the newsletter of the peabody chapter of the johns hopkins university alumni associa tion
Ship-Shape on a Classical Cruise
It has been such an exciting year at Peabody!
The Johns Hopkins Alumni Association voted to
eliminate alumni dues and now all graduates are
automatically members. This landmark decision
to change the business model is a bold one and
the first of many positive changes that will help to
strengthen the alumni community. Also, instead
of being called the Peabody Chapter of the Johns
Hopkins Alumni Association, we have changed
our name to The Society of Peabody Alumni
(SPA), which has a nice ring and loosens the knots
in my shoulders just saying it!
In May, the Peabody Jazz Department cel- By Julian Gargiulo (MM ’97, Piano)
ebrated its 10th Anniversary and many alumni
returned to perform with Gary Thomas’ Peabody laying classical piano on a cruise ship is like performing heart surgery with your patient on a
Improvisation and Multimedia Ensemble for an hammock. My agent somehow forgot to mention the part about the constant but random
amazing evening of music. The SPA hosted a well pendulum-like ship motion when selling me on this ‘amazing opportunity’. Interestingly,
attended reception that felt much like a reunion! the piano is anchored to the stage, while the piano bench doesn’t even come with a seatbelt.
In January, we launched a new initiative with our Seems to me like building a car with an airbag for the car instead of the driver.
First Mondays, a once-a-month casual get together That said, there are some clear advantages to playing on a cruise ship. Probably the main one is
for Baltimore area alumni to share a bite to eat, being able to tell your friends that you will be travelling from Spain to Costa Rica, for about 20 days,
a drink and some lively conversation. If you are a in what amounts to a five-star luxury hotel floating on the water, with pools, sauna, tennis courts,
local, we’d love to see you there! movies, theatres, and all-you-can-eat fine dining, “but it’s work!”
We are pleased to include the voices of many
Peabody Alumni in this newsletter. We have The Fame Factor
articles written by Julian Gargiulo (MM ’97, Another point I find very interesting is the ‘fame’ factor. I’ve always remarked on how after a con-
Piano); Robert Scott Beard (BM ’86, Piano); cert, where for almost two hours a group of people has concentrated their attention on you, listened,
Peter Kibbe (BM ’12, Cello); and Elizabeth applauded, even cheered if all went as planned, you suddenly have the feeling of being famous. It
doesn’t last long, but while they are still with you backstage, buying CDs, talking with you, amongst
Schaaf (‘77, Voice). We love to hear from all of
this random group of strangers the faux impression of stardom briefly settles in. Of course the
you, too. The newsletter has been a great way for
moment you leave the theatre, cross the street, and try to hail a cab, that wonderful feeling just as
us to stay connected to what’s new and exciting
quickly evaporates. Nobody stops you. Congratulates you. Tells you how amazing you are. Nothing.
in your lives (music related or not), so please keep
Nada. Zilch. Well, on a ship this is not the case. For the entire time of the cruise you are able to
your news coming! maintain your ‘celebrity’ status. You are literally living in a self-contained make-believe fantasy world.
Over the past two years in my capacity as President, Quite an ego trip.
I have had the pleasure of working with the
extremely dedicated (and tireless) Constituent A Price to Pay
Engagement staff as well as a team of committed True, there is a price to pay. You can no longer hope to get from deck one to nine without being
volunteers that have given generously of their stopped countless times to speak with passengers. And people can be very peculiar. I had a lady ask
time and talents. I look forward to continuing my me literally three minutes before I was to go on stage for the second time, “Do you take requests?” I
work on the Executive Committee under the politely asked what the request was, trying to make her understand it wasn’t likely, at which point she
leadership of incoming President Paul Matlin said, “I think it’s called ‘Spinning Ballerina Song’”, and upon seeing my face of consternation, went on
(BM ’70, MM ’72, Viola), who will bring this to hum a couple of bars. This might have been an extreme case but normally people just want to tell
wonderful organization to new heights! you their story, or that of their children or grandchildren, regardless of what you may be trying to do.
All in all, playing on a cruise ship is an incredible experience, provided the constant swaying
Enjoy your summer and keep music in your heart, motion doesn’t bother you. Especially if they put you up on deck nine where I am. I guess I just
Tracey Pullo Schutty, MM ’94, Flute lucked out as the only effect of the swaying visible is in my ability to walk a straight line. As I said dur-
President, The Society of Peabody Alumni ing my last show, ‘while the drinks are not included the feeling of being drunk is.’
julian gargiulo is a pianist and composer who divides his time between wishing sabre-toothed
INSIDe tigers weren’t extinct and making paper pirate hats out of his old bios. In between his involvement as fun-
a dvice for n ew Graduates 2 draiser for and friend of www.diabetes.ky, he also finds time for touring with his new album mostlyjulian,
working on his nonprofit 16000children.org, curating the Water Island Music Festival in the US Virgin
message from the n ew director Islands and Crossing Borders of Hunter College in NY, and endlessly walking the streets of New York in
of music entrepreneurship 3
search of people to add as Facebook friends.
a lumni n ews 4
This column originally appeared in the Caymanian Compass newspaperwww.caycompass.com.
Reflections on Peabody and Wh y I
What I Have Learned Since Then… g Ive …
Notes For New Graduates Br uce P. Mahin (DMA, ’90,
By Dr. Robert Scott Beard (BM ’86, Piano) Composition) has been a
professor of music at Radford in
eturning to Peabody to attend a concert and reception this past Virginia since 1989. His
spring, I had the opportunity to once again walk the hallowed compositions are available
through Capstone Recordings
hallways that have shaped the destiny of so many aspiring
and published in score by
musicians. Being back at “The Peabody” was as magical as the first time Pioneer Percussion, Ltd. and in
I set foot in Leakin Hall to audition in 1982! The “prep” building then the Society of Composers,
was electric with students running to and fro; music wafting from every Journal of Musical Scores. Music
corner and doorway. Although decades have passed since my graduation, performed by the Glasgow-
the feeling of excitement and of possibility still lingers in the air. based Scottish Voices and Peabody alumni harpist
Jacqueline Pollauf (BM ’06, MM’07), titled Three Continents,
While the musical performing skills one possesses to enter Peabody and graduate are valuable in and will be released on the Parma Recordings label this spring
of themselves, the supporting classes in theory, ear training, history, and accompanying made graduate with simultaneous release of an iPad application containing
scores and visual media.
school a breeze. I always had my pick of courses, never having any remedial work thanks to my Peabody
education. More importantly, the collaborative skills involved in working with a diverse community of A working musician always seems to be
faculty and students gave me some of my most valuable skills to use in my future career(s). scrambling for the “next job” so I think we
Here are some helpful hints that can help in guiding students in their careers, both as performers or need to stick together and help one another
working in higher education: whenever we can. This is one reason
1. BE FLEXIBLE 5. it’s the MusiC And so I try to contribute to the Peabody whenever
Over a lifetime, you will have many careers, or much morE
perhaps several at the same time! Be prepared When pursuing a position at the university level, possible. My contributions are not that large
to use your musical and non-musical skills in a there is so much more than meets the eye in but I think that every little bit helps add up to
variety of settings and with a variety of personali- obtaining these jobs. As always, the devil is in the make a big difference in the lives of young
ties! You never know when an opportunity with details! At most universities, a faculty member
present itself. wears many, many hats. In addition to terrific
performance skills, here’s a short list of what you
should be able to do: ViVian a del Ber g
2. Know yoursELF
1 . Communicate at a high level both orally and r udo w , (UC ’57, BM ’60, Piano;
Make a skills profile listing your musical and non- MM ’79, Composition) a sound
in written communication;
musical skills. Explore how these can be used in portrait painter, composes
2 . Have great organizational skills;
various career trajectories. music ranging from solo
3 . Meet deadlines (!); electronic to full acoustic
orchestra, from lyrical and
4 . Be a team player;
3. nEtworKIng melodic to experimental and
5 . Supervise adjunct faculty or other staff; innovative. She has won ASCAP
Peabody definitely teaches us how to look and act
6 . Know about publicity both for yourself and Awards each year since 1987.
professionally. Remember that random meet- Her FORCE III, performed by
ings can lead to opportunities—anywhere! As an your organization;
the Baltimore Symphony Orchestra was the first orchestral
example, while travelling in the Ecuadorian rain 7 . Write grant proposals; work by a Maryland composer performed in the Joseph
forest, I met some folks from Texas. I had been in 8 . Have scholarly endeavors leading to Meyerhoff Symphony Hall. Her music has been performed
in Australia, Austria, Asia, Canada, China, Cuba,
Quito, playing a concert at the ambassador’s resi- publication;
Eastern Europe, France, Germany, Great Britain, Israel,
dence, and eventually our conversation turned to 9 . Have other research or professional develop- Italy, Macedonia, Puerto Rico, Spain, South Africa,
fundraising, and then eventually to them present- ment opportunities that lead to tenure; The Netherlands, and throughout the U.S.
ing me in a concert! How random is that? 1 0 . Know about finances! Your ability to cre- I give money to Peabody because it’s
ate, stick to, and use budgets can be very
important. People before me gave money
4. CreAte your own important!
1 1 . Know your system’s chain of command; and
so that I could have a high quality music
When all else fails, create your own opportunity. use it. People aren’t scared of change, they are education in Baltimore where I live and
What is it about you that makes you or your mu- scared of surprises. I want to help the next generation of
sic making unique? Some of the most successful 1 2 . Don’t be afraid once you’re hired to volunteer
students have that same opportunity.
performers in the classical scene make a name for in creating performance opportunities for
themselves by reaching out to a “non-traditional” yourself, your students, your colleagues and
classical audience, or presenting music that rep- your community. Ma t the w r u Pcich (BM ’90,
resents many styles. For me, I specialized in the Looking back, how could I have possibly known Music Education) has been
music of Theodor Leschetizky and also performed concert and choral director for
how well my Peabody education would serve me,
the New York based theatre
and lectured on contemporary Chinese piano and the many paths my career would take over group, Blue Hill Troupe for the
music. The later led to presentations throughout the years? I look back on those experiences, both past seven years. This past
the East Coast and even in Yugoslavia! A great musical and academic, as laying the solid founda- summer, Matthew was invited
source for this arts advocacy and awareness is Eric tion upon which I have been able to build a career to participate in the 18th
Booth’s The Music Teach Artist’s Bible: Becoming a as a performing musician, teacher, a university International Gilbert and
Sullivan Festival. Matthew
Virtuoso Educator. professor and currently as an administrator. works with young people in
his role as middle school choral director and the middle
dr. scott beard is a nationally recognized pianist, teacher, clinician, author and recording art- school dean of student life at Trinity School in New York City.
ist. Recognized for his outstanding teaching abilities, he was named 2006 West Virginia Music Teacher He is also an adjunct professor of choral music at Hunter
of the Year and runner-up for West Virginia Professor of the Year in 2009. His students have been top College (CUNY) and music director for the Rockland
prizewinners in competitions at the state, regional, national and international level.Concerts as a soloist, Camerata in Rockland County New York.
chamber musician and orchestral soloist have taken him throughout the United States and to Canada, Why not?! Peabody changed my life, not
Croatia, Ecuador, France, Italy and Spain. Recent recital appearances include Weill Recital Hall, the Tenri only as a musician but as a person and an
Cultural Institute (NYC), the American Embassy in Ecuador, the Polish, Belgian & Danish Embassies,
the Russian Cultural Institute and numerous universities throughout the East Coast. In 2010, he com- artist. I had outstanding teachers that gave
pleted his second European tour, performing in Palermo, Nice, Marseille, and Barcelona. His concerts have me an incredible education. Some of my
been praised for their poetry, passion and innovative programming. Dr. Beard has published articles in teachers are currently good friends. I am
several national publications and his anthologies of ensemble music for piano are published by Alfred. He
is Dean of Graduate Studies and Associate Vice-President of Academic Affairs at Shepherd University in honored that I can support Peabody in any
Shepherdstown, West Virginia. way that I can. It is a privilege to do so.
2 • Peabody Alumni
Musing on Peabody as
By Peter Kibbe, BM ’12, Cello
asily one of
here at Peabody is
Leon Fleisher, so
when I tell you that
his austere position
made his witti-
ness all the more
potent, I hope you
can believe me. We
were rehearsing Brahms’ first symphony, and had necessary—but do we really experience that? endeavor, and it’s about the connections we
just nailed a particular passage—when I say we, We perfect our abilities by sequestering our- make with our listeners as we show them what
I mean the Peabody Symphony Orchestra with selves in our practice rooms, by doting on our we’ve found, what we’ve experienced. Mr.
Mr. Fleisher conducting—when all of a sudden teachers and respecting the revered names of Fleisher, in that one display, reminded me that
he jumped up off his stool and shouted above the countless dead artists and composers—and it was fun. Fun! That I absolutely should laugh
din, “Put that on Twitter!” Needless to say, every- we do so, for the most part, willingly and with at the thought of Tweeting about Brahms. Poor
one was thrilled at this near anachronism. Here pleasure. However, nearer the end of an academic Johannes would never survive simply as notes
we sat, scores of us, all born after 1980, raised in endeavor than the beginning, one can see that on a page—instead, he survives because of us,
an era of digital technology and ease that is unlike it’s all a continuum: a single bone flute countless and because can we live the notes he lived. He
any in human history so far. Ostensibly we had no thousands of years ago is directly connected to wrote what he wrote because he experienced
connection to the way Brahms lived his life. Yet every Bach mordent, every Mozart sigh, every his life a certain way, and the best window we
here we were trying our absolute hardest to im- Beethoven utterance, all of Mahler’s strife, each have into his life is to play his music, to play it
press Leon Fleisher, this person we’ve been told is of Chopin’s chromatic lilts, Debussy’s colors, with understanding and appreciation, to put it
a living legend, and an authority on the composer Schoenberg’s constructions… and the list goes in perspective and enjoy it wholeheartedly. We
in question, when that quip about Twitter just on. have Twitter now, sure, but twitter is contextual.
bounces out of him. It wasn’t Brahmsian. It wasn’t So what are we doing? Are we preserving? It is a more or less concrete thing, in that you can
cultural or austere. We loved it. Interpreting? Perhaps only observing the shad- understand it, use it, see it, and it’s the product
As students, most of us have no practical ows of men and women long-since passed? of our generation. However, one does not simply
sense of our place in the history of art music, or The answer is simple. All of it, and none of it. understand Brahms, nor simply see it, and it cer-
jazz, or bongo drums, or whatever the degree In that moment on stage, Leon Fleisher tainly is not limited to the extent of his relatively
may say on it. We’re here in Baltimore to try showed us best, and so simply: it’s about life. It’s short lifetime. Instead we have something sonic,
and gain some sort of perspective, some sort of about the connections that we form between something Musical—we can’t hold it, we can’t
sonic or academic foothold into a culture that ourselves as creators, players and interpreters speak it, we can’t look at it.
we’ve been told is both panacean and absolutely of some of the finest music from all of human All we can do is live it, and share it.
A Career Services Renaissance
By Gerald Klickstein
reetings, résumés, bios, websites, interviewing chops, audi- • Assist you to identify opportunities and start
Peabody tioning know-how, and more. These encompass new ventures.
alumni! classic “career development” skills. • Initiate internships and other pre-professional
I’m pleased to an- To cultivate our own income streams, we ad- programs for students and recent grads.
nounce that in July ditionally require entrepreneurial savvy. • Serve as an ongoing source of professional
2012, I’ll take the We have to be able to recognize opportunities coaching for Peabody graduates.
reins as Director of in the music marketplace, understand arts econo-
Peabody’s new Music mies, and possess the wherewithal to implement
Entrepreneurship creative projects. We can then operate teaching Integrating Artistic and Career
and Career Center studios, found ensembles, generate commissions, Education
(MECC). launch music festivals, and so forth. Student musicians often defer learning about the
As the Center takes shape, you’ll hear about Musicians who gain both career develop- music business; then, post-graduation, many dis-
diverse initiatives designed to help Peabody ment and entrepreneurial abilities can pursue the cover the hard way that their musical skills alone
graduates and students build thriving careers. broadest range of professional options. don’t suffice to forge satisfying careers.
I’ll also be calling on you: first, to inquire In response, MECC will promote a culture
as to the sorts of career services you’d like to see that integrates artistic and career education.
offered, and, second, to invite you to share your Making Resources Available We’ll do this by not only making the above
expertise with the Peabody community. MECC will provide entrepreneurship and resources available but also through fostering in-
For now, allow me to describe some prin- career education to you and the greater Peabody novative community engagement projects.
ciples upon which the center will grow. community. Among other things, we intend to: For instance, in partnership with local leaders
• Publish an online portal that will give you ac- and the Peabody faculty, we’ll guide students to
cess to career-building resources (as an illustra- create performance products that will draw audi-
Career Development and tion, see the Music Careers page at my site: ences to venues across Baltimore. Via that process
Entrepreneurship www.musiciansway.com/musiccareers.shtml) of crafting and presenting relevant programs, stu-
Today’s musicians do well to acquire two types of • Conduct workshops on topics such as website dents will multiply their professional competence.
professional skills: those that enable us to win jobs development, concert programming, fundrais- But that’s just one example. MECC will assist
and those necessary to produce our own income ing, occupational health, music technology, and members of the Peabody community to under-
streams. collaborative enterprise. take varied projects of individual interest.
To secure jobs – things like opera roles, • Present lectures and panel discussions by leaders With that in mind, I look forward to work-
faculty appointments, positions in orchestras, in the music industry. ing with you in support of your artistic and career
and commissions to compose – we need polished goals.
3 • Peabody Alumni
r oss c rolius (BM ‘76, Music Education) was hon-
ored at reception for recent retired Metropolitan
Opera choristers at the opera house in April.
Ross and his wife n ancy (BM ‘72, Music
v ivian a delberg r udow (TC ‘57, BM ‘60, Piano; Education) spent 25 years singing full-time with The Vecchione/Erdahl Duo, r olf erdahl (DMA’
MM ‘79, Composition) had her work Spirit of the company. 94, Double Bass) and his wife, c arrie vecchione,
America performed by the Orchestra of St. John’s oboe, will present 84 performances across
on Apr. 1, at the Har Sinai Congregation, Owings Minnesota in 2012-13 thanks to a Minn. State
Mills, Md. Rudow’s The Bare Smooth Stone of
Your Love, with the poetry by Carole Malkin,
was featured on PoetryMagazine.com. Her music
1980 Arts Board Arts Tour Minnesota Grant for
recitals and education programs in concert series,
libraries, schools and hospitals across Minn.,
John’s Song, in memory of John J. Hill and The and an MRAC Arts Learning Grant to present
Bare Smooth Stone of Your Love, in memory of From June 8 to 11, the Johns Hopkins University their Pages of Music educational series to senior
Daniel Malkin was played on The NACUSA Alumni Association will host an Alumni College centers and residences in the Twin Cities.
“Web Radio,” hosted by John Winsor, in May. taught by Peabody faculty and alumni at the
Beginning on Mar. 28, A Music Special by Rudow, Spoleto Festival in Charleston, S.C. Faculty marija temo (MM ‘94, Guitar) was interviewed in
was distributed for satellite radio via NPR. This member ernest l iotti (BM ’80, Piano) will provide the April 2012 issue of Classical Guitar Magazine
program is the last of this year’s The Poet and The background on some of the featured music and and in Gendai Guitar Magazine about her guitar
Poem Series, produced by Grace Cavalieri, host composers, including festival founder Gian Carlo model, Marija Temo Model flamenco/classical
of poetry programs originating from the Library Menotti; enrique Graf (BM ’78, Piano), a Spoleto hybrid. She released her latest single solo guitar
of Congress. artist in residence, will preview one of his young recording, entitled Waves. In New York City,
artists’ chamber recitals; international piano May 5-6 and May 12-13, she was the featured
soloist, composer, and arranger s tephen prutsman singer joining Maestro Angel Gil-Ordóñez and
1960 (BM ’84, MM ’89, Piano) will speak following
his piano performance; and tracey s chutty (MM
’94, Flute), president of the Society of Peabody
the Peridance Contemporary Dance Company
in their season premiere of El Amor Brujo.
In Pennsylvania, June 23, she will perform
Alumni, will give an update on the Peabody Rodrigo’s Concierto de Aranjuezwith the Kennett
Jazz guitarist and bassist Gene h ebert “j oe” byrd alumni program after giving a short flute recital. Symphony and will also be featured singing selec-
(BM, TC, ’62, Double Bass) died on Mar. 6. tions from de Falla’s El Amor Brujo.
Byrd performed with his eldest brother, guitarist eric peterson (MM ‘87, Horn) was a finalist for
Charlie Byrd, for more than 40 years. He also The American Prize in Orchestral Conducting The Weiss-Kaplan-Newman Trio—yael w eiss
helped to popularize bossa nova music in the (Community) last year, and a semi-finalist for (BM ‘94, Piano), Mark Kaplan, violin; and
United States in the 1960s. opera conducting. He has been working with Clancy Newman, cello—performed concerts in
Troupers Light Opera of Stamford, Conn., (The Cincinnati; St. Johnsbury, Vt.; Lexington, Ky.;
Gondoliers, Die Fledermaus and The Mikado) and and Madissonville, Ky., in April. Weiss is also the
1970 Blue Hill Troupe of New York, N.Y. (A Funny
Thing... Forum), as well as the Queer Urban
Orchestra (QUO). He will be making his inter-
host for the Classical Minutes podcasts series on
national conducting debut on Aug. 8, leading the A work by michael h ersch (BM ’95, MM ’97,
marijim t hoene (BM ‘70, Church Music) will Savoynet Performing Group’s production of The Composition), chair of the Conservatory’s
play three organ recitals in Poland this July— Sorcerer at the International Gilbert & Sullivan Composition Department, that was premiered
Bialystok’s basilica: Our Lady Assumption Festival in Buxton, England. with the Cleveland Orchestra was reviewed in
Church on July 13; Bialowieza’s St.Teresa church The Cleveland Plain Dealer.
on July 15; Bialystok’s St.Kazimierz Casimir on Peabody faculty member l arry w illiams (BM
July 15. ’88, GPD ’90, French Horn) performed in kendra preston l eonard (BM ‘95, Cello) recently
Philadelphia as principal horn in the Black Pearl published “The Lady Vanishes: Vocality and
A work by t homas l . r ead (DMA ’71, Violin), Chamber Orchestra on Mar. 10. r obin massie Agency in Cinematic Ophelias,” in The Afterlife
Moon thru the Window, was commissioned and (GPD ‘06, Viola) was a soloist. The performance of Ophelia, “A Great Desire: Autobiography
premiered by guitarist Aaron Larget-Caplan, as was reviewed by David Patrick Stearns of The in Louise Talma’s Early Vocal Works,” Current
part of his New Lullaby Project, on Sept. 29 at Inquirer. Later that month Williams was horn Musicology, Issue 94/Fall 2012; and “Guides to
the University of Vermont and Dec. 10 at the clinician at the 2012 Music For All National Writing about Music,” Journal of Music History
New School of Music in Cambridge. Also, the Festival in Indianapolis, and, in June he will Pedagogy, Vol. 2, No. 1. (Fall 2011), 2011. She has
Vermont Contemporary Music Ensemble gave a participate in The Rodney Mack Philadelphia recently presented research at the 2012 Society
premiere of his work Meridian on Feb. 10, with Big Brass’ fourth annual brass seminar in for American Music conference; the 2012 South
Read performing. Philadelphia. Central Society for Eighteenth-Century Studies
conference; The Legacy of Milton Babbitt:
Pianist a ndré w atts (AD ’72, Piano) received the awadagin pratt (PC ’89, Piano; PC ’89, Violin; Post-WW II Serialism in the Americas (2012);
2011 National Medal of Arts, the nation’s high- GPD ’92, Conducting) delivered the commence- and the 2011 American Shakespeare Center’s
est award for artists and art patrons. President ment address for Illinois Wesleyan University in Blackfriars Conference. Upcoming publications
Barack Obama presented the medals during a Bloomington, Ill., on Sunday, April 29. Pratt also and presentations include “Towards a Works
ceremony on Feb. 13 in the East Room of the received an honorary doctor of humane letters List for Louise Talma,” Fontes Artis Musicae;
White House, though Watts was unable to degree during the ceremony. “Rosalind’s Musical Identities in Branagh’s and
attend. Doyle’s As You Like It,” Upstart Crow; the 2012
s ze-l ong a aron w ong (BM ‘91, Cello) has been International Congress on Medieval Studies;
Faculty artist j oe burgstaller, trumpet, was the appointed to the faculty of Rome Summer the 2012 Attending to Early Modern Women
soloist with the revived Hawai’i Symphony Musical Arts (RomeSMARTS), a program Conference; and the North American British
Orchestra in its inaugural season on Apr. 22 designed to develop and promote performance Music Studies Association 2012 conference.
and 24. Faculty artist manuel barrueco (BM ’75, skills in young artists, amateur musicians and She has also recently been appointed to the
Guitar) performed with the HSO on May 4 and music teachers. RomeSMARTS runs from July Membership and Professional Development
6, and alumnus Zuill bailey (BM ’94, Cello) on 16-28. committee of the American Musicological
May 13 and 15. Society and serves as the managing editor of the
Journal of Music History Pedagogy.
4 • Peabody Alumni
Chair of Peabody’s Music Theory department
david s mooke (MM ‘95, Composition) appeared
on WQXR, New York City’s classical music
j ulian Gargiulo (MM ‘97, Piano) went to Asia to
perform several fundraising concerts. On Mar.
10, he performed in Phnom Penh, Cambodia, to
radio station, as a panelist (with Anne Midgette, help raise funds for the children orphaned by the
the classical music critic of The Washington Post) tsunami which hit Japan last year. He also went r ichard dickerson (BM ‘00, Horn) was recently
for a 30-minute segment discussing the plagia- to Bangkok, Thailand, with a concert/workshop promoted to the rank of gunnery sergeant in the
rism controversy of the composition of Osvaldo for the students of the Shrewsbury International United States Marine Corps. He joined “The
Golijov’s Sidereus. School and Singapore where he raised funds President’s Own” United States Marine Band in
for a charity called Room to Read. In April, he July 2004. Dickerson also serves as the assistant
The Smithsonian National Portrait Gallery in performed in his hometown Verona at the Teatro stage manager of the Marine Band.
Washington, D.C., acquired a painting and a Filarmonico, Sala Maffeiana.
drawing of Andrew W. Mellon Foundation j udah a dashi (MM ’02, DMA ’11, Composition)
Chair in Piano Leon Fleisher by paul w yse (MM dan vuksanovich (MM ‘99, Guitar) writes a guitar and david s mooke (MM ‘95, Composition), who
’95, Piano), who was profiled in The Portland lesson/blog website called WhyISuckAtGuitar. are both Peabody faculty members, and duane
Press Herald for his accomplishments as a com. He says, “Despite the fact that I’ve had moody (BM ‘94, Voice; GPD ‘01, Opera), who
portraitist. many, many years of formal musical education teaches at Berklee College of Music, were listed
focusing on the guitar, the instrument has always in the “top 50” list of the most influential music
Faculty artists j oe burgstaller, horn, and boris been a struggle for me, and I set out to under- professors on Twitter by OnlineDegres.com.
s lutsky, piano, and alumni eleanor n orton (BM stand why by using the problem solving skills I’d They can be followed at @jadashi, @dasmooke,
‘02, Cello) and j ulian Gargiulo (MM ‘97, Piano) developed as an IT consultant. The results of my and @DuaneAMoody.
performed at the 7th Water Island Music Festival “self-troubleshooting” are posted on the site as
held on Water Island in the US Virgin Islands lessons and blog articles.” a ngel l am (MM ’03, DMA ‘11, Composition; MM
on Feb 10-12. ’05, Music Theory) received an Aaron Copland
igor Zubkovsky (GPD ’99, Cello) was featured on Award. Each year six to eight gifted, emerging,
a lexandra Gardner (MM ‘97, Composition) had Classical WETA from Apr. 16-22, in a week- or mid-career American composers are invited to
two of her works premiered on May 13 in New long Levine Spotlight series featuring selections reside, one at a time, at Copland House, Aaron
York. There is a reason why will be premiered at from Levine Presents concerts, recordings of the Copland’s restored, longtime home in Cortlandt
the Queens New Music Festival in the afternoon, Levine School faculty and students. Manor, N.Y. Lam will be there in August and
and then Migrations was performed by the The September, 2012, to focus on her creative work,
Azure Ensemble in the Merkin Concert Hall. free from the distractions of daily life and other
CDS a ND Book S
Bach Sonatas—the re-release of a CD of Bach’s violin To Journal Square—r ussell kirk (BM ’05, Jazz Saxophone)
sonatas arranged and recorded by manuel barrueco (BM and the Path release his debut album for the Indie/Jazz
’75, Guitar) originally released on EMI Classics in 1997. label Inner Circle Music. This project has been almost
three years in the making and features a who’s who of local
and world-renowned artists, including vocalist Sonya
Kitchell, drummer Terri Lyne Carrington, guitarist Adam Rogers, pianist
Drive American—Solo piano works by American com-
Aruan Ortiz, and bassist Ed Howard.
posers including daniel c rozier (MM ’89, DMA ’94,
Composition), performed by h eidi l ouise w illiams (BM ’93, Red—The debut album by Texas Guitar Quartet with
MM ’95, DMA ’00, Piano). a lejandro montiel (MM ‘05, Guitar) contains original
arrangements of music by Isaac Albéniz, Beethoven, J. S.
Askelad and the Seven Silver Ducks—a book/CD, com- Bach, as well as the world-premiere recording of Antoine
posed and illustrated by Margi Griebling-Haig, has been de Lhoyer’s Air varié et dialogué and Joseph Williams II’s
released by the husband and wife Vecchione/Erdahl Red quartet.
Duo—r olf erdahl (DMA’ 94, Double Bass) and Carrie
Vecchione, oboe and English Horn. Dirigo Rataplan—a new CD with original composi-
tions by devin Gray (BM ‘06, Jazz Percussion) features
The Chill Funk Trip—The new album from Made of performances by faculty artist Michael Formanek, double
Wood, the solo project of composer, producer, and multi- bass; Ellery Eskelin, tenor saxophone; and David Ballou,
instrumentalist dan w aldman (BM ’98, Composition). trumpet with Gray.
Voyage—The debut CD by Pictures on Silence—harpist
j acqueline pollauf (BM ’06, Harp; MM ’07, Harp Pedagogy)
Joseph Gascho, Harpsichord—The debut solo harpsichord and saxophonist Noah Getz—includes works by c harles
CD by Gascho (MM ’01, Harpsichord), co-director of h alka (BM ‘06, Piano; MM ‘08, Composition, Music Theory
Harmonious Blacksmith. Pedagogy), c hristopher pierce (MM ‘03, Composition), and
david s mooke (MM ‘95, Composition).
s imeone tartaglione (GPD ‘09, Conducting) has written
Music of Chiara Margarita Cozzolani—kristen dubenion-
s mith (MM ’05, Voice) performs with Concerto delle
Teresa Procaccini, Una Vita Per La Musica, which has
Donne and Heaven’s Noyse. Other alumni on this record- been published in Italian by EDIPAN, Rome. Procaccini
ing include John Armato (BM ’06, Guitar; MM ’08, Lute), is a composer, whose productions over the last 50 years
Sara MacKimmie (MM ’11, Voice), Lizzi Merrill (MM ’11, has delivered several masterpieces for symphonic, opera,
Voice), Kevin Payne (MM ’10, Lute), and Nola Richardson chamber, and solo repertoires. These works have been
(MM ’11, Voice). successfully performed around the world in more than
5 • Peabody Alumni
w illiam martin (MM ‘03, Voice) has been cast poem by Jane Kenyon entitled “Gettysburg: July
in the role of Maurice in the NETworks
Presentations’ national tour of Disney’s Beauty
and the Beast. The production will play at the
2010 1, 1863.” He will be working with the composer
this spring in preparation for the premiere.
Hippodrome in Baltimore from Jan. 22 through Tenor s tephen c ampbell (MM ’11, Voice) sang
Feb. 3 of 2013. Zach l imberis (BM ‘10, Trumpet) and j ulia brett Tamino in The Magic Flute with the Maryland
(BM ‘10, Trumpet) won positions in Army bands. Concert Opera in November, 2011, as well as
j enni bank (BM ’06, Voice) mezzo-soprano, was other opera gala concerts for that organiza-
chosen as one of 10 winners of the 2011 William a my beth kirsten (DMA ‘10, Composition) won a tion. He sang the role of Beppe in I Pagliacci
Matheus Sullivan Musical Foundation competi- Guggenheim Fellowship and Levy Supplemental for Repertory Opera Theater of Washington in
tion, held in Kent, Conn. in November. Each Stipend for music composition. March.
winner was awarded a cash prize of $11,000.
She was cited in the February 2012 issue of Opera a my beth kirsten (DMA ‘10, Composition) was Tenor w illiam davenport, (BM ‘11, Voice) pres-
News magazine’s “Opera Watch” column. a featured writer on NewMusicBox. Kirsten’s ently a student at the Academy of Vocal Arts in
article enters the debate on the place of a Philadelphia, sang the title role of Hoffmann in
Zach h erchen (BM ’07, MM ’09, Saxophone; BM woman composer in “The ‘Woman Composer’ Jaques Offenbach’s Les Contes d’Hoffmann. He
’06, Recording Arts) presented Contour Lines: is Dead.” Several Peabody alumni, staff, and also sang the lead role of Riccardo in AVA’s pro-
a concert of contemporary electroacoustic and faculty regulary contribute to the magazine duction of Verdi’s Oberto at the Delaware Opera
solo works for saxophone on Apr. 20 at Normal’s including Music Theory Chair david s mooke House.
Books and Records in Baltimore. (MM ‘95, Composition), r uby f ulton (DMA ’09,
Composition), and Associate Dean for Academic The Russian Trio—Doctor of Musical Arts
a na v idovic (AD ‘07, Guitar) was a soloist with Affairs paul mathews (DMA ’98, Composition). candidate katherine h arris (MM ‘11, Piano);
the Baltimore Chamber Orchestra, directed by Artist Diploma candidate Dmitry Volkov, cello;
faculty artist Markand Thakar in February. a lana kolb (MM ‘10, Voice) will perform the and Graduate Performance Diploma candidate
role of Niklausse in Offenbach’s Le Contes Nikita Borisevich, violin—received the $5,000
Soprano c orinne w inters (MM ’07, Voice) won d’Hoffmann with the Franco-American Vocal Silver Medal prize in the Chesapeake Chamber
the George London-Leonie Rysanek Award, Academy in Perigueux, France, July 5-August 16. Music Competition in Easton, Md., on March 31.
one of six $10,000 prizes presented at the 41st They were one of 46 entrants.
annual George London Foundation Awards t homas kotcheff (BM ’10, Piano) was selected as
Competition for young American and Canadian one of the winners of the University of Southern Graduate Performance Diploma candidate
opera singers. California’s New Music for Orchestra competi- kristina l ewis (MM ’11, Voice) won first place in
tion. His Piano Concerto was performed by the the National Association of Negro Business and
j enny beck (BM ‘08, Composition) had her work USC Thornton Symphony in February with Professional Women’s Clubs, Inc. 30th Mid-
The Tide Will Take You premiered at Carnegie Kotcheff as soloist. Atlantic District Vocal Arts Competition for
Hall on Mar. 12 at the final concert of Kaija Emerging Artists and will go to the national level
Saariaho and Anssi Karttunen’s Weill Music Soprano s olen mainguené (BM ’10, Voice) was in Reno, Nevada, in June. She was accepted into
Institute Professional Training Workshop. awarded a position as a member of the Hamburg the Academy of Vocal Arts full tuition vocal
State Opera’s Opera Studio for the next two program in Philadelphia starting in fall 2012, and
Soprano l isa taylor (BM ‘08, Voice), a full schol- years, starting in August. She will sing covers, will perform on tour with Harlem Opera Theater
arship student at the Yale University School of supporting roles, and minor roles. She has spent Sept. 3-16 in Argentina, Chile, and Uraguay. In
Music, received an excellent review in the May, the last two years at the Mozarteum opera pro- December, the tour will go to Holland and Italy.
2011 issue of Opera News magazine for her por- gram in Salzburg, where she sang the lead roles
trayal of Zerlina in Mozart’s Don Giovanni. of Elettra in Mozart’s Idomeneo and Adina in elysabeth muscat, Voice Department chair
Donizetti’s L’Elisir d’amore. and president of MD/DC NATS (National
yubing w ang (MM ‘08, GPD ‘10, Trumpet) is the Association of Teachers of Singing), will become
associate principal with the National Performing The Baltimore Vocal Arts Foundation presented the state governor of NATS in July. Preparatory
Arts Orchestra in Beijing. Brahms’ Liebeslieder Waltzes Op. 52, featuring teacher c armen s chmidt (MM ‘11, Voice) will
soprano j uliana marin (MM ’10, Voice); mezzo become vice president of MD/DC NATS.
kathryn Guthrie demos (MM ‘09, Voice) made soprano s onya knussen, a Master of Music can-
her New York City Opera debut in February in didate; tenor michael r ainbow (MM ’11, Voice); A work by j ake r unestad (MM ‘11,
Rufus Wainwright’s new opera Prima Donna. baritone a ndrew s auvageau (MM ’08, GPD ’10, Composition), I Will Lift Mine Eyes, was
She was the winner of Astral Artists 2012 Voice); and dancers from the BCCC commu- performed and recorded by the GRAMMY-
National Auditions and will be a participant in nity in the Fine Arts Theater at Baltimore City nominated vocal ensemble, Seraphic Fire, during
the Ravinia Festival’s Steans Institute Program Community College Liberty Heights in May. their 10th anniversary concert series in Miami.
for Singers in Chicago this summer. Runestad then received a commission of three
douglas perry (BM ‘10, Percussion) won the new works for their 2012 Christmas concerts.
Music Theory faculty member r uby f ulton (DMA instrumental category and a $2,000 prize in the His piece Lux Aeterna was selected as a winner
’09, Composition) was featured in the March issue 2012 Naftzger Young Artist Auditions, in March, for the Essentially Choral Reading Session with
of The Urbanite as one of seven people who are in Wichita, Kan. The Naftzger Young Artists Minneapolis-based VocalEssence and conductor
creating change in Baltimore, notably through Auditions are administered by the Wichita Philip Brunelle. He also returned to the John
her contemporary opera company Rhymes With Symphony. Duffy Composers Institute at the Virginia Arts
Opera. Festival and was granted a full fellowship. At the
Master of Music candidate j ohn w ilson (BM ‘10, institute, one of his chamber operas was work-
megan ihnen, mezzo-soprano (MM ’09), keeps Piano), studying with Marian Hahn, was a final- shopped and performed by professional vocalists
a full schedule of performances in the Mid- ist in the 2012 American Protégé International and a chamber orchestra made up of musicians
Atlantic area. Ihnen is excited to join Bang on a Concerto Competition playing Rachmaninoff ’s from the Virginia Symphony.
Can as a fellow in the Summer Music Festival at Second Piano Concerto. The winner’s recital will
MASS MoCA celebrating its tenth year pioneer- take place on Saturday Dec. 22, 2012, at the Weill Next fall, c s treet brass will be the ensemble
ing experimental music. Closer to home, Ihnen Recital Hall at Carnegie Hall in New York. in residence at Carnegie Mellon University in
is the founder and artistic director of the Federal Pittsburgh. They have received full scholarships
Hill Parlor Series. She continues to review musi- Master of Music candidate n athan w yatt, (BM and a chamber music program will be built
cal performances and recordings for Operagasm, ‘10) baritone, was recipient of the Commission around them.
OperaPulse, Clef Notes and Drama Queens, and Award to perform the world premiere of a
her own, Sybaritic Singer. new song composition by Pulitzer Prize and
GRAMMY Award-winning composer William
emma s tanley (BM ‘09, Trumpet) is currently on Bolcom at SongFest vocal program in California Become a fan of Peabody Conservatory Alumni
the Spamalot national tour. this summer, June 3-28. The text will be set to a www.facebook.com/peabodyalumni
6 • Peabody Alumni
The 10th Anniversary of the Jazz Program at Peabody
Was a Homecoming Celebration Full of Special Moments
Gary Thomas, director of the Jazz Program and PIME (the performing ensemble of the evening) led an outstanding concert of arrangements of
his own compositions. In addition to students, current faculty and even an incoming student, the performance highlighted Alumni performers.
t oward the end of the performance, the alumni took over and r ussell Kirk
(BM ’05) and Jacob Yoffee (BM ’02; GPD ’04) presented Gary t homas with the
t he “Bad-a ss Mentor” a ward on behalf of the students of the Peabody Jazz
Department: close up of the award.
Jacob Yoffee was presented with the 2012 Jh U
Outstanding r ecent Graduate a ward by t racey Pullo
s chutty, President of the s ociety of Peabody a lumni; Jay
Lenrow, Vice President of the Jh U a lumni a ssociation and
Jeffrey s harkey, Director of the Peabody institute.
t op to bottom: r aul s oot, tenor saxophone (GPD ’02),
Jacob Yoffee, tenor saxophone (BM ’02, GPD ’04) and
r ussell Kirk, alto saxophone (BM ’05); Gabrielle Murphy,
alto saxophone (BM ’09) and ian s ims, tenor saxophone
(BS ’08, BM ’08, MA ’10, GPD ’10); and Blake Meister,
bass (BM ’08).
t here was lots of catching up at the reception. Dontae
Winslow (BM ’97, MM ’99, trumpet) is pictured below
with Gary t homas.
r ight: t he a lumni a ssociation provided a reception,
Paul Matlin (BM ’70, MM ’72, viola) and Carol Cannon
(BM ’67, voice) hosted the event on behalf of the a lumni
s teering Committee.
Kevin Clark, (BM ’12, jazz guitar), Gabrielle Murphy and
Gary t homas.
7 • Peabody Alumni
n on- profit
u .s . post a Ge
pa i d
permit n o.1 181
bal timore, md
Please send your news, comments, ideas,
suggestions, and questions to:
Peabody Institute, Alumni Office
1 East Mount Vernon Place
Baltimore, Maryland 21202
410-234-4673; fax: 410-783-8576
a ll peabody alumni are also alumni
of t he j ohns h opkins u niversity.
be sure to take advantage of this affilia-
tion by visiting www.alumni.jhu.edu.
Kevin Puts, a member of the
peabody faculty since 2006, was
honored for Silent Night, a two-act
work commissioned by the minnesota
o pera. h e joins a distinguished
company of pulitzer prize winners,
including a aron c opland in 1945 for
a ppalachian s pring and peabody
alumnus dominick a rgento in 1975
for f rom the diary of v irginia w oolf.
born in s t. l ouis, 40-year-old puts attended high school in michigan and
t he “Bad-a ss Mentor” a ward was presented to Gary t homas on May 2 at the
earned his bachelor of music and doctor of music a rts degrees from the
concert celebrating the 10th a nniversary of the Jazz program. s ee page 7 for
u niversity of r ochester’s eastman s chool of music. h is master of music more pictures.
degree is from yale. h e now lives in yonkers, n .y., with his wife, a violinist
with the n ew york philharmonic, and their son.
Silent Night will be presented next f ebruary by the o pera c ompany of
philadelphia at the a cademy of music.
puts’ music will be heard in maryland later this spring, when marin a lsop we’d love to heAr froM you!!
conducts performances by the baltimore s ymphony o rchestra of his send your news to PeabodyAlumni@jhu.edu.
Symphony No. 4, From Mission San Juan Bautista (j une 7, 8 and 10 at the
meyerhoff in baltimore and j une 9 at s trathmore in n orth bethesda). deadline for fall Peabody Magazine: June 15.
Did you know, next year will be the 120th anniversary of the Peabody Alumni Association?
By Elizabeth Schaaf , ’77 Voice
arly in afternoon was not about change—but begin- complaints about faculty ceased. By May 19th,
May, Paul nings: The first, the founding of an Alumni when Hamerik stood on the concert hall stage,
Mathews Association and the second, the establishment Peabody was thriving.
(DMA ’98, of “The Peabody Alumni Scholarship…the first Membership in the Alumni Association, he
Composition), our scholarship in the Conservatory…” offering free explained, would be limited “students who have
Associate Dean tuition for three years. won the Peabody certificates and also those who
for Academic Hamerik’s tenure was marked by change, have been connected with the conservatory for a
Affairs, sent a copy and happily so—the move from its first teaching period of three years.” Annual dues would be $1
an article from studios at 34 Mulberry Street to the new building (past and present faculty exempt).
The Sun, May 20, on Mt. Vernon Place, transforming the Academy For more than a century the Alumni
1893 to Debbie of Music and persuading the trustees to adopt the Association has thrived and this year, the
Kennison. name “Conservatory of Music.” When Hamerik Peabody Chapter of the Johns Hopkins
The heading read: arrived in Baltimore in 1871, he found Peabody University Alumni Association changed its name
in a shambles with declining enrollment, atten- and will now be known as THE SOCIETY OF
PEABODY ALUMNI dance at concerts dropping and a faculty assum- PEABODY ALUMNI (SPA)!
They Form a Permanent Body for ing that showing up for classes was optional. He What does this mean to you? It means as
Advancement of Music strengthened the faculty, programmed a first- an alumnus/a of Peabody, you are a member of
A SCHOLARSHIP TO BE FOUNDED rate series of concerts, assembled an impressive The SPA. The alumni association is no longer a
The article covered the event of May 19th, 1893, music library and introduced classes in theory dues paying group, so keep your dollar! You are,
when Asger Hamerik presided over a gathering and composition (an innovation that I’m sure however, welcome to send dollars in any quantity
in the Concert Hall at the request of Peabody’s is appreciated by Matthews who has taught as a gift to the SPA. Keep in touch and share with
faculty and students. His announcement that theory since 1998). Classes began on time and your Peabody friends!