Applause: CCMONSTAGE and Worldwide #1 (Sept/Oct 2019)

SEPT/OCT 2019

ALL THAT JAZZ

CCM students and faculty join Wynton Marsalis and the Jazz at Lincoln Center Orchestra for a residency in Brazil

HOW WE SPENT OUR SUMMER VACATION

From Malaysia to South Africa, CCM goes global

WHERE NEXT BEGINS

CCM opens its 2019-20 season with major performances in September and October

CCM ON STAGE AND WORLDWIDE

A UNIVERSITY OF CINCINNATI COLLEGE-CONSERVATORY OF MUSIC PUBLICATION

TABLE OF CONTENTS Photo by Andrew Higley/UC Creative Services

PERFORMANCES 8 CCM Philharmonia Season-Opening Concert (Sept. 20) 13 CCM Jazz Orchestra Swinging With Woody Herman: The Inaugural John Von Ohlen Memorial Scholarship Concert (Sept. 22) 19 The Ariel Quartet Darkness and Light (Sept. 24) 24 CCM Chamber Choir and Chorale, UC Men’s and Women’s Choruses, and Cincinnati Youth Choir Choral Showcase (Sept. 28) 39 CCM Plays Lady Windermere’s Fan (Oct. 2-6) 44 CCM Philharmonia Pride of Russia (Oct. 3) 49 CCM Wind Symphony Grand Pianola Music (Oct. 5)

52 CCM Plays The Curious Incident of the Dog in the Night-Time (Oct. 17-20)

F E AT U R E S 4 All That Jazz The CCM Jazz Orchestra residency with Wynton Marsalis in São Paulo, Brazil.

42 Arts For All CCM’s Preparatory and Community Engagement programs

D E PA R T M E N T S 2 Applause Staff 3 Welcome to CCM

10 From Sydney to Cincy Stuart Skelton (MM Voice, ’95)

54 Sponsors and Partners

16 Donor Spotlight Alan Flaherty and Patti Myers

Honor Roll

22 CCM Global How We Spent Our Summer Vacation

55 Honor Roll of Donors 60 Gift Planning 61 CCM Faculty and Staff 64 General Information

32 Empowering Students CCMpower: Unique experiences for students

APPLAUSE: CCMONSTAGE AND WORLDWIDE is published six times per year.

Performance details are subject to change.

The video or audio recording of the performances listed in this booklet is prohibited.

The University of Cincinnati does not discriminate on the basis of disability, race, color, religion, national origin, ancestry, medical condition, genetic information, marital status, sex, age, sexual orientation, veteran status or gender identity and expression in its programs and activities. The complete Notice of Non-Discrimination can be found at uc.edu/about/non-discrimination Cover photo by Andrew Higley/UC Creative Services

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APPLAUSE STAFF

APPLAUSE: CCMONSTAGE AND WORLDWIDE is a new publication designed to celebrate the successes of the University of Cincinnati College-Conservatory of Music’s students, alumni, faculty, staff, donors and advocates. Whether it’s on the CCM stage or the world stage, it’s worthy of APPLAUSE!

A P P L A U S E : C C M O N S TA G E A N D W O R L D W I D E S TA F F CCM Dean | Thomas James Kelly Professor of Music | Publisher Stanley E. Romanstein, PhD Editor-in-Chief Curt Whitacre Managing Editor Rebecca Butts Art Director Mikki Graff Advisory Board Olivia Coletta, Elaine Cox, Stephanie Dumais, Sarah Mizelle, Jamie Muenzer, Karen Tully Contributing Writers Kathleen Doane, Alexandra Doyle, Joseph Rubino Contributing Photographers Marco Borggreve, Joe Fuqua II, Andrew Higley, Mark Lyons, Joseph Rubino, Frank Stewart, Dottie Stover, TM Photography, Jay Yocis; other photography provided by the artists

ON THE COVER Bassist Justin Dawson is one of 19 CCM students who traveled to Brazil to perform with Wynton Marsalis and the Jazz at Lincoln Center Orchestra this summer. Originally from Dayton, Ohio, Dawson just completed his bachelor of music degree in Jazz Studies at CCM. Read more about the CCM Jazz Orchestra’s international trip on page 4 and learn about CCMONSTAGE’s first jazz concert of the season on page 13.

UC President Neville G. Pinto, PhD UC Foundation President Peter E. Landgren UC Alumni Association Executive Director Jennifer L. Heisey

Editorial Office CCM Public Information University of Cincinnati College-Conservatory of Music PO Box 210003 Cincinnati, OH 45221-0003 ccmpr@uc.edu All contents © 2019-20 University of Cincinnati. The contents cannot be reproduced in any manner, whole or in part, without written permission from the University of Cincinnati College-Conservatory of Music.

Publisher Ivy Bayer Senior Manager, Sponsorship Sales Chris Ohmer Production Director Vu Luong Custom Publishing Editor Kara Hagerman Design Director Brittany Dexter Art Director Zach Ghaderi Junior Designer Paisley Stone Editorial and Advertising Offices Carew Tower, 441 Vine St., Suite 200, Cincinnati, OH 45202 Phone (513) 421-4300 Subscriptions (800) 846-4333 CincinnatiMagazine.com

RECYCLE YOUR PROGRAM BOOKLET You are welcome to take this copy of APPLAUSE: CCMONSTAGE AND WORLDWIDE home with you as a souvenir. Alternately, please share this booklet with a friend or leave it with an usher for recycling. Thank you!

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WELCOME TO CCM An ad for the Cincinnati Conservatory of Music, which ran in the Cincinnati Symphony Orchestra’s first program booklet.

WELCOME TO CCM’s 2019-20 SEASON OF CONCERTS, RECITALS AND EVENTS! I’m glad you’re here.

We’ve come a long way since Clara Baur opened the doors of her Cincinnati Conservatory of Music in 1867. The success of the Conservatory led to the development of the College of Music of Cincinnati, established by Reuben R. Springer and George Ward Nichols in 1878.

These two storied institutions merged to create Cincinnati’s College-Conservatory of Music in 1955. The CCM of today was finally established in 1962, when it became the 14th college at the University of Cincinnati.

One constant throughout CCM’s 152-year history: the firm commitment of our faculty, staff and students to excellence and innovation. You can see, hear and feel that commitment on stage every time you come to CCM. I think Miss Baur would be proud.

Wishing you all the best,

Stanley Romanstein, PhD Dean | Thomas James Kelly Professor of Music

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Photo by Frank Stewart

All that During the last week in June, the CCM Jazz Orchestra shared a weeklong residency with Wynton Marsalis and the Jazz at Lincoln Center Orchestra in SĂŁo Paulo, Brazil.

By Kathleen Doane 4

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ALL THAT JAZZ The CCM Jazz Orchestra had been in São Paulo less than eight hours when the young musicians gathered outside their hotel to board a bus for what was only described on their itinerary as “welcoming jam session and celebration with Brazilian musicians and JLCO (Jazz at Lincoln Center Orchestra) members.”

“We were thinking it was going to be a nice little jam session in a room somewhere,” says Scott Belck, CCM’s Director of Jazz Studies. Were they in for a surprise.

When they arrived at SESC Pompeia, it was immediately clear that the “little jam session” was a fully staged performance for what Belck describes as “an extremely attentive Brazilian audience.” And the Brazilian musicians who joined them and JLCO members onstage were superstars: reedman Nailor Proveta, percussionist Ari Colares and bandolinist Hamilton de Holanda.

That night set the tone for what was to come in the next week — unforgettable musical collaborations with some of the world’s best musicians and transformative moments for the CCM students. Language differences evaporated and music became the universal language to a culture and people who were thrilled they were there.

As JLCO’s first college affiliate, the CCM Jazz Orchestra’s weeklong, international residency in São Paulo launched a new program that each year will enable a top-ranked U.S. college jazz ensemble/big band to collaborate with Wynton Marsalis and the JLCO for a similar experience.

Photo by Dottie Stover/UC Creative Services

Wynton Marsalis performs with CCM students during a visit to campus in 2008.

Todd Stoll, Vice President of Education at Jazz at Lincoln Center and a CCM alumnus, said the idea was born out of conversations that he and Belck began in earnest about three years ago.

“One of the things Scott and I talked about was how to integrate JLCO with the higher education world,” Stoll says. JLCO had a well-established online educational presence with its resources, videos, recorded concerts and music for download, but Belck felt the missing piece was access to JLCO musicians themselves. JLCO’s international residency tour model seemed the perfect opportunity to bring that all together, and the CCM Jazz Orchestra the perfect college ensemble to launch the program. “We obviously knew about the quality of the program there and the commitment to excellence,” Stoll says. “I knew it would be a great collaboration.”

Like all of the events that week, the groundwork was organized by SESC, a Portuguese acronym for Social Service of Commerce, JLCO’s partner for the weeklong residency in São Paulo.

The private, nonprofit agency is dedicated to the belief that culture and education transform lives. To that end, they operate community centers throughout Brazil, mostly in low-income areas, offering a range of educational and cultural activities, lessons and programs (including healthcare) that are free or at very little cost.

In São Paulo alone, SESC sponsors more than 400 events a month. During its weeklong residency, the CCM Jazz Orchestra performed and worked with children at half a dozen SESC centers. Everyone on the trip agreed that their experiences became memories for a lifetime.

For third-year DMA saxophone major Carly Hood, the orchestra’s baritone saxophonist, the interactions with younger children throughout the week were most memorable, especially CONTINUED

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ALL THAT JAZZ Photo by Frank Stewart

CCM Jazz Orchestra performs outside of a SESC facility while audience members dance the Lindy Hop.

one day in particular. Hood had learned a little Portuguese before the trip and she — the only female in the CCM Jazz Orchestra — and her large baritone sax always attracted a lot of attention.

Photo provided by CCM Jazz

Carly Hood (center) with a group of young students in Brazil.

“After one concert I was chatting with a group of kids, demonstrating things on the bari, and I started playing the Jaws theme, and one person shouted, ‘tubarão!’ (shark in Portuguese), then the kids yelled, ‘Tubarão bebê!’ (Baby Shark), which is this children’s song that’s a global phenomenon. Luckily, I knew that, too, and all

the kids started to sing along when I started to play,” she says. “It really was a special moment.”

Junior sax major Christian Paradiso recalls one musical gathering that featured a group of young Brazilian musicians. “We would play a piece for them, then they would play for us.

Finally we all came together and formed one big band. It was such a meaningful experience because we could barely communicate with each other by speaking, but we sure could make music together.”

Unforgettable experiences weren’t limited to the students. Faculty member Craig Bailey, who conducts the CCM Jazz Lab Band and teaches jazz history, was surprised to see that a dance craze first popularized in the U.S. during WWII, the Lindy Hop, was in full swing in Brazil. “At one concert, there was a featured group of dancers, but people in the audience were dancing, too,” he says. “And people knew the lyrics to American jazz standards. It was amazing.”

In total, the CCM jazz orchestra played 16 concerts in seven days, usually with instrument demonstrations and lots of interactions with the audience during and after the concerts.

“Over the course of the week, our band’s playing crystallized, and they went from students to young professionals” 6

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JLCO member Sherman Irby, saxophone, performs with CCM students Hayden Floro, drums; Christopher Andrews, saxophone; Mitchell Parton, trumpet; and Jack Phillips, trumpet.

Photo provided by CCM Jazz

Nine undergraduate and 10 graduate members of the CCM Jazz Orchestra and four CCM faculty members took part in the international residency in São Paulo, Brazil, with Wynton Marsalis and the Lincoln Center Jazz Orchestra.

SAXOPHONE Hector Gagnet, Lead Alto Jacob Lemons Christian Paradiso Christopher Andrews Carly Hood, bari

Photo provided by CCM Jazz

CCM students Christopher Andrews, saxophone; Jonathan Wiseman, trumpet; Hayden Floro, drums; and Justin Dawson, bass, in a late-night jam session at the São Cristovão Bar e Restaurante.

One concert was a special event for the U.S. Consulate General in anticipation of July Fourth.

Throughout the week there were also workshops for CCM students led by JLCO members. The final outdoor concert with Wynton Marsalis and JLCO attracted more than 7,000 people.

“The trip was beyond any expectations we imagined,” Belck says. It also exceeded a basic goal that Belck and Stoll had set for the CCM students: showing them the power of jazz by taking it out of clubs and concert halls and to people in their communities.

“Over the course of the week, our band’s playing crystallized, and they went from students to young professionals,” Belck says, proudly. “They were playing as well as any band I’ve ever had.”

TRUMPETS Jack Phillips, Lead Timothy Fogarty Jonathan Wiseman Mitchell Parton TROMBONES Zachary Granger, Lead Spencer Merk Simon Jansen Wade Goodwin, bass trombone RHYTHM SECTION Robert Gooch, guitar Marcelo Invernizzi da Silveira, guitar Ryan Jones, piano Justin Dawson, bass Andrew Walits, bass Hayden Floro, drums FACULTY Scott Belck Stephen Allee Craig Bailey Kimothy Pensyl

Student sax player Paradiso summed up the best lesson learned during that unforgettable week: “It really cemented the idea that I don’t care where I am in the world or whom I’m with. I just want to play music together.”

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CCM ON STAGE ORCHESTRA Photo by Joe Fuqua II/UC Creative Services

CCM PHILHARMONIA SEASON-OPENING CONCERT 7:30 p.m. Friday, Sept. 20, Corbett Auditorium

CCM PHILHARMONIA Mark Gibson, MUSIC DIRECTOR AND CONDUCTOR Featuring faculty artist Giora Schmidt, violin Slavonic Dance in C Major, Op. 46, No. 1

Violin Concerto in A Minor, Op. 53

Antonín Dvorák (1841–1904)

Antonín Dvorák

INTERMISSION

Symphony No. 2 in D Major, Op. 73 Johannes Brahms (1833–1897)

I. Allegro ma non troppo II. Adagio ma non troppo III. Finale: Allegro giocoso ma non troppo Giora Schmidt, VIOLIN

I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (quasi andantino) IV. Allegro con spirito

ABOUT THE CCM PHILHARMONIA

“the flair and technique of a professional ensemble” – Rafael’s Music Notes

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The CCM Philharmonia, under the direction of Professor and CCM Director of Orchestra Studies Mark Gibson, is recognized as one of the world’s elite conservatory orchestras. The breadth of each season’s concert series rivals many of the world’s great performing organizations, and the Philharmonia presents a body of repertoire that encompasses more than what most conservatories venture to program. The close bond between the Cincinnati Symphony Orchestra and CCM’s orchestral program invigorates student conductors and instrumentalists alike, and CCM’s commitment to high standards enriches the cultural life of Greater Cincinnati.

CCM ON STAGE ORCHESTRA FAC U LT Y A R T I S T In recital and chamber music, Schmidt has performed at Carnegie Hall, the Kennedy Center, the Metropolitan Museum of Art in New York, San Francisco Performances, the Louvre Museum in Paris and Tokyo’s Musashino Cultural Hall. Festival appearances include the Ravinia Festival, the Santa Fe and Montreal Chamber Music Festivals, Bard Music Festival, Scotia Festival of Music and Music Academy of the West. He has collaborated with eminent musicians including Yefim Bronfman, Itzhak Perlman, Pinchas Zukerman, Lynn Harrell, Ralph Kirshbaum and Michael Tree.

GIORA SCHMIDT, VIOLIN Praised by the Cleveland Plain Dealer as “impossible to resist, captivating with lyricism, tonal warmth, and boundless enthusiasm,” violinist Giora Schmidt has appeared as soloist with many prominent symphony orchestras around the globe including Atlanta, Chicago, Cleveland, Philadelphia, Canada’s National Arts Centre, Toronto, Vancouver and the Israel Philharmonic.

Born in Philadelphia to professional musicians from Israel, Schmidt began playing the violin at the age of 4. A graduate of the Juilliard School, his teachers have included Geoffrey Michaels, Patinka Kopec, Dorothy DeLay and Itzhak Perlman, with additional guidance from Pinchas Zukerman. Committed to education and sharing his passion for music, Schmidt was on the faculty of the Juilliard School, the Perlman Music Program and recently was appointed Assistant Professor of Violin at CCM. Through technology and social media, he continues to find new ways of reaching young violinists and music lovers around the world.

He is the recipient of an Avery Fisher Career Grant, the Classical Recording Foundation’s Samuel Sanders award and was a Starling Fellow at the Juilliard School. Schmidt plays a c. 1830 violin by Giuseppe Rocca and strings kindly sponsored by Thomastik-Infeld, Vienna.

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Photo by Andrew Higley/UC Creative Services

From Sydney Stuart Skelton (MM Voice, ’95)

By Jamie Muenzer

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FROM SYDNEY TO CINCY There was a warmth to Stuart Skelton’s voice as he laughed about the sheer luck that landed him across the globe in Cincinnati, Ohio, from Sydney, Australia. “I definitely didn’t think this would be my path,” he says. Now a Grammynominated tenor and the 2014 International Opera Awards Male Singer of the Year, Skelton is critically acclaimed for his outstanding musicianship, tonal beauty and intensely dramatic portrayals. He couldn’t imagine it any other way.

Skelton began performing at the age of 7, when he started singing at St. Andrew’s Cathedral School in Sydney, Australia. Yet it was only after completing his undergraduate work in economics and law at the University of Sydney that he felt his passion for singing was given the chance of a lifetime. He was awarded a scholarship to travel overseas to pursue various vocal auditions, and Cincinnati made the list.

“In a sense I was doing something totally unheard of,” Skelton recalls. “Most vocal performers head to London from Australia as opposed to the U.S.” After seeing countless programs across the states, the level of dedication among the CCM faculty, as well as the college’s state-of-the-art facilities, tipped the scales. “That was it — my opportunity to give singing professionally a shot, which I had never given any thought to actually doing for a living.”

And lucky for us (and our ears), it has worked out. Skelton has appeared in many of the world’s most celebrated opera houses, singing with such companies as the Metropolitan Opera, Seattle Opera, English National Opera and Paris Opera.

FINDING HOME IN THE QUEEN CITY Skelton recalls being intensely focused on what needed to be done during his graduate studies at CCM. He says it’s that type of focus and self-awareness that allows one to intentionally hone in on their craft. He was able to share this sentiment with students during CCM’s Sesquicentennial Celebrations, and will do so again this fall during a multi-part master class series — opportunities he calls “an absolute joy.”

“Master classes are a two-way bridge of trust between the teacher and student,” Skelton says. “When you put yourself out there as a performer in front of the audience, the students gain a certain level of trust in you once you start working with them.”

Skelton says one of his happiest moments professionally has been returning to CCM to work with students and witness the next generation of performers. His advice? Apply the parts of every life experience you can use to your advantage and don’t bother with the rest. “You’ll spend much more time and enthusiasm embracing the things that are helpful and instructive.”

And with a full performance schedule until 2023 spanning all over the world, Skelton’s 25year career shows no signs of slowing down. No matter where he goes, he says it’s important to create small pockets of home; it makes you feel less alone in a city you don’t otherwise know well. He’s quick to point out that CCM will always be a small corner of home — and we’re sure glad he’s not a stranger.

Photo by Andrew Higley/UC Creative Services

Stuart Skelton advises a CCM student during a master class in February 2018.

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CCM ON STAGE JAZZ

Photo by Joe Fuqua II/UC Creative Services

SWINGING WITH WOODY HERMAN: THE INAUGURAL JOHN VON OHLEN MEMORIAL SCHOLARSHIP CONCERT 7 p.m. Sunday, Sept. 22, Corbett Auditorium

CCM JAZZ ORCHESTRA Scott Belck, MUSIC DIRECTOR

Featuring John Fedchock, trombone/composer Program to Be Selected From

Woody Herman Arrangements

by John Fedchock

Woodchopper’s Ball Woody Herman and Joe Bishop

Early Autumn Woody Herman and Ralph Burns

Things Ain’t What They Used to Be Mercer Ellington/arr. by Dave Lalama

Lazy Bird John Coltrane/arr. by Bill Stapleton

Make Someone Happy

East of the Sun Brooks Bowman

Fried Buzzard

Epistrophy

The Great Escape

Thelonious Monk

Woody’s Gold Star

It Don’t Mean a Thing

Blues For Red

Duke Ellington

Laura Johnny Mercer

Jule Styne and Adolph Green/ arr. by Frank Foster

Central Park West

After You’ve Gone

Pools

Turner Layton/arr. by Bill Holman

John Fedchock Original Compositions for Woody Herman

John Coltrane Don Grolnick

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ABOUT THE CCM JAZZ ORCHESTRA

“the first ‘college affiliate’ invited to be in residence on tour with the world-renowned Wynton Marsalis and the Jazz at Lincoln Center Orchestra” – Cincinnati Business Courier

CCM’s acclaimed Jazz Orchestra performs a wide variety of styles including historical swing, bebop, post-bop, fusion, Latin and avant-garde.

Concerts have included historical tributes to Woody Herman and Stan Kenton, as well as composer residency programs featuring artists Maria Schneider, Jim McNeely, Slide Hampton, Tim Hagans, Kenny Wheeler and many others as guest conductors and performers. Many internationally recognized artists have performed as soloists with the CCM Jazz Orchestra, including Eddie Daniels, John Fedchock, Frank Foster, Curtis Fuller, Kenny Garrett, Joe Henderson, Ahmad Jamal, Dave Liebman and Joshua Redman.

A B O U T J O H N VO N O H L E N (1 941 – 2 0 1 8) This concert is presented in loving memory of Cincinnati jazz drummer and CCM faculty member John Von Ohlen, who passed away on Oct. 3, 2018. Ohlen studied trombone and piano with Bob Phillips. He was a drummer and featured soloist with Stan Kenton Orchestra, Woody Herman Orchestra, Ralph Marterie Orchestra and Billy Maxted Orchestra, touring and recording with each ensemble. He led his own quartet, which recorded for Creative World. He played extended tours with Urbie Green, Holiday on Ice, Tony Bennett, Perry Como, Rosemary Clooney and many others, and was active for four seasons in Broadway pit orchestras.

Beginning in 1976, Von Ohlen led the Blue Wisp Big Band in Cincinnati and recorded five LPs. A member of the Steve Schmidt Trio, he also recorded numerous albums with artists such as Cal Collins, Maxine Sullivan, Keith Jarrett, Carmen McRae, John Clayton, Francy Boland and Benny Carter with the WDR Radio Orchestra, and at the Berlin Jazz Festival. He toured Japan and recorded with Mel Torme and Marty Paich Orchestra.

Ohlen taught at CCM for more than 30 years, most recently as a leader of Jazz Combo and drum instructor in fall 2017.

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CCM ON STAGE JAZZ GUEST ARTIST

JOHN FEDCHOCK Since his emergence on the scene in 1980, John Fedchock has established himself as a world-class trombone soloist, a heralded bandleader and a Grammy-nominated arranger. An in-demand performer and writer in New York City, his multifaceted talents have led him to become one of NYC’s premier jazz artists. His critically acclaimed John Fedchock New York Big Band has become a marquee group, showcasing Fedchock’s trombone and arranging as well as the band’s all-star soloists. The JFNYBB’s five CDs on the MAMA and Reservoir Music labels have all received high praise from critics and extraordinary success on national jazz radio charts. The early success of the band resulted in Fedchock’s name appearing in DownBeat’s Readers Poll under the categories of Trombone, Arranger and Big Band simultaneously for several consecutive years.

In recognition of his formidable arranging skills, Fedchock is a two-time Grammy Award nominee for “Best Instrumental Arrangement.” The JFNYBB’s recordings have appeared in jazz radio’s Top Ten, and the New York Times has applauded the band’s “cheerful syncopation, served with spit-and-polish precision.” Small group projects with his quartet and NY Sextet showcase A-list sidemen along with Fedchock’s “incomparable trombone playing, which seems to have no limit, technically or musically” (JazzReview.com).

Fedchock began his career as a jazz trombonist when he joined the legendary Woody Herman Orchestra in 1980. He toured with Woody’s

“Thundering Herd” for seven years, during which time he was musical director and a featured soloist. He served as musical coordinator and chief arranger in the production of Herman’s last two Grammy Award–nominated albums 50th Anniversary Tour and Woody’s Gold Star, and received accolades from jazz journalists worldwide. Famed jazz critic Leonard Feather called him the “unsung hero” of Woody’s 50th Anniversary Tour album, and Woody said of Fedchock, “He’s my right-hand man. Everything I ask of John he accomplishes, and I ask a lot. He’s a major talent.” DownBeat magazine stated that “it was the young blood of musicians like Fedchock that helped keep Woody Herman’s last years musically healthy and growing.” Fedchock still maintains a close association with the Herman orchestra, performing with the group on occasion and continuing to add his own compositions and arrangements to the band’s library.

Fedchock has toured with T.S. Monk, Gerry Mulligan Concert Jazz Band, Louie Bellson Big Band, Bob Belden Ensemble, Manhattan Jazz Orchestra, Jon Faddis Jazz Orchestra and the Carnegie Hall Jazz Band, and has performed at jazz festivals and concert halls around the world. As a solo artist, he appears throughout the United States and abroad performing as guest trombonist/composer/conductor. To add to his already diverse list of multiple talents, Fedchock is also a producer of note, and has lent his studio expertise to several recent recording projects.

Born in Cleveland, Ohio, Fedchock is a graduate of the Ohio State University with degrees in Music Education and Jazz Studies.

He also holds a master’s degree in Jazz Studies and Contemporary Media from the prestigious Eastman School of Music in Rochester, New York. He is an in-demand clinician, and conducts seminars and workshops at colleges and universities across the country. His compositions and arrangements are published

by Jazzlines Publications, Kendor Music Inc. and Walrus Music Publishing. Fedchock is a trombone artist for XO Professional Brass and plays XO trombones exclusively. His collaboration with the prominent instrument company to create the XO1632 trombone has proven to be an overwhelming success in both innovative design and industry popularity.

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Photo by Joseph Rubino

Donor Alan Flaherty and Patti Myers

By Joseph Rubino

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DONOR SPOTLIGHT Patti Myers and Alan Flaherty were drawn to CCM more than a decade ago by the high caliber of the college’s performances in orchestral and chamber music, opera and musical theatre. They say that they became deeply connected to CCM when they attended their first Moveable Feast.

Cincinnati’s favorite arts fundraiser, Moveable Feast, allows friends and supporters to experience directly the remarkable talent of CCM students. The event allows attendees to explore CCM Village as they sample a variety of performances including jazz, musical theatre, piano, opera, choir, orchestra and more.

“We really became hooked when we saw the breadth and the depth of what CCM has to offer,” Myers says.

Moveable Feast is hosted by CCMpower, a volunteer group of fans, advocates, supporters and alumni dedicated “to empowering students and igniting possibilities” through scholarships, grants, travel opportunities and master classes.

CCMpower is essential to attracting the best students to CCM. Today Myers serves on the CCMpower board.

“One of the joys is looking at the scholarship applications and helping students to go to a summer festival or do a special project that requires funds,” she says. “We also help fund master classes that bring distinguished professional artists to work with students, and we have a mentoring program that pairs board members with students.”

Photo by Andrew Higley/UC Creative Services

Flaherty’s commitment to CCM extends to his long service on the Dean’s Advisory Council. “It has given me a view of some of the macro issues facing CCM: its strengths and its challenges.”

Flaherty understands the importance of CCM to Cincinnati. “CCM deserves support as a key part of the amazing performance infrastructure here in Cincinnati. Patti and I see 70 to 80 live performance events a year — some in London, some in New York, but mostly in Cincinnati and many at CCM. It’s nice to see that come from your city. We value the large number of CCM alumni who have gone on to do some significant things in live and film performances.”

Myers points to the faculty as the foundation of CCM’s success. “I think CCM has exemplary faculty talent, especially for a city this size. Making sure that they have the tools that they need to attract the best students makes Cincinnati a better place, and I think it makes a better sense of global community.”

One of CCM’s strengths over the years has been its ability to attract not just outstanding students and faculty, but also dedicated supporters like Myers and Flaherty who appreciate both the quality of CCM and the constant necessity to maintain it with support.

Learn more about CCMpower and how you can support the college on page 36. Members of the volunteer organization receive discounted and free tickets to CCM events, behindthe-scenes tours of the college’s state-of-theart performance spaces, invitations to exclusive receptions with faculty, staff and students and more.

CCM alumna Christy Altomare performs selections from Broadway’s Anastasia at CCM’s Moveable Feast in 2017.

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FURNISH THE FUTURE CORBETT AUDITORIUM

SEAT CAMPAIGN NOW YOU CAN PLAY A LEADING ROLE IN THE FUTURE OF CCM! Purchase a commemorative

Countless alumni have made their debuts on the stage of Corbett Auditorium and hundreds of thousands of audience members have been whisked away on CORBETT AUDITORIUM musical journeys in its seats. With a pledge payable over five years, supporters of the Furnish the Future seat-naming campaign will help CCM continue to fuel the future of the arts.

CENTER

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plaque through our Furnish the Future campaign and your support will be displayed on one of the newly installed seats in CCM’s Corbett Auditorium.

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BALCONY

STAGE

$250

OBSTRUCTED VIEW

$500

$750

$1,000

$2,500

$5,000

To celebrate your generosity, a plaque bearing your name or the name of someone you choose to honor or memorialize will adorn one of the seats in the beautifully renovated Corbett Auditorium.

Learn more about CCM’s Furnish the Future campaign at ccm.uc.edu/furnishthefuture.

Ready to secure your seat? Make your pledge by emailing sarah.mizelle@uc.edu, calling 513-556-4441 or visiting foundation.uc.edu/furnishthefuture.

CCM ON STAGE THE ARIEL QUARTET

Photo by Marco Borggreve

THE ARIEL QUARTET: DARKNESS AND LIGHT 7:30 p.m. Tuesday, Sept. 24, Robert J. Werner Recital Hall

THE ARIEL QUARTET Alexandra Kazovsky, VIOLIN Gershon Gerchikov, VIOLIN Jan Grüning, VIOLA Amit Even-Tov, CELLO

String Quartet in D Minor, Op. 76, No. 2, “Fifths”

Eight Colors for String Quartet (1986)

Joseph Haydn (1732–1809)

Tan Dun (b. 1957)

String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden”

I. Allegro

I. Peking Opera

Franz Schubert (1797–1828)

II. Andante o più tosto allegretto

II. Shadows

III. Menuetto; Allegro ma non troppo

IV. Black Dance

IV. Vivace assai

III. Pink Actress V. Zen VI. Drum and Gong

INTERMISSION

I. Allegro II. Andante con moto III. Scherzo; Allegro molto IV. Presto

VII. Cloudiness VIII. Red Sona

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Broadway’s Future Photo by Mark Lyons

CCMON STAGE Production Sponsor

CCM ON STAGE MUSICALS

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Based on the Novel by BRADFORD ROPES

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Original Direction and Dances by

“beautiful, touching, funny, impressive and magical” -Broadway World THE USE OF ALL SONGS IS BY ARRANGEMENT WITH WARNER BROS., THE OWNER OF MUSIC PUBLISHERS’ RIGHTS

OCT. 24-27, 2019 CORBETT AUDITORIUM TICKETS: Prices start at $35.50; student discounts, group rates and series subscriptions also available 513-556-4183 • boxoff@uc.edu • ccm.uc.edu

Purchase subscriptions and single tickets online at

ccmonstage.universitytickets.com

CCM ON STAGE THE ARIEL QUARTET PROGRAM NOTE As musicians we spend most of our time dissecting and defining the emotional content of the music we play, often likening it to moods and colors. This process is especially important in order to clearly communicate our thoughts and it sharpens our awareness for the powerfully contrasting feelings our own emotional landscapes hold. In Darkness and Light, we explore the concept of contrast and colors by taking our audience on a musical journey which begins with the

most palpable form of contrast: dark (minor) and light (major). Haydn’s “Quinten” quartet delivers the perfect example as minor and major keys chase each other in a gripping and impetuous rollercoaster ride. Perhaps a more literal interpretation follows with Tan Dun’s “Eight Colors” before the metaphorical power of Schubert’s “Death and the Maiden” brings the program to a sweeping end.

—THE ARIEL QUARTET

COMPOSER’S NOTE Eight Colors for String Quartet was the first piece I wrote after coming to New York in 1986. It shares the dark, ritualized singing, very dramatic form, and attention to tone color and dynamic with my pieces written in China, such as On Taoism (for orchestra, voice, bass clarinet and contrabassoon), but still is very different from them. This string quartet (together with In Distance and Silk Road) marks the period of my first contact with the concentrated, lyrical language of western atonality. From it, I learned how to handle repetition, but otherwise responded in my own way, out of my own culture, not following the Second Vienna School. I drew on Chinese colors, on the techniques of Peking Opera—familiar to me since childhood. The work consists of eight very short sections, almost like a set of brush paintings,

through which materials are shared and developed. The subjects are described by the eight interrelated titles and form a drama, a kind of ritual performance structure. Not only timbre, but the actual string techniques are developed from Peking Opera; the vocalization of opera actresses and Buddhist chanting can be heard. Although a shadow of atonal pitch organization remains in some sections of this piece, I began to find a way to mingle old materials from my culture with the new, to contribute something to the western idea of atonality, and to refresh it. I found a danger in later atonal writing to be that it is too easy to leave yourself out of the music. I wanted to find ways to remain open to my culture, and open to myself.

– TAN DUN

ABOUT THE ARIEL QUARTET

“rock stars of the classical scene” – Cincinnati Enquirer Described by the American Record Guide as “a consummate ensemble gifted with utter musicality and remarkable interpretive power,” the Ariel Quartet has earned a glowing international reputation. The ensemble is comprised of Alexandra Kazovsky, violin; Amit Even-Tov, cello; Gershon Gerchikov, violin; and Jan Grüning, viola. The group was formed in Israel in 1998 and has served as CCM’s string quartet-in-residence since 2012.

The Ariel Quartet’s 2019-2020 CCM concert series is made possible by the generous contributions of an anonymous donor, The Estate of Mr. William A. Friedlander, Mrs. William A. Friedlander, Dr. Randolph L. Wadsworth, Mr. and Mrs. J. David Rosenberg, Mr. and Mrs. Harry H. Santen, Elizabeth C. B. and Paul G. Sittenfeld, Mr. and Mrs. Thomas E. Stegman, Dr. and Mrs. Theodore W. Striker and Mrs. Harry M. Hoffheimer.

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How We Spent Our Summer Vacation 1 PENANG, MALAYSIA: Music Professor Aik Khai Pung led the Penang Philharmonia Orchestra’s “Farewell My Concubine” concert, which featured the Peking Opera and Schumann’s Symphony No. 1.

2 LONDON, ENGLAND: Acting Professor D’Arcy Smith taught a U.S. Dialects class to graduate voice students at the Royal Central School of Speech and Drama.

3 CINCINNATI, OHIO: Music Education Professor Eva Floyd conducted the Young Professional Choral Collective’s performance of Lauridsen’s

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Lux Aeterna at the recently renovated Cincinnati Museum Center.

4 TEL AVIV, ISRAEL: E-Media Professor John Owens received an inside look at the IsraeliPalestinian conflict by participating in the Academic Partners for Peace Seminar in Israel.

5 ASPEN, COLORADO: Opera Professor Kathleen Kelly coached singers at the Aspen Opera Center and enjoyed hiking with her husband, Paul Chuey, in Colorado.

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6 TOKYO, JAPAN: Director of Wind Studies Kevin Michael Holzman conducted a concert with the Siena Wind Orchestra in Tokyo and presented a master class to the Senzoku Gakuen College of Music Blue Tie Wind Ensemble.

7 WESTON, VERMONT: Theatre Design and Production Chair Michele Kay was the Stage Manager at the Weston Playhouse’s production of Always… Patsy Cline — her 16th show with

the Playhouse.

8 BARCELONA , SPAIN : Music Theory and Composition Professor Miguel Roig-Francolí spent the summer in his native Spain working on the second edition of his textbook Understanding Post-Tonal Music, which will be published in spring 2020.

9 BRUNSWICK, MAINE: Piano Professor Soyeon Kate Lee performed and taught at the Bowdoin International Music Festival in Maine.

10 TORONTO, CANADA: The Ariel Quartet made

its Toronto debut at the Music Toronto chamber music series, featuring music by Schumann, Beethoven, Webern and Brahms.

11 RICHMOND, INDIANA: Acting Professor Susan Felder played Prospera and CCM Acting alumnus Dustin Parsons played her spirit guide, Ariel, in the Richmond Shakespeare Festival’s production of The Tempest.

12 SÃO PAULO, BRAZIL: Faculty members Scott Belck, Craig Bailey, Steve Allee and Kimothy Pensyl and students in CCM’s Jazz Orchestra joined Wynton Marsalis and the Jazz at Lincoln Center Orchestra for an international residency in São Paulo, Brazil.

13 STELLENBOSCH, SOUTH AFRICA: Faculty members Demarre McGill and Dwight Parry along with five CCM brass and woodwind students participated in the Stellenbosch International Chamber Music Festival. This is McGill’s fifth year performing and

teaching at the festival.

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CCM ON STAGE CHORAL Photo by Andrew Higley/UC Creative Services

CHORAL SHOWCASE 4 p.m. Saturday, Sept. 28, Corbett Auditorium

CCM CHAMBER CHOIR AND CHORALE, UC MEN’S AND W O M E N ’ S C H O R U S E S , A N D C I N C I N N AT I Y O U T H C H O I R Earl Rivers, Brett Scott, Molly Getsinger, Matthew Coffey and Robyn Lana, MUSIC DIRECTORS AND CONDUCTORS Featuring guest conductor and CCM alumnus Miguel Felipe

I. UC Women’s Chorus

II. UC Men’s Chorus

Kaval Sviri (Bulgarian Folktune)

Goodbye, Then

arr. Petar Liondev (b. 1936)

Timothy C. Takach (b. 1978)

She

If I Were a Dog

Words and Music by Laura Mvula and Steve Brown, arr. Andrea Ramsey

Molly Getsinger, CONDUCTOR

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Paul John Rudoi (b. 1985)

Matthew Coffey, CONDUCTOR

CCM ON STAGE CHORAL III. CCM Chorale

V. CCM Chamber Choir

Brett Scott, MUSIC DIRECTOR AND CONDUCTOR

Salutation (2017)

Uprising (premiere)

riks Ešenvalds (b. 1977)

Nicolas Bizub (b. 1992)

Jennifer Jun, CONDUCTOR

Shane Thomas, CONDUCTOR

Canti di prigionia (Songs of Imprisonment) Luigi Dallapiccola (1904–1975)

An Eclectic Mass Kyrie Eleison (from Mass for Two-Part Chorus and Percussion) (1934) Virgil Thomson (1896–1989)

Glory to God in the Highest (from All-Night Vigil, Op. 37) (1915)

I. Preghiera di Maria Stuarda (Mary Stuart’s Prayer) II. Invocazione di Boezio (The Invocation of Boethius) III. Congedo di Girolamo Savonarola

Sergei Rachmaninoff (1873–1943)

(Girolamo Savonarola’s Farewell)

Sanctus and Benedictus (from Mass in E-flat, Op. 109 (Cantus Missæ) (1878)

Earl Rivers, MUSIC DIRECTOR AND CONDUCTOR

Josef Rheinberger (1839–1901)

Agnus Dei (from Missa Tiburtina) (1985) Giles Swayne (b. 1946)

Miguel Felipe, GUEST CONDUCTOR

INTERMISSION

VI. Combined Choirs How Lovely Is Thy Dwelling Place (from Ein deustches Requiem) Johannes Brahms (1883-1897)

Chiyoon Chung, CONDUCTOR

IV. Cincinnati Youth Choir – Bel Canto One Voice Ruth Moody

A Hive Andrea Ramsey

Kwela Kwela (traditional Sotho and Zulu songs) transcribed by Tova Olson

Robyn Lana, ARTISTIC DIRECTOR AND CONDUCTOR

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CCM ON STAGE CHORAL PROGRAM NOTES AND TEXTS Kaval Sviri (Bulgarian: ƴNJnjNJǕ Ǜnjǒǚǒ

The traditional Bulgarian folksong Kaval Sviri translates as “The Flute Plays,” and has been featured in recent pop culture offerings by bands and vocalists and in a TV series, the most recent being Lady Gaga’s 2017 documentary “Five Foot Two.” Text: Kaval sviri, mamo, gore, dole, mamo, gore, dole, mamo.

Kaval sviri, mamo, gore dole, mamo, pod seloto.

Ja shte ida mamo da go vidja, da go vidya mamo, da go chuja.

Ako mi e nashencheto shte go lubja den do pladne, ako mi e jabandzhijche, shte go lubja dor do zhivot.

The kaval is playing, mother, up, down, mother, up, down, mother.

The kaval is playing mother, up, down, mother, below the village.

I will go, mother, to see it, to see it, mother, to hear it.

If it’s a guy from our village I’ll love him from dawn till dusk, If it’s a stranger I’ll love him all my life.

She She was crafted by British artist/ songwriter Laura Mvula. It is not to be based on any single person, but rather a composite portraying the cycle of life of a female and the accompanying questions, emotions and feelings of desperation. Says Mvula of the work, “I’m fascinated by the idea that as human beings, even in the ultimate sort of desperation — loneliness or isolation, or coming to the end of yourself — there could be something as small as hope, as small as a mustard seed. It could be minute, but it’s enough to sustain you for however much longer. When it feels like you have nothing left, there’s always something.”

— ANDREA RAMSEY

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Text: She walked to watch you with the head down low She wondered if there’s a way out of the blue Who’s gonna take her home this time She knew that this time wouldn’t be the last time There she waits looking for a savior, Someone to save her from her dying self Always taking ten steps back and one step forward, She’s tired, but she don’t stop She don’t stop, she don’t stop, she don’t stop She don’t stop, she don’t stop, she don’t stop Every day she stood, hoping for a new light She closed her eyes and she had a smile voice say You don’t stop, no, you belong to me She cried, maybe it’s too late She don’t stop, she don’t stop, she don’t stop She don’t stop, she don’t stop, she don’t stop She walked to watch you with the head down low She wondered if there’s a way out of the blue Who’s gonna take her home this time She knew that this time wouldn’t be the last time.

Goodbye, Then Originally written for the Minnesota All-State Men’s Choir, the lush harmonies and soaring B-flat clarinet part of Goodbye, Then weave a dreamscape of introspection that asks the listener to consider the difficulties of letting go of something they love. Applauded for his melodic lines and rich, intriguing harmonies, Timothy Takach’s compositions have been performed on A Prairie Home Companion, the Boston Pops holiday tour, and at venues including the Library of Congress, Kennedy Center, and Royal Opera House Muscat.

Text: We said goodbye then With people there So it wouldn’t be quite so hard.

And we had said what we wanted to say Or at least we knew by then What didn’t need to be said, So it wasn’t so hard.

We would see each other again Though we didn’t know when And we could call and talk Across the thousands of miles between us.

After all we had known each other All this time And would know each other always and anywhere.

So it wasn’t hard.

But — both of us — our eyes were tears And the world and the people were not there, And that last hug — How could I not hold you?

How could we separate our hearts When we felt them beating together?

And how — God, how — could I let go?

— DOUG WILHIDE

If I Were a Dog Richard Shelton’s poem, If I Were a Dog, is simultaneously humorous and heart-warming and has been masterfully set by award-winning composer Paul John Rudoi. Currently based in Eugene, Oregon, Rudoi has been commissioned by ensembles such as Orphei Dränger, the Vancouver Chamber Singers, the British Trombone Society, Cantus and the National Lutheran Choir.

Text: I would trot down this road sniffing on one side and then the other peeing a little here and there wherever I felt the urge having a good time what the heck saving some because it’s a long road

CCM ON STAGE CHORAL but since I’m not a dog I walk straight down the road trying to get home before dark if I were a dog and I had a master who beat me I would run away and go hungry and sniff around until I found a master who loved me I could tell by his smell and I would lick his face so he knew or maybe it would be a woman I would protect her we could go everywhere together even down this dark road and I wouldn’t run from side to side sniffing I would always be protecting her and I would stop to pee only once in awhile sometimes in the afternoon we could go to the park and she would throw a stick I would bring it back to her each time I put the stick at her feet

I would say this is my heart and she would say I will make it fly but you must bring it back to me I would always bring it back to her and to no other if I were a dog — RICHARD SHELTON

Uprising Uprising is a tribute to the strength and resilience of the LGBTQIA+ community, and is inspired by and dedicated to the 50th anniversary of the Stonewall Uprising. The music in this work moves from a dark and subdued interiority to music which is rich, full and ebullient.

Nicolas Bizub is a CCM DMA Composition major and the winner of the CCM Student Composer Competition in spring 2019. Nicolas writes: “My own text commemorates the losses and prejudice members of this community experience, all while showcasing the vibrancy, love, and brilliance this community

exudes in their diversity. It is written as a reminder to all people to shine brightly, and to allow others who may be different shine in their own beautiful way.”

Text by Nicolas Bizub For wounds deep From words’ cost Shine For blood spilled From those lost Shine Let no life Darken mine Shine Shine Bright

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CCM ON STAGE CHORAL An Eclectic Mass Kyrie: Kyrie eleison Christe eleison Kyrie eleison Lord have mercy upon us Christ have mercy upon us Lord have mercy upon us.

Gloria: (sung in Russian) Glory to God in the highest, and on earth peace, good will among men.

O Lord, open Thou my lips, and my mouth shall proclaim Thy praise.

Sanctus and Benedictus: Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth.

Pleni sunt coeli et terra gloria tua.

Osanna in excelsis.

Holy, Holy, Holy, Lord God of Hosts.

Heaven and earth are full of Thy glory.

Hosanna in the highest.

Benedictus qui venit in nomine Domini.

Osanna in excelsis.

Blessed is He that cometh in the name of the Lord.

Hosanna in the highest.

Agnus Dei and Dona nobis pacem: Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei. Dona nobis pacem.

Lamb of God, Who takest away the sins of the world, have mercy upon us.

Lamb of God. Grant us peace.

One Voice

One Voice, as performed by the Wailin’ Jennys, celebrates unity in our world. The sound of one voice who makes a choice. Three voices in harmony. The sound of all of us singing together with a will to trust. All voices singing as one voice.

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A Hive of Frightened Bees A Hive of Frightened Bees, written for a high school treble choir, was premiered in 2019

by Arvada West High School in Colorado. The text, a poem by student Taylor Huntley, grew out of the Parkland school shooting, and is adapted by Ramsey. The song addresses the concern and reality our youth face in a world of violent shootings. Ramsey added breathing and percussive heartbeats to elicit feelings of panic, fear and anxiety. As the song states, “I hope one day we will change.”

Kwela Kwela Traditional Sotho and Zulu Songs transcribed by Tova Olson, Kwela Kwela is based on an arrangement created by the University of Pretoria Youth Choir.

Kwela translates to “get up!”

Kwela Kwela is a joyful exclamation set at a wedding. The groom is being asked: “Where are you hiding the bride?” You’ll see pride in the attire of the elaborately dressed bride and groom and joyous reminders of the ceremony time getting very near. Kwela Kwela is an invitation to “get up” and join the dance.

Salutation Salutation was composed for a cappella choir to a poem

by Bengali poet and musician Rabindranath Tagore (1861–1941).

The music takes up the spiritual message of the poem, that we live our lives in one salutation to God ending back in an eternal home. Salutation was premiered by the National Youth Choir of Great Britain and Stephen Layton at the Chapel of Trinity College, Cambridge on 25 August 2017.

Latvian composer Ôriks Ešenvalds is one of the most sought-after composers working today, with a busy commission schedule and performances of his music heard on every continent. This past April the CCM Chamber Choir performed his In Paradisum with solo viola and cello. Conductor

Jennifer Jun is a second year DMA student in CCM’s Choral Conducting program.

Canti di prigionia (Songs of Imprisonment) The work is scored for two pianos, two harps, timpani, xylomarimba, vibraphone, tubular bells, suspended cymbals, crash cymbals, three tam-tams (small, medium and large), triangle, snare drum and bass drum.

Luigi Dallapiccola was born on February 3, 1904, in Pisino d’Istria, then in the Austro-Hungarian Empire (now Pazin, Croatia), and died in Florence on February 19, 1975.

Dallapiccola composed the first section of the Canti, Preghiera di Maria Stuarda (Prayer of Mary Stuart) as an independent piece in 1938 that was first performed in Brussels in 1940. The composer added the Invocazione di Boezio (Invocation of Boethius), completing it on July 14, and also the Congedo di Girolamo Savonarola (Girolamo Savonarola’s Farewell), which he finished on October 13, 1941. The complete Canti had their first performance in Rome on December 11, 1941.

Dallapiccola can arguably be considered an honorary fourth member of the 12-tone Second Vienna School of Schoenberg, Berg and Webern, having produced some of the loveliest and most listenable 12-tone works ever written.

Unlike the more doctrinaire 12-tone composers, however, Dallapiccola put as much imagination into atmosphere as into syntax; pieces like the Canti di prigionia remind us that before he discovered Schoenberg he had been obsessed with Debussy.

The combination seems to assign Dallapiccola not to the lyrical, operatic side of Italian music — though he did write three operas — but to the more chromatic, brooding side, along with Busoni, Ghedini, Pizzetti and Respighi.

Dallapiccola was interned in Graz with his family in 1917-18, his

CCM ON STAGE CHORAL father being suspected of Italian sympathies during World War I. Because of this background, the composer has written, “I grew up in the spirit of those who are always in the opposition.”

The Canti di prigionia (Songs of Prison) were written in a spirit of protest, not by design but almost compulsively. The idea of the piece came to Dallapiccola, he continues, “when on September 1, 1938, I heard the voice of Mussolini on the radio announcing that the time had come for Italy to initiate her own anti-Semitic campaign. I wanted to protest, but I was not so simple-minded as to imagine that an isolated individual could achieve anything in a totalitarian state. In a matter of a few days, knowing that only through music could I express my indignation, I sketched the “Preghiera di Maria Stuarda” (Prayer of Mary Stuart), the first movement of the Canti di prigionia.”

All three songs of the Canti di prigionia are threaded through with the dies irae, the 13th-century “day of wrath” chant from the mass for the dead. This tune, heard immediately in the harp and timpani, has long fascinated composers, and appears as a memento mori in dozens of pieces, from Berlioz’s Symphonie fan-

tastique to Liszt’s Totentantz to Rachmaninoff’s Rhapsody on a Theme of Paganini to George Crumb’s Black Angels. The use of plainchant in a 12-tone composition is highly unusual, and anchors Dallapiccola’s music in tonality. And yet, 12-tone rows do wreathe themselves around the chant like ivy, especially in Mary Stuart’s prayer, where the four-note phrases of the chant are paired with a four-note motive from the row, rising up to heaven in anguished intervals.

Here and in the final prayer of Savonarola, an antique atmosphere is created by the clicking along of stately half-notes in the harps and pianos. One can hear in this Dallapiccola’s enthusiasm for early Italian composers such as Monteverdi and Gesualdo, also evident in the smoothly contrapuntal choral writing.

The invocation of Boethius is more scherzo-like, with whirling atonal lines among which the dies irae gets dotted out on accented beats. — KYLE GANN, ASSOCIATE PROFESSOR OF MUSIC, BARD COLLEGE

1. Preghiera di Maria Stuarda

O Domine Deus speravi in te.

O care mi Jesu, nunc libera me!

In dura catena, in misera poena, desidero te; Languendo, gemendo et genu-

flectendo Adoro, imploro ut liberes me!

O Lord God! I trusted in Thee.

O my dear Jesus, now set me free.

In harsh chains, in grievous pain, I long for Thee.

Languishing, sighing, and bending my knee, I entreat, I implore you to set me free.

2. Invocazione di Boezio Felix qui potuit boni Fontem visere lucidum Felix qui potuit [gravis] Terræ solvere vincula.

Happy the man who once Could clearly see the fount of good; Happy he who could leave behind The chains of life of earth.

3. Congedo di Girolamo Savonarola

Premat mundus, insurgant hostes, nihil timeo Quoniam in Te Domine speravi, Quoniam Tu es spes mea, Quoniam Tu altissimum posuisti refugium Tuum.

Let the world oppress, let the foe rise up, I fear nothing For I have trust, Lord, in Thee, For Thou art my hope, For Thou hast placed Thy refuge on the summit.

ABOUT CCM CHORAL ENSEMBLES

“it was no coincidence that, in 2012, Cincinnati was chosen as the first American city to host the World Choir Games” – Music for All Seasons

CCM has delighted multiple generations of music lovers with the concerts presented by its five choral ensembles: the 32-voice Chamber Choir, 45-voice Chorale, 30-voice Chamber Singers and 100-voice UC Men’s and UC Women’s Choruses. Performances range from acclaimed staged productions of J.S. Bach’s St. Matthew Passion and St. John Passion, Honegger’s Joan of Arc at the Stake, and Stravinsky’s Les Noces (The Wedding), collegiate premieres of John Adam’s On the Transmigration of Souls, Philip Glass’s Symphony No. 5, and Penderecki’s Credo, the USA premiere of Fredrik Sixten’s St. John Passion, collaborations with CCM Jazz Studies for David Brubeck’s The Gates of Justice and Wynton Marsalis’s Abyssinian Mass, Early Music offerings of Monteverdi’s monumental Vespers of 1610, commissioned works for CCM’s 2014-16 Shakespeare Quadricentennial, to presentations of recent contemporary works like John Adams’ El Niño, David Lang’s Little Match Girl Passion and Tan Dun’s Water Passion after St. Matthew.

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A B O U T C I N C I N N AT I YO U T H C H O I R The Cincinnati Youth Choir is an educationally-based choral ensemble program.

Participants learn healthy vocal technique, sight-reading, music history and music theory while experiencing performance excellence using the philosophies and techniques of Carl Orff, Zoltan Kodaly, Jacques Dalcroze and Jerome Brunner.

The learning environment is creative, explorative and fun. The children form lasting relationships with children outside of their community and develop a lifelong appreciation of music.

CYC members have toured Italy, Japan, China, Scandinavia, England, Ireland, Wales, Germany, Austria, Czech Republic, Canada and the United States.

CCM ENSEMBLE-IN-RESIDENCE

Founded in 1993, as the Cincinnati Children’s Choir, the organization updated its name to the Cincinnati Youth Choir in 2018 to better represent the age range of our member base.

CYC HAS RECENTLY RECEIVED WIDE ACCLAIM

BY WINNING THE FOLLOWING AWARDS:

•2018 Chorus America Education and Community Engagement Award •2016 Chorus America ASCAP Award for Adventurous Programming •2015 American Prize in Choral Performance for Youth Choirs •CityBeat’s Best of 2015 and 2017 Reader Picks for Best Local Vocal Arts Group •Gold Medal Choir, Youth Choirs of Equal Voices, World Choir Games 2012 •Winner of the 2008 Scripps-Corbett Award, Artist Category

Moveable Feast is BACK! SAVE THE DATE

JANUARY

17, 2020 2020 MOVEABLE FEAST

Create your own menu and timetable of artistic selections, including jazz, musical theatre, piano, opera, acting, dance, choral, orchestra and much, much more!

Hosted by CCMpower.

ccm.uc.edu/moveablefeast

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CCM ON STAGE CHORAL GUEST ARTIST several instrumental ensembles and choral ensembles and worked at two local churches including the Cathedral of St. Peter in Chains, seat of the archbishop of Cincinnati.

After relocating to Boston in 1999, Felipe attended the Pierre Monteux School for Conductors and Orchestral Musicians, Michael Jinbo, director. He also studied conducting at Boston University, where he earned a master’s and a doctorate studying with Ann Howard Jones, David Hoose, Craig Smith and the late Joseph Flummerfelt.

MIGUEL FELIPE, CONDUCTOR AND CCM ALUMNUS Miguel Ángel Felipe became Director of Choral Activities and Associate Professor of Music at the University of Arizona in 2018. He’s held similar appointments at the University of Hawaii at M noa (2011–2018), Boston University (ad interim, 2017–2018), Oberlin College and Conservatory (2010–2011), Mount Holyoke College (2009–2010) and the Boston Conservatory (2004–2010). He also serves as Vice President of the National Collegiate Choral Organization (2016–present). From 2004 to 2011, he was Artistic Director of the Boston Choral Ensemble, and he was Artistic Director of the International Meeting on Choral Music at the University of São Paulo, Ribeirão Preto, Brazil, for the 2010 and 2011 seasons. He has led and workshopped community choirs from around the country and has served as a clinician, presenter and adjudicator around the U.S., Southeast Asia and Europe.

As a performer, Felipe has long been an advocate for new music. In the last 20 years, he has commissioned and premiered dozens of works for chamber orchestra, wind ensemble, women’s chorus, men’s chorus and mixed chorus. In 2007 Felipe established the Boston Choral Ensemble Commission Competition — the Northeast’s largest choral commissioning project of its kind.

As a researcher and teacher, Felipe’s research interests focus on choral innovations in Indonesia and Southeast Asia, on concepts of choral societies’ influence in cultural development and on conducting pedagogy. His editorial work has appeared in choral editions published by Carus Verlag, Germany; Earthsongs; and Hinshaw Music.

Felipe is a proud member of the American Choral Directors Association, Chorus America, the National Collegiate Choral Organization, the College Music Society, the International Federation for Choral Music and Pi Kappa Lambda, the national music honor society.

As a child, Felipe studied piano privately and double bass in the public schools before going on to graduate from the prestigious Interlochen Arts Academy, where he played bass in the school’s orchestra and earned a diploma in piano. Felipe’s studies continued at CCM where in 1999 he earned a Bachelor of Music, summa cum laude, studying with conductors John Leman and Christopher Zimmerman.

While in Cincinnati he established and led

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Photo by Lin Photography

Empowering CCMpower: Empowering Students Through Unique Experiences

By Sarah Mizelle 32

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EMPOWERING STUDENTS Molly Getsinger is a rising star in the conducting world, entering her third year as a choral conducting doctoral student at CCM. A musician at an early age, her earliest musical memories are of taking piano lessons and singing in the school choir. When she entered high school, she had the opportunity to conduct her marching band as the drum major, and her passion for conducting was born.

While completing her master’s degree in choral conducting at Westminster Choir College, an alumnus of the CCM choral conducting program was her mentor. Joe Miller (MM ’92 and DMA ’97), the director of choral activities for Westminster Choir College, saw Getsinger’s incredible potential as a conductor and encouraged her to pursue a doctorate at CCM. The strong reputation of CCM’s choral and conducting programs and the unique opportunity to direct the UC Women’s Chorus was “a major draw” for Getsinger. She feels that the network of support that comes with being a CCM student and future alumna is one of the things that sets her education here apart from other schools.

“The network of CCM alumni is vast,” Getsinger says. “I continue to meet new people and make new CCM connections at every professional conference I attend. During my time at CCM I have also had the opportunity to teach in both the Choral and Music Education departments, a level of experience which not many other programs are able to provide.”

Something else that sets her CCM education apart? The encouragement and ability to explore non-traditional educational experiences that will help Getsinger grow as a conductor and artist. She received funding support from CCMpower to study abroad this past summer.

Getsinger traveled to Portugal with Brett Scott, CCM Associate Professor of Ensembles and Conducting, for an immersive choral experience with the students at the Escola Superior de Artes Aplicadas.

Her time there included the opportunity to teach conducting and rehearsal techniques to music education and undergraduate students, as well as receive feedback on her own instruction and conducting from international choral professionals. Getsinger also conducted the Women’s Choir of the school in concert and worked closely with two CCM alumni, Goncalo and Paulo Lourenco, who are successful conductors in their own right. Getsinger received partial funding for her trip from CCMpower, without which she would not have been able to participate in the experience.

“This trip provided me with a variety of learning opportunities as a teacher, conductor and student,” Getsinger says. “It was a fantastic experience that allowed me to develop personal and professional connections that I will continue to turn to throughout my career.”

“I believe these kinds of educational experiences are incredibly important and formative for students, and I am immensely grateful to have been given this opportunity!”

Photo provided by Molly Getsinger

“I believe these kinds of educational experiences are incredibly important and formative for students, and I am immensely grateful to have been given this opportunity!”

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CCM’s student and alumnae conductors are claiming places on podiums around the world.

XIAN ZHANG (Orchestral Conducting, att. ’98-’00) will make her Santa Fe Opera debut in 2020 with the premiere of M. Butterfly, an opera with music

by Huang Ruo based on Puccini’s Madame Butterfly. Zhang is the Music Director of the New Jersey Symphony Orchestra.

JIANNAN CHENG (DMA Orchestral Conducting, ’19) is one of six women chosen for the 2019 Linda and Mitch Hart Institute for Women Conductors at the Dallas Opera.

In July and August 2019, she participated in the Riccardo Multi Italian Opera Academy in Ravenna, Italy.

FOLLOW US

WOMEN WHO LEAD

MARIA FULLER (MM Orchestral Conducting, ’19) was selected for the prestigious David Effron Conducting Fellowship at New York’s Chautauqua Music Festival.

She also recently joined Ontario’s Thunder Bay Symphony as Resident Conductor.

MADELINE TSAI (First-year graduate student in Orchestral Conducting) is one of six women chosen for the 2019 Linda and Mitch Hart Institute for Women Conductors at the Dallas Opera.

KARA PIATT (First-year graduate student in Orchestral Conducting) participated in the Miami Music Festival Conducting Institute this summer, where she worked with CCM’s Director of Orchestral Studies Mark Gibson.

XIAO GENG (First-year graduate student in Orchestral Conducting) participated in the 10th International Conducting Competition Jeunesses Musicales Bucharest.

— ALEXANDRA DOYLE

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@CINCINNATIMAGAZINE

JOIN THE CONVERSATION

SUBSCRIBE TO OUR EMAIL LIST

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FUEL THE ARTS WITH CCMPOWER

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PURCHASE TICKETS ONLINE

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CCMPOWER

Photo by TM Photography

The University of Cincinnati College-Conservatory of Music has both a national and international reputation for excellence.

CCMpower – a membership organization consisting of fans, advocates, and alumni dedicated to empowering students and igniting possibilities – plays a critical role in ensuring CCM remains a leader in arts education, performance and research.

The funds that CCMpower raises through membership and special events support competitive scholarships and grant opportunities to attract and retain the best and brightest students to the college and our community.

These dollars also provide funding for students to travel the country for critical professional development opportunities like auditions, competitions, and internships. In addition, CCMpower provides faculty funding to invite top artists in their field to work with our students in master classes and private lessons.

Because you understand the value and benefit of what is being taught and the talent that is being nurtured, we hope you’ll join us and support the next generation of artists by becoming a CCMpower member today.

With warmest regards,

Photo by Andrew Higley/UC Creative Services

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Arlene Katz President, CCMpower

CCMPOWER CCMpower is a volunteer group of fans, advocates and alumni dedicated to empowering students and fueling the future of the arts through scholarship opportunities and more.

The competitive scholarships CCMpower provides help attract and retain the best and brightest students, nurture professional development opportunities and – in turn – continue CCM’s tradition of excellence for the next generation of student-artists.

Join or renew your CCMpower membership today to help provide critical scholarship funds.

SAVE THE DATE FOR THE FOLLOWING GALA EVENTS HOSTED BY CCMPOWER MOVEABLE FEAST RETURNS Experience Cincinnati’s favorite arts fundraiser as CCMpower proudly presents the return of Moveable Feast! Create your own menu and timetable of artistic selections by our “stars of tomorrow.” Where else can you sample performances of jazz, musical theatre, piano, opera, acting, dance, choir, orchestra and much more all in one night? This one-of-a-kind evening can only happen at CCM! 6:30 p.m. Friday, Jan. 17 CCM Village

CCM MUSICAL THEATRE SENIOR SHOWCASE: A CCMPOWER BENEFIT Created and performed by the Class of 2020 in Musical Theatre See and hear our musical theatre “stars of tomorrow” in action at the 28th edition of the “Not Famous Yet” showcase, featuring the Class of 2020 prior to its New York City debut. The annual CCM Musical Theatre Young Alumni Award will be presented at the showcase.

Funds raised by CCMpower support student scholarships and travel for critical professional development for CCM’s stars of tomorrow. For more information, contact CCM External Relations at 513-556-2100 or visit us online at ccm.uc.edu/ccmpower.

Help our students achieve their dreams of success by joining CCMpower! Membership levels range from $50 to over $5,000. Take advantage of the special benefits specific to giving levels, which include but are not limited to: • event parking • free and discounted performance tickets • exclusive receptions • invitation to backstage tour • listing in CCM’s Honor Roll of Donors • free CCMpower membership is available for current CCM students and alumni.

For more information or to join please visit ccm.uc.edu/ccmpower or call 513-556-2100.

7 p.m. Friday, March 13 Patricia Corbett Theater

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Broadway’s Future Photo by Mark Lyons

CCM ON STAGE MUSICALS

RICHARD O’BRIEN’S

THE ROCKY HORROR SHOW “Don’t dream it, be it.”

BOOK, MUSIC AND LYRICS BY RICHARD O’BRIEN “The Rocky Horror Show” is presented by special arrangement with SAMUEL FRENCH, INC.

For mature audiences

Purchase subscriptions and single tickets online at

ccmonstage.universitytickets.com

OCT. 31-NOV. 3 & 7-10, 2019 COHEN FAMILY STUDIO THEATER

TICKETS: Prices start at $29.50; student discounts, group rates and series subscriptions also available 513-556-4183 • boxoff@uc.edu • ccm.uc.edu

CCM ON STAGE PLAYS Photo by Mark Lyons

DIVISION OF THEATRE ARTS, PRODUCTION AND ARTS ADMINISTRATION PRESENTS

LADY WINDERMERE’S FAN

BY Oscar Wilde

Oct. 2-6, 2019, Patricia Corbett Theater

DIRECTOR

SOUND DESIGNER

Susan Felder

Zachory Ivans*

PRODUCTION STAGE MANAGER

CHOREOGRAPHER

Haleigh Salo

Jonnie Lynn Jacobs-Percer

SCENIC DESIGNER

DANCE CAPTAIN

Lindsey Purvis*

Rachel Jones*

LIGHTING DESIGNER

TECHNICAL DIRECTOR

Rachael Blackwell*

Steve Miller

COSTUME DESIGNER

ASSISTANT TECHNICAL DIRECTOR

Christa Hanks*

Monica Walker*

WIGS AND MAKE-UP DESIGNER

DIALECT COACH

Oran Wongpandid*

Sammi Grant*

*CCM Student

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DIRECTOR’S NOTE

BY Susan Felder Lady Windermere’s Fan (A Play About a Good Woman) launched Oscar Wilde’s success as a playwright. Walking the line between comedy and seriousness, it has some of his most famous lines: “We are all in the gutter, but some of us are looking at the stars” and “I can resist anything but temptation.” It is above all a social satire, shining a light on Victorian double standards of men and women. The men privately desire the mysterious Mrs. Erlynne, while the respectable women despise her.

Written two years after Henrik Ibsen’s London premiere of the controversial A Doll’s House, it shares many of the same themes — a woman who chooses to leave her husband and child to live an independent life at the risk of being a social outcast. Wilde chose to pick up events 20 years later and tell the story in the form of comic satire decades before anyone thought to write A Doll’s House Part 2!

The play opens with plans for Lady Windermere’s “coming of age” party at 21. And her journey leads to an altered understanding of what it is to be respectable, to be good.

Perhaps most relevant to today’s audience,

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the play examines a time when reputation, gossip and social status were made and lost in the ballrooms and drawing rooms of the Victorian home. Social media moved slower, but it was still as rampant, reactive and harsh as a Twitter account. Lady Windermere herself has rigid ideas about what makes a person good or bad and whether people who stray from our definitions of good and bad deserve our forgiveness. I find the subtitle intriguing.

The question: Is Lady Windermere the “good woman” Wilde is referring to? Or perhaps the word “good” is itself corrupt.

Typical of all of Wilde’s plays, those who misbehave and follow their hearts while condemned by society are celebrated by the playwright! They enjoy the wittiest lines, the secret admiration of those who condemn them and redemption in the eyes of the audience, if not the social environment of the play.

It is a subtle and sneaky piece that way. At its core a mystery, but essentially a coming of age tale for a society holding fast to rules that limit and regulate women and sex — a society in the throes of growing up itself.

CCM ON STAGE PLAYS T H E C O M PA N Y

LADY WINDERMERE MRS. ERLYNNE THE DUCHESS OF BERWICK

Zoe Cotzias Olivia Buss Kristina Steinmetz

LORD WINDERMERE

Eli Lucas

LORD DARLINGTON

Cameron Nalley

LORD AUGUSTUS LORTON

Jack Steiner

MR. CECIL GRAHAM

Jack McElroy

LADY AGATHA CARLISLE

Sydney Miles

LADY PLYMDALE

Briley Oakley

LADY STUTFIELD

Shakoria Davis

LADY JEDBURGH

Liza Lagerstrom

ROSALIE

Rachel Jones

MRS. COWPER-COWPER

Isabella Wagner

MRS. DUMBY

Jason Pavlovich

MR. HOPPER

Leonard Peterson

SIR JAMES ROYSTON PARKER MR. GUY BERKELEY

Charles Gidney Austin James Cleri Duncan Weinland

MR. RUFFORD

TBD

LORD PAISLEY

Dustin Parsons

LADY PAISLEY

Julianna Weis-Palacios

MISS GRAHAM

Rin Wallace

MRS. BOWDEN

Madison Pullman

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Photo by Joe Fuqua II/UC Creative Services

Arts CCM Brings Arts to All Through Preparatory and Community Engagement Programs

By Becky Butts

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ARTS FOR ALL CCM has served as a world-class training ground for performing and media artists and scholars for more than 150 years. The college’s high-caliber instruction isn’t only available to the next generation of professional artists, though. Under the all-encompassing banner of Preparatory and Community Engagement (CCM Prep), the college provides a variety of programs for arts enthusiasts of all ages and skill levels.

Throughout the year, CCM Prep facilitates after-school programs, private lessons, classes and summer programs in music, dance and theatre arts.

variety of string, wind and vocal groups including the Cincinnati Youth Wind Ensemble, the Preparatory Brass Choir and the Cincinnati Youth Choir.

“We provide comprehensive performing arts programs for any age, any level and any discipline,” says John Martin, Assistant Dean of CCM Prep. “Our highly experienced and professional artist faculty provide programs for dedicated students who are training for professional careers in the performing arts, as well as beginning through advanced classes for anyone at any age and experience level.”

Adults who want to learn something new or practice an instrument are also welcome at CCM Prep. The New Horizons Orchestra, which is open to people over age 50, includes those with no musical experience. CCM Prep also offers adult choral and jazz ensembles as well as adult classes in ballet and modern dance.

A number of notable performers began their arts training at CCM Prep, including Emmy and Golden Globe Award–winning actress Sarah Jessica Parker, Presidential Medal of Freedom recipient and ballet dancer Suzanna Farrell, Grammy Award–nominated composer and guitarist Bryce Dessner (along with other members of the band The National) and Naumburg Competition winning violinist Tessa Lark.

“Our students bring talent, curiosity, dedication and joy — they love to perform in our variety of ensembles, troupes and companies,” Martin adds. One such program is the Jr. Musical Theatre Intensive program. This challenging and enjoyable opportunity for talented middle schoolers is highlighted by live performances at CCM in the spring and a performance at the Junior Theatre Festival in Atlanta, where the Troupe performed a scene from Godspell, Jr. this past January and received an Excellence in Acting award.

Students can also participate in CCM Prep’s music ensembles, where you will find many of our highly talented pre-college musicians in a

“We’re committed to supporting and expanding the arts community,” Martin says. “Beyond CCM Prep’s programs, we also offer arts education opportunities in collaboration with other local organizations.”

The CCM AfterSchool program unites college students with elementary students to promote appreciation and understanding of the arts.

This program focuses on access to music and the arts through hands-on experiences that support 21st-century learning skills including creativity, critical thinking, communication and collaboration. CCM AfterSchool has partnered with City Gospel Mission’s Whiz Kids Tutoring and Mentoring program, Cincinnati Public Schools and other education and community organizations.

CCM Prep’s programs run throughout the academic school year, with open student registration in July and August. However, CCM Prep accepts registration any time as long as students can be placed in the appropriate classes.

For more information on current class offerings, visit ccm.uc.edu.

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CCM ON STAGE ORCHESTRA Photo by Joe Fuqua II/UC Creative Services

PRIDE OF RUSSIA 7:30 p.m. Thursday, Oct. 3, Corbett Auditorium

CCM PHILHARMONIA Mark Gibson, MUSIC DIRECTOR AND CONDUCTOR Madeline Tsai, GRADUATE CONDUCTING ASSOCIATE Featuring faculty artist Dror Biran, piano Russian Easter Overture Nikolai Rimsky-Korsakov (1844–1908) Madeline Tsai, CONDUCTOR

Piano Concerto No. 2 in B-flat Major, Op. 102

INTERMISSION

Dmitri Shostakovich (1906–1975)

Symphony No. 5 in B-flat Major, Op. 100

I. Allegro

Sergei Prokofiev (1891–1953)

II. Andante

I. Andante

III. Allegro

II. Allegro marcato III. Adagio

Dror Biran, PIANO

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IV. Allegro giocoso

CCM ON STAGE ORCHESTRA FAC U LT Y A R T I S T Philharmonic Orchestra, RTVE Symphony Orchestra of Spain, Johannesburg Philharmonic Orchestra, Louisville Orchestra and the Israel Philharmonic Orchestra. He has played under the batons of Etinger, Rodan, Gueller, Gacia Asensio, Mester, Lane and others. His concert tours have taken him to the United States, Israel and South Africa, South Korea and China, along with Eastern and Western Europe.

As an avid chamber musician, Biran has appeared on a regular basis with different music ensembles such as Carmel, Amernet and Aviv String Quartets. He premiered works

by Grawemeyer and Rome Award winners such as York Höler and Sebastian Currier. His concerts have been broadcasted by WUOL, WCLV, WQXR, The Voice of Music – Israel and Classic FM South Africa, among others.

Biran can be heard on the JMC (Jerusalem Music Centre) labels featuring ballades by Brahms and Chopin.

DROR BIRAN, PIANO Winner of top prizes at the M.K iurlionis International Piano Competition and the Cleveland International Piano Competition, Israeli-American Pianist Dror Biran has been described by the Cleveland Plain Dealer as such: “His fortissimos crashed and roared, but next to them came pianissimos that whispered seductively…he has technique to burn and uses it effectively.” Biran’s superb tonal control combined with interesting phrasing and voicing has won him consistent critical acclaim and enthusiastic audiences.

Biran has performed widely as a soloist with major orchestras, including the Lithuanian

A recipient of multiple scholarships from the America-Israel Cultural Foundation for distinguished musicians, Biran began his piano studies with Ms. Lily Dorfman, and was mentored by Arie Vardi, Paul Schenly, Daniel Shapiro and Lee Luvisi. He graduated from Rubin Academy of Music at Tel-Aviv University and the Cleveland Institute of Music, where he received his doctorate degree in piano performance.

Biran has taught at the University of Louisville, Youngstown State University and Case Western Reserve University. Currently, he serves as an Associate Professor of Piano at the College-Conservatory of Music University of Cincinnati.

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PRESENTED BY

NOVEM B ER 4—8, 201 9 WHERE

PHOTOGRAPH BY JEREMY KRAMER

WHEN

GARDEN FRESH STRIP STEAK DRESSED WITH CHIMICHURRI, ACCOMPANIED

BY CIPOLLINI AND PEARL ONIONS, ROASTED ROMANESCO, ROSEMARY POTATOES, AND PEA PUREE FROM MUSE.

ੜ

Enjoy a lavish, five-night dinner series held at The View, perched on the edge of Mt. Adams, with celestial panoramas of Cincinnati. Be sure to #savorthedate for our fall dinner series and be one of the first guests to experience The View. cincinnatimagazine.com/ourevents

PHYSICS IS HARD. COUNTRY DAY WAS EASY. CHALLENGE YOURSELF. BE YOURSELF. We are Country Day. We are dedicated to inspiring students to bring out the very best in themselves and each other. From 18 months to 18 years of age, we are uniquely designed to help cultivate a passion for learning and independent thinking that prepares students to become exemplary citizens, conďŹ dent leaders, and the best versions of themselves. Success made easy!

#WEARECOUNTRYDAY

NOW ACCEPTING ADMISSION APPLICATIONS FOR THE 2020-21 SCHOOL YEAR. SCHEDULE AN INDIVIDUAL APPOINTMENT AND TOUR TODAY!

6905 Given Road Cincinnati, OH 45243 (513) 979-0220 CountryDay.net

CCM ON STAGE WINDS Photo by Andrew Higley/UC Creative Services

GRAND PIANOLA MUSIC 7:30 p.m. Saturday, Oct. 5, Corbett Auditorium

CCM WIND SYMPHONY Kevin Michael Holzman, MUSIC DIRECTOR AND CONDUCTOR

Featuring faculty artist Michael Chertock, piano, and student soloists Giuliano Graniti and Fabio Menchetti, piano Caveat

Concerto in F

INTERMISSION

Sally Lamb McCune (b. 1966)

George Gershwin (1898–1937)

Grand Pianola Music

I. Allegro

John Adams (b. 1947)

II. Adagio—Andante con moto

I. Part 1A (fast)

III. Allegro agitato

II. Part 1B (slow)

Michael Chertock, PIANO

III. “On the Dominant Divide” (fast)

ABOUT THE CCM WIND SYMPHONY

“a vibrant performance” – Janelle’s Notes

The CCM Wind Symphony has received wide acclaim for the quality of its performances as well as the diversity and originality of its programming. Dedicated to bringing the finest traditional and contemporary literature to their audiences, the ensemble performs chamber music, selected transcriptions, concerti and original full ensemble repertoire spanning five centuries.

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FAC U LT Y A R T I S T Ellington’s New World A’Comin’. Chertock has toured Asia with the Boston Pops, and the Cincinnati Pops Orchestra. His 2003 performance on the Cincinnati Symphony Orchestra’s recording of Petrouchka with Paavo Järvi turned in rave reviews in Gramophone and American Record Guide.

In 2005, Chertock performed Gershwin’s Concerto in F Major with Maestro Lockhart and the National Youth Orchestra of London.

Later that year, Chertock performed the world premiere of Jeux Deux for hyper-piano and orchestra by Todd Machover, commissioned by the Boston Pops expressly for Chertock.

MICHAEL CHERTOCK, PIANO Michael Chertock fashioned a successful career as a piano soloist, collaborating with conductors such as Keith Lockhart, Jack Everly, Robert Bernhardt, John Morris Russell, Thomas Wilkins, Carmon DeLeone and the late Erich Kunzel. His many orchestral appearances include solo performances with the Philadelphia Orchestra, l’Orchestre Symphonique du Montreal, the Toronto Symphony, the Dallas Symphony, the Atlanta Symphony, the Baltimore Symphony, the Naples Philharmonic, the Detroit Symphony, the Chattanooga Symphony, the Utah Symphony, the Oregon Symphony, the Indianapolis Symphony, the Louisville Orchestra and the Dayton Philharmonic.

Chertock has recorded John Alden Carpenter’s Concertino for Piano and Orchestra with the BBC Concert Orchestra, Abbey Road Studio; the Roger Davis Piano Concerto in F, with the Sofia Philharmonic; and the Rhapsodies of Piano and Orchestra of William Perry with the RTE Orchestra of Dublin, Ireland.

Chertock made his debut at the age of 17, performing the Rachmaninoff Piano Concerto No. 3 with Andrew Litton conducting. Chertock made his Carnegie Hall debut in 1999 with the Cincinnati Pops Orchestra, performing Duke

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Claude Gingras of La Presse, Montreal, said of pianist Michael Chertock: “Chertock revealed himself as a first-rate pianist and an interpreter of noticeable interest through the freshness that he brought to these familiar scores.... (he) displayed the sensitivity of a Chopin interpreter.” The Boston Globe, with guest critic Anthony Tommasini (currently chief music critic of the New York Times), called his playing “unmannered, zestful, and lovely.” The Cincinnati Enquirer has described Chertock’s playing as “intelligent and disciplined...noble... finely finished...expressive and well-controlled.” The Salt Lake City Deseret News said “Chertock...is a musical performer with an immense technical command of the piano.”

Chertock began conducting in 2001 when he stepped in for Maestro Carmon DeLeone in performances of Cincinnati Ballet’s The Nutcracker. Chertock is the conductor of the Blue Ash-Montgomery Symphony Orchestra, located in suburban Cincinnati, Ohio, and he frequently composes and arranges music for the orchestra’s concerts. He has conducted the Columbus Symphony (Ohio) and the Cincinnati Symphony in performances of The Nutcracker. In 2015, 2016 and 2017, Chertock conducted the State Symphony Orchestra of Moscow and the Moscow Conservatory Orchestra in programs devoted to the music of George Gershwin.

He has garnered numerous awards at major competitions, among them the top prize in the 1989 Joanna Hodges International Piano Competition (Brahms Division) and the grand

CCM ON STAGE WINDS

prize in the 1993 St. Charles International Piano Competition. He also shared the silver medal in the 1991 World Piano Competition of the American Music Scholarship Association.

He received the Rildia B. O’Bryon Cliburn Scholarship in 1986.

In 1994, Chertock released his first CD on the Telarc label, a collection of his original arrangements of music from movies entitled “Cinematic Piano.” American Record Guide said “(Chertock) plays beautifully, and Telarc’s lush sonics bathe the listener in an intoxicating wash of piano sonorities.” Local arts critic Janelle Gelfand called it “one of the most gorgeous discs of the summer,” citing his “elegant techniques...just the right poetic tone.”

The recording has sold more than 30,000 units worldwide. Since then, he has recorded three more discs with Telarc: “Palace of the Winds,” “Christmas at the Movies” and “Love at the Movies,” which have been praised for their lush, original arrangements and exquisite technical facility.

In 2004, Chertock joined the faculty of CCM, where he is currently chair of the Piano Department. Chertock makes his home in Mason, Ohio, with his wife Maaike, son Joshua and daughters Maria and Janneke.

Most Sundays you can find him playing piano and organ for services at St. Barnabas Episcopal Church.

CCM

TALENT FOR HIRE

PERFORMING ARTISTS FROM A TO Z AT YOUR SERVICE. From actors to zitherists, let the talented UC College-Conservatory of Music students and alumni add dazzle to your event!

Email requests to ccmplacement@uc.edu • 513-556-9481 • ccm.uc.edu/talentforhire

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CCM ON STAGE PLAYS Photo by Mark Lyons

DIVISION OF THEATRE ARTS, PRODUCTION AND ARTS ADMINISTRATION PRESENTS

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME A play by Simon Stephens Based on the novel by Mark Haddon

Oct. 17-20, 2019, Cohen Family Studio Theater

DIRECTOR

DIALECT COACH

Richard E. Hess

Sammi Grant*

PRODUCTION STAGE MANAGER

LIGHTING DESIGNER

Mallory Bruno

Alex Mason*

SCENIC DESIGNER

SOUND DESIGNER

Seth Howard*

Travis Byrne*

*CCM Student

The Curious Incident of the Dog in the Night-Time is presented by special arrangement with Dramatists Play Service, Inc., New York.

The Curious Incident of the Dog in the Night-Time was ďŹ rst presented by the National Theatre, London at the Cottesloe Theatre on August 2nd 2012 and transferred to the Gielgud Theatre, West End, London on March 12th 2013.

The Play opened in the USA at the Ethel Barrymore Theatre on October 5th 2014.

This Play is presented by kind permission of Warner Bros. Entertainment.

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CCM ON STAGE PLAYS DIRECTOR’S NOTE

BY Richard Hess When Christopher loves something, like planning to be an astronaut, he says it would be a “dream come true.” I am so eager for you to meet Christopher John Francis Boone.

Christopher is a hero on a hero’s journey. He teaches us about courage, about resilience, about curiosity and about hope.

He is simple in his needs and wants, and he stirs complex feelings and emotions. Christopher likes dogs, red cars, prime numbers, the color red and his rat Toby. He dislikes people, jokes, being touched, being shouted at, dead

animals and the colors yellow and brown.

Christopher also loves murder mysteries and being a detective: “There is always something new to discover, and all of the facts that you take for granted can be completely wrong.”

This play is a revelation, a magical journey to the heart. When I grow up I want to be as brave as Christopher — and as smart. Welcome to our murder mystery. Welcome to London. Welcome to our curious incident of the dog in the nighttime. It is a dream come true.

T H E C O M PA N Y CHRISTOPHER SIOBHAN ED JUDY VOICE ONE, MRS. SHEARS, MRS. GASCOYNE, WOMAN ON TRAIN, SHOPKEEPER VOICE TWO, ROGER (MR. SHEARS), DUTY SERGEANT, MR. WISE, MAN BEHIND COUNTER, DRUNK ONE VOICE THREE, POLICEMAN, MR. THOMPSON, DRUNK TWO, MAN WITH SOCKS, LONDON POLICEMAN VOICE FOUR, REVEREND PETERS, UNCLE TERRY, STATION POLICEMAN, STATION GUARD VOICE FIVE, NO. 40, LADY IN STREET, INFORMATION, PUNK GIRL VOICE SIX, MRS. ALEXANDER, POSH WOMAN

Jabari Carter Amanda Nelson Gabe Nasato Sierra Coachman Chandler Bates Noah Buyak Reid Robison Frankie Chuter Kayla Temshiv Michelle Jardine

T H E P L AC E A N D T I M E SWINDON AND LONDON, ENGLAND, AND THE PLACES BETWEEN, PRESENT DAY. The Curious Incident of the Dog in the Night-Time will last 2 hours and 35 minutes, including a 10-minute intermission.

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SPONSORS AND PARTNERS CCM RECOGNIZES AND THANKS THE FOLLOWING CORPORATIONS, FOUNDATIONS AND INDIVIDUALS FOR THEIR GENEROUS SUPPORT OF

$10,000 AND ABOVE: Louise Dieterle Nippert Trust Scholarship and Resident Artist Sponsor The Andrew W. Mellon Foundation CCM/CSO Diversity Fellowship Sponsor The Corbett Endowment at CCM Dance Department Supporter All-Steinway School Sponsor ArtsWave H. Wayne Ferguson Family Foundation Louise H. & David S. Ingalls Foundation, Inc. Community Partners The Joseph and Frances Jones Poetker Fund of the Cambridge Charitable Foundation, Ritter & Randolph, LLC, Corporate Counsel Visiting Artists & Thinking About Music Sponsor Dr. & Mrs. Carl Fischer Macy’s CCMONSTAGE Production Sponsors

Elizabeth C. B. & Paul G. Sittenfeld Musical Theatre Showcase Sponsor Genevieve Smith Opera Production Sponsor Anonymous Estate of Mr. William A. Friedlander Mrs. William A. Friedlander Dr. Randolph L. Wadsworth Mr. & Mrs. J. David Rosenberg Mr. & Mrs. Harry H. Santen Elizabeth C. B. & Paul G. Sittenfeld Mr. & Mrs. Thomas E. Stegman Dr. & Mrs. Theodore W. Striker Mrs. Harry M. Hoffheimer Ariel Quartet Sponsors Jan Rogers Willard and Jean Mulford Charitable Fund of the Cambridge Charitable Foundation Choral Studies Sponsors Ms. Margaret A. Straub & Mr. Neil R. Artman Collaborative Piano Sponsor Robert & Debra Chavez Three Arts Scholarship Fund DIGS CCMpower Partners

Mr. & Mrs. Joseph W. Hirschhorn Orchestral Sponsor Mr. & Mrs. James L. Miller Musical Theatre Production Sponsor Graeter’s Ice Cream Greg Mathein Musical Theatre Performance Sponsors Trish & Rick Bryan CCMpower The CCM Harmony Fund: Challenging Hate and Prejudice through Performing Arts The Otto M. Budig Family Foundation The Carol Ann and Ralph V. Haile, Jr./ U.S. Bank Foundation Jeff Thomas Catering Event Sponsors Rafael & Kimberly Daniel de Acha Foundation Voice Sponsor The Sarah Marvin Foundation for the Performing Arts Classical Guitar Sponsor

STAY The CCM Alumni Network www.alumni.uc.edu/ccm

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$50,000 to $999,999

Anonymous Alvin and Jean Crawford **Louise Guthman Nancy Jones and Dick Sippel **William Jorgensen **Michael McGiffert Terence G. Milligan Nancy and Ed Rosenthal Dorothy Richard Starling Foundation Steve Waxler **Tom Zumwalt

$25,000 to $49,999

Anonymous (2) The Otto M. Budig Family Foundation Macy’s Peter Ramsey and Isabel Phillips Mr. and Mrs. J. David Rosenberg Dr. Randolph L. Wadsworth Bertha Langhorst Werner Trust Donna B. & Stanley A. Wernz

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Paul and Carol Perlstein Michael and Barbara Porte Wym and Jan Portman Jeffrey and Terry Potts Tolli Pugh Thomas and Halle Quinn Chip Montrose and Margaret Reich Anne Cushing-Reid and William Reid M.B. Reilly Hera Reines Greg Riessinger Lucille Rossignol Scott and Carol Russell Steve Schaeffer Margie and Alan Schneider Leigh Selby Matt and Becky Serra Victor Servedio Joseph and Molly Shane Jeff and Mary Sheldon John and Ronnie Shore Randy Slovin Jaymi Smith Patricia Snyder Clark and Ellen Sole Jay Springer Carol Steger Mary and Rodney Stucky Kathy Teipen Dale and Fran Tesmond Gregg Thaller Conrad Thiede Beverly Thomas Samuel and A. Joan Trust Thomas Umfrid and Philp Tworek Todd and Colleen Valli Heather and Andrew Vecellio Vincent Lighting Systems Kathy Wade-Jenkins James Wallace Vic and Ann Warner Mallory Waters Barbara Rogers and Richard Weis John and Amy Whitaker Jim and Allison Wilt Thomas Wrobel Yeomin Yun Alan and Karen Zalta Robert and Angi Zoglio David and Myra Zoll

$100 to $249

David Adams Harold Adams Roger and Betty Aerni David and Ann Alden Sandra Alekson David Alex and Ginger Clark Matthew Alexander Asif Alikhan Inez Allen Anthony T. Cebriak Gary and Gina Anaple Matthew and Cheryl Anderson

Paule Steichen Asch Bruce Atwell Mark Avery Todd and Ann Bailey Oliver and Joan Baily Bryan and Kimberly Baldasare Jim Baldwin and Alexis Buchanan Bob and Janet Banks Henrietta Barlag Jessica and Bob Baron John Battagliese Julie Baughman Martha Bawn Douglas Becker and Lisa Ripley Becker Amy Beegle Charles Bennington Dolores Berish Glenda and Malcolm Bernstein John M. Betz Peter and Marlis Bissman Frances Black Bert and Dorothy Blair Betty and Dave Blasius Gifford Blaylock and Anne Reed Barbara and Tom Boat Ralph and Elizabeth Boire Robert Bononi Dave and Elaine Borsheim Bruce and Nanette Borton Bruce Boyd Sue and James Boyd Jim and Robin Brewer Peter and Charlin Briggs Matt Brittain Robert Brockman Cynthia Bronner Bill and Marilyn Brown Mike Bucher Ruth Ann Bumiller Amy Bunger Laura Burroughs Kelly and Anna Byars Frank and Jane Caccamo Madeline Caldemeyer Rachel Calin Clare Callahan Debbie Campbell William Carroll Doug and Sandy Carter Mark and Eileen Cason Anthony and Judy Cebriak Jim and Eileen Chalfie Michael and Maaike Chertock James and Connie Chesebrough Leslie Chiu James Cissell Daniel Clark Sue and Tim Clarke Greg and Kathleen Cleary Penny Cobau-Smith and Jeff Smith Julanie Collier Lee Suzanne Collins Carol J. Conway Yegerlehner

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GIFT PLANNING HONOR ROLL WE WOULD LIKE TO RECOGNIZE THE FOLLOWING INDIVIDUALS

WHO HAVE MADE THE DECISION TO INCLUDE CCM IN THEIR PLANNING. It is with deep appreciation that we express gratitude to these donors for their loyalty and support.

To those who chose to share their intentions during their lifetime, the University of Cincinnati Foundation extends an invitation to join the Herman Schneider Legacy Society as a way to recognize this enduring legacy of generosity. For more information on gift planning opportunities, please contact the CCM External Relations Office at 513-556-2100.

Mary Lu & Richard Aft Estate of Eleanor Combs Moore Allen Estate of Mary E. Andrews Mr. Neil R. Artman & Ms. Margaret L. Straub The Marian C. Atkins Scholarship Fund **Mr. Robert A. Atterton James P. Baldwin & Alexis L. Buchanan Ms. Henrietta Barlag Thomas & Jeanne Baur Dr. Aubrey Berg Estate of Beatrice A. Bowen Thomas W. Busse Charitable Trust Estate of Martha Carden Mrs. Joan Cavally A.B. Dolly & Ralph Cohen Foundation Estate of Patricia A. Corbett Estate of Kate Cornish Estate of John V. Crable Estate of Agnes Z. Daehn Estate of Betty J. Dannenfelser Kimberly Daniel de Acha & Rafael de Acha Ms. Amy F. Dennison **Mr. Robert A. Deshon Estate of Rowland E. Dietz Ms. Beth S. Dochinger Estate of Luba Dorman Estate of Paul M. Dunkle Estate of Helen T. Ehlers Mr. Donald P. Ehrhart Estate of Franklin L. Folger Estate of Katherine Raber Foote Mr. James A. Foxworthy Mr. Steven L. Franks Estate of William A. Friedlander Miss Roslyn Friedman Mr. Frederic Gahr Estate of Charles Gausmann Mr. & Mrs. Charles George Mrs. Gloria I. Giannestras

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**Mrs. Bernyce W. Golden Mrs. Barbara Haye Goosman **Miss Louise Guthman Estate of Charles Haley Estate of Adeline Harris John L. Harrison Estate of Maxine G. Harrison Ms. Vaughan H. Hedrick Estate of Helen C. Heldman Estate of Jerome A. Heldman **Dr. Earl L. Henry, Jr. Estate of Evelyn V. Hess Mary Pat Hester Iris L. Hunt Trust Mrs. Jean Irving Carolyn T. Johnson Trust Estate of Marcus Jordan **William Jorgensen Mr. Mace C. Justice Mr. James C. Kautz **Mrs. Dorothy E. Kemp Estate of William H. Koch **Dr. William E. Kuhn Mr. Peter E. Landgren Estate of Olive M. Laubenthal Gregory Marks Estate of Jean L. Martin Estate of Joan E. Matuska **Mr. Michael McGiffert Estate of Ruby Mercer Terence Milligan, DMA Mr. Akila J. Misali Mittlestat Family Trust Leo Munick, MD Estate of Jeanette K. Nieman Estate of William L. Nimmo Estate of Louise Nippert Patricia Nott J. Brett Offenberger & Douglas E. Duckett **James D. Ogle, PhD Estate of Margaret Ohanian **Mr. Maurice E. Oshry **Mrs. Emily S. Paulson

**Mrs. Eleanor G. Payton Ms. Jesselyn G. Peagler **Mr. William H. Phelan Estate of Helen M. Philippe Estate of Dana O. Ragsdale Estate of Jean S. Reis Mr. Edward J. Requardt Dorothy Riddinger Trust Estate of George Rieveschl Estate of Mae A. Rinehart **Mrs. Lyda C. Robison Estate of Gregory Rodgers **Mrs. Jeanne W. Royston Estate of Marie Runkle **Mr. F. Paul Rutledge Dr. Stephen G. Schaeffer Estate of Ruth I. Schafstall Mrs. Zelma J. Schulman Estate of Betty J. Seinsheimer Dr. Edmund Shay Estate of Marifrances Shump Estate of Paul L. Silverglade Estate of Andrew D. Smith Mr. Daniel B. Stauft Mrs. John J. Strader IV Estate of Inelda Tajo Margaret Tangeman Trust Estate of Margaret B. Taylor Clara H. Teller Trust Mr. William Todd Estate of James F. Truitte Estate of Jack M. Watson Mr. Steve Waxler **Miss Pamela R. Weaver Estate of Helen F. Weinberger Bertha Langhorst Werner Trust Estate of Beverly K. Whiteley Estate of Louise S. Wilshire Estate of Lawrence Winchester **Mr. J. Thomas Zumwalt, Jr. **Deceased

CCM FACULTY AND STAFF FULL-TIME FACULTY Stephen Allee, Assistant Professor of Jazz Studies Timothy Anderson, Associate Professor of Trombone Quinn Louise Ankrum, Assistant Professor of Voice Craig Bailey, Assistant Professor of Music in Jazz Saxophone Thomas E. Baresel, Professor of Voice Daniel Batchelder, Visiting Assistant Professor of Musicology Amy C. Beegle, Associate Professor of Music Education Scott Belck, Professor of Jazz Studies David C. Berry, Professor of Music Theory Dror Biran, Associate Professor of Piano Rebecca Bromels, Arts Administration James Bunte, Professor of Saxophone and Division Head of Performance Studies Russell D. Burge, Professor of Percussion Kevin F. Burke, Professor and Division Head of E-Media Steven J. Cahn, Professor of Music Theory Rachel Calin, Associate Professor of Double Bass Deirdre Carberry, Resident Dance Choreographer/Ballet Michael Chertock, Professor of Piano Michelle Conda, Professor of Piano and Division Head of Keyboard Studies James Culley, Professor of Percussion Ran Dank, Assistant Professor of Piano Vincent DeGeorge, Weinberger Chair, Musical Theatre/Opera Performance Peter DePietro, Professor of Electronic Media Gwendolyn Detwiler, Associate Professor of Voice Jennifer Doctor, Associate Professor of Musicology Amit Even-Tov, Assistant Professor of Cello/Ariel Quartet member Susan Felder, Acting/Movement Stephen Ferre, Assistant Professor/ Educator of General Studies Michael D. Fiday, Professor of Composition Stefan Fiol, Associate Professor of Ethnomuiscology

Eva Floyd, Associate Professor of Music Education Thomas Gamboa, Assistant Professor of Wind Studies Gershon Gerchikov, Assistant Professor of Violin/Ariel Quartet member Mark Gibson, Professor and Director of Orchestral Studies Betty Anne Gottlieb, Associate Professor/Educator of Music Education Kenneth R. Griffiths, Professor of Collaborative Piano Roger Grodsky, Musical Theatre Vocal Coach/Conductor Jan Grüning, Assistant Professor of Viola/Ariel Quartet Robin Guarino, Professor of Opera Thomas A. Haines, Professor of Commercial Music Production Mark Halpin, Resident Scenic Designer Jean Hamilton, Arts Administration Department Director Yehuda Hanani, Professor of Violoncello Donald A. Hancock, Assistant Professor of E-Media John M. Hebbeler, Assistant Professor of E-Media Margaret M. Helmuth, Professor of Composition Richard E. Hess, Professor of Acting Kevin Michael Holzman, Director of Wind Studies and Interim Division Head of Performance Studies Sharon Huizinga, Assistant Professor of Lighting Design Jiang Qi, Professor of Dance Jeongwon Joe, Associate Professor of Musicology Amy S. Johnson, Associate Professor of Voice k. Jenny Jones, Acting/Movement, Stage Combat Michele Kay, Chair of Theatre Design and Production Department/ Stage Management Alexandra Kazovsky, Assistant Professor of Violin/Ariel Quartet member Kathleen Kelly, Associate Professor of Opera Coaching Roger Klug, Associate Professor/ Educator of General Studies

Douglas Knehans, Professor of Composition/ Norman Dinerstein Professor of Composition Scholar Jonathan Kregor, Professor of Musicology Diane Lala, Interim Department Chair of Musical Theatre Soyeon Kate Lee, Associate Professor of Piano Catharine Carroll Lees, Professor of Viola Marie-France Lefebvre, Opera Coach Hagit Limor, Professor of Electronic Media Scott Linford, Assistant professor of Musicology Patricia Linhart, Voice/Musical Theatre Donna H. Loewy, Professor of Collaborative Piano Cristina C. Losada, Professor of Music Theory Karen Lykes, Professor of Voice Demarre McGill, Associate Professor of Flute William McGraw, Professor of Voice Stephen Meyer, Professor of Musicology Dean Mogle, Resident Costume Designer Samuel Ng, Associate Professor of Music Theory Timothy Northcut, Professor of Tuba and Euphonium Mark S. Ostoich, Professor of Oboe John Owens, Associate Professor of E-Media Lorin Parker, Assistant Professor of E-Media Matthew Peattie, Associate Professor of Musicology Kimothy C. Pensyl, Professor of Commercial Music Production and Division Head of General Studies Ann M. Porter, Professor of Music Education and Division Head of Music Education Awadagin Pratt, Professor of Piano and Artist-in-Residence Holly Pratt, Associate Professor/ Educator of General Studies Aik Khai Pung, Assistant Professor of Orchestral Studies Alan Rafferty, Assistant Professor/ Educator of Violoncello Earl Rivers, Professor of Music/Director of Choral Studies Sandra Rivers, Professor of Collaborative Piano Miguel Roig-Francolí, Professor of Music Theory and Composition Brant Russell, Acting/Script Analysis/ Artist in Society/Director

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61

CCM FACULTY AND STAFF Kurt Sassmannshaus, Professor of Violin Giora Schmidt, Assistant Professor of Violin Brett Scott, Professor of Choral Studies Ted Seaman, Dance Accompanist Christopher Segall, Associate Professor of Music Theory Rebecca Senske, Associate Costume Designer Kenneth Shaw, Professor of Voice Stirling Shelton, Technical Director Alan Siebert, Professor of Trumpet D’Arcy Smith, Voice Production/ Vocal Coach and Chair of Acting Department Shauna Lynne Steele, Associate Professor of Dance and Dance Department Chair Kristy Swift, Visiting Assistant Professor/Educator Michael Tevlin, Resident Dance Choreographer/Ballet Matthew Tibbs, Resident Sound Designer James Tocco, Professor of Piano Regina Truhart, Costume Technology Denise Tryon, Associate Professor of French Horn

Thomas C. Umfrid, Resident Scenic Designer Michael Unger, Associate Professor of Organ and Harpsichord Andrew Villemez, Assistant Professor/Educator of Piano Paul Weeks, Professor of Voice Mark C. Williams, Lighting Technology and Design Won-Bin Yim, Associate Professor of Violin Denton Yockey, Division Head, TAPAA/Executive Producer Kelly Yurko, Resident Make-Up and Wigs Designer FULL-TIME STAFF Stanley E. Romanstein, Dean and Thomas James Kelly Professor of Music Stephanie P. Schlagel, Associate Dean for Academic Affairs and Director of Graduate Studies John Martin, Assistant Dean of Preparatory and Community Engagement Kenneth D. Allen, E-Media Technical Production Manager Michael J. Blankenship, Resident Scenic Artist

Angelika Bonyhati-Kovacs, Dance Accompanist Clarence M. Brown, Computer and Information Analyst I Rebecca Butts, Assistant Public Information Officer Joshua Chal, Academic Adviser Olivia Coletta, Assistant Director of Development and External Relations David Colussi, Computer User Support Specialist I Colleen Condit, Program Manager, Dance Anne Cushing-Reid, Director of Engagement, Special Programs and Partnerships Amy Dennison, CCM Prep Director of Education Rayburn Dobson, Senior Director of Performance Operations Stephanie Dumais, Assistant to the Dean Gregory S. Falcione, Resident Master Electrician Takako Frautschi, Performing Arts Specialist Miriam Gaines, Program Manager of Performance Management Joyce Chan Grabell, Performing Arts Specialist

CLASSES BEGIN SOON

“I love learning new things!”

Enjoy classes for adults age 50+ in a wide range of topics MUSIC | OPERA ART | THEATRE HISTORY | LITERATURE FINANCE | SCIENCE TECHNOLOGY

and more!

Classes in East Walnut Hills, Amberley, College Hill, Batavia, and other locations

uc.edu/ce/olli 513-556-9186 62

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Mikki Graff, Graphic Designer Rose Hensley, Program Manager of Ensembles and Conducting Thomas J. Hizer, HR Manager Tondra Holt, Assistant to the Associate Dean Jonnie Lynn Jacobs-Percer, Dance Instructor/Ballet Eric Louie, Scheduling Manager Colin MacGeorge, Multi-Media Coordinator Lauren Beth Magee, Program Coordinator, Registrar and Student Accounts for CCM Prep Steven McConnell, Business Manager John McDonagh, Director of Facilities and Performance Services Darlene Miller, Executive Staff Assistant for Composition, Musicology and Theory Kathryn Miller, Resident Properties Artisan Steve Miller, Associate Director of Theatre Operations Sarah Mizelle, Director of Development and External Relations Laura Molander, Theatre Costume Draper

Susan Morrison, Costume Shop Manager Deborah Neiheisel-DeZarn, Program Manager of TAPAA Kandice Odister, Admissions Program Manager Claudia C. Penn, Executive Staff Assistant of Performance Studies Mandy Powell, Production Manager and Financial Administrator for TAPAA Patricia Rencher, Senior Academic Advisor Rashad Robinson, Computer User Support Specialist I Jeanne Rose, Box Office Manager Erin Elaine Smith, Academic Adviser Simón Sotelo, Director of Recording Production Douglas Sutton, Dance Accompanist Alison Tritschler, Financial Administrator Senior Karen Tully, Senior Director of Development and External Relations Jennifer Vanlandingham, Program Coordinator of E-Media Curt Whitacre, Director of Marketing and Communications Rebekah Whitacre, Piano Technician Diane White, Business Officer

Kyle Wichman, Scene Shop Foreman Trina Williams, Program Coordinator for Academic Affairs Eric Wolfley, Director of Piano Services Suzanne Wright, Executive Staff Assistant for Music Education and Keyboard Studies Nozomi Yamaguchi, Performing Arts Specialist Jody York, Procurement Coordinator

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63

GENERAL INFORMATION CCM BOX OFFICE: Located in the CCM Atrium, the Box Office is open Monday through Friday, 12:30-6 p.m.; Saturday, noon-4 p.m.; and one hour prior to curtain for all ticketed performances.

MasterCard, Visa and Discover cards are accepted. CCM Box Office, P.O. Box 210003, Cincinnati, OH 45221-0003; 513-556-4183.

PARKING: Convenient parking is available in the CCM Garage at the base of Corry Boulevard off of Jefferson Avenue. Additional parking is available in garages throughout the UC campus. Any questions concerning on-campus parking should be directed to UC Parking Services at 513-556-2283.

TAX CREDIT: If you find that you cannot attend your performance, your tickets may be donated for tax credit as a charitable contribution. Simply notify the Box Office prior to the performance to release your seats, and give your name and address. A tax donation receipt will be mailed to you.

EMERGENCY CALLS: If you are likely to receive an emergency call during a performance, please leave your name and seat location with the House Manager. If you have a beeper, we also request that you leave it with the House Manager along with your seat number so as not to disturb the audience and performers. In case of emergencies, this will help us locate you as quickly as possible.

LOST AND FOUND: 513-556-9413 HOUSE POLICIES: The House Manager has been instructed to minimize the disturbance to patrons already seated when accommodating latecomers. The director and producer of each production select times that are least likely to interrupt the performance, and latecomers will be seated only during these times. Latecomers who miss these opportunities will not be admitted until intermission. Children under the age of 6 will not be admitted.

prohibited. Please leave them with the House Manager.

SMOKING AND REFRESHMENTS:

Smoking and refreshments are not permitted in the theater. Effective May 1, 2017, smoking and tobacco use (including chewing tobacco and electronic cigarettes) shall be prohibited by students, staff, faculty, visitors, vendors and contractors at all times in or on University of Cincinnati properties, including events on university property during non-school hours. This includes all shelters, indoor and outdoor theaters and athletic facilities, bridges, walkways, sidewalks, residence halls, parking lots, and street parking and garages owned by the university.

HEARING ENHANCEMENT: Telex listening devices are available for checkout during performances in both Patricia Corbett Theater and Corbett Auditorium. Please inquire at the Box Office.

WHEELCHAIR SEATING: Wheelchair seating is available in both Corbett Auditorium and Patricia Corbett Theater. Seating is limited, so reservations should be made with the Box Office when ordering tickets. These seats are subject to availability.

GROUP SALES: The Box Office can accommodate groups for major productions and concerts. Preview and benefit performances are also available for some productions. For more information, call the CCM Box Office at 513-556-4183.

CCM ONLINE: ccm.uc.edu JOIN THE CCM FACEBOOK COMMUNITY: www.facebook.com/

UCCollegeConservatoryofMusic

FOLLOW CCM ON TWITTER:

twitter.com/uc_ccm VIEW CCM ON INSTAGRAM:

instagram.com/uc_ccm READ THE CCM VILLAGE NEWS BLOG:

CAMERAS, PHONES AND RECORDING DEVICES: The use of

cameras, with or without flashes, recording devices, cellular phones and other electronic devices inside the theater is

64

APPLAUSE ccm.uc.edu

ccmpr.wordpress.com The purpose of these performances is educational, and they are part of a University of Cincinnati academic program.

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Cincinnati’s Original Classical Solo Recital Series Join Us in Our

107TH SEASON!

ASHLEY HALL

ALBERT CANO SMIT

Sun, Sept. 22, 2019

Sun, Oct 20, 2019

3 PM | Memorial Hall

3 PM | Anderson Center

TRUMPET

PIANO

7850 FIVE MILE ROAD

• Principal Trumpet of the Cincinnati Chamber Orchestra • Internationally renowned soloist, chamber musician and clinician • CCM graduate, with Artist Diploma from the Bard College Longy School of Music

“Amazingly clear, fast, fluid, light, playful, lyrical and precise trumpet playing” THE ROCHESTER POST-BULLETIN

• Awarded First Prize at the 2017 Walter W. Naumburg Piano Competition, 2015 International Piano Competition in Barcelona • At age 16 was the winner of the Special Prize for the Best Spanish Pianist in the prestigious Richard Viñes International Competition

“He plays the piano with the maturity of someone three times his age” JOHN ROWAT, CBC MUSIC

SEASON EXTRA RECITAL!

DOVER STRING QUARTET

NICOLE CABELL

CHRISTINA NAM

PENE PATI

Friday March 27, 2020

Sunday May 3, 2020

3 PM Memorial Hall

7:30 PM Memorial Hall

Sunday April 19, 2020

Sunday Nov. 17, 2019

SOPRANO

VIOLIN

3 PM Memorial Hall

TENOR

7 PM Memorial Hall

Memorial Hall • Over the Rhine Box Office 513-977-8838

MatineeMusicaleCincinnati.org