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A Passion for the Pit

Explore the “underground” magic of playing in a pit orchestra

ABOVE Go below the stage for a peek at the orchestra pit (story page 12) ON THE COVER Meet the new Chief Academic Officer and Dean of the Conservatory, Dr. Judy Bundra (story page 8)

• A world-class faculty including members of The Cleveland Orchestra and, beginning in 2018-19, violinists Ilya Kaler and Olga Dubossarskaya Kaler. • The new Center for Innovative Musicianship, providing classical training for the modern musician. • A stimulating, supportive atmosphere where faculty members become lifelong mentors. • Situated in a vibrant city, bursting with opportunities to perform for and engage with audiences both at home at CIM and in venues throughout Cleveland. Bachelor of Music | Master of Music | Doctor of Musical Arts | Artist Certificate | Professional Studies | Artist Diploma



4 Noteworthy Fast Facts About the New Class Faculty Perform for UNICEF Benefit Concert New Initiatives: Career Development and Increased Diversity Tuition Lowered by 15% for New Students Alum Wins Minnesota Orchestra Fellowship First-Ever Life Trustee: A. Malachi Mixon, III New Faculty at CIM

8 Meet Dr. Judy Bundra Get to know CIM’s new dean with an engaging Q&A 12 A Passion for the Pit Flutist Leah Stevens and conductor Harry Davidson chat about the experience of accompanying the opera

16 Events January and February at CIM 18 Alumni Snapshot Ann Hobson Pilot 20 Development CIM Achieves Record Annual Fundraising Success 21 Listings Alumni Appointments Prizewinners Faculty Students Preparatory In Memoriam W I N T E R 2 0 18



Fast Facts about the New Class

• 61 first-year undergraduates • 69 graduate students • 16% of undergraduate class graduated from the Interlochen Arts Academy • 11% of the incoming class is comprised of students of color • Students hail from 27 states and 12 different countries • 13% of the incoming class are CIM graduates returning for advanced studies • 14% of the class are first-generation college students • 1 National YoungArts Foundation Merit Scholar • 1 first-prize winner in the Classical Singer International Vocal Competition (High School Division)

New Initiatives at CIM Include Career Development and Increased Diversity This summer, CIM launched the Center for Innovative Musicianship, also known as CIM 2, taking a strong step in furthering CIM’s commitment as a modern conservatory. CIM 2 ensures every student will graduate with high-level artistry coupled with the practical and essential skills necessary for a twenty-first-century musician.

“At the heart of CIM 2 is cohesive, sequential learning that builds skills in creative entrepreneurship, business insight and professional communications,” said CIM President and CEO Paul W. Hogle. “In addition, the Center will further connect CIM students to Northeast Ohio – increasing opportunities for meaningful performance experiences and deeper community connections.” Launching and leading this effort is Dr. Joyce Griggs, vice president and director of CIM 2, with invaluable support from co-head of cello and CIM2 faculty liaison Dr. Melissa Kraut.

Dean Judy Bundra chats with new students and their families on move-in day (above). President Paul W. Hogle poses with members of Student Government Association and Resident Advisors (top right). Photos: Robert Muller

Faculty Perform for Benefit Concert

CIM collaborative piano faculty Ralitsa Georgieva-Smith has raised more than $6,000 for a UNICEF Children’s Emergency and Relief Organization with her Music for Our Children concert series featuring CIM faculty and Cleveland Orchestra members. Georgieva-Smith established the series in 2014, which aims to provide world-class chamber music for audiences in Cleveland, promote the work that UNICEF is accomplishing and donate 100 percent of all proceeds directly to support UNICEF. Georgieva-Smith explains her dedication to the cause: “At age 13, I entered a boarding school in my home country of Bulgaria for intense music training. I lived with a host family across from an orphanage; we used to invite one of the children over on Sundays to have a meal and spend time together. These memories have followed me through the years, and I decided to do something to help.”

Dr. Griggs said: “CIM² is a bold initiative to connect classroom learning to real-world experiences, setting the stage for our students to identify and refine their creative, entrepreneurial ideas before launching into a professional career. Cleveland is a richly

diverse city that reflects the cultural and economic realities of urban cities across the country, making it an ideal incubator for innovative projects.”

The initiatives also include career advising, community outreach and engagement activities and CIM’s award-winning distance learning program.

For the inaugural year of CIM², freshman and senior “bookend” courses have been redesigned based on student and faculty input. In these courses, students will create promotional materials, develop business and networking skills, and study innovative programming designed to more authentically engage with their communities and audiences. In their capstone seminar class, seniors will create a collaborative project that can be entered into a competition for seed money to launch the idea beyond the classroom. Additional resources for all CIM students will include a series of workshops and guest appearances by industry influencers and CIM alumni (including PROJECT Trio, who held workshops during orientation week).

Auditions for the new program were held in August 2017, and two fellows comprise the inaugural class.

In addition to the innovative new programming, several key CIM initiatives live under the CIM 2 umbrella. They include the newly established Minority Artist Fellowship program, which aims to provide individual instruction and support to develop the musical talents of young African-American and Latino musicians.

Damian Goggans is in ninth grade at Cleveland School of the Arts. He only began studying guitar in October 2016, when the Cleveland Classical Guitar Society began a program at Citizens Leadership Academy, where Goggans attended middle school. Prior to that time, he participated in his school’s vocal club; he also taught himself to play harmonica, drums and piano. Goggans has been studying music theory independently online and has composed works for solo instrument and small ensemble. He says his goal is to “write and play my own music in front of huge crowds all around the world.” Evan Rowland-Seymour is in eighth grade at University School in Shaker Heights. He has been playing cello since 2009 and began playing double bass in 2015. He was selected for the Sphinx Performance Academy, a two-week intensive chambermusic program for young African-American and Latino musicians, which was held at CIM this summer. Rowland-Seymour is a member of CIM’s Youth String Camerata and Cleveland Orchestra Youth Orchestra. He says he wants “my life to be full of stories on how much I’ve grown and succeeded, not about how much I regret because I didn’t even try.” CIM 2 initiatives are generously supported by the Fenn Fund, Fowler Foundation, George Gund Foundation and Cleveland Foundation.

Past performers include members of the Cleveland Ballet, Georgieva-Smith and CIM faculty and Cleveland Orchestra members Carolyn Warner, Lisa Boyko, Barrick Stees, Richard King, Michael Sachs, Yasuhito Sugiyama, Scott Dixon and Massimo La Rosa.

Read more about the Minority Artist Fellowship program in the Spring 2017 issue of Notes, available at

The next Music for Our Children concert is on Sunday, January 21, at 7:30pm in CIM’s Kulas Hall. Sergei Babayan, Carolyn Warner, Brian Thornton and Georgieva-Smith will perform. General admission tickets are available at

Damian Goggans (L) and Evan Rowland-Seymour (R) are the inaugural class of Minority Artist Fellows.


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Noteworthy CIM Announces 15% Tuition Reset for 2018-19

CIM Inducts First-Ever Life Trustee, Former Chair A. Malachi Mixon, III

As a leader in the march toward more affordable conservatory and music school tuition, CIM’s President and CEO Paul W. Hogle shared in September unprecedented news for potential music students and those who help pay for their education.

In its annual meeting on September 28, 2017, the Cleveland Institute of Music established the office of Life Trustee, the highest honor it can bestow upon an individual who has made historically significant, exemplary contributions to CIM. A. Malachi (Mal) Mixon, III, embodies the spirit of this office, having both led the organization as chair from 1997 to 2015 and made the transformational gift that created the Institute’s premier performance space, Mixon Hall, ten years ago. CIM’s membership elected Mal Mixon as its first-ever Life Trustee, and Chair Richard J. Hipple presented him with a distinctive medal as a symbol of the office.

In a bold first step for the 2018-19 academic year, CIM tuition will be reset to $40,000 from its current $47,200. This comes on the heels of last year’s news of tuition being held flat for 2017-18, the first year without an increase in more than half a century. CIM’s definitive action addresses the national conversation on the ever-growing price of college tuition. “Our Board of Trustees has done a tremendous amount of analysis, contemplation and strategic thinking,” says Hogle, “so we are in an excellent position to address affordability, while keeping the needs of the students front and center. We also just completed two of the most successful annual fundraising campaigns in the Institute’s history, which allows us to pursue this strategy from a position of financial strength.” Typically, when schools lower tuition, there is a commensurate plan to enroll more students to increase revenue. This is not CIM’s approach. “In fact,” says Hogle, “we are likely to become even more selective over time.” This move provides an important foundation to improve CIM’s position in the marketplace and enhance its ability and ongoing commitment to retain and attract the most talented classical music students in the world.

Photo: Robert Muller

CIM Chair Dick Hipple, Life Trustee Mal Mixon and President Paul Hogle Photo: Roger Mastroianni

In his remarks, Hipple said: “Mal’s legacy, leadership and the generosity he bestowed over decades of engagement continues to resound through the halls, practice rooms, concert stages and the board room. There could be no more appropriate time and place to shine a light on his many contributions to CIM than here today in Mixon Hall.” As one of the most beautiful small recital halls in the country, Mixon Hall has hosted approximately 3,600 recitals, chamber music concerts and events since it opened in 2007. Perfectly situated with the lush Gilliam Family Music Garden behind the glass back wall of the stage, the hall is a favorite of students, faculty and visiting artists for its beautiful acoustics and intimate feeling. CIM alumnus Eric Wong (BM ’08; MM ’11, Kantor) said, “The hall matches the brilliance of the performances going on here.”

CIM Alum Wins Inaugural Diversity-Focused Fellowship

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

Tuba player Jason Tanksley (MM ’16, Sugiyama) has won a two-year fellowship with the Minnesota Orchestra. Tanksley is one of two performers selected as the first-ever Rosemary and David Good Fellows. This fellowship supports the career development of outstanding young musicians of African-American, Latino and Native American descent as they embark on professional orchestral careers, and will provide Tanksley with mentorship, coaching and professional performing experience. Tanksley was one of eight musicians chosen to audition for the fellowship.

New Faculty at CIM

CIM is pleased to announce three impressive new faculty members joining its illustrious ranks. Cellist Si-Yan Darren Li joins the Cavani Quartet, CIM’s Quartet-in-Residence and a fixture of the chamber music program at CIM. Li and acclaimed violinists Ilya Kaler and Olga Dubossarskaya Kaler will join the CIM String Faculty at the start of the 2018-19 academic year.

“I am excited to have the opportunity to work with the musicians of the Minnesota Orchestra,” says Tanksley. “Having their wisdom and knowledge shape the next part of my career is a dream come true.”

Cellist Si-Yan Darren Li has maintained an active career as recitalist, chamber musician and teacher. He has performed around the world, including Carnegie Hall, Kennedy Center, Victoria Concert Hall in Singapore, Izumi Hall in Osaka and Suntory Hall in Tokyo. Li has received top prizes in numerous prestigious competitions, including the Tchaikovsky International Competition in Moscow and the Young Concert Artists International Auditions in New York, and he has appeared in solo and chamber music performances in many renowned music festivals.

Over the course of the fellowship, Tanksley will observe and participate in Minnesota Orchestra rehearsals, perform within the orchestra at selected concerts, study with orchestra musicians and prepare for professional auditions. In addition, he will work with students on a variety of music education initiatives.

Ilya Kaler—the only violinist to win the Gold Medal at three prestigious competitions: the Tchaikovsky in Moscow, the Sibelius in Helsinki and the Paganini in Genoa—is one of the most sought-after pedagogues in the world. Olga Kaler is renowned as a soloist, chamber musician, artistteacher and guest clinician. She is also a highly respected scholar. Please join us in welcoming these distinguished musicians to CIM! Photo: Roger Mastroianni


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Judy Bundra began her tenure at the Cleveland Institute of Music on July 17, 2017. She hails from the Windy City, having spent nearly 30 years as a key member of the DePaul University School of Music administrative team. During her time there she served in various roles, including interim dean, associate dean for Academic Affairs, chair of the Music Education Department and as a member of the faculty since 1987.

Photos | Robert Muller 8

Dr. Bundra brings with her a background rich in academic experience— experience she’s eager to use to help shape a bright future for CIM. She’s already developing an affinity for Cleveland, loving the rich musical culture, great sports teams (although we told her not to mention too loud that she’s a Cubs fan) and the fact that her commute only takes a few minutes. We sat down with Dr. Bundra in early August to discuss her vision for CIM in her first year at the school’s academic helm. W I N T E R 2 0 18


In the past CIM has had a dean of the conservatory, but this role now also includes the title of chief academic officer. How is this position going to expand here at CIM?

What it’s done is clarify the roles within the administration. As chief academic officer, I’m in a position to oversee the whole academic enterprise—the faculty and the students. I’ll work very closely with CIM President & CEO Paul Hogle, so that the entire CIM family is united in our vision for the future, especially as we look to our centennial in 2020. What are some of your goals for your first year here?

My primary goal is to ensure that we nurture a vibrant, rigorous learning environment for our students, and maintain our standing as a leader in conservatory education. In everything, I want to make sure the students come first—that we’re all focused on their educational experience and preparation for careers after graduation. What are some of the music school trends you’re seeing that you think can be applied here at CIM?

Initiatives focusing on career paths as part of the educational experience, and what it takes to be a twenty-firstcentury musician have become increasingly important. The landscape is so different today than it was many years ago, and CIM is beginning in this area with the Center for Innovative Musicianship (CIM2), which includes more formalized career advising. What impresses you most about CIM?

The people. I was very impressed the moment I walked on campus—how supportive an atmosphere it is, how kind people are, how welcoming people are. This is a nice place, and I’m not using that as a small term. People care about each other here. In addition to that is the musical excellence. I heard The Cleveland Orchestra the other day and it took my breath away, it was so beautiful—to have those members on our faculty is transformational. I’m so honored to be part of this community. What makes CIM unique among other conservatories and music schools?

We’ve got the best of both worlds. We have access to Case Western Reserve University’s resources through our partnership, but at the same time we have the independence of a conservatory. CIM students have access to a wide array of courses, giving them the opportunity to increase the breadth and depth of their education. You’ve served in various roles in higher education, including associate dean for academic affairs and chair of the Music Education Department, and you’ve also served on the faculty. How do these various experiences help frame your vision for CIM?

What I bring to CIM is experience in academia. I understand how curricula, assessment and accreditation work, and I understand the faculty point of view because I was a member of the faculty throughout my career. And since I worked with students as associate dean, I understand the student point of view and student concerns. I bring the faculty perspective to my work as an administrator.

What are you looking forward to most?

I can’t wait for the students to return to campus, because I know the skill level and the passion they bring to their studies, and I’m eager to hear them and our world-class faculty perform.

All but the last couple years at DePaul, when I was interim dean, I was teaching. I was always in the classroom, so I understand the challenges faculty face. I also know what it’s like to work with students every day and the pressures they face. I believe the depth of my experience in working with students will enhance my work as an administrator and help CIM shape its academics.


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Passion for the

Pit Exploring the “underground� magic of playing in a pit orchestra Story | Margaret Hagen Photos | Robert Muller

Traditionally, the elements of a performance include an audience, a performer and, sometimes, a stage. And more often than not, the performer is clearly visible to the audience. So it’s a little surprising that some of the best classical musicians in the world sit below the stage, clad in all black to be inconspicuous. They sit in a literal pit, below stage level, to perform some of the greatest masterpieces from Mozart and Puccini to Verdi and Wagner. These musicians, of course, are members of the pit orchestras of opera companies, providing some of the most cherished live music for audiences around the world.


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The Phantom Hands Often the only indication that the pit orchestra is even in the concert hall is the occasional flash of the baton from the conductor, who holds the hefty responsibility of keeping the vocalists and the orchestra together. Acting as the only bridge between the two sets of musicians who cannot see one another, his role is a crucial one. At CIM that responsibility is held by Harry Davidson, who has been the director and conductor of opera at CIM since 2007. Davidson is also celebrating his eighteenth season as music director and conductor of the Duke Symphony Orchestra, lending him experience leading both types of ensembles. He explains that while the mechanics of both types of conducting are similar, the nature of opera versus that of symphonic playing differs due to the physical space. “If you are conducting an orchestra, even if you have soloists or singers, everybody’s on the same level. Everybody’s fairly close together,” he explains. “In opera, one of the big factors is having this coordination with the stage, which is a lot more difficult and requires a certain adjustment in how one listens.”

Treasuring a Whole Note Make no mistake: the orchestration for opera is far from background music. Where would we be without the flute solo in Mozart’s The Magic Flute? Or the clarinet solo in Verdi’s La traviata? The repertoire is legitimate, challenging and revered. And this is precisely why so many CIM students relish the opportunity to play in the pit orchestra for CIM’s opera theater productions. For senior flutist Leah Stevens, who studies with CIM faculty member and Cleveland Orchestra Principal Joshua Smith, the experience is unlike a regular CIM Orchestra performance. She cites the amount of focus and concentration it takes to line up perfectly with the singers. Every detail is crucial. “It’s usually a little less playing, but everything that you play is even more essential,” she explains. When she was a freshman, Stevens played on the CIM opera production of Handel’s Alcina. Last year she played on the fall double bill production of Puccini’s 14

Suor Angelica and Menotti’s Amelia al ballo. When it came time for the spring production of Mozart’s Così fan tutte, she knew she wanted to be in the pit. “I’ve wanted to play a Mozart opera since I got here,” she says. “Mozart’s writing is such a gem for woodwinds. All of his operas have wonderful parts for the vocalists and the orchestra. His woodwind writing is just pristine. Even if I just have a whole note, it’s just a little treasure to play it.” Stevens enjoys playing in the pit because it presents a new set of musical challenges. “It’s exhausting and takes a whole other dimension of mental focus,” she says. “For that length, the stamina you have to have, it really tests you as a musician. But I enjoy that. I like that challenge,” she says. She speaks of the Metropolitan Opera pit orchestra, arguably one of the top in the country. Stevens admires the breadth of technique and interpretation required for that orchestra. “The amount of colors that they can play with, because they’re constantly creating a scene, is just remarkable.”

This doesn’t just go for Davidson; the players must have keen ears as well. “It’s important to teach the students about listening to the orchestra, listening to the singers, coordinating with the stage and not just being in one’s own world—because that’s very easy down here,” he says. “We are in our own world. And of course the world of opera is much different. People up there are moving around all the time. We hear noises; they throw things; sometimes they fall into the pit. You know, many things can happen!” But with all those distractions, Davidson focuses on where he can be most helpful, dividing his time between the vocalists and the instrumentalists. He also relies on an assistant to tell him how everything sounds in the hall. “What is actually heard by the audience is not what I hear in the pit,” he says. “I hear, of course, the orchestra the loudest, since I’m right here with them. The singers are up there. Their voices carry over the orchestra especially in a hall like Kulas. And so it’s imperative for me to have an assistant and people who will inform me of issues of balance in the hall.”

A True Joy In addition to pit orchestra being a gratifying experience for Stevens, she realizes the importance of being able to say she played principal flute on a full Mozart opera. “One of the reasons we come to a conservatory is to make ourselves as marketable musicians as we possibly can be,” she says. And this will certainly help. Stevens is no stranger to the pit orchestra world, having studied before her time at CIM with principal flute of the Chicago Symphony Orchestra, Stefán Ragnar Höskuldsson, who was formerly principal flute of the Metropolitan Opera. “In our lessons he always talked about singing and the flute imitating the human voice in phrasing,” she explains. “I think it’s really beneficial for a woodwind player to be able to hear singing and to have both the challenge of playing with the singers and learning from the singers.” But more than just adding another line to her resume, Stevens really enjoys the work. “It’s a really valuable experience. I enjoy it, I really do. I like opera. I think it’s definitely important to add it to your repertoire.” For Davidson it’s a little simpler. The pit orchestra and Davidson are more like trusted companions. This is especially the case for the pit in CIM’s Kulas Hall. Davidson adds with a smile, “This pit and I are old friends.”

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Events JANUARY January 17, Wednesday 8pm | Mixon Hall Ivan Zenaty, violin Antonio Pompa-Baldi, piano FALLA Suite Populaire Espagnole GRIEG Violin Sonata No. 2 in G Major, Op. 13 FRANCK Violin Sonata in A Major Free seating passes required January 19, Friday 8pm | Kulas Hall Sergei Babayan, piano Joan Kwuon, violin William Bender, viola, guest artist Si-Yan Darren Li, cello Franklin Cohen, clarinet Richard King, horn DOHNÁNYI Sextet in C Major, Op. 37 The second half of this program continues the series which features Mr. Babayan’s performance of the complete Mozart Sonatas combined with repertoire by Mozart’s contemporaries, followers and influencers. January 21, Sunday 4pm | Mixon Hall Corey Shotwell, tenor Gerardo Teissonnière, piano SCHUBERT Winterreise, D. 911 FEIN Letzte Brief (World Premiere) Free seating passes required January 24, Wednesday 8pm | Kulas Hall Cleveland Institute of Music Orchestra Carl Topilow, conductor Hannah Moses, cello, student artist

FEBRUARY January 28, Sunday 2pm | Severance Hall

February 2, Friday 8pm | Kulas Hall

February 14, Wednesday 8pm | Mixon Hall

NORTHEAST OHIO BAND INVITATIONAL XV Cleveland Youth Wind Symphony (CYWS) I Daniel Crain, conductor

Cleveland Institute of Music Orchestra CIM Women’s Chorus JoAnn Falletta, guest conductor

This day-long presentation of symphonic band repertoire features Northeast Ohio high school bands.

KODÁLY Variations on a Hungarian Folksong, “The Peacock” HOLST The Planets, Op. 32

Tickets: $10 general admission / $20 reserved box seats

Sponsored in part by the Kulas Visiting Artist Program

Severance Box Office: 216.231.1111 or

Recorded for broadcast on February 21, 2018 on WCLV 104.9 FM and with support from Audio-Technica

Shuai Wang, piano Jinjoo Cho, violin Yun-Ting Lee, violin, guest artist Eric Wong, viola Daniel Pereira, cello Madeline Lucas Tolliver, flute Benjamin Chen, clarinet, guest artist Luke Rinderknecht, percussion

January 28, Sunday 4pm | Kulas Hall 27TH ANNUAL BLACK HERITAGE CONCERT Cleveland School of the Arts Ensembles R. Nathaniel Dett Concert Choir JazzArt Ensemble Robert McCorvey, director William B. Woods, director emeritus CSA Chamber Orchestra Dianna Richardson, director

SONGS OF LOVE Musical Luncheon Series

January 31, Wednesday 8pm | Kulas Hall

Reservations required: 216.795.3209 or

A FRENCH REVERIE Cavani String Quartet Annie Fullard, violin Mari Sato, violin Eric Wong, viola Si-Yan Darren Li, cello Sergei Babayan, piano RAVEL String Quartet in F DEBUSSY Selected Préludes for Solo Piano SAINT-SAËNS Piano Quintet in A Minor, Op. 14

Tickets: $35 members / $38 non-members

PIANOFEST The Symphony Hall and Opera House: An Evening of Piano Transcriptions

February 7, Wednesday 8pm | Mixon Hall New Music Ensemble Keith Fitch, director Dean Southern, baritone CARTER Sonata for Flute, Oboe, Cello and Harpsichord (1952) TAKEMITSU Rain Spell (1982) FOX Upon the Reedy Stream (1987) FITCH The Range of Light (2016-17) February 8, Thursday 7:30pm | Kulas Hall

February 11, Sunday 3pm | Maltz Performing Arts Center 1855 Ansel Road, Cleveland

FROM THE SHTETL TO THE CONCERT STAGE The Thread that Sustained Music through the Holocaust

Cleveland Youth Wind Symphony (CYWS) II – Symphonic Winds Melissa Lichtler, conductor

Melissa Kraut, cello Rena Kraut, clarinet, guest artist Anita Pontremoli, piano

HaeSun Paik, host A reception follows February 23, Friday 8pm | Mixon Hall Franklin Cohen, clarinet Roman Rabinovich, piano, guest artist BRAHMS Clarinet Sonata No. 1 in F minor, Op. 120, No. 1 Clarinet Sonata No. 2 in E-flat Major, Op. 120, No. 2 Free seating passes required February 28, Wednesday – March 2, Friday 7:30pm | Kulas Hall March 3, Saturday 3pm | Kulas Hall HUMPERDINCK Hansel & Gretel David Bamberger, director Harry Davidson, conductor Cleveland Institute of Music Orchestra Tickets: $20 adults / $15 seniors and groups of 10+ / $10 students 216.795.3211 or Made possible in part by the John P. Murphy Foundation

CYWS II – Concert Winds Darren Allen, conductor

Scheduled on the 63rd anniversary of the liberation of Auschwitz, this program will feature music and stories of a family’s journey from Poland before WWII to the stage of Mixon Hall. The program is a tribute to the tradition, legacy and sustaining power of music. All works will be announced from the stage.


February 21, Wednesday 8pm | Mixon Hall

Winners of the Preparatory and Continuing Education Concerto Competition perform with the conservatory orchestra in this showcase concert.

January 26, Friday 8pm | Mixon Hall

Free seating passes required

An afternoon of heartfelt love songs and grand arias hosted by Mary Schiller, Head of the CIM Voice Department

Cleveland Institute of Music Orchestra

Live broadcast on WCLV 104.9 FM and with support from Audio-Technica

Presented in appreciation of The Giant Eagle Foundation

Presented by the CIM Women’s Committee


RÓZSA Theme, Variations and Finale, Op. 13 (1966 revision) BLOCH Schelomo, Hebraic Rhapsody SCHUMANN Symphony No. 1 in B-Flat Major, Op. 38, “Spring”

Free seating passes required

February 7, Wednesday 11:30am | Beechmont Country Club 29600 Chagrin Blvd., Cleveland

IVES Violin Sonata No. 4, “Children’s Day at the Camp Meeting” (1916) COPLAND Threnody I: In Memoriam Igor Stravinsky (1971) COPLAND Threnody II: In Memoriam Beatrice Cunningham (1973) KOUYOUMDJIAN Children of Conflict: “A Boy and a Makeshift Toy” (2015) BERMEL Death with Interruptions (2014) WOLFE singing in the dead of night (2008)

Tickets: $5 at the door

For more information and a complete listing of concerts and events, please visit

SAVE THE DATE Cleveland Institute of Music Orchestra April 11 | Severance Hall

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Alumni Snapshot A “Turning Point” at CIM

Pilot went to the Philadelphia Music Academy where she became close to Edna Phillips, who had been with the Philadelphia Orchestra some years prior. “Edna was like my mentor,” says Pilot. “And she thought Alice Chalifoux, who was on faculty at CIM, was a better fit for me.” Chalifoux was principal harpist with The Cleveland Orchestra from 1931–74 and a trailblazer in her own right, serving as the Orchestra’s only female member for several of those years. “Alice arranged for me to get a full tuition scholarship from the Philadelphia Foundation to go to CIM,” recalls Pilot. “That was a turning point for me because then I really became much more serious about the harp. It was great working with Alice. She was a fantastic teacher.” What drew Pilot to Chalifoux was her whole approach to the harp. “It was one of strength with unknown efforts,” describes Pilot. “Some of the first things she had me do were exercises to strengthen my hands. She recommended opening up a newspaper sheet all the way open on two sides and then crumbling it up into a tiny ball with one hand, which was great for strengthening the hands. I think that approach is why a lot of her students ended up having big sounds.”

Ann Hobson Pilot blazed a trail through the

Alumna classical music world as the

first African-American woman to serve as a principal player in a major orchestra.

CIM alumna Ann Hobson Pilot (BM ’66, Chalifoux) received the Gold Baton, the League of American Orchestras’ highest honor, at the League’s 72nd National Conference in June in recognition of “her immense impact on the orchestra field.” Pilot served in the Boston Symphony Orchestra (BSO) for 40 years, 29 of those years as principal harpist. Before her tenure in Boston, Pilot was a substitute second harp with the Pittsburgh Symphony and principal harp of the Washington National Symphony. She has performed with several American orchestras as soloist, as well as with orchestras in Europe, Haiti, New Zealand and South Africa. She has recorded CDs on the Boston Records, Koch International and Denouement labels. And while carving out her musical path, she was breaking down significant barriers along the way.

Playing the Harp by Accident

Pilot’s pathway to becoming a professional harpist was, by her own admission, an “accidental course.” Pilot grew up in Philadelphia playing the piano, taking lessons with her mother who was a concert pianist. From the moment Pilot was born the house was filled with Chopin and Beethoven, and by the time she was six years old, she was starting to master bass and treble clef with her mother — a foundation that would later come in handy. When Pilot was 14, her high school music teacher suggested she try harp, adding that a lot of the fundamentals remained the same as the piano. She gave it a shot and was hooked. To keep up her practicing over the summer, Pilot’s parents rented her a harp for $15 a month. It was on that “rickety old piece” that she decided she wanted to become a professional. 18

And we toured a lot down south, so sometimes we would get off a bus on a road trip and there would be a sign in a restaurant that would say ‘Whites only.’ Breaking Barriers

After Pilot graduated from CIM she landed her first orchestral job in Washington, D.C., with the National Symphony Orchestra (NSO) in 1966. During her time in Washington, Pilot honed her orchestral skills and settled in to her new role. However, it was the height of the Civil Rights Movement and Pilot, as the only African-American in the orchestra, was not immune to the racism of the time. “There were some people in the orchestra who obviously weren’t happy that I was there, and I was told that some people said they would never eat with a black person at the same table,” she explains. “When we would go on tour, they would get up and leave when I came near. And we toured a lot down south, so sometimes we would get off a bus on a road trip and there would be a sign in a restaurant that would say ‘Whites only.’ ” Those obstacles didn’t stop Pilot, who was determined to keep growing as a musician. And another opportunity opened up the year Arthur Fiedler came to guest conduct the NSO. He called Pilot into his office to tell her the harpist for the Boston Pops and second harp for BSO was leaving. “He said he’d like me to audition for the job because he

liked my playing,” says Pilot. When Pilot auditioned for the role in Boston she played, like everyone, behind a screen. After she won the position, she remembers getting calls from newspaper reporters asking if she had gotten the job because she was African-American. “I said wait, excuse me, I auditioned behind a screen—which was, of course, why they had these screens,” she says. “It was very hard at the time.” When she joined BSO she was one of only four women in the orchestra and the only African-American. When Pilot became principal harp in 1980, she was the only African-American woman to hold a principal position in a major orchestra. Pilot hopes for a brighter future for minorities in orchestras, citing groups like Project Steps and the Sphinx Organization, which are dedicated to training African-American and Latino classical musicians. “There’s much more support for young blacks today than there was in the 60s,” she says.

Looking Ahead

Although Pilot is now retired from BSO she still continues to perform around the country. She’s honored to have received the Gold Baton from the League of American Orchestras and to be added to an illustrious list of past winners who include John Williams, Aaron Copland and Eugene Normandy. Pilot is the first African-American woman to receive the award and says “it’s a real honor.”

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a l u m n i n ew s

CIM Achieves Record Annual Fundraising Success Institute posts 30% annual fund increase over prior fiscal year On the heels of recruiting one of the most accomplished and most diverse new classes to the Cleveland Institute of Music in a generation, the Institute has surpassed its all-time high annual fundraising result by posting a 30% increase in annual support for the fiscal year which ended June 30, 2017. “We are driven to ensure our students succeed both during their time at CIM and after graduation,” CIM President & CEO Paul W. Hogle said. “Having this incredible support from individuals, corporations and foundations in Cleveland and Northeast Ohio enables us to expand opportunities for students and to hold tuition flat for the 2017–18 academic year.” CIM’s Board of Trustees—chaired by Richard J. Hipple—provided strong leadership giving, personally contributing more than 25% of the campaign total, including substantial challenge gifts to encourage new giving. “I am proud that the Trustees led by example with their generous donations,” Hipple said. “The average Trustee gift in 2016–17 exceeded $10,000—a significant mark of their commitment to CIM and to the Cleveland community.” With the introduction of CIM’s new Governing Members major donor program, contributions to this $2,500+ giving program increased 172% over the prior year’s results. Driving the remarkable success was a new emphasis on creating intimate experiences for

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patrons to more frequently engage with the world-class faculty and the exceptional artistry of CIM’s student musicians in learning and performance environments. More than 1,200 donors contributed nearly $2 million to the 2016–17 annual campaign, buoyed by 431 new donors to CIM and $789,000 in new and increased gifts. Hogle continued: “Our students are a real part of Cleveland’s vibrant cultural life and Clevelanders of all ages are engaging with classical music and musicians in a highly personal way. Forging these connections is important to the future of classical music and our students’ professional development, and a critical part of our fundraising success, especially with new donors.” Cuyahoga Arts & Culture’s strong commitment to the arts in the county and a funding grant of $737,886 strengthened CIM’s ability to offer more than 500 free public performances on campus and throughout the region at Severance Hall, libraries, retirement homes, community centers, hospitals and schools, as well as reach more than 70,000 people last year through free livestream and radio broadcasts. The leadership and commitment of CIM’s Women’s Committee also bolstered the Institute’s fundraising success with its sold-out Broadway in the Circle Benefit at Severance Hall, honoring Richard and Patricia Pogue and benefiting the students of CIM.

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Alumni Jeremy Allen (DMA ’09, Brouwer/Fitch) was appointed assistant professor of composition and theory at John Brown University, beginning August 2017. Aaron Alon (MM ’05, Webb) is now the director of music at Lone Star College-University Park. His new feature film musical BULLY ( premiered in Houston on September 24-25, 2017, and he is currently working on a new stage musical with collaborator Russell Sarre. Alon’s “Dulce Et Decorum Est,” for baritone and string quartet, was released on July 14, 2017, on a new CD from the Society of Composers, Inc. on the Navona label. Larry Barnes (BM ’72; MM ’73, Dick/Erb) has created a new idiom combining interactive computer programming with Tai Chi. Barnes, a black belt, used the MAX/msp software to create a program that follows both hands during the performance of any Tai Chi form, creating two melodies that intertwine and are different every time. The new work, “MAX does Tai Chi 24,” premiered at the Southeastern Composers’ League in March. Mélisse Brunet (PS ’12, Topilow) was one of the six conductors selected from 161 applicants representing 33 countries for the Linda and Mitch Hart Institute for Women Conductors at The Dallas Opera, which took place November 5-19, 2017, in Dallas, TX. John Carrington (MM ’92, Chalifoux), principal harpist for Pacific Northwest Ballet Orchestra, joined fellow CIM alum Douglas Rioth (BM ’75, Chalifoux), principal harpist of the San Francisco Symphony, for SFS’s Summer with the Symphony series.

Photo: Roger Mastroianni

CIM has many different ways to provide support for programs in the Conservatory and the Preparatory and Continuing Education divisions. For more information, visit 20

Jeremy Collins (BM ’09, Vieaux) recently had his composition Elegy recorded on the Naxos label by Xavier Jara, winner of the 2016 GFA International Guitar Competition. Jara will perform both Elegy and Snehurka by Collins on his

upcoming international tour. Collins maintains a busy performing and teaching schedule in Cincinnati, OH. He performed for the Cleveland Classical Guitar Society’s Showcase Concert in September at Plymouth Church in Shaker Heights with Stephen Aron and alumni Linda White (MM ’89) and Robert Gruca (MM ’02, Holmquist/Vieaux). Nicolas Costantinou (MM ’02, Shapiro) gave two concerts in September in Bamberg and Giengen, Germany, with tenor Christian Zenker in a program that featured Beethoven’s Song Cycle “An die Ferne Geliebte” and Schumann’s “Dichterliebe.” The program also included Chopin’s Mazurkas Op. 59 and Fantaisie, Op. 49. Dr. Timothy Kalil (BM ’74; MM ’76, Radunsky/ Podis) presented internationally known piano ragtime performer Richard Dowling with his violin and piano arrangement of Scott Joplin’s “The Easy Winners” at Dowling’s recital at St. Peter’s Church in Ashtabula, OH, in July 2017. The piece was originally dedicated to CIM graduates violinist Judith Ingolfsson and pianist Ron Sat. CIM alumni and Music Settlement faculty members Arthur Kane (BM ’70, Pastor), Linda Allen (BM ’62; MM ’64), Linda White (MM ’89) and Maria Botti-Lodovico (BM ’09; MM ’11, Radosavljevich) presented a recital entitled, Pianists...and more in memory of CIM alumnus Chad Wachs (BM ’62; MM ’67) in May. Elisabeth Kufferath (BM ’92, Weilerstein) released a new solo CD, Libero, fragile, featuring violin and viola works by Luciano Berio, Elliott Carter, György Kurtág and Jan MüllerWieland. Die Welt, one of Germany’s leading newspapers, wrote “[The album] is astonishing, the way Kufferath pivots between free and fragile, how many colors and even more nuance she expresses…as one follows spellbound, intent to discover how the narrative will unfold.” The GENUIN classics recording was just nominated for the Preis der Deutschen Schallplattenkritik. La guitarra poética, the new release from Stephen Marchionda (AD ’90, Holmquist), features transcriptions for guitar from the original piano music of Enrique Granados. Among Marchionda’s other recordings on the MDG label are his transcriptions of works by Domenico Scarlatti and Isaac Albéniz. Both recordings have received exceptional attention and plaudits. His premiere recording of Nicholas Maw’s “Music of Memory” for solo guitar is on the award-winning Songs for Tenor and Guitar (Chandos Records).

Mark Nowakowski’s (PS ’07, Brouwer) CD of original string works titled Blood, Forgotten was recently released through the NAXOS label, in collaboration with CIM alumnus Erik Peterson’s (MM ’06; DMA ’12, Konopka) Voxare Quartet. His Sub Tuum Praesidium was also the first work from a living composer performed by the Three Notch’d Road baroque ensemble. Nowakowski currently serves as assistant professor of music at Kent State University, Stark. Eric Starr (MM ’04; AD ’06, Stout/Witser) presented a solo recital at the 2017 International Trombone Festival at the University of Redlands. Entitled “Slide Rules,” the performance featured contemporary solo works for the trombone by John Cage, Matthew Vandegriff, Matthew Burtner and Daniel Corral.

Appointments Yarina Conners (BM ’08, Radosavljevich) is currently the artistic administrator as part of the Artist Partner Program at The Clarice Smith Performing Arts Center at the University of Maryland. César Fumero (MM ’17, La Rosa) won the bass trombone position with the National Symphony of Costa Rica. Violinist Heidi Kim (BM ’15, Kwuon) served as a teaching fellow at this year’s Interlochen Arts Camp. Additionally, she joined the San Francisco Academy Orchestra roster of Academy Fellows for the 2017-18 season. Dr. Kimberly Patterson (BM ’07, Geber) was appointed assistant professor of cello, tenure track, at the University of Memphis. This follows her section cello position with the Colorado Symphony. Kevin Pfister (BM ’12, Stees) won a bassoon position in the Ruse Opera/Philharmonic in Ruse, Bulgaria. He started work there this fall along with his new wife, Sarah Shasberger, a violist and violinist. In fall 2017, David S. Platt (MM ’15, Topilow) was appointed visiting assistant professor in conducting at the Oberlin College & Conservatory and ensemble coordinator at the Cleveland Institute of Music.



Dr. Michael Robinson, Jr. (MM ’05; AD ’07, Witser/Stout) has been selected as the lecturer of trombone at Mahidol University’s College of Music in Bangkok, Thailand. He also won the principal trombone position with the Thailand Philharmonic Orchestra. Jonathan Ryan (BM ’04, Wilson) has been appointed director of music & organist at St. Michael and All Angels Episcopal Church in Dallas, TX, where he will lead and build the music program, direct the concert series and play the church’s three pipe organs in services. He continues an active concertizing career across the US and Europe. His most recent solo organ recording, Influences, received the rare distinction of nomination consideration in the 2017 GRAMMY awards. Christopher Thibdeau (MM ’11, Topilow) has been named conductor and master teacher of the El Sistema-inspired program Bridge Boston. Through their studies in music, Bridge Boston students learn how to persevere through challenges, hold themselves to high standards and achieve in ways they may not have expected. Kevin Tompkins (MM ’16, Preucil) recently began working as assistant principal second violin of the Omaha Symphony after winning the audition in September 2016. Ben Turcotte (BM ’12, Egre) recently accepted the position of digital marketing manager at Noteflight, an online music notation software company. At Noteflight, Ben is responsible for all marketing, advertising and content creation initiatives.

Prizewinners Dong-Wan Ha (AD ’15, Paik/Pontremoli) won numerous top prizes from worldwide competition including first prize at the 2016 Neue Sterne International Piano Competition, 2016 International Competition of Piano Delia Steinberg, 2016 Kerikeri International Piano Competition, 2016 Piana del Cavaliere Competition, 2016 Paderewski International Piano Competition, 2017 Massarosa Piano Competition and 2017 Orford Music Award. Violist Ayane Kozasa’s (BM ’09, Docter/ Preucil) quartet, the Aizuri Quartet, won first prize at the ninth Osaka International Chamber Music Competition. The group returned to Japan in November 2017 for a national tour as a part of their prize. Third prize winner at the 2015 Wigmore International String Quartet 22

Competition in London, the Aizuri Quartet is also the 2017-18 quartet-in-residence at the Metropolitan Museum of Art in New York City. In June, the Omer Quartet, including CIM alumni Mason Yu (BM ’13, Kantor/Smirnoff/ Zenaty), Erica Tursi (BM ’13, Preucil) and Alex Cox (BM ’13, Kraut), was awarded the top prize in the eleventh Premio Paulo Borciani International String Quartet Competition in Italy. They are the first American quartet to receive the top prize at this prestigious competition and the first time in twelve years an American quartet has been admitted to the final round.

Faculty Colin Davin (guitar) joined Sharon Isbin in her Cleveland debut on November 4 for a Cleveland Classical Guitar Society concert at Plymouth Church UCC in Shaker Heights, OH. Isbin’s career has spanned four decades and includes two Grammy awards and solo appearances with more than 170 orchestras. The concert included solo works performed by Isbin and duos by Isbin and Davin. In July, Keith Fitch’s (composition) The Range of Light, for baritone and six players on texts by John Muir, was premiered at the Rocky Ridge Music Center. The work was commissioned to celebrate the 75th anniversary of Rocky Ridge. His newest work, Three English Sonnets, composed for Joshua Smith, principal flute of The Cleveland Orchestra, will be published by Edition Peters this fall. Upcoming works include a commission from the No Exit ensemble to celebrate its tenth anniversary season next year. Stephen Mark Kohn (composition) created the libretto for the opera Riders of the Purple Sage, which was premiered by Arizona Opera earlier in 2017. WFMT Chicago broadcast the opera nationally on November 25, 2017.

Students Julián Fueyo and Qingye Wu (composition, Fitch) were first and second prize winners, respectively, in the Cleveland Composers Guild Collegiate Composers Competition. In addition to both receiving a cash prize, Fueyo’s winning work was performed by Peter Otto, First Associate Concertmaster of The Cleveland Orchestra.

Daniel Kaler (cello, Kosower) won the 2017 Sigma Alpha Lota Competition at the Chautauqua Institution Schools of the Fine and Performing Arts. Patrick Lin (violin, Preucil) won a position in the Hawai’i Symphony and joined the orchestra beginning in the 2017-18 season. In April, Gabriel Novak’s (composition, Fitch) listen to ‘em was premiered by Cleveland Chamber Symphony as part of NeoSonicFest 2017. Kiarra Saito-Beckman (violin, Laredo/Sloman) advanced to the semifinals of The Thomas & Evon Cooper International Competition.

for children in inner-city schools, reviewed the Metropolitan Opera on WCLV and started Opera al Fresco, with Cleveland Opera Theater Ensemble, which would come to be known as Cleveland Lyric Opera. His life was full of his love for music and his family. Emeritus Faculty Bernard Adelstein passed away on September 30, 2017, at the age of 89. Adelstein led CIM’s trumpet faculty and was principal trumpet of The Cleveland Orchestra from 1963 to 1988. Regarded as one of the finest classical trumpet players and revered by his many students, he always remained extremely modest about his playing. A Cleveland native, Adelstein was known for his sense of humor, his kindness and his colorful storytelling.

John Moskwa (BM ’71, Adelstein) passed away in June 2017. Though Moskwa did not pursue music as a career, he distinguished himself in engineering and continued to perform in community ensembles as often as he could. Moskwa was a great friend to CIM and took care for many years to keep up with his music friends, faculty and colleagues from his CIM days, and he was active with the Alumni Association. Moskwa will be greatly missed by all who knew him.

Oberlin Conservatory for a decade. Following his retirement, he wrote Tales from the Locker Room: An Anecdotal Portrait of George Szell and his Cleveland Orchestra. A native of Saginaw, Michigan, Angell is survived by his wife, Anita Pontremoli, and his loving family.

Emeritus Faculty Lawrence (Larry) Angell passed away on December 3, 2017. Angell performed in The Cleveland Orchestra from 1955 to 1995, and was head of Double Bass at CIM from 1969 to 1999. He also taught at

Preparatory Catharine Baek (piano, Schulze) won first prize in the state OMTA Buckeye contest in which high school students throughout Ohio compete. Hana Chang (violin, Zenaty) received third prize and special recognition of the jury in the Prague Spring Competition and second prize in the Beethoven Hradec Competition. In the final round of the Prague Spring Competition, Chang was honored to play the Dvořák Violin Concerto with the Prague Radio Symphony Orchestra in Dvořák Hall of the Rudolfinum. After the competitions, Chang received invitations to play a concerto with orchestras in the Young Prague International Festival this September and during the St. Wenceslas Festival in Ostrava, Czech Republic, in September 2018.

Planned gifts are a great and easy way to support CIM, often providing significant tax advantages!

John Phillips (piano, Teissonnière) won a performance opportunity at the Costa Rica Piano Festival on July 11, where he performed a Mozart Piano Concerto with the Costa Rica Piano Festival Orchestra. Naomi Yamaguchi (piano, Schulze) won the first prize at the Kaufmann International Youth Piano Competition held at Merkin Concert Hall in New York City in July. Additionally, Yamaguchi won a special award for the best performance of a Romantic work during this contest.

These gifts include bequests in your will or trust, charitable trusts, charitable gift annuities and much more. Learn more about ways that you can make a

In Memoriam

difference on the future of classical music through planned giving by

Anthony Addison passed away on February 9, 2017, at the age of 90. From 1964 to 1981 Addison served as head of the Opera Theater program at CIM. Additionally, he conducted the University Circle Youth Orchestra, gave performances

contacting Holly Selvaggi at 216.795.3169 or holly.selvaggi@

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ABOUT CIM Founded in 1920, the Cleveland Institute of Music (CIM) is one of seven independent music conservatories in the country and is known for superior orchestral, chamber music, composition

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and opera programs at both the undergraduate and graduate levels. CIM graduates play important musical roles in our world as composers producing meaningful new repertoire, as eminent instrumental and vocal soloists, as world-renowned chamber musicians and as members of premier orchestras around the globe. More than half of the members of The Cleveland Orchestra are connected to CIM as members of the faculty, alumni or both. Located in University Circle, Cleveland’s cultural hub, CIM is easily accessible to all music lovers— providing hundreds of concerts annually, most free of charge. Visit for more information.

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CIM Notes | Winter 2018  
CIM Notes | Winter 2018