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Words of Note

2017 — Issue 27

Magazine of the Butler School of Music


Words of Note 2017 — Issue 27

The Sarah and Ernest Butler School of Music

DIRECTOR

at The University of Texas at Austin publishes

Mary Ellen Poole

Words of Note for its community of scholars, alumni and friends.

ASSOCIATE DIRECTOR

Jeff Hellmer EDITOR-IN-CHIEF

Jenny Catchings EDITORS

Alicia Dietrich Joanna Kaminski Sonja Larson Russell Podgorsek Dan Seriff Page Stephens DEVELOPMENT

Raine Munkens Andrew West OPERATIONS

Sonja Larson Page Stephens BOOK DESIGNER

Nick Galuban

© 2017 Butler School of Music Words of Note, Issue 27 All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. Printed in the United States of America Butler School of Music 2406 Robert Dedman Drive Austin, TX 78712-1555 www.music.utexas.edu


From the Director

32


Musicians understand better than most people the

the organizations they have in many cases created to make

importance of being able to rely on your fellow human

connections across those divides we’ve constructed for

beings.

ourselves.

But the Romantic era imagined a completely self-reliant

Whether it’s writing music that helps people walk again

genius, usually male, usually disheveled, striding over the

(Cassie Shankman) or snagging the full-time carillon gig at

moors muttering to himself. The embodiment of this was of

the Mayo Clinic (Austin Ferguson), teaching music in remote

course Beethoven, whose impaired hearing also made his

parts of Colombia (Luz Sarmiento) or creating a youth

music seem not only miraculous but maximally indifferent

development program in Memphis (Lecolion Washington),

to what any contemporary audience might think of it. The

bringing the empowering sound of the guitar to the Texas

other dominating principle from this era (which made a big

correctional system (Matt Hinsley) or starting a social justice

impression on the “classical music” industry in the U.S. as we

movement with the collaborative skills learned playing string

strove to mimic Europe) was the powerful, well-supported

quartets (Jessica Jin)—we are as proud of their courage and

institution—the opera house, the symphony orchestra, the

commitment as their musicianship.

conservatory—as authoritative (and protective) deliverer of Speaking of courage, in these pages you’ll read the obituary

culture with a C.

of Barbara Smith Conrad (B.M., 1959), the internationally Today’s younger (and young at heart) composers and

acclaimed mezzo who also happened to belong to the

performers know how anachronistic this imagery has

first group of black students—known as “The Precursors”—

become. So they form collectives, produce concerts in

admitted to UT Austin in 1956. The all-too-familiar story is

unexpected places, bend and blend genres, reach out to

this: in her second year on campus, the university president

visual artists or dancers or architects to create something

ordered that Barbara be removed from the leading role in

many-sided and immediate. In this issue, you’ll read about

a student production of Dido and Aeneas because Texas

ways our faculty, students, and alumni have responded to

legislators, led by a racist from her own home district, were

the imperatives of the 21 century and its evolving audiences

perturbed that she’d been cast opposite a white baritone.

all over the world.

It’s a shameful chapter in our institutional history, but

st

somehow Barbara Smith Conrad found it in her heart to Perhaps the most crucial of those imperatives is that music,

persist, to stay. She stuck with us when she didn’t have to.

which we know to be immensely powerful, is not diminished in any way by being used to create social change. I want

We honor her memory by ensuring that the Butler School

to throw the spotlight for a moment on some of our

remains an open-hearted, open-minded place. Stick with us,

students past and present who are out there fulfilling not

and read on to witness and support all the ways our faculty,

only the obligation of their considerable talents, but their

staff, students, and alumni do exactly that.

felt obligation as human beings: to care for each other, to make things just a little better, to leverage their gifts and

Because y’all means all—

Mary Ellen Poole Director, Butler School of Music


Contents

08

Keeping Time: 1940–2010

24

Alumni Updates

14

It’s time for an All-Steinway School

34

New Faculty, Promotions, and Retirements

16

Rainwater Innovation Grants

38

Interview with Frank Simon

18

A Day in the Life of Billy Hunter

42

20 22

2017/2018 Season

In Memoriam

44 52

UT Jazz Tours Europe

Faculty Updates

Butler Society and Endownments


Keeping Time The Experiences of Music Students at The University of Texas at Austin, from the 1940s–2010s

Words by Jenny Catchings

The music department at the University of Texas at Austin was founded in 1914, and many important strides have followed: the addition of graduate studies in 1924, the construction of Bates Recital Hall in 1980 and, of course, the monumental gift from Sarah and Ernest Butler that named the school in 2008. In this feature we aim to take a more personal snapshot—listening to just five UT music school students with stories and accomplishments that span over 75 years—in hopes that we can find not only progressions, but also the connecting threads and evergreen bonds that motivate artists across borders and time.

8


Department of Music, ca. 1981

Former Director of the Longhorn Band Moton H. Crockett,

also responsible for the famous one-dollar acquisition of

Jr. (B.M. Music Performance, 1953) was initially drawn to

“Big Bertha,” the Longhorn Band’s large drum, which he

other areas of study—first earning a Bachelor of Business

completely refurbished before presenting it to his successor,

Administration in 1947, then a second bachelor’s degree in

Vincent R. DiNino. The Moton H. Crockett, Jr. and Martha

1951 for mathematics. He was, however, always an active

Crockett Endowment for Big Bertha was established in 2011

member of marching bands in Austin’s public schools. Soon

to ensure its longevity for generations to come.

after beginning at the University of Texas in the fall of 1941, the Longhorn Band was on his schedule. When asked why he chose to attend the university, he

With a cheerful nature that perfectly suits her name, Alegría

replied with light jest: “Where could you go except UT if

Arce-Hibbetts (M.M. Piano Performance, 1969) has a relaxed

you lived in Austin all your life?” In fact, the Crockett family

attitude toward the accomplishments she’s accrued over

are all UT graduates and Texas Exes Life Members.

30 years as a concert pianist: “I’ve always heard that you have to have a goal. And frankly, I’ve never had a goal. My

As a student he spent much of his free time in downtown

only real goal was to stay alive. Giving concerts just…sort of

Austin performing with his band. “I had a dance orchestra

happened.”

while I was at school,” Crockett recalled. “We were interested in playing all the tunes that large orchestras

In 1969, one of her first achievements came in the form

played in the 40s—that would have been Harry James,

of an invitation to perform as a soloist with the New York

Glenn Miller and Benny Goodman. Every Saturday night

Philharmonic, which rarely employed female musicians at

for three years we played in the Stephen F. Austin Hotel

the time. In a New York Times review of Arce’s performance,

ballroom, which was at the time a [military] officer’s club.

music critic Robert Sherman wrote, “She played

We had a good time there. It was strictly a nice affair for

Rachmaninoff Concerto No. 1 with a resilient tone, technical

all.”

brilliance and a full measure of old-fashioned romantic ardor. The vigorous orchestral support provided by André

After leaving UT in 1943 to serve in the U.S. Army Air

Kostelanetz might have overwhelmed a less secure pianist,

Corps, Crockett returned to the Longhorn Band under the

but Miss Arce showed strength as well as sensitivity.”

leadership of former Director Colonel George E. Hurt. After several years Crockett became the drum major, then later

Many other concerts would follow, including performances

the assistant director.

with the Houston Symphony, Dallas Symphony Orchestra and Miami Symphony Orchestra. Along with extensive

In 1950, he succeeded Colonel Hurt as the Longhorn Band’s

touring in Texas, she has performed internationally in Europe

director and served until the spring of 1955. Crockett is

and South America. 9


Born in Guayaquil, Ecuador, Arce later spent much of her childhood in Florida until her move to Austin for college. She chose the University of Texas primarily to study with

“I have been extremely fortunate to have had continuous

former head of the piano department Dalies Frantz—a

employment as a trombone performer and educator since I

lauded Dallas-born educator, actor and concert pianist—

left UT,” said Mark R. Williams (M.M. and D.M.A. Trombone

though it didn’t hurt that Texas could provide the warm

Performance, 1984–1990). His career has indeed been

climate she preferred (the same partiality that diverted her

full and illustrious, including 14 years spent as principal

from any long stays in New York City).

trombone in the United States Air Force concert band. Later he served as their director of operations, eventually leading

Reflecting on the tumultuous mid-to-late 1960s during

to his selection as the band career field manager at the

which she was a student at UT, Arce explains that at

Pentagon, a position that oversees policies and assignments

times—especially with the gravity of the Vietnam War in the

for 900 Air Force enlisted band members worldwide.

air—it was difficult to see the relative importance of music performance. Ultimately she did find it a deeply important

“During my years in the Air Force I performed in many of

calling, describing art as a way to extend beauty and grace

the finest concert halls in the United States, played for many

even in the most difficult situations.

of the leading composers and conductors, and worked with dozens of guest artists such as Shirley Temple Black, Ray

As advice for music students building their careers,

Charles, Morgan Freeman, Chaka Khan, Robert Merrill, Helen

Arce emphasizes the importance of gratitude and a

Reddy and Wynonna.”

preparedness for the unusual. This she can attest to through many personal experiences.

Since 2008, Williams has been a professor of trombone at Grand Valley State University in Allendale, MI. When

Once, when engaged with the San Antonio Symphony, a

reflecting on his own influential professors at the Butler

car promised by the venue’s manager never arrived at call

School, he remembered Donald Knaub as someone “honest

time, forcing her to pick up the hem of her long evening

and direct in lessons” with an expectation for an extremely

gown and run all the way to the concert hall to make it on

high level of preparation. Williams adds that he also had a

time for the performance. Other vexing obstacles included

wonderful sense of humor that made the learning process a

an accidentally unlocked piano wheel discovered too late

joy.

and an especially tired front row patron snoring at top volume. Perhaps especially useful for Texas musicians is her

“In practicing for my first doctoral recital I added a turn,

reminder, learned from one of her own experiences in an

similar to those found in the famous Melodious Etudes by

outdoor live performance with the St. Louis Symphony, that

Rochut, in the penultimate cadence of Gordon Langford’s

one’s pitch can be much lower in high humidity situations.

Rhapsody. When I played it in my lesson Mr. Knaub stopped

Laughingly she recalled, “That’s the kind of thing that will

me. I explained that it just seemed to fit and he said, ‘Well,

give musicians nightmares!”

you better not do that on the recital.’

The University Symphony Orchestra, 1957

10


I have been extremely fortunate to have had continuous employment as a performer and educator since I left UT. —Mark R. Williams

I jokingly asked him what he would do if I did and he said he would get up and leave. I debated with myself for quite a while, but decided to play the turn on the recital. Mr. Knaub immediately stood up in the audience and shook his fist at me, but he didn’t leave. It was great fun and I did still

“The Worlds Biggest Drum,” Big Bertha

pass the recital.” There are some aspects of life as a college student that

Amy Simmons (B.M. Music Studies, 1997, M.M. and Ph.D.

seem constant across the decades, such as when Williams

Music and Human Learning, 2003–2007), a current

describes the way he and his classmates would “just gather

senior lecturer at the Butler School, points to many band

at someone’s apartment and listen to music and share

experiences when discussing the turns and highlights of her

meals” in pursuit of fun in Austin. Still, he believes there are

music career. In fact, most of her time as an undergraduate

notable and encouraging differences for a current student

in the 1990s was spent in the Longhorn Band Hall, a place

at the Butler School.

she describes as “so full of sounds that make the space come alive.” Most important was her recruitment at an

“The extraordinary gifts from Dr. Ernest and Sarah Butler

all-state band rehearsal by Richard Blair, then professor of

have been integral in propelling the school into one of the

oboe.

finest music programs in the country, with an increasing international reputation and reach. I imagine this can only

“Mr. Blair corresponded with me for many months, even

provide students with great confidence in their learning

beyond my audition and acceptance to the university. His

environment.”

personal touch was a compelling factor in my decision making,” said Simmons. “I was also encouraged to audition

Even now Williams still finds himself actively connected

at UT by Mr. Fred Junkin [father of Professor Jerry Junkin,

to the Butler School, describing current Professor of

current director of bands]. He took the time to speak with

Trombone Nathaniel Brickens as one of his closest friends.

me at length after I performed, encouraging me to apply. Quite frankly, when I finally visited the university, it simply

“I met him during my final year in residence at UT. Nathaniel

felt like home.”

is an extraordinary musician and a remarkable individual. We were in a number of ensembles together, and it was

This feeling of hominess and security at the Butler School

a real joy to perform alongside him. It was great news

continued for many years to come. While in graduate

when he was appointed to his position. He has raised the

school and running experiments as part of her dissertation,

trombone studio to new heights.”

Simmons was pregnant with her first child. One morning, in the midst of her significant academic workload, she found herself going into labor only 32 weeks into the pregnancy.

11


12

Dizzy Gillespie at UT, 1974

Fortunately, doctors were able to stop the labor process—and during the following five weeks of strict bed rest Simmons found a tremendous response from her community at school.

Houston native and current Washington D.C. resident Chelsey Green (B.M. Viola Performance, 2007) came

“My faculty mentor, Bob Duke, and my colleagues Sarah

to the Butler School with a music scholarship and

Allen, Carla Davis Cash, and Katie Goins stepped up to help

graduated summa cum laude. Since then she has

me finish what remained. I will be forever grateful to them

obtained her doctoral degree from The University of

for their unfailing support during that difficult time. Now, as

Maryland, founded her band Chelsey Green and the

a faculty member at the Butler School, I continue to see that

Green Project and taught as an associate professor at the

kindness and sense of community manifest in our students,

Berklee College of Music.

staff, faculty, and administration.” Beginning her prestigious career by soloing at Along with her duties as a much-loved educator, Simmons

Carnegie Hall at age 16, Green has performed with her

is a prolific voice in her field. Her ongoing research in music

aforementioned Green Project in many important venues

psychology has generated many publications in the Journal

around the world, including the CBS Late Show with

of Research in Music Education, Annals of the New York

David Letterman, the Theater at Madison Square Garden,

Academy of Sciences, Bulletin of the Council for Research

the Smithsonian National Museum of African American

in Music Education, and Update: Applications of Research

History and Culture, Saint Lucia Jazz Festival, the BET

in Music Education, and she regularly presents her work

Honors dinner, Essence Music Festival, Bahrain Spring of

in international, national, and state conferences. Simmons

Culture Festival, the John F. Kennedy Center and many

currently serves on the editorial board of the Journal of

more. Despite this wildly full schedule, she communicates

Research in Music Education and is co-chair of the College

with a marked calmness and generosity.

Division Research Committee for the Texas Music Educators Association, for which she coordinates the online journal

Green describes her time as an undergraduate at the

Texas Music Education Research. She also continues to play

Butler School of Music as “transformative in so many

oboe professionally in the Austin and San Antonio areas.

ways,” citing specifically the crucial academic support


Now, as a faculty member at the Butler School, I continue to see kindness and sense of community manifest in our, students, staff, faculty, and administration. —Amy Simmons

of faculty and staff—such as Professor of Musicology Andrew Dell’Antonio and former Undergraduate Advisor Dr. Susan Jackson—but also the broader culture provided by UT’s large public campus. “From preschool through high school, my educational environments lacked cultural diversity. At UT, I met students from very different backgrounds, life experiences and ideologies which afforded me the opportunity to expand my view of people, human relationships and the world. Additionally, it exposed me to many different foods, political and personal perspectives and ultimately provided insight on how

Igor Stravinsky at UT, 1965

music—more specifically, my music—could add to this very complex and diverse society.” Although only a decade removed from today’s undergraduate music students, Green is quick to point to the fast pace of technology when asked about differences for today’s music students. “Technology has altered music exponentially since my time at UT. Music is literally at your fingertips these days,

To learn more about the ongoing accomplishments of all Butler School alumni, and to submit your own update, visit music.utexas.edu/alumni

transforming the industry and how musicians approach careers. Also, music quality—and even the definition of what is considered music—has radically changed.” Green goes on to say that one of her goals is to return to the Butler School to connect with current students, hoping to provide insight on the path she’s traveled that may help them in their own career development. 13


“I have often experienced how a great piano can inspire me to play “beyond,” giving me glimpses of the next leg of my artistic journey—and 99.99% of the time that has been a Steinway piano. ” Helen Sung, pianist and composer B.M. 1993, M.M. 1995 Piano Performance

14


It’s time for an All-Steinway School Words by Andrew West Photo by Trent Lesikar

The name Steinway is synonymous with quality. The

The Butler School’s Professor of Piano Anton Nel is a

unforgettable brand, look and sound of the instrument

distinguished Steinway Artist and his aim with this project

has filled concert halls across the globe. It is the preferred

is clear. “The Butler School of Music is truly ready for an

instrument of major performing artists, educators and

overhaul of its piano inventory, and the All Steinway Initiative

enthusiasts. When a student leaves the Butler School

is a further opportunity for us to commit to excellence by

of Music to pursue their career, it is critical that they

providing our students, faculty, and guest artists with the

have the opportunity to practice on the instrument that

best possible instruments available. I feel that the Steinway

experts in their field demand. As the Butler School recruits

piano has wonderful versatility, whether it is used for recital,

new professors, it is an indicator to prospective faculty

concertos, or chamber music; it is simply without peer.”

members that the school is committed to building a musical community using excellent resources. Becoming

Steinway pianos, when considering their longevity and value

an All-Steinway School is more than just securing new

appreciation over time, are the least expensive pianos to

pianos—it’s a credibility marker for our entire program.

own. If investment is important to you—in both the artistic and financial sense—Steinway is the only way for us to go.

The Butler School of Music is one of the preeminent public

We need your help to ensure this campaign is a success.

schools of music in the country. As the school endeavors

The goal of this initiative is $6.5 million, which will include

to compete for the brightest and most talented students,

80 new Steinway & Sons upright pianos for practice rooms,

it is imperative that they have the appropriate instrument

new Steinway & Sons grand pianos for faculty studios,

upon which to hone their craft. 91% of the Butler School’s

practice facilities and performance halls, and a $1 million

undergraduate students enroll in a beginner piano course.

endowment to support the maintenance of these instruments

The pianos currently in the music building have seen

in perpetuity.

non-stop use since the building was opened in the early 1980s. The current inventory of pianos in the school range

How can you help? I invite you to visit music.utexas.edu/

in age from just a few years to 107 years old, and the

giving/allsteinway to find your key—or octave—today.

average age of the full inventory is 42 years old. According

Thanks to the generosity of many, our efforts are already

to the Butler School’s longtime head piano technician

well under way. Join us as we tune up for this much needed

and resident Steinway expert Charles Ball, “The typical

upgrade to one of our most utilized—and necessary—

Steinway piano, at this level of diligent instructional use,

resources.

only lasts about 30 years.” While the school has made incredible use of its piano inventory, it is time for an upgrade.

To learn more about how you can support the All-Steinway School Initiative, please contact Andrew West at awest@austin.utexas.edu or (512) 232-3515.

15


Words by Jenny Catchings

Prismatx

Announcing the 2017 Recipients of the Rainwater Innovation Grants Introducing a new opportunity for students at the Butler School of Music to pursue innovative studies via the creation, practice and scholarly examination of American Music.

In early January 2017, the Butler School unveiled the

the Americas, and bring the most inventive and diverse

Rainwater Fund for American Music, a newly established

American composers to campus.

$5 million endowment created by the late UT alumnus Richard E. Rainwater (B.A., Mathematics, 1966), a Fort Worth investor and fund adviser.

“American music—whether jazz, musicals, bluegrass or mariachi—reflects our rich, diverse cultural history. Music is an enormous part of what makes us uniquely

The ambition of Mr. Rainwater’s fund is to advance the

American,” said College of Fine Arts Dean Doug

study of a wide array of music produced by Americans—

Dempster. “This generous gift allows us to offer even

from roots to jazz to film music to the concert hall. The

more opportunities to students in our college who study

gift significantly enhances the Butler School of Music’s

and perform American music. It will expose them to

capacity to be a fulcrum of research, study and practice

world-class visiting artists and allow them to perform

of American music past, present and future.

and interact with fellow musicians and scholars around the world.”

“This generation of Butler School students and faculty— and all those to come—are so fortunate to be the

The newly created Rainwater Innovation Grants will have

beneficiaries of Mr. Rainwater’s incredible foresight and

the most immediate impact on students. Successful

generosity,” says Mary Ellen Poole, director of the Butler

proposals for this grant aim to challenge standard

School of Music. “He recognized our strengths and

expectations and reach unexpected audiences, thus

wanted to help us become even stronger.”

advancing the field of music in a provocative and productive way.

The endowment is expected to provide $250,000

16

annually in funds that will, among other commitments,

We are now very proud to announce the first

expand the scholarly activities of the Center for

undergraduate and graduate student recipients of the

American Music, support travel and program assistance

Rainwater Innovation Grants, as well as their exciting

for ensembles whose repertory is drawn primarily from

endeavors.


$5000 Awards

$2500 Awards

Kevin Parme, an ethnomusicology Ph.D. student, for

Austin Camerata, a group that reaches unexpected

“Transnational Dialogues in Traditional Oaxacan Music.” Mr.

audiences through performances of chamber music in public

Parme hopes to promote interest in traditional Oaxacan

spaces outside of the concert hall. It merges with other

music, and, by extension, Mexican culture, with a three-

forms of art, such as storytelling and dance, to create a

part initiative involving dissertation research on brass and

new medium for the appreciation of chamber music among

wind band music in Oaxaca, a bi-national collaboration with

audiences of all ages and backgrounds. Austin Camerata

CIESAS (the national center for anthropological studies in

organized a series of concerts last spring, held in venues

Mexico) that involves inviting specialist Dr. Sergio Navarrete

like the Blanton Museum of Art, ImagineArt Gallery, and the

Pellicer to campus, and a presentation of Oaxacan music and

Texas State Capitol. The grant was used for compensating

dance at the Butler School.

collaborative artists (dancers, storytellers) and for advertising their concerts.

prismatx ensemble, a new ensemble dedicated to creating art inspired by art, will present “Lunaire Eclipse,”

Joanna Zattiero, a musicology Ph.D. student, for “Popular

a showcasing of Schoenberg’s Pierrot Lunaire paired with

Music Then and Now: From Musical Archive to Classroom.”

an original work by timed media artist Rachel Stuckey at

The project aims to make underutilized archival popular

the Spiderhouse Ballroom in Austin. The concert will also

music resources available to public school students and

feature short films by Stuckey paired with music by David

interested community groups. The archival resources (related

Lang, Louis Durey, Casey Martin, Robert Honstein, and

to popular music from 1890–1940) will be brought to life

Lera Auerbach. The grant will go towards expenses for

through brief presentations covering historical and social

putting on this event (venue, commission, scores, musician

relevance, as well as their relationship to modern social and

compensation).

artistic trends, and will then be performed by a professional musician. Finally, the audience will be encouraged to join in

Lab Orchestra, represented by Nicholas Clark, an

the performance and asked to consider how popular music

undergraduate composition student. Lab Orchestra is a

of the past can inform education and musical performance in

21st-century-minded chamber orchestra that performs music

the present.

of all eras in a laid-back Austin context. The funds partially sponsored a concert for their Density 512 summer series

Sean Riley, a D.M.A. student, for “Dharma at Big Sur: 3D

called “Through the Looking Glass and Other Toys,” a project

Cross-Art Collaborative Design Project.” Mr. Riley will use the

inspired by childhood that took place at The Thinkery, an

The Foundry at the Fine Arts Library to design and 3D print

evolution of the Austin Children’s Museum.

a six-string electric violin for John Adams’ concerto. He will commission and collaborate with a mechanical engineering student from the School of Engineering and an architectural artist from the College of Fine Arts to design the violin. The grant will pay for commissioning the work of the artists, and for parts of the violin that cannot be 3D printed. He will use the violin to perform Dharma at Big Sur for the 2017 concerto competition. Laura Hicken, a Ph.D. student in Music and Human Learning, for “Visual Gaze Analysis to Probe Attention and Cognition in Music Teaching.” Ms. Hicken is using eye-tracking technology to study the visual gaze of teacher-student interactions in music, using analysis techniques to probe the thinking and perception of musicians and teachers. The grant will help fund the purchase of software and hardware capable of

Dorothy O’Shea

being used in ensemble settings. 17


Interview by Jenny Catchings

To be fair, the title of this piece could be a bit misleading. For Austin native and Butler School Alumnus Billy Hunter (Bachelor of Music, 1997) there really are no typical days. Mr. Hunter is currently Principal Trumpet with the Metropolitan Opera in New York City and Assistant Principal Trumpet with the Grant Park Symphony Orchestra in Chicago. In addition to these prestigious core responsibilities, you could also see him in the following places over the summer of 2017: Memphis, TN at the Prizm Music Festival, South Africa with the Stellenbosch International Chamber Music Festival, back in New York

A Day in the Life of

Billy Hunter

City with the National Youth Orchestra coaching camp (which he describes as “an absolute joy”), the Napa Valley Festival, Lake Tahoe (for orchestra and chamber music), Aspen, CO (for opera and teaching) and finally in the UK with the Chineke! Orchestra.

Principal Trumpet of the Metropolitan Opera In addition to his musical life, Mr. Hunter practices Bikram yoga—which he credits with aiding his aptitude as a musician through benefits to muscle function, breathing and concentration—as well as a very active family life with his wife, award-winning pianist Anna Stoytcheva, and their two sons. “Believe it or not, this is just the tip of the iceberg and I love every moment of it. One of the things I have learned from performing 27 or 28 operas a year is, ’always expect the unexpected.’”

18


A Day in the Life of Billy Hunter

8:00 AM No alarm ringing today. I am awakened by the

11:30 AM It’s now our rehearsal intermission, so I head to

golden sounds of Mark, age 5, and Michael, age 8,

the cafeteria to grab something to eat. There, I check

laughing loudly while eating breakfast and readying

my messages, some of which are with my New Jersey

for school. Luckily for me, my wife Anna usually walks

City University students about lesson times next week. I

them to school so they can make the 8:45 AM deadline

regularly travel to Jersey City to teach—for three hours

at P.S. 452 on the Upper West Side. However, as Anna is

on a weekday, and one hour on Saturday before the

away this week performing concerts with her ensemble

matinee show.

the American Chamber Players, I get to take them to school.

After lunch it’s off to the poker table in the break room, a much needed time for thinking about something else

8:30 AM While Baba and Dedi (the Bulgarian words for

besides music. The Met poker game is a longstanding

“Grandma” and “Grandpa,” respectively) prepare the

musicians’ tradition dating back to the 1800s. We have

lunches and get the boys ready, I awake with a routine

fellow brass players, string players, a few choristers and

sitting meditation that I learned while living in Miami

every once in a while the leads will stop by for a few

Beach. Afterwards, I make myself a quick cappuccino

hands—most notably Luciano Pavarotti back in the 1980s,

and lovely swiss cheese, spinach, and avocado omelet,

although I’m pretty sure he didn’t win!

then wash it down with a lemon and tart cherry juice water. Whew! Boys are ready and we are off 8:30 AM sharp.

When we hear the intercom announce, “Five minutes please, ladies and gentlemen of the orchestra to the orchestra pit,” it’s back to work.

9:00 AM After drop-off, I take a nice little walk down to Lincoln Center and into the backstage area of the Met.

1:30 PM The second half of rehearsal goes well, so I can

I’m usually one of the first musicians here warming-up

make it to my 2 PM yoga class if I quickly put my

before we have our 10:30 AM rehearsal. Most of the

things away. I find that Bikram Yoga—26 postures in a

core work is done here.

heated 103-degree room with 40% humidity—loosens my muscles, improves my breathing and helps my

My regular warm up lasts about 45 minutes, and I try to

concentration and focus for performing. I try to find a

touch all of my instruments a little bit as I have to play

time every day for practice in this form. OMMMMM!

different horns for each opera. For example: The B-flat trumpet is my home base, followed by the C trumpet

4:00 PM I call Dedi to decide on a place to meet him

which I use for most repertoire. After this comes the

with the boys. On Fridays they have swimming class.

E-flat trumpet, which I will play in a performance of

During the week there is gymnastics, soccer, chess and

the Hummel Concerto in a few months, then B-flat and

“Mathnasium,” not to mention any extra birthdays or

C cornets for French operas, and finally the C rotary

school functions. It sounds like they want pizza today. I

trumpet for German operas.

meet them at the restaurant, then head straight home where I make my second cappuccino of the day and get

This particular day I am practicing for a concerto

into my tuxedo.

performance in January and a slew of challenging music—Janáček’s Jenufa with David Robertson, and

6:30 PM This is an earlier start than the usual 7:30 PM

L’Amour de loin composed and conducted by Susanna

because tonight’s performance of Wagner’s Tristan und

Malkki, the Met’s first performance of an opera

Isolde, conducted by Sir Simon Rattle, is a very lengthy

composed and conducted by a woman—and also

five hours long.

preparing for a full dress rehearsal of L’Italiana in Algeri, conducted by Maestro Levine. After warm-up, I head

11:45 PM I start my 15-minute walk home, and am not yet

into the pit with about 15 spare minutes to let my lips

sleepy. I watch a little TV news, check to see how my

rest before the first part of rehearsal.

Texas Longhorns are faring and finally go to sleep.


Butler School Season Subscriptions

What makes live music vital to your life? Whether it’s the powerful wall of sound from winds and brass or the intimate intricacies of chamber music, purchasing a Butler School Season Subscription is the easiest and most affordable way to experience a wealth of great live music. Your patronage extends direct support to the students and faculty who make this rich experience possible. Additionally, ticket proceeds help to expand our diverse program of free performances, available to all audiences throughout the season. We invite you to browse our offerings for the 2017–2018 season, select your must-see events, then build them into one of our two reduced subscription packages. To purchase a Season Subscription visit music.utexas.edu/subscription

Package 1:

Butler Season Subscription Package Choose at least four performances from the 2017–2018 Season and receive 40% off tickets. Package includes our best ensembles and operas, as well as top-notch faculty recitals. Although this subscription is open throughout the year, we encourage early reservation to ensure availability of top choices.

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Choose three Butler Opera Center performances and receive 50% off tickets. Package includes three to four date options for productions of Così fan tutte, The Rape of Lucretia and Falstaff. This package is available for purchase through November 5, 2017.

20


2017–2018 Season Highlights JAT Jessen Auditorium BRH Bates Recital Hall RST Recital Studio BCH Bass Concert Hall MCT McCullough Theatre

ANTON NEL, FORTEPIANO Sunday, October 8, 4:00 PM | JAT

MIRÓ QUARTET Friday, January 26, 7:30 PM | BRH

Ludwig Van Beethoven Sonata No. 14 in C-sharp minor, Moonlight

The quartet is joined by guest faculty Andrew Parker, oboe, Kristin Wolfe Jensen, bassoon, and Jonathan Gunn, clarinet for their final concert of the season.

Joseph Haydn Fantasia in C major C.P.E. Bach Sonata in A major

Wynton Marsalis Meeelaan Bassoon and String Quartet JEFF HELLMER AND FRIENDS Tuesday, October 10, 7:30 PM | BRH Director of Jazz Studies Jeff Hellmer takes the stage with our brilliant jazz faculty, featuring repertoire of new originals and old standards.

COSÌ FAN TUTTE Friday, October 27, 7:30 PM Sunday, October 29, 4:00 PM Friday, November 3, 7:30 PM Sunday, November 5, 4:00 PM All performances will be in MCT It begins with a bet and a question: Are all women fickle? In an attempt to assuage their fears, friends Ferrando and Guglielmo hatch a plan—complete with elaborate costumes—to test their betrothed’s fidelities. Utilizing the timehonored plot device of “fiancé-swapping,” Mozart’s Cosi is a lush and melodic comedy of bad manners.

SYMPHONY ORCHESTRA Wednesday, December 6, 7:30 PM | BRH An All-Shostakovich Program Tahiti Trot, after Tea for Two Symphony No. 10 in E minor

HOLIDAY CHORAL CONCERT Saturday, December 9 | 3:00 PM | BRH Saturday, December 9 | 7:30 PM | BRH Titles and dates are subject to change. View our full Season Brochure at bit.ly/bsomseasonbrochure

W.A. Mozart Oboe Quartet in F major

Join us for an annual favorite! The impressive efforts of the UT Choirs and the Symphony Orchestra combine for a sparkling performance of traditional Christmas carols and hymns.

Carl Maria von Weber Clarinet Quintet in B-flat major

SANDY YAMAMOTO Friday, February 2, 7:30 PM | BRH Joined by guest faculty, DaXun Zhang, double bass, Colette Valentine, piano, Daniel Ching, violin, Bion Tsang, cello, and Andrew Brownell, piano.

PATTI WOLF, PIANO Saturday, March 3, 7:30 PM | BRH New Lecturer in Collaborative Piano Patti Wolf performs music for four hands with Associate Professor of Collaborative Piano Colette Valentine.

NEW MUSIC ENSEMBLE Wednesday, April 25, 7:30 PM | BRH David Gompper Clarinet Concerto | Butterfly Dance Russell Pinkston Off Leash

WIND ENSEMBLE Sunday, April 29, 4:00 PM | BRH Features world premieres by John Mackey and Dan Welcher. Wind Ensemble is joined by Pamornpan Komolpamorn, guest conductor, and Christopher Martin, trumpet. John Mackey Antique Violences: Concerto for Trumpet Dan Welcher Symphony No. 6, Three Places in the East

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In Memoriam

Ms. Barbara Smith Conrad

Dr. Frank “Hap” Speller

1937–2017

1938–2017

Alumna Barbara Smith Conrad (B.M., 1959) was a world-

Dr. Frank “Hap” Speller retired as professor emeritus from the

renowned mezzo-soprano as well as one of the first African

University of Texas where he taught organ and harpsichord

American undergraduates admitted to the University of

for over 40 years. An accomplished teacher, performer and

Texas at Austin in 1956—a group named the Precursors—

composer, he earned his bachelor’s and doctoral degrees

making the young music student an early pioneer in the

from the University of Colorado, and his master’s degree and

movement to create a more open and diverse university

performer’s certificate from Indiana University.

community. With her natural talents and stage presence, Conrad was encouraged to audition for the university’s 1957 production of Dido and Aeneas. She won the role of Dido, the queen of Carthage, opposite a white male student as Aeneas, her lover. The casting controversy that ensued escalated to the Texas Legislature, and when lawmakers threatened to pull funding, the president of the university made the decision to remove Conrad from the cast.

Speller concertized extensively in the United States and in Europe. He was also very active in Austin-area church performances of all denominations, serving as organist at St. Louis Catholic Church and Good Shepherd Episcopal Church. As a composer, Speller wrote numerous works of sacred music for both organ and choir, with two of his compositions garnering Pulitzer Prize nominations. He collaborated with

“I felt so trapped,” Conrad said of the experience. “I wanted

Visser-Rowland Organ Builders in the design and installation

to just say everything that came into my mind, but I was

of the world-renowned tracker organ at the University of

trying to be that person who was a healer. That was part of

Texas at Austin. At the time of its dedication in 1983, it was

the upbringing. You tried to make peace and not war.”

the largest tracker organ in the United States.

After national media coverage drew attention to her story,

As a Halloween tradition at the Butler School he played a

singer Harry Belafonte offered to underwrite her studies at an institution of her choice, but Conrad ultimately decided to remain at the university and complete her music degree. Her story was shared with millions through the Dolph Briscoe Center for American History’s award-winning 2010 documentary When I Rise. Conrad went on to have a distinguished career as an opera singer, performing with New York’s Metropolitan Opera from 1982 to 1989, and leading operatic roles with the Vienna State Opera, the Houston Grand Opera, the New York City Opera and many others. She received the Texas Medal of Arts Award for Lifetime Achievement and the History-Making Texan Award in 2011. She was appointed to the Butler School of Music as a visiting professor and artist-in-residence in 2012, and she spoke at the commencement ceremony for the College of Fine Arts that year. Prior to that, she returned to give master classes and to coach opera students in the 1990s, and she performed in two concerts in the school in 2011. 22

live soundtrack for showings of the 1925 silent film adaption of “The Phantom of the Opera,” with all proceeds going to the Butler School’s Great Organ Series. Speller is also remembered for his humor, his deep voice and his strong love of nature that inspired his art.


Dr. Hugh C. Sparks 1946-2016 Born in Galveston, Sparks received his doctorate in music from the Butler School and later served as its director of development from 1971-1990. He was the owner of Hugh Sparks Musical Services and URSA Major Productions, a member of Town and Gown, and a board member of the Music Umbrella.

Prof. Donald L. Knaub 1928-2017 Knaub received his Master of Music in 1961 from the University of Rochester. He was then a member of the Butler School faculty for 23 years before retiring as professor emeritus in 2000. The Donald & Charlotte Knaub Endowed Scholarship was established in 2009 to support trombone students.

Dr. Thomas O’Hare 1937-2017 O’Hare taught German at the University of Texas at Austin for 40 years, also working in Indonesia and Egypt educating teachers of English. He sat on over 300 dissertation committees, mostly postretirement, for students from the Butler School of Music. Additionally, O’Hare was a frequent and joyful presence with his wife Mary at countless music performances.

Prof. Donald B. Wright 1927-2016 Wright was a faculty member at the Butler School, as well as principal violist with the Austin Symphony Orchestra. Of one of his performances, a critic from London’s Daily Telegraph wrote, “Mr. Wright produced the penetrating quality of tone which can speak straight to the heart—developed the nostalgic overtones of the big first movement with telling effect and dwelt lovingly on the eloquent phrases of the slow movement—a fine rich tone.”

23


24 22


Alumni Updates 1960s

1970s

James Bryan (B.M. Literature, 1969) retired comfortably,

Following a marvelous career of teaching young musicians

resuming life as a professional musician and world traveler.

at the high school level for 42 years—40 of which were

Although his published books are currently out of print,

spent at LBJ High School in Austin—Don Haynes (M.M.

more are pending publication.

Conducting, 1973) retired in 2015. He is now a life coach, a music consultant for central Texas schools, and a

During her career, Gwen Durrenberger (B.M. Education, 1960) taught music in Austin public schools, including a decade at the School for the Intellectually Disabled, and substitute taught in both Evansville, IN and Cincinnati, OH. In 1983, she began a successful real estate career that soon took her to Houston, TX. Retired as of 2011, Durrenberger

consultant for the newly formed Cormack Music Festival and Tours. Since January 2017, he has also served as the interim fine arts director for the Austin Independent School District. Haynes’s other endeavors include judging band competitions, public speaking, and clinic sessions for colleges and universities.

now devotes her time to history texts, genealogy and travel. Irvin Peterson (B.M. Education, 1977) is currently co-dean Lee Kohlenberg (B.M. Organ Performance, 1966) retired in

of the District of Columbia chapter of the American Guild of

2008 after 40 years as a full-time organist and choirmaster

Organists and assisting organist/choirmaster at The Church

in Austin, TX, Sewickley, PA, Chicago, IL, Pawley’s Island, SC,

of the Epiphany in Washington, D.C. He is a member of the

and Charleston, SC. Since 2008, he has worked in an interim

Choir of Men and Boys at Washington National Cathedral.

capacity in Nantucket, MA, Charlotte, NC, Mt. Pleasant, SC,

Peterson is also principal saxophonist with the Maryland Band

Charleston, SC, and Tyler, TX. He married Elsie Vesper Bohne

Director’s Band and Wind Ensemble of Montgomery College

in August 2004.

in Rockville, MD and serves as an instrumental/vocal coach accompanist in the Washington, D.C. metropolitan area.

Philadelphia’s Network for New Music premiered Andrew Rudin’s (B.M. Composition, 1961) “A Sudden Waking” for

James Sclater (D.M.A. Composition, 1970) received a 2017

flute, violin, cello and piano in February 2017. His piano

award for classical music composition from the Mississippi

trio, Circadia, was heard at New York City’s Bargemusic in

Institute of Arts and Letters, a juried award that honors

December 2016 and later recorded for an upcoming album.

achievement in fiction, non-fiction, poetry, visual arts,

Rudin is currently working on a one-act chamber opera,

photography, popular and classical music, and lifetime

Purewater, adapted from André Gide’s Pastoral Symphony,

achievement. This is Sclater’s 7th MIAL award, with the

for production next fall by the Center for Contemporary

first of these received in 1981. Two of Sclater’s recent

Opera in New York. He is the vice president of a

compositions— “No Fairer Isle on Which to Dwell” and

Philadelphia-based new music ensemble, Orchestra 2001,

“Ann Street, Thanksgiving, 1949” —were premiered during a

which celebrates its 30th anniversary next season.

Mother’s Day recital in Jackson, MS in May 2017. David E. Smith (B.M. 1968; M.M. 1973) has retired from teaching music at Angelina College in Lufkin, TX but continues as music director and conductor of the Lufkin Community Band and the East Texas Wind Symphony. In 2017 Daniel Augustine (Ph.D. Music Theory, 1979) established two endowments for the University of Nevada at Reno: the Dr. Daniel S. Augustine Scholarship Endowment (a music scholarship with preference for tuba players) and the Dr. Daniel S. Augustine Music Collection Endowment.


1980s Thomas Caneva (M.M. Wind Conducting, 1984) conducted

Joan Lester (D.M.A., 1981) opened an alternative school for

the Ball State University Wind Ensemble at the College

three school districts in western Kentucky upon returning to

Band Directors National Association National Conference

her home state in 1995; she then opened a tutoring business

in Kansas City. The concert marked the second CBDNA

named The Thinking Place that emphasizes helping students

National Conference performance by the BSU Wind

with learning difficulties. Lester also began a community

Ensemble in the past six years. The BSU Wind Ensemble

choir, a boy choir, a children’s choir, and a bell choir in

also appeared at the Indiana Music Educators Association

Hopkinsville, KY. She is currently teaching “Introduction to

Conference at The Palladium in Carmel, IN. Caneva was

Music” and “History of Jazz” at the Fort Campbell campus of

awarded the 2017-18 College of Fine Arts Dean’s Creative

Hopkinsville Community College.

Endeavor Award in Music at Ball State University. Courtney Rodriguez (B.M. Performance, 1984, M.M. Francine “Cina” Crisara (D.M.A. Choral Conducting, 1989)

Performance, 1986) is completing his first year as head

has recently been named the chorus master/assistant

of creative arts at Albanian College–Tirana. In addition to

conductor for Austin Opera. She previously served 16

teaching music and drama, Rodriguez is involved with the

years as chorus master for Opera Omaha and the Omaha

development of the arts within the Albanian College system,

Symphony. She sings with Conspirare/The Company of

which currently includes campuses in Tirana and Durres.

Voices under the direction of Craig Hella Johnson. Crisara

He has helped to add instrumental music ensembles to the

sang on Conspirare’s 2015 Grammy Award-winning album

curriculum and also initiated a solo and ensemble festival

The Sacred Spirit of Russia. Currently she is in her 15th year

in April 2017. Rodriguez’s previous position was at the

as director of music at Saint John’s United Methodist Church

Canadian International School in Singapore.

in Austin, TX. There Are Many Other Legends, an album of choral works by Sheryl Goodnight (B.M. Piano Performance, 1984) has

Jonathan Santore (M.M. Composition, 1987), was recently

performed as principal flutist with the Temple Symphony

released by Navona Records. Santore is the composer-

Orchestra for 23 years. She teaches at Temple College and

in-residence for the New Hampshire Master Chorale and

the University of Mary Hardin Baylor as an adjunct flute

professor of music theory and composition at Plymouth

instructor. She is also a private flute instructor at Lake

State University.

Belton Middle School and in her home, and she regularly accompanies her flute students on piano for their various performances. Goodnight continues her schedule as a soloist and chamber musician, performing frequently with area church choirs and praise bands. Karen Griebling (D.M.A. Composition, 1986) has released two albums on the Centaur label: Selected scenes from her third opera, Richard III: A Crown of Roses, A Crown of Thorns, and Fractal Heart, 24 songs composed to poetry by University of Texas alumnus Matthew K. Tatus (M.M. Opera Performance, 2012). Tatus, a tenor, sang on both albums. Richard III was produced from a live August 2015 performance that took place at Christ Church in Little Rock, AR to mark the 530th anniversary of the king’s death.

26


1990s

Lee Kohlenberg

(B.M. 1966)

Andrew Rudin (B.M. 1961)

Don Haynes (M.M. 1973)

Irvin Peterson (B.M. 1977)

James Sclater (D.M.A. 1970)

Thomas Caneva (M.M. 1984)

Michael Benson (M.M. Piano Performance, 1995; D.M.A. Piano Performance, 1998) completed his second year as department chair of music and visual arts at Malone University in Canton, OH. During the spring semester of 2017, he was elected faculty senate chair and will serve a two-year term beginning fall 2017. Benson is excited to learn a new administrative role within the university. Tim Brace (Ph.D. Ethnomusicology, 1992) recently retired after 25 years as an IT professional at The University of Texas at Austin. He has directed church choirs since 1995 and performs locally as a classical guitarist and singer/ songwriter. Brace continues doing music research, his most recent publication being an article on jazz improvisation (2014) included in a collection of essays dedicated to the late Gerard Behague. Art Brownlow (D.M.A. Trumpet Performance, 1994) was selected to be a fellow in the University of Texas System Academy of Distinguished Teachers. The Academy was created to recognize exceptional educators in the UT System’s eight academic institutions; it serves as a systemlevel advocacy group dedicated to enhancing teaching, fostering innovation in the classroom, and promoting interdisciplinary perspectives on education. Brownlow was one of four UT System faculty inducted during the April 2017 ceremony at the UT campus.

Sheryl Goodnight (B.M. 1984)

Karen Griebling (D.M.A. 1986)

Rebecca Burkhardt’s (Ph.D. Music Theory, 1993) Just Ann, a new musical about the life and times of Ann Richards, will be premiered at Cedar Falls Community Theatre (Cedar Falls, IA) in August 2017. The work is written by Burkhardt and Cynthia Goatley. Additionally, she serves as director of orchestras at the University of Northern Iowa.

Jonathan Santore (M.M. 1987)

Michael Benson (D.M.A. 1998)

Tim Brace (Ph.D. 1992)

Art Brownlow (D.M.A. 1994)


1990s

2000s

Robert Carnochan (D.M.A. Wind Conducting, 1999) serves

Mark Alexander (D.M.A. Piano Performance, 2001) is on the

as director of wind ensemble activities at the University

faculty of San Antonio College and St. Mary’s University. He

of Miami’s Frost School of Music. This year they premiered

is an orchestral pianist with the San Antonio and Victoria

three works: Wanderlust by Brandon Scott Rumsey, Faust

Symphonies. This year Mark returns for a 12th summer

Concerto by Thomas Sleeper, and Andy Akiho’s Ondine’s

to Graz, Austria where he serves as a répétiteur for the

Epilogue. The Frost Wind Ensemble performed and recorded

American Institute of Musical Studies. Alexander has played

with University of Texas at Austin alumnus Craig Morris and

master classes for Christa Ludwig, Barbara Bonney, Pinchas

Ricardo Morales, principal clarinet with the Philadelphia

Zukerman and Sarah Chang.

Symphony. Carnochan also serves as chair of instrumental performance at the Frost School.

Bryan Armstrong (B.M. Piano Performance, 2000; M.M. Piano Performance, 2003) enlisted in the U.S. Army in 2006 as an

Yvonne Dechance (D.M.A. Vocal Performance, 1994) will

army bandsperson, and deployed to Baghdad in support of

be presenting “Building Character: Implementing the

Operation Iraqi Freedom for 15 months from November 2007

fundamentals of song character study in voice training”

to January 2009. While there he performed for everyone

at the 2017 International Congress of Voice Teachers in

from U.S. troops to Iraqi sheikhs and dignitaries. He was

Stockholm, Sweden.

medically retired due to service-related injuries in 2011. After the Army he obtained his M.B.A. in Organizational

Anthony Gatto (M.M. Composition, 1991) recently received a

Leadership & Marketing from National University and is

New York State Foundation for the Arts fellowship for music

currently pursuing a J.M. in American Legal Studies at Liberty

composition and a Yaddo artist residency.

University. Armstrong is also a professional golfer.

Robert Klevan (Ph.D. Music Education, 1993) recently

Flutist Christine Erlander Beard (M.M. Flute Performance,

received the 2017 John LaPorta Outstanding Jazz Educator

1998; D.M.A. Flute Performance, 2003) was invited to be the

of the Year Award sponsored by the Jazz Education

guest concerto soloist with two orchestras in South America

Network and Berklee College of Music.

this year: the Orquesta Filarmonica de Mendoza, Argentina (October 2016), and the Orquesta Sinfônica de Porto Alegre,

Lucia Unrau (D.M.A. Piano Performance, 1993) just completed her 23rd year at Bluffton University in Ohio, where she most recently was chair of the division of communication and fine arts. In fall 2017, she will begin as professor of music and music department chair at Murray State University in Kentucky. Unrau has served on the piano faculty at Interlochen Arts Camp since 1992 and as the camp keyboard coordinator since 2007.

Brazil (May 2017), selecting the Concierto Borikén for solo flute/piccolo/alto flute and orchestra by Puerto Rican composer Ernesto Cordero for both occasions. In spring and summer of 2017, Beard also served as a headlining artist at flute festivals in Canada, Portugal, Ecuador, Brazil and Costa Rica. A versatile conductor, Kayoko Dan (B.M. Music Studies, 2000) is active in the fields of orchestra, ballet, and

Kelly Wilson (B.M. Education, 1991) has worked in the software development industry since 2004 and has participated in building and developing different solutions across many industries.

opera. Dan began her tenure as the music director of the Chattanooga Symphony & Opera in the 2011-2012 season. Previously, she served as assistant conductor of the Phoenix Symphony and music director of Central Kentucky Youth Orchestras. She has been awarded the Karajan Fellowship for Young Conductors, as well as the David Effron Conducting Fellowship at the Chautauqua Institute.

28


Robert Carnochan (D.M.A. 1999)

Yvonne Dechance (D.M.A. 1994)

Anthony Gatto (M.M. 1991)

Robert Klevan (D.M.A. 1993)

Lucia Unrau (D.M.A. 1993)

Mark Alexander (D.M.A. 2001)

Christine Erlander Beard (D.M.A. 2003)

Katoko Dan (B.M. 2000)

Joshua Harper (B.A. 2005)

Donald Henriques (Ph.D. 2006)

Nathan Kelly (B.M. 2003)

Jackie Lordo (M.M. 2007)

After four years in Kenya teaching at a theological college, Joshua Harper (B.A. Music, 2005) will soon be moving back to Texas to teach at the Graduate Institute of Applied Linguistics in the Dallas area where he will be heavily involved in the classical music scene as a pianist, organist, and choral tenor. Harper has accompanied a production of The Magic Flute, conducted the Nairobi Music Society, and for the last year and a half has been the rehearsal pianist (and part-time orchestrator) for the Nairobi Music Society, including playing continuo for two performances of Handel’s Israel in Egypt. Donald Henriques (Ph.D. Ethnomusicology, 2006) has been promoted to the rank of full professor in the Department of Music at California State University, Fresno. In 2016, he was awarded a summer research fellowship by the Lozano Long Institute of Latin American Studies to conduct research at the Benson Library on the development of the mariachi voice. Henriques is currently editor of scholarship and research for Symposium, the journal of the College Music Society, and teaching at Universidad Rey Juan Carlos in Madrid, Spain. Nathan Kelly (B.M. Music Theory, 2003) moved to New York City to play keyboards on Broadway. He co-orchestrated several musicals (Shrek and The Little Mermaid) and worked for music producer David Foster in Los Angeles where he began arranging albums for Rod Stewart, Andrea Bocelli, and Jennifer Lopez. Kelly completed his doctoral degree in composition at University of Buffalo in spring 2016 and will begin further studies at The Juilliard School in fall 2017. Jackie Lordo (M.M. Tuba Performance, 2007) has recently finished her first year as assistant professor of music at Cottey College, a small liberal arts and sciences college located in Nevada, MO. Lordo teaches all brass lessons and various other music courses in addition to conducting the wind and jazz ensembles.


2000s

2010s

Sam Marshall (B.A. Music Business, 2007), along with fellow

Troy Armstrong’s (M.M. Composition, 2016) oratorio, The

alumnus Gaelan Bellamy, has been performing across Texas

River of Light, was premiered by over 200 musicians to an

and Louisiana with their new band Kaleider, a progressive

audience of 2,700 at the dedication of the world’s largest

rock trio featuring drums, bass, keyboards, extended-range

single-image stained glass window. “The Resurrection

guitars and rich vocal harmonies. Their debut three-song EP

Window,” created by Judson Studios, is the size of a

was released in May 2017 featuring album art and graphic

basketball court and depicts the Christian gospel from

design by UT Arts and Entertainment Technologies Lecturer

Genesis to Revelation. The concert is available to view

Neal Daugherty.

online and will be performed again in September 2017 to an audience of over 3,000 church leaders from across the

Kay Payton (B.M. Music Studies, 2000) has been directing

world.

the Singing Women of Central Texas, a women of faith group, for 10 years. She retired from public school teaching

Steven Brennfleck (D.M.A. Choral Conducting, 2015)

in 2014 after taking her students at Hendrickson High

continues to conduct the Ars Longa Ensemble, a

School (Pflugerville ISD) to sing at Carnegie Hall with Dr.

professional choir he founded in 2015. He received his

Daniel Bara (University of Georgia) conducting Haydn’s

certification as a teacher of the Alexander Technique in

Paukenmesse. She is currently a mentor and field supervisor

July 2015 and was a guest presenter at the Georgia ACDA

to student teachers at both The University of Texas at Austin

conference. He offers private instruction in Austin, Houston,

and Texas State University.

and San Antonio. As a professional singer he collaborated with the Alamo City Opera, American Bach Soloists, Austin

Allen Sterling (M.M. Vocal Performance, 2007) recently

Symphony Orchestra, Chorus Austin, Fall Island Vocal Arts

returned from a month-long concert tour of Ireland, Wales,

Seminar, Georgetown Festival of the Arts, and the Round

Scotland, England, and France where he conducted sacred

Rock Symphony.

masterworks for choir and soloists. In 2018, Allen will be the guest chorus master for a high mass at St. Peter’s Basilica

Hermes Camacho (D.M.A. Composition, 2011) just co-

in Rome and will conduct choral concerts in Venice and

presented a poster and workshop with fellow alumni Scott

Florence.

Schumann and Alex Newton on general peer-learning strategies as well as gamification strategies in the theory

Mike Vernusky (M.M. Composition, 2005) was an invited

app Picardy (where he is co-founder) at the 2017 Journal

composer for the Estalagem Contemporary Music Residency

of Music Theory Pedagogy Conference. Hermes is on

on the island of Madeira, where he had several performances

the theory/composition faculty at the University of the

and new music interactions with local residents. His

Incarnate Word and is a teaching artist for orchestra/band,

collaborative audiovisual works received performances at

composition, and chamber music at Austin Soundwaves, an

Rome Media Art Festival at MAXXI, Echofluxx 15 Festival

El Sistema program benefiting the artistically underserved

of Experimental Art in Prague, and the Miami Art Basel.

community of East Austin.

Vernusky was also an invited composer and presenter at the AudibleVisions conference at Goldsmiths University of London, England.

30


Sam Marshall (B.A. 2007)

Kay Payton (B.A. 2000)

Allen Sterling (M.M. 2007)

Mike Vernusky (M.M. 2005)

Troy Armstrong (M.M. 2016)

Steven Brennfleck (D.M.A. 2015)

Hermes Camacho (D.M.A. 2011)

Dorea Cook (D.M.A. 2013)

Sara Corry (M.M. 2012)

Austin Ferguson (B.A. 2015)

Clarissa Grayson (B.M. 2014)

David Guess (D.M.A. 2010)

Mezzo Soprano Dorea Cook (D.M.A. Vocal Performance, 2013) is a newly appointed assistant professor of music at Valdosta State University in Valdosta, GA. Previous appointments include Northeastern State University (OK), San Jacinto College (TX) and Lone Star College (TX). Recent performances include the title role in Massenet’s Cendrillon (VSU Opera), an invited performance at the 2017 Music by Women Festival, and the Soprano 2 solos in Mendelssohn’s A Midsummer Night’s Dream with the Valdosta Symphony Orchestra. After completing basic combat training, Sara Corry (M.M. Composition, 2012) accepted a job with the U.S. Army Band “Pershing’s Own” in 2016 as their newest staff arranger. In addition to arranging and composing, Sara is also an active harpist performing frequently in the Washington, D.C., Maryland, and Virginia areas.

In February 2017, Austin Ferguson (B.A. Music Theory, 2015) was appointed carillonneur of the Mayo Clinic. His appointment puts him at the helm of the 56-bell Rochester Carillon, the only hospital-owned carillon in the United States. He performs half-hour recitals eight times per week, oversees tours, and actively recruits guest recitalists to perform on the historic instrument. Ferguson is only the fourth person to hold the position since the carillon’s installation in 1928 and takes pride in being the country’s youngest full-time carillonneur. Clarissa Grayson (B.M. Vocal Performance, 2014) graduated with a Master of Music Therapy degree from Maryville University, May 2017. David Guess (D.M.A. Choral Conducting, 2010) serves as president and artistic director of the Central Texas Choral Society, a volunteer/auditioned community chorus in Waco, TX. The chorus presented Beethoven’s Mass in C and Choral Fantasy this spring; their 2017-2018 season includes an eclectic requiem (movements selected from varied requiem masses) and a Broadway fundraiser. Guess also maintains a private studio where he teaches and coaches voice students of all ages.


2010s Phillip Hill (D.M.A. Vocal Performance, 2014), is an adjunct

Hanna Lee (M.M. Opera Performance, 2015) received a silver

associate professor of voice at Austin Community College,

medal in the Young Texas Artists Music Competition in March

a lecturer in music at The University of the Incarnate Word

2017.

(San Antonio), and also the general director of the Butler Opera Center Young Artists Program.

American saxophonist Nathan Mertens (D.M.A. Saxophone Performance, 2017) is currently based in Tokyo, Japan as

Since graduating from the Butler School, Jared Hunt

a recipient of the prestigious Monbukagakusho Research

(M.M. Trumpet Performance, 2012) has gone on to earn

Student Scholarship. As such, Mertens is the first American

his D.M.A. in Trumpet Performance (2016) from Arizona

saxophonist to formally study in Japan and is primarily

State University, studying with and serving as the teaching

researching Japanese saxophone performance and

assistant to renowned trumpet pedagogue David Hickman.

pedagogy with Masato Kumoi at Kunitcahi College of Music.

While in the Phoenix area, Hunt performed as a substitute and extra with the Phoenix Symphony, Tucson Symphony,

Cassie Shankman (B.M. Music Composition, 2013) has

Arizona Opera, and Ballet Arizona. Hunt recently moved

recently joined full-time as lead composer with the Austin-

back to Texas where he is now the adjunct trumpet

based Center for Music Therapy’s “Movement Tracks

professor and chamber brass director at Richland College in

Project.” The project is a collaboration between therapists

Dallas, and trumpet instructor for Coppell ISD.

and musicians utilizing brain-based music technology to create new methods in music composition and recording

After development workshops in Washington, D.C. and New

to help people walk again. The project has successfully

York, Jawan Cliff-Morris Jenkins (M.M. Opera Performance,

partnered with Biodex Medical System on the integration of

2017) will premiere a new work titled Stomping Grounds

this original medical music into Biodex’s GT3 (Gait Trainer

at the 2017 Glimmerglass Festival. Composed by Victor

3), used by patients and therapists all over the world for

Simonson, librettist/choreographer Paige Hernandez-

treatment.

Funn and music director Annastasia Victory, this hiphopera blends opera, hip-hop and other cultural music influences. The six-member cast represents various musical backgrounds and races. Written entirely in verse, Stomping Grounds is about defining home in the deepest sense.

Page Stephens (M.M. Vocal Performance, 2013) premiered seven brand new works this year by Austin composers Joshua Shank, Russell Podgorsek, Alex Heppelmann, Steven Serpa, Hermes Camacho, Vahid Jahandari and Keenan Boswell. Additionally, she toured Dallas with Concert Chorale

Emmanuel Kaghondi, (M.M. Music and Human Learning,

this spring as a soloist for Copland’s In the Beginning and

2014) a recipient of a Ph.D. in Music Education fellowship,

performed as the mezzo soprano soloist in Bach’s Mass in

has finished his first year at the University of Minnesota. He

B Minor with UT’s Chamber Singers. Page joined the UT

continued to explore issues of multiculturalism, inclusion,

Staff Council this year and served as the communications

diversity and creativity in his research area on “plurimusic

committee chair; she was elected to be vice chair in 2017-18.

curriculum development in international perspective.”

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Phillip Hill (D.M.A. 2014)

Jared Hunt (M.M. 2012)

Jawan C.M. Jenkins (M.M. 2017)

Emmanuel Kaghondi (M.M. 2014)

Hanna Lee (M.M. 2015)

Nathan Mertens (D.M.A 2017)

Cassie Shankman (B.M. 2013)

Page Stephens (M.M. 2013)

Andrew Sigler (D.M.A. 2014)

Christina Wright-Ivanova (D.M.A. 2012)

Andrew Sigler (D.M.A. Composition, 2014) was named assistant professor of composition at the University of Tennessee, Knoxville. Recent and upcoming activities include performances and commissions by Bold City Contemporary Ensemble, International Brass Festival, TUTTI Festival, NACUSA, SCI, Florida Contemporary Music Festival, SoundNOW Festival, Prismatx Chamber Orchestra, Zenith Quintet, Compositum Musicae Novae, Electroacoustic Barn Dance, Hear No Evil, Hillary Herndon, Andy Bliss, Eva Fampas, Igor Lipinski, SungEun Park, UTK Brass Quintet, and the UTK Horn Studio. Christina Wright-Ivanova (D.M.A. Collaborative Piano, 2012) recently accepted a new position as chair of piano/ collaborative piano at Keene State College, New Hampshire. In 2016–17, she premiered and recorded new works by Daron Hagen, Augusta Read Thomas, Paul Chihara, and Virko Baley, and performed the world premiere of the song cycle Passageway by Jonathan Stark with mezzo-soprano Stephanie Weiss at Opera America, NY. The cycle will be performed in Sydney, Australia this summer. She continues to serve as artistic director of the Bijou de la Vida Concert Series in Boston.


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Faculty Promotions

Colette Valentine

Marianne Wheeldon

Associate Professor of Collaborative Piano

Professor of Music Theory

In 2008, Colette Valentine joined the newly created

Marianne Wheeldon received degrees in music theory

department of collaborative piano at the Butler School as

from King’s College, University of London (B.M.) and Yale

a lecturer. This past spring, after a rigorous national search,

University (Ph.D.). Her research interests include the music

her colleagues have chosen her to lead the department;

of Claude Debussy and its posthumous reception, the

accordingly, she has been promoted to Associate Professor.

analysis of 20th-century French music and interdisciplinary

Valentine completed her Doctor of Musical Arts degree in

topics in music analysis, cultural history, and the sociology of

Piano Performance at the State University of New York at

culture.

Stony Brook with Gilbert Kalish after earning Bachelor of Music and Master of Music degrees from the University of

Wheeldon regularly teaches graduate courses in Schenkerian

Maryland where she studied with Nelita True. She has also

analysis and form theory. She also offers doctoral seminars

been on faculty at Long Island University and New Jersey

in her areas of interest, such as music and culture in fin-de-

City University. In the summers, she joins other professional

siècle Paris, music analysis in cultural context, Neoclassicism,

colleagues as a coach at the Interlochen Adult Chamber

and musical schemata. Her most recent book, Debussy’s

Music Camp in Michigan.

Legacy and the Construction of Reputation, was published by Oxford University Press in June 2017.

Critically hailed for her “clean, sparkling technique” (Salt Lake Tribune) and for her “consummate skill and musicianship” (Classical New Jersey), Valentine has performed in such important venues as Weill Recital Hall at Carnegie Hall, the 92nd Street Y, the Metropolitan Museum of Art, the Kennedy Center, the Library of Congress, the Phillips Collection, the Corcoran Gallery, and international venues in Paris, Zurich, Tokyo, Seoul, and Hong Kong.

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New Faculty

Andrew Brownell

Miguel Campinho

Assistant Professor of Piano

Lecturer in Collaborative Piano

A native of Portland, OR, Andrew Brownell began studying

Portuguese pianist Miguel Campinho comes to the Butler

piano at the age of four. He was a member of a prize-

School of Music after having served as a collaborative

winning trio at the Fischoff Chamber Music Competition

pianist at Yale Opera and The Hartt School. He has

and has appeared in concert with principals of orchestras

performed as a soloist and collaborative pianist extensively,

such as the Philharmonia, Amsterdam Concertgebouw, and

as well as conducted piano masterclasses and adjudicated

Vienna Philharmonic. Brownell was assistant organist at St.

piano competitions in Portugal and the United States.

James’ Episcopal Church, Los Angeles from 2001-2006 and

Campinho is also a prizewinner in piano competitions,

was made a fellow of the Royal College of Organists in 2010.

including a mention of honor in the 2004 Ricard Viñes International Competition. Critically, he has been described

He tutored at the University of Cambridge for five years

as a “powerful advocate of the music of his countrymen,”

and taught at the Koninklijk Conservatorium in Antwerp.

(MusicWeb International) whose “performances grip your

Additionally, he teaches as a guest at festivals and schools

attention” (Fanfare Magazine).

around the world, including the Lake District Summer Music Festival (Cumbria, England), the Asia International Piano Academy and Festival (Seoul), Eton College (Windsor, England), and the Xinghai Conservatory Junior School

Campinho has played the United States premieres of many compositions by Portuguese composers, including pianistcomposer Eurico Tomás de Lima (1908–1989). In 2013,

(Guangzhou).

the Numérica label released his world premiere recording

Brownell enjoys an active and varied international

His doctoral essay, titled “Óscar da Silva (1870–1958): Life

performing career. He won second prize at the 2006 Leeds Competition, second prize ex aequo at the 2002 International J. S. Bach Competition, and first prize at the 2005 J. N. Hummel Competition in Bratislava. He has since achieved widespread recognition as “one of the foremost Hummel interpreters of our time” (Hudobný Život). An honorary member of the Hummel-Gesellschaft-Weimar, his edition of the Piano Concerto in a minor, Op. 85 was released by Breitkopf & Härtel in 2016. He has been a soloist with orchestras such as the Hallé, Royal Liverpool Philharmonic, Slovak Philharmonic, and the Hermitage State Orchestra (Russia), and has collaborated with such conductors as Sir Mark Elder, Owain Arwel Hughes CBE, André Bernard, and Murray Sidlin.

36

of de Lima’s complete sonatas and sonatinas for piano. and Solo Piano Works,” established the first chronological catalogue of this composer’s solo piano works. In 2015, U.S. Senator Christopher Murphy and the Portuguese American Leadership Council of the United States presented Campinho with certificates of recognition and accomplishment for his work promoting Portuguese culture, arts, and heritage. He began his music studies at the Calouste Gulbenkian Conservatory in his hometown of Braga. He earned undergraduate degrees from Escola Superior de Música e Artes do Espetáculo in Porto, and holds Master of Music, Artist Diploma, and Doctor of Musical Arts degrees in piano performance from The Hartt School. Campinho was inducted into Pi Kappa Lambda and is a member of the American Liszt Society.


Retirement

Patti Wolf

David Renner

Lecturer in Collaborative Piano

Associate Professor of Piano

Since being chosen at age nineteen as the youngest

David Renner is a graduate of the Eastman School of

competitor of the 1985 Van Cliburn Competition, Patti Wolf

Music where he studied with Cecile Genhart. He received

has performed as a soloist, recitalist, and chamber musician.

Bachelor of Music and Master of Music degrees in addition

As a scholarship student of Jane Allen at the Saint Louis

to the Performer’s Certificate and Artist Diploma in piano

Conservatory, Wolf later studied with Joseph Kalichstein at

performance. His early studies were with Eleanor Sokoloff in

the Juilliard School where she received a Bachelor of Music

Philadelphia.

in 1987. In 1989, she earned a master’s degree from the Yale School of Music. Her numerous awards and honors include

Renner was awarded a Fulbright Grant for two years of

the Kosciuszko Chopin Competition, the American Music

study with Friedrich Wührer at the Hochschule für Musik in

Scholarship Association, the Artists’ Presentation Society,

Munich, Germany and a summer’s study with Kurt Neumüller

Music of the Americas, and the Yale Alumni Association

at the Mozarteum in Salzburg, Austria. From 1965 to 1971

Award.

he studied extensively with Frank Mannheimer in Duluth,

From 2001 to 2009, Wolf was a staff collaborative pianist at the Shepherd School of Music at Rice University, performing over 200 recitals. She has also served on the faculties of Washington University and Maryville University in St. Louis. In August 2004, she made her debut playing a duo recital with Hungarian pianist Peter Frankl. Subsequently, she has appeared on an almost annual basis with the Audubon Quartet, the Chautauqua Wind Quintet and the Chautauqua String Quartet. As a soloist she has appeared with the Saint Louis Symphony, the Houston Symphony, the Saint Louis Philharmonic, the Portland Youth Philharmonic, and has performed under the baton of Leonard Slatkin, David Robertson, Raymond Leppard, and many others.

Minnesota. Before joining the piano faculty at The University of Texas in the fall of 1974, he taught piano at Michigan State University where he recorded numerous piano solo and chamber music recital programs for National Educational Television. Renner is an active teacher, adjudicator, piano soloist and chamber musician with a special interest in playing four-hand recitals. With his colleague Betty Mallard, he has given four-hand recitals and master classes throughout the United States including the Murray Dranoff International Symposium for Two-Piano and Four-Hand Performances in Miami, Florida. Recent performances with Betty Mallard include Hong Kong Baptist University and Chinese University in Hong Kong and the Steinway Club in Nicosia, Cyprus.

Before her move to Austin, Wolf lived in St. Louis for eight years, where she was a member of the Chamber Music

He has received teaching awards from the Austin District

Society of St. Louis and a frequent guest with the Saint

Music Teachers Association and the Texas Music Teachers

Louis Symphony.

Association, and was also honored by the establishment of a Presidential Endowed Scholarship in Piano in his name by former University of Texas at Austin President Lorene Rogers.

37


Interview

Frank Simon

38

Interview by Jenny Catchings Photography by Thomas Meredith


This fall, the Butler School’s Technical Services Manager Frank Simon (also an alumnus) retires after nearly 50 years on the University of Texas

The first thing you studied at UT was percussion, so was

at Austin campus. When talking about his storied

your time in middle school band the genesis of that

career—which includes various positions within

interest?

the College of Fine Arts, as well as time spent in

I did start band in middle school. I wanted to play timpani,

Texas Army National Guard bands and as a mobile

and that was all I wanted to play, but the band director

recording engineer—it’s hard miss the pattern: If

timpani and played percussion all throughout high school.

something interested him, even if it was far off his current path, he pursued it with confidence and

said I had to start with snare drums. I did that, moved on to

I actually came to UT to get an astronomy degree. I really wanted to go into astrophysics. Then one day a friend of

energy. The result is a life non-traditionally, yet

mine and I were in chemistry class when the professor

wholly and happily, lived in music.

told us an interesting statistic: Only one out of every 300 or so people with a Ph.D. in science actually work at that level. The others were working at the Master’s Degree level,

When asked how he feels about retirement, his answer is understandingly mixed: “There’s so much that Trudy [Frank’s wife] and I want to do. On the other hand, I really enjoy my work—and it’s been

which meant that a lot of people with Bachelor’s Degrees ended up teaching public school. That inspired me to talk to George Frock [professor emeritus of percussion]. I said, “I’m not a music major, but I’d like to take percussion lessons.” He gave me the okay,

that way since 1980—so not doing that? I’ll have to

and eventually my major switched to what is now called

think about it!”

Music Studies. I found out after a few years that I was not interested in being a band director. The kind of conducting I was interested in was more about the overall way a piece of music is presented to the audience. I grew to be very interested in opera.

Let’s start with your early life. Are you a native Texan? Then one summer I conducted half of the performances Yes, I was born in Dallas. I lived there for my whole

of a theater and dance production of Carousel. Walter

childhood except for a few years when my dad’s company

Ducloux [professor emeritus of opera] sent a memo

moved him to Kansas City. I had to stay in Dallas longer

after seeing me conduct. When we met he said, “I know

than expected because of a back operation I needed in

you don’t play piano. What can you do?” I said, “Well, I

middle school. I wore a corset for a year and a half.

can organize anything.” So he made me the unofficial production manager for the opera theater. I was then

Interestingly, right after the back operation I started playing

responsible for all the scheduling—just like I do now for

sandlot football on Sundays. My mom hated it. We were

the recording studio. We did a lot of nifty stuff during that

kind of dumb. We played with regular rules, no pads, full

period of time.

contact, everything. People did get hurt—but it was mostly science nerds and band nerds that played. We prided

From 1980 to 1983, I worked as the assistant facilities

ourselves on playing thoughtful, strategic football.

manager. When the recording studio opened in the fall of ‘83, the director of Fine Arts Media Services asked me

So can I assume you thought of yourself as a “band nerd?”

to go to work with them. It made sense. Even when I was managing the facilities I was running sound for the jazz

Oh, yes.

groups and assisting the school’s recording engineer.  

39


And as you touched on, the recording studio was—at that

is for ceremonial use. For any pass-in-review or battalion

time—housed within the College of Fine Arts.

parade the band is always in the ceremony, not standing off to the side. The other main use is in group morale support,

That’s right. We were responsible for all fine arts recording,

especially in deployed units. Bands do deploy with their

sound reinforcement and classroom equipment, as well as

divisions, but a 40-piece division band will then often break

the college’s electronic shop. In the early 90s, when the

into smaller groups—into jazz combos, rock and roll bands or

music department became a school, we moved to music full-

small vocal groups, for example.

time. We also got to travel a fair amount—to Italy one year, During much of your early career, from 1973 to 1996, you

Australia another—as well as participate in several recruiting

were also in the Texas Army National Guard’s 236th Army

tours in Texas on a big chartered bus. We used to set up on a

Band and 49th Armored Division Band. I’m curious about

town’s courthouse lawn in 15 minutes flat and play a concert.

the place of music in military environments, and how it differs from your experience in more traditional performing

I want to talk a bit about the technical nature of your

arts settings.

career. How did the equipment change? And how did you personally keep up with the technology shifts as you

There are two big ways music is used in the military; one

40

worked?


When I came to UT in ’68, the lady that was doing recording—her name was Dorothy Ann Leiser, who in fact later participated in the design of the recording studio when it was constructed in the early 80s—had two massive tape recorders. What do you mean by “massive?” How big are we talking here? The part that you placed the tape on weighed about 100 pounds, and the piece of gear that controlled the electronics—the sound going in and out—was pretty large too. And that was it! She had two of them that she fed from a small audio mixer. That was a complete analog recording. Nobody was even guessing about digital at that time. That was pretty much how recording went into the early 80s. The first steps toward digitalization came in the era of VHS and Beta machines when people realized that they could record the audio PCM signal on videotapes. This progressed to what looked like 8mm film cassettes— which was digital audio tape—a technology we used at the music school through the 90s for safety recordings. It was a very robust medium. Even if you purposefully tried to demagnetize it, most of the time it would still play perfectly in the machine. In the late 80s, CDs became the new technology, which was great for archival purposes. Up to that point, we did simultaneous analog and digital recordings for all concerts.

similar. It’s much easier now. We’re able to do more things because of modern machines. After all, editing used to be

It sounds like it was easy to keep up with technology shifts

done with a razor blade and tape.

because it was so essential to your work. We’ve gone over many layers of your career, but I’d like to Well, yes—especially once we had decent displays on

circle back to the simplest question: Why did you continue

computers in the early 90s. The first computer we had in

to choose a life in music? What does it give you that other

media services was an IBM PC/1. The screen was completely

things cannot?

black, and you could choose either yellow letters or green letters.  

I was interested in music long before middle school. At that time Dallas school districts took students to symphony

I have to know which color you chose.

concerts, and I remember those vividly. But I’m not sure when the choice solidified. I can say that it was really

I chose green [laughs]. We didn’t really have a database

satisfying to play in a band and do a really great job. Our

yet, so we had to create one. Currently most programs are

high school band director was interesting. He said, “Go to

object-based, but back then you had to individually address

competitions, but if you’re not having fun we’ll quit going. If

every action that you wanted the computer to perform.

you can’t go to contests and smile, forget it. Y’all just let me

The developments specifically for recording have been

know.” So we did go, and we did have a lot of fun doing it.

41


UT Jazz Tours Europe JUNE 30–JULY 9, 2017

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The UT Jazz Orchestra and AIME (Alternative Improvisation Musical Ensemble) embarked on a prestigious ten-day tour of Europe. Their performances included a two-day stop at the Montreux Jazz Festival, Luxembourg Gardens in Paris, and the North Sea Jazz Festival in Rotterdam. In addition to big band standards, the programs featured compositions and arrangements by UT students Sarah Milligan, Bryan Kennard, Chase Goldman, and Ari Burns, and by Professor of Jazz Composition John Mills. The trip was supported by Forrest Preece, Linda Ball, the Richard E. Rainwater Fund for American Music and many other generous donors who added contributions through a successful fundraising campaign. Of the opportunity Director of Jazz Studies Jeff Hellmer says, “The students had the trip of a lifetime, and represented the Butler School and the jazz studies program beautifully, playing at some of the most storied jazz venues in the world. We are so appreciative of the support that many of you provided to turn our dreams into reality.�

43


Faculty Updates

44


Senior Lecturer in Voice Donnie Ray Albert performed

Bob Duke, Marlene and Morton Meyerson Centennial Professor

two roles in the Austin Opera 2016 production of Kevin

in Music and Human Learning, hosted the Clifford K. Madsen

Puts’ The Manchurian Candidate. With the American

International Symposium for Research in Music Behavior on

Symphony Orchestra at Carnegie Hall he served as principal

the UT campus. During the symposium, he presented original

soloist in Ernst Krenek’s Der Dictator and Richard Strauss’

research with Butler School faculty Amy Simmons and

Friedenstag. Additionally, Albert performed the role of

doctoral student Lani Hamilton (Ph.D. 2017). Duke and Travis

Wotan in Das Rheingold for Trilogy: An Opera in New Jersey

Marcum (Ph.D. 2017) presented research at the Music and Eye

and participated at the African American Art Song Alliance

Tracking Conference at the Max Planck Institute in Frankfurt,

Conference at University of California–Irvine by premiering

and he and Simmons presented research at the meeting of the

Adolphus Hailstork’s Behold, I Build a House, which was

International Society for Performance Science in Reykjavík,

partially written for him. He was a bass soloist with the Butler

Iceland. Duke gave addresses for the meetings of the Suzuki

School’s Chamber Choir for their 2017 performance of Bach’s

Association of the Americas, the California Music Educators

Mass in B Minor. Upcoming for him are performances with the

Association, the MacPhail Center for Music, the American

University of California–Fullerton in Kirke Mechem’s “Songs

Accounting Association, and the Australasian Piano Pedagogy.

of the Slaves,” a suite from John Brown and as Germont in La

In 2017, he begans his second year teaching in the medical

Traviata with the Semper Opera in Dresden.

neuroscience course at the Dell Medical School and marked the third year of his popular public radio program and podcast

Professor of Trombone Nathaniel Brickens performed with

Two Guys on Your Head, which he co-hosts with Professor Art

the Cramer Trombone Choir, a select group of university

Markman and Rebecca McInroy of KUT Austin.

professors, at the 2017 International Trombone Festival (Redlands, CA), and served as principal trombone for

Associate Professor of Music Theory Eric Drott presented

the Victoria Bach Festival Orchestra. Locally, he played

keynote addresses on the politics and economics of digital

trombone for two Broadway in Austin productions (Newsies

streaming services at the University of Minnesota Music and

in September and October 2016, and Something Rotten!

Sound Studies Symposium (September 2016) and at the

in May 2017), for several performances with the Austin

Columbia University Music Scholarship Conference (March

Symphony Orchestra (including Tchaikovsky’s Symphony No.

2017). In addition, he gave papers at the annual conferences

6, Adams’ Short Ride in a Fast Machine, Mahler’s Symphony

of the Royal Musical Association, the American Musicological

No. 6 and Disney in Concert), for Ballet Austin productions

Society, and the Society for Music Theory in fall 2016.

(Tchaikovsky’s Nutcracker and Mozart’s/Grantham’s Magic

Drott also gave talks at the University of Chicago and Yale

Flute), and for the Texas Choral Consort (Mozart Requiem

University. In July 2017, he presented the keynote address

Undead). He also played sackbut for performances of

at the conference, “Music and Socialism since 1917,” at the

Monteverdi’s Vespers 1610 with the Texas Early Music Project.

University of Nottingham.

Brickens served as an adjudicator for the American Trombone Workshop (Arlington, Virginia), the MTNA National Brass

Under the direction of John Fremgen, associate professor of

Solo Competition (Nacogdoches), the Texas Music Educators

jazz, AIME (Alternative Improvisation Music Ensemble) was

Association All State Ensembles (San Antonio), and the Texas

honored as the “Small Jazz Combo/Graduate College Winner”

State Solo and Ensemble Competition (Austin).

in the Downbeat Magazine 40th Annual Student Music Awards issue.

Professor of Theory Jim Buhler, along with Assistant Professor of Musicology Hannah Lewis, organized a conference in honor

Professor of Flute Marianne Gedigian was inducted into the

of Professor Emeritus of Theory David Neumeyer, who retired

Academy of Distinguished Teachers, making her one of only

from the Butler School of Music in spring 2015 after 15 years

six faculty members at The University of Texas at Austin to be

of service. The conference, Voicing the Soundtrack, celebrated

so honored in 2017.

Neumeyer’s leading role in making film music and sound subjects of serious scholarly inquiry. Generously supported by

Professor of Composition Donald Grantham’s orchestral

the Butler School of Music, the College of Fine Arts, and the

arrangement of Mozart’s The Magic Flute, commissioned

Center for American Music, the conference brought together

by Ballet Austin, was revived by the company in three

scholars from across the United States and abroad for two

performances in Austin (March 2017–April 2017). The

days of presentations, discussion, and exchange.

Contemplations of Hafiz was recorded for Mark Records by Chorus Austin with Conductor Ryan Heller. Symphony

Robert DeSimone, director of the Butler Opera Center, spent

No. 2 “after Hafiz” was commissioned in honor of the 70th

time in Europe this summer directing for Opera Viva in Verona,

anniversary of the Midwest Band and Orchestra Convention,

Italy and in Lytham-on-the Sea, England.

and premiered by the U. S. Marine Band with Jason Fettig, conductor, in Chicago at the 70th anniversary convention;


the work was also recorded by the Marine Band for Mark

(Texas Music Teachers State Conference) in Dallas, TX. At the

Records. Let Evening Come was recorded for Klavier Records

Commission for the Education of the Professional Musician

by the U.S. Air Force Band with Larry Lang, conductor, on an

at St. Andrews University in Scotland, she presented a paper

album entitled American Voices. Bum’s Rush was recorded

with Butler School alums Dr. Margaret Young and Dr. Cynthia

for Mark Records by the Mansfield University Concert Wind

Stephens Himonides titled “Shifting the Paradigm: Leading

Ensemble, conducted by Adam Brennan, on an album entitled

Curricular Changes in Keyboard Skills Training for the 21st

High on the Eastern Hill. Shenandoah was commissioned for

Century Professional Musician.” Additionally, she contributed

the College Band Directors National Association Small Bands

to The Routledge Companion to Music, Technology, and

program, and premiered at the CBDNA annual convention in

Education, published in 2017. Hilley is president-elect of the

Kansas City, MO (March 2017). The Cedar Park Winds, with

Music Teachers National Association where she will serve two

conductor Jeremy Spicer, has commissioned Grantham to

years at that level (2017-19), two years as president (2019-21),

compose a work for premiere at the 2017 Midwest Convention

and two years as past-president (2021-23). In July 2017 she

in Chicago. Grantham’s Baron Piquant on Pointe was included

was presented with a Lifetime Achievement Award by the

in the 10th edition of Teaching Music for Performance in Band.

Frances Clark Center for Keyboard Pedagogy and the National Conference on Keyboard Pedagogy.

Professor of Theory Robert S. Hatten gave a juried paper at the Society for Music Theory on tangentially motivated

During 2016–17 David Hunter—senior lecturer, music librarian,

counterpoint and presented invited lectures on his

and coordinator of the Fine Arts Library—gave papers at

forthcoming book A Theory of Virtual Agency for Western

the conferences of the American Society for Eighteenth-

Music (Indiana University Press, 2018) at the Eastman School

Century Studies, the American Handel Society and the

of Music, Michigan State University, Southern Methodist

Society for Musicology in Ireland. He also gave an invited

University and the Royal Irish Academy of Music, where

lecture at Rutgers University titled “The profits of slavery

he also gave the featured lecture at a book launch for two

and the furtherance of music,” which focuses on Britain and

collected volumes on late Schubert. For a song symposium

its American and Caribbean colonies during the eighteenth

at the University of Rochester, he lectured on his dual role as

century.

librettist and composer of Violetta’s scena from his one-act opera, Compassion, followed by a piano-vocal performance

Professor of Bassoon Kristin Wolfe Jensen filmed, edited, and

of the scena by students. In March 2017 he gave an invited

launched a detailed YouTube video series teaching the art and

paper on Beethoven’s emergent themes for an international

science of bassoon reed making called “The Herzberg/Kamins

Beethoven symposium in Vienna. In May 2017 he received

Reed Making Method.” The Longhorn Music label released

a Butler School Teaching Excellence Award. Hatten began

her trio recording, Modal Cycle, Live from France on which

serving as president-elect of the Society for Music Theory in

she performs music of Austin composer Graham Reynolds

November 2016; his two-year term as president will begin in

with Professor Emerita of Oboe Rebecca Henderson and UT

November 2017.

alumna Dr. Michelle Schumann on piano. She was a featured guest artist at the Manhattan School of Music, Rice University’s

Jeff Hellmer, director of jazz studies, was named as a finalist

Shepherd School of Music, University of Missouri—Kansas City,

for the first edX Prize for Exceptional Contributions in Online

San Francisco Conservatory of Music, The University of the

Teaching and Learning; as part of that, he was also invited to

Pacific, California State University—Sacramento, Northwestern

be on a “MOOCs and the Arts” panel at the edX Global Forum

State University (Louisiana), and the International Double

in Paris, October 2017. Hellmer developed and taught the first

Reed Society Conference. Jensen performed Mozart’s

edition of a SMOC (Synchronous Massive Online Course) in

Concerto for Bassoon and Orchestra with the Galveston

Jazz Appreciation at UT Austin to 500 students. He was also

Symphony in October 2016 and enjoyed her 12th season as

an adjudicator for the Riverside (CA) Community College Jazz

principal bassoonist of the River Oaks Chamber Orchestra and

Festival. In June 2017, Helmer led UT Jazz Orchestra’s tour to

artist/faculty at the International Festival Institute at Round

Montreux and North Sea Jazz Festivals. Other notable Jazz

Top.

Orchestra performances include TMEA in February 2017 and the Longhorn Jazz Festival with Cyrus Chestnut in April 2017.

Kelly Kuo, the music director and conductor for the Butler Opera Center, received rave reviews for his conducting of

Professor of Group Piano and Pedagogy Martha Hilley

Daniel Schnyder’s opera Charlie Parker’s Yardbird for Lyric

attended the NETMCDO (Network of Music Career

Opera of Chicago’s Lyric Unlimited series. Kuo also led

Development Officers) conference in Los Angeles, the CMS

five subscription concerts and a collaboration with Ballet

Symposium (College Music Society) at the University of

Fantastique in his fifth season as Artistic Director of Oregon

South Carolina, and the GP3 2016 (National Group Piano/

Mozart Players, which included Butler School Professors Anton

Piano Pedagogy Forum) at Oberlin Conservatory and TMTA

Nel, Bion Tsang, and DaXun Zhang as guest soloists. For the


Butler Opera Center he conducted productions of Gianni Schicchi, Suor Angelica, Little Women, and Die Zauberflöte. As a pianist Kuo performed in recitals with UT alumna soprano Mary Dunleavy and violinists Yi-Jia Susanne Hou and Ron Blessinger in the Miró Quartet’s Love and Duty concerts for Texas Performing Arts and in the Zenith Chamber Music Festival in Des Moines, IA. Senior Lecturer in Harp Delaine Leonard premiered a commissioned work by Charles Young at the June 2017 American Harp Society meeting at St. Olaf College, MN. She also performed her transcriptions of opera arias and a

Donnie Ray Albert

Nathaniel Brickens

Jim Buhler

Robert DeSimone

Eric Drott

Marianne Gedigian

Donald Grantham

Robert S. Hatten

Jeff Hellmer

Martha Hilley

second concert of organ and harp music at the AHS meeting. In July, she co-presented “Teaching the Young Harpist—Why Suzuki Works” at the World Harp Congress at the Hong Kong Academy for Performing Arts. Delaine taught Suzuki Teacher Development Workshops at the Butler School of Music, the American Suzuki Institute at UW Stevens Point and Virginia Suzuki Institute at Henry and Emory College, VA. Professor of Violin Brian Lewis, current David and Mary Winton Green Chair in String Performance and Pedagogy, maintains an active performance and teaching career around the globe. He performed Joel Puckett’s Southern Comforts: Violin Concerto with the UT New Music Ensemble in September 2016. Other concerto performances were made with the St. Barths Festival Orchestra, Suzuki Festival Orchestra in Kobe, Japan and the Heifetz Chamber Orchestra. Tours as guest artist and clinician took Lewis to Germany, Illinois, China, St. Barthelemy, Japan, Kansas, Tennessee, Virginia, Washington and France. He served on the distinguished international jury of the 2016 Siqing Lu Shenzhen Futian International String Festival. In March 2017, he collaborated with the UT Wind Ensemble and Professor Jonathan Gunn in John Corigliano’s Clarinet Concerto which involved recording a CD for the Longhorn music label and touring to Dallas and Kansas City, MO. Lewis continued his duties as artistic director and faculty member at the 2017 Starling-DeLay Symposium on Violin Studies at Juilliard. He also continues to serve as artistic director and faculty member of the Brian Lewis Young Artist Program in Ottawa, KS, as well as concertmaster of the St. Barths Festival Orchestra in the French West Indies. Professor of Jazz Composition John Mills’ band, Times Ten, performed his compositions at the Jazz Education Network annual conference in New Orleans; they also completed their latest album Flying Blind, released on Fable Records. Mills was selected as the featured musician for this year’s Poetry Festival at Round Top and was commissioned to write new arrangements for Netherlands-based multi-instrumentalist Marius Preda. He directed the stage band for the Texas Medal of the Arts awards show at Bass Concert Hall and performed with the Austin Symphony Orchestra for pop concerts and

47


for Beautiful: The Carole King Musical. Additionally, Mills was

by George Reid Andrews and Alejandro de la Fuente. Moore

a symposium panelist with jazz author Ted Gioia, conducted a

gave an invited talk at Duke University titled “Fernando Ortiz

live interview with legendary drummer Jack DeJohnette, and

on Music: Reflections on the Founder of Afro-Cuban Studies”

was honored with the College of Fine Arts Doty Fellowship

and organized a panel on music pedagogy at the Society for

for 2016-17. Mills’ Magnify This Moment was selected as a

Ethnomusicology’s annual meeting in Washington, D.C.

finalist for the Golden Hornet String Quartet Smackdown competition. He wrote new string arrangements for long-time

Luisa Nardini, associate professor of musicology, published

Count Basie vocalist Carmen Bradford, conducted vocalist

her book Interlacing Traditions: Neo-Gregorian Chant Propers

Andrew Heller’s big band at Nashville recording sessions, and

in Beneventan Manuscripts (Pontifical Institute of Mediaeval

performed with Texas music legends Christopher Cross and

Studies, 2016) and edited the proceedings of a conference,

Jimmie Vaughan. He and the Texas Horns played major blues

Intersecting Practices in the Production of Sacred Music c.

festivals in Germany and Canada in addition to recording

1400-c. 1650, that was held at UT in 2014. She completed

sessions and concerts in the U.S.

two essays on the largest Italian collection of medieval music theory, the manuscript Montecassino 318. Her research

Miró Quartet, the Butler School’s quartet-in-residence,

presentations were delivered at the two most prominent

comprises Senior Lecturers Daniel Ching (violin),

international conferences on medieval studies, Kalamazoo

William Fedkenheuer (violin), Joshua Gindele (cello) and

(MI) and Leeds (UK), and the Medieval and Renaissance

John Largess (viola). This year they released two new albums

Conference in Prague. Additionally, Nardini was invited for a

in their “Complete Beethoven Quartet” series: Opus 74 and

residency at the University and Conservatory of Salerno, Italy,

95 in October, and Opus 130 and the Grosse Fuge Opus

where she offered a research presentation and a master class

133 in February during their performance of the complete

on medieval chant. She also taught a new graduate seminar

Quartet Cycle over six concerts at Chamber Music Tulsa.

on music editing and the digital humanities in which students

In November 2016 Miró Quartet hosted a Brahms festival of

developed several websites on musical repertories with a wide

multiple concerts and masterclasses in McCullough Theatre in

historical and geographical focus. Nardini has been awarded

partnership with Texas Performing Arts, including other

a Humanities Institute Fellowship at UT to work on a study of

UT faculty performers and guest artists David Shifrin, Clive

liturgical chants for the dead. The recipient of an American

Greensmith and Martin Beaver; the festival also included a

Council of Learned Societies fellowship, she will be on leave to

three-hour all-Brahms marathon concert by students of the

complete her book Liturgical Hypertexts: Proper Mass Prosulas

Intensive Chamber Music Seminar at the Butler School of

in Beneventan Manuscripts in 2018. This book will be provided

Music. Additionally, they served as guest faculty for a week

with a companion website that will contain a complete edition

long residency at San Francisco Conservatory of Music in

of the repertory of medieval prosulas in southern Italy.

January 2017, coaching students in their graduate chamber music program and performing the works of Beethoven,

Professor of Piano Anton Nel, who holds the Joe R. and Teresa

Brahms and Mozart with them in concert. In July 2017 Miró

Lozano Long endowed chair, spent a busy year performing

Quartet served as faculty at the Norfolk Summer Festival

concerti, recitals, and chamber music as well as teaching

(Yale Summer School of Music) for two weeks, performing three concerts and coaching an elite group of chamber music students. They then served as guest faculty for one week at the Banff Center for the Arts in Alberta, Canada teaching their own specialized course on the quartets of Beethoven and Schubert. Robin Moore, professor of ethnomusicology, published a new edited collection with Oxford University Press called College Music Curricula for a New Century (April 2017). The volume considers what a more inclusive and socially engaged curriculum of performance-based musical study might look like in universities; its goal is to create dialogue about how to transition to new paradigms and how such changes might be implemented in practical terms, based on curricular experiments taking place nationally and internationally. He also submitted the essay “A Century and a Half of Scholarship on Afro-Latin American Music,” to appear in the forthcoming Cambridge Handbook of Afro-Latin American Studies edited

masterclasses throughout the U.S., Canada and Mexico. Perhaps his most unusual performance of the season was a concert for the craftspeople at the Steinway & Sons factory in New York City in their “Live from the Factory Floor” series, an event that was streamed live and viewed by tens of thousands. As part of this visit he also made a recording on Spirio, Steinway’s new reproducing piano. Nel performed works by Bach, Mozart, Beethoven, Schumann, Grieg, Tchaikovsky and Gershwin with orchestras in Dallas, Eugene, Ann Arbor, San Antonio, Richmond, and Aspen, plus coast-to-coast solo recitals. He also taught master classes at leading institutions, with a continuation of his annual visits to the Manhattan School of Music and the Glenn Gould School. Highlights of the summer included performances at the Aspen and Ravinia Festivals (where he also serves as faculty), Bravo Vail, Miami International, Texas State International, and a master class at the PianoTexas International Festival in Fort Worth. Scott Cantrell of the Dallas Morning News called his Long Center recital “…sheer magic, of a sort one rarely experiences in performance.”


Senior Lecturer in Musicology Guido Olivieri was invited by the Centro di Musica Antica Pietà dei Turchini as a consultant for a project of performance and recording of 18th-century instrumental repertory, part of the cultural initiatives of the City of Naples, Italy. The project included a concert and recording entirely based on Olivieri’s editions. A CD—for which he has also provided the liner notes—will release in 2017 along with three modern premieres. He has also intensified scholarly relationships with Mexico, acting as the affiliate scholar in an edition of a music manuscript from Chalco. Proposed by Dr. Denia Diaz, professor at the Universidad National Autonoma de Mexico City, this was the only music project to receive the

David Hunter

Kristin Wolfe Jensen

Kelly Kuo

Delaine Leonard

Brian Lewis

John Mills

Robin Moore

Luisa Nardini

Anton Nel

Guido Olivieri

support of the Mattias Romero Initiative. Olivieri has been invited to teach a seminar at the University of Salerno (Italy) and as a keynote speaker at the international conference “Musical Improvisation in the Baroque Era” in Lucca (Italy). He is on the Board of Directors of the Society for EighteenthCentury Music. Stephen Page, assistant professor of saxophone, recently served as artist faculty at the Asia Pacific Saxophone Academy in Bangkok, Thailand, where he worked with 90 students from across the globe. In December 2016 Page performed in Chaiyi, Taiwan at the Asian Saxophone Congress, followed by a residency in Hong Kong the following March where he taught at Academy of Performing Arts and the Government Music Office and gave several performances. As a recipient of the Big XII Fellowship, Page toured the Big XII region, teaching master classes and giving performances at Oklahoma State University, the University of Oklahoma, and Texas Tech, where he premiered a new commission by Professor Dan Welcher. With his chamber ensemble Zzyzx Quartet, Page performed at the International Saxophone Symposium hosted by the United States Navy Band, as well as on the campuses of The University of Massachusetts Amherst, Montclair State University, and Mansfield State University, where they premiered a new commission by Marc Mellits. He also released a new recording with Alex Maynegre, Butler School collaborative staff pianist, entitled The Saxophone Music of Florent Schmitt. In August 2016, Assistant Professor of Oboe Andrew Parker recorded an album of Handel trio sonatas with Nancy Ambrose King (University of Michigan), Kristin Wolfe Jensen (University of Texas at Austin), and Jonathan Rhodes Lee (University of Nevada, Las Vegas). He was an invited guest artist for the Midwest Double Reed Society as well as Double Reed Day at Oklahoma State University. In January 2017, Parker visited the Lorée Oboe shop in Paris, France on behalf of Midwest Musical Imports to select oboes for their inventory. His performances for the year include concerts with the UT Symphony Orchestra and the Puerto Rico Philharmonic Orchestra, as well as an evening recital at the International Double Reed Society Conference at Lawrence University

49


in Appleton, WI. In March 2017, Parker had a teaching

Associate Professor of Ethnomusicology Sonia Tamar Seeman

engagement with all 18 oboe students at the University of

was awarded a Fulbright senior scholar research grant to

Michigan. He then ended with two weeks of teaching and

conduct field research in Turkey for 2016-2017. During that

performance at the Round Top Music Festival in July 2017.

period, she gave two talks for students and faculty at the Istanbul Technical University Conservatory in English on

Tamara Sanikidze, lecturer in opera studies and principal

ethnomusicological field methods and in Turkish on world

opera coach, once again joined the vocal faculty at Music

music pedagogy. She was invited to be the keynote speaker

Academy of the West in June 2016. She also served as

at the International Music and Cultural Studies Conference

an official pianist of Operalia, Plácido Domingo’s World

(Musicult) in June 2017, held in Istanbul. Her essay, “Embodied

Opera Competition in Teatro Degollado, which took place

Pedagogy: Techniques for Exploring Why and How Music

in Guadalajara, Mexico. August 2016 took her to Santa Fe to

Matters” was published in the volume College Music Curricula

perform a recital with soprano Leah Crocetto. Sanikidze joined

for the 21st Century, edited by Butler School faculty Robin

Austin Opera for performances of Manchurian Candidate

Moore. She also served as secretary on the executive

conducted by Richard Buckley, and Soprano Mane Galoyan

board of the Society for Ethnomusicology, and presented

for performances presented by Houston Grand Opera. In

on pedagogical techniques at the SEM annual meeting in

Fall 2016 she joined the San Francisco Opera music staff as

Washington, D.C. in November 2016.

an assistant conductor and coach for the new production of Verdi’s Aida (conducted by Nicola Luisotti and directed

Nikita Storojev, associate professor of voice, participated in

by Francesca Zambello) and Puccini’s Madama Butterfly

the 17th Russian Spring Fest at the Scottish Rite Theatre, the

(conducted by Ives Abel and directed by Leslie Swackhamer).

International Performance Dedicated to World Peace Through

At that time, she was also a part-time collegiate professor at

Music at the Hallettsville Cultural Event Center and the

the San Francisco Conservatory of Music where she coached

Russian Music Festival at West Texas A&M University where

conservatory students on a range of art song and operatic

he also taught a master class. In April 2017, Storojev also

repertory. In April 2017, Sanikidze and Associate Professor of

performed the title role in a production of Boris Godunov at

Voice David Small performed an opera and art song recital

the Anchorage Symphony in Alaska.

at the Butler School of Music. Upcoming for her is a return to the San Francisco Opera for their 2017-2018 season, acting as

Associate Professor of Tuba and Euphonium Charles

a prompter for a production of Turandot and as an assistant

Villarrubia presented solo recitals at the University of

conductor and coach for Wagner’s Ring Cycle.

Texas Rio Grande Valley, Texas A&M Kingsville, Louisiana State University, and the Butler School of Music. He was

In June 2017, Associate Professor of Music and Human

also featured as a soloist with The University of Texas Wind

Learning Laurie Scott instituted the first “Suzuki in the

Ensemble, The University of Texas Rio Grande Valley Wind

Schools” class at VanderCook College of Music in Chicago as

Ensemble, The University of Texas Trombone Choir, and The

part of the summer graduate class offerings. The Musical Lives

United States Army Band “Pershing’s Own.”

program, for which Scott serves as director, officially started the school year with a designated half-time teacher. The

Professor of Composition Dan Welcher led five concerts

orchestra classes are now part of the school day arts offerings.

with the UT New Music Ensemble this past year, and hosted

She is also director of the UT String Project, which hosted a

four internationally famous composers through the visiting

dinner at the American String Teachers Association National

composers series: Joel Puckett, Stephen Montague, D.J.

Conference in Pittsburgh with 17 alumni-attendees now

Sparr, and Mark Adamo. Welcher saw the premieres of three

teaching in school and university settings across the United

new works this past year. “The Sun is but a Morning Star”

States. Scott served as the guest conductor for Region 14 and

was commissioned by Yale University to commemorate

Region 26 Orchestras in Corpus Christi and Round Rock and

the 50th anniversary of its carillon. Assistant Professor of

presented numerous clinics for middle school and high school

Saxophone Stephen Page premiered “As Light As Bird From

orchestra programs throughout the year. In March 2017, Scott

Brier” for soprano saxophone and piano on his fall recital,

presented sessions at the American String Teacher’s National

then took the work on tour; the piece, loosely based on

conference in Pittsburgh. Additionally, she co-presented

themes from Mendelssohn’s A Midsummer Night’s Dream,

sessions at the Texas Music Educators Association Conference

was commissioned with funds from the College of Fine Arts.

in San Antonio. At the invitation of alumnus Martin Norgaard,

Finally, the Austin Symphony premiered KMFA: A Celebratory

Scott was in residence at Georgia State University to present

Overture, a concert opener commissioned by radio station

sessions related to teacher preparation and successful

KMFA to commemorate its 50th year on the air. In fall 2016

teaching in diverse and inclusive classrooms.

Welcher also completed his massive Symphony No. 6, which was commissioned by a consortium of some dozen major institutions. The work, subtitled “Three Places in the East,”


is a 36-minute work in three movements, each movement depicting a different national park on the east coast of the United States. The premiere will take place in fall 2017 at the University of Georgia, which led the consortium. UT alum Jaclyn Hartenberger, now on the faculty of the University of Georgia, will conduct the premiere, followed by all the members of the consortium. As the Butler School of Music is a consortium member, Professor Jerry Junkin will lead the first Texas performance in spring 2018. Darlene Wiley, professor of voice, was an invited guest speaker at the 2017 Singers’ Symposium at UT Southwestern

Stephen Page

Andrew Parker

Tamara Sanikidze

Laurie Scott

Sonia Tamar Seeman

Nikita Storojev

Charles Villarrubia

Dan Welcher

Darlene Wiley

Sandy Yamamoto

Medical Center in Dallas. Her presentation outlined career and musical development of the young adult artist. Helmed by Wiley, the Butler Opera Young Artists Program enjoyed its ninth year with 42 of Central Texas’ best young vocal talents. Additionally, Butler Opera International premiered in June 2017. This inaugural event was created by both Wiley and Professor Robert DeSimone. The program selected four gifted pre-professional opera singers who performed operatic arias and duets with the Round Rock Symphony. In 2018, BOI will expand and become an international competition for preprofessional singers. Sandy Yamamoto, senior lecturer in violin, had an exciting performance season throughout the United States. Some notable local events include a violin recital at the Butler School of Music with pianist Colette Valentine, a performance of the Beethoven Triple Concerto with the Butler Trio and the Austin Symphony, and several chamber music concerts with the Austin Chamber Music Center. Yamamoto performed the American premiere of George Enescu’s lesser-known Piano Trio in A Minor at Benaroya Hall in Seattle. She also performed with worldclass artists at the Orcas Island Chamber Music Festival including a west coast premiere of Roshanne Etezady’s Recurring Dreams for Saxophone and Piano Trio. In the Northeast, she performed with the East Coast Chamber Orchestra (ECCO) in New York City for both the Naumburg Series and Great Music at St. Barts, in Philadelphia for the Philadelphia Chamber Music Society at the Kimmel Center, and in Washington, D.C. at the National Gallery of Art. Yamamoto recorded Christopher Theofanidis’ A Thousand Cranes in Philadelphia with ECCO, and Kevin Puts’ Red Snapper Quintet with Gil Kalish, John Largess, Amy LevineTsang, and Peter Lloyd. She also filmed for Lifeway with the Butler Trio.

To read 2016–2017 student and studio updates, visit music.utexas.edu/studio1617

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The 2017–2018 Butler Society

BUTLER SOCIETY PERMANENT MEMBERS Sarah and Ernest Butler Richard M. Church, Jr. Timothy Ann Sloan+ and Vincent R. DiNino+ E. Sheryl Goodnight Mary Winton Green Kent Wheeler Kennan+ Gail and Jeff Kodosky Teresa and Joe Long Longhorn Alumni Band Charitable Fund Inc. Richard E. Rainwater+

Gifts from $10,000 Shirley and Isrzel Aguilar Austin Community Foundation Steven Bryant The Cain Foundation Samuel Carr Moton Crockett Maria de Waal Putter William George Robert Glick and Jacquelyn Helin Gwen Kunz John Massey Bill Nowlin Dan Pfeil Linda Ball and Forrest Preece R & P Ramirez LTD. Patricia and Renato Ramirez Mary and W. Dexter White Greg Wilson Man-Li Yew

Gifts from $500 Susan Adler Jack Burt Douglas Carpenter Michael Churgin Rebecca Curry Gordon Daugherty Eric Davis Douglas Dempster Delia Duson David Ellis Anne Epperson ExxonMobil Foundation Jill and Philip Fredericks Brenda Gabert Kent Kostka Rachel Mathers Purita Mitze Mu Phi Epsilon David Neubert Jo Lyn Peters Eugene Rhemann Clay Robinson Becky and Jeffrey Robinson Micki Roemer Nicholas Schroeder St. Vincent de Paul Catholic Church Jordan Summers Richard Tackett Thomas Tallman Maria and Mark Trevino Michael Tusa Mary Waddell

Gifts from $1,000 AllianceBernstein LP Gregory Allen ASCAP Ellen and David Berman Linda and Robert Blevins Frances and Doug Brown William Buchanan Michael Chesser Tania and Donn Cox Angela Crisara Cheney Crow Stephen Davis Susan and Claude Ducloux Fidelity Charitable Gift Fund Steven Fleckman Friends of the University Victor Garcia Elizabeth and Scott Hanna Scott Harmon Richard Hartgrove Mary Ann and Andrew Heller Martha Hilley IBM International Foundation International Bank of Commerce The James Dick Foundation Ezra Johnson Lee Jones+ Rebecca and Mark Konen Karen and Paul Leeke Delaine Leonard Lincoln Financial Foundation James Littlefield Kevin Ludlow Lucia Maley Jean McArthur Donna Beth McCormick Gregory McCoy Shannon and Terry McDaniel Terry McDaniel & Company Vicki and John McLaughlin Marcy and John Melanson John Mills Lucy Nazro Wolfgang Niedert Hilary Olson Chip Osborne Pearson Inc. William Phillips III Mary Ellen Poole The Presser Foundation A. David Renner Jeffrey Robinson Eugene Rousseau Thomas Sadler Susan Salch Daniel Seriff Debra Smith and Fred Brinkley, Jr.

Gifts up to $499 David Abbott Adrian Acevedo Nelda Acevedo Mary Acevedo Herbert Acevedo Michelle Acevedo Mary Adams Sandra Adland Hills Bank Donor Advised Gift Fund Lisa Aguilar Giselda Aguilar John Akins Michelle Alanis Donnie Ray Albert Susana Aleman Sergio Aleman Alfred Publishing Company Inc. Michael Allen John Allison Maria Alvarez Nathaniel Levi Alvarez Alexis Andaverde Bryant Anderson Lauren Anderson Jason Anthraper Elliott Antokoletz Cristian Arguelles Elizabeth Asher Katherine Atwell Cynthia Awtrey Anne Axelson Francisco Azares B’Shert Home Care LLC Daniel Christopher Bacic Lisa Bacic Kason Bakouris Jannette Balke Charles Ball Rebecca Baltzer Carmen Banks Hala Barodi Cynthia Bartek Amanda Bartelt Kim Bartlett Susan Bartlett Joshua Bartlett Charles Bates Christopher Bates Larry Bauerkemper Bruce Baugh Suzanne Baugh Rosario Baxter Janet Beagles Karen Becker Matthew Behn Susan and Stephen Bell Logan Bennett Michael Benson

BUTLER SOCIETY ANNUAL MEMBERS

The Butler Society is a community of annual supporters whose generous contributions provide enrichment and professional growth opportunities to students and faculty in the Sarah and Ernest Butler School of Music. We appreciate the support provided by members of the Butler Society and invite those who have not participated to consider becoming a member by making a gift today. Listed below are Butler Society members for the period of September 1, 2016 to June 10, 2017. We gratefully acknowledge our permanent Butler Society members who have committed $1 million or more to the school over their lifetime. For more information about giving and the Butler Society, please visit music.utexas.edu/giving

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David Stromeyer Milton Tate, Jr. Mary and Charles Teeple Jo Trammell Linda Butler Van Bavel Janis VanderBerg Michael Webber Amanda and Andrew West John Wheeler Dilum Chandrasoma and Surangi Widyaratne Keith Winking

Gifts from $100,000 and above Malcolm Brown, Jr. Joseph Gasca Jayne Jochec Carolyn and Marc Seriff Dorothy Richard Starling Foundation Eva and Marvin Womack


Marla and Joseph Bermea Elizabeth Bernabe Luke Berringer Thomas Bexley Evelyn Binkard Craig Biondi Claudia Bishop Janet Blair Dalton Blang Pauline Bobofchak Jonathan Bolton Lacy Bond Adam Booker Sarah Borshard Delia Botbol Beta Bowen Holly Bowles Joanna Boy Bethany Boyd Daniel Boyer Camila Brady Glenda Eileen Brady Andria Brannon Rachel and David Breeding Rachel Elizabeth Breunig Tacey Brewer Deborah and Nathaniel Brickens Patti Brookshire Carol Brown Dorothy Brown Cheryl Brownstein Judith Brubeck William Bruce Kelly Brune Mari Brunson James Bryan Jacob Cobie Buckles James Buhler Sarah Catherine Bunn Rachel Butler Mary Calcote Paul Calmes Megan Canney Gilbert Cantu Carlos Capra Beth Carls Christine Carter David Carter Joanna Castillo Stacy Castillo Alicia and Ezekiel Castro Russell Castro Jenny Catchings Jean-Pierre Cauvin Michael Cavazos Britt Cawthon W. Chaffin Lauren Chaloupka Benjamin Taylor Chamblee Angela Chan Joy and Glenn Chandler S. Chandrasekaran Timothy Cheek Chevron Corporation David Childs Daniel Ching Chandrasekaran Chinnasamy Mae Chng Maria-Elena Cigarroa Isaiah Cisneros Ashley Clarke James Clarke Kaylee Clatanoff Patrick Cleary-Burns Christopher Clifton Rachel Cohen-Miller Phillips 66 Company Philip Cooper Tyler Corley Cappy Cory Brenda Coursey Tyler Cox Paige Crail Katherine Crain Caroline Creeden Kevin Crook Victoria Crook Christi Cuellar-Lotz Lauren Cunningham Paralee Curry Dan Cushing Joe Dahlstrom Ruth Dahlstrom Sarah Deay Andrew Dell’Antonio Riley Dennison Priyanka Deshmane John Devlin James Dick Kristal Dick Taylor Dieringer Alicia Dietrich Haley Dietz Marilyn Doege Anne Doerfler Susan and August DolanHenderson

Joseph Drewes Robert Duke Amy Duke Tamara Dworetz David Edge Carol and Michael Edwards Alexander Eggers J.D. Eggert Karen Eggert Peter Eichhubl Laurine Elkins-Marlow Angela Valenzuela and Emilio Zamora Sadika Eslaminejad Canyon Powell Evenson Judith Fairey Robert Fanning William Fedkenheuer Robert Fenton Austin Ferguson Richard Flake Lisa and Mark Flanagan Roanna Flowers Stuart Folse Harvey Ford Linda Foss Terri Fox Robert Frisby Brian Frock Jane Fuchs Cheryl Fuller G. Schirmer Inc. and Assoc. Music Publishers Michael Gaido Joshua Gall Kent Gall Luke Gall Nick Galuban Joseph Gambino Felicia Garcia-Hildenbrand Aurel Garza-Tucker Marianne Gedigian Todd Gernert Thomas Gibbs Fred Gibson Robert Gibson Jeanne Gibson Andres Gil Mesa Megan Gilbert Sophia Gilmson Joshua Gindele Sarah Gittins Denise Glenn Gerald Goldman Josue Gomez Hector Gonzales Damian Gonzales John Gonzalez Andrea Gonzalez Jaime Gonzalez Sheryl Goodnight Sara Gormley Alexandra Gotliboski Sally Grant Theresa Grayson Craig Greenway Pamela Greenway George Gregory Jeffrey Grimes Sherry Grona Meredith Groom Daniel Gruber Enrique Guevara Alison Guffey Jason Guidangen Jonathan Gunn Alan Guttman Rebecca Haden Alexander Ludl Haecker Michael Haecker Natalie Anne Haecker William Haehnel Meredith Hall Heather Halstead Caroline Hamilton Caroline and Alexander Hamilton Nan Hampton Elizabeth Hansing Moon Robert Hardgrave Catherine Nicole Harper Beverly and Billy Harrell Lana Harris Justin Harris Jason Harrison William Harvey Teresa Hastings Robert Hatten Geraldine Hazel Gaylon Hecker Jessica Heighway Barbara Helbert Jeff Hellmer Douglas Henderson Adrian Hernandez Claire Hernandez-Pike Diana Hernandez Susanna Herndon

Lydia Hewett Mace Hibbard Jeannette Hibler Marcia Hildebrand Pamela Jo Hildebrand Barbara Hill-Zeff Zachary Hindes James Holmes Adam Holzman Joni Hood Georgiann Hormann Karissa Horton Edward Horvath Clelon Houpt Graham Parker Houpt Katherine Howell Hannah Huckaby Laurie Hudson Patrick Hughes David Hunter J.F. Iafeta-Lelauti Karissa Christine Ismael Alexander Issa Charles Ivons Dee Jackson Reed Jackson Joseph Jacobus Judith Jellison Kristin Wolfe Jensen Lathon Jernigan Analisa Jimenez Nelson Jimenez Cade Jobe Danielle Johnson Ryan Everett Johnson Kevin Jolly Clifton Jones James Jones Kody Jones Larry Jones Sarah Jones Trish Joyner Fred Junkin Christopher Kea Meghan and George Keast David Kehler Madeline Keig Patricia Kelly Ryan Kelly Karen and Phillip Kelton Sarah Kemmerling Kassie Kemp Bryan Kennard Geoffrey Kennard Diane Kester Tony Kiang James Kirksey Sharon Kite James Klein Heather Knolle Will Knox Jenny Kondo Zachary Kornblau Brad Kosley Stefan Kostka Marilyn Kostka Jennifer Kraemer The Kraken Quartet Cheryl and Keith Krewer Laura Margaret Krizan Allison Paige Kubis Kelly Kuo Samuel Alan Kurtin Amanda Landry Jeanne Langston Christopher Lanier Shoshanna Lansberg Damien Larson Laraine and Leon Lasdon Aaron Lassmann Anna Lassmann Myra and Harold Laves My-Duyen Le Ryan Le Tran Le Charles Lee Chih Lee-Baker Morgan Lee Lindsay Lehman Anna Lehnhoff Caroline Leonard Justin Lerma Amanda Lester Richard Leu Richelle Lewis Ruth Lim Rohan Rajeev Limaye John Lindley Tamara Linn Charlotte Little Margaret Little Albert Lo Sondra Lomax Susan Longley Edward Lopez David Loveless Laura Loveless

Jules Lund Madysen Ashleigh Lyons Michaela Lyons Linda Mabbs Budge Mabry Martha MacDonald Elizabeth Reno Macnary Florence MacNary Robin Mains Joe Maisonneuve Betty Mallard Jennifer Mann Eileen Manyin Michael Manyin Geoffrey Manyin Michael Margle Joseph Martella Trina Martin Daja Martinez Zachariah Matteson Jill Matteson Adrian Matthys Alexandre Maynegre-Torra Evelyn McCarty Donna McCormick Molly McCoy Patrick McDermott Matthew James McDermott Melissa McDermott Jacob McDonald Lucie McEligot Michael McGaughan Michael McIntosh Michael McKaughan Thomas Andrew McRoberts Charles Mead Sally Means Edgar Medina Evelyn Meisell Mark Mercado Alicia Mercado-Castro Valerie Rae Mercado Douglas Merschat Henry Edward Merschat Nathan Mertens Daniel Mesa Michala Graham Meyer Rhonda Meyer Megan Milliorn Don Mitchell Cindy Mitze Karl Mitze Mary Monahan Eric Monashkin Michael Montopoli Nicholas Montopoli Robin Moore Diane Moore Michelle Moore Roxanne Moreland Elvia Moreno Alvarado Amy Morgan David Morgan Jeffrey Morris Keegan Morrison Cynthia Morrow Gary Mortenson Jamie Mowry Peggy Mueller Raine Munkens Kenneth Munkens Marsha Munoz Irina Muresanu Alessio Nachtergaele Kevin Nance Luisa Nardini Anton Nel Thomas Neyland Jessica Nguyen Tom Nichols Alexander Nichols Jessica Nicholson Coral Noonan-Terry Nicholes Nunley Steve Nussbaum Suzan Nyfeler Barry Odell Patricia and Curtis Ohlendorf Alda Oliveira Guido Olivieri Julie and Derrik Olsen Sandra Olsen Austin Lyric Opera Colin Ornelas Yeni Paz and Ariel Ortega Ann and Michael Owen Joe Pacheco Charles Page Stephen Page Nicole Pagliai Richard Palese Brittany Palmer Richard Pantaleo Antonio Paramo Min Park Don Parker Tracy Parrella

Justin Patch Gloria Pena Suzanne Pence Bryan Penn Katherine Perez Janet Peri Mary and Hunter Perrin Hannah Perry Julia Perry Antoinette Perry Brian Peterman Kristie Peterman David Peters Richard Peterson Theresa Peterson Melissa Petrek-Myer John Phillips Sara Phillips David Phung Russell Pinkston Riley Pirinelli Taylor Pirtle Russell Podgorsek Nicole Poirot Lisa Pollack Samuel Pollack Courtney Pope Suzanne Potts Linda Preece Allison Prochnow Jessica Propst John Thomas Purdy Robert Purdy Sara Beth Purdy Dominic Rago Archik Raje Alexander Ramirez Melodie Ramirez Caren Ramon Cynthia Ramos Alexandra Nicole Raska Shannon Cardenas Ray Brad Raymond Janeka Rector James Redenbarger Caroline Reedy Stuart Reichler Karen Reid Kelly Reid Alison Reid Lois Reiter Wanda Reynolds William Reynolds Molly Reynolds Maryanna and Eugene Rhemann Ryan Rhodes Robert Rhyne William Rich Tristessa Richard Maria Rivera Rebecca Robertson LaFalco Robinson Eduardo Rodriguez Daniel Rodriguez Danielle Rodriguez Alfred Rodriguez Courtney Rodriguez Sydney Rodriguez Laura Ross Rick Rowley Kevin William Ruder Ceanna Ruehle Patricia Ruggles Michael Sailors Tara Salazar Marco Saldana Christopher Sanchez Cynthia Sanchez Jeanne and Ray Sasaki Rosa Sauceda Linda Saunders Emily Corinne Saunders Judy Schedler Barbara Scheidker Elizabeth Scherf Judy Scherschligt Eugene Schoch Laurie Scott Melvin Scott Sonia Seeman Lauren Selking Bill Setzler Yevgeniy Sharlat Matthew Shea Ryan Showers Amy Simmons Frank Simon Keith Simpson Dauphine Sizer Andrew Skinner Michele Skinner Rita Sloan Richard Sloan Jerry Smith Lisa Smith-Brooke Emily Smith James Smith

Curtis Sokness Mitchell James Sommer The Larry and Annette Sondock Foundation Cathy Sorsby Jarrod Sparks Claire Spera Stephen Stein Page Stephens Jeffrey Stern Benjamin Stevenson Raymond Stewart Scott Stewart William Stewart Matthew Stolhandske Natasha Stollmack Raymond Stoner David Strauss Georgeann Strong Matthew Stubbs William Stutts Kellie Sullivan Mary Sullivan Bailee Sutton Billye Sutton Stephen Donovan Svatek Amanda Swain Cathy Sweeney Andre Sylvester Douglas Tabony Rian Stewart Talbot Juliet Tapia Priscilla and John Tate Valerie and Kerry Taylor Maryn Taylor Norma Terrell Suma Thomas Paige Thomas Susanne Tetzlaff and Eric Tiblier Qui Ton Jesus Torres Kelsey Marie Toungate Margaret Tran Kevin Ha Tran Jerry Trognitz Christopher Truong Bion Tsang John Turci-Escobar Blake Turner Anna Tutum Matthew Twomey Maryanne Tyler Kimberly Urban Javier Uresti Veronica Vacula Colette Valentine Diana Vandel Christina Renee Vasquez Roberto Contreras Vasquez Mariana Verissimo Jessica Voigt Alan Vollmann Christopher Walker Connor Walker Gregory James Walker Cody Walters Madeline Warner Warner Music Group Inc. Anne Watkins Cameron Weber Jan Webster Charis Weiss Allison Welch Dan Welcher J. M. West Westlake High School David Weynand Lindsey White Catherine Whited Rebecca and Mark Williams Nefertiti Williams Ketty Wong-Cruz Stephen Wray Brynn Wreford Cynthia Wren Douglas Wunneburger Marika Wynne Danyang Xiang Sandy Yamamoto Richie Yap Sandy Yap Stephanie Yap Wade Yost Antonio Zapata Esteban Zapiain Benjamin Zeff Cris Zertuche Wong Darrell Zimmerman Jordan Zinn Ryan Zysk Some of our donors have requested to remain anonymous and therefore are not listed. + Denotes deceased


Sarah and Ernest Butler School of Music Endowments

Longhorn Alumni Band James M. Allen Scholarship Fund Longhorn Alumni Band John B. Buford Scholarship Fund Longhorn Alumni Band General D. Harold Byrd Memorial Scholarship Fund Longhorn Alumni Band Nelda Jean and Richard M. Church Scholarship Fund Longhorn Alumni Band Richard M. Church, Jr. Scholarship Fund Longhorn Alumni Band Moton H. Crockett, Jr. Scholarship Fund Longhorn Alumni Band Jane Dahlgren DiNino Scholarship Fund Longhorn Alumni Band Jane and Vincent R. DiNino Scholarship Fund Longhorn Alumni Band H.B. Dunagan, Jr. and Lucille J. Dunagan Scholarship Fund Longhorn Alumni Band General Scholarship Fund Longhorn Alumni Band Diane E. Gorzycki Memorial Scholarship Fund Longhorn Alumni Band Colonel George E. Hurt Memorial Scholarship Fund

The Butler School of Music greatly appreciates those who have established

Longhorn Alumni Band James Johnson Memorial Scholarship Fund Longhorn Alumni Band Todd and Belinda Linstrum Scholarship Fund Longhorn Alumni Band New Member Advisor Scholarship Fund

an endowed gift, and by doing so have

Longhorn Band New Member Advisor Scholarship

forever linked their names, or those of family

Longhorn Alumni Band Bill and Inez Phillips Veterans Scholarship Fund

members, friends or organizations, to the excellence in this program.

Longhorn Alumni Band John Michael Rizzo, Jr. Scholarship Fund Longhorn Alumni Band James Sims Scholarship Fund Longhorn Alumni Band James E. Turpin Scholarship Fund Longhorn Alumni Band Carl T. Wilden Memorial Scholarship Fund Alamo City Endowed Scholarship for Pianists

For more information on how to establish a

Nelson Turner Allison Endowed Scholarship

new endowment or how to give to an existing

Burdine Clayton Anderson Scholarship in Music

endowment, please visit us on our website at music.utexas.edu/giving

William D. Armstrong Music Leadership Endowment Ball/Preece Jazz Studies Fund Richard S. Barfield Endowed Scholarship Wayne R. Barrington Endowed Scholarship in Horn Steve Barton Endowed Presidential Scholarship in Piano Dr. Morris J. Beachy Choral Fellowship Betty Osborn Biedenharn Endowed Presidential Scholarship in Music Mary D. Bold Regents Professorship of Music Mary D. Bold Scholarship Fund Brook Boynton Endowed Presidential Scholarship Edward Brookhart Award in Music Education Ann Callaway Brown Endowment Fund for the UT String Project Brittany Brown Endowed Scholarship in Music Cheryl and Robert Butler Endowed Fellowship in Music Dr. and Mrs. Ernest C. Butler Centennial Endowed Presidential Scholarship in Opera Dr. and Mrs. Ernest C. Butler Endowed Presidential Scholarship in Opera Butler Opera Center Endowed Presidential Scholarship Butler Opera Center Endowed Presidential Scholarship 2 Sarah and Ernest Butler Family Fund Endowed Presidential Scholarship in Opera Sarah and Ernest Butler Family Fund Endowed Presidential Scholarship in Opera 2 Sarah and Ernest Butler Opera Center Sarah and Ernest Butler Professorship in Opera Sarah and Ernest Butler Professorship in Music Sarah and Ernest Butler Professorship in Opera Conducting Sarah and Ernest Butler School of Music Endowment Pauline Camp Operatic Voice Scholarship The Wayne L. Catching Professorship in Piano Accompanying and Chamber Music The Wayne L. Catching Endowed Scholarship in Piano Performance Eloise Helbig Chalmers Endowed Scholarship in Music Therapy and Special Education Joy B. Chandler Endowed Scholarship in Organ Pearl DuBose Clark Endowed Presidential Scholarship in Music College of Fine Arts String Quartet Endowment Barbara Smith Conrad Endowed Presidential Scholarship in Fine Arts Mary Frances Bowles Couper Endowed Presidential Scholarship for Graduate Students in Piano Performance Mary Frances Bowles Couper Endowed Presidential Scholarship for Undergraduate Students in Piano Performance Ainslee Cox Scholarship in Music

54


Raymond D. Crisara Endowed Scholarship Award for Trumpet

Georgia B. Lucas Endowed Presidential Scholarship in Music

Moton H. Crockett, Jr. and Martha Crockett Endowment for Big Bertha

Pansy Luedecke Scholarship Fund

Patsy Cater Deaton Endowed Presidential Scholarship

Danielle J. Martin Memorial Scholarship

William Dente Endowed Memorial Scholarship in Opera

J. W. “Red� McCullough, Jr. Endowed Presidential Scholarship in Jazz Studies

Vincent R. and Jane D. DiNino Chair Fund for Director of Bands

McFarlane Choral Music Endowment

Vincent R. DiNino Endowed Faculty Fellowship for the Longhorn Band Director

Suzanne and John McFarlane Endowed Presidential Scholarship in Vocal and Choral Arts

Vincent R. DiNino Longhorn Band Presidential Scholarship

Suzanne and John McFarlane Endowed Presidential Scholarship in Winds

The Vincent R. DiNino Endowed Scholarship for the Longhorn Band Drum Major

Marlene and Morton Meyerson Centennial Professorship in Music

Vincent R. DiNino Endowed Scholarship for the President of Kappa Kappa Psi

Marlene and Morton Meyerson Professorship in Music

The Vincent R. DiNino Endowed Scholarship for the President of the Longhorn Band

W. K. Milner, Jr. Endowed Scholarship in Music

Vincent R. DiNino Endowed Scholarship for the President of Tau Beta Sigma

Music Education Endowment Fund

Vincent R. DiNino Endowed Scholarship for the University of Texas Orchestras

Music Endowment Fund

E. W. Doty Endowed Presidential Scholarship in Music

Music Leadership Program Endowment

E. William Doty Scholarship Fund

Gino R. Narboni Endowed Presidential Scholarship in Orchestral Conducting

Whit Dudley Endowed Memorial Scholarship in Harp

Hettie Nel Endowed Scholarship in Piano

Ron Edelman Scholarship for Piano Education

Willie Nelson Endowed Presidential Scholarship

Frank C. Erwin, Jr. Centennial Professorship in Music

Sandra E. New Endowed Scholarship in Music Education

Frank C. Erwin, Jr. Centennial Professorship in Opera

David O. Nilsson Solo Pianist Award

Faculty Endowed Scholarship in Music

Jonilu Swearingen Nubel Endowed Scholarship

Marguerite Fairchild Endowed Presidential Scholarship in Music

Paul Olefsky Cello Scholarship

Parker C. Fielder Regents Professorship in Music

Eleanor Page Endowment for Musicology

Priscilla Pond Flawn Regents Professorship in Organ or Piano Performance

Nelson G. Patrick Endowed Scholarship in Music Education

Priscilla Pond Flawn Endowed Scholarship in Music

Leticia Flores Penn Endowed Presidential Scholarship in Piano

Fondren Endowed Scholarship in Music

Oliver and Betty Pfeil Endowed Scholarship

Dalies Frantz Endowed Scholarship Fund

William C. Race Endowed Presidential Scholarship in Piano

Friends of Cello Scholarship

The Richard E. Rainwater Fund for American Music

Barbara and George Frock Endowed Scholarship for Percussion

Louis W. Rase and Sophie Braun Rase Scholarship Fund

David Garvey Scholarship Fund

A. David Renner Endowed Presidential Scholarship in Piano

Garwood Centennial Scholarship in Art Song Performance

Kathy T. and Kent M. Rider Endowed Scholarship for the Longhorn Band

Robert M. Gerdes Music Program Endowment

Lucille Roan-Gray Endowed Presidential Scholarship in Music

Mary Farris Gibson Endowed Presidential Scholarship in Music

Phyllis Benson Roberts Endowed Presidential Scholarship in Music

Mary Farris Gibson Memorial Scholarship in Music

E. P. Schoch Endowed Presidential Scholarship in Band

Thomas J. Gibson IV Endowed Presidential Scholarship

The Mary A. Seller-Yantis Endowed Presidential Scholarship

Annie Barnhart Giles Centennial Endowed Presidential Scholarship

Carolyn and Marc Seriff Young Professional String Quartet Endowment

Annie B. Giles Endowed Scholarship Fund in Music

Willa Stewart Setseck Scholarship

Albert Gillis Endowed Presidential Scholarship in Strings

Mary Elizabeth Sherrill Endowed Presidential Scholarship in Music

David and Mary Winton Green Chair in String Performance and Pedagogy

Mary Elizabeth Sherrill Endowed Presidential Scholarship in Organ

Mary Winton Green Endowed Presidential Scholarship in Music

John W. and Suzanne B. Shore Endowed Presidential Scholarship in Music

Margaret Halm Gregory Centennial Scholarship

Effie Potts Sibley Endowed Scholarship Fund

Andrew R. Gurwitz Longhorn Band Scholarship

Lomis and Jonnie Slaughter Scholarship in Music

M. K. Hage Centennial Visiting Professorship in Music

Kermie F. and David W. Sloan Endowment for the UT String Project

Florence Thelma Hall Centennial Chair in Music

Timothy Ann Sloan Scholarship for the Clarinet Section Leader

Verna M. Harder Endowed Presidential Scholarship in Music

Carl and Agnes Stockard Memorial Endowment Fund

Louisa Frances Glasson Hewlett Scholarship in Music

Texas Drums Alumni Scholarship

History of Music Chair

Texas Endowed Presidential Scholarship in Music

Nancy Leona Dry Smith Hopkins Endowed Presidential Scholarship in Piano

Mollie Fitzhugh Thornton Music Scholarship Fund

Virginia McBride Hudson Endowed Scholarship

The Trammell Scholarship Endowment in Music

Lee and Joe Jamail Endowed Presidential Scholarships for the Longhorn Band

Laura Duncan Trim Scholarship in Music

The Wolf and Janet Jessen Centennial Lectureship in Music

Tuba and Euphonium Alumni Endowment Scholarship for Tuba and Euphonium

Michael Kapoulas Endowed Scholarship in Composition

Elizabeth Anne Tucker Centennial Scholarship

Jean Welhausen Kaspar 100th Anniversary Endowed Longhorn Band Scholarship

UT OLLI Excellence Fund in Music

Kent Kennan Endowed Graduate Fellowship in Music Composition or Theory

Ruth Middleton Valentine Endowed Presidential Scholarship

The Eddie Medora King Award for Musical Composition

Erette A. Vinson Endowed Marching Band Scholarship

Donald and Charlotte Knaub Endowed Scholarship in Trombone

Lois Johnson White Endowed Presidential Scholarship

Lennart and Daniel Kopra Memorial Endowed Presidential Scholarship in Classical Guitar or Music

Thenoba Gwendolyn Boyett White Endowed Presidential Scholarship

Education

Ward and Sarah Widener Endowed Presidential Scholarship in Music

Longhorn Band Legacy Fund

Robert Jeffry Womack Endowed Presidential Scholarship

Edward R. Lopez Endowed Scholarship in Music

Lola Wright Foundation Centennial Endowed Scholarship

Joe R. & Teresa Lozano Long Chair in Cello

Sidney M. Wright Endowed Presidential Scholarship

Joe R. & Teresa Lozano Long Chair in Piano

Shirley Sue and Frank Howell Zachry Endowed Presidential Scholarship in Music

Joe R. & Teresa Lozano Long Piano Scholarship Anna and Fannie Lucas Memorial Scholarship Fund

55


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Words of Note 2017  

The Butler School of Music publishes Words of Note for its community of scholars, alumni and friends.