Notes Spring 2018

Mapping Music in the Brain CONVERSATION

Julia Bullock, Golden Soprano

EASTMAN

NOTES
Spring 2018

Meliora!

Fun and Fanfare
at Eastman’s
Big Weekend

March to a Different Beat

The Eastman School of Music Summer@Eastman program offers students
and the community an individualized and world-class music education experience.
Choose between residential music programs and camps for middle and high school students,
week-long institutes devoted to various instruments or specialties, half-day music workshops for youths,

and collegiate classes in Music Education, Music History, and Music Theory.

June 25 – August 3, 2018

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

{ }Spring 2018

2 16 Monteverdian magnificence: Kameron Ghanavati
Roman Scandals (left) as Emperor Nerone and Keith Klein (right)
From the Dean of 1643 as the philosopher Seneca confront one another
The road Eastman Opera Theatre’s in L’Incoronazione di Poppea.
3 production of a baroque opera
masterpiece, in a journal by one 6 International Exchange
Brief Notes of its lead singers. With a new music festival, two Eastman
students forge another Eastman-China
4 connection.

Alumni on the Move 8 Eastman’s Jazz

22 Ambassadors to Japan

School News Six Eastman musicians, three Japanese
schools, one great opportunity
29
10 Meliora Weekend
Recordings Fun, fanfare, and a flurry of events welcomed
Eastman alumni at Meliora@Eastman 2017.
31
12 Mapping Music
Alumni Notes
in the Brain
36
A first-of-its-kind brain operation restores a
In Memoriam musician’s “life and love”

37 ON THE COVER: Senior horn major Nikolette LaBonte, in full riding habit, sounded the fanfare for a performance
by the Eastman Horn Choir for Meliora@Eastman 2017. PHOTOGRAPH BY MATT WITTMEYER
Faculty Notes

38

Student Notes

NIC MINETOR Spring 2018 | Eastman Notes 1

{ }FROM THE DEAN

NOTES The Only Constant is Change

Volume 35, Number 2 One of the givens in academia is that change is constant. Eastman’s collaboration with the larger university and
Spring 2018 Teenagers enroll in the fall, and within the blink of an the Rochester community in support of the words that
eye, young adults graduate in the spring. Legacy faculty are etched on the façade of our theatre: “For the enrich-
EDITOR members retire, while exciting new artists and scholars ment of community life.”
join the faculty. The snow falls during audition season,
David Raymond yet spring arrives in time for graduation. Even in times of change, the core principles that pro-
vide the foundation for Eastman remain solidly intact:
CONTRIBUTING WRITERS Like music itself, whereby every note is moving toward artistic, scholarly, and teaching excellence blended with
or away from another note, life without change is like innovation and leadership. Our students, faculty mem-
Chase Ellison music without direction. Sometimes change is subtle, bers, and alumni—all of us who make up the Eastman
Kameron Ghanavati while other times it can be jolting. community—are committed to making a difference in the
Dan Gross world by making a difference in our own communities,
Jessica Kaufman At the beginning of the winter semester, our uni- wherever we might be. In the words of Victor Pinchuk,
Shenming Liang versity was faced with sudden and dramatic change as “Art, freedom and creativity will change society faster
David Raymond President Joel Seligman announced his resignation. than politics.”
Brianna J. Robinson President Seligman was a transformative leader of the
University of Rochester, and a wonderful champion of the Let me offer one last observation about change.
CONTRIBUTING Eastman School of Music. We at Eastman are grateful for Individuals or institutions can be forced to change
PHOTOGRAPHERS his love of music, and his support of many new initiatives because they are complacent or behind the times, or
including the renovation of the Eastman Theatre and the they can create change as leaders and innovators. I prefer
Kurt Brownell
Adam Fenster At Eastman, we are also experiencing change in healthy and
Dave Jones exciting ways. Over the past few years, we have added new
Michelle Martorell degrees and programs in Contemporary Media and Film Music,
Kate Melton Leadership, Early Music, Historic Guitar, Improvisation, and
Nic Minetor Musicology. Today, we are considering potential new programs
Matt Wittmeyer intended to address unmet needs in the music profession . . .

DESIGN construction of a much-needed addition to our school the latter. With a legacy of leadership behind us, and as
with the Eastman East Wing. During this particular we educate the next generations of artists, scholars, and
Steve Boerner period of change, we are fortunate to have former Dean leaders, Eastman’s ambitions and actions are focused
Typography & Design, of the College, Richard Feldman, serving as our interim intently on the future.
Inc. President. President Feldman knows our university well, Meliora,
and will certainly keep our university guided forward on
PRINTING a path of progress. Jamal J. Rossi
Joan and Martin Messinger Dean
Canfield & Tack, Inc. At Eastman, we are also experiencing change in healthy
and exciting ways. Over the past few years, we have added
OFFICE OF new degrees and programs in Contemporary Media and
COMMUNICATIONS Film Music, Leadership, Early Music, Historic Guitar,
Improvisation, and Musicology. Today, we are con-
ASSISTANT DIRECTOR, sidering potential new programs intended to address
CONTENT AND PUBLIC unmet needs in the music profession, and to broaden
RELATIONS

Jessica Kaufman

EDITORIAL DIRECTOR

David Raymond

CREATIVE ARTS DIRECTOR

Michelle Martorell

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.

Eastman-Notes@
esm.rochester.edu

Find us on Facebook
and Twitter.

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2 Eastman Notes | Spring 2018

{ }BRIEF NOTES

The Fiddler Happy Holidays! Kelly Hall-Tompkins performs for her Washington Heights apartment house. Russell Scarbrough
of New York
and Education Council of professor of composition Baljinder Sekhon ’08E (MA), A Source of Solace
Violinist Kelly Hall- Greater St. Louis. Gene at the University of South 13E (PhD) Solaces, by Russell
Tompkins ’93E, whose has been president and Florida, received its Scarbrough ’04E (MM),
“Music Kitchen—Food for CEO of Jazz St. Louis since 2017-2018 Outstanding to work with Eastman ’08E (DMA), was com-
the Soul” lifts the spirits 1999. Under his leader- Undergraduate Teaching Saxophone Project, who missioned by Buffalo
of homeless New Yorkers ship, Jazz St. Louis has Award for his “excellence, recorded his Rendezvous. Grove High School
through live classical grown into a world-class, innovation, and (outside Chicago) to
music recitals, was named world-renowned jazz insti- effectiveness in teaching honor the memories of
a “New Yorker of the Year” tution named one of the ten USF undergraduate several faculty members
by the New York Times in great jazz clubs in the coun- programs . . . preparing who died within a single
December. Besides a busy try by Wynton Marsalis in students for the music year. Russell conducted
concert career (and a year USA Today. composition major, as well Solaces with the school’s
on Broadway as the fiddler as fostering foundational chamber orchestra at the
in Fiddler on the Roof), A Prized Professor critical thinking and Illinois Music Education
once a month Kelly visits In November 2017, problem-solving skills.” Association Convention in
local shelters to perform Baljinder Sekhon ’08E Baljinder returned to his Peoria on January 25. The
live classical recitals. “It’s (MA), 13E (PhD), assistant alma mater in December title comes from a letter
a teeny-tiny program, of Emily Dickinson to a
but it’s been doing very grieving friend, referring to
impactful things,” said “solaces of sorrow.” Solaces
Kelly to the Times, which was featured in the Chicago
noted that nearly 200 Tribune and on the news
chamber musicians have program Chicago Tonight;
joined her for performances Russell describes the Peoria
in Manhattan, Brooklyn, performance as “a great
Los Angeles, and Paris. success.” (See more news
“It’s hard now to see where about Russell on page 35.)
my career ends and Music
Kitchen begins.”

A Booster for Jazz
in St. Louis
Gene Dobbs Bradford ’89E
recently received the latest
in a long list of St. Louis
civic and business awards:
the 2018 Excellence in the
Arts award from the Arts

Marimba Masters Memories alumni Ronald Barnett ’60E, Vivian Emery Speca ’59E, Norman Fickett ’61E,
’64E (MM), John Galm ’60E, ’61E (MM), Stanley Leonard ’54E, Peter Tanner
Last November, Gordon Peters ’56E, ’62E (MM) and the rest of Eastman’s ’58E, ’59E (MM), and Joel Thome ’60E.” The group, founded in 1959. is shown
original Marimba Masters reunited at the Center for Mallet Percussion Research here in a Kilbourn Hall performance from the late 1950s and its reunion nearly
(CMPR) at Kutztown University (PA), featured in the May 2017 issue of sixty years later!
Percussive Notes. The author, Lauren Vogel Weiss, notes, “Professor Emeritus
John H. Beck ’55E, ’62E (MM) was also in attendance, as well as Eastman

DAVE SANDERS (TOMPKINS) Spring 2018 | Eastman Notes 3

{ }ALUMNI ON THE MOVE

Miki Sawada ANDREW RIZZARDI (TOP); ANGELLE-LEIGH BREAUX (BOTTOM)

’12E (MM), pianist and educator

■■In a tour titled Gather Hear
Alaska, Miki traveled around
Alaska for three weeks with a
piano in a van, accompanied
by a documentary filmmaker.
“I performed 16 concerts and 8
school presentations in 15 towns
in Alaska, mostly focusing on rural
communities. The tour explored
the idea of the piano as a central
object of a gathering place, and
the social possibilities of classical
music when taken out of a
concert hall and into community
gathering spaces.”

4 Eastman Notes | Spring 2018

{ }ALUMNI ON THE MOVE Chris Heacox

Dave Chisholm ’97E (MM), Executive Director, Auburn
University Performing Arts Center
’13E (DMA), trumpet player, songwriter, composer, bandleader, educator, visual artist
Effective July 1, Chris provides
creative and strategic leadership
to Auburn’s new 85,000 square
foot Performing Arts Center. In
addition to programmatic over-
sight, Chris manages the center’s
artistic programming, marketing
and branding, building operations,
philanthropic support and outreach
and educational initiatives. Following
a groundbreaking in March 2017, the
Performing Arts Center is set to open
in summer 2019.

Dave’s recent multimedia comic book project, Instrumental, published by Z2 Comics, has an
accompanying soundtrack written, performed, and mixed by Dave (Outside in Music label). It tells
the story of Tom Snyder, a lonely jazz trumpet player who is profoundly unhappy with his own
playing. Tom finds a magical trumpet that not only makes him a virtuosic trumpet player, but also
kills people who hear it. Jokes about Tom’s “killer chops” notwithstanding, this 224-page comic
ranges from the personal to the epic to the bizarre.—Dan Gross

Samuel Mehr Sonja Winkler

’10E, Research Associate, Department of Psychology, ’03E, Senior Director of Operations and Orchestra Manager,
Harvard University Nashville Symphony

■■This year, Sam won ■■Sonja is one of twelve
an Early Independence orchestra professionals
Award from the National nationwide selected to
Institutes of Health for participate in the League
his project “Psychological of American Orchestras’
Functions of Music in Emerging Leaders Program.
Infancy.” Mehr plans Viewed by the field as
to use the funding to one of the best sources
understand some basic of identifying and training
questions about music talented senior managers
and humans’ affinity for with great potential,
it. Among the questions the program is the
Mehr plans to explore flagship of the League’s
in his Music Lab: what leadership development
aspects of music are universal and what aspects vary across offerings. Their ten-month experience will culminate with a joint
cultures, how infant behavior and affect are altered by music, and presentation with the program participants at the League of
whether and how families might use music to improve health- American Orchestras’ 2018 National Conference in Chicago.
related outcomes for infants and parents.

DAVE CHISHOLM (CHISHOLM); JEFFREY ETHERIDGE (HEACOX); JASON NEMIROW (MEHR); DAVE FELIPE (WINKLER) Spring 2018 | Eastman Notes 5

International

Exchange
A New Music Festival Forges
Another Eastman-China Connection believe in the necessity of developing both performance
and research abilities for students to become complete
By Shenming Liang musicians. This is also how Eastman has inspired us in
our own growth.”
D uring the summer of 2017, Shengming Liang ’15E and current DMA violin
student, and Yucong Zoe Wang ’17E and current MM student in collabora- In addition to serving on the festival’s violin faculty,
tive piano,founded and directed the Dragonfly International Violin Festival Shengming presented a lecture on “Legendary Violinists,”
in Jiangsu, China. Serving as artistic directors, they invited internationally which introduced Chinese students to the great violinists
acclaimed faculty artists, including Eastman Professor of Violin Bin Huang, and such of the 19th and 20th centuries. There is a great demand
Chinese artists as Lina Yu and Zhijiong Wang (Shanghai Conservatory), Jiafeng Chen for such knowledge in China, since resources from the
(Royal College of Music), and Ke Qu (Tianjin Conservatory) and Jian Liu (Jiangsu internet are limited. Multi-media presentations traced
Normal University). The Dragonfly Festival attracted close to fifty participants from the historical lineage of major violinists and their styles,
prestigious conservatories across China.
“There is no lack of music festivals in China, but we hope
The week-long festival offered private lessons, seven master classes, and two violin to host one that offers a high level of artistry and pedagogy
competitions, as well as several lectures on the history of legendary violinists, collab- for violinists in China,” says Shenming Liang. Eastman violin
orative piano skills, and instrumental repertoire, as well as an information session on professor Bin Huang (top picture, far right; bottom picture, on
studying music abroad. left) took part in the first Dragonfly Festival last summer.

Shengming said, “There is no lack of music festivals in China, but we hope to host
one that offers a high level of artistry and pedagogy for violinists in China, with lec-
tures that complement professional musicianship with academic understanding. We

6 Eastman Notes | Spring 2018 COURTESY OF SHENGMING LIANG

as well as different violin schools. Dean Jamal Rossi attended a “Global Leadership Forum on Higher Music Education” in Beijing, and appeared
Shengming also presented an infor- on China Central Television with Vice Premier Liu Yandong, whose role is considered equivalent to our
Secretary of Education.
mation session to assist conservatory
students who are interested in furthering A busy year: Eastman faculty members made
their studies abroad. The session included their marks in China during 2017
information on the application process
and materials, and a brief introduction Eastman faculty member members have a In November Associate Professor of
to the major conservatories in the United longstanding tradition of traveling to China for Saxophone Chien-Kwan Lin and his wife,
States. Shengming also shared his experi- concerts, master classes, and other events. pianist Pi-Lin Ni, gave a seven-city tour of
ences in studying abroad in terms of the 2017 was an especially busy year in this regard. China, performing and teaching, in November,
benefits and challenges for the student. Besides Bin Huang’s participation in the new sponsored by Selmer (Paris).
Dragonfly Music Festival, here are some of the
Besides serving as co-artistic director other Eastman faculty members who visited From Eastman’s Voice Department: Russell
and executive director of the festival, China in 2017: Miller, Professor of Vocal Coaching and
Yucong was also the pianist for faculty Repertoire, joined other Eastman facul-
concerts. As a collaborative pianist at Christopher Azzara, chair of the Music ty members to discuss the possibility of a
Eastman, she and Gongming Jiang (M.M., Teaching and Learning Department, took part Chinese voice competition, and Professor of
collaborative piano) shared their expe- in Golden Jazz in Zuhai. Voice Robert Swensen was an adjudicator at
riences in a masterclass on aspects of the Classical Singer International Competition
collaborative skills, such as listening and Professor of Flute Bonita Boyd (with Professor in Shanghai in March, where he also gave a
reacting to the musical ideas of one’s part- of Guitar Nicholas Goluses) was a guest master class.
ner. The master class was well-received artist-teacher at the China Conservatory
by the students; for some of them, it was in Beijing, and gave a 20-city concert tour Heather O’Donnell, instructor of German
their first collaborative experience. throughout the country in December, per- in the Hunanities faculty, led a concert and
forming in Nanjing, Shenyang, Weifang, master class for IArt School in Hangzhou
The festival concluded with a concert Shanxi, Zhuhai, and many other cities. She in May.
and violin competitions in two categories: is also a specially-appointed Professor of
Young Artist and Professional. The com- Beijing Advanced Innovation Center for In September, Eastman Dean Jamal Rossi
petition was at a high level and attracted Chinese National School of Music for China was one of thirty music school deans
many participants. The winner was Conservatory of Music. attending a “Global Leadership Forum on
awarded a scholarship to be at the festival Higher Music Education” in Beijing. The
the following year and the opportunity to Professor of Violin Renée Jolles led master deans had the opportunity to meet with Vice
perform alongside faculty artists in the classes at the China Conservatory in May. Premier Liu Yandong, whose role could be
Tianjin Concert Hall in 2018. considered equivalent to the U.S. Secretary
Assistant Professor of Piano Alexander Kobrin of Education. Dean Rossi also appeared with
The festival received the support of gave two performances in Beijing in November. her on China Central Television (CCTV), as
Xuzhou City and its local media, Xuzhou the spokesperson for the group of Presidents
Daily. Professors Huang and Chen also Professor of Violin Mikhail Kopelman led a and Deans.
presented a full-house faculty concert residency in Xian in early September.
at the Xuzhou Concert Hall, which seats
1,000 people. Professor Qu commented
that the event was “not an ordinary fes-
tival, but an excellent exchange of ideas
about performance and literature.”

According to Shengming and Yucong,
the festival will be held every year. This
summer, it will be held in Tianjin, China,
and will include other string instruments,
including viola, cello, and double bass, to
form the Qing Ting International String
Festival. The faculty will also expand,
to include world-class artists from
Eastman and Juilliard. Shengming and
Yucong are working to make Dragonfly
one of China’s most professional classical
musical festivals, and a way to spread for-
ward-thinking western music pedagogy
throughout China.

COURTESY OF CHIEN-KWAN LIN Spring 2018 | Eastman Notes 7

On the road to Shobi University: Eastman Jazz Sextet members, left to right, C.J. Ziarniak, Christian Crawford, The Eastman Jazz Sextet left on
Luke Norris, Chase Ellison, Sterling Cozza, and Ryder Eaton. Thursday, August 24, 2017 to go
around the world. Current students and
Eastman’s Tokyo recent graduates—Christian Crawford,
trumpet; C.J. Ziarniak, saxophone;
JAZZ Luke Norris, saxophone; Sterling
Cozza, piano; Ryder Eaton, bass; and
Ambassadors Chase Ellison, drums —gathered under
to Japan the watchful eye of Jazz Department
chair Jeff Campbell last summer for an
Six Eastman incredible trip to Japan.
musicians, three
Japanese colleges, The Sextet worked with Shobi
one incredible University for their Jazz Festival on
opportunity August 26, performing and giving
a collaborative master class on how
By Chase Ellison Eastman approaches jazz. After that,
they participated in the sixteenth
annual Tokyo Jazz Festival with
two performances: the first concert
of the Festival, on September 1; and
on September 2 at the Tokyo Station
Jazz Weekend, which included a
joint concert with the “Jazz Festival
Conservatory” (JFC) All Star Big
Band, presented by jazz pianist
Makoto Ozone.

The band—whose members had never
played together as an ensemble—

prepared original
compositions to perform

at Shobi University
and at the concert, as
well as jazz standard
repertoire.
Jeff Campbell and Makoto
Ozone met while Ozone was in
Rochester for the 2016 Xerox Rochester
International Jazz Festival. After the
“Eastman connection” was established,
Campbell and Ozone worked together
to acquire a sponsorship from the U.S.
Department of State.
Working with the State Department
gives another meaning to this trip.
Campbell and the Eastman Jazz
Sextet will be representing the United
States in a more official capacity.
Jazz and overseas cultural exchange
through our government has a rich
history. Drummer Chase Ellison
saw the trip as an opportunity . . . to
symbolize something greater. These
excerpts from his Japan diary give
insights into this international musical
partnership.—Dan Gross

8 Eastman Notes | Spring 2018 COURTESY OF JEFF CAMPBELL

T heEastmanJazzSextethasarrivedinJapan! Shibuya and old Tokyo. We went to see the Sotosakurada-mon Gate of Edo Castle, and had
As the first stop on its journey, the members to get to this old Tokyo destination by train. The train experience was very similar to riding
of the sextet did a workshop and concert the subway in NYC. I went with some other members of the sextet to visit Sky Tree, the
at Shobi University’s Kunitachi College of world’s tallest tower at 624m (2,000+ feet). This tower/tourist hub is located in Sumida,
Music. The sextet’s visit to Japan is spon- Tokyo, close to the Asakusa district, home to many temples and touristy shopping areas.

sored by the United States Embassy in Japan.

The JFC All Star Big Band, developed by Makoto MONDAY, AUGUST 28

Ozone, is comprised of top students from many Japanese Kunitachi College of Music

conservatories and music schools. The group is designed Workshop and rehearsal at Kunitachi College of Music, where Makoto is a professor.

to bring awareness to college jazz programs and to At 2 p.m., we performed a few songs for the students before taking questions. Makoto

increase the students’ collaborative opportunities. The acted as our translator, and the Q & A session lasted about 90 minutes. We had some

joint effort between the Eastman ensemble and the JFC really challenging and great questions from the students, whom you could tell love the

All Stars is designed to foster a bond between the groups music just as much as we do, and the session ended with a group of students performing.

and enable them to exchange musical ideas. We made constructive comments, and Jeff Campbell even guided the students during

their performance, offering meaningful and practical advice.

SATURDAY, AUGUST 26 After the Q&A session we had a rehearsal for the September 2 concert. This concert
will feature the Sextet as well as the JFC All Star Big Band, and is, more or less, two bands
Shobi University

After the twelve-hour flight from Chicago O’Hare to playing at the same time to make one huge group. We ran through Makoto’s original

Tokyo Haneda airport and after a good night’s rest, at bluesy composition “Bouncing in Two Different Shoes,” written for his big band and

9 a.m. we met back up with our guide,

Sadao, a freshman pianist student of

Makoto Ozone at Kunitachi University,

and headed to Shobi University to meet

Makoto and perform a sound check for

our 30-minute showcase performance.

On this particular day at Shobi University,

there were six university big bands per-

forming for the university jazz festival,

with our sextet being the final perfor-

mance for the day. Each band was well

rehearsed, and they were enthusiastic

performers. It was fantastic to see such

a passion for jazz in Japan.

While the repertoire for the bands

sometimes featured original composi-

tions and arrangements, the bulk of the

music performed came from the Count

Basie and Thad Jones/Mel Lewis books,

with some Ellington as well. Our set con-

sisted of material from the hard bop era,

such as Wayne Shorter’s “On the Ginza,” The sextet’s performances of standards and originals required no translation for enthusiastic Japanese jazz
and “Backstage Sally” as performed by students at Tokyo’s Shobi University.
Art Blakey and the Jazz Messengers, as

well as material from the Great American Songbook. We Christian McBride’s big band. Next, we played “Jean Pierre,” Makoto’s arrangement

featured Christian Crawford on “My Funny Valentine,” of a classic Miles Davis tune, which featured Jeff Campbell on bass.

to a very enthusiastic audience who clapped when we

announced the song. We closed the set off with Luke WEDNESDAY, AUGUST 30

Norris’ arrangement of Alec Wilder’s “I’ll Be Around” (a Showa University

Rochester connection). While we played, Makoto sat in Another rehearsal for the JFC Station concert with Makoto and his group. We

the wings and was enthusiastically speaking with Sadao ran through drummer/composer and George Darrah’s ’17E (MM) original pieces

as he pointed to various members of the group. “Celebration Samba” and “Escapades,” which were specifically arranged for the Tokyo

Jazz Festival, as well as the material we rehearsed on Monday.

SUNDAY AND TUESDAY, AUGUST 27 AND 29 The students in Japan have been nothing but complimentary, gracious, and eager
to learn. Makoto is acting as translator to our group and his. His students are in good
Days Off

I spent the day with a few members of the sextet exploring hands, just as we are at Eastman.

COURTESY OF JEFF CAMPBELL Spring 2018 | Eastman Notes 9

AWeekend of Fun and Fanfare

Meliora Weekend is always the opportunity for some fanfare at the University
of Rochester, and of course at Eastman, and Meliora Weekend 2017 was no exception.
Alumni returned for a weekend packed with everything from cocktails to concerts,
sharing old memories and making a few new ones.

The Chick Corea-Steve Gadd Band sold out Kodak Hall on October 13, and Gadd ’68E (far right, on the drums) received a Distinguished Alumnus Award.

10 Eastman Notes | Spring 2018 KELLI MARSH (SNYDER); DAVID JONES (COREA/GADD)

Eastman’s 50th Reunion Medallion recipients are always a proud group. Shown with Dean Jamal
Rossi from left to right are Harrison Powley ’65E, ’69E (MM), ’75E (PhD), Sarah Pener ’67E,
Dixon Van Winkle ’67E, Marty Krupp ’67E, ’68E (MA), Paul Vander Weele ’67E, Pat Stott ’67E,
’72E (MM), Paul Eickmann ’67E (MM), ’71E (PhD), Dean Rossi ’87E (DMA), Jason Weintraub
’65E, ’72E (MM), Elizabeth McCarthy ’67E, Audrey Lamprey ’67E, Paula Rothman ’67E, Ruth
Aumann ’67E, Nancy Weintraub ’67E, Marilyn Brus ’67E, Ellen Powley ’67E, Peggy Schalit ’67E,
Larry Devron ’67E, Marian Weaver ’67E.

Former students came out in droves to celebrate fifty years
of teaching by two fabled Eastman professors. Students
of Professor of Piano Barry Snyder, who retired earlier this
year, reunited for the unveiling of a portrait that will hang in
Cominsky Promenade. From left to right: Rebecca McCord
’76E (MM), ’97E (DMA), Jeremy Samolesky ’07E (DMA),
Eric Ewazen ’76E, Chiao-Wen Cheng ’13E (DMA), Margaret
Kampmeier ’85E, Thomas Lanners ’89E (MM), ’91E (DMA),
Barry Snyder ’66E ’68E (MM), Louis Karchin ’73E, David
Heinick ’76E ’77E (MM), John Roberts ’74E, ’75E (MM),
Jennifer Blythe ’93E (MM), ’97E (DMA), Kevin Chance ’11E
(DMA), Carter Pann ’94E, David Abbott ’77E, ’95E (DMA).
(See our back cover for a photograph from Professor of Oboe
Richard Killmer’s studio reunion.)

Violinist Devin Camp ’18E, with his colleagues in the award- Meliora@Eastman 2017 kicked off on Friday night with a reception in the atrium of Miller Center
winning Windsor Trio, Brandon Xu (cello) and Evan Ritter attended by alumni and their families, faculty members,and current students.
(piano)—as well as many other students—serenaded alumni
throughout the weekend.

JOHN SCHLIA (50TH REUNION MEDALLION, VIOLINIST DEVIN CAMP); MICHELLE MARTORELL (RECEPTION) Spring 2018 | Eastman Notes 11

Mapping Music in the Brain

A first-of-its-kind brain operation restores a musician’s “life and love”

By Dan Gross Top: Dan Fabbio reviews his operation with doctors Mahon and Pilcher. Bottom: Dan is a talented
Last summer, the video briefly took over the Internet. A saxophonist and music teacher in the Utica, NY, area.
young man lay on his side, sax in hand, his brain exposed.
He played a beautiful melody, and the operating room
cheered. But there’s more to the story. The musician,
Dan Fabbio, had a tumor behind his superior temporal
gyrus, the area of the right temporal lobe that’s known as
one of the areas crucial for music processing.

Eastman Professor of Music Theory Elizabeth Marvin
’81E (MM), ’89E (PhD), who has a secondary appointment
in Brain and Cognitive Sciences at UR, was intimately
involved in this project. That’s how she met her partners
in this venture: Dr. Brad Mahon (Associate Professor,
Brain and Cognitive Sciences, Neurosurgery, Neurology,
Center for Visual Science, Center for Language Sciences
and Scientific Director for Program for Translational
Brain Mapping), and neurosurgeon Dr. Web Pilcher
(Ernest & Thelma DelMonte Distinguished Professor
of Neuromedicine and Chairman of Neurosurgery at the
UR Medical Center). Together they joined forces not only

12 Eastman Notes | Spring 2018 JEFFREY MEAD/UNIVERSITY OF ROCHESTER MEDICAL CENTER

to remove a tumor from this musician and educator, but
also to engage in a research project that resulted in the
most detailed mapping of music in the superior temporal
gyrus ever done.

How did your involvement start, and how long did the
process take?
Brad phoned me, and said, “We have a musician who is
about to undergo brain surgery, and we want to collab-
orate with you to be able to map music in his brain and
preserve his brain’s musical functions.” The surgery was
on June 28, 2016, and Brad reached out to me the fall
before that, in October 2015.

The superior temporal gyrus hadn’t been mapped this
way before. How did you start preparing yourself?
We knew that the tumor was in the right temporal lobe,
and there was a danger that was in an area important
for music processing. We know areas that are generally
important for music, but they can differ slightly from indi-
vidual to individual. The mapping that Doctors Pilcher
and Mahon developed was to pinpoint those music areas
in the superior temporal gyrus in Dan specifically.

So they did the tests before the surgery?
Yes. The first thing we discussed was “How can we mea-
sure his musicianship before and after surgery?” I made
him aware of two standardized tests of musicianship:
Edwin Gordon’s Advanced Measures of Music Audiation
(AMMA), and the Montreal Battery for Amusia (the sci-
entific name for tone deafness). Both tests have the same
format—you hear a melody and a second comparison
melody, and you say whether they are the same or dif-
ferent. It might change in terms of rhythm or pitch. It’s
testing how much you can hold in short-term memory.

Brad thought it would be more authentic to have the
patient reproduce the melodies by humming them. This
is because he would also be speaking back sentences.
One of the big areas of music cognition is studying the
overlap or non-overlap of music and language function
in the brain; it’s sometimes called “domain specificity.”
Are these tasks domain-general—do they share the same
parts of the brain—or are they domain-specific?

They’re odd melodies, and it’s a tough test that Top: The scan of Dan’s brain, showing the tumor that caused his “musical hallucinations.”
challenges the brain in other ways. When you were Center and bottom: Professor Elizabeth Marvin and music teacher Dan Fabbio.
adapting those tests, how did you figure this out?
One standardized test is a repetition task; you hear a
sentence, and you have to repeat it. The parallel test
ended up being “hear the sentence, speak the sentence;
hear the melody, hum the melody.” That was alternated
throughout the surgery.

One of my parts was to choose and adapt these mel-
odies, because they were instrumental tunes that were
challenging because they were intended to assess

JEFFREY MEAD/UNIVERSITY OF ROCHESTER MEDICAL CENTER Spring 2018 | Eastman Notes 13

Professor Marvin met with musicianship. Dan and I practiced humming them. area of surgery but nearby structure to provide multiple
Dan before the operation The melodies had to be hard enough to present a little points of access to the tumor.
to coach the melody that challenge, but also singable, so that I could identify an
would be used to test the accurate performance. You called the patient’s symptoms “musical hallucina-
effectiveness of the surgery. tions.” Can you expand on that?
I suspect this was the first time you had seen a brain in Brad talked to me about “musical hallucinations,” and
person, in a person. Was it a shock? Dan also described linguistic hallucinations; for example,
It was. I took my first glance, and I immediately looked a door closing would sound like a syllable. He knew what
away. Then I realized they were recording it and playing the regular door-slamming should sound like, but he
video on a screen monitor. Having the one degree of also heard this other thing, and it was unclear what the
separation was helpful; I got accustomed to it, and then actual sound was. It was like parallel universes. He knew
I looked at the brain, and I realized I could at that point. something was wrong. He had a seizure at school when
he was teaching, and was rushed to the hospital. He had
Once the brain was exposed, and they had the electrical no idea that he had a tumor growing. He just knew that
stimulating probe calibrated, they tested to see how much he was having these weird experiences.
electrical stimulation each part of the brain could with-
stand. They had something called a “halo,” a metal round The awake operation is fairly common, and there have
ring with electrodes dangling from it. They placed it on been other cases of musicians playing their instrument
his brain, and they placed little numbers in various areas, under the knife. So the brain mapping aspect is what
so on his brain were tiny numbers that looked like they makes this surgery unique.
were cut out from a magazine. They systematically went Two things made this different: the very precise mapping
through each numbered spot and stimulated it. There was paradigm that Doctors Mahon and Pilcher worked out
an EEG so you could see the stimulation happening in ahead of time; and the exploration of the direct juxtapo-
real time, and they were trying to judge the right amount sition between language and music, and the discovery of
of current to send into the brain at each position. the area where language was not impaired, but music was.

Were they testing the whole brain, or just the superior How did he perform in these tests when getting direct
temporal gyrus? electrical stimulation to different parts of his right
The right temporal lobe and adjacent structures as well; temporal lobe?
when they exposed the brain, they exposed not just the

14 Eastman Notes | Spring 2018 JEFFREY MEAD/UNIVERSITY OF ROCHESTER MEDICAL CENTER

Once they woke Dan up, he was a little groggy; there was he could take breaths and not have to sustain anything.
local anesthetic around the incision, but the brain itself He was lying on his side with his brain exposed when
doesn’t have pain receptors. Once he was awake, they
started stimulating the spots in the brain they had iden- they brought the saxophone to him; it was very awkward.
tified before, and asked him to do the speaking task, and Sue Smith, the NP, held the instrument up for him. He
the singing task, alternating. They would stimulate each played it absolutely perfectly. The whole operating room
spot while he performed the language and music tasks, burst into applause, laughter, and congratulations.
and assess whether his speech was impaired or the hum-
ming was impaired. In lots of spots, he sang perfectly, and Did you develop a good working relationship with the
spoke perfectly. I was getting a little nervous, because I patient?
suddenly started thinking: “How wrong does it have to be, Yes, I did. At one point, I thanked him for his willingness
to be wrong? If it’s the correct melody, but it’s a little out to go through months and months of pre-op testing and
of tune, should I say it’s right or wrong?” It’s difficult when preparation. Dan looked at me and said something like:
you only have the option of correct or incorrect to decide. “I have a tumor in my brain! Music is my life and my love,
and I want to have it preserved.”
His incorrect responses would have completely wrong
contours, he was going in the wrong direction; he couldn’t His recovery period was strikingly short, in my opin-
find the first note, or he found the wrong first note, or he ion. We did this surgery in June, and he was teaching in
hesitated, and then restarted again and again. Sometimes September. After the swelling subsided and the healing
he would even say “That’s not right.” He could hear what
he was doing, but he couldn’t fix it.

He is a music teacher, so he is a skilled musician to
begin with. Is he a professional working musician too?
He teaches in public school, and he gigs around. He also
told me afterwards that he’s a marching band instructor.
He’s a very active musician.

If someone’s score on the aptitude test reflects their
musical ability, would someone with perfect pitch be
more affected by the electrical stimulation than some-
one who doesn’t?
My specialty is exactly in perfect pitch, so I do a lot of
work with absolute-pitch musicians. I would say that
musicianship and having absolute pitch are very separate
things. I heard him play the saxophone afterwards, and I
do think he has a high level of musicianship.

When he picked up the sax to play it, was all the stimu- took place, his full music abilities returned. No more Dan playing his sax
lation done at that point? seizures or hallucinations. “absolutely perfectly”
We stopped testing while Dr. Pilcher worked on removing immediately after his
the tumor. He took out part of it, and we resumed with What are the implications of this surgery for what operation: “The whole
a second round of testing to make sure that nothing had you do? operating room burst into
been impaired. Web completed removal of the tumor. Prior to this experience, all of my work was cognitive and applause, laughter, and
And when the tumor was gone, he said: “Let’s try the sax.” behavioral: tests for musical memory, absolute pitch, how congratulations.”
quickly can someone learn, how does that change when
The saxophone piece that Dan chose was the Korean the music is in different musical tonalities? My work is
folk song “Arirang.” It’s a long, sustained, beautiful, and based on behavioral tests that aren’t medically invasive.
lyrical melody. Some weeks before the surgery, we came
into the pre-op testing and preparation. All the doctors This has changed my whole perspective on the neu-
and nurses were there, and they asked the patient to play rological side of music cognition. I haven’t had access
the melody for us. He started to play it, and the nurse to that understanding before. I hope that if other cases
practitioner, Susan Smith, became very alarmed, saying present themselves in musicians, that we can continue
“No, no, no, he can’t play this! That sustained breath con- this research and provide some benefit to others.
trol and pressure may cause the brain to protrude from
the skull.” I coached Dan through how we could alter Special thanks to Elizabeth Marvin, Brad Mahon, and
the melody: inserting rests, and making it less legato, so Dan Fabbio for their help with this article.

UNIVERSITY OF ROCHESTER MEDICAL CENTER Spring 2018 | Eastman Notes 15

ROM AN

SCANDALS
• of 1643 •
A Monteverdi Opera Diary

By Kameron Ghanavati

This fall, Eastman Opera Theatre presented a true masterpiece of baroque opera: Poppea was premiered in Venice in 1643, with a revised
Claudio Monteverdi’s L’Incoronazione di Poppea (The Coronation of Poppea), with version produced in Naples in 1651. The Eastman Opera
stage direction by Stephen Carr and musical direction by Paul O’Dette. Master’s stu- Theatre (EOT) version is a hybrid of the two, favoring
dent Kameron Ghanavati played Nerone in the production; here are excerpts from his the Naples version. This creates a challenge for students,
blog posts leading up to the show’s opening night on November 2, 2017. because no two recordings of Poppea are the same.

A narcissistic Roman Emperor, his determined and relentless lover, a scorned My fellow castmates and I had been hard at work on
wife, and an exiled husband are all under watch from the Gods above . . . the piece since the summer. For Athene Mok (“Poppea”
A night at the opera never sounded as scandalous and alluring as Claudio on November 2 and 4) one of the challenges for is mem-
Monteverdi’s 1643 L’incoronazione di Poppea. Filled with drama and pas- orizing the piece. I agree with her on this point. The
sion, the work represents a new era of opera that would alter its history forever. constantly changing rhythms and seemingly “easy”
melodies do not always match the accompaniment.
This is the first opera based upon a historical event and characters. The piece chron- Monteverdi created harmonies and rhythmic devices
icles Emperor Nerone (Nero) as he embarks on a sleazy mission to divorce his wife, that were decades ahead of his time, resulting in great
Ottavia, and marry the desirable (and older) Poppea. In the midst of this drama, Nerone difficulty for singers at some moments in the opera.
becomes mentally unstable. However, the piece ends on a happy note with the marriage
of the two lovers, despite their abhorrent journey to the altar. Kevin Bryant (“Nerone” on November 2 and 4)
remarks that “scores of early music tend to walk the
middle ground; they expect you to do what is written,
but also expect that you will not do what is written if it
does not make sense.” Kevin’s comment perfectly sums
up a major challenge when learning this opera.

For such difficulties, a professional who understands
the music is required. That particular professional, in
EOT’s case, is Professor Paul O’Dette, the music director
and conductor for our production of Poppea. His exten-
sive background in early music has aided the whole cast
during the coaching process.

Along with Athene and Kevin, I have become inter-
ested in early music since joining Eastman’s Collegium
Musicum (directed by Paul O’Dette) over a year ago. When
aided by a musician who understands the style so well, the

Kameron and Keith Klein rehearse a confrontation between
Nero and the philosopher Seneca; lutenist Paul O’Dette is
seen between them. To see the scene in the production, see
photograph on page 1.

16 Eastman Notes | Spring 2018 JOSHUA LAU

process becomes less daunting. My recommendation for Spring 2018 | Eastman Notes 17
students looking to gain more experience in this genre is
to find a coach who specializes in it and research common
performance techniques. Once a basic understanding
is established, the music is not as difficult as it appears.

Another challenge for me was finding the chemistry
between my character and my Poppea, Laura Sanders.
When two actors are required to share romantic and/
or intimate moments in a dramatic work, the challenge
is finding your character and their character, then find-
ing the middle ground that connects the two. This is a
common hurdle for many performers, and once a level
of comfort is met, it becomes quite easy, and the result
is very powerful and exciting.

Laura Sanders (MM ’18 and Poppea on November 3
and 5) perfectly sums up the EOT experience: “What
makes Eastman productions so special is having a cast
full of reliable colleagues who foster a safe and support-
ive atmosphere.” As a cast, we successfully maneuvered
the set and wiggled into our costumes and shoes, while
sharing laughs and jokes backstage that remind us we
are among friends and colleagues.

Therese Carmack (MM ’18) further sums up the expe-
rience very well by commenting, “I’ve enjoyed learning
to sing Monteverdi with the help of the incomparable
Paul O’Dette and working with our brilliant and ever-pa-
tient director, Stephen Carr.” They are the ones who
see us stumble and help us get back on track and figure
out how to work through the difficulties presented in
any piece.

The last week and-a-half of rehearsals marked a major
milestone in the production process as the cast moved
into Kilbourn Hall. From the moment we laid our excit-
ed, albeit tired, eyes on the set, a sense of amazement
overcame us. Throughout the next few days, lighting
cues were completed, the continuo (Baroque accompa-
niment) added more instruments, and we finalized our
costumes. Through many grueling hours of rehearsing
and time spent revisiting and fixing mistakes, and the
many challenges we faced learning a new style of music,
the production was suddenly in a new place that stim-
ulated our eagerness for opening night.

Even after 374 years, “Monteverdi’s music speaks so
clearly,” says Brianna Robinson (MM ’18 and Ottavia
on November 2 and 4). “We are so lucky that we have
access to such a historically important piece and even
luckier to put our own voices into the characters. This
experience will be something I never forget.” The music
may be from the early 17th century, but the plot is as
relevant now as it was at the premiere in 1643.

Kameron says, “I can’t help but reflect on Henry Dean’s (’19, and
Secondo Soldato in both casts) comment: ‘I am proud to perform
with such a dedicated group of musicians, performers, and
crew.’ ” Shown here are Kevin Bryant and Athene Tsz Wai Mok as
Nerone and Poppea, and Natalia Hulse as the goddess Amore.

NIC MINETOR

A GRAND TOUR OF EASTMAN’S ORGANS

It began in the early 1920s, with Harold Gleason The jewels in this particular crown, however,
accompanying George Eastman’s breakfasts, are displayed in this foldout, originally
and continuing with the appointments of designed by Michelle Martorell for a display
Gleason and Joseph Bonnet as the Eastman in Lowry Hall. It shows the 25-plus pipe
School of Music’s first organ faculty members. organs, located at Eastman and all over
Nearly a century later, Eastman has one of the downtown Rochester, used by the school.
greatest organ departments of any school. These instruments—some original and some
First-class musicians have often served for replicas—were originally built in eras ranging
many decades and become legendary organists from the 1770s to the 2010s and in places from
and teachers (see the list on page 18). Eastman Göteborg, Sweden, to North Tonawanda, New
organ students are currently guided by pro- York. They create a remarkable resource for
fessors David Higgs, Edoardo Bellotti, William organists, scholars, and students, and a feast
Porter, and Nathan Laube. for Rochester lovers of organ music.

SPECIAL FOLDOUT FEATURE •





Spring 2018 | Eastman Notes 21

{ }SCHOOL NEWS

Eastman Community Music School
to Undergo Major Renovations

The Eastman Community Music School has been an Eastman Community Music School. This new state-of- Continuing Eastman’s
integral part of the Eastman School of Music, University the-art facility reflects our dedication to excellence, and commitment to the Rochester
of Rochester, and the Rochester community, since its will bring teaching and learning music to a whole new community: renovations to
opening in 1921. Housed on Gibbs Street in Messinger level.” Messinger Hall are already
Hall, the Eastman Community Music School (ECMS) under way.
will soon undergo a major renovation, made possible Eastman School of Music National Council Member
by generous contributions from Karen and Ron Rettner, Karen Rettner, and her husband, University of Rochester
Nancie Kennedy, The Spindler Family Foundation, the Trustee Ronald Rettner, are the primary contributors
Williams Family, and members of the ECMS Community. to the building renovation. Ron is also providing his
The 2.8-million-dollar project, which will enhance the
educational experience for over 1,500 music students,
began in January 2018 and will be completed in time for
fall classes. The renovation was announced on December
16 in Lowry Hall, as part of “Winterfest,” ECMS’s holiday
concert.

Renovations in Messenger Hall will include: interior
upgrades and furnishings in the lobby, as well as video sig-
nage and a permanent lobby attendant desk; a keyboard
lab; classrooms; six piano studios; 19 teaching studios;
a percussion suite; and a designated waiting space for
parents. An exterior facelift is also planned: new awnings
will adorn the outside of the building, and ECMS signage
will welcome the community into the school.

“This project has deep symbolic meaning,” states Petar
Kodzas, Associate Dean of the Eastman Community
Music School. “It reaffirms Eastman’s commitment to
enrich community life on many levels including through

22 Eastman Notes | Spring 2018 HBT ARCHITECTS

{ }SCHOOL NEWS

Kidnapping, Parisian Style:
French financier Henri
(Nathan Kessel) is detained
by his maid (Sara DeFranco)
and The Polite Abductress
(Hailey McEvoy) in a scene
from Douglas Lowry’s
operettic romp, performed at
Rochester’s Fringe Festival.

extensive expertise in commercial construction and faculty members, students, and alumni, presented Within
property development to guide the project. “Our commit- the Quota, a multimedia presentation based on a 1920s
ment to Eastman and this project, stems from our love of ballet score by Cole Porter, on September 19 at the George
music, and the high level of community engagement and Eastman House.
excellence at the Eastman Community Music School,”
say the Rettners. “We are proud to foster music educa- The Eastman Opera Collective performed The Polite
tion and to enriching the lives of community members Abductress, a short comic operetta with words and music
of all ages by affording them the opportunity to gain an by the late Eastman dean Douglas Lowry, on September
appreciation of music.”—Jessica Kaufman 22 at the Lyric Theatre.

Eastman on the Fringe John Covach, Professor of Music in the University
of Rochester’s Music Department and Professor of
The 2017 Rochester Fringe Festival took place between Theory at Eastman, who also serves as Director of the
September 14 and 23. As always, the performances, at UR Institute for Popular Music and the UR Institute
venues all over downtown Rochester, as always, included for the Performing Arts, took part in complete live per-
several Eastman musicians. formances of two classic rock albums, Yes’s Close to the
Edge and Pink Floyd’s Dark Side of the Moon.
Assistant Professor of Jazz Studies and Contemporary
Media Dave Rivello joined forces with electronic drum- 13th-Century Medieval,
mer/producer Shawn Drogan for Worlds Collide (analog 21st-Century Digital
and digital worlds, that is) on September 16 in Kilbourn
Hall. A conference this fall at Eastman opened a window
into the state of manuscript studies in the digital age.
Table Top Opera, which includes numerous Eastman Machine-Reading and Crowdsourcing Medieval Music

MARTHA MELNIK Spring 2018 | Eastman Notes 23

{ }SCHOOL NEWS

During his Distinguished Manuscripts brought together scholars for a half-day sics, Susan B. Anthony institute for Gender, Sexuality,
Visit to Eastman last fall, symposium that in part focused on a thirteenth-century and Women’s Studies, and College Music Department.
conductor David Zinman led manuscript from the Art Institute of Chicago. The sym-
the Conducting Orchestra in posium provided updates from researchers in combining New Degree Expands Eastman’s
movements from symphonies the digital humanities with studies in medieval musicol- Focus on Leadership
by Tchaikovsky, Brahms, and ogy, and also included a concert by the Chicago-based
Beethoven. early-music ensemble Schola Antiqua. Eastman now offers a new Master of Arts degree in Music
Leadership, designed for musicians who want to lead
“Major strides in digital photography and technologi- and advocate for traditional and non-traditional musical
cal strides in online data management have changed how arts organizations. This fourteen-month degree pro-
we approach and understand these important artifacts gram integrates intense classroom study, courses from
of medieval life,” says Associate Professor of Musicology Eastman’s rich performance and scholarly offerings, and
Michael Anderson, who organized the event with funding hands-on internships and mentorships to develop and
from a grant from the University of Rochester Humanities hone leadership and managerial skills.
Project. Anderson is the first Eastman faculty member to
receive an individual Humanities Project grant. The Master of Arts in Music Leaderships degree
program, commencing in the summer of 2018, uses an
Co-sponsors of Machine-Reading and Crowdsourc- integrated approach to develop and hone artistic and
ing Medieval Music Manuscripts included Eastman’s managerial skills for the next generation of music leaders.
departments of Musicology, Humanities, Organ, Sacred The backbone of this degree is a combination of intense
Music, and Historical Keyboards, and Voice and Opera. coursework and hands-on experience with leading
University co-sponsors were the Goergen Institute for musical arts organizations and mentors, with a focus
Data Science, Rossell Hope Robbins Library, Department on five areas of study: Innovative Musical Leadership;
of Computer Science, Department of Religion and Clas-

24 Eastman Notes | Spring 2018 MICHELLE MARTORELL

{ }SCHOOL NEWS

Administration; Marketing and Engagement; Music Lee Koonce, Gateways’ President & Artistic Director,
Electives; Internship and Mentorship. Empowered with a says: “Gateways is honored to receive this endorsement
broad set of executive skills and a comprehensive musical of our efforts. This much-needed support will enable
background, graduates will be able to lead and advocate Gateways to deepen and expand our programs and reach
for both traditional and non-traditional musical arts more musicians and audiences,” he added. This award is
organizations. the largest single gift in Gateways’ history, and “a wonder-
ful way to launch the celebration of our 25th anniversary
According to Jim Doser, director of Eastman’s Institute in 2018!” says Koonce.
for Music Leadership, “Students in this program are
musicians at their core, who wish to connect the dots “Eastman has supported Gateways since its arrival
between artistry and successful leadership in the dynam- in Rochester in 1995, and we were pleased to formalize
ic and challenging field of musical arts administration.” this partnership in 2016,” said Dean Jamal Rossi. The
first tenet of Eastman’s mission statement is ‘to create a
For more information, go to apply.esm.rochester.edu/ musical community that is rich with cultural, social, and
register/inquiry intellectual diversity.’ We believe in Gateways’ important
mission and we are delighted that The Andrew W. Mellon
A Grand Grant Foundation is partnering with us.”
for Gateways
A Mecca for Musicologists
Gateways Music Festival, in association with the Eastman
School of Music, has been awarded a $300,000 grant Rochester hosted the annual meeting of the American
from The Andrew W. Mellon Foundation. Gateways,
whose mission is to connect and support profession- Musicological Society from November 9 to 12, 2017, with
al classical musicians of African descent, will use the
grant to strengthen its administrative and programmatic many events and performances held at the Eastman
activities, helping to ensure the organization’s long-term
viability and sustainability. The Mellon Foundation grant School of Music. The gathering brought nearly two
will support the addition of two full-time staff positions
and a contracted graphic/web designer and grant writer. thousand scholars (including many Eastman faculty Pianist Stewart Goodyear,
conductor Michael Morgan,
members, students, and alumni) for hundreds of pre- and the Gateways Festival
Orchestra provided a grand
sentations on music ranging from the twelfth century, Kodak Hall finale for the 2017
Gateways Festival.
to Bach and Beethoven, to current trends in hip-hop and

film music. Continued on page 28

DAVE JONES Spring 2018 | Eastman Notes 25

{ }CONVERSATION

Exploring the Whole Voice

A Conversation with Julia Bullock

In the years since her graduation, the reputation of remains one of the most intensely passionate musicians I know; the
soprano Julia Bullock ’09E has steadily risen in opera main lesson being, “If you don’t have anything to say, don’t sing.” As the
and recital performances, in repertoire from Mozart and months pass, it becomes clearer and clearer that my entire aesthetic
Ravel to West Side Story and songs of Joséphine Baker stems from that advice.
and Alberta Hunter. Julia’s most recent project was cre-
ating the role of Louise Clappe—a New England woman What was the experience of Girls of the Golden West like, particularly
who lived for a year and a half in a mining settlement working with John Adams and [stage director] Peter Sellars?
during the California Gold Rush and wrote of her experi- I’ve had the opportunity to work with some of the most demanding
ences under the name “Dame Shirley”—in John Adams’ individuals in the profession, Peter and John being near the top of that
latest opera, Girls of the Golden West. It premiered at list on intensity level. They ask for the utmost concentration and clarity
the San Francisco Opera in November; the New York from their performers. There can be no veils or obstructions in your
Times lauded Julia’s singing and acting as “radiant” and delivery; directness rules. Things become less and less about beauty, or
“exquisite.” Julia’s schedule for 2018 includes numerous preoccupation about how you’re being received, because that is subjec-
recitals and orchestral appearances, and another Adams tive and changes by the minute. But if you can guide yourself, and the
opera, Doctor Atomic, with the Santa Fe Opera. audience (if they are willing) through the material, with concentration
and clarity, then the material soars. Every composer demands that sort
Describe your background, your upbringing, and your of attention and awareness, but it really started to become fully incor-
early training. When did you decide you would like to porated into my work and consciously into my aesthetic when I started
be a professional singer? to work on John’s music.
I was born and raised in St. Louis, Missouri. Music was a
constant in my house, but not much classical, other than Can you describe the character you played in this opera? How did you
a recording of Prokofiev’s Peter and the Wolf. My father “approach” her, through research (since she was a real person), as
and mom supported my love for dance, and I’d say much well as singing and acting?
of my musical interest/insight came from movement, Louise Clappe (who used the pen name Dame Shirley) was a witty,
with a focus on embodying the sounds I heard. I took vibrant, brave individual who approached every person and each new
voice lessons, but looking back it was less about learning environment with unrelenting openness. She had her prejudices as a
music and how to sing, and more about having strong white, privileged, intellectual from New England; she was confused, bewildered, and
female mentors. critical of the cruelty that humanity inflicts on itself; she wasn’t so much a narrator, but
an observer. She asked a lot of questions, and was noticeably impacted by the extreme
My father died when I was nine (he had a magnifi- circumstances through which she lived. I adore her.
cent baritone voice), and I went through several years
of wanting to sing and not. When my stepfather came Because much of my role was in a parlando [spoken] style, the importance of being
into our lives, he shared his favorite recordings and intelligible and articulate was paramount. The vocalism could never overwhelm the
video performances of classical vocal music, [which] I words. And because the quick metabolism of the language and emotions were reflect-
replayed again and again. I was struck by the clarity in ed in John’s music, I didn’t have time to hesitate; I just had to deliver with an openness
the sound and the intensity of the poetry. It changed my in the vocalism that was simultaneously alert.
life—gave me focus.
I’m glad that Girls of the Golden West was the third large work of John’s that I’ve
I then auditioned for the Artist-In-Training Program at worked on, and I’m also glad that this is the fourth big project on which Peter and I
Opera Theatre of St. Louis, where I received free voice have collaborated; otherwise I think the tasks in this production would have over-
lessons and coachings. It was at that time, at age 17 and whelmed me.
18, my studies as a classical singer really began.
I was interested to see that you’ve played Joséphine Baker, and that your recitals
How did your artistic growth at Eastman prepare you include songs associated with black, female performers like Alberta Hunter, Billie
for the professional world? Did you receive any particu- Holiday, and Nina Simone. Why do you believe this is important for you to do? And
larly sound advice that has guided your career? how do you approach pop or blues material as a classically-trained vocalist?
I can honestly say that I had some deeper life questions I spent many years of my life denying parts of my identity, specifically my black heritage
that I needed to answer and process. I’m grateful that (I’m half white, half black). Honestly, it wasn’t until Carol Webber mentioned that I
I had such extensive studies in music theory, history, reminded her of Joséphine Baker, and my shockingly negative reaction of not wanting to
aural skills, choir, language study, etc., because they be thought of as a “black singer,” that I could begin the process of healing that disassoci-
are all absolutely applicable to the craft of performing. ation. Strangely, deciding to go into a field that is predominantly run, produced, written,
My primary voice teacher was Carol Webber, and she and performed by white people, helped me want to take ownership of all that I am.

26 Eastman Notes | Spring 2018

I approach this material like everything “We are so transparent when can perceive when watching a human being on a stage. So I always have
else: lyrics and voice exist side by side. It we perform”: Julia singing to remind myself that any attempt to divorce who I am as a person from
was more about convincing myself that with the American Symphony who I am as a musician, would not only be fruitless, but ridiculous.
my voice (whether “right” for the reper- Orchestra at Carnegie Hall in
toire or not) can be a means to express February 2012. We live in an age where we contextualize everything, so I’ve found
content-driven programming to be a helpful tool. The performance can

all sorts of emotions and make all sorts of sounds. The be much more than a platform for pretty and consonant sound; it can be about a lot of

craft of singing is about doing it healthily, not careful- different things. The idea of music as an escape from life’s realities is absurd to me.

ly. . . . At this point I want to explore my whole voice, and

you can’t fully explore it until you expose it. Can you say a bit about your interest in community activism and raising awareness of

certain issues through your performances?

How do you think classical musicians can engage wider I’m grateful that my parents instilled the idea that if I’m not providing a service in

audiences? my work, then it’s not worthy work. I used to worry that choosing to be a performer

As long as it’s clear that the material is performed by wouldn’t serve a greater purpose, but then I realized that music helps us listen more

human beings—not machines, not seamless and perfect closely, it encourages us to engage with one another and ourselves, it asks us to act

dolls, not nostalgic trips, or projections of overblown with intention and make choices, despite not knowing the future outcome. These are

emotions, but just people—classical music will continue all things I think we need to be reminded of on a daily basis, at least I do. And just

to be relevant in everyone’s lives. practically, I can offer my singing as a way to raise money by donating my time.

There’s no gimmick or marketing or presentation style

that’s going to make this music (any music) resonate. What does the future hold for you, in terms of performing, repertoire, teaching,

It’s breathing and moving, or it’s not. It takes complete activism or advocacy . . . what do you think will attract you?

investment by the performers and the listeners, and Who knows? But I know for sure that I love to teach. I remember when I was first

this deep engagement with one another is exactly what beginning to sing, and I had moments when teachers said something that guided me

makes it valuable and viable. We are so transparent to a place of self-realization. I am so glad that I now have some tools to help another

when we perform, it’s astounding how much an audience individual become more fully realized and feel truly empowered.

HIROYUKI ITO Spring 2018 | Eastman Notes 27

{ }SCHOOL NEWS

Continued from page 25 “Rochester’s musical vibran-
cy—with Eastman at the center—was a major draw for
conference attendees,” according to Associate Professor
of Musicology Michael Anderson, and AMS Executive
Director Robert Judd concurred: “Eastman is a true
Mecca for musicologists, with an incredibly rich legacy
of musical scholarship. The Sibley Library alone is worth
a week’s time to study.”

Summer@Eastman:
The Power of Connections

My internship with Summer@Eastman was all about

connections: I served as the Operations Assistant during

Summer 2017 and continued in Fall 2017 as the Marketing

Assistant. With Sylvie Beaudette and Andrea Schuler by

my side, I helped run a program that housed hundreds

of students, educators, and

musicians from all walks Soprano Brianna Robinson
of life right under the same (shown at left) is a second-
roof here at Eastman. year Eastman master’s
degree student in Vocal
My fondest memo- Performance, in Robert
ry was the connection I Swensen’s studio. She is

made with six high school also completing an Arts
students participating Leadership Certificate from
in Eastman Community Eastman’s Institute for Music
Music School’s half-day Leadership.

programs. It was my job to find something for them to

do, so we went to a different Eastman performance each

evening. We heard a jazz band, a beautiful organ con-

cert, and we even got to see their peers performing in a

Summer@ Mozart opera.
Eastman 2017
Two had travelled to Rochester from my home state
Prepare to be Blown Away!,
the design concept for of Ohio, one was even ten minutes away from my family
Summer@Eastman 2017,
blew away the judges home in Ravenna. Two others took pride in being mul-
of the North American
Association of Summer tidimensional musicians: vocalists as well as saxophone
Sessions, who gave the
design its Creative Award players, as I am. Another student, who was very shy and
in the Single Marketing Idea
category. Summer@Eastman quiet, lit up when we went to see the Bill Tiberio Band.
Director Sylvie Beaudette
received the award while at He couldn’t stop talking about how incredible the con-
the NAASS conference in
Pittsburgh in November: “A cert was.
sincere thank you to everyone
who contributed to this As Summer@Eastman’s Marketing Assistant, I
beautiful piece and made
my crazy idea a reality!” researched music schools, teaching studios, and arts
The designer was Eastman’s
Michelle Martorell; the organizations in the western United States, looking for
photograph was by Rochester
photographer John Myers. new connections with music teachers, arts educators,

arts administrators, and anyone else who might want to

learn about our summer programming. I was amazed to

discover just how many Eastman alumni there are out

PrepBareLtoObWe N AWAY! in the world: teaching, performing, working for music
The Eastman School of Music Summer at Eastman program
offers students and the community an individualized programs, really just dominating music and the arts.
and world-class music education experience.
JUNE 26–AUGUST 4, 2017 From chaperoning to capturing thousands of email

addresses to shuffling instruments, I never had a dull

moment during Summer@Eastman. I can’t say enough

about the incredible connections I made and how

they will shape me as my time at Eastman comes to a

close.—Brianna J. Robinson

28 Eastman Notes | Spring 2018 SYLVIE BEAUDETTE (ROBINSON)

{ }RECORDINGS

12345

6789q

DOMINICK ARGENTO GREGORY MERTL TAKAHORI YAMANE/ City, I recently retired as COWBOYS & FRENCHMEN
VINCENT LIOTI Endowed professor of Cello
1 From the Diary 3 Afterglow of a Kiss; from the Conservatory of 9 Bluer than You Think
of Virginia Woolf; Empress; Piano Concerto 5 Faith and Hope Music and Dance of UMKC.
The Andrée Expedition are Playing I continue as an editor of Outside in Music
Bridge cello editions for Interna-
Naxos American Classics EIN Records tional Music Company.” Cowboys & Frenchmen
This disc presents new (whose name was inspired
This affecting set- works for large cham- Waddy Thompson ’75E PIERRE DE MANCHICOURT by a David Lynch movie)
ting of passages from ber ensemble and wind writes: “My Berceuse has has “one foot firmly planted
Virginia Woolf’s diaries ensemble by Gregory ’05E been recorded by the dis- 7 Missa Reges Terrae in a genre [ jazz], while the
by Dominick Argento (PhD), performed by the tinguished Japanese flutist other one is busy trying to
’59E (PhD) won the 1975 University of Minnesota Takanori Yamane and Met- MSR Classics kick down the genre’s door.”
Pulitzer Prize. Written for Wind Ensemble with ropolitan Opera Orchestra The lineup includes Owen
mezzo-soprano Janet Baker, conductor Craig Kirchhoff violist Vincert Lioti for EIN The Choir of St. Luke in Broder ’12E and Ethan
it is here performed by and pianist Solungga Liu Records. The piece dates the Fields (located in New Helm, saxophones; Chris
baritone Brian Mulligan ’01E (DMA). Art Music from my sophomore year York’s Greenwich Village) Ziemba ’08E, ’11E (MM),
and pianist Timothy Long, Lounge called Gregory’s at Eastman.” Waddy’s piece is directed by David piano; Ethan O’Reilly, bass;
and paired with Dominick’s music “heavily detailed and is coupled with music by Shuler ’76E. This disc and Matt Honor, drums.
Andrée Expedition, a imaginatively developed. Nielsen, Devienne, Cambi- includes the world premiere Their eight-city album tour
ambitious song cycle about But it’s also enjoyable and a ni, Wanhal, and Dulon. recording of a mass by the in October 2017 included a
a failed balloon trip to the little wacky.” early Renaissance Franco– return to Rochester.
North Pole. CHEN YI Flemish composer Pierre de
JACK QUARTET Manchicourt (c. 1510– MADELEINE MITCHELL
CALABRIA FOTI 6 Suite for Cello 1564), plus several other
4 Bracing Change/ and Chamber Winds Manchicourt vocal works. q Violin Muse
2 In the Still of the Night Simon Holt: 3rd Quartet
Naxos Wind Band Classics JEREMY GILL Divine Art
Moco Records NMC
Carter Enyeart ’64E is the 8 Before the Acclaimed violinist
Eleven musical and lyrical JACK, the string quartet cello soloist in this world Wresting Tides Madeleine Mitchell
jewels by Cole Porter, from specializing in contempo- premiere recording of ’81 (MM) has inspired
“Just One of Those Things” rary repertoire, includes two this suite by the promi- BMOP/sound numerous established UK
to “In the Still of the Night”, alumni among its mem- nent Chinese-American composers to write for her.
are interpreted by vocalist bers: violist John Pickford composer, the main work This album features the This album has seven world
Calabria Foti in arrange- Richards ’02E, ’04E (MM) in a program of other Chen Boston Modern orchestra premiere recordings, in-
ments by Mike Patterson and violinist Christopher Yi works for band. Carter Project led by Gil Rose in cluding the violin concerto
’08E (MM)—and musicians Otto ’06, ’06E. This disc adds, “After a career with music by Jeremy ’96E: by Guto Puw; five works for
including Mike on piano; includes their Wigmore various orchestras, as cellist Before the Wresting Tides; piano and violin by Michael
Ike Sturm ’00E, ’03E (MM) Hall performance of a new of the Philadelphia String Serenada Concertante; Nyman, David Matthews,
bass; and Jared Schonig quartet by British composer Quartet, and teaching and Notturno Concertante. Michael Berkeley, Sadie
’05E, drums. “Luscious Simon Holt, performed by positions at Ball State, Featured performer Erin Harrison and Geoffrey
stuff . . . all crème and JACK with “tremendous Northwestern, University Hannigan ’96E (MM) is Poole; and Atlantic Drift,
superb throughout,” says panache” (BBC Music of North Texas and the Uni- principal oboe of the Dallas violin duos by Master of the
AllAboutJazz.com. magazine). versity of Missouri Kansas Symphony. Queen’s Music Judith Weir.

Spring 2018 | Eastman Notes 29

{ }RECORDINGS

wer

Composer Robert Ward at Eastman in 2005, for Eastman tyu
Opera Theatre’s production of his Claudia Legare.
LORI LAITMAN recently reissued Ward’s PAM FLEMING AND
ROBERT WARD opera The Crucible; see FEARLESS DREAMER
The Crucible • Kritzerland Records w The Scarlet Letter sidebar.
y Buds
A New Sound for a Classic Naxos American Classics ALL ANGLES ORCHESTRA
American Opera Infinite Room
Lori Laitman visited r New Angle
This opera by Robert Ward ’38E (1917–2013), based Eastman last spring, when Pam ’79E, on trumpet, has
on Arthur Miller’s play, premiered in 1961 at the Eastman Opera Collective Outside in Music led her group Fearless
New York City Opera, won the 1962 Pulitzer Prize, presented her children’s op- Dreamer for twenty years.
and has been frequently performed. However, it era Three Feathers, and the The All Angles Orchestra, Their latest album is a
Women in Music Festival led by Russian trumpeter varied collection of original
has received only one included the premiere of and arranger Alex Sipiagin, music in many styles: me-
recording, with the orig- her Are Women People? features arrangements and lodic jazz, World, Groove,
inal NYCO cast, released Eastman also hosted a originals by Mike Conrad Funk, Reggae, Pop, Rock,
shortly after the pre- presentation on Laitman’s ’13E (MM), who says “The and Progressive New Age.
miere on the Composers recent opera, based on group features a unique
Recordings Inc. (CRI) Nathaniel Hawthorne’s instrumentation that forces RICHARD STRAUSS
label. Kritzerland novel. Gramophone called the jazz and classical worlds
Records producer Bruce The Scarlet Letter “deeply to collide. The CD was re- u Der Rosenkavalier
Kimmel encountered this affecting . . . impressive leased on Outside In Music,
recording when he was in high school and has been and fervent.” The Opera a record label created by Decca (DVD)
a fan of The Crucible ever since, though not a fan of Colorado cast includes mez- fellow Eastman alumnus,
the original recording quality, which suffered, in his zo Margaret Gawrysiak Nick Finzer ’09E.” This well-received new
words, from “muddy sound and low-level mastering,” ’05E (MM). Metropolitan Opera
even in a 1987 CD reissue. GUY JOHNSTON production features two
This Kritzerland remastering by engineer James ROBERT WARD Eastman alumnae: soprano
Nelson gives the old recording a real sonic ‘face lift,” t Tecchler’s Cello: Renée Fleming ’83E (MM),
with greatly improved clarity, detail, and depth. In e Concerto for Piano From Cambridge to Rome in her final operatic role
his booklet note, Kimmel writes, “When I heard [this and Orchestra as the Marschallin; and
remastering] I must admit I got more than a little King’s College Cambridge soprano Erin Morley ’02E
emotional, because here we are, fifty-five years after Kritzerland Records as Sophie. Also featured in
that music changed my life, and I’m finally getting to Guy ’12E planned this re- the cast are Elina Garanca
issue The Crucible. Some things are worth waiting for.” This reissue of the concerto cording as a 300th birthday as Octavian and Günter
(Kimmel is a fan of Robert Ward’s music in general; see by the late Robert Ward present to his Tecchler Groïssböck as Baron Ochs.
the notice of his Kritzerland reissue of Ward’s Piano ’38E features pianist cello, showing it in solo,
Concerto in this section). Margaret Mitchell, who chamber, and concertante Do you have music or perfor-
first performed the work, music including the Adagio mances on a recent or forth-
and William Strickland con Variazioni by Respighi, coming CD? Send promo
conducting the Stuttgart Beethoven’s “Ghost” Piano copies to Eastman Notes,
Radio Orchestra; it is Trio, and a sonata for two Office of Communications,
joined by rare American cellos by Barrière, in which Eastman School of Music,
piano concertos by Lee Guy is joined by the young 26 Gibbs Street, Rochester,
Hoiby and Marc Blitzstein. British cello sensation NY 14604; or just alert us
The Kritzerland label also Sheku Kanneh-Mason. that it is available.

30 Eastman Notes | Spring 2018 GELFAND-PIPER PHOTOGRAPHY (WARD)

{ }ALUMNI NOTES

1940s Vienna (Prioletti) Cocuzzi 2 Joyce Castle ’66E she’ll repeat in March in than 20 arias for solo voice,
’55E, ’57E (MM) writes: “My Kansas. trumpet, and organ.
Shelley Philibosian Waite husband, Mario R. Cocuzzi, was Eastman, for which I’m
’80E (BM) writes: “On passed away October forever grateful.” James Ode ’61E (MM), 1970s
September 2, 2017, Betty 23, 2016. After some sad ’65E (DMA) was induct-
Chidlaw Philibosian ’44E months I decided to move 2 Joyce Castle ’66E notes ed into the Performing Diane Abrahamian
breathed her last breath. . . . to The Regency at that 2017 “is my 47th year Arts Hall of Fame at his ’79E, ’86E (MM) was
A consummate artist as Southshore, Erie, PA. I still in my long long career.” undergraduate school, guest conductor for the
a singer, then fine arts, do some performing, both The mezzo-soprano and Augustana University in Cayuga Senior All-County
pottery, sculpture, and solo and accompaniments University Distinguished Sioux Falls, South Dakota, Mixed Choir, Finger
riotous on a motorcycle, she (piano—mostly) for the Professor at the University on October 13, 2017. James Lakes All-County Vocal
lived her life to the utmost Tuesday Morning Music of Kansas didn’t slow taught trumpet and headed Jazz Ensemble, and Erie
and spread her dazzling Club here in Erie, and a few down last year, playing the the Graduate Program at All-County Vocal Jazz
smile and unflagging faith other places.” Old Prioress in Poulenc’s the Ithaca College School Ensemble. Diane is a
wherever she went. She is Dialogues of the Carmelites of Music, and subsequently Voice Instructor (Jazz
survived by her daughters, 1960s at Northwestern University led the music departments and Contemporary Music
Wendy Ruuamau, Nicole in February, performing the at Trinity University in Specialist) at the Eastman
Philibosian Gentry ’82E 1 Marshall Burlingame song cycle Statuesque, writ- San Antonio and the Community Music School,
and Shelley Waite. [Nicole ’64E, ’66E (MM) writes: ten for her by Jake Heggie Meadows School of the and is on the faculty of
and Shelley also had “I have retired after thirty and Gene Scheer ’81E, ’82E Arts at Southern Methodist Nazareth College.
Eastman degrees in voice.] years as the Principal (MM) at the University of University in Dallas. James
The world is smaller with- Librarian of the Boston Kansas, and in the summer is the author of Brass 3 Michael Crumb ’79E,
out her.” (See also 1980s.) Symphony. Prior to that, playing Mme. Armfeldt Instruments in Church ’84E (MA) retired June 30,
I held the same position in Stephen Sondheim’s A Music, has recorded trum- 2017 as Superintendent of
1950s for twelve years with the Little Night Music at Des pet solo and brass quintet Schools in Spencerport, NY.
Cincinnati Symphony, Moines Metro Opera (pic- albums for Mark Records, He worked in education for
The New York City Opera where I also played oc- tured). On December 16, and has published more 38 years, as a teacher, an
celebrated the ninetieth casionally in the clarinet Joyce sang an all-Bernstein
birthday—and six decades section, wrote program recital in New York, which
of creativity—of composer notes, and was an assistant
Dominick Argento ’58E conductor of the orchestra’s
(PhD) on November 9 with May Festival chorus. I also
a concert at Carnegie Hall’s played first clarinet in the
Zankel Hall. The program Cincinnati Ballet Orchestra.
consisted of two one-act In Cincinnati and then
operas: Miss Havisham’s in Boston, I encountered
Wedding Night, adapted most of the great conduc-
from Dominick’s 1977 tors and concert artists
opera Miss Havisham’s of our time, and many
Fire, originally commis- prominent composers. I
sioned by the NYCO; and consider the Library of
A Water Bird Talk, adapted Congress Music Division
from Chekhov’s play On the (where I worked for a year
Harmfulness of Tobacco before Cincinnati), the
and John James Audubon’s Cincinnati Symphony, and
Birds of America. (For more the Boston Symphony all to
news about Dominick, see be my alma maters, but the
“Recordings,” p. 28.) foundation for everything

1 Marshall Burlingame ’64E, ’66E (MM)

DUANE TINKEY/DES MOINES METRO OPERA (CASTLE) Spring 2018 | Eastman Notes 31

{ }ALUMNI NOTES

administrator, and a leader Curve, and Quintapade, 3 Cindy Briggs ’92E; Michael Crumb ’79E, ’84E (MA); Patty Luminescence for two trum-
in the New York State pub- were published by Aamano pets and orchestra, with
lic schools. He served as a Music.” Welch ’91E, ’97E (MM) Jens Lindemann; soloist
music teacher in the Lyons with Minnesota Orchestra
and West Irondequoit David Owens (’72E) had 4 Carol Rothrock ’79E (MA) and Stephanie Richards (’04E) at Doc Severinsen’s 90th
school districts for 19 years. several notable performanc- birthday concert, playing
Mike is pictured with two es in the Boston area last adjudicator, and clinician. Concert Series, T. Herbert his original work My Italian
of many former student autumn. In October, cellist Dimmock conducting, on Heart, conducted by Jeff
teachers: left, Cindy (Ross) Hyun-Ji Kwon and pianist 4 Oboist Carol Rothrock November 4, 2017 at St. Tyzik ’73E, ’77E (MM).
Briggs ’92E, of the Newark Victor Cayres played his ’79E (MA) joined fellow Stephens Episcopal Church, Allen performed his 3
Central School District; Cello Sonata in Brookline. alum trumpeter Stephanie Harrisburg, Pennsylvania, World Winds with the Utah
and right, Patty (Grimes) Mr. Cayres and his wife, Richards ’04E in a per- and on November 5 at Wind Symphony. Allen per-
Welch ’91E, ’97E (MM), pianist Heeyeon Chi, formance of Copland’s Christ Lutheran Church formed throughout Europe
of the West Irondequoit presented Sky Legends— Quiet City with the La Inner Harbor, Baltimore, and Asia as a jazz and
Central School District. Twelve Miniatures on the Jolla Symphony in its Maryland. The 50-minute classical artist, and he and
Signs of the Zodiac at the season opening concerts work, written to commemo- Laura Vincent-Vizzutti
Geary Larrick’s ’70E (MM) Steinway dealership in in November 2017, at the rate the 500th anniversary ’74E were featured artists at
review of a book review Natick. December saw the University of California of the nailing of the 95 the International Trumpet
on jazz flutist Herbie première, at Framingham San Diego’s Mandeville theses, was underwrit- Guild, which included
Mann was published in State University, of Auditorium. ten by the Christopher the world premiere of his
the December 2017 Music Soliloquy VI by violist Anne Foundation. Shadows and Demons.
Educators Journal. Geary Black. The cello sonata and Hollis Thoms’ (’77–’79E Allen also received the
is celebrating fifty years four-hand piano suite will (PhD candidate) Martin Highlights of 2017 for International Trumpet
since the publication of his be included in an Albany Luther opera, And did the Allen Vizzutti ’74E, ’76E Guild Honorary Award,
first article, written while he Records CD of David’s world with devils swarm, (MM) included: the world the Yamaha Corporation
was a graduate assistant at compositions. all gaping to devour us . . . premiere with the Dallas of America Outstanding
Eastman. was premiered by the Bach Symphony Orchestra of his Educator Award, and
On May 5, 2017, the completed commissioned
Arthur J. Michaels ’70E University of Minnesota works for Rex Richardson (3
writes: “My Concerto for conferred upon John World Winds for Trumpet
Clarinet Choir was pub- Paulson ’76E (MA) the and Band); for Eastman
lished by Wonderfulwinds. degree of doctor of humane Professor of Trumpet
com. Two of my pieces, letters, honoris causa. The James Thompson and
Seophonic Rhapsody and causae included John’s Sérgio Carolino, Principal
Milonga Ornamental, were nine years as a music edu- tuba, Orquestra Sinfónica
published by Aamano cator in Minnesota public do Porto Casa da Música
Music. Mythical Royals and schools, his work as founder (Effervescence for Trumpet,
Their Heroic Defenders and CEO of MakeMusic Tuba and Piano); and
will be performed by the Inc, a company applying Vincent DiMartino ’70E,
Cypress Symphonic Band technologies to music edu- ’78E (MM) and Gabriel
(Houston, TX) during cation, his work on various DiMartino (Like Father
its 2017–18 season. My boards of directors and Like Son for two solo
brass quintets, Brassy advisory boards (including trumpets and band). He
Capriccio and Two Trillion Eastman’s), and his collabo- was also soloist with
Triplets, were published rations with such musicians String Orchestra of the
by Lassus Publications on as Wynton Marsalis and Rockies in his home town,
Musicforbrass.com. Three Sir James Galway. John Missoula, Montana, with
of my concert band pieces, continues to be active as Laura Vincent-Vizzutti
Mockingbirds, Horseshoe a composer, conductor, and University of Montana
Professor of Cello Fern
Send us your news and photos! Glass (’75E), including
Allen’s Nine Black Riders
Do you have an announcement you’d like to share with for strings and piano.
your fellow alumni? Send your personal and professional
news to Eastman Notes, Office of Communications, 1980s
Eastman School of Music, 26 Gibbs Street, Rochester,
NY 14604. Jeff Beal 85’E won an
Emmy Award as composer
E-mail: [email protected] for the television series
House of Cards. Jeff and
Please do not edit, crop, or resize your digital images. his wife Joan 84’E visited
Send the original, full-size file downloaded from your Eastman this fall to work
camera or smartphone or provided by the photographer. with students in our
new Master of Music in
We reserve the right to edit submissions for clarity Contemporary Media and
and length. The deadline for the Fall 2018 issue of Film Music program.
Eastman Notes is May 18, 2018.

32 Eastman Notes | Spring 2018

{ }ALUMNI NOTES

5 Ken Carper ’80E (MM) Jazz Festivals. He was also 6 Andy Schmidt ’87E as well as a frequent soloist of the Classical Music
named holder of the Flawn with The Washington Festival Eisenstadt Summer
5 Ken Carper ’80E Regents Professorship in Akmal Parwez ’81E Ballet. Academy; leading the
(MM), of Naples, FL, is Piano. He also serves as (PhD) had his solo viola Norman (OK) Philharmonic
the President of the New Associate Director of the piece, When Stars Are Several Eastman alumni in shows that inspire and
Horizons International Butler School. Weeping, premiered by have played important roles unite the community,
Music Organization, a the internationally-known as performers and teachers including the most recent
network of nearly 200 Violinist Madeleine violist, Cornelia Petroiu, at Midsummer’s Music, a concert, “Together We
music ensembles serving Mitchell ’81E (MM)’s at the George Enescu summer chamber music Sing . . . United We Stand”;
more than 10,000 senior latest album, Violin Muse, Philharmony in Bucharest festival in Door County, and conducting “Voices
musicians across the was featured by Classic on February 26, 2017. This Wisconsin. Violinist Walter of Light,” a multimedia
United States, Canada, FM, The Violin Channel, was one of 16 works chosen Preucil ’82E has been part event at the University of
and other countries. New Gramophone and the BBC. as the result of an interna- of the festival since its first Oklahoma combining a live
Horizons began at Eastman (see “Recordings,” p. 29.) tional competition. It can year, 1991; he was joined performance of Richard
led by Professor Roy Ernst. Madeleine toured the be viewed on YouTube/ the following year by his Einhorn’s contemporary
It offers opportunities for United States in November; akmalparwez. wife Stefanie Preucil ’83E. music with the 1928 silent
adults who are new to per- her itinerary included Also participating in the film The Passion of Joan
formance, have not played performing recitals with 6 Andy Schmidt ’87E 27th Midsummer’s Music of Arc by Carl Dreyer. He
in many years, or who fellow alumni violinists spent six weeks in mainland Festival in 2017 were has been a professor and
have played all through John Gilbert ’81E and Cora China last summer as an violinists Ann Palen ’87E director of choral activities
their careers. Ken has been Cooper ’82E (MM). adjudicator for the National and Zachary Preucil ’14E at OU since 2009; music
the music director of the Guild of Piano Teachers. He (MM). and artistic director of the
Naples New Horizons Band Cindy Moyer ’87E, ’89E critiqued more than 500 Norman Philharmonic
for 13 years. He teaches (MA, MM), ’94E (DMA) piano students in Nanjing, 7 Recent career highlights since 2012; director of mu-
part-time at Florida Gulf writes: “This fall, I started Qingdao, Shanghai, Wuhan, for Richard Zielinski ’85E sic ministries at McFarlin
Coast University and plays my fourth year as chair of and Xiangyang. Andy has (MM) include celebrating Memorial United Methodist
trumpet with the Naples the Music Department at a thriving private piano his tenth year as artistic Church in Norman since
Concert Band and the Brass Humboldt State University. studio in Jamestown, New director and conductor 2009; and founder and mu-
Music Elements quintet. Also, I’ve written scale York, where he is Organist sic director of the profes-
books (with detailed and Choirmaster at St. 7 Richard Zielinski ’85E (MM) sional vocal ensemble, the
Jeff Hellmer ’83E (MM), written-out practice steps Luke’s Episcopal Church. Richard Zielinski Singers,
Director of Jazz Studies for all the shifts) for inter- since 2005. Richard was
at the Butler School of mediate violin and viola In June 2017, Shelley presented this year with the
Music at the University of students. The books will be Philibosian Waite ’80E Business Person in the Arts
Texas at Austin, led the UT published by Galaxy/E.C. premiered Song Cycles Award by the Norman Arts
Jazz Orchestra on a 2017 Schirmer in January 2018.” of Beachy Head, for Council.
European tour that includ- mezzo-soprano and piano,
ed performances at the by Amanda Jacobs ’05E 1990s
Montreux and North Sea at the University of North
Carolina, Chapel Hill. Paul Barte ’95E (DMA)
Shelley has also been has taught at the Ohio
a member of the vocal University School of Music
quartet Words&Music, a for 20 years. At OU, he
chamber ensemble present- recently created a new
ing concerts throughout
the Washington D.C. area,

Spring 2018 | Eastman Notes 33

{ }ALUMNI NOTES

course, “Wagner and the 8 Christopher Chaffee, ’95E with Project Fusion Saxophone Quartet (left to right): Dannel Espinoza ’13E 9 Andrés Mojica ’97E (MM)
Ring,” which culminated
in the students’ attending (DMA), Matt Evans ’17 (DMA), Chaffee, Michael Sawzin ’13E (MM), Matthew Amedo ’13E, ’16E (MM) Campus.
the Washington National
Opera’s Ring Cycle at D.C. In November, I gave her commissioned poem, of 30 pieces of music by 30 Helen Pridmore ’96E
the Kennedy Center. The lectures and master classes “on a cold sea we travel,” at different composers. (See (DMA) is Associate
course will be taught again at Taiwan’s National Chiao the Columbus Museum of Eastman Notes, Spring Professor at the University
in 2018, concluding with Tung University, National Art in August, at the 2017 2017.) Sonic Divide was of Regina, Canada. She
a trip to the San Francisco University of Tainan, and VIVO Music Festival. “on a placed in five film festi- teaching in the areas
Opera’s Ring in June. He Soochow University in cold sea we travel” is sched- vals, and won the “Best of Music and Creative
has upcoming perfor- Taipei. Apart from my uled for publication in The Documentary” prize in the Technologies. In January
mances in celebration of teaching, I have joined Main Street Rag in 2018. A Helper Utah Film Festival. 2018, Helen starred in the
the 500th anniversary the board of the Lancaster setting of another poem by premiere of a new chamber
of the Reformation in International Piano Festival Jennifer as an orchestral 9 Organist Andrés opera in Victoria, BC, by
West Virginia, Ohio, and in Lancaster, Pennsylvania.” song will be premiered in Mojica ’97E (MM) ap- acclaimed UK composer
Minnesota. In his spare Columbus in April 2018. peared as solo recitalist at Michael Finnissy, who
time, Paul is an avid dis- Jennifer Hambrick ’92E the Festival Casals in March describes Helen’s voice as
tance runner, completing recently fulfilled a commis- It has been a good year for 2017. Andrés was also the “acrobatic, finely-tuned,
numerous marathons, two sion from the VIVO Music Sonic Divide, the documen- Artistic Director of the responsive and characterful
50Ks, and one 50-mile run. Festival to write a poem tary by Payton MacDonald First International Organ . . . it sometimes sounds like
in response to, and as an ’99E (MM), ’01E (DMA) Festival of Puerto Rico it is hurling itself through
8 Christopher Chaffee, introduction to, Arnold about his June 2016 held in January 2017. He fire.” This year Helen will
’95E, writes: “Attached is Schoenberg’s Verklärte mountain bike trip from is the organ professor and perform in Mexico City,
a photo from a visit by Nacht. Jennifer gave the Mexico to Canada, which organist at the University Montréal, St. John’s, and
Eastman alumni, Project world premiere reading of included his performance of Puerto Rico, Rio Piedras Regina.
Fusion Saxophone Quartet.
I am pleased to report that I q Kevin Puts ’94E, ’99E (DMA) q Kevin Puts ’94E, ’99E
am the tall guy right in the (DMA) won a Pulitzer
middle. The photo was tak- Prize for his first opera,
en after they did a fantastic Silent Night; his second
master class at my school, opera, Elizabeth Cree, was
Wright State University. I premiered in September by
am also pleased to report Philadelphia Opera. Based
that as Vice President of on Peter Ackroyd’s novel
the board of Chamber about a Victorian serial
Music Yellow Springs, I had killer, Elizabeth Cree was
the pleasure of introducing described by Opera News
them to a capacity audience as “a viable, fast-paced
at their concert on our ninety-minute entertain-
series last night. They were ment,” and praised Kevin’s
absolutely spectacular in “rhythmically alert score,
both. I’m especially proud ingeniously orchestrated
of Michael Sawzin ’13E in a way that keeps one
(MM), a former flute and listening.”
chamber music student of
mine during his undergrad 2000s
days at Wright State. They
are from a more recent gen- w Eric Dudley ’01E is
eration of Eastman grads, the new artistic direc-
but I’m still filled with pride tor of the San Francisco
to be part of this wonderful Contemporary Music
family.” Players, beginning in the

Eric Fung ’97E, ’99E (MM,
MA); associate professor
of music at Lebanon Valley
College, writes: “Last May,
I performed an all-Bach
program at the Israel
Festival in Jerusalem. The
program took place at the
Eden-Tamir Music Center
in Ein Karem, Jerusalem.
I gave a solo recital at the
Catholic University of
America in Washington,

34 Eastman Notes | Spring 2018 STEVEN PISANO (ELIZABETH CREE)

{ }ALUMNI NOTES

w Eric Dudley ’01E e Christian Lane y Hilary Schefter ’07E, ’09E (MM)
2018–2019 season. Eric pre-
viously served as assistant r Solungga Liu ’01E (DMA) Association of Performing October, followed by a duo picture, a picture from their
conductor of the Cincinnati from the LOC manuscript Arts Professionals’ Lead- recital with flutist Carol time in the NICU, and their
Symphony Orchestra and collection. It included ership Fellows Program. Wincenc in November; story.
the Princeton Symphony, several works by one of her Launched in 2015, the and November recitals at
and principal conductor specialties, the American APAP Leadership Fellows the University of South Russell Scarbrough ’04E
for the Bendigo Festival composer Charles Program expands knowl- Carolina and the University (MM), ’08E (DMA) writes:
of Exploratory Music in Tomlinson Griffes, includ- edge and proficiency among of Michigan, Ann Arbor, “I accepted (and just started
Australia. He also per- ing Griffes’ transcription mid-career professionals in featuring Frederic Rzewski’s in January 2018) a position
formed in Roomful of Teeth of Les parfums de la nuit the performing arts. The People United Will at Houghton College as
and the Choir of Trinity from Debussy’s Ibéria—a Never Be Defeated! Assistant Professor of Jazz
Wall Street. transcription once thought Pianist Thomas Studies and Jazz Ensemble
lost. Solungga’s recital was Rosenkranz ’01E (MM), Jonathan Ryan ’06E (MM) Director. I’ll continue to
e Christian Lane has preceded by a lecture on ’06E (DMA) has had a is Director of Music and serve concurrently as the
been appointed to the fac- Griffes’s piano music by busy fall, with master Organist of St. Michael Jazz Ensemble Director
ulty of McGill University’s David Plylar ’09E (PhD) of classes at the Sichuan and All Angels Episcopal at Canisius College in
Schulich School of Music, the LOC Music Division. Conservatory of Music in Church in Dallas, the Buffalo.” (See “Brief Notes”
as visiting professor of t Theresa Remick ’04E, Chengdu, China, where second-largest Episcopal on p. 3 for more news about
organ. He will lead the Managing Director of the he also participated in church in the country. Russell.)
school’s large and distin- Performance Center at Saint the second International Jonathan leads the church’s
guished organ depart- Mary’s University (MN), Baroque Music Week in music program, directs Donna Yoo ’06E has been
ment for the 2018–19 was selected as one of 25 mid-September; A New the Saint Michael Presents appointed Director of
academic year, replacing leaders from across the Music Festival at bowling concert series, and plays the Admissions and Alumni
Prof. Hans-Ola Ericsson. country to participate in the Green State University in church’s three pipe organs Affairs at the Yale School of
Christian continues to in services. Jonathan’s most Music—she is the inaugural
direct Boston Organ Studio, recent recording, Influences, director for both posi-
the largest private organ received nomination tions. Previously, Donna
studio in the United States. consideration for the 2017 was the YSM’s Director
Grammy awards. of Communications and
r On November 4, pianist Alumni Affairs.
Solungga Liu ’01E (DMA) y Hilary Schefter ’07E,
performed a Library of ’09E (MM) was inducted 2010s
Congress recital of music into a permanent instal-
drawn almost entirely lation of art at the Saint Mike Conrad ’13E (MM)
Joseph’s Hospital in writes: “I was recently
t Theresa Remick ’04E Denver, Colorado Neonatal selected as one of eight
Intensive Care Unit, where participants worldwide for
she played harp music for the 2017 Metropole Orkest
the current NICU babies Arranger’s Workshop in
and their parents, as well as the Netherlands. Out of
doctors and staff. About 30 over 100 international
neonate “graduates” were submissions, my piece,
honored with a current Spherical, was selected for

VALENTINA-SADIUL (DUDLEY); MICHIKO SAIKI (LIU) Spring 2018 | Eastman Notes 35

{ }ALUMNI NOTES

A trombonist with few rivals: Donald Knaub, photographed one of three finalist spots u Weston Jennings ’13E (BM) Madeleine Chaffers ’47E
by Lou Ouzer in the early 1970s. in the Spheres of a Genius (MM), August 2017
Composition Competition, now in its 50th season. He
TRIBUTE a Jam Music Lab and previously served as Organ Catherine (Barnhart)
Vienna Radio Symphony Scholar of Canterbury Gerhardt ’49E (MM),
Donald Knaub partnership celebrating 100 Cathedral, Chelmsford October 2017
years of Thelonious Monk. Cathedral, and the Royal
Donald Knaub ’51E, ’61E (MM), who was professor I have been an ASCAP Festival Hall. His active Shirley (Nellis) Mapstone
of trombone at Eastman from 1961 to 1977, died Herb Alpert Young Jazz concert schedule includes ’ 48E, September 2017
in May 2017. Donald Knaub joined the Rochester Composer Award recipient upcoming performances in
Philharmonic Orchestra in 1962 and played with for the last four consecutive Moscow, San Francisco, and Marcia (Lewis)
the orchestra for 17 years, also serving as the RPO’s years, and have won three with Baylor Brass. Pennington ’44E,
librarian during that time. He also frequently played Downbeat Student Music September 2017
in the Chautauqua Symphony Orchestra. Awards for composition/ Christopher Thibdeau
arranging in the past two ’07E has been named Angela (DeCarne)
Donald Knaub’s accomplishments at Eastman were years. Recent performance Conductor and Master Robinson ’43E, August
many. He was a founding member of the acclaimed highlights include a Teacher of the El-Sistema 2017
Eastman Brass Quintet in 1961; among its many oth- Summer Midwest Tour with inspired program, Bridge
er accomplishments, the quintet toured the United the All Angles Orchestra, Boston. Bridge Boston Darrel W. Stubbs ’49E,
States and Canada annually, made a nine-week State performances at the Twin works with over 300 November 2017
Department tour of Latin America in 1967, appeared Cities Jazz Festival and the students that are often the
on the Today show in 1976, and made an acclaimed Iowa City Jazz Festival with most economically and 1950s
recording called Renaissance Brass. Knaub also con- Christopher’s Very Happy socially disadvantaged in Donna L. Brunsma ’55E,
ducted the Eastman Trombone Choir from January Band, and a tour through the city.
1972, following the death of Emory Remington, China with the Romeo and September 2017
until he left Eastman in 1977. Under his influence, Juliet Project.” Emlyn Johnson ’08E, ’15E Gloria (McMaster) Juhn
the Trombone Choir expanded its concert activities (DMA) is the new Career
and its performances of contemporary music. Emily (Schroeder) Hagee Advisor for Eastman’s ’ 55E (MM), July 2017
’11E won an audition for the Institute for Music Ruth (Dorshimer) Little
Donald Knaub recorded two albums of bass trom- position of Second Horn of Leadership. Emlyn serves
bone solos for the Golden Crest label, and wrote the Boise Philharmonic in students at Eastman and at ’ 53E, August 2017
numerous articles about trombone pedagogy. He August 2017. the Gwen M. Greene Center Charles L. Moon ’ 54E
performed frequently as a soloist throughout New for Careers and Internships
York State. After a 1972 recital with pianist Barry Margaret Harper ’15E at the UR River Campus. (MA), October 2017
Snyder, the Rochester Times-Union called Donald (DMA) joined the faculty of An alumna from the studio Susan Marie Nowalis ’ 57E
Knaub “a trombonist of unusual ability” and added: the University of Southern of Bonnie Boyd, Emlyn,
“Knaub ran the gamut of possibilities for his instru- Maine as Artist Faculty in along with her husband (MM), July 2017
ment . . . with fine musical sense and a beauty of tone Organ and Harpsichord. Dan Ketter ’10, ’10E, ’17E Leola (Anderson) Olson
quality that surely must have few rivals.” Margaret is also Director (DMA), is a founder of the
of Music and Liturgy at St. Music in the American ’55E, March 2017
John’s Episcopal Church in Wild project. Miriam C. (Zimmerman)
Portsmouth, New Hamp-
shire, and the Director IN MEMORIAM Oppelt Giannone ’ 56E
of the Choir School at (MM), August 2017
St. John’s, a tuition-free 1930s Mitchell T. Peters ’ 57E, ’58E
after-school program that Harold Schatz ’39E, July (MM), November 2017
provides music education James A. Straney ’ 53E
for low-income families. 2017 (MM), August 2017
She is also on the faculty John J. McGrosso ’38E, Joan (Mraz) Tallis ’ 54E
of the Young Organist (MM), June 2017
Collaborative. February 2017 R. Clinton Thayer ’52E,
October 2017
u Weston Jennings 1940s Gary D. Wilcox ’ 56E,
’13E (BM) joined First Barbara (Boal) Berry ’48E, November 2017
Presbyterian Church of
Tyler, Texas, as Director of April 2017 1960s
Music and Organist. He Linda (Smithey)
serves as the principal mu-
sician, directs the Chancel Ellinwood ’ 62E (MM),
Choir, oversees two August 2017
children’s choirs and one Gordon P. Howell ’ 60E
handbell choir, and plans (PhD), September 2017
the annual Fine Arts series. Kerry McDevitt Ben-David
Jennings is also Artistic ’62E, ’64E (MM), February
and Executive Director of 2015
the Tyler Civic Chorale, Ruth (Butler) Stokes ’63E
(MM), May 2016

1970s
Roland George St. Gelais

’ 76E, September 2017
Fenwick Smith ’72E, July

2017

1980s
Gerald Thomas Gray ’ 89E

(MM), October 2017

In Tribute reflects deaths
of Eastman alumni through
November 30, 2017.

36 Eastman Notes | Spring 2018 EASTMAN SCHOOL OF MUSIC (KNAUB)

{ }FACULTY NOTES

1 The 90th birthday of 1 Samuel Adler “Sekuru’s Stories,” a public A new biography of 3 Darren Mueller
Samuel Adler, who is access, digital humanities Hildegard of Bingen by
Professor Emeritus of Assistant Professor of project focusing on the Honey Meconi, Eastman Musicological Society
Composition and chair of String Chamber Music musical life of Sekuru professor of musicology (AMS). “The Ambassadorial
the composition depart- Margery (Mimi) Hwang is Tute Chigamba, a and chair of the River LPs of Dizzy Gillespie:
ment for many years, is the new director of “If music renowned performer of Campus music depart- World Statesman and Dizzy
celebrated in a new record- be the food . . . ,” a chamber the mbira dzavadzimu ment, was been awarded in Greece” was published in
ing, released in February music series that benefits (the instrument featured a Margarita M. Hanson the Journal of the Society
by Linn Records: One Lives the Rochester chapter of in Eastman’s mbira Publication Subvention for American Music.
but Once, a three-disc set Foodlink. The series, which ensemble). The project by the American
of orchestral, chamber, and involves Eastman faculty will be a multimedia Musicological Society. A Professor of Double Bass
choral works The recording members and students, was ethnographic archive of publication subvention James VanDemark recent-
includes many Eastman founded in 2009 by Carol photographs, musical keeps the cost of the book ly wrote a piece for The
performances, including Rodland. transcriptions, maps, audio down, thus getting it to Violin Channel.com about
those by guitarist Nick and visual recordings, and more people and libraries. the teaching demands for
Goluses; violinists Juliana 2 Associate Professor narrative text, presenting Honey’s book, to be pub- bass students of many
Athayde and Renée Jolles; of Musicology Jennifer Zimbabwean musical and lished in 2018, is the first different heights. JB says,
violist Philip Ying; and Kyker has been awarded cultural heritage in an English-language volume “Although The Violin
conductors Neil Varon with an ACLS Fellowship from interactive, digital format. on Hildegard’s music. Channel has occasionally
the Philharmonia Chamber the American Council covered some events in the
Orchestra and William of Learned Societies for Eastman theory professors bass world (auditions, com-
Weinert with the Eastman were doubly honored at petitions, appointments),
Chorale. A release party is the 40th National Society I believe that I am the first
planned at Eastman later for Music Theory confer- bassist to ever be asked to
this spring; check the next ence in November 2017, contribute a piece to this
Eastman Notes for a report. Seth Monahan won the site. This past year I also
“Emerging Scholar Award wrote two pieces for Strings
Professor of Voice (Books)” for Mahler’s magazine, one each for the
Katharine Ciesinski is Symphonic Sonatas (Oxford June and July issues.”
heard in a recording of University Press). And
Berg’s Wozzeck with Hans Bob Morris was awarded a
Graf and the Houston Lifetime Membership in the
Symphony which won an Society for Music Theory
ECHO Klassik Award, the in recognition of his career
German equivalent of the contributions to the field.
Grammy, in the category of
“20th/21st Century Opera.” 3 Assistant Professor
And earlier this year, it did of Musicology Darren
win a Grammy for “Best Mueller has won the
Opera Recording.” Also “Best Essay in Popular
featured on the recording of Music Scholarship”
Wozzeck is Marc Molomot award from the American
’92E, who sings the role of
the Captain. Mark Watters, director of
the Beal Institute for Film
Associate Professor Music and Contemporary
of Musicology Roger Media, conducted the
Freitas was elected Riverside Philharmonic in
President of the Society for his score to a newly restored
Seventeenth-Century Music silent-era Disney short, Al-
for the years 2019 through ice’s Little Parade. Accord-
2021. ing to Mark, “The short fea-
tures live action mixed with
In August, Professor of animated characters. Quite
Guitar Nicholas Goluses cutting-edge for 1926!”
was a featured soloist
with the Los Angeles 2 Jennifer Kyker and Sekuru Tute Chigamba Professor of Composition
Philharmonic and the New Ricardo Zohn-Muldoon
York City Ballet at an event was one of six composers
with over 3,000 people in awarded commissions
attendance. The Malibu this fall from the Serge
Times wrote: “Goluses, Koussevitsky Music
a legend in the world of Foundation in the Library
guitar, smiled as he swayed of Congress. Ricardo will
in harmony with his write a new chamber work
instrument.” for the Cygnus Ensemble.

GERRY SZYMANSKI Spring 2018 | Eastman Notes 37

{ }STUDENT NOTES

Five 2017 Eastman/XRIJF Strike Up the Band
Scholarship winners began
attending Eastman this fall: For the third year in a row, the Eastman Percussion Ensemble headlined the Percussive Arts Society’s Annual Conference, held
Yvonne Rogers, of Penob- November 9–12, 2017 in Indianapolis. Cameron Leach won the 2017 PAS International Solo Artist Competition, and gave a solo
scot, Maine; Ryan Barski, recital on November 9. Shown here are students Cameron Leach, Josh McClellan, Catherine Cole, Connor Stevens, and Brant
of Pittsford, New York; Blackard performing Decay No. 1 by Professor of Theory Matt Curlee.
Jamal Kemp, of Kutztown,
Pennsylvania; Maxwell two major Hong Kong the Hamilton International Shanghai International 1 Jonathan Rhodes
Caine, of Ridgewood, New music scholarships. Guitar Competition, and Organ Competition.
Jersey; and Dylan Ocorr, of was a finalist in the Wilson student Zoe Wang with the
Fairport, New York. Megan Graves, a student of Center Competition. 1 Jonathan Rhodes Philharmonia conducted
Professor of Voice Kathryn Sungmin Shin has been is this year’s recipient by Garrett Wellenstein on
At the 5th Jean-Marie Cowdrick, won first prize in appointed the first guitar of the William Warfield November 8, 2017. “It was
Londeix International the Civic Morning Musicale faculty member at Roches- Scholarship and performed one of the most wonderful
Saxophone Competition, Competition in Syracuse ter institute of Technology. in the 41st anniversary experiences of my musical
held in Bangkok from July last weekend. Megan was Thomas Viloteau won the benefit concert on January life!” says Wendy. “It is very
10–22, Aiwen Zhang (first awarded the Neva Pilgrim Harvard Foote Prize and 7, 2018 in Kilbourn Hall. special to perform with an
year MM) was awarded Prize in the “Young Artist” was heard on NPR’s Perfor- A student of Anthony orchestra that has been a
Third Prize, and Jiaqi category. mance Today in October. Dean Griffey, Jonathan is big part of my experiences
Zhao (BM ’15 and incom- also majoring in Political and fond memories.” Zoe’s
ing DMA) was awarded Students from the studio Amanda Mole and Thomas Science at the University concerto was selected
Honorable Mention (Fourth of Nicholas Goluses had a Gaynor, students of and played Libero in last for performance by the
Place). Both are students of memorable summer. Austin David Higgs, won First fall’s Eastman Opera pro- Composition Department.
Chien-Kwan Lin. Wahl won the Silver Medal and Second Prizes at the duction of L’Incoronazione
in the Montreal Interna- Tokyo-Musashino Interna- di Poppea.
This fall, current DMA tional Guitar Competition, tional Organ Competition.
student Haley Bangs placed second in the South- Zhen Piao, a student of Violinist Wendy Toh
was appointed Assistant ern Guitar Festival, was a Edoardo Bellotti, won performed the Violin
Principal/Second Flute Bronze Medal winner in Second Prize in the first Concerto by fellow Eastman
in the Omaha Symphony
Orchestra. 2 Pictured left to right: Perkes Competition adjudicator Marianne Gedigian, Bonita Boyd ’71E, Zachary 2 On May 6, 2017,
Eastman hosted the Third
Junior horn performance Osinski ’17E, and adjudicators John Hunter ’84E, Mark Kellogg ’86E, and Jan Angus ’72E (MM). Annual Tallon Perkes Flute
major Henry Bond recently Competition, held in mem-
won the audition for the ory of Tallon Perkes ’84E.
second horn position with Fourteen Eastman flutists
Symphoria (the former competed; this year’s win-
Syracuse Symphony ner was Zachary Osinski,
Orchestra). who has since graduated
from Bonita Boyd’s studio
Oliver Brett, a DMA and is now pursuing a mas-
student of David Higgs, ter’s degree in music at the
won second prize ($15,000 University of Illinois.
CAD) at the fourth
Canadian International
Organ Competition, as
well as the Royal Canadian
College of Organists’ Prize
for Best Performance of
a Work by a Canadian
Composer ($5,000).

Freshman percussionist
Elise Liu Chi-man was
awarded the title of “Hong
Kong Scholar” by the
Government of the Hong
Kong Special Administra-
tive Region, and received a
scholarship for her study at
Eastman under the “Hong
Kong Scholarship for
Excellence Scheme.” Elise
has also been awarded the
“Bernard Van Zuiden Music
Fund,” which is one of the

38 Eastman Notes | Spring 2018 MATT CURLEE (PERCUSSION ENSEMBLE); COURTESY JOHN HUNTER (PERKES COMPETITION)

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Photograph Beautifully!

Alumni of the oboe studio of Professor Richard Miller ’89E (MA), ’89E (DMA), Dan Willis, Middle row: Katie Young Steele ’01E, Mr.
Killmer also gathered for a group photograph Nicole Rose ’93E. Killmer, Anna Hendrickson ’97E (MM), ’00E
in Hatch Recital Hall, which included some (DMA), Shannon Spicciati ’94E.
wise words of advice to all musicians! Front standing row: Carly Gordon ’15, ’15E,
Lisa Nickels ’16E, Kevin Pearl ’10E, Jeffrey Front sitting row: Linnea Rowley ’15E, Elena
Back row (all rows left to right): Audrey Yu Stephenson ’06E, Erin Hannigan ’96E (MM), Sloman ’17E (MM), Sarah Schram ’04E, Keve
’16E, Jillian Honn ’16E, Terry Fonda Smith ’97E Nancy Ambrose King ’86E (MM), ’99E Wilson ’91E, Katie Hart ’14E, Marilyn Cole ’09E
(MM), ’00E (DMA), Jacqueline Leclair ’88E, (DMA), Deirdre Chadwick ’93E, ’01E (MM), (MM), Melanie Pozdol ’12E (MM), Ji Won Lee
Michael Sides ’70E, Andrew Parker ’01E, Emily Laura Griffiths ’91E, Theresa Zale Bridges ’09E, ’12E (MM), Erin Lensing ’15E (MM), Amy
Madsen ’01E, Trevor Mowry ’11E, Leslie Odom ’88E (MM). (Luegering) Houck ’13E.

ELENA SLOMAN