CADENZA | Opus 16

CADENZA

UTSA DEPARTMENT OF MUSIC | OCTOBER 2019 Opus 16

WORKING TOGETHER

Artistic collaborations abound this month among musicians, artists, and researchers.

CONTENTS 03 05 08 11

16 21 26

WELCOME A word from Department of Music Chair, Dr. Tracy Cowden

IMR LECTURE SERIES Guest lecturer Dr. Elizabeth Marvin comes to UTSA

COWDEN'S MARATHON MONTH Dr. Tracy Cowden presents three collaborative recitals this month

MUSIC AND ART New exhibition in UTSA Main Art Gallery

FACULTY RESEARCH Dr. Drew Stephen presents his research completed in Urbino, Italy

INTERNATIONAL GUEST ARTIST UTSA welcomes Marco Pacassoni to the stage

ALUMNI SPOTLIGHT Q&A with alumnus Christopher D. Littlefield

CONTRIBUTORS: Shelby Gorden - Graphic Designer Cindy Solis - Senior Events Manager Alissa Stolt - Editor

Welcome to

CADENZA Showcasing UTSA Music

FRIENDS, Welcome to the October issue of Cadenza from the Department of Music! This issue features stories about some of the extraordinary work being done by our professors, guest artists, and alumni.

Musicologist Dr. Drew Stephen, while leading our semester-long study abroad program in Urbino, Italy, has developed wonderful research and musical collaborations in this city that is filled with Renaissance artistic treasures. Read ahead to learn more about his research into Jewish culture in Renaissance Urbino. Another remarkable feature of our study abroad program is the opportunity for our students to work with outstanding Italian music professors; in this issue, you will learn more about one of these performing artists, Marco Pacassoni, who will be visiting us in San Antonio next month!

Our own Institute for Music Research launches a series of three lectures this month, which are all free and open to the public. Please join us for these stimulating evenings to learn fascinating insights into our musical world, including a description of mapping music in the brain! Dr. Betsy Marvin, the first speaker in our series, joins us in less than a week to speak about her incredible work as a music consultant during awake brain surgery. That is just a small taste of what awaits you on stage and in the lecture halls of the Department of Music. We look forward to welcoming you to our spaces and hope that you enjoy reading about our work. Please reach out to us at music@utsa.edu with any feedback about Cadenza. We hope you have a wonderful October!

Tracy Cowden Roland K. Blumberg Endowed Professor in Music and Chair

THE UTSA DEPARTMENT OF MUSIC PRESENTS

D o n a l d

H o d g e s

INSTITUTE FOR MUSIC RESEARCH L e c t u r e

S e r i e s

ELIZABETH MARVIN "MUSIC-LANGUAGE COLLABORATIONS: SPEECHIN-NOISE AND MAPPING MUSIC IN THE BRAIN" Monday, October 7 - 7:30pm JPL - Assembly Room

“WHAT I KNOW NOW: REFLECTIONS ON MUSIC THEORY PEDAGOGY” Student lecture: Tuesday, October 8 - 11:30am - Choral Hall

Years before UTSA’s President Eighmy announced research excellence as a part of his multi-tiered Presidential Initiatives, the UTSA Department of Music was already at the forefront of research with the creation of the Institute of Music Research, or, “IMR.” According to the Department of Music’s website, the

Dr. Elizabeth Marvin is the Chair of the Music Theory Department and a Professor of Music Theory at the Eastman School of Music. Her research interests include the study of comparisons between language and music processing; her lecture is

mission of the IMR is to “advance knowledge

entitled Music-Language

through research in the areas of music

Collaborations: Speech-in-Noise and

psychology, music teaching and learning, and

Mapping Music in the Brain. Dr.

music technology by supporting the work of the

Marvin will speak on the evening of

UTSA music faculty who are publishing research

October 7th

in these areas.”

presentation for students, What I

and will offer a special

Know Now: Reflections on Music

Professor Emeritus Dr. Donald A. Hodges

Theory Pedagogy, which is scheduled

designed and established the IMR in 1991. He is

for

October 8th at 11:30 A.M .

an esteemed and prolific author of papers, publications, and presentations on neuroscience

The series resumes in the spring with

and brain research, bodily responses to music

Dr. Lynne Gackle, Director of Choral

(including how music affects sleep), the

Activities and Ensembles Director at

development of the musical brain, and many

Baylor University. Dr. Gackle, who is

other related topics on music and the mind.

recognized for her research on the female adolescent voice, will present

In 2014, in recognition of Dr. Hodges’s pioneering work in music research and his supervising hand in the formation of the IMR, the Department of Music

her research lecture, Adolescent Female Voice: A Framework for Understanding.

created the Institute of Music Research Donald Hodges Lecture Series. Dr. Hodges was the series’s first speaker.

The series concludes with Dr. Sheila Woodward from Eastern Washington University. Dr. Woodward ‘s research

In its five years of existence, the series has presented prominent members of academia and brilliant performers. This year, three music educators are slated to speak. According to Professor and IMR Director John Nix, the speakers were handpicked for their expertise in their respective fields. “We’ve chosen three distinguished women from three very different areas of music scholarship. Dr. Elizabeth Marvin is a music theorist (and singer) who has interests in brain science. Dr. Lynne Gackle is a renowned choral educator with a specialization in teaching young women during puberty and early adulthood. Dr. Sheila Woodward is internationally recognized for her work with music and vulnerable populations and has served as president of the International Society for Music Education.”

has two areas of focus: Music and Wellbeing and Music Impacting Social Justice. She explores this from before birth to adulthood, with studies on the fetus, neonate, premature infant, young child, at-risk youth, juvenile offender, and adult musician.

The lecture series is supported by an endowment which was funded in part through the sale of Dr. Hodges’s book, Handbook of Music Psychology.

The lecture series is open to the public and is particularly directed to music educators of all kinds in South Texas. For a full schedule of the series, visit

music.utsa.edu

click on the events page.

and

THE UTSA DEPARTMENT OF MUSIC PRESENTS

GUEST ARTIST

RECITAL THURSDAY, OCTOBER 3, 2019Â 7:30PM // UTSA RECITAL HALL

E E L N A M YU E ITON BAR

C JERI PIAN

O

UE Q S VA

Z

O

Canada December 2020

FROM SHORTER UNIVERSITY IN ROME, GEORGIA

THE UTSA DEPARTMENT OF MUSIC PRESENTS A

y t l u c a fchamber recital OCTOBER 8 // 7:30PM // RECITAL HALL Christopher Besch / Dr. Isaac Bustos / Dr. Tracy Cowden / Allyson Dawkins Dr. Kasandra Keeling / Dr. S. Andrew Lloyd / Ryan Murphy / Dr. Drew Stephen Dr. Stephanie Westney / Dr. Rachel Woolf

DR. COWDEN’S MARATHON MONTH October is a busy month for students, faculty, and staff at the UTSA Department of Music. This is especially true of our Department Chair, Dr. Tracy Cowden. In addition to heading up the busy department, Dr. Cowden will perform in three concerts scheduled between October 15th and November 5th in addition to a piece in the faculty chamber recital on October 8th. Although she has a large volume of work between the department and practice, Dr. Cowden took the time to answer some questions in an interview about her “marathon month.”

Dr. Cowden’s first concert is a joint recital with voice faculty member Dr. Jourdan Laine Howell.

They will be premiering a brand new song cycle by Douglas Hedwig in this concert. Her second performance is another joint recital, this time with violin professor Dr. Stephanie Westney, and her third performance is a concert with special guest Tabatha Easley where they will perform a concert with a program of all living composers. All three of these concerts were co-programmed by Dr. Cowden and the collaborative artist she will be performing with. She explains “My performance partners and I always try to choose music that will appeal to an audience, with a combination of music that might be familiar and works that will likely be unfamiliar but very engaging.”

Dr. Cowden has worked with these three collaborating artists for varying lengths of time. She has been performing with Tabatha Easley for about ten years, giving concerts across the United States and abroad. The two UTSA faculty members are newer partnerships for her but she has performed several of the programmed pieces before.

When asked about the amount of music she has to learn, Dr. Cowden offered some insights into her strategies. In order to get new pieces performance-ready, she relies on a variety of efficient practice techniques. “These are tried and true techniques: writing in fingerings early in the learning process, slow practice through small sections at a time as needed, and figuring out what I need to do physically to produce the sound I want to hear.” She squeezes in practice time wherever she can find it and dedicates the largest amount of practice time to new and technically challenging pieces. She credits her ability to learn music efficiently to good sight reading skills and application of theory and aural skills in her practice.

In her “previous life” as a collaborative pianist, Dr. Cowden routinely prepared for and performed at least one major concert per month, sometimes more. Now she applies the time management tools she has developed to remain an active performer while running a successful department. When asked about her time management strategies, she says that she began by consulting several sources and found something that works for her in a culmination of those. She explains that her workflow allows her to devote time to small steps of consistent progress on long-term goals while still directing focus to her most pressing deadlines. “I’m still working on this and probably always will be, but I enjoy the process of trying to juggle a lot of different projects at once.”

Dr. Cowden’s three concerts are just a glimpse into a busy fall semester at the UTSA Department of Music. For a full calendar of events, please visit music.utsa.edu

THE UTSA DEPARTMENT OF MUSIC PRESENTS

IN

TRACY COWDEN PIANO

RECITAL

JOURDAN LAINE HOWELL SOPRANO

10.15.19 | 7:30PM | UTSA RECITAL HALL

FEATURING THE

WORLD PREMIERE OF DOUGLAS HEDWIG’S ROWING IN EDEN: THREE DICKINSON SONGS

SURREALIST IMPULSES IN ART AND MUSIC

BY DR. SCOTT A. SHERER Professor of Art History, and Director, UTSA Main Art Gallery and Terminal 136

Opening October 16 and continuing through November 15, the UTSA Main Art Gallery is host to Salvador Dalí’s Stairway to Heaven, curated by David S. Rubin. This exhibition demonstrates the artist’s obsessions with the threats and possibilities of evil and redemption and offers a fresh perspective on one of the titans of art history. On display are illustrations for a 1934 edition of Les Chants de Maldoror, a prosepoem by Comte de Lautréamont, first published in 1868 and later to become surrealist favorite, as well as illustrations from a 1960 edition of Dante Alighieri’s The Divine Comedy, originally commissioned by the Italian government to commemorate the 700th anniversary of the poet’s birth.

Preview materials of the exhibition are inspiring the creation of new works by UTSA student composers enrolled in the New Music Lab, a composition and chamber music course taught by Dr. Chris Prosser.

Students have conducted research into the history of surrealist practice in visual art and music with a focus on exploring instrumental and vocal extended techniques. Each student is composing a new composition based on the Dalí illustration(s) of their choosing, which will all receive their world premiere performances on Wednesday, December 4 at 7:30 pm in the Recital Hall.

Salvador Dalí (1904-1989) is perhaps best known for his surrealist paintings that fascinate audiences with extraordinarily strange, beautiful, and often grotesque imagery that challenges normative structures of time, fractures ordinary boundaries of human embodiment, and depicts excesses of thought and expression.

Surrealism, as an artistic movement, is well known for suggesting aspects of experience that delve into realms of dreams, fantasies, absurdities, fears, and desires. The French writer Guillaume Apollinaire is often recognized as coining the term, “surréalisme” in 1917, relative to the ballet, Parade, created by Erik Satie, Jean Cocteau, and Pablo Picasso, and his own play, Les Mamelles de Tirésias. Surrealism has come to

describe works that extend beyond realistic representations through surprising juxtapositions and suggestions of the workings of the subconscious mind.

Early in his life, Dalí characterized himself as an amoral nihilist who favored free association and the exploration of the most primal human instincts. This part of his life is reflected in his illustrations for Les Chants de Maldoror, a poetic text describing violence, cannibalism, and debauchery. In the early 1930s, Picasso suggested to the Swiss publisher Albert Skira that he commission Dalí to create a series of intaglio prints for a new edition. In true avant-garde fashion, Dalí chose not to respond directly to specific passages in the text but to pursue free interpretations that echo his Surrealist paintings of the period.

The selection of Dalí as illustrator of The Divine Comedy was controversial because he was not Italian and because his reputation as a nihilist put him at odds with the text’s redemptive message.

The Divine Comedy has become one of the most significant texts of world literature. Ultimately, while Dalí was not chosen for the project, he nevertheless continued the work as by this time in his life, his work was much influenced by an earnest interest in Christianity, spirituality, and mysticism. In the text, Dante imagines, in firstperson narration, the journey in three realms of the afterlife from Inferno, through Purgatorio, to the soul’s redemption in Paradiso.

Rubin suggests that “in illustrating Dante's The Divine Comedy, Dalí may have found a saintly path to finding his own personal redemption.”

Salvador Dalí's Stairway to Heaven, curated by David S. Rubin, is on view in the UTSA Main Art Gallery, October 16-November 15, 2019. For more information, please visit art.utsa.edu or call 210-458-4391.

Plate 9, 1934, intaglio print, courtesy of Park West Museum

J A Z Z E N S E MB L E1 WI T HP R O F .MI C H A E LS T E I N E R

7 : 3 0 P M U T S AR E C I T A LH A L L C O U N TB A S I E ,T H E L O N I O U SMO N K , B U D D YR I C H ,D U K EE L L I N G T O N , A N DMA N YMO R E

T H EU T S AD E P A R T ME N TO FMU S I CP R E S E N T S

7 : 3 0 P M U T S AR E C I T A LH A L L

E N S E MB L EI I WI T HP R O F .C H R I SV I L L A N U E V A

F E R G U S O N ,F O S T E R ,H A N C O C K ,MI N T Z E R , N E S T I C O ,MA N T O O T H ,B A U Z A ,MA N C I N I&MO R E

TheUTS ADe par t me nt of Mus i cP r e s e nt s

ng” ngi waysSi Al “

S unday , Oc t obe r2 0, 2 01 9 3 : 00pmUTS ARe c i t al Hal l or n M uhn,Conduct i Dr.Yooj ano ,Pi neDebus i t s Chri

Wor k sbyB ac h, B y r d, Dur ufl é , E š e nv al ds , F aur é , Hogan, L abar r , P aul us , Ros s i ni , War l and, andWe e l k e s

TheUT S ADe par t me nt of Mus i cP r e s e nt s

Choi r& Gl e eCl ub “ HowCanI Ke e pF r omS i ngi ng? ”

UTS AWome n ' sChoi r Dr .

Y ooj i nMuhn, c onduc t or Chr i s t i neDe bus , pi ano

UTS AMe n ' sGl e eCl ub Dr .

Owe nDuggan, c onduc t or Mar yL owde r , pi ano

RESEARCH FEATURE: EXPLORING THE JEWISH MUSIC OF URBINO, ITALY

by Dr. Drew Stephen Research topics tend to emerge from existing specializations and build upon previous work in those areas. As scholars become established and begin to define their fields of expertise, it becomes increasingly rare to find opportunities to explore new and unfamiliar topics. One such opportunity presented itself to me in the summer and fall of 2018 when I agreed to contribute a chapter to a book on Jewish music and culture in Renaissance Italy. Although this was a sharp detour from my usual publications on hunting scenes in nineteenth-century opera, brass instrument performance practices, and rock music in fantasy film, my role as the coordinator of the Department of Music’s study abroad program in Urbino, Italy provided me with an opportunity to combine my time in Italy leading students in a study abroad semester with research on location.

Working on a topic that was relatively unfamiliar turned out to be a blessing since it allowed me to explore Urbino’s historical institutions and collections and approach the materials from a fresh perspective. I was able to obtain access to the Urbino Synagogue, which dates from 1633 when a ghetto was established and Urbino’s Jews were segregated to a single neighborhood. The Synagogue stands as a reminder of the rich Jewish heritage in Urbino even though there are no longer enough Jews living in the city to form an active community or even hold regular services. I also visited archival collections at the University of Urbino, which was established in 1506, and the Cappella Musicale (music school) which was founded a year later. The Cappella archives consist largely of music scores and lists of musicians associated with performances or compositions.

Examining Ubaldo Tosi’s Miscellaneous Notices Regarding the History of Urbino (1744) in the Humanities Library of the University of Urbino

It seems likely that some of the musicians were Jewish but I was not able to identify any in my investigations. The University archives record the details of court activities and contain many handwritten manuscripts, including a “Recollection of the Jews who Settled in Urbino” written in 1744. The richest source of information is the state archive where notary records dating back to the thirteenth century contain numerous references to the Jewish community. The first mention of Jews in Urbino is found in an entry dated November 1, 1407 which identifies Isiah, the son of Daniel, who appears to have arrived in Urbino from the nearby city of Viterbo in the 1390s. The notary documents largely present statistical information that can be used to establish places of residence, family relationships, and occupations. This information proves extremely helpful in reconstructing the activities of the Jewish inhabitants of Urbino and their role within the larger community.

In approaching a research area that was new to me, I found I was not limited by preconceptions about the material and open and receptive to pursuing new directions. This proved helpful when my initial plans to examine the sacred musical traditions of the Jewish community did not produce any material.

Instead, I was drawn to the many references to Jewish connections at the Urbino court and the way they revealed attitudes towards Jews and the symbolic value of Jewish culture. This led me to materials related to Guglielmo Ebreo da Pesaro, a Jewish member of the Urbino court who was recognized throughout Italy as the greatest dancing master of his era. Guglielmo ultimately became the main focus of my chapter and provided an anchor that brought together the various themes I was pursuing. This was certainly not the direction I envisioned when I started the project but my patience, persistence, and willingness to change direction were rewarded as my topic came into focus as my research progressed.

Procession commemorating the 100th anniversary of the end of World War I

Urbino Synagogue in the new location after the establishment of the ghetto in 1633

Undertaking a research project while living in Italy immersed me in the city’s rich history and connected me to the events and festivals that define and preserve the city’s traditions. As a member of the Orchestra di Strumenti a Fiato – Urbino’s civic wind orchestra – I participated in the San Crescentino procession honoring Urbino’s patron saint, the Armistice Day and Liberation Day concerts commemorating the ends of both great wars, and even the annual Corpus Domini procession which had a direct connection to the events and people in the 1460s that I was writing about. By exploring Urbino’s past I was able to recognize its impact on the present and find a place in the social activities that continue to be informed by these traditions.

Dr. Stephen’s research in Italy was supported by an Internal Research Award (INTRA) from UTSA. He will discuss his work on Tuesday, October 22 at 11:30 a.m. in the JPL Assembly Room (4.04.22) in a research presentation titled Jewish Music and Culture in Renaissance Urbino. His chapter, “Jewish Music and Culture at the Urbino Court of Federico da Montefeltro,” will be published in Jewish Music and Culture in Early Modern Italy, which is scheduled for publication in late 2019.

OCT UBAFEST

TheUT S ADe par t me nt of Mus i cP r e s e nt s

SUED NANDAY APA BERGMANN SAUNDERS

UT SAJ AZZ COMBO 1

Guest Artist

MARCO PACASSONI The UTSA Department of Music welcomes jazz vibraphonist Marco Pacassoni as our featured guest artist for November. Marco is in high demand as a musician and performs regularly with Italian and international artists. Marco plays Adams, Zildjian, Vic Firth, and Gon Bops equipment. His ensemble, the Marco Pacassoni Quartet, has released several albums, including the critically acclaimed Frank & Ruth. Marco will perform in the Recital Hall at 7:30 on Wednesday, November 6 with members of the UTSA jazz faculty as part of the guest artist series and as a featured soloist with the UTSA Percussion Ensemble at 7:30 on Thursday, November 7. He will also give an improvisation workshop on Tuesday, November 5 at 11:30 a.m. and work with the UTSA jazz ensembles throughout the week. Dr. Drew Stephen recently interviewed Pacassoni about his musical education, career, and experience with UTSA students.

(Interview continued on following pages)

How long have you been playing the vibraphone and how did you become interested in the instrument?

including English, art, math, and business, which was important for me as a teacher and a performer.

I started playing the vibraphone during my third year at the conservatory when I was thirteen or fourteen years old. I wasn’t familiar with the instrument beforehand because, like all percussionists, or at least most percussionists, I started on drum set. I became fascinated by the mallet instruments because I really loved the connection between the drums and piano, and in this way I found my instrument.

Although this is your first visit to UTSA, you’ve had the opportunity to work with UTSA students who participated in the COLFA Semester in Urbino Study Abroad Program in Italy. What were your impressions of these students?

You studied in Italy, at the Rossini Conservatory in Pesaro, and in the United States, at Berklee College of Music. Can you describe your experience studying music in both countries?

I studied classical music in Italy, but I felt limited in my composing, arranging, and improvising. After a scholarship to attend the Umbria Jazz Clinics, I decided to go to Berklee to expand my knowledge of music and complete my training. At first it was hard for me because of the language and, of course, because I was a young guy on his own in a new country. In the end, it was the best experience of my life! I had the opportunity to study with Ed Saindon, Gary Burton, Dave Samuels, and many other great teachers. The best decision I made was to get a bachelor’s degree and not a diploma.

This allowed me to attend all classes,

"He taught me to look past the music on the page and to express myself.

The theoretical study of jazz with him never felt overwhelming. He always made learning fun and easy."

Christian Castillo, Bachelor of Music, Fall 2017.

I loved sharing my knowledge and experience with Sarek, Chris, and Daulton. They were very open to everything I could offer, hardworking, and very enthusiastic. Traveling all around the world, I have seen that many classical students “skip” improvisation because they are so focused on what they are doing, but I saw that these students really loved it and gave a 100% effort to learn.

You wrote a book on improvisation called "Quasi quasi scrivo una canzione…

(I Almost Wrote a Song…)." Why is it important for musicians to learn to improvise?

The book was a way to address difficult topics in a simple way. Improvisation is freedom and something that allows you to express yourself.

Of course, there are some rules of harmony that you need to know, but the result is a dream come true. You play your music but in the best possible way. You play what you are!

How many concerts do you perform each year? What is a typical concert for you?

I play about 60 concerts a year in clubs and festivals in Italy and sometimes all around the world. As a percussionist, drummer, and a mallet player, I get a lot of requests from jazz, pop, and contemporary artists, so I don’t get bored by any style. My goal for my career was to be comfortable on all percussion instruments so I am prepared for any job and I try to pass this on to my students every day. I also just got back from my first tour of Asia. I visited Beijing, Osaka, and Hong Kong where I give three duo concerts on piano and vibraphone and five quartet concerts - all sold out! I had great musicians with me on stage and great audiences who bought all the CDs I brought with me from Italy!

What recent projects have you been working on?

I recently came out with an important tribute to Frank Zappa’s percussionist Ruth Underwood called Frank & Ruth. The album features the music of Frank Zappa and has enjoyed worldwide success since last year. I am very excited that it will get its official release in the USA and Japan on November 8th. Ruth is a wonderful percussionist who gave her musical life totally to Frank Zappa. It has been a great honor for me to thank her for her talent and musicianship with this recording.

Can you recommend some tracks that you think capture how you compose and play?

Marimbossa (click here to listen) from the album Finally‌ is dedicated to the wonderful sound of the marimba. Lullaby for Blondie (click here to listen) from the album Happiness is a lovely ballad where the fewer notes you play, the more you fly with the emotion of the music. Of course, my repertoire has many originals and also standards by Chick Corea, Pat Metheny, and Dizzy Gillespie. I love all music!

"Not only is he a great teacher, but he is also a highly skilled performer.

Marco easily glides across the keyboard, connecting the changes with immaculate musical intuition. Witnessing this first-hand in my lessons kept me motivated and inspired."

Daulton Mattingly, Bachelor of Arts, Spring 2019.

"His lessons gave me incredible insight on improvising, arranging, and being a band leader for a successful jazz group. I would not be the musician I am today without his mentorship and guidance."

Sarek Gutierrez, Bachelor of Music, Fall 2015.

Welcoming back Professor Emeritus of Music Dr.Robert Rustowicz as guest conductor in celebration of UTSA’s 50th anniversary

Wi n dE n s e m b l e

Thur s day ,Oc t o be r24-7: 30pm UTSARe c i t alHal l Feat ur i ngmus i cbyHokoyama,Gr aham,Gr ai nger ,andMac key

ALUMNI SPOTLIGHT: CHRISTOPHER D. LITTLEFIELD

Being a part of show business in New York City is often the ultimate goal of talented performers.

Every season thousands of musicians, actors and dancers are drawn to the potential of being a part of such a historic and iconic community: THE center of American theatre. For San Antonio native and UTSA Department of Music alumnus Christopher D. Littlefield, the stages of Broadway and off-Broadway are a second home. He is in his element as a conductor, music director, arranger and pianist in musical theatre where he is recognized as a consummate professional. Chris is in constant demand but took some time to share his story with CADENZA.

You are in constant demand in a profession that can be considered to be fickle. On what do you base your current success?

Was there one influential person at UTSA Music that helped guide or motivate you?

Without a doubt: my [then UTSA] piano instructor,

You know, I really love what I do—that’s the first part.

Dr. Elisenda Fábregas. Although I was a talented

And I genuinely love and respect the majority of the

musician when I came to UTSA, I struggled with

people with whom I get to work. (That’s HUGE.) I get

technique and musicality. She really cleaned up

paid well for what I do (also very important).With

the technical aspect of my playing and told me (on

nearly everything I do, I find myself constantly

day one) that she was going to teach me to “sing

challenged to choose to be in a state of growth. That’s

through the piano.” And that she did; it changed

absolutely necessary in successfully feeding my soul

my life. Elisenda is also a really passionate, tough,

and mind. Most of the time, we assume that growth

intuitive, no-nonsense woman. She taught me to

just happens to us naturally— and I think that’s largely

always believe in myself and to stand up and be

true. But I’ve found that life is much more rewarding

proud of who I am. I wouldn’t be where and who I

and magical when we actually choose growth.

am today without her guidance and support.

What were some of the challenges you faced in reaching your current position?

Life is full of disappointments. Things “don't work out” all the time. That’s built in for everyone. We adjust when that happens, we figure it out, and

“Position” can mean so many things. Sometimes I’m a Music Supervisor or a Conductor or a Music Director or an Associate Music Director or an Arranger or a Vocal

we keep going. Either that, or we give up. I, for one, am certainly not willing to do that. That just isn’t me.

Coach, etc. Sometimes I’m all of those things at once, and sometimes I’m just the guy at the piano. Every gig/project/show provides its own challenges but can always be equally rewarding in some way.

It may sound cliché, but I truly believe that when one door closes a window opens, or even another door, or two doors, or two doors and a window. I experience it all the time. Most of the time,

When I moved to NYC 13 years ago, I knew I would face my biggest insecurities and fears. Many of them I indeed have, and I will most certainly encounter more in the future. Some I triumphed over, and some totally

something even better than what I thought I wanted shows up in the midst of what originally appeared to be a disappointment. That’s when you know something is really meant for you.

kicked my a#%. I’ve made lots of friends, and I’ve pissed a lot of people off, too. I’ve found that’s all part of the package in showbiz—and we navigate these waters with who we are as our guiding compass. A lot of the fears we have manifest themselves in people telling you you’re too fat, too gay, too bald, too dark, too quiet, too loud, too awkward, too… YOU.

I think the most important challenge for me (and honestly for every Artist) is showing up as our self— our full self. This is a lifelong process and goes back to choosing growth. It requires both embracing the beautiful, wonderful, worthy things about ourselves in addition to facing the not-so-pretty stuff— you know, dealing with our demons and such. It takes a LOT of honesty and getting real with ourselves, and the only way to do it is by figuring it out through trial and error as we’re on our path. I’m learning now to not only take responsibility for myself and my choices, but to also accept and believe in myself. As. I. Am.

What was a memorable or pivotal moment for you at UTSA Music?

This moment circles back to Dr. Fábregas being an unwavering source of support for me during my time at UTSA. Having grown up in an extremely conservative household, I had a really tough time getting through my first years as an undergraduate. My grades and attendance suffered, and I kind of slid by for a while.

Eventually, I became so distracted that I had to take a year off from school. When I came back, I was determined to do well and was more focused than ever. I remember there were a few administrators that tried to convince Elisenda that I wasn’t going to succeed, that I was a waste of time, but she never stopped believing in me.

Lo and behold, I ended up acing all my classes and my senior recital was the most well-attended piano recital they had ever seen. I worked harder

Showbiz is hard to get into. Did you have a “plan B?”

than I had ever worked for anything for that day

I don’t believe life is made up of exclusively binary

beaming, after my recital. She gave me a huge

choices: either “this or that.” I’ve never once thought of

hug and said, “You’re my hero.” I think that helped

my life and career as my “plan a.” I think looking at

me begin to realize that going after your dreams

things that way reinforces that fact that you MIGHT not

and what you want would be hard, and there will

be on the right path, just in case things “don’t work

be people who don’t believe in you, but as long

out.” I also think it’s irresponsible to tell young people

as you have some who does, and most

that they need something “to fall back on.” In my

importantly, you believe in yourself, nothing else

opinion, this type of thinking can be irresponsible and

can get in the way of who you are and where

dangerous, especially when put on young people. It

you’re going.

breeds self-doubt.

and I played better than I had ever played in my life up to that point. Elisenda came up to me,

Nov ember9, 2019

Al l Ar ea s-NonS c hol a r s hi p-S pr i ng2020Admi s s i onOnl y

F ebr ua r y8&29, 2020

Al l Ar ea s( S c hol a r s hi pAudi t i onDa y s )

Ma y2, 2020

Woodwi nds , Br a s s , Per c us s i on, S t r i ngs , Gui t a r , Voi c e

OCTOBER

DATES

31 GUEST MASTERCLASS Dr. Charlotte Davis presents a masterclass for UTSA flute students. This event is not open to the public.

4:00PM - UTSA Recital Hall

CONVOCATION 31 DOMINIC VALADEZ 01 MUSIC 11:30AM - UTSA Recital Hall

Composition student Dominic Valadez will have his music performed by students in this free recital. 5:00PM - UTSA Recital Hall

05 VIOLIN CLINIC

Dr. Stephanie Westney will hold two clinics on All-State Region audition music.

8:00AM - UTSA Choral Hall

13 ETUDES MASTERCLASS

IMPORTANT INFORMATION

Dr. Oswaldo Zapata will conduct a

masterclass on All-State music for trumpet.

2:00PM - UTSA Recital Hall

22 MUSIC CONVOCATION Dr. Drew Stephen will present a lecture titled “Jewish Music and Culture in Renaissance Urbino.”

11:30AM - JPL Assembly Room

CONVOCATION 29 MUSIC 11:30AM - UTSA Recital Hall

Parking for many UTSA Department of Music events is on an individual pay basis in the nearby Ximenes Avenue Garage.

Click on the icon to find XAG (Ximenes Avenue Garage) off of UTSA Blvd and Ximenes Avenue.

FALL FOR UTSA MUSIC STAY UP TO DATE WITH THE LATEST INFORMATION ON UPCOMING CONCERTSÂ AND EVENTS AT UTSA MUSIC MUSIC.UTSA.EDU

FOLLOW

US!

@UTSAMUSIC