CIM Notes | Summer 2021 by Cleveland Institute of Music

NOTES Cleveland Institute of Music

SUMMER 2021

SU M M E R 2021

COMMENCEMENT 2021

President & CEO Paul Hogle

Hollie Greenwood (double bass, Dixon), Chad Polk (BM ’21, Robinson), Kiana Lilly (voice, Schiller) and Alumni Achievement Award recipient Titus Underwood (BM ’08, Mack/Rosenwein/Rathbun)

Qin Ying Tan (DMA ’19, Bennett) receiving her hood in 2021. Also pictured: Dean Dean Southern (DMA ’09, Schiller), Dean Jerrod Price and head of harpsichord Peter Bennett.

Grace Roepke (BM ’19, MM ’21, Kondonassis)

Do-Hyun Kim (BM ’17, AD ’21, Babayan)

2021 graduates Paul Bergeron (MM), James Hettinga (BM), Benjamin Richardson (BM), Distinguished Alumni Award recipient and co-head of cello Melissa Kraut (BM ’90, Harris), Belle Ra (BM) and Jessamyn Fry (BM)

All photos by Steven Mastroianni

Yun-Ting Lee (BM ’07, MM ’09, D. Cerone/Preucil), guest artist Dawoon Chung and Wesley Collins (BM ’07, Vernon) performing at Luminaries Benefit Concert (story, page 9)

ABOVE Luminaries Benefit Concert Photo by Alex Cooke

ON THE COVER Carlos Kalmar (story, page 16) Photo by Robert Muller PDFs of the current and past issues of Notes are available at cim.edu/news. CLEVELAND INSTITUTE OF MUSIC 11021 East Boulevard Cleveland, OH 44106 P: 216.791.5000 E: marketing@cim.edu | cim.edu

CIM is supported in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture.

CIM is funded in part by state tax dollars allocated by the Ohio Legislature to the Ohio Arts Council.

12 Alumni Spotlight 4 Noteworthy Timothy K. Adams, Jr. 1609 Hazel: CIM’s new residence hall What are Governing Members? 14 2020-21 Facts & Impact Mahani Teave releases recording after opening Easter Island music school 16 Features Elevating Black and Latinx educators Getting to know Carlos Kalmar within the music academy For the love of music Celebrating the Preparatory programs Building bridges class of 2021 New A. Chace and Josephine Anderson 28 Alumni News Dean’s Scholarship 35 Lifetime Giving Students, faculty and staff jointly create Champions for Systemic Change CIM students support the community through music James Thompson named Payne Fund Prize winner Celebrating student composers’ recent successes Luminaries Benefit Concert raises money for student scholarships Partners for CIM: new name, refocused mission Leadership news New Trinity Cathedral organ has CIM connections

SU M M E R 2021

NOTEWORTHY 1609 Hazel: CIM’s New Residence Hall After an exciting grand opening last July, CIM’s new residence hall, 1609 Hazel, welcomed its first class of residents in August 2020. Students and families were thrilled to see the new accommodations, which include: ••

103,000 square feet of space

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Deluxe, fully furnished units with all the comforts of home, including en-suite bathrooms, Wi-Fi, laundry and full kitchens

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19 individual and 3 chamber music-sized state-of-the-art Wenger practice rooms

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Secure, controlled access

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Spacious lounges, an exercise studio and a classroom

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Mantle, built-in bookcases and bluestone steps from the old Hazel Annex were restored and incorporated into 1609 Hazel’s design

The positive reception continued throughout the school year, with students Jeffrey Sharoff (former student), Mary Paz Cubero Navarro (trombone, Sullivan), Eric Bower (MM ’82, Vassos) (CIM Senior Vice President), thoroughly enjoying the comfort and convenience of the new facilities. 24-hour Jeffrey Linton (CIM Trustee), Chris Ronayne (University Circle, Inc.), access to the on-site practice rooms was particularly popular. The apartment-style Richard Hipple (CIM Trustee), Guy Totino (NewBrook Partners), Paul living also made it easier for students to attend classes virtually, an important Hogle (CIM President & CEO), Judy Bundra (former CIM Dean) & Luis Clebsch (trumpet, Sachs) at 1609 Hazel ribbon-cutting ceremony on feature during this past year. While building a sense of community was a challenge July 24, 2020 | Photos by Robert Muller during the pandemic, students were excited to have their own living spaces that they could personalize and share within their “pandemic bubble.”

What are Governing Members? CIM’s Governing Members play a key role in the future of CIM and classical music. First established in 2019, the Governing Members exist to support and complement the work of CIM’s other governing and volunteer bodies – the Board of Trustees and Partners for CIM, formerly known as the Women’s Committee (story, page 9). The group actively grows philanthropic support, with members contributing $2,500 or more annually and serving as ambassadors of CIM in the community. CIM relies on the commitment, passion, expertise and counsel of the Governing Members to ensure the success of its mission: to empower the world’s most talented musicians to fulfill their dreams and potential. Helmed by a leadership committee, the Governing Members bring together individuals with diverse expertise from Cleveland’s Dan Moulthrop, CEO of The City Club of Cleveland, chatting with Carlos Kalmar at business, cultural and civic spheres to advance CIM. They provide the Governing Members Conductor Welcome Reception on May 11, 2021 | forward-thinking counsel to the Board of Trustees and shape strategy Photo by Tyler Scott to meet future challenges. To learn more about Governing Members’ duties and responsibilities, or to be considered for nomination, please contact Peter Hussell at peter.hussell@cim.edu.

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Mahani Teave Releases Recording After Opening Easter Island Music School Mahani Teave (MM ’06, PS ’08, Babayan) grew up on Rapa Nui (Easter Island) and left at age 9 to pursue her dream of becoming a classical pianist. She studied in Berlin at the Hans Eisler Music Academy, won the Claudio Arrau International Piano Competition and came to CIM to study with Sergei Babayan. On the cusp of an international career, Teave set aside her performing activities to return to her native Rapa Nui and its children. In 2013 she created Toki Rapa Nui, the island’s first music school, which is free to all students. Besides offering music lessons, Toki Rapa Nui nurtures a consciousness about the island’s unique and disappearing culture.

Photo by Gabriel Cardona

Teave’s story has attracted worldwide attention, with recent features in Gramophone, The New York Times, NPR, BBC and more. She recently released her first recording, Rapa Nui Odyssey, and the documentary Song of Rapa Nui, directed by the Emmy Award-winning producer and filmmaker John Forsen and narrated by Audra McDonald.

Elevating Black and Latinx Educators Within the Music Academy

Wynton Marsalis (photo by Joe Martinez), Dr. Ronald Crutcher, Dr. Angela Duckworth and Simon Sinek (photo by Andrew Dolgin)

In January 2021, CIM unveiled its Future of Music Faculty Fellowship, a critical step forward in creating a culture of diversity within the music academy and beyond. Powered by the Sphinx Venture Fund, this first-of-its-kind career development initiative engages 35 Black and Latinx music professionals who are pursuing or considering academic careers, preparing them with the skills, insights and networks to flourish professionally and influence future generations. Keynotes by internationally acclaimed musician, composer and educator Wynton Marsalis, University of Richmond President Dr. Ronald Crutcher, resilience researcher Dr. Angela Duckworth and leadership expert Simon Sinek will inspire, and program faculty – including university presidents, music school deans and teaching artists from institutions ranging from The Juilliard School to the Heifetz Institute – blend practical advice, skill building and creativity. Afa Dworkin, president and artistic director of the Sphinx Organization, the social justice organization dedicated to transforming lives through the power of diversity in the arts that is funding the Fellowship, commented: “CIM is a proven and authentic leader in creating opportunities for musicians of color. We hope that the Future of Music Faculty Fellowship will spark important dialogue, motivate action, elevate musicians of color into tenured professorships and ultimately accelerate positive change.” The program received 166 competitive applications and selected 35 Fellows to participate. Beginning in June 2021 and taking place over several months, the Fellowship is structured as a series of virtual convenings. The program concludes in January 2022 with a planned in-person event coinciding with SphinxConnect. Learn more about the Fellows at cim.edu/fellowship. SU M M E R 2021

NOTEWORTHY Celebrating the Preparatory Programs Class of 2021 Following a year like no other, 16 young musicians graduated from CIM’s Pre-College, Musical Pathway Fellowship and Young Artist Program for advanced musical studies this spring. The graduates were accepted to 27 music schools and conservatories including CIM, New England Conservatory, The Juilliard School and Curtis Institute. We asked a few of the graduates to reflect on the past year and share their future plans: Dakota Sipusic, a senior voice student of Jennifer Call, traveled from Youngstown to Cleveland every Saturday for Pre-College. “I’ve learned so much and it’s been an amazing experience,” Dakota said. After high school graduation, Dakota will study voice and music theory at Baldwin Wallace University Conservatory of Music. “I’m looking forward to college this fall! I feel like I can start college with confidence because I know what it will be like.” Six of this year’s graduates are in the Musical Pathway Fellowship (MPF) – Damian Goggans | Photo by Roger Mastroianni sponsored by the Paul M. Angell Family Foundation, Cleveland Foundation, The George Gund Foundation and KeyBank Foundation – designed for Black and Latinx students entering grades 5-12. “I didn’t expect to have to do everything for senior year online, but MPF helped me with everything I needed,” said Damian Goggans, a senior classical guitar student of Erik Mann. In fall 2021, Damian will attend Oberlin Conservatory studying classical guitar performance. Young Artist Program (YAP) student Charlie King also has CIM to thank for a successful senior year. “Being in YAP this year has been incredible. CIM is an unmatched musical community and, as I’ve found out this year, an amazing place to meet new people and make friends.” Charlie joined YAP as a senior in 2020, studying with Afendi Yusuf, and will continue at CIM in fall 2021. “When I graduate from high school and enter conservatory, I will be taking with me a wealth of knowledge that I could not have gotten without YAP.”

New A. Chace and Josephine Anderson Dean’s Scholarship In February, longtime Trustee A. Chace Anderson and his wife Josie made a significant gift of $1 million in support of CIM conservatory student scholarships. The Andersons join a growing list of donors who have established scholarships to give exceptionally talented students access to training to achieve their artistic goals. Their gift is the latest in a period of substantial growth in scholarship giving, marking $17.1 million in new gifts and pledges since 2017. The A. Chace and Josephine Anderson Dean’s Scholarship will be the eighth such scholarship initiated by CIM’s generous donors and partners. Others include the Mary Hamlin Memorial Presidential Scholarship, Edward and Gay Cull A. Chace and Josie Anderson Addicott Presidential Scholarship, Robinson Family Presidential Scholarship, Jean and Richard Hipple Dean’s Scholarship, A. Malachi Mixon III & Barbara W. Mixon Dean’s Scholarship, Iris and Tom Harvie Director’s Award and Ellen and Joe Thomas Endowed Fund. In praise of their support, President & CEO Paul Hogle reflected on the lifetimes of altruism of these patrons: “We’re humbled to have such warm, compassionate friends – and visionary leaders – in our corner. Their generosity and service throughout many years have been deeply inspiring and a testament to the value the Institute brings to people locally and globally. We are very grateful for their unwavering and fervent support of CIM. Their legacies, and those of all who are champions of CIM, will provide for the future of classical music for generations to come.”

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Students, Faculty and Staff Jointly Create Champions for Systemic Change CIM is committed to developing and sustaining diversity, equity and inclusion in its recruitment, retention and programming practices and policies for students, employees and trustees. As a reflection of this commitment, and in partnership with the leadership of the Black Student Union, several forums were held in summer 2020 centered around race and equality in the CIM community, with faculty, staff, alumni and Preparatory families participating. Further work was needed, and during the fall 2020 semester the Champions for Systemic Change (CSC) was created and began to focus on engaging the CIM community to hold up, perpetuate and evaluate the Institute’s community standards as well as its efforts in achieving a truly diverse, equitable and inclusive environment. Since the formation of the CSC, faculty and staff received training on unconscious bias and students received training on privilege. In addition, a student forum, facilitated by Afa Dworkin, president and artistic director of the Sphinx Organization, was held to focus on race, music and its connection to social justice and to discuss how students can use their voice and music during a time of great social change. The Programming Advisory Committee was also created to focus on bringing more inclusive programming to the stage. CIM is dedicated to a community that is fair and inclusive. Through CSC and our student groups – Black Student Union, Standing Up for Racial Justice and Student Government Association – CIM will continue to focus on developing an inclusive environment for all.

CIM Students Support the Community Through Music What sets CIM students apart from the rest is not only their extraordinary talent or commitment to excellence, but also their dedication to humanitarian efforts locally and around the world. This year alone, more than $23,000 was raised by CIM students, supporting a wide variety of causes and groups. Student Government Association: Music for Food Benefit Concert Total amount raised: $9,600 SGA partnered with the Cleveland chapter of Music for Food, led by cello faculty Sharon Robinson, to organize the concert. SGA President Rachel Lauson (BM ’21, King) explained their motivation behind choosing this beneficiary: “With the pandemic there has been an increased need and the Cleveland Kosher Food Pantry has stepped up to serve the community with additional services like direct deliveries to seniors and drive-through food pickup!” Black Student Union: BSU Benefit Concert Total amount raised: $3,500 BSU’s benefit concert was put on in order to raise money for the Musical Pathway Fellowship (MPF), which is designed to empower Almas Quartet, comprised of violinists Haig Hovsepian (BM ’21, I. Kaler) and Emera Gurath Black and Latinx students to pursue their musical studies. Thanks (BM ’21, Rose), violist Jiwon Kim (Irvine) and cellist Lydia Rhea (Kraut), performing at CIM to funds raised by BSU, MPF was able to start an emergency Perspectives: Armenian Music for Peace instrument repair fund to assist students in need. “We CAN use music to create change,” said BSU President Hollie Greenwood (double bass, Dixon). Programming Advisory Committee: CIM Perspectives – Armenian Music for Peace Total amount raised: over $10,000 As the only Armenian student at CIM, violinist Haig Hovsepian (BM ’21, I. Kaler) set out to support the people of his home country in the best way he knew how – through music. When reflecting on this special concert, Hovsepian said: “It was a testament that no matter how hard the aggressors’ attempts to destroy a nation and its culture are, it will be reborn again and again through its legacy of music and the strength of its people.” SU M M E R 2021

NOTEWORTHY James Thompson Named Payne Fund Prize Winner James Thompson’s (BM ’16, MM ’18, AD ’21, Preucil/Laredo) exceptional performance of Beethoven’s Violin Concerto at the fall 2019 Concerto Competition won him both the coveted opportunity to perform the work as a soloist with the CIM Orchestra and the 2020 Payne Fund Prize. “It was a great honor to win the concerto competition,” said Thompson. “Beethoven’s lone violin concerto has served as both an inspiration to composers of the last two centuries and a benchmark by which they, and others, have measured the merit of their works.” The Payne Fund Prize, established by the Bolton family in 1998, is awarded annually to a CIM student of remarkable talent. The prize includes a monetary award and a concerto engagement with the Asheville (NC) Symphony Orchestra. “I can think of no better way to celebrate my eighth and final year at CIM,” Thompson added, “than with a performance of one of our repertoire’s most beloved concertos alongside an orchestra of my closest friends, as well as an orchestra the stature of the Asheville Symphony.” Thompson’s performance with the Asheville Symphony Orchestra was delayed due to the COVID-19 pandemic, taking place May 2021 in Asheville for a small audience of supporters. As part of a reimagined concert season, the program featured a variety of solo pieces and was recorded for online streaming.

Celebrating Student Composers’ Recent Successes Composition students of Keith Fitch, head of CIM’s composition department, have celebrated many achievements during the 2020-21 academic year: ••

Daniel DiMarino was awarded first place in the Webster University Young Composers Competition for his piece, Three Sketches.

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Julián Fueyo (BM ’20) won his second consecutive ASCAP Foundation Morton Gould Young Composer Award for Serpiente de tuqueses (Turquoise Serpent), a violin concerto he wrote for Shannon Lee (MM ’20, Laredo/Sloman) while at CIM. Sami Seif (BM ’21) won honorable mention for his Orientalism for string quartet.

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Nathaniel Heyder (BM ’21) won the 2021 Nief-Norf Summer Festival International Call for Scores for his piece, Impulse.

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Heyder was commissioned by the National Symphony Orchestra, Washington National Opera and The Kennedy Center as part of The Cartography Project, an initiative to “use music as both a source of healing and a way to open dialogue about the future of anti-racism.”

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Seif won first prize in the Ohio Federation of Music Clubs Collegiate Composition Contest for his solo flute piece, Miniatures from Phoenicia. Gabriel Stossel won second prize for his Four Fractals for solo violin. •• Seif won first prize in the Warren County Summer Music School 2021 Promising Young Composers Competition and the 2021 Arizona Flute Society Composition Competition for Miniatures from Phoenicia. •• Seif won the senior division of the 2021 Suzanne Culley Competition for Orientalism, which will receive its New York debut in Carnegie Hall’s Weill Recital Hall next season. •• Seif was the winner of the Sewanee Summer Music Festival Call for Scores for his piece, Shubho Lhaw Qolo. •• Stossel’s Four Fractals won the 2021 Cleveland Composers Guild Collegiate Composition Contest. Yoav Sadeh won second prize and Seif won third prize.

Keith Fitch working with a composition student | Photo by Robert Muller

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Luminaries Benefit Concert Raises Money for Student Scholarships

Jaime Laredo, Sharon Robinson, Juan Riveros and Kathryn Brown | Photos by Alex Cooke

On April 10, 2021, CIM hosted a first-of-its-kind virtual event, the Luminaries Benefit Concert. Audiences tuned in online from across the country for a celebration of musical talent and artistry. The evening featured exceptional CIM talent in a performance headlined by faculty members Jaime Laredo and Sharon Robinson collaborating with award-winning student Arseny Gusev (piano/composition, Babayan/Fitch) on piano. Alumni and faculty Wesley Collins (BM ’07, Vernon), Yun-Ting Lee (BM ’07, MM ’09, D. Cerone/Preucil), Kathryn Brown (AD ’93, Schenly) and Melissa Kraut (BM ’90, Harris) were also featured and joined by guest pianist Dawoon Chung, Musical Pathway Fellow Alexa Clawson (percussion, Rinderknecht) and CIM students Lydia Rhea (cello, Kraut), Belle Ra (BM ’21, Kraut) and Juan Riveros (BM ’21, Kondonassis). Patrons joining from home enjoyed delicious food and wine reception gift boxes, featuring wine selected by official wine partner Laurentia Vineyard and Winery, while distinguished alumni from across the country presented short performances before the concert. Those performing included bass-baritone Richard Ollarsaba (BM ’09, Schiller/Southern) from Florida and PROJECT Trio’s Peter Seymour (BM ’00, Harris) and Greg Pattillo (BM ’99, MM ’01, Smith) from New York. The evening’s highlight was the presentation of the Partners for CIM Distinguished Service Award to Luminaries Honoree Barbara Robinson. Celebrated throughout the night by friends, family and colleagues, Barbara received the award in recognition of her years of extraordinary service to CIM as an ambassador, leader and advocate. With the leadership of presenting sponsor Deloitte and sponsors BakerHostetler, Key Family Wealth and Trustee Astri Seidenfeld, more than $110,000 was raised by the end of the evening. The auction organized by Partners for CIM attracted heated bidding and generous donations, pushing the total raised to more than $130,000 – a major contribution to student scholarships for the year.

Partners for CIM: New Name, Refocused Mission For more than 80 years, Partners for CIM has proudly supported CIM’s talented young musicians as the Women’s Committee. In August 2019, the Committee undertook a consolidation of its mission, discussed opportunities to diversify and enlarge organization membership and considered a name change. Seeking to foster a vibrant and varied membership, the committee adopted the name Partners for CIM and a single mission was created: to support the Cleveland Institute of Music, its students, faculty and staff, in a meaningful and productive manner. What hasn’t changed is the Partners for CIM members’ dedication of their time and efforts to promote and support the Institute by providing the greater Cleveland community with opportunities to experience the extraordinary talents of students and faculty. One of the many ways Partners for CIM supports the Institute and its students is the Student Assistance Fund, which provides financial help to students attending auditions and participating in competitions, music festivals, workshops and seminars. Partners for CIM has contributed more than $260,000 in awards since 1988. In response to the COVID-19 pandemic last spring, Partners for CIM provided $18,000 in emergency relief for international students who could not return home and were ineligible to receive federal aid. The Partners currently have more than 100 members and are actively seeking new participation. To learn more, visit cim.edu/partners. SU M M E R 2021

NOTEWORTHY Leadership News

Susan A. Rothmann, Richard J. Hipple , Bonnie Cook, Kevin Stein, Katrina Redmond, Paul W. Hogle (photo by Robert Muller), Scott Harrison, Jerrod Price (photo by Robert Muller), Dean Southern (photo by Robert Muller) and Madeline Lucas Tolliver (photo by Robert Muller)

Susan A. Rothmann, PhD, was unanimously elected by the Trustees as the new Board chair at the Annual Meeting on September 23, 2020. Rothmann was first elected to the Board in May 1986, is immediate past chair of the development and centennial committees and has contributed to the work of the marketing and academic affairs committees, among others. Her leadership of the Board’s development committee resulted in annual gifts exceeding $2 million, doubling the annual benchmark set by her father, Dr. Bruce Rothmann, who famously served for nearly 20 years as chair of CIM’s development committee. An entrepreneur, clinical researcher and lecturer, Rothmann was founder and chief executive officer of Cleveland’s oldest profitable woman-owned in-vitro device manufacturing firm, Fertility Solutions Inc., until the company was sold in April 2020. She remains the company’s laboratory director. At the same meeting, Richard J. Hipple was recognized for five years of exceptional leadership as Board chair and honored with the title Chair Emeritus. Among many other achievements, Hipple’s leadership empowered CIM to create a new strategic plan – Blueprint:100 – that maps out imperatives the school must address to secure its second century; undertake a comprehensive study of the Institute’s size and recommend continuing to lower enrollment to further raise student selectivity; and embrace a bold capital campaign to provide more scholarships – for which he gave a lead gift of $1 million to establish the Jean and Richard Hipple Dean’s Scholarship. Learn more about Rothmann and Hipple at bit.ly/2020AnnMtg. The Board of Trustees also elected new members: Northeast Ohio native Bonnie Cook (BM ’77), who currently serves as secretary, in 2020; Kevin Stein, president, CEO and director of TransDigm Group Incorporated, in February 2021; and Katrina Redmond, senior vice president and chief information officer of Eaton, in June 2021. Sending a strong signal that his leadership over the past five years has dramatically propelled the institution forward, the Board of Trustees extended President & CEO Paul W. Hogle’s contract. This seven-year extension for CIM’s ninth president extends through June 30, 2028. Since coming to CIM in 2016, Hogle has overseen growth in nearly every corner of the institution, from student life to facilities to philanthropic support and student scholarships. In the coming years, CIM will expand its digital footprint, launch new programs focused on early-career success and reinvigorate its preparatory curriculum for K-12 students, all while relentlessly driving a lower cost of education for students. Learn more about CIM’s accomplishments at bit.ly/PresidentHogle. In June, CIM announced that Scott Harrison will become the Institute’s first executive vice president and provost, coming to Cleveland on the heels of a 20-year career in the field of classical music that includes leadership and executive positions in esteemed orchestras in Detroit, Los Angeles, Indianapolis, New Orleans and Hawaii, and co-founding the international music education and youth development 10

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non-profit BLUME Haiti. Harrison will provide the vision, imagination and leadership required to foster the development of CIM’s student artists, faculty and staff, while enhancing the Institute’s capacity to prepare CIM graduates, from Pre-College to the Conservatory, for successful futures. In reflecting upon joining CIM, Harrison said: “In this new role, I look forward to supporting the aspirations and artistry of a bold and conscientious circle of performers, leaders, thinkers and givers who will ensure a future for classical music that is vibrant, connected and equitable, with our graduates becoming providers of joy, meaning and healing for the communities they will impact during their careers.” Harrison will lead an exceptionally qualified and accomplished team, strengthened by the announcement that Jerrod Price, Dean Southern (DMA ’09, Schiller) and Madeline Lucas Tolliver (BM ’09, MM ’11, Smith) have been named as full deans of the Institute. Price has been named Dean of Musician and Community Advancement; Southern becomes Vice President for Academic Affairs and Dean of the Conservatory; Tolliver will serve as Dean of Artistic Administration and Operations. “Making these three appointments permanent not only recognizes the outstanding work of Jerrod, Dean and Maddi, but also positions CIM for future innovation and student success. We are fortunate to retain their talent and leadership of their all-star teams,” said Hogle. Learn more about the provost and dean appointments at bit.ly/CIMProvost.

New Trinity Cathedral Organ Has CIM Connections Cleveland’s Trinity Cathedral has a distinguished musical tradition and a long-standing connection with CIM. Edwin Arthur Kraft was organist at Trinity from 1907-59 and for much of that time was also head of CIM’s organ department. Todd Wilson continues that tradition, holding the same two posts. From the time Trinity Cathedral was consecrated in 1907, it housed an organ built by Ernest M. Skinner, the leading American organ builder in the early decades of the 20th century. In 1977, Trinity installed a new organ, and the Skinner organ was abandoned and became unplayable, finally being removed in 1997. But Wilson believed that Trinity should again have an organ capable of playing music of the 19th through 21st centuries. In 2011, Trinity purchased a 1952 Aeolian-Skinner organ and placed it in storage. In 2014, vintage E.M. Skinner pipes were added, being removed from the Church of the Transfiguration at Euclid Ave. and E. 86th St. just prior to the building’s demolition. Todd Wilson and Scott Hayes With funding in place, the Muller Pipe Organ Co. of Croton, Ohio, has been engaged to renovate and install the organ, which will be completed this summer. CIM alumnus Scott Hayes (MM ’12, Wilson) is tonal director at Muller and will exert a major influence on the sound of the organ. Trinity’s two contrasting pipe organs will provide a superb performance venue for CIM’s organ majors, who also play the Holtkamp organ in Kulas Hall and the Aeolian-Skinner-style organ at the Blackstone Residence in Bratenahl.

Videos of the Trinity organ installation are available at bit.ly/TrinitysNewOrgan and information on dedicatory concerts during 2021 and 2022 can be found at trinitycleveland.org.

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ALUMNI SPOTLIGHT THE CAREER OF DISTINGUISHED ALUMNUS TIMOTHY ADAMS KNOWS NO BOUNDARIES By Matthew Arnold “Mr. Maazel, I know everything.” With those words, CIM alumnus Timothy K. Adams, Jr. (BM ’83, MM ’87, Weiner/Yancich) affirmed he was ready to join the Pittsburgh Symphony Orchestra as principal timpanist under the baton of legendary conductor Lorin Maazel. “Lorin tried to smile and I thought, ‘Did I just say that?’ If I had the nerve to say that to Lorin Maazel, then I’m ready for anything in the business,” said Adams.

He was 7 when he first picked up the drumsticks CIM reinforced a self confidence in Adams that was cultivated from a very young age. He attended his first concert when he was 6 months old. His father was a band director, his mother a singer. He started playing music when he was 7 and in the eighth grade discovered it’s possible to make a living as a musician. “It was a career decision. I liked playing percussion and if someone was going to pay me to play percussion then sign me up,” mused Adams, currently University Professor and the Mildred Goodwin Heyward Professor in Music at the University of Georgia’s Hugh Hodgson School of Music. Adams took lessons with Bill Wilder of the Atlanta Symphony Orchestra (ASO) from age 9 to 17. While still in high school, he played with the ASO as a substitute musician. It was around this time he was introduced to the ASO’s new principal timpanist, Paul Yancich (BM ’75), now co-head of CIM’s percussion department and principal timpanist of The Cleveland Orchestra. A friendship began between the two that continues to this day. “I would not have come to CIM if it weren’t for Paul Yancich,” Adams said. “He and Cloyd Duff and Richard Weiner – those guys changed my life.” Duff and Weiner were both members of The Cleveland Orchestra and CIM’s faculty. Adams chose CIM, despite being offered a full scholarship elsewhere. He vividly remembers Yancich checking in with him after Cleveland Orchestra concerts. “He’d pop his head in the practice room door and ask how it was going. I told him it was getting better. He said, ‘Very good,’ and shut the door. That was always encouraging to me.”

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Yancich reflected on Adams’ time at CIM: “I first met Tim when he was a 16-year-old and it was obvious to me that his talent – his potential – was limitless. Through his incredible work ethic, musicality and infectious personality he set the standard for all subsequent CIM percussion students. I am not surprised that he has become one of the nation’s leading performers and educators.” One of the highlights of Adams’ career was appearing on Mister Rogers’ Neighborhood, in an episode called “Noisy and Quiet.” “That was probably the most important thing I did in my career. Fred Rogers was the most authentic person I have ever met, and probably ever will meet, in my life,” Adams said. “You rarely meet a person anywhere who is driven by one goal, and his goal was to make children good and the world good for children.” Adams spent eight hours with Rogers filming the episode, but saw him “all the time – probably once a week for five or six years because he lived close to Carnegie Mellon,” where Adams was teaching at the time. “Many people don’t know he was an unbelievable musician,” Adams said. “He and his wife played the piano and he wrote all the music in the show. And it’s complicated music – those chords are not easy. I was honored and blessed to be in his presence. I was the last musician to be on his show. “I have a 4-year-old son who has been watching Mr. Rogers for years,” Adams continued. “He’s learned so much about life, instruments, art, orange juice, cows. All these things. When you look at the trajectory of his body of work, Mr. Rogers dealt with topics that people didn’t want to deal with: divorce, homicide, suicide, racism. He did things on the show that the country did not have the courage to do.” Adams would know. He grew up in the segregated South. His elementary school integrated in the fourth grade, when he found his first percussion teacher, a white man.

He’s seeing a gradual change on the concert stage Adams, who is 59 years old, describes his personal experiences in orchestras a little differently than some of his older and younger counterparts. “You’ve got micro-racism. Being a Black man in America, you just have that. But I was always so good that I didn’t really have problems. I knew I didn’t get paid as much as my white counterparts, but that’s America. It’s not specific to orchestras.” Adams recently completed a piece for percussion ensembles at NYU and Aspen Music Festival, and currently has commissions with the Carnegie Mellon University Orchestra, Boca Raton Chamber Orchestra and Josef Gingold Festival. He also has a commission to write a piece about Harriet Tubman in the spring of 2022, with a number of orchestras signed on to perform: Erie, Buffalo, Akron, Naples, San Jose Chamber Orchestra, Niagara Symphony and Sewanee Music Festival. “A lot of my writing now is about things that are happening in the world. I just wrote a duo with a student of mine on immigration,” Adams said. “When the Ku Klux Klan marched on Charlottesville [in August 2017], I wrote a piece on racism for soprano sax, percussion and spoken word. I want to write pieces about great African Americans in history because they are not represented on the concert stage.” And Adams understands there’s a long way to go with diversity in orchestras around the country, but recognizes that we are seeing a very gradual shift in representation on concert stages. “It’s improving and a slow process. But it’s a slow process in America so I wouldn’t expect orchestras to be any faster. The dedication to diversity has not been long enough. It has to be constant and consistent. Then you will see diversity,” Adams said. Adams was awarded the highest honor CIM bestows upon alumni – the Distinguished Alumni Award – in 2020. He was also part of CIM’s 2021 Intersession, offering inspired virtual workshops on audition techniques to conservatory students. “I can think of no one more deserving of this recognition,” said Yancich. “I was one of several teachers along his path and we quickly became lifelong friends once he started on his amazing professional career. He is an artist.” SU M M E R 2021

2020-21 FACTS & IMPACT

CIM at 100 Celebrating history, creating the future

Photo by Scott Frances

CIM in Numbers In 2020-21, CIM celebrated 100 years of musical and educational excellence and major growth.

DONORS

DEGREES AWARDED

VIRTUAL AUDITIONS

CIM is one of seven independent conservatories of music in the United States, and one of just three devoted exclusively to classical music performance.

DEGREE AND CERTIFICATE PROGRAMS

ALUMNI

FUTURE OF MUSIC FACULTY FELLOWS MAJORS

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WORLD RENOWNED FACULTY

The Future of Classical Music CIM’s world-class conservatory students come from around the world and represent many diverse backgrounds.

STUDENTS

BLACK & LATINX REPRESENTATION

INTERNATIONAL

DOMESTIC

OHIO

UNDERGRADUATES

GRADUATES

CIM’s Preparatory Division provides high quality music instruction to children and adults of all ages. PREP STUDENTS

PRE-COLLEGE STUDENTS

MUSICAL PATHWAY FELLOWS

Concerts and Community Engagement CONCERTS AND EVENTS HOURS

STUDENT RECITALS

CLEVELAND SCHOOL OF THE ARTS LESSONS TAUGHT BY CIM STUDENTS

CONCERTS COUNTRIES REACHED BY LIVESTREAMING

VIRTUAL BENEFIT CONCERTS

PAIRS OF ZERO-LATENCY STUDIOS SU M M E R 2021

GETTING TO KNOW CARLOS KALMAR By Zachary Lewis

Carlos Kalmar introduced at announcement event on May 10, 2021 | Photos by Robert Muller

Carlos Kalmar intends to be a leader both on and off the podium. He aims to give great concerts, yes, but he also plans to take CIM as a whole in a bold new direction. He sees his new post as CIM’s director of orchestral and conducting programs not as a job but as his next calling. He’s conducted all the music that’s nearest and dearest to him, and now seeks to use his vast experience to better prepare students for the careers of the future.

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“I have been a music director most of my life,” says the native of Uruguay raised in Vienna, between off-the-phone comments in German to his children. “Now I am going in a completely different direction. I don’t need to do anything just for myself. Now I’m only interested in whatever I firmly believe will benefit the students.” Kalmar has indeed spent a great deal of time on the podium, having served for most of the last two decades as music director of the Oregon Symphony and Chicago’s Grant Park Music Festival. Before that, he conducted orchestras all over Europe. He knows what he’s saying when he praises the work of his CIM predecessor, Carl Topilow, who stepped down from the post in 2018 after 37 years.

Rachel Lauson (BM ’21 King), Emera Gurath (BM ’21, Rose) and Karen Ferry (violin, Rose/ Sloman) introducing the Cleveland community to Carlos Kalmar

William Griswold (Director & President, Cleveland Museum of Art), Chris Ronayne (President, University Circle, Inc.), Carlos Kalmar and Paul Hogle (CIM President & CEO) on a walking tour of University Circle

That also means Kalmar knows of what he speaks when he calls CIM a school poised for change. From his conversations to date with students, faculty and administrators, he says he has gleaned a clear desire and sense of urgency to push for a professional environment more like the real world upon graduation.

Hall debut and later recorded with the Oregon Symphony on an album that received a Grammy nomination.

“There is a very genuine interest in not waiting to do something amazing,” Kalmar says. “It seems to me like an institution that’s very hungry and very ready.” He’s not misreading the room. Madeline Lucas Tolliver (BM ’09, MM ’11, Smith), dean of artistic administration and operations, says CIM hired Kalmar in part to bring about “dramatic” change across the school and to put in place a rigorous orchestra curriculum that is more inclusive, incorporates all departments and utilizes instrumentalists and student conductors in a wider range of musical contexts. In Kalmar’s background straddling the European and American systems, CIM sees “exactly what the doctor ordered,” Tolliver says. “There’s a real need for intentional design here. This is serious business and he’s going to do it in an organized way.” One thing he’s definitely going to do is open things up. Kalmar says the CIM Orchestra and its conductors should be working more regularly with CIM composers and the opera department, among others. In the real world, after all, the lines between genres, and between new music and traditional classical repertoire, are fading, and the same should be true at CIM. But there’s a right way and many wrong ways to blur those lines, and one wrong way, Kalmar says, is to play something just for the sake of ticking a box. The emphasis, he says, should be on quality, not quantity. Hence concerts like Music For a Time of War, the 2011 program with which Kalmar made his Carnegie

“With him, it’s not just great classical music. It’s great music, period. That’s the type of personality he’s bringing to CIM,” says Jennifer Arnold (BM ’03, PS ’05, Vernon), former violist under Kalmar in the Oregon Symphony, now serving as director of artistic planning at the Richmond Symphony. One who can vouch for Kalmar’s commitment to contemporary music is Keith Fitch, head of CIM’s composition department. From his talks with the conductor to date, Fitch has come away encouraged, hopeful that Kalmar will showcase the music of faculty and students with greater regularity and thereby make the school an environment more attractive to budding composers. “I think he’s going to be very good for our students,” Fitch says. “We have very good young composers here and they should have performances. I hope that will continue to draw talented young composers to CIM.” Another line blurring in orchestras today is that between musicians and administrators. Before long, Kalmar predicts, there won’t be such stark divisions. Rather, he says, musicians too will be stakeholders. That means aspiring players will need to understand not just how to make great music but also how to organize, finance and promote it, at least to some extent. “Every musician will perceive themselves as being an integral part of their institutions,” Kalmar says. “All will be one. SU M M E R 2021

Jill Koski (President & CEO, Holden Forests & Gardens), Paul Hogle and Carlos Kalmar tour Cleveland Botanical Garden

Everyone will have to have a good sense of how to participate in the bigger picture of what an orchestra is. That, I think, will help move everybody forward.” Administrators, programmers and musicians aren’t the only ones facing change. Conductors, too, are in something of a new world. Having led several major orchestras in Europe and the US, Kalmar knows better than most that the role of conductor has transformed in recent years from fount of all wisdom to collaborator-in-chief. On the podium, he’s known not as a dictator but as an encouraging presence, a practical leader who invites and guides his charges to do their best. “He’s got all the tools in the toolbox,” Fitch says. “If [Kalmar] can help train our musicians along those lines, I think they’ll be better prepared than those who have done things the way they’ve always been done.” Arnold, for her part, noted her audition in Oregon, recalling fondly how Kalmar broke protocol and addressed her directly, giving her every opportunity to shine. “It showed he was interested in me as a player,” she says. “He wasn’t just oldschool business.” The conductor’s role off the podium also has expanded, and not just in academic settings. When Kalmar was in school, conductors rarely spoke in public and almost never got involved 18

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in fundraising, marketing or education efforts. These, though, are activities vital to the success of orchestras in the 21st century and Kalmar says the conductors of the next generation need to be comfortable engaging in them. “You can’t limit yourself to the tower of excellence,” he says. “You have to be out there. You have to talk to humans. You’re not just making music. You’re promoting this art form, and it’s educational work. In a way, you’re an educational entertainer.” Not everything in the orchestral field has changed or should change, of course. Great music is still great, and playing it well still requires enormous devotion, knowledge and hard work. That’s why there are schools like CIM dedicated to the art and why Kalmar wanted to come here in particular. On this front, too, Kalmar is rock solid. In addition to his interest in highlighting new music and fostering a more inclusive repertoire, Kalmar remains serious about the core classics, committed to passing on standards he’s observed his whole career and exemplified in recordings, notably his Oregon album of three Haydn symphonies. “We have to remember the As, Bs and Cs of orchestral playing,” says Kalmar, who himself trained at Vienna’s University of Music and Performing Arts. “That hasn’t changed in 150 years and it won’t change still. You still have to focus your education on the Mozart, Haydn and Schubert.”

Board Chair Susan A. Rothmann & Paul Hogle celebrating the appointment of Carlos Kalmar

Some CIM students already have a glimpse of what this view entails. After Kalmar’s audition at CIM, which included leading orchestra rehearsals, Tolliver says one student reported gaining a new understanding not just of a Mozart symphony but of Mozart’s music in general. Others, Tolliver says, remarked on his rehearsal methods, responding favorably to Kalmar’s efficient use of time and clear objectives. Where some conductors struggle to articulate a viewpoint, Kalmar seemed to know and managed to express and achieve exactly what he wanted. “He just has a fully-formed concept for the piece,” Tolliver says. “You’re never wondering what his vision is. And that matters. Our students need to observe and understand how to form and articulate musical vision so that they can do the same thing when they graduate into the profession.” The same holds true of Kalmar’s vision for CIM in general. He’s only spent a few days on campus, but already his ambition for CIM is in perfect focus: to make the school a globally elite training ground for tomorrow’s conductors and orchestra musicians. It’s a vision Kalmar knows how to realize. He’ll spend his first year, as an interim, connecting with as many in the CIM community as possible, learning of their needs and wishes. He’ll also hold auditions, begin conducting performances and search

for a home in Cleveland. The kind of change he envisions can’t be brought about remotely, he says. Then begins the real work, the gradual process of acting on all he’s learned. If that effort goes as well as Kalmar’s many rehearsals, performances and recordings over the years, CIM students are in good hands indeed. “I want us to give a good education that is as broad as the real world, so no one’s going to get caught off guard,” Kalmar says. “If we can do that, we will have accomplished something great.”

SAVE THE DATE CIM Orchestra returns to Severance Hall, led by Carlos Kalmar, on October 10 at 3pm. Visit cim.edu/severance for concert and ticket information. SU M M E R 2021

FOR THE LOVE OF MUSIC By Kimberly Bonvissuto The mission of the Cleveland Institute of Music goes back to its founders:

“Musical education, in addition to the thorough study of technique, ought above all else, to develop qualities of appreciation, judgment and taste, and to stimulate understanding and love of music.” – Ernest Bloch, director (1920-25) It’s a mission rooted in the value of a dedicated conservatory education, which was recognized by and came to be a reality in Cleveland thanks to the ladies of the Fortnightly Musical Club. It was their vision – and their funding – that launched CIM into what is today one of the most prestigious music conservatories in the country.

1920s-1940s | Creating a Vision The Fortnightly Musical Club is credited with putting Cleveland on the map for classical music, having its hand in establishing The Cleveland Orchestra and CIM. A small group of women contributed $1,000 each to establish a “school of music where every type of student could find opportunity for the best musical education.” Organized in 1894, the Club is one of the oldest continuous music clubs in the country. It was also the first founder-supporter of the Cleveland Music Settlement. The Bloch Years Fortnightly Musical Club member Martha Bell Sanders was appointed CIM’s first executive director, and she enlisted Swiss composer Ernest Bloch as the first musical director of the conservatory. He was responsible for recruiting composer Roger Sessions, violinist André de Ribaupierre, composer Herbert Elwell and pianist Beryl Rubinstein. A professional and world-renowned faculty is a trademark of the conservatory 20 20

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Inagural Catalog, 1920-21 | CIM’s first official home at 3146 Euclid Avenue

that continues today. Those faculty bring a personal touch to education that remains a core value at CIM. The conservatory opened in the Cleveland Statler Hotel, bouncing around to several mansions on Millionaires’ Row before settling into its permanent home in University Circle. Bloch studied in Geneva, Brussels, Frankfurt and Paris before coming to the US in 1916 as conductor for a tour by Maud Allan’s dance company, followed by a teaching position at the David Mannes College of Music in New York before accepting the directorship at CIM. Bloch conducted the student orchestra, taught composition and established master classes and courses for the general public. He brought high standards, international contacts and a commitment to new music to the conservatory.

“Composition is one of the core things we’ve done over the years. It’s a thread going back to Bloch through different generations,” said Keith Fitch, head of the composition department and director of the New Music Ensemble. Fitch said CIM’s history is rich with composers, including Donald Erb, Marcel Dick and Margaret Brouwer, in addition to Roger Sessions. In celebrating the 100-year milestone, Fitch said he’s hoping to provide an overview of a century of new music through the New Music Ensemble by highlighting composers central to CIM, focusing on that legacy going back to Bloch. “The main thing I want to do for students, composers and performers is introduce them to a great variety of contemporary music – younger composers, established composers, different languages and styles,” Fitch said. “For the guest composers and student performers, giving them the highest possible performance I can give them. I want to establish a standard of performance for new music.”

CIM Relocation Campaign, 1959

While CIM director, Bloch completed 21 works, including Concerto Grosso, which was composed for the student orchestra at CIM. His contributions included an Institute chorus at the Cleveland Museum of Art; attention to pedagogy, especially in composition and theory; and a concern that “every student should have a direct and high-quality aesthetic experience.”

The eurhythmics department – one of only a few in the country – is a special feature of CIM’s educational training, serving elementary students through experiential learning, late elementary and middle school students, the Pre-College program for high school students planning to attend a postsecondary music program and a graduate and professional program of electives.

But he enacted “radical reforms” for the time, like favoring direct musical experience over exams and textbooks. That philosophy clashed with the trustees’ desire to offer a practical curriculum and a more traditional approach to music education, leading to Bloch’s departure in 1925 to head the San Francisco Conservatory of Music.

Rubinstein joined the CIM piano faculty in 1921, becoming head of the piano department in 1925, dean of faculty in 1929 and director in 1932. He recruited faculty including Opera Director Boris Goldovsky, violinist Josef Fuchs, cellist Leonard Rose, pianist Leonard Shure and harpist Alice Chalifoux.

Sanders took over as chief executive officer and director. Under her leadership, the school opened preparatory branches to educate younger students, pianist Arthur Loesser joined the faculty, and the school of opera opened in 1927 under Marcel Salzinger, followed in 1930 by the department of modern dance under Eleanor Frampton, who received the Cleveland Arts Prize in 1964 – the first time it was awarded for dance.

His 20-year tenure was interrupted twice – first in 1935 and again from 1942-44 – when he was in charge of the musical activities of the US Army’s Fifth Service Command. He carried the school through the hardship of war and the Depression. In 1941, the Institute moved to the Jacob D. Cox residence on Euclid Avenue. In 1945, CIM celebrated its Silver Anniversary, and with the end of the war Rubinstein returned to CIM.

The Rubinstein Years By 1932, faculty member Beryl Rubinstein was named the third director of CIM. That year, CIM moved to the Samuel Mather House on Euclid Avenue and eurhythmics became a central focus of every student’s music education. SU M M E R 2021

Victor Babin and Vitya Vronsky Babin

CIM Postcard, 1965

1950s-1970s | Evolution of a World-Class Program

In the 1960s, Donald Erb, head of the department of theory and composition, was gaining national attention for his unconventional use of traditional and non-traditional instruments, and was regarded as Cleveland’s most well-known and controversial 20th century composer.

After Rubinstein died unexpectedly in 1952, Ward Lewis, the dean of the school and acting director during Rubinstein’s second stint in the Army, was again appointed interim director. In 1954, pianist Ward Davenny (BM ’34) was appointed director. Under Davenny, the conservatory enjoyed a period of major growth. As the decade came to a close, Bloch died in 1959, but his vision for a school of excellence was taking shape. CIM opened its $2.2 million University Circle facility in 1961 under President Victor Babin, who with his wife Vitya Vronsky formed one of the great classical piano duos of the 20th century. The opening of a permanent home and the appointment of Babin marked a new era for the conservatory, which evolved from a regional school into a world-class program. As director, Babin continued to grow the conservatory, recruiting distinguished musicians to the conservatory faculty – including Gerard Souzay, Nadia Boulanger, Darius Milhaud and Eleanor Steber. He broadened course offerings and established a cooperative relationship with Case Western Reserve University. He was honored in 1966 with the Cleveland Arts Prize for Music.

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When Babin died suddenly in 1972, then-President of the CIM Board of Trustees Martha J. Joseph stepped into the interim director role. She guided the conservatory through an uneasy period and recruited Babin’s successor, pianist Grant Johannesen. Johannesen studied with pianist Robert Casadesus and composers Roger Sessions and Nadia Boulanger. He made his Manhattan recital debut at age 23 and was a frequent soloist with The Cleveland Orchestra and Utah Symphony. In 1975, Joseph and Johannesen co-founded the Robert Casadesus International Piano Competition. This biannual event, renamed the Cleveland International Piano Competition in 1994, draws applicants from around the world. When Johannesen left CIM in 1991, Joseph succeeded him as the competition’s president. In 1978, Joseph and Johannesen set out to reach a younger audience with the founding of the Friends of CIM, which promoted the conservatory’s Preparatory and Continuing Education Division. Joseph also led a $2 million fundraising campaign to create an endowment, which attracted a $1 million

Ford Foundation grant. She also is credited with maintaining the independence of the conservatory in 1985 when trustees were considering a merger with Case Western Reserve University to ease financial pressures.

1980s-2000s | A Return to Glory David Cerone was appointed director in 1985. Cerone was a concert violinist and former faculty member at both CIM and the Curtis Institute of Music. Cerone is credited with returning CIM to its former glory days under Babin and helping the Institute regain its financial footing. He also brought a focus on chamber music to the conservatory. David and Linda Cerone developed the ENCORE School for Strings, an intensive summer program held on the campus of Western Reserve Academy. The program attracts faculty of international renown and students from around the world. That same year, the Young Artist Program was established for gifted high school students planning a career in music. Facilities Expansion By the early 2000s, CIM was offering a full orchestral curriculum to more than 400 conservatory students and more than 1,700 students in the Preparatory and Continuing Education Division – all of this in a facility designed to accommodate 150 students. One of Cerone’s greatest achievements was the conservatory’s successful $40 million campaign to expand CIM facilities. The campaign ended with the 2007 opening of the Recital Wing and the Fred A. Lennon Education Building, which housed new practice rooms, administrative offices, a student lounge and terrace, and a donor plaza; Mixon Hall, a 235-seat venue designed for solo recitals and chamber music; The Robert and Jean Conrad Control Room for high-tech recording and broadcasting; and the Robinson Music Library, named after Barbara Robinson, a pianist who spent her life promoting and supporting arts and culture in Northeast Ohio. When Cerone retired in 2008, Joel Smirnoff assumed the role of director. Smirnoff was long-standing first violinist of the Juilliard String Quartet and chair of the violin department at The Juilliard School before he moved to Cleveland. Under Smirnoff’s leadership, several new degree programs in composition and performance were established, CIM’s international profile was raised and performing opportunities for students, faculty and guest artists were increased.

David and Linda Cerone with a student

TODAY | Focus on Excellence CIM’s current president, Paul Hogle, took the reins in 2016. Prior to joining CIM, Hogle served as executive vice president of the Detroit Symphony Orchestra, which experienced a renaissance under his leadership. In 2016, the Institute began a year-long strategic planning process to ensure CIM remains what Fortnightly Musical Club member Mary Hutchens Smith called a “center of music education.” Blueprint:100 focuses on scholarship funding and investing in tangible improvements to the student experience. Under Hogle’s tenure to date, CIM has experienced a 328% increase in Black and Latinx student enrollment, received gift commitments of more than $17 million to the endowment, constructed a state-of-the-art student housing complex, lowered tuition by 15% and increased scholarship funds by $1 million. Today, CIM is working to increase scholarship and reduce the size of its student body to compete with the nation’s top schools of music and better position students to compete for jobs after graduation. At the same time, the conservatory is emphasizing diversity by creating new pathways to admission and performance opportunities for students from underrepresented populations. Learn more about these initiatives throughout this issue of Notes and at cim.edu/news.

SU M M E R 2021

BUILDING BRIDGES

After a year of change and challenges, CIM emerges with new digital strategies for improving connection, access and instruction

By Suzanne de Roulet In the world of classical music, change often happens slowly. An elite conservatory like CIM – itself a century-old institution – prides itself on celebrating and upholding the values and ideals of musical traditions that have endured for hundreds of years. When the COVID-19 pandemic hit, change was a necessity for survival. The traditional in-person model – the everyday interactions between instructor and student, between musician and audience – was rendered impossible. Members of CIM’s tight-knit community of students, faculty, staff and alumni had to navigate unprecedented distance between them and find new ways to come together while staying apart. Despite the substantial challenges of operating a top tier conservatory during a global pandemic, CIM and its students have flourished. The Institute has come out of this extraordinary year with a host of creative methods for improving connection, access and instruction while maintaining the values, standards and ideals it holds dear. “This past year has been transformational,” says Dean Southern (DMA ’09, Schiller), vice president for academic affairs and dean of the conservatory. “For so many people across the globe, it’s been a year of tragedy and grief and worry. We are so very fortunate at CIM that we have been able to not only survive this past year, but to thrive as well. Even more astonishing, we are carrying forward a tremendous amount of value that should help shape a more vibrant conservatory experience for our student musicians for years to come.”

Now, anticipating a return to more normal operations, CIM considers the ways online offerings and high-tech tools can enhance and improve the in-person experience.

Enhancing Connections, Increasing Star Power One of the most profound discoveries of this pandemic year has been that distance learning can, in fact, provide new ways to bring people together. Two programming series, new for the 2020-21 academic year, connected students to faculty, alumni, professional musicians and other artistic experts. Virtual Intensives – held in May, June and December of 2020 and again in summer of 2021 – feature online instruction designed to teach audition skills and fundamentals of musicianship and help prepare students for the next step in their musical careers.

Reimagining the CIM Experience Creative use of remote offerings and technology enabled students to enjoy the same high-level conservatory experience CIM has always been known for – it simply looked a little different. “The pandemic forced us to reimagine what CIM’s offerings could look like remotely – it pushed our thinking to a different level,” says Jerrod Price, dean of musician and community advancement. 24

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Dean Southern and his student Xiaoge Zhang (onscreen) using zero-latency technology

“Virtual Intensives allow musicians at any stage, from potential applicants to retirees, to observe or participate in lessons and master classes with expert faculty from wherever they are in the world,” says Madeline Lucas Tolliver (BM ’09, MM ’11, Smith), dean of artistic administration and operations. The conference-style Intersession is another innovation that brought CIM students into close but virtual contact with industry experts. Held over four days in January 2021, Intersession kicked off with a special presentation by Amy Blankson (author of The Future of Happiness), continued with an alumni panel discussion on the future of classical music and closed with a conversation between CIM President & CEO Paul Hogle and Grammy Award-winning conductor and CIM Orchestra Artistic Advisor JoAnn Falletta. All sessions took place remotely and were recorded to share with students who couldn’t attend in real time. Participation was enthusiastic, engaging students during the break between fall and spring semesters, and bridging the physical distance between students, faculty and alumni. Amelia Abouljoud (viola, Irvine) appreciated the ability to stay connected to her studies. “Intersession was a great stepping stone between semesters,” she said. With such a wide variety of offerings and the ease of including students, instructors and alumni virtually, in-person or both, Intersession is likely to become a regular part of the CIM experience. CIM administration is also exploring whether the Intersession model has additional applications – perhaps as an orientation and welcome session held at the beginning of each academic year. These programs build bridges between the various facets of CIM’s global network while keeping the sense of community and togetherness strong even when students aren’t in class or on campus. And virtual programming has the added benefit of expanding the pool of potential presenters. “With Severance Hall next door and The Cleveland Orchestra members on faculty, CIM has historically had access to the world’s top orchestral musicians,” said Price. “Switching to virtual programming meant that we could access additional star power from all over the world.”

REHEARSING CLOSENESS I

In a year when connection was more important than ever before, a special performance forged deeper bonds between student musicians and The Cleveland Orchestra. In February 2021, CIM students performed side-by-side with Institute faculty and alumni who are members of The Cleveland Orchestra, creating a cohesive ensemble that highlights the connection between these two great institutions. “The need for social distancing this year has been challenging and at times frustrating for students and faculty alike,” said Richard Weiss, first assistant principal cellist of The Cleveland Orchestra and co-head of CIM’s cello department. “The opportunity to both rehearse and perform together has hopefully been a source of encouragement to our students.” “We got so much insight into how professional musicians interact and work together. There’s such a high level of respect and a focused friendliness I loved,” said Jessamyn Fry (BM ’21, Kraut), who played in the ensemble. While Cleveland Orchestra members have played sideby-side with CIM students in rehearsals occasionally over the years, the February performance was such a valuable experience for all involved that there are plans to make it a regular feature of CIM’s curriculum. “This was so incredibly beneficial for students,” said Madeline Lucas Tolliver, dean of artistic administration and operations. “You walk into rehearsal and see all five leaders already there, checking bowings, checking intonation. You get to see the focus and intensity that the section leaders engage with – for our students, there is no better way to understand the inner workings of a professional orchestral environment than to observe these musicians in person.” “To play under the guidance of the Cleveland Orchestra faculty was such an excellent experience,” said Fry. “They really brought us to another level of communication and camaraderie.” SU M M E R 2021

CIM² Lunchtime Conversation with Keith Fitch

Discovering What Comes After CIM Students have also had the opportunity to develop connections with music industry professionals – and preview potential careers – via weekly “Lunchtime Conversations.” Featuring alumni and guest professionals across a wide variety of artistic occupations – from orchestra principals to directors of artistic planning to experts in intellectual property and more – these sessions address skills all musicians need to know. “Students get inspiration to continue pursuing their dream professions while glimpsing a variety of potential career options tied to music,” said Price. “These weekly conversations also help to provide an even stronger sense of community and togetherness.” “I tuned in nearly every Friday last semester,” said JulieMichelle Manohar (voice, Kuznetsova). “Hearing established musicians’ respective journeys was very inspiring and they shared so many insights into the field of classical music.”

Eliminating Barriers, Increasing Access Accessibility was a big factor in the success of CIM’s auditions for students entering in fall 2021. With the full audition-day experience entirely online – including a virtual tour of CIM, student- and alumni-led welcome sessions, a eurhythmics demonstration, financial aid information and student performances – applicants got an inside look at what CIM is all about, without having to travel to Cleveland.

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“Talented musicians choose CIM because of our world-class faculty, commitment to student career outcomes and access to world partners,” said Price. “Holding virtual auditions certainly helped provide access for students who were now able to add CIM to their list of prospective programs. We are already discussing how we can open future auditions to those who might not have the resources to visit Cleveland in person.”

Deploying Digital Technology With the pandemic keeping students in one place and instructors in another, many CIM faculty members leaned on the power of digital recordings. Some instructors recorded key concepts for students to view anytime, as often as needed. Eventually, these videos will form a database that all instructors and students can use. Other instructors required students to record their own assignments – with unexpected benefits. “Keyboard assignments, figured bass and melodic harmonization, sight reading – all of this was done remotely,” said Diane Urista, head of CIM’s core curriculum division and a member of the music theory faculty. “Students really excelled when having to create a recording they had to be proud of. Many operated at a higher level than they might have if they’d had to perform in front of their peers. When we get back to the classroom, we will continue to incorporate the recorded aspect of lessons.” “I enjoyed being able to record assignments, as it felt less like preparing for a mini-performance and more like an exercise,” said Manohar, who has taken music theory with Urista.

Expanding Beyond the In-Person Performance Dean Southern, who is also artistic director of CIM Opera Theater, had a different use for recording technology. Singing together indoors was off limits, so outdoor, physically distanced performances of the annual Opera Scenes program took place in fall and spring. Additionally, CIM voice students began producing a soundtrack to a fully filmed version of Henry Purcell’s Dido and Aeneas which premieres in fall 2021. Students are working with CIM faculty member Alan Bise (BM ’94, Knab) – a Grammy Award-winning producer and recording engineer – and a Cleveland area professional film company. Because their parts are recorded individually, students have the unique experience of lip synching in front of a green screen and on location.

has to offer in person, but, used in tandem with traditional methods, they can help enhance CIM’s offerings going forward and provide different ways to connect, to create and to nurture musicians and their musical careers.

“This has been an exceptional opportunity for students to work with a professional recording engineer and a professional film director, and to learn skills that could be useful in their future careers,” said Southern. “While there is nothing like the experience of performing live, we are looking at ways to reproduce the benefits of this production for future years.”

Moving Forward Without the challenges of the COVID-19 pandemic, CIM perhaps never would have embraced online and digital technology so thoroughly as it did this past year. But in doing so, faculty and staff have uncovered new ways to connect the members of CIM’s community and more methods of sharing knowledge, skills and, of course, music. These pandemic-era changes will never be a substitute for experiencing all CIM

SAFETY FIRST In the face of the COVID-19 pandemic, the safety of students, faculty and staff is CIM’s highest priority. The Institute implemented new cleaning protocols and safety precautions, adjusted schedules and workspaces and recalibrated the curriculum to accommodate virtual, hybrid and in-person lessons, auditions and performances. Staff and faculty acquainted themselves with distance learning tools and administration invested in technology to help keep the CIM community connected. CIM’s donors gave generous gifts in support of pandemic priorities, including Trustee Elliott Schlang and his wife Gail who supported the Elliott & Gail

Fall 2020 Opera Scenes program on CIM’s Terrace: Jacqueline Schimpf (voice, Schiller) and Valerie Sibila (voice, Schiller) | Gillian Beckman (voice, Schiller) | Photos by Tyler Scott

Schlang Student Health & Well-Being Initiative in spring of 2020 and through the 2020-21 school year. With everything in place and a determination to be flexible with the ever-changing pandemic landscape, CIM welcomed students back to campus in August 2020. In a moment of true serendipity, CIM’s brand new residence hall, 1609 Hazel, opened just in time for the academic year to begin. This space enabled CIM students to live on campus safely during the pandemic, access their online classes, practice in secure and clean spaces and enjoy the sense of autonomy and independence that comes with leaving home and living on campus.

SU M M E R 2021

ALUMNI NEWS Have some news? Visit cim.edu/alumni and click the Share Your News button. News is accepted on an ongoing basis and may be held until the next issue.

Alumni

Crystal Carlson (PS ’09, Schiller), director of operations for Piano Cleveland, and Johnnia Stigall, manager of pre-college and pathway programs at CIM, were named among the 2019 Top 30 Professionals of the Year by Musical America Worldwide.

Susan Allen (BM ’80, Schmitter) retired from horn playing in 2012 to pursue her passion for oil painting. In January 2021, she placed third in Fusion Art’s 6th Annual Landscapes International Art Competition with her work “Lowcountry Reflection,” oil on canvas.

Sarah Chaffee (BM ’12, Kraut) was a member of the string quartet backing up legendary rock band Aerosmith in their Deuces Are Wild Las Vegas residency. Her second passion is arranging songs for her proprietary sheet music label, Cellobat Charts; so far she has published nearly 150 string arrangements that are available from Sheet Music Plus.

The Way of Cane: The Science, Craft, and Art of Bassoon Reed Making by Eric Alan Arbiter (MM ’74, Goslee) was published by Oxford University Press and is available through Amazon, Barnes & Noble and major woodwind suppliers.

Maude Cloutier (YAP ’21, Sloman) won the 2019-20 Suburban Symphony Orchestra Young Soloists Competition and performed with the orchestra in February 2020.

John Bartholomew (1973-76) retired from the Chicago Symphony Orchestra in October 2019 and received the Theodore Thomas Medallion for Distinguished Service.

Kim Diane Cook (1989-91, Harris) received critical acclaim for her two-CD set by MSR Classics released in December 2018, available on Amazon. She was also honored with an award for the Top Five CD Issues for 2018 by critics of Fanfare.

Mike Block (BM ’04, Aaron) released Tenfold, a second single from his record, The Edge of the Atmosphere. Yana Borisova (BM ’10, Shevchenko) started an initiative entitled Play to Help: Music Students Help Other Music Students as a way to support fellow alumna Mahani Teave (MM ’06, PS ’08, Babayan). Borisova’s piano students fundraised with their own performance videos and donated the proceeds to Teave’s music school. Read more on page 5. Raymond Breakall (BM ’82, Wiener/Duff) is finishing up 20 years as principal timpani in the Williamsburg Symphony. Terry Boyarsky (BM ’77, Brown) is celebrating her twelfth year as a member of the Russian Duo, which has a new website: russianduo.com. Felipe Calle (MM ’11, PS ’13, Pontremoli) played a concert in the National Museum Hall in Bogotá, Colombia with cellist Christine Lamprea, benefitting government-sponsored organization Fundacion Batuta.

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Houston Dunleavy’s (MM ’90, MM ’91, Erb/ Brooks) first viola concerto, A Kiss before the World’s End, was recorded in Costa Rica in 2018 by violist Brett Deubner and the Orquesta Sinfónica de Heredia and released on the album Solosh, which was nominated for the 2019 Latin Grammy Awards in the Best Classical CD category. Timothy Ehlen (DMA ’99, Schenly), professor of piano and chair of keyboard area at University of Illinois in Urbana-Champaign, released Late Character Pieces of Brahms, Op. 116, 117, 118, 119 (Azica), to critical acclaim. He has given recitals, lectures and master classes throughout China and the US. Evan Fein (BM ’07, Brouwer) conducted the Icelandic premiere of his chamber opera The Raven’s Kiss in Seyðisfjörður, Iceland in August 2019. Based on local lore, this was only the second fully staged opera to be shown in the East Fjords region. His new comic opera, The Rat Came Back, commissioned by Opéra de Poche, will premiere in Moulins-sur-Allier, France. His new sight singing method book Inner Hearing was published by Theodore Presser.

Arturo Fernandez (MM ’14, Fitch/Kohn) formed Trio Menagerie, a string trio specializing in performing classical and nerd music-flavored concerts at conventions across the US. They recently recorded their first album, Nerdy Music For Nerds, featuring arrangements and Bachstyle remixes of music from movies, TV and games. Richard Glazier’s (DMA ’94, Schenly/Hecht/ Pastor) combined concert and documentary From Broadway to Hollywood was screened as part of the 2021 Turner Classic Movies Film Festival. Steven Greenman (BM ’89, MM ’91, Cerone/ Bodman/Gratovitch/Goldschmidt) wrote Klezmer School for Strings: Violin Park – Volume 1 as a complement to the Suzuki and classical violin method books. It is available at stevengreenman.com. Devin Hinzo (MM ’18, Rosenwein) launched FP Creative, an arts organization making classical music more accessible through a collaborative concert series and educational and professional development programming for aspiring musicians. Frank Huang (DMA ’12, Pompa-Baldi) joined the roster of Steinway Artists. Jack Hughes (BM ’14, Fitch) received the 2019 Underwood Commission from the American Composers Orchestra (ACO) during the 28th Annual Underwood New Music Readings. He will write a new orchestral work to be premiered by ACO in an upcoming season. Judith Ingolfsson (MM ’94, AD ’96, PS ’00, D. Cerone/Weilerstein) and Vladimir Stoupel released their newest CD La Belle Époque on the GENUIN label. In addition to Franck’s Violin Sonata, they present Théodore Dubois’ Violin Sonata and Ysaÿe’s Poème élégiaque. Tobias James (BM ’16, Vieaux) released his first self-recorded album, Oberek, featuring Polish music performed on guitar, and enlisted as a guitarist in the 144th Illinois Army National Guard Band.

Dr. Thomas Josenhans (MM ’91, Cohen), professor and chair of the University of Evansville Department of Music, received the 2019 Sydney and Sadelle Berger Award for Service. This award is among the highest honors bestowed on faculty at the University of Evansville. Dr. Timothy Kalil (BM ’74, MM ’76, Podis/ Radunsky) performs in a jazz duo and jazz trio throughout Northeast Ohio and his classical solo piano recordings can often be heard on WYSU 88.5 FM. He has also earned many honors as a volunteer presenter of concerts for 30 years and is a former member of the piano faculty at the University of Kansas. Ariel Clayton Karas (BM ’10, MM ’11, D. Cerone/L. Cerone/Rose) was featured on the podcast And Now The Music, with host and fellow alumna Liz Huff (BM ’98, MM ’99, Rinaldi). Emil Khudyev (BM ’09, Cohen) and Stanislav Golovin (BM ’09, MM ’11, Cohen) founded the Bravissimo Clarinet Academy, which hosted its inaugural season in July 2020. Do-Hyun Kim (BM ’17, AD ’21, Babayan) performed in the first Encore recital of the season, a collaborative series by Young Concert Artists and The Morgan Library and Museum. Steven Mark Kohn’s (MM ’95, Erb) dramatic song cycle for mezzo-soprano, The Trial of Susan B. Anthony, has seen a wide variety of performances since its premiere in October 2020, including on a program by the University of Wisconsin-Madison entitled What’s Past is Prologue, which centered on civil, minority and women’s rights. Elisabeth Kufferath (BM ’92, Weilerstein) is featured as violinist and violist on her recently released solo CD Two on the CAvi-music label. With works by Bernd Alois Zimmermann, Thorsten Encke, Johannes X. Schachtner and Peter Eötvös, the disc includes three world premiere recordings and a viola duo which she recorded with herself. Dr. J LanYe (BM ’66) and Eliesha Nelson (BM ’95, L. Cerone/Russell, MM ’99, Vernon) released their recording, Spirituals for Piano and Viola (Black Spirituals Matter as the Backbone of American Music).

Quatra Duo, made up of Jeff Laquatra (BM ’92, Holmquist) and flautist Michelle Stanley, will release their debut recording Painted Music on September 25, 2021. It features contemporary works for flute and guitar by Bryan Johanson, James McGuire, Phillip Houghton and Osvaldo Golijov. Cynthia Fok Lawing (MM ’73, Kurzban/ Findlay) has been inducted into the Steinway Teachers Hall of Fame. She is on the teaching faculty at Davidson College and regularly performs as a piano duo team with her sister, Gloria Fok Cook (DMA ’84) who is professor of music at Rollins College. Yuriy Leonovich (MM ’08, DMA ’12, Geber) is working with the Servais Society in Belgium, the Herbert Foundation in the US and a Granville Bantock scholar in the UK to publish Urtext editions of cello works and promote a revived interest in these composers.

Entering his fifteenth season as music director and conductor of the Annapolis Symphony Orchestra, José-Luis Novo (MM ’94, Topilow) is the longest-serving music director in the history of the ASO beyond Music Director Emeritus Leon Fleisher’s previous directorship. Novo continues to serve as resident conductor at the Eastern Music Festival and recently concluded a 13-year tenure as music director and conductor of the Binghamton Philharmonic. Kimberly Patterson (BM ’07, Geber) released her second album titled Still Life: Collected Music for Cello and Guitar by Steve Goss with guitarist Patrick Sutton on the Parma/Navello Records Label in June 2020. Ophir Paz (BM ’18, Egre), a recording engineer for “The President’s Own” US Marine Band, was responsible for the live and broadcasted audio, as well as the sound in all rehearsals and guest artist presentations at this year’s Presidential Inauguration.

Julian Maddox (BM ’19, Preucil/Winkler, MM ’21, Laredo/Sloman) and Sabrina Bradford (MM ’20, Rose) were selected as inaugural Academy Fellows at the Classical Tahoe Festival in Nevada where they will perform alongside members of the Classical Tahoe Festival Orchestra.

Paul Phillips Jr. (1964-68, Granat/Weilerstein) concluded his tenure with the Chicago Symphony Orchestra in July 2020, marking a career that spanned four decades. Phillips was recognized with the Theodore Thomas Medallion for Distinguished Service.

Paula Maust (MM ’12, Wilson) created an online open-source collection of music theory examples by women and BIPOC composers, complete with contextual materials (PDF excerpt, public domain full score, recording and composer biography) at expandingthemusictheorycanon.com.

Ann Hobson Pilot (BM ’66, Chalifoux) shared the story of the racial discrimination she experienced growing up, her historic appointment with the Boston Symphony Orchestra and the lack of diversity in classical music and how to move forward in an interview for Sarasota Magazine.

Sharon Mautner-Rodgers (BM ’89, Geber) toured with the Malaysian Philharmonic, giving concerts in Beijing, Tianjin and Dalian, China, in November 2019. In March 2020, she judged the string division of the Schubert Club Competition in Minneapolis. Mautner-Rodgers also performs with the Lakes Area Music Festival each summer in Brainerd, MN.

Bjorn Ranheim (BM ’99, Geber) performed Shostakovich’s Piano Trio No. 2 with St. Louis Symphony Orchestra Artist-In-Residence JeanYves Thibaudet and fellow SLSO colleague Celeste Golden Boyer (MM ’07, Kantor) as part of Washington University’s Great Artists Series, a collaboration between SLSO and Washington University Department of Music in St. Louis.

Artina McCain (MM ’06, Brown) was a featured soloist during Oregon East Symphony’s 2019 season finale and has recently appeared with the Memphis Symphony and Austin Civic Orchestra.

Danny Rectenwald’s (MM ’11, Vieaux) recording of his original work Road Song from his solo album Samadhi (2018) was used in a national commercial for Scott’s Lawn Care. Benjamin Richardson (BM ’21, Kraut) and his teammates won their fifth consecutive gold medal at the USA Curling Junior National Championships and traveled to Russia to compete at the 2020 World Junior Curling Championships. SU M M E R 2021

Rick Robinson (BM ’86, Angell) recently composed four works: one piece in remembrance of the Sandy Hook Shooting, two elegies to grieve and remember loved ones and one escapist romance inspired by a patron. He also had a successful premiere of his piece, Phantom Detroit, with Urban Requiem Project poets, CutTime Simfonica strings, D-Mac Jazz Piano Trio and jazz violist Leslie DeShazor. The piece explores gentrification as stages of grief in a variety of musical styles, mainly gospel, jazz, rock and funk, woven together by classical. Grace Roepke (BM ’19, MM ’21, Kondonassis) won third prize in the Dutch Harp Festival’s World Harp Competition. She performed a special program entitled State of Mind, which was inspired by her younger brother who has autism spectrum disorder. Pablo Sanchez (MM ’21, Rose) was named a Project Inclusion Fellow for the Grant Park Music Festival, a summer concert series focused on upholding a tradition of classical music in the Chicago area. Christian Standridge (BM ’17, Peckham) and a collection of musicians from the Berlin Academy of American Music will release their album of Copland, Dorman, Stravinsky and Takemitsu in October 2021 on the Onyx Classics record label. Genevieve Tabby (BM ’13, Kraut) and her sister, Sabrina, performed a mix of classical and folk music during a From the Top virtual concert on September 23, 2020. Jerod Impichchaachaaha’ Tate (MM ’00, Pastor/Erb) released the world premiere recording of Lowak Shoppala’ (Fire and Light) on Azica Records. Lowak Shoppala’ expresses Chickasaw identity through the medium of modern classical music and theater. His Concerto for Bassoon and Orchestra, Ghost of the White Deer, was premiered by the Dallas Symphony Orchestra and principal bassoonist Ted Soluri (MM ’94, McGill) in February 2020. He was also named one of 31 cultural ambassadors for the US Department of State’s Bureau of Educational and Cultural Affairs’ American Music Abroad Program. Violist Jarrett Threadgill (MM ’14, Jackobs) received the Judith and Thomas L. Beckmen Resident Fellowship with the Los Angeles Philharmonic.

Mary Vanhoozer (DMA ’13, Shapiro) wrote, performed and produced an album of original music, entitled Jubilee, written in response to the COVID-19 pandemic. This record features a variety of instruments including piano, violin, hurdy gurdy, hammered dulcimer, cello and percussion. In December 2019, Terry Vosbein (DMA ’95, Erb) opened the Stan Kenton Research Center in Staunton, VA, honoring the great band leader for whom Vosbein has become one of the world’s leading authorities. In July 2019, Max Frank Music released Come and Get It, the first CD of the Vosbein Magee Big Band, containing his jazz compositions and arrangements. Eleanor Willauer (MM ’20, Kosower/Geber) developed and performed a program entitled Songs of #MeToo—A Prelude of Change in August 2020. This concert featured Bach’s six cello suites paired with songs co-written with women who have experienced sexual misconduct and domestic violence.

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Mélisse Brunet (PS ’12, Topilow) was appointed as the director of orchestral activities at the University of Iowa School of Music and is a finalist for the position of music director of the Salina Symphony, to be decided at the end of the 2021-22 season. She was also selected among 11 other candidates to compete in the La Maestra Conducting Competition, the first international competition for women conductors. Michelle A. Cann (BM ’09, MM ’10, Schenly/D. Shapiro) joined the Curtis Institute of Music’s faculty as their inaugural Eleanor Sokoloff Chair in Piano Studies.

Patrick Yim (MM ’02, Updegraff/Preucil) released a new recording of solo violin works entitled Memory on Navona Records.

Emilie Choi (MM ’16, Rose) was named concertmaster of the Auburn Symphony Orchestra.

Earl Yowell (MM ’81, Duff/Weiner) retired from the Shenandoah Conservatory of Music, where he was awarded Professor Emeritus status.

Violinist Laura Colgate (YAP ’02, Updegraff) has been appointed concertmaster of the National Philharmonic.

Appointments The Callisto Quartet, composed of CIM alumni Paul Aguilar (BM ’19, Laredo/Sloman), Rachel Stenzel (BM ’18, MM ’19, Rose/ Sloman), Eva Kennedy (BM ’17, MM ’19, Ramsey/Irvine) and Hannah Moses (BM/MM ’18, AD ’19, Kraut), was appointed fellowship quartet-in-residence at the Yale School of Music and joined the Kanzen Arts LLC select roster for worldwide representation. Jennifer Arnold (BM ’03, PS ’05, Vernon) was appointed director of artistic planning and orchestral operations of the Richmond Symphony. Ann Marie (Hudson) Brink (BM ’96, Castleman) has been appointed assistant professor of viola at DePaul University School of Music.

Felipe Brito (AD ’17, La Rosa/Hawes) was appointed head band director at IDEA Montopolis Public Schools in Austin, TX, and development director at the Cleveland-based nonprofit Amistad Carribean Arts Camp. He also started his own company, Brito Consulting LLC, a digital marketing company for musicians, artists, entrepreneurs and nonprofit arts organizations.

Christopher Dwyer (BM ’94, Epstein) joined The Philadelphia Orchestra as second horn. He previously served for six seasons as second horn of the St. Louis Symphony Orchestra. Jennifer R. Ellis (MM ’12, Kondonassis) has joined Mills College in Oakland, CA, where she is teaching harp, focusing on new music and improvisation. Brent Erstad (BM ’08, Shevchenko/ Radosavljevich) was appointed director of music and organist of St. John’s Church, Lafayette Square, “The Church of the Presidents” in Washington, DC. Jorja Fleezanis (1969-72) was appointed to the string faculty at the Interlochen Arts Academy starting in the fall of 2021. Andrew Focks (DMA ’16, Shapiro) has accepted the position of president of the Ohio Music Teachers Association.

Ralitsa Georgieva-Smith (PS ’06, Pontremoli) was appointed vice president of Musical Talent in Me International, a nonprofit organization helping with developing and establishing music programs in schools K-12 around the world. She also received the Laura Putnat Award for organizing and performing a benefit concert in October 2020 in support of Cleveland-based organization Bessie’s Angels. Daphne Gerling (MM ’01, Irvine/Ramsey) was appointed assistant professor of viola at the University of North Texas College of Music, where she previously served as principal lecturer. Rachel (Hogle) Hall (BM ’15, Konopka) joined the viola faculty at Bob Jones University and is principal viola of the Hendersonville Symphony Orchestra. Stephen Hawkey (MM ’20, Kraut) won a section cello position with the Indianapolis Symphony Orchestra. Kynan Horton-Thomas (BM ’16, PS ’18, Dixon/Zadinsky) won a section bass position with the Virginia Symphony Orchestra. Ari Isaacman-Beck (BM ’07, Updegraff) was appointed as the Dalí String Quartet’s new first violinist, joining alumnus Jesús Morales (BM ’95, Harris). Daniel Jordan (BM ’96, MM ’97, Updegraff/ Weilerstein) was appointed director of artist programs at Artist Series Concerts of Sarasota, starting July 2021. Emma Kail (MM ’04, Sachs) was appointed executive director of the Grand Teton Music Festival after a nationwide search. Dr. Christine R. Kralik (MM ’15, Weiss) was appointed cello professor at the University of Mississippi. She is also principal cellist of the North Mississippi Symphony in Tupelo, MS, and LakeRidge Chamber Orchestra in Lubbock, TX. Hanna Landrum (BM ’14, PS ’16, Updegraff/ Preucil) was appointed to the second violin section of the Minnesota Orchestra. Jacquelyn O’Brien (BM ’19, MM ’20, Jackobs) was selected as a first-year viola fellow at the New World Symphony. Daniel Raney (MM ’19, Yancich) was appointed principal timpanist of the US Coast Guard Band.

Emily Schaefer (BM ’14, King) has joined the faculty at East Carolina University in Greenville, NC, as assistant professor of horn. Tom Sullivan (MM ’12, Weiss) was appointed to the cello section of the Grand Rapids Symphony. Xiaohan Sun (BM ’16, Irvine) was appointed to the viola section of the Dallas Symphony Orchestra. Deanna Tham (PS ’14, Topilow) was appointed assistant conductor of the Omaha Symphony, effective July 2021. Christopher Thibdeau (MM ’11, Topilow) was appointed artistic director of Project STEP, a nonprofit identifying talented underrepresented students from Boston and providing them with comprehensive string instrument instruction. Paul Torrisi (MM ’17, Sachs) joined the Utah Symphony as second trumpet in September 2019. Titus Underwood (BM ’08, Mack/Rosenwein/ Rathbun) was appointed associate professor of oboe at the University of Cincinnati CollegeConservatory of Music, starting August 2021. He also received the 2021 Sphinx Medal of Excellence. Amitai Vardi (MM ’02, Cohen) was awarded tenure and promoted to associate professor of clarinet at Kent State University. Dr. Kirsten Yon (MM ’01, Updegraff/ Preucil) was selected as concertmaster of the Shreveport Symphony Orchestra. She is also associate professor of violin and chair of the string division at the University of Houston Moores School of Music.

Prizewinners Paul Aguilar (BM ’19, Laredo/Sloman) and Mikel Rollet (YAP ’19, Irvine) were semifinalists of the 24th Annual Sphinx Organization Competition, Senior Division. Paul Aguilar (BM ’19, Laredo/Sloman) was awarded a 2019 MPower Artist Grant by the Sphinx Organization. Phoenix Avalon (YAP ’19, Laredo/Sloman) was awarded first prize in the senior category of the 2019 Spohr International Violin Competition in Germany.

The Lumière Quartet, comprised of Célina Béthoux (YAP ’21, Lee/Setzer), Moonhee Kim, Henry Rogers (YAP ’21, Kwuon) and cellist Ania Lewis (YAP ’21, Geber), was named the first place winner of Rembrandt Chamber Musicians’ 26th Annual High School Chamber Music Competition and the winner of both the Overall and Strings & Piano categories of the 2021 Chicago National Chamber Music Competition, Open Division. Sabrina Bradford (MM ’20, Rose) won Most Outstanding Instrumentalist for violin and Austin Cruz (Sachs) was named first prize winner of the Brass and Percussion category and Most Outstanding Instrumentalist for trumpet in the Sphinx Orchestral Partners Auditions Excerpt Competition. Jung Min Choi (AD ’21, I. Kaler) placed second in the The Elmar Oliveira International Violin Competition. She received a cash prize of $15,000, a violin made by Luiz Amorim of Amorim Fine Violins Cremona, a gold-mounted bow and a BAM travel violin case and bow case. Gaddiel Dombrowner (MM ’17, Topilow) won first prize at the Athens International Masterclass and Competition and third prize at the Blue Danube Opera Conducting Competition. Both achievements came with guest conducting appearances for the coming seasons. The ILO Quartet – comprised of Hannah Duncan (violin, Kwuon), Charlotte Loukola (violin, I. Kaler), August DuBeau (viola, Jackobs) and Myeonggyun Noh (BM ’21, Geber) – was named the winner of the People’s Choice Prize in the Senior Division String & Piano Category of the Coltman Chamber Music Competition. They also won first prize in the 8th Stockholm International Music Competition in the ensemble 3 (ages 18-26) category. Arturo Fuerte (MM ’99, Klaber) was selected as a finalist for the 2020 Golden Apple Award for Excellence in Teaching, an award that honors teachers who have greatly impacted their students’ lives, growth and learning as well as their entire school community. Harpist Rachel Lee Hall (BM ’16, MM ’17, Kondonassis) won the Grace Woodson Memorial First Prize and a $25,000 award at the Houston Symphony Ima Hogg Competition. Austin Hartman (BM ’02, Weilersein), as a member of the Pacifica Quartet, won a 2021 Grammy for Best Chamber Music/Small Ensemble Performance for their recording Contemporary Voices. SU M M E R 2021

Rixiang Huang (BM ’17, Pompa-Baldi/Schenly) was awarded first prize in the Piano Masters category of the XI Chopin International Piano Competition based in Hartford, CT. Tristen Jarvis (MM ’20, Dixon) won honorable mention in the International Society of Bassists Solo Competition and Jakob Gerritsen (double bass, Dixon) was a semi-finalist in the Orchestra Competition. Daniel Kaler (BM ’20, Kosower) won first prize in Category E for cello in The Muse International Competition. Katherine Lewis (MM ’03, Irvine) received the American String Teachers Association’s State Chapter Leadership Award. Under her leadership, the Illinois chapter was named Outstanding State Chapter. As members of the Verona Quartet, Dorothy (Sung Sil) Ro (BM ’12, D. Cerone/L. Cerone/ Kantor) and Jonathan Ong (MM ’12, Kantor) were named winners of the prestigious Cleveland Quartet Award by Chamber Music America. Violinist Nina Sandberg (BM ’16, MM ’18, Updegraff/Sloman) and pianist Chee-Hang See (MM ’16, Shapiro) won Boosey and Hawkes’ Score Video Contest. Their winning recording is featured on the score video for Stravinsky’s Suite Italienne on Boosey and Hawkes’ YouTube channel. Qingye Wu (BM ’17, MM ’18, Fitch) and her piece An Alley in the Rain and Nathaniel Heyder (BM ’21, Fitch) and his piece Impulse were chosen for the Summer 2020 Mixtape by the Society of Composers, Inc. Mingyao Zhao (PS ’19, AD ’21, Kosower/ Weiss) won third prize in the IX Concurso Internacional de Violonchelo Carlos Prieto in Morelia, Mexico.

Faculty Darren Allen (CYWS) has been nominated and accepted into Phi Beta Mu, a national band directors’ fraternity which honors outstanding band directors who are dedicated and devoted to their profession as recognized by their peers. Allen was initiated into the Mu Chapter of Phi Beta Mu at the Ohio Music Educators Association convention in February 2020.

Sergei Babayan’s (piano) first solo disc, Rachmaninoff, for Deutsche Grammophon was released in August 2020. Gregory Banaszak (saxophone) was awarded the 2021 Distinguished Hartt School of Music Alumni of the Year award by the University of Hartford. Francesca Brittan (piano) was featured on the podcast Aria Code in January 2020, discussing an aria from Offenbach’s Les Contes d’Hoffmann. Alex Cooke (theory, DMA ’18, Fitch) and colleague Jesse Berezovsky have received an Expanding Horizons Initiative Interdisciplinary Grant from Case Western Reserve University for their project “Crystals of sound: Using the physics of phase transitions to compose and perform music.” Joan Ellison (voice) put on a mini-concert of Judy Garland songs, both singing and selfaccompanying at her living room piano, which was broadcast in the New Haven Hospital’s COVID-19 ward and later performed outdoors with the Enid Symphony. Ellison also restored the original film arrangement of “Over the Rainbow” for Michael Feinstein and the Pasadena Pops. François Germain (voice) and his colleague Ellen Rissinger released Chantez! An Interactive Handbook of French Diction for Singers in June 2021. This handbook leads singers and coaches through a comprehensive course on French lyric diction, complete with spelling and pronunciation rules, audio examples, informational videos and more. Stanislav Golovin (clarinet, BM ’09, MM ’11, Cohen) was selected for 2020’s Cleveland Jewish News and Classic Lexus class of 12 Under 36. Marshall Griffith (theory, BM ’75, MM ’77, O’Brien/Erb) retired from CIM after nearly 50 years of service and was named faculty emeritus. The Salzedo Harp Duo, comprised of Jody Guinn (harp, MM ’82, Chalifoux) and Nancy Lendrim (MM ’84), released their third recording, entitled Clair de Noel, on the Azica label. It features Christmas and holiday music by many notable arrangers, including the Duo and Carlos Salzedo.

Jeffrey Irvine (viola) taught for the National Alliance for Audition Support, an initiative of the Sphinx Organization and influential symphonies across the nation. He was also awarded the 2020 Artist Teacher Award by the American String Teachers Association. Jeffrey Irvine (viola) and Lynne Ramsey (viola) contributed to the recent book The Karen Tuttle Legacy, A Resource and Guide for Viola Students, Teachers, and Performers, published by Carl Fischer Music. Yolanda Kondonassis (harp, BM ’86, MM ’89, Chalifoux) released her new book, The Composer’s Guide to Writing Well for the Modern Harp (Carl Fischer Music), a comprehensive guide and conversational text on composing idiomatically for the harp. Ida Mercer (cello, DMA ’86, Harris) played in the Britt Festival Orchestra, directed by Teddy Abrams, in Jacksonville, Oregon. Derek Nishimura (piano, BM ’87, MM ’89, Babin) attended the National Association of Music Merchants show held in Anaheim, CA, in January 2020, sponsored by the Yamaha Corporation of Buena Park, CA. He also visited Roosevelt University, DePaul University and Music Institute of Chicago to collaborate in aspects of group piano teaching. Antonio Pompa-Baldi (piano) gave the world premiere of Luca Moscardi’s Concertino for Piano and Orchestra with the Villages Philharmonic and performed two recitals in Naples for the Grand Piano Series – all events were sold out and performed for live audiences. Lisa Rainsong (theory, DMA ’99, Brouwer) appeared as a guest on a new podcast entitled Sonic Earth Explorations, hosted by awardwinning TV producer Mary Beth Toole. Rainsong explains how her work integrates conservatory ear training into natural history education. Graham Rosen (eurythmics, BM ’15, Egre/ Sweigart) produces abstracted, sample-based electronic music under the name Elephant Ornament as a way to reflect on and reimagine all of the music and sounds that have impacted him. Dean Southern (voice, DMA ’09, Schiller) was a master teacher for the 2020 National Association of Teachers of Singing Intern Program.

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Jason Vieaux (guitar, BM ’95, Holmquist) was featured on a new album by acclaimed jazz guitarist and composer Pat Metheny. This work, entitled Road to the Sun, was released in March by Modern Recordings/BMG and is a collaboration between Metheny, Vieaux and the Los Angeles Guitar Quartet.

Students Skyler Lane Blair (violin, Kwuon) won the college division of Northwest Florida Symphony Orchestra’s John Leatherwood Concerto Competition and was featured in the orchestra’s Stars of Tomorrow concert in April 2020. Katarina Davies (cello, Weiss) won the Euclid Symphony Young Artists Competition and performed with the orchestra in March 2020. Arseny Gusev (piano/composition, Babayan/ Fitch) won first prize as well as the special prize for the best performance of a contemporary composition in the Singapore International Piano Competition, Senior Category, and placed second in Piano Cleveland’s 2020 Virtu(al)oso, a global competition designed to offer financial support to artists during the pandemic. Kitsho Hosotani (violin, O. Kaler) was awarded the third place Barbara Ainsworth Porter Scholarship in the Tuesday Musical Club’s Annual Scholarship Competition, Strings Division. Jiwon Grace Kim (viola, Irvine) was selected as the viola fellow for the Bowdoin International Music Festival for summer 2021. Nathanael Leavitt (violin, Rose) won first place in the Young Adult Strings category of the inaugural season of the Music International Grand Prix. Yun Lee (violin, Laredo/Sloman) won second prize in the 2021 New York International Artists Violin Competition. Michael Lu (piano, Pompa-Baldi) was one of six pianists selected to participate at the 2020 Gilmore Keyboard Festival Partitura Residency. Dominik McDonald (percussion, Damoulakis) won both first place in Division I and second place in Division II in the Modern Snare Drum Competition. Eduardo Sepúlveda (oboe, Rosenwein) was appointed principal oboe of Symphoria in Syracuse, NY.

Alyssa Warcup (viola, Irvine) won first place in the 2021 National Federation of Music Clubs Biennial Collegiate Viola Competition and was awarded the inaugural Howard E. Leisinger Viola Prize in the Tuesday Musical Club’s Annual Scholarship Competition, Strings Division. Philip Williams (trombone, Sullivan) won the 2021 International Trombone Association’s Robert Marsteller Tenor Trombone Competition.

Preparatory Daniel Colaner (piano, Schulze) won From the Top’s Jack Kent Cooke Young Artist Award, a national scholarship of up to $10,000 for extraordinary young musicians. He also appeared on NPR’s From the Top in February 2020. Liam Cummins (composition, Conner) is a participant in the Silent Voices Project, which features young composers writing new musical works inspired by the poetry of young people who died in the Holocaust. His piece, The Butterfly, for string quartet has been recorded by Toronto’s Ton Beau String Quartet on The Sound of Silent Voices and aired on WOSU’s radio program The American Sound. Corina Deng (violin, Laredo/Sloman) was awarded first place in the 2021 Music Teachers National Association Competition’s Junior String Division. Kwabena Owusu (piano, Yang) participated in the 2021 NEOMTA Virtual Master Class with Dr. Sasha Starcevich, where she performed Mozart’s Rondo in D Major, K. 485. Jamie Park (double bass, Rowell) was selected as a winner of the national YoungArts competition. Julia Schilz (violin, Laredo/Sloman) won the 21st annual Jean L. Petitt Memorial Music Scholarship and was featured at Severance Hall with the Cleveland Pops Orchestra.

In Memoriam Ryan Anthony (BM ’91, MM ’93, Zauder) passed away June 23, 2020. He was principal trumpet of the Dallas Symphony Orchestra and established the Ryan Anthony Foundation to benefit cancer research, including a series of fundraising concerts called Cancer Blows.

James Baytosh (1956-60, Rettew/Dick) passed away December 25, 2020. He played clarinet with the 12th Air Force Band in Europe and then became an elementary educator. Bruce Egre (audio recording) passed away September 23, 2020. He taught recording at CIM and served as the staff audio engineer from 1988 into the mid-90s, and returned to the faculty in 2003. He also was the founding owner and chief recording engineer of Azica Records. Bill Fay (trombone, MM ’74, Boyd) passed away February 18, 2021. He served CIM as Preparatory trombone faculty from 19762002 and in 1981 joined the administrative staff as interim registrar, and went on to work in admissions, ultimately serving as director of admissions for 27 years. Dr. L. Curtis Hammond (MM ’87, AD ’90, Epstein/Solis) passed away February 27, 2020. He taught at Morehead State University since 1993 as associate professor of music. Higo Harada (BM ’53, MM ’55) passed away January 30, 2021. He was a music professor at Santa Barbara and then at San Jose State for decades. John Auburn Hellman (CIM Trustee 19942018) passed away June 10, 2021. Prior to joining the Board, he was president of the Junior Committee. He broadened the reach and effectiveness of Ohio’s nonprofits and many gained from his knowledge, ingenuity and expertise. John Holmquist (guitar) passed away January 17, 2021. He taught at CIM for 20 years, starting in 1985, and served as head of the guitar department from 1986-2001. Robert Jones (1955-60, Ciompi/Skernick) passed away October 5, 2020. He was a member of the viola section of the Houston, Cincinnati and Atlanta symphonies and served as principal violist of the Atlanta Symphony Orchestra for 11 years. Nina Josephs (CIM Trustee 1987-90) passed away January 13, 2021. She loved art and music, and participated in the cultural and political life of Cleveland and then Washington, DC. She and her husband, Sidney Joseph, who served as a CIM Trustee from 1965-83, were beloved friends of CIM and had a passion for violin, establishing the Sidney D. Josephs Distinguished Visiting Master Violinist Series in the late 1990s.

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Maurice Kaplow (BM ’52) passed away August 11, 2020. He conducted the Pennsylvania Ballet and New York City Ballet. Alexander McAfee (CIM Trustee 1972-81) passed away November 19, 2020. He served on the CIM capital campaign cabinet in the early 2000s and the McAfee Conference Room was named for him. He was a founder of the Cleveland Racquet Club. Sheila Braidech Metzger (BM ’57) passed away May 5, 2021. She was a well-known and critically acclaimed vocalist, performing as a soloist on stage with the opera companies of Cologne, Passau, Vienna, Salzburg, Innsbruck and Würzburg.

A. Grace Lee Mims (CIM Trustee 1989-2019) passed away October 3, 2019. She lived a life committed to music, family and the contributions of African Americans to culture, history and arts. She was a singer and hosted The Black Arts on WCLV for 43 years. Ronald L. Phillips (bassoon) passed away June 17, 2019. He was the assistant principal bassoonist of The Cleveland Orchestra for 38 years, retiring in 2001, and taught at CIM, Oberlin College and other colleges in the Cleveland area.

Edith Reed (BM ’44, MM ’68) passed away October 30, 2020. She taught at the Fine Arts Association in Willoughby from 1957-92 where she was both head of the piano department and chair of the music department. Marvin Solganik (CIM Trustee 2003-17) passed away February 8, 2021. He was initially engaged over twenty years ago by a CIM faculty member who saw that he came to numerous CIM concerts and recitals. He was a trusted and supportive member of the Board and ardent audience member at CIM concerts.

Gary Race (opera) passed away March 17, 2021. He joined CIM’s opera department in 1995 as interim director and then served as opera director from 1996-2003.

George Vassos (voice) passed away February 12, 2020. He was esteemed in the world of art song and vocal pedagogy and was on the CIM voice faculty from 1956-2006, serving as head of the department for 27 years. He founded the renowned Art Song Festival in 1985 and served as artistic director. Gifts to CIM in tribute or memory of faculty, alumni, friends and family are a wonderful way to honor members of our community. Recognize someone special to you by visiting cim.edu/donatenow.

Remembering Mal Mixon Thousands of performances. A generation of music students. One inspirational leader. CIM remembers Mal Mixon for his dedicated board leadership, extraordinary generosity and genuine commitment to training the world’s most talented classical music students. Together with his wife Barbara, Mal built an unparalleled legacy. CIM’s inaugural Lifetime Trustee, Mal was chair of the Board of Trustees from 1997 to 2015. Under his Board leadership, Mal co-chaired the Campaign for CIM, raising $40 million for the expansion project, including the Lennon Educational Building. Mal and Barbara’s legacy at CIM also includes the gift to name Mixon Hall, the successful renovation project in 2007 and the recently established A. Malachi Mixon III and Barbara W. Mixon Dean’s Scholarship, awarding full tuition to an outstanding student. Photo by Steven Mastroianni

Mal was well known to Northeast Ohioans as chairman of the board of MCM Capital Partners and the retired CEO of Invacare Corporation. He was retired from the boards of The Sherwin-Williams Company and Park-Ohio Holdings Corp., and chairman emeritus of the board of the Cleveland Clinic Foundation. As a community leader, he volunteered immeasurable time, talent and treasure to help create and sustain vibrant nonprofit and arts and cultural communities in the region. Under Mal’s leadership, CIM thrived as one of the preeminent music conservatories globally, bringing pride and distinction to Cleveland as a destination for the world’s finest classical music students.

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LIFETIME GIVING Thank you to the many supporters past and present who have made a CIM education possible for generations and continue to shape the future of classical music. Following are some of the most generous donors whose lifetime giving to CIM has exceeded $250,000 (as of March 31, 2021). $10,000,000+ Cuyahoga Arts & Culture The Fred A. Lennon Charitable Trust $5,000,000 to $9,999,999 Kulas Foundation Barbara and Mal* Mixon $2,500,000 to $4,999,999 Mr. and Mrs. F. J. Callahan* Elizabeth D. Hicks* Barbara S. Robinson (HDMA ’06) $1,000,000 to $2,499,999 Gay C. and Edward Addicott Hope S. and Stanley I. Adelstein* Mr. and Mrs. A. Chace Anderson Vitya Vronsky Babin Foundation Eleanor H. Biggs* The Cleveland Foundation Mr. and Mrs. John D. Gilliam Clive and Mary* Hamlin Linda Harper and Jim Martin Jean and Dick Hipple Mort* and Emilie Kadish The Kresge Foundation John P. Murphy Foundation State of Ohio Ohio Arts Council Partners for CIM The Payne Fund Dick (HDMA ’06) and Pat Pogue Mrs. Alfred M. Rankin, Sr. The Reinberger Foundation Edith H. Smith* Dorothy Richard Starling Foundation Mr. and Mrs. Joseph H. Thomas United States Department of Education One who wishes to remain anonymous

$500,000 to $999,999 Ms. Ruth Beckelman* Helen C. Brown* Ann C. and Hugh Calkins* Mr. Arthur L. Charni* Larry B. Faigin* The GAR Foundation The George Gund Foundation Mr. and Mrs. Carl D. Glickman* Margaret R. Griffiths Trust Iris and Tom Harvie The Martha Holden Jennings Foundation Mr.* and Mrs. Daryl A. Kearns KeyBank Dr. Vilma L. Kohn* Mr. Richard A. Manuel* Mr. and Mrs. Alexander McAfee* National Endowment for the Arts NewBrook Partners C.K. “Pat” Patrick* and Nancy Patrick Jane Kottler Post* Audrey and Albert B. Ratner Mrs. Bert E. Siegel* The Kelvin and Eleanor Smith Foundation One who wishes to remain anonymous

$250,000 to $499,999 Mrs. Marguerite A. Barany* Mr. and Mrs.* Eugene J. Beer Mr. and Mrs. Alfred J. Buescher, Jr. Irad (BM ’87, MM ’88) and Rebecca (BM ’87, MM ’89) Carmi Delores Comey* Robert Conrad (HDMA ’98) Mr. and Mrs. John D. Drinko* Rebecca and George* Dunn Alice S. Feiman (BM ’32, MM ’36) William O. & Gertrude Lewis Frohring Foundation The Ann and Gordon Getty Foundation The Dorothea Wright Hamilton Fund Mrs. Beverly S. Harris* The Hershey Foundation The Albert M. Higley Co. Carter Kissell* Emma Lincoln* Mrs. Elliot L. Ludvigsen* Charles and Susan Marston Mr. Joseph B. McClelland Meldrum & Fewsmith Communications The Andrew W. Mellon Foundation Laura Ingrid Messing* David and Inez Myers Foundation The Ranney Scholarship Fund Peter J. Reichl* Sam and Sarah Sato* Mr. and Mrs. Elliott L. Schlang Mr. and Mrs. Frank E. Taplin, Jr.* Carole Hershey Walters Ms. Annette E. Willis* * deceased

Every year, individuals, corporations and foundations contribute generously to the Cleveland Institute of Music, directly supporting the transformative music education of CIM students. Through this incredible commitment and community of donors, CIM empowers the world’s most talented classical music students to achieve their dreams and potential. Make your contribution to CIM with a meaningful gift of any size at cim.edu/donatenow or contact a member of the development team at 216.795.3160.

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ABOUT CI M The Cleveland Institute of Music empowers the world’s most talented classical music students to fulfill their dreams and potential. Its graduates command the most celebrated and revered stages in the world as soloists, chamber musicians and ensemble members; compose meaningful, award-winning new repertoire; and are highly sought-after teaching artists, administrators and thought leaders. A testament to the excellence of a CIM education, more than half of the members of The Cleveland Orchestra are connected to CIM as members of the faculty, alumni or both. All students benefit from access to world-renowned visiting artists and conductors, intensive study with CIM’s stellar faculty and the rich curriculum offered by CIM’s partner Case Western Reserve University. CIM is an integral part of Cleveland’s arts community, presenting nearly 600 free performances and master classes on campus each year, and hundreds more at locations throughout the region, including Severance Hall. Explore cim.edu to learn more.

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