FALL
2003
NEWSLETTER
practicing outside seems to permeate my office day and night. During the summer, it is the resounding cacophony of jackhammers transforming our environment in anticipation of fall classes. At the core of being dean of such a vibrant school is the
from the dean
joy of looking back and looking forward. What a year we have had! With 1,187 music majors registered last fall, we have become the second largest school of music in the country, as well as the largest private music school nationwide, and we continue to be the largest producer of live music performances in the
CUTIETTA
Los Angeles area.
ROBERT A.
MESSAGE
During the school year, the sound of students
Let me share a few exceptional performances our
the creation of two faculty chairs endowed by
students experienced last year. In September, we
George Lucas and Steven Spielberg.
partnered with the Los Angeles Philharmonic to produce a one-of-a-kind symposium entitled
The fall opera production’s futuristic setting of
“Synergy.” Conceived by Esa-Pekka Salonen, this
Mozart’s The Magic Flute received an enthusiastic
week-long event created a synergistic orchestra
response from the audience, and the spring opera
comprised of members of the LA Philharmonic
was guest conducted by Jorge Mester. This year,
sharing stands with members of our own Thornton
Classical Singer magazine carried a feature article
Symphony. This hybrid orchestra performed four
on Thornton, naming our vocal arts department
new compositions written by four promising young
one of the top ten programs of this kind in the
composers (one of whom was our own doctoral
country. It stated that “Thornton’s teachers have
student Naomi Sekiya), under the direction of four
solid reputations—as both singers and teachers—and
dynamic young conductors, all under the watchful
they seem to truly care about the well being of
eye of Maestro Salonen. This was a phenomenal
their young protégés.”
success on all levels. The Los Angeles Times music critic Mark Swed reserved his highest praise for the
Reflecting the diversity of our musical programs,
synergistic orchestra: “Had I closed my eyes, I never
a number of renowned musicians joined with our
would have known it wasn’t fully professional.”
students in master classes, performances and guest lectures, among them John Adams, Michael
Two weeks later, music legend Quincy Jones
Daugherty, Sir Peter Hall, The Juilliard String
conducted the Thornton Jazz Orchestra at the
Quartet, Pat Metheny, Midori, Marni Nixon, Pepe
dedication of the Frank Sinatra Hall on campus,
Romero and Peter Schickele. Brilliant cellist and
and consummate composer John Williams con-
former faculty member Lynn Harrell performed
ducted the Thornton Symphony to celebrate
with the Thornton Symphony in the President’s
Distinguished Artist concert
Frank Gehry (BARCH ‘54).
All-Steinway School
handle contracts and finances,
series. This summer, we hosted
This concert, under the direction of Maestro Sergiu
With the help of alumni and friends—and supported by
how to be professional both
student workshops in film scoring and guitar, as well as the
Comissiona, will feature faculty
an initial $250,000 matching
to market and promote one’s
Gregor Piatigorsky Seminar
artist Ronald Leonard, distin-
grant—we are launching a
talents. I am pleased that alum-
for Cellists, commemorating
guished alumna and New York
campaign to place a Steinway
nus and former staff member
Piatigorsky’s centennial; our
Philharmonic concertmaster
piano in every student practice
Chris Sampson (BM ‘91, MM
Chamber Choir competed
Sheryl Staples, and, of course,
room, faculty studio and per-
‘96) is returning to oversee this
internationally in France; the
our fabulous orchestra.
formance venue. Our goal
new program.
Jazz Orchestra was featured
on and off the stage, and how
is to create a teaching and performance environment
I welcome your comments,
Jazz Festival; and a student
Looking at our facilities —it’s time for action
that is equal to the stature
applaud your achievements
string quartet was in residence
This summer, the jackhammers
of our students, faculty and
and invite you to visit. It is
at a music festival in France.
are creating the Jeanette Mac-
guest artists.
an exciting time for the school,
at the Hawaii International
indeed. It is an exciting time
Donald Recital Hall on the first
What a year we have ahead of us!
floor of the Music Faculty Building. In addition to being
Giving our students the edge
In March, Yo-Yo Ma will
home to all choral rehearsals,
This fall, career development
perform with the Thornton
this beautiful 100-seat hall
issues will be integrated into
Symphony in the President’s
will feature voice, choral and
our curriculum. Times have
Distinguished Artist concert
chamber music recitals. This
changed for musicians. Today,
series. In April, the Thornton
is the first in a series of up-
even the best performers must
Symphony will perform in
grades to our academic and
understand that although a
the opening season of the
performance environment—stay
successful career starts with
Walt Disney Concert Hall,
tuned for more news on renova-
being an outstanding musician,
new home of the Los Angeles
tion and construction projects.
it is sustained by knowing
p.3
USC
how to avoid injuries, how to Photo: Steven Heller
Philharmonic, designed by
to be dean.
“What a year we have had!”
Robert A.Cutietta
by
Brian Head
Photo: Andrew Taylor
GOING TO CALIFORNIA WITH A MIDI-LUTE ON MY KNEE
So last week, sometime between takes of Going to California and The Battle of Evermore, it hit me—I’m sitting in with a Baroque consort, playing Led Zeppelin on my lute. The recorders are jamming, the viol player is sliding and turning his way through Robert Plant’s vocal lines, and I smile, realizing that I’m Jimmy Page for a day. In preparation, I even had our local luthier guru, Greg Brandt, perform surgery on my instrument to add two higher frets to give it that sopranino lute, Zeppelin authenticity. Authenticity? What could that possibly mean? (In a twist of performance practice, we were playing at A-415H Z, traditional Baroque pitch, and as it turns out, The Battle of Evermore actually hovered around that pitch on my old, scratched LP. But that wasn’t why the group was at 415. They chose this tuning in a quest for a perfect rapprochement between the players’ and instrument’s comfort and the essence of Zeppelin).
Brian Head, faculty member in the classical guitar and composition programs
Such is the life of the modern performer. I am hopelessly, wonderfully propelled into a post-modern reality. This is my reality, as listener, composer and performer. And I like it. I was reminded today upon hearing the news of Roslyn Tureck’s passing that the famous pianist and founder of the International Bach Society made her Carnegie Hall debut in the 1940s playing a Bach Concerto on a Theremin, an electronic instrument popularized in the 1960s in the Beach Boys hit Good Vibrations. This was not an aberration for Tureck, but rather the application of her belief that music has an intrinsic reality apart from the instruments and performance practices of its birth, not in opposition to these components, but in addition to them. Tureck was an inspiration to Glenn Gould as he blazed his own trail of idiosyncratic performance and arrangement, of Bach in particular. And, like Tureck, he felt emancipated to explore and experiment on the edges of timbre, tempo, and choice of instrument to extract the vitality of the music itself and to express his own identity. Gould even dreamed in the 1970s of a “consumer Pro-Tools” future in which listeners could edit and manipulate different takes of his performances to create their own favorite mixes and versions—to transform the listeners into performers. Is anything sacred?
Similar questions of the meaning and validity of
strongly influenced by the guitar in its myriad
October, my entire performance will be arrange-
authenticity in the guitar repertoire rage today,
popular guises over the past 50 years.
ments by one definition or another. Though I’m
particularly as we discover more and more worth-
not programming any of my own compositions this
while music in a variety of places and periods. The
But I find it inescapably true that most of this new
time, I am indulging my compositional juices in
guitarists’ posture has sometimes previously been
music has its inspiration in re-invention, frequently
three very different arrangement projects. The first
to arrange music to fill the absence of our own rich
in direct methods such as in the folk song arrange-
is in the continuation of my series of arrangements
repertory. The influx of newly found music coupled
ments of George Rochberg, Robert Beaser or Witold
of Vivaldi’s six cello sonatas, this time the Fourth
with an ever-increasing awareness of the details
Lutoslawski and the variation sets by Ian Krouse,
Sonata in B-Flat Major with my wife, Paula
of performance practice have now made us much
Dusan Bogdanovic or Benjamin Britten; but also
Fehrenbach as cello soloist. The very system of
more sensitive to its nuance and beauty, from the
commonly by making use of the timbral and cultural
continuo realization is a license, or even a demand,
Baroque guitar dances of Sanz and his contem-
connotations of the guitar such as in the recent con-
issued by the Baroque composer for creative
poraries, to the 19th century character pieces of
certos by Christopher Rouse, Tan Dun and John
arrangement, and I find myself engaging in more
Legnani and Regondi, to the vast 7-string Russian
Corigliano. The more definitively, traditionally
liberal readings—trading melodic phrases with the
guitar repertoire, to the astonishing body of music
modern approaches of composers such as Elliott
soloist, diverging from the given bass and creating
for the 17th and 18th century guitar-like instrument
Carter and Brian Ferneyhough are much more
new rhythmic textures. I am treating these as
called the mandora, recently championed by our
difficult to find today, and frankly can easily be
re-compositions and improvisations rather than
own James Tyler.
shown to have their own post-modern strands if
accompaniments.
one looks hard enough. Brilliant as they are, they From the perspective of the performer, we en-
do not represent the dialectic anymore, and the
Similarly, I’ve been fascinated lately by the Telemann
counter this watershed of possibilities in the face
processes and philosophies of reinvention, variation
keyboard fantasias and have arranged three more
of a decided increase in the amount of great music
and arrangement are particularly critical and
for this concert. These works are rarely played on
being written for our instrument today, notably by
unavoidable for guitarists and all musicians today.
the concert stage by pianists or harpsichordists,
the vanguard of composers who are not themselves
perhaps because of their relatively sparse poly-
guitarists, but also by a generation of top echelon
I realize that it is in this context that I now approach
phony, but precisely this lack of density makes them
composers who do play the instrument. In fact, it
the construction of my own solo concerts, such as
ideal for the guitar. Many are cast in a fast-slow-fast
is difficult to find composers today who haven’t at
my upcoming faculty recital. I find myself increas-
design with absolutely gorgeous middle sections and
least dabbled in the guitar and who haven’t been
ingly drawn to combinations of old and new. This
kinetic outer ones. They become guitar works,
p.5
USC
PERFORMANCE
relatively unhindered by expectations developed by
example of Britten’s compositional style and tech-
the memory of keyboard renditions. In both the
nique—a theme with variations in which the subject
Vivaldi and the Telemann, I hope to transcend the
of the piece, Dowland’s lute song, Come Heavy Sleep,
sense that these are ancient works, but rather that
is found in Britten’s arrangement, at the end of the
they are new creations to be appreciated as absolute
work. This haunting song is a goal and a postlude to
music with reference to both old and new.
the series of connected movements which transport the listener on a journey through dream states, both
Brian Head, guitar,
with Paula Fehrenbach, cello,
and John Wakefield, percussion
THORNTON MUSIC MASTERS SERIES
This goal is even more transparent in my third
violent and gentle. Britten finds in Dowland’s style
arranging project, sort of a double re-invention of
many harmonic, rhythmic and contrapuntal ten-
folk-songs and lullabies first arranged, in a process
dencies that, in turn, find natural extension and
reminiscent of Bartok ´ in his Mikrokosmos, by Dusan
expression in his own. The resulting integration
Bogdanovic for solo guitar. Only, I’ll be using a
of these two composers goes far beyond simple
Roland GR-33 guitar synthesizer... The MIDI guitar
variation and becomes a collaboration of equals
affords a huge dynamic range, endless sustain and
across centuries.
an infinite array of tonal possibilities which still are controlled by the idiomatic nature of the guitar—the
In Bogdanovic’s piece, his theme is the one compo-
use of channel-separated strings to identify lines of
sitional masterpiece of Andrés Segovia, the most
counterpoint; the availability of sliding, bending and
influential classical guitar performer and arranger
vibrato; and varieties of attacks with the right hand.
of the 20th century. Not primarily a composer, Segovia wrote the short piece during a time of great
Sunday, October 5, 2003, 3 PM
ALFRED NEWMAN RECITAL HALL
These choices subvert and recast the balance and
uncertainty about his health and future. Bogdanovic
nuance so carefully put in place by the composer.
begins his work with an arrangement of Segovia’s
And herein lies the critical danger of any arrange-
theme, in my view as an interpretation of the
ment: What if I make it worse? I can only answer
fragility of human existence and more overtly of
that the same danger lies in every performance,
the classical guitar, Segovia’s own identity. The
however faithful to the original. Neither a composer-
musical components of the theme are deeply
supervised first performance or a meticulously pre-
integrated into his subsequent variations, but the
pared authentic re-enactment of an ancient work
subtext is the psychologically complex relationship
can claim automatic right to the primacy of the
the modern guitarist has with Segovia. Segovia’s
result. We as performers and listeners relish live
proud and delicate world had become transformed
performance for the very reason that something
often in directions he did not like or understand.
unique will happen, guaranteed. I believe that
Still, the respect for his achievement remains the
the muddied waters of our post-modern culture
cornerstone of Bogdanovic’s work. In much the
encourages us to appreciate art more directly,
same way, we performers in the post-modern cul-
individually, without the need of the intervening
ture are opposing and embracing with every new
priest of high culture to interpret for us. I believe
step we take.
that most composers also find a wealth of their inspiration in a similar process of creation born A new arrangement of Vivaldi’s Fourth Cello
Sonata, three newly arranged keyboard
fantasias by Telemann, two seminal 20th
century variation works—Britten’s Nocturnal
and Bogdanovic’s Estudio sin luz Variations,
and a 21st century set for MIDI guitar and
percussion.
of the clashing of incongruities. I will be exploring this spirit of arrangement in the two centerpiece works of my concert, the Nocturnal by Benjamin Britten and Variations on Estudio sin luz by Dusan Bogdanovic. In both, I will be playing authentically, in the sense that both were written for solo classical guitar, but because constructionally they are both variation sets, I will be interpreting the composers’ own arrangements and re-inventions of two older pieces. Many people contend that Britten’s Nocturnal is the greatest solo guitar work of the 20th century. Written in 1963, it is a rich
ON PERFORMING NEW MUSIC by
Michael Kudirka p.7
USC
If you are a musician who doesn’t write your own music, there are three ways to get a piece of music added to your repertoire: buy it, steal it, or help conceive it. The first one accounts for the majority of music heard in Jeffrey Holmes’
concert halls—you order a score from a music publisher. Though fast and
Five Micro-Tonal Studies
convenient, purchased works are often mediated by decades, if not cen-
is a “captivating... [piece in which] the haunting and slightly disorienting sound disrupts and engages the open ear.” —Los Angeles Times
turies, of tradition which coagulate into musical preconceptions that limit individualistic exploration of the score itself. Performers of early music are notable exceptions to this phenomenon, creatively re-evaluating older works with fresh academic insight. Glenn Gould, the classical musician’s icon of anti-conservatism, also maintained a fearless, exploratory approach, often described as “re-composition,” yielding penetrating interpretations utterly divorced from the classical mainstream.
MEET THORNTON COMPOSER
JEFFREY HOLMES
Jeffrey Holmes, born in 1971 in Los Angeles,
received his BM degree from the San
Francisco Conservatory where he studied
composition, performance and improvisa-
tion with Dusan Bogdanovic. After private
composition studies with Ian Krouse, he
entered the USC Thornton School of Music,
The second way to get a piece of music is theft, also
clearly audible beat patterns caused by ‘out of tune’
known as transcription. This practice is most common
vibrating strings. Though only 9 minutes in length, it
among musicians whose instrument, for a variety of
took us longer to learn the Five Micro-Tonal Studies
historical reasons, has had substantially less music
than any other piece in our repertoire. The score was
written for it. Of course, although fine arrangements
the most detailed we had ever encountered. Almost
abound, recital programs loaded with such repertoire
every note appears like a planetary body around
are undeniably an admission of poverty and disregard
which orbit as many as six satellites containing infor-
the importance of timbre in the compositional
mation about specifics of execution, not to mention
process. The issues with historical mediation apply
numerous accents and sforzandi which pepper the
to transcription as well, perhaps even more so, as
score. Such detail makes for a piece that sparkles with
the performer is likely to assiduously seek a ‘correct’
timbral subtlety. Because of its musical density, how-
(therefore clichéd) interpretation in an effort to claim
ever, we were forced to premiere each movement as
some legitimacy for the arrangement. Transcription’s
we learned it, adding each one successively. Once the
redeeming strength is that if the arrangements are
work had been given time to mature, it became per-
significantly related to other works on the program, a
haps the strongest part of our program and is always
performer can make musical connections that would
a powerful experience for audiences.
perhaps be impossible otherwise. The most recent work written for The Duo is 13 Ways The third way to get a piece of music is to help bring
of Looking at 12 Strings by Portland-based composer
it into existence. This is a process that involves the
Bryan Johanson. If Jeffrey’s piece was the densest
close interaction between an active composer, a
score we’ve had to learn, Bryan’s was undoubtedly the
performer and often the patron who commissions the
most expansive. This piece has a vast scope bringing
work. Playing commissioned works is both rewarding
in diverse styles including rock, jazz, free atonality,
and challenging: new works often require the per-
surf guitar, rigorous fugue and 12-bar blues, all in a
formers to do things they’ve never done before,
kind of post-modern symphonic form. More of a
thereby stimulating musical growth. The main difficul-
tome than a score, it numbers over 80 pages divided
where he studied with Donald Crockett and
Frederick Lesemann earning MM degree
with special distinction for achievement in
composition. Jeffrey Holmes’ music has been
performed in both Europe and the United
States—at festivals in Prague (Czech
Republic), at “Microfest–2003” in Venice
ty with a commissioned work is that you never know
into 13 movements, with a duration of 55 minutes. It
what you’re going to get until the score is completed,
includes several pages of instructions showing how
a fact which makes effective programming proble-
to prepare the various acoustical effects: a mute for
matic at best.
pizzicato sounds, a glass bottleneck slide for multistring glissandi, as well as a straightened metal paper
(California), and at the Composer’s Forum
of the East in Bennington (Vermont). He
has taught music theory and ear-training
courses at USC and Cal State Los Angeles.
Jeffrey Holmes is presently pursuing his
Doctor of Musical Arts degree at USC, and
studies composition with Stephen Hartke.
The situation gets complicated when you’re a mem-
clip to be woven through the strings for a Caribbean
ber of The Duo, a guitar duet of Eric Benzant-Feldra
steel pan effect. Embedded within the work are two
and myself, because the volume of existing music for
solo guitar movements. The instructions ask each
this somewhat unconventional ensemble is frightfully
guitarist to learn both of them and to find some ran-
small as compared to that of more traditional cham-
dom way of deciding who will play which one in the
ber ensembles. In addition, we keep the number of
performance itself. We’ve been opting for a coin toss
transcriptions we perform very low because of the
right before the first solo, an event that always gets
aforementioned issues with that approach. Conse-
some laughs from the audience. This work stimulated
quently, our programs lean more toward new works
substantial musical growth for The Duo—we were
out of simple necessity. Yet, it has become the
asked to do things that we’ve never done before:
preferred way to add to our repertoire; it is the most
improvisation, extensive percussion on the guitar
effective way for us to remain vibrant and creatively
body and maintaining a high energy level throughout
active as performers.
this substantial work which has only 2 slow move-
The first piece written for The Duo was the set of Five
is extremely guitaristic and although quite challenging,
Micro-Tonal Studies by Jeffrey Holmes. Only a couple
it remains truly idiomatic and is a joy to perform.
ments out of its 13 total. Fortunately for us, the piece
weeks after we asked Jeffrey if he would write something for us, he had already developed some ideas concerning the unusual tuning method that he would eventually employ: one guitar tunes itself about one third of a semitone flat, creating a 36-note octave with
Perhaps the most difficult thing about performing commissioned works is that we never know how the piece will fit in our program. With existing repertoire, it’s relatively easy to structure programs that have the emotional balance and direction that the performers are looking for. How are the performers of contemporary music to make effective programming choices when much of what they receive from composers is new and unexpected? There’s no simple answer to that question. At the present moment, it seems important to keep discovering new possibilities of what our ensemble of two guitars can do and in the process help stimulate composers to contribute substantial work to the genre. It is more important now than ever for musicians to be involved in contemporary music, partly for their own nourishment, but even more so to ensure that music performance doesn’t become strictly the work of museum curators.
PERFORMANCE
p.9
USC The Duo is performing the Holmes and Johanson pieces,
Saturday October 18th at 8 PM
among others, this fall as part of the Loyola Marymont
MURPHY RECITAL HALL
University Guitar Concert Series. Tickets available by phone and on the web: 310.338.7588 www.lmu.edu/guitarseries
THE DUO
Eric Benzant-Feldra, born New York 1977, and Michael Kudirka, born Chicago 1978, first crossed paths as undergraduates at the USC Thornton School of Music. At the behest of their teacher, William Kanengiser, Eric and Michael began performing as a duo in 1998. Their first project, selections from Jean-Philippe Rameau’s Pieces de Clavecin, was enthusiastically received and encouraged The Duo to expand their ensemble beyond the confines of the university. Since graduating, they have gravitated towards contemporary music. Ranging from Joaquin Rodrigo’s early “musical cubism” to Dusan Bogdanovic’s current use of “developing bi-modality,” The Duo demonstrates that they are one of the most cutting-edge guitar ensembles today. They frequently collaborate with active composers such as Jeffrey Holmes, Dusan Bogdanovic, Bryan Johanson, Veronika Krausas, James Tenney and Naomi Sekiya, and have had many new works dedicated to them.
As soloists, Eric and Michael have taken the top prizes of several prestigious guitar competitions including the American String Teacher’s Association and the Pasadena Fine Arts Club. In 2000, they took first and second place at the Portland Guitar Competition. This resulted in an invitation to perform at the festival the following year. In his review of The Duo’s recital, James McQuillen, music critic of The Oregonian, said, “The two make excellent duo partners, tight and responsive, and their overview of several centuries of lute and guitar pieces was a thrill.” In the spring of 2003, Eric and Michael won first prize at the USC Thornton Guitar Department Concerto Competition resulting in a performance of Bryan Johanson’s Banana Dance for two guitars and orchestra.
They make frequent appearances on the West Coast and have given recitals at the Photo: Eli Marias
American Radio Museum in Bellingham, the Frye Art Museum in Seattle, Lincoln Hall
Eric Benzant-Feldra and Michael Kudirka, Advanced Studies candidates in classical guitar
in Portland, the Palace of Fine Arts Theater in San Francisco, McKinney Auditorium in Pasadena and the Electric Lodge in Venice (California), among others. They have also given performances in Chicago (Illinois) and Osaka (Japan). In addition to performing with The Duo, Michael Kudirka teaches classical guitar at the Idyllwild Arts Academy.
SPOTLIGHTon...
DR. RUTHERFORD GIFT TO FURTHER THORNTON’S LEADERSHIP ROLE IN
DEAN LAUNCHES
JEANETTE MACDONALD
EARLY MUSIC EDUCATION
ALL-STEINWAY SCHOOL
RECITAL HALL OPENS
AND PERFORMANCE
INITIATIVE
THIS FALL
Dr. William Rutherford,
Sieker, a square piano
With the support of
and Rod and Cheri Jones
Students returning to cam-
finishes, wood paneling
emeritus professor of lin-
made by Pierre Garnier
Provost Lloyd Armstrong,
hosted a private dinner
pus this fall have found
and wainscoting, a new
guistics at USC, and an
and tuned cup bells made
Dean Cutietta has an-
party at the Long Beach
“room 106” transformed
wood-covered stage, a
early music aficionado and
by London’s Whitechapel
nounced that the
Yacht Club featuring per-
into the Jeanette Mac-
new entrance from the
instrumentalist, has named
Bell Foundry. Professor
Thornton School will
formances by Steinway
Donald Recital Hall, a
exterior courtyard, addi-
the Thornton School of
James Tyler, director of
become an All-Steinway
artist and faculty member
prime recital, master class
tional space for perform-
Music beneficiary of his
Thornton’s Early Music
School, joining such peer
Norman Krieger and his
and guest artist presenting
ers, stage management
extensive music library
program, expresses his
institutions as The Juilliard
student Gideon Rubin.
space. Dedicated to the
and piano storage;
and superb early music
gratitude, “Dr. Rutherford’s
School, Yale School of
memory of singer/actress
improved sound isolation
instrument collection.
devotion to the advance-
Music and the Curtis
Jeanette MacDonald, the
and clarity; and new house
Included in the gift is also
ment of early music study
Institute of Music. To date,
new venue is the first step
and stage lighting with
his magnificent three-story
and performance is em-
the Thornton School has
of Dean Cutietta’s commit-
dimming systems. Further
home along with the cus-
bodied in this unique and
received an initial $250,000
ment to create a more pro-
enhancements will include
tom furnishings. Through
important gift. His kind-
matching grant.
fessional rehearsal and
installed recording and
his Trust, Dr. Rutherford
ness, generosity and
performance environment
playback systems, as
has donated his personal
superb taste in historically-
The goal of this $3.5 mil-
for Thornton students,
well as new microphones,
residence for the purpose
informed keyboard in-
lion initiative is to place
faculty, guest artists and
speaker and camera
of attracting and housing
struments will be deeply
a Steinway piano in every
patrons.
positions.
faculty members, prefer-
appreciated by our
student practice room,
ably associated with the
students and faculty now
faculty studio and per-
In addition to showcasing
Dean Cutietta states, “Our
school’s Early Music pro-
and forever.”
formance venue, creating
master classes and student
students are worthy of a
a teaching and perform-
recitals, the space will
professional presentation
gram. His home is to serve as a venue for Thornton
We are honored by
ance environment equal
continue to serve as
environment as the recital
concerts and recitals fea-
Dr. Rutherford’s generous
to the stature of our
the Charles Hirt Choral
component of their educa-
turing faculty and students
support of the Thornton
students, faculty and
Laboratory, providing
tion is the final rite of pas-
for the enjoyment of
School and look forward
guest artists. The All-
the choral and sacred
sage to the professional
Thornton guests, local
to celebrating his gift this
Steinway School Leader-
music department with a
world. We are indebted to
early music enthusiasts and
fall with the Early Music
ship Committee includes
premium classroom and
Ben Newman and Robert
the students and families
Ensemble concert on
Rod and Cheri Jones,
rehearsal space for the
Thom, on behalf of the
of his neighborhood ele-
November 21st in the
Bruce and Jean Juell, Rick
Thornton Chamber Choir,
Gene Raymond Trust, and
mentary school.
Alfred Newman Recital
and Nancy Muth and
Concert Choir, Oriana
are pleased that future
Hall at USC.
Chuck and Anne Taylor.
Choir, University Chorus
recitals and special events
and conducting classes.
will memorialize the musi-
Dr. Rutherford’s lifelong love of music and commit-
In celebration of this new
ment to early music
venture, Steinway & Sons
Care has been taken to
performance has led him
hosted a private party in
honor the venue’s excel-
to purchase and commis-
January at the Ritz
lent acoustics, while
The Jeanette MacDonald
sion such handcrafted
Carlton/Laguna Niguel for
refining and improving the
Recital Hall will be dedicat-
instruments as a Baroque
the Dean and his advisory
aesthetic, functional and
ed on October 4th with a
organ made by Greg
committee. In June, the
performance aspects of
private recital showcasing
Harrold, harpsichords
Dean entertained guests
the space. Architectural,
Thornton students, includ-
made by William Dowd
at Steinway & Sons’ 150th
acoustic and performance
ing the Jeanette Mac-
and Curtis Berak, an
anniversary celebration
system enhancements
Donald Operetta Scholars.
organetto, made by Uwe
concert at Carnegie Hall,
include new interior
cal legacy of Jeanette MacDonald.”
September 18-23, 2003 NEW YORK PHILHARMONIC
Stephen Hartke's new Symphony No. 3, commissioned by the New York Philharmonic, will have its premiere at Avery Fischer Hall, with the Hilliard Ensemble as soloists, under the direction of Lorin Maazel, on September 18, 19, 20 and 23. The initial concert will also be broadcast.
SAVE THE DATE:
Hartke’s symphonic piece is scored for the orchestra and the Hilliard Ensemble, one of the world’s foremost male a cappella groups with which
Friday, December 12, 2003
Hartke has previously collaborated. In asking for
ANNUAL CHARLES DICKENS DINNER
this piece, Hartke was invited, if he so chose, to write something that would also help mark the
The Thornton School of Music’s 17th Annual Charles
second anniversary of the September 11 attack.
Dickens Dinner will be held Friday, December 12, 2003, in the Crystal Room of the Millennium Biltmore Hotel. This festive, black-tie musical evening will feature enter-
“I decided to do so in a somewhat indirect way,”
p.11
say Hartke, “by choosing as my text an Old
USC
English elegy dating from the 8th or 9th century,
tainment by costumed carolers, instrumentalists and special guest artists.
PERFORMANCE
WORLD PREMIERE OF STEPHEN HARTKE’S SYMPHONY NO. 3
in which the poet describes the ruins of a Roman city, perhaps without fully understanding what it is. The poet contrasts the fallen state and decay of the
We will recognize Joyce and Kent Kresa with Dickens
site with imaginings of how splendid it must have been in its heyday.”
Medal of Honor for advancement of the arts. The evening will culminate with the presentation of the
In conjunction with their appearance with the New York Philharmonic, the
Magnum Opus Award for artistic achievement to a
Hilliard Ensemble will also be giving a concert at Merkin Hall on September 21
distinguished musician. Previous honorees include
of work by Perotin and the New York premieres of Hartke’s Tituli and Cathedral
Herb Alpert, Louis Bellson, Leonard Bernstein, Michael
in the Thrashing Rain. Donald Crockett will conduct and Lynn Vartan (MM ‘00,
Feinstein, Michael Kamen, Quincy Jones, Barry Manilow, Marni Nixon, John and Bonnie Raitt, John Tesh, Diane Warren and Frank Wildhorn.
DMA ‘03) and Javier Diaz (BM ‘01) are featured percussionists. This concert is in part sponsored by ECM New Series to mark the September 2003 release of the Hilliard Ensemble recording of Hartke’s pieces.
The Charles Dickens Dinner is vital to the School’s scholarship program, which annually awards more than
Preferred concert seating and pre-concert reception with Dean Cutietta on
$2.9 million to outstanding young musicians worldwide.
September 18th, sponsored by the USC Alumni Club of New York City. For
Again this year, all scholarship contributions will be
further information and reservations: USCNYPhil@aol.com.
matched by a generous grant from John Herklotz for
TROJAN TRAVEL WITH THORNTON DEAN AND FACULTY We invite you to partner with us in ensuring the continued excellence of our music education, performance and outreach programs. Please contact
CRUISE CLASSIC ITALY AND THE DALMATIAN COAST
July 2-12, 2004 with Dr. Robert Cutietta, dean
the Thornton Development Office at 213.740.6474 to learn how your contribution can make a difference.
CRUISE THE FACE OF EUROPE
Dates to be confirmed with Dr. Frank Ticheli, professor of composition Destinations and dates subject to change. For updated information: 213.740.6005 or Trojan Travel via http://alumni.usc.edu.
CONNECTING
double the impact.
Judith Weir is one of Britain’s most wide-ranging composers. The diversity of her compositions will be displayed this fall as she serves as composer-in-residence at the Thornton School of Music giving workshops and lectures. Her works will be performed by two diverse ensembles: USC THORNTON CONTEMPORARY MUSIC ENSEMBLE
USC THORNTON CHAMBER CHOIR
October 14, 8
October 17, 8
PM
PM
ALFRED NEWMAN RECITAL HALL
ALFRED NEWMAN RECITAL HALL
AN EVENING WITH WYNTON MARSALIS Trumpeter, composer, bandleader and champion of music education, Wynton Marsalis brings his septet to USC for an evening of exceptional jazz. The performance will also feature a set by the USC Thornton Jazz Orchestra, directed by Dr. Ron McCurdy. A President’s Distinguished Artist Series Event, presented by USC Spectrum.
November 5, 2003 at 7
PM
BOVARD AUDITORIUM
Admission: $40 general; $20 USC faculty and staff; $10 USC students with valid ID For more information: 213.740.2167 or arts@usc.edu
highlights
PERFORMANCE
JUDITH WEIR COMPOSER-IN-RESIDENCE
˘ ´ PROGRAM YO-YO MA AND THE USC THORNTON SYMPHONY IN AN ALL DVORAK ˘ ´ Carnival Overture, Renowned cellist Yo-Yo Ma joins the USC Thornton Symphony in a performance of four works by Dvorak: Concerto for Cello and Orchestra, Waldesruhde (“Silent Woods”), op. 68, and Slavonic Dance NO. 1. A President’s Distinguished Artist Series Event, presented by USC Spectrum.
March 5, 2004 at 7
PM
BOVARD AUDITORIUM
For more information: 213.740.2167 or arts@usc.edu
USC THORNTON ENSEMBLES FEATURED IN INAUGURAL SEASON OF THE WALT DISNEY CONCERT HALL THORNTON CHORAL ARTISTS Thornton Choral Artists will join the Los Angeles Philharmonic under Esa-Pekka Salonen in Berlioz’s Tristia.
January 22, 2004 at 8
PM
and January 25 at 2
PM
For tickets: 323.850.2000 www.LAPhil.com THORNTON SYMPHONY Sergiu Comissiona conducts the orchestra in the world premiere of a work by faculty composer Frederick Lesemann, as well ´ Concerto for Orchestra and Brahms’ Double Concerto, featuring faculty artist Ronald Leonard and alumna as Bartok’s Sheryl Staples (AS ‘91).
April 18, 2004 at 7:30
PM
For more information: symphony@usc.edu THORNTON CONTEMPORARY MUSIC ENSEMBLE Led by Donald Crockett, the Thornton Contemporary Music Ensemble will present a Pacific Rim program as part of the LA Philharmonic’s Green Umbrella series. On the program are Phan’s AC/DC, Harrison’s The Perilous Chapel, Lim’s The Heart’s Ear, Grenfell’s Ceol na Fidhle and Kim’s Now and Then.
April 26, 2004 at 8
PM
For tickets: 323.850.2000 www.LAPhil.com
CELEBRATION OF PEPE ROMERO AND THE CLASSICAL GUITAR PROGRAM OF USC World acclaimed guitar maestro and Thornton faculty member Pepe Romero will be honored in a week-long guitar festival at the Thornton School of Music.
July 2004 For more information: 213.740.7399
A new exhibit, co-curated by James Tyler, director of Thornton’s Early Music program, and Brian Harlan, head of the USC Music Library, will highlight objects including Western and Non-Western musical instruments from Thornton’s Gale Collection, De Lorenzo Collection, Early Music Ensemble Collection, Tyler’s private collection, and rare materials from the Music and the Special Collections Libraries.
February—May 2004 DOHENY MEMORIAL LIBRARY, TREASURY ROOM
EXHIBIT
MUSICAL INSTRUMENTS ON DISPLAY
Lectures and performances related to the exhibit will take place throughout the spring 2004 semester.
TRIBUTE TO BUDDY BAKER September 28, 2003 BING THEATER, 3:00 PM
p.13
USC
Buddy Baker, who died in 2002, scored and conducted music for Disney for 29 years.
Winnie the Pooh and the Blustery Day and The Shaggy D.A. Buddy Baker also wrote the music for The Haunted Mansion (for which he co-wrote the song Grim Grinning Ghosts) and It’s A Small World attractions at Disneyland, as well as attractions at Walt Disney World, Tokyo Disneyland and Disneyland Paris. In later years, he served as the
This event features the performance of new works composed in Baker’s memory by jazz drummer Louis Bellson and composer Joe Harnell, as well as songwriter Richard Sherman performing his classic Disney tunes. In addition, Baker’s friends and colleagues share songs and memories of Disney’s maestro.
September 2003—May 2004 ALFRED NEWMAN RECITAL HALL GALLERY Along with the performance, this event marks the opening of the Tribute to Buddy Baker exhibit. Original scores of Baker’s famous tunes, rare photos of Baker, as well as images from Disney Co. archives will be on display. Marking a lifetime of achievements, the Tribute to Buddy Baker exhibit showcases the many celebrated moments of his life including Grammy nominations and the opening events of Walt Disney World’s Epcot Center.
EXHIBIT
WALT DISNEY CONCERT HALL
director of USC’s Scoring for Motion Pictures and Television Program.
CONCERT
He wrote scores for TV’s Davy Crockett and Mickey Mouse Club and films including
MILESTONES I. NEW RECORDINGS
commemorating his historic performance as a prize-
FRANK TICHELI, THEORY & COMPOSITION
JAN JAKUB BOKUN, MM ‘01
winner in the First International Tchaikovsky Piano
In addition to composing and conducting, Ticheli
Bokun released a new CD entitled Regreso al Sur with
Competition.
authored a chapter for the book, Composers on Composing for Band, conceived and edited by
the Poznan (Poland) Chamber Orchestra Allegria Di Vita. This CD features the works of Piazzolla,
FRANK POTENZA, STUDIO/JAZZ GUITAR
composer-conductor Mark Camphouse (GIA
Villa Lobos and Galliano. Bokun is featured both as
Potenza’s latest release The Legacy is a quartet project
Publications, 2002).
a clarinetist and conductor.
featuring pianist Larry Fuller, bassist Luther Hughes and drummer Paul Kreibich.
JAMES TYLER, EARLY MUSIC PROGRAM
Tyler’s new book The Guitar and Its Music: From
PETER ERSKINE, ALAN PASQUA, DAVE CARPENTER, JAZZ STUDIES
RICHARD SMITH, STUDIO/JAZZ GUITAR
the Renaissance to the Classical Era, released inter-
Fuzzy Music release Badlands offers a program
Newly released self-titled Richard Smith features Jeff
nationally by Oxford University Press in late 2002,
consisting almost exclusively of originals by the
Lorber, Jeff Kashiwa, Brian Culbertson, Freddie
advances the theory that lute and guitar, while both
members—five by pianist Pasqua, and two each by
Ravel, George Duke/Rippingtons keyboardist Dave
members of the “plucked string” family, evolved along
percussionist Erskine and bassist Carpenter.
Kochanski and Snoop Dog drummer D-Loq.
separate, parallel lines.
BILL KANENGISER, CLASSICAL GUITAR
RICHARD TODD, WINDS & PERCUSSION
In Classical Cool: Jazz Currents for Solo Classical
Todd’s recent CD releases, Horn Sonatas of Three
Guitar, Kanengiser, a founding member of the Los
Centuries and With a Twist, showcase the works of
III. APPOINTMENTS AND RESIDENCIES
Angeles Guitar Quartet, presents a small sampling of
numerous classical composers.
IXI CHEN, MM ‘01
Chen won the second clarinet position with the
the new wave in Jazz-inspired writing for the nylonstring guitar. Compositions by Andrew York (MM
ANDREW YORK, MM ‘86
‘86) and faculty artist Brian Head are among those
York’s third solo recording Into Dark was recently
included.
released by GSP.
Cincinnati Symphony Orchestra. VIVIANA CUMPLIDO, MM ‘03, AND JEREMY REYNOLDS, DMA ‘03
Cumplido will be principal flute and Reynolds will
WOJCIECH KOCYAN, DMA ‘00
Kocyan’s CD of music of Scriabin, Rachmaninoff and
II. PUBLICATIONS AND AWARDS
be principal clarinet with the Tucson Symphony
Prokofiev, released recently on the Polish label DUX,
BRUCE BROWN, MUSIC HISTORY
Orchestra.
was named one of the 2003 finalists in the prestigious
Nominated as the editor of the Journal of the
Fryderyk Awards in Warsaw, Poland.
American Musicological Society, Dr. Brown is pre-
JOANNA DEMERS, MUSIC HISTORY AND LITERATURE
paring a book (co-edited with Rebecca Harris-
The music history and literature department wel-
MORTEN LAURIDSEN, THEORY & COMPOSITION
Warrick) titled In Search of the Ballerino Grottesco:
comes Dr. Demers to the faculty. Demers recently
Fifteen CDs containing music by Morten Lauridsen
Gennaro Magri and his World (University of
completed her PhD thesis at Princeton University
were released this past year, including recordings by
Wisconsin Press). Dr. Brown wrote a chapter for
and is currently working on a book about the effect
the Robert Shaw and Dale Warland Singers, the New
this publication and, as a co-editor, translated two
of copyright litigation on musical creativity.
York Concert Singers and the San Francisco and
chapters by an Italian collaborator. JAMES LENTINI, DMA ‘90
Cleveland Symphony Choruses. WILLIAM DEHNING, CHORAL & SACRED MUSIC
James Lentini has been named Dean of the School of
RON McCURDY, JAZZ STUDIES
Dr. Dehning published a book Chorus Confidential:
Art, Media and Music at The College of New Jersey.
American Composers Forum release Once Again for
Decoding the Secrets of the Choral Art (Pavanne
Lentini came to TCNJ from Wayne State University
the First Time is a mixture of standards and originals,
Publishing, 2002).
where he has worked for the past 15 years as professor of composition.
featuring Patrice Rushen (MM ‘76), piano, Shelly Berg, piano, Jeff Clayton, alto sax, Kenny Davis, bass, and Roy
JOHN STORIE, BM CANDIDATE IN STUDIO/JAZZ GUITAR
McCurdy, drums.
The June 2003 issue of Downbeat Magazine named
PETER LIGHTFOOT, VOCAL ARTS
Storie as the winner of the Outstanding High School
We are pleased to welcome baritone Lightfoot to the
DANIEL POLLACK, KEYBOARD STUDIES
Jazz Instrumentalist on Guitar for his solo work and
vocal arts faculty. Winner of a Sullivan Foundation
Cambria recently released Daniel Pollack, Pianist:
recordings with the Tyme Quartet.
grant, the 1982 Boston Opera Competition and a
1958 and 1961, The Legendary Moscow Recordings,
finalist in the Luciano Pavarotti Competition, he has
performed leading roles with opera companies in both
commissioned by a consortium of twenty-three
DAVID SPEAR, SCORING FOR MOTION PICTURES
the U.S. and Europe. Lightfoot holds degrees from
university ensembles. This work received its European
& TELEVISION
the Juilliard School, Tufts University and Columbia
premiere in June 2003 in Sweden at the International
Spear scored Dinosaur Secrets Revealed, a two-hour
University.
Conference of the World Association of Symphonic
program on the History Channel.
Bands and Wind Ensembles (WASBE). Ticheli’s new CYNTHIA MUNZER, VOCAL ARTS
choral work commissioned by the Pacific Chorale
Cynthia Munzer created an international vocal insti-
will receive the world premiere this coming year.
VII. PASSINGS
tute at the International Summer School UPBEAT
LIONEL HAMPTON, DMA ‘30
HVAR in Croatia. This institute brings recognized
Legendary vibraphonist and drummer Hampton was
master teachers from around the world to instruct
V. ENSEMBLE NEWS
a composer-conductor-bandleader who carried the
gifted students in violin, viola, cello, double bass,
LOS ANGELES GUITAR QUARTET
dynamism of swing from the war years into the
piano, guitar, flute, conducting, chamber music and,
The Los Angeles Guitar Quartet has been nominated
1980’s, discovering new stars along the way. His big
now, voice. Faculty members Alice Schoenfeld, violin,
for this year’s Grammy Award in the Best Classical
band—by 1986 the longest-running orchestra in jazz
and Eleonore Schoenfeld, cello, have been frequent
Crossover Album category for their Telarc recording
history—included such luminaries as Charles Mingus,
master teachers for UPBEAT.
LAGQ: Latin. The group is comprised of four
Art Farmer, Joe Newman, Illinois Jacquet, Dexter
USC graduates, including current faculty members
Gordon, Lee Young, Ernie Royal, Clark Terry, Joe
Scott Tennant and William Kanengiser.
Williams, and Dinah Washington. Hampton died
ALICIA SCALZO, MM CANDIDATE IN CLARINET
at age 93.
PERFORMANCE
Scalzo won the second and E-flat clarinet positions
THORNTON EARLY MUSIC ENSEMBLE
with Michigan’s Grand Rapids Symphony.
In April, the ensemble performed “Baroque Master-
DOROTHY JEAN HARTSHORN, MUSIC EDUCATION
works-Baroque Fireworks” in the 70th Annual Los
Former Thornton faculty member and chair of
Angeles Bach Festival to an enthusiastic audience.
music education, Dorothy Jean Hartshorn passed
NAOMI SEKIYA, DMA CANDIDATE IN COMPOSITION
away in late 2002. She had been with USC for
Meet the Composer, a national organization serving
42 years before retiring in 1989.
composers throughout the country, has selected
THORNTON JAZZ ORCHESTRA
Sekiya for a residency with the Berkeley Symphony
The Hawaii International Jazz Festival featured the
for the 2003-2004 season.
Thornton Jazz Orchestra with Shelly Berg and
TIMOTHY LINDBERG, VOCAL ARTS
Tierney Sutton.
Former vocal arts faculty member and long-time director of the Thornton Opera, Timothy Lindberg
IV. PREMIERES
THORNTON WIND ENSEMBLE
PETER BOYER, SMPTV ‘96
This past March, the Thornton Wind Ensemble
Boyer’s latest work Ellis Island: The Dream of America
performed as the featured ensemble concert at the
STEPHEN MAXYM, WINDS & PERCUSSION
for actors and orchestra with projected images was
CBDNA national convention (College Band Directors
Renowned bassoonist and dedicated teacher Stephen
premiered by the Hartford Symphony under Boyer’s
National Association) in Minneapolis, Minnesota.
Maxym passed away in late 2002. He was principal
passed away this spring after a long illness.
direction, and broadcast on National Public Radio’s
bassoon for the Metropolitan Opera for 36 years and
Symphony Cast.
taught in the finest music schools around the country,
VI. FILM SCORING & TV CREDITS NAOMI SEKIYA, DMA CANDIDATE IN COMPOSITION
SHELLY BERG, JAZZ STUDIES
Sekiya’s new orchestral work, Undulation (2002),
Berg co-composed the theme for the last season of
was premiered by the Estonian National Symphony
Dennis Miller Live on HBO. He was also musical
Orchestra with Olari Elts, conducting. Her Concerto
director of J Edgar!, starring Kelsey Grammer, John
for Two Guitars and Orchestra is scheduled to be
Goodman, Harry Shearer and Christopher Guest, at
premiered on January 21, 2004, by the Berkeley
the HBO Aspen Comedy Festival.
Symphony Orchestra with Kent Nagano conducting. THOMAS NEWMAN, SMPTV ‘74 FRANK TICHELI, THEORY & COMPOSITION
Newman was awarded two Grammy awards for his
The Florida State University Wind Ensemble gave
theme for the TV series Six Feet Under. His most
the world premiere of Ticheli’s Symphony No. 2,
recent project was music for Disney’s Finding Nemo.
including seven years at Thornton.
p.15
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See page 12 for more information
April 26, 2004
THORNTON CONTEMPORARY MUSIC ENSEMBLE
April 18, 2004
THORNTON SYMPHONY
January 22 and 25, 2004
THORNTON CHORAL ARTISTS
DURING THE LA PHILHARMONIC’S ’03-’04 SEASON:
TO MAKE THREE APPEARANCES AT THE WALT DISNEY CONCERT HALL
USC THORNTON ENSEMBLES
’03-’04