Words of Note, 2005: Performance Maximus

Words of Note{ T h e M a g a z i n e o f T h e U n i v e r s i T y o f T e x a s s c h o o l o f M U s i c

PerformanceMaximus

UT Wind Ensemble performs New York City premiere of Corigliano’s “Circus Maximus” at Carnegie Hall

f a l l 2 0 0 5

school of MUsiccollege of fine arts

The University of Texasat austin

DirectorB. glenn chandler

Associate DirectorsMichael c. Tusascott s. hanna

Assistant to the DirectorWinton reynolds

Director of Graduate StudiesDavid neumeyer

Director of Undergraduate Studiessuzanne Pence

WorDs of noTevolume 19:

sept. 2003–aug. 2005

Editor/DesignerJohn Wimberley

Public Affairs CoordinatorDerek Baca

Contributing WritersDerek Baca

suzanne hasslerJacqueline hofto

Brette leaWinton reynolds

Jamey smithMichael Tusa

Cover Designnancy McMillen,

nancy McMillen Design

Cover Photographchris lee Photography

Words of note The University of Texas at austin

school of Music1 University station e3100austin, Texas 78712-0435

www.music.utexas.edu

Sarah and Ernest Butler Give $2 Million ......................4

Gift to endow new opera center.

George Crumb receives King Award .............................6

Musical icon serves as composer-in-residence.

Renée Fleming gives a master class to remember ............22

Illustrious soprano graces the School's halls before a performance.

Wind Ensemble Unveils Symphony at Carnegie ..............2

John Corigliano’s “Circus Maximus”

Alumni ....................................................................... 7

Faculty ......................................................................12

In Memoriam ...............................................................20

Guests .......................................................................23

Students .....................................................................24

Gifts And Donations ......................................................28

New endowments .................................................. 27

Friends who deserve recognition.

Words of NoteThe Magazine of The UniversiTy of Texas school of MUsic

Dear Friends:

Greetings; we are very pleased to bring you this current vol-ume of Words of Note, the magazine of the School of Music here at The University of Texas at Austin. Ours is a musical community where every day is exciting and every evening filled with a multitude of musical performances. Truly there is much for us to talk about in this volume, which includes the academic years 2003-2005. In the pages to follow you will read about the exciting new faculty members who have joined us during the past two years, the accomplishments of our talented students, past and present, and the activities of our outstanding faculty.

Just as Texas is a place where anything is possible, the School of Music continues to demonstrate that same premise on a regular ba-sis. Some senior administrators at UT have been so bold as to state publicly that the School of Music is perhaps the most improved program on the UT campus. With talented new faculty, including a dozen or so new faculty positions in the past few years, with the raising of the bar for the admis-sion of students both academically and musically, and the addition of some exciting new curricula, we are perhaps obliged to concur with the senior administration’s assessment.

During the past two years many of our ensembles have toured nationally and internationally. Our Chamber Singers performed a concert tour of Scotland and England and were se-lected to perform on the program of the American Choral Directors Association national conference in Los Angeles. The Jazz Orchestra was selected by taped auditions to perform at the North Sea Festival in The Netherlands and the Montreux Jazz Festival in Switzerland. The Trombone Choir performed a concert tour of Brazil. Many of our groups have performed throughout the state of Texas, including on the program at TMEA in San Antonio.

One of the highlights, of course, is our cover story of the UT Wind Ensemble and its smashing success with the world premiere of the John Corigliano Circus Maximus (Third Symphony for Large Wind Ensemble), which we commis-sioned a couple of years earlier. The premieres in Bass Concert Hall on the UT campus and in New York City’s Carnegie Hall were both mountain top experiences for our students and for the School in general. I wish everyone could have been there; you would have been most proud of this achievement.

On the local front we are most grateful for the continued support for our program by our friends from outside the university. Many have supported a variety of activities, but most notable is the generous endowment for the UT Opera program given by Sarah and Ernest Butler, long-time sup-porters of our vocal program. Their generosity will insure that the opera program continues to grow and develop in the years to come. In appreciation we have since named our opera program the “Sarah and Ernest Butler Opera Center.”

Most of our friends are aware that Professor Danielle Martin died tragically in April of 2004. She had served on the fac-ulty for 32 years and left a musical legacy that will live on through her students for generations to come. A recording is now available of the memorial concert performed by her

students, former students, colleagues and friends, about which you will read later in this volume. All pro-ceeds from the sale of these CDs will go entirely to the memorial scholar-ship fund in her name.

Last summer we said goodbye to one of our colleagues, Professor Gerard Béhague who passed away following a long illness. During his 32 years in the School of Music, he not only served as chair of the department but also built an incredible program in Latin American music. He will be sorely missed by his colleagues, his students and by the profession.

We invite each of you to visit our campus at every opportunity. You can follow us and learn about the more than 500 recitals, concerts and special musical events produced

in the School of Music annually by visiting our Web site at www.music.utexas.edu. For those who cannot attend our concerts we invite you to listen via our webcasts, which you may access from our Web site as well. Most of our events are webcast live.

We appreciate your continuing interest in the School of Music. Please let us hear from you.

Sincerely,

B. Glenn Chandler, PhDDirector and Florence Thelma Hall Centennial Chair in Music

B. Glenn Chandler

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THE UNIVERSITY OF TEXAS SCHOOL of MUSIC2

The accomplished young musicians at the University of Texas School of Music don’t just learn about music history; sometimes they make it. In February 2005 the University

presented the world premiere of a symphony by John Corigliano, who is internationally celebrated as one of the leading compos-ers of our time.

The University of Texas Wind Ensemble, under the direction of conductor Jerry Junkin, performed Corigliano’s Circus Maximus (Symphony No. 3 for large wind ensemble) at Bass Concert Hall on February 16, which was broad-cast live on KMFA Classical Radio. The ensemble played the symphony next at New York’s Carnegie Hall on February 27. Conceived as a spatial piece in which the audience is sur-rounded by music performed at locations throughout the hall, Circus Maximus provides a singular experience for con-certgoers.

“I took inspiration from the Circus Maximus of ancient Rome, a stadium that sat 300,000 people,” says Corigliano. “But rather than sitting in the stands,

the audience for this piece will be in the middle of the arena, get-ting simultaneous information from all sides. It’s analogous to today’s constant barrage of news and information and how we react to it all.”

The School commissioned the symphony, along with the help of donors wishing to remain anonymous. Corigliano composed it in the summer of 2004. No stranger to UT, the composer has twice before participated in the Visiting Composers Series and was the 2001 recipient of the Edie Medora King Award for Musical

Composition at the School.

During his visits to the School, Corigliano was impressed with the composit ion program, ranking it among the top three in the country. He also praised the student ensembles, partic-ularly the Wind Ensemble.

In residence as Visiting Chair in Fine and Performing Arts, Corigliano helped the Wind Ensemble prepare Circus Maximus for the premiere in the UT Performing Art Center’s Bass Concert Hall.

UT Wind Ensemble Unveils New Symphony at Carnegie Hall

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The University of Texas Wind Ensemble performs the New York premiere of John Corigliano’s “Circus Maximus” in Carnegie Hall.

Corigliano shares his conception of the piece during rehearsals.

3WORDS of NOTE

“I absolutely love working with the band here on campus,” said Corigliano. “It’s a type of freedom that I don’t get working with

major sympho-ny orchestras, w h i c h d o n ’t have the lux-ury of time to rehearse and really learn a piece. I’m hav-ing a blast.”

Seated in the center of the performance hall where the Wind Ensemble

was learning the piece, Corigliano was an active participant in the process. He scrawled notations on his music sheets based on what he heard and gave supportive feed-back to Junkin and the several dozen musi-cians in the ensem-ble. By the time Circus Maximus premiered, it was a true collabo-ration between tahe composer, the direc-tor and the players. “We were offered a unique opportunity to involve our students in the creation of a major new work from the ground up,” said Junkin. “This is a very exciting project.”

“This commission is a testament to the high level of academic and artistic excellence cultivated at the School,” said Dr. B. Glenn Chandler, Director of the School of Music. “Commissioning, premiering, touring and recording a major work by someone of John Corigliano’s stature will confirm the School of Music’s position at the forefront of music programs in the country, and solidify our reputation as one of the finest wind programs in the country.”

Born in New York, Corigliano first came to prominence after win-ning the chamber music prize at the 1964 Spoleto Festival. Many other major honors have followed, including the Pulitzer Prize for his Symphony No. 2 and the Academy Award for his film score to The Red Violin. Important commissions have come from the New York Philharmonic, the Chamber Music Society of Lincoln Center, the New York State Council on the Arts and the Boston Symphony Orchestra. Corigliano teaches at City University of New York and the Juilliard School. Commissioned by the Chicago Symphony Orchestra when he was composer-in-residence there from 1987 to 1990, Corigliano’s Symphony No. 1, an impassioned response to the AIDS crisis, won Grammy® awards for Best New Composition and Best Orchestral Performance. The symphony has been

played by 125 different orchestras worldwide. His second symphony premiered in 2000 with the Boston Symphony Orchestra conducted by Seiji Ozawa. Other works include chamber music and an opera, The Ghosts of Versailles.

The UT Wind Ensemble is one of America’s most prominent wind bands, giving seven campus performances each year, and appearing frequently out of state. The New York Times called the ensemble’s Bells for Stokowski one of the best classical CDs of 2004, saying “the skilled and enthusiastic playing of the young per-formers leaps off the disc.” The CD also was awarded a “Golden Ear” Award from Absolute Sound Magazine, calling its award-winners “the year’s unequivocal best.” Conductor Jerry Junkin is

the Frank C. Erwin, Jr. Centennial Professor of Music and a University Distinguished Teaching Professor at UT. He became conductor of the Wind Ensemble in 1988. In addi-tion, he has served as artistic direc-tor and conductor of the Dallas Wind Symphony since 1993, and in 2003 was appointed music director and conductor of the Hong Kong Wind Philharmonia.

In addition to the Circus Maximus premiere, the February con-certs included Music for the Royal Fireworks by George Fredric Handel, Baron Cementiere’s Mambo by UT composer Donald Grantham, and Emblems by Aaron Copland.

– Jamey Smith@Texas Newsletter

Trumpets herald the composition's beginning.

Conductor Jerry Junkin leads the ensemble through the major new work in one of the world's foremost venues.

Jerry Junkin, John Corigliano and the UT Wind Ensemble receive extended ovations for their Carnegie Hall performance.

All photographs in Carnegie Hall by Chris Lee Photography

Instruments resound from far corners of the hall, accentuating the work's spatial nature.


The School of Music in the College of Fine Arts at The University of Texas at Austin received a $2 million gift from Dr. Ernest and Mrs. Sarah Butler to endow the school’s Opera Theatre program. In recognition of this gift, the program will henceforth be known as the Sarah and Ernest Butler Opera Center at the University of Texas.

The endowment will provide a stable funding source for the program, which already ranks among America’s best, making it possible for students to work with accomplished composers, libret-tists, guest conductors, stage directors and other opera professionals.

The gift will ensure that students re-ceive valuable training in all aspects of opera production and the most com-prehensive, professional-quality opera education while also funding scholar-ships to attract outstanding voices to the School of Music.

“Over the years, the UT Opera Theatre program has ranked as one of the prominent educational opera pro-grams in the country,” said Dr. Robert DeSimone, director of opera studies in the School of Music. “The confidence, investment and trust reflected in Sarah and Ernest Butler’s gift will ensure continued quality and develop-ment of a greater vision for the program. Their recent endowment and previous scholarship funding will continue to touch the lives of many emerging operatic talents at the university. The gift will also support the creation of an Artist Diploma program, the addition of graduate degrees in opera conducting and coaching, and the creation of new works and productions.”

This gift is the largest in a series of contributions the Butlers have made to The University of Texas at Austin. In the past several years, they have given more than $3.26 million to the university, including the current gift, four Endowed Presidential Scholarships for voice students in opera

at the School of Music, a recent gift for a dynamic Focus Gallery in the new Blanton Museum of Art building, and numerous other contribu-tions to various areas of the university.

“Ernest and Sarah Butler have been wonderful supporters of the arts in Austin for many years through gifts to the Austin Symphony Orchestra,

the Austin Lyric Opera, Ballet Austin, the Blanton Museum of Art and to our opera program through previous scholarships,” said Dr. Glenn Chandler, Director of the School of Music. “They are extremely committed to nurturing young operatic talent and provid-ing the best educational and perfor-mance opportunities.”

“Over the years we have followed the growth and development of School of Music graduates, particularly of those voice students who have participated in the opera program,” Mrs. Butler said. “Many of them have carried their talent to young artist programs and to national and international opera com-panies. We value the contributions and influence the UT Opera Theatre program has had on Austin’s opera and beyond. The faculty, students and professional guests are all a source of

enrichment for our community.”

Opera remains the most comprehensive of all the performing arts. Endowing the university’s Opera Theatre program was one of the primary goals of the capital campaign initiated by the College of Fine Arts in 1997.

“Opera production is a collaborative effort involving not only student singers, but other musicians, actors, and graduate talent in costum-ing, scenery and lighting design from across the College of Fine Arts,” said Robert Freeman, dean of the college. “Opera brings to bear all the creative forces of music, drama, dance and visual arts.”

Sarah and Ernest Butler Give $2 Million Endowment to UT Opera

The Sarah and Ernest Butler Opera Center’s inaugural season opened with Tchaikovsky’s “Eugene Onegin” in October 2004; followed in February 2005 by “La Tragédie de Carmen,” Peter Brooks’ adaptation of the Bizet opera; and the April premiere of Dan Welcher’s “Holy Night.”

All photographs on this page and next by Mark Rutkowski

The Butlers are honored for their magnanimous gifts during a dinner given by President Faulkner in November 2004.

5WORDS of NOTE

T he recently endowed Sarah and Ernest Butler Opera Center presented the world premiere of American com-poser and School of Music professor Dan Welcher’s lat-

est opera, Holy Night, on April 22, 2005. A sequel to his earlier operatic work Della’s Gift, premiered in 1987 and based on the short story The Gift of the Magi by O. Henry, Holy Night was set in the same apartment building—one hundred years later. The two one-act works, both with libretti by UT classics profes-sor Paul Woodruff, were staged together for the first time and

ran for four per-formances at the UT Butler Opera Center April 22 through May 1.

Even when mu-sically innova-tive, many op-eras introduced into the reper-toire over the l a s t c e n t u r y continue to tell 19th-century stories. Welcher and Woodruff’s

double-bill brings the traditional opera genre forward into the 21st century gracefully via the 20th with O. Henry’s story serving as a bridge into the present. Although the latest work, Holy Night, is set in 2005, one hundred years after Della’s Gift, the updated décor and distinctly different demographics re-mind audiences that where the human heart is concerned, the more things change…the more they stay the same.

Composer Dan Welcher conducted the produc-t ion, which was di-rected by Dr. Robert DeSimone. Butler Opera Center students Kelly Hart, Stephen Ruduski, Drake Dantzler, and Yoon Sang Lee were featured in the lead-ing roles, with a design team of Christopher McCollum, Katherine Eader, and Michaele Hite completing the outstanding produc-tion, which won the Austin Critics Table Award for “Best Opera” in the 2004-05 perform-ing arts season.

Calling the works “two glorious neo-romantic operas,” The Austin American-Statesman went on to say that “this double bill is opera at its best.”

Writing in The Austin Chronicle, Robert Faires said, “Ultimately, both Della’s Gift and Holy Night show us a way … to forgive-ness and the shedding of self that allows lovers to unite. In this expression of the meaning of true love, these lovely new operas merge together; two become one.”

Butler Opera Center Premieres Welcher’s Latest WorkTwo one-act operas by UT composer staged together for the first time

Set of late 1800s tenement apartment in “Della's Gift.”

Welcher conducts in the orchestra pit.

Della and her beloved.

The action of “Holy Night” takes place in the same apartment building a century later.

“…opera at its best.”


On Nov. 23, 2004, UT composer and conductor Dan Welcher presented the Eddie Medora King Award in Musical Com-

position to the legendary American composer George Crumb. Crumb traveled to Austin to receive his award check for $25,000 and serve as Visiting Composer in Residence at the School. The formal presentation of the award to the composer was made in Bates Recital Hall during a performance of an “all-Crumb” con-cert by the UT New Music Ensemble, directed by Welcher.

The Eddie Medora King Award for Musical Composition was established in 1995 when the late Dr. William King Jordan of Pine Bluff, Arkansas, bequeathed to the UT College of Fine Arts and the School of Music an endowment in honor of his mother, Ms. Eddie Medora King Jordan. It was Dr. Jordan's intention that the income from the bequest be used to award a major prize to an outstanding living composer of art music.

The most recent recipient, George Crumb, became an icon in American mu-sic with the success of his work Ancient Voices of Children in the early 1970s. A hit in its pre-miere Nonesuch record-ing, with mezzo-soprano Jan DeGaetani and the Contemporary Chamber Ensemble under Arthur Weisberg, this work made Crumb a household name and put both him and DeGaetani in the spot-light in TIME magazine.

Crumb, a native of West Virginia, had been quietly perfecting a new style for eight years. It consisted of an obsession with the love of pure sound (including the use of the piano in new and untried techniques) and a mystical attraction to the poetry of Federico Garcia Lorca.

George Crumb received the Pulitzer Prize for his orchestra work Echoes of Time and the River, but his fame rests chiefly on his extended works of chamber music. Works like Vox Balanae (“Voice of the Whale”) for am-plified flute, cello, and piano, several books of Macrocosmos for amplified piano, and Black Angels for string quartet have entered the permanent reper-tory.

For the concert at the School of Music, Crumb was asked which of his works he'd most like to hear performed. He chose his earliest song cycle and his most recent one. Songs, Drones, and Refrains of Death (begun in 1965 and completed in 1971) calls for a baritone soloist, an electric guitar, electric contrabass, two percussionists, and an amplified piano/harpsichord. David Small of the UT voice faculty served as the soloist, singing poetry of Lorca.

The other cycle, Unto The Hills, completed in 2002 for Crumb's daughter Anne, a Broadway singer, consists of several Appa-lachian folk songs rewritten for four percussionists playing a huge array of instruments (and also doubling on instruments like jug and recorder) and amplified piano. Ann Crumb, who traveled to Austin with her father, performed the song cycle. Benjamin Westney, a graduate student of Bion Tsang, complet-ed the program with Crumb's early Sonata for unaccompanied

cello.

The King Award symbol-izes the School of Music's commitment to the cre-ation and performance of new music. The inaugural presentation of the Eddie Medora King Award was made to Dr. Chen Yi of the faculty of the Univer-sity of Missouri-Kansas City of the Conservatory of Music. John Corigliano received the award in 2001.

The bequest currently allows the prize to be awarded approximately every other year.

Composer George Crumb Receives Eddie Medora King Award

The composer rehearses his work with Welcher and the ensemble.

Photographs on this page by Lori Squibb

The King Award was presented to George Crumb at the”all-Crumb” concert and reception on Nov. 23, 2004. Pictured left to right: Phil-lip H. McMath, representative of the Jordan family; Dan Welcher, director of the UT New Music Ensemble; composer George Crumb; his daughter Ann Crumb; and Senior Associate Dean Doug Dempster.

7WORDS of NOTE

After serving as Associate Dean of the College of Arts, Letters and Social Sciences at California State University, Hayward, Professor Tom Acord (MM, 1969; DMA, 1981) has entered early retirement and teaches half time. He has performed major operatic roles in Brazil, Austria and Germany, as well as across the United States with companies such as the Houston Grand Opera, Portland Opera, San Francisco Spring Opera and, most recently, with the Festival Opera and the Santa Monica Opera companies. He has sung as soloist with the Oakland Symphony, Dallas Symphony, Phoenix Symphony, Boise Philharmonic, Orange County Symphony and San Antonio Symphony. He was a national finalist in the 1972 San Francisco Opera Auditions and Singer of the Year with the National Federation of Music Clubs in both Oratorio and Art Song categories in 1976.

Jerry M. Bierschenk (BM, 1974, Music Education) was awarded a Master of Music Education in 1983 and a Doctor of Musical Arts in Choral Conducting in 2003 from The University of North Texas. He was named Artistic Director of The Texas Boys Choir in 1996 af-ter 20 years of teaching instrumental music in various Texas public schools. He has been a key figure in the forming of a new charter school, The Fort Worth Academy of Fine Arts, which is the official school of The Texas Boys Choir, and includes departments in dance, instrumental music, music theory, theatre arts and visual arts. The Texas Boys Choir was named the Gold Medal winners in the Mixed Boys Choir category at the International Choir Olympics in Bremen, Germany in July 2004.

Betty Bierschenk-Pierce (Bachelor of Music Education, 1979; MM, 1980, Conducting) is the Director of Bands at Grisham Middle School in the Round Rock Independent School District. Her band was cho-sen as one of only three middle school bands in the world to per-form at the 2003 Midwest International Band and Orchestra Clinic in Chicago. In May 2004 the Grisham Middle School Band received the prestigious Sudler Cup from the John Philip Sousa Foundation. Mrs. Pierce has served as the Grisham Middle School Band Director for the past eight years.

William Henry Caldwell (MM, 1979, Vocal Performance) lives in Dayton, Ohio, where he is an Associate Professor of Music and Director of Vocal and Choral Activities. He conducts the internation-ally known Central State University Chorus from historic Wilberforce. Under his direction, the chorus has performed and recorded with the Cincinnati Pops and the Indianapolis, Cleveland, and Cincinnati Symphony Orchestras. Mr. Caldwell and the chorus appear on sev-eral recordings on the Telarc label, including Porgy and Bess, Blue Monday, and Amen/A Gospel Celebration.

Carey Cheney (BM, 1986; MM, 1991) has taught numerous work-shops in Dallas, Los Angeles, Toronto, Vancouver, Cincinnati, and other locations during the past year. She recently finished recording the companion CDs for volumes five and six of her books Solos For Young Cellists. She has been invited to teach next year at the World Suzuki Convention in Turin, Italy, in addition to invitations to teach in Honolulu and New Zealand.

Elliott Cheney (BM, 1978; MM,1980; DMA, 1994) teaches cello at the School of Music at the University of Utah. He recently performed

Alumni

Christine Erlander Beard (MM, 1998; DMA, 2003) is Assistant Professor of Flute and Coordinator of Woodwind Studies at

the University of Nebraska at Omaha and is the Piccolo Artist/Clinician for Gemeinhardt Flutes, a position created by the company for her in 2002. She has performed across the United States and abroad as a clinician, chamber artist, and soloist, including solo performances in Ireland, England and France during Summer 2004. Engagements for 2004-2005 included performances and clin-ics in California, New York, Minnesota, Nebraska and Texas, and the publication

of an article in the journal Flute Talk. She toured and gave piccolo concerto performances with several orchestras in the Black Sea/Causcaus region of south-ern Russia in May 2005. While in Russia she played two con-certs with the Mineralnye Vody Festival Orchestra featuring music by American composers and another with the Sochi Philharmonic. “My passion is the piccolo,” she said, “and so I chose to perform Concerto for Piccolo, Op. 50 by Lowell Liebermann on those two concerts in an effort to educate Russian audiences to realize the beauty of the piccolo as a solo instrument." The concerts were conducted by her colleague,

Dr. Christopher Stanichar, Director of Orchestral Activities at the University of Nebraska at Omaha. In addition to her active performance and clinic schedule, Dr. Beard is founder and director of the Heartland Community Flute Choir, a 40-piece flute ensemble in Omaha, Neb. She is also co-founder and vice president of the Nebraska Flute Club. Christine Beard is a former student of Professor Karl F. Kraber.

Christine Beard, soloist, in a performance with the Mineralnye Vody Festival Orchestra in Kislovodsk, Russia.

Piccolo Artist/Clinician Tours And Performs In Russia

Christine Beard


the Brahms double concerto with the Utah Philharmonia and the Beethoven triple concerto with the Salt Lake Symphony. During the last two years he has led workshops in Houston, Cincinnati, Salt Lake City, and other locations, and has been invited to teach in Hawaii in July 2006.

Shanan Ashlee Colvin (BM 2004, Choral Studies) was recently se-lected as First Year Educator of the Year at San Antonio’s Hobby Middle School and was later named as Middle School First Year Educator of the Year on the district level at Northside ISD.

Richard Conant (PhD, 1977, Music) traveled to Rome, Prague and Bulgaria on a concert tour in spring of 2004. He is Distinguished Professor Emeritus at the University of South Carolina and has en-joyed an active international career. Founder and director of USC’s Carolina Alive pop singing-dance troupe, he also judges competi-tions, presents workshops, and in his spare time, scuba dives.

Dr. Jorge Barrón Corvera (MM, 1989; DMA, 1993) is a professor at the Universidad Autonoma de Zacatecas Académica de Música in Mexico. He recently published a book on the life and works of Mexican composer Manuel M. Ponce. The first major bio-biblio-graphic work on Ponce, the book contains a concise and full biog-raphy, bibliographic information on most writings by and about the composer, a complete works catalogue, and a comprehensive discography of commercially pro-duced recordings, along with old and rare material of particular interest to musicians and scholars of Mexican music. The book, Manuel María Ponce, is available through Praeger Publishers.

Rafael Davila (MM, 1998, Opera Performance) per-formed with Austin Lyric Opera (ALO) in its Young Artists program and has since returned to ALO as a guest artist in productions of La Traviata, Madama Butterfly, and Rigoletto. He has performed for Tampa Opera, Roanoake Opera, Fort Worth Opera, and Opera de Puerto Rico, and has performed ex-tensively with international conductors and sym-phony orchestras. He lives in Puerto Rico.

Sue Wilson Dawson (BM, 1959, Music Education) is a semi-retired author and rancher, living in El Paso, Texas.

Yvonne Dechance (DMA, 1994, Vocal Performance) has joined the faculty of the University of Tampa. An Assistant Professor of Music, she has received a Teaching Innovation Grant, is consulting on a music software program, and has been invited to present a lec-ture and master class on “Humor and the Art Song Recital” at the New England Regional Conference of the National Association of Teachers of Singing.

Charles Ditto (MM, 1995; DMA, 1998) is a musician and an instruc-tor at Texas State University. Recent activities have included a com-missioned score from Amherst College, Department of Theatre and Dance, for a play by Peter Lobdell, C’est La Vie. He also performed his original score for Lobdell’s Raving on stage as part of the New World Theater’s Festival of the Arts in June, and played accordion for the legendary Blackthorne Band (traditional Celtic fare) in Boston for the 4th of July program.

Helen Fanelli (BM, 1983, Vocal Performance) is a mezzo soprano re-cently appearing in the Metropolitan Opera premiere production

of Benvenuto Cellini by Hector Berlioz, conducted by Maestro James Levine. She is also on the staff of Concordia College in Bronxville. Her first child, Lily Rose Fanelli, was born in 2002.

Jason Foster (BM, 1995, Music Performance) lives in Fort Monroe, Virginia, has served as a member of The United States Continental Army Band, and joined the US Air Force Heritage of America Band in 2004.

Julie Fox (BM, 1985, Bassoon) is Professor of Bassoon at The University of Central Florida in Orlando. She holds the positions of Second/Assistant Principal Bassoon with the Orlando Philharmonic and Principal Bassoon of the Brevard Symphony. As a member of the Pegasus Wind Quintet, recent appearances included performances in Puerto Rico, the International Double Reed Society in Greensboro, and the College Music Society in Miami.

Jean Fuller (MM, 1983, Organ Performance) is Organist for St. David’s Episcopal Church in Austin. In 2003, she performed recit-als at First Presbyterian Church in Portland and St. Thomas Church on 5th Avenue in New York, including a rendition of the late Kent Kennan’s only organ composition, Variations on a Quiet Theme. Jean and husband George have one daughter attending UT and another daughter preparing for college in the fall. The family raises Arabian

and Andalusian horses.

Bob Gillespie (MM, 1975, Music Education) served as national president-elect and national president of the American String Teachers Association dur-ing the 2003-2005 academic years. In addition, he co-authored five music texts for Oxford University Press and Hal Leonard Music Corporation and made professional presentations in over 20 states. He re-ceived the 2004 Distinguished Scholar Award from Ohio State University School of Music where he is Professor of Music. Professor Gillespie taught in the UT String Project while working on his degree.

Shearon Smith Horton (MM, 1974, Piano Performance)received the 2004 Outstanding Teacher Award presented by the Louisiana Music

Teachers Association. She is currently adjunct faculty of the Newcomb Department of Music of Tulane University and an inde-pendent teacher in the New Orleans area.

Billy Hunter, Jr. (BM, 1997) has been named Prinicipal Trumpet for the New York Metropolitan Opera Orchestra. Commonly known as “the Met,“ the opera is one of the most distinguished in the world. Hunter, a native of Austin, earned a master’s degree in music per-formance from Manhattan’s Julliard school after graduating from UT. He went on to play with the New World Symphony Orchestra, the Grant Park Symphony Orchestra, and the Baltimore Symphony Orchestra before taking his position with the Met in 2004.

James Jeter (BM, 1971, Music Major in Bassoon) has performed as a professional bassoonist in New York City since graduating from UT. He received an MM degree from the Juilliard School and a DMA from S.U.N.Y. Stony Brook. He has performed nationally with such ensembles as the Metropolitan Opera Orchestra, St. Luke’s Chamber Ensemble, Alvin Ailey Dance Co., Opera Orchestra of New York, St. Cecilia Orchestra, and others, as well as orchestras in Italy and Switzerland. He has recorded a solo album for Crystal Records, and as solo bassoonist for the Virtuosi Quintet and the Atlantic

Jean Fuller

9WORDS of NOTE

Sinfonietta has recorded numerous CDs for Koch International Classics, Capstone Records, and Musical Heritage Society. An ac-tive recitalist, he was sponsored in a solo recital by the Carnegie Hall Corporation in 1985 and has performed recitals at International Double Reed Conferences at Northwestern University and Buenos

Aires. He has performed con-certi with the Arcady Music Festival (ME), Connecticut Chamber Orchestra, Atlantic Sinfonietta and the Biel Symphony (Switzerland). Dr. Jeter was invited to per-form at Indiana University’s (Bloomington) Summer Music Festival in 2001. In the sum-mer of 2004, he once again performed as principal bas-soon for the Deep Creek Symphony in McHenry, MD. He is currently an Affiliate Artist at Sarah Lawrence College and continues to freelance actively in the New York area.

George Garrett Keast (BM, 1995, Music Studies) has recently been awarded the Bruno Walter Career Development Grant in conjunc-tion with his new position as Assistant Conductor of The Dallas Opera. He will also again serve as Associate Conductor of New York City Opera as well as Resident Conductor of The Queens Symphony Orchestra. He conducts the QSO Young People’s Concerts and is the editor of QSO’s newsletter, Symphony Sound-Off. He is on the staff of the Metropolitan Opera and the Port Milford Chamber Music Festival in Ontario, Canada, and has conducted several of America’s top orchestras. Garrett Keast was a guest speaker on the UT School of Music’s Music Leadership Series in Fall 2005.

Robert Klevan (Ph.D., 1993, Music Education) directs the University of California at Santa Cruz Wind Ensemble and Big Band, and teach-es music at the Stevenson School in Pebble Beach. He was recently elected President of the California Music Educators Association.

Tautology for mixed chorus, a work by Peter Knell (DMA‚ 1997, Composition)‚ received its world premiere by Volti (formerly the San Francisco Chamber Singers) in February 2004 in both Berkeley and San Francisco. The work was composed for Volti as a part of the their Choral Arts Laboratory. Other highlights of the season included perfor-mances of Knell’s Four Snapshots for piano at the Renee B. Fisher Piano Competition in New Haven, Conn., in May, and on a tour through Germany by pianist Susanne Kessel, including a “Portrait Concert” dedicated to his music in April in Bergisch-Gladbach, Germany, performed by internationally acclaimed contralto Ingeborg Danz, violinist Peter Stein, and pianist Leopoldo Lipkstein. Knell’s Seven Last Words for unaccom-panied violin was performed on the Music at the Anthology Festival in New York City in May 2004.

A recording of works by Edward Knight (DMA, 1988, Composition) was released by Albany

Records in May 2004. Where the Sunsets Bleed: Chamber Music of Edward Knight is comprised of music, musicians and imagery emerg-ing out of the American Southwest. Opening tracks feature soprano Marquita Lister (2002 Diva Award, New York City Opera) and pianist Jan McDaniel performing Life Is Fine, a six-song setting of the poems of Langston Hughes that was named last year’s Best Song Cycle at the San Francisco Song Festival’s American Art Song Competition. Where The Sunsets Bleed also showcases the talents of percussion-ist David Steffens, clarinetist Chad Burrow, pianists Amy I-Lin Cheng and Geoffrey Burleson, and cellist David Russell. Knight has been hailed as a “fresh, original voice” with “an inventive sense of humor” (Bernard Holland, The New York Times) who creates music that is “vis-ceral in its excitement” (John von Rheim, Chicago Tribune). Wayne Lee Gay of Knight-Ridder News Service called Knight’s music “inven-tive and melodic.” Timothy Mangan of the Los Angeles Times cited “the composer’s canny combination of steady meter with atonal lyri-cism, a waltz-like lilt with expressionist angst.” Mangan noted that Knight’s orchestral work is “tightly unified, suave and sinister, confi-dently orchestrated.”

Jonathan Kulp (MM, 1994, Theory; Ph.D., 2001, Musicology) has been Assistant Professor of Music History, Theory, and Composition at the University of Louisiana at Lafayette since Fall 2001, and was awarded the Margaret Chauvin Steen Villemez Professorship in Music for the 2004-2007 academic years. His music for guitar is now published by Les Productions d’Oz (Quebec, Canada), and his song cycle Canciones para niños for voice and guitar was recently re-corded for commercial release by soprano Rosana Risé and guitarist Sergio Moldavsky, both professors at the Conservatorio Superior de Musica “Manuel de Falla” in Buenos Aires, Argentina. Selections from the same cycle were recorded by UT graduate Matthew Hinsley (DMA, 2003, Tenor and Guitar) and released on his CD Passions Move in 2002. Kulp’s songs have also been featured recently at the Ottawa International Chamber Music Festival and at the “Harvest of Song” concerts in Berkeley, Calif. As a musicologist he has published entries in the New Grove Dictionary of Music and Musicians, in the German encyclopedia, Die Musik in Geschichte und Gegenwart, and an article on the songs of Argentine composer Carlos Guastavino in the Latin-American Music Review, a journal formerly edited by recent-ly deceased UT Professor Gerard Béhague.

David Littrell (MM, 1972; DMA, 1979; Cello Performance) was na-tional President of the American String Teachers Association from

2002 to 2004. In 2003 he conceived and imple-mented ASTA’s first stand-alone national confer-ence at Ohio State University. He has held the title of University Distinguished Professor at Kansas State University since 2001. The editor of two volumes of GIA Publications’ highly-acclaimed books, Teaching Music through Performance in Orchestra, he is cur-rently Articles Editor for the American String Teacher journal. The youth string orchestra that he founded in 1989 will return for its second performance at Carnegie Hall in February 2006.

Jenny Millsap (BM, 1995, Voice) recently wowed the crowd at New York’s City Center when she sang the role of Mabel in The Pirates of Penzance as a last minute replacement, opposite Tony Award winner Hal Linden. For the past five years, she has been a regular member of the esteemed New York Gilbert and Sullivan Players with whom she has also sung Yum-Yum in The Mikado and Lady Ella in Patience. Jenny Millsap

James Jeter


Since completing her master's degree in voice at Westminster Choir College, she has appeared in opera, operetta and musical theater across the country with such companies as Opera Northeast and the historic Fulton Opera House.

Carlyn Morenus (DMA, 1999, Piano Pedagogy) is Assistant Professor of Piano at Illinois State University where she coordinates the key-board area and the group piano program. She was piano soloist with the Thai National Symphony in June 2003 and gave classes at Bangkok-area universities.

Jane Palmquist (MM, 1983; Ph.D., 1987; Music Education) presented several conference sessions at the February 2005 American String Teacher Association with National School Orchestra Association convention as director of the National String Project Consortium, a consortium of String Projects derived from the University of Texas String Project model. Palmquist is director of the Brooklyn College String Project, and Associate Professor of Music at Brooklyn College (CUNY), where she has taught since 1998.

William Pelto (Ph.D., 1993, Music Theory), Associate Dean of the Ithaca College School of Music, was named by the American Council on Education (ACE) as an ACE fellow for the 2004-05 academic year. Pelto has been at Ithaca College since 1991 and was named Assistant Dean in 2001. He administers curriculum development and oversees student academic affairs. A frequent presenter at meet-ings of the College Music Society, he has published in the Journal of Music Theory Pedagogy.

John D. Perkins (DMA, 2001, Musical Performance) is a music edu-cator and freelance artist living in Shippensburg, Penn. He was re-

cently hired as Assistant Professor of Music at Central Methodist University.

Adan Presburger (BM, 1987,Music Composition) is living in Huixquilucan, Mexico, where he operates his own academy with more than 100 students of piano, guitar, violin and voice. A CD of his music, I Repertorio con 7 Reflexiones de Adan Presburger – Piano, is available.

Sean Scot Reed (BM, 1995) is currently the full-time trombone in-structor at Mahidol University, Salaya, Thailand. He is the former Associate Principal Trombonist of the Israeli Symphony Orchestra, Principal Trombonist of the Austin Lyric Opera Orchestra, Second Trombonist of the East Texas Symphony Orchestra, and Principal Trombonist of the Spoleto Festival Orchestra in Italy. Following graduation from UT, Reed went on to pursue a master’s degree from Rice University’s Shepherd School of Music in 1998 and a Doctor of Musical Arts degree from the University of Rochester’s Eastman School of Music in 2004. Dr. Reed has performed with the Houston Symphony, the Buffalo Philharmonic, the Israeli Chamber Orchestra, the Austin Symphony, Luciano Pavoratti, Placido Domingo, Rene Fleming, Alarm Will Sound, the American Wind Symphony, Chautauqua Institution Festival Orchestra, Scotia Festival, Victoria Bach Festival, and the North Carolina School of the Arts International Music Program. He is the trombonist for Brass Arts Bangkok, Mahidol’s professional touring brass ensemble. Reed founded the Mahidol University Trombone Quartet and Choir and started a new music ensemble in the second term of 2004/2005. In October 2004, Dr. Reed taught the trombone students at the second annual South East Asia Youth Orchestra and Wind Ensemble confer-ence.

David Box (BM, 2001; MM, 2003; Saxophone Performance) lives in Los Angeles and is the Professor of Saxophone and director of Jazz Studies at La Sierra University. His passion for music started at a very young age with the piano, then drums, and finally saxophone. After three years of college in Southern California he received an offer for a scholar-ship to study with world-renowned classical saxophonist Harvey Pittel at the UT School of Music. Knowing the reputation of the School, his teacher, and the Austin music scene, he knew he could receive a versatile educa-tion in jazz and classical saxophone while participating in a thriving art community. Since then, David has won the Riverside Concerto compe-tition in California, performed the A. Glazounov Concerto with orchestra, and recorded on eight albums, two commercials and one movie. He has performed and studied with some of the country’s leading artists including Michael Brecker, Phil Woods, the Nelson Riddle Orchestra backing Harry Connick,

and numerous Austin-based artists and groups. Mr. Box was a featured musician and musical instructor for the recent Disney

movie release The Alamo, has played for numerous plays and musicals, and organizes and performs with his own jazz and classical groups.

David’s decision to settle in Los Angeles was prompted by his continued suc-cess within the world of film music. With the growth of his production company, Colburn Bay Productions, he continues to gain experience in the film industry.

February 2005 marked the release of his first jazz album, Transformation, which features his own compositions. In Fall 2005 he will finish his first classi-cal saxophone CD, Music of my Friends, which will feature works by UT com-

posers such as Rob Deemer, Brad Johnston, Kyle Kindred and others. For further information on David Box please visit www.davidboxmusic.com.

Los Angeles grad pursues career in classical, jazz and movies

David Box

Lori

Dee

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11WORDS of NOTE

Richard Rose (DMA, 1989, Music Education), Professor of Music in the commercial music department at Miami-Dade College in Florida, was awarded the Ruth Wolkowsky Greenfield Endowed Teaching Chair in Music.

On March 30, 2004, Lucy Schaufer (MM, 1990, Vocal Performance) made her Metropolitan Opera de-but performance as Suzuki in Puccini’s Madama Butterfly under the direction of conductor Julius Rudel. She also sang performances of the Page in Salome by Strauss. Schaufer studied with Professor Rose Taylor at UT before beginning a career that has garnered much critical acclaim. Schaufer has performed in New York and Washington, and inter-nationally in Monaco, Israel, Germany, and France. Other roles have included Ava in the world premiere of Stewart Wallace’s Hopper’s Wife and Erika in a new production of Barber’s Vanessa with Dame Kiri Te Kanawa. She recently performed the role of Claire in Bernstein’s On the Town with the English National Opera.

Deborah Schwartz-Kates (Ph.D., 1997, Musicology) received a Faculty Research Award from the National Endowment for the Humanities to support her research on the film music of Alberto Ginastera. In addition, she received a fellowship from the Paul Sacher Stiftung in Basel, Switzerland, and a travel grant from Pro Helvetia, the national arts organization of Switzerland. She recently joined the faculty at the University of Kansas as Associate Professor of Musicology.

Stephen Sensbach (DMA,1996) is a cellist with the National Symphony Orchestra of Ireland and the Orchestra of St. Cecelia, a chamber orchestra in Dublin. He plays recitals in Ireland, England, and the Continent, and his book French Cello Sonatas 1871-1939 is available online or through the Lilliput Press in Dublin. He studied with Phyllis Young and Hanns Bertold Dietz while at the University of Texas.

Jerry Neil Smith (BM, 1956, Music Ed; MM, 1957, Music Theory) is Professor Emeritus and former Director of the School of Music at the University of Oklahoma. He also served for 15 years as

Principal Clarinet of the Oklahoma City Philharmonic Orchestra. He lives in Norman, Okla.

Ruth Ann Somervell (BM, 1998, Music Studies and Choral) is a composer, pi-ano teacher and a database adminis-trator for Gray Piano Studios in North Dallas. She and her husband Mark had their first child, Jason Howell Somervell, in 2003.

Janeal Marie Sugars (MM, 1978) re-turned to UT in the summer of 2005 to pursue a DMA in Voice and Vocal Pedagogy. She holds a Performance

Degree from Juilliard, and has taught singing in New York City and Houston in addition to performing frequently.

Yoichi Udagawa ( BA, 1985, Music) conducted the Boston Pops Orchestra in the 2003 holiday season and conducted the 2004

Colorado All-State Orchestra in Mahler’s Symphony No. 1. Udagawa teaches on the conducting faculty of the Boston Conservatory. In November 2004, he conducted the New York Westchester All State Orchestra in a performance at the State University of New York Purchase College.

Martin Vasquez, (BM, 1986, Vocal Performance) is a Turner Fellow at Stony Brook University in New York where he is a doctoral student in voice. His re-cent performances have included the role of Maese Pedro in Manuel de Falla’s El Retablo de Maese Pedro with the Brooklyn Philharmonic, under the artis-tic direction of Joseph Horowitz and conducted by Angel Gil-Ordoñez, First Man in Armor and Remendado at the Festival Lyrique-En-Mer, Belle-île, France. He returns to Belle-île in summer ’05 to sing the Roasting Swan in Carmina Burana. He has taught at the Berkshire Choral Festival, City University and Marymount Manhattan College and has been

a teaching artist for the Metropolitan and New York City Opera Companies.

David Viscoli, (BM, 1987, Applied Piano) was recently promoted to Associate Professor at Minnesota State University at Mankato. He gave performances and taught master classes last fall in Korea and Taiwan.

Ann L. Whitworth (BM, 1970; MM, 1979; Voice Performance) is a professional soprano soloist and owner of Classical Vocal Instruction Studio in Austin.

As the Founding Artistic Director and Conductor of the Texas Choral Consort (TCC), Dr. Barry Scott Williamson (DMA, 1993, Choral Conducting) has been among the most ac-tive and successful con-ductors in the Central Texas area. The 2004-05 season featured the 2005 Midwinter Choral Symposium; The Late Masses: Haydn’s Mastery, Handel’s Influence; Handel’s Messiah: 263 Magical Years, a special Austin community cel-ebration of the work; Bach in the Saddle Again,

a program of Bach sacred vocal works performed by the 30-voice Camerata Vocale; and the 2005 Summer Choral Symposium: O Fortuna!, Carl Orff’s Carmina Burana. In addition, members of the TCC, led by Williamson traveled to Dachau, Germany, at the invita-tion of the Liedertafel Choir to join in a July performance of Carmina Burana in celebration of Dachau’s 1200th anniversary.

Lucy Schaufer

Janeal Marie Sugars

Barry Scott Williamson


Elliott Antokoletz, Professor of Musicology, has published two new books, one as author of Musical Symbolism in the Op-eras of Debussy and Bartók: Trauma, Gender, and the Unfolding of the Unconscious (Oxford University Press, June 2004), the other as editor of Georg von Albrecht: From Musical Folklore to Twelve-Tone Technique: Remembrances of a Musician Between East and West (Scarecrow Press, January 2004). He also contributed an essay, “Pitch Organization in the Finale of Bartók's Viola Concerto,” to Donald Maurice's book, Bartók's Viola Concerto: The Remarkable Story of His Swansong (Oxford Univer-sity Press, 2004). He presented lectures on “Musical Symbolism in Béla Bartók's Duke Bluebeard's Castle: Trauma, Gender, and the Unfolding Unconscious,” one for the American-Hungarian Educa-tors' Association at Montclair University, New Jersey, in April 2004, the other for the Creativity and Madness Conference, American Association of Medical Educa-tors (Santa Fe, New Mexico, in August 2004). Professor Antokoletz contributed a chapter, “Copland's Gift to be Simple Within the Cumulative Mosaic Com-plexities of His Ballets,” to the book, Copland and His World, ed. Carol Oja and Judith Tick (Princeton University Press, August 2005), and lectured on it at the Copland Conference at Bard College in August 2005. He presented lectures on “A Discrepancy Between Editions of Bartók's Fifth String Quartet: Resolved by a Comparative Study of Primary Sources and Anal-ysis,” one as a keynote lecture at Indiana University in October 2004, the other as a lecture at Case Western Reserve Univer-sity, Cleveland, Ohio, in November. He also presented a master class (invited by the Cavani String Quartet and members of the Cleveland String Quartet) on the six Bartók String Quartets at the Cleveland Institute of Music in November 2004. In January 2005 he presented two seminars, one on “The Music of Bartók” and another on “Early 20th-Century Opera” at the Réal Conser-vatorio Superior de Musica in Madrid, Spain. Antokoletz con-tinues as editor of the International Journal of Musicology (Frank-furt: Peter Lang).

Nathaniel Brickens, as President of the International Trombone Association, presided over board meetings in Dallas, Washing-ton D.C. , and Ithaca (NY) during the 2003-04 school year, in ad-dition to receiving the 2004 International Trombone Association Distinguished Service Award. In May, Brickens presented mas-ter classes at Rio de Janeiro Federal University Santa Marcelina University, and the Brazilian Trombone Festival, Universidade do Vale do Rio dos Sinos, and was interviewed on South Ameri-ca's most popular TV talk show, “Programa do Jo.” He served as principal trombonist in a San Antonio Symphony-based orches-tra for the world premiere gala showing of the movie The Alamo (stage guests included Dennis Quaid, Billy Bob Thornton, and Jason Patric) in March. Brickens commissioned and conducted a premiere performance of Austin Overture, a new work written for the UT Trombone Choir by Eric Ewazen in May. He wrote 25 literature annotations for the 2004 publication of Solos for the

Student Trombonist (Switzerland: The Brass Press/Editions Bim). Professor Brickens was the recipient of a 2005 Texas Exes Excel-lence in Teaching Award. He performed as trombonist for the Victoria Bach Festival Orchestra and served as principal trom-bonist and bass trumpeter for 18 performances with the Austin Symphony Orchestra. Brickens remains active as an executive board member of the International Trombone Association (ITA) and as chairman of the ITA Press Committee.

Thomas Burritt, Assistant Professor of Percussion, performed at Weill Recital Hall at Carnegie Hall in April 2005 as member of the Hammers and Sticks new music ensemble founded by pianist Teresa McCullough. The concert featured new works by Steven Mackey, Zhou Long, Alvin Singleton, Alex Shapiro, UT

alumnus Joseph Harchanko and Belinda Reynolds. The ensemble recently released a CD on the Innova label featuring the music performed on the NY concert. Other concerts were given at the University of Texas, Princeton University, UC Santa Cruz and Santa Clara University.

Dr. Robert Carnochan, director of the Longhorn Band, has been busy over the past two years with major performances at the 2004 Holiday Bowl in San Diego, Calif., the 2005 Rose Bowl and Tourna-ment of Roses Parade in Pasadena, Calif., and the 53rd Presidential Inaugural Pa-rade in Washington D.C. In addition to his Longhorn Band duties, he has also made

presentations at the 2003 College Band Directors National As-sociation (CBDNA) National Conference in Minnesota, guest conducted the UT Wind Ensemble in Carnegie Hall for the 2005 CBDNA National Conference, served as assistant producer of the award-winning UT Wind Ensemble recording The Bells for Stokowski, toured with the UT Symphony Band to San Antonio, Laredo, and Brownsville, co-commissioned and premiered works by Christopher Tucker and Scott McAllister, and ap-peared as guest conductor in Rhode Island, South Carolina, Colorado, Montana, Maryland, Ohio, and Oklahoma, not to mention numerous places within Texas. In the summer of 2005, Dr. Carnochan served again as assistant producer of the UT Wind Ensemble recording featuring John Corigliano’s Circus Maximus; and by invitation attended the World Association of

Symphonic Bands and Ensembles 12th International Meeting in Sin-gapore.

During the 2003-04 academic year, Assistant Professor of Mu-sicology Elizabeth B. Crist was appointed to the Council of the American Musicological Society and, in the spring semester, was a fellow at the University of Texas Humanities Institute. In Decem-ber 2004, Professor Crist received an ASCAP Deems Taylor Award for her article “Aaron Copland and the Popular Front,” published in the Journal of the American Musico-logical Society. She was also award-

Faculty

Elizabeth B. Crist

Mar

k Ru

tkow

ski

Robert Carnochan conducts in Carnegie.

13WORDS of NOTE

ed a book subvention from the University Co-operative Society for her edition of Aaron Copland's correspondence (co-edited with Wayne Shirley), forthcoming from Yale University Press. Another book, Music for the Common Man: Aaron Copland during the Depression and War, appeared from Oxford University Press in August 2005 and received a subvention award from the Soci-ety for American Music. Adding to her growing list of awards, Professor Crist was named the 2004-05 Outstanding Academic Teacher in the School of Music.

Andrew Dell’Antonio, Associate Professor of Musicology, co-ordinated the creation of an exchange program between the UT School of Music and the Department of Music at the Univer-sity of Newcastle-upon-Tyne, England; UT’s second musical exchange with the UK, joining the Austin-Southampton ex-change, which Professor Dell’Antonio also supervises. As part of the latter exchange, the UT Early Music Ensemble (under the temporary direction of Professor Dell’Antonio) hosted a week-long series of workshops in the fall with the English ensemble Musica Secreta, culminating in a collaborative performance of vespers psalms of Chiara Cozzolani (a nun composer from the mid-1600s). Dell’Antonio’s collection Beyond Structural Listening? Postmodern Modes of Hearing, heralded as “the most impressive collection of separately authored essays musicology has yet seen,” was published by the University of California Press with a subvention award from the UT Co-op in the fall of 2004. Asso-ciate Professor Dell’Antonio is the new Head of the Musicology/Ethnomusicology division, and is concluding a two-year term as President of the Southwest chapter of the American Musico-logical Society, and serves as secretary to the society’s national council.

In 2004, Delaine Fedson served as Harp Area Coordinator for the Suzuki Association of the Americas International Confer-ence, performed at McMaster University in Ontario, and pre-sented two workshops at the American Harp Society’s 37th National Conference in Philadelphia, where she was elected Secretary to the AHS Board. Twelve harpists from four states attended Longhorn Music Camp and the harp studio accepted a gift of two harps from W&W Musical Instruments: a Venus Penti Semi-Grand harp and a Lyon & Healy Folk Harp. Ms. Fedson also taught at HarpFire!, the American Suzuki Institute and taught a Harp Teacher Training Workshop at the Texas State Suzuki Institute. In June 2005, Fedson performed at the Inter-national Double Reed Society festi-val, and performed and mentored high school harpists at the Quartz Mountain Oklahoma Summer Arts Institute and at Longhorn Music Camp. Additionally, she taught Suzuki Harp Teacher Training classes at the Dallas/Ft. Worth and American Suzuki Institutes, and attended the World Harp Congress in Dublin. Ms. Fedson co-authored a book published by the American String Teacher’s Association, A Harp in the School: A Guide for School Ensemble Directors and Harpists. She continues to serve as Secretary to the Board and Southwestern Regional Director to the American Harp Society, Inc.

John Fremgen, Assistant Professor in Jazz Studies, has been busy traveling and recording. In September 2003, he performed and taught alongside jazz studies colleagues at the Rimsky-Kor-sakov Conservatory in St. Petersburg, Russia. In April 2004, the jazz ensemble AIME (Alternative Improvisation Musical En-semble) performed at the North Texas State Jazz Festival under his direction. In July of 2004 Fremgen traveled to Europe with Jeff Hellmer, the UT Jazz Orchestra and AIME. The two ensem-bles performed at the North Sea Jazz Festival in The Hague and Montreux Jazz Festival in Switzerland. Fall 2004 saw the release of If Not Now, Fremgen’s third recording on the Viewpoint label. In a review of his newest CD, Cadence Magazine calls Fremgen “…an adroit craftsman on the strings.” He began work on his fourth recording in the summer of 2005.

Donald Grantham composed four commissioned works in 2004-05. Flourish! (orchestra) was commissioned by Hendrix College and was premiered there in November 2004, while Grantham served there as composer in residence. Court Music (wind ensemble) was commissioned by the Tokyo Kosei Wind Orchestra (TKWO) and premiered in Tokyo in February 2005. The TKWO included the work on their tour of Japan and per-formed the work at the World Association of Symphonic Bands and Ensembles International Convention in Singapore in July. The ensemble also performed the composition on their Euro-pean tour. The orchestral version of J’ai été au bal was premiered by the Baton Rouge Symphony in February 2005. In April, the Conspirare Choir premiered La canción desesperada (for soprano, bass, solo violin and chorus on a text by Pablo Neruda) in Aus-tin and San Antonio. Baron Cimetiére’s Mambo was performed at Carnegie Hall by the University of Texas Wind Ensemble, con-ducted by Robert Carnochan, as part of the CBDNA Conven-tion in February 2005. Fantasy Variations was performed by the University of Louisville Wind Ensemble, conducted by Freder-ick Speck, as part of the same convention. Grantham served as composer in residence at the Louisiana State University New Music Festival in February and at Oklahoma State University in

April 2005. J. S. Dances was recorded by the North Texas Wind Sympho-ny, conducted by Eugene Milagro Coporon, for Klavier records.

Eugene Gratovich, Associate Pro-fessor of Violin and Chamber Music, has made annual summer trips to St. Petersburg, Russia, by invitation. In September 2003, he was invited by the St.Petersburg Rimsky-Korsa-kov State Conservatory to present a lecture-recital on modern violin techniques. He performed music of Kabalevsky, Debussy, Martinu, and a premiere of Variations on a Colonial Theme by Billings by American com-

poser, Sidney Knowlton, in the same studio in which Leopold Auer taught such violinists as Mischa Elman and the late Jascha Heifetz. This special event was part of the Third International Conservatoire Week Festival in celebration of the 300th anniver-sary of the founding of St.Petersburg. Dr. Gratovich also met and listened to violin students perform as part of the UT School of Music’s effort to establish exchange programs with impor-tant European schools. The UT Faculty Jazz Ensemble also participated in the event. In the summer of 2004, Dr. Gratovich

Eugene Gratovich and students in St. Petersburg.


performed the Schumann Quintet with faculty members of the State Conservatory at the Summer International Academy of Music in St. Petersburg. He gave a master class and performed with UT student Grace Chen at the Composers Union Concert Hall, where many Shostakovich works were performed. In Au-gust, he was invited to perform the Overture on Jewish Themes by Prokofieff at the International Music Festival in Viana do Castello, Portugal. Dr. Gratovich recorded music for violin and piano by Sidney Knowlton, the CD of which included perfor-mances by his students. Recording took place in studios in Saluzzo, Italy, and Boston. He served as Acting-Concertmaster of the Austin Symphony Orchestra, performing solos in Tchai-kovsky’s Swan Lake, Symphony No.1 by Brahms, and Symphonic Dances by Rachmaninoff. During Summer 2005 he was invited and returned to perform at the international music festivals in St.Petersburg and Viana do Castello, Portugal.

In 2004, Dr. Gerre Hancock left Saint Thomas Church Fifth Avenue in New York City as Organist and Master of Choristers after thirty-three years of service there. He and his wife, Judith Hancock, moved to Austin to assume the exciting and challeng-ing task of beginning work on a Sacred Music Studies Program in the School of Music. Performance degrees in either Choral Conducting or Organ, with Sacred Music Emphasis, were initi-ated. In the meanwhile, Gerre Hancock was awarded a Doctor of Divinity (Honoris caus.) from The General Theological Semi-nary in New York City. He and Dr. Judith Hancock performed organ concerts in New York at Saint Thomas Church, and in London, at Saint Paul's Cathedral. In November 2004, Dr. Han-cock was awarded The Cross of Saint Augustine by The Arch-bishop of Canterbury at Lambeth Palace in London, in recogni-tion of his contribution to the music and liturgy of the Anglican communion throughout the world. During the 2004-05 season, he performed organ concerts in Seattle, Grand Rapids, San An-tonio, New Orleans, New York, Chicago, Los Angeles, Cincin-nati, Indianapolis and other cities. In the 2003-04 season Judith Hancock, Senior Lecturer in Or-gan and Sacred Music, performed with husband Gerre Han-cock, at Saint Paul’s Cathedral in London, performing duets and solo pieces for the organ. In May 2004, they gave a recital at St. Thomas Church, New York City as part of a farewell recital, at which she was awarded an Honorary Doctor of Sacred Music. In July of that year, she was soloist in recital for the American Guild of Organists national convention in Los Angeles. Her re-cording of the Poulenc Concerto in G Major for organ and strings was also released by Koch International Recording Company. In late December 2004, she participated with Gerre Hancock in a Holiday Concert in Bates Hall, joined by faculty cellist Bion Tsang with Raymond Sasaki on trumpet. In May 2005, Judith Hancock gave a solo organ recital at St. Marks Church, Grand Rapids, Mich.

Scott S. Hanna received “The Eyes of Texas Are Upon Excel-lence” award in Fall 2003. The Eyes of Texas, an anonymous campus organization dedicated to unselfish devotion to the University, select honorees who have made an outstanding contribution to student life at the University. Dr. Hanna serves as Assistant Director of Bands, Music Director of the Chamber Winds, Associate Director of the Longhorn Band, and Associate Director of the School of Music. Jeff Hellmer, Director of Jazz Studies, was a clinician/artist at

the Litchfield-Western Connecticut Jazz Festival in April 2005. He performed with an ensemble of clinicians that included Conrad Herwig, Terrell Stafford, Matt Wilson, Mark Whitfield, and John Benitez, and worked with numerous high school and collegiate jazz ensembles. Hellmer was also featured at River-side (California) Community College in May, adjudicating and performing at the RCC Jazz Festival, performing a solo recital, and appearing as guest soloist with the RCC Wind Ensemble. He served on the faculty of the Idyllwild (California) Summer Jazz Camp in July.

Associate Professors Rebeccca Henderson, oboe, and Kristin Wolfe Jensen, bassoon, have collaborated on many recent proj-ects, including planning and hosting the 2005 International Double Reed Society Conference (IDRS) in June 2005, with over 100 events. They performed at the IDRS’s annual conference in the summer of 2004 in Melbourne, Australia, presenting the world premiere of UT alumna Jenni Brandon’s Wild Flower Trio, dedicated to Lady Bird Johnson. Jensen and Henderson were featured performers and clinicians at “Fou de Basson,” a bassoon conference in Angouleme, France, in April 2005. They were also the featured guests at the University of Memphis Double Reed Festival in November 2004, hosted by UT alumni Michelle Vigneau, oboe, and Lecolion Washington, bassoon. Rebecca Henderson’s solo CD, ...is but a dream, was released on Boston Records in the fall of 2003, and has received rave reviews, including a review by Gramophone calling the CD “ex-quisite.” Kristin Wolfe Jensen produced a CD called UT BAS-SOONS LIVE! presenting UT ensemble performances that fea-ture bassoon students. She also gave a clinic at TMEA in 2004, “Always Play Beautifully”, and launched her studio Web site, http://bassoon.music.utexas.edu.

Professor of Group Piano and Pedagogy Martha Hilley has been involved in numerous acivities during the past two years. Major presentation venues during the 2003-04 year included the Music Teachers National Association (MTNA) national confer-ence in Kansas City as well as the following state MTA groups: Tri-State (Kansas, Nebraska, Missouri), Arkansas and Texas. She was also on the guest faculty of the Group Piano Teaching Seminar in Orlando, Fla., sponsored by MTNA, NAMM and the National Piano Foundation. The summer was rounded out with a trip abroad to teach at the International Workshops in Graz, Austria. The 2004-05 academic year included presentations at MTNA/Seattle, Nebraska Music Teachers State Conference, and the National Conference on Keyboard Pedagogy, as well as one-day presentations for the Tulsa Area Piano Teachers Associa-tion and the Ft. Worth Piano Teachers Association. In the Spring of 2005, Hilley was elected as Vice President of the MTNA and was named to the Academy of Distinguished Teachers at The University of Texas at Austin.

Judith A. Jellison, the Mary D. Bold Professor in Music and Human Learning, was inducted into the University’s 80-mem-ber Academy of Distinguished Teachers, the highest recognition awarded teachers on campus. At the 2004 biennial conference of MENC: The National Association for Music Education, Jellison received that organization’s highest research recognition, the Senior Researcher Award. Her acceptance speech to the Society for Research in Music Education was published in the Journal of Research in Music Education (JRME), and will be reprinted in fall 2005 in Arts Education Policy Review. During the past two years, she has served on the editorial boards of JRME and the Journal

15WORDS of NOTE

of Music Therapy and has given presentations and research papers at conferences of MENC, the American Music Therapy Association and the Texas Music Educators Association. She was an invited distinguished scholar at the Universitat Ramon Llull in Barcelona, Spain, in March of 2004, and presented the results of her research to the 17th International Research Symposium on Music and Behavior in St. Louis and at the 11th World Congress in Music Therapy in Brisbane, Australia. She continued teaching with her colleague Robert Duke as a resident faculty at the VanderCook College of Music in Chicago in the summers of 2004 and 2005.

Jerry Junkin, Frank C. Erwin, Jr., Centennial Professor in Music, was one of six professors appointed in 2004 to the Academy of Distinguished Teachers at UT. His selection demonstrates the respect he has earned from peers, students and administrators for his outstanding teach-ing. Professor Junkin received recognition for the award at the university-wide commencement in May, and was formally in-ducted into the Academy at a special ceremony in September. Professor Junkin is Director of Bands and Head of the Conduct-ing Division at the University, in addition to conducting the UT Wind Ensemble and Chamber Winds and serving as Artistic Director of the Dallas Wind Symphony.

Donald Knaub, Emeritus Professor of Trombone, recently an-nounced the release of a new CD titled RETREAD for solo Bass Trombone and Piano. The CD is a digital re-mastering of two LP albums he recorded in the late 1960s and early 1970s on the Golden Crest label. Knaub retired from the School of Music at UT Austin in 2001 after a teaching career that covered 50 years. He taught at Rochester’s Eastman School of Music from 1951 un-til he joining the faculty at UT Austin as Professor of Trombone in 1977. The recording contains transcriptions of works by Gal-liard, Bach, and Borodin as well as original compositions from the standard Bass Trombone repertoire by Stevens, White, Wild-er, Semler-Collery and Defaye. The album is available from: www.tapmusic.com and www.hickeys.com online.

In September 2005, violin faculty member Brian Lewis made his debut concerto recording with the London Symphony Or-chestra at Abbey Road Studios in England with Maestro Hugh Wolff conducting. The CD, produced by Grammy award win-ner Michael Fine, features Professor Lewis in performances of Leonard Bernstein's Serenade for solo violin and string orches-tra, as well as the world premiere recording of the newly com-missioned work ELEMENTS written by Hollywood composer Michael McLean. This much anticipated debut recording will be released by the Delos label in the coming year. Professor Lewis is the David and Mary Winton Green Chair Fellow in String Performance and Pedagogy.

William Lewis, Frank C. Erwin Jr. Professor in Opera, was honored as Alumnus of the Year in May 2004 ceremonies at the University of Colorado, Boulder. William Lewis is Professor of Voice and Head of Undergraduate Opera at UT, and is the Founder and Artistic Director of the Austrian American Mozart Academy in Salzburg, a six-week summer training program in opera performance. Professor Lewis performed as leading tenor

at the Metropolitan Opera for more than three decades.

John Mills performed with the UT Faculty Jazz Quartet at St. Petersburg Conservatory in Russia in September 2003, and with the Creative Opportunity Orchestra in New York City in October 2004. His original composi-tions were featured on both tours. In July 2005, he returned for the fifth consecutive year to major blues festivals in Ottawa, On-tario, and Portland, Ore., as a member of the Texas Horns, who serve there as “horn section in residence,” backing numerous headline acts and conducting workshops. Two CDs on which Mills performed, Ray Benson’s Beyond Time and Marcia Ball’s So Many Rivers, were honored with 2004 Grammy nominations.

Also that year, he played flute, clarinet, bass clarinet, tenor, and baritone saxophones on David Byrne’s CD, Grown Backwards, and was the featured soprano saxophone soloist on a 2005 re-lease by Robert Earl Keen. Mills has recently generated a num-ber of new compositions for jazz orchestra, writing regularly for both Austin’s CO2 and the UT Jazz Orchestra. His special arrangements for local appearances of Delfeayo Marsalis and Kenny Garrett were subsequently acquired by those artists. In April 2004, he premiered two new concert works, Trilogy and Times Twelve, for the UT Trombone Choir and Saxophone Choir, respectively. He also scored two documentaries for KLRU-TV, Laguna Gloria (2004) and Texas Courthouses (2005), and wrote several pops arrangements for the Austin Symphony Orchestra. In January 2005, Mills presented a research paper on contempo-rary chromaticism to the annual conference of the International Association for Jazz Education in Long Beach, Calif. This ar-ticle was published by IAJE in its yearly journal. Mills assumed the role of jazz writer for The Austin American Statesman in the spring of 2005.

The last two years have been momentous ones indeed for the Miró String Quartet, the UT School of Music’s resident per-forming and teaching ensemble. Since September 2003, their concert tours have taken them to the Netherlands, Germany, Austria, and Sweden, and throughout the United States, Mexico and Canada. Their CD, Epilogue, featuring music of Mendels-sohn and Schubert, was released in the Spring of 2004 by Ox-ingale Records, and their recording of George Crumb’s Black Angels received the French “Diapason d’Or” award. In October 2004, the Quartet completed marathon sessions for their newest double CD set of the Opus 18 quartets by Beethoven for an Au-gust 2005 Vanguard Classics release. They received the presti-gious Cleveland Quartet Award from Chamber Music America this year, as well as the first YPAC alumni award ever given by the Association of Performing Arts Presenters. In May 2005 the Miró Quartet became the first chamber ensemble ever cho-sen to receive the renowned Avery Fisher Career Grant. Their winner’s performance at the gala award ceremony at Lincoln Center in New York City was videotaped and recorded for TV and radio broadcast. Among the group’s numerous recent en-gagements were performances of all six Beethoven Op. 18 string quartets at a special New York University concert.

Anton Nel, Priscilla Pond Flawn Regents Professor in Piano, has been busy concertizing in the United States and abroad. The

Judith Jellison


highlight of the 2003-04 season was his performances of all five Beethoven concerti in two consecutive nights with the Cape Philharmonic of South Africa in June. The Cape Times called the series “a splendid display of superior musicianship,” and said the audience “listened with rapt attention and rewarded each concerto with a greater ovation.” Other highlights include the acclaimed New York premiere of Stephen Paulus’ Piano Concer-to, written for Nel and performed with the Philharmonia Virtu-osi at the Metropolitan Museum. Mr. Nel gave 30 more concerts with orchestra. In addition to recitals throughout the United States, South Africa, and in St. Barthelemy, French West Indies, he also participated at summer festivals in Aspen and Seattle. Noteworthy chamber music appearances were with violinist Sylvia Rosenberg at Carnegie Hall and with Alexander Barant-chik, concertmaster of the San Francisco Symphony. Professor Nel was also the recipient of the University of Texas Co-Op/Fine Arts Award. The highlight of Anton Nel’s 2004-05 season was his sold-out solo recital at Weill Recital Hall at Carnegie Hall on the “Naumburg Looks Back” series. Bernard Holland of the New York Times praised Mr. Nel’s “effective half-voice,” “real tenderness,” and concluded by saying that “teaching has sharp-ened what was already an excellent technique and a sound mu-sical mind.” Nel made a new solo CD of the program for release on Artek Records. With faculty colleague Bion Tsang, cello, he performed an all-Russian program and toured to Colorado Springs and Boston, performing the complete Beethoven works for piano and cello. Other chamber music tours took him to San Francisco, San Diego, and Seattle. Mr. Nel performed a Jessen Series concert with violinist Brian Lewis and with the Faculty Piano Quartet performed Dvorak and Fauré in Bates Recital

Hall. In addition to his annual faculty recital, Anton Nel also gave an all-Mozart recital with UT alumna Mary Robbins for A. Mozart Fest. On Sept. 11, 2003, Anton Nel became a US citizen.

In February 2005, David Neubert, Professor of Double Bass, served as one of three judges for the prestigious International Corpus Christi Music Competition for Strings. He also served as on-campus host to guest double bass artists Stefano Sco-danibbio and the renowned François Rabbath. Dr. Neubert gave a presentation on his new enhanced version of Bass Teacher on a Disk, an educational CD-ROM for public school teachers and students, at the International Society of Bassists Convention held at Western Michigan University in June 2005. The new ver-sion includes performance footage and MIDI accompaniments for students to play along with while the solo part is displayed on screen. Dr. Neubert also served on the Potter Violin Instru-ment Outreach Awards Committee, part of the American String Teachers Association programs, in reviewing applications to select which students would be best suited for a new string in-strument.

David Neumeyer, Leslie Waggener Professor in the College of Fine Arts and Director of Graduate Studies in the School of Music, was invited to give a major presentation titled “The Institutionalization of American Music Studies” during the an-nual meeting of the National Association of Schools of Music (NASM) in November 2004. He also was invited to deliver the 14th annual Windham Lecture at Middle Tennessee State Uni-versity in April 2005. His subject was “American Music: Sound and Film.”

Suzanne Pence was an invited festival conductor at Carnegie Hall for MidAmerica Productions in 2003. Members of the UT Concert Chorale sang in the festival chorus. Dr. Pence serves as the School’s Director of Undergraduate Studies and conducts the Concert Chorale. In January 2005, she conducted the Okla-homa All-State Choir.

Laurie Scott, Assistant Professor in the division of Music and Human Learning, Director of the UT String Project, and faculty advisor for the student chapter of the American String Teacher’s Association, was awarded the College of Fine Arts Teaching Excellence Award in Music for the 2004-05 academic year. Dr.

Austin Critic's Table Awards In June 2005, the Austin Critic's Table Awards were announced, with the School of Music, the Butler Opera Center and the UT Performing Arts Center named winners in the following categories: • Symphonic Performance: Corigliano: Circus Maximus, UT Wind Ensemble• Touring Show: Renée Fleming, UT-PAC• Chamber Performance: Dvorák: Trio in F Minor, Miró Quartet (Sandy Yamamoto, Joshua Gindele, with Gregory Allen)• Opera: Dan Welcher's Della's Gift/Holy Night, Butler Opera Center• Instrumentalist: Bion Tsang, Dvorák: Cello Concerto, UT Symphony

Anton Nel in Carnegie Hall.

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Scott accompanied 22 graduate stu-dents who serve as faculty in the UT String Project to the 2005 American String Teachers National conference in Reno, NV. These student teachers acted as a demonstration group for three conference sessions and were featured as a performing group on the opening night. During the past two academic years Dr. Scott pre-sented sessions for the Suzuki Asso-ciation of the Americas Leadership Conference, Missouri Music Educa-tors’ Association, Texas Music Edu-cators Association, Music Therapy National Conference and the Learning Disabilities Association of Texas State Conference.

Stephen Slawek, Professor of Ethnomusicology, was invited to deliver a paper at the symposium “Indian Classical Music: From Princely Court to Carnegie Hall,” which was organized by the Center for South Asian Studies at the University of Mich-igan in September 2004. The symposium coincided with a con-cert by renowned Indian musician, Pandit Ravi Shankar. Soon after the symposium, Professor Slawek joined again with one of India's finest exponents of the tabla, Anindo Chatterjee, to per-form sitar recitals of Indian classical music in October at Texas A&M University, Indiana University at Bloomington and back home at the UT School of Music. Also during the year, Professor Slawek contributed an article to a forthcoming volume on im-provisation and continued as editor of Asian Music, the journal of the Society for Asian Music.

In March of 2004, Rose Taylor, Professor of Voice, appeared in the role of Mary with Aus-tin Lyric Opera's production of Wagner's Der Fliegende Hol-länder, conducted by Guido Aj-mone-Marson in Bass Concert Hall. This was her sixth pro-duction with the company. Lat-er in the season she appeared as Madame Larina in a concert version of Tchaikovsky's Eu-gene Onegin in the Tchaikovsky Festival sponsored by the Ft. Worth Symphony Orches-tra under the baton of Miguel

Harth-Bedoya. The latter performance in Bass Performance Hall was semi-staged and sung in Russian. In June 2005, Rose Taylor was inducted into the Austin Arts Hall of Fame by the Austin Critics Table along with Kerry Awn, John Bustin, Sam Corona-do, Yacov Sharir and Jane Sibley. Ms. Taylor was honored as an artist and for her contributions as a teacher of young artists in the Austin community. Also in summer 2005, Rose Taylor sang a run of 12 performances of Mikado with the Gilbert and Sulli-van Society of Austin portraying Katisha.

Guitarist, producer, and composer Mitch Watkins teaches jazz guitar at the School of Music and travels as lead guitarist for Lyle Lovett and Jerry Jeff Walker, frequently playing with Lyle Lovett's Large Band. His credits include guitar work with Jack

Walraith, Barbara Dennerlein, Leonard Cohen, Joe Ely, Paul Glasse and many others. His production credits include a Grammy nomination for his work with singer/songwriter Abra Moore.

Composer Dan Welcher, Lee Hage Jamail Regents Professor of Fine Arts, had a very busy two years. He completed and be-gan orchestrating his second opera, Holy Night, while on sabbatical at the Liguria Study Center in Bogliasco, Italy, in 2003. Concurrently, he finished a new work for wind ensemble entitled Glacier, commis-sioned by the Southeastern Conference

Band Directors Association and premiered by the University of Georgia Symphonic Band at a CBDNA Regional Convention in Atlanta in February 2004. He composed his eighth concerto: a 17-minute Concerto For Timpani And Orchestra, commissioned by the Utah Symphony and premiered in Salt Lake City by timpanist George Brown and the Utah Symphony in October 2004. Welcher revised his earlier opera, Della's Gift, in the sum-mer of 2004 and both operas were performed as a double bill at the Sarah and Ernest Butler Opera Center at the University of Texas in April and May of 2005. Welcher's music continues to be widely performed by many major orchestras and other groups. Among the highlights of the past two seasons, his 1999 JFK: The Voice Of Peace was given two performances by the Austin Symphony Orchestra and the Choral Arts Society with Doug-las Harvey, cellist, and Hugh Downs, narrator, in November of 2003, the 40th anniversary of the Kennedy assassination. Hugh Downs was the on-air anchor at ABC News the day that event occurred. Welcher continues to direct the UT New Music En-semble and the Visiting Composers Series at the School, which has played host in the past two years to nine composers, includ-ing Martin Bresnick, John Corigliano, George Crumb, James Macmillan and Christopher Theofanidis. Welcher also ap-peared as Guest Conductor for concerts with the UT Symphony in May and October of 2004.

Phyllis Young’s pedagogical ideas continue to spark the inter-est of string teachers in many parts of the world. She present-ed workshops in conservatories and universities in Denmark, Sweden, Belgium, France and Austria. At the American String Teachers Association National Forum, she gave the keynote ad-dress, two sessions and directed her 18 UT cello students in the Texas Cello Choir. She taught in the Ohio State String Teachers Workshop, the National Cello Institute in California and the 2004 International String Workshop held in Graz, Austria. Das Streichinstrumentenspiel, the German edition of her first book was published by the European String Teachers Association (ESTA). She was cited or quoted in several books including New Grove Dictionary of Music and Musicians; Strategies for Teaching Strings by Donald L. Hamann and Robert Gillespie; and Solos for Young Cellists by Carey Cheney. The European String Teachers Association recently published Jeux de cordes, the French edition of Young’s first pedagogy book, Playing the String Game. In 2004 and 2005 she presented workshops and master classes in Italy and Switzerland sponsored by ESTA, in an orchestra festival in Oberweisel, Germany and at Eastern Carolina University for North Carolina American String Teachers Association. She also taught in the Salt Lake Cello Festival and the National Cello In-stitute in California.

Anindo Chatterjee (l), tabla, Stephen Slawek, sitar, and daughter Deepika Slawek, treble tanpura

Rose Taylor


New Faculty AppointmentsMarianne Gedigian (Associate Professor of Flute) joined the faculty in Fall 2004 following more than a decade of service with the Boston Symphony Orchestra and the Boston Pops. In 2000-2001 she served as Acting Principal Flute with the Pittsburgh Symphony Orchestra. Professor Gedigian was a first-prize winner in the National Flute Association’s Young Artist Competition and the James Pappoutsakis Me-morial Flute Competition. She was formerly a member of the Dorian Wind Quintet and keeps a busy schedule as chamber musician as a founding member of the Boston-based Walden Chamber Players. Professor Gedigian has also served on the faculties of Boston University’s College of Fine Arts, The Boston Con-servatory, Boston University’s Tanglewood Institute and the Round Top Institute.

Robin Moore (Associate Professor of Ethnomusicology) returns to the School of Music, from which he earned his Ph. D. in ethnomusi-cology, following a number of years on the faculty at Temple Univer-

sity in Philadelphia. A recipi-ent of fellowships from the Rockfeller Foundation, the MacArthur Foundation, and the National Humanities Cen-ter, Professor Moore studies music and nationalism, music and race relations, popular music, and socialist art aes-thetics. His published work includes Nationalizing Black-ness: Afrocubanismo and Artis-tic Revolution in Havana, 1920-1949 (University of Pittsburgh Press, 1998) and articles on Cuban music in the Latin American Music Review, Cuban Studies, Ethnomusicology, En-cuentro de la cultura cubana. His book Music and Revolution

(forthcoming from the University of California Press in 2006) con-cerns artistic life in Cuba after 1959.

Eric Drott (Assistant Professor of Music Theory) received his doctor-ate in music theory in 2001 from Yale University with a dissertation on the music of György Ligeti. A specialist in the music of post-mod-ern culture, he has published articles in the Journal of Musicology and American Music. Prior to joining the faculty at UT in Fall 2004, Professor Drott was Assistant Professor of Music Theory and Direc-tor of Undergraduate Studies in the Department of Music at Yale University.

Phil Ford (Assistant Professor of Musicology) earned his Ph. D. at the University of Minnesota in 2003 and subsequently was a fel-low of the Stanford Humanities Fellows Program and taught in the Stanford University Department of Music. Dr. Ford’s research and

teaching interests include postwar American popular music, radical and countercultural in-tellectual history, performance studies, and media theory. His current work deals with the aesthetics of exotica and the influence of hip aesthetic on late 20th-century music and thought. He was appointed Assistant Profes-sor at UT in fall 2005.

Jacqueline C. Henninger (Assistant Profes-sor of Music and Human Learning) was an As-sistant Professor of Music Education at The Ohio State University for five years before join-

ing the School of Music faculty at the University of Texas at Austin, from which she earned a doctoral degree in Music Education. Her research is focused on teacher preparation, and her articles have ap-peared in the Journal of Research in Music Education, Texas Music Edu-cation Research, and TRIAD. Dr. Henninger served as anv editor and compiler of the Texas Music Education Research and remains active in state and national organizations. Professor Henninger is also an ex-perienced events adjudicator, guest clinician, and guest conductor, working with band programs in Texas and Ohio.

José Ramón Méndez (Assistant Professor of Accompanying) holds degrees in piano performance from the Manhattan School of Mu-sic, where he studied with Solomon Kikowsky and Byron Janis. He has won top prizes in many international competitions, including the Pilar Bayona International Piano Competition, the Hilton Head Island International Piano Competition, the Frederic Chopin Compe-tition in New York, and the Hermanos Guerrero International Piano Competition. He has concertized extensively in his native Spain, the United States, Italy, England, Portugal, Holland and Japan and as a chamber musician has collaborated with such distinguished artists as Karl Leister, Itzhak Perlman, Michael Tree and Pinchas Zukerman. Dr. Mendez has taught at the Perlman Music Program, the Prepara-tory Division at Manhattan School of Music and at Stony Brook Uni-versity.

Luisa Nardini (Assistant Professor of Musicology) joins the faculty as a specialist in early music. Professor Nardini earned her Ph.D. at the Università degli Studi di Roma “La Sapienza” with a dissertation on the neo-Gregorian chant in southern Italy (11th-13th centuries). Prior to her appointment at UT Austin, she taught music history at the University of California Santa Barbara. She has held postdoctoral appointments at the Pontifical Institute of Mediaeval Studies in To-ronto and at the Italian Academy for Advanced Studies in America at Columbia University. Dr. Nardini has published articles and delivered conference presentations on Gregorian chant, medieval musical theory, Hildegard of Bingen and music iconography.

Mark Sarisky (Assistant Professor of Recording Technology) comes to the School of Music to found and lead a new program in record-ing technology. Over the past twenty years, Professor Sarisky’s work has established him as a leading recording engineer and producer. Working with Third Story Recording he produced and engineered projects for such artists as Tori Amos, Jafar Barron, Josh Wink, The Disco Biscuits, Susanne Vega, Donna Lewis, Kahn Jamal, King Britt,

Marianne Gedigian

Robin Moore

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Chuck Berry, and Korn. In 2002 Professor Sarisky took over as Pro-gram Advisor and Principal Faculty at American University's pro-gram in Audio Technology. Professor Sarisky majored in chemistry at Wilkes College. Following graduation he held a position in failure analysis at the NASA Goddard Space Flight Center and pursued doc-toral studies at the University of Pennsylvania before returning to his first love--producing and recording music.

Ron Westray (Assistant Professor of Jazz Trombone) is a native of Columbia, South Carolina. Since 1993 he has been associated as both lead trombonist and composer-arranger with the Lincoln Cen-ter Jazz Orchestra. Professor Westray received his B.A. in Trombone Performance from South Carolina State University and his M.A. from Eastern Illinois University. After meeting Wynton Marsalis and Marus Roberts in 1991, Professor Westray joined the Marcus Roberts Septet for several recordings and national tours. Westray also toured Eu-rope as a member of the group Jazz Futures II. In addition to leading his own ensembles and working as a sideman, Mr. Westray recorded a widely acclaimed album with trombonist Wycliffe Gordon entitled Bone Structure. In May 2005 the Lincoln Center Jazz Orchestra with Wynton Marsalis gave the premiere performance of “Chivalrous Mis-demeanors,” music by Professor Westray inspired by Cervantes’s Don Quixote.

Gerre Hancock and Judith Hancock (Senior Lecturers in Sacred Music) join the faculty after many years of service as organists and choral directors at St. Thomas Church Fifth Avenue in New York City to help establish a program in Sacred Music in the School of Music. A celebrated concert organist and choir director, Dr. Gerre Hancock is an alumnus of The University of Texas at Austin, where he majored in organ as a pupil of E. William Doty. He is a former member of the facul-ties of The College-Conservatory of Music of the University of Cincinnati, The Juilliard School, The Institute of Sacred Music at Yale University and The Eastman School of Music. Dr. Han-cock's textbook on improvisation, published by Oxford University Press, is used extensively in colleges, con-servatories and universities through-out the country. Dr. Judith Hancock earned degrees in performance and sacred music from Syracuse Univer-sity and Union Theological Seminary in New York City. Her teachers include Arthur Poister, Charlotte Garden, Jack Ossewaarde, David Craighead and Da-vid Higgs. A leading interpreter of Ro-mantic organ literature, Dr. Hancock has played many recitals throughout the United States, including several appearances at conventions of the American Guild of Organists. Dr. Han-cock has appeared with the Saint Thomas Choir at performances in the United States, England, Italy and Aus-tria.

Bruce Pennycook (Senior Lecturer in Composition and Electronic Me-dia) holds a joint appointment in the School of Music, College of Fine Arts

and the Department of Radio-Television-Film, College of Communi-cation. Dr. Pennycook specilizes in new media and audio technolo-gies including music visualization, film/video music, interactive mu-sic performance and network-based audio. He received a Doctor of Musical Arts at the Center for Computer Research in Music and Acoustics, Stanford University in 1978. He taught at Queen's Univer-sity in Canada from 1978-1987; from 1987 to 1999, Pennycook taught at McGill University in Montreal, where he developed new under-graduate and graduate degree programs in Music, Media and Tech-nology. From 1998-2000 he held the position of Vice-Principal for Information Systems and Technology at McGill. Pennycook's compo-sitions include electroacoustic and acoustic pieces for solo, chamber and large ensemble and these are performed in the US and Canada. He has published numerous articles on music technology and new music practices and has also worked as a consultant for govern-ment, industry and other institutions in Canada and the US.

Charles Villarrubia (Senior Lecturer, Brass and Woodwind Chamber Music) is a native of New Orleans, Louisiana and a founding mem-ber of Rhythm & Brass. He holds degrees in music performance from Louisiana State University and Boston University. He has been a member of the Dallas Brass, the Waterloo Festival Orchestra and the Tanglewood Music Center Orchestra. He frequently performs with the Boston Symphony Orchestra and the Boston Pops Orchestra. Mr. Villarrubia has appeared on four continents as a guest clinician and performer for the Yamaha Corporation and has recorded on the Telarc, Angel EMI, d’note, and Koch labels. Mr. Villarrubia has been a faculty member at Boston University, The Boston Conservatory, New England Conservatory, and the Longy School of Music. An ad-vocate of student involvement in chamber music, Mr.Villarrubia has

authored a chamber music method book called Team Play With Rhythm & Brass – A Guide to Making Chamber Music.

Dennis Dotson (Specialist in Jazz Trumpet) has been a professional trumpeter for forty years, having played in house bands in Las Vegas and free-lanced in New York City and Houston. He was trumpet soloist in the Woody Herman and Buddy Rich big bands and as a small group player has performed alongside Joe Lovano, Joe Henderson, Marvin Stamm and David Liebman, among others, and has performed in big bands with Carl Fontana, Bobby Shew, Tom Harrell and Kenny Wheeler. He teaches pri-vate lessons in trumpet and improvi-sation at Houston Community College and is jazz trumpet instructor at the University of Houston. He has led sev-eral All-Region high school jazz bands and has been a guest soloist/adjudica-tor/clinician at over forty high schools and colleges. He is very active as a trumpet player in jazz and commercial circles throughout the state of Texas, has performed with the Houston Sym-phony Orchestra, and has been a side-man on numerous jazz recordings.

Gerre Hancock and Judith Hancock


In MemoriamThe School of Music lost a

valued colleague when DR. GERARD BéHAGuE died June 13, 2005, after a long illness. He was a member of the School of Music faculty from 1974 until his death. He held a Diploma from the Brazilian Conservatory of music, a Diploma (equivalent to the MM) from the University of Paris, and a Ph.D. from Tulane University.

He served as chairman of the University of Texas Department of Music from 1980 to 1989 and, in 1985, was named the Frank C. Erwin, Jr. Endowed Professor in Music, and in 1991, the Virginia L. Murchison Endowed Regents Professor of Fine Arts.

Professor Béhague began his career in musicology in 1966 at the University of Illinois at Urbana-Champaign teaching music histo-ry, American music and Latin American music. He moved increas-ingly towards ethnomusicology, eventually starting a program in Latin American ethnomusicology that is maintained there by one of his UT students, Tom Turino.

From 1969 to 1977 he served as associate editor of the Yearbook for Inter-American Musical Research, and from 1974 to 1978 as edi-tor of the journal Ethnomusicology. In 1980 he founded and sub-sequently edited the Latin American Music Review, a journal that provides a unique forum for academics from all of the Americas to publish in three languages. He was president of the Society for Ethnomusicology (1979-81) and served on the Board of Directors of several professional associations.

A prolific scholar and dedicated teacher, Professor Béhague was instrumental in establishing the graduate program in ethnomu-sicology at The University of Texas. Recognized as the leading scholar of Latin American ethnomusicology, Dr. Béhague was par-ticularly well known for his research on the music of Brazil, which he studied both as a music historian and as an ethnomusicologist. He trained several of the well-known Latin Americanist ethnomu-sicologists active today both in the United States and Latin America and researched and published extensively on various aspects of Latin American music, with several books and countless articles to his credit. Professor Béhague's life-long work in Latin American music earned him much recognition and many honors, includ-ing a Guggenheim Fellowship, several grants from the National Endowment for the Humanities to direct Summer Seminars for College Teachers, induction as Corresponding Member into the Brazilian Academy of Music, and the title “Commander of the Order of Rio Branco” from the Brazilian Government.

Professor Béhague worked tirelessly to advance the ethnomusico-logical enterprise within the School of Music and throughout the academic community. He will be remembered for his debonair, out-going personality and his brilliant and challenging intellect.

Gerard Béhague

KENT W. KENNAN, Professor of Music Emeritus and a promi-nent figure in the composition of American classical music, died Saturday, November 1, in Austin, Texas.

Kennan’s numerous compositions have been widely performed and published. Best known is Night Soliloquy, which, in the version for flute and strings has been played by all the major orchestras in the country under conductors including Toscanini, Ormandy, Stokowski, and Ozawa, and recorded on six different labels.

Kennan was born in Milwaukee in 1913 and attended the Uni-versity of Michigan and the Eastman School of Music. His talent was recognized early, and as a result of winning the Prix de Rome in 1936, he spent three years in Europe, chiefly at the American Academy in Rome. He joined the University of Texas faculty in 1940, left to serve in World War II, taught at Ohio State University for two years, and returned to UT in 1949. He taught counterpoint, orchestration, and composition and published two of the most suc-cessful music texts ever written, Counterpoint, and, with faculty colleague Donald Grantham, The Technique of Orchestration, now

in its sixth edition.

Kennan also served as graduate advisor and chairman of the De-partment of Music. Although he retired in 1984, Kennan continued to encourage and mentor young composers, meeting with recipients of the Kent Kennan Endowed Grad-uate Fellowship in Music Composi-tion or Theory, which he endowed. A former fellowship recipient com-mented, “The wonderful thing is, here is someone with an amazing life in music, and I feel I can call on him for guidance.”

Recognizing his 40 years of devotion to the School of Music, the College of Fine Arts bestowed upon him its highest honor, the E. William Doty Award in 2001. Named for the founding Dean of the College and Chairman of the Department of Music, the Doty Award recognizes individuals who have made extraordinary con-tributions to education, the arts, and society, as well as rendered exceptional service to the College and the University.

Kennan’s other works in various media have also been widely performed and published and include Sonata for Trumpet and Pia-no, Three Pieces for Orchestra, Threnody, and Retrospectives, a set of 12 pieces for piano. His transcriptions for clarinet and piano of sonatas by Prokofieff and Brahms are performed by such leading clarinetists as Richard Stoltzman.

In 1992, Kennan donated his manuscripts, published scores, cor-respondence, and scrapbooks chronicling the performance history of his various works to the Harry Ransom Humanities Research Center at the University. In accordance with his will, the School of Music received a very generous donation from his estate to increase the core funds of the Kent Kennan Endowed Graduate Fellowhip in Music Composition or Theory.

Kent W. Kennan

21WORDS of NOTE

NELSON G. PATRiCK, Associate Professor Emeritus of Music at The University of Texas at Austin, died Saturday July 31, 2004, at the age of 92.

Although retired from the university in 1995, “Dr. Pat,” as he was affectionately known by his students, continued to teach classes at the School of Music until 2002. He taught in various capacities and at various educational levels for 70 years in Texas, and was widely respected for his influence on several generations of young musicians.

Patrick was hired by Dean E. William Doty in 1960 to “sell the UT Music Department to the State of Texas.” During his 42-year career in the School of Music and College of Fine Arts, Dr. Patrick was the Assistant Dean (1968–1976), the Associate Dean (1976-1977), and the Acting Dean (1977-1978). From 1964 to 1971, Dr. Patrick orga-nized and directed the School of Music’s first Longhorn music camps, which continue today. His teaching specialties ranged from the physics of acoustics, orchestration and band arranging, and designs for instruction, to the history of the American Concert Band.

In addition to his teaching, Dr. Pat was the State Director of Music for the University Interscholastic League (UIL) from 1961 to 1984.

As director he created, organized, and brought to life the Texas State Solo and Ensemble Contest, the Texas State Marching Band Contest, the Texas State Wind Ensemble Contest and the Texas Music Adjudicators Association. He continued his involvement in the UIL as a consultant to the State Director of Music from 1984 to 2004. Professor Patrick was also closely involved with Texas Music Educators Association for decades. In 1994 he was honored

by the university's Student Music Educator chap-ter through an endowed scholarship in his name, one of the few scholarships at the University of Texas established by a student organization.

“Dr. Pat touched the lives of countless music edu-cators in Texas and beyond” recalled Dr. Hunter March, Professor of Music and Human Learning and long-time colleague. “His students and his teaching were the center of his life. His home and office were always open to current and former students, many of whom became his best friends. The men of Phi Mu Alpha Sinfonia will long re-member the famous cheesecakes he baked for every fraternity party he hosted.”

Nelson Patrick provided a lifetime of dedicated service to music education and made many lasting contributions that are central to the quality of music education in the State of Texas.

Nelson G. Patrick

Danielle MartinMemorial Concert

Recording Available

Two marathon concerts hon-oring the life and work of Danielle Martin were given by students, friends and fellow artists at the School of Music in September 2004. The Danielle Martin Endowed Scholarship Fund in Piano was established. Contributions are welcome.

The recording of the Danielle Martin Memorial Concerts, a two volume, four CD set, is now available, with proceeds going to the Danielle Martin Scholarship Fund. You may pur-chase these CD sets through our Web Site: www.music.utex-as.edu or by contacting Eloisa Saldaña, [email protected], (512)-471-0806 or Eloisa Saldaña 1 University Station E3100, Austin TX 78712-0435.

The School of Music was deeply saddened at the tragic and untimely death of our beloved faculty member

DANiELLE MARTiN Thursday, April 29, 2004.

Professor Martin joined the School of Music faculty in 1972. She was critically acclaimed for her artistry and versatility as a solo recitalist, chamber musician, and or-chestral soloist, and in recent years had served as head of the Keyboard Division.

Originally from New York, she attended the Dalcroze School of Music and graduated with honors from the Oberlin Conservatory in 1969 and the Peabody Conservatory in 1971.

The recipient of distinguished teaching and arts leader-ship awards, she was one of 10 teachers selected nation-wide to serve as Mobil Ambassador to the 9th Van Cliburn Competition. Martin performed and taught throughout the United States, Canada, Mexico, Korea, and Jamaica, and was heard in radio broadcasts throughout Europe.

“Professor Danielle Martin was one of our most dedicated faculty members, who spent her entire career of more than 30 years right here in the UT School of Music,” said Glenn Chandler, Director of the School of Music. “She held the highest standards for her students and gave them the technical and musical background to achieve those standards.”

Family, faculty, students and administrators shared thoughts and remembrances of Martin's life at a memorial ceremony hosted by the School of Music in Bates Recital Hall on May 10, 2004. During the ceremony members of the faculty performed works by Brahms, Kennan and Schubert.

The influence of Danielle Martin will live on through her students for generations to come, and the scholarship that bears her name will provide opportunities for talented pianists forever.

Danielle Martin early in her career.


Master classes are an important part of the mission at the School of

Music and the UT Performing Arts Center.

Making these opportunities possible takes the concerted efforts of many people; in the spring of 2005 the PAC and the School of Music were blessed with a remarkable opportunity. Soprano Renée Fleming made her Austin debut on April 27, 2005, in Bass Concert Hall—and in the audience were five young singers who now have quite a story to tell.

Imagine being a first-year grad student and getting the chance to go one-on-one with an instructor who just hap-pens to be the best in your field. That is exactly what happened to five students in UT's opera program.

Stephanie Clark was one of those hand-picked to perform in master class for Renée Fleming on the day before her perfor-mance. “We're singing for Renée Fleming, only the most important opera singer to-day! It's a little nerve-wracking.”

The first to perform for Fleming was bari-

tone Brian Carter, who sang “Di provenza il mar, il suol” from La Traviata. If Brian was nervous, it didn't show to the layperson. Fleming, who began by telling the audi-ence of students, faculty and local opera lovers the story of how Brian broke the ice backstage by (literally) running into her, was complimentary: “The fruits of your labor are very evident.” Then, as only an artist of her magnitude can do, the mas-ter singer gave the student a few pointers on expression, breathing and relaxation.

In a matter of minutes, Brian's per-formance we nt f r o m outstanding to stellar.

Through the master class, the audience got the rare treat of seeing a more personal side of a true Prima Donna Assoluta. It's been said Renée Fleming is a diva with a voice and heart of gold. No doubt the 400 students and Austinites, who witnessed her brilliance and wit in person, are now true believers.

—Brette Lea, UT Performing Arts Center

“The voice faculty at the Schoolof Music are obviously really great…all of the students sing so well!” —Renée Fleming

A Master Class to Remember: Prima Donna Assoluta Renée Fleming

Renée Fleming applauds a student singer.

The 2005 Longhorn Jazz Festival was a remarkable event, featur-ing jazz legend Kenny Garrett performing with the University

of Texas Jazz Orchestra. Mr. Garrett, critically reviewed as the “most progressive alto saxo-phonist alive,” gave an electrifying perfor-mance to a sold-out Bates Recital Hall.

This performance was particularly special, as Mr. Garrett had never previously performed with a college big band. Jef f Hellmer, director of the Jazz Orchestra, and Mr. Garrett chose mate-rial for the concert in February, and then UT jazz students and fac-ulty went to work to create arrangements

of the music that provided a framework for Garrett while showcas-ing the talents of the ensemble. Arrangements were contributed by students John Vander Gheynst, David Guidi, Dave Renter, and

Eric Hargett, and also by faculty members Jeff Hellmer and John Mills.

The festival’s activi-ties featured 14 high school and middle school jazz ensem-bles performing for distinguished adju-dicators who provid-ed advice and com-ments . Many sec-ondary school group members were able to attend the eve-ning concert to re-ceive awards for their playing and to enjoy the evening’s music.

Renowned Saxophonist Heads Longhorn Jazz Festival

Kenny Garrett joins the UT Jazz Orchestra for a high-energy performance.

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23WORDS of NOTE

In addition to the many guest artists, composers and lecturers featured throughout Words of Note, the School of Music hosts an amazing number of renowned guests every year. Following are just a few of the many recent artists who have graced our halls.

Concert pianist Clive Swansbourne performed in January 2004 at Bates Recital Hall. He cur-rently is the director of keyboard studies at Sam Houston State University.

Renowned pianist and recording artist Malcolm Bilson gave three public presentations in the School of Music in September 2005. His master classes on works by Mozart, J.S. Bach, J. C. Bach, Beethoven and Haydn included performance demonstrations and an evening lecture.

Alumnus Dr. Elliott Cheney gave a lecture demonstration on performance of the Bach Cello Suites in January 2005. Cheney teaches cello at the University of Utah, and has performed around the world.

Michael Burritt, percussionist and brother of UT faculty artist Thomas Burritt, performed with the Percussion Ensemble in Bates Recital Hall in April 2005.

As a guest in the Distinguished Teacher Series, Aldo Parisot, cello, performed in April of 2005. A world-renowned performer, Parisot is a Professor of Music at Yale University.

Stefano Scodanibbio from Italy and François Rabbath from France were recent visiting double bass artists. Mr. Scodanibbio gave a remarkable performance and demonstration of performance techniques in November 2004. World-renowned artist and teacher François Rabbath was in residence in February 2005 with daily master classes and a presentation of his latest DVD on “The Art of the Bow.”

Diana Mcintosh, pianist, composer and per-formance artist, offered an entertaining night of musicianship in November 2004, with a provoca-tive, one-woman

performance of her music “McIntosh the Stein Way and Other Provocations.”

Varvara ivanova, harp, performed for the School of Music in April 2005. At only 17, Ivanova has already performed in many or the major concert venues around the world including London’s Wigmore Hall.

Pulitzer Prize-winning composer Melinda Wagner was in resi-dence in late April 2005, in preparation for a New Music Ensemble performance of her work. Her chamber works, which have been performed throughout the nation, earned her the Pulitzer Prize in 1999.

Guest Artists

P rofessors Rebecca Hender-son and Kristin Wolfe Jen-

sen planned and co-hosted the 2005 International Double Reed Society Conference, which was held at the School of Music June 4-8, 2005. The annual confer-ence is the largest meeting of bassoonists and oboists in the world. The five-day conference included 120 concerts, lectures and master classes, 1400 at-tendees and almost 100 exhibi-tors. This conference was the largest in IDRS history, and by many accounts, the best. Many attendees extolled the quality of the featured UT faculty performers (Professors Marianne Gedigian, Jeff Hellmer, John Fremgen, Delaine Fedson, Thomas Burritt, David Neely, and Rick Rowley). Evening concerts in Bass Concer t Hall featured re -nowned soloists from Brazil, France, Canada, Spain, England, Norway, Holland and the U.S. One program featured the UT Wind Ensemble accompanying soloists. On one evening, partici-pants were bussed to Austin’s famous Salt Lick Restaurant for delicious barbeque, a concert by Texas double reed players, and more traditional Texas style entertainment. Several eve-nings featured late night jazz at the Marriott with world-class oboe and bassoon soloists. Professors Henderson and Jensen received invaluable as-sistance in planning the confer-ence with a team that included UT faculty, staff, and student as-sistants. Together they coordi-nated a conference that placed the UT School of Music center stage with some of the world’s most renowned double reed musicians.

School Hosts InternationalDouble Reed

Society Conference

Elliott Cheney

Melinda Wagner

Varvara Ivanova

Michael Burritt


The following outstanding students who received major awards and hon-ors are listed with the degree they are working toward and their major.

2003–2004•Najung Kim, DMA, Piano Performance, and Emy Todoroki-Schwartz, BM, Piano Performance, won the UT Symphony Orchestra Concerto Competition and performed with the or-chestra.

•Robert Deemer, DMA, Composition, won the UT Symphony Orchestra Composition Award and also a University Continuing Fellowship.

•The Chamber Music Awards went to Marimba Quartet No. 1, Thomas Burritt, coach. It is composed of Eric Carraway, MM, Percussion Performance; Ben Finley, DMA, Percussion Performance; John Kizilarmut, MM, Percussion Performance; Jake Thieben, MM, Percussion Performance.

•The Sidney Wright Endowed Presidential Scholarship Competition in Piano Accompanying first-prize winners were Kae Ayer, DMA, Piano, Chamber Music-Collaborative Arts, and Jaeyeon Park, DMA, Piano Performance; second prize went to Jae a Noh, DMA, Piano Performance; and third prize went to Jacob Clark, DMA, Piano Performance.

•Kimberly Schafer, MM, Musicology, was awarded a Fulbright-Hays grant to study carillon and carillon composition at the Royal Carillon School in Mechlin, Belgium.

•Robbie Gibson, DMA, Guitar, won second prize in the Music Teacher's National Association Wurlitzer Collegiate Artist National Competition.

•The Society for Electro-Acoustic Music in the United States 2004 SEAMUS/ASCAP Student Commission first and second prizes went to UT music students Per Bloland, Composition, and Chris Staefe, Composition, respectively.

•Rian Charlton Craypo, BM, Performance, Bassoon, was a final-ist and won Honorable Mention in the Gillet-Fox International Bassoon Competition.

•Lindsey Midori Keay, BM, Instrumental Music Studies, Flute, was named the Presser Foundation Scholar for 2004-05.

•Najung Kim, DMA, Piano, was recognized for her Outstanding Graduate Recital.

•Cory Michael Gavito, PhD, Musicology, was awarded a College of Fine Arts Dean’s Graduate Research Fellowship.

•Nathan Leaf, DMA, Choral Conducting, received the David Bruton, Jr. Endowment Fellowship.

Students

Within the last two years, DMA guitar student Isaac Bustos, seen here with his teacher, Adam Holzman, has won first prizes in the following competitions: the Portland Guitar Festival's Annual Competition, the First Annual St. Joseph International Guitar Com-petition; East Carolina University Solo Guitar Competition; Lachine International Guitar Competition, Quebec, and the Dallas Interna-tional Guitar Competition.

UT Trombone Choir Tours Brazil

The University of Texas at Austin Trombone Choir, directed by Nathaniel Brickens, conducted a three-city tour of Brazil in May 2004. They performed and presented masterclasses at univer-sities in Rio de Janeiro and São Paulo in route to a showcase concert at the Brazilian Trombone Festival at Universidade do Vale do Rio dos Sinos (hosted by UNISINOS trombone profes-sor, Julio Rizzo) in Porto Alegre.

Trip highlights included a performance and interview on South America's most popular TV talk show, “Programa do Jo”; a performance in Rio's oldest cathedral, Igreja da Candelaria, to a standing- room-only crowd of nearly 2,000; sightseeing visits to Christ the Redeemer (Corcovado), Sugarloaf (Pao de Acucar), and Ipanema and Copacabana beaches; and a tour of the Weril Musical Instruments factory in São Paulo.

The Trombone Choir was joined by João Luiz Fernandes Areias, president of the Brazilian Trombone Association and principal trombonist for Rio de Janeiro Opera Orchestra, as a soloist in Rio and by the Brazilian Trombone Ensemble for a Sao Paulo performance. Major supporters of the Brazil excur-sion included Miss F. Marie Hall, Weril Musical Instruments, the Brazilian Trombone Association, UNISINOS, and The University of Texas.

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25WORDS of NOTE

2004–2005•The UT Symphony Orchestra Concerto Competition first prize went to Jeffrey Wang, MM, Cello, “Rococo Variations,” and second prize went to Brent Watkins, DMA, Piano, “Grieg Concerto.”

•Korey A. Pereira, BA, Music, won a Undergraduate Research Fellowship, co-sponsored by the University Cooperative Society, IC2 and The University of Texas Student Government.

•The Freeman Fellowship went to Anthony Belfiglio, DMA, Music and Human Learning; Nicholas Ciraldo, DMA, Guitar Performance; Martin Norgaard, DMA, Music and Human Learning; Naomi K. Seidman, DMA, Flute Performance; Agnes Vojtko, MM, Opera Performance.

•Cory Gavito, PhD, Musicology, received a University Continuing Fellowship (Hutchinson Fellowship).

•Amy Simmons, PhD, Music and Human Learning, MM, Percussion, Assistant Instructor, was named the William S. Livingston Outstanding Graduate Student Employee of the year for the entire university.

•Alejandro Hernandez Valdez, DMA, Piano Performance, re-ceived a Republic of Mexico Solidaridad Endowed Presidential Scholarship and the E.D. Farmer Fellowship.

•The ASCAP Young Jazz Composer Award went to David Guidi, DMA, Jazz Composition.

•Rob Deemer, DMA, Composition, won first prize in the Austin Civic Orchestra Composition Competition for his performance of Lacrymae by the Austin Civic Orchestra.

•Second prize in the Chamber Music International’s WRR Chamber Music Competition went to the Auberon Piano Trio: Yi-Chen Wu, violin, Judy Wu, cello, Naoki Hakutani, piano.

•Peter Hamilton, BA, Music, Baritone/BS, Radio, Television and Film, won the Cresendo Music Award, Vocal Category, which

included a full scholarship to study in Salzburg.

•The Down Beat Magazine Student Recording Awards in Jazz went to John Vander Gheynst, DMA, Jazz Performance, College Winner – Original Extended Jazz Composition – “Day Suite,” and to Carter Arrington, BM, Jazz Performance, College Winner – Outstanding Performance – Best Blues/Pop/Rock Soloist. The uT Jazz Orchestra was awarded the Down Beat Magazine Outstanding College Performance Award~ Jazz Big Band Category.

•Desiree Wattelet, MM, Soprano, received third prize in the El Paso Vocal Arts Competition.

•Jon Dotson, MM, Guitar, was first-prize winner in the Appalachian State Guitar Competition, Boone, NC.

•Nicholas Ciraldo, DMA, Guitar, won second prize in the MTNA Wurlitzer Collegiate Artist Competition, Seattle, WA; and fourth prize in the Portland International Guitar Competition, Portland State University.

•Naomi Seidman, DMA, Flute, was named first-prize winner in the Frank Bowen Young Artist Competition, New Mexico, which included a solo performance with the Sante Fe Symphony.

•The Presser Scholarship, awarded to an outstanding junior majoring in music went to Travis Gould, Percussion.

•Certificates of Recognition for Individual Performance went to Casey McGreer for Performance in Cello, and to Wade Yost for Performance in Tuba; both are junior performance majors.

•DMA Choral Conducting students Nathan Leaf and Dwight Bigler were named recipients of David Bruton, Jr. Endowed Fellowships for the coming year.

•Trombonist Chris Yancey, a sophomore in Music and Human Leaning, was selected for membership in the prestigious World Association of Symphonic Bands and Ensembles (WASBE) International Youth Wind Orchestra (IYWO).

Jesus A. Ramos, doctoral candidate in historical musicology, was awarded a University Continuing Fellowship from the William S. Livingston Endowed Fellowship fund in 2004 on the basis of his dissertation topic: “Music and Ritual at the Cathedral of Mexico, 1700-

1750: The Feast of Corpus Christi.” The highest and most competi-tive award granted by the University of Texas Graduate Office, five Livingston fellowships are awarded each year, only one of which goes to a Fine Arts student.

The award enabled Ramos to spend the year conducting research at the archives of the Metropolitan Cathedral of Mexico City, where he developed a case study featuring the Cathedral’s choirbooks of Corpus Christi, the first study of its kind in Latin America focusing on this type of manuscript source.

The historical scope of Ramos study earned him two simultaneous awards this year: the “Solidaridad” Endowed Presidential Scholarship and the E. D. Farmer International Fellowship, the highest commen-dation made by The Mexican Center of the Lozano Long Institute of Latin American Studies. In addition, Ramos was also invited to serve as visiting lecturer this summer at the School of Music of the Universidad Autónoma de Zacatecas where he taught a course on Music of the Renaissance.

Doctoral Student's Research Earns Major Awards

Jesus A. Ramos and the object of his research, a colonial-era Mexican choirbook manuscript.


Recent activities have confirmed the UT choral program under the leadership

of Dr. James Morrow, director of Choral Ac-tivities, as one of the finest in the country. The 2003-04 year for the Chamber Singers, UT’s premiere choral ensemble, included performances at The White House and the Washington National Cathedral, and a concert tour to Scotland and England. The ensemble was selected to perform at the 2005 National Convention of the Ameri-can Choral Directors Association (ACDA) in Los Angeles. Other activities included a performance for the Texas Music Educa-tors Association 2005 convention and a UT performance of Terry Riley’s Sun Rings with the internationally acclaimed Kronos Quartet. In February, the Chamber Singers performed in an international symposium presented by UT’s Teresa Lozano Long Institute of Latin American Studies, pre-senting the first complete performance of Brazilian composer José Maurício Nunes Garcia’s Missa de Nossa Senhora da Conceição since its premiere in 1810. They also record-ed the Missa for international distribution

and are scheduled to record a disc of Amer-ican choral music on the Naxos label. Recent performances by the UT Concert Chorale, under the direction of Dr. Su-zanne Pence, included a Carnegie Hall con-cert in the spring of 2003 and an exciting collaboration with the UT Department of Theater and Dance performing Carl Orff’s Catulli Carmina. Other UT choirs, which include the Men’s Chorus, Women’s Cho-rus, Longhorn Singers, and Choral Arts Society, continue to be active, providing students of all majors the opportunity to enjoy singing. The Choral Arts Society brings together students, faculty and staff, and choral singers from central Texas to perform major choral-orchestral works. Re-cent performances have featured Mozart’s C Minor Mass, Beethoven’s Choral Fantasy and Mass in C, Mendelssohn’s Elijah, and Mahler’s Resurrection Symphony, all with the UT Symphony Orchestra, and UT composer Dan Welcher’s oratorio JFK: The Voice of Peace with the Austin Symphony Orchestra.

The University of Texas Jazz Orchestra, under the direction of Jeff Hellmer, director of Jazz Studies, and the AIME Ensemble,

directed by John Fremgen, toured Europe in July 2004, perform-ing at the prestigious Montreux Jazz Festival in Switzerland and the North Sea Jazz Festival in the Netherlands. The Jazz Orchestra was one of three collegiate jazz ensembles from the US selected to perform at the North Sea festival. Performances included works by

students David Guidi, John Vander Gheynst and Chris Reyman, and faculty members John Mills and John Fremgen. A Montreux festival promoter, upon hearing one of the UT performances, praised the high quality of the music and issued an immediate return invitation.At the North Sea festival, the students witnessed performances by an incredible array of jazz greats, including Michael Brecker, Pat Metheny and McCoy Tyner.

university of Texas Choral Activities

UT Chamber Singers perform with the Kronos Quartet.

UT Jazz Ensembles Tour European Festivals

F ollowing a nation-wide request by Presidents George H. Bush and

William Clinton for continued assis-tance to Tsunami survivors of Asia, the UT School of Music presented a benefit “Concert of Hope” in Jessen Auditorium on March 10, 2005.

Featured on the program were songs, show tunes and opera arias by UT faculty artists David Small and Rick Rowley, with guest soprano Cynthia Lawrence from the Metropolitan Opera, and tenor Mark Calkins of the Chicago Lyric Opera.

Highlights included “Au fond du temple saint,” the baritone-tenor duet from the rarely staged opera Les Pêcheurs du Perles by George Bizet, and the touching Germont-Violetta duet from La Traviata by Giuseppe Verdi.

Voluntary donations received by the student service organization Phi Mu Alpha Sinfonia Music Fraternity before and immediately following the concert were sent to the United States fund for UNICEF.

UT voice professor David Small and School of Music Outreach Coordinator Jacki Hofto were commended by the University of Texas Office of the President for their work on arranging the benefit concert.

The benefit raised enough money to purchase a fishing boat for a family in South Asia.

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Concert Of HopeBenefit for Tsunami Survivorsof South Asia

27WORDS of NOTE

The Vincent R. and Jane D. DiNino Chair Fund in Music

The two people who perhaps best embody the spirit of the

Longhorn Band are its director from 1955 to 1985, Vince DiNino, and his wife Jane. Established in September 2005, the Vincent R. and Jane D. DiNino Chair Fund in Music will provide valuable support to the Longhorn Band program. In addition to the thousands of band alumni who have generously con-tributed to the chair fund, Vince and Jane have designated gifts from their estate to support the chair and other aspects of the band program. It will increase the size and funding for the Longhorn Band, its section leaders, and necessary support staff, and enhance the recruitment of fine players who also will be superb academic achievers.

Sarah and Ernest Butler Family Fund Endowed Presidential Scholarship in Opera

Sarah and Ernest Butler Family Fund Endowed Presidential Scholarship in Opera 2

In addition to establishing the Sarah and Ernest Butler Opera Center (see p. 4 of this issue), the Butlers also established two additional student scholarships in 2004. Funds from these two endowments are to be used to assist promising and talented music students in opera. With the inclusion of these most recent endowments, the Butlers have now provided four independent scholarships for the Opera program since 2001.

Danielle Martin Memorial Endowment Fund

Established Spring of 2005 in response to the tragic loss of Professor Danielle Martin, the endowment will be used to support deserving undergraduate piano students. If the principle should reach the level required for a graduate fellowship, the School of Music will offer this support to graduate students as well. Proceeds from the sale of the CD set “A Concert Celebration of the life of Danielle Martin” will go directly towards the continuation of this fund.

Texas Endowed Presidential Scholarship in Music

Perceiving a need for a flexible scholarship in the School of Music, Charlotte Narboni pledged the lead gift for this endowment. Its funding was completed in 2004, in part due to additional fundraising efforts by the Fine Arts Advisory Council. Funds dis-tributed from this endowment shall be used to assist deserving music students who are Texas residents.

New EndowmentsThe School of Music is pleased to announce the establishment

of the following new endowmentsbetween September 2003 and August 2005.

Vince and Jane DiNino

The Center for American Music

The Center for American Music con-tinued to move forward with a vari-

ety of initiatives since its launch in 2002. During the past academic year, the Cen-ter accomplished the following:

• Introduced new courses in Ameri-can music, including Regionalism and American Music; The 20th-Century American Symphony; Pleasure, Politics, and Popular Music; Music and Tech-nology in the 20th-Century; and The Blues According to Clifford Antone, co-taught by Austin legend Clifford Antone and Dr. Kevin Mooney. Mr. An-tone, a recipient of the National Blues Foundation’s “Lifetime Achievement Award,” brought many notable blues musicians to class.

• Sponsored “Instruments of Free-dom: Musicians and Social Engage-ment” and “Austin’s Music Industry Night,” joint ventures with LBJ Library and Museum, College of Communica-tion, and Global Leadership Organiza-tion, featuring a panel discussion with such notable musicians as Marcia Ball, Roky Erickson, Kinky Friedman, and Jerry Jeff Walker.

• Launched the Texas Music Oral History Project Web site (http://uto-pia.utexas.edu/explore/history/about.html), directed by Kevin Mooney, with the mission to digitize and preserve ex-isting oral history collections of Texas music and musicians.

• Began the Center for American Mu-sic Listening Library for use in various undergraduate courses.

There were several new appointments within the Center: Professor Glenn Rich-ter was appointed Chair of the Center and last year’s interim director, Eliza-beth Crist, was appointed Associate Chair for Academic Programs. Kevin Mooney is Associate Chair for Public Programs. Mark Sarisky (recording tech-nology) and Bruce Pennycook (com-position) joined the governing board, headed by Professor David Neumeyer, founding chair of the Center. For more information, see the Web site at http://www.cam.music.utexas.edu.

Endowments

Gifts

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Endowed Faculty PositionsMary D. Bold Regents Professorship of MusicVincent R. and Jane D. DiNino Chair Fund in MusicFrank C. Erwin, Jr. Centennial Professorship in MusicFrank C. Erwin, Jr. Centennial Professorship in OperaParker C. Fielder Regents Professorship in MusicPriscilla Pond Flawn Regents Professorship in Organ Or Piano PerformanceDavid and Mary Winton Green Chair in String Performance and PedagogyM. K. Hage Centennial Visiting Professorship in MusicFlorence Thelma Hall Centennial Chair in MusicHistory of Music ChairThe Wolf and Janet Jessen Centennial Lectureship in MusicMarlene and Morton Meyerson Centennial Professorship in MusicMarlene and Morton Meyerson Centennial Visiting Professorship in Music

Endowed ScholarshipsAlamo City Endowed Scholarship for PianistsBurdine Clayton Anderson Scholarship in MusicBurl H. Anderson Endowed Presidential Scholarship in the ArtsWayne R. Barrington Endowed Scholarship in HornBetty Osborn Biedenharn Endowed Presidential Scholarship in MusicMary D. Bold Scholarship FundDr. and Mrs. Ernest C. Butler Centennial Scholarship in OperaDr. and Mrs. Ernest C. Butler Endowed Presidential Scholarship in OperaSarah and Ernest Butler Family Fund Endowed Presidential Scholarship in OperaSarah and Ernest Butler Family Fund Endowed Presidential Scholarship in Opera 2Pauline Camp Operatic Voice ScholarshipEloise Helbig Chalmers Endowed Scholarship in Music Therapy and Special EducationPearl DuBose Clark Endowed Presidential Scholarship in MusicMary Frances Bowles Couper Endowed Presidential Scholarship for Graduate Students in Piano PerformanceMary Frances Bowles Couper Endowed Presidential Scholarship for Undergraduate Students in Piano PerformanceAinslee Cox Scholarship in MusicPatsy Cater Deaton Endowed Presidential ScholarshipWilliam Dente Endowed Memorial Scholarship in OperaE. W. Doty Endowed Presidential Scholarship in MusicE. W. Doty Scholarship FundWhit Dudley Endowed Memorial Scholarship in HarpMarguerite Fairchild Endowed Presidential Scholarship in MusicPriscilla Pond Flawn Endowed Scholarship in MusicFondren Endowed Scholarship in MusicDalies Frantz Endowed Scholarship FundDavid Garvey Scholarship FundGarwood Centennial Scholarship in Art Song PerformanceMary Farris Gibson Endowed Presidential Scholarship in MusicMary Farris Gibson Memorial Scholarship in MusicThomas J. Gibson IV Endowed Presidential ScholarshipAnnie B. Giles Endowed Scholarship Fund in MusicAnnie Barnhart Giles Centennial Endowed Presidential ScholarshipMary Winton Green Endowed Presidential Scholarship in MusicMargaret Halm Gregory Centennial ScholarshipVerna M. Harder Endowed Presidential Scholarship in MusicLouisa Frances Glasson Hewlett Scholarship in MusicNancy Leona Dry Smith Hopkins Endowed Presidential Scholarship in Piano

Virginia McBride Hudson Endowed ScholarshipLee and Joe Jamail Endowed Presidential Scholarships for the Longhorn BandJean Welhausen Kaspar 100th Anniversary Endowed Longhorn Band ScholarshipKent Kennan Endowed Graduate Fellowship in Music Composition Or TheoryAnna and Fannie Lucas Memorial Scholarship FundGeorgia B. Lucas Endowed Presidential Scholarship in MusicPansy Luedecke Scholarship FundDanielle J. Martin Memorial ScholarshipJ. W. “Red” McCullough, Jr. Endowed Presidential Scholarship in Jazz StudiesMusic Endowment FundNelson G. Patrick Endowed Scholarship in Music EducationLeticia Flores Penn Endowed Presidential Scholarship in PianoWilliam C. Race Endowed Presidential Scholarship in PianoA. David Renner Endowed Presidential Scholarship in PianoLucille Roan-Gray Endowed Presidential Scholarship in MusicPhyllis Benson Roberts Endowed Presidential Scholarship in MusicE. P. Schoch Endowed Presidential Scholarship in BandThe Mary A. Seller-Yantis Endowed Presidential ScholarshipWilla Stewart Setseck ScholarshipEffie Potts Sibley Endowed Scholarship FundLomis and Jonnie Slaughter Scholarship in MusicCarl and Agnes Stockard Memorial Endowment FundTexas Endowed Presidential Scholarship in MusicMollie Fitzhugh Thornton Music Scholarship FundThe Trammell Scholarship Endowment in MusicLaura Duncan Trim Scholarship in MusicElizabeth Anne Tucker Centennial ScholarshipRobert Jeffry Womack Endowed Presidential ScholarshipLola Wright Foundation Centennial Endowed Scholarship

Gifts of $100,000 or moreAustin Community FoundationErnest C. ButlerEstate of Kent Wheeler KennanThe Dorothy Richard Starling Foundation

Gifts of $10,000—$99,999AnonymousThe Armstrong Family FoundationGreg M. BaxterCapital Group Companies Charitable FoundationMoton H. CrockettDHB PartnershipThe Ann and Gordon Getty Foundation The Lee and Joseph Jamail FoundationThe Kodosky FoundationWalter KrascikiJerold M. MartinJohn V. McLaughlin Robert A. MoorHelen Posner

Gifts of $10,000—$99,999(continued)Estate of Willa Stewart Setseck Social Marketing Resource CenterRex W. Tillerson The Eva and Marvin Womack Foundation

Gifts of $1,000—$9,999Gregory D. AllenArnhold FoundationBarbwire Music Project Inc.Becktell-Blackerby Stringed InstrumentsM. Rebecca BeechwoodSterling K. Berberian Charles O. BiedenharnBlackerby Violin ShopBrook Mays Music CompanyThe Cain FoundationConn-Selmer Inc.Tommy N. CowanPaula A. CriderJewel B. CrosswellStuart L. Dattner

Thomas H. EdwardsJudith W. Evnin Richard E. EwingShirley Farthing Steven A. FleckmanThomas A. ForemanFriends of MusicJ. Paul GaidoFred M. GibsonRonald J. GoldmanSally Y. GrantGrady L. Hallman Willard M. HanzlikBilly A. HarrellHamilton K. HaysThe Junior League of Austin Inc.Kerry L. KennedyLarry J. KennedyDonald L. KnaubKent M. KostkaDavid B. Lack Family Foundation Inc.Barbara J. Lack Leah R. Mabry L. Donald MayerEmma L. Mayton Eugene A. McClintock Linda McDavitt Gino R. NarboniPatricia R. Norton Open LabsMartha R. Peak The Presser FoundationW. T. ProbandtRichard C. RobinsonEugene P. Schoch J. Shelby Sharpe Judy S. and Charles W. Tate Milton Y. Tate University Federal Credit UnionW and W Musical Instruments CompanyDarlene C. Wiley Paula S. Wong

Gifts of $500—$999Austin Chapter American Guild of OrganistsBBA/Management and BookingSharon A. Bronson Gregory L. BrownStanley Cohen Mallie B. CokerJody Conradt Caroline H. Creeden Donna J. DahlstromAlain deGourdon Charles Ebel ExxonMobil Foundation

Mike Figer & Company George L. Greene Eric S. Hagstette Glenn W. KingsburyJ. P. Kirksey Mei-Mei C. LeeTravis C. Meitzen Barry D. Montgomery Charlotte A. Narboni Jane S. ParkerKatherine P. RaceMax O. Reinbach Kenneth R. Sandberg Jr.Ryan J. Showers James E. Turpin Vivian L. Wolfe

Gifts of $250—$499Dennis C. Ahrens Austin District Music Teachers AssociationEdgar D. Bailey Charles K. Ball Wayne R. and Gayle H. Barrington William E. BrentReed B. ByrumVictoria H. Cheney Gaylan G. CobbJames P. DuncanR. Elaine DykstraRobert S. Freeman Nancy B. Garrett Thomas W. Glass Daniel S. HamermeshK. Lee Hamilton Scott I. Harmon Kevin J. Jedele Emma King Lafalco Robinson Music ComboLarry E. Lamberth Brian R. Marks Donna B. McCormick Deanna Morton Parallel Petroleum CorporationHelen J. Peter Timothy Prater Kathy T. Rider Kent M. Rider Kevin L. and Karen L. Sedatole Shepherd of the Hills Lutheran ChurchDavid W. Sloan Karen S. Stearns Andre J. Sylvester James B. Williams

Gifts under $250Shemeem B. Abbas

Anne Adams Austin Chapter Piano Technicians GuildAustin District Music Teachers AssociationIvo M. Babuska Wayne B. Bachman Robert L. Baker Jean M. Barr Chris P. Batchelor Michele A. Beckta Cecilia P. Behague Vickie Lynn Bibro Richard D. Blair Carolyn G. Bobo Arno R. Bohm David Braybrooke Patricia S. Brentzel Colleen B. Brezden David C. Brown Craig A. Buchele Elizabeth A. Burks Strelsa H. Burks Barbara H. Buttrey Elaine Carlsen B. Glenn ChandlerJonell A. Clardy Charles A. Clark Harley R. Clark James L. Collier F. A. Coltman Dorothy A. Colvin Celia D. Cook William M. Cory Richard W. Cowles Teresa D. Crail Katherine M. Crain Beverly A. Cranshaw Robert J. CranshawCinda B. Crews David N. Currey James A. DarossJohn A. Debner Franklin A. Delespinasse Hanns-Bertold Dietz Marlee G. Dietz Betty R. Dove Mardelle L. EbellEugenie M. Edmonds Ensemble Pour DeuxStephen T. FalkDelaine E. FedsonJeanne Kierman FischerJohn W. Fisher Alan W. Ford William W. Franklin Rebecca J. Frazier-Smith Roy G. Frey Friends of Music, NMUGeorge A. Frock E. Jane GarnerJoseph I. Gasca

Patrissa G. Getz Jeanne W. Gibson Abra J. GistGary W. Goodrich Kathryn B. GovierBell Dudley Grace Lita A. Guerra Norman Hackerman Thea A. HansenB. Suzanne Hassler William E. Hatcher Gaylon F. HeckerDoyle W. Henke Clark HerringtonJane S.HerringtonMarion P. Herrington Catherine C. Hill Amanda A. Hopson Sharron P. HowardYa-Ping Huang I.P.P. CompanyIBM International FoundationInternational Piano Institute of Santa Fe IncAmanda J. Irwin Henrietta S. Jacobsen Alicia M. Jarry Coleman A. Jennings Janet L. JensenLeonard A. Johnson Scott E. Johnson Joseph Financial PartnersFred H. JunkinThe Kennedy Family TrustJacquelyn K. KitzmillerEdith C. KnauerWendy Kuo Janet LaughlinJohn F. LazarettiEun Y. Lee Virginia M. LeechMartha Leipziger-PearceMing-Fong and Su Lim W. Budge Mabry Jasmine K. Malhi Betty P. Mallard Doris MartinBradley C. Maxim Erin N. Mayton Marshall E. Meece Joe Mercuri Morton Meyerson Family Foundation Griffith Lea Miller Margaret L. MillerMission Resources CorporationJudy S. MooreRoxanne L. Moreland Susan H. Morrison

Melissa P. Myer Robert A. NelsonLynda Oswalt Joyce Payne Nancy P. PayneLeonard A. Pearlman Jo T. PetersIrvin D. PetersonMary B. Petrak de AvilaBeverly J. Phillips Beryl M. PickleJoe T. Powell Mary Ann Powers PPG Industries FoundationLinda S. Ball and Forrest F. Preece Forest J. Rees A. David RennerCarol C. Reposa W. A. Reynolds B. S. RichardsMary L. Robbins Phyllis B. Roberts Arthur S. RodeThomas R. Rogers Keith R. Rowden V. Johanna Rudy Barbara D. RuudTrinidad San Miguel Alfred B. SauerAllan B. SchmittLinda E. ShooerJay A. SiegelJay L. SilberbergJoleen E. Smith Andrea C. Sokol-Albert Southern Music Co.Edwin G. Spinks Lawrence F. Stevenson Robert StricklandEdward R. Stroeher Sarah A. SwordsKiyoshi Tamagawa David R. Terry Ana K. Thornton Traditional Sounds Inc.James D. Tryer Ann M. Victor Keith L. VincentThomas H. WaggonerW. David WalterKaren J. WhiteRebecca L. Willard Mary Pearl Williams Rex A. Woods Eleanor C. WrightD. R. Yarian Phyllis C. YoungJohn W. King and Jeanne M. Yturri Edward R. Zamora

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Aust in, Texas

C a ll f o r a l u m n i n e w s We are eager to report noteworthy activities of our alumni to colleagues, friends

and other alumni in our next issue. Please forward alumni news, including your

name, degree, major field of study and year of graduation to: editor,

Words of Note, the University of texas at Austin school of Music, 1 University

station e3100, Austin, texas 78712-0435, or e-mail: [email protected]

for current information about upcoming events at the school

of Music, visit our Web site: WWW.MUs ic .UTexas .eDU

top to bottom: Kronos Quartet with Ut Chamber singers, by Lori deemer; guest artist Kenny Garrett with the Ut Jazz orchestra, by Mark rutkowski; New Music ensemble rehearsal, by Lori deemer; Ut Mariachi ensemble guitarrón player Javier torres, by Marsha Miller; Miró Quartet members John Largess (front) and daniel Ching, by Faustinus deraet; Ut opera production of don Giovanni, by Mark rutkowski

College of Fine ArtsT H E U N I V E R S I T Y O F T E X A S A T A U S T I N

Words of Note, 2005: Performance Maximus

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