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Nadia Boulanger & American Music
A three-day symposium hosted by the American Music Research Center
at the University of Colorado at Boulder
October 7-9, 2004
-:- Guest Chairs, Presenters
& Performers -:-
available as a printer-friendly pdf
Walter Bailey is Associate Professor and Chair
of Musicology at Rice University’s Shepherd School of Music.
He is the author of Programmatic Elements in the Works of
Schoenberg, co-author of Radie Britain: A Bio-Bibliography, and
editor of the Arnold Schoenberg Companion, to which
he also contributed several articles.
Antonia L. Banducci, an Associate Professor
of Music History at the Lamont School of Music, University of
Denver, specializes in French Baroque opera. Her glossed list
of extensive prompt notes for a mid-eighteenth-century production
of André Campra's tragédie en musique Tancrède will
appear in a Pendragon Press facsimile edition of the opera, currently
in press, for which she has provided the introduction and appendices.
Dr. Mary Berry studied with Nadia Boulanger in Paris and with
Thurston Dart at the University of Cambridge, where she specialized
in sacred music. Following her doctoral thesis, “The Performance
of Plainsong in the Later Middle Ages and the Sixteenth Century,” she
has continued her research into the evolution of different styles
of performance practice from the tenth to the twenty-first century.
She founded the Schola Gregoriana of Cambridge in 1975 and has
organized workshops and master classes in Gregorian chant in
Europe, the USA, Canada and Australia. With the Schola’s
professional singers she has participated in numerous festivals
in Great Britain, France, Italy, Belgium, and Canada and has
made a series of award-winning CDs on the Herald label.
Professor of music history at the Université de Sherbrooke
(Quebec) since 1992, Pr. Jean Boivin received
his Ph.D. in musicology from the Université de Montreal.
His book La classe de Messiaen (Paris, Christian
Bourgois, 1995) was acclaimed by the French music critics
and the Académie
des Beaux-Arts de France.
E. Douglas Bomberger is professor of music
at the University of Hawai‘i at Manoa, where he teaches
courses in music history and serves as chair of musicology. He
is the editor of Brainard’s Biographies of American
Musicians (Greenwood, 1999) and author of “A Tidal
Wave of Encouragement”: American Composers’ Concerts
in the Gilded Age (Praeger, 2002).
Prior to joining the CU Music Faculty in 1986, James
Brody taught at universities in Illinois, Indiana,
and Kentucky. Mr. Brody’s major teachers include John
Mack, Jerry Sirucek, and Marcel Moyse (oboe), Grant Moore and
James Caldwell (Baroque oboe), and Marjorie Barstow and Barbara
Conable (the Alexander Technique). He teaches the Alexander
technique in the college curriculum and for the William Bennett
International Flute Courses in Surrey, England. Mr. Brody is
the coauthor of the textbook Rock and Roll: An Introduction,
published by Schirmer.
Jeanice Brooks studied singing and music education
in the U.S. and in France before completing the Ph.D. in Musicology
and French Literature at the Catholic University of America.
She taught at Georgetown University before taking up an appointment
at the University of Southampton (UK) where she is currently
Reader in Music. Her book on the strophic air de cour in
the context of court culture, Courtly Song in Late Sixteenth-Century
France (University of Chicago Press, 2000), received the
Roland Bainton prize for the best book in music or art history
to be published that year.
Helena Bugallo, a native of Argentina, has
performed in the United States, Mexico, Argentina, England, Germany,
Sweden, and Japan. She has collaborated with numerous established
groups, including the Meridian Arts Ensemble (USA), the String
Quartet of the University of La Plata (Argentina), Thuermchen
Ensemble (Germany), the Slee Sinfonietta (USA), and the Birmingham
Ensemble (UK). In 1999 she co-founded, with trumpeter Jon Nelson,
the new music group Ensemble de Calaveras, whose first CD appeared
in 2002.
Stephen Burnaman, pianist, has performed throughout
the United States and abroad in such major musical centers
as Boston, New York, Chicago, Rome, Warsaw and Taipei and will
present concerts in Hong Kong with soprano Eugenia Yau in summer,
2004. He is currently Assistant Professor of Piano and College
Organist at Huston-Tillotson College in Austin, Texas, and is
immediate past president of the Austin District Music Teachers
Association, which named him Teacher of the Year for 2003 and
Collegiate Teacher of the Year for 2004. As an organist, he has
served churches in Massachusetts and Texas.
Carlo Caballero is assistant professor of music
at the University of Colorado at Boulder. He is the author of Faure
and French Musical Aesthetics (Cambridge University Press,
2001) and has published essays in two edited collections, Regarding
Faure and The Arts Entwined: Painting and Music in the
Nineteenth-Century as well as Victorian Studies and The
Journal of the American Musicological Society.
Don Campbell is an author and consultant in
the role of music in education and health. He studied in Fontainebleau
and Paris from 1960 to 1962 with Nadia Boulanger and Jean Casadesus.
Author of sixteen books, including Master Teacher, Nadia
Boulanger, he serves on the boards of the American Music
Research Center, ARTS for People, the Society for Arts in Healthcare
and the Arts and Health program at Duke University.
Nelly Maude Case has been professionally active
for over thirty years. She earned a Bachelor of Music degree
in piano from Ohio State University, a Master of Music in piano
from Yale University, and a doctorate in musicology from Boston
University. Since 1991 she has taught at the Crane School of
Music of the State University of New York at Potsdam, where she
is an associate professor, specializing in history, literature,
and women in music.
David Conte, Professor of Composition and Conductor
of the Conservatory Chorus at the San Francisco Conservatory
of Music, has received commissions from Chanticleer, the San
Francisco Symphony Chorus, the Dayton, Oakland and Stockton Symphonies,
the American Guild of Organists, Sonoma City Opera, and the Gerbode
Foundation. Conte has composed songs for Barbara Bonney, Thomas
Hampson, and Phyllis Brun-Julson. The composer of three operas: The
Dreamers, The Gift of the Magi, and FirebirdMotel,
Conte has published over forty works with E. C. Schirmer Music
Company, and his work is represented on numerous recordings.
Sheila Kearney Converse, a native of upstate
New York, teaches Studio Voice, Vocal Pedagogy and Women and
Music at Washington State University. Before joining the faculty
at WSU, Ms. Converse taught at the University of Idaho in Moscow,
Idaho and at Centre College in Danville Kentucky. Among the roles
Ms. Converse has sung are Carmen in "Carmen", Dorabella
in "Cosi Fan Tutte", Marthe in "Faust", the
Mother in "Amahl and the Night Visitors", Hansel in "Hansel
and Gretel", Augusta in "The Ballad of Baby Doe" and
the Principessa in "Suor Angelica".
Alejandro Cremaschi teaches piano, piano pedagogy
and class piano at the University of Colorado at Boulder. A specialist
in the areas of group piano, technology, and Latin American piano
music, he has been a presenter at national and international
conferences. An active performer, he has recorded for the labels
IRCO and Marco Polo.
Alison d’Amato, praised as "an expert
pianist" by Boston Globe critic Richard Dyer, has
built a reputation as a dynamic and versatile musician. Equally
committed to solo, vocal, and instrumental chamber music, she
is engaged in a wide variety of projects, performing with such
diverse organizations as Boston Modern Orchestra Project (BMOP),
Radius Ensemble, Boston Musica Viva, Florestan Recital Project,
and Opera Boston. Ms. D'Amato is an enthusiastic advocate of
new music, and has worked with and performed music by many of
today's leading composers, including John Harbison, Thea Musgrave,
Michael Gandolfi, and John Heiss.
Brian Doherty is the Head Librarian at the
Arizona State University Music Library. His article on Richard
Wagner’s Großer Festmarsch has appeared
in the Journal of the American Liszt Society, and he
has contributed reviews to Choice, Notes, and
has authored several entries in the forthcoming The Organ
Encyclopedia (Routledge).
Donna Doyle teaches music theory and ear training
at the Aaron Copland School of Music of Queens College, City
University of New York, and is a Ph.D. candidate in music theory
at CUNY's Graduate Center. As an undergraduate, having attended
the Juilliard School, she received a B. M. in Music, summa
cum laude, from Hunter College, where she studied with Louise
Talma and Donald Lybbert and received the Heiniger Award for
Excellence. Subsequently, Ms Doyle spent two summers in Fontainebleau
and one winter in Paris studying privately with Mlles Boulanger
and Dieudonné.
Luann Dragone teaches music at William Patterson
University in Wayne, New Jersey in addition to her private piano
students. Her extensive study of Talma's music culminated in
her dissertation, "Stylistic Tendencies and Structural Design
in the Music of Louise Talma." Dr. Dragone has recently
contributed an article on Louise Talma to Notable American
Women due be published in December of 2004 by Harvard University
Press.
Julie Dunbar is Associate Professor of Music
at Edgewood College in Madison, Wisconsin, where she teaches
music history, music education courses, and is director of bands.
Her research frequently combines her interest in music education
and musicology, focusing on both historical and sociological
issues in music education.
Aaron Engebreth, acclaimed for his “exemplary
diction and rich baritone voice,” maintains an active solo
career in opera, oratorio and recital, and has devoted considerable
energy and time to the performance of new music, often collaborating
with composers.
Paul Erhard is Associate Professor of Double Bass at the University
of Colorado at Boulder, where he has taught since 1986 and was
a founding member of the Faculty Jazz Quintet.. He earned his
Bachelor of Music degree from the Eastman School of Music and
his Masters and Doctoral degrees from the Juilliard School in
New York City. Dr. Erhard has performed solo recitals and taught
masterclasses in the United States, Europe, South America, and
Asia. In 2004, he toured Western USA as the bassist for the Chris
Norman Ensemble, a quartet performing Celtic music. Erhard composes
for the double bass, drawing upon a variety of musical styles
including Western classical, jazz, and Indian music.
Stéphan Etcharry is a music teacher
at the University Paris IV-Sorbonne and at the Consérvatoire
Jacques Ibert in Paris (19th district). His musicological research
concerns French music between the second part of the nineteenth
and the beginning of the twentieth centuries, particularly
Henri Collet (1885-1951), the subject of his doctoral thesis
(2004).
Elizabeth Farr performs on the harpsichord,
organ, and pedal-harpsichord and teaches at the University of
Colorado at Boulder. She holds degrees in organ performance from
Stetson University and The Juilliard School, and harpsichord
performance from the University of Michigan. Her teachers included
Paul Jenkins, Vernon de Tar, and Edward Parmentier. She has won
a number of concert organ and harpsichord competitions and concertizes
in the United States and Europe.
The Florestan Recital Project is devoted to promoting the art
of the song recital through performance and educational outreach.
By presenting unique and carefully researched programs of artistic
interest, the Florestan Recital Project strives to achieve the
highest standards of performance and to build a diverse audience.
The group takes its name from the composer Robert Schumann (1810-1856)
who composed around 150 songs, which are cornerstones of the
art song repertoire. Florestan was one of Schumann's alter egos
- a fiery, revolutionary character who appeared in his music
and as a pseudonym in his writings for the music journal he founded
and edited, the Neue Zeitschrift für Musik. [Please
see Engebreth, d'Amato, and the Harpers for individual bios.]
A native Texan, Anna Marie Flusche was the
first person to receive a doctorate in organ performance from
the Shepherd School of Music of Rice University. Organist, writer
and researcher, she is also a member of the Dominican Order.
Her special area of interest is the contribution made by clerics
and religious to the art of music.
Elaine Funaro has appeared throughout the United
States, Australia and Europe as a harpsichord soloist and chamber
player in programs ranging from performances on period instruments
to concerts of contemporary works. She has appeared at Festivals
in Amherst, Amsterdam, Berkeley, Bloomington, Boston, Breckenridge,
Charleston and Iowa as well as solo recitals at the Smithsonian
Institution, Library of Congress, and Spivey Hall in Atlanta.
Tamara Goldstein, pianist, D.M.A. University of Colorado at
Boulder, MM Juilliard School, BM Indiana Univ/Bloomington, is
currently Artist-in-Residence and Assistant Professor at Metro
State College of Denver. She
is also Coordinator of accompanying and chamber music at MSCD
and on the accompanying faculty of the Aspen Music Festival during
the summer season. She performs as a member of the Colorado Chamber
Players and is director/founder of the annual Piano Celebration
at Metro State. The '04-05
season also includes a concert tour of Asia and a concerto appearance
with the Lakewood Symphony.
Jay Gottlieb received a Master of Arts degree
from Harvard University, where he also taught (piano, composition,
harmony), performed, and organized concerts. He worked closely
for many years with Nadia Boulanger; with pianists Robert Casadesus,
Yvonne Loriod and Aloys Kontarsky, and with composers Lukas Foss,
Stefan Wolpe, Olivier Messiaen, Maurice Ohana, Georges Aperghis,
Luciano Berio, Pierre Boulez, Sylvano Bussotti, John Cage, George
Crumb, György Ligeti, Betsy Jolas, Oliver Knussen, Giacinto
Scelsi, Ralph Shapey.
Pianist Anne Kissel Harper, praised by the Boston
Globe as “rhythmically charged” and “smouldering,” is
active as a chamber musician and song recitalist. A founder
and artistic director of the Florestan Recital Project, she
has appeared often in recital with her husband, tenor Joe Dan
Harper. Together they have premiered works by composers such
as Daniel Pinkham and Lior Navok and have performed in Boston’s
Jordan Hall, live on Boston’s WGBH, and throughout the
southern United States. Their performance together in November
2002 with the Florestan Recital Project was acclaimed by Boston’s
Bay Windows as the best recital of 2002.
Tenor Joe Dan Harper studied with renowned
singing teacher Rudolf Piernay as a Fulbright Scholar at the
Staatliche Hochschule für Musik in Mannheim. Mr. Harper
has distinguished himself as a wonderfully versatile singer of
concert, recital and chamber music repertoire. As fellow at the
Tanglewood Festival during the summers of 1997 and 1999, Joe
Dan performed under renowned conductors Seiji Ozawa, Robert Spano
and Tan Dun; and in 2000, he was invited to participate in Tanglewood’s
first annual Bach Institute, directed by Craig Smith.
Deborah Hayes is a professor emerita of musicology
at the University of Colorado at Boulder. Her publications include: Peggy
Glanville-Hicks: A Bio-Bibliography (1990); new editions
of music by Francesca LeBrun, Marie-Emmanuelle Bayon-Louis, Ann
Valentine, and other composers of the late eighteenth century;
and translations of two music theory treatises by Jean-Philippe
Rameau.
Dr. Peggy Holloway, soprano, teaches applied
voice, voice class, elementary music methods, and directs the
women's ensemble at Dana College in Blair, Nebraska. As the leading
authority on the songs of Marion Bauer, she has presented lecture/recitals
on Bauer at national conferences of the College Music Society,
has served as the editor of an edition of Bauer's songs, and contributed
the chapter on Bauer to Volume 7 of the series Women
Composers: Music Through the Ages.
Pianist and scholar Sylvia Kahan has performed
as soloist, recitalist, and chamber musician in venues and concert
series throughout North American and Europe, including Tuesday
Matinees Series at Merkin Concert Hall (NYC), the Dame Myra Hess
Memorial Concerts (Chicago), and the Fondation Singer-Polignac
(Paris). Her book, Music's Modern Muse: A Life of Winnaretta
Singer, Princesse de Polignac (University of Rochester Press)
was hailed by the London Times as a "superb new biography." Sylvia
Kahan serves on the doctoral piano faculty of the CUNY Graduate
Center, and is the Chair of the Department of Performing and
Creative Arts, CUNY.
William Kearns is Distinguished Professor Emeritus
of Music at the University of Colorado at Boulder, where he has
taught courses in American music, Anglo-American folk music,
music esthetics, and music history since 1965. He was also horn
instructor (1965-78) and has served as Associate Dean of Graduate
Studies in Music (1981-1985), chair of the PhD in Music program
(1966-92), chair of the Music History Faculty (1965-75), and
Director of the American Music Research Center (1989-92). He
is now a Senior Fellow in the AMRC.
Meg Kelley received the B.A and M.Mus. in piano performance
from the University of Idaho and the University of Iowa, respectively.
She has taught at Lewis-Clark State College in Lewiston, Idaho
and at the University of Idaho in Moscow and currently teaches
independently in Pullman, Washington. She has performed as a
soloist, in chamber ensembles and as an accompanist since 1970.
David A. King instructs Piano, Class Piano,
Accompanying, and Theory at Colorado State University. CSU's
Piano Area has recently initiated a Masters degree program in
Collaborative Piano based on his decades of experience. He is
also an active avocational composer and a church musician.
Janet Morrow King is Associate Professor of
Voice, Coordinator of the Voice Area and Assistant to the Chair
at Colorado State University. She holds a Doctor of Musical Arts
degree in Vocal Performance from the University of Minnesota
as well as a B.M. in Vocal Performance from the University of
Redlands and M.M. degrees in Opera/Music Theater and Vocal Performance/Pedagogy
from Southern Illinois University and the University of Idaho,
respectively.
Timothy J. Krueger, Artistic Director and founder
of Saint Martin's Chamber Choir, studied musicology at Wheaton
College Conservatory, CU-Boulder, the University of Hamburg,
and the University of London’s Royal Holloway College.
He is choirmaster of St. Andrew’s Episcopal Church, Denver,
and is a part-time faculty member at Metropolitan State College
of Denver.
Alexandra Laederich, General Secretary of the Nadia
and Lili Boulanger International Foundation,is
a Doctor of Musicology from Paris-Sorbonne University. Her
notable publications include: Catalogue de l’œuvre
de Jacques Ibert (Georg Olms Verlag, 1998), “Les
associations symphoniques parisiennes”, in La Vie
musicale sous Vichy (Paris, Éditions Complexe,
2001), “La première audition à Londres
des Litanies à la Vierge Noire par Nadia Boulanger
(November 1936)” in Francis Poulenc et la voix (Lyon,
Symétrie, 2002), Les fonds Nadia Boulanger: un héritage
musical complexe, Bulletin spécial du Groupe français
de l’AIBM (to be published in 2004).
Laurence Languin is Librarian of the Médiathèque
Nadia Boulanger in the National Superior Conservatory of Music
and Dance in Lyon, France and President of the French Group of
International Association of Music Libraries, Archives and Documentation
Centres.
Noël Lee, composer and pianist of American
origin, went to Paris in 1948 to continue his education under
the guidance of Nadia Boulanger. She has written, "Noël
Lee is one of the finest musicians I have met. Composer with
a real personality, he has refinement and strength, an acute
perception of the resources of his instrument, a sense of the
hierarchy of values and a total understanding of the works." During
the 1970s, the French Cultural Affairs Ministry and the French
National Radio awarded him three important commissions. In 1986
he received a second prize in the Arthur Honegger Composition
Contest for a set of Piano Etudes—the first prize going
to György Ligeti. In 1991, the Charles Oulmont Prize was
awarded him by the Fondation de France.
Leonard Lehrman studied with Lenore Anhalt,
Elie Siegmeister, Olga Heifetz, Kyriena Siloti, David Del Tredici,
Earl Kim, Jean-Jacques Painchaud, N.B. (at Fontainebleau, 1969;
and on a Fulbright in Paris, 1971-72), Erik Werba, Leon Kirchner,
Lukas Foss, Robert Palmer, Karel Husa, John Eaton, Donald Erb,
Tibor Kozma, Wolfgang Vacano, and taught under Malcolm Bilson
at Cornell. His 168 compositions to date include 10 operas, 6
musicals, and over 400 individual vocal pieces. His Capstone
CD of solo piano music received glowing praise in "The American
Record Guide".
Kendra Leonard is widely recognized as an authority on the history
of the Conservatoire Américain de Fontainebleau and has
most recently presented her research findings at the 2004 national
meeting of the Society for American Music and the Fall 2003 Midwest
chapter meeting of the American Musicological Society. An alumna
of the Conservatoire Américain, Leonard is an independent
scholar active within the National Coalition for Independent
Scholars and has served as a panelist with the American Musicological
Society as a speaker on careers outside of academia for scholars.
Her history of the Conservatoire Américain is currently
under consideration for publication in 2005.
Robert Levin has performed throughout
the United States, Europe, Australia and in Asia, appearing with
the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago,
Cleveland, Detroit, Los Angeles, Montreal, Utah and Vienna on
the Steinway and with the Academy of Ancient Music, the English
Baroque Soloists, the Handel & Haydn Society, the London
Classical Players, the Orchestra of the Age of Enlightenment
and the Orchestre Révolutionnaire et Romantique on period
pianos. Renowned for his improvised cadenzas in Classical period
repertoire, Robert Levin has made recordings of a wide range
of repertoire for DG Archiv, ECM, New York Philomusica, Philips
and SONY Classical. Carnegie Hall has commissioned him to create
a new completion of the Mozart C-minor Mass to be premiered in
January 2005.
Roberta Lindsey, Assistant Professor, Indiana
University School of Music, has studied Aaron Copland’s
musical career for over twenty years, her primary focus being
his early orchestral work, Grohg: A Ballet in one-act (1921
through 1924). She has participated in all four Susan Porter
Symposia at the AMRC, in 1995, 1998, 2001, and 2004.
Margaret McDonald received degrees in solo
piano from the University of Minnesota and will receive her DMA
in collaborative piano from the University of California, Santa
Barbara. She is currently
on the faculty at the University of Colorado at Boulder. McDonald
has been a full-fellowship student at the Tanglewood Music Center
and Music Academy of the West. Last summer she was on the
accompanying staff at Meadowmount School of Music and beginning
in summer 2005, she will be associate faculty in collaborative
piano at the Music Academy of the West. McDonald
will be returning to the MTNA National Convention in Seattle
this spring as an official accompanist.
Edward McKenna was educated at St. Mary of
the Lake Seminary, Mundelein, Illinois; ordained priest of the
Archdiocese of Chicago, 1965: M.Div.; A.M. The University of
Chicago (Music theory and composition, 1973); Diplome, Institut
Catholique de Paris, Musicologie liturgique, 1977; student of
Nadia Boulanger, 1975-77, at Paris; Associate editor, Worship magazine,
1979-1991, and editor of The Collegeville Hymnal, Liturgical
Press, Collegeville, Minnesota. He is the composer of two operas,
a piano concerto, two violin concerti, and other works, produced
in Chicago. Father McKenna was chaplain to N.B. in 1976-77, was
present for a last visit in October 1979, concelebrated her funeral
at Trinite, and performed the final interment at Cimitiere Montmartre.
Emile Naoumoff began to play the piano at the
age of five, and started composing his own music a year later.
At eight years, after a fateful meeting in Paris, he became Nadia
Boulanger’s last disciple. He studied with her until her
death in 1979. During this auspicious apprenticeship, Mlle Boulanger
gave Emile the opportunity to work with Clifford Curzon, Igor
Markevitch, Robert and Gaby Casadesus, Nikita Magaloff, Jean
Francaix, Leonard Bernstein, and Yehudi Menhuin. Lord Menhuin
conducted the premiere of Emile’s first piano concerto,
with the composer as a soloist when he was ten years old. He
is currently on the piano faculty at Indiana University.
Christel Nies, born in Düsseldorf, studied
voice, piano, and organ and specializes in contemporary music
and music of women composers. She is the founder and leader
of the concert-series Komponistinnen und ihr Werk, which has
produced 71 concerts to date, and she is editor and author of
three books about women-composers.
Frances Nobert is College Organist and Professor
Emerita of Music at Whittier College, California. Dr. Nobert
has performed for conventions of the American Guild of Organists
and the Organ Historical Society, as well as for national and
international festivals and conferences related to the position
of women in the music profession. Dr. Nobertmay be heard on Organ
Historical Society's recordings of the Organs of Maine and
on the Raven-label release of Music, She Wrote: Organ Compositions
by Women.
Craig B. Parker has been on the faculty at
Kansas State University since 1982, and currently teaches music
history and plays trumpet with the faculty brass quintet. Professor
Parker's research interests focus on American music, including
the Los Angeles years of Igor Stravinsky and the composers in
his orbit. Formerly an associate editor for the International
Trumpet Guild Journal, he is currently the Recording Reviews
editor for American Music.
Vivian Perlis is a historian in American music,
specializing in twentieth-century composers. On the faculty of
the Yale School of Music and Library, Perlis is founding-director
of Oral History, American Music (OHAM), a unique archive of oral
and videotaped interviews with leading figures in the music world.
Publications by Perlis include Charles Ives Remembered: An
Oral History (l974), awarded the Kinkeldey Prize of the
American Musicological Society; An Ives Celebration (l976);
two volumes co-authored with Aaron Copland, Copland: 1900
through 1942 (l984), which garnered a Deems Taylor/ASCAP
Award, and Copland: Since l943 (l989).
Edward Phillips is a music theorist, organist, and choral conductor
whose research interests are the music of Gabriel Faure' and
the transition in structure from tonal to post-tonal music. He
holds degrees from Amherst College and Yale University, and he
studied with Nadia Boulanger from 1971 until 1973. Dr. Phillips
has taught at Yale and the University of Ottawa and is now professor
of music at the University of Guelph.
Daniel Pinkham studied organ and harmony at Phillips Academy,
Andover, with Carl F. Pfatteicher; then at Harvard with A. Tillman
Merritt, Walter Piston, Archibald T. Davison and Aaron Copland
(A.B. 1942; M.A. 1944). He also studied harpsichord with Putnam
Aldrich and Wanda Landowska, and organ with E. Power Biggs. He
is on the faculty of the New England of Conservatory of Music
where he is senior professor in the Musicology Department.
Howard Pollack is professor of music and Director
of Graduate Studies at the Moores School of Music at the University
of Houston, where he has taught since 1987. His most recent book, Aaron
Copland: The Life and Work of an Uncommon Man (Henry Holt,
1999), recipient of an ASCAP-Deems Taylor Award and an Irving
Lowens Award, has been described as by the New York Times as "the
definitive study of Aaron Copland's life and work, no doubt for
a long time to come."
Rachel Samet is a doctoral student in Choral
Conducting at the University of Colorado at Boulder, where she
conducts the Collegiate Chorale. She spent this past summer as
the musical director for The Opera House at Boothbay Harbor,
Maine.
Harriet Simons retired in 1999 from her position
as Director of Choruses and Professor of Voice and Conducting
at the State University of N.Y. at Buffalo. In addition to preparing
choruses for Robert Shaw, Pablo Casals, Lukas Foss, Pierre Boulez
and others during earlier faculty appointments at Oberlin College
Conservatory and the State University College of N.Y. at Fredonia,
Dr. Simons has guest-conducted and/or lectured at several colleges
and universities.
Daniel Pinkham studied organ and harmony at Phillips Academy,
Andover, with Carl F. Pfatteicher; then at Harvard with A. Tillman
Merritt, Walter Piston, Archibald T. Davison and Aaron Copland
(A.B. 1942; M.A. 1944). He also studied harpsichord with Putnam
Aldrich and Wanda Landowska, and organ with E. Power Biggs. He
is on the faculty of the New England of Conservatory of Music
where he is senior professor in the Musicology Department.
Daughter of the late French pianists Robert and Gaby Casadesus,Thérèse Casadesus
Rawson received a Ph.D in French Language and Literature
from the University of Pennsylvania in 1977. She has taught
French, French Diction and French Vocal Repertoire at the Curtis
Institute of Music for many years. She is also President of
the Fontainebleau Associations which organizes a summer music
program in France.
St Martin's Chamber Choir, led by founder and Artistic Director
Timothy Krueger, is a professional ensemble of twenty balanced
voices. Founded in 1994, the ensemble's repertoire is drawn from
a cappella choral literature which spans the centuries, from
Renaissance motets, through 18th century Baroque and Classical
works and Romantic-era partsongs, to masterworks of the 20th
century and new pieces composed expressly for St. Martin's. The
choir has released several critically acclaimed recordings which
have been featured on the nationally syndicated radio program "The
First Art."
David Ward-Steinman is currently Adjunct Professor
of Music at Indiana University (Bloomington) and also Professor
Emeritus and former composer-in-residence at San Diego State
University, where he directed the Comprehensive Musicianship
program and the New Music Ensembles. He has received many national
awards and commissions for his compositions from groups such
as the Chicago Symphony Orchestra, N.Y. Joffrey Ballet, San Diego
Symphony (two in a row, 2001 and 2002), San Diego Ballet, Music
Teachers National. Association, National Association of College
Wind and Percussion Instructors, American Harp Society, and other
prominent ensembles and artists.
Amy Williams has appeared as a pianist and
composer at renowned contemporary music venues in the United
States and Europe, including the Logos Foundation and Ars Musica
(Belgium), Gaudeamus Music Week (Netherlands), Musikhøst
Festival (Denmark), Subtropics Experimental Music Festival
(Miami), North American New Music Festival (Buffalo), Sound
Field Festival (Chicago), Tanglewood Contemporary Music Festival,
LA County Museum, Mondavi Center and Hildegard Festival (California).
Her compositions have been performed by leading contemporary
music soloists and ensembles, including the Buffalo Philharmonic
Orchestra, Empyrean Ensemble, Klang, International Contemporary
Ensemble, CUBE, California E.A.R. Unit, North/South Consonance,
Monarch Brass, Ensemble Aleph, pianists Yvar Mikhashoff and
Luk', and bassist Robert Black.
Avid Williams, singer, coach, and conductor,
is a graduate of the Boys Choir of Harlem and Queens College
(CUNY). He studied at the Boston University Tanglewood Institute
and participated in master classes and concerts hosted by Sylvia
Olden Lee and William Warfield at the National Association of
Negro Musicians Annual Convention. He also recorded the world
premiere recording of Psalm by John Magnussen, commissioned
by the Jose Limon Dance Company for its performance in the Winter
Olympics in Salt Lake City, Utah.
Helene Williams co-founded the Bronx Opera
in 1967 and the Elie Siegmeister Society in 1999. Since 1987,
beginning with "E.G.: A Musical Portrait of Emma Goldman," she
has performed close to 400 times with Leonard Lehrman (whom she
married on July 14, 2002) on one Australian and seven European
tours, on a dozen recordings (on Opus One, Premier, Capstone,
and Original Cast Records), and in several dozen works he has
written for her. She teaches at Queensborough Community College
and at Court Street Music in Valley Stream, N.Y.
Sue Williamson is an instructor of choral music
education at the University of Colorado at Boulder. She received
her B.M.E. from Ball State University, her M.M.E. from the University
of Colorado, and is currently completing her Ph.D. in music education
at the University of Washington. She has been the featured honor
choir conductor in festivals in Washington, Oregon, and British
Columbia.
Robert Xavier Rodriguez was born in San Antonio, Texas, where
he received his earliest training in piano and harmony. Subsequent
musical education included study in composition with Hunter Johnson,
Halsey Stevens, Jacob Druckman, and Nadia Boulanger. He gained
international recognition in 1971 when awarded the Prix de Composition
Musicale Prince Pierre de Monaco by Prince Rainier and Princess
Grace at the Palais Princier in Monte Carlo. Other honors include
the Prix Lili Boulanger, a Guggenheim Fellowship, four National
Endowment for the Arts grants, and the Goddard Lieberson Award
from the American Academy and Institute of Arts and Letters.
Eugenia Oi Yan Yau has recently joined the
music faculty at Borough of Manhattan College (City University
of New York). At BMCC, she teaches voice, choirs and general
music classes. Yau maintains an active performance schedule including
lecture-recitals on Chinese Art Songs at Hope College (Michigan,
2001) and University of Michigan (2002), and recitals on American
Art Songs at National University of Singapore (2001).
For further information, contact amrc@colorado.edu or
303-735-3645. |
