Tutti 2019-2020

tutti tutti THE SCHOOL OF MUSIC AT ORCHESTRA HALL

music.umn.edu Fall 2019 | Volume 20 | Number 1

Don’t miss a beat!

Visit music.umn.edu to sign up for the weekly School of Music e-newsletter of performances and events.

Arts collide at the 4th annual Arts Quarter Festival: an evening mashup of visual art, dance, music, theater, spoken word, puppetry, interactive art, and more!

Showcasing student, faculty, and staff talent from across the University.

Visit cla.umn.edu/events/arts-quarter-festival for more information!

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Director’s Letter From Ferguson’s Halls

Dean, College of Liberal Arts John Coleman Director, School of Music Michael Kim Co-Editor Anabel Njoes Co-Editor, Design Director Jennifer Scholte Contributing Writers Karen Carmody-McIntosh Katie Dohman Lisa Marshall Anabel Njoes THE SCHOOL OF MUSIC

FEATURES

10 Faculty Profile: Akousa Addo 12 Student Profile: Adrian Davis 15 Alumni Profiles 24 Side by Side NOTES & NEWS

25 Student News 29 Faculty News 31 Alumni News 39 See & Be Seen

Tutti. (Italian) all. every musician to take part.

Tutti is the annual magazine of the University of Minnesota School of Music. It supports the school’s community of students, faculty, staff, alumni, and friends by providing information that highlights events, developments, and trends within the school, connects the school’s many constituencies, and celebrates the achievements of the school’s community.

Photos: Doug Bakkum and Greg Helgeson

The mission of the School of Music is to understand, share, and disseminate music through creation, performance, research, and education: • We embody and encourage creative and intellectual curiosity at the highest level of artistry and scholarship.

• Our distinguished faculty inspire students to be global citizens and agents of transformation through music, realizing this educational work in an integrated and collaborative environment.

• Our students develop the knowledge, attitudes, and professional skills to be successful while engaging with the richly diverse, urban, artistic communities in the Twin Cities and beyond.

THE UNIVERSITY OF MINNESOTA The University of Minnesota, founded in the belief that all people are enriched by understanding, is dedicated to the advancement of learning and the search for truth; to the sharing of this knowledge through education for a diverse community; and to the application of this knowledge to benefit the people of the state, the nation, and the world.

The University’s threefold mission of research and discovery, teaching and learning, and outreach and public service is carried out on multiple campuses and throughout the state.

ON THE COVER: School of Music students with Minnesota Orchestra musicians, board chair, and Goldy at Orchestra Hall. Front row: Ellen Dinwiddie Smith, Margee Bracken, Mackenna Tolfa (percussion student), David Williamson. Back row: Mikalia Bradberry (voice performance student), David Carrillo Siliezar (violin student), Steven Campbell, and Hocheol Shin (cello student).

Photo: Greg Helgeson

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from the

director

PHOTOS (FROM LEFT): MICHAEL KIM WITH JOSEPH POLLISI, FORMER PRESIDENT OF THE JUILLIARD SCHOOL; TYKA NELSON, SISTER OF PRINCE ROGERS NELSON, STANDS WITH MICHAEL KIM AFTER ACCEPTING AN HONORARY DEGREE ON BEHALF OF HER BROTHER.

Dear School of Music Alumni and Friends, In this digital edition of Tutti, we feature an incredible year of collaborations among our students, faculty, alumni and community partners.

You will read stories of people whose research and creative activities engage communities on campus and abroad, create more inclusive music scenes, and inspire international institutes and competitions that bridge nations and garner support from the likes of Google.

With the international music community, we mourn the passing of our mentor, colleague, and friend—Dominick Argento. We also welcome new faces, projects, and energy to Ferguson Hall.

I welcome you, too! Please join us for any one of the 300+ public concerts and events we present each year.

What an incredible School of Music. I am grateful to call it home.

Warmly,

Michael Kim Professor and Director, School of Music

The University of Minnesota School of Music gratefully acknowledges program support from Schmitt Music. The School of Music is an All Steinway School.

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Photo: Karen Carmody-Mcintosh

FROM FERGUSON ’ S HALLS

JESSICA ABBAZIO BRINGS TALENT, TRAINING, AND A WHOLE LOT OF ENTHUSIASM FOR NEW PROGRAMMING TO THE MUSIC LIBRARY

By Karen Carmody-McIntosh

Jessica Abbazio keeps her French horn in her office. That’s the instrument she knows best from her years of playing in band. But she can, in fact, play all the instruments that are typically taught in a music program in the United States.

“I had to learn how to play everything so I’d be able to teach everything.”

Abbazio’s love of music has always guided her career path. As a college student, she majored in music education and planned to become a band teacher. When she discovered her passion for music history, she changed course and applied to graduate school to study Musicology. That’s where she found her way to the library.

“I started working as a graduate assistant at The Michelle Smith Performing Arts Library at the University of Maryland and I fell in love with it. I realized that librarianship and working in libraries brought together everything that I loved about teaching and everything I loved about research.”

In her role as Music Librarian at the University of Minnesota Libraries, Abbazio benefits

from all of her training in music history, teaching, and librarianship. She brings a deep understanding of the discipline and its various materials.

“Music has so many unusual formats like scores, recordings, facsimiles, and publications like collected works editions that are idiosyncratic to music. It requires somebody with expert knowledge of the field to help others learn to find and navigate them,” said Abbazio.

WORKING WITH THE SCHOOL OF MUSIC

A big part of the music librarian’s job involves stepping into the classroom. In partnership with the School of Music, Abbazio provides instruction sessions for students at all levels of musical expertise—from graduate students finishing their dissertations to first-year undergraduates who are visiting an academic music library for the first time ever.

Faculty, instructors, and students have been enthusiastic and welcoming towards their new librarian.

This story was provided by the University of Minnesota Libraries Continuum.

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“The thing I love about the School of Music—they really value the Music Library and the Libraries as a whole,” Abbazio said.

“I’m getting more and more emails, calls, and walk-in requests for help, which I love.

My goal is to make sure people know I’m here as a resource. If you’re confused or you need help on anything—even if you think it’s something silly—don’t be embarrassed or too shy to ask. I’m here to help.”

WORKSHOPS, COLLECTIONS, AND NEW PROGRAMMING

One of Abbazio’s strengths is making connections that foster innovation. She’s working together with colleagues throughout the Libraries and across campus to start new programs and highlight existing resources in new ways.

Last year, Abbazio teamed up with Northrop to shine a spotlight on the Music Library’s historical collections. A display at the library featured World War I-era sheet music. It coincided with a collaboration among the Oratorio Society of Minnesota, the U of M School of Music, and Northrop for a musical performance called “Lest We Forget.” The program honored the 100th anniversary of Armistice Day with the premiere of a new composition along with selections of wartime tunes.

Abbazio is planning future exhibits that correspond with performances on campus and important anniversaries in music history. She’s working with librarian Rafael Tarragó to build the Music Library’s collection of Latin American composers.

She also has ideas for more programs and workshops centered around the needs of music students—including career panels and specialized data management workshops that focus on music research.

“I’m really excited to see what the future will bring. I think there are rich opportunities for collaboration and I’m grateful to be here to facilitate those connections.”

FROM FERGUSON ’ S HALLS

WELCOME TO NEW FULL-TIME FACULTY Alyssa Barna, Assistant Professor of Music Theory

WHAT IS ONE OF THE BEST CONCERTS YOU HAVE EVER BEEN TO?

I attended the “A Concert for New York,” a concert featuring the New York Philharmonic, during which they performed Mahler’s Symphony no. 2 on the tenth anniversary of September 11, 2001. I grew up in the NYC area and remember the tragedy, so it was an incredibly moving experience of remembrance that I will never forget.

Alyssa Barna joins the faculty from the Eastman School of Music, where she earned her PhD in music theory. Her current research centers on the study of form in popular music.

WHAT WAS YOUR FAVORITE CLASS?

A theory class, of course! I took a form and analysis course during my sophomore year of my undergraduate program. This course broadened the applicability and scope of what music theory and analysis could do with music of all kinds. That professor became my first theory mentor.

WHAT ASPECTS OF LIFE IN MINNESOTA ARE YOU MOST AND LEAST EXCITED ABOUT?

I am excited to live in a vibrant metropolitan area that appreciates and invests in the arts, culture, and communities. As for unfortunate qualities, I think most might say “the winters,” but I moved here from upstate New York, so I’m ready!

Marissa Benedict, Assistant Professor of Trumpet Marissa Benedict has joined the School of Music faculty from California, where she was on the faculty at California State University-San Bernardino and instructed at the University of Southern California.

WHO HAS SERVED AS A MENTOR FOR YOU IN YOUR CAREER?

At different stages of my education and performance career there have been and still are mentors in my life. The one that stands out most is Boyde Hood, my trumpet professor at the University of Southern California.

Boyde was so helpful in the growth of my playing and maturity while I was in school.

We have remained friends (and colleagues) over the past 39 years, and when I just need to talk or say hello or ask advice, he is always there. His quote whenever our conversation is done: “If there is anything I can do for you, just let me know.”

The textbooks for Theory 1 are already on my shelf—I’m ready for you, students!

Next, I will definitely get some speakers so I can immerse myself in listening.

Read more about Professor Barna at z.umn.edu/barna.

WHAT WOULD YOU CONSIDER YOUR BIGGEST SETBACK?

In 1997, I was in a car accident that left me unable to play for about six months. I had three kids under the age of seven, my husband was working, and I couldn’t play or move too much. I had to learn the patience of not trying to rush things. Boyde Hood called and said “if it hurts, don’t play.” That rang in my head until I was able to play without pain.

WHAT IS THE FIRST THING YOU WILL HANG IN YOUR NEW OFFICE?

David Baldwin was gracious enough to leave me a large picture of Bach’s Toccata and Fugue as you walk in to the studio. I will add a few new pictures, including one of me with my high school band director Gordon Lowe, my private jazz teacher John Copolla, and my private classical teacher Joe Alessi Sr., who attended my high school graduation party to wish me luck—something I will never forget.

Photo: Lisa Miller

Photo provided

WHAT IS THE FIRST THING YOU WILL PUT ON A SHELF IN YOUR OFFICE?

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FROM FERGUSON ’ S HALLS

SCHOOL OF MUSIC WELCOMES ARTIST FACULTY Ky u -Yo u n g Kim, artistic director and principal violinist of The Saint Paul Chamber Orchestra, is one of the most versatile and accomplished musicians of his generation. His appointment as the SPCO’s artistic director in Jan. 2016 marked the first time a playing member had been tapped to take the artistic helm of a major American orchestra.

As a violinist, Kim has toured throughout North America, Europe, and Asia, performing in such prestigious venues as Carnegie

Hall and Lincoln Center, the Seoul Arts Center, the Palais des Beaux-Arts (Brussels), and the Beethoven-Haus (Bonn). As a founding member of the Daedalus Quartet, winners of the Grand Prize at the 2001 Banff International String Quartet Competition, he performed in many of the major halls of Europe. Kim has received degrees from the Curtis Institute, the Juilliard School, and the Cleveland Institute of Music, and has studied with Donald Weilerstein, Robert Mann, Jaime Laredo, Yumi Scott, and Shirley Givens.

Peter McGuire was appointed to the violin section of the Minnesota Orchestra in 2003 and acting associate concertmaster in 2011. McGuire joined the orchestra as principal second violin after serving as associate concertmaster with the Tonhalle Orchester-Zürich from 2013-2016.

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Concerts on Thursday, April 25 and Friday, April 26 in Ted Mann Concert Hall celebrated the work of Dr. Frank Bencriscutto and commemorated the historic band tours he led in the Soviet Union in 1969 and through China in 1980. The Thursday performance featured the Symphonic Band conducted by Jerry Luckhardt, Emily Threinen, Betsy McCann, Lance Sample, and J. Nick Smith. Friday’s performance featured the Wind Ensemble conducted by Emily Threinen, Jerry Luckhardt, Cassandra Bechard, and J. Nick Smith. Both events featured Stan Freese as emcee and Russell Pesola (MFA, DFA) was the guest speaker on Friday. Photos and memorabilia from Dr. Bencriscutto’s tenure at the University of Minnesota and the international tours were on view for attendees to enjoy. Almuna Kay Hawley (BS and MA, music education) said of Bencriscutto: “His extraordinary passion for music, aspiration for excellence, love, support, and encouragement inspired me to a 40-year career in music education!”

McGuire has performed as guest concertmaster and recorded t hroughout Europe and the U.S. A frequent chamber musician and soloist, McGuire has performed with prestigious ensembles throughout the U.S., Germany, Austria, Liechtenstein, and Switzerland.

In 2011, McGuire performed Mozart’s A Major Concerto for First Lady Michelle Obama at the University of Northern Iowa, Waterloo-Cedar Falls. He has given master classes throughout the U.S. and Switzerland and was a violin coach for the Swiss Youth Symphony Orchestra from 2013-2016.

Photo:Gopher Photo

Photo: Doug Bakkum

CONCERT COMMEMORATES BENCRISCUTTO TOURS

FROM FERGUSON ’ S HALLS

MICHAEL SILVERMAN RECEIVES CLA AWARDS Congratulations to Michael Silverman (music t h e r a p y) on receiving the 2 018 -2 019 Arthur “Red” Motley Exemplary Teaching Award as an outstanding teacher of graduate and undergraduate students. This award acknowledges Silverman as a faculty member who inspires and cares, makes himself approachable, shows an interest in individual students’ well-being and in programs for the benefit of students generally, gives of himself generously in advising, counseling, and directing projects, as well as creating an active classroom atmosphere. This award is sponsored by a gift from the family and friends of College of Liberal Arts alumnus Arthur Motley and alumni of the college.

Silverman was also named a CLA Scholar

of the College. The Scholar of the College award is presented annually by the College of Liberal Arts to recognize and celebrate outstanding achievement by faculty in the college. Scholars of the College are chosen on the basis of past accomplishments and contributions in the areas of scholarly research or other creative work, teaching, and service, and the promise of further achievement. Scholars of the College receive a stipend totaling $10,000 per year for three years to support their research or creative work. Scholars of the College are faculty members whose scholarship and/ or creative work has had, and continues to have, a significant impact on their field(s).

NEW ON CAMPUS: REGGAE SUMMER INSTITUTE The School of Music launched the International Summer Institute for Reggae Studies this summer, believed to be the first of its kind in the United States. Scott Currie, director of the institute and associate professor of creative

studies and media/ethnomusicology, wanted to bring scholarly attention to reggae music and believed that University of Minnesota provides a “powerful combination” of both scholarship and performance. Currie collaborated with faculty members Akosua Addo and Paul Shaw—who both have deep personal and scholastic ties to Jamaica—in developing the program, which received support from Jamaica’s minister of culture. The week-long institute was split between mornings analyzing and discussing reggae music from an academic perspective and afternoons in music workshops. The week was capped off with a performance by Third World and International Reggae All-Stars on Northrop Mall. Currie and Shaw view the institute as an important first step in institutionalizing reggae and related forms in the same way that other world music genres have been established as areas of academic focus. “We’re arriving at a really fortuitous moment,” Currie says—one that he hopes will grow the interest and support of reggae studies.

Betsy McCann, assistant director of bands/director of marching and athletic bands, was awarded the University of Minnesota President’s Community-Engaged Scholar Award: 2019 Collegiate Recipient for the College of Liberal Arts.

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FROM FERGUSON ’ S HALLS

HOW YAMAHA, GOOGLE, AND PROFESSOR ALEXANDER BRAGINSKY BROUGHT TECHNICAL WIZARDRY AND COMPETITIVE INTEGRITY WORLDWIDE

By Katie Dohman

Around the turn of the century—that’s 1999—Professor Alexander Braginsky was dreaming about a better way to compete.

“The more I went out as a judge, and participated in the process, the less I liked it,” he says. A competition where a judge had a student in the show would be the final straw. “It became clear to me that the only way to change the things that I don’t like in the system is to create something of my own. Because you cannot go around to other’s people’s events and competitions changing their rules. Like it or not! If you want a good dinner, cook,” he says.

The first thing he thought of? He needed the best jury in the world to judge the participants. Among other people, he wanted to recruit pianist Yefim Bromfman. Bromfman was interested but he was in Japan. He told Braginsky if he could bring the recital to him, he’d do it.

Oh, sure.

Well, a lightbulb indeed went off at that moment.

Photo provided

Braginsky had been, for many years, playing Yamaha pianos and fascinated by the technological advances Yamaha was continuing to bring to the market.

A VIRTUAL AUDTION IN ACTION.

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Now he had access to a Yamaha piano that by all accounts seemed like a regular grand piano. And it is, but this version has this fiber optics built in. Through this technology, it registers every single motion that happens inside the grand piano—2,000 positions of any given key and 256 positions of the pedals. Then it records it, and plays it back. So when it plays it back, it’s not a recording, analog or digital, it’s the piano.

Playing as you played it.

Braginsky asked Yamaha if it were possible for Bromfman to hear the competition in Japan, no matter where the contestants

FROM FERGUSON ’ S HALLS

music, Jewish music, religious studies, and Holocaust studies.

WHAT IS YOUR RESEARCH ABOUT?

© United States Holocaust Memorial Museum

performed. They said yes. And then they “built a team of wizards” to actually make it happen.

“So many things had to be created. They had to synchronize the video file with MIDI file in the piano, and all kinds of other things,” Braginsky says. “As a result, though, Bromfman sat in a singular hall in Japan similar to the one we conducted from; listening to the piano and watching contestants on the screen.”

This new type of competition garnered immediate and steady interest. It made competitions more accessible with more students around the world and Braginsky is working to install more virtual audition locations worldwide to continue that. And the popularity was spreading on the Internet, too: tens of thousands of Internet viewers from 104 countries.

It didn’t take long for Google to come calling. They wanted to partner their Magenta Project—artificial intelligence—with Braginsky’s program. Magenta was asking: What is it exactly that makes one person sound different from another? These MIDI files—the piano’s registry of how the piano is played—might shed some light on that.

Braginsky thought it a fair trade: access to the files for financial support for the hugely expensive endeavor.

“People of vision realize that this is something that brings us recognition that we could not buy for money,” Braginsky says.

“Everybody is talking about it, and it brings the best students to the School of Music as a result of learning about our existence through competition. They must think, ‘If they have something that cool, it must be a really good school.’ And they apply. That prestige is hard to overestimate.”

“THE SONIC IS TELLING A STORY TOO.” Kathryn Huether (advisee of Dr. Karen Painter) is a PhD candidate in musicology.

Her research examines how sound—from sonic media to a survivor’s voice to the sound of language—affects one’s understanding of the Holocaust. Huether was awarded a research fellowship for the summer at the United States Holocaust Memorial Museum in Washington D.C. and will continue her work on sound and Holocaust representation in the fall, curating an audio guide for the Treblinka memorial site in Poland as a recipient of U of M’s Interdisciplinary Doctoral Fellowship.

WHAT INSPIRED YOU TO BEGIN RESEARCHING THIS TOPIC?

How did a girl from Montana become interested in World War II and the Holocaust, and subsequently, its memory representation? I was a child who could never read enough— and therefore I’m 99 percent certain I read every book on the shelves at my small public school’s library, including Elie Wiesel’s Night.

As a 10-year-old I did not know what it meant to be Jewish, or what the Holocaust was, yet Wiesel’s memoir truly served as the catalyst for my PhD research. That, coupled with my musical background—I studied the violin as a child— served as the foundation for my interest in the affective impact of

My dissertation research is two-fold, focusing on the affective influence of sonic media technology and the philosophical nature of sounds. In other words, how does what a visitor hears in a museum exhibit or representation of Holocaust memory impact that visitor’s response and understanding of the Holocaust? My dissertation examines a breadth of sonic variants— ranging from the sound and impact of language in the Holocaust to audio guides and further, to pre-existing soundscapes at the historical sites, such as Treblinka and Auschwitz-Birkenau. As a research fellow at the United States Holocaust Memorial Museum I engage with multiple forms of survivor testimonies, both digital and live, and how the survivor’s voice and the environment of their testimony affects visitors.

HOW LONG HAVE YOU BEEN RESEARCHING THIS TOPIC?

I began seriously researching this topic with my first master’s degree thesis in religious studies, “Hearing the Holocaust: Music, Film, Aesthetics.” I examined the usage of sound and music in two Holocaust film documentaries, Night and Fog (1956) and Auschwitz Death Camp: Oprah, Elie Wiesel (2006), arguing that the accompanying soundtracks subjectively influenced a viewer’s reception and understanding of the documentary material presented.

HOW WILL THE GENERAL PUBLIC BE ABLE TO ACCESS YOUR RESEARCH?

My goal is for my research to be applied to Holocaust memory as it is presented today.

This upcoming year I will curate an audio guide for the Treblinka memorial site as part of my fellowship through Uof M’s Center for Holocaust and Genocide. My audio guide will use a phone application, making it accessible around the world. I hope for my research to cultivate an awareness of the world of representations that is not only visual, but also sonic, and to emphasize that the sonic is telling a story too, perhaps even a different story than the visual.

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faculty

profile

By Katie Dohman Professor Akosua Addo grew up listening to her mother singing Jamaican folk music as they walked the roads of Ghana together.

Half-Jamaican, half-Ghanaian, learning about and teaching music around the world is literally in her DNA. “I am especially gratified I am paying homage to my mom,” she says. “To be back in the same country where my mom grew up, teaching the appreciation of that music … those were feelings of affirmation and joy.”

With years of conversation and collaborative forums behind her about international music education, Addo married her impressive career knowledge with the Organization for Strategic Development in Jamaica and Project Good Works Jamaica to ask Jamaican teachers this question: What music curriculum is culturally appropriate to teach to your students at this time in history?

“There’s a shift in the curriculum to reflect what goes on in North America,” Addo says.

“We cannot throw out the baby with the bathwater,” she continues. “Globalization is ingrained in curriculum because of the country’s history of colonialism. But to what extent do you look at your own music and make sure it has a place in curriculum?

Not just in your own music, but your own ways of knowing, learning, and resourceful sustainability? We ask, what have you traditionally used to make music and what have you sustainably repurposed for your children to use? That is the direction I am pushing.”

AKOSUA ADDO, along with support from a Fulbright and a team of collaborators, is bringing folk music back to the forefront of music education around the world.

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Addo wasn’t sure what kind of reception to expect for the program, which offered a workshop for teachers at Church Teachers College, Mandeville, and lessons for preschoolers. She had traveled to Jamaica before and led study abroad programs there—but would teachers and students be interested in these folk music ideas? When the plane landed, 55 teachers had signed up for the workshop, which focused on art integration into their curriculum. The day before the event, 120 teachers had signed up. In the

Photo by Charla Miertschin

MAKING MUSIC WITH FOUR- AND FIVE-YEAR-OLDS AT GREAT BAY SALVATION ARMY BASIC SCHOOL, JAMAICA (FEBRUARY 2019).

end, more than 150 teachers attended organized under the auspices of the Ministry of Education, Youth, and Information, Jamaica. The attendees’ feedback? Next time, reserve more space.

During the workshop, Addo presented a storybook written by a Jamaican author. “I wanted to demonstrate for teachers that not only do you teach language and literacy but also music learning in retelling a story with children, and how children can learn with culturally appropriate material,” she says.

As part of the trip, she taught music lessons to eager, affectionate preschoolers. One child who has special needs did not speak much at school. But as the children worked through a musical exercise, “I saw him jump up, sounding out the B [sound]. Then, he was singing along with them—I thought, Wow! He talks! I was so touched for the teachers to see how music and play… can help a child overcome their reticence to

speak at school.”

Addo is poised to take a well-earned sabbatical, but there are already plans underway to return to Mandeville, site of the last workshop, and the capital, Kingston, when she returns to work. Plus, she says, word is spreading about this international education outreach—and so is interest.

“I would have never thought it would get to this stage, working in curriculum development in Jamaica and Ghana, and now hopefully a new door has opened to do so in the Bahamas. … it’s a little bit overwhelming. I am humbled by the prospect. Every day I pinch myself that I’m actually doing something that I enjoy. It’s a privilege, and the University of Minnesota has opened these doors for me.”

Addo has worked with many others to open doors to U of M students and the community here at home, too. This year,

visiting Jamaican scholars and artists spoke to her classes when, along with her School of Music colleagues Scott Currie and Paul Shaw, she helped put on the first-ever Summer Institute for Reggae Studies.

“It’s broadening the understanding of people from different countries and acknowledging the role all these people make in contributing to the rich fabric of life in Minnesota and beyond,” she says. “And it helps students to not be myopic, learning the language of true inclusion and language of diversity—not just of race, but of thought.

About the way you think and research and teach. It broadens their perspective and fosters inclusion, considering whose voice is at the table.”

Next up: Ghana. Addo is headed there as a 2019-2020 U.S. Fulbright Scholar to work with teachers on resource development and write an extended post-colonial narrative on Ghanaian children’s singing games.

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student

profile ADRIAN DAVIS CONDUCTS THE SCHOOL OF MUSIC’S GOSPEL CHOIR IN CONCERT AT TED MANN CONCERT HALL (APRIL 2019)

ADRI A N D

is

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Through building community with his music program at Roosevelt High School in Minneapolis and reviving the Gospel Choir at the University of Minnesota, Davis is showing everyone if they can see it, they can be it.

By Katie Dohman Adrian Davis grew up in Memphis, Tennessee. His parents grew up in the segregated South. In the 1960s, his mother was a Title I high school teacher, and his father worked as a railroad switchman for Southern Pacific.

Fighting for equal wages and representation, they reported to their jobs the day after Martin Luther King, Jr. was assassinated and their city was set afire.

That’s the model Davis brings to his day job as the music teacher for Roosevelt High School in Minneapolis, to his research as a doctoral student in music education, and to reviving the Gospel Choir at the University of Minnesota. “Their mindset was you have

to work twice as hard to get half as much, and that’s my daily mindset,” he says.

“People say the school system is broken, and I would say, no, it’s not,” he adds. “The system is working. A lot of my research is around that. If you look at music education and where it originated, their mindset was not racial diversity. It wasn’t gender diversity, either.”

“There’s a lot of education going on at the collegiate level and a lot of education going on at the ‘street’ level, but somehow we have not been able to connect the two,” he continues. “My focus is to really connect the dots. To be that person or advocate for the community, and to also show the community that there is an opportunity for you to be a part of the academic world and vice versa.”

RETURNING MUSIC TO ROOSEVELT

Roosevelt’s high school music program had been decimated, then discontinued, due to funding issues. Enter Davis. He brought the curriculum back and he says, since then the program has been steadily on the rise.

Since 2013, the choral program has grown from 16 to 94 students. Drumline went from about five to more than 30. A steel drum line has spun off from the original.

“The administration has given me the academic freedom to do my job effectively, and the community and parental support is growing around the program,” Davis says.

They have since performed in Chicago at

DAV IS

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“I always tell my students that we want to be the champions of our neighborhood. We’re going to be a beacon of light.” a national competition and at the Mall of America—same as pop stars Ariana Grande and Justin Bieber, he takes care to point out to them.

“I always tell my students that we want to be the champions of our neighborhood.

We’re going to be a beacon of light. When people come in our neighborhood, they will feel a different energy.”

But what happens if these kids graduate and pursue music at the collegiate level?

They will find few students or mentors of color, Davis asserts, citing that professors of color make up only 5 to 6 percent of the total professoriate. He adds that they’re not likely to study types of music that come from their own lineage.

Sixteen students enrolled with the first gospel choir, most of them white.

“I understand that, and I have no problem with that,” he says. “We took care to make sure no cultural appropriation was going on. We studied the history. First thing I asked was, ‘What is gospel music?’” The go-to answer? Gospel is the good news.

“So I said, ‘Let’s unpack that: The Good News of what? The Good News is tied to joy and hope and love—and salvation, if you are looking at it from a Christian

“The Western European canon is very, very important. But we can’t mistake that for being the standard-bearer of all music for all mankind,” Davis says. “When you exclude certain types of music you are excluding types of people, creating an either/or rather than a both/and curriculum.”

GOSPEL AT THE U

Davis honed his knack for bringing something back. After reviving Roosevelt’s program, he endeavored to bring the gospel choir back to the University of Minnesota.

“Having a gospel choir is the first step to recognizing other music as viable and equal to other classical music,” he says. “Historically hip-hop is about as old as baroque, we’re talking 1685-1750, Bach and Handel and those guys. Hip-hop is a grownup.

And hip-hop ties back to gospel, and to an extent, classical music.”

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perspective. But within those Christian values, come love and peace and longsuffering and kindness. Within that comes the narrative of culture: People that sing their way through slavery. Sing their way through Jim Crow. We are singing people’s lives. Performing people’s lives.”

Second choir enrollment? Forty-six students, with an increase in both racial and gender diversity. “That was pretty dope,” he allows.

“We had people from all walks of life.”

“There’s narrative and story to be heard in that music,” Davis says. To make sure the students heard it, he asked them to write song analyses.

“There is a lot of heart in that writing,” he says. “They share personal experiences with me. This music is helping folks. We learn from each other’s experiences, even if we haven’t experienced certain things in life.

We learn empathy. That’s just as important.

To me, that’s gold.”

alumni

113 MEMBERS, LEFT TO RIGHT: MICHAEL DUFFY, JEREMY WAGNER, ADAM ZAHLLER, COLLIN ARNESON, JOEY CRANE, TIFFANY SKIDMORE, BENJAMIN J. MANSAVAGE KLEIN, JEFFERY KYLE HUTCHINS, NANYI NEIL QIANG, JOSHUA MUSIKANTOW

Photo: 113 composers collective

profiles

People are fundamentally misunderstanding experimental music. The 113 Composers Collective exists precisely because the support and the context for it didn’t exist. “[People think] that it’s esoteric, nerdy stuff and that no one else cares about it, but that’s really not the case,” says artistic director Tiffany Skidmore.

Case in point: Since 2012, the collective has presented more than 60 world premieres of notable global and local composers, and when 113 has put out calls for scores, they’ve received responses from around the globe. “When we say community, we really mean international,” Skidmore adds.

Joey Crane, Sam K rahn, Joshua Musikantow, and Tiffany Skidmore are all School of Music alumni who saw the need for more experimental music programming, even as students.

COMPOSERS COLLECTIVE AIMS TO CHANGE THE WAY WE THINK ABOUT AND EXPERIENCE EXPERIMENTAL MUSIC

BY KATIE DOHMAN

“We realized that even though those opportunities weren’t available to us, we could make those opportunities,” Crane, 113’s executive director, says.

“Things were happening for me when I graduated but I was ending up as a token avant garde piece and I don’t think that allowed people to hear my music in the right light,” Musikantow says. “But by making a group, people could listen to my music more carefully.”

Skidmore says, “We’re creating a better context for much better work.”

The focus on better access to performances and professional development begins to take care of the gigantic job of shifting the perspective for adults and professional composers and performers and creating a community for new music enthusiasts. But how do you change the misconceptions for new music generally?

FALL 2019 TUTTI MAGAZINE

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Photo: 113 composers collective

The residency involved helping kids write and notate their own pieces, and performing them. “Several of us, along with students, put on a concert of student works,” Crane says. “One of the students showed up and brought their entire family. At the end of the concert, the mother said ‘We’re so happy [113 is] providing these opportunities for students’—that it made her think more deeply about what music could be.”

NANYI NEIL QIANG AND JEFFERY KYLE HUTCHINS PERFORM.

113’s answer? Kids.

“I didn’t know I would be able to work with young kids doing this type of music,” Musikantow says. “I was terrified of that. I thought, If adults can’t understand this how would kids? But it was easier. They have

2

far fewer ingrained assumptions and were much more receptive to it. It definitely changed my views a lot,” he says of 113’s residency at Minneapolis’s Folwell School, a performing arts magnet.

That was gratifying for everyone involved, especially because, as Skidmore says, “Fundamentally, we are about the art.” Maintaining the integrity of the art has been paramount to the group’s success overall.

They just had to find ways to make it sustainable. “If you have the will, you will have the way,” Crane says. “If it’s important to you, then you have to be the one to find a way.”

Find out about upcoming 113 Composers Collective performances at 113 collective.com or follow them on Facebook: @113MN.

more Twin Cities community music groups featuring School of Music alumni

Border CrosSing

bordercrossingmn.org

VocalEssence vocalessence.org

This choral music ensemble provides a multilingual concert series and educational programs.

Innovative VocalEssence concerts have been a beloved Minnesota tradition for more than 50 years.

16 UNIVERSITY OF MINNESOTA SCHOOL OF MUSIC

Photo provided

PIONEERING ASSISTIVE TECHNOLOGY FOR BLIND MUSICIANS

WHAT INSPIRED YOU TO PURSUE THIS PROJECT AND RESEARCH?

In 2013, I was completing a specialization in 21st-century music for saxophone at the Conservatory of Strasbourg where I met the French pianist Caroline Sablayrolles.

She is visually impaired and uses multiple devices (amplifiers, Braille scores, etc.) and various techniques to decipher a score and to prepare her concerts. After observing her prepare for concerts, I wondered if it would be possible to reduce the number of reading instruments to enable a person with this kind of condition to decode a score more efficiently.

CAN YOU DESCRIBE YOUR PROJECT?

This project consists of the creation of the first musical piece for people with visual impairment without the use of Braille.

Using human echolocation, I wrote a code of “click sounds” to create a more efficient process for a musician with visual impairment to decode a score without the use of their hands, thereby allowing them to read the score and perform a musical instru-

Rodrigo Pires de Lima (DMA, saxophone, student of Preston Duncan) received international press coverage in PortugaliNews for his research that allows blind musicians to play live music without the use of Braille. This research integrates existing technology with echolocation. Pires de Lima discusses his research and its implications for the future.

ment simultaneously. This project is the first to employ echolocation as a musical reading tool.

HAVE YOU RECEIVED FEEDBACK FROM MUSICIANS WHO WOULD LIKE TO USE THIS TECHNOLOGY IN THE FUTURE?

HOW DOES THE TECHNOLOGY WORK?

This project was presented in concert with my group Electroville Jukebox and Dr. Rui Batista, a blind person with a strong passion for electric guitars and harmonics. He is also one of the directors of the Associação dos Cegos e Amblíopes de Portugal (ACAPO) whose mission is to protect the rights of people with visual impairment. Batista’s involvement in the project provided me with constructive feedback, validity, and national media exposure. He wrote, “The system Rodrigo developed allowed me to experience my live performance in a completely different way...This project is not the solution to a problem, but rather an alternative where the main objective is to improve the quality of life of people with visual impairment.”

In 2017, I wrote a piece called “Daniela 3.0” specifically for this project and aligned it with an electronic interface patch using a headset with a microphone to provide a “silent” score. The musician then decodes the score using the echolocation principles some animals (e.g., bats) employ to hunt and to distinguish different targets. In order for a human to receive this feedback from the headphone set, they produce “click” sounds with their mouth that are picked up by the microphone connected to the program in closed circuit. I worked with José Grossinho, a musician and sound engineer, to create this interface patch in Max MSP. This project is a beta version, but I have ideas for improvement, including a more complex interface and assembling a mixed orchestra of musicians with different sight capacities.

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thank you for your support of the School of Music Recognizing gifts made from June 1, 2018 to June 30, 2019 We make every effort to properly acknowledge our donors, but occasionally a name is misspelled or omitted. Please let us know your preferences by contacting Jessica Waller at 612-626-5141 or jwaller@umn.edu. We’ll correct it in future versions—thank you!

$50,000+

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* deceased donor/estate gift 18 UNIVERSITY OF MINNESOTA SCHOOL OF MUSIC

$1,000 – $4,999

Michael G. Baier Beth McGlone & H Eugene Karjala Charitable Fd Michael G. Bischoff Ardell F. and Judith E. Brede Katie L. Buelo Mark D. Chatterton & Julia U. Halberg Margot H. & David S. Chatterton D J Horns & J P Richardson Fam Fdn James S. Dibley David Dixen Various Donors Charles H. & Joyce M. Gauck GECO and GE Fund George W Patton & Mary Burnham Patton Fdn Dave & Claudine Gervasio David J. & Sara Golden Thomas L. Hanson Karen Hanson Kappa Kappa Psi KA Beth I.* & Henry E. Karjala* Christian C. & Katherine Karsten Kyung and Michael Kim Sue A. & David B. Lee Mildred B. Leighton* Jeanne M. Lowe Minnesota State Fair Jean M. & Scott D. Nagel Richard L. Neff Carol A. Pierce Patrick R. Puckett Dorothy J. Horns, M.D. & James P. Richardson, Ph.D. Timothy H. Robinson Beth Robinson Ryan M. Rosa Lowell H. & Mary A. Schiebe Dick Seebach Linda M. & Richard J. Seime Jesse R. Sich Charles K. & Susanne M. Smith

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Jacqueline H. Holmbeck Evelyn Holtze David N. & Mary K. Holtze Hormel Foods Corp Charitable Trust Leighanne Houserman Drs. Robert B. and Sondra Howe Susan E. Howe IBM Employee Charitable Contributions Peter & Karyn Igarashi Cynthia T. & Martin M. Iker Jacqueline & Mathew J. James James H. Hammill Charitable Fund-UBS Donor-Adv Joseph C. & Michelle L. Jansen Jonathan Jennings Susan Jennings Nancy J. Johnson Rosemary Johnson & George Hansler Eugene W. & Miriam M. Junker Roger W. Kaercher Alan L. & Geraldine A. Kagan Mary Kay Kaltreider Mary V. Kerns John C. Kieffer Harold D. & Patricia A. Kiewel Mary L. Kimmes Jennifer Kish Dale Kivimaki Ellen A. Kniebel Benjamin M. Koch Garrett L. Kornman James P. Kortz Pamela Krahmer Bruce A. & Donna H. Krahmer W S. & Carol A. Kramer David E. Laden Dr Mark E. & Carolyn Lammers Lammers Family Trust Susan V. Landauer David W. Larson

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20 UNIVERSITY OF MINNESOTA SCHOOL OF MUSIC

James H. Ross Robert R. & Stacy Rowbal Laura A. & James L. Rubin Donald J. Ruzin Laurie A. Ryan Jean A. Ryon Wayne A. Sandbulte LuAnn B. Sanford Cordell B. Satre Mary P. Schaefle Darrick J. & Lynne M. Schiebe Jeffrey E. Schiebe Connie J. Schmidt-Fust Dr. Jeffrey H. & Patricia A. Schott Lawrence E. & Andrea M. Schussler Jacob M. Schwan Inez M. & Lyall A. Schwarzkopf Ann L. Schwind Kathryn Schwister Alan E. & Linda Shapiro Janet G. Shockley Dr. Melvin E. Sigel Serene Simon Peter Simons Thomas L. Simons Laura K. Sindberg & Gary Wolfman Jennifer L. Sivertson Sara Skovholt Kara A. Smith Russell A. Sorensen Jason D. Sorensen Angeline L. Sorenson Renee K. Southworth Candy & Lindy Sparrow Michael G. Staedy Brian R. Steeves Stefan & Lonnie Helgeson Family Char Fund Patricia B. Stevens Earle W. & Patricia L. Stevermer Cynthia C. Stokes Stone Barn Estates HOA Sylvia R. Storvick Deanne E. Straka

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I now have the means to attend not only the U, but masterclasses, conventions, and summer programs that will allow me to further enhance my musical career.

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SIDE BY SIDE

By Anabel Njoes

On Saturday, October 19 the University Symphony Orchestra and the Minnesota Orchestra gave a side-by-side performance of the fourth movement of Shostakovich’s Symphony No. 7 “Leningrad” in Orchestra Hall under the baton of Osmo Vänskä.

The concert was part of the Minnesota Orchestra’s week-long Hear into the Future program.

are fantastic ways to keep our community strong and vibrant.”

“What an honor to play alongside such amazing musicians, and have them shuffle for us when we played an exposed duet!” said student Ariel Detwiler (DMA, bassoon). Family, teachers, and friends from the University and Twin Cities music community filled the audience.

Following their performance at Orchestra Hall, the strings of the University Symphony Orchestra (USO) began preparing for a free concert at Westminister Presbyterian Church’s new performance hall, named the “best new classical music venue” in the Twin Cities (Star Tribune). There they will present a program featuring Dvorak’s Serenade for Strings, Britten’s Serenade for Tenor, Horn and Strings, and Beethoven’s Symphony No. 2. For Beethoven, the student musicians will be joined by the School of Music faculty and Minnesota Orchestra musicians, as well as selected USO alumni.

“Our Minnesota Orchestra musicians loved sharing their artistry with the immensely talented U of M music students — and it was a wonderful thrill for the audience!” says Margaret Bracken, board chair of the Minnesota Orchestra and a lifetime director of MacPhail Center for Music. “Music connections

“It’s wonderful — I’m so excited about future collaborations,” said Michael Kim, director of the School of Music, who joined the board of the Minnesota Orchestra last year.

UP NEXT

“Music connections are fantastic ways to keep our community strong and vibrant.”

— MARGARET BRACKEN BOARD CHAIR, MINNESOTA ORCHESTRA

24 UNIVERSITY OF MINNESOTA SCHOOL OF MUSIC

“Rehearsing and performing the music of Beethoven is an essential part of any orchestral musician’s training,” says Mark Russell Smith, Artistic Director of Orchestral Studies and conductor of the USO. “The students are honored to share the stage with their professors, many of whom are members of the Minnesota Orchestra.

Beethoven’s music is invigorating and challenging, regardless of age or experience. I am deeply grateful to my colleagues at the U for mentoring and guiding our orchestral students.”

UNIVERSITY SYMPHONY ORCHESTRA AT WESTMINSTER HALL Tuesday, December 10th at 7:30 pm Westminster Presbyterian Church, Minneapolis, MN Strings of the University Symphony Orchestra with winds from the U of M faculty, Minnesota Orchestra members, and USO alumni. Program featuring Dvorak’s Serenade for Strings, Britten’s Serenade for Tenor, Horn and Strings, and Beethoven’s Symphony No. 2. Mark Russell Smith, conductor. Free and open to the public.

student

news Jay Afrisando (PhD, composition, student of Alex Lubet) presented his artistic work, “Gendhing Cosmic” (5th order ambisonics installation), at the Linux Audio Conference, Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, March 23-26, 2019.

“Gendhing Cosmic” was exhibited at the CCRMA’s 56.8 system (56 loudspeakers and 8 subwoofers). Afrisando was featured in the Minnesota Public Radio article “How about a little office music?

Composer Jay Afrisando is all work and play.”

Momcilo Aleksandric (DMA, guitar, student of Maja Radovanlija) was invited to give a lecture and performance at 2018 Hong Kong Altamira International Guitar Symposium.

Aleksandric presented his research on Cuban contemporary composer Leo Brouwer entitled “El Decameron Negro: Semantic Intersection of Multiple Spatial Levels and the Concept of Return.” Aleksandric gave a lecture and performance at the Guitar Forum hosted by the Hong Kong Altamira International Guitar Symposium and the Guitar Research Center of the University of Surrey (UK).

The lecture-recital took place in July 2018 in the Concert Hall of the Hong Kong Academy for Performing Arts.

Aleksandric also won first prize at the Altamira Hong Kong International Guitar Competition (July 10-14), taking home a cash prize and a Hanson concert guitar. Aleksandric played a solo concert and gave a lecture titled “Llobet’s Homage to Sor: Interconnections, Innovations, Implications for Performance” at the Universidad Nacional de Costa Rica in Heredia. He also received a diploma for extraordinary contribution to the Universidad Nacional’s guitar program.

Aleksandric’s article “Miguel Llobet’s Variaciones sobre un Tema de Sor” was published in the latest edition of the Guitar Foundation of America’s Soundboard Journal.

Momcilo Aleksandric (DMA, guitar, student of Maja Radovanlija) and Filip Zivanovic (DMA, guitar, student of Maja Radovanlija), the Belgrade Guitar Duo, won first prize at the Southern Guitar Festival Ensemble Competition in Columbia, SC (June 2018). Zivanovic won second prize in the Festival’s Guitar Solo Competition. The Belgrade Guitar Duo also competed at the Guitar Foundation of America Ensemble Competition in June 2018.

Jared Anderson (music education) and François Harewood (BM, music education/piano, student of Paul Shaw) presented a remote roundtable discussion with European University Cyprus doctoral students Antogoni Kiriakidou, Anna Archontopoulou, Katerina Adamopoulou, as well as Professors Yiannis Miralis (European University Cyprus) and Akosua Obuo Addo (U of M, music education) at the 8th Conference of the Greek Society for Music Education with international participation held in Thessaloniki, Greece on November 24, 2018.

Ahmed Anzaldua (DMA, choral conducting, student of Kathy Saltzman Romey and Matthew Mehaffey) worked in classrooms around Minnesota as a Classical Minnesota Public Radio Class Notes artist with BorderCrosSing. He was interviewed by Classical Minnesota Public Radio host Julie Amacher about his work.

Amanda Chan (PSEO, piano, student of Alexander Braginsky) won 1st Prize in the Contemporary Composers Advanced category and 2nd Prize in the Duet Advanced category with Skyler Chan in the 2018 Carmel Klavier International Piano Competition for Young Artists in Carmel, Indiana (June 27–July 1). Chan won 1st prize with Skyler Chan in the 2018 Ohio International Piano Duet & Duo Competition (November 17, 2018).

Chan also won 1st prize in the 6th North West International Piano Ensemble Competition in Vancouver, Canada.

Tong Cheng (DMA, collaborative piano and coaching, student of Timothy Lovelace) has been invited to La Musica Lirica in Italy, where he performed with artists from around the world, including the musicians from the Rossini Opera Festival in June and July 2018. Tong collaborated with the opera scenes from Idomeneo, Suor Angelica, and L’elisir d’amore at Teatro Sociale di Novafeltria.

Cheng participated in the Source Song Festival in August 2018 and worked with piano coach Arlene Shrut. He performed a Chinese traditional music recital to a sold-out crowd in Sundin Music Hall at Hamline University with Chinese Erhu Master Yuming Zhang.

HOCHEOL SHIN, DMA STUDENT, WON PRINCIPAL CELLO OF THE MINNESOTA OPERA ORCHESTRA FOR THE 2019/2020 SEASON.

Lars Christensen’s (PhD, musicology/ ethnomusicology, advisee of Gabriela Currie) essay “Imag(in)ing Musical Instruments: Prescriptive and Descriptive Iconography in the Northern Song Dynasty” was published in Volume 43 of Music in Art. Michael Chu (violin, student of Sally O’Reilly) and Joyce Zhao (violin, Bravo! alumna, student of Sally O’Reilly) placed first in the State level of their categories at the Music Teachers National Association’s Young Artist Performance Competitions. Chu is a winner of the college audition, and Zhao is a winner of the high school audition. The competition was held at St. Olaf College

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STUDENT NEWS

on November 9, 2018. Chu won first place in the Music Teachers National Association’s (MTNA) Young Artist Performance Competitions (String Division), and competed as a national finalist in Spokane, Washington in March 2019.

Callie Cooper (BM, voice, student of Jean del Santo) won First Place in the Glenn Miller Birthplace Scholarship Competition. She was presented with the Eberle Vocal Scholarship, the top monetary prize, in Clarinda, IA on June 8, 2018. Cooper was selected to perform in the final round of the Music at Mosaic Competition in Merrifield, VA in July 2018. Cooper performed in Opera Susquehanna’s Winners Recital on October 28, 2018, in Gettysburg, PA. She performed a selection of opera arias and I hate music!: A Song Cycle of Five Kid Songs for Soprano by Leonard Bernstein.

Cooper and Cole McIlquham (BM, voice, student of Adriana Zabala) presented at the Undergraduate Research Symposium on April 25, 2019 at Northrop Atrium. Their project was titled “Classical Singing and Musical Theater,” and they performed two duets that exemplified the meeting of the two performance styles. Cooper also joined Berkshire Choral International as a Choral Scholar in July 2019.

Matthew Harikian (MA, music theory; MM 2018, piano, student of Lydia Artymiw) performed solo piano works of Mendelssohn and Scriabin for the Thursday Musical Artist Series at Antonello Hall (MacPhail Center for Music, Minneapolis, MN) on October 25, 2018.

Emily Heuschele (PhD, music education) shared her research “Tradition and Innovation in the School Orchestra: An Analysis of Journal Articles on Eclectic String Playing and Teaching” at the Big Ten Academic Alliance Music Education Conference at the University of Michigan in October 2018.

Kathryn Huether’s (MA, musicology, advisee of Karen Painter) article titled “Did You Notice the Butterflies?: Behind the Headphones, Muted Memorializing and Curated Soundscapes at Treblinka” was accepted for the 2018 issue of

Reflections, the Auschwitz Jewish Center’s Annual Alumni Journal.

Huether was accepted to an allexpenses paid International Program and Workshop: Jewish Music – Practice as Research, at the European Center for Jewish Music in Hildesheim, Germany.

Huether has been awarded an Interdisciplinary Doctoral Fellowship (University of Minnesota Graduate School Fellowship) for the 2019-20 academic year. The title of her project is “Critically Suggesting or Emphatically Telling?: Questioning Audio Guides and their Accompanying Sonic Nuances at Holocaust Memorial Sites.”

Huether received the Jerome L. Joss Graduate Student Research Fellowship through the University of Minnesota Center for Jewish Studies ($1,700). The Fellowship will cover her expenses for her participation in the Special Lessons and Legacies Conference (LLC) on the Holocaust—“The Holocaust and Europe: Research Trends, Pedagogical Approaches, and Political Challenges,” which will take place November 4-7, in Munich, Germany. Huether’s proposal, “Guiding or Obscuring?: Questioning Treblinka’s Audio Guide and its Sonic Infrastructure,” was selected from a pool of 700 applicants.

Mary Alice Hutton (MM, violin, student of Sally O’Reilly) was selected to participate in the 2018 New York String Orchestra Seminar (NYSOS).

Celebrating its 50th year, NYSOS 2018 brought 45 string players and 18 wind and brass players from North America to New York City (December 19–28, 2018). The seminar culminated with two NYSOS performances at Carnegie Hall on December 24 and 28, 2018. Hutton was invited to participate in the 50th Anniversary celebration of New York String Orchestra Seminar.

They performed two concerts featuring Joshua Bell and Yefim Bronfman.

Jiyeon Hwang (DMA, voice, student of Jean del Santo) won the Kenwood Symphony Orchestra’s 21st Annual Masters Concerto and Aria Competition in the Emerging Artist category. She performed “Quel guardo Il Cavaliere” from Gaetano Donizetti’s opera Don Pasquale on March 23 at the Church of St. Albert the Great in Minneapolis.

26 UNIVERSITY OF MINNESOTA SCHOOL OF MUSIC

Seongkyeong Kim (DMA, piano, student of Paul Shaw) and Xin Lin (DMA, piano, student of Paul Shaw) were winners in the Emerging Professional Category of the Kenwood Symphony Orchestra’s 21st Annual Masters Concerto and Aria Competition. They were both featured as soloists with the Kenwood Symphony Orchestra under the baton of Music Director Yuri Ivan in the Winners’ Showcase on March 23, 2019, at the Church of St. Albert the Great in Minneapolis. Kim was selected to participate in the Art of the Piano festival at the University of Cincinnati College-Conservatory of Music from May 25–June 15. Kim will join an elite group of 25 “future master pianists” in master classes, discussions, and performances conducted by a veritable who’s who among the world’s celebrated faculty instructors. Inspired by the legendary master classes of Franz Liszt, Art of the Piano is an intensive, tuitionand-housing-free festival, founded and led by artistic director, distinguished pianist and educator, Awadagin Pratt. A native of South Korea, Kim is also recipient of the Judges’ Special Recognition Award at the 48th Annual William C. Byrd International Young Artist Competition held in Flint, Michigan on March 2. She performed in the Twin Cities with the Kenwood Symphony Orchestra under the baton of Music Director Yuri Ivan (DMA 2008, conducting) on March 23 as a winner in the Emerging Professional Category of the Orchestra’s 21st Annual Masters Concerto and Aria Competition.

Elena Kolbrek (BM, violin, student of Sally O’Reilly) and Morganne McIntyre (BM, violin, student of Sally O’Reilly) attended the Montecito International Music Festival in Riverside, CA (July 8-27, 2018) on merit scholarships.

Ho Yin Kwok (DMA, orchestral conducting, student of Mark Russell Smith) directed the Mississippi Valley Orchestra with guests John Miller (bassoon) and William LaRue Jones (director of orchestral studies at the University of Iowa, GTCYS founder) in a performance of Dietter’s Concerto for Two Bassoons and Orchestra. The concert

STUDENT NEWS

took place on October 14, 2018, at Simley Theater of Performing Arts in Inver Grove Heights, MN. Kwok was invited as a member of the Voce String Quartet to be a guest artist of the University of Iowa String Quartet Residency Program in November 2018. The Voce String Quartet gave master classes, coaching sessions, and outreach concerts.

Ross Larson (piano, student of Paul Shaw and Carlson School of Management, BSB finance) completed his award of a Summer 2018 internship at Steinway & Sons in New York City. Under the direction of Steinway’s Vice President of Finance for the Americas John Seliga, Larson served in the company’s department of finance and accounting where he participated in managing and overseeing the Boston/Essex rental program, new retail sales, application of retail/wholesale/institutional payments, vendor payables, visual mapping of Steinway processes, and more.

Soojin Lee (PhD, music education) was featured in the Classical Minnesota Public Radio article “Minnesota’s Soojin Lee celebrates traditional Korean music” by Terry Blain.

Sofia Mycyk (DMA, piano, student of Timothy Lovelace) was the orchestral pianist for the Lakes Area Music Festival, performing in two concerts in August.

The program included Aaron Copland’s Appalachian Spring for 13 instruments.

Mycyk returned to the Lakes Area Music Festival to play in concerts in August 2018. In July 2018, Mycyk released her first album Hutzulian Watercolours, a celebration of solo piano music by Ukrainian composers.

Joe Nelson (PhD, musicology) presented his paper “Mad Tom, The Wild Man, and the Visual Embodiment of Bethlem Asylum’s Sonic Identity,” at the 18th International Conference of Association Répertoire International d’Iconographic Musical (RIdIM) held in Canterbury, England in July 2018.

Later in July, he presented a paper, “The History of Mad Tom o’ Bedlam,” at the North American British Music Studies Association biannual conference held in Logan, UT. Nelson presented at the annual meeting of the American Musicological Society in November, and the Early Modern Songscapes conference

at the University of Toronto in Feb. 2019.

Nelson presented a paper titled “‘Still Jove with Ganymed lyes playinge’: King James, Sexuality, and Sovereign Order in the Stuart Court” at the American Musicological Society annual meeting in November 2018. He was accepted to present a paper titled “Polluted Minds, Polluted Bodies: The Case of Bethlem and Disordered Sound, at the conference Early Modern Songscapes, hosted by the Centre for Reformation and Renaissance Studies at the University of Toronto in Feb. 2019. Nelson will also present papers at two conferences: att the Newberry Library’s Graduate Interdisciplinary Conference in Chicago in Jan., he will present “’Still Jove with Ganymed lyes playinge’: King James, Sexuality, and Sovereign Order in the Stuart Court;” and at the Early Modern Songscapes conference at the University of Toronto in Feb., he will present “Polluted Minds, Polluted Bodies: The Case of Bethlem and Disordered Sound.”

Aisling O’Sullivan (MM, horn, student of Ellen Dinwiddie Smith) was named an Orchestra Fellow for the 2019 Immanuel and Helen Olshan Texas Music Festival Orchestral Institute (TMF) held at the University of Houston (Texas). This prestigious fellowship award includes full tuition, room and board, lessons, and master classes.

Kyung Jun (Joseph) Park (DMA, piano, student of Kyung Kim) won first prize in the Golden Classical Music Awards International Competition (solo piano category) and first place in the American Protégé International Piano and Strings Competition, both competitions were held in New York, NY. He performed at Carnegie Hall’s Weill Recital Hall in April 2019.

Rodrigo Pires de Lima (DMA, saxophone, student of Preston Duncan) performed in a program titled Electroville Jukebox on March 8 at Cascais Young Auditorium (Rua João da Silva, Carcavelos) in Portugal. This event was sponsored by the Humanitarian Association of Carcavelos Voluntary Fire Fighters and S. Domingos de Rana. Pires De Lima received international press coverage in PortugaliNews for his research that allows blind musicians to play live music without the use of Braille. This research integrates existing technology

and combines it with echolocation.

Garret Ross (DMA, piano, student of Alexander Braginsky) performed as a member of the Artu Duo on the Fortuna Concert Series at the Fortuna Monday Club in Fortuna, CA on March 9, 2019. The Artu Duo also gave a master class and concert at Humboldt State University, CA on March 10, 2019. Ross performed Martinů’s Sonata for 2 Violins and Piano, H. 213 with the Cincinnati Symphony Orchestra on March 15, 2019 in a program titled Fragments, Dreams at Music Hall in Cincinnati, OH. Hocheol Shin (DMA, cello, student of Tanya Remenikova) was a winner of the Kenwood Symphony Orchestra’s 21st Annual Masters Concerto and Aria Competition in Emerging Artist category. He performed Schumann’s Cello Concerto Op.129, mvmt. 1 in March 2019.

Audrey Slote’s (MA, music theory; MM, 2015, cello, student of Tanya Remenikova) article “Deconstruction as Political Discourse in Janelle Monáe’s ‘Q.U.E.E.N.’” appeared in the Spring/ Summer 2018 edition of the Society for Ethnomusicology’s (SEM) Student News journal. Slote, Dana DeVlieger (PhD, music theory, advisee of Sumanth Gopinath), and Mikkel Vad (PhD, cultural studies with music minor, advisee of Sumanth Gopinath) presented at the annual Society for American Music Conference in New Orleans, LA in March 2019.

Amelia Smith (DMA, clarinet, student of Timothy Zavadil) completed a temporary teaching assignment at the University of Mississippi in Oxford, MS. She filled in for Dr. Michael Rowlett for 6 weeks during the beginning of the fall 2018 term. While there, Smith taught 12 clarinet students, clarinet studio, and a single reeds methods course.

Russell Sweet (BM, saxophone, student of Preston Duncan) won second prize in the Minnesota State Fair Talent Show.

He won $2,500. He performed his prizewinning piece at the Collage Concert in October 2018 at Ted Mann Concert Hall. Sweet won first prize in the College Level of the North American Saxophone Alliance Region 3 Conference Competition.

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STUDENT NEWS

Nygel Witherspoon (PSEO, cello, student of Tanya Remenikova) won first prize in the Junior Division of the 2019 22nd Annual Sphinx Competition in Detroit, MI. Witherspoon received $10,000, plus a number of performance opportunities – including a nationally broadcast radio appearance on From the Top. Witherspoon is featured in the Star Tribune article, “At 17, this award-winning Minneapolis musician is soaring on the cello.”

Also featured in the article are David France (MM 2003, violin, student of Sally O’Reilly) and Nygel’s siblings Imala Witherspoon (BM, violin, student of Sally O’Reilly) and Alastair Witherspoon (BM, violin, student of Sally O’Reilly).

Filip Zivanovic and Momcilo Aleksandric (DMA, guitar, students of Maja Radovanlija), playing as the Belgrade Guitar Duo, won the third prize at the Guitar Foundation of America Ensemble Competition that took place in Louisville, KY in June 2018.

GROUP STUDENT NEWS Callie Cooper (BM, voice, student of Jean Del Santo) and Cole McIlquham (BM, voice, student of Adriana Zabala) and Meghan Rhoades (BM, piano, student of Kyung Kim) performed at the College of Liberal Arts Bright Lights event on May 1, 2019 on the Carlson Family Stage at Northrop. They presented a selection from Leonard Bernstein’s West Side Story as part of the highlights from undergraduate research within the CLA. Members

of

Preston

Duncan’s

saxophone studio performed at the Minneapolis Teachers Retirement Luncheon at the American Legion (Minneapolis) in Feb. 2019. Performers included Adam Shew (BM, music education), Christopher Dickhaus (DMA, saxophone), Russell Sweet (BM, saxophone), Emily Brewer (MM, saxophone), and Casey Rafn, pianist.

The University of Minnesota Saxophone Club and Preston Duncan (saxophone) partnered with MacPhail Center for Music, the Schubert Club, Twin Cities Saxophone Day, and the Minnesota National Guard’s 34th Infantry Division Red Bull Band to present the North American Saxophone Alliance Region 3 Conference at the University of Minnesota from March 15 to March 19, 2019. Two hundred saxophonists from the fivestate region attended a weekend of concerts and presentations with special guests Alex Terrier (France), Jacky Leung (Hong Kong), Sofia Zumbado (Costa Rica), Kenneth Tse (University of Iowa), and Alastair Wright (University of Wisconsin-Eau Claire).

The U of M Trombone Choir presented two outreach concerts this April 2019.

On April 6, the Trombone Choir performed at the second annual Schmitt Music Trombone Day in Brooklyn Center, MN. Mr. Henry Charles Smith III was the guest conductor. Mr. Smith and U of M Professor Tom Ashworth (trombone) spoke on the topic of “Developing Versatile Musicianship in a Trombone Choir.” On April 8, Smith and the Trombone Choir presented a performance at Johanna Shores Senior Living in Arden Hills, MN. U of M Music Therapy students and faculty Michael Silverman and Todd Schwartzberg shared their research on March 16, 2019 at the Great Lakes Region of the American Music Therapy Association Conference’s poster session.

The University of Minnesota was wellrepresented at the 2018 joint meeting of the American Musicological Society and the Society for Music Theory, held in San Antonio, TX from November 1-4, 2018. Six students from the

28 UNIVERSITY OF MINNESOTA SCHOOL OF MUSIC

Photo: Greg Helgeson

Joan Wallace (DMA, piano, student of Paul Shaw) was selected to present a research poster session at the biennial National Conference on Keyboard Pedagogy held in Chicago in July 2019.

Wallace presented on the psychology of boredom and achievement in music students, identifying boredom coping strategies, and creating pedagogically effective solutions to help with student achievement. She also presented this research at the Minnesota Music Teachers Association Convention in June 2019.

musicology and theory programs were selected to present their work during this conference: Lars Christensen (PhD, musicology, student of Gabriela Curie), Joseph Nelson (PhD, musicology, student of Kelly Harness), Amy Onstot (PhD, musicology, student of Kelly Harness), Solveig Mebust (PhD, musicology, student of Kelly Harness), Jeremy Smith (PhD, music theory, student of Sumanth Gopinath), and Dana DeVlieger (PhD, music theory, student of Sumanth Gopinath).

HORN STUDIO PERFORMS AT THE 2018 COLLAGE CONCERT.

faculty

news Lydia Artymiw’s 2018-19 season included return performances at the Alexandria Festival of the Lakes, followed by a solo recital at the Morningside College Piano Series in Sioux City, IA. She performed the Franck Symphonic Variations with the Minnesota Philharmonic (under alumnus Brian Dowdy) and joined Marcy Rosen for a recital at the Lincoln Center Performing Arts Library in NY. Rosen and Artymiw’s 2018 CD of The Complete Works for Cello and Piano by Mendelssohn was nominated for a Grammy Award. She also joined Wilhelmina Smith for a recital at Martin Luther College (New Ulm, MN) and a faculty recital at the U of M. Artymiw presented master classes for voice and piano students at Loyola University in New Orleans. In May, she was a juror for the First China International Piano Competition in Beijing featured on Chinese television and Amadeus worldwide and also presented a master class at the China Central Conservatory.

Artymiw performed at the renowned Meadowmount Festival in New York and returned to the Juilliard School in New York to guest teach four times.

Dean Billmeyer’s (organ) double CD Straube Plays Bach was released in September 2018 on the Rondeau label (Leipzig Germany), as well as on iTunes and Naxos. Karl Straube, organist and later cantor of the Leipzig Thomaskirche, edited ten of Bach’s most iconic works for publication in 1913. The extensive performance instructions in this volume represent unique documentation of late-Romantic German performance practice. Billmeyer’s recording, made on historic organs in Leipzig and Bad Salzungen, Germany, is the first ever of all ten works in Straube’s edition. In connection with the project, Billmeyer gave a workshop on Bach, Straube, and late-Romantic interpretation jointly with Professor Christopher Anderson of Southern Methodist University for the American Guild of Organists in Dallas in April 2019. Billmeyer also led a master

class on Bach and Straube in Leipzig for students at the Mendelssohn-Bartholdy Musik Hochschule in May 2019.

Sumanth Gopinath’s (music theory) book Rethinking Reich, an edited volume with Pwyll ap Siôn, was published by Oxford University Press in May 2019.

The book draws from new sources granted via the Steve Reich Collection at the Paul Sacher Archive and includes ranging from experienced and established Reich academics to emerging scholars.

David Grayson (musicology) published two articles in recent books: “‘Passage sentimental’: Si doux, si triste, si dormant...” in Debussy’s Resonance and “The Vagaries of Memory and Notation: Reconstituting the Debussy-Maeterlinck ‘Pelléas’” in Créer, jouer, transmettre la musique, de la IIIe République à nos jours.

In July 2018, Kelley Harness (musicology) read the paper “Laboring for Hercules: Constructing a Horse Ballet in Mid Seventeenth-Century Florence” at the 18th Biennial International Conference on Baroque Music, held in Cremona, Italy. During the fall semester, she presented an expanded version of that talk, entitled “Constructing Hercules in the Early Modern Horse Ballet: Il mondo festeggiante (1661),” as part of the U of M Music and Sound Studies Colloquium Series. During 2018–19, Harness shared aspects of her scholarship in collaboration with three separate performing groups: in October she partnered with the Minnesota– based Consortium Carissimi on “The Magdalene Project: The Ecstasy in Music” concert; in December, her article “Amazons, Saints, Sorceresses, and La liberazione di Ruggiero dall’isola d’Alcina” appeared in the program book that accompanied the Boston Early Music Festival performance of Francesca Caccini’s Alcina; and in March she delivered a lecture entitled “Beyond Voices: Women and Instrumental Music in the Baroque” as part of the Baroque

Festival sponsored by the University of Wisconsin-Platteville.

SUMANTH GOPINATH

Timothy Lovelace (collaborative piano) played on chamber music series sponsored by the Saint Paul Chamber Orchestra, the Minnesota Orchestra, the Chamber Music Society of Minnesota, the Isles Ensemble, and the Lakes Area Music 45. In June 2018, Lovelace taught on the second season of the Collaborative Piano Institute, a three-week summer program for college students or young professionals held at Shattuck-St. Mary’s School in Faribault, MN. In January 2019, Naxos released a CD Lovelace made with University of Minnesota Associate Professor of Flute Immanuel Davis. The recording contains the complete flute chamber music of Nikolai Kapustin.

Guerino Mazzola (creative studies and media) co-authored a new book titled The Future of Music Subtitle: Towards a Computational Musical Theory of Everything as part of the Computational Music Science series to be published

by Springer Publishing Company. Coauthors of the new book include Jason “J-Sun” Noer (dance, University of Minnesota), Yan Pang (PhD 2019, composition), Shuhui Yao (MM, composition), and PhD composition students Jay Afrisando, William Neace, and Christopher Rochester.

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Matthew Mehaffey (choral) had a busy year, which included conducting the U.S. premiere of The Great War Symphony by Patrick Hawes, preparing The Mendelssohn Choir of Pittsburgh for a recording with the Pittsburgh Symphony, creating a new oratorio about Queen Victoria with U of M alumni Josh Bauer (DMA) and Andrew Stoebig (MM), and conducting many concerts with the University Choirs both on and off campus.

Maja Radovanlija premiered new works for Minneapolis Guitar Quartet (MGQ), in collaboration with Linda Chatterton (flute) and Clara Osowski (mezzo-soprano), at several locations in the Twin Cities this spring. MGQ also performed at Iserlohn International Guitar Festival 2019, one of the biggest guitar festivals in Europe. MGQ was be part of judging and teching team, for the festival’s competition and master classes. Radovanlija also participated in an artist residence for improvised music workshop in collaboration with Hungarian violist/composer/ improviser Szilard Mezei. After the festival in Germany, Radovanlija traveled to Bangkok for solo and duo concerts, master classes and competition jury duties at the Bangkok Guitar Festival and Competition.

Fernando Meza (percussion) served as percussion/timpani coach for the Orchestra of the Americas’ residence at the Krzysztof Penderecki European Center for Music in preparation of their tour of Europe and Ukraine last July.

Meza performed with the Minnesota Orchestra at the BBC Proms in London, as well as during their historic trip to South Africa in August. He also toured in Spain with the Costa Rica-UNED Percussion Ensemble and performed with the Sphinx Symphony Orchestra in Detroit last November. He was an invited jury member for the Chicago Symphony Youth Competition in Feb. and was in Costa Rica for a singlesemester leave during spring semester transcribing traditional marimba music from Santa Cruz, Guanacaste. He will be traveling to Cuba in June as percussion/ timpani coach for the Cuban-American Youth Orchestra and in July to Mexico for his 16th summer as coach of the Orchestra of the Americas.

Tanya Remenikova’s (cello) highlights included a number of chamber music recitals with the Hill House Chamber Players, presented by the Schubert Club at James J. Hill House in St.Paul, and the St. Croix Piano Trio, presented by University of Wisconsin–River Falls.

Remenkova performed as a cello soloist with the Minnesota Sinfonia Orchestra in St. Paul and The Basilica of St. Mary in Minneapolis. Summer activities included teaching and two master classes presented by International Cello Institute in Northfield and a master class at Shattuck-St. Mary’s Summer Bravo Festival in Faribault, MN. She was also a judge for the Tuesday Musical Club’s 2019 Young Artists Competition in Strings in St. Antonio, Texas.

David Walsh (opera) returns to the School of Music from a sabbatic year in which he served as interim director of opera for Mason Gross School of Arts at Rutgers University in New Jersey, where he collaborated with students from music, theatre, and dance on full productions of Giacomo Puccini’s II Tabarro and Gianni Schicchi, as well as Benjamin Britten’s Albert Herring, and a major retrospective of post­ -World War II American opera titled Reflections on the American Dream. In June and July, he again participated as faculty in the summer opera program Opera Viva in Verona, Italy.

ORGAN NEWS The historic, completely restored Aeolian-Skinner pipe organ at Northrop was unveiled to the public with great fanfare on October 1213, 2018. Two concerts given by the Minnesota Orchestra under Osmo Vänskä featured the world premiere of John Harbison’s “What Do We Make of Bach?” for organ and orchestra with Julliard organist Paul Jacobs as soloist.

University Organist Dean Billmeyer also performed the Saint-Saëns Organ Symphony and was the featured interview on the live radio broadcast.

Events also included a live broadcast recital given by seven organists and an open house allowing thirty organists to try out the newly restored instrument.

Northrop’s organ was featured in the Star Tribune and was a cover feature in The American Organist magazine. The

30 UNIVERSITY OF MINNESOTA SCHOOL OF MUSIC

Photo: Erin Brenner

FACULT Y NEWS

Northrop organ, Aeolian-Skinner’s Op. 892, was originally installed in 1932-35, and removed in 2011 prior to the demolition of the old hall. FoleyBaker, Inc. completed the restoration from2016-2018.

LAURA SINDBERG REUNITED WITH FORMER STUDENTS AT THE 2019 ALUMNI RECEPTION.

alumni

news Kyung Jun (Joseph) Park (DMA, piano, student of Kyung Kim) won first prize in the Golden Classical Music Awards International Competition (solo piano category) and first place in the American Protégé International Piano and Strings Competition, both held in New York, NY. He performed at Carnegie Hall’s Weill Recital Hall in April 2019.

honor in jazz—the NEA Jazz Masters Fellowships—on individuals who have made significant contributions to the art form. The NEA announced the four newest recipients of this lifetime honor— Stanley Crouch , Bob Dorough, Abdullah Ibrahim, and Maria Schneider.

Katia Tesarczyk (Bravo! alumna, violin, student of Sally O’Reilly) performed in the Salon Se Lève’s Larson Award Recital on November 18, 2018. She was accompanied by her mother Claudia Chen (MM 1995, collaborative piano).

The $500 Larson Award and recital presentation is given annually to the student deemed the most outstanding performer from the previous year’s Salon Se Lève recital series.

Jeffrey Scott Doebler (PhD 1994, music education, advisee of Paul Haack) was named a Distinguished Hoosier

by Indiana Governor Eric Holcomb on November 3, 2018. Doebler serves as professor of music and director of music education and bands at Valparaiso University (IN). He is a former president of the Indiana Music Education Association and the Indiana Bandmasters Association. He was a quarterfinalist for the Grammy Music Educator Award in 2014. In a typical year, Dr. Doebler works with more than 3,000 students. In addition to the three concert bands at Valparaiso University, Doebler conducts the 151-year-old Michigan City Municipal Band, the Lutheran Summer Music Concert Band, and Windiana Concert Band. Windiana has toured Australia, Hawaii, Italy, New Zealand—and ten tours in China. In 2018, Doebler conducted the Indiana All-State Handbell Choir, believed to be the first such ensemble in the nation.

1977___________________________ Arthur Maud’s (PhD 1977, composition) Art Songs and Choral Music was performed August 22 at the Catholic Church in Bayfield, Wisconsin as part of the Bayfield Summer Music Series.

The singers are professional soloists from various Twin Cities churches conducted by the composer. Included in the program items were song-sets written for the Bethnal Green (London) Arts Festival, the Schubert Club commission “In te Domine speravi”, “Libera me, Domine” from the ‘Requiem Mass’, arrangements of medieval songs from the Concentus Musicus years, and the 7-part motet series, ‘Vultum tuum’, by Josquin Desprez.

1983___________________________ Maria Schneider (BM, 1983, composition, student of Dominick Argento) was named a 2019 National Endowment for the Arts Jazz Master.

Each year, the National Endowment for the Arts bestows the nation’s highest

1994 ___________________________

1995 ___________________________ Douglas C. Orzolek (PhD 1995, music education) was promoted to professor of music at the University of St. Thomas, Saint Paul, MN. At UST, Orzolek serves as the director of the graduate programs in music education, the associate director of bands, and the associate chair of the Music Department. He teaches music education methods and techniques, conducts the Symphonic Band, and teaches musical acoustics, music literature, and conducting. He has also served on the board of directors of the

Minnesota Band Directors Association, cochaired the 2007 Minnesota Arts Education Standards Revision Committee, and served on several other committees related to music education and teacher preparation. Nationally, he is a past chair of the Society for Music Teacher Education, was the local chair for the 2004 NAfME/MENC National Conference and he currently serves on the editorial committee of UPDATE: Applications of Research in Music Education.

1996___________________________ David Evan Thomas (PhD 1996, composition, student of Dominick Argento) was initiated into Sigma Alpha Iota (SAI) Minneapolis/St. Paul Alumnae Chapter as a National Arts Associate. According to SAI’s website, “a National Arts Associate is a man or woman who is nationally recognized for distinguished contribution to the arts.”

1999 ___________________________ Justin Patch (BM 1999, jazz studies/ guitar, student of James Macguire and Ronald McCurdy) is an assistant professor of music at Vassar College where he has taught since 2012. His book, Discordant Democracy: Noise, Affect, Populism and the Presidential Campaign, was published

by Routledge Press.

2000__________________________ Margaret McDonald (BM 1998/MM 2000, piano, student of Lydia Artymiw) presented a master class and performed a duo recital with violist Erika Eckert at Lynn University in Boca Raton, FL in October 2018. McDonald is associate professor of collaborative piano at the University of Colorado-Boulder.

2001___________________________ In November 2018, Jeri-Mae Astolfi (DMA 2001, piano, student of Lydia Artymiw) performed a series of solo piano recitals featuring music by Wisconsin composers at the University of Wisconsin-Oshkosh, La Crosse New Music Festival, University of Wisconsin-

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ALUMNI NEWS

Anne Wieben (BM 2005, voice), founder of Opera on the Lake in Saint Paul, MN, directed and performed in the company’s production of Die Fledermaus on the shores of Como Lake this July.

Eau Claire, Capitol Lakes Grand Hall in Madison, and the Milwaukee Art Museum.

2002___________________________ Emine Pinar Bașgöze (2000-2002, piano, student of Paul Shaw) and Susana Pinto, members of the Başgöze-Pinto Piano Duo, are the recipients of the 2018 MacPhail Artist Development Grant, funded by the McKnight Foundation.

In anticipation of their forthcoming compact disc, the Başgöze-Pinto Piano Duo performed their award-winning program in a recital at the MacPhail Center for Music’s Antonello Hall in June 2018. The duo announced the release of their compact disc recording, Harmonia, inspired by folk songs and traditional music of Portugal and Turkey. The CD release concert, made possible by a MacPhail Artist Development Grant provided by the McKnight Foundation, took place on December 1, 2018, at Antonello Hall.

Christine Gangelhoff (DMA, 2002, flute) co-organized Puentes Caribeños (Caribbean Bridges), a Symposium of Caribbean Art Music. The Symposium began in 2013, conceived by Christine Gangelhoff at the University of The Bahamas, as the International Symposium on Composers of African

and Afro-Caribbean Descent. The third installment of the Symposium was held at the Conservatorio de Música de Puerto Rico (CMPR) in San Juan, Puerto Rico. The CMPR hosted the event as part of its annual Symposium of Music Research, now in its fifth year.

For this third Symposium of Art Music, the event adopted its new name, Puentes Caribeños (Caribbean Bridges).

Congratulations to alumni Tark Katzenmeyer (BM 2002, music education) and Steve Schmitz (BM 2003, music education) on being listed among the 40 semifinalists for the 2019 Minnesota Teacher of the Year Award.

Tark Katzenmeyer is band director at Woodbury High School in Woodbury, MN. Steve Schmitz is director of bands and world drumming at St. Louis Park High School in St. Louis Park, MN.

2004__________________________ Matthew McCright (DMA 2004, piano, student of Lydia Artymiw) released his album, What is Left Behind, on the Proper Canary label. The fulllength release features pieces by Linda Buckley, Andrea Mazzariello, Reinaldo Moya, Stephen Andrew Taylor, and Amy Williams, and showcases piano music that defines, reshapes, and narrates the composers’ experiences by

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way of migration, passing, and journey.

2005__________________________ Yung-Eun Choe (DMA 2005, piano, student of Lydia Artymiw) began a piano teaching position at the University of Guam in August 2018.

Corey Hamm (DMA 2005, piano, student of Lydia Artymiw) was on the piano faculty for the 2018 Music Fest Perugia in Italy. In addition to teaching, Hamm also performed a solo recital featuring Frederic Rzewski’s massive The People United. Hamm performed Rzewski’s hour-long solo piano epic The People United Will Never Be Defeated! for a special concert celebrating Rzewski’s 80th birthday at Spectrum in Brooklyn, NY on November 4, 2018. Hamm embarked on an extensive Asian concert tour from November to December 2018, performing solo recitals featuring Rzewski’s The People United, and presenting master classes and lectures.

He appeared at the Hong Kong Performing Arts Academy and Hong Kong Baptist University, in Bangkok, Thailand, at Shi Chien and Soochow Universities in Taipei, Taiwan, and at the Shanghai Conservatory and Capitol Normal and Ren Min Universities in

ALUMNI NEWS

Beijing, China. Hamm returned to the School of Music in February of 2019 to present a piano master class and also perform the Prokofiev Third Piano Concerto with the Kenwood Symphony under the direction of Yuri Ivan (DMA 2008, conducting) on the 16th. He was awarded the Dorothy Somerset Teaching Award at the University of British Columbia.

2006__________________________ Jocelyn Hagen (MA 2006, composition, student of Judith Lang Zaimont) is featured in Graphite Publishing’s #ComposeLikeAGirl campaign. Hagen and other U of M School of Music composers are featured in this campaign. #ComposeLikeAGirl works “to encourage women to compose, to encourage conductors to intentionally diversify their programming, and raise awareness that gender inequality is an issue in the Arts.”

2007___________________________ Andrew Staupe’s (MM 2007/BM 2005, piano, student of Lydia Artymiw) appeared with the Lawton Philharmonic in Oklahoma, performing Bernstein’s Age of Anxiety under the direction of Jon Kalbfleisch on August 28, 2018 and with the San Diego Symphony under Sameer Patel performing Addinsell’s Warsaw Concerto on August 30, 2018 in San Diego, CA. Staupe made his Canadian debut on October 20, 2018, with the Prince George Symphony Orchestra conducted by Michael Hall in Prince George, British Columbia, Canada, performing the Chopin Piano Concerto #2. In a return engagement on February 17, 2019, Staupe performed the Chopin E minor Piano Concerto with John Zoltek and the Glacier Symphony in Whitefish, Montana. He returned to Minneapolis to perform the Ravel G Major Piano Concerto with Ho-Yin Kwok (DMA, orchestral conducting, student of Mark Russell Smith) and the Mississippi Valley Symphony on March 3, 2019. Staupe returned to Holland for his second cruise and concert tour with Performance Today’s host Fred Child in April 2019. On April 23, Staupe returned to Minneapolis to perform the Beethoven Second Piano Concerto with

Yuri Ivan (DMA 2008, conducting) and the Linden Hills Chamber Orchestra at the Church of St. Albert the Great in Minneapolis.

coach at Florentine Opera, master coach at Minnesota Opera, and maintains a private vocal coaching studio in Minneapolis.

2008__________________________

2010___________________________

Vicki Fingalson (DMA 2008, voice, student of Barbara Kierig) performed several roles in 2018, including Tanya (Mamma Mia!) for the grand re-opening of the restored NorShor Theatre, Donna Elvira (Don Giovanni) with Lyric Opera of the North, Girl (Oh, Coward!) at the newly constructed Hanifl Performing Arts Center, Victoria (It’s a Grand Night for Singing) for the NorShor Concert Series, and premiered a new chamber opera by composer Wang Jie (It Rained on Shakopee) with the Lake Superior Chamber Orchestra. In addition, Fingalson serves as associate professor of voice and director of opera workshop at the University of Wisconsin-Superior.

Justin Knoepfel (DMA 2010, viola, student of Korey Konkol) was recommended for continuous tenure and promotion to associate professor of music at Gustavus Adolphus College (St. Peter, MN). He teaches viola, music theory, and conducts the Gustavus Philharmonic Orchestra at Gustavus Adolphus College.

Hiyas Hila (DMA 2008, piano, student of Lydia Artymiw) performed the Schumann Piano Concerto in A minor with the Philippine Philharmonic Orchestra (under the direction of Yoshikazu Fukumura) at the Philippine Cultural Center in Manila on Jan. 18, 2019.

2009__________________________ Stephanie Claussen (BM 2009, harp, student of Kathy Kienzle) competed at the Edinboro Scottish Harp Competition on September 9, 2018 and won the title 2018 US National Scottish Harp Champion. Claussen, a Minnesota native, now performs and teaches fulltime around the Twin Cities.

Eric McEnaney (DMA 2009, collaborative piano and coaching, student of Timothy Lovelace and Noriko Kawai) made his subscription concert debut with the Minnesota Orchestra, playing piano and celesta on the US premiere of Geoffrey Gordon’s bass clarinet concerto, Prometheus.

McEnaney is also co-founder and music director of Opera Reading Project, a role reading series that serves as a professional-level music preparation tool for aspiring singers. He continues to serve as principal production pianist and

2012___________________________ Paula Gudmundson (DMA 2012, flute, student of Immanuel Davis) and James DeVoll (DMA, flute, student of Julia Bogard-Kogan) performed the Fantasia Mexicana by Samuel Zyman at the 2018 National Flute Association Convention in Orlando, FL in August 2018 in a concert titled Dedicated to Diversity, sponsored by the Cultural Outreach Committee. Gudmundson performed a recital with pianist Sue Ruby at the American Swedish Institute in Minneapolis on June 12, 2019. She also hosted the 5th Annual University of Minnesota Duluth Flute Workshop in Duluth (June 6-8, 2019). The workshop, led by Immanuel Davis (flute) and Gudmundson, included repertoire classes, orchestral excerpts, piccolo, technique clinics, daily warm-ups, and flute ensemble.

Soojung Hong (DMA 2012, piano, student of Alexander Braginsky) performed a solo recital at the Dame Myra Hess Memorial Concerts at the Chicago Public Library on October 19, 2018. The program featured works by Liszt, Medtner, and Kapustin and was streamed live on Facebook.

Jiye Kim (DMA 2012, piano, student of Lydia Artymiw) and Min Sun Kim (DMA 2012, piano, student of Alexander Braginsky) performed a two piano recital on December 9, 2018, at the Sejong Chamber Hall in Seoul, Korea. Their program included two-piano works by Brahms, Ravel, and Richard Rodney Bennett.

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ALUMNI NEWS

Adam Meckler (MM 2012, trumpet, student of David Baldwin and Dean Sorenson) was recently named assistant professor of music/director of Jazz Studies at the Visual and Performing Arts Department of Michigan Technological University. Meckler is the third director of the Jazz program, which has a 52-year history of Jazz in the Midwest. Initially founded in 1967 under the direction of Don Keranen and continued under the direction of Mike Irish from 1991-2018, the non-major Jazz program at Michigan Tech has thrived at a school primarily known for its STEM curriculum.

Meckler holds degrees from Lawrence Conservatory and the University of Minnesota. A trumpet player, composer, and educator, Meckler is an Edwards Instrument Co. Performing Artist and Clinician and leads The Adam Meckler Orchestra (AMO), an 18-piece big band that plays his original compositions. The AMO’s debut album, When the Clouds Look Like This was listed among 2014’s Best Jazz Releases by iTunes. Meckler held faculty positions in trumpet and Jazz at Macalester College, MCTC, and the MacPhail Center for Music. He tours and records with The Hornheads (Prince), Youngblood Brass Band, and Nooky Jones, and plays regularly with a host of bands around the Twin Cities including Lulu’s Playground, The Jana Nyberg Group, Jack Brass Band, The Graydon Peterson Quartet, and The Pete Whitman X-Tet. His latest release, Magnificent Madness is available via Ropeadope Records and on all streaming platforms.

2013___________________________ Laura Hynes (DMA 2013, voice, student of Adriana Zabala) was a featured performer for Music and the Brain: A Conversation with Renée Fleming at the University of Calgary, where she is currently assistant professor and head of voice.

Brent Nolte (DMA 2013, organ, student of Dean Billmeyer) was appointed to the chairmanship of the Department of Music at Ohio Christian University in Circleville, OH. In this position, he will teach

music history and appreciation, as well as instrumental music. Nolte has served on the faculty of Talladega College in Alabama as college organist since 2016, and recently chaired the department.

of Maja Radovanlija), as Duo Miric, had their arrangement for guitar duo of Bach’s Concerto in D BWV 972 (after Vivaldi) published by Lathkill Music Publishers (UK).

Hannah Schendel (BA 2013, violin) was named a conducting fellow with the Allentown Symphony. The Allentown Symphony Conducting Fellows Program supports the opportunity for promising conductors to hone their craft and enrich their musical experience through mentorship and participation in the Allentown Symphony Association’s orchestral and community programs.

2015___________________________

Patrick Terry (BM 2013, voice, student of Adriana Zabala) made his debut on March 27, 2019 at the Royal Opera House in London as Arsace in a sold-out new production of Handel’s Berenice.

Terry is a member of the Jette Parker Young Artists Programme 2018-19.

2014___________________________ Casey Clementson (PhD 2014/ BM 1999, music education) presented two sessions at the Minnesota Music Educators Association (MMEA) Midwinter Clinic in Minneapolis in February of 2019. The first session, “Fostering Fascination in Students: Using Music Psychology in Rehearsal” explored practical applications of music perception/cognition in secondary ensembles. The second, “10 Things to Know About the New Minnesota in K-12 Music” was co-presented with Wendy Barden (PhD 1988/MA 1983/ BS 1977, music education) of the Perpich Center.

Alexander Corbett (DMA 2014, violin, student of Sally O’Reilly) accepted a tenure-track teaching position as assistant professor of music at Temple College (Temple, TX).

Tanja Miric’s (DMA 2014, guitar, student of Maja Radovanlija) arrangement for solo guitar of the popular Bosnian song “Snijeg pade na behar, na voce (Snow Has Fallen on Blooming Trees)” was published in Classical Guitar Magazine (No. 392, Winter 2018). Miric and Darka Kooienga (DMA 2014, guitar, student

34 UNIVERSITY OF MINNESOTA SCHOOL OF MUSIC

LaTannia Ellerbe (DMA 2015, violin, student of Sally O’Reilly) was appointed as the Suzuki strings coordinator at the Bermuda School of Music in Pembroke, Bermuda. As a member of the string faculty at the Bermuda School of Music, Ellerbe teaches more than thirty private students and conducts two string orchestras. Her students have earned high marks in both the ABRSM (UK) and RCM (Canada) exams, won several awards, and are often invited to perform throughout the island.

Angelika Strub (BM 2015, violin) graduated with a masters degree in violin performance from the renowned University Mozarteum Salzburg in Austria on June 27. Strub was in the class of Prof. Esther Hoppe.

This summer Strub participated in the famous classical music festival “Salzburger Festspiele” as a substitute player of the Mozarteum Orchester Salzburg, performing an opera with Plácido Domingo.

Regina Stroncek (BM 2015, voice, student of Wendy Zaro-Mullins) participated in the Semana Nacional de Letras at the Universidade Federal de Uberlândia in Brazil in June. She presented an interactive workshop titled “Cantando para Justiça Social” on American folk songs and their use in social movements in the 20th century.

Stroncek was invited to perform a recital for voice and saxophone highlighting works by American women composers at the Conservatory of the Federal University of Minas Gerais in Belo Horizonte, Brazil. In August 2018, she presented a recital of Brazilian and American folk songs at the Federal Institute of Brasília and also participated in the inaugural year of the Seraphic Fire Professional Choral Institute at Aspen Music Festival.

ALUMNI NEWS

2016___________________________ Jason Flowers II (2014-2016, piano student of Paul Shaw) was awarded the Frances Hall Ballard Scholarship by the Manhattan School of Music in recognition of his artistic and academic achievements and contributions as a member of the MSM student community.

Gabriel Quenneville-Bélair’s (DMA 2016, piano, student of Lydia Artymiw) debut piano solo CD was released in Canada for international distribution in June 2018. The CD features works

by Grieg, Scriabin, Prokofiev, Gougeon, Hétu, and McIntyre. The CD was funded by the Laval Foundation in Quebec.

Quenneville-Bélair also performed his New York debut at Carnegie Hall’s Weill Hall on June 30, 2018 as one of the winners of the American Protege Competition. Quenneville-Bélair was invited to perform the Tchaikovsky Piano Concerto No.1 in B-flat minor, Op. 23, with Maestro Henry Janzen and the Hart House Orchestra in Toronto, Canada, on November 15, 2018.

Greta Yates (MA 2015, music therapy), neurologic music therapist, and nurse Megan Voss developed the music therapy program at the University of Minnesota Masonic Children’s Hospital. Their music therapy program not only helps lift the spirits of kids during long hospital stays, but also uses music, instruments, and other engaging activities to help kids ease their symptoms and work towards their treatment goals. Thanks to a generous grant from Otto Bremer Trust through Children’s Cancer Research Fund, Yates and Voss’s program recently received a $50,000 grant to continue funding the program and lay groundwork for future expansion.

2017___________________________ Katherine Chan (DMA 2017, choral conducting, student of Kathy Saltzman Romey and Matthew Mehaffey) was named assistant professor of music and director of choral activities at Northeastern University, Boston.

Bethany Gonella (DMA 2017, flute, student of Immanuel Davis) and Katie Anne Kohler (MM 2016, flute, student of Julia Bogorad-Kogan and Immanuel Davis) organized the Upper Midwest Flute Association (UMFA)’s Marathon Flute Concert, a fundraiser event to support UMFA’s flute student scholarship fund. The event took place on October 27, 2018, at the Mall of America.

Maria Mannone (PhD 2017, composition, student of Alex Lubet) participated in the New Interfaces for Musical Expression (NIME) Conference, held in June 2018 at Virginia Tech. In collaboration with researchers from the Tohoku University in Japan, she gave a poster presentation about the magnetic and electronic prototype of a new musical instrument, the CubeHarmonic, a musical version of the Rubik’s cube.

Mannone’s paper “Introduction to gestural similarity in music. An application of category theory to the orchestra” was published by the Journal of Mathematics and Music. Mannone’s article “Musical Combinatorics, Tonnetz, and the CubeHarmonic,” written in collaboration with Japanese researchers, was published in the sixth issue of the Collected Papers of Academy of Arts of Novi Sad. Mannone contributed to the book Theoretical and Practical Pedagogy of Mathematical Music Theory, published by World Scientific (Professors Mariana Montiel and Francisco Gómez, editors), with a chapter titled “Can Mathematical Theory of Music Be Easily Learnt and Also Be Fun?”.

Soyoung Park (DMA 2017, piano, student of Lydia Artymiw) performed a solo recital at the YoungSan Art Hall in Seoul, Korea on April 20, 2019. Her program included Rameau and sonatas of Beethoven and Brahms.

Nanyi (Neil) Qiang (DMA 2017, collaborative piano and coaching, student of Timothy Lovelace) was invited to teach at the 2018 Bay View Music Festival as guest faculty in July (Bay View, MI).

He also presented a collaborative piano workshop there and was eagerly received by the festival participants. In June 2018, Qiang participated and performed at SPLICE Institute at Western Michigan University. In June 2018, Qiang participated and performed at SPLICE Institute at Western Michigan University.

MELODY SCHULDT (MA 2019, music therapy) ASSISTS IN ESTABLISHING MUSIC THERAPY PROGRAM In 2016, Dr. Michael Silverman, director of the music therapy department, and People Incorporated, a nonprofit program providing behavioral and mental health services in Minnesota, began discussing the potential for a collaboration to create a sustainable music therapy service for their clients. After a year of planning, Melody Schuldt, then a graduate student of Silverman, was brought on as a part-time employee of People Incorporated to engage with clients and staff and find ways to integrate music therapy with their services. In 2018 Schuldt became a full-time intern with the organization; since then, People Incorporated has served more than 700 individuals through nearly 130 music therapy group sessions and 60 individual music therapy sessions.

Groups look different depending on the setting. In mental health facilities, commonly used interventions include songwriting, lyric analysis, relaxation, instrument playing, and recreational music games.

The partnership with the School of Music provided resources to grow the program, including the loan of a guitar, keyboard, and various percussion instruments throughout the internship. Silverman was also awarded the Imagine Fund grant, providing the opportunity for clients to create original songs, record, and produce a CD. The music and artwork of the album Who We Are were created by individuals who attended the music therapy group at People Incorporated’s Northside Community Support Program in Minneapolis.

People Incorporated is hoping this program continues to grow in size and impact with encouragement from current participants. “I am in recovery and music therapy makes me feel ten times better,” shared one client.

Article courtesy of People Incorporated Mental Health Services.

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ALUMNI NEWS

Carson Rose Schneider (DMA 2017, collaborative piano and coaching, student of Timothy Lovelace) spent the summer of 2018 as a resident artist coach at Opera North. In fall 2019, Schneider was a Herndon Foundation Emerging Artist at Virginia Opera.

2018 ___________________________ Olivia Bergh (BM 2018, music therapy, student of Michael Silverman and Todd Schwartzberg) was the student speaker at the 2018 University of Minnesota Foundation’s Heritage Society Dinner. At the Heritage Society Dinner, she gave moving remarks on her experience in the U of M School of Music’s music therapy program and led the attendees in a rousing round of “Hail! Minnesota.”

Jeehoon Kim (DMA 2018, voice, student of Philip Zawisza and David Walsh) accepted a position in the Palm Beach Opera’s Benenson Young Artist Program for the 2019-2020 season.

The Benenson Young Artist Program is a stepping stone to a successful career as an opera singer for emerging professional artists. The Benenson Young Artists appear on the mainstage in supporting roles, cover leading roles, and perform in concerts and special events throughout our community.

Kim is now represented by Stephen Nicolson Artists Management in New York City. As a student at the U of M School of Music, Kim performed with University Opera Theatre and was mentored by University Opera Theatre Director David Walsh.

Kaitlin Lalmond (BM 2018, piano, student of Lydia Artymiw) joined Joseph Choi in a four-hand piano recital for the Classical Artist Series at the First United Methodist Church in Pflugerville, Texas on April 28, 2019.

Alison Lee (DMA 2018, piano, student of Lydia Artymiw) was the first prize winner of the National Young Artists Competition hosted by the Coeur d’Alene Symphony in Idaho on Jan. 15, 2019. She performed the first movement of Beethoven’s Emperor Concerto with the Coeur d’Alene Symphony at the Ray and Joan Kroc Center on March 8 and 9, 2019.

Fanya Lin (DMA 2018, piano, student of Lydia Artymiw) won two piano competitions in Taipei, Taiwan: the New Taipei City Music Star and the Taipei Symphony Orchestra Concerto Competition in May 2018. She will perform as a featured soloist with the Taipei Symphony next season and will present a solo recital in Taipei. Lin opened the 2018-19 concert season with Kenneth Freed conducting the Mankato (MN) Symphony on October 6, 2018, performing the Ravel G Major Piano Concerto and Gershwin’s Rhapsody in Blue at the Mankato West Auditorium.

In Feb. 2019, Lin participated in the 2019 Concours International de Piano France-Amériques in Paris, France where she won 2nd prize (€1500) and Special Prize (€500) for the Solo Piano American Work Award (playing Liebermann and Barber). Dr. Lin also accepted a oneyear assistant visiting professor of piano position at the University of ArizonaTucson, beginning August 2019, running through May 2020.

Bingjie Liu (DMA 2018, piano, student of Paul Shaw) was offered a faculty position at Hunan First Normal University in China.

Fanya Lin (DMA 2018, piano, student of Lydia Artymiw) performed a solo piano recital at the Casa Orfeo in Positano, Italy on July 9, 2018.

Daniel Parks (MM 2018, choral conducting, student of Kathy Saltzman Romey and Matthew Mehaffey) was awarded a teaching fellowship at the University of Colorado where he will pursue a DMA in choral conducting.

Mario Ángel Pérez (MM 2018, voice, student of Adriana Zabala) and Justin Anthony Spenner (MM 2013, voice, student of Philip Zawisza), the B-Sides Art Song Collective, presented Do You Drear What I Drear on December 13, 2018 at the Underground Music Café in Minneapolis, MN. Amanda Weber (DMA 2018, conducting, student of Kathy Saltzman Romey and Matthew Mehaffey) has accepted the position of minister of music and the arts at Westminster Presbyterian Church in downtown Minneapolis. The full-time position started on June 1, 2019. In her position,

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she will work with the choirs to develop a new concert series.

2019___________________________ Matthew Harikian (MM 2018, piano, student of Lydia Artymiw and MM 2019, theory, student of David Damschroder) accepted an adjunct visiting professor of theory position at St. Olaf College in Northfield, MN for the Fall 2019 semester.

ADDITIONAL ALUMNI NEWS Learn about our alumni who created the One Thirteen Composers Collective. Their work is featured in the MPR News story “Twin Cities’ 113 Composers Collective creates opportunities for experimental music makers.” From the article: “113 strives to make challenging, experimental new music available and accessible to everyone, regardless of their knowledge of or experience with such music.” – Joey Crane (PhD, composition).

Regina Stroncek (BM 2015, voice, student of Wendy Zaro-Mullins) and Taylor Burkhardt (DMA 2018, collaborative piano and coaching, student of Timothy Lovelace) gave a recital on May 4, 2019 at Calvin Presbyterian Church in Long Lake, MN as part of the Shirley Tulberg Memorial Concert Series. The program featured song cycles by local favorites Edie Hill (PhD 2001/MA 1992, composition, student of Lloyd Ultan) and Jocelyn Hagen (MA 2006, composition, student of Judith Lang Zaimont), as well as Brazilian composer Helza Camêu and British composer Rebecca Clarke.

John De Haan’s (voice) voice studio students and alumni had a busy summer full of music making.

Rhianna Cockrell (MM, 2018 voice), mezzo-soprano, is an Opera Saratoga Young Artist. Young Eun (Cecilia) Lee (DMA, voice), soprano, is an Aspen Music Festival Young Artist and performed the leading role (The Doll) in The Tales of Hoffman. Lee also performed two Roussel pieces with Juilliard Professor of Flute Carol Wincenc. Mary Kate Hubbard

SCHOOL NEWS

(MM, voice), soprano, was a Guest Artist with the Connecticut Symphony.

Wesly Frye (MM, voice), tenor, was a Cedar Rapids Opera Theatre Young Artist and performed the solo tenor role in Brigadoon. Samuel Baker (DMA 2018, voice) performed the role of Don Ottavio in Mozart’s Don Giovanni with the Steamboat Springs Opera. Christina Adamoli (MM 2017, voice) was a finalist in the Edvard Grieg International Vocal Competition.

Ming Hui (DMA, flute, student of Immanuel Davis), Katie Anne Kohler (MM 2016/BM 2014, flute, student of Julia Bogorad-Kogan and Immanuel Davis), and Lauren McNee (DMA 2017/BM 2011, flute, student of Julia Bogorad-Kogan and Immanuel Davis) participated in the Upper Midwest Flute Association’s (UMFA) 40th annual Flute Fest on March 23, 2019 at Plymouth Congregational Church (Minneapolis).

Flute Fest 2019: Unleash Your Creativity features guest artist Mark Sparks.

school

news SCHOOL OF MUSIC COMPETITIONS Congratulations to pianist Michael M in, one w i n ner of t he 2018 -19 Un iver sit y Sy mphony Orc he s t r a Concerto Competition. Min performed Tchaikovsky’s Piano Concerto No. 1 with the University Symphony Orchestra in Ted Mann Concert Hall on Feb. 11, 2019. Min is a student of Kyung Kim. Thank you to judges David Becker, Steven Jordheim, and Mark Mandarano.

Congratulations to the winners of the 2018-19 University of Minnesota Bands Concerto Competition: Ariel Detwiler (bassoon) and Sofia Mycyk (piano). Detwiler (student of Norbert Nielubowski) performed Concerto for Bassoon and Wind Ensemble by Eric Ewazen with the U of M Wind Ensemble on their concert in Ted Mann Concert Hall on April 26, 2019. Mycyk (student of Timothy Lovelace) performed Concerto for Piano and Wind Octet by Colin McPhee with Chamber Winds on the Symphonic Band concert in Ted Mann Concert Hall on April 25, 2019.

STAFF NEWS Nicole Radotich (ensemble supervisor) received an Outstanding Service Award from the College of Liberal Arts. She and other staff members from across the college were recognized at a ceremony held at McNamara Alumni Center on Feb. 7, 2019.

MARCHING BAND Congratulations to Chamberlain Gregg, who was named drum major, and Bethany Mestelle, who was named block captain, for the 2019 Marching Band season.

Congratulations to members of the U of M Marching Band on their performance with the Jonas Brothers at the Armory in Minneapolis as part of the Final Four Concerts on April 6, 2019.

CHAMBERLAIN GREGG AND BETHANY MESTELLE, LEADERS FOR THE 2019-20 MARCHING BAND SEASON.

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in

memoriam REMEMBERING DOMINICK ARGENTO

Photo: Xavier Tavera

Professor Emeritus Dominick Argento passed away on February 20, 2019 at the age of 91.

Professor Argento was a teacher, mentor, supportive friend of many, and a major force in the lives of thousands of students and performers during his nine decades. We were pleased that we were able to highlight his accomplishments in the College of Liberal Arts’ 150 Anniversary Celebration. Argento’s towering talent earned him the Pulitzer Prize for Music, a Grammy Award for Best Classical Contemporary Composition, a George Peabody Medal, and many more accolades. School of Music Director Michael Kim says, “His legacy and impact went far beyond the University and influenced and encompassed many aspects of America’s vast musical landscape. He was a true ambassador for our School of Music.”

DOMINICK ARGENTO

A memorial concert was held on June 18, 2019 in Ted Mann Concert Hall and featured performances by Sam Nelson (boy soprano), Maria Jette (soprano), Michael Sutton (violin), Vern Sutton (tenor), and Jeffrey Van (guitar), accompanied by musicians from the Metropolitan Symphony Orchestra, the Minnesota Orchestra, The Saint Paul Chamber Orchestra, and VocalEssence, and with support from The Schubert Club, University of Minnesota School of Music, and the Minnesota Opera. Remembrances were given by Barry Kempton (artistic and executive director, The Schubert Club), Rick Walters (vice president, classical & vocal publications, Hal Leonard), U of M Professor Emeritus Vern Sutton, and Argento’s niece, Nicki Rambeau.

Michael Kim, director of the School of Music, served as emcee.

REMEMBERING DAVID FERGUSON

Photo: Greg Helgeson

It is with heavy hearts that we share the news that David Ferguson, friend of the School of Music and son of Professor Donald Ferguson, passed away on September 18, 2018. School of Music Director Michael Kim says, “We were deeply saddened to hear of Dave Ferguson’s passing. A generous and kind friend to the School of Music, Dave leaves a profound legacy that touched and influenced the lives of so many School of Music students. We are eternally grateful to him and the Ferguson family for all that they have done to further the cause of music within the University and Twin Cities communities.”

DAVID AND SHIRLEY FERGUSON IN FERGUSON HALL STANDING BESIDE THE FERGUSON FAMILY PIANO, DONATED BY THE FAMILY TO THE U OF M SCHOOL OF MUSIC.

From his obituary: “David L. Ferguson, Sr., 95, died Tuesday, September 18, 2018, at his home in Chicago with his family in attendance. Born in 1922 in Minneapolis, MN, to Donald and Arline, Dave graduated from the University of Minnesota. He served honorably in the U.S. Army during WWII. He worked in marketing research for IDS as an executive vice president. His avocation was always the cello, and he played with the Minneapolis Civic Orchestra until retirement and then spent winters in Florida, where he played with the Florida West Coast Symphony for 25 years.

He was active in supporting his church, in volunteerism, and as a sailor. A lasting legacy was the establishment of educational scholarships for the School of Music at the University of Minnesota.

Dave is survived by his daughter Julie (Mike Decker) and his sons David (Susan) and Mark (Phyllis Young) as well as four grandchildren and three great-grandchildren. He was preceded in death by his beloved wife Shirley and their son Scott. Donations may be directed to the Ferguson Family Scholarship in care of: Colleen Donahue, Office of Institutional Advancement, College of Liberal Arts, University of Minnesota 220 Johnston Hall, 101 Pleasant St SE, Minneapolis, MN 55455 (612) 626-5141.”

REMEMBERING ALUMNUS RUSH WILLIAMS It is with great sadness that we share the news that Rush Williams (MM 2004, voice) passed away on December 21, 2018, after a valiant battle with cancer. Our thoughts are with his family and friends at this time. A celebration of his life took place in New York City on April 13, 2019 at Middle Collegiate Church (112 2nd Ave, New York, NY).

Williams is survived by his husband, alumnus Michael Heaston (MM 2004, collaborative piano/coaching), who worked to establish the Dr. Rush C. Williams Award for Diversity and Inclusion at the University of Texas Southwestern Medical Center, where Williams received his PhD and also served as co-chief resident. This annual award will be bestowed upon a student graduating from the program.

38 UNIVERSITY OF MINNESOTA SCHOOL OF MUSIC

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see & be

seen 1 | In April 2019, participants of Dr.

Photos: Doug Bakkum, Erin Brenner, Greg Helgeson, Lisa Miller

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Frank Bencriscutto’s international tours gathered for concerts in his honor. Those photographed took part in the 1969 Russian Tour.

2 & 3 | University Singers rehearse

for a performance of The Call, joined by the composers, Ryland Angel (tenor) and Nels Cline (guitarist, Wilco).

4 & 5 | Minnesota Orchestra

sectionals lead by Rena Kraut, clarinet, and Jean DeVere, violin.

6 | Graduate music education

students Roque Diaz and Emily Huschele after the MMEA Midwinter Clinic, February 2019

7 | Madelyn Herbrand celebrates getting her degree while Sumanth Gopinath looks on at the 2019 CLA commencement ceremony.

FALL 2019 TUTTI MAGAZINE

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Ferguson Hall and Ted Mann Concert Hall are located on the University of Minnesota’s West Bank campus.

Lloyd Ultan Recital Hall is located within Ferguson Hall.

Ted Mann Concert Hall is adjacent to Ferguson Hall.

Parking Convenient parking is available at the 19th Avenue and 21st Avenue parking ramps; you must pay a fee to park in these ramps. More information may be found at: umn.edu/pts Addresses School of Music Ted Mann Concert Hall 100 Ferguson Hall 2128 Fourth Street South 2106 Fourth Street South Minneapolis, MN 55455 Minneapolis, MN 55455