Ledger Lines

NEWSLETTER for ALUMNI & FRIENDS

Charles Dowd 1949–2010 See story, page 2

PHOTO BY STEVE SMITH September, 2010 Vol. XXII, No. 1 Ledger Lines — SPECIAL EVENTS — is the annual newsletter­ of the University of Oregon School of Music and Dance. Saturday, Oct. 30 Letters, photos, and contributions from alumni, friends, and faculty are always Festival of Bands welcome. The 32nd annual Festival of Bands is one of Address correspondence to: the Northwest’s premiere marching band LEDGER LINES competitions, featuring nearly 30 top high School of Music and Dance school bands in Autzen Stadium. 1225 University of Oregon Eugene OR 97403-1225 Or go to Saturday, Nov. 6 (Time TBA) music.uoregon.edu/people/alumni Homecoming Weekend EDITOR: Scott Barkhurst [email protected] Ducks vs. the Huskies at Autzen Stadium. Alumni Band members can register for the ASSISTANT: Carol Roth weekend’s rehearsal and activity schedule CONTRIBUTORS: George Evano, Bob at: www.oregonalumniband.com Keefer, Walter Kennedy, DeNel Stoltz Space is limited, so don’t delay! PROOFREADERS: Laura Littlejohn, Carol Roth Sunday, May 8 • 3 p.m. COVER PHOTO of Charles Dowd by Steve Smith; courtesy of Eugene Symphony Music & Dance at the Hult Another special concert in the Hult Center’s Silva Hall, featur- MUSIC & DANCE ing some of our premier ensembles. Check our website spring ADMINISTRATION term for more details: music.uoregon.edu DEAN: Brad Foley [email protected]

ASSOCIATE DEANS: SCHOOL OF MUSIC & DANCE Ann Tedards–Graduate Studies [email protected] ADVANCEMENT COUNCIL Phyllis M. Paul–Undergraduate Studies CHAIR: Niles Hanson, NW Stamping & Eska Laskus, Director of Admissions [email protected] Precision Co., Rosen Products Sunvisor and Recruitment Systems; Eugene, OR DANCE DEPARTMENT: Jenifer Craig, chair Linda Moore, arts patron and Oregon PAST CHAIR: Al King, ’76, Financial Advisor [email protected] Community Foundation Board and Investment Agent, Raymond James; Member; Bend, OR DEVELOPMENT STAFF: Springfield, OR DeNel Stoltz, director Natalie Giustina Newlove, arts patron; [email protected] Jenifer Craig, ’71, ’73, Associate Professor Eugene, OR Amy Salmore, program assistant and Chair of Dance, UO; Eugene, OR [email protected] Jay O’Leary, M.D., arts patron; Eugene, OR Mary Ann Hanson, President, Eugene Symphony Association MAIN OFFICE: Mary Glass O’Leary, ’55, arts patron; and arts patron; Eugene, OR Phone: (541) 346-3761(music) Eugene, OR (541) 346-3386 (dance) David Hattenauer, ’74, ‘79, Fax: (541) 346-0723 retired music teacher; Eugene, OR Mia Hall Savage, ’72, ’73, Pacific Youth Web: music.uoregon.edu Choirs; Portland, OR Chris Hepp, International Sales Director, Sherman Clay Pianos; Santa Clara, CA John Wells, violinist; Springfield, OR

David Hilton, Merrill Lynch & Company, Inc.; Jeffrey Williams, UO Professor Emeritus Eugene, OR of Music; Eugene, OR 1

Dance website (music.uoregon.edu). FROM THE TOP It will continue to undergo constant updating and revising as we strive Brad Foley, Dean to introduce new and dynamic news coverage, concert event promotion, s we prepare to begin the and eventually web streaming of A 2010–11 academic year, we concerts as we expand our techno- do so with many personnel changes logical abilities. As we implement and exciting new opportunities and these web-based endeavors, you programs for our school. may notice fewer mailings from the Two long-time senior faculty school, and Ledger Lines will con- members retired, leaving legacies tinue as a once-a-year publication. of outstanding teaching, scholarly We hope our many alumni and and creative work, and service to friends will provide email addresses our institution and the music profes- so that we might communicate sion that will be long remembered. more regularly via email. We also We were all saddened to learn of anticipate a greater use of social and Charles Dowd’s illness in late winter electronic media via sources such term and his passing during our as Facebook. You may already have spring break in March. Fortunately, noticed our Facebook site, “Univer- our dear friend and revered col- sity of Oregon School of Music and uative processes by the University league was honored shortly before Dance,” established over the past of Oregon. It is very important for us his death on two wonderful occa- months to further assist in notifying to continue reviewing our programs sions by the school’s faculty, staff, patrons of our events. and receiving outside input so that we can continue to serve our con- alumni, and friends, as well as by Guest Artists stituencies in the best possible way the Eugene Symphony. Later in We look forward to welcoming and keep up to date with develop- June, we celebrated the thirty-year outstanding guest artists in the com- ments in pedagogy, technology, and UO career of Jeff Williams, professor ing year, including four individuals curricular trends at the national and of trombone and Associate Dean for sponsored by the Robert M. Trotter international levels. Undergraduate Studies. Visiting Professorships endowment, New Student Services and we are excited to announce a Scholarships are Key I am pleased and delighted to residency by the principal clarinet of Finally, I am pleased to say that announce new teams of staff this fall the Philadelphia Orchestra, Ricardo through the vision and care of many to support the recruiting and admis- Morales, sponsored by the Farnley individuals, we continue to build sion efforts of our faculty as well as Tyas Foundation of Ashland. He is our scholarship program to support to oversee retention, advising, and this year’s featured artist in our on- the many needs of our aspiring mu- mentoring efforts of our undergradu- going series of diversity and under- sicians and dancers. Several families ate music students in order to better represented minority artists. made plans for significant future help prepare students for lifelong I also am thrilled to announce gifts in their estates and wills over career opportunities in music. that last season’s visit by Hirvo the past year and our scholarship We welcome Dr. Phyllis Paul, as- Surva of Estonia resulted in his program continues to grow. This sociate professor of music education invitation of the UO Chamber Choir, year’s awards will assist more than as our new associate dean for under- led by Dr. Sharon Paul, to perform in a hundred students, totaling more graduate studies along with Jennifer Estonia and Finland in April 2011. than $450,000. This is a new record Whitehead Diaz, a new staff member This exciting opportunity represents of support that must continue to serving as an undergraduate music the first overseas tour by a UO en- grow to help our many deserving academic adviser and counselor. semble in more that twenty years. students. Eska Laskus joins us as our first di- I hope many of you can attend NASM Review rector of admissions and recruitment our excellent programs throughout During the past year the music and she will be capably aided by our the coming year. Please continue to program endured a tenth-year site continuing admissions assistant, Jes- keep in touch, and best wishes from visit by a team of experienced sica Simoes Wilson. all of us on campus. evaluators on behalf of the National New Website and Social Media Association of Schools of Music. Over the course of the past year, During the coming year both music you may have noticed a significant and dance programs will undergo facelift to our School of Music and program reviews as prescribed eval- 2

garde percussion music was broad- TRIBUTE cast worldwide on WGBH (Boston) “The Art of the States” as well as national broadcasts on NPR. But his enduring legacy is the The Drums Fall Silent hundreds of percussionists he mentored over the years, preparing Longtime percussion professor Charles Dowd them for successful careers as teach- succumbs to cancer ers and performers all around the world. By Scott Barkhurst Nicholas Papador (B.Mus. 1997) said “With Charles, subtext is every- t will be a while before it sinks thing. The unspoken motivations be- in. Charles Dowd is gone. After hind his teaching methods are truly I35 years on the UO music faculty, brilliant. Charles taught percussion hundreds of percussion students, with intensity—every situation was and countless performances, the to be handled with the same profes- Dowd era has come to a close. sionalism and ‘live or die’ sense One of the iconic figures at the of devotion. I don’t think there’s a School of Music and Dance, Charles teacher out there that has or will ever Dowd left quite a legacy—one that do this better than Charles Dowd.” will surely be with us a long, long UO faculty percussionist Sean time. He arrived at the University of Wagoner added “As an artist, Oregon in 1974 fresh from Juilliard, Charles was a force of nature. As a where he studied with the great Saul committed teacher he is legendary. Goodman. As his former student and col- His résumé over the 35 years league, I had a unique opportunity is well-known to most: principal to witness the raw depth of that timpanist of the Eugene Symphony, Oregon Bach Festival Orchestra, sysztof Penderecki with the Oregon Oregon Festival of American Music Bach Festival. His training included I walked home after a Orchestra, and Oregon Coast Music a doctoral residency at Juilliard and two-hour lesson and just Festival. For thirty years he was a a master’s degree from Stanford as a principal with the Cabrillo Music student of Anthony J. Cirone. sat quietly for about an Festival in California. Dowd performed in Carnegie hour thinking, “man, He was especially proud to be Hall, Wilhelma Theatre in Stuttgart, that was something.” principal timpanist on the Grammy- and recorded regularly at RCA winning recording Credo by Kry- Studios in New York City. His avant- — Nicholas Papador

commitment. The full extent of what Charles was willing to (and did) sac- rifice on behalf of his students will never be fully known, which was by design, because the focus was always on them.” Philip Bayles, first director of Eugene Opera, said “Chuck was a wonderful but challenging musician: very precise, terribly well informed, unabashedly outspoken, and out- standingly sensitive and responsive to gesture. Charles Dowd was the most ‘live’ musician I’ve ever known. No matter how many times one had played the piece, making music with

PHOTOGRAPH BY SARAH KEHL BY PHOTOGRAPH Chuck was on the spot, here and UO percussion alumni performed at the May 22 concert tribute to Dowd. now, and in the present moment.” 3

When Dowd announced his The Oregon Percussion En- yanked them out of my hands and retirement, due to his encroach- semble, which Dowd led to regional said “Don’t spin your sticks until the ing cancer, the Eugene Symphony and national acclaim, gave its spring stick-spinning competition! Then honored him at one of its spring concert only weeks after Dowd’s you gotta spin ‘em good!” concerts. Following a spoken tribute passing, and many percussion alum- Ty Hodson: One of the things I value ni returned to campus to join the most about my time with Charles final tribute to their beloved teacher. was how he had a way of making The Northwest Percussion Charles had a way of you feel like the next performance Festival, which Dowd co-founded was the most important thing you’ll making you feel like the 25 years ago, dedicated the 2010 fes- ever do. next performance was tival to him, and renowned percus- the most important thing sionist Evelyn Glennie performed Jim Rusby: I just recalled “The Main you’ll ever do. her marimba piece, A Little Prayer, Event,” 1990. Charles in one corner in honor of Dowd. And KWAX of a boxing ring, Jeff Stolet with — Ty Hodson classical radio rebroadcast a 2001 synthesizer in the other. The piece Eugene Symphony performance of ended with Charles unplugging Jeff, by David Kammerer (son of the late the William Kraft Timpani Concerto a triumphant mastery of acoustic Ed Kammerer), the ESO percussion featuring Dowd as timpani soloist. over electronic… section (all former Dowd students) A Facebook page, “Thank You Brenda Lauffenberger Trowbridge: took center stage to perform An- Charles Dowd,” was set up soon I will never forget your great heart, thony J. Cirone’s 4/4 for Four, with after Dowd’s announced retirement, your exuberance, your maverick Dowd sitting at the corner of the and scores of friends, colleagues, spirit, your beloved music, your stage, the proud teacher to the end. and former students have filled it merry expressions, your kind words, The moment was magical, and the with anecdotes and favorite memo- challenging words, concerts, epic crowd roared its approval—both for ries. The Eugene Symphony also set rehearsals, and all the fun, fun, fun! the performers and for Dowd. up a page on its website for fans to Micah Brusse: the things I learned Just prior to that, the School of offer tributes. Here are a few of the from you are things I’ll carry with Music and Dance hosted a retirement memories: me throughout my career; there are social for Dowd, attended by long- Anthony Fowler: I remember my pieces of advice and knowledge I’ve time friends, faculty, and family, and first experience in percussion tech. received from you that I pass on to the stories at the microphone flowed I was sitting there nervously twirl- my students on a daily basis. for nearly an hour. ing my snare sticks and Charles Nicholas Papador: That day was a two-hour lesson on, I think, 2-3 excerpts. I walked home and just THE TAO OF DOWD sat quietly at home for about an hour thinking, “man, that was some- LISTEN to the recording. thing.” It was profound… his lessons Practice WITH the recording. were absolutely unforgettable. DON’T SUCK. Philip Bayles: At one rehearsal I Play LOUD… and TOGETHER. carelessly commented “... the boom Don’t get LOST. in bar 34...” Charles looked at me, Don’t be a DRUMMER, be an ARTIST. slowly raised an eyebrow and said It’s NOT a SONG! Songs have WORDS! ‘BOOM?’ In the awkward silence, a wind player said “Yeah, boom Play to the BACK ROW of the opera house. Chuck.” u Learn LOTS of notes. And play the RIGHT notes! Make your timpani rolls sound LIKE AN ORGAN! Know your part, be there EARLY, and carry a pencil. It’s better to be sharp than be out of tune. A percussion scholarship is being established in Dowd’s name. Every note is a tiny little pearl. Checks should be made out to To be early is to be on time, to be on time is to be late, UO Foundation with the memo to be late is to be FIRED. line: “Charles Dowd Scholarship.” (Just a few of the many submitted by former students) For more information, contact DeNel Stoltz, [email protected] or 541-346-5687. 4

the University of Oregon’s music DEVELOPMENT program alongside my cello instruc- tor, Steve Pologe.” Josh notes that the scholarship Scholarships Top Priority also serves as a motivator to be the absolute best he can be, and worthy By DeNel Stoltz, Director of Development of the award. u

ith the immediate building $6 million in endowed scholarships W and piano goals met during will enable us to be competitive Campaign Oregon—raising with our peers,” he notes. $17,508,638 from 8,000 generous Josh Koller has held the Robert donors, plus $7.6 million in legisla- Hladky Scholarship since 2008–09. tive bonds for the school—we have He grew up in Keizer, OR and gradu- revised our fundraising priorities. ated from McNary High School. Our focus has shifted to increased Both of his parents are musi- funds for endowed scholarships, cians. His father sings at church, instruments and equipment, guest and his mother plays piano as an ac- artists/scholars, and faculty/student companist. Josh was required by his ensemble travel and outreach. mother to study piano at age 5, but Supplanting declining state sup- he stopped taking lessons at age 7. port (down to 9% of the university’s He began playing the cello at budget) makes private support more age 9, loved it, and began studying important than ever to improve the at age 11. He first met Bob Hladky’s quality of education for our stu- successor, cello professor Steve dents, while easing student debt. Pologe, when he was in the Oregon Bob and Joan Hladky with Bob’s Resident undergraduate tuition All-State Orchestra in 2006. Tecchler cello. They gifted a has nearly tripled since 1994. With Josh is grateful for the scholar- portion of the proceeds from its a 6% hike implemented in fall 2010, ship assistance. “The Robert Hladky sale to the Hladky scholarship. it is approximately $8,200 per year. Scholarship has given me the Even with 70% of students work- chance to pursue my highest career ing at least part-time to help cover goals in music. I am able to focus their expenses, the average resident more on my studies and practicing, Fundraising undergraduate loan debt is nearly rather than having to have a part- $18,000; for graduate students it time job during the school year. It Priorities typically tops $30,000. helped me cover tuition costs for Raised since January 1, 2009: Emeritus cello and bass profes- summer music festivals for the past sor Bob Hladky understands this. two summers in Vermont, the Green • Endowed scholarships: Goal: A cello and bass scholarship in his Mountain Chamber Music Festival $6 million. Raised: $3,295,276. name was created as a surprise for in Burlington, where I represented • Equipment and Instruments: his 80th birthday a few years ago, Goal: $5 million endowment. and he and his wife, Joan, contrib- Two-year Goal: $500,000. uted generously to enable it to be Raised: $219,895. endowed. With the recent sale of Bob’s “Eisenberg” cello made by • Guest Artist/Scholars: Two- David Tecchler in Rome in 1712, year Goal: $250,000. Raised: they made an additional $40,000 gift $26,050 plus $750,000 bequest. to the scholarship, making it one of • Faculty and student ensemble the school’s prominent scholarships. touring, and educational Scholarships are Dean Brad Fol- outreach. Goal: $2.5 million ey’s top fundraising priority in order endowment. Two-year Goal: to recruit the most talented students. $250,000. “We doubled our endowed scholar- ships during Campaign Oregon, so To make a gift, contact our annual scholarship awards total Josh Koller, recipient of the Robert DeNel Stoltz at (541) 346-5687 $450,000—but our peer institutions Hladky Scholarship, and Concerto or [email protected]. award $538,000. An additional Competition winner. 5

had a tremendous opportunity to DANCE NEWS perform internationally-known cho- reographer Susan Marshall’s stun- ning essay in minimalism, Arms, for Highlights of the 2009–10 a second season—a distinction not granted to many university dance programs. Dance Season We also welcomed Brad Garner By Walter Kennedy to our dance faculty ranks. He had a very busy year teaching as well as xciting guest artists, new faculty, and Beall Concert Hall. Banda’s performing and choreographing for E and dynamic performances by peacekeeping work using dance, Dance 2010 and the UORDC tour. our talented dancing community music, and storytelling, gained him His performance of Keith Johnson’s both here and throughout the region the Unsung Hero of Compassion signature solo from 1998, Travelling were highlights for UO Department Award from His Holiness the Dalai II (Four Postcards), was a highlight of Dance in 2009–10. Lama in 2001. of the November shared concert With generous support from We also welcomed back Gabriel with Gabriel Masson Dance and col- Dean Foley, a Diversity Presence Ini- Masson and his company of dancers league Shannon Mockli. tiative Grant, as well as the African for a residency in November. He set Our academic year officially and Studies Committee, we welcomed his work A Common Language on beautifully culminated with dance Masankho Banda as Dance Africa’s the University of Oregon Repertory educator and Distinguished Alum- guest artist for 2009–10. Banda Dance Company, and his company nus Tim Ryan (B.S. Dance ’85, M.S. taught a series of classes, gave two performed an exciting theatrical Dance ’89) giving a moving address public lectures, staged three Mala- work, A Place to Hang Your Hat, to to our graduating students, faculty, wian dances on the Dance Africa packed houses in Dougherty Dance and assembled family and friends Repertory Company, and performed Theatre. about the remarkable power of an with the company in three public Our Associated Students group, education in the arts to transform shows at Dougherty Dance Theatre Dance Oregon, partnered with lives for the better. u the Department of Dance to bring acclaimed contemporary dancer- choreographer Mark Haim for an in- tensive week of workshops, classes, and discussions. The Department of Dance was invited to perform our annual Facul- ty Dance Concert, Dance 2010, at the newly renovated Robinson Theatre for the first time in almost 20 years, giving us expanded theatrical capa- bilities and many opportunities for exciting collaborations with the Uni- versity Theater Design faculty. Some highlights included new Assistant Professor Brad Garner’s performance of guest choreographer Alan Sener’s PHOTO BY MICHAEL BRINKERHOFF demanding solo, Long Gone, as well as Shannon Mockli’s dynamic group work, Night Queens, which also was chosen by adjudicators for the Gala Performance in April at the North-

PHOTO BY MICHAEL BRINKERHOFF BY PHOTO western Regional American College Dance Festival. The University of Oregon Rep- Mara Bateman, recipient of the De- ertory Dance Company (UORDC) partment of Dance Emerging Artist toured to many cities and schools in New dance faculty member Brad Award for 2010, in Gabriel Masson’s the region, and along with Masson’s Garner dancing in Alan Sener’s “A Common Language” for UORDC. piece, A Common Language, they “Long Gone” in “Dance 2010.” 6

milk in a paper carton at his place. The performers—seven student singers and a keyboardist, with Isherwood to narrate—sang from an informal stage whose only backdrop was a bank of pay telephones and a sign warning in English and Spanish that conversations may be recorded. “You are our most important audience of the year,” Isherwood told the men. “If there is anyone who would have a really hard time getting to the opera.…” The audience cheered. The prisoners were members of the Seventh Step Club, a self- help group that is one of 13 inmate organizations at the prison, which

PHOTO BY BRIAN DAVIES BY PHOTO houses about 2,000 men in all. “This is the first time we’ve had The UO Opera Ensemble gets final instructions before performing Mozart’s opera,” club president Lee Warren “The Magic Flute” inside an old dining room at the state prison. said. “They’re very excited. When we were out running amok and getting in trouble, what were we do- A Captive Audience ing? Drinking! Now we are making changes in our lives. I’m trying to fill UO students perform an opera for penitentiary inmates that gap with positive stuff.” By Bob Keefer, The Register-Guard Not everyone seemed entirely positive as the show began. alk about a tough audience: oners, who ranged from barely 21 to “I’m not really looking forward T The first guy I talked to at the stooped, graying and wrinkled, sat to this, to be honest with you,” opera last week had robbed and up straight, watched and listened— explained Sam Williams, who was killed a man with a baseball bat. hard—to the magnificent music. dressed—like the rest of the audi- The next guy I met had mur- The unusual performance was ence—in starchy blue prison denims dered both his parents. part of an outreach program devised stamped “Oregon State Penitentiary They were among about 120 by Nicholas Isher­wood, an opera Inmate.” inmates at the Oregon State Peniten- baritone who runs the program at Williams, 39, murdered his tiary in Salem who were given an the UO. parents in Oakland, Ore., 17 years opportunity to watch a performance ago, and is doing, as he said, “life Wednesday night of excerpts from without.” Mozart’s Magic Flute put on by stu- “You are our most “I really don’t know what to dents in the University of Oregon’s important audience of expect,” the prisoner said doubtfully opera program. of the performance. “That’s probably It was the first time, as near as the year ... If there is why.” anyone could recall, that opera had anyone who would have The performers had their own ever been performed at the state a really hard time get- qualms. prison, which has operated at its ting to the opera … .” They gathered with pre-show current location since 1866. jitters in the prison parking lot an Opera, with its exquisitely over- —Nicholas Isherwood hour before showtime, meeting an the-top fantasies of death, power, affable prison staff member, Bill jealousy, unending love and ultimate “We take vocal music out to peo- Marion, who went over, once again, destruction, turns out to make a per- ple who can’t make it to the opera,” the rules: Bring identification. You fect foil for men who lost their way, Isherwood explained to the inmates, go through a serious metal detec- long ago, to the real-life seductions who sat primly at long tables in the tor. Everyone has to go in at one of drugs, alcohol, murder, rape, and prison’s old dining room. Each man time and must also leave the prison robbery. had an enormous cinnamon roll, together. No stragglers. Any equip- When the music began, the pris- fresh from the prison bakery, and ment brought in, such as cameras, 7

has to be inventoried and brought ing lot while the rest of the troupe stand, you sing. That was it. And the out again. No wearing blue denim. performed. Isherwood didn’t even audience listened,” she said. “These No short skirts. No visible cleavage. try to bring in costumes; the gaudy, days we’re all working toward a No tobacco. No phones. No money. gauzy outfits would have a hard revolution in opera, where we are No … . time meeting the visitor dress code. actually trying to be really true to Marco Valerio, a 22-year-old The singers wore basic black, high the characters.” Italian-American singer from Eastern collars and long pants, accented by Olson’s singing formed the Oregon, has been studying with their official bright red visitor identi- emotional climax of the evening. Isherwood long enough to have sur- fication badges. vived the professor’s off-kilter out- Valerio, a natural clown, threat- reach notions in the past. Last year ened to steal the show with his The plot may have been he was required, along with other strutting interpretation of Papageno, students in the program, to sing the magical half bird, half human convoluted and silly, one-on-one performances to random comic hero of the opera. He flapped but Olson sang passion- homeless people on the streets of his arms, he perched on one foot ately about lost love to a Eugene. The idea, the professor said, and—to the cheers of the audience group of dead-silent men was to remove the young singers —dreamily fantasized about “mak- from their comfort zone. ing whoopee” with a bird-girl, if he who know well what it could but ever find one. (Naturally, means to be abandoned. there eventually would be a Papa- Last year the opera gena, too … .) In the role of Princess Pamina, students sang one-on- In a discussion after the show, she sang a haunting aria about her the prisoners peppered Isherwood abandonment by the prince. (OK, one performances to and his singers with nonstop ques- this is opera, Isherwood explained. homeless people on the tions. Does everyone speak German? The prince is actually going through streets of Eugene. How does the pianist keep a straight a trial by silence and so cannot ex- face? How long is the real opera? plain himself to his true love, even Who is your idol as far as opera though she’s heartbroken.) “I can’t honestly say that was my singers go? Do you compete with The lyrics may have been in favorite experience,” Valerio said other colleges? Do you perform out- German, the music may not have before the prison show. “But it was side of Oregon? When did you start been rock ’n’ roll, and the plot may a good thing to try. I much prefer a singing? How do you tell if you’re a have been convoluted and silly, but concert setting.” success in opera? Is Papageno a bird Olson sang passionately about lost The prisoners got a stripped- or a human? love to a group of dead-silent men down 60-minute performance of The questions were direct, who know well what it means to be Mozart’s full two-hour opera. respectful, and more energetic than abandoned. For one thing, the singer per- you’d get from most college audi- “This was an amazing audi- forming as the Queen of the Night ences. ence,” the singer said after the show. arrived late and wasn’t allowed into One questioner put his finger “They wanted to be here. They made the prison. She waited in the park- right on a trend in contemporary that choice. And that’s the way they opera: Do the per- approached the art. There was no formers have a back- one in that audience who thinks it’s ground in theater? just all automatic. Everyone appreci- Do they identify ated what’s going on.” with their roles like “Everyone,” by the way, in- theater actors? cluded Sam Williams, who stood Absolutely, smiling at the back of the room after answered soprano the show while other prisoners Catherine Olson, joined the singers on stage for more who just got her mas- questions, lots of handshakes and ter’s degree this year a giant group photo by the Seventh at the UO. Step Club photographer. “A lot of times “That was all right,” Williams opera, back in the said quietly. “That was all right.” u days, was—we call it PHOTO BY BRIAN DAVIES BY PHOTO ‘park and bark.’ You Reprinted by permission from Inmates enjoy the UO opera singers’ performance. The Register-Guard, May 23, 2010. 8

OREGON BACH FESTIVAL 40th Anniversary Hits Record Heights school singers tackled the complex choral A standing ovation for the compositions of Oregon Bach Festival’s McFerrin’s new CD, season finale,Elijah . VOCAbuLaries. The Festival also achieved organiza- tional milestones. Just days before the first concert, Evans an- nounced the Festival had surpassed its $10 million endowment. And a new, major gift from donors Andy and Phyzz Berwick initiated underwriting of the Berwick Chorus of the Oregon Bach PHOTOS BY JON CHRISTOPHER MEYERS JON CHRISTOPHER BY PHOTOS Festival.

fter a three-week musical Evans. “We wanted to celebrate, Tackling the Unexpected A revelry of concerts and events, in every way—from education, to An unexpected challenge pre- the Oregon Bach Festival capped its performance, to innovation—what sented itself early in the Festival 40th anniversary celebrations with a we’ve stood for in our first 40 years. as pianist and conductor Jeffrey box office record. I’m delighted to have exceeded sales Kahane—a long-time Festival favor- Finishing its concert schedule beyond expectations. I think it proves ite—became ill shortly after arriving with the high drama of Mendels- that if you are ambitious in program- in Eugene. Kahane was scheduled sohn’s masterwork Elijah, the Festi- ming classical music, the community to appear in five Festival events, val announced its highest-ever ticket will come along with you.” including accompanying Thomas sales of nearly $520,000—an increase Ambitious new projects includ- Quasthoff in Schubert’s Die Shöne of 18% from last summer and eclips- ed production of a filmed documen- Müllerin. ing its previous high from the Olym- tary of Rilling’s four lecture-concerts Continued next page pic Trials year of 2008 by 3%. of Bach’s B Minor A total audience of more than Mass; the July 3 41,000 included ticket buyers from gala anniversary 32 states and five countries. concert that in- Artistic Director Helmuth Rilling tegrated video presided over a 50-event schedule tributes with in Portland, Bend, and Eugene that musical numbers presented 300-plus artists and par- involving 200 ticipants from Russia, Hong Kong, performers and Europe, Israel, Cuba, Canada, and ten stage changes; virtually every U.S. state. and a sold-out The record sales mark and a performance by diverse program fulfilled the Festi- vocalist Bobby val’s aim in honoring its past and McFerrin and celebrating its future, said Executive the Stangeland Director John Evans. Family Youth “Our goal was to create a Festi- Choral Academy, A rare and memorable duo: Bobby McFerrin and Thomas val as ambitious as possible,” said in which 85 high Quasthoff do vocal improvs at the 40th gala concert. 9

“Running a Chamber Ensemble,” Jack Boss: published: “The ‘Musi- FACULTY NEWS Flutists Quarterly Magazine (Winter cal Idea’ and the Basic Image in 2010); CD recording: Beta Collide an Atonal Song and Recitation of Tyler Abbott: jazz performances at New Music Project, titled Psst Psst, Arnold Schoenberg,” Gamut (The Ax Billy Grill (DAC), Oregon Bach release date 8/31/10, Innova Record- Journal of the Mid-Atlantic Music Festival, Agate Alley, Club 201, ings; performances: Beta Collide Theory Society) 2/1 (Fall 2009): The Loft, The Jazz Station, Pleasant New Music Project (Astoria OR, (special Festschrift issue for Allen Hill Jazz Festival, and King Estate Stanford CA), Oregon Bach Festi- Forte); presented research: “Broken Winery; classical performances val, Atelier de la Main d’Or (Paris, Communication, Hebrew Models, with Eugene Symphony and Eugene France), European American Musi- and Other Themes in Act I, Scene 2 Opera; solo recitals in Gorizia, Italy; cal Alliance (Paris), National Flute of Schoenberg’s Moses und Aron,” International Double Bass Master Association Convention (New York Music Theory Society of New York Class with Christine Hoock, Univ. of City), Eugene Opera Orchestra, Or- State; president/chair: West Coast Mozarteum (Salzburg, Austria); con- egon Symphony, Eugene Symphony; Conference of Music Theory and certs at Sisters HS (OR), Corvallis/ solos: Univ. of Wisconsin-Madison, Analysis; chief organizer and plan- OSU Symphony, Whitman College Northwestern U., DePaul U., Univ. ner of West Coast Conference of (WA), Oregon Festival of American of Wisconsin-Milwaukee, Univ. of Music Theory and Analysis. Music, Jacqua Concert Hall (Eu- Illinois, Champaign-Urbana; adjudi- gene), Wildish Community Theatre cator: Seattle Flute Society Horsefall Andiel Brown: performances at (Springfield OR). Competition. MLK Celebration, Highland Chris- tian Center (Portland), five Portland Barbara Baird: performed at St. Ste- Wayne Bennett: principal clarinet high schools, Springfield and Thur- phen’s Cathedral (Vienna, Austria); for Sunriver Music Festival; per- ston HS, UO Business Hall of Fame and St. Michael’s Church (Budapest, formed with Eugene Ballet and Eu- dinner (Portland Art Museum), in- Hungary); presented workshops at gene Symphony; assistant editor of vestiture of UO President Lariviere, the Mid-Columbia Music Teachers CODA Journal 2:1-2; festival adjudi- and UO commencement. Assoc. (The Dalles) and American cator in Seattle, Boise, and Silverton Guild of Organists (Ashland); ad- OR; guest conductor/clarinet master Steven Chatfield: journal publica- judicated and performed at Oregon class at Humboldt State Univ.; per- tions: “A test for evaluating profi- Music Teachers Assoc. formed with Oregon Wind Quartet ciency in dance,” Journal of Dance in Salem, Bend, and Eugene. Medicine & Science 13(4); Herman Molly Barth: published article: & Chatfield, “A detailed analysis of DanceAbility’s contribution to mixed-abilities dance,” Journal of BACH FESTIVAL, continued Israeli pianist Shai Wosner to re- Dance Education 10(2); Krasnow place Kahane in back-to-back recital & Chatfield, “Development of the With only 12 hours’ notice, programs. Performance Competence Evalua- pianist Robert Levin stepped up to Soprano Tamara Wilson also tion Measure: Assessing qualitative handle the Quasthoff recital, even served as a substitute. She had seven aspects of dance performance,” Jour- though he had never performed the days to prepare as soloist for two nal of Dance Medicine & Science 75-minute work before. Nicholas performances of the Verdi Requiem, 13(4); two research presentations McGegan, who had conducted the delivering what critic James Bash of at the 19th Annual Meeting of the Four Seasons program at the 2008 the Oregon Music News called “a International Association for Dance Festival, flew in on 24 hours’ notice jaw-dropping performance,” in her Medicine and Science (The Hague, to perform in the gala anniversary first-time performance of the role. The Netherlands); Chatfield, Eddy, concert—conducting the orchestra Although it was a scramble to Batson, “Integration of somatic in Poulenc and Mozart, and ac- make the multiple adjustments on methodologies and practices into companying Quasthoff for a pair of such short notice, the results were the traditional dance technique show-stopping Broadway standards. all first-rate—a testament not only class”; and Chatfield, “A method of And Levin stepped in again to to the Oregon Bach Festival’s stature teaching dance technique that en- perform Beethoven’s Fantasy in C and reputation, but to the depth of courages automatic neuromuscular Minor at the gala concert. talent among the Festival musicians reorganization instead of conscious Portland Baroque specialist and the willingness to pull together muscular control”; executive direc- Monica Huggett took over a Discov- in a crisis. tor of the International Association ery Series lecture in Kahane’s place, Festival dates for 2011 are June for Dance Medicine and Science. and Executive Director John Evans 23–July 10, with program and sched- was able to book award-winning ule to be announced in the fall. u Continued next page 10

FACULTY NEWS, continued Complete Preludes, and Kabalevsky: lege (IL), Cologne Conservatory, and Complete Sonatas and Sonatinas Stuttgart Conservatory (Germany); Christian Cherry: creative activi- (Naxos); solo performances in Brazil performed in festivals in Astoria OR, ties: Free 350! Artists for Climate with conductor Isaac Karabtchevsky: Oregon Bach Festival, Chamber Mu- Action Event, (electronic score); Petrobrás Symphony, Momoprecoce sic at the Barn (KS); and gave solo Our Sunday Best, (four movement (Rio de Janeiro), and Porto Alegre recitals in England (London, Bir- electroacoustic score performed as Symphony, Rhapsody in Blue (Porto mingham), in Germany (Troisdorf, part of Dancing In Our Time, Michi- Alegre); national lecture-recitals and Cologne, Freiburg, Stuttgart, Ham- gan State University); Café Lorraine solo festival performances: Univ. burg, Duesseldorf), in Springfield (electroacoustic work, Sacramento of Washington, Lincoln Symphony MO, and with Eugene Opera. State Univ.); The Ladies That Lunch (NE), Univ. of Puget Sound, Liszt- (jazz score for Carrie Goodnight, Garrison Int’l Piano Competition Michael Grose: gave 40 performanc- Merlino Arts Center, Tacoma WA). and Festival (MD); soloist with es, including solo (OcTUBAfest) Eugene Symphony; Oregon clinics and orchestral (Eugene Symphony, Jenifer Craig: 12th season as UORDC and master classes: Roseburg District Oregon Symphony, Oregon Ballet lighting designer and company and OMTA, Linn-Benton OMTA, and UO Theatre), chamber (Oregon Brass concert director; relationship OMTA conference. Quintet), and others (UO Tuba- development: North Bend HS, Euphonium Ensemble, and Int’l Springfield Academy of Arts & Brad Foley: performances: Oregon Tuba and Euphonium Conference Academics, Springfield HS; lecture- Bach Festival, Eugene Symphony, (Tucson AZ). demonstrations at North Bend MS, OMTA Annual Conference; schol- Southwestern Oregon CC, North arship grants received: Theodore Rita Honka: choreographed and per- Bend HS; partnership development Presser Foundation, and Liberace formed with Dance Africa; on tour with Renaissance Academy of Crater Foundation; Oregon Bach Festival to elementary and middle schools HS, and Dancing People Company board member, and appointed chair in Sutherlin and Eugene, at the Hult (professional modern dance compa- of Artistic Director Search Commit- Center, and In-reach for Shelter Care ny); Springfield HS workshops, A3 tee; Eugene Symphony, board of (Eugene); new choreography for fac- master classes, residencies at Central directors. ulty concert and UORDC; co-direct- Point, Crater Renaissance Academy, ed UO Repertory Dance Company; North Bend HS/MS, concert at Fritz Gearhart: performances: week-long residency with Malawian SOCC; produced faculty concert, Chintinmini festival (Corvallis, New- dancer, drummer, and international Robinson Theatre. port), Marrowstone festival (Seattle), peace leader Masankho Banda. Columbia Piano Trio, Pittsburg State David Crumb: premiere of com- U. (KS), Mississippi Symphony, Nicholas Isherwood: lectured, per- mission: Kinetikus for percussion featured soloist (Nachez), UC-Davis formed, and gave master classes in ensemble (Univ. of Houston); per- (CA); research presentations and Berlin, Germany; Wellington, Christ- formances: Improvisations on an master classes, Univ. of Pacific (CA), church, Hamilton, NZ; Bratislava, English Folk Tune (Univ. of Nevada Sacramento SOM (CA), National Slovakia; and Italy, Spain, and Hol- at Las Vegas, and Bowdoin Int’l New ASTA conference (Santa Clara, CA); land; performed with Eugene Opera; Music Festival, Brunswick ME). adjudications: Salem and Bend. recorded CD of Claude Lefebvre Lucifer, and DVD of Alvin Curran’s Michael Denny: CD recording proj- Brad Garner: performed original Living Room Music. ect, Neptune Rodeo Into the Fire works including the Gabriel Masson (Modensky label); performances: Dance (Dougherty Dance Theatre), John Jantzi: performed complete Winston OR Music Festival, Mike Faculty Dance Concert, and Sweet works of Ernest Bloch at the 50th Denny Quartet (Ax Billy Grill), St. Suite Trio (Ginger Rogers Theatre, Commemoration Organ Concert John’s Music Festival (OR), featured Medford); choreographed the annual and presentation, First Presbyterian artist at the Portland Jazz Guitar Faculty Dance Concert, UO Music Church (Newport OR); performed Summit, appearances with Portland & Dance Fest (Medford), UORDC in Eugene Opera Artist Mentor jazz legend, drummer Mel Brown. Spring Season, and Music and Program, and with Oregon Mozart Dance commencement. Players; director of Eugene Opera Alexandre Dossin: released record- Company Artist Mentor Program; ings: Chamber Music of David Ber- Amy Goeser Kolb: presented guest chorus master of Eugene Opera nstein (North Pacific Music),Tchai - master classes for St. Norbert’s Company; music director of The kovsky: Album for the Youth, and College (WI), Univ. of Wisconsin, Eugene Gleemen; organist of Eugene Tchaikovsky: The Seasons (Schirmer Lawrence Conservatory (WI), Univ. First Christian Church; presented at Perf. Editions Series), Kabalevsky: of Iowa, Millikin and Wheaton Col- the Seattle Regional Convention of 11 the American Guild of Organists. Walter Kennedy: choreographed for the OMTA state conference; the musical Big River for University member of screening jury for Eighth Loren Kajikawa: journal article: Theatre, and Dance 2010 Faculty Nat’l Chopin Piano Competition; “Eminem’s ‘My Name Is’: Signifying Concert; ongoing visiting artist performed first complete Eugene Whiteness, Rearticulating Race,” residency at Randolph College (VA); performance of J.S. Bach’s The Well- Journal for the Society of American guest master teacher and adjudicator Tempered Keyboard (Beall Hall, and Music 3/3 (Fall 2009); book review for Cultural Convention of Int’l As- Sherman Clay Pianos in Portland); “Review of Alien Encounters: soc. Southeast Asian Schools (Taipei featured in “Played in Oregon” radio Popular Culture in Asian America,” American School); Board of Trustees broadcast; master class at San Jose Popular Music and Society 33/1; for Bouand Dance Co. (Portland). State (CA). research presentations at annual conferences: “The Analogue Sound Toby Koenigsberg: instructor in UO Lori Kruckenberg: elected to Coun- of Digital Production: Dr. Dre’s Summer Music Institute, Jazz Impro- cil of the American Musicological G-Funk in Post-Rebellion L.A.,” visation Camp; performed with Carl Society; editorial board member and Experience Music Project (Seattle); Woideck Quartet (Ax Billy’s, The editor/consultant for Corpus Mo- “Black Skin, Metal Mask: MF Shedd, and elsewhere in Eugene), nodicum (project director Andreas Doom’s Supervillainy,” American and in Bristol CT (Jazz Mass); guest Haug, professor, Universität Würz- Comparative Literature Assoc. (New artist in New York City Contempo- burg); appointed to editorial board Orleans); “Urban Dreams of Mobility rary Jazz Artists. of Plainsong and Medieval Music in Los Angeles-Based Gangsta Rap,” (Cambridge Univ. Press); reviewed: Cultural Studies Association (UC- Dean Kramer: gave two piano “Introits and ingressae: The elabora- Berkeley). performances with Claire Wachter tion of chant and the operation of musical memory in an oral tradition ca. 800-ca. 1050” for Plainsong and New Full-Time Faculty and Staff Medieval Music. Frank Diaz joins our faculty as an assistant professor of music education. Steve Larson: visiting faculty re- He earned his B.A. and Ph.D. from Florida State Univer- search associate (Institutt for musik- sity, and the M.M. in instrumental conducting from the kvitenskap, Univ. of Oslo); fellow, University of South Florida. He has taught and conducted Mannes Institute for Advanced in elementary and secondary schools, including electron- Studies in Music Theory—Music ic music, trombone, and other brass. He has published in and Mind; published “Analyzing refereed journals and has made several public presenta- Jazz—A Schenkerian Approach” tions. Diaz will also teach research methods in music (Harmonologia, Studies in Music and psychology of music, and advise and guide graduate Theory No. 15, Pendragon Press, research. 2009); conferences: “Circular Think- ing—A Roundtable on Blue in Green Henry Henniger joins the faculty as an assistant professor and Nefertiti”, Society for Music of trombone, replacing the just-retired Jeff Williams. Hen- Theory, Montreal (joint presenter); niger is an active trombone and euphonium performer and “Listening Through Time: Psycho- educator. He completed his master’s degree at the Manhat- logical and Music-Theoretical tan School of Music, and while in New York he studied Perspectives on the Temporal Dy- and performed with members of the New York Philhar- namics of Musical Listening,” Music monic and Metropolitan Opera Orchestra. He has served Theory Society, Montreal (panelist); most recently as adjunct professor of low brass at Oregon “Music Analysis and Form,” Int’l State University and as principle trombone of the Oregon Conference on Music and Emotion, Ballet Theatre and Portland Opera. Durham U., UK (chair).

Eska Laskus joins the staff in a newly-created position: Don Latarski: performed in Eugene Director of Admissions and Recruitment. Laskus has with Jessie Marquez; Eugene Celebra- several years experience in arts administration and in tion with Don Latarski Quintet; and music admissions, most notably as Assistant for Admis- Hult Center Christmas shows with sions and Records at the Colburn School Conservatory Mason Williams; solo gigs for Holt of Music in Los Angeles. She holds a master’s degree in International auction and Vero Café. violin performance from Arizona State University and a B.A. from the University of Miami, where she double majored in violin performance and economics. u continued next page 12

FACULTY NEWS, continued Sreevidhya Chandramouli in Wash- Terry McQuilkin: composed Celes- ington DC as part of “Homegrown: tial Fantasy for violin and piano Mark Levy: video review of “Call of The Music of America,” including (performed by Fritz Gearhart and Dudy: Bohemian Bagpipes Across concerts at the Kennedy Center and David Riley); reviewed classical mu- Borders,” Ethnomusicology 54:2 Library of Congress; week-long work- sic performances for The Register- (2010); curator of “World Harmony: shops of Balkan Music and Dance Guard for Oregon Bach Festival, Musical Instruments from Around sponsored by East European Folklife Eugene Symphony, Oregon Mozart the Globe,” UO Museum of Natural & Center (CA and NY). Players, and others. Cultural History (six-month exhibi- tion of 70-plus instruments from 30 Kathryn Lucktenberg: concertmas- Brian McWhorter: released several cultures, with descriptive text pan- ter, Eugene Symphony; concerto audio recordings including Psst Psst, els, audio and video stations, hands- performance, Vivaldi’s Winter with with Beta Collide (Innova), Leave on learning, and a series of public Sprague HS strings (OR); adjudi- Your Sleep with Natalie Merchant lecture-demonstrations); presenter cated solo competition national (Nonesuch), and Concertos II with and moderator for two performances semi-finals, Music Teachers Nat’l Sequitur (Albany); performed with of South Indian classical music by Assoc. (Honolulu HI). the Oregon Bach Festival, Beta Collide (Stanford, Astoria Music Festival), Meridian Arts Ensemble (Philadelphia, Sacramento, UC Steve Owen and Robert Kyr Davis, and NYC); soloed with Third Angle New Music Group (Portland); are new Knight Professors and produced and performed 350! Artists for Climate Action (Eugene). Professors Steve Owen and Robert Kyr have been awarded Knight Pro- fessorships at the School of Music and Dance. Eric Mentzel: directed performance The Knight Professorships are five-year rotating endowments that give of Collegium Musicum for 9th bien- both salary and program support to the recipients. The Knight Professor- nial meeting of Society for Renais- ships were made possible by a $15 million donation from Phil and Penny sance and Baroque Hispanic Poetry Knight in 1996 that required matching funds from the UO’s schools and (solo and polyphonic works from colleges. Candidates must have an outstanding record of teaching, scholarly 16th-century Spain, hosted by UO); and creative activity, and achievement in their respective fields. performed concert City, Chant, and For the past ten years the School of Music and Dance’s Knight Profes- the Topography of Early Music at sors have been Charles Dowd and Jeffrey Stolet. musicological conference honoring Both Kyr and Owen have brought regional and national attention to the Thomas Forrest Kelly (Harvard). University of Oregon. Robert Kyr, chair of our composi- tion department, has developed an international reputa- Shannon Mockli: choreographed tion with a wide range of activities that include musical and performed: Faster than a composition, performance, film work, and publishing/ Speeding Bullet (Schnitzer Museum writing. His works have been commissioned by indi- of Art, Superhero Gala, Eugene); viduals, organizations, and institutions from throughout Trio with the Johns (Astoria Music Europe, across the United States, and from Asia. Kyr Festival, with Beta Collide; IUGTE has established a highly visible and successful program Physical Theater Lab, Slovenia; in composition at the University of Oregon during his AWARD Show, On the Boards, twenty years on the music faculty. Kyr was one of three Seattle); Night Queens (UO Rob- music recipients selected for the 2007 UO Research In- inson Theater; American College novation Awards because of his many outstanding achievements. Dance Festival Adjudication & Gala Steve Owen, chair of our jazz studies department, Concert, Ogden UT); UO Opera, has developed a nationally renowned and award-win- The Magic Flute (choreography and ning jazz studies program almost entirely on his own video collaboration); REplace (Lane over the course of the past twenty-two years. He is a Community College); Lane Council highly sought-after adjudicator, clinician, composer/ar- Artwalk Performance; Sweet Suite ranger, conductor, and performer in the field of jazz edu- Trio (performance, Music & Dance cation and performance. Owen is the only faculty mem- Fest, Medford OR). ber in the School of Music and Dance to have received the coveted Ersted Award for excellence in teaching. In Christopher Olin: presentations: 2007, Owen was nominated and was awarded support “Harmonic Overtone Singing” (Con- from the Fund for Faculty Excellence. u tra Costa Children’s Choir); and at 13

OMEA meeting District 12: “Gender Festival; clinics with Eugene and Honor Band (Univ. of South Florida, Equality in the HS Choral Program,” Portland high schools; hosted HS conductor/clinician); research pre- and “Vocal Pedagogy and Physiology choirs at UO. sentations: “Sight-Reading Require- for the Choral Director”; consultant- ments at Concert Band Festivals: A ships: Choir of America; clinician for Tim Paul: invited to teach at Idaho National Survey,” 2010 MENC on OMEA Choral Festival, Milwaukie Band Director’s Assoc. District III Research in Music Education (CA); MS Choral Festival, and UO Choral Concert Festival (Boise); OMEA Dis- “Repertoire and Its Responsibility,” Invitational; conducted the Contra trict VI (Hermiston); Univ. of South College Band Directors Nat’l Assoc. Costa Children’s Honors Choir. Florida Festival of Winds; Int’l Wind Western/Northwestern Division Conf. Ensemble Competition (Thailand); (NV); “Programming Practices of Big Steve Owen: composed/arranged Mahidol Univ. (Thailand); pub- Twelve University Wind Ensembles,” One Voice (2010) for big band (UNC/ lished: “Sight-reading requirements Texas Music Educators Assoc. Clinic/ Greeley Jazz Festival, CO); director at concert band festivals: A national Conf. (TX); “Pac-Ten Wind Ensemble UO Summer Jazz Improvisation survey” (Contributions to Music Programming Trends,” Ohio Music Camp; faculty member Univ. of Education, 37); and “The effect of Educators Assoc. Professional Devel- Kansas Jazz Camp; performances changing syllables to facilitate slur- opment Conf. at Univ. of Northern Iowa, Univ. of ring by middle school trumpet stu- Kansas Jazz Festival, and Univ. of dents” (with P. Paul, Contributions Steven Pologe: performed at Green Northern Colorado Jazz Festival. to Music Education 36); performanc- Mountain Chamber Music Festival es: Mahidol U. Wind Symphony (VT), and Grand Teton Music Festi- Tim Pack: gave Chamber Music@ (Thailand, guest conductor); Int’l val Orchestra (WY); adjudicated Solo Beall pre-concert lectures and Tuba and Euphonium Symposium and Ensemble Competition (OR). program notes. (guest conductor); Festival of Winds Robert Ponto: conducted American Phyllis Paul: published Hymns and Band College (Ashland), University Winds: Resource Guide to Hymns, of Toronto, Colorado St. Univ. (guest Chorales, and Spirituals in Selected Phyllis Paul lecturer and conducting clinician); Wind Band Literature, with T. A. guest conductor and lecturer: Miami Paul (Meredith Music Pub.); pre- named as new Univ. of Ohio, Univ. of Wisconsin; sented “The Effect of Performer’s performances: Rocky Mountain Sex and Vocal Vibrato on Fifth associate dean Music Camp Wind Ensemble (CO), Grade Students’ Music Preference,” Associate Professor Phyllis Paul Univ. of Wisconsin Wind Ensemble 2010 Pennsylvania Music Educators has been named Associate Dean for and Symphony Band, CMEA Capitol Assoc. Annual Conference. Undergraduate Studies, replacing Section HS Honor Band (Sacra- the retiring Jeff Williams. mento), Sonoma County HS Honor Sharon Paul: conducted Eugene Paul joined the UO music educa- Band (CA), Vermont All-State HS Symphony Chorus; conducted HS tion faculty in 2003. She teaches Honor Band. Treble Honor Choir and presented undergraduate and graduate courses “From Warm-Up to Cool Down: in elementary music methods, music David Riley: national performances Keeping Singers Engaged Through- for special learners, and research with violinist Jasper Wood in out Rehearsal” at ACDA Eastern Div. methods. She MN, SD, IA, ND, MT, CO, IL; the Conf. (Philadelphia); conducted and also coordi- Columbia Piano Trio (Pittsburg St. adjudicated at District XII Metro nates music Univ., Kansas, and Oregon State) Festival (nine local high schools); classes for and in Linfort and Goch, Germany; UO ensemble performances: Pacific students from performed with Oregon Bach Festi- Northwest Tour (Northwest high the College of val; BBC radio broadcast Riley and schools; and ACDA Northwest Education, giv- Jeffrey Kahane performing Mendels- Conference, Seattle); UO Invitational ing her special sohn’s Midsummer Night’s Dream Choral Festival; OMEA State Confer- insight into (4 hands). ence; collaboration with Oregon the curricular Mozart Players; joint concerts with issues facing Stephen Rodgers: book review in Estonian male choir, Revalia (Beall undergraduates. professional journal: “Paradigms, Hall and Portland); adjudicator Paul received the B.M. in music Prototypes, and Other Analyti- and clinician for festivals and high education from Lenoir-Rhyne Col- cal Adventures: A Review of Kofi schools: Festival Disney; Three lege and holds the M.M. and Ph.D. Agawu’s Music as Discourse,” Rivers Choral Festival; Portland in music education from Florida high schools; District XII HS Choral State University. u Continued next page 14

FACULTY NEWS, continued lowship for research on Balanchine Steve Vacchi: performed with Or- and the Opera (winter 2011); egon Bach Festival, Cabrillo Festival Theoria 16 (2009); tenor in Oregon research presentations: “Piercing of Contemporary Music (CA), Eugene Bach Festival chorus; articles ac- the Veil of Petipa,” Nat’l Meeting, Opera, Oregon Ballet Theatre, Any- cepted for publication: “Music Society for Dance History Scholars When Ensemble@The Stone (New Smashed to Pieces: The Destruc- (Stanford); “The Forgotten Cor- York City), and Music on the Hill tive Logic of Berlioz’s Roméo au tège,” Bewegungen zwischen Horen Festival (RI); adjudicated OMEA tombeau,” forthcoming in Current und Sehen: Music, Tanz, Theater, State Solo Contest and presented Musicology 89 (2010); and “Review Performance und Film (Thurnau, master classes at Amherst College. of Matthew Santa’s Hearing Form: Germany); “L’Opèra (1830–48)”, Music Analysis With and Without Le repertoire de l’Opèra de Paris Lydia Van Dreel: published two the Score,” forthcoming in Music (1671–2009), Analyse et interpreta- reviews in The Horn Call, Journal Theory Online (2010); research pre- tion (Paris); “Processions in Ballets of the International Horn Society: sentations: “Sibling Sympathy: Al- and Operas,” Musicology Speaker “The Lotus Pond” (Bohayrat Al- lusion, Influence, and Musical Style Series (Univ. of Miami); editorial Lotus) by Gamal Abdel-Rahim, in the Songs of Felix Mendelssohn boards: Dance Chronicle; Cambridge arranged for wind quintet by Adam and Fanny Hensel,” paper presented Opera Journal; historical consultant: Lesnick; and “The Saavy Musician: at the Conference on 19th-Century Pacific Northwest Ballet (Seattle), for Building a Career, Earning a Living Music (Univ. of Kansas); Oregon 2011 production of Giselle. and Making a Difference,” by David Humanities Center, Faculty Research Cutler; performed with Bach Festi- Fellowship, for book project, Fanny Jeffrey Stolet: compositions pre- val, Eugene Symphony, Loon Lake Hensel: Finding Her Voice. sented at Third Practice Festival Live! Chamber music festival (NY), (Richmond VA); 2009 SEAMUS Quadre, Voice of Four Horns (CT), Doug Scheuerell: voice record- Nat’l Conference; Int’l Workshop on Iris Chamber Orchestra (TN and ing: “The Aristocracy Reunion”; Computer Music and Audio Tech- MI), Hornsaplenty Christmas (guest performed in Eugene at Perugino’s, nology (Taiwan); and MusicAcous- soloist, WI), Northwest Horn Sym- WOW Hall, First Christian Church, tica Festival (Beijing); presentations: posium, and the Oregon Symphony. Unitarian Universalist Church, Elec- “Data to Actualization: Real-time tric Station; in Portland’s Benson Performance of Interactive Electro- Marc Vanscheeuwijck: published Hotel; in Springfield at Riverbend acoustic Music,” Int’l Workshop journal article: “Recent re-evalua- Hospital, and in Sun Prairie WI at on Computer Music and Audio tions of the Baroque cello and what Forester Hall; received grant from Technology (Taiwan); Dept of Music, they might mean for performing the Lane Arts Council for Ali Akbar Univ. of Virginia; Kyma computer music of J.S. Bach,” Early Music 38 Khan Birthday Celebration Concert. music system and live computer (May 2010); reviewed book, Jerome music, MusicAcoustica, Central Carrington: Trills in the Bach Cello Idit Shner: classical performances Conservatory of Music (Beijing); Suites. A Handbook for performers at Oregon Bach Festival, Eugene performances of Light, for custom in- (Univ. of Oklahoma Press, 2009) for Symphony, Oregon Symphony, UO teractive performance environment, Performance Practice Review (on- Symphony (soloist), and in Tel Aviv real-time video analysis and two line 2009); principal cellist of Exx- (Striker Conservatory, saxophone flashlights in Taiwan (Int’l Workshop ential Bach (dir. Björn O. Wiede) in quartet concert); invited perfor- on Computer Music and Audio Tech- Bach’s St. John Passion, Easter Ora- mance in premiere of new music nology and Nat’l Taiwan Univ., Nat’l toria, and Easter Cantata BWV 66 in with ensemble Third Angle; other Arts Education Complex, and Nat’l Berlin (Sophienkirche) and Potsdam performances: North American Univ. of Tainan), in Richmond VA (Nikolaikirche & Petrikirche); Ba- Saxophone Alliance Biennial Conf. (Third Practice Festival), and at the roque cello workshops (Brussels (Univ. of Georgia), Gonzaga (WA), National Conference of SEAMUS; Conservatory, Prague Tynska Skola, Bonney Lake HS (WA); jazz perfor- premiered Light has no back or front, and Zagreb Academy of Music); mances in Eugene (Jazz Composers real-time performance composition research presentations at The Hague; Orchestra); publications: “Music for for two digital drawing tablets and Royal Conservatory; Paris Conserva- Saxophone and Harp,” VDM Ver- the Symbolic Sound Kyma System, toire; Brussels Conservatoire; Prague lagsservicegessellschaft mbH/ LAP MusicAcoustical Festival. Tynska Skola; Brno, Academy of Lambert Academic Pub; Fissures: Music; and University of Zagreb 20th Century Music for Saxophone Leslie Straka: performed in Port- (Croatia). and Harp (Origin Classics, CD). land, Eugene, and Salem, including performances with Oregon String Claire Wachter: adjudicated at Marian Smith: awarded grant: UO Quartet, Oregon Mozart Players, Eu- Linn-Benton Ensemble Festival Humanities Center Residential Fel- gene Opera, and Eugene Symphony. (Corvallis), and MTNA (North West 15

Division Piano Competitions, Port- Laura Decher Wayte: Performed tion in Afghanistan and Pakistan); land, and South West Division Piano with Oregon Mozart Players (Mo- and outreach performances for Competitions, Honolulu); presented zart’s Exsultate Jubilate), Eugene Suzuki Strings Program (Cascade master classes at San Jose State (CA) Concert Choir (Brahms’ Ein Deutsch- Manor, South Eugene HS, and Emer- and OMTA Eugene District (“Robert es Requiem), Music on the Edge ald Art Center). Schumann’s Theme of Childhood: Festival, Portland (Micro-Dramatic Album for the Young and Scenes Songs from Prague I), and Umpqua Jeffrey Williams: principal trombone from Childhood”). Community College Spring Concert, with Eugene Symphony; performed Roseburg (Pergolesi’s Stabat Mater). with Oregon Brass Quintet for Sean Wagoner: performed percus- Oregon recruitment concerts and sion and/or timpani with Eugene Lillian Wells: performed with clinics in Portland-area high schools Symphony, Oregon Mozart Players, Eugene Symphony and Oregon and Portland Youth Philharmonic. Eugene Opera, Eugene Concert String Quartet; organized “Pennies Choir, and Oregon Festival of Ameri- for Peace” fund drive (UO Suzuki Eric Wiltshire: European Classics can Music’s Oklahoma! Strings program donation to educa- (marching band arrangement), com- missioned by the Univ. of Washing- ton Husky Marching Band for their European tour; conducted at Moun- illiams retires after years tain West Music Festival (HS honor W 30 band conductor, Oakridge OR); pub- Family, colleagues, and friends gathered in June to celebrate the retire- lished “My Take on Marching” (The ment of Jeff Williams as professor of trombone, associate dean, and director Instrumentalist, 2009); adjudicated: of undergraduate studies. Zia Marching Band Fiesta (Univ. of During his 30-year career at Oregon, he served our music program, the New Mexico), Oregon State Concert university, and the music profession throughout the state in hundreds of Band Festival, and Mountain West important ways—through his nearly 1,000 performances, his presentations Music Festival (Oakridge). to professional associations, his teaching of hundreds of students, and his numerous adjudications for solo and ensemble contests. Carl Woideck: performances at the “Jeff Williams has served our students and many of his faculty and staff Shedd Institute, Eugene (Carl Woid- colleagues as an important counselor, advisor, and mentor over the past 30 eck Jazz Heritage Project, performing years,” said Dean Foley. “His musical and creative talents, along with his music of Horace Silver and Antonio outstanding organizational and administrative skills, and the supportive Carlos Jobim); and at the Downtown friendship he has given many of us will long be remembered.” u Athletic Club; awarded UO Rippey Innovative Teaching Award.

Laura Zaerr: published More the Merrier, a collection of Celtic tunes for harp ensemble, with Kim Rob- ertson (Kamlu Productions), and Medieval and Renaissance Music for the Celtic Harp, a collection of songs and dances with translations and historical notes (Mel Bay); presented workshops at Big Sky Folk Harp Fes- tival (MT), August Harp Camp for Kids (Corvallis), Fort Warden Harp Retreat, with Seattle Chapter of Folk Harp Society (WA), and Cascades Harp Retreat (Suttle Lake Methodist Camp, OR); performed at Festival of Harps (CA), Camerata Musica (Sa- lem), 2009 Festival of Harps (CA), and with Oregon Mozart Players,

PHOTO BY LAURA LITTLEJOHN BY PHOTO Celtic Concerto, an original work for harp with string orchestra. u Trombone professor Jeff Williams (center) at his retirement celebration, flanked by colleagues Don Latarski (left) and Carl Woideck (right). 16

Trotter professors and guest KUDOS artists leave their mark Alison Altstatt, Ph.D. candidate in musicology, was awarded the Alvin The Robert M. Trotter Visiting inspired, encouraged, and challenged H. Johnson AMS 50 Dissertation Fel- Professorships, established in 2002 everyone to be the most aware, re- lowship for the 2010-11 academic in honor of former UO Music Dean sponsible, and courageous musicians year. This presti- Robert Trotter, continue to bring an that they could possibly be.” gious fellowship, eclectic mix of distinguished musi- The Trotter professors for the which provides cians, scholars, and educators to the 2010–11 academic year will include: support for a UO campus. flutistLuis Julio Toro (October); mu- student in his This past academic year had an sic theorist Joseph Strauss (January); or her final year, especially productive trio: and Baroque specialists Peter Van is awarded by • Hirvo Surva, Estonian choral Heyghen and Kris Verhelst (winter the American conductor, principal conductor of term). Musicological the Estonian Song Festivals, profes- Other Guest Artists Society, the sor of conducting at the Estonian Among the nearly two dozen flagship society for academic music Music Academy, was on campus guest artists and ensembles who scholars in North America. This with his men’s choir, Revalia, from appeared on the 2009–10 calendar, is the first time a UO student has October 22 to November 16, work- perhaps the one that created the received this award. Past recipients ing with our composers and choral most lasting buzz among students have come from Princeton, Harvard, ensembles. and the community was jazz guitar University of Chicago, Cornell, • Wayne Vitale, Balinese music alumnus Richard Smith, who Columbia, and the University of specialist, composer, and director brought Sicilian classical guitarist California-Berkeley. of the Gamelan Sekar Jaya, was in Francesco Buzzurro with him for residence the entire winter term. His a master class and duo concert that Ben Corbin was principal keyboard- activities included teaching, lectur- drew a sold-out crowd to Beall Hall ist with the Oregon Mozart Players in ing, and working with the UO’s and a standing ovation. the world premiere of John Musto’s Balinese gamelan. Smith, who grew up in Eugene, song cycle, Quiet Songs. Corbin also • Lucy Shelton, famed mezzo- clearly enjoyed his reunion at the was musical assistant to conductor soprano, was on campus April music school, and The Register- Andrew Bisantz for Eugene Opera’s 11–17, and her residency included a Guard did a feature story on his production of Le Nozze di Figaro. workshop, a master class, and con- professional career and previewed certs in both Eugene and Portland. the concert in Beall Hall. u Thérèse Hurley (Ph.D. candidate Shelton’s visit featured a particularly in musicology) is to receive the interesting collaboration, as compo- Donald and Darel Stein Graduate sition students wrote new material UO opens Kappa Student Teaching Award. The award for solo voice, and those pieces were of $1,000 is available to those who then performed in a recital setting Kappa Psi chapter have demonstrated outstanding by UO voice students. Shelton, who The University of Oregon was teaching performance as graduate is renowned for her performances formally installed with a chapter teaching fellows while excelling in of contemporary vocal music, was of Kappa Kappa Psi, the Honorary their own academic program. an ideal mentor for students in both Band Fraternity. areas. Representatives from the na- Andrew Rowan won the Downbeat “This residency was one of the tional office attended the Feb. 14 magazine award for best Jazz Ar- most successful and inspiring events ceremony, and Boise State Univer- rangement in the Undergraduate the School of Music has hosted in sity was the sponsoring chapter. The College category for his piece, The all the time I’ve been here,” said UO is now officially Mu Pi Chapter. Longest Night. Associate Professor Milagro Vargas. UO Professor Wayne Bennett, a “The students are still talking about member of Alpha Chapter at Okla- Freshman Jenna Han won second it!” homa State University during his prize and senior Rachel Walker won “It was wonderful to watch college years, also attended. third prize in the OMTA Piano Com- the students grow and transform The UO chapter has thirteen petition, held in May in Portland. through the master classes, seminars undergraduate and six graduate Both study with Claire Wachter. u and countless individual coach- members. President is Cameron ings,” she added. “Lucy guided, Huntting. u 17

in Dance, emphasizing pedagogy, Distinguished Alumni for 2010 from the University of Oregon. He completed his post-graduate study, Doree Jarboe (B.Mus. 1962) and Timothy Ryan as one of five students accepted from (B.S. Dance 1985, M.S. Dance 1989) honored in June a pool of 5,000 applicants, at the Royal Academy of Dance Teachers Doree Jarboe taught music for General Electric in their annual College in London. 46 years at all vocal music levels, in- awards, and she received nomina- Ryan began studying ballet in cluding elementary, middle school, tions in 1998 and 2001 for Excel- 1974 and is conversant in English, high school, and students with de- lence in Teaching by the Portland Vagonova, and Bournonville styles. velopmental Public Schools. In 2000, she was Ryan has studied ballet under noted disabilities. Radio K103 Teacher of the Week and teachers and artists, including John She has held was featured in two articles in The O’Brian (RAD), Susan Zadoff (Bal- vocal music Oregonian. Jarboe was presented let Russe de Monte Carlo), Oleg positions in the Pride of Portland Award by the Briansky (Bolshoi Ballet), Melissa Washington, Lions organization in 2002. In 2003, Hayden (Royal Ballet), Robert Irwin Ohio, Ken- she was one of five to receive the (American Ballet Theater), Toni tucky, New Oregon Symphony’s Excellence in Pimble (RAD/Eugene Ballet), Pamela Hampshire, Education Award. In 2005 she was Hayes (RAD/Sacramento Ballet), and New York, knighted by the Portland Royal Ro- Edna Odum (North Carolina School and West sarians for her work in music educa- for the Arts). Virginia. tion, and in 2006 was presented the Ryan has danced with Eugene She holds a B.A. in music education Excellence in Teaching award by Ballet, Ballet Oregon, Oregon Ballet from the University of Oregon and the University of Oregon College Theater, and St. Clair and Co. Dance. an M.A. from West Virginia Univer- of Educaton. In 2008 the Oregon He has been a featured soloist in sity. She was the director of choral Symphony presented her with the The Nutcracker, Bolero, Pulcinella, activities at Grant High School in Patty Vemer Lifetime Achievement Cinderella, Coppelia, and Seven Portland for 21 years; her a cappella in Music Education as the Music Deadly Sins. In Portland, he has choir participated in the OSAA State Educator of the Year. twice served as a grant review panel- Choir Championships for 19 of those ist for the Regional Arts and Culture 21 years at Grant. Timothy Ryan is director and co- Council. The best known of her choirs founder of Center for Movement Arts Ryan’s students have been ac- was the Royal Blues chamber en- in Portland, Oregon. Since 1997, the cepted at many prestigious schools, semble. Under her direction, they Center for Movement Arts has been including Houston Ballet, San represented Oregon in the 50-year dedicated to bringing excellence Francisco School of Ballet, Juilliard, D-Day Celebrations in Normandy, in dance education to children and Boston Ballet, North Carolina School France, followed by singing tours adults in of the Arts, The Harrid Conserva- throughout Europe, and later toured a positive tory, San Francisco Conservatory of Canada and the Washington, D.C., nurturing Dance, Lines Ballet, Chicago Ballet, area. The Royal Blues performed atmosphere. Goucher College, Interlochen Arts with the Oregon Symphony with With a grow- Academy, and The Joffrey Ballet. u Ken Kesey and Mason Williams as ing student well as with Doc Severinsen, Pink body of more Martini, Tom Grant, and Josh Gro- than 400 Distinguished Alumni ban, among others. They performed students, the Nominations at conventions of the Oregon Music Center for Educators Association and North- Movement Music and dance alumni are west American Choral Directors Arts strives invited to submit nominations Association, as well as the National to develop technically and artisti- for the annual Distinguished ACDA convention in Los Angeles. cally strong dancers, intelligent Alumnus Award. Names and a Jarboe was organizing chair- dance audiences, and enthusiastic brief summary of the candidates’ person for the OMEA 1994 Oregon dance supporters. background and accomplish- All-State Choir. She is past president Ryan has taught dance since ments may be sent to Dean Brad of the Oregon American Choral Di- 1977 in public and private schools Foley ([email protected]) at rectors Association. in both Portland and Eugene. He the School of Music and Dance, In 1997 she was nominated as a received a graduate teaching fellow- preferably before Nov. 1. “Community Treasure” by Portland ship and earned his M.S. and B.S. 18

ALUMNI

Tom Bergeron (D.M.A. 1989) recent- ly released a new CD with UO music alum and former guitar instructor Garry Hagberg (B.A. 1976). You’ve Changed is on Tom’s Teal Creek Music label, which now publishes 16 titles. Bergeron is a professor of music at Western Oregon Uni- versity; Hagberg is a professor of aesthetics and philosophy at Bard College in New York.

Tiffany Mills (B.A. Dance, 1992) was artist-in-residence with Dance New Amsterdam in New York, where she choreographed “berries and bulls,” collaborating with experimental the- ater artist Peter Petralia. Her Tiffany Four of the UO percussion alumni attending the memorial tribute to Mills Dance Company is in its tenth Charles Dowd: Brian Scott, Alan Keown, Sean Wagoner, Aaron Trant. anniversary season. literacy program, using music as a and produced new opening and Charmaine (Fran) Leclair (Ph.D. tool to help with adult learning. closing music themes for the weekly 1995) is in Charleston SC, where TV interview show UO Today, pro- she has begun a business, Music Rebecca Oswald (M.Mus. 2001), saw duced by the UO Humanities Center One Center for Creative Leadership, her song “Regatta” on her October and UO Media Services. UO Today which offers a six-lesson e-mail Wind CD nominated for a 2009 Just began airing with its new format and course, “Exploring the Essence of Plain Folks Song Award in their Music.” She plans to offer an adult Solo Piano category. She also wrote Continued next page

Kelly Kuo wins prestigious Solti Award Kelly Kuo (B.A. 1996), assistant conductor of the Cincinnati Chamber Orchestra, was one of three recipients of the 2009 Solti U.S Assistance Awards. The Solti Foundation U.S., established to honor the memory of the legendary conductor Sir Georg Solti, seeks to lend significant support to talented young American conductors, providing criti- cal assistance to them at the start of their professional careers. Honorary Chair Lady Valerie Solti sent a congratula- tory statement which read, “There could be no better way to remember Maestro Solti and the standards of excellence he set in orchestral performance, than the accolade The Solti Foundation U.S. is giving to these highly gifted young con- ductors. It is my hope the awards will continue his work and inspire future gen- erations.… I hope these awards will help to fulfill their dreams of creating beauty through music.” Assistant conductor of the Cincinnati Chamber Orchestra since 2007, Kuo previously served as assistant conductor and Repetiteur for Cincinnati Opera, Kentucky Opera, and Opera Pacific. Kuo has also served as cover conductor for Los Angeles Opera and Italy’s Festival Euro Mediterraneo. In the 2009-10 season, Kuo led La Traviata for Kentucky Opera and Hansel and Gretel for Lyric Opera San Diego, and returns as music director for Opera International’s Vocal Gala Concert. This past season, Kuo made conducting debuts with the Lyric Opera of Chicago (Porgy and Bess) and Madison Opera (Cosi fan tutte), and returned to Lyric Opera San Diego to lead Trial by Jury and the world premiere of Nicholas Reveles’ Rumpelstiltskin, as well as performances of Porgy and Bess at Hamburg Staatsoper. u 19

ALUMNI, continued an organist and continued her life’s IN MEMORIAM work and passion for music educa- new music themes in January, and tion through providing Kindermusic can be viewed streaming online. Tal- Gloria Peters (M.Mus. 1969) classes for young children and giv- ent: Carl Woideck, alto sax; Gordon died last December of respiratory ing private piano lessons. Kaswell, guitar; Rebecca Oswald, failure at age 81. She received her piano and bass. bachelor’s degree from Willamette Janet Descutner, an associate profes- Univerity before getting her master’s sor emerita in dance, passed away in Charmaine Gaffrey (B.S. Dance, degree from the UO. She was an late July, just as Ledger Lines was go- 2002) teaches contemporary dance orchestra and humanities teacher for ing to press. She graduated Phi Beta at Oregon Ballet Academy in Eu- the Eugene School District, primar- Kappa and cum laude with a B.A. gene, performs with Traduza Dance ily North Eugene High School, until from Ohio State University, majoring Company, and is a certified Gyro- her retirement in 1987. in French literature with minors in tonic instructor. art history and dance. While teach- Marcella Poppen (M.Mus. 1971) ing at Ohio State, she completed an Lindsey Primich (B.S. Dance, 2005) died in May 2009, following more M.A. in Dance, presenting the first recently spent six months in New than 60 years in music education choreographic master’s thesis in the Zealand and has traveled exten- and church music. She had been a OSU dance program. She subse- sively throughout South America. music teacher in Iowa before serving quently was a She has been working at Dancers’ four years at schools in Japan. She dance faculty Workshop in Jackson Hole WY, and was then supervisor for the Long Is- member at the occasionally includes some African land NY public schools for 14 years, University of dance for variety. and also received certification by the Michigan and Evangelical Lutheran Church, which at Kent State Chris Thomas (B.Mus. 2006) is scor- led to her vocation as a church or- University ing music for film and TV in Los ganist and choir master with secular before joining Angeles. He recently wrote music education positions. She taught at the UO faculty for a documentary, Woman Rebel, SUNY in Brockport, at Simpson Col- in 1971. In her which was shortlisted for a 2010 lege in Iowa, and at North Central research, Academy Award—meaning it was College in Minnesota. Part-time Descutner on a list of eight films considered for music positions at various churches focused on modern dance and tap the documentary category, although led to full-time positions at churches choreography and performance, and it did not make the cut to five. in Schenectady NY, Budd Lake NJ, reconstruction of dances recorded in and Bloomsburg PA. She retired to Labanotation, particularly the work Valerie Ifill(M.F.A. Dance, 2009) Orange City IA, where she served as of Doris Humphrey. From 1989–96, has continued teaching both youth she was co-director of the NorthWest and adults at the REACH Com- Tap Consort, a semi-professional munity Center in Eugene. She was company that toured Oregon and involved in a collaborative project as well as a growing private studio Washington. She was on the Asian with UO graduate students A.T. Mof- of trumpet and piano students. Studies faculty, teaching Dance in fett and David Horton, creating and Deutsch was featured in the Febru- Asia, and collaborated with UO producing a concert in Portland. Val ary issue of Seattle’s monthly jazz Theater Arts colleagues on several recently joined a new dance com- magazine, Earshot, in an article that Asian/Western fusion productions, munity in Phildelphia. highlights some of his recent proj- inspired by Japanese and Balinese ects, including The Ligeti Project, artistic traditions. Descutner served Josh Deutsch (M.Mus. 2009) has which was performed in Seattle in as chair of the dance department kept busy in New York with a good February. Deutsch also was in Ore- from 1988–92, and retired from full- balance of playing and teaching. He gon for a few shows in Portland and time teaching in 1999. u has reconnected with some favorite Eugene with some of his favorite musicians from his middle and West Coast musicians. Soon after he high school days in Seattle, sum- headed back east, the quartet Four mers at the Banff Jazz workshop, Across (with Carmen Staaf, Matt and his time at the New England Aronoff, and Brian Adler) began a Conservatory, in addition to meeting brief East Coast tour, with shows in and playing with new musical col- Philadelphia, Washington D.C., and laborators. He’s had music teaching New York, all leading up to record- residencies in NYC public schools, ing their second album. u 20

Yvonne Stuwe Buermann ’63 & Hugh Buermann 2010 DONOR HONOR ROLL Suzan Eklof Campbell ’68 & Richard Campbell ’68 William Carsillo ’58 Pamela and Peter Constantine Jeannette Bobst ’75 & Gerald Davis ’62 Your Gifts, Our Thanks Mary Hudson Douda ’55 Lawrence Erickson ’72 Music & Dance Gifts July 1, 2009–June 30, 2010 Eric Foster ’97 Susan VanLom Gutgesell ’75 & Bruce Gutgesell ’76 In the past academic year the School of Music and Dance received ap- David Guy Roberta Clemmens Hall ’60 & Larry Hall ’59 proximatrely $2.1 million from 587 donors. Ninety-eight percent of the total Christine Radford Hill ’69 & Dennis H. Hill dollars raised were gifts from individuals, with corporate and foundation Marcia and David Hilton philanthropy rounding out the remainder. We are immensely grateful for Kay Neilson Holbo ’63 & Paul Holbo such generosity. Space constraints limit our public acknowledgment to those Charles Humphreys ’52 Esther Jacobson-Tepfer & Gary Tepfer ’75 who made gifts of at least $100 during the past academic year. However, we Judith Johnson thank all of our donors. Your gifts are exceptionally important in helping us Nancy ’75 and Ken Keating transform the lives of students, faculty, and the community by creating tomor- Linda Ettinger ’83 & Curtis Lind ’79 Robin Manela ’65 row’s outstanding music and dance educators and performers. Marie Peery Medford ’48 & E. Leslie Medford David Mendenhall ’81 $25,000 + Foundations, Organizations and Bequests: Marianne Wittemyer Mendenhall ’60 Liberace Foundation Barbara ’78 and John Mundall Anonymous Oregon Tuba Association Marilyn and James Murdock Thelma ’40 and Gilbert Schnitzer ’40 The Presser Foundation Jill ’03 and Jack Overley Leona ’51 and Robert DeArmond ’52 Estate of Allice H. Tower Frances ’69 & D. Nelson Page ’65 Estates, Foundations and Bequests: Hope Hughes Pressman ’42 Exine Bailey $500 + Keith Reas ’75 Robert J. & Leona DeArmond Foundation Grant Seder Cynthia & Raymond Anderson ’67 Gary Hewitt Karen Seidel John ’50 & Helen Backlund ’51 Emily Lorraine ’70 Molly and Jonathan Stafford ’69 Barbara Baird ’88 Roberta ’64 & Douglas Sweetland ’68 Maxine Barnes ’46 Josephine and Peter von Hippel Linda Nelson Beach ’68 & Lawrence Beach ’65 Sarah and James Weston $10,000 + Suzanne and De Layne Brown Organizations: Jaqueline Giustina Francesco Buzzurro Linda Cheney ’68 Alpine Veterinary Clinic, LLC Estates and Foundations: Dorothy Becker Clark United Way of Lane County N. B. Giustina Foundation Diana Gardener ’62 & Judson Parsons Amy and Donald Harris $100 + Laura Littlejohn ’78 & Paul Leighton $5,000 + Gerald D. Morgan Jr. Johnetta and Donald Adamson ’55 Exine Bailey Phyllis Helland & Raymond Morse ’85 Elissa Dyson and Clark Ashworth Glee and Dwight Davis ’65 Carole and Milt Quam ’62 Dorothy and Thomas Atwood Karen Schwartzrock ’85 Marie-Louise & Kenton Sandine ’63 Linda Baccei ’83 Barbara Bagley Sellin ’46 Michael Bandonis ’77 Richard M. 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Barnes Living Trust Lynn Thiede Buchanan ’76 & Hugh Buchanan ’76 Eric McCready ’63 Rick Campbell, Creative Janet and James Bursch Ellen and Willard Miller ’52 U.S. Bancorp Foundation Alta and Warren Burton ’74 Adith Moursund Carmen Calzacorta ’80 & Casey Mills Natalie and Robin Newlove $250 + Janet Knitter Carter ’70 Laramie ’83 & Theodore Palmer Brenda and George Clarke Paul Roth ’92 Phoebe Smith Atwood ’45 William Cohendet ’68 Doris Beck Sjolund ’70 & Lynn Sjolund ’51 Virginia and Chandler Barkelew Amy Cannon Connolly ’97 & Michael Connolly ’97 John Slottee Dorothy & E. Peter Bergquist Joan and Stanton Cook Mary and John Tachouet ’64 Margaret ’54 & Walter Bohnstedt ’54 Elizabeth Easley Cooper ’70 Lis Cooper and Douglas Couch ’73 Saralee Melnick ’84 & Thomas Astle Martha ’74 and Warren Pavlat Linda Barnes Crawford ’77 & John Crawford Page Mesher Daniel Perry ’95 Joan and Otto Crumroy Jr. ’56 Betty and Kenneth Metzler ’51 Nan and Robert Phifer Irene and George Daugherty Bruce Miller Vida ’60 and James Phillips ’63 Leanna and Dean Deters ’90 Mardi Chase ’74 & William Mueller ’74 Joan Mimnaugh Pierson ’50 & Stanley Pierson ’50 LouJean Rosevear DeVito ’61 & Leonard DeVito ’59 Sharon and Jeffrey Musgrove ’85 Eileen Carrol Pilkenton & Mark Pilkenton ’79 Patricia Deal Dodson ’61 Chikako Narita-Batson ’96 Joan Branagan Powers & William Powers ’61 Margaret Gates Donivan ’65 & Frank Donivan Laurelie Nattress ’94 Camilla Pratt Susan ’66 and James Douglas ’66 Annette Childreth Newman ’72 Greta Kaufman Pressman & Ernest Pressman Carley and Douglas Drake Kathy ’81 and Michael Nolan ’81 Joanne Piquette Price ’90 & Gari Price Katherine Girton Eaton ’52 & Burt Eaton Joan Bayliss and Irwin Noparstak Edra Stanley Quivey ’60 Madge Conaway Ebright ’39 Susanne and Bruce Odekirk Ann Stearns Ramseyer ’57 & Hugo Kapelke Jennifer ’70 and Robert Edwards ’72 Elizabeth Olson ’51 Carolyn Rayborn ’58 Richard Ericson Jr. ’04 Mary ’85 and Dean Otto ’88 Kay Renken Joyce ’66 and Joseph Farruggia ’69 Joyce ’71 and Harold Owen Michael Richards ’66 Margot Fetz Stephen Owen Mary McClelland Robert ’47 Victoria and I. Howard Fine Wendy and William Parker Renee Schaefer ’91 Caroline and James Fournier ’54 Ilene Shulman Pascal ’66 & Cecil Pascal Stephanie Miller Sears ’80 & Douglas Sears ’69 Richard Frey Jr. ’63 Elizabeth and Kenneth Paul Cynthia and Sherman Seastrong Jr. ’59 Debra and Wayne Fujitani Phyllis and Timothy Paul C. Faye and Alden Shuler Mary Lacoss Garvin ’70 Jean and Edgardo Simone ’82 Jo Ann Gish ’78 and Roger Stephen Lester Simons ’52 Karene and Jeff Gottfried Linda and Steven Simpson ’78 Lilia Gouarian and James O’Dell ’83 HAVE WE Gene Slayter ’51 Mary Ijams Gregg ’51 Emma and Allen Sloan Shandra Greig ’89 and Rodney Orr HEARD FROM Molly Jacobs Smith ’88 & Mark Smith Janice Bird Gunderson ’68 Douglas Spencer Barbara L. Hamilton YOU LATELY? Elise King Spencer & Loran Spencer ’57 Melva and Thomas Harris ’70 Miriam McFall Starlin Annette Moeller Harrison ’87 & Craig Harrison • We want to stay in touch with our Yvonne and Charles Stephens ’72 Suzanne and Arthur Hasuike alumni and friends, and make it easy Dorothy ’54 & Richard Stewart ’54 Karen Skoog Hendricks ’65 & Wayne Harrison for you to know what’s going on at Caroline Stutevoss ’81 Steven Hiatt ’84 the School of Music and Dance. Bonnie and James Talluto ’82 Jacquelene ’53 & Hollis Hilfiker Nancy and David Thomas Lisa and James Hill • Please send us news about your Denise Thomas-Morrow ’85 Lin and Don Hirst Nancy Yeamans Thompson ’71 & Gregory Ronald Hodges teaching, performing, research, Thompson ’71 Sara Hodges recording, or other activities and Tracy Thornton ’92 Lavern and Sherrill Holly ’60 achievements via e-mail to Led- Jeffrey Turay ’63 Janet GrosJacques & James Howe ’77 ger Lines editor Scott Barkhurst: Bernice and Jack Ullom ’78 Audrey and David Howitt [email protected] (include your Julianne Stone Underwood & Rex Underwood ’55 Maurice Hudson ’52 Steven Urman ’76 Karen and Neil Hutchinson degree and graduation year) or go Lydia Van Dreel Karen Yuen Hwang ’58 to music.uoregon.edu/people/ Margaret ’64 and Lyle Velure ’63 Bernice Isham ’76 alumni Phyllis and Harry Villec Leslie ’80 and Peter Kadison ’79 Marjorie Waller ’65 Linda Shay Katz ’71 & Allan Katz • We will be updating our alumni Margaret and Daniel Weill Cindy and Gary Kehl website this fall with useful informa- Lois and Barrie Wells ’71 Reida and Charles Kimmel tion, including a career resources Carol Wessler ’77 Frederick Kinsman section and alumni connections. Ann and Donald White Nancy ’74 and Ronald Kopitke ’72 Doris Williams Kathryn Leslie Kremer ’63 & Daniel Kremer • Our website (music.uoregon. Dayna Terry Willms ’98 & Lucas Willms ’98 Lawrence Lavelle ’53 Janice and Thomas Wimberly ’69 Robert Lenneville ’49 edu) is a great way for you to fol- Sharon Anderson Wooden ’53 Phyllis and Joe Lewis low our activities and concerts, Lois and Thomas Worcester Richard Littman read about special events, follow Foundations, Organizations and Trusts: Edward Lorraine ’69 our student successes, learn about A & G Washburn, Inc. Rosiland Randles Lund ’64 & Jon Lund ’63 faculty activities and their latest Dianna and Ron Maier Barbara Ann Bryan Living Trust Jane and James Martin recordings, and even read back Chevron Matching Gift Program Elizabeth and Frederick Maurer issues of Ledger Lines. Elizabeth A. Dyer Trust Dixie Maurer Maurer-Clemons KSA Financial & Tax Service Dianne Barton Mayer & Richard Mayer ’59 • And the School of Music and L. S. 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