CIM Notes | Fall 2022

NOTES

CIM ACQUIRES NEW STEINWAY MODEL-D CONCERT GRAND FOR MIXON HALL

The CIM family grew by one in August with the purchase of a new Steinway concert grand piano, Model D.

The new instrument, which arrived August 17, now graces Mixon Hall and was the first of 13 new Steinway & Sons grand pianos headed to CIM this fall.

“The time that our musicians spend creating and rehearsing on these highest-quality pianos is time so well spent,” said Kathryn Brown (AD ’93, Schenly), head of CIM’s keyboard division and piano department. “Pianos like these allow our musicians to express themselves poetically, through tone, color and texture. It is that symbiotic relationship with a gorgeous instrument that keeps us coming back [to Steinway] for more.”

The new Steinway joins an impressive roster of pianos at CIM. It brings the total number of Steinway instruments at CIM, an all-Steinway school, to 176, and further cements CIM’s 102-year relationship with Steinway.

All faculty and students at CIM will benefit from the new piano, but if it belongs to any person, it’s to piano faculty Sergei Babayan, who hand-picked the instrument during a visit to the New York Steinway factory last summer. Out of seven pianos presented to him, he picked this one for its range and warmth of sound.

“I was stunned and beyond happy to see how New York Steinway continues to surprise us with their new level of artistry and dedication,” Babayan said. “We hope this instrument will inspire students, faculty and guest artists with many moments of incredible artistry.”

CIM faculty and staff recently visited the New York location of Steinway & Sons to select the new Model D piano that now graces the stage of Mixon Hall. (Photos by Abigayle Williams)

ON THE COVER

Students in the CIM Orchestra perform at Severance Music Center in September 2022. (Story, page 16)

by Gus Chan)

Purchase of 1609 Hazel puts CIM in charge of student-housing destiny

CIM draws closer to CWRU with renewed focus on Joint Music Program

CIM expands general education palette in push for modern skill training

CIM poised for continued success with appointment of two new deans

Michael Tilson Thomas leads “unforgettable” master class at CIM

CIM celebrates the life of ‘Miss Olga’ Radosavljevich

Gifted viola highlights impact of CIM’s instrument donation program

CIM’s Kulas Hall slated for renovation

CIM’s Luminaries event exceeds brightest expectations

Elliott and Gail Schlang gift raises bar for community engagement at CIM

Partners for CIM welcomes new president

CIM community grows with new full-time, guest and visiting faculty

Nurturing excellence one student at a time: CIM’s new Academy

CIM snatches musical victory with A Pocketful of Operas

CIM issues major updates with launch of “Orchestra 2.0”

Alumni Spotlight Michelle Cann

The CIM Orchestra and director Carlos Kalmar performed works by Haydn, Fueyo, Montgomery and Ravel in a celebration of CIM's centennial at Severance Music Center on Saturday, September 24, 2022. (Photo by Gus Chan)

Purchase of 1609 Hazel Puts CIM in Charge of Student-Housing Destiny

CIM gained a significant asset and accomplished a major goal last spring when it acquired 1609 Hazel, its high-tech student apartment and practiceroom complex.

The building, which abuts CIM, had been on lease from its developer since its opening in July 2020. Owning the structure allows CIM to guarantee students the finest housing along with a world-class education.

“We have taken charge of our own destiny,” said CIM President and CEO Paul Hogle. “We are grateful to our Trustees and donors for encouraging us to build our own facility and enabling us to purchase it.”

The impact of 1609 Hazel on student life is difficult to overestimate. The still-new complex is capable of housing 240 students in 64 deluxe, secure and fully furnished suites, each complete with two bathrooms, wireless internet, air conditioning, full kitchens and laundry machines.

And those are just the apartments. In addition to residences, 1609 Hazel contains 19 individual and three state-of-the-art chamber music modular practice rooms and recording studios, all of which are available to students around the clock. Also within the building are lounges, an exercise studio and a classroom.

Although it’s only two years old, 1609 Hazel already has demonstrated its worth, allowing CIM to safely reinstate in-person learning much earlier than other major conservatories during the COVID-19 pandemic.

Said former Board Chair Richard Hipple: “This is a large part of our critical mission to create the best environment to nurture and grow the next leaders in the world of classical music.”

CIM Draws Closer to CWRU With Renewed Focus on Joint Music Program

Physically, CIM and Case Western Reserve University (CWRU) can’t get any closer. Academically, however, there’s room to tighten, and that’s just what’s happening this fall through a renewed focus at CIM on the Joint Music Program (JMP).

Under the newly revitalized arrangement, CWRU students who take classes or lessons at CIM are being integrated more deeply into life at CIM in general. They’re being welcomed and included in conservatory functions in a way that actively blurs the line between student bodies.

“We don’t want the JMP students to be off to the side somewhere,” said Sean Schulze, CIM’s new associate dean for academic partnerships. “We want them to be squarely under the banner of CIM. There’s a desire to have greater alignment.”

The JMP itself is nothing new. Under its aegis, students have been pursuing extra-curricular passions, crossing back and forth between university and conservatory, since 1968. Today, all CIM students are JMP students, and hundreds of students at CWRU come to CIM for private lessons, music theory and eurhythmics.

The difference now is a desire to strengthen and better promote the relationship, to make CWRU students feel more involved at CIM and attract more students to CIM in general by highlighting the school’s kinship to a major university.

“What we have here is really a gem,” said Hallie Moore, associate dean for student academic affairs at CIM. “The goal now is to foster more cooperation and connection, to create a better sense of community.”

CIM has acquired 1609 Hazel, its high-tech student residence and practice complex. (Photo by Robert Muller)

CIM

Expands

General

Education

Palette in Push For Modern Skill Training

Even at CIM, there’s more to life than music. Much more. Hence the school’s ongoing commitment to a well-rounded education.

CIM this year added three new courses to its general education curriculum, broadly expanding options for students seeking to fulfill CIM’s non-musical requirements. The new classes will be taught by CIM faculty and stand in addition to the many other courses available through CIM’s partnership with Case Western Reserve University.

“We’re taking new ownership and responsibility for the non-musical elements of the education we offer,” said Dean Southern (DMA ’09, Schiller), vice president of academic and student affairs and dean of the institute. “We’re set up now to always be improving.”

Like last year’s new courses in technology and business, this year’s new courses – “Cultivating Functional Imagination in Music,” “Engaging and Serving Our Communities” and “The Experience of Hearing and Performance” – were conceived with the needs and goals of the aspiring professional musician in mind.

They launched in the second year of a long-term push by CIM to teach and assess fundamental skills critical and complementary to a life in music today, including research, writing, public speaking and digital communication. They brought to nine the slate of general education courses at CIM and joined recently added requirements for a first-year writing seminar and fourth-year capstone experience.

“We really want these to be courses that our students are excited about,” Southern said. “I’m proud of what we’ve done. Now it’s just a matter of letting it run.”

CIM Poised for Continued Success With Appointment of Two New Deans

The pool of administrative talent at CIM deepened considerably this summer with the appointments of Donna Yoo and Fred Peterbark.

Yoo is now the school’s new dean of artistic administration and operations, and Peterbark is dean of enrollment and aid. The appointments fill out a new three-member academic leadership team, which includes Dean Southern (DMA ’09, Schiller), vice president of academic and student affairs and dean of the institute.

“I can think of no more creative, strategic and courageous higher education administrators and musicians,” said Scott Harrison, executive vice president and provost. “Together they come to CIM with deep experience in every facet required by their roles.”

Yoo is an accomplished horn player and pianist with degrees from Stony Brook University, Eastman School of Music and Yale School of Music, where she directed admissions and alumni affairs. She is also a founding member of the New York Horn Ensemble and has appeared with the Burlington Chamber Orchestra and Albany Symphony.

Peterbark came to CIM after three years at Roosevelt University, where he helped restructure the admissions process at the school’s Chicago College of Performing Arts. He also has worked in music admissions and recruitment at the University of Colorado Boulder, Louisiana State University and Ithaca College.

“Even the greatest of musicians needs a supportive, insightful community in order to thrive,” said Paul Hogle, CIM’s president and CEO. “Our new administrators will apply their passions and many gifts to see that every student here reaches his or her full potential.”

Fred Peterbark, left, is CIM’s new dean of enrollment and aid. Donna Yoo, right, is CIM’s new dean of artistic administration and operations. (Photos by Abigayle Williams)

Michael Tilson Thomas Leads “Unforgettable” Master Class at CIM

Just as Michael Tilson Thomas himself is no ordinary musician, so was the master class the maestro conducted at CIM last April no ordinary music lesson. Indeed, for one participant, it was transformative.

“Not only was the class a precious opportunity,” said DMA collaborative piano student Ying-Ho Joanna Huang (AD ’20, Pontremoli; BM ’17, MM ’18, King) who performed with clarinetist Shihao Hugh Zhu (2017-22, Cohen/Yusuf). “It was an unforgettable lifetime learning experience.”

Although he holds an honorary doctorate from CIM, Tilson Thomas, the acclaimed former music director of the San Francisco Symphony and founder of the New World Symphony, was in town not for a master class but rather for concerts with The Cleveland Orchestra, featuring Britten’s rarely heard ballet The Prince of the Pagodas

Here at CIM, the conductor’s focus was Debussy, specifically the Premiere Rhapsodie. After her performance with Zhu, Huang – long a fan of Tilson Thomas – said the maestro offered a wealth of comments related to phrasing, historical context and extra-musical meaning, all of them helpful.

Perhaps most importantly, Tilson Thomas encouraged Huang and Zhu on their paths. After describing their performance as “beautiful,” the conductor noted the power Huang, Zhu and other serious musicians have to change lives through music.

“He inspired me [by saying] we have so much to give to the community, not only as passionate performers but also as future educators,” Huang said. “With a kind and open heart, we can bring people around us to know and love classical music.”

Conductor Michael Tilson Thomas presides over a rehearsal with the CIM Orchestra at Severance Music Center in April. (Photo by Roger Mastroianni)

CIM Celebrates the Life of ‘Miss Olga’ Radosavljevich

The CIM community mourns the loss this fall of Olga Radosavljevich. Miss Olga was both an alumna of CIM and one of its most cherished faculty members. She retired in May 2019 after 59 years of devoted service.

Miss Olga came to CIM as a student of Arthur Loesser in 1956 and was soon teaching piano in the Preparatory Division. Throughout her long career, Miss Olga taught both Conservatory and Preparatory students to great acclaim.

“I feel extremely fortunate to have had 63 wonderful years at the Cleveland Institute of Music,” she reflected in 2019. “I came as a humble student...and I am retiring with satisfaction that I have given my utmost dedication to my students and to CIM.” Miss Olga completed her bachelor’s degree in 1959, master’s degree in 1961 and Artist Diploma in 1969.

Miss Olga was instrumental in developing CIM’s Young Artist Program. Although the program has evolved to focus on high school students, her rigorous approach to training remains. Miss Olga also put her formidable skills to use as head of CIM’s Preparatory piano department, from 1985 to 2004.

Among her many notable alumni are Ning An (first prize, Tivoli International Piano Competition), Derek Rikio Nishimura (CIM piano faculty), Wei-Tang Huang (collaborative pianist, Schulich School of Music at McGill University), Ines Irawati (artistic director, San Diego Opera’s young artist program) and Vera Holczer (director, Aurora School of Music). These and many others gathered at CIM in December 2017 to joyfully celebrate Miss Olga’s 80th birthday.

Gifted Viola Highlights Impact of CIM’s Instrument Donation Program

Of all the gifts CIM receives each year, instruments are among the most special.

Not only do donated violins, cellos and pianos enable CIM students to train on the high-quality instruments they need to excel. Each one also tells a meaningful story.

Case in point: The viola CIM recently received from composer Richard Sortomme and his wife, Carol Webb, a former violinist in the New York Philharmonic.

Built in 1982 by Webb’s father, Harold Emery Webb, a former engineer at General Electric, the Stradivarius-inspired viola served Sortomme for a decade in concerts throughout New York City, including Alice Tully Hall. It also received an important stamp of approval from Robert Vernon, a close friend of the couple’s and the renowned co-head of CIM’s viola department.

Webb and Sortomme donated the viola to CIM last summer, citing Cleveland as the proper home for the instrument.

The Webb viola isn’t the only recent donation. In June, CIM received an Allen Digital Computer Organ, which now graces the halls of 1609 Hazel, CIM’s student residence. Meanwhile, undergraduate student Megan Lin (Laredo/Lowe/Sloman)

CIM also gratefully accepts pianos. Since 2017, CIM has received or been gifted funds to purchase no fewer than 16 Steinway pianos. All of these are in addition to financial gifts supporting the purchase of new wind instruments.

If you have an instrument to donate, or would like to support the purchase of an instrument, contact Erin Horan at erin.horan@cim.edu or 216.791.4388.

plays a violin gifted by the Bolton Family.

CIM viola department co-head Robert Vernon, right, poses with composer Richard Sortomme and his wife, violinist Carol Webb. (Photo courtesy of Richard Sortomme)

Olga Radosavljevich spent 63 years at CIM, both as a student and as a member of the faculty.

CIM’s Kulas Hall Slated for Renovation

A major renovation project is in store at CIM. Sixty-two years after its opening, Kulas Hall is now up for a makeover.

Work is slated to begin next year and finish in fall 2024, with several CIM performances taking place at Severance Music Center during the interim.

Many at CIM are eager for a new complement to Mixon Hall. Conceived in 1960 as a venue for solo piano and voice recitals, the 585-seat Kulas quickly emerged as the home of the CIM Orchestra, CIM Opera Theater and numerous other large ensembles for which it was never intended.

Plans for a revitalized hall envision a true, adaptable gem, a one-of-akind venue in University Circle that meets the logistical, acoustic and technological demands of everything from solo recitals to recordings with 100-piece orchestras and fully staged opera productions.

Construction has yet to begin but many at CIM already have been working on the project behind the scenes since 2021.

A dedicated taskforce chaired by CIM alumna and Trustee Bonnie Cook (BM ’77) started by selecting an acoustician, Dawn Schuette, partner with Chicago-based Threshold Acoustics. After that, the group retained Cost+Plus, a Florida-based project management firm.

The third step was to appoint Theatre Projects, a New York-based theater design firm behind hundreds of distinguished spaces worldwide. Lastly, after receiving credentials from a dozen firms, the task force selected Cleveland-based architects JKURTZ.

“A world-class conservatory deserves a world-class concert hall, and that’s exactly what we’re going to get,” said Eric Bower (MM ’82), senior vice president of CIM.

CIM’s Luminaries Event Exceeds Brightest Expectations

By Maggie Ginn Rooney, Associate Director, Individual Giving

When I and a group of passionate community members began to work on CIM’s Luminaries Benefit last fall, excited to bring people together on campus during Commencement, all we could do was imagine.

Little did we know how perfectly the event would ultimately come together, how far reality would exceed even our rosiest dreams. For one thing, it was an evening of incredible music. Violinist Jennifer Koh premiered a work by David Serkin Ludwig. We heard pianist and CIM alumna Michelle Cann (BM ’09, MM ’10, Schenly/D. Shapiro) and music by Jerod Impichchaachaaha' Tate (MM ’00, Erb/Pastor). We remembered Ryan Anthony (BM ’91, MM ’93, Zauder), who passed away in June 2020.

It was also an evening of connections, of bonds forged and renewed over delicious food and drink. We paid tribute to Joe and Ellen Thomas, a couple who have been dedicated to CIM for over 30 years and have supported the future of classical music through such legacy gifts as Thomas Commons, the Ellen and Joe Thomas Endowed Fund and the Ellen B. Thomas Vocal Scholarship.

All of this we did while raising more than $180,000 in vital scholarship funds, every one of which will help current and future students achieve their dreams and potential. We set out to honor Joe and Ellen Thomas but ended up with a whole other list of people, corporations and foundations to thank.

In that way, too, Luminaries turned out far, far better than we could have hoped.

CIM’s iconic Kulas Hall is slated for renovation next year. (Photo by Robert Muller)

Elliott and Gail Schlang Gift Raises Bar for Community Engagement at CIM

CIM’s community engagement mission received a giant shot in the arm this fall in the form of a major gift from Elliott and Gail Schlang

The new $500,000 gift establishes The Schlang Family Fund supporting the growth and sustainability of CIM’s community engagement initiatives and partnerships. It helps CIM expand on already robust efforts to collaborate and connect with individuals and organizations across Northeast Ohio.

In particular, the new fund will help produce a community concert series, a student-teacher program at Cleveland School of the Arts, and a variety of in-school and extracurricular community education activities still under development.

“We hope that...increasing community engagement and visibility will project CIM’s excellence to the entire Cleveland community,” wrote Elliot Schlang, a CIM Trustee.

The Schlangs are all about community engagement – and CIM. They’ve long been active with CIM and other cultural and health-based organizations, supporting community engagement at CIM as well as the Cleveland Museum of Art, The Cleveland Orchestra and University Hospitals. One of their gifts notably enabled cochlear implant recipients to attend a CIM Orchestra concert at Severance Music Center.

Elliott Schlang is founder and managing partner of Great Lakes Review and a trustee emeritus at CMA. Gail Schlang is a retired audiologist and a leading arts and education volunteer and local patron. The couple feels a kinship for CIM on account of the prominent part they see it playing in the future of classical music, here and worldwide.

“CIM is a treasure we need to highlight,” Elliott Schlang said.

Partners for CIM Welcomes New President

CIM’s largest group of community supporters has undergone a change in leadership.

Drawing the curtain on a remarkable tenure, Jean Koznarek has stepped down as president of Partners for CIM, the community group that advocates on behalf of CIM students.

Now at the head of the active and growing corps sits Anne Jarrad, director of advancement at Julie Billiart Schools.

“I am incredibly grateful for all of Jean’s dedication and hard work,” said Jarrad, a staunch supporter of inspired learning environments. “Jean’s leadership and commitment have helped generations of CIM students succeed in their studies and feel welcome and appreciated during their years in Cleveland.”

In the constellation of CIM supporters, Partners for CIM is one of the brightest stars. Its 150-plus members pick up where official mechanisms leave off, working tirelessly to foster closer ties between students and the broader Northeast Ohio community. By creating opportunities for the public to experience CIM talent, it generates greater awareness and support of the school around the region.

Partners also enjoy an array of perks, including invitations to special events, subscriptions to CIM publications and personal connections to current CIM students.

As her presidential term begins, Jarrad said she plans to build on the foundation Koznarek laid to broaden the group’s membership, vision and impact.

“I look forward to continuing her good work,” she said. “I plan to continue down the path she set and keep on supporting CIM musicians in a meaningful and personal way.”

Gail and Elliott Schlang have endowed The Schlang Family Fund at CIM, in support of CIM’s community engagement initiatives and partnerships. (Photo courtesy of the couple)

CIM Community Grows with New Full-Time, Guest and Visiting Faculty

First-year students weren’t the only new arrivals at CIM this fall. The school also saw an influx of new full-time, guest and visiting faculty. Indeed, including appointments made during the pandemic, the school in fall 2022 was teeming with fresh faces.

Brand-new to CIM were Ian Howell, CIM’s first faculty countertenor and director of vocal chamber music; music theory teachers Joseph Sferra and Gabriel Novak (BM ’18, Fitch); and Preparatory Division clarinetist Robert Davis (BM ’01, Nereim), violist Cristina MicciBarreca (BM ’21, Irvine/Ramsey), cellist Nathaniel Hoyt (MM ’22, Weiss), choral conductor Jonathon Turner, and guitarist Rodrigo Lara Alonso. Guitarist Jason Vieaux (BM ’95, Holmquist) and soprano Dina Kuznetsova moved to full-time status.

No less inspiring were the lists of new guest and visiting faculty. The former included Malcom Lowe, former concertmaster of the Boston Symphony Orchestra; pianist Michelle Cann (BM ’09, MM ’10, Schenly/D. Shapiro); Wei Yu, principal cello of the Detroit Symphony Orchestra; Harold Robinson, principal bass of The Philadelphia Orchestra; conductor Anthony Parnther; saxophonist Steven Banks; and percussionist She-e Wu. The latter, meanwhile, boasted the Sphinx Virtuosi,

, pianist

McCain (MM ’06, Brown),

Yi

These join a slate of recent faculty additions notably including Carlos Kalmar, director of orchestral and conducting programs; violinist Philip Setzer, artistic director of string chamber music; and three members of the famed Cleveland Orchestra: principal bass Maximilian Dimoff, principal horn Nathaniel Silberschlag and assistant concertmaster Jessica Lee

Welcome to the CIM community, everyone!

Bassist Maximilian Dimoff, left, and violinist Jessica Lee, right, both members of The Cleveland Orchestra, have joined the CIM faculty, along with choral conductor Jonathon Turner, center. (Dimoff and Lee photos by Roger Mastroianni; Turner photo courtesy of the artist)

the Wu Han-Philip Setzer-David Finckel Trio, violinist Margaret Batjer

Artina

cellist Mike Block (BM ’04, Aaron), and composers Sebastian Currier, Marcos Balter and Chen

NURTURING EXCELLENCE ONE STUDENT AT A TIME: CIM’S NEW ACADEMY

By Suzanne de Roulet

“I want to try something new,” Jennifer Call instructs the seven high school students in front of her.

It’s a sunny Saturday afternoon in a classroom at CIM. The students, arranged in a semi-circle from bass to soprano, have been working on vocal exercises in their Chamber Choir warm-up, vocalizing an “ooh” sound.

“Keep singing your parts,” she adds, “but now, move around the room, stand next to new people, listen to the difference, and then move on again.”

The students, continuing to “ooh,” amble around the room, pausing occasionally next to one another to hear how the notes blend differently in their new location.

“Pitch is really affected by color, by listening to each other,” says Call, artistic director of CIM’s youth choirs. After a few minutes, she asks the students to line up, the vocal parts jumbled. They harmonize again. This time, the sound is stronger, purer, the pitch more true. The students exchange murmurs of appreciation and surprise.

“Sometimes, when you’re in parts,” Call says, “it doesn’t sound as strong as when you’re in mixed formation. Changing the way you’re used to doing things can make a big difference.”

EFFECTING CHANGE

She’s certainly right about that. Change at the individual level – exemplified here in the Chamber Choir – echoes the larger changes that CIM has undertaken with its Preparatory programming.

Previously, students chose off a menu of private lessons, ensembles and classes. While this approach worked for many parents and students, CIM wondered: Is this the best way to empower the world’s most talented classical music students to reach their potential?

This question was part of a larger assessment of CIM’s mission, vision and operations, undertaken ahead of the school’s centennial in 2020. One result was the choice to reduce CIM’s

Students in CIM’s new Youth Program explore the piano. (Photo by Tanya Rosen Jones)

student body and lower the cost of tuition. Another was the recalibration of CIM’s Preparatory program to align more closely with the school’s overall mission.

Faculty, staff and Trustees, guided by President and CEO Paul Hogle, spent more than a year re-imagining the Preparatory program. Their goal was a program that’s stronger, more meaningful and more valuable to students, one certain to foster the next generation of classical musicians and music lovers.

The result, launched in fall 2022: the Academy, a new, comprehensive pre-college training program offering continuous development for young musicians.

A BROAD BUT TAILORED APPROACH

At the core of the Academy is the belief in being well-rounded. In addition to private lessons, all Academy students take musicianship courses and participate in ensembles, studio classes and master classes. They have multiple opportunities to perform together and with CIM faculty. All, too, benefit from ongoing assessments, support and mentorship from teachers and coaches.

The Academy and accompanying Youth Program are designed to meet students at their individual level of development with comprehensive and sequential music curriculum. All students eyeing a future music degree, from Pre-K to the most advanced, are supported with the classes and performance experiences to help them build the skills to achieve the next step in their journey.

Courses include choir for all youth program students, eurhythmics, music theory, Academy Chorus, orchestra and chamber music - all supporting the student’s work in private

lessons. In addition, students benefit from an organized cumulative performance curriculum designed to help students build confidence and comfort in solo performance.

“The Academy brings the spirit of CIM’s college-level program, whose graduates play on revered stages around the globe, to younger students who are early in their musical journey, at a level that is right for them,” Hogle said.

A RETURN TO CIM’s ROOTS

The shift to a holistic learning experience was a major departure from the older à la carte model, but in fact it is a return to how things used to be. Indeed, this “new” model isn’t new at all, but rather one that dates to the school’s very beginnings.

In 1922, CIM’s founder, Ernest Bloch, sought to offer an education that would help young musicians develop a “feeling for rhythm” and “qualities of appreciation, judgement and taste, and to stimulate understanding and love of music.”

“CIM began as a comprehensive Preparatory program,” explained Call, who also serves as Associate Dean of Preparatory and Public Programs at CIM. “So in a very real way, the Academy marks a return to our roots.”

FOCUS ON THE INDIVIDUAL

Given the enormity of the changes involved in the Academy, it’s only natural that the program would experience some growing pains. There were those who, for whatever reason, didn’t feel comfortable with the model and sought a different path.

In those cases, CIM did what it could to guide students to musical partners in the community or to study one-on-one with CIM faculty in private studios.

“Students had to go through a very individualized process of deciding whether to continue with the new model,” Call said. “We tried to meet everybody’s need.”

Meeting individual needs, of course, is nothing new for CIM, or for the Academy. One of the program’s founding features is that it was designed with the individual in mind.

Upper: Families learn about CIM’s new Academy program during an orientation session in Mixon Hall. Lower: Academy students work with choral accompanist and Academy assistant Julie Strebler. (Photos by Tanya Rosen Jones)

In line with CIM’s vision to “be the future of classical music,” the Academy was designed to build the next generation of classical musicians and music enthusiasts by nurturing their love of music and giving them the tools they need to pursue music at the level most meaningful to them.

Because each student is unique, with unique needs, the curriculum is structured with a one-on-one aspect that allows students to take what they need. Not every student will take the same number of courses or have the same electives.

“At every point where we had to ask a question or make a decision, we asked ourselves, ‘What does the student need?’” Call said. “That’s been our primary purpose.”

AN ENCOURAGING START

At deadline, the Academy was barely a month old. And yet, everyone – students, parents and faculty alike – was energized and excited by the “new” comprehensive approach.

Parent Julie Strebler said she endorses the Academy’s intensive model. She said she sees tremendous value in the increased musical instruction her children receive each Saturday.

Her son Casey Renner (viola, Micci-Barreca), a sophomore, had been traveling to CIM from Akron each week for a single hour of choir practice. Now, in the Academy, he and his younger sister arrive at CIM early Saturday mornings and stay until mid-afternoon. Casey’s day includes not only Chamber Choir but also courses in music theory, eurhythmics and private viola lessons.

“I’ve really enjoyed all the new activities and classes,” said Casey. “It’s all fun and I’m learning a lot of new things.”

“As a parent, and a musician and teacher,” added Strebler, who also provides piano accompaniment for the Academy’s Chamber Choir and directs a high school choir. “I love the variety of experiences my kids get through this program, including private lessons, individual and group performance experience, theory and movement, as well as the social experiences.”

Nora von der Heydt (voice, Skoog), a high school senior, was previously a choir member with CIM. Now, as an Academy student, she also takes keyboard and voice lessons, participates in Chamber Choir, and attends studio classes and a senior seminar.

“It’s been amazing,” she said. “Overwhelming for sure, but amazing.”

Erica Lopez (viola, Veskimets/Micci-Barreca), a student who commutes nearly 90 minutes from Willard, Ohio, each week, said she appreciates how much she accomplishes at CIM in a day. She said being able to attend a viola lesson, music theory class, eurhythmics course and more makes the long journey worthwhile.

BUILDING COMMUNITY

In addition to thorough and rigorous music instruction, CIM’s Academy offers an environment of encouragement and peer support. Call said one of her goals with the Academy was to be the place where young musicians “find their people.”

It’s a good thing, too. Between classes, ensembles and recitals, Academy students spend a lot of time with their peers. Indeed, that’s one thing parents and students alike said they like most about the Academy so far.

“I love it,” said Lopez. “The environment is so open and friendly. I’ve met so many new people, and everyone is so open to discussing their experiences and interests.”

Lopez said she also appreciates the diversity of the program. Not only do her Academy fellows hail from diverse backgrounds and cultures but they also exhibit diverse interests. In other words, like her, they love things other than music, too.

“It’s refreshing to see proof that you can be a musician and still have other passions,” Lopez said.

A BRIGHT FUTURE FOR CLASSICAL MUSIC

The Academy is off to a strong start, despite the challenges entailed in bringing it into being.

Parents are happy, students are delighted, and interest in the program continues to expand. Enrollment, too, is healthy, with more than 90 participants, one-third of whom are in the Youth Program.

But there’s still room to grow. Over the next several years, CIM hopes to see the Academy swell to some 300 participants.

“We worked really hard to build this program,” Call said. “But I’m so thrilled to see it come to fruition. It looked so good on paper, and it’s working out even better in practice.” •

CIM SNATCHES MUSICAL VICTORY WITH A POCKETFUL OF OPERAS

By Zachary Lewis

There was nothing small about A Pocketful of Operas, the collaborative project CIM presented in Mixon Hall last spring.

The pieces themselves were short, but the project as a whole was big enough to keep students and faculty all over CIM occupied for months, even years.

“Everyone really rose to the occasion,” said Keith Fitch, head of the composition department at CIM and mastermind of the project. “Watching it all come together and feeling that satisfying energy, it was a really positive experience for everyone.”

It almost didn’t come together at all. Conceived months before the pandemic and contingent upon collaborative singing, the project was seriously threatened by COVID-19, an airborne virus, and the lockdown it forced.

But Fitch and his colleagues weren’t about to let a brilliant idea go to waste or to deny so many students what had the potential to be a formative, once-in-a-lifetime opportunity. They held fast to the concept in the hope that conditions would change and their dream could be realized.

Fortunately, they won the bet. “It all worked out in the end,” Fitch said. “Everyone got to see from the inside what it is to do a project like this.”

The idea behind Pocketful of Operas was to match student composers with student performers and together have them mount productions of short, original operas of about 15 minutes each.

It was to foster collaboration of the deepest sort, beyond Fitch’s annual assignment to third-year student composers to write for a film, theater or dance project outside CIM. Fueling it all was the belief that the ability to tell a story with music and carry a production to fruition has become ever more critical.

The idea wasn’t just to benefit the composers, either. Performers, too, would have the chance – impossible with older music, but a vital part of the process with contemporary music – to engage directly with the composers and influence how the work comes together.

“The opportunity to work in real time with composers was extremely valuable,” said pianist and vocal coach François Germain. “The idea of going through a score and maybe changing it was very interesting for them.”

Four students took up Fitch’s challenge and quickly set about working under what they thought was a tight deadline. Their original goal was to conceive the operas during the 2019-20 school year, workshop them in fall 2020, and perform them in 2021.

It was not to be, of course. After the initial pandemic shutdown put the project on hold, each new phase of the virus’ spread resulted in a delay of another few weeks or months.

“Some of the composers got pretty far along,” Fitch said. “But we just had to keep pushing the pause button.”

In time, another complication arose: one of the original four composers graduated and left CIM, before his work was finished.

A student in the CIM Opera Theater program participates in a performance of “A Pocketful of Operas.” (Photo by Alex Cooke)

That wasn’t enough to derail the project, either. The following year, to Fitch’s delight, a new master’s student composer, Emma Cardon (Fitch), arrived and took up the mantle. What’s more, Cardon already had a short opera in development: A Storm We Call Progress.

Just like that, Pocketful was back in business, and this time, the target date of April 2022 – long after CIM had learned how to operate safely amid the pandemic – seemed secure.

Now came the fun part, the part that entailed writing an opera, conceiving a short story for the stage, creating piano reductions and working with singers, designers and performers in Fitch’s New Music Ensemble and CIM Opera Theater.

Some students, such as Daniel DiMarino (BM ’22, Fitch/O. Kaler), whose Ruth was based on the Biblical figure, had to develop their own librettos. Also in this boat was Yoav Sadeh (BM ’22, Fitch), whose opera Loneliness was grounded in a short story by Bruno Schulz.

Others sought outside help. Cardon, for instance, tapped violinists Kirsten Barker and Laurana Wheeler Roderer to craft an environmental tale and Arseny Gusev (BM ’22, Fitch/ Babayan) turned to Tikhon Antonov for help with Maeterlinck’s The Blind.

“To tell a story in a theatrical environment and write well for vocalists, those things are so valuable for a young composer,” Fitch said. “You have to learn how to make your point in the clearest possible terms.”

By that point, the music itself came together quickly, as most of the four had begun or even finished the pieces months earlier.

The scores were as different as could be. Cardon wrote for string quartet while the others employed mixed chamber ensembles and, in Gusev’s case, electronics. With help from Fitch and Germain, too, they also had little trouble producing piano reductions, which facilitated auditions and allowed singers to quickly master their roles.

Rehearsals proved the final testing ground. CIM’s Jeremy Paul served as the overall director, but Fitch, seeking to teach another important lesson, deliberately left it to the composers and performers to prepare the operas for the stage.

“When you turn in your piece, that’s just the beginning,” Fitch said. “It’s a road map to a finished product. Learning how to collaborate is essential.”

The maps guided everyone well. Although revisions continued right up to the premieres, both performances went off without a hitch, more than justifying the exceptional efforts that had gone into them.

Especially pleasing to Fitch was how seriously everyone took the project and how well all participants held up in unfamiliar musical territory, under fluctuating conditions and deadlines.

That the students also gained clearer senses of whether and how they might engage with opera in the future was just the icing on the cake, the last up-shot in a long and rewarding collaboration.

“In the end, it went as well as it possibly could have,” Germain said. “Everybody peaked at exactly the right time, and I think we were all proud of the result.”

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Scenes from the April 2022 performances of “A Pocketful of Operas,” a collection of short new operas composed and performed by CIM students. (Photos by Alex Cooke)

CIM ISSUES MAJOR UPDATES WITH LAUNCH OF ‘ORCHESTRA 2.0’

By Zachary Lewis

The appointment of Carlos Kalmar last year was more than a coup for CIM. It was the beginning of a whole new era.

Along with vast experience on major stages around the world, Kalmar brought to CIM a bold vision of how best to prepare students for a life like his. The result? Orchestra 2.0, CIM’s new model of orchestral training.

Based on principles tested over time, the new program treats CIM students like the young professionals they are, simulating the environment many of them aspire to join. It also places orchestral playing squarely in the center of musical life at CIM, on par with CIM’s other forte, chamber music.

“I’m well aware it’s a huge change,” said Kalmar, director of orchestral studies at CIM and music director of Chicago’s Grant Park Music Festival. “But if we want to do this well and for CIM to be famous as an orchestra school, we need to do things differently.”

The most important shift is arguably one of emphasis. Instead of an elective, students and faculty are now being asked to regard orchestral music as what it truly is: a requirement, a line of study no less critical to a young artist’s development than music theory, ear training or eurhythmics.

To that end, Kalmar, music director laureate of the Oregon Symphony, has encouraged his CIM colleagues to factor ensemble repertoire into their private lessons, to make sure all student orchestra members receive both expert guidance on the music they’re performing and sufficient time to practice it.

“We’re trying to create greater cohesion and awareness across the board,” said Patrick Posey, a senior artistic advisor at CIM. “We want the orchestra program to be right there in the mix with everything else at CIM.”

Conductor Carlos Kalmar walks on stage at Severance Music Center, where he led the CIM Orchestra in concert in September 2022. (Photo by Gus Chan)

There’s also the matter of organization, of running the CIM Orchestra the way a professional orchestra runs. Near the top of Kalmar’s goals with Orchestra 2.0 is the patently conductor-like mission to get everyone on the same page, to make expectations and responsibilities abundantly clear.

No more wondering whether you’re playing in the orchestra this season. Going forward, all instrumentalists will be guaranteed and required to spend time each semester in at least one of the school’s two orchestras, nicknamed “Ernest” and “Bloch” in honor of CIM’s founder, or another group such as the New Music Ensemble or CIM Opera Theater. Vocalists may work in CIM’s new vocal chamber music program. Each group will have a separate schedule with rehearsals on a regular basis.

All students also will know at the start of each semester what they’re playing and whether they have any solos or other special duties. Those who aspire to be principals will have to audition for those seats, just like their professional role models.

“Everyone is able to plan ahead now,” said Donna Yoo, dean of artistic administration and operations at CIM. “Instead of week-toweek or month-to-month, students and their teachers can plan by the semester.”

“For me, this is a class,” added Kalmar. “I’m teaching the most talented young musicians in the world how to be in an orchestra, how to be leaders. I also have great colleagues, so I’m inviting all of us to work together.”

Another critical piece of the 2.0 puzzle – in addition to when and how often the CIM Orchestra gathers – is what it plays. On that front, too, Kalmar has strong, clear views that differ markedly from those of his predecessors.

The temptation at a school orchestra would be to establish and cycle through a set of required works, the way a literature professor might issue a list of required reading. In that way, every student would graduate with, say, a Beethoven Six, Dvorák “New World,” and Mozart “Jupiter” under his or her belt.

That, though, isn’t how Kalmar thinks. He prioritizes style over specific works, selecting pieces by the era, genre, or other important factor they represent. This, he said, makes students more broadly capable and flexible, more ready to join a professional orchestra, where anything might be on the menu.

“I don’t teach pieces, as a general rule,” Kalmar said. “I teach style. I don’t go so much for the war-horses. When you a play a piece by any composer, you have a good idea of their style. It doesn’t matter so much what the piece is, exactly.”

The CIM Orchestra’s 2022-23 season bears out Kalmar’s vision. While it features plenty of masters including Beethoven, Bruckner,

Mozart and Stravinsky, little in it qualifies as a chestnut.

The one possible exception are the symphonies of Brahms, which both orchestras are set to play in the program’s first season, under Kalmar’s belief in their singular importance. Also in the mix: a hearty helping of contemporary music, including works by CIM student composers.

“We’re looking at the students as a class and creating aspirational benchmarks for what each class can do,” Posey said. “We’re growing into the schedule, rather than the other way around.”

The last and most visible change around Orchestra 2.0 regards location, where the orchestras perform.

Kalmar couldn’t have known when he arrived last year that CIM would soon form a partnership with The Cleveland Orchestra, one that would lead to the CIM Orchestra playing regularly at the worldrenowned Severance Music Center.

That, though, is exactly what happened. Now, through the partnership, Kalmar and his students get to perform in one of the most revered venues in the world not once or twice but seven times this season.

For the students, Kalmar said, playing at Severance is like going to finishing school. It’s the last major step in a long process of musical refinement, one that takes the shock of being on a great stage out of the audition or performance equation.

Indeed, in the reboot that is Orchestra 2.0, it may be the most significant feature.

“For a student orchestra to get to play regularly in the undeniably best hall in the US, that’s amazing,” Kalmar said. “I would say things have come together really nicely.”

Conductor Carlos Kalmar, seen here leading the CIM Orchestra at Severance Music Center, is a driving force behind CIM’s new Orchestra 2.0 program. (Photo by Gus Chan)

ALUMNI SPOTLIGHT

Open Minds and Open Doors

By Suzanne de Roulet

“It’s important to be open to what the world is offering you,” said pianist Michelle Cann one day after a recital at CIM, moments before a master class.

These are not just empty words. Cann (BM ’09, MM ’10, Schenly/D. Shapiro) is all about being open, and her dedication to openness has helped her open minds, hearts and doors – for herself, her students and untold thousands of listeners.

Cann attributes this openness – to new experiences, ideas and music – to her time at CIM.

“This place created an open mind for me,” said Cann. “It was a very good environment for me. I think fondly of my time here.”

While a student at CIM, Cann also studied biology at Case Western Reserve University. “I couldn’t believe how hard it was,” she said of the science work. “But it meant my classes weren’t all with the same people.”

Seeking exposure to other students, those with other interests and goals outside music, was important to Cann. In addition to studying biology, she took part in a student club at CWRU.

“I was very much in the community outside the intensity of conservatory life, and I think that was very healthy,” she explained. “It gave me confidence.

“When you have only one avenue, you’re really setting yourself up to probably be very disappointed. You have to stop defining success in one way. Pushing myself to try other things showed me that when a door opened, I was willing to go through and see where it took me.”

This philosophy has served Cann well. Today, the pianist is in demand all over the world, including with the so-called “Big Five” orchestras, and holds the inaugural Eleanor Sokoloff Chair in Piano Studies at the Curtis Institute of Music.

Now, she is often the one opening doors for others.

“A big part of my success can be attributed to my time [at CIM],” said Cann. “I feel like I have this school to thank for a really strong foundation and a love for music-making and collaboration.”

(Photos courtesy of the artist)

At Curtis, Cann is the first Black woman to chair the school’s piano department. While this barrier-breaking fact must make a difference – particularly to young musicians of color who might one day want to follow in her footsteps – Cann also takes great pride in the work she does one-on-one with her students.

Being a teacher is a key aspect of Cann’s identity. Teaching is “a huge part of who I am,” she said, and has been for many years.

Cann started teaching long before she joined the faculty at Curtis. She grew up in Florida and attended a Christian community school, where her father taught music. By age 15, she had students of her own, and she kept teaching through her time at CIM.

“What I’ve learned is to take each student individually, and cater my approach to them,” she said. “You have to keep them motivated, growing and positive. It can’t be formulaic.”

She loves her students and tries to be “as big a part of their lives as possible,” she said.

In 2021, Cann received the Sphinx Medal of Excellence, the highest honor bestowed by the Sphinx Organization, for her artistic excellence, work ethic, leadership, determination and commitment to community.

In response to this award, CIM President and CEO Paul Hogle said, “Michelle’s commitment to expanding the classical music canon to include exceptional composers and works that have long been overlooked is a testament to the impact that one person can have on the future of classical music.”

Meanwhile, on many stages, Cann is championing the music of Florence Price, a prodigiously gifted but egregiously overlooked Black composer.

Growing up in Florida, Cann was surrounded by music. And yet the prevailing narrative at the time was that Black people did not become composers.

Learning about Florence Price in 2016 – composer of more than 300 works and the first Black woman to see a premiere by a major orchestra – opened a door through which Cann has found connection, joy and great success. Now, she performs Price’s work for audiences nationwide, opening eyes to the existence and quality of this long-overlooked repertoire.

For most listeners, Price is a discovery. Price’s work went largely unperformed after her death in 1953 and was only rediscovered in 2009, when a collection of her manuscripts was found in Price’s Chicago home. Now Cann can’t help but

wonder what other Black, female voices – or other little-known but deserving composers – may be going unheard.

“Florence Price changed it all for me,” Cann said. “She showed me that if such great music can go un-played, there’s probably a lot more out there being un-played. It got me thinking how I can be an inspiration and a voice of support. The narrative [for Black composers] is that they’re not there. But really, they just need that support.”

Cann has performed Price’s works with some of the most revered orchestras in the world. In July of 2021, she played Price’s Concerto in One Movement at Blossom Music Center with The Cleveland Orchestra, under the baton of Brett Mitchell.

“I was elated, thrilled,” Cann recalled of the experience. “There was a certain level of awe.”

Practicing at Severance Music Center in advance of the performance was another thrill. “When I walked into that space as the soloist, it hit me,” Cann said. “I’d wondered my whole life if this day would ever come.”

This past August, Cann returned to CIM as part of Piano Cleveland’s Piano Days. On a recital that included works by Frédéric Chopin, Johannes Brahms, Clara Schumann and another Black woman, Margaret Bonds, she also shared two of Price’s least-known works, her Sonata in E and Fantasie Nègre No. 1.

Not long before, Cann was at CIM to accept another great thing the world has offered her: the 2022 Alumni Achievement Award, one of CIM’s highest honors, which recognizes significant professional contributions to the field of music.

“A big part of my success can be attributed to my time [at CIM],” said Cann. “I feel like I have this school to thank for a really strong foundation and a love for music-making and collaboration.”

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Alumni

Brian Allen (BM ’16, MM ’17, Laredo/Preucil) was appointed replacement section violin at the St. Louis Symphony Orchestra.

Michael Attaway (MM ’06, Sachs) was appointed director of fine arts at the Covenant School in Dallas.

Susan Bengtson Price (BM ’16, Irvine) won a viola position with the Chicago-based KAIA String Quartet.

Dror Biran (DMA ’06, Schenly/Shapiro) released a recording of Chopin’s ballades on Centaur Records.

Jeanelle Brierley (BM ’16, Preucil) won principal second violin with the Rochester Philharmonic Orchestra.

Michael Brown (MM ’20, Rose) won a first violin position in the Kansas City Symphony.

Mélisse Brunet (PS ’12, Topilow) was appointed the first female music director of the Lexington Philharmonic.

Emily Carpenter (MM ’22, Kondonassis) was appointed adjunct professor of harp and academic specialist at Oklahoma City University.

Stephen Castiglione (BM ’21, Dixon) was appointed principal bass of the West Michigan Symphony and section bass of the Ann Arbor Symphony.

Adam Cathcart (BM ’99, Harris) presented a paper on North Korean film music at the University of Cambridge’s Faculty of Music Research Colloquium.

Clinton Giovanni Denoni (MM ’14, Friscioni) wrote, produced and performed in a film based on Chopin’s “Ocean” Etude, Op. 25, No. 12.

Clara Rius Diaz (MM ’20, I. Kaler) was appointed concertmaster of the Montevideo Philharmonic Orchestra in Uruguay.

Nishana Dobbeck (née Gunaratne) (MM ’11, Dimoff) was appointed assistant librarian of The Metropolitan Opera.

Tyler Evatt-Young (DMA ’22, Southern) was appointed visiting assistant professor of voice at Appalachian State University in Boone, NC.

Evan Fein (BM ’07, Brouwer) served as composer-in-residence for the Seven Hills Chamber Music Festival in Lynchburg, VA, and toured Australia with cellist Luke Severn.

Karen Fisher (BM ’84, Johnson) was re-elected financial vice president and assistant director of American Federation of Musicians Local 802 (New York City).

Jeremy Frank (MM ’99, Pastor) was promoted to chorus director at LA Opera.

Fitz Gary (BM ’11, Irvine) was appointed violist of the Garth Newel Piano Quartet and co-artistic director of the Garth Newel Music Center.

Ryan Grieser (BM ’21, MM ’22, Irvine/Ramsey) was selected as a Fulbright finalist for Bulgaria.

Paul Halberstadt (MM ’22, Rose) was appointed associate concertmaster of the Alabama Symphony Orchestra.

Michael Harper (MM ’16, Sachs) was appointed assistant principal trumpet of the National Symphony Orchestra.

Jeiran Hasan (BM ’13, MM ’14, Fink/Smith) was named assistant professor of flute at Utah State University.

Zubin Hathi (MM ’21, Damoulakis/Yancich) was appointed principal timpani of the San Francisco Ballet.

James Hettinga (YAP ’18, BM ’21, Kraut) won a cello section position in the US Army Strings.

Deanna Hoying (BM ’86, Schmitter/Solis) was named executive director of Symphony New Hampshire.

Nathan Hughes (BM ’98, Mack) was appointed principal oboe of the Minnesota Orchestra.

Jun Iwasaki (BM ’04, AD ’06, MM ’07, Preucil) was named concertmaster of the Kansas City Symphony.

Daniel Kaler (BM ’20, Kosower) won a cello position with the Cincinnati Symphony Orchestra.

Kevin Karabell (PS ’18, Miller/Sachs) was appointed principal trumpet of the Jacksonville Symphony.

Lauren Keating (MM ’18, Rathbun) won a section position in the Naples Philharmonic and a one-year associate principal/English horn position with the New Mexico Philharmonic.

Jiwon Kim (BM ’22, Irvine) won second prize in the Washington International Competition for Viola.

Alina Kobialka (BM ’20, MM ’21, I. Kaler) won a position in the New York Philharmonic.

Hannah Koby (MM ’20, Wilson) was named contributing faculty in organ, harpsichord and collaborative piano at Dickinson College.

Theodore Kuchar (BM ’82, Vernon) was named principal conductor of the Lviv National Philharmonic Orchestra of Ukraine.

Matthew Larson (percussion, MM ’01, Weiner) was appointed to the faculty at Kent State University.

Alex Liedtke (BM ’12, Camus) was appointed assistant principal oboe of the Toronto Symphony Orchestra and second oboe of the Grant Park Orchestra.

Victoria Lewis (MM ’15, Kwuon) was appointed assistant concertmaster of the Israel Symphony Orchestra Rishon LeZion.

Isabella Luchi (PS ’22, Schiller) tied for first place in the JTVA Vocal Competition in San Francisco.

Bethany Mamola (MM ’13, Schiller) was appointed assistant professor of vocal studies at Emory University.

Natalie Man (MM ’16, AD ’18, Kondonassis) won the 2022 Grandjany Memorial Competition.

Gabriel Napoli (MM ’19, Jackobs/Vernon) won a viola position with the Cincinnati Symphony Orchestra.

Christopher Neiner (MM ’20, Fitch) received Honorable Mention in the ASCAP Morton Gould Young Composer Awards.

Ashley Odom (MM ’20, O. Kaler) won a section violin position with the Richmond Symphony.

Justin Pambianchi (MM ’16, Topilow) won several prizes at the 2022 Ionel Perlea International Conducting Competition.

Jiana Peng (BM ’16, MM ’18, Pompa-Baldi/ Paik) won second prize at the 2022 Kosciuszko Foundation Chopin Piano Competition.

Marta Ptaszyń ska (1972-74, Duff/Weiner/ Erb) was awarded the Commander Cross of Merit of the Republic of Poland for outstanding achievements in composition.

Kevin Ritenauer (MM ’18, Damoulakis/ Yancich) was appointed principal timpani/ percussion of the St. Louis Symphony Orchestra.

James Romeo (MM ’12, Smith) won the piccolo audition at the Dallas Symphony Orchestra.

Pablo Sánchez (MM ’21, Rose) was appointed to the first violin section of the North Carolina Symphony.

Duo Shen (PS ’22, Parameswaran/Topilow/ Kalmar) was named assistant conductor of the Grand Rapids Symphony.

Tyler Sieh (BM ’04, PS ’06, Jackobs/Ramsey) was appointed associate principal viola of the Omaha Symphony.

Genevieve Smelser (BM ’17, Rose) won a violin position in the Grant Park Orchestra.

Sami Seif (BM ’21, Fitch) earned prizes from the Promising Young Composers Competition and the Music International Grand Prix 2022.

Jerod Impichchaachaaha' Tate (MM ’00, Pastor/Erb) has been named composer-inresidence at the Oklahoma University School of Music.

Yun Song Tay (MM ’18, Topilow) was appointed music director of the Golden State Youth Orchestra.

Chloé Thominet (YAP ’13, BM ’16, Irvine/ Ramsey) was appointed to a one-year viola position in the St. Louis Symphony Orchestra.

Sæunn Thorsteinsdóttir (BM ’06, Aaron) was named assistant professor of cello at the University of Cincinnati and artist-in-residence of the Iceland Symphony Orchestra.

Anne Waltner (DMA ’10, AD ’11, Pontremoli/ Radosavljevich) was appointed principal keyboard of the South Dakota Symphony Orchestra and Sioux City Symphony.

Eric Wicks (BM ’01, MM ’03, Wilson) joined the faculty at Colorado College.

Nora Willauer (MM ’20, PS ’22, Kraut) joined the adjunct cello faculty at the University of Akron.

Sunny Xuecong Xia (BM ’19, MM ’20, Sloman/Topilow) was named assistant conductor of the Seattle Symphony.

Patrick Yim (BM ’12, MM ’14, Updegraff/ Preucil) has been appointed assistant professor of violin at the University of Notre Dame.

Cristian “Kit” Zimmerman (BM ’16, MM ’18, Updegraff/Sloman) joined the first violin section of the Orchestre de la Suisse Romande in Geneva, Switzerland.

Students

Emma Cardon (composition, Fitch) will have two works featured in the annual She Scores concert series.

Ralph Holtzhauser (organ, Wilson) was appointed Diocesan Director of Music and Cathedral Musician for the Catholic Diocese of Youngstown.

Kitsho Hosotani (violin, Lee) won second prize in the Ise-Shima International String Competition.

Rebekah Hou (harp, Kondonassis) won an Anne Adams Award at the 2022 American Harp Society Foundation Competitions.

Minchae Kim (violin, Laredo/Lowe), Yun Lee (violin, Laredo/Lowe), Arielle Fentress (viola, Irvine) and Nathaniel Hoyt (MM ’22, Weiss) of the Kyklos Quartet took second place at the 2022 WDAV Young Chamber Musicians Competition (senior division) and the senior division at the Glass City Chamber Music Competition.

Megan Lin (violin, Laredo/Lowe), Emera Gurath (BM ’21, MM ’22, Kwuon/Rose), Marcus Stevenson (BM ’22, Irvine) and Cecelia Swanson (MM ’21, Robinson) of the Elless Quartet were finalists in the Chesapeake Music International Chamber Music Competition.

Hechengzi Li (piano, Babayan) was chosen as a Young Steinway Artist.

Gabriel Stossel (composition, Fitch) won first prize at the Ohio Federation of Music Clubs Collegiate Composition Contest. Daniel DiMarino (composition, Fitch/O. Kaler) won second prize.

Preparatory

Danelis Cedeño Calderón (guitar, Lara Alonso) was selected as Student of the Year in the Cleveland Classical Guitar Society Education Program.

Moonhee Kim, Eleanor Pompa (cello, Weiss) and Daniel Colaner (piano, Schulze) of the Meraki Trio won first prize in the junior division at the Glass City Chamber Music Competition.

Sherry Li (piano, Moran) and Laura Mo (piano, Moran) both took second place in the 2022 Ohio MTA Buckeye Auditions.

Jamie Park (double bass, Rowell) won the 2022 International Society of Bassists Jane Little scholarship.

Faculty

Margaret Brouwer (composition) released Reactions: Songs and Chamber Music , featuring Eliesha Nelson (BM ’95, L. Cerone / Russell, MM ’99 Vernon), Mari Sato (BM ’94, D. Cerone /Updegraff), Brian Skoog (voice, MM ’13, PS ’15, Cole) and Shuai Wang (piano, BM ’03, MM ’05, AD ’07, DMA ’11, Schenly/Shapiro/ Pontremoli/Jones).

Olga Dubossarskaya Kaler (violin) and Kathryn Brown (piano) released a new recording, Seven Ways To Say Farewell, on Centaur Records.

Keith Fitch (composition) has received a commission from the Chicago Center for Contemporary Composition at the University of Chicago.

Melissa Kraut (cello, BM ’90, Harris) taught and performed at the Madeline Island Chamber Music Festival and the Ascent International Chamber Music Festival.

Mary Le Rouge (writing) contributed a chapter to The Changing Face of VR: Pushing the Boundaries of Experience Across Multiple Industries (Vernon Press, 2022). She also participated in the Anisfield-Wolf Book Awards Seminar.

Antonio Pompa-Baldi (piano) performed Beethoven’s Piano Concerto No. 5 in Cape Town, South Africa; played for and served on the jury at the New Orleans International Piano Competition; and performed and taught at Todi International Music Masters.

Brian Skoog (voice, MM ’13, PS ’15, Cole) sang the role of Jake in Matthew Aucoin’s Second Nature with Opera Fayetteville and the role of Lurcanio in Handel’s Ariodante with Opera NEO in San Diego.

Gerardo Teissonnière (piano, BM ’85, MM ’89, Vronsky) completed a solo tour of Europe featuring music by Schubert and his album Beethoven: The Last Sonatas.

Jason Vieaux (guitar, BM ’95, Holmquist) recorded Avner Dorman’s How to Love and released recordings of Michael Fine’s Concierto di Luna and a collaboration with violinist Anne Akiko Meyers.

Carolyn Gadiel Warner (chamber music), violinist and pianist in The Cleveland Orchestra, has served as interim principal keyboard since fall 2021.

In Memoriam

Marguerite H. Gilbert (BM ’49) passed away in April 2022, at age 100. She was a devoted piano teacher active with the Musical Art Society and The Cecilian Music Club.

Theodore Johnson passed away August 30, 2022, at age 92. He taught clarinet at CIM from 1961-2004 and was a member of The Cleveland Orchestra from 1959-95.

Joseph B. Milgram passed away in August 2022. He served as a CIM Trustee from 19862004, including terms as chair and vice chair.

Nancy Floyd Miller (BM ’58, MM ’60) passed away in March 2022. She had been on the music theory faculty at CIM.

A brilliant light to CIM and the musical world at large went out this fall when violinist Jorja Fleezanis passed away at the age of 70.

One of CIM’s most esteemed former students, Fleezanis was a trailblazer who fully earned her Distinguished Alumni Award in 2016 and recognition from former CIM President David Cerone for career achievement.

She made history at the Minnesota Orchestra not once but twice, first as only the second female concertmaster of a major America orchestra and second, after 20 years, as Minnesota’s longestserving concertmaster, from 1989-2009.

Her years with Minnesota were uncommonly fruitful. Among the many works Fleezanis premiered there were two commissioned specially for her: the Violin Concerto by John Adams and Ikon of Eros by John Tavener. Also while there, Fleezanis taught at the University of Minnesota’s School of Music.

Prior to Minnesota, Fleezanis served for eight years as associate concertmaster of the San Francisco Symphony and as a member of the Chicago Symphony.

Her career after Minnesota was no less remarkable. A deep commitment to education led Fleezanis to Indiana University, where she taught orchestral studies at the Jacobs School of Music from 2009-21. After the death of her husband, she also launched The Michael Steinberg and Jorja Fleezanis Fund, which supports the commissioning of new music.

Many regarded Fleezanis as more than a musical pioneer, more than one of the most influential teachers of her time, but as a friend. CIM remains proud to have been associated with her.

The juggernaut that is the CIM violin department lost one of its most beloved members this fall: Jan Sloman.

Sloman was an enormous presence at CIM, where he taught in both the Conservatory and Preparatory divisions since 2015, but he was a beacon to colleagues and formers students all over the country.

Violinist Jaime Laredo, Sloman’s closest colleague at CIM, called his friend a “foundation” for legions of musicians. “There are so many amazing violinists today who started with him at 8 or 9,” he said. “It’s such a tremendous loss, I can’t even tell you.”

Sloman enjoyed a distinguished career as a performer, serving for many years as the principal associate concertmaster of the Dallas Symphony Orchestra and a guest concertmaster of the

Pittsburgh Symphony. He also shared stages with such luminaries as Carlos Kleiber, Lorin Maazel, Leonard Rose and Yo-Yo Ma.

All that notwithstanding, Sloman had a tender place in his heart for CIM, where his considerable talents were recognized and lauded.

A graduate of the Curtis Institute of Music, where he studied with Laredo, Sloman nurtured a serious commitment to helping younger generations follow in his footsteps. It was no accident that his students routinely won awards and succeeded at major national and international competitions. Former CIM president Joel Smirnoff called him a “treasured teacher.”

Sloman was a credit to CIM and an invaluable asset to the world of music. He was a remarkable man, and his loss is deeply felt by the CIM community.

It would be impossible for CIM to pay full tribute to Gay Cull Addicott , a longtime Trustee and passionate supporter, who passed away in early August.

CIM Board Chair Susan Rothmann hit the nail on the head when she described Gay’s life with CIM as a treasure.

A Trustee and active committee member since 2000, Addicott used her background in business, finance and philanthropy to benefit CIM in some fashion almost every day. The school could not have asked for a more devoted colleague or a supporter more generous, wise or committed to music.

One of Addicott’s most profound gestures to CIM came in November 2018, when she used a planned estate gift to endow the Edward and Gay Cull Addicott Presidential Scholarship, CIM’s second Presidential Scholarship, in honor of her husband, Edward Addicott, and late husband, Robert Cull, both of whom shared her deep love of classical music. Addicott also was a life trustee of The Cleveland Orchestra, and supported numerous other organizations.

CIM was pleased to welcome and acknowledge Addicott’s family at Severance Music Center Sep. 24, when the CIM Orchestra and conductor Carlos Kalmar presented a concert celebrating a new collaboration between CIM and The Cleveland Orchestra. CIM leaders also were honored to attend an afternoon of music and memories in Addicott’s honor Oct. 17, in Reinberger Chamber Hall.

Addicott cared deeply about music, creating opportunity and shaping the future of this art form. The impact of her life will be felt for generations to come.

LIFETIME GIVING

Thank you to the many supporters past and present who have made a CIM education possible for generations and continue to shape the future of classical music. Below are some of the most generous donors whose lifetime giving to CIM has exceeded $250,000 (as of August 16, 2022).

$10,000,000+ Cuyahoga Arts & Culture

The Fred A. Lennon Charitable Trust

$5,000,000 to $9,999,999

Kulas Foundation

Barbara and Mal* Mixon

$2,500,000 to $4,999,999

Mr. and Mrs. F. J. Callahan*

Elizabeth D. Hicks*

Barbara S. Robinson (HDMA ’06)

$1,000,000 to $2,499,999

Gay C.* and Edward Addicott

Hope S. and Stanley I. Adelstein*

Mr. and Mrs. A. Chace Anderson

Vitya Vronsky Babin Foundation

Eleanor H. Biggs*

The Cleveland Foundation

Mr. and Mrs. John D. Gilliam

Clive and Mary* Hamlin

Linda Harper and Jim Martin*

Jean and Dick Hipple Mort* and Emilie Kadish

The Kresge Foundation

Mr. and Mrs. Alexander McAfee*

John P. Murphy Foundation State of Ohio Ohio Arts Council

Partners for CIM The Payne Fund

Dick (HDMA ’06) and Pat Pogue Mrs. Alfred M. Rankin

The Reinberger Foundation

Susan Rothmann, Philip Paul and Jeremy Paul Edith H. Smith*

Dorothy Richard Starling Foundation

Mr. and Mrs. Joseph H. Thomas

United States Department of Education Anonymous

$500,000 to $999,999

Ms. Ruth Beckelman*

Helen C. Brown*

Ann C. and Hugh Calkins*

Mr. Arthur L. Charni*

Larry B. Faigin*

The GAR Foundation

Mr. and Mrs. Carl D. Glickman*

Margaret R. Griffiths Trust

The George Gund Foundation

Tom and Iris Harvie

The Martha Holden Jennings Foundation

Mr.* and Mrs. Daryl A. Kearns KeyBank

Dr. Vilma L. Kohn*

Mr. Richard A. Manuel*

National Endowment for the Arts NewBrook Partners

C.K. “Pat” Patrick* and Nancy Patrick

Jane Kottler Post*

Audrey and Albert B. Ratner

Gail and Elliott Schlang Mrs. Bert E. Siegel*

The Kelvin and Eleanor Smith Foundation Anonymous

$250,000 to $499,999

John and Elizabeth Aten

Mrs. Marguerite A. Barany*

Mr. and Mrs.* Eugene J. Beer

Mr. and Mrs. Alfred J. Buescher, Jr.

Irad (BM ’87, MM ’88) and Rebecca (BM ’87, MM ’89) Carmi

Delores Comey*

Robert Conrad (HDMA ’ 98)

Charlie and Grosvie Cooley

Dr. Mark H. Curley

Mr. and Mrs. John D. Drinko*

Rebecca and George* Dunn

Alice S. Feiman (BM ’32, MM ’36)

William O. & Gertrude Lewis Frohring Foundation

The Ann and Gordon Getty Foundation

The Dorothea Wright Hamilton Fund

Mrs. Beverly S. Harris*

The Hershey Foundation

The Albert M. Higley Co.

George M. and Pamela S. Humphrey Fund

Carter Kissell*

Joy Miller Kiszely*

Emma Lincoln*

Mrs. Elliot L. Ludvigsen*

Charles and Susan Marston

Mr. Joseph B. McClelland

Meldrum & Fewsmith Communications

The Andrew W. Mellon Foundation

Laura Ingrid Messing*

Edith and Ted Miller*

David and Inez Myers Foundation

Mr. and Mrs. Raymond P. Park

The Ranney Scholarship Fund

Peter J. Reichl*

Sam and Sarah Sato*

Mr. and Mrs. Frank E. Taplin, Jr.*

Carole Hershey Walters

Ms. Annette E. Willis* * deceased

Every year, individuals, corporations and foundations contribute generously to the Cleveland Institute of Music, directly supporting the transformative music education of CIM students. Through this incredible commitment and community of donors, CIM empowers the world’s most talented classical music students to achieve their dreams and potential.

Make your contribution to CIM with a meaningful gift of any size at cim.edu/donatenow or contact a member of CIM ’s development team at 216.795.3160.

11021 East Boulevard Cleveland, Ohio 44106 Address Service Requested

Join us at Severance Music Center this fall and winter as your CIM Orchestra and music director Carlos Kalmar perform on one of the greatest stages in the world. All concerts begin at 7:30pm and are free with tickets required. Go to cim.edu/severance.

February 1, 2023

SCHUBERT Rosamunde Overture

KORNGOLD Violin Concerto in D Major, Op. 35

Minchae Kim, violin, student artist

BEETHOVEN Symphony No. 8 in F Major, Op. 93

ROSSINI William Tell Overture

February 8, 2023

PRANGCHAROEN Phenomenon (2004)

LISZT Totentanz

Soo Ji Lee, piano, student artist

TCHAIKOVSKY Orchestral Suite No. 3 in G Major, Op. 55

Non-Profit Org. U.S. Postage PAID Cleveland, OH Permit No. 1010

(Photos by Gus Chan)