School of Music

Ithaca College
3322 Whalen Center
Ithaca, NY 14850-7240

School

of
Guest Artists 2003–2004
Be sure to check out the online concert calendar at
Music www.ithaca.edu/concerts for a listing of all School of Music performances.

Elmar Oliveira, violin, and

Soundings

Robert Koenig, piano . . . . . . . . . . . . . . . . Friday–Saturday, September 12–13

Barry Snyder, piano . . . . . . . . . . . . . . . . . . Sunday–Monday, September 21–22
Czech Philharmonic
Chamber Orchestra . . . . . . . . . . . . . . . . . . Friday, October 3
Spring 2004

Rhythm and Brass . . . . . . . . . . . . . . . . . . . Sunday, October 26

Fritz Gearhart, violin, and
John Owings, piano . . . . . . . . . . . . . . . . . Tuesday–Wednesday, October 28–29
Thomas Duffy, conductor . . . . . . . . . . . . . Tuesday, November 11
Number 1

Frank Battisti, conductor. . . . . . . . . . . . . . Monday–Thursday, December 8–11

EDITOR: Sharon Isbin, guitar, and
Erik Kibelsbeck Gaudencio Thiago de Mello,
percussion . . . . . . . . . . . . . . . . . . . . . . . . . Wednesday–Thursday, January 28–29
The graphic symbol on the Stephen Hough, piano . . . . . . . . . . . . . . . Saturday–Sunday, February 7–8
Volume 5

cover of the newsletter is an

Los Angeles Guitar Quartet . . . . . . . . . . . Saturday–Sunday, February 14–15
early design associated with
the Ithaca Conservatory of Jiggs Wigham, trombone . . . . . . . . . . . . . Tuesday, February 24
Music. The symbol has been
engraved on all of the room Sylvia McNair, soprano, and
signs in the James J. Whalen Ted Taylor, piano . . . . . . . . . . . . . . . . . . . . Thursday–Friday, March 25–26
Center for Music.
 Soundings is published for the alumni and friends of the Ithaca College School of Music.

Photograph by Andrew Gillis

School

of
Letter from
Music the Dean
Soundings
Dear Friends:

During the current academic year, there have been an extraordinary number of recitals, concerts,
competitions, and appearances by internationally renowned artists here at the School of Music.
Yet the heart of our program remains the special bond that exists between our faculty and students
as they attend private lessons, classes, and rehearsals. The School of Music is fortunate to have a
Spring 2004

gifted faculty who are not only outstanding performers, researchers, and clinicians but also dedi-
cated teachers. I invite you to learn about some of the latest accomplishments of our faculty later
in this publication.
One of the joys of being dean of the School of Music is the chance to attend many concerts
in both Ford Hall and the Hockett Family Recital Hall. In addition to the many students and faculty
attending, I am always pleased to see so many members of the community at our concerts. When
the Whalen Center opened in 1999, the Baker Walkway connecting the upper parking lot to the
Number 1

McHenry Lobby truly became our bridge to the community. Thanks to the convenient parking
and easy access to our performance venues, record numbers of community members now attend
concerts. To help readers understand the extraordinary resource this provides for the community,
I asked Henry Stark, a community member who moved to Ithaca just about the time the Whalen
Center was completed, for his perspective as an avid concertgoer. You will read his enthusiastic
response to our concerts later in this newsletter. It is similar to that of many people in the commu-
Volume 5

nity who now have become regular attendees.

The School of Music continues to be highly visible both nationally and internationally. As you
will read in this issue of Soundings, a student brass quintet performed in Germany last June,
and the chamber orchestra performed in Ireland last March and presented a special concert in
New York City on October 9. Our women’s chorale traveled to Boston for the Eastern Division
American Choral Directors Association conference, and the wind ensemble appeared in
Williamsburg, Virginia, at the American Bandmasters Association concert. Our school will receive
further international recognition in June 2004, when the International Trombone Association holds
its annual conference here at the College, attracting upwards of a thousand trombone players to
campus for several days of activities. In addition, the School of Music is now the publisher of the
Journal of Historical Research in Music Education, which is edited by Professor Mark Fonder.
Let me also express my sincere thanks to the record number of alumni who have responded
to the new Ithaca Fund for Music. I was totally overwhelmed by the number of alumni who
expressed their support for the School of Music in this way last year. These gifts make a huge
difference in allowing me to respond quickly to student and faculty needs that are not covered
by the operating budget. If you have not had an opportunity to consider a gift to the Ithaca Fund
for Music, I encourage you to join others in support of our program by using the envelope enclosed
for your convenience.
I hope to see many of you throughout the year and invite you to visit the school whenever
you might be in the area. In the meantime I welcome any e-mail comments to my attention
at ostrande@ithaca.edu. On behalf of the School of Music faculty and staff, I offer best wishes
for your musical endeavors.

Sincerely,

Arthur E. Ostrander
Dean, School of Music
2

New Faculty Hockett Chamber Series Brings

Jeffrey Grogan,
Los Angeles Guitar Quartet to Ford
associate profes-
sor, director of
Hall
of the past, while their interpretations of
orchestras, comes
to Ithaca from K nown for bringing top-notch chamber
music performers such as the
Kalichstein-Laredo-Robinson Trio, Richard
works from the contemporary and world-
music realms continually break new ground.
Baylor University,
where he served Stoltzman, and the American String Their Ithaca program included transcrip-
Quartet to campus, the Shirley and Chas tions of Igor Stravinksy’s Pulcinella and
as associate
Hockett Chamber Music Concert Series this Liszt’s Hungarian Rhapsody no. 2, works
director of bands,
year occurred in conjunction with another written for guitar quartet, and the music
conductor and
annual event, the Winter Guitar Festival, of Joaquín Rodrigo and Chick Corea.
music director of
when the Los Angeles Guitar Quartet pre- The LAGQ has appeared with top
the Waco Symphony Youth Orchestra,
sented a Saturday concert in Ford Hall. orchestras and in prestigious music series
and assistant conductor of the Waco
The Los Angeles Guitar Quartet is one of from New York to Paris to Tokyo. In recent
Symphony Orchestra. He recently
the most charismatic and versatile groups seasons they have been heard coast to
studied conducting in Europe and coast on popular radio programs such as
performing today. The four virtuosi of the
conducted the Bohuslava Martinu LAGQ—John Dearman, William Kanengiser, Performance Today, St. Paul Sunday, and
Philharmonic Orchestra of Zlín in the Scott Tennant, and Andrew York—bring World Café. Their performance of de Falla’s
Czech Republic. a new energy to the concert stage with “Fire Dance” was nationally broadcast on
their eclectic programs and dynamic PBS’s Evening at Pops. The quartet has also
musical interplay. Their inventive, critically been featured on CNN’s Show Biz Today,
Jennifer Haywood acclaimed transcriptions of concert master- CBS’s Saturday Morning, and A&E’s
’94, M.M. ’00, works provide a fresh look at the music Breakfast with the Arts. n
assistant professor,
music education,
previously served
as music teacher
Student Brass Quintet Studies
in the Ithaca City
School District and
and Performs in Germany
as director of
choral activities at P innacle Brass, one of our chamber
ensembles, and trumpet professor
Kim Dunnick participated in a brass cham-
St. Bonaventure
University. She continues to serve as ber music course in Lichtenberg, Germany,
conductor for the Ithaca Children’s last summer. The one-week course was an
Choir, where she conducts the senior intensive study in brass quintet literature,
choir and co-conducts the Young rehearsal skills, and performance. Other
Men’s Chorus of Ithaca. She recently chamber groups came from Germany
and Hungary for the event. This course Pinnacle Brass rehearsing with artists at Haus Marteau:
conducted for both the New Mexico (l to r) Casey Large, trumpet; Christian Carichner, tuba;
is presented annually, sponsored by the
and Maryland all-state choirs. Her Jesse King, trumpet; Tim Smith, trombone; Tyler Ogilvie,
Bezirk Oberfranken and Haus Marteau, horn; Peter Knudsvig, Rekkenze Brass; Roland Sventpali,
article “Transformation through
the estate of the late Henri Marteau, Hungarian tuba artist
Music: Deborah’s Story,” which
a famous violinist of the late 19th century.
synthesized a phenomenological
Members of Pinnacle Brass are also rehearsed with and was coached by
research project on the inclusion of
Cassandra Large ’05 and Jesse King ’05, members of the host Rekkenze Brass, one
special needs individuals in choirs, of Europe’s best-known professional brass
trumpets; Tyler Ogilvie ’05, horn; Tim Smith
was recently published in the ’02, filling in for regular trombonist Matt ensembles. Pinnacle Brass performed a
Canadian Music Educator’s Journal. Haines ’05; and Christian Carichner ’05, concert on Thursday and took part in the
She has completed her doctoral tuba. They received scholarships to attend week-ending concert on Saturday night in
coursework at the University of the course from both the sponsoring insti- Bad Steben, a resort town near Lichtenberg.
Toronto, where she served as both tution and Ithaca College. Kim Dunnick was In addition to coaching chamber groups
a music education and conducting a faculty member for the course, joining and performing in the final concert,
graduate fellow. Roland Szentpali of Hungary and Bob Tucci Dunnick presented two master classes
of Germany. During the week, the quintet during the week. n
 7

Chamber Orchestra Tours Faculty Notes q w eh rw q x q w

(continued from page 5)

Ireland and NYU Irish Festival DAVID PARKS (voice) performed the tenor solo role
in Haydn’s Creation with the West Virginia Symphony.

A bout the time you received your last issue of Soundings, the chamber orches-
tra was traveling to Ireland to give concerts in Galway, Limerick, and Dublin.
The tour was one facet of the exchange program between Ithaca College and
STEPHEN PETERSON (wind ensemble) guest con-
ducted in North Dakota, Connecticut, Pennsylvania,
Tennessee, Illinois, and New York. He was the all-
the Irish World Music Centre at the University of Limerick. state guest conductor in New York, Washington,
The chamber orchestra, conducted by Jeffrey Grogan, performed works and Maine.
of American composers for part of each performance and collaborated with
SANDY REUNING (Suzuki/strings) and five other
Mícheál Ó Súilleabháin, director of the Irish World Music Centre, for the rest
teachers from the Ithaca Talent Education School
of the program. Ó Súilleabháin is a leading proponent of Irish music, and the participated in the first Suzuki Festival in Guanajuato,
chamber orchestra joined him for a set of his compositions, which draw inspira- Mexico. Three years ago Reuning took 20 violin
tion from the rich heritage of traditional Irish music. His music features members and cello students on a concert tour of central
of the faculty of the Irish World Music Centre performing on traditional Irish Mexico with the purpose of introducing the Suzuki
method to that area of the country. Mexican
instruments. teachers then came to the College’s summer Suzuki
Also traveling were the four members of the string faculty who make up Institute. Reuning also taught Suzuki workshops
the Ariadne String Quartet: Susan Waterbury, Rebecca Ansel, Debra Moree, in Wilmington, North Carolina, and Bermuda.
and Elizabeth Simkin. They conducted master classes at the World Music Centre This summer’s Suzuki Institute celebrates 30 years
under his direction.
and performed as a quartet.
Funded by an anonymous gift, the exchange program, besides providing KELLY SAMARZEA (voice) performed in the solo
for the tour, allowed students from both IC and the Irish World Music Centre quartet of the Bruckner Te Deum with the Ithaca
to study at the partner institution for various lengths of time. Community Chorus.
The chamber orchestra also performed with Ó Súilleabháin this fall both in SUSAN WATERBURY (violin) taught on the faculty
Ithaca and at New York University. The New York gala concert was in NYU’s newly of the Rocky Mountain Summer Conservatory in
opened Skirball Performing Arts Center. For that performance, the orchestra was Steamboat Springs, Colorado. She also spent six
weeks in Europe: three weeks on the Spanish island
joined by several outstanding traditional musicians and dancers, and accompa-
of Majorca, performing with Camerata Deia, a group
nied part of the silent film Irish Destiny (1926) with a score by Ó Súilleabháin. of eight musicians playing chamber music concerts
A special treat was the premiere of new choreography by ex-Riverdance dancer all over the island, and three weeks in Italy, on the
Colin Dunne. The concert was part of “West along the Road,” a weeklong festival faculty of the Adriatic Chamber Music Festival.
that celebrated the 10th anniversary of NYU’s Glucksman Ireland House and
showcased New York as a cultural crossroads of Ireland and America. n
BARUCH WHITEHEAD (music education) presented
a research paper, “The Effect of Music-Intensive
Intervention on Mathematics Scores of Middle and
High School Students,” at the International Arts
J o u rn al o f Hi s to r ic al R es e a rch in Music and Humanities Conference in Honolulu, Hawaii.
He directed the Orff-Schulwerk certification program
E d u c a t i o n Now Based at Ithaca College for Boston University and Ithaca College. He guest
conducted the Wayne County Elementary Band and

M ark Fonder, professor of music

education, is the new editor of
the Journal of Historical Research in
The most recent editor remembered the
publication resulting from that confer-
ence, which was edited by Fonder, and
serves as music director of Voices, an Ithaca-based
multicultural community chorus.

DANA WILSON (composition) continues to have

Music Education (JHRME). The University therefore asked him to take on the
his music performed throughout the United States,
of Kansas hosted the journal from its JHRME. Europe, and Asia. Hornist Gail Williams ’73 and pianist
inception in 1978 until 1999, when it The JHRME publishes scholarly Mary Ann Covert recently premiered his “Musings”
moved to Arizona State University. articles covering topics in international in Evanston, Illinois. “Songs of Life Passing” received
The journal now sports a photo of the music education history as well as the its premiere in March by tenor DAVID PARKS and
Whalen Center on its cover. history of music education in the United pianist CHARIS DIMARAS as part of the Sarajevo
“It really is an honor to have a States. The first Ithaca-produced issue, Winter Festival in Bosnia and Herzegovina. Larry
major research journal housed here in volume 25, included an article on the Combs, principal clarinetist with the Chicago
at IC,” Fonder observed. “The other role and contributions of female com- Symphony, and pianist Gail Niwa premiered
“Liquid Ebony” at Clarinet Fest in Salt Lake City
major American research journals are posers as seen by the authors of college
in July. The Harmo Saxophone Quartet of Tokyo,
published at much larger institutions, music history textbooks, a biographical which commissioned “Howling at the Moon,”
including the University of Illinois and study of a pioneering African American performed the work at the World Saxophone
Indiana University, besides the MENC performer and teacher, and an examina- Congress. Wilson has been guest composer at a
Journal of Research in Music Education.” tion of the extent of nationalistic and number of universities throughout the country,
Both of the previous editors of the patriotic themes in school songbooks and Boosey and Hawkes has released three of his
journal were commissioned to write used in Taiwan since World War II. works: “Vortex,” “Shortcut Home,” and “Masks.”
papers for the Ithaca College Conference To subscribe, contact Mark Fonder
GREGORY WOODWARD (composition, chair of
on American Music Education, which was at the School of Music at Ithaca College, graduate studies) was appointed interim dean of
sponsored by the College in 1992 as a Ithaca, NY 14850, (607) 274-1563, or
fonder@ithaca.edu. n
the Division of Graduate Studies for the 2003–4
centennial event tracing 100 years of school year while Garry Brodhead serves as interim
music education history in this country. dean of the Park School.
 6

Ithaca Memories . . .
by Frank L. Battisti ’53, M.S. ’64,
D.M. (hon) ’92, IC Alumni Association’s
Lifetime Achievement Award ’03

I was born in Ithaca in 1931 and started to go to concerts at

Ithaca College when I was a student playing trumpet in the
Ithaca High School band and orchestra in 1946–49. These wonder-
ful concerts were important sources of inspiration for me. I was
particularly thrilled by the performances of Walter Beeler’s Ithaca
College Concert Band. The players in the band were mostly World
War II veterans who had performed in military bands and orches-
tras. The band was terrific! Hearing them influenced my decision
to become a band director.
I entered Ithaca College in the fall of 1949 as a freshman music
education major. The College then was scattered throughout
downtown Ithaca. The white-columned music building was located
at the corner of Cayuga and Court Streets. A practice room build-
ing (the World War II Butler building) was situated directly behind
the music building. Its walls were so thin that when practicing one Aaron Copland was another highlight. His lecture on Edgard
heard sounds being created in all the other practice rooms. Faculty Varese was my introduction to the music of this amazing and
studios and the president’s office were in the Boardman House, innovative composer. My teachers took a personal interest in
a short diagonal walk across Dewitt Park from the music building. me and every other student. During my undergraduate years
Our Little Theatre, the College’s venue for concerts and drama at IC I was challenged to explore, discover, and grow as both
productions, was adjacent and connected to the Boardman House. a person and a musician in an environment that was demanding
Academic classes were held in second-floor rooms over the old and supportive. Many of the strategies and techniques I use in my
Woolworth 5 and 10 Cent Store on State Street (now Ithaca teaching and conducting are extensions of the knowledge, skills,
Commons). Later these classes were taught in a new building and insights I gained from my teachers at the College.
built next to the Boardman House. Since receiving my master’s degree in 1964 I have returned
I can trace my love of American history to a class taught by to the School of Music numerous times as a guest conductor and
Marguerite Rowland. Professor Rowland was a dynamic teacher— teacher. The present college on South Hill is very different from
I can still recall how exciting she made the Battle of Quebec. the one I attended downtown. However, the faculty, administra-
One often went to the Olympia Restaurant or Home Dairy to tion, and staff and, most important, the quality of its education,
have coffee with friends or a faculty member between classes all remain at a very high level. The tradition of excellence contin-
or rehearsals. We listened to LP recordings (and sometimes even ues. In 1982 I commuted to Ithaca every week from my home
purchased one) at Lent’s Record Store, which was located next near Boston to serve as the first conductor of the Ithaca College
to the Olympia Restaurant. After-concert gathering spots were Wind Ensemble, and in 1992 the College awarded me an honorary
the Normandie Restaurant and College Spa on State Street. doctor of music degree. I sometimes wonder how many other
During my undergraduate and graduate studies I was inspired people have three degrees from Ithaca College.
by a legion of dedicated, sensitive, and talented faculty, including The College was also the place I met Charlotte Tayntor.
George King Driscoll, Lynn Bogart, Ferdie Pranzatelli, Don Wells, Charlotte came to the College in 1951 as a cello and music
Walter Beeler, Carl Wickstrom, Howard Dillingham, Donald Bube, education major. We were married in 1955, and during our life
and Warren Benson. Warren was the first composer I had ever together for the past 48 years (and counting) we have often
known. Studying with him stimulated my interest in contemporary shared feelings and recollections about our Ithaca College
music. I can still recall the thrill of meeting Norman Dello Joio experiences, which we treasure as among the most influential
and discussing his music with him. A visit by “America’s composer” and best years of our lives. n

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 3

Two IC Musicians at Home during Boehmler Rhythm

and Brass Concert
in Ford Hall. The concert was sponsored not bound by time, geography, or culture.
by a grant from the Robert G. Boehmler With the unique ability to incorporate
Community Foundation. Robert Boehmler influences as divergent as Josquin Des
’38, M.M. ’61, was a musician and educator Prez, Pink Floyd, John Coltrane, Johann
who established the foundation to support Sebastian Bach, and Duke Ellington, the
education in the communities in which group searches for the commonality in
he lived. these influences and fearlessly weaves
Their innovative program was in two them all into a single concert experience.
parts. The first, “On Your Radio Dial,” While maintaining a full touring sched-
juxtaposed a variety of music. After inter- ule, Rhythm and Brass has also performed
mission the music was selected from the at numerous special events, including a
songs of the Beatles, Hank Williams, 1994 New York concert debut at Carnegie
A lex Shuhan, assistant professor of
French horn, and alumni percussionist
David Gluck ’89 were at home with what
Led Zeppelin, Duke Ellington, Pink Floyd,
Louis Armstrong, and Stevie Wonder.
Recital Hall with celebrated jazz trumpeter
Randy Brecker. Internationally, the group
is normally their touring gig last October, Since its inaugural season in 1993, has performed in Canada, Saudi Arabia,
when their brass-quintet-plus-percussion Rhythm and Brass has lived up to the the United Arab Emirates, Japan, and the
group, Rhythm and Brass, gave a concert ideal of a musical presentation that is Virgin Islands. n

Women’s Chorale, Wind Ensemble Faculty Notes q w e h r

Convention Performances MARY I. ARLIN ’61 (theory) served on the

T he Ithaca College Women’s Chorale was one of two women’s ensembles chosen
by blind taped audition for performance at the Eastern Division Conference of
the American Choral Directors Association in Boston in February. The other women’s
program committee for the Association for
Technology in Music Instruction and was the
chair of the session Creative Pedagogies II
at the joint annual meeting of the College
ensemble chosen was conducted by Kristy Kosko ’91, who sang in the Ithaca College Music Society/Association for Technology
Women’s Chorale for all four of her undergraduate years. in Music Instruction. She is on the program
The program, “In Remembrance,” was dedicated to the memory of William McIver, committee for the annual meeting of the
Music Theory Society of New York State,
a professor of voice at the Eastman School of Music who was women’s chorale con-
which will be held in April at the Eastman
ductor Janet Galván’s voice teacher for many years and who died recently at the age School of Music.
of 60. The women’s chorale also commissioned a piece from Francisco Núñez, “Walk
Humbly before God,” in his memory. The piece is a reflection on the ways in which a DIANE BIRR (piano) once again served on
the faculty of International Workshops,
teacher’s work lives on, even after death. Núñez is a longtime collaborator with the
a two-week program for music and art in
women’s chorale, which has recorded all of his treble works. Biarritz, France. Birr performed in several
The program reflected the adventurous and diverse repertoire for which the concerts, including one with French bassist
chorale is well known. They sang “Ödi Ödi” in Tamil, a language of Singapore, and François Rabbath. She also coached string
chamber groups. Birr currently serves as
“A Ma Lei A Ho,” a Tibetan folk song from Chinese Mountain Songs arranged by
president-elect of the New York State
Chen Yi. Yi, the Karel Husa Visiting Composer in 2002–3, worked with the women’s Music Teachers Association.
chorale on the entire set of Chinese Mountain Songs. Music of Torke, Fauré, Orbán,
and Hatfield completed the program. LES BLACK (theory) had an article on
Sibelius published in Sibelius Forum:
The Ithaca College Wind Ensemble performed for the American Bandmasters
Proceedings from the Third International
Association national convention in Williamsburg, Virginia, on March 4. Their program Jean Sibelius Conference. He also gave
included “Shortcut Home” by IC faculty composer Dana Wilson, Morten Lauridsen’s papers at the American Mozart Society
“O Magnum Mysterium,” and music of Kabalevsky, Gould, and Gandolfi. Besides conference at Cornell (“ ‘Are We There
Yet?’: Formal Ambiguity and Thematic
regular conductor Stephen Peterson, several guests conducted the wind ensemble:
Drama in Mozart’s Piano Sonatas”) and
Colonel Arnald Gabriel ’50, USAF (ret); Russell Mikkelson, director of bands at Ohio at the joint New York State/New England
State University; Robert Fleming, associate director of bands emeritus at Arizona State Society for Music Theory conference at
University; Richard Strange, director of bands emeritus at Arizona State University; Yale (“Sibelius’s ‘Modern Classicism’ and
the Integration of Modality”).
John Locke, director of bands at University of North Carolina at Greensboro; and
Richard Clary, senior wind conductor at Florida State University. n (continued on page 4)
 4

A Community Member’s Perspective

by Henry Stark

Following the principle that some music Encouraged by this experience, I

W henever I’ve moved from one city
to another, it’s been a compromise;
I’ve given up things I enjoy in the expecta-
is better than none, a month after I moved
to Ithaca I took my wife down one hill and
returned for more. In the ensuing weeks
I attended performances of the symphony
tion—and hope—that I’ll find more positive up another for a performance of the Ithaca orchestra, the concert band, the symphonic
aspects in the new destination. College Chamber Orchestra. I had heard band, the jazz ensemble, a percussion
When I moved from Hartford, that the School of Music at IC was strong, ensemble, and even a trombone choir.
Connecticut, to Ithaca a few years ago, and I thought that maybe a student ensem- And if that weren’t enough, the faculty
the one thing I knew I’d miss—and find ble would reflect high admission standards gave frequent performances. These
impossible to replace—was quality classical and superior teaching. included a brass quintet, a string quartet,
music: Along with my season subscription To say I was overwhelmed would be an and various trios, duets, and individual
to the Hartford Symphony Orchestra, there understatement. In a recently enlarged recitals. All were superior quality.
was a series of guest artists and ensembles modern building on the stage of a state-of- I was impressed that the faculty
that passed through on their way from the-art auditorium sat a surprisingly large responsible for directing the students
New York City to Boston. group of formally dressed students who chose challenging music. The directors
I rationalized that the Cornell and IC played as if they were lifetime professionals. didn’t reach for easy pieces that would
visiting artist series would suffice, and I The quality of the music was comparable lead to routine rehearsals and by-the-
resolved to purchase every available ticket. to that of many city symphony orchestras. numbers performances. They applied

Faculty Notes q w e h r w q x q w e q r h w x q w e h r w q x q w e q r h w x q w e h r w
(continued from page 3)

STEVE BROWN ’64, M.M. ’68 (jazz studies), classes. He was also on the faculty of the Heifetz
performed as a jazz guitarist with his own LAWRENCE DOEBLER (choir) celebrated 25 International Music Institute, held in Wolfeboro,
groups and accompanying local singers years as the director of choral activities with New Hampshire. Last fall Gainsford played a
Cookie Coogan ’89 and Syracuse University some 70 former choir members who returned number of solo recitals and made concerto
Vocal Jazz Ensemble director Tish Oney ’94. for Alumni Weekend to rehearse and perform appearances in concerts across the Northeast.
He performed at the Cornigin Jazz Festival a concert. His professional Cayuga Vocal He was asked at very short notice to step in
and the Jazz in the Square Festival in Syracuse. Ensemble presented major concerts in May as soloist on tour with the Polish Philharmonic
With jazz guitarist John Stowell he released a and October. of Resovia, with which he gave eight perfor-
new CD, Crossroads, and played a duo concert mances. He has also given multiple performances
at Colgate University. Brown was the guitarist RICHARD FARIA ’87 (clarinet) performed John of Debussy’s 12 Etudes, which he is about to
with the Central New York Jazz Orchestra. Fitz Rodgers’s “The Arc of Winter” with the record.
He also was a guest artist/clinician at the fourth Cornell Chamber Orchestra under Xak Bjerken
annual Jazz Guitar Festival at the State University in November. During the summer he was a guest JANET GALVÁN (women’s chorale, chorus,
of New York College at Oswego. His trio with artist at the Garth Newel Music Festival, where music education) conducted the North American
Steve Gilmore and IC alum Chris Persad ’84 per- he performed a recital of clarinet chamber music. Children’s Chorale at Carnegie Hall in June.
formed at the Deerhead Inn in the Delaware With Cornell University’s Mother Mallard Having prepared the children’s chorus for the
Water Gap. He also played a concert with his Ensemble he premiered David Borden’s “Odd premiere of John Rutter’s Mass of the Children,
brother Ray Brown ’68 and his Great Big Band Alien Ego.” He is a regular player with the local she was asked by Maestro Rutter to prepare the
at the Kuumbwa Jazz Center in Santa Cruz, Ensemble X and made his conducting debut with children’s chorus for the second performance
California. them in September. He also performed with the in May. She conducted the New Mexico Junior
Syracuse Symphony, including their Carnegie Hall High All-State Choir in January, the Arkansas
VERNA BRUMMETT (music education) conducted concert in April. High School Mixed All-State Chorus in February,
a high school area all-state chorus in November. and the South Carolina High School All-State
She also received an IC summer grant to pursue MARK FONDER (concert band, music education) Women’s Chorus in March. In May she will con-
research on three prominent female music presented a paper last July on “Achieving Your duct the North Carolina Middle School All-State
educators. Ideal Band Tone” at the World Association of Treble Choir.
Symphonic Bands and Ensembles conference
PABLO COHEN (guitar) performed Roberto in Jonkoping, Sweden. Three of his articles ANGUS GODWIN (voice) was the featured soloist
Sierra’s Concierto Barroco with the Cayuga were published in Instrumentalist magazine. at the Phi Mu Alpha Sinfonia National Assembly
Chamber Orchestra, and the same piece plus He presented sessions at the Midwest Band and in Washington, D.C. He is the adviser for Delta
the Villa-Lobos concerto with the Orchestra of Orchestra Clinic in Chicago and NYSSMA winter Chapter at Ithaca College and serves as province
the Southern Finger Lakes. He also developed conference on innovative ways to teach in band, governor for province 17.
and implemented the new Music in Latin and he accepted a position as editor of the
America class and has signed a publishing and Journal of Historical Research in Music Education LEE GOODHEW (bassoon) performed with the
recording contract with Mel Bay Publications (see article, page 7). Syracuse Symphony and Rochester Philharmonic
for a collection of transcriptions of music by and performed Rob Paterson’s Sonata for
Latin American masters Carlos Guastavino READ GAINSFORD (piano) was in New Zealand Bassoon and Piano with DIANE BIRR in
and Horacio Salgán. over the summer, performing and giving master Greensboro, North Carolina.
 5

the same criteria when choosing music for

themselves.
As far as missing the visiting artists in
Hartford, that feeling never manifested
Trombone Invasion
I couldn’t believe that each night I itself. Richard Stolzman gave an amazing in June
attended a student band or orchestra per-
formance there were so many players on
clarinet concert at IC. Ana Kavafian mes-
merized a capacity audience with an
T he Whalen Center will be bursting with
trombonists June 15–19 during the
International Trombone Festival, which is
stage. My eyes kept scanning the instrumen- incredible display of violin virtuosity. Elmar expected to draw more than a thousand
tal sections for players I had already seen on Oliveira dazzled us with the warm tone of trombone players. Attendees of the festival,
previous nights, but there were no dupli- his violin playing. Our neighbor, the which was held in Helsinki last year, will
cates, and my suspicious nature was satisfied Syracuse Symphony Orchestra, paid come from literally around the globe.
Professor Harold Reynolds will act as host
that no “ringers” were being imported from us a welcome visit, and the Los Angeles for the event, featuring workshops and
the community to flesh out the groups. Guitar Quartet, not exactly our neighbor, performances by a host of top-notch
IC is clearly dedicated to performance. played in Ford Hall this winter. trombonists. The Philadelphia Orchestra
The quality of the music never wavered. And by the way, all of this incredible trombone section and soloists from the
Woody Herman Band, as well as others
Oh sure, on a given night one group might music, this variety, this quality, is absolutely
from Milwaukee, England, New York City,
sound better than another and one section free and open to the public. Hungary, Macedonia, Holland, and else-
might be stronger than another, but basi- Now my biggest problem is waiting where, are scheduled to appear. Among
cally the level of competence is always for the seasonal announcements of the the ensembles performing will be the
high. I have a friend who was voted the IC School of Music to plan our schedules. United States Army Field Band, a Brazilian
trombone ensemble, and the Capitol Bones.
best flutist in the state of Pennsylvania. She Do I miss Hartford? I think the answer
is obvious. n
IC’s own student trombone troupe will offer
applied to IC and was turned down. That the opening concert. For more information,
got my attention. visit www.itf2004.org. n

q w eh rw q x q w eq rh w x q w eh rw q x q w eq rh w x q w eh rw q x q w eh rw q h
PATRICK HANSEN (opera) continued his post at STEVEN MAUK (saxophone) was a featured concert featured Broadway favorites and the
Glimmerglass Opera as the director of musical artist at the 13th World Saxophone Congress second was a performance of Grant Cooper’s
studies for the Young American Artists Program. in Minneapolis. Mauk performed Karel Husa’s children’s opera Boyz in the Wood, in which the
In addition to his duties as director, he played in the Concerto for Alto Saxophone and Band with the soprano plays Little Red Riding Hood. This fall
Summer Gala Recital, did numerous community Royal Belgian Air Force Band. He was also the Montgomery-Cove appeared with the West
opera previews, and lectured on the Glimmerglass featured guest artist in March at two regional Virginia Symphony Orchestra and the Syracuse
season throughout upstate New York. conferences of the North American Saxophone Symphony. In November she joined with col-
Alliance. In Columbia, South Carolina, he presented leagues KIM DUNNICK and CHARIS DIMARAS
REBECCA JEMIAN (music theory) gave a paper a master class and gave a recital, which included to perform Handel and Scarlatti arias for the
about pedagogy of form to the South Central Wilson’s “Luminescence” and “We Sing to Each Cayuga Chamber Orchestra. Spring events
Society for Music Theory in February. In June she Other.” At West Point he performed Wilson’s included a master class for the Rochester Vocal
spent a week at the College of New Jersey read- “Calling, Ever Calling” for soprano saxophone Arts Collaborative and another appearance
ing AP tests in music theory. She taught music and wind ensemble with the West Point Band. with the West Virginia Symphony Orchestra.
theory classes at the Summer Piano Institute at
Ithaca College in July, and continues to play sec- RICHARD MCCULLOUGH (voice) has been DEBRA MOREE (viola) presented a workshop
ond bassoon in the Cayuga Chamber Orchestra. appointed New York State governor of the and played in a solo recital at the second annual
National Association of Teachers of Singing, Viola Fest sponsored by the New York American
TIMOTHY JOHNSON (theory) gave a talk, in which position he will coordinate the state String Teachers at SUNY at Binghamton. She also
“Charles Ives’s Music about Ballplayers: competition. gave a master class at the Boston Conservatory.
A Major League Baseball Fan ca. 1906,”
at the Baseball Hall of Fame in Cooperstown, WENDY MEHNE (flute) wrote the cover article, PAIGE MORGAN (oboe) and CONRAD ALEXANDER
New York. The research presented in this talk “An Interview with Nancy Toff,” for the spring (percussion) attended the Brevard Music Festival
will be included in Johnson’s forthcoming book, issue of the Flutist Quarterly. She performed with for their seventh summer. They premiered music
Baseball and the Music of Charles Ives: A Proving the Chautauqua Symphony Orchestra and in the for English horn and marimba written for them
Ground, scheduled for publication in 2004 Guest Artist Series at the University of Nebraska by Brevard composer Robert Palmer.
by Scarecrow Press. He presented the paper at Lincoln and at Hastings College. With guitarist
“Charles Ives’s Rube and Its Derivatives” at PABLO COHEN, she played a concert and gave DAVID PACUN (theory) gave three confer-
the Music Theory Midwest meeting at the a master class at SUNY College at Fredonia. This ence papers on Kôsçak Yamada at the third
University of Indiana Bloomington this past May. summer she will once again perform and teach Biennial Conference on 20th-Century Music
In November he presented “The Rube and the at the third Ithaca Flute Institute, which will in Nottingham, England; at Music of Japan
City Slicker: Ives’s Compositional Models”at the feature guest flutists Leone Buyse, Jill Felber, and Today in Baltimore; and at Yale. He had
national conference of the Society for Music Claudia Anderson. The week of master classes articles published in the Journal of Music
Theory in Madison, Wisconsin. In January he and performances is open to undergraduate and Theory Pedagogy (“Scanning Bass Patterns:
gave a presentation, “Teaching Basic Music graduate flutists and young professional flutists. A Middleground Path to Analysis”) and in the
Theory from a Mathematical Perspective,” at the Brahms Society Newsletter (“Brahms and the
joint meetings of the American Mathematical In June soprano DEBORAH MONTGOMERY-COVE Sense of Ending”).
Society and the Mathematical Association of (voice) performed two concerts with the
America in Phoenix, Arizona. Anchorage Music Festival Orchestra. The first (continued on page 7)