www.msmta.org A bi-monthly publication of the Maryland State Music Teachers Association September 2006 Affiliated with Music Teachers National Association Maryland State Music Teachers Association MSMTA 2006 CONFERENCE ST. MARY’S COLLEGE NOVEMBER 11 TH –12 TH REACHING OUT – MUSIC FOR YOUR COMMUNITY SATURDAY CONCERT SATURDAY, NOVEMBER 11 TH AT 8:00 PM IN THE HISTORIC ST. MARY’S HALL CONCERT PROGRAM LUCY GOERES, FLUTE AND ELIZA GARTH, PIANO Sonata BWV 1030 In B Minor ... Johann Sebastian Bach Three Figures and a Ground ....................... Stephen Jaffe Sicilienne and Burlesque .......................... Alfredo Casella New work ................................................. David Froom (world premiere, commissioned by MSMTA) Continued on Page 2 Music fills the campus every summer at St. Mary’s College in historic St. Mary’s City. Something extraordinary happens each year at the “River Concert Series” under the direction of Jeffrey Silberschlag and the faculty of St. Mary’s College. This year, our MSMTA conference will take place in this wonderful music community and in the beautiful setting of St. Mary’s City. Our Saturday evening banquet will take place in the State House (see below) followed by a flute and piano concert in St. Mary’s Hall given by Lucille Goeres, flute and Eliza Garth, piano, performing works by Bach, Jaffe, Casella and our own MSMTA commissioned work for 2006 by David Froom. Our theme “Reaching Out” is meant for MSMTA members to expand their inner and outer limits through a wide variety of sessions and presenters as well as the opportunity to expand our friendships with other members. Please join your fellow MSMTA members for a memorable weekend of music, food and camaraderie with renowned artists, faculty and colleagues at St. Mary’s College the weekend of November 11 th and 12 th. Reservation for Hotel or Bed and Breakfast is due by October 11 th Registration form enclosed and available on line at MSMTA.org Mail-in/online registration deadline is October 23 rd Registration available at St. Mary’s, November 11 th and 12 th Site of the MSMTA Banquet, the State House was originally built in 1676 by Captain John Quigly and reconstructed in 1934. Special campus functions are held at the State House every year and mock trials take place as part of the tour of historic St. Mary’s City, Maryland’s first capital.
Transcript
www.msmta.org A bi-monthly publication of the Maryland State Music Teachers Association September 2006
Affiliated with Music Teachers National Association
Maryland State Music Teachers Association
MSMTA 2006 CONFERENCE ST. MARY’S COLLEGE NOVEMBER 11TH–12TH
REACHING OUT – MUSIC FOR YOUR COMMUNITY
SATURDAY CONCERTSATURDAY, NOVEMBER 11TH AT 8:00 PM
IN THE HISTORIC ST. MARY’S HALL
CONCERT PROGRAMLUCY GOERES, FLUTE AND
ELIZA GARTH, PIANO
Sonata BWV 1030 In B Minor ... Johann Sebastian Bach
Three Figures and a Ground ....................... Stephen Jaffe
Sicilienne and Burlesque ..........................Alfredo Casella
New work ................................................. David Froom
(world premiere, commissioned by MSMTA)
Continued on Page 2
Music fills the campus every summer at St. Mary’s College in historic St. Mary’s City. Something extraordinary happens each year at the “River Concert Series” under the direction of Jeffrey Silberschlag and the faculty of St. Mary’s College. This year, our MSMTA conference will take place in this wonderful music community and in the beautiful setting of St. Mary’s City. Our Saturday evening banquet will take place in the State House (see below) followed by a flute and piano concert in St. Mary’s Hall given by Lucille Goeres, flute and Eliza Garth, piano, performing works by Bach, Jaffe, Casella and our own MSMTA commissioned work for 2006 by David Froom.
Our theme “Reaching Out” is meant for MSMTA members to expand their inner and outer limits through a wide variety of sessions and presenters as well as the opportunity to expand our friendships with other members.
Please join your fellow MSMTA members for a memorable weekend of music, food and camaraderie with renowned artists, faculty and colleagues at St. Mary’s College the weekend of November 11th and 12th.
Reservation for Hotel or Bed and Breakfast is due by October 11th
Registration form enclosed and available on line at MSMTA.orgMail-in/online registration deadline is October 23rd
Registration available at St. Mary’s, November 11th and 12th
Site of the MSMTA Banquet, the State House was originally built in 1676 by Captain John Quigly and reconstructed in 1934. Special campus functions are
held at the State House every year and mock trials take place as part of the tour of historic St. Mary’s City, Maryland’s first capital.
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PRESIDENTJoselyn Cross Makowski2329 Blue Valley DriveSilver Spring, MD 20904301-384-1056
VP CERTIFICATIONDonna C. White21815 Three Notch Rd Ste ELexington Park, MD 20653
VP MEMBERSHIPRichard L. Hartzell1817 Arcola AvenueSilver Spring, MD 20902
REACHING OUT - MUSIC FOR YOUR COMMUNITY - MSMTA 2006 CONFERENCE - CONTINUED
MSMTA 2006 Conference atST. MARY’S COLLEGE NOVEMBER 11TH AND 12TH
SATURDAY NOVEMBER 11TH
MONTGOMERY HALL, ROOM 2511:00-12:15 Jeffrey Silberschlag: Reaching Out to Your Community12:30-1:45 Brian Ganz: Chopin’s Preludes 2:00-3:15 Sterling Lambert: Wagner’s Bayreuth – Reaching Out to the Community and Failing3:30-4:45 David Froom: Music and the Liberal Arts
5:00 – 6:30 BreakSTATE HOUSE
6:30 – 7:45 MSMTA Banquet/Jordan Kitts GrantsST. MARY’S HALL
8:00 – 9:30 Conference Concert for Flute and Piano: Eliza Garth and Lucille Goeres Sonata BWV 1030 in B Minor ......................... Johann Sebastian Bach Three Figures and a Ground .......................................... Stephen Jaffe Sicilienne and Burlesque .............................................. Alfredo Casella New work (world premiere, commissioned by MSMTA) ...David Froom
SUNDAY NOVEMBER 12TH
MONTGOMERY HALL, ROOM 259:30 –11:00 MSMTA Board Meeting Breakfast (Venue TBA)9:00-10:00 Jill Hannagan: Musikgarten Group Piano Lessons10:00- 11:15 José Cueto: The Technique of Practicing Well
11:30-12:45 MSMTA Luncheon and General Meeting (Venue TBA)
1:00 – 2:15 Jarl Hulbert: Historical Teaching Methods: Johann Nepomuk Hummel’s Piano Treatise and its Legacy2:30 – 3:45 Deborah Lawrence: Teaching Scripture Through Music in Renaissance Spain4:00 – 5:15 Michael Ryan: What Students Should Know Before Coming to College
ST. MARY’S HALL
1:00-1:50 Student Session - Dr. David Froom: Meet the composer2:00-2:50 Student Session - Joanna Greenwood: Elements for the young composer3:00-4:15 Student Composer’s Circle Concert 4:30-5:30 Composers Circle Reception
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STANDING COMMITTEE CHAIRS
ADVERTISING
Robert Hauptman
BYLAWS/PARLIAMENTARIAN
David Holmes
CERTIFICATION
Ann Matteson
COLLEGE FACULTY
Matt Edwards
COMMUNITY OUTREACH AND EDUCATION
Deborah White-Bondhus
COMPOSITION COMMISSIONING
Li-Ly Chang
CONVENTION
Ann McCandliss
FINANCE
Lois Jones
FUND RAISING
TBA
INDEPENDENT MUSIC TEACHERS
Helen Smith Tarchalski
LOCAL AND STUDENT ASSOCIATIONS
Kathryn Stansbery
MTNA FOUNDATION
Michele Hobart Rohan
MSMTA FOUNDATION/FUNDRAISING
TBA
MEMBERSHIP
Richard Hartzell
MULTIMEDIA
Ina Nacev Allen
NOMINATING
Claudette L. Horwitz
PUBLICATIONS
Claudette L. Horwitz
PUBLICITY
Mary Wolf
STUDENT ACTIVITIES
Carol Wolfe-Ralph
TALENT RESOURCE
Jeffery Beaudry
TECHNOLOGY
Helen Smith TarchalskiContinued on Page 4
REACHING OUT - MUSIC FOR YOUR COMMUNITY - MSMTA 2006 CONFERENCE - CONTINUED
Hotel Accommodations:
Both hotels will guarantee this arranged rate for up to 20 rooms until Oct 11.
Hampton Innhttp://www.hamptoninn.com/en/hp/hotels/index.jhtml?ctyhocn=LPKMDHX301-863-3200$92 per night group rate (plus tax)Ask for MSMTA as the group codeRoom includes coffee machine, microwave, refrigerator, free high speed Internet (wireless in public areas). Rate includes hot breakfast.
Fairfield Innhttp://marriott.com/property/propertypage/WASLP301-863-0203$81 per night group rate (plus tax)Ask for SMCM as the group codeRoom includes coffee machine. Free high speed internet access in the rooms (wireless in the lobby). Indoor pool. Rate includes continental breakfast (including coffee, cereal, fruit).
Bed & Breakfast Accommodations:
Adinas Guest Housewww.solomons-island.com/lodging/adina/30 minutes from campusSolomons 410-326-4895
Back Creek Innhttp://www.bbonline.com/md/backcreek/30 minutes from campusSolomons 410-326-2022
Bard’s Field of Trinity Manorwww.lodgingsinternational.com/lodgings/212.htm 15 minutes from campusRidge 301-872-5989
Myrtle Point Bed and Breakfast20 minutes from campusCalifornia 301-862-3090
Serenity Acreswww.marylandbb.com/southern60 minutes from campusHuntingtown 410-535-3744
Solomons Victorian Innwww.bbonline.com/md/solomons/30 minutes from campusSolomons 410-326-4811
St. Michael’s Manorwww.stmichaels-manor.com/15 minutes from campusScotland 301-872-4025
The Brome-Howard Innwww.bbdirectory.com/inn/33275 minutes from campusSt. Mary’s City 301-866-0656
The Hale House10 minutes from campusScotland 301-872-4558
Webster Housewww.bbonline.com/md/webster/30 minutes from campusSolomons 301-326-0454
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REACHING OUT - MUSIC FOR YOUR COMMUNITY - MSMTA 2006 CONFERENCE - CONTINUED
REACHING OUT TO YOUR COMMUNITY
Now in its ninth year, the River Concert Series, conceived of and initiated by Jeffrey Silberschlag, who also is its conductor and artistic director, reaches 35,000 people each summer over the course of seven concerts that take place in our local community. Underwritten by local sponsorship,
these professional orchestral concerts (not “pops” concert) are free to the public. The orchestra, led by St. Mary’s College music faculty in principal chairs, draws its membership from members of the Marine Band, Kennedy Center Orchestra, and Baltimore Opera. About a dozen student fellows are invited to play in the orchestra, and many more students are involved with all aspects of concert management. The series is growing, now with chamber concerts during the week, film nights, and master classes (especially Piano Fest). The success of this venture has led to a kind of “franchise” in Alba, Italy, where the same formula (concerts of the highest quality, sponsored by local businesses, offered free to the public) has turned into a two-week, 15-concert international festival. Mr. Silberschlag will speak of these, and of other ways of reaching out to your community.
Jeffrey Silberschlag
Jeffrey Silberschlag has distinguished himself in the world of music, performing as a conductor and trumpet soloist throughout Europe, the United States, Russia, China, and Israel. His performances have been described as “compelling” by Germany’s Kölnishce Rundschau; “extraordinary” by Italy’s L’Arena; and “outstanding” by Fanfare magazine.
Mr. Silberschlag is currently music director and conductor of the Chesapeake Orchestra and River Concert Series, which drew an audience of over 35,000 people last year to its summer season of seven classical music concerts. In addition, he is co-director of the Alba spring festival held in Northern Italy and the director of “Music at the Source” series held at the Source Theater in Washington, D.C.
Recently he appeared as guest conductor with the London Symphony Orchestra, St. Petersburg Soloists, and the Moscow Academy Chamber Orchestra. He also collaborated with such soloists as José Cueto, Mikhail Gantwarg, Hilary Hahn, Yi Jia Hou, and Lara St. John (violinists); Maria Kanyova (Mimi in NYC Opera’s “La Bohème” as seen on “Live from Lincoln Center”); Tonna Miller (Metropolitan Opera soprano); Maxym Anakushin, Bruno Canino, Brian
Ganz, and Boris Slutsky (pianists); Giuseppe Nova and Yoshimi Oshima (flutists); Catrin Finch (harpist); Judy Blazer (Broadway vocalist); Vonda Shepard (blues vocalist); and Ethel Ennis (Jazz vocalist). In addition, Mr. Silberschlag has combined musical genres by blending orchestra performances with such artists as Blues guitarist Linwood Taylor, the Paul Reed Smith Dragons, the No Class Today Bluegrass Band, and the Brazilian band, Grupo Saveiro. A recording of Boris Blacher’s chamber opera “Romeo and Juliet” with Mr. Silberschlag as conductor is scheduled for release on Albany records. He has directed premieres of works by such composers as Morton Gould, Lorenzo Ferrero, Ludovico Einaudi, Paul Chihara, Chou Wen-Chung, David Froom, Kenji Bunch, Judith Shatin, Vivian Aldenberg Rudow, and William Thomas McKinley.
Mr. Silberschlag recorded William Thomas McKinley’s And the Presidents Said with narrator Ben Bradlee and the London Symphony Orchestra at Abbey Road Studio.
In 2005 Mr. Silberschlag appeared as the guest conductor of Orchestra Filharmonici di Torino and with the Symphony Orchestra of Rumania on tour in Sicily. In September Mr. Silberschlag led the “Orchestra di Tre Mondi” in concerts in Beijing, Shanghai, and Dalian, China, he recorded with the London Philharmonic at St. Luke’s, and he conducted the Italian National Opera in Italy. In 2006 he appeared in Tokyo and Kyoto.
Jeffrey Silberschlag has been a prominent trumpet performer on the international music circuit since he was eighteen. He has recorded as trumpet soloist with the London Symphony Orchestra, Royal Liverpool Philharmonic, Seattle Symphony, Czech Radio Orchestra, Warsaw Philharmonic, and the Maryland Bach Aria Group. His next recording is with the Toronto Chamber Orchestra for Naxos. Mr. Silberschlag has held principal trumpet positions with the Italian National Symphony RAI-Tornino; Jerusalem Symphony; and the New York City Opera-National Company. A graduate of the Manhattan School of Music, Mr. Silberschlag studied with such trumpet icons as William Vacchiano, Gerard Schwarz, Pierre Thibaud, and Robert Nagel. Many composers have dedicated works to him, including William Thomas McKinley, Paul Chihara, Morton Gould, Loreno Ferrero, Robert Hall Lewis, Ludavico Einaudi, James Cohn, David MacBride, Leo Eylar, Roger Davidson, John Carbon, and his colleague at St. Mary’s College, David Froom.
Mr. Silberschlag serves as artistic director and head of music performance at St. Mary’s College of Maryland. He has been a faculty member since 1988 and served as chair of the Music Department from 1997 to 2004.
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REACHING OUT - MUSIC FOR YOUR COMMUNITY - MSMTA 2006 CONFERENCE - CONTINUED
CHOPIN’S PRELUDES
Mr. Ganz will speak about his relationship with Chopin’s preludes: as a teacher, an editor, a recitalist, and a recording artist.Brian Ganz
Brian Ganz is widely regarded as one of the leading pianists of his generation. After a 1995 recital at the Kennedy Center, Washington Post critic Mark Carrington wrote: “There has never been any doubt that Brian Ganz is a good pianist, but last night’s recital at the Kennedy Center’s Terrace Theater offered strong evidence that he is a great one.”
Brian Ganz was winner of one of two First Grand Prizes awarded in the 1989 Marguerite Long Jacques Thibaud International Piano Competition in Paris, where he was also awarded special prizes for the best recital round of the competition and the best performance of the required work. That same year he won a Beethoven Fellowship awarded by the American Pianists Association, and in 1991 he was a silver medalist with third prize in the Queen Elisabeth of Belgium International Piano Competition. After his performance in the finals of the Brussels competition, the critic for La Libre Belgique wrote: “We don’t have the words to speak of this fabulous musician who lives music with a generous urgency and brings his public into a state of intense joy.”
Mr. Ganz has appeared as soloist with such orchestras as the St. Louis Symphony, the St. Petersburg Philharmonic (of Russia), the Baltimore Symphony, the National Symphony, the Buffalo Philharmonic, the Memphis Symphony, the City of London Sinfonia, L’Orchestre Lamoureux, and L’Orchestre Philharmonique de Monte Carlo. He has performed in such halls as the Kennedy Center Concert Hall, Salle Pleyel in Paris, Le Palais des Beaux-Arts in Brussels, De Doelen in Rotterdam, Suntory Hall in Tokyo, L’Arena Theater in Verona, and the Sibelius Academy in Helsinki.
Mr. Ganz made his recording debut in 1992 for the Gailly label in Belgium, and his recordings of works of Chopin and Dutilleux have been released on the Accord label in Paris. In 2001 he began a project with Maestoso Records in which he will record the complete works of Frederic Chopin. The project is scheduled for completion in 2010, the 200th anniversary of the composer’s birth.
Mr. Ganz’s recent concert highlights include performances of Beethoven’s Fourth Piano Concerto with Marin Alsop and
the Colorado Symphony in March of 1999, debuts in Korea with the Daejeon Philharmonic and in Switzerland with the St. Petersburg Philharmonic in 2001, and a performance of Mozart’s Piano Concerto No. 20 with David Loebel and the Memphis Symphony in March of 2003. He has also performed under the baton of such conductors as Leonard Slatkin, Mstislav Rostropovich, Philippe Entremont, Pinchas Zukerman, Leon Fleisher, Jerzy Semkow, George Manahan, and Gustav Meier.
Mr. Ganz is a graduate of the Peabody Conservatory of Music, where he studied with Leon Fleisher. Earlier teachers include Ylda Novik and the late Claire Deene. An enthusiastic teacher, Mr. Ganz is artist-in-residence at St. Mary’s College of Maryland, where he has been a member of the piano faculty since 1986, and in 2000 he joined the piano faculty of the Peabody Conservatory. In December of 2001 he was honored to serve on the jury of the Long Thibaud competition in Paris.
Mr. Ganz has remarked, “I am an active explorer of the many ways in which the study and performance of great music can remind us of the Spirit which unites all living things.” He has donated numerous performances in benefit concerts and was a founding member of the Washington Chapter of Artists to End Hunger.
WAGNER’S BAYREUTH – REACHING OUT TO THE COMMUNITY AND FAILING
Richard Wagner’s Ring of the Nibelung surely ranks as one of the most ambitious artistic projects of all time. Completed
in the space of no less than twenty-five years, the cycle of four massive operas made such huge demands on performers and audience alike that Wagner soon came to realize that his work would require a specially-built venue for its presentation. Having originally conceived the piece as something of a socialist allegory in the wake of his revolutionary involvement in the 1848
Dresden uprisings, Wagner initially imagined that through such a unique performance space his masterwork would be accessible to people from all social and financial levels.
In reality, the “festival house” at Bayreuth required the substantial support of the wealthy aristocracy and industrialists of the time, whom Wagner rewarded with privileged access to his performances, to the exclusion of those for whom he’d originally intended the work. Even today, tickets to the annual Bayreuth Festival are very expensive and hard to come
Sterling Lambert
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by, going mainly to the richest and most elite strata of society. The fascinating story of Wagner’s Bayreuth therefore serves as a salutary reminder of the dangers inherent in ambitious plans to serve the public that must ultimately rely on private sponsorship, and contrasts vividly with the success of the St. Mary’s College River Concert Series in utilizing private underwriting to make good music available to anyone and everyone.
REACHING OUT - MUSIC FOR YOUR COMMUNITY - MSMTA 2006 CONFERENCE - CONTINUED
MUSIC AND THE LIBERAL ARTS
St. Mary’s College, as a small liberal arts college, has an unusually active music department, with a deeply engaged and highly active faculty. We strive to balance first-rate music instruction with the pan-disciplinary mandates of liberal arts studies. Mr. Froom will speak about how artists reach out to the academic
community, and about ways that St. Mary’s College’s music department has structured its program to educate the complete musician, seeking to provide high quality instrumental, vocal, and academic education to all students, whether amateur or pre-professional.
David Froom
David Froom was born in California in 1951. His music is performed frequently throughout the United States. Among those who have programmed his music are the Louisville, Seattle, Utah, and Chesapeake Symphony Orchestras, The United States Navy and Marine Bands, Speculum Musicae, the Chamber Music Society of Lincoln Center, the 21st Century Consort, the Pittsburgh New Music Ensemble, and the New York New Music Ensemble; he also has had performances in China, England, France, Germany, Italy, Austria, Cyprus, Australia, and Holland. His music is available on CD on the Capriccio, Delos, Arabesque, Centaur, Sonora, Crystal, Opus 3, and West Point Academy labels, and much of it is published by MMB.
Among the many honors he has received are a Guggenheim Fellowship, commissions from the Fromm, Koussevitzky, and Barlow Foundations, first prize in the Kennedy Center Friedheim Awards, an Academy Award (for lifetime achievement) and a Charles Ives Scholarship from the American Academy of Arts and Letters, a grant from the National Endowment for the Arts, four Individual Artist Awards from the state of Maryland, a Fulbright grant for study
at Cambridge University, and fellowships to the Tanglewood Music Festival, the Wellesley Composers Conference, and the MacDowell Colony. He has served on the National Advisory Board for the League of Composers/ISCM and on the board of directors for the New York New Music Ensemble. He has taught at Baruch College, the University of Utah, the Peabody Conservatory, and, since 1989, St. Mary’s College of Maryland, where he is professor and chair of the music department. Mr. Froom was educated at the University of California at Berkeley, the University of Southern California, and Columbia University. His main composition teachers were Chou Wen-chung, Mario Davidovsky, Alexander Goehr, and William Kraft.
DEVELOPING MUSIC LITERACY AND THE EAR/HAND CONNECTION
IN BEGINNING PIANISTSPresented by Jill Hanagan
As educators, we often hear about the benefits of having good eye-hand coordination. But as piano teachers we need to concern ourselves with fostering good ear-hand coordination. When a child learns to first sing a song that he will eventually play on the piano, the piano becomes a natural extension of the primary instrument, which is the child himself. By singing the songs, the child is internalizing the music, allowing the voice and ear to guide the hands in playing the piece. Because we learn music the way we learn language, we should follow the natural progression for language literacy: listen – speak – write and read. By first hearing a song and then singing and playing it, we are developing music literacy. The next steps are to learn to read the songs we already know and finally to take all of that information and apply it to new material (unfamiliar songs).
This lecture/participatory session will discuss rationale and give practical suggestions for developing music literacy and the ear/hand connection. Video clips will be used to illustrate.
Jill Hannagan has been teaching music since 1979. She is the founder and director of the Hockessin Music School, where she teaches group piano lessons to first through eighth graders and early-childhood music classes to newborns to six-year olds. She is the founder and past director of the University of Delaware Community Music School and was an adjunct faculty member of the University of Delaware Department of Music. In 2006 she presented sessions at the national meetings of the Music Educators National Conference, the Music Teachers National Association, and the Suzuki Association of the Americas. Articles by Hannagan have been published in Early Childhood Connections, MENC’s
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Spotlight on Early Childhood Music Education, and Clavier Magazine (Winter 2006.) She is co-author of Music Makers: At the Keyboard, a Musikgarten publication for group piano instruction. She has taught workshops throughout the United States, Canada and in Asia.
THE TECHNIQUE OF PRACTICING WELL
Good practice tech-nique is central to student progress, but, with all the other things we need to teach, we seldom discuss the issues involved in teaching the techniques
of practicing well. In a session directed to all private music teachers, Mr. Cueto will talk about some of his strategies and techniques for teaching students how to practice effectively and efficiently. He will also discuss the evolution in violin performance technique from the early time of the violin to the present day, and will demonstrate with musical examples.
José Miguel Cueto
José Miguel Cueto, violinist, was born in Puerto Rico, where he received his early musical training. After graduating in 1974 from the Conservatory of Music of Puerto Rico with a diploma in violin performance, he was awarded scholarships from the Institute of Culture of Puerto Rico and the Peabody Conservatory of Johns Hopkins University. He completed both his bachelor’s and master’s degrees in music from Peabody under the tutelage of laureate violinist Berl Senofsky. During his studies at Peabody he served as concertmaster of the conservatory orchestra and was chosen to perform Vivaldi’s Triple Violin Concerto with his teacher, violinist Ruggiero Ricci, in the “Masters of Today and Tomorrow” concert series. Other distinctions include several prizes, among them the Premio Colegio San Ignacio and awards: Interlochen Chamber Music, Melissa Tiller Memorial, and Peabody Alumni Association.
In addition to his solo performances in the United States and abroad, Mr. Cueto is in great demand as chamber musician, having performed with such ensembles as the Kennedy Center Chamber Players, the Washington Chamber Music Society, the Casals Festival Players, and the Tidewater Chamber Players. At home with both traditional and contemporary repertoire, he has premiered several contemporary chamber music compositions by composers of the Americas. As soloist, José Cueto has played under the baton of conductors Fiora Contino, Leon Fleisher, Odon Alonso, Edward Polochick, Frederick Prausnitz, Peter Bay, and most recently Kenneth Kiesler and the Illinois Chamber Orchestra.
Mr. Cueto has been admired by both the public and the critics for his “solid technique, as well as his rich and beautiful tone” (El Mundo, San Juan). In March of 1993, STRAD magazine recognized Cueto’s Carnegie Hall performance at the Weill Recital Hall as “grounded, confident, and superb in all particulars.” During recent seasons he has appeared at the La Gesse Festival in France and the Autunno Musicale Veronese in Italy. He has toured in both Argentina and the eastern part of the United States. Mr. Cueto is concertmaster of the Baltimore Opera Orchestra and Concert Artists of Baltimore.
A recording artist, José Cueto has, under the auspices of the government of Portugal, recorded music of Portuguese composers. He has also recorded baroque music for Crystal records as well as “Music of the Americas” with TRIO AMERICAS.
HISTORICAL TEACHING METHODS: JOHANN
NEPOMUK HUMMEL’S PIANO TREATISE AND ITS LEGACY
Johann Nepomuk Hummel, a contemporary of Beethoven and student of both Mozart and Haydn, was, in his day, recognized as Europe’s leading piano teacher. His importance is demonstrated by the fact that Robert Schumann considered studying with him just for the purpose of bolstering his resume. Hummel’s 500-page teaching treatise, which is not so well-known today, provides insight into historical teaching methods, as well as an understanding of how and why certain approaches are taken today. The presentation will include some biographical information in addition to information on the dissemination of Hummel’s style through his students.
Jarl Hulbert
Jarl Hulbert, currently Coordinator for the William Kapell International Piano Competition and a lecturer in musicology at the University of Maryland, completed B.M. and M.M. degrees in piano performance in California and Arizona before completing a Ph.D. in musicology at the University of Maryland, College Park, in 2006. In addition to lecturing at the University of Maryland, Hulbert has taught music history at St. Mary’s College and group and private piano at the Community College of Baltimore County, Essex. His research interest in historical pedagogy stems from his year of study in Vienna as a Rotary Ambassadorial Scholar. He has lectured on pedagogy at music teachers’ meetings and Universities in California and Arizona, and in 2001, Hulbert received the Lowen’s Award from the American Musicological
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Deborah Lawrence
TEACHING SCRIPTURE THROUGH MUSIC IN RENAISSANCE SPAIN
Renaissance Spain is remembered today for conquering the New World, supporting the Inquisition, and giving us Don Quixote. Less well known is that Spain was the birthplace of some of the earliest method books for learning music: specifically for
learning to play the vihuela de mano, an instrument that resembled a modern guitar. Several of these self-help manuals not only taught music, but also aided in learning Bible stories through the inclusion of song settings of these narratives. In addition to vihuela books, other musical methods by which the population learned their Scripture included Christmas, Easter, and Corpus Christi plays with songs, and Bible stories rendered as printed, popular ballads for private enjoyment and devotion. The plays were aimed at the population at large, most of which was illiterate, but the printed materials were obviously intended for a literate group with enough money to buy them. The common feature among all these works was the use of music for learning and enjoying Scripture in a time when the ability to read a Bible was a rare thing, and ownership of one was rarer still. My discussion will summarize what these musical works were, explain how they were used and by whom, and will include musical examples.
Deborah Lawrence is a scholar of the music of Renaissance Spain, and also has interests in the music of Latin America, opera, and flamenco. Prior to coming to St. Mary’s College Lawrence taught at the Peabody Conservatory of Music in Baltimore, George Washington University and The Catholic University of America in Washington, D.C., the University of Maryland at College Park, and James Madison University in Harrisonburg, Virginia. In addition, she has been a frequent lecturer for the Smithsonian Institute’s Resident Associates program in Washington, D.C.
Michael Ryan, baritone, is currently instructor of voice at St. Mary’s College of Maryland. He also maintains a private vocal studio, as well as an active solo career. Mr. Ryan was vocal soloist for The United States Army Band and Chorus from 1964 until 1970, at which time he became vocal soloist and concert moderator for The President’s Own, The United States Marine Band. As such, he appeared throughout the United States and gave thousands of performances in a highly varied repertoire. He performed at The White House on many occasions at the request of the President of the United States. Michael Ryan was seen on global TV singing “America the Beautiful” at the first inauguration ceremony of President Ronald Reagan. He accompanied President Clinton to Hawaii where he was the soloist for the 50th anniversary of VJ Day. By special request, Michael Ryan led a “National Sing-a-long” at the beginning of President Clinton’s second inauguration. He was The Marine Band’s featured soloist at concerts in England, Ireland, The Netherlands, Norway, and in the former Soviet Union. Michael Ryan is also well known throughout the United States for his many performances in opera, concert and oratorio, and remains one of the most popular entertainers in the nation’s capital. Internationally, he has appeared with such groups as The Royal Netherlands Marine Band, The British Royal Marine Band, Harmonie St. Michael Thorn, and Koninklijke Zandveraniging Venlona. Locally he has performed with The National Symphony
MICHAEL RYAN, VOICE, WITH BEVERLY BABCOCK,
PIANO
Based on his long career as a singing teacher, including six years at St. Mary’s College, Mr. Ryan will discuss, as he puts it, “things that I wish students would know before they get to college.” Then, accompanied by Beverly Babcock, Mr. Ryan will sing some French art songs, and speak about his extended career in the
Marine Band as an opera singer.
Michael Ryan
Society’s Capital Chapter for his research. Secondary research on the life of Robert Schumann earned him an invitation to present at the 2006 “Schumann Perspectives” International Symposium in Texas.
A Nationally Certified Teacher of Music, Hulbert, together with his wife Irene, also manages and gives piano instruction at the Artist Music Education Center in Perry Hall, MD. Originally from Southern California, where his father Thomas Hulbert was active as a piano teacher, composer, and author of a unique teaching method, Hulbert currently resides with his wife and two-year-old daughter in northeastern Baltimore County.
Lawrence’s work focuses primarily on Spanish songs, and she has given papers at national and local conferences of the American Musicological Society and the Renaissance Society of America. In addition to publications and papers, she was awarded a grant for dissertation research in Spain, and served as the Academic Writer and Specialist of the Renaissance web site for Learner on Line, a project of the Corporation for Public Broadcasting and the Annenberg Foundation. A native of Chicago, Lawrence now resides in Ft. Washington, Maryland.
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REACHING OUT - MUSIC FOR YOUR COMMUNITY - MSMTA 2006 CONFERENCE - CONTINUED
Continued on Page 10
Orchestra, the Arlington Metropolitan Chorus, the McLean Choral Society, the George Mason Chorale, the New Dominion Chorale, the Southern Maryland Choral Society, and the Annapolis Chorale. He is also the principal soloist with The Alfalfa Club, The Gridiron Club, and The Military Order of the Carabao.
Mr. Ryan has served as music director for St. Patrick’s Catholic Church, the Protestant Music Program of Andrews Air Force Base, Mayo United Methodist Church, and St. James’ Episcopal Parish. He has performed as cantor at St. Stephen Martyr Catholic Church and assisted the cantor at B’nai Israel Congregation.
BEVERLY BABCOCK began her piano studies at age five with Bristow Hardin in Norfolk, Virginia. She received a master of music degree in piano performance from Peabody Conservatory, where she studied with Ellen Mack and Leon Fleisher. Her post-graduate studies were with John Owings, pianist-in-residence at Indiana University at South Bend.
Ms. Babcock has served on the piano faculties at the College of William & Mary in Williamsburg, Virginia, and Andrews University in Berrien Springs, Michigan. She has also taught piano privately for 25 years. In addition to her work as resident accompanist at St. Mary’s College of Maryland, she works with singers and instrumentalists in the Washington, D.C. area, helping them prepare for recitals, auditions, and competitions.
LUCILLE GOERES, flutist, studied with Julius Baker at The Juilliard School. A resident of New York City, she is a member of the Long Island Philharmonic, the Queens Symphony, New York Grand Opera and the New Jersey Opera. She has been a member of the Lake George Opera for the past four seasons, and has performed with the New York Philharmonic, the New Jersey Symphony, American Ballet Theatre, New York City Opera, New York City Ballet and Radio City Music Hall.
Ms. Goeres gave the world premiere performance of In Freundschaft for solo flute by Karlheinz Stockhausen. Her involvement with the study of ethnic flute music and techniques has led her to be a frequent substitute as solo flute for The Lion King. She has recorded with the New Jersey Symphony, the Bronx Arts Ensemble and the New York Flute Club. An advocate of Early Music Performance, she spent 20 years on the board of directors of the Music Before 1800 concert series. Ms. Goeres is an active member of New York City’s Musician’s Local 802 and has represented her colleagues in efforts to improve working conditions for professional musicians.
JOANNA GREENWOOD will be offering a session to the students who will be having a piece performed in the Composers Circle Concert. (Please note that this session is not open to parents or teachers). The session will allow the composers to listen to and discuss their music together. Joanna Greenwood will discuss compositional techniques of interest from the composers’
works and also illustrate similar techniques from well-known composers.
Ms Greenwood received a B. Mus. and a M. Mus in Theory and Analysis from London University. She moved to the United States in 1983 to pursue a master’s degree in Historical Musicology at Cornell. She has taught at Middlebury College, Baltimore School for the Arts, Towson University, and is currently teaching the music history program at Goucher College. She has had a piano studio in
the Towson since 1993, and has held summer composition workshops since 2000.
Pianist ELIZA GARTH has achieved international distinction as a performer of contemporary music and the standard repertoire, through her recordings and her appearances in major cities in the U.S. and abroad. Well known for her adventurous programming, she has championed some of the most demanding works in the repertoire.
Ms. Garth has recorded the complete piano works of the Pulitzer Prize-winning composer Donald Martino on two nationally acclaimed CDs for the Centaur label. The first of these, her debut solo CD, was released in 1993. The first-ever recording devoted entirely to Martino’s solo piano music, it includes his monumental works Pianississimo and Fantasies and Impromptus. In a New York Times survey of its own music critics’ favorite recordings of music written since 1945, Anthony Tommasini included this CD. In the Boston Phoenix, critic Scott Wheeler wrote, “...this release would be important if only to help fill a gap in the discography of American music. Fortunately, Eliza Garth’s graceful and lucid performances make it a disc to treasure.” Her second
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REACHING OUT - MUSIC FOR YOUR COMMUNITY - MSMTA 2006 CONFERENCE - CONTINUED
all-Martino CD (which also contains the Trio for violin, clarinet, and piano) was released in 1997. Both discs were awarded grants from the Mary Flagler Cary Charitable Trust; the second also received a grant from the Aaron Copland Fund for Music.A founding member of the Chamber Players of the League - I.S.C.M. in New York City, Ms. Garth also is in frequent demand as a guest artist. She has made guest appearances for the Chamber Music Society of Baltimore, the Rotterdam (Holland) Arts Council, Collage (at Symphony Hall in Boston), the Twentieth Century Consort (at the Smithsonian Institution), Parnassus, the New York New Music Ensemble, the Washington Square Contemporary Music Society, the New Music Consort, the Fromm Foundation concert series (Boston), and the Walker Art Center in Minneapolis, among many others.Eliza Garth is noted in New York as a creative recitalist. After completing her studies at The Juilliard School in 1982, she made her New York recital debut the following year with an all-Alban Berg concert of solo and chamber works that included the Chamber Concerto For Piano, Violin, and Thirteen Wind Instruments, conducted by Harvey Sollberger. In the twenty-four seasons since then, she has performed over 150 new works, more than 50 of them premieres, including numerous works written for her.Ms. Garth is a member of the faculty of St. Mary’s College of Maryland, where, with her pianist colleagues Brian Ganz and Beverly Babcock, she conducts Piano Fest, an annual summer festival of workshops, recitals, and masterclasses for young pianists that is part of the River Concert Series. In the fall of 2005, she traveled to China with several of her faculty colleagues, led by conductor Jeffrey Silberschlag, to appear in the centennial celebration at Fudan University in Shanghai, and to give performances in Beijing and Dalian.Ms. Garth’s recording (with violinist Rolf Schulte and cellist Eric Bartlett) of The Open Secret, a piano trio by Pulitzer Prize winner Paul Moravec, can be heard on the CRI label. Her recording of David Froom’s Piano Suite, written for her with funding from the National Endowment for the Arts, was released on the Arabesque label. Her recordings for Opus One include Six Little Pieces for four hands by Arnold Schoenberg, and the complete duo piano music of Frank Martin (both with pianist Yolanda Liepa). Ms. Garth’s performances have been heard on the BBC Radio 3, WQXR and WNYC in New York, WBUR and WHRV in Boston, Radio de la Suisse Romande in Geneva, WGUC in Cincinnati, WUSF radio and television in Tampa, and Vatican Radio in Rome.She was recognized by the Maryland State Arts Council with an Individual Artist Award in 1998.
COMPETITIONSHORWITZ MEMORIAL COMPETITION FOR VIOLIN & PIANO DUO DEADLINE NOV 17
The David R. Horwitz Memorial Competition for Violin and Piano Duo will take place on Sunday, December 17, 2006, at the Academy of Music in Gaithersburg, MD. Enclosed is an application form. Please mail by November 17, 2006.
This competition features music written for violin and piano duo to be performed by high school students, grades 9 through 12. Two compositions are required with
minimum playing time of 5 minutes and maximum time of 15 minutes. Both pieces may be sonata or sonatina movements in contrasting styles or periods, or you may select one sonata/sonatina movement and one piece for violin with piano accompaniment.
The three finalists will receive cash prizes: $100 for First Place, $75 for Second Place, and $50 for Third Place. Please contact Chairpersons Claudette Horwitz at [email protected] or Judith Silverman at [email protected].
MEMBER NEWSCAROLYN LAMB BOOTH has received a generous grant from the DC-AGO Foundation Committee to continue studying organ privately with Ken Cowan, noted concert organist and Assistant professor of Organ at Westminster Choir College in Princeton, NJ. Her organ studies under this grant will culminate in an organ recital in late spring 2007.
Carolyn performed a 30-minute organ recital of British and French composers on August 26 as part of the mini-organ Marathon and Jousting Tournament festivities being held at historic Christ Episcopal Church, Port Republic, in southern Maryland.
Claudette Horwitz
MSMTA member RICHARD HARTZELL announces that his Christmas composition, His Name Is Jesus, has just been published by Cantus Quercus Press of Thousand Oaks, California. Originally written and first performed in 1976 with lyrics by Clint Holmes, the song is scored for soloist, SATB choir and organ. Copies of His Name Is Jesus may be obtained via the website of Cantus Quercus Press. Parts for the original chamber orchestra instrumentation are available.
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from the President...
Dear Colleagues
I hope your summer was restful and rejuvenating and that you are eager to start another season of teaching, cajoling, inspiring and preparing students for the myriad of events on the calendar. Carol Wolfe-Ralph, Debbie White-Bondhus, all the Student Activities chairs, Richard Hartzell, David Holmes and the membership committee, Judy Parks, Kathy Stansbery, the Local Association presidents, MTNA competition chairs, Ann McCandliss, Claudette Horwitz and all the other members of the MSMTA board forfeited a large portion of their summer break to prepare for the coming year, and on behalf of all of us, I want to offer our thanks for their zeal and professionalism.
As I write this I am preparing to attend the MTNA Leadership Summit in Cincinnati Ohio. This annual event has been a very pleasant surprise to me …one I initially dreaded attending, but have found to be very enlightening and beneficial. Perhaps my favorite session is one in which states of comparable membership size meet to discuss common issues and/or problems. Maryland meets with: PA, OR, CO, NC, NY, WI, UT, OK, and AZ. One of the issues already on the agenda is a discussion regarding surveys…why don’t they work and what other methods of compiling information can be more effective? For example, I personally fielded at least 15 telephone calls or email messages over the summer from teachers wanting to discuss tuition rates…what is average, etc? Why doesn’t MSMTA offer members any of this information? I know of MSMTA members whose tuitions range from $20 an hour to nearly $100 an hour. What is the determining factor…education, location, performance opportunities…? When we as a state attempted a very comprehensive survey written by Wendy Dengler several years ago, the response was too negligible to reach any conclusions. Several local associations have attempted the same thing, with similar results. I will be interested to hear what solutions, if any, I find at the summit. I’ll report on the items of discussion at the MSMTA board meeting and pass on information to the local presidents to share with their members. This would also be a good discussion topic for a local association meeting.
I had an interesting personal experience a few weeks ago with a new student I have taken for the fall. The mother of the student said that she and her husband had debated after the interview this summer because my studio tuition is about three times higher (!) than the previous fee they had paid, but that it was exciting to know their daughter is studying with a professional piano teacher. They were impressed by a policy statement, stating the rules of the studio and requirements for practicing; studio and performance etiquette expectations; attendance and make-up policies; the fact that I put professional development conferences on the calendar, and the studio website (free to me), among other things. I don’t know, but I believe the previous teacher sold herself and her skills short, and thought she could not charge what would be a fair, reasonable price for her time and expertise. We owe it to ourselves and to our profession to value what we have to offer. Have you bought a tutu or leotards, or a snazzy tiara for a dance costume lately? As well as paying for the privilege of attending the dance recital?
I look forward to seeing many, many of you at the MSMTA Conference in November when we all gather to hone our teaching skills, general music knowledge, and have some well deserved fun at the same time!
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MSMTA NEWSMSMTA Membership By-laws revision - 6 August 2006
This is the complete rewritten text of ARTICLE III Section 3.03 (c) and (d)
Section 3.03 Active Membership
c. Applicants must meet one of the following requirements:
i Graduation with a bachelor’s or higher degree in music from an accredited institution of higher education.
ii Currently certified by MTNA.
iii Faculty member of a music department of a recognized school, college, university, or conservatory.
iv. Examination of students. An applicant who does not qualify for membership under paragraphs (i), (ii), or (iii) may be admitted by presenting three students for examination.
1) Each student shall have studied with the applicant for at least nine months.
2) It is recommended that one student be studying at least at the intermediate level.
3) Only one student may be a transfer student.
4) Specific information concerning performance requirements may be obtained from the Membership Chair.
5) The applicant shall be notified in advance of all requirements for audition.
6) Applicants shall remain anonymous to the Examining Committee and shall not be present at the examination. The chair of the Membership Committee shall notify the president and the applicant of the Examining Committee’s decision. Applicants not approved may reapply after six months.
v. Any applicant who does not fulfill any of the above qualifications may ask for special consideration by the Membership Committee whose decision will then be referred to the Board of Directors.
MSMTA Membership By-laws revision - 10 August 2006 p.2
d. Replace all of d. as follows
A successful applicant will be listed in the MSMTA directory with primary performance teaching field(s) as determined by the following criteria:
i. a bachelor’s or higher performance degree in the instrument(s) to be taught,
ii. a degree in music education or music theory with the instrument(s) to be taught designated as “major”,
iii. current MTNA certification in the instrument(s) to be taught.
iv. a successful audition of one’s students as described in
Section 3.03 c. iv . Situations requiring an audition for the listing of an instrumental performance teaching field include:
1) a music degree with no listed major instrument,
2) listing more than one instrumental performance teaching field. Any instruments not covered under provisions of d. 1) and 2) must be auditioned.
e. Add this sentence as part e.
Other musical teaching fields may be listed upon presentation of appropriate documentation.
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LOCAL ASSOCIATIONS
The Anne Arundel Music Teachers Association’s Second Annual Water Music Festival was held on July 15th at the home/studio/swimming pool of member Marcia Slentz-Whalen. Forty students representing six studios participated in nine mini-recitals throughout the day. Students and their families circulated from the studio to the patio and swimming pool.
The “admission fee” for each family was the contribution of a snack or beverage. Repertoire performed had to be related in some way to water. (Participating teachers noted what a vast “body of water music” exists when taking into consideration rain, snow, ice, sleet, mist, waterfalls, oceans, sailing, water skiing, sharks, barcarolles…. possibilities are endless.)This type of event combining music making, food and fun in a social setting is an excellent means of motivating young students to practice and perfom. A wonderful time was had by all! Many thanks go to Marcia and Hal Slentz-Whalen for their hospitality and many behind-the-scenes preparations necessary for a gathering of this size.
On July 19th members, many with spouses and children, met for the annual Family Night at the Macaroni Grill---another AAMTA summertime tradition.
AAMTA will hold its first of seven General meetings of the 2006-2007 academic year on September 8th. (On the recommendation of the Board, the number of General Meetings has been increased from five to seven per school year.)Based on a questionnaire distributed to members in June, the Program Committee has lined up topics for discussion or presentation for every meeting. The topic for consideration on September 8th will be “Preparing Students for Performing” led by AAMTA member Helen Smith Tarchalski.
Subsequent offerings will include additional presentations by AAMTA members, “open forum” discussions and guest speakers.
William Bloomquist, President
The Carroll County Music Teachers Association held its organizational meeting on August 14 for the upcoming 2006 - 2007 school year. The following officers were elected: Karen Mihalko, President; Joan MacDonald, Vice - President; Carolyn Keiner, Recording Secretary; Diane Jones, Corresponding Secretary; Debbie Long, Historian.
A new roster of activities has been planned. In October, we are planning a “Dressed for the Music: A Costumed Concert” and in December we are having “Music at the Mall.”
With a new slate of officers we are anticipating an excellent year.
Karen Mihalko, President
Greater Columbia Music Teachers Association is looking forward to a new year of beautiful music. We have our usual slate of student recitals, competitions, and examinations in store, as well as two continuing events of interest: Our Friends and Family Event on January 27 invites friends and family of members’ students to join the student in chamber music. This event will be held simultaneously with a Germanic Music Festival -- exciting! On March 4, we will have our annual Master Class, clinician yet to be confirmed. Last year our clinician was Bonnie Kellert. This is always a rich event for students, families, and fellow teachers.
I thank my co-officers, Vice President Kay Patterson, Secretary Janice Puckett, Treasurer Lorri Yawney, Historian Wendy Johnston, and Membership Constance Fischel. Also, many thanks to Kay Patterson, David Holmes, and Constance Fischel for coming up with our new Trophy Award for participation in local events, a lovely program.
Helen Weems, President
GREATER COLUMBIA MUSIC TEACHERS ASSOCIATION
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This year, the Howard County Music Teachers Association will be holding the majority of our activities in the new Horowitz Visual and Performing Arts Center at Howard Community College. Many thanks go to Kristina Suter for all of her work in scheduling our recitals, competitions, and other events at the college. It should be an exciting year for HCC as well has for us!
On October 6, Bonnie Kellert will be coming to present a workshop on Technique. Nancy Breth is scheduled to come on March 2, also to present a program. It has been several years since HCMTA has hosted a workshop and extends an invitation to any who would wish to come hear Bonnie or Nancy! Thanks to Alla Merport for contacting them and setting up the programs. (You may contact Alla or Kathy Stansbery for more information.)
Due to an oversight, Cecilia Wyatt’s name was omitted from the list of fine judges we engaged for our Miriam Thomann Piano Solo Competition last May. Our apologies, Cecilia!
Lastly, we would like to extend our sincere thanks to Christopher Hall for the use of his piano for so many years. Due to his generosity, we were successful in holding our large competitions at the Howard County Center for the Arts in Ellicott City. If we had had to rent a piano, it would have been much more difficult, if not impossible, for us to run these events. HCMTA is deeply appreciative of this very major contribution that Christopher has given to HCMTA.
Kathy Stansbery, President
The Montgomery County Music Teachers Association started a very active year on September 19 at Stone Ridge School in Bethesda with a lecture by Dr. William Wellborn.
Dr. Wellborn performed several of Scarlatti’s sonatas and discussed elements of style in these sonatas. Included were suggestions on editions, ornamentation and helpful hints for teaching this delightful music to our students.
On the schedule of student activities for 2006-2007 are 17 recitals for various levels. The first will be an Elementary “Autumn Magic” recital on October 14 and a Judged Recital on October 22. Thanks to our many competent committee chairs for arranging and organizing all of our events.
Jean Lauderdale, President
The fall kickoff meeting of MTAB was held September 13 at Belcroft Bible Church. The program included the distribution and overview
of the official MTAB Handbook for 2006-07, as well as a presentation by Jeannine Case on Spanish music repertoire as the theme for the annual Mirabella Competition in March. Betsy Angebranndt also presented guidelines and repertoire options for the Ensemble Festival to be held December 2. The first MTAB board meeting of the year was held September 27, and as we move ahead into this new program year we are looking forward to a wide variety of enriching programs for our members and exciting events for our students.One of our continuing goals is to grow as an organization that is user-friendly to all our members – not only our pianists but our vocalists and other instrumentalists as well. We sponsor a number of events that are open to all students, and we are making a special effort to keep our monthly program content interesting and relevant for every member of MTAB. I am grateful to every member whose contributions of time and talent promise to help make this new program year a productive one for students and teachers alike. I look forward to my tenure as President and to serving with the capable leadership team of officers, committee chairs and event chairs who have volunteered to lead MTAB into the future. Here’s to a year full of terrific professional growth and inspired music-making!
Marcia Slentz-Whalen, President
Music Teachers Association of Southern Maryland has had wonderful opportunities for students and teachers these past few months. On May 6, we held our “Honors Recital” at St. Mary’s College. Twenty-five students of piano and voice participated. Jasmin Hottle, piano student of Hyun Sook Kim, won the 2005-2006 MSMTA Scholarship for Performance. We were excited to hold a Master Class by Suzanne Guy on July 8, where six students performed. Many students, teachers and parents enjoyed this presentation.On an extremely hot July 30, we held our “Drip Stick Recital”. Students performed in the recital, and then enjoyed eating ice-cream treats on a stick (from where the recital got its name). We began our 2006-2007 year on August 26 with a meeting. The program consisted of a performance from voice students of Joan Chovanes, and an “Idea Swap” among our teachers. A delicious potluck luncheon followed. We are looking forward to an exciting year.
The MSMTA Newsletter is published bi-monthly by the Maryland State Music Teachers Association, Inc.Circulation: 725
OTHER ORGANIZATIONSMARYLAND OPERA SOCIETY
The Maryland Opera Society, under the direction of Dr. Gerald Muller, their Artistic Director, will present “Amahl and the Night Visitors” by Menotti at the new Bowie Performing Arts Center, Annapolis Road, Bowie, MD. Performances will take place on Friday evening, November 10th at 8:00 pm, and again on Sunday, November 12, at 3:00 pm. Dr. Muller was formerly the Chairman of the Music Department at Montgomery College in Rockville, and helped develop their Opera/Musical Theatre Workshop.
Chad Johnson, student of Sylma Gottlieb and grandson of Dr. Roy Hamlin Johnson, Professor Emeritus of the University of Maryland, will be singing the role of Amahl. Owen Adams, student of Jeannine Case, will be the pianist for the production.
For further information, please call 301 262-2753. An Adult ticket purchase for $20.00 will entitle you to bring children under the age of 16 years FREE.
FRIDAY MORNING MUSIC CLUB
Student Opportunity. Boost your creative students by putting them in the Friday Morning Music Club’s Neva Greenwood Memorial Student Composition Contest. Manuscripts and tapes or CD’s due Dec. 1. Any style, vocal or instrumental. Finalists in recital at Sumner Auditorium, D.C. Prizes $500-300-200. For rules and entry form call Jo Lombard, 703-644-1491.
INTERNATIONAL SCHOOL OF MUSIC POSITION AVAILABLE
The International School of Music in Bethesda has openings for part time piano teachers. Interested applicants please e-mail your resume to [email protected]. More information about the school is available at www.ismv.org
Inja Stanic, DirectorIntenational School of Music
301.657.0763
HOWARD COUNTY COMMUNITY COLLEGE MASTER CLASSES
Three public master classes will be presented in the brand-new Monteabaro Recital Hall in the brand-new Horowitz Visual and Performing Arts Center at Howard Community College in Columbia, Maryland.Here are the master class dates and times:
1. MIAMI STRING QUARTET (ENTIRE GROUP): 4 November 2006 Monteabaro Recital Hall 10:30 AM
2. MICHAEL TREE, VIOLIST: 4 March 2007, Monteabaro Recital Hall, 4:30 PM
3. JOHN SHIRLEY-QUIRK, VOICE: 29 April 2007, Monteabaro Recital Hall, 2:00 PM
And here are a few quick facts:
· Performers will be current or former HCC/MAC students, of any age.
· Monteabaro Recital Hall is intimate—seats only 130 persons—for an excellent up-close and personal experience with the artists.
· This is a great opportunity for budding musicians to watch inspirational, consummate masters in action.
· Ticket prices are only $5 for students with ID ($10 for all others), and advance purchase is available.
· Anyone interested in tickets or more information on these events should contact Benjamin Myers, Assistant Professor of Music, HCC, at this email [email protected] or at his office phone (410) 772-4801.
