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Published by ESM, 2020-03-23 11:52:10

Notes Winter 2020

Eastman Notes is a free magazine published twice a year with announcements and information concerning alumni, parents and friends of the Eastman School of Music.

Keywords: Eastman School of Music,Alumni,Rochester NY,Magazine

Healing Musicians BOOKS GUESTS

Discovering Debussy Monk and More!

EASTMAN

NOTES
Winter 2020

Dreams
Coming True

Distinguished professors,
generous gifts.


MusicCOLOR YOUR WORLD WITH
JUNE 29 - AUGUST 7, 2020

Residential music programs
and camps for middle and high school students,
week-long institutes for students and music teachers, and a
Summers-Only Master’s degree in Music Education.

summer.esm.rochester.edu | [email protected]
(585) 274-1074 ortoll-free (844) 820-3766

EASTMAN SCHOOL OF MUSIC • UNIVERSITY OF ROCHESTER


{ }Winter 2020

2 18 Pomp and circumstance: University of Rochester President
Sarah Mangelsdorf takes the Kodak Hall stage for her
From the Dean Celebrating inauguration on October 4.
Community
3 6 Discovering Debussy
“Community” was a key word An Eastman professor translates
Brief Notes a classic biography into English.
at Meliora Weekend 2019,
4 8 Excited and Engaged
as Eastman and the University Eastman’s new faculty members
Alumni on the Move on their visions for music education
welcomed a new president.
18 10 Dreams Coming True
Michael Burritt is Eastman’s first
School News Paul J. Burgett Distinguished Professor.

23 12 “She Has Said It”
Women composers enliven Eastman this fall.
Recordings
14 The Healing Art
26 Eastman and URMC join forces
for Eastman Performing Arts Medicine.
Advancement Notes
16 Thriving Careers and
27
Happy Homecomings
Alumni Notes
Eastman welcomes back two notable alumni.
31
ON THE COVER: Michael Burritt displayed his percussion chops, and his recently-bestowed
In Memoriam Distinguished Professor medallion, during a recital in Kilbourn Hall. PHOTOGRAPH BY DERON BERKHOF

32

Tributes

34

Faculty Notes

35

Student Notes

J. ADAM FENSTER Winter 2020 | Eastman Notes 1


{ }FROM THE DEAN

NOTES Generous Gifts

Volume 37, Number 1 The middle of December, when I am writing this message, providing matching funds for new scholarships. When a
Winter 2020 is a time when giving is on many of our minds: choosing donor commits the first two thirds of a scholarship, the
just the right gift for a family member or friend, or giv- Wegman Challenge will add the final third to that unique
CONTRIBUTING WRITERS ing to support causes that enrich our lives and those of scholarship. As such, a commitment of $67,000 will be
others. matched with $33,000 from the Wegman Fund, to create
Andrew Bockman a $100,000 scholarship, and a $100,000 commitment
Jessica Kaufman As the dean of this remarkable music school, I hear will be matched with $50,000 from the Wegman Fund,
Jeremy Lopez many end-of-semester concerts and recitals at this time to create a $150,000 scholarship.
Andrea Schuler of year, and never fail to marvel at the myriad gifts of
Laura Souza our students. They are nurtured here at Eastman and I am also very grateful to the 23 families who have
then sent out into the world, where their music making already committed to the Wegman Challenge by creat-
STUDENT BLOGGERS mirrors society’s most important, most humane, values. ing endowed scholarships at Eastman. Their generosity
reflects the powerful effect that music has had in their
Andrew Bockman When Byron Stripling ’83E was recently announced as lives, and it shows a deep commitment to supporting the
Jacob Buhler the newest principal pops conductor for the Pittsburgh next generation of musicians and the creation of careers
Symphony, he spoke about the power of music, saying, committed to music and its ability to make everyone’s
CONTRIBUTING “We know that art is the finest form of hope . . .” During lives ever better through music. As Eastman approach-
PHOTOGRAPHERS their time at Eastman, students hone their musical art-

Deron Berkhof There are also many alumni and friends who support these
J. Adam Fenster students on their journey through their giving. From
Michelle Martorell making annual contributions of any amount to the Eastman
Nic Minetor Fund to creating endowed scholarships with special gifts,
Matt Wittmeyer these donors collectively make this transformational time
possible for talented artists.
DESIGN
istry and scholarship in such a way that they can create es its centennial celebration in 2021, I can think of no
Steve Boerner Design music that delivers this hope to their communities. The greater priority than providing financial assistance to
faculty guide them in harnessing their talents to express Eastman students who will join the ranks of Eastman
PRINTING emotions, ideas, and truths through art. alumni as they enrich the world through their music.
Meliora,
Tucker Printers There are also many alumni and friends who support
these students on their journey through their giving. Jamal J. Rossi
OFFICE OF From making annual contributions of any amount to Joan and Martin Messinger Dean
COMMUNICATIONS the Eastman Fund to creating endowed scholarships
with special gifts, these donors collectively make this
DIRECTOR OF transformational time possible for talented artists.
COMMUNICATIONS
I am particularly grateful to the Wegman Family
Jessica Kaufman for establishing a $2 million scholarship challenge to
encourage others to join them in supporting future gen-
EDITORIAL DIRECTOR erations of artistic leaders. This effort aims to create 40
to 50 new endowed scholarships of $100,000 or more by
David Raymond

SENIOR CREATIVE
AND DESIGN MANAGER

Michelle Martorell

PUBLIC RELATIONS AND
SOCIAL MEDIA COORDINATOR

Katey Padden

GRAPHIC AND WEB DESIGN
ASSISTANT

Courtney Morton

SECRETARY

Olga Malavet

Published twice a
year by the Office of
Communications,
Eastman School of
Music, 26 Gibbs Street,
Rochester, NY 14604,
(585) 274-1050.

[email protected]
esm.rochester.edu

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2 Eastman Notes | Winter 2020


{ }BRIEF NOTES

Eastman student bloggers-at-large: senior Jake Buhler (left)
and grad student Andrew Bockman (right).

Introducing an American-born singer Ending on High Notes with ECMS
Eastman’s on opening night. During
Student seven years at the Met, At the end of the Eastman Community Music School year in June, the school
Bloggers she performed as Suzuki provided a sweet send-off for two retiring longtime faculty members: flutist
in Madama Butterfly, Jan Angus ’72E (MM), founder of the Eastman Pathways Program (at left); and
This year, Eastman’s Mercedes in Carmen, and soprano Cecile Saine ’72E (at right).
Communications Office in numerous “pants” roles.
and Eastman Journal Today, Thelma regularly • Best Engineered Album,
welcomed student bloggers attends Met Opera live Classical: Riley: The
Jacob Buhler (left) and broadcasts and Broadway Suns (Kronos Quartet),
Andrew Bockman (right). shows, and loves shopping Bob Ludwig, mastering
Jake, a senior violinist, with her grandchildren. engineer; Sunny
performed at Aspen this Yang ’04 (BM), cellist
summer, and with the 2019 Eastman Grammy (winners)
New World Symphony in Nods and Winners
September. Andrew, a doc- Several Eastman alumni • Best Immersive Audio
toral percussion student, and a faculty member Album: The Savior, Bob
performed in Cleveland’s were nominated for 2019 Ludwig
Severance Hall last spring Grammy Awards, and two
with the EWE (see “School were winners, announced • Best Opera Recording:
News”). Andrew and Jake on January 26, 2020: Charpentier: Les Arts
regularly post for Eastman Florissants; Les Plaisirs
Journal, in the “News” sec- • Best Engineered Album, De Versailles, Paul
tion of ESM’s home page. Non-Classical: Scenery, O’Dette, conductor;
Bob Ludwig ’66E (BM), cast includes Zachary
A Century of Singing ’01E (MM) Wilder ’06E, John
On September 17, 2019, Taylor Ward ’10E, and
Thelma Altman Fixler • Best Chamber Music/ Brian Giebler ’10E.
’42E celebrated her 100th Small Ensemble
birthday. On November Performance: Like Grandmother, Like
22, 1943, she made her Perpetuum, Third Grandson
Metropolitan Opera Coast Percussion, Sean Jocelyn Reiter Ellison
debut, the first time for Connors ’04E; Freedom graduated from Eastman
& Faith, Nick Revel ’08 in 1959, and pursued a
(BM), Curtis Stewart ’08 successful career as opera
(BM, BA) and concert singer and
teacher; her grandson
Logan Wadley entered The family that plays together: current first-year student Logan
Eastman this fall as a tuba Wadley and Joceylin Reiter Ellison ’59E.
student in Don Harry’s
A recent photo of Thelma Altman, and a shot from the 1940s, studio. After receiving two Music Academy in Tokyo
at the beginning of her career. Artist Diplomas from the and the University of Iowa,
Salzburg Mozarteum in and is professor emerita at
Salzburg, Jocelyn had a the University of Arizona.
debut recital in Paris, and Reunited with her high
was leading mezzo-soprano school sweetheart, she now
in several German and resides in Virginia Beach.
Austrian opera houses Logan’s musical career is
and an Alto soloist in the also off to a great start; as
Cathedral in Salzburg. a high school student, he
appeared on NPR’s From
She has been on the the Top.
faculty of the Musashino

MICHELLE MARTORELL (BOCKMAN AND BUHLER); COURTESY ECMS (ANGUS AND SAINE); COURTESY THELMA FIXLER (FIXLER); Winter 2020 | Eastman Notes 3
COURTESY ERICA MCCAIG (ELLISON AND WADLEY)


{ }ALUMNI ON THE MOVE

Kristian Bezuidenhout

’01E, ’04E (MM), fortepianist

■ In addition to releasing a stream of
well-received recordings (see p. 23 to see
one of the latest), Kris will be leading a
Carnegie Hall workshop on Beethoven’s
piano sonatas in April 2020, guiding four
young professionals through these works
in celebration of the composer’s 250th
anniversary.

Hannah Lash MARCO BORGGREVE (BEZUIDENHOUT); ALEKSANDR KARJAKA (LASH)

’04E, composer

■ Hannah’s chamber opera
Desire premiered on October 16 at
Manhattan’s Miller Theatre; the New
York Times called it “a dreamy and
enigmatic allegory about the creative
process.” The performers included the
JACK Quartet—including founding
members Christopher Otto ’06, ’06E
and John Pickford Richards ’02E, ’04E
(MM)—who released an album of
Hannah’s music last year.

4 Eastman Notes | Winter 2020


{ }ALUMNI ON THE MOVE

Shizuo Kuwahara

’98E, conductor

■ Shizuo, a former winner of the Georg Solti
Competition, is the principal guest conductor of
the Primorsky Stage of Russia’s historic Mariinsky
Theatre in Vladivostok, not far from the Chinese and
North Korean borders. His December duties included
an all-Tchaikovsky concert with pianist Sergei Babyan
and a performance of Verdi’s Macbeth.

Adam Sadberry Winter 2020 | Eastman Notes 5

’18E, flutist, music educator

■ Adam, until recently an African-American Orchestral Fellow with the Detroit
Symphony, was appointed Acting Principal Flute of the Memphis Symphony
Orchestra. This summer he was a Bowdoin Festival Fellow . . . and could also be
heard on the orchestral soundtrack of the live-action reboot of The Lion King!

The Saplings

■ “It’s almost too much raw talent to
take in one sitting,” said Rochester’s
City Newspaper of The Saplings,
consisting of no fewer than ten
Eastman or UR alumni: Matt Bent
’18E, ’18, Abe Nouri ’18E, Ryder Eaton
’18E, Greg Roberts ’17, Ben Bird ’19E,
Andrew Links ’16E, Geraldo Marshall
’19E, Adrian Eldridge ’19E, ’19, Jack
Courtright ’19E, and Rowan Wolf ’19E,
with general manager José Escobar
’18E. Also featured is associate
professor Gary Versace ’93E (MM).
The group, which melds soul, funk,
disco, and jazz with a rhythm and
horn section, released its first LP,
Go Digital!, last February.

LOUIS “ZIGGY” TUCKER (SADBERRY); GENNADII SHISHKIN (KUWAHARA); WILL CORNFIELD (SAPLINGS)


Discovering
Debussy

An Eastman professor translates
a biographical masterpiece into English

“A great composer deserves a great biography,” In 1982, when she met Francois Lesure, she was at the
says Marie Rolf. Francois Lesure’s magiste- beginning of an important career.
rial biography of Claude Debussy, published
in 2003, two years after the French musicol- She recalls her early research experiences at the music
ogist’s early death, was immediately accepted as the most department of the Bibliothèque nationale de France,
complete and reliable account of the life and career of where Lesure served as chief curator. She worked on
one of France’s greatest composers. However, as it had the fifth floor of the library, and Lesure’s office was on
not been translated into English, it remained accessible the fourth; one day she made her way down to ask him
primarily to Francophones. a question about a particular citation. She received a
“It was a great leap,” says Marie Rolf of the book. But lofty reply: “Moi, je ne cite jamais!”—“Me, I never cite!”
its readership was limited—until Rolf was given exclusive
permission by Lesure’s widow, Anik Devriès, to translate But years later, after she took up the task of trans-
and revise the book, which was recently published by the lating Lesure’s biography—and because musicologists
University of Rochester Press. always cite—she spent countless hours tracking down
Rolf ’77E (PhD) is Professor of Music Theory and those thousands of pesky citations—in letters, maga-
Senior Associate Dean of Graduate Studies at Eastman, zines, newspapers, and other sources. “Lesure was in a
and a leading authority on Debussy. She has edited La Mer unique position to study primary materials that were
as well as a volume of early songs for the Complete Edition often unavailable to other scholars,” Rolf explains. “In
of Debussy’s works, and in 2012 served as Artistic Director addition, because he was situated at the hub of Debussy
for The Prismatic Debussy, an Eastman-wide festival cel- research, he fostered and absorbed the pathbreaking
ebrating the 150th anniversary of the composer’s birth. work of many other experts in the field.”

Marie Rolf (above right photo) spent countless hours editing, In its English version, and with all those primary and
revising, and translating Francois Lesure’s 2003 biography of secondary sources tracked down and properly cited,
Claude Debussy (below). Claude Debussy is even more detailed. Marie Rolf has
added newly discovered information in the text of the
book, provided nearly 2,000 new endnotes, and realigned
Lesure’s original references to letters to match those in

6 Eastman Notes | Winter 2020 SIBLEY MUSIC LIBRARY (DEBUSSY SIGNATURE); MORGAN LEHMAN (ROLF); UNIVERSITY OF ROCHESTER PRESS (BOOK COVER)


a 2005 edition of Debussy’s complete correspondence. Debussy –
As a translator, she also essayed the challenging job of simplifying For the
Lesure’s typically French style of academic writing, which she says First Time
“often contained five ideas in every sentence. Lesure’s authorial tone was
also slightly ironic—a quality that he shared with Debussy,” and one that she The appearance of Rolf’s translation and revised
attempted to maintain in her translation. edition will be celebrated in forthcoming con-
It took her several years to complete the book, often late at night after dis- certs titled “Debussy Premieres.” New music by
patching her teaching and administrative duties at Eastman. “Debussy scholars Debussy is continually brought to light, especially
are a close-knit group,” she says, so she was grateful to receive a lot of help in music from his early years. Three works dating
understanding thorny passages and tracking down obscure references. from around 1882, when Debussy was 20 years
In great detail. Lesure paints a very complete picture of an enigmatic, and old, will be performed by Eastman artists on March
frankly not always likeable, man who invariably lived beyond his means, often 12 at New York’s Morgan Library & Museum.
treated women shockingly . . . and happened to be a musical genius. He also offers
context for Debussy’s artistic development, as a young man moving through the One of them is a world premiere: a fragment of a
Parisian drawing rooms, cafés, and gathering places of the artistic movers and cantata called Daniel, based on the fifth chapter of
shakers of the time. “Debussy was a sponge,” says Rolf. “So deeply immersed in the Old Testament Book of Daniel. It was writ-
music, in artistic thought, in the cultural milieu of Paris.” ten by Debussy as a student, flexing his musical
The English Claude Debussy has already been hailed as a masterpiece of its own. muscles for the Prix de Rome (which he eventually
In Gramophone, Tim Ashley called it “a most magnificent achievement and its won in 1884). Its primary vocal-piano manu-
appearance in English allows us to fully understand its seminal influence and the script survives in a private collection; Marie Rolf
groundbreaking nature of Lesure’s scholarship . . . as a depiction of the man and his transcribed its 38 pages to create a performable
world, it is exceptional, and no one who cares for Debussy can afford to be without it.” score. An additional manuscript of the opening
The first print run of the book sold out within five months, much to the delight aria is housed at the Morgan Library, and will be on
of the press and its author, demonstrating that, thanks to Marie Rolf, Lesure’s display at the concert in March.
rich biography is finding the wide audience it deserves.
Eastman is providing an outstanding vocal trio
to premiere this work: tenor (and Professor of
Voice) Anthony Dean Griffey ’01E (MM); soprano
Susannah Stewart, a current graduate student;
and baritone Randall Scarlata ’92E, with Eastman
Opera Theatre’s music director Timothy Long ’92E
(MM) as pianist. Since a short passage is miss-
ing from the manuscript, Rolf asked Professor of
Composition David Liptak ’75E (MM), ’76E (PhD)
to fill in with approximately 40 bars of original
music in the style of early Debussy.

The three vocalists will premiere another size-
able dramatic work by the young Debussy: Hymnis,
based on a text by Théodore de Banville, whose
poetry Debussy often set in his youth. Debussy
composed both Hymnis and “Séguidille” for his
muse Marie Vasnier. Rolf edited and published
the latter piece in 2014, and describes it as “the
longest and most virtuosic song he would ever
attempt.” Susannah Stewart will sing what is
believed to be the New York City premiere of
this work.

The New York concert will be previewed at Eastman
on February 23 at 7 p.m. in Hatch Recital Hall.
The concert is free and open to the public.

Winter 2020 | Eastman Notes 7


Engaged Lisa Crawford
and
Professor of Harpsichord
Excited
We are potentially in an exciting time in
Eastman’s new faculty members the field of classical music. Boundaries
on their visions for music education between musical genres are less rigid:
we are hearing fusion of “classical”
Six new full-time faculty members joined Eastman this semester, music with world music, for instance, or
and we are introducing them in Eastman Notes by asking them with jazz. Historical performance has
two questions: moved into the mainstream, and
increasingly, instrumentalists and
Where do you see music moving in the future, and what are the current singers move with ease between early
challenges of the classical music world? and modern instruments, between
baroque opera and modern opera. At
What is your top priority in educating the next generation of artists the same time, funding performances
and teachers? has become increasingly difficult. I think that all music students
should be educated in entrepreneurship, giving them tools to create
Lisa Caravan  their own ensembles and/or concert series in unique and creative
ways, wherever they choose to settle.
’07E (MM), ’12E (DMA) As a teacher and player of a historical instrument, I encourage my
students to have a spirit of inquiry about the music they play—to ask
Assistant Professor of Music Education questions about the musical text itself, the historical context in which
the music was written, the original techniques which create a musical
This is an exciting time in the music language for their instrument, and the kinds of improvisation that
world where innovation, creativity and would have been added by the performer. But also, I expect them to
collaboration across disciplines and realize that there is much room for their own artistic contribution
styles is encouraged and valued. The to the performance of early music—that there is a whole range of
new generation of students includes not possible interpretations within the parameters of what we know, and
only versatile performers, but also that their goal is to play with conviction and to be convincing, so that
teachers, composers, improvisers, and their performance will consist of a combination of what they have
entrepreneurs. As classical musicians, learned and what they want to say.
we need to find ways to engage all kinds
of audiences and challenge our notions John Kapusta
of what classical music “looks like.”
Focusing on creative programming, Assistant Professor of Musicology
interdisciplinary partnerships, education, and community engage-
ment can cultivate a place where we all come together and value each First, let me say that as a historical
other. I hope we continue to explore avenues where we can create musicologist, I am much more comfort-
meaningful musical experiences for people we encounter, whether in able trying to explain the past than
the classroom, concert hall, art gallery, or coffeehouse. predict the future! That said, I do think
My top priority in educating the next generation of teachers/artists tomorrow’s conservatory graduates will
is to encourage them to be inquisitive, to feel empowered to chal- be increasingly expected to cross
lenge norms, and to find creative ways of communicating their love of stylistic boundaries.
music through teaching and performing.
As I teach students in my course
“Music Since 1900,” the last several
decades have been dominated by
musicians who flaunt border-burning
tendencies (think of Yo-Yo Ma and his
Silkroad Ensemble, for instance). We should probably expect that the
next wave of successful artists will also engage with diverse musical
styles, especially as streaming media services offer musicians ever-
greater access to an ever-wider range of sounds.
With such great creative power, though, comes great responsi-
bility—something I encourage my students to embrace. I teach my

8 Eastman Notes | Winter 2020


students about diverse musical traditions, but more importantly, I try We have to be especially visible and compelling ambassadors
to train them to compose, perform, and teach music in ways that pro- and educators for the art we love—one which requires long-term
mote justice. For me, preparing musicians to use their gifts to create investment, gestation, and patience from both practitioner and
a more equitable world is what a comprehensive music education is consumer alike—in a world of instant gratification, knee-jerk
all about. reactions, and quick results . . . and it is important to remain steadfast
in upholding the highest musical values, while being open to,
Andrew Harley interested in, and willing to take advantage of the best opportunities
that new technology affords us.
Associate Professor of Collaborative Piano
After a century of high specialization (“I’m an organist, you’re a
In a world that can often seem to offer so harpsichordist, so and so is a pianist, my friend is a theorist”), we
little time for reflection and retrospec- seem to be returning to an older model of musicians required to wear
tion, embarking on the lifelong journey as many proverbial ‘hats’ as possible. Musicians of tomorrow are
that defines a life in music may seem required to be extremely creative, thinking artists, with as broad a
today like an anachronistic pursuit. perspective and understanding of their field as possible. I try to foster
an awareness of this in my teaching: discussing the historical context
A life surrounded by things greater of each work brings a sense of immediacy and relevance to the score
than ourselves requires a lifelong com- at hand and situates the interpreter in a long, complex, oft-traveled
mitment to reflection, the discipline interpretive narrative.
to keep striving for both honesty and
beauty, in the music and in ourselves, I find it is also important to approach the music from an orchestral,
and the belief that the things one holds vocal, pianistic, or, in any case, non-organistic perspective—to very
dear may not be reflected in a world intentionally wear different ‘hats’ to gain a deeper understanding of
with which we try to communicate. The challenge I present to myself, the music. The more tools one has sharpened in his or her tool belt,
at this stage of my life in the classical music world, is to find as many the greater the richness of experience and ability one will have to
ways for the next generation to share the value, the richness, and craft truly personal and meaningful interpretations. And that’s why
the beauty of the lifelong journey they have chosen. To paraphrase we study music—to create meaningful things!
Robert Frost, the road less traveled by (as difficult as it may be at
times) may just make all the difference. Michael Wayne
My students are my top priority. Sharing approaches to deepen
the ways in which they see music, think about music, and hear music Associate Professor of Clarinet
is a cornerstone for me. Finding ways to link the intellect, the heart,
and the ear can form the path to channel the beauty that is already Generally speaking, I teach the individ-
within them. ual student and their needs. Not
everyone needs to play in an orchestra—
Nathan Laube and with a studio of 16, it is unlikely that
all of the students will graduate with
Associate Professor of Organ performing jobs, as there are not
enough openings in orchestras every
A part-time faculty member since 2013, Nathan Laube year.. But there are many other great
was appointed to a full-time position in the fall 2019 semester. jobs in the music business. The tools
they’ve gained can be used to do
With each new advance in technology whatever they feel passionate about.
comes advantages and, of course, Everyone has a different passion, and as
resultant challenges. Never before has a teacher, it is my job to find that in each of my students and
so much music been so readily available facilitate it.
via electronic media such as YouTube Eastman gives such a strong foundation in musical education that
and other online sources for music when they leave, students can take that knowledge in many different
streaming. Likewise, the opportunity to directions. An example I like to use is from my time with the Boston
reach new audiences has never been Symphony Orchestra. My colleague in the chair next to mine, Tom
easier in one sense: a simple, Martin ’83E, was a Stanley Hasty student at Eastman; the orchestra’s
unexpected “click” on an enticing link librarian (Marty Burlingame ’64E,”66E (MM), now retired) was a
can provide the riches of this musical Stanley Hasty student at Eastman; and the orchestra’s President and
universe. Nor has there ever been so Executive Director, Mark Volpe ’79E, was a Stanley Hasty student at
much competition for one’s time in an age of ultra-connectivity and Eastman. I don’t know any other school that could make that claim of
constant visual and aural stimuli. its graduates.

Winter 2020 | Eastman Notes 9


“I love sharing it with the
students . . .” Michael Burritt
shares the spotlight at his
installation as Paul Burgett
Distinguished Professor,
playing with Ivan Trevino
’06E, ’10E (MM).

10 Eastman Notes | Winter 2020


DERON BERKHOF Dreams

Coming True

Michael Burritt is Eastman’s first
Paul Burgett Distinguished Professor

By Andrew Bockman

On Friday, September 27, 2019, Michael Burritt ’84E, ’86E (MM) was
installed as Eastman’s Paul J. Burgett Distinguished Professor. The
ceremony took place in Kilbourn Hall, during a recital by Burritt, accom-
panied by many of his current students, performing music composed
by former students and himself.

Professor Burritt’s tenure at Eastman began long before 2008, his
first year teaching here. “I grew up in Syracuse and my father was a
very well-respected band director. I remember we had Eastman Wind
Ensemble albums in the house, and when I was a kid Frederick Fennell
came to our high school. So did Donald Hunsberger and Warren Benson.
I grew up thinking about Eastman as Mecca, so studying here was a
dream come true.”

At Eastman he studied under John H. Beck, who taught from 1967-
2008. “John Beck was absolutely wonderful in his ability to help you
understand how to be a professional and to focus on big global ideas,
like learning things thoroughly and correctly, and making good sounds
all the time. I needed refinement and someone to help me have a more
mature sense of what a musician was.” These qualities remained a fun-
damental part of Burritt’s teaching philosophy since leaving Eastman
and ultimately returning as John Beck’s successor.

“I knew what Eastman was like, but I hadn’t been here in a long time
and I had never been a professional here. So it was a challenge. I had to
prove myself again in some ways. But it was one of the first times in my
life where I felt very confident about what I was going to do and how I
was going to do it.”

Burritt finds his relationship with his students one of the most reward-
ing aspects of teaching at Eastman. “Our studio has really grown into
an exceptional studio. I enjoy my students as people, and I really enjoy
watching their musical success.” A number of his former students are
now leading performers, teachers, administrators, composers, and
more. “It’s really exciting to see so many talented people together in
one place. To be the person that gets to guide and go along for the ride
with the students is super exciting and a huge honor.

“One of my favorite memories will be the [September 27] concert,
which was a hugely humbling and momentous occasion. The spirit of
the evening and having my students working with me was the most
special thing. I always love sharing it with the students.”

Andrew Bockman is a doctoral percussion student and one of Eastman’s
student bloggers.

Winter 2020 | Eastman Notes 11


Meredith Monk Rosephanye Powell

“She Has Monk’s boundary-defying presentations merge sung and orchestral
Said It” music, drama, and movement into enthralling, sometimes startling
works of theatrical art.
Women composers
enliven Eastman this fall 2019 brought renewed attention to two of her masterpieces, with
a widely praised Los Angeles revival of her 1993 opera Atlas, and the
Meredith Monk release of a newly restored film of her multimedia work from the 1970s,
Quarry, an exploration of fascism.
The multi-talented, profoundly creative artist Meredith Monk visited
the University of Rochester in October for a multi-day residency titled “Meredith Monk’s music is gorgeous—soaring, searing—in a way
Dancing Voice/Singing Body. Monk and her vocal ensemble were the that complicates narratives about what ‘new music’ should sound like,”
inaugural visiting artists for the Institute for the Performing Arts at the says Assistant Professor of Ethnomusicology Anaar Desai-Stephens.
University’s School of Arts and Sciences, and Eastman welcomed her “Yet, while her music is accessible in many ways, that doesn’t mean it’s
as the 2019 Glenn Watkins Lecturer. (This program was established easy. Instead, her work raises profound questions about what it means
in 2003 by distinguished musicologist Glenn Watkins ’53, to bring an to be human and what humans are capable of, from intimate care to
exceptional figure in the field of music and related humanistic disciplines spectacular dystopia.
to the school.) Monk’s residency also included a performance of her
most recent ensemble work, Cellular Songs. “The impact of her work comes in great part from how she uses the
voice to produce sounds that are both human and more than human.
As a composer, singer, director, choreographer, filmmaker, and creator Now called ‘extended vocal technique,’ this re-thinking and re-feeling
of new opera, music-theater works, films and installations, Meredith of the voice has been one of Meredith’s most profound contributions
to music in our time.”

Assistant Professor of Musicology John Kapusta adds: “In the late
1960s, Monk began presenting performances integrating music, dance,
theater, and media. At a time when many avant-gardists remained
committed to abstraction, she embraced storytelling. Often likened
to a shaman or bard, she explored relatable themes—womanhood in
particular—in the vocabulary of ritual and myth.

“As a singer, she drew on a range of cultural traditions to create uncon-
ventional music with immediate sensuous appeal. Her deft combination
of stylistic eclecticism, multimedia spectacle, and topicality earned her

12 Eastman Notes | Winter 2020


Kate Soper

critical acclaim and inspired a generation of artists. Monk set the stage music, in a concert featuring her own compositions and arrangements.
for the genre-defying, unapologetically beautiful, timely works that In talking about her work as a composer and conductor, Dr. Powell
dominate the new music scene today.”
spoke candidly: “So much music composed for women has been written
Desai-Stephens sums up Meredith Monk’s achievements: “When we by men, so women are singing music from a male perspective even if the
think about Meredith’s work and legacy, it’s helpful to remember that poet is female. Songs composed by women, for women allow women to
she comes from a family of musicians and, specifically, singers. Yet, be heard as one unified and powerful voice. ”
her own work has been multi-genre and multi-disciplinary from the
beginning, incorporating movement, theatrical staging, film, and more. She adds, “Generally, I want the choir to be storytellers, expressing
the meaning of the poetry and touching the hearts of the audience.
“This interdisciplinarity has made Meredith’s work speak to a wide
range of audiences and practitioners. Indeed, her most ardent fans are “For me, the beauty of choral singing is that it brings together people
other artists who see the ways she has coaxed open these art forms to from all walks of life, cultures, races, nationalities, etc., working toward
become parts of new worlds of creative possibility. a common goal: sharing their hearts, gifts and talents with the world.
The skills developed and used in choral singing include creating com-
“It’s hard to overstate Meredith Monk’s influence on the worlds of munity, self-expression, listening, working together, and singing as one
music, dance, and multimedia, interdisciplinary performance.” voice.” —Jeremy Lopez

The Watkins Lecture audience was treated to a conversation between Kate Soper
Ms. Monk and Professor Desai-Stephens. This turned out to be a sort
of autobiography, as Monk described her musical family (her mother, Composer and vocalist Kate Soper premiered her new work Missing
a soprano, sang in radio soap commercials), her first encounters with Scenes: The Winter’s Tale on October 17 in Kilbourn Hall with Musica Nova
music through stories like Rusty in Orchestraville and Tubby the Tuba, led by Brad Lubman, and her reaction to her Eastman visit was as direct as
her vocal studies and realization that the voice could be used as an instru- her music: “I had a great time! The students were well-prepared, enthu-
ment, and her explorations of spirituality and Buddhism in the 1970s. siastic, and a delight to perform with, and it was wonderful to work with
Brad Lubman.” (There’s a YouTube video of the premiere performance.)
She described herself as “a channel for a larger energy—this gigantic
thing called music. Music can be a really harsh master, or mistress—but Soper, whose work has been described as exploring “the slippery con-
there is truth in it.” —David Raymond tinuums of expressivity, intelligibility and sense, and the wonderfully
treacherous landscape of the human voice,” was a 2016 Pulitzer Prize
Rosephanye Powell finalist for her Ipsa Dixit (She has said it), and is also a co-director and
performing member of Wet Ink, a New York-based new music ensemble,
On October 19, the Eastman Women’s Chorus sang under the baton of and an Assistant Professor at Smith College. —David Raymond
Rosephanye Powell, one of the premier American composers of choral

MICHELLE MARTORELL (MONK); JOHN SCHLIA (POWELL); MARCO GIUGLIARELLI (SOPER) Winter 2020 | Eastman Notes 13


The

Healing

Art
Eastman and URMC join forces
for Eastman Performing Arts Medicine

By Jessica Kaufman and David Raymond

The Eastman School of Music and University of Rochester Medical specialized providers in orthopaedics, neurology, and otolaryngology,
Center (URMC) recently unveiled a collaboration that’s bringing clini- are dedicated to helping artists (dancers and actors as well as musicians)
cians, artists and researchers together to create innovative connections return to the stage as soon as possible. EPAM clinicians treat a range of
between health and the arts. conditions impacting performance, including chronic overuse injuries
like carpal tunnel syndrome, tendonitis and vocal fold nodules, as well
The new initiative, Eastman Performing Arts Medicine (EPAM), uni- as acute illnesses or sudden injuries. To streamline access to clinical
fies and expands existing clinical services, arts integration, and research care, EPAM has launched a new hotline to connect performers with
to transform arts-related health care delivery and to increase scientific health care specialists within 48 hours.
understanding of the interactions between the arts and health. EPAM
synthesizes the resources and artistic expertise of a world-renowned 2 Music Therapy in clinical patient care. Research has demonstrated
music school with the cutting-edge treatments and scientific research that arts therapy interventions offer benefits including reduced
of a top-tier academic medical center. risk of hospital readmission, improved blood pressure and respiratory
function, pain reduction and an enhanced quality of life.
The concept of the Eastman School of Music and the UR Medical
Center joining forces has existed for many years. In 2018, Eastman dean One of EPAM’s goals is to increase music and creative arts therapy
Jamal Rossi approached ECMS faculty member Gaelen McCormick services that address physical, emotional, cognitive and social needs
’92E to lead the program: “I was so excited, I said yes before I finished
the sentence.”

McCormick played bass in the Rochester Philharmonic Orchestra
until 2016, when a condition called Meniere’s disease caused deafness
in both ears. Without the outlet of performing, she wanted a new focus
for her creative and musical energies. She is bringing plenty of both to
EPAM, hoping to make it an example for hospitals across the country.

Eastman Performing Arts Medicine has four key components:

1 Healthcare for Performing Artists and wellness education. For per-
forming artists, time lost to injury or illness presents financial,
physical and emotional challenges. EPAM’s clinicians, who include

14 Eastman Notes | Winter 2020


The app stands out for several reasons. “We are pleased
First, it is prescribed by the primary care to partner with
physician and monitored on the patient’s Eastman to launch
electronic records. The app includes the Eastman
interactions with a live therapist, a wide Performing
range of interactive modules, and per- Arts Medicine
sonalized mindfulness exercises with initiative. This
newly-composed, calming music. program is close
to my heart. It
Among other Eastman professors who blends my personal
have taken part in EPAM research with passions for
other University colleagues are Philip medicine and the
Silvey, Katherine Ciesinski, Chris Azzara performing arts
’88E (MM), ’92E (PhD), Mara Culp, and into a program
Betsy Marvin ’81E (MA), ’89E (PhD). that benefits
musicians and
4 Music Performance by Eastman stu- general patients
dents is integrated throughout the alike.”
hospital environment: the lobbies and
entrances of Strong Memorial Hospital, Mark Taubman, M.D.,
Wilmot Cancer Institute and Flaum CEO of URMC and dean
Atrium. The fall semester included per- of the School of Medicine
formances by guitarists, a harpist, a violist, and Dentistry
a bassist, and a jazz trio. The carefully
chosen music provides stress relief for “Eastman is proud
patients and their visiting families, and to partner with UR
according to Gaelen McCormick, “gives Medicine to create
the students a heart-to-heart connection a program that
with an audience. They learn that they can infuses the medical
use their music in support of other people.” center with music,
offers specialized
EPAM aims to add performance clinical care of
opportunities throughout URMC and the highest order
its affiliates and has piloted performanc- to musicians and
es in the department of psychiatry, with other artists, uses
plans to bring musicians to Highland music therapy to
Hospital soon. treat patients and
conducts research
First-year doctoral student Andrew O’Connor is one of numerous Eastman To develop this program, the first of its to increase our
students performing regularly and providing a “heart-to-heart connection” kind in upstate New York, EPAM leaders understanding
throughout the University Medical Center. consulted with national experts in per- of music’s impact
forming arts medicine, including J. Todd on the brain
for patients—performers or otherwise. Pediatric patients have received Frazier ’92E, president of the National and body.”
music therapy services at URMC for over 20 years, but EPAM aims to Organization for Arts in Health—and an
increase creative arts therapy at Golisano Children’s Hospital and to Eastman-trained composer. Jamal Rossi, Joan and
extend services to URMC’s adult patients. Martin Messinger Dean,
“One of the prerequisites for a success- Eastman School of Music
3 Research to explore and develop the potential of the arts in therapy, ful arts-in-health program is a first-class
rehabilitation and human performance. For example, Eastman arts and medical community,” said
Professor of Music Theory Matthew Brown, with colleagues in URMC Frazier, who also directs the Houston
and the UR department of Electrical Engineering, has helped to develop Methodist Center for Performing Arts
a new app designed to treat mild anxiety disorders on a smart phone Medicine. “Rochester, through Eastman
using Cognitive Behavioral Therapy. It is a response to the growing and the University of Rochester Medical
need to provide mental health treatment to underserved communities. Center, has that solidly in place. EPAM
has built a two-way bridge between the
institutions to foster innovative collab-
orations in caring, caregiving, learning
and research.”

MICHELLE MARTORELL Winter 2020 | Eastman Notes 15


Thriving Careers

Ho&mHaeppcyomings

Alumni Elsa Ludwig-Verdehr and Maria Newman
model the many facets of an Eastman education

E ach year, Eastman has the pleasure of welcoming
back many former students and honored guest
artists. We began the fall semester with two vis-
its from women who are at the top of their professions.
As creators, performers, educators, entrepreneurs,
and outstanding alumni, Elsa Ludwig-Verdehr and
Maria Newman represent all the facets of an Eastman
education.

Masters of a Medium Together they created a 20th-century chamber music repertoire: clarinetist Elsa Ludwig-Verdehr
(right) and her husband Walter Verdehr (left), with Verdehr Trio pianist Silvia Roederer (center).
This fall, the members of an important American cham-
ber ensemble were recognized by the Eastman School playing the same music over and over. We needed to open new paths of the repertoire.”
of Music, and for several of the members it was truly a Starting in the early 1970s with commissioned works by two Pulitzer Prize-winning
homecoming.
composers, Karel Husa and Leslie Bassett, the Verdehr Trio’s programs soon included
During Meliora Weekend at Eastman, the members of substantial new chamber works by Ned Rorem, Jennifer Higdon, William Bolcom, and
the Verdehr Trio were presented by Dean Jamal Rossi many other prominent composers. The list includes ten Pulitzer Prize-winners, as
with the schoo’s Luminary Award, given to “individuals well as composers from England, France, Spain, Brazil, and Australia. Some Eastman
who have given extraordinary service to music and the composers are also on the list: composition department chair David Liptak ’75E (MM),
arts at the national and local levels.” ’76E (DMA) and alumni Katherine Hoover ’59E and Kevin Puts ’94E, ’99E (DMA).

The description certainly fits the members of the The Verdehrs estimate this has added up to about 225 new works, including the trios
Verdehr Trio, which has created a vast repertoire of 20th by Alexander Ariutunian and Gian Carlo Menotti which Elsa calls “two of the best we’ve
and 21st century works for its chosen medium: a trio of commissioned.” They were performed by Eastman professors Renée Jolles, Michael
violin, clarinet, and piano (with occasional variations). Wayne, and Andrew Harley at a Morning Chamber Music Series concert.

Clarinetist Elsa Verdehr ’58E (MM), ’64E (DMA), “I give Walter full credit for this,” she adds. “He approached the composers and
and her husband, violinist Walter Verdehr, founded the arranged funding and grants.”
Verdehr Trio in 1972. The Yugoslavian-born Walter was
the first violinist to graduate with a DMA from Juilliard.
Elsa and Walter ended up at Michigan State University
as colleagues and, in 1971, as husband and wife.

The Verdehrs saw a need for a more robust perform-
ing repertoire for a specific chamber ensemble: the
violin-clarinet-piano trio, whose small repertoire includ-
ed pieces by Bartók, Milhaud, Khachaturian, and a few
other composers.

“There were only about seven pieces that were good, and
they were really good,” says Elsa. “But we could not keep

16 Eastman Notes | Winter 2020 DERON BERKHOF


“In the seventies, eighties, and even the nineties,” says of Hollywood’s so-called “Newman Dynasty.” The dynasty was founded by her father,
Walter, “the process was not so codified. We would often Alfred Newman (1900–1970), whose dozens of “Golden Age” movie scores—including
go to composers who were not yet well known and who The Song of Bernadette, All About Eve, and How to Marry a Millionaire—won him nine
would be glad to write for us.” Instead of paying large Oscars as a composer or arranger. Her brothers David and Thomas are also notable film
fees to these composers, the Verdehrs promised to play composers, and her cousin, Grammy-winning singer-songwriter Randy, won a couple
their music repeatedly—and they kept their promise. of Oscars for songs in the Toy Story series. (Newman family members have received
a total of 92 Oscar nods.)
The Verdehrs’ remarkable concert career has taken
them not only to prominent venues in New York City Though 35 years have passed, Maria Newman still describes herself as “forever mar-
and Washington, but across the country and throughout ried to my school.” “Eastman meant so much to me,” she said in our recent interview.
Europe, Asia, and Australia. Elsa and Walter are currently “Not just growth as a musician, but also in confidence and artistic freedom. I was able
involved in a five-year project that will include writing to be a free spirit, and didn’t feel I had to follow a traditional path. When I left, I had
a memoir and organizing all the information about the the gumption and the motivation to follow my own path.”
works they have commissioned and performed.
Once she had that gumption, her path led her away from bearing the weight of
Many of these pieces were published, recorded—Walter “growing up Newman” in an unusually talented musical family, to having a thriving
estimates they’ve made 28 CDs for Crystal Records— career, or careers, of her own. She continues to be an active performer on viola as well as
and included in a video series, The Making of a Medium. violin, and played her own music on both instruments during her residency, including
These projects led to a “Creative Programming Award” a September 11 tribute concert.
from Chamber Music America and an “Adventuresome
Programming Award” from ASCAP and Chamber Music Gumption, motivation, and freedom: multi-talented composer, entrepreneur, and instrumentalist
America. Elsa said she was “incredibly honored and Maria Newman during her Eastman residency.
delighted” to add Eastman’s Luminary Award to this list.
Maria Newman’s presentations at Eastman also included talks on entrepreneurship
“It was my home for four years,” says Elsa of Eastman, and sustaining a musical career. She is a firm believer in making her own opportunities
where she studied with the legendary Stanley Hasty: “a as a musician, which includes directing a group called Malibu Friends of Music and
wonderful teacher; anybody else who studied with him starting the Montgomery Arts House for Music and Architecture, named in tribute to
will say that.” her mother. Montgomery House, or MAHMA, presents more than 40 classical concerts
and recitals each year, from traditional chamber music to a live-to-film performance
Her happiest memories of Eastman include per- of one of Maria’s scores for a silent film. MAHMA has hosted a number of guests from
forming in the Philharmonia under Howard Hanson, Eastman, including Dean Jamal Rossi, Beal Institute Director Mark Watters, and
and concerts and recordings with the Eastman Wind Professor of Guitar Nicholas Goluses, who premiered Maria’s Storge (written for him)
Ensemble (EWE) under Frederick Fennell; two of her on a September 12 Eastman Virtuosi concert.
fellow EWE clarinetists went on to prominence, Peter
Hadcock ’61E with the Boston Symphony and Larry “It is my privilege and honor to have the opportunity to come and be at Eastman for
Combs ’61E with the Chicago Symphony. a wonderful week of music making and conversation,” says Maria Newman. “Eastman
has made a huge difference in my life, and I do not know where I would be now if I had
In nearly five decades of existence, from 1972 to 2015, not had the remarkable experiences that I had there as a student!”
the Verdehr Trio has had only three pianists, all of them
Eastman graduates: David Renner ’60E, ’65E (MM), Gary
Kirkpatrick ’62E, and Silvia Roederer ’80E.

“I hope it’s not immodest to say that I think we’ve made
a real impact on the musical world,” says Elsa; Walter
adds, “We just wanted to create and perform as many
good works as possible.”

“Forever married to my school”

When composer and string player Maria Newman ’84E
arrived in late September for her residency at Eastman, it
was her first return since she graduated with a bachelor’s
degree in violin 35 years ago.

She has definitely been busy in the interim, developing
a busy career as a concert and soundtrack violist and vio-
linist (for movies ranging from James and the Giant Peach
to Star Wars Part IX), and an estimable career as a com-
poser in many different media, from chamber music to
silent film scores. During her residency, from September
7 through 13, Eastman’s students were exposed to these
facets of Maria Newman’s career . . . and several more.

Maria comes by these abilities naturally, as a member

MICHELLE MARTORELL Winter 2020 | Eastman Notes 17


{ }SCHOOL NEWS

Sarah Mangelsdorf (right) took the stage, and the University’s
presidential staff, during her inauguration on October 4, 2019.
The ceremony boasted plenty of music from Eastman musicians,
notably Dean Jamal Rossi (above) performing Rachmaninoff’s
Vocalise on saxophone, with pianist Toni-Marie Montgomery,
dean of Northwestern University’s Bienen School of Music.

Celebrating
Community at
Meliora Weekend

Meliora Weekend at Eastman 2019 started on a high

note, with the October 4 inauguration of Sarah Man-

gelsdorf as the eleventh president of the University of

Rochester. Almost 2,000 members of the University

and Rochester communities

SAVE THE DATES! flocked to Kodak Hall for this
signal event, in which Presi-
Meliora [email protected] dent Mangelsdorf’s remarks
Eastman 2020 echoed the philosophy of
• October 1 to George Eastman: “We are not
October 4, 2020

Meliora [email protected] just a university in this com-
Eastman 2021 munity; we are a university of
A celebration of this community.”
Eastman’s Centennial!
• September 30 to Adding to the festive, cel-
ebratory tone of the inaugu-
October 3, 2021 ration was plenty of music:

introductory music from Eastman Brass; the first perfor-

mance of The Pathway by Jeff Beal ’85E, by the Ying Quar-

tet; and a saxophone performance by Dean Jamal Rossi.

Meliora Weekend continued with many more exciting

sights and sounds:

• Over 12,000 people attended Meliora Weekend
events on all campuses with over 550 people attend-
ing Eastman events, not including the Mangesldorf
Inauguration, or the Eastman Presents concert by

18 Eastman Notes | Winter 2020 J. ADAM FENSTER


{ }SCHOOL NEWS

Late Show with Stephen Colbert bandleader Jon Batiste performance. Though the pressures were high, every- Alumni and current students
(which attracted 1,361 people). one knew what a privilege this performance would be. of Jean Barr came out
• 30 alumni from the Class of 1969 returned to campus We presented our concert on May 6 in Kodak Hall, and in force to celebrate her
to receive their 50th Medallions. met at 7:30 the next morning to depart for Cleveland, set retirement. Shown in this
• 3 Distinguished Alumni Awards were presented to: to perform just twelve hours later. photo are: Back row, left to
Al Regni ’58E; Erin Hannigan ’96E (MM); Bob Ludwig right, Corey Silberstein ’19E
’66E, ’01E (MM) Severance Hall was built in 1931 and underwent a two- (DMA), Brian Man-ho Wong
• Five Luminary Awards were given to past and present year renovation project, completed in 2000, to provide a ’19E (MM), Brock Tjosvold,
members of the famed Verdehr Trio: in person to Elsa state-of-the-art home for the Cleveland Orchestra. Not John Robertson, Evan Ritter
Verdehr ’58E (MM), ’64E (DMA); Walter Verdehr; and only does Severance Hall look beautiful, it sounds beau- ’18E, Edward Rothmel ’19E
Silvia Roederer ’80E; and mailed to Gary Kirkpatrick tiful. On stage, the sound is clear, making it comfortable (DMA), Christopher Reed
’62E and David Renner ’60E, ’65E (MM). to balance and play with each other. The hall took that ’13E (MM),’19E (DMA),
• Over 15 student performances took place. sound and amplified it into a beautiful sonority, allowing Gloria Engle; front row left to
the ensemble to play without forcing. right, Linzi Li, Alexa Sowers,
Thanks to Laura Souza, Eastman Alumni Relations and Yucong “Zoe” Wang ’19E
Greg Machin, Eastman Box Office for these statistics. The Wind Ensemble doesn’t often have the oppor- (MM), Danielle Guina, Jean
tunity to perform for audiences outside Eastman, so Barr, Jesslyn Gunawan ’17E
Celebrating Jean Barr it was a pleasure to play in Cleveland. The energy and and ’19E (MM), Chiao-Ju
attention from the crowd was palpable, and everyone “Cherry” Hung, Mei-En Chou,
Dr. Jean M. Barr, Professor of Accompanying and Chamber in the ensemble responded with passion. Everyone felt Maggie Hinchliffe, Gerta
Music and the Director of the Piano Accompanying and immense pride in their work. Wiemer.
Chamber Music Degree Program, retired at the end of
the 2018–19 school year. Eastman presented a concert On the return to Rochester, Dr. Scatterday shared his
in her honor on May 8, 2019, featuring former students
and esteemed alumni of the graduate programs in Piano
Accompanying and Chamber Music, several coming from
out of state and even out of the country. Individuals also
paid tribute to Jean for her contributions to Eastman and
the collaborative piano profession.

Assistant Professor of Chamber Music and [email protected]
Eastman Director Sylvie Beaudette ’93E (DMA) said,
“Zachary Peterson ’16E (MM) and I were honored to orga-
nize this special event for our dear mentor and friend.
It is a true testimony to the impact that she’s had on
people’s lives that so many came back to Rochester in
May or wanted to contribute to the celebration in some
way. We celebrated not only her illustrious career, but
also her many gifts to each of us, musical and personal.”

Passion and Pride: Eastman Beautiful sounds, beautiful hall: Eastman Wind Ensemble onstage at Cleveland’s Severance Hall.
Wind Ensemble in Severance Hall

On May 7, the Eastman Wind Ensemble (EWE) held its
final performance of the 2018–2019 school year at the
historic Severance Hall in Cleveland, Ohio. Conducted by
Mark Davis Scatterday ’89E (DMA), the Wind Ensemble
displayed a massive and challenging program including
the premiere of Three Latin Dances by Jeff Tyzik ’75E,
’76E (MM), the Rochester Philharmonic’s Principal Pops
Conductor; Solace by Joel Love, featuring Associate
Professor of Saxophone, Chien-Kwan Lin; Night Soliloquy
by Kent Kennan ’34E, ’36E (MA), featuring Assistant
Principal Flute of the Cleveland Orchestra, Jessica Sindell
’11E; and David Maslanka’s epic Symphony No. 7.

Despite the scale of this program, the ensemble
only had two weeks of rehearsal leading up to this

ZACHARY PETERSON (BARR); VALERIE SZEP (SEVERANCE HALL) Winter 2020 | Eastman Notes 19


{ }SCHOOL NEWS

For the final concert of the festival on August 11, renowned mezzo-soprano “Our goal for programming in 2019,” says Lee Koonce ’96E (MM),
Denyce Graves sang signature arias from Carmen and Samson et Dalila and Gateways president and artistic director, “was to provide a wide variety
African-American spirituals. “Denyce is one of the world’s great singers,” said of performances and events throughout the afternoon and evening each
Michael Morgan, conductor and festival music director, “and her performance day of the Festival. In 2019, there was something for everyone.”
was a powerful capstone to the 2019 Festival.”
Highlights included:
hope that the Eastman Wind Ensemble will have the opportunity to
perform in all of the major concert halls in the nation, and after their • A four-picture film series and an “after hours” session featuring pop-
performance in Severance Hall, he has certainly left the EWE wanting ular and contemporary music
more. —Andrew Bockman ’19E (MM)
• An organ recital by Eastman doctoral student Nathaniel Gumbs,
Andrew, a student blogger, played timpani in the EWE’s Cleveland concert. director of chapel music at Yale University, and solo recitals by pianists
Stewart Goodyear and Terrence Wilson
Gateways Festival 2019
• The Young Musicians Institute, begun in 2017, allowing Rochester-
The 2019 Gateways Music Festival had a six-day run in Rochester, area music students to interact and perform with Gateways musicians
August 6 through 11, 2019.
• Performances of solo, chamber, and orchestral works by Florence
Founded in 1993 by concert pianist and now-retired Eastman associ- Beatrice Price (1887–1953), the first African-American woman to be
ate professor Armenta Hummings Dumisani, Gateways is a celebration performed by a major symphony orchestra (the Chicago Symphony).
of professional musicians and composers of African descent, which has Major works included her Second Violin Concerto (with Gateways’
partnered with Eastman since 1995. It attracted 125 musicians from the concertmaster Kelly Hall-Tompkins ’93E) and Third Symphony, and
United States and abroad for more than 50 performances throughout a documentary about Price’s life was part of the festival film series.
the Rochester area. —Jessica Kaufman

A “Summery” by the Numbers

[email protected] 2019 flew by in a flash! Here are a few numerical
highlights of our 40 days of summer.

Summer students came from 38 states and 7 countries. Our young-
est was 10 years old (Adventure Music Camp); the oldest was 84 (New
Horizons Orchestra Camp).

We offered 46 programs, 5 of them new for 2019, and welcomed 35
guest faculty members, presenters, and performers, 13 of whom were
new to [email protected]!

Students in the Eastman Community Music School’s summer pro-
grams performed in a variety of ensembles: 3 full wind bands, 2 large
and 6 small jazz ensembles, 1 gamelan, 1 Baroque ensemble, 1 string
orchestra, and 2 full orchestras, as well as 11 classical chamber ensembles
and duos and 11 opera scenes.

67 [email protected] concerts took place at 11 performance venues
in Rochester and New York City. Admission to 44 of those concerts
was free.

976 is the total number of registrations for Eastman’s Orff Schulwerk
Teacher Education Course over the past 28 years (582 students attended

Celebrating Service

In May 2019, the following Eastman faculty members were recognized for their years of service.

35 years 25 years 20 years • Chien-Kwan Lin, 10 years
• Donna Brink Fox, • Douglas Humpherys, • I Ketut “Nyoman” Associate Professor of • Juliana Athayde,
Eisenhart Professor of Professor of Piano Suadin, Visiting Saxophone Associate Professor of
Music Education • Margery Hwang, Associate Professor of • William Porter, Professor Violin and Orchestral
• Christina Curren, Vocal Assistant Professor of Gamelan of Organ Repertoire, Violin
Coach and Assistant Chamber Music • Dariusz Terefenko, • J. Matthew Curlee,
Professor of German and • Timothy Scheie, 15 years Associate Professor Assistant Professor of
German Lyric Diction Associate Professor of • Melina Esse, Associate of Jazz Studies & Music Theory
French Professor of Musicology Contemporary Media • Lisa Jakelski, Associate
30 years • William Weinert, • Anna Gourfinkel, • Holly Watkins, Associate Professor of Musicology
• Kathleen Bride, Professor Professor of Conducting Assistant Professor Professor of Musicology
of Harp and Ensembles of Accompanying
(departing)

20 Eastman Notes | Winter 2020 MATT WITTMEYER


{ }SCHOOL NEWS

Eastman’s Orff faculty “dream team,” 1992–2019. L-R: Karen Double the Operatic Fun
Medley, program director Donna Brink Fox, Mary Helen
Solomon, James Solomon, Janet Robbins. Eastman Opera Theatre brightened late January and early February with its
studio production of a riotously funny 18th-century double bill. Above: In Antonio
the program at Eastman; many of those students regis- Salieri’s Prima la musica, poi le parole (First the Music, Then the Words), a composer
tered for multiple levels over the years). We will miss the (Nathan Savant) and a poet (Kevin Spooner) importune the diva of their latest
4 wonderful guest faculty members, but we take comfort production (Rosie Kearin). Below: Director Ian Silverman amplified the companion
in knowing that their legacy lives on through the educa- piece, Mozart’s The Impresario, with an audition sequence that included over-the-
tors they taught here, enriching the lives of thousands top scenes from Shakespeare’s Antony and Cleopatra and Gilbert and Sullivan’s
of children. Pirates of Penzance. Trevor Scott, Jordan Costa, and Lucy Almada are shown
“climbing over rocky mountain,” with Eastman Opera Theatre’s musical director
The Eastman Saxophone Project (ESP) Institute’s Tim Long at the piano.
final concert featured 17 performers playing musical
arrangements by 4 ESM/ESP alums. The instruments
on stage had a total of 411 keys (approximately 2.42 keys
per player finger) and approximately 84 feet of tubing
and weighed almost 130 pounds!

The 23 participants and 3 faculty members of the
inaugural Eastman French Horn Institute played an
estimated 16,380 minutes, yielding 12.79 gallons of
“condensation” deposited on the floors of Eastman class-
rooms, practice rooms, and concert halls.

454 singers participated in 4 Summer Sings (com-
munity choral reading sessions, led by William Weinert
since 1995). This July we reached Summer Sing #100; 12
student conductors from the Eastman Choral Institute
led Handel’s Messiah. And 3 cheers to Professor William
Weinert, Director of Choral Activities, for 25 years of the
Eastman Choral Institutes!

At the Eastman Cello Institute Bach Suites concert, 16
students performed 21 movements of solo Bach (includ-
ing selections from all 6 suites).

Students from Theory and Analysis of Contemporary
Music: Study Abroad Course attended 19 concerts at
IRCAM in Paris. They also spent 3 days at IRCAM’s
“Spectralisms” conference and heard Duo XAMP per-
form on 2 microtonal accordions. (No word on the
number of pastries consumed.) —Andrea Schuler

Eastman Crosses the Road

September 26, 2019 marked the 50th anniversary of the
worldwide release of the Beatles’ Abbey Road, the band’s
last album project. Why has it remained continually

HANNAH BELL (ORFF FACULTY); NIC MINETOR (OPERA) Winter 2020 | Eastman Notes 21


{ }SCHOOL NEWS

Eastman Collaborates popular and influential for a half-century? To explore
this great work of pop music art, John Covach, Eastman
On November 8, Eastman Collaborates began in Miller Center Atrium. This lunch- professor of music theory and director of the University
time concert series was begun by Irina Lupines and Priscilla Yuen with the goal of of Rochester’s Institute for Popular Music, organized
bringing faculty members and their students together in performance. The opening Come Together: Fifty Years of Abbey Road, a symposium
concert featured the studios of faculty members Bob Sneider ’93, Oleh Krysa, that took place at Eastman from September 27 to 29.
Katherine Ciesinski, Mark Kellogg ’86E, and Tony Caramia (shown above).
Coming together was indeed the theme of the week-
end, whose participants included academics, music and
recording industry professionals, and Beatles fans to
analyze and celebrate Abbey Road’s musical and technical
achievements as well as its history and reputation. “It
was fantastic to welcome so many renowned Beatles
experts to Eastman,” says John Covach; “the papers and
presentations were superb. We look forward to hosting
more of these kinds of events in the future.”

ACDA Alumni Success

Eastman graduates were big winners at the 2018
American Choral Directors National Conference in
Kansas City. Over forty alumni gathered for a reunion at
the bi-annual conference. Hana Cai ’17E (MM), pursuing
doctoral studies at Indiana University, won first prize in
the Student Conducting Competition. Masters candidate
Connor Doran was also one of the eight conductors invit-
ed to participate in the competition. Dr. Alison Allerton
’11E (MM) won the Julius Herford Dissertation Award
for her work on Hugo Distler’s Totentanz. Alison’s doc-
toral work was completed at Louisiana State University;
she is on the faculty of the University of Tennessee at
Chattanooga. Tom Trenney ’02E (MM) presented a
session on building choral communities in the image
of Mr. Rogers’ Neighborhood. Our Director of Choral
Activities Bill Weinert, a member of the Editorial Board
of the Choral Journal, also presented a session on craft-
ing research into articles for publication in the journal.
Eastman alumni figured prominently as professional
singers at the conference. Sarah Brailey ’04E served as
soloist with the Boston-based Lorelei Ensemble, John
Buffett ’07E, ’09E (MM) sang with Seraphic Fire, and Kali
Paguirigan ’98E sang with the Denver Kantorei.

Little Red on the Road ACDA Student Conducting Competition winner Hana Cai with
Eastman Director of Choral Activities Bill Weinert.
In September 2019, an all-Eastman crew brought John Davies’ whimsical children’s
opera Little Red’s Unusual Day to the Rochester Fringe Festival, directed by master’s
student Ian Silverman, with Mei-en Chou as music director. Left to right: Mr. Bigbad
(The Wolf), played by Eastman graduate student Patrick Graham; Little Red,
Lauren Nash Silberstein ’19E (MM); Red’s Mom/Grammy, Veena Akama-Makia
’19E (MM); Dudley, Nathaniel Catasca ’19E (MM). —Jeremy Lopez

22 Eastman Notes | Winter 2020 MICHELLE MARTORELL (EASTMAN COLLABORATES); JEREMY LOPEZ (LITTLE RED’S UNUSUAL DAY); COLIN MANN (ACDA)


{ }RECORDINGS

12 LOUIS KARCHIN AND DIANE OSEN
Jane Eyre • Naxos

Making “Jane Eyre” Sing

In the last Eastman Notes you read about the prolific composer Lou Karchin
’73E. Lou’s output now includes a three-act operatic adaptation of Charlotte
Brontë’s Jane Eyre, first performed professionally in 2016 and just released on the
Naxos label.

34 Jane Eyre is so popular, I’m surprised the personality of Mr. Rochester, it
there hasn’t been an opera before! occurred to me that he was probably
DAVID LIPTAK the classic German lieder I hadn’t known of any earlier operas, an opera lover, and so I derived some
repertoire, is joined by but when I started work on Jane Eyre, material from operas popular at the
1 Constellations pianist Hartmut Höll for by coincidence I heard of an opera that time, especially Donizetti’s Lucia and
eight songs by Brahms and was also circulating in England. (The Anna Bolena. Lucia’s mad scene was
Innova Schumann’s Frauenliebe story was also adapted
und –leben, and by as a Broadway musical most on my mind.
This recording of music Christian Thielmann and in 2000.) My librettist,
by David ’75E (MM), ’76E the Münich Philharmonic Diane Osen, came to me What is Jane Eyre’s
(DMA), chair of Eastman’s Orchestra for Mahler’s with the idea. I had nev- performance history
composition department, Rückert-Lieder. er read the book; when I leading up to the
brings together pianist did, I saw that it contains recording?
Eunmi Ko ’06E (MM), ’12E KRYSTIAN many of the ingredients The first staging took
(DMA), who performed the BEZUIDENHOUT of an opera. Diane began place in New York in
piano suite Constellations the piece with Jane res- October 2016 (which
(2010) at Eastman in 4 Haydn: Three Piano cuing Rochester from a fire—great way happened to be
October, and the McCormick Sonatas to begin an opera! We worked together Charlotte Brontë’s centennial year) pre-
Percussion Group, joining closely from 2010 to 2014, and I had sented by the Center for Contemporary
Eunmi in David’s Concerto Harmonia Mundi the shape of the entire work in my head Opera. We recorded it in 2017 for Naxos
for Piano and Percussion before I wrote a note of music. with the entire original cast (which
Orchestra (2018). Kris ’01E, ’04E (MM) included baritone Tom Meglioranza
continues his exploration Did you create a “period” musical ’95E (MM) in two roles), and me con-
ROBERT MORRIS of the fortepiano music of style for the 19th-century setting? ducting the Orchestra of the League
the Classical era with three A lot of things in the score relate to of Composers. I’m glad this recording
2 Works for Violin imaginative sonatas by older music. When I thought about allowed me to put my personal inter-
and Piano Joseph Haydn—Hob. XVI: pretive stamp on this work.
6, 20, and 48—as well as a
Centaur set of variations on “Gott Recording Jane Eyre, left to right: Isabella Dawis (rehearsal pianist), Ryan MacPherson (Roch-
erhalte Franz, den Kaiser” ester), Jennifer Zetlan (Jane), Kimberly Giordano (Mrs. Fairfax) and composer Louis Karchin.
Three violin and piano (the tune which became the
works by Professor of Austrian national anthem)
Composition Robert and the Variations in F
Morris ’65E: In Variations, Minor.
. . . gradually . . ., and Drawn
Onward fantasy, performed HARRY PARTCH
by brothers Joseph Irrera
’05E, ’14E (DMA) and John 5 Sonata Dementia
Irrera ’07E, ’09E (MM),
’14E (DMA). Bridge

RENÉE FLEMING The American composer,
instrument inventor, and
3 Lieder original Harry Partch
(1901–1974) paid an unusu-
Decca al visit to Eastman in 1942,
performing what became
Renée ’83E (MM), who
has not recorded much of

COURTESY OF LOUIS KARCHIN Winter 2020 | Eastman Notes 23


{ }RECORDINGS

56789

qwert

his most famous work, Des Knaben Wunderhorn or arranged for the trio, y u
Barstow: Eight Hitchhikers’ and Rückert-Lieder, as including Poem for solo
Inscriptions. This Bridge well as Brahms Hornsongs cello by Christopher DAN LOCKLAIR information on Damsel
CD preserves Partch’s live Volume 3, arranged by the Brakel ’07E (PhD) and and on Beth is available
performance, and includes late Professor Emeritus Totentanz by Mathew r Symphony No. 2, at damselduo.org and
new recordings by the Verne Reynolds and Scott Fuerst ’99E. “America” bethmeyersmusic.com
ensemble PARTCH of his Hartman ’81E, ’83E (MM).
Ulysses at the Edge of the MAX STERN Naxos DUO526
World, Twelve Instrusions, GUY JOHNSTON
Windsong, and Sonata w Retrospective The latest CD of music y DUO Fantasy
Dementia. 8 Themes & Variations by the prolific Dan ’81E
Israel Music Institute (DMA) features a sym- Navona
BOSTON UNIVERSITY Orchid phony inspired by “The
WIND ENSEMBLE The Institute’s most recent Land of the Free,” and by Violinist Kerry DuWors
9 Howells: Cello collection of music from well-known melodies asso- ’03E and pianist Futaba
6 Expanding Spaces Concerto Max ’69E includes Song ciated with Independence Niekawa ’05E, 13E (DMA),
of the Morning Stars for Day, Memorial Day, and who first teamed up at
Summit Kings College orchestra, Three Ancient Thanksgiving Day. Also Eastman, explore three
Pieces for flute and guitar, on the CD: Dan’s Hail the fantasias by Villa-Lobos,
Expanding Spaces, Guy, ’12E and now Balaam and the Ass for Coming Day, PHOENIX Bax, and Bolcom. (The
produced by the Boston associate professor trombone and percussion, for Orchestra, and Organ “526” in their duo name
University College of Fine of violoncello, has and more. Max plays the Concerto. refers to the Köchel number
Arts and subtitled Music released a collection shofar in his Prophecy for of Mozart’s last violin
by Boston University with pianist Tom Poster the End of Days. DAMSEL sonata, Kerry and Futaba’s
Composers, features con- of works by Beethoven, first collaboration.)
ductor David J. Martins Schubert, Rachmaninoff, MADELEINE MITCHELL t Just Sit So
’77E, director of the BUWE, Martinů, and more; and CALEB BURHANS
and a program including a rare performance of e Grace Williams: Self-released
Solar Prominences by BU’s Herbert Howells’ 1933 Chamber Music u Past Lives
Richard Cornell ’89E concerto (with Rochester Beth Meyers, ’00E and
(PhD). Philharmonic Orchestra Naxos ’02E (MM) in Viola Cantaloupe Music
music director emeritus Performance and ’00
SEAN REED AND Christopher Seaman Madeleine ’81E (MM) English Literature, released This second full length
JOHN MARCELLUS conducting the Britten plays the violin and directs this album in 2017, and her album of Caleb’s ’03E
Sinfonia) as part of a her London Chamber band is working on a soph- compositions is dedicated
7 Trombone Songs compendium of Howells’s Ensemble in first record- omore album as well. More in part to the memory
choral and organ music. ings of chamber music by
Sean Reed the Welsh composer Grace
TRIO CASALS Williams (1906–1977):
Sean ’04E (DMA) and the Violin Sonata, Sextet,
Professor Emeritus John q Moto Quarto Suite for Nine Instruments,
Marcellus recorded this Romanza, Sarabande, and
disc at SUNY Fredonia. It Navona Rondo for Dancing. This
features duo arrangements CD was The Guardian’s
of songs from Mahler’s The trio zestfully inter- “CD of the Week.”
prets nine new American
compositions tailor-made

24 Eastman Notes | Winter 2020


{ }RECORDINGS

iopas

dfghj

of former Eastman dean songs include “Can I Take James himself, in three ROBERT DEMAINE includes concertos for
Douglas Lowry and U Up on That?”, “All of This compositions including the AND JOEL ERIC SUBEN violin, piano, and guitar,
features contributions Gatorade,” and “a Simpler title work. performed by Michael Lim,
from Grey McMurray Time.” f Haydn: Cello Concertos Gloria Cheng, and Kenneth
’02E, Joshua Valleau ’00E, CHOIR OF THE BASILICA Meyer with the Seattle
David Crowell ’03E, Katie JEFF PIFHER OF THE NATIONAL Leaf Music Modern Orchestra under
Buckley ’02E, ’04E (MM), SHRINE OF MARY Julia Tai. Andrew’s Ce
Christopher Otto ’06, p Alternate Futures/ Robert ’92E, ’93E (MM), morceau de tissu appears
’06E, Ari Streisfeld ’05E, Past Realities s The Basilica Choir principal cellist of the Los on another recent Bridge
John Pickford Richards Angeles Philharmonic, is release, The Lark Quartet:
’03E, ’04E (MM) and Kevin Jeff Pifher Music Stemik Music the soloist in these pop- Farewell Celebration.
McFarland ’04E. ular concertos. Joel ’69E
Tenor saxophonist Jeff’s This is the fifth release by conducts the Moravian BLUE VIOLET DUO
GREG YASINITSKY ’07E second CD includes the Orlando, Florida choir, Philharmonic Orchestra,
six original tunes mixed directed by William Picher adding, “As conductor on j American Souvenirs
i YAZZ Band by eight-time Grammy ’81E since 2001. It contains nearly 70 commercial CDs
winner Elliot Scheiner music by Dering, Goodall, since 1993, I am especially CD Baby
YAZZ Recordings that reflect a sound Haydn, Brahms, and proud of this Haydn release,
characterized as “cinematic Titcomb, as well as music my very first devoted to the Violinist Kate Carter ’05E
Greg’s ’95E (DMA) recent jazz,” incorporating strings by Orlando composers standard repertoire.” (MM) and pianist Louise
release was showcased in and horns. This follows Robert Schaefer, Marshall Chan ’02E, ’04E (MM), the
Down Beat and featured Jeff’s first release, a more Webb, Kevin Harris and PAULINE VIARDOT Blue Violet Duo, released
on PRI’s Jazz After Hours. traditional jazz recording Sean Christopher Stork. their debut album in
YAZZ Band was listed entitled Socrates Trial. Jeff g Le Dernier Sorcier September 2018, consist-
as one of the “CDs of the plays and teaches in the Los ALEXA TARANTINO (The Last Sorcerer) ing of music by Norman
Year–Big Bands” by Bebop Angeles area. For more on QUARTET Dello Joio, Paul Schoenfeld,
Spoken Here in the United Jeff go to jeffpifher.com Bridge William Bolcom, and John
Kingdom, and has received d Winds of Change Adams. Kate and Louise
a number of enthusiastic CHOIR OF This first recording of the were awarded an Individual
reviews internationally. SAINT JAMES Posi-Tone Records recently discovered fantasy Artists Program Grant
opera, or “feminist eco-fable from the City of Chicago in
BRIAN HEVERON-SMITH a O Beauty Ever Ancient The release date for this de- in operatic form”, by the support of this project.
Ever New but album by saxophonist 19th-century contralto and
o The Great Heveron Alexa ’14E and her quartet opera star Pauline Garcia Do you have music or
Gothic Records took place at Dizzy’s Club Viardot (with a libretto by performances on a recent
Distributed by CD Baby (Jazz at Lincoln Center) on Ivan Turgenev), features or forthcoming CD? Notes
The Choir of Saint James May 28, with guest Nick soprano Camille Zamora wants to know! Send promo
This is Brian’s ’08E first (Los Angeles, CA) is heard Finzer ’09E on trombone. ’92E in the cast. copies to Eastman Notes,
release as a solo artist, an under James Buonemani “It is time we stop referring Office of Communications,
album of original musical ’78E and accompanied to Alexa Tarantino as one of ANDREW WAGGONER Eastman School of Music,
comedy songs written and by organist Tom Mueller the ‘on the rise’ young stars 26 Gibbs Street, Rochester,
performed by himself with ’14E (DMA) in music in jazz,” wrote allaboutjazz. h Quantum Memoir NY 14604; or just alert us
guest artists like comedian by contemporary Baltic com’s Paul Rauch. “She has that it is available.
Chris Fleming and opera composers, Walton, arrived, and by the sound of Bridge
singer Mimi Hilaire. Brian’s Poulenc, Morales, and things, she is here to stay.”
This compendium of
concertos by Andrew ’82E

Winter 2020 | Eastman Notes 25


{ }ADVANCEMENT NOTES

A generous gift from Tim and Robin Wentworth Left to right: Dean Jamal Rossi and distinguished alumni Bob Ludwig, Erin Hannigan, and
endows a new Eastman piano professorship and a Albert G. Regni at Meliora Weekend.
scholarship.
Recognizing Distinguished Alumni
Wentworth Family
Commits $2.5 Million During Meliora Weekend, (DMA), clarinet, Walter Distinguished Alumni
to Eastman the Verdehr Trio received Award for their exceptional
the Luminary Award for Verdehr, violin, and pianists musicianship, scholarship,
Robin and Tim Wentworth, University their extraordinary service and leadership in the arts.
of Rochester parents and supporters, to music and the arts at the Silvia Roederer ’80E, Gary
have committed $2.5 million to endow national and local levels. Kirkpatrick ’62E, David Make sure you do
a professorship and a scholarship at the The honor was awarded Renner ’60E, ’65E (MM). not miss out on these
Eastman School of Music. The Robin and Tim during a beautifully per- festivities! Save the date
Wentworth Professorship in Piano will support formed Morning Chamber At the Saturday evening for the next two Meliora
and recognize a dedicated faculty member Music concert to Elsa Weekends; October 1–4,
while the Wentworth Family Scholarship will Verdehr ’58E (MM), ’64E Celebration Dinner, we 2020 and September 30–
benefit deserving students. October 3, 2021.
honored Erin Hannigan
“The Wentworths are passionate about ’96E (MM), Bob Ludwig
education and music, as this gift illustrates,” ’66E, ’01 (MM) and Albert
says Jamal Rossi, the Joan and Martin G. Regni ’58E with the
Messinger Dean of the Eastman School of
Music. “Their generosity reflects the powerful Carlson Gift Supports ESM STEM Students
effect that music has had in their lives, and it
shows a deep commitment to support the next Marlan G. Carlson ’61E The Marlan and Angela in a culture and in a soci-
generation of musicians with the resources (MM) ’64E (DMA) and his Carlson Scholarship sup- ety which urgently needs
and guidance they need to thrive. We are wife Angela have taken ports dual degree students committed people in the
tremendously grateful for their support.” the first step to establish a at Eastman who are con- STEM-oriented professions
series of scholarships that currently enrolled in one who are accomplished musi-
“Eastman is a gem and an anchor in the will support students who of the STEM disciplines on cians, and who through their
Rochester community, as well as a world are talented musicians and the river campus. They were passion, their beneficence
leader in the music realm,” says Tim, who dedicated scholars, and who particularly motivated to and their leadership can be
has been a member of the University of wish to pursue the intensive act now, given the opportu- compelling ‘difference mak-
Rochester’s Board of Trustees since 2013. study of music while also nity for their gift to receive ers’ as advocates for the arts
“The school excels in helping young artists pursuing a degree in one of a 30% bonus in matching in their companies, educa-
grow into leaders on stage, in the arts the STEM areas (Science, funds through the Wegman tional institutions, corpora-
community, and in a variety of roles where Technology, Engineering, Scholarship Challenge. Dr. tions, governmental entities
they can apply the tremendous skills gained Math). Carlson shared, “We live and their communities.”
from a rigorous program of academic and
musical studies.” Thank You for Your Support For information about supporting schol-
arships or other special programs and
26 Eastman Notes | Winter 2020 Your support of the Eastman School projects, please contact:
ensures our ability to continue to provide
a world-class educational experience by Eastman School of Music
investing in these priorities: Office of Advancement
26 Gibbs Street
• Scholarship Support Rochester, NY 14604-2599
• Special Performance Opportunities and
New Commissions 585.274.1040
• Innovative Programs 866.345.2111 (outside 585 area code)
• Community Outreach
• Student Travel

ANDY OLENICK (WENTWORTHS); JOHN SCHLIA (DISTINGUISHED ALUMNI)


{ }ALUMNI NOTES

1960s 2019 Richard F. Grunow 1 Bill Cahn ’68E (second from right)
Colloquium for Music
Elizabeth Bankhead Teaching, Learning, and 2 Vivien Goh ’69E (second from right, seated) and Chien-Kwan Lin with Singaporean alumni.
Buccheri ’69E (MM), Performance. Chuck and
’79E (DMA) has retired the Canadian Brass (he is a In January 2019, Geary
after 14 summers as Head founding member) gave a Larrick ’70E (MM) was
of Music at the Aspen master class, and performed honored with the Albert
Opera Center, where she with the Eastman Wind Nelson Marquis Lifetime
served with David Zinman, Ensemble. The colloqui- Achievement Award from
Robert Spano, and Edward um is named after former Marquis Who’s Who
Berkeley. Music Education professor Publication Board.
Richard Grunow.
1 On August 6, Eastman 3 Rabbi Ilana Axel (Ilene Mohl) ’78E and Rev. Dr. Shawn 4 Cary Lewis ’72E writes:
Community Music School, 2 Recently, Assistant “This photo was taken just
with percussionists Bill Professor of Saxophone Kafader ’81E outside of Reykjavik, in the
’68E and Ruth Cahn ’68E Chien-Kwan Lin visited home of Iceland’s Nobel
facilitated a hand drum- his hometown, Singapore. under Eugene List, and is Boynton Beach, Florida, has Prize winner for Literature,
ming workshop for the NYS Eastman has about 35 a faculty member at the published his first novel, Halldor Laxness. On July
Northwest Region Migrant Singaporean alumni work- Mannes College/New People of a Prayer. The 14 Gudny Gudmundsdottir
Education Program. Six ing for the Symphony, the School and the Aaron novel combines a compel- ’71E and I revisited the
teenage students gath- Conservatory of Music, the Copland School of Music at ling murder mystery with Franck Sonata for the
ered in the Karen Rettner School of the Arts, conduct- Queens College/CUNY. an endearing love story, all first time together since
Community Music Center to ing school orchestras, and within the contemporary May 1968. Gudny is now
make music and learn tech- in private studios. Shown Hollywood film composer music scene. The settings retired as concertmaster
niques on tubano drums. are: from left to right, Michael Isaacson ’79E include the Eastman School of the Iceland Symphony
seated: Wei Wei Tan ’03E, (PhD), now a resident of of Music! Orchestra. I retired from
Robert Christensen ’62E, who works as a free-lance Georgia State University
’64E (MM) premiered his violist in London; Soon but maintain an active
String Quartet and Monhe- Lee Lim ’87E; Han-Ling performance schedule as
gan Trilogy for soprano and Oh ’99E, Vivien Goh ’69E a chamber musician in
piano in September at the (who provided the photo- Portland, Oregon.”
University of Rhode Island. graph), Cindy Lee ’02E;
Monhegan is set to poems from left to right standing:
by Alonzo Gibbs, father of Chien-Kwan Lin, Gerard
Geoffrey Gibbs ’62E, ’63E Chia ’99E, Lynette (Lim)
(MM), ’74E (DMA), whose Chang ’84E, Joelle He ’11E,
music was also performed Edward Tan ’07E, Boon
on the URI program. On Hua Lien ’18E, and Anne
March 7, 2020, the Claflin Kunkle ’17E.
Hill Symphony will pre-
miere Robert’s Adirondack 1970s
Sketches.
3 Rabbi Ilana Axel (Ilene
Since retiring from the Mohl) ’78E and Rev. Dr.
Library of Congress in Shawn Kafader ’81E recent-
2002 to care for his late ly gathered in the Chicago
wife, Emily Ann Cooper suburbs to celebrate Ilana’s
’60E (MM), ’69E (DMA), Rabbinical Ordination.
Gerald Gibson ’62E, ’75E Ilana is Cantorial Leader of
(MA) moved to Marshall, Beth Tikvah Congregation,
Texas, in 2004. He is on the Hoffman Estates, Illinois.
Harrison County Historical Shawn is Lead Chaplain
Commission, sits on the and Clinical Counseling
board of the Harrison Supervisor at Friendship
County Historical Museum, Village Retirement
and chairs the Marshall Community, Schaumburg,
Public Library Committee. IL. Friends at Eastman, they
He was named Harrison make their Eastman musi-
County’s Outstanding cal training a large part of
Volunteer of the Year in their ministries.
2018.
In December 2018, Zelma
Chuck Daellenbach ’66E, Bodzin ’70E and Terry
’68E (MA), PhD’71E (PhD) Eder performed the last
returned to Eastman as recital in the series Piano
the guest lecturer in the Four Hands. Zelma studied

RUTH CAHN (TOP) Winter 2020 | Eastman Notes 27


{ }ALUMNI NOTES

Two concert band pieces 4 Cary Lewis ’72E and Gudny Gudmundsdottir ’71E Distinguished Teaching to right (with current affilia-
by Arthur J. Michaels from President Christopher
’70E, Mythical Royals and Eisgruber at Princeton’s tion): Richard Nelson ’84E
Their Heroic Defenders 2019 Commencement. In (PHD) (Cleveland Institute
and Euphotrombotonia, March 2018 he was made
were published by Bell an Honorary Member of of Music), Sam Ng ’96E,
Music Publishing. Other the Royal College of Music, ’01E (MA), ’05E (PHD)
publications by Arthur: London, by its President,
Dance Suite and Sara’s HRH the Prince of Wales. (Cincinnati Conservatory),
Suite, both for string
orchestra (Gusthold Music). Last spring and summer, Joe Kraus ’77E, ’87E
“St. Thomas Excursion,” marimbist Leigh Howard (PHD) (Florida State),
a movement from Dance Stevens ’75E performed at
Suite, was premiered by the the 1000 Beats Festival in Andrew Aziz ’10E (MA),
Symphoria Youth String Palermo, Italy, joining jazz ’13E (PHD) (San Diego
Orchestra (Syracuse, New drumming legend Peter
York). Erskine and Grammy win- State University), Mike
ner Mark Colenburg, and Callahan ’02E (Michigan
In March, composer performed Robert Kurka’s State University), Chris
and percussionist Dave Concerto with the Tenerife Bartlette ’01E (MA),
Mancini ’74E performed Symphony Orchestra. ’07E (PHD) (Binghamton
with the Genesee From June 2–14, students
Symphony Orchestra as from across the United University), Sam Bivens
guest soloist in a pops con- States and three different ’13E (MA), ’18E (PHD)
cert. The program included countries converged on
several of Dave’s pieces, Asbury Park, New Jersey, (Cleveland Institute),
including The Journey and for Leigh’s 40th Summer
Fiesta Latina. Marimba Seminar. Guests Beata Golec ’05E (MM),
included Eastman professor ’12E (DMA) (Geneseo
Diana Mittler (Mittler- 5 David Owens ’72E with Barbara Kipp Michael Burritt ’84E, ’86E
Battipaglia) ’75E (DMA) (MM). University), Betsy Marvin
celebrated her 40th season piano, with oboist/English Preludes for Piano by Kent ’81E (MA), ’89E (PHD)
as director and pianist of hornist Barbara Kipp at Kennan ’34E, ’36E (MA) 1980s
the Con Brio Ensemble with Medford and Newton, (1913–2003). (Eastman School of Music),
13 concerts in the Bronx, Massachusetts. Their 6 In June 2019, Kansas
Manhattan, and Queens, concerts also featured The Michael Pratt ’71E City hosted thousands of Phil Chang ’99E (MA),
including the Library of Winter’s Passed by Wayne completed 41 years on college and high school ’11E (PHD) (University of
Performing Arts at Lincoln Barlow (1912–1996), a long- the Princeton University teachers who grade the
Center where clarinetist time Eastman composition faculty, and received the Advanced Placement (AP) Colorado, Boulder), Jenine
Gary Dranch ’75E also per- faculty member, and Two President’s Award for exams for various subject Brown ’06E (MA), ’14E
formed. On May 5, Diana areas. AP Music Theory was (PHD) (Peabody Institute),
conducted the Lehman represented by 105 graders,
College and Community 20 of whom are Eastman Michael Buchler ’98E
Chorus and Orchestra in alumni. Pictured, from left (PHD) (Florida State),
excerpts from Brahms’
German Requiem and works Joel Phillips ’82E (MM)
by American composers (Westminster Choir
including a Porgy and Bess
medley. This was Diana’s College), Kary Haddad
66th semi-annual concert ’04E, ’06E (MA) (Columbia
with this group at Lehman
College/CUNY, where she Preparatory School), and
has served as Professor of
Music and Choral Director Nancy Rogers ’00E (PHD)
since 1986. (Florida State).

Not pictured: Matt
Bribitzer-Stull ’97E (MA),
’01E (PHD) (University

of Minnesota), Laura
D’Angelo ’93E, ’00E (MA)
(Webster Central Schools),

Jocelyn Neal ’95E (MA),

5 Within a Dream, a 6 Eastman alumni graders for AP Music Theory in Kansas City
work for voice and string
quartet by David Owens
’72E, was premiered on
February 10 in Boston by
coloratura soprano Sierra
Marcy. Last spring David
premiered Soliloquy VIII
for cor anglais and piano,
and Soliloquy VII for solo

28 Eastman Notes | Winter 2020


{ }ALUMNI NOTES

’02E (PHD) (University 7 Donna Coleman ’86E 8 Bradley Ellingboe ’83E (MM) the 2018 Mid-South Horn Independence Day.
of North Carolina, Workshop at Wichita State
Chapel Hill), Anna 9 Mitchell Robinson ’99E (PhD), Gordon Sly ’85E (PhD), Michael University. He presented a Kedrik Merwin ’99E
Stephan-Robinson ’03E lecture on Making a Career (DMA) is the Executive
(MA), ’09E (PHD) (West Callahan ’08E (MM), ’10E (PhD) as a Multi-Instrumentalist, Director of the Traverse
Liberty University), and coached the WSU Jazz Symphony Orchestra.
James Sullivan ’69E (MA), concerts of the Tabernacle École de Musique at Ensemble, and performed Kedrik was previously
’82E (PHD) (Michigan Choir at Temple Square. Conservatoire de Lausanne. a concert of classic jazz Music Director of the
State). Richard’s arrangement His article on chamber that utilized French horn, Interlochen Center for the
for choir and orchestra of music pedagogy is in the with his Jazz Horn Legacy Arts.
Brett Blankenship ’82E Let Us All Press On is the sixth volume of Dialogues Sextet.
(MM) is Chairman of title track of the choir’s with Sound, by the Editora The Brightness of Light,
the Board of Regents at newest CD. da Universidade do Estado In July 2019, Eileen by Pulitzer Prize-winning
Washington State Univer- de Minas Gerias (Bresil). Strempel ’88E became the composer Kevin Puts ’94E,
sity. Brett was previously Third Angle New Music new dean of UCLA’s Herb ’99E (DMA), was pre-
President of the National was selected to receive Leo Schwartz’s ’80E Alpert School of Music. miered at Tanglewood last
Association of Wheat $25,000 from the MAP musical, Till, about Emmett summer with the Boston
Growers, the policy voice of Fund Grant to fund and Mamie Till, was a 1990s Symphony Orchestra,
the wheat industry on Cap- Sanctuaries, a jazz-classi- Next-Link Production at conductor Andris Nelsons,
itol Hill, and still manages cal chamber opera Third last Summer’s New York Kelly Hall-Tompkins ’93E soprano Renée Fleming
the family wheat ranch. Angle has commissioned Musical Festival. Written was appointed to the violin ’83E, and baritone Rod
from Darrell Grant ’84E. with DC Cathro, Till is the faculty of the Manhattan Gilfry. The 45-minute piece,
7 Donna Coleman ’86E Sanctuaries challenges the true story of Emmett and School of Music. Kelly inspired by the marriage of
(DMA) produces and Portland, Oregon commu- Mamie Till. In 1955, a black is the founder of Music Georgia O’Keefe and Alfred
performs in The OutBach® nity to listen and address teenager visiting relatives Kitchen, bringing emerging Stieglitz, was co-commis-
Festivals of Music in Santa issues such as privilege, in Mississippi was mur- and professional musicians sioned by six organizations,
Fe, New Mexico. The 2018 racial equity, inclusion, and dered, his body was thrown together to inspire and up- including Eastman.
Festival featured Charles economic disparity. in the Tallahatchie River, lift. In 2019, Music Kitchen
Ives’s Concord Sonata, and it was discovered three performed its 100th con- 9 A recent “photo opp”
recorded by Donna for Deputy Head of Strings at days later, mutilated and cert, at the Antonio Olivieri brought together three
Etcetera Records and win- London’s Guildhall School unrecognizable. This crime Drop-In Center. Eastman alumni and
ner of France’s Diapason of Music and Drama, and Mamie’s impassioned former winners of the
d’Or. The 2019 Festival cel- Evan Rothstein ’82E was response were catalysts In May, Erin Hannigan Teaching Assistant Prize,
ebrated the 200th birthday professor in residence at for subsequent civil rights ’96E (MM) performed all now on the faculty of
of Clara Wieck, and music the Conservatorio superior protests. with her quintet at the Michigan State University:
of other women. Donna de musica in Lisbon last Presbyterian Village North Mitchell Robinson ’99E
returns to Australia every year, and is external expert Jeff Stockham ’84E (MM) in Dallas. The concert, (PhD), Music Education;
year to perform and teach. to the Conseil of the Haute was a Featured Artist at arranged by Janet ’52E Gordon Sly ’85E (PhD),
In 2014, Donna formed The and Frank LaCava ’52E, Music Theory; and Michael
Concord Trio to explore the included all the principal Callahan ’08E (MM), ’10E
American chamber music players of the DSO wood- (PhD), Music Theory.
repertory, performing on wind section and the DSO’s
the “Sundays Live” series Associate Principal Horn JEN-TEN by Greg
from the Los Angeles player. For more news about Yasinitsky ’95E (DMA),
County Museum of Art. Erin, see p. 26. was premiered at the
keynote session of the
8 A Practical Guide to Damon Thomas Lee 2019 international JEN
Choral Conducting by ’97E has been appointed Conference by the JEN All-
Bradley Ellingboe ’83E Professor of Music for Film, Star Big Band. The piece
(MM) was recently pub- Theatre, Games and Other was written for the 10th
lished by the Neil A. Kjos Media at the Hochschule anniversary of the Jazz
Music Company. Bradley is für Musik, Karlsruhe, Education Network. (See
retired Director of Choral Germany. “Recordings” p. 25 for more
Activities and Professor of about Greg.)
Music at the University of Under the invitation and
New Mexico. sponsorship of the U.S. In January, Jeffrey Zeigler
Department of State and ’95E performed with
Tony Award-winning the U. S. Embassy in Brazil, Aperio, Musics of Americas,
singer and actress Kristin Solungga Fang-Tzu Liu at Sicardi|Ayers|Bacino
Chenoweth (an Eastman ’96E (MM), ’01E (DMA) in Houston, Texas.
guest in 2014) made a collaborated with the RE:VOLVER—Cello,
cameo appearance in Carol Brazilian National Theater Electronica, & the Mayan
of the Bells, written and per- Symphony Orchestra in Apocalypse featured
formed by organist Richard Gershwin’s Rhapsody in new music for cello and
Elliott ’85E (MM), ’90E Blue at a concert in Brasilia electronics by emerging
(DMA) for the Christmas to celebrate the 2019 Mexican composers.

Winter 2020 | Eastman Notes 29


{ }ALUMNI NOTES

2000s q Ellen Breakfield Glick ’08E joined to perform a concert to enrich the lives of people Performing Arts), and a
at the facility. in the community. lecturer at Northwestern’s
In March, Daniel Black Susan Hochmiller ’05E Bienen School of Music.
’06E made his Michigan (MM), ’08E (DMA) is Nicole Kenley-Miller ’00E Tiffany Ng ’08E (MM) Julie is principal harpist
Opera Theatre debut assistant professor of (MM) recently completed is Assistant Professor of of the Hartford Symphony
conducting Bernstein’s voice at the Sunderman her DMA at University of Carillon at the University Orchestra, orchestra direc-
Candide. The opening Conservatory of Music Houston with her disser- of Michigan, Ann Arbor. tor at a local middle school,
night performance was at Gettysburg College. tation, “Voicing Virginia: She was a keynote speaker adjunct faculty member at
broadcast live on WRCJ She wrote So You Want Adaptation of Woolf’s and performer at the 2018 the College of DuPage, and,
90.9FM. to Sing Chamber Music: Words to Music.” She is Canberra International with Lynn, a member of the
A Guide for Performers also the new Production Carillon Festival, and Chicago Harp Quartet.
Henry Cheng ’07E won (Rowman & Littlefield) and Manager for the Moores featured artist at the 2018
the first prize in the Second directs Orvieto Musica’s Opera Center at University Rockefeller Carillon New David Stringham ’03E,
Antal Doráti International Art of Song summer vocal of Houston. She and her Music Festival in Chicago, ’07E (MM), ’11E (PhD), as-
Conducting Competition in chamber music festival in husband, Dr. Andy Miller, where she performed Ashti sociate professor of music
November 2018. Orvieto, Italy. a published poet, are by Jung Sun Kang ’08E at James Madison Universi-
continuing research on col- (MM) and ’13E (DMA), ty (Harrisonburg, VA), was
Renée-Paule Gauthier Danny Jenkins ’07E laboration between singers a response to President awarded a Madison Scholar
’00E (MM) performed in (PhD) is associate pro- and poets/literary scholars Trump’s travel ban co-de- Award for the 2019–2020
the Chicago Lyric Opera fessor of music theory at to deepen the explication veloped with Afghan refu- academic year.
Orchestra for 2018–19. the University of South process of art song texts for gee Ferdous Dehqan, and
She is a member of several Carolina. He has published recital preparation. the world premiere of Of The University of Rochester
Chicago-area ensembles, a book of Schoenberg’s Senses Steeped by Kathryn Press recently published
including the Joffrey Ballet program notes and musical Carly Kulawitz ’09E, an Alexander ’97E (DMA). George Rochberg, American
Orchestra and the Chicago analyses. Danny’s most elementary school music Tiffany is editor of The Composer: Personal Trauma
Philharmonic, and is a recent effort has been in teacher at Trevor Day Music of ‘March’: A Civil and Artistic Creativity by
substitute with the Chicago community engagement. School in New York, mar- Rights Carillon Collection Amy Lynn Wlodarski ’01E
Symphony Orchestra. After several weeks of video ried Eliot Bickoff on July (American Carillon Music (MA), ’06E (PhD) who is
Renée-Paule is on the facul- conferences with inmates 4, 2019. Editions) and appears on currently associate profes-
ty of North Park University at Lee Correctional, USC the LP Land AA, vol. 4 sor of music at Dickinson
and travels throughout students and the inmates Alexandria Le ’05E gave (Clear As Day). College. Drawing from
the United States, giving two performances—one on unpublished materials
master classes and clinics the back of a red pickup Daniel Pesca ’05E, ’16E and personal papers, this
on the topics of mindful truck and the other at (DMA) has been appoint- is the first comprehensive
practice, audition prepara- Mario Basner’s World ed Assistant Professor of study to put the career of
tion, and anxiety manage- Heritage Collection at Piano at the University this prominent musical
ment. She hosts the Mind Tivoli Village—on March of Maryland, Baltimore postmodernist into a rich
Over Finger podcast, and 21 during the 24-hour County. cultural context.
was an official podcaster for fundraising event, Nevada’s
the 2019 Fischoff National Big Give. Ninety-five to 100 Cellist Audrey Snyder w Chanda VanderHart
Competition. percent of donations were ’06E has a highly visible ’02E writes: “A multi-
given directly to non-profit role performing with The disciplinary storytelling
q Ellen Breakfield organizations, including Who’s Moving On! tour, initiative that I founded
Glick ’08E was appointed Alexandria’s Notes with a joining a 50-piece orchestra and perform in, Talespin—
assistant professor of clar- Purpose, which uses music of local musicians hired Musical Tales for Big
inet at Western Michigan for each show. Audrey also and Small, released its
University in Kalamazoo, teaches cello, writes music, first book and CD, How
Michigan. (Sent to Eastman and performs in musical Monkey Looked for Trouble,
Notes by her proud hus- theater, including serving available in French, English
band, Ryan Glick ’08E.) as a substitute player in and German. I am a faculty
the Chicago production of member at the University
Send us your news and photos! Hamilton.

Do you have an announcement you’d like to share with Julie Spring ’05E and
your fellow alumni? Send your personal and professional Lynn Williams ’01E, the
news to Eastman Notes, Office of Communications, CHQ.2 harp duo, per-
Eastman School of Music, 26 Gibbs Street, Rochester, formed at the UR Chicago
NY 14604. New Year’s Celebration.
Lynn is principal harpist at
E-mail: [email protected] the Chicago Lyric Opera
Orchestra, founder and
Please do not edit, crop, or resize your digital images. director of the Chicago
Send the original, full-size file downloaded from your Harp Ensemble, head of
camera or smartphone or provided by the photographer. the Harp Department
at Roosevelt University
We reserve the right to edit submissions for clarity (Chicago College of
and length.

30 Eastman Notes | Winter 2020


{ }ALUMNI NOTES

of Music and Performing Adrian DiMatteo ’12E was w Chanda VanderHart ’02E (left) and Johanna Lacroix Honor Concert Band, and
Arts Vienna, where I earned featured in a recent New Music Director for Artpark
my PhD. I spend most York Times article on the e Alumni in the U.S. Army Field Band & Company’s first Public
of my time performing healing principles of sound Works production of
with diverse ensembles, baths. Pennsylvania Law School, Yidi Song ’18E won First The Odyssey in Summer
including Talespin, around where she was an Executive Prize in the Flute Society of 2018. He is active with
the world.” Jairo Duarte-Lopez ’10E Online Editor of the Washington Young Artist NYSSMA as a Piano and
(MA), ’16E (PhD) and University of Pennsylvania Competition. Brass Adjudicator for
e Our alumni in the Michaela Eremiasova ’11E Journal of International Solo Evaluation Festivals
United States Army Field (PhD) scored the music for Law. Evan Pengra Sult ’17E was throughout New York
Band performed in Kodak Brown Paper Bag, which appointed Principal Flute of State. In 2016, he was a
Hall on April 9: Staff won Best Film and Best Zachary Peterson ’16E the Pacific Northwest Ballet Quarterfinalist for the
Sergeant Joel Ciaccio Director awards at the (MM) is Eastman’s Orchestra. Grammy Music Educator
’05E; Sergeant First Class 2019 San Diego Black Film new Graduate Advisor. Award.
Thad Crutcher ’07E; Staff Festival. Zachary served previous- Jay Villella ’11E is second
Sergeant Pam Daniels ly as Student Services trumpet of the Youngstown Drew Worden ’14E (MM)
’09E; Staff Sergeant Amy Jacob Dupre ’14E produced Coordinator in the Symphony, and trumpet was promoted to Assistant
Houck ’13E; Sergeant a documentary honoring Registrar’s Office, and a professor at Chatham Dean of Entrepreneurial
First Class Rob Marino the 60th anniversary of student employee in the University in Pittsburgh. Musicianship at New
’05E; Sergeant Major Reis Miles Davis’ Kind of Blue. Admissions and Concert He performs regularly in England Conservatory
McCullough ’00E; Sergeant Jacob plays piano and Offices. Pennsylvania, Ohio, West of Music in fall 2018. In
First Class JG Miller ’06E; trumpet and reads the Virginia, and western New May 2018 his BOLT for
Sergeant First Class Sarah voiceover for the documen- In August, Mark Powell York, and maintains a 18 Percussionists was pre-
Schram-Borg ’04E; Staff tary. He is an active pianist, ’19E (DMA) spoke at private studio. miered in Carnegie Hall by
Sergeant Jennifer Zhou composer, and songwriter, the Oxford Conducting Desert Vista High School.
(’14E); and Sergeant First and is the keyboard artist Institute’s Conference at Patrick Towey ’14E is The Big Trouble, a 14-mem-
Class Michaela Shelton for Sweetwater. the Sydney Conservatory the Director of Bands at ber percussion/songwriting
’13E (MM). Bassoonist on “Conducting Ma: An Plattsburgh (NY) Senior collective founded by Drew
Randy Lee Fultz ’19E Chad Goodman ’11E (BM) Open Space for Music High School. He was Guest and Ivan Trevino ’06E,
joined the U.S. Army Field was appointed Conducting Making with an Implication Conductor for the 2019 ’10E (MM), performed
Band following his gradua- Fellow of the New World for Conducting Pedagogy.” Clinton County All-County a Daytime Showcase
tion in May. Symphony in Miami Beach, Concert at the Percussive
Florida, working with its Arts Society International
2010s Artistic Director Michael Convention (PASIC). Big
Tilson Thomas. Trouble includes Aaron
Laura Andrade ’16E was Staebell ’05E, ’10E (MM),
awarded the fourth prize in Dasol Jeong ’14E was Mark Boseman ’14E
the Senior Division of the appointed to the New York (DMA), George Clements
2019 22nd Annual Sphinx Philharmonic earlier this ’07E, ’12E (MM), Maria
Organization Competition, month. She is one of three Finkelmeier ’09E (MM),
held in Detroit. new section violinists. Stella Perlic ’18E, Sam Um
’15E, and Catherine Cole
Gabriel Condon ’13E, Leah Jorgensen ’19E has ’18E (MM).
’15E (MM) was appointed joined Americorps’ Teach
Instructor of Classical and for America, whose mission IN MEMORIAM
Jazz Guitar at Washington is to address educational
State University. inequality. Leah is teaching 1940s
in an elementary school in Dorothy (Purdy)
As seniors, Hannah Dick the Baltimore city school
’19E and Benton Gordon district. Amarandos ’46E, ’47E
’19E received Fulbright (MM), June 2019
Awards for the 2019–2020 Sarah Kramer ’14E Denise (Miller) Apel
academic year. Hannah (BA, BM) is one of four ’47E, February 2019
is studying percussion in 2019–2020 Fellows Joan (Strait) Applegate
Örebo, Sweden, and Benton assigned to the Supreme ’47E, ’66E (PhD), May
is teaching English in Court of the United States, 2019
Taiwan. where she will serve in the Evelyn (Meyers) Currie
Office of the Counselor to ’45E (BS), ’46E (BM), June
Two Eastman seniors re- the Chief Justice. Sarah 2019
ceived Fulbright awards for joins the Supreme Court Priscilla (Gilbertson) Eitel
the 2019–2020 academic Fellows Program from ’46E, June 2019
year. Hannah Dick ’19E the United States Court Arthur Roland
is studying percussion of International Trade. Frackenpohl ’ 47E, ’49E
in Örebro, Sweden, and After majoring in harp at (MA), June 2019
Benton Gordon ’19E is Eastman, Sarah earned a Evelyn (Cumming) Garvey
teaching English in Taiwan. J.D. from the University of ’46E (MA), March 2019

MICHELLE MARTORELL (U.S. ARMY FIELD BAND) Winter 2020 | Eastman Notes 31


{ }ALUMNI NOTES

Madeline (Bramer) TRIBUTES
Ingram ’ 45E, February
2018 Christopher Rouse

Martha McCrory Christopher Rouse, a Pulitzer Prize-winning composer music of the 19th century to John Bonham, drummer
’44E (MM), February 2019
who taught at Eastman from 1981 to 2002, died on with Led Zeppelin. He knew music literature as exten-
Andrew McMullan Jr.
’47 (MM), February 2019 September 21, 2019. sively and completely as anyone, and this was on full

Robert Lee Moore He began composing at age seven, earning a bach- display with his teaching of composition and orches-
’49E, March 2019
elor’s degree at Oberlin Conservatory and studying tration to students at Eastman. His private students
Anthony Passannante
’48E, March 2019 with George Crumb and with Karel Husa at Cornell included some of our most prominent graduates, includ-

Betty (Chidlaw) University. After Eastman, Rouse taught
Philibosian ’44E,
September 2017 at The Juilliard School, and he was the

Cathleen (Beyer) Distinguished Composer-in-Residence
Robinson ’ 42E, May 2019
at the Peabody Institute. He was the
Sally (Falkner) Shapton
’49E (MM), February 2019 Baltimore Symphony Orchestra’s

Phyllis (Mann) Shulman Composer in Residence in 1986 and New
’48E, March 2019
Music Adviser from 1989 to 2000, and
Laura (Bohle) Sias
’47E, October 2019 the New York Philharmonic Composer

Margaret (Lide) Stanback in Residence from 2012 to 2015.
’44E, July 2019
His colorful, emotionally visceral
Constance (Koeblin) Starr
’47E, August 2019 music has been performed and record-

Eleanor (Hunt) Vail ’ 46E, ed by such soloists as Sharon Isbin and
’47E MM), January 2019
Yo-Yo Ma. Rouse won the 1993 Pulitzer
Louise (Tyre) Voscinar
’48E, March 2019 Prize for his Trombone Concerto, intro-

Helena B. (Micka) Willett duced by Joseph Alessi with the New
’47E, August 2019
York Philharmonic, and three Grammy
Mildred (Northrop)
Wiseman ’46E, May 2019 Awards—two for his Cello Concerto

Paulina (White) Yancich and another for his Guitar Concerto. The composer of six symphonies and three award-winning concertos,
’47E, May 2019 His final work, Symphony No. 6, was Christopher Rouse had the knack of writing music that was profound and popular.

1950s premiered on October 18 by the Cincinnati Symphony. ing Kevin Puts ’94E, ’99E (DMA) and Aaron Travers ’03E
James S. Anderson
In the words of David Liptak ’75E (MA), ’76E (MA), ’05E (PhD), and his influence was wide and deep.”
’52E, March 2019
Dominick Argento ’ 58E (DMA), chair of Eastman’s composition department: Rouse’s final work, Symphony No. 6, was premiered by

(PhD), February 2019 “Christopher Rouse was one of the best of American Louis Langrée and the Cincinnati Symphony Orchestra
Charles Underwood
composers. His work was layered with references and on October 19 and received national attention. The New
Brown ’59E, July 2019
Elaine Bonazzi Carrington connections to a wide array of musical precedents and York Times said “All of Mr. Rouse . . . is in this score,

’51E, January 2019 influences, ranging from the monumental Romantic directly stated and taut, with an uncanny timelessness.”
Lois (Murray) Carson
Aleck Brinkman many software programs for students to practice
’53E, October 2019 musicianship skills, especially dictation. He was instru-
John P. Clare Aleck Brinkman ’66E, ’70E (MA), ’78E (PhD), who mental in developing technology courses for music
taught at Eastman from 1973 to 2001, passed away on theory majors and urged the department to change the
’54E, October 2017 March 27, 2019. His dissertation was a computer-assist- curriculum to include a course in programming and
Chardelle (Hayward) ed study of the melodic influence of the cantus firmus technology. After his retirement from Temple, Aleck
on the contrapuntal voices in Bach’s Orgelbüchlein. was still active in MTMSA, running their website and
Dooley ’ 54E, February Aleck was a long-time chair of the Society for Music serving on committees. He was known for his warmth,
2008 Theory’s Networking Committee, hosted the SMT good humor, and love of every kind of music imaginable
Arno P. Drucker ’54E, ’55E server at the Eastman School of Music, and was a sup- (he played a mean bass in jazz combos).
(MM), July 2019 portive “tech” advisor in the early years of MTO and
Patricia (James) Gambell the SMT list-serv. Aleck was a specialist in computer Thanks to Minehan Professor of Theory Elizabeth
’51E (MM), September applications in music, long before this was an estab- West Marvin ’81E (MA), ’89E (PhD) and Michael
2017 lished research area. Klein ’85E, ’87E (MM) of Temple University for their
Shirley (Byers) Garami contributions to this remembrance.
’55E, July 2019 Aleck Brinkman was a ground-breaking innovator
C. Ann (Simpson) House on computer-applications in music theory and a caring
’57E, June 2019 teacher. During his years at Temple, Aleck developed
Nancy (Nickeson) Kane
’58E, March 2019
Kaaren (Maesch) Makas
’54E, July 2019

32 Eastman Notes | Winter 2020 GETTY IMAGES


{ }ALUMNI NOTES

TRIBUTES Timmothy Baker

Dominick Argento Timmothy Baker ’08E (MM) died suddenly on October 11, 2019, in
Columbia, South Carolina. He earned a bachelor’s degree from the
Domenick Argento ’57E (PhD), an American composer known for University of South Carolina School of Music, and a master’s degree
his vocal and choral music, died on February 20, 2019. A student of in violin performance from Eastman.
Alan Hovhaness, Bernard Rogers and Howard Hanson, Argento wrote
his first produced opera, The Boor, during his days at Eastman; he As a professional violinist, he performed with many regional orches-
became one of America’s most frequently performed opera compos- tras and was a regular participant in the Gateways Music Festival. He
ers, with works including Postcard from Morocco, A Water Bird Talk, was also a composer, taught lessons and gave master classes in schools,
and volunteered as a musician at the VA hospital and elsewhere.

Timmothy not only embraced the Eastman community in
Rochester; he brought it with him wherever he went, as is evident in
his strong connection to and love for the Columbia, South Carolina
community.

Dominick Argento, shown during a 2004 master class at Eastman, called his Louise Goldberg
school years here “an inspiring experience.”
Louise Goldberg ’74E (PhD), longtime librarian at the Sibley Music
The Aspern Papers, and Casanova. His song cycle From the Diary of Library, died on May 31. Louise attended Smith College, and then the
Virginia Woolf won a 1975 Pulitzer Prize, and his Casa Guidi won a Juilliard School for a year as a viola student, before earning the Master
2004 Best Contemporary Composition Grammy. of Arts degree in French from the University of Chicago.

In his autobiography Catalogue Raisonné as Memoir, Argento In 1967, she began doctoral studies in musicology at Eastman, and
referred to his time at Eastman as “the happiest and most fulfilling was a member of the Sibley Music Library staff from June 1971, first
years of my life,” and in a Spring 2013 interview for Eastman Notes he as head of reference, then Head of Rare Books and Reference in 1976.
remembered “such an inspiring experience, even beyond the extraor- After her retirement in 1993, Louise served as Managing Editor at
dinary musical education.” the University of Rochester Press, and copyedited books on music
and other topics for the Press. She was also Assistant Editor for the
Argento’s Four Seascapes for Chorus and Orchestra was commis- Journal of the American Musicological Society.
sioned by Eastman for the 100th anniversary of the Sibley Library, and
first performed here in 2004. In autumn 2012, it was announced that As a musicologist Louise worked largely in the area of nine-
Dr. Argento had made a commitment to endow an Eastman professor- teenth-century French music, with a focus on the music of Hector
ship through a charitable remainder trust with a gift of approximately Berlioz. Combining her performance background, her ability with the
$1.5 million. In honor of Dr. Argento, the faculty member holding the French language, and her musicological training, Louise translated
endowed position will be named the Dominick J. Argento Professor. into English Pierre Baillot’s treatise The Art of the Violin (Northwestern
University Press, 1991), with a foreword by Zvi Zeitlin.

Louise is remembered fondly as a librarian who cared about bringing
music to performance, and as a scholar and editor who found myriad
ways to help excellent scholarly work find its way to performers, music
students, and concertgoers.

Thanks to David Peter Coppen, Ralph Locke, and Dan Zager for their
contributions to this memorial

Albert Astle In the Spring 2017 Eastman Notes, Al was quoted: “As one graduates
from the Eastman School of Music, he receives a BM degree plus a
Christopher A. “Al” Astle, Senior, ’38E, died February 21, 2019, at the permanent love of music the remainder of his life. I am over 100 years
age of 102. He was an outstanding percussionist, having played in sever- old now and enjoy all kinds of music, plus ‘beating out’ a simple rhythm
al symphony orchestras (including the Oklahoma City Symphony) and now and then. How about you?”
big and small jazz bands. He was also General Manager of several large
music stores in the East and Midwest, and a Senior Vice-President Thanks to Chris Astle (Al’s son) for information.
of Revco Tractor Training School in Richmond. Since then, he was
extremely active as a YMCA, hospital, and church.

GELFAND-PIPER PHOTOGRAPHY Winter 2020 | Eastman Notes 33


{ }ALUMNI NOTES { }FACULTY NOTES

Marguerite (Fattey) Janet (Lowrance) 1 A postcard showing the National Peace Jubilee of 1869
McCarty ’ 54E, ’55E (MM), Hamilton ’65E (MM),
January 2019 July 2017 1 The June 18, 2019 Professor of Guitar the host of the WFMT’s
Washington Post included Nicholas Goluses received All the Stops, in which he
H. Marla Mutschler James William Hudson an article by Michael Alan a Distinguished Alumni performs on magnificent
’56E, September 2017 ’69E (DMA), June 2019 Anderson, associate pro- Award from his alma mater, instruments throughout
fessor of musicology, about the Manhattan School of Germany, France, Slovenia,
Donald L. Panhorst S. John Ingram the National Peace Jubilee Music. Nick accepted the Croatia, and the United
’59E (MM), ’68E (DMA), ’61E (MM), March 2018 of 1869, a huge musical award on May 17; a tribute States. You can listen to the
April 2019 event held in Philadelphia video about Nick’s career is four two-hour programs
J. Herbert Joyner as a way of healing the on Goluses.com. at wfmt.com/programs/
Elaine (Wightman) ’60E (MM), July 2019 country’s divisions after the all-the-stops/
Phillips ’ 58E, June 2019 Civil War. Michael wrote
Judith (Knapp) Lawrence this article as a response to At the Second Asia
Ronald L. Phillips ’60E, June 2019 our “toxic political environ- Saxophone Congress, held
’56E, June 2019 ment,” stating, “we should September 15–19 at the
Perry Ira Martin not discount the power of Shanghai Conservatory of
John D. Ricca ’ 59E, ’64E ’62E, July 2019 music to bring Americans Music, Professor Chien-
(MM), December 2017 together . . . music and Kwan Lin taught a master
Charles S. McClain grand spectacle could help class, played on the Selmer
Joan Mitchell ’67E (DMA), January bridge our bitter divides international artists concert,
SalmonCampbell 2019 even today.” and performed Zachariah
’59E, July 2019 Goh’s concerto on the
Linda (Ellington) Neigert Matthew BaileyShea, Professor of Voice Anthony International Saxophone
John R. Schactler ’66E, June 2013 associate professor of Dean Griffey ’01E (MM) All-Stars Concert. Chien-
’52E (MM), May 2019 music theory and asso- (and the Eastman Theatre Kwan’s first-year master’s
Elizabeth Ann Newnam ciate professor of music façade) graced the cover of student Scarlet Gouk, and
Margaret Rickard Scharf ’67E (MM), March 2019 theory in the College the October 2019 Classical Aiwen Zhang ’17E (MM),
’51E, ’53E (MM), ’63E Department of Music, is Singer, which also includes performed with the Dawn
(DMA), July 2019 Priscilla J. Perry ’ 62E, ’66E one of the three winners of an interview with Tony of Asia Saxophone Project,
(MM), February 2019 the College’s 2019 Goergan about his life, career, and representing eight coun-
Joseph Scianni Award for Excellence in philosophy of giving back tries and regions.
’53E (MM), ’59E (DMA) William H. Teter Undergraduate Teaching. to his home community of
’60E, September 2019 High Point, North Carolina. Associate Professor of
Larry A. Snyder Professors Tony Caramia In September, Tony returned Conducting Brad Lubman
’52E (MA), July 2019 Neva Jane (Cram) and Jean Barr are 2019 to Wingate University is the 2019 recipient of
White, ’64E (MM), recipients of Frances Clark to be presented with the Columbia University’s
Charles R. Valenza October 2012 Center Outstanding Service University’s Distinguished Ditson Award for service
’50E, ’53E (MM), May Recognition Awards Alumni Award. to American music. Brad
2019 1970s for “providing ongoing joins a list of distinguished
William Arthur Crowle leadership, highest quality Associate Professor of recipients of this award,
Robert W. Weidner expertise, and support for Organ Nathan Laube is including Howard Hanson,
’51E (MA), ’60 (PhD), ’79E, March 2019 the advancement of piano David Zinman, and Leonard
November 2013 Deborah (Rolfe) teaching, learning, and Bernstein. He received the
performing.” honor from pianist Gilbert
Carolyn J. Willis Dabczynski
’56E, June 2019 ’72E, March 2019
John Frank Oddo
Ellen (McFarlane) ’78E (MM), April 2019
Wightman Jean E. (Greig) Roberts
’56E, April 2019 ’75E, August 2019
Robert Troiano
Carol Dawn (Moyer) ’76E (MM), January 2019
Winkelman David P. Willoughby
’58E, ’59E (MM) ’70E (PhD), March 2019

Palma (Malbraaten) 1980s
Wolverton ’54E, ’56E Mark Stephan Hierholzer
(MM), July 2019
’84E (MM), September
1960s 2018
William R. Babcock Daniel Eldon Patton
’87E (MM), June 2019
’60E, ’64E (MA), ’70E Paul Charles Nauert
(PhD), July 2019 ’89 (BS), ’90E, July 2019
Trudy (Burns) Borden
’61E, ’64E (MM), 1990s
November 2018 Mark E. Ball ’ 90E (MM),
Alexander R. Brinkman
’66E, ’70E (MA), ’78E February 2019
(PhD), March 2019 Michael Vincert Pisani
Virginia A. Chambers
’64E (MM), September ’96E (PhD), July 2019
2019
Hollie E. Deifer 2000s
’63E, March 2019 Timmothy Baker
Mary Laurent Duggan
’68E (PhD), July 2013 ’08E (MM), October 2019
Judith Joan (Ungrodt) Yuri Vladimirovich
Evanson ’ 62E (MA), ’69E
(PhD), April 2019 Blinov ’09E (DMA), April
Glenn C. Hadsell 2019
’64E, May 2019
In Tribute reflects deaths
of Eastman alumni through
October 31, 2019.

34 Eastman Notes | Winter 2020 MATT WITTMEYER (GRIFFEY)


{ }FACULTY NOTES { }STUDENT NOTES

2 Ying Quartet (Oxford University Press). Cognitive Sciences in The Catherine (CC) Broyles Junior Jane Kim won
Kalish at the October 17 The book, co-edited by College, published The ’12E recently won the solo First Prize in the
Musica Nova concert. Mike Titlebaum ’91E, Musical Language of Rock piccolo position with the Chappaqua Symphony
Assistant Professor of Jazz ’82E (MM), also includes (Oxford University Press). Richmond Symphony. This Young Artists Competition.
Studies and Contemporary chapters by Russell A. In this study, he addresses news made two Eastman DMA student Haley Bangs
Media Dave Rivello ’89E Schmidt ’86E, ’88E and each of rock’s musical teachers proud: CC is a ’09E won the Second Flute
(MM) recently released his Nick Weiser ’10E (MM), dimensions: harmony and student from Bonnie Boyd’s position in the Cincinnati
new book, Bob Brookmeyer ’14E (DMA). melody, tonality and scale, studio, and she also studies Symphony.
in Conversation with Dave rhythm and meter, phrase piccolo with Anne Harrow.
Rivello, as an ArtistShare In memory of the late structure and form, and Nikolette LaBonte, ’18E
composer Olly Wilson, emotional expression. The American Council of and an MM student of
project. You can learn Professor of Viola George Learned Societies (ACLS) Peter Kurau, is the 2020
more about the book at Taylor performed Wilson’s Humanities Department 2019 Mellon/ACLS Emerging Artist for the
ArtistShare.com/Projects. Viola Concerto with the adjunct faculty instruc- Dissertation Completion Verde Valley Symphony in
The book’s cover features symphony orchestra of UC tor Sevinç Türkkan was Fellows include musicol- Sedona, Arizona. Nikki also
a painting by Dutch artist Berkeley, where Wilson shortlisted for a PEN ogy student Gabrielle E. has a one-year appointment
Nikolaj Dietmans, a friend taught for 32 years. The America Literary Award Cornish ’13, ’16E (MA), as principal horn with the
of Brookmeyer. concerto was premiered for her translation of for Sounding Socialist, Fort Worth Symphony,
Associate professor of Jazz at Eastman in 2012, at Aslı Erdoğan’s The Stone Sounding Modern: Music, and is the Rochester
Studies and Contemporary the International Viola Building and Other Places. Technology, and Everyday Philharmonic Orchestra’s
Media Bob Sneider ’93 Congress. Life in the Soviet Union, tenured Associate Principal
wrote the chapter on “Jazz 2 The Ying Quartet— 1956–1975. /Assistant Principal/Utility
Guitar” in the new book Professor of Music Theory violinists Janet Ying ’92E Horn.
Teaching School Jazz David Temperley, who is and Robin Scott, violist Ethan Cypress, mas-
also Professor of Brain and Phillip Ying ’91E, ’92E ter’s student of Mark Jacob Montgomery, an
(MM), and cellist David Kellogg, won the Division MM student of David
Ying ’92E (DMA)—received 2 (25 years of age and Higgs, won First Prize
the National Federation of younger) Jazz Trombone in the 19th Annual West
Music Clubs Centennial Solo Competition at the Chester International
Chamber Music Award. “It American Trombone Organ Competition,
was a complete surprise. Workshop in Washington, sponsored by West Chester
But also a pleasant one!” DC. Ethan also appeared University.
says David Ying. The as a soloist with the Army
citation letter rwead in part: Blues. Zhen Piao, DMA stu-
“Your recordings promoting dent of William Porter,
American Music are 1 Austin Keck, a student won First Prize at the
exemplary and your efforts of Michael Burritt, won first Royal Canadian College
to present chamber music prize in the Collegiate/ of Organists’ Lynwood
with wide audience appeal Open Solo Division at the Farnam International
are to be commended.” Great Plains International Organ Competition held in
Marimba Competition. Montreal.
Austin was also a win-
ner of the Young Artist Varun Rangaswamy
Competition at the Yamaha was awarded the Lorna
Summer Symposium in D’Costa McDaniel prize
Indianapolis, held in May for best paper given
2019. by an undergraduate

1 Austin Keck

Winter 2020 | Eastman Notes 35


{ }STUDENT NOTES

AWARDS AND HONORS student by the Mid-Atlantic 2 Eastman Bassoon Quartet In the MTNA National
Chapter of the Society for Chamber Music
Prizewinning Pianists Ethnomusicology, for his 3 Asha String Quartet Competition, Eastman’s
“Cultural Transformation Scio Saxophone Quartet
Students of Associate Professor of Piano Alan in Rochester’s India ENSEMBLES (Uday Singh, Siobhan
Chow recently received significant competition Community Center: Plouffe, Clancy Ellis, and
prizes. The ICC as a Site of 2 In May, Professor Michael Matthews) won
Intergenerational and George Sakakeeny ’78E the Wind Division, and
• Sophomore Hans Chan: MTNA Young Artists Interregional Discourse.” and the Eastman Bassoon the Lilac Quartet (Haley
Piano Competition; third place, MTNA national Quartet (Jingyuan Schricker ’19E, Julia
competition; First Prize in his division, 2018 Los Alden Wright, a student Wang, Chris Witt, Kirk Churchill, Ethan Durrell,
Angeles International Liszt Competition. of Nathan Laube, won first Peterson, and Jonathan and Jordan Gunn ’19E)
prize and audience prize Churchett) taught and per- won second place in the
• DMA student Peter Klimo: Bronze Medal, in Syracuse University’s formed at China’s Central String/Piano Division.
Bösendorfer USASU International Piano Arthur Poister Scholarship Conservatory in Beijing. Their faculty coaches were
Competition; third prize, Franz Liszt Competition. Alden is now Among the highlights of Chien-Kwan Lin (Scio)
Competition. assistant organist at Third their trip were a concert au- and David Ying ’92E and
Presbyterian Church in dience that included many Masumi Rostad (Lilac).
• First-year DMA student Wanting Zhao: Grand Rochester. Eastman students . . . and a
Prize, William S. Byrd Young Artist Competition. trip to the Great Wall. 3 This spring, the
Zhongsan Yang, a se- members of the Asha
• Junior Yuyang Xie: Grand Prize winner, nior student of Natalya Tuba Mirum, directed by String Quartet (Clair An,
Canadian Music Competition, 19 to 25-year-old Antonova, was named a Associate Professor Don Robert Sanders, Aditi
category. finalist in the Beethoven Harry, performed at the Prakash, and Hannah
International Competition 41st Annual Association of Rubin) and the Scio
• Sophomore Tony Yan Tong Chen: First Prize, in China. Concert Bands Convention Saxophone Quartet
Wallace National Piano Competition in in Woodcliff Lake, New Jer- (members listed in previous
Auckland, New Zealand. The winners of the 2019 sey, in April. The students item)—represented
Friends of Eastman Opera taking part were: Jordan Eastman not only in
• Junior Delvan Lin: semi-finalist, Lev Vlassenko Voice Competition, held Moore ’19E, Cameron the Kennedy Center’s
Piano Competition in Australia; Best on Valentine’s Day, were Burch, Denver Pascua, Conservatory Project, but
Performance of a Classical sonata and a work by Kira Kaplan (Honorable Justin Gorodetzky, Justyn also the next morning at
Liszt; Graeme Russell Virtuoso Prize. Mention), Veena Akama- Newman, Max Dichter, Central Union Mission,
Makia ’19E (Third Prize), euphoniums; and Brett Washington, D.C.’s oldest
In the Class of 2023 . . . Nathaniel Catasca ’19E Copeland, Juan Alonso, homeless shelter.
(Second Prize), and Kelly Alex Hofgesang, Preston
• As an ECMS student, Jashanti Henry won Whitesell ’19E (First Smith ’19E, Austin Ratliff,
recognition as a talented flutist and talented Prize), whose accompanist Jackson Duffy, Jordan
conductor. Last spring, Jashanti was a Louisville was Chih-Yun Hsiao ’19E. Oliveira.
Orchestra conducting fellow, in a “real world” Guest adjudicator was
partnership with the LO and the Sphinx soprano Patricia Racette.
Organization.
At the 2019 National
• Percussionist Roy Marshall won the 2019 Trumpet Competition, held
Rochester International Jazz Festival/ in March at the University
Eastman School of Music Gerry Niewood Jazz of Kentucky, Jared Wallis
Scholarship. ’17E (MM) and Zachary
Peterson ’16E (MM) placed
• Voice and Opera student Madelin Morales is one third in the Blackburn
of 20 U.S. Presidential Scholars in the Arts, based Trumpets Graduate Solo
on academic and artistic excellence, leadership Division; first prizes were
qualities, and community service. won by Ellen Shinogle
’14E and Matthew Tong
• Guitarist Robert Varon was a student winner in ’18E (MM), and Jacquelyn
the “High School—Jazz Instrumental Soloist” Lankford ’16E (MM). Emiel
category of DownBeat. De Jaegher won third
place in the Yamaha Jazz
2019 Perkes Flute Prize Solo Division, and Jamal
Damien was a semifinal-
Doctoral student Yi Xiang won the Tal Perkes ist. Semifinalists in the
Flute Prize, in remembrance of Tallon Perkes ’84E. Ensemble Competition
The jury included Aralee Dorough of the Houston were Aric Kline, Emiel
Symphony, Sophia Gibbs Kim ’98E (MM), ’06E de Jaegher, Jess Green,
(DMA); Rachel Roberts ’03E; David Snyder ’84E; Giulia Rath, Katie
and John Hunter ’84E, ’98E (MM). Hillstrom, and Jordan
Moore ’19E.

36 Eastman Notes | Winter 2020


Students at the Eastman School of
Music do whatever it takes to find
their place in music and in the
world. They are as intense as they
are inspiring. They pour their hearts
into every performance. They want
to share the spotlight as much as
they want to stand inside it.

To be a student at Eastman is to be
a student of life. But it takes more
than talent to get here. Scholarships
provide the next generation of
musicians the financial means
to make their dreams a reality.
Generous donors make it happen.
A gift to Eastman, of any amount,
makes life better through music.

For a future
ever better.

To read about the special
Wegmans Scholarship Challenge visit
esm.rochester.edu/advancement


26 Gibbs Street NON-PROFIT
Rochester, NY 14604-2599 ORGANIZATION

Take a Walk on U.S. POSTAGE
the Eastman Side PAID

On Sunday, June 23, about 75 people of all PERMIT NO. 780
ages and from all backgrounds, most of them ROCHESTER, NY
strangers, met at the intersection of Main and
Gibbs streets—right in front of the Eastman
School of Music. They’d been invited by Rochester
artist Shawn Dunwoody and community leader
Richard Glaser to create “Composers Crossing.”
Dunwoody, a Rochester native who has conceived
and directed several large-scale community art
projects, called himself an “artistic conductor” for
this one, handing the templates and paint brushes
to volunteers and assigning them either black keys
or white keys.

About three hours later, four enormous painted
keyboards had replaced all four crosswalks out-
side the Eastman Theater. At first pedestrians
were hesitant, but before the paint was dry, the
Rochester community and social media were cele-
brating the work. “Composers Crossing” was even
the subject of a feature article in the Washington
Post. The painting happened just before
Rochester’s jazz festival got underway, so it was
seen and enjoyed by thousands—and it remains
at Main and Gibbs, where it has been enjoyed by
many in the Eastman and Rochester communities.
Photograph by Michelle Martorell


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