News and Events from the Mead Witter School of Music
University of Wisconsin-Madison
March 8, 2017
Faculty Ensembles combine with Lincoln High students for a memorable concert
On February 9, two School of Music faculty ensembles – the Wisconsin Brass Quintet and the Wingra Wind Quintet – traveled to Wisconsin Rapids, the home of the Mead Witter Foundation, for a special concert to thank them for their support of the school of music. The two ensembles, plus the Wind Ensemble from Lincoln High School in Wisconsin Rapids, performed a side-by-side concert at the Performing Arts Center of Wisconsin Rapids after the students were coached by ensemble faculty and UW-Madison conductor Scott Teeple.
Assistant Professor Tom Curry worked with the Lincoln High School Percussion Ensemble as part of the educational clinic.
Professor Mark Hetzler sits in with the Lincoln High School trombone section during a rehearsal for the Mead Witter Thank You Concert on February 9, 2017.
Mead Witter School of Music Professor Marc Vallon discusses a fingering with a Lincoln High School Wind Ensemble bassoonist.
Afterwards, music engagement and outreach coordinator Beth Larson received this note from Jeanne Olson, director of bands at Lincoln High School: “Thank you so much for all of the time you spent organizing that event, my students loved it and learned so much! I had them write a reflection this week, and they were very positive and many listed countless things that they learned from the professors sitting in with them and then working with the small groups!! It was a very successful event!” Photographs by Beth Larson.
Irving Shain Woodwind-Piano Duo Competition Winners to perform this Saturday
Meet Yasha Hoffman, Russian Studies and composition double major
Yasha Hoffman, a Minnesota native, grew up with parents of Soviet/Russian heritage and as a young child, fell in love with Russian folk songs. “One of my favorite activities was putting on ‘concerts’ for my parents where I’d loudly sing Soviet children’s songs and bang on the piano,” he says. He loves the breadth of opportunity offered by classes at UW-Madison. Read more about Yasha Hoffman.
“Performing the Jewish Archive” project continues worldwide
UW-Madison professor Teri Dobbs in Israel, Jordan, Michigan, and Vienna (upcoming)
This past January, Professor Teri Dobbs, a member of the Performing the Jewish Archive team, spent two weeks in Israel and Jordan. During her time there, she was a guest at Tel Aviv University’s Moshe Dayan Center for Middle Eastern and African Studies, together with colleagues from UW-Madison’s Mosse-Weinstein Center for Jewish Studies. In addition, she conducted research in the Yad Vashem Archives, met with musicology/music education colleagues to discuss the possibility of future projects within Israel, and met with the family of piano prodigy and composer, Josima Feldschuh (d. 1943).
Professor Dobbs will present several conference papers this coming semester, most of which pertain to her work with Performing the Jewish Archive. Her paper, “Music Education and the Holocaust: So What?” was heard at the New Directions in Music Education Conference: “Musicking Equity: Enacting Social Justice Through Music Education,” Michigan State University, East Lansing, Michigan, February 17. Dobbs has been invited to present more two papers, one in collaboration with soprano and PtJA performer Elizabeth Hagedorn of Vienna, at the 25th European Association for Music in Schools/6th European International Society for Music Education regional conference, JOINT (AD)VENTURE MUSIC: Network as a Challenge for Music Educators, at the University Mozarteum, Salzburg, Austria, April 18 – 22, 2017. Learn more here.
March 12, 7:30 PM, Mills Hall. UW Symphony with alumnus Anthony Georgeson, bassoon, conducted by James Smith. Georgeson is principal bassoon with The Florida Orchestra in St. Petersburg. Georgeson will play the Mozart’s Bassoon Concerto in B flat major, K. 191. Other works will include Un Sourire pour Orchestre by Olivier Messiaen and Scheherazade by Nikolai Rimsky-Korsakov. This is the penultimate opportunity to see longtime conductor James Smith, who will retire this spring after 34 years at UW-Madison. His final appearance as conductor will be on April 9.
March 14, 6:30 PM, Morphy Hall. Emery Stephens, baritone, guest artist recital. Free concert.
Stephens is assistant professor of voice at Wayne State University in Detroit. Prof. Stephens will coach student singers and pianists in African-American songs and spirituals and perform with students in a recital, with Professor Martha Fischer as collaborative pianist.
The Midwest Graduate Music Consortium – Presenting Original Research and New Compositions
Friday, March 31 and Saturday, April 1, Memorial Union and Mead Witter School of Music. Free events.
The Midwest Graduate Music Consortium (MGMC) is a joint venture organized by graduate students from Northwestern University, the University of Chicago, and the University of Wisconsin-Madison. MGMC encourages the presentation of original research and the composition of new music by graduate students around the country. The 21st annual meeting will include paper sessions, a new music concert, and a keynote address. For the new music concert, seven composers’ works were chosen from a nationwide call for scores. The ensemble Sound Out Loudwill perform the new works, each a world premiere. All of the composers will be in attendance. Find the schedule and concert program at this link: Midwest Graduate Music Consortium
University Opera’s “Turn of the Screw” receives warm reviews
“Much of the overall success of the show begins with decisions by Ronis (and executed by costume designers Sydney Krieger and Hyewon Park) to resist all temptation to make the specters of Quint (former valet of Bly’s master, who is far removed from the action of the story) and former governess Miss Jessel in any way ghoulish. Alec Brown and Anna Polum, in the roles on Friday night, looked fully human—and that’s just fine. The otherworldliness—and palpable evil—that they exude is in the music and the libretto itself,” wrote Greg Hettsmanberger in his blog, What Greg Says.
Doctoral cellist Andrew Briggs performs with Middleton Community Orchestra
At the March 1 concert of the Middleton Community Orchestra, cellist Andrew Briggs played two works by Antonin Dvorak: Silent Woods, Op. 68, No. 5,and Rondo in G minor for Cello and Orchestra, Op. 94. “Briggs played both of these with affectionate sensitivity. Currently finishing his doctoral studies at the University of Wisconsin-Madison School of Music, he is an artist with an already expanding reputation and a great future,” wrote reviewer John Barker.
On Monday, March 27, Andrew will perform a lecture/recital on his dissertation project, “Piatti and the Body: An Integrative Approach to Learning and Performing the 12 Caprices, Op. 25.”
News and Concert Highlights from the UW-Madison School of Music – Feb. 29, 2016
University Opera presents its spring 2016 show:”Transformations”
Transformations, a 1970s chamber opera that explores serious psychological themes through the re-telling of Grimm’s fairy tales, will be staged March 11, 13 and 15 by UW-Madison University Opera. The opera was written by Conrad Susa based on poetry by Pulitzer-Prize winner Anne Sexton, who suffered from mental illness and depression, and took her own life in 1974 at age 45.
‘It’s a challenging and compelling piece of music theater,” said David Ronis, director. “It’s a great vehicle to teach skills to young opera singers, and stimulating thought and dialog across the university and community.” While the opera is dark at times, it contains much humor as well.
Sexton’s writing was often confessional and overtly feminist. Her champions included Maxine Kumin, Robert Lowell, and Sylvia Plath. Transformations was commissioned of Susa in 1972 by the Minnesota Opera, known for its interest in contemporary works. The libretto includes eight cast members who play multiple roles from the fairy tales; the plot involves a middle-aged witch who is transformed into a young beauty pulled into a nightmare.
Transformations is conducted by graduate assistant conductor Kyle Knox.
Performance dates, times and prices:
Friday, Mar 11 @ 7:30pm (Pre-show discussion, 6 PM)
Sunday, Mar 13 @ 3:00pm
Tuesday, Mar 15 @ 7:30pm
General Admission: $25; Seniors: $20; Students: $10
Tickets available at the Memorial Union Box Office. Also available at the door.
Transformations is a thought-provoking and complex opera that benefits from thought and discussion. Join us for a pre-show discussion at 6:00 PM in Music Hall, March 11, with noted University scholars: Lynn Keller – Professor of Poetry, UW-Madison Thomas DuBois – Professor of Scandinavian Studies, Comparative Literature and Folklore Studies,UW-Madison Laura Schwendinger – Professor of Composition, School of Music, UW-Madison Karlos Moser – Emeritus Director of Opera, UW-Madison
David Ronis – Interim Director of Opera, UW-Madison
Moderator: Susan Cook, Director, UW-Madison School of Music
Selected Concert Highlights, March 2016
The Hunt Quartet. Sunday, March 6, 6:00 PM, Morphy Hall, free and open to all. The Hunt Quartet is the graduate string quartet at UW-Madison, comprised of Paran Amirinazari, violin; Clayton Tillotson, violin; Blakeley Menghini, viola; and Andrew Briggs, cello. The quartet will play music of Beethoven, Webern, and Schubert. Funding is provided by Dr. Kato Perlman and the Madison Symphony Orchestra.
UW Chamber Orchestra
Wednesday, March 16, Mills Hall, 7:30 PM. The UWCO, conducted by James Smith, will perform works of Bela Bartok, Elliott Carter, and Einojuhani Rautavaara, one of Finland’s most important composers. Rautavaara’s style has been influenced by Orthodox liturgical music and Finnish fiddlers and is both Romantic and mystical; read about him at this link.
“Le Domaine Musical”
Friday, March 18, Morphy Hall, 8:00 PM. Free concert. An homage to the late composer Pierre Boulez, featuring music of Pierre Boulez, Anton Webern, Claude Debussy and Johann Sebastian Bach. Performers drawn from School of Music faculty as well as students.
On Saturday, February 20th, the clarinet studio and Wesley Warnhoff, adjunct professor of clarinet, hosted its first “Clarinet Day,” including Warnhoff and students performing works by Francis Poulenc and Eric Mandat, master classes with high school students, and chamber music sessions with college and high school students working side by side. The day concluded with the group attending a stunning performance by the UW Wind Ensemble conducted by Professor Scott Teeple. Warnhoff plans to turn this into an annual event; check back next year!
New on SoundCloud: Hear Martha Fischer, Wes Warnhoff and Jamie-Rose Guarrine perform “The Shepherd on the Rock” at last January’s annual “Schubertiade” concert. Fischer is prof. of piano and collaborative piano at UW-Madison. Guarrine received her DMA at UW-Madison and now teaches at the University of Massachusetts at Amherst.
Cellist Andrew Briggs earns ovation from Middleton Community Orchestra audience
“I must say that he gave me about the most satisfying experience of it that I have ever heard.” Reviewer John Barker, in his review of the MCO’s Feb. 24 concert, in which Briggs, a UW-Madison graduate student studying with Prof. Uri Vardi, played Antonin Dvorak’s Cello Concerto. “The reason for that is not only his playing skill but also his natural rapport with an audience: He communicates.” Click to read the full post at The Well-Tempered Ear.
News and Events from the UW-Madison School of Music – January 26, 2016
“Symphony Showcase” brings out the best, literally
They’ve prepared for months and now are ready to show off a bit on the stage of Mills Hall: Our annual Symphony Showcase, a concert featuring the winners of our annual concerto competition in solo performances with the UW Symphony Orchestra, conducted by James Smith. This year’s winners are all graduate students with impressive worldwide resumés; one is a composer whose new work will be premiered by the orchestra. Please join us on Sunday, February 14, at 7:30 PM for our concert and reception in Mills Hall! (Note: Parking is free on Sundays in Grainger Hall.) Concert tickets are $10 but are free for students of all ages. Buy in advance ($4 fee) or in person in Mills lobby.
Violinist Paran Amininazari, doctoral student of Assistant Professor Soh-Hyun Park Altino. Paran is also a member of the Madison Symphony Orchestra and a founding member of the Willy St. Chamber Players. Sergei Prokofiev’s Violin Concerto No. 2 in G minor, Op. 63, one movement.
Yunkyung Hong, a doctoral composer studying with Professors Laura Schwendinger and Stephen Dembski. “Yun” has won many awards and commissions worldwide and is employed by UW-Madison’s MOOCS (massive online courses) program as a sound designer. Her new work is called Transparency.
Pianist and Collins Fellow Kangwoo Jin, doctoral student of Professors Christopher Taylor and Jessica Johnson. Kangwoo is a winner of many competitions and received his master’s degree from Indiana University. He is also a teacher in the school’s Community Music Lessons program. Rachmaninoff’s Piano Concerto No. 2 in C minor Op. 18, third movement.
Garrett Mendelow, doctoral percussionist and Collins Fellow studying with Professor Anthony Di Sanza. In 2012, Mendelow won second place in the biennial Tromp Percussion Competition in The Netherlands, and in 2014, he was a semifinalist at the ARD International Music Competition in Munich, Germany. Arena Concerto, by Swedish composer Tobias Broström.
Luis Alberto Peña, a doctoral piano student of Professor Christopher Taylor. Luis has soloed with many orchestras and won awards in Colombia, Costa Rica, Venezuela and the USA. Richard Strauss’s Burleske in D Minor for Piano and Orchestra.
The Wisconsin Idea at Its Most Audible
Did you know that the Wisconsin Brass Quintet, the Wingra Wood Quintet and the Pro Arte Quartet are our contribution to the Wisconsin Idea? Over decades, the three ensembles have logged thousands of miles giving concerts and master classes in high schools, concert halls and colleges all over Wisconsin. And we want to visit your town!
We’ve given it a new name: the “Music Engagement & Outreach Program,” and we have a new coordinator, Beth Larson, a violinist who graduated from UW-Madison in 2011 and performs with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, and the Willy Street Chamber Players. With Beth’s help, the three groups have begun an exciting new partnership with Milwaukee’s High School of the Arts, working not only with bands and orchestra but with literature and science classes as well. Contact Beth to learn more.
Find the ensembles in your corner of Wisconsin! Upcoming concerts include:
Pro Arte Quartet (please note: due to injury, the Pro Arte concert for Feb. 3 in Mills Hall has been canceled) 2/23/16 5:30 PM Concert & Clinic | Wisconsin Philharmonic | Waukesha, WI 2/28/16 2:00 PM Concert | Marcus Center for the Performing Arts | Milwaukee, WI 4/5/16 7:00 PM Concert | University of Wisconsin – Platteville | Platteville, WI 4/7/16 7:00 PM Concert | Oakwood Village – University Woods | Madison, WI 4/11/16 7:30 PM Concert | Three Lakes Arts Association | Three Lakes, WI 5/14/16 7:30 PM Concert | Midsummer’s Music | Sister Bay, WI Wisconsin Brass Quintet 3/4/16 7:30 PM Concert | Concordia University | Mequon, WI Wingra Wind Quintet 2/11/16 3:30 PM Concert | Coventry Village | Madison, WI 2/18/16 10:00 AM Educational Concert | Edgewood High School | Madison, WI 2/26/16 7:30 PM Concert | Nicolet Live @ Nicolet College | Rhinelander, WI
Music reviewer Greg Hettsmanberger gets his own TV blog
Blogger Greg Hettsmanberger has been writing about classical music for Madison Magazine for several years now, and has now begun a stint on TV as well and started a new personal blog, “What Greg Says,” mostly about music. You can catch his TV segment on occasional Wednesday mornings just after 6:30 AM on WISC-TV/Ch. 3. In his debut appearance, he included our upcoming Schubertiade as one of his recommendations.
Meanwhile, another faithful classical music critic, Jake Stockinger, just passed the 1.4 million mark in hits to his blog, The Well-Tempered Ear, in continuous publication since 2009. Congratulations, Jake!
Want to burnish those rusty piano or trombone skills? UW-Madison’s Community Music Lessons can help
The CML program was founded in 1968 and is still busy offering lessons to students young and old(er) in our community. Our teachers are graduate students recommended by their major professors, and are available in the areas of instrumental, voice, and even composition. Registration for the spring semester just opened; click here to learn more. Read biographies of our current teachers.
Do you seek one or more musicians for your wedding, private party, corporate event, or church service? Our students routinely gig in the community and now there’s an updated place for you to advertise. See this website and send your request to the email listed. Note:All arrangements are made between the students and the employer.
The School of Music offers a smorgasbord of performances each year; we invite you to visit our website and click on our events calendar. We also publish a season brochure that is mailed every August.
Personalize your calendar view! Click on the “view as” link on the right of our calendar page.
News and Events from the UW-Madison School of Music – October 20, 2015
This is what our calendar looks like right now.
We hope you will join us for all of them.
Not possible? Well, take your pick!
University Opera: The Marriage of Figaro, Oct. 23/24/25/27.
A well-loved opera with a double cast, directed by David Ronis, music conducted by James Smith and assistance by many more. Read our entire announcement. Our cast includes Joel Rathmann and alumnus Benjamin Schultz, who will split performances as Figaro; Erin Bryan and Anna Whiteway as Susanna; Brian Schneider and Gavin Waid as Count Almaviva; and Anna Polum and Yanzelmalee Rivera as the Countess. The role of Cherubino will be split between Alaina Carlson and Kirsten Larson. In supporting roles, the production will feature Tia Cleveland and Meghan Hilker as Marcellina, alum Thomas Weis as Bartolo, Dennis Gotkowski and Fabian Qamar as Basilio, Kyle Connors and Mikko Utevsky as Antonio, Emi Chen and Emily Weaver as Barbarina, Todd Keller and Jiabao Zhang as Don Curzio. Tickets are $25.00 for the general public, $20.00 for senior citizens and $10.00 for UW-Madison students. Buy tickets here.
Welcoming Five Alumni Composers back to campus for two concerts of their music
In early November, the UW-Madison School of Music will welcome back five graduates of the composition studio who have developed creative, multi-dimensional careers in a range of fields: acoustic and electronic composition, musicology, theory, audio production, conducting, education, concert management and administration, performance, and other fields as well. The two-day event on Nov. 5 & 6 will feature concerts of chamber music and Wind Ensemble music.
The composers include Jeffrey Stadelman (BM, 1983; MM, 1985), now associate professor of music composition at the University at Buffalo; Paula Matthusen (BM, 2001), assistant professor of music at Wesleyan University; William Rhoads (BM, 1996), vice president of marketing & communications for Orchestra of St. Luke’s in New York City; Andrew Rindfleisch (BM, 1987), professor of composition at Cleveland State University; and Kevin Ernste (BM, 1997), professor of composition at Cornell University.
Music will be performed by the Wisconsin Brass Quintet, the Wingra Woodwind Quintet, the UW Wind Ensemble, and other faculty and students. The works being performed by both faculty and students range from standard instrumentations (woodwind and brass quintets) to unusual combinations (piano, percussion, clarinet, and oboe) to solo works performed by some of our most accomplished students.
All five composers grew up in Wisconsin or Minnesota, and they provide a variety of career models, in both industry and academia, in both live and electronic music, for our student composers and performers. This may be the first time that a university music school has brought together the alumni of an academic composition program, from a period of several decades, for concerts of their music, workshops with current students, and public informational events.
Our SoundCloud channel contains tracks from many of our ensembles, soloists, and faculty, and now the UW Symphony Concert with Brenda Rae. It was a spectacular concert; if you missed it, here’s your chance! https://soundcloud.com/uw-madisonsom
Student Recitals are on our Calendar
We’ve modernized our workflow so that all student recitals taking place in our halls are now always listed (and obvious!) on our website. They include performances on all instruments and in many different genres. We encourage you to support our talented singers, composers and musicians. Check the calendar here.
Trombonist Mark Hetzler brings his electronic sound to Mills Hall, Nov. 3
UW-Madison professor of trombone Mark Hetzler continues his forward movement in the electronic music department with premieres of four new works, one by alumnus Ben Davis entitled $$$$$$$$$$$$$$$$$$, for quartet and electronics. With Anthony DiSanza, drums/percussion; Vincent Fuh, piano; Ben Ferris, bass; Tom Ross, percussion; and Garrett Mendelow, percussion. Mills Hall, Nov. 3, 7:30 PM. Read the program here.
Video: Mark Hetzler performs instrumental music with electronics. With Vincent Fuh, piano; Nick Moran, acoustic and electric bass; and Todd Hammes, drums/percussion.
A message from Susan C. Cook, Director of the School of Music
On May 16, as part of the University’s entire Commencement weekend, the School of Music held its inaugural Graduation and Awards Recognition. It was a lively and celebratory event that provided the opportunity to recognize the achievements of our graduates, to honor award recipients and to recognize and, in some cases, to thank personally the many donors who have made those student awards possible. Thus, for many of us, the 2013-14 academic year has ended, and so this is the last Fanfare blog post you’ll receive from us until August.
However, the School of Music, as I’ve learned, never truly goes silent. Our facilities in the Mosse Humanities Building and in Music Hall will continue to thrum with activity of all kinds—from summer classes, ensembles and Community Music Lessons to special events like the National Summer Cello Institute (now in session), the Summer Music Clinic and the Madison Early Music Festival. Over the summer, music study continues, both in more leisurely and more intensive ways. We’re also planning to carry out some much needed renovations, ones that will benefit both our classroom teaching and our on-stage performances.
Looking back over the year I continue to be struck by how much we do and how well we do it. Primary in my mind are the high quality performances by our students as they’ve worked alone and collaboratively in our libraries, practice rooms, offices, studios, classrooms and, on stage and off. The creativity, energy and commitment they display towards their creative work never ceases to amaze me; it makes my job as director enormously rewarding.
I look forward to welcoming you back to campus, even if only virtually, in August. We have a lot of exciting things planned for next year as we continue to be a music school on the move, living out the Wisconsin Idea within our state and the world.
Thank you for your support throughout the past year. I always welcome hearing from our alums and friends, so feel free to stop by my office or drop me an email message at email@example.com
On, Wisconsin and the summer!
Susan C. Cook
Scroll down for photos from the May 16 ceremony at Music Hall. For a list of all graduates, click here.
UW pianist Yeaji Kim profiled in Wisconsin State Journal
Yeaji Kim, a visually disabled pianist and brand-new DMA in piano performance and pedagogy, developed a dissertation project that has the potential to not only change the way blind musicians learn to play music, but help blind and sighted musicians and teachers to collaborate and learn more easily.
Kim ‘s story was featured in a May 18 front-page story by reporter Gayle Worland in the Wisconsin State Journal as well as in a four-minute video made by the university.
Jessica Johnson, professor of piano pedagogy, calls Kim’s work, which involves a three-dimensional staff and notes that both sighted and sight-impaired people can understand, “revolutionary.” Read the full (very interesting) story here. More information is available at this blog.
Composer Filippo Santoro uses architecture as metaphor to create new works
Santoro, a native of Italy who just received his DMA in composition from UW-Madison, describes his composing process in a recent blog post. “A good architect will begin by observing the architectural style of the surrounding buildings, the nature of the soils at the building site, how the space is currently used and the building’s proposed purpose. Similarly, a piece of music always develops from a small idea, like a seed, that you may want to take care of even long before it becomes a piece,” he writes. Read more here.
Collins Fellow Philip Bergman earns spot in Japanese training orchestra
Bergman, who received his master’s degree this spring, studied with cello professor Uri Vardi and received a fellowship provided by longtime donor Paul Collins. “I had the opportunity to meet Mr. Collins this past fall when I performed with a quintet at a banquet. I thanked Mr. Collins not only for his support of my education, but for his role in creating some of the finest positions available to student musicians in this country,” he writes. Read more here.
Photographs from 2014 Awards and Graduation Ceremony
All photos by Michael R. Anderson. Click for captions.
Christina Kay (voice, MM); and Yana Groves (piano, MM).
Susan Lipp, a member of the school’s board of visitors, with assistant director Ben Schultz and associate director Janet Jensen.
CatieLeigh Laszewski (MM, voice); Sara Giusti (MM, piano), Yana Groves (MM, piano); Christina Kay (MM, voice).
Lisa Garza (BM, percussion) and Ben Davis (BM, music education/trumpet).
Philip Bergman (cello, MM); Madlen Breckbill (BM, violin).)
Peter Miliczky (MM, violin) and Elspeth Stalter-Clouse (MM, violin).
David Glickstein (BM, saxophone); Barb Douglas, concert bands coordinator.
Associate Director Janet Jensen.
A congratulatory moment.
Tatiana Koike (BM, flute)
Director Susan C. Cook.
Choral Conductor Beverly Taylor.
The scene in Music Hall.
Doctoral trombonist wins the 2014 Esther Taylor Graduate Arts Fellowship
Alan Carr, a DMA candidate in bass trombone and a Paul Collins Distinguished Fellow at the School of Music, has received the Esther Taylor Graduate MFA Fellowship, designed to support and encourage graduate students in the visual and performing arts by supporting public presentation of their work in conjunction with their degree program. The fellowship carries a grant of $1,500.
The fellowship will help Carr to complete his dissertation that will culminate in a solo CD project called The Elephant in the Room. The CD will feature previously unrecorded works for bass trombone and also offers two new pieces, including a new sonata by UW-Madison tuba professor (retired as of this semester) John Stevens. Carr assembled a consortium of 12 leading bass trombone players from around the world to commission the Stevens sonata.The consortium includes bass trombonists from the Atlanta Symphony, Boston Symphony, Detroit Symphony, Malaysia Philharmonic, Metropolitan Opera Orchestra, National Symphony, New York City Ballet, San Francisco Symphony, St. Louis Symphony, and several others.
This new work will be a substantial contribution to the bass trombone repertoire and will be dedicated to the late Edward Kleinhammer of the Chicago Symphony, who passed away in November 2013.
In addition to his graduate studies, Carr is also adjunct professor of low brass at Concordia University Wisconsin in Mequon and an active performer, having appeared with the Baltimore, Dubuque, and Hartford Symphony Orchestras, and with Ensemble ACJW at Carnegie Hall in New York City. For seven years, he was the bass trombonist in the King’s Brass, performing nearly 1,000 concerts and recording six CDs during that time. Carr has performed throughout the world, including concerts in Austria, Dominican Republic, Germany, Italy, China, Korea, and the US Virgin Islands, as well as all 48 continental US states. In March, Carr gave a solo performance at the 2014 Eastern Trombone Workshop in Washington, D.C. Carr received his Master of Music from The Juilliard School and a Bachelor of Music from the Peabody Conservatory of the Johns Hopkins University. He also holds an Artist Diploma from Yale University. Carr can be heard on Summit, Naxos, and Albany record labels, and is an Edwards Instrument performing artist.
Doctoral musicologist receives three fellowships to further her research
Isidora Miranda, a PhD candidate in historical musicology who studies with musicology professor Pamela Potter, has been awarded a Summer Fellowship at the Institute of Philippine Culture at the Ateneo de Manila University, a UW-Madison Center for Southeast Asian Studies Fellowship, and a UW-Madison Center for Southeast Asian Studies Field Research Award. Isidora earned her undergraduate degree in music at the University of the Philippines and her master’s degree in Violin Performance and Musicology at Western Illinois University. She writes: “The research work I am planning to do this summer is scour through the Raymundo Bañas Collection at the National Library in Manila. The collection comprises of original manuscripts, printed sheet music, prints, anthologies, silent movie scores, religious music for the local Roman Catholic churches, music programs from local concerts and musical events, and mimeographs of other music historical sources. In 1924, Raymundo Bañas (1894-1962) published The Music and Theater of the Filipino People, a compendium of music and musicians from the late-nineteenth century up to the time of his publication. As preliminary questions, I would like to know how much of Bañas’s musical archive informed his writing, and perhaps more importantly, what was the impetus for building a repository and authoring a narrative that sought to represent a “national” conception of music that is Filipino? This is particularly interesting in light of the growing push towards a Philippine self-government and a re-assertion of Spanish colonial identities in opposition to American influences at the time when Bañas was amassing his library.”
Senior composition major wins University Bookstore’s Academic Excellence Award
Daria Tennikova, whose work, “Poema for Saxophone and Orchestra” was a winner of the school’s annual concerto competition, has been awarded a 2014 University Book Store Academic Excellence Award in the amount of $1,000. The awards are made to undergraduate students who best exemplify the principle that excellence can be achieved through independent study. This summer, Daria will attend the summer music festival, New Music on the Point.based in Lake Dunmore, Vermont.
Horn alumnus wins Lawrence University’s “Outstanding Teacher” Award
Eric Anderson (B.M. Music Education, 1998), music department chairman and band director at Verona Area High School, was honored Sunday, May 4 with Lawrence University’s 2014 Outstanding Teaching in Wisconsin Award, along with Lynette Schultz, an English teacher at Williams Bay Jr./Sr. High School. Eric is now band director at Verona Area High School and also sits on the board of directors of the UW-Madison School of Music Alumni Association. He also frequently conducts the orchestras for Children’s Theater of Madison and Four Seasons Theater.
The recipients are nominated by Lawrence seniors and selected on their abilities to communicate effectively, create a sense of excitement in the classroom, motivate their students to pursue academic excellence while showing a genuine concern for them in and outside the classroom. Since launching the award program in 1985, Lawrence has recognized 62 high school teachers.
Anderson has directed the concert band, wind ensemble and symphonic band while also teaching AP music theory at Verona High School since 2006. Additionally, he directs pep band, oversees rehearsals for school musicals and organizes tours around the country for all of the band students.
Note: Eric is the son of the School’s very generous volunteer photographer, Mike Anderson!
UW’s Pro Arte Quartet surmounts travel difficulties to successfully complete its planned tour of Belgium
String quartet members aren’t generally known as lawbreakers, but due to new federal regulations about international shipments of ivory (intended to protect endangered African elephants), the Pro Arte’s Sally Chisholm and Parry Karp, who each own old instruments with tiny amounts of ivory in them from long-deceased elephants, found themselves briefly detained at the Brussels airport at the beginning of their Belgium tour in late May. The tour was intended to commemorate the quartet’s 100th birthday and origination in Belgium. (Read earlier Fanfare post here.)
Tour manager Sarah Schaffer explained to Belgian authorities that the quartet had received special permission to travel with their instruments, obtained through the intervention of Wisconsin Congresswoman Tammy Baldwin, but it took a few hours before Chisholm and Karp were allowed to leave, instruments in hand.
They had a concert scheduled for that very night, so their release was just in time.
Prior to their departure, Madison music blogger Jake Stockinger (“The Well-Tempered Ear”) asked Schaffer and the musicians to write blog posts about every step of the tour, which was well-received. The tour is now over, but the stories live on and can be found here:
Chelcy Bowles, professor of music, Van Hise Outreach Teaching Award
Bowles is one of ten to receive this year’s Distinguished Teaching Awards, an honor given since 1953 to recognize the university’s finest educators. Chancellor Rebecca Blank will present the awards at a ceremony to be held in conjunction with the Teaching and Learning Symposium from 4:30 to 6 p.m. May 19 at Union South in Varsity Hall. The event is sponsored by the Wisconsin Alumni Association in conjunction with the Office of the Secretary of the Faculty.
Bowles is nationally and internationally renowned as one of the foremost experts on lifelong learning and engagement in music and the arts. She has developed and taught a variety of non-credit courses for adult learners and has been instrumental in the founding of music outreach programs at the state, national and international levels. Among the many initiatives she has spearheaded is the Madison Early Music Festival, now in its 15th year, which is approaching its 15th year and draws artists from around the world to showcase medieval and Renaissance music.
Professor Anthony Di Sanza, School of Music, Kellett Mid-Career Award
This award is intended to recognize and support mid-career faculty, seven to twenty years past their first promotion to a tenured position. The Kellett Mid-Career Awards were created to provide needed support and encouragement to faculty at a critical stage of their careers and are made possible by the research efforts of UW-Madison faculty and staff. Technology arising from faculty and staff research is licensed to industry by the patent management organization, the Wisconsin Alumni Research Fund (WARF). Income from successful licenses is returned to the Graduate School to fund a variety of research activities throughout the divisions on campus.
Professor Laura Schwendinger, School of Music, Vilas Associate Award
The Vilas Associate Award Program is made possible by the generosity of the Vilas Trustees. The award provides summer salary support and a flexible research fund for two years to non-tenured and tenured faculty.
Schwendinger will also be in residence at three festivals this summer, at Yaddo Artists Retreat in Saratoga Springs NY, the Oberpfälzer Künstlerhaus in Schwandorf, Bavaria and at Moulin à Nef Studio Center in Auvillar, France. In addition she will be a faculty composer at the Bennington Chamber Music Conference. Alumnus composer Thomas Lang (MM ’07, DMA ’11) will be the composer fellow.
Professor Jessica Johnson wins American Music Teacher Article of the Year Award
MTNA’s American Music Teacher Article of the Year Award is presented to the author of an outstanding feature article written expressly for the AMT. This year’s award is presented to Jessica Johnson, NCTM, for her article “Feeling The Sound: Reflections On Claiming One’s Own Musical Voice.” The article was published in the August/September 2013 issue of American Music Teacher magazine, the official journal of the Music Teachers National Association.
This article investigates how multi-sensory learning and use of whole-brain processes may enhance our practicing and teaching, leading us to a more artistic, authentic experience. It explores how the use of imagery, metaphor, fantasy, intuition, imagination and instinct nurtures the discovery of one’s own musical voice. Read the article:“Feeling the Sound.”
Last April, a unique concert, “Fusions,” devoted to an amalgam of Jewish and Arab art music with musicians and collaborators Uri Vardi (cello), Taiseer Elias (oud) and Menachem Wiesenberg (piano) was held in Mills Hall. The concert was recorded; a video is below.Videography and editing by Robert Lughai.
Before coming to UW-Madison in 2009 as a recipient of a University Fellowship to study composition with Prof. Stephen Dembski, Filippo Santoro studied with renowned Italian composers Luciano Pelosi and Boris Porena and was inspired by teachers Franco Donatoni and Bruno Maderna. A native of Rome, Santoro received a master’s in composition as well as diplomas in piano performance and chamber music from the Conservatory of Santa Cecilia in Rome in 1998 and 2007; holds a master’s degree in music and semiotics from the University of Bologna (2002); and a master’s degree in composition from the State University of New York, Binghamton (2009). His work Arioso Mistico for soprano and orchestra was a winner of the 2010 UW-Madison Concerto Competition.
Last week, Filippo received his DMA from UW-Madison, with a dissertation project that included writing a collection of new chamber works that engage nearly every corner of the School of Music. We asked him to talk a bit about his life, his work, and his plans for the future.
Tell us about your dissertation project.
My dissertation is a collection of five works, one hour of music, that I call Modules. They can be seen as a whole or as independent works.
In these works I explore four different notions of modularity that I refer as “dynamic modularity,” “static modularity,” “interactive modularity,” and “on-stage modularity.” The concept of “dynamic modularity” appears in Per Quattro, my work for flute, clarinet, bassoon and double bass, comprised of sections that performers arrange in a different order each time they perform it. In my two pieces entitled Duplum for two cellos and two percussionists (see video below), I use “static modularity” in that there are also unique sections but these sections are performed in a fixed order that creates the overall form of the piece. “Interactive modularity” appears in Re-mote for solo bassoon and applied technology, in which the order of the sections of the piece is determined by the audience in real time through the aid of interactive web-based technology. Finally, I engage “on-stage modularity” in Cleave, a work for two percussionists, flute, bass clarinet, viola, double bass, trumpet, tuba, harp, mandolin, which combines the concepts of static and dynamic modularity.
What inspired you to become a composer?
Becoming a composer was a slow but natural process for me. I started as a performing pianist and I played a lot of chamber music in Italy. I think I became interested in writing music while I was playing with other musicians.
Tell us about a piece or project you have worked on recently.
I have been fortunate to collaborate with several fantastic performers here in Madison. I have been collaborating with Clocks in Motion, the School of Music alumni percussion ensemble and was one of the first composers to be commissioned by the group. It is beautiful to see how truly devoted they are to performing new music and to promoting new works. The commissioned piece is named Duplum and will be featured on their debut album “Escape Velocity” to be released in June. I also had a terrific experience working with Marc Vallon, professor of bassoon here at UW-Madison. I wrote him a long piece in which the audience participates in the performance through the aid of live technology. I am also writing a work for Kostas Tiliakos, visiting professor of oboe, and I am particularly excited since four other faculty professors will participate in this project.
How do you approach the process of starting or writing a piece?
I like to use a metaphor to describe it: imagine that an architect is commissioned to design a building. A good architect will begin by observing the architectural style of the surrounding buildings, the nature of the soils at the building site, how the space is currently used and the building’s proposed purpose. Similarly, a piece of music always develops from a small idea, like a seed, that you may want to take care of even long before it becomes a piece. I strongly believe that the music I write now reflects a biological process and that it somehow resembles the way plants grow. Sometimes I wait until I feel an urgency to write the piece I have in mind. After that, the most interesting part is the collaboration with the performer in which we determine how to convey musically complicated ideas within the score.
Who have been your influences as a composer and why?
Initially everybody! In my years in Rome at Santa Cecilia Conservatory, I had multiple interests. Of course, late Italian music played a role in my understanding of new music such as that of Berio, Sciarrino, Nono and Maderna. I was lucky to study with teachers who believed that there was no understanding of new music without an understanding of composers like Ravel, Bach and even Monteverdi.
How has your work as a composer influenced other parts of your life or vice versa?
Writing music is what I do and therefore I may have the tendency of seeing and finding music in other parts of my life. I think it is called “professional deformation.”
You are not only a composer but also a composition teacher. What is your approach to teaching composition?
I tailor my approach to the needs of the particular student I’m working with. Regardless of who the student is, however, I believe that clarity and transparency are critical components to teaching composition. This is particularly true for the teaching of young students who are looking for models to begin with. With students who are more advanced, I always think of myself as an active observer, who helps the student to find what he/she is looking for. A renowned Italian teacher, Franco Donatoni, said once that composition cannot be taught and that therefore one should strive only to stimulate in the student an attitude of inventiveness. I embrace this fully and I think that stimulation for a composer often means to search for ideas within the scores of other composers.
What do you see as the most important skills for a composer to have?
I’d say the ability to nurture curiosity in the listener. The role of a composer/artist is always to reveal something beyond what we already know.
What do you want your students to take away?
I want my students to understand, first and foremost, that what they do as composers should express something of who they are as individuals. All the rest should come naturally.
What do you hope to achieve through your music?
Basically, my music reflects the way I see the world, but I hope that it can also reflect and/or enhance the way others see their own.
Why do you think people have difficulty in understanding contemporary music?
This is something that has always sounded paradoxical to me. Understanding contemporary music shouldn’t be more difficult than understanding contemporary painting or architecture. The question for me is how to make new music available to be “explained” in the same way other form of arts are. If more so-called “classical” concerts programmed contemporary works alongside other less recent works, the audience would begin to see contemporary music as the product of a natural musical evolution. Doesn’t that happen to anybody who goes to a museum and walks from one historical island to another? Naturally, this person will begin thinking about connections and relationships between different artistic eras. I think performers and composers have a moral responsibility to encourage such an approach in their audiences. I believe new music should be “by definition” more interesting than any other music since it depicts where we are coming from, who we are in the moment and where we are possibly going in the future.
What are your plans now?
I intend to continue to work with ensembles and performers who are engaged in my music language and I am keen to explore and promote new avenues for composer and audience interaction through technology. Based on the concepts described in my dissertation, I plan to start working on a book that describes the integration of compositional methods and theories of natural systems. I also plan to publish analyses of the late works of Franco Donatoni to further explore the concepts of figura and growth.
For musicians in college music programs, spring often means a hectic gathering of resources to produce the ultimate in personal statements: the solo recital. In the next five weeks, we will present dozens of them, offering a smorgasbord ranging from Beethoven to Brazilian. Most recitals are listed on our calendar; click on “show student recitals” to find them. Selected examples include:
Thursday, March 27, 7:30 PM, Capitol Lakes Retirement Community Mikko Utevsky, viola
Haydn/Piatigorsky, Divertimento in D major; Bloch, Suite Hebraïque; Milhaud, Viola Sonata No. 1 (“On anonymous, unpublished 18th-century themes”); Brahms, Sonata for Viola (Clarinet) and Piano in E flat major, Op. 120 No.2. Utevsky also directs the Madison Area Youth Chamber Orchestra, which is now preparing for summer concerts.
Saturday, March 29, 1:30 PM, Morphy Hall Nicole Tuma, flute, with Steve Radtke, piano, Rachel Bottner, cello, Allison Kelley, oboe, Rosemary Jones, clarinet, Ross Duncan, bassoon, and Sarah Gillespie, horn.
“Of Flutes and Fauna: Music Inspired by the Animal Kingdom”
Malagigi the Sorcerer, Efrain Amaya; “Goldfinch” Concerto, Antonio Vivaldi; Opus No. Zoo, Luciano Berio; Solo de Pajarillo, Omar Acosta; and Vox Balaenae, George Crumb.
Saturday, April 5, 3:30 PM, Morphy Hall. Oxana Khramova, piano
A DMA solo recital featuring Beethoven’s Sonata op. 10, No. 3 in D Major and Ravel’s Miroirs.
Saturday, April 19, 3:30 PM, Morphy Hall. Quadrivium Saxophone Quartet, performing transcriptions of works by Beethoven, Tchaikovsky, Shostakovich, Grieg, and more.
Saturday, April 26, 1:30 PM, Morphy Hall. Jacob Wolbert, percussion. Featuring marimba, multiple percussion and Brazilian music, with special guests! Many more recitals to be found at this link!http://www.music.wisc.edu/calendar [click “show student recitals]
Perlman Piano Trio (+ 2) presents annual concert
The free annual performance of the student ensemble, the Perlman Piano Trio (+ 2) will take place on Saturday, April 12, at 3:30 PM in Morphy Hall in Humanities. The original ensemble, formed as a piano trio in 2007, is funded by Dr. Kato Perlman, a retired research scientist who was inspired by former UW-Madison Chancellor Irving Shain, who is also heavily involved with the school of music through his support of several competitions. (One of these, the Beethoven Piano Competition, will hold its annual winners’ recital on April 6 at 3:30 PM in Morphy Hall. Winners have not yet been announced.)
As students graduate, new musicians audition to replace them. This year’s ensemble consists of Madlen Breckbill, violin; Alice Bartsch, violin; Daniel Ma, cello; SeungWha Baek, piano; and Jeremy Kienbaum, viola. Both Madlen Breckbill and SeungWha Baek were previously featured this year as winners of the school’s annual concerto competition, theSymphony Showcase, while Alice Bartsch was a winner two years ago.
The April program will include the 40-minute long Trio No. 1 in B-flat major for piano, violin, and cello, D. 898, written by Franz Schubert (click here to hear audio) and finished in 1828, just before he died. It will also include the adagio of the piano trio in E flat major, Hoboken XV:22, by Joseph Haydn, written in 1794, as well as the piano quintet op. 81 in A major by Antonín Dvořák, composed in 1887. A public reception will follow the performance.
Thimmig, Hedstrom and Kleve to perform final work in Morton Feldman trilogy
Russian-Jewish experimental composer (1926-1987) from New York City wrote music that was “glacially slow and snowily soft”
On March 30, at 5 PM in Mills Hall, UW professor Les Thimmig (on flute), pianist Jennifer Hedstrom, and percussionist Sean Kleve (the last two both members of Clocks in Motion, UW-Madison’s new resident percussion ensemble), will perform the final work of three trios, “For Philip Guston,” dedicated to Philip Guston, who was a painter and Feldman’s closest friend, who died in 1980. This final installment is a Wisconsin premiere, according to Thimmig, and is four hours long.
American composer Morton Feldman(1926-1987) was first noted for his inclusion in the “Cage School”; in addition to John Cage, the group included Earle Brown and Christian Wolff. Their approach of “letting the sounds speak for themselves” stood in marked distinction to the structuralist side of the early 1950’s avant garde, a group including Pierre Boulez, Karlheinz Stockhausen, and Milton Babbitt, among others. Feldman’s music served as an important influence and guide in the development of the minimalist school of the 1960’s, including Philip Glass, Steve Reich, and Terry Riley. A prominent influence on Feldman’s musical development was the work of the painters of the New York school of Abstract Expressionism: Jackson Pollock, Philip Guston, Franz Kline, and Mark Rothko, among others.
Thimmig and Feldman were acquaintances in New York, Thimmig says. “We sat on bar stools together, we ate dinner together.” Feldman’s music is not often heard, he adds: “It’s important for this to get out. As the years go by, this kind of music goes into the music history dustbin.”
In 2006, writer Alex Ross of The New Yorker published a lengthy analysis of Feldman; you can read it here.
Ross wrote: “The often noted paradox is that this immense, verbose man wrote music that seldom rose above a whisper. In the noisiest century in history, Feldman chose to be glacially slow and snowily soft. Chords arrive one after another, in seemingly haphazard sequence, interspersed with silences. Harmonies hover in a no man’s land between consonance and dissonance, paradise and oblivion. Rhythms are irregular and overlapping, so that the music floats above the beat. Simple figures repeat for a long time, then disappear. There is no exposition or development of themes, no clear formal structure. Certain later works unfold over extraordinarily lengthy spans of time, straining the capabilities of performers to play them and audiences to hear them. More than a dozen pieces last between one and two hours, and “For Philip Guston” and “String Quartet (II)” go on for much longer. In its ritual stillness, this body of work abandons the syntax of Western music, and performers must set aside their training to do it justice.”
Percussionist Sean Kleve says the the trios “are unlike any performance experience I’ve ever had.”
“I’ve had to work on new ways to experience the music in which I allow myself to concentrate in the moment and not permit my mind to think about what is to come and what I have already played,” he added. “At a certain point in rehearsals, I don’t even feel like the music takes that long to play. Rather, it feels like a series of related or unrelated moments which are happening to me. My major role as the performer is to fit in and allow the music to unfold in its natural pace and patient manner.”
“The Annals of Accompanying”: UW pianist Martha Fischer describes the unique skills needed to be a collaborative pianist
Blogger Jake Stockinger presents a two-part series on his website, “The Well-Tempered Ear,” in which he interviewed UW pianist Martha Fischer and UW baritone Paul Rowe about their upcoming concerts (Hugo Wolf’s Italienisches Liederbuch, which they will perform with alumnaJulia Foster, who earned a BA in 2003) as well as the qualities required to become a truly good collaborative pianist.
“No longer are they called ‘accompanists’; today these performances are understood to be much more,” Fischer says. “If we, as pianists, think of it as “just accompanying” — as a lesser experience — then we are perpetuating the stereotype that accompanists are good sight-readers who should stay in the background and be nothing more than pretty wallpaper to the soloist’s great artistry. If we as pianists bring all we have to offer to the table and are as prepared (or more so) than our partners, then we play in a way that demands respect. And that’s where it should all begin.”
TONIGHT: Madison, Wisconsin, Wednesday, March 26, 7:30 PM, Mills Hall.
Vermilion, South Dakota, Friday, March 28, 9AM, University of South Dakota (as part of the National Association of Teachers of Singing regional meeting and competition. The three will then serve as judges the following day.) Click here for more info.
Musicologists to gather at UW for the Midwest Graduate Music Consortium, April 11 & 12
The Midwest Graduate Music Consortium (MGMC) is a joint venture organized by graduate students from Northwestern University, the University of Chicago, and the University of Wisconsin-Madison. MGMC encourages the presentation of original research and the composition of new music by graduate and advanced undergraduate students. Conferences are held annually on a rotating basis, at Madison, Chicago, or Evanston.
The eighteenth annual MGMC meeting will be held at the University of Wisconsin-Madison and will include paper sessions, a new music concert, and a keynote address delivered by Tamara Levitz. MGMC 2014 is generously funded by the UW-Madison School of Music and the UW-Madison Lectures Committee. For the full program, click here: https://sites.google.com/site/mgmc2014/program
Friday, April 11, 4PM, Room 2650 Humanities: “Riot at the Rite: Racial Exclusion and the Foundations of Musical Modernism,” a talk by Tamara Leivitz, UCLA. Abstract: “The premiere of Igor Stravinsky and Vaslav Nijinsky’s ballet Rite of Spring in Paris on May 29, 1913 had received much attention in scholarly works for the infamous riot that confronted its first performance. The lecture aims to deconstruct the myth of the riot, with the goal of exposing the process of racial exclusion in modernist listening practices that emphasized the work’s newness over its strangeness. Through the proliferation of this myth, Prof. Levitz will show how concert organizers, musicologists, and journalists cemented the practices of racial exclusion that define listening cultures of modern music to the present day.” Saturday, April 12, 1 PM. New Music Concert at Luther Memorial Church, 1021 University Ave, featuring new works for Clocks in Motion and the woodwind quintet, Black Marigold.
Faculty oboist Kostas Tiliakos to perform Greece-inspired program with Christopher Taylor and Stephanie Jutt
Pianist Christopher Taylor and flutist Stephanie Jutt will accompany Kostas Tiliakos on oboe and English horn in his only solo recital this year, April 7 at 7:30 PM in Morphy Hall. His program will consist by composers Minas Alexiadis, Anastassis Philippakopoulos, Theodore Antoniou, Jurgis Juozapaitis, and Thea Musgrave. Tiliakos, a visiting assistant professor of oboe, replaced retiring faculty oboist Marc Fink last fall. “The idea was to play music either written by Greek composers or music inspired by Greece and its history and mythology,” Tiliakos says. Three of the pieces were written and premiered by Tiliakos: Alexiadis’ Folk Cadenza No.5 (premiered at the International Double Reed Conference 2013, at University of Redlands, California); and Philippakopoulos’ Syrna and Antoniou’s Trio Lyrico for oboe, flute, and piano. The last two were premiered by Tiliakos in Athens in 2000 and 2008, respectively.
New trombone ensemble holds first concert; Mark Hetzler to solo
The Madison Area Trombone Ensemble will present its inaugural concert at 3pm on Sunday, March 30th, at First United Methodist Church, 203 Wisconsin Ave. Founded by School of Music alumnus and Madison freelance trombonist Kevan Feyzi (BM, 2012), MATE is an all-volunteer group is comprised of some of the top trombonists in the community. The program will feature Mark Hetzler, associate professor of trombone, performing David P. Jones’ Bone Moan, a composition for solo trombone with six-part trombone choir and the title track on Hetzler’s eponymous album, released in December on Summit Records. The program also includes compositions by local trombonist Rich Woolworth plus Randall Thompson, Haydn, Duke Ellington, and arrangements by members of the group.