New England Conservatory of Music - Neume Yearbook (Boston, MA)
- Class of 1968
Page 1 of 104
Pages 6 - 7
Pages 10 - 11
Pages 14 - 15
Pages 8 - 9
Pages 12 - 13
Pages 16 - 17
Text from Pages 1 - 104 of the 1968 volume:
3 4 NEUME 1968 New England Conservatory of Music 6 7 Gunther Schuller PRESIDENT OF THE NEW ENGLAND CONSERVATORY Gunther Schuller, who was inaugurated as the New England Conservatory ' s ninth president on November 16 at Symphony Hall, was bom in New York City on November 22, 1925. His father was a violinist with the New York Philharmonic Symphony Orchestra. At the age of twelve young Gunther Schuller began to participate actively in music, joining the St. Thomas Choir School as a boy soprano and also taking up the study of composition, flute, and later, French horn. He started composing at the age of fourteen when he wrote his First Symphony, and developed so rapidly in his study of the French horn that in 1942, at the age of sixteen, he accepted a professional position with the Ballet Theatre Orchestra. At 17, he became a solo French Horn with the Cin- cinnati Symphony and the following year performed his own Horn Concerto with the orchestra directed by Eugene Goosens. By the time he was 19 he accpeted a position in the Metropolitan Opera Orchestra. His Symphony for Brass and Percussion, written in 1949, received its first public performance under the direc- tion of Leon Barzin and was later performed by the New York Philharmonic under the direction of Dimitri Mitropoulos wh o also recorded this work for Columbia Records. In 1959, Mr. Schuller resigned his position as solo horn with the Metropolitan Opera Orchestra in order to devote more time to creative work. Gunther Schuller has received commissions from many of the major orchestras in this country: Gala Music, written for the 75th Anniversary of the Chicago Symphony; Sprectra, commissioned by Dimitri Mitropoulos for the New York Philharmonic; Seven Studies on Themes of Paul Klee, commissioned by a Ford Foundation grant for the Minneapolis Symphony Orchestra. He was commissioned to write a ballet for the New York City Ballet which was choreographed by Mr. George Balanchine. Major European orches- tras have also commissioned his works as was the case with his opera. The Visitation, commissioned by the Hamburg State Opera Company. This work was re- cently given its first American production by the San Francisco Opera Company. His String Quartet was commissioned by the Fromm Music Foundation for the University of Illinois; Music for Brass Quintet by the Elizabeth Sprague Coolidge Foundation; Double Quintet for Woodwinds and Brass by the University of Southern California and he was recently commis- sioned to write a chamber music work by Carleton College on the occasion of its Centennial Celebration. His Sacred Cantata, commissioned by the American Guild of Organists, was heard in Boston on Decem- ber 13 in a concert in Symphony Hall, performed by the New England Conservatory Chorus. Mr. Schuller is presently working on a commission from the Koussevitsky Foundation. His long association with John Lewis and the Modem Jazz Quartet has led him to compose many works for this group as well as for such musicians as Omette Coleman and the late Eric Dolphy. An absor- bing example of Mr. Schuller ' s compositions in the " third stream " idiom is his " Conversations " , performed by the Modem Jazz Quartet and the Beaux Arts String Quartet in an album on Atlantic Records entitled Third Stream Music. As a conductor, Mr. Schuller has made guest ap- pearances with the Boston, Cincinnati, Minneapolis, Cleveland, New York, Chicago, Rochester, Wash- ington, and San Francisco orchestras. In Europe he has conducted the BBC Symphony, the Berlin Free Radio Symphony, the Philharmonia Orchestra of London, the Philharmonic Orchestra of the French Radio (O.R.T.F.) as well as the Icelandic Symphony Orchestra. A history making series of concerts entitled " Twentieth Century Innovations " , sponsored by the Carnegie Hall Corporation, were organized and con- ducted by Mr. Schuller in New York City in 1963, 1964 and 1065. Also in New York, over WBAI, Mr. Schuller broadcast a weekly program entitled " Con- temporary Music in Evolution " which presented an analysis of contemporary music from 1900 to the present. Subsequently this series was heard over stations of the National Association of Educational Broadcasters. As a teacher, Gunther Schuller was acting head of the Composition Department of the Berkshire Music Festival at Tanglewood from 1963 to 1965. In 1965, he was appointed Head of the Composition Department, succeeding Aaron Copland. He served on the faculty of Yale University as associate professor, a post he left to become President of the New England Conservatory. As a writer, Mr. Schuller has just finished a musico- analytical study of Jazz for Oxford University Press which also in 1962 published his book on Horn Technique. Mr. Schuller has been the recipient of such awards as a National Institute of Arts and Letters award in 1960, Brandeis Creative Arts Award in 1960 and a Guggenheim Fellowship for two successive years. In 1967 Mr. Schuller was elected a member of the National Institute of Arts and Letters, and is a member of the Music Panel of the National Endowments for the Arts. 8 9 10 ADMINISTRATION 11 12 13 I 15 17 ELEANOR BARANIECKI, R.N. Nurse 18 ' FACULTY 19 20 ALICE CANADAY Piano 21 22 23 24 25 26 27 29 32 ALFRED KRIPS Violin 35 36 37 DANIEL PINKHAM Harpsichord, Music Literature FREDERIK PRAUSNITZ Orchestral Conducting 38 39 MIKLOS SCHWALB Piano 40 41 42 43 44 45 46 Not Pictured HERBERT ALPER Music Education HELAINE BERLEY Opera (Dance) MAX BLUESTONE Literature ROBERT P. CEELY Theory SILVIO COSCIA Voice MALCOLM CREIGHTON Piano LYLE DAVIDSON Theory DORIOT ANTHONY DWYER Flute STEPHEN GEBER Violoncello PETER W. HADCOCK Clarinet LEE HALPRIN Literature JOHN HEISS Theory DR. JAMES HOFFMAN Theory ERIC LEVENSON Opera (Design) TAMAR MARCH French ELIZABETH MCENNEY Voice JOYCE MEKEEL Theory RICHARD MOORE Literature CHARLES NATHANSON Philosophy JOHANNA OLDENBURG German ERNST OSTER Theory LOUIS CAME PAPPOUTSAKI Harp ALDO PARISOT Violoncello MALCOLM PEYTON Theory LINDA SUE PHILLIPS Voice Class RICHARD E. PLASTER Contrabassoon HENRY PORTNOI Double-bass BARBARA REUTLINGER German WILLIAM RHEIN Double-bass ALLEN ROGERS Repertoire Coaching VICTOR ROSENBAUM Theory LOIS SCHAEFER Flute CHESTER B. SCHMITZ Tuba HARRY SHAPIRO Horn JACK STEIN Opera (Makeup) DR. JULIA SUTTON History and Literature of Music MARION TRONERUD French FELIX VISCUGLIA Clarinet LAV VRBANIC Voice NEWTON WAYLAND Opera WILLIAM WRZESIEN Clarinet ANNA YONA Italian 48 GRADUATES 49 BACHELOR OF MUSIC ELIZABETH LOCKWOOD ADAMS Music Education Leta F. Whitney Clarinet Peter Hadcock CHRISTINE ELIZABETH ANDREWS Music Education Leta F. Whitney VioHn Robert Brink 50 KATHY AGNES BARANIECKI Music Education Leta F. Whitney Voice Mark Pearson BARBARA JEANNE BARR Music Education Leta F. Whitney Piano Veronica von Moltke 51 52 D ' ANNA ELIZABETH FORTUNATO Voice Frederick Jagel 53 54 JUDITH LINDOR Organ Donald Willing DIANE E. MARTINEAU Violin Robert Brink NANCY JEAN OVERLOCK Music Education Leta F. Whitney Voice Mark Pearson ELLEN POLANSKY Piano Lucille Monaghan 56 57 ROBERT STALLMAN, JR. Flute James Pappoutsakis CHARLES EDWIN TERPENNING Music Education Leta F. Whitney Viola 58 NANCY JOYCE THOMPSON t Music Education Leta F. Whitney Voice Mark Pearson BRYNA TODER Music Education Leta F. Whitney Piano AHce Canaday 59 60 Not Pictured LYNNE ELLEN ALEXANDER Music Education Leta F. Whitney Flute James Pappoutsakis MARGERY LOUISE ANDERSON Voice Mark Pearson RONALD ARSENAULT Piano Veronica von Moltke DIANA BARNUM Voice Mark Pearson NINA HARWELL Flute James Pappoutsakis DORENE ANNETTE BLANCHARD Voice Frederick Jagel GERALDINE MARY BOLES Piano Howard Coding JOYCE PASTER BOOHER Harp James Pappoutsakis CRACE L. CHEN Piano Lucille Monaghan RICHARD STUART COFF Violin Robert Brink ROBERT LARRY DEUTSCH Violincello Aldo Parisot PETER HOLMES DUTTON Bassoon Sherman Walt ANDREA A. FRASCATI Piano Russell Sherman THOMAS N. CATES Trumpet Cerard Coguen ALAN CERSTEL Violin Joseph Silverstein RAITA CRINBERGS Organ Donald Willing AUBREY LAWRENCE HAMILTON Violincello Stephen Geber DONNA L. HARLOW Music Education Leta F. Whitney Piano Jean Alderman JERALD JOHN HOGAN Music Education Leta F. Whitney Horn Paul Keaney CHERYL F. IRVIN Voice Mark Pearson ROBERT JONES Composition Robert Cogan ROGER JONATHAN KATZ Organ Donald Willing JONATHAN A. LANDELL Flute James Pappoutsakis MAUREEN D. McKIBBEN Flute James Pappoutsakis GEORGE ROBERT MILLAR, JR. Trombone William Tesson HENgY JOSEPH MOLLICONE Composition Daniel Pinkham ROBERT A. MOSHER Music Education Leta F. Whitney Clarinet Felix Viscuglia LAURA LEE NATHANSON Music Education Leta F. Whitney Voice Elizabeth McEnney JAMES SHELLEY NICOLSON Harpsichord Helen Keaney LINDA ORFALY Music Education Leta F. Whitney Piano Lucille Monaghan JEAN A. PANTHER Voice Gladys Miller RICHARD THOMAS PINNELL Composition Malcolm Peyton KENNETH PRESCOTT Music Education Leta F. Whitney Piano Jean Alderman SUSAN ALICE QUALTROUGH Flute James Pappoutsakis WILLIAM RENOUF Piano Miklos Schwalb ABBY ROCKEFELLER Violincello Benjamin Zander RICHARD SILVERMAN Music Education 61 Leta F. Whitney Piano Lucille Monaghan PAULA KATHLEEN SOWELL Flute James Pappoutsakis SUSAN SPACAGNA Voice Gladys Miller CHARLES ROBERT SPIEWAK, JR. Voice Mark Pearson JOHN DOUGLAS STEWART Composition Robert Cogan LEWIS SUGARMAN Music Education Leta F. Whitney Clarinet Felix Viscuglia MARY ELLEN HOLBROOK SWEENEY Horn Paul Keaney TED TOUPIN Music Education Leta F. Whitney Trombone William Tesson KAREN LOUISE TRAXEL Music Education Leta F. Whitney Horn Paul Keaney W. DOUGLAS TOWNER Music Education Leta F. Whitney Voice Bernard Barbeau RICHARD JOHN VIANO Music Education Leta F. Whitney Violincello Stephen Geber ROBERT VIAU Piano Lucille Monaghan HERMAN WEISS Composition Francis Cooke BARBARA WINCHESTER Voice Mark Pearson SHARON ZUCKERMAN Flute James Pappoutsakis DIPLOMA EDWARD SMITH CLUTE Piano Howard Coding JOHN M. GUNDERSEN Trumpet Gerard Goguen CAROLE FUSARO CORNELL Voice Frederick Jagel JUDITH M. LINDOR Organ Donald Willing ALBERT S. DIPIETRO Trumpet Andre Come RICHARD LUPINO Double Bass Leslie Martin RICHARD WILLIAM GIVEN Trumpet Roger Voisin RICHARD CARTER VAN KLEECK Horn Paul Keaney STEPHEN CHARLES GROVESTON Clarinet Felix Viscuglia VICKI LYNN WILLIAMS Voice Gladys Miller 62 MASTER OF MUSIC DAVID BENNETT HAM Voice Gladys Miller JOHAN MICHAEL KATZ Orchestral Conducting Frederick Prausnitz 65 C. GREER MCLANE Voice Gladys Miller Not Pictured DEAN WILLIAM ALDRICH Music Education Leta F. Whitney EMIL VIKTOR ANESINI Music Education Leta F. Whitney DUK-YOON BAE Voice Mark Pearson CARYL RUTH BECKER Voice Frederick Jagel JANET ELIZABETH BEDELL Voice Mark Pearson MIRIAM EILEEN BOYER Voice Gladys Miller GEORGE M. BUTLER, JR. Organ Donald Willing JOHN HIND CHESTNUT Theory Ernst Oster DIANA COLE Voice Gladys Miller JESSE AUGUSTUS COSTON Voice Mark Pearson DAVID MICHAEL CROHAN Piano Miklos Schwalb ROSS H. DABRUSIN Theory Ernst Oster VICTOR J. DAL POZZAL Music Education Leta F. Whitney WILLIAM R. DAY Voice Frederick Jagel HAIM ELISHA Orchestral Conducting Frederick Prausnitz MARY ELIZABETH ELLIS Piano Miklos Schwalb 66 MARGARET ANNE EVERITT Voice Frederick Jagel H. MICHAEL GALLOWAY Trumpet Roger Voisin ROBERT BRUCE HOBSON Composition Francis Cooke EDWARD WARREN HOFFMAN Trumpet Roger Voisin FRANK F. HOFFMEISTER, JR. Voice Frederick Jagel ANTHONY C. HUGHES Composition Francis Cooke NANCY B. HUNZIKER Voice Gladys Miller LINDA ELAINE JACKSON Mu sic Education Leta F. Whitney SYLVIA ANN KING Viola Eugene Lehner MARTHA ELIZABETH EDWARDS KOLDEN Violin Joseph Silverstein ROGER BAKER LAMB Organ Donald Willing JO ANN LANIER Voice Gladys Miller OTTO-ERNST LASKE Composition Robert Cogan SYDNEY VIRGINIA PAYNE LAUDENSLAGER Harp Alfred Zighera CAROLL F. LEFFERTS Music Education Leta F. Whitney NECTAR GOORIGIAN LENNOX Music Education Leta F. Whitney EILEEN ENG LIN Piano Veronica von Moltke ROBERT FRANCIS LITTLEFIELD Organ Donald Willing DAVID W. MARRIOTT Music Education Leta F. Whitney RICHARD A. MAUSER Clarinet Felix Viscugha ALLAN LEIGH MORGAN Piano Howard Coding CHANG HYUN NAM Piano Miklos Schwalb BEVERLY A. NEWBERRY Music Education Leta F. Whitney MYRON BRENNER PRESS Piano Howard Coding FRED C. PROBECK III Trumpet Roger Voisin J. RICHARD RAUM Trombone William Gibson PAUL DAVID ROHRBAUGH Voice Madame Koster ANN LOUISE SARGE Flute James Pappoutsakis STEPHEN H. SCHWARTZ Music Education Leta F. Whitney LUCY ALDEN SHELTON Voice Gladys Miller LORRAINE STEHMAN SNOWDEN Harpsichord Daniel Pinkham DAVID SONNENSCHEIN Choral Conducting Lorna Cooke de Varon HEATHER ANNABEL SPENCER-GREEN Piano Howard Coding JEFFREY WILLIAM STERN Trumpet Roger Voisin ROBERT EDWARD THISTLE Horn Ralph Pottle WILLIAM M. TOWER, JR. Trumpet Roger Voisin ROBERT BRUCE WALKER Harpsichord Daniel Pinkham ARTHUR DOUGLAS WAUCHOPE Trombone William Gibson ANDREW WOLF Piano Miklos Schwalb LEWIS HAMILTON WYATT Clarinet Gino Cioffi ALLAN IRVING YUDACUFSKI Music Education Leta F. Whitney GERALD ALAN ZARITSKY Theory Ernst Oster 67 ARTIST ' S DIPLOMA LINDA SUE PHILLIPS Voice Gladys Miller 68 PERFORMING GROUPS 69 The Opera Gala: Daniel Collins and Susan Larson are Orfeo ed Euridice 70 r 91 D ' Anna Fortunato (Maddalena) and Dong-pil Kim (the Duke) in the fourth act of Rigolefto Opera Theatre Thomas H. Philips, Jr., Director 1967-68 was a gala year for Mr. Philips and Conservatory students in the Opera Theatre. In this Centennial year, the group brought to Boston operagoers the opportunity to hear several pre- mieres, in a sampling of opera from widely varied styles and periods. The season was off to a colorful start with the Opera Gala on the evening of November 8. Use of the original scoring and a counter- tenor - both Boston firsts - were a novelty in Act III of Cluck ' s ORFEO ED EURIDICE. Also presented on that date were the famed Act IV of RIGOLETTO, Act III of Massenet ' s WERTHER, and two scenes from Carlisle Floyd ' s SUSANNAH. February 1 heralded the first of two performances of Marc Blitz- stein ' s REGINA, again a Boston premiere. Blitzstein ' s opera, based on Lillian Hellman ' s The Little Foxes, was an extremely timely production. A revival of the Hellman play in New York, soofi due to come to Boston, had drawn widespread interest in the northeast, and certainly enhanced audience appeal for the opera as well. Monteverdi ' s L ' INCORONAZIONE DI POPPEA was the next Opera Theatre offering six weeks later on March 16. Again, although POPPEA was not new to Boston, the Opera Theatre ' s production was the first in the Hub to use staging and scoring in line with per- formance practices in Monteverdi ' s time. The result: a well-received production which threw new light on story and music alike. Another Opera Gala scene this time Act III of Massenet ' s Werther with Liana Lansing (Charlotte) and Jean Panther (Sophie) Barbara Hocher as Carlisle Floyd ' s Susannah in another scene from the Opera Gala. From serious drama to comedy is a natural step in the spring, and the first week in May brought AN EVENING OF DONIZETTI. Scenes from two of the composer ' s comic masterpieces, DON PASQUALE and L ' ELISIR D ' AMORE, led off the evening, which highlighted the world premiere of a new revision of an early Donizetti comedy. LE CONVENIENZE ED INCONVENIENZE TEATRALE (or. Opera: Italian Style), dealt, appropriately enough, with the trials and tribulations attendant upon opera production! What more fitting way could there be to wind up a busy and exciting year for the Opera Theatre? Although the Opera Theatre ' s year was officially over, there remained one more production to be presented under the direction of Mr. Philips, whose final year at the Conservatory this was. On July 24, 26, and 27, members of the regular Conservatory Opera Theatre and students at the Castle Hill Summer School in Ipswich presented Mozart ' s COSI FAN TUTTE. As his last presentation with his students here, the completely restaged opera was a fitting swan song for Mr. Philips, and was warmly received by capacity audiences and the press. By moving the locale of the opera to British-occupied Victorian India, and using an English translation, the production was able to communicate more clearly the workings of Da Ponte ' s involved plot. The audience ' s response indicated its approval, and made COSI FAN TUTTE a grand finale to a blue- ribbon year for Mr. Philips and the Opera Theatre he has so capably class, instructing Diana Cole directed. 72 Marc Blitzstein ' s Regina 73 Randall Thompson conducts his Psalm of Thanksgiving at the Centennial Concert on November 16, 1967. New England Conservatory Orchestra Frederik Prausnitz, Conductor The first of a recording series, a Conservatory record album starring the Conservatory Symphony Orchestra. Two appearances on television specials with Erich Leinsdorf and Gunther Schuller. A premiere performance of Randall Thompson ' s A PSALM OF THANKSGIVING, a world premiere of Robert Cogan ' s WHIRL . . . DS(I), the Boston premiere of Gunther SchuUer ' s SACRED CANTATA: PSALM 98. A guest-conducting visit by composer Henry Brant. The exciting four-day Centennial Festival in New York featuring performances in Town Hall and Carnegie Recital Hall. All these were keynotes of the Conservatory Symphony Or- chestra ' s varied activities in the 1967-68 season. On November 15, 1967, the Conservatory Orchestra under the baton of Frederik Prausnitz commenced its activities with a concert celebrating the Centennial year and President SchuUer ' s inaugu- ration. The concert began with Mahler ' s SYMPHONY NO. 1 in D major, and then the Orchestra joined forces with the Conservatory Chorus and the Preparatory Department ' s Children ' s Chorus to present Randall Thompson ' s A PSALM OF THANKSGIVING, con- ducted by the composer. During the Christmas season the Orchestra gave two concerts. The first, in December, featured Gustav Hoist ' s chamber opera, SAVITRl, with vocal soloists Jan Curtis, Roger Lucas, and Jesse Coston. Also on the program were the Passacaglia from Britten ' s PETER GRIMES, and Brahms ' SYMPHONY NO. 2. This concert was followed shortly by the Conservatory ' s annual Christmas Con- cert in Symphony Hall, where the Chorus and Orchestra again joined to present two premieres. Under guest conductor Gunther Schuller the Orchestra and Chorus introduced to Boston audiences Mr. SchuUer ' s own SACRED CANTATA: PSALM 98, and Robert Cogan ' s WHIRL . . . DS(I). Valentine ' s Day brought the airing of the hour-long NET Festival television special entitled " Leinsdorf Re-creates. " Featured was a half-hour rehearsal by the Conservatory Orchestra conducted by Erich Leinsdorf, music director of the Boston Symphony. Following the rehearsal was a discussion of the work which had been re- hearsed, Mahler ' s SYMPHONY NO. 3. 74 Members of the Orchestra performed in a concert of con- temporary American music, directed by John Heiss and Lyie David- son of the faculty. Given on February 20, the concert featured brass quintets by Gunther Schuller and Colher Jones, woodwind quintets by Elliot Carter and Irving Fine, and two Stravinsky pieces, the opening Fanfare from THE RAKE ' S PROGRESS, and the FAN- FARE FOR TWO TRUMPETS (1964). The last-named piece was later recorded by the Orchestra. The next concert by the whole Conservatory Orchestra was given on February 29, when Beethoven ' s Overture to CORIOLANUS was presented, along with the SYMPHONIE FANTASTIQUE of Berlioz and the American premiere of Roberto Gerhard ' s SYMPHONY NO. 3 ( " Collages " ). An amusing sidelight on this concert was the review the following morning by one Boston critic, who enjoyed the more traditional fare at the concert but who had been severely frightened by the electronically-amplified opening to the Gerhard work. The unease which this incident caused him, he complained, made it difficult for him to concentrate on the remainder of the symphony - much of which, he added, he liked very much! He and the rest of the Boston press recovered, however, and gave a particularly warm reception to the Orchestra ' s March 21 concert: Liszt ' s LES PRELUDES, Beeth oven ' s PIANO CONCERTO NO. 5 ( " Emperor " ) with faculty soloist Russell Sherman. March 22 was the date for the Orchestra ' s second television appearance, this time on Boston ' s WBZ-TV. As part of an hour-long color special on Gunther Schuller titled " THE NEW MUSIC COMES TO NEW ENGLAND, " members of the Conservatory Orchestra and Chorus performed SchuUer ' s SACRED CANTATA. Members of the Orchestra appeared on April 15 in the second of two contemporary-music concerts under the direction of Malcolm Peyton and Lyle Davidson. Featured works were Henry Brant ' s ANGELS AND DEVILS, guest-conducted by the composer, Hindemith ' s SEPTET for wind instruments, and works by faculty members Victor Rosenbaum, Joyce Mekeel, and Ran Blake. April 25 brought a Jordan Hall concert in which nearly all the works presented, as critic Michael Steinberg put it, had to do with 75 the city of Berlin in some fashion. The full program contained the RE-AK by Korean composer Isang Yun, the DONNA DIANA over- ture by Reznicek, the Busoni VIOLIN CONCERTO with soloist Paul Zukovsky, Kurt Weill ' s suite for a dozen winds from the DREIGROSCHENOPER, and Tchaikovsky ' s FRANCESCA DA RIMINI. The Conservatory Orchestra did not have much time to pause between this event and the next, possibly the most exciting of the year. May 10-13 brought the Centennial Festival, four days of Con- servatory concerts held in Town Hall and Carnegie Hall in New York City. The Wind Ensemble was conducted by Gunther Schuller on May 10; various chamber ensembles performed on May II; solo performers were heard on Sunday afternoon. May 12. The conclusion of the Festivities was a concert by the full Orchestra at Town Hall on May 13, conducted by Mr. Prausnitz, which presented three works already performed in Boston: the Gerhard SYMPHONY, the Busoni VIOLIN CONCERTO, and Beethoven ' s " Emperor " PIANO CONCERTO NO. 5. Russell Sherman and Paul Zukofsky repeated the fine work they had done in Boston as soloists in the latter two works. Then it was home to Boston for the Annual Spring Concert on May 16 in Jordan Hall. In conjunction with the Conservatory Or- chestra this year, 1968 heralded a signal " first " for that Orchestra. For Crest Records, the Orchestra has recorded, under Mr. Prausnitz ' direction, the Busoni VIOLIN CONCERTO and Stravinsky ' s FAN- FARE FOR TWO TRUMPETS. With John Heiss conducting, and Robert W. Stallman as soloist, the Orchestra recorded Brant ' s ANGELS AND DEVILS for flute and flute orchestra. The forth- coming album is the first in a projected series produced by Con- servatory Vice President Harvey Phillips. All in all, this crowded and incredibly full concert schedule contributed immeasurably to making this Centennial year a most memorable one. 76 Mr. Prausnitz and Paul Zukofsky discuss the score of the Busoni Violin Concerto Mr. Prausnitz conducts the Conservatory Symphony Orchestra and soloist Paul Zukofsky in the Busoni Violin Concerto. 77 Christmas Concert on December 13, 1967 New England Conservatory Chorus Lorna Cooke deVaron, Director Centennial year brought a round of festive events, and the Con- servatory Chorus participated in most of them, also making a Spring Tour, and giving the traditional Christmas and Spring Concerts in conjunction with the Conservatory Orchestra. The Chorus ' busy performance year began on November 15, during the Centennial Inaugural celebrations - and during the first blizzard of the season! Those who braved one of the worst traffic jams in Boston ' s history that night heard the premier performance of Randall Thompson ' s A PSALM OF THANKSGIVING, conducted by the composer, which received an enthusiastic reception. The Christmas season brought two concerts in close succession. On December 10, forty-eight members of the Chorus traveled to Worcester and presented a concert at the Art Museum, winning rave reviews in the Worcester press with their performances of works by Haydn, Maxwell Davies, and traditional Christmas music. Boston audiences then had a chance to hear some of the same music, as well as two more world premieres, those of Robert Cogan ' s WHIRL . . . DS(I) and Gunther Schuller ' s SACRED CANTATA: PSALM 98. The concert received a lively response, with the Herald Traveler observing, " The performances were absolutely first-rate. " Mid-winter brought still another premier to Boston. In celebra- tion of the Conservatory ' s Centennial, the Chorus joined forces with the Boston Symphony Orchestra in the first complete Boston per- formance of the entire Haydn CREATION. Shortly therea fter, the Chorus made the first of two appearances in New York during this year, performing the CREATION with the Boston Symphony at 78 Mrs. deVaron watches a rehearsal of The Creation from the balcony at Symphony Hall Carnegie Hall. In both Boston and New York, the presentation drew praise from the critics. In March, the Chorus and Orchestra together taped a repeat performance of Gunther Schuller ' s S CRED CANTATA for WBZ-TV in Boston. The performance was aired as part of an hour- long color special entitled " In the Grand Manner-The New Music Comes to New England, " which focussed on the life and work of President Schuller. Next on the Chorus ' agenda came the annual Spring Tour. This year the Chorus concentrated on the Middle Atlantic States from Washington, D.C. and environs, through Jersey City, to St. John ' s University in Jamaica, New York. After a series of open rehearsals (for two high school choruses) and performances, the Tour concluded with a performance in New York City ' s Town Hall. Featured in all concerts were the Bach CANTATA NO. 21 ( " Ich hatte viel bekum- memis " ), music from the Soviet Union, and works of Joyce Mekeel, Peter Lewis, and Charles Ives. A Jordan Hall performance of the Bach CANTATA NO. 21, the Ives HARVEST HOME CHORALES, and Schoenberg ' s FRIEDE AUF ERDEN and DE PROFUNDIS brought 1967-68 to a close. This concert, given as the Spring Concert with instrumentalists from the Conservatory Orchestra, was in retrospect and prospect a fine conclusion to the Conservatory ' s first century, and a more than promising beginning for its second. 80 81 Commencement Day Sunday, June 9, 1968 - Commencement Day for the Class of 1968. Moving the traditional Symphony Or- chestra Commencement Concert to Commencement Day proved a happy experiment. At 2:30 a large crowd gathered in Jordan Hall for an excellent con- cert: President Schuller conducted the first section of the program which began with the unscheduled Ives THE UNANSWERED QUESTION performed in tri- bute to Senator Robert F. Kennedy who was assas- sinated five days before. Schuller also conducted Faculty member Malcolm Peyton ' s " Two Sonnets from John Donne " with Jesse Coston as bass solo, and " Lilacs " from " Men and Mountains " by Carl Ruggles. Assistant Orchestra Conductor Haim Elisha con- ducted Torelli ' s SONATA A CINQUE NO. 1 for trum- pet, strings and basso continuo — Master ' s candidate Edward W. Hoffman performed the trumpet solo. He was the first of four soloists selected from the grad- uating students by a faculty committee as represent- ing the high standards of quality in performance es- poused by the Conservatory. Also under Mr. Elisha ' s baton, Susan Spacagna sang " Caro nome " from Verdi ' s RIGOLETTO and Robert Stallman performed Vivaldi ' s CONCERTO IN D MAJOR for flute and strings, op. 10, no. 3. Gunther Schuller conducted the last part of the program which included the first movement of Kaz- imierz Serocki ' s CONCERTO FOR TROMBONE AND ORCHESTRA, A. Douglas Wauchope, soloist, and " The Mystic Trumpeter, " ORCHESTRAL FANTASY, OP. 10 by F. S. Converse. Following the concert the Alumni held a reception in Brown Hall for the graduates, who then donned their caps and gowns for the Conservatory ' s ninety- eighth Commencement. Dr. Herbert Marcuse, philos- opher from the University of California at San Diego, gave a thought-provoking Commencement Address. Speaking as an " educated consumer " of music. Dr. Marcuse commented that today ' s music is the music of rebellion against traditional forms— it is " more vulgar, more technical, more material " and a part of an art that is moving youth in all parts of the globe today. In addition to presenting degrees to one hundred 82 and forty-seven students (seventy-one Bachelors of Music, ten diplomas, sixty-four Masters degrees and two Artists Diplomas) President SchuUer awarded honorary Doctor of Music degrees to Dr. Herbert Marcuse; to Mrs. Olga Koussevitsky, widow of the Boston Symphony Orchestra conductor; to Carl Ruggles, leading 20th century American composer, in absentia; and to Willem Valkenier, for many years first French horn with the Boston Symphony and a former Conservatory faculty member. (President SchuUer also announced the establishment of the Willem Valkenier Scholarship to be awarded annually to a French horn major.) Several graduates received awards: The George Whitefield Chadwick Medal, one of the highest Con- servatory awards, went to flutist Robert W. Stallman, Jr. ; flutist Sally Woodworth was given the Sigma Alpha Iota Annual Award as the senior with the highest academic average of the music honorary ' s Lambda chapter; the Catherine E. Pitts Award of $100, established by her daughter Louise Pitts Stowe for deserving women pianist, went to Ann Kittle; a Marshall Scholarship for study at Oxford was won for the first time by a Conservatory student, music history major Judith Pistor. Fulbright Scholarships for study abroad this year were granted to four graduates and one alternate: flutist Nina Barwell (France), flutist Ann Sarge (Ger- many), flutist Robert Stallman, Jr. (France) and com- position major Herman Weiss (France). The alternate recipient is harpsichord major Robert Walker (Nether- lands). Voice majors Jean Panther and Linda Phillips won Beebe Awards for foreign study — both will go to Ger- many. After audience and participants joined in the sing- ing of the traditional hymn, " O God, Our Help in Ages Past, " the presiding clergyman for the day. The Reverend Benjamin A. Anderson, gave the Benedic- tion, and the President, Faculty and Trustees led the Class of 1968, the Conservatory ' s newest Alumni, from Jordan Hall. 83 86 87 88 90 91 • Winst-on-SoIcm HUNTER PUBLISHING COMPANY • North Corolino LINWOOD R CARD, PORTLAND, MAINE I m
Suggestions in the New England Conservatory of Music - Neume Yearbook (Boston, MA) collection:
Are you trying to find old school friends, old classmates, fellow servicemen or shipmates? Do you want to see past girlfriends or boyfriends? Relive homecoming, prom, graduation, and other moments on campus captured in yearbook pictures. Revisit your fraternity or sorority and see familiar places. See members of old school clubs and relive old times. Start your search today!
Looking for old family members and relatives? Do you want to find pictures of parents or grandparents when they were in school? Want to find out what hairstyle was popular in the 1920s? E-Yearbook.com has a wealth of genealogy information spanning over a century for many schools with full text search. Use our online Genealogy Resource to uncover history quickly!
Are you planning a reunion and need assistance? E-Yearbook.com can help you with scanning and providing access to yearbook images for promotional materials and activities. We can provide you with an electronic version of your yearbook that can assist you with reunion planning. E-Yearbook.com will also publish the yearbook images online for people to share and enjoy.
Material on this website is protected by copyright laws of the United States and international treaties.
No protected images or material on this website may be copied or printed without express authorization.