CIM Notes | Fall 2016 by Cleveland Institute of Music

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TRAINING THE NEXT GENERATION OF CLASSICAL MUSICIANS

World-class faculty, a stimulating, supportive atmosphere and outstanding facilities make the Cleveland Institute of Music an ideal environment for training the next generation of classical music performers.

Meet CIM’s New President A Q&A with CIM’s new president Paul Hogle

ABOVE Meet CIM’s new president, Paul Hogle (story page 12) ON THE COVER A concert series honoring the late Pierre Boulez comes to CIM this fall (story page 8) Cover photo: courtesy of The Cleveland Orchestra ©Roger Mastroianni

DEPARTMENTS

FEATURES

4 Noteworthy Alumnus Appointed Principal Viola of The Cleveland Orchestra Students and Alumni Among Contestants in 2016 CIPC Meet the Freshman Class! Alumnus Creates Innovative Cello Strap Where in the World Are Our Students?

16 Events 2016-17 Faculty Recitals at CIM 18 Development Donor Profile: Dick and Pat Pogue Broadway in the Circle: a Women’s Committee Benefit

The Boulez Effect When Pierre Boulez passed away in January 2016, the faculty at CIM came together to create a commemorative concert series highlighting the musical icon’s multifaceted career in the city he loved.

12 Meet CIM’s New President We sat down with President Paul Hogle for a conversation about life as a music student, Ohio sports teams and the Cleveland community.

20 Alumni Snapshot Jinjoo Cho 22 Listings Alumni Appointments Prizewinners Faculty Students Preparatory In Memoriam FA L L 2 0 16

Noteworthy Alumnus Appointed Principal Viola of The Cleveland Orchestra

This fall marks a homecoming for CIM alumnus Wesley Collins (BM ’07, Vernon) who has been appointed principal violist of The Cleveland Orchestra. Collins succeeds his former teacher Robert Vernon, co-head of CIM’s viola department, who held the coveted position for 40 years. Collins will assume the new role in September at the start of The Orchestra’s 2016-17 season. “I’m excited for the opportunity to join The Cleveland Orchestra to make music with this amazing group of musicians,” said Collins. “I’m truly humbled to join this dream viola section. Ever since hearing this Orchestra as a student at the Cleveland Institute of Music, I realized there was something special about this legendary ensemble. I have the greatest respect for Robert Vernon as a musician, teacher and individual, and I’m extremely grateful for his guidance throughout my career.” Collins previously served as a member of the Boston Symphony Orchestra (BSO) with fellow alumna and former Vernon student Rebecca Gitter (BM ’01, Vernon). This year BSO appointed two other CIM alumni violists, Leah Ferguson (BM ’15, Vernon/Jackobs) and Rebekah Edewards (BM ’08, Jackobs). Zach Lewis of Cleveland.com highlighted in his article about the appointments the great success Vernon has had in getting his students into top-tier professional orchestras. He wrote, “Like many current members of the Cleveland Orchestra and other major groups, including the Boston Symphony, Collins studied with Vernon at the Cleveland Institute of Music.”

Students and Alumni Among Contestants in 2016 CIPC

Cleveland was in the spotlight a lot this summer, playing host to an influx of guests from around the world. For the last week in July, the main attraction was the 2016 Cleveland International Piano Competition (CIPC). The two-week-long event grants its first prize winners with $50,000, a Carnegie Hall recital debut, a recording on the Steinway & Sons label and the launch of a US concert career. It draws competitors from countries around the globe, and among them this year were CIM graduates Shen Lu (AD ’16, Paik) and Tomer Gewirtzman (MM ’15, Babayan) and current students Sara Daneshpour (piano, Babayan) and Ruoyo Huang (piano, Babayan). The CIPC kicked off its competition with a performance from 2013 First Prize winner and CIM alumnus Stanislav Khristenko (AD ’11, Babayan) who performed solo works and Gershwin’s Rhapsody in Blue with CityMusic Cleveland. Events were spread out throughout the city, at the Cleveland Museum of Art, Severance Hall and CIM, and commentary was provided by alumnus Zsolt Bognár (BM ’05, MM ’07, Babayan) during the competition’s webcast.

Meet the Freshman Class!

This fall we welcome a brand-new collection of students to CIM. Joining a total enrollment of about 450, this group of just fewer than 150 students successfully made it through CIM’s highly selective admissions process. This new class will help fill out CIM’s orchestras, ensembles and opera productions, not to mention the studios of our esteemed faculty. From every corner of the country and the world, studying everything from composition to opera, here’s a breakdown of the freshman class:

# of states represented: 26 # of countries represented: 13 # of string students: 70 # of woodwind students: 8 # of brass students: 9 # of keyboard students: 28 # of voice students: 25 # of percussion students: 8

President Hogle and CIM’s move-in crew help new students move in to their dorm rooms.

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Noteworthy Bass Trombonist Randall Hawes to Join CIM Faculty

This year, CIM adds a new faculty member to its ranks. Randall (Randy) Hawes, renowned bass trombonist with the Detroit Symphony Orchestra (DSO), joins Massimo La Rosa, Michael Sachs, Michael Miller, Richard King, Richard Solis and Yasuhito Sugiyama, all members of The Cleveland Orchestra, in CIM’s esteemed conservatory brass division. “Randy Hawes is one of this generation’s finest trombone players,” says Michael Sachs, head of the brass division at CIM and principal trumpet of The Cleveland Orchestra. “To gain a great bass trombone player and pedagogue like this, complementing our current trombone faculty, provides a tremendous opportunity for all of our brass students to learn from one of the best out there. We are thrilled to have Mr. Hawes join the brass division at CIM and look forward to working with him!” In addition to his tenure with the DSO, Hawes has performed with many of the world’s major orchestras including the Boston Symphony, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic and Pittsburgh Symphony. His distinguished teaching career includes faculty appointments in the United States as well as master class and guest artist appearances in Japan, Europe and throughout the United States. He received a bachelor’s degree in music education from Central Michigan University, where he studied with William Rivard. Hawes has performed and recorded more than 30 albums with the DSO under music directors Gunther Herbig, Neeme Järvi and Leonard Slatkin and is featured on two albums for bass trombone

and piano with pianist Kathryn Goodson; he also appears on the recent recording, The Antiphonal Music of Gabrieli, with the National Brass Ensemble.

Alumnus Creates Innovative Cello Strap

Ever wanted to stand while playing your cello? Well, CIM alumnus Michael Block (BM ’04, Aaron) makes it possible. Block engineered a strap for the cello that allows cellists to perform while standing. The, officially named, Block Strap started as an idea that initially manifested itself in jerry-rigged versions using guitar straps, rope, tape and dishtowels. Block’s design is sold commercially with testimonials from Yo-Yo Ma, Natalie Haas and Boston Symphony cellist Alexandre Lecarme. “I didn’t quite realize what I was missing by only sitting until I had the experience of standing,” Block told Strings magazine in an interview. Block works in various musical genres and really felt the impact of the device during a concert where he was performing with a bluegrass ensemble. “When it came time for my solo, I was able to just take one step forward toward the mic, and that was such an incredible feeling— I felt like I could embody the arrangement and make it visible,” he said. Block took great pains to make sure the strap allowed for full use of the instrument without having to change his technique. This past year, he has sold more than 350 straps through his website, cellostrap.com.

Where in the World Are Our Students? #CIMSummer2016

Once again our students traveled the world this summer, participating in festivals to continue to hone their music skills. But it looks like they had a lot of fun, too! We asked them to tag all their social media posts with #CIMSummer2016 so we could see all the highlights along the way. So, where in the world were our students this summer? Take a look! And be sure to connect with us on Facebook, Instagram and Twitter to join the conversation!

Rachel Kunce (soprano, Southern) captioned this photo “Sang Violetta last night. Hiked Maioletto this morning,” chronicling her time at La Musica Lirica festival in Italy.

Chee-Hang See (piano, Shapiro) performed with the Toa Payoh West CC Chinese Orchestra in Singapore.

Katelyn Lyons (violin, Rose) was “feeling patriotic with #NRO2016!! (Yes, the flag is IN my bun!)” at the National Repertory Orchestra in Breckenridge, Colorado.

Michael Harper (trumpet, Sachs), with Aniela Eddy (violin, Zenaty) captioned this photo, “The proud two representing CIM in the Lucerne Festival Academy.” Jason Tanksley (tuba, Sugiyama) spent his July 4th weekend subbing with Detroit Symphony Orchestra!

Xiaohan Sun (viola, Irvine) was all smiles with her fellow CIM violists attending the Aspen Music Festival and School. They also happen to all be students of CIM viola department co-head, Jeffry Irvine, using the hashtag #irvineinstituteofmusic.

Daniel Kaler (cello, Kosower) was at the Heifetz International Music Institute in Virginia this summer. He captioned this photo, “Had an amazing time playing the Aria from Villa-Lobos’ Bachianas Brasileiras No. 5 with these incredible people this evening!”

Audry Naffe (viola, Konopka) participated in the 2016 Kent/Blossom Music Festival and posed with her teacher, CIM faculty and Cleveland Orchestra member Stanley Konopka, after their performance.

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B oulez Effect the

Photo: Courtesy of The Cleveland Orchestra ÂŠRoger Mastroianni

Pierre Boulez

was a seminal figure in classical music whose influence reached

just about every corner of the music world. He was a composer, conductor, author and teacher and was often called an enfant terribleâ&#x20AC;&#x201D;or a rebel in the arts. But one of his lasting roles was as a friend; a friend to many of the 19 members of the CIM faculty and The Cleveland Orchestra who enthusiastically and unhesitatingly agreed to perform on a series of concerts at CIM this fall celebrating his legacy.

Boulez with CIM faculty and Cleveland Orchestra members Joela Jones and Richard Weiss. Photo: Courtesy of The Cleveland Orchestra ©Roger Mastroianni

“I’d do anything for that man,” said CIM faculty and Cleveland Orchestra principal keyboardist Joela Jones when she was asked to play on the Boulez Legacy concert series. Jones, like many other Cleveland Orchestra members, had worked with Boulez for many years. So when Boulez passed away in January 2016, Keith Fitch, head of CIM’s composition department, and CIM alumnus and conductor Steven Smith (MM ’91, Topilow/Lane) decided a series honoring Boulez was the perfect way to celebrate the man many called a friend. Hosting a Boulez series in Cleveland is especially poignant, given Boulez’s 50-year relationship with The Cleveland Orchestra. The musical icon lived and worked in France in the early part of his career, with mentors and colleagues such as Olivier Messiaen, John Cage and Karlheinz Stockhausen. But when in 1965 Boulez made his American debut guest-conducting The Cleveland Orchestra, the performance would mark the start of a half-century relationship with The Orchestra that resulted in more than 200

performances at both Severance Hall and Blossom. “Cleveland just seemed like the perfect place to do it,” says Fitch. “I’m sure there will be other legacy series and memorial concerts in places like Paris and New York, but Cleveland is the absolute right place because he was such an important figure in the musical community here for so long.” Now, this fall at CIM, those whom Boulez mentored and inspired have a chance to pay him back in a city he loved, the best way they know how: through music.

Boulez the Friend

Each year, Carolyn Gadiel Warner presents a concert at CIM called Carolyn Warner and Friends. This year, this program dons a second title: Boulez the Friend and Teacher. Held on September 28, the program features pieces influential to Boulez and standards of French repertoire. But there’s another, more personal connection to the repertoire. Warner and her ensemble, The Cleveland Duo, and their partner, eminent classical saxophonist

James Umble, played one of the pieces on the program privately for Boulez. “When we finally summoned the courage to ask him if he would hear us play our transcription of the Adagio movement of the Ravel G Major Piano Concerto for trio, he immediately agreed and asked us to set up the time and place.” The trio carefully prepared and met with Boulez at the Harkness Chapel, a favorite performance venue in Cleveland. “After performing it for him, his first reaction was to suggest more works that we could adapt for our combination, among them Le Tombeau de Couperin of Ravel, a solo piano piece and later a brilliant orchestration by the composer,” says Warner. “After our little performance, he took us all out to lunch at Sergio’s restaurant.” The group took Boulez’s advice and adapted Ravel’s Le Tombeau de Couperin and has successfully performed that trio all over the world. For Warner, Boulez was more than an encouraging voice; he was also a friend. “Pierre Boulez was a musical icon to all and at the same time a great friend, supporter and

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being played the way they were supposed to be played, and at an incredibly high level. It was such a revelation for so many of us.” Boulez’s ears were so good that when he conducted he was able to hone in on one note within a full orchestra. “Sometimes in rehearsal, we would have a seemingly cacophonous chord in the orchestra, because there were maybe eleven out of the twelve notes being played,” says Jones. “He would be able to say, ‘third bassoon, or fourth French horn—it’s an E-flat, not an E-natural.’ We all looked at each other, like, how can he hear that with everything that’s going on? He was just incredible.” Jones was asked by Boulez to record Messiaen’s Sept Haikai for the label Deutsche Grammophon and also played Boulez’s Notations for solo piano at The Cleveland Orchestra’s 90th birthday celebration concert for him in 2015. On October 5 she will perform Sept Haikai again at CIM. “I was so honored to prepare that piece for Boulez and to play and record it with The Orchestra! So it is very special to be doing this particular Messiaen work at CIM,” she says.

Photo: Courtesy of The Cleveland Orchestra ©Roger Mastroianni

inspiration to The Cleveland Orchestra and many other lauded institutions throughout the world,” says Warner. “To my husband Stephen and me, he was all those things as well. His death represents a tremendous loss to all of us, and the presence of those two works of Ravel on my commemorative program on September 28 will be an emotional tribute to his legacy and to our friendship.” Ravel’s Le Tombeau de Couperin for violin, piano and soprano saxophone and his Adagio from Piano Concerto in G Major for violin, piano and alto saxophone will bookend the concert.

Boulez the Conductor

In 2005, Boulez received an honorary doctorate from CIM, and during the ceremony he addressed the graduating class. “As a composer I intended to be a composer,” he said during his speech. “I studied with Olivier Messiaen. But as a conductor I didn’t intend at all. It happened to me in life and I was surprised, myself, that I became a conductor.” Although he may have fallen into the role, he is regarded as one of the best. “My generation benefited greatly from Boulez’s work as a conductor,” says Fitch. “We were finally hearing great 20th-century masterpieces

so ferociously gifted

“He was when it came to what he could hear, what he could discern and how he could quickly fix things.” Keith Fitch, on Boulez as a conductor 10

Joshua Smith, CIM faculty member and principal flute of The Cleveland Orchestra, reaped the benefits of Boulez’s exceptional conducting directly. “As a conductor, Boulez was graceful and very much a gentleman. A poker face, always listening, never flinching. He didn’t have to talk a lot about sound and color because he could transform the orchestra’s approach with his gestures,” says Smith. “I learned a lot from Boulez in the 20 or so years we worked regularly together. And I’ve played his Sonatine, a pivotal piece in the flute repertoire, a few times, including once for him. But I haven’t yet played Mémoriale. I adore this music, and I’m honored to dive into it as a tribute to both Boulez’s memory and his music.” Smith will solo in Boulez’s Mémoriale during the October 30 concert with the CIM New Music Ensemble featuring music by guest composer and a dear friend of Boulez, Augusta Read Thomas.

Boulez the Modernist A Lasting Impression “As a composer I studied harmony; I studied counterpoint; I was a rebel but a rebel who knew what he was doing, as a matter of fact,” said Boulez with a laugh during his CIM commencement speech. He was addressing his “enfant terrible” reputation, a label he seemed to embrace rather delightedly. Boulez was at the forefront of the avant-garde movement for many years. He continually questioned techniques and approaches to composition. “I think that rebellious nature helped a lot of conversations; some of them very congenial, and others not so congenial,” says Fitch. “Throughout his life he had legendary disagreements with many established musical figures.” The avant-garde and Boulez’s rebellious, modernist career lays the foundation of the Boulez the Modernist concerts on September 25 and October 26.

Every performer on the Boulez Legacy Series who knew Boulez remembers the man fondly. Many mentioned his musical prowess, his commanding presence, his excellence on the podium. But others also shared sweet tidbits about Boulez the person. “I learned that he preferred his red wine with one ice cube, that he loved driving very quickly on the autobahn and that he really enjoyed New Mexico, which is where I’m from,” says Smith. Fitch remembers that he loved to go to Mister Brisket while he was in town. With all the memories shared, one thing was clear: Boulez was loved. Jones adds, “I think he’s the only conductor who, when he would return to The Cleveland Orchestra every year, when he walked onstage for the first rehearsal, the orchestra would burst into applause.”

Boulez LEGACY SERIES!

Photo: Courtesy of The Cleveland Orchestra ©Roger Mastroianni

JOIN US FOR THE BOULEZ THE MODERNIST I September 25, Sunday 4pm | Mixon Hall

BOULEZ THE CONDUCTOR October 5, Wednesday 8pm | Kulas Hall

BOULEZ THE ADVOCATE AND MENTOR October 30, Sunday

Mary Kay Fink, flute Frank Rosenwein, oboe Robert Woolfrey, clarinet, guest artist Barrick Stees, bassoon Richard King, horn

Cleveland Institute of Music Orchestra Steven Smith, guest conductor Joela Jones, piano

Pre-Concert Panel Discussion: Reflections on Boulez 3pm | Mixon Hall

BOULEZ THE FRIEND AND TEACHER September 28, Wednesday 8pm | Mixon Hall* Carolyn Warner & Friends XIII Carolyn Gadiel Warner, piano Daniel Shapiro, piano Franklin Cohen, clarinet Mari Sato, violin Brian Thornton, cello Stephen Warner, violin, guest artist James Umble, alto/soprano saxophone, guest artist

BOULEZ THE MODERNIST II October 26, Wednesday 8pm | Mixon Hall Shuai Wang, piano Madeline Lucas Tolliver, flute Benjamin Chen, clarinet, guest artist Jinjoo Cho, violin Yun-Ting Lee, violin, guest artist Daniel Pereira, cello Luke Rinderknecht, percussion, guest artist

Concert 4pm | Mixon Hall CIM New Music Ensemble Keith Fitch, director Augusta Read Thomas, guest composer Joshua Smith, flute * Free seating passes required; available at 216.795. 3211 or cim.edu one week before the concert date.

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MEET PRESIDENT

HOGLE PHOTOS: ROBERT MULLER

aul Hogle started his tenure as president and CEO of the Cleveland Institute of Music on July 11, 2016. He has spent more than 30 years in arts management, most recently with the Detroit Symphony Orchestra, where he served as executive vice president. President Hogle earned a bachelor of science degree in music management from the University of Evansville, a joint business and music degree program where he also studied trombone performance. A parent of three daughters, he celebrated his daughter Rachel’s graduation from CIM in 2015 with a degree in viola performance just weeks before her identical twin graduated from the DePaul University School of Music with a degree in cello performance (Paul’s oldest, a violist in high school and college, will complete veterinary school next spring).

His enthusiasm for Cleveland is strong, breaking only when focused on collegiate sports: it’s Ohio State football all the way! Over the past few months President Hogle has taken every opportunity to engage

with the school on multiple levels, from serving students at the All-School Picnic to attending CIM concerts,

meeting University Circle leaders and speaking with prospective students, alumni and local donors. In the conversation that follows, he reflects on those experiences.

You meet with most prospective students who visit the school, which has given you a chance to talk with many visiting families. What are those conversations like? I almost always ask the parents, “Can your son or daughter imagine a life where they’re not making music?” Many times I ask that question to the parents, and the child jumps in: “I cannot imagine that!” And that’s when I know they’re in the right place. I explain that in this building and on this campus you can become every dimension of the musician you want to be. In partnership with our extraordinary faculty, the CIM experience will reward you for the hard work you put into it.

As a parent of a CIM graduate and one who went through the college search process for two musical students, what perspective can you bring to your conversations? Being a parent allows me to say, “I know what you’re going through.” I can tell them as a parent, I know the pressures of visiting campuses and trying to evaluate options; it’s exhausting and a really vulnerable time. Especially as they take part in the audition process. Auditioning for a group of celebrated faculty members, whom prospective students revere but often don’t know, would be a lot of pressure for an adult—imagine a 17- or 18-year-old. Having been through the audition process at CIM, listening to the way we describe ourselves and then experiencing that in other places, I really have seen it from both sides.

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What is your perspective from the other side of the aisle, as a leader at the Detroit Symphony Orchestra where top orchestral musicians were hired? The first thing students should expect is that there are going to be jobs. In Detroit alone in the past six years, 30 new musicians have won auditions. That’s a tremendous number of positions, and that’s just in one orchestra. There are 30 orchestras in the United States plus opera companies and blended performing opportunities that have a full-time living wage. What’s different about CIM is our ability to attract the absolute best and the brightest, deliver impeccable training and prepare students to win real jobs in a competitive world. Their entire preparation at CIM equips them for that audition. Auditioning is a skill set—it’s not necessarily a natural act. You have to learn how to deliver in an environment where you’ve never performed, behind a curtain with a few measures of repertoire put in front of you. CIM faculty are amazing for helping our students prepare for and win these auditions.

We often talk about the unique culture of CIM. How would you describe it? My impression has always been that this place is musical holy ground. When families come here they don’t always understand what goes on in the classrooms, but when they walk in this building they are a little bit in awe. And it’s not because of the building structure; it’s not because of the classrooms; it’s because of the faculty. The men and the women who teach here are the leaders in our industry at developing talent. Culturally, like many conservatories, this is a place with high expectations. But CIM’s counterbalance to very high expectations is that our size enables us to look out for one another. Faculty can see that their studio collectively and individually is developing and progress is being made. In a school of 20,000 students that might not be possible. With 430 students you can do that—as a matter of fact, it’s a CIM imperative to be deeply concerned about each of our students’ musical development.

Can you talk a little bit more about the influence of CIM faculty on current students and on their career after graduation? We are involved in the most ancient form of education, and it’s a dimension of apprenticeship. We take master teachers who share their gifts and knowledge with students, who then develop their own talent and eventually share those lessons forward with their pupils. Some teachers will keep a written lineage of the teacher/student history—who they studied with, who their teacher studied with. It’s part of the legacy of musician development. Students spend more time with studio teachers than just about anyone else. They build a lifelong relationship, which doesn’t end the day they graduate. People are very proud of that, as they should be. Recently one of CIM’s alumni, Wesley Collins, was named principal violist at The Cleveland Orchestra (TCO), a seat held by his teacher, retiring TCO principal violist Bob Vernon. This is a great legacy moment, but also an example of Recently one of CIM’s alumni, Wesley Collins, was named principal violist at The Cleveland Orchestra (TCO), a seat held how our alumni and their faculty cross paths in their careers. Is that also an aspect of a conservatory education? by his teacher, retiring TCO principal violist Bob Vernon. This is a great legacy moment, but also an example of how our alumni cross paths in their that also an setting. aspectFor of apeople conservatory education? It’sand onetheir of thefaculty many humbling things aboutcareers. being in Is a conservatory who are called to be teachers,

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this gift of yourselfthings with those taught andsetting. movingFor from teacher/student to colleague; it’s It’s one of surrounding the many humbling aboutwhom beingyou in ahave conservatory people who are called to be teachers, athis really thing. The halls of CIM are, and have been, withand legends. And if you’re a legend liketo Bob Vernon giftbeautiful of surrounding yourself with those whom you havefilled taught moving from teacher/student colleague; it’s inevitable that you’re going to play alongside people whom you’ve taught and who sought you out as a teacher it’s a really beautiful thing. The halls of CIM are, and have been, filled with legends. And if you’re a legend like to learn from init’s theinevitable beginning. Bob Vernon that you’re going to play alongside people whom you’ve taught and who sought you out as a teacher to learn from in the beginning.

You grew up in Ashtabula, Ohio, but have spent most of your career away from Cleveland. What are your impressions of Cleveland and its influence on CIM students? If you were to write a city plan and say we want one of the world’s top orchestras, one of the world’s most substantial art collections, one of the great research universities and two of the most renowned healthcare systems, you would not choose to unleash that plan in a city of 2 million residents whose industry was based on steel production—an industry that peaked nearly 50 years ago. You wouldn’t do it because the math is stacked against you. That’s why Cleveland is so magical. What is here is second to none. Cleveland has a sense of self-determination and expectation that we embed in our students. Cleveland is one of our distinctives. The more we embrace that and make sure we are part of the civic dialogue, the more students will carry that forward when they leave CIM. This is our case for support to this community: we are training a generation of classical musicians in the Cleveland way—based on Cleveland’s sense of expectations, self-examination and self-discipline.

Through CIM’s outreach efforts, our students perform within the community. Many students have found their own path to playing on stage in small venues around the city. How important is performance outside the traditional concert hall? We train musicians to be excellent on the concert stage. This is the natural path. They’ll be great ensemble members, great opera singers, great collaborative and solo pianists, and they’ll look for many ways to express themselves. Musicians have always been entrepreneurial; it’s in our nature. When you’re in an orchestra or opera company setting, you are told what to do—what to wear, what to rehearse, when to rehearse. So being a deeper part of their community is no longer an afterthought; it’s viewed by this generation as absolutely essential. Students have to master their craft, and they also have to be empowered to go to a bar on Friday night and play in a band if that’s also what they choose to do. We have to acknowledge both because our student musicians are exploring both.

Over the past few months, you’ve had opportunities to speak with CIM alumni. What stands out the most in these conversations? Our relationship with our alumni is one of our most important. When I talk to alumni, particularly those who left campus a long time ago, they have a deep sense of pride. I’m also hearing that they want to be connected in some way, and we will work to grow that connection—either by keeping them engaged in our success, promoting their success or providing them opportunities to re-engage. They are our advocates, of course, and I’m convinced that they are one of our largest referral networks for prospective students. If we don’t make the connection between the alumni and the lessons they learned with the territory they forged, and share that with our current students, then we’ve lost a learning opportunity. For all those reasons, we need that relationship to be strong.

Is there anything you can identify as an opportunity in the coming years? Yes: planning for our one-hundredth anniversary in 2020. One hundred years is an extraordinary accomplishment in any business. Celebrating that milestone and preparing for what the next 100 years will look like, that’s a really tall order. It involves everything we’ve discussed—current students, faculty, staff, alumni, board members—because everyone will have a voice in planning. Entropy affects everything: the gravitational pull backwards when you’re just maintaining an orbit is more substantial than the power to stay in orbit. So when you’re in an organization, there is no such thing as maintaining an organization; it’s either growing or receding. I want to grow. That means stronger, healthier, serving more, training more—all those things that will continue to make us proud of CIM. FA L L 2 0 1 6

Events

2016–17 Faculty Recitals at CIM See our renowned faculty perform on their home stage! September 23, Friday 8pm | Mixon Hall* Alberto Ginastera: Music for Cello and Piano–A Centennial Celebration Mark Kosower, cello Jee-Won Oh, piano, guest artist GINASTERA Pampeana No. 2: Rhapsody for Cello and Piano, Op. 21 Cinco Canciones Populares Argentinas, Op. 10 Pueña No. 2, Hommage à Paul Sacher for Solo Cello, Op. 45 KOSOWER In Memory of Aurora Ginastera (World Premiere) GINASTERA Cello Sonata, Op. 49

THE BOULEZ LEGACY

September 25, Sunday 4pm I Mixon Hall* Boulez the Modernist I

Mary Kay Fink, flute Frank Rosenwein, oboe Robert Woolfrey, clarinet, guest artist Barrick Stees, bassoon Richard King, horn CARTER Woodwind Quintet (1948) BERIO Sequenza VII for Solo Oboe (1969) LIGETI Six Bagatelles for Wind Quintet (1953) BOULEZ Domaines for Solo Clarinet (1968) STOCKHAUSEN PICCOLO, from “Der Jahreslauf “ (1977) RAVEL Mother Goose Suite (arr. M. Popkin)

THE BOULEZ LEGACY

November 4, Friday 8pm I The Temple-Tifereth Israel 26000 Shaker Blvd., Beachwood

Carolyn Warner & Friends XIII: Boulez the Friend and Teacher

An Evening Serenade

September 28, Wednesday 8pm I Mixon Hall*

Carolyn Gadiel Warner, piano Daniel Shapiro, piano Franklin Cohen, clarinet Mari Sato, violin Brian Thornton, cello Stephen Warner, violin, guest artist James Umble, alto/soprano saxophone, guest artist RAVEL Le Tombeau de Couperin for Violin, Piano and Soprano Saxophone (trans. C. Warner) BACH/KURTÁG Selections from Seven Bach Chorales Transcribed for Piano Four Hands BERG Variations on Themes from Lulu DEBUSSY Cello Sonata, L. 135 STRAVINSKY Suite from L’Histoire du Soldat (The Soldier’s Tale) for Clarinet, Violin and Piano RAVEL Adagio from Piano Concerto in G Major for Violin, Piano and Alto Saxophone (trans. C. Warner) October 21, Friday 8pm I Mixon Hall* Sharon Robinson, cello Anita Pontremoli, piano BEETHOVEN Cello Sonata No. 4 in C Major, Op. 102, No. 1 Cello Sonata No. 5 in D Major, Op. 102, No. 2 Cello Sonata No. 3 in A Major, Op. 69

Featuring works by Vivaldi, Puccini and Schubert November 16, Wednesday 8pm I Kulas Hall Dean Southern, baritone Linda Jones, piano SCHUMANN Liederkreis, Op. 24 GRIEG Six Elegiac Songs, Op. 59 KOHN The War Prayer (2013) IVES Three Songs of the War Charlie Rutlage The Circus Band November 18, Friday 8pm I Kulas Hall Canterbury Quartet William Preucil, violin Alexandra Preucil, violin, guest artist Sonja Braaten Molloy, viola, guest artist Martha Baldwin, cello HAYDN String Quartet in G Major, Op. 54, No. 1 MENDELSSOHN String Quartet No. 3 in D Major, Op. 44, No. 1 BRAHMS String Quartet No. 1 in C minor, Op. 51, No. 1 December 9, Friday 8pm I Mixon Hall*

THE BOULEZ LEGACY

An Italian Serenade

October 26, Wednesday 8pm I Mixon Hall*

Cavani String Quartet Colin Davin, guitar

Boulez the Modernist II

BOCCHERINI String Quartet in D minor, G. 172 VIVALDI Concerto for Guitar and Strings in C Major, RV 425 BOCCHERINI Fandango from Guitar Quintet in D Major, G. 448 SCHUBERT String Quartet No. 14 in D minor, D. 810, “Death and the Maiden”

Shuai Wang, piano Madeline Lucas Tolliver, flute Benjamin Chen, clarinet, guest artist Jinjoo Cho, violin Yun-Ting Lee, violin, guest artist Daniel Pereira, cello Luke Rinderknecht, percussion, guest artist MESSIAEN Le Merle Noir (The Blackbird) (1951) BOULEZ Improvisé - pour le Dr. Kalmus (1969) LIGETI Continuum (1968) BOULEZ Sonatine for Flute and Piano (1946) DAVIDOVSKY Flashbacks (1995) 16

Concert and Conversation with the Cavani String Quartet and Rabbi Roger C. Klein

January 20, Friday 8pm I Mixon Hall*

March 22, Wednesday ** 8pm I Mixon Hall*

April 7, Friday 8pm I Kulas Hall

Mozart and Company I

Laurence Lesser, cello, guest artist HaeSun Paik, piano

Joan Kwuon, violin Sergei Babayan, piano

BEETHOVEN Seven Variations on “Bei Männern, welche Liebe fühlen” from Mozart’s The Magic Flute, WoO 46 Cello Sonata No. 5 in D Major, Op. 102, No. 2 Twelve Variations on “Ein Mädchen oder Weibchen” from Mozart’s The Magic Flute, Op. 66 Cello Sonata No. 2 in G minor, Op. 5, No. 2

BACH Violin Sonata in E Major, BWV 1016 SCHUBERT Fantasie for Violin and Piano in C Major, D. 934 BARTÓK Violin Sonata No. 1, Sz. 75

Sergei Babayan, piano Over this and the following two years, Mr. Babayan will perform the complete Mozart Sonatas combined with repertoire by Mozart’s contemporaries, followers and those who influenced him. January 25, Wednesday 8pm I Kulas Hall In Honor of Mozart’s Birthday Cavani String Quartet Phillip Ying, viola, guest artist David Ying, cello, guest artist MOZART String Quartet No. 14 in G Major, K. 387 ADAMS John’s Book of Alleged Dances (2008) BRAHMS String Sextet No. 2 in G Major, Op. 36 February 1, Wednesday ** 8pm I Mixon Hall* Ivan Zenaty, violin Sandra Shapiro, piano BRAHMS Violin Sonata No. 2 in A Major, Op. 100 ELGAR Violin Sonata in E minor, Op. 82 SAINT-SAËNS Violin Sonata No. 1 in D minor, Op. 75 February 10, Friday 8pm I Mixon Hall* Jinjoo Cho, violin Anita Pontremoli, piano DEBUSSY Violin Sonata, L. 140 MESSIAEN Theme and Variations (1932) POULENC Violin Sonata, FP 119 RAVEL Violin Sonata No. 2, M. 77 February 17, Friday 8pm I Mixon Hall* Mozart and Company II

March 31, Friday 8pm I Mixon Hall* Lisa Boyko, viola Mary Kay Fink, flute Eric Charnofsky, piano, guest artist BACH Suite No. 6 for Solo Viola, BWV 1012 SCHUMANN Three Romances, Op. 94 DURUFLÉ Prélude, Récitatif et Variations , Op. 3 HINDEMITH Viola Sonata (1939) April 2, Sunday 7pm I Mixon Hall*

CIM Faculty Recitals at the Cleveland International Classical Guitar Festival Guitars International: 216.752.7502 or guitarsint.com June 9, Friday 7:30pm I Mixon Hall Jason Vieaux, guitar $25 June 11, Sunday 7:30pm I Mixon Hall Colin Davin, guitar $22

Jaime Laredo, violin Daniel Shapiro, piano BEETHOVEN Violin Sonata No. 6 in A Major, Op. 30, No. 1 Violin Sonata No. 7 in C minor, Op. 30, No. 2 Violin Sonata No. 10 in G Major, Op. 96 April 5, Wednesday ** 8pm I Mixon Hall* Jinjoo Cho, violin Mark Kosower, cello Sharon Robinson, cello Antonio Pompa-Baldi, piano RACHMANINOFF Cello Sonata in G minor, Op. 19 SMETANA Piano Trio in G minor, Op. 15 Presented in appreciation of Donley’s Inc.

* Free seating passes required; available at 216.795. 3211 or cim.edu one week before the concert date. ** symbol indicates the performance will be broadcast live on WCLV 104.9 FM and wclv.org with support from Audio-Technica.

For more information and a complete listing of concerts and events, please visit cim.edu/calendar

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Development DONOR PROFILE:

Dick and Pat Pogue

A Name Synonymous with Generosity When Dick and Pat Pogue are committed to a cause, it shows. As a couple known across Northeast Ohio to be focused on community, their active participation is felt throughout many civic and arts organizations, including CIM. So it is fitting that they are the recipients of CIM’s first Women’s Committee Distinguished Service Award, which will be presented at the 2017 Women’s Committee Benefit in February.

For nearly three decades, Dick and Pat Pogue have been involved with CIM—Mr. Pogue as a member of the board of trustees and Mrs. Pogue as a member of the CIM Women’s Committee. Additionally, Mr. Pogue stepped in as interim board chair for CIM and Mrs. Pogue served on the Women’s Committee board as secretary for six years. They attend CIM concerts throughout the year, supporting both faculty and student performances. The Pogues’ time and dedication to CIM has made their name nearly synonymous with generosity — and members of our community are reminded of their commitment each time they set foot inside CIM’s stunning Pogue Lobby. The generosity of the Pogues is infectious, made evident by the outpouring of support Mr. Pogue garnered for CIM during its capital campaign in 2006. Serving as co-chair of a $40 million campaign with fellow trustee Barbara Robinson, Mr. Pogue led a successful initiative that resulted in a new wing of CIM, which includes more recital space and classrooms, the elegant and acoustically sophisticated Mixon Hall, the Robert and Jean Conrad Control Room and the Pogue Lobby. “We got involvement from the entire community,” says Mr. Pogue. “CIM is a relatively small institution, so we were pleased with the response.” Community is important to the Pogues. For 38 years, Mrs. Pogue, as the Shaker Heights Welcome Wagon representative, has called on new residents of the area, provided them with community information and helped to orient them to their new surroundings. “It’s really interesting to meet people who are new to Shaker and to find out why they moved there, where they come from and where they work,” says Mrs. Pogue. “I get to see cute babies and pets and answer people’s questions. I always just try to make them feel welcome.” With that same welcoming spirit, Mrs. Pogue has worked with CIM Women’s Committee to put on its Audition Day Lunches, an annual tradition that helps prospective students feel at home while they’re on campus auditioning for the school. “Those lunches are really fun. You talk to the nervous students and their parents and help them feel comfortable,” she says. The auditions are just the first step for our students, many of whom go on to play with the CIM Orchestra in Severance Hall. Seeing this transition is a real joy for the Pogues. “Hearing the quality of the CIM Orchestra in that hall is really quite an experience,” says Mr. Pogue. But even more so, seeing young students performing at such a high level of musicianship helps Mr. and Mrs. Pogue feel optimistic. Mrs. Pogue adds, “Whenever I see CIM students performing, I think there’s still something right with the world.”

CIM has many different ways to provide support for programs in the Conservatory and the Preparatory and Continuing Education Divisions. For more information, visit cim.edu/donatenow.

in the

d w a o a r Circle

Carl Topilow, director of CIM’s orchestra program

A CIM WOMEN’S COMMITTEE BENEFIT

SATURDAY, FEBRUARY 4, 2017 8PM

| Severance Hall

Kathryn Brown, head of CIM’s piano department and keyboard division

Join us

for an evening of celebration and classic Broadway favorites at CIM’s biennial gala benefit presented by the CIM Women’s Committee. The acclaimed Cleveland Institute of Music Orchestra and CIM vocalists will bring the excitement of Broadway to the magnificent Severance Hall stage. The evening includes a celebration of the legacy of Richard and Patricia Pogue with the presentation of the first Women’s Committee Distinguished Service Award. Led by CIM faculty member and Cleveland Pops Conductor Carl Topilow, the program will include music from An American in Paris, West Side Story, The Music Man and Fiddler on the Roof, to name a few. Brooke and Bobby Wesner of Neos Dance Theater will offer their extraordinary talent to the extravaganza, and acclaimed pianist Kathryn Brown, head of CIM’s Piano Department and Keyboard Division, will also grace the stage for a special performance of the Gershwin classic Rhapsody in Blue. Cleveland Institute of Music Orchestra CIM Vocalists Carl Topilow, conductor Kathryn Brown, piano Brooke and Bobby Wesner of Neos Dance Theater Severance Box Office: 216.231.1111 or clevelandorchestra.com Benefit tickets start at $250 CIM: 216.795.3209 or cim.edu Beginning at 5pm, benefit guests will enjoy complimentary parking, cocktails, a silent auction, a gourmet dinner and premier box or dress circle concert seating.

Brooke and Bobby Wesner of Neos Dance Theater Photo by Mark Horning

Distinguished Service Award Dick and Pat Pogue have been active members of the CIM community for more than 30 years. Mr. Pogue has been a key member of our board of trustees while Mrs. Pogue has helped to make the Women’s Committee one of the most treasured aspects of the school. Through each activity, the Pogues have displayed a commitment to the success of our students and championed the work of the Institute throughout the community. It is for their great work on behalf of CIM that they are being honored at Broadway in the Circle. During the event, the Pogues will be presented with the first CIM Women’s Committee Distinguished Service Award. FA L L 2 0 16

Alumni Snapshot

Since coming to CIM for the prestigious Young Artist Program at age 14, the accolades have been piling up for Jinjoo Cho. Photo: Kaupo Kikkas

Success built from the CIM family circle Preeminent violinist and CIM alumna Jinjoo Cho went from CIM’s Young Artist Program to the conservatory to Carnegie Hall and back again. When Jinjoo Cho stepped on stage at Carnegie Hall earlier this year to make her solo debut, she knew the opportunity was special, that this moment would be extraordinary. But what moved her most during that very poignant moment wasn’t that her dream had been realized, or that she was performing in a hall with acoustics so good she described it “like playing inside butter custard.” It was seeing the support from her friends, family and former teachers, who came all the way to New York to attend her performance. Among those in attendance were Jaime Laredo, one of Cho’s teachers at CIM; his wife and CIM cello faculty Sharon Robinson; and Annie Fullard, first violinist of CIM’s quartet-in-residence, the Cavani Quartet. “That,” Cho says, “was an overwhelming feeling for me.”

Mastering the Competition Circuit

As many CIM alumni can attest, the CIM family is built on East Boulevard, but carries on long after. For Cho, the connection to CIM was forged when she was just 14 years old, when she moved from Seoul, South Korea, to study in CIM’s prestigious Young Artist Program with then-CIM violin faculty member Paul Kantor. Cho excelled at CIM, winning first grand prize and Radio Canada’s People’s Choice Award at the 2006 Montreal International Musical Competition at age 17. She then enrolled in CIM’s bachelor’s degree program, followed by the master’s degree program, and continued to study with Kantor—and continued to win awards. She won the Dorothy Selay Award at Aspen Music Festival, First Prize and Orchestra Award at the Buenos Aires International Violin Competition in 2010, Second Laureate at the 2011 Isang Yun International Music Competition and First Grand Prize at the Alice Schoenfeld International String Competition. In the middle of her master’s degree program, Kantor took a new opportunity to teach at Rice University. Cho decided to stay in Cleveland and began studying with Laredo. “I ended up enjoying studying with Jaime so much that I decided to stay,” she says. Cho then went on to get her Professional Studies diploma from CIM.

When, in 2014, Cho won the prestigious International Violin Competition of Indianapolis, often referred to as the “Olympics of Violin,” her career took an even greater turn. Outfitted with representation, a 17th-century “ex-Gingold” Stradivarius, a large sum of prize money and an upcoming debut at Carnegie Hall as a result of the win, Cho graduated from CIM with a promising future.

A Teacher at Heart

From an early age, Cho always knew she wanted to teach. But more than that, she wanted to give back. Cho was appointed faculty at the Oberlin Conservatory in 2015, and this year she joins the ranks of CIM’s renowned faculty to teach violin, returning to the very place she studied for more than a decade. In addition, Cho founded ENCORE Chamber Music (encorechambermusic.org), an intensive summer festival for young chamber musicians in Cleveland. She attributes her desire to start this program to the education she received at CIM. “In some ways, I took for granted the education I received at CIM,” she says. “For me, it was so normal to have an immersive and collaborative environment as a young musician, but I started realizing more and more when I got out into the industry that it was actually a very rare thing. That didn’t exist everywhere. This environment made me the musician I am today, and I believe every young musician deserves to experience this kind of nurturing guidance. I just want to be a mediator to introduce this particularly Cleveland way of making music, and give forward to the next generation of music.”

I just wanted to give forward to the next generation of music.

Cho continues to learn and grow as a musician from her experiences both as a teacher and as a performer. At Carnegie, she was able to set a new bar of excellence for herself. “Once that sound gets into your ears—those acoustics—that’s something to hold as a standard,” she says. As a teacher, she learns from working with her students. “It’s an enriching experience to teach, and it makes my life as a performer much better. I learn so much from them, quite honestly. The process of teaching is as educational to the teacher as it is for the students.” Both complement one another nicely. “Performing can very often be about myself. It is, in a way, very solitary,” she says. “I feel like teaching is all about having a supportive community, helping one another, camaraderie and friendship. They both balance each other out in a really beautiful way.”

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a l u m n i n ew s Have some news? Visit cim.edu and click “Newsroom.” At the bottom of the page click “Submit News,” then fill out and submit the form. News is accepted on an ongoing basis and may be held until the next issue.

Alumni Louis Chiappetta (BM ’11, Fitch) was awarded a fellowship to the Tanglewood Music Center for summer 2016. Evan Fein (BM ’07, Brouwer) has unveiled his first major original work for a concert wind ensemble. Conductor Gary M. Ciepluch will lead the Case Symphonic Winds in the premiere of Einstein Rings. The work is inspired by a theoretical physicist’s search for evidence of dark matter, and the phenomenon known as gravitational lensing. Case Symphonic Winds, where Fein played for four years, includes music majors as well as students of engineering, physics, chemistry and the humanities. Nevada Chamber Opera under the direction of Albert Rudolph Lee presented the world premiere of Monica Houghton’s (MM ’03, Brouwer) “The Big Bonanza” in three performances in April in Nightingale Hall at the University of Nevada, Reno. Jason Altieri conducted the University Symphony Orchestra in the fully staged production. Together with her duo partner, pianist Vladimir Stoupel, Judith Ingolfsson (MM ’94, Cerone; AD ’96, Weilerstein; PS ’00) released a series of three CDs entitled ConcertCentenaire, which includes works by Albéric Magnard, Rudi Stephan, Louis Vierne and Gabriel Fauré. They will be released in 2016 by Accentus Music. With this recording project, the Duo Ingolfsson-Stoupel explores the music of composers whose lives were decisively influenced, and in two cases also terminated, by the First World War. The first CD in the series has already garnered praise including Norman Lebrecht’s Album of the Week. judithingolfsson.com and ingolfsson-stoupel-duo.com Guitarist Krystin O’Mara (PS ’14, Vieaux) released a CD, entitled Travel Notebook, of chamber music from her duo, Duende, which includes herself and saxophonist Ethan Miller. 22

The CD, which was recorded in CIM’s Mixon Hall and engineered by CIM audio engineer Maxwell Porter, is a concept album that takes listeners on a whirlwind exploration of music originating in different regions and cultures across the world as experienced by the performers and composers through their own backgrounds and travels. The album consists of the duo’s own transcriptions of works by Villa Lobos (Brazil), Iturralde (Spain), Barrios (Paraguay) and Piazzolla (Argentina) and features a premiere recording by South African composer Dr. James Wilding. The album is available on Centaur Records. duendeduo.com The Rev. Ed Payne (BM ’71, MM ’72, Bushman) sang the National Anthem at the Pentagon on the occasion of his son’s promotion to Lieutenant Colonel. His son, Kevin, is a graduate of Ohio University and has been in the U.S. Army for 20 years and is stationed at the Pentagon. Mezzo-soprano Irene Roberts (MM ’08, Schiller/Southern), who sang the title role in San Francisco Opera’s Carmen earlier this year, will play the leading role, Bao Chai, in SFO’s world premiere of Dream of the Red Chamber. The opera is by composer Bright Sheng and librettist David Henry Hwang, and it opened September 10 with performances through September 29. Roberts’ role is one-third of the central love triangle on which the story focuses. Julian (BM ’09, David and Linda Cerone; MM ’10, Smirnoff) and Marilyn (MM ’14, Zenaty) Taylor have recently become program directors of Coda Mountain Academy Summer Music Festival in Fayetteville, West Virginia. This past summer they directed, taught and performed at the two-week, residential camp with several other CIM alumni, including Zane Biddle (BM ’11, MM ’13, Solis/King), Peter Elhardt (BM ’11, Weiss), James Reinarz (BM ’09, MM ’11, Kantor), Christina Wong (MM ’12, Jackobs), Mary VanhoozerRodriguez (DMA ’13, Shapiro) and Josh Rodriguez (MM ’11, Fitch). codamountain.com Ben Turcotte (BM ’12, Egre) recently joined the website brokerage firm FE International as an executive broker. Upon joining, and quickly selling his first business in less than 30 days of employment, Turcotte was asked to speak at the Sellers Summit conference in Miami Florida in May due to his experience and expertise in digital marketing. Turcotte is the youngest member to join his firm and was the youngest speaker at the conference.

Appointments Mélisse Brunet (PS ’12, Topilow) is the new director of orchestral activities at Appalachian State University, NC. She will be conducting all the symphonic concerts, operas and musicals as well as teaching orchestral conducting. After a successful year as the apprentice conductor of the Northeastern Pennsylvania Philharmonic, the position of assistant conductor was created for her. Brunet also regularly guest conducts the professional orchestras in the French cities Rouen, Caen, Montpellier, Auvergne and Nancy. Theresa Leung (MM ’11, Weckstrom/Shapiro) was appointed visiting assistant professor and postdoctoral scholar in collaborative piano at the Jacobs School of Music, Indiana University, in August 2016. This follows her graduation from New England Conservatory (NEC) in May 2016 where she received her DMA under the direction of former CIM faculty member Vivian Weilerstein, Cameron Stowe and Jonathan Feldman. While at NEC, Leung also took additional studies with members of the Boston Symphony Orchestra, the Weilerstein Trio and the Cleveland, Julliard and Borromeo Quartets. April Martin (AD ’13, Cole; MM ’11, Schiller) joins the Lyric Opera of Kansas City for the 2016–17 season as the soprano resident artist. Dr. Artina Hunter McCain (MM ’06, Brown) joins the faculty at the University of Memphis as assistant professor of piano this fall 2016. Marc Plotkin (BM ’09, Banaszak) joined New York University as a professor of music entrepreneurship at The Clive Davis Institute of Recorded Music. A Grammy short-listed producer/songwriter, Plotkin will be teaching alongside industry titans such as Questlove, Robert Glasper, Pharrell Williams and more. Plotkin was previously listed as a Bloomberg BusinessWeek Top 25 Entrepreneur for his work creating DecisionDesk. Shawn Head (BM ’16, Fitch) was appointed faculty at the Benefic Chamber Music Camp at Ball State University. Additionally, he was Second Prize winner in the Cleveland Composer’s Guild Student Composition Competition, and his orchestral work Kyotaku was selected as a finalist in the 4x4 Orchestral Composition Competition. His cello duet In Paris with You was performed at Ball State University by faculty and Muncie Symphony Orchestra members.

Jay Ritchie (MM ’15, Yancich/Damoulakis) was appointed assistant principal timpani and section percussion in the Detroit Symphony Orchestra. Christopher Thibdeau (MM ’11, Topilow) won a limited-term appointment as assistant professor of music education (strings) at Kennesaw State University. As Georgia’s third-largest university, Kennesaw State offers more than 100 undergraduate and graduate degrees, including a growing doctoral program. Thibdeau will be teaching courses in strings pedagogy and education, leading the KSU String Project and serving as the conductor of the KSU Philharmonic. Domenic Salerni (BM ’09, Cerone/Preucil) joined the Dalí String Quartet as first violinist. The Dalí Quartet members include CIM alumnus Jesús Morales (BM ’95, Harris), cello; Adriana Linares, violin; and Carlos Rubio, violin. daliquartet.com Carlos Velez (DMA ’11, Fitch) was appointed to the faculty at Western Oregon University. Jeb Wallace (MM ’01, Epstein) was appointed principal horn with the Wichita Symphony and professor of horn at Wichita State University.

Prizewinners Jack Hughes (BM ’14, Fitch) was selected as a winner in the annual BMI Student Composer Awards. Andrew G. Manea (BM ’13, Billions) won first place in the Shreveport Opera Singer of the Year Competition and also received the Audience Favorite Award. He attended the Merola Opera Program this past summer in San Francisco. Manea will be performing the role of #7 in Conrad Susa’s opera Transformations as well as covering the role of Guglielmo in Mozart’s Così fan tutte. He finished his master’s degree at the University of Cincinnati, College-Conservatory of Music, this past spring.

Faculty Keith Fitch (head, composition) served as guest composer at Indiana University Jacobs School of Music, Indiana University-South Bend, and the Indiana State University Contemporary Music Festival. Recent performances of his music include those by the Indianapolis Chamber Orchestra and the Ars Futura ensemble. In

January, he was awarded the Walter Hinrichsen Award from the American Academy of Arts and Letters, given to a gifted American composer for publication of a work by C. F. Peters. Performances of his music this past summer included his Piano Quartet, “Last Words,” at the Rocky Ridge Music Center and “Knock on Wood” at Ravinia Festival, featuring CIM faculty Jason Vieaux and Yolanda Kondonassis. Yolanda Kondonassis (head, harp) is the executive producer of a new album coming out on Oberlin Music on October 14. Ginastera: One Hundred is a tribute to the great 20th-century Argentine composer Alberto Ginastera, featuring recordings by Kondonassis and The Oberlin Orchestra, guitarist Jason Vieaux, violinist Gil Shaham and pianist Orli Shaham. Recent performance highlights include Ginastera’s Harp Concerto with the San Diego Symphony and Mozart’s Concerto for Harp and Flute with flutist Joshua Smith and The Cleveland Orchestra, which was described as “effortless” and “completely charming” by The Plain Dealer. Jaime Laredo (violin) received an honorary doctorate from the University of Vermont. Richard Weiner (co-head, percussion/ timpani) recently performed with the Atlanta Symphony Orchestra and also presented a master class at The University of Georgia where CIM graduate Tim Adams (BM ’83) is the professor of percussion and timpani.

Students While attending the Kent/Blossom Music Festival, Maria Beltavski (violin, Sloman) was appointed concertmaster of the Kent/Blossom Chamber Orchestra, which performed at Blossom Music Center on July 30, 2016. Julián Feuyo (composition, Fitch) was awarded First Prize in the Belvedere Chamber Music Festival Composition Competition for his violin/ piano duo Zefiro. This past summer, he attended the Rocky Ridge Music Center in Estes Park, Colorado. Rixiang Huang (piano, Pompa-Baldi/Schenly) was awarded the Gold Medal in 2016 New York International Artists Piano Competition Category C (ages 18–35). As a result of the win, Huang will perform a solo recital at Carnegie Hall in October.

Andrew Stock (composition, viola, Fitch/ Irvine) received a fellowship to the Aspen Music Festival as violist in Aspen Contemporary Ensemble. As part of the ensemble, he also performed at the New York Philharmonic Biennale in June. Joseph Tolonen (composition, Fitch) was awarded Third Prize winner in the Cleveland Composer’s Guild Student Composition Competition and attended the fresh, inc . festival this past summer. Qingye Wu (composition, Fitch ) attended the fresh, inc. festival this past summer.

Preparatory Hana Chang (violin, Zenaty) won the Stradivarius International Violin Competition in Utah. She will be performing with the Utah Symphony in the summer of 2017, and the China Hunan Symphony Orchestra during its 2017–18 season. Chang studies in CIM’s Junior Young Artist Program (JYAP) with Ivan Zenaty.

In Memoriam Lisa Foerster (MM ’85) passed away in May in an automobile accident. Foerster participated in the first Art Song Festival and made her professional operatic debut with Lyric Opera Cleveland, both of which were founded at CIM. She spent 13 years singing in Germany, and then another five years as instructor of voice at Claflin University in South Carolina. She was also a member of the National Association of Teachers of Singing. Alan Schackne (BM ’67, MM ’68, Goslee) died in March, in Foster City, California, after a brief illness. He and his wife, Jessica Sisson Schackne (MM ’69, Silberstein), lived in the San Francisco Bay Area for over 46 years. They have two children, Karl Schackne and Beth Schackne. As a professional bassoonist, Schackne performed in numerous orchestras and chamber groups over the course of his career. His later years were devoted to teaching, from which he derived great satisfaction.

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ABOUT CIM Founded in 1920, the Cleveland Institute of Music (CIM) is one of seven independent music conservatories in the country and is known for superior orchestral, chamber music, composition and opera programs at both the undergraduate and graduate levels. CIM graduates play important musical roles in our world as composers producing meaningful new repertoire, as eminent instrumental and vocal soloists, as world-renowned chamber musicians and as members of premier orchestras around the globe. More than half of the members of The Cleveland Orchestra are connected to CIM as members of the faculty, alumni or both. Located in University Circle, Clevelandâ&#x20AC;&#x2122;s cultural hub, CIM is easily accessible to all music loversâ&#x20AC;&#x201D; providing hundreds of concerts annually, most free of charge. Visit cim.edu for more information.

CIM@SEVERANCE HALL Wednesday, September 21, 2016