Reflec. Conne c. Expec. Eastman Weekend 2006

JANUARY 2007 A MAGAZINE FOR ALUMNI AND FRIENDS OF THE EASTMAN SCHOOL OF MUSIC FROM THE DEAN

“Exemplary excellence”

Dear Friends, Throughout the fall semester, the faculty and staff embarked on the process of analyzing Eastman’s present position as one of the premier music institutions in the world, and determining the potential long-term future of the School. This was a challenging, uplifting, and somewhat cathartic endeavor. In a report titled ‘The Future of the Eastman School of Music,” which was submitted to President Seligman in November as part of the University’s strategic planning initiative, we wrote: “Our goal for the future is more ambitious than simply maintaining a place in the ranks of the world’s great music schools. To strive for anything short of ex- emplary excellence in artistry, scholarship, leadership, and community engage- NOTES ment would be to abdicate our responsibility as a music Volume 25, Number 1 school whose tradition of leadership and innovation in January 2007 each of these areas has been so significant for music in higher education and the music profession.” Editor In my convocation address to the students and faculty David Raymond at the beginning of the semester, I stated that there is Assistant editor simply no substitute for excellence. New ideas, excit- Juliet Grabowski ing initiatives, and cutting-edge curricula are all vitally Contributing writers important in a school of music, but they cannot take the Ruth Cahn Juliet Grabowski place of exceptional accomplishment as musicians. As Susan Hawkshaw we move forward, it is important to know that the com- Bobbi Lonobile mitment of our faculty is first and foremost to exemplary Jamal J. Rossi excellence in artistry, scholarship, leadership, and com- Jamal J. Rossi Contributing photographers munity engagement -- the hallmarks of an Eastman edu- Kurt Brownell cation. The uncompromised quality of what we do must always be at the heart Walter Colley Gelfand-Piper Photography of an exceptional education. Nathan Martel It has been my honor and great privilege to serve Eastman as the interim dean Photography coordinator during this time of transition between permanent leaders. It was a joy to wel- Karen Ver Steeg come back to campus many alumni during Eastman Weekend 2006, and I have Design enjoyed meeting many other alumni and friends of Eastman during my travels Steve Boerner Typography & Design over the past eight months. Eastman Weekend was a powerful reminder that the Eastman community comprises not just current faculty, students, and staff, but Published twice a year by the Office of all of those who have come before us, and all who care deeply about the future of Communications, Eastman School of Music, 26 Gibbs Street, Rochester, NY, our School. To the many alumni and friends who have contributed to our prog- 14604, (585) 274-1050. ress this past year as noted in the enclosed Report on Giving, I offer our sincere [email protected] thanks and appreciation. On behalf of the Eastman community, I extend to each of you our best wishes for a happy and prosperous new year.

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FEATURES 4 Eastman Weekend 2006 Eastman Weekend brought the different 50TH ANNIVERSARY CLASSMATES WORE THEIR MEDALS areas of the School together for a busy 4 WITH PRIDE AT EASTMAN WEEKEND 2006 weekend of connecting, reflecting—and fun FOR THE 9 There is no substitute for excellence 9 ROSSIS, FATHER Times change, but the values at the heart AND SON, ONLY of an Eastman education endure THE BEST WILL DO 12 Alfred Mann remembered An Eastman musicologist fondly recalls a distinguished colleague 14 Old-fashioned virtues Composer Jack Beeson (BM ’42, MM ’43) takes pride in a richly creative life and from lizzie a classic American opera 1 4 borden to captain jinks: master of 2 COMING EVENTS opera jack beeson 3 LETTERS 19 SCHOOL NEWS A PRETEND 26 ALUMNI NOTES 1 9 GARDEN GIRL, AND A GENUINE MOZART 27 IN MEMORIAM DISCOVERY 29 EASTMAN ALUMNI ON CD 32 SHOWING OFF 34 FACULTY NOTES 35 EASTMAN FACULTY ON CD 36 STUDENT NOTES

ON THE COVER: The three words in the motto for the School’s first all-Eastman weekend say it all. See page ON THE INTERNET: More news about the Eastman School of Music, 4 for more news and photos. including the full text of Notes and expanded alumni information, can be found online at www.esm.rochester.edu.

photographs by GELFAND-PIPER PHOTOGRAPHY (EASTMAN WEEKEND, MOZART OPERA) AND COURTESY JACK BEESON AND JAMAL ROSSI Steve Reich Coming Events March 25–April 21 • Inaugural Howard Hanson Visiting Professor Residency, with composer-in-residence Mario Davidovsky

March 26–30 • Third annual Women in Music Festival, with composer-in- residence Tania León

March 31, 2007 • Eastman Musica Nova: 70th Birthday Concert of music by Steve Reich , with the composer attending

April 12–15, 2007 • Eastman Opera Theatre Bellini, I Capuleti e I Montecchi

May 25 • ViM Saxophone Quartet performs in the Kennedy Center’s Conservatory Project

June 25–August 3 Summer at Eastman 2007 • Alumni discount! • New offerings include Viola and Trumpet Institutes, African Drumming, Rock Music in the Classroom, and many more. • Visit www.esm.rochester. On October 20–22, 2006 Eastman School of edu/summer abol! Music hosted an unprecedented event for everyone in our vast, interconnected community. An African zpv" The festivities included amazing performances, drumming engaging speakers, and fun activities as we course will heat up celebrated Alumni Weekend, Family Weekend, Eastman’s and the Eastman Community Music School Open Summer of 2007. House. Thank you to everyone who attended and

www.esm.rochester.edu/alumni helped make this unique event a success! LETTERS

“Renaissance” revised Women in Music I received my July 2006 copy of Notes and In our July 2006 issue, we printed a letter from noted with interest the story Renaissance Florence Du Poit criticizing Eastman’s Women Reborn about the Ars Antiqua group founded in Music Festival for not programming music by by Dorothy Amarandos. I am the Wallace two famous alumna, Emma Lou Diemer (MM Rust mentioned in the story. ’49, PhD ’60) and Nancy Van de Vate (x ’52). There are some factual errors that I wish The following is a reply from the director of the to correct. Here is the true story about the Women in Music Festival. tapes and their transfer to CDs: Chère Madame Du Poit, On December 15, 1959 I recorded onto Thank you for your letter to the editor tape the Ars Antiqua performance Il Solco. and for sharing your interest in, and advo- The tape lay dormant in my possession cacy of, the music of women composers. until December 18, 2002, when I trans- JULY 2006 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC Eastman’s Women in Music Festival is what ferred it to CD in my studio in Greece, New I call a “performer-based” festival; i.e. the York. Wanting to share it, I then sought and performers (faculty, students, and guest art- found Dorothy Amarandos (living in Reston, ists) choose their own repertoire for four out Virginia) and sent her a copy of the CD. She 2004, two years later (not one year as stated of five concerts presented during the week of was delighted and told me she had other tapes in Notes). the Festival. By giving performers that free- of Ars Antiqua performances, and would I Thus, it was I who digitized the Ars dom, the programs in 2005 and 2006 offered consider transferring them to CD. I said I Antiqua tapes, not Dorothy’s son. Her son an amazing variety of styles, instrumenta- would, and she sent me a trial lot of ten of may have been the one who selected the tions, and historical periods. I certainly do her tapes. tracks from my CDs to make the four-CD not want to take that feeling of ownership After digitizing them and creating CDs, set, An Ars Antiqua Renaissance. As you can away from them. However, Eastman being she decided to go ahead with digitizing her see, I did not send Dorothy 17 tapes. She had also an educational institution, it is part remaining tapes as a formal project at her ex- the tapes of all the performances except for of my duty and mission to introduce “new” pense. In all, she sent me 45 reel-to-reel four- my tape of Il Solco, and I did the digitizing of music (or what is perceived as new!) to the track tapes, and I digitized them and made all the tapes. Festival’s audiences and to the Wednesday 40 CDs from them. I started the project in Wallace Rust programs, which feature a specific composer January 2003 and finished it in November Rochester, New York or a theme (such as “Music in the Time of Susan B. Anthony” in 2006). The Festival is now preparing for its third edition, and I expect new names to be added to the roster of composers we have presented so far. There are only 300 minutes per year that the Festival can devote to music written by women, and I am aware that many wonder- ful composers will be left behind, year after year, just because of the nature of the process. But you’re in luck! For the last year or so, I have been corresponding with Nancy Van de Vate, and working at the possibility of making her the Festival’s composer-in-resi- dence in 2008. Bien à vous, Sylvie Beaudette Sylvie Beaudette is Assistant Professor of Chamber Music and Accompanying, part time, and director of the Women in Music Festival. Members of Ars Antiqua, including founder Dorothy Amarandos (center front, holding The July 2006 Notes included a photo feature viol), photographed at the Memorial Art Gallery in the early 1960s. on the 2006 Festival, “Notes for Women!”

PHOTOGRAPHs BY LOUIS OUZER (ARS ANTIQUA); opposite, IMG ARTISTS (REICH), ISTOCKPHOTO (DRUM) January 2007 | Eastman Notes  Easman Weekend

2006Eastman Weekend brought the di≠erent areas of the School together for a busy weekend of connecting, reflecting – and fun

he many constituencies that make up the Eastman School of Music—collegiate and Community Music School students, parents, faculty members, alumni—had never really gathered as one until last October 20–22, Twhen Eastman sponsored the first Eastman Weekend. During this grand combination of several longstanding traditions—Alumni Weekend, Family Weekend, and the Eastman Community Music School Open House—Eastman’s past, present, and future came together for three very full days, as the following pages attest.

On the morning of October 21, members of the Classes of 1953, 1954, 1955, and 1956 received 50th reunion commemorative medallions in a ceremony in Miller Center.

ON THE WEB For many more photos from Eastman Weekend, including class portraits, go to the School’s Alumni Relations website: www.esm.rochester.edu/alumni/weekend.

 Eastman Notes | January 2007 PHOTOGRAPHS BY GELFAND-PIPER PHOTOGRAPHY The theme of Eastman Weekend is literally reflected in this photograph, taken from the inside of Miller Center, focal point of many of the weekend’s activities—as was Eastman Theatre, whose brilliantly lit facade is shown here.

One of the stars of Eastman Weekend 2006 was undoubtedly George Walker (DMA ’56). The Pulitzer Prize-winning composer heard the first performance of his Foils for Orchestra: Hommage à St. George, commissioned by Eastman’s Hanson Institute, with the Philharmonia conducted by Neil Varon, on October 21. (In a brief speech at the Gala Dinner preceding the ceremony, Walker revealed that the “Georges” commemorated in his orchestral work included not only England’s patron saint, but also the 18th-century black composer and violinist Chevalier de St. George.) Earlier that day, Walker was among the alumni receiving 50th Reunion commemorative medallions.

January 2007 | Eastman Notes  Student recitals, always a special feature of Alumni Weekend and Family Weekend, also brightened Eastman Weekend. Here’s a recital by jazz students in Ciminelli Lounge.

Eastman Community Music School, directed by Howard Potter, had several celebrations to fill its newly occupied quarters in Messinger Hall. On Friday, the School celebrated the successful completion of the Eastman Pathways Challenge, supporting a successful program that brings talented students from the Rochester City School District to Eastman for lessons. On Saturday, the New Horizons Band celebrated its 15th anniversary, with its founder, retired Professor of Music Education Roy Ernst. ECMS also welcomed former Preparatory Department alumni (shown with Howard Potter, above).

 Eastman Notes | January 2007 Alumni also performed throughout the Weekend. Pianist Arlene Cohen Stein (BM ’57, MM ’71) and flutist Ingrid Hultgren Harrison (BM ’56) performed in Howard Hanson Hall; Arlene also read from My Eye of the Apple, her recent book about life at Eastman in the 1950s.

It wouldn’t be Eastman Weekend without lots of music! The Weekend’s ensemble concerts included:

• A rockin’ performance by clarinetist Kenneth Grant (BM ’73) and conductor Mark Scatterday (DMA ’89) with the Wind Ensemble of Scott McAllister’s Led Zeppelin-inspired Black Dog, in a program largely of music by Eastman alums: Carter Pann (BM ’94), Dana Wilson (PhD ’82), Scott Lindroth (BM ’80), Donald Hunsberger (BM ’54, MM ’59, DMA ’63), and Jeff Tyzik (BM ’73, MM ’77).

• William Weinert and the Eastman Chorale paid tribute to Mozart’s 250th birthday with four of his popular shorter choral works.

• The Philharmonia concert began with George Walker and continued with Mozart’s G Major Flute Concerto with soloist Hye Sung Choe (MM ’05, pictured), then Debussy’s La Mer, in a critical edition by Professor Marie Rolf (PhD ’77).

• Jazz students wound up the weekend with a joint concert by the Eastman Jazz Ensemble and New Jazz Ensemble, led by Bill Dobbins and Dave Rivello (MM ’89). The program covered great jazz com- posers from Ellington and Gershwin to Maria Schneider (MM ’85).

January 2007 | Eastman Notes  A Memorabilia Room gave alumni the chance to explore riches of Eastman’s past: yearbooks, programs, photographs and much more.

Eastman Weekend’s oldest attending alumna, Dorothy Eshelman (BM ’30), was a special guest at Saturday night’s Gala Dinner. 99-year-old Dorothy still plays the piano regularly at her assisting living facility in upstate New York.

Two true Eastman Legends were honored during the Weekend. Professor Emeritus of Voice John Maloy’s portrait was hung on Cominsky Promenade on Saturday morning. The event included a very classy serenade from two former Maloy pupils: soprano Karen Holvik (MM ’80), now Assistant Professor of Voice (top photo); and baritone Ian Greenlaw (BM ’95), both accompanied by Distinguished Professor of Voice Benton Hess. Students and friends of Professor Maloy are raising funds to create a scholarship in his honor. Sunday morning brought a brunch at which longtime Professor of Trumpet (and Rochester Philharmonic principal trumpet) Sidney Mear (BM ’41, MM ’49, pictured at right, center row above) received Eastman’s Alumni Achievement Award—and a fanfare from a panoply of former students. THERE IS NO SUBSTITUTE FOR EXCELLENCE Times change, but the values at the heart of an Eastman education endure

By Jamal Rossi n getting ready for today’s convocation address, I noted that Eastman’s Jamal Rossi, web site indicated that I would be “addressing an issue that is at the heart Interim Dean of the of an Eastman education.” Wow—this is a daunting task. In an attempt to Eastman School meet this challenge, I’ve decided to tell you about something, or perhaps I of Music, delivered should say someone, who is important to me—my dad. this year’s convo- The first thing that I want you to know about my dad is that he is simply cation address in I a great guy. When I think of what he has faced and accomplished in his life, I am Kilbourn Hall on in complete awe of this man. My dad turned 84 years old about two weeks ago, September 7. and I’m so thankful that he is still in excellent health. When he was in his prime, he was what we might call “height impaired,” but he was all muscle. Some would say that he was “built like a fire hydrant.” CONTINUED ON PAGE 10

PHOTOGRAPHS COURTESY EASTMAN SCHOOL OF MUSIC ARCHIVE (TOP) AND BY WALTER COLLEY (rossi) January 2007 | Eastman Notes  CONTINUED FROM PAGE  whereby Dad would answer everything with a saying. For instance, My dad was the youngest of seven siblings. His older brothers imagine my sister and I arguing in the kitchen, saying, “It’s not my and sister were born in Italy, but Dad was born in the United States. fault. It’s your fault.” “No it’s not, you did it.” My father would walk Essentially my dad and his family were first-generation immigrants to into the kitchen and say something like, “You know, even a fish this country. My dad grew up outside of Pittsburgh, Pennsylvania, in wouldn’t get caught if he kept its mouth closed. What happened?” an area where many immigrants lived—Hungarians, Polish, Italians, Jamal: “I’m sorry, we had an accident; we broke your coffee mug.” Germans. Talk about diversity! This was a true melting pot. Dad: “Accidents don’t happen; they’re caused.” Dad attended high school during the Depression, and he is one of Jamal: “Well, it wouldn’t have happened if my sister hadn’t been only two of his siblings to graduate from high school. His brothers bothering me.” and sister dropped out of high school so that they could support their Dad: “If, if, if—if a frog had wings, he wouldn’t bump his bottom family during that time. During high school, and immediately after every time he jumped.” graduation, Dad served as an auto mechanic in a local garage. He It could go on like this seemingly forever. Even today, when I call tells about how he and his brothers would home and ask “Hi, Dad. What’s new?” Dad place their weekly pay in a bowl on the din- responds, “Same as ever, changes never.” It ing room table. My grandfather would pay If it is worth doing, will never change. the family bills, and then distribute what- it is worth doing well. ever was left to Dad and his brothers. That’s o why am I telling you all this? how my Dad’s family made it through the No matter what the Because there was one saying I grew Depression. up with throughout my childhood, After the Depression, my dad was drafted task, my Dad never which I believe represented the into World War II. My grandfather went to S credo of my father’s life. Dad would say, “If the Draft Board and asked for a deferment, settled for anything it’s worth doing, it’s worth doing well.” because four of my uncles were already serv- If it is worth doing, it is worth doing well. ing in the military. He was successful in get- less than his very best— No matter what the task, my Dad never set- ting a six-month deferment, but ultimately tled for anything less than his very best— Dad served in the United States Air Corps. whether it was rolling whether it was rolling steel, mixing concrete, When Dad returned from the War, he did steel, mixing concrete, or making pasta, Dad took great pride in all what most young men in Pittsburgh did: that he did. he went to work for U.S. Steel. And that is or making pasta, I remember one time Dad was expand- where he spent his entire career. ing the size of our back patio. One of our In the last part of his career, Dad served as Dad took great pride neighbors came over after dinner and started a Roller in a steel mill outside of Philadelphia. giving my dad a hard time because dad dug He headed a crew of 15 to 20 men to roll the in all that he did. footers that must have been four feet deep. steel into the proper thickness required by a My neighbor would say, “Doc, what the heck client, whether it was to be used for an automobile body, a refrigera- are you doing? This isn’t a bomb shelter. It’s not Fort Knox. It’s just a tor, or whatever was required. patio.” My dad replied, “Well, as my pappy always said, ‘If it’s worth doing, it’s worth doing well.’” Today, forty years later, that patio still s I was growing up, I was always amazed at the pride my looks pretty good. dad took in his work. When my mother would ask, “How So, I’m supposed to be talking to you about something “that is at was your day?” Dad would reply, “We had good produc- the heart of an Eastman education.” And this is it: if it is worth doing, tion today; there were no breakdowns; the steel had a re- it is worth doing well. If what we are engaged in here at Eastman Aally nice quality to it – there were no blemishes in it.” And I thought is worth doing, it is worth doing to the very best of our abilities. to myself, “Who cared if the steel had blemishes?” Really, when was Whether it is teaching, or learning, or practicing, or performing, or the last time you examined the quality of a piece of steel? But my dad conducting research, or writing papers, or giving speeches, or main- cared, because it was a reflection of his work. taining our facilities, it doesn’t really matter. If we believe there is The truth of the matter is, my father was not a highly educated value in what we do, if we are going to engage in an activity, if we person—but he is a very intelligent man. Some people might call it are going to pursue a profession, it is worth doing it to the very best “street smarts”; my father called it “Italian ingenuity.” My dad could of our ability. analyze and understand situations, he could figure out anything me- I want to look at this from two perspectives: as a student, and as chanical, and he understood people. a career choice. Like many dads, mine had a saying for every situation. When I One of the things for which I will be forever grateful is my father’s was growing up, it seemed like we could have whole conversations support in sending me to college. Just as my father was one of the

10 Eastman Notes | January 2007 first in our family to graduate from high school, I was one of only a The Greek philosopher, Aristotle, wrote, “Excellence is an art few of my 20 cousins to attend college. Now remember, Dad was a won by training and habituation. We do not act rightly because we steel worker. His brothers were steel workers. Most of his friends have virtue or excellence, but rather we have those because we have were steel workers. I try to imagine what it must have been like when acted rightly. We are what we repeatedly do. Excellence, then, is not my father told his brothers that he was going to spend money, a lot of an act but a habit.” money, to send me to private college to study saxophone. Former Secretary of State Colin Powell said, “If you are going to You know, I don’t think my uncles ever got their brains around achieve excellence in big things, you develop the habit in little mat- this. Studying to be an engineer, a doctor, a lawyer—this they could ters. Excellence is not an exception, it is a prevailing attitude.” understand. But studying saxophone? My father told me in high My father would say, “Close only counts in horseshoes and school and in college, “Do what you love and do it well.” I believe hand grenades.” that Dad gave me the gift of allowing me to pursue my dreams. As My friends, Eastman is a leading school of music in the world not have all of our parents. because of our geographic location, or because of our easy access to At last week’s orientation, I told the freshmen, “thank your parents, and thank them often.” I mean it. Our par- ents have given us the opportunity to become the most outstanding musicians that we could in order for us to pursue dreams. Given that opportunity, is there any rea- son to do anything less than our absolute best work? And I mean our best work in everything. Not just in the studio, not just with your instrument, but also in the classroom when you are studying music history, or mastering aural skills, or taking leadership courses, or studying language, or in the way you interact with your colleagues and peers. Given the opportunities presented to all of us, I can’t think of any reason why we would put forth anything less than our best efforts. As my Dad would say, “Good enough is never good enough.” The other perspective is this. I was once asked to give a talk on “training musicians for the challenges of the 21st century.” None of us know the challenges we will face ten, twenty, or forty years from now. As educators, we help students to obtain skills that they will build over the course of a career. We can encourage you to become creative thinkers. We can inspire you to become lifelong learners. But the truth of the matter is this: there have always been challenges to being a professional musician “Doc” Rossi, center, spent his entire working career at U.S. Steel. This photo and there always will. shows him with co-workers, celebrating a production record. No matter what skill set you bring into the profession, there is simply no substitute for excellence. This is true whether major symphonies and opera companies, or because of our balmy you are a performer, scholar, teacher, conductor, or composer. It is weather. Eastman is a world-class leader because of the excellence also true in the way you interact with people. These are things upon of our faculty, because of the quality of the education we offer, and which you will be assessed when you seek employment. And these perhaps most important, by the impact that our alumni have made are the foundations upon which you will be an effective change agent throughout the world. to those around you, and to the music profession as a whole. Friends, I encourage you to demand, expect, and accept nothing less than excellence from yourselves. If you do, you will raise the bar said earlier that my father took great pride in everything that of all that happens here at Eastman. And you will enter the music he did, and I encouraged you to do your best work in everything, profession ready to make a meaningful contribution in all that you not simply those things that you deem important. Because, here is do. Please remember the words of my Dad: “If it is worth doing, it the thing: excellence, like everything else of value, takes practice. is worth doing well.” IIt is hard work. You have to get into the habit of demanding excel- lence from yourself, expecting excellence from yourself, and simply On the web This convocation address is also available on the Eastman not accepting anything less. website: www.esm.rochester.edu/news/?id=312.

PHOTOGRAPH COURTESY JAMAL ROSSI January 2007 | Eastman Notes 11 Alfred Mann remembered An Eastman musicologist fondly recalls a distinguished colleague

By Jürgen Thym

On September 21, 2006, lfred Mann left Rochester in 1999, but he stayed Professor Emeritus of Musicology in touch with friends by mail (always handwritten) Alfred Mann died at his home or, as long as his hearing permitted it, by phone, and in Fort Wayne, Indiana, aged some of us visited him in his abode in the Midwest to 89. He came to Eastman in 1980 seek his counsel or just reminisce about times past. after a distinguished academic AHe remained active as a writer on matters musical until the very and performing career at Rutgers end; at the time of his death he was working on an English transla- University, teaching here until tion of the correspondence between Clara Schumann and Johannes 1987 but remaining active at the Brahms, and his opus ultimum, as he called it, was the English version School until his move to Indiana. of Hans-Joachim Schulze’s book on Bach’s Coffee Cantata. This reminiscence of Mann was Alfred Mann had already reached emeritus status at Rutgers University when he joined written by his Eastman colleague, Eastman’s musicology department in 1980—he could easily have faded into “retirement.” Instead, Professor Emeritus of Musicology the move proved to be a courageous act of renewal for the Mann family. Alfred’s wife Carolyn Jürgen Thym. immediately founded the Front Porch Theatre, a kind of summer workshop for high-school stu- dents, resulting in many fine productions with the Mann homestead in Penfield as backdrop; and Alfred very quickly made himself indispensable to the School. (I have always admired the wisdom and foresight of Robert Freeman and Jerald Graue, who “threaded” the appointment.) Alfred Mann imbued the musicology department, which at the time was distinguished but rather junior, with the experience and the gravitas of an elder statesman; he brought to the School a wealth of national and international contacts, and, as a respected scholar-per- former, he easily bridged academic and applied approaches to music. Thus he was especially representative of Eastman’s educational philosophy. The synergisms that his presence gener- ated with Eastman’s choral program in the 1980s and 1990s (first with Donald Neuen, then with William Weinert) are legendary. Spurred on by the health- and energy-inducing effects of Carolyn’s excellent cooking and the swimming pool on the premises in Penfield, Alfred Mann “pulled his weight” both as a teacher and as a scholar. He continued to shed light on immensely important topics, nota- bly the teaching of composition and the relationship between scholarship and performance. The Mann bibliography prepared by Michael Dodds for the Society of Seventeenth-Century Music in 2000 gives ample evidence that Alfred Mann’s productivity continued unabated. Jürgen Thym I have many fond memories of Alfred Mann, and feel blessed that I knew him as colleague

12 Eastman Notes | January 2007 PHOTOGRAPHS BY KURT BROWNELL (JÜRGEN THYM) AND COURTESY EASTMAN SCHOOL OF MUSIC ARCHIVE (ALFRED MANN) and friend for such a long time. I would like to share three polyglot that I don’t wish I hadn’t!” He carried himself with dignity even in the statements from our correspondence that are like snapshots of the most trying situations—we will miss him. way he interacted with people. There is a silhouette, poignant and humorous at the same time, de- “Man kummt ni ut de Angst ruut,” he inscribed a book he presented signed by a Viennese artist in 1896, called “Bruckner Enters Heaven”. to me when he began his tenure at Eastman in 1980, “im Summer dun- The recently deceased composer is greeted by the great masters of nerts und im Winter de Schul geit wedder an.”—“One never escapes anxi- music (with Wagner and Liszt, as is appropriate, in the first tier). I ety: in summer there are thunderstorms, and in winter school begins.” (Yes, imagine a similar welcome for our departed colleague and friend, Alfred spoke Plattdütsch, and he and I know that at least Schütz, Handel, Bach, Mozart, Schubert, In addition to research and used the low-German dialect of Tchaikovsky, and perhaps even Richard Strauss and a few others may writing, Alfred Mann taught the region he came from even in want to converse with him about how the teaching of composition seminars and advised many the last years, when he phoned was transmitted over the ages. doctoral students. his sister in Europe.) Alfred explains his findings to them in his inimitably patient and And in an undated note, probably from the late 1980s, when he erudite manner; they listen to his quiet voice (through which he is did not feel comfortable with the wording of a flyer advertising the able to control even the most unruly environment); and, at the end, musicology department: “Will we get another chance at the brochure they are completely persuaded. Handel even volunteers to conduct text? It’s an intriguing job to draw the departmental image. I can see a heavenly “Hallelujah” chorus, with Bach at the organ, in honor of that stepping on toes is all right—but it takes a sure aim and a heavy the new arrival; or, perhaps, in an act of temporary humility, he even foot!” (Case made without using inflammatory language!) hands the baton to Alfred Mann. And in January 2001, when he must have felt the toll that the in- exorable passing of time had taken on his body: “Tempora mutantur, On the web For more information about Alfred Mann’s life and Nos et mutamur cum illis.”—“I have certainly changed, and I can’t say career, visit www.esm.rochester.edu/news/id=319.

January 2007 | Eastman Notes 13 A recent photograph of Jack Beeson, who celebrated his 85th birthday in 2006.

14 Eastman Notes | January 2007 PHOTOGRAPHS COURTESY JACK BEESON Old-fashioned

vırtuesComposer Jack Beeson (BM ’42, MM ’43) takes pride in a richly creative life and a classic American opera

By Susan Hawkshaw ack Beeson, who celebrated his eighty-fifth birthday in July 2006, is best-known for his tragic and sensational opera on the story of the ac- cused Fall River murderess, Lizzie Borden (1965), which premiered and was revived four times at the New York City Opera and has been per- Jformed on television and abroad. Beeson, who has had a long and distinguished career, is recognized as one of our most important opera composers, and Lizzie Borden stands as one of the major achievements in mid-century American opera. Conductor Julius Rudel, who was General Director of the New York City Opera from 1957 to 1979, says: “During my tenure, I was constantly searching for CONTINUED ON PAGE 15

January 2007 | Eastman Notes 15 CONTINUED FROM PAGE 16 ing opera is different from writing a musical in one sense: you’re not operas by American composers that might have the dramatic power as worried about details. It’s the sweep of it. You’re not worried about and musical greatness to become part of the repertoire. Jack Beeson’s filling in the history and the events, one leading to another. They’re Lizzie Borden was among the best we produced. It has a powerful dra- the broad strokes, these sweeps of color that lead to these big emo- matic line, strong characters, and music that, though consistently tional statements. That’s what opera is about.” interesting, never chases the audience away.” Captain Jinks is subtitled “a comedy in music”—and lives up to the subtitle by incorporating jokes directly into the music. The story uring his eighty-five years Beeson has written ten focuses on a young American opera singer, Aurelia Trentoni—from operas, all well-shaped, polished, and effective both Trenton, New Jersey—making her American debut in La Traviata, theatrically and musically. But because of the success and her relationship with Jonathan Jinks, who makes a bet that he of Lizzie Borden, Beeson’s name is connected for the can seduce her. At the entrance of his mother, who has come to stir Dmost part with the tradition of contemporary tragic opera in this up trouble, we hear the same music that accompanied Aurelia and country—and most American operas have Jonathan’s first meeting—backwards. When been tragic. the bet is discovered, Jonathan loses Aurelia. So it may come as a surprise to some lis- And when he asks for forgiveness, the swag- teners that he has a keen sense of humor gering title tune is heard in a subdued vari- and has written operas and choral works ant—also backwards—as the stage is covered with a comic twist that manifests itself in in flowers. their titles, texts, and music. Most recently, Contralto Clarity James, who sang the Beeson has written Practice in the Art of part of Mrs. Greenborough, Aurelia’s con- Elocution (1999) for a single soprano ac- fidante, and who remembers the opera as companied by piano. A work with theatrical “delightful,” says: “Comedy is a little bit more flair, which he calls an “operina,” Practice is difficult in opera than in straight theater, at the other end of the operatic spectrum because everything about comedy is in the from Lizzie Borden—a rehearsal of amusing timing. And that’s something that I always exercises and songs that takes place at some felt that Jack did really beautifully. In the time during the early twentieth century and part of Mrs. Gee, there are a lot of interjec- is performed in appropriate costume. It is tions, and those were written so well that the intended for “singer-actresses” and “accom- comic timing already existed in the music. panists who can act,” and the performers It’s difficult because the music is so specific, are encouraged to “elaborate on the written but on the other hand, if you delivered the words” by adding new words, phrases, or Beeson decided line musically correctly it would be fun and even dialogue. quick and sharp, producing just the effect The composer of Lizzie Borden has also to attend Eastman that the character needed to make. So in a written Captain Jinks of the Horse Marines, lot of ways, Jack did the work for us, in tim- premiered by the Kansas City Lyric Opera after discovering ing, which is really important.” in 1975. This romantic comedy is based on a the music of very successful 1901 play by American play- fter some early experiences wright Clyde Fitch that takes its name from a Howard Hanson and in his teens writing libretti and British music hall tune also used in this coun- sketching music, Beeson de- try, sometimes as a tune for square dancing. Bernard Rogers. cided to attend Eastman after The opera began an eighteen-year operatic Adiscovering the music of Howard Hanson collaboration between Beeson and Sheldon Harnick, the eminent and Bernard Rogers. Beeson describes the latter as “a phenom- Broadway lyricist of Fiorello!, She Loves Me, and Fiddler on the Roof. enal man with the orchestra.” Beeson’s skill in orchestration, and “Harnick said he would be happy to collaborate with me, but the experience he gained when he heard his work at the Hanson’s it would have to be a comedy because he felt more comfortable Festivals and Symposia of American Music, are evident in the light that way,” Beeson says, “and did I have an idea in mind? Yes, I said, and colorful orchestral writing of Captain Jinks, which never covers Captain Jinks of the Horse Marines. The opera is one of my more con- the voices. servative pieces in the sense that it’s quite tonal and very tuneful in Beeson studied counterpoint in the class of Eastman theorist some places.” Gustave Soderlund for two years, and counterpoint has remained Harnick, for whom this was the first opera libretto, says: “I had to essential to him, giving his work a clarity of structure and texture learn gradually—and Jack was a help in teaching me this—that writ- important in a two- or three-hour work, such as an opera.

16 Eastman Notes | January 2007 “I am by nature a contrapuntalist,” Beeson says. He likes to play Bach fugues daily as a warm-up exercise, and the effect of his study of counterpoint and constant renewal through the music of Bach is often apparent, both at the level of individual melodic lines and of entire pas- sages of music in Captain Jinks, where he quotes the waltz music of the first act ofLa Traviata and writes new chromatic counterpoints against it—he refers to the passage from Traviata as the “cantus firmus.” Beeson’s love of counterpoint is also in evidence in his writing for choral music, which he writes, he says, just for the fun of it. “I just like to write choral music. For a long period I was doing it, and with some of those rounds, I’d write one every day. I always thought that writing rounds is like practicing the piano or playing Bach in open score.” Choral conductor Gregg Beeson’s most famous opera, Smith, a long-time champion of Lizzie Borden, enjoyed a Beeson’s music, has performed successful 1965 premiere at his music most recently at a the New York City Opera, a series of choral concerts done television production with every year at St. Peter’s Church Brenda Lewis and Anne Elgar in New York City. Smith plans a (top), and a well-received 1999 recording of Beeson’s complete revival with Phyllis Pancella, choral music to be issued in the also televised on PBS (bottom). near future. The titles of Beeson’s choral pieces show his contrapuntal bent and also a sense of childlike whimsy: Nursery Rhyme Rounds (1959); The Model Housekeeper (1970); nine rounds and canons for women’s voices a cappella; Rhymes and Rounds (1984); and many others. He is very inventive: his choral piece “Give the Poor Singer A Penny” is a transposing round—it goes through all the keys. “Swan Song” from Rhymes and Rounds, and one of the songs in Practice in the Art of Elocution, are spiral canons—each time the tune is heard, it is transposed up a fifth (in different octaves). He has written some sixty canons, and claims to suffer from “canonitis.”

fter Eastman, Beeson accepted a position on the faculty of Columbia University and spent his academic career there, becoming MacDowell Professor of Music. New York, with its possibilities for professional opera produc- Ation, was the perfect place for him, and here he achieved a major suc- cess with Lizzie Borden, based on a libretto by Kenward Elmslie, and the product of many years of thought and detailed work. Elmslie, a poet, novelist, and Broadway lyricist as well as a libret- tist for six operas including Beeson’s The Sweet Bye and Bye (1958) recalled how their collaboration came about: “One NYC day, Douglas Moore asked his librettist, John Latouche, my Mentor-Better-Half, if he could track down a live librettist for Jack Beeson, also a music professor at Columbia. Latouche whistled, and out I popped. Words for opera? No way! But I wrote two librettos for Jack, pretending they were book-and-lyrics for innovative Broadway musicals. First orchestra rehearsal of our The Sweet Bye & Bye, I ascended into Librettist Heaven. Lizzie Borden? Same happy delirium, thanks to Jack’s music.” CONTINUED ON PAGE 18 “The essence of an ensemble is counterpoint,” Beeson says. “And the essence of counterpoint is after all not intervals but rhythm, and lengths of durations, and you’re sunk if you give everybody the same kind of note values because you can’t hear the individuals.” Beeson, who is always extremely sensitive to the issue of intelligibility of English, uses “expandable” long vowels for the lovers’ words. This distinguishes them from the gossiping stepmother and the Reverend, whose lines feature short vowels and clear consonants.

eeson has also written several chamber operas, among them Hello Out There (1954), My Heart’s in the Highlands (1970), Dr. Heidegger’s Fountain of Youth (1978, with Sheldon Harnick) and Sorry, Wrong Number (1999), for Bwhich he did his own libretto, as he did for five of his operas. Julius Rudel calls Hello Out There “one of the best chamber operas of the era. Again, Jack brought out the tensions between the characters, while always managing to give them music of great beauty.” Beeson is particularly proud of his role as an actor in My Heart’s in the Highlands, for which he was paid more than for his composing. He played the part of the young husband at the end of the opera. He recalls his costume call with British designer Barbara Matera: “She and her assistant were going through large quantities of cloth of a dark nature, and I realized that she was talking about the costume for the old guy who played the cornet for the old folks’ home. So I said, ‘You realize, don’t you, Miss Matera, that this suit he has on had once been a fine suit, but that was way back when he was in Scotland, and it’s now very worn.’ She looked at me as though to say, ‘Who the hell do you think you are?’ and said, ‘What do you know about it?’ I said, CONTINUED FROM PAGE 17 ‘Well, I’m the composer. And I put the libretto together.’ ‘Oh,’ she If one re-listens to Lizzie Borden in 2006, the atonal sections take said, and remarked, ‘We so seldom measure composers.’ ” their place alongside a twentieth-century tonality—and it should Beeson’s awards include the Rome Prize and a Fulbright fellowship be pointed out that one of the “generating elements” of the opera (1948–50), a Guggenheim Fellowship (1958–59), a gold medal from is a hymn tune. “As Lizzie goes along,” Beeson says, “it collects ma- the National Arts Club, election to the American Academy and Institute terial from the beginning to the end, including the hymn at the of Arts and Letters (1975–76), and an honorary degree from Columbia beginning, the text of which is from the nineteenth century, the University in 2002. After retiring from Columbia in 1988, he is writing a music of which is mine. So this tune, which people identify as a book with the working title of Writings on Music, Opera and Myself, that in- simple hymn, becomes one of cludes letters to and from him and reprints some of his earlier articles. Beeson made more money the generating elements of the Jack Beeson’s most important legacy is, of course, his music—in appearing in his opera whole opera, including its inter- addition to his ten operas and seventy-two choral pieces, there are My Heart’s in the Highlands ludes. And when you’re in the sixty-five songs, and works for solo instruments and symphony or- than he did for writing it. mad scene at the end of Act II, chestra, but opera is closest to his heart. everything—mostly—is made up of something that came before. It In a New York magazine review of Lizzie Borden (March 1999), just seems to me the natural thing to do, particularly when you have critic Peter G. Davis commented, “Lizzie Borden rejoices in its old- a woman on stage who is going mad or is highly neurotic , and she fashioned virtues: knowledge of what the voice can do best, a flair keeps reliving things that are eating her.” for creating character and atmosphere, the ability to manipulate Apart from questions of style, what seems most evident in Lizzie musical idioms in ways that always serve the drama, and a keen ear Borden, is Beeson’s expert handling of the voices. The vocal lines for capturing the natural melodic flow of English.” Sometimes the shine and shimmer, be it in arias, American parlor songs, or ensem- “old-fashioned” virtues are best. bles in which the personalities of the characters are distinguished by words, articulation—and counterpoint. In the first quintet from ➤ Susan Hawkshaw is Assistant Director, Yale University’s Oral History Lizzie Borden, the young lovers have one canon while the stepmother American Music Project. Some quotes from Mr. Beeson are taken from and the Reverend have another—the fifth part is Lizzie’s. interviews for the Project.

18 Eastman Notes | January 2007 SCHOOL NEWS

Robert Levin (shown here with student Greg DeTurck) began a lively day at Eastman with a piano master class. Right: Mozart’s early La fina giardiniera was elegantly done by Eastman Opera Theatre. Mozart: Rare and well done

The strains of Mozart’s symphonies, con- On December 14, Eastman hosted the certos, sonatas, quartets, and operas are al- noted musicologist and pianist Robert Levin, ways in the air at Eastman, of course. So it was well known for his recordings of Mozart and appropriate that the School’s performance Beethoven concertos, for a number of events offerings for 2006, the year the music world surrounding a performance of Levin’s com- celebrated Mozart’s 250th birthday, included pletion of Mozart’s C Minor Mass by William two major Mozart works with a difference— Weinert and the Eastman-Rochester Chorus one an early, rarely performed opera, and a on December 14. Levin gave an energetic completion of a famously incomplete work. piano master class on Haydn sonatas, and a In early November, Eastman Opera Theatre lecture on his work on the Mozart Mass. (He presented Mozart’s La finta giardiniera (The has also completed the unfinishedRequiem , Pretended Garden-Girl), written at age 16 as well as other Mozart works.) but showing plentiful flashes of Mozartian Levin’s appearance was the inaugural operatic genius despite its cardboard story. event in the Glenn Watkins Lecture Series, The characters include a number of operatic which will bring notable scholar-performers clichés whose lives combine complicatedly, to Eastman for a residency every other year. but love conquers all at the end. This rarity The series was made possible by a gift from was given a beautiful 18th-century-scale pro- alumnus and distinguished musicologist duction in Kilbourn Hall, directed by Steven Glenn Watkins (PhD ’53), who, happily, was Daigle and conducted by Benton Hess. here to enjoy its inauguration.

PHOTOGRAPHS BY KURT BROWNELL (TOP) AND GELFAND-PIPER PHOTOGRAPHY (BOTTOM) January 2007 | Eastman Notes 19 SCHOOL NEWS

All-American Organ at EROI 2006 The 2005 EROI Festival saw the installation of a beautiful Italian Baroque organ in the University’s Memorial Art Gallery (see Notes, January 2006). The 2006 EROI Festival, which took place from October 12–15, 2006, honored the 20th-century American organ, and the work of two great American organ builders: E.M. Skinner (1866–1960), whose many instruments in the romantic style in- clude the Eastman School’s Kilbourn Hall organ; and John Brombaugh, an outstand- ing name among current American masters and a guest speaker at this year’s festival. Brombaugh’s Opus 9 organ (pictured), on loan to Rochester’s Sacred Heart Cathedral from Toledo’s Ashland Avenue Baptist Church, was also an EROI “guest.” This year’s EROI highlights included: • A keynote address by Orpha Ochse (MM ’48, PhD ’53), Professor of Music Emerita at Whittier College and the author of The History of the Organ The distinguished American organ builder John Brombaugh gave interesting insights into in the United States, his work at a Friday afternoon presentation. and a presentation on “E.M. Skinner— The Man” by Barbara Owen. Orpha Ochse was also presented Ochse with an Alumni Achievement Award, “in recognition of the tremendous influence her work has had in the American organ world as well as her out- standing career as a church musician, teacher, performer, composer, and scholar.” • A Saturday afternoon Organ Walk along East Avenue, giving participants a chance to hear lecture-demonstrations of the mag- nificent instruments in some of Rochester’s largest churches. • A joint recital by the Eastman School’s dis- tinguished organ faculty: Hans Davidsson, David Higgs, and William Porter, and a guest recital on the Italian Baroque organ Skinner Organ Company #325 (1921), aka the Kilbourn Hall organ, was the subject of by Francesco Çera. several lectures and a demonstration.

20 Eastman Notes | January 2007 PHOTOGRAPHS BY KURT BROWNELL SCHOOL NEWS

The Eastman Clarinet Choir debuted at the Festival and joined a Mass Festival Choir of more than 100 clarinetists. Clarinet-Palooza! Eastman revives clarinet history

By Juliet Grabowski 14–15, 2006, Eastman officially became part Concerto being played simultaneously by sev- of this next chapter of clarinet history when eral different clarinetists, as they tried out Nearly 300 clarinetists from around the it hosted the 2nd Annual Buffet Crampon the hottest new ligatures, thumb-rests, and U.S. and Canada made the trip to Eastman Clarinet Ensemble Festival. mouthpieces!) this fall to celebrate an unusual type of mu- More than 10 different clarinet ensembles The Eastman Clarinet Choir made its debut sical ensemble: the clarinet choir. took part in the weekend’s events, including at the Festival to great acclaim by the clarinet The clarinet ensemble has a somewhat two high school choirs, two “New Horizons” community. The ensemble has already been checkered history, dating back to the first true choirs (for senior citizens), and several col- invited to perform at clarinet events in Seattle, clarinet choir at the Brussels Conservatoire legiate ensembles. Festival participants also Vancouver, and throughout New York State. in the late 1800s. Although the clarinet choir had the opportunity to work with Eastman The weekend concluded with a Mass experienced a golden age of popularity in the clarinet faculty members Kenneth Grant, Festival Choir, comprised of approximately 1950s and 1960s, the genre has remained rel- Jon Manasse, and Robert DiLutis in mas- 100 clarinetists, who packed the Kilbourn atively silent for the past three decades. ter classes, and to try out various clarinet- Hall stage to perform arrangements of works Thanks to the efforts of a few clarinet en- related products presented by supporting by Bizet, Haydn, and Weber. thusiasts, clarinet choirs are now experienc- vendors. (One can only imagine the sounds ing a revival. On the weekend of October of the Mendelssohn Scherzo and the Mozart

Jazz according to Moyle – and Eastman

The fifth annual Rochester International The Festival also included live radio coverage, Jazz Festival, held in June, had record atten- and a series of blasts from the Rochester dance—80,000 people, who heard 170 radio past: replays of classic interviews of concerts by 600 artists. Many of those art- jazz greats from the ’60s and ’70s by the late, ists were Eastman faculty members, alumni, legendary interviewer Will Moyle. They were and students; you can see photos of many publicized in Eastman’s Main Hall with this of them in action at www.rochesterjazz. nifty retro poster designed by current DMA com/festival_photos. student (and last year’s Billy Joel Scholar) Russell Scarbrough.

PHOTOGRAPH BY KURT BROWNELL SCHOOL NEWS

ECMC turns XXV

The Eastman Computer Music Center (ECMC), established in 1981, is celebrating its 25th anniversary during the 2006–2007 academic year, with a long list of concerts, guest lectures, multimedia exhibi- tions, and other special events.

The events began on October 12 with guest composer Jean-Claude Risset, and include a concert com- bining live organ music and tape (April 15) and an even more unusual collaboration for tape and the University’s Hopeman Memorial Carillon (May 2). The guest list includes many prominent compos- ers and performers who worked or studied in the ECMC studios. Mieczyslaw Weinberg said, “Although I have never had lessons from [Shostakovich], I count myself as his pupil, as his flesh and blood.” A full report on “ECMS25” will appear in the July issue of Eastman Notes; for more information on the Center’s history and upcom- Legacy + discovery: “Shostakovich ing events, visit ecmc.Rochester. edu/ecmc25. + Weinberg” at Eastman

Eastman joined the rest of the musical change of ideas that left a unique legacy. ECMC has added electricity to world in observing the centenary of Dmitri This legacy was explored in a weekend of Eastman’s atmosphere for 25 years. Shostakovich (1906–1975) this year. In fact, papers by such noted Russian-music schol- “Shostakovich + Weinberg: An Artistic Dialog” ars as Laurel Fay and David Fanning, and started out the year in mid-September, bring- concerts that involved many Eastman faculty ing together scholars and musicians. musicians: the Ying Quartet, Barry Snyder, Shostakovich’s symphonies and string Charles Castleman, Steven Doane, Tatiana quartets have become cornerstones of the Tchekina, George Taylor, Lynn Blakeslee. repertory, but in the story of his life as a The event was brought about by both com- Soviet Russian composer, and its reflection posers’ connections to current faculty mem- in some of the most emotionally lacerat- bers Mikhail Kopelman and Oleh Krysa, both ing music ever written, he has also come Professors of Violin. to be considered “an essential reporter on Weinberg was even more prolific than the human condition in the middle of the Shostakovich: his large catalog includes 26 twentieth century,” according to the critic symphonies and 17 string quartets. “Shosta- Michael Steinberg, his younger contempo- kovich + Weinberg” included performances rary and close friend Mieczyslaw Weinberg of some of Shostakovich’s best-known (1919–1996) is nearly unknown in the West. works, including the Piano Quintet, the But they were closely associated, and in fact, Cello Sonata, and the Eighth Quartet; but their relationship was one of the most in- it also placed them side-by-side with vir- triguing in music history: 30 years of deep tually unknown chamber and vocal works friendship, mutual respect, and rich ex- by Weinberg.

Photographs COURTESY EASTMAN SCHOOL OF MUSIC ARCHIVE (ECMC) and Mikhail Kopelman (Shostakovich and Weinberg) SCHOOL NEWS

Eastman and the UK shared quality time with Steve Reich last fall.

Internet2 exposes Eastman to the Reich stuff

Legendary composer Steve Reich will Bangor and Edinburgh. Reich described his early work from the visit Eastman in March 2007, but students In his trademark black and baseball cap, 1960s and 1970s as “a creative relationship and faculty got a preview of the minimalist the genial composer offered observations with the imperfections of technology,” add- master during a September 29 Internet2 pre- about such influential works as It’s Gonna ing that to compose good music, “you don’t sentation in Ciminelli Lounge. Rain, Piano Phase, Vermont Counterpoint, and need the highest quality technology; you Based in London, where the LSO was Tehillim—and offered a shout-out to percus- need good musical ideas.” As for his take presenting a Steve Reich 70th birthday cel- sion instructor Bill Cahn (BM ‘66), who has on his status as a revolutionary composer, ebration, Reich answered questions from performed several Reich works as a member Reich averred, “I’m just catching up with Eastman, London, and the Universities of of the percussion ensemble Nexus. everybody else.”

All to the Good

The Greater Good, an opera by Stephen his first opera, and judging from the critical Hartke and Philip Littell commissioned by response, it shouldn’t be his last. the Hanson Institute for American Music, had The New Yorker’s Alex Ross described a successful premiere at Glimmerglass Opera Hartke’s score as “a subtle riot of sprung last summer. Based on Guy de Maupassant’s rhythms, colliding tunes, jazzy rave-ups, much-adapted story Boule de Suif, The onomatopoeia, musical in-jokes, and, at Greater Good is a recent commission from the end, a delicately shattering anthem of the Hanson Institute, which recently funded despair.” New York’s Peter G. Davis also new works by alumni George Walker and praised the opera’s “beautifully integrated Dominick Argento, as well as works by Paul ensemble,” singling out Caroline Worra Moravec and Sydney Hodkinson which will (pictured) as the main character, a good- be premiered at Eastman in spring 2007. hearted prostitute named Boule de Suif; Ross Hartke is a highly regarded composer of called the soprano’s performance “radiant orchestral works; The Greater Good was and heartbreaking.”

PHOTOGRAPHS BY GELFAND-PIPER PHOTOGRAPHY (STEVE REICH) AND COURTESY GLIMMERGLASS OPERA (CAROLINE WORRA) Summer at astman E 2007 I^Wf[oekh \kjkh[ m_j^f[[hiWdZ\WYkbjo James Martin joined Eastman’s Mark Kellogg and 22 enthusiastic students for our first (but not our last) Trombone Institute. m^ei^Wh[oekh Summer 2006: A classic continues fWii_ed By Ruth Cahn students for a week of total immersion in “all things trombone.” Look for a repeat perfor- “Summer at Eastman” certainly has a less mance in summer ’07! \ehcki_YcWa_d] hectic pace than the regular school year, • Many “summer classics” returned: The while still embracing traditional Eastman Practical Harpist with Kathleen Bride; values. Our faculty and students find sum- Orff Schulwerk with Donna Brink Fox mer to be a time to go deeper into our per- and guest faculty; Kodály Workshop with 7bkcd_Z_iYekdj sonal musical development with the support Georgia Newlin; Dalcroze Eurhythmics with M[mWdjWbkcd_jeh[jkhdje;WijcWdWdZ[dh_Y^ of wonderful faculty and peers. Gregory Ristow (MA and MM ’04); Jazz • The Summer Conducting Institute, di- Guitar Workshop with Gene Bertoncini; j^[_hcki_YWbb_l[im_j^ki?\oekWh[W]hWZkWj[e\ rected by Neil Varon, chose 11 advanced IMPROVFest with Eastman organ faculty j^[;WijcWdIY^eebe\Cki_YWdZWh[dejYkhh[djbo students to appear with the Rochester members and guests. cWjh_YkbWj[ZWiWd;ICijkZ[dj"m[e\\[hoekW Philharmonic Orchestra and attend debrief- • Eastman Community Music School con- '&&Z_iYekdjedWdo?dij_jkj[eh9ebb[]_Wj[Yekhi[ ing sessions with the RPO musicians. This is tinued to offer its award-winning Music \ehm^_Y^oekoekhi[b\h[]_ij[h$J^_iZ_iYekdj_idej already a wonderful partnership between the Horizons and Summer Jazz Studies resi- Wffb_YWXb[jeej^[h\Wc_boc[cX[hi$ RPO and Eastman, and a deep artistic experi- dential programs for career-track students. ence for the next generation of conductors. ECMS also presented the Eastman Young • Two weeks of choral institutes with Artists Piano Competition, along with William Weinert, Eastman guest faculty, a variety of middle school programs and and special guest Joseph Flummerfelt gave specialty workshops. conductors the opportunity to work with a It was especially gratifying to have tubist 12-voice professional chorus. Chuck Daellenbach (BM ’66, MA ’68, PhD • The collegiate voice department presented ’71) return with his musical colleagues Eastman Sings!—an in-depth exploration of for Canadian Brass Weekend (July 21-23).

PHOTOGRAPH BY GELFAND-PIPER PHOTOGRAPHY

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2006022 ESM Summer Ad.indd 1 12/30/06 3:07:36 PM SCHOOL NEWS

New York State benefits musical diversity at Eastman

By Bobbi Lonobile University students, including an evening master class facilitated by videoconference Eastman received some very good news technology between Eastman and Syracuse from New York State at the end of 2006. The students. She will also make a presentation School is the recipient of a $31,000 grant to high school students from the Rochester from The New York State Music Fund for City School District. its Women in Music Festival 2007, an an- The grant to Women in Music wasn’t the nual celebration of women involved in all only good news from the Music Fund for an Carlos Sanchez- Ricardo Zohn- aspects of music. Eastman faculty member. The Binghamton Gutierrez Muldoon The New York State Music Fund was cre- Philharmonic received $61,000 to commis- ated when the New York State Attorney sion and perform a new work by Associate genres such as electronica, chamber music, General’s Office resolved investigations Professor of Composition Carlos Sanchez- and fusion. against major record companies that had vi- Gutierrez. He will also serve as composer- Awards to the 218 grantees represent olated state and federal laws prohibiting “pay in-residence for the BSO’s 2007–08 season, every region of New York State and range for play” (or “payola”). The settlement agree- focused on exploring classical music from from $10,000 to $500,000. Diverse forms ment stipulated that funds paid by music Latin America. of popular or experimental music, including businesses would support music education And New York City’s Riverside Symphony indie rock, salsa, electronic, fusion and reg- and appreciation for the benefit of New York received $100,000 to support the commis- gae account for almost 37 percent of grants State residents. sioning, rehearsal, performance, record- and more than 15 percent celebrate a spec- “The Women in ing, and dissemination through radio and trum of jazz; nearly 25 percent include new Music Festival inte- the Internet of Eastman Associate Professor classical music. The state’s ethnic or racial grates music writ- of Composition Ricardo Zohn-Muldoon’s minority communities are served by close ten by women into Silueta como sirena, a work featuring Mexican to a third of all programs, while 28 percent the mainstream of pop vocalist Alfredo Sánchez and The Tarab specifically target rural communities. The music and into the Cello Ensemble. Fund’s size and emphasis on music of our consciousness of the Alarm Will Sound, the contemporary time in all its forms set it apart from other general public,” says music ensemble that started at Eastman, arts grant programs. Tania León Sylvie Beaudette, received $21,000 to support the In Your Ear Eastman School of Music Assistant Professor 2007 festival, presenting new compositions, On the web For more information on of Chamber Music and Accompanying, and techno remixes, improvisation, and arrange- the 2007 Women in Music Festival, visit Women in Music Festival Director. ments of pieces from a variety of styles and www.esm.rochester.edu/wmf. The Rochester premiere of Atwood Songs, by the festival’s first composer-in-residence, Tania León, will launch this year’s festival. This song cycle for soprano and piano is set to the poetry of Margaret Atwood. León’s new work, written specifically for this occasion, was co-commissioned by Eastman’s Hanson Institute for American Music and Syracuse University’s College of Arts and Sciences. As part of her residency, Ms. León will conduct master classes and lectures and at- tend rehearsals with Eastman, Rochester Institute of Technology, and Syracuse

Eastman’s Women in Music Festival highlights female composers, performers, teachers, scholars, and administrators.

PHOTOGRAPHS COURTESY Kaylor Management Inc. (LeÓN), EASTMAN SCHOOL OF MUSIC ARCHIVE (SANCHEZ-GUTIERREZ AND ZOHN-MULDOON) AND BY gelfand-piper photography (WOMEN IN MUSIC FESTIVAL) ALUMNI NOTES

student Laura Rooney.) The week- 1930s end culminated in a “Marvin Rabin Send your news! Appreciation Concert” of music for H. Owen Reed (PhD ’39) was strings, and presentation of the 2006 selected for inclusion in Who’s Do you have an announcement you’d like to share with your Rabin Youth Arts Awards. Who in America 2007, published in fellow alumni? Send your personal and professional news to November 2006. The famous vol- Notes, Office of Communications, Eastman School of Music, Vergil (Singer) Scott (BM ’49) sends ume, published every year since 1899, a “memory photo” of a 1948 rehearsal chronicles “the lives of the most 26 Gibbs Street, Rochester, New York 14604. in Kilbourn Hall for The Mikado, accomplished individuals and inno- directed by former Eastman Opera vators from every significant field Fax: 585-274-1089 director Leonard Treash. Mrs. Scott of endeavor.” E-mail: [email protected] didn’t identify any of the student per- formers in this photograph, but if you The prolificRobert Ward (BM ’39) We reserve the right to edit submissions for clarity and length. recognize yourself or an old friend in sends an update on performances The deadline for the July issue of Notes is May 18, 2007. it, please let Notes know! of his compositions during 2005– 2006. Operas included his perennial News of your upcoming events such as concerts and lectures December 2006 was a busy month The Crucible (in Boston, Alabama, can be posted live on the Eastman alumni website: for composer Charles Strouse Utah, and San José, among other www.esm.rochester.edu/alumni (BM ’47). His ever-popular musi- places), Roman Fever (Knoxville), cal Annie was revived at the Theatre and A Friend of Napoleon (Ohio Light at Madison Square Garden, starring Opera). Napoleon, a world premiere, Kathie Lee Gifford as Miss Hannigan, was directed by Eastman’s Steven donated $1.5 million for a new per- The Marvin Rabin String Pedagogy and on December 11, Strouse’s 1986 Daigle – who, as Notes readers know, forming arts center at St. Andrew’s- Symposium was held from July 20– musical Rags was revived at the directed Ward’s Claudia Legare here Sewanee School. McCrory, a cellist, 22 at the University of Wisconsin– Nokia Theatre in Times Square as in fall 2005. Other recent Ward was director of the Sewanee Music Madison, in cooperation with a staged benefit concert for World compositions include his Seventh Center from 1957 until her retire- the American String Teachers AIDS Day. Symphony; Dialogues, a triple con- ment in 1998; she still performs with Association and The Wisconsin certo; Raleigh Divertimento for Nonet; the Bryan Symphony in Cookeville, Center for Music Education. The and two commissions, a Quintet for TN. She also played and recorded research-oriented symposium was a 1950s Oboe and Strings and an orchestral in Nashville with such musicians as comprehensive examination of the piece, The Beginnings. Johnny Cash, Dolly Parton, and Bob impact of the work of Rabin (MM Doris Gazda (BM ’55) was recently Dylan. Saving the money from those ’48), who is Emeritus Professor at appointed Educational String gigs enabled McCrory to make her UW–M and recognized worldwide as Consultant for Carl Fischer Music. 1940s impressive gift. Ground was broken a pioneering and eclectic visionary in Doris taught for many years as a on the new center – to be called string pedagogy. (Eastman recently string specialist in the public school Last September, Martha McCrory McCrory Hall—in September, and established a Marvin Rabin Archive system of Montgomery County, MD, (MM ’44) made headlines in her it is scheduled to be completed by for his professional papers, described and was more recently a Faculty home state of Tennessee when she fall 2007. at the Symposium by current DMA CONTINUED ON PAGE 27

After a long career in music, Martha McCrory is making musical Are you one of the wandering minstrels in this Mikado rehearsal careers possible for others. photo from 1948? If so, please let Notes know!

26 Eastman Notes | January 2007 PHOTOGRAPHS COURTESY MARTHA MCCRORY (LEFT) AND VERGIL SCOTT ALUMNI NOTES

Associate at Arizona State University, formed by cellist Matt Haimovitz where she taught string methods. and the Orchestra of St. Lukes’s In memoriam She has also served nationally as under Li Jian on October 29 at Secretary for the American String Lincoln Center’s Alice Tully Hall. Teachers Association and President Bob’s oratorio Shofar was premiered of the National School Orchestra at Sanders Theatre, Cambridge, MA 1930s Association. She has composed many on November 5. George Goslee standard works for school orchestras, as well as many books and instruc- (BM ’39), October 2006 tion manuals including String Town 1960s Helen (Kirlakowsky) Miller Tunes and More String Town Tunes, (BM ’31), December 2005 , and William M. Anderson (BM ’63, MM High Tech for Strings Fiddling John Weinzweig Fingers. Carl Fischer Music promises ’64) recently published Integrating many more new books and composi- Music Into the Elementary Classroom, (MA ’38), August 2006 tions from Doris! Find out more at written with Joy E. Lawrence www.gazdastrings.com. (Thompson Schirmer, 2007). 1940s The Alleghany College Concert Jerry R. Brubaker (BM ’68) was Choir, Ward Jamison, conductor, announced as a winner of the Evelyn S. DeLong performed Ave Maria by D. Donald Altoona (PA) Area High School (BM ’44, MM ’46), August 2006 Cervone (BM ’55, PhD ’70) on its Alumni Association Distinguished Charles M. Fisher spring concert, April 8, 2006. This Alumni Award, presented October (MA ’41), August 2006 concert was part of the celebration 28. Jerry, a 1964 Altoona graduate, of the 75th anniversary of the fond- was chief composer and arranger Charles Johnston Warner ing of the Alleghany Singers, which for the U.S. Navy Band from 1985 to (BM ’48, MM ’49), August 2006 whoom Cervone sang for two years 1997, as well as composer and musi- before entering Eastman. Ave Maria cal producer at the Basilica of the was written for the wedding of the National Shrine of the Immaculate 1960s composer’s dear friend and class- Conception in Washington, D.C. mate Nancy Cringoli (BM ’55) and Jerry has arranged and composed Jack Moehlenkamp Frank Sylvester. more than 200 orchestral piece, (DMA ’63), November 2006 including charts for Shirley Jones, Colin G. Smith Dorothy (Johnson) Kitchen (BM Roberta Flack, Liza Minnelli, and ’59), director of the Duke University other major artists. (BM ’62), June 2006 String School, was awarded the John Wyre Benjamin Swalin Award, given annu- Bill Cahn (BM ’68) taught Eastman’s (BM ’63), October 2006 ally by the North Carolina Symphony major percussion faculty position for inspiring young musicians in during John Beck’s sabbatical, in the their lives through music. Dorothy is fall 2006 semester, providing private 1980s the fourth recipient of this award. lessons, studio classes, percussion and marimba ensembles, and stu- Gretchen (Lochner) Gonzales Margaret Shelton Meier’s (BM ’58) dent/career advising. (BM ’85), November 2006 cantata A SOCSA Quilt, a 40-minute work for chorus and orchestra on the Loren D. Geiger (BM ’68, MM ’70) subject of childhood sexual abuse retired as middle school band direc- and recovery, was premiered by the tor in the Orchard Park Central 2000s Ars Brunensis Chorus and Moravian School after 37 years. While this Aaron Brock Philarmonic Orchestra, directed by early retirement was prompted by Andreas Baumgartner, in Olomouc, the diagnosis of multiple myeloma (DMA ’03), August 2006 Czech Republic, in June 2006. (blood-bone cancer) in his ribs, Margaret’s cantata God With Us: 2000 Loren still plays tuba in three sym- Years was performed on December phony orchestras, a concert band, 10, 2006 by the combined multi- and a brass quintet. He is also librar- cultural choirs of Bell Memorial ian for two orchestras, and assists United Methodist Church, directed other orchestras with obtaining by Sunny Lee. Songs from her cycle music from Sweden to New Zealand. Three Marys in Four Songs were per- ➤ We know that timely reporting of alumni deaths is impor- formed in October and November Eugene Narmour (BM ’61, MM ’62) of 2006. You can read more about was recently honored by his alma tant to our readers. At the same time, we must ensure that Margaret’s compositions at www. mater with an Eastman Alumni our reports are accurate. Therefore, we ask that friends and meiermusic.com. Achievement Award, given to family send us either an obituary or a letter of confirma- acknowledge his pre-eminence in tion in notifying us of someone’s death. Please write to Robert Stern (MA ’56, PhD ’62) the interdisciplinary study of musi- heard two world premieres of his cal perception and cognition – what Eastman Notes, Office of Communications, 26 Gibbs Street, music this fall. Hazkarah was per- CONTINUED ON PAGE 28 Rochester, NY 14604.

January 2007 | Eastman Notes 27 ALUMNI NOTES

CONTINUED FROM PAGE 27 The Music Index, with 51 items listed and the University of Richmond happens when music meets the in 25 volumes from 1968 to 2005. He (VA). Steven also played a recital of brain. Eugene, a past president of also has six volumes listed in Books 22 songs with tenor Richard Kennedy. the Society for Music Perception and in Print 2006–2007. Geary’s recent Cognition, has written many articles percussion performing in central In February 2006, baritone Jason on this subject, as well as two ground- Wisconsin includes snare drum in (Jay) Stearns (BM ’74) made his breaking volumes, The Analysis and the Grenadiers Band, marimba for debut in Gelsenkirchen, Germany as Cognition of Basic Melodic Structures ballet dancers and at Gesell Institute, Count Di Luna in Verdi’s Il Trovatore, and The Analysis and Cognition of and at the University of Wisconsin– replacing the ailing house baritone Melodic Complexity. The award was Stevens Point, his own Poem III: with four days’ notice. Jay sang eight presented on December 2, 2006. Xylophone, dedicated to former class- performances to much acclaim. In mate Bob Becker (BM ’69, MM ’71). October, he debuted in Leipzig in James Ode (MM ’61, DMA ’65) Lohengrin, then flew to Los Angeles retired from the Meadows School Diane Mittler-Battipaglia (DMA to sing Noah in Britten’s Noye’s of the Arts, Southern Methodist ’75) celebrated her 27th season as Fludde and Biterolf in Tannhäuser, University. James chaired the SMU pianist and director of the Con Brio conducted by James Conlon. June Brock W. Downward Music Division for eight years, and Ensemble. In addition to many con- 2007 finds him singing Tonio in most recently served as head of the the Central North Carolina Chapter certs in the New York City area, Pagliacci with Boston Pro Musica Department of Music Education and of the AGO and a past president Diane was featured on CUNY-TV’s under Jeffrey Rink, his third appear- Director of Music Career Services. of the Presbyterian Association of Study with the Best series, and ance with this group. Jay and his wife He also held administrative positions Musicians. Brock and his wife Polly filmed an documentary about chil- Suzanne Blum Stearns (BM ’73, at Ithaca College School of Music plan to remain in Raleigh. dren of Austrian and German refu- MM ’75) live in Annapolis, MD. (1965–1981) and Trinity University, gees from the Nazis who grew up San Antonio (1981–86). Classical In June 2006 in Tel Aviv, Michael in Kew Gardens, Queens, during Vocal Reprints has published 17 of Isaacson (PhD ’79) conducted the the 1940s and 1950s. During the 1980s James’ transcriptions of Baroque Israel Philharmonic in a CD record- 2005–2006 academic year, Diane arias with trumpet obbligato, and ing of The Ballad of Ruth, a new opera conducted the Lehman College and In October, conductor Emily he plans to continue with tran- by Stephen Richards, and recorded Community Chorus and Orchestra in Freeman Brown Adler (DMA ’89) scription projects for solo trumpet his work for clarinet and string quar- two concerts featuring choral works followed the fabled Silk Road to or ensemble. tet, The Shul in My Right Mind, with by Mozart, as well as music by many Kazakhstan. She conducted the clarinetist Ron Selka and the Israel other composers. Astana Academy of Soloists (a pro- Steven Wasson (BM ’69, MM ’71) String Quartet (first chair play- fessional orchestra) and the student was featured in a June 2005 inter- ers of the IPO). The recordings are Thomas Saul (MA ’73, PhD ’76) orchestra of the Almaty Conservatory view on Dayton’s WDPR-FM on the being produced for ECM and for performed an anonymous duet for of Music in special performances subject of piano technology; his OySongs downloads. two violas d’amore, and six duets for celebrating the opening of the new name also appears in the 2005 and viola d’amore and cello, at the 13th American Embassy in Astana. Emily 2006 editions of the A.N. Marquis Flutist Adah Toland Jones (BM International Viola d’amore Congress, led American works by Corigliano, publication Who’s Who in America. ’71, MM ’72) had a long-awaited held in Rendsberg, Germany from Schuman, Barber, Copland, Steven’s Sonata for Multiple Drums chance to play Maurice Duruflé’s June 21–24, 2006. All the pieces he Bernstein, and her husband, former Solo, Op. 18, was featured in The Prelude, Recitative, and Variations, op. played were from Anton Hubertuy’s Eastman professor Samuel Adler, as Theory and Composition of Percussion 3, for flute, viola, and piano at the Neu Method—Missage Viol D’Amor well as a piece by a Kazakh composer Music (Edwin Mellen Press, 2004) by Victoria (TX) Bach Festival on June Stücke, published in 1780. The only based on traditional folk tunes and Geary H. Larrick (DMA ’70). 11. Her thoughts about the piece extant copy of this book was dis- marches. She also had the opportu- were part of an interview in the covered in the Sibley Library by Dr. nity to attend Yom Kippur and Kol Victoria Advocate. Adah plays prin- Louise Goldberg in the late 1970s, Nidre services at the synagogue in 1970s cipal flute with Austin’s Lyric Opera and subsequently published in fac- Astana, one of the oldest Jewish com- and Conspirare chorus, as well as simile edition; Thomas prepared all munities in the world. Adrian D. Clissa (BM ’70) oper- performing with the Austin and San of his performing editions. ates Dino’s Brass and Woodwind Antonio Symphonies. On June 17, 2006, at the 18th Gran Shop in Victor, NY, specializing Steven Herbert Smith (DMA Premio Europeo de Canto Coral of in the repair and restoration of Richard Lawn (BM ’71, MM ’76) ’78), professor of piano at Penn Tolosa, Spain, the University of Utah musical instruments. writes, “I am delighted to report State University, performed Grieg’s Singers were awarded the European that McGraw Hill has just issued Concerto in A Minor with the Penn Grand Prix for Choral Singing. The Brock W. Downward (DMA ’76) my book and CD-ROM Experiencing State Philharmonic and conduc- UU Singers are conducted by Brady retired on June 11 as Director Jazz. A 3-CD set of historically sig- tor Gerardo Edelstein in four cities Allred (MM ’87, DMA ’90), who led of Music at White Memorial nificant recordings is also available. in Spain last March, as part of the the group to victory over choirs from Presbyterian Church, Raleigh, NC, I continue to serve as Dean of the “Sixth Cycle of University Orchestras” Turkey, Hungary, and Spain. This after 30 years of service to one of the College of Performing Arts at The hosted by the University of Zaragoza. was only the second time an choir largest PC(USA) congregations. At University of the Arts in Philadelphia, In September Steven performed a from the United States has won the a June 4 dinner, Brock was named and am active in the International solo recital at Penn State, repeat- Grand Prix. Director of Music Emeritus, and Association of Jazz Educators, serv- ing the program—Beethoven’s honored with the Order of the Long ing on the resource team. Hammerklavier Sonata, and Vandalia Baritone John Kramar (BM ’85) per- Leaf Pine, the highest award given Suite, a new work by West Virginia formed in an opera sampler concert by the Governor of North Carolina Geary Larrick (MM ’70) was recog- University professor John Beall last September with the Harmony to a civilian. He is a past dean of nized for his publication citations in (PhD ’73)—at WVU–Morgantown CONTINUED ON PAGE 31

28 Eastman Notes | January 2007 PHOTOGRAPH COURTESY BROCK W. DOWNWARD ALUMNI NOTES

Eastman alumni on CD

Isabelle Ganz (DMA Damon Zick’s (BM ’80) can be heard ’97) new jazz CD, We performing Luciano Are Large (Evander Berio’s Sequenza Music) features 11 III on a 4-CD set of of Damon’s original the complete Berio compositions for jazz Sequenzas and quintet “emphasizing works for solo instruments (Mode Records melody, groove, and communication”. Besides 161/3). The set includes performances by saxophonist Zick, the Eastman alums on We Irvine Arditti, Paula Robison, Aki Takahashi, Are Large include trombonist Tim Albright and many others. (BM ’98) and pianist Adam Benjamin (BM ’99). For more information visit www.zick.net The music of George or www.evandermusic.com. Walker (PhD ’56) is the subject of Last year’s Cardiff George Walker: A Singer of the World, 60th Anniversary soprano Nicole Brass reborn Retrospective Cabell (BM ‘01), Founded as a feature attraction at (Albany). George recently appeared as the 1962 Eastman Summer Brass writes, “Included on the CD is a new record- Serena, singing “My Institute, the Eastman Brass Quin- ing of my Lyric for Strings, the most fre- Man’s Gone Now” tet was an acclaimed concert attrac- quently performed orchestral work by a living in a complete recording of the Gershwins’ tion by the mid-1970s, thanks to its American composer, and my recording of the Porgy and Bess with the Nashville Symphony legendary personnel: trumpeters Sonata in B Minor by Franz Liszt.” (For more Orchestra conducted by John Mauceri Daniel Patrylak (BM ’54, MM ’60) recent news about George Walker, see p. 5) (London 743102). and Allen Vizzutti (BM ’74, MM ’76); Clarinet The latest CD by hornist Verne Reynolds, now Pro- Enchantments, the Renée Fleming (MM fessor Emeritus of Horn; trombonist first CD by Diana ‘83), Homage: The Age Don Knaub (BM ’51, MM ’61); and Haskell (BM ’81), of the Diva (Decca tuba player Cherry Beauregard (MM Assistant Principal 740502) features ’63, DMA ’70). The five members Clarinet of the St. the super-soprano performed throughout the world, Louis Symphony in a wide-ranging won rave reviews, and expanded the Orchestra, includes various works for clari- collection of arias by Verdi, Tchaikovsky, and brass quintet repertoire. net, clarinet and piano, clarinet and harp, Puccini, not to mention once-popular arias by Some of the quintet’s golden and two clarinets and piano. The pianist Smetana, Lalo, and Ciléa. Conductor is Valery moments are captured on Eastman is George Silfies, and the harpist is Francis Gergiev, leading St. Petersburg’s Mariinsky Brass: 1975 Archive (Summit 449). Tietov. Order from HaskellSilfiesCD@aol. Theater Orchestra. Earlier in 2006, Renée The CD is also a tribute to Verne com, or visit www.aamrecordings.com. released Love Sublime (Nonesuch), a song Reynolds, with his Concertares 1 cycle by jazz pianist-composer Brad Mehldau. Publick Musick, and 4, Suite for Brass Quintet, and directed by Thomas Eladio Scharrón three Centones—arrangements of Folan (DMA ’03), (DMA ’97), who music by Renaissance and Baroque has just released teaches at the composers such as Dufay and Fux. a recording of J.S. University of Central For listening samples from 1975 Bach’s Missae Breves, Florida, is working Archive, and information about order- BWV 233-236. The his way through the ing, visit www.summitrecords.com. double CD features orchestra and choir on complete guitar period instruments and is available from music of the Mexican composer Manuel cdbaby.com and musicaomnia.org. CONTINUED ON PAGE 30

January 2007 | Eastman Notes 29 ALUMNI NOTES

CONTINUED FROM PAGE 29 recordings of my sonata I’ve yet heard.” For com for more.) With guitarist David Veslocki Ponce, who wrote many pieces for Andres information and audio clips, visit www.cap- (BM ’05), Daniel has an exclusively on-line Segovia; the second volume of Eladio’s survey stonerecords.org. release of trumpet and guitar improvisa- is on Centaur 2701. A Minnesota Public Radio tions/meditations available at his site, or at As a member of reviewer praised Eladio’s “warm, inviting www.broadjam.com/VR. Ensemble Banza, tone” and the CD’s “vast palette of moods.” guitarist Orlando Howard Hanson Fraga (DMA ’01) has Conducts American released a CD of Masterworks Iberian and African- (Mercury 337502) Brazilian Music of collects five discs’ the 17th Century (Naxos 8.557969). As there worth, or 20 pieces, are no direct sources for secular Brazilian from Hanson’s music of this period, the research was based American Music Series recorded by the Pianist Jane Solose (DMA ’91) offers not one on the poetry of Gregório de Mattos e Eastman-Rochester Orchestra in the 1950s but two new CDs: Array (Capstone Records; Guerra, a writer described as “Hell’s Mouth” and 1960s. Eastman alumni composers rep- www.capstonerecords.org), a celebration with a predilection for “vulgar songs that resented are Kent Kennan (BM ’34, MM of 150 years of American solo piano music coarse people sang”—and which combined ’36), William Bergsma (MM ’43), and Peter from Gottschalk to Chen Yi (and including Iberian music and African rhythms in the first Mennin (BM, MM ’45, PhD ’48); and no doubt XXX by Kamran Ince (MM ’84, DMA ‘87); and Brazilian music. To hear some lively audio many alumni will remember performing on Style Hongrois (Eroica Classical Recordings, examples, visit www.naxos.com. these famous recordings. www.eroica.com), which includes works by “I consider this the Husband-and- Schubert, Hummel, Weiner, Debussy, and Liszt. best holiday CD wife duo, flutist

Donna Lerew (MM project I have ever CLASSICS, TRANSCRIPTIONS, AND Jacob Roseman NEWER-WRITTEN WORKS FOR FLUTE AND PIANO ’55) just released been involved in,” and Molly Roberts The Story of the says Jeff Tyzik (BM (both MM ’90), just J ACOB ROSEMAN FLUTE q MOLLY ROSEMAN PIANO Violin, a CD trac- ’73, MM ’77), who u released their debut ing the instrument’s leads the Rochester CD, Something history, music and Philharmonic Orchestra in its latest CD, A Borrowed, Something New: Classics, famous performers Holiday Celebration. For this collection of Transcriptions, and Newer-Written Works from Vivaldi to the present. Donna writes: holiday favorites, Jeff invited several other for Flute and Piano. This eclectic recording “It is a recording of concerts by the same Eastman alumni along for the sleigh ride, covers styles ranging from J.S. Bach to clas- name which I and pianist Skye Altman have including tenor Tonio Di Paolo (BA ’03) and sical-Latin jazz. This year, Jacob and Molly developed and have been performing for the RPO principal horn (and Eastman profes- celebrate their 18th anniversary performing audiences of all ages. These presentations sor of horn) W. Peter Kurau (BM ’74). For as a duo, which began at Eastman. For more include entertaining and enlightening narra- ordering information, visit www.rpo.org. information, visit www.rosemanduo.com. tion, shedding light on ‘behind the scenes’ Bloodier, Mean Son aspects of the music performed.” is a wild journey into ➤ Do you have music or performances on Pianist Jenny Perron the mind of trum- a recent or forthcoming CD? Notes wants (DMA ’98) and her pet virtuoso Daniel to know! Send promo copies to Eastman husband, saxo- Rosenboom (BM Notes, Office of Communications, Eastman phonist John Vana, ’04), who describes School of Music, 26 Gibbs Street, Rochester, released their first his new CD: “Imagine NY 14604; or just alert us that it is available. CD, The Interactive fusing experimental classical music with pro- Saxophone gressive heavy metal, hip-hop, drones, noise, (Capstone Records 8763). It includes world and grooves, all tied together by some of the premieres by Paul Paccione and Harold most versatile trumpet playing ever.” (See Levin, as well as such standard repertoire as www.danielrosenboom.com or www.cdbaby. the Heiden Sonata, Takacs’ Two Fantastics, and the Sonata by Robert Muczynski, who called this version “easily one of the BEST

30 Eastman Notes | January 2007 ALUMNI NOTES

CONTINUED FROM PAGE 28 New York Times, “Keeping the Notes Love,” a program of music by Hall Players of Kinston, North Dancing and Flying.” She was prepar- Shostakovich, Tchaikovsky, and Carolina. John is director of the ing for performances at Manhattan’s Rimsky-Korsakov, on July 14–15 at Opera Theatre of Eastern Carolina Jazz Standard, while writing Cerulean Rock Creek Park, Washington, D.C. University and a member of the Skies, a new composition for a festi- University’s voice faculty. val in Vienna celebrating the 250th Jonathan Arevalo Coo (MM ’98) anniversary of Mozart’s birth. Maria is a tenured Associate Professor The choral music of Dan Locklair also shared her thoughts on some at the Adventist University of the (DMA ’81) was heard throughout favorite recordings, from the Miles Philippines, and conductor of the the continent this summer and Davis/Gil Evans Sketches of Spain Adventist Philharmonic Orchestra fall. In August, his Isaiah Canticles to the Fifth Dimension’s “Up—Up Development Program. He organized was given its Canadian premiere and Away.” last summer’s Mostly Mozart Festival in Montréal; In October, Break at the Ateneo de Manila University, Away was performed in Greensboro, Merrie Siegel (BM ’89) received and last May conducted Chopin’s NC; In November his Dubose an excellent American Record Guide Piano Concerto in E Minor with pia- Heyward Tryptych was premiered review of her CD Flute Music of nist Ingrid Santamaria in a concert by the Piedmont Chamber Singers the Americas (see June 2004 Notes). in memory of Philippine National in Winston-Salem, NC; and in Christopher Chaffee said, “She has Artist Col. Antonino Buenaventura. December various choral works a rich, well-controlled tone, and her of Dan’s were sung in Winston- technical facility is stunning.” Merrie Composer Gareth Farr (MM ’92) Madeleine Mitchell Salem, Portland (ME), Rhode joined the Boise Philharmonic as was recently appointed an Officer Island, and Chicago. Dan is A new Mass setting by Clendon Principal Flute for the 2005–2006 of the New Zealand Order of Merit currently composer in residence and Craig Phillips (MM ’87, DMA season—and has begun work on (ONZM) for his services to music professor of composition at Wake ’89) was premiered June 17 at the Volume 2 of Flute Music of the and entertainment. In music, his Forest University. Episcopal Church’s 75th General Americas. She can also be heard on most recent work is an orches- Convention in Columbus, conducted Soundscapes (Capstone Records). tral piece based on Robert Scott’s Patrick McCreless (PhD ’81), by composer. Festival Eucharist, struc- 1910 Antarctica diary. In entertain- Professor of Music Theory and Chair tured like a standard Mass setting, Leo Schwartz (BM ’80) recently ment, Gareth shares the award with of the Department of Music at Yale, was composed in honor of Presiding heard the premiere of his commis- his alter ego Lilith LaCroix, New served as one of six faculty members Bishop Frank Griswold. The work sioned work 13 Ways of Looking at a Zealand’s leading drag percussionist, at the Mannes Institute for Advanced is available in three versions from Blackbird at Northeastern Illinois described as “a cross between Sheila Studies in Music Theory, June 22–25, Paraclete Press. University, in the august company E and Priscilla, Queen of the Desert.” 2006. The 37 fellows of this year’s of music by Brahms and Bartók. For See www.garethfarr.com for more Institute, which convened on the Tim Riley (MM ’85) visited Eastman more on Leo’s music and his activi- about Gareth and Lilith. topic of chromaticism, included on October 20 to deliver a talk called ties with the Clark Street Band, visit current faculty members Matthew Tell Me Why: The Beatles Storm the www.leoschwartz.com. Elizabeth Freimuth (BM ’96) was BaileyShea and William Marvin Academy, and later to give a presen- named principal French horn of the (PhD ’02), as well as seven other tation on Bob Dylan to Professor Harpist Laura Zaerr (MM ’86) made Cincinnati Symphony Orchestra recent alumni: Matthew Bribitzer- Jonathan Baldo’s Contemporary her debut at Oregon’s Chintimini in August. Stull (PhD ’01, now at University of American Poetry class. A very suc- Chamber Music Festival in June Minnesota); Evan Jones (PhD ’02, cessful free-lance writer, Tim 2006, performing a classic of the Pianist Angela Jia Kim (BM ’95) pre- now at Florida State University); recently published Fever: How chamber repertory, Debussy’s Sonata sented a recital in the Belle Fourche Ian Quinn (PhD ’04, now at Yale); Rock’n’Roll Transformed Gender in for Flute, Viola, and Harp. Laura is (SD) Concert Series on October 27. Deborah Rifkin (PhD ’00, now America (St. Martin’s Press), and does a busy musician, teaching at the at Ithaca College); Nancy Rogers monthly commentaries for NPR’s University of Oregon and playing Shizuo Kuwahara (BM ’98) was (PhD ’00, now at Florida State); and Here and Now. in numerous classical and Celtic recently named Conducting Fellow Kristin Taavola (PhD ’02), now at music ensembles. with the Philadelphia Orchestra, and Cornell University. Singer-turned-opera librettist Gene in September won second prize in Scheer (BM ’81, MM ‘82), whose the Sir Georg Solti International Violinist Madeleine Mitchell (MM An American Tragedy, with music by 1990s Conductor’s Competition, held in ’81) has been named a Woman of Tobias Picker, was produced at the Frankfurt. The competition attracted the Year, 2006 in the UK. A pro- Metropolitan Opera in December Kirsten Chavez (MM ‘94) was more than 500 applicants from fessor at the Royal College of 2005, wrote the libretto for To Hell interviewed by the Philadelphia 72 countries. Music, Madeleine was Fulbright/ and Back, a modern version of the Daily News before her appearance as ITT Fellow to the United State in Persephone myth, with music by Jake Cherubino in the Opera Company Alice J. Mees (BM ’93) pro- 1979–1981. She has also won a major Heggie, which was first performed of Philadelphia production of The duced “Sounds of the Season”, a Arts Council England Award for at the United Methodist Church of Marriage of Figaro last May. Earlier December 14 concert at Carnegie “FiddleSticks,” her collaboration with Palo Alto, California, on November 2. that season, she substituted at Hall featuring Eastman School fac- the percussion ensemble Bash, to Featured singers were soprano Isabel the Met for Susan Graham in An ulty members Derrick Smith, bari- tour Lou Harrison’s Violin Concerto Bayrakdarian and Broadway star American Tragedy. tone, Herb Smith, trumpet, and with Percussion Orchestra, and to Patti LuPone. Peter Dubois, piano. The program commission new works from Oscar- Lt. Col. John Clanton (MM ’95), included Herb Smith’s new work The winning composer Anne Dudley Maria Schneider (MM ’85) was the Director of the U.S. Army Band, Twelve Tones of Christmas, as well as and Yale composer-in-residence subject of an admiring profile by Ben conducted the National Symphony traditional favorites. Tarik O’Regan. Ratliff in the November 17, 2006 Orchestra in “From Russia, With CONTINUED ON PAGE 32

PHOTOGRAPH COURTESY MADELEINE MITCHELL January 2007 | Eastman Notes 31 CONTINUED FROM PAGE 31 Webster Sparks, on January 23, 2006. Two Eastman graduates earned nom- Older brother Jason Thomas Sparks, inations for the 49th annual Grammy age 2, enjoys playing with and taking Awards. Violinist Kayo Miki (BM care of baby Dylan. ’94, MM ’96) was nominated as part of Quartet San Francisco, Marc Thayer (BM ’93, MM ’95) whose Látigo was nominated as has been named Vice President Best Classical Crossover Album and for Education and Community Best Engineered Album, Classical. Partnerships at the Saint Louis Christopher Theofanidis (MM ’92) Symphony Orchestra (see www. was nominated in the Best Classical slso.org). He has also started as Contemporary Composition cat- artistic producer of the Whim egory for his choral work The Here Concert Series at the St. Croix (VI) and Now, recorded by Robert Spano Landmark Society, and served as on Telarc (and mentioned in the July director and faculty member of the 2006 Notes). The Grammy Awards Summer Music Institute in Fort will be held February 11, 2007 in Lauderdale, FL. Los Angeles. Mike Titlebaum (BM ’91, MM ’92) Pianist Jane Solose (DMA ’91) per- and his wife welcomed Maxwell Gale formed a program of solo works by Titlebaum on September 5, 2006, Man with the mallets: Leigh Howard Stevens. Liszt at the American Liszt Society weighing 8 pounds 4 ounces. For 2006 Festival in Georgia. (For more photos and more, visit www.saxmike. news about Jane, see “Eastman com/max. Alumni on CD,” p. XX.) Juliet White-Smith (DMA ’98) per- Showing Off Sean Owen (BM ’95) joined the U.S. formed the Viola Sonata (1999) by Army Field Band as principal flute Pulitzer Prize-winning composer There’s even more to the Eastman in August 2006, and was promoted George Walker (DMA ’56) at 34th Experience than is contained in to Staff Sergeant three weeks later, International Viola Congress in Notes! Each month, the “Eastman based on his musical skills. Montréal, Quebec. Juliet is currently Showcase” section of our website on the faculty of the University of The Thin Ice of Your Fragile Mind Northern Colorado, and is President- shines a light on a different by Robert Paterson (BM ’95) Elect of the American Viola Society. Eastman student or alumnus. was premiered at a concert of the Recent showcases have included: American Modern Ensemble on Adeline Wong (BM ’98) was pro- October 14, 2006, along with music filed in the May 10, 2006Malaysia • Eastman Weekend’s special by Melinda Wagner, Paul Moravec, Star. The prolific young com- guest, composer George Walker and many other contemporary poser, who returned to her native American composers. Rob, who is Malaysia in 2002, received the 2005 • News about recent guitar alumni Artistic Director of AME, appeared Mandarin Oriental Kuala Lumpur • Soprano Pamela Coburn on the cover of Classical Singer as a marimbist in the group’s salute Most Promising Artist Award. Her • Our first showcase of 2007: percussionist Leigh to American Musical Mavericks on recent works include Snapshots (a Howard Stevens March 3 and 4. cello concerto); and the score for the filmChermin . Adeline teaches The site is updated and archived each month, so keep Debbie and Mark Rohwer (both at Sedaya College of Music, Yamaha visiting www.esm.rochester.edu/experience/showcase.php. MM ’94) send an update: Debbie is Academy of Music, and Akademi chair of the music education depart- Seni Kebangsaan. And, of course, keep reading Notes! ment of the University of North Texas and has a busy schedule of pre- sentations throughout Texas. Mark 2000s is director of choral activities and chair of the performing arts depart- Two recent Eastman clarinet alum- ment at Flower Mound (TX) High nae recently joined “The President’s School. Mark and the FMHS Jaguar Own” United States Marine Band: Chorale were invited to perform Samantha Angelo (BM ’06) and at the 2007 Texas Music Educators Lauren Miner (MM ’06). AS Association Conference in San Marine Band musicians, Samantha Antonio. They add, “The boys are and Angela also perform with the growing like weeds … Jeremy is 6 Marine Chamber Orchestra and and Zachary is 4!” Chamber Ensembles at the White House, in the Washington, D.C. Timothy Webster Sparks (MM metropolitan area, and across the ’91) and his wife Amy Elizabeth country during the band’s annual George Walker helped light up Eastman Weekend 2006. welcomed their second son, Dylan concert tour.

32 Eastman Notes | January 2007 PHOTOGRAPHS BY GELFAND-PIPER PHOTOGRAPHY (GEORGE WALKER) AND COURTESY LEIGH HOWARD STEVENS ALUMNI NOTES

On November 14, 2006, Kristian cello concerto for Xavier Phillips, a United States Marine Corps and a U.S., where I’m closer to many of my Bezuidenhout (BM ’01, MM ’04) protégé of Mstislav Rostropovich, Certificate of Achievement from the friends and colleagues.” gave a harpsichord and fortepiano to be premiered in spring 2007. Marine Corps Association. Mark is recital in the “Bach in Context” Series The Open Gate ensemble, of which currently serving as a logistics offi- Aaron Smith (BM ’05) gave a solo at New York’s Miller Theater, with Gregory is founder and co-artistic cer with 2nd Battalion, 5th Marines recital at the International Trumpet period-instrument string ensemble director, will present a concert of his in Camp Pendleton (CA), and will Guild Conference in June 2006, Le Nuove Musiche. “J. S. Bach and solo and chamber music on January deploy in early 2007 to support the which he calls “truly an honor for Sturm und Drang” offered a harpsi- 31, 2007, at Carnegie Hall’s Weill global War on Terror. some my age – 22. I was given a chord arrangement of the Chaconne Recital Hall; performers include two-hour time slot to do with as I from Bach’s D Minor Violin Professor of Oboe Richard Killmer. Omri Shimron (DMA ’04 piano, MA wished. I played and answered ques- Partita, programmed with music In summer 2007, Open Gate holds ’04 theory pedagogy) writes: “After tions towards the end of the program by Georg Benda, Johann Wilhelm its first international summer music graduating, I accepted a teaching about new music and the perfor- Hertel, and Mozart. The New York festival in Taiwan. position at Eastern Mediterreanean mance practice of it. I was glad to Times’ Allan Kozinn remarked, “Mr. University, an English-speaking see an open interest for new music Bezuidenhout’s tempos and phrasing A concert in memory of children’s institution in North Cyprus, for the … It was very flattering to see my were remarkably free, with every- book author and illustrator Jane T. 2004–2005 academic year. In Cyprus name listed with some of the greats thing from dramatic pauses to free- (Flory) Freeman was given by pianist I taught studio piano, keyboard har- of our time, such as Arturo Sandoval, wheeling ornamentation … he played Jason Paul Peterson (BM ’03) at the mony, and music theory. During my Mattias Hofs, Randy Brecker, David with a sharp-edged articulation that Washington County (MD) Museum year in Cyprus, I had the chance Bilger, Mnozil Brass, etc.” For a sliced through the string textures.” of Fine Arts. Jason’s program to visit my family in Israel (twice) review of Aaron’s recital, go to www. included Schubert’s Impromptus, op. as well as travel to Turkey, where I trumpetguild.org/2006conference/ Maria Harrold (BM ’03) was 90 and Schumann’s Kreisleriana. performed a solo recital and gave fri/414.html; for more about Aaron, appointed co-principal horn master classes at the Bursa State visit www.trumpetsmith.com. of the Florida West Coast In August 2005, Mark Matthew Conservatory. While at EMU, I pre- Symphony (Sarasota, FL) for the Phelps (BM ’01) received his com- miered a new concerto for piano Marguerite Williams (BM ’01) was 2006–2007 season. mission as a second lieutenant in and string orchestra. Just as I was recently named principal harpist the United States Marine Corps, preparing for another hot year in the of the Colorado Music Festival in Gregory Mertl (PhD ’05) was after serving for three years as an Mediterreanean, a new opportunity Boulder, CO. She was also named recently named recipient of a enlisted Marine Musician. In March brought me back to the U.S. to teach the new principal harpist of the New 2006 Barlow Endowment General 2006, Mark graduated with hon- at Hillsdale College (MI), where I’ve World Symphony in Miami. Commission, based at Brigham ors from the Basic Officer Course been since August 2005. Although Young University. Gregory will write in Quantico, VA, and in July, com- I miss living abroad, experiencing On the web More news about the a 20-minute concerto for pianist pleted the Logistics Officer Course other cultures and peoples (not to Eastman School of Music, including Solungga Liu (DMA ’01) and the in Camp Lejeune (NC) as an honor mention the easy access to precious the full text of Notes and expanded University of Minnesota Wind graduate. He received a Certificate antiquities and the unforgiving sun- alumni information, can be found Ensemble. Gregory is also writing a of Commendation from the shine), I’m happy to be back in the online at www.esm.rochester.edu.

Making money making music

Michael Drapkin (BM ’79) gradu- companies before deciding to help his ated from Eastman with a degree in fellow musicians find new avenues for clarinet performance, and still identi- employment and founding the FEA. fies himself first and foremost as a In July, Michael launched the first performing musician. But as founder Brevard Conference on Music and director of the Foundation for Entrepreneurship at the Brevard Music Entrepreneurialism in the Arts (FEA), Center in North Carolina. The confer- Michael is also devoted to training ence was a great success, selling out young musicians in the realities of the and drawing musicians, entrepreneurs, modern musical world, so that they and educators from across the coun- won’t just get jobs, but that they will try – including Eastman’s interim dean, help to create the jobs they want. Jamal Rossi. Michael himself is an excellent example of this: after playing in the ON THE WEB For more about Michael, Honolulu Symphony, he became a his exciting new ideas, and The serial entrepreneur in software devel- Foundation for Entrepreneurialism in Drapkin teaches musicians that reality checks are as opment, launching 30 different startup the Arts, visit www.drapkin.net/FEA. important as royalty checks.

PHOTOGRAPH COURTESY MICHAEL DRAPKIN January 2007 | Eastman Notes 33 FACULTY NOTES

Associate Professor of Music Edu- in Practice.” Steve talked about how Professor of Composition Robert visited Japan, where he gave recit- cation Chris Azzara published knowledge of music theory is rel- Morris continues to enjoy playing als and master classes in Tokyo. Developing Musicianship Through evant to musicians and non-musi- outdoors. His latest outdoor piece, Zen-on Music Publishers of Japan Improvisation last month. Chris was cians, playing examples from Bach, Sound/Path/Field, was performed recently released his analysis and also keynote speaker for the Orange Haydn, Chopin, the Beatles, and September 24, 2006, on the Syracuse study guide on the Rachmaninoff County (NY) Music Educators Asso- more others on the piano. University Quadrangle. For more on Preludes; his early study guides for ciation in November. Chris’s 2007 the piece, visit ecmc.Rochester.edu/ Zen-on include the Character Pieces schedule already includes speaking Eastman made a distinguished show- rdm/SPF/SPF.html. opp. 10, 76, 79, 116-199 of Brahms, engagements in Pennsylvania, Con- ing at the 2006 Annual Meeting and Albéniz’s Ibéria and shorter necticut, and Chicago. of the American Musicological Professor of Piano Rebecca Penneys piano works. His new critical edition Society and Society for Music will be making a two-week trip to of Ibéria appeared in 2005. Thomas Professor of Piano Tony Caramia Theory. Professor of Musicology Taiwan in June 2007 to teach and has also taught at the Tonghai Piano gave a lecture-recital on “Discovering Ralph Locke won the H. Colin perform solo and chamber music, Festivals in Taiwan. Recent perfor- the Artistry of Cy Walter” at the Slim Award for his article “Beyond and will go to Chile for a ten- mances and judging include Oberlin International Association of Jazz the Exotic: How ‘Eastern’ is Aida?” day seminar in September 2007. and Kent State Universities in Ohio Educators Conference in New York which appeared in Cambridge Opera Closer to home, Rebecca is play- and the Kosciuszko Competition in on January 12. In February, Tony will Journal in July 2005. And Professor ing the complete Beethoven Piano New York. Thomas will appear in the be a judge at the Crescendo Music of Musicology (and College Music Trios with Professor of Violin Eastman Faculty Artists Series on Awards in Tulsa, OK, and on March Department Professor) Honey Mikhail Kopelman and Rochester March 20, 2007. 25, he’ll be in Toronto to address Meconi was a co-winner, with Vox Philharmonic principal cellist Stefan the MTNA-CFMTA Collaborative Early Music Ensemble, of the 2006 Reuss throughout the season at the Distinguished Professor of Violin Zvi Conference on “The Art of Modern Noah Greenberg Award, given for Rochester Academy of Medicine. Zeitlin will turn 85 on February 21, Recital Programming: Using the New distinguished contribution to the but shows no signs of slowing down. to Promote the Old.” study and performance of early Professor of Theory Marie Rolf gave He still teaches 15 students and music. Their collaboration is called a paper called “Debussy’s Printemps: celebrated his 40th anniversary at In August 2006, Professor of Organ “Extreme Singing,” exploring the A Harbinger of Works to Come” at Eastman with a recital on January 21 David Higgs gave the inaugu- singing of low-lying Renaissance the Claude Debussy International of music he introduced to Rochester ral recital of the Casavant Frères vocal works at their original pitch. Congress, University of Texas at by Bloch, Nardini, Bartók, and oth- pipe organ at First Presbyterian Austin, in October 2006. ers. Last October he made his first Church, Skaneateles, NY, during the Professor of Trombone John Marcel- return to his native Russia—which Skaneateles Chamber Music Festival. lus performed the North American Professor of Piano Thomas he left at age 2—performing and giv- In one concert, he teamed with premiere of Sofia Gubaidulina’sVer - Schumacher’s recent activities in ing master classes (in Tchaikovsky’s Skaneateles Festival director (and wandlung on November 25, 2006, in China include master classes and former home, no less). We will have Eastman Associate Professor David Toronto. Gubaidulina’s “performance competition judging at the Zhuo more on this remarkable trip in the Ying) to play Saint-Saëns’ Prayer for art” piece, originally written for Guanren Piano Festival in Qingdao, July 2007 Notes. Cello and Organ, op. 158. Christian Lindberg and the Rascher and serving as visiting professor of Saxophone Quartet, is scored for solo piano at the Conservatory of Music On the Web For regular updates On December 8, 2006, Associate trombone, saxophone quartet, cello, in Shenyang. Previous trips included on Eastman faculty members’ Professor of Theory Steve Laitz vis- string bass, and tam-tam. John Also performances and master classes concerts, lectures, publications, ited the UR Medical Center for a gave a master class at the University in Beijing, Xiamen, Wuhan, Xi’an, and other activities, visit www.esm. presentation called “Music Theory of Toronto on November 24. and Chonqing. He also recently rochester.edu/faculty.

Making Grover’s Corners sing

Associate Professor of Voice Robert Swensen (right photo, pointing) and his wife, Assistant Professor of Voice Kathryn Cowdrick (left photo, standing), sang leading roles in the profes- sional premiere of Ned Rorem’s Our Town, based on the famous Thornton Wilder play, last July at the Lake George Opera Festival, Saratoga Springs, NY. in about 40 years—has received Premiered last February 24 at excellent reviews, most critics Indiana University, Our Town— finding the composer’s lyrical Rorem’s first full-length opera style well suited to the subject.

34 Eastman Notes | January 2007 PHOTOGRAPHS COURTESY ROBERT SWENSEN FACULTY NOTES

Eastman faculty on CD

The Bacheler’s When Professor Delights include Emeritus of Piano a Grammy nod Frank Glazer arrived for lutenist Paul in Berlin in 1932 to O’Dette. This study with Artur Harmonia Mundi Schnabel, that seri- CD of music by ous-minded pianist Daniel Bacheler (1572–1619) was cited in the insisted that Glazer drop the many brief recent Grammy nominations as “Best Solo encore pieces he learned as a student. It Performance, Classical.” ClassicsToday.com took almost 75 years, but Glazer, now 91, has called The Bacheler’s Delights “one of the returned to them with his new CD Music most consistently rewarding, enjoyable lute of A Bygone Era (Bridge 9194), a cornucopia recitals in years. Highest recommendation.” of once-popular short pieces like Sinding’s Rustle of Spring, Liadov’s Musical Snuffbox, Conductor Brad MacDowell’s Hexentanz, and many others. Lubman is one of a Who’s Who of The Trout Reappears! Still leading contemporary music Philips recently stars—including the reissued its clas- the bands Kronos Quartet and sic 1977 record- The Eastman Wind Ensemble’s hun- Bang On a Can—fea- ing of Schubert’s dreds of recordings under Frederick tured in Steve Reich: Phases (A Nonesuch beloved “Trout” Fennell and Donald Hunsberger Retrospective), a 70th birthday tribute to the Quintet with the are a precious musical legacy. The great composer collecting original recordings Cleveland Quartet (on the Eastman faculty EWE legacy continue with the new of such classics as Come Out, Drumming, at that time), bassist James VanDemark Summit Records release Danzante, Music for 18 Musicians, and many, many (still very much on the Eastman faculty), led by current conductor Mark more on 5 CDs. and peerless pianist Alfred Brendel. The CD Davis Scatterday and featuring pro- is in the “Original Masters” series of classic fessor of trumpet James Thompson. recordings remastered. Scatterday (DMA ’89) is not the Guitarist Bob only alumnus who has a showcase Sneider teams with on Danzante. The CD’s title track vibes player Joe is a 2004 piece by Eric Ewazen (BM Locke for The Film ’76), and Thompson is the soloist Noir Project (Sons of in Leader, Lieder, a 2002 trumpet Trio East—also known as trumpeter Clay Sound), a collection concerto by Dana Wilson (PhD ’82). Jenkins, bassist Jeff Campbell, and drum- that includes themes (Danzante also includes a trumpet mer Rich Thompson—recently released two from such movies as Chinatown, Mulholland concerto by Jacques Hétu, and brief CDs that have received great reviews: Best Falls, and Body Heat. AllAboutJazz.com’s pieces by Louis Stewart and Michel Bets (Origin 82466) and Stop-Start (Sons of John Kelman called The Film Noir Project Colombier.) Sound 25). Audiophile Audition’s Jeff Krow “easy listening, but with a bittersweet under- said of Best Bets: “If cool is your school, current … completely in character with its For information and music samples, check out the latest by The Trio East”; all- source.” visit www.summitrecords.com. aboutjazz.com called Stop-Start “excellent” and “impressive,” and praised its “appealing sense of ease,” also praising Trio East’s April 2006 performance in New York with Harold Danko and Rich Perry.

January 2007 | Eastman Notes 35 STUDENT NOTES

First prize in the 2006 Friends of tional Piano Competition, played a Eastman Opera Voice Competition, recital during the 2006 Festival. which took place in Kilbourn Hall on Saturday, November 18, went Two BM students of Kathleen Bride to baritone Jonathan Michie, a did well at two prestigious summer competition winner as an Eastman music festivals. Andrea Mumm was undergraduate, now a first year one of two harpists chosen for the master’s student in the studio of 2006 Brevard Music Festival, and Carol Webber. As winner of the Jennifer Ruggieri was the only harp- competition, Jonathan received ist chosen for the 2006 Chautauqua the Lynne Clarke Vocal Prize, Music Festival. Both won their posi- established in 1998 by John Clarke tions after national auditions. in memory of his wife; the Clarkes were founding members of the Patrick Walle, BM student of W. Friends of Eastman Opera. Second Peter Kurau, stepped into play- prize went to baritone Jeffrey Goble ing assistant horn with the Buffalo and Third prize to mezzo-soprano Philharmonic in December, receiv- Korin Kormick. All are pictured Friends of Eastman Opera threw some bouquets at (left to right) ing kudos from his fellow musi- here with competition adjudicator Jonathan Michie, Eve Queler, Korin Kormick, and Jeffrey Goble. cians for his fine work. Peter Kurau Eve Queler, founder and music also tells us that the horn studio director of the Opera Orchestra of with the Bangkok Symphony Beata Golec, a doctoral student did very well at the BPO’s recent New York. Orchestra in early November, per- of Rebecca Penneys, was a win- extra-player auditions. forming Rachmaninoff’s Rhapsody ner in the 2006 Bradshaw & Buono Eastman students shone at the 28th on a Theme of Paganini in concerts International Piano Competition. Zhang Zuo, a student of Nelita True, Frinna Awerbuch International celebrating the 60th anniversary of Interviews with Beata and Rebecca won first prize in the Shenzhen Piano Competition, held in Steinway His Majesty King Bhumibol’s acces- can be read at www.bbpiano.com/ International Piano Concerto Com- Hall, New York City, From October sion to the throne. The Bangkok artist_month.html. Beata’s busy petition, aged 18. Zhang played con- 14-22, 2006. Yin Zheng, DMA stu- Post praised Pornphan’s “truly schedule this fall included a recital certos by Liszt, Ravel, Rachmaninoff, dent of Nelita True, tied for First sparkling performance,” at Carnegie Hall on October 15, and and Mozart. As first prize winner, Prize, and Anna Maimine, first- a performance for Chorus Line com- she received $30,000 and 15 perfor- year MM student of True and an Yuri Blinov, DMA student of Nelita poser Marvin Hamlisch in Buffalo on mances in China; the Polish judge on undergraduate student of Natalya True, played his New York debut at December 16. the 11-member jury also invited her Antonova, tied for Third Prize. Both Weill Hall on September 23. He was to give a recital in Warsaw. women appeared at New York’s also Grand Prize winner in the Texas J. G. Miller, BM student of W. Weill Hall in November. In addi- Chopin International Competition. Peter Kurau, was recently hired as ON THE WEB Notes can’t keep up tion, Joon Hee Kim, a student of Assistant/Associate Principal Horn, with all the awards, honors, and high- Rebecca Penneys, was a finalist in Helen Cha, an MM student of Nelita of the Flagstaff (AZ) Symphony. profile recitals of Eastman students, the Awerbuch Competition. True, won the concerto competi- but luckily the School’s website can! tion at the Piano Texas! Festival last Senior Bobby Mitchell, a student of For full, updated information on stu- Pornphan Banternghansa, a stu- summer and appeared with the Fort Nelita True and First Prize winner in dent honors, visit www.esm.rochester. dent of Rebecca Penneys, toured Worth Symphony. the 2005 William Garrison Interna- edu/news/honors_2006.php.

Champion Charlie

After a week of fierce competition in three rounds of judged performances, first prize in the Eastman School of Music’s tenth Young Artists International Piano Competition was awarded on August 3 to 18-year-old Charlie Albright from Centralia, Washington.

“Albright … established his primacy immediately,” said the Rochester Democrat and Chronicle. “[He] looked like a scholar, but played like an angel.” Not only did Charlie place first in the competition, he also won prizes for the best performance in a master class, best performance of a 20th-century work, and the audience prize.

Second prize was awarded to Kenric Tam of Los Altos Hills, CA, and Third prize to Viacheslav Kiselev of Russia. All three prizewinners were featured in concert on August 4 in the Eastman Theatre.

PHOTOGRAPH BY GELFAND-PIPER PHOTOGRAPHY EASTMAN SCHOOL OF MUSIC

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In December, Eastman cel- ebrated the 250th anniversary of Mozart’s birth with a couple of special guests. Musicologist, pia- nist, and composer Robert Levin (left) visited the School to hear a performance of his comple- tion of Mozart’s great C Minor Mass; he also lectured on his research as the first speaker in a new biennial series sponsored by Glenn Watkins (PhD ’53, right). For more on Mozart at Eastman, see School News, p. 19.

PHOTOGRAPH BY KURT BROWNELL

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