SPRING 2001 - Eastman School of Music - · department Chair Ramon Ricker, left; and Associate...

S P R I N G 2 0 0 1

As part of the Rochester PhilharmonicOrchestra’s summer residency in Vail, CO,orchestra members and Eastman facultymembers Jeff Tyzik (BM ’73, MA ’77),upper right, associate professor of jazzand contemporary media; Professor ofJazz and Contemporary Media and JCMdepartment Chair Ramon Ricker, left; and

Associate Professor of Clarinet Ken Grant(BM ’73), right, participated in a children’sconcert titled “Classical Music in Car-toons.” Dressed in colonial garb, Rickerand Grant presented with Tyzik and theRPO a parody of The Barber of Seville. Atcenter is David Brickman (BM ’83), princi-pal second violinist with the RPO. ❧

DAVID MANZELLA /VAIL DAILY NEWSPAPER

A summer toon-up in Vail

1S P R I N G 2 0 0 1

Published twice a year by the Office ofDevelopment and Public Affairs, EastmanSchool of Music, 26 Gibbs Street,Rochester, NY 14604, 716-274-1040. Email: [email protected]

Susan RobertsonAssociate Director for Advancement

Allison MayerEditor

Karen AmicoMartial BednarClay GreenbergAnna JohnsonLynn WilliamsChristina ZikosContributing Writers

Kurt BrownellGelfand-PiperAmy GlossnerLouis OuzerLaurie Beck TarverContributing Photographers

Steve BoernerGraphic Design

On the coverAmong the many opportunities duringAlumni Weekend was the chance to seeEastman’s various ensembles rehearse –including the gamelan ensemble, here out-side Eastman Place taking advantage ofthe uncharacteristically warm Octoberweather. The group is led by ensembleTeaching Assistant Clay Greenberg, left,and Visiting Associate Professor of Game-lan I Nyoman Suadin, center. For an AlumniWeekend photo collection, see page 8. For a story on the gamelan ensembles, seepage 12.

PHOTO BY KURT BROWNELL

I N S I D E

F E A T U R E S

S C H O O L N E W S

D E P A R T M E N T N E W S

I N T R I B U T E

N O T E S

2 Convocation ’00: Good news, badnews, hopeful news, and a challengeInroads are being made, but the greatneed for connection continues

4 The classical music crisisHow we got here and what to do aboutit: Joseph Horowitz delivers the firstShouse Keynote Lecture

8 An Alumni Weekend photo albumNearly 200 people from as far away asTaiwan and Germany participated inAlumni Weekend 2000

10 Wind Ensemble, Hunsberger share thespotlight at the Midwest Clinic

Eastman Jazz Ensemble dazzles at IAJE

11 ET painting gets first-class treatment

Eastman web improvements within‘site’

12 Gamelan ensembles triple withenthusiasm

First season for ‘Faculty Artist Series’

13 Eastman dedicates new clavichord

Giving Britten a ‘Turn’

14 Voice

15 Conducting & Ensembles

16 Faculty engagements

17 Chamber Music

18 Musicology

19 Woodwind, Brass & Percussion

20 Brooks Smith

Louis Mennini

In memoriam

21 Alumni notes

27 Faculty notes

30 Student notes

31 Corrections

V O L . 2 0 / N O. 2 3 S P R I N G 2 0 0 1

Page 13 Eastman Opera Theatre performs Britten’s The Turn of the Screw.

GELFAND-PIPER

2 E A S T M A N N O T E S

F E A T U R E S

Good news,badnews,hopeful news,and achallengeInroads are being made, but the great need for connection continues

B Y J A M E S U N D E R C O F L E R

The good news is that people are participating in musicmore than ever. And we have evidence to this effect.Public schools in this country will start this monthshort by hundreds of teachers in music, especially inthe areas of general music and strings. Some school

districts will become so frustrated over their inability to find certi-fied string teachers that, my fear is, in time they’ll just give up. Wehave a severe shortage of public school music teachers. In fact, ourmusic education department here guarantees any student majoring

in music education a choice of jobs ongraduation.

In community education throughout thecountry, settlement schools, communityschools of music, and private music teach-ers are experiencing an abundance that isunprecedented. Our own CommunityEducation Division grew beyond its capac-ity. The Hochstein School is enrolled to itslimit. It goes on and on. The interest inmusic at the community level is extraordi-narily high.

Children’s music programs in churchesand synagogues are growing at anunprecedented pace, as are children’scommunity choirs. Our own New HorizonsBand created by Eastman Professor RoyErnst has grown throughout the world asa concept of older adults beginning musiclessons for the first time and playing inbands. I am amazed that last year the

New Horizons Band concert in EastmanTheatre drew more than 2,000 people inthe audience. And today, in e-mail fromAssociate Professor Ellen Koskoff, I learnthat our own Gamelan Ensemble nowhas grown to three sections.

We have just a sampling of exampleshere, but a very clear picture emerges:People want to make music. Why is thisso? Let’s be sure to look at this from theperspective of young professionals intoday’s audience, as well as the seasonedprofessionals in music sitting among you.

One: Music-making is a basic humanneed. People need to do it. We know this.They need to make music. It’s somethingwe do. Parents know that music-makingis good for their children. They have ahard time telling you why, but they knowinstinctively that music-making andinvolvement in music is good. Two: Manypeople enjoy the social contact of music-making. They tell me that the personalaspect of expressing themselves is veryimportant, that social contact, again, isimportant. And, three: Music connectspeople to their own lives, to somethinginside them.

What is the bad news? In 1970, theChicago Symphony employed one hun-dred professional musicians and approxi-mately 25 administrators to supportthose hundred musicians. Today theChicago Symphony employs one hundredmusicians and over a hundred adminis-trators to support those same musicians.We have to look at the reason for this andexamine whether it is good news or badnews.

The growth in the Chicago Symphony’sadministrative staff has been in market-ing and public relations, to keep theiraudiences against the competition ofother entertainment and cultural venues.

Also, there is growth in the area ofdevelopment and fund raising becausethe cost of running the operation hasincreased so rapidly, as has the cost ofmarketing. And it’s in the area of educa-tion and audience development – whatwe would call education and outreach.The same pattern is true across the coun-try in professional arts organizations. Theadministrative staffs are growing so rap-idly our graduates could be employed asadministrators in any number of organi-zations today.

I was concerned this summer when Iread that Glimmerglass Opera in Cooper-

C O N V O C A T I O N ’ 0 0

LAURIE BECK TARVER

James Undercofler

F E A T U R E S

3S P R I N G 2 0 0 1

stown, NY, which undoubtedly presents afine musical product and shares itsoperas with New York City Opera, earnsonly one dollar for every three it has toraise. Can you imagine the size of thedevelopment operation they need to raisethree dollars for every dollar raised onticket sales?

What else do I see as “bad news”? Thissummer at Tanglewood, I looked carefullyat the Boston Symphony Orchestra’srepertoire for its concerts in the Shed. Ifyou are unfamiliar with Tanglewood,there are two performance venues. One isthe Shed, the KoussevitzkyShed, which is really the placewhere the Boston Symphonyperforms, and then there isOzawa Hall which is a won-derful concert hall, but iswhere the students performand where less mainstreamevents take place. The onlytwo American composers per-formed in the Shed this yearwere John Williams and AaronCopland. Now, nothing againstthose two fine gentlemen –and John Williams will be herethis year to guest conduct –but neither would be consid-ered avant-garde or “cuttingedge” in their stylistic expres-sion.

Likewise, the New York Philharmonicis opening its season this fall with aseries of all-Mendelssohn concerts, andthe Metropolitan Opera’s fall concert sea-son is entirely late 18th-century, 19th-century, and early 20th-century music.

am moving now into hopeful news.First, repertoire: The American

Music Center in New York (I happento be on the board of directors there,

so I have more information about thisthan other places) created approximatelytwo years ago a new on-line magazinecalled New Music Box, which focusesentirely on contemporary music – themost avant-garde. Its monthly number ofhits has reached 350,000, and in ananalysis of their 350,000 hits, 35,000 ofthose hits are for a half-hour or longer. Sothey are developing an extraordinaryreadership and listenership through theirweb site magazine.

The director of the Miller Theatre atColumbia University tells me that he

doesn’t dare do Berio or Reich anymorebecause he can’t handle the audiences.People become too upset. Concerts sellout so far in advance, people line up allthe way around the block for tickets thenight of the concert, and they becomeangry. The image is just wonderful: peo-ple fighting over wanting to get in.

Look at the San Diego Symphony,which went out of business approxi-mately four or five years ago. If you do ananalysis of its programming at the timeof its death, it was exclusively 19th cen-tury with some early 20th-century music.

It’s reincarnated itself involving music ofits ethnic minorities, or ethnic majorities.I should add that its concert season isbeing greeted with much more enthusi-asm and its revenue is up substantially.

Second, audience development: Thereare some very interesting attempts beingmade to connect to audiences. The St.Louis Symphony acquired the St. LouisConservatory when it was in financialdifficulty, and members of the St. LouisSymphony teach at the conservatory. Aconscious effort is made there to connectthe education programs of the orchestrato the conservatory. There are weak-nesses in this program in that the musi-cians’ contract with the St. Louis Sym-phony does not include a responsibility toteach at the Conservatory – it’s volun-tary.

Finally, we come to the challenge:Three years ago, I spoke to the School inmy inaugural address about what I call“the great disconnect.” I’ll give you a per-fect example of “the disconnect.” My wife

teaches 30 violin students. When weinterview them as to how many haveever attended a concert at the EastmanSchool or the Eastman Theatre, only avery small number ever have or reallyare interested in doing so, even if givenfree tickets. I would guess that as wewent through the huge numbers of peo-ple studying music and engaged in musicthat I listed at the beginning, only asmall percentage of them would be inter-ested in “consuming” music in its tradi-tional format – and I stress, traditionalformat. We’ve got to find ways to connect

these people who love musicand love being involved inmusic with concerts andmusic events, perhaps in newformats.

Not that what these stu-dents are doing is not music,but they need to be tied intothe whole. I think there aresome keys here, but I oftenthink that my generation isthe transitional generationand that it’s you young peoplewho will find answers to thischallenging question.

Of particular importance isthat the music must be of ourtime. It must speak to us fromsomething that reaches insideus and makes a personal con-

nection. Now, that can be music of the19th century, 18th century, 16th century,but it also has to be music of the 21stcentury and of the late 20th century. Thatmusic was written by us and for us, andit must be consumed, enjoyed, andprocessed by us. The music must touchour own culture, whatever that is,because to speak to us it must make acultural connection.

And perhaps most important, themusic must be made available to us in away that we can access it.

In any case, I’ve spoken exactly as longas I said I would. I hope I’ve presentedsome provocative ideas here. And thechallenge to our students is to involveyourselves in finding solutions to “thedisconnect.” Please engage us all in thisdiscussion.

Thank you. ❧

James Undercofler (BM ’67) is professor of music education and director and deanof the Eastman School.

The director of the Miller Theatre at ColumbiaUniversity tells me thathe doesn’t dare doBerio or Reich anymore because he can’t handle the audiences.

I

cians has been continuous, but has variedgreatly in impact over the course of twocenturies. At first, many Europeans camechiefly for the money. For a Busoni orMahler, an American tour or position wasmuch more lucrative than playing, teach-ing, or conducting at home. Later, promi-nent musicians arrived fleeing the RussianRevolution, or Hitler and world war; thelist of composers alone includes Bartók,Hindemith, Schoenberg, and Stravinsky.

By and large, every one of the eminentfigures I have just named viewed theUnited States with ambivalence or rela-tive indifference, if not distaste. At theopposite extreme are New York’s two mostinfluential musicians just over a centuryago: the composer Antonin Dvorák –whose New World Symphony and CelloConcerto the San Francisco Symphonyperforms this month – and the conductorAnton Seidl. And the decade they inhabit– the 1890s – seems to me in many waysthe most auspicious chapter in the historyof America’s musical high culture.

Seidl, born in Budapest in 1850, wasone of the leading conductors of his gener-ation. At the Metropolitan Opera begin-ning in 1885, he presided over six historicGerman language seasons during whichthe ensemble arguably surpassed any inEurope. With the New York Philharmonic,at the Brooklyn Academy, at ConeyIsland’s Brighton Beach resort (where heconducted fourteen times a week in thesummer), he was also New York’s leadingconcert conductor. The most importantmusician ever to have visited the UnitedStates and stayed, he became an Ameri-can citizen, bought a country house in theCatskills, and would not be addressed“Herr.” He called for an elaborate systemof musical education to counteract theharmful influence of itinerant foreignartists. His goal for the United States wasa “national music,” “an individual musicalart.”

If Seidl’s school never materialized, itsnearest equivalent was JeannetteThurber’s New York-based National Con-servatory of Music, where Seidl taughtconducting. Thurber was a visionary. Noless than Seidl, she dreamed of liberatingAmerican music. Having herself attendedthe Paris Conservatory, she poured timeand money into creating a world-classmusic school for Americans. For com-posers, she espoused an American idiombased on native sources. She offered schol-


The classical music crisisHow we got here and what to do about it:Joseph Horowitz delivers the first Catherine Filene Shouse Keynote Lecture

F E A T U R E S

INTRODUCTION

B Y D O U G L A S D E M P S T E R

Welcome to the first, annualCatherine Filene ShouseKeynote Lecture. I’m Douglas Dempster, director

of the Catherine Filene Shouse Arts Lead-ership Program.

One goal of the Arts Leadership Pro-gram is to encourage all of us, especiallyour students, to raise our sights beyondthe music stand in order to take in theculture, history, politics, market forces,and technologies that affect and sustainthe complex phenomena we call “classicalmusic” or “concert music.” Each year, theCatherine Filene Shouse Keynote Lecturewill bring a distinguished presenter to theEastman School to help us reflect on ourhistory and speculate on our prospects asa musical culture. So it seems singularlyappropriate to inaugurate this series witha lecture by Joseph Horowitz titled “Theclassical music crisis: How we got hereand what to do about it.”

Mr. Horowitz is surely among the mosthistorically thoughtful music critics writ-ing today. He reminds us in all his writ-ings of the ways in which musical culturehas been and continues to be shaped bythe social realities that surround it.

Mr. Horowitz is author of five books onclassical music: including UnderstandingToscanini, Wagner Nights, and mostrecently, a collection of essays on musicand society, the Post-Classical Predica-ment. Most impressive of all, Mr. Horowitzdoes not lob his music and cultural criti-cism from the academic sidelines. He’svery much in the game, actively involvedin shaping the concert life of America. Hehas been artistic advisor to such distin-guished organizations as the the 92ndSt. Y, the Brooklyn Philharmonic, the NewJersey Symphony, and a half-dozen otherAmerican orchestras. Formerly ExecutiveDirector of the Brooklyn Philharmonic andmusic critic for The New York Times, he isa frequent speaker and visiting facultymember at conservatories and collegesaround the country. He currently serves asDirector of Historical Projects for theAmerican Symphony Orchestra League.

We’re fortunate to hear him this after-noon and to have him teaching at theEastman School for the next few weeks.

Following are excerpted introductoryremarks and then text from the inauguralCatherine Filene Shouse Keynote Lecturegiven September 21 in Kilbourn Hall.

DVOR AK’S MESSAGE

B Y J O S E P H H O R O W I T Z

H istorically, classical music inthe United States was bor-rowed from Europe. Theresulting relationship is com-

plex: musical Americans have been grate-ful and resentful, confident and insecurevis-à-vis their Old World cultural parents.

The influx of European music and musi-

5S P R I N G 2 0 0 1

F E A T U R E S

arships for women, minorities, and thehandicapped. African-American studentswere prominent at every level of study.

New York’s central turn-of-the-centuryarbiter of musical taste, and the acknowl-edged dean of American music critics, wasHenry Krehbiel of the Tribune. He was oneof Seidl’s few intimate friends. Like Seidl,he paid complex dual allegiance to the OldWorld of Beethoven and Wagner and a newworld of American musical prospects. LikeSeidl and Thurber, he embraced contempo-rary notions of cultural nationalism. Hemaintained that a nation’s highest expres-sion in art, music, and literature was tosome degree a function of “race.” An autodi-dact of vast erudition, he turned himselfinto an incipient ethnomusicologist. Docu-menting the relationship of folk song tonational schools of composition, he re-searched and wrote about the folk music ofMagyars, Slavs, Scandinavians, Russians,Orientals, Jews, and American Indians. Ofspecial interest are his findings regarding“Afro-American folk songs,” which hebegan publishing in the Tribune in 1809and which in 1914 generated a 155-pagebook – not a vague armchair ruminationbut a closely argued report packed withscrutiny of modes, rhythms, and the like.Krehbiel hoped America’s composers wouldappropriate plantation songs. He rebukedas “ungenerous and illiberal” those culture-bearers (outspoken in Boston) who balkedat equating “negro” and “American.”

Enter Dvorák. Jeannette Thurberwas the agent of his coming. Thefirst director of the NationalConservatory, the baritone

Jacques Bouy, had returned to Paris in1889. Thurber needed an eminent replace-ment. Dvorák was not only eminent; withhis rustic roots and egalitarian tempera-ment, he was the kind of cultural nation-alist to inspire Americans. She offeredhim $15,000 for each of two years. WhenDvorák declined she went into high gear,besieging him with letters and emissariesuntil he capitulated. Dvorák arrived inNew York on September 27, 1892, themost prominent composer ever to take upa teaching post in the United States. Heproved inquisitive and empathetic, aseager to learn as to teach. His aspirationsfor American music resonated with thehopes of Thurber, Seidl, and Krehbiel. Aconcerted mandate was pursued. A dis-tinctive American canon of native works –

of sonatas, symphonies, operas – would, itwas assumed, anchor America’s classicalmusic to come.

The climactic moment in Dvorák’sAmerican career came on December 16,1893 – the premiere of his New WorldSymphony at Carnegie Music Hall, withSeidl leading the New York Philharmonic.The concert was the most famous thePhilharmonic gave during Seidl’s tenure.The symphony – still the most popularcomposed on American soil – encapsulatesDvorák’s agenda for America.

N o less than Seidl before him,Dvorák had swiftly absorbedwhat musical New York had tooffer. The frequent visitors at

his home on East 17th Street included the25-year-old Harry Burleigh. Attracted byThurber’s scholarships for African Ameri-cans, Burleigh had enrolled at theNational Conservatory in mid-1892.Dvorák savored the plantation songsBurleigh sang for him; his favoritesincluded “Swing Low, Sweet Chariot,”which infiltrates the E minor Symphonyhe was composing in sympathy withThurber’s suggestion that he “write asymphony embodying his experiences andfeelings in America.” The principal subjectof the symphony’s slow movement – atune so resembling a spiritual that itlater, as “Goin’ Home,” became one – wasentrusted to the English horn, whosereedy timbre, it as been suggested, resem-bled Burleigh’s baritone.

On May 21 Dvorák was quoted in theNew York Herald announcing: “I am nowsatisfied that the future music of thiscountry must be founded upon what arecalled the negro melodies.” Weeks later, heleft for Spillville, Iowa, a Czech settlementwhere he encountered the touring Kick-apoo Medicine Show, including chantingNative Amerians and two “niggers” whodanced and sang with banjo and guitar.He returned to the National Conservatorythe following September. In November,Seidl secured permission from Dvorák togive the first performance of the NewWorld Symphony.

An article in the Herald on December15 cited Dvorák’s testimony that his sec-ond and third movements were influencedby Longfellow’s The Song of Hiawatha,which he had first encountered, in trans-lation, 30 years before. (In fact, as themusicologist Michael Beckerman has

shown, the opening of the scherzo depictsthe Dance of Pau-Puk Keewis atHiawatha’s wedding. The entire sym-phony is plausibly understood as an ele-giac tribute to a vanishing race – hencethe otherwise enigmatic final E majorchord, with its distinctive diminuendo.)

A “public rehearsal” of the New WorldSymphony took place the same evening.For the formal premiere the followingnight, Dvorák was present. After the sec-ond movement, the house erupted inapplause. (Imagine such a thing today!)Seidl turned to gesture toward Dvorák’sbox. “Every neck was craned so that itmight be discovered to whom he wasmotioning so energetically,” reported theHerald.

“Whoever it was, he seemed modestly towish to remain at the back of the box onthe second tier.

“At last a broad shouldered individualof medium height, and as straight as oneof the pines in the forests of which hismusic whispered so eloquently, is descriedby the eager watchers. A murmur sweepsthrough the hall. ‘Dvorák! Dvorák!’ is theword that passes from mouth to mouth.

“With hands trembling with emotionDr. Dvorák waves an acknowledgement ofhis indebtedness to Anton Seidl, to theorchestra, to the audience, and then dis-appears into the background while theremainder of the work goes on. … At itsclose the composer was loudly called for.Again and again he bowed his acknowl-edgements, and again and again theapplause burst forth.

“Even after had he had left his box andwas walking about in the corridor theapplause continued. And finally hereturned to the gallery railing, and thenwhat a reception he received! The musi-cians, led by Mr. Seidl, applauded untilthe place rang again.”

The critic – presumably Albert Stein-berg, like Krehbiel a close friend of Seidl –called the work itself “a great one” anddistinctively American in flavor. A signa-ture trait of his review – and of others inthe daily press – was the detailed descrip-tion of musical content. Of the Heraldcritic’s 26 paragraphs, 12 analyzedDvorák’s idiom (the flatted seventh tone ofhis scale, etc.), his folk sources, rhythmsand harmonies, instrumentation, andstructure. To the performance of the newwork, the Herald critic allotted a single

T U R N T O PA G E 6 ➧

sentence, terming it “most poetical.” Hedispatched the remainder of the programwith a sentence reading: “The orchestraplayed the ‘Midsummer Night’s Dream’music, and Henri Marteau playedBrahm’s [sic] violin concerto with an origi-nal cadenza by himself.” This eager con-centration on new music documents amoment, a century ago, when composerand audience were one.

Dvorák’s example focused adebate that had grown vigor-ous, sophisticated, and dense.The general intellectual dis-

course of newspapers and magazinesalready routinely scrutinized America’sconcert and opera life, stressing issues oftaste and identity. One frequent topic wasthe proper sources of a native composi-tional idiom: should it be consciouslynationalist, or would some ineffable folkessence ultimately inflect American musicwithout special effort? Rejecting Dvorák’sadvocacy of the first strategy, genteel crit-ics such as Boston’s Philip Hale and gen-teel composers such as Boston’s JohnKnowles Paine dismissed cultural nation-alism as quasi-barbaric. In New York, acity of immigrants, Native American andAfrican-American influences seemed morepertinent, less exogenous.

If the Herald review most captured thesense of occasion at Carnegie Hall on Dec.16, the most remarkable description of thenew symphony was that of William J.Henderson in The New York Times. Hen-derson clinched his 3,000-word review byinquiring: “Is it American?” His answerwas a declaration of cultural nationalismwonderfully free of racial bias, oblivious tothe Social Darwinism shading Boston’sresistance to Dvorák’s espousal of African-American and Native American sources.It read in part:

“In spite of all assertions to the contrary,the plantation songs of the American negropossess a striking individuality. No matterwhence their germs came, they have intheir growth been subjected to local influ-ences which have made of them a newspecies. That species is the direct result ofcauses climatic and political, but neveranything else than American. Our South isours. Its twin does not exist. Our system ofslavery, with all its domestic and racialconditions, was ours, and its twin neverexisted. Out of the heart of this slavery,

environed by this sweet and languorousSouth, from the canebrake and the cottonfield, arose the spontaneous musical utter-ance of a people. That folk-music struck ananswering note in the American heart. Themost popular of all American composerswas he who came nearest to a reproductionof it – Stephen Foster. The American peo-ple – or the majority of them – learned tolove the songs of the negro slave and tofind in them something that belonged toAmerica. If those songs are not national,then there is no such thing as nationalmusic. … Dr. Dvorák has penetrated thespirit of this music, and with themes suit-able for symphonic treatment, he has writ-ten a beautiful symphony, which throbswith American feeling.”

Dvorák returned to Bohemia in May. Heresumed his duties in New York the fol-lowing October, then left the UnitedStates for good in April 1895. In additionto the New World Symphony, his Ameri-can output includes his best-known stringquartet, in F major, and his best-knownconcerto, for cello in B minor – and also alittle-known American suite in whichcakewalk, a precursor of ragtime, is astriking influence.

In the wake of Dvorák’s departure, theexcitement of creating a distinctiveAmerican repertoire graduallydiminished. Seidl died, tragically, at

the age of 47 in 1898. Absent Dvorák, theNational Conservatory faded into obscu-rity. Dvorák’s American legacy was formi-dable, and not only through his ownAmerican works. Burleigh became a force,both as a composer of art songs (since for-gotten) and a transcriber and exponent ofplantation song (a model for MarianAnderson and Paul Robeson, both ofwhom he coached). Of Dvorák’s New Yorkcomposition students, Rubin Goldmarkbecame a well-known composer and peda-gogue whose own students included AaronCopland. And, in the shadow of Dvorák,thousands of “Indianist” works were com-posed using Native American tunes – adefunct repertoire in need of re-examina-tion. (Busoni’s Indian Fantasy, for pianoand orchestra, is one memorably poeticlegacy of this genre.)

After World War I, contrary to manypredictions, no Great American Operawas composed – though Gershwin’s Porgyand Bess, which comes closest, is preciselythe kind of folk opera Dvorák envisioned

for America. Nor did American composersproduce a viable canon of symphonicworks to redirect attention away fromBeethoven and Brahms. Charles Ives, ourgreatest symphonist, was stranded andforgotten during the interwar decades.

What happened? For one thing, theGreat War produced a great wave of Ger-manophobia – and the conductors, orches-tras, and composers anchoring Americanclassical music had, no less than Seidl andDvorák, invested in Germanic models.America’s new composers, like Coplandand Virgil Thomson, were Francophileswith no use for the impressive New Yorkand Boston achievements of the lateGilded Age. Popular music marginalizedclassical music – whose practitionersreacted defensively, retreating towardwalled high-culture citadels. The lack ofgovernment support vested disproportion-ate influence in individuals and institu-tions – David Sarnoff of NBC, the Metro-politan Opera – whose intoxication withOld World cultural glamour pre-emptedenthusiasm for the type of native move-ment once cultivated by Dvorák, Seidl,and Thurber (all passionate advocates offederal arts subsidies).

In any event, World War I proved awatershed: Afterward, the act of perform-ance replaced the creative act as the cen-tral preoccupation of American musicalhigh culture. A symptom of the times wasthe cult of the Great American Orchestra,as championed (for example) by CharlesEdward Russell in his The AmericanOrchestra and Theodore Thomas (1927).Russell called the symphonic orchestra“our greatest national asset; our sign ofhonor among the nations” – and thisnotwithstanding the continued prepon-derance of foreign-born conductors andcompositions.

And there was the cult of the GreatConductor, peaking with Arturo Toscanini,whose 1950 transcontinental tour withthe NBC Symphony was hailed by NBCpublicists as “a great and lasting monu-ment to American culture.” Ironically –predictably – Toscanini’s tour repertoireincluded not a single American work savean encore: The Stars and Stripes Forever.

Against the backdrop of the 1890s, theToscanini cult documents a sea-change inless than half a century. Dvorák, NewYork’s most famous musician from 1892 to1895, was a composer (imagine such athing today); his sights were fixed on the


F E A T U R E S

➧ F R O M PA G E 5

7S P R I N G 2 0 0 1

F E A T U R E S

music of the present, and on America.Toscanini, New York’s most famous musi-cian during the interwar decades, was aconductor, and dedicated to the Europeanmasterworks.

Dvorák and Toscanini even documenttwo types of musical celebrity. Dvorák wasa reluctant celebrity – he had to be coaxedby Seidl to stand up and acknowledge hisovation. But he was a public celebrity –any day of the week, he could be foundsmoking cigars and sipping beer oppositeSeidl at Fleischmann’s restaurant nearUnion Square. Toscanini was an eagercelebrity – he enjoyed being famous. Buthe was a private celebrity, whose glamourwas intensified by his remoteness. He wasdriven from his Riverdale home to NBC’sStudio 8H, there to perform for an invitedaudience. Seidl’s preferred mode of trans-portation had been the Second Avenuestreetcar. He was recognized and greetedwherever he went.

Today, the Toscanini cult is not even amemory. The cult of the great conductor, ofthe great performer, of the great sym-phony – these dinosaurs are still with us.But there is an increasing awareness thatit is time for something else. The questionis: what? I would like to close by provid-ing a few signposts, a few suggestions.

In 1889 Debussy heard an Indone-sian gamelan for the first time. Ithad the impact of an epiphany.The colors, textures, andrhythms of Javanese musicimpacted vividly on

Debussy’s compositional style. And thegamelan ideal was not only musical: itrepresented a different cultural functionfor music, divorced from the concert hallsand opera houses of the West.

In 1929 Kurt Weill, in Berlin, ponderedjazz and its impact on performance prac-tice. “A good jazz musician,” Weill wrote,“has complete command of three or fourinstruments. Above all, he can improvise.”

In the decades since Debussy encoun-tered gamelan and Weill encounteredjazz, “world music” has become adominant presence. We have com-

posers like Lou Harrison and Steve Reichwho are fundamentally influenced by non-Western music. We have composers likeLouis Andriessen, for whom bebop is asimportant as Stravinsky; performers likeGidon Kremer, who is as likely to performa Piazzolla tango as a Brahms concerto.Harrison, Reich, Andriessen, Kremer can-not even be termed “classical musicians.”

What does “classical music” mean today?If the term is to retain anything like its oldaplomb, it must refer to a moment now

past: to a genre and its atten-dant prestige and influ-

ence. In fact, wecan already

look back on

classical music as a cultural phenomenonpeaking in the 19th century and decliningafter World War I.

What comes next in these post-classicaltimes? We will find out. Certainly, we willnot abandon Bach and Beethoven. Bruck-ner’s symphonies will continue to furnishcathedral experiences in the concert hall.But the new direction of things, fororchestras, dictates reconsideration ofrepertoire and formats, and new roles formusicians. For music schools, it dictatesincreasing attention to jazz, to ethnomusi-cology and world music, to improvisation,to music education and audience develop-ment as likely components of many if notmost professional careers in music.

This doesn’t mean that we all mustbecome improvisers, or musical switch-hitters like Gidon Kremer. But it holdsout the prospect of broader horizons, andpeaceful intercourse between previouslyseparated islands of musical experience.

If we trace the history of classical musicin the United States – if we go back toDvorák, and to the Toscanini cult, andtrace the trajectory to the present day —we see a classical music citadel that hastoo often proved hermetic and defensivein response to the 20th century growth ofother types of music: an excess of purityand piety intended to ward off the threatof new experience. And one of the definingcharacteristics of this 20th century citadel– as I’ve stressed in these remarks – is anobsession with the act of performance, acuratorial preoccupation with great musicof the past unknown to classical music inits 19th century heyday.

If we are to refocus on music – on thecreative act – as in the 1890s, we need tothrow open the doors of the classicalmusic citadel and seek a broader under-standing of music and of musicians’ roles.

Today, we cannot recapture the excite-ment once generated by the New World

Symphony by playing the New WorldSymphony. And that’s something wecan accept and understand as anopportunity, not a disappointment. ❧

Joseph Horowitz will return toEastman this fall to teach the ArtsLeadership course “Classical MusicIn the U.S. – What’s Wrong and Howto Fix It.”

Horowitz: “What comes next inthese post-classical times? We willfind out. Certainly, we will notabandon Bach andBeethoven.”

KURT BROWNELL


F E A T U R E S

Bottom: Eastman students Jonathan Paget, left, Michael Patilla, Ben Altman,and Aaron Brock joined the Eastman Chamber Orchestra as part of Saturdayevening’s PRISM concert featuring non-stop performances throughoutEastman Theatre by the Eastman Wind Ensemble, Eastman Chorale, andother student groups, culminating in an exhilarating performance ofRespighi’s Pines of Rome by the Eastman Philharmonia, conducted by BruceHangen (BM ’70).

Alumni Weekendphoto albumNearly 200 people from as far away as Taiwan andGermany participated in Alumni Weekend 2000,held Oct. 13–15 concurrently with the University’sSesquicentennial celebration. Here is a photogallery highlighting the weekend’s festivities.

The Eastman Jazz Ensemble, directed by Professor Fred Sturm (MM ’84), left,performed in an all-jazz concert Friday night showcasing compositions byEastman alumni.

Top: James Undercofler presents the Director’sAward for Outstanding Service to Charles Krusentsjerna (MM ’57,DMA ’68), admissions director for 20 years, at a retirement receptionheld in his honor on Saturday evening.

PHOTOS BY KURT BROWNELL

Elizabeth West Marvin (standing, left) and Dave Headlam, associateprofessors of theory, talk with alumni in the Saturday afternoon seminar“Theory at Eastman Today.”

9S P R I N G 2 0 0 1

F E A T U R E S

Left: Catharine Crozier (BM ’36, MM ’41), right, received anhonorary doctorate degree from Director and Dean JamesUndercofler (BM ’67), left, Acting Dean of Academic AffairsElizabeth West Marvin (MA ’81, PhD ’89), center, and UniversityProvost Charles Phelps (standing behind Miss Crozier).

Below and below right: Following the presentation, the YingQuartet, and jazz faculty members Harold Danko, left, ClayJenkins, and Jeff Campbell, performed along with the EastmanWoodwind Quintet and the Eastman Brass at the FacultyChamber Music Concert in Kilbourn Hall Friday night.

Left: On Tuesday, Oct. 10, friends andcolleagues gathered in Sibley Music Library for the openingreception of the photo exhibit “An Eastman Portrait: Throughthe Eyes of Louis Ouzer.” Director Undercofler presented thebeloved photographer with a certificate given by faculty andadministration naming him an Eastman Artist.

❧ Save the date: Plans already are being made for the next Alumni Weekend – Oct. 11–13, 2002!


S C H O O L N E W S

The Eastman Wind Ensemblehit the road in December for aweeklong concert tour thattook the acclaimed group fromthe Flower City to the WindyCity, as well as Buffalo (Wil-liamsville High School), Ohio(Bowling Green State Univer-sity), and Michigan (WesternMichigan University).

The tour culminated withtwo exceptional performancesto packed houses at the Mid-west Band and OrchestraClinic in Chicago, December20–21. The Midwest Clinic,dedicated to raising the stan-dards and improving methodsof music education, holds thisconference annually. It includesworkshops, lectures, and per-formances, and attracts thou-sands of educators and stu-dents from all 50 states andmore than 30 countries. As aspecial part of the conference,Donald Hunsberger – professorand chair of conducting andensembles and conductor of the

Wind Ensemble for more thanthree decades – received theClinic’s “Medal of Honor” for hisoutstanding and lasting contri-bution to the elevation of musiceducation and championing ofthe wind ensemble genre.

In concert, the ensembleperformed a varied programfeaturing works by Bach,

Mozart, Hindemith, Gershwin,Vaughan Williams, and others.Soloists were Peter Kurau,associate professor of horn,who was featured in Mozart’sHorn Concerto, and studentsoprano Nicole Cabell, whosang George Gershwin’s Cat-fish Row (arranged by Huns-berger), James Syler’s Sto-

ryville, and Three JapaneseDances by the late Eastmancomposer Bernard Rogers.(Cabell also was a soloist withthe Wind Ensemble on itssummer 2000 tour of Japan.)

The Wind Ensemble, whichtreated Rochester audiences toa special preview concert inEastman Theatre beforedeparting on its tour, will cele-brate its 50th anniversarywith a conference of interna-tional scope at Eastman inFebruary 2002. In support ofthe conference, the CollegeBand Directors National Asso-ciation’s Eastern Division andNorth Central Division willhold their biannual meetingsat Eastman during the EWE50th. Members of the WorldAssociation of SymphonicBands and Ensembles willalso meet in session at East-man at that time. Look fordetailed information about theconference in the next issue ofEastman Notes. ❧

The award-winning EastmanJazz Ensemble had the chanceto “strut its stuff” at the 2001International Association ofJazz Educators (IAJE) Confer-ence held in January in NewYork City. The ensemble,directed by Fred Sturm, per-formed twice at the 28thannual conference, titled “Jazz– An International Language.”

Selected to perform from aworldwide pool of professionaland educational jazz artistsand ensembles, the JazzEnsemble shared the Friday-night main stage with the 52-

piece Metropole Orchestrafrom the Netherlands, saxo-phonist Michael Brecker, andtrumpeter Randy Brecker. Italso accompanied the groupNew York Voices. The followingnight, the ensemble presenteda conference main stage set ofmanuscript works for jazzensemble – including the pre-miere of a new work by jazzalumnus Jesse Krebs(MM ’98), an arrangement of awork by alumnus Rob Hudson(MM ’90), two original worksby Sturm, and three “first U.S.performances” by jazz com-

posers Bob Brookmeyer, JimMcNeely, and Vince Mendoza.

Sturm viewed the conferenceappearance as “the most highlycoveted performance opportu-nity for a university jazz en-semble.” An audience of 7,000artists, educators, students,industry representatives, andjazz fans attended the event,located in the heart of Mid-town Manhattan and NewYork’s famed Theatre District.

“Hundreds of professionaland school groups audition forthe IAJE conference, andeveryone hopes for a berth

when it’s held in Manhattan,”Sturm said.

Rochester jazz loversreceived a sneak peak of theJazz Ensemble’s New Yorkperformances at a special pre-view concert in Eastman The-atre in December.

Recognized as one of theworld’s premier collegiate jazzensembles for three decades,the Eastman Jazz Ensemblehas been named “OutstandingUniversity Jazz Ensemble” inthe U.S. and Canada threetimes in the past five years byDown Beat magazine. ❧

Eastman Jazz Ensemble dazzles at IAJE

THE MIDWEST CLINIC

Donald Hunsberger, conductor of the Eastman Wind Ensemble, receiving theMidwest Clinic’s prestigious “Medal of Honor.”

Wind Ensemble, Hunsberger sharethe spotlight at the Midwest Clinic

11S P R I N G 2 0 0 1

which also features reproduc-tions of famous works by Nor-man Rockwell, James Mont-gomery Flagg, Rose O’Neill,and others – was announced,along with the other newstamps for the coming year, bythe U.S. Postal Service inNovember. The 34-cent stampsbecame available to the publicon February 1 at post officesacross the nation; a week later,Eastman hosted a special can-

If you haven’t visited East-man’s web site lately(www.rochester.edu/Eastman),you’re in for a pleasant stop.The site, which has been oper-ational since 1994, recentlyhas undergone its secondmajor “overhaul,” the initialphase of which premiered inSeptember. The current roundof enhancements, estimated tobe complete by this summer,bring to the site a widerappeal, improved functionality,and a more attractive look.

The web site is an importantcomponent of the University ofRochester’s Internet offerings.More than 7,000 differentusers access the School’s siteevery week, making it the sec-ond most visited site after theUniversity’s own home page.

“The site as it was really

Eastman web improvements within ‘site’

A postage stamp has caused alot of commotion at Eastmanrecently.

Interlude, a work by thegreat American artist MaxfieldParrish (1870–1966), is one ofonly 20 works of art that hasbeen reproduced for a newseries of first-class postagestamps that pays tribute toAmerica’s most accomplishedillustrators. The “AmericanIllustrators” stamp series –

cellation ceremony and sale inEastman Theatre to mark theRochester “premiere.” It fea-tured Congresswoman LouiseSlaughter (D-NY), EastmanDirector James Undercofler,representatives from the postoffice, and other local digni-taries.

“We are thrilled that thisgreat work of art was chosenfor this series,” said Under-cofler. “It’s an honor to have

one of the School’s treasures bethe sole work representing Par-rish on stamps distributedaround the country.”

Commissioned in 1922 byGeorge Eastman himself, theseven-foot-high oil painting isconsidered by many to be oneof Parrish’s finest works. Alsoknown as The Lute Players, itdepicts three women on apatio, basking beneath spec-tacular blue skies and lushfoliage. The work – whichquickly became a favorite ofMr. Eastman and of Rochestertheatergoers – hung in thenorth stairway to the GrandBalcony of the Eastman The-atre (60 Gibbs St.) from1922–1994, when it wasremoved for restoration. It wasreplaced with a photographicreproduction made by theEastman Kodak Company, andthe original now is on perma-nent loan to the University ofRochester’s Memorial ArtGallery, which has conditionsbetter suited for preservingthe work of art.

The reverse side of the sheetof stamps includes informationabout Parrish and his art, andindicates that the originalwork is a mural for the East-man Theatre at the EastmanSchool of Music in Rochester,NY. ❧

ET painting gets first-class treatment

only addressed prospectivestudents,” said Allison Mayer,director of public affairs forthe School. “While studentsare still our key audience, wenow offer three additional sec-tions for our other core con-stituencies – the internal East-man community, our alumni,and the community at large.”

Where content for the sitepreviously was culled fromother sources, the improve-ments include formattingdesigned expressly for Inter-net viewing, making the siteeasier to navigate. Visitorsnow can proceed directly totheir areas of interest versusscrolling through many pagesof text.

Other functional additionsinclude downloadable applica-tion forms, recent press

releases, new content for sev-eral of the School’s depart-ments, and a calendar of fac-ulty engagements.

Eastman Web and GraphicsCoordinator Amy Glossnerhelped create the new look forthe site with assistance fromRochester-based web expertsWondrack Design and WebHarmonics. Kevin McPeak,Eastman’s director of technol-ogy and music production, hasprovided technical inputthroughout the project.McPeak, who also leads theSchool’s web advisory group,said, “While this redesign rep-resents a major improvementto the site, we’re always com-ing up with something new toadd. Our desire to stay currentmakes the site a continuouswork in progress.” ❧ Maxfield Parrish’s Interlude.

S C H O O L N E W S


ate Professor of MusicologyEllen Koskoff and taught byVisiting Associate Professor ofGamelan I Nyoman Suadinand Greenberg. “There aremore than 25 vastly differenttypes of gamelan ensembles inBali. I’m very happy that wecan present students withsome of this variety and wealso hope to obtain moreinstruments in the nearfuture,” said Koskoff, whobrought gamelan to Eastman

in 1991. In Bali, gamelan ang-klung like Lila Muni accom-pany ceremonies, festivals, andcremations, and gamelangoged bumbung are played tocelebrate the rice harvest.

Recent performances of thegamelan ensembles includethe 2000 Musical Intersectionsconference in Toronto, two per-formances for the Universityof Buffalo Indonesian StudentAssociation, Eastman Theatreconcerts with Bobby McFerrin

and the Paul Winter Consort,demonstrations for the Ameri-can Orff Schulwerk Associa-tion, and participation in East-man’s annual Christmas Sing.This spring, the ensembles willtravel to New Hampshire topresent demonstrations andperformances in the PlanetGamelan festival at Dart-mouth College and will pres-ent an annual World MusicSeries concert in KilbournHall. ❧

Last fall, Eastman began anew concert series designed toshowcase its distinguishedperformance faculty.

The Faculty Artist Serieskicked off in September with arecital by pianist NatalyaAntonova and continuesthroughout the academic yearwith concerts by violist JohnGraham, trombonist JohnMarcellus, the Eastman Brass,

pianists Jean Barr, RebeccaPenneys, and Tony Caramia,violinists Ilya Kaler and ZviZeitlin, soprano PamelaKurau, and hornist PeterKurau. Admission is free.

“Since the founding of theEastman School in 1921, itsfaculty have played a promi-nent role in the musical life ofRochester,” says Eastman’sDirector of Concert Operations

Andrew Green. “These out-standing performers are fre-quent guests at concert hallsaround the world, and the newFaculty Artist Series has givenRochester audiences a chanceto hear them perform in Kil-bourn Hall.”

The season will come to a close in April and is sched-uled to resume in the fall of2001. ❧

First season for ‘Faculty Artist Series’

When student Clay Greenbergtraveled to the small island ofBali in the archipelago ofIndonesia in July to findreplacement parts for East-man’s set of Balinese gamelanangklung, he knew thisimmensely popular bronzepercussion orchestra formedan integral part of the fabric ofeveryday Balinese life. Whathe did not know was that hewould come back to Rochesterto a booming surge of interestamong students and membersof the Rochester community inthe elective ensemble coursethat only three years ago hada scant 15 players. “We havemore members this year thanever before,” said Greenberg,who as teaching assistant,leads most rehearsals of East-man’s Gamelan Lila Muni.“The excitement is wonderful,and it comes at a great time.We’ve had more requests forperformances than everbefore.”

This year, Eastman’s game-lan program counts among its44 members a University ofBuffalo art teacher, a physicsprofessor from the RochesterInstitute of Technology, aRochester-area 7th-grader,three Eastman professors, amember of the School’s admin-istrative staff, 33 Eastmanundergraduate and graduatestudents, and four studentsfrom the River Campus.

The solution to this over-crowding? Form three groups.In addition to a second ang-klung ensemble, the past yearhas seen the introduction of asecond kind of Balinese game-lan ensemble at Eastman.Known as Kembang Salju, or“Flower in the Snow,” it is agamelan joged bumbung,which consists of xylophone-like instruments crafted ofbamboo. Like Lila Muni, thisensemble is directed by Associ-

Gamelan ensembles triple with enthusiasm

KURT BROWNELL

Reyong players in Eastman’s gamelan angklung rehearse for upcoming concerts.

S C H O O L N E W S

13S P R I N G 2 0 0 1

The Schmitt Organ RecitalHall was filled to capacity dur-ing a special dedication cere-mony in February for East-man’s new clavichord, a rarelyheard but historically signifi-cant instrument that now ispart of the School’s collectionof early instruments. The cere-mony featured special guestJoel Speerstra – head of theClavichord Research Work-shop in Göteborg, Sweden, whooversaw the design and con-struction of Eastman’s newinstrument – performingworks by Bach and Buxte-hude.

While clavichords can befound throughout the UnitedStates, there only are twoother pedal clavichords – thosewith two manuals and pedals– in America, according toresearch conducted by Speer-stra. One is housed at theSmithsonian Institution, andthe other is privately owned.

Eastman’s new instrumentis a strict reproduction of arare 18th-century pedal clavi-chord built in 1766, nowhoused in the instrument col-lection of the Grassi Museumin Leipzig, Germany.

It is the first clavichord inAmerica to have been builtbased on Speerstra’s extensiveresearch on the instrument,written as part of his doctoraldissertation at Göteborg Uni-versity’s Göteborg Organ ArtCenter (GOArt), an interna-tionally recognized center forresearch in performance prac-tice with a program of histori-cal instrument-building.

“This is a superior instru-

ment and an excellent tool forstudying the repertoire of theBaroque period,” said HansDavidsson, Eastman’s newassociate professor of organ

and founding director ofGOArt. “In fact, the instru-ment is so sensitive and givessuch response to the playerthat it almost teaches the

right technique and expres-sion. This also is the first col-laboration between the East-man School and the uniqueorgan research center GOArt,designed to help Eastman stu-dents develop a deeper under-standing of early music.”

Widely considered to be thecentral keyboard instrumentof the Bach family, the clavi-chord played an important rolein the music of the Baroqueperiod. The instrument wasthe most popular one for homeuse in 17th- and 18th-centuryEurope.

With a keyboard and stringsthat are struck by a smallbrass blade, it was the firstkeyboard instrument in whichdynamics could be produced byvarying the strength withwhich a key is struck. It is dis-tinguished by its ability to pro-duce vibrato and by its unusu-ally soft sound. ❧

Eastmandedicatesnewclavichord

Eastman’s new clavichord, formally dedicated in February, will give studentsthe chance to perform Baroque music on an authentic instrument.

S C H O O L N E W S

The Eastman Opera Theatre openedits season of 20th-century operas inNovember with Benjamin Britten’sThe Turn of the Screw. Based onHenry James’ classic loss-of-inno-cence tale, the opera tells the storyof the conflict between a newlyappointed governess and the pair ofevil spirits attempting to conquer thesouls of the children in her care.Directed by Steven Daigle, assistantprofessor of opera, the productionfeatured two alternating casts ofEastman students, including RobinBricker in the role of the young Flora(left). Associate Professor of OperaJohn Greer led a special chamberorchestra in the sold-out KilbournHall performances. The spring pro-duction will be Tartuffe by KirkeMechem.

Giving Britten a ‘Turn’

GELFAND-PIPER


Child, was premiered inToronto.

Steven Daigle, dramaticdirector of Eastman Opera,now is the artistic director ofOhio Light Opera, a thrivingcompany with sold-out seasonsand recordings. His first fullseason there was a great success.

And speaking of EastmanOpera, this fall’s production ofBritten’s Turn of the Screw wasstunning. The spring produc-tion will be Tartuffe by KirkeMechem; the midseason studioproduction was a triple bill,Hindemith’s Hin und zurück,Poulenc’s La Voix Humaine,and The Moon Singer by DavidLiptak. Our opera program ismost fortunate to have theenthusiastic support of a fineRochester organization calledFriends of Eastman Opera.Founded by John and LynneClarke and Nan Johnson, thisgroup of knowledgeable andenthusiastic opera buffs pro-vides support through specialevents surrounding produc-tions, audience building, andfund development for futureimprovements and studentawards. We are excited andinspired by them.

Last but certainly not least,our esteemed chair, JohnMaloy, continues his dedica-tion to this department. Hisleadership keeps the fabric ofthis department beautifullywoven and longlasting. It ishis model that creates our con-geniality and mutual respect.His continued generosity inoffering German diction coach-ing to all students who wish ithas a profound effect on thehigh quality of our annualKneisel German Lieder Com-petition. I thank him for ask-ing me to collate this article, ashe would never pat himself onthe back, and he deserves highpraise. ❧

Carol S. Webber is professor of voice at Eastman.

B Y C A R O L S . W E B B E R

W arm greetingsfrom the voice faculty! We arepleased to report

that our department is burst-ing at the seams. Thanks to abumper crop in last year’sauditions, we have a largerthan usual student enrollment,at a very high level. We aredelighted that our recentlyretired Professor EmeritaMasako Toribara is with usagain part-time.

We are enjoying the pres-ence of two newly appointedfaculty: Ashley Putnam, a dis-tinguished soprano with inter-national opera credits, isteaching while we search toreplace our recently retiredcolleague Dale Moore. We alsoare joined this spring by Ben-ton Hess, distinguished coach,conductor, language, and voiceliterature scholar, who is anew appointment as head ofall vocal coaching, repertoireclasses, and opera assign-ments. Professor Hess beganhis career as assistant to BorisGoldovsky, and has conductedregional opera in the U.S. for20 years. His coaching clien-tele includes Nicolai Geddaand Renée Fleming. MaestroHess comes to us from hisendowed position at Univer-sity of North Carolina-Greens-boro. Rochester natives andformer students will remem-ber him from his years withOpera Theatre of Rochester inthe ’70s and ’80s. We are veryexcited to have him join us.

Our newest faculty member,William McIver, teaches bothstudio voice and vocal peda-gogy. His graduate course isalready improving the abilitiesof our teaching assistants. Aspresident-elect of NATS, Bill

expands our presence in theteaching profession.

Rita Shane spent much ofAugust in Hamamatsu, Japan,where Eastman hosts anannual residency. She taughtprivate voice and presentedtwo master classes, reflectingher brilliant opera career,and discussing the difficultiesand delights of singing pre-mieres.

Robert McIver repeated hissuccessful summer session forchoral conductors, and this fallwas a guest clinician for theU.S. Army Chorus. His choralcompositions are publishedand performed nationally. Inaddition to his large voice stu-dio, Bob also supervises sec-

ondary instruction, givinghands-on assistance to ourgraduate teaching assistants.

I had the pleasure of work-ing again with Bill McIver inour summer vocal pedagogyseminar for teachers/perform-ers. It was an honor to alsoserve as a master teacher forthe NATS internship program,which pairs four experiencedteachers with 12 young teach-ers/performers selected byaudition for a special 10-dayworkshop.

John Greer, music director of Eastman Opera, returned toBrevard as general managerand head of musical staff forthe Janiec Opera Center. Hisnew children’s opera, Star

V O I C E

We include a brief listing ofrecent grads who are makingstrides professionally. By nomeans is the list complete, but itdoes include students from eachand every studio in our depart-ment. Please let us know whatyou are doing.

Metropolitan Opera: JohnMcVeigh (BM ’93), and formerEastman students Troy Cook andAnthony Dean GriffeyChicago Lyric Opera: Ian Green-law (BM ’95)Cologne Opera (Germany): JohnPierce (BM ’94)Paris Opera: Kevin Greenlaw(BM ’95)Chemnitz Opera (Germany):Arisa Kusumi (BM ’95)Santa Fe Opera: Marc Molomot(BM ’92), Elizabeth MacDonald(MM ’00)San Francisco Opera: KatiaEscalera (BM ’96), Tami Petty(MM ’96, current DMA student)National Opera (Raleigh, NC):

Aaron Guckian (MM PRL onleave of absence), RiccardoMercato (BM ’00)Central City Opera: TheresaWinner Blume (MM ’99), TamiPetty (MM ’96, current DMA)Anchorage Opera: Gary Poster(MM ’95)Glimmerglass Opera: Gary Pos-ter (MM ’95), John McVeigh (BM’93), and former students TroyCook and Anthony Dean GriffeyJuilliard Opera Center: ChristinaCarr (MM ’00)Marilyn Horne Foundation: Jen-nifer Aylmer (BM ’94) and formerstudent Troy CookRavinia Steans Institute: LynneMcMurtry (MM ’93), ArisaKusumi (BM ’95), Karyn Friedman(MM ’96)Munich Competition, 2nd placewinner, Nate Webster (BM ’97)Young Concert Artists Guild,winner, Randall Scarlata(BM ’92)Buffalo District MET Audition,winner, Nicole Cabell (BM ’01)

News from our recent graduates


15S P R I N G 2 0 0 1

Large ensembles

A new division oforchestral opportuni-ties has been createdin the Upper Person-

nel Rotation involving juniors,seniors, and graduate students.Beginning fall 2000, we nowhave both Philharmonia andthe Eastman Chamber Orches-tra meeting in the upper rota-tion time slot along with theWind Ensemble. Musica Novahas moved into the samerehearsal time as ESSO (East-man School Symphony Orches-tra) and Wind Orchestra topermit upper class performersto participate in multiplegroups at the same time.

Mendi Rodan, newlyappointed orchestral conductorfrom Jerusalem, Israel, hasbeen working with all threeorchestras during his residen-cies. He comes to ESM twiceeach semester for a period ofseveral weeks. A new orches-tral training and repertoireprogram also has been startedto increase the amount of timeeach major section can workon performance and repertoiretechniques.

Last fall, alumnus BruceHangen (BM ’70), music direc-tor of the Portland Opera Com-pany and frequent guest con-ductor with the Boston Pops,conducted the Philharmonia inthe Alumni Weekend PRISMconcert. During that same timeperiod, Volker Christ, Heidel-berg Opera, conducted boththe graduate Chamber Orches-tra and ESSO in concerts.

In early March, WilliamEddins (BM ’83, MA ’86), resi-dent conductor for the ChicagoSymphony, led the Philharmo-nia in Beethoven’s Symphony

No. 3, and in April, famed com-poser and conductor JohnWilliams will conduct the Phil-harmonia in a program of hisown serious concert works andfilm music.

James Ripley has been serv-ing in the position of coordina-tor of ensembles, handling allthe assignments created bythe individual instrumentalstudios and managing thedaily, weekly, and monthlyschedules of each ensemble.He also teaches the basic con-ducting and intermediate con-ducting courses in addition toconducting the River CampusWind Ensemble.

Donald Hunsberger and theEastman Wind Ensemblemade their sixth concert tourof Japan in June 2000, andincluded for the first time per-formances in Taiwan and Oki-nawa. They recorded two con-certs in Tokyo’s new OperaCity concert hall. Since begin-ning the Sony and EastmanKodak-sponsored concert toursin 1990, they have performedin every new concert venue inTokyo.

In December, the WindEnsemble traveled to Chicagoto perform three concerts atthe International MidwestOrchestra and Band Clinic.The Eastman Wind Ensemblewill hold its 50th AnniversaryCelebration on February 6–10,2002. (Please see the article onpage 9.)

Choral ensemblesThe past year has seen East-man choral ensembles busywith a number of major per-formance projects. The East-man Chorale and ChamberOrchestra presented Bach’sSt. Matthew Passion in Febru-

ary 2000 in Kilbourn Hall, andin May the Chorale joinedforces with the Eastman-Rochester Chorus and ESSOalong with soloists AngelaBaade and Brad Alexander forA Sea Symphony of RalphVaughan Williams. In Novem-ber, the Chorale presented aprogram including both sacredand secular choral music ofIldebrando Pizzetti underDMA conducting studentDaniel Bara. Also, Bara con-ducted the Eastman-RochesterChorus and Philharmonia inthe Schubert Mass in E-flat ina December concert that fea-tured the Brahms Schicksal-slied and the Rochester pre-miere of Schubert’s SymphonyNo. 10 in the completion byBrian Newbould, both con-ducted by Director of ChoralActivities William Weinert.

In February of the new year,the Eastman Chorale traveledto Cleveland, Pittsburgh,Altoona, PA, and to Buffalo,and in early May ESM choralforces will collaborate withESSO for the Dvorák Stabatmater.

The 40-voice EastmanRepertory Singers also main-tains an active performanceschedule under the leadershipof masters and doctoral con-ducting students. Recent con-certs have seen performancesof the Mozart Coronation Massand Haydn St. Nicholas Mass,in addition to works from the16th through 20th centuries.

William Weinert’s recentwork has ranged over threecontinents. In May 2000 heserved as a guest professor atthe Freiburg Musikhochschuleteaching seminars on Ameri-can and English choral musicand teaching master classes inconducting. He will return toFreiburg in June to conduct aconcert of American choralmusic, and Freiburg ProfessorHans Michael Beuerle willcome to ESM to perform withthe Eastman Chamber Orches-

C O N D U C T I N G & E N S E M B L E S

B Y D E P A R T M E N T F A C U L T Y

T U R N T O PA G E 1 6 ➧


tra and Chorale in October. InJanuary, Weinert conducted aweek-long workshop at theGood Hope School in HongKong, with a concert on NewYear’s Day. In March, heserved on the panel of judgesat the ACDA national studentconducting competition in SanAntonio. Weinert also main-tains editorship of The Ameri-can Choral Review, a positionhe began following the retire-ment of Eastman ProfessorEmeritus Alfred Mann.

Recent choral conductinggraduates James John andAkiko Fujimoto both have set-tled in Boston. John is directorof choral activities at TuftsUniversity and Fujimotoserves as assistant conductorof choral ensembles at Har-vard and Radcliffe, while alsopursuing further conductingstudy at Boston University.Former master’s students DanHughes and Yi-Yin Tai bothbegan doctoral studies thisyear in choral conducting inthe Midwest. Hughes is at theUniversity of Illinois, and Taiis at the University of Wiscon-sin-Madison.

The Eastman SummerChoral Institute also has con-tinued to draw a high level ofstudents in the past severalyears. The institute offers amaximum of 12 students anintensive week of hands-ontraining as they conduct a resi-dent professional chamber cho-rus and study with Eastmanfaculty William Weinert,Robert McIver and Susan Con-kling, as well as guest teach-ers. Recent guest faculty haveincluded Dale Warland, WestonNoble, David Hoose, and Dal-croze Eurhythmics teacherMonica Dale. Both Warlandand Dale will return for thissummer’s institute, July 9–20.

Early musicPaul O’Dette spent the sum-mer performing in festivals in

Orfeo, receiving enthusiasticreviews from the TorontoGlobe and Mail, Wall StreetJournal and the Vancouverpapers. In addition, herecorded two new solo CDs forHarmonia Mundi, as well as aprogram of 17th-century Ital-ian instrumental music withhis ensemble Tragicomedia.O’Dette has been invited toconduct the Boston EarlyMusic Festival’s production ofLully’s 1675 opera Thesee atTanglewood, Drottningholm(Sweden), Utrecht (Holland),and Versailles next summer.He has been artistic director ofthe Boston Festival since 1993.

New musicMusica Nova, directed by BradLubman, has had a diverseseason this year, includingsome world premieres. Octoberfeatured Charles Wuorinen’s

attend a rehearsal and give asymposium), and the wildmusic of Iannis Xenakis’ Akan-thos. Lubman then conductedthe Eastman Philharmonialater in October in Debussy’sPrelude to the Afternoon of aFaun, Ionisation by Varèse,and Stravinsky’s The Rite ofSpring. The November MusicaNova concert was directed byLubman’s student, Alan Pier-son (Lubman was away guestconducting the SaarbrückenRadio Orchestra in Germany)and included music by Boulez,Schwantner, and Birtwistle.Martin Bresnick was our guestcomposer in December and wefeatured a concert devoted tohis music (with some pianomusic by Ligeti played byESM alumna Lisa Moore).Eastman played an importantrole in Berlin in January, whenLubman conducted the

Rochester premiere of Thra-nobulax by Peter Alexander,and the world premiere ofESM student composer Jen-nifer Graham’s Octet. Also onthat concert was a string quar-tet by Steven Stucky, visitingprofessor in composition.

March was guest composermonth with John Adams.Musica Nova performed hisShaker Loops and ChamberSymphony, with Lubman con-ducting. The final concert inMay will feature a number ofESM ensembles: OSSIA, con-ducted by Alan Pierson, willperform Steve Reich’s monu-mental work The DesertMusic; Musica Nova will playworks by Babbitt and pre-mieres by Lubman; and theNew Jazz Ensemble will per-form Igor Stravinsky’s EbonyConcerto with Ray Ricker assoloist. ❧

Europe, North America, andSouth America, includingrecitals in Stuttgart, Cordoba,Buenos Aires, Montevideo,Boston, Cleveland, Berkeley,and Vancouver. At the newFestival Vancouver he directedperformances of Monteverdi’s

virtuosic New York Notes, thepremiere of Lubman’s What IDid This Summer (the plan forLubman to write one piece forthe May 3 concert has turnedinto several smaller pieces,this being the first), MagnusLindberg’s Corrente (Lindbergpaid a visit to Eastman to

Deutsches-Sinfonie-OrchesterBerlin in a program of allAmerican composers featuringtwo works by ESM’s AugustaRead Thomas. Another worldpremiere in February wasRobert Morris’ In Concert,written for the Musica NovaEnsemble, along with the

➧ F R O M PA G E 1 5



Facultyengagements

Bonita BoydProfessor of Flute

May 13, soloist for San Fran-cisco premiere of PulitzerPrize-winning piece Concertoby Melinda Wagner, San Fran-cisco Women’s Philharmonic

Richard GrunowProfessor of Music Education

June 23–July 6, presenter,workshop on measurementand evaluation, EastmanSchool of MusicJuly 9–12, presenter,workshop on instrumentalmethods and techniques,Eastman School of MusicJuly 16–20, presenter,University of South Carolina,Columbia, SCJuly 23–27, presenter, Hough-ton College, Houghton, NYJuly 30–Aug. 3, presenter,University of Massachusetts,Amherst, MAAug. 15–25, presenter,Gordon Institute of Poland,Bydgoszcz, Poland

David HiggsProfessor of Organ

April 1, Chambersburg, PA,Central Presbyterian Church


LOUIS OUZER

The Eastman Chorale traveled to Cleveland, Pittsburgh, Altoona, PA, and to Buffalo in February.

Eastman faculty perform andlecture around the countryand around the world. Here isa sampling of what they didover the spring and theirplans for the summer.

17S P R I N G 2 0 0 1

B Y T I M O T H Y Y I N G

One of the things I havealways admired aboutthe Eastman School isits idealism. This is an

institution that aspires to pro-duce well-educated individualswho also happen to be first-rate musicians. Unlike thoseschools that offer the academiccourses but really expect theirstudents to be in the practicerooms 10 hours a day, or theschools that study the idea ofmusic so intensively that theactual production of soundseems almost to be an after-thought, Eastman attempts tohave it both ways. We believethat aspiring musicians needto be trained in the physicalskills of music-making and inthe intellectual understandingof the art form, and to becomefully competent in each area.

This lofty goal does not comewithout a price. As any of thestudents here will tell you, thetheory professors know theircourses hold the keys (sorry!) tothe true comprehension ofmusic, the musicologists believethe stacks of Sibley Library tobe the real route to musicalValhalla, the humanities pro-fessors don’t see a point to anyof this if the students can’tcommunicate in a literate andinformed manner, and the stu-dio teachers expect a note-per-fect Bach sonata (from memoryand by next Tuesday, please).When I see students yawningin the middle of the day I don’tautomatically assume that theyonly stayed up late the previ-ous night to party. If nothingelse, this school trains studentsto organize their time and jug-gle multiple tasks.

Into this already crowdedfield comes the new Depart-ment of Chamber Music,

jostling for time in the courseschedule and in the busy stu-dents’ date books. And in thegrand Eastman tradition, Ihave decided to use this col-umn to explain why it’s reallychamber music that belongs atthe center of the educationaluniverse.

In all seriousness now, I havefound that for me, it was cham-ber music that brought all ofthese fields of study togetherand forced me to attempt tointegrate them. In a smallensemble without conductor,musical decisions are forged byconsensus, shaped by eachmember’s ability to convincethe others of how a pieceshould be performed. Withouttheoretical insight or knowl-edge of historical style, it isimpossible to advance a casefor a musical interpretation onany sort of objective ground. (Iknow from hard experiencethat “I just feel it that way”isn’t always very convincing toother musicians in arehearsal.) Musical intuitionand subjective responses tocharacter are important too,and students also must learnto be able to describe those toeach other. It probably is obvi-ous that in a type of musicwith only one musician perpart, the quality of the overallperformance depends uponeach musician’s ability to per-form his or her own part toperfection. Participants in thechamber music program putinto practice all of the technicalskills they learn playing con-certos in their private lessons.What may not be as obvious isthat playing chamber musicoften demands even greatercontrol than playing alonesince you may have to adjustyour timing, volume, tone, andeven pitch on the spur of the

moment because of what therest of the group is doing.

Here at Eastman we alsouse chamber music as thefoundation for community per-formances and audience devel-opment. Its great repertoire,portability, and intimate scalemake it perfect for these situa-tions. All chamber musicgroups receiving instruction atthe School are required to per-form two outside concerts, onefor students and one foradults. In fashioning their pro-grams for the general public,students are encouraged torelate music to the worldbeyond Eastman’s walls, tomake the case for art withclear thought and convincingwords. To a great degree, theirsuccess in this endeavordepends not only on their abil-ity as musicians, but also ontheir broader knowledge ofsociety and culture, and thereasoning, speaking, and writ-ing abilities that constitute aliberal education.

It is my hope and expectationthat through chamber musicEastman students will learn todraw upon all of the incredibleresources that are available tothem at the School. To succeedtoday, a musician needs notonly the skills imparted by thetraditional music education,but also the versatility to adaptto a rapidly changing culturalenvironment. In a world drivenby information technology,where the mix of ideas andopinions seems to grow evermore complex, it will be up toeach new generation of musi-cians to make the case for con-tinuing its art. We intend togive our graduates every toolthey need to accomplish thattask. ❧

Assistant Professor of Cham-ber Music Timothy Ying(DMA ’91) is co-chair of theDepartment of Chamber Musicand first violinist in the YingQuartet.

April 8, Boca Raton, FL, St.Gregory’s Episcopal ChurchApril 17, Los Angeles, CA,Royce Hall, UCLAMay 27, Provincetown, MA,Unitarian-UniversalistMeeting HouseJune 11, Jackson, MI,St. Peter’s Catholic Cathedral(AGO)July 1, St. Albans, UK,St. Albans Organ Festival

Rebecca PenneysProfessor of Piano

April 22–May 1, guestteacher and performer, Seoul National University,KoreaMay 9, Chautauqua ChamberMusic Society, HochsteinMusic School, RochesterMay 11–13, solo concerts,New Arts Trio Series,Toronto, CanadaJune 1, New Arts Trio,Himalayan Institute, Buffalo,NYJune 10, soloist with theGreater Rochester Women’sPhilharmonicJune 25–Aug. 16,Chautauqua (NY) Festival

Christopher RouseProfessor of Composition

May, world premiere ofClarinet Concerto, ChicagoSymphony Orchestra

Fred SturmProfessor of Jazz andContemporary Media

April 5–8, conducting



C H A M B E R M U S I C



Eastman Jazz EnsembleSpring TourMay 10–13, guest conductor,South Dakota All-State JazzEnsemble, Sioux Falls

Augusta Read ThomasAssociate Professor ofComposition

May, New work for orchestrato be premiered by thePittsburgh Symphony, MarissJansons, conductorJune, Daylight Divine for solosoprano, children’s choir andorchestra to be premiered bythe Chamber Orchestra ofParis, John Nelson,conducting, Festival SaintDenise, France

Ying QuartetQuartet in Residence

April 1, Columbus ChamberMusic Society, Columbus, OHApril 7, East StroudsburgUniversity, Stroudsburg, PAApril 19, Wolf Trap Center forthe Performing Arts, Vienna,VAApril 24, Cranbrook MusicGuild, the Cranbrook School,Bloomfield Hills, MIApril 28, The Maestro Foun-dation, Santa Monica, CAApril 30, Huntsville, ALMay 2–5, Da Camera Societyof Houston, Houston, TXMay 6, A. Mozart Festival,Austin, TXMay 13, Society for ChamberMusic in Rochester, MemorialArt Gallery, Rochester, NYJune 8–10, June MusicFestival, Albuquerque, NM ❧


B Y R A L P H L O C K E

T his is my first columnin Eastman Notes asthe new chair of musi-cology. As anybody who

knows Jürgen Thym, my long-time predecessor (18 years!),will readily understand, hehas handed over a departmentin fine working order, and Ionly hope to maintain it atthat level.

So many exciting things arehappening at Eastman in ourdepartment that I can only lista few. Over the past year, thedepartment’s faculty and grad-uates have won awards andhonors galore. Professor KimKowalke, for example, whoteaches both at Eastman andin the University of Roch-ester’s College Music Depart-ment, was honored with theCollege’s Goergen Award forDistinguished Achievementand Artistry in UndergraduateEducation. Also, because thisyear was the centenary of KurtWeill’s birth, Kim flew hitherand yon, speaking about andhelping produce concerts andrecordings of Weill’s music – atthe New York Philharmonic, inBerlin, in London, even in LasVegas! Associate ProfessorPatrick Macey’s book BonfireSong: Savonarola’s MusicalLegacy (Harvard UniversityPress) was awarded the Phyl-lis Goodhart Gordan BookPrize by the Renaissance Soci-ety of America.

Associate Professor EllenKoskoff has just been electedpresident of the Society forEthnomusicology, not to speakof publishing two new books:Music in Lubavitcher Life(University of Illinois Press)and Garland Encyclopedia ofWorld Music, Vol. 3, “TheUnited States and Canada”

(Garland/Routledge, 2001).Gretchen Wheelock’s chapterreceived much praise in thecollective book Piano Roles:Three Hundred Years of Lifewith the Piano (Yale Univer-sity Press). And Eastman gradMichael V. Pisani (PhD ’96)received the Kurt Weill Prizefor distinguished scholarshipin music theater: His prize-winning article deals withProkofiev’s opera The Love forThree Oranges and appearedin Musical Quarterly. (Forother honors, see variousentries elsewhere in this issueof Eastman Notes.)

We are particularly proudthat two of our current gradstudents – Amy Wlodarski andSara Nicholson – won theEastman-wide Teaching Assis-tant Award this past year fortheir superb handling ofevening discussion sections forthe undergrad core courses inmusic history.

Those courses, widely knownby freshmen and sophomoresas “Surveys I-III,” actuallycarry the collective title “Musicand Society,” indicating thefaculty’s aim of placing West-ern music in its historical,social, and cultural contexts.The courses have beenreworked to serve more effec-tively the School’s new under-grad curriculum, including thenew Musical Arts major.

The first course introducesstudents to music of the Mid-dle Ages, Renaissance, andBaroque, and is taught insmallish classes, in order toallow active interchangebetween teacher and students,since the latter are confrontingrepertoires and historicalissues that are largely unfa-miliar to them. The second andthird courses meet in largergatherings of 60 or so. Both

the second course (1720–1880)and the third (from 1880onward) make a special effortto include not just concertmusic and opera but also, ifmore briefly, selected instancesof “functional” repertoires (e.g.,dance music, political songs,church hymns) as well as pop-ular musics of various kinds,whether from the Victorianparlor or MTV.

Four new assistant profes-sors have been hired in thepast three years, bringingfresh approaches to our courseofferings. Professor Roger Fre-itas (PhD, Yale) brings years ofexperience as a professionalcountertenor to bear in hiscourses on Baroque music, butalso shared his passion for19th-century Italian operawith students in a DMA-levelseminar. Professor JenniferWilliams Brown (PhD, Cornell)works primarily on ItalianBaroque opera but already hastaught courses here on Handeland on dance rhythms inBaroque music. (Like ProfessorKowalke, the bulk of her teach-ing will take place at the RiverCampus, in the College MusicDepartment, but we aredelighted that both of them areavailable to work with gradu-ate students at Eastman,whether DMAs or PhDs.) Pro-fessor Gabriela Ilnitchi (PhD,New York University), in hernative Romania did ethnomu-sicological field research, thencame to the United States tocomplete her musicologicaltraining. (Scarecrow Press willbe publishing her book on thewritings of Medieval musictheorist Aribo.) Her courseshere at Eastman already havedelved into such varied topicsas 1) the relationship betweenfolk and art music, 2) musicand cosmology from Plato toStockhausen and other con-temporary composers, and 3)the interactions of politics andmusic in Eastern Europe.

M U S I C O L O G Y



19S P R I N G 2 0 0 1

B Y J O H N M A R C E L L U S

T he woodwind, brass,and percussion depart-ment recently had anumber of master

classes and special events:Barry Tuckwell gave a masterclass for the horn studio and acoaching session with a brasssection in the orchestral reper-toire; David Mancini (BM ’74)gave a master class for thepercussion class and the ArtsLeadership Program; RalphSauer (BM ’65), principaltrombone of the Los AngelesPhilharmonic; Mike Powell,trombonist of the AmericanBrass Quintet; and ChrisHoulding, professor of trom-bone at the Royal NorthernCollege of Music in Manches-ter, all gave master classes forthe trombone studio; MarvinStamm gave a master class forthe trumpet class andappeared as soloist with theBrass Guild of Eastman; andAntonio Gigliotti of thePhiladelphia Orchestra gave aclarinet class. Octuba Festwith the tuba and euphoniumclass featured faculty mem-bers Don Harry and Mark Kel-logg (Performer’s Cert. ’86),and Bonnie Berry.

The Trombone Circus, spon-sored by The Commission Pro-ject headed by Ned Corman(BM ’59) and organized by Kel-logg and Douglas Mark (DMA’00), was held at Nazareth Col-lege in December. The East-man Trombone Choir duringits 59th anniversary year com-pleted its first European tourin July with concerts inBrakel, Bad Driburg, Pader-born, and Bremen, Germany.Concerts for the InternationalTrombone Festival in Utrecht,Netherlands, also featured BillReichenbach (BM ’71).

Funds to support this tripcame from an alumni commit-tee headed by Ralph Sauer,Steve Witser (BM ’81) andMark Lusk (BM ’81, MAS’83). The current EastmanTrombone Choir also con-tributed by performing manyconcerts and demonstrationsduring the school year andselling many CDs of the 1972Eastman Trombone Choirrecording published byWilliams Music.

The trombone classes of1994 and 2000 plan to produce a CD funded by agenerous gift from Fred andMary Boyd (BM ’69, MA ’71,and MA ’70 respectively).

The second annual concertof music by Alec Wilder, titled“A Wilder Celebration II,” waspresented by the departmentin February and included theSuite for flute and marimbaperformed by guest artistsKaren Dempsey, flute, andGreg Giannascoli, marimba.Bass Tom Paul was featuredwith faculty pianist TonyCaramia; faculty membersHarold Danko and RobertWason presented a duo pianoversion of Wilder’s music; JimThompson, professor of trum-pet, and Don Harry, associateprofessor of tuba, collaboratedwith Caramia in the Suite fortrumpet and tuba. Mark Kel-logg, assistant professor ofeuphonium, trombone, andbrass chamber music,appeared with Caramia inselections by Wilder; and JohnMarcellus performed TwoVignettes for trombone,marimba and piano withCaramia and Giannascoli. ❧

John Marcellus is chair of the woodwind, brass, and per-cussion department.

W O O D W I N D , B R A S S & P E R C U S S I O NFinally, Professor MartinScherzinger (PhD, Columbia)brings to Eastman the perspec-tives of a talented performerand composer; he has traveledwidely as percussionist andplayer of the African mbira,and a work of his for stringorchestra was just performedthis past November in Toronto.A spirited essayist on a varietyof topics and repertoires, fromBrahms to postmodernism, healready is reshaping the third“Music and Society” course inorder to bring it right up to thepresent – a goal aimed at butrarely attained in such coursesanywhere.

This year we also welcometwo new musicologists to theSchool who officially areensconced outside the depart-ment: Daniel Zager (PhD, Min-nesota) is an authority on16th-century religious music,but to Eastmanites he is pri-marily the new librarian andchief administrator of SibleyMusic Library. Hans Davids-son (PhD, Göteborg) has doneextensive research on GermanBaroque music, and arrived inJanuary to join David Higgs asassociate professor of organ.Associate Professor Zager isteaching the graduate bibliog-raphy course, and Davidssonwill lead a seminar in thespring on the German Baroqueorgan and its music (includingPraetorius, Buxtehude, andBach). I should add that Mal-colm Bilson, the great fortepi-anist, continues to drive upfrom Cornell regularly to teachand coach here. Finally, KeralaJ. Snyder, though professoremerita, comes to Rochesterevery few weeks to meet withthe dissertation writers in thedepartment, for whom sheremains an energetic andinsightful mentor. ❧

Professor Ralph P. Locke ischair of the Department ofMusicology.

Mike Davis (BM ’83), left, Doc Marcellus, and Bill Reichenbach (BM ’71) atthe International Trombone Festival in Utrecht, Netherlands, in July.

A sign for a Trombone Choir concertat the International Trombone Festi-val in Utrecht, Netherlands.




The Eastman community wassaddened by the death of LouisMennini, professor of composi-tion and orchestration at East-man from 1949–65, who diedFebruary 22, 2000, at age 79.

Mennini earned both hisbachelor’s and master’s

degrees from Eastman in1947, and a PhD in 1961,studying with Bernard Rogersand Howard Hanson. Knownfor a compositional style thatdemonstrated a skillful com-mand of contrapuntal texture,strong rhythmic drive, and a

Louis Mennini lyrical, melodic line, hereceived grants and commis-sions from the National Insti-tute of Arts and Letters, theKoussevitzky Foundation, andthe National Endowment forthe Arts. His works have beenperformed by the PhiladelphiaOrchestra, the National Sym-phony, the Los Angeles Phil-harmonic, and the CBS Sym-phony, among others.

In addition to composing,Dr. Mennini made a steadycommitment to the quality ofcollegiate-level music educa-tion. Following his work atEastman, he held a six-yearposition as dean of the Schoolof Music at the North CarolinaSchool of the Arts. In 1973, hefounded the music school atMercyhurst College in Erie,PA. ❧

Brooks Smith, professor ofpiano and accompanying atEastman from 1966–1972 andperhaps the most well knownand beloved American pianist-accompanist of his generation,died October 31, 2000, at age88.

Born in McAllen, TX, in1912, Smith started his pianostudies at age 4, embarking ona lifelong love affair with thepiano. Following his gradua-tion from high school and anadditional year of privatestudy, he auditioned at theJuilliard School, where he wasawarded a full scholarship tostudy with Rosina and JosefLhevinne. During his studentyears, Smith became increas-ingly interested in lieder andin the vast world of chambermusic, and began doing a greatdeal of accompanying. Al-though the Lhevinnes tried tosteer him toward a solo career,Smith became more interestedin the collaborative processand began earning his livingas a collaborative pianist whilestill a student in New York.After graduating from Juil-liard in 1939, he continuedplaying for singers RisëStevens, Julius Huehn, MackHarrell, and George Britton

1930sJohn Robert Marcellus (BM ’35),

September 2000Herman Surasky (BM ‘35),

June 2000Elaine Dodge Davidson

(BM ’38), July 2000Robert Hargreaves (MM ’39,

PhD ’41), September 2000Ruth Salzman (BM ’39),

September 2000

1940sBonnie Jean (Tramp) Copeland

(BM ’42), November 2000Betty Burnett (BM ’44),

July 2000

Eleanor Thomas Stanlis(BM ’45), December 2000

Raymond Vaught (MA ’46),January 2000

Ilene Goodrich Bothfeld(BM ’47), July 2000

1950sAntoinette Johnson (BM ’54),

August 2000

1960sErnesto Lejano (MM ’61,

PhD ’65), February 2000Kenneth Partchey (MM ’63),

August 2000Bea Ann Harris Di Manno

(BM ’69), October 2000

I N T R I B U T E

Brooks Smith came to the Eastman School in1966 to open a department ofaccompanying. He taught andperformed at Eastman until1972, when he took a positionat the University of SouthernCalifornia, joining GwendolynKoldofsky in teaching piano,chamber music, and accompa-nying until his retirement in1988 at age 75.

“We all are saddened by theloss of this wonderful pianist,superlative collaborative part-ner, and good friend,” saidJean Barr, professor of pianoaccompanying and chambermusic at Eastman and Smith’sformer colleague at USC. “Hisdeath represents the passingof an era.”

To honor Smith’s extraordi-nary career and impact, theEastman School establishedthe Brooks Smith Fellowshipin Piano Accompanying andChamber Music in 1996. It isawarded based on audition toan incoming Piano Accompany-ing and Chamber Music major,and recognizes the characteris-tics exemplified by the belovedmusician: enthusiasm for theart of accompanying, musical-ity, strong pianistic technique,and excellent training.

Smith is survived by his sis-ter Margaret Proctor of Pharr,TX; nephews Fred and BrooksProctor; and a niece, JoannaSmith. ❧

In memoriam

while developing an interest inthe string repertoire as well.

After serving in World WarII, Smith returned to Americaand eventually was engagedby baritone Mack Harrell,then the director of the newlyorganized Aspen Music Schooland Festival. He began alengthy association with thatfamed institution, teachingand performing there for manyyears and collaborating withmany renowned artists,

including Adele Addison, Jande Gaetani, Raya Gargousova,Lynn Harrell, Zara Nelsova,Eudice Shapiro, BenitaValente, and the Juilliard andAmerican Quartets.

In the early 1950s, Smith wasselected by the great violinistJascha Heifetz to be his exclu-sive pianist. This led to 20 yearsof collaboration and perform-ances in the United States,Canada, Europe, and SouthAmerica, as well as a series ofrecordings and a nationally tel-evised performance on NBC-TV.

At the invitation of formerDirector Walter Hendl, Smith

21S P R I N G 2 0 0 1

1930sIn honor of his 85th birthday,composer David Diamond(BM ’37) was recognized with aconcert at Merkin Hall in NewYork in October. Three world-class Polish musicians per-formed a program of his cham-ber works, spanning a 45-yearperiod. Diamond, who is of Pol-ish descent, was born inRochester and studied at East-man with Bernard Rogers. Hiscompositions, which include 12symphonies, many chamberworks and songs, ballets, andan opera, have been performedand recorded worldwide. Alsoan esteemed teacher, Diamondrecently retired from the Juil-liard School, where he taughtfor 23 years, and the ScholaCantorum in Paris.

“The President’s Own” U.S.Marine Band recently pre-sented a concert and ceremonyin honor of tuba soloist andcomposer Louis Saverino (BM’38). The program featuredseveral of Saverino’s ownworks and also includedmarches by John Philip Sousaand Alfred Reed.

Composer John Weinzweig(MM ’38) was profiled in theDecember 10 issue of TheToronto Star for his crusade forgreater representation of Cana-dian composers on CBC Radio.

1940sDorothy Ornest (BM ’42) washonored with an 80th-birthdaycelebration concert at the Uni-versity of Massachusetts,

Amherst, where she continuesto serve as professor emeritaof voice. Titled “It All StartedHere, Part II,” the concert,which featured current andformer students of Ornest, wasa sequel to a similar perform-ance mounted on her 75thbirthday in 1995. The perform-ance included songs by Sond-heim, Bernstein, Coward,Porter, and Lehar.

Margaret Vardell Sandresky’s(MM ’44) Songs of a NomadFlute received its world pre-miere in the Czech Republic atthe fourth annual New Musicfor Orchestra festival. In addi-tion, her Trio II for violin,cello, and piano has been pub-lished by Hildegard Press, andWayne Leupold Editions hasreleased the fourth volume ofher complete organ works.

In the fall, Glen Law (BM ’47)started new seasons as trom-bonist with the DeLand (FL)Little Symphony and theSt. Augustine CommunitySymphony.

Walter Moeck (BM ’47), whorecently received the Interna-tional Man of the Year Awardfrom the International Bio-graphical Centre of Cam-bridge, England, has beennamed to the newest volumesof Who’s Who in Entertain-ment, Who’s Who in ClassicalMusic in America, and Who’sWho in International Music.

Charles Strouse’s (BM ’47) Oncein Palm Beach will open thissummer at Florida Stage inPalm Beach, and London’sGreenwich Theatre soon willpremiere his show Golden Boy.In addition, he continues workon the stage musical versionsof Marty and The Night TheyRaided Minsky’s.

Early in 2000, the CanadianBrass released a CD with atranscription of Bach’s Gold-berg Variations by Arthur Frackenpohl (MA ’49). In thesummer, Frackenpohl wascommissioned by the CarolinaBrass to write a compositiontitled Piedmont Suite.

Ronald Cox (BM ’48), a retiredassociate professor of music atHobart and William SmithCollege in Geneva, NY,received the New York StateSchool Music Association Dis-tinguished Service Award inNovember for his faithful anddistinguished 52 years as amusic educator in New Yorkstate.

Richard M. Ziter, M.D. (BM ’49,MA ’51) performed a benefitconcert in November for theBerkshire Unit of Recordingfor the Blind & Dyslexic. Anaccomplished concert pianist,Ziter collaborated with violin-ist Joseph Silverstein in a pro-gram including works byBeethoven, Gershwin, Debussy,and Khachaturian. Ziter is aretired eye surgeon and cur-rent member of Eastman’sBoard of Managers who earnedtwo degrees from Eastman, ascience degree from the Uni-versity of Vermont, and a med-ical degree from the Universityof Lausanne, Switzerland.Throughout his career, he hasdonated profits from his per-formances to several charitableorganizations and now is a vol-unteer for RFB&D. In this way,he has been able to combinehis diverse commitments tomusic and medicine.

1950sIn August, J. Daniel Dowdakin(BM ’50, MM ’53) retired fromhis 47-year position as bas-soonist/contrabassoonist with

the Atlanta Symphony Orches-tra.

Former Eastman faculty mem-ber Donald Knaub (BM ’51,MM ’61) has retired from hisposition as professor of trom-bone at the University ofTexas at Austin. He has beennamed professor emeritus.Crystal Records has releasedhis CD of bass trombone soloscalled Soundwaves.

Violinist Derry Deane (BM ’52)is a member of Trio Tulsa, theresident chamber trio at theUniversity of Tulsa. The grouprecently has released two CDs,one featuring the music ofMartinu on the Centaur label,and the other with the TrioRomantico by Mexican com-poser Manuel Ponce on theASV label.

Herald Music of Seattle haspublished Patricia Paul Jaeger’s(BM ’52, MM ’53) FamiliarHymns with a Friend, a collec-tion of hymns arranged forharp and string quartet.

The Cooley Gallery in OldLyme, CT, held an exhibition ofpaintings by Maurice Sapiro(BM ’54, MM ’55) last fall. Themusician, potter, craftsman,teacher, photographer, andinventor displayed an array ofcolorful landscapes and otherworks.

Doris Gazda’s (BM ’55) bookHigh Tech for Strings, a collec-tion of orchestral and individ-ual technical studies, has beenpublished by Carl Fischer Co.

Gordon Peters (BM ’56, MM ’62)has retired from his positionas principal percussionist forthe Chicago SymphonyOrchestra. During his tenureof 41 years with the CSO, heauthored several books of per-cussion studies and orchestraltechniques.

A L U M N I N O T E S


The following news is based on information received from June15, 2000, to Dec. 31, 2000. News received after Jan. 1, 2001, willappear in the next issue of Eastman Notes.


A recent recipient of theDorothy Maynor OutstandingArt Citizen Award, GeorgeWalker (DMA ’56) wasinducted into the AmericanClassical Music Hall of Famein April. His new CD, releasedon Summit Records, includeshis Pulitzer Prize-winningcomposition Lilacs for voiceand orchestra, as well asSonata for Violin and Piano,No. 2, recorded by his son, vio-linist Gregory Walker.

As part of a United StatesDepartment of State project tobring American arts and musicto Mongolia, Bernard Rubinstein(BM ’58) conducted a concertversion of George Gershwin’sPorgy and Bess in Waanbaator.The audience included thePresident of Mongolia, as wellas its prime minister andspeaker of parliament. Theperformance, which theNewsletter of the NationalCouncil for International Visi-tors called “a terrific success,”earned Rubinstein an Hon-orary Mongolian Artist Award.

Violinist Dorothy Kitchen(BM ’58) conducted her DukeString School Orchestra at theWhite House in December1999.

The McKeesport (PA) Sym-phony Orchestra performedJames Helme Suttcliffe’s(MM ’58) Dawn Dance fororchestra and Pastorale inMay as part of an Americanaconcert also featuring themusic of Aaron Copland andEduard Lalo. An article in theMcKeesport Daily News chron-icled Suttcliffe’s education andcareer and reviewed the per-formance, explaining that thepair of works “gave a sense ofearly rising, of enjoying theworld around oneself.”

The Colorado Quartet pre-miered Katherine Hoover’s

(BM ’59) String Quartet inMichigan in November andhas since performed the workin several concerts across theUnited States. Hoover’sCanyon Echos was featured atEastman in a concert by fac-ulty flutist Bonita Boyd andfaculty guitarist NicholasGoluses in June. Among otherrecent performances of herworks is the Long Beach (CA)Symphony’s performance ofStitch-te Naku under thedirection of Gustav Meier,which was cited by the LosAngeles Times as being “themain interest of the concert.… Hoover introduces hersoloist ingeniously.”

John Glenn Paton (MM ’59)taught master classes atPasadena Community College(CA), Geneva College (PA),and Capital University (OH).His annotated anthology, Gate-way to German Lieder, waspublished by Alfred PublishingCo.

1960sEmma Lou Diemer’s (PhD ’60)Mass was premiered inNovember by the Ojai Camer-ata, conducted by WilliamWagner. Recent publicationsinclude Psalms for Trumpetand Organ, Psalms for Organand Percussion, Serenade/Toc-cata for Piano, and O Viridis-sima Virga for women’s cho-rus. She has released severalrecordings recently, includingher Fantasy for Piano on SonyClassics and Four ChineseLove Poems on Josara Records.The Halle Symphony and theCzech Radio Symphony alsohave recorded her works. Shereceived her 38th ASCAPaward for publications andperformances, and awaits aperformance of her overture,composed for the Santa Bar-

bara Symphony, in the spring.

Paul Tardif (BM ’60, MM ’63)received the Career Award forExcellence in Research andCreative Activity in Octoberfrom East Carolina University,where he currently serves asdistinguished professor ofmusic.

Bob Ludwig (BM ’66) was pro-filed in the October issue ofStereophile magazine for hisubiquitous work in the record-ing industry. In the article, theauthor explains that Ludwig’sGateway Mastering Studios is“a mecca of the music indus-try.” He goes on to say, “Ludwigis one of the busiest peopleyou’d ever meet, with a sched-ule usually booked solid formonths in advance. He regu-larly plays host to the movers,shakers, and celebs of themusic world, who fly in fromjust about everywhere to hangwith Bob while he sees to itthat their music gets to soundas good as it possibly can.”

This past June, Mary Jeannevan Appledorn (PhD ’66)received her 21st consecutiveASCAP Standard PanelAward. One of her recent com-positions, titled Rhapsody, wasreleased on Opus One CDs inMay.

In addition to his ongoingduties as principal bassoonistof the Baltimore SymphonyOrchestra and chair of windsat Peabody Conservatory,Phillip Kolker (MM ’67) had abusy summer, performing assoloist with orchestras inTaipei and Tokyo, as well as inseveral music festivals in theUnited States.

Percussionist Bill Cahn(BM ’68), a member of Nexus,was in residence for 10 days ofworkshops and recitals in theNetherlands and Germany inOctober. He served as a judge

for the Tromp Muziek Bien-nale 2000 Solo PercussionCompetition in the Nether-lands, where he also presenteda master class on free-formimprovisation. In addition, hewas guest artist-in-residenceat the Hochshule für Musik inDetmold, Germany, where hepresented master classes andworked with student percus-sionists in preparing a galarecital of his compositions. Inthe program’s finale, Cahn per-formed as soloist with the stu-dent ensemble in his own Keb-jar-Bali.

For the second time, KarenPfouts Maxwell (BM ’68) hasbeen included in Who’s WhoAmong America’s Teachers.She is the choral director atStreamwood High School andZion United Methodist Churchin suburban Chicago.

1970sComposer Frederick Koch(DMA ’70) has released a newCD of chamber music on theDimension label. Among theworks on the new recordingare Koch’s String QuartetNo. 2 with voice, Blue Monday(a song cycle), Suite for AltoSaxophone and Piano, andAntithesis for two pianos.Koch’s music is performed onthe CD by the ClevelandOrchestra String Quartet, cel-list Regina Mushabac, andbaritone Andrew White,among others.

A biography of Geary Larrick(MM ’70) has been included inthe 13th edition of The Inter-national Who’s Who of Intellec-tuals, published in Cambridge,England. He co-authored anarticle titled “Music as Busi-ness: A Bibliography,” in thesummer Journal of theNational Association of College



and Tchaikovsky’s ConcertoNo. 1 with the Lake CharlesSymphony Orchestra in thefall.

Drummer Ron Wagner (BM ’76)recently completed a tour withOttmar Liebert, playing topacked halls in Australia, NewZealand, Mexico, Italy, Greece,Istanbul, Canada, and theUnited States.

A former member of the East-man faculty, Richard Erickson(MM ’77) presented a festivalof hymns at First UnitedMethodist Church in Schenec-tady, NY, in November. Erick-son is the director of music atHoly Trinity Lutheran Churchin New York and director ofthe renowned “Vespers WithBach” series at this church.This past year, he served asorganist for the “Festival ofSong” in Chicago, and in arecital at the Cloister Churchin Lund, Sweden.

In June, the National Sym-phony Orchestra premieredDC Citypiece by Robert Kapilow(MM ’77). The performancewas previewed by Symphonymagazine, which told the storybehind the new work, explain-ing that Kapilow took hisinspiration from many sources– “from national monumentsto a student’s impromptu rapabout the shooting death of hiscousin.”

Composer Clement Reid(BM ’77) recently presented aprogram on compositionalprocess for the WashingtonState Music Teachers Associa-tion. It included a performanceof his Short Stories (for guitarand piano), which also was fea-tured on Classic King FM inSeattle and at the Tacoma ArtMuseum (on electric guitar) bythe Tacoma New Music Group.

New York Philharmonic flutistMindy Kaufman (BM ’78) has

been inducted into the WhitePlains, NY, High School Hall ofFame, which recognizesalumni who have distin-guished themselves in theircareers or have had a signifi-cant impact on the lives of oth-ers. The induction ceremonytook place in November duringNational Education Week.

Helen Weiss Phelps (BM ’78)has accepted the position offull-time director of musicministries/organist at theLutheran Church of the Resur-rection in Marietta, GA.

Opera composer Richard Wargo(BM ’79) completed a newwork titled Ballymore, whichwas premiered in January1999 by Skylight Opera The-atre of Milwaukee. Wargo’sopera text is drawn from Irishplaywright Brian Friel’s playsWinners and Losers.

1980sKenneth Carper (MM ’80)received his doctor of musicdegree from the University ofHawaii in May. His specializa-tion was early childhood musiceducation. He also included aconcentration in ethnomusicol-ogy. Carper is currently amusic specialist in the publicschools of Naples, FL.

Kathleen Orr Hacker (BM ’80,MM ’82) has completed herdoctor of music degree fromIndiana University. Currentlyassistant professor of voiceand director of the vocaldepartment at the Universityof Indianapolis, Kathleen andher husband, Jerry, performedwith the Detroit and Pitts-burgh symphonies last springin a tribute to the music of the1940s.

23S P R I N G 2 0 0 1

Wind and Percussion Instruc-tors.

Arthur Michaels (BM ’70) haspublished his concert-bandpiece Rock-Ness Monster withShawnee Press, and is cur-rently writing and photograph-ing a book for Penn State Uni-versity Press titled A Guide toPennsylvania Overlooks.

Pianist Robert Silverman(DMA ’70) has released a 10-CD box set of the completepiano sonatas of Ludwig vanBeethoven on the OrpheumMasters label. Recorded over aperiod of several months, thecollection includes a 64-pagebooklet containing detailednotes for each sonata, as well as an extensive introduc-tory essay on the classicalsonata.

Robert Swift (PhD ’70) recentlycelebrated his 20th anniver-sary as organist at the FirstChurch of Christ, Scientist, inPlymouth, NH. Swift currentlyis the chair of the musicdepartment at Plymouth StateCollege.

New World Records recentlyreleased a CD of compositionsby Louis Karchin (BM ’73).Included are six new works,including a vocal-instrumentalsong cycle called AmericanVisions, winner of the 1999Heckscher Foundation Prize.Karchin’s latest work, Quartetfor Percussion, was commis-sioned by the KoussevitzkyFoundation.

Soprano Janet Obermeyer(BM ’73) gave two perform-ances of the Brahms GermanRequiem in Toronto with theKitchener-Waterloo Symphony.In addition, she was featuredin recital at the annualRomantic Arts Festival inHamilton, Ontario, where sheperformed Strauss’ Four LastSongs.

Last fall, soprano Susan MariePierson (BM ’74) performed therole of Venus in the Canadianpremiere of Hans WernerHenze’s Venus and Adonis, fol-lowed by her debut with theLong Beach Opera in the titlerole of Elektra. She also per-formed with Maestro GerhardZimmermann and the NorthCarolina Symphony in a pro-gram of concert arias.

Church musician and com-poser Bernard R. Crane (BM ’75)currently is director of musicat Faith United Parish inFitchburg, MA, where he over-saw the church’s restoration ofits 27-rank 1914 Austin organ.Upon completion of the proj-ect, Crane organized a four-month celebratory concertseries, which included the pre-miere of his own Mass in DMajor for Chorus and Organin May. He publishes hisworks through his own website at www.cranemusic.comand invites other Eastmancomposers to join him in thedissemination of their work.

Bradley Nelson’s (MM ’75,DMA ’76) choral work GladdeThings was performed in Aprilfor the Heritage NationalChoral Festival at theKennedy Center in Washing-ton, DC. Another choral work,All Good Gifts, was broadcastthroughout the world fromVatican Radio in Rome in May.Nelson has signed contractsfor two new choral pieces to bepublished by Plymouth Musicin Fort Lauderdale, FL.

Neil Rutman (MM ’76) was a fel-low at the Montalvo Center forthe Arts in California in Janu-ary and February 2000, wherehe was able to work in prepa-ration for his upcoming FauréCD on Centaur Records. Inaddition, he performed threeBeethoven concerti with theVirginia Symphony under thedirection of Joann Falletta,




Dan Locklair (DMA ’81) hadseveral new compositions pre-miered in the summer of 2000at the Foothills Music Festivalin Winston-Salem, NC. Hispiece Renolda Reflections hasfive movements, each inspiredby the paintings of famousartists. Locklair continues ascomposer-in-residence andprofessor of music at WakeForest University.

Jazz pianist/composer BevanManson (BM ’81, MM ’83)released a new CD titled Mys-tic Mainstream. Hailed as“radical recastings of stan-dards that demand your atten-tion” by Jazz Improv maga-zine, the new album isavailable on the A-Recordslabel. In addition to his posi-tion as director of jazz at theUniversity of California atBerkeley, Manson also tourswith former Turtle IslandString Quartet violinist DarolAnger.

Scott Swope (MM ’81, DMA ’84)was elected treasurer of theGerman Association of VoiceTeachers last April. He willserve in this position for threeyears.

Soprano Jane Adler (BM ’82,MA ’84) was the soloist forRutter’s Magnificat and Han-del’s Messiah in Carnegie Hallin November. Adler also tookpart in an all-Mozart programwith the Masterworks Choraleof Augsburg in Minneapolislast June. She was featured inthe Mass in C minor and Lau-date Dominum from theMozart Vespers.

Current conductor and artisticdirector of the MassachusettsChoral Society and the direc-tor of human resources for thesoftware development com-pany FireSpout, Inc., Jon English (BM ’82, MM ’84)released a new CD in the fall

called K-K-K Katy: Songs fromAmerica’s Wars. He also isworking on a CD collection ofthe songs of Stefano Donaudy.

Bradley Ellingboe (BM ’83), pro-fessor of music at the Univer-sity of New Mexico and direc-tor of music at St. PaulLutheran Church of Albu-querque, is the recipient of anASCAP cash award. The prizerecognizes composers of sym-phonic, chamber, operatic,choral, electronic, liturgical, oreducational music whose cata-logues have a unique prestigevalue.

Violinist Julie Gigante (BM ’83)performed for President Clin-ton at a fund-raising event inJuly hosted by Los AngelesMayor Richard Riordan. Alongwith other principal membersof the Opus Chamber Orches-tra, Gigante played quartetsby Mozart and Haydn at theevent, which raised $1.2 mil-lion for the DemocraticNational Committee.

Stephen Alltop (BM ’85,MM ’86) has been namedmusic director and conductorof the Cheyenne (WY) Sym-phony Orchestra. Last year, heperformed 11 concerts as harp-sichordist and organist withthe Minnesota Orchestra, andmade his Ravinia Festival con-ducting debut in June.

The film Pollock, which pre-miered in September at theNew York Film Festival atAlice Tully Hall, and was sub-sequently released nationallyto critical acclaim, was scoredby composer Jeff Beal (BM ’85).

Violinist Janet Hall Askey(BM ’86) performed in the2000 TV Country MusicAwards in the String Machine.

Saxophonist Audrey Cupples(BM ’86) recently had a Mar-cello concerto arrangement for

soprano saxophone, harpsi-chord, and cello published byAdvance Music. HerMendelssohn octet arrange-ment was premiered at the2000 Saxophone Symposium.Cupples has been promoted to master sergeant in ThePresident’s Own U.S. MarineBand.

After serving as principal cel-list of the Norwegian RadioOrchestra, Natasha Brofsky(BM ’87) has joined thePeabody Trio.

Teresa Cheung (MM ’89)recently extended her contractwith the Evansville (IN) Phil-harmonic to serve an addi-tional two years as its assis-tant conductor. As part of theannouncement, Music DirectorAlfred Savia credited Cheungwith being “one of those rareindividuals who can go fromconducting a first-rate profes-sional orchestra to a fine vol-unteer chorus to an energeticbunch in a youth orchestra –and do it all superbly withoutbatting an eyelash.”

Miriam Kramer (BM ’89) hasreleased two new CDs, TheViolin and Piano Works ofJoseph Achron on the ASVlabel and The Violin and PianoWorks of Ernest Bloch onNaxos, the latter of which wasnamed “Editor’s Choice” in theJune issue of Gramophonemagazine. In addition to herbusy recording schedule,Kramer made her U.S. debutat Lincoln Center in December2000. She paid a special trib-ute to Holocaust victim AlmaRose by performing on Rose’sviolin, a 1757 Giovanni Bap-tiste Guadagnini.

Sophia Park (BM ’89, DMA ’95)was appointed state chairper-son of the Texas Music Teachers Association Colle-giate Chapters Division inJune.

1990sXiaolun Chen (MM ’90) receivedthe 2000 Muriel ShugartMusic Award from the ArtCouncil of Pensacola, FL. Hecurrently serves as director ofchoral activities at PensacolaJunior College and as artisticdirector of the Choral Societyof Pensacola.

Chris Gennaula (BM ’90)recently wrote the incidentalmusic for the play Listen (by L. Cooper) that was performedas part of the 2000 MinnesotaFringe Festival. Earlier thisyear, Gennaula’s full-lengthplay The Cello received a read-ing at the Minneapolis Play-wrights’ Center.

Animal Cracker Suite andOther Poems by Deborah A. Imiolo-Schriver (BM ’90) hasbeen published by SchottMusic Corp. of London. Thesuite is a set of four originalpoems arranged for speechchorus, body percussion, andpercussion ensemble. The suitewas performed in its entiretyfor the first time at the Ameri-can Orff-Schulwerk Associa-tion National Conference heldin Rochester in November. Ona different note, Deborah andher husband, Lou, announcethe birth of their first son,Louis Albert Schriver V, inSeptember.

Vocalist Andrew Parks(DMA ’90) holds a doubleappointment in both the musicand theater departments atCalifornia State University,Fullerton. He also has releaseda CD titled Zing a Little Bing,which is a tribute to BingCrosby. The CD contains newarrangements of classic tunesand is available throughCDnow and Amazon.com.



25S P R I N G 2 0 0 1

The Atlanta SymphonyOrchestra has announced theappointment of John Sparrow(BM ’90) as vice president andgeneral manager.

Ensemble for the Seicento,which includes singer/baroqueguitarist Melissa Fogarty(BM ’91), was named a finalistin the Early MusicAmerica/Dorian Competition2000. As finalists, the groupwill be featured on a CD collec-tion produced by Early MusicAmerica titled Early MusicLive 2000. In addition, Fogartysang the role of Aminta inHandel’s Aminta e Fillide atthe Berkeley Early Music Fes-tival in June.

Pianist Kelly Horsted (BM ’91,MM ’93) is in his sixth year asmusic director of the New YorkCity-based opera company TheCoOperative. In addition, hehelped prepare the cast of theLincoln Center Festival pre-miere of the chamber operaPatience and Sarah. As acoach at the Mannes College ofMusic, he served as musicdirector for a production ofNed Rorem’s Three SistersWho Are Not Sisters.

Greg Magie (BM ’91) has beennamed assistant professor ofmusic and orchestra directorat Graceland University inLamoni, IA. Magie was theassociate conductor of thePasadena Lyric Opera and wasa visiting professor andorchestra director at PomonaCollege (CA). He also served asan organist at the MoorparkPresbyterian Church.

Last July, Jonathan Bayley(MM ’92) was flute instructorfor MUSICAMROSE, a sum-mer music workshop spon-sored by Music Alberta. Bayleyalso recently joined the facultyof the University of Regina,Saskatchewan, as an assistantprofessor of music education.

Violinist Samantha George(BM ’92, MM ’93) performedthe solo in a concerto by KurtWeill with the MilwaukeeSymphony last year. She willbe the soloist in a 2001 per-formance of Glazounov’s concerto with the same orches-tra.

John Milbauer (BM ’92)received the 2001 Laird Lead-ership in Arts Award. Consist-ing of a cash award, a concert,and master classes, the awardrecognizes Milbauer’s signifi-cant contribution to the musicfield.

Cornetto player Kiri Tollaksen(BM ’92) recently recorded amass by Anabile Padovanowith the Huelgas Ensemble,an esteemed early music groupfrom Belgium, that will bereleased on the Sony Classicallabel this year. Tollaksen hasdeveloped an internationalcareer performing on the 17th-century wind instrument,including performancesthroughout North Americaand Europe.

Mark Babbitt (BM ’93) won firstprize in the 1999 National SoloTrombone Competition inWashington, DC. He also isassistant professor of trom-bone and euphonium and conductor of the symphonicband at Central WashingtonUniversity.

Sylvie Beaudette (DMA ’93) cur-rently teaches the senior andgraduate vocal repertoireclasses at Eastman and is aguest faculty member at theUniversité de Sherbrooke inQuebec, Canada, where sheteaches vocal diction. Sherecently recorded two CDs ofmusic by women composerswith the Athena Trio andsoprano Eileen Strempel.

Jacinto Nunez (BM ’93) recentlywas appointed director of

music at the United Presbyter-ian Church of Cuyahoga Falls,OH. For several years, he hastaught K–5 vocal and instru-mental music for the Barber-ton (OH) City Schools, as wellas music education courses atMalone College in Canton,OH.

Kimberly Stein Bell (BM ’94) hasbeen appointed to the positionof second flute with the SeattleSymphony for the 2000–2001concert season. On anothernote, she married Blake Bellin 1996, and gave birth to ababy girl, Olivia, in December1999.

Recently moved from the sec-ond to the first violin section inthe Nashville SymphonyOrchestra, Zeneba Bowers(BM ’94, MM ’96) performedwith the orchestra in CarnegieHall last September.

Organist Bret Dorhout (MM ’94)has been appointed artisticadministrator of the RochesterPhilharmonic Orchestra. Priorto his appointment, he partici-pated in an intensive trainingprogram through an OrchestraManagement Fellowship withthe Saint Paul ChamberOrchestra.

Pianist Mauricio Náder(MM ’94) spent most of 2000touring in Mexico and abroad,appearing several times assoloist with the El SalvadorNational Symphony Orches-tra, premiering LeonardoCoral’s Sonata No. 5 in MexicoCity, and recording two CDs inLondon with violinist EricCahue.

Tracy Cowden (MM ’95,DMA ’99) recently wasappointed assistant professorof piano at Ohio Wesleyan Col-lege, where she teaches classand applied piano, and alsoserves as the departmentalaccompanist.

Deanna Wagner Sala (BM ’95)and Christopher Sala (BM ’94)currently reside in Mansfield,MA. Deanna works in the pub-lic relations office at New Eng-land Conservatory. In March2000 she toured Germany, Aus-tria, and Switzerland as sec-ond bassoonist of the AmericanSinfonietta. Christopher was asemi-finalist at the MauriceAndre Solo Trumpet Competi-tion in Paris in October 2000.

Tuba player Andrew Spang(MM ’95) has released a CDwith the Lyric Brass Quintet.He recently received a mas-ter’s degree in music educationfrom Western Maryland Col-lege and was appointed direc-tor of bands at Lime Kiln Mid-dle School in Fulton, MD. Healso has recorded with theHandel Choir of Baltimore andwas appointed director ofmusic at Westminster UnitedMethodist Church in Westmin-ster, MD.

Katherine Winterstein (BM ’95)was featured as violin soloistin Prokofiev’s Concerto No. 2with the Charlottesville (VA)Symphony last year.

The Commission Projectrecently presented its inaugu-ral Washington State com-poser-in-residence award toGregory Yasinitsky (DMA ’95).Clarkston School District inWashington will host the resi-dency, and Yasinitsky willwork with music teachers andstudents in various ensembles.

Pianist Eric Hachinski (BM ’96)gave debut recitals at theKennedy Center in Washing-ton, DC, last year. In addition,his performance at the GlennGould Studio in Toronto wasbroadcast on CBC radio.

Elizabeth Matchett (BM ’96) wasappointed principal horn of theKansas City Symphony.




Baritone Nathaniel Webster(BM ’96) won the second prizein the prestigious MunichCompetition in September.

Violinist Marisa Polesky(BM ’97) performed a solo inVivaldi’s Autumn Concertowith the Memphis Symphonythis year.

Kenneth Moses (MM ’97)recently completed his fourthyear as assistant professor ofbassoon at the University ofWisconsin at Madison, wherehe also serves as head of thechamber music program andchair of the woodwind depart-ment.

Neil Chidester (BM ’98) wasappointed principal horn of theSpringfield (OH) Symphony.

Melissa Dunne (BM ’98,MM ’00) has won the positionof harpist in the United StatesArmy Field Band.

Maria Rachelle Gerodias(MM ’98) recently performedthe role of Kathy in the Singa-pore Lyric Opera’s productionof The Student Prince. Cur-rently on the voice faculty ofthe University of the Philip-pines College of Music and theUniversity of Santo TomasConservatory of Music, Gero-dias is very active in the clas-sical music scene in Manila.

Thomas Lausmann (MM ’98)served as a coach for the WolfTrap Opera last summer. InOctober, he joined the musicstaff of the Washington (DC)Opera for its production ofParsifal featuring PlacidoDomingo.

The first prize in this year’sCarmel Chamber Music Competition went to violinistJacob Murphy (BM ’98), a member of the Euclid StringQuartet.

DJ Sparr (BM ’98), currently astudent at the University ofMichigan, was a winner of a2000 BMI Student ComposerAward.

Holly Brown (MM ’99) wasappointed principal horn of theAir Force Band of the GoldenWest at Travis Air Force Base,near San Francisco, CA.

Composer Tellef Johnson(BM ’99), currently a studentat The Juilliard School,received his third BMI Stu-dent Composer Award in June,as well as a commission towrite a work for the New Juil-liard Ensemble. The new workwill be premiered at LincolnCenter’s Alice Tully Hall.

John Kaefer (BM ’99) spent thesummer as a composition fel-low at the Yaddo Arts Colony.In addition, he received agrant from the AmericanMusic Center for the premiereof his Psalm 27 for baritonesolo, chorus, and orchestra.The premiere performancewas given by the SummitChorale and the ChamberSymphony of New Jersey andreceived a favorable review inthe Newark Star Ledger,which described the piece as“elegant and assured.”

Kari Capone Kaefer (BM ’99)recently was appointed direc-tor of the Elm City Girls Choirof New Haven, CT. In addition,she is music director at TurkeyHill Elementary School inOrange, CT, and choir directorat Grace Episcopal Church inTrumbull.

2000sSylvia Frasier (MM ’00) is com-pleting a residency as a juniorfellow at the Royal College ofMusic in London. Intended toprovide a starting point for a

performance career, the fellow-ship facilitates concert engage-ments, professional contacts,and introduces the possibilityof management. Frasierreceived her fellowship pub-licly in November from thepresident of the Royal College,His Royal Highness Charles,Prince of Wales.

David Posner (BM ’00) has beenappointed principal horn ofOrchestre Symphonique deQuebec. ❧

Duos& Trios

Margaret S. Meier (BM ’58)received the ASCAP StandardAward for composers for 11consecutive years. Her orches-tral composition MillennialMagic was premiered inNovember by the Claremont(CA) Symphony Orchestra andfeatured Jason Goodman (BM’88) as percussion soloist. Alsoon the program was her Clare-mont Symphony: A ViolinSymphony. Other recent pre-mieres include Meier’s Massfor the Third Millennium inCzechoslovakia in June, whichis scheduled to be released onthe Vienna Modern Masterslabel in early 2001.

Johnny Russo (BM ’66) wasjoined by fellow jazz musiciansDave Remington (son of thelate Professor Emory Reming-ton), Drew Frech (BM ’64), andRiver Campus graduate RenéMogensen (BA ’93) in providingmusic for the Cornell Univer-sity 2000 Reunion in Ithacalast June.

Eileen Ewers Bellino (BM ’53),Ellen Kilpatrick Cone Gratz(BM ’53), Connie Perloff Green(BM ’53) Gabriella Banks(BM ’53), and Grace Butiste

Hepburn (BM ’53) enjoyed amini-reunion in Florida lastyear.

Wendy Agron Gennaula (BM ’90)sang Mozart’s Exsultate, Jubi-late at Como Park (MN)Lutheran Church under thedirection of Thomas Ferry(BM ’90).

Centaur Records has releaseda recording of an opera by PaulStuart (MM ’92) titled The LittleThieves of Bethlehem. Perfor-mance groups on the albuminclude Opera Theatre ofRochester and the EastmanBach Children’s Chorus. Hiswork titled Songs of Winter wasperformed last April by bari-tone Ivan Griffin (MM ’86) andpianist Rose Grace (DMA ’96).

Eileen Strempel (BM ’88) andSylvie Beaudette (DMA ’93, cur-rent ESM faculty) havereleased their new CD, WithAll My Soul, which featuresthe vocal music of severalwoman composers includingLili Boulanger and Marie deGrandval. The disc is availableon Amazon.com.

Figures in a Landscape, thedebut CD of Ingrid Gordon(BM ’92) received a positivereview in the August edition ofPercussive Notes. The album,released on the Centaur label,features new works for fluteand marimba by Garth Farr(MM ’92), Robert Paterson (BM’95), the late Alton Clingan(BM ’92) and current Eastmanfaculty member Robert Morris.Ingrid was a special guestartist at the 21st Annual NewMusic & Art Festival at Bowl-ing Green State University inOhio, where she performedworks by Mikel Kuehn (MA ’93PhD ’95) and current Eastmancomposition student DennisDesantis.

Jeffrey Letterly’s (BM ’95) cham-ber opera O Moon was pre-



27S P R I N G 2 0 0 1

miered in Chicago in May. Theproduction, which wasmounted as part of his mas-ter’s degree program atColumbia College (IL), fea-tured his wife, Lara Philip (BM’95). In October, Letterly andPhilip were featured in per-formance artist Joan Dickin-son’s Drove Road.

Joel Schoenhals (MM ’95, DMA’98) and Eva Stern (MM ’97)received a 2001–2002 seasontouring grant from the VirginiaCommission for the Arts. Inaddition, they received a grantfrom the Barlow Foundation to

commission a viola and pianosonata from composer PeterKnell. Last spring, Stern andSchoenhals performed recitalsat James Madison University,Pacific Lutheran University,Vanderbilt University, andOhio State University.

The late Eastman alumnusand Professor of Clarinet PeterHadcock’s (BM ’61) The Work-ing Clarinetist, a collection ofclarinet excerpts from theorchestral repertoire accompa-nied by extensive notes, hasbeen posthumously publishedby Roncorp Publications. Sub-

titled Master Classes withPeter Hadcock, the work wascompiled by Hadcock from theweekly seminars and summerworkshops he gave during histhree years at Eastman andrepresents a distillation of 30years of professional experi-ence, including a 25-yeartenure with the Boston Sym-phony Orchestra. Brought tofruition by Hadcock’s widowAline Benoit (BM ’74), the bookalso was edited by MarshallBurlingame (MM ’66), principallibrarian of the Boston Sym-phony, and Bruce Ronkin(BM ’79), publisher of Had-

cock’s previous work, Orches-tral Studies for E-flat Clarinet.In celebration of the release ofthe book, more than 100 ofHadcock’s friends and formerstudents – including Sandy Hal-berstadt (BM ’92) and AmandaMcIntosh (BM ’94) – gatheredin Boston in November 1999for a memorial concert titled“Clarinet Cabaret.”

Harold Van Schaik (MM ’88) per-formed the Concerto for BassTrombone and Orchestra byEric Ewazen (BM ’76) with theFlorida Orchestra in Novem-ber. ❧

F A C U LT Y N O T E S

Ohio University has namedJean Barr, professor of pianoaccompanying and chambermusic, one of its prestigiousRufus Putnam VisitingProfessors for this academicyear. She also recently wasappointed co-chair (withTimothy Ying) of Eastman’s newDepartment of ChamberMusic. Her past year includedconcerts, lectures, and masterclasses at the InternationalWorkshops in Graz, Austria, atLawrence (WI) University, andat the Montana State MusicTeacher’s AssociationConvention.

Professor of Flute Bonita Boydgave a recital in Decemberwith Professor of GuitarNicholas Goluses as part of theSmith House Concert Series inAmherst, MA.

Professor of Percussion JohnBeck was a clinician, soloist,and conductor at the Bach Per-

cussion Seminar in Grozjian,Croatia, in August.

Norman Carey, assistant profes-sor of theory, was a recipient ofthe Society for Music Theory’sEmerging Scholar Award, pre-sented in Atlanta at the 1999conference of the society. Theaward was presented in recog-nition of the article “Regions:A Theory of Tonal Spaces inMedieval Treatises,” publishedin the Journal of MusicTheory, 40/1, co-authored withDavid Clampitt.

This fall, Professor of ViolinCharles Castleman gave concertsand master classes at DukeUniversity, the University ofNorth Carolina at Greensboro,Converse (SC), the Universityof South Carolina, and inMemphis. He was a featuredperformer at David Amram’s70th birthday celebration atthe Paramount Arts Center inWestchester County, NY. He

also gave recitals in Iowa,Nebraska, Texas, and Min-nesota.

Susan Wharton Conkling, associ-ate professor of music educa-tion, recently completed herwork in The Carnegie Academyfor the Scholarship of Teachingand Learning (CASTL). As aCarnegie Scholar, she focusedon the relationships betweenthe practices of professionalmusicians and the curriculumand pedagogy of the conserva-tory or school of music.

As part of the 2000 Bowdoin(ME) Music Festival last July,faculty cellists Steven Doaneand Rosemary Elliot, guitaristNicholas Goluses, soprano andCommunity Education Divi-sion faculty member PamelaKurau, and hornist Peter Kurauperformed with other musi-cians in a program includingthe works of Schubert, Beaser,Schulhoff, and Ravel.

MidAmerica Productions high-lighted the artistry of guitarprofessor Nicholas Goluses inits concert series “By andAbout Greeks” in October. Theprogram included New Yorkpremieres of works by DinoConstantinides and JosephSchwanter as well as music ofClaude Debussy and BenjaminBritten.

Associate Professor of ClarinetKen Grant was the featured per-former in the opening concertof Azusa (CA) Pacific Univer-sity’s Artist Concert Series inSeptember. Joined by severalother musicians, he performedworks of Schubert, Bach, andMozart.

John Greer, associate professorof opera and music director ofEastman Opera Theatre,received a commission to com-pose a one-act children’s opera.The work, titled The Star




Child and based on OscarWilde’s fairy tale of the samename, was commissioned bythe Canadian Children’sOpera Chorus and MusicCanada Musique 2000 andpremiered in May in Toronto.Greer also spent the summeras general manager and headof the music staff for the operaworkshop program at BrevardMusic Center, where he con-ducted performances of TheGondoliers and Brigadoon.

Professor of Music EducationRichard Grunow offered “AnOverview of Pedagogy Basedon Gordon’s Music LearningTheory” at the American Orff-Schulwerk AssociationNational Conference in Roch-ester in November. He alsogave a lecture on “TeachingMusic Reading,” to the MTNAand Rochester Piano TeachersGuild during the same month.

Associate Professor of TheoryDaniel Harrison was named edi-tor of Music Theory Spectrumfor volumes 23–25. In his roleas the University of Rochestercarillonneur, Harrison wrote anew clock chime tune for theHopeman Memorial Carillonat the River Campus in honorof the University’s sesquicen-tennial.

Assistant Professor of Fluteand Piccolo and Coordinator ofWoodwind Chamber MusicAnne Harrow received acclaimin the Lake Placid News forher solo with the Lake PlacidSinfonietta in Jolivet’s Con-certo for Flute and Strings.She also performed solo piccolowith the Buffalo PhilharmonicOrchestra in October.

This spring, Associate Profes-sor of Theory Dave Headlam isteaching a webcasting coursefor the Arts Leadership Pro-gram and will start an ESMweb-radio station in the

process. Headlam also is partof a proposed Music ResearchLab. The lab will act as anumbrella organization for aseries of research projectsdrawing on the combined tal-ents of musicians and scien-tists. See http://theory.esm.rochester.edu/headlam formore details.

Last fall, Associate Professorof Organ David Higgs gave con-certs and master classes incities around the UnitedStates including Baltimore,Los Angeles, Schenectady, St.Louis, San Francisco, andSeattle.

Donald Hunsberger, professor ofconducting and ensembles anddepartment chair, was fea-tured in a July article in theHouston Chronicle, which pro-filed his conducting and inter-est in compiling scores forsilent films. Hunsbergerdirected the Houston Sym-phony in July, accompanyingtwo silent movies. The articlementions that Hunsberger hasrejuvenated interest in morethan a dozen silent films andhas conducted the scores withapproximately 50 North Amer-ican orchestras. In addition, hereceived the 2000 MidwestMedal of Honor in recognitionof his contributions to musicperformance and educationduring the Eastman WindEnsemble’s performance at theInternational Midwest Orches-tra and Band Clinic in Decem-ber.

Last August, Eastman’s newjazz trumpet professor ClayJenkins was featured with theClayton-Hamilton Jazz orches-tra in Lexus Jazz at the Holly-wood Bowl. The Los AngelesTimes described Jenkins’ soloas “a lyrical tribute to LouisArmstrong.”

Mark Kellogg, associate profes-sor of euphonium and trom-

bone, and coordinator of brasschamber music, appeared aseuphonium soloist with theRochester PhilharmonicOrchestra on a series of Julyconcerts. In addition, hejudged and presented masterclasses at the Leonard FalconeInternational Euphonium andTuba Competition in August.

Associate Professor of Ethno-musicology Ellen Koskoff waselected president of the Societyfor Ethnomusicology (SEM).Founded in 1955 to promoteresearch, study, and perform-ance of music in all historicalperiods and cultural contexts,SEM consists of more than2,000 members, includingmusicologists, anthropologists,folklorists, and linguists.Dr. Koskoff will serve for afour-year term.

Professor of Musicology KimKowalke’s concert sequence of“Street Scenes,” derived fromKurt Weill’s American operaStreet Scene, was premiered byLeonard Slatkin and the NewYork Philharmonic.

Associate Professor of HornPeter Kurau appeared as soloistwith the Dartmouth CollegeWind Symphony in November.The program was a tribute totheatrical music of the past400 years.

Steve Laitz, assistant professorof theory, currently is develop-ing the aural skills and 19thand early 20th century writtencurricula for Eastman’s newundergraduate core curricu-lum. He currently is workingat Eastman in the analysisand performance course, andat the Chautauqua Institution,where he also served on thepiano faculty.

Ralph Locke, professor of musi-cology and musicology depart-ment chair, published two arti-cles last year: “The Religious

Works [of Berlioz]” in TheCambridge Companion toBerlioz, and “Musical Exoti-cism and Orientalism: Prob-lems for the Wordly Critic” inEdward Said and the Work ofthe Critic: Speaking Truth toPower.

Brad Lubman, assistant profes-sor of conducting and ensem-bles, was chosen to be assis-tant conductor to PierreBoulez for his workshop inCarnegie Hall in November. Inthe last year, Lubman hasbeen a guest conductor withEnsemble Modern, the Pitts-burgh New Music Ensemble,and the Saarbrücken RadioOrchestra, with whom herecorded the music of FredericRzewski in August. His compo-sition Ranting and Ravingwas premiered under his dir-ection by Eastman’s MusicaNova at New York City’sCooper Union in February2000.

Professor Emeritus of Musicol-ogy Alfred Mann edited TheRosaleen Moldenhauer Memo-rial, Music History from Pri-mary Sources: A Guide to theMoldenhauer Archives. Span-ning the history of Westernmusic, this book has been pub-lished by University Press ofNew England. The archivesrepresent the most compre-hensive collection of manu-scripts and other sources for the study of music everassembled by a single individ-ual.

The Alabama SymphonyOrchestra, which gave a con-cert last September with cel-list Yo-Yo Ma, also featuredEastman Professor of Trom-bone John Marcellus, who wasspecially invited to perform.According to a critique inMusic Review, Marcellus’trombone solo gave Ravel’sBolero “its trademark sultrysensuality.”



29S P R I N G 2 0 0 1

Acting Dean of AcademicAffairs and Associate Profes-sor of Theory Elizabeth Marvinhas been elected president ofthe Society for Music Theory.She recently co-authored twoarticles, “The Effect of KeyColor and Timbre on AbsolutePitch Recognition in MusicalContexts” for Music Perceptionwith Alexander Brinkman and“Early Childhood Music Edu-cation and Predisposition toAbsolute Pitch: Teasing ApartGenes and Environment,” forthe American Journal ofHuman Genetics with PeterGregersen, et al. She continueswork on her textbook, TheMusician’s Guide to Theoryand Analysis for W.W. Norton(with Jane Clendinning) andrecently signed a contract for acompanion ear-training vol-ume.

Paul O’Dette, associate profes-sor of conducting and ensem-bles, presented a concert ofmusic for lute and guitar atNew York City’s MetropolitanMuseum of Art in December.As a preview of the concert, hewas featured in an illustrationin The New Yorker and wascited in the same publicationas “America’s most prominentlutenist for over a decade.”

In addition to numerousengagements throughout theUnited States, Professor ofPiano Rebecca Penneys pre-sented concerts and masterclasses in Bali, Thailand,Korea, and China last Apriland May. In addition, she trav-eled to Brazil and Colombia inNovember to perform a seriesof solo recitals.

The American Society of Com-posers, Authors and Publish-ers (ASCAP) presented awardsto Professor of SaxophoneRamon Ricker and to AssociateProfessor of CompositionAugusta Read Thomas. The mon-etary awards were based on

the unique value of their original compositions andrecent performances of theirworks.

Professor of Conducting andEnsembles Mendi Rodan wasnamed professor emeritus ofthe Academy of Music inJerusalem in September. Alsoin September, he led the IsraelSymphony Orchestra in a con-cert series that included thefirst performances of the musicof Richard Wagner to be givenin Israel. Many of the land-mark concerts were covered byworldwide television and radionetworks.

At the Society for Music The-ory conference in Atlanta thispast November, Dean of Grad-uate Studies and AssociateProfessor of Theory Marie Rolfdelivered the opening lectureof a panel on “Preparing anEffective Tenure Case.” In Jan-uary and February of 2000,she spoke on Mozart in con-junction with the concertseries A. Mozart Fest in Austinand also at the University ofNorth Texas in Denton. AtTrinity University in SanAntonio, she lectured on“Impressionism and Symbol-ism: Correspondences inMusic, Painting, and Litera-ture.”

Numerous orchestras in theUnited States and abroad thisyear will perform the music ofChristopher Rouse, professor ofcomposition. His music hasbeen programmed by the NewYork Philharmonic, the Pitts-burgh Symphony, the AtlantaSymphony, the Orchestre deParis, the Vienna Symphony,the BBC Symphony, and oth-ers. In May, the Chicago Sym-phony will present the worldpremiere of his clarinet con-certo, with Larry Combs (BM’61) as soloist and ChristophEschenbach conducting. Rousereceived an honorary doctorate

from State University of NewYork at Geneseo at its 2000commencement.

Assistant Professor of Musicol-ogy Martin Scherzinger pre-sented two lectures titled“Expanding the Canon: Musi-cal Representations of Self andOther” and “Speculations onFeminine Modes of Hearingand their Relation to Femi-nism” at November’s Societyfor Music Theory conference inToronto, Canada. In addition,his article “Feminine/Feminist:In Quest of Names with NoExperiences (Yet)” has beenaccepted for publication inMusic and Postmodernism. Hiscomposition Across the Danc-ing Ground for 12 string play-ers was performed in Novem-ber by the Ensemble Noir ofToronto.

A paper titled “A Hybrid Com-positional System: Pitch-ClassComposition with Tonal Syn-tax” by Assistant Professor ofTheory Ciro G. Scotto has beenaccepted for publication byPerspectives of New Music.Scotto presented a well-received paper titled “ConflictBetween Pitch Class and Tim-bre Functions in Metallica’s‘Enter Sandman’ ” in a specialsession of the Society forMusic Theory Popular MusicGroup.

Professor Emerita Kerala Snyder spent one month lastsummer at the Liguria StudyCenter for the Arts andHumanities in Boglasco, Italy,where she edited a book titledThe Organ as a Mirror of Timefor the Göteborg Organ ArtCenter in Sweden.

Assistant Professor of GermanReinhild Steingröver delivered alecture titled, “Not Fate, JustHistory” at the University ofWales at Swansea in October.Her speech will be publishedby the University of Wales

Press, Swansea. During thesame month, Steingröver alsoorganized a conference atSUNY Buffalo titled “Not SoPlain As Black and White: AnInterdisciplinary Examinationof Afro-German History andCulture.” She recently wasgiven a grant from theThyssen Foundation in Ger-many to participate in aMarch seminar on post-dra-matic German and Austriantheater at Washington Univer-sity, St. Louis.

The Meadowmount School inNew York’s Adirondack Parkhas established an award tohonor the memory of the lateCatherine Tait. Presented eachyear to the student whoembodies Meadowmount val-ues matched with talent andambition, The Tait Award pro-vides a full scholarship toattend Meadowmount.

David Temperley, assistant pro-fessor of theory for the2000–2001 academic year, hasjust completed a book, TheCognition of Basic MusicalStructures, which will be pub-lished by MIT Press.

At last summer’s opening con-cert at Blossom Music Center,the Cleveland Orchestra,under the direction of JahjaLing, premiered Associate Pro-fessor of Composition AugustaRead Thomas’ Songs in Sorrow.Commissioned by Kent StateUniversity and The ClevelandOrchestra, the piece expressesThomas’ feelings about warand peace. In a preview articlethat appeared in the June 29edition of the Cleveland PlainDealer, Thomas told reporterand music critic DonaldRosenberg that the centermovement is “extremelyaggressive” because “when youare reflecting tragedy orhuman devastation, it is irre-sponsible to have a piece of




Kris Bezuidenhout, a student ofRebecca Penneys, made hisNew York debut in WeillRecital Hall in January.

Soprano Nicole Cabell, a stu-dent of John Maloy, was a win-ner in the Buffalo regionalauditions of the MetropolitanOpera National Auditions. Shewill continue on to the districtauditions in Pittsburgh.

Lisa Campi, doctoral student ofRebecca Penneys, wasappointed instructor of pianoat Fort Lewis College inDurango, CO.

Pianist Louise Chan, a student ofThomas Schumacher, won firstprize in this year’s CanadianNational Music Competition.

In August and October, violin-ist Yuri Cho, a doctoral studentof Zvi Zeitlin, gave recitals inSeoul, Korea. She also was fea-tured as the cover story in theOctober issue of the Koreanmagazine The Journal ofMusic.

Graduate composition studentTodd Coleman received a com-mission from the PenfieldMusic Commission Project andFairport Commissions to writea new work for wind ensemble.The work, titled Mercurial,was premiered in November atthe Hochstein School of Music.In addition, his new doublebass concerto SivaSakthi waspremiered by Ossia in Octoberand was given a second per-formance by the University ofRochester Chamber Orchestratwo weeks later. The piece alsoearned him a $5,000 awardfrom the Barlow Foundationfor Music Composition atBrigham Young University.

Organist Matt Curlee, who stud-ied as an undergraduate withDavid Higgs, recently releaseda CD titled An Austrian Neu-rotic in Graf Kaiserling’s Court– organ transcriptions of J.S.Bach’s Goldberg Variationsand Gustav Mahler’s 5th Sym-phony. Bernard Durman of TheDiapason claims “… this CDcontains some of the finest

Doctoral musicology studentAyden Adler has completed herthird season playing horn withthe Rochester PhilharmonicOrchestra.

Andrew Bauer, a master’seuphonium student of MarkKellogg, held a weeklongresidency in Singaporefollowing the Eastman WindEnsemble’s June tour of Asia.During this residency, hepresented master classes forschool-age students andperformed a full recital.

Doctoral music education stu-dent Stephen Benham has beenappointed visiting assistantprofessor of music education atDuquesne University for the2000–2001 school year. Hespent the summer in Ukraine,working with teachers on aproject seeking to developmusic education in EasternEuropean schools. On anothernote, he conducted a recordingrecently released by theNational Christian Symphonyof Ukraine.

Bach playing I have everheard, from any artist, on anyorgan, period!” He goes on tosay, “… in the Mahler Finale,as with Curlee’s Bach, we arewitness to a highly skilledtechnician and artisan atwork. On both counts, Bachand Mahler, Matt Curlee isbatting 1000. Bravo!” Mattreceived his bachelor’s degreein organ performance fromEastman in 1999, and cur-rently is pursuing a master’sin music theory at Eastman.

Pianist Janelle Fung, an under-graduate student of NelitaTrue, received second prize aswell as the Audience Favoriteprize in the 1999 MontrealSymphony Orchestra Competi-tion. In addition to her awardsat the competition, she wasengaged as concerto soloistwith the Quebec SymphonyOrchestra.

Doctoral music education stu-dent Robert Gardner conductedthe New York State SchoolMusic Association Buffalo-area

S T U D E N T N O T E S

utter beauty.” Rosenberg alsonoted that the “surroundingmovements abound in lyricismand colorful washes of soundthat have become Thomastrademarks.” Thomas won theSiemens Prize in Munich, Ger-many, in July 2000. Among themany performances of herworks last year, the BerlinPhilharmonic with soloistDaniel Barenboim gave theworld premiere of Aurora inJune. Barenboim gave the U.S.premiere of the same piecewith the Chicago Symphony inSeptember.

Nelita True, professor of piano,received the University ofRochester’s 1999–2000 Eisen-hart Award for Excellence inUndergraduate Teaching. Shegave a recital and master classat the Oklahoma Baptist Uni-versity in October, served asjudge and lecturer at the Ari-zona Young Artists Piano Fes-tival in Phoenix, presented amaster class at the KansasState Music Teachers’ Conven-tion, and served as performer,judge, clinician, and panelistat the Hawaii State MusicTeachers’ Convention in Hon-olulu in November.

At the Montreal ChamberMusic Festival in June 2000,Professor of Double Bass JamesVanDemark received the PrixOpus “Concert of the Year”award from the Conseil Quebe-cois de la Musique for his per-formance in Stravinsky’s L’His-toire du soldat. In October heperformed the world premiereof Eastman student composerTodd Coleman’s SivaSakthi, aconcerto for double bass andorchestra with Ossia. He per-formed the piece for a secondtime later that month with theUniversity of Rochester Cham-ber Orchestra.

Distinguished Professor of Vio-lin Zvi Zeitlin will tour Englandin March, traveling to theRoyal Academy of Music, theGuildhall School of Music andDrama, the Yehudi MenuhinSchool, and the Royal North-ern College of Music. Duringthe same month, he will givemaster classes in Japan at theInternational Festival in Yoko-suka and in the city of Kyoto.In May he plans to tour Chinawith faculty piano professorsNelita True and Fernando Laires.Later in the summer, he willhave engagements in Califor-nia, Israel, and Canada. ❧



31S P R I N G 2 0 0 1

High School All-State Orches-tra in November. He also con-tinues to conduct the Philhar-monia and Junior orchestrasat Rochester’s HochsteinMusic School.

Clay Greenberg, music theorystudent and gamelan teachingassistant, traveled to Bali,Indonesia, in July to studyBalinese drumming, genderwayang (music for shadowpuppet plays), and compositionwith I Nengah Sarga. Duringhis five weeks on the island, healso studied the relationshipbetween the music of Bali andits Hindu religion.

Nathan Heleine, a jazz saxo-phone student of RamonRicker and David Demsey, wona scholarship award from theNational Alliance for Excel-lence in Performance in thefall. As part of the prize, heperformed in Weill RecitalHall, Carnegie Hall.

Last May, Jonathan Herbert wasone of three finalists in theYoung Artists division of theTUBA (Tubists UniversalBrotherhood Association) SoloCompetition held at the Inter-national Tuba/EuphoniumConference in Regina,Saskatchewan. Herbert is aeuphonium student of MarkKellogg.

Pianist Kozue Jinnouchi wasthe winner of the first Millen-nium Carnegie Hall Project,which awarded her a perform-ance in Carnegie Hall withpianist Ursula Oppens. At thisconcert, she premiered worksof Rzewski and Hannibal.

Na Jeung Kim, a master’sdegree student of CharlesCastleman, was chosen as oneof eight violinists for the newSeoul Chamber Orchestra.

Doctoral student Jonathon Kirk,who studies with Mark Kel-

logg and is currently on leavein Belgium, received a fellow-ship from the Ministry of Edu-cation of Flanders to studycomposition at the LogosFoundation in Ghent, an insti-tute founded in 1968 to pro-mote new music in Belgium.

Violinist Elana Klotz, student ofZvi Zeitlin, was a winner inEastman’s 2000 ConcertoCompetition. She performedMozart’s Concerto in D in Octo-ber with the Eastman SchoolSymphony Orchestra underthe direction of Volker Christ.

At the 8th Chautauqua Inter-national Piano Competitionheld last summer, two ofRebecca Penneys’ students –Ivanka Driankova and Ilan Levin– won first and third prizes,respectively. Another one ofher students, Brad Parker, washonored for the best perform-ance of a 20th-century work.

In an August New York Timesfeature article titled “Debatingthe Mozart Theory,” doctoralmusic education student LindaNeely received mention for herwork as an early childhoodmusic consultant in the WhitePlains (NY) School District.Sponsored by the Texaco Cor-poration and Eastman, Neely’sproject includes the training oflocal music teachers to betterpresent music to pre-kinder-garten students, making itmore accessible, and integrat-ing it into other areas of earlyeducation.

Flutist Melissa Ngan won theposition of principal flutist inthe New York String Orches-tra Seminar at Carnegie Hallin December.

In October, clarinetist and the-ory teaching assistant Jun Qianperformed with the NorthAmerican/Asian-AmericanElite Youth Orchestra. He wasa featured soloist in the Clar-

inet Concerto No. 1 in F minor,Op. 3, by Carl Maria von Weber.

Graduate student pianistThomas Rosenkranz is the sub-ject of “Career Spotlight” onthe Oberlin College web pageas an outstanding alumnus. Inaddition to performing inJapan and Taiwan with theEastman Wind Ensemble, herecently was a guest artist atthe University of Oregon’s Fes-tival for the Millennium,where he collaborated withcomposer George Crumb andgave a recital of new composi-tions. In addition, he wasselected as the official pianistfor vocalists performing in theKurt Weill Gala Concert atNew York City’s 92nd Street Y.

Sarah Rhee, an undergraduatepiano student of Nelita True,received the second prize inthe International SteppingStone Competition.

Pianist Omri Shimron, a studentof Rebecca Penneys, receivedthe third prize in the 2000Josef Hofmann Competition atthe University of South Car-olina.

Pianist Richard Shuster, a doc-toral student of Rebecca Pen-neys, has been appointedassistant professor of music atIthaca College.

Solomia Soroka, a DMA studentof Charles Castleman, gave adebut recital last Februarywhich was reviewed in theWashington Post as being “oneof the finest performances …of Sarasate’s Zigeunerweisen.”The article went on to say thatshe is “a superbly equippedviolinist.”

Doctoral student Zhe Tangreceived the silver medal inthe First Grieg InternationalPiano Competition held inOslo, Norway, in September.Tang was among more than 60

pianists from countries includ-ing Russia, the United States,Germany, China, Norway,Japan, and Korea. As winner,he received a cash prize, aswell as a series of concertengagements in the UnitedStates, Asia, and Europe,including Bergen, Norway (thebirthplace of Edvard Grieg).

Tigran Vardanian, a master’sdegree student of Zvi Zeitlin,performed the Sibelius violinconcerto with the Greece Sym-phony under David Fetler inOctober. He also was chosen bya faculty panel to perform as asoloist with the RochesterPhilharmonic Orchestra in aspecial December concert fordonors.

Thomas Yee, a student of NelitaTrue, received the first prize inthe 2000 Josef Hofmann Com-petition at the University ofSouth Carolina. In addition toa cash award, Yee won a con-tract to appear as soloist withthe Augusta Symphony twiceduring the 2000–2001 concertseason. ❧

S T U D E N T N O T E S

C O R R E C T I O N S

ClarificationWhile Steven Wasson (BM ’69,MM ’71) was studying for hisdoctor of musical arts degreeat the University of CincinnatiCollege-Conservatory, DarrellHandel (PhD ’69) was his aca-demic adviser. Handel becameWasson’s dissertation adviserfollowing the death of his firstadviser, Allen Dwight Sapp II.

CorrectionThe 1999–2000 Report onGiving incorrectly cited thatGeorgia Murphy had beenrecognized via gifts made inher memory. The accuratedesignation for gifts made inrecognition of Mrs. Murphy ishonorary. We regret the error. ❧

Summer Vocal SeminarJune 23-26 Carol Webber and William McIver

The Practical HarpistJune 24-29 Kathleen Bride with guest Ray Pool

Designing Early Childhood MusicProgramsJune 25-29Donna Brink Fox

Basic Web Site ConstructionJune 25-29Ciro Scotto

Developing PerformanceStandards for the NationalStandardsJune 25-July 6Richard Grunow

Measurement and EvaluationJune 25-July 6 Richard Grunow

History and PhilosophyJune 25-July 13Louis Bergonzi

Jazz Guitar WorkshopJuly 3-7Gene Bertoncini

Kimberly ProjectJuly 3-August 24Kathy Robinson

Jazz Teachers WorkshopJuly 7-8 Fred Sturm, director

Eastman Choral Institute:Week I - Choral Conducting:Artistry, Vocal Pedagogy,Musicianship, and MovementJuly 9-13William Weinert, Lawrence Doebler,Robert McIver, and Monica DaleWeek II - Choral ConductingWorkshopJuly 16-20Dale Warland and William Weinert

Developing Children’s ChoirsJuly 23-27Judith Willoughby

Dalcroze for Music TeachersJuly 9-13Monica Dale

Developing Musicianship Skillsfor TeachersJuly 9-13Richard Grunow

Instrumental TechniquesJuly 9-13Richard Grunow

Leadership Institute:Course I - for New LeadersJuly 9-13James Undercofler

Leadership Institute:Course II - for ExperiencedAdministratorsJuly 16-20James Undercofler

A Multicultural Music Sampler:Songs, Folktales, Puppets,Games, Dances & Instrumentsfrom around the WorldJuly 9-13Ellen McCullough-Brabson

Tritone Jazz Fantasy CampJuly 9-13(vocal and instrumental)Jim Doser and Fred Sturm, directors

Aesthetic Education InstituteJuly 9-14Elizabeth Stewart

Continuo Playing forKeyboardistsJuly 13-17Arthur Haas

Vocal Techniques in BaroqueLiteratureJuly 13-17Julianne Baird

Rhythmic Training andPercussion Ensemble for theElementary School MusicTeacherJuly 16-20Jim Solomon

Curriculum SeminarJuly 16-August 3 Susan Wharton Conkling

Teaching Rhythmic Concepts inUndergraduate Music Theory(joint project with the College MusicSociety) July 23-27John Buccheri

Summer Piano Festival: PianoSeminar for TeachersJuly 23-28Douglas Humpherys, director

Orff Schulwerk Teacher TrainingCourse, Levels I & IIIJuly 23-August 3Mary Helen Solomon, Jim Solomon,Karen Medley, Janet Robbins, DonnaBrink Fox (coordinator)

ImprovisationJuly 30-August 3Christopher Azzara

Music Preservation WorkshopJuly 30-August 3Alice Carli

Music HorizonsJune 24-July 13 Ruth Cahn, director

Summer Jazz Studies(vocal and instrumental)June 24-July 6Fred Sturm, director

Summer Wind EnsembleJuly 15-21 Jim Doser, Charles VanBuren, andCorky Fabrizio, directors

Summer Piano Festival:Eastman Young ArtistsInternational Piano Competition July 20-28 Douglas Humpherys, director

Summer Piano Festival:Piano Seminar for StudentsJuly 29-August 3 Douglas Humpherys, director

Jazz Composers WeekendJune 30-July 1 Fred Sturm, director

Music Technology Weekend June 30-July 1 David Headlam and Ciro Scotto, directors

Eastman-Hochstein Guitar Campat Hochstein Music SchoolJune 25-29 John Wiesenthal and Petar Kodzas,directors

Chamber Music Discovery at Hochstein Music SchoolJune 25-29 Ying Quartet, directors; LouisBergonzi, guest presenter

Middle School Band CampJune 25-July 6 (excluding June 29 andJuly 4)Jim Doser and Charles VanBuren, directors

Middle School Choral CampJune 25-July 6 (excluding June 29 andJuly 4)Karie Templeton, director

Perform and study at Eastman this summer

For more information on these and other summer programs at Eastman, call 1-800-246-4706, e-mail us at [email protected], or visit our web site at www.rochester.edu/Eastman/summer

CED Harp WorkshopJuly 23-27 Nan Gullo Richmond, director

Eastman Bass DayJune 30 Jeffrey Campbell and JamesVanDemark, directors

PROGRAMS FOR HIGH SCHOOL STUDENTS

PROGRAMS FOR MIDDLE AND HIGH SCHOOL STUDENTS (non-residential)

PROGRAMS FOR ADULTS

PROGRAMS FOR YOUTH AND ADULTS

2001sessionsummer

According to School legend, the year was 1952.

Erich Leinsdorf was conducting the RPO in the Eastman Theatre.

Tchaikovsky’s 1812 Overture was on the program.

Much to the chagrin of School administrators, a small group of rogue

students lay in wait on the Theatre’s catwalk. Armed with dormitory

pillows, they listened for the crash of the cannon shots, releasing

thousands of feathers onto the unsuspecting audience below.

MANY HAVE TAKEN CREDIT. NO ONE WAS CAUGHT.

For nearly 80 years, the Eastman School of Music has been inspiring

artistry, scholarship, leadership...and even a little mischief in its students.

Support the Eastman Fund today and help keep the legends alive.

The Eastman School of Music T 1-866-345-2111 T www.rochester.edu/Eastman/

E A S T M A N S C H O O L O F M U S I C - L E G E N D # 0 0 1 9 5 2

University of RochesterEastman School of Music26 Gibbs StreetRochester, NY 14604-2599

NON-PROFIT

ORGANIZATION

U.S. POSTAGE

PAID

PERMIT NO. 780ROCHESTER, NY

Eastman’s commitment to its alumni is envisioned as neverbefore. We are designing a program that will providealumni with a vibrant connection to the School, throughenhanced communications, expanded programming, andgreater opportunities for alumni to interact with each otherand with current students.

The first order of business is to make sure we can contact you!

We are working with Bernard C. Harris PublishingCompany Inc., to produce a new Eastman School of MusicAlumni Directory.

The directory will provide a complete and up-to-datereference of Eastman alumni, and serve as a helpful tool tolocate friends and former classmates.

Your participation is vital!

You soon will receive a questionnaire in the mailrequesting confirmation of your contact information.The questionnaire is your opportunity to be accurately

listed in the directory. It is important that yourquestionnaire be completed and returned to HarrisPublishing before the deadline.

Once received, your information will be edited andprocessed for inclusion in the directory. At a later point inthe project, you will be contacted by Harris Publishingdirectly to verify that your data is absolutely correct.If you prefer not to be listed in the directory, please contactthe Office of Alumni Relations in writing as soon aspossible.

Please stay in touch with us regularly!

The directory is a wonderful opportunity tocomprehensively update our alumni records every fiveyears. Equally important, we encourage you to contact usat any time with updated address and employerinformation. Please call, write, or e-mail the Office ofAlumni Relations any time your personal data changes.Our Alumni web site, once completed, will include an on-line update form for your convenience.

Office of Alumni RelationsEastman School of Music26 Gibbs StreetRochester, NY 14604

Phone:(716) 274-1043

e-mail:[email protected]

Thank you for your support!

alumni volunteer opportunities • continuing education for alumni

alumni network • alumni web siteregional alumni events • biennial alumni weekend

SPRING 2001 - Eastman School of Music - · department Chair Ramon Ricker, left; and Associate...

Documents

Transcript of SPRING 2001 - Eastman School of Music - · department Chair Ramon Ricker, left; and Associate...