eastman notes creston’s concertino for marimba in 1997.a subsequent cd – the first com-plete...

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EASTMAN NOTES

KURT BROWNELL

Awarm welcome home

Eastman’s class of ’83 shines: Composer Craig Harris (left), Fleming, and ac-companist Richard Bado. All three received their graduate degrees in 1983.

Eastman SchoolDirector JamesUndercofler was justone of many who gavesoprano Renée Fleming(MA ’83) a warm roundof applause as sheentered a specialreception following herrecital in EastmanTheatre in December.More than 2,500enthusiastic fans andsupporters filled thetheatre to hearFleming, who grew upin Rochester, performsongs by Schubert,Mendelssohn,Gershwin, and others.

mother, Patricia Alexander, anassociate in voice in theSchool’s Community Educa-tion Division. And during oneof her six encores – in whichshe praised the musical, artis-tic, and academic integrity ofEastman – Fleming even in-

troduced her 16-year-oldbrother and sang a delightfulduet from Don Giovanni withhim. She also paid tribute toProfessor John Maloy, her for-mer voice teacher and currentchair of Eastman’s voice de-partment. �

Eastman alumna Renée Flem-ing (MA ’83) came “home” toher alma mater in December togive a special recital to benefitthe Eastman School scholar-ship fund. An enthusiasticcrowd packed Eastman The-atre to hear the internationallyacclaimed soprano performsongs by Schubert,Mendelssohn, Gounod, Dvorák,Gershwin, and others. She alsopresented the world premiereof a new work by former class-mate Craig Harris (MA ’83,PhD ’86) – now a Minneapolis-based composer, performer, ed-ucator, and new-media artist.(Harris’ work, titled The HillHas Something to Say, is basedon a poem of the same name byPulitzer Prize-winning poetRita Dove. It is a piece for so-prano, piano, and amphora –an electronic soundscape in-

spired by a line of the poem.)Fleming was accompanied bypianist Richard Bado, anothermember of Eastman’s class of’83. A conductor as a well as apianist, Bado (MA ’83) is thehead of the music staff andchorus master at the HoustonGrand Opera.

The glowing review in theRochester Democrat andChronicle, with the headline“Fleming’s mastery enthrallsEastman crowd,” summed upthe exceptional performance.“If the 3,000-seat EastmanTheatre feels all wrong for anintimate song recital,” it said,“Renée Fleming instantly dis-missed the notion.”

Fleming’s return to East-man was a personal homecom-ing as well: She grew up in theRochester area and still hasfamily here, including her

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18 Voice

19 Keyboard

20 Sibley Music Library

21 Music Education

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

I N S I D E

S C H O O L N E W S

On the coverAlumnus Mitch Miller (BM ’32) chats with un-dergraduate cellist Susannah Kelly (’02). Miller,whose illustrious career has spanned morethan seven decades, conducted the EastmanPhilharmonia in November. (See story, page 9.)

PHOTO BY JOHN SMILLIE

Volume 20/Number 21/Winter 2000

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

F E A T U R E S

2 New music? No problemOrchestra’s inventive outreach attractsnew audiences – and the support of theInstitute for American Music

4 Beyond the music standFreshmen face music’s big questions innew Eastman Colloquium

6 Focusing on Lou OuzerThe beloved photographer’s archivefinds a permanent home at Eastman

9 Legendary Mitch Miller returns to Eastman

10 Eastman teams up with Texaco to fuelschool music programs

11 Common ground binds teachers

Save the date for Alumni Weekend 2000

Eastman student is Miss Americafinalist

12 Eastman’s own Maxfield Parrish work in major retrospective

New music in New York City in February

New sacred music program awaitsstate approval

13 Bold music brings ‘silent’ movies to life

14 Bennett’s ‘Broadway sound’ fillsKilbourn Hall

Davidson’s tenure at Sibley Librarymarked by change

16 Gill, Hwang named to Board ofManagers

Something new for Kilbourn Hall – the sound of silence

17 Fourth Gateways is largest ever

23 Alumni Notes

28 Faculty Notes

30 Student Notes

N O T E S

31 Take the Initiative 2000

Faculty engagements

S U M M E R S E S S I O N

22 Douglass M. Green

Alumni deaths

I N T R I B U T E

Susan RobertsonAssociate Director for Advancement

Allison MayerEditor

Molly BashawMartial BednarKathy LindsleyKelley TatroContributing Writers

Kurt BrownellAmy GlossnerAnnette LeinLouis OuzerJohn SmillieJohn WidmanContributing Photographers

EASTMAN NOTES

Page 6 Photographer Lou OuzerANNETTE LEIN

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

New music?No problem

B Y K A T H Y L I N D S L E Y

Orchestra’s inventive outreach attracts new audiences for new works – and IAM support

F E A T U R E S

ommon knowledge suggests that people in small towns andrural areas don’t like new music.

Paul Gambill and the Nashville Chamber Orchestra – witha little help from the Institute for American Music – areproving common knowledge wrong.

The orchestra is finding enthusiastic audiences for newly commis-sioned works in rural Tennessee communities, as well as in the Music

CCity – and nationally via recordings andradio. Last May, a near sell-out crowd atthe McMinnville, Tenn. (population12,000), high school auditorium turnedout for a concert featuring J. MarkScearce’s Anima Mundi (Soul of theEarth).

In Nashville, the work’s premiere at-tracted 1,100 – NCO’s largest audience todate. The Institute for American Musicsupported the project with a $7,000 grant.

“The NCO is a real pioneer at present-ing American music, not only in the con-cert hall, but in the community as well,”said Eastman Director James Under-cofler, who is also director of the IAM.“This aspect of their operation caught theIAM board’s attention.”

Shared beliefsFounded in 1964 to honor the legacy ofcomposer/conductor and longtime East-man Director Howard Hanson, the IAMpromotes American music through com-missions and support of other new-musicinitiatives.

Those objectives perfectly suit theNashville Chamber Orchestra. Music Di-rector Gambill, who founded the group in

1990, has programmed new music in al-most every concert since 1996. Workscommissioned by the orchestra, such asComposer-in-Residence Conni Ellisor’sConversations in Silence and BlackberryWinter, have won critical acclaim as wellas audience approval.

Gambill said the key to the success of

new works is leading the audience to un-derstand how they can connect with themusic – in short, making it accessible.

“We find entry points for people to en-gage with new music,” he explained. “Inthe case of our commissions, it’s oftenthemes like spirituality or folk music thatare working to draw new audiences intothe concert hall.”

A community partnershipThis is serious music, make no mistake;“serious but accessible,” Gambill calls it.Ellisor’s Conversations in Silence, thefirst work for NCO by the Juilliard-trained violinist, was described by Sym-phony magazine as “a tonal essay, steepedin classical tradition yet distinctly‘Nashville’ in its rhythms and bluesy inits harmonies.” The music critic forNashville Scene called Scearce’s AnimaMundi “muscular, at once dissonant andmelodious, filled with elegant surprises.”

“NCO director Paul Gambill deservespraise for his audacity in choosing artistsand offering commissions,” Marcel Smithof Nashville Scene continued. “Listenersknow that, when they go to an NCO per-formance, they won’t just hear safe ortho-doxy – and they will hear an ambitiouspiece of ‘classical’ music never played inpublic before.”

Last year’s IAM grant allowed NCO todo some “rural outreach” in the weeksprior to the McMinnville concert. To in-troduce their unique approach, the NCOand composer Scearce presented a work-shop in the community on the topic“What is Spiritual Music?”, the theme forthe concert.

“Dr. Scearce’s advance visit played animportant role in developing communityawareness for his music and the upcom-ing concert,” said Gambill.

“The success we’re having with newmusic in rural communities is promptingus to almost triple that outreach nextseason.”

Undercofler, who calls Gambill “a ge-nius,” applauds these efforts. “They tailortheir programs with their communities inmind,” he noted. “As a result, they choosetheir repertoire and their commissions ina kind of educational partnership withtheir community. All this adds up to anew and vital model for American orches-tras.”

A number of Eastman alumni are partof the NCO effort. Christopher Norton

HARRY BUTLER

Eastman alumnus Christopher Norton’s recordingof the Creston Concertino for Marimba with theNashville Chamber Orchestra has received criticalacclaim.

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(BM ’83, MA ’85) performed as soloist onPaul Creston’s Concertino for Marimba in1997. A subsequent CD – the first com-plete recording of the work – was re-leased in 1998 to rave reviews.

In November 1999, Norton again ap-peared as featured soloist in the NCO’ssold-out Premiere Celebration concert.Gambill commissioned Composer-in-Resi-dence Ellisor for a concerto for marimba,which Norton will premiere April 28 and29, 2000.

Also involved with NCO are Eastmanalumni Monisa Phillips Angell (BM ’87),assistant principal viola; Janet HallAskey (BM ’86), principal second violin;Mark Lekas (BM ’86), cello; Lenore Sher-man Hatfield (BM ’57), violin; andLeonard Foy (BM ’83, MM ’85 with Per-

former’s Certificate), trumpet soloist in1995 and 1996.

NCO recordings (Conversations in Si-lence featuring Ellisor’s work as well asother NCO commissions; Harvest Home:Music for all Seasons with composer/fid-dler Jay Ungar and guitar player MollyMason; and the Creston recording) havehelped spread the group’s reputation be-yond Nashville.

National Public Radio’s PerformanceToday broadcasts brought the orchestrato more than 1.6 million listeners acrossthe country.

Tailoring to a market“What I especially admire about NCO isthat it strives to put a distinctly regional(and appropriate) flavor to the market it

both represents and serves,” said Ben-jamin Roe, Performance Today senior pro-ducer. “Judged by both their burgeoningaudience figures and the listener re-sponse to our national broadcasts, thistype of programming is clearly striking aresponsive chord.”

Gambill feels a certain sense of respon-sibility to present new American music. Inits early days, the group performed mostlystandard chamber orchestra repertoire.Gambill began commissioning works “assoon as we could afford it.” But it’s notenough merely to offer new music andhope people will come, he said. The orches-tra has to play a new part, as educator.

“We have to be reaching out to audi-ences before and during the concerts in awhole new way.” �

HARRY BUTLER

Nashville Chamber Orchestra with Music Director Paul Gambill (right foreground).


Beyond themusic stand


Freshmen face music’s big questions in new Eastman Colloquium

F E A T U R E S

he students aren’t quite sure what to make of Eastman Col-loquium.

They arrive at the Eastman School of Music expecting –at last! – to devote all their time and energy to their instru-ments, only to find themselves in a classroom with every

other freshman confronting such cosmic questions as “What makes thesong?” “What can we learn from old-time fiddlers?” and “What is the

T“We wanted to

tap the passion,

the dynamic

force of music

in the Eastman

community.”

relevance of classical music in today’s so-ciety?”

“This is a kind of shock therapy for stu-dents,” said Douglas Dempster, dean ofacademic affairs. “Right in the first se-mester we show them that music is avery big world.”

As of September 1999, Eastman Collo-quium is required for all freshmen. Morethan a year in the planning, the course isa cooperative, collaborative effort involv-ing the whole School. It’s unlike anyother at Eastman: a smorgasbord of pre-sentations intended to kick off discussion– and contemplation – of the nature ofmusic and its role in the world.

Students arrive at Eastman with out-standing abilities. But great musicianspossess qualities beyond technical bril-liance. The new course helps the youngmusicians see past their music stands.

“Most of the students at this point haveresponded to music through their instru-ment or voice,” said John Graham, profes-sor of viola and one of four faculty mem-bers coordinating the first Eastman Col-loquium. “This gives them the opportu-nity to think about music from a broaderperspective.”

The 14 topics in the first Eastman Col-loquium covered a vast expanse of musi-cal territory. Among them:

■ “Identification with style and tradi-tion in music as the path to communicatebeauties, overt and hidden, to the lis-tener” (Zvi Zeitlin, distinguished profes-sor of violin);

■ “Another classical music: introducing

the Hindustani musical tradition” (RogerFreitas, assistant professor of musicology);

■ “Developing a collaborative musicalrelationship” (Rebecca Penneys, professorof piano, and Charles Castleman, profes-sor of violin);

■ “Gigging 101: responsibilities, atti-tudes, and ethics of career musicians”(Ramon Ricker, professor of saxophone);

■ “Music for a new millennium: artmusic in contemporary society and therole of new music” (Augusta ReadThomas, associate professor of composi-tion);

■ “Please don’t play in time” (NelitaTrue, professor of piano and keyboard de-partment co-chair).

Many of the ideas were illustratedthrough performance.

“We wanted to tap the passion, the dy-namic force of music in the Eastman com-munity,” explained Ellen Koskoff, associateprofessor of ethnomusicology, who spear-headed the planning for Eastman Collo-quium. When the call went out for volun-teers to give presentations, “We didn’tknow what we would get,” said Koskoff.The response was gratifying: 25 proposalscame in, from which 14 were chosen.

“The topics represent a wide range ofexperiences,” she noted. “The course in-troduces students to the incredible re-sources and faculty of the School.”

Searching for the lightHere’s how Eastman Colloquium works:All freshmen (135 in fall 1999) meet forthe one-hour weekly presentations. Theygather in eight small groups for an hour-long discussion two days later. Four fac-ulty members (the first were Koskoff,Graham, Louis Bergonzi, associate pro-fessor of music education, and ErnestineMcHugh, assistant professor of religionand anthropology) guide the groups – andgrade the papers. Homework consists ofessays on the week’s topic. There’s notextbook, but some presenters gave read-ing and/or listening assignments. Thefinal assignment is a paper linking themajor themes.

“We were afraid the course would beseen as too easy by students,” saidKoskoff, “but actually it’s very hard. It’shard for the teachers as well as for thestudents.”

Indeed, students found the workloaddaunting – so much so that freshmanclass president Jonathan Herbert raised

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their concerns to the faculty. Althoughthe presentations and discussions “can bevery valuable,” Herbert believes, “the pa-pers take a lot of time.” The teachers de-cided the students had a valid point, andcut back somewhat on the writing assign-ments.

The goal, after all, is enlightenment,not entanglement.

And the lights came on.“Articulating ideas about music is not

something musicians can always do – andit’s something we’re going to need to beable to do later in life,” said Megan Wobus,a violinist and music education major. “Ithink colloquium is a really great idea.”

Talk may be valuable, but it’s not al-ways easy. Some sessions begin at 8:30a.m., an hour when some students wouldrather be sleeping. And some wouldrather solo in a sold-out concert hall thanopen their mouths in a classroom.

“We can see the fear sometimes in thestudents,” said Koskoff. “We think that’sgood. Our role is to create a safe environ-ment where they can feel free to explore.”

Here’s the scene in Room 204 in theOld Sibley Library building one morning

in October: Desks are arranged in a cir-cle, and students are talking about threepresentations all related to issues of timein music.

“When I’m playing the Liszt,” says a pi-anist, “I want the audience to recognizethe theme (he hums it) while other linesmove against it.”

“I think it would be really good if every-

body knew this stuff. It’s especially im-portant for playing in ensembles.”

“You shouldn’t use a metronome all thetime because you rely on it, and you don’tinternalize it.”

“If you’re always pushing forward, theway Professor True said, it can preventgrounding.”

“It’s like a conveyor belt that moves at aconstant speed. You can hop forward, butyou also have to hop back, to stay with it.”

“But you have to know how to do itright before you can deviate, experiment.You need to know the limitations beforeyou can push the boundaries.”

Somehow, with very little nudging froma teacher, the conversation has movedfrom musical pacing all the way to uni-versal life lessons.

“They learn as much from their peersas from the presenters,” said Bergonzi. “Ican see it in their faces.”

The teachers are learning as well, allagree. Graham, as a viola professor, hasnever done classroom teaching before, andhe’s enjoyed it. Ernestine McHugh, as ahumanities teacher, admits that in somepresentations, “I’m in the position of being

the least knowledgeable person in theroom. I’ve learned a tremendous amount.”

Eastman Colloquium will be differentnext year, with a whole set of new presen-tations and probably some new teachers.The structure may be tweaked a bit, too,based on student reaction and faculty as-sessment. And, of course, there will be anew set of freshmen.

“The students are going to push us togrow and evolve,” Bergonzi said.

That’s just fine with all involved. Thewhole idea is to get students engaged,thinking, interacting, communicating.

“Students may think that this course is not useful to them,” said Dempster.“But later in life, what they learn mayhelp them remember why they’re musi-cians.” �

KURT BROWNELL

Ying Quartet members posed the question “What is the relevance of classical music in today’s society?” during their Eastman Colloquium presentation.


F E A T U R E S

Focusing onLouOuzer


The beloved photographer’s archivefinds a permanent home at Eastman

t seems as though Lou Ouzer has been at Eastman forever. Actu-ally, it’s been only sixty-some years.

But his photographic legacy will be part of the School forever.With the help of anonymous friends, Eastman has acquired thenoted Rochester photographer’s entire archive – thousands of im-

ages dating from the 1930s of music legends and long-ago students, oflocal landmarks and landscapes, of historic events and everyday activi-

Ities. The Sibley Music Library will be thepermanent home of Ouzer’s life work.

“I’m fortunate,” said Ouzer, who turns87 on March 11. “My work will be safe.”

Music and photography became inter-twined at an early age for Ouzer. Hisfamily lived across Merrimac Street fromJoseph Schiff, who played viola in theRochester Philharmonic Orchestra andhad a photography business on the side.Ouzer’s father sent his son over for musiclessons, and the young music student wasexposed to photography as well.

Before long, Ouzer was skipping schoolto ride along in Schiff ’s Model T Ford onthe photographer’s photo assignments atEastman. He’d listen to rehearsals, lost inthe music. Eventually, Ouzer was as-signed to Edison Technical School, which,in those days, was where young men with– in the school district’s assessment –limited prospects wound up.

On the plus side, the principal allowedOuzer to attend classes half days so hecould work with Schiff part time. Ouzerenrolled in lithography, the closest thingto photography offered at the tradeschool. He learned more about photogra-phy from books and from other local pho-

tographers. Besides Schiff, RPO concert-master Alexander Leventon and pianosalesman Joseph Shales were self-taughtphotographers he knew.

“I decided if these men could do photog-raphy without going to school, that wasfor me,” Ouzer said.

Shales, noting the young man’s interestand promise, gave Ouzer “a little Leica” –a small, high-quality, German, 35mmcamera that was quite a departure fromthe bulky 8x10- and 5x7-inch format cam-eras Schiff used for formal photography.

Schiff urged Ouzer to shoot whateverinterested him.

And at Eastman, the young photogra-pher found plenty of subjects. His firstpicture was of famed violinist and com-poser Fritz Kreisler. By age 17, Ouzerhad found his vocation and avocation.

Seeing the lightAfter three years in the Army duringWorld War II, Ouzer continued workingwith Schiff until Schiff ’s death in 1947.Ouzer and commercial photographer LenRosenberg teamed up for another decade,then “parted friends” in 1957. Since then,Ouzer and his wife, Helen, have operatedan independent photography business inthree locations, on Gibbs Street or EastAvenue, always within a stone’s throw ofEastman.

“I decided on my own that I was goingto document the School,” Ouzer said.With the tacit approval of long-time Di-rector Howard Hanson and his succes-sors, as well as the explicit permission offaculty and individual subjects, Ouzerand his cameras became a ubiquitouspresence at the School. Although he washired regularly for free-lance assign-ments, Ouzer never took a job as staffphotographer. In fact, he figures thatprobably half of the pictures he’s takenwere not paying assignments at all. “Iwasn’t doing it for that,” he said.

“Eastman became my synagogue.” Thismarvelous, music-filled place filled hisspirit.

And overflowed into Ouzer’s images.“They’re not only historically impor-

tant,” said Eastman Director James Un-dercofler, “they’re unbelievably artistic.”

The technical aspects of Ouzer’s workare straightforward. He shoots black-and-white exclusively and he always usesKodak products. In the studio, his camerathese days is a 2¼-inch format MamiyaRB 67.

Light is the key to his art, more impor-tant than the equipment or the film.Ouzer compares light with music, theway it bounces around and is changed byobjects in its path.

“I decided on my

own that I was

going to

document the

School. …

Eastman became

my synagogue.”

SEE PAGE 8 ➧

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ANNETTE LEIN

Lou Ouzer has been photographing Eastman for more than 60 years.

➧ FROM PAGE 6

is,” said John Marcellus, trombone profes-sor and chair of the woodwind, brass andpercussion department, who has knownOuzer for 20 years. “He’s got such a cre-ative mind.” Marcellus performed Ouzer’sVisions of My Mind’s Eyes in a 1998 fac-ulty artist recital, on an eclectic programthat also included works by Mahler,Poulenc, Hindemith and others.

Jazz pianist Marian McPartland, whosefriendship with Ouzer dates back at least30 years, also speaks highly of the pho-tographer’s music. “He has a very goodtalent,” she said. She’s also a fan of hisphotography.

“I think one of the best photos he evertook was one of Alec and me blowing bub-bles outside his studio,” says McPartland.(Composer Alec Wilder was a close friendof Ouzer.) “I always felt, in a way, thatLou blossomed as a composer after Alecdied,” McPartland continues. “He’s a re-markable person.”

While Ouzer loves his role as “the oldeststudent at Eastman,” he hasn’t forsakenhis camera for the upright piano thatstands in his studio. He’s still in demandas a photographer, and remains open tonew projects. A few years ago, he took onone of his most challenging endeavors:photographing Holocaust survivors. Thework resulted in an exhibit at MonroeCommunity College – and a musical com-position, Echoes of My Heart.

And whenOuzer’s old friendMitch Miller wasin town last fall,Ouzer took hiscamera to the Phil-harmonia’s dressrehearsal, waiting,waiting for some-thing special tohappen.

It did. Miller leftthe podium andwent into the or-chestra, getting

closer to the musicians. It was a nice mo-ment for the photographer, who tookmore than 100 shots at the rehearsal.

“Visually, I hadn’t had anything likethat in a long time,” said Ouzer.

What’s next? He’ll oversee the transferof those thousands of images to SibleyMusic Library, of course.

“I’m always busy,” he said, “and I’m con-stantly learning. It keeps me alive.” �

Hundreds of the world’s most famousmusicians, as well as countless luminariesin other fields have passed in front ofOuzer’s lens. Igor Stravinsky, Duke Elling-ton, Glenn Gould, Itzhak Perlman, IsaacStern, Marian Anderson, Joan Sutherland,Jack Benny, Yo-Yo Ma, Ansel Adams,Richard Nixon – it’s a dizzying parade.None of the celebrities was more impor-tant – or receivedmore attention –than any Eastmanfreshman or Roch-ester family group.

“Every one is myfavorite,” Ouzersaid. “For that mo-ment, they are myfavorite. They arethe only one in theworld.”

At age 75, Ouzeradded a new cre-ative outlet. Hebegan piano lessons – a lifelong dream –and started composing. He continues hisstudies through Eastman’s CommunityEducation Division. And he’s good: East-man faculty members have performed hisworks on several occasions, and his pieceTrio is on the program for a March 21 con-cert in Kilbourn Hall featuring RichardKillmer and the Ying Quartet.

“I was surprised how unique his music


F E A T U R E S

“My light rarely ever hits people di-rectly,” Ouzer explained.

“A light that comes from the top of thecamera – bang! – there’s no story to it.You lose it.”

When he’s on location, Ouzer totes two35mm Nikon single-lens-reflex camerasand a range of lenses. He never uses acamera-mounted flash, relying instead onavailable light and very fast film (3200ASA), which he manipulates further inthe darkroom.

The work in the darkroom is just as im-portant to Ouzer as the time behind theviewfinder. “Printing is one of the greatarts of photography,” said Ouzer. “You’refollowing through on the conversationwith the person you’re photographing.”

This admittedly shy man is very goodat these photographic conversations. Henever commands his subjects to “smile” or“say cheese.” Instead, he asks a question– perhaps an unexpected one – based onintuition, and catches the reaction. Itmight go like this:

“Did you like to dance when you were achild?”

“Oh, yes,” says the surprised subject, whosmiles and proceeds to move her handsand sway to an imagined dance tune.

“If you really want to be a photogra-pher, maybe you should major in anthro-pology,” Ouzer suggested.

LOUIS OUZER

Marian McPartland and Alec Wilder outside Ouzer’s Gibbs Street studio.

LOUIS OUZER

Look closely – Ouzer placed a face in the sky.

9W I N T E R 2 0 0 0

S C H O O L N E W S

For three weeks in November,Eastman was privileged tohave alumnus Mitch Miller(BM ’32) in residence and inconcert at the School. Miller’sextended visit marked thefirst time in more than adecade that he had performedin Rochester, where he wasborn and raised.

Described by one musiccritic as “the nearest thing toa musical Secretary of State,”Miller has put his stamp onAmerican music as a talentedoboist, record company execu-tive, network television star,and symphony conductor. Hereturned to his alma mater atthe invitation of DirectorJames Undercofler to guestconduct the Eastman Philhar-monia in concert.

“Mitch Miller is a living leg-end,” said Undercofler. “Iwanted to provide our stu-dents with a wonderful andrare opportunity of performingunder this man who has madean indelible mark on 20th-

century music in America.”In what was the highlight of

his residency, Miller – at age88 – led the orchestra in anexceptional concert that fea-tured Liszt’s Piano ConcertoNo. 1, Mendelssohn’s ViolinConcerto, Rimsky-Korsakov’sCapriccio Espagnol, Rossini’sOverture to Semiramide, andSchubert’s Symphony No. 8“Unfinished.” Eastman stu-dents Janelle Fung, piano, andJin Young Koh, violin, werethe soloists.

In addition to rehearsingboth the Philharmonia andESSO during his stay, Millermet one-on-one with students,gave lectures, attended per-formances, presented an oboemaster class, and was profiledby several members of theRochester media.

“I am grateful to Mitch forgiving his time, talent, and expertise so freely to theSchool,” added Undercofler.“It’s been an unforgettable experience.” �

AMY GLOSSNER

Mitch Miller, James and Wendy Undercofler arrive at a reception followingthe concert.

JOHN SMILLIE

Mitch Miller rehearses the Philharmonia in works of Rossini, Schubert, Liszt, Mendelssohn and Rimsky-Korsakov.

Legendary Mitch Miller returns to Eastman

1 0 E A S T M A N N O T E S

S C H O O L N E W S

The Eastman School is work-ing with the Texaco Founda-tion to help schools, colleges,and communities around thecountry build innovativemusic programs for young-sters in the earliest schoolyears.

“We’re sharing what we’velearned in our partnershipwith the Rochester CitySchool District,” explainedMitchell Robinson, assistantprofessor of school and com-munity music education andproject director for Texaco-Eastman Music PartnershipOpportunities (TEMPO). “TheTexaco initiative allows us toreach a larger audience.”

Eastman helps Texaco re-

Eastman teams up with Texacoto fuel school music programs

JOHN WIDMAN

Among the participants in the first Texaco-Eastman Music Leadership Institute were (from left) Eastman alumna HelenLevin of White Plains, and Carroll Harris, Ann Moore, and Judy Buckalew of Midland, Texas.

JOHN WIDMAN

David Myers (MM ’73), director ofthe Center for Educational Partner-ships in Music at Georgia State Uni-versity School of Music, participatedin the Texaco-Eastman Music Lead-ership Institute.

JOHN WIDMAN

Mitch Robinson, project director forTexaco-Eastman Music PartnershipOpportunities (TEMPO) explains acreative organizational structureduring the first Texaco-EastmanMusic Leadership Institute.

view proposals and select proj-ects for funding, then providesassistance to the people imple-menting the community pro-grams.

In 1999, five programs wereselected for funding. The Tex-aco Foundation is supportingprojects in Atlanta, Ga.; Mid-land, Texas; Baltimore, Md.;Glendale, Ariz.; and WhitePlains, N.Y., for three yearswith grants totaling $100,000.The projects focus on collabo-rations between public schoolmusic programs and commu-nity music resources, includ-ing nearby college music pro-grams.

Last July, about 25 repre-sentatives from the five proj-ects came to Eastman for thefirst Texaco-Eastman MusicLeadership Institute.

During the summer session,participants had a chance totry out techniques, talk aboutconcepts, and share informa-tion about their own pro-grams, Robinson said. Eachteam was responsible for apresentation, which helpedbuild bonds between the par-ticipants that hopefully willcontinue throughout the year.

The next round of proposalsare in review. This year, theprogram is expected to addfour or five new sites and ad-ditional grants.

The second Texaco-EastmanLeadership Institute is beingplanned for summer 2000.

“This is a unique partner-ship forged around our mutualgoals to advance the reinstate-ment of music education inour nation’s schools,” MaryLuehrsen, music program offi-cer for the Texaco Foundationstated.

Texaco is well-known in themusic world for its 60-year-long affiliation with the Met-ropolitan Opera that nowbroadcasts Saturday after-noon performances of theopera in 33 countries aroundthe world. �

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Save the datefor AlumniWeekend 2000Mark your calendars: We’remaking plans for AlumniWeekend 2000. There will beplenty of opportunities tomeet old friends, faculty andcurrent students, sit in on re-hearsals or even play with for-mer classmates. Of course,we’ve also planned lots of con-certs – including a gala Phil-harmonia performance.

The weekend begins Friday,Oct. 13, with registration,tours of the School by stu-dents from the Eastman Ori-entation Committee, and openrehearsals of the EastmanWind Ensemble and Philhar-monia. That evening we’llhave concerts featuring East-man faculty ensembles, culmi-nating with a reception.

On Saturday morning, theUniversity of Rochester willhost its Convocation ceremonyin Eastman Theatre, whichwill mark the sesquicenten-nial of the University. A lunch-eon for alumni and membersof Eastman’s Student Associa-tion will be served at the Stu-dent Living Center. In the af-ternoon, sessions will be con-ducted on various topics in-cluding Eastman Initiatives,musicology and theory, voiceand opera, music education,and sacred music.

An all-alumni dinner will beheld at the Hyatt Hotel, fol-lowed by a Philharmonia con-cert in Eastman Theatre.

Everyone, regardless ofclass year, is invited. MoreAlumni Weekend 2000 infor-mation will arrive in alumnimailboxes by April. �

Eastman student is Miss America finalistIt’s not every day that a youngviolinist gets to perform livefor two minutes on nationaltelevision, watched by millionsof viewers.

But that’s exactly whatEastman graduate studentSusan Spafford did in Septem-ber, as a contestant in the“Miss America 2000” pageant.

Spafford, who won the titleof Miss Pennsylvania justmonths before, was one of onlyfive finalists who made it tothe televised talent portion of

the pageant, whichaired live on ABC.She played a rous-ing rendition of Pa-ganini’s PolishCaprice.

The 24-year-oldSpafford – whocurrently is on aone-year leave-of-absence from hermaster’s programin violin performance withProfessor Lynn Blakeslee,and who already holds a bach-

elor’s degree in violin performanceand music educa-tion from Eastman– was chosen as the second run-ner-up in the pag-eant.

She walked awaywith a $20,000scholarship and anopportunity to

shine the spotlight on her pag-eant platform, music educa-tion. �

dent of ASTA WITH NSOA. Hechaired the symposium withAndrew Dabczynski, formerdirector of Eastman’s Commu-nity Education Division, andDavid Ying, assistant profes-sor of chamber music.

“One of the major themeswas that they discoveredthrough the symposium thatthey aren’t alone, that otherstake a broad view of the pro-fession and that string teach-ers all over have many of the

Common ground binds teachersMore than 200 string and or-chestra teachers, performersand students from around thecountry came to Eastman inOctober to prepare for Y2K –and to soak up a diverse selec-tion of great string perform-ances.

The musicians weren’t wor-ried about spontaneous in-strument failures at thestroke of midnight Dec. 31.They came together to developa common understandingabout the future.

Presented by the AmericanString Teachers AssociationWITH National School Orches-tra Association (ASTA WITH

NSOA), “Eastman Sympo-sium: String Teaching andPlaying in the New Century”featured presentations explor-ing the effects of changing de-mographics and growing di-versity of populations in theUnited States.

Participants talked aboutwho, how, where and whatstring teachers will teach inthe future.

“Comments were very favor-able,” said Louis Bergonzi, as-sociate professor of music edu-cation at Eastman and presi-

same concerns and joys,” saidBergonzi.

A highlight of the three-daysymposium was a perform-ance by four prominent stringplayers: violinist Oleh Krysaof the Eastman faculty;Grammy Award-winning fid-dler Mark O’Connor; and folkduo Jay Ungar and MollyMason. The four performedwith the Eastman Philharmo-nia conducted by MendiRodan. �

DEBORAH FEINGOLD

Jay Ungar and Molly Mason performed with the Philharmonia.

Susan Spafford


S C H O O L N E W S

New sacred music program awaits state approvalIn response to growing de-mand for church musicians,Eastman is planning a certifi-cate program in sacred music.The faculty approved the pro-gram in October and the pro-posal awaits the OK of theState Education Department.

Most of the required coursesalready are in place; two newsacred music courses (Theo-logical and Biblical Perspec-tives of Worship and SacredMusic Internship) would bedeveloped. In the latter, stu-

dents would complete two se-mesters of supervised work inthe field. It is anticipated thatcandidates for the sacredmusic certificate also would beenrolled in a master of musicor doctor of musical arts inperformance and literaturedegree program. It is possiblefor some students to pursuethe new certificate after theyhave completed a bachelor’sdegree in music.

Eastman founded a churchmusic department in 1960,

and offered master’s and doc-toral degrees in church musicthrough the late 1970s. Sincethat time, many graduates ofthe organ performance pro-gram have gone on to posi-tions in churches and syna-gogues.

A key to the success of theproposed sacred music certifi-cate program is attracting afaculty member with nationalvisibility and reputation in sa-cred music, said Susan Con-kling, chair of the committee

that developed the proposal.This position would be in ad-dition to the organ faculty po-sition left vacant by the deathlast year of Michael D. Farris.A search for the organ facultymember is under way.

A limited number of stu-dents could be enrolled in the program in the fall 2000semester, Conkling said.However, the 2000-2001 aca-demic year would be consid-ered a “pilot” year for the certificate. �

New music inNew York Cityin February Alumni in the New York City area will have an oppor-tunity to hear new music fromEastman early in the newyear. Musica Nova, the East-man School’s new-music en-semble, will debut at CooperUnion on Friday evening,Feb. 25.

Directed and conducted byBradley Lubman, assistantprofessor of conducting and ensembles at Eastman,the program will includeCoursing by Oliver Knussen,Arnold Schoenberg’s ChamberSymphony No. 1, Le Tombeaude Liberace by MichaelDaugherty, the world premiereof Ranting and Raving! byLubman, and the world premiere of Silver Litanies byAugusta Read Thomas,associate professor of composi-tion and composer-in-resi-dence for the Chicago Sym-phony.

The free performance beginsat 7:30 p.m., and a receptionat Cooper Union follows. Allalumni and friends are wel-come! �

A Maxfield Parrish paintingthat for many years occupieda niche in the Eastman The-atre will be featured in ablockbuster retrospective ofthe artist’s work that comes tothe University of Rochester’sMemorial Art Gallery Feb.20–April 30.

Interlude shows loungingwomen with lutes in an idyllicevening scene painted in Par-rish’s trademark glowing bluetones. A background of trees,rocks, the sea and mountains isilluminated by the setting sun.

The painting, on permanentloan to the Memorial ArtGallery from the EastmanSchool, is touring the countrywith 140 other works in theParrish exhibition. Parrish(1870–1966), once the highest-paid artist in the country, wasat the height of his popularityin the 1920s, when the East-man Theatre was built.

Eastman’sown MaxfieldParrish workin majorretrospective

LOUIS OUZER

Eastman’s Interlude will star in Parrish show.

Interlude was moved fromthe theater to the gallery sev-eral years ago to better pro-tect it. The niche at the east

end of the balcony lobby nowholds a specially made photo-graphic reproduction of thebeloved painting. �

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The start of something bigEastman Wind Ensemble founder Frederick Fennell paid a visit to the Sibley Music Library in November and toured anexhibit entitled “Eastman Wind Ensemble: The Fennell Years, 1952–62.” The display, arranged by special collections librarian David Coppen, features photos, programs and a wealth of other EWE memorabilia, including many of the en-semble’s historic recordings for Mercury Records. The exhibit brought back memories for the ground-breaking con-ductor, who reminisced about performance and production details, including a carefully orchestrated trip to Gettys-burg to record the sound of guns for Music of the Civil War. The exhibit will be up through October 2000.

Say “silent movies” andthoughts of Charlie Chaplin,Buster Keaton and the Key-stone Kops spring to mind.But nothing like any of thosefamiliar images flashed on thescreen during Cine-Musik, anexploration of art film andmusic from the 1920s to thepresent.

The unusual program show-cased seven short films andmusical works, including com-positions from the 1920s ofavant-garde composer GeorgeAntheil (Ballet mécanique)and Erik Satie (Cinéma: En-tr’acte symphonique deRelache), Hanns Eisler’s 1941chamber music piece FourteenWays to Describe the Rain, andcontemporary works by East-man composition student GregWilder (Nocturne) and East-

man Professor of CompositionAllan Schindler (Somewhere).As abstract forms and myste-rious figures flowed across thescreen, the audience heardchamber music scored for var-ied combinations of instru-ments, including Antheil’s en-semble of four pianos, drums,xylophones, a siren, electricbells and – via recording – air-

plane propellers.Cine-Musik was the latest

product of a collaboration thatbegan in 1987 between theEastman School of Music andthe Staatliche Hochschule fürMusic in Freiburg, Germany.Eastman Professor of Saxo-phone Ramon Ricker and theHochschule’s Mathias Trappproduced and organized the

event that was presented inFreiburg and at Eastman inOctober. Ricker (who playedclarinet in the ensemble) andhis Eastman colleagues JohnBeck, percussion, Barry Sny-der, piano, and Anne Harrow,flute, as well as studentsKevin Shi, piano, and JohnRichards, viola, and the East-man Percussion Ensemble,were joined by five faculty andstudent artists from Germanyfor the Kilbourn Hall perform-ance.

While in Germany theartists traveled to Berlin toperform Ballet mécaniquewith the Freiburg percussionensemble at the Neuen Na-tionalgalerie. It was part ofthe Berliner Festwochen, amajor music festival in Berlin.

This joint venture betweenthe schools brought studentand faculty musicians to-gether for two weeks of re-hearsals and concerts, plusdinners, sightseeing and dis-cussions.

A 1997 concert featuringfaculty, students and com-posers from both schools re-sulted in a soon-to-be-releasedCD on the Albany label. NewMusic Mix showcases works ofEastman composers DavidLiptak and Sydney Hodkinsonas well as three Freiburg com-posers, and was recorded atthe Südwestrundfunk inFreiburg. �

Rare art films and music written to accompany them were featured in an unusual Kilbourn Hall presentation.

Bold music brings ‘silent’ movies to life

AMY GLOSSNER


S C H O O L N E W S

Mary Wallace Davidson’s 15-year tenure as librarian of theSibley Music Library has beena time of momentous changefor the 95-year-old institution.

“I call it the Sibley MusicLibrary reformation period,”said Douglas Dempster, deanof academic affairs. “It’s easyfor us to forget the range ofchallenges she faced.”

Even before she arrived in1984, Davidson was chargedby then-Director Robert Free-man with looking into the fa-cility’s space needs.

By that time the library,founded at the University ofRochester in 1904 by HiramWatson Sibley, had seriouslyoutgrown its 44 Swan St. loca-tion, the collection’s homesince 1937. Worse, the over-crowded conditions, coupledwith the lack of proper envi-ronmental controls, were en-dangering priceless materials.

Davidson and library consult-ant Philip Leighton of Stan-ford University recommended75,000 square feet to housethe collection and allow for fu-ture growth; the old locationwas about a third that size.

In 1985, an alliance of East-man and University of Roch-ester officials, business peopleand city administrators pro-posed a solution and construc-tion began. Davidson with theadvice of her staff, wrote thebuilding program, partici-pated in design and construc-tion meetings, and supervisedthe move of the Sibley MusicLibrary into its current homein the Eastman Place build-ing.

“Even at 45,000 square feet,it’s what we hoped for,” saidDavidson, the third librarianin Sibley’s history. “It wouldhave been pretty terrible if ithadn’t happened.”

While planning was underway, other significant projectswere afoot, said Davidson,who left Rochester in Decem-ber to head the William andGayle Cook Music Library atIndiana University.

A 1985 grant of $233,000from the U.S. Department ofEducation on behalf of the As-sociated Music LibrariesGroup launched a pilot projecton new methods and stan-dards for the conversion ofmusic bibliographic informa-tion to online computer databases. Initially, the SibleyMusic Library worked withIndiana University and theUniversity of California atBerkeley; ultimately Yale,Stanford, Harvard and Cor-nell joined in.

“It was a major undertak-ing,” recalled Davidson. “Thenational catalog data bases

Davidson’s tenure at SibleyLibrary marked by change

AMY GLOSSNER

Mary Wallace Davidson, Sibley Music librarian for 15 years, is beginning a new chapter in her career this year.

A rousing November perform-ance by the Eastman WindEnsemble celebrated the lifeand music of fabled Broadwayorchestrator Robert RussellBennett.

The Kilbourn Hall concerttook place in conjunction withthe publication by the Univer-sity of Rochester Press of TheBroadway Sound: The Autobi-ography and Selected Essaysof Robert Russell Bennett. Theperformance was preceded bya talk on Bennett by George J.Ferencz, editor of the book andprofessor of music at the Uni-versity of Wisconsin-White-water.

In the first half, the ensem-ble performed music by Ben-jamin Britten and HansWerner Henze. The second halfconsisted entirely of works andarrangements by Bennett: Au-tobiography, Four Preludes,and excerpts from his arrange-ments for four popular Broad-way shows: Jerome Kern’sMusic in the Air (1932), Vin-cent Youmans’ No, No, Nanette(1925), Cole Porter’s Can Can(1953) and George Gershwin’sPorgy and Bess (1935). �

LOUIS OUZER

The life and music of Robert RussellBennett was celebrated in a Novem-ber Kilbourn Hall event.

Bennett’s‘Broadwaysound’ fillsKilbourn Hall

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S C H O O L N E W S

“The reformation contin-ues,” said Dempster. Far frombecoming obsolete as the on-line world grows, libraries arebecoming more important.“They’re not just libraries anymore,” he said. “They’re infor-mation ports.”

But while the Sibley MusicLibrary has made the transi-tion into a technologicallystate-of-the-art facility in thepast decade, the human fac-

tors are what’s most impor-tant, Dempster believes.Davidson’s imprint can beacutely felt in this area.

“The level of service pro-vided by the library staff isoutstanding,” he stated, “andMary can take pride in that.”

“I couldn’t have done any-thing here without the staff,”Davidson says. “We wouldn’tbe where we are without everysingle one of them.”

were woefully inadequate formusic.”

Today, the library’s musicalscores and most books aboutmusic have been cataloged,and work continues on addinglistings of recordings.

As that work neared comple-tion, the library received agrant from the National Histor-ical Publications and RecordsCommission to establish anEastman School archives.

“The goal is to preserve anddocument the history and ac-tivities of the School,” ex-plained Davidson. “There werehuge gaps in the archives. Wedecided it was time to get thatunder control.”

At the same time, the li-brary is acquiring a widerrange of materials, such asrock music, and expandinginto new areas in support ofnew Eastman programs suchas world music.

Davidson’s efforts to expandthe library’s collections will behonored in years to come. Atthe farewell party for Davidsonin December, Director JamesUndercofler announced thecreation of the Mary WallaceDavidson Fund for the acquisi-tion of works by living Ameri-can musicians. Undercoflersaid that the Institute forAmerican Music will provide$2,500 initially, with additionalgifts of that amount in each ofthe next four years. (Individualcontributions can be sent toSibley Library Secretary An-drea Mason, 27 Gibbs St.,Rochester, NY 14604. Checksshould be made payable to theEastman School of Music.)

Change will continue to be afact of library life through theforeseeable future, Davidsonpredicted. Libraries every-where are confronted withrapidly evolving technology,including the Internet, onlinepublications, data bases, ex-panding digital media, andother resources.

The beat goes on The Orff Schulwerk Teacher Training Course at Eastman last summer sent 10 Rochester City School District teachersback to their classes moving to the sound of a different drummer. Offered by the Music Education Department as acomponent of Eastman’s partnership with the Rochester City School District, the workshop was part of a two-year proj-ect supported by a grant from the Josephine Bay Paul and C. Michael Paul Foundation. Donna Brink Fox, Eisenhart Pro-fessor of Music Education, said “The beautiful turbano drums are a symbol of the color and vibrancy that the summercourse helped to develop in these teachers, who left feeling energized and motivated for their teaching in the fall.”

Davidson admits that the de-cision to leave Eastman was notan easy one. But she’s workedwith Indiana Universityenough to get to know the peo-ple, and – although most of her40-year career has been in theEast – she was born in Ken-tucky just two hours away fromthat campus, so “the pull outthere was strong.” As she con-sidered the offer, she began tofeel that she’d accomplished hergoals here and was ready totake on new challenges, eventhough she’s approaching thetraditional retirement age of 65.

“I really love what I do,” shesaid. “People say I’m a worka-holic, but when you can’t sepa-rate work from pleasure, whatdifference does that make?”

(Related column on SibleyLibrary, page 20.) �

Davidson’s efforts to expandthe library’s collections willbe honored in years to come.


S C H O O L N E W S

Daniel E. Gill of Rochesterand Henry Y. Hwang of LosAngeles are new members ofEastman’s Board of Managers.

Gill, who retired in 1995 aschairman and chief executiveofficer of Bausch & Lomb Inc.,began his tenure with thecompany in November 1978 asgroup vice president of Soflens

Products and divisional presi-dent of the Soflens Division.In 1988 he was listed in theForbes list of Corporate Amer-ica’s Most Powerful People.

Gill was honored in 1995 bythe Celtic Ball of the IrelandChamber of Commerce in theUnited States. He is recipientof a Rochester Rotary Club

Award, University of Roch-ester President’s Medal,Rochester Chamber of Com-merce Distinguished Leader-ship Award, and other honors.He has served as chairman ofthe Business Council of NewYork State, as a member of theboard of overseers of theRochester Philharmonic Or-

chestra capital campaign, andon the Bishop Matthew ClarkStewardship Committee.

He is a former chairman ofthe Industrial ManagementCouncil of Rochester and hasserved as a trustee of the In-ternational Museum of Pho-tography and the University

Gill, Hwang named to Boardof Managers

Opera fans get a wonderful dose of ‘Patience’Christina Carr was one of many Eastman students to perform in Patience, the delightful comic operetta by Gilbert andSullivan. The Eastman Opera Theatre kicked off its season in November with four sold-out performances. Directed bySteven Daigle, assistant professor of opera, the production featured two alternating casts of Eastman voice students,accompanied by a special 33-member orchestra conducted by John Greer, associate professor of opera. This was thefirst time in recent years that a Gilbert and Sullivan opera had been staged at Eastman.

Somethingnew forKilbourn Hall– the soundof silenceBlaring horns no longer willbe heard in Kilbourn Hall –and neither will squealingtires, police sirens, rumblingbuses and other distractingsounds that sometimes com-peted with the subtle strainsof music.

Street noise has been effec-tively blocked by several alter-ations to the 77-year-oldbuilding. First, a door openingonto Gibbs Street and its twinon the opposite wall leading toa courtyard have been elimi-nated. Concrete blocks, insula-tion and walnut panelingcarefully crafted to match thehall’s original woodwork wereinstalled where the doors for-merly stood. Then the twowalls in their entirety weretreated with a finish to blendthe new with the old.

The noise abatement proj-ect, begun in September andcompleted before the Oct. 5opening of the Kilbourn Con-cert Series, also included fill-ing an unused loading door

behind the stage with concreteblocks and insulation, in-stalling new seals on doorsleading from the auditoriumto the Main Hall and toCominsky Promenade on thesecond floor, and replacingseveral basement-level win-dows under the hall with glassblocks. An engineering studyidentified the major noiseleaks and RFL Architects pre-pared a list of work to be done

and the costs involved.“Based on my experience

with the hall, I think the proj-ect has been very successful,”said Andrew Green, Eastmanconcert manager.

The man who got the projectrolling agrees. Daan Zwick, alongtime Kilbourn Hall con-certgoer, contributed much ofthe funding for the engineer-ing study and construction.

“I’ve always been distracted

when there was outside noise,”said Zwick, a retired EastmanKodak Co. research scientist.“That was the only thingkeeping Kilbourn from beingthe ideal hall.”

At the first concert he at-tended after the noise abate-ment measures were com-plete, he had a new problem.“I was listening so hard foroutside noise that I didn’thear the music.” �

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S C H O O L N E W S

Internationally known per-formers and Rochester resi-dents came together last fallat Eastman for the fourth –and largest – Gateways MusicFestival, a celebration of clas-sical music and African-Amer-ican musicians last fall.

Armenta Adams Hum-mings, associate professor ofmusic performance and com-munity education, founded thefestival in 1993 in Winston-Salem, N.C., to provide expo-sure and performance oppor-tunities for black classical mu-sicians. She brought the festi-val to Rochester when shejoined the Eastman Schoolfaculty, and the event hastaken place here every otheryear since 1995.

The first day of the festbrought a presentation in theEastman Theatre of

to give a talk about his ex-traordinary career, and AnnHobson Pilot, principalharpist of the Boston Sym-phony Orchestra, performedin one of a series of KilbournHall chamber music concerts.

The festival also featuredperformances of all six ofBach’s Brandenburg Concertiby festival players, and daily“Joplin Hours” at Eastman inhonor of the centennial of thepublishing of Scott Joplin’sMaple Leaf Rag. Additionalevents took place in the com-munity, including perform-ances of Bach’s Chaconne inseveral area churches.

Funding for the festival wasprovided by the City ofRochester and the GleasonFoundation, as well as individ-uals, other foundations andthe Eastman School. �

JOHN SMILLIE

Booker T. Roe of the Philadelphia Orchestra played the Bach Chaconne in a Rochester church.

Fourth Gateways is largest ever

A living memorial to harpist Eileen MaloneThe long career of the late Eileen Malone, who taught at Eastman from 1930 to 1989, was remembered by an Octobermemorial concert featuring performances by some of her students and members of the Rochester Philharmonic Or-chestra in Kilbourn Hall. The event became a reunion for students of the legendary harpist, who died last June at age92. They gathered in Cominsky Promenade after the concert for this group photo. Members of the American Harp So-ciety, of which Malone was a founding member, are planning a permanent memorial in her honor.

Beethoven’s ninth symphonyfeaturing the festival orches-tra and a community chorusunder the direction of MichaelMorgan. Legendary baritoneWilliam Warfield returned toGateways and his hometown

KURT BROWNELL


of Rochester.Prior to joining Bausch &

Lomb, Gill was affiliated withAbbott laboratories in Chicagofrom 1965 to 1978. He beganhis business career as a CPAwith Arthur Anderson & Co.He is a graduate of North-western University.

Hwang is vice chairman ofthe board of the Far East Na-tional Bank, Los Angeles.

He immigrated to the U.S.from Shanghai in 1950 to studyat Linfield College in Oregon.In 1960, he founded the firstC.P.A. firm in Southern Califor-nia owned by a Chinese immi-grant. In 1973, Hwang broughttogether a group of investors toform the first Asian-Americanfederally chartered bank. Al-though preliminary approval tosell stock for capital wasgranted, the stock marketcrashed two months later.Hwang, with little money of hisown and no prior banking ex-perience, managed to raise thefinal $50,000. He became chair-man of the board of the newFar East National Bank. In1978, he sold his C.P.A. firm todevote his time to the bank asits president.

Hwang’s efforts in supportof the community and hisadopted nation have been rec-ognized locally and nationally.In 1984, President Reagan ap-pointed him to the WhiteHouse Advisory Committee onTrade Negotiations. He alsoserved on the 1984 Los Ange-les Olympic Organizing Com-mittee Advisory Board and in1989 was appointed by thesecretary of commerce to theMinority Enterprise Develop-ment Advisory Board.

Among Hwang’s numerousawards are the U.S. SmallBusiness Association’s 1991Entrepreneur of the Year, Ex-ecutive Magazine’s 1987 Exec-utive of the Year, and theAsian Business League’s 1987Businessman of the Year. �

del’s Xerxes in the 804 Annex.Designed by Steve Stubble-field, Xerxes will be updatedfrom a traditional Persian set-ting to the early 1800s, duringthe time of Napoleon.

The opera centers on theemperor Xerxes, who alongwith a desire to conquer all ofEurope, tries to win favor withhis brother’s intended,Romilda. He extends his ambi-tion to conquer in his politicalworld his desires in personalaffairs. This studio productionwill be presented with full setsand period costumes, alongwith a seven-piece orchestraarranged and conducted by

Eastman Opera Theatre’s Mu-sical Director John Greer.

In April of 2000, the seasonends with Mozart and DaPonte’s innovation, Così fantutte. Benton Hess, who joinedthe voice faculty as an adjunctpart-time coach and professorof song literature for the1999–2000 academic year, willconduct this production. East-man Opera Theater’s Così fantutte, designed by Mary Gris-wold, and presented in theEastman Theater, will drawupon the sisters Dorabellaand Fiordiligi’s liberation andnew understanding of love asinspiration for the setting and



B Y S T E V E N D A I G L E

T he Eastman OperaTheatre has had a longhistory of excellence inits tradition of produc-

ing opera and lyric theater. Aspart of a three-production sea-son, the opera department,along with the voice faculty,believes strongly that the stu-dents at Eastman should beexposed to a wide variety ofstyles encompassing most the-ater forms that involvesinging – from traditionalopera to works that are frompopular lyric theater canons.This belief services the indi-vidual, with the objectivebeing to educate, nurture, andmarket the students in theirselected performance venues.

This year’s Eastman OperaTheatre performance schedulerepresents a season based onthis philosophy.

This past November, Gilbertand Sullivan’s Patience waspresented to enthusiastic sold-out audiences in KilbournHall. The setting of Patiencewas beautifully designed andexecuted by Mary Griswold, along-time contributor to East-man Opera. Set in the tradi-tion and style of the D’OyleCarte, Eastman Opera The-atre’s production consisted oftwo different casts of princi-pals, maximizing the numberof students participating inthe production.

This production of Patiencewill be adapted and presentedin February of 2000 as part ofEastman’s “Opera à la carte”production. Developed throughYoung Audiences of Rochester,Opera à la carte’s mission is topresent workshops and operasto area public schools.

Also in February, the operadepartment will present Han-

A scene from the Spring 1999 production of L'Elisir d'Amore.

The facultyunderstandsthat nothingcan substi-tute for “live”performanceexperience.

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K E Y B O A R D

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

T he Third Annual East-man Summer PianoFestival was held fromJuly 26–Aug. 6. The

two-week festival included theEastman Young Artists’ Inter-national Piano Competition,an evening concert series, aworkshop for high-school pi-anists, and a pedagogy semi-nar for teachers.

The Young Artists’ Competi-tion, designed for students be-tween the ages of 14 and 18,featured 26 pianists, repre-senting five foreign countriesand many regions of the

United States. Each competi-tor was required to prepare a30-minute solo program,which included works fromthe 18th, 19th, and 20th cen-turies, and one movementfrom a concerto for piano andorchestra. All of the studentsperformed their solo programin its entirety in KilbournHall. At the conclusion of thepreliminary round, 10 finalistswere selected to perform theirconcertos, accompanied on sec-ond piano by Eastman gradu-ate students Shinah Kim,Sharon Nomi, and DavidRiley.

The jury awarded threeprizes and one honorable men-tion. Adjudicators included

Paul Pollei, director of theGina Bachauer InternationalPiano Competition; Min Kim,professor of piano at JerseyCity State College; and Patri-cia Hanson and Harriet Zim-merman, both piano facultymembers of Eastman’s Com-munity Education Division.

Concerto performances inthe finals featured works byBach, Mozart, Beethoven,Chopin, Tchaikowsky, Saint-Saëns, and Rachmaninoff. Atthe conclusion of the finalround, 14-year-old Christo-pher Mokrzewski, fromCanada, was named the win-ner of the first prize (a $4,000

cash award) and a $1,500 sec-ond prize was awarded to Cae-sar Luo from the UnitedStates. Tian-Tian, also fromCanada, received the $500third prize, and Ning Yu, fromthe People’s Republic of Chinawas awarded an honorablemention. All four laureatesperformed solo programs inEastman Theatre at the finalgala concert on August 6.

The second week of the fes-tival was devoted to non-com-petitive musical activities. Allof the students received indi-vidual lessons with membersof the Eastman piano faculty,performed in master classes,and attended courses in piano

stage design.Along with these produc-

tions, students also gain in-valuable experience for the op-eratic stage through a seriesof courses that are devoted tothe technical development ofsingers.

These courses specialize infundamental forms and per-formance practices that thestudents will encounter whenthey eventually move into theprofessional world.

The Introduction to theLyric Theater course offers thestudent instruction in the in-terpretation of music and howit is used as an acting tool forthe singer. The Opera Work-shop is a two-year cyclical

The Young Artists’ Competi-tion featured 26 pianists, rep-resenting five foreign countriesand … the United States.

course divided into four se-mesters. Each semester stud-ies specific operatic repertoireand the musical forms andtechniques from a historicalopera period: Baroque andClassical Opera – Through1800; Romantic Opera –Donizetti to Puccini; Twenti-eth Century American Operaand the works of BenjaminBritten; and Lyric Theater –The Traditional Operetta toThe Traditional American Mu-sical. The Opera Repertoireand Advanced Seminar inOpera courses were createdfor the graduate student whois preparing for continuedstudy or entering the profes-sional environment outside ofEastman.

The voice faculty under-stands that nothing can sub-stitute for the “live” perform-ance experience for the devel-oping student. At the end ofeach semester two operascenes programs combining allthe classes are presented tothe public.

The Eastman voice stu-dents, like many studentsstudying different disciplineswithin the School, continue toexcel outside their school envi-ronment in Rochester. Thesestudents can be found at someof the premiere professionalcompanies and programs.Some programs that recentvoice students have attendedinclude: Santa Fe Opera,Glimmerglass Opera, theMerola Program, HoustonStudio Program, Des MoinesOpera, Sarasota Opera YoungArtist Program, Seattle OperaYoung Artist Program. Thevoice faculty continues toenjoy watching the progress ofEastman alumni as they de-velop their careers as profes-sionals. �

Steven Daigle is assistant pro-fessor of opera and stage anddramatic director of EastmanOpera Theatre.

GELFAND-PIPER

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➧ FROM PREVIOUS PAGE China, and Eugene Albulescu,a Rumanian pianist nowteaching at Lehigh University.

Simultaneously, the Peda-gogy Seminar for teachers washeld in Howard Hanson Hall.Approximately 40 teachers at-tended the one-week seminar,which included 10 master-classes and eight lectures byEastman faculty members anddistinguished guests of the fes-tival. Master classes and lec-

tures were presented by Al-bulescu, Natalya Antonova(Eastman), Seymour Bernstein(New York University), MartinCanin (Juilliard), DouglasHumpherys (Eastman), KongXiang-Dong (P.R. China), GaryPalmer (Eastman), Paul Pollei(Brigham Young University),Thomas Schumacher (East-man), Logan Skelton (Univer-sity of Michigan), HowardSpindler (Eastman), and

Nelita True (Eastman).The Fourth Annual East-

man Summer Piano Festivalwill be held from July 14 toJuly 23, 2000. For informationdirect inquiries to: DouglasHumpherys, Director, East-man Summer Piano Festival,26 Gibbs Street, Rochester,NY 14604, (716) 274-1521. �

Douglas Humpherys is associ-ate professor of piano.

T hese have been excit-ing and rewardingyears since my arrivalin 1984, which have

enjoyed steady growth in col-lection size and quality ofservices.

Access to the collections haschanged radically thanks toautomation. In the ’80s camethe labor-intensive conversionof the card catalog to an on-line one, and in the ’90s achange in its structure to thecurrently powerful and sophis-ticated system. Curious grad-uates with access to the Webmay wish to see for them-selves at http://groucho.lib.rochester.edu. Who paid forall this? The federal govern-ment for most of the firstphase (through grants totalingabout $750,000), and the East-man School for the secondphase (about $165,000, includ-ing equipment upgrades),amortized over five years.

The new Sibley Music Li-brary building, which openedin Eastman Place in 1989,made the single most signifi-cant impact on our ability toimprove collections and serv-ices. The new building enabledus to embark on conservation,reformatting, and replacement

of brittle items to an extent notshared by most music libraries.The superb conservation staffand excellent facilities havemade possible the preservationof editions long out of print forthe use not only of our stu-dents, but also borrowersthroughout North America’sinterlibrary loan network.

The fact that so many grad-uates and faculty care so

much about the Sibley MusicLibrary has contributed muchto the growth of the collectionsduring these years. ComposerBurrill Phillips (BM ’32, MAS’33, and professor of composi-tion for many years) gave usmost of his manuscripts beforehis death in 1988. The manu-scripts and research library ofBulgarian composer and eth-nomusicologist Boris Kremen-liev (Ph.D. ’42) came to us in

1990, thanks to his widow,Rochester native Dr. Elva Kre-menliev (UR ’39). The workinglibrary of mezzo-soprano andProfessor Jan de Gaetani(1933–1989) was presentedshortly after her death by herhusband, Professor of Oboeand Conducting Philip West.Composer Gardner Read (BM’36, MAS ’37) continues to giveinstallments of his papersbegun in the mid-eighties.Alexander Courage (BM ’41),

composer of the Star Trektheme and composer orarranger of music for manyother films, has since 1988been presenting a collection ofhis own works, includingmany photographs of otherHollywood film composers.Last year retiring ProfessorSydney Hodkinson (BM ’57,MAS ’58) gave us both manu-scripts of his own composi-tions and his extensive work-

ing library of contemporarymusic, much of which hadbeen performed during hisMusica Nova series. Just thisfall we received the musicalestate of Stanley Sussman(BM ’61), principal conductorfor the Martha Graham DanceCompany and the Cleveland-San José Ballet, containingwell over 1,200 scores andrecordings, and about 27 lin-ear feet of papers, thanks toBoard of Managers memberLeatrice Gochberg (BM ’61).

Several other major collec-tions were acquired chiefly asgifts. The Alec Wilder Archiveswere established by his execu-tor Thomas Hampson in 1989,and considerably enhanced bygifts of manuscripts all duringthe ’90s from the publisher,Margun Music. The library ofpianist Malcolm Frager(1935–1991), rich in antiquar-ian editions of the major classi-cal composers, was presentedby his family in 1992. The com-plete manuscripts and papersof composer Arthur Farwell(1872–1952) were presented byhis family and his biographer,Dr. Evelyn Culbertson, in 1994.

Two major collections ofsound recordings have beenacquired. The first, amassedby former WHAM disc jockey


S I B L E Y M U S I C L I B R A R Y – A R E T R O S P E C T I V E


B Y M A R Y W A L L A C E D A V I D S O N

literature and musical analy-sis. In addition, they pre-sented an informal ensemblerecital in which they collabo-rated in four-hand pianomusic. Evening concerts werepresented by David Witten,professor at Montclair StateCollege, Marina Lomazov, cur-rently a doctoral student atEastman, Kong Xiang-Dong,from the People’s Republic of

I leave with many rich andvivid memories, and lots ofwork for future students.

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M U S I C E D U C A T I O N


In the tradition of Music-TIME early childhood pro-gram and the New Hori-zons music education for

senior adults, Eastman musiceducators are leading the wayin expanding professional per-spective on music teachingand learning. Two excitingprojects are under way: TheKimberley Project, in Kimber-ley, South Africa, is directed bynew faculty member, Dr. KathyM. Robinson. Dr. Susan Whar-ton Conkling is examining thepractice of collegiate musicteaching and learning as a re-

sult of her selection as a1999–2000 Carnegie Scholar.

The Kimberley Project is acollaborative music teaching/learning project that sharesmusic at the school, commu-nity, and individual levels be-tween the cities of Rochester,Philadelphia, and Kimberley,South Africa. For 6 to 8 weekseach July and August, the proj-ect sends experienced musicteachers to Kimberley to teach,learn, and live among the peo-ple in an unfamiliar cultureknown for its rich indigenousmusical traditions. Duringtheir stay each teacher pro-vides music instruction for stu-dents in a primary or second-ary school, works with schoolmusic teachers and communityand church choirs and their di-

rectors, conducts music train-ing workshops for groups or in-dividuals on a variety of prede-termined topics, and learns theindigenous technical languageof traditional communitymusic making.

From the project’s inceptionin 1997, the spirit of sharing ina respectful, mutually benefi-cial manner has been central.Robinson and Mr. StevenFisher, assistant director ofthe Philadelphia Boys Choirand Chorale, conceived theproject as a partnership be-tween The Boys Choir, Kim-

berley community, and TempleUniversity’s Esther Boyer Col-lege of Music. As Robinson hasjoined the Eastman commu-nity, so has this project. East-man takes over Temple’s roleand trains the selected musicteachers, prepares curricularmaterials, and provides teach-ing equipment and the philo-sophical underpinning to theproject. The Philadelphia BoysChoir, having toured in SouthAfrica, organizes an annualfund-raiser to transport theteachers to Kimberley wherethey also coordinate theirhousing arrangements. TheKimberley community pro-vides food, housing, and teach-ing facilities for the teachersduring their stay.

The purpose of the Pew Na-

tional Fellowship Program forCarnegie Scholars is to createa community of scholars whosework will foster significant,long-lasting learning for allstudents, and will enhance thepractices and profession ofteaching. Each CarnegieScholar designs and under-takes a scholarly project aimedat deepening understanding ofand practice related to an im-portant issue in the teachingand learning of his or her field.

Conkling’s project revolvesaround college music teachingby asking the question, “Howdoes the collegiate-level musiccurriculum prepare studentsfor ‘membership’ in the profes-sional community?” Her ap-proach is two-pronged. First,she is interviewing profes-sional musicians to under-stand what constitutes theirmost important work.

In addition, Conkling is ex-amining the work of the newEastman Women’s Chorus.This ensemble is an electivecourse for undergraduate andgraduate women, and is notdesigned according to a tradi-tional model. The members ofthe Women’s Chorus choosetheir own repertoire, and workcollaboratively to rehearse andperform repertoire. Membersof the chorus are conductors,composers, accompanists, ad-vocates, and pedagogues, inaddition to being performers.Conkling sees this model as atransitional community – agroup of knowledgeable peersworking together to shed theirstudent identities and to be-come full-fledged profession-als. �

Drs. Robinson and Conklingare assistant and associateprofessors of music education,respectively.

Carroll Hardy before his tragicdeath in 1978, comprises sev-eral thousand LPs of jazzrecordings particularly rich inthe Coltrane era. In November1999 we received a collectionof some 2,000 classical CDsfrom a dentist, Dr. CliffordStich of Lyons, N.Y., who lovesmusic, reads reviews, and or-ders those CDs well rated.

The library’s first oral his-tory collection was acquired in1989: the tapes, transcripts,letters, and scrapbooksamassed by Berlin-born EveCorker for her interviews withinternational composers andmusicians broadcast on theCanadian Broadcasting Cor-poration, Vermont PublicRadio, and Deutsche Welle,from the 1950s through themid-1970s.

In 1991 the David K. Sen-gstack Foundation created theJohn F. Sengstack Archives ofMusic Publishing in the SibleyMusic Library, beginning withthose of Summy Birchard andthe companies it held at thetime of the sale of its assets in1988 to Warner/ChapellMusic. Included was a micro-film copy of each last copy is-sued by the publisher of the“Second Boston School” ofcomposers, Arthur P. Schmidt.In 1999 Carl Fischer placedits extensive archives on de-posit here.

Thus I leave with many richand vivid memories, and lotsof work for future students.My thanks to the graduatesand to the various faculty andadministrative officers of theEastman School for your sup-port of the library, but most ofall to the library staff who re-ally did the hard work tomake these collections avail-able for your use. �

Mary Wallace Davidson leavesafter 15 years as librarian ofSibley Music Library (seestory, page 14).

The Kimberley Project sharesmusic at the school, com-munity, and individual level.

B Y K A T H Y R O B I N S O N A N D S U S A N W H A R T O N C O N K L I N G


I N T R I B U T E

Douglass M. Green

Eastman alumni, colleagues,and friends are deeply sad-dened by the death of Dou-glass M. Green on Sept. 1,1999, after a courageous bat-tle with cancer.

Green was born on July 22,1926, in Rangoon, Burma, andattended school in Los Ange-les. Following service in theNavy during World War II, hereceived his bachelor’s andmaster’s degrees from theUniversity of Redlands in Cal-ifornia and his doctorate fromBoston University.

He taught in Japan, at theUniversity of California atSanta Barbara, and St. JosephCollege in Connecticut beforecoming to Eastman, where hetaught music theory from 1970to 1976. He most recently wasa faculty member at the Uni-versity of Texas at Austin.

“Doug was a brilliantteacher, scholar, and musician,and a dear friend and mentorto all who had the privilege tostudy or to work with him,”

1920sInez Quinn (BM ’27), December

1998Marius Santucci (BM ’29), March

1999Eileen Malone (BM ’28), June

1999

1930sPhyllis Freedman (BM ’32), January

1998Charles Starke (BM ’32), July 1998M. Burnette Thompson (MAS ’38),

January 1999Leona Bachmeier (BM ’39), January

1999Benjamin C. Scammell (BM ’34,

MM ’48), March 1999

Donald Sandifur (BM ’34), May 1999George Sidney Eastman (BM ’32),

July 1999Dr. Earle Blakeslee (BM ’37), July

1999Addie McCormick (BM ’35), August

1999Margaret Addington (BM ’30),

September 1999Gerald Keith (BM ’34), October 1999Robert McGlashan (BM ’31),

November 1999William A. Campbell (BM ’35),

November, 1999

1940sEvangeline Merritt (MM ’43),

January 1998Marjorie Vann (BM ’48), April 1998Janet McLean (MAS ’43), April 1998Nancy Ragsdale (MM ’44), June 1998

Erik Kessler (BM ’47), October 1998Robert Hull (BM ’39, MM ’41),

February 1999Barbara Bollinger (BM ’46),

February 1999Elliot Siegel (BM ’45), March 1999Robert Guenther (BM ’47, MAS ’48),

April 1999Robert Welch (MA ’46), July 1999Doris Wagner (BM ’40), October

1999

1950sFrank Lidral (PhD ’56), March 1998Evelyn Winfrey (MAS ’51), July 1998Rudolf Doblin (MAS ’54), December

1998John H. Davison (PhD ’59), March

1999Alvin Fulton (BM ’52, MAS ’53), May

1999

Wilbur Pursley (MAS ’50, PhD ’63),May 1999

Thomas Briccetti (BM ’57), May1999

C. Constance Wilson (MAS ’51),June 1999

George Green (BM ’52, MAS ’53),July 1999

William Baxter (PhD ’57),September 1999

Kenneth Bray (MM ’57), October 1999Rowland Roberts (BM ’49, MM ’52),

November 1999

1960sRobin Hambly (BA ’68), July 1998John Potts (MM ’66), December 1998

1980sEufrosina Raileanu (BM ’82) ,

November 1999

ence in composition and per-formance.

His book, Form in TonalMusic, a classic in the litera-ture, teaches tonal forms inhistorical context. And hispenetrating analyses of themusic of Berg and Debussy,among others, have drawn onarchival evidence from pri-mary manuscript sources.

An illustration of Dr. Green’sspecial research gifts was hisstartling discovery in 1976 ofthe mysterious George-Baude-laire text in the sketches forBerg’s Lyric Suite, the seminalrevelation that made possiblethe discovery of the secret pro-gram of this work.

“Doug’s fertile and creativemind was nowhere more ap-parent than in his counter-point classes,” recalled Rolf. “Ionce witnessed his sponta-neous composition of a quodli-bet that juxtaposed fourtunes, two of which referencedpieces that alluded to thenames of the dedicatees; thecounterpoint of thesemelodies, drawn from the Mid-dle Ages to current popularliterature, was worked outcompletely in his head and no-

tated in a matter of minutes.Doug remembered and inter-nalized as much repertoire asanyone I have ever known.”

“While his students at East-man were in awe of his formi-dable intellect and musician-ship,” Rolf continued, “theywere surely most inspired byhis deep love of learning, byhis humbleness, and by hiscomplete devotion to his stu-dents, family, and church.”

Dr. Green is survived by hiswife of 47 years, MarquitaDubach; his daughters, JessicaSalinas and Marcia Santore;his son, Antony; and his threegrandchildren.

A memorial service plannedby Dr. Green took place Sept.11, 1999, at St. Mark’s Episco-pal church in Austin, Texas.At his request, a Dixielandband performed following theservice. �said Marie Rolf, associate

dean of graduate studies andprofessor of music theory, whostudied with Green as a grad-uate student at Eastman.

His varied musical activitiesrevealed an integrated com-mand of historical musicology,theoretical analysis, knowl-edge of repertoire, and experi-

Douglass M. Green

LOUIS OUZER

Donations in memory of theseindividuals may be sent to theEastman School of Music Officeof Development and PublicAffairs, 26 Gibbs Street,Rochester, NY 14604.

In memoriam

A CD of American art songsby Gardner Read (BM ’36,MM ’37) recently was releasedby D’Anna Fortunato, voice,and John McDonald, piano.This CD spans more than 50years (1933–1985) of Read’smusic.

Laura Mann (BM ’38) has beenawarded a touring grant fromthe Virginia Commission forthe Arts for the 2000–2001season. She will present per-formances of a recital titled“In a Woman’s Voice – Musicfor the New Millennium”throughout Virginia.

A L U M N I N O T E S

1930s

1940s

Columbus Senior Musicians’Hall of Fame. This distinctionwas given in recognition forher accomplishments as aharpist and her dedication tosuch groups as the AmericanHarp Society and the Colum-

bus Symphony Youth Musi-cians Competition, which shestarted.

John Burke Armesto (BM ’49)recently had two new workspublished, Pastorale and an

At a benefit celebration andcarol sing at Ferris State Uni-versity (MI) during the 1998Christmas season, Charles Lut-ton (BM ’41) sang “Comfort YeMy People” in Handel’s Mes-siah.

Betty Philibosian (BM ’44) recently crossed the 100,000-mile mark with her motorcycle.She is no longer singing at age76, but now is involved withmaking sculptures and paint-ings in her home state of Col-orado. She had her first invita-tional one-person show lastyear.

Muriel Gundersheimer (BM ’46)recently was inducted into the

1950sThe following news is based oninformation received from July1999 to Nov. 15, 1999. Newsreceived after Nov. 15 will ap-pear in the next issue of East-man Notes.

In July, Stanley Leonard(BM ’54) presented masterclasses at Interlochen and Cen-tral Michigan University. Hispiece for large percussion en-semble, Skies, received its pre-miere in the fall at CMU. LastApril, Leonard performed hisRecitative and Scherzo for solotimpani and percussion ensem-ble at Duquesne University.

Robert Spillman (BM ’57,MM ’59) recently performedCharles Ives’ Piano SonataNo. 2 “Concord” at a facultyrecital at the University ofColorado at Boulder. His lat-est composition, All Day Meet-ing and Dinner on theGround, for four trombonesand organ, recently wasrecorded by the High-AltitudeQuartet of Colorado Springs.

Composer Katherine Hoover (BM’59) recently released a CD oforchestral works called NightSkies. She also was a guest atthe Grand Canyon Music Festi-val where she introduced a newwork for flute, native flute, andpercussion. She will be givingmaster classes in Texas andConnecticut this season.

After teaching music and Eng-lish in public schools and uni-versities for almost 40 years,most recently at a high schoolin California, Roland K. Persson(BM ’59, MM ’60) has retired.During his retirement, Pers-son plans to work with privatemusic students.

Last May, Donald Panhorst(MM ’59, DMA ’68) was saxo-

The merry pranksters in the threephotos published in the Summer’99 issue of Eastman Notes werenot hefting the Austin Bantam ontothe porch of the Phi Mu Alphahouse as previously reported. Ac-cording to those who wrote to tellthe rest of the story, the buddiesactually were helping owner HarryHoffman (BM ’40) return the littleroadster to the street.

Of course, these helpful guyswere the same friends who parkedthe car on the porch in the firstplace.

“I remember this incident verywell since at the time I was livingat 700 E. Main St. where it tookplace,” wrote Lee Fairley (MM ’41)of McLean, Va., who believes theoccurrence took place in the sum-mer of 1939.

“There was a huge porch onthat house,” wrote Ronald A. Cox(BM ’48) of Waterloo, N.Y., who atthe time was a senior at MadisonHigh School and a member of theFreddie Woolston Swing Sym-phony, which frequently rehearsedin the house.

“We parked the car on the porchthat Sunday,” recalled R. Crawford“Ray” Stahl (BM ’40, MA ’56) of En-dicott, N.Y., president of Alpha Muchapter ’39–’40, “and moved itdown to street level for Harry thenext day.”

“Harry was not at all pleasedwhen he found his car up on theporch,” wrote Charles A. Lutton(BM ’41) of Stanwood, Mich. “Hewondered who and how and didnot know for sure until the 50th an-niversary of the class of ’41.”

Lutton brought the evidence in aphoto album to the reunion. Amongthose in the photos in EastmanNotes, Lutton identified Phi Mubrothers Bill Kirkpatrick, HowardHalgedahl, Don Berky, Litch Toland,Clem Hutchinson, Bob Westervelt,Les Remsen, Bob Kaderauch, JoeBein and himself. Fairley addedJerry Vogt and Bill Nicholson to thelist, and Stahl thinks Al Vorhern wasin on the caper, too.

Thanks to Lutton, Fairley, Stahland Cox, we now know who,where, how and what happened.(No one put forth a reason why!)

Automotive prank: Wouldyou ‘car’ to hear more?

2 3W I N T E R 2 0 0 0

“Ave Maria” setting, by theNorthfield Press and the St.James Press, respectively.

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Pamela Poulin (BM ’72, MA ’77,PhD ’83) recently was electedto the College Music Society’sexecutive board and chair ofthe Music Theory AdvisoryCommittee. At the OctoberCMS meeting in Denver,Poulin participated in andchaired a panel presentation,“Enriching and Enlivening theMusic Theory Curriculum.”She also was awarded aPeabody Conservatory ofMusic faculty research grantfor continuation of her workon Handel. In addition, Poulinrecently contributed to the Re-vised New Grove Dictionary ofMusic and Musicians and theOxford Mozart Companion.

Flutist Linda DiMartinoWetherill (BM ’72) was profiledin the fall issue of FlutistQuarterly after her perform-ance at the National Flute As-sociation Convention, whereshe premiered a solo work byFruehwald.

Mark Grant (U of R BA ’74),who studied at Eastman, re-cently was awarded anASCAP-Deems Taylor Awardfor his book, Maestros of thePen, a history of Americanmusic criticism. Grant’s bookreceived a review in The NewYork Times, in which the criticcommented, “his scholarship isformidable, but more remark-able is the zest and personal-ity with which he presents it.”

Free Fancy for Solo Flute byAllen Molineaux (MM ’74) hasbeen recorded by flutist Grze-gorz Olkiewicz and releasedon CD.

In December, pianist JaniceWeber (BM ’74) performed as aguest artist in a concert titled“Magyar Millennium,” spon-sored by the Hungarian-Amer-ican Cultural Association.

Dr. Timothy Albrecht (MM ’75,DMA ’78) was one of six musi-


1960sRichard Wienhorst (PhD ’62) at-tended the national confer-ence of the Association ofLutheran Church Musiciansat the University of Richmond(VA), where two of his workswere performed by the Ameri-can Repertory Singers. Wien-horst’s Missa Brevis recentlywas reprinted, in addition tothe first publication of his set-ting of Psalm 147.

Richard Merrell (MM ’63) re-tired from his position as edi-tor and business manager ofthe Pennsylvania Music Edu-cators Association News. Dur-ing his tenure, the journalwon the MENC’s State Jour-nal Award in 1987. TheMENC also honored Merrellas a past chair of the NationalCouncil of State Editors. Inaddition, Merrell received thePennsylvania Music Educa-tors Association’s James Stew-art Distinguished ServiceAward. Merrell now devoteshimself to his consulting busi-ness, advising school districts,and Yamaha’s Music in Educa-tion program.

The McLean Mix Electroa-coustic Duo, comprised of Bar-ton McLean (MM ’65) and hiswife, Priscilla, has received amajor commission for a mil-lennium event that will go ontour in the years 2000 and2001. This project – which em-ploys creative sound, video,slides, virtual media stations,and music from the past 2000

years blended with originalmaterials – is called The Ulti-mate Symphonius 2000.

Douglas Nelson (BM ’68,MM ’69) was given the Distin-guished Teacher of the YearAward at Keene State College(NH) for excellence in theclassroom, encouragement ofindependent thinking, rapportwith students, and effectivestudent advisement. In addi-tion to his teaching position,Nelson also is the coordinatorof the music department anddirector of bands.

Harrison Powley (BM ’65,MM ’68, PhD ’75) recently waselected to a two-year term aspresident of the American Mu-sical Instrument Society. Pow-ley also read a paper at theconference of the Rocky Moun-tain Chapter of the AMS. Hecurrently is conducting re-search on the timpani concertiof Georg Druschetzki for in-clusion in an upcoming publi-cation on the subject.

In July, Paula Rothman(BM ’67) played shofar (ram’shorn) with the New York Phil-harmonic in the U.S. debut ofLament to Yizhak by Israelicomposer Dov Seltzer.

Music Coordinator and Cho-rus master of the Portland(OR) Opera Carol Lucas(BM ’68, MM ’71) was one ofthe administrators of the In-ternational Vocal Arts Insti-tute, held in Portland. Duringthe same festival, she alsocontributed as a pianist.

Music educator Guy Brown(MM ’69) was surprised by hisformer pupils with a reunionin his honor that they called “ATribute to Guy Brown: the Ul-timate Music Man.” Brown hasbeen a teacher for more than30 years, conducting the Irond-equoit (NY) Chorale, a selectgroup of high school singers.

1970sSeveral new compositions byFrederick Koch (DMA ’70) re-cently were premiered, includ-ing Antithesis for two pianos,performed by Coren EstrinKleve and Spencer Myer ofthe Cleveland Composers’Guild, and In Remembrance,performed by the ClevelandChamber Symphony.

Bibliography, History, Peda-gogy and Philosophy in Musicand Percussion, a book writtenby Geary Larrick (MM ’70), waspublished recently by EdwinMellen Press. Larrick spenthis summer playing snaredrum with the GrenadiersBand in central Wisconsin.

In the fall, Chris Vadala(BM ’71) released a new soloCD called Out of the Shadows.In addition to his duties as di-rector of jazz studies and pro-fessor of saxophone at the Uni-versity of Maryland, he guestconducted six all-state jazz en-sembles this year. He also performed and lectured atsuch conventions as the Mid-west Clinic, IAJE Convention,and MENC National Confer-ence.

See How He Dies, a choral an-them by composer Robert Lau(BM ’71), was chosen to beperformed in the Vatican afterofficials requested that Ameri-can music be represented at acertain mass. After its per-formance during communion,Cardinal Pablo Colino, musicdirector of the Vatican, re-quested that the choir sing itagain.

Russ Schultz (BM ’69) was ap-pointed dean of Lamar (TX)University’s College of FineArts and Communication.

phone soloist with the Pen-sacola (FL) Civic Band. He wasin residence as a visitingscholar at Zibo University, Peo-ple’s Republic of China, duringthe fall 1999 academic term.

2 5W I N T E R 2 0 0 0

ern Europe, and the second isa CD titled Ain’t That GoodNews, a collaboration withtenor Richard Heard.

Composer Michael Torke(BM ’84) was commissioned towrite a symphony for a part-nership between the Walt Dis-ney Company and the NewYork Philharmonic to cele-brate the millennium. Theconcert featuring Torke’s Four Seasons took place in Oc-tober.

Joyce Harrison (MA ’85) cele-brated her 10th year as an ac-quisitions editor in universitypress publishing and her sec-ond year with the Universityof Tennessee Press.

Bridget-Micheale Reischl(BM ’85) has been named tothe Kimberly-Clark Professor-ship in music at LawrenceUniversity (WI).

Jonathan Sturm (MA/MM ’85)joined the Ames Piano Quar-tet as violist this summer. Inthe fall, he became artist-in-residence at Iowa State Uni-versity.

Eric Mandat (DMA ’86), profes-sor of music at Southern Illinois University at Carbon-dale, was named the SIUC’s15th Outstanding Scholar –the university’s top prize forresearch and creative activity. This was the firsttime a musician had won theaward.

Musicologist bruce d. mcclung(MM ’87, MA ’89, PhD ’95) wasawarded tenure at the Univer-sity of Cincinnati last spring.He also was nominated for theErnest N. Glover OutstandingTeacher Award. In addition tohis teaching responsibilities,he gave papers at the Univer-sity of Colorado at Boulderand at Eastman.

Lauren Puckett (BM ’80), an ad-junct piano faculty memberfor the Hardin-Simmons Uni-

1980s


Los Angeles Times in Septem-ber. The article gave emphasisto his role as lecturer in his“What Makes it Great?” se-ries. Kapilow has delivered“informances” to audiencesacross the nation with the aimof demonstrating that classi-cal music is not in decline, butin need of a new image.

Stanley Warren (BM ’79,MM ’81) received his DMAfrom the Southern BaptistTheological Seminary in De-cember 1998, and joined thefaculty of Southwestern Bap-tist Theological Seminary inFort Worth (TX) last fall as as-sociate professor of voice. Herecently has performed astenor soloist with theLouisville Orchestra, theLouisville Bach Society, theCanterbury Choral Society,the Oklahoma City Philhar-monic, the Dallas Bach Choir,and the Fort Worth Symphony.An active member of NATS,he was a featured recitalist atthe Kentucky NATS Fall 1999Convention in Louisville andthe Texoma Region Fall 1999Conference in Denton (TX).

Organist Linda Smith (MM ’79)founded a nonprofit organiza-tion called the Genesis MusicFoundation, which currentlyincludes two programs: TheGenesis Summer Music campoffers beginning theory, piano,and singing skills to studentsage 7–14, and the GenesisMusic Travel Program takes agroup of music students over-seas every other year. Themost recent trip, in June, wasto Paris.

cians to receive a WittenbergAward from the Luther Insti-tute. The award honors serv-ices to church and society byoutstanding members of theLutheran laity or clergy.

Diana Mittler Battipaglia (DMA’75) conducted the LehmanCollege (NY) Community Cho-rus and Orchestra in a per-formance of Beethoven’s Massin C. Celebrating her 20th sea-son as pianist and director ofthe Con Brio Ensemble, Batti-paglia performed with the en-semble in various locations inNew York City. She also pub-lished an article titled “An Un-believable Credo” in the winter1999 edition of Choral Cues. InAugust, Battipaglia performedin Vienna’s Karajan Center aspart of a concert sponsored bythe Orpheus Trust, a nonprofitorganization that attempts toreturn to Austria the works ofseveral thousand Austrianmusicians, composers, and mu-sicologists who were forced toflee during the Nazi regime.Battipaglia played works writ-ten by her father, Franz Mit-tler, who, like many emigres,dreamed of bringing his musichome.

Ten new choral works byBradley Nelson (MM ’75, DMA’75) were published in 1999.Nelson’s music has been per-formed in America and abroad.He recently started his ownWeb publishing company calledGladde Music Publications.

John Serry (BM ’75, MM ’91)recently appeared as artistand host at two “Jazziz Pre-sents the Key Players” events,launching a live showcase andcompetition series that he isproducing for Jazziz magazineat festivals, clubs, and concertvenues.

Composer, conductor, and com-mentator Robert Kapilow(MA ’77) was profiled in The

versity School of Music (TX)since 1995, joined the facultypermanently as an instructorof music last fall.

Over the summer, NationalPublic Radio broadcasts in-cluded works by Dan Locklair(DMA ’81) on programs suchas Performance Today andWith Heart and Voice. Twoworld premieres of Locklair’sworks – one commissioned bythe American Guild of Organ-ists’ Region IV Convention –took place last summer aswell. Locklair also published awork for flute and organ titledSonata da chiesa. In August,Locklair was recognized bythe North Carolina Arts Coun-cil’s Artist Fellowship Pro-gram 1999–2000.

Soprano Teresa Ringholz(BM ’81, MM ’83) recently per-formed the leading role in aSwedish production of Gluck’sAlceste. A recording of her per-formance was released soonafter, winning an enthusiasticreview from Gramophonemagazine.

This spring, Jane Adler(BM ’82, MM ’84) will sing theMozart Mass in C minor atthe Cincinnati May Festivalwith the Cincinnati Sym-phony. She also will sing theBrahms Requiem with theNew Haven Symphony.

William Eddins (BM ’83,MM ’86) guest conducted two“TWA Summerfare” concertswith the Kansas City Sym-phony. Eddins continues hiswork as a pianist and cham-ber musician in addition tobeing the resident conductorof the CSO, a position hebegan in September.

Pianist Pam Howland(DMA ’84) recently releasedtwo recordings. The first is acompilation of Christmasmusic from Eastern and West- SEE NEXT PAGE ➧

➧ FROM PREVIOUS PAGE music at Bloomsburg (PA)University. He also served asan adjudicator for the Penn-sylvania State Music TeachersCollegiate Piano Competitionand the First PhiladelphiaPiano Competition.

Marimbist Ingrid Gordon(BM ’92) performed contempo-rary music on a concert tour ofIllinois last October withflutist Karen De Wig. Togetherthey form the duo Kesatuan,which performs a large reper-toire of original, commissionedworks. Their debut CD will bereleased in the spring.

Music director of the Oakland(CA) Jazz Choir Julie Ford(MM ’92) was featured in Ex-press magazine for her inno-vative work with the choir asa jazz medium.

John Milbauer (BM ’92) hasbeen appointed assistant pro-fessor of piano at HumboldtState University in Arcata,CA.

Marilyn Nonken (BM ’92) re-cently completed her PhD inmusicology from ColumbiaUniversity. A pianist specializ-ing in new music, she was fea-tured as a soloist in Buffalo(NY), where she performedCharles Wuorinen’s SecondSonata, Tristan Murail’s LaMandragore, and studentworks. She also premiered AGlimpse Retraced, a pianoconcerto written by her hus-band, Jason Eckardt. She ap-pears with Ensemble 21, theWashington Square Contem-porary Music Society, and thesaxophonist Taimur Sullivan.Nonken soon will premiereworks by Milton Babbitt andJeff Nichols in a program ti-tled “Babbitt and Beyond/Fists of Fury” for a tour of theEast Coast.

John McVeigh (BM ’93) madehis Metropolitan Opera debut

in Turandot in 1998 and in1999 sang the role of LittleBat in Susannah at the Metro-politan premiere. He has sungPartenope and Ariodante atthe New York City Opera andat Glimmerglass Opera, andArbace in Idomeneo at SantaFe Opera. He will sing the roleof Will Tweedy in the worldpremiere of Carlisle Floyd’sCold Sassy Tree at the Hous-ton Grand Opera, the title rolein Candide at the AustinOpera and in Acis and Galateain 2000 at Glimmerglass.

Yayoi Uno Everett (PhD ’94) wasappointed assistant professorof composition-theory at theUniversity of Illinois School ofMusic.

The Elm City Ensemble ofNew Haven, CT, featuring cel-list Rebecca Patterson (BM’94), recently was awarded thesilver medal in the third In-ternational Osaka ChamberMusic Festa Competition. Thisis not the first honor for theensemble, which also took firstand grand prizes in severalcompetitions in recent years.In addition, the ensemble justfinished a CD that includes apremiere work, written byEzra Laderman.

Composer Kevin Putz (BM ’94,DMA ’99) was chosen frommore than 300 applicants asthe winner of the 1999 BarlowInternational Orchestra Com-petition. In addition to a mon-etary award, Putz has beencommissioned to write a workfor performance by the Cincin-nati and Utah Symphony Or-chestras.

Pianist Marcella Branagan(DMA ’95) performed as asoloist for the Jamestown(NY) Concert Association, thePadre Martini Series inSteubenville, OH, and theFriends of Vienna Society inBuffalo, NY. An article she


A founder of the Portland(ME) Chamber Music Festival,Jennifer Elowitch (BM ’88) or-ganized the festival’s sixth an-niversary season, held in Au-gust.

Soprano Eileen Strempel(BM ’88) performed an inter-national program of art songsto benefit the Syracuse Chil-dren’s Chorus. Strempel sangthis concert as a show of grati-tude to the choir’s director,who had supported her musi-cal ambitions when she was achild.

Jeffery Watson (MM ’88) wasnamed executive director ofthe Capitol Hill Arts Work-shop, a community arts insti-tute located in Washington,D.C. Watson also continues toplay the piano; his upcomingconcerts include a perform-ance for the crown prince ofNorway at the embassy.

Having received a grant fromthe Alexander von HumboldtFoundation, musicologist IvanRaykoff (BM ’89) will completehis dissertation in Berlin. Healso wrote a chapter for aforthcoming book titled PianoRoles, a book that explores therole of the piano in film history.

Paulina Zamora (MM ’89) isnow an assistant professor oftheory and piano at a univer-sity in Medellin, Colombia.

Peter Lewis (BM ’90) is thenew full-time music ministerat St. Mark’s EpiscopalChurch in Marco Island, FL.Lewis, who began this positionin October, is planning to in-crease the size of the adultchoir and start a youth choir

1990s

that will be open to all chil-dren in the community.

Deborah Imiolo-Schriver (BM’90) now teaches Orff-Schulw-erk Level I (teacher trainingcourse) at the State Universityof New York at Plattsburgh.She currently teaches at Her-itage Heights ElementarySchool in the Sweet Home(NY) Central School District.

Rosemary Chancler (MM ’90,DMA ’94) has accepted an ap-pointment as assistant profes-sor of piano at the Universityof Wisconsin at Oshkosh.

Music educator Patricia Grimes(BM ’91, MM ’97), a teacher atWest Irondequoit (NY) HighSchool, founded a chapter ofthe Tri-M Society for her stu-dents a few years ago. Themusic honor society, which fo-cuses on community service,wanted to support the pro-gram “Time for Bows” – apartnership between Eastmanand Rochester City School#17. The students planned adance marathon underGrimes’ guidance and raised$800 to donate to Eastman forthe “Time for Bows” project.

Jonita Lattimore (BM ’91) wonthird prize in the IndianaOpera Theater’s MacAllisterAwards. The final concert ofthe professional division com-petition was later broadcastby PBS.

Gregory Magie (BM ’91) is serv-ing as the orchestral conduc-tor and visiting professor atPomona (CA) College. He alsois serving as assistant conduc-tor and chorus master for thePasadena Lyric Opera, wherehe conducted Carmen last sea-son. This season, Magie isscheduled to conduct TheMagic Flute and La Bohème.

James Douthit (DMA ’92) be-came an assistant professor of


wrote was published inClavier magazine.

In addition to his duties as as-sistant professor of musicologyat the University of Ottawa,Dillon Parmer (PhD ’95) has anactive performance schedule.Last year, he appeared asguest soloist in productions ofBach’s Mass in G Major,Mozart’s Requiem, and Orff ’sCarmina Burana, among sev-eral other engagements.

Elizabeth Calleo (MM ’96) cur-rently is a resident artist inPhiladelphia at the Academyof Vocal Arts, where she pur-sues an active career in operaand oratorio. Recent roles in-clude Despina in Così fan tutteand Adele in Die Fledermaus,as well as solo parts inMozart’s Mass in C Minor andHaydn’s Die Schopfung. Shewas a prize winner in the Gia-rgiari Competition in 1999and a finalist in the New YorkOratorio Competition and theInternational Mozart Compe-tition. In October, she receiveda favorable review in The NewYork Times for her role as St.Michael in La Morte di SanGuiseppe by Pegolesi. Thiswas her debut with the NewYork Collegium.

Michael Pisani (PhD ’96) re-cently won the Kurt WeillFoundation Award for the mostoutstanding article on 20th-century music theater andopera (1997–1998). The article,“A Kapustnik in the AmericanOpera House: Modernism andProkofiev’s Love for Three Or-anges,” has its origins in aterm paper written for a courseat Eastman taught by Profes-sor Kim Kowalke. It was pub-lished in the Winter 1997 issueof Musical Quarterly.

Mary E. Frandsen (PhD ’97) re-ceived an NEH SummerStipend, which allowed her toresearch a forthcoming book

about the patronage of Italianmusic in 17th-century Dres-den. A related article of herswas published in the Journalof the Royal Musical Associa-tion.

D.J. Sparr (BM ’97) was one offive finalists to receive an hon-orable mention in the ThirdInternational Rodrigo RieraGuitar Composition Competi-tion. Sparr was recognized forhis piece for guitar and cham-ber orchestra, called GuitarFolio.

In September, Russell Currie’s(MM ’97) one-act opera, Cal-iban, was performed by theVital Theatre Company in NewYork City. His Poe Trilogy de-buted in Prague this summeras part of the international fes-tival of Edgar Allen Poe called“Illustrations of a TormentedMind.” Currie’s Mackintosh isa work in progress that tellsthe story of two Scottish artistscaught between the Victorianand modern eras. Excerptswere presented in May at theUniversity of Glasgow by theNew Opera Theatre Ensembleof Scotland during BBC MusicLive.

A member of the Civic Orches-tra of Chicago, cellist Una O’Ri-ordan (BM ’98) was pictured ina feature article about the or-chestra in the July/Augustissue of Symphony magazine.

Barbara Showalter (MM ’98)was appointed fourth horn ofthe Maryland Symphony andassociate principal of the An-napolis Symphony. She alsowas runner-up for principalhorn of the Harrisburg (PA)Symphony.

Greg Spears (BM ’99) receiveda Fulbright Scholarship tostudy composition at the Dan-ish Royal Academy in Copen-hagen for the 1999/2000 aca-demic year.

2 7W I N T E R 2 0 0 0

Two Eastman alumni partici-pated in the sixth annual Roy-croft Chamber Music Festivalthis June: Eugene Gaub(DMA ’89) and Paul Hartley(BM ’57, MA ’60). John Fullam,who was once a member ofEastman’s clarinet faculty,also participated.

Pianist Edward Wood (BM ’64)recently performed in a pro-gram sponsored by the Na-


Duos& Trios

tional Association of Com-posers at Christ and St.Steven’s Church in New YorkCity. One of the featuredworks in the program was Incantations for oboe andpiano, by Mary Jeanne van Appledorn (BM ’48, MM ’50,DMA ’66).

Percussionists Ruth Cahn (BM’68) and Bill Cahn (BM ’68) par-ticipated in the artist-in-resi-dence program at the ShowaCollege of Music in Kanagawa,Japan. The program consistedof workshops, master classes,private lessons, rehearsals,and a gala concert.

The percussion group Nexus,comprised of Bob Becker(BM ’71), Bill Cahn (BM ’68),John Wyre (BM ’63), and oth-ers, was selected by profes-sional and student percussion-ists from around the world tobe inducted into the Percus-sive Arts Society’s Hall ofFame at the 1999 Interna-tional Convention in Colum-bus, OH. The 1999/2000Nexus season includes ap-pearances as guest artistswith the Chicago and Min-nesota Orchestras, as well assolo recitals in Brazil, U.S.,and Canada. Nexus’ new com-pact disks include Requiem/Music of Toru Takemitsu andGarden of Sounds.

Twenty composers and stu-dent composers with a “strongconnection to Rochester” re-cently were invited to partici-pate in the Roman CatholicDiocese of Rochester’s “JubileeCompetition.” Cary Ratcliffe(BM ’75, DMA ’89) won withhis hymn Sing of Our God. Dr.H. Ricardo Ramirez (DMA ’89)won in a different categorywith his entry, Te Deum.

A new chamber music ensem-ble called the Ortelius Ensem-ble was formed this year in

Greg Wilder (MM ’99) wasawarded first prize for hisPoems of Our Climate, fortenor and piano, in the 13thAnnual Young Composer’sCompetition for 1999 atAustin Peay State University.

Dominique McCormick (BM ’97)recently was accepted to theapprentice program at theSarasota Opera.

In his solo debut album, or-ganist Matt Curlee (BM ’99)juxtaposes his own transcrip-tion of the last two move-ments of Mahler’s SymphonyNo. 5 with Bach’s GoldbergVariations. He plays the Bachon the famous Flentrop organat Harvard University, andthe Mahler on the highly or-chestral Reuter organ atShadyside PresbyterianChurch in Pittsburgh.

Katia Giselle Escalera (BM ’96,MM ’99) participated in theMerola Opera Program, an 11-week training program at theSan Franscisco Opera. Al-though there are no prizesgiven at the program’s finalconcert, Escalera was hailedas “one who impressed” bothin her ensemble and solosinging.

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➧ FROM PREVIOUS PAGE dents. She hopes that the bookwill help close a gap in stu-dent viola literature.

David W. Rogers (BM ’89,PhD ’97), and Corey Holt(MM ’88) currently are on theboard of directors of the an-nual Bonk Festival of NewMusic in Tampa, FL. Over thepast eight years, the BonkFestival has grown from anobscure local event into aprominent regional celebra-tion of contemporary classicalmusic. Several Eastmanalumni have been involvedwith the festival, includingPaul Reller (MM ’86), Eric Lyon(MA ’88) – two of the founders– and Conrad Harris (BM ’91),whose performance on violinin the 1999 festival recentlywas released on a commemo-rative CD. The emphasis of

the festival is on contempo-rary concert repertoire thatlies outside of the main-stream, often incorporating in-novative use of modern tech-nology.

Two graduates recently joinedthe Portland (ME) SymphonyOrchestra. Leah Givelber(BM ’96) is now first violinist.The PSO’s new full-time direc-tor of education is MichaelKosmala (BM ’94).

Vocalist Aileen Bramhall (BM’97) and saxophonist MelissaReiser (BM ’98) performed in arecital for the Fondation desEtats-Unis in Paris. Bramhalland pianist Robert H. Smith Jr.(MM ’98) were selected to per-form in a series titled “EarlyMusic of the Twentieth Cen-tury: Songs by Youthful Com-

posers.” In addition, Bramhallperformed a recital at Concor-dia College (NY).

A quartet featuring FredericBednarz (MM ’99), Judith Lee(BM ’99), William Hakim(BM ’00), and Pierre-Alain Bou-vrette (MM ’99) performed inthe Ninth Festival Interna-cional de Musica in Costa Ricalast summer. The quartet re-ceived a review for their per-formance in San Jose thatpraised their playing as “clearand communicative.”

The premiere of Paul Stuart’s(MM ’92) Sonata for Violinand Piano was performed byEastman CED faculty mem-bers Boris Zapesochny and AllaKuznetsov last summer in Kil-bourn Hall where it was en-thusiastically received. �


Appearing as a teacher, clini-cian, and soloist, John Beckperformed at the 16th ForumInternational des Percussionsen Auvergne, France, and theKOSA International Percus-sion Workshop at the CraneSchool of Music, SUNY Pots-dam. Beck was honored re-cently by the Arts and CultureCouncil of Greater Rochester,receiving their LifetimeAchievement Award in October. He also was inductedinto the Percussive Arts Society Hall of Fame. In addi-tion, Beck’s In the Pocket, apiece for percussion quartet,was published by KendorMusic.

Visiting professor of musicol-ogy Jennifer Brown was in-volved with a production at

McGill University of her edi-tion of Cavalli’s La Callisto.As president of the SouthernChapter of the American Mu-sicological Society, she deliv-ered a talk at the spring con-ference called “Strategies forSuccessful National Confer-ence Presentations.” She alsorecently published a new bookin her musicological book se-ries, a collection of essays titled Regarding Fauré.

The Eastman Brass, which in-cludes Don Harry, Peter Kurau,John Marcellus, James Thomp-son, and Douglas Prosser (pro-fessors of tuba, horn, trom-bone, and trumpet), touredMichigan in October. Duringthe tour, the group performedat Interlochen, where East-man graduate Byron Hanson

(BM ’63, MM ’65) serves as the head of the music depart-ment.

Roger Freitas, assistant professor of musicology, gave apaper titled “Playing the Can-tata” at the meeting of theNew York-St. Lawrence Chapter of the AMS. He wasinvited to deliver the lectureagain at the national AMSconvention which took place inthe fall.

Richard Grunow, professor ofmusic education, presentedworkshops during July at theState University of New Yorkat Buffalo, the University ofNew Mexico at Albuquerque,and Duquesne University inPittsburgh, PA, as well as atEastman. In the fall he trav-

eled to Portugal and Germanyto present seminars on JumpRight In: The Instrumental Se-ries. In November he gave thekeynote address for the “EarlyCareers Conference” spon-sored by the Michigan MusicEducators Association atMichigan State University. Healso presented “A Comprehen-sive Curriculum for RecorderInstruction” for the New YorkState School Music Associa-tion in Rochester.

John Hunt, associate professorof bassoon, gave a series of master classes and a performance at the Inter-lochen Arts Academy in No-vember.

Associate Professor of Ethno-musicology Ellen Koskoff, in ad-


The Netherlands. It includespianist Vaughan Schlepp (BM’77, MM ’79), violist JulieBarnes, and clarinetist NancyBraithwaite (BM ’75).

Michael Davis (BM ’83) re-cently completed his thirdworld tour playing trombonewith the Rolling Stones. Hiscompany, Hip-Bone Music, re-cently released its fifth CD, ti-tled Bonetown. The recordingfeatures Davis and Los Ange-les-based bass-trombone vir-tuoso Bill Reichenbach (BM’71) with other musicians onpiano, bass, and drums.

Linda Snedden-Smith (BM ’63),with the help of her husband,Bruce Smith (BM ’62, MA ’65),has published a scale book forintermediate-level viola stu-

F A C U L T Y N O T E S

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dition to her duties with thenew Eastman Colloquiumcourse and the gamelan angk-lung, continues to work on theGarland Encyclopedia ofWorld Music, Vol. 3. She alsois copy editing her own book,Music and Identity in Lubavitcher Life.

Kim Kowalke, professor of mu-sicology, is on leave of absence,devoting full attention to theKurt Weill Centenary. As pres-ident of the Kurt Weill Foun-dation of Music, he is organiz-ing festivals, symposia, andconferences in Berlin, London,New York, Charleston (SC),and New Haven (CT), and willbe lecturing in connectionwith these events.

Peter Kurau, associate profes-sor of horn, and his wife,Pamela Kurau, CED senior as-sociate in voice, appeared assoloists at the First Sympo-sium on Music for Horn andVoice in Germany in Septem-ber. They were the only Ameri-can performers invited to par-ticipate.

Musicology professor RalphLocke was awarded anASCAP-Deems Taylor Awardfor outstanding print coverageof music last fall. His article,titled “Cutthroats and CasbahDancers, Muezzins and Time-less Sands: Musical Images ofthe Middle East,” was pub-lished in an issue of Nine-teenth-Century Music as wellas in a book called The Exoticin Western Music. This is thethird time that Locke has re-ceived this honor; he receivedASCAP-Deems Taylor awardsin 1992 and 1996.

Patrick Macey, associate pro-fessor of musicology, was inFlorence to give a paper onSavonarola at a conferencemarking the quincentenary ofhis death. In the spring hetraveled weekly to Harvard to

teach a graduate seminar onJosquin. His book BonfireSongs: Savonarola’s MusicalLegacy received a favorablereview in the Times LiterarySupplement of London. His ar-ticle on Josquin’s biographyfor the revised GroveDictionary is now complete,and in September, his editionof Savonarola Laude, Motetsand Anthems was published.

Alfred Mann, professor emeri-tus of musicology, gave aweeklong doctoral seminar onBach and Handel at the Uni-versity of Iowa. He also re-ceived the DistinguishedAchievement Award at theLongy School of Music’s grad-uation ceremony, where he de-livered the commencement ad-dress. Mann now lives in FortWayne, IN.

Professor of Voice WilliamMcIver has been nominated tobecome president of the National Association of Teach-ers of Singing. Recently, hegave a series of master classesfor the NATS Intern Programin Washington. McIver alsochaired a session at theMTNA convention in Los Angeles, examining the skillsnecessary for giving successfulmaster classes. In addition,he has been invited to make a presentation at theEastern Division ACDA Con-vention.

Voice professors WilliamMcIver and Carol Webber co-taught a summer course invocal pedagogy for profes-sional singers and teachersfrom across the country. Web-ber also participated in East-man’s Arts Leadership Pro-gram co-teaching a perform-ance class with David Higgs,professor of organ. The course,called “Compelling Communi-cation,” was designed to createfocus and confidence in per-formances from degree

recitals to “informances” andcommunity outreach programsof various kinds.

Associate Professor of Musi-cology Virginia Newes retiredlast spring after eleven yearsat Eastman. She has moved toBoston, where she is doingpart-time teaching and re-searching for an upcomingbook titled Questions of Genrein French Secular Song, 1350-1420.

Rebecca Penneys finished her21st consecutive summer sea-son at Chautauqua Institutionas head of the piano depart-ment. She is pianist and co-founder of the recently formedChautauqua Chamber MusicSociety. Penneys also partici-pates in the New Arts Trio,which released two CDs thisyear, both nominated forGrammy Awards. An all-Brahms solo CD will be re-leased in March. In addition,she performed in concerts inthe United States (includingthe Distinguished Artist Se-ries in Iowa City) and Aus-tralia throughout September.In Rochester she performed inthe Salon Concerts at theRochester Medical Academy.Penneys also was interviewedon the PBS talk show The In-finite Mind.

Professor Emerita of Musicology Kerala Snyder or-ganized a tour of NorthernEurope for the Eastman organdepartment, the purpose ofwhich was to trace the histori-cal progression of organ building.

Augusta Read Thomas, associateprofessor of composition, par-ticipated in the Lancaster(OH) Festival, conductingthree of her works at one in-formal afternoon concert andrehearsing with the orchestraas they prepared her PassionPrayers in an “open re-

hearsal.” A reviewer from The Columbus Dispatch calledThomas “a charming but in-tense composer” who pre-sented a concert that “couldnot be nit-picked.”

Mitchell Robinson, assistantprofessor of school and com-munity education, was the1999 Network individual re-search award winner as a re-sult of his dissertation re-search. This award had beenavailable from the organiza-tion of performing arts schoolsfor five years but has beenawarded only twice. Robinsonreceived unprecedented per-fect scores from two of the re-viewers. He received a plaque,a certificate suitable for fram-ing, and a monetary prize atthe Network annual confer-ence in October. The audienceincluded arts administratorsfrom around the world.

As part of a series called“Eastman at Dickinson” lastFebruary, Jürgen Thym, profes-sor of musicology, gave severalclasses in the German andmusic departments, as well asa pre-concert talk, at Dickin-son College in Carlisle (PA). InAugust he lectured on “ACycle in Flux: Schumann’sEichendorff Liederkreiss,Opus 39” at the second confer-ence of the InternationalWorld Music Association. Hewas elected to the advisoryboard of that group. His paperwill be published in the con-ference proceedings, scheduledto appear in 2001.

Associate Professor of Musicology Gretchen Wheelockgave lectures recently atBrandeis University, Yale Uni-versity, and at a RochesterPhilharmonic pre-concert en-gagement. Wheelock also com-pleted a chapter for a forth-coming book, Piano Roles,which traces the history of thepiano in society. �

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Musicology Ph.D candidate An-tonius Bittman lectured at a re-cent meeting of the SUNY-Fre-donia chapter of the AMS, fo-cusing on the works of MaxReger. He delivered a modifiedversion of that lecture to theRochester chapter of the Ameri-can Guild of Organists as well.In addition, Bittman awaits thepublication of a similar paperthat he delivered to the Inter-nationaler Reger-Kongress inKarlsruhe, Germany. He wasgiven the Charles Warren FoxMemorial Award from East-man for his work on Reger.

Marimbist Gwendolyn Burgettwas named the winner of theKeiko Abe Special Prize dur-ing the Second World Marim-ba Competition held in Okaya,Japan. Burgett was one of 73competitors at the event.

Doctoral candidate Carol Freier-son-Campbell was granted aDuPont Fellowship at SweetBriar College in Virginia. Thefellowship is awarded annuallyto a doctoral student, offering acombination of mentored col-lege teaching experience andsupport for the writing of therecipient’s dissertation. The fel-lowship, which was arrangedby Rebecca McNutt (MM ’76,DMA ’85), chair of the musicdepartment at Sweet BriarCollege, is the first to beawarded to a doctoral candi-date in the field of the arts.

In addition to his teaching re-sponsibilities at Eastman,PhD candidate Rob Haskinswrites reviews for the Ameri-can Record Guide as well asliner notes for several recordcompanies.

Sophomore horn student MarkHoughton received second-place honors among 60 con-testants in the University Di-vision of the 1999 AmericanHorn Competition. He also re-ceived second place in the Jon

Hawkins Scholarship Compe-tition sponsored by the Inter-national Horn Society.

Kozue Jinnouchi won first prizein the Chautauqua Interna-tional Piano Competition lastAugust. Jinnouchi, a seniorthis year, also performedRhapsody in Blue for the 15thanniversary of the Mt.Lebanon High School ConcertSeries in Pittsburgh.

Jeongsoo Kim, a DMA candi-date in piano, was hired bythe Finger Lakes CommunityCollege (NY) to teach piano,piano lab, and music theory.

Musicology PhD candidateStan Pelkey recently joined thefaculty at Gordon College(MA), where he teaches musichistory and world music,among other responsibilities.Pelkey also contributes tolocal musical endeavors byserving as director of music atthe Covenant CommunityChurch in Peabody, MA. Hehas given lectures at confer-ences sponsored by such or-ganizations as the NYS Asso-ciation of European Histori-ans, the Maryland HandelFestival, and the St. LawrenceChapter of the AMS.

In November, doctoral candi-date Marina Lomazov, a stu-dent of Natalya Antonova,successfully completed the rig-orous requirements for anArtist’s Certificate (formerlythe Artist’s Diploma) fromEastman. She is the firstpiano student to achieve the

School’s highest performancehonor since 1981 – and thefirst Eastman student to re-ceive the coveted certificatesince 1990. Lomazov recentlywas the featured artist in abenefit concert for Rochester’sTemple Sinai, and has an en-gagement to perform with theRochester Philharmonic Or-chestra this summer.

Musicology student MarjorieRoth traveled extensivelythroughout Europe while com-pleting her Fulbright-spon-sored work in Vienna. In Sep-tember, she also finished herDMA.

Pianist Richard Shuster per-formed in chamber musicrecitals at the FulbrightMusic Gala in Berlin, Ger-many. He also performed solorecitals at the Franz LisztMemorial Museum and theLiszt Academy in Budapest,Hungary. Other recent per-formances include guest artistconcerts at Elmhurst College(IL), Ferris State University(MI), Indiana State Univer-sity, and Alfred University. Inaddition, Shuster has partici-pated in “Music at St. Mark’s”in Marco Island (FL) and inthe “Eastman at WashingtonSquare” series.

Violinist Jassen Todorov re-leased a recording of Brahmsviolin sonatas that received areview in The Strad. After afavorable review, the critic re-marked that Todorov is “aplayer to watch.” Todorov alsoplayed the Mendelssohn Vio-

lin Concerto with the AtlanticClassical Orchestra, whoseseason was highlighted byseveral Eastman students andalumni. Robert Weiner (BM’70) played the Strauss Con-certo for Oboe. Other membersof the orchestra include RobertHagreen (BM ’66), horn; TyeRiter (BM ’66), principal trum-pet; and Martha Gordon Oestre-ich (MM ’68), flute and librar-ian.

Doctoral student in music the-ory Jocelyn Neal recently hadan article titled “Inside theMusic: Research and Theory”published in Imagine, a publi-cation at Johns Hopkins Uni-versity.

Doctoral candidate ElizabethWells gave a paper onShostakovich’s Lady Macbethof Mtsensk at the AMS St.Lawrence Chapter meeting,winning the student paperprize. Wells gave a repeat per-formance of that paper at theFeminist Music and Theory 5Conference in London. To sup-port her dissertation work,Wells received two researchgrants from the University ofRochester’s Susan B. AnthonyInstitute for Gender andWomen’s Studies, the PresserAward and the Elsa T. John-son Fellowship. In addition toher scholarly endeavors, Wellshas served as production stagemanager for a number ofEastman Opera Theatre pro-ductions, including the mostrecent one, Gilbert and Sulli-van’s Patience.

Marguerite Lynn Williams wasone of three winners of theprestigious Anne AdamsAward in June 1999 at theNational Competitions spon-sored by the American HarpSociety. This is the secondyear Williams was awardedthe Anne Adams Award, a$2,000 scholarship for full-time study of the harp. �


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

Kozue Jinnouchi won first prizein the Chautauqua Interna-tional Piano Competition.

Take the Initiative2000

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S U M M E R S E S S I O N A T E A S T M A N

Eastman faculty frequently performand lecture around the country andaround the world. Here is asampling:

Jonathan BaldoAssociate professor of Englishand humanities department chair

April 6–8, Montreal, presenting apaper, “A Cast of Thousands:Parliamentary Representationand Elizabethan Theatre,”Shakespeare Association ofAmerica

Charles CastlemanProfessor of violin

Feb. 22, Century Club, New York City,

with Raphael TrioMarch 8, Vienna, Austria, Amnesty

International benefit concert withRaphael Trio

March 10, Schaerding, Austria, withRaphael Trio

March 13, Venice, Italy, withRaphael Trio

March 17, Prague (Czechoslovakia)Academy, solo master class

March 18, guest soloist with Prague(Czechoslovakia) Orchestra

March 19, Guildhall School, London,solo master class

March 24–26, soloist, InternationalBartok Society, Austin, TX

March 28, master class, Universityof Houston, TX

March 29, master class, Texas Tech

April 1–3, solos, master classes,University of Nevada, Las Vegas

April 27, master class, Interlochen(MI)

April 27–30, guest soloist, TraverseCity (MI) Orchestra

May 21–27, Richmond (VA) Festival,with Raphael Trio

June 4, 6, 8, 11, 12, Sitka (AK)Festival

June 16–17, Barge Concerts,Brooklyn, New York City

Sept. 24–Oct. 7, FuefukigawaFestival, Japan

Oct. 15, guest soloist, Olympia (WA)Symphony

Nov. 4, solo master classes,Converse College, SC

Susan ConklingAssociate professor of musiceducation

Feb. 3–6, American Association forHigher Education, New Orleans,LA

Feb. 16–19, American ChoralDirectors Association, Baltimore,MD

March 8–11, Music EducatorsNational Conference

May 26–28, Allerton Retreat forChoral Music Education,Monticello, IL

June 18–30, Pew NationalFellowship Program for CarnegieScholars, Palo Alto, CA

July 10–14, International Society for Music Education

Faculty engagements

SEE NEXT PAGE ➧

Eastman GuitarfestJune 22–27Nicholas Goluses, artistic di-rector, with Raphaëlla Smits,Stephen Robinson, AntigoniGoni, and Steve Thachuk

English for Non-native Speakers June 24–August 4Tom Bauer

Adult Chamber Music Workshop June 25–July 1Louis Bergonzi, the YingQuartet, and Elinor Freer

Basic Web Site ConstructionJune 26–30Ciro Scotto

Music for Special LearnersJune 26–30Leslie Hunter and BryanHunter

The Practical HarpistJune 26–30Kathleen Bride with guestSarajane Williams

Jazz Guitar WorkshopJune 26–30 or July 3–7Gene Bertoncini

Developing PerformanceStandards for the NationalStandardsJune 26–July 7Richard Grunow

Measurement and EvaluationJune 26–July 7Richard Grunow

History and Philosophy of Music EducationJune 26–July 14Mitchell Robinson

Advanced Web Site and Multimedia ContentJuly 3–7Ciro Scotto

Kimberley Project: Teaching in South AfricaJuly 3–August 18Kathy Robinson, director

Jazz Teachers WeekendJuly 7–9Fred Sturm

Tritone Jazz Fantasy CampJuly 9–15Fred Sturm, Jim Doser, andguest faculty

Dalcroze for Music TeachersJuly 10–14Monica Dale

Music Preservation WorkshopJuly 10–14Alice Carli

Multimedia Using Macromedia DirectorJuly 10–14David Headlam

Choral Conducting: Artistry,Vocal Pedagogy, MusicianshipJuly 10–14William Weinert, RobertMcIver, and Monica Dale

Aesthetic Education InstituteJuly 10–15Tracy Cowden, coordinator

Introduction to Research in Music EducationJuly 10–28Louis Bergonzi

SEE NEXT PAGE ➧


S U M M E R S E S S I O N A T E A S T M A N

Commission, Nova Scotia,Canada

July 17–22, International Society for Music Education WorldCongress, Edmonton, Alberta,Canada

John GrahamProfessor of viola

Jan. 29, recital, Kumho Museum ofArt, Seoul, Korea

Feb. 17, master class, ClevelandInstitute of Music

March 5, recital, Arizona StateUniversity, Tucson

Aug. 9–18, Eastman Seminar,Hamamatsu, Japan

Richard GrunowProfessor of music education

Feb. 2, “Jump Right In: TheInstrumental Series,” in-serviceworkshop, Fox Chapel, PA

Feb. 3–4, instrumental workshop,Duquesne University, Pittsburgh,PA

March 8–11, lecture, MusicEducators National Conference

April 29, presentation, “Assessingthe National Standards: PuttingMusical Criteria in the GradingProcess,” Organization of American Kodaly Educators,Seattle, WA

June 26–July 7, Measurement andEvaluation Seminar, Eastman

July 17–21, Instrumental MusicWorkshop, Eastman

July 24–Aug. 4, Instrumental MusicWorkshop, Measurement andEvaluation Seminar, DuquesneUniversity, Pittsburgh, PA

Nelita TrueProfessor of piano and keyboarddepartment co-chair

Feb. 1, recital,Grand Valley StateUniversity, Allendale, MI

Feb. 27–28, recital and master class,Longy School of Music,Cambridge, MA

March 20–23, recitals, lectures andmaster class as part of residencyat Louisiana College, Pineville, LA

March 27, panelist, MTNA nationalconvention, Minneapolis, MN

May 14–16, master classes, VanCliburn Institute, Fort Worth, TX

May 18–20, recital, lectures, masterclasses, Wright State University,Dayton, OH

May 27, recital at the SuzukiAssociation Conference,Cincinnati, OH

July 23–Aug. 6, recital, lectures,master classes at InternationalWorkshops, Graz, Austria

Aug. 9–12, master classes,University of Nevada, Las Vegas

Barry SnyderProfessor of piano

Jan. 27, recital, Weill Hall, New YorkCity, with Sylvia Rosenberg

March 1, recital, Weill Hall, NewYork City, with Sylvia Rosenberg

Faculty engagements➧ FROM PREVIOUS PAGE

Chamber Music Discovery (for youth and adults)June 25–July 1Louis Bergonzi, the YingQuartet, and Elinor Freer

Jazz Studies Program (for vocaland instrumental students)June 25–July 8Fred Sturm, director

Eastman-Hochstein Guitar CampJune 26–30John Wiesenthal and PetarKodzas, directors

Eastman Bass Day (for youth and adults)July 1James VanDemark andJeffrey Campbell

Music Horizons ProgramJuly 1–22Ruth Cahn, director

High School Music TechnologyWeekendJuly 7–9David Headlam, director

Programsfor School-AgeStudents

High School Jazz ComposersWeekendJuly 7–9Fred Sturm, director

Eastman International PianoCompetition and FestivalJuly 14–23Douglas Humpherys, director

High School Wind EnsembleProgramJuly 16–22Jim Doser & Charles VanBuren, directors

CED Harp Workshop (for youth and adults)July 24–28Nan Gullo, director

Middle School Camps (grades 6–8, non-residential)June 26–July 7Strings: Robert Gardner,directorBand: Jim Doser and CharlesVan Buren, directorChoral: Karie Templeton,director �

For more information on theseand other summer programsat Eastman, call 1-800-246-4706 or visit our Web site atwww.rochester.edu/Eastman

➧ FROM PREVIOUS PAGE Continuo Playingfor KeyboardistsJuly 21–25Arthur Haas

Developing Children’s ChoirsJuly 24–28Judith Willoughby

Teaching High School TheoryJuly 24–28Steve Laitz

Improvisation and TechnologyJuly 24–28Chris AzzaraOne credit 730 or non-credit 365

Orff-Schulwerk TeacherTraining Course, Levels I and IIJuly 24–August 4Mary Helen Solomon, JimSolomon, Karen Medley, JanetRobbins, Donna Brink Fox (co-ordinator)

Curriculum SeminarJuly 24–August 4Susan Wharton Conkling

Studies in International Music EducationDates TBARoy Ernst, coordinator

Summer Vocal SeminarJuly 15–18Carol Webber and WilliamMcIver

Piano Pedagogy Seminar for TeachersJuly 17–22Douglas Humpherys, director

Music on the Internet: AIF to MP3 July 17–21David Headlam

Developing Musicianship Skills for TeachersJuly 17–21Richard Grunow

Choral Conducting WorkshopJuly 17–21William Weinert and WestonNoble

Music LeadershipJuly 17–21James Undercofler

Instrumental TechniquesJuly 17–21Richard Grunow

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

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The School’s care in tending tothe historic Eastman Theatrehasn’t gone unnoticed. In No-vember the rehabilitation ef-forts made over the last sevenyears won the StewardshipAward from The LandmarkSociety of Western New York.

Under the direction of Roch-ester firm RFL Architects, themulti-phase project includedcomplete re-roofing, replace-ment and refinishing of win-dows and doors, rehabilitationof exterior masonry, replace-ment of damaged stonework,and upgrading of heating, ven-tilation, air conditioning,

Eastman TLCrewardedby LandmarkSociety

plumbing and electrical sys-tems. Ornamental metalworkon the theater’s façade anddecorative canopy was re-stored, and new exterior signswere installed.

Artist Rich Muto restoredpanels above the theater’s mu-rals. The general contractorfor the work was LeCesse

Construction Co., with LancetArch masonry specialists andcraftsman Scott Grove.

“We honor the EastmanSchool of Music for preservingthe beauty of a building thathas been a preeminent Roch-ester landmark for over 75years,” the Landmark Societycitation states. �

eastman notes creston’s concertino for marimba in 1997.a subsequent cd – the first com-plete...

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