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sonorities
Winter 2006
The School of Music continues to excel as a compre-
hensive music school within the profession, among our
peers and here in the university community. You will
read in this publication of the phenomenal new faculty
who are joining us in the College and of the success of
Published for alumni and friends of the our continuing faculty, students and alumni. On the
School of Music at the University of Illinois day that I write this greeting, the Illinois Brass Quintet
at Urbana-Champaign will be featured at the campus convocation for new
freshmen—providing a wonderful introduction to the serious joy of music
The School of Music is a unit of the College making by seasoned, expert faculty artists. Within several months, the cam-
of Fine and Applied Arts at the University pus will hear the unique programming of the Sinfonia da Camera as this
of Illinois at Urbana-Champaign and has
ensemble embraces dance in its presentation of both new and classic work,
been an accredited institutional member of
the overwhelming technique and performance bravado of our resident world-
the National Association of Schools of
Music since 1933. renowned Pacifica Quartet, and the varied manifestations of American jazz. I
name only a few of the remarkable performances we can anticipate.
Karl Kramer, director With the vibrant leadership of its director and faculty, every major program
Edward Rath, associate director in the School is deepening its commitment to musical excellence—whether it
David Atwater, assistant director, business be performance, education, composition or musicology. Active in community
Joyce Griggs, assistant director, enrollment building and outreach, the School has enhanced the College’s presence in East
management and public engagement
St. Louis, working with the school system to re-install its music program. On
Marlah Bonner-McDuffie, associate director,
development campus, the faculty provide leadership in joint academic programs with other
Suzanne Hassler, coordinator, alumni colleges including the Russian, East European and Eurasian Center. Our
relations and development strings program is revitalized and reaching out to the schools in the state of
Illinois. This summer a composition student wrote a piece that lauded Lance
Suzanne Hassler, editor Armstrong and received regional and national press attention! Music-making
Anne Mischakoff Heiles, features writer and music scholarship have never been so richly represented at Illinois.
Contributing Writers: Leadership in music and all the arts has taken a new shape in this millenni-
Herschel V. Beasley um. Entrepreneurial energy and collaborations among musicians, among
Danielle Gaines teachers, among administrators, among alumni make for a School of Music
Andrea Lynn that not only celebrates its heritage but that also assumes the mantle of
Melissa Mitchell responsibility in educating students for serious music making and study in
Antoinette Pomata this century. Your gifts of time, attention and financial support have aided the
Joseph Rassel School in providing the hallmark of an Illinois education. We thank you for
Special thanks to Bruno Nettl your gifts which make our programs possible.
BonadiesCreative Inc., design Come visit us again—try something new…read the scholarship of one of our
Cover Photos: Chris Brown Photography ethnomusicologists, attend a New Music concert, catch the Symphonic Bands
at Carnegie Hall this February. You will be enriched.
UI School of Music on the Internet:
http://www.music.uiuc.edu
Kathleen F. Conlin
Dean, College of Fine and Applied Arts
in this issue
From the Director
This past summer, Jean and I experienced the empty nest syndrome all over again. Our younger
daughter, Kristen, who was living in Walnut Creek, CA, picked up and moved to New Zealand at the
end of July, accepting a coaching position with a synchronized swimming team in Auckland. Sara,
Winter 2006
our older daughter, became another employed UI alum, winning the oboe/English horn position with CAMPUS NEWS
the Tucson Symphony and moving from Urbana (it was critical that she be an Urbana resident so she
could claim she did not live in the same town as her parents) to Tucson in August. Within three weeks,
2 Smithsonian Affiliation
one daughter left the country and the other left the time zone. 3 Hurricane Benefit
As I headed down I-40 in my Audi TT toward Tucson to help Sara with her move, the top down and
4 Smith Hall Preservation
the Bartók String Quartets playing in my ears via my iPod, an Arkansas State Trooper pulled up 4 Enescu Premiere
alongside and informed me through his megaphone that if I did not remove my headphones immedi-
ately I would be making a significant contribution to the Arkansas highway fund. I, of course, com-
6 Leonhard Legacy Conference
plied and decided to try the radio. Did you know that the only thing you can pick up on the radio in 7 Ethnomusicology Turns 50
rural Arkansas and east Texas is either country music or Rush Limbaugh? I opted for country music.
COVER STORY
In the classical world, we have gentle, descriptive titles like On Hearing the First Cuckoo in Spring, or
Prelude to the Afternoon of a Faun; uplifting titles such as Symphony #2, Resurrection, or A Hero’s 8 John Walter Hill’s Baroque
Music
Life; and contemplative titles like Quartet #2, Intimate Letters, or Sonata Pathétique. Titles of country
music songs are somewhat different in nature, however. Generally, I could categorize the songs I
heard into several different genres: unrequited love, for example, I Gave Her a Ring and She Gave
FEATURES
Me the Finger, or My Wife Ran Away with My Best Friend, and I Sure Do Miss Him; titles with spiritu-
al connotations including Drop Kick Me Jesus Through the Goal Posts of Life and I’ve Been Roped and 28 It’s Not Rocket Science:
Jazz Engineer Dana Hall
Throwed by Jesus in the Holy Ghost Corral; and those that allude to some sort of liquid refreshment
like I’d Rather Have a Bottle in Front of Me than a Frontal Lobotomy, or She’s Acting Single and I’m
Drinkin’ Doubles. Finally, there are songs which one simply cannot categorize: I Don’t Know Whether
35 Alumni Profiles:
Starting at the Top: Four
to Kill Myself or Go Bowling. Thankfully, as I got closer to the Dallas/Ft. Worth area more stations Violinists
became available. Lo and behold, but if I didn’t hear the new recording of the Mendelssohn String
Quartets by our own Pacifica Quartet (the first chamber ensemble I know of that has a car named
after them). D E PA RT M E N T S
Speaking of the Pacifica, the School’s resident quartet is now a quintet! First violinist Simin Ganatra 13 Admissions Activities
gave birth to a baby girl, Layla Juliette Vamos, on September 24—the same day the quartet was to
christen the School’s new performance venue at Allerton Park with a short concert. Fortunately, there
14 Development Update
was no shortage of talent on hand to cover the occasion as the graduate string quartet stepped in to 17 New Appointments
perform the inaugural concert in the new venue—a beautiful barn, built in the late 19th century, that 21 Book News & Reviews
has been refurbished and outfitted with a theatrical lighting system. It will now serve as a three-season
(late spring, summer, early fall) hall, allowing us to do all kinds of interesting performances. Stay 23 Faculty News
tuned for further details as we begin to develop various concert series in this new, old space. 33 Student News
There is plenty of news pertaining to both faculty and alumni throughout this 41 Band Notes
issue, so happy reading. Keep in mind that I’m very interested in what people
are listening to these days; please include a printout of your iPod playlist with
42 Alumni Events
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your contribution to the annual fund. The most interesting playlist gets a men- 43 Alumni News i
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tion in my next column. 50 Partners in Tempo
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Campus News
Two concerts were held in October to benefit victims of hurricanes Katrina and Rita, featuring musi-
cians from the University of Illinois and the Champaign-Urbana community. The first concert, held on
October 7th, 2005 in the Foellinger Auditorium, was supported by the University of Illinois and fea-
tured pianist Ian Hobson, the University of Illinois Black Chorus under the direction of Dr. Ollie Watts
Davis, and the University of Illinois Jazz Band. Pre-concert entertainment was provided by the Uni-
versity of Illinois Graduate String Quartet, and sound production by Knox Productions. The $10 vol-
untary donation at the door raised approximately $1,300 in aid to the gulf area.
A second all-day concert held on October 15th included performances by local bands Bruiser
with the Javelinas, Unfinished Business, The Delta Kings, Kilborn Alley, Tom Turino & Big Grove
“Shelter from the Storm” benefit brings School
Zydeco, Anglo-Afro Beat Experience, The Painkillers, Jamnation, and Beat Kitchen. Alto Vineyards of Music and local musicians together.
hosted the event, and also contributed all money made in tips to the cause; in addition, over 20
area businesses, including Lil’ Porgy’s Bar-B-Que and Pekara Bakery, provided food and contributed prizes. The concert at the vine-
yard, with several hundred people in attendance, raised $4,700; combined with private donations, this brought the total amount
raised to $7,000.
“These benefit concerts give all of us the chance to pull together and strengthen our unity by helping others in need,” said concert
organizer David Adcock; “We’re also able to enjoy the diverse and rich musical culture that exists here.” w
Said co-organizer Steven Errede, “[the concerts] were driven by very gut-wrenching feelings about what we were seeing in the i
areas affected by the hurricanes... the music down there, and the culture, there’s a risk of losing that.” n
Proceeds from the benefit concerts went to the American Red Cross Disaster Relief Fund, the Habitat for Humanity, the Humane
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Society of the United States, and MusiCares, the relief branch of the National Academy of Recording Arts and Sciences. MusiCares r
is working with the Lafayette Alliance to provide funding, medical care and other assistance to displaced New Orleans musicians.
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Campus News
“These are important cultural facilities that paneled recital hall, a three-manual Casa-
have meaning both to present users and vant concert organ, and the jewel-like
those who have been here in the past, so Smith Memorial Room, a drawing-room
we need to take stock of these resources reminiscent of European palaces with crys- Faculty violinist and long-time Sinfonia da Camera concert-
master Sherban Lupu orchestrated the American premiere of
and make sure that we don’t do anything tal chandeliers and elegant décor that George Enescu’s opera “Oedipe” on October 15, 2005.
foolish to cause their loss,” he said. offers an ideal setting for chamber con-
Through the grant, a preservation main- certs and harpsichord recitals. There are Fifty years after the death of Romanian
tenance plan is being developed for his- also approximately 95 other buildings on composer and musician George Enescu,
toric buildings. An educational campaign the UIUC campus eligible for listings. his opera Oedipe—based on the Oedi-
about these locations is also in the works. Skvarla is also including buildings in pus myth—had its American premiere, at
Melvyn Skvarla, campus historic preser- the database that are not presently old the University of Illinois at Urbana-Cham-
vation officer and author of the grant, said enough to be eligible for the National Reg- paign.
the primary contribution of the grant is the ister, like the Krannert Center for the Per- The semi-staged performance by the U.
creation of a database on all campus forming Arts, and the Krannert Art of I.’s Sinfonia da Camera, directed and
buildings. The Department of Planning and Museum. conducted by music professor Ian Hobson,
Development will create and maintain the Money to complete later construction was given October 15, 2005, in the Kran-
database. It will categorize and prioritize and restoration plans will be supplied by nert Center for the Performing Arts.
buildings for restoration on campus, outlin- other organizations, Skvarla said.
Appearing in the starring role was Stefan
ing when restoration will begin on each.
s Ignat. The world-class baritone has per-
Information such as architectural style, year According to their Web site, www.getty.edu,
o Getty’s Campus Heritage Grant has awarded formed in opera houses throughout Europe
n built, architect’s name, significant features
o roughly $7 million to more than 50 colleges and Asia, and recently portrayed Oedipe
and the dates of additions are also being
r and universities to preserve historic buildings,
i documented, Skvarla said. sites and landscapes since 2002.
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AMERICAN PREMIERE OF ENESCU
OPERA TAKES PLACE AT ILLINOIS
Melissa Mitchell, UIUC News Bureau, Arts Editor
in a performance with the Bucharest is exiled from his homeland, unwittingly “But perhaps the reason why it is most
National Opera at the George Enescu Fes- slays his father and ultimately consum- appropriate to do this here is because
tival in Romania. mates a relationship with his mother—as a George Enescu had quite a history at the
The cast for the U. of I. production also courageous figure who challenges the University of Illinois. He came to the cam-
included alumni of the university’s opera cruel fate he has been dealt, rather than pus as a visiting artist and professor in
program and members of the San Francis- as a powerless victim. 1948, 1949 and 1950, performing with
co opera, with vocal accompaniment by “The subject considered seems to per- the orchestra and chamber ensemble,
the U. of I. Chamber Singers, led by tain to us today more than ever,” Lupu conducting orchestra and teaching master
choral music professor and chair Fred said. “Besides the identity crisis, it has to classes.” From all reports, Lupu said,
Stoltzfus. The performance was directed do with uprootedness, exile, the search for Enescu “energized the musical life of the
by emeritus professor of voice Nicholas who we are and why we are here. These campus.”
DiVirgilio. Choreographer and principal are eternal questions that are particularly Lupu has been conducting quite a bit of
dancer was U. of I. dance professor Philip of interest in modern times when these energy from Enescu’s musical life-force him-
T. Johnston. questions become more pertinent in order self, particularly this year. During the past
Orchestrating the historic event was the to maintain our humanity while we face an few months, Lupu has traveled to China,
music school’s own resident Romanian- ever adverse world around us.” Hungary, Finland, Poland and Romania to
born musician and Enescu authority: facul- While Oedipe has been performed in present Enescu’s music in concert. He per-
ty violinist and long-time Sinfonia da opera houses throughout Europe since its formed in October in Germany, and on
Camera concertmaster Sherban Lupu. The debut, Lupu said he can only venture a December 4 in New York City’s Merkin
performance was the centerpiece of a larg- guess as to why it has never been staged Hall. Earlier this month, he released a CD
er event: “Oedipus and Its Interpretations,” in the Western Hemisphere. “Lack of imag- of previously unknown works for violin by
a two-day symposium, Oct. 15-16, ination and adventure?” he offered as a Enescu. Also released at the same time
planned to attract classicists, musicologists possibility. were six volumes of unknown works by the
and literary scholars from throughout the The reasons for producing the opera composer, edited and arranged by Lupu.
world to the campus to examine and dis- now, at the U. of I., are easier to pin- While it may appear that Enescu and
cuss a variety of topics related to Enescu point. “We found the right environment. It his work have functioned as something of
and the Oedipus story. The public sympo- was like a constellation of events coming an international passport for the U. of I.
sium included a concert by the U. of I.’s together to make it all happen at the right professor, he points out that the door
Enescu Ensemble, conducted by Lupu, time,” Lupu said. Among those aligned “goes both ways.” “I’ve also been an
October 16 in the Smith Hall. behind the project, he noted, was “my emissary … introducing the world to this
Lupu said Enescu’s musical interpreta- friend, colleague and collaborator, Ian towering figure of 20th century music.”
tion, created in collaboration with poet Hobson, with whom I’ve played Enescu’s
Edmond Fleg and first produced in Paris in works all over the world. I also found Visit the School of Music’s “Oedipe” Web site
at: www.music.uiuc.edu/sinfonia/oedipus/.
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1936, recasts the tragic Greek mythical great support from the College of Fine i
character in a more becoming light than and Applied Arts and Dean Kathleen n
most other versions. In their interpretation, Conlin, the Center for Advanced Study, t
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Enescu and Fleg portrayed Oedipe—who Illinois Arts Council and the Romanian r
Cultural Institute.
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Campus News
Excellence in Music Education. She
Charles Leonhard Legacy Conference acknowledged individual donors and mem-
Remembers a Great Educator bers of the committee—who collectively
have committed nearly $70,000 towards a
Herschel V. Beazley, Class of ’78
new fellowship in Dr. Leonhard’s name—
Professor of Music and Governor’s Teaching Fellow, Georgia Southwestern State University
and outlined the benchmarks needed to
Former students, families and friends trav- The conference began Friday, November receive matching funds from the University
eled from every region of the country to the 4 with a reception hosted by Drs. Peter of Illinois Foundation.
University of Illinois, Urbana-Champaign, Tiboris and Joe Grant. Rick Murphy, Direc- A conference devoted to the legacy of
for the Charles Leonhard Legacy Confer- tor of Music at University High School, per- Charles Leonhard would not be complete
ence November 4-5, 2005. The fast-paced formed on the piano in the Levis Faculty without a lively sing-along. After luncheon
traffic of the Tri-State Tollway eased as I Center Music Room. The event allowed in Levis Faculty Center, attendees joined in
merged onto Interstate 57 South to Kanka- attendees to reacquaint and catch up on
kee. The urban congestion turned to the flat news in their personal and professional lives.
prairie of the Midwest as the interstate The Saturday morning session in Smith
snaked toward Champaign. Driving past the Memorial Hall Room 25 was moderated by
empty corn fields I reflected on Dr. Leon- Professor Joe Grant, chair of the music edu-
hard’s story of boarding cation division. He introduced Dr.
the Twentieth Century Karl Kramer, Director of the School
Limited in New York of Music, who provided an update on
City’s Grand Central Sta- new faculty appointments in string
tion for the journey west- education and expanded degree pro-
ward to establish the grams in jazz studies.
Barbara Burley (’75), John Burley (’79), and Sharon Nix (’78),
Ed.D program in Music Dr. Kramer was followed by Dr. with author Herschel Beazley (’78).
Education at the Unversi- Eve Harwood, Associate Dean, who
ty of Illinois. recalled experiences as a student of singing: The Doxology (the second time with
Earlier as a student Dr. Richard Colwell (’61) of Boston
gives the keynote address.
Charles Leonhard’s and brought greet- a “belly breath”), Make New Friends, Dona
and then faculty member ings on behalf of the College of Fine Nobis Pacem, Just A Song At Twilight, Amer-
at Teachers College (capital “T”, capital Arts. Joe Grant then ica, and Hail To The Orange. Music educa-
“C”) Dr. Leonhard immersed himself in the introduced Dr. Peter tion major and pianist Sarah Petersen
cosmopolitan life of New York City and Tiboris, Chair of the provided accompaniment.
“picked the brains” Leonhard Legacy The afternoon session was devoted to
of great minds such Committee, who pro- papers delivered by Professor Roger Rideout
as James Mursell, vided a summary of Harry Steckman (’79), with
James Johnson (’69) and
(University of Massachusetts) and Professor
Howard Murphy, the committee’s work Aldona Naudzius (’83). Lizabeth Wing (Uni-
Lilla Belle Pitts, to date and possible scenarios for the future. versity of Cincinnati).
and Norval Church Peter concluded by recounting a very mean- Liz presented “Pay It
to name a few. The ingful professional and personal experience Forward” in a “readers’
Peter Tiboris (’80), Chair of the theater” format that
Leonhard Legacy Committee, with
philosophy of John with Leonard Bernstein—learning of the
David Osterlund (’78). Dewey and the Maestro’s knowledge of and respect for allowed participation
Dalvin Boone (’72) catches
community sing-along tradition of Peter Charles Leonhard. from a large number up with Joseph Goble (’78).
Dykema were embedded in Dr. Leonhard The morning of audience members. Roger’s presentation,
and he brought these egalitarian traditions session ended with “Travels with Charlie,” included an insight-
when he returned to his Midwestern roots. a report by Marlah ful commentary on Leonhard’s use of humor
As Roger Rideout suggested in his confer- Bonner-McDuffie, along with several interesting perspectives on
ence paper, the establishment of the Ed.D in Associate Director his life and legacy. The afternoon session
Music Education at the University of Illinois of Development adjourned for informal “picture moments”
was one of the lasting accomplishments of for the School of and campus walks.
s Later that evening, everyone reassembled
o Charles Leonhard and perhaps his most sig- Music, on contri-
n nificant contribution to the scholarship of butions to the at Kennedy’s Restaurant in Urbana for cock-
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r teaching in general and music education in Suzanne Hassler, Coordinator of
Charles Leonhard tails and dinner. It was pointed out that
Alumni Relations, and Joe Grant
i particular. (’83), Chair of Music Education. Endowed Fund for exactly five years ago on this date graduates
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gathered at the same location for Charlie’s
85th birthday event. After a delicious buffet
dinner prepared by chef Luke Kennedy, Dr.
Peter Tiboris introduced Dr. Richard Col-
well, a long-time professor of music educa-
tion at the University of Illinois and student Society for Ethnomusicology
of Charlie Leonhard’s, who spoke on
“Langer, Leonhard and Augury,” delivered Celebrates First Fifty Years
in his signature “rapid-fire” and “shoot from
As ethnomusicology has been an important field at UIUC for over 45 years,
the hip” style.
the annual meetings of the Society for Ethnomusicology (SEM) in Atlanta,
On a personal note, Peter and I visited
Nov. 16-20, 2005, which celebrated the fiftieth anniversary of the Society’s
Dr. Robert Thomas, Emeritus Professor of founding, are of special interest to many UIUC alumni (as well as present
Music. Many of you will be happy to know faculty and students).
he continues to reside in his condo in This most extensive ethnomusicology conference ever held had 440 sepa-
Urbana surrounded by beautiful collectables rate presenters and session chairs, and ca. 140 sessions on music in all
and art works meaningful to his life. He no parts of the world, ranging from the origins of music to the role of the Inter-
longer travels, but is net in musical life. The program committee was chaired by UIUC emeritus
extremely interested professor Bruno Nettl (one of the founders of the Society) and Judith McCul-
in and supportive of loh, Assistant Director of the University of Illinois Press. Other faculty partici-
pants were Donna Buchanan, Charles Capwell, Gabriel Solis, Isabel Wong;
the Legacy Commit-
visiting professors Anna Schultz and Svanibor Pettan; and graduate students
tee. Dr. Thomas is,
Jennifer Fraser and David McDonald.
as ever, the Renais- Of the ethnomusicologists who read papers or chaired sessions, twenty-six
Linda Gerber (’75) and Robert
Wessler (’76) reminisce.
sance Man. were UIUC alumni. Of these, Philip V. Bohlman (Ph.D. ‘83), professor at the
Conference atten- University of Chicago, is the incoming president of the Society. Alumni
dees were pleased with the weekend of Anthony Rauche, Christopher Waterman, and Carol Babiracki, with Bruno
remembrance and celebration of the life and Nettl, also participated in an evening of “fun stuff” including poetry read-
legacy of Professor Charles Leonhard and ings, a short opera, and a calypso satirizing the history of ethnomusicology.
plan to meet again in 2007.
J O H N W A LT E R H I L L’ S
BAROQUE
MUSIC By Anne Mischakoff Heiles
A M ATC H O F
SEVENTEENTH
A N D T W E N T Y- F I R S T
CENTURIES
yes, I guess I would.’ So the next day I emailed Michael Ochs, the To organize the table of contents, Hill relied on his long teach-
music editor at Norton who had previously been music librarian at ing career: “My starting point was the organization of the course on
Harvard, and asked if he would be open to a proposal from me.” the subject that I’ve taught annually for the last thirty-five years.
Some five years later, Hill’s office is littered with boxes of the That organization has been tested; it evolved over the years.” Still,
textbook he authored and its supplementary Anthology of Baroque when he drafted his manuscript, he made additional changes, “part-
Music, and with the music equipment he used to help create dozens ly ordering the topics to minimize references to future discussions.
of listening examples that bring the anthology to life. Probably the For instance, the discussion of early seventeenth-century Italian
magnum opus of his distinguished career as a music scholar and church music should follow the discussion of theater and vocal
teacher (or at least the work most likely to make his chamber music because the novelties and innovations
name widely known), Baroque Music was published in it are based on theater and chamber music. If you
in 2005 and caps a career that has produced The Life had it the other way around, you’d be constantly say-
and Works of Francesco Maria Veracini, Vivaldi’s ing, ‘As we will see in the following chapter….’ I envi-
Ottone in Villa: A Study in Musical Drama, and a fair- sioned the textbook as serving a semester course. I
ly recent two-volume set titled Roman Monody, Can- used it for one semester last year, so in fact it can be
tata, and Opera from the Circles around Cardinal done. The students have to read about fifteen pages of
Montalto. the book in preparation for each class section. That’s
Hill has been editor of the Journal of the American relatively painless; it’s basically an hour of reading
Musicological Society and has served on several inter- three times a week.”
national boards and committees. He has also written There were holes to fill in his own knowledge, Hill
extensively for the New Grove Dictionary of Music admits, because any teacher is selective in a particular
and Musicians and for Die Musik in Geschichte und Gegenwart. course. “And as I wrote, I sent the chapters to specialists in those
Nevertheless, the editorial staff at Norton put him through stiff particular fields. I got extremely good feedback. When it was com-
paces before formalizing an invitation to write the Baroque history pleted, it was sent to six more referees. Norton wanted to be certain
destined to succeed Manfred Bukofzer’s benchmark survey that had that the book was going to be widely considered a standard and
served two generations. Michael Ochs, Hill surmises, “worked some definitive account, rather than idiosyncratic writing.”
phones to see if I was the right sort of person. He asked for a two- Not one to mince words, however, Hill acknowledges that his
page general prospectus about the approach, a complete table of approach “isn’t a neutral or default account by any means.” He
contents, and two subchapters of about five printed pages broke new ground in several ways. For example, by adding the
each.” Then Norton’s editor formulated a list results of research from many scholars since the publication of
of questions about both Hill Bukofzer’s Music of the Baroque Era in 1947, he expanded dis-
and the proposal, sending them cussions of French, Spanish, and Portuguese music, as well as
along with copies of his materi- the contributions made by women. He developed the music’s
als to about five or six referees.
“Basically a publisher wants to
know if the person has a reputation
such that the work would interest
professors. After all, you don’t adopt
a course textbook by someone you
know is not your equal. So, on that
basis, they prepared a contract.”
cultural, political, and religious contexts to a greater extent than had Hill’s new text delves into other aspects discussed by theorists of
earlier texts. “That would more or less be expected in the year 2005 the Baroque period to explain music, including formal rhetoric and
from a book of this kind,” he says. “But what is particularly differ- rhythmopoeia, the “analysis of music using poetic scansion concepts
ent is the emphasis on period theory and thought that I’ve used as and markings, starting with Marin Mersenne. Mode and rhetoric
the basis for approaching music. Most of my specialist colleagues in are two continuous strands in [Baroque Music], although some
this period use a modern approach, which tends to be retrospective established scholars may have trouble digesting them.”
in treating many features of seventeenth-century music as mere In expanding the discussion of Spanish and Portuguese music,
foreshadowing of eighteenth-century music.” compared with Bukofzer’s Baroque history, Hill was driven by the
Referring to nearly sixty Baroque-era theorists for his analyses, awareness made possible by burgeoning research in recent decades.
Hill says the list begins with “the writers from around Florence, “The subject warrants it. There was very little usable research and
Italy, having to do with the birth of opera: Vincenzo Galilei, Giulio writing by earlier Spanish scholars. Musicology, and many other
Caccini, Jacopo Peri, Giovanni Battista Doni—and that list goes branches of modern humanities research, emerged from Germany,
on. Then come the many writers on mode, then from France and later from Italy.
with Adriano Banchieri setting the tone Spain had mostly become somewhat isolat-
among them.” Rameau’s importance in the ed from the rest of Europe culturally,
history of theory has been greatly exagger- socially, and intellectually. I am glad that
ated, in Hill’s judgment. “The whole theo- there is more to say about Spain, just as I
ry of roots and inversions was in place more am that there is a great deal more to say
than a hundred years earlier in the works of about women: today we understand better
Harnisch and Johannes Lippius (the better that our culture, society, and history were
known of the two because his account was not carried out solely by northern Euro-
more thorough).” pean men. The founders of musicology,
Rather than discuss the “modern con- German men, were nationalistic, male
cept of tonality,” Hill says he focuses on chauvinist, and racist to a great extent.
what he calls “the normalized harmonic Writing this book was a good opportunity
style of Corelli from the standpoint of the to rectify that as much as I could.”
theory of one of his students, Francesco Hill credits the British and American
Gasparini, who (like another student of scholars of his generation and especially
Corelli, Francesco Geminiani) presents, discusses, and teaches the the younger generation with having the distance—as well as the
harmonic style of that period as a series of modules. These are nor- familiarity with enough languages—to avoid writing from a nation-
malized units of two, three, four, and five chords.” Referring as an alist slant. “Already when I was in graduate school in the 1960s, we
example to the music of Giovanni Maria Bononcini (1642-1678), of student age thought our generation had an historical mission to
Hill says, “The previous two parallel and distinct strands of com- rectify this German slant on the history of music. It was a blinkered
positional thought in the Western world—chords and mode— view of the rest of Europe, which, of course, robbed it of its validi-
merged together. It’s a merging of structure with modal and chordal ty and strength. It wasn’t sufficiently disinterested to be reliable.”
language that creates the language of the Corelli generation. An anthology of music, 130 pieces totaling more than a thou-
“Chordal composition seems to arrive in Western Europe with sand pages, accompanies the textbook, with another 46 musical
the fretted instruments of the lute-guitar family from Spain, where examples available for downloading in PDF files from the Internet.
they were established by Arabic musicians. So the chordal tradition Hill edited all the examples, his approach a mix of Urtext and read-
seems traceable back to Arabic traditions, whereas mode traces back ability: “My goal was to preserve the original rhythmic values and
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through Christian and Jewish traditions. In a sense, these two great meter signs, and the key signatures: that is, not to add anything or i
pillars of Mediterranean civilization come together at the end of the take away anything from the original body of notes. Other than n
Baroque era, in what today is loosely called tonality but what I call that, I wanted to use modern clefs, rather than C clefs, and to place t
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other than English,” he explains of his decision not to simply rely
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Cover Story
“MY GOAL WAS TO PRESERVE THE ORIGINAL RHYTHMIC VALUES AND METER
SIGNS, AND THE KEY SIGNATURES: THAT IS, NOT TO ADD ANYTHING OR TAKE AWAY
ANYTHING FROM THE ORIGINAL BODY OF NOTES....”
on a text and translation in poetic form following the score. “With four invitations annually to give papers at conferences in Europe.
the running translation, students don’t have to page back and forth They’re very attractive: free trips to Europe, and being put up in a
between the text and music.” nice hotel and given elaborate meals, a tradition among European
Editing the anthology, however, consumed far more hours even scholars.”
than writing the textbook. All the scores were created anew, based Compounding his busy schedule, however, the invitations have
on the original manuscript and printed sources. Hill devoted addi- come with specified topics: “They’re not on subjects where I have
tional hours to persuading Norton to include listening examples. ongoing research, so they have been demanding of time: identifying
Using commercial recordings was too costly for a period history my project, collecting material, coming up with a thesis, and writ-
book because they required copyright payments, and using only ing. They’ve all been in European languages. Just yesterday I woke
students to perform the examples risked an amateurish result or up at 4 a.m. in Rome and had a whole day of travel, and here I am
alienating some buyers who might think the performance outlook at school in Urbana today. In Rome I talked about a couple of dif-
would “reflect a single phi- ferent perspectives on the
losophy of performance vocal works of Luca Maren-
practice.” It took a kind of zio, a sixteenth-century
modern-day deus ex machina madrigalist, from the per-
to resolve the problem. spective of solo singing; I
To procure the necessary talked about his imitation of
bandwidth and server space something called cantare
for modern-day students to alla bastarda, and the reflec-
download examples, Hill tion of the idiom of the
went to the University’s Spanish guitar accompani-
CITES (Campus Information Technologies and Educational Ser- ment. There’s another conference in December, so today [in Sep-
vices). He also learned to convert files to MP3 format. Moreover, he tember] I have to start preparing for that event in Venice, Verona,
figured out how to create his own brand of synthesizer sounds, and Mantua. I’ll speak about the longstanding convention and tra-
“using a MIDI instrument file based on live sound samples that I dition of the love complaint in the Orpheus operas in the seven-
played, by recording on a Baroque violin, viola, and cello notes teenth-century and my interpretation—fairly contemporary in that
about half an octave apart from the lowest to highest notes you’re I’m going to sound quite a bit like a feminist—of its social and cul-
likely to hear, and trimmed those down, making those samples the tural meaning.” The Baroque meets the twenty-first century.
basis of MIDI instruments. It didn’t turn out to sound as realistic as
I thought it would, but it did soak up quite a lot of time, to find
the right software to execute it (Vienna Sound Fonts); I’ve since
learned that there are other more sophisticated programs that do the “More than just a textbook, John Walter Hill’s
same thing that are somewhat costly.” Hill has a longstanding inter- Baroque Music is a detailed scholarly investigation
est in performance practices (and devotes a number of sidebars and of the era, beautifully illustrated and produced by
boxes in the textbook to them). He combined his painstaking
W. W. Norton & Company. The companion
efforts at the string instruments, keyboard, and mouse with record-
ings of performances by School of Music students. Anthology of Baroque Music opens new perspectives
In the end, Hill’s work has garnered glowing reviews. Barbara by supplying carefully edited scores of many works
Hanning (City College of New York) wrote that “Baroque Music is
not otherwise available, and it is augmented by a
astonishingly thorough and brilliantly insightful….” And Bruce
Gustafson (Franklin & Marshall College) has called it a “monu- Web-based supplement, broadening our awareness
s mental achievement…destined to become a classic.” One might of music of this fascinating period.”
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n expect Hill to feel let down after devoting five years intensively to
o its creation. He says he has not had time for a letdown or “decom-
r Professor William Kinderman
i pression period” because of being “thrown into a period of three or UIUC School of Music
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Now Registering for
Admissions Activities Illinois Summer Youth Music 2006
Joyce Griggs, assistant director for enrollment management and public engagement
“The School of Music you—our alumni and our supporters—that Elective Courses
is rockin’ ” exclaimed they were directed to consider the Univer- • Chamber Music
Dr. Kathleen Conlin, sity of Illinois.
Dean of the College I am well aware that with the fierce • Composition/Theory
of Fine and Applied competition between great schools and • Conducting
Arts, to attendees of great programs, and the increasing need • Group Piano Lessons
the School of Music for scholarships and financial aid, students
• Music Technology
Open House on Sep- have many choices and reasons for deter-
tember 27. How true! With increased mining which school they attend—whether
enrollment, visibility, and faculty involve- for a summer music experience or for First Session
ment in outreach and recruiting events, the majoring in music. In the age of the inter- June 18-24
School of Music has an incredible energy net, the vast opportunities for students A comprehensive and intensive Senior Bands
that is becoming contagious! become blurred. Which school is really so program of music instruction Senior Chorus
The School of Music has enrolled one unique that a student can’t possibly miss held on the campus of the Uni- Senior Orchestra
of the largest freshman classes in recent the chance of attending? How do students versity of Illinois at Urbana- Advanced Piano
years with 100 new, first year students. In take the wealth of knowledge available to Champaign. For the past 57 Advanced Junior Flute
addition to meeting our enrollment goal at them and decipher it with a scrutinizing years, Illinois Summer Youth
the undergraduate level, overall graduate eye, in order to better separate substance Musical Theatre
Music has enrolled more than a
enrollment has also increased by almost from the rhetoric? It is through communica-
thousand students annually. Second Session
15% this year. tions with our faculty and our alumni that
Many past campers perform June 25-July 1
As you may recall from last year’s edi- students gain understanding of their poten-
tion of sonorities, Music Admissions and tial for success at the University of Illinois with major symphony orchestras Junior Bands
Outreach & Public Engagement were fused School of Music. and other professional ensem- Junior Orchestra and
into one office with one mission: to bring I invite you to contact my office to dis- bles. A significant number are Junior Strings
quality educational programs to students cuss the many possibilities for working successful teachers, engineers, Advanced Senior Flute
and teachers while creating, fostering, and together to bring relevant and meaningful scientists, lawyers, doctors, and Piano
maintaining relationships with prospective enrollment information to students. Whether business executives. Double Reed
students. The synergy created by combin- you prefer a chamber ensemble concert, a
ing these two offices gives the School of presentation by a staff member, or a visit to www.music.uiuc.edu Third Session
Music faculty and staff an opportunity to campus, we can assist with arranging these click on the “ISYM” link
see prospective students on multiple occa- appointments and ensuring that all students July 9-15
217-244-3404
sions. Whether attending one of our Aller- interested in learning more about the Uni- E-mail: ISYM@music.uiuc.edu Junior Bands
ton Chamber Symposia, Superstate, or versity are reached. Now accepting major credit cards. Trombone
Open House, students are beginning to I would be remiss if I did not conclude Get an application online! Junior Chorus
see the same familiar faces that make the this article with thanking the many hard- Junior Piano
School of Music a small, personable com- working colleagues who make up our Jazz
munity of excellence. newly restructured office of Enrollment Man- Advanced Percussion
Once again this fall the School partici- agement and Public Engagement. To David
pated in performing and visual arts fairs— Allen, Lynwood Jones, Nancy Boaz, Ruth
bringing information about musical Stoltzfus, Sandy Horn, Cathy Egan, our stu-
opportunities to hundreds of students. As I dent workers, and most importantly faculty
complete the last airplane ride of my col- and other supporting staff—thank you for
lege fair travel for 2005 and reminiscence making 2004–05 such a great year for our
on the students and parents I met in my outreach and admissions programs. I look w
travel to various cities, I am reminded of forward to strengthening our relationships i
the power of influence. Many students with and making each year a success! n
whom I spoke cited that it is because of t
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Development Update
Marlah Bonne-McDuffie, associate director for development W I S H
Bruno Nettl is professor emeritus of ed subjects. Alumni of the school will represents the culmination of Professor
music and anthropology at the UIUC remember with pleasure his performances Racy’s long and distinguished career as an
School of Music. An internationally as the clarinettist with the New Golden accomplished performer, scholar and
renowned musicologist, he is both a Rule Orchestra at Nature’s Table on Friday teacher of Middle East music. He explores
founder and past president of the Society afternoons. the phenomenon of the tarab—looking at
for Ethnomusicology and the author of its musical substance, lyrics, performance
many books. Pioneers of Jazz: practice, secular and religious ecstasy and
The Story of the Creole Band musical education. It is written in a clear
The Study of Ethnomusicology: Lawrence Gushee
and engaging style that will appeal to
Thirty-One Issues and Concepts Oxford University Press
ISBN 0195161319 musicians and non-musicians alike. It is
Bruno Nettl
www.oup.com rare that we find a book that opens up to
University of Illinois Press
ISBN 0252072782
the general reader—and indeed many
www.press.uillinois.edu Middle East specialists—the world of Arab
music and that is why the judges decided
to award the major prize this year to this
Distinguished Alumnus Ali wonderful book.”
Jihad Racy’s Book on Arab In the United States, the Society for
Gushee’s New Book Traces Music Wins Awards Ethnomusicology’s Alan P. Merriam Prize
Early Days of Jazz Committee, in determining the most distin-
Ali Jihad Racy, a guished book in ethnomusicology pub-
“This is the book we graduate of the Uni- lished in 2003, granted Making Music in
have been waiting versity of Illinois the Arab World Honorable Mention at the
for,” said Bruce Boyd and doctoral Society’s Annual Meeting in November
Raeburn of Tulane advisee of Prof. 2004. Since its publication, this extraordi-
University about Pio- Bruno Nettl, an nary book has led to numerous interviews
neers of Jazz by internationally with the author, including the British Broad-
UIUC School of Music known performer, casting Company (BBC), and to a full-
Professor Emeritus composer, and length program on tarab on Public Radio
Lawrence Gushee. authority on music International (PRI). The work is expected to
This recent release of the Near East, and professor of ethno- also be released in Turkish and Arabic
chronicles the history of the renowned musicology at the University of California translations.
seven-piece Creole Band and its central at Los Angeles, was recognized for a Professor Racy was born in Ibl al-Saqi,
role in the dissemination of jazz in New major contribution in the field of ethno- Lebanon in 1943 and comes from a family
Orleans in the period of World War I. Pub- musicology. of poets, scholars, and artists. He graduat-
lished by Oxford University Press, the work His publication, Making Music in the ed from the American University of Beirut
has received significant praise. Dan Mor- Arab World: The Culture and Artistry of with a B.A. in 1967 and received his Mas-
genstern, Director of the Institute of Jazz Tarab (Cambridge University Press), won a ters of Music and Ph.D. in Musicology from
Studies at Rutgers, calls it “a masterpiece prestigious first prize for the best book on the University of Illinois at Urbana-Cham-
of scholarly research, then also a damn the Middle East to appear in 2003. Grant- paign in 1971 and 1977 respectively.
good read.” Ragtime scholar Edward A. ed annually by Al-Mubarak Foundation
Berlin describes Gushee as “the most tena- and sponsored by the British Society for Making Music in the Arab World:
cious of musical sleuths as he traces the Middle East Studies (BRISMES), the award The Culture and Artistry of Tarab
earliest days of jazz.” was presented to Racy at a special cere- Ali Jihad Racy
Lawrence Gushee has been affiliated mony during the Society’s annual meeting Cambridge University Press
s with the University of Illinois School of ISBN 0521304148
o at the School of Oriental and African Stud-
www.cambridge.org
n Music as a professor of musicology since ies (SOAS) in London in July 2004.
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r 1976 and devotes himself to music of the According to Dr. Noel Brehony, chair-
i middle ages, as well as to jazz and relat- man of the judging committee, “[The book]
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Faculty News
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NOT
SCIENCE
ENGINEER By Anne Mischakoff Heiles
DANA HALL
When Dana Hall joined the faculty
in August 2004 to teach applied
music (including small jazz ensem-
bles) and courses in jazz history
and listening, he was endorsing a
decision he had made years earli- Eschewing aerospace propulsion,
er to give up his promising career he nevertheless has had a meteoric
as an aerospace engineer. Hall career as a jazz musician, playing
had initially worked at Boeing, as drums in more than a dozen
an intern, while he completed his groups that have backed up such
engineering degree, helping to stellar musicians as Betty Carter,
design propulsion systems and Woody Herman, Ray Charles,
develop advanced composite Branford Marsalis, Joe Henderson,
materials. He was involved in the Joshua Redman, Jon Faddis, and
preliminary development of the other, younger, jazz artists. As
Boeing 777 (the “triple-7,” as he SOM Director Karl Kramer quips,
calls it) aircraft. Hall has gone from making “rock-
ets to rackets.” Hall’s energies
have more recently encompassed
ethnomusicology as well. He
hopes very soon to complete a
Ph.D. at the University of Chicago
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and then go into teaching courses i
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Photos: Chris Brown Photography 29
Faculty Profile
as jazz studies. “I’ve taught Introduction to Hall began studying drums in junior worked from 7:30 a.m. till 4:30 p.m., and
World Music courses at the University of high school, “primarily during the march- would play jobs in the evenings.” The
Chicago, and have designed some courses ing season,” although during most of the schedule was tiring, and he knew he
associated with my dissertation research year his main instrument was the oboe. would have to choose between the two.
materials and other areas of interest.” Hall “My mother’s sister is an oboist. She’s the He had been ruminating about a con-
has worked under Philip Bohlman at the only one in the family besides me who can versation with trumpeter Wynton Marsalis,
University of Chicago, a professor who play any music other than the radio, so I who had performed at C. Y. Stevens Audi-
studied at UI under torium in Ames, Iowa: “I
Bruno Nettl. “A lot of told him about my dilem-
Bohlman’s thoughts and ma: ‘I’m double-major-
ideas grew from seeds ing in music and
planted here, so in engineering, and I really
coming here, I’m like engineering, but I
almost completing the love music. What should
circle.” I do?’ He said, ‘Well,
Although his plunge not everybody has the
from the skies to drum ability or the desire to
sets may seem abrupt, be an artist. The world
music has in fact been needs artists. The world
central in his life from needs art to enrich what-
childhood. Born in ever people do with the
Brooklyn, Hall moved rest of their lives. They
with his family to might be doctors,
Philadelphia when he lawyers, or engineers,
was four years old. and not have the ability
“I’m the fifth generation to be a musician,
[of musicians] and painter, or sculptor. So
knew several genera- they seek inspiration in
tions of grandparents those arts. You owe it to
and a large extended society to pursue that if
family. My formative you have it in your heart
years were spent in and have the ability to
Philadelphia and south- do it.’”
ern New Jersey. I’m the Having made his
pioneer of the family,” decision, Hall left Boe-
he laughs, “the only ing and earned a
one who lived west of degree in jazz perform-
Pittsburgh!” Explaining ance at William Pater-
how integral a part of son College in New
Dana Hall, with graduate student Josh Hunt, has never regretted leaving engineering: “I feel this is my calling; this is what I
his family’s life jazz have to offer society.” Hall has been on the UIUC faculty since August 2004.
Jersey. “I’ve never
music has been, he regretted leaving engi-
says, “We had close associations with a guess I got some of my music desire from neering. I feel this is my calling; this is
vital music community in Philadelphia her.” As he played drums during the high what I have to offer to society.”
and New York, and members of my fami- school marching season and for stage Living near New York offered Hall
ly were friends or associates of lots of band, however, he “started to develop a ready connections to a host of jazz musi-
s musicians: Jimmy Smith and Lee Morgan, bit of technique.” He attended Iowa State cians. “In jazz the proof is in the pudding,
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n and a long list of talented musicians in University in Ames as a double major in and I was fortunate that I had just enough
o Philly.” Many of the musicians visited his classical percussion and aerospace engi- preparation when those musicians heard
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i family’s home. neering. His training as an aerospace me that I was able to get my foot in the
t engineer led to employment at Boeing. “I door to play with them. Those situations
i provided me opportunities to grow.”
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“IT WOULD BE A DISSERVICE TO THE STUDENTS
FOR ME TO NOT CONTINUE TO PERFORM AT A HIGH LEVEL
AND TO SEEK OUT MUSICAL CHALLENGES,
SO I’M AN ACTIVE MUSICIAN.”
As he proved his ability on gigs, Hall Having idolized Ray Charles, Betty ing. She gets so excited about what she’s
had more and more opportunities to play Carter, and Joe Henderson for years, Hall doing that it transports you into another
with some of the greats in the world of suddenly found himself on the bandstand place.”
jazz. He was impressed especially by their with them: “I have a certain reverence for Since joining the UI faculty, Dana Hall
competence, confidence, individuality, and what they accomplished as musicians. But has continued to perform and record with
open-mindedness. “They each bring differ- in order not to get too nerved out about it, Terrill Stafford’s ensemble (e.g., on Labor
ent things to the table,” he says, “but they I have to feel that I belong and that they Day 2005 in Philadelphia). Stafford
all definitely have a special level of profes- called me for what I do. I picked up from employs newer rhythms and harmonic
sionalism and confidence with their instru- Joe Henderson that I really needed to have concepts. Hall says, “It’s always fresh
ments and with what they’re doing. working with him. We do a lot of things
Branford Marsalis, Jon Faddis, Terrell that are interesting and adventurous, and
Stafford, and Josh Redman: they’re all spe- he allows me to bring different rhythmic
cific about what they want to accomplish ideas to the table. It’s not so much that the
and how I might fit in with that. They’re other [older] musicians are set in their
open about different ideas—and how I ways but that their playing is rooted in tra-
approach music. It’s engaging and excit- dition, whereas younger musicians,
ing. Sometimes there might be some dia- because they have been exposed to so
logue about it, but generally the music is many types of music, are wide open to
our language, and we don’t have to talk; anything that might happen.”
we just do it. We may need to tweak it As a UI faculty member, Hall considers
and talk about that, but otherwise we just performing an important part of his work.
dive right in.” “It would be a disservice to the students for
Hall has played in both large and small me to not continue to perform at a high
ensembles. With Ray Charles he played at level and to seek out musical challenges,
festivals in Europe: “The biggest was at the so I’m an active musician.” He hopes to
Photo: Robert K. O’Daniell/News-Gazette
North Sea Jazz Festival in the Hague in play more in the Champaign-Urbana area
Holland. Playing with him was great. He as well.
was particularly hard on drummers. I “I coach a sextet with saxophone, trom-
heard that he apologize in a magazine to bone, trumpet, piano, bass, and drums.
all the drummers he had ever played with. And I work in private lessons with younger
Because of the way he communicated jazz students in developing their technique
musically, the drums were the heartbeat; The Dana Hall Jazz Combo is made up of students Mike Jones, and repertoire. In the Jazz Listening
trumpet; Dave Dickey, trombone; Carlos Vega, tenor saxophone;
they had to be correct all the time. He had Chris Reyman, piano; Chris Nolte, bass; and Joshua Hunt, drums. course, I combine style, analysis, and
a unique way of feeling rhythm. He was understanding the fundamentals of jazz to
really the fountainhead for a particular confidence in what I do. He made me feel help students listen more critically,” Hall
genre and style of music; he mastered a liberated to just do what I do and not feel elaborates.
way of playing soul music. It was challeng- that I had to play like some other musi- As a professor, he combines his per-
ing and rewarding to play with him.” cian. He said, ‘Don’t play like (and he forming knowledge with his studies in
Betty Carter, he recalls, “was another named off a few drummers: Elvin Jones, ethnomusicology to brew a rich mix for stu-
challenging musician to play with. She Pete La Roca, or Al Foster). Just play how dents: “I teach a jazz history course that’s
had a clear idea of what she wanted, you play.’” somewhat chronological, but I like to throw
especially from the drummer, and was Maria Schneider impressed Hall with a few monkey wrenches in there, thinking
demanding. That’s the only way to grow— her intensity and vivacity. “The first time I as an ethnomusicologist. It’s interdiscipli-
when someone places demands on you worked with her was when she conducted nary; I’m concerned with places of w
and asks for something that you may not the music of Gill Evans at Carnegie Hall. encounter and relationships that are socio- i
know you have within. The best leaders She is focused about what she wants from logical.” n
and best musicians have tapped into some- us musicians and has an infectious vision In creating an interdisciplinary t
thing they heard in my playing that I may of music. She’s a painter through her com- approach, Hall likes to highlight the “inter- e
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not have been wise to yet.” posing and arranging. Your color lies with- sections” that music makes with society,
in her color scheme and power, and she politics, and culture. “I’m concerned with 2
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Faculty Profile
“ N O T A L L G O O D P L AY E R S C A N T E A C H ,
B U T I B E L I E V E A L L G O O D T E A C H E R S S H O U L D B E G O O D P L AY E R S .
W E ’ R E B L E S S E D H E R E W I T H G O O D P L AY E R S A N D G O O D E D U C AT O R S ,
A N D W E C A N T R Y T O I N S T I L L T H AT C O M B I N AT I O N I N O U R S T U D E N T S . ”
negotiating that terrain also as a per- Hall plays a drum set, although he ciency on mallet instruments. They should
former, in the way I play and the situations sometimes augments it with wood block, also take some piano lessons to get a
and material. In Iowa, for example, I cow bell, or, more rarely, African or Mid- sense of how drums work within the har-
played in both a heavy-metal rock band dle Eastern hand drums. His approach to monic context of an ensemble. The way
and the Cedar Rapids Symphony in a performing is broad: “When I think about you can change the texture on the drums,
region and at a time, during the mid- playing, it’s not playing the drums but just based on the harmony that you’re
1980s, when one did not associate a playing music on the drums. The drums in hearing in the ensemble, adds to your
black man playing that style with convic- and of themselves can carry the load, cer- engagement with the music.”
tion; it must have seemed anomalous to tainly, but I think about what I’m doing With more advanced university students,
many people there. I saw those experi- with the music with other people,” he Hall adds, “The most important advice that
ences as essential explains. “Music I can give young performers is to be pre-
to my growth as a for me is about pared. When opportunities come knocking,
musician and knew the social interac- be prepared to answer the call. That level
that I owed it to tion and the of preparation means having a practice
the other musicians engagement with routine and working on things that you
and the audience other musicians. don’t know. We tend to practice things we
to play as effective- I’m talking about know because it’s easy to do and builds
ly as I could. Look- applying tech- the ego and confidence. The best way to
ing back, I think niques within a prepare for musical situations, however, is
about how few group of other to constantly be challenging yourself.”
black models or musicians.” Hall is happily attuned to the jazz divi-
mentors there were This past year sion’s goals at UI: “All of us are trying to
at that critical time Hall has been raise the bar, in terms of preparing the stu-
in my musical working with pre- dents for the outside world, making them
development. I still college percussion better readers and performers, broadening
enjoy questioning students, and his the scope of their thinking about jazz,
the preconceived teaching both at expanding their repertoire and knowledge
notions and cultur- the university level of the literature, and making them better
ally engrained and with younger improvisers and composers. Those are cer-
boundaries that we students makes tainly my goals: to make them more critical
have established in him a natural and better informed listeners, ultimately to
our society.” advisor for how make them better educators. Not all good
Hall’s studies of players might bet- players can teach, but I believe all good
North and West ter develop their teachers should be good players. We’re
African music have skills for profes- blessed here with good players and good
inspired him to infuse his performances sional studies. “There are certain funda- educators, and we can try to instill that
with a fresh repertoire of rhythm. He has mentals that all drummers need. The combination in our students. What draws
dipped into different improvisational sys- rudiments are the foundation of what we us to get up every day and do what we’re
tems he has studied: for example, raga do on the instrument, and to have a dia- doing? It’s also important to have a sense
(melodic) and tal (rhythmic) elements from logue with other musicians, you have to of our calling and what we do and be
northern-Indian, or Hindustani, improvisa- know the language. The syntax of our lan- able to articulate that to others.”
tional music from the southern-Indian Car- guage is the 26 standard rudiments (more Married less than a year, Hall is enthusi-
natic tradition, Middle Eastern maqam; than 50 when you include the Swiss rudi- astic about settling in Urbana. “This is a
and the rhythmic and ensemble practices ments). Young jazz drummers should really great School of Music, and we have a great
in North and West Africa. “More recently I know and be able to execute those rudi- deal of support from the Director’s office. I’m
s have been obsessed with bhangra, the ments—cleanly and in a variety of tempi. excited about what we do here and the stu-
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n harvest music of the Punjab region in They should have an understanding of dents we work with. I’m excited about the
o India, and the youth music of diasporic rhythm. They should develop an ability to academic side and the work I do as an eth-
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i South Asians in the U.K.” tune the timpani. All drummers should nomusicologist. I feel enriched as a scholar,
t expose themselves to and develop profi- an academic, and as a musician.”
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Student News A S E L E C T I O N O F R E C E N T A C C O M P L I S H M E N TS
Chadley Ballantyne, a baritone work- tion Completion Fellowship for his disserta- Jennifer Fraser, a Ph.D. student of
ing toward his D.M.A. degree in Vocal tion work on 20th-century American com- Charles Capwell in ethnomusicology, read
Performance under Professor Sylvia Stone, poser Morton Feldman. a paper about her dissertation research in
was a soloist in Josef Haydn’s Creation Indonesia at the 50th anniversary meeting
with the Prairie Ensemble in May 2005. In Renée Clark, a Ph.D. candidate in musi- of the Society for Ethnomusicology on
July, he sang the role of Truffaldino in sev- cology, is in her third year as visiting November 18, 2005.
eral performances of Ariadne aux Naxos instructor at Hillsdale College in Hillsdale,
with the Union Avenue Opera Theater Michigan. Renée is a student of John Hill. Ryan Haynes, a graduate student in
Company in St. Louis. Chadley also ethnomusicology under Professor Donna
appeared with St. Martin’s Chamber Bradley Decker and Ed Martin were Buchanan, received a 2005-06 Foreign
Singers in Peoria, singing Figaro in Le two of four national finalists for the 2005 Language & Area Studies (FLAS) Fellow-
Nozze de Figaro in April 2005. ASCAP/SEAMUS National Student Com- ship for Serbian and Croatian language
position Commission Award, with Ed studies.
Keturah Bixby, a junior in harp per- Martin winning 2nd prize in the national
formance in the studio of Ann Yeung, was competition. Gregory Hellenbrand, a Ph.D. candi-
a winner of the UIUC Thomas J. Smith date in musicology, has received a one-
Scholarship Auditions. In August 2005, Mary Ferris, a junior trombone perform- year appointment as visiting instructor at
she attended the MusicAlp Festival in ance major in the studio of Professor Elliot the University of Wisconsin at Eau Claire.
Courchevel, France. Chasanov, was the winner of the 2005 Greg is a student of John Hill.
Armstrong Award for Excellence in Under-
Bradford Blackburn, Minsoo Cho, graduate Performance. She performed the Eduardo Herrera, second year Ph.D.
Kyong Mee Choi, Bradley Decker, Larsson Concertino with the UI Philharmo- student in musicology under Gayle Sher-
Ivan Elezovic, Timothy Ernest John- nia this fall as part of the award. Mary wood Magee, conducted research in
son, Ed Martin, David Psenicka, was also recipient of the 2005 Robert Buenos Aires and Montevideo during sum-
Anthony Jay Ptak, and Jake Run- Gray Award and a Brass Division Achieve- mer 2005 with the support of a Tinker
dall in the Experimental Music Studios of ment Award. Field Research Award.
the University of Illinois at Urbana-Cham-
paign, are included on the new compact Stefan Fiol, a graduate student in musi- Chen-Yu Huang, a first year master’s
disc recording Wavefields. Organized and cology, returned recently from dissertation degree student in the harp studio of Ann
engineered by Professor Scott Wyatt, the fieldwork on regional music in Uttaranchal, Yeung, performed with the Chi-Mei
CD features recently completed works by India. His doctoral research in North India Orchestra in Taipei, Taiwan prior to com-
UIUC graduate composition students. Fund- was sponsored by Fulbright and Wenner- ing to UIUC this fall.
ing for the recording was provided by the Gren Foundation fellowships. An advisee
University of Illinois College of Fine and of Dr. Charles Capwell, Stefan has been Erik Horak-Hult, a Ph.D. student in
Applied Arts, the School of Music, individ- invited by the South Asia Council of the musicology, received the Presser Founda-
ual composers on the recording, and by Association for Asian Studies to present a tion Graduate Award in support of his dis-
UIUC Student Organization Resource Fee paper on his research at the annual meet- sertation research conducted in summer
(SORF) funds. 600 of the new CDs will be ing of the Association to be held in San 2005 in France, Germany, and Austria on
mailed to select colleges, universities, per- Francisco in April 2006. Most recently, he Beethoven’s opera Fidelio.
forming arts, and new music centers was also awarded another year of support
around the world. for his dissertation project by the American Trent Jacobs, a master’s degree student
Institute of Indian Studies. This spring in instrumental performance, won two w
Brett Boutwell, a Ph.D. candidate in semester he will be a lecturer at Notre orchestra positions this season: Second i
n
musicology and student of Dr. David Patter- Dame University. Bassoon in the Danville Symphony Orches- t
son, received a Graduate College Disserta- tra and Second Bassoon in Champaign- e
Urbana’s Prairie Ensemble. r
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Student News
Elizabeth Jaxon, undergraduate student Tzu-Feng Liu, a D.M.A. candidate in in November 2005. Megan will compete
in harp, won Fourth Prize in the Advanced piano performance with Professor William in the MET Regional Finals to be held in
Division of the American Harp Society’s Heiles, and Eun-Young Yang, a 2005 Atlanta in February 2006.
National Solo Competition in June 2005. D.M.A. recipient in vocal performance from
In July, she performed in a master class at the studio of Jerold Sienna, gave joint David McDonald, a student of Donna
the Ninth World Harp Congress in Dublin, recitals at Nova Hall, Tsukuba, Japan; Buchanan in the Ph.D. program in musicol-
Ireland, and in August, Elizabeth attended Hsinchu Science Park Auditorium, Hsinchu, ogy, received an Illinois Program for
the MusicAlp Festival in Courchevel, Taiwan; and KNFC Hanmaum Auditorium, Research in the Humanities (IPRH) Gradu-
France. Daejeon, Korea during August 2005. In ate Student Fellowship and a Dissertation
December 2005 Ms. Liu will premier a Completion Grant from the Graduate Col-
Joseph Jones, a musicology master’s piano solo work by composer Chia-Lin Pan. lege for his study of music and nationalism
degree student, received the 2005 Jill among Palestinian refugees in Jordan and
McAllister Award for Studies in Opera in Ieng-Ieng Lam, a D.M.A. candidate in Palestine. His research is based on two
support of his research on Der Rosenkava- piano performance, performed the Ravel years’ ethnographic field work in the Mid-
lier by Richard Strauss. Piano Concerto in G Major with the dle East. David read a paper about his
Macau Orchestra on its Flourishing Arts dissertation research at the 50th anniver-
Joonhee Kim, a doctoral candidate in concert series in July 2005, as well as the sary meeting of the Society for Ethnomusic-
piano performance, was invited to present Chopin Piano Concerto No. 1 in a concert ology on November 17, 2005.
a recital on December 23, 2005 at Young- with the Macau Youth Orchestra.
San Art Hall in Korea. Joonhee, whose Tracy M. Parish, a D.M.A. student of
teacher is Timothy Ehlen, was also award- Nicole Leupp, a soprano and doctoral Michael Ewald and Ronald Romm in Trum-
ed a prize in the Los Angeles International student in vocal performance, newly pet Performance and Literature, was
Piano Competition in November 2004. arrived on the UIUC campus this fall, flew awarded the Buckeye Emerging Artist
to the United Kingdom in early September Award from the Akron Summer Music Festi-
Natasha Kipp, a Ph.D. student in musi- to sing at Durham Cathedral. Nicole is a val where he performed as a featured
cology, received a 2005-06 American student of Sylvia Stone. artist in July 2005. Tracy also won a seat
Councils for International Education this season with the Champaign-Urbana
ACTR/ACCELS Research Scholar Fellow- Bomi Lim placed in two competitions dur- Symphony.
ship to pursue nine months of dissertation ing the spring of 2005: the Society of
research in Baku, Azerbaijan. American Musicians Competition in Chica- Katrina Phillips, a graduate student
go in April (honorable mention), and the clarinetist and winner of the UI Student
Kiel Lauer, a freshman bass trombonist Eleventh Biennial International Beethoven Concerto Competition, performed the Clar-
from the studio of Professor Elliot Sonata Competition in Memphis in May inet Concerto, Op. 57, by Carl Nielsen
Chasanov, was selected as a finalist in the (fifth place). Bomi Lim is a M.M. candi- with the UI Symphony Orchestra conduct-
2005 Eastern Trombone Workshop Bass date in piano performance and pedagogy, ed by Donald Schleicher on November 9,
Trombone Solo Competition. and a student of Profs. William Heiles and 2005.
Reid Alexander.
Sonia Lee, who is pursing a double doc- Dewayne Pinkney, a senior in bassoon
toral degree in musicology with John Hill Charles Lynch, a doctoral student in performance, won a position with Sinfonia
and harpsichord with Charlotte Mattax, harp, is featured on the recently released da Camera, the resident orchestra of the
gave two solo recitals and performed in benefit CD Help Is On the Way for Hope- UIUC Krannert Center for the Performing
seven concerts as basso continuo player ful Heart, Inc. with theatre organist Lyn Arts.
with Musicerend Gezelschap and La Larsen. Hopeful Heart, Inc. is an Arizona
Donna Musicale at the Boston Early Music based not-for-profit corporation set up to Antoinette Pomata performed in the
Festival and the Society for Historically give a little extra “helping hand” to musi- 2005 Piccolo Spoleto Festival in
Informed Performance Early Music Summer cians, writers, artists, dancers, and other Charleston, South Carolina, prior to com-
Concert Series in June and July 2005. members of the arts community who are ing to UIUC this fall. Antoinette is a fresh-
Reviews of her performances from this sum- facing medical difficulties and challenges. man in violin performance in the studio of
mer can be found in the Early Music Amer- Sherban Lupu.
ica Magazine and the Boston Beacon Hill Megan McCauley, a D.M.A. candidate
s
o Times. Sonia will also participate in the in voice and student of Professor Jerold Marie Rivers, a graduate student of
n world premiere CD recording of The Seven Siena, was declared winner of the Caroli- William Kinderman in the Ph.D. program
o
r Psalms of David, Vol. II by Antonia Bembo na District Metropolitan Opera Auditions in musicology, published an article in the
i with La Donna Musicale. Summer 2005 issue of Arietta on
t
i “Johannes Brahms, Gustav Nottebohm,
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34
and Beethoven’s ‘Hammerklavier’ Sonata,”
and read a paper on this topic on October
28th at the National Annual Meeting of
the American Musicological Society in
IN SUPPORT OF
Washington DC. THE SCHOOL OF MUSIC
Hio Teng (Harriet) Wong, a junior in
This gift is from Mr. Mrs. Miss Ms. Mr. & Mrs.
the piano studio of Dr. William Heiles,
traveled to Macau S.A.R. (China) to per- Name
form the second and third movements of
the Schumann Piano Concerto with the Maiden name (if appropriate)
Macau Orchestra on their Flourishing Arts
Concert Series in July 2005. Address
City
Kydalla E. Young, a Ph.D. student in
musicology, received a 2005-06 Fulbright
State Zip
Fellowship to conduct research abroad in
Peru. His topic is “Music in Confraternities Phone
in Colonial Peru.” Kydalla is a student of
John Hill.
Business name
Business phone
In summer 2005, at the Palmarès du 32e
Concours International de Musique et d’Art E-mail
Sonore Electroacoustiques de Bourges,
France, Ivan Elezovic’s composition
I/We have enclosed a gift of
Mediterranean-Riots-Colors was awarded
the Degré I - RESIDENCE Prix. Bradley $50 $100 $500 $1000 other $
Decker’s composition Montage and for: School of Music (32905)
John Ritz’s composition In the Very Eye
Other
of Night were awarded Honorable Men-
tions in the oeuvre d’esthétique formelle I have enclosed my employer’s matching gift form.
category, and Kyong Mee Choi’s com- I/We authorize the U of I Foundation to collect my gift of
position Tranquility was awarded Honor-
$ through the credit card checked.
able Mention in the oeuvre d’esthétique à
programme category. MasterCard Visa American Express Discover
Card #
Three singers from the UIUC School of
Music were winners in the Met National Expiration date:
Council’s Central Illinois District auditions
held on the UIUC campus on October 23.
They are Desirée Hassler, from the studio Signature (required)
of Professor Jerold Siena, and Eun-Jung
Auh and Raquel Adorno, from the stu- Please make your check payable to: UIF/School of Music w
dio of Professor Cynthia Haymon-Coleman. Send to: i
The three winners moved on to the regional University of Illinois Foundation n
P.O. Box 3429 t
finals in Chicago on November 6.
Champaign, IL 61826-9916 e
r
Congratulations to our many outstand- To make a gift, please go to: www.faa.uiuc.edu/support_faa/gift.html 5M 9HH
ing performers and teachers! 2
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35
Alumni Profile
From the experiences of UI alumni gifts, and hard work guarantee that instrumental devisions. And cellist
violinists James Cooke, David a violinist can share the trajectory Gabriel Magyar—I loved him; he
Halen, Lucia Lin, and Ioana Mis- their careers have taken. But they was such a major musical influence
sits, one might surmise that the agree that for them the University for me. I remember amazing cham-
secret to a fast-track career in a worked. ber music coachings with him,”
major symphony lies in getting a “UI is a terrific music school. I recalls Lin.
fine university education. Lin and remember very well my orchestral
Cooke are members of the Boston training with Paul Vermel, collabo-
Symphony Orchestra (BSO), Mis- rations with wonderful pianists, and
sits of the Cleveland Orchestra, and inspiring performances by both fac-
Halen is concertmaster of the St. ulty and my peers in the vocal and
Louis Symphony Orchestra. All of
them won these positions early in
their careers. Talent and lots of
practice figured into the equation,
of course, and they don’t pretend
that even education, outstanding
A native of Urbana, Lucia Lin co-concertmaster of the London Symphony David Halen began violin
began violin lessons with UI Pro- (1994–96). She appears frequently in studies with his mother, a mem-
fessor Paul Rolland when she chamber music recitals as well. ber of the Kansas City Philhar-
was about four years old. At monic, and continued lessons
eleven, she made her debut as soloist with James Cooke was born in with his father, a professor at Central Mis-
the Chicago Symphony, performing the Louisville but raised in St. Louis, souri State University, where David earned
Mendelssohn Violin Concerto. She earned where he began violin in the his bachelor’s degree. At nineteen he won
a bachelor’s degree at UI and master’s at public schools and then studied a Fulbright Scholarship, “on a lark,” to
Rice University and was a student of Pro- with Gladys Lang. At UI he earned a bach- study at the Freiburg Hochschule für Musik.
fessor Sergiu Luca at both institutions. elor’s degree in 1979 as a student of Paul Like his brother Eric, who is now acting
Soon afterward she won an audition for Rolland and, after Rolland’s death, began concertmaster of the Houston Symphony,
the Boston Symphony on her first try, join- work toward a master’s degree, studying David attended UI, studying with Sergiu
ing the orchestra in 1985. In 1990 she with Teddy Arm. He continued his master’s Luca. After a year as violinist in the Har-
s was a winner in the International degree at Boston University, studying first rington String Quartet in Amarillo, Texas,
o Tchaikovsky Competition in Moscow. Lin with concertmaster Joseph Silverstein and Halen won an audition for the Houston
n has served as an assistant concertmaster then Denes Zsigmondy, and getting addi- Symphony, where he gradually moved up
o
r of the Boston Symphony (1988–91, tional lessons with concertmaster Malcolm to third chair and assistant concertmaster
i 1996–98), as acting concertmaster of the Lowe to prepare for auditions. Cooke won before being hired by the St. Louis Sym-
t
i Milwaukee Symphony (1991–92), and as the Boston Symphony audition in 1987. phony as its associate concertmaster in
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IN THE SYMPHONY
BY
ANNE
MISCHAKOFF
HEILES
1991. During 1993 to 1995 he was acting has won prizes in the Cittá di Stresa, Paul wanted me to buy me Hush Puppies for
concertmaster, becoming official concertmas- Rolland, Joseph Gingold, and Romanian my concert shoes because they were bet-
ter in 1995. For nearly a decade Halen has National Violin competitions. ter for the feet. Fortunately, my mother
also been concertmaster of the Aspen Festival intervened! I began studying with Profes-
Orchestra and Aspen Chamber Orchestra. Here’s what the four had to say on a vari- sor Sergiu Luca when I was a senior in
ety of topics. high school, and continued through my
Born in Rumania, Ioana Missits master’s degree. A brilliant musician, he
began her violin studies at a state- EARLY STUDIES AND TEACHERS taught me a tremendous amount about
run music school. She came to the Lin: I began with Paul Rolland when I interpreting a piece of music, not just from
United States when she was nine- was five and continued studying with him an intellectual standpoint but also an emo-
teen as an undergraduate at Bowling Green until his death, when I was seventeen. I tional one. He has many interests that he
State University, continuing at UI, beginning received the fundamentals of my technique is passionate about, and studies them until
in 1996, a master’s degree and course work he is an expert on them. An example is w
from those lessons and was fortunate, as i
toward a D.M.A. She studied with Professor his was a very natural approach to the his passion for Chinese food; he can
n
Sherban Lupu. After freelancing for a year in violin. Mr. Rolland was like a second order in Chinese and can cook wonderful- t
Detroit (where she was an extra for the father to me. I remember he took me shoe ly in Chinese style. That kind of enthusi- e
Detroit Symphony), she joined the Pittsburgh shopping in Atlanta the day before a con- asm has been inspiring to me. r
Symphony for one year and, since fall 2000, certo performance; I think I was 13. He 2
has been with the Cleveland Orchestra. She continued... 0
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Alumni Profile
music and the energy from with themselves.” A full sound? Am I relaxed while I’m doing it?’”
Cooke: Gladys Lang, with whom I had teacher there, cellist Gabriel Magyar, Cooke: I had always wanted to be in an
private lessons as a youth, gave me the whom we all studied with in chamber orchestra, and I told Joey Silverstein that I
sense that it’s possible to enjoy life and music. would be happy to be in a nice midlevel
find fun and inspiration into adulthood; orchestra; that would be just fine. I made it
she had that spark that communicates well Missits: In Romania the system is very to the BSO and have to laugh now when I
to teenagers, who want to see that adults competitive, based on a series of regular recall that.
are not weighed down with just making it exams, and we practiced a lot and each It’s important to know what an audition
through each day. She had known Profes- had two hour-long lessons a week. I met committee listens for; these things are mys-
sor Paul Rolland; he was the main reason I Sherban Lupu through my husband, then teries to most people. Auditioning is a
went to UI (my Dad received a doctorate my boyfriend at Bowling Green, who was hard skill for most people, and making an
there in chemistry and I liked the campus in the graduate program at UI. Mr. Lupu audition tape is a completely different skill
when I first visited). Rolland understood was very good for me, helping me with from taking a “live” audition. You have to
psychology and recognized that college my playing in solo repertoire. exercise patience, sitting down and listen-
students want a more professional training. ing to playbacks, and deciding “that one
He had responsibilities and the students CHAMBER MUSIC THEN AND just won’t do.” You have to hear exactly
had responsibilities; his teaching at the NOW where something hasn’t caught the flavor
University was more at arm’s length than Lin: Chamber music has long been an of the excerpt. A tape is so much more of
with younger students, like Lucia Lin. I also important part of my musical life. About a microscope. In the BSO when we listen
studied viola with Guillermo Perich, and eight years ago, I joined the Muir String to auditions, we want to hear that a player
worked with Gabriel Magyar in chamber Quartet, which is in residence at Boston knows the piece, that the individual is
music, a really good experience. I enjoyed University where we teach and perform. I aware of how it would sound—its expres-
the chamber music program a lot there. also formed a group, Innuendo, with some sion—when an entire orchestra plays that
Joe Silverstein, Denes Zsigmondy, and of my closest friends, who have enjoyed excerpt. It’s so easy in practicing an
Malcolm Lowe in Boston helped me a lot playing and socializing with each other for excerpt to get into a sterile, metronomic
in very different ways. When you study more than 12 years now. manner of playing. The committee listens
with multiple teachers, it’s something like for an individual’s awareness of style and
the glass being half full or half empty: You Cooke: Chamber music is one of the knowledge of the excerpt as a piece of
have to concentrate on what is positive in things I was blessed with at UI with music. You have to know what parts the
every situation. If you try to look for the Gabriel Magyar, who had played in the committee will listen to for rhythmic stabili-
warts, you’ll find them, but if you can take Hungarian Quartet, and at BU (Boston Uni- ty and what parts for a singing style.
something positive from each of the teach- versity) with Eugene Lehner, who had
ers that you have, eventually you’ll end up played in the Kolisch Quartet. Chamber Missits: I played in smaller orchestras in
with a synthesis that works for you. It can music experience at the college level is the Detroit area to get started, and subbed
be a greater richness than if you had stud- extremely important—learning how to play for the Detroit Symphony, which sounded
ied with just one teacher for a long time. with other people and gaining personal amazingly good. When I prepared for the
skills. I played in the Boston Composers Pittsburgh and Cleveland auditions, I
Halen: By testing out of classes, I graduat- String Quartet until the birth of our daugh- worked on the excerpts for a long time,
ed early and had the luxury of studying in ter. I still participate in chamber music with really dissecting them to figure out how to
Europe on a Fulbright scholarship when I other BSO members. play those kinds of parts alone. The audi-
was nineteen. It took me from a small town tion repertoire for the Cleveland Orchestra
in Missouri and plopped me down in the ORCHESTRA AUDITIONS AND was larger than for Pittsburgh. Cleveland is
middle of Europe, giving me a completely EXCERPTS the only major orchestra, I think, that has
different view. My brother Eric was study- no screen; the audition was in front of the
Lin: (on getting into the BSO at her first
ing violin at UI with Sergiu Luca and spoke committee. I got into the Detroit Symphony
audition) In many ways, it helps to have
so highly of him that I applied for gradu- in January 2000, but won the Cleveland
ignorance on your side when you take an
s ate school in Urbana. There was a won- audition four months later.
o audition! It’s much harder when you know
derful class of students at that time, one of
n what you’re getting into and start to psych
o whom was Lucia Lin, a good friend. We Halen: I was visiting my friend, Lucie Lin,
r it out.
all learned a lot from each other as well as who was taking an orchestra excerpt class
i at Rice; I would play the excerpts for her,
t from Sergiu. And there was a great
i and she would relate what she had
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“The main thing is to “I worked on the excerpts for
let the character of the music a long time, really dissecting them to
carry you through any audition.” figure out how to play those kinds of parts alone.”
learned in her class about them. There’s no want to end up.” Of course, I didn’t think of his commitment to Elliott Carter’s music,
such thing as too much preparation when that would ever happen. But it has hap- but it’s good to be challenged: it sharpens
you audition. The main thing is to let the pened, and that is why I’m going to stay your skills. Levine has a vocal approach to
character of the music carry you through here for as long as I can. music making. He tells you that he likes the
any audition. Assuming that people’s tech- string sound relaxed but full, and with a lot
nical stuff is really in order, that’s the Cooke: If you can’t learn how to play effi- of repertoire he wants a soloistic approach
answer. Accuracy is never moving enough; ciently and with relaxation, you’re going from the section, as if the expression is
it’s really about the music. The winners of to have problems in an orchestra because generated from each player. You have to
auditions play at the level of our soloists, there’s just so much repertoire. You have to constantly ask yourself, ‘Am I producing a
at least on their audition day. That’s the be able to get the most out of the least beautiful sound? A full sound? Am I
one day you want to play as well as Perl- amount of effort. Yet efficiency cannot be relaxed while I’m doing it?
man at his very best. the be-all-end-all. When I joined the BSO, I
When I was young, I heard discourag- learned a great deal from sharing a stand Halen: I was acting concertmaster under
ing words about the likelihood of being with some of the older, experienced violin- Leonard Slatkin and then his regular con-
able to be a professional musician. Being ists, observing how they played and certmaster for the season before he left in
self-critical as well, I never thought I would responded to conductors. One older col- spring 1995. Hans Vonk replaced him, but
win an orchestra audition—but I won my league, Joe Wilfinger, produced the most got Lou Gehrig’s Syndrome, ALS; he
first one. Do what you really believe in beautiful sound with tremendous bow passed away in fall 2004. I considered
and follow your dream. The worst thing speed and no tension. One time I bor- him a dear friend, and he was my boss. I
that can happen is that you learn a great rowed his violin and was amazed to dis- watched him, wasting away from the dis-
deal about music and carry that with you cover it had a teeny sound! He said to me, ease, like watching a candle in an
the rest of your life, even while doing “Always remember, your sound is in here,” enclosed space go down to a flicker.
something else professionally, and even gesturing to his head. He knew what David Robertson is now our conductor,
that’s a good outcome. If I hadn’t tried, sound he wanted to produce; he had it in a vigorous force and an inspired leader in
boy, would I have regretted it. The first his mind and ear. many different styles of music. A dynamic
time I heard Mahler’s Second Symphony person and brilliant mind, he brings a
from amid the orchestra, I couldn’t believe Halen: Being concertmaster is like being leadership that is refreshing and that has
it. And, had I not heard that from the mid- the first officer on the Starship Enterprise in helped reinvigorate the entire community.
dle of an orchestra, how much I would Star Trek. We went after him immediately, when we
have been missing! had the music director opening, and
CONDUCTORS nailed him down. That guy is really head-
PLAYING IN THE SYMPHONY Lin: Levine and Ozawa have very differ- ed up, and we wanted to ride that wave
Lin: Being a member of the BSO is ent approaches to music. Ozawa is beauti- together with him.
great—one has exposure to world-class ful to watch on the podium and almost
musicians and a beautiful hall. But an seems to be reacting, dancing to the STAYING FRESH
orchestra of that level has less tolerance music. Levine’s beat is understated; he Lin: I entered the Tchaikovsky Competition
for an inexperienced player. It was a lot of wants the musicians to find the music and at a time in my life when I was at a cross-
pressure to learn the repertoire quickly and the energy from within themselves. Each roads and didn’t really know what I want-
learn how to fit in as a section player, both has validity but creates different listening ed to do with my life. I like to find things
in terms of sound and as a colleague. It experiences for the audience. Levine is a that will push me to grow musically and
was a tough first year for me. Learning the proponent of new music, which has been technically. Going to Moscow was a little
ropes in an orchestra with a less demand- challenging for both the musicians and like taking an Outward Bound course! I
ing schedule might have made the transi- audiences. It’s definitely made me open found ways to practice four to six hours
tion easier. my ears in a different way. daily on top of playing in the BSO. And in w
Moscow I didn’t know anyone and needed i
Missits: When I was a student at the Kent- Cooke: I worked under Seiji [Ozawa] for to find inner strength to get through the n
Blossom Festival in 1992, I went to hear thirteen years, and enjoyed him very three competitive rounds. You come out of t
the Cleveland Orchestra play every week. much. I’ve also enjoyed the change with that kind of an experience thinking, “Yes, I e
r
Sitting in the third row and watching the Levine. His choice of repertoire is challeng- can do it!” Playing on the first stand in Mil-
people play, I thought, “This is where I ing, sometimes almost staggering in terms waukee and London were also wonderful 2
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Alumni Profile
experiences. I enjoyed being back in the career. I’m blessed in having the opportu- also younger ones. It’s part of the job
Midwest and made some close friends in nity to play Mahler or Brahms symphonies description for the music director, the con-
Milwaukee; living in London was an and Mozart or Beethoven quartets with certmaster, and in reality, for all the play-
invaluable, eye-opening experience (yes, top-notch musicians. And teaching keeps ers. People support institutions because of
America is not the only country in the me on my toes—as does having a tod- the people in those institutions. The one
world!). I also learned a lot about what is dler—always thinking. I end up appreciat- thing an orchestra has going for it is an
involved in leading an orchestra. One of ing each aspect of my life, and the army of creative talent that can inspire a
the terrific things about the BSO is that annoying little things that might normally community to step forward and get inter-
members can apply for leaves to have be irritating don’t matter: there isn’t time to ested in and excited about the world of
other musical experiences; it keeps the worry about them! music. The most obvious motivation for the
players fresh and in shape. audience to support us is for the orches-
Missits: We have two sons, Alexander tra’s performances to be inspiring. The
Missits: I love the orchestra tours. I like (who is four years old) and Adrian (who is number one way to communicate is
playing in the big concert halls and seeing two). My husband works at home, repair- through the music, but right after that,
the audiences react, and I meet people in ing and selling flutes. I play chamber there are social settings and spoken
other cities I haven’t seen for a long time. music and teach a bit at home, and I words. Often the most important things are
This year, when we were in Germany, I enjoy that very much. I don’t think I’m the one-on-one relationships: you fill con-
met my first violin teacher! going to teach our children; that would be cert halls one seat at a time.
a conflict of interest! I’ll leave that work to Being a musician today is much more
Cooke: Having started violin in the public someone else. of an entrepreneurial endeavor than it
schools, I know how important string edu- once was. The skill that I find overlooked is
cation in the public schools is; my wife Halen: My wife, Miran (a Korean-born one of self-promotion; you must have a
(Lisa Crockett, whom I met at UI) and I soprano), and I have a son named Christo- savvy marketing mind for yourself. Every-
have been teaching a string ensemble as pher who is nine and plays the piano. We one in today’s world must have a CD of
volunteers in our local public school for go to Aspen in the summer, where I do their solo playing. What music schools
about six years. We are committed to help- most of my teaching in addition to being might do as part of their master’s degrees,
ing out in public school string education. concertmaster. It’s lovely, and the orches- instead of having required recitals, is to
My wife’s father, Frank Crockett, got his tras there are basically young profession- have candidates go through the process of
doctorate in music education at UI, and als mixing with older professionals from all making a professional CD: a great per-
became arts coordinator for the State of over the country. It’s great fun. formance, editing, engineering, great
Georgia. It’s important at a certain point in packaging including cover art, putting
your career that you foster creativity and ADVICE together liner notes and a label that are
help people understand the joy of making Missits: Take orchestra classes seriously well written and accurate. Then they have
music. It’s incredibly important at the pub- from early on! a professional product to introduce them-
lic schools, and not just for the children of selves to the professional world. The peo-
parents who are motivated to get their chil- Cooke: It’s critical that students have an ple who win orchestra auditions are a tiny
dren music lessons. Now that our daugh- understanding of what they’re going to do fraction of the graduates today, but the CD
ters Elizabeth and Laura are fourteen and in life after the university. It’s really impor- would help all kinds of graduates learn to
eleven, I’m also thinking of playing more tant, for a symphony career, to learn the better represent themselves.
chamber music again. I’m still thrilled to be standard repertoire as thoroughly as you
in the BSO. My colleagues are wonderful can, because then you won’t be starting Lin: Listen to great singers, jazzers, instru-
players, and it’s a constant learning expe- from ground zero when you prepare for mentalists that play other instruments. Think
rience, a continual graduate course. We auditions. outside the box. When I was taking audi-
have guest conductors, like Frühbeck de You learn from things that don’t work. tions, I played for wind players, for cellists,
Burgos this week, and you take something You have to approach auditions and inter- for an orchestra librarian, trying to play
away from those concerts. Even when views with the idea of learning how to go for a set of ears that was not hung up on
you’re playing standard repertoire, you on from there. You can’t let a rejection bowings and fingerings.
gain an insight into it. weigh you down too much. You may not I enjoyed studying at two universities
feel great, especially if you made the finals because it gave me exposure to other
BALANCING CAREER AND FAMILY but didn’t get the job, but at a certain fields and art forms, not just the music
Lin: My son, Aaron, is two years old. He point, you have to learn from the experi- world. It’s important to always be search-
loves music and sometimes asks me to take ence and grow for the next one. ing for better ways to communicate in your
out the violin. I’m not going to specifically music, to be more convincing, to have a
s clear point of view or interpretation. A
o steer him into music, but if he asks to Halen: It’s crucial today to get involved in
n study, I’ll encourage him. working for the orchestra’s financial health. well-rounded person has more experiences
o to tap into, and that will be reflected in his
r I like having the variety of chamber We have to appeal to all kinds of audi-
i music, orchestra, and teaching in my ences including the traditional ones, but or her music making.
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Band Notes
50th Anniversary
Meet Joe White U of I Trombone Choir
While in New York, meet Saturday, February 18, 2006 Sunday, April 9, 2006
the new UIUC President 101 Park Avenue at 40th Street 3:00 p.m. Concert, KCPA Great Hall
B. Joseph White, who 4 to 6:30 p.m. Club 101, Manhattan
will be introduced by Music Educators National
Urbana Campus Chancellor Conference
Reception sponsored by the University of Thursday, April 20, 2006
(and native New Yorker) Illinois Alumni Association and the Illinois Salt Lake City Marriott Downtown
Richard Herman. Hear about the Univer- Alumni Club of Greater New York. Cash 75 South West Temple
s sity of Illinois of today and the plans for a bar and complimentary hors d’oeuvres pro- 9:30 to 11:00 p.m. Room TBA
o brilliant future. Ask questions, learn how you vided. Admission is free, but reservations
n can get involved, and stay informed. Host
o are recommended. RSVP by February 9 by School of Music Convocation
r for Pres. White’s reception will be Dennis e-mail, alumni@uillinois.edu, or by phone, Sunday, May 14, 2006
i Swanson, ‘61 COM, MS ‘66 COM, and (800) 355-2586. UIUC Smith Memorial Hall
t president of Fox Television. 5:30-6:45 p.m. Recital Hall
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Alumni News
IN MEMORIAM
Music Never Ended During Lifetime of Bandleader James W. Schrodt
Joseph Rassel, reprinted with permission of the Orlando Sentinel (7/26/05)
James W. Schrodt (B.M.’38, M.M.’47, M.S. ‘49), was practically a “He marched in the Alumni Band at the University of Illinois
born musician. A band leader for 64 years, he also played in homecoming and was the oldest marcher four times,” Mosher said.
vaudeville, and often with orchestras when performers such as Liber- “He was also the oldest participating trombonist for four years at the
ace or Red Skelton were the headliners. “He often filled in when the International Trombone Association’s yearly festival.”
Musicians Union called and needed someone,” said his stepson, Schrodt was a bandleader for school bands, college bands and,
Tim Mosher of Longwood,[Florida]. “When he became a band during World War II, for the U.S. Army Air Corps Band in Miami. In
director, you had to know how to play every instrument in the 1975, he retired as a supervisor of music for the Prince George’s
band.” County Public Schools in Maryland and moved to Central Florida.
Although he was skilled at playing many instruments, trombone After his retirement, he continued to entertain audiences with his
was his favorite, but by no means his first instrument, his stepson musical talents as assistant director of the Seminole Community Sym-
said. “He told me that his grandfather gave him a saw to play when phonic Band at Seminole Community College, as a pianist for the
s he was 10 years old.” Sunday school at First Baptist Church in Orlando, and as member of
o
n Schrodt, who died at age 90 on July 22, 2005, was born and the Maitland Presbyterian Orchestra, where he played trombone.
o raised in Mount Carmel, Illinois. He had bachelor’s and master’s
r degrees in music and a master’s degree in education from the Uni- James Schrodt was a member of the Florida Bandmasters Association,
i versity of Illinois. Until a few years ago, he was still marching at the the International Trombone Association, a Life Member of the American
t school’s homecoming events. Federation of Musicians, and a Life Member of the University of Illinois
i Presidents Council.
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Name Date
If you plan a trip to campus, you are invited to Your quote on your education at Illinois
stop by the School for a visit. Contact Suzanne (Use separate sheet of paper for additional news copy)
Note: If you have photos to support your news items, you may send a jpeg file by e-mail only if
Hassler, coordinator, alumni relations and devel-
they are of a high resolution: 6” X 9” photo at 72 dpi or 2” X 3” photo at 300 dpi. You may
opment, to arrange an appointment with the also send pictures or this form to: Sonorities, School of Music, University of Illinois, 1114 West
director or a faculty member. Nevada, Urbana, IL 61801 by September 15, 2006.
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Partners i n Tempo
FOR SUPPORT OF THE SCHOOL OF MUSIC JULY 1, 2004-SEPTEMBER 30, 2005
The following list consists of contributions to the School of Music accumulated through the
Mr. Michael W. Pressler
Mrs. Marlyn Whitsitt Rinehart and Prof.
Kenneth L. Rinehart (Dec) *
Donald and Gay Roberts*
Dr. Deane L. Root and Dr. Doris J. Dyen
generosity of alumni and friends. We thank them for their support of the talent, teaching ability, Mrs. Janice F. and Prof. Melvin Rothbaum*
Dr. Edwin A. Scharlau II and Mrs. Carol
and creativity that exists within the School of Music.
Zimmer Scharlau*
The following list represents those who made gifts between July 1, 2004 and September 30 Mr. Herbert Schneiderman
2005. Please note that members of the Presidents Council are designated with an asterisk (*). Mrs. Christie B. Schuetz*
The Presidents Council is reserved for those contributors who pledge a minimum of $15,000 Mr. Kyle A. Schumacher
lifetime giving to the University of Illinois. Mr. John S. Setterlund
Mrs. R. Janice and Prof. Donald R. Sherbert
Please send corrections to Suzanne Hassler, by e-mail, shassler@uiuc.edu, or by telephone,
Mr. Dave Sporny
(217) 333-6452. Mrs. Susan S. Starrett
Mr. Dennis M. Steele
Dr. Milton L. Stevens Jr.
Dr. Virginia K. Stitt
Ms. Terri M. Svec
Mr. Paul B. and Mrs. Virginia L. Uhlenhop* Mrs. Marguerite L. Davis Dr. Leon Thurman
PRESTISSIMO Carmen W. Walsh Trust (Dec) Dr. Delbert D. Disselhorst Dr. Peter and Mrs. Nancy van den Honert
($15,000 and above) Prof. John Wustman* Mr. Gerald R. and Mrs. Cathy L. Ditto Mr. Gerald G. and Mrs. Mary Beth
Mr. Norman I. and Mrs. Mary J. Beasley* Mr. John P. Drengenberg Weichbrodt
Mr. Dean T. and Mrs. Nancy Langford* Mr. Fred H. and Mrs. Adele G. Drummond
VIVACE Dr. Craig J. Westendorf
Charles A. Wert Estate (Dec)* Mr. E. Paul and Mrs. Suzanne Duker Dr. Steven Moore Whiting
($500-$999) Mr. John G. Dunkelberger II Mr. Robert L. Zarbock
Dr. Alan R. Branfman*
PRESTO Mr. Craig W. and Mrs. Nancy E. Branigan
Prof. Gert and Mrs. Anne A. Ehrlich
($1,000-$14,999) Mrs. Eleanor M. Crum
The Honorable Ann A. Einhorn* ALLEGRETTO
Mr. John D. and Mrs. Fern Hodge Mr. Michael D. Fagan
Armstrong*
Mr. Raymond P. German and Ms. Clara L.
Mr. Cleve W. Fenley
($100-$199)
Littig Ms. Doreve Alde- and Mr. Richard B.
Mrs. Carolyn J. Bartle Miss Melva F. Gage*
Mr. Nicholas Good Cridlebaugh
Mr. Paul T. and Mrs. Felice D. Bateman* Ms. Dorothy E. Gemberling
Mr. Arthur R. Keller Prof. Carl J. and Mrs. Nadja H. Altstetter*
Mr. David A. Bruns* Dr. Joe W. and Mrs. Rebecca M. Grant
Ms. Florence Kopleff Mr. Glen R. Anderson
Mr. Matthew J. Bruns Dr. Albert D. Harrison
Mr. Stuart Levy Dr. Anton E. Armstrong
Mr. Leonard and Mrs. Libby De Grado- Ms. Mary Ann Hart
Dr. Gordon W. and Mrs. Clara H. Mathie Mrs. Celia S. Arnold
Condo Mr. James S. Hatch
Mr. Josh and Mrs. B. Chris McQueen* Mr. Duane C. Askew
Dr. W. Gene and Mrs. Lynd W. Corley* Mrs. Virginia L. Hedrick
Prof. William Moersch Dr. David F. Atwater
Adelia Cubbon Estate (Dec) Mrs. June F. Holmes
Mr. Keith D. Nater* Dr. David C. and Mrs. Debra S. Barford
Mr. Roger R. Cunningham Dr. Chester W. and Mrs. Nadine C. Houston*
Prof. Bruno and Mrs. Wanda M. Nettl* Dr. Jon W. Bauman
Mr. Ronald J. and Mrs. Melody J. Domanico* Dr. Albert C. Hughes Jr. and Mrs. Charlotte
Mr. William J. Pananos Mr. W. Herbert and Mrs. Iva Jean Bayley
Mr. Howard S. Engle* E. Hughes
Mr. William R. and Dr. Kathryn J. Scott Mrs. Lynne E. Beach
Mr. John A. Frauenhoffer* Mr. William C. Jennings
Dr. William J. Stanley Dr. Calvert Bean
Dr. Robert E. and Mrs. Joan L. Gray* Dr. James H. Keays
Mr. G. Gregory Taubeneck* Ms. Kathleen A. Bell
Mr. John R. Heath* Mr. Thomas J. Keegan
Prof. Nicholas and Prof. Mary S. Temperley* Mr. John P. and Mrs. Elaine Pohl Benisek
Dr. Robert W. and Mrs. Mary Elaine House Mr. Howard V. Kennedy
Dr. Robert E. Thomas Mr. Donald H. and Mrs. Margery I.
Dr. Raymond V. and Mrs. Lori L. Janevicius* Mr. Jeffrey S. Kimpton
Mr. Richard R. Tryon Jr. * Bergstrom
Mr. Bruce C. Johnson* Mr. Thomas M. and Mrs. Susan A. Koutsky
Mr. John H. Walter and Mrs. Joy Crane Prof. E. Sanford and Mrs. Elizabeth C. Berry
Mr. Robert G. and Mrs. Cynthia M. Kennedy* Mr. Andrew M. and Mrs. Susan M. Kunz
Thornton-Walter* Mr. James E. Beverly
Mr. Edward J. Krolick* Mr. William O. Kuyper
Mrs. Ellen M. West Mr. Richard B. Biagi
Mr. Seymour and Mrs. Virginia Levy Mr. David R. and Ms. Carol C. Larson
Ms. Susan Williams Mr. Dennis R. Biagioli
Dean Thomas M. and Mrs. Mona Mengler* Dr. John R. Leisenring
Ms. Cathrine Blom*
Dr. Robert and Ms. Helen Morgan* Prof. Ruth Lorbe
ALLEGRO Dr. Philip V. Bohlman
Dr. Elizabeth Sandage and Dr. Robert D. Dr. Russell Mathis
Dr. Gary C. Borchardt
Mussey* ($200-$499) Prof. Charles J. and Mrs. Joanne J.
Mr. Clark A. and Mrs. Cynthia M. Breeze
Dr. Edward and Mrs. Lois Beck Rath* Mr. James W. and Mrs. Beth L. Armsey* McIntyre*
Mrs. Joan B. Brinegar
Dr. Roger E. Reichmuth Mrs. Virginia A. Baethke Prof. Richard L. and Mrs. Anna J. Merritt*
Dr. Kathryn Bumpass
Mr. Arthur Lee and Mrs. Frances A. Ms. Sharon M. Berenson Mr. Jeffrey L. Modlin
s Schlanger Dr. Wesley R. Burghardt and Ms. Angela M.
Mr. Ronald T. Bishop Ms. Ruth A. Moore
o Stramaglia
n Dr. Ellen M. Simon* Ms. Helen K. Browning Mrs. Gerda T. Nelson
Ms. Sandra Carr
o Mr. Frederick V. Simon Mrs. Janet K. and Mr. Jeffrey M. Carter Dr. Philip O. and Mrs. Jennifer L. Nubel
r Mr. Richard B. Cogdal*
Mr. Terry S. and Mrs. Katharine W. Slocum Ms. Phyllis L. Cline Mrs. Jean and Prof. Howard Osborn*
i Mrs. Ruth L. Cortright
Mr. Gary E. Smith Dr. Daniel Cobb Mr. Michael S. Pettersen
t Miss Judith K. Cotter
i Mr. Craig B. Sutter Dr. Kathleen F. and Mr. William J. Conlin* Dr. Stephen L. and Dr. Esther Portnoy*
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Dr. Grady E. Coyle Dr. David C. Hunter Dr. Kevin W. Rockmann
Ms. Mary Ann Daly Dr. Stephen Husarik Dr. Franz Roehmann
ANDANTE
Dr. Warren J. and Mrs. Marsha K. Darcy Mr. Robert H. Huss Mr. Donald Q. Rogers (under $100)
Ms. Carol Capadona David Mr. Chuck Israels Mr. Robert J. and Mrs. Diana L. Rogier Dr. Daniel C. Adams
Mrs. Lynne E. Denig Mr. Lansing K. Johansen Mr. Kenneth W. Rubin Mrs. Elizabeth Z. Allan
Mrs. Susan B. DeWolf Mrs. Mary L. Johnson Mr. Robert J. and Mrs. Elda L. Ruckrigel Mr. Robert N. Altholz
Mr. Bruce L. Dickerson Mr. Robert R. Johnson Mr. Walter W. and Mrs. Patricia A. Rust* Mr. Glenn R. Anderson
Mrs. Debbi L. Dillman Mrs. Doris D. Jones Mr. John M. and Dr. Kathreen A. Ryan Ms. Tammy J. Anderson
Mr. Bruce and Dr. Gail Schewitz- Doctor Mr. John E. and Mrs. Patricia L. Jordan Norman S. Ryan MD Mr. Roger W. and Mrs. Mary Lou Arends
Dr. Kenneth O. Drake Mrs. Maxine G. and Mr. James B. Kaler* Mr. George J. Sanders Mr. John D. Armstrong
Mr. Gerald A. and Mrs. Jean E. Drendel Dr. Dennis K. M. Kam Mr. Steven E. Schopp Dr. Kerchal F. Armstrong
Mr. John G. Duker Mr. Howard E. Kemper Mr. John F. and Mrs. Nancy K. Schwegler Mr. Gordon K. and Dr. Alison E. Arnold
The Reverend Monsignor Edward J. Duncan* Mrs. Mary Anne Kesler Mr. Ralph E. Shank Ms. Pamela T. Arnstein
The Reverend Wyeth W. Duncan Mr. R. Edward Kiefer Ms. Gloria A. Shiff (Dec) Prof. Walter L. Arnstein
Mrs. Ellen S. Eager Mrs. Judy B. Kjellander Dr. Marilynn J. Smiley Mr. Charles C. Aschbrenner
Dr. David Eiseman Mr. Philip W. Klickman Mr. Philip Smith Mr. Larry Ashley
Mr. Jack W. and Mrs. Carol L. Ergo Mr. David L. Krusemark Mr. Scott R. Smith and Ms. Cheryl K. Street Mr. Ralph R. Athey
Ms. Dawn Fairchild Mr. David L. and Mrs. Susan E. Kuehn Mrs. Elizabeth M. Spencer Ms. Susanne L. Aultz
Mr. Frederick D. Fairchild Mr. Dale A. Lammi Mr. M. Andrew Sprague* Mr. Robert S. Baile
Prof. Emory M. Fanning Jr. Mrs. Barbara A. Lanham Mrs. Gail M. and Mr. Joseph Spytek Mrs. Linda D. Bailey
Dr. Virginia Farmer Dr. Peter J. LaRue Mrs. Janet N. Steffy Mrs. Patricia A. Baird
Dr. Linda J. Farquharson Ms. Dana LaSalle Dr. Jack M. and Mrs. Eva L. Steger Mr. Michael R. Bandman
Ms. Judith A. Feutz Dr. Janet V. Leonard Mr. Wesley Q. Stelzriede Prof. Delmar K. and Mrs. Karen R. Banner
Ralph T. and Ruth M. Fisher* Mrs. June C. Levy Mrs. Joan M. Strouse Ms. Marolyn G. Banner
Dr. Mark L. Fonder Mrs. Sondra Gerhardt Libman Mr. Mark S. Stryker and Mrs. Candace E. Mr. Daniel P. Barach
Dr. John W. Fonville and Mrs. Janet Fenner Dr. Sara de Mundo Lo* Stuart Mrs. June H. Barber
Mr. John Forde Mr. David W. Madden Dr. Gary R. Sudano Mr. Gary N. Barrow Jr. and Mrs. Meghan E.
Mr. Willie T. and Mrs. Valerian Summerville Barrow
Dr. Diane Foust Mr. Robert M. and Mrs. Susan B. Makeever
MAJ Kent W. Swagler (Ret) and Mrs. Patricia Dr. Neale K. and Mrs. Elaine Bartee
Mrs. Margaret A. Frampton* Prof. W. G. and Mrs. Constance Y. Marigold
Swagler Mrs. Barbara Zander Barth
Dr. Andrew N. and Mrs. Lisa S. French Mrs. Ann S. Mason*
Prof. Earl R. and Mrs. Janice E. Swanson* Mrs. Angela M. Bates- Smith
Mrs. Roxanne C. and Mr. John D. Frey* Mrs. Jennifer S. Mather
Ms. Catherine Szeto Mr. John E. Bauser
Mr. Robert C. Gand Mrs. Diane Emiko Matsuura
Mr. Peter A. Takacs Dr. Gretchen Hieronymus Beall
Mr. G. William and Mrs. Barbara Geis Mr. Richard D. McKee II
Emile J. and Elizabeth M. Talbot Mrs. Nancy H. Beckmann
Mrs. Jennifer A. Gettel Dr. Alexander B. McLane
Dr. Gerald J. Throop Mr. James D. and Mrs. Joy Lynn Beebe
Mrs. Cheryl S. Gibson Mrs. Linda K. McLane
Mr. Robert L. Towner Ms. Sandra S. Bernhard
Mr. Mark C. Gillen Mr. James H. McNeely
Mr. Michael A. and Mrs. Olivia L. Tremblay Mr. Thomas E. and Mrs. Sandra S. Bertucci
Ms. Renee Gladstone Mr. Ronald D. and Mrs. Judith M.
McWilliams Prof. H. C. and Mrs. Pola Fotitch Triandis* Mr. David E. Bilger
Dr. Eva W. Gray
Mr. Charles T. and Mrs. Trudy R. Medhurst Dr. A. Robert Twardock* Ms. Evelyn Blackman
Mr. Carroll E. and Mrs. Wanda E. Green
Mrs. Sharron P. Mies Mr. John A. Van Hook Mr. Walter R. and Mrs. Dolores B. Bliss
Dr. Ernest N. and Mrs. Lois E. Gullerud*
Mr. Craig R. and Mrs. Margaret Resce Mrs. Susan T. Van Sickle Mr. Robert O. Blissard
Mr. Jack W. Hammel
Milkint* Ms. Alice W. von Neumann Mrs. Jacqueline K. Block
Mr. David A. Harlan
Ms. Erie A. Mills Mr. James R. Waechter Mrs. Susan E. Block
Dr. Eve E. Harwood*
Mrs. Eleanor L. Milnes Ms. Michelle T. Walker Dr. Charles W. Boast and Ms. Marsha Clinard
Dr. James S. and Mrs. Susan Hatfield
Mr. Danlee G. Mitchell Ms. Diane K. Walkup Mr. John E. Bolz
Dr. Robert H. Hearson
Mrs. Phyllis Brill Munczek Mr. Earl J. Way Dr. Dalvin L. and Mrs. Jean A. Boone
Mr. Morris L. Hecker Jr. and Mrs. Martha Z.
Hecker* Ms. Ann E. Murray Dr. Evelyn J. Weber* Mr. Alfred E. Born and Dr. Christelle E.
Dr. Barbara H. Noel Mr. Duane H. and Mrs. Bonnie Johansen- Menth
Mr. Ronald W. and Mrs. Barbara S. Hedlund
Ms. Julie A. O’Connor Werner Dr. Kathryn Smith Bowers
Dr. Gregg S. and Dr. Marlene A. Helgesen
Mr. Don D. and Mrs. Nikki Owens Mrs. Dorothy W. Williams* Dr. Samuel L. Bradshaw Jr.
Dr. James C. Helton
Mr. Joe and Mrs. Joyce Laase Peacock Mr. Richard L. Williams Mrs. Kathleen E. Bragle
Ms. Sharon B. Hermann
Dr. Karin A. Pendle Dr. Sandra L. Williams Dr. Peter G. and Mrs. Judith M. Braunfeld
Mr. Philip H. Highfill III
Mr. John H. Pennell Mr. Keith L. Wilson Dr. Robert G. Brewer
Ms. Gaye Ann Hofer and Dr. Gregory M.
Cunningham Mrs. Geraldine B. Petty Edward C. Wolf Phd Mrs. Erma Bridgewater
Mr. Orland W. Holmes Ms. Ruth Pinnell Dr. Marsha Cook Woodbury* Mr. Jerome B. Brillhart
Dr. Jesse E. Hopkins Jr. Mr. Douglas L. Pinney Mr. Scott A. and Mrs. Marian K. Wyatt Ms. Kareen G. Britt w
Mr. Robert L. Hormell* Dr. Scott E. Preece* Mr. Roger L. and Mrs. Dolores G. Mr. C. Wayne Brodkorb i
Mr. Don Hough Ms. Phyllis Rappeport Yarbrough* Mr. Joe and Mrs. Kathleen Brown n
Ms. Alice A. Hove Mrs. Alexis G. Rasley Mr. Robert H. Brown t
Dr. Gerald D. and Ms. Donna C. Buckler e
Mr. Fred M. Hubbell Dr. Wallace J. Rave r
Mr. Robert D. Huffington Mr. Kim R. Richmond Mrs. Paula K. Bunn
Ms. Jane Paul Hummel Mrs. Lois H. Richter Dr. Bartlett R. and Mrs. Barbara D. Butler 2
Mrs. Linda S. Buzard 0
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Mrs. Luana M. and Mr. Charles M. Byte Mrs. Carole J. Eckert Mrs. Helen E. Healy Dr. Gerald E. and Mrs. Ellen Green
Dr. F. Kent Campbell Mr. Philip W. Eherenman Mr. David L. and Mrs. Michele C. Hecht Kuroghlian
Lisa S. Caramia Mrs. Cheryl M. Einsweiler Ms. Margarita L. Heisserer Mrs. Joyce M. Laible
Dr. Milburn E. Carey Dr. Barry L. and Mrs. Terri L. Ellis Mrs. Nona J. Heitmann Mr. Raymond (Dec) and Mrs. Irene E.
Dr. Jon O. Carlson Mr. Douglas G. and Mrs. Ellen R. Elrick Mr. John W. Helper Lamkin
Dr. Harry H. Carter Jr. and Mrs. Ellen B. Dr. Albert C. England III and Mrs. Barbara A. Dr. Donald M. and Mrs. Margaret F. Mr. F. W. and Mrs. M. C. Lancaster
Carter England* Henderson Dr. Jean N. Landers
Dr. Philip S. Cary Mr. Earl Eugene Evans Mrs. Margaret E. Henderson Ms. Sandra L. Lane
Mrs. Mary M. Cash Dr. Kenneth E. Fahsbender Mr. Donald G. and Mrs. Janice I. Henrickson Mrs. Bonnie A. Larner
Ms. Clara E. Castelo Ms. Marilynn P. Farnham Mr. Harvey A. Hermann Jr. Dr. Richard C. Larson
Dr. Joseph S. Ceo Ms. Esther E. Fay Mrs. Sally K. Hermann Mr. Kenneth M. Larvenz
Ms. Yoline W. Chandler Mrs. Sharon Fekete Mr. Steven K. Hesla Dr. Elizabeth L. Lawrence
Dr. Carl E. Chapman Mr. Scott D. Feldhausen Ms. Cynthia A. Heuer Ms. Sunny J. Lawrence
Mr. Scott Chase Mr. Jack V. and Mrs. Joan T. Feldpausch Mr. Darren S. Hicks Prof. David and Mrs. Betty Lazarus*
Ms. Judy L. Chastain Mr. Ron Fink Dr. Douglas M. Hill Sister Mary F. Leahy
Mr. Thomas E. Cherry Mrs. Janice L. Fisher Mrs. Carol K. and Mr. Delmar L. Hillman Mrs. Theta Lee
Ms. Joanne A. Chorpening Mr. Edward A. Fitzgerald Mrs. Marilyn L. Holt* Mr. Bradley S. Leeb
Dr. Alisa Clapp-Itnyre Dr. Robert J. Fleisher Mrs. Abbie O. Hubbell Mrs. Florence K. Leigh
Mrs. Jean A. Clarke Dr. Nancy P. Fleming Mr. Ronald F. Hughes Jr. Dr. John W. Leman
Mrs. Katherine M. Cloonen Mrs. Margaret A. Fotou Mr. William H. Hughes Jr. Mr. John D. Leslie
Dr. Dale Cockrell Mrs. Carolyn J. Foy-Stromberg Mr. Allen E. Hunter Dr. Victoria L. Levine
Mr. Garrett Rigney Cofield Prof. Marvin and Mrs. Matilda Frankel* Mrs. Ingrid Hutchings* Mr. Jeffrey E. Lindberg
Dr. Richard Scott Cohen Mr. Larry L. Franklin Mrs. Janice C. Impey Dr. Thomas Lloyd
Ms. Nina M. Cole Dr. L. Thomas Fredrickson Mr. Frederick W. and Mrs. Lois S. Irion Mrs. Susan A. Lobdell*
Mr. Morris and Mrs. Aleta Collier Mrs. Gwynne H. French Dr. Charles F. Isaacson Mrs. Virginia K. Lovett
Mr. James T. and Mrs. Paula R. Conder Mr. Donald W. and Mrs. Beverly A. Fretty Dr. Barbara G. Jackson Mrs. Klara Lueschen
Mr. Mark A. Conley Prof. Stanley and Mrs. Frances Friedman Dr. David C. Jacobsen Dr. Linda S. Mack
Mr. Curtis O. Cooper Ms. Judith Kaye Fulton Mr. Timothy D. James Mr. Boyd A. Mackus
Ms. Beverly J. Cottrell Mr. John D. Funston and Mrs. Jenna D. Mrs. Jean H. Jamison Dr. James T. and Mrs. Tammara D. Madeja
Mrs. Rebecca T. Courington Finch Mrs. Kathryn A. Janicek Mrs. Helen A. Magnuski*
Dr. Victoria L. Covington Mrs. Mary Margaret Gaddy Mrs. Laurine Jannusch Dr. David M. Main*
Ms. Mina M. Coy Dr. Stephen L. and Mrs. Stephanie R. Gage Mr. William T. and Dr. Julie D. Jastrow Dr. Joseph and Mrs. Leslie A. Manfredo
Ms. Betty J. Cravens Mrs. Charlene W. Gates Mr. Aaron L. Johnson Mrs. Guileen P. Manuel
Mrs. Jeanne E. Craver and Mr. Charles C. Mr. Thomas Lee Gauger Dr. David Lee Johnson Mrs. Stevi A. Marks
Craver Mrs. Marian B. Gebhardt Dr. James R. Johnson Ms. Jane R. Marsh
Mrs. Arlene J. Crawford Mr. Gregory L. and Mrs. Sandra P. Gilboe Mrs. Helen K. and Mr. Parker N. Johnstone Mrs. Jean C. Marshall
Mrs. Rebecca Kaplan Cytron Mrs. Karen L. Given Mrs. Ruth M. Jones Dr. Marilyn M. and Mr. Jeffrey L. Marshall
Dr. James and Mrs. Gail A. Dapogny Dr. Valerie Woodring and Dr. Christopher Mr. Richard E. Jorgensen Ms. Anne S. Martel
Dr. Daniel J. Dauner Goertzen Mrs. Donna L. Kaelter Prof. Chris T. Martens
Ms. Deborah M. Day* Mr. Herbert Goldhor* Ms. Karen Kaiser Mrs. Marian S. Martin
Dr. Michael T. and Mrs. Joyce L. Day Mrs. Elizabeth W. and Mr. Edwin L. Mr. Robert A. Kaiser Dr. Jameson N. Marvin
Dr. Larry M. DeBrock Goldwasser* Prof. Marianne E. Kalinke Mrs. Ann K. Mason
Mr. Richard N. DeLong* Mr. Stanley L. Gorbatkin Mrs. Elizabeth A. Kamps Ms. Lezlee A. Masson
Mr. William E. DeMont Mr. Daniel A. Gosling Mrs. Nanci L. Karlin Mrs. Nancy V. Matchett
Mrs. Louise L. and Mr. Jack Derning Mr. Frank L. Gould Jr. and The Reverend Mrs. Lois L. Kasznia Mrs. Carolynne B. Mathis
Mr. Clement R. DeRosa Karen N. Gould Dr. Byron F. Kauffman Mrs. Eva M. Maxwell
Mr. Edmund J. DeWan Mrs. Nanette R. Grant Mrs. Lois D. Kazan Mrs. Carolyn R. May
Dr. Donald R. Dickerson Ms. Denise D. Green Dr. Brenda E. Kee Mr. Lutz L. Mayer
Dr. Christopher and Mrs. Karen J. Di Santo Dr. Richard D. Green Dr. Robert P. Keener Ms. Mary E. Mayhew
Mrs. Oscar H. Dodson* Mr. Charles W. Gregg Mrs. Patricia C. Keim Mr. Donald O. Maylath*
Mr. C. William and Mrs. Kay W. Douglass Mrs. Lynn B. Gros Mr. Jeremy Niles Kempton Dr. David McChesney
Mr. Donald W. Downs Dr. Margaret Rosso and Dr. Michael Mr. James E. and Mrs. Susan M. Ketch Mrs. Nalda N. McCollough
Ms. Darcy D. Drexler Grossman* Mr. James L. McDonald
Mrs. Nina S. Key
Mr. Howard S. Ducoff Mrs. Margaret S. Gunderson Mr. Austin J. McDowell
Mr. George M. and Mrs. Patricia D. Kichinko
Mrs. Helen F. Duffield (Dec) Mrs. Jeanne M. Haack Mr. William J. and Mrs. Brenda B.
Mrs. Elizabeth E. Kirkpatrick
Mrs. Barbara M. Duffy Mrs. Marilyn J. Hall McNeiland
Mr. James and Mrs. Joan Skinner Knapp
Ms. Marilyn M. Duginger Dr. Alice M. Hanson Mrs. Donna F. McPherson*
s Mr. Jon W. Knudson
Ms. Pamela J. Dunleavy Mrs. Sharon L. Hardesty Dr. Mardia Melroy
o Dr. David W. Knutson
n Mrs. Edith A. Dwinnells Ms. Teresa E. Hargrove Dr. Maria P. Merkelo
Mrs. Mayola C. Kolbe
o Mr. Dwight E. Dyer Mr. Frank B. Harmantas Mr. C. J. Merrill
r Mr. George S. Kosmach
Mr. Austin A. R. Dyson Dr. Ruthann Harrison Mr. James K. Merwin Jr. and Mrs. Kathleen
i Mrs. Kathleen A. Krepel
Mrs. Jeannette J. Ebelhar Mrs. LuAnn E. Hayes L. Merwin
t Mrs. Lois Krizan
i Mr. Jason P. Healey William S. Miller and Christine Miller
e
s
52
Mr. Keith A. Mitchell Mr. Scott D. Roeder Ms. Mary G. Stonecipher Mrs. Zoe R. Worner
Mrs. Harriet A. Moir Dr. Carl S. Rogers Barbara J. Stover Mr. H. W. Wyld Jr. and Mrs. Jeanne-Marie
Mr. Milton R. Mojzis Mrs. Elizabeth P. Rogers* Ms. Merry B. Stover Wyld
Mr. Maurice E. Monhardt Mr. Jeffrey L. and Mrs. Joyce Kim- Rohrer Ms. Patricia Stroh Prof. Thomas Alexander and Mrs. Catherine
Mr. Albert L. Moore Dr. Brenda R. Root Mrs. Blanche J. Sudman* Wiles Yancey*
Mrs. Nancy F. and Dr. David W. Morse* Mrs. Mary A. Rosborough Mr. J. David Sulser Mr. Mickey W. Young
Mr. Theodore F. and Mrs. Joan Lipke Mueller Mrs. Linda F. Rosen Mrs. Sheryl M. Summerell Mr. Robert E. Yung
Dr. Walter L. and Ms. Jane L. Myers* Prof. Barak Rosenshine Mr. Matthew S. Talbott Dr. Joyce R. Zastrow
Ms. Joyce G. Nagel* Mrs. Devorah B. Ross Dr. Paula G. Taquet- Woolfolk Ms. Amy J. Zussman
Mr. Larry G. Neemann Mrs. Mary Higley Rosser Mrs. Vivian B. Terrill
Dr. Jo Ann N. Nelson Mrs. Nina Rubel Mrs. Catharine A. Thieme MATCHING GIFTS
Mrs. Louise S. Nelson Mrs. Barbara B. Rudolph Mrs. Jacqueline LaRue Thomas Accenture Foundation, Inc.
Mrs. Rosemary F. Nelson Mrs. Cheryl Lane Ryan Dr. Robert F. Thomas Jr. American International Group, Inc.
Mrs. Kim J. Newman Mrs. Marilyn R. Sameh Mrs. Susan Kuriga Thorne Ball Corporation
Mrs. Patricia S. Newman Dr. Lori K. Sanders Mr. David P. Thurmaier Bank One Foundation
Mr. Steven N. Ng Mrs. Jeanne D. and Mr. Ray K. Sasaki Ouida Tisdall MD BP Amoco Foundation
Mr. William J. Nicholls Mr. David L. Saunders Dr. Donald C. Todd Caraustar
Dr. Eugene D. Novotney Ms. Marlys J. Scarbrough Dr. Russell E. Todres Caterpillar Foundation
Mr. Lee Olson Mr. Steven T. and Mrs. Jane Scherer Mrs. Maryellen T. Tomassetti Fidelity Foundation
Dr. Lesley C. Olson Mr. Ralph S. Schlesinger Mrs. Marie Griffith Tompkins First Midwest Bancorp, Inc.
Mr. Dante J. (Dec) and Mrs. Kay A. Orfei Mrs. Shirley J. Schnizer Mrs. Barbara B. Toney General Motors Corporation
Mr. Rick K. Orr* Mrs. Jane W. Schoeniger Mr. John W. and Mrs. Charlotte G. Trautwein IBM Matching Grants Program
Dr. David C. Osterlund Dr. Karl- Heinz and Mrs. Dorothy Schoeps Dr. Tod M. and Mrs. Monica G. Trimble J. P. Morgan Chase Foundation
Mr. Thomas W. O’Toole Mr. Jeff A. Schroeder Dr. Jill L. Trinka Leo Burnett Company, Inc.
Ms. Janet L. Outis Mrs. Karen Schulman- Bear Dr. Max R. and Mrs. Sue C. Tromblee Motorola Foundation
Ms. Patrice M. Pakiz Mrs. Glenda L. Schultz Dr. Lynn M. and Mrs. Nancy S. Trowbridge Pfizer Foundation
Dr. Susan Parisi Mrs. Gail N. Seidman Dr. L. Deane Trumble SBC Foundation
Mrs. Karen D. Parrack Mr. Scott H. and Mrs. Connie L. Severance Dr. Gary L. Unruh Telcordia Technologies
Dr. Lisa D. Patterson Mr. Dennis A. Shaul Mr. Walter E. Urben Texas Instruments Foundation
Mrs. Gail Peine Dr. Randall C. Sheets Dr. Michael G. Vaillancourt The Northern Trust Company
Ms. Susan B. Peppercorn Mrs. Kristen Shiner- McGuire Dr. John D. Van der Slice Verizon Foundation
Mr. Daniel J. and Mrs. Marjorie A. Perrino* Mr. Dale A. and Mrs. Nancee A. Shipe Mrs. Julia V. Van Dyke Wachovia Foundation
Mrs. Aiko K. Perry Ms. Jill Shires Mr. Wayne Van Dyke
Dr. Linda W. Perry Mrs. Faraba G. Shirley Mrs. Emily Vaniman CORPORATIONS, FOUNDATIONS,
Mrs. Janice L. Petri* Dr. Blaine F. Shover Mrs. Susanne M. Veal
Mrs. Amy L. Phelps Ms. Mary L. Sigler Mrs. Joan M. Vogen ORGANIZATIONS
Dr. Robert W. Placek Dr. Ann L. Silverberg Mrs. Sandra Smith Volk* Andrew George De Grado Foundation, Inc.
Mr. Alan M. Porter Mr. Fay M. Sims* Ms. Cheryl E. Hein Walters Ann and Gordon Getty Foundation
Ms. Alice R. Preves Dr. J. Taylor and Dr. Jo Ann M. Sims Dr. David Ward-Steinman Bay-Com Enterprises
Mr. George H. Pro Prof. James B. Sinclair* Mr. Arthur S. Wasik Chimney’s String Resources
Mr. Leo H. Provost Mrs. Patricia S. Skarr Prof. Albert Wattenberg Community Foundation of East Central
Illinois
Mrs. Karyn A. Quandt Ms. Sharen R. Slade Mrs. Bernice S. Wax
Community Foundation of Champaign
Mr. Roland H. Raffel Mrs. Paula A. and Mr. Michael J. Slinger Mr. Charles S. and Mrs. Tamar A. Weaver
County Academy Memorial Scholarship
Winifred Ehler Ramstad Dr. William C. Smiley Dr. Calvin E. Weber Fund
Dr. W. Donald Rankin Ms. Deidre A. Smith Mrs. Mary Jane Weber Golden Lyre Foundation Illinois Federation
Mr. Stanley E. and Mrs. Zelma Ransom Dr. James G. Smith Miss Ruth E. Weinard of Music
Ms. Maureen V. Reagan Mr. Phillip R. Smith Mrs. Susan M. Werner Hermann Music Teaching
Mr. Donald O. Reddick Jr. Mrs. Constance W. Solberg Ms. Celeste E. Whiting Illinois Opera Theatre Enthusiasts
Ms. Frances S. Reedy Dr. Theodore Solis Ms. Thelma Willett Joan Strouse Music Studio
Dr. Sam and Mrs. Susan E. Reese Mr. Robert V. Sperlik Jr.* Mrs. Beverly Ann Williams M. R. Bauer Foundation
Mrs. Irma Reiner Ms. Nancy S. Stagg Mr. Rod and Mrs. Sue Williams Northbrook Chapter SPEBSOSA, Inc.
Mr. Beau A. Renshaw Mrs. Diane H. Staub* Dr. Jeffrey S. Wilson Opera Southwest
Mrs. Barbara J. Rice Mrs. Joan K. Stauffer Mr. Michael H. Wilson Paxton Farms, Inc.
Mr. Joe D. and Mrs. Patricia L. Rice Dr. Harry M. Steckman Mr. Dennis D. Windler Roger and Dolores Yarbrough Foundation
Mr. Thomas L. Rice The Honorable Robert J. and Mrs. Sharon W. Mrs. Jane R. Wineman Smith Walbridge Clinics & Band Products
Mr. Adam C. Richardson Steigmann* Mrs. Ann R. Winget w
Sound Enterprises i
Dr. Selma K. Richardson Dr. David B. Stein Mrs. Betty S. Wise and Mr. Clark E. Wise Sound Sleeve Performance Products AKA
Mrs. Isabelle Kole Stein
n
Mr. Paul S. Riegel Mrs. Rita S. Wise Curry Precision Mouthpieces t
Dr. Robert E. Ritschel Mrs. Krista J. Steller Mrs. Kim Y. Wittel St. Matthew Roman Catholic Congregation e
Mr. Dean A. and Mrs. Mary Ritzmann Mr. D. Grier Stephenson Jr. Ms. Trudy Fraase Wolf Village Music Store r
Mr. Bruce C. and Mrs. Faith Roberts Mr. Robert J. Stiehl Mr. A. Scott Wood The E. F. Wildermuth Foundation
Dr. Schuyler W. and Mrs. Linda K. Robinson Dr. David K. Stigberg Mrs. Rose Marie Wood 2
The Presser Foundation 0
Prof. Victor J. and Ms. Susan C. Stone* 0
6
53
ILLINOIS WIND
SYMPHONY
I N C O N C E R T AT
CARNEGIE HALL
8:00 p.m.
Friday February 17, 2006
Carnegie Hall
GUEST ARTISTS
Nonprofit Org.
U.S. Postage
PAID
Permit No. 75
1114 West Nevada Street
Champaign, IL
Urbana, Illinois 61801