Doctor Brubeck A jazz legend is honored at Eastman Weekend

EROI 2008 A 1776 organ honors two 20th-century masters Stephen Hough The articulate, award-winning pianist visits Eastman

Winter 2009 FOALUMR NI, PARENTS, AND FRIENDS OF THE EASTMAN SCHOOL OF MUSIC FrOM tHe DeAn

Preserving the Eastman “essence”

Given the global economic tremors of the past few months, it seems as if there is no such thing as “business as usual.” So it is not surprising that we are frequently asked what the effect is of the present economic situation on our work here at Eastman. The prudent response is that in order to balance our ac- counts, we are modifying our operational behaviors, pretty much like everyone else. Yet we are also committed to maintaining the aims and objectives that got the Eastman School where it is today. More to the point, we are redoubling our commitment to our strategic objectives, especially as they relate to imagining Eastman’s future. Though it’s tempting to veer off course from an ambitious tra- NOTES jectory when we are surrounded by unprecedented un- Volume 27, number 1 certainty, we feel strongly that we must stay the course, Winter 2009 focusing on themes that will continue to differentiate Eastman’s “essence.” Editor You will read in this issue of Notes that the Eastman David raymond Theatre Renovation and Expansion Project is proceeding Contributing writers as planned; that our entrepreneurial energies continue ruth Cahn Douglas Lowry unabated (our January conference on the 21st Century Helene Snihur E-Musician); that our global reach continues to expand Contributing photographers and engage with vital purpose (Eastman Broadband richard Baker and Arabesque Winds in Mexico, and the Arabesque Steve Boerner Winds winning the grand prize in the 2008 International Kurt Brownell Chamber Music Competition); that our commitment to Gary Geer Douglas Lowry Gelfand-Piper Photography the School’s historical legacy—in particular that power- Andy Olenick ful alchemy of scholarship and performance—remains strong (the dedication of Gerry Szymanski the Craighead-Saunders Organ at Christ Church during the EROI Festival this Brandon Vick past fall). These achievements bear a singular quality: musical leadership ener- Photography coordinator gized by taking something traditional and trying it out new. This characteristic Karen Ver Steeg can be traced directly to the school’s namesake, George Eastman, an inveterate Design tinkerer. His inexhaustible spirit of invention set the stage for entrepreneurship Steve Boerner typography & Design at his Eastman School of Music. Published twice a year by the Office of In that spirit, we have announced the establishment of the Eastman Center for Communications (Bobbi Julien Lonobile, Music Innovation (CMI). Building on the platform of ground-breaking work in director), eastman School of Music, our Institute for Music Leadership, the CMI, once fully funded and operational, 26 Gibbs Street, rochester, nY, 14604, will serve as a music project incubator. More than symbolic, this initiative will (585) 274-1050. convert talk to action. Think of it as the Eastman School’s own R&D unit for [email protected] new ideas in music creation, performance, presentation, science, scholarship, teaching, and commerce. I think you will agree that our vision of the unique Eastman “essence” can’t be abridged by current events, but may well be inspired by them.

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FeAtUreS 3 Cause for celebration We put on a happy face for the kind of gala weekend only Eastman could produce

WitH tHe HeLP OF COMPOSer CHriS tHeOFAniDiS, MAnY DiFFerent CULtUreS 8 A musical monument 18 FOUnD REFUGE On tHe HOUStOn GrAnD OPerA StAGe The Craighead-Saunders Organ sounds the keynote for EROI Festival 2008 12 “A happy medium” The Eastman Theatre project is halfway through 14 “Anything predictable . . . is the worst crime” Pianist, teacher, composer, writer: Stephen Hough’s career is about crossing boundaries eWe AnD CAnADiAn BrASS 21 MAKe tHeirS ManHaTTan 20 Around the world in a semester The world comes to Eastman, and Eastman is heard ’round the world A COnVerSAtiOn WitH tHe UnPreDiCtABLe StePHen HOUGH 14 2 COMinG eVentS 19 SCHOOL neWS 27 ALUMni nOteS 29 ALUMni On CD 33 ALUMni On DVD 35 in MeMOriAM 36 FACULtY nOteS 36 StUDent nOteS

HAPPY FACeS AnD GOLDen MeMOrieS: 3 Wine, WOMen, SOnG, AnD eAStMAn WeeKenD 2008

ON THE COVER: In a highlight of Eastman Weekend 2008, jazz pianist and composer Dave Brubeck ON THE WEB: More news about the Eastman School of Music, received an honorary doctoral degree from ESM. The stole was bestowed on him by one of his biggest fans, including an Adobe PDF file of Notes, can be found online at University of Rochester President Joel Seligman. (Photograph by Brandon Vick.) www.esm.rochester.edu.

PHOtOGrAPHS BY JAniCe rUBin/HOUStOn GrAnD OPerA (THE REFUGE); SteVe BOerner (HOUGH); GeLFAnD-PiPer PHOtOGrAPHY (eAStMAn WeeKenD) The Frederick Fennell Eastman ind EnsEmblE WFund

EROI Festival 2009 Coming Events

March 23–27, 2009 • Women in Music Festival 2009, with composer-in-residence Judith Lang Zaimont

April 2–5, 2009 • eastman Opera theatre: Mozart: Le nozze di Figaro

April 23–26, 2009 • Annual meeting of the Society for Seventeenth-Century Music hosted by the eastman School in rochester

May 22, 2009 • eastman at the Kennedy Center with Arabesque Winds

June 28–August 7, 2009 • Summer at eastman 2009: Alumni and matriculated student discount! Established in 2007 through estate provisions Visit www.esm.rochester.edu/summer

October 28–November 1, 2009 made by the legendary founder and conductor • erOi Festival 2009: Mendelssohn of the EWE, the Fennell Fund provides and the Contrapuntal Tradition support and helps to advance the excellence Le Nozze of America’s finest wind ensemble. di Figaro

For information on creating your own legacy at the Eastman School, please contact the Office of Trusts and Estates.

800-635-4672 or 585-275-7547 [email protected] www.rochester.plannedgifts.org

2008042_ESM_Wind_Ensemble_Ad_Winter_2009.indd 1 3/13/09 12:32 PM Cause for celebration We put on a happy face for the kind of gala weekend only Eastman could produce

Eastman Weekend (October 16–19, 2008) began with a Friday night reception in the Miller Center’s Sproull Atrium, where classmates, friends, and spouses got together to catch up on old times. Posing for a picture (left to right) are Alan Tew, Elizabteh Oehrle (BM ’65), Delores Mather-Pike Tew (MM ’57, DMA ’61), Iram Weinstein, Carol Buerklin Doran (MM ’62, DMA ’78), Marjorie (Polly) Comstock Hunsberger (BM ’58, MM ’60), Lynn Mauser Weinstein, Susanna Mauser Nason (MM ’58), and Michael Doran. (Thanks to Polly Hunsberger for her help in identification.)

PHOTOGRAPHS BY GELFAND-PIPER PHOTOGRAPHY (TOP); BRANDON VICK (Bottom) Opposite page: Steve Boerner (top) Winter 2009 | Eastman Notes 3 On Friday night, Eastman Dean Douglas Lowry had an informal conversation on the stage of Kilbourn Hall with Charles Strouse (BM ’47), composer of such Broadway hits as Bye Bye Birdie, Golden Boy, Applause, and Annie (his latest, Minsky’s, recently opened in Los Angeles). The event celebrated the publication of Strouse’s autobiography, Put on a Happy Face, and the composer’s 80th birthday—with cake!

ON THE WEB For a photo gallery with more pictures of Eastman Weekend, a list of attendees, and more information, visit the Eastman Alumni Relations web Jazz Goes to College: Everybody wanted to meet Dave Brubeck! The jazz legend visited site: www.esm.rochester.edu/iml/alumni/ Eastman as recipient of an honorary doctoral degree before Saturday night’s concert. The weekend creator of Take Five autographed his original Columbia album for University President Joel Seligman, and posed for a photo with freshman David Meder—taken by Alumni Relations Director Russell Scarbrough (MM ’04, DMA ’08).

4 Eastman Notes | Winter 2009 Photographs by Kurt Brownell (Charles Strouse); Gelfand-Piper Photography (all others)

Saturday night’s concert featured Neil Varon conducting the Philharmonia in Holst’s The Planets, and Mark Davis Scatterday (DMA ’89) leading the Wind Ensemble in a very Eastman-oriented selection of pieces by Sam Adler, Jeff Tyzik (BM ’73, MM ’77), and new professor of percussion Michael Burritt (BM ’84, MM ’86). Alums could attend an open rehearsal of Burritt’s Duo Concertante; shown here are Scatterday and the soloists: Burritt and clarinet professor Ken Grant (BM ’73).

Saturday night’s Gala Dinner featured fine food, and for dessert, presentation of two awards: the Dean’s Medal to Betty Strasenburgh (BM ’52), an indefatigable and influen- tial advocate for Eastman in Rochester community; and the Distinguished Service Medal to Jeff Tyzik, composer and pops conductor extraordinaire.

Eastman honored its 50-year graduates (classes of 1957, 1958, and earlier) with a medallion ceremony in the Miller Center Atrium, followed by a festive brunch on Cominsky Promenade. Shown here are longtime Eastman organ professor David Craighead (seated at center), with his assistant Charles Fitzgibbon (seated to Craighead’s right), and, standing behind Craighead, Lorene Osborn (BM ’41, MM ’44) and Jefferson Fraser (MM ’58).

6 Eastman Notes | Winter 2009 Photographs by Gelfand-Piper Photography (wind ensemble, medallion ceremony) and brandon vick (gala dinner) Samuel Adler, professor emeritus of composition, returned to Eastman for an 80th birthday celebration: a concert of his music on Saturday afternoon. Performers included the Eastman Horn Choir, flutist Bonita Boyd, and (pictured) the Ying Quartet (l-r, Timothy and Janet Ying, violins; David Ying, cello; Philip Ying, viola) and pianist Elinor Freer, shown taking a bow with Adler after a performance of his Piano Quintet. The memory of another Eastman composer, Wayne Barlow (1912 – 1996), was honored with a concert tribute earlier that morning in Kilbourn Hall.

Among Eastman Weekend’s honored guests were the parents of Eastman students—often Eastman graduates themselves. Students showed off their skills to their proud parents in a series of afternoon recitals, and later enjoyed a dessert reception with Dean Lowry.

Photographs by Gelfand-Piper Photography (Ying Quartet) and Steve Boerner (recital and reception) Winter 2009 | Eastman Notes 7 A Musical Monument The Craighead-Saunders Organ sounds the keynote for EROI Festival 2008

By David Raymond

8 Eastman Notes | Winter 2009 The Craighead-Saunders Organ was painstakingly modeled after an 18th-century European original, right down to the paint and gilding—which were recreated according to original formulas. The gold star is one of several that spin when the organ is played.

Winter 2009 | Eastman Notes 9 hat becomes two Eastman leg- Left: Eastman’s William Porter plays the Craighead-Saunders ends most? Russell Saunders and Organ. Center: A standing-room crowd attended the dedication David Craighead, who taught organ of the organ, which dominates the back wall of Christ Church; its at Eastman for a combined total of crown moldings frame the church’s rose window, and a statue of 62 years, definitely qualify as leg- King David is placed front and center, above the keyboards. ends, and as a tribute, nothing less would do than a festival centering veloping sound characteristic of late Baroque organs. on a uniquely beautiful instrument. The style and sound of this particular instrument, designed only The result of an eight-year re- 26 years after J.S. Bach’s death, are considered ideal for historically search and construction project conducted on two continents, the informed performance of the music that is the cornerstone of the Craighead-Saunders Organ replicates an instrument built in 1776 organist’s repertoire. In many ways, the Craighead-Saunders Organ W in Vilnius, Lithuania by Adam Gottlob Casparini. Installed in Christ “preserves and gives life to an important artifact of musical and cul- Church on East Avenue, the new organ is the first one in the United tural history,” to quote Dean Douglas Lowry’s words at the organ’s States to be built completely in the late-eighteenth-century central debut concert on October 16. and north European style. An international team of organ builders The instrument also salutes two great organists and teachers. meticulously researched the original instrument—the only remain- Russell Saunders, who died in 1992, had taught at Eastman since 1967; ing example of a large organ by Casparini—in an effort to duplicate his legacy now includes a biography, The Silver Fox, written by his stu- historic organ-building processes that could capture the grand, en- dent Martha Sobaje (MM ’75), who was at the Festival to speak about

10 Eastman Notes | Winter 2009 it. David Craighead, who retired from Eastman in 1997, was able to attend the EROI Festival, which coincided with Eastman Weekend. Besides the gala opening night on October 16 featuring guests from the Boston Early Music Festival Chamber Ensemble (includ- ing Eastman professor Paul O’Dette) and special invited quests from Vilnius, the festive and very full weekend included recitals by stu- dents, faculty, and guest artists; the 2008 Glenn E. Watkins Lecture by the distinguished musicologist Christoph Wolff; symposia on the Craighead-Saunders legacy, the organ music of Bach, and the reconstruction of the Casparini Organ; and events coinciding with the American Guild of Organists’ worldwide Organ Spectacular on October 20. Top: Eastman’s organ professors (William Porter, Hans Davidsson, ON THE WEB For more details about EROI 2008 and previous festivals, David Higgs) celebrate the inaugural concert of the Craighead- and for a photo history of the creation of the Craighead-Saunders Saunders organ. Guests for this concert included The Radvilishis Organ, visit www.esm.rochester.edu/eroi/festival. For more information Catholic Church Girls Choir of Vilnius (center), and the Boston about Martha Sobaje’s The Silver Fox: The Life and Legacy of Russell Early Music Festival Chamber Ensemble, including Eastman Saunders (including ordering information), visit www.wayneleupold.com. professor Paul O’Dette on the lute (bottom).

PHOtOGrAPHS BY riCHArD BAKer (PAUL O’Dette); ALL OtHerS BY SteVe BOerner Winter 2009 | Eastman Notes 11 “A happy medium” The ET/ESM expansion project continues on schedule By David Raymond ollowing an announcement in April 2008, the Eastman School embarked on an unprecedented con- struction project. In a November 2008 interview for the Rochester Business Journal, Dean Douglas Lowry called this two-year project, which will add 37, 620 square feet Fof space to the School and the Theatre, “the first significant im- provement in facilities since George Eastman built the place.” Notes offers an update on the construction progress and future plans, with illustrations from the last three issues of the magazine.

StAgE I (completed October 2008) An upgrade of the existing theater’s infrastructure, including: • new air-conditioning and heating units • sound attenuated ductwork • foundation and masonry work

StAgE II (July-October 2009) Hatch Recital Hall Inside the theater: • 800 seats will be removed from the back and sides of the orches- tra level to allow for the addition of box seats, and the expansion of the lobby • 2,200 seats is considered an optimum number for acoustical quality and audience comfort; the redone Eastman’s Theatre’s 2,250 seats will be “a happy medium for a concert hall,” in Dean Lowry’s phrase. • This portion of the renovation is set to take place during a 91-day window from July to October 2009, when the Eastman School is not in session and the RPO is not holding concerts in the the- ater. It also will include the addition of new sound systems and refurbishing of seats in the mezzanine level, which has begun.

StAgE III (October 2009-October 2010) The addition will include: • A 2,782-square-foot, 230-seat recital hall (Hatch Recital Hall) • A rehearsal hall of approximately 3,200 square feet • New faculty studios

ON THE WEB For ongoing updates on the Eastman School/Eastman Theatre project, visit www.esm.rochester.edu/news/renovation_news.php. Or visit the Eastman homepage (www.esm.rochester.edu), and click on Completing George Eastman’s Vision at the top of the page.

12 Eastman Notes | Winter 2009

EAST MAIN STREET Proposed interior of Kodak Hall at Eastman Theatre

GIBBS STREET

Atrium space for Eastman Theatre, including a glass sculpture by Dale Chihuly.

CHAintreUiL, JenSen, StArK ArCHiteCtS Winter 2009 | Eastman Notes 13 “Anything predictable worst… is the crıme” Pianist, teacher, composer, writer: Stephen Hough’s career is about crossing boundaries

By David Raymond est known as a prominent concert pianist and recording artist, Stephen Hough is also in the se- lect group of MacArthur Foundation “Geniuses.” With good reason: in addition to a flourishing performing and recording career, Stephen re- cently resumed his interest in composing, and Is this your first visit to Rochester and to Eastman? has a growing list of chamber and choral works to My second, actually. The first was many years ago, when the his credit; his catalogue ranges from elaborate piano transcriptions Cleveland Quartet was resident at Eastman. We needed to rehearse Bof selections from Carousel and The King and I, to masses written the Brahms Piano Quintet; the quartet was in Rochester and I was for Westminster Abbey and Westminster Cathedral. He also writes in Toronto, so I traveled down, we rehearsed in a practice room, and many of the booklet notes for his recordings, as well as other essays I went back, all in one day. A very pleasant trip, too. on music, and his fame is growing as a writer on religious subjects. In 2007 he published The Bible as Prayer (Paulist Press), and he is now You are not a full-time teacher, but do you enjoy teaching? at work on a book about the Bible and homosexuality. I don’t teach at a university, and I don’t give private lessons. There Stephen Hough made his first “real” visit to Eastman (see below) is an element of musical parenting to teaching, and it is time- early in December, for a Kilbourn Hall recital (Bach-Cortot, Fauré, consuming. I do love master classes, though, and the format suits Franck, Copland, Chopin) and a master class. And, we’re happy to me: listening to a student, then offering lots of general ideas and a say, for a wide-ranging interview with Notes. few pointers.

14 Eastman Notes | Winter 2009 “The fun thing about playing is alerting a person to something special, to stimulating the brains of your audience.”

Have you always been active as a composer? poignancy. In a piece like his Second Quartet, the notes on the page I was always very interested in it, but when I went to Juilliard I don’t tell the full story: it is a matter of timing, of spacing chords, of couldn’t take a double major, and after winning the Naumberg encountering a melody when you least expect it. Composers used to Award [1983] I got very busy playing concerts, so I just stopped. Then shock with a loud discord, but that doesn’t surprise people anymore; about eight years ago I played my arrangement of Richard Rodgers’ what is more shocking now, I think, is a direct romantic gesture. “Carousel Waltz” on a recital, and John Corigliano said to me after- You also hear this in many other composers: Debussy, Fauré, wards, “You know, that was good, you should compose more!” Britten, Poulenc. And in so much contemporary American music, which is not afraid to be honest about this—Del Tredici, Corigliano, What is your musical style? (In 20 words or less!) Glass, Reich. Well … it’s tonal, there are definitely tonal roots in everything I write. So in that sense it is conventional, but what I hope makes it Judging from your compositions and recordings, you also appreci- unconventional is the sense of irresolution and surprise, the sort of ate the intersection between classical and popular styles. thing that a composer like Janácˇek can do to create an unspeakable Only in a limited way—I like to use popular styles in my own music

PHOtOGrAPH BY SteVe BOerner Winter 2009 | Eastman Notes 15 “The format suits me”: Hough’s December 3 master class began with him coaching junior Zhang Zuo in the first movement of the Tchaikovsky First Concerto.

for slightly risqué, camp-ish qualities. There really is a thin line be- eled on Bach’s style, yet in the language of Fauré. I wanted to play tween pop and classical, and while I greatly admire a composer like the Chopin B Minor Sonata, which I will be recording later this year. Gershwin or William Bolcom who can cross to the other side of the Now with all this luscious Romantic piano writing, I felt my program barrier, I don’t really do that myself. needed some teeth.

You played an interesting program here. Can you tell me how you And it got them! put it together? Yes—the Copland Piano Variations [1930] is definitely a landmark in The Bach Toccata and Fugue in D Minor has been arranged many times, a “modern,” bare, percussive piano style. But there is a connection by Busoni, Tausig, and so on, but I encountered this version by Alfred with the rest—Copland sketched some of it while studying with Cortot—who is probably the one pianist I would pick as a favorite, if Nadia Boulanger in the 1920s, which makes him a grand-pupil of I had to—and had never heard it, and I found it much the best one. Fauré. [Hough included the Copland Piano Variations with music by I chose to follow it with some pieces by Fauré, whose piano music John Corigliano, George Tsontakis, and Ben Weber on his 1998 CD is not often encountered on programs—and the Franck piece is mod- New York Variations.]

16 Eastman Notes | Winter 2009 PHOtOGrAPH BY SteVe BOerner cial, to stimulating the brains of your audience. If there is anything predictable about your recital, from the pieces you play to the way you play them, I think that is the worst crime.

Is it easier for you to go your own way in programming and per- forming now than it was for you as a young musician starting out? That is true—the older I get, the less I could care what people think! One piece of advice I would give young musicians is to get out of the mindset of doing everything as if you’re preparing for a final exam. So many younger pianists plan their programs like their jury recit- als—the Bach piece, the Classical piece, the Romantic piece, the 20th-century piece. But you can mix things up in crazy ways. Do a program of pieces that are all two minutes long. Or a program with one huge piece. Or an all-Menotti program, if you like! Though per- haps the audience wouldn’t.

Fans of you as a pianist may not be aware of your as writer. How did you get started writing on religious subjects? [Some time ago] I was invited to write an essay on Catholicism and homosexuality (included in the book The Way We Are Now, edited by Ben Summerhill). Based on that, the Paulist Press asked me to write a book, but I chose to write something based on the Lectio Divina (a tra- ditional Christian practice of daily prayer guided by a selection from Scripture). This is a Catholic practice, but you can find something similar in most world religions from Judaism to Islam, which made me think the book could be an ecumenical gesture. The concept leaps over all the religious divisions we have now, and goes back to a type of worship closer to the ritual of the early Church. I wondered, well, what about a book that would gather all the passages in the Bible that are meant to inspire prayer—a handbook for Lectio Divina. When I was writing The Bible as Prayer, I had in mind as a reader someone in hospital perhaps, someone in a weak state, who would be able to find something inspiring or comforting on every page. I had never read the Bible from beginning to end, and particularly enjoyed rediscovering the Old Testament, especially the prophets. As I read, it occurred to me that what was remarkable about the prophets was that they didn’t mind admitting their mistakes! God chose these obviously flawed characters, which made me think that God loves individuals—his love is inclusive, personal, and specific. Do you prefer solo recitals or concerto performances? Well, they are very different. There’s a special technique to perform- Will there be a follow-up? ing with an orchestra: you need to develop a chamber-music-like Well, the first book wasn’t exactly a big best-seller, you know! But ability to play with other instrumentalists, and to balance it with I did sign a contract for a second book, this time on being gay and rhetoric—the ability to project over an orchestra in a large hall. But Catholic, which I hope to start working on soon. Reading Scripture of course, it’s easier to play for 20 minutes than for two hours! in its context, with an awareness of what people like Paul were think- However—the palette of colors you can use in a full recital is so ing about when they wrote, and without two thousand years of what much greater. And there is something about standing in the wings, our culture has imposed on it—you find that in the Bible, the concept waiting to go on, and realizing you can take your program anywhere of sin is all about social justice. you want. You can take that Fauré nocturne and make it reflective To me, if I recognize that God loves me as a unique individual, and nostalgic, or shape it so that it is a more intense experience. It’s then He must love everything within me as unique and individual. up to you. It is like an artist facing a white canvas. As someone once told me, when you’re a Catholic you should start The fun thing about playing is alerting a person to something spe- conservative, and then become radical!

Winter 2009 | Eastman Notes 17 CONVOCATION

The place of constant edges

sonic accompaniment to other distractions. Eastman, but of energizing your e-space at Rather, I want great music to be a cultural Eastman. A few years down the line . . . your and social force that inspires and binds a ter- success in terms of accomplishments will be ribly fragmented world. highly unpredictable, and a lot of it frankly So, what about this “e-space?” Well, will be out of your control. But how you go it’s no mystery that electronic messaging about what you do, the way you dealt with in every form, be it text, e-mail, graphic challenges, the sometimes dreary day-to- design, music composition, music editing, day necessities of warm-ups and scales and video, or any form of multi-media, is the etudes, yes, discipline and ritual, the way you medium of choice for getting pretty much shaped your behavior, this process is integral any word out. But what should be clear as to the Eastman experience. day for the musical establishment . . . is that Yet this also means that we have to be opportunities for musical artists of every very wary of cultural boundaries and biases stripe—performers, composers, scholars, and borders—those created by others, teachers—to build whole new audiences and those created by us. Strict, historically are truly abundant . . .The days of the tradi- accepted definitions of what great music is tional models of promotion are over. And I and should be are no longer valid, especially would challenge you that the most imagina- in a world coming to terms with its incred- tive presenters will have the best shot at ibly empowering ethnic, intellectual, and advancing their own artistic work. Be it on artistic diversity, a realization due, in part, to Facebook or on a website, opportunities for this web connectivity. engagement are bigger than anything any We know that the Eastman School of PR firm or record company could furnish Music will give you a formidable foundation you. I encourage you—no, implore you—to in music. As a faculty, though, we’re wary of seize this moment immediately. Many of you blind allegiance to forms and conventions . . . already have. At Eastman we’ll teach you about forms, and . . . There’s another aspect to this discus- a decent respect for tradition and its formi- sion, however, that’s a little more difficult dable riches. If we do our job right, we won’t Eastman Dean Douglas Lowry gave his to get our arms around. Promotion alone lash you to the mast of their conventions, Convocation Speech for the opening of the doesn’t really do the trick. Changing music but rather encourage you to deploy those 2008–2009 academic year on Thursday, will, though. Changing music will require us conventions inventively. September 4, 2008 in Kilbourn Hall. Passages to push some edges, including our own—to . . . Although we can give you our opinions from his speech are printed here; for the open up our own cultural gates. This futur- on what music means and is, how it should full text visit www.esm.rochester.edu/news/ istic look is our responsibility because that be performed and composed, you all walk lowry_douglas.php particular frontier is the one you, our stu- in here with an individual DNA, an individual dents, will occupy. perspective, an individual voice that must, if Rather than sitting idly by and watching It’s in this spirit that I address you today: you are to survive and flourish in the world the music world define itself, or remaining this spirit of innovative energy, of not only outside of Eastman, be cultivated, nourished stuck in the way it’s always defined itself, we creating your own authentic e-space at and, yes, pushed to the limits. owe it to you, the students, to be inventing, Great artists always talk about these spa- innovating, and inspiring . . . We must utilize tial edges, what I call the “discomfort zone.” Eastman’s historic initiatives and premier leg- Changing music will So do poets, scholars, creators, thinkers, acy, not just so music can retain its “neces- leaders. Inevitably the discussion turns to sity” or its “urgency”, but also so that our require us to push energy, and pushing against edges, about culture feels compelled to experience the how life is made up of bursts of energy. How music we make in the way we make it. Like some edges, including that energy gets formed and expressed in you, I don’t want music to become just one one sense forms the image of our lives. The more entertaining distraction—or worse, a our own. place of constant edges.

18 Eastman Notes | Winter 2009 PHOTOGRAPH BY Kurt Brownell SCHOOL neWS

CB meets EWE at a rehearsal for Manhattan Music: hornist Jeff Nelson, trombonist Shakar Israel, conductor Mark Davis Scatterday, and tuba player Chuck Daellenbach. The album was recorded in September 2007 and released in October 2008. One for the Arkivs: EWE, Canadian Brass join forces

In September 2007, a little Manhattan Jeff Tyzik (BM ’73, MM ’77), whose New York Scatterday came up with this groundbreak- Music brought the Eastman Wind Ensemble CityScape is included on the program, along ing project to create new repertoire for the and the Canadian Brass together to the with Bramwell Tovey’s Manhattan Music, a combination of brass quintet and wind en- Eastman Theatre stage for their first joint suite from Leonard Bernstein’s Mass, and semble during discussions they had in 2006, recording, released this fall by the online the Shaker Suite by Rayburn Wright, former when Daellenbach returned to Eastman to classical music retailer ArkivMusic. It’s the director of jazz studies at Eastman. Tovey’s receive an honorary doctorate. latest in the series of distinguished EWE composition was recently nominated for “This recording project continues the long recordings begun in the 1950s by Frederick a 2008 Juno Award (Canada’s national re- tradition of the Eastman Wind Ensemble Fennell and continued by Clyde Roller, cording award) as “Classical Composition to bring fresh sound ideas and interesting Donald Hunsberger, and current EWE di- of the Year.” works to the public,” says Scatterday. “It gave rector Mark Davis Scatterday (DMA ’89). The idea for a joint album was envi- Eastman students the experience of working Manhattan Music (Opening Day 7368) not sioned by Chuck Daellenbach and Dixon professionally alongside musicians from one only celebrates New York City, but also cele- Van Winkle, a recording producer/engineer of the world’s leading brass ensembles.” brates Eastman: it’s a festival of ESM alumni, who has worked with Frank Sinatra, Stan including Canadian Brass tuba player and co- Getz, Paul Winter, and Paul McCartney. ON THE WEB To order Manhattan Music, founder Chuck Daellenbach (MM ’68, MM Both Chuck and Dixon played tuba in the visit www.arkivmusic.com. Brief excerpts ’71), producer Dixon Van Winkle (BM ’69), Eastman Wind Ensemble under Donald from all the pieces on the CD are available at conductor Mark Scatterday, and composer Hunsberger in the 1960s. Daellenbach and www.esm.rochester/ewe/manhattan_music.php

PHOtOGrAPH BY GeLFAnD-PiPer PHOtOGrAPHY Winter 2009 | Eastman Notes 19 SCHOOL neWS Around the world in a semester The world comes to Eastman, and Eastman is heard ’round the world hether or not you believe the old description of music as “the universal language,” there is no doubt that Eastman is a musical presence all over the world. This was certainly true in 2008: Eastman students, faculty, and alumni exported some high-quality musical performances—and the SchoolW also hosted outstanding musicians of all ages, from all over the globe. ATLANTIC

MEXICO

Mbira Masters of Zimbabwe

■ 21st century “globalization” is musical as well as eco- ■ Mexico’s Chihuahua International Festival is becoming a lead- nomic, as Western musicians draw on Africa, Asia, and ing arts festival, with a lot of help on the musical side from Eastman. other cultures. Eastman tackled the issue this fall, with In September professors Carlos Sanchez-Gutierrez and Carlos Zohn- the symposium Music and Globalization: Cultural Muldoon guided a large group of Eastman students to Chihuahua for Representation throughOCEAN Changing and Overlapping several concerts: featur- Musical Styles. One of the guests, the Chinese-American ing Eastman BroadBand, composer Chen Yi, exemplifies this theme: her music com- guitarist Dieter Hemmings, bines contemporary Western composing techniques with OCEANand the Arabesque traditional Chinese melodies and sounds in a form acces- Winds, as well as the JACK sible to listeners of both cultures. Music and Globalization Quartet, a string quar- included presentations and panel discussions, but the fun tet made up of Eastman part, of course, was the music itself, which included per- graduates John Pickford formances by Cosmas Magaya and Beauler Dyoko, the Richards (BM ’02, MM ’04), Mbira Masters of Zimbabwe; African Alchemies—a group Ari Streisfeld (BM ’05), founded at Eastman, whose members perform on Western Eastman BroadBand in concert Christopher Otto (BM instruments using traditional African techniques; and vari- ’06), and Kevin McFarland (BM ’04). BroadBand’s Chihuahua Festival con- ous musicians in a Chen Yi program, featuring the premiere certs included two programs of contemporary music, including recent of her Wind Quintet No. 3 by the Antara Winds. Major works by Zohn-Muldoon and Sanchez-Gutierrez. The group received funding for Music and Globalization was provided by the standing ovations, press acclaim, and even a few requests for autographs. Central New York Humanities Corridor.

20 Eastman Notes | Winter 2009 PHOtOGrAPHS BY CeCiLiA FernAnDeZ (LeFt) AnD SteVe BOerner (ABOVe) SCHOOL neWS Around the world in a semester

■ The reputation of the Eastman Young Artists International Piano Competition has grown steadily over the last nine years. Last summer’s roster of young musicians included 23 teenage pianists from China, Korea, Canada, the USA, and the Czech Republic—not to mention judges from Argentina, Russia, and China. All three finalists performed in an August 9 recital in Kilbourn Hall. This year’s top winners were: • First Prize ($4,000)—Tie-Dan Yao, age 16 (Calgary, Alberta) • Second Prize ($2,000)—Min-Soo Hong, age 15 (Seoul, Korea) • Third Prize ($1,000)—Peter Klimo, age 17 (Northridge, California)

NORTH KOREA

PACIFIC

Houston Grand Opera: The Refuge OCEAN ■ As with other American cities, Houston’s im- migrant population has comeINDIAN from all over the world: Africa, Vietnam, Central America, India, and many more countries. The immigrants’ sto- New York Philharmonic in Pyongyang ries, and their distinct musical voices, merged in the music theatre piece The Refuge, writ- ■ A year ago, the New York Philharmonic became the first west- ten by Christopher Theofanidis (MM ’92) to ern orchestra to perform in The Democratic People’s Republic of Korea, a libretto by Leah Lax. Houston Grand Opera bringing along a good number of Eastman alumni who play in the or- presented The Refuge in November 2007 to chestra (see the Summer 2008 Notes for a complete list). The historic some rave reviews, and an Albany Records CD trip is documented on a DVD from Medici Arts, The Pyongyang Concert. soon followed. Other Eastman alums involved Besides the February 26 concert itself, the DVD includes the documen- in The Refuge were mezzo-soprano Faith tary Americans in Pyongyang, detailing the response of the American Sherman (BM ’03) and chorus master Richard musicians (including conductor Lorin Maazel) to a very different culture. Bado (MM ’83). OCEANThey’ll do it again later this year: the NYPO recently announced upcom- ing visits to Hanoi and to Abu Dhabi. ON THE WEB Musical excerpts from The Refuge, and interviews with the creators, ON THE WEB Photo slideshows of the NYPO trip to North Korea can be are available at www.houstongrandopera.org. viewed at http://nyphil.org/about/virtualtours/0708/korea/index.cfm

PHOtOGrAPHS BY JAniCe rUBin/HOUStOn GrAnD OPerA (ABOVe) AnD DAViD GUttenFeLDer/tHe ASSOCiAteD PreSS (riGHt) Winter 2009 | Eastman Notes 21 June 28 –August 7 Institutes, collegiate and pre-collegiate courses, and more! $100 alumni and matriculated student discount

Course information and applications at www.esm.rochester.edu/summer

The Eastman Theatre cherubs watched over a stimulating Summer Session 2008. Summer Echoes of an Eastman Summer By Ruth Cahn entry: Plays Well With Others. (If you guess at that Plays Well … focused on the pedagogy The three musical cherubs on our of accompanying, right you are!) Summer at Eastman 2008 catalogue cover Orff Schulwerk Teacher Training of- (their original home is the north frieze of fered two levels of certification and a spe- the Eastman Theatre) performed their du- cial “Conga Jam” for elementary and middle Eastman ties well, and attracted a wonderful group of school teachers. Most of the Orff students collegiate and pre-collegiate students to our were experienced teachers, who left Eastman 2009 summer programs. saying, “I should have taken this course years Our graduate musicology courses were ago, it stimulates my creativity!” If you are an definite favorites and were completely filled: educator, please consider joining us for the The Russian Symphony (Truman Bullard); 2009 Orff Schulwerk courses. Mozart’s Concertos (Gretchen Wheelock); Eastman’s conducting programs— The Artist in the Third Reich (Anne-Marie Choral Music with William Weinert and Reynolds). Our summer graduate students Instrumental Conducting with Neil Varon— enjoyed focusing on unique topics, and continued to attract experienced students appreciated the opportunity to work on a launching the next phase of their careers. more personal level with our outstanding Student professionalism is now enhanced by faculty members. the opportunity for Choral Institute partici- Music Education welcomed seven new pants to conduct Voices, a professional choir, “Summers Only” Masters Degree students. and for the Instrumental students to conduct Theorists Steven Laitz and Ciro Scotto en- the Rochester Philharmonic Orchestra. gaged their students with topics in Theory The Eastman Community Music School’s Pedagogy and Analytical Techniques. We award-winning residential programs, Music warmly welcomed the new international Horizons and Summer Jazz Studies, each at- students in Caterina Falli’s English as a tracted 65 students considering a musical ca- Second Language course. And we enticed reer. The faculties of both programs not only students and professionals with such topics shared topics in music history, theory, and en- as Technology for Music Teachers, Balinese sembles, but also assisted these exceptional Gamelan, Non-Jazz Improvisation, African young musicians in planning their futures. Drumming, Improvising at the Harpsichord, and Music Preservation, as well as viola, ONTHE WEB Information about harp, trombone, trumpet, jazz guitar, and Summer Session 2009 is at vocal performance, and an interesting new www.esm.rochester.edu/summer.

PHOtOGrAPH BY SteVe BOerner

2008043_ESM_Summer_Session_Ad_Winter_2009.indd 1 2/24/09 10:31 AM SCHOOL neWS

Leading the orchestra’s future

Key leaders from 21 of the country’s largest orchestras came to Eastman in September to discuss the impact of Polyphonic.org, a website for professional orchestra musicians and aspiring students launched in 2006 by Eastman’s Institute for Music Leadership. The site now boasts more than 1,650 registered users and averages more than 8,000 unique visitors (visitors only counted once) per month. Marc Iacona, Evan Henry, Adrian DiMatteo, Daniel Zieman, John Nugent, More than 20 American orchestras were Howard Potter, Harold Danko represented at the day-long conference, in- cluding the National Symphony Orchestra, the Minnesota Orchestra, the Utah Sym- Pathways to Eastman, phony Orchestra, the New Jersey Symphony Orchestra, the Rochester Philharmonic, the and a visit to the White House North Carolina Symphony, and orchestras in Columbus, St. Louis, Baltimore, Hartford, In- this fall, three musicians joined eastman’s freshman class as this year’s recipients dianapolis, Cincinnati, Syracuse, Fort Worth, of the rochester international Jazz Festival/eastman School of Music scholar- Buffalo, Milwaukee, Detroit, Kansas City, ship: guitarist Adrian Di Matteo; trumpeter evan Henry; and bass player Daniel Pittsburgh, Houston, and Cleveland. “To the Ziemann. All are veterans of the eastman Youth Jazz Orchestra, directed by best of our knowledge, this was the first time Howard Potter, associate dean for community and continuing education. riJF a group of top orchestra committee chairs— producers John nugent and Marc iacona have sponsored the scholarship in each the representatives of musicians to orchestra of the seven years since the Festival was management—has been assembled in such a launched in 2002. meeting,” said Ramon Ricker, senior associ- in addition, Adrian and evan are eastman’s ate dean for professional studies and director first Pathways Fellows, winning full tuition of the Institute for Music Leadership. scholarships to study jazz and contempo- “Orchestras and the arts world in gen- rary media. eastman Pathways, a partnership eral seem to always be facing challenges,” between the eastman Community Music said Ricker; “Polyphonic.org is committed School and the rochester City School to providing musicians with information to District since 1997, offers talented rCSD help them become more knowledgeable and students the opportunity to take lessons at involved in all aspects of orchestra life and eastman with financial assistance. be effective stakeholders in their organiza- Another outstanding eCMS student, tions. The discussion not only told us how violinist Gabrielle Monachino, traveled to Polyphonic.org has served the needs of mu- the White House in December to play a sicians, but identified future topics we need 90-minute holiday recital, including tradi- to examine to ensure that orchestras remain tional Christmas songs like “Silent night” vibrant and viable.” and “O Holy night,” along with music by Fritz Kreisler. the 16-year-old violinist was ON THE WEB “The orchestra musician’s selected based on a performance DVD she companion” offers news and features on submitted to the White House. Gabrielle, orchestra life, the business of orchestras, who has played the violin since she was four, health and injury prevention, entrepreneurship, is a student of Jeremy Zhu. After the recital, and other topics of interest to orchestral Gabrielle and her accompanist Jeffrey Lawlis musicians at www.polyphonic.org were treated to a tour of the White House. Gabrielle Monachino

PHOtOGrAPHS BY GArY Geer (JAZZ SCHOLArSHiP WinnerS); COUrteSY OF CHArLeS MOnACHinO (GABrieLLe MOnACHinO) Winter 2009 | Eastman Notes 23 SCHOOL neWS

Eastman welcomes eight new faculty members

The Eastman School of Music has announced CAROL RODLAND mance of medieval plainchant and early the following faculty appointments: Associate Professor of Viola polyphonic music. He also sang baritone with the Chicago Symphony Chorus for Carol Rodland, Associate Professor of Viola, MICHAEL BURRITT three seasons. made her solo debut with the Philadelphia Professor of Percussion Orchestra as a teenager, and enjoys an in- JOHN FETTER Professor of Percussion Michael Burritt is an ternational career as a active performer, teacher, and composer, in concert and recording Assistant Professor of Music Education frequent demand performing concert tours artist and pedagogue. John Fetter, Assistant Professor of Music Ed- and master classes, and Recent performances ucation, holds a BM degree in string music has been soloist with have taken her to Bra- education from the University of North- the Dallas Wind Sym- zil, Germany, and ern Iowa and a MM degree in music educa- phony, Omaha Sym- throughout the United tion from Eastman, where he is completing phony, Chautauqua States, and her solo re- his PhD. Symphony Orchestra, cordings on the Crystal and Neuma labels Previously, he taught music in the public Richmond Symphony have been critically acclaimed. schools in Greeley, Colo. Fetter has been on Orchestra, and percus- A Fulbright Scholar, she received degrees the faculty of the Hochstein School of Music sion ensembles in Taiwan, Germany, and with highest honors from the Juilliard School and Dance since 2002 and on the faculty Sweden). Burritt has three solo record- and the Musikhochschule Freiburg, where of the Eastman Community Music School ings: Perpetual, Shadow Chasers, and Waking she studied with Karen Tuttle and Kim since 2006. Dreams. In 1992, he made his New York solo Kashkashian. debut in Weill Hall at Carnegie Hall and in Before joining Eastman, Rodland was JOSé OLIVEIRA MARTINS 1998 made his London debut in the Purcell on the viola faculty of the New England Assistant Professor of Music Theory Room at Queen Elizabeth Hall. Burritt was Conservatory, where she received the José Oliveira Martins, Assistant Professor of Professor of Percussion at Northwestern Krasner Award for Excellence in Teaching. Music Theory, has degrees in music theory University from 1995 to 2008. She also taught at the Musikhochschule and violin performance from the University Hanns Eisler (Berlin), Arizona State of Chicago (PhD ’06), KATHERINE CIESINSKI University, and the Juilliard School. Northwestern Univer- Professor of Voice MICHAEL ANDERSON sity (MM ’96), and In- Professor of Voice Katherine Ciesinski has stituto Politécnico do sung leading mezzo-soprano roles at the Met- Assistant Professor of Musicology Porto, ESMAE, Portu- ropolitan, Covent Garden, Paris, San Fran- Michael Anderson, Assistant Professor of gal (BM ’92). His cur- cisco, Santa Fe, and Musicology, specializes in a wide range of is- rent research interests Houston Grand Op- sues related to sacred music from the central include the modeling eras. A soloist with the Middle Ages through of musical systems, involving in particular Berlin, Vienna, London, the 16th century. He medieval scale-theory and 20th-century mo- Staatskapelle Dresden, received his undergrad- dality; analytical approaches to the music of Philadelphia, Chicago uate degree at the Uni- Bartók, Milhaud, Kurtág, and Lutosławski; and Los Angeles Phil- versity of Notre Dame and musical structure and expression in harmonic Orchestras, and his PhD from the Portuguese Fado. among many others, she has served as artist- University of Chicago, Oliveira Martins is the recipient of in-residence at major festivals in the United with a dissertation on the Arthur J. Komar Award from Music States, France, Taiwan, Austria, Finland, and symbolism in late medieval music for John Theory Midwest and the Patricia Carpenter Italy. She was a Grammy Nominee in 1992 the Baptist and St. Anne. Emerging Scholar Award from the Music and has recordings on the Decca, Erato, BMG, Still an active performer, Anderson directs Theory Society of New York State. He Music Masters, RCA, Columbia, Nonesuch, the Schola Antiqua of Chicago, a profes- has presented his research at various na- and CRI labels. Ciesinski was on the faculty sional vocal ensemble he founded in 2000 tional and international venues and has of the Moores School of Music for 14 years. that is dedicated to the study and perfor- been a fellow at the John Clough Memorial

24 Eastman Notes | Winter 2009 SCHOOL neWS

Symposium and the Mannes Institute for Advanced Studies in Music Theory.

SETH MONAHAN Assistant Professor of Music Theory Seth Monahan, Assistant Professor of Music Theory, received his BM in music composi- tion from Philadelphia’s University of the Arts in 1998 and an MS in music theory at Temple University in 2002. In 2008, he completed his PhD in music theory at Yale University, with a dis- sertation on the in- tersection of form and meaning in Gustav Mahler’s music. His other research interests include musical kinetics and gesture in the music of Wagner; intersections of music and narrative theory; critical theory; and the uses of metaphor and figurative language in music-analytic discourse. He regularly pres- ents research on these and other topics at regional and national conferences. His “In- escapable Coherence and the Failure of the Novel-Symphony in the Finale of Mahler’s Sixth” was published in 19th-Century Music.

JAN OPALACH Visiting Teacher of Voice Bass-baritone Jan Opalach, Visiting Teacher of Voice, is one of America’s most versa- tile operatic and concert singers. He has been a principal artist of the New York City Opera since 1980, sing- ing the title role of Ver- di’s Falstaff during the “You see, I am bad” 2008 spring season. eastman Opera theatre took a walk on the dark side this fall with its production of He has also appeared The Turn of the Screw, Benjamin Britten’s uniquely eerie adaptation of the Henry with the Metropolitan James novella. Director Steven Daigle set this much-adapted tale of ghosts, evil influ- Opera (War and Peace), Opera Theater of St. ences, and questionable sanity as the reminiscences of a governess who is a patient Louis (Nixon in China), and Santa Fe Opera in a Victorian lunatic asylum. Benton Hess conducted 14 top student instrumentalists (La Bohème), Seattle Opera (Così fan tutte), in Britten’s intricate score. Shown here are Amanda rae Matson as the Governess among many other companies in Europe (seated), and natasha Drake as her unsettling charge, Miles. and America. Shortly after the Turn of the Screw performances, Amanda won first prize (the Lynne Clarke Vocal Prize) at the Friends of eastman Opera Voice Competition, held ONTHE WEB Full biographies of our on november 22 and adjudicated by an alumnus, thomas Lausmann (MM ’98) of new faculty members are available at the Washington and Wolf trap opera companies. Soprano Julia Bullock took second www.esm.rochester.edu/faculty. prize, and baritone Brent Arnold the third prize.

PHOtOGrAPH BY GeLFAnD-PiPer PHOtOGrAPHY Winter 2009 | Eastman Notes 25 SCHOOL neWS

A teenaged Oleh Krysa performs for David Oistrakh: “I am trying to transfer his tradition and his approach to my own students.” Celebrating a 20th-century master

In early October, the Eastman School resounded with memories of the Russian vio- I first met the great David Oistrakh in Kiev, linist David Oistrakh (1908–1974). Oistrakh when I was an 18-year-old student, at a was one of the great musicians of the 20th meeting organized by Professor Olga century, and he was also one of the teachers Parkhomenko, a former student of his. After of Eastman professor of violin Oleh Krysa— hearing me play, he said to me, in a very the guiding light behind the weekend of con- diplomatic way: “You can come to my stu- certs and presentations observing Oistrakh’s dio.” I was shocked—never in a million years centenary. would I have dreamed this could happen. I Almost of all Eastman’s string faculty, and studied with Oistrakh for seven years, and Oleh Krysa some guest artists (including alumni Grace was also his official assistant just before his Lee BM ’06 and Ainur Zabenova MM ’04), death in 1974. Aesthetically I believe Oistrakh is unique. gathered for a weekend of violin showpieces, I can simply say that he was not only a For me he represents harmony in every as- chamber music, and a concluding program teacher of the violin or of music, but also a pect of his art. As an artist I would rank him of concertos by Vivaldi and Mozart. godfather to me. I learned everything from with Mozart or Raphael: absolute beauty Russian musicologist Victor Yuzefovich David Oistrakh: how to play, how to behave, and perfection. put it all in context with a lecture on the how to understand music, how to under- Thank you, David Fyodorovich, for every- many sides of Oistrakh’s career, but the stand life. I am trying to transfer his tradi- thing you have done. most moving tribute came from his former tion and his approach to my own students. —Oleh Krysa student.

26 Eastman Notes | Winter 2009 PHOtOGrAPHS COUrteSY OF OLeH KrYSA (tOP) AnD BY GeLFAnD-PiPer PHOtOGrAPHY (BOttOM) ALUMni nOteS

Conservatory faculty for nearly 40 1930s years and at the Peabody Institute “The real world”: from for ten years. He has performed with Robert Ward (BM ’39) premiered the Smithsonian Chamber Players, nostalgia to networking his In Praise of Science, for soprano played with the Cleveland Orches- and brass ensemble, on November 7 tra and the Cincinnati Symphony, and was a founding member of the at Syracuse University, with soprano think about when you were a soloist Laura Enslin (MM ’01) and Oberlin Woodwind Quintet and the conductor James T. Spencer (who, Oberlin Baroque Ensemble. In 1996 student at eastman. appropriately, is SU brass ensemble the National Flute Association (NFA) What probably comes to mind director and a chemistry professor). bestowed on him its prestigious Life- are long nights spent studying time Achievement Award. Robert’s and practicing, or rehearsing in former students include principal 1940s flutists of the Detroit, San Fran- an ensemble on the eastman cisco, Minneapolis, St. Louis, and theatre stage, or exploring the Jack Beeson (BM ’42, Houston Symphonies. stacks in Sibley Library. Perhaps Among Robert’s recent Russell Scarbrough MM ’44) recently pub- you think of fellow students, lished How Operas are recordings are Mostly Created by Composers French (Boston Records ones who inspired you even as they befriended you. and Librettists (Edwin 2006) and the NFA Or maybe you think of mentors: studio teachers, theory Mellen Press). The Historic Recording professors, administrators, or advisors, who shared their book, an autobioga- Series Volume 3, Robert experience and wisdom about how to live as a musician in phy in all but name, Willoughby (2004). tells of Jack’s upbring- this ever-changing world. they looked beyond the require- ing in Indiana, his Robert A. Wykes (BM ments of your recital, imparting those things that just aren’t years as an Eastman ’49), professor emeri- taught in a class or a book. student of Howard tus at Washington Many of us sorely missed our mentors when we set out Hanson and Bernard University in St Louis, Rogers, his distinguished career took part in a panel discussion at the on our own into “the real world”. Of course, this is part of as a teacher and administrator at Second Annual Charles Guggenheim maturing as a musician: coming out from under the wings Columbia University, and of course Tribute program on September 24 at of those who nurtured us, and using that gained wisdom to the inside stories of creating such the National Archives in Washington, forge a career, to make great music, to have a life and liveli- familiar operas as Lizzie Borden and D.C. This year’s program focused on My Heart’s in the Highlands. (See also the filmRobert Kennedy Remembered. hood in music. Wisdom and perspective are still valuable “Alumni on CD,” p. 30.) Wykes composed the music for the commodities, but what we learned in school 10, 20, or 50 film, which was first shown at the years ago may no longer be sufficient. in the 21st century, we Carol Tinker Aldridge (BM ’45, Democratic National Convention constantly need new advice, updated perspective. MM ’50) sent us news about another just two months after Kennedy’s June ESM graduate from the 1940s, Alyce 1968 assassination, and later won eastman is committed to the lifelong growth and support Crawford Christ (BM ’46), who an Academy Award for Best Live of its graduates. We are exploring new ways of communi- lives in Cocoa Beach, FL: “33 years Short Subject. cating and networking, and upgrading and improving the ago, Alyce, with her husband Joe, old ways. Our online Alumni, Careers & Professional Develop- founded the Brevard Symphony Orchestra. For the last 21 years it 1950s ment, and other resources can be found on the institute for has been known as the Space Coast Music Leadership website at www.esm.rochester.edu /iml. Pops. Currently, the Pops employs Ned Corman (BM ’59), who has there you can find an array of helpful items: the eastman local professional musicians from been closely involved with jazz con- Online Community, employment Opportunities listing, central Florida. Conductor Robert certs in Rochester, added another Coleman (BM ’59) came from the St. musical string to his bow as execu- guides to effectively documenting your career in music, and Louis Symphony in 1999 and brought tive producer of the first Rochester much more. Some of these are being significantly upgraded the Pops to its current level. In Indie Music Fest, which took place in 2009 to become even more useful. 2007, because of illness, Bob handed on October 4. The event, modeled on As a student, you had everyday access to great insight and the baton over to Maestro Richard the South by Southwest fest in Austin, Hayman, who is conducting his sec- TX, hopes to capitalize on the strong musical knowledge. We invite you to revisit us on the web, ond season in 2008–2009.” 2009 pop/rock/indie musician base in and take advantage of the tools that eastman offers you concerts include tributes to Frank Rochester, and to appeal to young now for continued growth and musical prosperity. Sinatra and the Boston Pops. professionals in the area. Best regards to you in 2009, Robert Willoughby (BM ’42) In May 2008, Rita (Danowski) received the 2008 George Seaman Gilley (BM ’52) was honored as Excellence in the Art of Teaching Woman of the Year in Merrick, NY, award from Longy School of Music. where she and her husband Richard Robert joined the Longy faculty (BM ’51, MM ’56) have lived since in 1997, having served as a distin- 1959. Rita is a founding member (in russell Scarbrough guished member of the Oberlin 1975) and current president of the Assistant Director of Alumni relations

Winter 2009 | Eastman Notes 27 ALUMni nOteS

Merrick Symphony, a retired teacher, ing prize in the College of Arts & and remains active in musical, Letters. It is the first time the Stern church, and community activities. Send your news! Award has been given to a professor Originally a violinist, she now plays in the music department. James has viola—and still tunes the instru- Do you have an announcement you’d like to share with your been a faculty member since 1982, ments in the Merrick Schools Music fellow alumni? Send your personal and professional news to has recorded six CDs, and has edited Department. (Notes thanks Carolyn notes, Office of Communications, eastman School of Music, ten volumes of organ repertoire for Whaley (BM ’52) for sending this Concordia Publishing House. information.) 26 Gibbs Street, rochester, new York 14604. Geary Larrick (MM ’70) was recog- Fax: 585-274-1089 Helen Bovbjerg Niedung (BM nized the summer 2008 issue of the ’58, MM ’59) received the Florida E-mail: [email protected] National Association of College Wind State Music Teachers Association’s and Percussion Instructors Journal for highest honor, We reserve the right to edit submissions for clarity and length. his many articles and reviews since the Excellence in the deadline for the Summer issue of notes is May 16, 2009. 1968, most recently a review of the Teaching Award. second edition of Encyclopedia of With Julius Huehn, news of your upcoming events such as concerts and lectures Percussion by John Beck (BM ’55, her voice teacher can be posted live on the eastman alumni website: MM ’62). at Eastman, as www.esm.rochester.edu/alumni her inspiration, Bovbjerg she taught voice Niedung in Southwest premiered by the Fingerlakes Flutes Florida since 1979, in addition to in Ithaca. A longtime resident of 1970s her duties as Professor of Voice at Ithaca, David recently retired as Edison College. She has also been the director of the Digital Music Niel DePonte (MM ’76) made his the Director of Music at the Edison Program at Cornell University. The Washington, DC conducting debut Congregational Church since 1980. Fingerlakes Flutes, a recently formed last June, 2008, directing the Ken- Helen enjoyed a 20-year singing professional flute choir, includes nedy Center Orchestra in Martinu’s Phil Markowitz Trio—Jay Anderson, career in opera houses throughout ESM alumni Joyce Catalfano (BM Sinfonietta La Jolla for the ballet Rush Phil, Adam Nussbaum—at Copen- Germany and Denmark, singing over ’65) and Susan Trainer Stolov by choreographer Christopher Wheel- hagen Jazz House, March 2007 460 performances of 35 roles. (BM ’61). don, as danced by Oregon Ballet Theatre. Niel, who lives in Portland, Phil Markowitz (BM ’74) can be Benjamin N. Smith (BM ’58, MM Robert Cowan (DMA ’64), faculty OR, has been the music director and heard as part of the all-star group ’60, DMA ’69), won Hibbing Com- Emeritus of the University of Monte- conductor of OBT since 1985 and Saxophone Summit (with Joe munity College’s “Teaching and vallo (AL), played three concerts last continues a varied career as princi- Lovano, Dave Liebman, and Ravi Learning Award” in July 2008, at season in the Alabama cities of Fort pal percussionist of the Oregon Sym- Coltrane) on the newly released the Desire2Learn Users Conference Payne, Athens (Athens University), phony, a concerto soloist (he was a Seraphic Light (Telarc Records held in Memphis, TN, for developing and Decatur (Decatur Concert Asso- 2003 Grammy Award Nominee in the 83673). He embarked on a world the online course “America’s Popu- ciation). Composers represented on category of Best Instrumental Solo tour this summer with that group, lar Music.” The course is designed to the program included Chopin, Grieg, Performance with Orchestra for his and he released Catalysis, his effectively integrate an interactive Debussy, and Gershwin. world premiere recording of Tomas new trio recording on Sunnyside learning experience for students in a Svoboda’s Concerto for Marimba), com- Records. Phil’s trio toured the United course reliant on audio files. This com- David B. Levy (BM ’69, MA ’71, poser, arranger, and educator. Niel is States and Europe this fall, with petition represented entries from Can- PhD ’80) held the Endowed Chair of the founder of MetroArts Inc, a non- stops at the Earshot Jazz Festival ada, the United States, and England. Musicology at the University of Ala- profit arts education organization, in Seattle and the London Jazz bama from January 20–22, 2009. and has done considerable research Festival. Phil continues his profes- He presented a lecture, “The Sub- on the use of the arts for teaching cog- sorship at the Manhattan School 1960s lime Sounds of Silence: Decoding nitive strategies in the classroom. of Music in the graduate and doc- ‘Late’ Beethoven,” taught classes, and toral divisions. Keep up with Phil at The members of the percussion quin- coached chamber music. Levy is a pro- In October 2008 Michael Isaacson www.philmarkowitzjazz.com tet Nexus—including Bob Becker fessor at Wake Forest University, and (PhD ’79) presented a guest lecture (BM ’69) and Bill Cahn (BM ’68)— chairs the SE Chapter of the Ameri- to Eastman Professor Adrian Daly’s Ted Moore (BM ’73) is staying in are featured on the soundtrack of can Musicological Society. His article Entrepreneurship class. Later that eve- touch with ESM friends. As Director the award-winning documentary on Beethoven’s Grosse Fuge, “‘Ma pero ning, he spoke at Rochester’s Temple of UC Jazz at UC Berkeley, he had filmInside Time, produced by the beschleunigend’: Notation and Mean- B’rith Kodesh on his new book Jewish Phil Markowitz (BM ’74) visit UC National Film Board of Canada. The ing in Ops. 133/134,” was recently pub- Music as Midrash: What Makes Music Berkeley in November to give a trio film, released in 2007, has won sev- lished in Beethoven Forum. Jewish? He returned for Eastman workshop, in which they played trio eral Canadian film awards. In early Weekend to celebrate the 80th birth- music along with master bassist Kai November, Nexus performed the Steven Wasson (BM ’69, MM ’71) day of his teacher, Samuel Adler. Eckhardt. Also in November, Ted world premiere of The Eternal Dance writes: “Leora Martin Kline (MM joined Jeff Tyzik (BM ’73, MM ’77), of Life by Eric Ewazen (BM ’76) with ’68) and Daira Skriblis performed James W. Kosnik (DMA ’79), in the “Nothin’ But the Blues” con- the SMU Meadows Wind Ensemble. the Violin Sonata No. 3 by Grieg, and Professor of Music History and cert with the Vancouver Symphony. I performed my Piano Sonata No. 3, Organ at Old Dominion University In April 2008, David Borden’s (BM Eclectics, on the Dayton Music Club (VA), recently received the Robert L. Choral music by Brad Nelson ’61, MM ’62) Four Flute Fugues was Morning Musicale, May 20, 2008.” Stern Award, the outstanding teach- (MM ’75, DMA ’76) was performed

28 Eastman Notes | Winter 2009 ALUMNI NOTES

Eastman alumni on CD

Delos records has Renée’s signature roles in Eugene Onegin, Composer Tom repackaged several of Rusalka, Otello, Thaïs, and Capriccio. Herman (BM ’69) the 1990s Gerard recently released Schwarz/Seattle Composer Vincent Music for Voice, fea- Symphony recordings Frohne (MM ‘59, PhD turing soprano and of American music in ’63) offers a CD of his noted Broadway a 6-CD set called music for pipe organ singer Rebecca Luker. Great American Composers Series (Delos DE (G&F FR-012). Vincent The CD contains The Owl and the Pussy-Cat 6012). The offerings are heavy on the music himself performs and Other Songs of Love; Four Songs of of Howard Hanson, with four symphonies Two Fanfares, Liturgi- Edna St. Vincent Millay; and Sanctus, set to and numerous short works, but also include cal Prelude, and Hymn; organist Gerhardt the Mass text. Music for Voice is available at two works by David Diamond, and music by Blum and mezzo-soprano Hilary Bartlett per- www.cdbaby.com/cd/rebeccaluker. five mid-century composers championed in form Three Songs from “Adam’s Chains.” For Eastman’s Festivals of American Music: Aaron information, write to G&F Associates, 12965 … but Joy Comes in Copland, Roy Harris, Alan Hovhaness, Paul E. 900th St., Macomb, IL 61455. the Morning: Choral Creston, and Walter Piston. Music of Margaret S. When she is not Meier was recently Stories from The directing concerts released by Albany Human Village: War and programs at New Records (TROY 1026). and Peace York’s Music Kitchen, The selections by (Ninetydays Classical), violinist Kelly Hall- Margaret (BM ’58) include the cantata A by Susan Ferré (MM Tompkins (BM ’93) is SOCSA Quilt, expressing the horror and heart- ’71), combines original a busy soloist and ache of childhood sexual abuse and the long narrative and organ chamber musician. Kelly now presents a new road to recovery; Te Deum for chorus and music to tell the 400-year history of a mythi- CD, In My Own Voice (MSR Classics 1278) in brass quintet; and two a cappella pieces. More cal global village, Europa, and expresses long- which she is joined by pianist Craig Ketter information at www.AlbanyRecords.com. ing for peace through the story-telling power (BM ’91, MM ’93) and harpist Anna of music. The CD, which features Susan at Reinersman for music by Bach, David Baker, Violinist Madeleine the organ and her son Carl Ferré-Lang on the William Grant Still, Kreisler, Saint-Saëns, Suk, Mitchell (MM ’81) is “birds”, has already won Susan Gold Artist and Ÿsaye. featured in a new status from RadioIndy.com. Visit Naxos CD of cham- www.ninetydays.com or www.CDbaby.com. Cory Combs (BM ’93, ber music by Howard MM ’96) recently Blake, the prolific Along with lots of released Fairfax in British composer other news about the Pacific, a best known for his score to the animated Renée Fleming (MM collection of 15 new movie The Snowman. Madeleine is soloist ’83)—see pp. 32 and compositions which with Blake at the piano in his 2007 Violin 33—we can announce he describes as “a Sonata (Op. 586!), Penillon, and Jazz Dances. two new CDs featur- salute to maverick iconoclasts like Frank (Naxos 8572083) ing the star soprano’s Zappa, Charles Ives, and Ornette Coleman, singing of a specialty, the music of Richard and a personal tribute to the deep threads Fans of the music of Strauss. Decca 1185102 offers Renée in Four of family history.” The ensemble includes George Walker (DMA Last Songs, other Strauss orchestral songs, drummer John Hollenbeck (BM ’90, MM ’91). ’56) will enjoy a new and scenes from his Ariadne auf Naxos and It is available at www.CDbaby.com/cd/ release by conductor Die ägyptische Helena, with the Munich corycombs3. We heard about Fairfax in the Ian Hobson and Philharmonic Orchestra conducted by Pacific not from Cory, but from Kayo Miki Sinfonia Varsovia on Christian Thielemann. You can also get the (BM ’94, MM ’96), who wrote “I thought as a Albany TROY 1061 in Strauss program in a “deluxe edition” (Decca proud wife I would circulate word about a new series, Great American Orchestral 1185202) with previously released arias from Cory’s new CD.” Works. The program includes George’s

Winter 2009 | Eastman Notes 29 ALUMNI NOTES

Address for Orchestra, Overture: In Praise of tions don’t end with Glenn: music on the CD 1935 work for orchestra, women’s chorus, and Folly, Sinfonias nos. 1 and 3, and Hoopla (A includes A Kiss by Michael Torke (BM ’84), dancers, is inspired by four American poets: Touch of Glee), all in premiere recordings. and the Concerto for Percussion by longtime Edgar Allen Poe, Sidney Lanier, Walt Eastman faculty member Joseph Whitman, and Carl Sandburg. John Nardolillo Pianist and conductor Schwantner, performed by Michael Burritt conducts the University of Kentucky Lee Musiker (MM ’81) (BM ’84, MM ’86—now Professor Michael Symphony and Women’s Choir. is the music director Burritt—see School News, p. 24). for the latest CD by Mariusz Smolij (DMA legendary Broadway More choral music by ’98) conducts two and cabaret singer an Eastman graduate releases of music by Barbara Cook, from Albany Records: notable Polish com- Rainbow ‘Round My Shoulder (DRG 94782). In Praise of Singing, a posers: music of Cook sings, and Lee conducts, a program of collection of works Andrzej Panufnik “Great American Songbook” classics by by Jack Beeson (BM (Naxos 8570032), Richard Rodgers, George Gershwin, Burton ’42, MM ’43). The CD which includes his Old Polish Suite and Lane, and others, along with newer items by is a retrospective of choral works by Jack Concerto in modo antico, with the Polish Peter Allen and John Bucchino. from the past half-century, all sung by the Chamber Orchestra; and a selection of con- Gregg Smith Singers. According to Jack, certos and other orchestral works by a com- Cellist Morgan Shawn Albany also plans to reissue recordings of his poser surely new to most Americans, Tadeusz Sanders (MM ’81) operas Captain Jinks of the Horse Marines, Szeligowski (1896–1963), with the Poznan keeps busy as a free- Hello Out There, and Dr. Heidegger’s Philharmonic Orchestra, on Naxos 8570371. lance musician and Fountain of Youth, which will make seven of teacher in Austin, TX, his ten operas represented on CDs. (See p. 27 More from Michael but he also found time for news about a new book from Jack.) Torke: the prolific to record the CD Cel- composer recently losophy—a program of pieces by Bach, A tribute to prolific released a “single”— Bartòk, Harold Arlen, John McLaughlin, and contemporary com- the seven-minute Shawn’s own composition See You Later. poser Charles piano piece Blue Download Cellosophy at iTunes, or contact Wuorinen, who cel- Pacific—on his own Shawn at [email protected]. ebrated his 70th birth- Ecstatic label (92209) performed by Hana day in 2008, features Chu. For details on this CD and on Michael’s Was My Brother in Da Camera of other music, visit www.michaeltorke.com. The Battle?, a new Houston. The roster includes trombonist Jim Albany release (TROY Pugh (BM ’72, MM ‘75), one of the soloists in ➤ Do you have music or performances on 1056) by baritone Wuorinen’s song cycle Ashberyana, as well a recent or forthcoming CD? Notes wants Stephen Swanson as two names familiar from past teaching at to know! Send promo copies to Eastman and pianist David Eastman: soprano Lucy Shelton and pianist Notes, Office of Communications, Eastman Gompper, includes Alan Feinberg (Naxos 8559377). School of Music, 26 Gibbs Street, Rochester, songs on the theme of the individuals NY 14604; or just alert us that it is available. involved in America’s historic military con- George Frederick flicts by Bob Dylan, Charles Ives—and, McKay (BM ’32) was Check “Alumni Notes” for additional CD among others, Gene Scheer (BM ’81, MM ’82): one of the first peo- releases not mentioned here. his Voices from World War II. ple to receive a degree in composi- Glenn D. Price (MM tion from Eastman, ’81, DMA ’86) con- and became an ducts the University important figure in music in the Pacific of Calgary Wind Northwest till his death in 1970. Naxos Ensemble in a con- Records has produced two CDs of McKay’s temporary program music and recently released a third, of titled Derivations McKay’s Epoch: An American Dance (Albany TROY 999). But the Eastman connec- Symphony (Naxos 8559330). This unusual

30 Eastman Notes | Winter 2009 ALUMni nOteS

in Venice, Florence, Rome, and the won a shared first prize in the com- Vatican. The Colorado Children’s position competition co-sponsored Chorale toured with his music in by the San Jose, CA, Chapter of the Spain and France, and performed American Guild of Organists and it at the dedication of the Ellie Campbell United Methodist Church Caulkin Opera House in Denver. for his Variation Prelude on “Dunlap’s The Southwest Florida Symphony Creek.” An active composer, Bill has Orchestra Chorus sang his music more than 100 choral and organ on European tour. Brad recently compositions in print and recently completed a new Alma Mater received an ASCAP Award for his for Granite Hills High School in publications and performances. San Diego, CA, where his wife is beginning her 16th year as Choral Margi Griebling-Haigh’s (BM ’82) Director. Brad’s entire choral Romans des Rois, a trio for oboe, catalogue can be seen and heard at horn, and piano commissioned www.GladdeMusic.com. by Cleveland Orchestra Principal Hornist Richard King, was pre- Pictured from left to right: accompanist Keiko Ohnuki Andrews, Diane Allan R. Mosher (MM ’79) served miered by Mr. King with oboist Bishop, Julie Fox, Laura Hauser, Ted Shistle and David Schillhammer. on the voice faculty of the Opera Danna Sundet and pianist Randall Theatre and Music Festival of Lucca the week of September 11, 2008. bassoon and piano skills to per- Fusco (BM ’81) in Cleveland on (sponsored by the University of On February 15, Hollis’s opera The form Sol Schoenbach’s arrangement November 9, 2008. Also on the con- Cincinnati) last summer. Allan is a Moustache premiered at St. John’s of The Sorcerer’s Apprentice. (See cert was Margi’s Night Swimming for Professor of Voice and Director of College, Annapolis, as part of the photo above.) soprano, English horn, and piano. the Opera Program at Youngstown Lincoln bicentennial celebration. Margi’s Askelad and the Seven Silver State University’s Dana School The 90-minute opera is based on Paul Brantley (BM ’88) recently Ducks for the Erdahl/Vecchione Duo of Music. a fictitious meeting on March 24, received two New York pre- (double bass, oboe/English horn, and 1865, at Baltimore’s Barnum Hotel, mieres that were enthusiastically narration by both performers), pre- In July 2008, David Myers (MM between Cipriano Ferrandini, the reviewed by The New York Times: miered at the International Double ’73) was named Director of the central figure in the Baltimore Plot the Philharmonic Orchestra of the Reed Society convention in Provo, School of Music at the University of to kill Lincoln in 1861, and John Americas, conducted by Alondra UT, in July, and was repeated in Minnesota, effective September 29. Wilkes Booth. Hollis’s son Jason de la Parra, premiered Electric Minneapolis, MN and Morgantown, David came from the School of Music Thoms, and his daughter-in-law, Fan at Town Hall in April; and WV. Last March, Margi and Scott at Georgia State University, where Treva Foss, performed in both works. in May, SONYC premiered verse, Haigh’s daughter Gabrielle sang he was Director of the Center for chorus, bridge for string orches- with the Laurel School Choir under Educational Partnerships in Music tra at The Kitchen. Alex Sopp and the direction of Nathaniel Motta and doctoral program coordinator. 1980s Arielle Levioff gave the premiere (MM ’06) in Kilbourn Hall, in the of Syrinx-double for flute and piano premiere of her own choral com- Peter Rothbart (BM ’79) writes: Jeff Beal (BM ’85) added another in November. Paul’s arrangements position, The Road to Avrille. The “My Two Modern Motets for wood- Emmy (his third) to his awards shelf for jazz musician Christian Scott piece won first prize in the MTNA wind quintet has just been published in September, for his original score were performed in July by the Senior Composition Contest and by Brixton Publications. In recent for the miniseries The Company. Jeff Reno Philharmonic, and he toured was also performed in Denver at the years, my trilogy of works for chorus also wrote the score for the recent Germany and the Netherlands last MTNA convention. and orchestra or piano has been pub- filmAppaloosa , starring Ed Harris May as cellist with the Vienna Teng lished by Roger Dean Publications. and Renée Zellweger. Quartet. Paul presented a program of Dana T. Marsh (BM ’79) was The works Mayim, Hineni Muchan, his music on the 2008–2009 North appointed Director of Chapel Music and Ayzehu all premiered in Carnegie The Orlando Philharmonic Orchestra Rivers Series at NYC’s Greenwich and Assistant Director of College Hall and continue to be performed presented an all-bassoon program Arts in February. See more at Music at Girton College, Cambridge in the United States. I am complet- entitled “Bassooner or Later” as www.paulbrantley.com. (UK). He will conduct and oversee ing a book entitled, Film and Music: part of its 2008 Sounds of Summer the college’s prize-winning chapel The Synergy of Sight and Sound for series. The program was conceived Richard Elliott (MM ’84, DMA ’90) choir, a mixed-voice ensemble com- the University of Texas Press. I am and programmed by OPO Principal was named Principal Organist for prising 24 undergraduates and two also the contrabassoonist for the Bassoonist Diane Bishop (BM ’83). the Mormon Tabernacle Choir in organ scholars. The group has con- Binghamton Philharmonic Orchestra The other bassoonists were OPO January 2008. He has served as an certized worldwide and will tour and freelance throughout central Second Bassoonist Julie Fox, along organist at the Mormon Tabernacle the United States in July 2009. Dr New York, where I am a Professor with Laura Hauser (BM ’00) and in Salt Lake City since 1991, accom- Marsh will also teach medieval and of Music and Director of the Ted Shistle. The program was hosted panying the choir on its weekly TV Renaissance music history. Electroacoustic Music Studios at the by OPO Executive Director and bas- and Radio broadcasts and partici- Ithaca College School of Music.” soonist David Schillhammer (BM pating in the daily recital series on Michel Nadeau (BM ’88) recently ’87). Diane and David are both stu- the Tabernacles’s 206-rank Aeolian- released Band Brilliance: Complete Hollis Thoms’s (PhD candidate, dents of K. David Van Hoesen; Laura Skinner organ. (See “Alumni on Band Method, Book I. After 20 years ’77–’79) Requiem for 9/11 (2003) for studied with John Hunt. The con- DVD,” p. 33.) of creating and field-testing materi- soprano and string ensemble, was cert featured some of the greatest als for his students, Michael wrote performed at Concordia University hits of the bassoon quartet reper- J. William Greene (DMA ’85), and self-published this all-inclu- New York (Bronxville, NY), and at toire, as well as solo work by Diane. organist-choirmaster at Holy Trinity sive method. As a result, his band the Church for All Nations during David and Diane dusted off their Lutheran Church in Lynchburg, VA, received the coveted “Gold with

Winter 2009 | Eastman Notes 31 ALUMni nOteS

Distinction” honor at the NYSSMA Purchase, heads the Thompson major organization festival. Michel Music Group, LLC, which publishes is completing Book II in the Band and produces music, was Chief Brilliance series. Executive Officer and President of Universal Edition, and has produced In August, composer-vocalist Akmal two Grammy-nominated recordings. Parwez (PhD ’81) presented a lec- ture-performance of several of his vocal and instrumental works at 1990s the Pakistan Friendship Society in Fountain Valley, CA. He also per- formed five of his vocal compositions at the Sikh Cultural Center, Buena Vista, CA. On August 24, Akmal was invited by the Guru Nanak Society of Central Ohio to sing three of his Shabads at the Columbus Gurdwara. He won another ASCAP Award for his compositions this year.

Lauren Puckett (BM ’80) was hon- ored by the Abilene (TX) Music Teachers Association as Teacher of Shizuo “Z” Kuwahara the Year for 2007–2008. Lauren is associate professor of piano at Alumnus Shizuo “Z” Kuwahara Hardin-Simmons University, and (BM ’98) won First prize in the an active chamber musician. She 2008 Sir Georg Solti International and her husband Mark founded Conducting Competition in the Abliene Summer Piano Camp, Frankfurt am Main, one of the have appeared with the Abilene world’s most important conducting Philharmonic Orchestra in Poulenc’s competitions, which had 540 appli- Concerto for Two Pianos, and cants from more than 70 countries. have recorded a duo-piano CD, “Z” won after conducting Weber’s Rendezvous. “Oberon” Overture and Stravinsky’s “Firebird” Suite, and concluded Andy Schmidt (BM ’87) has for over the final round by leading Glinka’s twenty years operated a thriving pri- “Russlan and Ludmilla” Overture. vate piano studio in Jamestown (NY). First prize consists of a cash prize of He is active in the National Guild of 15,000 Euros and invitations to con- Piano Teachers, as a certified teacher duct several German orchestras. The and as a travelling adjudicator. For competition judges included Solti’s the past 15 years, he has also been the widow, Lady Valerie Solti. Renée-ssance organist and choir director at First Congregational United Church of On September 21, 2008, The House even for such an in-demand artist, soprano Renée Fleming Christ in Jamestown. of Hope Presbyterian Church cel- (MM ‘83) had a remarkable fall and winter. in September ebrated Aaron David Miller’s David Evan Thomas’s (MM ’83) (BM ’95) installation as director of 2008, renée opened the Metropolitan Opera’s 125th- Lyric Preludes was premiered by music and organist. Aaron served anniversary season with a gala evening in which she per- David Baldwin, trumpet, and as Visiting Professor of Organ at St. formed separate acts from La Traviata and Manon, and the Timothy Lovelace, piano, at Olaf College, Northfield, MN, during final scene of richard Strauss’s Capriccio (the role of the the University of Minnesota on the spring semester of 2008. September 15, 2008. Countess in this rarely-done opera is generally considered Keith Redpath (BM ’93) joined the one of her finest portrayals). this hot ticket event also fea- Robert Thompson (MM ’86, artist faculty at the Sewanee (TN) tured three centuries’ worth of glamorous finery: elaborate ’87, DMA ’92) recently published Summer Music Festival in June and new couture costumes specially designed for the show by Baseball’s Greatest Hit: The Story of July 2008. Keith was the featured (Hal soloist on the Festival Orchestra’s Christian Lacroix (Traviata), Karl Lagerfeld (Manon) and “Take Me Out to the Ball Game” Leonard, 2008), co-written with opening concert, performing Dvoràk’s John Galliano (the Garboesque getup for Capriccio, shown Andy Strasberg and Tim Wiles. The Romance in F minor. From July 23–26, above). And to add the right note to all that operatic high song has been part of American pop Keith collaborated with world- fashion, this fall Coty introduced a new perfume inspired culture for a century, and the book renowned guitarist Pepe Romero at traces its history as well as other the Third Annual Quartz Mountain by renée, La Voce. renée returned to the Met (and an HD strands of 20th-century American Music Festival, near Altus, Oklahoma. movie-theater broadcast) in December as Massenet’s Thaïs, history. Robert is director of the He took part in the second perfor- with baritone thomas Hampson. Arts Management program of SUNY mance of Kenji Bunch’s viola quin-

32 Eastman Notes | Winter 2009 PHOtOGrAPHS BY Ken HOWArD (renée FLeMinG); AnnA MeUer (SHiZUO KUWAHArA) ALUMni nOteS

tet String Circle, written for the Juilliard School, and The Weill Music Harrington String Quartet in 2005. Institute in partnership with the New York City Department of Education, Alumni on DVD Susan Spafford (BM ’97, MM ’01) for the 2008–09 season. Cellist recently became Vice President of Caitlin Sullivan (BM ’03) is complet- Richard Elliott (MM ’84, DMA ’90) is The Music Paradigm, an interna- ing her second year of the fellowship. featured as soloist and accompanist This prestigious program is an inno- tional organization based in New on Rejoice and Be Merry, a new CD York City that works with orchestras vative, highly competitive two-year to help them reach new audiences fellowship for post-graduate musi- and DVD by the Mormon tabernacle and donors. She continues to play cians from leading music schools. Choir and guest artists the King’s with the Richmond Symphony and Singers. Selections are taken from the a number of other ensembles while Meghann Eckenhoff (BM ’01) has Choir’s 2007 Christmas concerts, maintaining a private studio. been appointed Director of Artistic Operations for the Hartford (CT) which were shown on PBS in Elizabeth Wells (MA ’96, PhD ’04) Symphony Orchestra. December 2008. For information on won Mount Allison University’s ordering DVD or CD versions of the (New Brunswick, Canada) Tucker Sarah Frisof (BM ’04) won the concert, visit www.mormontabernaclechoir.org. Teaching Award in May 2008. In $2500 second prize in the National August she gave the annual Tucker Flute Association’s Young Artist Talk, titled “The Show Must Go On: Competition. The Competition, “the definitive Strauss interpreter of Scripts from a Teaching and Learning which is open to flutists worldwide our time” (Chicago Sun-Times—or as Life.” Also this year, Elizabeth who are age 30 or younger, was held notes prefers to call her, Renée received the Association of Atlantic at the NFA convention in Kansas Universities (AAU) Distinguished City August 7–10. The new work Fleming (MM ’83)—shows off one of Teaching Award. commissioned for this year’s compe- her signature Strauss roles in a recent tition was Inside Morning, by Wayne Zurich Opera production of arabella Horvitz. Sarah currently studies flute (Decca 1138009). this production is 2000s with Amy Porter at the University of Michigan. set in the 1920s—around the time the Emily Britton (MM ’08) was opera was written—and is conducted recently appointed Principal Horn of David Gerstein (BM ’06) writes: by the Cleveland Orchestra’s Franz “Just wanted to let you know that I the Northwest Florida Orchestra. Welser-Möst, with soprano Julia Kleiter as Arabella’s sister recently won a job with the Arkansas Composer, singer, and instrumen- Symphony in Little Rock (at the (or is it her brother)? talist in many musical styles, Caleb end of August) . . . I’ll be playing in Burhans (BM ’01), was profiled in the orchestra as well as presenting Speaking of signature roles, tenor a article, “A Man of chamber concerts and educational New York Times Anthony Dean griffey (MM ’01) has Many Talents, Eager to Use Them concerts around Arkansas with the All” (October 5, 2008). Writer Allan Sturgis Quartet.” made the tortured main character of Kozinn called the versatile Caleb Britten’s Peter Grimes a calling card “a musician whose career exempli- Kristen Keating (MA ’07) and around the world—recently, and very fies the path chosen by many of Nathan Swift were married June 21, successfully, at the Metropolitan his generation.” 2008, in Farmingdale, NY. Kristen is a music teacher for Arrowhead Opera. the DVD of the Met Peter Andre Canniere (MM ’03) relocated Elementary School of The Three Grimes minimizes John Doyle and from New York City to London Village Central School District; Scott Pask’s gloomy, static produc- in January 2008. In addition to Nathan is pursuing a master’s degree tion, and maximizes the powerful continuing his career as a freelance in music education at Eastman. They trumpet player, he also teaches live in Bohemia, NY. performances by Griffey, soprano Patrica racette, and espe- in the jazz department at Trinity cially the stunning Met orchestra and chorus. College of Music and is Head of Stalk, by Hannah Lash (BM ’04), Brass at London’s Highgate School. was featured on the American grammy update: Both renée Fleming and Anthony Griffey On November 7, 2008, Andre and Modern Ensemble’s September 29 his wife Bridget became the proud concert Women Who Rock, along with took part in Grammy-nominated recordings this year: parents of Jonas Alexander Canniere. works by seven other women com- renée in tchaikovsky’s Eugene Onegin, tony in Brecht and posers. AME’s conductor is Robert Weill’s Rise and Fall of the City of Mahagonny. At the 2009 Young-Hyun Cho (DMA ’08) writes Paterson (BM ’95). Grammy Awards on February 8, Mahagonny won for Best “to share the news that I accepted the position of Assistant Professor Su Yin Mak (PhD ’04) recently won Classical Album and Best Opera recording. of Piano at the University of Texas at the 2008 Emerging Scholar Award Arlington, beginning August 2008.” from the Society for Music Theory, for her article “Schubert’s Sonata Pianist Gregory DeTurck (BM ’04) Forms and the Poetics of the Lyric,” was accepted into The Academy, published in the Journal of Musicology a program of Carnegie Hall, The in 2006.

Winter 2009 | Eastman Notes 33 ALUMNI NOTES

Teri Koide (right) and Bevan Manson

Eastman jazz, Brian Scanlon Bill Reichenbach California style On November 16, 2008, the Alumni Relations Office sponsored An Afternoon of Great Eastman Jazz in Los Angeles, hosted by Steve Bramson (MM ’83) and featuring eight ESM alumni: Bevan Manson (x ’77), Teri Koide (BM ’86), Kaveh Rastegar (BM ’01), Bernie Dresel (BM ’83), Ben Wendel (BM ’99), Rick Shaw (MM ’81), Bill Reichenbach (BM ’71), and Ben Wendel Brian Scanlon (BM ’81, MM ’83). The event was chronicled in photographs by Wade Culbreath (BM ’87). Bevan Manson recently made his mark in another area of showbiz, appearing on the December 9 episode of the hit TV series House. Bevan played (in his words) “a hapless and apparently reviled jazz pianist/music teacher who must help a victim of some truly craven preppies during their chorus rehearsal (is life true to art or what?). The whole thing . . . is about 25 seconds. But hey, for 6 hours of filming that ain’t bad.”

34 Eastman Notes | Winter 2009 Photographs by Wade Culbreath in triBUte

Classical guitarist Michael Patilla (DMA ’03) received a Fulbright William Pottebaum Lecture/Research Award for 2007– eastman was saddened to learn 2008. He taught guitar courses at the National Autonomous University of the passing of William g. (UNAH) in Tegucigalpa, Honduras Pottebaum, Ph.D., recently retired and worked with Honduran compos- ensemble Librarian at eastman ers to establish a repertoire of new School of Music, who died Monday, guitar works. He also performed Rodrigo’s Concierto de Aranjuez August 18, 2008, at Lutheran with the Orquesta Filharmonia de Convalescent Home in St. Louis, Honduras. In addition to working as Missouri. After being diagnosed at an Assistant Professor of Music at Strong Memorial Hospital in rochester with inoperable brain Mississippi State University, a posi- tion he has held since 2001, Patilla cancer, Dr. Pottebaum was flown on August 6 by Wings of is a frequent recitalist throughout Hope to St. Louis. He was able to spend his final days with North America, Central America, his surviving two brothers and two sisters. and Europe. in 1974, Dr. Pottebaum received his doctorate in music Wendel and Kuney Thomas Rosenkranz (MM ’01, composition from eastman. His musical career included DMA ’06) recently founded the Residence program, recorded with creating a variety of compositions for orchestra, piano, and Hawaii Institute for Contemporary Christina Aguilera and Michael clarinet, as well as liturgical music for organ and choir. He Music, a week-long festival in Buble, and toured with Kanye West. played French horn in the Army Band in Germany, and taught Honolulu consisting of master Ben works as a freelance saxophon- classes, concerts, symposiums, and ist and producer. His first solo in the music department at the State University of new York a piano competition. Tom recently album, Simple Song, was released in Brockport before returning to eastman, where he served performed as part of the Shanghai on Sunnyside Records. Ben won as ensemble Librarian from 1986 until his retirement in 2006. New Music Week 2008; at the the Chamber Music America “New International House of Tokyo; and in Works” grant, and produced the Tunisia as part of the Festival of the Under the Radar series at the Edye Medina. He is on the summer faculty Theatre in Los Angeles. In Memoriam of the SoundScape Festival in Italy, and recently joined the piano faculty Marguerite Lynn Williams (BM at Bowling Green State University. ’01) was appointed acting Principal 1930s 1950s Harpist of the Chicago Symphony Julie Fagan Thayer (BM ’04) for the 2008–2009 season following Barbara Carter Robert glasgow was appointed fourth horn of the an audition held by Bernard Haitink, (BM ’37), nov. 2008 (BM ’50, MM ’51), Sept. 2008 Houston Symphony Orchestra. Sarah Bullen, and Lynne Turner. Marguerite is a member of the New thelma Hanau Sam Minasian Ben Wendel and Marisa Lynn World Symphony and on the faculty (BM ’39, MM ’41), Aug. 2008 (BM ’52), July 2008 Kuney (both BM ’99) were married of the Frost School of Music at the Oliver Zinsmeister Cline W. Otey, Jr. in Santa Monica, CA on August 31, University of Miami, and just pub- (BM ’35), nov. 2008 (BM ’52), Aug. 2008 2008. Marisa works as a freelance lished her second volume of harp violinist; she has taught for the Los ensemble music, HarpScores Vol. 2, Angeles Philharmonic Artist-in- through Lyon & Healy. 1940s 1960s

in the article on Jerseyband printed in the Summer 2008 Charles O. Bowers Paul S. guzzetta issue of Eastman notes (pp. 13–15), the section entitled “the (MM ’48, DMA ’64), (BM ’60), Jan. 2009 Jerseyband Sound” was wrongly attributed to Chris Van Hof Jan. 2009 Joseph J. Packales (who did indeed write the rest of the interview). Oscar A. Cooper (BM ’69), Oct. 2008 notes also erred in listing Chris’s graduation (BM ’40, MM ’41), May 2008 information: he received his Master’s degree Robert Anders Emile 1970s in trombone Performance in 2008, not his (MA ’49, DMA ’57), Bachelor’s degree. We apologize for both errors, Sept. 2008 James Lewis Clark but are happy to give an update on Chris’s Virginia Hildreth May 2008 Van Hof career: he teaches privately and at nazareth (BA ’44), Dec. 2007 Mikel Jonathan Dean College, plays in the emerald brass Quintet and Po’Boys Brass Anna Lupkiewicz (BM ’77, MM ’79), Feb. 2008 Band, and in August 2008 was hired as afternoon host and (BM ’40), Oct. 2008 Francis E. (Bud) Detar producer on rochester’s classical music station, WXXi-FM Walter F. Moeck (MA ’72, ’74), nov. 2008 (Classical 91.5). (BM ’47), Jan. 2009 gerry Niewood (BM ’70), February 2009

Winter 2009 | Eastman Notes 35 FACULtY nOteS StUDent nOteS

Last year, Assistant Professor of of Music Education (pictured); Music Education Christopher and Professor of Musicology Kim Azzara performed and presented Kowalke, the University’s Turner workshops on improvisation and Professor of Humanities. music literacy at Columbus State University (GA), the University of Professor of Violin Mikhail South Carolina, Hartt School (CT), Kopelman is featured in a program Duquesne University (PA), and the of string quartets by Tchaikovsky MENC Conference in Milwaukee. and Shostakovich performed by He was also featured presenter and the Borodin Quartet (Medici Arts keynote speaker for the Washington, 2072298). Recorded in London’s DC Public School District Music Henry Wood Hall in October 1987, Conference. In June, Chris per- the leading proponents of Russian formed a concert of jazz standards, chamber music perform two of Postcards in Jazz, with poet Wyn Tchaikovsky’s three quartets, as well Cooper and Eastman colleagues as the third and eighth Shostakovich Mark Kellogg (trombone) and Jeff quartets—all works closely associ- Campbell (bass), at the Rochester ated with them. International Jazz Festival. Professor of Lute Paul O’Dette The Operetta Foundation recently received his fifth Grammy nomina- produced a recording of Emmerich tion this winter, as conductor (with Kálmán’s Marinka, as reconstructed Stephen Stubbs) of Lully’s opera by Eastman’s Director of Opera, Psyché, performed by the Boston Steven Daigle (Operetta Archives Early Music Festival. Paul and the OA-1021). Kálmán, best-known for BEMF were also nominated last year Countess Maritza, wrote the music for Best Opera Recording for their for this operetta based on Vienna’s CD of Lully’s Thésée. Mayerling affair, which ran briefly on Broadway in 1945. After a con- In January, Associate Professor of In December, the Arabesque Winds (Deidre Huckabay, flute;Liz cert version in Los Angeles in 2006, Composition Carlos Sanchez- Spector, oboe; Isabel Kim, clarinet; Eryn Bauer, bassoon; Sophie goluses, Marinka was staged by the Ohio Gutierrez received a commission horn) won the 2009 Arthur W. Foote Prize from the Harvard Musical Light Opera last summer. from the Fromm Music Foundation Association. In June, Arabesque Winds won the Grand Prize in the 2008 at Harvard University. He is one International Chamber Music Ensemble Competition, presented by the Instructor of Clarinet and of only 12 composers selected for Chamber Music Foundation of New England. Woodwind Chamber Music Robert one of the most prestigious awards DiLutis explores music of the in musical composition, which Junior Michael Alexander was a Senior violinist Ka Chun Gary “French School” of classical clari- includes a $10,000 prize. (Eastman finalist for the position of Principal Ngan, a student of Charles net and more in his new release professor Allan Schindler won a Horn with the Minnesota Opera. Castleman, was one of 14 stu- Arlequin (available at CDBaby.com). Fromm award in 2007.) Carlos will dents from the nation’s leading The varied program includes music write a work for the new-music MM student Nathan Davy won conservatories performing in the by Schumann, Stravinsky, Finzi, and ensemble eighth blackbird to per- First Prize in the Albert Schweitzer fifth anniversary of the Kennedy Prokofiev. form at the 2010 Look and Listen Organ Competition, resulting in a Center’s Conservatory Project on Festival in New York. cash prize and an appearance on a October 5. Gary performed with concert series in Wethersfield, CT. the Anniversary Ensemble Chamber Eastman welcomed two visit- Orchestra in Copland’s Appalachian ing scholars during 2008–2009. This fall, Sophie Goluses was named Spring and in The American Suite Mylène Dubiau-Feuillerac, from Co-Principal Horn of the Glens Falls with the string trio Time for Three. Toulouse, France, is working with (NY) Symphony Orchestra. Professor of Theory Marie Rolf in Kevin Pearl, a junior oboe her doctoral seminar on Debussy At the first Aaron Brock (DMA ’03) major from the studio of Richard and Verlaine, and on her critical International Guitar Competition, Killmer, won the First Prize in the edition of Debussy songs, in addi- held this fall in Toronto, Eastman International Double Reed Society’s tion to teaching and working with students Dieter Hennings and Young Artists Competition, held in other Eastman faculty members. Aimée Piché won the First and late July. Composer and organist Martin Second Prizes, respectively. Aaron On September 18, the University Herchenroder, of Germany’s was a talented Canadian guitarist DMA student Michael Unger won honored faculty members who hold Universiteat Siegen, was at Eastman who died in 2006. two prestigious organ competitions named professorships or other dis- last fall on a Fulbright fellowship, last year: First Prize and Audience tinctions. Each received a medal giving lectures in the organ studio, In the 2008 Seattle International Prize in the American Guild of inscribed with the motto Meliora performing a recital at Sacred Heart Piano Competition, Joon Hee Kim Organists National Competition in and his or her name, presented by Cathedral, and hearing the first per- (DMA student of Rebecca Penneys) Minneapolis in June; and First Prize President Joel Seligman. The recipi- formance of a new work at the 2008 received the Special Award for and Toyota Mayor’s Award in the ents included Eastman’s Donna EROI Festival, performed by profes- best performance of a work by International Organ Competition Brink Fox, Eisenhart Professor sor of Organ Hans Davidsson. Olivier Messiaen. Musashino-Tokyo in September.

36 Eastman Notes | Winter 2009 PHOtOGrAPHS BY riCHArD BAKer (DOnnA BrinK FOX) AnD GerrY SZYMAnSKi (ArABeSQUe WinDS) Your gift, in any amount, to the Eastman School Students Inspired. of Music directly supports the remarkable Eastman Made possible by you. experience, from scholarships and creative initiatives to building a foundation in music that will last a lifetime.

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Cerulean Skies in wintry Rochester Composer Maria Schneider (MM ’85), shown here with jazz department albums solely on the internet, adding: “You can’t just put something up chair Harold Danko, returned to rochester with her Jazz Orchestra for on the internet; you have to be out there playing, building an audience a concert in the eastman theatre on January 23. Her Cerulean Skies, and developing a nuanced, blended way of playing together.” As she which won a Grammy in 2008, concluded the concert; the next morn- and her band (which includes accordionist gary Versace MM ’93 and ing, she spoke on the growing role of entrepreneurship in music at saxophonist Charles Pillow MM ‘84) had amply demonstrated. eastman’s “Generation e” conference, presented by the institute for A report on the “Generation e” conference will appear in the sum- Music Leadership. Maria outlined her recent success marketing her mer 2009 issue of Eastman notes.

PHOtOGrAPH BY riCHArD BAKer