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Lydia Artymiw (piano) performed at WGBH’s Fraser Performance Studio and a Music For Food fundraiser at the New England Conservatory and gave solo recitals/master classes at Valley City State University (ND), Capital Normal University (Beijing), Shanghai Normal University, and the Shanghai Conservatory (China). She performed at the Colonial Church of Edina Chamber Series and with the Hill House Chamber Players (St. Paul). She joined Kim Kashkashian for duo recitals at Queens College (NY), Sacramento State University (CA), and Jordan Hall (Boston), appeared with cellist Peter Wiley and violist Steven Tenenbom for the MATI Series (NY), performed Stravinsky’s Les Noces and chamber concerts at the Virginia Arts Festival (Norfolk), was in residence at the Foulger International Festival (Ogden, Utah), and performed Mozart with the Gwangju Symphony Orchestra (Gwangju, South Korea). Thomas Ashworth (trombone) performed with a tuba/euphonium quintet on American Public Media’s A Prairie Home Companion in February. David Baldwin (trumpet) attended the International Trumpet Guild Conference (Grand Rapids, MI). He has two CDs issued by this organization that feature his interpretation of the etudes of Theo Charlier, Reginaldo Caffarelli, Jean Baptise Arban, and Marcel Bitsch. Baldwin was a founding member of the International Trumpet Guild and has been secretary and a long-time board member. His new Christmas carol arrangements are being published by Theodore Presser Co.: It Came Upon a Midnight Clear, We Three Kings, and Carol of the Bells. Dean Billmeyer (organ) toured Germany (summer 2012), giving concerts at the Bartholomäuskirche in Blankenburg am Harz, the Heilig-Geist Kirche in Schorndorf, the Propsteikirche in Recklinghausen, and the Wallfahrtsbasilika in Werl. Billmeyer lectured in Eisenach at “Hundert Jahre Heinrich Fleischer,” an exhibition in honor of the 100th anniversary of Fleischer’s birth. His second European concert tour of 2012 included performances at the Basilika St. Mang (Füssen, Germany), the New Cathedral (Linz), and the Pfarrkirche (Hofkirchen, Austria). He was a guest lecturer at
26 University of Minnesota School of Music
the Anton Bruckner University (Linz), presenting a class on American organ literature of the 20th and 21st centuries. Mark Bjork (violin and pedagogy) presented a talk “Now go Home and Practice, But How?” to the fall clinic of the Minnesota String and Orchestra Teachers Association in October 2012. He was guest clinician for a workshop for students in the Suzuki program associated with Centenary College (Shreveport, LA) and presented master classes in February. This summer he taught at the Colorado Suzuki Institute and Chamber Music in the Rockies, presenting master classes for advanced students and teacher training for teachers working with advanced students. In August, he did the same at the American Suzuki Institute at the University of Wisconsin, Stevens Point. Bjork was interviewed in the “Ask the Teacher” column in The Strad Magazine (September 2013). Julia Bogorad-Kogan (flute) performed Edgard Varese’s Density 21.5 for solo flute in The Saint Paul Chamber Orchestra’s Ordway and Ted Mann Concert Hall series in May. Of this performance, the Star Tribune’s Larry Fuchsberg wrote, “Julia Bogorad-Kogan, the SPCO’s exceptional principal, offered both high drama and a remarkable range of timbres. Written for a platinum flute, the music seemed to deepen in color by being played on Bogorad-Kogan’s gold-copper-silver instrument” in his article “Juxtaposing Mozart with modernist by SPCO.” The St. Paul Pioneer Press’ Rob Hubbard called the performance “a tour de force” in his review “Mozart and modernist match up in SPCO concert.”
Associativity of Harmonic Progression” and Karen Painter’s (musicology/ethnomusicology) article “Depoliticizing America’s Wagner in the Nazi Era” appear in The Legacy of Richard Wagner, edited by Luca Sala and published by Brepols Publishers. Christopher Brown (bass) gave a seminar and recital at BASS2012, the biennial European double bass convention. BASS2012 promoted the development of double bass playing and its network of amateurs, students, professors, performers, educational establishment, bass makers and manufacturers of accessories. There were more than 150 bass events at the convention, including competitions, recitals, master classes, seminars, showcases, and open stages for classical and jazz bass music. David Damschroder (music theory) is working on the fourth volume of his Harmony Project, Harmony in Chopin, which formed the basis for “Formal/Harmonic Conflicts in Chopin’s Mazurkas,” a lecture delivered at the 17th Biennial International Conference on Nineteenth-Century Music, Edinburg, during June. Damschroder has been appointed as series editor for Harmonologia. The first volume under his editorship, an annotated translation of a basso continuo treatise by Heinichen, was recently published; and a second volume, an analytical study of Mendelssohn’s instrumental music, is forthcoming.
Alexander Braginsky (piano) was interviewed in International Piano magazine’s September/ October 2012 education issue in the article “Teaching at the top Part 1” and in the November/December 2012 issue in the article “Teaching at the top Part 2.” His private student Henry Wang (Rochester, MN) won the MTNA Junior Division at the regional level (Lawrence, KS). Wang moved on to MTNA Finals in Anaheim, CA in March.
Immanuel Davis (flute) was featured on the cover of the New York Flute Club newsletter in the article “Eclectic Flutist Immanuel Davis Has His Cake and Eats it Too!” He performed with Timothy Lovelace (piano) and Bradley Brookshire (harpsichord) in December 2012 in a recital at Baruch Performing Arts Center. Davis and Lovelace performed with Käthe Jarka (cello) in an evening of works by Philippe Gaubert with the 1899 Erard piano from the Schubert Club Collection and the 1865 Louis Lot flute. The concert celebrated the release of their On a Clear Morning CD. Davis discussed the album on Classical Minnesota Public radio with host Alison Young.
Matthew Bribitzer-Stull’s (music theory) article “From Nibelheim to Hollywood: The
The final part of James Dillon’s (composition) 3 Triptych’s, the “New York Triptych,” commis-