MUSIC FROM COLORADO

THE CHANGING MUSIC ENVIRONMENTAn opportunity for musicians to create their niche

3 T ips: Staying Healthy as a Musician Macky Auditorium celebrates 100 years of memorable events

Music holds strings of influence

2011 ISSUEANNUAL MAGAZINE FROM THE COLLEGE OF MUSIC

Dear Friends,As we look back on a year in which our economy seems to be in slow transition back toward health and stability, we can see that the arts industry appears to be making adjustments quite comparable to any other. Some of the orchestras around the country will not survive: Louisville and Syracuse, for example. The great Philadelphia Orchestra is filing for Chapter 11, and New Mexico may shut down as well. But just as we have our own Lehman Brothers, we also have our GMs: the Detroit Symphony has risen from the ashes. The stories of these iconic organizations should be important to us in higher education, because their behaviors and their results can tell us a lot about how we should adjust our approaches to preparing the musicians

of tomorrow and of what forces we must be mindful.

Emerging patterns present special challenges for all of us in the arts, particularly the ever-increasing dominance of the Internet, and the geometric increase in the use of social networks. For example, Michael

Tilson Thomas’s YouTube Orchestra event this past March attracted 33 million people online. This represents the largest audience ever for any presentation of live music. This is clearly not about the aging audience, its about the medium, through which a message delivered by great music can still make a powerful impact.

I see other lessons to be learned as well: We need to keep the entrepreneurial spirit and ethos at the fore of our students’ thinking, and develop successful entrepreneurial skills and habits that will help them to be successful. It’s not just the internet that provides the opportunity for us to make a difference as individuals, it’s our approach to programming, communications, advocacy, networking, and collaborating. All of these are at play whether we use them effectively or not.

And, just as symphony orchestras and other presenting organizations must continue to produce music that is engaging, singular, and at times audacious, so do we in higher education need to develop these same adventuresome habits for our students. It isn’t easy, because we want the next generation to also know the repertory

Editor: Laima HaleyDesign: Karen SchusterPhotography: Glen Asakawa and Casey Cass

Cover Photo: Anthony Green, winner of this year’s campus-wide New Venture Challenge business plan competition.

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of the past three centuries or more. Yet instilling these habits of exploring the boundaries of music is essential to ensuring that the next generation of musicians are not curators of antiquities, but rather, are engaging with a vital and creative modern society as well. This is a challenge, but an exciting one.

Here at CU, I’m proud to say we’ve had a marvelous year exploring these possibilities as part of the educational experiences students and faculty share. One of the most exciting adventures we’ve undertaken is a re-examination of our delivery of Music Appreciation courses. Jeremy Smith, understanding that this outreach to the non-music major gives the College an opportunity to share great music with the next generation of lay audiences, developed a course syllabus based on the repertory of our Symphony, Opera, and Wind Ensemble public performances, with requirements that the students attend. He won a Boulder Faculty Assembly Teaching Award for this pioneering effort (and his excellence in teaching). Also relevant is the continued success of our Pendulum recital series, which brings our student performers and composers together to present entirely new works to a growing and enthusiastic audience. Adventuresome programming seems also to have become part of the fabric of our ensembles and our faculty as well. And, the Entrepreneurship Center for Music continues to explore the ways that students can discover what it takes to embrace ownership of their success.

As a College, we closed out the academic year with a success for all: a brilliant performance in Boettcher Concert Hall in Denver, of the Bernstein Mass by our orchestra, choruses, CU Opera, and Young Voices of Colorado (lead by our alum, Jena Dickey), and CU Dance students, 400 or more all working together with faculty and staff collaboratively. And, as we approach the end of our fiscal year, it is also with great pride that I report that this was a banner year for our fund-raising efforts. My heartfelt thanks to all of you who have contributed to ensure that your CU College of Music is the best that it can be!

Daniel Sher, Dean of the College of Music

College of Music Advisory Board Chris Brauchli Robert Bunting Abel Chavez Ralph “Chris” Christoffersen, Chair Colleen Conant, Secretary Martha Coffin Evans Tyler Forman Jonathan Fox Lloyd Gelman Doree Hickman Suzanne Hoover David Hummer Daryl James Gary S. Joiner Caryl Kassoy Robert Korenblat Erma Mantey, Past Chair Joseph Negler Susan Olenwine Mikhy Ritter Rebecca Roser Daniel Sher, Dean Steven Taniguchi Jeannie Thompson, Vice Chair Jack Walker

Honorary Directors Dean Boal Robert Charles Eileen Cline David Grusin

College of Music301 UCBBoulder, CO 80309-0301music.colorado.edu

Grusin Renovation Complete Grusin Music Hall underwent an extensive renovation this past summer, and you’re invited to enjoy performances in the beautiful new space! Until May of 2010 the Grusin stage was oak, over concrete, over soil. The entire stage was excavated to the level of the house floor (the soil left the Music building one wheel-barrow load at a time). A new concrete slab was poured, and over that a proper acoustic, framed (hollow) stage floor was constructed. The finished height of the new stage floor is 14 inches lower than the old one. This increases the overall volume of the hall, makes the setting more intimate for performers and audience alike, plus the stage itself becomes a vibrating instrument. A permanent rear stage false wall was constructed to replace the former moveable acoustic shells used for many years; this too is of oak with an acoustic design. Large french doors open in the center of the wall to allow moving of pianos and such to the new lower stage level by means of a hydraulic lift built into the stage floor. When one enters Grusin Music Hall from the lobby, through new inside oak doors, the ceiling “runways” immediately draw your eyes to the new stage. The golden oak is warm and inviting as is the new live acoustic atmosphere of the hall.

CU Opera wins at NOA CU Opera won first place in the National Opera Association (NOA) opera scenes competition held Thursday, January 6 in San Antonio, Texas. CU-Boulder graduate voice students John Robert Lindsey and Nicole Vogel performed under the direction of CU Opera Director Leigh Holman, with accompaniment by Music Director Christopher Zemliauskas. This is the second year in a row that the CU Opera Program has won this prestigious honor.

So You Think You Can Collaborate? The College of Music hosted its first competition dedicated specifically to collaborative music-making: So You Think You Can Collaborate? in January. The winners of the competition were Forty Fingers of Fury (Allan Armstrong, Laura Brumbaugh, Doreen Lee and Sunyoung Lee, pianos with Owen Zhou, technical guru). Second prize

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was awarded to the Cold Quartet (Ryan Wurst, laptop, Hannah Darroch, flute, Jessica Lindsey, bass clarinet and Mollie Wolf, dancer). The most significant and innovative feature of the competition is that participants must consider the audience to be part of the collaborative process. This means that their presentation must not only include a high-level collaborative performance, but must include some component that engages the audience–be it speaking, technology, or dance, as a few examples–with the goal of enhancing the audience’s appreciation, enjoyment and understanding of the musical performance. And perhaps most exciting of all: The winners are determined by an audience vote.

CU Invitational Orchestra Festival The College of Music hosted the first CU Invitational Orchestra Festival in April. The festival involved the participation of three orchestras from Boulder High School, and orchestras from Legacy High School, Lakewood High School and Cherry Creek High School. Each ensemble performed and received comments from Gary Lewis (University of Colorado Boulder), Dan Long (Ann Arbor, MI) and Don Schleicher (University of Illinois, Champagne-Urbana) on the stage of Grusin Music Hall. After each performance, each orchestral ensemble received a 30-minute clinic from either Dan Long or Don Schleicher.

Glenn Miller Archive Grows The Glenn Miller Archive at the University of Colorado Boulder American Music Research Center has acquired one of the world’s most significant collections of Big Band Era recordings and memorabilia. The Ed Burke Collection–named for its shepherd and founder–contains approximately 1,400 reel-to-reel tapes containing hundreds of hours of live radio programs featuring virtually every musician of major importance during the Big Band Era.

CU Opera in Italy This August four CU voice students will travel to the Friuli region of Italy to perform with the Piccolo Festival. Three will be performing

HighNotes

in Rossini’s one-act opera La cambiale di matrimonio, and the fourth student will be performing on their concert series. Leigh Holman will serve as stage director for the opera production. While in Italy, the students will receive language and diction training, musical and vocal coaching, and performance opportunities while touring the region and performing in a variety of beautiful historic venues. In April 2012, the Piccolo Festival performers, their musical conductor, and other guests will come to Boulder and re-mount the production of La cambiale di matrimonio as the third show in the CU Opera season and the students will reprise their summer roles in that production.

Sydney Conservatorium Chamber Orchestra Student musicians from Australia joined their counterparts here at the CU College of Music for an historic concert in Boulder in October. The 34 members of the Sydney Conservatorium’s Chamber Orchestra, on an inaugural tour of the USA, performed a combination of modern American music by William Schuman and Norman Dello Joio and modern Australian music by Richard Mills, as well as Young Person’s Guide to the Orchestra by English composer Benjamin Britten. The Chamber Orchestra also performed with the Juilliard School in New York and the San Francisco Conservatory on separate legs of the tour.

Bernstein’s Mass a smash success Over 200 College of Music performers and 2000 audience members gathered April 26 at Denver’s Boettcher Concert Hall to experience a rare performance of Leonard Bernstein’s monumental masterpiece Mass. Under the baton of Director of Orchestral Studies Gary Lewis the combined forces of CU Opera, CU choirs, and the University Symphony Orchestra presented a brilliant fully staged production which was enthusiastically greeted with a standing ovation.

Grusin Music Hall Renovation Forty Fingers of Fury in rehearsal Leonard Bernstein’s Mass

For percussionist and writer Jennie Dorris (MM 2005), the key to her career came when she was inspired to combine her two passions into one creative, innovative venture.Dorris had repeatedly been told that she could only pursue either music or writing after graduation. Rather than choosing between the two, Dorris created a third option.

After earning a master’s degree in percussion performance at the College of Music, Dorris founded Telling Stories in 2006. Telling Stories is a concert series and radio show that has a goal of attracting a younger audience to classical music and literature. And it’s attracting a wider audience than she anticipated.

“I started Telling Stories because I believed that writing and music didn’t have to be mutually exclusive,” said Dorris. “I graduated at a time when it had become extraordinarily difficult to compete for traditional jobs in

The Changing music environmentAn opportunity for musicians to create their nicheby Kenna Bruner

orchestras, but I didn’t want to join in the conversation that classical music was dying before I tried something. So, I tried something and Telling Stories is the result.”

Telling Stories draws on the talents of a troupe of classically trained musicians and writers who want to make music and literature “a little more fun and a lot less stuffy.” They present live classical chamber music, read original essays, and showcase this nontraditional mix of the two arts in casual venues in Colorado. Telling Stories has performed in cafés, coffee shops, breweries, and art galleries.

Although these novel concerts are performed outside the traditional symphony hall, Dorris ensures that the integrity of the classical repertoire isn’t compromised.

“We don’t dumb down our music,” said Dorris. “Because our audience is comfortable—if you cough we won’t kick

you out—they will come along with us as we present a challenging repertoire. They can get out of their heads and dive into the music.”

Dorris learned tools for creating and managing her career from the Entrepreneurship Center for Music (ECM) at the College of Music. The center offers academic courses, a guest lecture series, and mentorship opportunities.

Serious changes have been occuring in the classical music industry for the past several years, according to Jeffrey Nytch, director of the ECM. In response to the recession, corporate and government funding has become harder to obtain, and organizations are cutting the number of performances, laying off musicians, or closing their doors. Changes in the marketplace have forced the recording industry to change its business models, due in large part to the Internet.

As the business of classical music continues to change in ways unimaginable a decade ago, the arena in which musicians jockey for success has become more complicated than ever. Yet, for the enterprising artist, opportunities abound. Advocates of entrepreneurship stress that musicians adapt to the shrinking and changing marketplace. Successful musicians must find creative new ways of reaching audiences.

“Musicians who create a unique brand for themselves and for the art they’re trying to do are going to succeed no matter what the economic climate is,” said Nytch, “because people still need music. New paradigms haven’t been invented yet, which makes this a really interesting time to be in the arts. Musicians who can figure out new ways

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Jennie Dorris

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to use the Internet as a moneymaker are going to be great innovators. That way of thinking is irrespective of the economy.”

One of Nytch’s goals is to create a culture of entrepreneurship that permeates the College of Music so that students and faculty begin thinking not only in artistic, but in business terms. Once that happens, he says, there’s no limit to the kind of exciting projects that could come out of the college.

One such project is the idea of doctoral composition student Anthony Green.

Green submitted the winning music plan in this year’s campus-wide New Venture Challenge business plan competition. His business plan is to develop an organization called ALTitude to produce small concerts and outreach projects culminating in a three-day electronic music festival in Boulder. The first festival is scheduled for fall 2012 and will feature a mix of electronic pop and avant-garde classical music.

Green got his idea for ALTitude because he wanted to showcase the talents of local student and professional composers and artists in an electronic music festival in Boulder.

“Drawing connections between the pop and classical worlds will not only educate people about electronic music,” said Green, “but will also draw in a new audience for the type of music that my colleagues and I compose.”

Green sees his career as a three-prong approach that will include teaching, working as a freelance composer and musician, and the development of ALTitude.

“I started thinking about the direction of my career when I was attending talks at the ECM,” he said. “I learned how musicians can think critically, practically, and creatively about the business side of music, which is essential for today’s classical musician.”

A career in music today demands innovation and thoughtful risk-taking as much as talent and musicianship. Jennie Dorris applied the lessons she learned at the ECM to the creation of Telling Stories, and has taken it from cutting-edge concept to successful business. Today, she has a cast of 100 professional freelance musicians and writers to call upon. In 2010 she received a MasterMind award from Denver’s Westword magazine for being a cultural visionary. Telling Stories has been written about in Symphony Magazine and has been selected by Colorado Public Radio to do occasional radio shows.

“I think if musicians just do what used to work, it could be a disappointing career,” said Dorris, who is also a sabbatical replacement instructor at the College of Music. “We have to have the courage to find that new path.

“My poor accountant didn’t know how to file my taxes. Was I a writer, a musician? He finally gave up and listed me as an interdisciplinary artist,” she said. “The classical music and journalism fields are changing, but I found my niche. I see my life going completely outside the box.”

Anthony Green

A career in music today demands innovation and thoughtful risk-taking as much as talent and musicianship.

The Musicians’ Wellness Initiative at the CU College of Music is a dynamic program that supports the wellbeing of the entire musician. Offerings include classes and individual consultations in the Alexander Technique; liaisons with the Wardenburg Student Health Center, Counseling and Psychological Services, and the Boulder College of Massage Therapy.For more information about the MWI and the Alexander Technique, including the 17th Annual Summer Course in Boulder, please consult the web site at http://music.colorado.edu/departments/wellness/. MWI director James Brody offers three tips he frequently discusses with music students. 1) Take breaks. Neurological studies provide us with some intriguing information about maximizing time and benefit. If we simply work straight through an hour-long practice session not taking any (or much) time away from the task, we are likely to accomplish an amount of beneficial work that we can label “1X.” However, if we take a break (perhaps one ten minute or two five minute segments) during the hour, we have the very good potential to accomplish “2X”, basically doubling our eventual outcome. This may seem implausible and counter intuitive.

(“I’m on a roll–I can’t stop now!”) Both our brains and musculature need time to assimilate information or rest. Many people use the term “brain dead” to describe mental exhaustion. Neurons can get tired, too! Interesting fact: a functional MRI of a flutist playing the instrument compared to a flutist thinking about playing are remarkably similar. With this in mind, it makes perfect sense to “take five.” 2) Practice doesn’t necessarily make perfect–it makes permanent. Barbara Conable (author of several books on the Alexander Technique and Body Mapping, including two specifically directed to musicians) is the author of this phrase. In my experience, I have watched and heard far too many musicians practicing inefficiently, usually without any conscious intention. (I have also witnessed this on the golf practice range.) This is a very common way deleterious habits are created and ingrained. Undoing unconscious habitual behavior can be very time-consuming, so it is best not to install and operate poor habits. John Dryden: “We first make our habits, and then they make us.” 3) Challenge your belief systems occasionally. Steven Jay Gould: “The most erroneous stories

3 Tips: Staying Healthy as a Musicianare those we think we know best–and therefore never scrutinize or question.” F. M. Alexander: “Everyone wants to be right, but no one stops to consider if their idea of right is right.” (The emphasis is mine–I have the conceit that Alexander would not mind.) If we had to constantly reacquire the ability to speak a language, tie our shoes, or play B-flat on the clarinet without continuous conscious thought, we probably wouldn’t get much accomplished. Thus, many of our habitual behaviors are beneficial. And some are not. How do we discriminate between the beneficial and the deleterious? We must boost our consciousness to become aware of what we are really up to. Challenging belief systems is one way to do this. This is not to suggest that every element is examined every day or in every circumstance. If you question your basic belief system around walking as you are crossing a busy street, you might find the results damaging! I find that taking several minutes once a week to “install” my oboe while looking in the mirror and paying careful attention (without becoming “precious” in my movements but being fully intentional) keeps me on a good path.

ucblibraries.colorado.edu/amrc/

“The secret of success is constancy of purpose,” Benjamin Disraeli once declared. Our constant purpose in the American Music Research Center is to enhance awareness of and public access to the huge variety of documentary treasures within the AMRC collections. These consist of books, recordings of all kinds, personal papers, ancient manuscripts, and musical scores that span more than three hundred years of American history. The task of preserving and protecting the materials as well as mining them for new insights about America’s musical life is our constant joy. It also provides constant challenges, both technical and intellectual.

Every time I visit the AMRC Collections website, I never cease to be amazed at the fascinating array of materials we hold and subjects they cover. More than 1500 tune books and hymnals printed in the United States before the Civil War, precious hand-copied songsters from the earliest days of our

republic, and hundreds of arrangements of music for silent films form only the beginning of the list. Over 150,000 individual song sheets from the 19th and early 20th centuries, dance songs, show tunes and ragtime, can be found in close proximity to the personal papers and drafts of composers who lived in (or are strongly associated with) Colorado: Jean Berger, Charles Eakin, Cecil Effinger, Dave Grusin, Normand Lockwood, Austin Lovelace, and George Lynn. And there is so much more!

Remaining constant of purpose and true to the task of preserving collections and publicly presenting discoveries from our holdings may seem like a simple one, but history even when aided by documents is easily forgotten and must frequently be reconstructed in fragmented memory. Our emotional connections to the past inevitably fade with the passing of generations. While documents can be kept safe in acid-free boxes or digital files, their significance may still remain unknown

until the right scholar comes along to decipher the contents. Understanding history has much to do with clarifying one’s perspective on it, and of course perspectives are always shifting in response to the unpredictable shocks and surprises of daily life. At a time when deep cultural knowledge and insight are needed more than ever before (and when many sadly equate knowledge with mere information and insight with mere data), let us resolve to stick to the job of distilling points of significance and lasting value as we carefully but critically examine the activities and creative fruits of our musical past.

Please join the efforts of the AMRC through donations, calls, or virtual visits to our collections at amrc.org. Also, check out our new quarterly newsletter (just call 303-735-3645 to subscribe for free).

NEWS FROM THE AMRCby Thomas Riis, Director, AMRC american music research center

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When Professor Oswald “Ozzi” Lehnert retired this spring after 55 years of teaching violin, 42 of those years at the College of Music, he may be leaving CU-Boulder but he won’t be leaving music behind.

The violin will still play an integral role in his life. He plans to continue playing for benefits and community concerts as a soloist and as a duo with his wife, Doris Pridonoff Lehnert, professor of piano at the College.

Jovial with an infectious laugh, Lehnert delights in his interactions with students.

“I very much enjoy the one-on-one relationship with students,” he said. “That, I think, doesn’t happen too often in a university setting. When I work with a student for two, three, four years, it’s like watching one of your own kids grow and develop.”

Flo Ling, a junior who has studied violin with Lehnert since her freshman year, will miss his sense of humor and his caring nature. She keeps a list of favorite quotes that Lehnert has uttered over the years, such as “Make haste, but slowly,” and “Freedom through discipline, not in spite of it.”

“I’m academically driven,” said Ling, a biochemistry major, “and that carries over into my music. He tells me to smile and to enjoy what I’m playing. And he likes to have us tell a joke before we play. I see him as a friend, a grandpa figure, and will

try my best to stop by and play for him once in awhile.”

Looking back on his career, Lehnert said there wasn’t just one moment that stood out, but rather a series of events that have built upon each other, as he developed

a national reputation as a musician, teacher, and conductor.

“I’ve always focused on several disciplines, because everything contributes to the whole,” he said. “To play chamber music helps you conduct the orchestra, which teaches you how to rehearse and to play solos, symphonies and operas.

Professor Judith Glyde, cellist and chair of the COM string faculty, has known and

performed with Lehnert for more than 40 years.

“Ozzi is very special,” said Glyde. “He has a great sense of humor and his joyful way of making music draws you in. What I get from playing with Ozzi is unadulterated joy. That pure sense of knowledge he’s trying to get across to the audience, to make them cry, to make them laugh, that’s an art.”

Lehnert’s passion for the violin started at age 11 and he made his musical debut at 15 with the Chicago Symphony. Music took on increasing importance as he pursued special studies at the Chicago Musical College, the Juilliard School of Music, and the University of Connecticut.

He served as music director and conductor of the Boulder Philharmonic Orchestra for 25 years and founded the famed Pablo Casals Trio (the name was bestowed by Casals himself). Lehnert’s performances have taken him all over the globe.

He has earned numerous awards in national and international competitions, including the Murat Award, the Certificate of Honor at the Tchaikovsky Competition in Moscow, and an invitation to study privately with violin virtuoso Joseph Szigeti in Switzerland.

“The violin chose me and I took to it,” said Lehnert. “When you’re drawn to music and come from a musical family, it identifies you and dictates the path of your life.”

Oswald Lehnert retires after five decades teaching violin By Kenna Bruner

Oswald “Ozzi” Lehnert and his wife, Doris Pridonoff Lehnert

(L to R) Paul Parmelee, Ozzi Lehnert, and Jurgen de Lemos (The Pablo Casals Trio) in the pool

One hundred years ago, Colorado Governor John Shafroth, dignitaries from the University of Colorado, and leading citizens of Boulder stood on a barren hillside overlooking the town and laid the cornerstone for what would become the area’s premier performing arts venue.

Throughout its history, Macky Auditorium has played a prominent role in the life of the campus and the Boulder area, serving as a gathering place for important cultural events and concerts, including commencement ceremonies and the Conference on World Affairs. It is also the central performing venue in the lives of College of Music students and faculty.

Macky’s long and illustrious history drew Rudy Betancourt to the position of director of Macky Auditorium.

“I took this job because of the history, because of the many people who have been here, because of the gravitas of the place,” he said. “This is a historical venue where people love to play and perform. There are not many theatres left in the United States that are 100 years old that are in the condition that Macky is.”

Macky Auditorium celebrates 100 years of memorable eventsby Kenna Bruner

The stage at Macky has seen a parade of diverse cultural figures, including Eleanor Roosevelt, Richard M. Nixon, Allen Ginsberg, and the Dalai Lama. Since 1937, the Artist Series has brought many of the world’s finest classical, jazz, world music, and dance performers to Macky, including violin virtuoso Isaac Stern; Andrés Segovia, the Father of modern classical guitar; cellist Yo-Yo Ma; and King of Swing Benny Goodman.

Artist Series performers frequently give lectures or master classes to College of Music students and engage in community outreach events.

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The man for whom the venerable building is named, Andrew J. Macky was a prominent Boulder businessman in the late 19th century and president of First National Bank of Boulder. He bequeathed $300,000 to the university for an auditorium. Primarily neo-gothic in style, Macky Auditorium incorporates architectural elements from various buildings throughout the world.

On Oct. 8, 2010, then Colorado Governor Bill Ritter and CU-Boulder

Chancellor Philip P. DiStefano revealed the contents of a time capsule placed in the cornerstone of Macky Auditorium 100 years before. The metal box was unearthed and opened in a small commemorative event, and contained mementoes and artifacts of the era. Carefully conserved by CU Heritage Center professionals, the capsule’s contents provide an engaging lens through which to consider the history of the university, the city, and the state.

With the past celebrated, Director Betancourt is preparing for the future of Macky Auditorium. A climate control system and a state-of-the-art fire suppression system will be installed this year; the website will be expanded to serve as a hub for patrons; and digital screens will be installed in the lobby to display performance schedules and present live video feeds of performances. Another project on the horizon is the expansion of the restroom facilities. The Artist Series will continue to bring outstanding, internationally recognized performers to Boulder, including classical pianist András Schiff, whose upcoming performance at Macky will be one of only 10 concerts he has scheduled in the U.S.

“What lies ahead for Macky Auditorium is 100 years of world-class events, moving forward to improve the patrons’ experience,” said Betancourt. “Not counting the series of lectures and conferences at Macky, throughout the concert season patrons enjoy productions by the Artist Series, the Boulder Philharmonic, AEG and LiveNation, as well as free or low-cost admission productions by the College of Music.

“In these productions, our music students hone their highly developed skills and musicianship in CU’s opera, band, orchestra, and jazz,” he said. “Macky is a living laboratory for music and performance for hundreds of students, and many unique and superb moments happen here.”

Composite photo of Macky Auditorium by Casey A. Cass

As this academic year winds down, the world of classical music is full of turmoil. Orchestras and opera companies nationwide are struggling: Honolulu is barely afloat, the New Mexico and Syracuse Symphonies have folded, and New York City Opera has cancelled its season next year. Then there’s the Mother of All Failures, the shocking announcement in April of the Philadelphia Orchestra’s filing for Chapter 11 bankruptcy.

Sobering times indeed.

Despite all the bad news of late, however, I can’t help but think of one of the cardinal rules of entrepreneurship: markets in turmoil are markets filled with opportunity. The key is the ability to look at the situation through a different set of lenses than everybody else. Yes, the orchestral and opera worlds are certainly going through turmoil right now, but my entrepreneurial mindset keeps asking, “How can we turn this to our advantage?”

For instance, the three main issues plaguing orchestras and opera companies of every size are: dwindling audiences, high fixed costs (i.e. personnel and buildings), and shrinking financial support. A savvy entrepreneur

Entrepreneurship Center for Music Highlightsby Jeffrey Nytch

the University will have announced the launching of its capital campaign. I’m pleased that the ECM is a part of that campaign, and that we have already received a significant lead gift to advance us toward our ultimate goal of endowing the Center. Achieving this milestone will allow us to enhance existing programs such as our speaker series and curricular offerings, as well as launch new initiatives like an entrepreneurial seed grant program, the undergraduate Certificate, and a graduate Certificate linked to an arts incubator program for launching new arts ventures.

Yes, times are tough right now for folks in the arts. But I’m inspired, because I see opportunities at every turn, and because our program here at CU is leading the charge to realize them.

Jeffrey Nytch

sees those three things and begins to look for opportunities: are there new ways to present concerts that will grow new audiences? How can we restructure the old business models to lower fixed costs and give groups more flexibility? How can we be more effective advocates, so that institutions (and individuals) see how critical their support is and how the impact of their dollars is far broader than just the arts organization itself? These are all entrepreneurial opportunities for individual artists and groups who are willing to look at the situation from a different angle.

This is why I’m so proud to be running one of the nation’s leading programs in entrepreneurship for musicians, and why I’m so pleased with how things have gone in my second year as Director: student participation is up, class enrollment has more than doubled, and we’re making progress towards creation of one of the only Certificates in music entrepreneurship in the country. Slowly but surely we’re making the case for entrepreneurship right here in the College of Music, helping our community of students and faculty see the possibilities that are unlocked when one is equipped with the right tools.

It’s also why I’m passionate about seeking support for the Entrepreneurship Center and its programs. By the time this issue of the magazine has gone to press,

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A savvy entrepreneur . . . begins to look for opportunities: are there new ways to present concerts that will grow new audiences?

Sitting in Grusin Music Hall recently listening to the University Choir, I was transported back to previous years when I was on stage as a member of that group. I thought of the influence of music on my life and the different strings which tie it together.

Numerous memories exist of being raised in a musical family during my formative years in Boulder and on the CU campus. They focus primarily on student relationships, faculty support, and performances.

It was very common for my father (Berton Coffin) to bring his students home for meals, travel to see them perform whether in this country or elsewhere and maintain decade-long friendships. As manager of the Artist Series, mother Mildred Coffin was likely to bring guest artists home or invite them for a reception after a performance. Often additional faculty guests would be invited to these social gatherings.

While I didn’t have a Van Cliburn or George London to invite to my home in Southern California, I began a tradition of holding my last graduate level classes in my home. These twice yearly events often were pot luck in nature and most enjoyable in sharing my home, something I remember from my Colorado days.

When my parents retired early to move to Vienna, Austria for my father to open his singing studio there, former students and several faculty members established the Berton Coffin Graduate Voice Scholarship. With mother’s help and my continued support, that scholarship is now fully endowed and will distribute funds annually to a selected graduate student. It has been my real pleasure to meet these students over the last ten years since my return to Boulder.

If I ever wondered if that scholarship mattered, all I needed to hear was one recipient say to me, “You don’t know how much this means to me. I could not have done this without your help.”

Not too long after moving back home, I heard now-chancellor Phil DiStefano speak to an

alum group about the importance of faculty support. That focused on salaries, specifically the need to attract and retain faculty.

His comments influenced me to establish a Berton Coffin Faculty Fellowship in conjunction with my late husband Ray Smith and mother. Having heard my father speak

about salaries, I knew this was important and mattered to him as it did to me as well.

Since its inception, two fellowships have been fully funded and annually provide an addition to the recipients’ salaries. “I wish my father could have known about this,” commented one recipient about its importance. That was a teary moment for both of us.

Thinking back to Chancellor DiStefano’s comments about faculty salaries, caused me to take a different direction recently. Realizing that I couldn’t affect a salary increase for the voice faculty, I wanted to provide some additional means of support for them. I remember the sabbaticals my father took, lessons which were taken in California as well as New York, the research and writing he did in various locations.

The result is a newly established Berton Coffin Applied Voice Faculty Research and Professional Development Endowment Fund. Each year the voice faculty will have a designated amount for use as they determine in the areas of research and professional development. Perhaps this will support activities which otherwise would have been paid for from their own resources.

I’m pleased to be part of supporting the graduate scholarship and thoroughly enjoy meeting those receiving it. It’s been my pleasure to establish support for the voice faculty through the fellowships along with the research and professional development fund.

Quite often when I attend performances in Macky Auditorium, I reflect on times there from my early days skating on the terrace, waiting through Festival Chorus performances, singing in different collegiate choirs or in CU Song Fests. In recent years, I’ve had the opportunity to enjoy our CU Opera productions along with the Holiday Festival, band, orchestra, and jazz programs.

I frequently say, and strongly believe, that the quality of our music students just keeps getting better. These talented students grow from the instruction of our equally gifted faculty. I hope my family’s legacy can help in some small way to support both.

Music holds strings of influence by Martha Coffin Evans

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“You don’t know how much this means to me. I could not have done this without your help.”

College of Music Benefits from The Academy’s GenerosityA treasured community partner, The Academy hosts events that support and benefit the College of Music in a multitude of ways.

This past year, residents and community members celebrated two evenings of delightful food, friendship and music at The Academy with “Cirque du Musique” and “Viva Italia!”

For more information about The Academy, Boulder's locally owned boutique retirement community, visit www.theacademyboulder.com

Private gifts enable the College of Music to provide scholarships, attract and retain talented faculty, and continue the quality education and programs that are the hallmark of the COM. As an office of the CU Foundation, the Development Office at the College of Music raises and manages gifts for the COM. Lissy Garrison, Senior Director of Development, and Curtis Broome, Program Manager, discuss the role of the Development Office in helping the College of Music remain a vibrant global music community for education, performance, and achievement.

Development Office assists the College of Music by managing private gifts

Q: What is the CU Foundation and what does it do for the university? Lissy: The CU Foundation is an independent, privately governed nonprofit corporation whose mission is to support the University of Colorado. The Foundation serves the entire CU system, but has two positions that work specifically with the College of Music.

Q: What is the role of the Development Office at the COM? Lissy: Our office works closely with the dean to identify fundraising priorities for the College of Music and to connect each donor to areas where they can make a meaningful impact.

Curtis: The Foundation is important in this capacity because it allows for 100 percent of every gift to go directly to the area the donor intends.

Q: Why are gifts to the College of Music important? Lissy: With state funding decreasing dramatically, there’s a growing need for private funds to provide support for students, faculty, and programs. Not only is the College of Music producing some of the best musicians in the nation, we’re fostering an arts community that has a significant impact on the entire campus and the broader community.

Curtis: Private gifts support keeping music an integral part of our culture and lives. Many of the needs are fairly modest. You can make a large impact with $5,000, even $1,000.

Q: How would a small gift benefit the COM? Curtis: A $1,000 gift can fund a scholarship that makes the difference between a student staying in school or not. $500 can enable a faculty member or a student to attend a symposium or complete important research. Even smaller gifts add up quickly to make a difference, and you can designate how you’d like your gift used.

Q: What would you say to alumni who aren’t sure how to make a donation? Curtis: As a recent alumnus myself, I know it’s a big step to become a donor, but it feels great, and there are so many options. You can set up a monthly contribution, donate appreciated

by Kenna Bruner

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DMA Candidate Lukas Graf, Lyn Konugres and MM Candidate Eric Wassenaar enjoy Cirque du Musique on February 13 hosted by The Academy. The event raised over $17,000 for the College of Music.

Lissy Garrison, Senior Director of Development

stock, or create a pledge plan over time—not to mention possibilities like IRA distributions and planned giving.

Lissy: There are so many ways to participate in supporting the College of Music and we are here to help find the way that works best for you.

Q: CU recently announced the launch of a major fundraising campaign—how does this affect the College of Music’s fundraising plans? Lissy: We’re very excited to participate in Creating Futures, CU’s campaign of excellence and impact. We will be raising funds to support the people and programs that make the College of Music an exceptional institution.

Curtis: Our campaign goal is $12.5 million—we have already raised $6.3 million of that amount, and we are building momentum to meet our goal with the help of existing and new donors. This campaign gives us a great opportunity to reach out to alumni and community members in a new and meaningful way.

Q: What is the best part of your job? Curtis: The best part of my job is seeing how the gifts directly affect the students and the programs. I see the students in the halls, going to classes, performing—I’m lucky because I get to be a part of helping students benefit from donors’ generosity. It’s an incredible thing to see the direct impact that every single gift can make.

Lissy: Growing up in Boulder, I was so lucky to have the College of Music play a huge role in my life. It’s wonderful being back now, helping connect donors with their passion and supporting the incredible students, faculty, and programs here.

STUDENT NOTES

Jazz Piano Bachelor of Music student Annie Booth received an Honorable Mention as part of the 2011 ASCAP Foundation Young Jazz Composer Awards. This program, established in 2002, was created to encourage gifted jazz composers from throughout the United States.

Catherine Compton, (MM 2011, Voice) received a Fulbright Grant for Study/Research and will spend the next year studying the music of Fanny Mendelssohn Hensel in Leipzig.

K. Dawn Grapes (ABD, Musicology) was hired as a Special Assistant Professor at Colorado State University.

Anthony Green (DMA candidate composition) was the winner of the Entrepreneurship Center for Music’s 2011 New Venture Challenge Music Prize.

Sophomore flute performance major Sasha Haft was named one of four finalists for piccolo for the 2011 YouTube Symphony Orchestra.

Elaine Hild, a PhD student in musicology (advised by Rebecca Maloy), received both a Fulbright and a DAAD to do dissertation research at the Bruno Stäblein archive in Würzburg, Germany. Her project is entitled “Medieval Settings of Verse: A Study of the Manuscripts Created at St. Gall prior to 1050.”

Michelle Lie joined the Tesla Quartet as second violinist in May. The quartet’s residency at the College of Music has been extended for a third year.

Lucas Munce (MM candidate) received the 2011 DownBeat Magazine Award for Graduate College Outstanding Performances by a Jazz Soloist. Munce is currently pursuing a dual degree in Jazz Performance / Pedagogy and Clarinet Performance.

Owen Zhou (DMA candidate piano) won the 2011 Bruce Ekstrand Memorial Graduate Student Performance Competition, Ross Snyder (DMA candidate violin) won the special Audience Favorite Prize.

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Catherine ComptonAnnie Booth Lucas Munce

Get Social with the CollegeCatch up with the latest news and events from your alumni friends and the College on these social networks:

facebook.com/cumusic @musicatcu youtube.com/musicatcu

FACULTY/STAFF NEWS

Joel Burcham played the role of Lt. Pinkerton in Knoxville Opera’s performance of Madama Butterfly. Metropulse wrote, “His mid-range was solid and rich and his top range was strikingly clear and seemingly effortless—and all with plenty of warmth and passion.”

In celebration of what would have been Leonard Bernstein’s 90th birthday, in April NAXOS released Leonard Bernstein: Violin Sonata - Piano Trio - New Transcriptions with the Opus Two violin-piano duo comprised of Professor of Piano Andrew Cooperstock and violinist William Terwilliger.

Alejandro Cremaschi and Luis González participated in the Latin-American Piano Congress in Buenos Aires in November 2010. Cremaschi performed some of González’s music there and González lectured on “Tonalities that return: my aesthetics on perspective.” Rachel Barton-Pine also performed González’s “Epitalamio Tanguero” for unaccompanied violin in a program at Bargemusic in NY in December.

Edward Dusinberre (First Violinist of the Takács Quartet) released a recording of Beethoven’s Kreutzer Sonatas with pianist David Korevaar on Decca in 2010. The recording was partially made possible with grants from CU-Boulder.

Hsing-ay Hsu, director of Pendulum New Music, released her new CD, Barber Centennial in late 2011. This album features Samuel Barber’s Piano Sonata and his Piano Concerto (which won him a Pulitzer Prize), recorded in Moscow with the Russian Philharmonic Orchestra. Samuel Barber is one of the most lyrical and poetic 20th century composers,

and helped to define the American style. CD’s are available at www.hsingayhsu.com.

Instructor of Jazz Piano Jeff Jenkins’ album The Healing is now available on iTunes and through CD Baby.

Daniel Kellogg’s composition Soft Sleep Shall Contain You: A Meditation on Schubert’s ‘Death and the Maiden’ was premiered by the Takács Quartet in October. The piece, inspired by Schubert’s quartet, received glowing reviews including in the New York Times.

Pianist David Korevaar and Takács Quartet violist Geraldine Walther were featured on MSR Classics 2011 release, True Divided Light, Chamber Music of David Carlson.

Patrick Mason is featured as soloist on Bridge Records’ new release The Complete Crumb Edition, Vol. 15. The recording won praise from classicstoday.com.

Entrepreneurship Center Director Jeffrey Nytch is featured in Opera America’s Spring 2011 issue. The article, entitled “Entrepreneurship and the Performing Artist: Preparing Musicians for 21st Century Careers” features numerous quotes from Nytch.

Brenda M. Romero, Associate Professor, was awarded a Fulbright Scholar grant to teach a seminar at the Department of Music at the Pontificia Universidad Javeriana in Colombia focusing on the important issues to consider as the Department opens a master’s program in musicology encompassing all areas of music study. Romero also received a book contract for the Folklore Studies for a Multicultural World Series, a Mellon initiative with the

American Folklore Society, the University of Illinois Press, University of Wisconsin Press, and University of Minnesota Press.

The Music Library Association (MLA) has elected CU-Boulder Music Library Faculty Director Laurie J. Sampsel as one of its three Board of Directors Members-at-Large.

Associate Professor of Musicology Jeremy Smith received a 2011 Excellence in Teaching Award from the Boulder Faculty Assembly.

The Takács Quartet won a Royal Philharmonic Society Award in Chamber Music & Song in May. In the words of the award jury, “The Takács Quartet’s complete cycle of Beethoven String Quartets at the South Bank in 2009/10 was a tour-de-force. They brought a unique insight, maturity and uncompromising excellence to these performances, making this one of the great musical events of recent years.” Michael Theodore’s ensemble Psychoangelo’s new recording Panauromni has been named a top ten classical album of 2010 by Time Out Chicago. The recording has also been receiving airplay on various college radio stations in the United States, and on BBC’s Radio 3. Theodore co-composed all of the pieces on the album as well as performing on them.

Oxford University Press has released a new book by CU-Boulder Associate Professor of Music Theory Keith Waters. Entitled The Studio Recordings of the Miles Davis Quintet, 1965-68, the book details the music of the “Second Quintet”—the Miles Davis Quintet of the mid-1960s—and one of the most innovative and influential groups in the history of the genre.

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Brenda M. RomeroPatrick Mason Jeremy Smith Michael Theodore Keith Waters

ALUMNI NEWS

In addition to his duties as Chair and Director of Bands Gordon Brock (DMA 1997) will be serving as the Gerson Yessin Professor at the University of North Florida for two years. With this professorship comes a yearly stipend to support a variety of creative endeavors and scholarly activities. This is the first time an administrator has received this award.

Hermes Camacho (MM 2006, Composition) is a DMA student in composition at The University of Texas at Austin, Instructor of music at UT, and composition co-chair of GAMMA-UT (conference and concert series).

Ed Cannava (BME 1977, MME 1980, PhD 1994) joined the Affiliate Music Education Faculty of the Metropolitan State College of Denver in January 2010. He teaches their Instrumental Music Practicum and Field Study Courses. Dr. Cannava also supervises student teachers at Metro.

Alexa Doebele (DMA 2009, choral) was appointed Director of Choral Studies at Concordia College in Milwaukee, Wisconsin.

Jennie Dorris (MM 2005 ) is the founder of Telling Stories, the award-winning ensemble that features both words and music, now produced as a radio show for Colorado Public Radio.

Phil Drozda (BME 2007), as a third year teacher, was invited to be the guest conductor for the Boulder Valley Middle School Honor Choir.

Elizabeth (Garrison) Vigil (BME 1983) is teaching music and drama to homeschool children through the Aurora Public Schools Options Program. She also has a thriving music studio consisting of piano, voice, guitar, cello and violin students.

William Ross Hagen (PhD 2010, musicology) has been hired as a full time lecturer at Utah Valley University (where his fiancée Lisa was hired as an Assistant Professor in Theater).

Paul Hembree (MM 2009, composition) is a PhD candidate in Composition at the University of California, San Diego, where he studies with Roger Reynolds. At UCSD he continues to compose acoustic chamber music, computer music and video art drawing from a wide range of resources and influences.

David Hickman (BM 1972) was named CU-Boulder College of Music 2011 Alumnus of the Year.

Sarah Hodges (BM 2006, flute) appeared as part of the Sofia Gubaidulina festival at REDCAT (in Walt Disney Concert Hall) in May. The Los Angeles Times wrote that she was, “a superb soloist.”

Jaime Hutchinson (BM 2004) is currently a member of the Auria European Chamber Orchestra based in Italy. Auria European Chamber Orchestra is a young chamber ensemble formed of musicians from Italy, Austria, Spain, England, Romania, the United States and Japan. For more information, visit www.auriachamber.com.

Thomas Kim (DMA 2009, choral) has been appointed to teach at the American University in Beirut.

Geary Larrick (DMA 1984) wrote an article that appears in the Fall, 2010, issue of the National Association of College Wind and Percussion Instructors (NACWPI) Journal, titled "Supplemental Marimba Literature." Geary has written forty articles for NACWPI Journal since 1968. He performs on marimba each week in central Wisconsin.

Kathleen McGuire (DMA 2000, conducting) was one of only six conductors nationwide to have been awarded a special citation in 2010 from The American Prize for Excellence in Music Education for her work with the San Francisco Gay Men’s Chorus.

In January of 2009, Bill Miles (BME 1974) was hired as the Lecturer-in-Charge of the

Graduate Diploma of Education-Secondary Music program in the Faculty of Education at the Melbourne Campus of the Australian Catholic University. Bill was awarded a PhD in Music Education from Monash University (Melbourne) in 2006.

Miroslava Mintcheva (DMA 2010, piano performance) is the recipient of the 2011 MTNA StAR Studio Teacher Fellowship Award. This prestigious award is given to an individual who exhibits exceptional teaching and performance skills and is deeply committed to the teaching profession. She is very proud to have been selected as the winner out of a large national pool of applicants. The award is in the amount of $3,000. In addition, Dr. Mintcheva will be featured in the American Music Teacher magazine, which is read by music teachers around the nation.

Eliana Maria Murphy (BM 2003, MM 2005, piano performance) is a DMA student at Cincinnati Conservatory, a piano teacher, organist and cantor. She composed and directed “Michaelmas Fire,” a choral piece, at Tara Performing Arts High School in 2009 and 2010.

Fred Peterbark (MM 2009, voice) made his Colorado conducting debut last February and April in a collaborative performance of William Grant Still’s And They Lynched Him on a Tree (arranged by David McCoy) with Professor Onye Ozuzu and the CU-Dance Department. Fred also made his vocal debut on the Estes Park Music Festival with CU-piano doctoral student Margie Patterson in April with a performance of Schumann’s Dichterliebe.

D. (Darrel) Richard Rasmussen (MM 1997) has accepted an appointment as a Foreign Service Officer with the U.S. Department of State. He recently completed a Juris Doctor in international law from the University of Wisconsin where he was the Editor-in-Chief of the Wisconsin International Law Journal. His first assignment will be at the U.S. Embassy in Kathmandu, Nepal.

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Jaime Hutchinson in the Auria European Chamber Orchestra D. (Darrel) Richard Rasmussen Miroslava Mintcheva

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Gina Razón (BM 2002, voice) premiered a togethercoloured instant, a song cycle in six movements by American composer Timothy Buckman, in May at the Broomfield Auditorium.

Dustin Rumsey (BM 2009, composition) is a composer/soundtrack engineer for Square Two Productions and a private lesson teacher.

Danny Schade (BM 2008, Percussion, BME 2008, Music Education) is a private lesson teacher, substitute teacher, and freelance drummer/composer. His first album was just released, Predestination and Other Games of Chance…the Soundtrack. Danny has also composed and self produced over 90 pieces of music in 2010 which are available at www.dannyschade.com

Ashraf Sewailam (BM 1995, MM 1996, DMA 2008, voice) sang Leporello in Don Giovanni with Seattle Opera in 2011. Sewailam also returned to CU-Boulder to do a special guest alumni recital kicking off CU New Opera Works in June.

Elizabeth Shellabarger Bayne (BME 1961, MME 1966) moved to a Full Life Care Community “La Vida Llena” after the death of her husband in 2008. She has sung with the Cathedral Choir at St. John’s Cathedral - ABQ for over 30 years. In Albuquerque, she is a member of POLYPHONY:Voices of New Mexico - a professional choral ensemble, and CANTAT, a semi-professional group from Santa Fe. She still has a music studio and teaches private voice lessons weekly (when not traveling).

Greg Simon (MM 2010, Composition) is adjunct instructor of theory at CU and at the Metropolitan State College of Denver and composition fellow at the Brevard Music Center. Recently he’s given performances at the Mayne Stage in Chicago, the Western International Band Clinic, and the California Band Directors’ Association Convention, among other places.

Susanne Skyrm’s (DMA 1988) Anthology of Eighteenth-Century Spanish Keyboard Music was published by Wayne Leupold Editions in July 2010. Most of the works in the volume have not been published in the US before, making this volume a significant resource for Spanish keyboard works from the eighteenth and early nineteenth centuries. She has been on the keyboard faculty at the University of South Dakota since 1988, teaching studio and class piano, and piano literature, and maintaining an active recital schedule.

Steven Snowden (MM 2008, composition) is a DMA candidate University of Texas at Austin and Instructor of introductory and intermediate electronic composition. He is also Co-director of the Fast>>Forward>>Austin Music Festival and performs with several improv/experimental groups in the Austin area.

Timothy Snyder (DMA 2009, choral) was appointed Director of Choral Studies at the University of Jacksonville, Florida.

Steve Soich (MM 1998) completed his Kodály certification at Colorado State University in July 2010 and is in process of receiving his Master of Music from CSU. He is serving on the Jeffco curriculum alignment team for elementary music and teaching first through sixth grade general music at Coronado Elementary in Jeffco.

Ryan Spencer (BM 2008) is a freelance composer, arranger, sound engineer, and trumpeter. He is currently working on a few new pieces for grade III-IV Wind Ensemble and some arrangements for string orchestra as well as mixed chorus.

Max Stern (DMA 1989) gave lectures on his upcoming book Bible & Music in Estonia and Lithuania in July 2010. In 2010, his compositions were performed in Israel, the US, Czech Republic, Austria, and Japan.

Brandon Vaccaro (DMA 2009, composition) is Assistant Professor of Music at Kent State University as well as a freelance composer, audio engineer, and producer.

Byron Weigel (MM 2008, composition) is serving as adjunct professor at Tacoma Community College.

In September Nathan Wheeler’s (BM 2010) childhood home was destroyed by the Fourmile Fire near Boulder. Since the destruction, he took family possessions that did not completely burn and turned them into artwork that can be played as music. He gave a multimedia presentation of his art called September Sixth on campus last winter as his personal response to the fire and a way to cope with the loss of his home.

Deborah Yardley Beers (DMA 1984, piano performance) is on the piano faculty of the Longy School of Music in Cambridge, MA. She recently launched her new website www.deborahyardleybeers.com which includes video clips of her in a performance, information for prospective students, and information about music she has composed both for artist-level pianists and students.

In Memoriam Stephen Ambler (MM 1956) Robert Barnack (MM 1961) Patsy Jean McCauley Beattie (BME 1945) Myrna Deemy (PhD 1989) David Dekker (BM 1950) Robert Demmon (BM 1962) Elena Ann Donald (MM 1961) David Ellis Etheridge (BME 1964) Carl Finley (MM 1948) Glen Gilden Jr. (BM 1973) Raymond Horst, Jr. (MM 1948) Alice Lorraine Hoskin (BM 1950) Richard Jensen (BM 1951) Donald Paul Nodtvedt (BM 1949) Rita Dolores Orona (BM 1977) Franklin Shupp (BM 1952) Richard E. Strange (MM 1957) Sue Rea Thornton (BM 1947)

Deborah Yardley BeersAshraf SewailamGina Razón

DROP US A LINE!We love hearing from our alumni. Please take a few minutes to let us know what you’re doing, and to keep our records up to date. Pictures are welcomed and used on a space-available basis.

Please submit your update online at music.colorado.edu/alumni

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