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The Eastman community was deeply saddened bythe death on February 14 of Louis Ouzer, acclaimedphotographer and cherished friend of so many at theSchool.

Ouzer created countless images of Eastman’s peo-ple and architecture over a span of more than 60years. “I decided on my own that I was going to docu-ment the School,” he said, and indeed, hundreds ofcelebrated musicians, historic events, and everydayactivities on and around the campus were capturedby his lens.

As a tribute to the man who spent his lifetimememorializing Eastman, the School held a special pro-gram in Ouzer’s honor on March 30 in Kilbourn Hall.

The event included remarks by Director and DeanJames Undercofler, family members and close friends,and performances by the Eastman Trombone Choirand members of Eastman faculty. Three of the fourpieces performed were Ouzer’s own compositions.(He began studying composition and piano at East-man at age 75.)

Closing the service were readings selected byOuzer’s family and a slide presentation of his wide-ranging images with accompaniment by Professor ofOboe Richard Killmer. ❧

Eastman loses a cherished friend

LOUIS OUZER 1913 – 2002

ANNETTE LEIN

Lou Ouzer, pictured here in 2000, was always more comfortable behind the camera than before it.

LOUIS OUZER

Clockwise: A 1957 portrait of contralto Marian Anderson, a 1977 abstract of acellist, and a 1978 candid shot of friends Marian McPartland and Alec Wilderin front of Ouzer’s studio.

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Susan RobertsonAssociate Director for Communications

Christina ZikosEditor

Martial BednarChristine CorradoEric GoldmanJack KreckelContributing Writers

Kurt BrownellGelfand-PiperLouis OuzerElizabeth LamarkAnnette LeinWill YurmanContributing Photographers

Amy VetterPhotography Coordinator

Steve BoernerGraphic Design

On the coverComposer George Crumb guides Eastmanstudent Deanna Oye in one of his unusualperformance techniques. Story, page 12.

PHOTO BY GELFAND-PIPER

I N S I D E

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

D E V E L O P M E N T N E W S

I N T R I B U T E

N O T E S

2 Classical music in AmericaIs anyone listening? asks Director andDean James Undercofler in hisconvocation address

5 The winds of changeThe Eastman Wind Ensemblecelebrates 50 years with a conferenceand gala concert

8 The American symphonyExecutive Director of the ClevelandOrchestra Thomas Morris lectured atEastman last fall

20 Eastman Fund: Reaching for the goal

21 Act on your philanthropic feelings

Tax-wise giving: Retirement funds

About the Kilbourn Society

22 Voice

23 Chamber Music

24 Musicology

25 Sibley Music Library

26 Alumni notes

32 Faculty notes

35 Student notes

S C H O O L N E W S12 Composer George Crumb feted at

December festival

Video link joins Eastman and RoyalScottish Academy

13 Opera stage ‘transformed’ by Susawork

14 Legendary jazz bassist Ron Carterreturns to Eastman

EJE ‘looks forward’ at Midwest Clinic

15 Performers found ‘Playing Outside’

16 Musica Nova presents Americanpremiere of Zorn’s ‘Rituals’ in NYC

‘New Grove’ features Eastman faculty,staff, and alumni

17 Institute for Music Leadership (IML)brings ‘musictelling’ to Eastman

18 IML goes ‘live’ on the Internet

IML/Eastman join prestigious MellonOrchestra Forum

19 Noted guest speakers visit Eastman

IML/Eastman Orchestral StudiesDiploma Program

Published twice a year by the Office ofCommunications, Eastman School of Music,26 Gibbs Street, Rochester, NY 14604585-274-1040Email: esmnotes@mail.rochester.edu

VOL. 21/ NO. 2 5 SPRING/SUMMER 2002

25 In memoriam

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Classical music in America: Is anyone listening?Director and Dean Undercofler’s convocationaddress asks this challenging question

BY JAMES UNDERCOFLER

As we begin a new academic year, I believe it is impor-tant that we take a look at our work as musicians and educators in the broader context of the arts inAmerica. This is a matter of utmost importance. I amasking that you will join with me in self-examination

as an institution.The Pew Charitable Trusts, a large private foundation known for

its philanthropy and support of the arts, especially in Philadelphia,recently published a significant report prepared by the RAND Cor-

poration, called The Performing Arts in aNew Era. This report provides one of themost vivid pictures of music, theater, anddance in the American marketplace everproduced and must be taken seriously byus all.

The report confirms much that we knowempirically and from anecdote, but goesbeyond, analyzing data and making rec-ommendations for future research, policyformation, and action. Here I will give amusician’s and college dean’s outline ofthis report, then suggest how we, the com-munity of the Eastman School of Music,ought to respond to it.

I will now speak from the perspective ofthe RAND Report. How the arts areviewed by Americans has changed. In thispost-cold war period, we are not as con-cerned about aligning our artistic outputwith our national identity. The arts nowcompete for attention and resources alongwith pressing social needs.

Americans, by and large, want theirleisure activities convenient, when theywant them, where they want them. This isespecially true with post-baby boomers.The improved quality and access of digitaltechnologies, especially in the recordedarts, has enhanced these behaviors.

The RAND Report demonstrates thatmarket forces increasingly predominate,causing, among other outcomes, an ero-sion in the distinction between high artand popular art. When market forces pre-dominate, the maintenance of quality, aswell as the creation of new work, is injeopardy.

And now, I quote, “To those convincedthat the high arts form an aesthetic pin-nacle, the new world of the arts that weenvision will be inferior because populartastes rather than true artistic excellencewill become the primary arbiter of whatdoes and does not get performed – in thenonprofit as well as the for-profit sector.”

A further outcome of the effect of mar-ket forces is the growth and dominance oflarge performing arts organizations char-acterized by conservative programming,superstar soloists, and locations only inthe major cities.

The report describes a precarious pic-ture for mid-sized organizations in smalland mid-sized cities. The effects of marketforces combined with the changing chari-table giving patterns of wealthy Ameri-cans create particular challenges for thesemid-sized organizations (such as theRochester Philharmonic, the Buffalo Phil-harmonic, and the Syracuse Symphony, toname three of our local mid-sized organi-zations).

Furthermore, on the negative side, thereport documents the working conditionsof performing artists. Its data show that,by and large, the salary and benefits forperforming artists have not grown sub-stantially for two decades. Referring tothe draining of resources for a few selectsuperstar artists (an effect of marketforces), RAND’s statistics on the averagesalary and working conditions of perform-ing artists are disturbing.

Two interesting trends cited in thereport catch our attention:

One, niche performing arts markets arebeing made possible by the Internet ande-commerce. This is especially noticeablein classical music recordings and inavant-garde music. Composers, especially,have the opportunity to reach a worldwide

I believe it isimportant that wetake a look at ourwork as musiciansand educators in the broadercontext of the artsin America.

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community through the Internet. Wemust recognize, however, that thesesophisticated communities are small.

Two, the avocational music world con-tinues to expand. Although data are insuf-ficient, it appears that more Americansare participating in the performing artsas amateurs than ever before. This hasbeen an area of particular interest to me.

I have expressed my concern a number oftimes about what I have called the discon-nect between the huge number of peopleengaging in music at the avocational leveland the professional music world. Thereport seems to applaud the growth ofamateur involvement, as I do, but it alsoexpresses concern that with the decline ofmid-sized professional organizations,amateur or semiprofessional organiza-tions will take their places, resulting in anunplanned and unfortunate decline inquality.

The report highlights several issues ofconcern regarding future policy develop-

ment and the role of the university. Itcites the almost complete historic focus ofpublic and private policy on the supplyside of the performing arts, not on thedemand side. Policy and funding since the1950s have encouraged more productions,more organizations, and the educationand training of more artists. The artscommunity has not questioned in any

serious or systematic way what causesAmericans to choose to participate in thearts; what causes the development ofartistic tastes? The report calls on artspolicymakers to turn their focus nowtoward demand-side policy, away fromsupply-side. This is a recommendationthat will require careful thought on thepart of educators.

In regard to the role of the university,the report states, “University-based pre-senting organizations are likely to beespecially important to the future of theperforming arts because they serve multi-ple functions within the performing arts

world. Not only are they (the universities)major presenters, but they also play sig-nificant roles in training of new artistsand fostering innovation in the creation ofnew work.”

We turn now from my sum-mary of the RAND Report tomy own responses to it. Istruggled with where and

how to respond to this report, most espe-cially to the references to university musicschools. I will focus on what I perceive asthe encouraging but still limited role forhigher education described here. The uni-versity is seen as a performing arts pre-senter, a trainer of artists, and a stimulusfor innovation in the form of new musicaland dramatic works. Because the univer-sity is less susceptible to market demandsthan are other major presenting organiza-tions, and because it can readily tap andhighlight the creative talent of its facultyand students, the report predicts that it“may play a critical role in making surethat new artistic voices are heard.” This isa worthy role for us in the current per-forming arts environment – indeed onethat we already fulfill – but it falls shortof the much more powerful impact thatwe can have as arts educators.

We are not merely trainers of artists, asthe report defines us; we are educators ofartists. Training differs significantly fromeducating. Training implies a type of ath-letic coaching with the intent to instillspecific skills. Educating implies cultiva-tion of the mind that, of course, includesskill acquisition, but within the frame-work of understanding.

And, although the blame for our beinglabeled “training” institutions can beshared with many others, I wonderwhether we, the university music schools,abdicated our fundamental role as trueeducators of musicians some time ago.Have we contributed to the sad conditionsdescribed in the RAND Report? Howmany of our graduating students under-stand, are able to discuss and formulateideas about the purposes, functions, andeffects of music? How flexible is theirmusicianship? How wide is their scope ofmusical abilities? Are they prepared tonegotiate and succeed in the “new era”that RAND describes?

I contend that only when we can ensurethat we are fully educating our students

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GELFAND-PIPER

In his fall convocation address, Director Undercofler described the recent RAND Report’s findings thatmid-sized performing arts organizations may be in jeopardy due to market forces. He outlined a plan forEastman’s response to the report.

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can we fully develop and nurture anatmosphere that fosters innovation in allaspects of our art. Both educating thefuture artist and fostering the creation ofnew work are essential elements in equip-ping our graduates to address the enor-mous challenges in the current musicmarketplace and to create a new andhealthy musical future. I am certain thatin order to be heard in the future, thegraduates of all music schools, includingthose most elite, will need an educationthat is only partially visible to us now, butsurely must include a commitment to thenourishment and encouragement of theindividual artistic voice and imagination.

H ow are we doing at Eastman?Although we recently may

have re-crafted our core cur-riculum and added enriching

and empowering programs, for the mostpart we continue to educate our studentsfor a music world of preexisting genera-tions, including mine.

We need to consider several possibilities:One, perhaps our approach to educating

tomorrow’s artists has not been funda-mental enough. I believe that we havebeen responding, in fact reacting, to theconditions in the music marketplace bycramming more and more into an under-graduate education that should be prima-rily devoted to the development of artistryand musicianship. I feel strongly that theundergraduate years should be devoted tobroad-based and fundamental concepts,while the graduate years, now de rigueurfor musicians, should focus on specificcareer tracks. In direct response to theseconcerns, this year we will undertake anundergraduate curriculum review to reex-amine the changes made three years agoand to revisit the question of the under-graduate core curriculum.

At the master’s level, I believe our planof creating and crafting diploma and cer-tificate programs that align with the MMto be visionary and effective.

Two, if in fact the orchestral world’sgreat expansion of the 1960s and 1970s isin decline (we do not need the RANDReport to confirm this), then we need toquestion how we organize our ensembleprogram. The musicians of the future willalmost surely play, teach, and interactwith their communities in flexible configu-rations, musical genres, and styles. Musi-

cians will come together on a regularbasis to perform symphonic and otherlarge repertory music. They will also playmusic and teach music of various genresin all shapes and sizes of ensembles.Repertory and opportunity will decide oninstrumentation and venue, not theensemble itself. Eastman and all of itscontemporaries organize themselvesaround their major ensembles, not onrepertory or diversity of experience fortheir students. Perhaps it is time torethink and re-craft ensemble educationacross the board. This would not mean theend of the Eastman Philharmonia or theEastman Wind Ensemble, certainly not; itmight, however, open the doors to bothhow repertory is selected for performanceand to a wider variety of ensemble experi-

ences for all students. I plan to appoint afaculty and administrative committee tobegin work on these ideas this fall.

With the need to reinvigorate the univer-sity approach to educating musicians, theSchool’s newly formed Institute for MusicLeadership becomes even more central.

This past summer the School formedthe Institute with the purpose of “provid-ing Eastman students, alumni, and otherpracticing musicians with the skills andexperience they will need to respond toand shape the changing musical environ-ment external to Eastman.” Substantialfunding from the Mellon Foundation hashelped to make this possible. A primarygoal of the Institute will be to provide acritical link between Eastman and theprofessional music world to inform andguide us as we rethink our approach to

the professional education of musicians.Administratively, the Institute bringstogether the Arts Leadership Program,the Orchestral Studies Diploma inStrings, the Sacred Music Diploma, Musicfor All, components of the Warfield Part-nership with the Rochester City Schools,as well as new diploma and certificateproposals in progress. Professor RayRicker will direct the Institute, and hashit the ground running.

A llow me to end with a personalanecdote. This past summer Iattended a concert that endedwith one of the most performed

late 19th century symphonies. I confessthat I thought cynically that this perform-ance would be just another perfunctory“summer” performance. However, from thevery first note, it was clear that this was anew and completely fresh vision for thispiece. I listened to it as if I had neverheard it before. The musicians respondedwith imagination and obvious freedom ofexpression. The experience was stunning.I had just written this address and con-templated how tragic it would be if thismusic and these musicians could not beheard reinventing this monumental work.By “not heard,” I mean heard in a waythat brings individual fulfillment andreveals a greater meaning within a widepersonal framework. The challenge torestore this deep experience to the Ameri-can public is monumental, but clear. Weunderstand the problems. We have thepassion and the talent. However, we needto question the role we have been playing,consider how we can address the chal-lenges at hand, and then act aggressivelyto change. I fear that without our all-outcommitment, our art form will be heardby fewer and fewer Americans who under-stand less and less of what they hear.

Because I feel very strongly that this issuch a critical time for us as professionalsand pre-professionals in music, I encourageyou to respond to and discuss the contentsof this talk. In addition, I encourage you toread the RAND Report. It is availableonline at www.pewtrusts.com.

Thank you for your attention. ❧

➧ F R O M PA G E 3

Undergraduateyears should be devoted to broad-basedand fundamentalconcepts.

Eastman School Director and Dean JamesUndercofler’s keynote address, “ClassicalMusic in America: Is Anyone Listening?”was delivered at Eastman’s Convocation,September 6, 2001.

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The winds of change

The EastmanWind Ensemblecelebrates 50 years with a conference anda gala concert

While the winds ofFebruary inRochester sub-sided for four

days, wind band enthusiastsgathered at Eastman for a con-ference and gala concert inconjunction with the goldenanniversary of the EastmanWind Ensemble.

The conference, “Focusing onthe Future, Discovering ourHeritage,” was attended byclose to 300 wind music advo-cates, and featured workshopsand presentations reflecting 50years of musical diversity ofthe Eastman Wind Ensemble.

A Friday night gala concertshowcased the premiere of anew Bernard Rands work,Unending Lightning, VerneReynolds’ Piano Concerto,Richard Rodney Bennett’sFour Seasons, and KarelHusa’s Percussion Concerto.The audience was treated tobrief comments by Rands andReynolds before their respec-tive pieces were performed.

During the conference,Warner Brothers unveiled amulti-CD set, EWE at 50, fea-turing never-before-releasedrecordings made by the EWEin the past eight years. ❧

Donald Hunsberger conducted theIthaca College Wind Ensemble inthe premiere performance ofConcerto for Percussion by StephenStucky (Cornell University residentcomposer). The concerto featuredGordon Stout (BM ’74, MA ’80),professor of percussion at IthacaCollege. It was commissioned forHunsberger by his DMA conductinggrads in honor of his retirement.

WILL YURMAN

GELFAND-PIPER

Eastman Theatre made a grand setting as Hunsberger conducted members of the Wind Ensemble and EastmanPhilharmonia in a session on orchestration for wind band and orchestra.

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Larry Combs (BM ’61)performed Mozart’sConcerto for Clarinetwith members of EWEin a setting forexpanded harmonie-musik by Robert Rumbelow (DMA ’96).

West Point drummersin a session onrudimental drummingalong with members of Nexus.

Hunsberger and EWE in a rehearsal of Mozart’sSerenade No. 10 in B-flat, the work that openedboth the premiere concert of the EWE in KilbournHall on February 8, 1952 and the golden anniver-sary concert 50 years later, to the day.

Professor Barry Snyder (BM ’66, MM ’68) assoloist in Verne Reynolds’ Concerto for Piano andWind Ensemble; it was written for Snyder anddedicated to Hunsberger and the EWE.

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Above: Gail Williams performed the premiere ofthe wind ensemble version of the Concerto forHorn and Wind Ensemble by Dana Wilson(PhD ’82) with the Ithaca College Wind Ensemble.

Left: Close to 100 current and past EWE membersperformed together.

GELFAND-PIPER

Above: Nexus members, with student timpanistDonald Albro, take a bow.

Left: Mark Davis Scatterday (DMA ’89), a studentof Hunsberger, will be EWE’s fourth conductorstarting July 1. He is pictured here with Nexusperformer William Cahn (BM ’65, right).

GELFAND-PIPER

Above: Four conductors represent the past,present, and future of EWE. From left: FrederickFennell, Donald Hunsberger, Mark Scatterday,and A. Clyde Roller.

Left: Fennell conducts the alumni session.

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BY THOMAS W. MORRIS

Irecently returned from a meeting conducted by the AndrewW. Mellon Foundation, part of its Orchestra Forum programin which 14 selected American orchestras receive substantialfunding and participate in biannual retreats of board leaders,executive directors, and players. The Eastman School also is a

participant in this prestigious program. The purpose of the programis to probe the basic issues of how orchestras can further their dis-tinctive artistic profiles and elevate their artistic quality. I am fasci-nated with this question, and think about it constantly, not only in

my role as executive director of the Cleve-land Orchestra but in my ongoing work asa consultant, writer, and teacher. I spokeof this last June in Seattle at the Ameri-can Symphony Orchestra League Confer-ence and appreciate the opportunity toexpand and amplify on my thoughts.

What indeed are the fundamentalissues facing American orchestras? Howare we to successfully address them? Andhow well are we succeeding? The debaterages widely, and amidst the welter ofrhetoric, three broadsides are being lev-eled at orchestras: Orchestras mustembrace the concept of “change”; orches-tras are basically dysfunctional; and thetraditional structure of artistic leadershipsolely vested in a music director is out-moded. Let me elaborate:

First, “change” is happening every-where: It’s reshaping philanthropy, tech-nology, audiences, and organizations. It’saccelerating every day. And it’s challeng-ing orchestra institutions to stay ahead of

the curve. What will the orchestra need tothrive in the 21st century, and how can wehelp take charge of change – in manage-ment, governance, and performance? Lookat the upheaval around us:

• Music education in our schools, as wehave known it, is at best vulnerable, man-dating that orchestras take increasingresponsibility for establishing and imple-menting initiatives.

• The technology revolution is every-where, and will continue to evolve in wayswe cannot even imagine and at speedswhich appear unthinkable. The tradi-tional manner of how music has been elec-tronically disseminated over the lifetimesof our institutions – radio and televisionbroadcasts, recordings, and compact discs– is undergoing almost complete transfor-mation. At the same time, the competitiveenvironment for electronic entertainmentis exploding. How are we to reconcile theapparent paradox between the instantavailability of music anywhere and theglorious excitement of the live concertexperience?

• The competition for contributedincome is dramatically escalating as thenumber of organizations seeking fundinggrows, as institutions’ funding needsincrease, and as government increasinglyshifts financing responsibility for manysocial causes to the philanthropic sector.

• While we have enjoyed an unprece-dented period of economic prosperity overthe past 10 years, the current state of theeconomy is at best uncertain. Uncertaineconomic times expose and magnify anorganization’s underlying financial chal-lenges, as has become apparent in manyorchestras. And all these economic con-cerns existed prior to September 11,which only crystallized the reality of afailing economy within a national andinternational context of fear. How willaudiences hold up? How will support holdup? How will society hold up? What next?What to do when the only certaintyappears to be uncertainty itself?

• Finally, community leadership ischanging, particularly in the corporatesector with the craze of mergers, acquisi-tions, downsizing, and the emergence ofthe so-called “new economy.” As a result,the traditional template of “corporateleader” is being replaced with seeminglyinterchangeable individuals without deepties to the communities in which theywork and whose focus on short-term Thomas W. Morris

HERBERT ASCHERMAN JR.

The Americansymphony: What is going on?ALP guest speaker Thomas W. Morris discussesissues facing American orchestras

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profitability and their own personal sur-vival has replaced the traditional model oflong service and commitment to the com-pany and to the community.

The second fundamental issue faced byAmerican orchestras is the overwhelmingmalaise, or perhaps it is the perception ofmalaise:

How often we read of declining, boredand aging audiences; of orchestra institu-tions which are out of touch with intellec-tual life of the communities in which theyreside. Writer Joseph Horowitz recentlysaid in the Financial Times, “Orchestrashave opted out of intellectual life in a waymuseums and dance companies never did.They’re motivated by fear: They’re doingmore concerts than the market can bear,and they’re terrified of losing subscribers.”

How often we read of frightful laborstrife, with cantankerous and distrustfulinternal relations, and crippling workstoppages.

How often we read of desperate finan-cial crises caused by declining earned rev-enue, stagnant fund-raising, inadequateendowment, or runaway costs. In today’sclimate of global economic distress, thesesituations seem particularly prevalent insmaller and mid-sized orchestras such asSan Jose and Colorado, but are starting tomaterialize in such behemoths as Torontoand St. Louis.

And then there is that all-purpose cry –the need “to reinvent the very concertexperience itself.”

Third, there’s the question of the roleand function of music directors. Again,Joseph Horowitz talks about too manyorchestras “vainly chasing the Toscaninimodel: mythic success in the old corerepertoire and hostility to the new.”Opposing this is the viewpoint that theera of the maestro is over, as we faceinevitably a future which dictates empow-ering the musicians through an open andcollaborative culture to assume a goodportion of artistic leadership themselves –solving in one fell swoop the need for morepresent and better artistic leadershipwhile at the same time establishing amore fulfilling and satisfying work envi-ronment for the musicians.

It is always dangerous to make suchgeneralizations, particularly when in factthe very differences between orchestrasmay be escalating. But what really isgoing on here? Yes, there are, and alwayshave been, orchestras in crisis, and the

environment is indeed challenging. Butthere are also orchestras in which audi-ences are not declining, are not aging, andare engaged; orchestras with little laborstrife; orchestras which are financiallysecure and intellectually centered in theircommunities and on the music of our time.And in such cases you never hear of theneed “to reinvent the concert experience.”

Let me dispense first with“change,” which has become theorganizational buzzword oftoday. It is used as the very

rationale for coming to grips with theinformation-based economy, or as a rally-ing cry for radical organizational reengi-neering. For orchestras, some assume itimplies blowing everything up and start-ing fresh. While I do not dispute thatorchestras today face extraordinary exter-nal pressures, I do not believe in changefor the sake of change. The essence of trueinstitutional vision encompasses absoluteadherence to those values and purposeswhich must remain timeless, as a contextfor articulating how things must be differ-ent. James Collins and Jerry Porras say,“The rare ability to manage continuityand change is closely linked to the abilityto develop a vision. Vision provides guid-ance about what core to preserve andwhat future to stimulate progresstoward.” The crucial issue, therefore,becomes not only how to address thischanging world but how not to. Thisrequires a deep and honest understandingof what makes an orchestra successful, aswell as probing basic organizational prin-ciples at work in any successful organiza-tion – there are lessons to be learned.

Let me also dispense with the economy.The perspectives of the past show us thatexpansions inevitably do follow down-turns in ever-changing economic cycles,just as the current and long-predicteddownturn followed a period of exceptionalgrowth. Yes, the stock market is currentlydown from where is was a year ago, but itis not down further than it was in 1999,and it is four times as large as it was in1989.

There will always be different solutionsto different problems in different situa-tions. However, I fervently believe in sev-eral principles which can provide acontext for dealing with the enormouschallenges, regardless of the orchestra,the community, or the situation:

First, orchestras are and always will beowned by the communities in which theyreside – communities that must feel atangible need for the orchestra and findvalue in its very existence. The board rep-resents the owners, and an orchestrawithout a strong board and even strongerboard leadership has not, will not, andcannot flourish. The greatest music direc-tor, most cohesive internal culture,strongest executive director, and the mostmoney will never be enough. It takes lead-ership from the very top – always.

The board of a not-for-profit organiza-tion differs in several critical ways fromthose in the for-profit world, from whichmost of our board members come:

In the for-profit world, the board hasresponsibility for policy and financial over-sight. In the not-for-profit world, it alsohas responsibility for raising and givingmoney. In short, the board actually has asignificant operating function to perform,which in itself mandates they assumeownership of the institution. Thinking thatfund-raising can be totally dependentupon the hired executives will fail.

In the for-profit world, the hired execu-tives are not only required to lead, but infact are part owners of the company them-selves. In the not-for-profit world, thehired executives – the music and executivedirectors – are in reality hired hands andin no way owners. What a mistake, there-fore, to assume they are the institution,whether in marketing, responsibility, orattitude. Music or executive directors whorefer to “my” orchestra just don’t get it.

Second, a symphony orchestra cannotand should not be disguised. At the centerof what we do must always be greatorchestral music, presented with unbur-nished, honest enthusiasm. Video screens,jugglers, marketing slogans, or programconcepts to tart up the supposedly boringritual of classical music will never providelasting institutional answers.

Examples abound of orchestras forget-ting these timeless and unchanging prin-ciples in their frantic pursuit of so-called“change.” Many, goaded by the press orsagging sales, have concluded the tradi-tional concert experience is no longer rele-vant, that audiences are inevitablygetting older and in danger of disappear-ing altogether, leading to the drastic needfor defining the so-called “new concertexperience.” Upon examination, this

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usually means nothing more than atheme program, talking from the stage,relentlessly popular repertoire or market-ing come-ons such as one brochure whichbreathlessly urges the audience to “imag-ine concerts with martini bars and jazz inthe lobbies.” Think for a moment whatunderlying attitudes hyping the so-called“new concert experience” in this way con-veys about the orchestra’s inherent beliefin its music, or the other subscription con-certs presented by the orchestra – theequivalent of proclaiming that “our regu-lar concerts are really boring.” Or anotherorchestra’s singular pursuit of star power,whose brochure cover features a photo ofCrystal Gayle larger than the one of itsmusic director, and then buries the veryname of the orchestra itself. Or anotherwith a picture of the music director in fulldress but barefoot, touting a season thatwill “knock your socks off.” These all con-vey an air of desperation. And none of it inthe end is about “reinventing the concertexperience” at all. Nor should it be. Howabout simply trying to present better con-certs as a more honest goal?

I want to be crystal clear about my posi-tion on this point. Vigilant pursuit of “better concerts” does not mean experi-mentation and variety are taboo. Or thatif it’s not by Schoenberg, Carter, orBirtwistle, forget it.

T he absolute rule in program-ming is to create a sense ofadventure, to avoid being pre-dictable. Audiences, I have found

repeatedly and with absolute consistency,respond to stimulation. It is the moral andlegal duty of an orchestra to lead, not tofollow, taste. To do this effectively, onemust define carefully that fine linebetween audience comfort and discomfort,and then subtract one. Subtracting twowill create a negative backlash; addingone will ultimately bore an audience.Focusing on this principle in the long runkeeps audiences engaged and attractsyounger audiences. In short, it is the pre-requisite for building future audiences.

And all programs must be packed withgreat music. Make no mistake about whatI am saying – concerts do not have to berelentlessly grim affairs. Yes, I thinkSchoenberg’s Variations Opus 31 is greatmusic. As are Sir Harrison Birtwistle’sEarth Dances, Beethoven’s symphonies

and Ives’ 4th Symphony. But so are GaîtéParisienne, Piston’s Symphony No. 6, LeroyAnderson’s The Syncopated Clock, theEmperor Waltzes by Johann Strauss, andSuppé’s Poet and Peasant Overture.

On performance, it is not enoughto merely get through a piece:Believe in the music, and alwayshave something to say about it –

a point of view, recognizing that a uniquepoint of view will always meet willingacceptance by some and unleash noisyhostility from others. This is the essenceof what performance is all about – or asCharles Rosen recently put in the NewYork Review of Books, “the written scoresets limits within which many possibili-ties can find a home. The critical problemremains essentially how to decide whichof the many interpretations realize thework and which ones betray it.” In Cleve-land, Beethoven’s Symphony No. 5 is notprogrammed because it will sell butbecause we have something to say aboutit, making it not a comfortable expectationbut a refreshing reacquaintance.

On concert production, while we are inthe business of producing musical art,“how” concerts are presented can makehuge differences in how they are receivedas long as the production elements are inservice to the music. Instead of thegrandiose concept of “reinventing the con-cert experience,” how about using sheercommon sense to:

• Assure effective concert hall lighting;• Use risers so the audience can actu-

ally see the orchestra;• Avoid having a sea of empty chairs and

haphazard music stands littering the stagein a small orchestra piece on a program;

• See musicians appearing to acknowl-edge the audience with some enthusiasmat the end of a concert instead of random,bored chattering while packing up instru-ments, ready for the fastest exit;

• Have spoken introductions from thestage for new and unfamiliar works, pro-vided they are delivered by someone withthe insight to help the audience under-stand the unknown, and with the abilityto speak persuasively;

• Be certain the audience is greeted bypolite, cheerful, knowledgeable ushersinstead of a group of bored gum-chewers.

If a piece of music demands extra-musi-cal elements – surtitles, videos – why not?But the reason should be to help commu-

nicate the impact of music, not to compen-sate for alleged weaknesses in the veryconcert experience itself.

And on marketing, let’s use our heads.Marketing is not the answer to everything.It is not even the top question. Think aboutit – there are three kinds of audiences:

• Existing audiences, or people who arealready going to concerts. We want themnot only to keep going, but also to go tomore concerts.

• Predisposed audiences, or those whohave an interest in classical music but arenot attending yet, for whatever reason.We need to find them and convince themnot about classical music but about goingto concerts.

• And finally, non-audiences, or thosewho are neither convinced about classicalmusic nor going to concerts. While itwould be great to convince them and getthese people to attend, a much higherinstitutional priority must be expended onexisting and predisposed audiences.

Marketing from inherent strength isalways the best strategy, aimed at exist-ing and predisposed audiences first. Sell-ing concerts as glorified singles nights, orhyped with trendy adjectives, or builtpurely around star power denigrates thecenter of our existence – the orchestraitself and the music, which actually mat-ter to the center of our audiences. And, Ican assure you from personal experience,such an approach works. In Cleveland, wehave absolute faith in our audience’senthusiasm for adventure. And ourresults prove we are right.

Finally, artistic vision is not the exclu-sive province of a music director, nor hasit ever been in a successful orchestra. Itmust be embedded into the very fabric ofthe institution and all of its constituents,and ultimately owned and demanded bythe board, regardless of the process of whoactually defines it. A strongly articulatedvision is never enough – it must be deeplyfelt, widely held, and given reality in prac-tice. Vision can only be articulated if itactually exists; it never exists merelybecause it can be articulated.

• A clear vision forces us to rememberwho we are, why we exist, and why wedon’t exist;

• A clear vision provides a strong insti-tutional context for shaping decisions;

• A clear vision mitigates any structuralambiguities inherent in the organization;

• A clear vision inspires.

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In addressing challenges, we must notconfuse the “process” of finding solutionswith the very “content” of solutions. Andeven more, we must not confuse “process”as in fact being the “content.” Trendy con-sultants today are full of workshops andseminars on “how to improve institutionalalignment” or “how to empower the organ-ization.” But they often forget – an orches-tra is about vision, ideas, and adventure,around which processes must be formu-lated. And vision is absolutely dependenton individual leadership, not unlike thegreatest pieces of music. There is a reasonnone have been written by a committee.

Furthermore, “leadership” is differ-ent from “management.” TomPeters has said, “Managementwith its attendant images – cop,

referee, devil’s advocate, dispassionateanalyst, naysayer, pronouncer – connotescontrolling, arranging, demeaning, andreducing. Leadership connotes unleashingenergy, building, freeing, and growing.”Warren Bennis and Bert Nanus definemanagers as “people who do things right”;leaders as “those who do the right things.”And, strong enlightened leadershipalways starts with the board. In the caseof the Cleveland Orchestra, George Szellwas a miraculous leader, and gets much ofthe credit for shaping the style and suc-cess of the orchestra, which persist to thisday. But he did not do it alone. I give evengreater credit to the board and boardleaders who in 1946 decided on behalf oftheir community that Cleveland neededan international orchestra, and then hiredthe music director to do it, supporting himand fulfilling their own responsibilities inmaking that dream a reality.

So, what does this all mean today fororchestras?

First, orchestras need stronger leader-ship – on the board, in the orchestra, andon the staff. The day of the tyrant is overbut one must not confuse the concept ofstrong leadership with the style withwhich strong leadership is exercised. I donot believe there is any inherent struc-tural ambiguity in an orchestra organiza-tion – within the so-called “BermudaTriangle” of the board president, musicdirector, and executive director. There isno example of this not working wonder-fully well if all three are the right people,and if they are bound together with aclearly understood common vision.

Second, we must not confuse the idea ofshared decision-making with the absoluteneed for more open and collaborative cul-tures within our organizations. Processesfor more input and greater communica-tion are essential, but must be achievedwithout diluting the accountability fordecision-making.

And third, true vision is based uponclear core values, and values arise fromthe common beliefs and actions of individ-uals – and I mean all the individuals – inthe organization. How can we each defineourselves in maximum service to our artwithin such institutions? I recently founda clue in an astonishing book called theSoul of a Chef, in which author MichaelRuhlman recounts his journey in searchof culinary perfection. He finally finds it inThomas Keller of the Napa Valley’sFrench Laundry, thought by many to bethe best restaurant in America if not theworld. Ruhlman probes beneath Keller’ssuccess to ascertain clues as to the truesecret of his accomplishment, and discov-ers it in attitudes and values instilledthroughout his career. He writes: “At thebottom of Thomas Keller was a capacity toabsorb himself absolutely in the mundanetasks he performed daily. It began, appar-ently, at the Palm Beach Yacht Club,under the watch of his mom as he madehollandaise sauce daily. Every day, he sep-arated yolks and whipped them hard overthe heat, then added clarified butter.Every day, he was mystified by the thick,creamy result but terrified that it wouldbreak at any instant. Every working dayfor two years. He never tired of it. On thecontrary, he reveled in it. It was the ‘highpoint of each day.’ He never took the hol-landaise sauce for granted; it remained …a great mystery. It was never perfect. Henever mastered it. If he ever had, the taskwould have become monotonous, if notunbearable. But instead he pursued theperfect hollandaise sauce with relentlessintensity.”

The symphony orchestra will surviveand flourish if it pursues the goal of per-fect concerts by pursuing every single ele-ment that goes into perfection withrelentless intensity. Such pursuit mustnot only be by each individual but by theinstitution as a whole. That is the secretof the Cleveland Orchestra. Our underly-ing purpose – a belief deeply held byeveryone associated with our organizationand by its broader community – is “to pro-

vide inspirational experience by servingthe art of music at the highest levels ofartistic excellence.” We have lofty goalsand ambitious plans. And, all revolvearound an unflinching commitment toartistic principles in service to our pur-pose. I am unaware of any successful andflourishing orchestra which is not singu-larly and purposely devoted on a dailybasis to the overriding principle thatnothing succeeds better than great con-certs of the greatest music performed atthe highest level of excellence with enthu-siastic commitment and contagious con-viction. Doing so brings to an orchestraexactly the kind of crackling energy andbristling vitality that proponents of“change for the sake of change” promisebut can never deliver.

Does the Cleveland Orchestrahave challenges and problems?You bet we do, but our vision isclear, our work ethic is all-

encompassing, and our priorities in order.Even so, there is not a day that goes bythat we are not working hard to sharpenour focus, polish our performance level,and keep moving our institution forward.In short, we are not satisfied.

I do not minimize the perilous times inwhich we find ourselves. But these areprecisely the times during which we needgreat art and music more than ever.Music, that wordless and ambiguous lan-guage, can uniquely provide necessary sol-ace and comfort for the worst, and thebest, of times.

The Cleveland Plain Dealer’s DonaldRosenberg commented in mid-September,“where virtually everything else fails,great music has the power to lift us orprovide a means of catharsis. It can put usin touch with our psychological selves andfeelings as no other form of communica-tion.” We have been entrusted by our com-munities with the sacred mission ofassuring a dynamic future for our institu-tions and for our art form, and our pursuitof that mission – whether as board mem-ber, music director, executive director, ormusician – cannot be unlike ThomasKeller’s never-ending quest for perfectionin hollandaise. ❧

Thomas W. Morris, executive director of theCleveland Orchestra, visited Eastman inMarch as a Catherine Filene Shouse GuestSpeaker.

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Pulitzer Prize-winning Ameri-can composer George Crumb,known for his powerful andevocative use of imagery alongwith the development ofunusual and extended per-formance techniques, was hon-ored at Eastman during afestival of his compositions.The three-day December eventwas the brainchild of doctoralpiano student, ThomasRosenkranz, with the help ofProfessor of CompositionRobert Morris. Highlightingthe festival were two free con-certs of Crumb’s music:

• An all-piano recital fea-tured guest pianist-composerDavid Mattingly (MM ’87,DMA ’93) performing theremarkable Makrokosmos, Vol-umes I and II (1972–73) foramplified piano. As in many ofCrumb’s works, this set of “12Fantasy-Pieces after theZodiac” utilizes unique nota-tional devices: every fourthpiece is notated as a visualsymbol (a cross, circle, or

Composer George Crumb feted at December festivalworks, including the 1965Madrigals Book I (Eastmanstudents Heather Gardner,voice; vibraphonist John Hain;and double-bassist JustinMcCulloch) and the 1979Celestial Mechanics (Makro-kosmos IV) for amplified piano,four hands (guest duo-pianistsRobert Shannon and HaewonSong). The 1970 Black Angels(Images I) for electric stringquartet was presented byEastman’s own Suzie KellyString Quartet who, accordingto John Pitcher of the Roch-ester Democrat and Chronicle,“created a fiendish din as theytossed off the music’s most dif-ficult passages with ease anddramatic flair.” Similar acco-lades came for the celebrated1970 song cycle, Ancient Voicesof Children (Eastman MusicaNova Ensemble, Clay Green-berg conducting, with East-man student Martha Cluver,voice). Of the soloist, Pitchernoted “[Cluver] is endowed

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Composer George Crumb listens to a rehearsal of his music in Kilbourn Hall.

swirl). Mattingly, assistantprofessor of piano at Susque-hanna University, has beencalled a “superb pianist” by

Crumb himself, who predicts a“brilliant future” for him.

• The second concert show-cased a variety of Crumb’s

Video link joins Eastman and Royal Scottish AcademyThe first transatlantic video-conference between two musicschools took place on November16, 2001 as the Eastman Schoolof Music and the Royal ScottishAcademy of Music and Drama(RSAMD) in Glasgow, Scotland,engaged in a “parallel” educa-tional musical exchange.

The two live trumpet masterclasses took place through thetechnology of the US’ Inter-net2 and the UK’s Super-JANET4. Eastman Professorof Trumpet James Thompsoncommenced the internationalconference, giving a 30-minuteindividual master class to astudent from the RSAMD, fol-lowed by Bryan Allen, head ofbrass at RSAMD, and Nigel

Boddice, professor of trumpet,doing the same for one ofThompson’s pupils.

Both schools worked closelyin establishing this far-reach-ing opportunity for interna-tional, musical brotherhood.Director and Dean JamesUndercofler noted, “Eastman’stechnology project with theRoyal Scottish Academy forgesa dynamic international part-nership that begins to showone distinct future for classicalmusic teaching and perform-ing. We are thrilled to be work-ing with such brilliant anddistinguished colleagues.”Principal of the RSAMD, SirPhilip Ledger, concurred. “Theestablishment of an Interna-

tional Consortium is a tremen-dously exciting development.”

“This [was] the first use ofInternet2 technology fortransatlantic interactive edu-cation, particularly in a musi-cal context,” points out KevinMcPeak, director of technologyservices and music productionat Eastman, and coordinator ofthe exchange. “It reinforced thetrue nature of ‘distance learn-ing,’ which is to link up similarcommunities of learning.”

Closer to home, Eastman’sReinhild Steingröver, assistantprofessor of German in thehumanities department, co-taught a spring semestercourse through similar video-conferencing with University of

Buffalo History Professor Patri-cia Mazòn, titled “German Cul-ture and Society, 1790–2000.”The course, offered throughboth schools, convened twiceper week, with each teachertaking turns lecturing on awide array of related topics.

With compelling technologi-cal advances on the horizon,the RSAMD and the EastmanSchool anticipate an additionalpartner in the QueenslandConservatorium of Brisbane,Australia. “Individual tuition,master classes, assessment,student recruitment, and theprofessional development ofalumni will all be possible asthe technology is refined,”noted RSAMD’s Ledger. ❧

Symposia, master classes, and concertshighlight the composer’s visit

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with a flexible voice andangelic tone, bringing a senseof radiant warmth andurgency to every note shesang.” Both Ancient Voices andMadrigals are based on textsby the poet Federico GarciaLorca, a friend of SalvadorDali, whose verse inspiredmany of Crumb’s compositions.

The Eastman connection tothe compositions is gloriouslypresent: Crumb conceivedAncient Voices of Children forthe late faculty member JanDeGaetani, who premiered it inWashington, DC in 1970. SaysCrumb: “Her voice was in myinner ear while I was compos-ing.” Along with Madrigals, thework became part of her artis-tic oeuvre, both in performanceand on record. Former East-man professor of piano DavidBurge worked with Crumb atthe University of Colorado inthe early 1960s, encouragingthe composer to experimentwith the extended possibilitiesof the piano. The resultant dis-coveries became standard com-position techniques for thecomposer, used with great flairin Makrokosmos.

“George Crumb’s remark-able music came on the scenein the late 1960s and repre-sented a new and unprece-dented voice in American newmusic,” says Professor of Com-position Robert Morris. “Hisemphasis on exquisite and ele-gant timbres in the context ofperformance ritual was imme-diately noticed and applaudedby European composers, whohad up until that time onlybeen interested in the mostradical of American composers,mainly Charles Ives and JohnCage.”

Additional festival eventsincluded a theory symposiumon Crumb’s music, a masterclass (where four of his workswere presented by Eastmanstudents), and a composer’ssymposium. ❧

➧ F R O M PA G E 1 2

Conrad Susa’s Transforma-tions, a “musical entertain-ment” in two acts based on abook of confessional poetry byPulitzer Prize-winning authorAnne Sexton, opened the East-man Opera Theatre’s 2001–2002 season. This KilbournHall production marked theofficial debut of Eastman OperaTheatre’s new music director,Benton Hess, who joined thefaculty last July as distin-guished professor of voice.

Transformations is a collec-tion of poems based on theBrothers Grimm fairy tales,which Sexton used to paint anemotional journey of herdeeply troubled life. The set-ting for the performance is an

activities room in a psychiatricward during the 1970s – one towhich Sexton herself mighthave been admitted.

Tiffany Blake, whose charac-ter was modeled after Sexton(Soprano 2), gave a “truly vir-tuoso performance … singingwith immaculate tone, goodsupport, and breath to spare,”according to a review by OperaNews.com. The ensemble piecefeatures just eight singers whodo not have character namesbut play many roles through-out the stories.

The production requiressingers of the utmost skill,artistry, and versatility. “Allproved themselves eminentlycapable of handling their com-

plicated assignments.” (OperaNews.com).

The performance featured twoalternating casts of Eastmanvoice students, accompanied bya non-traditional chamberorchestra with Hess conducting.The score was “expertly con-ducted and immediately appeal-ing,” according to the RochesterDemocrat and Chronicle.

“Susa provides a unique lookinto Anne Sexton’s psyche,”said Steven Daigle, director ofthe show and dramatic direc-tor of Eastman Opera Theatre.“His use of musical vocabularyalong with his use of conven-tional styles services thepoetry, humor, and darkness ofthe work.” ❧

Opera stage ‘transformed’ by Susa work

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Eastman Opera Theatre opened its season with Conrad Susa’s unsettling Transformations, a work that sets to musicAnne Sexton’s collection of poetry based on the Brothers Grimm fairy tales. The performance was”splendid” and theset “superb,” according to the Rochester Democrat and Chronicle.

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It was a night of premieres asthe Eastman Jazz Ensembleperformed at the 2001 Mid-west Clinic. Showcasing theworks of Eastman studentcomposers, Grammy-nomi-nated alumna Maria Schnei-der, and Jazz EnsembleDirector Fred Sturm, theEnsemble presented “LookingForward: New Music for JazzEnsemble” to a packed ball-room in Chicago last Decem-ber. The EJE was the onlyuniversity jazz group invitedto perform at the prestigious

Jazz Ensemble ‘looks forward’ at Midwest Clinic

Legendary Eastman graduateRon Carter, widely recognizedas one of the most original andinfluential bassists in jazz,returned to his alma materlast fall for a special day thatculminated in a concert withhis acclaimed quartet in Kil-bourn Hall. With Kenny Bar-ron (piano), Steve Kroon(percussion), and PaytonCrossley (drums), Carter per-formed an engaging programof standards and classicsannounced from the stage.

During his day-long visit toEastman, Carter also held amaster class and presented alecture sponsored by theSchool’s Arts Leadership Pro-gram titled “Where Is theMusic Played?”

Described as “the epitome ofjazz elegance and rectitude” byDown Beat magazine and con-sidered a master of improvisa-tion, Carter earned hisbachelor’s degree at Eastmanin 1959. As a student, heplayed in the Eastman Phil-harmonia and in his own jazzgroups around Rochester. Afterearning his master of musicdegree from the Manhattan

Legendary jazz bassist Ron Carter returns to Eastman

ELIZABETH LAMARK

Alumnus and jazz great Ron Carter returned to Eastman last fall with great fan-fare. Here he coaches student Ben Gallina in a master class. During his visit,he also spoke with students and community members about his career andyears at Eastman, and presented a concert with his quartet in Kilbourn Hall.

School of Music in 1961, hemoved without a pause into adynamic, high-profile career.

Many of Carter’s more than3,000 jazz recordings are nowclassics. He was a member ofMiles Davis’ legendary 1960squintet, along with TonyWilliams, Herbie Hancock, andWayne Shorter. He also hasperformed with CannonballAdderley, Thelonious Monk,Hubert Laws, Lionel Hamp-ton, and Joe Henderson.

As a classical performer,

Carter has played with orches-tras around the world. He hasmade four classical recordings,including one that features hisown transcriptions andarrangements of Bach choralesand cantatas. In the mid-1970s, he started playing thepiccolo bass, rather than thelarger jazz bass, in order to“reinvestigate acoustic soundsand to give the public a viablelistening option.” He has wontwo Grammy Awards – one injazz composition and one in

jazz performance – and is theproducer of 75 recordings. Hisbooks include Building a JazzBass Line and Music of RonCarter, which contains 140 ofhis published and recordedcompositions. He has lectured,conducted, and taught thebusiness of music at numerousuniversities. For nearly 20years, he has been distin-guished professor of music atthe City College of New York.

“Ron Carter’s multi-facetedengagement with music exem-plifies one of the primary goalsof an Eastman education,” saidEastman School Director andDean James Undercofler dur-ing Carter’s visit. “We aredelighted to welcome home andshowcase one of our most dis-tinguished alumni.”

Carter returned to Eastmanin May to attend commence-ment ceremonies, where hereceived the Hutchison Medal,the highest honor bestowedupon alumni by the Universityof Rochester. ❧

See another note on Ron Carterin the Sibley Music Librarycolumn on page 25.

COURTESY MIDWEST CLINIC

The Eastman Jazz Ensemble at the Midwest Clinic in Chicago.T U R N T O PA G E 1 5 ➧

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It’s not every day that onehears live concert music per-formed at Webster Park, a pic-turesque spot on the shore ofLake Ontario in Webster, NewYork (northeast of Rochester).Yet Robert Morris, a progres-sive concert-musiccomposer and chairof the compositiondepartment, con-ceived a composi-tion for orchestraand soloists to beplayed outdoors.Playing Outside isscored for morethan 50 musiciansscattered through-out the park’s woods andtrails. The piece, exactly 100minutes long, was performedon Sunday, September 30.Because of the specificity ofthe composition, the piece canonly be played in WebsterPark, and any future perform-ances will be mounted there.

Morris, who has lived inRochester since 1980, came upwith the idea for this ambitiouswork while hiking on the park’s

intricate web of ski trails in thesummer of 1996.

“I was so fascinated by thesewooded trails that I made amap of them with a friend. Ifelt a connection between thesetrails and the kind of music I

write, so I thoughtit would be interest-ing to bring themtogether in a musi-cal composition.”

The compositionwas presented andperformed byOssia, an organiza-tion of young com-posers andperformers study-

ing at Eastman, as well as theSchool’s gamelan ensemble.

“My piece would have beenimpossible to bring to perform-ance without Ossia,” said Mor-ris. “The musicians played invarious places in the park,both independently and ingroups, sometimes movingfrom one location to another.Since Ossia has producedmany exceptional and novelpieces and events, the students

were enthusiastic about play-ing new music that expandsthe boundaries of what musiccan be and where it can occur.”

Upon arriving at the park,audience members were givena program of events, showingthe spots in the park whereand when musical eventswould take place. People couldchoose to stroll through thepark to hear the music andsounds or be escorted byguides to the main musicalevents. Various kinds ofimprovisational music, playedby soloists as well as fullensembles, were heard on thepaths and in the park’s woodsand fields.

By design, no one – includingthe composer – can hear all ofthe musical sections in one per-formance. The idea is to providea rich assortment of musicalexperiences celebrating therelations between people andthe natural environment. ❧

For more information, visithttp://lulu.esm.rochester.edu/rdm/playing.outside.

Performers found ‘Playing Outside’

Robert Morris

COURTESY ROBERT MORRIS

Hundreds of people roamed beautiful Webster Park on a glorious fall day to hear more than 50 Eastman musiciansperforming Robert Morris’ unique Playing Outside. Above, student cellists perform in one of the park’s natural settings.

conference; the Eastman WindEnsemble, Donald Hunsbergerconducting, performed to thou-sands at the same conferencein 2000.

The concert included fourpremieres of original composi-tions by current Eastman jazzwriting majors. McCoy Tyner’sThe Man From Tanganyikawas arranged and conductedby graduate student JameySimmons (recipient of the2001 Down Beat magazineStudent Music Award for “BestJazz Arrangement”).

A unique collaborative work,Worlds Apart, was co-com-posed by Sturm, Larry Dar-ling, and Eastman jazzstudents Ted Poor, Ryan Fer-reira, and Ike Sturm. Itexplored electro-acoustic ele-ments as the Jazz Ensembleperformed to pre-assembleddigital samples and computertracks.

Renowned composer/band-leader Maria Schneider, a1985 Eastman graduate,offered Tork’s Café, a funkycontemporary composition, forthe occasion. Four new compo-sitions and arrangements bySturm, a 1984 graduate of theEastman jazz program and afaculty member since 1991,also were showcased.

The Jazz Ensemble per-formed two works of historicalsignificance as well: the GilEvans arrangement of DaveBrubeck’s The Duke, recordedby Miles Davis on the 1957Miles Ahead on ColumbiaRecords, featured second yearmaster’s student Eli Asher ontrumpet.

And, celebrating the 75thanniversary of the recordingfeaturing Jelly Roll Morton’sBlackbottom Stomp (recordedin Chicago in 1926), theensemble presented their ren-dition with original solos inauthentic transcriptions bythe Red Hot Peppers, Morton’sband. ❧

➧ F R O M PA G E 1 4

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The New Grove Dictionary ofMusic and Musicians II mightseem a long title for a work,but hardly when you considerthat the work comprises 25million words in 29 hardcovervolumes.

Published early last year ata list price of $4,850, the vol-umes primarily are purchasedby music libraries and institu-tions. The old and new editionsreside on considerable shelfspace on the second floor of ourown Sibley Music Library. Butwith this new edition, Grove’s

‘New Grove’ features Eastman faculty, staff, and alumni• Ellen Koskoff (Women in

Music)• Vince Lenti/Ruth Watan-

abe (Rochester)• Ralph Locke (6 items)• Patrick Macey (Motet and

Josquin des Prez)• Marie Rolf (Samuel Adler)• Kerala Snyder (17 items)• Robert Wason (Carl Fried-

rich Weitzmann; Oscar Paul)• Daniel Zager (Stanley

Dance and Amiri Baraka)In addition, a number of our

distinguished past facultyhas made itself accessible toanyone with a computer, offer-ing an online version at

www.grovemusic.com.Of particular interest to the

Eastman community is that arespectable number of Grove’sentries are by or about peopleaffiliated with Eastman. Atleast 12 current faculty andstaff members have con-tributed entries to the newedition, including:

• Jennifer Williams Brown(12 items)

• Donna Brink Fox (29items)

• Daniel Harrison (HermannGrabner) T U R N T O PA G E 1 7 ➧

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New Grove is available in book formor online at www.grovemusic.com.

In another vivid example oftheir growing involvement inthe new music scene, East-man’s Musica Nova gave JohnZorn’s Rituals its Americanpremiere in The Great Hall atNew York City’s Cooper Unionin March.

“It’s as multi-faceted as thecomposer himself,” is howBradley Lubman, music direc-tor of Musica Nova, describesthe mammoth 1998 work forsinger plus 10 instruments.

Drawing on his experiencein a variety of genres includingjazz, rock, hardcore punk, clas-sical, klezmer, film, cartoon,popular and improvised music,Zorn has created an influentialbody of work that defies aca-demic categories. Born andraised in New York City, hehas been a central figure inthe downtown music scenesince 1975, incorporating awide range of musicians invarious compositional formats.His experimental work withrock and jazz has earned hima large cult following.

Lubman’s program pairedthe Zorn piece with two “clas-sic” Charles Wuorinen works.The Winds (1977) is scored for

Musica Nova premieres Zorn’s ‘Rituals’ in NYC

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Musicians (such as student John Hain above) who perform experimental composer John Zorn’s work utilize a varietyof instruments to create unique sound textures.

eight wind and brass playersplus piano; Arabia Felix (1973)was written for flute, bassoon,violin, piano, electric guitar,and vibraphone. Both Wuori-nen and Zorn attended theconcert.

Founded in 1966, MusicaNova is the Eastman School ofMusic’s contemporary music

ensemble. Lubman, assistantprofessor of conducting andensembles at Eastman since1997, led Musica Nova in itsfirst appearance at CooperUnion in January 2000.

Under his direction, theensemble has become knownfor its diverse repertory. Com-posers such as Steve Reich,

John Adams, Bernard Rands,Magnus Lindberg, andAugusta Read Thomas havepraised the ensemble’s per-formances of their works.

The March concert was partof the CooperArts series, whichbrings New Yorkers high qual-ity programs in the performingand literary arts. ❧

S P R I N G / S U M M E R 2 0 0 2 17

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members have entries devotedto them in the new edition,including:

• Warren Benson• Wayne Barlow• Jan DeGaetani• Emory Remington• Harold Gleason• Alfred Mann• Bernard RogersReaders of Grove’s will find

entries about some famousEastman graduates:

• William Warfield• Renée Fleming• Charles Strouse• Ron Carter• Louise Cuyler• Julianne BairdFinally, one can even learn

more about the City of Roch-ester in an entry authored bycurrent Eastman lecturerVince Lenti and retired SibleyMusic Librarian Ruth Watan-abe.

According to Ralph Locke,chair of the musicology depart-ment and a longtime Grove’sfan, “It is hard to overestimatethe importance of New Grovefor the musical world. I thinkof New Grove as ‘the first andthe last’: It is the first refer-ence book that librarians andother well-informed peoplelook in for information on indi-vidual musicians and othertopics; and, at the same time,it is most often ‘the last word’(because of its high reputationfor accuracy). The fact that itis now available online and isbeing updated regularlymakes it that much more cur-rent and reliable. The fact thatso many Eastman-relatedauthors contributed articles,and that a number of theSchool’s distinguished facultyand alumni have entriesdevoted to them, sends a greatmessage to the broader publicabout how special a place theEastman School is, where per-formers, composers, and schol-ars work together to mutualprofit.” ❧

➧ F R O M PA G E 1 6

IML brings ‘musictelling’ to Eastman

KURT BROWNELL

Tales & Scales musicians (from left): Neil Parsons, bass trombone; Deborah Sunya Moore, percussion; Patrick Ley-den, clarinet; and Zara Lawler, flute.

In a special offering by theSchool’s new Institute forMusic Leadership, the East-man community experiencedTales & Scales’ unique “music-telling” in January. Thenationally acclaimed troupe ofyoung musicians seeks toignite imaginations throughthe performing arts.

The troupe presented a freeperformance of the Greekmyth, Pandora’s Box, for familyaudiences in Kilbourn Hall. Aschildren entered the hall, theywere given the chance to greetthe performers and touch andhear their instruments.

With minimal sets and cos-tumes, the group of four classi-cally trained musiciansbrought Pandora’s Box to life,becoming characters, objects,and dancers in a unique style ofperformance they term

“musictelling.” The originalpiece – written for Tales &Scales by Catherine Chuplisand Margaret Muldoon, with amusical score by composerGeorge Tsontakis and choreog-raphy by Nusha Martynuk –combines music and movementbuilt around the classic storyabout a young woman’s courageto challenge the status quo.

Each year, Tales & Scalescollaborates with emergingcomposers, writers, and the-ater directors to create a newwork to tour throughout thecountry, giving more than 200performances in schools, artscenters, and concert halls. Thetroupe has brought itsmusictelling to the stages ofthe Boston Symphony, theChicago Symphony, the Smith-sonian Institution’s DiscoveryTheatre, the Chautauqua

Institution, and other promi-nent stages across the country.

Tales & Scales also workswith educators, music stu-dents, and orchestras in work-shops designed to combine thearts with education. While inRochester, members of thetroupe coached Eastman stu-dents involved in the School’sown outreach program, “Musicfor All.”

“We’re very fortunate to havebeen able to bring Tales &Scales to Eastman and toRochester,” said Susan Whar-ton Conkling, associate profes-sor of music education and oneof the organizers of the visit.“The troupe’s innovative ap-proach to musical outreach ishelping our students to becomeeven better prepared to reachout to the Rochester commu-nity and make a difference.” ❧

18 E A S T M A N N O T E S

S C H O O L N E W S

Institute for Music Leadershipgoes ‘live’ on the InternetIf the article in the last issueof Notes introducing East-man’s new Institute for MusicLeadership piqued yourcuriosity, now there’s a way tofind out more – IML’s Website went live in January.

The IML is the first centerof its kind in the country.Created in fall 2001 withgenerous support from theAndrew W. Mellon Founda-tion, the IML is envisioned as

a vital hub for creating, shar-ing, and implementing newideas and programs that willensure the vitality and rele-vance of music in the 21stcentury.

Receiving an average of400 visits per week, the IMLsite is useful to students, fac-ulty, staff, alumni, and pro-fessional musicians who canlook to the IML for profes-sional development. ❧ Find the IML’s new Web site at www.rochester.edu/Eastman/iml.

IML/Eastman join prestigious Mellon Orchestra Forum“I was very fortunate to havebeen a part of this program,especially right before I gradu-ate and move into the realworld!” That’s the opinion ofElizabeth Meyers, an Eastmanfellowship student discussingher year of participation in aunique meeting of musicalminds.

For the first time, a musicschool has been invited to par-ticipate in The Andrew W. Mel-lon Foundation’s OrchestraForum, part of their Programsfor Orchestras, in support ofstrengthening orchestrasthrough development of highquality programs, artistic mis-sion, musician involvementand leadership, and a greatercommunity role.

The Eastman School, underthe auspices of its Institute forMusic Leadership (IML), nowcompletes the forum member-ship of 15 participating groupsfrom around the country.

Since 1999, the Forum hashosted twice-yearly meetingsof participants, starting with abase of seven orchestras,including the board chair,executive director, and twomusicians each from theCleveland Orchestra, Kansas

City Symphony, New JerseySymphony, Richmond Sym-phony, Saint Louis SymphonyOrchestra, Seattle Symphony,and Toledo Symphony.

Last year, another group ofseven orchestras was added:the Baltimore Symphony,Louisiana Philharmonic, NewMexico Symphony, Orchestra

of Saint Luke’s, PittsburghSymphony, Saint Paul Cham-ber Orchestra, and San Fran-cisco Symphony.

The addition of Eastmancompletes the list of innovativeleaders in music who gather ininformal settings to share ideasand offer guidance in the Mel-lon Foundation’s continuingsupport of American orchestras.

The November 2001 confer-ence, the first in which East-man was in attendance,focused on Leadership Train-ing and was held at HarrisonConference Center at LakeBluff, IL. As an OrchestraForum participant, IML Direc-tor Ramon (Ray) Ricker wasallowed to choose two students

to accompany him as Eastmanrepresentatives.

Ricker selected two fellow-ship students from theSchool’s Orchestral StudiesDiploma Program (see relatedarticle on opposite page), Eliz-abeth Meyers and HannosStrydom.

Meyers states, “My experi-ence at the Forum conferences

has been extremely enlighten-ing. We learned about both thefrustrations and the hopeful,positive side of orchestralcareers. There were a lot offresh ideas floating around.”

Interacting with orchestramusicians from the world out-side Eastman stimulated thestudents to analyze their ownenvironment.

Says Meyers: “I see thatthere is an open-mindedness atEastman, a need to learn, andnot just play the same musicthe same way over and overagain. Change will come whenthe younger generations startto matriculate into orchestras.But it is crucial that theyunderstand the power theyhave to make change and notperceive themselves as ‘justanother player’ receiving theirmonthly paycheck.”

The orchestra partnerslearned how Eastman ispreparing tomorrow’s musi-cians to meet the very chal-lenges discussed at the Forumconferences. Noted Meyers:“Most people that I talked towere so enthusiastic aboutwhat Eastman is doing. Theycan’t wait to have us playingwith them!” ❧

“Most people that I talked towere so enthusiastic aboutwhat Eastman is doing.They can’t wait to have usplaying with them!”

S P R I N G / S U M M E R 2 0 0 2 19

S C H O O L N E W S

IML/EastmanOrchestralStudiesDiplomaprogramThe Orchestral StudiesDiploma, offered in partner-ship with the RochesterPhilharmonic Orchestra,gives advanced students ofviolin, viola, violoncello, anddouble bass importantpreparation for careers intoday’s competitive orches-tral marketplace.

Those accepted as orches-tral fellows gain onstageprofessional playing experi-ence and a deeper under-standing of offstageorchestral operations. OSDstudents receive a fellowshipto help offset the cost ofstudies.

The heart of the programis the opportunity to performas a section player for six to10 weeks on classical sub-scription concerts with theRPO. In addition, orchestralfellows learn the “business”side of what makes anorchestra succeed. Theyenroll in special classestaught by Eastman facultyand RPO musicians andstaff, and serve an intern-ship in the RPO’s adminis-trative offices. ❧

Eastman’s Catherine FileneShouse Arts Leadership Pro-gram, created in 1996, is nowan offering of the School’s Insti-tute for Music Leadership. Inorder to achieve its fundamen-tal goals, namely, to inspire stu-dents with personal vision andequip them with professionalskills and experience, the ALP(as it is more commonly known)regularly brings thought-pro-voking musicians, includingperformers, arts managers, pro-moters, music writers, andmusic educators, to Eastman tospeak on a variety of music-related topics.

The 2001–2002 CatherineFilene Shouse Guest SpeakerSeries included an eminentlineup:

• Classical music critic forthe Rochester Democrat andChronicle and National Public Radio commentatorJohn Pitcher on “A Crisis inCriticism.”

• Grammy Award-winningbassist (and Eastman alum-nus) Ron Carter, named JazzBassist of the Year by DownBeat magazine, with a talktitled “Where Is the MusicPlayed?”

• Cleveland Orchestra exec-utive director Thomas Morrison “The American SymphonyOrchestra: What Is Going On?”(See feature on page 8.)

Series lectures are free andopen to the general public.

In addition, Arts LeadershipCurriculum instructors regu-larly invite additional guestspeakers to lead their classes.Indeed, the instructors them-selves often are noted authori-ties from within or outsideEastman who advise under-graduate and graduate stu-

Noted guestspeakersvisit Eastman

GELFAND-PIPER

OSD students, such as Lindsey Wood above, have the opportunity totake electives like this Conductors’ Workshop taught by RPO ConductorChristopher Seaman (left). When asked why he takes time from his busyschedule to teach, Seaman replied, “I learned by trial and error. I mighthave spared myself some of the ‘error’ had someone done this for me.”

dents on “real-world” issuesand opportunities.

Here are just a handful of2001–2002 course offeringsand speakers:

• Joseph Horowitz, formerexecutive director of theBrooklyn PhilharmonicOrchestra, taught a 5-sessionALP course on “ClassicalMusic in the U.S. – What’sWrong and How to Fix It.”

• Musician and principalpops conductor of the Roch-ester Philharmonic OrchestraJeff Tyzik co-taught a courseon Studio Production Techniques.

• Susan Robertson, East-man’s associate director forcommunications, brought com-poser Jason Eckardt andpianist Marilyn Nonken(BM ’92) to her course, “Sur-

viving and Thriving in theArts Marketplace.” The coupledirect Ensemble 21, a majorplayer in New York City’s newmusic scene.

According to Robertson,“Hearing some of the strate-gies employed by these artist-leaders is inspiring ourstudents to think in a moreentrepreneurial way abouttheir own careers.” ❧

20 E A S T M A N N O T E S

D E V E L O P M E N T N E W S

BY CHRISTINE CORRADO

W hether you gradu-ated five yearsago, or 50, you’venoticed the pat-

tern. Each autumn, you receivea letter – sometimes fromDirector James Undercofler,other years from an enthusias-tic alumnus, or once in a whilefrom a respected and adoredfaculty member. The tone andcontent of the letter variesevery time, but the purpose isalways the same. The writer isseeking your support of theEastman Fund.

Soon after the letter arrives,your phone rings one evening,and the youthful voice on theother end introduces itself:“Hello, Ms. Alumna. My name isJennifer, and I’m a student atthe University of Rochester call-

ing on behalf of the EastmanSchool of Music. How are youthis evening?” From there, theconversation turns to an enthu-siastic pitch from the studentencouraging you to make a giftin support of your alma mater.

Between the letter and thelively conversation, you’re per-suaded to make a contributionto the Eastman Fund. Soonthereafter, you receive an offi-cial receipt from the Univer-sity of Rochester, and agrateful note of thanks from amember of the Eastman staff.

You feel good about support-ing your alma mater and you’reoff the hook for another year.

And yet you wonder whythis goes on year after year.Does the Eastman Fund cam-paign ever reach its goal?Haven’t you been supportive

enough already? Does the needfor support ever end?!

Well, yes, yes – and no.Does the Eastman Fund cam-

paign ever reach its goal?The Eastman Fund cam-

paign renews annually onJuly 1, the start of the School’sfiscal year, and runs throughJune 30 of the following year.Results are shared with thecommunity in the Report on Giving published the fol-lowing fall.

Haven’t you been supportiveenough already?

Of course you have! Andtoday’s students, faculty, andstaff are greatly appreciative.

Over the past five years,alumni have participated insupporting the Eastman Fundat an average annual rate ofnearly 20%. That’s respectable,

Eastman Fund: Reaching for the goal

As this issue of EastmanNotes was going to press, theSchool’s administration wasin the process of planning forneeds and opportunities dur-ing the next fiscal year. Bythe time you read this issue,the final total for 2002 will beknown, and the goal for 2003will have been set.

You want the EastmanFund reach its goal in 2003,but you’re not sure what todo. The Eastman School ofMusic offers you many waysto make your unrestrictedcontribution to the EastmanFund.

To make your gift by mailWhen a letter and pledgecard arrive in your mailbox,respond right away! Or, ifyou’re anxious to get theEastman Fund off to a quick

start but you can’t wait foryour pledge form to come,send a check payable to theUniversity of Rochester.

On the memo line of yourcheck, please write “EastmanFund.” Mail your check to:

University of RochesterESM – Development and

Alumni RelationsGift Office, 30 Wallis HallRC Box 270032Rochester, NY 14627

To make your gift over the phoneHave your Discover, Master-Card, or Visa ready and callthe Eastman School of MusicDevelopment and AlumniRelations Office at:

585.274.1048 (locally), or 866.345.2111 (toll-free, out-

side Rochester’s 585 area code)

Or, if you look forward toyour annual call from ayoung person studying at theUniversity of Rochester,whether an Eastman studentor a College undergrad, enjoythe conversation and makeyour pledge in support of theEastman Fund.

To make your gift or pledge onlineCan’t wait for the mail, can’tfind a stamp, or don’t havetime to chat? Then makeyour gift online using yourDiscover, MasterCard, orVisa, or make a pledge forpayment at a later date.

Go to www.rochester.edu/Eastman/giving and click on“Annual Giving – The East-man Fund.” We use a secureserver and advanced encryp-tion technology to protect

your personal and credit cardinformation.

To make your gift byelectronic funds transferIf you prefer a measured,methodical approach to phi-lanthropy, you can arrangefor monthly withdrawalsfrom your bank account byelectronic funds transfer(EFT). Download an EFTauthorization form from theWeb at www.rochester.edu/Eastman/giving/how.html. Print,complete, and mail it to theaddress on the form.

No matter how or howmuch you give, your supportof the Eastman Fund makesit possible for the EastmanSchool of Music to continueits tradition of excellence inprofessional arts education.

Thank you! ❧

Act on your philanthropic feelings

and a fine measure by whichthe School and the Universityadministration gauge alumnisatisfaction with Eastman. It’salso an important publicbenchmark. The U.S. Newsand World Report annual sur-vey, “America’s Best Colleges,”uses alumni giving rates asone of several important fac-tors in calculating rankings.The University of Rochester(and therefore the EastmanSchool of Music) falls into the“highly competitive” categoryof National Universities – Doc-toral. In 2002, UR ranked 36thoverall in a field of 249 univer-sities in the U.S. that offer awide range of undergraduatemajors as well as master’s anddoctoral degrees. With a rank-ing of 73 in alumni giving,

T U R N T O PA G E 2 1 ➧

alumni and friends of theSchool to the Fund can be usedfor any of the School’s criticalneeds. By not specifying a usefor their gifts, donors give theSchool the flexibility to enhancecurrent programs and to createand support new programs asneeded.

These unrestricted gifts canbe applied directly to suchimportant and ongoing needs asstudent scholarships, programsupport, acquisition of newinstruments and technology,and enhancement of teachingand performance facilities.

The Eastman Fund also is a“current use” fund, meaningthat the funds are immediatelyavailable to the School in thefiscal year they’re received.During the annual budgetingprocess, decisions are made

regarding enhancements ofexisting programs and imple-mentation of new programsbased, in part, on the amountof available and anticipatedunrestricted funding. Addition-ally, when exciting opportuni-ties arise over the course of ayear, the Eastman Fundassists in providing the budg-etary flexibility necessary tocapture these opportunities. Infact, many of the excitingevents and innovative pro-grams highlighted throughoutthis issue are made possible inpart through generous supportof the Eastman Fund.

The current use status ofyour gifts to the EastmanFund means that your giftmakes an impact immediately.Yet, that very immediacy alsomeans that the Eastman Fund

is spent – judiciously, of course– within that same fiscal year.Come July 1 of each year, theslate is wiped clean, and thecampaign begins anew.

Once again, based on pastuse and anticipated need, agoal will be set, appeals will besent, phone calls will be made,and generous alumni andfriends will respond to theongoing need for unrestrictedsupport of the Eastman Schoolof Music. ❧

See the sidebar “Act on yourphilanthropic feelings!” forways you can help the East-man Fund meet its new2002–2003 goal.

Christine Corrado is assistantdirector of Eastman’s annualfund.

S P R I N G / S U M M E R 2 0 0 2 21

D E V E L O P M E N T N E W S

BY JACK KRECKEL

A decision to provide for char-ity in an estate plan is a verypersonal one, best made onlyafter giving thoughtful consid-eration to family interests andpriorities. It is often influencedby an altruistic desire to leavea lasting legacy for genera-tions to come. After deciding toprovide for charity, a donorshould determine how best tomake that provision from a taxperspective. It may be advan-tageous to make a charitablegift from an IRA or other qual-ified retirement plan ratherthan from other estate assets.

For example: Helen, a con-sistent donor, plans to leave a$100,000 bequest in her will tothe Eastman School of Musicfor scholarships. Among herother assets is a $100,000 IRAthat designates her daughteras the sole surviving benefici-ary. Because the IRA has notpreviously been taxed, thedaughter will have to payincome taxes on her distribu-

About the Kilbourn Society

Tax-wise giving: Retirement funds

The Eastman School of Music isgrateful for the thoughtful andgenerous long-range support ofnumerous friends and alumni.Unfortunately, the School oftendoes not learn about bequestintentions until the donor haspassed away.

The Kilbourn Society is arecognition society that acknowl-edges these generous contribu-tions during the donor’s lifetime.Members have included the East-man School in their estate, retire-ment, or life insurance plans, or

named Eastman as a beneficiaryof a life income gift. All informa-tion shared with Eastman is keptconfidential, and donors have theoption of keeping their gift com-mitment anonymous.

For more information on howto become a member of the Kilbourn Society, or if you havealready made long-range provisions for Eastman, pleasecontact Kerri Melley in theDevelopment Office at kmelley@esm.rochester.edu or585-274-1045.

we’re in the top third of thecategory!

Why does U.S. News andWorld Report consider alumnigiving participation rates whenranking institutions of highereducation for quality? Participa-tion in annual giving programsis considered proof of pride.Thereasoning, then, is that thisshow of pride in one’s almamater correlates positively withthe value that alumni place onthe experience and educationthey received as students.

Alumni are not the only con-tributors to the EastmanFund. The Eastman Fund alsois generously supported byother members of the Eastmancommunity, including parentsof current students, faculty,staff, and patrons in theRochester area who enjoy thepublic events offered by theSchool. As of mid-May, giftsfrom these generous friendsaccounted for over 22% of the2002 Eastman Fund!

Does the need for support everend?

Thanks to the vision offounder George Eastman, theSchool opened its doors in 1921with a substantial endowment.Careful and responsible man-agement of the endowmentover the ensuing decades hasenabled Mr. Eastman’s gift –strengthened by endowmentgifts from many alumni andfriends – to sustain the Schooland grow with its programsand enrollment.

Today, the Eastman Fundplays an important role in themanagement of the endow-ment. While the endowmentprovides for the School in per-petuity because only a portionof its annual earned income isspent, the full impact of theEastman Fund is felt each fis-cal year because it is spent inits entirety.

Gifts to the Eastman Fundare considered unrestricted;that is, the monies given by

tion from the IRA when shereceives it. Her distributionmay also be reduced by estatetax.

There is a better way forHelen to accomplish her gener-ous philanthropic purpose,while avoiding a potential dou-ble taxation on her daughter’sinheritance. This solution is

simply to reverse the process,leaving the daughter her$100,000 as a bequest from thegeneral estate and designatingthe Eastman School of Music toreceive its $100,000 from theIRA. Because Eastman is tax-exempt, it escapes the usualincome and estate tax on the

T U R N T O PA G E 2 2 ➧

➧ F R O M PA G E 2 0

22 E A S T M A N N O T E S

V O I C E

BY CAROL S. WEBBER

The new team of Hess/Daigle (co-directors ofEastman Opera The-atre) began their first

season together with a bold andbrilliant production of Transfor-mations by Conrad Susa.

The set, by Mary Griswold,turned the Kilbourn Hall stageinto a surgically clean mentalward, and the characters in-habiting that space were etchedin remarkable detail by anensemble of students directedsuperbly by Steven Daigle.Thepit orchestra, one of a size thatactually almost fits in Kil-bourn’s “non-pit,” combinesinstruments from many stylesof American music to serve ascore that cleverly blends jazz,pop, and classical, captivatingenthusiastic audiences.

Led by Benton Hess, thesingers and players achievedthe highest level heard here inmany a year. It should benoted that there was criticismfrom some quarters in theSchool regarding the subject

Russell Miller joined BentonHess for the musical presenta-tion at the opening Convoca-tion in the fall, again inKilbourn. The two chose adelightful set of four handspiano pieces by Wagner,Mozart, and Bizet. Miller alsoperformed in Buffalo in con-cert with Donald McInnes, vio-list. During this academicyear, Russell has taught asguest faculty at CIM and hasbeen doing a special residencyin coaching and accompanyingat Bowling Green in Ohio.

The rest of the faculty con-tinues to represent Eastmanin a variety of seminars andsymposia, as was noted in ourlast article. We are brimfulagain this year; each studio isat or beyond capacity. All stu-dios have performance classesonce a week, and we host threeDepartmental Recitals eachsemester. These events, com-bined with opera classes andthree productions, keep ourstudents onstage where theyare most eager to be. Thisyear’s opera season includedTransformations, as noted,Passion by Sondheim, andPuccini’s La Bohème in theEastman Theatre in the

matter in Anne Sexton’s writ-ings; the audiences, however,witnessed a deeply movinghuman drama that touchedeveryone, listener and per-former alike, in what withoutexaggeration could be called a“transformational” way.

Our newest faculty member,Robert Swensen, tenor, beganthe fall in Greece and Italysinging Oedipus Rex byStravinsky. He was welcomedwith bravos when he sang agroup of songs and arias onthe October Virtuosi concert inKilbourn Hall, accompanied byBenton Hess. He was on theroad again at the holidayssinging Messiahs, and joininghis wife, mezzo-sopranoKathryn Cowdrick, for a jointconcert in Arizona. Cowdrickjoins the Eastman faculty inthe fall as assistant professorof voice.

Robert McIver performed withthe Eastman Wind Ensembleas narrator in The Musiciansof Bremen by Bernard Rogersand as reader in the tonguetwister Façade by Walton. Theconcert brought together a fineaudience of students and fac-ulty of many disciplines andwas a great success.

spring. It is testament to ourstrong student talent pool thatwe are able to double cast eachshow. Kudos to the Daigle/Hess team for the extra effortdouble casting requires. It isour policy to get as many stu-dents into productions as isartistically viable.

We all watched together, inBill McIver’s studio, the hor-rors of September 11. Muchhas been written about thatday, and no words here canexpress adequately what weall have felt. It should be notedthat our students were amongthe first to organize blooddonations and fund-raisingefforts, and the facultyassisted in every way, espe-cially encouraging all the stu-dents to stay in close contactwith us and with their parentsduring this challenging time.

We would like to encourageas much direct contact withyou, our friends and alums, aspossible. Do you have ques-tions for us? Ideas for possibleinternships or special projectsfor our students? We welcomeyour participation. ❧

Carol Webber is professor ofvoice at Eastman.

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

D E V E L O P M E N T N E W S

IRA distribution. And, as estatebequests are generally notincome-taxable, the daughterreceives a far larger inheritancethan she otherwise would. So,through this tax-wise approach,both gifting purposes areachieved and a significantamount of tax is avoided.

Prior to recent tax lawchanges, donors were oftenadvised by counsel to segregatein a separate account that por-

tion of IRA or other retirementplan assets earmarked forcharity. This is no longer neces-sary. Also, the charity’s portioncan be designated either as adollar amount or as a fractionof the total on the death benefi-ciary designation form avail-able from the IRA custodian orretirement plan administrator.It is important to note that it isthese beneficiary designationforms, and not your will, thatcontrol the distribution of

retirement plan assets.Gifts from retirement funds

can be designated to support avariety of critical needs at theEastman School of Musicincluding student scholar-ships, performance facilities,and innovative educationalinitiatives. We would bepleased to review these needsand discuss tax-wise methodsof giving at your convenience.Before making any decisionson how to accomplish your

philanthropic goals, it is bestto consult with personal legaland financial advisors.

For more information ontax-wise giving, please contactKerri Melley in Eastman’sDevelopment Office at kmelley@esm.rochester.edu or585-274-1045. ❧

Jack Kreckel is Senior Associ-ate Vice President of Develop-ment, Trusts, and Estates forthe University of Rochester.

➧ F R O M PA G E 2 1

S P R I N G / S U M M E R 2 0 0 2 23

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

and Laura Griffiths. Freshmenand transfer students partici-pate in Woodwind QuintetSeminar and perform in Kil-bourn Hall recitals and out-reach programs including“Eastman at WashingtonSquare.” Highlighting theyear’s work are interactivepresentations given by theseminar students to groups ofhome-schooled children andtheir parents, who are invitedto Eastman as a special fieldtrip. We are inspiring futuregenerations of great windplayers and appreciative audi-ences! The Cerulean Quintet(Justin Berrie, Elizabeth Priestly,Brian Hermanson, Rebecca Levy,and Mark Houghton) is partici-pating in an internship withYoung Audiences of Rochester,and was selected in competi-tive auditions. They will bepresented for the third year ina two-week residency in Ken-tucky where they will be fea-tured in school and publicconcerts. The quintet, coachedby Anne Harrow and KenGrant, recently performed onconcert series in Honeoye Fallsand Fairport, NY.

Last semester was certainlybusy and varied for BrassChamber Music, with 10groups receiving coaching.These ensembles ranged fromthe more standard instrumen-tation of the brass quintet tohorn quartets, trombone quar-tets, brass quartets, and even atrumpet trio! While it certainlycan be a chore to find repertoryfor some of these combinations,it challenges our students tocommission new works fromtheir colleagues or arrangeother pre-existing pieces fortheir unique combinations. This“initiative out of necessity” isanother chamber music skillthat will serve our studentsvery well as they progress pro-fessionally. Acting as coachesfor the semester were Mark Kel-logg, Douglas Prosser, Don Harry,and Dietrich Hemann. ❧

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

BY DEPARTMENT FACULTY

Chamber music at East-man has been steadilygaining momentumover the past few years.

At the end of the first semesterwe held our two honors cham-ber music concerts in KilbournHall. The performances werevery well received and there isstarting to be a following forthese concerts, both among thestudents and from within theRochester community.Although we were only able toselect seven groups to performon the concerts, there wereover 20 groups that partici-pated in the auditions, and theoverall level was high enoughthat we really had a difficulttime choosing.

In the string and piano areawe’ve been building on thestrong heritage of chambermusic at the Eastman School,with Professors John Celentanoand Abram Loft, the ClevelandQuartet, and others having ledthe way for many years. Thisfall, members of the stringdepartment faculty, along withMimi Hwang, Sylvie Beaudette,and the members of the YingQuartet have been workingwith the chamber musicgroups on a weekly basis.We’ve also had master classesgiven by Robert Mann (Juil-liard Quartet), William Preucil(Cleveland Orchestra), CareyLewis (Lanier Trio), and theColorado Quartet. More than40 groups (in the string andpiano area alone) were formedthis year, perhaps as a resultof the String Quartet Seminarstarted four years ago andtaught by the members of theYing Quartet. This course ismandatory for all freshmenand provides an overview ofthe repertory for this impor-tant genre. By getting involved

with chamber music immedi-ately upon arriving here, stu-dents are able to continuedeveloping their skills for theirentire undergraduate careers,if they so choose.

During the past holidaybreak, one of our string quar-tets was selected to participatein the Juilliard String QuartetSeminar. In the spring semes-ter students from the presti-gious Eastman Chamber MusicSociety appeared in concert atSt. John the Divine in NYC.We’re also preparing to sendgroups to some of the nationalchamber music competitions.

But the most encouraging signto us is the growth of a cham-ber music culture among cer-tain of the students here at theschool. Many of them partici-pate in several groups (eventhough they don’t receive creditfor more than one) just fortheir own enjoyment.

Woodwind Chamber Musicalso is alive and well at East-man! Over a dozen groups areenrolled for credit, rehearsing,receiving weekly coaching, andperforming at the School andin the Rochester community.Coaches include Professors KenGrant, John Hunt, Anne Harrow,

Robert Mann, founder and first violinist of the Juilliard String Quartet for 51years (top photo), and William Preucil, concertmaster of the ClevelandOrchestra and former first violinist of the Cleveland Quartet (bottom photo),both visited Eastman last November and held master classes.

KURT BROWNELL

KURT BROWNELL

24 E A S T M A N N O T E S

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

BY RALPH P. LOCKE

Eastman’s Department ofMusicology is a busy hiveright now. Several of ourfaculty members have, in

the past few years, profitedfrom leaves of absence fundedin part or whole by outsidegrants. It was great to havethem all back here this yearand teaching courses as dis-parate as the freshman-levelEastman Colloquium (coordi-nated by Ellen Koskoff), therequired three-course under-graduate sequence on “Musicand Society” from the MiddleAges to the present, and variousPhD and DMA seminars, suchas Gabriela Ilnitchi’s “Roman deFauvel,” Martin Scherzinger’s“African Music and the West,”and a course that was co-taughtby Gretchen Wheelock andfortepianist Malcolm Bilson (anaffiliate professor in our depart-ment): “Eighteenth-CenturyChamber Music.” Consideringthat 10 tenure-track facultymembers in Musicology teachhere at Eastman and in theUniversity of Rochester’s Col-lege Music Department, it iseasy to see that we represent aswide a variety of approachesand repertories as can be foundin any musicology departmentin the country. And this does notinclude faculty from other East-man and College departmentswho at times teach courses forus: lutenist Paul O’Dette, com-poser Robert D. Morris, professorof English literature DanielAlbright (who published a bookon Berlioz this year), and two“musicologists-plus” who joinedEastman a year ago and havealready made themselvesutterly essential: the Director ofSibley Music Library, Dan Zager(Renaissance/Baroque sacredmusic), and Organ ProfessorHans Davidsson (Baroque key-

board instruments and theirmusic).

Over the past year, musicol-ogy faculty members havereworked the aforementionedmusic-history core courses forthe new undergraduate cur-riculum. All three semesterscontinue to give primaryemphasis to music of the West-ern art-music traditions, butthe second and third makesome room now for discussionof folk music, popular music,and jazz. We also rethought thecurriculum for MA/PhD stu-dents in musicology, and arenow able to offer a wider rangeof seminars than previously.

The musicology graduatestudents have been particularlyactive this past year, on campusand beyond. Once again, two ofthe current musicology gradstudents – this time JeremyGrimshaw and Amy Wlodarski –have won awards for theirsuperb handling of evening dis-cussion sections for the under-grad core courses in MusicHistory: respectively, the East-man-wide Teaching AssistantPrize and the University-wideEdward Peck Curtis TeachingAward. In addition, Jeremy,Amy, Rob Haskins, and AydenAdler all received funding fromeither the Presser Foundation

or the Eastman School’s Profes-sional Development Commit-tee, enabling them to carry outvarious research projects orreceive advanced training (suchas studying Baroque horn).Amy Wlodarski’s Presser MusicAward funding, for example,helped her travel to Poland todeliver a paper about HansKrasa’s opera Brundibar.Jeremy Grimshaw’s fundingenabled him to spend a numberof days in New York interview-ing the avant-garde composerLa Monte Young.

The research is bearing fruit.At the national meeting of theAmerican Musicological Society,Jeremy presented a paper onthe philosophical underpin-nings of Young’s work. Anothergraduate student, Sara Nichol-son, presented a paper there onquotations from classical musicin a song by the rock groupMono. Su Yin Mak and RobHaskins were honored with thedepartment’s Elsa T. JohnsonDissertation Fellowship. AndKatherine Axtell, while taking afull load of courses and holdinga teaching assistantship, hasnonetheless managed to com-plete a critical edition of thePiano Quartet (1865) by theSwedish composer ElfridaAndree (A-R Editions).

M U S I C O L O G Y

Director Undercofler congratulates Jürgen Thym (left), past musicologydepartment chair for 18 years, on receiving Eastman’s Rayburn Wright Award.The award, named in honor of the late chair of jazz studies and contemporarymedia, recognizes faculty who have made exceptional contributions to theintellectual, artistic, and curricular welfare of the Eastman School as a whole.

COURTESY RALPH LOCKE

Musicology faculty have beenno less honored and productive!Kim Kowalke, who teaches bothat Eastman and in the Univer-sity of Rochester’s CollegeMusic Department, won hisfifth (!) ASCAP-Deems TaylorAward – this time for an articleon American interwar musicalsettings of the poetry of WaltWhitman. Jennifer WilliamsBrown, who likewise teaches onboth campuses, was electedSecretary of the Society for Sev-enteenth-Century Music andmember of the Council of theAmerican Musicological Society.Ellen Koskoff began her termas president of the Society forEthnomusicology. And Profes-sor emeritus Alfred Mann wasmade a lifetime member of theMidwest chapter of the Ameri-can Guild of Organists.

Further on the publishingfront, our newest colleague,Martin Scherzinger, brought fortharticles on topics ranging fromAfrican music to “a motivicdetail in Mozart’s Piano Sonatain F Major (K. 280)” and fromsymmetry in Webern to “thepsychoanalysis of music.” Themassive and acclaimed NorthAmerica volume of the GarlandEncyclopedia of World Music,co-edited by Ellen Koskoff, hasappeared (but don’t drop it onyour toe!). Jürgen Thym pub-lished an article on Schu-mann’s Eichendorff Liederkreis;Gretchen Wheelock, an essayon “gender and genre inMozart’s operas” in the bookSiren Songs; and Roger Freitas, astudy of “the rage for wit” inthe Italian cantata.

I like that word rage. Youcould say that our department’srage for exploring music in allits facets informs everything wedo in the classroom and else-where. And imaginatively inter-acts with the Eastman School’srage for making music. ❧

Professor Ralph P. Locke ischair of the Department ofMusicology.

S P R I N G / S U M M E R 2 0 0 2 25

A L U M N I N O T E SD E P A R T M E N T N E W S

I N T R I B U T E

BY DAN ZAGER

Jazz is an important partof music making andteaching at Eastman.Three important gifts to

Sibley Music Library duringthe 2001–2002 academic yearhave assisted us in enhancingsignificantly our collection ofrecorded jazz.

Ron Carter (BM ’59) is one ofthe great jazz bass players,known particularly for hiswork with the Miles Davisquintet. Ron has donatedseven hundred recordingsfrom his personal collection.He plays on all of these record-ings – frequently as a side-man, sometimes as a leader.The collection contains notonly his most famous record-

ings but some lesser-knownsessions as well. The record-ings date from the 1960s, ’70s,and ’80s and include Carter’swork with Davis,Eric Dolphy, HerbieHancock, Joe Hen-derson, FreddieHubbard, HubertLaws, Horace Sil-ver, and a host ofother distinguishedjazz musicians.

This is a veryimportant gift forSibley, putting into place acore repertory that will be ofuse to Eastman students for along time to come.

John Storm Roberts, author of(among other books) BlackMusic of Two Worlds: African,

Caribbean, Latin, and African-American Traditions(Schirmer Books, 1998), TheLatin Tinge: The Impact ofLatin American Music on theUnited States (Oxford Univer-sity Press, 1999), and LatinJazz: The First of the Fusions,1880s to Today (Schirmer

Books, 1999)donated nearlyeight hundred com-pact disc record-ings to Sibley.

Rich in Latinjazz and inter-national jazz, thiscollection alsostrengthens ourholdings in record-

ings of world musics.The Friends of the Univer-

sity of Rochester Librariesgranted Sibley $5,000 for theacademic year 2001–2002 tofurther bolster our holdings injazz compact discs. Jim Farring-

ton, Sibley’s head of publicservices, selected over twohundred jazz CDs with thisgenerous gift.

The wonderful thing aboutthese three gifts is that theyare complementary: While RonCarter’s gift provides some ofthe most important jazzrecordings from the 1960sthrough the 1980s, John StormRoberts’ gift provides Sibleywith important recordings ofLatin jazz. The monetary giftfrom the Friends of theLibraries offers us the oppor-tunity to enrich our holdingsin yet other areas of jazz.Taken together, these threegifts make a positive differ-ence in the breadth and depthof recorded jazz at the SibleyMusic Library. ❧

Dan Zager is librarian andchief administrator for SibleyMusic Library.

S I B L E Y M U S I C L I B R A R Y

1920sGertrude (Crowell) Sitzenstatter

(BM ’29), December 2001

1930sHermine (Teute) Anderson (BM

’32, MM ’34), August 2001Catherine (Woodruff) Elliott (BM

’32), January 2002Michael Listiak (MM ’39), October

2001Mildred (Banasik) Mahnke (BM

’39), September 2001Elizabeth C. Rogers (MA ’38),

December 2001Roelf E, Schlatter (BM ’36),

October 2001Mary Schoettle (MM ’36),

September 2001Mildred (Stebbins) Turney (BM

’36), October 2001

George Yaeger (BM ’39), August2000

1940sFritz Aebischer (MM ’49), January

2002Suzann Ashenar (BM ’41),

September 2001Doris Mae Hardine (MM ’46),

October 2001Walter James (BM ’41, MM ’42),

September 2001Helen King (BM ’40, MM ’41),

October 2001John L. Kinyon (BM ’40), February

2002Ruth (Johnson) Langford (BM ’49),

November 2001Della (Rossi) Moser (BM ’46),

October 2001Esther Oelrich (MM ’44), October

2001Elizabeth (Hiatt) Olmsted (BM ’40),

November 2001

Kathryn (Jackson) Owens(BM ’47), October 2001

Bernice Sawyer (BM ’47),January 2001

Arthur Schoep (MM ’45),December 2001

Eleanor Stanlis (BM ’45),December 2001

Floyd H. Stivers (MM ’42),December 2001

Elliot Weisgarber (BM ’42, MAS’43), December 2001

1950sJames Brauninger (BM ’51),

August 2001Joseph C. Fisher (BM ’53),

November 2001Rankin Grimm (BM ’52), Nov. 2001Beatrice (Terwilliger) Hapeman

(BM ’57), January 2002Giles F. Hobin (BM ’51), October 2001M. Vivian Huppert (MM ’53),

November 2001

Keith Kummer (BM ’51),November 2001

1980sJames Legg (BM ’84), November

2000

1990sJ. Thomas Hannon (MM ’92),

January 2002

OthersLaszlo Halasz (faculty), October

2001Fei-Ping Hsu (aka Xu Feiping,

attended ’79–’81), December2001

Raymond Schirmer (staff),December 2001

Isaac Stern (HON DOC ’72),September 2001

Louis Ouzer, February 2002 (see inside front cover)

In memoriam

Ron Carter’s “StandardBearers” (1978)

A L U M N I N O T E S

26 E A S T M A N N O T E S

The following news is based on information received fromAugust 1, 2001–January 31,2002. News received after Janu-ary 31, 2002, will appear in thenext issue of Eastman Notes.

Alumni are listed in order offirst Eastman degree received.

1930sA commemorative event washeld in January in honor ofThomas H. Kerr Jr. (BM ’37, MM’39, deceased 1988). The event,hosted by the Thomas H. KerrCommemorative Music Societyof Howard University, whereKerr performed and taught formany years, included symposiawith former students and aperformance by distinguishedsoprano Kathleen Battle.

1940sVirginia Jones Campbell (MAS’47) recently completed her40th year as director of musicat Mount Vernon UnitedMethodist Church of Alexan-dria, VA.

The Akron Symphony Orches-tra recently released a com-memorative 3-CD set to markits 50th anniversary. The setincludes performances by oneof the symphony’s longest-tenured music directors, LouisLane (MAS ’47), who conductedthe orchestra from 1959–1982.

Adding to a long list of awardsand honors for his stringdevelopment and support ofmusic for youth, Marvin Rabin(MAS ’48) was awarded the2001 Paul Rolland LifetimeAchievement Award fromASTA/NSOA. Founder of threeyouth orchestra programs,Rabin is also professor emeri-

tus of music and director of theWisconsin String and Orches-tral Development Program forthe University of Wisconsin,Madison.

In March 2001, David Baumgart-ner (BM ’49), longtime princi-pal cellist with the Hamilton-Fairfield Symphony (OH), par-ticipated in a concert of musicby H. Owen Reed (PhD ’39). Thispast March, the symphonypresented a program of musicby another Eastman alum,Robert Ward (BM ’39).

1950sIn commemoration of his 44thseason with the Baton RougeSymphony Orchestra (BRSO),Richard Norem (BM ’53, MM ’58)was named principal hornemeritus, the only BRSO musi-cian ever to have received thistitle. Other Eastman gradu-ates, Music Director and Con-ductor Timothy Muffitt (DMA ’95)and Principal Trombone LarryCampbell (BM ’62), also servewith Norem in the BRSO. Inaddition, Norem’s fellow fac-ulty at the Louisiana StateUniversity School of Musichonored his 38-year tenure atLSU by renaming the LSUFaculty Brass Quintet to theLSU-Norem Brass Quintet.

One of the several known com-positions written in responseto the tragedies of 9/11 hasarrived in the Sibley MusicLibrary. The score of Threnodyfor 9/11 by Will Gay Bottje(DMA ’55) was receivedrecently in Special Collections.The threnody is a single-move-ment work scored for stringorchestra, and will be placedwith Dr. Bottje’s archival col-lection. The composer residesin Michigan, having retiredfrom Southern Illinois Univer-sity (Carbondale), where he

established and directed thatinstitution’s electronic musicstudio. He has composed fornearly every conceivablechamber ensemble. A flutist,he was the nation’s first recipi-ent of the DMA degree.

Samuel Fricano (BM ’55) had avery happy mid-Septemberreunion with his formerteacher, ESM Professor ofTrumpet (1940–1980) SidneyMear. The two have lived inFlorida for many years, eachunaware of the other’s location.After exchanging e-mails, theymet on the occasion of Mear’s61st wedding anniversary.

The University of Missouri-Columbia recently awardedtheir Faculty-Alumni Award toJune S. Hamra (BM ’55) for dis-tinguishing herself both as abusinesswoman and a per-former. Hamra, vice presidentof marketing for Wendy’s ofMissouri, Inc, has served onthe President’s Advisory Coun-cil on the Arts for the John F.Kennedy Center for the Per-forming Arts, and has beeninstrumental in advancing thecareers of aspiring performers.

Texas author Thomas Hohstadt(BM ’55, MM ’56, DMA ’62)recently had his book, I FeltGod … I Think: Authentic Pas-sion in the 21st Century, pub-lished by Damah Media.Hohstadt’s previous book,Dying to Live: The 21st Cen-tury Church (1999), was called“one of the top 50 books everyChristian should read.”

Paul Hartley (BM ’57, MA ’60)recently accompanied violinistMatthew Tworek in a perform-ance of Mendelssohn’s Sonatain F Major for Violin andPiano. The event took placelast November at St. Paul’sCathedral, Buffalo.

Kenley Inglefield (BM ’57), pro-fessor emeritus at Bowling

Green State University ofOhio, is in his fourth season asdirector of the Elkhart County(IN) Youth Honors Orchestra.He is also playing trombone inthe Elkhart County SymphonyOrchestra and euphonium inthe Elkhart Municipal Band.

Two new pieces by flutist andcomposer Katherine Hoover (BM’59), Mariposas and Celebra-tion, were premiered at theNational Flute Convention inDallas last August. Her DoubleConcerto for two violins andstring orchestra was performedat Carnegie Hall in December,featuring soloists PamelaFrank and Andre Simonescu,and the Orchestra of the NewYork Festival of Strings, JaimeLaredo, conductor.

John Glenn Paton (MM ’59)recently performed songs byGranville Bantock on a facultyrecital at Moorpark College(CA). Paton’s 26 Italian Songs& Arias was published in anew Japanese translation.

1960sWorking for over 25 years withthe Cleveland Opera as direc-tor of their outreach and edu-cation wing, Judith Ryder (BM’60, MM ’61) is responsible formore than 350 programs eachseason that reach 80–85,000students and adults through-out the Midwest and beyond. Arecipient of the Vocal ArtsResource Network’s OvationAward (2000), Ryder is also co-founder of the Thalia PianoTrio, and served for 15 yearson the faculty of the ClevelandInstitute of Music.

George Giroux (MA ’61) hasreleased a new jazz CD enti-tled Reflection. Recorded withhis son Pete (producer, trum-pet, and flugelhorn), the

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recording’s title comes fromthe relationship betweenGeorge Giroux and his son,who produced the CD and fol-lowed in his father’s footstepsas a professional jazz musicianand music teacher.

Sara Brown Bostley (BM ’64) isenjoying an active “retire-ment,” teaching a course atCalifornia State University,San Bernardino; serving astreasurer of the Pacific South-ern Chapter of the CollegeMusic Society; and acting aseditor of her county’s newslet-ter to music teachers, theSounds of Music.

John Buccheri (MM ’65, PhD’76) was appointed CharlesDeering McCormick Professorof Teaching Excellence atNorthwestern University,where he has served on themusic theory faculty since1967. He also was elected (notappointed, as previouslyreported) president of the Col-lege Music Society. He cur-rently is serving the second ofa 2-year term. The CollegeMusic Society is an interna-tional organization of over8,000 faculty who teach music.Its headquarters is in Mis-soula, Montana.

Lewis University of Romeo-ville, IL has named Wayne M.Sheley (DMA ’67) its new vicepresident for academic affairs.

Ruth H. Fleishmann, who studiedat Eastman in 1969, wasrecently named to the MonroeCommunity College Founda-tion (Rochester, NY) board ofdirectors. Fleishmann is execu-tive director of the Marie C.and Joseph C. Wilson Founda-tion in Rochester, NY.

Steven Wasson (BM ’69, MM’71) gave the world premiere ofthe second revision of hisPiano Sonata No. 3, “Eclectics,”Op. 38 in a July concert enti-

tled “Father & Son.” Sadly, theconcert, part of a series pre-sented by his family’s musicstudio in Dayton, OH, markedthe last public performance ofWasson’s father, who died inSeptember.

1970sProfessor of Piano at Westmin-ster Choir College of RiderUniversity, Ingrid JacobsonClarfield (MM ’70) presented atwo-day Piano Pedagogy Work-shop at the National PianoTeachers’ Institute held lastJuly at Southern MethodistUniversity, Dallas. At theWorld Piano Pedagogy Confer-ence, Clarfield introduced hermost recent publication,Bürgmuller, Czerny & Hanon:32 Piano Studies Selected forTechnique and Musicality(released last August by AlfredPublishing Company).

The Boston Symphonyannounced that popular guestconductor Bruce Hangen(BM ’70) is expanding his rolewith his appointment as princi-pal Pops guest conductor, effec-tive at the start of the 2002Boston Pops season in May.Hangen, the first conductor tohold this title in the Pops’ 117-year history, will double hisschedule to lead 15 of 62 regu-lar season concerts. Hangenalso is artistic and generaldirector of the Portland OperaRepertory Theatre in Maine, acompany he founded in 1995.

Composer Frederick Koch (DMA’70) recently had his StringQuartet No. 2 performed bythe Cavani String Quartetwith soprano Beverly Rinaldi.The performance took placelast fall as part of the AKI fes-tival sponsored by the Cleve-land Museum of Art and theCleveland Composers Guild.

The winter 2001 issue of Mul-ticultural Affairs News, pub-lished by the University ofWisconsin-Stevens Point, pre-sented “Twenty Years andCounting,” an article by GearyLarrick (MM ’70). The articleaddresses the author’s involve-ment with a single composi-tion, Lahara, composed byanother Eastman alum, BobBecker (BM ’58).

On a recital of February 4,tenor Douglas Ahlstedt (MM ’71)performed Schubert’s hauntingWinterreise at Kresge Theatrein the College of Fine Arts,Carnegie Mellon University,Pittsburgh. Ahlstedt, associateprofessor of voice at CarnegieMellon, has performed through-out Europe, South America,Asia, and the US, including 189performances at the New YorkMetropolitan Opera.

Richard Lawn (BM ’71, MM ’76)has been busy with severaljazz-related projects: UnknownSoldiers, recorded with the 3rdCoast Jazz Orchestra on theSea Breeze Jazz label, is arecent CD release featuring 74minutes of his music for bigband. Lawn also completed arecent commission for the Uni-versity of Northern Iowa, andis working on a jazz apprecia-tion textbook and CD-ROM forMcGraw-Hill.

The Vahktang Jordania/NewMillennium InternationalConducting Competition, heldthis past September inKharkov, Ukraine, awardedSandra Dackow (BM ’73, MM’77, PhD ’87) its Silver Medalfrom an international pool ofcompetitors. Dackow was theonly American and the onlywoman to advance to themedal round.

Erik Frederick Jensen (BM ’73,MA ’75, PhD ’82) has writtenabout the life and works ofRobert Schumann for the Mas-

ter Musicians Series publishedby Oxford University Press.The hardbound editionappeared in May 2001; a soft-bound version is scheduled tobe released this year.

Phil Markowitz (BM ’74), leaderof the Phil Markowitz Trio forthe past seven years, per-formed at the Michael Schim-mel Center for the Arts in NewYork City last November in aconcert presented by Pace Uni-versity’s Ewers Center for Artsand Multicultural Studies. Themultimedia event featuredabstract paintings projectedonstage as the trio, whichincludes Markowitz, GlennDavis, and Gordon Johnson (BM’74), premiered Markowitz’new composition, AbstractExpression – Musical Portraitsof American Masters.

After returning for her fourthengagement as Brünnhildewith the Finnish NationalOpera, soprano Susan Marie Pier-son (BM ’74) returned as well tothe Lyric Opera of Chicago toplay Kostelnicka in Jenufa. Shealso premiered as the PrimaDonna in Venus and Adoniswith the Canadian Opera Com-pany, and sang the New Yorkpremiere of Susan Kander’s A Cycle of Songs for Soprano,Trumpet and Piano, written forthe Coffin-Pierson Duo.

During the 2000–2001 season,Diana Mittler-Battipaglia (DMA’75) conducted the LehmanCollege and Community Cho-rus in performances of the Glo-ria section of Bach’s Mass in Bminor and Mozart’s Requiem.She has completed her 22ndseason as pianist and directorof the Con Brio Ensemble, andhas had an article, “Downsiz-ing Elijah,” published byChoral Cues (October 2000).

As part of a December pro-gram co-sponsored by the

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28 E A S T M A N N O T E S

A L U M N I N O T E S

Syracuse Friends of Chambermusic and the Society for NewMusic, Syracuse, the Ahn Trioperformed Eric Ewazen’s (BM’76) The Diamond World.

Susan Hurley (MM ’79, MM ’82),accomplished composer ofchamber music, ballet, andorchestral and film scores,recently completed the librettoand music for her first opera,Anaïs, based on the life andwritings of diarist Anaïs Nin.The 45-minute, two-characterchamber opera in one act wasperformed in February at theAmerican Renegade TheaterCo. in North Hollywood, CA,where Hurley currently resides.

1980sThe tango-spiced musicalCamila, with book, music, andlyrics by Lori McKelvey (BM’81), had a 7-week run atPhiladelphia’s Walnut StreetTheatre until late October. Thecast raised $17,000 for theAmerican Red Cross.

A member of the HochsteinSchool of Music faculty since1979 and its executive directorsince 1992, Margaret Quacken-bush (DMA ’82) has beennamed the 2002 Musician ofthe Year by the RochesterAlumni Chapter of Mu PhiEpsilon. Quackenbush, who isalso clarinetist of the AntaraWind Quintet, performed withthem at the January ceremonyheld in Kilbourn Hall.

Violinist Evan Rothstein (BM ’82)completed his DMA in violinlast May at Indiana University,where he has been a SummerString Academy chambermusic instructor since 1997. InJuly he was named to a re-search position at the Univer-sity of Paris 8 (Saint Denis).

Active as a violinist andteacher, he was invited byESTA-France to speak at theirMarch 2001 conference.

Anne-Marie Reynolds (MA ’83,PhD ’99) spent last June inDenmark working with theUniversity of CopenhagenPress on her forthcoming book,The Songs of Carl Nielsen.Last fall, Reynolds also tookpart in a conference of interna-tional Nielsen scholars, held inBirmingham, England.

The Baltimore Sun gave spe-cial mention to flutist EmilySkala (BM ’83) in the Balti-more Symphony Orchestra’sNovember all-Brahms pro-gram, presented at the Barbi-can Centre, London.

Tim Riley (formerly Mikesell,MM ’85) was the keynotespeaker at the Beatles 2000conference in Jyväskylä, Fin-land. An updated edition of hisbook Tell Me Why: A BeatlesCommentary will appear inMay from Da Capo Press. Inaddition to lecturing on cen-sorship in the arts on collegecampuses nationwide, he isfinishing his fourth book, Elvisand Tina: How Rock Transfig-ured Gender for St. Martin’sPress. Since 1994, he hasedited his own journal of popu-lar culture, millennium pop.Riley can be reached throughhis Web site, http://www.geoci-ties.com/triley60/.

Nathan Williams (MM ’85) hasjoined the music faculty of theInterlochen Arts Academy asan instructor of clarinet.Williams was formerly associ-ate professor of clarinet atEast Carolina University ofMusic and principal clarinet inthe Winston-Salem Symphony.

The University of Michiganrecently appointed NancyAmbrose King (MM ’86, DMA’99) professor of oboe.

Logan Skelton (MM ’86) will beteaching this summer at theSixth Prague InternationalPiano Masterclasses. Skeltonwill represent the U.S. amiddistinguished faculty membersfrom around the world duringthis intensive, two-week event.

Anthony Barone (MA ’88) hasfound a position that combinestwo of his interests: He will beteaching music history as wellas developing a Web site forthe Manhattan School ofMusic.

The First Church of Christ inHartford, CT announced thatDavid Senak (BM ’87) joinedthem last summer as interimorganist and director of music.

The University of Michigan,Ann Arbor has appointedColleen Conway (BM ’88, MA’92) assistant professor ofmusic education. Her husband,Thomas Hodgman (DMA ’96) isdirector of choral activities andchair of the music departmentof Adrian College in Adrian,MI. They proudly announcethe August 2001 birth of theirsecond child, Thomas Richard.

In an early December pressrelease, the Kurt Weill Foun-dation for Music announcedthe 2001 winners of the KurtWeill Prizes presented for Dis-tinguished Scholarship inMusic Theater. Lauded for hisarticle, “ ‘Rigoroso (� =126)’:The Rite of Spring and theForging of the Modernist Per-forming Style,” Robert Fink(MA ’88) has been awarded the$500 prize in the article category.

Paul Marquardt (BM ’88) cur-rently works as a design engi-neer at EMC Corp. inHopkinton, MA. In addition toraising his daughter, he per-forms occasionally in theBoston area with his wifeRuxandra, also a musician.

Director of the Capitol HillArts Workshop, Washington,D.C., Jeffrey Watson (MM ’88)had several concert appear-ances in February, includingplaying two performances ofStravinsky’s Capriccio (con-certo for piano and orchestra)with the Kirov Ballet at theKennedy Center, and singingwith the 16-member PalestrinaChoir for two concerts in Mary-land and Washington, D.C.

Composer Lance Hulme (MM’89) had his orchestral workStealing Fire performed by theWarsaw Philharmonic Orches-tra during their 2001 WarsawAutumn Festival. Hulme isfounder, director, and key-boardist of the Karlsruhe, Ger-many-based EnsembleSurprise, which also featuresthe talents of his wife, mezzo-soprano Clara O’Brien (MM ’86).

Pianist Thomas Lanners (MM’89, DMA ’91) gave recitals andmaster classes at SyracuseUniversity and LouisianaState University last Novem-ber. He also served as one ofthree judges for the MusicTeachers National AssociationSouth Central Division PianoCompetitions in Shreveport,LA this past January.

Sophia Hyun-Me Park (BM ’89,DMA ’95) was recently pro-moted to associate professor ofpiano at Tarleton State University.

Joel Tse (BM ’89) has beennamed to the position of prin-cipal flute of the Hong KongPhilharmonic.

1990sIn addition to teaching atSouthern Methodist Univer-sity, Michael Dodds (MA ’91,PhD ’97) is serving a 2-year

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term as secretary-treasurer ofAMS-Southwest chapter. Lastyear, Dodds was published inThe New Grove Dictionary ofMusic and Musicians and theGarland Encyclopedia ofMedieval Germany.

Soprano Melissa Fogarty (BM’91) was a featured soloist withthe New York State Baroquein performances in Syracuseand Ithaca of Monteverdi’sMarian Vespers.

Music director of the PhoenixSymphony Guild YouthOrchestra Robert Moody (MM’91) recently led the ensemblein a performance at Phoenix’sOrpheum Theatre.

Linda Neelly (MM ’91, PhD ’00)has been working with SesameStreet on the design of theMusic Works Early ChildhoodInitiative, launched in Novem-ber at sesamestreet.com. Theinitiative is a 3-year earlychildhood music project thatincludes 50,000 free videosand an interactive area of freemusic play on the Internet.

Music and Choral Director atKadimah School of Buffalo,Leah Peer (MM ’91), has justreleased a CD (March 2002) ofcentral European music forflute and piano with Aulos Duopartner, flutist Eileen Yu. Peeralso will present a session atthe 2002 NYSSMA Conferenceentitled “A Multi-DisciplinaryApproach to Form in the Mid-dle-School Classroom.”

Andrea Schuler (BM ’91,MM ’93) reports that SeattleOpera’s August 2001 produc-tion of Wagner’s Der Ring DesNibelungen included severalgenerations of Eastman stu-dents, including Richard Sker-long (MM ’58), Wesley AndersonDyring (MA ’82), Roberta Downey(MM ’90), and Richard Eckert(DMA ’96), and Schuler herself.

Steven Williamson (BM ’91) wasrecently appointed second clar-inet of the American BalletTheatre Orchestra.

The University of Illinois hasnamed Jonathan Keeble(MM ’92) professor of flute.

In a November recital atColumbia University’s MillerTheatre, contemporary musicspecialist and director ofEnsemble 21 Marilyn Nonken(BM ’92) performed the com-plete piano works of ArnoldSchoenberg. The New YorkTimes noted that “Ms.Nonken’s playing was impres-sive for its fleetness, gesturalsweep and imagination …”

Composer Paul Stuart (MM ’92)was recently featured in theRochester Democrat andChronicle for his dual careerroles as an engineer for East-man Kodak and as the recentfounder of the Equinox Sym-phony Orchestra, an uncon-ventional, 18-memberchamber group. A recent com-position of Stuart’s, Crossingthe Bridge of Sorrow, was pre-miered in October at NazarethCollege, Rochester. Several ofthe performers at that eventhave an Eastman connection;these included Alla Kuznetsov,Boris Zapesochny, MargaretLeenhouts, Libba Seka,Melissa Burton, Eva BriegerRegan, and Ned Corman.

Recently receiving a spiritedperformance by the AtlantaSymphony Orchestra underconductor Robert Spano, ChrisTheofanidis’ (MM ’92) RainbowBody was called “engaging andtriumphant in the end, like thebest Americana.” Also, in Janu-ary, the Pro Arte ChamberOrchestra premiered the firstthree movements of Theofani-dis’ viola concerto Lightning,with life, in four colors comesdown, composed for KimKashkashian.

Gregory Jones (DMA ’93) was afeatured trumpet soloist withorchestras and bands inAthens and Kalamata, Greecelast April, where he also pre-sented master classes at theirconservatories. In September,he traveled to China for con-certs and master classes atThe Central Conservatory ofMusic in Beijing and the Tian-jin Conservatory of Music. Hisrecording of chamber musicwith trumpet Alternate Voiceswas released last fall. Jonesserves on the Fulbright Selec-tion Committee for EasternEurope, Greece, and Turkey.

Pianist Marina Lomazov(BM ’93, DMA ’00), assistantprofessor of piano at Okla-homa State University,received high praise for herpast season performance ofTchaikovsky’s Piano ConcertoNo. 1 with the Plymouth (MA)Philharmonic. She also per-formed with the Spokane andButte Symphony Orchestras;had a live performance on theDame Myra Hess Series inChicago; an on-air interviewand performance on WGBH ofBoston; and gave recitals andmaster classes in France,Brazil, and the U.S.

The Columbus (OH) Sym-phony recently appointed Jen-nifer Parker-Harley (BM ’93) tothe position of second flute.She was also named a finalistin the Young Artist Competi-tion of the National FluteAssociation.

Alan and Shannon Spicciati(BM ’93 and BM ’94, respec-tively) live in the Seattle areawith their son, Andrew. Alan isan elementary school princi-pal; Shannon recently wasappointed lecturer in oboe andaffiliate artist at PacificLutheran University. This pastyear, she has also been playingassistant principal oboe withthe Seattle Symphony.

Pianist Mauricio Náder (MM’94) was busy last year in per-formances with several orches-tras throughout Mexico and anextensive concert tour ofColombia. His plans for 2002include the Mexico premiere ofthe Concertino for piano andorchestra by Colombian com-poser Blas Atehortúa, with theFine Arts Chamber Orchestra,along with various concertsand recitals in Mexico.

The December debut recordingof distinguished young marim-bist Makoto Nakura featuredKevin Putz’ (BM ’94) composi-tions Canyon for solo marimbaand Ritual Protocol for marim-ba and piano. The recording,entitled Ritual Protocol andreleased by Kleos Classics,also features Putz on piano.

Rutgers University facultymember Antonius Bittmann(DMA ’95, MM ’99, PhD ’01)was recently appointed univer-sity organist. Also, his two-part article on Reger receptionwas published in the Journalof Musicological Research.

Rhoda Wang Jeng (DMA ’95)performed the Saint-SaënsPiano Concerto No. 2 in G-Minor with the PittsburghCivic Orchestra last May. Jengis on the faculty of Grove CityCollege (PA).

Melissa Johnson (BM ’95) hasbeen appointed to the clarinetsection of the United StatesArmy Field Band in Washing-ton, D.C.

Shane Shanahan (BM ’95) is apercussionist with the SilkRoad Project under artisticdirector Yo-Yo Ma. The project,founded by Ma in 1998,includes a 2-year-long series offestivals throughout the worldpresenting new chamberworks as well as traditionalmusic from Eastern and West-

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ern composers. Shanahan wasrecently married and residesin Brooklyn, NY.

Utah Symphony principal harpLouise Vickerman (MM ’95) re-ceived rave reviews for her soloperformance in Saint-SaënsMorceau de Concert for harpand orchestra in November.Edward Reichel of the DeseretNews noted: “Her performancewas subtle, intelligent and,above all, expressive. She madeher instrument sing, playingwith a vibrancy that made thiswork come alive.” The SaltLake Tribune said that Vicker-man “brought infectious vital-ity” to her performance.

Elizabeth Calleo (MM ’96), stu-dent of Carol Webber anddaughter of violin professorLynn Blakeslee, recently sangtwo operas with the Montpel-lier Opera, France, where she isartist in residence. She was fea-tured in an interview recentlyin a Montpellier newspaper.

In addition to his election asSub-Dean of the Greater Hart-ford (CT) Chapter of the Amer-ican Guild of Organists, JasonCharneski (BM ’96) has beennamed director of music andthe arts for the First Church ofChrist, Hartford.

Last November, Victor Fan (BM’96) was on hand at the GeorgeEastman House’s Dryden The-ater to introduce his film, TheWell. The film explores thepsychological effects of combatthrough a Japanese privatecaptured and thrown into anold well with his despisedadversary.

Reportedly the search commit-tee’s unanimous choice, AllenTinkham (BM ’96) was appointedmusic director of the ChicagoYouth Symphony Orchestra,launching the group’s 55th sea-son. Tinkham was formerly

apprentice conductor of theOregon Symphony.

Former student of ChristopherRouse and Joseph Schwantner,composer Russell Currie (MA’97) presented the premiere ofhis opera Mackintosh in Van-derbilt Hall, Grand CentralStation, New York, sponsoredin part by ESM. The workexplores the life and ideas ofnoted Scottish architectCharles Rennie Mackintoshand his wife and artistic col-laborator, Margaret McDonald.

The Duluth-Superior (MN)Orchestra has named CandiceDlugosch (BM ’97), former pupilof Verne Reynolds and PeterKurau, to the position offourth horn.

Christopher Hutton (MM ’97,DMA ’01) recently joined thefaculty of the University ofNorth Carolina, Greensboro aslecturer of cello and music his-tory. Last year he completed aseven-city tour of his nativeNew Zealand, before teachingand performing as a memberof the faculty at the EasternMusic Festival.

Last summer, Nathaniel Webster(BM ’97) sang two perform-ances of Haydn’s Die Jahres-zeiten in Germany. He also wasrecently involved in the worldpremiere of Lilith, presentedby the New York City Opera.

Rick Basehore (BM ’98), princi-pal oboe of the Northern Ken-tucky Symphony, recentlycompleted a 2-month appren-ticeship with the Ural Philhar-monic in Yekaterinburg, Russia.

Jonathan Arevalo Coo (MM ’98)presented free concerts in Jan-uary as part of a program ofManila Outreach Recitals. Heperformed with violinistMelissa Lopez-Exmundo, whostudied with Eastman Profes-sor Charles Castleman. A per-

formance by Coo of works byChopin and PhilippineNational Artist for MusicLucrecia Kasilag was called “astirring performance” by thePhilippine Star.

Last July, harpist Jung Kwak(MM ’98) played with theBoston Pops Esplanade Orches-tra, Keith Lockhart conductor,in Seoul, Korea as part of theirAsian tour. After performingthe Finale from Emile Deltour’sConcertino in Jazz for harp andorchestra, the audience wastreated to an arrangement ofRock Around the Clock.

The Saint Louis SymphonyOrchestra has promoted East-man Arts Leadership Programgraduate Kathleen Van Bergen(BM ’98) to director of artisticadministration. She was previ-ously associate artistic admin-istrator for the orchestra.

Amy Eyles (BM ’99) wasrecently named principal fluteof the Great Falls Symphony.

Betsy Williams Fitzgerald(BM ’99) has founded a musiccamp, “Camp Vivace,” in Japan.Last summer, the capacityenrollment of 70 needy chil-dren ages 6–14 attendedmusic, drama, and danceclasses. Fitzgerald plans tohold the camp again next year.

Clarinetist and student ofKenneth Grant Andrea Levine(BM ’99) was appointed to theNew World Symphony inNovember 2001.

Damon A. Scott (MA ’99) hasbeen named assistant professorof mathematics at Francis Mar-ion University, Florence, SC.

Since graduation from East-man, Heather Smith (BM ’99) hasrelocated to Nashville, whereshe accompanies country musicrecording artist Sara Evans onfiddle, mandolin, acoustic gui-

tar, and harmony vocals. Smithperformed with the seven-timenominated Evans at the Coun-try Music Awards, which airedon November 7.

The Illinois Philharmonic,Springfield, has appointed ErinStodd (BM ’99) to the post ofprincipal bassoon.

Stephanie Wernli (BM ’99) is amember of the clarinet sectionof the Chicago Civic Orchestra.She also was recently added tothe sub list of the MilwaukeeSymphony.

2000sCo-leader of New York’s TeoMacero Big Band, trumpeterEric Biondo (BM ’00) recordedtrumpet and vocal percussionon Macero’s latest tribute al-bum to Duke Ellington. Biondoalso won a spot on The Mon-kees’ 2001 U.S. tour, duringwhich he appeared on TheTonight Show with Jay Lenoand LIVE with Regis Philbin.He also participated in theworld premiere of the avant-garde musical Crystal.

Alyce Johnson (MM ’00) wasrecently offered the position ofprincipal flute with the BeijingSymphony. She continues herduties as principal flute of theShanghai Symphony.

Jenny Kim (BM ’00), a formerstudent of Peter Kurau, hasbeen appointed to the positionof assistant principal hornwith the New West Symphony,based in Thousand Oaks, CA.Kim also won first prize in the2001 Pasadena (CA) Instru-mental Competition.

Bassoonist Peter Kolkay(MM ’00) has been namedassistant professor of bassoonat West Virginia University, aposition that his teacher and

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Eastman faculty member JohnHunt held from 1980–88. Inaddition, Kolkay recently wasone of two first prize winnersin the 2002 Concert ArtistsGuild competition. He sharesthe $5,000 prize with thechamber ensemble Antares, ofwhich Rebecca Patterson (BM’94) is a member. Kolkay’saccompanist, Alexandra Nguyen,is a current Eastman studentand will appear with him atfuture performances. In thesame competition, baritoneThomas Meglioranza (MM ’95), astudent of Carol Webber, tookthe management award.

The United States Army FieldBand in Washington, D.C. hasnamed Reis McCullough (BM ’00)to its clarinet section. McCul-lough also has been appointedby audition to play in theBand’s select clarinet quartet.

Daniel Bara (DMA ’01) hasassumed the positions of direc-tor of choral activities at EastCarolina University and musi-cal director of the Greenville(NC) Choral Society. In March2001, Bara won first place inthe graduate division of theAmerican Choral DirectorsAssociation National StudentConducting Competition inSan Antonio.

Valerie Mohring Fuller (MM ’01)has been appointed lecturer inhorn at Southeast LouisianaState University, Hammond.She assumed her post in Janu-

ary, which includes teachinghorn, a course in music fornon-majors, and performing inboth the faculty wind andbrass quintets.

Tenor Anthony Dean Griffey (BM’01) was featured in an exten-sive profile of his varied andunique career in the July 2001issue of Opera News. His Octo-ber solo performance of Ben-jamin Britten’s Serenade, fortenor, horn, and string orches-tra, op. 31 with the New YorkPhilharmonic, André Previnconducting, received a glowingreview in The New York Times.

International Musicianrecently listed Cheryl Kohfeld(MM ’01) in their “On theMove …” column. Kohfeld wonthe position of assistant princi-pal viola for the Richmond(VA) Symphony.

Marguerite Lynn Williams (BM’01) recently became an Associ-ate Member in Harp of theChicago Civic Orchestra. Sheis also the finalist and substi-tute harpist for the New WorldSymphony Orchestra (Miami,FL), and won the alternateprize at the American HarpSociety’s Anne Adams Awards.

EnsemblesAlarm Will Sound, an independ-ent ensemble made up of East-man students and alumni,

performed an all-Ligeti concertlast March at New York City’sMiller Theatre. The concertfeatured the New York pre-miere (and second Americanperformance) of Ligeti’s Ham-burg Concerto for Horn andChamber Orchestra. Ligeti’sfirst orchestral work in nearly10 years completes a series ofpieces featuring the horn andshowcasing its ability to playnatural harmonics.

The 10-piece Bionic Bones(made up of members of theEastman Trombone Choir)have won the Kai WindingJazz Trombone EnsembleCompetition sponsored by theInternational TromboneAssociation, and appeared atthe International TromboneFestival at the University ofNorth Texas, Denton, May23–27.

Eastman’s Horn Choir has beeninvited to perform at the Inter-national Horn Society meet-ing, to take place this summerin Lahti, Finland.

The Toronto-based percussiongroup Nexus, including BobBecker (BM ’69), Bill Cahn (BM’68), and John Wyre (BM ’63)began its 31st concert seasonlast September with the worldpremiere of a film score atGeorge Eastman House’s Dry-den Theatre. A Page of Mad-ness, a 1926 Japanese silentfilm by Teinosuke Kinugasa, isa psychological drama, and

Nexus’ accompanying musicwas performed on a specialselection of percussion instru-ments collected by the ensem-ble from around the world.

The energetic brass quintetPrism recently completed a six-week Chamber Music Americaresidency in rural Maine. Thissummer, Prism will be anensemble in residence at Tan-glewood, summer home of theBoston Symphony Orchestra.Prism, entirely composed ofEastman grads – MatthewBickel (BM ’99), Samuel Bucci-grossi (BM ’99), Steve Haase(BM ’99), Erik Kofoed (BM ’99),and Aaron Moats (BM ’00) – hasenjoyed a blossoming career,including a recording project ofmusic for brass quintet andsaxophone, through the Com-mission Project.

Fresh from their Europeandebut in Amsterdam in May2001, the Webster Trio, featur-ing Michael Webster (BM ’66,MM ’67, DMA ’75) and LeoneBuyse (BM ’68), spent a weekin residence at DartmouthCollege with pianist RobertMoeling. The trio has recordedwith pianist Katherine Collier(BM ’70, MM ’72), and anupcoming CD will feature com-poser Martin Amlin (MM ’76,DMA ’77) as guest pianist inhis Trio Sonatina. The WebsterTrio was founded in 1988 topromote interest in the combi-nation of flute, clarinet, andpiano. ❧

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Jennifer Williams Brown, assis-tant professor of musicology,prepared an article on Cesti’sOrontea that will be publishedin the Cambridge Opera Jour-nal. Another article on Oron-tea will appear in Austria,996–1996: Music in a Chang-ing Society. Brown also waselected secretary of the Societyfor Seventeenth-CenturyMusic, and a member of thecouncil of the American Musi-cological Society.

The Queen Elisabeth of Bel-gium Competition, in celebra-tion of its 50th anniversary,released a 12 CD set of itsmost distinguished perform-ances. Professor of ViolinCharles Castleman, performingLéon Jongen’s Violin Concerto,shares billing on Disc 1 withviolin luminaries LeonidKogan and Jaime Laredo. Also,Castleman and a chambermusic program he foundedwere featured in a full-pagearticle in Bucknell World.

Associate Professor of OrganHans Davidsson – who also isfounder, artistic, and researchdirector of the Göteborg OrganArt Center (GOArt) in Göte-borg, Sweden – has beenawarded one of Sweden’s mostdistinguished researchawards, the ÅForsk ResearchPrize, from the ÅF Foundation.This is the first time that theaward, which cites Davidsson’sprominent role in makingGOArt (and Göteborg) a globalleader in organ innovation,has been given to someonewho is not primarily active inthe field of technology.

Professor of Musicology RogerFreitas spent the last year onleave thanks to a fellowshipfrom the National Endowmentfor the Humanities, allowinghim to complete several arti-cles for publication and con-tinue work on his book on AttoMelani (a 17th-century

past year, including WindSculptures for marimba, AFriendly Gift for solo piano,and Serenata Oscura forchamber ensemble, the lastperformed at Eastman inOctober 2001 by Musica Nova,Brad Lubman, conductor. Sev-eral of Hodkinson’s composi-tions are being publishedpresently by Marion (Presser),including Hoo-Dat (2000),etude for comb and tissuepaper. He taught compositionduring the spring 2002 semes-ter at Indiana University andwill return to the Aspen MusicFestival this summer.

Over the past year, AssociateProfessor of Bassoon John Huntgave master classes andrecitals at Northwestern Uni-versity, University of Wiscon-sin-Madison, Michigan StateUniversity, the University ofMichigan, and Ithaca College.He also performed at the 2001conference of the Mid-South

singer). One of his articles,“Singing and Playing: The Ital-ian Cantata and the Rage forWit” (November 2001, Musicand Letters), was awarded thatjournal’s Westrup Prize for oneof “the most distinguished arti-cles of 2001.”

Part-time Instructor of Wood-wind Chamber Music LauraGriffiths (BM ’91) was a fea-tured performer with theRochester PhilharmonicOrchestra, under the directionof guest conductor MarcoParisotto, in Richard Strauss’Oboe Concerto in D Major inJanuary. A member of theEastman faculty since 1995,Griffiths is also principal oboeof the RPO, holding the Dr.Jacques M. Lipson Chair. Dur-ing the summer, Griffiths isprincipal oboe of the MainlyMozart Festival in San Diego.

Distinguished Professor of Vio-loncello Alan Harris was named

to the New Horizons faculty atthe Aspen Music Festival andSchool in Colorado. This honorentitles Harris to select threestudents to study with him atAspen for the next three yearson full scholarship. The AspenMusic School runs for nineweeks each summer, with aninternational student body ofapproximately 800 students.

In January, the Rochester com-munity was treated to a lec-ture by Associate Professor ofMusic Theory David Headlam,titled “Blues to Rock: EricClapton and Jimmy Page Dis-cover Robert Johnson andMuddy Waters.” Headlam’spresentation was the fifth inthe University of Rochester’sNeilly Series, which bringsprominent figures in the artsand sciences to the university.

Professor Emeritus Sydney Hodkinson enjoyed several pre-mieres of his works over the

A birthday serenadeKURT BROWNELL

Distinguished Professor of Violin Zvi Zeitlin celebrated his 80th birthday and 35th year at Eastman with a stellarfaculty artist recital in February. At a reception afterward, his students serenaded him with a special, all-violinperformance of Happy Birthday while his family, friends, and well-wishers celebrated his continued success.

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William McIver joins ‘Amahl’originals for 50th anniversaryEastman Professor of VoiceWilliam McIver traveled toNew York in late Novemberto attend a special 50thanniversary broadcast ofthe holiday staple Amahland the Night Visitors. Thefirst opera commissioned fortelevision, Amahl was origi-nally broadcast by NBC onChristmas Eve 1951.

McIver, who sang the titlerole in the opera from

1952–1955, joined composerGian Carlo Menotti and theoriginal mother in the cast,Rosemary Kuhlman, for the“premiere” anniversaryshowing at the Museum ofTelevision and Radio inManhattan. The museumoffered public screenings ofthe original broadcast fromDecember 4–9 at its NewYork and Los Angeles loca-tions. ❧

PHOTOS COURTESY WILLIAM MCIVER

McIver (left) is joined by Amahl composer Gian Carlo Menotti andRosemary Kuhlman, who played the original “Mother.”

Kuhlman and McIver performed Amahl in the early 1950s.

Double Reed Society and the30th Annual Conference of theInternational Double ReedSociety. He continues to holdsummer faculty positions atthe International Festival-Institute at Round Top (TX).

Associate Professor of Musicol-ogy Ellen Koskoff, in addition togiving the address at the 2001Eastman Commencement,wrote a preface and essay forthe Garland Encyclopedia ofWorld Music: United Statesand Canada, which she edited,as well as an article for TheNew Grove Dictionary of Musicand Musicians. Her bookMusic in Lubavitcher Life waspublished last November withthe support of a publicationsubvention award from theSociety for American Music.

Kim Kowalke, professor of musi-cology since 1986, presentedlectures at Princeton, SUNY-Geneseo, American SymphonyOrchestra’s Orff Symposium inNew York, the Chicago ArtsClub, and the Lyric Opera ofChicago. His writings includedan article entitled “Dancingwith the Devil: Modern MusicPublishing under the Nazis,”published in Modernism/Modernity, and a chapter for a9-volume handbook on 20th-century music published byLaaber. Kowalke spent twoweeks last summer conductingTitanic at the Highfield The-ater, Cape Cod. Kowalke, inaddition to Music TheoryDepartment Chair and Profes-sor Robert Wason, were amongthe winners of the 34th annualASCAP-Deems Taylor Award-the top honor presented by theAmerican Society of Com-posers, Authors, and Publish-ers (ASCAP) to authors andjournalists for outstandingprint and media coverage ofmusic. Kowalke’s fifth awardcame for his article titled, “I’man American: Whitman, Weill,and Cultural Identity.” Wason

won for liner notes for a CD heconceived, Songs of Alec Wilder(Albany Records).

Despite the war on terrorismthat is raging in Afghanistan,Professor of Violin Oleh Krysatraveled to nearby Kazakhstanfor a week in November toheadline three concerts underthe title “Artists Against Ter-rorism.” The opening concert,featuring Krysa and his wifeand pianist Tatiana Tchekina,was held in the former capitalcity of Almaty in the splendidHall of Kazakhkonzert. Thetwo other sold-out concertsfeatured Krysa and a formerstudent from the Moscow Con-servatory, Gaukhar Murz-abekova.

Associate Professor of HornW. Peter Kurau gave perform-ances and a master class enti-tled “The Warm-Up as aComplete Routine” at a Julyhorn workshop, centered atthe Odesan Hostel, Seoul,Korea. Kurau was featured inperformance alongside hiswife, soprano Pamela Kurau.

The works of Professor ofComposition David Liptak werefeatured in recital last fall atthe Phillips Collection (Wash-ington), Alice Tully Hall, andat Columbia University. Thepremiere of Liptak’s work,Commedia, was given at thePhillips by the Verdehr Trio.Pre-concert talks by the composer preceded all of theperformances.

Ralph Locke’s 9-page contribu-tion to a 1997 IMS roundtableon “Directions in Musicology”has now been included in Pro-ceedings of the 16th Meeting ofthe International MusicologicalSociety (Oxford UniversityPress, 2000). Locke, professor ofmusicology, also presentedpapers at two conferences inCanada: “Exoticism, Empire,

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and the Problem of Representa-tion ca. 1900” at the nationalmeeting of the Society forMusic Theory, and “Historians,Musicologists, Composers, andthe Musically Exotic” at theAmerican Musicological Societychapter meeting in Montreal.

Professor of musicology PatrickMacey’s article “Josquin andMusical Rhetoric: Misereremei, Deus, and Other Motets”was published recently in TheJosquin Companion. This pastfall marked the end of his two-year term as chair of the NewYork State-St. Lawrence Chap-ter of the American Musicolog-ical Society (AMS).

Alfred Mann, professor emeritusof musicology, was invited todeliver the opening lecture atthe mid-western (Region IV)chapter meeting of the Ameri-can Guild of Organists. Coinci-dentally, the conference washeld in Fort Wayne, IN, whereMann now resides.

John Marcellus, professor oftrombone and chair of thewoodwind, brass, and percus-sion department, teamed up inDecember with students AmySalo and Isrea Butler to performat the United Nations in NYC.Their performance was part ofa presentation sponsored bythe Austrian Consulate of themusic of composer FranzHackl, who was also at theevent.

Although he’s perhaps bestknown as a composer (he isprofessor of composition andchair of the compositiondepartment), Robert Morrisrecently received an impres-sive honor in music theory.

(Morris also is an affiliatemember of the School’s theoryand musicology departments.)Last November, the Society forMusic Theory presented Mor-ris with its 2001 “OutstandingPublication Award” for hisarticle “Voice-Leading Spaces”published in Music TheorySpectrum. Morris won thissame award-given for a distin-guished article that consti-tutes a significant contributionto the field of music theory-in1988, making him the onlyperson to have won it twice.

Professor of Piano Rebecca Penneys has been busy with anarray of performances andmaster classes. She was anartist-in-residence for a weekwith the Missoula Symphony,and guest artist/teacher at theUniversity of Montana andMemphis State University.She also spent time in bothWashington State and Floridagiving recitals and masterclasses. In October 2001, Pen-neys was featured in Clavier;organized and attended thefirst Penneys Alumni Confer-ence; and performed inRochester the world premiereof a work written for her byItalian composer LorenzoPalomo. In addition, sherecorded two CDs for Fleur DeSon Classics, to be releasedsometime this year.

Director of Eastman’s Insti-tute for Music Leadership andProfessor of Saxophone RamonL. Ricker was recently chosenby a distinguished panel toreceive the American Societyof Composers, Authors, andPublishers’ ASCAPLU$ Stan-dard Award, based upon the“unique prestige value” ofRicker’s original compositions

as well as recent performancesof such works.

A. Joan Saab, assistant professorof American studies, presenteda paper entitled “Political Busi-ness and Intellectual Ballyhoo:Thomas Hart Benton and TheArts of Life in America” at aconference, Beyond Good andEvil: 100 Years of Mass Cul-ture, held last fall at CarnegieMellon University.

Several articles by AssistantProfessor of Music MartinScherzinger appeared last yearin the Journal of the RoyalMusic Association, the IndianaTheory Review, repercussions,and Current Musicology. Newcompositions (works for stringorchestra, seven cellos, and forpiano) were performed inBotswana, South Africa,Canada, Belgium, Germany,the Czech Republic, and sev-eral states in the US.

Professor of Piano ThomasSchumacher was on sabbaticalin China during the springsemester.

Kerala J. Snyder, professoremerita of musicology, gave alecture entitled “Italy MeetsGermany: Italian CatholicMusic in Orthodox LutheranLübeck” at the Smarano Inter-national Academy, Italy.

Jürgen Thym’s article “A Cycle inFlux: Schumann’s EichendorffLiederkreis” appeared in thethird volume of World andMusic Studies (Amsterdam:Rodopi, 2001). Essays by Thymon Brahms, Bruckner, andHindemith can be found inMusic History from PrimarySources (Washington: Libraryof Congress, 2000), co-edited

by Professor Emeritus AlfredMann.

The Eastman Horn Choir hasgarnered a special invitation topresent two performances atthe prestigious 2002 Interna-tional Horn Symposium, con-vening in Lahti, FinlandAugust 4–11. Director andDean James Undercofler (BM’67), former student of MilanYancich, and Associate Profes-sor of Horn Peter Kurau (BM ’74),former student of ProfessorEmeritus Verne Reynolds, arehard at work raising the neces-sary funds to support travelexpenses for 25 horn studentsto this tremendous venue.

William Weinert, associate pro-fessor of conducting andensembles, returned to HongKong in December to onceagain guest conduct the GoodHope Choral Festival, wherehe also presented a workshopfor 50 Hong Kong choral con-ductors. Joining Weinert inperforming at the festival’sNew Year’s Day concert wereBastien Tai (MM ’99) and EmiTakahashi (BM ’00 and currentmaster’s degree student). LastJune, Weinert spent a week inresidence at the Musikhoch-schule Freiburg, where he con-ducted the choir in twoconcerts of American choralmusic; in turn, Eastmanhosted Freiburg Professor ofConducting Hans MichaelBeuerle in October to conductthe Eastman Chorale.

Professor of musicologyGretchen Wheelock had heressay “Konstanze PerformsConstancy” published in lastyear in Siren Songs, a compila-tion of writings on operaedited by Mary Ann Smart. ❧

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a performance by Ossia ofYoung’s historic Trio forStrings.

The Music Library Associationrecently awarded musicologyPhD candidate Rob Haskins(DMA ’97) its Dena EpsteinAward for Archival andLibrary Research in AmericanMusic for his dissertation onJohn Cage’s late music.

This past August, junioreuphonium player JonathanHerbert was a semi-finalist atthe International Tuba/Eupho-nium Conference Solo Compe-tition in Lahti, Finland.

Brian Hermanson was recently inthe finals for the principalclarinet position in the Tucson(AZ) Symphony. Sharing thefinal round with him wereAndrea Levine (BM ’99) andStephanie Wernli (BM ’99).

Senior hornists Mark Houghtonand Elizabeth Porter have been

substituting frequently withthe Rochester PhilharmonicOrchestra.

Flutist Alison Jewett was run-ner-up for the piccolo positionin the Buffalo Philharmonic.

In September, the InternationalHerald Tribune Online includeda feature on Musika 2001, a 12-member chamber ensembledrawn from the AmericanRussian Young Artists Orches-tra and including flutist anddoctoral student Sophia GibbsKim. Upon the group’s decisionto continue with performancesin St. Petersburg, Russia,Tallinn, Estonia, and the US inthe immediate wake of the Sep-tember 11 tragedy, Kim isquoted as saying, “We can’t belike diplomats who talk aboutproblems and then go homewith them unresolved. We haveperformances to give.”

This past December, CarmenLemoine played principal flute

GELFAND-PIPER

Bell-cantoThe Annual Festival of Handbells, featuring bell choirs from Bethany Presbyterian Church in Rochester, is apopular event each December. In 2001, Tom Trenney, a recent Eastman grad, conducted the third annualfestival, where the audience was treated to traditional holiday music.

Baritone Brad Alexander wasnamed a 2002 Adler Fellow ofthe San Francisco Opera. Theprogram offers intensive train-ing to eight resident artists,and promises roles of increas-ing significance during theSan Francisco Opera season.

In addition to winning secondprize in the National FluteAssociation’s 2001 Interna-tional Orchestral Competition,senior flutist Justin Berrie hasgarnered the Flute Fellowshipposition at the Aspen MusicFestival, and was a recentsoloist with the Rochester Phil-harmonic and the ClevelandYouth Chamber Orchestras.

Fortepianist Kristian Bezuiden-hout, a graduate student ofRebecca Penneys, recently wonthe coveted first prize as wellas the audience prize of theFestival of Flanders EarlyMusic Competition in Bruges,Belgium. The competition, partof what is arguably the mostprestigious early music festi-val in the world, has awardedthe first prize only three timesin its 38-year history.

In August, freshman eupho-nium player Aaron Ging wonthe 2001 Leonard FalconeEuphonium/Tuba Solo Compe-tition, Student Division, at theBlue Lake Fine Arts Camp.Ging studied with Tom Riccobono (BM ’88) at theInterlochen Arts Academybefore coming to Eastman.

Jeremy Grimshaw, a graduatestudent in musicology, pre-sented a paper in November atthe national meeting of theAmerican Musicological Soci-ety in Atlanta. The paper,titled “The Sonic Search forKolob: Mormon Cosmologyand the Music of La MonteYoung,” grew out of severalinterviews and conversationswith the composer. Thisspring, Jeremy is co-producing

in the 2001 New York CityString Seminar, featuring con-certs in Carnegie Hall.

Zhe Li, a third year doctoralstudent in piano performanceand literature, was invited bythe Oak Ridge Civic MusicAssociation to be a soloist withthe Oak Ridge SymphonyOrchestra last September. Sheplayed Tchaikovsky’s PianoConcerto No.1 in B Flat Minor.She has been invited to returnnext year to highlight theorchestra’s opening concert.

Hornist Matt Marks was one oftwo finalists in the AmericanHorn Competition, held lastAugust on the campus of theUniversity of Alabama. Markswas selected from 46 entries inthe collegiate division of thecontest.

Baritone and student of JohnMaloy Lucas Meachem recentlywon first prizes in both the

T U R N T O PA G E 3 6 ➧

rific brass and percussionwork, onstage and off.”

The Lake Placid Music Festi-val will welcome DMA/ArtistCertificate candidate andflutist Donna Shin as a visitingmember of their artist faculty.

Emi Takahashi (BM ’00), a mas-ter’s student, is back at East-man after a year of study inFreiburg, Germany. Whilethere, she presented a lectureon Hegel, gave a sold-outrecital, and was featured onAustrian television during amusic festival in Vienna. InMarch, Takahashi’s poetry

work was awarded at theInternational Society of PoetsConvention in Orlando, FL.

As first prize winner of theHamilton Ontario SymphonyYoung Artist Competition, sen-ior flutist Sara Traficante wasfeatured as a soloist with theorchestra in a December 2001concert. She also was namedprincipal flutist of the 2001Canadian Youth Orchestra.

Winner of the Harold GleasonEmerging Artist Award, mas-ter’s student and organist TomTrenney presented recitals innine cities throughout the US,

36 E A S T M A N N O T E S

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

Civic Morning Musicale (Syra-cuse) and Mario Lanza (Phila-delphia) competitions. He wasalso a prizewinner in theOpera Index Competition inNew York City.

The New England MusicCamp has appointed KarlaOrdonez to its artist faculty.

Trevor O’Riordan, a master’s stu-dent in clarinet, recently wonthe orchestral audition compe-tition of the InternationalClarinet Association’s Clar-inetFest, held in New Orleans.The final round was judged bydistinguished artists FrankCohen of the ClevelandOrchestra and Gregory Smithof the Chicago Symphony. Thefirst prize included $1,000, amouthpiece, and $300 in mer-chandise from InternationalMusic Suppliers.

PhD candidate Stan Pelkey (MA’96) had two contributionsappear in the new edition ofthe New Grove Dictionary ofMusic and Musicians, includ-ing an article on William Vinerand a revised work list forSamuel Wesley. Pelkey’s article“Handel and Samuel Wesley: ACase Study in Handel Recep-tion in the Later GeorgianPeriod” was published in theLondon Handel InstituteNewsletter (Vol.11).

Students from the horn studiohave been active in twoUpstate New York orchestras,serving as extra players. InNovember, seniors Kate Sheeranand Caia LaCour, junior LindseyWood, and sophomore JulieFagan performed the offstagehorn parts in three perform-ances of Mahler’s Second Sym-phony, prompting the SyracusePost-Standard to note the “ter-

In an article titled “Leading farbeyond Gibbs St.,” it was incor-rectly reported that RichardKillmer, professor of oboe, is anofficer in the International Dou-ble Reed Society. He asks us tonote that an Eastman alumna,Nancy Ambrose King (MM ’86,DMA ’99), was recently electedto the position of first vice presi-dent of that organization.

In the same article, the infor-mation for W. Peter Kurau, asso-ciate professor of horn, wasincomplete. In addition toserving as treasurer for theInternational Horn Society, healso served two terms as vicepresident. ❧

C O R R E C T I O N S

Recital with a twistBassoonist Eric Goldman recently had his Eastman experienceshumorously chronicled in the film Eric and Eastman: Six Small Movies,a collaborative effort between Professor of Bass James VanDemarkand DMA candidate Todd Coleman. With music by Coleman and pianoaccompaniment by Brian Boyce, the senior recital film featured guestappearances by faculty members John Hunt and Bradley Lubman,along with numerous cameo appearances by Eastman students.

including Miami, Naples,Nashville, Louisville, andDetroit. Trenney also has per-formed the organ accompani-ment to several silent films,including The Mark of Zorro.

Elizabeth Wells (MA ’96), a PhDcandidate in musicology, willread her paper “Me and VelmaAin’t Dumb: The Women ofWest Side Story” this summerat the Feminist Theory andMusic 6 Conference, to be heldin Boise, ID.

Amy Wlodarski (MA ’01), nowworking on a PhD, has wontwo major awards: the Univer-sity-wide Edward Peck CurtisAward for excellence in teach-ing by a graduate student, andthe Presser Music (Founda-tion) Award, which enabled herto examine several archives inthe Czech Republic last sum-mer. Wlodarski also presenteda paper on Hans Krasa’sBrundibar at Jagellonian Uni-versity in Krakow, Poland. ❧

TODD COLEMAN

➧ F R O M PA G E 3 5

"Uninhibited." "Plenty of noise." "Unprecedented." "Flashy art."

"Good jazz is just swell!"

In a time of radical change hot on the heels of the turmoil and destruction of World War II, jazz at Eastman was hep, cool, and unofficial...until an April evening in 1946.

That night, the 1946 Festival of American Music was invaded by "a program of contemporary American music in the jazz idiom." In a stunning break with precedent, original jazz works

by Paul Nero, Alvin Waslohn, and Ray Wright were premiered by Jack End’s orchestra playing to an audience overflowing from Kilbourn Hall.

AND THE AUDIENCE GAVE IT ALL RAPTUROUS APPROVAL.

Director Howard Hanson defended the audacity of performing popular music at the traditionally serious festival. "Jazz is not foreign to the students—and even the faculty—of the Eastman School...

It has even been rumored that they have jazzed my own symphonies!"

For nearly 80 years, the Eastman School of Music has been inspiring artistry, scholarship, leadership... and white hot innovation in uniquely American music.

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

The Eastman School of Music T 1-866-354-2111 (toll free) T 585-274-1048

www.rochester.edu/Eastman/giving T esmfund@mail.rochester.edu

E A S T M A N S C H O O L O F M U S I C - L E G E N D # 0 0 1 9 4 6

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

NON-PROFIT

ORGANIZATION

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PAID

PERMIT NO. 780ROCHESTER, NY

Reminisce and ReuniteALUMNI WEEKEND 2002

SEPTEMBER 13-15

Invitations will be mailed soon, or go online to register and see which of your classmates are planning to attend!

For more information: 585.274.1043 (local) or 866.345.2111 (toll-free)

E-mail: alumni@esm.rochester.edu www.rochester.edu/Eastman/alumni

Come and celebrate Alumni Weekend:

• Attend a performance by Eastman Virtuosi and renowned alumnus Mitch Miller (BM ’32)

• Tour a special exhibit in Sibley Music Library of jazz great Marian McPartland’s career

• Listen in or play along with student ensemble rehearsals

• Enjoy traditional Alumni Weekend Cocktails & Dinner

• Interact with faculty and staff in discussions of new developments at Eastman

• Revisit and show your family the School, Theatre, and former Prince Street campus on special weekend tours

• Reconnect with friends, reminisce with faculty, and network with fellow musicians!