LISTEN DEPAUW SCHOOL OF MUSIC NEWSLETTER
SUMMER 2017
Cellist Yo-Yo Ma to Open Green Guest Artist Series B. Suzanne Hassler, editor, Listen and Listen Online The recipient of numerous awards reflecting his own growth as a musician, Ma first performed at the Green Center in 2011 as part of the campuswide tradition known as DePauw Discourse. In June 2015, after cutting the customary ribbon at the opening of the music school’s downtown venue, Music on the Square, he christened the space with a poignant, impromptu performance of the first movement of Bach’s Cello Suite No.1 — the first piece of music he ever learned.
The internationally revered cellist Yo-Yo Ma and the Civic Orchestra of Chicago are confirmed to open DePauw University’s 2017–18 Green Guest Artist Concert Series on Sept. 30. The performance will mark Ma’s third appearance at DePauw University. (Photo by Todd Rosenberg) Mark your calendars now! You will definitely want to catch the 2017-18 season opening concert of the Green Guest Artist Series on September 30, by the great cellist Yo-Yo Ma and the Chicago Civic Orchestra. The 7:30 p.m. performance in Kresge Auditorium — the soloist’s third appearance at DePauw — will be presented in conjunction with the board meeting for the School of Music’s 21st-Century Musician Initiative for which Ma serves as honorary chair. A promoter of global awareness and cultural understanding, an internationally revered artist, and a rock star in the
classical world, Ma has said he would like to find a word other than “classical” to describe this repertoire. The cellist suggests just saying “music.” “Bach, Mozart, Beethoven were some of the greatest improvisers of their time, and in fact, were renowned for what they were able to do. But then they also wrote things down… so I would have a template.” In Ma’s opinion, classical musicians are just good musicians, able to compose, to improvise and be virtuosic in what they do —including absorbing other influences and organically incorporating these ideas into their work for constant growth.
Earlier this spring, Sing Me Home, the companion CD to the feature-length documentary film The Music of Strangers, recorded with the cellist’s renowned Silk Road Ensemble, received the 2017 Grammy Award for Best World Music Album. This diverse group of international instrumentalists, composers and vocalists also returned to the DePauw campus this summer for the Third Annual Global Musician Workshop, May 30–June 5, 2017, which included a series of six free faculty and participant/artist concerts. Whether it is his presence as a performer or his vision for the future of music, Ma’s influence is deeply felt on the DePauw campus. For tickets to the upcoming Green Guest Artist Concert Series, stay tuned to music.depauw.edu. Sale of season passes and individual tickets will be announced in August. (Season highlights continue on page 2) Summer 2017 I 1
2017-18 Green Guest Artists In addition to Yo-Yo Ma, highlights of an all-star Green Guest Artist roster include: October 26, 2017: Gabriel Alegría, AfroPeruvian Jazz and Dance Company This high-voltage ensemble’s consistently inventive program of traditional AfroPeruvian music, transformed by Gabriel Alegría’s highly personal synthesis of folkloric rhythms and jazz, has led to a signature accomplishment: developing the band’s patented blend of deep scholarship and playfulness into a touring experience that conveys its vast knowledge of black music from coastal Perú as a way of life to its audiences. For this event, a vivacious company of Afro-Peruvian dancers will join Alegría on the Kresge stage (www. afroperuviansextet.com). November 15, 2017: Sybarite5 “Their rock star status…is well deserved. Their classically honed technique mixed
with grit and all out passionate attack transfixes the audience” is how the Sarasota Herald Tribune describes Sybarite5, the first string quintet ever to win the Concert Artists Guild International Competition. The ensemble has captured attention across the United States by forever changing the perception of chamber music performance. From the moment their bows hit the strings, this quintet of talented, diverse musicians takes the audience on an exciting ride that engages the senses and redefines the rules (sybarite5.org). February 21, 2018: Seraphic Fire Regarded as one of the preeminent professional vocal ensembles in the U.S., Seraphic Fire, led by founder and artistic director Patrick Dupré Quigley, brings top ensemble singers and instrumentalists from around the country to perform a repertoire ranging from Gregorian chant and Baroque masterpieces to Mahler and newly commissioned works by our country’s leading composers. Two of the ensemble’s recordings, Brahms: Ein Deutsches Requiem and A Seraphic Fire Christmas, were nominated for 2012 Grammy Awards,
making Seraphic Fire the only choral ensemble in North or South America to be nominated that year, and the only classical ensemble in the world to be nominated for two separate projects (seraphicfire.org). April 7, 2018: Imani Winds and Harlem Quartet “Passion for Bach and Coltrane” Extolled by the Philadelphia Inquirer as “what triumph sounds like,” the Grammynominated Imani Winds has carved out a distinct presence in the classical music world with its dynamic playing, culturally poignant programming, adventurous collaborations and inspirational outreach programs. With two member composers and a deep commitment to commissioning new works, the group enriches the traditional wind quintet repertoire while meaningfully bridging European, American, African and Latin American traditions. For the final Green concert of the season, Imani Winds will be joined by The Harlem Quartet, whose album Hot House, recorded with jazz master Chick Corea and percussionist Gary Burton, was a 2013 multi-Grammy Award-winner (imaniwinds.com and harlemquartet.com).
SFCM Appoints Kathleen Nicely Kathleen Nicely, a 1992 graduate of DePauw University, has been appointed Vice President of Advancement by the San Francisco Conservatory of Music (SFCM). Nicely, an established fundraising figure in the nonprofit and arts communities, came to SFCM from the United Way Bay Area, where she served as chief development officer. “I am honored to welcome Katie Nicely to our school and thrilled to have her lead our advancement efforts,” said SFCM president David H. Stull. “Katie builds exceptional teams, and her imaginative approach to development is evident in all aspects of her distinguished career. She is an inspiring advocate for music, and we are very fortunate to have her with us.”
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“I’m excited to return to musical pursuits,” said Nicely, who majored in music and communication at DePauw. “The San Francisco Conservatory is on the rise with a transformational capital project and with a very strong team in their faculty, staff, students and board. To play a part in improving the music students’ experience at SFCM is close to my heart, having worked on other capital projects in the arts and having majored in music myself. I’ve seen the power of how facilities can enhance the study of music and how it creates a stronger connection between the audience, performers and the community.” Nicely has also served in various roles for the San Francisco Symphony; was the director of development for Stanford
Lively Arts; campaign and development director for the Gallo Center for the Arts; and worked at University of Maryland School of Music, Folger Shakespeare Library, and Wolf Trap Foundation. Her new appointment began on April 24.
DesBiens and Richmond Receive Recognition Development Conference held in Fort Wayne, Ind. Jan. 12–14, 2017.
The Indiana Music Education Association (IMEA) recognized Sara R. DesBiens, a clarinetist and senior music education major at DePauw University School of Music, as an “Outstanding Future Music Educator.” The prestigious award, honoring the very best in collegiate music teacher education, was presented at the annual IMEA Professional
In April, Indiana Association of Colleges for Teacher Education (IACTE) designated DePauw music education major and cellist Graeme D. Richmond an “Outstanding Future Educator.” The senior was acknowledged during a special recognition event at the Ritz Charles in Carmel, Ind. This spring semester Richmond completed his student teaching in the orchestra program at North Central High School in Indianapolis under the guidance of the orchestra director, Craig Ghormley. Graeme was supervised in his student teaching by Ed Staubach, a retired orchestra director and part-time instructor at DePauw. Upon hearing of the recognition, Staubach commented, “I have observed Graeme’s fine work in the classroom and also watched him conduct
When learning about Sara’s award days prior to the conference, Professor Caroline Jetton, director of music teacher education, professor of music and associate dean of academics and advising at DePauw, noted, “Sara has been passionate about being a music teacher since her first semester at DePauw, and her interest has never waned. It has been a pleasure to watch her grow and blossom during her college career. She has the potential to be successful in a variety of music settings such as secondary instrumental music or elementary general music. I’m very proud of her and all that she has accomplished.” Jetton shared the news with Sara via e-mail, receiving word while on tour in England with the DePauw Chamber Symphony. She replied, “Receiving the Outstanding Future Music Educator
North Central High School orchestras at the ISSMA organizational contest. He worked with a master teacher at one of the finest orchestra programs in the state. And judging by how he interacts with the ensembles in the classroom, I do believe he will be equally as fine a teacher should he land a job that presents challenges in terms of participation and socio-economic situations.
award from IMEA this year has been an incredible honor. As a music education student, I have invested a lot in the pursuit of becoming a knowledgeable and effective music teacher. This distinction has made me proud of my work and ready to share my passion with future students! I would like to thank the School of Music faculty, my colleagues in music education, and my friends and family for their amazing support. I would especially like to thank my parents who fostered my love of music from an early age and gave me the opportunity to study at DePauw.” Sara completed her student teaching this spring semester in the band program at Plainfield Middle School in the Plainfield (Indiana) Community School Corporation under the supervision of Mike Cummings. She received her B.M.E. degree with a P-12 Instrumental/ General Music Education Emphasis in May 2017.
grateful to Dr. Caroline Jetton for not only nominating me for it, but also for welcoming me when I decided to become a music education major my sophomore year and for helping me complete the major in three years.”
“Here’s hoping he stays in Indiana,” Staubach added. Graeme completed his B.M.E. degree with a P-12 Instrumental/General Music Education emphasis and graduated from DePauw University in May 2017. After receiving the Outstanding Future Educator award, he noted, “It was a wonderful surprise, and the ceremony was informative and inspiring. I’m very
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DePauw Chamber Orchestra Tours the UK Orcenith Smith, director of DePauw University Orchestras resonant environment. The audience was beaming as I turned to look at them after each piece. Professor Nicole Brockmann’s fine viola playing, again, was beautiful and insightful, as it had been in its element each and every performance. The audience’s appreciation was truly heartfelt for us all after the concert as they came up and spoke at length about how impressed they were with our enthusiasm for music making. Even a retired string bass player from one of the London orchestras, provided his continuing praise in conversations with many of the students, Professor Brockmann and myself.
DePauw Chamber Orchestra performs at St. Michael’s Without in Bath on its 2017 Winter Term tour. As we flew over the Atlantic in midJanuary, having left London a few hours before, we could finally relax and celebrate the DePauw Chamber Symphony and its most recently completed tour, one to England. Playing in Oxford, Bath and two concerts in London, the orchestra was amazingly adept, adjusting to everything. This was one of the goals, of course — to learn the music so well that even at the top tempo, or in the most reverberant concert space, the micro adjustments would be breath-taking. Adjusting to jet lag, filling days with travel for concerts and sightseeing, this significant accomplishment is not lost on me. Further refinement was possible, and we demanded it of ourselves. We lived in the rich fabric of secure accomplishment and execution. A range of performance experiences also served to manifest the kind of development we hope for. The first, at Guy’s Hospital in London for a diverse audience of traditional attendees and those who were there for appointments at the hospital, put into perspective the idea of how music intersects with the patient. 4 I Summer 2017
BreatheArts.org, our concert sponsor, used us because of the therapeutic benefits and was ecstatic at having us. Never before had an orchestra of this size performed there. The audience stood and shouted bravo several different times during the concert (not just at the end)! They came up to the students afterward showering them with praise. Our second concert was at Morley College, a part of the Guildhall’s Centre for Young Musicians initiative. We performed the Haydn Sinfonia Concertante with four student soloists (violin, cello, oboe and bassoon) in the large rehearsal/performance space with very dry acoustics. We chiseled out a fifty-minute concert, which brought real energy and interaction with the youngsters, many of whom are just beginning to take lessons. The Head of the Saturday Guildhall Program, Geoffrey Harniess, talked after the concert praising the orchestra and wishing us well. Monday’s concert at St. Michael’s Without (outside the city wall) in Bath found the orchestra in an acoustically
Tuesday’s concert at Christ Church Cathedral in Oxford found us in a small transept filling the church with a dynamic playing they said they rarely if ever get, according to the vicar. The space, set up normally for chamber music, was overflowing with our sound by comparison, and the audience, which included tour groups wandering by, was again eager to come forward and tell us how “brilliant” the students’ performances had been. The students’ understanding of the music had been showing more and more in the previous concerts and their adjustments to this different acoustic brought a confident approach to tone where, a lovely protective color and sheen became enjoyable to produce, as they balanced to each other. The orchestra was finding its way as a flexible and expressive body, capable of accomplishing almost anything asked of it. That was a tremendous feeling for us all. My sense of the results was that everything was very well done, indeed. To a very high degree, this group of students “owned the music.” They “lived” the music and that brought a tremendous reaction from their audiences, an experience I believe they will always remember.
Chamber Singers to travel to South Africa in 2018 Kristina Boerger, director of DePauw University Choirs Through an affiliation between DePauw University Choirs and the organization Village Harmony, the School of Music is planning the first in a projected series of musical immersion trips through cultures with rich traditions of polyphonic singing.
local choral communities and sharing concert experiences with school choirs, church choirs and community choirs, also visiting sites of cultural and historical interest. The tour will culminate in the great South African city of Cape Town.
In Jan. 2018, the Chamber Singers will spend 18 days on a performing and learning experience, guided and taught by local experts in the phenomenon of South African choral singing.
Village Harmony’s legacy of supporting local experts to teach their traditions to visitors has done more than open the ears of Americans to unique, distant styles: it has been instrumental in helping local communities preserve their own music against the threat of global market forces.
The trip will begin with several days in rehearsal at a nature camp in the north. Students will spend this time polishing their own concert repertoire, learning a set of songs in a mixture of South African traditions, and studying the cultural and political history of the ethnic groups where the songs originated. Taking to the road, the group will travel south through several cities, residing in
When younger generations in a distant location see that the world outside keeps visiting to study their music, they receive a strong message that their elders’ traditions are beautiful and worthy to be perpetuated. Similar tour experiences are possible in other vocal-harmony hot-spots including
DePauw Chamber Singers in performance this spring at Gobin Methodist Church. Corsica, the Republic of Georgia, and Bulgaria — all potential locations for future tours of singers at DePauw University School of Music.
Four DePauw School of Music students — Amelia Smerz ’20, cello; Peter Kim ’17, cello; Jackson Bailey ’18, violin; and David Young ’20, voice — this year’s Concerto Competition winners, were selected from a field of 40 participants to perform as soloists with the University Orchestra on April 9, 2017. Summer 2017 I 5
Faculty News B. Suzanne Hassler, editor C. Matthew Balensuela, professor of music, has been named editor for the forthcoming Norton Guide to Teaching Music History (planned for 2018). His article “New Paths for Music History Pedagogy: Challenges for the Next Decade,” was published in Musica Docta 6 (2016): 27–31, https://musicadocta. unibo.it/article/view/6563/6360. He presented his research on the music theory manuscript Balliol 173A to the Unlocking the Archives Seminar, Balliol College, Oxford University in November 2016. During his recent sabbatical, he was a guest researcher at the Center for the History of Music Theory and Literature (CHMTL) at Indiana University. Assistant Professor Eliza Brown’s new string trio, Figure to Ground, received its world premiere in Philadelphia on Feb. 26, 2017, from Network for New Music, which commissioned the work. Her piece Fray, for mixed quintet, debuted in New York City at the DiMenna Center in March with Tilted Head ensemble. Chamber music by professor Brown will also be performed at two upcoming conferences: the John Donald Robb Composers’ Symposium in Albuquerque, New Mexico, and the Society of Composers, Inc. (SCI) National Conference in Kalamazoo, Mich.. Elissa Harbert, assistant professor of music, presented her paper, “‘History Is Happening in Manhattan’: Hamilton and History Musicals,” as part of the organized panel “Hamilton: Remixing the American Musical” at the Society for American Music annual conference in Montreal, Canada, on March 25, 2017. She was also named to the Society for American Music Conference Site Selection Committee. Professsor Harbert’s chapter “Stuart Ostrow: Experiments in Independence” was published in the Palgrave Handbook of
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Musical Theatre Producers, edited by Laura MacDonald and William Everett. The volume is the first collection dedicated to analysis of the work of musical theatre producers, and Harbert’s chapter is the first scholarship on Ostrow, who produced 1776, Pippin and other Broadway productions.
particular emphasis on changes brought about by the genre’s relatively recent arrival on the international music scene. With the presentation of this work, Sloan continues the research on Caribbean folkloric and popular music that she has pursued since her year as a Fulbright scholar in the Dominican Republic from 2000–2001.
Randy Salman collaborates with faculty percussionist Ming-Hui Kuo on Ocho Kandelikas. Kerry Jennings presented a master class at Walnut Hill School for the Arts in Natick, Mass., in October and a master class at the Classical Singer National Convention in Chicago, in May. Additionally, he has been hired to direct Die Zauberflöte for William Lewis School of Opera in Salzburg, Austria, this summer. Heather Sloan presented a paper and acted as a panel moderator at Seventh Congress of Caribbean Music, Identity, and Culture (VII Congreso de Musica, Identidad y Cultura del Caribe), held April 7–9, 2017, in Santiago, Dominican Republic. The topic of this year’s panCaribbean Congress was “Bachata and Strings in the Musical Expressions of the Caribbean” (Bachata y cuerdas en las expresiones musicales del Caribe). The research for this presentation explores past and current representations of AfroDominican women in the Dominican popular music form bachata, with
Professor Randy Salman had four articles published this year in The Clarinet: “Basin Street Has the Blues,” Vol. 44, No. 1 (December): 37–38; “Follow the Stick,” Vol. 43, No. 4 (September): 73–74; “Where’s the Melody?” Vol. 43, No. 3 ( June): 22–23; and “A Tribute to Our Heros, One and All” Vol. 43, No. 1 (December): 24–25. As a tribute to composer David Baker, who passed away on March 26, 2016, he performed the first movement of Baker’s Concerto for Jazz Alto Saxophone and Orchestra as guest soloist with Lafayette Symphony on Nov. 5, 2016. Caroline B. Smith, professor of music and voice area coordinator, gave master classes in Indianapolis and in Louisville, Kentucky, for Youth Performing Arts School (YPAS) working with high school vocalists. She, along with colleagues Pamela Coburn and Kerry Jennings, also gave a master class for DePauw Audition Prep Day.
A Week with Superhero Christopher Theofanidis Carla Edwards, Music of the 21st Century festival coordinator and professor of music I believe that composers are the coolest people on the planet. They paint life on a musical canvas in a language that is understood across cultures. They are the ultimate musical superheroes! For one week every year, through the generous support of 1969 DePauw graduates Robert A. and Margaret A. Schmidt, the School of Music students, faculty and staff are able to spend time with a superhero. As coordinator of the Music of the 21st Century festival for the past four years, I believe I have the best job ever. Every year, I see the School of Music coming together: faculty choose the artist; we fill the library with new music by the composer; everyone gets to know the works; and we all prepare music to be presented on various concerts. This year, from Feb. 28 to March 3, 2017, our guest composer was Christopher Theofanidis. Chris arrived on campus ready to rock ’n roll. He started on Monday morning and worked all day into the evening with students, faculty and ensembles. He talked about his work; he coached everyone in the details of his music; and he started giving us a glimpse into his world. The schedule continued all week long, with coaching
Composer Chris Theofanidis coaches students and faculty on scenes from his opera Heart of a Soldier. sessions, classroom visits, interviews and lessons. He was tireless, energetic, warm, effusive and interesting, and he shared his inspirations every day. One such inspiration was his piece, Flow, my tears, written as a memoriam to one of his composition professors. As he coached and discussed the piece with violin student Mei Fujisato, I could see her connecting to his music and to the story. That personal connection is what all musicians hope for… to live in the mind and heart of the superhero. It was a beautiful moment. Those beautiful moments happened all week long. Christopher and his music
Mei Fujisato ’18 performs “Flow, my tears” for the Music of the 21st Century chamber concert.
brought out the best in everyone, and I could see and hear the joy the performers were experiencing during the rehearsals. The culmination of the week occurred on Thursday and Friday evenings, when the faculty and students performed the works they prepared. I have the unique vantage point of sitting with the composer during these concerts and watching the reaction to the performances. I can’t imagine what it is like to hear selections of your works performed, but if Christopher’s reactions were any measure, he was thrilled and moved. The week ended with a final reception that was full of laughter, pictures and celebration — no one wanted Christopher Theofanidis to leave. No one ever wants the composer to leave. I have been so fortunate to work with four superheroes at DePauw: John Corigliano, Roberto Sierra, Gabriela Lena Frank and Christopher Theofanidis. I attended every lesson, coaching, rehearsal and performance for each composer. Coordinating the festivals has been a highlight of my musical career at DePauw University. As I get ready to retire and hand the Music of the 21st Century reins off to Eliza Brown, I am most grateful for the amazing memories. Thank you students, colleagues and a special thanks to my heroes. Summer 2017 I 7
Student News Tabatha C. Hickey ’18, editor
In Memoriam Lifelong music educator Jane P. Irwin passed away on May 7, 2017, after an extended illness. She was the wife of late baritone Stanley Irwin, who served on DePauw School of Music voice faculty for 33 years from 1975 to 2008. Born in Oklahoma City on Feb. 13, 1946, Jane Irwin was a 1964 graduate of Ponca City High School in Oklahoma.She received both her undergraduate degree and her Master of Music degree from Southern Methodist University in Dallas, graduating in 1969. A frequent and supportive presence at faculty and student music events at the Green Center for the Performing Arts, she was also a member of the International Chapter P.E.O. Sisterhood and past president of the CB chapter; a member of Zeta Tau Alpha Sorority at Southern Methodist University; and an honorary member of the professional organization Delta Kappa Gamma Society International. Her family has requested that memorial gifts be directed to the Jane P. and Stanley R. Irwin Music Scholarship Fund, DePauw University, P. O. Box 37, Greencastle, Indiana 46135.
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Blake C. Beckemeyer ’18 (tenor, five-year double-degree plan, Bachelor of Music and Bachelor of Arts in Mathematics) won the Kalamazoo Bach Festival’s 17th Annual Young Vocalist Competition and Genevieve W. Connable Prize. He performed a featured scene in DePauw’s Music of the 21st Century festival and was selected for membership in the Indiana Alpha Chapter of Phi Beta Kappa. Blake was also awarded a position with the prestigious 2017 Art Song Institute at SongFest in Los Angeles, where he will work this summer with composers John Harbison, Jake Heggie, Libby Larsen and John Musto. He is a student of professor Caroline Smith. Riley Y. Bernardi ’19 (flute, Bachelor of Music with a second major in Spanish), a student of Anne Reynolds, was awarded a grant from the Friends of Flutes Foundation to travel with the DePauw Chamber Orchestra on its 2017 Winter Term tour to London, Bath and Oxford. Mary A. Buckingham ’20 (soprano, Bachelor of Music track) performed on a master class led by William Lewis and Frédérique Added from the FrancoAmerican Vocal Academy (FAVA) and debuted as Jennie Hildebrand in the DePauw Opera production of Street Scene. She will perform the role of Claudine in FAVA’s production of La fille du tambour this summer. Mary studies with professor Caroline Smith. Emily Chen ’18 (piano, Bachelor of Musical Arts with French and English Literature Minors) was awarded second prize for “Best Mozart Performance” in the Great Composers Competition series. Emily studies piano with professor May Phang and voice with Barbara Paré. Elise F. Daniells ’19 (soprano, Bachelor of Music) has been awarded the lead role of Stella in FAVA’s summer production
of La fille du tambour. At DePauw, Elise was one of six voice majors selected to perform in the master class given by Green Guest Artists Frederica von Stade and Laurie Rubin. She studies with professor Caroline Smith. Kimberly N. DeBusschere ’17 (soprano, Bachelor of Musical Arts), a student of professor Caroline Smith, will attend Florida State University next year for her master’s degree in music therapy. She spent the fall 2016 semester studying abroad in Wales and was selected to perform an opera scene for Music of the 21st Century in the spring. Logan A. Dell’Acqua ’18 (baritone, Bachelor of Music) qualified this semester as one of six finalists in the Dayton Opera Guild’s Tri-State Opera Competition and was chosen as a semi-finalist for the Orpheus National Vocal Competition. At DePauw, he was selected to work in the master class with guest artists Frederica von Stade and Laurie Rubin and performed as lead baritone, Frank Maurrant, in the spring production of Street Scene. He will sing the role of Dancaire in Bizet’s Carmen at the Bay View Music Festival this summer. Logan studies with Professor Caroline Smith. Dallas P. Gray ’17 (tenor, Bachelor of Music), student of [rofessor Kerry Jennings, will attend tUniversity of Maryland to pursue a Master of Music degree in opera as a member of the prestigious Maryland Opera Studio. Zachary J. Jacobs ’17 (percussion, Bachelor of Musical Arts with Women’s, Gender and Sexuality Studies Minor) will be attending graduate school at Grand Valley State University in the College Student Affairs Leadership (CSLA) program with a graduate assistantship in housing and residence life. He collaborated with colleagues Eleanor L. Price ’17, Allison M. Emata ’17 and Lindsey A. Welp ’19 on an interactive performance for the Percussion@Peeler series in April 2017. Zachary is a student of Ming-Hui Kuo.
Sungmin P. Kim ’17 (cello, Bachelor of Musical Arts with a Spanish Minor), student of professor Eric Edberg performed the first movement of Antonín Dvořák’s Cello Concerto in B Minor as one of four winners of the 2017 DePauw Concerto Competition. He will continue his studies this fall pursuing his master’s degree in cello performance at the Jacobs School of Music at Indiana University. B. Peter Lockman ’17 (cello, Bachelor of Music with an Economics Minor) participated with members of the New York Philharmonic, Berlin Philharmonic and other major orchestras, in Music for Life’s Mahler for Vision, a performance of Mahler’s Symphony No. 2 at Carnegie Hall given in March 2017. He was accepted for graduate study this fall at Indiana University, the New England Conservatory and Florida State, and will attend the IU Jacobs School of Music for his master’s degree in cello performance. Peter is a member of Eric Edberg’s studio. Sarah J. Pistorius ’17 (mezzo-soprano, Bachelor of Music with a German Minor) placed third in the 2017 Southern Illinois Young Artist Organization’s competition; was chosen to work in the master class with Green Guest Artists Frederica von Stade and Laurie Rubin; and was awarded a School of Music Performance Certificate. She performs the role of Cherubino in Opera in the Ozarks’ mainstage production of Le nozze di Figaro this summer and will begin her master’s degree in vocal performance at the Royal Conservatory of Scotland in the fall. Sarah studies with Professor Caroline Smith. Eleanor L. Price ’17 (flute, Bachelor of Music with a major in English Literature) completed a yearlong Honor Scholar thesis and was recipient of the Walker Gilmer Prize, awarded by the English Department to the outstanding senior in literature. She was inducted into both the Phi Kappa Lambda music honorary and DePauw’s chapter of Alpha Psi Omega theatre honorary and was invited to perform in the Senior Showcase. During
the annual student awards convocation, she received a Performance Certificate in addition to the Van Denman Thompson Award for excellence in scholarship, musicianship and activities, the DePauw School of Music’s highest award. Eleanor studies flute with Anne Reynolds. Cosetta Righi ’19 (soprano, Bachelor of Music), student of professor Kerry Jennings, was selected to attend the American Institute of Musical Studies (AIMS) in Graz, Austria, where she will have the opportunity to work this summer with renowned artists such as Barbara Bonney and Deborah Voigt. Marin M. Tack ’18 (soprano, Bachelor of Music) was selected as one of six voice majors to perform in the Frederica von Stade/Laurie Rubin master class; performed the lead role of Rose Maurrant in DePauw Opera’s production of Street Scene; and was a semi-finalist for the Orpheus National Voice Competition. She will attend the 2017 AIMS-Graz Lieder Program this summer. Marin studies with professor Caroline Smith. Lindsey A. Welp ’19 (saxophone, Bachelor of Music with a second major in French) performed in the student-led 2017 DePauw Chamber Concerto Competition Winner’s Contest, conducted by Andrew K. Casey ’17, and in the Great Composer Competition series and Masters of Wind Concert. She is a member of the New Harmony Saxophone Quartet and studies with Scotty Stepp. David C. Young ’20 (baritone-tenor, Bachelor of Music track) was one of four winners of the 2017 DePauw University Concerto Competition. He made his DePauw Opera debut as Harry Easter in the spring production of Street Scene and performed in featured works by composer Christopher Theofanidis for Music of the 21st Century. He also has been accepted into the SOARS program at the Bay View Summer Music Festival. David studies with professor Caroline Smith.
From the Community Music School The Community Music School (CMS) provides instruction at Music on the Square for nearly 150 residents of Putnam County and is an integral part of the DePauw School of Music. During the 2016–17 academic year, several CMS voice students participated in Indiana State School Music Association (ISSMA) Solo and Ensemble Competition — at the district auditions held at Terre Haute North High School and the state auditions at Perry Meridian High School in Indianapolis — and were awarded the following rank: Lindsey Bridgewater, District, Gold; State, Silver David Maginity, District and State, Gold Arianna Pershing, District, Silver Hannah Seaman, District and State, Gold Selene Seaman, District, Silver Michaela Semac, District and State, Gold Michaela Semac, a senior at Greencastle High School (GHS), was also accepted to Anderson University in the B.F.A. program in Musical Theater. GHS junior Arianna Pershing most recently performed as a member of the ensemble in Hendricks Civic Theatre’s two-week run of Beauty and the Beast given in Avon. Hannah Seaman performed the role of Cinderella in the Greencastle Middle School production of Into the Woods. Thomas Whitcomb, a senior at Plainfield High School, has been accepted into the Musical Theater Program at Ball State University. All are students of Barbara Paré.
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Alumni News B. Suzanne Hassler, editor
Maureen A. Bailey ’16 is pursuing her master’s degree in vocal performance and pedagogy at University of Colorado at Boulder. In June 2016, she performed in the workshop premiere of Jake Heggie and Gene Scheer’s It’s A Wonderful Life with the CU New Opera Workshop (CONOW). Bailey covered the role of Rosalinde in CU’s fall production of Die Fledermaus and sang Jenny in Ned Rorem’s one act opera Three Sisters Who Are Not Sisters. Most recently, she performed the role of First Lady in CU’s production of The Magic Flute. Maureen is a former student of Barbara Paré. Adam M. Bodony ’08 was appointed Assistant Professor of Bands at Purdue University, where he will serve as director of the Philharmonic and Symphony Orchestras, and will also oversee the department’s Applied Music program. Before the appointment, Bodony served as Director of Orchestras, first as Visiting Lecturer during the 2015-16 academic year, and then as Visiting Instructor during the 2016-17 academic year for Purdue Bands & Orchestras. He earned his bachelor’s degree in religious studies and in trombone performance from DePauw University, and a master’s degree in trombone performance from Indiana University in 2011. His primary applied teachers were James Beckel and Carle Lenthe, respectively. Sara D. Horton ’12 is pursuing a master’s degree in vocal performance at University of North Florida where she serves as graduate teaching assistant for the voice area. Since graduating from DePauw, she has established her own studio of private students who are now pursuing undergraduate music performance and educational degrees throughout the country and abroad. 10 I Summer 2017
This spring, she performed the lead role of Pamina in UNF’s performance of The Magic Flute and has been cast as Mimi in La bohème. While pursuing her B.M. degree in vocal performance, Horton was a student of professor Caroline Smith. Michelle Coduti Howisen ’06 is in her fourth year of teaching at Michigan City High School where she heads the choral program, teaches five choirs and the AP Music Theory Class. Last year, she was named department chair. Prior to teaching at Michigan City, Howisen headed the choral program at Marian Catholic High School. While at DePauw, she studied with professor Caroline Smith. Joseph R. Leppek ’15 made his professional debut this season singing the comprimario role of Mr. Martini at the Houston Grand Opera in the world premiere of Jake Heggie’s It’s a Wonderful Life. He was also awarded a studio artist position with Glimmerglass Festival’s acclaimed summer apprenticeship program, which provides training and experience for talented artists in the early stages of their professional career. While at Glimmerglass, he will cover the leading tenor role of Scalia in the world premiere of Scalia/Ginsberg. Leppek was also offered positions and roles with Wolf Trap, Des Moines Opera and Opera Saratoga. This spring, he graduated with a M.M. degree in vocal performance from Rice University, where he has studied with Barbara Clark Paver. As a vocal performance major at DePauw, he studied with professor Caroline Smith. Steven R. Linville ’06, former student of professor Caroline Smith, directed the Buck Creek Players’ production of You’re a Good Man, Charlie Brown! in January 2017. Sarah M. (Priest) Lockwood ’94 has been working diligently with her husband Travis Lockwood over the
past two years to develop and promote the arts in the community of Hastings, Minnesota, turning the former Guardian Angels Church in downtown Hastings into a music conservatory. Originally constructed in 1868, the old church now has practice rooms, a large performance space, a lobby area and studios for visual artists. There are more than 100 students enrolled in the music and arts center school and a schedule of performers from around the globe. After receiving her master’s degree in collaborative piano from University of Minnesota, Sarah Lockwood previously taught piano, violin and viola from her home studio. Travis, a physician in Hastings, plays violin with the St. Croix Valley Symphony Orchestra. Allen W. Molineux ’72 received eight performances of his compositions in 2016. At the start of the year, his Dance Suite for tenor saxophone and piano was played at Florida State University, followed by performances of his symphonic work Trifles by the Oklahoma Composers Orchestra and then Friends University Community Orchestra. In March, the Midwestern State University Wind Ensemble premiered The Journey of New Horizons, and in April, the Classical Revolution of Tallahassee programmed his solo flute piece JALS. Soulful Songs, his newest work for brass quintet, was premiered at the New Music on the Bayou Festival, followed by the Boston Mountain Brassworks (aka University of Arkansas Faculty Brass), then a performance by University of Iowa Faculty Brass Quintet, which took place in December. In addition, Trifles was released on the ABLAZE Records label featuring the Brno Philharmonic, and his percussion trio Prestamente! was issued by HaMaR Percussion Publications. Lyndsay L. Moy ’10 returned home to Indiana to join the Indianapolis Opera company as a resident artist during its 2014-15 season and performed the
role of the Housekeeper in IO’s 2017 production of Man of La Mancha. Moy received her Master of Music degree in Vocal Performance from Cleveland Institute of Music in May of 2013, under the tutelage of Clifford Billions. During her undergraduate career at DePauw, she completed a five-year, dual-degree program earning a Bachelor of Music degree in vocal performance, under the instruction of Stanley Irwin and Jay White, and a Bachelor of Arts degree in painting, under mentor professor Robert Kingsley. Matthew L. Patterson ’11 released his debut album, Busking Broadway — Matthew Lee, a cover/concept album featuring ten tracks ranging from Stephen Schwartz to Blink-182, now available on iTunes and Bandcamp. The process was a learning experience as he arranged, performed, recorded, mastered and produced nearly the entirety of the project. Patterson has performed in a number of musicals, including American Idiot at the Phoenix in Indianapolis, as well as on cruise ships. While at DePauw, Patterson studied with Caroline Smith. He currently lives in New York City. Yazid T. Pierce-Gray ’16 is pursuing a M.M. degree in vocal performance at University of Michigan, where he studies with Stephen Lusman and has already performed in two main stage productions — as Mercutio in Roméo et Juliette and Dimetrius in A Midsummer Night’s Dream. While at DePauw, Gray studied with Caroline Smith. Andrew C. Richardson ’10 is performing as a Young Artist with Sarasota Opera where he is covering the roles of Scarpia and Bartolo. The bassbaritone completed his D.M.A. degree in vocal performance at the IU Jacobs School of Music in December 2016. While completing his vocal performance degree at DePauw, he studied with professor Caroline Smith. At Indiana
University Jacobs School of Music, he studied with Andreas Poulimenos.
May Phang and organ with professor Carla Edwards.
After touring with Cantus, Joseph A. Shadday ’09, a former student of professor Caroline Smith, now lives in Chicago. The tenor is currently performing the role of Hixton in the Lyric Opera of Chicago’s production of My Fair Lady. He has sung with the Lyric Opera Chorus for its past seven productions. This summer, he will sing with the Grant Park Music Festival. After his DePauw graduation, Shadday earned his M.M. degree from University of Maryland Opera Studio.
Julie A. Strauser ’16 is currently pursuing her M.M. degree in vocal performance at Southern Methodist University where she studies with Virginia DuPuy. The soprano quickly made a mark for herself in the Dallas area performing Giannetta in L’elisir d’amore, Lucy in Again (a short opera by Jake Heggie based on I Love Lucy), and the Fire role in L’enfant et les sortilges. While at DePauw University, she studied with professor Caroline Smith.
Matthew Patterson’s debut album, Busking Browadway, was releaseed in 2017. Stephen R. Shannon ’16 is pursing the Master of Science in Music Education degree with a concentration in Choral Education at the Indiana University Jacobs School of Music. As an associate instructor, he assists “Methods and Materials for Teaching Instrumental Jazz,” a class that prepares music education students to teach jazz in public school settings. Previously, he taught “Arranging for Instrumental and Vocal Groups,” another class offered by the Music Education department. At IU, Shannon currently sings in NOTUS, IU Contemporary Vocal Ensemble. He has also sung with IUnison and the IU Summer Chorus. While at DePauw, Stephen studied composition with Scott Perkins, voice with Barbara Paré, piano with professor
Rudy H. Volkmann ’68 has secured publication of his compositions by TBQ Press, Ken Dorn Music Publications, William Grant Still Music and Cimarron Music Press, contracting releases for over three dozen titles to date. Among them is Greencastle Suite, a four-movement brass quintet composed while he was in school at DePauw. Volkman retired from most of his musical activities except composing in 2000 to open and operate the Augusta Fencers Club, where he teaches five nights a week. In 2006, he won the bronze medal in the Veteran World Championships in 60+ Men’s Sabre in Bath, England. In his spare time, he gardens, repairs and restores string instruments, and presents educational jazz assemblies in the public schools. Jeremy M. Wong ’12 made his professional debut with the Hawaii Symphony Orchestra in December as the baritone soloist for Beethoven’s Ninth Symphony conducted by JoAnn Falleta. He spent twelve days in June on a concert tour to the east coast with University of Hawaii, then performed at the Oregon Bach Festival singing in the Berwick Chorus. At DePauw, Wong studied with professor Caroline Smith. He received his M.M. degree in vocal performance from University of Hawaii at Mānoa.
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Band’s Complete CD Recording Project Now Available Online The DePauw University Band is proud to announce that all ten albums in its historic CD Recording Project, including its most recent CD, Everything Beautiful (Mark Masters 52332-MCD), are now available for sale through the DePauw University’s website.
Artists and Everything Beautiful, every University Band alum can be proud of their contributions to the CD Recording Project and each album’s influence in the commercial world,” states professor Craig Paré, project founder and the University Band’s conductor since 1993.
The Recording Project, begun in 1996, has made a significant contribution to the available library of recorded wind literature over the past 20 years with nearly 40 titles that were either the first or among the first recordings of new works for winds at the time the recording was made.
“Our CD Recording Project promotes and celebrates DePauw talent across time. For our CDs, I select repertoire that meets our mission goals, which include highlighting the talents of DePauw musicians and challenging our musicians technically and musically, as well as adding to the growing array of new literature for winds.
“From our very first recording sessions in April 1996 for our Shadows of Eternity compact disc, to the Toccata Festiva disc in 2000 that first earned the University Band a place on the distinguished Mark Masters label, to our most recent successes with United 12 I Summer 2017
“Whenever I listen to any of our ten recordings, I think back to all of the DePauw muscians who were part of that particular recording session, remembering their hard work, their dedicated musicianship, and the memorable
challenges we all experienced,” Paré recalls. “I couldn't be prouder of every musician who contributed to these wonderful recordings. They are the reason why I continue to love teaching, conducting and being an active faculty member at DePauw University.” When ordering the ensemble’s recordings directly through DePauw at https:// commerce.cashnet.com/SOMCD, all funds raised go to the University Band, providing for continuation of the Recording Project and production of future CDs.