. . . Advancing the Art and Profession
THE 22ND ANNUAL
CONFERENCE FOR CONDUCTORS
JANUARY 5 - 8, 2006
Great Conductor Retrospective:
Frederick Fennell
The Roosevelt Hotel
Madison Ave and East 45th Street
New York, NY 10017
. . . Advancing the Art and Profession
2006 ANNUAL CONFERENCE FOR CONDUCTORS
JANUARY 5-8
THE ROOSEVELT HOTEL, NEW YORK
THURSDAY, JANUARY 5
9:00 - 9:30am
Registration at Avery Fisher Hall
9:45 - 12:30pm
New York Philharmonic - Open Rehearsal
Lorin Maazel, Conductor; James Ehnes, Violin
Wagner: The Flying Dutchman Overture; Walton: Violin Concerto;
Dvorak: Symphony No. 7
10:30am
Ongoing Registration at the Roosevelt Hotel
1:30pm
Tours: New York Philharmonic Archives,
Met Opera Orchestra Library.
3:30 - 4:30pm
Session 1: “Leonard Bernstein: The Anti-Interpretational,
Hyper-Rational and Conceptual in Mahler 9, Beethoven 5 and
Sibelius 1”
Charles Bornstein
New York Philharmonic Board Room, 132 W. 65th Street, 6th Floor
5:00 - 5:10pm
Opening Remarks: Tonu Kalam, President
5:10 - 6:40pm
Session 2: “Historical Performance and Bowing Practice with
Modern Instruments”
Nancy Wilson
6:50 - 7:50pm
New Music Project I - David Bowden, NMP Coordinator
8:00 - 10:00pm
Session 3: “The Education of Conductors”
Kristian Alexander, Moderator; Judith Clurman, Harold Farberman,
Michael Jinbo, Jonathan Sternberg, Kate Tamarkin
FRIDAY, JANUARY 6
8:30am
Registration/Visit the Exhibits
8:45am
Announcements
8:50 - 9:50am
New Music Project II: Crossover Repertoire
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10:00 - 11:30am
Session 4: “Conducting the Inner World of Mahler”
Gilbert Kaplan
11:30am
Lunch on your own/Visit the Exhibits
12:45 - 2:00pm
Session 5: “Jascha Horenstein’s Recorded Legacy”
Joel Lazar
2:10 - 3:20pm
Session 6: “Choral Masterworks: Mozart Requiem”
David Hayes
3:30 - 4:50pm
Session 7: “Making Connections with Your Community”
Bruce Adolphe
5:00 - 6:00pm
Session 8: “New York Orchestral Musicians”
Per Brevig, Jerry Grossman, Craig Mumm
6:00 - 6:45pm
Annual General Membership Meeting
6:45 - 8:00pm
Reception/Silent Auction - sponsored by TBA
SATURDAY, JANUARY 7
8:30am
Registration/Visit the Exhibits
8:45am
Announcements
9:00 - 10:30am
Breakfast, Guest Speaker: Lukas Foss
sponsored by TBA
10:30 - 11:30am
New Music Project III
11:40 - 12:40pm
Session 9: “Orchestra Librarian Perspective”
Lawrence Tarlow
12:40pm
Lunch on your own/Visit the Exhibits
1:30 - 3:00pm
Session 10: Open Forum with David Zinman
Tonu Kalam, Moderator
3:10 - 5:00pm
Session 11: “The Plight of the Orchestra”
Robert Sherman, Moderator; Per Brevig,
Jonathan Sternberg, Anthony Tommasini
5:10 - 6:00pm
Round Table Discussions
6:00pm
Dinner on your own
8:00pm
Performance: University of North Carolina Wind Ensemble
Michael Votta, Jr., Conductor; Donald Hunsberger, Guest Conductor
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The UNC Wind Ensemble
Michael Votta, Jr., conductor
Donald Hunsberger, guest conductor; Thomas Otten, piano
Program
Pacific Fanfare (1994)
Frank Ticheli
Elegy for a Young American (1967)
Donald Hunsberger, conductor
Ronald Lo Presti
Music for Prague 1968 (1968)
I
Introduction and Fanfare
II
Aria
III
Interlude
IV
Toccata and Chorale
Karel Husa
- Intermission First Suite in Eb for Military Band, Op. 28, No. 1 (1909)
I
Chaconne
II
Intermezzo
III
March
Donald Hunsberger, conductor
Rhapsody in Blue (1924)
Gustav Holst
Ed. Matthews
George Gershwin
Arr. Grofé/Hunsberger
“Apollo Unleashed” from Symphony No. 2 (2003)
Frank Ticheli
SUNDAY, JANUARY 8
8:30am
Registration/Visit the Exhibits
8:45am
Announcements
9:00–10:15am
Session 12: “John Corigliano Presents His Symphony No. 3”
Michael Shapiro, Moderator
10:25–10:40am
Awards Presentation
Theodore Thomas Award Winner: David Zinman
10:45–12:45pm
Great Conductor Retrospective: Frederick Fennell
Donald Hunsberger, Moderator; Sandra Dackow, Coordinator
John Beck, Kanamori Keiji, Toru Miura, Robert Simon,
Thomas Slattery
University of North Carolina Wind Ensemble - Michael Votta, Jr., Cond.
12:45 - 1:00pm
Closing Remarks: President Kalam
1:15 - 3:30pm
Board of Directors Meeting
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EVENING ACTIVITIES IN NEW YORK
Thursday, January 5, 2006
New York Philharmonic - Lorin Maazel, conductor
www.newyorkphilharmonic.com - (212) 875-5656
Metropolitan Opera - Lucia di Lammermoor
www.metoperafamily.org/metopera/ - (212) 362-6000
New York City Ballet
www.nycballet.com - (212) 870-5570
Friday, January 6, 2006
New York Philharmonic - Lorin Maazel, conductor
www.newyorkphilharmonic.com - (212) 875-5656
Metropolitan Opera - Wozzeck
www.metoperafamily.org/metopera/ - (212) 362-6000
New York City Ballet - Swan Lake
www.nycballet.com - (212) 870-5570
New York Knicks vs. Washington Wizards - Madison Square Garden
www.nba.com/knicks/ - (212) 465-JUMP
Saturday, January 7, 2006
New York Philharmonic - Lorin Maazel, conductor
www.newyorkphilharmonic.com - (212) 875-5656
Metropolitan Opera - L'elisir d'amore, afternoon; Die Fledermaus, evening
www.metoperafamily.org/metopera/ - (212) 362-6000
New York City Ballet - Swan Lake
www.nycballet.com - (212) 870-5570
*****
SESSION LOCATIONS
All on-site sessions will be held in the The Grand Ballroom, unless otherwise indicated.
THIS SCHEDULE IS SUBJECT TO CHANGE WITHOUT NOTICE.
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Welcome to the Conductors Guild Annual Conference!
We are pleased to return to New York every three years as part of
our rotation of conference sites. The vast artistic resources of this
great city are always a natural draw for our constituency and I
know that every one of you will find something to excite and
inspire you during your stay here.
It is a special privilege to devote our annual Great Conductor
Retrospective this year to the late Frederick Fennell, who was not
only a superb conductor, educator and wonderful human being,
but also a great friend and supporter of the Guild and frequent
attendee of past conferences. Dr. Fennell’s memory is being honored this weekend by live
performances by the University of North Carolina Wind Ensemble, under the direction of
CG Board member Michael Votta, Jr.
I want to express my sincere thanks to Earl Groner, Vice-President of the Guild and
Conference Committee Chair; Stephen Czarkowski, Conference Coordinator; Sandra
Dackow, Coordinator of the Fennell Retrospective; and David Bowden, New Music
Project Coordinator, for their tireless efforts to assemble the best possible lineup of events
for you. The artistic richness of our profession is well represented by the sessions, presenters and panelists you see profiled in this program book.
Special thanks are extended to our Executive Director, R. Kevin Paul, for his devotion and
expertise in handling the everyday logistics of Guild business. Kevin will be leaving his
position at the end of June and we will miss him greatly.
I also want to thank our exhibitors for their interest in our work and urge you all to visit
their displays and get to know some of the wonderful people in the business side of our
profession.
I am happy to announce that plans are developing well for the 2007 Annual Conference
to be held in Toronto next January. This major North American city has a wealth of musical opportunities and will provide new prospects to expand our organizational base.
I hope to meet as many of you as possible this weekend. Please feel free to approach me
with any questions or concerns you might have regarding the Conference or the Guild in
general. Our organization exists to serve you and our profession, and I will be happy to
do my best to fulfill that mission.
Enjoy the weekend!
Tonu Kalam
President
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A composer, author, educator and performer,
BRUCE ADOLPHE is the Artistic and Education Advisor
for the Chamber Music Society of Lincoln Center, founding
creative director of PollyRhythm Productions, and the
comic keyboard quiz-master of NPR’s weekly radio program Piano Puzzlers.
As a composer, Adolphe has been written works
for many of the world’s most renowned artists, including
Itzhak Perlman, Sylvia McNair, the Beaux Arts Trio, the
Orpheus Chamber Orchestra, the National Symphony, the
Caramoor Festival, St. Luke’s Orchestra, the New York
Chamber Symphony, the Metropolitan Opera Guild, the
Brentano String Quartet, the Miami Quartet, The Chamber
Music Society of Lincoln Center, Chicago Chamber
Musicians, the Santa Fe Chamber Music Festival, and many others. His many compositions
include four operas and several theater pieces, all of which have been produced throughout
the United States. He has been composer-in-residence at many festivals and institutions,
including the Santa Fe Chamber Music Festival, Chamber Music Northwest, Music from
Angel Fire, Bravo! Colorado, the Grand Canyon Festival, the Moab Festival, the Virginia
Arts Festival, the Folger Shakespeare Theater in Washington, D.C., the Perlman Music
Program, the Bridgehampton Chamber Music Festival, Chamber Music Virginia, the O.K.
Mozart Festival and SummerFest La Jolla. Adolphe served as the Distinguished Composerin-Residence at the Mannes College of Music for the 2003-04 term.
Co-hosted with Fred Child, NPR’s weekly Piano Puzzlers show features Adolphe
at the piano, playing folk tunes and popular songs in the styles of famous Classical composers for call-in contestants. In a style that is a cross between Car Talk and Wil Shortz’s
Puzzles, Bruce Adolphe and Fred Child informally talk about the musical issues raised by
Adolphe’s comic compositions. The show’s popularity during the last year has led to its
inclusion in the listening options for Delta Airlines. Now in its third year, Piano Puzzlers is
heard in over 200 cities.
Formerly on the faculties of the Juilliard School and New York University and a
Visiting Lecturer at Yale, Adolphe has been the lecturer of the Chamber Music Society of
Lincoln Center since 1992, and has been featured in nationally broadcast Live from Lincoln
Center television programs. In December, 2003, Adolphe discussed and illustrated aspects
of Bach’s Brandenburg Concertos from the harpsichord in a live national television broadcast of The Chamber Music Society of Lincoln Center’s 35th anniversary concert from Tully
Hall. In addition to his lecture series, Inside Chamber Music, now in its 12th season at
Lincoln Center, Adolphe has been a featured lecturer since 2001 at the Metropolitan
Museum of Art in New York, where his series is called A Composer’s View. A much soughtafter speaker and concert host, Adolphe has appeared at most of the major concert series in
the United States, as well as at education conferences, festivals, and competitions.
Adolphe has written three books on music: The Mind's Ear: Exercises for
Improving the Musical Imagination; What to Listen for in the World; and Of Mozart, Parrots
and Cherry Blossoms in the Wind: A Composer Explores Mysteries of the Musical Mind. His
books are used in college and conservatories throughout the United States, and excerpts
have been read as short features on National Public Radio. The recently published Origins
of Creativity (Oxford University Press), includes summaries and highlights of lectures by
renowned scientists, including Antonio Damasio and Benoit Mandelbrot; artists Dale
Chihuly and Francoise Gilot; and Bruce Adolphe, as the spokesperson for creativity in
music. A chapter on Bruce Adolphe is included in the book The Muse that Sings: Composers
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Speak About the Creative Process by Ann McCutchan (Oxford University Press). Adolphe
is also included in both the Groves Dictionary of Music and Musicians and the Groves
Dictionary of Opera, as well as the Harvard Biographical Dictionary of Music.
For the Chamber Music Society of Lincoln Center, Bruce Adolphe introduced
every concert from the stage of Alice Tully Hall for eight seasons, created the lecture series
Inside Chamber Music, developed and programmed several new music series, including the
current Double Exposure, created the series Chamber Music Beginnings, which he hosted
for several seasons, and created the sold-out family concert series Meet the Music!
In addition to education programs and new music events, Adolphe has been
involved in the conception and programming of many subscription concerts at CMS, such
as the Brahms-Schubert Festival and the Musical Evolutions concerts. Adolphe continues
to appear in Tully Hall pre-concert events as the host of Composer Chats, in which he
explores issues of composition with guest composers. Adolphe is also the host of Double
Exposure. Adolphe has also toured with artist members of CMS, as concert host and lecturer. He has also appeared as a pianist and conductor with CMS artist members and guest
musicians, in performances of his own music and that of other living composers. Since
1993, Adolphe has appeared regularly in nearly every Meet the Music concert, frequently
acting as characters ranging from the popular “private ear’ Inspector Pulse to Schubert’s
brother Ferdinand to Igor Stravinsky. Bruce’s many compositions for young listeners have
often been premiered on this series before being performed throughout the United States and
around the world.
With Julian Fifer, Bruce Adolphe co-founded PollyRhythm Productions, a company devoted to the creation of music, books, scripts, and games linking musical concepts
to science, art, history, and daily life. The company is named after Adolphe's opera-and-jazzsinging parrot, Polly Rhythm.
Adolphe’s compositions for young people include Marita and Her Heart’s Desire,
recorded on Telarc with Itzhak Perlman and the Chamber Music Society of Lincoln Center;
Little Red Riding Hood and Goldilocks, recorded with Dr. Ruth Westheimer; The Amazing
Adventure of Alvin Allegretto, a comic opera written for the Metropolitan Opera Guild;
Urban Scenes for Kids and String Quartet; The Purple Palace, commissioned by the
Orpheus Chamber Orchestra; Tyrannosaurus Sue – A Cretaceous Concerto, written for the
unveiling of the dinosaur at Chicago’s Field Museum in May of 2000; Tough Turkey in the
Big City, commissioned by The Chamber Music Society of Lincoln Center; Carnival of the
Creatures, the never anticipated, un-awaited for sequel to you know what; Red Dogs and
Pink Skies: A Musical Celebration of Paul Gauguin, created in conjunction with an exhibition at the Metropolitan Museum of Art, and recorded on the PollyRhythm label; Witches,
Wizards, Spells, and Elves: The Magic of Shakespeare, commissioned by The Chicago
Chamber Musicians for a collaboration with the Chicago Shakespeare Theater; and
Oceanophony, with poems by Kate Light, commissioned by The La Jolla Music Society in
conjunction with the 100th Anniversary of the Scripps Institute of Oceanography. This last
work was premiered in August 2003, at the Birch Aquarium of the Scripps Institute.
Adolphe’s works for young people have been performed throughout the world by such
orchestras and ensembles as the Los Angeles Chamber Orchestra, the Orpheus Chamber
Orchestra, the Saint Louis Symphony, the Milwaukee Symphony, the Orlando Symphony,
and ensembles and orchestras in Europe and Australia.
Recent commissions include What Dreams May Come?, a work celebrating Mr.
Adolphe’s 50th Birthday in 2005 for the Philadelphia Chamber Orchestra with Ignat
Solzhenitsyn, music director, and The Tiger’s Ear: Listening to Abstract Paintings, written
for the Armstrong Chamber Concerts.
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Adolphe’s music has been recorded on the Telarc, Naxos, CRI, Delos, Koch, Summit and
PollyRhythm labels. The Milken Archive’s/Naxos “American Classics” cd of Adolphe’s
music inspired by Jewish subjects was one of five recordings that won a Grammy for producer David Frost in 2005. Adolphe’s film scores include the permanent documentary at the
Holocaust Museum in Washington, D.C.
KRISTIAN ALEXANDER has conducted several professional instrumental and vocal ensembles, such as the
Windsor Symphony Orchestra (Windsor, Canada), the
Metropolitain Orchestra (Montreal, Canada), the Royal
Conservatory of Music Symphony Orchestra (Toronto,
Canada), the Oakville Chamber Orchestra (Oakville,
Canada), the Vaughan Symphony Orchestra (Toronto,
Canada), the Internationale Bach-Collegium and Gächinger
Kantorei (Stuttgart, Germany), the “Mozarteum”
Symphony Orchestra (Sofia, Bulgaria). In 2005 he was
appointed Music director of the International Music
Academy (Toronto, Canada). In January 2004 he was invited as Music director and Principal conductor of the Vaughan
Symphony Orchestra (Toronto, Canada). The same year he
was also appointed professor (string instruments) at the Canadian Conservatory for Music
and Arts (Toronto, Canada). In 2004 as well he was recruited by AMS Inc. as a consultant
for the Toronto Symphony Orchestra where he has successfully completed a $1.1 million
project. In 2003 he accepted the position of Principal examiner (Music) of the world largest
private schools International Baccalaureate Organization (London, England). As recognition
of his musicianship he was appointed member of the Board of the Directors of the
Conductors Guild. He is also director on the Board of the Southern Ontario Music Chamber
Institute (Oakville, Canada) and of the International Music Academy (Toronto, Canada).
Kristian Alexander has worked with Maestro Gustav Meier (Ann Arbor, Santa
Cruz), Maestro Marin Alsop (Santa Cruz), Maestro Helmuth Rilling (Stuttgart), Maestro
John Morris Russell (Windsor), Maestro Nurhan Arman (Toronto), Maestro David Agler
(Montreal), Maestro Michael Milkoff (Sofia). He has recorded several live concerts for the
International Bachakademie (Stuttgart), the National Radio Broadcasting Company, and the
National Television of Bulgaria. He is affiliated with professional associations in USA,
Canada, Germany, and Bulgaria.
Mr. Alexander speaks English, French, Russian, and Bulgarian and has extensive
working knowledge in Italian, German, Czech, Latin, Greek, and Hebrew languages. In
addition to master degrees in conducting and music history, he holds various degrees in
anthropology, psychology, theology, computer science, and arts management from academies and universities in Toronto, Montreal, Stuttgart, Sofia, and Plovdiv.
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JOHN BECK's career as a performer and teacher includes
posts as percussionist, timpanist, marimba soloist with the
United States Marine Band (1955-59); principal percussionist with the Rochester Philharmonic (1959-62); and timpanist for the Rochester Philharmonic (1962-2002). He has
made numerous solo appearances, including performances
with the Eastman Wind Ensemble, Syracuse Wind
Ensemble, Chautauqua Band, Rochester Chamber
Orchestra, Corning Symphony, Rochester Philharmonic,
Memphis State Wind Ensemble, Pennsylvania Festival
Band, and Filharmonia Pomorska, Poland.
As a conductor, Beck has appeared with the
Eastman Percussion Ensemble (1962-); in a tour of South
America with the Aeolian Consort (1977); and has participated in numerous guest conducting and percussion clinics
in the United States and Europe. Articles by Beck have been published in Music Journal,
The Instrumentalist, Woodwind World, Brass and Percussion, and Percussive Notes; he was
also percussion columnist for the National Association of College Wind and Percussion
Instructors (NACWPI) Journal (1965-72). His compositions have been published by Carl
Fischer, Boston Music, Kendor Music, Meredith Music, MCA, Wimbledon Music, Inc.,
Studio 4 Productions, and CPP/Belwin. He has served as state chairman for percussion, New
York State School Music Association (NYSSMA, 1970-72); president of the New York
State Percussive Arts Society (1976-82); national second vice president (1982-84), first vice
president (1984-86), and president of the national Percussive Arts Society (1987-90).
Among the honors Beck has received include being named the Mu Phi Epsilon
Musician of the Year (1976); the Monroe County School Music Association Award (1996);
Eastman's Eisenhart Award for Excellence in Teaching (1997); and the Arts and Cultural
Council of Greater Rochester Award for contributions to the arts (1999). He was inducted
into the Percussive Arts Society Hall of Fame in 1999. At Eastman’s 2003 Commencement,
he was awarded the Edwin Peck Curtis Award for excellence in undergraduate teaching.
CHARLES BORNSTEIN has been named conductor of
four North American Orchestras/Festivals, Newfoundland
Symphony, London Canada Mozart Festival, Rockford
Illinois Symphony, Woodstock Summerfest, that flourished
under his direction, resulting from adventuresome programming and a unique interpretive view, “totally informed, totally inspired.” Hermann Trotter of the Buffalo News wrote,
“Bornstein has had a galvanizing effect upon the orchestras
of which he has been named Music Director/Conductor” and
this has followed him in concerts/recordings with the BBC
Philharmonic, Radio France Festival Presences and the
Bavarian Radio Orchestra, with whom he has just released
his latest CD in Europe.
Upon discovering the Jerusalem Version of
Mahler’s Symphony Nr. 1 at the Academy of Music 2002 in Jerusalem, Zubin Mehta recommended him to the New York Philharmonic where he has been named to the position of
Bernstein Scholar with his own series on the interpretive genius of Leonard Bernstein and
Pre-Concert Keynote addresses.
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Before the age of 21, Bornstein was chosen by Leopold Stokowski as his Assistant
Conductor of the American Symphony Orchestra in Carnegie Hall. In addition to piano studies with Paul Jacobs of the New York Philharmonic, he studied composition with Elliott
Carter. As a conductor, he graduated from the Juilliard School in New York (B.M. Degree)
and studied with Herbert von Karajan at the Salzburg Mozarteum Summer Academy earning the Conducting Diploma and Final Concert which brought him to the attention to Hans
Swarowsky where he was immediately accepted in Vienna as his last private student combined with Swarowsky’s Conducting Class at the Hochschule fur Musik Vienna and Wiener
Meisterkurs.
“SENSATION IN THE MUSIKVEREIN!” as the headline of the Kourier,
Vienna’s most important paper, pronounced Bornstein’s debut in Vienna’s historical, world
famous hall. Other recent engagements include: Bavarian State Radio Orchestra and Chorus
- Munich, BBC Philharmonic, Belgrade Philharmonic with Evelyn Glennie (Mahler IX,
Tschaikowsky V, Elgar I re-engagemnt broadcasts/concerts), Radio France Paris (2 international broadcasts), Gulbenkian Symphony Orchestra Lisbon (re-engagement), Montpellier
Philharmonic France, Orchestre Ostinato Paris, Krakow Philharmonic and Chorus
Poland/Vienna (Mahler II + Schoenberg Friede auf Erden, Mozart C Minor Mass) Cluj and
Timisoara Philharmonics Romania, Stavanger Symphony Norway, Haydn Symphonietta
Wien (in Schönbrunn Palace), Sudwestründfunk Symphony Orchestra Baden-Baden,
Buffalo Philharmonic, Brooklyn Philharmonic, Inland Empire Symphony Orchestra CA,
Modesto Symphony Orchestra CA, National Arts Centre Orchestra Canada, Corfu GR
University Orchestra.
As Conductor and teacher, he has also served at the Royal Conservatory Toronto,
University of Tel Aviv, Academy of Music and Hebrew U Jerusalem. He was the sole
teacher of Gilbert Kaplan for Mahler II Symphony project. Recent recordings, on major
labels with major orchestras and ensembles, have received astonishing critical notices
worldwide. Bornstein’s recording of the Xenakis Kraanerg with DJ Spooky, rated #1 on the
Pop Charts in LA and Montreal, the first Avant-Garde/Pop crossover. As composer,
Bornstein’s Symphony In Memory of President Kennedy and Martin Luther King Jr. was
premiered in Carnegie Hall with the American Symphony Orchestra, Comissiona conductor. Bornstein’s orchestrations of the Complete Piano Music Of Arnold Schoenberg and his
Berg Orchestra Sonata have had Premieres in Vienna, Germany and Tel Aviv. His orchestration of the Schoenberg Op. 23 Five Orchestra Pieces is now published exclusively by
Wilhelm Hansen Editions Copenhagen and will be released on CD (2006) by the SWR
Baden-Baden Sinfonieorchester, with Bornstein Conductor.
As author, Mr. Bornstein’s textbook in preparation, BERNSTEIN CONCEPT
analyzes and exposes the interpretive thought behind the Bernstein interpretations that Mr.
Bornstein has given at the New York Philharmonic. Mr. Bornstein has just been named
Leonard Bernstein Scholar in Residence of the New York Philharmonic for the 2005-2007
seasons.
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DAVID BOWDEN, Director of the New Music Project of
the Conductors Guild, David Bowden is nationally recognized as an advocate for the arts, music education, and innovative programming. He is a popular speaker at conferences
as well as at leadership organizations, service clubs, and
school events.
David Bowden has served as Music Director and
Conductor of the Columbus Indiana Philharmonic and the
Philharmonic Chorus since 1987. Bowden and the
Philharmonic have been broadcast nationwide on National
Public Radio’s Performance Today and on Public Radio
International’s Pipedreams. His recording with Dan
McKinley and the Philharmonic of Marcel Dupré’s,
Complete Music for Organ and Orchestra, is available on
the international classical label, Naxos Records. David and the Philharmonic have won five
ASCAP awards for creative programming.
Bowden earned a doctorate in orchestral conducting and a master’s degree in
choral conducting from the Indiana University School of Music. He received his Bachelor
of Music degree from the Wheaton College Conservatory of Music. Other awards and distinctions include election to the 2006 edition of Who’s Who in America, serving as an
ASCAP Standard Awards Panel Judge, and lifetime membership in the Pi Kappa Lambda
National Honor Society.
Bowden is also the Music Director and Conductor of the Terre Haute Symphony
Orchestra and the Carmel Symphony Orchestra. A native of North Carolina, David loves
both the mountains and the ocean. He is an avid reader and basketball fan, and enjoys running and traveling. David and his wife, Donna, recently celebrated their 31st wedding
anniversary. They have two grown daughters.
PER BREVIG is the music director and conductor of East
Texas Symphony Orchestra. In addition to the orchestra’s
subscription series, he also conducts educational concerts,
opera, ballet, and pops concerts. During his tenure with the
orchestra he has worked with artists as diverse as Lynn
Harrell, Hilary Hahn, Lang Lang, Christine Brewer, ChoLiang Lin, Ralph Kirshbaum, Eroica Trio, Mark O’Connor,
and lead singer of the country and western band Alabama,
Randy Owen.
Mr. Per Brevig received his music training at The
Juilliard School and holds a doctor of musical arts degree.
He was principal trombonist of the Metropolitan Opera
Orchestra from 1968 - 94 and has performed as soloist with
orchestras throughout the world. He has numerous commissions and premiers to his credit.
The greatest musical experience and education in Mr. Brevig’s career has been his fortunate
association with the finest conductors of our time as well as those of the past such as:
Ansermet, Barbirolli, Bernstein, Bohm, Cleva, Karajan, Kleiber, Kubelik, Leinsdorf,
Monteux, Munch, Patane, Steinberg, Stokowski, and Tennstedt.
On leaving the Metropolitan Opera, Mr. Brevig’s conducting career expanded
quickly. In the five years following 1994 he conducted more than 20 operas. A review in The
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New York Times declared that he “shaped the performance [of Rigoletto] artfully.“ In addition to his position as music director and conductor of East Texas Symphony Orchestra, he
is continuing his teaching affiliations with Aspen Music Festival, Colorado, The Juilliard
School, Manhattan School of Music, and Mannes College of Music. His conducting repertoire runs the gamut from Renaissance to contemporary music. A staunch advocate of contemporary music, he has commissioned and performed numerous new works.
Per Brevig has received many awards, including a Koussevitsky Fellowship,
Henry B. Cabot Award, three Naumburg Fellowships, the Neill Humfeld Award for excellence in teaching, and a prize in the XIV International Music Competition in Prague. In
1990, King Olav V of Norway awarded him the Royal Medal of St. Olav in recognition of
his efforts on behalf of Norwegian music and culture in the United States.
Mr. Brevig has studied the medical problems faced by musicians and serves on
the Advisory Boards of Medical Problems of Performing Artists and Musikphysiologie und
Musik Medizin, a publication from Stuttgart, Germany. A champion of Scandinavian music,
Mr. Brevig is founder and president of the Edvard Grieg Society, Inc. New York. Since 1991,
the Society has, under his leadership, produced recitals, chamber performances, radio broadcasts, and symposia at Columbia University, all to critical acclaim. Recently Mr. Brevig
conducted yet another concert at Lincoln Center with the Orchestra of St. Luke’s as part of
a series of concerts of Norwegian and American Music.
JUDITH CLURMAN serves on the faculty of The Juilliard
School where she is Director of Choral Activities and
founder of the school’s resident chorus, The Juilliard Choral
Union. In the Spring 2005 season, Ms. Clurman is conducting the New York City Ballet in Peter Martins’ ballet
Chichester Psalms. Ms. Clurman has served as guest conductor for the Bravo: Vail Music Festival, as well as with the
Virginia Symphony, the Orchestra of St. Luke’s, the
Rebecca Kelly Ballet, the José Limon Dance Company, and
Alvin Ailey II.
Numerous pieces have been composed for her,
including works by Babbitt, Bolcom, Heggie, Moravec,
Paulus, Read Thomas, and Rouse; and she has premiered
pieces by Bernstein, Glass, Kernis, Rorem, and Zwilich.
Many are featured on her CDs Divine Grandeur, The Mask, and A Season’s Promise, performed by The New York Concert Singers, a professional ensemble she conducted for 15
years. Ms. Clurman’s choruses have performed at Lincoln Center with the New York
Philharmonic, Mostly Mozart and Great Performers, and at Carnegie Hall with the Orchestra
of St. Luke's, the Boston Symphony, the American Composers Orchestra and the New York
Pops, as well as in venues throughout the United States and Europe.
Her collaborators range from songwriters Jason Robert Brown, David Shire,
Stephen Schwartz, Sir Andrew Lloyd Webber, and Marvin Hamlisch to the Sesame Street
Muppets. Ms. Clurman’s master classes and choral workshops have been held at the Juilliard
School, Cambridge University, Eton College, the Janácek Academy in the Czech Republic,
the Università di Ancona, Italy, and the Zimriya in Israel. Ms. Clurman is a member of the
Special Classificiations Committee of ASCAP
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JOHN CORIGLIANO, winner of the 2001 Pulitzer Prize
in Music for his Symphony No. 2, is internationally celebrated as one of the leading composers of his generation. In
orchestral, chamber, opera and film work, he has won global acclaim for his highly expressive and compelling compositions as well as his kaleidoscopic, ever-expanding technique.
Corigliano’s Pulitzer Prize-winning Symphony
No. 2, an expansion and rewriting of his String Quartet
(1995), was premiered in November 2000 with the Boston
Symphony Orchestra and Seiji Ozawa conducting; a tour the
following month included a performance in Carnegie Hall
and the first recording of the symphony, paired with The
Mannheim Rocket, was released in spring 2004 on Ondine
Records with John Storgårds conducting The Helsinki Philharmonic. In March 2000,
Corigliano won another coveted prize: the “Oscar,” the Academy Award, for “The Red
Violin,” his third film score. He was the second classical composer, after Aaron Copland, to
be so honored. Esa-Pekka Salonen leads soloist Joshua Bell and the strings of the London
Philharmonia in Sony Classical’s recording of the soundtrack, which also features the first
recording of The Red Violin: Chaconne for Violin and Orchestra, an 18-minute movement
for violin and full orchestra introduced in 1997 by Bell with the San Francisco and Boston
symphonies. “The Red Violin” soundtrack received numerous awards including: the
Canadian Genie Award for best film score (an Oscar equivalent) and the Quebec Jeutra
Award, as well as the German Critic’s Prize. In September 1998, the Venice Film Festival
opened its festivities with “The Red Violin.” Corigliano’s first film score, for “Altered
States,” was nominated for an Academy Award in 1981; his second, for the British
“Revolution,” received that country's equivalent - the 1985 Anthony Asquith Award for distinguished achievement in film composition.
During the 2004-05 season, John Corigliano’s new wind symphony Circus
Maximus received its world premiere on 16 February by the University of Texas at Austin
Wind Ensemble. The New York premiere took place at Carnegie Hall on 27 February.
Scored for large wind band, Corigliano’s new score is conceived as a spatial piece in which
the audience sits in the middle of the arena “Circus Maximus” receiving simultaneous information from varied locations throughout the hall. In July 2005, Marin Alsop leads Joshua
Bell and the Bournemouth Symphony Orchestra in the UK premiere of the Concerto for
Violin and Orchestra (“The Red Violin”) at the Proms, and the Piano Concerto receives its
Italian premiere in January 2005.
Last season, John Corigliano’s new Concerto for Violin and Orchestra (“The Red
Violin”) debuted on 18 September at the Baltimore Symphony Orchestra with soloist Joshua
Bell and conductor Marin Alsop before traveling to co-commissioning partners the Dallas
and Atlanta symphony orchestras in late September and November respectively. The San
Francisco Ballet, also a co-commissioner of the concerto, presents the choreographed version in spring 2006. Corigliano’s orchestration of the song cycle Mr. Tambourine Man:
Seven Poems of Bob Dylan received its world premiere at The Minnesota Orchestra in
October 2003 with soprano soloist Hila Plitmann and conductor Robert Spano. The
Symphony No. 2 and The Mannheim Rocket received their Scandinavian premieres at The
Helsinki Philharmonic in the fall paired with premiere recordings of both works on Ondine
Records. Capping off a busy fall, The Red Violin: Chaconne for Violin and Orchestra
opened the 2003 Beijing Festival in China.
Highlights of Corigliano’s recent seasons have included the Moscow premiere of
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Symphony No. 2 by the Chamber Orchestra Kremlin, followed shortly by the Canadian premiere by I Musici di Montreal; and a focus on his music at the American Presences Festival
at the Royal Northern College of Music in Manchester, UK. In May 2001, the American
Ballet Theater unveiled at Lincoln Center a new full-length ballet, “The Pied Piper,” choreographed by David Parsons and set to a freely-adapted, expanded version of Corigliano’s
flute concerto, Pied Piper Fantasy.
During the 1999 and 2000 seasons, two new works written for soprano Sylvia
McNair received their first performances: Vocalise for Soprano, Electronics, and Orchestra,
one of the six “Millennium Messages” commissioned by the New York Philharmonic and
Kurt Masur; and Mr. Tambourine Man: Seven Poems of Bob Dylan, in Carnegie Hall with
pianist Martin Katz in March 2000, which then toured Europe and the United States. Later
that same month, Phantasmagoria, a revisitation of themes from Corigliano’s opera The
Ghosts of Versailles debuted at The Minnesota Orchestra with conductor Giancarlo
Guerrero.
Corigliano’s revised A Dylan Thomas Trilogy (1999) takes his three earlier
Thomas settings - Fern Hill, Poem in October, and Poem on his Birthday - and integrates
them into a new setting for boy soprano, tenor, baritone, chorus and orchestra; the result is
an evening-length “memory play in the form of an oratorio,” as the composer describes it.
Leonard Slatkin led the work's March 1999 premiere with the National Symphony Orchestra
at the Kennedy Center and on tour at Carnegie Hall - continuing a long and fruitful collaboration which in 1997 brought the National Symphony its first-ever Grammy award, for
Classical CD of the Year, for its BMG Classics release of Corigliano’s Of Rage and
Remembrance and Symphony No. 1.
In April 1999, Corigliano’s The Ghosts of Versailles received its European premiere, in a new production directed and designed by Jerome Sirlin for the opening of the
new opera house in Hannover, Germany; Andreas Delfs conducted. This production was
awarded the Hannover Opera's GFO Wanderpreis for Best New Production of the 19981999 Season, cited for its “scenic and musical integrity and its high artistic standards.”
Commissioned by The Metropolitan Opera, where it premiered in December 1991, the
immensely popular Ghosts sold out two engagements at the Metropolitan (1991 and 1994)
as well as its 1995 production at the Chicago Lyric Opera. The nationwide telecast of the
Metropolitan’s premiere production was released on videocassette and laser-disk by
Deutsche Grammophon. Following its premiere, The Ghosts of Versailles collected the
Composition of the Year award from the first International Classic Music Awards.
Commissioned by the Chicago Symphony Orchestra when he was composer-inresidence there, from 1987-90, Corigliano’s Symphony No. 1, an impassioned response to
the AIDS crisis, captured the 1991 Grawemeyer Award for Best New Orchestral
Composition; Chicago’s recording of the symphony, on the Erato label, won the Grammy
awards for both Best New Composition and Best Orchestral Performance. The Symphony
has already has been played by nearly 125 different orchestras worldwide, and continues to
be scheduled by virtually all of the leading U.S. orchestras.
Corigliano first came to prominence after winning the chamber music prize at the
1964 Spoleto Festival for his Sonata for Violin and Piano. Other important commissions
have come from the New York Philharmonic (Concerto for Clarinet and Orchestra, Fantasia
on an Ostinato), Chamber Music Society of Lincoln Center (Poem in October), New York
State Council on the Arts (Oboe Concerto), flutist James Galway (Pied Piper Fantasy), and
the Boston Symphony Orchestra (Promenade Overture). Recent premieres include
Chiaroscuro (1997), a soundscape for two pianos tuned a quarter-tone apart; DC Fanfare
(1997), written for Slatkin and the National Symphony; Dodecaphonia (1997), a whimsical
song about serialism with a text by Mark Adamo, premiered by Joan Morris and William
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Bolcom; and the 40-minute String Quartet (1995), commissioned by Lincoln Center for the
Cleveland Quartet’s valedictory performance. In 1996, the Quartet’s recording, like that of
the Symphony before it, won Grammy awards both for Best Performance and again for Best
New Composition, making Corigliano the first composer to win twice in the history of that
award. Sony Classical’s “Phantasmagoria,” features cellist Yo-Yo Ma and pianists Emanuel
Ax and James Tocco, who offer the premiere recordings of Fancy on a Bach Air, for solo
cello; the titular Phantasmagoria, for cello and piano, based on themes from The Ghosts of
Versailles; as well as new interpretations of the solo piano pieces Etude Fantasy and
Fantasia on an Ostinato.
Born in New York on 16 February 1938, Corigliano comes from a musical family. His father was concertmaster of the New York Philharmonic from 1943 to 1966 and his
mother was an accomplished pianist. Corigliano holds the position of Distinguished
Professor of Music at Lehman College, City University of New York and, in 1991, was
named to the faculty of The Juilliard School. Also in1991 he was elected to the American
Academy and Institute of Arts and Letters, an organization of 250 of America's most prominent artists, sculptors, architects, writers, and composers. In 1992, Musical America named
him their first "Composer of the Year." The National Arts Club in New York City honored
him with their Gold Medal in March 2002.
John Corigliano has received grants from Meet the Composer, the National
Endowment for the Arts, and the Guggenheim Foundation. His music is recorded on Sony,
RCA, BMG, Telarc, Erato, New World, and CRI, and published exclusively by G. Schirmer.
STEPHEN CZARKOWSKI, Conference Coordinator,
currently Artistic Director and Conductor of the Youth
Orchestra of Fairfax, Music Director of the Georgia
Governors Honors Program Orchestra, graduated from the
Catholic University of America Orchestra this past May
with a Graduate Artist Diploma in Conducting studying
under Dr. Kate Tamarkin and Dean Murry Sidlin. At CUA,
Mr. Czarkowski conducted Monteverdi's L'incoronazione di
Poppea, Copland's The Tender Land and Britten’s Albert
Herring with the CUA School of Music Opera Theatre. Mr.
Czarkowski began his first season as the Music
Director/Choir Director of St. John the Baptist Catholic
Church in Silver Spring, Maryland, where he led the
Brahms Ein Deutsches Requiem and repeated the performance with the Neumann Chorus and Delaware Symphony Orchestra. Last year with St.
Johns they performed the Durufle Requiem and were invited to participate in a special mass
for Cardinal McCarick. Recently, he was hired by Shepherd University (Professor of Cello,
Artist in Residence, Conductor of Chamber Orchestra) and the Washington, DC Youth
Orchestra as Cello and Conducting Faculty. In October 2004 he made his debut with the
Friday Morning Club Orchestra, performing with guest pianist Seymour Lipkin. This past
June, Mr. Czarkowski made his debut with Kids in Music where he conducted numerous
piano concerti at the Reston Pavilion along with Rosita Mang, Founder and Director.
Mr. Czarkowski graduated in the top percentile of his class from the Mannes
College of Music (New School University) with a Master of Music degree in both cello and
conducting in May of 2002. His conducting teachers were David Hayes, and Barbara Stein
Mallow, cello. Mr. Czarkowski received his Bachelor of Music degree in 1999 from the
Mannes College of Music under the tutelage of Carter Brey, principal cellist of the New
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York Philharmonic. Mr. Czarkowski led the National Symphony Orchestra in Washington,
DC as a guest conductor, in conjunction with being selected for the National Conducting
Institute, directed by NSO Music Director Leonard Slatkin. He has also guest conducted the
Honolulu Symphony (Sameul Wong, Music Director) in subscription concerts to critical
acclaim in performances of numerous concerti with winners of the Honolulu Symphony
Youth Concerto Competition. In May 2002, he was invited by JoAnn Falletta to conduct
The Virginia Symphony Orchestra.
Mr. Czarkowski was a fellowship student in the first American Academy
Conducting Class at the Aspen Music Festival during the summer of 2000 where he was a
student of David Zinman and Murry Sidlin. At Aspen he conducted the American Academy
Conducting Orchestra in performance and was a soloist in a reading session of the Dvorak
Cello Concerto with the American Academy Orchestra.
Later this month, Mr. Czarkowski will conduct the Washington County All
Orchestra Concert Middle School Orchestra. Recently he gave a lecture for the Music
Teachers of Washington County on Rehearsal Techniques and has been invited to return this
coming spring.
In February, he will participate in the American Symphony Orchestra League
Donald Thulean Conducting Workshop in Los Angeles where he will work with the
American Youth Symphony. Other workshops Mr. Czarkowski has participated in is the
Conductors Guild Workshop in Ann Arbor, with Gustav Meier and Kenneth Kiesler and
ASOL Workshop in Buffalo with JoAnn Falletta and Jorge Mester.
SANDRA DACKOW holds a Bachelor and a Master of
Music, as well as the Doctor of Philosophy from the
Eastman School of Music. An Aspen Conducting fellow in
2001, she was also awarded the Silver Medal in the 2001
Vakhtang Jordania/New Millennium International
Conducting Competition in Kharkov, Ukraine. She is currently serving as Music Director of the Hershey Symphony
Orchestra in Pennsylvania and is a former Music Director of
the Ridgewood Symphony Orchestra in New Jersey. Recent
guest conducting has included appearances with the
Berkshire Symphony, Massachusetts, Missouri Symphony
Chamber Orchestra, Butler Symphony, Pennsylvania and
Kharkov Philharmonic, Ukraine. This season will see,
among others, performances with the Helena Symphony,
Montana, Kharkov Philharmonic and the All-Queensland Honors Orchestra in Brisbane,
Australia.
A Native of East Paterson (Elmwood Park), New Jersey, Dr. Dackow has conducted bands and orchestras in the schools of Glen Rock and East Brunswick, New Jersey,
and served as Supervisor of Music for the Ridgewood NJ public schools. She was a member of the faculty of Slippery Rock University in Pennsylvania and has been a visiting faculty member during the summer sessions of the Eastman School of Music, Temple
University, Montclair State College NJ, Wichita State University, the University of Alaska,
Fairbanks and the Cork School of Music, Ireland. She most recently served on the faculty
of Brandeis University, Waltham, Massachusetts, as director of the University Symphony
Orchestra and Wind Ensemble.
An annual ASCAP award winning arranger, Dr. Dackow has generated over seventy works for young orchestras and is active as a guest conductor, adjudicator and clinician
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across the nation and Canada, in England, Hong Kong, South Africa and throughout
Australia and Ireland. Articles of hers have appeared in major professional journals and she
has contributed to or co authored reference books and texts.
HAROLD FARBERMAN was born on November 2,
1929, on New York City's Lower East Side. Coming from a
family of musicians (his father was the drummer in a
famous 1920s klezmer band led by Schleomke Beckerman;
his brother was also a drummer), it was inevitable that he
would pursue music as a career. After graduating from the
Juilliard School of Music on scholarship in 1951,
Farberman became the youngest member of the Boston
Symphony Orchestra (BSO) when he joined its percussion
section.
With a performer's knowledge of percussion
instruments and a dissatisfaction with their conventional
treatment by most composers, Farberman became an early
advocate for the use of percussion sonorities as a major
voice in compositional structures. During his twelve-year tenure with the BSO, Farberman
earned a master’s degree in composition from the New England Conservatory of Music. His
very first work, Evolution, written in 1954 for soprano, French horn, and seven percussionists, is scored for over one hundred percussion instruments and has been recorded four times,
once by Leopold Stokowski.
After hearing Evolution in 1955, Aaron Copland invited Farberman to study composition with him at Tanglewood. In 1956 his Quartet for Flute, Oboe, Viola and Cello
received first prize in the New England Composer’s Competition with Walter Piston as head
of the jury. In 1957 Greek Scene, a trio for mezzo soprano, piano, and percussion, was chosen to represent the United States in an International Composer’s Symposium held in Paris.
Within the next few years a growing interest in his music led to several commissions and
awards.
During the summer that Farberman studied composition with Copland, he was
also one of three active conductors in Maestro Eleazar de Carvalho’s conducting class, and
in 1963 Farberman left the Boston Symphony to embark on a conducting career that has
earned him an international reputation. He has been music director of the Colorado Springs,
Colorado, and Oakland, California symphonies, and principal guest conductor of the Denver
Symphony and the Bournemouth (Great Britain) Sinfonietta. Farberman has been a frequent
guest conductor and recording artist of major orchestras, including the London Symphony,
Royal Philharmonic, BBC, Stockholm Philharmonic, Swedish Radio, Danish Radio,
Hessischer Rundfunk, and Hong Kong Philharmonic.
For his dedication to the music of Charles Ives through performance and recordings, Farberman was awarded the Ives Medal. He is the founder of the Conductors Guild and
also created the Conductors Institute, the premiere training ground for young conductors
from around the world. His text The Art of Conducting Technique is published by Warner
Brothers.
Like Farberman the conductor, the music of Harold Farberman is well traveled
and has been heard in numerous international venues. Albany Records released four CDs
featuring works written by Harold Farberman, and his Cello Concerto was premiered by the
American Symphony Orchestra in November 2000 at Lincoln Center's Avery Fisher Hall.
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LUKAS FOSS (b. 1922) has achieved remarkable distinction as a composer, a conductor, and a pianist, and he is universally regarded not only as one of America’s leading 20thcentury composers but also as one of the major forces on the
American music scene generally. In 1974 Aaron Copland
referred to his works as “among the most original and stimulating compositions in American music.” Yet many
observers have continued to characterize him as overly
eclectic—even as once having aspired to the role of enfant
terrible of American music—and as never having found a
convenient artistic niche. That is, however, a reputation in
which Foss takes great pride. Not only does his music defy
classification, but he himself refuses to be categorized. His
work has quite deliberately embraced a wide range of styles,
techniques, influences, and approaches: from Copland-type Americana to the neoclassicism
of Stravinsky, from aleatoric and graphic to precisely notated music, from tonality to rigorous serial techniques, and from stabs at his own brand of minimalism (long before it was
fashionable) to the so-called postmodern composite variety—and much in between. But he
has made each influence his own, and his works usually bear the unmistakable stamp of his
hand.
Born Lukas Fuchs in Berlin, he was soon recognized as a child prodigy. He began
piano and theory lessons with Julius Goldstein [Herford], but following the German electorate’s “surrender” to the National Socialist Party, the installation of the Nazi regime with
the appointment of Hitler as chancellor, and the commencement of state persecution of Jews,
his parents emigrated swiftly to Paris in 1933. He continued his studies there: piano with
Lazare Levy, composition with Noël Gallon, orchestration with Felix Wolfes, and flute with
Louise Moyse. In 1937 his family resettled in the United States, where Foss continued his
studies at the Curtis Institute in Philadelphia, with Isabelle Vengerova for piano, Rosario
Scalero and Randall Thompson for composition, and Fritz Reiner for conducting.
During his first year in America, Foss met Aaron Copland, who had a decisive
influence on him and his musical direction. As Foss later recalled, “I had fallen in love with
America because of people like Aaron,” and he once wrote to Copland, “Yours is the only
American music I have performed consistently over the years.” Foss continued his composition studies with Paul Hindemith at Yale (1939–40) and his conducting studies at the
Berkshire Music Center (Tanglewood) during the summers of 1939–43 with Serge
Koussevitzky, who engaged him in 1943 as the pianist for the Boston Symphony Orchestra,
a position he held until 1949.
Foss’s initial acclaim as a composer came with his cantata The Prairie, on a poem
by Carl Sandburg, which he wrote for soloists, mixed chorus, and orchestra. It was performed in 1944 in New York by Robert Shaw and his Collegiate Chorale, and it received
honorable mention by the Music Critics’ Circle of New York. Over the next several years he
achieved several further distinctions: In 1945 he was the youngest recipient to date of a
Guggenheim fellowship in composition; and from 1950–52 he was in residence in Rome on
Fulbright grants and as a Fellow of the American Academy. A year later he was appointed a
professor of music at the University of California at Los Angeles, in both composition and
conducting.
During his California tenure, Foss also was active as a performer, directing the
Ojai Festival and conducting twelve marathon concerts with the Los Angeles Philharmonic
at the Hollywood Bowl, each devoted thematically to a single composer or geographic
region. This was the beginning of his lifelong dedication to the music of contemporary com- 19 -
posers and his recognized championship of new music. He founded the Improvisation
Chamber Ensemble in 1957 at U.C.L.A., which provided expanded opportunities for experimentation both in his own music and for other composers.
In 1963 Foss became music director and conductor of the Buffalo Philharmonic.
Although some criticized his excessive programming of new music there (he was even
dubbed the “would-be Boulez of Buffalo” in reference to Pierre Boulez’s troubled tenure as
music director of the New York Philharmonic, where his attention to contemporary music
was not always welcomed by conservative audiences), he brought the Buffalo Philharmonic
into the limelight of the 20thcentury music world and thereby introduced the public to a
broader range of new music. While there, he also founded the Center for Creative and
Performing Arts at the State University of New York.
Foss’s appointment in 1970 as conductor of the Brooklyn Philharmonia (now the
Brooklyn Philharmonic) inaugurated a two-decade tenure during which he became especially known for his inventive programming, which also included a balance between the old
and the new. He foreshadowed many of the future trends in programming: thematic programs, singlecomposer marathons (he opened his first season in 1971 with a four-and-ahalf-hour Bach marathon), pre- and postconcert discussions and symposia (“Meet the
Moderns”), and specialized new music events. From 1972 until 1976 Foss was also the conductor of the Kol Yisrael (state radio) Orchestra in Jerusalem (now the Jerusalem
Philharmonic), and from 1981 until 1986 he was the music director of the Milwaukee
Symphony—after which he was named its conductor laureate. Meanwhile, he continued to
guest conduct major orchestras throughout America and Europe, and he has taught and been
a composer-in-residence at such universities and conservatories as Harvard, Yale, Carnegie
Mellon, Boston University, Tanglewood, and the Manhattan School of Music.
In 1983, he was elected to the American Academy and Institute of Arts and
Letters, of which he is now a Vice Chancellor. The holder of eight honorary doctorates, he
is in constant demand as a lecturer. In 1986, at the National Gallery in Washington, DC, he
delivered the prestigious Mellon Lectures.
Mr. Foss has appreared as guest conductor of such major American orchestras as
the Boston Symphony, Chicago Symphony, Cleveland Orchestra, the Los Angeles
Philharmonic, the New York Philharmonic, Philadelphia Symphony Orchestra and the San
Francisco Symphony. Abroad, he has led the Berlin Philharmonic, Leningrad Symphony,
London Symphony Orchestra, Santa Cecilia Orchestra of Rome and the Tokyo
Philharmonic, among others.
Lukas Foss lives in New York City with his wife Cornelia, a noted painter. They
have a son and a daughter.
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EARL GRONER is a member of the Music Department
Faculty of the Scarsdale (NY) Public Schools where he
teaches strings and orchestra. This is his forty-fourth consecutive year as an active music educator. He is a Past
President of the New York State School Music Association
(NYSSMA), a Past President of the Westchester County
(NY) School Music Association and presently is President
of the Eastern Division of MENC: The National Association
for Music Education. For two years, he served as Chair of
the Alumni Board of Governors of the University of
Michigan School of Music. Mr. Groner now serves as the
Conductors Guild Vice-President and Chair of the
Conference Committee.
Born and raised in Pennsylvania, Earl Groner
received his Bachelor of Music degree from the University of Michigan at Ann Arbor and
his Master of Music degree from the New England Conservatory of Music. Additional musical training was received at Tanglewood where, for two summers, he was a Tanglewood
Fellow in the Tanglewood Music Center Orchestra. Presently, he is completing his doctoral
studies at Drew University. He has been elected to membership both to Phi Mu Alfa
Sinfonia and Pi Kappa Lambda.
Earl Groner has served in the Seventh U.S. Army Symphony Orchestra based in
Stuttgart, Germany and performed for two seasons with the National Orchestral Association
in New York City. He has had extensive experience both as an orchestral musician and as a
professional orchestral conductor. He is Music Director of Empire State Concert
Productions based in Scarsdale, New York and currently is in the process of forming the
White Plains Symphony Orchestra, a resident professional orchestra for the City of White
Plains, the County Seat of New York State’s Westchester County.
JERRY GROSSMAN has appeared in recital, with symphony orchestras, and with chamber ensembles throughout the United States. His long association with the Marlboro Festival
has included performances with Rudolf Serkin, Pina Carmirelli and Alexander Schneider.
He has frequently presented all six Bach Cello Suites on a single recital program.
Mr. Grossman was born in Cambridge, MA. He began his studies at the Longy
School of Music, attended Harvard University and the Curtis Institute of Music where he
studied cello with David Soyer and chamber music with the members of the Guarneri
Quartet and Mischa Schneider.
His first recording on the Nonesuch label was of the Kurt Weill Cello Sonata,
which he premiered in the United States at the invitation of the Kurt Weill Foundation. Since
that time, he has released two more albums on the Nonesuch label. These albums feature the
works of Bartok, Janacek, Kodaly, and Prokofiev.
Jerry Grossman has held positions in the New York Philharmonic, the Chicago
Symphony and Lyric Opera of Chicago. He is currently the principal cellist of the
Metropolitan Opera Orchestra in New York. During the 1995 season, he appeared in concerts with this orchestra and James Levine as featured soloist of Richard Strauss’ Don
Quixote. This work along with the Death and Transfiguration was recorded and released in
1996 by Deutsche Grammophon.
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DAVID HAYES David Hayes is a conductor with an unusually broad range of
repertory, spanning the symphonic, oratorio and operatic genres. He is currently music director of The Philadelphia
Singers as well as serving on the conducting staff of The Philadelphia
Orchestra having been appointed during
Wolfgang Sawallisch’s tenure as music
director. Mr. Hayes is also the Director
of Orchestral and Conducting Studies for
the Mannes College of Music in New
York City and Staff Conductor of the Curtis Symphony Orchestra. He has also served as
cover conductor for the New York Philharmonic and for Sir Andre Previn on the Curtis
Symphony Orchestra’s 1999 European Tour.
Upcoming engagements for Mr. Hayes’ 05-06 season (in addition to his duties
with The Philadelphia Orchestra, The Philadelphia Singers and the Mannes Orchestra)
include a return to the Curtis Opera Theatre for performances of Britten’s Albert Herring and
serving as dean of the faculty for Chorus America’s National Choral/Orchestral Conducting
Workshop to be held in Philadelphia during May 2006.
Highlights of Mr. Hayes’ 04-05 Season included several non-subscription concerts with The Philadelphia Orchestra, a rare performance of John Adams’ The Death of
Klinghoffer with the Curtis Opera Theatre, and subscription concerts with both The
Philadelphia Singers and the Mannes Orchestra in Alice Tully Hall.
During the 2003-2004 season, Mr. Hayes made both his Alice Tully Hall debut
with the Mannes Orchestra (conducting works of Mahler, Strauss and Beethoven) and his
Carnegie Hall debut (conducting the Mannes Orchestra and The Philadelphia Singers
Chorale in Berlioz’s Requiem). In addition to his duties with The Philadelphia Orchestra
and performances with the Mannes Orchestra and The Philadelphia Singers, Mr. Hayes conducted Britten’s Rape of Lucretia for the Curtis Opera Theatre in May 2004 as well as a
return to the Berkshire Choral Festival for performances of Dvorak’s Requiem.
The highlight of Mr. Hayes’ 2002-2003 season was his subscription debut with
The Philadelphia Orchestra. At the request of Wolfgang Sawallisch, he conducted three performances of Brahms’ Schicksalslied. Mr. Hayes shared the podium with Maestro
Sawallisch for the final subscription performances of the Maestro’s farewell season with the
Philadelphia Orchestra in Verizon Hall.
In past seasons he has appeared with the Chamber Orchestra of Philadelphia, the
Lancaster (PA) Symphony, the Louisiana Philharmonic, the American Repertory Ballet, the
Rutgers Orchestra, and the Mendelssohn Choir of Pittsburgh.
In 1999, Mr. Hayes made his debut at the Verbier Festival in Switzerland conducting
Respighi’s Trittico Boticelliano and MacMillan’s Veni, Veni, Emmanuel, with the Curtis
Symphony Orchestra and percussionist Evelyn Glennie.
He has conducted the Los Angeles Master Chorale and Sinfonia Orchestra at the
Dorothy Chandler Pavilion in the Los Angeles Music Center. In Philadelphia, he has regularly appeared with The Chamber Orchestra of Philadelphia, the Curtis Opera Theatre and
the Relâche Ensemble.
With The Philadelphia Singers, Mr. Hayes has conducted numerous critically
acclaimed performances including: the Philadelphia premieres of Sir Michael Tippett’s A
Child of Our Time and Rossini’s Il viaggio a Reims (a work he first conducted with the
Warsaw Philharmonic Orchestra in Prague), Mendelssohn’s Elijah, Berlioz’s Requiem,
- 22 -
Brahms’ Ein deutsches Requiem, Handel’s Messiah, Israel in Egypt and Solomon, all of the
major choral works of J. S. Bach, Beethoven’s Mass in C Major and Missa Solemnis, Orff’s
Carmina Burana, Stravinsky’s Les Noces, Mozart’s Requiem and Mass in c minor. He has
conducted world premieres of Laderman’s Brotherly Love, Robert Capanna’s Day and several works written by Jennifer Higdon for The Philadelphia Singers. Mr. Hayes also worked
closely with Sir James MacMillan on the U. S. premiere of his large-scale choral work,
Quickening.
A native of the Boston area, Mr. Hayes studied conducting with Charles Bruck at
the Pierre Monteux School and with Otto-Werner Mueller at Philadelphia’s Curtis Institute
of Music. He served as Assistant Conductor of The Philadelphia Singers from 1989-1992
and of the Opera Company of Philadelphia during the same period. In 1992, he was
appointed Music Director of The Philadelphia Singers.
Mr. Hayes is a member of the Board of Directors of Chorus America (the national service organization for the choral arts).
DONALD HUNSBERGER is conductor emeritus of the
Eastman Wind Ensemble, having served as its music director from 1965 to 2002. He also holds the title professor
emeritus of conducting and ensembles at Eastman, where he
served for many years as chair of the conducting and ensembles department.
Under his leadership, the Eastman Wind Ensemble
continued its development as an international performance
model in the creation of numerous new works for the wind
band, providing a prime example of contemporary performance techniques as demonstrated on numerous recordings on
Sony Classics, CBS Masterworks, Mercury Records, DGG
Records, Philips, and Decca among others. In 1987 his
scores and recording of Carnaval featuring Wynton
Marsalis with the Eastman Wind Ensemble were nominated for a Grammy Award in the Best
Solo Performance with Orchestra category. His most recent recording project with the EWE
is a three-CD set (The Eastman Wind Ensemble at 50-DHWL 001CD-WBP) celebrating its
50th anniversary. Under Hunsberger’s direction the EWE performed on six tours of Japan
and Taiwan between 1990 and 2000, and one throughout Japan and Southeast Asia in 1978
for the Kambara Agency and the U.S. State Department.
In addition to performing over 100 premiere performances, Hunsberger had been
involved in writing projects including the books The Wind Ensemble and Its Repertoire
(Warner Bros. Pub.), The Art of Conducting (with Roy Ernst, Random House), The Emory
Remington Warmup Studies (Accura Music), and numerous articles published in educational journals. He has been recognized in publications for his innovative scoring techniques for
varying instrumentations of the contemporary wind band. His research into the history and
development of scoring for wind bands in America has led to numerous articles in
WindWorks, a journal for wind conductors, performers and composers.
He has been the recipient of a number of awards for research (Homespun
America: The National Association for State and Local Historians), pedagogy (the Eastman
Alumni Teaching Award and Herbert Eisenhart Award; Wiley Housewright Fellow, Florida
State University), and performance (the Crystal Award from the Asahi Broadcasting
Company, Osaka, Japan; the Ehud Eziel Award, Jerusalem, Israel).
He is a past president of the College Band Directors National Association and has
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served as a member of the boards of CBDNA, the World Association of Symphonic Bands
and Ensembles, and the Conductors Guild.
In the orchestral world Hunsberger has created and conducted performances of
orchestral accompaniments to over 18 silent films with 50 orchestras including the National,
San Francisco, Houston, Vancouver, Utah, Virginia, San Diego, Syracuse and North
Carolina Symphony Orchestras, and the Rochester, Buffalo, and Calgary Philharmonic
Orchestras among others.
MICHAEL JINBO is in his 15th season as Music Director
and Conductor of the Nittany Valley Symphony. He is also
the Music Director of The Pierre Monteux School for
Conductors and Orchestra Musicians, with whom he has
enjoyed a long affiliation. Michael Jinbo is the third music
director in the school's 57-year history, following his mentor
Charles Bruck and the school’s founder, eminent FrenchAmerican conductor Pierre Monteux. Serving as the school’s
master teacher, Mr. Jinbo directs an orchestra comprised of
musicians from around the world and teaches a class of 20-25
conductors each summer. For four seasons, he served as the
Assistant Conductor of the North Carolina Symphony, a fulltime professional orchestra with whom he performed 60-75
concerts each season, including classical, ballet, pops and
educational programs. He has performed with a wide range of artists, including pianist Garrick
Ohlsson, violinist Kyoko Takezawa, prima ballerina assoluta Galina Mezentseva and the St.
Petersburg Ballet of Russia, and the legendary Cab Calloway.
Mr. Jinbo received a B.A. in Music from The University of Chicago, specializing in
the areas of music history and musicology, and an M.M. in Conducting from the Northwestern
University School of Music, where he was the winner of the Honors Conducting Competition
and selected for induction in the national honorary music society, Pi Kappa Lambda. He
received further conducting training at the Pierre Monteux School (Hancock, Maine), the
Herbert Blomstedt Institute (Loma Linda, California), the Scotia Festival of Music (Halifax,
Nova Scotia), and at workshops of the American Symphony Orchestra League and the
Conductors Guild. His former teachers include Charles Bruck, Herbert Blomstedt, Sergiu
Comissiona, Gunther Schuller, Daniel Lewis, Alexander Schneider, Max Rudolf and Ralph
Shapey. In 1991, Mr. Jinbo was selected by the Conductors Guild as a nominee for their biennial Thelma A. Robinson Conducting Award.
Michael Jinbo made his European debut in August of 1999, appearing as guest conductor with the Sinfonieorchester Basel in three concerts in Switzerland and Germany. In April
1999, he appeared as guest conductor in the Quebec Festival of Youth Orchestras, conducting
a combined festival orchestra of over 100 musicians. Previous guest engagements also include
two programs with the Altoona Symphony, a series of concerts with the Dayton Philharmonic,
and a recent appearance as guest conductor of the Erie Philharmonic Orchestra and Chorus in
their season finale, A Night at the Opera. In January 2000, Michael Jinbo participated in the
Annual Conference and 25th Anniversary Celebration of the Conductors Guild in New York
City, where he served as a guest speaker in a session entitled “The Education of Conductors.”
Mr. Jinbo has served twice as a member of the instrumental music panel of the
Pennsylvania Council on the Arts. He is also a violinist, and has appeared as soloist with the
Honolulu Symphony Orchestra, among others. Born in Honolulu, Hawaii, he currently resides
in New York City.
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TONU KALAM, born of Estonian parents, has lived
in the United States since the age of two. He was
trained as a conductor, pianist and composer at
Harvard University, the University of California at
Berkeley, and the Curtis Institute of Music, his major
teachers having been conductor Max Rudolf and
composers Leon Kirchner and Andrew Imbrie. His
summer credits include fellowships at Tanglewood
and Aspen as well as many years at Marlboro, where
he conducted the Beethoven Choral Fantasy on five
occasions at the invitation of legendary pianist
Rudolf Serkin.
He has guest conducted the North Carolina Symphony, the Madison Symphony
Orchestra, the Huntsville Symphony Orchestra, the Shreveport Symphony Orchestra, the
ProMusica Chamber Orchestra of Columbus, the Baton Rouge Symphony Orchestra and the
East Texas Symphony Orchestra, among others, and has served as Music Director of the
New England Chamber Orchestra in Boston. He was a prizewinner in the first Baltimore
Symphony Orchestra Young Conductor’s Competition, and was also a finalist in the prestigious Exxon/Arts Endowment Conductors Program.
In 1994 Mr. Kalam made his European debut conducting the Estonian National
Symphony Orchestra in Tallinn, and he was immediately reengaged for festival appearances
the following year. He returned to Europe in 1997 to guest conduct Finland’s Oulu
Symphony Orchestra and in 2004 he made his fourth Estonian appearance in the “Tubin and
His Time” festival.
Tonu Kalam has conducted over 130 opera performances for companies such as
the Shreveport Opera, the Lake George Opera Festival and the Nevada Opera Company. For
seven years he was Music Director of the Illinois Opera Theatre at the University of Illinois,
and he has also filled short-term appointments as Visiting Associate Professor and director
of the orchestra programs at the University of Miami in Florida and St. Olaf College in
Minnesota. As an educator, he has guest conducted all-state, all-region and all-county
orchestras in New York, North Carolina, Texas and Montana.
In 1984 Mr. Kalam began a long-term association with the renowned Kneisel Hall
summer chamber music festival in Blue Hill, Maine, where he spent thirteen years in various administrative and musical capacities, as Executive Director, Summer Program
Director, Artist-Faculty pianist and chamber music coach. He continues to perform regularly as a pianist and chamber musician in addition to his conducting activities.
Presently he is a Professor of Music at the University of North Carolina at Chapel
Hill, serving as Music Director and Conductor of the UNC Symphony Orchestra. Since
1988 Mr. Kalam has concurrently held the position of Music Director and Conductor of the
Longview Symphony Orchestra in Texas, where he commutes for several concerts each season, and in 1999 he founded the Chapel Hill Chamber Orchestra, a 12-member professional string ensemble. He also currently holds the position of President of the Conductors
Guild, an international service organization devoted to the advancement of the art of conducting and to serving the artistic and professional needs of conductors.
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HIROYASU KANAMORI has been the Principal of the
Tokyo Kosei Wind Orchestra since December 2001. As the
head of Kosei Cultural Society, he is in charge of the whole
range of cultural work in Buddhist organization--- Rissho
Kosei-kai.
Tokyo Kosei Wind Orchestra appeared on the stage of
Midwest Clinic in Chicago as a guest performer in
December 2002.
It was the last oppotunity to play together with
Conductor Laureate--Maestro Frederick Fennell.
GILBERT KAPLAN is a leading authority on Gustav
Mahler. He is the author and editor of the award-winning
The Mahler Album, an illustrated biography. His extensive
writings on Mahler have appeared in publications ranging
from London’s musicological journal, The Musical Times,
to The New York Times. On radio he has served as the host
of a 13-week Mahler series broadcast in the United States
and currently hosts “Mad About Music,” a celebrity classical music and interview show.
A member of the faculty of The Juilliard School
(Evening Division), Mr. Kaplan has also lectured widely –
at Oxford and Harvard Universities and at leading conservatories including the Royal Academy of Music and the
Universität für Musik und Darstellende Kunst Wien. He is
a recipient of many honors including an honorary degree of Doctor of Humanities from
Westminster Choir College of Princeton, New Jersey.
As a conductor, Gilbert Kaplan is widely considered one of the foremost interpreters of Mahler’s Second Symphony (“Resurrection”). He has led more than 50 orchestras
including the Vienna Philharmonic, London Symphony, Deutsche Oper Berlin, Orchestra of
Bayerische Staatsoper, NDR Symphony Orchestra, New Japan Philharmonic, Kirov Opera
Orchestra, St. Petersburg Philharmonic, Philharmonic Orchestra of La Scala, Los Angeles
Philharmonic, Prague Symphony, Royal Stockholm Philharmonic, and China National
Symphony (the premiere of Mahler’s Second Symphony in China). In 1996, Mr. Kaplan led
the opening night concert at the Salzburg Festival with the Philharmonia Orchestra and the
Chorus of Wiener Staatsoper in a performance, which Time magazine reported was “a triumph that shook the Grosses Festspielhaus to its granite foundations.”
With sales in excess of 180,000 copies, Mr. Kaplan’s recording of Mahler’s
Second Symphony with the London Symphony Orchestra is the best-selling Mahler recording in history. It was selected as one of the Records of the Year by The New York Times,
and immediately appeared on the best-seller list in the United States and England, where it
remained for almost two years reaching the number one position. His recording of the
Adagietto movement of Mahler’s Fifth Symphony, also with the London Symphony
Orchestra, was selected as one of the Records of the Year by The Sunday Times (London).
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For the past twenty years, The Kaplan Foundation has been a leader in Mahler
research, publications and historical recordings. It has published facsimile editions of the
Second Symphony and the Adagietto movement of the Fifth Symphony, Mahler
Discography, and The Correct Movement Order in Mahler’s Sixth Symphony. The
Foundation produced “Mahler Plays Mahler,” a recording of rare piano rolls Mahler made
of his own compositions in 1905. These rolls are the only documents that exist of Mahler as
a performer. This recording was awarded the Preis der deutschen Schallplattenkritik in the
Historic Category (first quarter 1994) and the “Toblacher Komponierhäuschen” Gustav
Mahler Record Prize in the Historic Category in 1995.
The Foundation’s most ambitious undertaking to date has been a New Critical
Edition of the Second Symphony. Research for the new edition has been underway for the
past four years under the direction of co-editors Renate Stark-Voit and Gilbert Kaplan with
the oversight of Reinhold Kubik, Chief Editor of the Complete Critical Edition of Mahler.
The new edition will be published jointly by Universal Edition and The Kaplan Foundation
later this year. The first concert performance of the new edition took place on October 18 at
the Royal Albert Hall in London when Mr. Kaplan led the Royal Philharmonic Orchestra.
The edition has also appeared on a recording of the work by the Vienna Philharmonic led
by Mr. Kaplan on the Deutsche Grammophon label which received the 2004 Surround
Music Award for Best Mix: Orchestral.
Mr. Kaplan is a recipient of many honors including an honorary degree of Doctor
of Humanities from Westminster Choir College of Princeton, New Jersey and the George
Eastman Medal for Distinguished Musical Achievement from the Eastman School of Music
of Rochester, New York. He serves on the boards of Carnegie Hall; the South Bank Centre
(Royal Festival Hall, London); and the Visiting Committee to the Department of Music at
Harvard University.
For more than forty years, JOEL LAZAR has been responsible for first performances, along with American and
regional premieres, of major works by composers as diverse
as Bruckner, Mahler, Nielsen, Honegger, Holst, Ullman,
Toch, Piston, Maw, Harbison and Schuller. Since the mid1980s he has been based near Washington DC, conducting
contemporary music, opera and symphonic programs
throughout the United States.
Acclaimed by the Washington Post as “…one of
Washington’s premier conductors of both old and new
music…”, Joel Lazar has been Music Director of the JCC
Symphony Orchestra [Rockville, MD] since 1988, conducted the Theater Chamber Players in engagements at the
Kennedy Center, the Library of Congress and on tour from
1986 to 2003, and has appeared as guest conductor with many orchestras and contemporary
music ensembles in the Washington area. During the 1990s, he was Music Director of
Alexandria-based Opera Americana, and Principal Conductor of Opera In The Chapel, the
resident professional company at Mount Vernon College. He was a cover conductor for the
National Symphony Orchestra from 1997 to 2001, sharing the stage with Music Director
Leonard Slatkin in critically praised and enthusiastically received performances of Ives’
Fourth Symphony in April 2001.
A native New Yorker, he received undergraduate and graduate degrees in music
from Harvard University, where he studied with Pierre Boulez, Walter Piston and Randall
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Thompson. In conductors' courses at Aspen and Tanglewood he worked with Izler Solomon,
Richard Burgin and Erich Leinsdorf and at the Shenandoah Festival, with Richard Lert and
Lawrence Leighton Smith.
In the 1960s and early 1970s, he taught and conducted at Harvard, at New York
University and at the University of Virginia. More recently, he gave a series of lectures on
the history of the string quartet for Smithsonian Associates from in spring 2004, and led a
graduate seminar in the music of Beethoven as guest lecturer at the University of Maryland
during the fall semester, 2004.
In 1969 Joel Lazar was elected to honorary membership in the Bruckner Society
of America. Through colleagues in the Society he met the legendary Jascha Horenstein,
master interpreter of Mahler and Bruckner and, in 1971, received a fellowship enabling him
to spend two years overseas as Horenstein’s personal assistant, the only young conductor
ever to serve in this capacity. After Horenstein's death, he acted as his mentor’s artistic
executor, inheriting his extensive music library and completing his recording of Carl
Nielsen’s opera, Saul and David, with an international cast including Boris Christoff.
He contributed a major retrospective article on Horenstein’s life and work to
Gramophone Magazine, and has written insert notes for the BBC Legends series of
Horenstein broadcast performances released on compact disk, for Vox Records’ CD reissues
of Horenstein recordings from the 1950s and for archival releases on the Music and Art
label. He has lectured on Horenstein’s recorded legacy, first in January 2000 to the Gustav
Mahler Society of New York and in July 2003, at the internationally-acclaimed Gustav
Mahler Musikwochen, Toblach/Dobbiaco as the first in their series of major presentations
related to Mahler’s interpreters.
Music Director of the Tulsa Philharmonic from 1980 to 1983, Joel Lazar has also
appeared with the orchestras of San Antonio, Louisville, Pasadena, Oklahoma City,
Richmond, Harrisburg, Wheeling and Johnstown, with Sarah Caldwell’s Opera Company of
Boston, and was Music Director of the Richmond Philharmonic from 1990 to 1992 following a season as Principal Guest Conductor. During a period of European residence he conducted the BBC Philharmonic, the Danish National Orchestra, the Tivoli Orchestra and the
Scottish Baroque Ensemble in concerts, broadcasts and recordings
Highlights of Joel Lazar’s recent concerts include premieres of major works by
outstanding Washington composers Robert Parris and Frances Thompson McKay, the first
American performance of Michal Vích's Opera La Serra, Lukas Foss’s Time Cycle at the
Holocaust Museum, anniversary presentations of Schoenberg’s Suite, Op. 29 and Pierrot
Lunaire, as well as a concert with the Woodley Ensemble featuring Bernstein’s Chichester
Psalms, a revival of Arnold Saltzman’s First Symphony in Washington, and a concert in
Bavaria with the orchestra of the Collegium Musicum, Schloss Pommersfelden in the summer of 2002, including the Third Symphony of Anton Bruckner. In Washington, he conducted George Crumb’s Ancient Voices of Children in the composer’s presence, returned to
the Holocaust Museum to narrate Schoenberg’s Ode to Napoleon and gave the premiere of
Arnold Saltzman’s Third Symphony.
Joel Lazar has enjoyed successful collaborations with many of the leading artists
of our time, among them pianists Leon Fleisher, André Watts, Lorin Hollander, Garrick
Ohlsson, Gary Graffman, Malcolm Frager, and Charles Rosen, violinists Shlomo Mintz,
Cho-Liang Lin, Jaime Laredo, Timothy Fain, Elisabeth Adkins, Ricardo Cyncynates and
Elmar Oliveira, violists Donald McInnes and Nokuthula Ngwenyama, 'cellists Leonard
Rose, Evelyn Elsing, Stephen Honigberg and Stephen Kates, hornists Barry Tuckwell and
Robert Routch, bassoonists David McGill and Lynn Gaubatz, oboists Ray Still, Rudolph
Vrbsky and Sara Watkins Shirley-Quirk, clarinettist Alex Fiterstein, singers Phyllis BrynJulson, Roberta Peters, Christophoren Nomura, Jeannette Walters, Maureen Forrester, Irene
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Gubrud, Ben Holt, Marvis Martin and Charles Williams, along with members of the
National Symphony Orchestra, the New York Philharmonic, the Metropolitan Opera
Orchestra, the Cleveland Orchestra, the Chicago Symphony and the Washington Opera.
LORIN MAAZEL became Music Director of the New
York Philharmonic in September 2002. Over the years he
has led more than 150 orchestras in more than 5,000 opera
and concert performances, and conducted the Philharmonic
more than 100 times prior to his current appointment. Mr.
Maazel most recently served as music director of the
Symphony Orchestra of the Bavarian Radio (1993 until
summer 2002). He has held positions as music director of
the Pittsburgh Symphony (1988-96); general manager and
chief conductor of the Vienna State Opera (1982-84) – the
first American to hold that position; music director of The
Cleveland Orchestra (1972-82), appearing with the orchestra in some 700 performances and seven international tours;
and artistic director and chief conductor of the Deutsche
Oper Berlin (1965-71). He was named honorary member of the Israel Philharmonic in 1985
when he conducted its 40th anniversary concert. He is also Honorary Member of the Vienna
Philharmonic and is the recipient of the Hans von Bulow Silver Medal from the Berlin
Philharmonic.
A second-generation American, born in 1930 in Paris, Mr. Maazel was raised and
educated in the United States. He took his first violin lesson at age five, and conducting lesson at age seven. He studied with Vladimir Bakaleinikoff and appeared publicly for the first
time at age eight, leading a university orchestra. He was invited by Arturo Toscanini to conduct the NBC Symphony in 1941 at age 11, and made his New York debut at the New York
World's Fair at age 9, conducting the Interlochen Orchestra. That same year, 1939, he conducted the Los Angeles Philharmonic in the Hollywood Bowl, sharing a program with
Leopold Stokowski. He made his New York Philharmonic conducting debut on August 5,
1942 at Lewisohn Stadium, the former summer venue of the Orchestra.
Between ages 9 and 15, he conducted most of the major American orchestras. At
17 he entered the University of Pittsburgh to study languages, mathematics, and philosophy.
While a student, he was a violinist with the Pittsburgh Symphony and served as apprentice
conductor during the 1949–1950 season. In 1951, he won a Fulbright Fellowship to Italy,
and two years later made his European conducting debut in Catania, Italy. He appeared at
Bayreuth in 1960 (the first American to do so), with the Boston Symphony in 1961, and in
Salzburg in 1963. Since then, he has conducted throughout Europe, Australia, North and
South America, Japan, and the former Soviet Union.
Maestro Maazel’s extensive discography includes recordings with The Cleveland
Orchestra, Vienna Philharmonic, Pittsburgh Symphony, Berlin Philharmonic, and Bavarian
Radio Orchestra. His interpretations of Prokofiev’s Romeo and Juliet and Gershwin’s Porgy
and Bess with The Cleveland Orchestra were the first complete recordings of these works.
He is the recipient of 10 Grand Prix du Disque Awards.
As a violinist, Lorin Maazel has appeared as soloist with numerous orchestras.
Also an accomplished composer, his works include The Empty Pot, for boy soprano, children's chorus, orchestra, and narrator; Farewells, commissioned and performed by the
Vienna Philharmonic; and Irish Vapours and Capers, premiered by the Pittsburgh
Symphony in 1994. He is currently composing an opera based on George Orwell’s 1984.
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His honors, decorations, and awards include the Commander’s Cross of Merit of
the Federal Republic of Germany, the Legion of Honor of France, and the Commander of
the Lion of Finland. Learn more about Lorin Maazel by visiting his personal website at
www.maestromaazel.com.
TORU MIURA is the Solo Euphoniumist with the Tokyo
Kosei Wind Orchestra. He is also a lecturer of euphonium
and brass ensemble at the Kunitachi College of Music, the
Sobi Music Academy, the Soai University, the Toho Gakuen
College and the Shobi-gakuen. He directs the Tokyo BariTuba Ensemble and the Euphonium-Company as their
founder.
Mr. Miura was a performing artist and a clinician
at the 2nd ITEC in 1983, the 2nd IBC in 1984, the 3rd ITEC
in 1986, the 4th ITEC in 1990, the 5th ITEC in 1992 and the
6th ITEC in 1995 and the IBC of the Summit Brass in 1996
and the Verso il Millenio in 1997 and the 7th ITEC in 1998
and the 2nd Tubamania in 1999.
Other appearances out side of Japan also include
solo performances and clinic in Hong-Kong, Indonesia,
Taiwan, Hawaii, Singapore, Australia, Korea and China. Solo recordings for SONY include
“Invitation to Playing Trombone and Euphonium” etc., and a solo CD for DENON has been
released. His Euphonium Methodes and solo books are published from Doremi Music
Company and Ongaku-no-Tomosha. He is also active as a writer about for various- professional magazines, including the Band Journal and the Pipers.
Miura was born in Osaka, Japan in 1948. In 1971, he earned the B.M.degree with
honor of the Ataka Award from the Tokyo National University of Fine Arts and Music where
he studied under Kiyoshi Ohishi, the Distinguished President of Japan Euphonium Tuba
Association. In 1973, Miura graduated from the University of Southern Mississippi with the
M.M. degree, where he studied with Raymond Young .
From 1973-74, he attended the Eastman School of Music and performed in the
Eastman Wind Ensemble under conducting of Dr. Donald Hunsberger. He had served as the
Euphonium Coordinator and the Vice President for International Relationship of T.U.B.A..
At the present time, he serves as a member of board of directors for International Tuba
Euphonium Association (T.U.B.A.).
CRAIG MUMM is in his 23rd season as associate principal violist of the Metropolitan
Opera Orchestra. Mr. Mumm began his career in the Milwaukee Symphony Orchestra and
went on to become the assistant principal violist of the Lyric Opera Orchestra of Chicago
and also the Grant Park Symphony Orchestra. He grew up in Chicago and Milwaukee,
where his musical studies began with his father, Edward Mumm, former concertmaster and
assistant conductor of the Milwaukee Symphony Orchestra. Mr. Mumm earned his Bachelor
of Music Performance degree from Northern Illinois University as a performance scholarship student of Shmuel Ashkenasi of the Vermeer Quartet. He continued his musical studies
in Switzerland with Zino Francescati, and while in Europe, played with the Folkwang
Chamber Orchestra in Essen, Germany.
Mr. Mumm is a regular performer with James Levine on the MET Chamber
Ensemble Weill Hall Concert series and was also an artist-in-residence faculty member at
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the Hartwick College Summer Music Festival for 7 years. He is a frequent competition adjudicator, symposium and master class clinician for the American String Teachers Association,
NJMEA and many other educational grant projects throughout the NY tri-state area. In addition to his orchestral work, Mr. Mumm maintains an active career as private teacher, soloist,
chamber and recording musician.
THOMAS OTTEN, a California native born of GermanAmerican parents, has been hailed by the New York Times as
“an extremely original player who puts a formidable technique
at the service of his ideas.” He has appeared in recital and as
orchestral soloist in such venues as the Kennedy Center,
Lincoln Center, Carnegie Hall, the National Press Club, the
German Embassy, and the Chautauqua and Brevard Summer
Festivals; he has also performed at Severance Hall with the
Miami String Quartet. His performances have been broadcast
on both coasts, including WQXR New York, WGMS
Washington, and KUSC Los Angeles. He has concertized in
Germany numerous times, including a television performance
and a debut at the Gasteig in Munich.
Dr. Otten has been the recipient of numerous national and
international prizes, including first prize in the Joanna Hodges International Piano
Competition, the Palm Beach Invitational International Piano Competition, the International
Masters Piano Competition, and the USIA Artistic Ambassador Competition. As a result of
the latter, he represented the U.S. in a three-week concert tour of the Caribbean. From 1991
to 1998, Dr. Otten was a member of the California Arts Council’s prestigious Touring Artist
Roster, performing recitals and giving residencies throughout the state. This led to his
expertise in the area of self-management/marketing, and the exploration of highly diverse
repertoire, including jazz and ragtime.
A student of master teachers John Perry and Nelita True, Dr. Otten holds performance degrees from the University of Southern California (DMA, MM) and the
University of Maryland, College Park (BM, summa cum laude). He twice received USC’s
Podolsky Prize, awarded annually to the outstanding keyboard performer. Dr. Otten has also
studied collaborative performance with Gwendolyn Koldofsky and Martin Katz.
Dr. Otten currently chairs the piano division at the University of North Carolina Chapel Hill. From 1997-2002, he headed the piano area at Kent State University in Ohio,
where he was also co-founder of the Kent Piano Seminar. He has also been on the piano faculties of Chapman University in Orange, California; California State University,
Sacramento; Occidental College in Los Angeles; and the Kent/Blossom Music Festival. His
students have been prizewinners in competitions throughout the U.S. and abroad.
Dr. Otten is in demand as a performer and clinician, giving recitals, master classes, and workshops throughout the U.S. In 2004-2005, he will perform in North Carolina,
Virginia, Washington, D.C., New Jersey, Kentucky, Nebraska and California. Highlights
include performances of the Schumann Piano Quintet with the Vega String Quartet, and a
performance at the National Convention of the American Liszt Society. Dr. Otten’s first CD,
featuring the transcriptions of Franz Liszt, is also scheduled for release this season.
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MICHAEL SHAPIRO is active as a conductor, composer,
pianist, author, and lecturer. Mr. Shapiro has appeared internationally as a conductor and pianist for over twenty years
most prominently including appearances in Berlin,
Germany, over the Sender Freies Berlin radio network and
at Humboldt University, Siena, Italy, at the Accademia
Chigiana, Zurich Opera Theater, Switzerland, Shawnigan
Lake Youth Symphony, Victoria, Canada, and in the United
States in Minneapolis, Boston, Washington, D.C., and New
York. He served for two years as a music consultant to the
United States Holocaust Memorial Museum in Washington,
D.C. promoting and performing the music of composers
who were persecuted during the Shoah. Michael Shapiro
has been Music Director and Conductor of The Chappaqua
Orchestra since 2002.
Mr. Shapiro’s music has been characterized by the New York Times as “possessing a rare melodic gift.” His compositions include over 100 art songs, the opera The Love of
Don Perlimplin and Belisa in the Garden based on Federico Garcia Lorca’s play (premiered
by the Opera Theatre of Northern Virginia, Washington, D.C.), Symphony Pomes Penyeach,
solo and double concerti for guitar, violin, and violoncello, chamber music including several sonatas for violin, piano, and clarinet, Yiddish Quartet (premiered by the Hawthorne
String Quartet of the Boston Symphony Orchestra), Eliahu Hanavi Variations for solo violoncello (recorded by BSO Associate Principal cellist Sato Knudsen on NAXOS Records),
choral works, and a new film score to the 1931 movie Frankenstein, directed by James
Whale and starring Boris Karloff (premiered at the Film Society of Lincoln Center’s Jacob
Burns Theater).
His best-selling books on Jewish history and culture (The Jewish 100 and Jewish
Pride) are published in seven language editions including Japanese. Pieces on his books
have been featured in The New Yorker, The Daily News, Washington Post, Detroit Free
Press, San Francisco Chronicle, The Independent (London), Ha’Aretz (Israel), and in the
broadcast media on National Public Radio and CBS-TV.
Mr. Shapiro studied conducting with Carl Bamberger at the Mannes School, and
with Harold Faberman. Principal composition teachers included Elie Siegmeister, Vincent
Persichetti, and Sir Malcolm Arnold. Michael Shapiro also studied solfege and score reading with Renee Longy. He holds an M.M. degree from The Juilliard School where he was a
Juilliard Scholar.
In addition to his activities as a conductor, pianist, and composer, Mr. Shapiro has
been active as a radio journalist and conducted a noteworthy series of broadcast interviews
with renowned musicians including Pierre Boulez, Elliott Carter, David Diamond, Peter
Mennin, and Beveridge Webster.
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Broadcaster, writer, teacher and radio personality,
ROBERT SHERMAN is probably best known for his
work at WQXR, where he has been Program Director,
Executive Producer and (currently) Senior Consultant. For
twenty-three years he presided in The Listening Room, and
he continues to present The McGraw-Hill Companies’
Young Artists Showcase. He has also hosted since their
inception the Avery Fisher Career Grant Award presentations and the annual Martin Luther King Jr. Birthday specials from the Harlem School of the Arts. A member of the
faculties of both the Juilliard and Manhattan Schools,
Robert Sherman has also presented seminars at Yale, the
Eastman School, the Harid Conservatory and Mannes
College of Music, where he serves on the Board of
Directors.
A former music critic for The New York Times, Sherman continues to write music
columns for the Westchester and Connecticut sections for the paper. He has published two
books with Victor Borge, is the co-author of The Complete Idiot’s Guide to Classical Music,
and with his brother, Alexander Sherman, has compiled a pictorial biography of their mother, the renowned pianist Nadia Reisenberg. He is on the advisory boards of many major cultural organizations. In addition he serves them variously as pre-concert lecturer, competition
judge, panel moderator and fund-raising emcee.
Increasingly active as a concert narrator, Robert Sherman has performed with
such ensembles as Canadian Brass, the U.S. Military Academy (West Point) Band, Hudson
Valley Philharmonic and Philharmonia Virtuosi; among his appearances are the world premieres of works written especially for him by Seymour Barab, William Mayer, Issachar
Miron and Soong Fu Yuan.
ROBERT SIMON has led the Piedmont Wind Symphony
since founding the group in 1990. As the symphony’s
Artistic Director, Simon strives constantly to raise the
group’s standards, recruit new members, choose challenging repertoire, expand the audience and lure outstanding
guest artists to perform.
He believes that inspiration to perform at higher
levels of excellence comes from prominent guest artists.
The symphony has hosted such guests as jazz saxophonist
Ernie Watts, James Houlik, James Ketch, conductor
Frederick Fennell, composer/conductor Alfred Reed, and
jazz legend Maynard Ferguson. Arturo Sandoval performed
with the ensemble in 2001 and again in 2004. Paul Anka
was the guest artist in 2003, and on May 11, 2005, the
Piedmont Wind Symphony hosted legendary jazz singer Diane Schuur.
Non-performing guests have included composers Aldo Forte and Dr. Roger
Hannay, a noted composer and professor emeritus at UNC Chapel Hill. A Piedmont
Celebration (2000) was commissioned from Forte to commemorate the PWS’ 10th anniversary (World premiere on November 2, 2000). Hannay was in the audience for the May 4,
1999 premiere of his Symphony for Band (1963) in its first printed version, the Edition
Robert Simon, available in rental from Ludwig Music, Cleveland.
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Simon studied music education and tuba at UNC Chapel Hill. He contemplated
a career in music education at the college level before deciding to enter the jewelry industry. He was a concerto winner at UNC and also received a University grant to do research
in Australia on composer Percy Grainger, resulting in his first book, Percy Grainger: the
Pictorial Biography (available through GIA Music Publications).
While in Australia, Simon studied conducting of Grainger scores with John
Hopkins, conductor of the Melbourne Symphony Orchestra. He has done biographical
research for Arturo Sandoval and has recently completed the book Fennell: A Tribute to the
Career of Frederick Fennell, available from GIA Music Publications, Chicago.
Simon is the President of Windsor Jewelers and serves on an endowment committee at UNC-Chapel Hill. He lives in Clemmons with his wife Sarah, and their three sons.
THOMAS SLATTERY is a graduate of the Eastman
School and holds M.A. and Ph.D. degrees from the
University of Iowa. He taught four years in the Iowa public
schools and from 1966-1979 was a member of the faculty,
full professor and Music Department Chairman at Coe
College in Cedar Rapids, Iowa. Mr. Slattery is the author of
a biography of the Australian/American musician, Percy
Grainger, and has contributed to numerous scholarly publications which include The Dictionary of American
Biography. He was a member of the Eastman Wind
Ensemble from 1954-1958 and the 7th Army Symphony
Orchestra from 1959-1961.
Since 1979, Mr. Slattery has been involved in the
commercial real estate industry as an investor, developer
and broker. He is the former President and principal stockholder of Heritage Associates
Corporation, Haweye Escrow Company, Centurion Properties, and managing partner of several real estate entities. Through entrepreneurial endeavors, he has built, renovated and
developed numerous commercial and mulit-family buildings.
Mr. Slattery has been married to Clare Lynn Durr for 41 years, the parents of two
adult children. He is a board member of th Cedar Rapids Town Association, The Elmcrest
Country Club (current President), a city Commissioner of the Cedar Rapids SSMID District
and sits on the Board of the St. Martin Land Company, a privately held land and oil company, with office in Iowa and Louisiana. Mr. Slattery has been a Cedar Rapids resident since
1966.
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JONATHAN STERNBERG (b. 1919). After studying the
violin as a child at the Institute of Musical Art (now the
Juilliard School) in New York, Sternberg took an academic
degree at New York University (1939), followed by studies
in musicology at NYU Graduate School and Harvard.
During his undergraduate years, he was active as a New
York critic for the Musical Leader of Chicago; he also
attended rehearsals of the National Orchestral Association
conducted by Leon Barzin, from whom he acquired his conducting technique. Apart from two later private sessions
with Barzin (1946) and two summers with Pierre Monteux
(1946 1947), he was self taught.
Sternberg began his professional career on Pearl
Harbor Day, December 7, 1941, conducting the National
Youth Administration Orchestra of New York in Copland’s An Outdoor Overture, before
entering military service. At the end of the war he found himself in Shanghai where he took
over the Shanghai Symphony Orchestra for a season. After returning briefly to the USA,
Sternberg moved to Vienna, making his debut with the Vienna Symphony Orchestra In
1947. He worked closely with the Haydn scholar H.C. Robbins Landon, scouring the
libraries, monasteries and churches of Austria for lost manuscripts, until Robbins Landon set
up the Haydn Society, for which Sternberg made a series of pioneering recordings, initially
of Haydn and Mozart, not least the “Nelson Mass”, “Posthorn” Serenade and some dozen
Haydn symphonies. Other recording premieres under Sternberg included Schubert’s Second
Symphony, Rossini’s Stabat mater, Prokofiev’s Fifth Piano Concerto, Milhaud’s Fantaisie
Pastorale and Charles Ives’s Set of Pieces.
He also began to present modem American music to European audiences that had
heard little of such repertory. With the RIAS orchestra in Berlin he conducted the first
European performances of a large number of American scores, including Bernstein’s
Serenade, Menotti’s Violin Concerto and the Second Symphony of Charles Ives. With other
orchestras, Sternberg conducted the first European performances of works by Barber,
Copland, Diamond and Benjamin Lees. He was also responsible for a number of world premieres, including Rorem's First Symphony (1951) and Laszlo Lajtha’s Sixth (1961).
After a year at the helm of the Halifax Symphony Orchestra (1957 1958) and five
as music director of the Royal Flemish Opera in Belgium (1961 1966), he returned to the
USA to take the position of music director and conductor of the Harkness Ballet of New
York (1966 1968). Sternberg was then appointed musical director of the Atlanta Opera and
Ballet, opening the new Atlanta Memorial Arts Center with the American stage premiere of
Purcell's King Arthur. After Atlanta he took up a visiting professorship of conducting at the
Eastman School of Music in Rochester, New York. On leaving he took up a similar position
at Temple University, Philadelphia, where he taught and conducted for 20 years. Here, too,
he conducted a number of world premieres, including Music for Chamber Orchestra by
David Diamond (1976), A Lincoln Address and Night Dances by Vincent Persichetti (1977)
and Stanislaw Skrowaczewski's Ricercari notturni for three saxophones and orchestra
(1978). In his 80s, Sternberg is still active on the podium and as a lecturer.
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KATE TAMARKIN joined the faculty of the Catholic
University of America in the fall of 2003 bringing a background of over twenty years as a professional conductor and
educator. She has been Music Director of the Monterey
Symphony (CA), Vermont Symphony, East Texas
Symphony, and the Fox Valley Symphony Orchestra (WI).
She was also the Associate Conductor of the Dallas
Symphony under the late Eduardo Mata.
Her guest conducting credits include the Shanghai
Symphony, Edmonton Symphony, National Symphony of
Moldova, and the following US orchestras: Chicago,
Houston, St. Louis, Phoenix, Nashville, New Mexico,
Oklahoma City, Tucson, Pacific (CA), Eastern Music
Festival (NC), and Chicago’s Grant Park Festival. She made
her debut with the Summer Opera Theatre Company in 2004, and returned to conduct
Verdi’s “Rigoletto” in 2005.
Ms. Tamarkin has served as Visiting Associate Professor of Orchestral Studies at
the University of Minnesota, and has been on the faculty of the South Carolina Conductor’s
Institute and the Oklahoma Summer Arts Institute.
Ms Tamarkin holds a Doctor of Musical Arts from the Peabody Conservatory of
Music, a Masters Degree in Orchestral Conducting from Northwestern University, and a
Bachelor of Music Education degree from Chapman University in California. She has been
a fellow at the Tanglewood Music Festival, the Aspen Music Festival, and the Los Angeles
Philharmonic Institute. Her major teachers include Frederik Prausnitz, Bernard Rubenstein,
John Koshak, and Gustav Meier.
New York Philharmonic Principal Librarian LAWRENCE
TARLOW got his start when, as a tubist in the Roslyn (Long
Island) High School Band, he streamlined the system for
handing out music at rehearsals. He attended the Juilliard
School as a student of Joseph Novotny, former Principal
Tuba of the New York Philharmonic, and graduated from the
Curtis Institute of Music, where he was student orchestra
librarian. Before joining the Philharmonic in 1985, he served
as librarian of the Berkshire (now Tanglewood) Music
Center Orchestra, worked for the music publishers C.F.
Peters Corporation and G. Schirmer, Inc., and became the
Oklahoma Symphony’s first full-time librarian in 1977.
During his 1979-85 tenure as librarian of the
Atlanta Symphony he also played the occasional second tuba
part including a recording of the Berlioz Requiem under then-music director Robert Shaw.
Citing a love of "esoterica and trivia" as one of the reasons he enjoys his job, Mr. Tarlow is
an active member and former three-term President of the Major Orchestra Librarians
Association. He is the father of Rachel and Henry, and his extra-Philharmonic interests
include railroading, bridge and baseball.
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ANTHONY TOMMASINI is the chief classical music
critic of the New York Times, an author and a pianist. Born
in Brooklyn, he grew up in Long Island, graduated with a
Bachelor of Arts degree from Yale University in 1970, and
later earned a Master of Music degree from the Yale School
of Music, and a Doctor of Musical Arts Degree from Boston
University. His teachers have included the pianists Donald
Currier and Leonard Shure.
He has taught music at Emerson College in
Boston, and given non-fiction writing workshops at
Wesleyan University and Brandeis University. His interest
in the work of the composer and critic Virgil Thomson culminated with his critically-hailed book Virgil Thomson:
Composer on the Aisle, published in 1997 by W. W. Norton
and Company. Among the reviews the book received was Jack Sullivan’s in the Washington
Post: “…ambitious, utterly absorbing…a thoroughly original biography, detached yet intimate, learned yet entertaining, one that does full justice to its feisty, iconoclastic subject.”
Robert Craft, in the New York Review of Books, deemed the biography “indispensable to
anyone concerned with American cultural history of the period.” A “sympathetic and fully
comprehending study of a formidably complex character, and by a wide margin the finest
biography yet written of an American composer,” wrote Terry Teachout in Commentary. His
latest book, The New York Times Essential Library: Opera, a guide to 100 important operas
and recommended recordings, was released by Times Books/Henry Holt last year.
As a pianist, he can be heard on two Northeastern Records compact discs of
Thomson’s music, titled Portraits and Self-Portraits, and Mostly About Love: Songs and
Vocal Works. Both were funded through grants Mr. Tommasini was awarded by the National
Endowment for the Arts.
Over the years as a journalist he has also written about theater, dance, jazz, rap,
books, and AIDS. Currently he is a volunteer on the Gay and Lesbian National Hot Line in
New York. He lives in Manhattan with his partner, Dr. Benjamin McCommon, a psychiatrist, and enjoys bicycling in Central Park.
MICHAEL VOTTA, JR., Music Director of the North
Carolina Wind Orchestra, is Professor of Music at The
University of North Carolina at Chapel Hill where he serves
as Associate Chair for Applied Studies and as Director of
the UNC Wind Ensemble.. Under his leadership, the wind
ensemble has been praised by critics as an ensemble of
“tautly drawn sharpness and attention to detail,” and has
collaborated with world-renowned conductors and composers. In addition, the wind ensemble has been invited to
perform at conferences of the Conductors Guild, the
College Band Directors National Association and the North
Carolina Music Educators Association. Votta and the
ensemble formed an artistic partnership with the Prague
Conservatory, leading to their residency in Prague and the
formation of a Czech/American wind ensemble during the spring semester of 2003.
Critics have praised him as “a conductor with the drive and ability to fully relay
artistic thoughts” and for his “interpretations of definition, precision and most importantly,
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unmitigated joy.” Ensembles under his direction have received critical acclaim in the United
States and Europe for their “exceptional spirit, verve and precision,” their “sterling examples of innovative programming” and “the kind of artistry that is often thought to be the
exclusive purview of top symphonic ensembles.” His performances have been heard in
broadcasts throughout the US, on Austrian National Radio (ÖRF), and Southwest German
Television, and have been released internationally on the Primavera label. Numerous major
composers including George Crumb, Christopher Rouse, Karel Husa, Olly Wilson, Barbara
Kolb, Warren Benson, and Louis Andriessen have praised his performances of their works.
Before his appointment at UNC, Votta held conducting positions at Duke University, Ithaca
College, the University of South Florida, Miami University (Ohio) and Hope College.
Votta holds a Doctor of Musical Arts in Conducting degree from the Eastman
School of Music where he served as Assistant Conductor of the Eastman Wind Ensemble
and studied with Donald Hunsberger. A native of Michigan, Votta received his undergraduate training and Master of Music degrees from the University of Michigan, where he studied with H. Robert Reynolds.
He is the author of numerous articles on wind literature and conducting. His
arrangements and editions for winds have been performed and recorded by university and
professional wind ensembles in the US, Europe and Japan, and have been published by
Ludwig Music and Warner Brothers Music. He is Chair of the Research Committee of the
College Band Directors National Association (CBDNA), a member of the board of the
Conductors Guild, and has served as Editor of the CBDNA Journal, as a member of the
Executive Board of the International Society for the Investigation of Wind Music (IGEB),
and as a State Chairman for CBDNA.
Votta maintains an active schedule as guest conductor and clinician in the US, and
has appeared in Europe and Israel. He has taught conducting seminars in the US and Israel,
and has guest conducted and lectured at institutions such as the Eastman School of Music,
the Cincinnati College-Conservatory of Music, the Prague Conservatory and the National
Arts Camp at Interlochen. He has also appeared at conferences of numerous organizations
including the College Band Directors National Association, the Midwest Band and
Orchestra Conference, and state music educators’ conventions in Maryland, New Jersey,
New York, North Carolina, and Ohio. As a clarinetist, Votta has performed as a soloist
throughout the US and Europe, and currently performs with the North Carolina Symphony.
His solo and chamber music recordings are available on the Partridge and Albany labels.
With a repertoire ranging from early 17th century violin
solos to the string quartets of Beethoven and Schubert,
NANCY WILSON is known as one of the leading baroque
violinists in the U.S. A founding member of many of
American’s pioneering period instrument ensembles, including Concert Royal, the Bach Ensemble, and the Classical
Quartet, she performs regularly with Aston Magna and has
worked extensively with the Smithsonian Chamber Players.
She has worked as concertmaster and soloist with leading
conductors in early music, Jaap Schroeder, Christopher
Hogwood, and Nicholas McGegan among them, regularly
leads period orchestra performances in New York City and
the metropolitan area, and has over 50 recordings to her
credit. As concertmaster of the 1985 Boston Early music
Festival 1985 she had the honor of playing on one of Bach’s own violins from the
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Thomaskirche in Leipzig, its first appearance outside of what was then the Iron Curtain.
More recently she appeared as soloist with Philadelphia’s Philomel Baroque
Orchestra in Vivaldi’s Four Seasons. Her solo playing has been called “clear and sweet in
tone, refined in articulation” by Gramophone, “exceptionally stylish” by The Edinburgh
Scotsman and “expert” by the New York Times. A native of Detroit, Ms. Wilson holds degrees
from Oberlin College and The Julliard School; studied with Dorothy Delay, David Cerone,
and Mischa Mischakoff; and began her studies of historical performance practice with Albert
Fuller, Jaap Schroeder, and Stanley Ritchie at Aston Magna. She has been invited as guest
lecturer and clinician at workshops and music schools throughout the U. S. and Europe and
currently teaches at the Mannes College of Music in Manhattan, and Princeton University,
where she directs the Richardson Baroque Players.
DAVID ZINMAN is in his tenth season as Music Director
of the Tonhalle Orchestra Zürich, having taken up the post in
1995 after many years as a regular guest conductor there. In
1998 he completed a highly successful thirteen-year tenure
as Music Director of the Baltimore Symphony Orchestra and
is now Conductor Emeritus. Also in 1998, Mr. Zinman
became Music Director of the Aspen Music Festival and
School, where he is also Program Director of the newly
formed American Academy of Conducting.
Mr. Zinman’s tenures, first in Baltimore and now in
Zurich, have been distinguished by his programming of an
extraordinarily broad repertoire, his strong commitment to
the performance of contemporary music, and his introduction of historically informed performance practice. He has
toured widely with both orchestras in Europe, North America and the Far East, consistently
winning critical accolades. Among his most recent tours have been those with the Tonhalle
Orchestra including an eight city tour of the USA culminating in Carnegie Hall (May 2004),
Germany and Spain (October 2001) and Milan (October 2000). Mr Zinman and the Tonhalle
Orchestra have also performed throughout Europe in such music centres as Berlin, Vienna,
Frankfurt, London, Munich and Paris. On the Arte Nova label they have released an
acclaimed Beethoven cycle, Beethoven’s Missa Solemnis, Richard Strauss cycle, Robert
Schumann’s symphonies and during 2004/05 they will record Beethoven’s Piano concerti and
the Triple concerto.
Since his American conducting debut with the Philadelphia Orchestra in 1967,
David Zinman has conducted many of the world’s leading orchestras, and has served as
Music Director of the Rochester Philharmonic (1974-85), Rotterdam Philharmonic (197982), Netherlands Chamber Orchestra (1964-77) and Artistic Director of the Minnesota
Orchestra’s Viennese Sommerfest (1994-96). He has guest-conducted all the leading North
American orchestras including Boston, Chicago, Cleveland, Philadelphia and the New York
Philharmonic, and makes regular guest appearances with the American festivals. His engagements elsewhere include major orchestras such as the Berlin Philharmonic, Orchestre de
Paris, Deutsches Symphonie-Orchester Berlin, Royal Concertgebouw, Leipzig Gewandhaus,
London Symphony, Philharmonia, London Philharmonic, BBC Symphony, Munich
Philharmonic, Oslo Philharmonic, Vienna Symphony, Israel Philharmonic and NHK Tokyo.
David Zinman’s extensive discography of more than 100 recordings has earned
numerous international honours, including five Grammy awards, two Grand Prix du Disque,
two Edison Prizes, the Deutsche Schallplattenpreis and a Gramophone Award. Mr Zinman is
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also the 1997 recipient of the prestigious Ditson Award from Columbia University, given in
recognition of his exceptional commitment to the performance of works by American composers (many of which he has recorded in a series for Decca’s Argo label).
Born in 1936, David Zinman graduated from Oberlin Conservatory and pursued
advanced work in composition at the University of Minnesota. Conducting studies at the
Boston Symphony’s Tanglewood Music Center brought him to the attention of Pierre
Monteux, who guided his musical development. Mr. Monteux introduced Mr. Zinman to his
first prominent conducting opportunities with the London Symphony Orchestra and at the
1963 Holland Festival, where critics hailed Mr. Zinman as a major conducting discovery. The
City of Zurich Art Prize was awarded to David Zinman in October 2002 for his outstanding
artistic efforts. David Zinman is the first conductor and the first recipient who is not originally from Switzerland. The title of ‘Chevalier de l’Ordre des Arts et des Lettres’ has also
recently been conferred on him.
RECIPIENT OF THE 2006 THEODORE THOMAS AWARD
DAVID ZINMAN
The Theodore Thomas Award is presented biennially to a conductor in recognition of
outstanding achievement as a conductor and extraordinary service to one’s colleagues in
advancing the art and science of conducting, reflecting honor upon our profession. Past
recipients have included:
1988 - Max Rudolf
1989 - Leonard Bernstein
1990 - Leon Barzin
1991 - Sir Georg Solti
1992 - Maurice Abravanel
1993 - Robert Shaw
1994 - Frederick Fennell
1995 - Margaret Hillis
1996 - Pierre Boulez
1997 - Leonard Slatkin
1998 - Kurt Masur
2000 - Claudio Abbado
2002 - James Levine
2004 - Michael Tilson Thomas
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UNC WIND ENSEMBLE
Michael Votta, Jr., Conductor
The Wind Ensemble uses rotating seating.
The players are therefore listed in alphabetical order.
Flute/Piccolo
Curtis Bergquist
Jason Brame
Beth Ervin
Aya Hayashi
Saxophone
Jennifer Murray (baritone)
Adam Pedersen (alto)
Whitney Post (alto/soprano)
Jacob Rosch (tenor)
Oboe/English Horn
Rebecca Gurganious
Ben Thompson (+EH)
Trumpet
Jake Brady
Michael Gillespie
Arden Jones
Bradley Phillis
Reid Settle
David Suchoff
Bassoon/Contrabassoon
Christopher Ogburn
James D. Terry
Clarinet / Bass Clarinet
Kristen Barnes
Lesley Bradner
Julie Goodstadt (bass)
Burke Haywood
Kimberly Kirkhum
Lee Anne McLendon
Megan Pinder
Carolyn Sorock
Justin Tabor
Chris Whittemore
Horn
Matthew Brown
Heather Honeycutt
Caitlin Lyttle
Andrea E. Smith
Natalie Williams
Trombone
Kevin Pfeuffer (bass)
Bob Phoenix
Jack Robertson
John Skillman
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Euphonium
JC Peterson
Tuba
Zachary Kyle Ballard
Matthew Parunak
Jeremy Wisuthseriwong
String Bass
David Möschler
Timpani/Percussion
Andy Blackmore
Mark Cashin
Heather Harrison
Andrea Sorce
Blake Wynia
Unique Piano-Vocal Scores
Smetana: The Bartered Bride (Czech - English)
Verdi: Un giorno di regno (Italian - English)
Scarlatti: Eraclea (Italian - English performing edition)
Others available
Herman & Apter
1409 E. Gaylord St.
Mt. Pleasant MI 48858-3626
E-mail: [email protected]
Tel: (989) - 772 - 2509
- 42 -
Special thanks to all the guest speakers and UNC musicians!
Thanks also to the following:
Stephen Czarkowski, Conference Coordinator
Earl Groner, Conference Committee Chair
New York Philharmonic:
Kristen Houkom, Education Associate
Barbara Hawes & Rich Wandel, Archivists
Metropolitan Opera:
Dennis Cuozzo, Robert Steiner, Robert Sutherland
Photo Credits:
Judith Clurman: Christian Steiner
John Corigliano: Christian Steiner
Gilbert Kaplan: Tanja Niemann
David Zinman: HarrisonParrott Ltd
Guild Staff:
Sarabeth Gheith
Jack Loynes
Joanna Messer
R. Kevin Paul
Program Book by R. Kevin Paul
and printed by Quicker Printers
Please don’t forget to
turn in your
CONFERENCE EVALUATION FORM
at the conclusion of the
Conference
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Mission of the Conductors Guild
The Conductors Guild is dedicated to encouraging and promoting
the highest standards in the art and profession of conducting.
The Conductors Guild is the only music service organization devoted exclusively
to the advancement of the art of conducting and to serving the artistic and professional needs of conductors. The Guild is international in scope, with a membership
of nearly 1,800 individual and institutional members representing all fifty states
and more than thirty countries, including conductors of major stature and international renown. Membership is open to all conductors and institutions involved with
instrumental and/or vocal music, including symphony and chamber orchestra,
opera, ballet/dance, chorus, musical theater, wind ensemble and band.
History of the Conductors Guild
The Conductors Guild was founded in 1975 at the San Diego Conference of the
American Symphony Orchestra League, and it continued for a decade as a subsidiary of that organization. In 1985 the Guild became independent. Since then, it
has expanded its services and solidified its role as a collective voice for conductors’ interests everywhere. It is supported by membership dues, grants, donations
and program fees and is registered with the Internal Revenue Service as a 501(c)
3 not-for-profit corporation.
Purposes of the Conductors Guild
1. To share and exchange relevant musical and professional information about the
art of conducting orchestras, bands, choruses, opera, ballet, musical theater and
other instrumental and vocal ensembles;
2. To support the development and training of conductors through workshops,
seminars and symposia on the art of conducting, including, but not limited to, its
history, development and current practice;
3. To publish periodicals, newsletters and other writings on the art, history and
practice of the profession of conducting;
4. To enhance the professionalism of conductors by serving as a clearing house for
knowledge and information regarding the art and practice of conducting;
5. To serve as an advocate for conductors throughout the world;
6. To support the artistic growth of orchestras, bands, choruses and other
conducted ensembles; and
7. To communicate to the music community the views and opinions of the Guild.
www.conductorsguild.org
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