NEWSLETTER for ALUMNI & FRIENDS September, 2008 Vol. XX, No. 2 Ledger SCHOOL of MUSIC and DANCE Lines School of MuSic & Dance aDVanceMenT council Chair: al King, ’76, vice president/ investment officer, RBC Dain Rauscher; Springfield, OR ViCe-Chair: Niles hanson, NW Stamping & Precision Co., Rosen Products Sunvisor Systems; Eugene, OR PaST Chair: Mira Frohnmayer, ’60, professor emerita, Pacific Lutheran University; Eugene, OR Jenifer Craig, ’71, ’73, Associate Professor and Chair of Dance, UO; Eugene, OR Mary ann hanson, President, Eugene Symphony Association and arts patron; Eugene, OR David hilton, Merrill Lynch & Company, Inc.; Eugene, OR Marilyn Kays, arts patron; Eugene, OR Natalie Giustina Newlove, arts patron; Eugene, OR Jay O’Leary, M.D., arts patron; Eugene, OR Mary Glass O’Leary, ’55, arts patron; Eugene, OR Mia hall Savage, ’72, ’73, Pacific Youth Choirs; Portland, OR John Wells, violinist; Springfield, OR Jeffrey Williams, Professor and Associ- ate Dean of Music; Eugene, OR Homecoming Weekend Saturday, Oct. 11: • Ducks vs. UCLA at Autzen Stadium. Alumni Band members can register for the weekend’s rehearsal and activity schedule by going to: www.oregonalumniband.com Ledger Lines is the biannual newsletter of the University of Oregon School of Music and Dance. Letters, photos, and contri- butions from alumni, friends, and faculty are always welcome. address correspondence to: LeDGer LiNeS School of Music and Dance 1225 University of Oregon eugene Or 97403-1225 eDiTOr: Scott Barkhurst scottb@uoregon.edu aSSiSTaNT: Carol roth CONTriBUTOrS: George evano, Bob Keefer, amy Stoddart, DeNel Stoltz PrOOFreaDerS: Laura Littlejohn, Carol roth COVer PhOTO by Scott Barkhurst: Construction on the new Leona Dearmond academic Wing nears completion DeaN: Brad Foley bfoley@uoregon.edu aSSOCiaTe DeaNS: ann Tedards–Graduate Studies tedards@uoregon.edu Jeffrey Williams–Undergraduate Studies docjwms@uoregon.edu DaNCe DeParTMeNT: Jenifer Craig, chair jcraig@uoregon.edu DeVeLOPMeNT STaFF: DeNel Stoltz, director denel@uoregon.edu amy Salmore, program assistant amymc@uoregon.edu Main office: Phone: (541) 346-3761(music) (541) 346-3386 (dance) Fax: (541) 346-0723 Web: music.uoregon.edu MuSic & Dance aDMiniSTRaTion — Special eventS — Friday, Oct. 10: • UO BANDS TO CELEBRATE 100th ANNIVERSARY The UO School of Music and Dance and the Oregon Alumni Association invite all former UO band members to attend a special 100th anniversary celebration din- ner during Homecoming Weekend, Oct. 10–11. The Friday dinner, featuring a special program and performances, will be at Val- ley River Inn at 7 p.m., preceded by a 6:30 reception. The centennial event is open to all former UO band members, including the concert bands, jazz bands, and march- ing bands. The evening’s program will feature live performances, band memorabilia, and speakers. Cost is $35 per person. Reception and registration details are available on-line at the Alumni Association’s website: uoalumni.com 1FROM THE TOP Brad Foley, Dean A s we approach the beginning of a new academic year at the University of Oregon School of Mu- sic and Dance, we eagerly anticipate the move into our $19.2 million new and renovated MarAbel B. Frohn- mayer Music Building by the end of fall term. Thanks to the generosity of lead donors Lorry Lokey, Bob and Leona DeArmond, Thelma and Gilbert Schnitzer, and Kathleen Daughterty Richards Grubbe as well as numer- ous others, more than $11 million from private funds and $7.6 million from state bonds have made this project a reality. It has been an exciting process to observe the day-to-day activities of the construction crews over the past year, and I have enjoyed working with an exemplary team of construc- tion managers whose work will culminate in an incredible new and improved facility for our talented students, faculty, and staff. The true success of the construc- tion phase of our project is in large part due to the hard work and perse- verance of Janet Stewart and George Bleekman from the university, and Brad Tindall and Shaun Nestle from John Hyland Construction. I appreci- ate the great care and attention to every detail that has gone into mak- ing our project the best it can be. We will move into the new spaces in December in time to begin winter term of 2009 in our new facil- ity. We plan to invite our various constituencies to a grand opening celebration during the first week of March in 2009. I hope that many of you will plan to join us for the ribbon-cutting ceremony and/or an open house and tour of the facilities, so that you may observe first-hand the caliber of new spaces we are cre- ating. Besides the new construction itself, our music students will enjoy an enriched quality of education due to the state-of-the-art acoustical and sound-isolation properties featured in those new spaces. ChamberMusic@Beall As we launch the 41st annual season of the university’s chamber music series, you will note that we adopted a new name and have undergone a leadership change. In March, we saluted Janet Stewart for leading the series for the past fourteen years, continuing the excel- lent traditions of Edmund Cykler and Steve Stone before her. Janet’s leadership was marked by her dedi- cation, love, and passion for music as she invited the highest quality of performing artists to our series over the years. She brought the elite from the world of chamber music, including such groups as the Tokyo, Emerson, Juilliard, and Amati string quartets. She concluded her leadership of the chamber series to help with the transition as well as to serve as our music building project manager, prior to retiring next sum- mer. Janet’s retirement, along with John Evans joining the UO’s Oregon Bach Festival, led me to consider a new partnership opportunity and a rebranding of the series as Chamber Music@Beall. We have a great season in store for the community, opening with the Academy of St. Martin in the Fields on October 19. Appearances by pianist Jeffrey Kahane (Nov. 9), and the Portland Baroque Orchestra (Feb. 22), serve as connections to the 2009 Oregon Bach Festival lineup, as both will return in the summer as a part of next year’s 40th anniversary festival. Time of Transitions As we begin the new academic year, the university anticipates a sig- nificant enrollment surge across the campus and we also expect a larger than usual entering class in music and dance. We anticipate numerous other changes and transitions as we wel- come new faculty: Assistant Profes- sors Molly Barth, flute; Nicholas Isherwood, voice and opera; and Shannon Mockli, dance; as well as Instructors Andiel Brown, gospel ensembles; Christopher Olin, choral music education; Laura Wayte, voice; and Larry Wayte, music his- tory. In the coming year we will launch a search for a new assistant professor in ethnomusicology to succeed Professor Emerita Anne Dhu McLucas, and another assistant professor search in dance to replace former Associate Professor Amy Stoddart, who left us this summer. Across campus, we welcome new provost James Bean (former dean of the Lundquist College of Business), Jill Hartz, new director of the Jordan Schnitzer Museum of Art, and new permanent leadership in the dean’s offices of the College of Education and College of Arts and Sciences. And we await with great anticipation the outcome of a search for a new president of the University of Oregon. Meanwhile, we begin our ten- year NASM Self-Study process for renewal of our music accreditation, as well as a new assessment plan and campus-wide Strategic Academ- ic Planning process. All in all, we have a busy and exciting year ahead in addition to our usual myriad of 200-plus concerts and programs. I hope you will pay us a visit in the coming year. even years of anticipation. Nineteen million dollars from vision to completion, and $10.4 mil- lion from private sources to make it a reality. The waiting is nearly over for faculty, staff, students, music patrons, and community musicians. For some, actually thirty years of anticipation—since 1979—which was when the last additions were constructed for the music facilities. The expanded and renovated MarAbel B. Frohnmayer Music Building will open for classes in January 2009, providing new state- of-the-art, acoustically isolated teaching studios, rehearsal/perfor- mance spaces, classrooms and prac- tice rooms that will add half again as much space as the existing music facility. Mark your calendar for the grand opening celebratory events during the first week in March 2009. The Oregon Legislature ap- proved bonding for $7.6 million of the music building project in 2001 —at the time, half of the expected capital project. Due to runaway steel and concrete costs, the project ballooned to $19 million. Thanks to generous donors, the additional needs to complete the project were met by private sources, enabling the construction of a wonderful, functional facility that will last for generations of faculty, students, and audiences. The excitement among the faculty, students and staff is pal- pable. Fundraising for the MarAbel B. Frohnmayer Music Building is not yet complete, however. The immediate focus is on furnishing and equipping the new spaces with pianos, rehearsal chairs and equip- ment, classroom desks, risers, music stands, etc. 2 By DeNel Stoltz, Director of Development DEVELOPMENT All proceeds from our “Buy a Named Brick/The Last Bricks” ini- tiative in the Penny Vanderwicken Duprey Courtyard will be put toward furnishing and equipping the new spaces in the MarAbel The Final Bricks Fundraising shifts to furnishing and equipping the new $19 million music building S B. Frohnmayer Music Building. A schematic of the courtyard and building plans can be viewed at: http://music.uoregon.edu. Click on “Make a Gift,” then “Buy a Named Brick.” Bricks are still available for $250 and $1000. The first installation of bricks will be in fall 2008. The next installation will be in summer 2009. Leave a legacy and become a part of UO music history today! u For more information on making a gift, contact DeNel Stoltz at (541) 346-5687 or denel@uoregon.edu. The new instrumental rehearsal room, part of the new Thelma Schnitzer Performance Wing at the north end of the music building. Steinway Model D grand piano (3 needed) Steinway Model B or O grand piano (10 needed) Equipment for new recording studio and connections to new rehearsal spaces Furniture for Club Room (newly renovated reception room off Beall Hall lobby) Upright piano (10 needed) Audio/visual equipment for each new classroom (5 needed) iMac computer for renovated computer lab (10 needed) 6 Wenger rehearsal chairs (87 needed) State-of-the-art music-specific software for computer lab (10) Two classroom chairs with arm tablets (185 needed) or 5 music stands (170 needed) WHICH BRICKS ARE MISSING? $100,000 $60,000 $40,000 $25,000 $10,000 $8,000 $1,700 $1,000 $250 $300 3Madelon Petroff and Exine Bailey (right) enjoy the festivities at the special Feb. 10 reception held in the Knight Library Browsing Room. Two New ScholarShipS eNdowed A special afternoon reception on February 10 reunited two important friends of the School of Music and Dance—and close friends of one an- other for more than sixty years. Mira Frohnmayer ‘60 and Marcia Baldwin hosted the surprise celebration hon- oring Madelon Petroff, a 1952 piano alumna, and emerita voice professor Exine Bailey. “It was a delightfully fun event to plan and host. Both Madelon and Exine thought that the event was a celebration for the other one, and both were surprised and pleased to be honored,” said Frohmayer. Petroff made a generous $100,000 gift that established two new endowed scholarships: one in piano and one in voice. The Mad- elon Petroff Piano Scholarship will assist in recruiting talented piano students, and the Exine Anderson Bailey Vocal Scholarship will do the same for the best voice majors. “Scholarship funds continue to Emerita voice professor Exine Bailey honored with endowed scholarship and new lounge in her name; piano scholarship endowed by Madelon Petroff ‘52 be one of the top priorities for our school, and endowments provide a wonderful source of funds in perpe- tuity to help us attract the finest and most talented students, who will become tomorrow’s top educators and performers,” Dean Foley noted in his remarks. “Madelon’s gift endowed the voice scholarships that Exine has been making possible through her annual generous gifts each year,” Foley added, “and Exine has made a provision in her estate to further build her vocal scholarship endowment.” UO President Dave Frohnmayer thanked Petroff for her generous gifts and then surprised her by pre- senting her with a crystal duck wel- coming her into the Irene Gerlinger Society of the University’s Founders Society, which recognizes donors for their significant lifetime gifts to the University of Oregon. Frohnmayer also had many accolades for Exine for her four decades of service to the school and university. Mira Frohnmayer, Exine’s close friend and former student, suprised her with the announcement that the newly renovated lounge and reception area in the MarAbel B. Frohnmayer Music Building will be named for Arthur and Exine Bailey, in honor of Exine’s many years of service to the School of Music and Dance, and her late husband’s dedication to vocal instruction and performance. The former student lounge has been renovated to serve as the new reception area and lounge. Mira, along with Marcia Baldwin and Lynette Schenkel, spearheaded the fundraising effort among Exine’s former students to raise $50,000 to name the space, and were major donors to the project. The reception brought together more than 50 friends of the School of Music and Dance, including many of Exine Bailey’s former UO colleagues, students, and members of her PEO and Phi Beta chapters. Entertainment was provided by this year’s Exine Bailey Graduate Voice Fellowship recipient, Marie Lan- dreth, and Exine Bailey Undergradu- ate Voice Scholarship recipient, Maggie Lieberman. Pianists Nathalie Fortin and Corey Battey accompa- nied the two sopranos. The event ended with a song, of course. Mira Frohnmayer led the gathering with special lyrics that she wrote, sung to the tune of “The Battle Hymn of the Republic” as a tribute to Exine. u Is the School of Music and Dance in your will? Let us know! Thank you. UO Office of Gift Planning (541) 346-1687 (800) 289-2354 giftplan@uoregon.edu 4The School of Music had been living on a shrinking budget for years, and some were eyeing the school as a “frill” that might be eliminated altogether. Piano and Equipment Needs for the New Building: Two Recent Gifts Kick Off the Initiative “I don’t know that we could have had a better dean through the hard financial years” —Exine Bailey Former Dean Morrette Rider is remembered for his cordiality and administrative skill TRIBUTE Memories of Morry orette Rider, dean of the School of Music from 1975 to 1986, passed away in January; a memorial service was held in Eugene, attended by numerous faculty, friends, and family. His wife, Wanda, passed away in May 2007. Rider began teaching at Hope College in Michigan in the late 1940s, eventually becoming Provost after completing his doctorate at Columbia University. He toured and taught for many years as a profes- sional violinist and conductor. For three years he hosted a musical talk show for Time-Life Television as well as several radio series. He studied conducting with Pierre Monteaux, Sir Adrian Boult, and Leonard Bernstein. The defining moment of Rider’s 11-year tenure at the University of Oregon was his valiant—some would say heroic—defense of the School of Music during a particu- larly difficult budgetary period on campus in the early 1980s. During the 1981 recession, Or- egon had a shaky state economy and a state legislature that was cutting the budgets of colleges and universi- ties. The UO School of Music had been living on a shrinking budget for years, and some were eyeing the school as a “frill” that might be eliminated altogether. Rider knew he had to take action, and began amassing statistics and supporters, including a letter sent in the spring of 1981 to alumni and friends of the music school. In the letter, he noted that elimi- nating the music school would not only result in lost jobs, but would disrupt the education of 450 music students. Cancellation of the Oregon Bach Festival (then preparing for its 12th season) and more than 200 annual concerts would remove significant revenue from the local economy. The demand for music teachers would remain, but the school would no longer be there to provide them. The response to Rider’s letter was significant, and the school weathered the budget storm. “I don’t know that we could have had a bet- ter dean through the hard financial years,” said Exine Bailey at the time of Rider’s retirement. Peter Bergquist echoed that sentiment in 1985, saying that Rider did “a splendid job in a period of financial pinch for the whole university. He made it possible for us to keep the quality of the school without suffering more severe loss, even while suffering reduced staff and budget. He’s an outstanding administrator and a hard act to follow.” Another highlight from Rider’s tenure at Oregon was in 1984, when he brought the prestigious Interna- tional Society for Music Education conference to Eugene. The Hult Center was brand new, and with the Hilton next door, it made a perfect venue for the large and successful conference gathering. Rider also presided over the construction of the first major addition to the music school since the late 1950s: the east wing of studios and practice rooms and the north wing of large rehearsal rooms and suites. Rider also founded and con- ducted the University Sinfonietta and oversaw the establishment of a jazz program. Two new doctoral degrees—the Ph.D. and D.Ed—in music education were accredited during his tenure, as were master’s degrees in choral conducting and piano pedagogy. Rider was very active in in- ternational education, serving as administrator or faculty member for programs in Yugoslavia, Germany, Austria, and England, and as a guest lecturer in Germany, Finland, South Korea, and England. He also was a member of Eugene’s Cultural Affairs Commission, the Board of Governors, and chair of the long- range planning committee of the UO Museum of Art. He also served on the Board of Directors of the Eugene Symphony and the Eugene Youth M Morrette Rider, 1921-2008 5Uo chamber mUSic SerieS geTS New Name, New arTiSTic maNagemeNT MORRETTE RIDER, continued The UO Chamber Music Series, which completed its 40th anniversary season with appropriate celebrations and gratifying ticket sales this past year, will have a slightly different face next season. With the impending retirement of manager Janet Stewart (after 14 years of devoted service) the series will sport a new name—Chamber Music@Beall—and will get its artis- tic direction from Dean Foley and John Evans, with support from staff of the Oregon Bach Festival and the School of Music and Dance. The series will expand to six concerts next year (see box below), and all the concerts will be held at 3 p.m. on Sundays, but otherwise will retain the same elements that have made it so successful over the years. “As the UO chamber music series enters its fifth decade, the Oregon Bach Festival is proud to be in partnership with the School of Music and Dance to ensure that Chamber Music@Beall is every bit as successful in the years to come as CMS has been in the recent past under the inspired leadership of Janet Stewart,” said John Evans. “An expansion of the subscription series, closer links with Bach Festival themes and artists, and sustaining a roster of top-ranking international artists will, I’m sure, secure the series well into the future for all lovers of great chamber music.” On the financial side of the series, Director of Development DeNel Stoltz announced that “Thanks to many generous donors, we have reached $93,000 toward the $100,000 endowment campaign begun last fall.” To make a gift to the series, con- tact DeNel Stoltz at (541) 346-5687 or e-mail denel@uoregon.edu u Sunday, Oct. 19 ACADEMY OF ST. MARTIN IN THE FIELDS CHAMBER ENSEMBLE Music by Dvorak, Shostakovich, and Mendelssohn. Sunday, Nov. 9 JEFFREY KAHANE, Piano One of the Oregon Bach Festival’s most popular soloists performs music by Mendelssohn, Schubert, and Rachmaninoff. Sunday, Dec. 7 THE AULOS ENSEMBLE with Julianne Baird, soprano A special holiday program featuring one of the leading early music ensembles and Julianne Baird. Sunday, Jan. 25 BORODIN QUARTET This world-renowned, Grammy- nominated quartet will perform music by Beethoven, Shebalin, and Borodin. Sunday, Feb. 22 PORTLAND BAROQUE ORCHESTRA Music by Couperin, Handel, Rameau, and C.P.E. Bach. Sunday, March 8 ALTENBERG TRIO VIENNA Music by Haydn, Mendelssohn, and Krzysztof Meyer. For season subscription brochure or more information, call (541) 346- 5666 or (541) 682-5000 hamber music @ beaLLC 41st SEASON Symphony. Speaking at Rider’s memorial service were three emeriti faculty members: Gary Martin gave a summary of Rider’s professional life prior to arriving at the University of Oregon, and noted that the Riders’ daughter, Rhonda, had become an excellent cellist with a very successful career in performance and in teaching. Mary Lou Van Rysselberghe, who was hired by Rider, spoke of Rider’s legacy of cordiality and hu- mor. “So much was hidden behind that inimical smile of his,” she said. “He was a man who accomplished much. He was a teacher who branched into so many directions, an administrator during hard times at the university; an accomplished string performer, lecturer on a broad breadth of topics, including jazz. Morry even supported our forming a softball team of willing and some- times able faculty—the Red Riders.” Steve Stone, who joined the faculty one year after Rider became dean, characterized Morry’s admin- istrative style as “very quiet and un- obtrusive ... he never spoke critically about anyone to other people ... the same was true of his wife, Wanda. In fact, their daughter Rhonda remembers that that was the way it was in their family life as well. You just didn’t spend time disparaging anyone. Period.” Stone added that “his door was always open, no matter how busy he might have been. He always main- tained this policy, whether or not you had an appointment—no matter how important or trivial the subject matter.” u here. Others in the group made certain that he came in Memorial gifts in Morette Rider’s memory may be made to the Univer- sity of Oregon Foundation/School of Music and Dance. Efforts are underway to endow scholarships in the Riders’ names. To make a gift, contact DeNel Stoltz, Director of Development, at (541) 346-5687 or denel@uoregon.edu 6DANCE NEWS Spring tour successes for Repertory Dance Company By Walter Kennedy UORDC dancer Rebecca Stiehl in Rita Honka’s “Oyá” From Cottage Grove to Coos Bay, the intrepid dancers and sup- port staff of the UORDC 08 brought modern dance to the region this past spring with great energy and talent. In addition to the annual “at-home” concert in Dougherty Dance Theatre and teaching workshops at several local high schools, the on-tour con- certs provided entertaining contem- porary dance and some wonderful artistic and educational outreach activities for Oregon audiences. Especially exciting this year was the company’s first extended residency in the Coos Bay/North Bend area. The Hales Performing Arts Center at Southwestern Oregon Community College was the per- formance venue, and the residency activities were based at North Bend High School, which has had a mod- ern dance department since 1955. UO alumna and director of North Bend’s Modern Dance Dept. Kathy Morin along with guest instructor and choreographer Sara Eklund Higgins (B.S. in Dance from UO, 2000) were the company hosts, and Sara was the residency coordinator. The dancers and staff were housed in the Oregon Institute of Marine Biology cottages in nearby Charleston, and had great fun being near the beach. This year’s company, made up of graduate students Gina Bolles and Carrie Goodnight (both M.F.A. 2008) and undergraduates Jessica Goodburn, Karta-Purkh Khalsa, Sara Parker, Rebecca Stiehl, and Lilli Tichinin, taught several master classes over the three-day residency at North Bend High, and an open community class the morn- ing of the concert. Undergraduate students Kate Ashworth and David Johnson were stage managers and all-around tech- nical support. UORDC co-directors Jenifer Craig, Rita Honka, and Walter Kennedy were all in attendance, providing much needed support to ensure a smooth residency and per- formance. The North Bend High ad- vanced dancers opened the concert on Saturday evening with a dynamic work choreographed by Higgins. An exciting end to the season for all involved, this is also the beginning of an exciting new presence for UO Dance in the bay area. Another highlight of the UORDC 08 spring tour was another new relationship forged in the com- munity from our alumnae in dance. This year included the first of many future interactions with the new Springfield Academy of Arts and Academics, otherwise known as 3A, where Dorene Carroll (B.A. Dance UO 2007, and last year’s SOMD Commencement flag-bearer) is a teaching artist along with Keri Davidson. The UORDC dancers provided an in-depth series of workshops for the school’s dance students, delving into choreographic processes after the students attended the concert at Dougherty Dance Theatre in April. This year’s UORDC 10th an- niversary tour and at-home activities brought exciting contemporary dance to many hundreds of people UORDC dancers Lilli Tichinin, Rebecca Stiehl, and Jessica Goodburn in Sarah Franco’s “The Lineage of Eve” P H O TO B Y A R I D E N IS O N P H O TO B Y A R I D E N IS O N in several communities throughout the state, and at the same time offered UO dance students invaluable opportunities to practice and communicate through their chosen art form, the pow- erful and beau- tiful discipline of dance. u 7 P H O TO B Y J O N C H R IS TO P H E R M E Y E R S W OREGON BACH FESTIVAL ith a second straight year of sales growth, besting its previ- ous high revenue mark by 12%, and staging night after night of sold out concerts, the Oregon Bach Festival enjoyed one of the most successful seasons in its entire history. As the curtain closed on the St. Matthew Passion on July 13, OBF President and Executive Director John Evans announced that this year grossed $502,696 in ticket sales, exceeding its previous high mark of $448,408 in 2004, surpassing by 20.2% its 2007 total, and bettering its 2008 budget goal by $26,296. Reflecting an influx of new audi- ences from the Eugene 08 Olympic Trials and the Festival’s opening night venture in Portland, the OBF achieved its broadest ever geo- graphical reach, with ticket-holders from 39 states as well as Australia, Brazil, Canada, Finland, Germany, South Korea, and the U.K. Its total attendance edged 32,300—one of the highest figures in its 39-year history. Equal to this great achievement, Bach Festival Soars Ticket sales and critical acclaim make the 39th season the most successful in the Festival’s history in Evans’ view, was the consistently high level of the performances, as witnessed by the extraordinary press the Festival received this year. “The standing ovations, the capacity audiences, and the tremen- dous collaborative energy of our mu- sicians speak volumes for what the OBF now represents,” he reflected, citing the five-minute standing ova- tion for the opening night B Minor Mass, the crowd-pleasing residency of the Shanghai Quartet (which captured popular imagination in a totally revamped chamber music series), the capacity crowds for Gar- rison Keillor, The Five Browns, and Sarah Chang, and the profundity of Rilling’s closing performance of the St. Matthew Passion. “Our goal from the outset was to honor the past and the values that have made this Festival great, while celebrating the future and the diver- sity of programming we can stage and the audience we can attract. And judging by the enthusiasm of our audiences and the press we have received, inspired throughout by music-making of the highest order, we succeeded.” Aside from its music, the OBF honored its past in both the opening and closing nights at the Hult Cen- ter, launching the Festival in Eugene with a Founders’ Concert honoring its founding fathers, Helmuth Rilling and Royce Saltzman, and preced- ing the final performance of the St. Matthew Passion with a ceremony in which Rilling presented the Saltzman Award to UO President Dave Frohnmayer and his wife Lynn. Named in honor of Royce Saltzman, (now the OBF’s Director Emeritus) the award is the Festival’s highest honor, given to those who have made outstanding contributions over the years. The Frohnmayers have been Festival participants since 1971. In recent years Dave Frohnmayer has overseen significant growth in uni- versity support for the Festival. Evans’ view was echoed by Helmuth Rilling, the Festival’s artistic director, who hailed both the Festival’s high standard of performances and a new sense of energy emanating from both sides of the footlights: “We have many times performed the great works of Bach but never, as we have this year, performed all the major pieces in Maria Jette and Garrison Keillor whoop it up with Festival musicians. Opening in Portland re- engaged the Festival with an extraordinarily eager audience and opened a door that had been closed for almost 30 years one festival, and at such a very high artistic level. We had many new art- ists and audiences who had a lot of enthusiasm for our music. This was a real joy for me.” Concerns that this year’s Festival would run concurrently with the US Olympic Trials for ten of its seven- teen days were allayed, Evans said, by an overlap in attendance and two key resultant benefits. “From the 8FACULTY Tyler Abbott: performed at Aspen Music Festival and Oregon Bach Festival, and with Eugene Sym- phony, OSU/Corvallis Symphony, Salem Chamber Orchestra, Eugene Concert Choir, Eugene Opera Orch., and Eugene Ballet (Nutcracker); jazz performances included Ax Billy Grill, Oak Street Speakeasy, Sweetwaters at Valley River Inn, Jor- dan Schnitzer Museum of Art, Jazz Station, OFAM’s Shedd Institute, Jo Federigo’s, Pleasant Hill Jazz Festi- val; featured soloist in Lynn Seaton’s Jazz Bass Workshop, and part of Jeff Bradetich’s Elite Soloist Master Class (U. North Texas); sectional work with Eugene Youth Symphony and Oregon All-State Orchestra; coach- ing with Salem Youth Symphony; master classes at South Eugene and West Salem HS, and jazz bass and rhythm section master classes at Pleasant Hill Jazz Festival. Barbara Baird: performed at St. Bartholomew Episcopal Church (Beaverton OR), with Julia Brown for the Regional Convention of Ameri- can Guild of Organists, First Con- gregational Church, for Oregon Bach Festival, Pipescreams fundraiser for Eugene AGO, Central Lutheran Church, and Faith Lutheran Church (Castro Valley CA); conducted work- shop Baroque Performance Practice for Corvallis OMTA. Wayne Bennett: editor of College Orchestra Director’s Assoc. Journal, vol. 1:1-2; performed at Sunriver Music Festival, Harold Owen Trib- ute, Eugene Symphony, Hammer- winds, and the Oregon Wind Quin- tet; chaired a panel on Large Univ. and Conservatory Orch. Programs at the College Orch. Directors Assoc. Nat’l Conf.; clinics in Eugene with the Timberline HS Band from Boise, and the Pacific Academy Band from Vancouver BC; awarded the College Orch. Directors Assoc. award for Distinguished Service; residency at Baylor Univ. School of Music (guest conductor, clarinet master classes); adjudicated SOMEA Orchestra Festival, Spokane Music and Arts Festival, and Vancouver BC Heritage Music Festivals. Jack Boss: reviewed book by Michael Cherlin, Schoenberg’s Musi- cal Imagination, Cambridge Univ. Press, 2007, commissioned by Jef- frey Perry of Music Theory Online. Steven Chatfield: published meeting proceedings and articles, including Chatfield et al. (2007), “A descrip- tive analysis of kinematic and electromyographic relationships of the core during forward stepping in beginning and expert dancers,” Journal of Dance Medicine & Sci- ence 11(3); and Nemecek & Chatfield (2007), “Teaching and technique in Dance medicine and science: Find- ings for future applications,” Journal of Dance Education 7(4); presented at the Int’l Assoc. for Dance Medi- cine and Science, 2007 (Canberra, Australia) including Chatfield et al., “A descriptive comparison of expert and novice dancers’ electro- myographic responses to varying conditions during weight shift” (paper); and Chatfield et al., “Is what we think is happening really hap- pening? What can electromyography (EMG) tell us about how we move?” (panel presentation); choreographic presentations in 2008 included We the People of the United States…, A Little Story, Subject to Change, and Dances that Tell a Story: Daphnis & Chloe. Christian Cherry: prepared Perspec- tive/Perspective Shift (electronic dance score), Simuan Tiga (elec- tronic/collage score), Craze’s Jam (hip hop score), displaced (vielle electronique, six-string electric violin), and Vantage (vielle electro- nique and KoassPad performance structure); research presentations included “How the Mighty Have Fallen: The Demise of the Piano in the Dance Studio,” Int’l Guild of Musicians in Dance Conf., 2007 (U. Illinois, Champaign/Urbana). start we saw this as an opportunity. Many Trials visitors made their way to the Hult Center, particularly for the concert in which we honored track legend Bill Bowerman, a long- time Bach Festival supporter. But perhaps of more lasting benefit was the relocation of the opening night to Portland. It re-engaged us with an extraordinarily eager audience and opened a door that had been closed to us for almost 30 years.” In addition, Evans said, the OBF’s partnership with Eugene 08 also resulted in a beneficial partner- ship with Nike, which contributed in-kind design of eye-catching festi- val branding and marketing materi- als, including the exciting new OBF logo. Evans and Rill- ing are now eagerly looking forward to the 40th Oregon Bach Festival, June 26-July 12, 2009. Celebrating four major composer anniversaries, the scheduled high- lights include a program of theatre music by Purcell, Handel’s Messiah, Haydn’s Creation (in Portland and Eugene), and Mendelssohn’s A Midsummer Night’s Dream, in a theatrical staging with Eugene Bal- let. Following the success of this year’s chamber music residency by the Shanghai Quartet, there’ll be the welcomed return of pianist Jeffrey Kahane as artist-in-residence. Of course, the music of J.S. Bach will not be neglected. Rilling’s Discovery Series will be devoted to the six cantatas of Bach’s Christmas Oratorio and the Portland Baroque Orchestra will give a complete cycle of the Brandenburg Concertos, both in Portland and Eugene. The much- anticipated centerpiece will be the world premiere of a new setting of Handel’s Messiah text from Swedish composer Sven David Sandström—a joint commission between the OBF and Rilling’s Bach Academy in Stuttgart. u BACH FESTIVAL, continued LOGO FOR STANDARD APPLICATIONS LOGO FOR SMALL REPRODUCTION APPLICATIONS (APPROX. .5 INCHES OR LESS) .5 INCHES .375 INCHES USAGE BELOW .375 INCHES SHOULD BE AVOIDED 9Continued next page Guest artist Velvet Brown (center) poses with UO tuba-euphonium students of Michael Grose (standing behind Brown). Jenifer Craig: activities included company director, concert direc- tion, and lighting design for the UO Repertory Dance Co. 2007-08 tenth anniversary season; performances held at the Dougherty Dance The- atre, Springfield HS (A3 workshops), Cottage Grove HS and Cottage The- atre, North Bend HS (classes), and Southwestern Oregon Community College; lighting design for A Musi- cal Showcase in Celebration of the 25th Anniv. of the Hult Center for the Performing Arts (Silva Hall, 2007). David Crumb: performed Vestiges of a Distant Time (Oregon Mozart Play- ers), September Elegy (premiered with Utah Symphony, with Gerald Elias, violin, and performances with the Utah Symphony, Brigham Young Univ.), and Awakening (Percussion Plus Project, DePauw Univ.). Alexandre Dossin: performed in Eugene, Salem, and Monmouth OR, and in Lexington (Washington & Lee Univ.), Winchester (Shenan- doah Univ.), and Richmond VA at the Experiencing Villa-Lobos Int’l Festival, and in Washington, DC at the Annual Festival of the American Liszt Society; judged solo state con- test OMEA; cover and feature article in Clavier Magazine (Summer 2008). Charles Dowd: principal timpanist and/or solo vibraphonist/multiple- percussionist with six orchestras and ensembles in 52 performances; played principal timpani in Theresa Mass (Rilling-Hänssler); hosted David Friedman (Berlin vibraphon- ist) and Dave Samuels (Boston marimbist) known as Double Image; performed jazz duo music with Tracy Freeze at Emporia State Univ. (Kansas) and on UO Faculty Artist Series, from their recent CD bus dust & dogs (SONY); assembled sixteen alumni from Dowd’s percussion pro- gram for a 33rd anniversary reunion concert in Beall Hall, where PAS Hall of Famer Anthony J. Cirone gave a keynote address, Dr. Steve Owen (U.S. Marine Band) was the featured timpanist, and Dr. Tracy Freeze (marimba) performed; con- ducted Oregon Percussion Ensemble at Northwest Percussion Festival; continues as principal timpanist with Eugene Symphony and as a member of the Int’l Orchestral Com- mittee of the Percussive Arts Society. Brad Foley: saxophone perfor- mances with Eugene Symphony, Bizet’s L’Arlésienne Suite No. 2 and Prokofiev’s Romeo and Juliet Ballet; Music and Dance Fest (Bend OR); chaired College of Education search committee (new dean), and member of the Eugene Symphony search committee (new music director); member of board of directors of Eugene Symphony and Oregon Bach Festival; acquired new scholarship grant from the Liberace Foundation; accreditation team member for Nat’l Assoc. of Schools of Music. Fritz Gearhart: presented paper at the Texas Orch. Directors Conf.: “Rhythm Pedagogy for String Orch.” (Ludwig Pub., sponsor), featuring Rhythm Session for String Orch. (his recent publication), and for music education students at U. New Mexico; judged state and district contests (Eugene OR, Boise ID), and competitions for Seattle Youth Symphony Concerto Competition and the Fischoff National Chamber Music Competition. Michael Grose: performed in 68 venues, including Brevard Music Center, Oregon Bach Festival, Eugene Symphony, Cascade Festival of Music, Oregon Symphony, Oregon Ballet Theatre, Eugene Opera, and Oregon Brass Quintet; adjudicated in Redmond (District Solo Contest) and in Portland (State Solo Contest). Rita Honka: new choreography for Two—duet, and for UO Reper- tory Dance Co., Oya—a dance for seven; co-directed UORDC on tour, including classes and performances at Dougherty Dance Theatre, Spring- field HS, Springfield A-3, Coos Bay/North Bend, and Cottage Grove; African dance teaching residencies included Mabiba Baegne, Mondjou, and Salif Kone; hosted master classes in all levels of African dance and African drumming. Walter Kennedy: visiting artist residency at the Randolph Col- lege (Lynchburg VA); guest artist 10 FACULTY, continued at the American School (Taipei, Taiwan); panelist for discussion of Daphnis and Chloe (part of Eugene Symphony’s Discovering Daphnis Festival); choreographed perfor- mances of First, I was Afraid (Ran- dolph College), In Evening Stillness (SOMD showcase concert at Hult in 2007, and Dance 2008 Faculty Concert), Strauss Songs (restaging of ballet choreography), Fields of Play (restagings for Taipei American School Advanced Dance Co. and for UORDC), Eclipse (restaging for UORDC), and Wild Oats (choreog- raphy for an 18th century English country dance, Hult Center). Toby Koenigsberg: performed in Eugene at Jo Federigo’s Restaurant & Jazz Club, Ax Billy Grill 7 Sports Bar, Papa’s Soul Food Kitchen, The Jazz Station, and A Little Knight Music (UO Browsing Room), at St. Olaf College, U. Iowa, U. Northern Iowa, Feeniks-Klubi, Sibelius Academy (Helsinki, Finland), Royal Academy of Music (London), SUNY, Cornell, Rutgers, Bebop Coffeehouse (Bend OR), UO Jordan Schnitzer Museum of Art, and a live radio broadcast (KMHD-FM Portland); research presentations included SUNY-Oswego, Rutgers (twice), U. Iowa, and the Royal Academy of Music (London). Amy Goeser Kolb: presented master classes at U. Wisconsin-Madison and Cal Arts-Los Angeles; advisor for Mu Phi Epsilon; performed at Chamber Music at The Barn (Wichita KS), Cascade Music Festival (Bend OR), Oregon Bach Festival, principal in Honegger’s King David, UO Chamber Music Series 40th Anniv. events, Eugene Symphony, Oregon Wind Quintet, Hammerwinds/Oregon Wind Quintet, Eugene Opera Orch., five solo recitals (Milford NH, Berk- lee College MA, Middletown CT, Salem and Eugene OR, with pianist Laura Kennedy), Oregon Ballet Theatre, Octava Chamber Orch. in Seattle, and the Int’l Trumpet Guild at Banff Arts Centre, Canada. Dean Kramer: performed and lectured with Claire Wachter for OMTA’s Bend District, Debussy’s En Blanc et Noir for two pianos. Steve Larson: faculty member of the Mannes Institute for Advanced Studies in Music Theory-Jazz and Popular Music (Eastman School of Music); published “Composition Versus Improvisation,” Journal of Music Theory 49:2; presented Circu- lar Thinking–A Roundtable on “Blue in Green” and “Nefertiti” (joint pre- sentation with Henry Martin, Steve Strunk, and Keith Waters, annual meeting of the Music Theory Society of the Mid-Atlantic at Library of Congress); invited presentations in Ireland, including “Musical Forces and Music Analysis: Chopin’s Nocturne in D-flat major, Op. 27/2” (National U. Ireland); and “Inten- tion, Improvisation, and Inevitabil- ity–The Courante of Bach’s French Suite in C Minor” (Univ. College, Dublin). Don Latarski: completed The Guitar Scale Picture Book (Alfred Pub.), Acoustica Funkus (CD), and TUO (collaborative jazz CD with John Stowell); performed in Eugene at Luna, Oregon Wine Warehouse (with Steve Larson, Sonja Rasmussen), Tsunami Books, Autzen Stadium, UO Bookstore, the grand re-opening of KLCC radio, Joe Federigo’s, Koho Bistro, and opening of Crescent Vil- lage; performances in Bend (Mason Williams group), Corvallis (with Tom Bergeron), and in Romeo MI. Anne Dhu McLucas: College Music Society, 50th Anniv. meeting: 2007 “Music of the Hollywood Indian,” for CMS national meeting outreach program (Salt Lake City). Brian McWhorter: presented master classes and clinics at Stanford and Willamette Univ.; performed on recordings, including Meridian Arts Ensemble: Timbrando (Channel Classics), Americantus: Meridian Arts Ensemble Plays the Music of Britton Theurer (and produced the album for this recording on 8bells Records), Gheorghe Costinescu: A Live Retrospective 1952-2002 with Ensemble Sospeso (Capstone Records), and appeared on Lively Arts Series (Stanford Univ.); co- wrote and performed a chamber opera titled Jews in the Desert: From Jesus to Oppenheimer, at the Int’l Trumpet Guild Conf.; and performed more than 50 concerts, including with the Eugene Symphony, Merid- ian Arts Ensemble, Beta Collide, and Oregon Bach Festival; continues to coordinate Sound-Bytes; presented research on Experimental Music at the Osher Lifelong Learning Center; and adjudicated the Sheldon Jazz Festival Big Band Competition. Eric Mentzel: performed Lost Songs of a Rhineland Harper (BBC Proms, concert with Ensemble Sequentia, London, England), Salon Medievale (recital of medieval songs in early 20th-century arrangements, Cologne, Germany), Heloise and Abelard (soloist with Medieval Women’s Choir, Town Hall, Seattle), Fleurs de vertus, fleurs du monde (14th- century songs in the ars subtilior style, Case Western Reserve Univ., Cleveland, and repeated at the Park- McCullough House, Bennington); taught and coached at Amherst Early Music Festival (Connecticut College, New London), Schola Cantorum (Basel, Switzerland), Parisian motets of the 13th century (workshop, Royal Conservatory, The Hague, Nether- lands), Lute Society of American Summer Workshop (Cleveland); adjudicated OMEA District Solo and Ensemble Competition (Corvallis). Steve Owen: performed at U. Kansas Jazz Festival 2008 (tenor sax soloist with festival big band), Nebraska Music Educators Conf. 2007 (All- State Jazz Ensemble director), Con- necticut Music Educators Conf. 2008 (All-State Jazz Ensemble director); presented paper at OMEA District 4 Teacher In-Service Day 2007 (Jazz Rehearsal Methods Clinics); 2008 11 Continued next page Oregon Jazz Ensemble performances included OMEA Conf., Reno Jazz Festival Concerts, and high school concerts in Bend, Sisters, and Klam- ath Falls; presented 2008 Downbeat Magazine Awards, including College Outstanding Performance (Oregon Jazz Ensemble), and 2008 Reno Jazz Festival Awards, including Outstanding College Jazz Ensemble (Oregon Jazz Ensemble). Timothy Pack: article accepted for publication, “Form-Delineating Elements and Harmonic Language in Hugo Distler’s In der Welt habt ihr Angst, Op. 12/7 (1936),” Choral Journal 48 (Sept. 2008); research presentations included “Searching for a Star: Melodic, Harmonic, and Rhythmic Structures in Olivier Mes- siaen’s O sacrum convivium!” (First Int’l Centenary Conf. of Messiaen Studies, U. Southern Queensland, Australia), and “Form-Delineating Elements and Harmonic Language in Hugo Distler’s In der Welt habt irh Angst, Op. 12/7 (1936) (Conf. “The Motet from Inception to the Pres- ent,” University of Oregon). Phyllis Paul: published two journal articles, “Aesthetic experiences with music: Children versus musicians,” in Update: Applications of Research in Music Education, and “Using ver- bal reports to investigate children’s aesthetic experiences with music” in Journal of Music Therapy; awarded $10,000 research grant as principal investigator by Stewart Foundation, for Using Music to Support Emer- gent Literacy in Head Start Students. Sharon Paul: presented workshop for Salem-Keizer School District (“Rehearsing for Retention: Beyond the Notes—Breathing Life and Style Into Choral Music”); conductor for District 12 Metro Festival (rehearsed, adjudicated, and performed with eight local high schools); conduc- tor for Honor Choir of Southern California Vocal Assoc.; presented session at ACDA Northwest Div. Conf. (“From Warm-Up to Cool Down: Keeping Singers Engaged in Rehearsal”); clinician at Three Riv- ers Choral Festival (Milwaukie OR); conductor of Eugene Symphony Chorus (Orff’s Carmina Burana and Ravel’s Daphnis and Chloe). Timothy Paul: conducted at Qual- ity Music Session: Northwest Div. of College Band Directors Assoc. (Reno NV), Hillsborough County Honor Band (Tampa FL), Washoe Honor Band (Reno NV), Shasta Band Invitational (Eugene), Rosemont MS (Eugene); research presentation, “Assessment: Practical tips for the music classroom” (OMEA District 12 In-Service Conf.); office holder in OMEA (District 12 Collegiate Rep.), Northwestern College Band Direc- tors Nat’l Assoc. (treasurer), and Oregon Band Directors Assoc. (task force for Small School All-State Groups); adjudicated at George Fox Band Invitational (Newberg OR), and OMEA District 12 Solo and Ensemble Festival (Springfield OR). Steven Pologe: research article accepted for publication, “Pitch and Space Maps of Skilled Cellists: Accuracy, Variability, and Error Correction,” with Chen, Wollicott & Moore, in Experimental Brain; per- formed with the San Francisco Early Music Society and at the Grand Teton Music Festival; solo and chamber concerts with Primo Libro Ensemble in Corvallis and Eugene, and with Trio Pacifica in Eugene; recruitment activities and adjudica- tions included visits to Crescent Valley HS, Eugene Youth Symphony cello sectional, Oregon All-State Orchestra, Corvallis and Eugene solo & ensemble competitions, and coaching at high schools and middle schools in southern Oregon. Harry Price: published journal article with E. K. Orman, “Content analysis of four national music organizations’ conferences” (Journal of Research in Music Education, 55); presented research results with S. J. Morrison, C. G. Geiger, and R. A. Cornacchio (2007), “The Effect of Conductor Expressivity on Ensemble Performance Evaluation,” at the MENC Nat’l Convention (Milwaukee WI); held offices in professional organizations, including Execu- tive Committee of the Society for Research in Music Education of MENC, and Int’l Society for Music Education Steering Committee for New Commissions (2007); served on the editorial boards of Int’l Journal for Music Education, and Research Studies in Music Education. David Riley: received Errol Williams Filmmaker Award from Silver Wave Film Festival, 2007, for The Mari- time Violin (best music, best sound design, best documentary, best cinema- tography), and Canadian Independent Music Awards, Favourite Classi- cal CD, 2008 (Oskar Morawetz: Complete Works for Violin and Piano); performed in Astoria OR, and at Stanford Univ., Willamette Univ., Musical Arts Concert Series (Lancaster PA), Suzuki Convention (Salt Lake City UT); guest artist at Oregon Bach Festival 2008, and the Dusseldorf Chamber Music Festival 2008 (Germany). Stephen Rodgers: presented conf. paper on “Voice, Rupture, and Trauma in Film Music” at Music and the Moving Image (New York Univ.), and pre-concert lectures for Bach Festival chamber music pro- grams; paper accepted for Society for Music Theory (Nashville TN) on “Emotional Imitation” and “Physical Imitation” in Berlioz’s Roméo au tombeau; served as session chair at West Coast Conf. of Music Theory and Analysis (Topic: 20th-Century Form and Structure). Doug Scheuerell: performed in Eugene with Charles Dowd and 12 FACULTY NEWS, continued Tracy Freeze (Perugino’s), with Laura Barron (Jordan Schnitzer Museum of Art), and tabla accom- paniment for vocalist Gurumukh Khalsa (First Christian Church). Idit Shner: local jazz performances included the Shner Jazz Concert (original compositions), Detrick/ Swigart Jazz Orch., a tribute to Charles Mingus at the Shedd, Jazz at the DAC, Swing Shift, Wildish Theater, the Daddies at W.O.W. Hall, a Duke Ellington Birthday Tribute with Carl Woideck, and a jazz concert with Tom Varner at Cozmic Pizza; classical performances included the Eugene Symphony, Little Tricker Meets Big Double (bal- let), Buddhist-inspired recital (UO Jordan Schnitzer Museum of Art), Eclectic Sonorities, recital at Meth- odist Univ. (Fayetteville NC), North American Saxophone Alliance Conf. (U. South Carolina), and the Soprano Saxophone Concerto (new composition by John Mackey with the Oregon Wind Ensemble); profes- sional service included a saxophone quartet visit to West Albany HS. Marian Smith: presented “Ivor Guest and the Paris Opéra” (Int’l Meeting, Society of Dance His- tory Scholars, Paris); accepted for publication, “La Sylphide/Les Sylphides,” to be published in Opera and Cultural Transfer, ed. Fauser & Everist (U. Chicago Press); book manuscript review, Ballets of Richard Strauss (U. Rochester Press); member of Editorial Board, Dance Chronicle. Amy Stoddart: collaborated with Walter Kennedy and Robert Ponto on a new work, In Evening’s Still- ness (Hult Center and Dougherty Dance Theatre); created Jazz Suite (commissioned by Eugene Youth Ballet, a new work for the Regional Dance America Festival, perfor- mances in Long Beach CA and regional tours in Eugene and Port- land), Practica (restaging); published proceeding article, “Bodystory: An Historical and Analytical Examina- tion of Balanchine’s Choreographic Periods” (Congress on Research in Dance: 2006, Conf. Proceedings); performed Strauss Songs (Hult Cen- ter and Dougherty Dance Theatre). Jeffrey Stolet: residency at Central Conservatory of Music (Beijing, China); lectured at Tokyo Denki Univ. (Saitama, Japan), and Int’l Academy of Media Arts and Science (Ogaki, Japan); public performances and presentations included: (a) Things I Do with My Fingers 2007 (sound and video in an interactive performance environment controlled by two Nintendo Wii Remote Con- trollers) at MusicAcoustica 2007 Festival (Beijing, China), Tokyo Denki Univ. (Saitama, Japan), Int’l Academy of Media Arts and Science (Ogaki, Japan), Hong Kong Baptist Univ., Society for Electro-Acoustic Music in the United States (SEA- MUS, Nat’l Conf., Salt Lake City UT), 17th Annual Florida Electro- acoustic Music Festival (U. Florida, Gainesville); (b) Light 2007 (custom interactive performance environ- ment, real-time video analysis, and two flashlights) at Hong Kong Bap- tist Univ.; (c) A Prayer Before Dying 2002 (multi-channel digital audio work) at Hong Kong Baptist Univ.; and (d) Caminos Terribles, Desier- tos Crueles “Wicked Paths, Cruel Deserts” (extended media work for mezzo-soprano, Yamaha Disklavier, computer-generated sound and com- puter animation created in collabo- ration with Ying Tan) at CYNETart 07 (Dresden Germany). Leslie Straka: principal viola for Eugene Opera Orchestra; opening ceremony and primary clinician/ instructor at “Brats Day” 2008 Int’l Viola Congress (Tempe AZ); coached string sectionals, All-State Orches- tra, viola coach at Camerata Camp (Corvallis OR); performances and presentations at South Medford HS, Hedrick MS, Ashland HS, Ashland MS, and Grants Pass HS. Steve Vacchi: performed more than 75 times during the year, including as principal with Oregon Ballet Theatre and Eugene Opera, and with the Oregon Symphony, Cabrillo Contemporary Festival, Oregon Bach Festival, and Oregon Wind Quintet; selected as principal bassoon by Oregon Ballet Theatre. Lydia Van Dreel: coached and pre- sented master classes in California (Mountain View, Palo Alto), Oregon (South Salem, Ashland, Newberg, McKay, Willamette Univ.), and South Dakota (Freeman Academy, Sisseton HS, Dakotah Reservation School), U. South Florida; outreach concerts with the Oregon Brass Quintet at local high schools (South Eugene, Thurston, and Churchill); performed in Salem OR, Neur- ripin, Germany, Quadre recitals (New Haven CT, Palo Alto CA, San Francisco, Mountain View CA, Willamette Univ., Sioux Falls SD, Freeman SD, Sisseton SD), and performed with Ham- merwinds (with Alex- andre Dos- sin), Oregon Mozart Play- ers, Eugene Symphony, Florida West Coast Symphony, Sarasota Opera, and Eugene Opera; awarded 2008 Summer Faculty Research Award for CD recording project, Quadra: the voice of four horns; recruitment activities and visitations in high schools included appearances at South Eugene, Thurston, Churchill, Newberg, McKay, South Salem, and Ashland; member of Eugene Symphony Music Director search committee. Marc Vanscheeuwijck: participated in recording of concertos by Johann Christoph Pez with Belgian Baroque chamber orchestra. Les Muffatti for CD label Ramée 0705 (released 2007); performed with Les Muffatti: 13 Harpists fill the Beall Hall stage at the conclusion of Harp Day Oratorio: San Nicola di Bari (Con- certgebouw in Bruges, Grandezze and Meraviglie festival in Modena, and Antwerp Augustijnerkerk for AMUZ with radio recording for Belgian Nat’l Broadcast System KlaRa); concerts at St. Patrick’s (Walla Walla WA), and with baroque violinist Jaap Schröder in Eugene; lectured on historical performance practice at the Baroque cello sum- mer workshop in the medieval castle of Frontone (Pesaro-Urbino, Italy); published chapters in three books: “Teaching Petrarch through Music,” in Approaches to the Teaching of Petrarch’s Canzoniere and the Petrarchan Tradition, ed. Christopher Kleinhenz and Andrea Dini (invited and refereed article), “Una crisi in ambiente musicale Bolognese: la polemica fra Giovanni Paolo Colonna e Arcangelo Corelli (1685),” in Barocco Padano 4, ed. Alberto Colzani et al., in AMIS Como (article in proceedings), and “Antonio Vandini and Tartini’s Con- certos for ‘Viola’” in Performance Practice Review (on-line publication at http://ccdl.libraries.claremont. edu/col/ppr/, invited and refereed); research was presented in Bologna, Italy (La musical Cinque-Seicentesca dal Museo della Musical alla Basil- ica di San Petronio), Rovereto, Italy (Giuseppe Tartini e el violoncelle, invited paper for performance prac- tice symposium of the Accademia Roverentana di Musical Antica and Premio Bonporti, in Italian), and Brussels Conservatory (Violone— Violoncello—Viola da spalla—etc., a one-day seminar in English, Dutch, French, and Italian). Milagro Vargas: recorded “Homage to the Breath” by Stephen Jaffee, with 21st Century Consort, Chris- topher Kendall, conductor (Bridge Records 9255); taught at the Astoria Music Festival. Claire Wachter: solo recital, “Fifty Years of American Music,” and lecture, “Beginning Piano Peda- gogy” (Linfield College, OR); OMTA lecture for Roseburg District, “New Developments in Piano Pedagogy” (Roseburg OR); lecture-performance with Dean Kramer for OMTA, “Claude Debussy’s En Blanc et Noir for two pianos” (Bend OR); concert for Central Oregon Symphony, “From Bach to Brubeck”; performed Bach D Minor Concerto with the Obsidian Chamber Players; adjudi- cated MTNA SW Div. Piano Compe- tition (Las Cruces NM). Sean Wagoner: conducted at the NW Percussion Festival (Cheny WA); performed as percussion- ist/timpanist at the Hult Center 25th Anniv. Concert, and with the Eugene Symphony, Oregon Mozart Play- ers, Eugene Opera, Eugene Concert Choir, Oregon Festival of American Music (Babes in Arms and South Pacific), and Cascade Festival of Music. Jeffrey Williams: performed with the Oregon Bach Festival, Eugene Symphony, Eugene Concert Choir/ Oregon Mozart Players, and Eugene Ballet (four performances); pre- sented concert/clinics with the Ore- gon Brass Quintet at South Eugene, Thurston, and Churchill HS. Eric Wiltshire: composed Flyer Casting (commissioned by the U. Dayton, Univ. Jazz Band; premiered at the 2008 MENC Nat’l Conven- tion); presented workshop at Nat’l Collegiate Marching and Athletic Band Symposium (CBDNA, Seattle; “Feeding the Band: A realistic look at what our students eat and how we can help them make choices that lead to better performances”); adju- dicated in Provo UT and Seattle WA, at BYU Marching Band Festival, Heritage Festival (twice), and Music in the Parks; recruiting efforts at high schools in South Salem, North Salem, Southridge, and Beaverton; instructional staff for the 2008 Bei- jing Olympic Orch. (a 2008-piece band performing in and around the Olympic campus in Beijing, China, including twelve students from the Oregon Marching Band). Carl Woideck: performed in Eugene at the Shedd Institute, Carl Woid- eck Jazz Heritage Project (music of Charles Mingus & Thelonious Monk), and at the Downtown Ath- letic Club and Jo Federigo’s night- club (eleven performances); received Summer Research Award from UO Office of Research and Faculty Development to study Miles Davis at the New York Public Library’s Schomburg Center. Laura Zaerr: released CD, Dream- land (Rosewood Music 2007, original lullabies for soprano, flute and harp); performed “Aaron Boat Song,” “Pibroch Dunhill,” and “Buzzy Chanter” (original arrange- ments of Celtic tunes for harp ensemble, in collaboration with Kim Robertson); presented workshops at Dusty Strings Harp Shop (Seattle WA); organized and taught at High Cascade Harp Retreat (for Celtic and pedal harps); performed at Corvallis Pro Musical (West Coast premier of Appalachian Concerto for Folk Harp with String Orchestra); judge at NAIA state championship. u 14 STUdeNT awardS & acTiviTieS Mark Samples, Ph.D. student in musicology, received one of the University Club Foundation Fel- lowship Awards for 2008. The UO nominated three graduate students for this award, which recognizes and encourages scholarship, leadership, and potential societal contri- butions among students pur- suing graduate education in Oregon. The Foundation annually awards $7,500 merit-based scholarships to one qualifying graduate student from each of five universities in Oregon: Oregon Health Sciences University, Oregon State University, Portland State University, the University of Oregon, and University of Portland. Samples also received a $2400 University of Oregon Laurel Scholarship, and a $1600 Datatel Scholars Foundation Scholarship. Both scholarships are given on general academic excel- lence, demonstrated contributions to the community, and personal goals. Alison Altstatt (Ph.D. candidate in music history/historical perfor- mance practice) received the Center for the Study of Women in Society’s Jane Grant Dissertation Fellowship for $12,500 to be used in 2008–09. Alison is on leave this academic year in Germany studying on a prestigious DAAD grant (German government exchange grant, similar to a Fulbright). Kanako Ishihama took second prize in the OMTA Piano Competition, collegiate division. Ishihama is a senior piano major, studying with Claire Wachter. Seth Horner, master’s tuba student, was chosen as the Aspen Tuba Fel- low for 2008 and renewable for 2009. The University of Oregon had three winners in DownBeat magazine’s 31st Annual Student Music Awards, (college division) announced in its June issue: • Jazz Soloist Winner: Josh Deutsch, trumpet • Big Band Outstanding Perfor- mance: The Oregon Jazz Ensemble • Jazz Arrangement Co-Winner: David Swigart for Dog Years Tyler Kinnear (master’s student, mu- sicology) received an award for Best Student Paper at the annual meeting of the Pacific Northwest Chapter of the American Musicological Society, held in April at the University of British Columbia. His paper was titled “Symmetric Similarities in Machaut’s Ma fin est mon com- mencement and the Gothic Archi- tecture of the Reims Cathedral.” The award included a $100 voucher for publisher AR Editions. Maggie Lieberman, a vocal perfor- mance major who graduated this spring, received the UO Career Cen- ter’s Outstanding Student Employee Certificate of Excellence. Dylan Girard, a senior trumpet player, was offered a full ride at Yale, but will accept a scholarship to the Manhattan School of Music. Rachel Walker, freshman piano major studying with Claire Wachter, was a winner in the Sun River Mu- sic Festival’s Scholarship Competi- tion in Bend. u The UO School of Music and Dance was named a recipient in its first attempt at receiving grant funding from the Liberace Foundation for the Performing and Creative Arts, located in Las Vegas. One of the missions of the foundation is to help talented students pursue careers in the Arts. Dean Foley and Associate Dean Jeff Williams, in consultation with piano area chair Claire Wachter, selected senior piano major Ben Corbin to be the first recipient of this $2,000 grant. The award will be matched 1:1 by additional School of Music and Dance scholarship funding, for a total award of $4,000. Born and raised in Poway, CA, Corbin studied with Cecilia Bao, a gradu- ate of the Beijing Conservatory, until moving to Eugene to attend the Univer- sity of Oregon. Corbin was previously awarded a Dean’s Scholarship, and has also been awarded the Lotta Carll Scholarship, a private donation from Cathy Behm (a former student of Dr. Dean Kramer), the Robert Richards Piano Prize from Phi Beta National Professional Fraternity for the Creative and Performing Arts, and recently received the $2000 first prize in the Oregon Music Teacher’s Association Piano Competition, collegiate division. Corbin has also performed in an all- Liszt recital for reknowned Liszt scholar Dr. Alan Walker and an all-Sibelius program for Dr. Hui-Ying Liu-Tawastjerna, chair of the Sibelius Academy’s Piano Department. Corbin has taken master classes from Steve Doane, Laura Kennedy, Kelly Kuo, Dr. Tawastjerna, and John Kamitsuka. Corbin is a student of UO professors Dean Kramer, Claire Wachter, and David Riley. He is working towards a career in collaborative piano. u beN corbiN Named firST Uo liberace Scholar Ben Corbin 15 By Bob Keefer, The Register-Guard When most people think of a portrait, they imagine a painting or photograph — something you can hang on the wall. But when Jay Bowerman wanted a portrait done of his late father, Or- egon track icon and Nike co-founder Bill Bowerman, his mind turned first to music. Jay Bowerman, after all, is a mu- sician himself. He plays stringed in- struments in a bluegrass band called Quincy Street, which performs regularly in Bend. More to the point, his father had been a clarinet player as well as an athlete. Bill Bowerman was a man who so loved music that he gave almost three-quarters of a million dollars to the Oregon Bach Festival in 1993 alone. “I think the thing that got me thinking about it was, I believe that there was a mass written in memory of Rossini,” Jay Bowerman said. (That was the Messa per Rossini, in which Giuseppe Verdi asked 12 composers to create a mass in memory of the Italian composer Gioacchino Rossini a year after his death in 1868.) So Bowerman, with perhaps a mass on his mind, approached Royce Saltzman, co-founder of the Bach Festival. “I knew that my dad’s involve- ment and relationship with the Bach Festival was very strong,” Bowerman said. “I asked, ‘Would it be inappropriate to think about doing some kind of memorial com- position?’ Royce said, ‘That sounds interesting to me.’” Flash ahead a decade. The mass idea was dropped as perhaps too ambitious, but Jay Bow- erman commissioned a 23-minute symphonic piece, Man of Oregon, that was performed by the Oregon Bach Festival Orchestra on July 1 at a gala tribute to Bill Bowerman. Jay Bowerman selected Eugene composer Rebecca Oswald to write the music. She had been recom- mended by the Oregon Humanities Center, for which she had done other work [including the recent History of the University of Oregon]. So he listened to samples of her compositions and then asked to meet her. “She is a bright, talented lady,” he said, “Whatever age she is, she’s going on 16: She has this youthful, bubbly personality. She would sit there and be very serious about the whole discussion and all of a sudden she would break into this big smile and sort of giggle. She was very excited about doing the piece.” So she was hired in 2006. The $18,900 commission was funded by the Bowerman family through the Oregon Community Foundation. For her part, Oswald found Bill Bowerman a natural subject for a composition. “The cool thing about Bill was, he was a character and a worthy human being, and he absolutely loved music. With all his other accomplishments and quali- ties, he made a perfect focus for this genre.” “This genre” is what Oswald calls a “symphonic biography.” It’s a musical composition that traces episodes in Bill Bowerman’s life. The younger Bowerman had giv- en Oswald a list of music that had been part of his father’s life, from the general, such as “a ’30s dance tune,” to the specific, such as the Oregon Ducks Fight Song [Mighty Oregon]. He also provided her a chronol- ogy of the elder Bowerman’s life, from his early days in Fossil to his marriage in Medford, his service in World War II, his arrival in Eugene and retirement back to Fossil. Oswald, a 49-year-old graduate of the UO School of Music and Dance [M.Mus. 2001], jumped into the project with enthusiasm. She read Kenny Moore’s biog- raphy, Bowerman and the Men of Oregon. In the fall of 2006 she trav- eled the state. She visited Barbara Bowerman, Bill’s widow, in Fossil. She contacted family friends in Medford. She photographed places important in the Bowermans’ life and tacked the resulting images up on a large poster in her home office for inspiration. “I did, I think, about three months of research, and then I de- clared it time to write,” she said. She set out to create music that would be contemporary but still would have been as comfortable to Bill Bowerman as a well designed running shoe. “I wanted to write a piece that would express his personality,” Oswald says. “And a piece he would have liked—not high art, but some- thing really accessible.” She included the quoted musical references that Jay Bowerman sought but composed original themes as well. The composition’s foundation is two complementary musical mo- tifs that recur again and again—Bill’s theme and Barbara’s theme. Bill’s theme is a riff on the clarinet, the instrument he played. An Olympic Portrait Continued next page Rebecca Oswald’s symphonic biography of Bill Bowerman connects the Bach Festival with the Olympic Trials Rebecca Oswald 16 ALUMNI David Simpson (B.A. 1969) has been teaching violin privately at World of Strings in Long Beach, CA the past three years. One of his students is a gifted eleven-year old girl, who he says has the potential as future solo- ist with the symphony or chamber orchestras at Long Beach City Col- lege, in which he still plays violin and viola, respectively. Simpson continues to produce music educa- tion videos for the local public ac- cess station, including a program on the music of Luigi Cherubini. Allan Konrad (B.Mus. 1974) is a staff scientist and principal investi- gator for Comprehensive Epidemio- logic Data Resource in Berkeley, CA. Robin Collen (B.A. Dance, 1976, M.S. Dance, 1984) is chair of the Department of Theatre and Dance at State University of New York, Potsdam. She teaches courses in contemporary dance, choreography, Pilates, and dance history. She also choreographs concert works as well as operas for the Crane School of Music Opera Ensemble. She writes, “I continue to draw on the words and inspiration of my teacher, Janet Descutner.” Barbara Sellers-Young (M.S. Dance 1983), who received our Distin- guished Alumna Award earlier this year, is the new Dean of the College of Fine Arts at York University in Toronto. Richard Smith (B.S. 1984) recently signed with Artisty/Mack Avenue Records. His tenth contemporary jazz recording will be called L.A. Chillharmonic and features Greg Adams, Jeff Lorber, Brian Bromberg, Eric Marienthal, Vinnie Colaiuta, and Alex Acuna. Smith is a full professor and former chair of the studio/jazz guitar department at the Thornton School of Music at USC. He started the world’s first doctoral program in contemporary guitar performance, and was responsible for Quincy Jones recently receiving an honorary USC degree. He has per- formed master classes and concerts at dozens of universities, colleges, and academies around the world, as well as at the Los Angeles Music Center, The National Academy of Record- ing Arts and Sciences, and several International Association of Jazz Educators conferences. His students are working with the likes of the Los Angeles Philharmonic, Oliver Stone, B.T., Mark Anthony, Snoop Dog, Blink 182, Beck, the Back Street Boys, Josh Grobin, Clay Aiken, and Madonna. Tim Ryan (M.S. Dance, 1989) and Sherie Blankenship-Ryan (M.A. Dance/Arts Administration, 1990) celebrated the tenth anniversary year of their Center for Movement Arts in Portland, Oregon. They added a children’s performing group this year, for which Tim says they are “hoping for a road trip to Eugene some day.” Tiffany Mills (B.A. Dance, 1992) and her Tiffany Mills Dance Company partnered with the Fireworks En- semble (led by UO music grad Brian Coughlin) in building a solo work for Petra van Noort. The music was Richard Strauss’ Dance of the Seven Veils, and the performance was in the Leonard Nimoy Thalia Theater in New York City on March 7. An- other new project was “Tomorrow’s Legs,” which was supported by two residencies: a one-month fellowship by the Bogliasco Foundation to con- duct research in Genoa, Italy, with additional support from the Jerome Robbins Foundation; and a year-long residency granted by The Joyce The- ater in New York City. Barbara’s theme—calmer and more soothing—is played by flutes. Not surprisingly the two themes harmonize perfectly. Oswald’s composition also includes a stirring trumpet fanfare in honor of Nike; a dissonant percus- sive section, marking the tragedy of the 1972 Munich Olympics, where Bowerman was the U.S. track coach; and a humorous reference to Johann Sebastian Bach’s “Sheep May Safely Graze,” to mark Bowerman’s retire- ment to sheep and cattle raising as well as his support for the festival. Jay Bowerman originally com- missioned the piece for chamber orchestra. He wanted music that could be performed around Oregon by smaller musical groups, and Oswald agreed. Last fall, that chamber version— with a longer title, Bowerman, Man of Oregon—was performed in Bend by the Central Oregon Symphony. “It was great fun,” Jay Bower- man said of the performance. “It was incredibly warm. Rebecca did a mar- velous job of capturing all the little things I could hear in my mind as we were creating the outline for this.” Then Oswald re-orchestrated the chamber composition for full or- chestra for the Bach Festival perfor- mance in July. In order to keep track of royalties, the new version is titled Man of Oregon, without the name “Bowerman” in the title. Either way, Jay Bowerman is delighted with the family portrait. “It is a very programmatic piece. That was part of the intention,” Bowerman said. “To tell a story. Not to turn her loose and say write a piece of contemporary music. Rather to write a piece of music that talks about Bill’s grandparents and his relationship with Fossil and his relationship with Barbara and his relationship with Eugene.” u Copyright © 2008 The Register-Guard, Eugene, OR (reprinted by permission) BOWERMAN, continued 17 Kelly Kuo (B.A. 1996) will make conducting debuts in the 2008-09 season at the Lyric Opera of Chi- cago (Porgy and Bess) and Madison Opera, leading Così fan tutte from the harpsichord. He returns to Lyric Opera San Diego to conduct the world premiere of Rumpel- stiltkin and Gilbert and Sullivan’s Trial by Jury and will also conduct performances of Porgy and Bess at the Staatsoper Hamburg. Kelly will be music director of Opera International’s Bel Canto concert and serve as repetiteur for Kentucky Opera’s production of Verdi’s Otello. Currently assistant conductor of the Cincinnati Chamber Orchestra, Kelly recently conducted Copland’s Appa- lachian Spring with that ensemble and a collaboration with Madcap Puppet Theater, which included Mendelssohn’s Hebrides Overture and Haydn’s D Major Cello Concerto with cellist Coleman Itzkoff. The past season’s engagements included Kelly’s European conducting debut, leading numerous performances of Porgy and Bess at the Deutsches Theater in Munich, and also his re- turn to Oregon to conduct Madama Butterfly for Eugene Opera. Nichole Spates (M.S. Dance, 2000) has lived in New York City since graduating from the UO. In March 2008, she started a new job in fundraising for New York Univer- sity’s Elmer Holmes Bobst Library. Nichole continues to study dance and choreograph in NYC, and has recently discovered the Argentine Tango. She enjoyed travelling to Buenos Aires recently with her teachers to soak up the Tango cul- ture and to take classes with native teachers. Nichole is also an amateur photographer and was thrilled to have one of her photos printed in Metro New York daily newspaper. Paul Lombardi (Ph.D. 2004) has had more than a dozen performances of his compositions in North America, South America, and Europe this past year. His music has been re- corded on Capstone Records, Zerx Records, and ERMMedia, including a recording of his piano concerto by the Kiev Philharmonic with pianist Dmitri Tavnets. His article, “A sym- metrical property of rotational arrays in Stravinsky’s late music,” was recently published by the Indiana Theory Review, and he has two other forthcoming articles accepted for publication by Music Theory Spectrum and Mathematics and Computers in Simulation. He gave a presentation at the 2007 Rocky Mountain Society for Music Theory, and has an upcoming presentation at the 2008 Indiana University Gradu- ate Theory Association Biennial Symposium. In June 2007 he was a fellow at the Atlantic Center for the Arts. He recently received an Ameri- can Composers Forum Encore Grant to have his music performed by the East Coast Composers Ensemble. For the 2007-08 academic year, Lombar- di was the Interim Theory/Composi- tion coordinator for the University of New Mexico, where he has been a member of the faculty since 2003. David Constantine (M.M. 2005) a graduate student at Indiana Univer- sity, was awarded second place at the 2nd International Timpani Com- petition in Lyon, France. Constan- tine also received the “audience’s choice” prize and the prize for the best inter- pretation of an imposed work, Gesanglos II by Gilles Schuehm- acher. Con- stantine is an associate instructor of percussion at Indiana University, where he is pursuing his doctorate in percussion performance, and is caption head of marching percussion at Emporia State University in Emporia, Kansas. He regularly teaches percussion camps and master classes at high schools in Oregon and Indiana, and is also an invited clinician at public schools and universities. Constan- tine also is principal timpanist for the Columbus Indiana Philharmonic and the Terre Haute Symphony Orchestra. He performs regularly with the Owensboro Philharmonic, Camerata Orchestra, and is an ac- tive recitalist and clinician. He has performed throughout Western Europe and the U.S. as a soloist. He co-founded the APEX Percussion Duo, which has been performing in the Midwest states since its incep- tion in 2006. Dave Camwell (D.M.A. 2006) is getting great reviews on his CD Aeterna, released on Teal Creek Records. He recorded with the Oasis Saxophone Quartet (Camwell, James Bunte, Jim Romain, Nathan Nabb) in late June; four of his transcriptions will be on the recording, as well as works by Gotkovsky, Pousseur, and others. Funding for the project came through a Research and Creativity Grant from Simpson College. Cam- well premiered a new work, Urban Impressions by Ron Albrecht, at the 2008 NASA national conference in South Carolina. For more informa- tion, check his website: www.dav- ecamwell.com Heather Cairns (B.Mus. 2007) won the principal flute chair in the Civic Orchestra of Chicago; she is current- ly working on an M.M. at DePaul. Louis Olenick, (B.Mus. 2007) was chosen to participate in the trom- bone section of the Pacific Music Festival in Japan; he is working on a master’s degree at Northwestern. Luke Storm (B.Mus. 2007) tuba, recently performed a quintet recital in Walt Disney Hall in Los Angeles, and it was reviewed by a critic from the LA Times. Luke is working on a master’s degree at Cal-Arts. u 18 You may also send your alumni news for Ledger Lines via e-mail c/o editor Scott Barkhurst: scottb@uoregon.edu NAME_____________________________ Class of _________ Degree__________ Comments______________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ My current address: (please print) This is a change of address Address________________________________________________________ City_____________________________ State_________ Zip____________ Phone (day)_________________________(eve)_______________________ ____ I have more news to share! Call me for a more complete update. UO School of Music & Dance Alumni WHAT’S UP? HAVE WE HEARD FROM YOU LATELY? IN MEMORIAM 9/08 Frances Jordan Woodin (B.Mus. 1932) died Feb. 3, 2008, after a short illness. Born in Portland, she gradu- ated from the UO with a major in or- gan performance. She was a member of Alpha Xi Delta sorority and Mu Phi Epsilon. She married Charles Woodin (a fellow Oregon Duck) in Manila in 1934, and put her music degree to work immediately, teach- ing music at the American School in Manila and as an organ demonstrator for the Ham- mond Organ Company. She returned to Portland in early 1941 as the Japanese invasion of Manila was imminent. Following Charles’ return from the Philippines in 1945, the couple moved to Seattle and ultimately to the San Francisco area, where they lived until 1965. Frances played piano and organ for churches and a variety of musical organiza- tions. In 1965 the Woodins moved to Michigan, where Frances was the or- ganist at several churches, and gave private piano lessons. Following her husband’s death in 1975 she moved back to Portland, where she again became active in musical organiza- tions, as well as PEO International, Meals-on-Wheels, and the First United Methodist Church. Memori- als may be made to the American Heart Association. Chester Pietka died July 27 of liver cancer at age 88. He attended Portland public schools and earned a bachelor’s degree in music from the UO in 1947. He was a sergeant in the U.S. Army, serving as a tank commander in World War II. He was wounded in the Battle of the Bulge, earning the Purple Heart. Chester was an avid accordion player during his teenage years and taught accor- dion and performed for dances. He owned Pietka Music Studio in Eugene for 40 years, and was fondly regarded as a warm, talented, caring person and the dean of Eugene accordionists. In recent years he played for the Polish Festival in Portland, enjoying his Polish heri- tage. Remembrances may be sent to the Northwest Accordion Society’s Chester Pietka Scholarship Fund or the Mt. Hood Kiwanis Camp for special needs individuals. Dr. Hugh Cardon (D.M.A. 1970), passed away on January 8 at the age of 75. His career was long and distinguished. He was director of the Vocal Music Department at the University of Texas at El Paso from 1972 to 2005, and retired as profes- sor emeritus in 2007. While at the University of Oregon his advisor, Dr. Jim Miller, suggested he do a dissertation on “Twentieth Century Mexican Art Songs.” This led to Cardon becoming a nationally and internationally known expert on Hispanic mu- sic. He toured throughout the United States and Mexico giving lec- ture-recitals, including one commis- sioned by the U.S. State Department. He also was founder and conductor for “Zarzuela El Paso.” For five years, he was the governor of the Great Plains District of the National Association of Teachers of Singing. Among his many awards was the Image Award in 1998 from the El Paso Association for the Performing Arts, and the Distinguished Alumnus Award from the University of Texas at El Paso in 2007. A scholarship fund has been established in his name at UTEP. 19 Your Gifts, Our Thanks $25,000 + $10,000 + $5,000 + $1,000 + Continued next page Music & Dance Gifts July 1, 2007–June 30, 2008 2008 DONOR HONOR ROLL $500 + $100 + Generous donors made 1,065 contributions, yielding $1,004,365 to the School of Music and Dance in academic year 2007-08. Ninety-seven percent of the total dollars raised were gifts from individuals, with corporate and founda- tion philanthropy rounding out the remainder. We are immensely grateful for such generosity. Space constraints limit our public acknowledgment to those who made gifts of $100 or more during the past academic year. However, we thank all of our donors. 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Faye and Alden Shuler Jean and Edgardo Simone ‘82 Roberta Singer Emma and Allen Sloan John Slottee Brenda and Steven Sobella Mary and William Spear Douglas Spencer Elise King Spencer and Loran Spencer ‘57 Dotty and James Stapleton, Jr. Janet Rutledge Steidel ‘74 and Mark Steidel ‘73 Kenneth Stephan Craig Stevens Janet Stewart Joseph Stewart ‘94 Dorothy ‘54 and Richard Stewart ‘54 Sara Stoppels Deborah Duce Straughan & James Straughan ‘69 Lois and Dick Swearingen ‘57 Keith Tattersall Loretta and Dirk Ten Brinke Nancy and David Thomas Kathleen and Mark Thomas ‘76 Susan and Roy Thomas Gregory Thompson ‘71 Jean Thompson Sandra and Lloyd Thompson Tracy Thornton ‘92 Kelley Lehman ‘92 and Raymond Todd ‘91 Kathryn Torvik Kazuko and Masato Toshima Allice Hoffman Tower ‘40 Jeffrey Turay ‘63 Ellen Wachtel Turner ‘40 Willie and Don Tykeson ‘51 Diana Atkinson Tyson ‘77 and Glenn Tyson Bernice and Jack Ullom ‘78 Steven Urman ‘76 Steve Vacchi Lydia Van Dreel Mary Gribble Van Horn ‘53 Janet Vance Margaret and Gordon Vanwylen Margaret ‘64 and Lyle Velure ‘63 Wanda McCuistian Vinson Josephine and Peter von Hippel Marjorie Waller ‘65 Carolyn Cox Walter ‘50 Karen and Charles Warren ‘62 Frances Watzek Warren ‘37 Margaret Adkins Warrick ‘49 and Harry Warrick Donn Wassom Betty and Thomas Waud ‘58 Olga Klobas Weddle ‘82 and John Weddle ‘71 Margaret and Daniel Weill Barbara ‘69 and Ross West ‘84 Ann and Donald White Patricia ‘63 and William Wilber Peter Willcox-Jones ‘99 Doris Williams Patti and John Williamson ‘74 Janice and Thomas Wimberly ‘69 Norma and Everett Winter ‘56 William Wiswall Lyris Witzig and the late James Witzig ‘54 Patricia and Rodney Wong ‘62 Joy and Carlton Woodard ‘45 Sharon Anderson Wooden ‘53 & James Wooden ‘53 Charlene and John Woodworth ‘62 Lois and Thomas Worcester Robin and Dale Workman ‘78 Foundations, Organizations, and Trusts A & G Washburn, Inc. Alpine Veterinary Clinic Amare Cantare Barbara Ann Bryan Living Trust Cape Horn Coffees, Inc. Caruso Produce Inc. Chevron Matching Gift Program Creative Smocking, Inc. Dorothy J. Peterson Revocable Trust Duck’s Village Fisher Communications, Inc. Galifco Oregon Gary L. Schwieger Agency Hamilton Construction Company HSBC JHS Natural Products KSA Financial & Tax Service KVAL - TV Lee Construction Company Lippman Family Trust Mary Jayne Robert Living Trust Neal Family Trust Roaring Rapids Pizza Company Robert & Maryalice Ritsema Trust Sobella Farms T R Toppers, Inc. The Performance Technology Group Thoits Love Hershberger Thomas Boardman, Attorney At Law Timothy R. Borman, DO. TMS Tykeson Family Charitable Trust United Way of Lane County aDDreSS SerViCe reQUeSTeD COMING EVENTS For more information about UO School of Music and Dance programs, events, and faculty, check our web site: music.uoregon.edu School of Music and Dance 1225 University of Oregon Eugene OR 97403-1225 The University of Oregon is an equal opportunity, affirmative action institution committed to cultural diversity and compliance with the Americans with Disabilities Act. This publication will be made available in accessible formats upon request. Accommodations for people with disabilities will be provided if requested in advance. FACULTY & GUEST ARTISTS: Dean Kramer, piano Benefit Concert for Mt. Pisgah, Oct. 2 Kabile: Bulgarian Folk Music World Music Series, Oct. 10 Trombones de Costa Rica Guest Ensemble, Oct. 15 Laura Wayte, soprano Faculty Artist Series, Oct. 16 Beta Collide Faculty & Guest Artists, Oct. 18 Academy of St. Martin in the Fields Chamber Ensemble Chamber Music@Beall, Oct. 19 Octubafest UO Ensembles & Guests, Oct. 29 Elizabeth Richter, harp Harp Day Guest Artist, Nov. 1 SPECIAL EVENTS: PORTLAND EVENT October 3 UO faculty perform at the Grand Opening of UO Portland White Stag Facilities, 70 NW Couch Street UO BANDS REUNION October 10 (details, inside front cover) Jeffrey Kahane, piano Chamber Music@Beall, Nov. 9 Gabriel Chodos, piano Guest Artist, Nov. 17 Oregon Brass Quintet Faculty Artist Series, Nov. 18 Lydia Van Dreel, horn Faculty Artist Series, Nov. 20 Husberger-Wilson Trio Guest Artists, Dec. 1 Aulos Ensemble with Julianne Baird, soprano Chamber Music@Beall, Dec. 7 Nonprofit Organization U.S. Postage PaiD eugene Or Permit No. 63 FESTIVAL OF BANDS November 1 HARP DAY November 1 contact Laura Zaerr: zaerr@uoregon.edu MARIA GUINAND Trotter Visiting Professor, residency Nov. 10–14