Carnegie Mellon School of Music 100th Anniversary Music Magazine

Carnegie Mellon University SCHOOL OF MUSIC 2013 for ALUMNI & FRIENDS

“What’s a play list?”

“I still feel 19.”

The First

100 YRS

The Centennial Celebration Concerts p2

September Concert Premiere p6

Andrew Carnegie’s School of Music p8

“Happy Birthday,

School of Music.

”

CONTENTS 2-3 100 Years On Spring 2012 Centennial Concerts 4-5 Friends of the School of Music Cynthia Friedman 6-7 Dear Friend of the School of Music, You are holding in your hands a very special edition of the Carnegie Mellon School of Music magazine. Last year, 2012, was the 100th anniversary of the school’s founding, and this edition is dedicated to marking the occasion. Inside you will find a dollop of history, a bit of news, a cordial invitation, and a plateful of pomp and circumstance.

The centerpiece of the magazine is a fascinating article by Assistant Professor of Musicology Robert Fallon chronicling Andrew Carnegie’s viewpoint on music

September Concert Premiere 8-19 FEATURED:

Andrew Carnegie’s School of Music 20-21

and the arts.

Practice Room Renovations

If you’re an alumnus of the School of Music, please take a moment to visit our website

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and share your recollections and anecdotes, and in so doing add important detail to the history of our school.

You are very cordially invited to attend the upcoming performances by students who are kicking off the school’s next 100 years. If you haven’t heard them lately, I think you will be impressed, and I hope they make you as proud as they make me.

Walking the marble halls of the College of Fine Arts, I am constantly struck by the exceptional nature of this place. Countless gifted musicians have honed their craft

Student News First Grad from Music & Technology Program Starling String Quartet in Qatar 26-31 Alumni News

here, and myriad selfless teachers have shared, encouraged and challenged students

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in these rooms, to be the best musicians and people they could be. This is a place

Faculty News

where relentless dedication to the art gave rise to literally tens of thousands of memorable performances.

Our school has a history that I am humbled by, and I cherish. It was a transcendent

36-37 Honoring Maestro Robert Page

honor to serve as its head in this noteworthy year.

Happy birthday, School of Music.

The School of Music would like to thank the following contributors to the magazine:

Sincerely,

Jennifer Bouton Carnegie Mellon University Archives Dana Casto Denis Colwell

Denis Colwell Head, School of Music

Robert Fallon Hilary Gamble Alisa Garin Photography Timothy D. Kaulen University Photographer Riccardo Schulz Hannah Whitehead

100 YEARS ON

We’d like to think that somewhere, somehow, Andrew Carnegie is smiling.

To mark the 100th anniversary year of the School of Music, the Carnegie Mellon Philharmonic and Combined Choirs performed gala concerts at the Benedum Center in Pittsburgh and Carnegie Hall in New York City in late March and early April of 2012.

The concerts featured prominent alumni performers Liam Bonner (A’03), Jeffrey Behrens (A’03), Howard Wall (A’72), Peter Rubins (’86), Lisa Vroman (A’81), Graham Fenton (A’05), and Christiane Noll (A’90). Sharing the conducting duties were Ronald Zollman, Robert Page, and Dale Clevenger (A’62). Representing the current student body among the soloists was violinist Emma Steele (A’12), and the personable master of ceremonies was Manu Narayan (A’96).

The soloists were brilliant, orchestra and choirs magnificent, and the audience made their appreciation known with heartfelt standing ovations in both halls.

We think Andy would be happy to see how far his School of Music has come in its first century.

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Carnegie Mellon University SCHOOL OF MUSIC 2013

FRIENDS OF THE SCHOOL OF MUSIC

For Cynthia, life at the time was an intricate interweaving of public service and arts advocacy.

by DENIS COLWELL, Head

It was in early October of 2011 that I first walked through the doors to the main office at the Carnegie Mellon University School of Music as the newly appointed, but slightly naïve, interim head. I wasn’t even inside the door when I got clobbered by a steep and nastylooking learning curve. When I came to, I was being administered smelling salts by a terrific office staff who assured me that while I was struggling to climb that learning curve they would make sure the trains ran on time. Still, the year 2012 was nearly upon us and that meant we faced the prospect of the 100th anniversary of the founding of the School of Music. How to mark the occasion with events worthy of the school’s rich, 100-year history?

To my relief, I learned that a planning process for the school’s Centennial Celebration was already well under way, complete with a distinguished Host Committee featuring dynamic co-chairs, Cynthia Friedman and the husbandand-wife team of Richard and Ginny Simmons. It became apparent that the best thing for me to do was to stay out of the way or risk getting run over. No fool, I sat back, embraced my role as cheerleader, and enjoyed my up-close view of special people at work.

Organizing something as complex as the School of Music Centennial Celebration is enough to give even the most skilled manager fits. Finding a way to pay for it – well, that’s an even taller order.

Richard and Ginny Simmons are well known in Pittsburgh as the first couple of philanthropy, especially where classical music and the Pittsburgh Symphony Orchestra are concerned (a future issue of the School of Music magazine will profile these extraordinary people).

As for the other half of the Host Committee chairmanship, here is a brief tribute to a very special woman, with sincere thanks from the Carnegie Mellon School of Music.

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Cynthia Friedman Let me tell you a bit about Cynthia Friedman—Carnegie Mellon trustee, organizer extraordinaire, businesswoman, philanthropist, activist, art lover—because to her goes much of the credit for the success of the Centennial Celebration events.

The memorable gala concerts were undoubtedly highlights of the School of Music’s Centennial year. Featuring nine School of Music alumni soloists from around the country, the 101-piece Carnegie Mellon Philharmonic, and the 99-strong Carnegie Mellon Concert Choir and Repertory Chorus, the celebratory program was performed first in the Benedum Center in Pittsburgh in late March and then two days later in Carnegie Hall in New York. The concerts themselves were by acclamation artistic triumphs. But the backstage story — the creation of the Host Committee, the planning, the care for thousands of details – these were no less exceptional.

To find out more about how it all came about, I visited Cynthia Friedman in New York City, which serves as her part-time home along with Palm Beach, Pittsburgh and Paris.

A native of Pittsburgh, Cynthia attended

the University of Pittsburgh with majors in Political Science and Fine Arts, connecting a keen social conscience and a gift for activism with what would prove to be a lifelong love for the arts. At Pitt she also indulged her musical side as a member of the alto section of the Heinz Chapel Choir under the direction of the legendary Theodore M. Finney, whom Cynthia claims as an important influence.

(Finney was the Head of the Department of Music at Pitt from 1936 to 1968, and founded the Heinz Chapel Choir in 1939.

Today the music library at the University of Pittsburgh bears his name.)

After college and given her bent toward public service, Cynthia could have easily found her way to Washington D.C. and immersed herself in politics or public policy. But love intervened when she met a young Carnegie Tech alumnus, Milton Friedman (’47, ’49). They married, and the Keystone State became their home and the place where they raised three children.

Milton Friedman was the founder and long-time President and CEO of the Emglo Products Corporation. He died in 1996.

Cynthia recalls that her husband loved to brag about his student experience at Carnegie Tech as an engineering student,

declaring that it was positive in large part because of the good friends he made in the College of Fine Arts, who taught him “about life and the world.”

For Cynthia, life at the time was an intricate interweaving of public service and arts advocacy.

Her public service side surfaced in 1993 when having made that long-contemplated move to Washington, D.C., she co-founded the Women’s Leadership Forum (WLF) of the Democratic National Committee, an organization that encourages women to participate in national Democratic Party affairs. Today the WLF boasts a membership of several hundred thousand women across the country.

Cynthia’s efforts with the WLF were noticed by President Bill Clinton, as was her interest and advocacy for the arts, and he appointed her to the President’s Committee on the Arts and the Humanities. She also served on the Collectors Committee at the National Gallery of Art. In 1998 and in memory of her husband, Cynthia set up an

innovative internship program, the Friedman Fellows, which enables Carnegie Mellon students to spend summers in Washington, D.C., involved with real policy makers in real projects.

Among the arts groups currently on her radar screen, Cynthia serves on the board of the Orpheus Chamber Orchestra (based in New York), and is a member and supporter of the American Friends of the Louvre, an organization of American and French art lovers.

Smack dab in the middle of this full and busy life CMU President Jared Cohon asked Cynthia to serve as co-chair of the Host Committee for the School of Music Centennial Celebration, and she agreed. Asked why she would consider adding one more thing to her already busy schedule, she said simply, “I love music, I love CMU, and I love making things happen.”

Making things happen is hard enough, but paying for things to happen can be harder still. As cochair of the Host Committee, part of Cynthia’s task was to convince others of the importance and value

of the Centennial Celebration project. The result was a Host Committee comprised of many remarkable and dedicated people.

How does she convince busy people to get involved in yet one more project? “Well, I start by calling people up and introducing myself,” she said wryly. “I don’t see it as asking people for money, or help, or charity. I am firmly convinced I am doing them a favor. Getting involved in worthwhile organizations and projects is good for them — they get something very valuable for their time and money. And it’s good for the community.”

Serving as a member of the Carnegie Mellon Board of Trustees for the past 10 years, Cynthia has had a birds-eye view of the progress of the place, particularly with regard to the quality of the students. “I have witnessed the CMU student body become, in general, more diverse, more talented, and much more sophisticated,” she said. “I am amazed by the current crop of students’ intelligence, ingenuity, and energy.”

Centennial Celebration, Cynthia expressed satisfaction and maybe a hint of pride, too. “I was very impressed and pleased with the student musicians’ performances in Pittsburgh and New York. The artistic level was very high and I think we can be very proud to have a School of Music of this caliber.

I lost count of the number of people who expressed to me their astonishment at the proficiency of these young musicians.”

Cynthia has agreed to stay involved with the School of Music beyond its Centennial year, lending her energy, abilities, perspective, and experience.

That’s music to our ears.

About the CMU School of Music for ALUMNI & FRIENDS

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September Concert Premiere

by HANNAH WHITEHEAD (MM’14)

t was my first week at school. I’m sure anyone who’s been a student can remember what that feels like: the sense of excitement at a new beginning, the apprehension, the pleasant sense of confusion from trying to learn so many new faces and new names and new buildings, the relief that the long-awaited semester is finally here. For a few short weeks in September, the whole world seems new again.

And I will admit to a personal bias before saying this, but I do think that students at the College of Fine Arts enjoy a particularly good vantage point from which to survey that new prospect.

At the beginning of my first week of classes, I walked into the Great Hall of CFA, and I was startled by the beauty I found there. As my gaze swept upward to the ceiling frescos with their panorama of Arts and Industry, and across to the statues of Ceasar Augustus and Sophocles, I had a strong feeling that I would like it here at Carnegie Mellon University.

Of course, for music students, there’s always an added element of anticipation at the beginning of a new school year, above and beyond the jitters about classes, exams and new friends: our first orchestra concert. And, even more than that, the first orchestra rehearsal. What’s the maestro like? Will I get along with my section? What are we playing?

When I sat down at my stand on the first day of rehearsal for the Carnegie Mellon Philharmonic, I was fairly confident that we’d have no problems—with at least HALF of the program, that is.

The second half of our opening night would be Tchaikovsky’s broodingly melancholic Fourth Symphony, a work that, while it will always be daunting, was already familiar to many of us. So, with a little woodshedding in the practice room and attention to detail in rehearsal, no problem there. But somehow, I could already tell that the first half of our program might be a different

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Carnegie Mellon University SCHOOL OF MUSIC 2013

story. After Tchaikovsky we would venture into uncharted territory. I opened my folder to see four pieces of music, each by a different composer, and each with a somewhat enigmatic title. Euphonic Blues. Memories Nr. 1— Barcelona 1938.

Celebration. The Darkness of Fury. (That last one gave me an inexplicable but particularly acute feeling of dread. Whether it was because of the title or the extremely fast tempo indication, I’m not sure. Probably both.) What was the connection between them, if any, and what did those titles mean?

I soon found out, the connection “...one way of As was that each of those evocative celebrating pieces had been written especially where we for us, the Philharmonic, by members of the composition faculty. have arrived, And the overarching theme was a and, more celebration of the first 100 years the School of Music. Each work importantly, ofcould certainly stand on its own, where we but as a group they are known as are going, the Centennial Suite. Denis Colwell, head of the School of Music, is to cause the approached Carnegie Mellon new music faculty composers Nancy Galbraith, Balada, Marilyn Taft to be Leonardo Thomas, and Reza Vali to write music created.” to commemorate the 100-year anniversary of the School of Music’s DENIS COLWELL, Head founding. Colwell said that “On the occasion of [our] centennial, it’s certainly appropriate to look back over the rich history of the CMU School of Music, but also to look forward. I thought that one way of celebrating where we have arrived, and, more importantly, where we are going, is to cause new music to be created.”

So that was the first step. The music had been created in the composers’ minds and committed to paper, and now it was our job to interpret what they had written and to give it life. As we worked our way through the Suite in the first rehearsal, I realized that our greatest challenge might lie not in learning the notes (although these were certainly difficult), but rather in capturing the mercurial shifts of mood from one movement to the next. Each part of the Suite presents to the listener an entirely different and self-contained sound world. So the real challenge was to perform a compelling characterization of each movement, while also finding a way to link them together seamlessly.

The Suite opens with Marilyn Taft Thomas’s Celebration for Orchestra, a light, jazz-infused piece reminiscent of Poulenc.

Taft Thomas has said that this piece is “meant to be free of philosophical angst—just plain fun!” She scored the work for a lighter, more transparent ensemble, with the goal of showcasing several student soloists at different points throughout the piece.

In contrast, Leonardo Balada’s Memories Nr. 1—Barcelona 1938 took us on a dark and painful journey back to the bloodiest battles of the Spanish Civil War. Balada was born in Barcelona in 1933, and the piece revisits his experience of the war as a young child. The movement is also a sound collage of the the war-torn streets of Barcelona, in which the Spanish, Catalan, Irish, and American folk songs being sung by the volunteers in the Resistance blend with the Internationale, the anthem of the socialist workers’ movement.

Balada’s reminiscence of war is followed by another strong contrast: Nancy Galbraith’s Euphonic Blues, which is, in her own words, “a bluesy, nostalgic celebration of the past 100 years of this venerable institution.” The strings begin the movement very quietly, in a hushed, reverent mood, supporting a flute solo that eventually builds to a resounding orchestral climax. This then evolves into a celebratory dance in 7/8 time, and again falls back to the quiet, lush string sound of the opening.

The final movement of Centennial Suite was without a doubt also the most difficult, both in technical and emotional terms.

Reza Vali composed The Darkness of Fury in response to the years of violent conflict in the Middle East since 1942. The piece presents players with huge demands: It is metrically complex, exploits the high register of most instruments, and calls for both extremely loud and extremely soft dynamics. After a terse opening tutti, Vali introduces what he calls a “demonic fugue” in the violas.

The brutality of this motif is somewhat mitigated by a lyrical passage in the strings, meant to evoke “a ray of hope for peace”: However, lasting resolution proves to be elusive, and the fugue returns, propelling the movement toward its violent conclusion.

It was quite a journey preparing these works in the two weeks leading up to the concert; but we had a huge asset in being able to work with the composers themselves during rehearsals. (Personal interaction with composers is all too rare an occurrence for most performers.) For me, it was an invigorating challenge for a new school year and a fantastic welcome to Carnegie Mellon: the opportunity not only to play new music by living composers, but then also to meet those composers and to have their direct guidance on interpretation. It meant that we, the members of the Carnegie Mellon Philharmonic, had the honor of bringing this new music to life.

Hannah Whitehead is a first-year graduate student in the cello studio of David Premo.

for ALUMNI & FRIENDS

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FEATURED

ANDREW CARNEGIE’S SCHOOL OF MUSIC

by ROBERT FALLON, Assistant Professor of Musicology

When Andrew Carnegie founded the Carnegie Technical Schools in 1900, he envisaged training all levels of workers for the steel mills of Pittsburgh. Architects would design walls raised by master masons.

Engineers would fashion equipment created by machinists and operated by foremen. Painters and sculptors, whose purpose was “to apply art and design to industries,” would finish the buildings, and clothiers would create and care for the workers’ uniforms.1 All of these craftspeople, executives, and staff—men and women alike—would emerge from Carnegie Tech educated for a life of productive employment and civic participation in the burgeoning country. Founding such a school, he wrote in his essay “The Best Fields for Philanthropy,” was the best application of his philosophy of giving, where “the man who dies thus rich dies disgraced.” 2

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Carnegie Mellon University SCHOOL OF MUSIC 2013

Music was a core focus from the university’s beginning, as it was for Carnegie himself, who donated 7,689 organs to churches and municipalities, served as president of the New York Philharmonic Society, and helped to establish the Pittsburgh Symphony.

ANDREW CARNEGIE’S SCHOOL OF MUSIC

irst a railroad worker, then a steel industrialist, an ingenious investor, and the richest man in the world when he sold Carnegie Steel to J. P. Morgan to create U.S. Steel in 1901, Carnegie was in the end the premier cultural philanthropist of his age. With his millions, he created museums, institutes, foundations, prizes, endowments and libraries. His canny mind and thrifty values ensured his investments were sound—but they were not always intended for short-term yields, however practical the curriculum at the Carnegie Technical Schools.

Despite his life in steel, the most difficult to manufacture yet most useful of all modern materials, Carnegie valued even more the matters of the spirit.

A MUSICAL LIFE Andrew Carnegie was born in Dunfermline, Scotland, in 1835 to poor parents who immigrated to Pittsburgh when he was 12 years old, whereupon he quickly found his first job. Like millions of other poor immigrants, he expected a better life in America than had been available to his family in the Old World.

The emerging rags-to-riches narrative of American history embraced education as the key to a better life. Carnegie thus treasured so greatly his own early opportunities to read in a private library that he built more than 2,500 public libraries worldwide to enable others to learn as he had.3 Yet Carnegie did not attend school after age 13 and seems to have felt disadvantaged throughout his life as he associated with educated scientists, businessmen, and heads of state. An inner sense of his background as a poor, uncultured Scottish child seems to have motivated him to work hard, read widely, and acquire a broad knowledge of the fine arts.

Throughout the 19th century, art—and music above all—was widely held to exemplify humanity’s highest aspirations and noblest qualities, and even to open onto the transcendental properties of Beauty, Truth and Goodness. Music lifted one’s thoughts to a higher plane, far above the base materiality of this world. Knowledge of music was thus regarded as a sign of refinement and good character. By extension, cultural critics Matthew Arnold and Charles Eliot Norton preached the social utility of beauty, for what was good for the individual was good for society.

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Carnegie revealed his vision for elevating Pittsburgh through art in an 1897 letter to the President and Trustees of the Carnegie Institute: Not only our own country, but the civilized world, will take note of the fact that our Dear Old Smoky Pittsburgh, no longer content to be celebrated only as one of the chief manufacturing centers, has entered upon the path to higher things, and is before long, as we thoroughly believe, also to be noted for her preeminence in the arts and sciences.4 As art historian Kenneth Neal wrote, “According to the wisdom of the age, art was ennobling, uplifting, at once an agent and an index of social progress.” 5 Despite these aspirations, backed by gifts of organs and concert halls, Carnegie’s commitment to music has come into question. His friend Walter Damrosch, conductor of the New York Symphony, wrote that Carnegie’s “admiration for music in its simpler forms never crystallized into as great a conviction regarding its importance in life as that he had regarding the importance of science or literature.” 6 He never, for example, pursued music lessons. Though he frequently led guests in song, he acknowledged that he was “denied much of a voice.” 7 Music was, however, at the heart of his extraordinary life and philanthropic work, as it is now at the heart of the School of Music that bears his name. Among Carnegie’s most cherished childhood memories in Scotland were his father’s rich-voiced singing of ballads and his mother’s intoning the “gems of Scottish minstrelsy.”8 “Folksongs,” he wrote, “are the best possible foundation for sure progress to the heights of Beethoven and Wagner.” He was “awakened” to music while singing in a choir, where he discovered selections from Handel oratorios in the back of the hymnbook. “The beginning of my musical education,” he said, “dates from the small choir of the Swedenborgian Society of Pittsburgh.” Later he was astounded

by Wagner: “The overture to Lohengrin thrilled me as a new revelation. Here was a genius, indeed, differing from all before, a new ladder upon which to climb upward.”9 He loved not only folksongs, choral music, and opera, but was also fascinated with instrumental timbres: If I have one weakness more than another, it is for the harmony of sweet sounds… I met my fate in the famous Temple of Hoonan, in which is the most celebrated ‘gong’ in China. I struck it, and listened. For more than one full minute, I believe, that bowl was a quivering mass of delicious sound. I thought it would never cease to vibrate.

In Japan I had counted one that sounded fifty seconds, and its music rang in my ears for days.10

100 years

and counting.

A photo of the very first orchestra at CMU in 1913 J. Vick O’Brien, conductor

Alum Chancey Kelley (A’35) conducts a performance of the CMU Symphony Orchestra

School of Music faculty listings as of June 1, 1917

A group photo of the Cameron Choir in front of the dean’s office entrance Max Peterson, conductor

A group photo of the Kiltie Band Richard Strange, conductor

MATTER OF

FACT:

ANDREW CARNEGIE’S SCHOOL OF MUSIC

“If I have one weakness more than another, it is for the harmony of sweet sounds.”

- ANDREW CARNEGIE

Similarly, he wrote two poignant pages on the abbey bells of Dunfermline, saying: “The world has not within its power to devise, much less to bestow upon us, such reward as that which the Abbey bell gave when it tolled in our honor.” 11 When his wife, Louise Whitfield, requested that they wake to the sound of Highland pipes when they were in Scotland, he happily obliged.12 Their piper, Agnus Macpherson, would walk around the perimeter of Skibo Castle to rise them every morning, a ritual they enjoyed so much that they brought Macpherson with them when they stayed in New York. He also installed an organ in Skibo that piped him chorales and selections of oratorios for breakfast, and a Bechstein piano for the standard hymns and solemn Wagner that he requested in the evening.13 His sensitivity to sounds may even account for his early career advancement, having been promoted for his remarkable ability to decipher telegraph wires not by transcription but by sound alone.14 In short, music defines Carnegie intimately. “With him,” wrote one biographer, “music was almost a form of religion.”15 As music was integral to his personal life, so it stood at the center of Carnegie’s philanthropic work. He paid about seven million dollars for 7,689 church organs for various denominations, 1,351 of them in Pennsylvania and about 500 in the Pittsburgh area. “You can’t always trust what the pulpit says,” he wrote, “but you can always depend upon what the organ says.”16 He sat on the boards of several musical societies, underwriting symphonies and gifting his good friend Walter Damrosch, conductor of the New York Symphony, an annual stipend of $5,000.17 Serving as president of the New York Philharmonic Society in 1909, he may even be credited with helping to hire Gustav Mahler as Music Director. Today Carnegie may be most widely recognized through Carnegie Hall, a name synonymous with musical prestige and pristine acoustics. (Simply called the New York Music Hall when it hosted its first concert in 1891, the management renamed it for its greatest benefactor in 1893.) At the hall’s inaugural concert, the Carnegies invited Tchaikovsky, who was conducting, to their home for dinner. There the tycoon imitated the maestro, waiving his hands “so solemnly,” Tchaikovsky wrote, “so well and so like me that I myself was delighted.”18 Carnegie’s musical philanthropy carried on after his death in 1919 when, for example, the Carnegie Corporation donated over $750,000 of phonographs and classical recordings to institutions of secondary and higher education.19 Carnegie invested in music education because he was convinced of the transformative moral and aesthetic power of music. He subscribed to the philosophy of education articulated by his friend

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John Stuart Mill, whose address at the University of St. Andrews argues that art “trains us never to be completely satisfied with imperfection in what we ourselves do and are: to idealize, as much as possible, every work we do, and most of all, our own characters and lives.”20 Mills insists that art is “needful to the completeness of the human being” because it is “the education of the feelings, and the cultivation of the beautiful” and he posits three branches of education: the moral, the intellectual, and the aesthetic.21 Carnegie repeated these co-equal categories in a later speech: Our mills and factories are numerous, large and prosperous, but things material, including money itself, should only be the foundation upon which we build things spiritual… Not until the dollars are transmuted into service for others, in one of the many forms best calculated to appeal to and develop the higher things of the moral, intellectual and esthetic life, has wealth completely justified its existence.22 Again referring to Mill’s essay in his Autobiography, Carnegie states that “The prominence he assigns to music as an aid to high living and pure refined enjoyment is notable. Such is my own experience.”23 CARNEGIE’S INSTITUTES The story of how Carnegie’s personal, philanthropic, and philosophical advocacy of music was realized in the Carnegie Mellon University School of Music begins with the founding of the Carnegie Institute. Carnegie opened his “palace of culture” —a library, painting gallery, museum of natural history, and music hall—in 1895 at the entrance to Pittsburgh’s Schenley Park as his ultimate gift to the city that had given him opportunity and phenomenal wealth.

Though the Carnegie Technical Schools were not part of his original plan for the Carnegie Institute (now Carnegie Museums and Library), the Institute expressed his esteem for education and the elevating powers of art. The personifications of these values sit along Forbes Avenue, one block from Carnegie Mellon, in the Noble Quartet of sculptures by John Massey Rhind that greet visitors to the Carnegie Institute: Galileo for the Museum of Natural History, Michelangelo for the Painting Gallery (now the Art Museum), Shakespeare for the Library, and Bach for the Music Hall, each one exemplifying the greatness that the cultural treasures inside might inspire in the public.

Such riches of the human spirit, Carnegie insisted, were

not the exclusive creations of European monarchies, but could emerge, too, from the denizens of democracy. As James Van Trump wrote in An American Palace of Culture (1970), “The Foyer [to the Music Hall] is a monument, not to the pomp of princes and the circumstances of kings but to the majesty and affluence of merchants and manufacturers—that class which had risen to power during the nineteenth century and now wished to show forth its strength in a tangible way.”24 After Carnegie completed an enormous expansion of his Institute in 1907, he orchestrated a three-day rededication celebration, much of it taking place in the Music Hall. Among the invitees were composers Jules Massenet, Camille Saint-Saëns, Edvard Grieg, and Richard Strauss. Henry E. Krehbiel, music critic of the New York Tribune, attended the event, as did Edward Elgar, who conducted the Pittsburgh Orchestra in his Enigma Variations. Elgar and his wife may have been photographed at the banquet held the day after he conducted. At this event, Carnegie emphasized the edifying and moral function of his music hall: “That this Hall can be and will be so managed as to prove a most potent means for refined entertainments, and instruction for the people and the development of musical taste of Pittsburgh, I entertain not the slightest doubt, and Goethe’s saying should be recalled, that ‘Straight roads lead from music to everything good’.”25 In his capstone speech, with students of the Carnegie Technical Schools in attendance, he extolled the Pittsburgh Symphony as one of only three full-time orchestras in the United States (along with those in Boston and Chicago), declared it in good hands under the leadership of Emil Paur, and elaborated on the civic work of music: Many are the youths of Pittsburgh, who through these will have their finer natures touched and attuned, the results being lifelong. I attach so much importance to music. I believe with [Confucius] who wrote: “Oh! music, sacred tongue of God, I hear thee calling, and I come.” Cherish your orchestra and develop your musical facilities here.

Believe me, music is the highest expression which the human race has yet attained.26 Like John White Alexander’s mural, “The Crowning of Labor,” which spirals up the main stairwell of the Carnegie Institute, depicting the people of Pittsburgh rising toward the spiritual rewards of their labor, Carnegie’s cosmology of culture set music to work as an essential refiner of humanity. To him, music is both the reward of labor and, like labor, the conduit toward improvement of self and society.

In 1910, just three years after the expansion of the Carnegie Institute, the Pittsburgh Orchestra fell silent. Conductor Emil Paur’s policies had long rankled its musicians and funding had trickled down to unsustainable levels. Although the city found itself without a symphony, it had recently acquired a new fifth branch of the Institute, the Carnegie Technical Schools.

On November 15, 1900, Carnegie publicly read a letter

addressed to Pittsburgh Mayor William Diehl, offering $1 million to found the school.

Carnegie Tech was in all respects a part of the Carnegie Institute, as Carnegie himself said: “These are part of the Institute, and no mean part.… Based upon science and more refined methods, [Carnegie Tech] must create finer tastes. All the Technical students have free access to Library, Department of Fine Arts, Music Hall, and Museum.”27 The 36-member Board of Trustees, which held legal control of both the Institute and Tech, appointed the 16 members of the Trustees’ Committee on the Institute of Technology.28 Only in 1959 were Tech’s ties severed from the Carnegie Institute.29 After some years of planning and building, classes at Carnegie Tech opened on October 16, 1905. Music had played a role in the selection of its first president—Arthur Hammerschlag was commended to Carnegie by Robert Fulton Cutting, president both of Cooper Union and the Metropolitan Opera Company 30 —and music was part of campus life years before the School of Music opened in 1912. Less than a day after the first class arrived, students met on October 17, 1905 to choose the school colors and create a school cheer; within a month a Glee Club and an orchestra were meeting in Industries Hall (now Porter Hall).31 The Glee Club performed in Carnegie Music Hall in spring 1906 32 and the Kiltie Band, replete with tartans, first rallied in 1908. By 1910, the Carnegie Tech Band and the Carnegie Tech Orchestra each had 18 members, the Glee and Mandolin Club (which included a string quartet)

Pianist Nelson Whitaker would write all over students’ music.

Frederic Dorian, an original member of Arnold Schoenberg’s Society of Private Performances, helped to establish its successor group, the International Society for Contemporary Music (ISCM), at CMU. The ISCM presented concerts at CMU between 1946 and 1958. Its activities were partly replaced in 1962, when Nikolai Lopatnikoff began the Composers Forum series that continues today.

Among the musicians that the ISCM presented were composers such as Aaron Copland, Paul Hindemith, and Francis Poulenc.

Performers included Isaac Stern, Rudolf Kolisch, Pierre Bernac, Maria Malpi, the Juilliard Quartet, and Edward Steuermann.

Frederic Dorian’s book Commitment to Culture (1964) traces the history of arts patronage in Europe.

It was read by US Senator from Minnesota Hubert Humphrey (later VicePresident in the Johnson Administration), who used its ideas to convince Congress to establish national subsidies for the arts. In 1965, President Lyndon Johnson signed the Arts and Humanities legislation that created the National Endowment for the Arts (NEA). Dorian was invited to the White House’s Rose Garden ceremony for the signing of the legislation.

MATTER OF

FACT:

ANDREW CARNEGIE’S SCHOOL OF MUSIC

Women members of the Kiltie Band were not allowed to wear kilts until the 1970s. They wore concert black instead.

On Sunday evening December 7, 1941, Earl Wild gave a concert at Carnegie Music Hall.

Florence Lawton, longtime secretary of the department, who assigned every student every class, met everyone at the door and told them not to mention Pearl Harbor that night because Earl Wild had a brother stationed at Pearl Harbor; it was the last time he played in Pittsburgh until he returned to teach at CMU in 1987.

The organ at Carnegie Music Hall could not perform with the orchestra because it was tuned to A-435, not A-440.

In 1921, University of Pittsburgh Chancellor John G. Bowman reorganized the university in order to balance the budget, avoid duplication with the courses at CIT, and in response to inquiries from the Carnegie Corporation and the Carnegie Foundation for the Advancement of Teaching.

Six departments in Pitt’s School of Education were closed, including music.

Susan Canfield moved her classes from Pitt to CMU and began the renowned Eurhythmics program here.

Cecile Kitcat, an English woman who taught Eurhythmics, would regularly show up to class late and begin by shouting “Come here, you dirty bastards!”

“Not funny enough to be American, not musical enough to be Italian!” – Frederic Dorian chastising the brass section of the Student Symphony when they stood during a rehearsal of a passage with a brass chorale.

The Kiltie Band played in the 1939 Sugar Bowl, where Carnegie Tech played Texas Christian University in New Orleans.

(The Tartans lost, 15-7.)

had 56 members, and the Women’s Glee Club had 34 members.33 With the laying of the cornerstone on April 25, 1912, the School of Applied Design (later the College of Fine Arts) at last had a home. Two years had passed since the Pittsburgh Orchestra had performed and the newly opened School of Music took up the task of providing music to the people of Pittsburgh, with the explicit goal that its graduates would soon populate a revived professional symphony. As a reporter wrote in 1913, “The new movement can in a way be said to be rising from the ashes of the old orchestra: for two of the members of the Tech musical faculty—Mr. Malcherek and Mr. Derdeyn—were members of the Pittsburgh Symphony. They carry with them into their work an adequate conception of the principle of orchestra construction and a zeal for the return of an orchestra such as will make and maintain a definite and high place for Pittsburgh in the estimation of the musical world.”34 A further fourteen years would pass between the opening of the School of Music and the resurrection of the renamed Pittsburgh Symphony Orchestra in 1926.

As with the Carnegie Institute, the Fine Arts Building’s sculptures and paintings appear to reflect Carnegie’s perspective that art improves character and culture. Architect Henry Hornbostel and James Monroe Hewlett, painter of the interior fresco of the Great Hall, which was completed on March 8, 1917, may have modeled parts of the building after passages in Triumphant Democracy (1886), the book that earned Carnegie the reputation of an intellectual on top of his accolades as an industrialist. Carnegie discusses the five arts (Painting, Sculpture, Architecture, Music and Drama) in the same order as the five engraved stones above the niches on the façade.

Framing the windows on the wings are portraits of DaVinci, [Michelangelo] Buonarotti, Shakespeare and Beethoven, each of them mentioned in Triumphant Democracy. As the book lauds the French Renaissance, so the building is modeled after a French Renaissance chateau. As it refers to St. Peter’s Basilica and the Taj Mahal in the same sentence, so the fresco presents them as neighbors. As it extols New York’s short-lived National Conservatory of Music as an important institution for democracy, so the art emphasizes democratic service. Both painted passages of music celebrate freedom: the folk-like “America” with its phrase “let freedom ring” is shown beside the Capitol Building in Washington, and the opening of Beethoven’s Fifth Symphony resonates with ideas of personal, political, and aesthetic liberation. The fresco’s Pittsburgh color scheme of black and gold underscores the civic theme.

Civic responsibility and service to democracy is also written into the original seal of Carnegie Tech (reproduced in the fresco), which includes four ribbons labeled Science, Art, Character and Service. The art of music—art is “techne” in Greek—belongs in the technical institute because it was understood to build character and serve society. Accordingly, the school served the community by giving regular public concerts and performing at special events such as Carnegie Day.

MUSIC AT CARNEGIE TECH The School of Applied Design took shape upon moving into the newly built Fine Arts Building in 1912. Its name changed to the Division of the Arts in 1918 and finally the College of Fine Arts in 1921;35 its initial purpose was to instruct students how “to apply art and design to industries.”36 In preparation for the opening of the school, Acting Dean Henry McGoodwin suggested including a Department of Music, as he wrote to the Director of Technical Schools on April 1, 1911: We believe that a Department of Music connected with the School [of Applied Design] would be in every way appropriate, if it offered courses leading to a high degree of technical proficiency; that the best place for such a department is in a school devoted to practical instruction in all the important fine arts. The musician is certainly as much a subject of technical training and as surely preparing for a technical vocation as is any other student of our school. There does not seem to us to be any very pertinent reason why music should be excluded from cooperation with the other arts in such a school.37 On April 1, 1912, however, McGoodwin expressed his despair over being unable to open the courses in music: “As deeply as I regret to abandon the hope of projecting a department of music in the near future there seems to be no hope for it, as there is no possible accommodation for it in our new building.”38 Immediately after opening the new building that fall, President Arthur Hammerschlag himself acknowledged that the School was unable to accommodate any growth: “The Department of Architecture has already reached its capacity. Growth during the next year must be restricted to improving the standards of admission as very few additional students can be provided for.”39 The shortage of space was not addressed until 1916, when the north and south wings to the Fine Arts Building were added (whereupon the building was again immediately found to be at capacity).

Despite the lack of space, the creation of the Department of Music was announced in the newspapers over the winter holidays of 1912–13. “This was immediately followed by the application of 75 men and women, which number has now grown to approximately 125,” wrote C. Russell Hewlett, Dean of the School of Applied Design on March 8, 1913. “Of these 22 have been admitted to the day and 29 to the night classes, with results much in advance of what could have been hoped for by the most optimistic.”40 When the Department of Music opened its doors to student performers and music educators in 1912, J. Vick O’Brien (1876– 1953), an accomplished composer from the Pittsburgh area who had studied in Germany with Englebert Humperdinck, served as head, a position he held until June 1944. Beloved by students, staff, and faculty, O’Brien not only led the department and conducted the Student Symphony but also taught Harmony, Sight Reading, Counterpoint, and Composition. Early instrumental

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“Let no one underrate the influence of entertainments of an elevating or even of an amusing character, for these do much to make the lives of the people happier and their natures better.”

- ANDREW CARNEGIE

MATTER OF

FACT: Thomas Stockham Baker, who served as Carnegie Tech’s second president from 1922 to 1935, worked for a decade as a music critic for The Baltimore Sun. Bagpipes first accompanied the university commencement ceremony on June 27, 1948, at the request of the faculty marshal and with the approval of the president and the executive board.

John Nash, CMU alumnus and Nobel laureate, had a signature habit of whistling Bach’s “Little” Fugue in G Minor.

ANDREW CARNEGIE’S SCHOOL OF MUSIC

Referring to a “Summer Night ‘Pop’ Concert” on the Hotel Schenley Lawn, give on July 18, 1933 by the Little Symphony Orchestra conducted by J. Vick O’Brien, a newspaper recorded the following event: “They’re still talking about how nicely J. Vick O’Brien, head of the Tech music department, solved a difficult situation Tuesday night when rain drove the conductor, his musicians and the audience into the Hotel Schenley during the ‘pop’ concert. Having no platform on which to stand while conducting, he seized and nonchalantly mounted—an empty beer case!”

At age 88, Pablo Casals had a two-week residency on campus in April 1965, when he received an honorary doctoral degree, gave master classes and conducted his own music as well as all six of Bach’s Brandenburg Concertos.

Earl Wild (CIT’37) on his piano studies with Selmar Janson at Carnegie Tech: “My relationship with Mr. Janson lasted about ten years. Janson was a dedicated teacher— I learned a great deal from him. He was also a relentless taskmaster with a terrible temper— capable of putting his students through all sorts of experiences. If a pupil didn’t play well, he would often reach over, grab the music off the piano and tear it up!”

The number of concerts given in 1920–21 was 23.

In 1985 the number was 152 and in 2011 it was more than 250.

250 CONCERTS IN 2011

faculty included violinist Karl Malcherek, formerly of the Chicago Symphony and the defunct Pittsburgh Orchestra; cellist Joseph Derdeyn, also of the former Pittsburgh Orchestra; and pianist Selmar Janson. Charles Heinroth, organist of Carnegie Music Hall, taught organ and music history, soon followed by Arthur Burgoyne, Harold Geoghegan and Glendinning Keeble. Later, Caspar Koch and H. K. Schmidt joined the piano faculty, Theodor Rentz was hired to teach violin, Will Earhart offered classes on the Teaching of Music and a librarian and “custodian” (manager) of the department rounded out the full-time faculty. Part-time instructors were soon hired to teach flute, oboe, clarinet, bassoon, horn, trumpet, trombone/tuba, double bass, percussion, harp and sight-singing.

O’Brien’s 1914 annual report cites enrollment at 26 day and 41 night students. A forty-piece orchestra began rehearsals in January 1914. First-year coursework included Harmony, Obligatory Piano, Sight Singing, Aesthetics, History of Music, English Literature, History of Art and French. In addition to private lessons, other courses included Acoustics, Counterpoint – Single and Double, Ensemble Work, Public Performance, Concert Attendance, Appreciation of the Drama, German, Italian and Physical Training. His 1915 report alludes to the department’s good spirit and, pressing the administration for help, its awkward conditions: “The attitude of the students toward their work has been excellent and they have shown a willingness to adapt themselves to a rather irregular method of scheduling teaching hours and other conditions which are so difficult to meet in the crowded condition of our building.”

At the same time that Carnegie Tech graduated its first student in music (Hazel Inez Smail Benecke, 1917), the United States was entering the First World War. Uniquely in the country, Carnegie Tech’s music program was transformed into a training ground for military bands and bandmasters, while many of its students were send to fight overseas. Francis Fowler Hogan, a freshman Drama student in 1916–17 who was killed in action at Chateau-Thierry, wrote a poem, titled “Fulfilled,” whose first lines use music as the vehicle for his life’s purpose:

Though he lived in Scotland and New York, he visited campus five times between 1907 and 1914. In April 1911, the Glee Club and Mandolin Club performed for him and 2,200 undergraduates greeted him in the Music Hall by singing the song “Hail Carnegie.”42 In 1914 the orchestra performed five times: on Carnegie Day, for Carnegie’s visit, for a lecture by Jane Addams, for the Convention of the Music Supervisors, and on a special Orchestral Concert. These were among the first of countless concerts the School of Music would offer the music-loving public over the next century.

On his final visit, on October 29, 1914, he attended the unveiling of the statue of Robert Burns that now stands between the Phipps Conservatory and Panther Hollow Bridge near campus.

Bagpipers in full plaid and kilts accompanied the occasion with Scottish airs. The day before he left Pittsburgh, the 60-member Student Symphony of the new Department of Music played a concert for him in what is now Kresge Theatre, returning the service to him that he had done for them.43 He also met with students in an informal gathering, with one representative of a student group after another spontaneously thanking him for the opportunities opened by as Carnegie Tech’s education.

Together, Carnegie and the students sang songs accompanied by the organ. Then he left the campus for the last time, declaring the meeting “an outstanding example of triumphant democracy.”44

1 Glen Uriel Cleeton, The Doherty Administration, 1936–1950 ([Pittsburgh]: Carnegie Press, 1965), 133.

2 See Andrew Carnegie, “The Best Fields for Philanthropy,” The North American Review 149, no. 397 (December 1889): 682–98, 687; and Andrew Carnegie, “The Gospel of Wealth,” in The Autobiography of Andrew Carnegie and The Gospel of Wealth (New York: Signet Classics, 2006), 336.

3 David Nasaw, Andrew Carnegie (New York: Penguin, 2006), 607.

4 Joseph Frazier Wall, Andrew Carnegie (Pittsburgh: University of Pittsburgh Press), 817.

5 Kenneth Neal, A Wise Extravagance: The Founding of the Carnegie International Exhibitions, 1895–1901 (Pittsburgh: University of Pittsburgh Press, 1996), 5.

6 Nasaw, Andrew Carnegie, 357, quoting Walter Damrosch, My Musical Life (New York: Scribner’s Sons, 1926), 94–95.

7 Carnegie, Autobiography, 49.

8 Carnegie, Autobiography, 32.

9 Carnegie, Autobiography, 48.

On September 8, 1990, violin faculty Andrés Cárdenes, concertmaster of the Pittsburgh Symphony Orchestra, played all ten Beethoven sonatas in twelve hours (a “Beethoven Triathalon” of three concerts) to benefit the Music Department’s Merit Scholarship Fund.

In 1996 he bequeathed a 1717 Stradivarius to CMU in memory of his teacher Josef Gingold, He called the curvaceous violin “Marilyn” after Marilyn Monroe.

In 2009, Sheela Ramesh, a voice and psychology major, became CMU’s first Marshall Scholar.

Though my hands have not learned to model The dreams of a groping mind, Though my lips have not spoken their music And are leaving no songs behind, Think not that my life has been futile, Nor grieve for an unsaid word, For all that my lips might never sing My singing heart has heard.41 Such were the gifts of music to the soldiers, providing discipline and solidarity to their training, courage to their fighting, and solace to their dying.

Andrew Carnegie lived to see the growth of his Carnegie Technical Schools into a degree-granting institution in 1912, when the name changed to the Carnegie Institute of Technology.

10 Carnegie, Round the World (New York: Cosimo, 2005), 110–11.

22 Memorial of the Celebration of the Carnegie Institute at Pittsburgh, PA., April 11, 12, 13, 1907 (The Board of Trustees of the Carnegie Institute, 1907), 66.

23 Carnegie, Autobiography, 235.

24 James Van Trump, An American Palace of Culture: The Carnegie Institute and Carnegie Library of Pittsburgh (Pittsburgh: Carnegie Institute and Pittsburgh History and Landmarks Foundation, 1970), 24.

25 Memorial of the Celebration of the Carnegie Institute, 5–6.

26 Memorial of the Celebration of the Carnegie Institute, 58–59.

27 Memorial of the Celebration of the Carnegie Institute, 61.

28 Cleeton, The Doherty Administration, 316.

29 Robert J. Gangewere, Palace of Culture: Andrew Carnegie’s Museums and Library in Pittsburgh (Pittsburgh: University of Pittsburgh Press, 2011), 75.

30 Arthur Wilson Tarbull, The Story of Carnegie Tech, 1900–1935 (Pittsburgh: Carnegie Institute of Technology), 29.

31 Tarbull, The Story of Carnegie Tech, 169.

11 Carnegie, Autobiography, 28.

32 Tarbell, The Story of Carnegie Tech, 170.

12 Alvin F. Harlow, Andrew Carnegie (New York: Julian Messner, 1953), 119–21.

33 Carnegie Institute Eighth Annual Report of the Director of Technical Schools, for the year ending 1909–10, 10.

13 Joseph Frazier Wall, ed., The Andrew Carnegie Reader, 204, quoting the Carnegie Papers in the Library of Congress, vol. 29.

14 Carnegie, Autobiography, 55.

15 John K. Winkler, Incredible Carnegie (New York: Hespirides Press, 2006), 9.

16 Barton Jesse Hendrick, The Life of Andrew Carnegie, 2 vols. (New York: Doubleday, Doran & Co., 1932), 2: 261.

17 Richard Crawford, “Carnegie, Andrew,” in Grove Music Online. Oxford Music Online, http://www. oxfordmusiconline.com/subscriber/article/grove/ music/A2087269 (accessed September 16, 2012).

18 Alvin F. Harlow, Andrew Carnegie,123.

19 Crawford, “Carnegie.”

20 John Stuart Mill, “Inaugural Address Delivered to the University of St. Andrews, 1867,” in The Collected Works of John Stuart Mill, vol. 21: Essays on Equality, Law, and Education, ed. John M. Robson, Introduction

by Stefan Collini (Toronto: University of Toronto Press, London: Routledge and Kegan Paul, 1984), 215–57.

34 John Goldstrom, “Making Pittsburgh Musical,” The Index (2 August 1913): 9.

35 Cleeton, The Doherty Administration, 133.

36 Cleeton, The Doherty Administration, 133.

37 Carnegie Institute Eighth Annual Report of the Director of Technical Schools, 49.

38 Carnegie Institute Ninth Annual Report of the Director of Technical Schools, 59.

39 Executive Committee Minutes of Carnegie Institute of Technology, October 30, 1912.

40 Carnegie Institute Tenth Annual Report of the Director of Technical Schools, 40.

41 Tarbell, The Story of Carnegie Tech, 234.

42 Tarbell, The Story of Carnegie Tech, 40–41.

43 Tarbell, The Story of Carnegie Tech, 44–45.

44 Tarbell, The Story of Carnegie Tech, 44.

21 In his autobiography, Carnegie states that he wholly agrees with John Stuart Mills’s 1867 Inaugural Address delivered to the University of St. Andrews.

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New Rooms in an old building

by DENIS COLWELL, Head

Perhaps the practice rooms on the mezzanine of the College of Fine Arts were state-of-the-art 100 years ago, and maybe they were serviceable 50 years ago, but lately they appear a little long in the tooth, to say the least.

As any conservatory student will testify, spending multiple hours per day in a tiny, worn-out, beat-up room without climate control and putting up with sound bleeding over from rooms on every side - well, it just isn’t any fun. And that’s if you can find one that’s not already in use.

With funding support from CMU Provost Mark Kamlet, the practice rooms at the south end of CFA were completely renovated this past year, and a few new rooms christened to boot. Walls, ceilings, floors – everything came out. The new rooms that went in boast upgraded lighting, HVAC and excellent sound isolation, even while respecting the architectural integrity of the College of Fine Arts building.

A total of eight new practice rooms were constructed in what was (back when the School of Drama roamed these halls) a row of dressing rooms above Kresge Theatre, spaces that had deteriorated and were unusable for the past few decades. Given that there are never, EVER enough practice rooms, the addition of these is very welcome news.

Plans are being drawn up to renovate the north end of the mezzanine as soon as funding can be found.

In a 100-year-old building, renovations tend to be difficult and expensive. If you can help with the next phase of these critically needed improvements, we’d love to hear from you.

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Carnegie Mellon University SCHOOL OF MUSIC 2013

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Carnegie Mellon Awards Its First Music and Technology Master’s Degree to Dawen Liang

by RICCARDO SCHULZ, Associate Teaching Professor and Director of Recording Activities

Dawen Liang was in his second year of studies as a computer science major at Fudan University, one of the oldest and most selective universities in China, when he first heard about Carnegie Mellon University.

Dawen is from the city of Taiyuan, the largest city in the Shanxi province of northern China. He moved to Shanghai when he was accepted at Fudan University, and it was there, during his sophomore year, that one of Dawen’s classes used a text book that had a unique approach to teaching computer science—it integrated computer code with machine interaction—and it became an inspiration for Dawen. The book was Computer Systems: A Programmer’s Perspective.

“This was the best textbook I have ever read,” he said, “and it changed my life.” Reading about the authors of this textbook—Randall Bryant and David O’Hallaron—Dawen discovered they were both teaching at Carnegie Mellon.

The text book that captured his imagination was, and still is, used all over the world.

In the meantime, thinking about his own future that year, Dawen feared that although he was receiving excellent training at Fudan, he might still not be a strong candidate for a Ph.D. program in computer science like the one at CMU. But Dawen, who had taken piano lessons since the age of 6 or 7, saw another opportunity that would combine

his passion and formal education in computer science with his talent as a musician. When

a good friend, ahead of him by two years, was accepted to the CCRMA (Center for Computer Research in Music and Acoustics) program at Stanford, the gears started turning in Dawen’s mind. “I had a much higher QPA than my friend,” Dawen said modestly, “so if he could get into that program at Stanford, then I should be able to as well.”

The year was 2008, and Dawen still had almost two years to prepare for the GRE and TOEFL exams—requirements for just about any course of study in the USA—and to research graduate programs that involved music and computer science.

Dawen focused on this approach, figuring that this field was relatively new and unknown, and he would have a competitive edge. CMU was for him still an unattainable dream, but he applied to Stanford and about two dozen other programs that involved music and computer science. Stanford’s program, in the few years since his friend was accepted, had grown in stature and was attracting a more accomplished pool of applicants. Much to his disappointment, Stanford turned him down, as did a few other schools that were his ‘hopeful’ choices. Among the schools that Dawen applied to was Carnegie Mellon, where a new degree program—Music and Technology—housed in the School of Music and offering both graduate and undergraduate degrees had been developed through the efforts of Noel Zahler, then-head of the School of Music at Carnegie Mellon, with Roger Dannenberg (Computer Science), Tom Sullivan (Electrical and Computer Engineering), Rich Stern (ECE and Computer Science) and Riccardo Schulz (Music).

Suddenly Dawen realized that Carnegie Mellon University was a possibility for him. With some rejections and a handful of acceptances, it was time for a decision that would

be life-changing, taking him away from the country he had never left, and setting him on a career path he never could have imagined a few months earlier. Dawen considered all kinds

of factors to help him decide where to go. He was a huge basketball fan, and at least one acceptance got crossed off the list because he had a low opinion of that city’s NBA team.

(The fact that Pittsburgh didn’t have an NBA team didn’t seem to register.) Dawen knew that the Music and Technology program at CMU was new, and that he would be in the first enrolling class—a situation that would have to be factored into his final decision. He needed more information before he could decide which offer to accept.

Looking at the list of faculty and seeing Roger Dannenberg’s name was one of the deciding factors for Dawen, because he already knew of Dannenberg’s work in computer music.

“I wrote the longest e-mail I had ever written in my life” to Roger Dannenberg, Dawen recalled, “with so many questions and concerns,” and waited, as the deadline neared, for Roger to respond. Dannenberg’s response convinced Dawen that the Music and Technology program at CMU was the right choice for him. He accepted, and came to Pittsburgh for the Fall semester 2010, the first recruit for the new program.

The Music and Technology program at Carnegie Mellon gave Dawen access to just about any course offered in the Schools of Music, Computer Science, and Electrical and Computer Engineering. Dawen and his colleague, Guangyu (Gus) Xia, a graduate student in computer science and an excellent flutist, enrolled in a class taught by Bhiksha Raj, professor in the Language Technologies Institute of Computer Science.

There they joined forces with another computer scientist/ musician, Mark Harvilla. Together, they chose a

project to develop a music-centered computer program that was at the intersection of machine learning and computer science.

Their project was a computer program that would automatically locate similar music passages in different performances. This would be a valuable aid to students who might want to compare different performances of the same passage of music. The project was successful, and it grew into a paper that was presented at ISMIR (International Society for Music Information Retrieval). The paper was published and further developed for Dawen’s thesis.

As a result of his work in the machine learning area, as his master’s program was nearing completion, Dawen began looking into Ph.D. programs in that field. He received his master’s degree in Music and Technology from Carnegie Mellon in 2012, and is now a Ph.D. candidate at Columbia University, as a researcher in the Laboratory for the Recognition and Organization of Speech and Audio (labROSA), which is part of the Electrical Engineering Department at Columbia.

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Starling String Quartet journeys to Qatar for exchange of musical culture ...CONTINUED

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Carnegie Mellon University SCHOOL OF MUSIC 2013

Our first performance venue was at Carnegie Mellon in Qatar in Education City, a large educational complex containing branches of several high-level universities. We gave concerts for students and faculty there. It was an inspiring place to perform, first of all because of its stunning and futuristic architecture, and more importantly because of the intensive academic atmosphere. It was fascinating to witness the same rigorous academic standards of the Pittsburgh campus at work halfway around the world. Carnegie Mellon University in Qatar Dean Ilker Baybars was very gracious as host, illuminating for us the education process in Doha.

The group also had the opportunity to play in other venues in Doha, including the Four Seasons Hotel. This performance was particularly memorable, as we later found out that our small audience included Kofi Anan, former Secretary General of the United Nations.

Another highlight of the trip was performing and interacting with students at a few local schools. This gave us an opportunity

to connect with a completely fresh audience: some of the young students had never heard a string quartet before, and it was a great thrill to introduce them to the intricacies of the violin, my instrument. We played Dvorák and Shostakovich, two composers whose backgrounds differ greatly from those of most Qataris, to say the least. It was a joy to introduce young children to these two musical giants.

During our time off we enjoyed seeing the sights of the city.

One of my favorite moments of the trip was our visit to the Souk Waqif, or local bazaar. We gained a view into the everyday lives of Qataris, bargaining for goods at the Souk, sampling delicious foods, and listening to popular Middle Eastern music. I haggled with a vendor for a lovely carved wooden chess set which I brought back with me as a memento of the trip.

I am so thankful to be at a place like Carnegie Mellon where experiences such as this concert tour are possible. As a musician and artist, I think it is vital to have an understanding of what is going on in the world at large, as well as maintaining an active curiosity about cultures and customs different from my own.

This trip gave me the opportunity to hone my craft through performances, and was integral to my education as a musician and as a socially-conscious individual.

Hilary Gamble is studying to receive her Advanced Music Studies Certificate in the viola studio of David Harding.

Watch:

< IMAGE: GOOGLE MAPS

by HILARY GAMBLE (BA’10, MM’12, AMS’13)

As a member of the Starling Honors String Quartet, I was invited to perform with the group during Spring Break 2012 at the Carnegie Mellon Qatar campus. I had traveled extensively as a musician before, but had never been to the Middle East.

I was excited to experience a new culture along with my fellow quartet members Sonia Shklarov, violin; AiWen Thian, viola; and Marlene Ballena, cello. Joining us was interim head of the School of Music (now current head) Denis Colwell and his wife Melanie. I envisioned our visit to Qatar as a cultural exchange: we would introduce our Qatari audience to the great literature for string quartet, and in the process would learn about their very different way of life.

Starling Quartet at the Four Seasons, Doha, Qatar: http://youtu.be/Nc1U0lFoPnA

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Devin Arrington (MM’04) is the founding director of Musicians with a Mission, a new Pittsburgh nonprofit organization that brings musicians into local nursing and personal care homes. Read more at musicianswithamission.org.

Weronika Balewski (A’12) will be attending the Longy School in Boston in pursuit of a Master of Music degree.

Eric Barndollar (BS, A’09) is currently a Software Engineer at Google, Inc., and is a research collaborator on the Arghonoon Project hosted by Carnegie Mellon University’s STUDIO for Creative Inquiry.

Julieta Blanco (MM’12) following graduation, resumed her position with the Mar del Plata Symphony Orchestra in Argentina.

Nathaniel Blume (MM’05) has written an original score for

the Kevin Spacey-produced documentary, Shakespeare High, which screened at the Tribeca Film Festival and premieres on the Showtime network in mid-September. Since moving to Los Angeles in 2007, Nathaniel has written additional music for various television shows including No Ordinary Family on ABC, and orchestrated other projects such as The Pacific on HBO. He has also co-written on the new TBS comedy, The Wedding Band, due to premiere this fall. While at Carnegie Mellon, Blume studied with Leonardo Balada.

Jennifer Bouton (MM’07) is Principal Piccolo of the Milwaukee Symphony, a position she began in September of 2011.

Gabriel Castagna (MM’90) has had two albums nominated for a Latin Grammy, “Cuarteto Latinoamericano” and “Fiesta Criolla”. He has been conducting Latin-American symphonic music as well as the music of Astor Piazzolla, and appeared in an interview with Gramophone magazine, which said that Castagna “offered a rare and valuable account of the tango master’s 1953 Sinfonietta”.

Rodolfo Antonio Castillo (MM’05, Music Ed’07) spent four years working for Charter Schools USA, where he was a finalist for the “New American Hero” award - charter school’s equivalent to teacher of the year. Castillo has been appointed as Director of Bands at the prestigious Canterbury School in Fort Myers, FL. In addition, he is the Assistant Band Director at the Estero High School Marching Band, Concert Band Conductor and Brass Instructor with the Southwest Florida Music Foundation Summer Camps, and performs regularly as 1st Trumpet/Soloist with the Edison Estate College Concert Band, and the Bonita Springs Concert Band. Antonio lives in Bonita Springs, FL with his wife Roxana, daughter Rocio, and son Diego.

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Carnegie Mellon University SCHOOL OF MUSIC 2013

Vivian Choi (AD’10) joined the roster of Parker Artists Management, NYC, in 2011. She also released her debut album “Northern Flowers” on St. Petersburg Musical Archive Russian label which received critical acclaim from Fanfare magazine and Music Web International UK. In addition, she toured Italy performing recitals and giving master classes, was invited to be part of the jury for piano competitions and was appointed to Piano Faculty of Concordia Conservatory, New York.

Kara Cornell (A’02) currently lives in Albany, NY and just finished a run as Carmen with Opera Theater of Pittsburgh, and will reprise the roll this fall with Long Island Opera.

Upcoming performances include alto soloist in St. Matthew Passion with Albany Pro Musica, and alto soloist in Rossini’s Stabat Mater with The Octavo Singers. Additionally, she is currently a member of the operatic pop trio Bella Diva.

Joshua Fishbein (A’06) was recently a finalist the 2012-2013 Young New Yorkers’ Chorus 9th Competition for Young Composers. In addition, he won the 2012 BMI 60th Annual Student Composer Award, the 2012 American Prize in Composition – Choral Division (student), 2012 Hollywood Master Chorale, “Voices of LA” Project, 2012 American Choral Directors Association, Brock Memorial Student Composition Contest, 2011-2012 Guild of Temple Musicians, Young Composers Award, and came in second place at the Belvedere Chamber Music Festival Student Composition Contest.

Luke Fitzpatrick (MM’12) participated in the National Repertory Orchestra in Breckenridge, CO, under the direction of Carl Topilow this past summer. In September he will attend Colburn Conservatory in Los Angeles for the Artist Diploma program.

Jena Gardner (MM’11) was hired in January 2013 as Horn Instructor at the University of Pittsburgh, as well as winning a French Horn position with the Wheeling Symphony Orchestra.

Nicholas J. Gatto (MM’02) is currently the Director of Music and organist at Saint Bartholomew Roman Catholic Church in East Brunswick, New Jersey as well as a staff piano accompanist at The College of New Jersey. In June, 2011, he was the oboe soloist for the premiere performance of Tim Keyes’ New England Tapestry, a concerto for oboe, choir, and orchestra at Richardson Auditorium in Princeton, New Jersey. In September 2011, he performed with the Monmouth Winds in the East Coast premiere of Eric Ewazen’s Cascadian Concerto for woodwind quintet and orchestra with the Monmouth Symphony in Red Bank. Next spring, he will perform Mozart’s Oboe Concerto with the St. Mary Chamber Orchestra in South Amboy. Nicholas married Andrea Parker in August and currently resides in Edison.

What’s New

Amal Gochenour (MM’12) was one of three flutists

selected to perform in the Castleton Festival Orchestra under the direction of Lorin Maazel.

David Grabowski (A’11) is serving as Administrator of Development at Concert Artists Guild in New York City.

He also freelances as a film composer and writer.

Catherine Gregory (AD’12) was accepted into the fellowship program of the Carnegie Hall Academy.

Heather Hall (MM’03) serves as the Director of Music at the Church of the Holy Family in New Rochelle, NY. In the past 2 years, her adult choir has performed the Mozart Requiem and the Vivaldi Gloria in partnership with a church choir in the Bronx and the Artemis Chamber Ensemble. She has been heard in a live broadcast of Masson Radio Maria and accepted an invitation to play flute for a Mass shown on EWTN. Heather has also instituted a music education program at Holy Family called Making Music Praying Twice for families of the parish with children ages new born to 5 years. The year 2012 marks her 25th year as a church musician - having begun as an organist at her home church in Vandergrift, PA at the age of 11. Heather and her husband, Michael, (Tepper ‘08 and Heinz ‘09) have 2 young sons and make their home in Manhattan. Her website is MusicHallNYC.com.

Courtenay L. Harter (A’90) is currently Associate Professor of Music at Rhodes College in Memphis, TN teaching all music theory, oboe/English horn, interdisciplinary courses in psychology & music, and coaching chamber music. Harter continues to freelance & perform.

Colin Hartnett (A’08) is currently Principal Timpani of the Chattanooga Symphony and was a semifinalist in an international audition for the Chicago Symphony Orchestra.

Joseph Hasper (A’92) is working on his doctoral dissertation at the University of Oklahoma and is in the process of composing a four-movement symphony.

On September 6 two of his compositions will be premiered at the University of Oklahoma: Five Forms for Woodwind Quintet and Prelude and Allegro for Violin and Piano. He was also the winner of the 2012 Anton Stadler Composition Competition and his Concertino for Trombone and Band (with Joseph LaRosa) was selected for publication by Wehr’s Music House this summer.

Renée Fleming, receives an honory Doctor of Fine Arts from Carnegie Mellon’s College of Fine Arts Renée Fleming, famed soprano, after having received an honory doctorate with School of Music faculty member Mildred Miller Posvar. Ms. Fleming studied for a brief stint with Ms. Posvar prior to her professional career.

Andrea Humenick (MAM’12) was hired by the Orpheus Chamber Orchestra in October 2012 as Development and Special Events Associate, as well as by the Imani Winds Chamber Music Festival in March 2012 as the Assistant Administrative Director.

Patrick Johnson-Whitty (MM’10) won the position of 2nd Bassoon & Contrabassoon with the San Francisco Ballet in December 2010, and won the contrabassoon position with the Bergen Filharmoniske Orkester in Norway.

Valerie Komar (married name Beatson) (A’93) has opened a multilingual cultural center and school of music for children in Paris: www.kidjam.fr. This will also serve as a meeting/performance space for CMU & Juilliard alumni.

Michael Laubach (MM’07) has recently been appointed to the position of Principal Timpani of the Virginia Symphony.

Nicholas Lewis (MM’96) is currently Principal Clarinetist at Bard Conductor’s Institute Orchestra, Principal Clarinetist at Music for the Folk, and Bass Clarinetist with the Richmond Symphony Orchestra.

Lizzie McGlinchey (A’06) was hired as Product Manager at Promoboxx in January 2013.

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Andrew McKenna Lee (A’98) recently performed as a featured solo artist at the prestigious Guitar Foundation of America Convention in Charleston, SC. Other recent activities include a commission from Italian guitarist Sergio Sorrentino for the solo guitar piece Curio, which Mr. Sorrentino premiered at the 20th International Guitar Festival of Lagonegro, Italy.

Mr. Sorrentino has also recorded Lee’s work for solo electric guitar and electronics, Sunrise from the Bottom of the Sea, for a CD on the Italian label Silta Records, which was released in July 2012. Currently, Lee is at work on a large-scale song project that draws freely from a diverse array of influences ranging from classic rock and psychedelia to minimalism and polyphonic Renaissance vocal music. Scored for two electric guitars, electric bass, drums, mallet percussion, string quartet, and three women’s voices, the project is scheduled for release on New Amsterdam Records in 2013-2014.

Eddie Meneses (MM’08) won the Principal Percussion position with the Santa Barbara Symphony in 2008. He also was the percussionist for the Cirque du Soleil show Iris in Hollywood, running for a year and a half.

Marc Lopez (MM’12) Received a commission from the Orquestra de Girona in Catalunya, Spain; the resulting Sinfonietta for String Orchestra was premiered by the orchestra in December 2012, in a performance led by Maestro Xavier Puig.

Remembering Chauncey Vernon Kelley, Jr. Chauncey Vernon Kelley, Jr. 1913-2011 Carnegie Mellon alumnus Chauncey Kelley (A’35) enjoyed a brilliant and multi-faceted career, one that spanned most of the 20th century and took him across the country and around the world.

Born in Pittsburgh in 1913, Chauncey Kelley attended Carnegie Mellon University (then Carnegie Technical Institute) earning a degree in music education, and

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did graduate work at The Juilliard School. He began his professional career as an oboist with the Pittsburgh Symphony Orchestra, the NBC Symphony, and the New York Philharmonic.

These experiences brought him into contact with some of the most legendary conductors of the 20th century including Otto Klemperer, Fritz Reiner, and Arturo Toscanini.

Kelley served in the US Army during World War II, conducting the 78th Division Band and the 225th Army Band. Upon returning to civilian life, Kelley was staff conductor with the American Broadcasting Company in New York City and directed the ABC Symphony for five consecutive seasons. He was frequently

Carnegie Mellon University SCHOOL OF MUSIC 2013

Wicked, Romeo & Juliet PBS, Lion King, Grammy

Ming Luke (MM’02) recently worked with the Bolshoi Orchestra in conjunction with an international tour by the San Francisco Ballet. He conducted Romeo and Juliet with the San Francisco Ballet and will be conducting the ensemble on their upcoming tour to England and Washington DC. He also performed at the International Mahler Festival in Jihlava, Czech Republic with American Soprano Carrie Hennessey, performing Mahler’s Songs of a Wayfarer.

Thomas Lukowicz (AD’08) was appointed to the

performance faculty (tuba) of Wright State University in Ohio.

Brian McBride (MM’08) was selected by an international panel as a finalist in the Solo Competition (Artist Division) at the International Tuba Euphonium Conference in Linz, Austria in June.

Emma Niesl (married name Koi) (MM’12) was a substitute with the Milwaukee Symphony flute section in numerous performances, including their performance at Carnegie Hall in May 2012.

Christiane Noll (A’90) joins the Wichita Symphony and guest conductor Thomas Douglas of the Music Theatre of Wichita for the Symphony’s October 6 opening with Broadway hits from Wicked, The Lion King, Phantom of the Opera, Hairspray, Mamma Mia, Jesus Christ Superstar, Rent, and more.

engaged as a guest conductor in Europe, appearing with the Pasdeloup Orchestra in Paris, the l’Orchestre de la Radiodiffusion Française, the l’Opéra de Monte-Carlo, and the Trieste Opera. While in Monte Carlo, Kelley had the distinction of conducting the orchestra for the coronation ceremony of Prince Rainier III. In 1953 he became a founding member of the Savannah (GA) Symphony Orchestra and was also its music director from 1953 until 1969. Kelley left Savannah to return to Carnegie Mellon, where he served as Head of Orchestral Activities and Assistant Head of the Music Department. He maintained an active professional conducting

schedule during his CMU tenure, conducting the McKeesport Symphony and guest conducting throughout the US and in Central America.

Kelley was deeply committed to leadership and service within the arts community, serving as a faculty and board member of Lord Fairfax Community College, the Virginia Commission for the Arts, and the Shenandoah Valley Music Festival. He also served as president of the Shenandoah Arts Council, the Strasburg (VA) Musem, and the Strasburg Rotary. He was a member of the Phi Mu Alpha National Music Fraternity.

Georgia Osborne (A’80) spent this past summer

working at The Weston Playhouse in Weston, VT. In May, Osborne appeared as Florence Foster Jenkins in Souvenir: A Fantasia on the Life of Florence Foster Jenkins in New York City (a role which Osborne also played at the Weston Playhouse in 2011 to much critical and popular acclaim).

Osborne lives in New York City.

Michael Remson (MM’92) currently serves as Executive and Artistic Director of the American Festival for the Arts (AFA). As a composer, Dr. Remson has received numerous grants, commissions and fellowships and his works have been performed throughout the United States and in Europe.

Dr. Remson served as Composer-in-Residence with the Ulster Orchestra in Belfast, Northern Ireland, as recipient of an award from the Americans for the Arts Foundation (ARTSUSA) and the Irish Arts Council. Dr. Remson is also on faculty at the Houston Ballet Academy and an Affiliate Artist at the University of Houston Moores School of Music.

Marc Rosenberg (MM’11) was invited to participate in the Celedonio Romero Guitar Institute, a week long program in July ‘12 in Oklahoma in which he received private lessons from the legendary guitarist Pepe Romero and participated in a master class with the entire Romero Guitar Quartet.

Mr. Rosenberg has also been accepted into the Máster en Interpretación de Guitarra Clásica program at the University of Alicante in Spain starting in January ‘13 where he will study with such notable musicians as Manuel Barrueco, David Russel, and Nigel North.

Carol Rosenberger (A’55) recently retired from the concert stage after making 30-plus recordings as a pianist.

She is now the General Director in Recording Production and A&R for Delos. She lives and works in Sonoma, CA., and distributes Delos recordings through Naxos of America.

John Rusnak (A’84) is currently based in Los Angeles

Scott Seifried (A’89) is Director of Guitar Studies at Robinson Secondary School in Fairfax, Virginia, which boasts one of the oldest and most highly regarded public school guitar programs in the US. This past March, Robinson’s Advanced Guitar Ensemble received rave reviews for their performance at the American String Teachers Association national convention. In addition, he was invited to serve on ASTA’s Guitar-in-the-Schools national task force, and his most recent article, “Why Guitar Kids Are Different: Attracting New Students to School Instrumental Programs,” appeared in the May 2012 issue of American String Teacher magazine.

Hyesong Shin (A’12) began her graduate degree at Indiana University’s Jacobs School of Music this fall and was one of six graduate students awarded the Jacobs Fellow – one of the school’s most prestigious award grants.

Rebecca Swain (married name Chapman) (A’12) will enter the University of Texas in Austin to pursue a Master of Music degree.

Marie Tachouet (MM’08) was recently appointed Principal Flutist of the Chicago Lyric Opera Orchestra under the direction of Andrew Davis.

as pianist, composer, producer and songwriter. In 2011, he recorded harpsichord and piano solos for the soundtrack of the PBS movie The Washingtons of Sulgrave Manor.

John is also a successful pop songwriter; his music is published by Warner Brothers Publications and OCP.

Elizabeth Talbert (BM’12) will be attending the San Francisco Conservatory to pursue a Master of Music degree.

Marco Sartor (MM’08) received First Prize in the JoAnn Falletta International Guitar Concerto Competition in Buffalo. He also completed engagements with the Buffalo Philharmonic and Virginia Symphony Orchestras. Additionally, he recorded his first solo album Red for Fleur de Son Classics which received enthusiastic reviews in his home country of Uruguay and participated in guitarist’s Marc Regnier’s album Radamés Gnatalli: Chamber works for guitar which was Grammy-nominated in 2010 as best chamber music recording. He currently lives in New Haven, CT and is completing his Master in Musical Arts (doctoral residency) at Yale University.

Jorge Variego (MM’06) was resident artist at the Centro

Timothy Tan (CIT’10) was hired in 2012 by the Fort Wayne Philharmonic as Personnel Manager and Section Violinist.

Mexicano para la Música y las Artes Sonoras (CMMAS) in July 2012, with the support of the North Dakota Council on the Arts. He recorded his forthcoming solo CD, Regress, featuring works for clarinet and electronics by Argentine composers, which will be released in 2013. His research was published by the University of Rome, the University of Texas at Austin, and the Universidad de Lanus in Argentina.

Variego was invited to be resident artist at the Visby Centre for Composers, in Sweden, in June 2013, where he will work on a new piece for orchestra and electronic media commissioned by the Berner Musikkollegium.

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A Legacy in

by JENNIFER BOUTON (MM’07)

A performance at Carnegie Hall has long been the proof of a musician’s arrival on the world stage. That old saying – “How do you get to Carnegie Hall?... Practice, practice, practice!” – is certainly still true. The performers who appear onstage at Carnegie Hall have devoted tens of thousands of hours to the mastery of their craft. Professional orchestras regularly travel there from around the country as a way to energize the communities in their home states, to present themselves to New York concertgoers, and to participate in the numerous festivals designed to bring new audiences to Carnegie Hall.

On May 11, 2012, the Milwaukee Symphony Orchestra performed at Carnegie Hall as part of the Spring for Music Festival a concert series created to feature orchestras with a commitment to adventurous programming in Classical Music. Among the 95 musicians sharing the stage that night, each viewing the performance through the lens of his or her own journey to the hall, the flute section had a particularly unique path to trace.

Marie Tachouet (MM’08), Emma Niesl (MM’12), and I (MM’07), all studied with Jeanne Baxtresser and Alberto Almarza at Carnegie Mellon University. For us, the performance at Carnegie Hall represented not only the pinnacle of our professional careers to that point, but also a celebration of the shared education and musical heritage that had allowed us to reach it.

Carnegie Mellon Professors Baxtresser and Almarza have created a uniquely rich environment that provides one of the best training programs for orchestral flutists. CMU alumni hold prominent positions in orchestras and universities around the globe. Marie (Mimi) Tachouet describes Carnegie Mellon as “a magical place” and Jeanne Baxtresser and Alberto Almarza as “two figures as revered in the flute world as Carnegie Hall is in the performing arts world.” But besides the professional successes of their graduates, Baxtresser and Almarza are renowned for encouraging the kind of relationships among students that make reunions like ours possible. A significant part of the training for CMU flutists

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Carnegie Mellon University SCHOOL OF MUSIC 2013

takes place during the weekly studio class, with the entire flute studio in attendance. Professors Baxtresser and Almarza coach individual students on specific ideas for the given repertoire; this allows everyone a chance to learn from the performing experience of their colleagues and fosters and environment of support and cooperation.

When Mimi and I were attending Carnegie Mellon, most of the flute studio would compete in the same auditions for professional orchestral positions. Professors Baxtresser and Almarza encouraged us to work together, rather than sequestering ourselves in our practice rooms for weeks beforehand. As a result, much of our audition preparation was collaborative, both in studio class and mock auditions. Audition preparation is always an intense and undeniably competitive process, but in the supportive atmosphere of the CMU flute studio, it took on an atmosphere of joyful excitement. We often traveled together to auditions, and it was reassuring to know that when my portion of the audition was done, my CMU colleagues would be there, ready to celebrate or commiserate over beers. What we shared was greater than the difference between those who advanced in auditions and who didn’t; there was a sense of camaraderie that transcended competition. As a result, I formed many enduring friendships with my colleagues in the flute studio at CMU. Mimi adds, “I will never forget the cohesion of the studio and the wonderful times I shared with my fellow flutists. For me, performing at Carnegie Hall with my dearest friends from CMU is the fulfillment of a great personal and professional dream.”

The sense of fellowship among CMU flutists is due in part to the excellent overall training we received at Carnegie Mellon.

However, it is also the product of a distinguished pedagogical lineage that reaches all the way back to Julius Baker, who was the Principal Flutist of the Pittsburgh Symphony Orchestra from 1941-’43, and the New York Philharmonic from 1965 until 1983.

In addition to his celebrated orchestral career, Julius Baker was highly sought after as a teacher. Baker trained a generation of outstanding flutists during his tenure at The Juilliard School.

Jeanne Baxtresser and Alberto Almarza both studied with Baker; in addition, Mimi Tachouet, Emma Niesl, and I worked with teachers during our undergraduate years who were students of Julius Baker and Jeanne Baxtresser. Thus our reunion at the Carnegie Hall Performance reflected 75 years of this eminent tradition.

The product of this musical heritage is an extremely refined concept of sound that is instantly recognizable. Ms. Baxtresser tells of attending a New York Philharmonic concert with Julius Baker honoring the retirees of the orchestra, in which Sandra Church (Associate Principal Flute, and another Baker student) was playing a solo: “Sandy played and Julie [Julius Baker] grabbed my hand. ‘That’s us,’ he said.”

I had the same reaction when I first heard Emma Niesl playing with the Milwaukee Symphony. I was the only permanent member of the Milwaukee Symphony in the flute section that performed at Carnegie Hall, and when Emma played as a substitute with us last November, her sound triggered a whole series of musical memories for me. There was something both indefinable and yet immediately familiar in her tone; hearing it for the first time evoked an almost Proustian connection between past and present. Similarly, when Mimi Tachouet began rehearsing with the Milwaukee Symphony three weeks before the tour, it felt as though Ms. Baxtresser was right there, talking to me through Mimi’s flute.

On more than one occasion I found myself turning my head to look – the sensation was so strong and the communication so direct, it felt like speech.

The program presented by the Milwaukee Symphony at Carnegie Hall provided the perfect vehicle to highlight these connections between students and teachers. The concert followed a thread linking French composer Claude Debussy to his student Olivier Messaien, and further, to Messaien’s student, the Chinese composer Qigang Chen. Tracing a broad arc of musical thought, we began with Debussy’s colorful and evocative La Mer (1905), continued to Messaien’s shimmering Les Offrandes Oubliées (1930), and concluded with Chen’s atmospheric Iris Dévoilée (2001). The stylistic connections between these works were a beautiful parallel to our own artistic evolution: just as Debussy shaped the musical language of the 20th and 21st centuries, so Julius Baker, Jeanne Baxtresser, and Alberto Almarza have shaped the sound of a new generation of flutists.

It seems both natural and extraordinary that the musical reunion of three CMU alumnae took place in the country’s most distinguished musical venue. (Andrew Carnegie built Carnegie Hall in 1891 – nine years before founding a school he called the Carnegie Institute of Technology, which would later become Carnegie Mellon University). Nearly every major musician or

ensemble for the past 120 years has sought to present themselves at Carnegie Hall; when you step inside it is hard not to imagine Igor Stravinsky, Bob Dylan, Albert Einstein, Duke Ellington, Martin Luther King Jr., Glenn Gould, Groucho Marx, Leonard Bernstein, and the countless other luminaries who have performed or spoken there. In Ms. Baxtresser’s words, “It is a room, a room that holds history beyond what you can keep in your mind.”

This performance marked my first occasion in Carnegie Hall as a performer or audience member. Though it was just the beginning of my relationship with the space and the legacy of musicians whose memories haunt its halls, this concert also represented the culmination of a course set in motion during my time at Carnegie Mellon. Furthermore, it served as tribute to the personal and professional relationships I began there. Incredibly, Ms. Baxtresser was able to attend The Milwaukee Symphony’s Carnegie Hall concert, adding her physical presence to the spirit of her many performances still reverberating through the hall.

Now our performance is one of the thousands energizing future musicians onstage at Carnegie Hall. As we celebrate our shared heritage, we are also all the next links in the chain. The idea persists, in that indefinable quality of our sound. Which part of it is Baxtresser and which is Almarza? Which is Messiaen and which is Debussy? Which part goes back even farther?

What will continue in our own students, tracing this same line?

Musicians play for the love of their art, but it is seldom so simple and idealistic – we’re accustomed to making the best of a performance with too few rehearsals, in an uncomfortable space, with people we may have just met or may not care to know better.

Great music is made every day in imperfect situations. To be able to play with an orchestra of such caliber, in the greatest hall in the country, is truly a rare gift. To have shared that experience with friends, with a beloved teacher in attendance, assures that it will be among the most memorable performances of our lives.

Jennifer Bouton (MM’07) is Principal Piccolo of the Milwaukee Symphony, a position she began in September of 2011.

Marie Tachouet (MM’08) played principal flute for the Carnegie performances, and was recently appointed Principal Flute of the Lyric Opera of Chicago.

Emma Niesl (MM’12) graduated from Carnegie Mellon this June and regularly performs with the Milwaukee Symphony on 2nd flute.

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Welcome:

What’s New

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Carnegie Mellon University SCHOOL OF MUSIC 2013

Jennifer Aylmer Assistant Professor of Voice

Soprano Jennifer Aylmer has developed a sterling reputation for her beautiful voice, compelling stage portrayals, and impeccable musicianship. She is a featured soloist on Opera America’s new CD The Opera America Songbook, and during the 2012-2013 season appeared on several promotional recitals at the National Opera Center. Recently, Aylmer returned to Portland Opera and Opera Theatre of St. Louis, for performances as Susanna in Le nozze di Figaro, and as Despina in Così fan tutte. This February her new singing translation of Humperdinck’s Hansel and Gretel premiered at Stony Brook University. She will make her Dallas Opera debut in 2014.

Aylmer made her debut with The Metropolitan Opera in 2005 in the world premiere of Tobias Picker’s An American Tragedy and was Papagena in the first live worldwide opera broadcast of The Magic Flute. In all, she has sung over 40 roles with Atlanta Opera, Austin Lyric Opera, NYCO, Spoleto Festival (USA), Opera Boston, Orlando Opera, HGO, and others.

Aylmer is a graduate of Eastman School of Music, the Juilliard Opera Center, and received her Masters of Vocal Pedagogy from Westminster Choir College in 2011. Aylmer has recently been appointed Assistant Professor of Voice at Carnegie Mellon.

Monique Mead Director of Music Entrepreneurship Studies

A passionate ambassador of classical music, violinist Monique Mead has developed a multi-faceted career as a performer, pedagogue, and presenter. Inspired by her collaborations with Leonard Bernstein at Tanglewood and the Schleswig-Holstein Music Festival, Mead has devoted her career to building new audiences for orchestras, choirs, and music festivals in the United States and Europe. Her programs have drawn international acclaim for their popular appeal and innovative educational approach.

Mead graduated summa cum laude from Indiana University with Bachelor and Master of Music degrees. She currently serves as

a Consultant for the Pittsburgh Symphony Orchestra, teaches violin at CMU’s Music Preparatory School, serves as Co-music Director of the Strings Festival in Colorado, and regularly teaches classes for CMU’s Osher Program.

Her appointment as Director of Music Entrepreneurship Studies at CMU School of Music fulfils her desire to inspire the next generation in developing innovative career paths.

Maria Spacagna Associate Professor of Voice

Maria Spacagna, soprano, has had a distinguished career that brought her to 5 continents where she performed leading roles on many of the world’s most prestigious stages. Ms. Spacagna was appointed Associate Professor of Voice at Carnegie Mellon in 2012.

She made her debut at the Metropolitan Opera opposite Luciano Pavarotti singing the title role in Verdi’s Luisa Miller. She made her European debut as the first American to sing Puccini’s Madama Butterfly at La Scala.

She has recorded for Vox Classics, the first commercial recording of the 1904 La Scala world premiere version of Madama Butterfly, which includes the revisions for Brescia

and Paris. Ms. Spacagna is a graduate of the New England Conservatory where she received a Bachelor and a Master of Music in Voice with distinction. She was a winner of the Metropolitan Opera National Council Auditions, the Verdi International Voice Competition, and the Paris International Voice Competition.

Recently, she received a RI Pell Award for Excellence in the Arts and an award given by the Italian Consulate in Boston for Outstanding Achievement in Art, Culture and Entertainment.

Alberto Almarza, Associate Professor of Flute,

Associate Research Professor Roger Dannenberg

recently recorded two CDs for the MODE Records label: Complete Flute Works by David Stock and Chamber Music of Mahler and Schoenberg. Almarza has traveled extensively during the past year, performing, partcipating in residencies, and giving masterclasses across the country and around the world. He has appeared at at the University of West Virginia, the FEMUSIC FesGval in Brazil, Seoul National University, University of Wisconsin-Madison, the Youth Orchestra Foundation of Chile, and in Grand Rapids, Michigan. He also performed in Bogotá with the National Symphony of Colómbia, and was a featured performer in the innovative TEDxPittsburgh lecture series.

worked with his students to create an innovative concert experience: in the spring of 2012, six laptop computer ensembles, operated by about 50 performers, collaborated in a live internet performance. The network of virtual collaborators extended across the US and as far away as Belfast, Northern Ireland. Dannenberg conducted the performance while presenting his work at the Symposium on Laptop Ensembles and Orchestras at Louisiana State University (Baton Rouge); his students participated in the performance from their lab at Carnegie Mellon University in Pittsburgh.

In June, Dr. Leonardo Balada, Professor of Composition, taught a ten-day intensive composition course at the Polytechnic University of Valencía (Spain).

Dr. Balada also gave a talk on the roots of his creative inspiration, called Surrealism in the Music of Leonardo Balada: Under the Spell of Salvador Dalí. Balada’s works enjoyed frequent performance in the past year, both here in the US and abroad. In June, Conductor Josep CaballeDomenech led the Sinfonie-Orchester Sankt Gallen in a performance of Balada’s Guernica. Balada’s works for solo guitar also received performances in Spain, Germany, and in the US. In May, the Spanish Brass ensemble Luur Metalls performed Balada’s Mosaico in Valencía. Most significantly, in 2013, Naxos records will release an album of Balada’s orchestral works, performed by the Malaga Philharmonic and featuring guest soloists from the London Symphony Orchestra. The disc will include Balada’s Sinfonia en Negro: Homage á M. Luther King, Columbus: Images, and the Double Concerto for Flute, Oboe, and Orchestra.

Jeanne Baxtresser, the Vira I. Heinz Professor of Flute, was the sole adjudicator representing the Americas at the Beijing International Flute CompeGGon, which was held in October 2012. In addition, she was a featured guest artist at the 40th Anniversary Conference of the Suzuki Association of the Americas. Baxtresser was also a member of the flute faculty at the Music Academy of the West in Santa Barbara, California. She has recently presented masterclasses at Seoul National University, the New World Symphony, University of Kansas City Conservatory of Music, Florida State University, and the Riverside Church in New York City.

Chris Capizzi, Artist Lecturer in Jazz Piano,

has been invited to present his paper, Preserving Black American Music: ‘Mass’ by Mary Lou Williams, at the annual conference of the Society for American Music, which will meet in March of this year. In support and recognition of this project, he was also awarded a 2012 research grant from the Morroe Berger-Benny Carter Jazz Research Fund, at the Institute of Jazz Studies, Rutgers University.

Nancy Galbraith, Professor of Composition and Theory, has had a number of performances of her works during 2012: Euphonic Blues (premiere) by Carnegie Mellon Philharmonic with Ronald Zollman, conductor; Febris Ver (Spring Fever) by Carnegie Mellon Wind Ensemble with Thomas Thompson, conductor; Four Nature Canticles (premiere) by Lyrica Chamber Music with Adam Waite, conductor & Kent Place Chamber Singers; Edel Thomas, director; Danza de los Duendes by Waukesha Area Symphonic Band with Rick Kirby, music director; Piano Sonata No. 1 by Josie Merlino, piano; Hodie Christus Natus Est by Westmoreland Choral Society with Thomas Octave, music director; Danza de los Duendes by University of Delaware Wind Ensemble with Wesley Broadnax, conductor; Febris Ver (premiere) by the IUP Wind Ensemble with Jason Worzbyt, conductor; and O Magnum Mysterium by the 2012 Pennsylvania Collegiate Choral FesGval Singers with Andrew Clark, conductor.

Enrique Graf, Artist Lecturer in Piano, was the soloist in the world premiere of Florencia DiConcilio’s Piano Concerto, which was commissioned by the Orquesta Fílarmonica de Montevideo. He also appeared as a soloist in Leonardo Balada’s Concerto for Piano and Winds at Carnegie Music Hall; this work was recorded for a forthcoming CD on the Naxos label. Graf was the Guest Artist at the Alabama Music Teachers Conference where he gave recitals, in addition to performing in South Carolina and Italy. He was a member of the jury for the Hilton Head International Competition and for the Oberlin Conservatory Piano Competition. Graf traveled to Italy, to teach at the Music Fest Perugia; his students John Lam, Luis Hernandez, Eun Sook Cha and Brian Gilling also performed in the festival. Graf’s student Mengyi Yang was a winner of the Pittsburgh Concert Society and Carnegie Mellon Concerto Competitions.

John Paul Ito, Assistant Professor of Music Theory, presented his paper Focal Impulses and Expressive Performance at the ninth International Symposium on Computer Music Modeling and Retrieval, which met in June 2012. This paper also appeared in the College Music Symposium that Fall. Ito’s other publications will appear in 2013 in the Journal of Music Theory and the Journal of Musicology.

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Craig Knox, Artist Lecturer in Tuba, collaborated with CMU staff pianist Rodrigo Ojeda to release A Road Less Traveled, an album of music for tuba and piano. Knox was also a featured performer at the annual Army Band Tuba-Euphonium Workshop in Washington, D.C., where he appeared as a guest soloist with the US Army Band (Pershing’s Own.) In March 2012, Knox gave the world première performance of André Previn’s Triple Concerto with the Pittsburgh Symphony Orchestra conducted

by Maestro Previn. The Pittsburgh Symphony commissioned this work for Knox and his colleagues George Vosburgh and William Caballero.

Stephen Neely, Associate Director of the Carnegie Mellon Marta Sanchez Dalcroze Training Center and Artist Lecturer in Eurhythmics, has been invited to teach in 10 different cities in the coming school year as guest professor, artist in residence, or by special faculty invitations. In addition, he also conducted a production of the Lukas Foss’s opera, Griffelkin, at CAPA. This was the first-ever “youth” production of the full opera, with all parts performed by promising high school students.

Richard Randall, Director of the Music Cognition Lab and Assistant Professor of Music Theory, presented his neurocognitive work on musical expectation and music-syntax violations at the joint meeting of the International Conference of Music Perception and Cognition and the European Society for the Cognitive Sciences of Music in Thessaloniki, Greece in July, and at the 18th International Conference on Biomagnetism in Paris, France in August.

While Michele de la Reza and Peter Kope, Assistant Teaching Professors of Dance and Co-Artistic Directors of Attack Theatre, are teachers of dance, their musical collaborations are far-reaching. Last season was an unprecedented year of musical collaborations.

As company in residence for Pittsburgh Opera, they danced in productions of Turandot, Pearl Fishers and served as movement coaches for the principals in Tosca. Kope and de la Reza collaborated with Opera Theater of Pittsburgh to create a fully danced production of SoM alumni Ricky Ian Gordon’s Euridice and Orpheus and the US Premiere of Maria de Buenos Aires, an Astor Piazolla tango operetta with Quantum Theatre.

Building on a long-standing relationship with Pittsburgh Symphony Orchestra, Kope was movement director and choreographer for the world premiere production of Handel’s Messiah. In addition, Peter and Michele created a premiere of the rarely choreographed La Creation du Monde by Darius Milhaud for the PSO’s Paris Festival in May. Throughout the spring 2012, Attack Theatre created and toured a world premiere of Traveling with musical collaborator New Victorians including a performance at the New Hazlett Theater on Pittsburgh’s northside. Kope and de la Reza also worked with the PSO to re-imagine a fully theatricalized Stravinsky’s Histoire du Soldat premiering the work with members of the Pittsburgh Symphony Orchestra.

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Carnegie Mellon University SCHOOL OF MUSIC 2013

Stephen Schultz, Associate Teaching Professor, recently participated in two international tours. He performed with the Wiener Akademie and the actor John Malkovich in a tour of Ecuador and Chile; he also appeared with Musica Angelica Baroque Orchestra at North- and South American venues in a traveling production of Malkovich’s two chamber operas, The Infernal Comedy and The Giacomo Variations.

Additionally, he has also recently appeared in Apollo’s Fire’s staging of Mozart’s The Magic Flute, Bach’s St. John Passion the Los Angeles Master Chorale at Disney Hall (Los Angeles, CA), and as a featured soloist at the Festival del Sole Festival with Nicholas McGegan and Philharmonia Baroque Orchestra (Calistoga, CA). Schultz was a judge for the Baroque Flute Competition, taught a master class on Bach, and perform a recital at the National Flute Association Convention in Las Vegas on August 9-11. In November Schultz was the featured soloist in the Carnegie Mellon Baroque Ensemble’s premiere of Nancy Galbraith’s Concerto for Electric Baroque Flute, Piano, and Baroque Ensemble.

Pittsburgh Symphony, Pittsburgh Opera, Attack Theatre

Dr. Lewis Strouse, Associate Teaching Professor and Chair of Music Education, represented the Pennsylvania Association of Colleges & Teacher Educators (PAC-TE) on a joint panel with members of the Pennsylvania Association of Supervision & Curriculum Development (PASCD) to present parameters of measuring teacher effectiveness as part of the PAC-TE Spring Conference held at Penn State University in April. He was an invited panelist during the annual PAC-TE Teacher Education Assembly last October presenting on The Role of Foundation Courses in Teacher Education Programs. His 2011-2012 publications included Multifocal Assessment at the Core of Arts Education that appeared in PMEA News (Fall 2011) and was reprinted by the Assessment Special Research Interest Group (SRIG) of the National Association for Music Education (NAfME) in March.

An interview with Dr. Strouse was the basis of an article relating music study to the process of creativity in other subjects titled Turning a Spotlight on the Creative Process in the January issue of Teaching Music. At this fall’s PAC-TE Teacher Education Assembly, he will present on strategies that connect foundation concepts in teacher education to clinical experiences.

Daniel Teadt, Assistant Professor of Voice, performed in a myriad of productions staged by Conspirare, New York City Opera, Pittsburgh Opera, Microscopic Opera, Susquehanna Valley Chorale, and Opera Theater Summerfest.

Marilyn Taft Thomas, Professor of Music, had the premiere of her composition The Elements: Four Sound Poems for Violin and Orchestra on August 6, 2011, by faculty member Andrés Cárdenes, Dorothy Richard Starling & Alexander Speyer Jr. University Professor of Violin, at the Strings Festival in Steamboat Springs, Colorado.

Associate Professor of Composition Reza Vali’s composition Kord (Calligraphy No. 9) was performed by the Mexican cellist Juan Hermida on June 18, 2012 at the Palacio de Bellas Artes, Mexico City, as part of the 34th International Forum for New Music Festival. In Addition, he traveled to Australia from June 16-25 for two full concerts of his music in Sydney and Melbourne. While there, Vali was interviewed live on Australian Broadcasting Corporation.

Ronald Zollman, Associate Professor and Director of Orchestral Studies, continues as Principal Guest Conductor of the Prague Radio Orchestra. His major programs this season include Mahler’s 6th Symphony and Berlioz’s tone poem Harold in Italy. Zollman will also record two full albums, one in collaboration with soloist Boris Berezovski.

Zollman’s forthcoming engagements include performances in Bilbao, Belgrade, Mexico, and Bucharest. He will return for the fourth time to Cuba for a collaborative project organized by the Salzburg Mozarteum. He will also conduct a production of Massenet’s Cendrillon at Indiana Opera. Zollman has announced that he will start a five year tenure as Guest Professor at the University of the Arts in Belgrade.

for ALUMNI & FRIENDS

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Honoring Maestro Robert Page Called the “Dean of American Choral Conductors,” Maestro Page’s distinguished career has been marked by accolades that include two Grammy Awards, the Prix Mondial de Montreux, the Grand Prix du Disque, and Pennsylvania’s “Artist of the Year” award. The American Record Review called Maestro Page “a national treasure” in recognition of his distinguished catalog of over 44 recordings with choirs and orchestras.

Page prepared choruses for Eugene Ormandy and the Philadelphia Orchestra (1956-1975), was Assistant Conductor and Director of Choruses of the Cleveland Orchestra (1971-1989), Music Director/Conductor of the Mendelssohn Choir of Pittsburgh (1979-2006), and Director of Choral Activities and Special Projects for Pittsburgh Symphony Orchestra.

Page has conducted performances in most of the countries of Western Europe including the Dvorák Festival (Czech Republic), Mikilli Festival (Finland), White Nights Festival (St. Petersburg) and the Toulouse Festival (France).

Throughout his long career Maestro Page forged relationships with important living composers, and has premiered many notable works, including compositions by Samuel Barber, Ned Rorem, and Alberto Ginastera. Page was personally selected by composer Krysztof Penderecki to prepare the choruses of the Chicago Lyric Opera and La Scala for the world premiere

of Penderecki’s opera Paradise Lost. Maestro Page also conducted the first performances of Penderecki’s Passion According to St. Luke in Cleveland and Philadelphia.

Photo: Carnegie Mellon University Archives

Robert Page conducting Cleveland Orchestra.

Photo: The Cleveland Orchestra Archives

Robert Page conducting the Baroque Ensemble,1975.

Photo: Carnegie Mellon University Archives

(back row)

Andrew Clark (MM’01), Christine Hestwood (MM’96), Robert Page, Dan Toven, Thomas Douglas

Friends of the School of Music can insure his legacy by making a gift to the Robert Page Fellowship Fund, online at music.cmu.edu/pages/ways-to-give.

(front row)

Ming Luke (MM’02), Jeffrey Tedford (MM’03)

Please join us in congratulating Robert Page on his impending retirement and help us thank him for his impact on countless music students at Carnegie Mellon University.

Taken September 28, 2001 in Alumni Concert Hall at a reception in honor of Dr. Page being named the Paul Mellon University Professor of Music.

Photo: Carnegie Mellon University Archives

A Tribute to Robert Page: Robert Page conducting the Carnegie Mellon Concert Choir and Repertory Chorus at CAPA High School, February 16, 2013.

http://youtu.be/kIPFVqclw-s

Photo: Erica Dilcer

Music Rehearsal with Robert Page, 1977.

Photo: Carnegie Mellon University Archives

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Carnegie Mellon University SCHOOL OF MUSIC 2013

Robert Page with wife Glynn, President Jared Cohon, and Martin Prekop (then Dean of CFA).

Taken September 28, 2001 in Alumni Concert Hall at a reception in honor of Dr. Page being named the Paul Mellon University Professor of Music.

Denis Colwell, head of the School of Music, remarked, “Maestro Page’s contributions to the School of Music and to the community are remarkable and too numerous to list.

We are deeply grateful to this fabulous musician and pedagogue for his service, teaching, and leadership.”

Watch:

Robert Page, Paul Mellon University Professor of Music and Director of Choral Studies, will retire at the end of this academic year from the Carnegie Mellon School of Music. Maestro Page first joined Carnegie Mellon as head of the School of Music in 1975, and since then has had an important and lasting impact on multiple generations of students.

Photo: The Cleveland Orchestra Archives

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