2010. Lynn was featured in the 2004 from Texas A&M University- Joshua Fineberg, and Elizabeth on December 6, 2010. In “Career Mozart in the South music festival Kingsville. In Summer 2011, I was Hoffman. She is also in contract with Strategies 101,” Carmen shared in Charleston, SC, performing the one of the directors that hosted the Cambridge University Press to write insights into her career journey as Mozart Flute and Harp Concerto and Second Texas State International a book on spectral music for piano, a professional clarinetist, orches- Debussy Danses. Betsy performed Piano Festival. The faculty included Revolution at the Keyboard.

Summer 2011 | Eastman Notes 33 ALUMNI NOTES

Robert Paterson (BM ’95) has writ- Todd Rewoldt (MM ’99, DMA ’01) ten a new piece for the Vermont writes: “I recently released a new Symphony Orchestra, which will CD with my quartet, SWARMIUS be premiered and performed 13 II: Also Normal (Aleppo Records). times next fall, conducted by Jaime In November 2010, my new Laredo. He adds: “I am Music method book Altissimo Studies for Alive composer-in-residence from Alto Saxophone: Scales, Arpeggios, 2009–2012 with the Vermont Trills, and Selected Passages from Youth Orchestra Association. This the Repertoire, was published by residency will culminate in a com- RadnofskyCouper Editions. Finally, mission for a 20-minute work for I have recently been promoted to orchestra and choir, to be premiered Associate Professor of Saxophone at in winter 2012. I won the 2010 San Diego State University.” Cincinnati Camerata’s Composition Competition for my choral piece Do Composer Donald (D.J.) Sparr (BM not stand at my grave and weep; this ’97) was recently selected for a two- piece was performed May 6 on the year residency with the California Contemporary Americana Festival Symphony. The symphony will com- sponsored by Boston Metro Opera. mission and perform one of D.J.’s Damin Spritzer (BM ’99) I had three premieres of commis- works each season, and he will visit sioned choral works, two by the David Pope (MM ’97) has been Valley Symphony Orchestra, and the local schools to discuss his music and Chamber Choir of Europe conducted promoted to the rank of Professor Artie Shaw Clarinet Concerto with work with composition students. by Nicol Matt, and the Vermont of Saxophone at James Madison the Antelope Valley College Concert Youth Orchestra Choir.” As a climax University. He is featured on two Band. “Best wishes to all Eastman Damin Spritzer (BM ’99) cele- (so to speak) to all this activity, Rob’s new recordings: Matt Smiley’s alumni and faculty and especially to brated the release of her first com- Tongue and Groove and Clarinatrix Quartet Art and Theodore Wiprud’s those from the mid 90’s!” mercial organ CD on the Raven were performed in XXX: A Night Fire In Heaven And Earth. He recently Recording label in April 2011. Her of Erotic Music, a concert by the performed and gave a master class at Last year, Tandy Reussner (MM work on the composer (R.L. Becker) American Modern Ensemble (which the University of Southampton (UK). ’91) published David Craighead: Por- is for her doctoral degree in organ he directs) on May 1; see the shock- Three of his former students went on trait of an American performance at the ing visual evidence below. to earn graduate degrees at Eastman. Organist (Scarecrow University of North Press), a full-scale biog- Texas (class of 2012). Soprano Tami Petty (MM ’96) per- Berkeley Price (MM ’94, DMA ’96) raphy of Eastman’s Damin will lecture formed with bass Matthew Boehler is Professor of Music and Band revered organ professor. on Becker for the 51st in a Lotte Lehmann Foundation Director at Antelope Valley College. Besides being a com- Annual Conference Recital at Christ & St. Berkley recently per- plete reference book on Organ Music at the Stephen’s Church in formed Yellow Jade for Craighead’s life and University of Michigan New York on March Banquet by Deon distinguished musical in October 2011. She 13. (Baritone Jonathan Nielsen Price with the and teaching career, lives in Dallas, TX with Elizabeth Wells Michie BM ’06, MM National Symphony Tandy references his- her husband James (MA ’96, PhD ’04) ’08 was featured in Orchestra of torical events in the and their two children a later recital in the and the China National framework of his life, “placing his (Soren, 6, and Rowan, 4). series.) This followed Symphony in Beijing; life’s work in the context of the world Tami’s Alice Tully Berkeley’s recording in which he worked,” says Tandy, Toronto-based Jason van Eyk (MM Hall debut in Rossini’s Petite Messe of this work, with other music by adding, “It’s a perfect addition to all ’98) was recently appointed National Solennelle, as the inaugural recipient Price, is on Cambria CD-1170. He ESM students’ and alumni’s libraries!” Executive Director of ArtsSmarts—a of the Sorel Organization’s Emerging also performed Weber’s Clarinet For more information, go to www. national, dynamic in-school arts edu- Artist Award. Concerto No. 2 with the Antelope scarecrowpress.com. cation program that engages students in the creative process. Jason left the Canadian Music Centre, where he has served as a Regional Director since 2003, to take up this new post. Jason also received a Metcalf Foundation Renewal Grant, which supports exceptional individuals working in nonprofit organizations.

Elizabeth Wells (MA ’96, PhD ’04), head of the music department at Mount Allison University, received a 3M National Teaching Fellowship, Canada’s top teaching honor (or hon- our). Elizabeth was praised for “inno- vative and provocative arts courses Robert Paterson (BM ’95)—third from right, with members of the American Modern Ensemble. that explore the cultural impact

34 Eastman Notes | Summer 2011 ALUMNI NOTES

of modern musicians, women and Ryan Gardner (BM ’03) writes: “I music, and music and difference.” am thrilled to share with you that I The 3M Selection Committee noted, have just been appointed Assistant “Dr. Wells blends the characteristics Professor of Trumpet at Oklahoma of exceptional teacher and influential State University beginning in August leader.” She was profiled, along with 2011. All of the other Eastman alums the other 3M winners, in Maclean’s who are on faculty at OSU have been Magazine, the Canadian equivalent of exceptionally warm in welcoming Time and Newsweek. me.” Ryan was Assistant Professor of High Brass at the University Trombonist Nat Wickham of Arkansas–Fort Smith from (DMA ’93) appeared in a “fireside 2008–2011. recital” with pianist Caryl Conger on February 13 in Estes Park, CO. Alex Gram (BM ’09), music director Nat is principal trombone in the at Michigan’s Grand Hotel, has taken Greeley Philharmonic Orchestra a position as Assistant Professor of and lead trombonist in the Colorado Music and Saxophone at Belmont Jazz Orchestra. University in Nashville. Duo Sonidas: violinist William Knuth (BM ’04), guitarist Adam Levin. Kim Woolly (MM ’95) was recently children and adolescents through ary record producer Elliot Mazer. Zachary Hemenway (BM ’06), granted tenure and promoted to music education and performance Todd continues to compose, and his already recognized as one of the fin- Associate Professor of Bassoon at the programs in , Uganda, and 2007 Flute Concerto is available on est organists in the United States, University of Southern Mississippi. . Inspired, I decided Tantara Records. gave the dedication concert for the In addition to teaching at USM, Kim to host a benefit to support the organ in Great Falls (MT) First performs with the Mobile and Gulf Shropshire Music Foundation and Christina Custode (BM ’10) was Congregational UCC. Zachary is cur- Coast Symphonies. the St. Louis Center for Survivors named “Best Female Vocalist” in of War Trauma’s refugee youth Artvoice’s “2010 Best of Buffalo, and performance group International released an original holiday song 2000s & 2010s Play Ground. On January 8, the called “The Mistletoe Song” last Instruments of Peace Benefit Christmas. Christina teaches general James Allen Anderson (DMA ’09) Concert, performed by myself and music and voice in the Niagara Falls was recently elected President of the pianist Sandra Geary, was held at School District, sings with the pop- Conductors Guild—the only music the Trinity Presbyterian Church in rock trio Rerun, and is working on a service organization devoted exclu- University City. . . . I’m glad to know full-length CD project. sively to the advancement of the art that my interpretive and creative of conducting and to serving the artistic abilities can contribute to In July, the Detroit Symphony Nicholas and Emma Lee artistic and professional needs of the communities in which I live and Orchestra announced the return conductors. The Guild has a mem- come from.” of DSO Principal Cello Robert rently director of music at St. Paul’s bership of over 1,600 members in deMaine (BM ’92, MM ’93) for the Episcopal Church in Philadelphia. the United States and more than 30 Sarah Chan (DMA ’05) gave her 2011–2012 season. Robert will per- other countries. New York solo piano debut recital form for three-fourths of the DSO’s Emilia Kister (BM ’03) has been at Carnegie Hall’s Weill Recital Classical Series (under music direc- awarded the 2011 Yale Distinguished Composer Jacob Bancks (MA ’05, Hall on March 12, 2011. Sarah was tor Leonard Slatkin), and has taken Music Educator Award, honoring PhD ’11) heard the premiere of his selected to perform in the New York a leadership role in launching a DSO fifty music educators from around Litany of the Sacred Heart in March, Concert Artists and Associates’ 2011 chamber music series. He is also the country for their outstanding performed by members of eighth “Carnegie Emerging Artists Recital scheduled to record ’ accomplishments teaching music blackbird, the Pacifica Quartet, and Series.” In May, Sarah was awarded Cello Concerto with the DSO in public schools. Emilia attended Schola Antiqua of Chicago, directed The American Prize in Piano next spring. a Symposium at the Yale School of by Eastman Assistant Professor of Performance for 2011, in honor of Music in early June to discuss vital Musicology Michael Anderson. her performances of the Brahms First Composer Gareth Farr (MM ’92), issues in music education. and Mozart 25th Piano Concertos. a native of New Zealand and a Soprano Megan E. Bell (BM ’06) recent New Zealand arts Foundation William Knuth (BM ’04) writes: was awarded the Edith Newfield Todd Coleman (DMA ’02) was Laureate, was profiled in The “My violin/guitar chamber music Duo Scholarship at The Musicians Club granted tenure and promoted to Wellingtonian (he recently moved to Sonidos (with guitarist Adam Levin) of Women’s 2011 Annual Music associate professor this spring at NZ’s largest city). Gareth offered his was awarded First Prize at the 2010 Scholarship Auditions held on Elon University (NC), where he is thoughts on his new city, his music Luys Milan International Guitar Saturday, March 12 at Roosevelt the founding academic coordinator (including pieces for the Sydney and Chamber Music Competition in University. for the Bachelor of Science in Music Beijing Olympics), a trip to Antartica, Valencia, Spain. Additionally, we just Technology program. Through his his Leap Day birthday (he recently released our first CD, Duo Sonidos.” (BM ’09) writes: leadership, the program has grown in turned 40 and 10), and his alter ego, “Last spring I joined Eastman fac- three years from two majors in 2008 drag queen Lilith Lacroix. And an Double bassists Michael and Kelly ulty and students in a fundraising to over thirty, with plans to move observation that can be appreciated Lee (BM ’06) announce the birth campaign for the Shropshire Music into larger studio and lab spaces by most composers (and Notes edi- of their son and daughter. Nicholas Foundation—a not-for-profit ben- next summer, while recruiting new tors): “The greatest motivation is a Philip Lee was born at 10:39 a.m. efiting over 10,000 war-affected faculty members including legend- rapidly approaching deadline.” on Sunday, December 19, 2010 at

Summer 2011 | Eastman Notes 35 Northern Westchester Hospital in sor of Composition at the University Mount Kisco, NY. He weighed 6 of South Florida, and Doug recently Celebrating service pounds, 3 ounces and was 19 inches visited USF as a guest performer long. Emma Kathryn Lee was born on Baljinder’s first faculty recital. In May, no less than 18 Eastman faculty members were acknowl - one minute later at 10:40 a.m. She Baljinder’s Su¯tra, composed for pianist edged for their years of service to the School. weighed 6 pounds, 13 ounces and Arunesh Nadgir (DMA ’09), was pre- was also 19 inches long. The babies’ miered in June at the Jerome L. Green 40 years (1971–2011) David Liptak favorite bed-time story? Berlioz the Space in New York, with encore per- Professor of Composition bass playing bear. formances at Brazil’s Museu Brasil- Ramon Ricker leiro da Escultura and Instituto de Professor of Saxophone; George Taylor Kathryn Lewek (BM ’06, MM Artes. Arunesh is a faculty member at Senior Associate Dean Associate Professor of Viola ’08) is the grand prize winner of Middle Tennessee State University. for Professional Studies; the Opera Foundation, Inc. Vocal 20 years (1991–2011) Scholarship Competition, and also Elizabeth Priestly Siffert (BM ’02) Director, Institute John Hunt accepted a ten-month contract with received second prize and Jung Choi for Music Leadership Deutsche Opera Berlin beginning in (MM ’08) received honorable men- Professor of Bassoon September 2011. “I am preparing ten tion in the 2011 Fernand Gillet-Hugo 35 years (1976–2011) Carol Webber roles for the season,” says Kathryn, Fox Oboe Competition, held during “including Queen of the Night in The the annual conference (May 31–June Bonita Boyd Professor of Voice Magic Flute.” Kathryn was also voted 4) of the International Double Reed Professor of Flute Matthew Brown Rochester’s 2011 “Classical Idol”, and Society. Siffert is principal oboe of Charles Castleman Professor of Music Theory gave a recital in Rochester before the Houston Grand Opera and Ballet, Professor of Violin leaving for Germany. and Choi is assistant principal oboist 10 years (2001–2011) of the Korean Symphony Orchestra. James Van Demark Alison Lowell (BM ’06) and David Hans Davidsson Professor of Double Bass Plylar (PhD ’09) were married on In July, (BM ’08) Professor of Organ August 22, 2010 in Las Vegas, NV. wrote Notes: “Hello from Swit- Paul O’Dette They work for the KwaZulu-Natal zerland! I’m proud to share that I Benton Hess Professor of Lute and Philharmonic Orchestra in Durban, received second prize at the 2011 Distinguished Professor Conducting & Ensembles South Africa, where Alison is the Solo Piano of Voice principal oboist and David is the Competition! The four finalists— 30 years (1981–2011) New Music Initiative Director. hailing from , Mauritius, Azer- Mark Kellogg baijan and—of course—the good ol’ Steven Doane Associate Professor of Tiffany Ng (MM ’08) is on her way U.S. of A.—performed for a panel Professor of Violoncello Euphonium, Trombone, to a PhD in Musicology while per- of judges headed by legendary pro- & Brass Chamber Music forming and teaching as an Associate ducer Tommy LiPuma. As the second Bill Dobbins Carillonist at UC Berkeley. Since prize winner, I was awarded 5,000 Professor of Jazz Studies William Porter 2008, she has performed carillon Swiss Francs (5,916.76 dollars . . . not & Contemporary Media Professor of Organ concerts in the United States and that I’ve checked). Finally, the weak & Harpsichord Europe, featuring pieces by Paul exchange rate works in my favor! 25 years (1986–2011) Coleman (PhD ’09) and Andrew Congratulations to the winner, the Robert Swensen Allen (MA ’09), and commissioned exciting young Polish pianist Piotr Thomas Donnan Associate Professor pieces by Ken Ueno and Michael Orzechowski.” For news on Jeremy’s Lecturer in French and Italian Zbyszynski. Last November, she gave recent CD, see “Alumni on CD and of Voice (retiring in 2011) the West Coast premiere of Matthew DVD,” p. 30. Suttor’s Syntagma at her organ recital at Saint John’s Presbyterian Church Sarah Stern (BM ’06) recently in Berkeley, CA. moved from the Alps to the Andes. She began her first season as Alan Pierson (DMA ’06) led Alarm Principal Harpist of the Orquesta Will Sound and the teenage ensem- Filarmónica in Santiago de Chile in ble Face the Music in Steve Reich’s April, playing subscription concerts, choral work Tehillim at New York’s operas, and ballets. For the last five Merkin Concert Hall on January years, she studied modern and his- 30, 2011. Face the Music performed torical harp at the Musik-Akademie Tehillim throughout the city for sev- der Stadt Basel (Switzerland) and eral weeks after the concert. the Schola Cantorum Basiliensis; she also participated in the Aldeburgh, Baljinder Sekhon (MA ’08, current Bayreuth, and Campos do Jordao DMA student) wrote The Offering, a (Brazil) music festivals. saxophone concerto for saxophonist Doug O’Connor (MM ’08, current Christopher Thibdeau (BM ’07) student) which Doug premiered in was appointed conductor of Ramon Ricker July with the Thailand Philharmonic the Georgia Youth Symphony Orchestra. Baljinder is Visiting Profes- Philharmonia Orchestra. Christopher

36 Eastman Notes | Summer 2011 ALUMNI NOTES

Zachary Wadsworth (BM ’05) accepting the King James Bible Composition Award in London. has served as associate conductor Band (along with ESM alumni Evan of the Brighton (NY) Symphony Dobbins, Nick Finzer, T.J. Ricer, Orchestra, assistant conductor Mike Frederick, Chris Teal, and of the Central Kentucky Youth ESM senior Erik Jacobs), released Orchestra, and cover conduc- a CD and was featured for the third tor of the Lexington consecutive year at Philharmonic and Rochester Jazz Festival; Firelands Symphony and the Emerald Brass Orchestra, and has Quintet (with ESM presented workshops alumni Max Matzen, and educational Leslie Hart, T.J. Ricer, concerts across the and current ESM United States. DMA Brett Long) helped commission Cynthia Johnston a new work from Jim Turner (DMA ’04) has Stephenson and gave received tenure (and a its New York premiere Christopher Thibdeau green card!) at Cornell on April 13, 2011. (BM ’07) University where she is Director of Wind Ensembles. Zachary Wadsworth (BM ’05) was Brady Miller (BM ’03) and Susan Tang ’04 (BM ’02, MM ’04) were married Cynthia is a regular guest conductor a winner in the King James Bible June 10, 2010 in New York City. Brady and Susan sent an all-early-aughts- with the Austrian Festival Orchestra, Composition Awards, held in May ESM alumni photo from the reception, which includes Robert Wood Concordia Santa Fe, Society for New at the Temple Church in London, (BM ’02), Stephen Smith (BA, BM ’02, MA, MM ’04), Ryan Power (BM ’03), Music, Paris Lodron Ensemble, and England. His composition for chorus Soohyung Yoo (BM ’02, MM ’04), Kathy Wilcox (BM ’02), Kevin May (BM the Performing Arts Institute. Since and organ, Out of the South Cometh ’04), James Hirschfeld (BM ’03), Emanouil Manolov (BM ’02), Sarah Brailey 2006, Cindy has taken the Cornell the Whirlwind, was selected from (BM ’04), John Pickford Richards (BM ’02, MM ’04), Nicole Cabell (BM ’01), Wind Ensemble to Costa Rica to per- more than 100 international entries. Lisa Conlon (BM ’02), Kate Maroney (DMA ’10), Red Wierenga (BM ’03), Rina form, teach, and donate instruments The competition, organized by the Morita (DMA ’05), Jay Kacherski (MM ’05), I-Hsuan Cheng, Ben Gallina (BM every two years. She is pedagogical King James Bible Trust, was held ’03), David Crowell (BM ’03), Louise Chan (BM ’02, MM ’04), and Susan and consultant for Costa Rica’s SiNEM in honor of the translation’s 400th Brady. The ceremony was officiated by Red Wierenga and included Nicole system, a nation-wide music peda- anniversary. In addition to a prize of Cabell and Lisa Conlon duetting in Sull’aria from Mozart’s Figaro, and jazz gogy system modeled on Venezuela’s £2,000, Zachary’s composition will from Red Wierenga, Ben Gallina, David Crowell, and Eli Asher (MM ’02 ). El Sistema. be published by Novello and per- Brady and Susan live in Chicago, where Brady continues to freelance and formed during a service celebrating Susan teaches at Northeastern Illinois University. Chris Van Hof (MM ’08) was the King James Bible at Westminster named a University Fellow at the Abbey on November 16, 2011. It was of campus life, including advising, Pianist Chris Ziemba (BM ’08, MM University of Wisconsin-Madison broadcast on Aled Jones’ BBC Radio 3 assisting with admissions, caring ’11), bassist David Baron (BM ’10), for doctoral study in trombone with program The Choir on June 19, 2011. for the library collection, and plac- and drummer Kevin McDonald Mark Hetzler of Wisconsin Brass ing students in graduate programs. (BM ’10) were one of four jazz and Empire Brass. Two composi- Dickinson College has presented Amy teaches music history courses piano trios to participate in the tions were debuted in March 2011 Amy L. Wlodarski (PhD ’06) with and conducts the Dickinson College Brad Mehldau’s Master Classes by the Nazareth College Concert its Distinguished Teaching Award. Choir. Her article on Steve Reich’s on Advancing . Band and Gibbs and Main (string An associate professor of music, she Different Trains was published in the They attended two days of inten- quintet). Chris’s two ensembles have was praised by both faculty and stu- Journal of the American Musicological sive master classes in March at Le been busy as well: Po’ Boys Brass dents for participating in all areas Society last year. Poisson Rouge in New York City

Summer 2011 | Eastman Notes 37 Each spring since 2004 Eastman has sent outstanding students to Washing- event. Shown left to right are: Michael Burritt, Damon Martinez, Jonathan ton, DC, to participate in the Kennedy Center Conservatory Project. This Allen, Matthew Evans, Naomi Marcum, Megan Arns, Hannah Weaver, Timo- year Professor of Percussion Michael Burritt led the members of the East- thy Briones, Amy Garapic, McKenzie Camp, Mark Boseman, Em Feeney, man Percussion Ensemble for a very successful April 28 concert and alumni Danny Vozzolo, and Christopher Clarino. with Mehldau, a jazz pianist who’s search for a new music amid the Melanie Sehman (DMA ’07), and in the spring. Kneebody includes collaborated with such artists as Pat political and cultural turmoil of the Steven Sehman (MM ’07), percus- Ben Wendel (BM ’99, sax), Adam Metheny and Renée Fleming (MM late 1960s. Alarm will Sound joined sionists. Eastman composition pro- Benjamin (x ’99, keyboards), Shane ’83). Chris was also one of four musi- the string quartet ETHEL at New fessors Ricardo Zohn-Muldoon Endsley (BM ’97, trumpet), and cians selected for the solo pianist- York’s Poisson Rouge in April, playing and Carlos Sanchez-Gutierrez Kaveh Rastegar (BM ’01, bass), with composer master class. tribute to San Francisco composers coordinated the entire operation. drummer Nate Wood. and performing ’s early, The Sonidos program featured the unpublished work American Standard premiere of Carlos’s Here, Again, for The Eastman Saxophone Ensemble, Ensembles in its probable NYC premiere. flute and string quartet. directed by Chien-Kwan Lin, per- formed at the North American Saxo- Alarm Will Sound performed like Eastman Broadband’s most recent This spring JACK Quartet performed phone Alliance at West Point, NY, it was 1969 at a recent performance venture to New York , in May 2011, in New York, Princeton, Columbia on March 18-19. Also performing at in Carnegie Hall. Their concert 1969 was a great success. The group per- (SC), and Minneapolis, and released the NASA Conference was Eastman’s commemorated an event that never formed an all-Mexican program at a CD of Iannis Xenakis’s piano Senior Associate Dean Jamal Rossi. happened: a late-’60s collabora- the Americas Society and during the quintet Akéa with Aki Takahashi tion by the Beatles and Karlheinz Sonidos Festival at Symphony Space. (Mode Records). JACK consists of Red Line Saxophone Quartet’s Stockhausen (who admired each The nine members on this tour were John Pickford Richards (BM ’02, debut CD Back Burner, which was other). Directed by Alan Pierson Diedre Huckabay (BM ’10, flutes), MM ’04), Ari Streisfeld (BM ’05), mentioned in the Summer 2010 (DMA ’06) and the University of Andrew Brown (BM ’09, clari- Christopher Otto (BM ’06), and Notes, is now live and available on Rochester’s Nigel Maister, 1969 nets), Aaron Yarmel (BM ’11), vio- Kevin McFarland (BM ’04). iTunes (as well as many other digi- used the music and words of such lin, Mariel Roberts (BM ’10, cello), tal distributors). RLSQ is made up great musicians as Stockhausen, the Jacob Ertl (DMA student) and The Grammy Award nominated of doctoral student Doug O’Connor Beatles, Yoko Ono, Luciano Berio, Cherry Tsang (BM student), piano, modern jazz group Kneebody and 2010 graduates Brandon Kies, and Leonard Bernstein to depict their and Damon Martinez (BM student), toured Italy, Austria, and France Quinn Lewis, and Gai Qun.

38 Eastman Notes | Summer 2011 Adam Fenster Eastman faculty on CD

Sisters Carol with performances Margaret Atwood Rodland, professor by the Eastman Poetry by American of viola, and organist organ faculty—Hans Women Composers Catherine Rodland Davidsson, David (Centaur CRC 3002) (MM ’89, DMA ’92) Higgs, and William with soprano Eileen weave a sonic tapes- Porter—proves that Strempel (BM ’88). try separately and this reproduction This was a happy out- together on their new CD American of a 1776 Casparini organ has the clarity and come of the 2007 Women in Music Festival, Weavings (Crystal 839). The program consists colors to do justice to the music of J.S. Bach which included the premiere of Atwood of premiere recordings of solo viola works, and his musical descendents, from C.P. E. Songs by composer-in-residence Tania Léon, solo organ works, and duo of works for viola Bach (a literal Bach descendent) to contem- with both Léon and Atwood in attendance. by Craig Philips (MM ’87, DMA ’89), Augusta porary composers Stephen Kennedy and The disc also includes Atwood settings by Read Thomas, John Weaver, Christopher Martin Herchenröder, who wrote new works Judith Cloud, Elisenda Fabregas, Lori Laitman, Gable, and Daniel Pinkham. Read about specially for the instrument. For more infor- Tania Léon, Amanda Harberg, and Libby American Weavings and hear sound clips at mation visit www.loft.cc Larsen (In) Habitation received a long and www.crystalrecords.com. appreciative review in the Journal of Singing, Pianist Sylvie Beaudette—who is also whose reviewer stated “Ms. Beaudette . . . A new Loft Records release (LRCD-1115) Eastman’s assistant director of cham- is far more than a brilliant technician at the proves that Eastman’s Craighead-Saunders ber music and accompanying, recently keyboard; she is a poet in her own right.” Organ sounds as good as it looks. The disc, released (In) Habitation: Musical Settings of

New CD releases highlight Krysa’s immense repertoire Professor of Violin Oleh Krysa has had a violin sonatas, to concertos by Ukrainian long and distinguished career, and a long composers, to a variety of other chamber list of recent CD releases by reveals how works and concertos—and no fewer than long and distinguished it has been. “I have 100 virtuoso encore pieces, which fill six recorded many, many pieces over the years discs on their own. that were just sitting and waiting,” says the Oleh is joined by his wife, pianist Tatiana violinist, “so I decided to release everything Tchekina, for most of the performances. I have recorded in the USA”—with the help Particular favorites of Oleh’s include a re- of his friend, the Ukrainan-born composer cording of the Paganini First Concerto and Grammy-winning producer Virko Baley. made soon after he won the Paganini Com- The two men gathered unreleased Kyrsa petition in 1963, and a recording of the Mo- performances from many different times zart Sinfonia Concertante K. 364 in which and places, and Baley is releasing them sys- he plays viola to the violin of his son Peter. tematically on his TNC Music label. 21 CDs have been released so far, with 12 The Krysa series covers European re- cently as 2006. The CDs reveal a huge ac- more to come featuring Oleh’s work with cordings from the late ’60s and early ’70s, tive repertoire, from sonatas by Bartók, the Beethoven Quartet, for which he was up to more recent recordings made in the Szymanowski, Walton, and Ravel (to name first violinist in the 1970s and ’80s. The entire United States, Australia, and Japan as re- just four), to all the Beethoven piano-and- series is available from www.tncmusic.net

Summer 2011 | Eastman Notes 39 STUDENT NOTES

Saxophonist Matt Stuver was Fulbright Research Grant this spring the Tonight Show last January. David a Graduate Student. Greg was recog- named Best College Graduate jazz and will spend the 2011–2012 aca- proved to Jay Leno that his talents nized for his distinguished teaching Soloist in DownBeat magazine’s demic year at Taipei University of the include not only playing the trumpet in Eurythmics, Basic Conducting, 34th Annual Student Music Awards Arts in Taiwan, researching contem- and not only solving Rubik’s Cube . . . Choral Conducting, Chorale, (in which Eastman almost always porary Taiwanese solo and ensemble but doing them simultaneously! The Repertory Singers, and the Eastman- makes a showing). Matt, MM ’06 works for viola. When he returns to Tonight Show EP aired on January 26. Rochester Chorus. and now a doctoral student, was rec- Eastman in 2012, Felix will organize ognized for his performance in the a concert of works he collected and Eastman musicians made a Take Five Scholar Lauren Yu performed in Taiwan. significant contribution to the Kurt received the University of Rochester’s Weill Festival in Berlin this winter, Susan B. Anthony Prize, recogniz- Winners of Eastman’s 2010– with a program titled Old Films ing a woman student who has shown 11 Teaching Assistant Prize and New Music, featuring short exceptional leadership, academic for Excellence in Teaching films from the 1920s and 1930s excellence, and involvement in stu- are Julie Beauregard by the Bauhaus master and avant- dent life. Lauren pursued a Bachelor (Music Education Student gardeist László Moholy-Nagy. The of Music degree in bassoon perfor- Teaching Seminar), Regina films were accompanied by music mance and music education, and Compton (Music Theory), by Michaela Eremisásová and a Bachelor of Arts degree in math- Sean Connors (Music Jairo Duarte-Lopez and performed ematics, and was senior class presi- Education Percussion by Anynago Yarbo-Davenport, dent and a resident adviser. The Take Class), Igor Lipinski (Piano violin; Rick McRae, trombone; and Five Program provides University of Class), Eric Rieger (Applied Bobby Mitchell, piano, with two Rochester undergraduates the oppor- Matt Stuver (MM ’06) Voice), and Adrian Sandi other musicians from Berlin. The tunity to take a tuition-free fifth year; American premiere last October of (Applied Clarinet). The winners performance was repeated on March Lauren is studying ancient Greek and Bob Brookmeyer’s Suite for Soprano were announced by Donna Brink 25 as part of Eastman’s Women in Roman culture. Saxophone and 16 Instruments. He’ll Fox, Associate Dean of Academic and Music Festival. complete his comprehensive exams Student Affairs, in April. ON THE WEB For more Eastman while playing in the United States Doctoral conducting major Gregory student achievements for 2010- Naval Academy Band. For trumpeter David Aguila, a stu- Ristow was selected as one of 2011, including competition awards, dent of James Thompson, the ulti- five recipients of the University of scholarships, and significant Felix Ungar, a doctoral viola student mate destination might be Carnegie Rochester’s 2011 Edward Peck Curtis performances, go to: www.esm. of Carol Rodland, was awarded a Hall, but he did enjoy a side trip to Award for Excellence in Teaching by rochester.edu/about/showcase/ “I have lea rned that th e life of a musician is not one narrow path but rath er an

endless array When Katie, a jazz bassist from Naperville, IL, first came to the Eastman School of Music, she came with the intention of narrowing her musical focus. Ultimately, Eastman allowed her to do just the opposite. From of options performing with the Eastman School Symphony Orchestra, to singing with a Dixieland jazz band, to an internship with a local jazz radio station, from which Katie took in all that Eastman has to offer. Eastman is proud to be able to introduce its students to countless possi- bilities in the field of music, but none of it is possible without your support.

to choose.” Your gift to the Eastman Fund helps develop young musicians like Katie into well-rounded artists who are ready to impact the world. – Katie Ernst Thank you for your support. To make an online gift, please visit www.rochester.edu/annualfunds/katie

Annual Giving Programs | University of Rochester | (800) 598-1330 | [email protected]

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Women in Music, and on tour Eastman’s 2011 Women in Music Festival included a tour to Union Second row: Michaela Eremiasova, Eun Mi Ko, Lauren Haley, College and CUNY’s Elebash recital hall, with concerts including the Angelina Weber, Women in Music Festival director Sylvie Beaudette music of 2011 composer-in-residence Hilary Tann (who teaches at (MM ’93), Assistant Professor of Saxophone Chien-Kwan Lin, Melissa Union College), student composer Michaela Eremiasova, and alumna Claisse, Emma Hughey, Helen Hou-Sandi, Erin Kelly, Sini Virtanen, Kristen Shiner McGuire, anda host of other Eastman students, faculty Wan-Ling Chuang members, and alumni. Missing from the picture is soprano Eileen Third row: David Gargaro (BM ’09), Emily Tsai, Geoffrey Pope, Strempel (BM ’88). Richard Li, Adrian Sandi, Aaron Yarmel, Drew Vella, Andrew Barnhart, Front row: Samantha Moreas, Kristen Shiner-McGuire, Katherine Anyango Yarbo-Davenport, Emlyn Johnson, Maria Raczka Hart, Hannah Picasso-Hobin, Emily Schroeder, Nadine Sherman There’s more about Women in Music 2011 in “School News,” pp 16–17.

Sirin Samman