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Words of Note

Newsletter of The University of Texas School of Music. Volume 17, Fall 2001.

Composer Wins Prix de Rome and Guggenheim

New School of Music Director

Corigliano Receives $25,0000 King Award

Plus - Alumni, Faculty, and Student News

Please vist our website at:www.music.utexas.edu/

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School of MusicCollege of Fine Arts

The University of Texasat Austin

DirectorB. Glenn Chandler

Editor/DesignerJohn Wimberley

ProductionMatt Orem

Contributing WritersJack Brannon

Nancy Bussey

Charles Clark

Robert Faires

Matt Orem

CoverBrian Auderer

Web Sitewww.utexas.edu/cofa/music

fall, 2001 —volume 17 words of note

UT composers continue musical legacyRecent awards reflect outstanding

composition program

Composer wins major international prizesKevin Puts receives Prix de Rome and

Guggenheim

Corigiliano receives King AwardMajor American composer chosen for

UT award

Austin-Southampton Early Music Exchange returns to the School of MusicSymposium continues collaboration

between English and US scholars and

performers

Profile—Dick Goodwin, DMA ’69Multi-talented graduate, former faculty, hon-

ored in South Carolina

Kent Kennan wins Doty AwardCollege of Fine Arts highest honor

guest artists and speakers

alumni news

faculty

student activities

in memoriam

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26

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7

departments

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It is with a great sense of excitement that I begin my work here at the Uni- versity of Texas as Director of the

School of Music. At the same time I am humbled by the opportunity to work with this program and its outstanding faculty and staff. We have been warmly received by the university community and look for-ward to a wonderful working relationship with everyone here in the years to come.

The only constant in the universe is change, and this year has seen many changes in the School of Music at UT Austin. We all wish to thank Professor Michael Tusa for his dedicated service as Acting Director of the School of Music during the past two years. He has done an excellent job during this period of change. Furthermore, he has agreed to continue serving in an administrative role as the Associate Director where his knowledge, skill and experience have helped to create a real sense of continuity.

In a program the size of ours there are some inevitable changes that we must accept, such as the retirement of colleagues. This year we said a s p e c i a l thanks to retiring fac-ulty mem-bers Gayle Barrington, Wayne Bar-rington, Raymond Crisara, Gilda Cruz-Romo, and George Frock. We greatly appreciate their years of dedicated service to the School of Music; the students, faculty and staff will miss them greatly. While it saddens us to say goodbye to these colleagues we are happy to welcome an even larger than normal number of new faculty who joined us this fall. They bring new dynamics to the program that will enable it to continue to prosper and flourish. You will learn more about the new faculty members later in this publication.

Many important upcoming events prove that this will be an exciting year in the School of Music. Some of these include the presentation of the Eddie Medora King Award in Musical Composition to internationally known composer John Corigliano;

the residency by concert pianist and UT alumnus James Dick; and the “Law and Other Performing Arts” symposium. This is but the tip of the iceberg in a very ac-tive and vibrant program that presents some 400 musical events a year. We invite all our alumni and friends to take advan-tage of any and all these presentations.

Kevin Puts’ having received both the Prix de Rome and a Guggenheim fellowship serves to highlight the many recent ac-complishments of our outstanding faculty. I invite you to read further in this issue to find out more about faculty activities, achievements and special awards over the past year.

This is an exciting and outstanding pro-gram that can not only be the leading program in Texas but one of the leading programs nationally and internationally.

It is my goal for this program to be so recognized. We will assess our strengths and weaknesses and develop a plan for defining excellence in all areas. We will review the curriculum to make sure we are educating musicians for the new decade, century, and millennium. We will question why we teach what we teach

and why we teach it the way we do. We will ex-plore new u s e s o f technology and expand

our international endeavors. There will be change, but not just for the sake of change. The change that results will be the natural outcome of careful and thoughtful planning and implementa-tion. I am glad to be here and look forward to an exciting and productive future in the School of Music.

Sincerely,

B. Glenn Chandler, DirectorFlorence Thelma Hall Centennial Chair in Music

from the director

This is an exciting and outstanding program that can not only be the leading program in Texas but one of the lead-ing programs nationally and internationally. It is my goal for this program to be so recognized.

B. Glenn Chandler

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When Kevin Puts received the Samuel H. Barber Rome Prize Fellowship in Musical Composition for 2001-2002, he followed not only in the footsteps of Rome Prize

winners Aaron Copland, Howard Hansen, Lukas Foss and Samuel Barber, but in the footsteps of another School of Music faculty member, Professor Emeritus Kent Kennan. Kennan’s prize came in 1936, a few years before he joined the then-Department of Music. Puts’ prize brings the award full circle and serves to epitomize the consistency of the outstand-ing quality over six decades of the composition program at UT. It also focuses attention on the importance of such a program to a large, comprehensive School of Music and to The University itself. As the state’s flagship research institution, The University of Texas at Austin is charged with both the education of students and the creation of new knowledge. And for the School of Music, that charge includes the creation of new musical works. “A strong com-position program isn’t just an end in itself,” said Michael Tusa, the School’s acting director. “Composition gives expression to the feelings and thoughts of our time and ultimately provides the most enduring legacy of our time to the future.” The School of Music is well assisted in this charge by four ac-complished and highly respected composers whose versatility in all manner of compositional media is reflected in the numerous national and international awards and prizes to their credit. Donald Grantham, who has fulfilled commissions ranging from solo instrumental works to opera, has received the Prix Lili Boulanger, the Nissim/ASCAP Orchestral Composition Prize, First Prize in the Concordia Chamber Symphony’s Awards to American Composers, a Guggenheim Fellow-ship, three grants from the National Endowment for the Arts, and First Prize in the National Opera Association’s Biennial Composition Competition and a Citation awarded by the American Academy and Institute of Arts and Letters. With Kent Kennan, he is co-author of

UT composers continue musical legacy

(continued on page 6)

The Technique of Orchestration (Prentice-Hall). Dan Welcher composes opera, concerto, symphony, vocal lit-erature, piano solos, and chamber music. Trained as a bassoonist, he founded and conducts the New Music Ensemble at the School of Music, served as associate conductor of the Austin Symphony Orchestra, and was Composer in Residence with the Honolulu Symphony Orchestra. Welcher has won numerous awards and prizes from institutions such as the Guggenheim Foundation, the National Endowment for the Arts, the Lila Wallace-Reader’s Digest Fund, the Rockefeller Foundation, the MacDowell Colony, Yaddo, the Bellagio Center, the American Music Center, and ASCAP. Russell Pinkston’s music ranges from concert works and sacred anthems to computer-generated tape pieces and live electronic music for dance. He has received two prizes from the American Academy and Institute of Arts and Letters, a senior Fulbright Fellowship in Composition and Computer Music to Brazil, and a Guggenheim. Pinkston is also active in computer music research, and his work in the area of real-time performance interfaces for modern dance has recently attracted international attention, leading to interviews on BBC radio and NPR, as well as a feature in New Scientist magazine. In addition to the Rome Prize, Kevin Puts’ numerous professional awards include the BMI Student Composer Award, ASCAP Grants to Young Composers, the Charles Ives Scholarship, and the Fellow-ship in Composition from the Tanglewood Music Festival. He has received major commissions from the National Symphony Orchestra,

New York Youth Symphony, Boston Pops, Phoenix Symphony, California Symphony, Young Concert Artists, Inc. He has also performed with nu-merous orchestras and festivals and recitals as accompanist, soloist, and chamber musician. Dedicated to the creation

of new works, these four faculty composers are also committed to training the next generation of composers. “Music is really a liv-ing art rather than a historical fact,” said Grantham, head of the School’s composition faculty. “It keeps the creative process alive. It’s always in the process of becoming. Our students write all kinds of music, for example, and that keeps the School’s performers in-volved with current trends in music. At the same time, all composers are writing music that has a basis in past tradition, and that keeps the tradition alive.” One o f the fi r s t things Grantham wants his students to understand is the practical side of composing. “We push our

Composition gives expression to the feelings and thoughts of our time and ultimately provides the most enduring legacy . . .

Donald Grantham

Russell Pinkston composes in an electronic music studio.

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Faculty composer wins Prix de Rome and Guggenheim

Kevin Puts, Assistant Professor of Composition at the University of Texas at Austin School of Music, has been awarded the Prix de Rome, one of the most

coveted awards for gifted American scholars and artists. Given annually by the American Academy in Rome, the Rome Prize provides living and working accommodations in Rome and a stipend. Besides musical composition, the prize encompasses such studies as architecture, classics and archaeology, design arts, historic preservation, literature, and visual arts.Puts also has received a Guggenheim Fellowship for 2001-2002. “We in the School of Music are very proud of Professor Puts’ accomplishment, but we are hardly surprised by the recognition accorded him by the American Academy of Rome,” said Michael Tusa, the School’s Acting Director. “Professor Puts has, in less than two full years as a faculty member at The University of Texas, quickly established himself as a vital part of our outstanding composition program and demonstrated repeatedly that he is one of the most impressive young talents in composition today. We expect great things from him.” On leave from the School of Music in 2001-02, Puts, a prolific composer, plans to finish three major orchestral compositions while in Rome: one for the American Composers Orchestra, which premieres in April, 2002, at Carnegie Hall; one for the Phoenix Symphony, premiering in January, 2002, and one for the Cincinnati Symphony, premiering in March, 2002. He will also celebrate his 30th birthday while at the American Academy. Although the three commissions are for orchestral pieces, Puts enjoys “the challenge of composing all types of music” rather than limiting his talents to orchestral or chamber music alone. He is an accomplished pianist, but he usually doesn’t compose for piano. “I know the literature too well,” he says, and doesn’t want to be influenced by it. But he remains close to the instrument. “I improvise and compose on piano first, at the same time thinking in terms of the various instruments to be involved in the piece,” he says. “The work may not be pianistic, but I can think better on the piano.” A recent solo piece written for the Korean violinist Chee Yun offers insight into Puts’ composing. It was premiered in October at the Seoul Arts Center and presented this summer at the Spoleto Festival in South Carolina. “She asked me to write an encore for a larger piece. Since I’m not a violinist,

this became a truly collaborative project,” Puts said, “learning about the instrument and how to write real virtuoso music for violin in a way that allows the violinist to play with

command. Working with the soloist this closely adds to the creative process, something we developed together.” One of his most enjoyable recent compositions was for the Ying Quartet, resident quartet at the Eastman School of Music of the University of Rochester. Their LifeMusic commissioning project was designed to produce a distinctively American string quartet repertoire, focusing on both established and emerging composers. The Ying asked him to write something based on the theme of the American experience, and his Dark Vigil of Youth became Puts’ first project in Austin. “It’s a reaction to the violence in the schools, but it’s a very optimistic piece; dark at times, but the overriding sentiment is optimistic.” (The Ying Quartet will perform Dark Vigil of Youth next January at Bates Recital Hall.)

In 1999 Puts joined the UT music faculty, where he shares his compositional skills with both graduate and undergraduate students. He received Bachelor of Music (1994) and Doctor of Musical Arts degrees (1999) from the Eastman School of Music and a Master of Music degree from the Yale School of Music (1996). His major teachers included Jacob Druckman, Joseph Schwantner, Christopher Rouse, Samuel Adler, and David Burge, among others. Major commissions were from the National Symphony Orchestra, New York Youth Symphony, Boston Pops, Phoenix Symphony, California Symphony, Young Concert Artists, Inc.Rome Prize winners pursue independent projects, which vary in content and scope, for periods ranging from six months to two years at the Academy. To complement their work, a series of walks, talks and tours in and around Rome, Italy, and the Mediterranean is offered during the year. The Academy’s Rome Prize winners are part of a residential community of 65 to 70 people each year. The artists and scholars who make up this multidisciplinary community also have the opportunity to foster their work through exchanges with members of the Italian and newly united European artistic and scholarly communities. The John Simon Guggenheim Memorial Foundation provides fellowships for advanced professionals in all fields—natural sciences, social sciences, humanities, creative arts—to engage in research in any field of knowledge and creation in any of the arts.

Kevin Puts

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students to get involved in performance,” recruiting performers to play their pieces and seeing the process through to the concert stage. All our composition faculty encourage this. I tell them to look at our resources when they have an idea for a composition and to see what can be performed with the people at hand. They have to consider who’s going to be listening and who’s going to be playing. This marketing of their music isn’t always easy. “You have to satisfy the people who play, the people who will listen—and satisfy yourself as creator and composer.” Grantham puts his advice to good use in his own compositional endeavors and sometimes travels to a particular venue to understand the ensemble and audience before he begins a commissioned piece. Some audiences, he knows, will be more conservative and require a more conservative piece for a specific event. Others, however, may require something that’s more provocative. “The challenge is to try to appeal without pandering,” Grantham says. “But that’s part of the fun of it.” Grantham’s efforts reflect a trend to try to reestablish a rapport with audiences and take them more into consideration. Another good example of this new effort is Dan Welcher’s weekly radio program, “Keeping the Score,” which he developed and hosts on a classical-music station in Austin. Drawing on his insights as a composer, Welcher offers informal, yet informed, comments on outstanding 20th-century music which he features on the one-hour program. “Knowing the Score” has received not only local acclaim, it was awarded the Deems Taylor Radio Broadcast Award, honoring outstanding print, broadcast and internet coverage of music, by ASCAP in 1999. Through his experience as an emerging composer with several important commissions, Kevin Puts also places an emphasis on guid-ing students into the music world outside academe. He urges them to start thinking about where they want to go musically and to develop strong convictions about their aesthetic values. “Students don’t nec-essarily think practically,” he says, and in some ways feel pressure from faculty and peers to write in a style they will respect. “But that doesn’t necessarily help them to be genuine,” he says. “I want to help students focus on what they want to do musically. I tell them, ‘this is a field that is about you and what you feel artistically. Tune out the noise and the pressure and write what you believe in if you want it to mean something to someone else.’ I don’t want to impose my own values on students, and I don’t want lineage to be the overriding fac-tor in composition. It’s the variety of styles that makes music strong and exciting today.” One of most exciting and innovative musical styles today, elec-tronic music finds a welcome home at UT. Russell Pinkston’s four electronic music studios involve some of the most advanced electronic music studies, with an important national profile from many prizes and awards (two students have won Prix de Rome fellowships), and the placement of its graduates. “Electronic music and the technology are omnipresent these days, in film, television, and popular music,” says Pinkston. “Even for composers of serious music it’s necessary to understand the technology and tools of the trade, since publishers want to receive compositions in electronic form. Electronic music as a field is concerned with the exploration of sound and the study of sound, both critically important to orchestration. Orchestras are now able to use sounds never thought possible. Electronic music has a tremendous impact on composers’ ears, and the pallet available to them is greater than ever before.”

The demand for the study of electronic music is high among student composers, and “many won’t come to a program that doesn’t offer it,” Pinkston says. Electronic music fits into the University’s cur-riculum as strongly as anything we teach at UT, he says, and courses which offer hands-on experience are popular with many non-music students from the standpoint of filmmaking, production, and audio. “But electro-acoustic composition cannot be divorced from the basics of composition. We remain oriented to music, not electronics. Students need the grounding in the basics of composition.” Besides an excellent faculty and outstanding physical facilities, other resources for composers are many at the School of Music. A Student Composers Series offers performance opportunities six times a year. EARS, the Electro-Acoustic Recital Series, presents two concerts each year. Welcher’s New Music Ensemble is nationally and internationally known as one of the finest ensembles of its kind, per-forming new pieces by established and emerging composers and works by UT students and faculty. Welcher also coordinates the Visiting Composers Series in which four or five well-known composers, through individual four-day residencies, interact with student composers and coach student performers in rehearsals of their works. “We have a big impact on the performers,” Welcher noted. “With the Symphony Orchestra, Wind Ensemble and New Music Ensemble in place and providing professional-quality players, we’re able to perform pieces which are often difficult for professional orchestras to schedule.” Student accomplishment is high, also reflected in prizes and honors. Former students Ed Campion and Mark Wingate both won the Prix de Rome. There have also been a number of recent Fulbright fellowships for UT composition students and graduates, as well as ASCAP awards and SEAMUS (Society for Electro-Acoustic Music in the U.S.) awards, among many others. Recent graduates have also moved into tenure-track teaching positions at other Universities. The addition two years ago of the Eddie Medora King Award for Musical Composition, one of the largest such prizes in the country, has drawn even greater attention to the study of composition at UT. The School of Music is now in an even-better position to continue its promise of educating new composers, incubating new musical works, and challenging all its students to be knowledgeable and appreciative participants in a living art form.

Dan Welcher rehearses the New Music Ensemble.

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John Corigliano, one of the most widely recognized and successful composers of serious concert music

in America, is the recipient of the $25,000 Eddie Medora King Award for Musical Composition at The University of Texas at Austin. The King Award, one of the largest such awards in the country, is given every other year and was made possible by a bequest from the late Dr. William King Jordan of Pine Bluff, Arkansas, honoring his mother, Eddie Medora King Jordan, a lover of music who died in 1995. Jordan, a neural psychiatrist and the first neurol-ogy department head at the University of Arkansas Medical Center, practiced in Little Rock and New York City.Jordan and his mother had no known con-nection to The University of Texas. Dr. Jordan had initially considered making a gift to another university, but he and his mother researched other music programs and were impressed with the School of Music. Corigliano has received several major prizes and holds the unique distinction of being the first composer to have won

Corigliano receives $25,000 King Award

both the Academy Award (“Best Original Score” for The Red Violin in 2000) and this year the Pulitzer Prize for Music for his Symphony No. 2. “But his music doesn’t just win prizes” said Dan Welcher, Professor of Composition at the School of Music. “It wins audiences. People love his music: it’s dramatic, it’s melodically catchy, it’s incredibly inventive and well-crafted, and it’s genuinely emotional. The fact that it also stands up to the most rigorous critical analysis makes it unique. More than that, John Corigliano has been a model for all American composers and a tireless advocate for their music. He has used his fame and success to help many young composers have a chance to catch the brass ring.” The King Award is unique in that it recognizes a body of musical composition contributed to the field, rather than one specific composition written in a specific year. It greatly enhances the profile of the School of Music’s composition program and is a testament to the high level of aca-demic and artistic excellence cultivated in the School. The work of Corigliano, which en-

compasses opera, symphonic, chamber and film music, well reflects the purpose of the King Award. “Not since Aaron Copland won the Oscar for The Heiress in 1950 has an American composer of con-cert music won that award,” said Welcher. “John won it for The Red Violin a year ago, having previously been nominated for his scores for Altered States and Revolution. He has also won the Grawemeyer Award (the biggest prize for serious music in the world, for his Symphony No. 1); a handful of Grammys, and now the Pulitzer Prize (for his Symphony No. 2). His wildly successful opera The Ghosts of Versailles was the first new commissioned opera at the Met in 25 years, and went all over the world after its premiere.” Michael Tusa, Acting Director of the

School of Music, noted that, “Over a long and productive career, John Corigliano has shown himself to be one of the most universal of contemporary composers, a worthy successor to such great American figures of the 20th century as Copland and Bernstein in his ability to move between different spheres of contemporary music with work that is at once technically bril-liant, intellectually challenging and emo-tionally accessible. The School of Music is delighted to present the King Award in recognition of his many distinguished contributions.” Corigliano was born in New York in 1938 into a musical family. His mother is an accomplished pianist and his father was concertmaster of the New York Phil-harmonic from 1943 to 1966. Corigliano holds the position of Distin-guished Professor of Music at Lehman College, City University of New York, and he is a member of the faculty at the Juilliard School. In 1991 he was elected to the Ameri-can Academy and Institute of Arts and Letters, an organization of 250 of this country’s most prominent artists, sculp-tors, architects, writers and composers.

In 1992 he was named Musical America’s first Composer of the Year.During a brief residency at the School of Music in October,

Corigliano will attend the King Award ceremony and participate in the Visiting Composers Series, which offers School of Music students the opportunity to work with accomplished, professional compos-ers who lecture about their music, work with students in rehearsal, and hear their compositions performed by the School’s major ensembles. A committee of nationally prominent music figures identified six candidates for the King Award, all of whom were invited to submit musical scores and recordings for consideration. A selection committee reviewed submissions. Dr. Tusa, as com-mittee head, made the final determination The King Award was given first in 1999, to Dr. Chen Yi of the University of Missouri-Kansas City.

“. . .his music doesn’t just win prizes. It wins audiences.”

John Corigliano

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Dr. B. Glenn Chandler, Director of the Rudi E. Scheidt School of Music at the University of Memphis, has been named

Director of the School of Music. Dr. Chandler holds the Florence Thelma Hall Centennial Chair in Music, and his official appoint-ment began August 1, 2001.Chandler studied music education and voice at Samford Uni-versity in Birmingham, Alabama, where he took his Bachelor of Music degree. A Master of Church Music degree followed at Southern Baptist Theological Seminary. He took his doctoral degree at Indiana University with a dissertation entitled Rameau’s Nouveau systeme de musique théorique: An Annotated Translation With Commentary. Having taught public school music for one year in Birming-ham, Alabama, Chandler served as a junior faculty member at

Indiana, then assistant, associate, and full professor at Central Connecticut State University in New Britton, where he chaired the department from 1981-93. He became director of the Scheidt School of Music at Memphis in 1993, where he was notably suc-cessful at fund raising and in strengthening the faculty. During 1981-82 he held a post-doctoral fellowship at Yale. He was a visiting scholar in the School of Music at Cambridge University in 1991, working on research in psychoacoustics and the incor-poration of artificial intelligence into computer programming for ear training. Chandler has served as President of the Tennessee Associa-tion of Music Executives in Colleges and Universities beginning in 1998. Throughout his career, Chandler has served as a guest conductor, both for chorus and orchestra.

—Nancy BusseyOffice of the Dean – College of Fine Arts

Glenn Chandler appointed School of Music Director

Blending performance and intellectual inquiry, the Austin- Southampton Early Music Exchange returned to the School of Music in April for a week of workshops, master

classes, discussions, and a variety of other events. The Sympo-sium, devised as a sustained collaboration between scholars and performers from England and the U.S., focused this third year on one of the most intriguing periods of experimentation with new ways of making music: French and Italian musical repertories between 1570 and 1620.The music of this period reflects an intense concern with codify-ing and “making sense” of a set of new performing practices. Eyewitness accounts of performers, new practices of score nota-tion, manuals on how to improvise and accompany improvisation, and performers and composers’ sometimes extensive introduc-tions to musical prints all provide suggestions for performance.The symposium addressed several questions: How are choices of notation made in these repertories? What is and is not indicated, and how, and in what types of sources? How do musicians and lis-teners attempt to create categories? How does the tradition change because of the requirements of transmission/codification? How do composer/performers and listeners adapt to these changes? What are the consequences of this information for twenty-first century performers?The keystone event, “A New Delight for the Ears,” featured an evening concert by members of the Ensemble Red Byrd (lutenist Elizabeth Kenny and vocalists John Potter and Richard Wistreich) and a welcome and introduction by Andrew Dell’Antonio, Assistant Professor of Musicology and the symposium’s coordinator. Work-shops and master classes took place throughout the Symposium and addressed such topics as the role of improvisation and arrange-ment/reconfiguration/recomposition in the performance of these repertories in both historical context and in twenty-first century re-interpretations. Symposium participants had the opportunity to ex-periment with different improvisational scenarios. Work-in-progress

sessions among the participants led to a series of presentations that summarized many of the experiments, provided some conclu-sions, and opened up a variety of questions for further discussion.“A rare synergy occurs when we have the opportunity to integrate musicological research into performance,” said Dell’Antonio, “and this magical experience received an enthusiastic response from students in the School of Music. We look forward to the possibility of a return visit by our distinguished guests.”The British Academy, co-sponsor of the Symposium, will host a brief conference organized by professors Jeanice Brooks of the University of Southampton and Dell’Antonio in London, in April of 2002.The Symposium was made possible by substantial funding from the British Academy and by a generous grant from the Minnie Stevens Piper Foundation of San Antonio, as well as by the Visiting Artists Chair in the College of Fine Arts and the Office of the Dean. For details on the Exchange and the Symposium, including a pro-gram of the concert by Red Byrd and Professor Dell’Antonio’s intro-duction, See http:/www.utexas.edu/cofa/music/soton

Austin-Southampton Early Music Exchange: “A New Delight for the Ears” and Mind

A symposium workshop on the stage of Bates Recital Hall

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The 2001-2002 Jessen Series of Distin-guished Faculty Artists is dedicated to the memory of our colleague and friend Jess Walters, Professor of Voice Emeritus at the UT School of Music and one of the world’s leading baritones, who died October 8, 2000.

All performances are in Jessen Audito-rium at 8 PM. For ticket information, please call (512) 471-1444.

Saturday, October 6CAvANi STRiNG QUARTET

Visiting Artists in Chamber Musicwith GREGORy AllEN, piano

Saturday, November 3FACUlTy WiNDS

Karl Kraber, flute Rebecca Henderson, oboe Gabriela Cohen, clarinet Kristin Wolfe Jensen, bassoon Patrick Hughes, horn Esther Wang, piano

Saturday, February 9NANCy GARRETT, fortepiano

Miss Garrett will perform on two period instruments, an English Broadwood of 1799 and an antique Viennese Graf, circa 1820

Saturday, March 23RiCK lAWN AND THE

NOvA SAxOPHONE QUARTET Doug Skinner, soprano saxophone Rick Lawn, alto saxophone Greg Wilson, tenor saxophone Joey Colarusso, baritone saxophone

Saturday, April 13A TRiBUTE TO JESS WAlTERS

MEMBERS OF THE vOiCE FACUlTy Martha Deatherage, soprano Leonard Johnson, tenor William Lewis, tenor David Small, baritone Nikita Storojev, bass Darlene Wiley, soprano

Six individuals r e p r e s e n t i n g different paths

that a life in music can take appeared as part of the School of Mu-sic’s popular Music Leadership Lecture Series this year. The Series affords students, outside their regular curricular sequence, insight into the reali-ties of the music world and emphasizes the variety of opportuni-ties they have to be-come advocates for music and to participate more effectively as musicians.Speakers this year included:Peter Goodrich, Vice President for Worldwide Concert and Artist Activities at Steinway and Sons, who shared observations from many years of working with some of the most talented performers in the world in a talk entitled “A Career in Music from the Back Row of the Concert Hall.” Dean Robert Freeman discussed his early plans for a career as a concert pianist and what led him to become a nationally recognized arts leader and educator. J. Todd Frazier, a young composer and founder of the American Festival for the Arts in Houston, discussed fundraising for non-profit arts organizations and his experiences as a musician and entrepreneur. David Burge revealed the “Turning Points” in his career as a professional pianist, composer, teacher and administrator and stressed the importance of students’ understanding the inevitability of change in the arts and the need to learn to handle that change. Members of the Cavani String Quartet, one of the outstanding young quartets in the country and our Visiting Artists in Chamber Music for several semesters, offered insights into the difficulties of forming and sustaining a professional chamber musical ensemble.

Michael Steinberg, former music critic of The Boston Globe and a well-known program annota-tor, told students about his “Life as a Paramusical” and explained how the task of a writer is much the same as that of the musician in making the wishes of the composer understood. The Music Leadership Lecture Series, which runs throughout the year, is offered in the fall in conjunction with the Freshman Interest Group, a University-wide program designed to help fresh-man students feel more at home at The University and within their own discipline. Lectures are open to all students in the School of Music, and the Fine Arts Career Services Center has been instrumental in promoting the Series to students throughout the College.

Music Leadership lecture series continues 12th Annual Jessen Series dedicated to Jess Walters

Dean Robert Freeman with Robert Burge

Michael Steinberg

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M ariachi Vargas’ violinist and vocalist Manuel Alcaraz presented a master class to the UT Mariachi En-semble.

Edward Beckett, solo flutist with the Academy of St. Martin-in-the-Fields, gave a master class in March. Rene Benavides of The Mariachi Connection gave a master class on performance techniques of a mariachi style, the son jalisciense. The Borromeo String Quartet, quartet-in-residence at the New England Conservatory, conducted a February chamber music master class and performance. Professional choreographer and movement specialist Maria Bravo coached students in the UT Opera program. J. Peter Burkholder, Professor of Musicology at Indiana University, presented a lecture and met with graduate students in April. Princeton University musicology professor Scott Burnham pre-sented a lecture to graduate students in March. James Buswell iv, violinist at the New England Conservatory, visited campus to present a solo recital and master class. laura Carmichael gave a clarinet master class and presented a multimedia concert for clarinet and electronics. Eastman violin professor Charles Castleman performed a solo recital and gave a master class in October. Diane Cawein, Professor of Clarinet at the University of Nebraska at Lincoln, performed as soloist with the UT Wind Ensemble in May. Swapan Chaudhuri, renowned tabla player and American Acad-emy of Artists award winner, joined UT sitar professor Stephen Slawek for an evening of North Indian Classical Music in March. Members of The Chamber Soloists of Austin presented an eclectic program in Jessen Auditorium. The ensemble includes violinist Jen-nifer Bourianoff, violist Joan Kalisch, cellist Anthony Stogner, faculty pianist Gregory Allen and faculty flutist Karl Kraber. Hong Kong harpsichordist David Chung presented an October recital in Recital Studio. Marylou Speaker Churchill, violinist with the Boston Symphony Orchestra, presented a recital, taught a master class, and coached chamber music groups in November.

Mark Colby, saxophonist, clinician, recording artist, and DePaul University faculty member, performed with the UT Jazz Ensemble in April. Cellist Emilio W. Colon of Indiana University conducted a master class and performed a recital with guest pianist Heather Coltman. Prominent author David Dalton gave a lecture entitled “The Art of Violist William Primrose” and a master class in January. Michael Davis, who has performed with the Rolling Stones, and Bill Reichenbach, Los Angeles studio musician, presented a January trombone clinic and concert which culminated in a mass trombone choir performance of area high school and UT trombonists and teach-ers, with Davis and Reichenbach as soloists. Christopher Deane, virtuoso University of North Texas percus-sionist, performed on the December EARS (Electro-Acoustic Recital Series) concert. Syliva Rosenberg Diamand, professor at the Manhattan School of Music, gave a violin and chamber music master class. Horacio Duran, a member of the group Inti-Illimani, gave a lecture/demonstration on charango music of Andean countries. Rodney Eichenberger, internationally known choral conductor from Florida State University, conducted seminars, workshops and a concert of the Texas Chorale during a one-week residency. In April, Hamza El Din, know as the father of modern Nubian music, gave an oud performance and master class. Music theorist and popular-music specialist Walter Everett pre-sented a February lecture. leon Fleisher, Professor of Piano at the Peabody Conservatory, performed with the Austin Symphony Orchestra and presented a master class during an Austin visit. Renowned pianist Claude Frank, on the faculty of Yale University and the Curtis Institute, presented a master class this year. Percussionist Tom Gauger, of the Boston Symphony Orchestra and the Boston Pops, presented a lecture and master class. Thomas Hale gave a lecture entitled “Griots and Griottes – Myth and Reality” to ethnomusicology students and faculty in November. UT alumnus and French horn player Mikal Hart performed with the UT Jazz Orchestra for recording sessions in January. James Hershorn, MM in Library Science from UT, presented a

guest artists and speakers

Pianist leon Fleisher in master class

UT violin professor Eugene Gratovich and Midori

fall 2001 11

lecture on his upcoming book on Norman Gantz. University of Kansas professor Christopher Johnson presented lectures on research in music behavior and the psychology of music. Gilbert Kalish, pianist and professor at SUNY Stony Brook, gave a solo recital in Bates Recital Hall in addition to solo, chamber, and vocal collaboration classes. Judith Kellock, Cornell University, highly acclaimed performer of contemporary music and founder of Ensemble X, presented a voice and accompaniment master class in April. In March bassoonist William ludwig visited from Louisiana State University, performing a recital and giving a master class and a reed-making class. Pianist Aldo Mancinelli presented a February recital in Jessen. The legendary, New York-based Mingus Big Band gave a clinic in conjunction with an October performance at Hogg Auditorium. Denis-Constant Martin, University of Bordeaux, France, presented a lecture for the musicology/ethnomusicology series “Music/Culture/Critique” in November. Flutist Wendy Mehne of the Cayuga Chamber Orchestra and Ensemble X performed a February recital. Indiana University scholar Daniel Melamed delivered a public lecture on Bach’s Cantata No. 71. Acclaimed violinist Midori gave a public master class during her November visit and recital with pianist Robert McDonald. Internationally renowned cellist Daniel Morganstern conducted an April master class. Tom Porcello, Vassar College, a specialist in sound recording history, gave a lecture for the “Music/Culture/Critique” series. Clarinet soloist and recording artist Häkan Rosengren, presented a November master class. University of North Texas composer Joseph Butch Rovan per-formed an original composition on the December EARS concert. Henry Rubin, concertmaster of the Miami Chamber Orchestra, gave a violin master class in April.

Members of the San Antonio Symphony Trombone Section—Na-than Zgonc, Colin Williams, Chris Branagan, and larry Bird—pre-sented a master class and recital in October. World-renowned trumpet player Doc Severinsen gave a clinic in March. Jayne Standley, Distinguished Professor of Music Education/Music Therapy at Florida State University, presented lectures and workshops on music therapy during a three-day residency. Charles Stegeman, violinist at Duquesne University, presented a September performance and master class. ian Swensen, San Francisco Conservatory of Music, gave a violin recital and master class. Robert Thompson, bassoon professor at the University of Wiscon-sin, Milwaukee, performed a recital with UT professor Kristin Wolfe Jensen. Juergen Whale, electrical engineer for Neumann and Sennheiser microphones, presented a lecture and multimedia show on con-denser microphone design and applications. In September former principal flutist for the Pittsburgh Symphony and Los Angeles Philharmonic Jim Walker gave a performance and master class. Scott Watson, president of the International Tuba-Euphonium Association and co-director of acclaimed tuba-euphonium cham-ber orchestra Symphonia, performed with faculty pianist Timothy Lovelace. Pianist Andre Watts gave a master class in conjunction with his solo recital at Hogg Auditorium. Jazz saxophone king Phil Woods performed with the UT Jazz Orchestra as part of the Longhorn Jazz Festival in April.

Swapan Chaudhuri in concert

Doc Severinsen in UT trumpet clinic.

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Visiting composers bring new music to campus

Reason number one to attend per- formances at the School of Music: You get to hear new music. The

Visiting Composers Series brings an im-pressive roster of first-rank composers to campus for four-day residencies, during which students, faculty, and guest artists perform their compositions. The compos-ers present public forums on their music, master classes for student composers, and attend rehearsals and concerts of their works by the New Music Ensemble, UT Wind Ensemble, UT Symphony Orchestra, UT Jazz Orchestra, and UT Choruses. This year’s Visiting Composers season opened with David Maslanka, whose works for winds and percussion have become especially well known. The UT Wind Ensemble performed his Concerto for Saxophone with faculty saxophonist Harvey Pittel. The New Music Ensemble offered Masalanka’s Montana Music for violin, cello, and piano, and Blue Mountain Music for wind quintet and piano. Eastman professor and composer Warren F. Benson presented a composi-tion forum and master class as well as several coaching sessions during his visit. A professional performer by the age of 14, Benson played timpani in the Detroit Symphony Orchestra under Ormandy, Reiner, Goosens, and Bernstein. He has distinguished himself in the world of con-temporary music as composer, conduc-tor, lecturer and writer. The New Music Ensemble performed Benson’s Nara for soprano, flute, piano, and percussion, and the UT Wind Ensemble joined UT choral groups for a performance of Wings and The Drums of Summer. The New Music Ensemble presented the music of Puerto Rican composer Roberto Sierra in November. Guest mezzo-soprano and alumna Virginia Dupuy performed Sierra’s Cancioneros Sefardis with the ensemble, and the UT Symphony Orchestra presented Sierra’s Concierto Baroco for guitar and orchestra with student guitarist David Chapman.Pianist and composer David Burge, re-cently retired from the Eastman School of Music, offered a class on twentieth-century piano repertoire and a solo recital featuring his own 24 Preludes while on

campus for the Visiting Composers Series. The New Music Ensemble performed sev-eral of his works, and he offered a Music Leadership Lecture on his life in music. The sixth year of the Series ended with a March visit from New York composer Michael Torke. Gramophone has called Torke’s music “some of the most opti-

mistic, joyful and thoroughly uplifting music to appear in recent years.” The UT Symphony performed his large orchestral work Corner in Manhattan, the New Music Ensemble presented Four Proverbs, and Scott Hanna conducted the UT Wind Ensemble in a performance of Javelin.

The Cavani String Quartet, Visit- ing Artists in Chamber Music, re- turned in the spring for four

chamber music concerts, coaching, and outreach activities. Emphasizing collabo-ration with student musicians through-out their three visits, they performed two “Cavani and Friends” evenings. The Feb-ruary program featured Mozart’s Clarinet Quintet in A Major with student Robert Tuttle, Foote’s Quintet for Flute and String Quartet with faculty guest Karl Kraber, and Schumann’s Piano Quintet in E-flat Major with student Yien Wang. An April performance in Bates Re-cital Hall included the Brahms Sextet in G Major with students Josephine Liu, viola, and Christine Crookall, cello; and Chausson’s Chanson Perpetuelle with student mezzo-soprano Vanessa Beau-mont and pianist Alejandro Hernandez.

The second half of the program fea-tured a performance of Brahm’s Piano Quintet in F Minor with faculty pianist Anton Nel. Back-to-back Bartók concerts in March featured a performance of the complete cycle of String Quartets and received the “Outstanding Chamber Music” award from the Austin Critics Table. Professor Elliott Antokoletz and Cavani members opened the afternoon performances with discussions and ex-plication of the works to be performed. The Cavani String Quartet is the Quartet-in-Residence at the Cleve-land Institute of Music. They have won numerous awards, including the prestigious Naumberg Chamber Music Award. This fall is the final semester of their Visiting Artists in Chamber Music residency at UT.

Students perform with Cavani Quartet

The Cavani Quartet

fall 2001 13

UT OperaTheatre

2001/2002 SeasonUT OPERA THEATRE

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The Chicago Symphony Orchestra announced in February that UT alumnus Craig Morris (BM 1990) has been appointed to the position of Principal Trumpet. Principal Trumpet Adolph Herseth retired at the conclusion of the Orchestra’s 2001 summer Ravinia Festival season after a 53-year tenure with the orchestra.

Prior to joining the Chicago Symphony Orchestra, Morris performed with the San Francisco Symphony, where he has been Associate Principal since 1998. Before that he had briefly been a member of the CSO.

Morris has also performed as a member of the Dallas Brass, an international touring brass quintet. He was Principal Trumpet of the Sacramento Symphony Orchestra, Opera, and Ballet, and a member of the Pinnacle Brass Quintet. His solo engagements have included appearances with the San Francisco Symphony, Sacramento Symphony Orchestra, Austin Handel-Haydn Society, Diablo Symphony Orchestra, and the San Francisco Old & New Music Ensemble.

A Texas native, Morris was raised in a musical family. His late father Cecil Morris, a band director and tuba player, was a major musical influence. Morris earned his bachelor’s degree in music from UT, where he studied with Raymond Crisara. He earned his master’s degree at the San Francisco Conservatory, studying with Glenn Fischthal, Principal Trumpet of the San Francisco Symphony. After returning to Texas, he studied with Don Jacoby, a former Chicago freelance artist, and James Wilt, Associate Principal Trumpet of the Houston Symphony, who helped guide him into a career as a profes-sional orchestra musician.

Chicago Symphony Orchestra appoints Morris principal trumpet

Alecia Caylynn Batson (MA 1999) has pursued graduate stud- ies in vocal performance at New England Conservatory of Music under the tutelage of Helen Hodam. Accepted into the

school’s opera program, she will play Ophelia in Thomas’ Hamlet, the First Witch in Purcell’s Dido and Aeneas, and Adina in L’elisir d’Amore. Batson formerly performed with the Austin Vocal Arts Ensemble, The Violet Crown Players, and the Texas Chamber Consort. She also worked on the films Where the Heart Is and The Right Girl, and cut national radio spots for the collegestudent.com ad campaign.

D. Royce Boyer (DMA 1968, Choral Performance), Professor Emeritus at the University of Alabama in Huntsville, served as Visiting Professor and Acting Chair of the Department of Performing Arts at Millsaps College in Jackson, Miss., during the spring semester.

Dr. Mary Ellen Cavitt (PhD 1998) has been appointed Assistant Pro-fessor of Music Education at The University of Texas at San Antonio.

Timothy Cheek (MM 1982, Piano) continues as international collab-orative pianist, vocal coach, and Assistant Professor of Performing Arts at the University of Michigan in Ann Arbor. His book, Singing in Czech: A Guide to Czech Lyric Diction and Vocal Repertoire, with a foreword by Sir Charles Mackerras, was recently published by Scarecrow Press to much acclaim.

Anne Marie de Zeeuw (PhD 1983, Theory), Professor of Music Theory at the University of Louisville, received that school’s Distin-guished Teaching Professor Award In Recognition of Career Teaching Excellence in March 2000.

Dr. Susanna Garcia (MM 1980, DMA 1993), Associate Professor of Piano and Piano Pedagogy at the University of Southwestern Louisiana, published an article about Scriabin in 19th-Century Music.

Gordon (Dick) Goodwin (DMA 1969) has been awarded the 2001 Elizabeth O’Neill Verner Individual Artist Award, South Carolina’s highest award in the arts. Dr. Goodwin, Distinguished Professor Emeritus at the University of South Carolina, served as a member of the UT composition/theory faculty from 1965 to 1973, and began the UT jazz program. (See Profile on pg. 17)

Hsing Hueh Huang (MM 1999) is teaching piano at the St. Johns School in Houston.

Garrett Keast (BM 1995) was selected by New York Philharmonic Music Director Kurt Masur to conduct the Philharmonic as a participant in their annual Conductor Reading last September.

Cynthia Karnstadt (DMA 1997) is the originator and instructor of Music 101G-Beginning Vocal Performance at UT Austin’s Division of Continuing Education. She also teaches a class called “Anyone Can Sing!” at the Zachary Scott Performing Arts School in Austin, which received the award “Best Place to Learn Singing” by readers

alumni news

Craig Morris

fall 2001 15

Last season David Maze (DMA 1987) sang Mahler’s 8th Symphony with the National Symphony of Mexico and Rachmaninoff’s The Bells with the Charlotte Symphony, and he performed the roles of Mercu-rio in Gounod’s Romeo and Juliet with Teatro de la Opera Puerto Rico and Ben Hubbard in Marc Bliztstein’s opera Regina with the Augusta Opera.

Sarah McKoin (DMA 1998) has been named Associate Professor of Conducting and Conductor of the Wind Ensemble at the University of Missouri-Kansas City.

Todd Oxford (DMA 2001) has recently had a compact disc, entitled Finesse, released on the Equilibrium label. After only two years of study at UT, Oxford was invited to join the Harvey Pittel Saxo-phone Quartet. With the quartet, he has presented concerts, radio/television performances, and master classes across the US. He performs as a solo artist on the soprano, alto, tenor, and bari-tone saxophones with symphony orchestras, wind ensembles, and jazz ensembles, including a re-cent performance/recording in Carnegie Hall.

William Pelto (PhD 1993) has been named associate dean of the Ithaca College School of Music. He will be responsible for overseeing curriculum development and student affairs, in addition to supervis-ing staff in charge of concert hall scheduling, building maintenance, instrument and equipment purchases, the music library, the work-study program, and special events. Pelto joined the faculty of Ithaca College in 1991 and was pro-moted to associate professor of music theory in 1998. He coordinated undergraduate advising from 1997 to 1999. He has served on the All-College Committee on Academic Advising and Middle States Accreditation Steering Committee. A regular presenter at regional and national meetings of the College Music Society and the Society for Music Theory, he has published in the Journal of Music Theory Pedagogy, and is presently working on a textbook, Tonal Theory for Singers (and Other Musicians). As a pianist and conductor, Pelto has performed with CRS Bam Studio, the Firehouse Dance Company, and the Troika Association. He served 12 summers as music theater conductor for the University of Alaska Fine Arts Camp in Fairbanks. He was the vocal coach for the Hangar Theatre’s production of “Schoolhouse Rock Live” and served as the music director and conductor for several productions of Cornell University’s Center for Theatre Arts. Pelto graduated cum laude from Yale University with a bachelor’s degree in political science and earned a master’s degree in music theory from San Francisco State University. He is married to linda larson (DMA 1996), a professional per-former of opera, oratorio, and new music.Antoinette Perez-Perry (BM 1976, MM 1978) has distinguished herself as a chamber musician performing with world-renowned artists in appearances at the Berkshire Music Festival, the Aspen

of Austin Family News. Karnstadt teaches students of all ages in her private studio. Con-tinually expanding her teaching techniques and philosophy, she also sub-stitute teaches French, German, Japanese, spe-cial education, and music for Austin Independent School District.

Brad Kent (MM 2001) has been named Director of Bands and Assistant Professor of Music at Texas A&M University in Commerce.

Jonathan Kulp (PhD 2000, Musicology) has joined the faculty of the University of Louisiana at Lafayette teaching music history and theory.

David littrell (MM 1972, DMA 1979), a former teacher in the UT String Project, was recently appointed University Distinguished Professor at Kansas State University. Dr. Littrell will become national President of the ASTA with NSOA (American String Teachers Association with National School Orchestra Association) in May 2002.

Pianist Melissa Marse (BM 1996), with Timothy Fain, violin, and Arafh Amini, cello, was invited by Isaac Stern to present a trio concert on the Alexander Schneider Young Artists Series in February at Weill Recital Hall of Carnegie Hall. They also presented this program for a capacity audience in New York City for the New School Chamber Music Series. Marse taught a Literature and Arts class entitled “First Nights” at Harvard University last year. During the summer she taught and performed at the Plymouth Chamber Music Festival and the Mannes Art Song Institute.

Joseph M. Martin (MM 1983) has been named Director of Sacred Publications at Shawnee Press, Inc. He oversees the editorial and creative direction and also coordinates recording and production aspects. Martin also continues as a popular clinician and performer. Martin received his BM degree in piano performance from Fur-man University, Greenville, South Carolina. Wedding his love for the church with his love for music, he increasingly focused his creative efforts on sacred music composition. In 1990, his writing came to the attention of Shawnee Press, establishing a personal and professional relationship that resulted in the publication of hundreds of choral octavos, numerous cantatas and collections, successful solo piano albums, and a major multi-volume piano method series. Martin maintains his office in Austin, where he lives with his wife Pamela, a lyricist and composer, and their two children.

Dr. lisa Maynard (PhD 2000) joins the faculty of Baylor University this year as Assistant Professor of Music Education.

Maze as Figaro in Barber of Seville

Oxford’s new CD

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Festival, the Santa Barbara Music Festival, the Ojai Festival, and the Saratoga Music Festival in Florida. A former faculty member at UCLA, she presently teaches at USC and is on the faculty at the Aspen Music Festival. She is heard often on National Public Radio, the Bravo Network, and Continental Airlines inflight programming.

Tommy Poole (BM 1996, jazz studies) has been a musician with Princes Cruises for the past five years. Currently living aboard the Sun Princess, he arranges music and plays saxophone, flute, and clarinet for production shows and cabaret acts. During his life at sea, he has visited Scandinavia and other European destinations, Asia, Australia, the Caribbean, and Alaska. He has also freelanced in Puerto Rico, writing music for swing shows, cruise ship productions, studios, com-mercials, and albums.

Mary Robbins (BM 1973, MM 1975, DMA 1992) continues as Artistic Director of A. Mozart Fest and recently performed cham-ber concerts with the Diller-Quaille Quartet in New York City.

Roberta Rust (BM 1978, Piano) recently returned from her second tour of Asia, where she presented a recital at the National University in Seoul, South Korea, in May. She conducted master classes for aspiring pianists from leading arts high schools in Korea and at the School of Music at the National University. In May 2000 Rust made her first tour of Asia, performing recitals throughout the People’s Repub-lic of China. She was also invited to present master classes at the conservatories in Shanghai, Beijing, and Chengdu, Sichuan.

She was presented in re-cital and master class at the Woodruff School of the Arts in Atlanta, Georgia in August. Other activities included a November performance of the Bach Concertos for 3 and 4 pianos with the Symphony of the Americas at the Broward Center for the Performing Arts in Fort Lauderdale, Florida.

M e z zo s o p ra n o l u c y Schaufer (MM 1990) sang the role of Erika in Samuel Barber’s Vanessa in Monaco

with Dame Kiri Te Kanawa in the title role and Rosalind Elias singing the role of the Baroness.

Dennis Siebenaler (PhD 1992) joined the faculty of California State University-Fullerton as Assistant Professor of Music Education.

Mort Stine (BM 1965) is staff accompanist and composer for the Department of Theatre Arts and Dance at East Carolina University

in Greenville, North Carolina. Stine composes music for departmental productions, accompanies dance classes, and directs musicals. His wife, Tracy Donohue, is an acting teacher at ECU, and they have a nine-year-old son Eli.

James Tapia (DMA 1997) has joined the faculty of Syracuse Univer-sity as Director of Orchestral Studies and Conductor of the Syracuse Symphony.

Austin-based ensemble Tosca has released a double CD on Noise Records. Recorded live in Argentina during an international tango conference, it features works of Glover Johns Gill as well as classic Piazzola tangos. The string quartet in the ensemble was asked to tour with art-pop musician David Bryne, also making an appearance on Late Night with Conan O’Brian. Members include: Glover Johns Gill, composer, accordion (piano student of Professor David Renner); Jeanine Attaway (MM,’96),

piano;leigh Mahoney (MM ’97), violin; lara Hicks, (MM ’93), violin; Sara K. Nelson (BM ’95), cello; S. Ames Asbell (DMA 2001), viola; Erik Grostic, (BA, ’97), contrabass; Ben Saffer, clarinet; Alberto Cabanas, voice; yasmin ventura, voice

Andrew Trechak (DMA 1988) recently received the “Excellence in Special Endeavors” award from Wichita State University College of Fine Arts for his “Piano Magic” concerts for young people. The concerts combine stage magic and classical music. Dr. Trechak is Associate Professor of Piano at Wichita State.

yoichi Udagawa (BA 1985), a member of the conducting faculty of The Boston Conservatory, is music director and director of the Cape Ann, Melrose, and Quincy Symphonies. In March he went on tour of South Carolina and North Carolina with the Boston Pops Orchestra as cover conductor. At the end of this season, Udagawa will have conducted 21 world premieres since 1997.

David viscoli (BM 1987) lives in Mankato, Minn., where he is an Assis-tant Professor of piano at Minnesota State University. He also enjoys frequent performances as a chamber musician and soloist.

Grayson Wagstaff (PhD 1995, Musicology) has been appointed As-sociate Professor of Music at The Catholic University of America, Benjamin T. Rome School of Music, in Washington, DC. During 1999-2000, Wagstaff spoke at New Directions in Josquin Scholarship at Princeton and the National Meeting of the Society for Spanish and Portuguese History in New York City. His publications included articles for The Encyclopedia of the Renaissance, The Reader’s Guide to Music, Heterofonía, and Inter-American Music Review.

Mark Wingate (DMA 1998) has been chosen to direct Florida State University’s new center for electroacoustic music. Dr. Wingate has been on the faculty of the Istanbul Technical Institute in Turkey for the past two years.

Roberta Rust

Tosca CD

fall 2001 17

UT alumnus Dick Goodwin was awarded the highest honor given by the State of South Carolina to an individual artist. Receiving the Elizabeth O’Neill Verner

Award, Goodwin was described as “a musician’s musician whose virtuosity, generosity and goodwill have earned him a sterling reputation in both artistic and academic communities throughout the state as well as in national and international circles.” The award is given to recognize outstanding achieve-ment and contributions to the arts in South Carolina. Well-known as a composer, con-ductor, trumpet player, pianist, combo leader, music arranger, and teacher, he is described by one of his fans in Columbia, South Carolina, as “the same multi-talented, charismatic person whether he is playing at the Senior Center with the Jazz Society house band or at the Koger Performing Arts Center with Marion McPartland.” Goodwin, a man of extraor-dinary talent and character, traces much of his musical development back to his experiences at UT. Dick Goodwin grew up in Missouri and in El Paso and after high school landed a four-year band-directing stint in the US Coast Guard. But his interest was in composition and he was attracted to UT because of composition teachers Kent Kennan and J. Clifton Williams. “The faculty I studied with included some of the most dedicated and talented teachers/scholars/musicians any-where—most influential in my development was Kent Kennan, but also Janet McGaughey, Hunter Johnson, J. Clifton Williams, Alexander Von Kereisler, and Bill Moody. UT also brought in a string of distinguished guests—the most important composers of that time—Stravinsky, Copland, Elliott Carter, Stockhau-sen, Lutoslawski, and many others,” he said. “I had a unique opportunity to experience the school because I completed all three music degrees within its walls.” He entered as a freshman in 1962 and went on to com-plete his DMA in 1969, earning one of the first doctorates in composition granted by UT. While a graduate student in com-position, Goodwin also taught theory courses and established the first UT jazz ensembles. (Before that time jazz could only be played in the student union or at the Longhorn Band hall,

never in the music building proper!) Goodwin stayed on as a faculty member, teaching com-position and theory (advanced ear training, sixteenth century counterpoint, orchestration, pedagogy of theory) and initiated

new courses in pop and rock for music stu-dents, and in jazz improvisation and theory for non-music majors. He also continued to develop the jazz program, and many players and writers he taught during his tenure at UT are quite visible in the music industry and are mainstays in the central Texas music scene.In 1973 Goodwin was among a number of Texans that migrated to The University of South Carolina. At USC he headed the composition/theory/history area, directed the orchestra for a number of years, coor-dinated the composer/conductor program at the USC Conductors Institute, and is credited with starting the state’s only doctoral program in composition. In 1999 he was named Distin-guished Professor Emeritus. He still teaches a handful of doctoral composition students and continues to fulfill a string

of commissions for new works, mostly in the symphonic area. His works in every genre from jazz band to orchestra, opera to jingles, are widely programmed. As a performer he heads the Dick Goodwin Quintet, a jazz group which has toured extensively for the US State Depart-ment, giving concerts and clinics in Chile, Peru, Ecuador, Bolivia, Colombia, Mexico, Haiti, and Germany. The quintet has been featured at Spoleto Festival USA, the St. Augustine Jazz Festival, the Azalea Festival, and performed on the South Carolina Arts Commission Community Tour. The group will soon release a new recording. Dick’s wife, Winifred Goodwin, is staff accompanist at USC and principal keyboardist with the SC Philharmonic. Dick Goodwin’s contributions may have been best summed up by his colleague at USC, Professor Douglas Graham: “Dr. Goodwin’s energy, creativity, and boundless good nature are re-flected in his accomplishments as an educator, composer, arranger, performer, conductor, mentor, businessman, and entrepreneur. He’s more than a good friend of the arts in South Carolina he’s one of our greatest resources.”

profileGordon “Dick” Goodwin, DMA 1969

UT grad and former faculty member receives his state’s highest arts honor

Dick Goodwin

words of note18

Austin Midwinter Choral Symposium, and served as an adjudicator at the Baylor University Concerto Competition, the Missouri State Solo and Ensemble Festival, and the Texas State Solo and Ensemble Contest. He also performed with the Austin Lyric Opera in its produc-tion of Wagner’s Die Walküre.

Steven Bryant, Associate Professor of Tuba and Euphonium, organized and hosted the 25th annual MERRY TUBACHRISTMAS AUSTIN in De-cember. TUBACHRISTMAS performances were presented in over 140 cities nationwide in 2000. Austin’s celebration brought together 198 tuba and euphonium players of all ages for the concert of traditional Christmas music on the steps of the State Capitol Building. This year’s Special Guest Conductor was Peter Bay, Music Director of the Austin Symphony Orchestra.

Professor Emeritus Paula Crider spent the fall 2000 semester serving as Interim Director of Bands at The University of Nebraska, where she filled in at the last moment for the former Director. She is currently serving as President of The National Band Association and continues to be active as conductor, clinician and adjudicator.

Elizabeth Bergman Crist, Assistant Professor of Musicology, was granted the 2001 Dena Epstein Award for Archival and Library Research in American Music at the annual meeting of the Music Library Association, held in New York, NY. The award endowment was established through a gift from Morton and Dena Epstein to the Music Library Association in 1995. Dena Epstein personally presented

Gregory Allen performed the world premiere of UT composer Russell Pinkston’s TaleSpin at the March SEAMUS con ference in Denton. He also performed the piece twice on the

UT campus this season: at an EARS Concert, in the original version for piano, Disklavier and prerecorded sounds, and again at the Jes-sen Series Composers’ Concert, in a version for piano and tape. On the same concert, he performed UT composer Donald Grantham’s Fantasy Variations for two pianos with Anton Nel. (This work was written for and dedicated to the late Professor William Race and Susan Race Groves.) Allen collaborated with flutist Karl Kraber in a March recital on campus. He gave master classes and recitals at Miami University and Denison University in Ohio. He played the Richard Strauss Violin So-nata with violinist Pekka Kuusisto on a Chamber Music International concert in Dallas and gave a solo recital on the Kerrville Performing Arts Series. With the Chamber Soloists of Austin, he performed and con-ducted Mozart’s Concerto #19 in F, K. 459, which was selected as the winner in the “Best Instrumentalist” category of the Austin Circle of Critics Awards for the 2000-2001 concert season. The Chamber Soloists also gave concerts in San Angelo, Eagle Pass and Temple.

Elliott Antokoletz, Professor of Musicology, edited and authored a book, Bartók Perspectives (ed. Elliott Antokoletz, Victoria Fischer and Benjamin Suchoff. New York: Oxford University Press, 2000), and his book, Musical Symbolism in the Operas of Debussy and Bartók (Oxford), went into production. His published articles include: “Theories of Pitch Organization in Bartók’s Music: A Critical Evalu-ation,” International Journal of Musicology, Vol. 7 (just appeared in Fall, 2000, dated 1998): 330-70; “Organic Expansion and Classical Structure in Bartók’s Sonata for Two Pianos and Percussion” and “Modal Transformation and Musical Symbolism in Bartók’s Cantata Profana,” in Bartók Perspectives (Oxford University Press, 2000); “The Musical Language of Sibelius’s Symphony No. 4,” Sibelius Studies, ed. Timothy Jackson and Viejo Murtomäki (Cambridge Uni-versity Press, 2000); and three entries in The New Grove Dictionary of Music and Musicians, 2nd ed., on “Georg von Albrecht,” “Paul Lansky,” and “Paul A. Pisk.” Antokoletz’s lectures include “Bartók’s Six String Quartets,” as an invited discussant in March for performance of the quartets by the Cavani String Quartet on KMFA and KUT radio stations in Austin; and “Basic Bartók: The Influence of Eastern European Folk Music” (invited by the Cavani String Quartet and members of the Cleveland String Quartet), given in May at the Cleveland Institute of Music. Antokoletz continues as editor of the International Journal of Musicology (Frankfurt am Main: Peter Lang).

Nathaniel Brickens, Associate Professor of Trombone, was elected president of the International Trombone Association (2002-2004) and will preside over International Trombone Festivals in Finland and New York. The ITA, the world’s largest trombone advocacy organization, has a membership of over 5,000. Brickens was tenor trombone soloist in performances of the Mozart Requiem at the University United Methodist Church and the

faculty news

Ray Crisara and Gilda

Cruz-Romo

Gayle Barrington

George Frock and Wayne Barrington

fall 2001 19

the awards to the recipients attending the meeting. Crist was granted the award to support her research on Aaron Copland’s music between 1932 and 1946 for a book tentatively titled: Progressivism and Populism: Aaron Copland’s Music and Aesthetics during Depression and War. The research will cover Copland’s music from El Salón México to the Third Symphony, including Lincoln Portrait, the Violin Sonata, Rodeo, and Appalachian Spring. Defined by more than chronological proximity, these works share a compo-sitional aesthetic and musical style; a folkloric sound that became Copland’s aural signature.

Gilda Cruz-Romo, Associate Professor of Voice, retired from the faculty in February. Recognized as a national treasure in her native Mexico, she was awarded the Gold Medal of the Instituto Nacional de Bellas Artes, the country’s highest honor, at a Mexico City gala that included a performance by 26 singers and the chorus and orchestra of the Teatro de Bellas Artes. It was the final public event of the outgoing presidential administration. Professor Cruz-Romo has also been awarded the Licia Albanese-Puccini Foundation’s Baccarat 2001 Award. The award ceremony will take place November 3 at Alice Tully Hall in Lincoln Center, New York City.

Andrew Dell’Antonio, Assistant Professor of Musicology, has ac-cepted the Andrew W. Mellon Fellowship at the Harvard-Villa I Tatti Center for Renaissance Studies in Florence, Italy, for 2001-02. The competitive fellowship, offered to some 15 art, literary, music and cultural historians from around the world, was one of three separate year-long fellowships Dell’Antonio was offered this year. His research project will investigate new notions of “listening” in the early 1600s, a period seeing a great deal of commentary by non-musicians and musicians alike about an entirely new style of musical performance

and composition. The topic reflects his interest in the way “cultivated listening” begins to displace compositional/theoretical skill as the criterion by which music can ultimately be judged. In conjunction with his Mellon Fellowship, The University has awarded Dell’Antonio a Faculty Research Assignment for 2001-02, a rare honor for an untenured faculty member. He was also appointed to the John D. Murchison Fellowship in the Fine Arts for the same period. Dell’Antonio also coordinated the very successful Austin-South-ampton Early Music Symposium (see article in this issue of Words of Note.) At May commencement exercises, Dell’Antonio was awarded the 2001 College of Fine Arts Outstanding Professor Award.

During the 2000-2001 academic year, Professor Robert Duke held the E. William Doty Professorship in Fine Arts at UT and was the Scholar-in-Residence in the College of Musical Arts at Bowling Green State University. In the fall of 2001, he will hold the Endowed Chair in Music in the School of Music at The University of Alabama. During the past year Professor Duke presented the keynote ad-dress for the biennial meeting of MENC—The National Organization for Music Education—in Spokane, Washington, and was keynote speaker for meetings of the Suzuki Association of the Americas in Boulder, Colorado, the International Suzuki Institute, the National Conference on Keyboard Pedagogy in Chicago, and the California Music Educators Association in Los Angeles. He presented additional lectures at meetings of the Georgia Music Educators Association, the New Jersey Music Educators Association, the Florida Bandmasters Association, and the Texas Music Educators Association. He was also an invited guest lecturer at the Oberlin Conservatory of Music and the Esther Boyer College of Music at Temple University. He presented his most recent research at the International

Three School of Music faculty members received Austin Critics’ Table Awards this year for their outstanding contributions to the local cultural scene. Gre- gory Allen, Professor of Piano, received the Best Instrumentalist Award for

his performance of Mozart’s Piano Concerto in F with the Chamber Soloists of Austin. The Cavani String Quartet, Visiting Artists in Chamber Music, took the prize for Best Chamber Concert for their Back-to-Back Bartók concerts. Special recognition went to Sophia Gilmson, Associate Professor of Piano and Pedagogy, who received the Mount Everest Award for her acclaimed performance of Bach’s Goldberg Varia-tions on both harpsichord and piano in one concert.UT alumnus and soprano Stephanie

Prewitt was also recognized as Best Female Singer for her performance of Sephardic Songs with the Texas Early Music Project. Choral conductor Craig Hella Johnson and the New Texas Festival received an award for Best Choral Concert for Elijah. Also nominated from the UT School of Music community were Anton Nel, Professor of Piano, UT Symphony Orchestra, UT Opera Theatre, singers Chris LeCluyse, Amy Spencer, and Claire Vangelisti, and UT composer Dan Welcher.

Faculty win Austin Critics Awards

Gregory Allen

Sophia Gilmson

words of note20

Symposium for Research in Music Behavior, and recent publications appear in the Journal of Research in Music Education, Update: Ap-plications of Research in Music Education, the Florida Music Director, the Missouri Journal of Music Education, and the California Journal of Music Education.

veit Erlmann received two important prizes for his book Music, Mo-dernity and the Global Imagination. The first is a runner-up R. W. Ham-ilton Book Award given by the UT Co-op Society. The second the Alan P. Merriam Prize given by the Society for Ethnomusicology for the best English-language monograph in the field of ethnomusicology.

John Fremgen, lecturer in jazz studies, spent summer 2000 on the road with Columbia recording artist PJ Olsson. They performed in 15 cities in support of Olsson’s critically acclaimed release Words For Living. A highlight of the tour was a June appearance on “The Late Show With David Letterman.” They returned to the studio this summer to work on Olsson’s next release. Fremgen’s first solo jazz project, Meanwhile, was released in May. It features guitarist Mitch Watkins and drummer Peter Erskine. In February, Fremgen began working on his second project for View-point Records, which features Erskine and jazz piano virtuoso Shelly Berg. Fremgen plays bass on the debut CD by singer/songwriter John Wolf, Math & Science. He performed at the Frutigen music festival in Switzerland with Abra Moore, Patrice Pike, Ian Moore and other singer/songwriters in June.

Sophia Gilmson, Associate Professor of Piano Pedagogy, has been named the Collegiate Teacher of the Year by the Texas Music Teachers Association. At the Austin Critic’s Table Awards ceremony in June, Gilmson received the Mount Everest Award for her acclaimed February performance of Bach’s Goldberg Variations on both harpsichord and piano in one concert.

Donald Grantham’s Variations On An American Calvary Song, commissioned by the US Army Field Band, was premiered in February at Columbia, Maryland, and featured at the National Convention of the American Bandmasters Association in Las Vegas in March. The piece was performed by the band on its spring tour of the western states. All of Grantham’s wind ensemble works received numerous performances in the United States, Europe and Japan during the year. Grantham was a guest of the Baton Rouge Symphony for a performance of his To the Wind’s Twelve Quarters in February and gave a pre-concert lecture on the work. A recording of Southern Harmony by the University of Georgia Wind Ensemble appeared on Summit records, and J’ai été au bal was recorded by the University of North Texas Wind Ensemble and released on Klavier. A recording of From the Diaries of Adam and Eve is scheduled for release this fall on Gasparo records.

Eugene Gratovich, Associate Professor of Music, was invited to pres-ent a paper on “Music for Violin by J. S. Bach” for the International

Violin Conference held in Gorizia, Italy, in September. The paper will be published in Italy and on the Internet. Also in September he presented a seminar on “Developing Sight Reading Skills On The Violin,” for the violin faculty of the Stoliarsky Special Music School in Odessa, Ukraine. He presented a seminar on “20th Century Violin Techniques” at the University of Iowa in February. At the invitation of the Inter-national Jascha Heifetz Society, Gratovich presented a master class at the Azusa Pacific University in April. In August he served on the faculty of the International Saluzzo Festival-Institute in Italy.

Martha Hilley, Professor of Group Piano and Pedagogy, joined 30 other guest faculty from Europe and the United States at the 2001 International Workshops in Brisbane, Australia. The two-week event included the areas of orchestral conducting, piano, general music, choral conducting, and strings. She also won an ITAC Project Funding Grant for the refurbish-ing of two digital keyboard labs. Each lab is to be outfitted with new computers, a computer projector, and a host of educational and multimedia software for creating instructional web sites. Adam Holzman has been awarded the Ernst von Dohnanyi Citation for Excellence in Performance from Florida State University. He was promoted to the rank of Professor of Guitar on September 1, 2001.

Professor Kristin Wolfe Jensen released a critically acclaimed CD, Shadings, on the Equilibrium label. She taught at the Las Vegas Music

Festival for three weeks in the summer and resur-rected the UT Bassoon Ensemble, which performed at the Texas Music Educators’ Conference and three local schools. She continues to perform with the San Antonio Symphony, the Austin Chamber Music Center, and other groups. Jensen was promoted to the rank of Associate Professor with tenure, effec-tive September 1, 2001. Steven Ritter of American Record Guide wrote of her new CD: “Judging by this recording, she should be in one of our major orchestras, for she has simply turned in the finest-played bassoon recital I have ever heard . . . She obviously sees tone quality as the foundation for her fluent technique . . . It is a ravishing sound, siren-like in its attractive flair . . .

This is a superb release –– and not just for bassoonists. Ms. Jensen could teach a lot about musicality to a number of famous violinists I know.”

Jerry F. Junkin, Director of Bands, Frank C. Erwin, Jr. Centennial Professor of Music, and music director of the UT Wind Ensemble, conducted four campus performances, including the annual spring commencement. The recipient of a Dean’s Fellow leave for spring 2001, he appeared as a guest conductor in Texas, California, Virginia, Nevada, New Mexico, Oklahoma, New York, Tennessee, and Wash-ington D.C., where he conducted the United States Army Field band in a concert featuring the world premiere of UT composer Donald Grantham’s Variations on an American Cavalry Tune. In March he traveled to Berlin to conduct the International Honor Band, consisting of 100 students from 41 countries. He also

Kristin Wolfe Jensen’s most recent cd

fall 2001 21

appeared as a featured participant at the New England Conservatory of Music’s Symposium, Wind Music Across the Century, honoring long-time NEC conductor Frank Battisti. Junkin conducted the NEC Wind Ensemble and served as a panel-ist along with Gunther Schuller, Boston Globe Music Critic Richard Dyer, Bernard Rands, and Frederick Fennell. He spent July conducting the American Musical Ambassadors Band in concerts in Washington, DC, and on nine performances in a seven-country European tour. Junkin continues to serve as Artistic Director and Conductor of the Dallas Wind Symphony. He conducted seven subscription concerts

in the Meyerson Symphony Center, and additional performances in Denton and Tulsa. Junkin led the US premiere of the wind version of Carl Orff’s Carmina Burana, the season finale for the Wind Symphony, combined with the 350 voices of the Turtle Creek Chorale, the Dallas Women’s Chorus and the Texas Boys Choir. Performances by the Dallas Wind Symphony were broadcast nationally on NPR’s In Performance on six occasions throughout the year. In April, Junkin was elected Vice-President of the College Band Directors National Association.

Professor of Music Emeritus Kent Kennan, a promi- nent figure in the composition of American classi- cal music and a longtime member of the School of

Music faculty, received the E. William Doty Award from the UT College of Fine Arts during its spring commencement on May 19, 2001. The highest honor bestowed by the College, the Doty Award recognizes individuals who have made extraordinary contribu-tions to education, the arts, and society, as well as rendered exceptional service to the College and The University of Texas. Trained in music and composition at the Eastman School of Music and recipient of the famed Prix de Rome in 1936, Profes-sor Kennan joined the UT Music faculty in 1940. He left to serve in the armed forces during World War II, followed by a two-year stint at Ohio State University, but returned to the UT campus in 1949. At UT, he taught counterpoint, orchestration, and composition, and published two of the most successful music texts ever written, Counterpoint, and, with faculty colleague Donald Grantham, The Technique of Orchestration, now in its fifth edition. He has composed for orchestra, chamber groups, chorus, piano, voice, and organ. His Night Soliloquy for flute and strings has been performed by many of the major American orchestras, under such conductors as Arturo Toscanini, Eugene Ormandy, Seiji Ozawa, and Leopold Stowkowski. His other works have been widely performed and published, including Sonata for Trumpet and Piano, Three Pieces for Orchestra, Threnody, Three Preludes, and Retrospectives. In addition to his more than four decades of teaching in the classroom, Kennan has served the UT Music program in roles ranging from Graduate Advisor to Acting Depart-

Kennan receives College’s highest honorment Chair. In 1993, he decided to give UT music students still another gift, establishing the Kent Kennan Endowed Graduate Fellowship in Music Composition or Theory. The fellowship will help generations of talented scholars and

composers. A recent Fellow commented, “What amazes me about Mr. Kennan is the way he stays connected to his stu-dents. Here is someone with an amazing life in music, and I feel I can call on him for guidance.” In addition to his philanthropy, in 1992 Kennan donated his manuscripts, published scores, correspondence, and scrapbooks chronicling the performance history of his various works to the Harry Ransom Humanities Research Center, one of the most important archives of 20th-century research materials in the world. College of Fine Arts Dean Rob-ert Freeman, who made the award pre-sentation, said, “Kent Kennan, through his extraordinary musical ability and

absolute dedication to teaching and young people, has made enormous lifetime contributions to the School of Music, The University of Texas at Austin, and to music in America.

Friends and colleagues will share a deep sense of celebration as we honor Professor Kennan with the Doty Award for 2001.” The Doty Award was founded

seven years ago and named for E. William Doty, the found-ing and for its first 34 years, the only, dean of the College of Fine Arts. The initial recipients of the Doty Award have confirmed the highest standard of excellence, among them author James A. Michener, School of Music alumnus and Penn State University President Emeritus Bryce Jordan, Professor of Theatre History Oscar Brockett, and Houston philanthropist Jack Blanton.

Kent Kennan

“Here is someone with an amazing life in music . . . ”

words of note22

Karl Kraber recently had a compact disc released by Equilibrium. Entitled Flute Sonatas from the Italian Baroque, the CD features works by Vivaldi, Locatelli, Marcello, and Vinci. Professor Kraber is assisted on the recording by Peter Kairoff on harpsichord, and Phillip Gottling on bassoon.

Richard lawn was commissioned by the Univer-sity of Northern Iowa to compose a work for jazz ensemble to commemorate the 50th anniversary of the school’s jazz festival. He attended the pre-miere, judged at the festival, and conducted an alumni band. As a member of the Nova Saxophone Quartet, Lawn performed at Southwest Texas State University and by invitation at the Region 4 North American Saxophone Alliance Conference. Lawn is featured as both performer and composer on the latest Nova Saxophone Quartet CD, Outside the Box, on Equi-

librium. He also served as guest clinician, soloist, and conductor of the Texas Region 14 Jazz En-semble and performed as soloist with the Austin Symphony Pops Orchestra. In August, Sea Breeze Re-cords released Unknown Sol-diers, a recording by the 3rd Coast Jazz Orchestra. This re-cording features Austin’s finest jazz musicians performing nine of Lawn’s compositions and ar-rangements for big band.

In perhaps his most exciting news of the year, Lawn learned that his arrangement of the bebop standard Donna Lee was recorded by New York Latin band leader and percussionist Bobby Sanabria. The Arabesque CD, Live & in Clave, was nominated for a Grammy and is currently a finalist in the Latin Grammy competition, to be decided in September. The same arrangement was featured on Lawn’s current CD.

David Neubert performed with Tom Martin, former principal bass of the London Philharmonic Orchestra, and lectured at the 2001 Inter-national Society of Bassists Convention in June at Butler University in Indianapolis. He was also a guest clinician at the annual Texas Bass Symposium held in October at Texas Christian University. Neubert was invited by one of his former students, Lu Yuan Xiong, now an Assistant Professor of Double Bass at Bowling Green State University in Ohio, to give a master class there. His article “A New Look at Intervallic Fingerings,” was published in January by the American String Teacher. During the summer, Neubert received a grant through the School of Music to continue building a MIDI ac-companiment library to include more orchestral instruments (Project MAP). Using project technology, string students can practice their solo pieces at any tempo, in any key, as often as needed using a portable, digital sequencer.

Charles Roeckle, Deputy to the President of The University, received the “Robert Murff Award for Excellence” from the Texas Campus Ca-

reer Council, a UT association of career counselors, in May. The award is given annually in recognition of “outstanding service and dedication to career services at The University of Texas at Austin.” In June, he received the “Outstanding Leader Award” from the UT-Austin Hispanic Faculty/Staff As-sociation.

Glenn Richter has been honored by the Tejas Foun-dation as a Distinguished Alumnus. The award is based on service and contributions to UT. The UT chapter of the National Collegiate Scholars honored four faculty members, including

Professor Richter, for outstanding teaching and service. The award focuses on faculty who teach freshmen and sophomore courses. Pro-fessor Richter teaches a freshmen seminar for the Plan II Honors program. The New Horizons Music Program, an outreach program of the School, is beginning its third year. The program, begun by Glenn Richter, is designed for people at least 50 years of age with an interest in learning to play an instrument. The performing ensemble has grown to more than forty members, who have performed in Bates Recital Hall, Sun City Auditorium, Saltillo Plaza, numerous retirement com-munities, churches, and in small venues for the Women’s Symphony League and the UT Lamp program. School of Music students have served as master class teachers, while advanced conducting students have gained actual podium experience as guest conductors.

Lecturer Nina Shuman conducted Igor Stravinsky’s Le Rossignol and Mavra for the Petaluma Summer Music Festival in August.

Professor Stephen Slawek completed his appointment as Second Vice President of the Society for Ethnomusicology in November after representing the Society’s interests in the mega-conference Musical Intersections in Toronto in early November. He presented a paper titled “It’s All in the Raga: The Musical Basis of a Gharana’s Identity,” as part of the program of the annual meeting of the Society for Eth-nomusicology that took place during the conference.

UT Becomes New Home of ITA Press

Professor Nathaniel Brickens has brought the Interna- tional Trombone Association Press to the UT School of

Music. The ITA Press, a project of the International Trom-bone Association’s Literature and Publication Committee, was formed in 1995 to serve as catalyst for the composition and publication of high-quality literature for the trombone. Brickens has served as Press Manager/Editor during most of the organization’s brief history, helping it grow from one publication to 35. ITA Press compositions include pieces by Eric Ewazen, John Cheetham, David Gillingham, and Brian Wilson. UT Professor Donald Grantham and Professor Emeritus Karl Korte have pieces published by the ITA Press.

Karl Kraber plays baroque

lawn’s Unknown Soldiers

fall 2001 23

In April, Slawek gave a colloquium presentation at the School of Music of the University of Illinois at Urbana-Champaign on the role of Ravi Shankar and the sitar in the growth of popular musics generally termed “World Beat” and “World Music.” While there, he also presented a lecture for the Krannert Center for Performing Arts in conjunction with maestro Ravi Shankar’s performance. Slawek performed a sitar recital of Indian classical music to a full Bates Recital Hall in March, accompanied by one of the world’s great tabla virtuosos, Pandit Swapan Chaudhuri. In April, Slawek played bonang barung, bonang panerus, and gender barung in a recital given by the School of Music’s Javanese Gamelan Ensemble.

It was a busy year operatically for Rose Taylor. In March she sang the role of Schwertleite in Die Walküre with Austin Lyric Opera. In June and July she returned to Iowa, to sing Principessa in Suor Angelica and the Baroness in Vanessa with Des Moines Metro Opera. She had several local performances throughout the year, reprising favorite chamber works: Respighi’s Il Tramonto with the Chamber Soloists of Austin, and Berio’s Folk Songs with the UT New Music Ensemble. Her most unusual performance of the year was in They Came From Planet Diva, an April concert with four other female soloists and the Capitol City Men’s Chorus. In August, Rose Taylor joined Barry Scott Williamson and the Texas Chamber Consort in a complete performance of Handel’s Messiah.

Dr. Michael Tusa finished his term as Acting Director of the School and has accepted appointment as Associate Director beginning this fall. Dean Robert Freeman thanked Tusa, who served as Acting Director since the sum-mer of 1999. “I would like to take this opportunity to salute the fine work accomplished in behalf of the School of Music and The University of Texas by Dr. Michael Tusa. We are all deeply in his debt for the very effective stewardship with which he has carried forward the work of the School of Music.”

Dan Welcher began a busy year with a month at Yaddo, the prestigious art colony in Saratoga Springs, New York. He saw premieres of two new works for wind ensemble; attended performances of his music by the Seattle Symphony, the Lyric Opera Orchestra of Chicago, and others; oversaw an All-Welcher concert and recording session by the New World Symphony in Miami, conducted a per-formance of his new orchestral work, Beyond Sight, with the UT Symphony; conducted a run of Benjamin Britten’s opera The Rape of Lucretia with the UT Opera Theater, hosted five visiting composers (and conducted five New Music Ensemble performances connected to them); and even found time to dust off his bassoon for a performance of the Telemann Quartet in D minor in February. The new wind ensemble works were both commissioned. Perpetual Song was commissioned by the US Military Academy Band at West Point, in honor of its 200th anniversary. Welcher, who spent three years of military service there in the late sixties/early seventies, returned for the October premiere and a reunion with his former commanding officer, Lt. Col. William Schempf. Songs Without Words was com-missioned by the College Band Directors’ National Association and

was premiered by an all-college band at the CBDNA Convention in Denton in February. Welcher’s 1999 work JFK: The Voice of Peace was performed by the Masterworks Chorus and Orchestra of Houston in May, with Craig Hella Johnson conducting this hour-long oratorio. JFK is gradu-ally becoming known as a highly emotive major work, and further performances are in various stages of planning throughout the country as the 40th anniversary of Kennedy’s assassination approaches. Two new CD recordings will be coming out next season as a result of Welcher’s activities this year. His 1993 Violin Concerto was recorded in April by Paul Kantor, violinist and head of the string pro-gram at the University of Michigan, and the Lyric Opera Orchestra of Chicago under Larry Rachleff’s baton. The CD also includes Welcher’s A Rag For Rags for violin and piano, and two works by the celebrated American composer William Bolcom, who will be the pianist for the three non-orchestral works on the recording. The CD will appear on Equilibrium Records sometime next season. The other recording features six Welcher chamber works record-ed by members of the New World Symphony Orchestra in Miami. This orchestra, under the direction of Michael Tilson-Thomas, is a training institution for the very best post-college players in America; and this CD represents the orchestra’s first endeavor in chamber music. It will be released on CRI next season. In the summer of 2001, Welcher was given a month-long fellow-ship to the MacDowell Colony in Peterborough, New Hampshire.

In October, Indiana University School of Music Eva Janzer Memorial Center conferred upon Phyl-lis young “the title of Grande Dame du Violoncelle in recognition of her universal contributions to the art and teaching of cello playing.” Several of her former students at-tended the celebration, including Dr. Richard Maag of Furman University, Dr. Alan Smith of Bowling Green (Ohio) University, Dr. Benjamin Whitcomb of University of Wisconsin-Whitewater, Dr. Jui Chao Wang of Michigan, Sarah Bielish of Evansville University, Dr. Lisa Maynard of Oberlin Conservatory, and Christine Crookall, director of the University of Texas String Project. Later in the year she gave workshops and master classes throughout South Africa at the University of Pretoria, The Orange Free State Musiconx, Stellenbosch University, and the Hugo Lambrecths Music Center in Capetown. She taught

in the 2001 International String Workshop in Brisbane, Australia, followed by workshops/master classes at the University of Auckland and Christchurch University in New Zealand. At the European String Teachers Association International Con-ference in Helsinki, Finland, she presented the keynote address and a session on bowing. She then traveled to give classes at the Estonian Music Academy and their music schools. In the United States she presented lecture-demonstrations for the San Francisco Cello Club; the Los Angeles Cello Society; the California Suzuki Association; the American String Teachers Associations of West Virginia, Northern California and Ohio; the University of Alaska-Fairbanks; Indiana University; and Oberlin Conservatory.

Phyllis young

words of note24

Ray Sasaki joins the faculty from the University of Illinois/ Urbana-Champaign. He will teach trumpet and hold the Frank C. Erwin Centennial Professorship in Music. Sasaki

received degrees from California State University at Fresno and the University of North Texas. He is currently a member of the St. Louis Brass Quintet and the Tone Road Ramblers and has toured widely in the United States, Europe, and Asia. He is also an active recitalist and clinician. Sasaki has commissioned many works for solo trumpet, most notably works for performances with the Cleveland Chamber Orchestra, International Trumpet Guild, and Jazz Members Orchestra of Chicago. His recorded work can be heard on the Arabesque, Crystal, DRI, Deutsche Gramophone, TR 001, and UBRES record companies. In 1996 he received an “Outstanding Faculty Award” from the Col-lege of Fine and Applied Arts at UIUC. Sasaki has served two terms as a member of the Board of Directors for the International Trumpet Guild.

Rebecca Henderson has been appointed Associate Professor of Oboe. She has performed as principal oboist with the Colo-rado Symphony, the Seattle Sym-phony, the Oregon Symphony, the Alabama Chamber Orchestra, and the Chicago Civic Orchestra. She has also performed in festi-vals around the world and, since 1998, has been on the faculty of the Marrowstone Music Festival in Port Townsend, Washington. She holds degrees from the Oberlin Conservatory and the Eastman School of Music. Henderson was a prize winner in the 1995 New York International Competition for Solo Oboists and in the 1988 Lucarelli International Solo Oboe Competi-tion. She has toured throughout Asia, South America and the US,

including performances at both Weill Recital Hall and Lincoln Center in New York, and as a concerto soloist with the St. Paul Chamber Orchestra, the Colo-rado Symphony Orchestra, the Alabama Chamber Orchestra, and the Philharmonia Northwest Chamber Orchestra. Her record-ing of Hindemith’s Sonatas for oboe and English horn is avail-able on Centaur Records.

Thomas Burritt joins the faculty as Assistant Professor of Percus-sion, coming from the faculty of the University of Central Arkan-

sas. He received degrees from Ithaca College School of Music (BM), Kent State University (MM), and Northwestern Uni-versity (DM). He has presented recitals, master classes, and clinics throughout the United States and abroad. He is active in the performance and creation of new music for the marimba and has contributed several commissioned works to the rep-ertoire. Burritt can be heard as guest soloist on two compact disc recordings: Hasenproject, which features his second com-mission Flatiron Wolf for solo marimba and percussion quartet; and Clarinet Unlimited: Kelly Johnson, Clarinet, featuring Sonata, for solo clarinet and percussion.

Patrick Hughes, Assistant Professor of Horn, comes to Austin from the University of New Mexico, where he performed with the New Mexico Woodwinds and the New Mexico Brass Quintet. He is principal horn in the Santa Fe Symphony Orchestra and performs regularly with Santa Fe Pro Musica. A doctoral candidate in horn performance and pedagogy at the University of Iowa, Mr. Hughes holds degrees from St. Olaf College (MN) and the University of Wisconsin–Madison. His growing reputation as a performer has led to engagements nation-wide including appearances and recordings with groups such as the Minnesota Opera, Erie (Pennsylvania) Philharmonic, Duluth-Superior Symphony Orchestra, Cedar Rapids Symphony, New Columbian Brass Band (Kentucky), and the New Mexico Symphony.

lorenzo Candelaria, Assistant Professor of Musicology/Ethnomusicol-ogy (Ph.D., Yale University, 2001) is a specialist in sixteenth-century Spanish plainchant, codicology, and popular religion. As a Fulbright Scholar, he conducted extensive archival research in Avila, Barcelona, El Escorial, Madrid, Santo Domingo de Silos, Seville, and Toledo. His work on musical and religious institutions in Toledo has been presented at the International Medieval Congress 2000 (Univer-sity of Leeds, UK), and at Yale University as part of its Tercentenary Celebration. Candelaria is an active mariachi violinist and clinician, having performed with distinguished groups such as Mariachi Sol de Mexico and Mariachi Cobre. Sensitive to the growing demand for mariachi ensembles in public school fine arts programs, he designed a practical seminar, “Ensemble Techniques for the Mariachi,” which has been received enthusiastically by music educators throughout the Southwest.

K. M. (“Kay”) Knittel (Ph.D., Princeton University, 1992) taught at Seton Hall University before joining the Musicology/Ethhnomu-sicology faculty this fall. Her research interests include Beethoven, Mahler, reception history and theory, 19th-century European his-

new faculty at the school of music

Rebecca Henderson

Thomas Burritt

Patrick Hughes

fall 2001 25

tory, German nationalism, Jewish studies, history of antisemitism, and biography. Her work has appeared in the Journal of the American Musicological Soci-ety, 19th-Century Music, and Beethoven Forum. In 1999, Knit-tel received an NEH Fellowship for her book in progress, Seeing Mahler, Hearing Mahler, a study of the reception of Mahler and his music seen against the backdrop of Viennese antisemitism at the turn of the last century. Portions of the book have been presented at the American Musicological Society meetings in Minneapolis and Kansas City, and at the In-ternational Musicological Society

1997 meeting in London.

James Morrow returns to his alma mater as Assistant Profes-sor of Choral Conducting and Director of Choral Activities, where he will conduct the Texas Chorale and the Men’s Chorus and direct the graduate program in choral conducting. He was Director of Choral Activities at the University of Florida since 1997 and previously taught at Hope College and Millsaps Col-lege. He received a DMA from UT in 1996, where he studied conducting with Morris Beachy,

Craig Johnson, and Fiora Contino and voice with Gérard Souzay. Conducting activities have included Chorus Director of the Jackson-ville Symphony Orchestra and guest appearances with the Gainesville Chamber Orchestra, Jackson (Mississippi) Choral Society, New Texas Festival and Victoria Bach Festival. He sang extensively with Robert Shaw as a member of the Robert Shaw Festival Singers and performed as an Artist/Fellow at the Bach Aria Festival and Institute in Stony Brook, New York.

Russian-born bass Nikita Storojev joins the Voice Faculty this fall as Assistant Professor of Voice and Opera. Upon winning the prestigious Tchaikovsky Competition, he became a principal soloist at the Bolshoi Theater and the Moscow Philharmonic Society. Storojev has performed in the world’s major opera houses, concert halls and international festivals in Vienna, Paris, London, Milan, New York, San Francisco, Florence, Munich, and Berlin. His repertoire consists of over 50 operatic roles and more than 300 classical songs. He has performed

and recorded under the direction of conductors such as Mstislav Rostropovich and Vladimir Ashkenazy, and with singers such as Placido Domingo, Luciano Pavarotti, Katia Ricciarelli, Ruggero Raimondi, and Nicolai Ghiaurov.

Marianne Wheeldon joins the School of Music faculty as Assistant Professor of Theory this fall. A native of Great Britain, she taught at Florida State University in Tallahassee before coming to Austin. She received a Ph.D. in Music Theory from Yale Uni-versity in 1997, where she also received a Master’s degree. She received the LGSM (Licentiate of the Guildhall School of Music and Drama) Diploma in Piano Performance.

Delaine Fedson joins the faculty as Lecturer in Harp. She founded the first Suzuki Harp School in Texas in 1986 and is in demand as a clinician at high school mu-sic camps and early childhood education music camps through-out the nation. She performs frequently with the Austin Lyric Opera, Austin Symphony Orchestra, and the Waco Symphony, where she is principal harpist. She is a former instructor at Baylor University.

Opera coach and conductor David Neely, Lecturer in Voice and Opera, obtained bachelors and masters degrees at Indiana University and pursued graduate conducting studies at the College-Conservatory of Music in Cincinnati. Interest in Germanic studies took him overseas, where he was the Solorepetitor and 2nd Kapellmeister at Landesthe-ater in Coburg, the Solorepetitor at the Württembergisches Staats-theater in Stuttgart and Saarländisches Staatstheater in Saarbrücken, and the 2nd Kapellmeister at the Theater in Dortmund. Neely has been the guest conductor in several opera, musical, and ballet productions in Germany.

Barry Kraus joins the School of Music as a Specialist in Band Con-ducting and will conduct the Basketball Band and serve as assistant to the Longhorn Band director. He received degrees from Oklahoma State Univer-sity (BM, Music Education) and Baylor University (MM, Wind Conducting) before beginning the DMA at Arizona State University (degree in progress).

Other faculty joining the School of Music this fall in a replacement capacity are: Kevin Beavers, Lecturer in Composition; Gabriela Cohen, Lecturer in Clarinet; and Bil Jackson, Lecturer in Clarinet.

James Morrow

Delaine Fedson

Nikita Storojev

K. M. (“Kay”) Knittel

words of note26

Doctoral candidate in Sung Byon was selected to perform in the University of Houston Piano Festival.

Francisco Cában-vale, DMA violin student, was a prize winner at the San Antonio Music Club Competition. He also won an audition for the Austin Symphony Orchestra.

Graduate student Darin Cash was second-place winner in the 2001 International Trombone Association’s Frank Smith Solo Competition.

Freshman xinyu Chen was selected as one of 15 performers out of 109 international applicants to participate in the Van Cliburn Young Artists Institute, held in conjunction with the 11th International Van Cliburn Competition. She also placed third in the Kingsville Interna-tional Solo Piano Competition.

Sean Crapo (BM, Music Studies, 2000) has received a one-year International Instrumental Scholarship from the Royal Scottish Academy of Music and Drama in Glasgow, Scotland, where he will pursue a Masters in Bassoon Performance. Crapo played with the UT Symphony and founded the Black Light Bassoon Trio, which plans a forthcoming CD. He studied with Professor Kristin Jensen.

Graduating senior Joshua Cumby served a summer internship at the International Festival Institute at Round Top.

Alexandre Dossin, DMA candidate in piano, was chosen as one of 12 semi-finalists to participate in the New Orleans International Piano Competition. He also played at the Leeds Competition in England and gave both solo and orchestral concerts in his native Brazil. He joins the faculty of the University of Louisiana at Lafayette this fall.

Jeff Gershman (DMA in progress) has been appointed Associate Director of Bands and Lecturer in Music at Texas A&M University in Commerce.

Doctoral guitar student Matthew Hinsley and flutist Jennifer Rhyne have released a compact disc entitled Two Muses. The duo first collaborated during their studies at Oberlin Conservatory and have performed together across the country. Both have won numerous

awards and competitions.

DMA student Adrianna Hulscher presented violin recitals on the Musical Experiences Concert Series in Seattle in October. She also performed a joint recital at the Dell Jewish Community Center in April.

Doctoral candidate Josephine liu, viola, won third prize in the

2001 Tuesday Musical Club Young Artist competition in San Antonio.

Greg Martin (DMA in progress) has been appointed Director of the Marching Band at Florida International University.

Doctoral candidate Kristi McGarity won the 2001 SEAMUS/ASCAP Prize, based on her composition, Mystery. The SEAMUS/ASCAP Prize consists of a $1,000 commission for a new piece of electroacoustic music. McGarity’s composition will be premiered at the 2002 SEA-MUS National Conference at the University of Iowa. The commission is funded by the American Society of Composers, Authors, and Pub-lishers (ASCAP), and the annual competition is open to all SEA-MUS student members. Previous UT students who have won this prestigious award include Joseph Anderson, Howard Fredrics, Matt Ingalls, and Pete Moss.

DMA student Steven Snyder has been appointed to the jazz faculty at Morehead State University in Morehead, Kentucky.

DMA student Eric Thompson and valerie Thompson (MM 1991) performed Poulenc’s Concerto for Two Pianos with the Mid-Texas Symphony Orchestra in Seguin in March.

yien Wang, junior piano performance major, was the first-place win-ner of the University Symphony Orchestra Concerto Competition and performed with the orchestra in April. In the spring Wang performed with the Cavani String Quartet and was first-place winner of the Sidney Wright Scholarship Competition in Accompanying.

DMA student Jay Whatley joins the faculty at Sam Houston State University in Huntsville this fall.

studentsBrian Klenzendorf, a Music Studies major from Kaufman, Texas, has been named the School of Music’s Presser Scholar for 2001-02, a $4,000 award. The Presser Scholarship, provided through a grant by the Board of Trustees of the Presser Foundation, is a prestigious award “honoring excellence,” and is made to an outstanding music major at, or after, the end of his or her junior year. Klenzendorf, a junior studying percussion, performs with the UT Symphony Orchestra, Wind Ensemble, Percussion En-semble and the Longhorn Band. He also served as percussion instructor for Austin’s Stephen F. Austin High School this year and participated with the Phantom Regiment, a drum corps based in Rockford, Illinois, whose marching band show toured the country this summer.

Klenzendorf receives Presser Scholarship

Hinsley/Rhyne Duo CD

Paul White debut CD

fall 2001 27

The annual Sidney Wright Endowed Presidential Scholarship Com- petition in Piano Accompanying was held in April in the Recital

Studio. UT faculty Sophia Gilmson and Kevin Puts, and Sylvia Gol-man, pianist with the Austin Symphony, served as semi-final judges narrowing the field of contestants to ten. The final round was judged by former UT professor of accompanying Rex Woods (now on the University of Arizona faculty) and Professors Nancy Weems and Timothy Hester of the University of Houston. First-prize winner was yien Wang, student of Betty Mallard, who was awarded the $3,000 Sidney M. Wright Endowed Presidential Scholar-ship. Second prize went to Soyoung yoon, student of Anton Nel, who was awarded a $750 scholarship in memory of David Garvey. Third prize went to Hyesoon yoon, student of Gregory Allen, who was awarded a $500 scholarship in honor of Charles and Mary Wright. Fourth prize was awarded to Jee-Hyun Park, student of Danielle Martin, who was awarded a $250 scholarship in honor and memory of Albert Martin. Best instrumental honoriums were given to cellists Tomasz Rzeczyski and Douglas Harvey, the fourth straight year Harvey has been cited for that award. Best vocalist honorarium went to Gwyn Beaver-Cudjo. In addition, the judges awarded honorable mentions to pianist Owen lovell, vocalist Amy Tefft and violist Sun young Park. Professor Danielle Martin serves as administrator for the Competition, now in its eleventh year. The Competition serves as an impetus for excellence in collaborative playing at UT, and each year identifies and rewards some of the School of Music’s most outstanding performers.

Wright Endowed Scholarship Competition

Paul White, a DMA candidate, has produced Insomnia, his debut CD as a band leader. It is a collection of original material and jazz stan-dards. The Paul White Quintet has performed throughout the central Texas area, including the Zilker Hillside Jazz Festival.

youyou xia continues to hold an internship position with Texas Com-mission on the Arts, Governor’s Office.

Richard Elliott, organist for the Mormon Tabernacle Choir in Salt Lake City, opened this year’s Great Organ Series.

Elliott participates in the daily Tabernacle recital series and ac-companies the Mormon Tabernacle Choir on their weekly radio and TV broadcasts. With the Tabernacle Choir he has performed in some of the world’s great halls and appeared on programs such as “Good Morning, America” and “A Prairie Home Companion.”Robert Brewer, organist and choirmaster at St. Paul’s United Methodist Church in Houston, presented a program that included works by Liszt, Bach, Mendelssohn, Merkel, Yon, Thalben-Ball, and Hampton. Dr. Faythe Freese, Assistant Professor of Organ at Concor-dia University, Austin, performed in February. Her program included works by Bach, Reger, Sowerby and a world premier entitled Helmet Full of Clay by Ales Jermar.Scott Davis, organist at Austin’s First United Methodist Church joined up with Texas’ Pinnacle Brass (Tim Shaffer, Robert Can-non, Tom Hale, Randy Zimmerman, Kerry Williams) for the Series finale in April that included works by Bach, Gabrieli, Liszt, Vierne, Gigout, Hindemith, and Williams.

Great Organ Series

The UT Jazz Bones were awarded first place in the 2001 International Trombone Association Kai Wind-

ing Jazz Trombone Ensemble Competition in February. A subset of the Trombone Choir program, the Jazz Bones were formed during the fall. They were featured perform-ers at the 2001 UT Jazz Festival.As winners of the Winding award, the group received free tuition to attend the International Trombone Festival in Nashville in May, where they performed a showcase concert.

Jazz Bones Win International Award

Professor Matha Hilley attracts a full house at the Explore UT show-

The UT Jazz Bones

words of note28

John Ardoin, retired music critic of The Dallas Morning News, died in San José, Costa Rica, in March. He retired

in 1998 after 32 years as a prominent reviewer whose sub-jects ranged from the Dallas music scene to comments on many of the most important figures in classical music of the postwar era.Ardoin was born in Louisiana. He attended the University of North Texas, and later transferred to the University of Texas, where he earned a bachelor’s degree in music theory and composition. He received a master’s from the University of Oklahoma and did postgraduate work at Michigan State University.Ardoin was internationally known as an expert on diva Ma-ria Callas, who was considered the godmother of the Dallas Opera. He wrote four books on her life and career.

Thomas Andrew Caswell (BM 1995) died in July, along with his wife, Rebeca Diaz Caswell, following a traffic accident. After graduating from UT he received a degree in law from the University of Houston. He was employed as an attorney with the law firm of Jackson-Walker in Houston. He was also an accomplished musician, playing the trumpet while at The University. Rebeca Diaz Caswell graduated with a bachelor’s degree in molecular biology from The University of Texas at Austin. She was completing her final year of study in the field of medicine at the UT Medical Branch in Galveston.

Linda Frances Hibbs Dougherty, 51, passed away February 26 in Austin. She graduated cum laude from Southwest Texas State University with a bachelor’s degree in music educa-tion, voice and piano principal. She was awarded a master’s degree in vocal performance in 1973 at the University of Texas, and worked toward a doctorate. She won many vocal performing awards and valued most the “Hohe Stimme” (High Voice) award from the International Sommeracademie Mozarteum der Music in Salzburg, Austria, and the High Voice Award from the Gerard Souzay Class at the Maurice Ravel Academy in St. Jean-de-Luz, France. She considered it an honor and privilege to serve as doctoral assistant at UT for Mr. Souzay, a baritone performer of international acclaim. Linda performed in both academic and professional set-tings on three continents and represented the US as Artistic Ambassador to Costa Rica, giving recitals and master classes there. She taught voice privately and in colleges and univer-sities for 26 years and was a member of numerous teaching organizations.

Beverly Vaughan Fabrygel, 84, died in October in Pecos, Texas. A native of that city, she was an outstanding teacher of violin, piano, and organ and inspired many students both locally and in other areas. She received a degree from Texas Christian University and did graduate study at the Univer-sity of Texas and Columbia University in New York City. Beverly Fabrygel wore many hats in the music business. When many male directors were enrolled in the armed ser-vices during the Second World War, she became band director for schools in Pecos, and later in Lubbock, where she also directed the orchestras at Texas Tech University. She served as choir director and church organist for various churches for over 30 years and was an adjudicator for the National Guild of Piano Teachers in area competitions. She was a Nationally Certified Teacher of Piano by the Music Teachers National Association. Beverly Fabrygel was honored as an Outstanding Citi-zen of Pecos in 1979. President George H. W. Bush sent her congratulations in honor of her 75th birthday, which was declared Beverly Vaughan Fabrygel Day in Pecos. She was survived by her husband, R. L. Fabrygel.

W. Jean Rogers, wife of retired School of Music professor Dr. Delmer Rogers, died March 1. She was born in Filmore, California, in 1928 and met her future husband in high school where both were string players. They were married 52 years. Jean Rogers worked in various capacities at universities where her husband taught, including The University of Texas. She later sold real estate in Austin, forming her own company and managing family properties. She and Del raised four children, Alan, Leslie, Christina and David. While maintaining both home and job, she thoroughly enjoyed outdoor activities, camping and picnicking. An informal memorial service was held March 17 at the Umlauf Garden.

John “Mambo” Treanor, well know and beloved Austin percussionist and former music student, died August 20, 2001. Treanor lent his distinctive playing style to acts such as Beto y Los Fairlanes, Toni Price, Guy Forsyth, Marcia Ball, Abra Moore, the Resentments, and many more. A fall 1999 tour backing Kris Kristofferson was one of Treanor’s career highlights. Remembered by his friends and fans as an eccentric and unique stylist, he played his last public set on August 12 with one arm in a sling. This final display of indomitable spirit typified his career in the Austin music scene.

In Memoriam

fall 2001 29

Jess Walters: A Tribute

His deep, regal roar was heard round the world — in New York City, in San Francisco, in Chicago, in Lon- don, in Amsterdam, and, of course, in our own fair city —

for almost 60 years. Now, the Lion of Austin Opera will sing no more. Jess Walters, celebrated singer, director, teacher, and the man who did more to further the operatic arts in Austin for longer than just about anyone else, died Sunday, October 8, at the age of 91.

Originally from Brooklyn, where he was born Josuoh Wolk, Walters began studying voice when he was 25 and eight years later made a stunning operatic debut singing the title role in the New York Opera Company’s production of Macbeth.

In another six years, he was making his European debut in the debut season of the Royal Opera, Covent Garden, singing Count des Grieux in a production of Massenet’s Manon. He made that company his home for the next dozen years, during which time he took part in 684 performances and was, in the words of UT Opera Theatre director Robert DeSimone, “the leading baritone for years.” Its significance to Walters’ career and to the man personally may be gleaned in his return to London three years ago for the 50th an-niversary celebration of the Royal Opera’s first performance, during which he was honored.

In the course of his extraordinary career, Walters sang some 55 major operatic roles, some of them with such titans of the operatic stage as Maria Callas, Jerome Hines, Roberta Peters, Joan Sutherland, and Richard Tucker. He performed with the Liege in Belgium, and the Chicago, San Francisco, and New York City Opera Companies, with the Royal Philharmonic, the BBC Symphony, and the London Philharmonic. In 1965, after five years in Amsterdam with the Netherlands Opera, Walters and his wife Emma returned to the US to make Austin their permanent home. Jess continued to sing, in pro-

ductions of the UT Opera Theatre, the Gilbert & Sullivan Society of Austin, Capitol City Playhouse, and Austin Lyric Opera. He also created and powered Capitol City Playhouse’s cham-

ber opera program in the Eighties, an inventive effort to bring opera to a larger audience in an intimate theatri-cal environment. And he served on the committees and boards of various civic groups, doing what he could to help make Austin a city in which music and opera could flourish. Perhaps his finest achievement in that regard had to do with his work teaching voice at the University of Texas School of Music. He started in 1965 and didn’t stop for 35 years, continuing to see students as late as six days before his passing. In one of my last reviews of Walters, I called him “indomitable” and as I pic-ture him, seven weeks before his 92nd birthday, Professor of Voice Emeritus and still working, still pushing, still striv-ing to pass along his great knowledge

of music, to nurture another generation of great musical artists, the word seems more apt than ever. He may have passed away, but he was never conquered, not while he had a breath in his body and surely not while he had a song in his heart.

His legacy was w e l l s u m m e d up by colleague

Robert DeSimone, who said of Walters, “He inspired the love of the human voice in the community.” Jess Walters is survived by Emma DeFina Walters, the woman who fell in love with Walters’ voice when she was a voice student in New York and spent 57 years of marriage with him; and by his son Emil, an actor, and his family, who live in Manchester, England. The School of Music will dedicate its 2001-2002 faculty subscrip-tion performance season, the Jessen Series of Distinguished Faculty Artists, to the memory of Jess Walters.

— Robert Faires,The Austin Chronicle

“He inspired the love of the human voice. . .”

Jess Walters

words of note30

Endowed Faculty PositionsMary D. Bold Regents Professorship of MusicFrank C. Erwin, Jr. Centennial Professorship in MusicFrank C. Erwin, Jr. Centennial Professorship in OperaParker C. Fielder Regents Professorship in MusicPriscilla Pond Flawn Regents Professorship in Organ or Piano PerformanceDavid and Mary Winton Green Professorship in String Performance and PedagogyM. K. Hage Centennial Visiting Professorship in MusicFlorence Thelma Hall Centennial Chair in MusicHistory of Music ChairThe Wolf and Janet Jessen Centennial Lectureship in MusicMarlene and Morton Meyerson Centennial Professorship in MusicMarlene and Morton Meyerson Centennial Visiting Professorship in Music

Endowed ScholarshipsAlamo City Endowed Scholarship for PianistsBurl H. Anderson Endowed Presidential Scholarship in the ArtsWayne R. Barrington Endowed Scholarship in French HornBurdine Clayton Anderson Scholarship in MusicBetty Osborn Biedenharn Endowed Presidential Scholarship in MusicMary D. Bold Scholarship FundDr. and Mrs. Ernest C. Butler Centennial Scholarship in OperaDr. and Mrs. Ernest C. Butler Endowed Presidential Scholarship in OperaPauline Camp Operatic Voice ScholarshipEloise Helbig Chalmers Endowed Scholarship in Music Therapy and Special EducationMary Frances Bowles Couper Endowed Presidential Scholarship for Graduate Students in Piano PerformanceMary Frances Bowles Couper Endowed Presidential Scholarship for Undergraduate Students in Piano PerformanceAinslee Cox Scholarship in MusicPatsy Cater Deaton Endowed Presidential ScholarshipWilliam Dente Endowed Memorial Scholarship in OperaE. W. Doty Endowed Presidential Scholarship in MusicE. W. Doty Scholarship FundWhit Dudley Endowed Memorial Scholarship in HarpMarguerite Fairchild Endowed Presidential Scholarship in MusicFondren Endowed Scholarship in MusicDalies Frantz Endowed Scholarship FundDavid Garvey Scholarship FundGarwood Centennial Scholarship in Art Song PerformanceMary Farris Gibson Endowed Presidential Scholarship in MusicMary Farris Gibson Memorial Scholarship in MusicThomas J. Gibson IV Endowed Presidential ScholarshipAnnie B. Giles Endowed Scholarship Fund in MusicAnnie Barnhart Giles Centennial Endowed Presidential ScholarshipMary Winton Green Endowed Presidential Scholarship in MusicMargaret Halm Gregory Centennial Endowed ScholarshipVerna M. Harder Endowed Presidential Scholarship in Music

Louisa Frances Glasson Hewlett Scholarship in MusicVirginia McBride Hudson Endowed ScholarshipJean Welhausen Kaspar 100th Anniversary Endowed Longhorn Band ScholarshipKent Kennan Endowed Graduate Fellowship in Music Composition or TheoryAnna and Fannie Lucas Memorial Scholarship FundGeorgia B. Lucas Endowed Presidential Scholarship in MusicPansy Luedecke Scholarship FundJ. W. “Red” McCullough, Jr. Endowed Presidential Scholarship in Jazz Studies Music Endowment FundNelson G. Patrick Endowed Scholarship in Music EducationLeticia Flores Penn Endowed Presidential Scholarship in PianoA. David Renner Endowed Presidential Scholarship in PianoLucille Roan-Gray Endowed Presidential Scholarship in MusicE. P. Schoch Endowed Presidential Scholarship in BandMary A. Seller-Yantis Endowed Presidential ScholarshipEffie Potts Sibley Endowed Scholarship FundLomis and Jonnie Slaughter Scholarship in MusicMollie Fitzhugh Thornton Scholarship in MusicThe Trammell Endowed Scholarship in MusicLaura Duncan Trim Scholarship in MusicElizabeth Anne Tucker Centennial ScholarshipRobert Jeffry Womack Endowed Presidential ScholarshipLola Wright Foundation Centennial Endowed ScholarshipSidney M. Wright Endowed Presidential Scholarship

Program Support EndowmentsWilliam D. Armstrong Music Leadership EndowmentEddie Medora King Award for Musical CompositionMusic Education EndowmentMusic Leadership Endowment

2000-2001 Gifts to The University of Texas at Austin School of Music

Gifts of $100,000 or moreMr. and Mrs. Vincent R. DiNinoDavid Green and Mary Winton Green Foundation

Gifts of $10,000-$99,000The Armstrong Family FoundationAustin Community FoundationProfessor and Mrs. George A. FrockThe Ann and Gordon Getty FoundationL. Donald Mayer, D.D.S.Dr. and Mrs. Eugene P. Schoch, Jr.

endowments

gifts

fall 2001 31

Gifts of $1,000-$9,999Austin Chapter American Guild of OrganistsMr. and Mrs. David J. BartekMr. and Mrs. Joe H. BeardenMr. and Mrs. D. Harold Byrd, Jr.Mr. Claude E. DuclouxDr. and Mrs. Charles E. EbelMr. Fred M. GibsonMr. Theodore P. Gorski, Jr.Mrs. Sally Y. GrantMr. and Mrs. Billy A. HarrellMr. James G. HejlThe Junior League of Austin, Inc.Ms. Emma L. MaytonMr. Eugene A. McClintockMs. Linda McDavittMr. John W. PennMinnie Stevens Piper FoundationThe Presser FoundationMr. W. T. ProbandtMr. Jyoti RuparelMr. and Mrs. Milton Y. Tate, Jr.

Gifts of $500-$999Barrington Music PublicationsSterling K. Berberian, Ph.D.Mike Figer & CompanyMr. Steven A. FleckmanIBM International FoundationInstep The Birkenstock StoreMr. Barry D. MontgomeryMr. and Mrs. Kenneth C. NietenhoeferOld National BancorpMr. William B. Phillips, P.E.Ms. Ambra ReedyMr. and Mrs. Max Reinbach, Jr.Mr. LaFalco Robinson, Jr.Mr. and Mrs. Richard C. RobinsonMr. Ryan J. ShowersMr. Dwight E. Urelius, P.E.

Gifts of $250-$499Mr. and Mrs. Arno BasseThe James Dick FoundationExxonMobil FoundationMr. Stephen D. HoustonMs. Danielle J. MartinMr. and Mrs. Travis C. Meitzen, Jr.Mrs. Patricia R. NortonDr. Robert C. Stemsrud

Gifts of under $250Joseph M. Abell, Jr., M.D.Mr. Gregory D. AllenMr. Wayne B. BachmanMs. Marjorie Ann BallTimy G. Baranoff, Ph.D.

Bargo Petroleum CorporationProfessor Wayne BarringtonMr. and Mrs. Richard L. BeairdMr. and Mrs. James H. BeltMs. Vickie L. BibroMs. Carolyn G. BoboMrs. Sharon A. BronsonMs. Ella L. BurbaMr. and Mrs. Harley R. Clark, Jr.Mrs. Gaylan G. CobbMr. and Mrs. Mac L. CokerJerry G. Cole, Ph.D.Ms. Addie J. ConradtMs. Celia Diane CookMrs. Robert C. CotnerMr. Richard W. CowlesMr. and Mrs. John M. Crawford, Jr.Mr. and Mrs. Vincent T. Crawley, Jr.Ms. Sue W. DawsonMr. John A. DebnerMr. and Mrs. Daniel DonoghueDr. and Mrs. James P. DuncanMs. Joleen EvansDr. and Mrs. Richard E. EwingMs. Delaine E. FedsonBetty Taub Feir, Ph.D.Mr. and Mrs. John FisherAlan and Kathy FordMs. Deirdre Z. FotescuMr. and Mrs. William W. FranklinMr. and Mrs. Fred Junkin Jr.Garner & Garner Vision CenterMs. E. Jane GarnerMr. and Mrs. James S. GibsonMs. Maryn Gier-SpellicyProfessor Lita A. GuerraLee and Rae Ann HamiltonMrs. Ruth K. HansenHarlandale High School Band BoosterMs. Sandra HarleyMrs. Christine K. HeagertyDr. and Mrs. C. C. HerringtonMrs. Jane S. HerringtonMs. Marion P. HerringtonHewlett-Packard CompanyMs. Henrietta S. JacobsenMr. and Mrs. Kevin JedeleMr. and Mrs. Scott E. JohnsonMs. Maia Wright JourdeMr. and Mrs. J.P. KirkseyMr. and Mrs. Larry E. LamberthMr. and Mrs. Edward T. LeechMr. C. Alan LewisMr. and Mrs. C.R. LippincottMr. and Mrs. John J.S. Lopes Jr.Mr. John T. LoveMr. and Mrs. W. Budge Mabry

Ms. Betty P. MallardMr. John D. MarburgerMichael James McClureMrs. Deborah J. McKinnonMrs. Karen Esler McKnightMr. Blocker D. MeitzenMr. and Mrs. Donald MillerMr. and Mrs. Robert T. and Joyce D. MillerMrs. Laurel J. MoodMotorola FoundationAustin District Music Teachers AssociationProfessor Anton NelMrs. Natalia J. ObertMr. and Mrs. Edward G. OlivaresMr. Lauren C. ParkeMr. and Mrs. Joe PayneMr. Henry L. PeckMrs. Lewis S. PeterThe Honorable and Mrs. J. J. PickleJoe Thomas Powell, M.D.Mr. and Mrs. Peter D. ReadMr. and Mrs. Albert G. RegniMrs. Carol C. ReposaMr. and Mrs. B.S. RichardsMr. and Mrs. Thomas R. RogersMr. and Mrs. Michael RomellMr. Keith R. RowdenMr. Harold A. RutzMr. Jonathan C. SantoreMrs. Marcia G. SantoreThomas E. Schmidt, D.D.S.Mr. and Mrs. Eugene W. SchneiderDrs. Kevin L. and Karen L. SedatoleMrs. Cynthia Coward SlimpJames L. Smith, M.D.Mrs. Kay W. SnitzerDr. William K. Solberg & Ms. Patricia G. SmileyMs. Susan C. SpellerMs. Maxine St. OngeMr. and Mrs. Larry StevensonMrs. Georgeann E. StrongMs. Christine L. Koch StroudMs. Wanda O. TerrellTexaco Inc.The Town Lake Chapter of the Links Inc.Ms. Rebecca Hodges TurnerMs. Ruth H. VelazquezMr. Thomas H. WaggonerMr. and Mrs. David WalterMr. Jerry W. WaltonMs. Jane N. WeaverWestbank String ShopMrs. Mary H. WhitesideMr. Charles I. WrightMrs. Susan T. YankeeJohn W. King and Jeanne M. YturriMr. Edward R. Zamora

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Words of Note

Newsletter of The University of Texas School of Music. Volume 17, Fall 2001.

Composer Wins Prix de Rome and Guggenheim

New School of Music Director

Corigliano Receives $25,0000 King Award

Plus - Alumni, Faculty, and Student News

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