Eastman School of Music - Score Yearbook (Rochester, NY)

Text from Pages 1 - 136 of the 1972 volume:

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Qt I.-.jx Violin I Eden Vaning Marcus Lehmann Kenzo Azuma David Alber Mairan Egge Diane Hermann Deborah Miller james Durham Rebecca Pettigrew Dana Edson Paul Krausse Sandra Dackow Matthew Okada jeffrey Cox Violin ll Terry Peyton Steve Ognavic Anne Peyton Helen Coulson David Greenwalt Emily Gaines janet Davis Elizabeth Pistolesi Ronald Satkiewicz Aaron Appelstein Rhea Epstein Deborah Torch Viola Valerie Garabedian judson Griffin Christian Woehr Patricia Daly Robert Maddin Nancy Uscher james Hopkins Louise Mathews Lois Martin Raymond Helble Bassoon Arthur Stidfole john Hunt Reno Fusani Anthony Prybyla Horn Richard Decker Teddy Wills Laura Angus Mary Hickson Linda Radl Trumpet Geoffrey Richter Allen Yizzutti Carol Warner Michael Luxner Trombone james Pugh Kenneth Bruce Lawrence Yagodzin Arthur Linsner ski Violoncello Catherine Lehr David Geber William Grubb Mary Ann Elder Richard Weiss Deborah Dabczynski john McClellan Yvonne Caruthers Kathleen Murphy Sally Mulholland Bass David Young William Vaughan William Eckfeld Theodore Pauls Nancy Becker William Bussey Russell Gill Philip Smith Flute Diane Smith Linda DiMartino jan Harbaugh Glennda Dove Oboe Melissa Bohl Faye Ellen Bailey Perry Clissa Thomas Munger Clarinet Robert Crowley Max Mogensen Glen Ueieo Pamela Poulin Tuba john Stevens Harp jennifer Sayre Constance Harding Timpani Eugene Sittenfeld Percussion Ernest Muzquiz Richard Cheadle john McNeill Bradley Stouffer Edward Moore Dean Witten Eastman Philharmonia Strong Auditorium Overture to 'iLeonore , No. 3, OPU5 72 3 October 1 Concerto No' 2 in g minor for piano and orchestra, Sergei Prokofleff Opus 16 Andantino Scherzo: Vivace lntermezzo: Allegro moderato Finale: Allegro tempestoso Katherine Collier, piano Symphony in d minor Lento - Allegro non troppo Allegretto, ma non troppo Allegro non troppo Surprise, happiness, sadness and bitterness all greeted the first Philharmonia seating list. But, these were quickly pushed aside as Philharmonia embarked on what looked like a most promising and exciting year - after all - this was the soth Anniversary Year. Veteran Philharmonia mem- bers looked back on Philharmon- ia's super concert - the Res- pighi Roman Festivals -- that opened the 1970-71 school year and anxiously awaited Mr. Hendl's stern command of the orchestra. The orchestra was greeted with sternness by the conductor but no excitement - a grim fo- reshadowing of the year to come. The wind section struggled along with its perennial prob- lems of intonation, the strings started to get some of the sum- mer creaks out of their fingers and the brass sat exasperated as they discovered Mr. Hendl wouldn't let them bury the rest of the orchestra with volume. Forced to use Strong Audito- rium on the River Campus with the renovation of Eastman Thea- ter, Philharmonia crammed its way onto the stage for the final rehearsals. Katherine Collier had set the orchestra on its toes with her superb playing and the or- chestra was basically up for the concert. Even the confusing tactics of Mr. Hendl allowing each of his three conducting students, john Balme, Bruce Hangen and Mike Pratt to con- duct parts of an already well- rehearsed orchestra at the dress rehearsal didn't dampen the spirits of the orchestra. Miss Collier was superb that evening and Philharmonia got off to a good start toward becoming a strong performing ensemble - or so it thought. A- -,fifi:ZQlPif1-'1-1ii:'Z?Eialslstf-142fhHP2f4?iiififiisss1iwii2e2iss.zeisiiziiiiiiifaziesr1:ifi?hE-lisa-llwff:54ff11?f?22ta+v'e--'JM'11-- 1-1?-5 Z Tl Beetltlkjven fi Ptoleofieff esar Franck :Exf W f -c X V. ,ff ff Y' tr Q. pf 1 soth ANNIVERSARY DIARY OCTOBER 9 Things like this happen so dont let it worrv vou.l mean the first concert is always like a first concert, and actuallv -this first Philharmonia concert was pretty good - for a first concert. Franck 4 D minor be it s just one of those pieces that t'Reader's Digest' should get ahold of. Ot course Leonore I3 didnt sound so hot but then its a monster for any orches- tra to play well. Curious that it was on the first con- cert. At least it looked as though better things were in store. Of course there was the problem ot morale in Ihil- harmonia. Nlr. l-len ll went on 1 violent inti-pertorm- er s candidate drive. hv either eliminitin or demotin ' rioug J in Zn ciii 1 Ve ins's t uginv ertormer .' Cindiliteg vis tee irhitrirv, tien he pogted an irhitrirv new ligt, then he denied hivin any knowlelxte ot the x 'i u e twin .. r. xevno t s wis ominouslv in the wings. ne constructive item c ime out ot t ie Ijt concert in 'tronvz tie concert Qjlll' is ie x 'it tout i nu t tiit ltronv .-Xulitorium ig one ot tie tau est i es in tie universe. Thit ditn t vrevent Nlry. T izer from sent - ing more Eastman . tudent. over. Oh. Did we miss E istm in The iter.. L L T K L E1 S H , Xa s lst t d d l. r tltx rs He 1 ted hat , ' ' s C P s Q t. s xt H i t t l c i A 5 v , , v g Q s t e 1 tl t l l Nl I' H l i t isn't that had - once in a while anyway. Ch well, may- contused, Nlr. Tavlor was upset, somehodv cackled I Q i K , i i , . , , , ' 5 , l- X sell lid v l . cle li lt ' 5 J., e t- ' l L l ' lol ' l ' K ' ' 1 ll I, T X A N gilt X l l , c , , v D I x X X ll L Q L 5 if Mozart Nluntwa-rdi Niuntcvn-rdi Niuntcvcrdi Niuntcvcrdi Hdrringnloc m I iumtrcy Pun ull Pun 1-ll Row-nnl 51' I1 u lwrt bchu lwrt SL hubvrt 5khL1l7L'ff 5LI1LIbL'l'l F .1 u I6 I5.1urLf Pa u I 6 P.1ur6 F .1 u r6 I 1 1 'J I. jan 1 5 i - ,V , waffff 4, ,, 'L' ' '1.',' I 3. 7 ' 'ia R, 'xh- -1 yr puff, +14 , 'f..,-I' lf JW, ' V ' ' V ' ' ' , - -YYVV , - Y----- -V A Y,-.....,. Y ,, Yi.. H. '----A-H . jf ., ' ' I - . , , , .'.I'Q'1' .1LAw.- 'Q .- Jazz Ensemble At Palestra H , , ' ' L .fax .-. I 1 A Z . .,....ea. .. i Q .-Egg, Eastman ensembles, like almost all youthful performing groups, usually need an active and interested audience in order to push the performance from a technical and accurate level up to an inspired and exciting level. The East- man Jazz Ensemble is no exception and has been fortunate enough to have a dedicated and enthusiastic fol- lowing to give it that push. On October 15, 1971, the Ensemble moved its location to the barnlike Pa- lestra on the University of Rochester's River Campus for its first concert. With Chuck Mangione's strong guid- ance from the podium and Ray Wright's capable handling of the am- plification of the group, the ensemble presented a strong performance. Working well under the informal at- mosphere, the ensemble provided the crowd with a variety of styles from Chuck's own Klee Impressions to Ted Piltzecker's BUS. Ted scored a success with his piece as the crowd really liked it. THE MORE HOT-TEMPERED HCONSORTIUMH by joseph Schwantner, a 20-year-old assistant professor teaching theory and composition at Eastman for his second year, was exciting in another, newer dimension. Consortium, being heard for the first time in Rochester, was ably performed by a student ensemble. lt had already been premiered Sept. 23 at Harvard Univer- sity's Busch-Resinger Museum by the Boston Musica Viva, to whose conductor, Richard Pittman, Dr. Schwantner had dedicated this nine-minute score of grip- ping intensity, Pittman originated the Eastmans Musica Nova series in 1966. Truly an activity piece, which is relentlessly energetic in its rhythmic lan- guage and expansive in its wide-range demands upon performers and listeners, Consortium seems to blend the bag-of-tricks approach of less successful com- posers into a dazzling, convincing work where continuity is the order of the day. Schwantner has assembled a fine collage from the very materials which many contemporary composers have been doodling with for the past Z0 years. He's integrated con batuto effects with staggering slashes of sonic lightening. A short passage for muted strings momentarily ices its surface. While clarinet and flute softly improvise rippling patterns in close quarters, the three string voices sing a unison pitch for a precarious moment before sliding like billiard balls to three opposing corners. Put simply, Schwantner has made a new, expressive music by mustering instru- mental effects in the service of expression, not experimentation for its own sake. In Consortium he is at the front of a new wave of composition that is roman- tic in outlook, rational in expression. And anyone truly serious about Rochester's developing appreciation of music written in our own time will want to watch for other Schwantner works. 4 I EA WALTER i-le:-lou., utxssee aww sr'.22-.'f sC e:az.j TH,Ei5'iC?3NY a , ,,,.. I , , musou F-r-L'+A SW g x . t s .. t l ' '- - ,lx Ri.-il'-Ll' it-.4 Ulm .-1 Q' 5 1 'sr -Q '-, ' x 1 --4 I N 8 wg c...- fire l For cra pie en: in H81 pi: Z f 4 Z, in A U A V V I l V H' M ' i' ' W f ' 3' -'firm .- fit: , Q f X V: ,,,,,, 4 ' Q , --new ' ir if 32455lgggg.....,'...'..... uu- f, 5 it 3 ,f,, , ,, . gf ....- 'I 4 y g an Q it - 1 Q t ,Ji M A , NN '- , , t ig , . , y Z f , S, W, f ' ,- ' '1 ai, 5 ,, 4 ff at ad ', M wc 5- The Eastman School of Music ushered in its second 50 years with the first of 22 special anniversary commissions last night in Kilbourn Hall. Ulysses Kay received his master's degree from Eastman in the early Forties, and has since established a stable reputation as a compositional craftsman. His Facets for flute, clarinet, oboe, bassoon, horn and piano, given its world premiere last night, was performed by a faculty ensemble conducted by Walter Hendl, director ofthe Eastman School. Facets is an 11-minute mosaic in which silence plays a logical role in the association by timbres which weaves through its three con- nected movements. A declamatory curtain of sound, immediately set in motion by the piano's jagged upbeat to a deep-throated G-flat octave, introduces a free . l ll T-.-'ang -,,,,,g,,,,,, .W ,AX PV y . ' 'tif' .-, W '. iv X i y l k x .P -- l C' - fantasy, followed by a three-part study rich in lyricism and the tinal rondo with its retrograde-reflection structure. Kay's new piece is laden with many nuanced gestures that almost seem to caress the very nature of the instrument for which they are written tlilce the bassoon solo set against the pianos law arpeggios tol- lowed by an oboe restatement of the same phrase. But its central fasci- nations were how the piece gravitated toward and away from natural silences as resting points, and the fertile, imaginative development of facets of its first phrase of declamation. - Theodore Price i f f ' I Eastman Quartet Kilboum Hall November 9,1971 l lame L-.aiu lxox mid l.w:x.xr.l Millard Tavlor, Francis Tursi, Warren Benson, 10 A A I' x - : XQ V3-Z? l - v i I 5 n 1 i l I f 1 i 1 l l l , . , gn fT'T1Q1'17i4'.,xff?'F?::g11 4, A- , ' 'K har..-.1,, Program Quartet in A Major, Opus 26 Johannes Brahms 11833-18973 Allegro non troppo Poco adagio Scherzo: Poco allegro Finale: Allegro Capriccio for violin, viola, violoncello 8: piano 119713 Warren Benson C1924- J Quartet No. 1 in C minor, Opus 15 Gabriel Faure 11845-192-lj Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto Eastman s voice department was hit hard this year with the death of Julius Huehn and also losephine Antoine. Hiell-loved hx' her students, Miss Antoine had laeen a regular memher of the department since 1900. She had been chairman of the voice department at Chautauqua Institution every summer Since 19o1. Nliss .Antoine was leading coloratura soprano at the Met from 1935 to 19-17.She also performed tor the Chicago. San Francisco, Central City and Cincinnati opera companies. The Student .Association Council made a 5150.00 contribution to the lose- phine L. .Antoine Memorial Scholarship Fund at the Chautauqua Institution. 12 it d h d of the voice department for ZO lulius M. I-luehn, professor of voice an ea years died on june 8, 1971. Cn December 21, 1935, Professor Huehn made his debut as the Herald in Lohengrin on the stage of the Metropolitan Opera. ' ' W t 'n Wa ner's Die Later at the Met, he became the youngest baritone to sing o an 1 g Walkiere. Frequent singing partners ' Melchior. ' In 1947, I-luehn was appointed as voice department chairman at Jordan College 111 Indianapolis where he taught until joining the Eastman faculty in 1952. Starting IH 1954, Professor I-luehn was director of the School of Music at Chautauqua d tment for seven years. Shlmmer Institution and head of its voice epar for him were Kirsten Flagstad and Lawrence , qkit 1 , ' an 154 5 - -4'--q - A , Asagu ' ,sf-me-J, , l 5 vw , . i I x 'x ,-uv. I r 'i Q XX - lf Dr. Howard Hanson has his birthday request, the street the city plans to name for him will be the one-block alley between Swan and Gibbs Streets. 'l used to always sneak through that alley to the Rochester Club when the pressure at Eastman School got too great,' he confessedf' Times Union 1Of29f71 The University of Rochester and the Eastman School of Music gave Howard Hanson a surprise brithday party at a convocation at noon in Kilbourn Hall on his 75th birthday. Emory Remington's trombone choir performed Happy Birthday cleverly combined with the familiar theme from Hanson's Romantic Symphony. Numerous congratulations were read from such eminent people as President Nixon and Governor Rockefeller. Howard Hanson expressed his gratitude for his years at the East- man School with its outstanding faculty and its gifted students , and concluded: 'fl hope we don't get too professional, musically .. , l would rather have a few wrong notes played with love than a per- fect performance without it. , ' iw-h'v'JCg nun-.gl h,4,w,,g,,, WA?-w,,-. ., M.-,,,,,,..,A , M f,w,,,, , h V' t the wan o the great,' 29!71 vlusic :ation gton's ,bined hony. ple as East- ents , ly... a per- -fffflgsf, i.: ef:-fjlm . ,,,5 .1 -- w P' it i S K s 3 A FANFARE for brass and percussion Alan Oettinger tU.S.A.J DANCE OVERTURE Neil McKay lU.S.A.J POIJZK SONG SUITE Ralph Vaughan Williams arch, Seventeen Come Sunday Uinglandy Intermezzo, My Bonny Boy March, Hlfolksongs from Somerset METAPHORS lP0Uf SGHSOHSJ Wen-chung Chow Spfmg tChina-U.S.A.l Llmmer Autumn Winter MARCH' OPUS 99 Sergei Sergeevich Prokofiev tRussiaJ MARTIN PIERRO pericon Ar ' ' , gentino julio F. Dato ARGENTINA, March fArgentinaJ VALDRES MARSJ Johannes Hanssen tNorwayD PROCESION DE SEMANA SANTA EN SEVILLA Pasqual Marquina lSpainJ INGLESINA, March Sinfonica D. Delle Cese tltalyl STARS AND STRIPES FOREVER John Philip Sousa lU.S.A.l United Nations Concert In Honor Of United Nations Week After recovering from the scrambling of seating lists caused by Mr. Hendl's changes in the Philharmonia wind sections at the beginning of October, Dr. Hunsberger direct- ed Wind Ensembles energies toward the United Nations Concert on October 22, 1971. Also displaced by the renovation of the Eastman Theater, Wind Ensemble performed on the well-exposed stage of the Nazareth Arts Center. Some of the Wind Ensemble players, grumbling over the financially detrimental conflict of the concert and one of Chuck's gigs, felt the program to be rath- er weak in places but the audience nevertheless enjoyed the variet of marches and audience and ensemble alike enjoyed Y the long parade of exchange students. I . A .VT ,ll First Graduation COHCGN With Orchestra Program Concerto for organ and chamber orchestra, Opus 46, h No. 2 tKammermusik Nr. 73 PaulH1HdGm1fh Nicht zu schnell Sehr langsam und ganz ruhig Fuge john Turnbull, organ Concerto No. Z for oboe and orchestra Gordon Jacob Allegro Andante Allegro molto Faye Ellen Bailey, oboe Harlequin Concerto Armand Russell Burlesca Romance Encounter David Young, double bass Concerto for organ, string orchestra, kettledrums and Percussion Charles Chaynes Lent-mysterieuxp Allegro, Tempo pid agitato, Poco menog Lento, Allegro, Lento Tres lentg Risolutop Pifi lento Tres vif lscintillantlg Poco pid animato ftres incisiflg Poco meno Michael Corzine, organ 1' 16 The thought of standing out in front of an orchestra rather than hiding in the middle of one can cause very weak knees and butterflies in the stomach. However, I, along with other Performer's Certificate candi- dates, discovered that playing 21 solo with the orchestra was a lot more fun than we imagined it would be. Like the first time l drove a car, there was a differf ent sense of my importance because, for once, the conduc- tor and the entire orchestra were relating to me. The intef- action between performers.1S one of music's most rewarding elements and playing a concerto with orchestra helped reinf0fCe that idea for me. Faye Ellen Bailey Concerto Concert 11f3f71 xr, x.,L X re . , A ,e e ,, , . , ,N X e f , e - ff, 5, , , iiirfeeiieeifissrteeeefbr?Otfeemaimirforeiseetea r V tsrsi 1157, r r Summer of 1970 t t Qfaiehrsad and the Eestmem t ro parrita, Since the eee- bstr father see e furtherance utter meme, ef some t weve it becomes e ' e a Q r P ale :taken from m' meiefeeem on all aught of standing out it an orchestra rather g in the middleolont very weak knees and 9 in the stomach l, along with otlitt '5 Certificate cantli' overed that Plallnga he orchestra Wdtalll th a n we imagined ll e, h irsttimtl Lil-ee t e 1 adm rtarlft duf' J I O ' A he entire Ofcllisll t me The lftlil' fl 0 ' li ewaflllllf Q tC ' Concgfll Igylflga I t ltr? helped femloll r, theft? was ol mY lmpo nce them PWCEU per nf me' Ellen Bailey all :CONC erf ill writ 40, if rrtt Zh H f ' so 351 1 r chord forming estff 't P' r r , e little paeeaset , V lfwifff 7i'fQff.ifi 5 flf? KMKL NXWUVNQ 'W' 'X W f'Xrf5WX 'X X NWN! 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Xf J 'aw sf ef ma f f f ' rw , ,- ., fri ew M. a 1 aww WWW w XX fw Q r TWV f e ee af ,f e r, .f ., Eastman Philharmonia Lake Avenue Baptist Church November 12, 1971 Program Prelude and Allegro for organ and orchestra Wdllff l7l5l0Y David Craighead, organ Concerto for organ and orchestra Samuel Adler David Craighead, organ Symphony No. 3 for organ and orchestra, Opus 78, h c minor Camille Saint-baens David Craighead, organ The Organ Concerto by Samuel Adler is, l believe, an important landmarlc among works tor organ and orchestra, Mr. Adler's work is a partita in five sections and is characterized by a twelve-tone technique, controlled-aleatoric passages, intricate rhythmic patterns, and other compositional devices that set the work well apart from most organ concertos which lean heavily toward the traditional. The impact of the introduction, the intricate variation for percussion, the momentum of the final sec- tion, and the proportions of the whole create an overwhelming experience. As a per- tormer who has dealt largely with traditional styles and rhythms, the greatest prob- lem for me in learning the work was becoming comfortable with the varying rhythmic patterns that today s orchestra players know thoroughly, Although it has numerous technical difficulties, the concerto is idiomatically quite suitable for the organ. I have great taith in the Organ Concerto and it is my hope that it will have many perform- ances in the tuture. i David Craighead Samuel Adler, Wayne Barlow, joseph Schwantner, Theordore Price. 4 's X n 4 9 . if QM EASTMAN PHILHARMONIA ORCHESTRA Violin l Eden Vaning Marcus Lehmann Kenzo Azuma Katherine Shulman David Alber Marian Egge Diane Hermann Deborah Miller James Durham Rebecca Pettigrew Dana Edson Paul Krausse Sandra Dackow Matthew Okada Violin II Terry Peyton Steve Ognavic Anne Peyton Helen Coulson David Greenwalt Emily Gaines janet David Elizabeth Pistolesi Ronald Satkiewicz Aaron Appelstein Rhea Epstein Deborah Torch Viola Valerie Garabedian Iudson Griffin Christina Woehr Patricia Daly Robert Maddin Nancy Uscher James Hopkins Louise Mathews Lois Martin Raymond Helble Personnel Violoncello Catherine Lehr David Geber William Grubb Mary Ann Elder Richard Weiss Deborah Dabczynski John McClellan Yvonne Caruthers Kathleen Murphy Sally Mulholland Bass David Young William Eckfeld Theodore Pauls Nancy Becker William Bussey Russell Gill Philip Smith Flute Adah Toland Ian Harbough Janet Ferguson Linda DiMartino, picc. Oboe Melissa Bohl Faye Bailey Janelle Snell, E.H. Clarinet David Glick Robert Crowley Max Mogensen, Bass Bassoon john Hunt Arthur Stidfole Richard Hotoke, contra Horn Nicholas Smith David Angus Mary Hickson Linda Radl Ted Wills, Asst. 1 Trumpet Geoffrey Richter Allen Vizzutti Carol Warner Trombone lames Pugh Lawrence Yagodzinski Arthur Linsner Tuba john Stevens Harps jennifer Sayre Constance Harding Timpani Eugene Sittenfeld Percussion Ernest Muzquiz, lat Richard Cheadle john McNeill Bradley Stouffer Edward Moore Dean Witten -.ist ...u4'4 David Craighead i I -,'-mmm -44 A Concert For The w York State School Music Association N e EASTMAN WIND ENSEMBLE Donald I-Iunsberger, COndL1Cf0f November Z9 PROGRAM FANFARE DANCE OVERTURE SHADOW WOOD Five poems of Tennessee Williams for soprano and wind ensemble Shadow Wood My Little One Old Men Are Pond Covenant The Last Wine Sherry Zannoth, soprano METHAPHOR5 Chou Wen-Chung III. Autumn , . . joyful, sublime IV. Winter . . . piercing, completion CALOP fMoscow Chermoushlcyl Dmitri Shostalcovitch transcribed by D. I-Iunsberger li 7 . fx 11 Ky It ' V! X, I I- ' ,: S Alan Oettinger Neil McKay Warren Benson S 2, gk, u :Wiki Don'tworry,they've alr d 1 95 Y P ayed the concert! 20 1'-9 'flu Nm. gb! 14 ln.. xl Q Qfir ki' 5 -,gf l - W4 I 4 1 i . 4 W A 1 4 1 v i I . i 4 I '1 -4 .,'2 2, x 5 i Wm '1 n I4 . . ,274 'mi I I I 1 31 9- x N o - 1- . --u. ,. T, ,. , .1 :QVC a '1 ff 3 . tg 'M . ,Z- X. u. J 'wnf 'W X , we . ,, ., X ,un 3 v ? In . ,.H W.,--.V . X v A ' x 4 I IYID all mmf kv P R. 6.55 , N I 115335 ' X? . us A A J - ' . u-.1- 1 - 4 Christmas Dance December 6, 1971 Besides handing out occasional fines for bathroom offenses, paying for dormitory vandalism, curbing the existence of pets, and getting people out of bed for fire drills, the Eastman Dormito- ry Committee does finance at least one worthwhile endeavor dur- ing the year -the annual Christmas Dance. Fortunately, the Committee has fallen into the tradition over the last few years of hiring the Chuck Mangione quartet to pro- vide the creative and tasteful music. The darkened dining hall with its few candles, the wine punch, the rum and egg nog, the friendly fire of Munroe Lounge and the good music all make the Christmas Dance one of the more re- freshing breaks in the year. l Msgs-N is - S ri' K. . -uf 24 1 rt 4 f, I u Ja: ri' , l fn? li, ai , Ji f af! A g yi'-5 arm l ' A . ,X 4 ff f X X N Nw wx if JXGS 1 ' N MX awww wr. M 3 N 511 Q: :L gf f N gi 555 Q 'f f lv , x xx A gg -5 M3 Q H M NX 4 v in A FIFTIETI-I ANNIVERSARY FESTIVAL CCDNCERT X lulnmxl IJIAHINI 26 Q- W It was so inspiring to watch and play for one of the greatest artists. I had gotten so used to recordings it was refreshing to actually see the mind and energy behind a perform- er like Szeryng. This type of experi- ence cannot even be put into words, to see one who has overcome so much and seeks only the joy in per- forming. It was an invaluable and essential moment in my musical experience and many felt the same. The anniversary this class was, I could celebrate everyday. Marcus Lehmann t rn Ar S ' - i - or Q fgaex ' i iii. L ct'-ti Nj' A L aww: 'X ' X fxk, f fy-Qx'ilQl m yi fx'-fi--H - . W I' -W , ,W W... ,, i mtv in iz ruin.-: Cleorig Iiricdricli Ilandcl ylht 1.a:.il'.i:i Xiiriji .-,,.r. 1... ,it lean Rix XML ilfit I iiilt' X Nltxlu x ICT .tl ,k,.. My i' y.-xl. lolianncs NI WVU Xdaygzo , . .. X. I c not Urns I: Brahms IX .. YC. . UNMC .ii-. Before a maior performance, a musician often experiences an extraordinary.consc1ousneSS of himself and of the passage of time.The fascination with time is almost morbid: he tabulates weeks and minutes as if he were budgetting his final moments before death. The performanCf3 lurks behind every thought, creating a self-consciousness which makes even the most mun- dane daily affairs seem strange. In the days before my concerto, time slowed greatly, I became obsessed with the inevitabili- ties of its approach. My relentless self-consciousness became exasperating, then boring, 35 I wished only to get the damn thing over with. I When I had only minutes left, suffering reed, and endurance paranoia, feeling Mr. I-Iendl S hand on my arm and hearing his slow and quiet reassurances, I suddenly felt my mind sl1P' ping away. The performance itself was a purging of self-consciousness. My rational thouSht5 were gone. I perceived only that my ego had finally left me and was passing out through the horn. .-'xfter my piece I wandered around rather lost, as if I had come out from anesthesia. I WSIS wide-eyed and bemused, struggling for a familiar sense of reality. Gradually I came down into a most secure atmosphere of family and well-loved friends. I telt silly to think I had taken the phenomenon so seriously. -differ fmiflg an GXPGFIGHCS, I was glad to slip back into an ordinary existence, in which time passed rapidly and inconsequentially. Melissa Bohl 28 S 3 x i f----, E HY Consciousness lfbidz he tabulates l The performance err the most mun- ith the inevitabili- theri boring, asl l's eling Mr. Hend 'nd slip' felt my mi rational tl1oughlS htlie g out tlrroug anesthesia. l WJS ll-loved friendil ice, in whiCl1llme Melissa 50l'l li..' r,,,, I l Music Critics Symposium December 8-12 ,r f X Q 1 L A 4 -.L W l I' -,ie ,inf-3 Q 4 i W qv.. 1. x . -,f-,1- .J 3 . IQ... J .1 ...va ' . R.: What can musical criticism accomplish for its readers? We are not as we are so often described, watchdogs of the public taste, guardians against error and backsliding from the true, the good, and the beautiful, at all events we are not merely that. More than a hundred years ago Charles Baudelaire put the The Art of the American Popular Singer Critics identify themselves with, support and even encourage the artists arrogant, self-indulgent attitudes. And they bear, as a professional group, a considerable degree of responsibility for the gulf that now separates art and society '.., tIn a criticl I would be looking for intelligence and literary talent rather than expertise. I would want com- mentary, rather than adjudication The good artist doesnt need an intermediary. Communication is his business - or should be. The critic's business is to comment upon and evaluate his achievements as a 3 5 l ' l , ' .. ' .iw .f Ii 1 '-I y-,-..-.x'R ' 'ng- . Q 1 A V ' g , ,. c iilli xc case, with the concision of genius, in exactly seven words. In speaking of his criticism, he said 'I aim to transform pleasure into recognitionf This is an ideal toward which we all can af- ford to strive. Alfred Frankenstein - San Francisco Chronicle - Q... 1 'qi 5 C ' 2 communicator . . . In the assessment of new music particularly, the professional critic has tended to side with the composer as a fellow professional against the hostile or indifferent lay listener . . . As criticism, his work has paid a priC9 in loss of perspective and detachment for what it has gained in expertise . . . I believe that the specialist critic, whether amateur or professional, tends to become an unrepresentative member of the audience. I-Ie hears too much. I-Ie l4noWS too much. And he becomes, inevitably, too pOW2ffUl and too influential . , Henry Pleasants - International Herald Tribune ,qhe bell Fof 'I listen 'r0Und or llenl Of tho f1And ab' erforl Whatet l mal tance' W to 0119 P caSC to leSSl0nal hl ,The C1'l hag to CXPI however ll' and Person The CU iablishmen rhrowS OU' ment - tllii B 'x I ' - i iii H Words. In rm Pleasure 'e all can af- :o Chronicle P.. rticul the C0mP or indifferent as paid al price r what lf has OSC! ui ether amalei e rePre59ntauV n Lx HE know? oweffu too P Tribune ,The better critics have grown up in music and that is of ' the utmost im por- tance, For it is in childhood that musical reflexes set in and th aleni of those they are criticizing. at includes the abili- ,,And above all, the better critics from childhood have been intensel ' - Y COrnparin one performance against another, one philosophy of performance - 8 - agalnst another Whatever his background or beliefs, a critic must mak e ' ' a convrcting enough case to make the reader think, and to show enough expertise to Conv. h IHCE t E3 pfg- fessional he is not bluffing . . . ,fl-he critic stands between the creator tor the performersj and th ' has to explain to the public what is going on. But his prime responsibifublrc. He however he conceives art, and that involves standards identificationl lilhls tio art' ' W1 t e art, and personal integrity . . . ,fThe critic who constantly raises issues and poses questions tak tablishment tboth the old and the new Establishmentj, pokes fuln ates Onqihe ES- throws out ideas, stiumlates his readers, writes well enough to be readsacrtt-L cows, ment - this kind of critic is doing all that can be expected of him, W1 enloy- Harold Schonberg - New York Times ' 11 as to perform The b tt ' ' ty to listen as we . e er critics all have a conservat Or b ck L11V l ground or the equivalent, and F11 general musical culture at the very l t thy a - eas e eq ' - will 31 The Sound and the Fury: A Critic Paces the Seventies The real trouble at Eastman - and I suspect at a number of schools like it - is that the school is lacking in people qualified to tell the kids what music is like today, or where it may be going tomorrow. Rich 'sensed something very stultifying, very wrong about the place,' and compared the feeling to those 'rustlings' he's heard from other US. music conservatories - Juilliard, Curtis, Peabody and New England. Rich praised the faculty t ex- traordinary technicians on musical instruments who are also qualified to teach their craft J, and damn- ed its new music t dry aca- demicism that would wither away immediately, divorced from its surroundings J. Alan Rich - New York magazine 'INQWSPQPH Music Reviewer: Critic or Reporter? , . . . The day of the amateur music cr1t1C 15 over. , , t S The music critic of today 15 JUS a much a professional musician aS the composer, the performer, the muslcolo' gist and the teacher. In talking to a dozen or so of the stu- dents, I discovered that not a single Q36 had either seen or talked to a muS1C Cf1f1C before the symposium. Irving Lowens - Washington DC. Evening Star gmt? One Eastman student observed: I got the impression you were all saying 'if you want to be a good critic, you have to be Just like me', adding somewhat hesi- idnflv. though I don't think you all fupport that position equally convinc- mslv. I Offered one student Pleasant's ClUlP about the convocation of tenors lf0mPff1fir1g the symposium to a convoca- tion of tenorsl. She grinned, Yeah, and YOU want to be Franco Corelli. Michael Steinberg - Boston Globe Momus, Masscult and the Kitchen Sink I had a graduating senior, realistically assess his chance of employment as 'slim, if not non-existent' All of the in- stitutions we are involved with are a part of these problems, however we choose to disregard them. As Mr. Stuckenschmidt says, we should not let them influence our reviews. But neither should we go thru our professional lives with our heads in the sand. The crises today are reflections of the accelerating general transformation of our musical lives, and it is high time all of us realized it. Thomas Willis - Chicago Tribune Influf Criticism Should point of ' any ideo destructit A mil vincial G relations for their the vangi a paradoa Strar naively fr ly proves the Com! and expe form Soi Classlessi He w Sate anc beautiful Relat from Wh Sfruction this mod fight to llllman I S accord and large He o Sies betv Purely , Hmost al llftelll in Slmllllay mpts in QI music iiberateh te H isscult and the Kitrhtr U ating senior, realistitalli ance ot employment as in-existent. All of their re involved with areapazt rms. however we thooset i. As Mr. Stuckensehrif- iid not let them influeige But neither shoulclweg :tessional lives with it sand. The crises today ax if the accelerating geifr in of our musiealliieszf all ot us realizeclitf' as wiurs - chreaeelll'-' s f i'4 , 'fits Influence of Political Ideology in Modern Criticism Should music be molded to fit the sociological point of view of the critic, or should it be free of any ideology which might lead to its ultimate destruction? A militant modernism is blossoming in pro- vincial Germany. It is promoted by huge public relations organizations and it praises novelties for their own sake. The managers have turned the vanguard into a mass march and have created a paradoxical conformism of the non-conformists . . . Strangely enough, the ideological critics quite naively follow this novelty cult. Altho reality dai- ly proves the contrary, they seriously believe in the compatability of individual artistic visions and experimental forms with the needs of a uni- form Socialist society and its Utopian goal of classlessness. He who wields political power tends to subju- gate and make subservient those useless and beautiful things which we classify as culture. Relating an art phenomenon to the society from which it emerged will indeed lead to the de- struction of truly artistic criteria. Whence does this modern manner of viewing culture derive its fight to measure the greatest creation of the human mind, free and totally independent music - according to the mental slant of an anonymous and largely accidental community. . He concluded with three ideas: That analo- S19S between social and musical phenomena are purely accidental and not conclusive , that lmostuartistic and musical phenomena are abso- lftely Independent of, and often in opposition to Simultaneous social conditions, and that at- tempts to find sociological explanations for high- if-Lmusical forms are either self-deceiving or de- l erately misleading. Hans H. Stuckenschmidt - scholar, writer, and music critic from Berlin 14 The Washington Post Critic claimed that those who studied and went on to teach com- position at Eastman usually fol- lowed what emerged as the party line. Their music could almost invariably be described as well- made, conservative, solid in de- sign, but without much in the way of innovation in melodici harmonic or rhythmic thinking. Paul Hume - Washington Post fha- hf et-my f- g.,,.M fQwT1J -. .r...w,-erase A f fl . 3 Tiff: 4.-4.1 ff -1 11 f .snuff K 1 fjj,',2iLPC 1 .av-sfrpf pr .. J--'-'4' A -I ifb-1 4 xi?!'Ev4Ar1gPff ' 'ffilf 1 TW. Y P , iff J Th ' 4' '-f. .45 6 ltQQ'A ' l' ,Q it fi -nz wt 5.,,...-f fi-1F:N . T- Lo ' ' 'Q Y' A Music Critic In the Age of fy N.,f -i.. 41 Aquarius Like every creative or interpretative artist, the critic has to earn his audience and retain it. He must castigate the pasti- cheur, regret the incompetent, respect and understand the past, but live entirely in the present. What the future will think of his work is totally irrelevant. He is writing not for posterity but for now ... Life will be less rich if the age of Aquarius deprives its inhabitants of the joys of backwards time-traveling and of think- ing about music as well as being mas- saged by it. William Mann - London Times Opera Criticism in America: Prac- tice, Problems and Abuses It fthe Symposiumj was a rather traumatic experience. Nevertheless, critics do make sensi- ble judgements more often than their victims and historians are willing to con- cede. The problem, of course, involves human nature rather than art. People like to remember disasters, but they take the positive - if it happens to coincide with their own assessments -for granted. If we had a choice in the matter, it would be simple: do we want to be re- membered for being wrong, or forgotten for being right? Luckily, there is no clear- cut right or wrong when it comes to subjective evaluation. And, by its very nature, criticism must be subjective. Martin Bernheimer - Los Angeles Times The Ethics of Music Criticism Almost the only thing we all agreed upon, 2:13 Paul Hume pointed out, was the necessity of a love for music. I asked several students at the close of the symposium what they had thought of it. It's the most exciting thing that's happened here since I came to Eastman. said one. That indeed says something for the symposium - but maybe it also says something about the current state of music education. The critic must understand something about the economics of music. No less a figure than George Bernard Shaw made a great point of this. 'It is one thing,' he said, 'to set up an ideal of perfection and complain as long as it is not reachedp but to blame individuals for not reach- ing it when it is economically unattainableg in- stead of blaming the conditions which make it unattainable: or to blame the wrong person - for instance, to blame the artist when the fault is the publicls - is to destroy half your influence as a critic. All the counterpoint of literary brilliance in the world will not save the critic from blunders of this kind, unless he understands the economics ot art. james Goodfriend - Stereo Review Vfteeaf lrll F f Alec Vt Th premi to sa' tional agree knov poor. with went of a adagi GOO Aftei the 5 from was muc Spite plau m0V hear 44 gf 2 NX Alec Wilder, juan Orrego-Salas, Verne Reynolds. The Chamber Orchestra concert of three world premieres on December 11, 1971, was, needless to say, a disaster. The orchestra members, emo- tionally drained by the tragedy of Chief's death, agreed to continue with the concert even with the knowledge that the rehearsals had been going poorly and Mr. I-lendl was still having trouble with the scores. However, the dress rehearsal went amazingly well and the orchestra had hopes of a good performance for the critics. The old adage A BAD DRESS REHEARSAL MEANS A GOOD CONCERT worked in reverse this day. After the Diamond orchestra walked off shaking, the Salas performers took their places, saved from the same fate only by the fact that the piece was in short variations. The Wilder didn't go much better but Mr. Reynolds played well in spite of the conductor. When some errant ap- plause followed the third movement of the five movement piece, a well-known critic was over- heard to say, You mean there's more? . A' 9 Nb- Q -.rs 1 1 F It' Tift? . ,M Q .I 1 .f J ,' ' ' , w' .ro . , ' ' if That man who has lived well, laughed often and loved muchg who has gained the respect of intelligent men and the love of childrenp who has filled his niche and accomplished his taskg who leaves the world better than he found it, whether by an im- proved rose, a perfect poem, or a rescued soulg who never lacked appreciation of earth's beauty or tailed to express itp who looked for the best in others and ave 'wb 3 the best he had. I-Iis memory is a benedictionf' EULO GIVE? in DECE ffl H and 56 made' again. ch6Sfft conduf anythi not mi Of l own Y most l the YQ great 1 guishf friend Perl the an tainly dents tions Unite it tha secret ld Well, Ulugh: Peet gf OV? of Sniche lj who lan he ln im- m, ora laClQQd lull' Or looked fl Save 'FY is a Euroov BY DR. HOWARD HANsoN GIVEN AT THE MEMORIAL SERVICE POR EMORY REMINGTDN DECEMBER 14,1971 I must say that if I had the tongues of angels, prophets and seers, I could make no tribute such as has just been made. You will probablly never in your lifetime hear this again. And that these young men have come from great or- chestras to pay this tribute under a great friend and a great conductor, Fred Eennell, is something that says more than anything which can be said by any poor speaker - certainly not myself. Of few men can it be said that 'he became a legend in his own time.' Of this small group Emory Remington was a most honored member. The Eastman School of Music over the years has been blessed with an astonishing number of great teachers. And in the topmost echelon of this distin- guished group must be engraved forever the name of our friend to whom we pay final tribute this day. Perhaps we may look to that greatest of all textbooks for the answer: By their fruits shall ye know them. And cer- tainly the fruits of his labor were very rich indeed. I-Iis stu- sixty years ago, I have always regarded myself as one of Emory's boys . I-Ie often invited me to play with his fa- mous trombone choir, but unfortunately, never in a solo capacity. In spite of my inability to make the grace as a trombonist, we worked together for many rich and happy year - for almost a half a century. I think I have the answer. The answer is, I believe, that in spite of his technical knowledge, in spite of his science and his art, Emory Re- mington never really did teach the trombone. He taught people. I-Ie taught human beings, he taught human souls and human hearts. I-Ie had knowledge: he had technique. I-Ie was a master of pedagogy. I-Ie had dedication in immeasur- able quantity and quality. I-Ie had empathy, he had sym- pathy. But he had something else. It is symbolized by a four letter word - a good four letter word - a four letter word which could change the entire world it if had half a chance. The word is I.-O-Y-E - love! I-le loved music. He loved that most noble instrument, the trombone. But most important of all, he loved people, and above all he loved his students. We today must not mourn for him, but only for his loved ones and for ourselves. I-Ie died as he wanted to die, as he had so frequently said, doing what he loved to do- teaching his beloved instrument to his beloved students! Leaving dents have gone from the Remington studio to solo posi- tions in almost all of the great orchestras, not only of the United States, but of the world. But there is, I think, more to it than this. I think that I may know Emory Remington's secret. As the solo trombonist of the Wahoo Park Band over behind him a rich legacy beyond the price of all gold and sil- ver, his requiem might indeed well read: Three things remain: faith, hope and love. But the greatest of these is love. May he rest in peace. In those days no one asked fun- damental questions, so no one had any answers. No one even thought about questions of tongue place- ment, breath control, and so on , . . I just played as it seemed right to me. There was very little material then that treated the vocal line. The old school was to 'spit it out'. I was strong on articulation in the mouth like a singer. I didn't blow into the horn, I sang into it with as little re- sistance as possible. From the very beginning, I have always treated the instrument as just another voice. t 2 lCECl lun- One had thought 18 place- Jon . .. I ht to me. erial then The old t'. I was ne mouth 1 into the s little re- the very reated the 1oiCe. l lifi - t g I E E lx l l U Lia DONALD I'ltlN5E-EtkC-Etlf-it I 2x1 1 lates l.5-me XMQAT SNC I-W f'e Q .'!2AlNT M1c,+4APL '! ' J' ' 5HAooxv WOOD 1f4'- '?' X 'E2.t...,f14, ,.. .- tffnr X ::cENf-P f f 8'l5.,.... Ka Lsour2.N+lN-l- I 2 One of his unique developments is the Trombone Choir, which he made into a concert-hall performing organization with its own literature and traditions. Prom his early days the Chief valued community effort and encouraged his students to perform together in all types of ensembles. His belief in the importance of playing and blending together led him to collect his pupils in small ensembles, adding more and more play- ers until a balanced choir developed. The Choir has toured throughout the Eastern Unit- ed States and Canada and is a featured ensemble at Rochester's annual Bach Festival. Each year the Choir provides a pre-concert programg the Chief described the Choir's presentation thusly: Our last note is the same as the first note the Oratorio Society sings, and they just float into each other. That moment is one of the joys of my life. Donald Hunsberger Rayburn Wright l I Q T l peffgfming traditions Llrritye ' ogethef in an P0NancQ of to Collier his Wd more play. ffm Eastern Unit- 'QHY the Choir nref described T t onald Hunsberger zybum Wright There is no student over the past fifty years who studied in the Chief's stu- dio who has not Come out of that room richer, not only in a musical-technical fashion, but as a human being. Donald Hunsbcrgcr Rayburn Wright 2 I x i S 1 I E E X X i ' -A-.4 :K--.. , s :itil .X t Q? 'V a 4 ,r fegysul ,ug A -ft- S YI . I inf :li . .jsthat it would fall K apart. We're in good hands. Mr. Wallis keeps telling us Christmas vacation is here and so far the year has established an un- rfspleasant-pattern. We have lost some of our finest. It seems that this anni- versary is denuding the school of all it's tradition, and sending it into a new erawithout anything to replace the older ideas. A reat void is ...formingg I ayty I g sCould.we writeof all the problems of the 50th Anniversary as just a bad year? It is frightening to think that this school can put on concerts as bad as we have this year with such amazing consistency. Of course lefg not convince ourselves thattit has all been bad Back in October the'Mu prografn with works by Kay and Schwantner came off very well. In fact, whenever the faculty were responsible for a performance things were under. control. . it thenjthat is wrong with this year? Why are we so down on it? Is it the schoolthat ,isn't coming through or its students? Une can hardly think of all the things said to be wrong with the year, and the school., Well, the students must be at fault, because no administration begresponsible for halfgthe thingsgoing on for not going onl around this place. After all, the River Campus people have had eight years to s assess the organization of this place. It must be going well. Surely they would never allow the seth Anniversary Festival to take place knowing that. rWe're the jewel in the crown of the university ll! When was the last time they bought a can of polish? Then there was Juan Orrego-Salas. Before he came to town people all fover pthieaischool were asking, Who is Juan Orrego-Salas? Salas then fcameto town, met with some of the world's greatest music critics, talked to students and faculty, and had his piece rehearsed and performed. Af- ter he left town, people were then saying to each other, Who is juan fifflrregoefvalas ? A The first symposium was a great success. Let's not discuss all the things the critics said about Eastman while they were here. A few things will suffice Harold Schonber came to the reception after the December 25 AMWM iid Game no Del'ii0l nl' J: CeOfZe 1 .J vw Lmfm :J Obes wf',t9 PI, , Rglfllll Ad Rell , JKKQMN' , :wht ,WUQM Md O M11 concert, grabbed a drink, and said, I'd better pour this down fast and get out of here before I meet a composer - or a conductor! I-le did stay, however, and had a very enjoyable talk with some students. Alan Rach was asked his opinion of the concert and he stated that he knewbetter than toffgo to such things, so he started on the reception at 8:15. After the worst musical fiasco in recent history, Dr. Shetler goes up to Martin Ber- heimer of the Los Angeles Times and sayS, That I5 fl? Eastmafl Soundllf' Oh, I see. said Berheimer. Dr. Shetler is a man o many ta llents. I i The critics generally agreed that the It must have been the weather. h h f Another problem for one should properly SGYS 21 Problem, was t e C O' ral situation. Remember jonathan Sternberg? whole affair was less than perfect. 45 ON LEARNING A NEW PIECE I don't think I've ever played a violin sonata with more notes than the Verne Reynolds Violin Sonata - an average of sixteen notes per second, the average in- terval between notes a seventh, and sometimes a ninth - which accounts for a very calisthenic summer of 1971 during which I learned the piece. When you learn a new work and come across a very difficult spot, the first tendency is to try to cut corners and find a simpler way to do it - or even perhaps to complain to the composer. My experi- ence has taught me that with enough -g-ul ! practice and study in depth, almost with- out exception, the Composer is right. To interpret music is a grave responsi- bility and one in which professional mu- sicians are sometimes found wanting. They learn the notes and are satisfied with a more or less perfunctory rendi- tion. I-Iowever agonizing and excruciat- ing, it is far better to try to look for the inner spirit of the work, for there is nothing more satisfying than the mo- ment when you feel the music begin to come to lifeg when things that seemed unintelligible suddenly become urgent - even inevitable, when things that were CU Yerne Reynolds, Barry Snyder, Zvi Zeitlin 1i - ii-11 if Q commonplace are charged with meaning. It has to do with that which is some- times the most elusive in learning a new piece: the whole structure - like being able to see a rainbow from end to end. Qtherwise it is like the seven blind men with the elephant, each one visualizing just part of the body, as the elephant. The Sonata by Reynolds is a very suc- cessful work in that he manages through a much maligned idiom, namely dodeca- phony, to convey a very direct musical message. The form is quite traditional. In the first movement there are two contrasting subjects, Iboisterous and lyricalj. The second movement, a very lyrical and moody one, is entitled Malin- conia. The last movement, perhaps a lit- tle more difficult to follow on a first hearing, is a set of variations on a theme. Reynolds avoids the use of external ef- fects such as are used by avant-garde composers: he doesn't bang the wood of the instrument, he doesn't use Bartokian pizzicatos, not that. I have anything against Bartokian pizzicatos. I-Ie uses the most lyrical aspects of the instrument and treats the instrument very traditionally. Reynolds, on the other hand, goes back to the early classical style, and de- spite using the same material for both violin and piano, the work sounds quite idiomatic and not at all arbitrary. Barry Snyder and I came to a very sympathetic mutual feeling about the piece and were really able to enjoy play- ing it. This is another characteristic of the work, the more we got to know it, the greater our involvement and excite- ment in playing it. zvl ZEITLIN Q Qi 1 ith meaning, rich is some. arning a new - like being 1 end to end. en blind men .e visualizing elephant. is a very suc- ages through mely dodeca- .irect musical lraditional. ln re are two sterous and nent, a very ititled Malin- oerhaps a lit- w on a first 5 on a theme. E external ef- avant-garde 5 the wood of rse Bartokian Ve anything a. He uses the 9 instrument ment very hand, sees Wie' and de- .fial for soUf1d5 q uite ary. I to 3 Very bout the Ile ig 3 'oy Play' O em tic of g to k .t 3 nd excite' WI ZEITLIN The first movement is traditional as to form in that two contrasting thematic elements are introduced, developed, and returned. As the movement title, 'Dia- logue', suggests, there is a constant in- terchange between the two instruments. The 'Malinconia' is meant to provide a complete contrast to the boisterous qual- ity of the first movement. lt is slow mov- ing throughout except for a few mea- sures which offer some relief to the mel- ancholy. The tive 'Variations' of the last movement grow out of the interval ot the seventh and its inversion into seconds and ninths. All but the tourth variation are fast. There is no attempt to write effects. l am more interested in such things as singing qualities, colors, techniques, and rhythmic-percussive interplay. Verne Reynolds for most musicians and music lovers in Rochester there was only one RPO concert that was truly deeply musically inspiring this year. The audience sat frozen, silent, totally absorbed in the performance of this great man. Raising the RPO's performance to new heights, this fantastic musician helped reassure musicians and music lovers alike that live music is not dead. It shall be a long time before we forget the magic of the playing of Rostropovitch. gf Besides - - Pf0vid1ng des perateb' needed Orchestral experience and its subsequent financial rew fe SOme of the m ore fortunate and b a le Students Of the Eastman School the Rochester Phi PfOvides an O . . PPOrtunity f side lives Que or us as student f - of the more O S O music to be t f Pportune cha PHY O an audience to see how the 0 mes to do thls fh1S year was with PDQ Bach Music dents havin ' 8 the edge on the la Yman, got all the inside jokes and had a welcome break in the 6 activities with P , D mmert d U Q S Performance, Qu the Sedo ' us S142 David Zinman presented some inspi S urin 3 the year for the listeners, 48 Q WM. X ttmxcawfvl ' 'awww 'Wk l The Christmas Sing took place on December 16th in the main lobby and followed its traditional format of a choral piece followed by carols, the carols being conducted bv Mr. Hendl. The choral piece this year was Bach's Magnificat.The soloists were Sherry Zannoth, Sharon Harrison, Marv Hen- derson, Milfrod Par d R ' ' T was john Balme. The distinctive feature f th Ch ' gO 2111 alph Griffin. The conductor o e ristmas Sing is its occa- sional nature. There is a certain deadening regularity about always performing in concert halls, and doing a work as 1. 1 . . . . . ive y as the Magnificat in the lobby with its electric boom- erang acoustics was a real event. one one's heels tliterallyll added greatly to the feeling of everyone being there to listen to or participte in a great piece f o music purely for the enjoyment of it. The cheerful noisi- ness of the three high trumpets completed the festive spirit with deafening success. Having the audience sitting For me the most satisfying aspect of the Magnificat was the rhythmic vitali- t of the dance-based Airs and Choruses. Iohn and I discovered Gavottes, P21556- gedsr and Sicilianag lurking beneath the sacred words, and thought of ways to ' h d -rhythms. n y Prolgiizff I51ign?gEjt was followed Kas usualj by an interminable series of Jokes and Carols The Sing ended with the ever-popular Dona Nobis Pacem. A fanfare by the Collegium's Brass announced the presence of refreshments in the second floor corridor. - Erich Schwandt eward 1Ci6l fl 160 . Ph' 3 .er lother ,W the Music Sw' 5 in fhe yeir 49 ,W ..v, - .... -M ,, Y ' 1 i J 1 I 4 0 X 7' Q' 3- X W 745, ,176 fi f f ,f ff -,gf iz ri' A. fx 5135 423: 3939, - in Q5 5 Q-Egffkf , X ' x , TIQVL X - 5 -.vfcv . I .-L- Hifi .' Q Q 1 If -ff -.-,.-vw - Q ,Q ' I I 4 . nl, i 3 vfsn rr Y' X A X Q Ns 1 X X f If I I V L f Q, Thanks to DAN PATRYLAK, Rochester has ac- quired its second full-sized, totally unionized sympho- ny orchestra. That's just what's needed. lt's interest- ing, though, to note that he accomplished this feat in a mere four days! I-Ie had this great deal worked out for the non-union students of Philharmonia. You see, ev- eryone in Philharmonia had to play the Opening of the Theatre concert. Also, someone had this great plan to televise the show, which meant that it had to be a un- ion orchestra and everyone would get paid seventy- five dollars. However, everyone who had to join the union had to pay a one hundred fifty-four dollar union fee. Well, no one minds paying seventy-nine dollars to play an Eastman concert, do they? Anyway, Philhar- moniaisaid they wouldn't play the gig if anyone got soaked, sothings worked out okay. Charlie Strouse came to town with his fanfare for the Anniversary. The only problem with the piece was that it was actually played on the concert. John. Dexter was relieved of his choral conducting duties. Therewas an oversight, however. No one was picked totreplace him. So what if a semester wanders r ryby ,without a Chorus or Chorale? 53 Eastman Brass Quintet DANIEL PATRYLAK, trumpet ALLEN VIZZUTTI, trumpet YERNE REYNOLDS, horn DONALD KNAUB,tromb0r10 CHERRY BEAURECARD, tuba with BARRY SNYDER, Piano January 11 XVTTTV , 'W 3- ' uf' , ' v , .I J t 'ah X f, .V 5, ax' 3 1, 1 - -4 x, un-uuunuu i if i If 'I Q- T421 f ' n ? 1- x A --QL K Y Q . A N gt- . The writing of a major piece for such a virtu the Eastman Brass Quintet posed some problems. I decided against a work in the avant idiom and chose to use a more traditional theme-and-variations oso group as format as a means of creat- ing both diversification and unity, Each variation attempted to show ott a ditterent aspect ot the great range of technical and expressive abilities ot the Quintet. The theme was built on motives trom a well-known rock tune, but its title re- mains an enigma tor the listener. The rehearsals were under the supervision of the comP09' er, but little coaching was actually needed. The actual PIG' mier was a tribute to the skill of the groupp the work was I10t well received by the local critics. Since then, the Quintet has toured around the country with the work and planS to use It on their program in Israel this summer. Robert Gallldin l 1 54 tl may-3-A.--f 1 Q nw, W. 5. Q.. txfh, vt ,ill -xxx .. 'ts bt., - '22-zur N.. ' tt' 5 --- . t 5 ti F , ' x x t 3 35 Y A t x- K ,4 E . f i fx S' R ' lf. -X wifes , tt te compos- actual pre- trk was not Quintet has ns to us ' ext vert Cauldin Mitts E i 55 , 7 , ll l i Friday, January 21 Saturday, january 22 A Midsummer Night's Dream by Benjamin Britten LEONARD TREASH, Director EDWIN MCARTHUR, Conductor THOMAS STRUTHERS, Designer V' Y J f Z1 Q -- Pentiere, Jeffrey Regelman, james Singleton, Marc Slavny, anuarl 77 Cobweb Robin Eaton Robin Eaton Peaseblossom Candace Baranows ki Candace Baranowgki Mustardeseed janet Obermeyer janet Obermeyer Moth Doreen DeFeis Doreen DeFei5 Puck Larry Clark Larry Clark Oberon Letty Snethen Laura Angus Tytania Judith Dickison Sharon Harrigon Lysander Booker T. Wilson Bruce Bell Hermia Mary Henderson Maria Floros Dememug, Ralph Griffin Ioseph Bias Helena Cecile Saine Julianne Cross Quince Jemes Courtney james Courtney Flute Carl Bickel David Bezona Smut Bruce Bell Edward Pierce Starveling Tonio DePaolo Tonie DePaolo Bottom Alexander Stephens Alexander Stephens Snug Dan Larson Dan Larson Theseus Fredric Criesinger Fredric Griesinger Hippolyta Laura Angus Letty Snethen Fairy Chorus: Edwin Austin, Steven Bell, Mark Cohen, Thomas johnson, Wil- liam McNeice, Gregory Miller, john Miller, Swan Oe Car Thomas Spittle, Jeffrey VanHall, Henry Warfield, Kevin Wes- LOU. Members of the Eastman Childrens Chours, Milford Fargo, Conductorl 4'8 W Ie V195 Fiftieth Anniversary Dreams In Eastmans Fiftieth Anniversary year came the re-opening of the newly refur- bished Eastman Theatre. This has been the home of the Eastman School Gpgfa ns for many years, and many of the greatest operas of the mas- ter-composers have been produced with brilliance there. With so much attention on the school and the theatre this year, an opera had to be chosen with total audi- what better choice than an opera based on Shakespeares fantast- ical blend of fairyland with the human world in A Midsummer Nightg Theatre productio ence appealp and Dream , music bv Beniamin Britten. Thomas Struthers' scenery, as usual, was exquisite and transported the audi- ence into the heart of fairvlandg an enchanted forest. A life-size tree was an inte- gral part of the main set and more than once my heart skipped a beat as Puck an impish fairy aide character, went scampering up into its branches, or when he flew through the air rigged in a nearly invisible harness. Once, however, his aerial acro- batics were curtailed when the power driving his flying-harness stopped and, after a beautiful take-off, he was left dangling in mid-air and mid-stage. Another sur- prise was connected with the fog machine. In this instance, the fog machine literal- ly lost control of itself and began belching forth fog at an incomprehensible rate so that in a matter of seconds, not only could the audience not see the stage, but Sing- ers a few inches apart could not see one another. All mishaps aside though, the opera was a great success and from the size and response of the audience, it was as much fun for them as it was for us. Iudy Dickinson f N 58 K 45? ,V x XX X, x ,ff f M., x f , 53,15 - ' Qlmk: . x ,WM ,, A ww, W ww ,f x W my Z U x lx of, J fs: 1 ' I 1 f7'4w I i Mx , I ,f Z Q , X f , Z f 5 f if ww Z 3 6 7 iw- ,,,.,mA -J 45. ,aw .- MONSTER EONEERT An entertainment, uflwrcfn iizlverm Prnvlzllzrollerr qf Ihr frur flrl rj f1luy4'11Aq Nu' Ill-Ylrrnpcrrd IL-lIIi'I-il' will render l'!1l'll0il.I' orriqfnal cw0lI1f70.flA11.0l1.f fur Ihr l'Iumdorle, In yhlllfflll, In Qzzadrupfllalc, nm! In .rumfry ulflrr c10l7IAt.ll1lflAUll.4' cunnfngly flrmirnl lu lax Ure Crrd14f11'f1'l14r.r, and rmraufl Ure .SifII.fIll'1-fl-fl4f.l' of Ill: amrenzfflrzf ,ffuflfludef lille .Nlinrl lmo egli KILBOURN HALL Piano C F Th ' ' . Omen or ree' Pour' SW and Elght HUXCLS- Featufmg MESDAMES Phyllis Clark Maria Luisa Faini Gladys Leventon an MESSIEURS Samuel Adler, Den A A. d 1 C1 B - - ' I Cray, Eugene List, Brooks Smith, lgairyQnielelj?aavgi?irrcl14Ll1SaulQllll:'rc3clCVilgZe.Blau Cosmanl Edward Easley' Prank Glazerl Walla 60 5112, Z an 'V 4 , :on and Nallace A , k ' t i John Celentano I 25th A Anniversary Concert I ss' it X K 'N Q if Q xx' 'fx x ik Xxx SX AX Q W x gf, LJ mx N1 M s ww A WN Si XX X . X' Rx . X gf- X ' Gu I ' i sl ' , 4' 4 1 1 4 ,.....,,... i l . K February Z I Assisting Artists: Maria Luisa Fainif pianog with Marcus Lehmann, Violing Judson Griffin, Violag David Ceber, Violincello. V iiiivlvvwn-in-nnnv in 2 ' 7 1-1-- ':,.., 'Masq ffhdw V I 1 ' V 6 E I 571 E C - ff' A - i Q if ' ,,,, 'Z 1' ' 62 l 4 i 4 X4 Ar, J CEIJI 7 with Marcus David Ceber, , L 6 1 1 1 Af i it ggi K -xl WL Symposium H: Music Teaching And Learning ,,..,,,-mmm: ' fu .5 , f E is Symposium guests attend M 63 ENC meeting , -- g ,-i hnBalme. Sir Keith Faulkner and fellow tgnglisnman lu Qs' fi Z ,at-'Q-i. gtk After the relative success of the First Symposium, the students were basically looking forward to the second Symposium, especially the Music Education Majors. For them it would be an experience to receive some broader stimuli in their chosen field from some of the countrys and world's greatest educators. Even though all the sessions weren't dynamically stimulating for ev- eryone, one can't say that Dr. Shetler didn't enlist the aid ot the top people for th' S matter tor all the Symposia. is ymposium and for that Ot course, it would have been nice if Sir Keith Falk- X... ner, Director of the world-famous Royal Collet? Music, had been treated a little more cordiallY by as man's Director. And it was too bad that ldastmagkg guests had to witness one of the Years ughei We at- with Philharmonia in an uproar over Mr. He1'1dl5 ire ment of the Penderecki remiere. 1 Well, at least the Mziyhler did go a little hetter thi Sie ond time around even though we reallY dldnt re ea le it. It was a little disconcerting though that fewer peop did attend the sessions for this Symposium- O what could the matter be . . . 's h deaf, 'X N, 7- College of loyal ordially by East' r that Eastman? ar' 9 uglier w Ar. Hendl's treal- eekS ttle better the sec- rly didrft rehearse that fewer PCOPIE posium. Oh CW Q EZ? '51 :V J 1 5',5, 1 iw Penderecki Premiere February 7-11 f ,X , Q, A, 4-9774 L W h Y 'i S F il --nan 3- Vs. fxft Un 'Y fa Plodding through that Tuesday night rehearsal. A ...md ll I 1 Who needs a chorus, anyway? So what if there are no faculty? A building? Organization? Hey, Mr. Sproull, tell your boss that something is wrong at Eastman. How can anything be wrong at Eastman? There hasn't been a riot. ' Mr. Penderecki had a nice, pleasant time at Eastman. Doesn't anybody know the score besides Penderecki ? Don't worry, it's one o' dem modernistic tings so nobody's gon- na know da difference. What's that rock band doing on the stage? Guess what! We're doing Mahler's First Symphony l Gee, what a surprise. If we try, maybe we can do it worse than the last time. ll ll '.'Hey Mr. Sproull, tell your boss that Eastman isn't happy. Eastman?lll l haven't anything from Eastman since I've been here. Now, kiddies, remember: THIS IS NEW YORK CITYH!! Walk fast. Don't talk to strangers. Stay away from 42nd street. Don't spend all your money all at once. Keep a tight hold of your candy hearts. And Bruce must go straight to bed without his supper for being naughty with the candy hearts on his bus Hey, Mr. Sproull, there's an Eastman School in the University. Nota chance. The critics were very kind. Mr. Wallis, why isn't something being done for Eastman ? I never did like symphony orchestras 69 i f A -t EL SALON Mexico PARTITA 119711 Phrlharmoma Performs Carnegie Hall PROGRAM AARON COPLAND KRZYSZTOF PENDERECKI FELICJA BLUMENTAL, harpsichord SYMPHONY NO. 1 IN D MAJOR CUSTAV MAI-ILER Adagio Con moto Moderato Tempesloso X , ,lo OL Relwaraal Carnesgie Hall I Z 2 Ns. ' Rim Km A ...4 As tense as we all were about performing in New York City, the trip to the City did have its benefits. Despite the tiring bus ride, we all tried out New York's night life Monday. For most that meant the New York Phil- harmonic, or the Cleveland Orchestra and the rest of us were scattered between the Radio City show, Broadway play or the Tully Hall recital. For some of the orchestra Tuesday mornings rehearsal was their first experi- ence playing in Carnegie Hall and even for those fortunate enough to have played before in the Hall, there was general anticipation about performing there. With the afternoon free, the orchestra invaded Ciardinellis, Patelson's, Schirmer's, Wurlitzers, Macy's, Sak's Fifth Avenue, Empire State Build- ing, Rockefeller Center, Times Square, 42nd Street and any other points of interest that could be reached. Sore feet abounded. Far away from dorm cuisine, the orchestra wined and dined itself on French, German, Chinese, and other gourmet delights. Tension abounded but fortunately the concert went fairly well and the orchestra with its worries behind it for the moment didn't waste any time getting to the reception. Being a typical University of Rochester reception we all had a good time and with a little help from each other we all made it back to our rooms. The bus ride back was noticeably quieter and soon found us back in Rochester after two day of expensive living. Penderec ki receives Honorary Doctorate 71 F xx EASTMAN PHILHARMONIA f' I C Q V L 'S i 1 Personnel f 5 wt' Q f v F , ,,,,.,.,. 1 f I M 1' ji: H Violin I Violoncello 1, f f Eden Vaning Catherine Lehr E I 1 1 . if f 31513 Q Marcus Lehmann David Geber ' Q ' if A' 'fx ,QQ' 3 A Kenzo Azuma William Grubb Q Q , -. i-4, , ,. as ,X M Kurt Gilman Mary Ann Elder , ' ' ' I uf David Alber Richard Weiss ' , v t V, H 15 it.dLg 'rA' f ll Marian Egge Deborah Dabczynski Q V 'Z ,vlywf b ill . 'l ' Diane Hermann Ann Penn Deborah Miller Yvonne Caruthers 1' .1 . , -' james Durham Kathleen Murphy J ,, ' 'fffl 'JA ' Rebecca Pettigrew Sally Mulholland ' ' B Paul Krausse Bass Agifl K. -r Debbie Dabczynski and Dave Geber show their ioy at the thought of re- turning to Rochester. Sandra Dackow Matthew Okada Keith Cook Violin II Dana Edson Steve Ognavic Anne Peyton Helen Coulson David Greenwalt Emily Gaines janet Davis Elizabeth Pistolesi Ronald Satkiewicz Aaron Appelstein Rhea Epstein Deborah Torch Viola Valerie Garabedian Iudson Griffin Christian Woehr Patricia Daly Robert Maddin Nancy Uscher lames Hopkins Louise Mathews Lois Martin Raymond Helble 72 William Vaughan William Eckfeld Lorene Geiger Theodore Pauls Nancy Becker William Bussey Russell Gill Philip Smith Flute Adah Toland jan Harbaugh Angus janet Ferguson Glennda Dove fPicc.J Oboe Melissa Bohl Faye Bailey Frederick Meyer tE.H.J Stephen Secan Clarinet David Glick Robert Crowley Max Mogensen tBassJ Pamela Poulin QE-flatj Bassoon Iohn Hunt Arthur Stidfole Richard Hotoke tContraJ Horn Nicholas Smith David Angus Mary Hickson Linda Radl Ted Wills, Asst. 1 Richard Decker Daniel Carroll Mary Lentz Donald Hillman Beverly Wilcox Marian Gooding Trumpet Geoffrey Richter Allen Vizzuitti Carol Warner Michael Luxner Trombone James Pugh Lawrence Yagodzinski Arthur Linsner Tuba John Stevens Harp jennifer Sayre Constance Harding Timpani Eugene Sittenfeld Percussion Ernest Muzquiz, lst Iohn McNeill Bradley Stouffer Edward Moore Dean Witten ORCHESTRAL SOLOISTS in the Pendereckicomp0Sii10n Jennifer Sayre, harp Henry Gwiazda,gL1ifaf Gordon johnson, guitar William Vaughan, bass joseph Werner, celeste 'wmv-'W' ' . 1 n 'S er I mclzinslu ,,,..---P' I -,...-1--' ,,,1.---' -1.- wsu iam Program :iz 13 Concerto for bassoon Arthur Stidfole -ef Slowly - Fast 'f Very slow AL EQLOISTS A Fast eqgicvilfofmon Arthur Stidfole, bassoon 43 Concerto in D Major, Opus 19 Sergei PfOl4Of'9V Andantino - Andante assai 5 Scherzop Vivacissirno Moderato . 5 W--W . wwf.. XL Eden Vaning, Violin F! 5 1 in G sal I 4 Concerto for horn and strings Cordon jacob Allegro moderato Adagio rnolto Allegro con Spirito, quasi presto Richard Decker, horn Orgelkonzert Anton Heiller Allegro moderato Lento-Poco piu mosso-Quasi piu allegro-Tempo prirno Allegro Robert Cant, organ CHRISTOPHER .SKY by Domenic Argento Libretto by John Manlove CAST Christopher Sly, a Tinker Peter Turph, a Tailor Henry Pimpernell, a Smithy Marion Hacket, Hostess of the Ale-House First Huntsman to his Lordship Second Huntsman to his Lordship Third Huntsman to his Lordship Lord First Lady to his Lordship Page Second Lady to his Lordship First Servant to his Lordship Second Servant to his Lordship Third Servant to his Lordship Officer Three Musicians if'- :-..,,i 'N Y T'fF v-r is it STRINGS Violin l Kurt Gilman Violin ll Marian Egge Viola james Hopkins Violonccllo Ann Penn Bass Patricia Hutter Harpsichord Iohn Balme tlail CHAMBER ORCHESTRA Personnel WINDS Flute janet Ferguson Oboe Robert Alcala Clarinet Kenneth Grant Bassoon lohn Hunt Horn Nicholas Smith Teddy Wills Trumpet Carol lNarner Percussion Gordon Stout 4- Friday, February 25 Fredric Griesinger Bruce Bell Alexander Stephens Mary Henderson Tonio DePaolo Edward Pierce Daniel Larson Booker T. Wilson Sharon Harrison janet Obermeyer Susan Blum joseph Bias Carl Bickel James Courtney William McFarland Glennda Dove Beverly Wilcox James Robinson Saturday, February 26 Ralph Griffin Bruce Bell Alexander Stephens Mary Henderson Tonio DePaolo Edward Pierce Daniel Larson David Bezona Doreen DeFeis Robin Eaton Gale Oliver Joseph Bias Carl Bickel James Courtney William McFarland Glennda Dove Beverly Wilcox James Robinson I I t 74 I. Foxx Blues Ballad I Brown Hornet Toute de Suite Loose Head Prog Princess It must be a Camel PETRUS Ted Moore, drums Philip Markowitz, piano and electric piano Cordon Johnson, bass March 1 Philip Markowitz Philip Markowitz Miles Davis Miles Davis Philip Markowitz Ted Moore Prank Zappa Every now and then the Eastman student is offered the opportunity to listen to a recital which offers more than the standard soloist and accompaniest routine. One day this spring PETRUS performed. Petrus is one of Chuck Mangione's improvisation class groups that has done quite a bit of homework and has turned into quite a jazz trio. The members, Ted Moore on drums, Cordy johnson on Bass, and Phil Markowitz, are the mainstay of the jazz Ensembles rhythm section and not only perform well but write as well also. 75 illus- -sx. iii-S. ks Nw. X - tx t X X -ssc. e- N.. . ss WEEE? me N i V X . I . I g-LAg E I if t V, 55 I be 1 ' 'AsS si , Yfflfk-. A 4 at W , ' ,Q vt .1-, army-5 K f Cn February 6, 1972, Eugene I. Selhorst, associate dean for graduate profes- sional studies at Eastman died. l-le was well known as an organist, composer and music historian and also designed pipe organs. He was chairman of the depart- ment ot performance and literature. In 1055 he ioined the Eastman faculty and became associate dean in 1957. Dr Selhorst was also a member of the American Guild of Organists, the Royal Musi- cology Society, the American Musicology Society, the Music Library Association, and Pi Kappa Lambda honorary fraternity. A memorial service attended by many members of the school was held on Eebru- ary 10th. 76 QA. RESOLUTION CONCERNING THE DIRECTORSI-IIP Whereas, The Director of the Eastma S lr 1 f M - - - filling certain responsibilities, H C OO O uslc 15 Charged Wlth ful- Whereas, In the past two ears f l and carefully filled, Whereas, In recent years, the general physical qgrrdirions under which f ulty and students have worked have deteriorated to the extent that our edu?- tional experience has been severely hindered even though the Director W1 made aware of such conditions by the Student Association, Whereas, An adequate overall orchestral experience has not been provided for the students, Whereas, Most students have been denied any choral experience for a sig- nificant part of this 1971-72 school year, Whereas, No response has been made to numerous student and faculty inquiries into possible improvements in the advisor system of the Eastman School of Music including a detailed recommendation submitted by the Stu- dent Association Council at the request of the Director, Whereas, The treatment of many of the internationally known guests of the Eastman School of Music by the Director has been such as to reflect poor- ly on this school's image in the international music community, Whereas, No philosophy of a choral experience has been established there- by prohibiting proper appointment of a choral director, Whereas, No philosophy of the orchestral experience has been established by the Director thereby prohibiting proper appointment of an orchestral conductor, Whereas, The Director has severely damaged relations between the East- man School of Music and the local Musicians' Union ii 66, Whereas, The Director has ignored the advice of Division I-Ieads concern- ing ensemble placement to the extent that it has contributed to the steady de- terioration of orchestral morale especially in Philharmonia from the beginning of the year, Whereas, The department of the Director has been such as to steadily lose the respect of the school, and, Whereas, The failure of the Director to fulfill numerous other obligations to the Eastman School of Music has caused growing discontent among both faculty and students, therefore, Resolved, That the Director should be relieved of his present position. Resolved, That the next Director of the Eastman School of Music be cho- sen by Eastman School of Music faculty with student consultation subject to the approval of the University of Rochester Administration. Resolved, That no Director should be appointed without the approval of the Eastman School of Music faculty and students. Resolved, That an Interim Board of Eastman School of Music faculty School of Music faculty subject to the Y , aCu ty vacancies have not been promptly members be appointed by the Eastman D approval of the University of Rochester Administration 'to assume the powers and responsibilities of the Director's Office until such time that a new Direc- tor can be appointed. Resolved, That this Interim oar I D 1 f I to find a new Director which will submit its findings to the genera acu ty and to the University of Rochester Administration. 'bil' - Resolved That this Interim Board be ready to assume the responsi I1t16S I of the Directorship upon its vacancy. B d will form the core of a search committee 77 xr 4 I The first jazz ensemblefstudio orchestra tour from March 8-12 was probably one of the most successful tours of the school year. The warm and sunny weather set the organization off to a great start. The first stop was in Cincinnati, Ohio and the ensemble and orchestra played superbly, especially under the cramped conditions of a small high school stage and a very talkative audience. We didn't get to see much of the city because of a very tight schedule, but the success of the concert and a good reception by the people of Cincinnati put us in great spirits for the remainder of the tour. The bus trip from Cincinnati to Atlanta the next day was long but it gave every- body a chance to talk to each other more than they do around school. A night off in Atlanta gave everyone a good chance to see some of the city at a nice relaxed pace. Many people went to see Underground Atlanta, a complex of small shops, restaurants, and amusement shops underneath the streets of Atlanta. The next day almost everyone spent viewing the exhibits and listening to clinics given by people such as james Moody and Alan Dawson, at the MENC Convention. The Studio Orchestra rehearsal with Chet Atkins that afternoon proved to be quite an educational experience although the musical experience seemed to be lacking something. Everyone seemed to survive the rehearsal without losing the momen- tum we needed to play our best that evening. jazz Night, as they call it, started out with an excellent concert by the Universi- ty of Miami jazz Ensemble. The Studio Orchestra played next and played they did for they were very well received by the audience of music educators which many times isn't the greatest audience to play for. Then Chet Atkins came on and stole the show for an hour with some stunning jokes and excellent guitar playing that let everybody realize the real beauty of jazz guitar playing. Due to the lateness of the hour, many of the people in the audience had left but it didn't seem to make much difference to the people in the jazz ensemble for everything that we played felt really good to us and I feel that the audience felt the same way. Next on the concert was Oliver Nelson and the Studio Orchestra. As usual, Mr. Nelson and his fine talents, energy and friendliness sparked the studio orchestra to another excel- lent performance of his Piece for Studio Orchestra and Soloist . A standing ova- tion from a small audience was enough to bring out Chuck to play Hill Where the Lord Hides with Mr. Nelson. The concert was very successful and afterward many went to an Eastman Alumni reception to relax and chat with alumni and University of Miami guests. Bruce Trojan ,l f '73 .6,rf'?i'Q l '- 'iii 3 Ph K , 'V hs r 5 if 'f v. lr lv'-1 w..1 Q' Q ' 525' I in fy 'N'--.....A an-'A 79 1 I H I a i 1 I ,.,u.a..i4-an-nvf Mu. ,fu f, 1 x 1 .,, Y I I 'O if T4 04' Y' Q 3 1 ,GR V ,M .-.4 , 2' .Mfg Qal'-Q Ek: V , MV' , V 1- 1- .'x.,, ,.g W- ., 1 I f A. sv nf 6 II' Xb! Mui S Wx ,, ' , I' ' ' ,M f' ' 6,-f N -n U ww , , 1 x f A 'A f , , X 0, W4 I ' 4 u 1 '-JJ-:W f Q24 A fn' V ,I ,VM- Q bs 'Q fm fl Ss ff 'K i Q- 3' A -af, Q I Q 0 Cf g g. 3 X ' ' ' N... 'S-ww 3 if ii ,. N-f wx-V K , gh ff ? ' I hz I ,QR 7 Q '- s u I. 4 3 A 5 0 i 5 1' V t vo-5. 'g - Q Q. si 2 5 . I ' NRM K , , X. v 0 a , .VW1.1 My 1' f Y 114-N' 7 4 --mn 1 Y jg .A- , X . Q nf' 2 K 5 Qt!! ,f 1 . xg ,f K f wwf K ,V gy X N- Xxx NJWQN ' X f X sax X Q w 5 4 ,ii f is, . X , 1 V 3 531, e , Q x? if ' his ff U' MNC' if 3 N , ?r,YQg Nm 4 ' Ng. . N ,Z W3 N vw 3 X M 5 , 2 f f ,S f 5 f ,, ,, -... ..::.. - -my A A U 'N Nr Fr Esso Philharmonia March 10 Concerto for alto saxophone and orchestra, Opus 26 Paul Creston I. 3X4 Energetic ll. 5X4 Meditative III. 4X4 Rhythmic Norbert Buskey, alto saxophone Soundscapes for orchestra and electronic tape Wayne Barlow Mists Clouds Constellations Sunburst Wayne Barlow, conductor Circle for orchestra Alvaro Qassuto Bruce I-langen, conductor Romeo and Juliet, overture-fantasy for orchestra Peter Tchaikovsky On Waiting for Tape and Orchestra bv lN'avne Barlow The central problem in writing SQUND- SC.-XPE5 lav in achieving a satistactorv blend ot live and svnthesixed sound. ln this work the problem was severe because the tape part contained no concrete sounds - no modified instrumental sounds. tor ex- ample. lt such had been the case, there would have been a lcind ot built-in attinitv ot sound: however, l decided to accept the challenge ottered in the mixing ot totallv synthesized sound with the orthestra and set to worls looking tor ways to bring the machine-made sound closer to the natural model. Live sounds have a certain degree ot ran- dom ciualitv. By wav ot illustration, listen carefully to the tone ot an octave struck in the bass register ot' a well-tuned piano, The bass strings are rich in harmonics, and the- oretically a number ot these harmonits as produced by the two notes ot the octave ought to coincide exactly. ln realitv the stiffness ot the strings causes the upper harmonics to go progressively sharper, but in dittering amounts tor strings ot dit terent diameters. The result is that there is a great deal ot random beating between upper par- tials that are somewhat out ot tune with each other, and no amount ot ettort spent in tuning can eradicate the beats. And as a matter ot tact, it the beating could be elimi- nated, the sound would be iudged to be dull, liteless, and mechanical simply be- cause it would be too pertect. Other souces ot random imperfections include the tran- sient noises associated with the onset ol' vibration of strings and air columns. In order to achieve some degree ot live quality, the tape part ol EJUUNDSQ AI'lQ5 contains a considerable amount ot deliber- ately introduced random imperfection ot the sound material. This was achieved by introducing random beating ot some of the components ot tone clusters, by ring modu- lation ot many of the sounds, by using the studios new sequencer to generate wide- spectrum sounds with non-harmonit par- tials, and by overlaving many ot the sounds with filtered white noise. I was pleased, therefore, to have people tell me alter the pertormance that they were often unable to perceive the transitions lrom live to syn- thesized sound. Bruce Hangen rates a student status as tar as the school is concerned but the students value him much more highly in his conducting capabilities. Bruce has led numerous student groups over the ldbf few years and was the conductor For the most' successful Zeitgeist this year. Al- most always the first to be asked, Bruce is seen conducting most of the larger ensemble pieces on student recitals also. Conducting the Cassuto premiere with Phila-ESSQ, Bruce had one of his few chances to conduct an orchestra. Bruce works with a great sense of humor and always comes up with a good perform- ance., We wish Bruce the best at Tangle- wood and in the future. Rudolf Serkin March 15, 1972 Eastman Theatre ALL BEETHOVEN Sonata in C Minor, Op. 13 f Pathetiqu9 l Crave - Allegro di molto e con brio Adagio cantabile Rondo: Allegro Sonata in E Major, Op. 109 Vivace, ma non troppo - Adagio espressivo - Vivace, ma non troppo - Adagio es pressino - Vivace, ma non troppo Prestissimo Andante molto cantabile ed espressivo Ccon variazionib Sonata in F Major, Op. 10, No. 2 Allegro Allegretto Presto Sonata in I3 Minor, Op. 57 f Appassionata J Allegro assai Andante con moto Cvariazionij - Allegro ma non troppo - Presto Conferring of Honorary Degree i Citation Few musicians can emulate, and none can hope to excel the career of Rudolf Serlcin, celebrated concert pianist, noted teacher, Director of the Curtis Institute of Music in Philadelphia, President and Artistic DireCt0f of the Marlboro Scho I fM ' - ' ' ' f ther of a talented family. Bom in EEST, Bohemia, Rudolf Serkin was educated in Vienna during H1959 YGHYS when it us the cultural capital of the world, and there he came to know intimately both the traditional and the avant garde in music. H6 made his debut with the Vienna Symphony at the age of twelve. Five years later' bmder the aegis of Adolf Busch, he began his remarkable concert'Ca- reer' EUS? appefifillg in America in 1933. Each ear he tours the United o o usic, part time farmer in Guilford, and fi Y Statesj P15 adopted country, and he plays frequently in Europe, South Ameffw, Iceland, Israel, and the Orient. Rulggtii alone' of our most profound, sincere, and magnetic interprefefaf u er in is an inspiration to thousands of listeners and studentS- Uns If hl ' - 9 1? Y dedicated to the benefit of others, he has been a member of the C - - . . . . ' , - darllc1iKCOmm1SS1on on Educational Television and is now Vice PICSI en o 0 ' - K 'ang Audiences. For his outstanding service in the cause Of good music, President Kennedy honored him with the Presidential Medal of Freedom, 86 f 2 f ,f ffm-,M 4 1 Wg 2 ,, ul dwwnwfmffff-f'W fnvmrguny, , , ? ' 2,73 S .ml ,-qv-w--H -C ff shit , Q , , I, V . qi f 7 W9 6 , if A M:-' ' 4 .il- 1. , f7'Ywh'QYy.. N .'l .H-'ani P fm .,,, 4-I-HKQ4 - Q-.,,. 5 113 's 'S ' -.. -lui .,.-, v 5 l I 4, : . bf. I' 'G Symphony Band March 17 1972 Program MARCH In Storm and Sunshine I C Heed SYMPHONIC VARIATIONS MOYUS Halgh Theme 1 Allegro x ivate .2 Moderato con moto .3 Allegro x ivo .4 Allegro molto e giocoso '. .5 Lento Finale: Allegro con brio FURIOSO Monro Sherrill Norbert Buslcey, Conductor LONLhRTO FOR PERCUSSION AND WIND ORCHESTRA Toshiro Mayazumi Timpani: john Serry Malcolm Brashear Percussion: Parker Sherwood james Iucld Ronald Class Leigh Stevens Lamont Downs, conductor SN MPHONX FOR BAND Robert Washburn Andante - Allegro moderato Adagio non tanto Allegro ritmico Geoffrey Richter, conductor IRISH SLJITE rite om 1 ren Behind Me Leroy Anderson The Irish l'X'asherwoman The Minstrel Boy The Rakes of Mallow 88 5 1- .4 A ,rv-.. F' 5i ,, , 5 J Soprano Janis Hawkins Anne Greenwood Rachel Gladstone Linda Larson Kathleen Arecchi Linda Skros ki Robin Eaton Julianne Cross Melissa Miles Sara Bloomer Deborah Bendixen Janet Obermeyer Doreen DeFeis Julianne Baird Alto Nadine Pelle Kathryn Medici Jean Greig lrene Wirshem Letty Snethen Lois Martin Joyce Beytin Violin I Ronald Gorevic George Larson Elizabeth Morris Violin II Mark Reedman Catherine Barnes Anne Baldwin Viola Judson Griffin Nancy Uscher Allie Ritter Violoncello Yvonne Caruthers David Boyle Continuo Erich Schwandt p.nl' 'JV-Y' Tenor Carl Biclcel Michael Rechel Avery Tracht Jan Simpson Wesley Hanson Bruce Bell Bass Daniel Larson Scott Wilson Wayne Ward Larry Hochman Richard Reif Dennis Maxfield Robert Rowland Lamont Downs Flute Adah Toland Glennda Dove Oboe Stephen Secan Shelley Woodworth Aline Miller Bassoon Alan Denike Marybeth Griglak Horn Richard Decker Trumpet Vincent DiMartino Allen Vizzutti Allen Bachelder Timpani Noel Gover High Mass In B Minor By Johann Sebastian Bach March 20 Soloists Judith Diclcison, soprano Cecile Wright Saine, soprano Mary Henderson, mezzo-soprano Booker Wilson, Jr., tenor Ralph Griffin, baritone Alexander Stephens, bass-baritone Conductor John Balme gs 2 We Have Met The Enemy And They Have Yawned. Mr. Wallis, why do you find the proposals by the Eastman School students and faculty so irresistably boring ? A University is made up of administration and maintenence Don't you think anything is wrong? Of course not, look at the reviews. The critics were kinder than they should have been and they did make a point of our being a student orchestra. You must think the critics are a bunch of ninnies ! Pardon? A university is made up of administration and maintenance Third Annual Symphonic Wind Ensemble Conference 5 F' The Third Annual Symphonic Wind Ensemble Conference was held on April 6-7-8, 1972. Over seventy- five college band directors, music industry representatives, and instrumental performers attended the var- ious sessions held in both the Eastman Theatre and Kilbourn Hall. One of the most important features of the conference was the assemblage of professional musicians from all parts of the country while the regular school year was in full activity. The Wind Ensemble performed in three specific literature programs in addition to an open rehearsal and a gala concert in the Eastman Theatre. The first of these, the Conferences opening session, featured music for the orchestra wind section and included among other works: Shadow Wood by Warren Benson and Verne Reynold's Scenes. The second session centered about the concerto for piano with wind accompaniment, during which Rebecca Oekerman was soloist in the Concerto for Piano and Winds by Robert Starer, and Kimberly Schmidt was soloist in the Stravinsky Concerto for Piano and Winds. Dr. David Whitwell, nationally recognized authority on eighteenth century Viennese wind music, pre- sented a program of heretofore unknown wind music for various instrumentations of the eighteenth centu- ry wind band. On Friday evening, April 7, the Wind Ensemble with guest conductors Frederick Fennell, David Whit- well, Frank Battisti and Henry Romersa, presented a gala Fiftieth Anniversary Concert, which included the premieres of Howard Hanson's Dies Natalis II and A Nostalgic jazz Odyssey by john T. Williams, both of which were conducted by Donald Hunsberger. Frederick Fennell's appearance with the Wind Ensemble marked his first since he left the school ten years ago. Saturday morning's program featured the Cireater Rochester Youth Wind Ensemble in a program of works for the secondary school level performer. Frederick Fennell and David Whitwell joined Dr. Hunsber- ger in conducting this session. That afternoon, Norbert Buskey conducted the Symphony Band in a session of original compositions for the Biannual Eastern CBDNA Compositions Competition. The work selected to represent the Eastern Division at the CBDNA N ' ' ' ' tl ational Conference in 1973 was Symphonic Varia ions by Morris Haigh, a current doctoral composition student at Eastman. 92 Donald Hunsberger W'nd Ensemble, th , Com etin fOiSEaSiIZg?iSpfsgfeiigglgniyrhittled down that imaginary difference b t Ph l G Ween i ia and it- slef 1 p g p - p is grou t t . P S a us and certainly equaled Phila if not surpassing it. Q Eastman hosted in early April the Third Annual W. d E in nsemble Conference and gave Wind Ememble 1 chance to show its wa , E ' - - . h res xposing itself in five critical sessions the group erform d l 5 . Q t ll f om . t- dr . . a in wind octets to the soth Annivers C f. p A ex reme y we r sigh re g ary oncert whef t e 1 performed under five different conduc- tors in one evening. Though the large number of Com t d was difficult to grasp the essence of so en rate Sessi me of the i , P eces for the performers, Wind Ensemble once and for .ull on . . s were strenuous and tiring and it er seventy- ed the var- icians from zrformed in ie Eastman section and The second 1 Oekermafl aloist in the music, Pre' fenth centu' David Whit' dine both of Ld Ensemble include lmsl ram Of prog ir Humber' in 3 sessiilg i led? 0fl4 99 ' - ' s ic Variation I Hurwberger disspelled any thoughts of it being the number two group th- IS year. stman Wind Ensemble and 5Cenes was completed in March 1971 and was written especially for the Ea l ' d ection four percussion players, piano and celes- Donald Hunsberger. It is scored for large orchestra win s , 1 ' ' h h le ensemble, others for smaller ta- There are seven scenes, played without pause, several using t e w o l dt chnical construction is generally serial although gf0UP1f1gS, and some for solo instruments. The tona an e not to the exclusion of such things as jazz rhythms, improvisatory sections, and other devices not yet la- beled. The main intent of the piece is to provide 'scenes' or settings in which wind and percussion instru- ' ' d essive qualities. ments can most effectively ma ke use of their colors, tenhniques, an expr Verne Reynolds 93 C0 CER O CONC SID EY HART MO DAY Classic Concerto Merrily, with snap Very freely ln broad style PROGRAM David Smith Puppenspiel 2 per Flauto e Orchestra Fenwick Smith Concerto for Violoncello and Orchestra Moderato Allegro appassionato Tema ed improvvisazioni Catherine Le-hr Concerto for Bass Trombone 8: Orchestra, CN 176 119641 Adagio Allegro Adagio come prima Cadenza Fugue tAllegr0l Toccata Festiva, Opus 36 Arthur Linsner David Runner Leo Sowerby Franco Donatoni William Walton Thom Ritter George Samuel Barber 94 W'w,t I craig f 1 2 1 I ,M , li -., . 9 ,.. A x ii4' :'-buff . 3.19 kill 0 unite fb U ,010 Sfivsq April 9, 1972 Instead of a Musical Picnic this year, the Concert Office decided to celebrate the 50th Anniversary Year in its own special way - a day of Candle- light Musicales. Using more than one hundred Eastman students, the Con- cert Office provided over twenty Rochester homes with small chamber ensembles. A large birthday cake was donated by the University of Roches- ter at each home. Either a meal or a buffet with just snacks followed the performance depending on the house as the students had an opportunity to honestly answer questions on the state of the school. 7 Y F ,z nz' gf I Q fs 'IS f witiwlvssi 921 W' In April, Musicologists from all over the world gathered at the Eastman School to share the fruits of their research and to discuss problems in the world of musical scholarship. Stu- dents and Faculty alike found our guests eager to talk about almost any aspect of music - performance, editing, compos- ing, etc. Many questions were posed and answered at the formal sessions as well as during the informal cocktail hours held daily at the 111 East Avenue Hotel. Nearly all the papers were illustrated by recorded excerpts prepared especially for the Symposium - everything from field-recordings of Bulgarian ladies singing to sixteenth-cen- tury choral dialogues. Two of the participants. however, re- ll l I l WL. quested live performances, and Eastman students obliged with stunning performances of 14th century Mass move- ments tprepared by William Mahrtj, and some elegant troped Gregorian Melismas tworked up by the Gregorian Chant Choir, under my directionj. . The participants all remarked on the large number of stu- dents who attended the sessions and on the excellent ques- tions they asked our distinguished guests. They were also pleased by the high calibre of the live performances and re- hearsals they attended. 4, 4, Erich Schwandt The l of dist V cinatii 1 was a opener 1 day tl 1 moil. thing Chang. Sembl WSIS 1 had rf and q itself? Was E for th l i I l -E The Third Symposium suffered not from a lack of distinguished participants nor from a lack of fas- cinating lecture subjects. The Third Symposium was a victim of a school in turmoil. The Symposium Opened Wednesday the 12th of April, the fateful day the Rochester press reported the school's tur- moil. They couldn't hope to compete with some- thing like that. They did get a break and had a chance to hear not only Zeitgeist but also Jazz En- Sernble and Philharmonia. All three performances were some of the year's better ones. Philharmonia had responded well to Bruno Maderna's conducting and composing for the week, The Symposium itself? Well, for those that got a chance to hear it, it WGS fascinating - though at times a little academicg for the rest of us, Eastman's crisis took precedence. PROGRAM Eastman Iazz Lab Band composed :Sz arranged by Mike C b' LITTLE DIPPER aru ia TOGE-I-HERNE55 composed 8: arranged by Keith Foley SOMETHIN' use Composed 'Sl affaflsed by Bill Watson KILLER JOE composed by Benny Colson adaptation by Ianice Robinson SORRY JIM composed Sn arranged by Lance Rubin MORE TODAY THAN YESTERDAY arranged by Ion R d Eastman 8 Way Eastman jazz Ensemble B 3,21 1, 0 y composed 8: arranged by Oliver Nelson Chuck Mangione, Conductor IT MU51' BE A CAMEL composed by Frank Zappa arranged by Gordon johnson BILLIE5 B01-JNCE composed by Charlie Parker arranged by Charlie Lagond E BQY WITH TOYS composed 8: arranged by Chuck Mangione PIECE FOR SOLOIST AND IAZZ ENSEMBLE composed 8: arranged by IackE d Jazz Ensemble 14 Run, S H Chuck Mangione, Conductor un Rest III. Shout Iohn Beck, soloist Jack End, conducting PAPA CHU CI-IU composed 8: arranged by Ted Piltzecker SIMPLICITY composed Sn arranged by Doug Walter DOWN BY TI-IE RIVERSIDE Traditional arranged by Oliver Nelson l 98 w -'auf-Lu ,af- f X-Flies' ev I I l ' Xxx: 'I LK- rke Cambia Keith Foley Bill Watson lnny G0lSon Ee R0bl1'lS0n Lance Rubin ION Radway ,liver Nelson Frank Zappa don johnson lharlie Parker aarlie Lagond ck Mangiong 31 bi' lack End Ted Piltzecker 1 Doug Walter Traditional Oliver Nelson aj' Repaying its debt to him for having gotten the group officially started, the Jazz Ensemble led lack End in his soth Anniversary Premiere of his piece for Soloist and Jazz Ensemble on April 14 and 15th with the composer conducting. Mr. Beck ably supplied the solo trap set and timpani parts. Sounding a bit dated pro- grammed next to Ray Wright's students' latest arrangements, the piece was en- hanced by Mr. Beclds professional playing especially on the timpani cadenzas. As usual the Theater was packed both nights. Funny how the Iazz Program got the extra alumni concerts this year. But it did give a chance for some more excellent arrangements by Ray's students to be performed and con- tinued to demonstrate the popularity and success of the Contemporary Media and Jazz Studies Department. burden of playing all the 99 Eastman Philharmonia Bruno Maderna, Conductor April 16, 1972 PROGRAM IBERIA, Images Pour Orchestre No. 2 Claude Debussy I, Par les rues et par les cheminS II, Les parfums de la nuit iii. Le matin dim iouf de We BIOCRAMMA Bruno Maderna IWorld premiereb FIRST SYMPHONY, Opus 38 tSpringJ Robert Schumann I, Andante un poco maestoso - Allegro ITl0lt0 vivace II. Larghetto III. Scherzo: Molto vivace IV, Allegro animato e graZi0SO W' -afrs 1-di QUIK 'UP' In BIOCRAMMA Bruno Mad h i , , erna as sought to realize in music the lim itless dimensions existing in one obiect or abstraction. There are three contin uous sections - A, B, C - based on the same material in contrastin ' s , . - - or OH Canva ' - feels that any work set down in musical notation, IH Words' - ' - develops its own form. ln paraphrase, all forms or Varian ts of Organiiiation . . be recognize ' , , 8 Organi- have alwa s exist d, t t be d scovered as new but oI1lY to I 5 zation. Mr. Maderna describes the overall mood of the work as one of alive- Througlhout BTOORARAMA all sound Ipitchj is fixed. Little frfeiffsagn ness , evolving mainly from the knowledge that it was being writt f II I ' ' the duration o Cer 31 Young people and to be Performed by' them, en or a owed the players except Occaslonal leeway In tlv at the ' , b t these are IT105 BIOCRAMMA does not employ standard musical forms. Mr. Maderna Sag? and the order of notes In other passages u con uctor's discretion at the moment of performanfe- 100 I jus' I of I 95- a F R04 C ora trei ent I wee of I sce bar i inis Eas 'I out one I ver per I mil wht nor l Slri cal exq Onlj E lv 1 Ibe, I Wis S011 7 Canvaii I on . 5' forganillllol O I a erecogftllt it Little fl are mo 5 , freedflmaqi gain P ' OI Cell, gl the Not every concert can make a point, musical or otherwise. Music often just is , good, bad, indifferent. In addition to making some telling musical points that verged on the edge of inspired, the Italian composer-conductor Bruno Maderna conducted the 95-piece Eastman Philharmonia yesterday afternoon in Eastman Theater in a program that sharply defined three points which frequently affect the Rochester musical community. One: Maderna's own Biogramma, one of 22 commissions in commem- oration of Eastman School's 50th anniversary, strongly pointed to a strong trend in the contemporary music so frequently performed but so consist- ently ignored here: the crafting of accessible music. Two: Maderna's conducting, after only five two-hour rehearsals this week, proved that communication between conductor and orchestra is one of those elusive, intangible things that, when all goes right, musicians tran- scend themselves and great ideas emerge between notes, staves and barlines. Three: The artistic success of a concert like yesterday's cannot be dim- inished much by the small number of people tabout 3005 scattered through Eastman Theater on a rainy afternoon. The Philharmonia responded to Maderna's piece and presence with some outstanding solo work and the kind of professional rapport which leads one to Point Two. With all the pressure of numerous concerts for their school's sorh anni- versary, Eastman Philharmonia players have had little chance to learn and perform works in the standard orchestral repertory this season. In both Claude Debussy's three-movement Iberia and Robert Schu- mann's Spring Symphony they got a chance to work with a conductor who was more sympathetic to them than to all the musical values more normally associated with these two standard works. The first movements in both tspecifically, the section called In the Streets and Byways and the fanfare prefaced Allegrol seemed a little clini- cal for my taste. Not that Maderna did not fire them with energetic, even exquisitely rounded rubato and all the care that a lesser conductor could Only think about, let alone muster, But the Debussy was too much a literal slice of life approach, not near- ly languid enough, too lusty to evoke the state of mind associated with the Iberian peninsula as Debussy conceived it. 'The closing figures to the first theme group in the Schumann were like- WISS 500 intensely driven to allow them to spread a graceful umbrella of Soun , if f -WFWEYJ. ' A Q All In spite of these minor critical carpings, Maderna roused his youngimu- sicians to frequent musical heights that, over a year's careful observations, are much too infrequent. Members of the Philharmonia obviously respond ed strongly to Madernafs confident but deferential manners toward them and his striking well-prepared musicianship. q V And as for Point Three? Obviously, with high-quality music offered in a free Sunday afternoon concert, those musical Rochesterians who thunk they have stayed in out of the rain, haven't. Theodore Price Democrat and Chronicle 101 a E ? 3 5 5 s 2 3 E s 2 3 2 2 2 s E a 2 5 5 5 E 5 2 E, sq 51 E 'i. W 5, 5, X ii S i 5 5 5 2 5 5 5 s Q e 3 R E Q F f Maderna was here. That was one of the really bright spots of the year. Inside this one man there is more .t .t . vi a 1 y, excitement, and love of music and life than astman for a long, long time there has been around E He stood Philharmonia on its ear for the entire time he was here. Musicrnalcing with passion: a good lesson for all of us. W 'Committees, committees - we must have commit- tees lf!! when in doubt, form a committee and if you're lucky, by the time the committee forms a report the problem will have disappeared. Then you can ignore ,the committee. l?et's look for a dean of faculty. We don't need a ,deanwof faculty, but let's look anyway. lt'll give us something to do while waiting for Godotf' W' , , newspapers got the story! Boy, was Mr. Wallis Someone found out that underneath the dirt, Eastman feally does shine. Vilallis, don't you think there are some sub- 5i51targgtial,g,reasons for the activities going on at Eastman ? i - I , . . - ll f Aun1vers1ty is made up of administration. X X X X 103 Sixth Graduation Concert With Orchestra Eastman Philharmonia fin K ,fi ff.: ls- x April ZZ Program Concertino for Marimba and Orchestra Opus 21 paul Cresto n Vigorus Calm Lively Ernest Muzquiz Adagio e con molto sentirnento Leggero e soave Adagio del pr1nc1p1o Tema Andante semplice Var Allegro animato ar I Spumante Var Amablle ar Andante I'SC1f3t1VO ar Allegro ma non troppo Max Mogensen Concerto No.5 in E-flat Major, Emporer , Opus 73 Allegro Adagio un poco moto Rondo: Allegro ma non troppo Thomas Muraco Ludwig van Beethoven Concertante for Clarinet and Orchestra Norman Dello Joio ll. : ' ' , l: ' V . I: , III: ' ' V . IV: ' ' V . V: vr nf - Q: ,X V' xii' Si . 'G xr 'V '1 lO-4 - all of I nifi Wet loh by 1 Ma Sch Ei QQ S d r in which he played Paure's Ballade for piano ny e , . H - Creston lell0 loio ieethoven One of the brighter things that happened to Eastman this e y ar was John Balme, the Royal Conservatorys ex- change student to Eastman. Not letting his one and only conducting lesson get him down, john organized four impressive concerts this year. Asked to conduct the Christmas Sing by the Student Association Council, john conducted the Bach Magnificat. This was followed in March with the B Minor Mass. In I and a concert with Barry Snyder rounded out the four. Iohn did an excellent job utilizing rehearsal time and bringing clear and intelligent interpretations to these dif- ficult works. Those lucky enough to be asked to play under john were treated to one of the better musical expe- riences this year. May St. john's Passion Rf l , l This year, Eastman has had what amounted to an unofficial Bach festival. The prelude to this meal of Bach was the Christmas Sing at which the Mag- nificat was performed. The two largest COI'1C9ft5 were the B Minor Mass on March 20th and the St- l0hn Passion May 13th. The Mass was Performed by the same volunteer group that had Performed the Magnificat. The Passion was performed by the School Chorus. The series closed on Mai' 15th Wlth a concert of chamber concertos, Pl3YeCl by Barry and orchestra Opus 19, M0Zaftl5 Hllttle A Malor K 414 and fittin8lY Bach's D minor concerto. AS 1 1- the En lish Exchange student from the Royal C0 l fgmusic in London I have had a marvellous ege o , d doubt ear here conducting H1959 Concerts' an .mi f r lin h '11 be banned from the choral curricu um O EIC W1 some time to come! john Balme 105 --1 fb' .QQ N 'A nm '--I ff 'Q l .aqui ' ml :.- 4-ll' izqnivlln lvUlll'.'.' Ami. -- :T- .AIIIV ' .igm - :. -Q aim' . .anugm - ll 'nl' 'i .nml:' -l ' .inn '. 'QQ Tl ' '. we .. H5 fb ii' FV ::.,,.::.:l::. qll' . MII .au ,Q'l :.- Q,- L.e1tge1SI In lV1uS1C A Contemporary Chamber Ensemble DIRECTORS: Henry Gwiazda, Bruce Hangen, Louis Karchin, Morris Rosenzweig. Title Sequenza V String Quartet Probablistic Theatrel Consortium ll Improvisation sur Mallarme I Ensembles For Synthesizer Valeria Double Quintet Eleven Echoes of Autumn, 1965 lmprovisations The Emperor of lce Cream Modus Caelestis tConsortium IIIJ Concerto Da Camera Sonata For Piano Eight Songs For a Mad King Contactics Svnchronisms Ill The World is Discovered Kurzwellen Composer Luciano Berio Earle Brown Iocy de Oliveira Joseph Schwantner Pierre Boulez Milton Babbitt Toru Takemitsu Gunther Schuller George Crumb Eugene Kurtz Roger Reynolds joseph Schwantner Gunther Schuller Edgar Valcarcel Peter Maxwell Davies Udo Kasamets Mario Davidovsky Harrison Birtwistle Karlheinz Stockhausen . Y , ,, , nz as wx ww N, X 4, L 3. ,, . ,, A 'Q-Q Bang! struck a spooky chord of piano, whistles, violingmarimba, balloons, pa- per bag, bass, clarinet and drum as if to vibrate and distill death from the very air I . . You call that music? . . . They had tried, in a series of five concerts, to bring good avant garde music and interesting energetic performances together for their audiences, and they had largely succeeded . . . The extraordinary music of the eve- ning - a hair raising experience that still haunts me this morning and, I think will haunt me mornings after whenever I hear it again . . . I-low do you listen to this music? . . . I felt pretty good about the music I had experienced. I smiled. I guess I was learning . . . I think the problem with this music is that it depends on the au- dience more than the performer . . . Do not be discouraged if you encounter nega- tivity on the part of some people. Societal resistance to change is one of the trage- dies of the human condition . . . Zeitgeist is a gas . . . Skoog, I-langen and compa ny brought down the curtain on this year's Zeitgeist in Musik series with a 30- minute emotional crash, no whimpering, brilliantly sweeping all other premieres, 50th anniversary and all, aside. Theodore Price 7 1 s I , ,N as , Qs. fx, b Sf om u fy? N3 ..,K,4f, , fi Palstaff April Z8 April Z9 4 n-gf I fi? , , 'AEQS' I IK41 1 Q W, if W5 42 Z 25 Jf 1 f 5 f, 'i I 34 ffiffifir Isaac Stern May 3, 1972 Sonatensatz Johannes Brahms Sonata in B flat Major, K. 454 Wolf gang Amadellff Mozart Larto - allegretto Andante Allegretto Sonata in A Minor, Opus 105 Robert Schumann Con pas sione Allegretto Vivo Rhapsody No. 2 Bela Bartok Lasseu - friss Four Romantic Pieces Antonin Dvorak Caprice No. 24 Nicolo Paganini Arr. by Karol Szymanowski -.Xi US Mozart 1 4 L zymanowski - Q mposium Cn The Support Cf The A Silence greeted the entrance of the distinguished gentlemen on the stage of Kilbourn Hall. Silence born not out of protest but silence born out of apa thy and absence. This was the open ing convocation of the Fourth Sym posium. It was fairly easy to trace the decline of the soth Anniversary Year and this austere ceremony with Issac Stern and Samuel Rosenbaum receiv- ing honorary degrees to a scattered handful was but another erosion of the rock or what was left to it. The list of participants was once more impres- sive but unfortunately neglected. There was no orchestra concert for the guests. There was no crowded Cutler Union auditorium for the guests There was only a handful of faithful few that attended the sessions at the 111. It was a little sad and sickening if you thought about it too long. 114 L . 1 I f, 5 if 1' where are they? the students the students xi LQ ew . 115 'A ga mv Since her appointment to the Eastman taeulty. Mrs. Lynn Rosen has continued to draw increas- ingly greater numbers ot students to her dr.nn.i and Speech classes. Using their tree elective many students are taking the well-taught course to help broaden the scope of their education. Drama ll presented the melodr.nn.i, Bertha, the Beautiful Typewriter Girl late in the school Year. Yillian and heroine alike were hoinharded hx' lvlarshmellows thrown hy the exulierant .rudi- ences. The proceeds from the sale ot the marsh- rnellows was donated to the Student .-Xssotiation which immediatelv set up the 'AM.n'sliinellow Funclf' with which it hopes to continue to pro- mote progress within the school. Beer Blasts At Eastman The era of the Beer Blast seems to be fading but two or three times a year the students at Eastman through the sponsorships of class- es and SA put aside some weekend nights to drink and dance the night away and forget about their prac- tice rooms. With the ingenuity of its leadership, the Class of '72 and SA sponsored two good blasts complete with Viennese Ball, Road- runner cartoons, silent flicks and German knockwurst and potato salad. Bruce l-langen, conducting a rather inebriated orchestra and not doing too badly himself, helped the tun along with s tions and bad music. For Eastman's sake, let's hope the beer blast is here to stay for awhile. ome good imita- X fw f i fx , f' 2 ,. f M I . 'E f:,,5mf , . ' , fy 7, WHS' .f , A ' em 2' W ' ' Ml Nfflmfi : U , Eli' ' , wwf A . A A ,ML X, ,W9 ' Senior Party -Q he ya C fo a w al, 11' ti Ox di ce I1 W d fi S1 s, li ti Sw tc Democrat 8: Chronicle Rochester, New York Thursday, May 25, 1972 H ndl uits Eastman School Po t By MARK STARR Walter Hendl has resigned as director of the University of Rochester's Eastman School of Music effective immediately. In a letter to the university's chancellor, W. Allen Wallis, the 55-year-old I-Iendle said he was resigning for reasons of health. Hendl, who has been the school's director for almost eight years, was unavailable for comment. Hendle wrote the letter of resignation from the Women's Christian Hospital in Jamestown where he'd been a patient for 10 days. I-Ie had said earlier he was undergoing tests and a complete physical examination. The hospital said I-Iendle was to be discharged yesterday and he left orders refusing all telephone calls. Chancellor Wallis said that the resignation was accepted because concern for Mr. I-Iendl's health left no alterna- tive, and that assistant director Daniel Patrylak will take over as acting director. He said the search committee that has been seeking a new director of faculty for more than two months will now con- centrate on locating a successor for Hendl. The candidates for the dean of faculty position have been narrowed to a viable list of under 15 and involve people who would certainly be under consideration for the school's directorship, said Dr. Samuel Adler, professor of composi- tion at Eastman and head of the search committee. Adler said he hoped the committee could recommend a successor very, very soon. We've been working at a breakneck speed, he said. Judy Brown, director of public relations at the university, said the directorship search has top priority, but no dead- line has been set. They're not going to let their choice be influenced by time considerations, said Mrs. Brown, who added that any search for a dean of faculty will be put off until after a direc- tor is selected. 121 She said there was no indication whether Hendl would retain his professorship in conducting at Eastman. Dr. Oscar E. Remick, president and director of program at the Chautauqua Institution, said he expects Hendl to be there to conduct the Chautauqua Symphony Orchestra this summer. The first scheduled performance for the sympho- ny, which Hendl has conducted for 19 years, is july 15. I just hope he will want to and feel that he will be able to do it, Remick said. Patrylak, the acting director, said no major problems have been created nor major changes contemplated immediately due to the resignation. One of the highlights of school activities during Hendl's tenure has been the school's soth anniversary festival dur- ing the last year. A number of works were commissioned especially for the festival and had their premieres here and the school has held four special symposia. The resignation came after a stormy year for Hendl, who assumed the school's directorship on july 1, 1964. On March 2, he resigned as musical advsior to the Roch- ester Philharmonic Orchestra citing dissatisfaction with the way the Civic Music Association cast his role in the firing of four Philharmonic musicians and the placing on proba- tion of a fifth. He also claimed he was seldom consulted on choices for guest conductor and soloists or on programming. Eleven days later, the Eastman School Undergraduate Association issued a six-part resolution calling for the re- moval of Hendl as the school's director. Arthur Stidfole, student association president, was not available for comment yesterday, and student vice president Richard Decker said he preferred to withhold comment. Before assuming the directorship at Eastman, Hendl had been assistant conductor of the Chicago Symphony Orches- tra for five years and musical director and conductor of the Dallas Symphony Orchestra for nine years. . I mills?-Qlilizfzrzvv I 1 4 .v. ,YN , 1 . . r S V H Q B' E- .syf- i - Class Of 1975 SMI Brader, Kenneth Earl Braithwaite, Nancy J. Brashear, Malcolm Scott Daniels, James Bennett Downey, Timothy Paul Glass, Fern Alice Hester, Michael Robert Hower, Robert C. Hull, Mark Edgar Jones, Robert Paul Judd, James A. Krueger, Lucy Beth Large, Wendy Jean Lyden, Rebecca Ann Morrison, Audrey H. Padden, John Joseph Painter, Susan Virginia Palumbo, Michael E. Pancarowicz, Raymond Joseph Pendergast, Jill Christine Plummer, Robert Gregory Riddick, Keith Lawrence Seeman, Ernest Alfred Smith, Albert Dallas Studier, Kurt Allen Tarentino, Michael L. Toyama, Thomas Ichiro Urban, David King Van Scozza, Peter David Wirshem, Irene J. AMU Aitizer, Dennis V. Babock, Bruce Alan Baldwin, Anne Elizabeth Battan, Suzette Mary Bendixen, Deborah Ruth Boyle, John David II Brashears, Richard Clay Brocks, Rhonni Joanne Burden, Douglas Randall Cooper, Michael Paul Costa, Carmen Carl Cox, Jeffrey Reeve Creager, Carol Louise Currier, Penny Beverly Sheridan Dornbusch, David M. Dougherty, Nancy Jeanne Downey, Timothy Paul Dranch, Gary Steven Dreher, Stephen Michael Edgerton, Sara Ann Foley, Keith Sheldon Genovese, Judith A. Gladstone, Rachel S. Grant, Donna Louise Grennler, Patricia Arline Greenwood, Charlotte Anne Greig, Jean Elizabeth Grindrod, Marguerite Jo Gustafson, Cynthia Patrice Haseley, Peter Louis Hawkins, Janis Elizabeth Held, David Edward Hicken, Leslie Wayne Hinds, Nelson Grant Hockett, Carey Beth Huling, Diane Kathleen Hutter, Patricia Lee Iannotta, Victoria Jacinta Jezurski, Diann Kapell, Andrea Edith Katzowitz, Adele Simone Kohno, Toshiko Koloszyc, Maria J. Koppenberger, Karl Edward Lalumia, Joseph Mark Lorber, Connie Medici, Kathryn Anne Mishelow, Carol Anne Mitchell, Mary Emily Morris, Elizabeth Anne Nieske, David George Nixon, Merrill Keith Nolan, Bruce Joseph Paton, Peggy Jayne Pelle, Nadine Frances Pfeifer, Margreet Elisabeth Prores, Lawrence Morris Rapp, Stephen Paul Reif, Jr. Richard John Reynolds, Kathleen Louise Ritter, Allie Louise Roberts, Barbara Ellen Rowland, Robert Byron Saxton, Linda Beverly Schull, Jeffrey Michael Serry, Jr. John Sherwood, Parker Bennett 3rd Smith, Gregory R. Snitman, Natalie Miriam Spinks, Gina Elizabeth Steva, Diane Rose Stevens, Leigh Howard Stipelman, Rena Sharon Taussig, Christine Diane Tomecek, Jeffrey James Tracht, Avery Joel Vandura, Mary Beth Vaughn, Sue Anne Vaverka, Julie Anne Wagoner, Cynthia Lucille Webber, Bruce Milton Wyszomirski, Franke Gregory Zimmer, Donald Robert SMG Brueckner, Susan 124 Friedman, Janet M, Giampa, Lori Karen Keithley, Judith Ann Kelley, Craig Martin Maxfield, Dennis Clark McCooey, Daniel David Medley, Karen Eileen Musiker, Marilynn Mara Omalley, David John Usborne, Nancy Ellen Sandler, Cindy Nan Shrut, Arlene Ruth Skroski, Linda Ann Weldy, Carol A, HMU Bloomer, Sara Beth Miles, Melissa Anne CMP Andrews, Patrick Ray Clark, Deborah Elizabeth Crane, Bernard Robert Hochman, Larry Berman Krush, Jay P. Ratcliff, Cary Reed Rubin, Lance Michael TH Hindin, Joe Selig Loring, George Gardner Class Of 1974 AMU Barnes, Catherine L. Beal, Wesley Evan Brocks, Irene Kraut Bromwell, Diane Bundock, Kathy Caruthers, Yvonne B. Cirillo, Steven D. Costa, Margaret Crane, Penelope Crouse, Michael W. Cukier, Anthony Denike, James Alan Edson, Dana Meryl Ferguson, Janet Lee Fisher, Yvonne Marie Gaines, Emily Linda Geiger, Lorene M. George, Thomas Neal Gooding, Marian A. Goodspeed, Dianne L. Gover, Noel Lynne Griglak, Marybeth Mo- Mo- Mu Mu No Ok Per Per Per Pie Po. Pri' Rai Ric Ric Roi Sal Sat Sir Snr Str Str Stl To Vii Vi: W W W W VV W W Al Al Be B2 Be Be C. D E1 Hab1etr,NanCY Ruth Harding, Constance J. Hoskins, James W' johnson, Gordon G. mes David jones, Ia Kirkland, Dale R- Kohlbacher, John Bert Kowalski, Robert L. Kfasnican, Martha Ann Krausse, Paul Thomas MacFarland, David G. Mackey, Nancy E. Mancini, David Paul Marshall, Dougl21S J - Martin, Lois Elizabeth Martyn, Timothy MCKay, Roger Allan Mordue, Mark Lee Moss, Deborah Edyth Mueller, Laurel Janne Murphy, Kathleen G. Normandia, Lynne Okada, Matthew Penn, Ann Wrothing Pennett, Craig Arnold Perfetti, Peter J. Pierson, Susan Marie Pologe, Steven Prior, Kristin Marie Radway, Jonathan R. Richards, Elizabeth M. Richmund, Joseph B. Roberts, John Noel Sabia, Linda Louise Satkiewicz, Ronald F. Smith, Philip Merle Snyder, Vicki Alice Stone, Joseph Britton Stout, Gordon Bryan Stuart, Kathryn Ann Tompkins, Nancy Ruth Vincent, Laura Joy Vizzutti, Allen Craig Ward, John Anthony Weiss, Richard Alan Wells, Timothy Will, Ethyl Lynn Wilson, M. Scott Wingfield, William R. Woodworth, Shelley A. SMI Aldridge, John Tinker Aleinkoff, Ann Elizabeth Barr, Grace Suzanne Baitistelli, Mighael Benoit, Aline Cecilia Betz, Lois Carol C00nan, Jeanne Ann Darlingtfln, Dorothy S. En80IOn, Frank R, Grenier, Peter Alan Huling, Brian L. King, Maurice Holt Kurau, Warren Peter Miller, Aline Louise Niemeyer, Nancy Richards, Steven M, Ringenbach, David J. R0ggOw, Lowell Calvin Salarnon, Constance A. Schreck, Suzanne Dora Schreier, Alane N. Shake, James Curtis, Jr. Stober, Carlene M. Vandoren, Frederick L. Walter, Douglas E. Zeigler, John R. UNC Sharpe, Deborah M. TH Jones, Sharon Peer Neusatz, Robert N. HMU Baird, Julianne C. McLaughlin, Janice L. CMP Dicosimo, William J. Gwiazda, Henry Martin Knapp, Gregory Webb Markowitz, Philip L. Rosenzweig, Morris Rossi, Marc William SMG Fairchild, Elizabeth Hangen, Janine Sue Kapp, Claudia Renee Kheel, Katherine Emily Lawson, Sylvia Found Lennertz, Paula J. Marion, Lisa Ann McGlinn, Margaret E. Mowers, Robert Lawrence Tenzer, Sharon Beth Toner, Helen Dale Class Of 1973 AMU Angus, Laura Graham Blum, Susan Elaine 125 Carroll, Daniel R. Catrftt, Gregory -J09 Cesare, James Vincent Cosand, Walter Allen Daugherty, F, Mark Depaolo, Anthony F. Dove, Glennda Marie Eaton, Robin Lee Eckfeld, William G. Elder, Mary Ann Geber, David Martin Gill, Russell William Grant, Kenneth John Greenwalt, David Lee Griffin, Judson T. Grubb, C. William Jr. Hermann, Diane J. Hester, Randall Mark Jones, Madeline G. Lentz, Mary Ruth Lukens, Daniel John McKinnon, John A. Monsour, Katherine H. Moore, Edward M. Jr. Morris, Gregg R. Mueller, Timothy Joseph Norris, Elizabeth D. Obermeyer, Janet E. Ognavic, Steve Peter Pauls, Theodore David Pistolesi, Elizabeth Pizzi, Thomas C. Ratliff, Richard James Jr Rogers, Barbara Jean Ross, Francine Carol Rothstein, Deborah J. Sanders, Linda S. Sanders, William M. Siebert, Cynthia Louise Smith, Diane E. Snethen, Letty Ann Stevens, John David Stipek, Linda Louise Tkazyik, Jeffrey lay Warner, Carol Anne Weiner, Shari Eve Werner, Joseph Gerard Witten, Dean Robert Woehr, Christian G. UNC Rush, Bruce Emerson HMU Keck, Ellen Jane Larson, Daniel Paul Mahoney, John S. Ill CMP Karchin, Louis Samuel Pajerek, Donald J. Schober, Brian Weiss, Clifford M. SMG Bickel, Carl S. Chisholm, Donald Eugene Gibbs, Rebecca Morton Huss, Elizabeth L. Manuwald, Margaret L. Martin, Deborah Jean Mezey, Richard Roy Rechel, Michael W. Varley, Darrell D. Young, Martha Ferguson TH Bruce, Kenneth Ray Engler, Roy William Galante, Joseph D. Garner, Larry Robert Maher, Lawrence A. Radomski, Teresa A. Reiprich, Bruce John Skoog, James Alfred Ziolek, Eric Emil SMI Affelt, Charles Henry Baughman, Wayne A. Bryson, Nancy Lynn Buholtz, Eileen E. Cook, Keith Linwood Dackow, Sandra K. Davis, Janet Ann Fuller, Michael R. Green, Penny Ann Hillman, Donald M. Hotoke, Richard K. Lee, Bruce Norman Lyons, Helen Ida Mathews, Louise Ellen Megan, Kenneth W. Jr. Parris, Alvin III Robinson, Janice E. Secan, Stephen Ross Wheat, Robert Bruce Class Of 1972 AMU Alber, David Asher Azuma, Kenzo Bailey, Faye E. Blaine, Jo Deen Bohl, Melissa Jane Clissa, Perry V. Dabczynski, Deborah A. Daly, Patricia Mary Davies, Martha Jeanne Decker, Richard G. Defeis, Doreen Maria Dickison, Judith Ann DiMartino, Linda C. Doherty, Patricia J. Egge, Marian Lynn Epstein, Daniel M. Es tes, Alan Herbert Freeman, Ardith Ann Fried, Joseph N. Garabedian, Valerie R. Gilman, Kurt A. Gordon, Elizabeth Ann Grabczyk, Dorothy C. Gregory, Walter Burr Hopkins, James Hoey Hunt, John C. Jensen, Brian Richard Kane, Steven Lee King, Earle C. Jr. Kohlbacher, Stephen G. Lehmann, Marcus A. , Lenti, Christina Kuipers Linsner, Arthur F. Lumpkin, Robert P. Luxner, Michael David McFarland, William H. Miller, Deborah Faye Muraco, Thomas Oliver, Gale Ann Piltzecker, Theodore Pugh, James Edward Purvis, Robert D. Saetta, Mary L. Saine, Cecile Wright Schmidt, Kimberly M. Sittenfeld, Eugene D. Smith, James Fenwick Stoufffer, T. Bradley Turnbull, Thomas G. Uscher, Nancy Joyce Vaughn, William S. Wills, Teddy Laurence Wilson, Booker, T. Jr. SMI Becker, Nancy Jane Hickson, Mary L. Lagond, Charles J. Mogensen, Max Orrick, J Mulholland, Sally L. Munger, Thomas C. Newberry, Miriam E. Pratt, Michael Radl, Linda Lee Robinson, James F. Schonher, Linda L. Schoonmaker, Sara S. 126 I'. Shulman, Katharine L. Snell, Janelle Lynne Trojan, Bruce John Wilcox, Beverly Wilcox, Norman Carl Yagodzinski, Lawrence Young, David H. HMU Bussey, William Muir Maddin, William R. McClellan, John C. Meyer, Burglind Gisele Prybyla, Anthony S. TH Herrold, Charles M. Poulin, Pamela Lee Silhan, Charles Whelden, Roy M. III SMG Babb, Karen Kay Baranowski, Candance Belliveau, Sherry A. Beytin, Joyce Susan Buffa, Barbara Rees Cerow, Brian G. Crumbly, James W. Jr. Dodge, Kathryn J. Eliscu, Steven R. Fried, Jelena Maria Hill, Daniel Leigh Larson, Linda Lucille Rosenberger, Marcia L. Runkla, Tiina Hele Thomas, Teryle Margare York, Marie Emily CMP Conrad, Brian Keith Downs, Lamont W. Forson, Thomas Arthur Garnett, Bonnie L. Hallman, Guy Mortimer Helble, Raymond B. Jankowski, Loretta P. Owens, David B. Stidfole, Arthur F. t Sister STN X iw S mf' ii' X X K X N ,-,,,,-,, E xmb X x x g. XXX Y xx XL X X X X K U 5 X . . 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