UCB Libraries


Nadia Boulanger & American Music
A three-day symposium hosted by the American Music Research Center
at the University of Colorado at Boulder

October 7-9, 2004


-:- Guest Chairs, Presenters & Performers -:-


available as a printer-friendly pdf


Walter Bailey is Associate Professor and Chair of Musicology at Rice University’s Shepherd School of Music. He is the author of Programmatic Elements in the Works of Schoenberg, co-author of Radie Britain: A Bio-Bibliography, and editor of the Arnold Schoenberg Companion, to which he also contributed several articles.


Antonia L. Banducci, an Associate Professor of Music History at the Lamont School of Music, University of Denver, specializes in French Baroque opera. Her glossed list of extensive prompt notes for a mid-eighteenth-century production of André Campra's tragédie en musique Tancrède will appear in a Pendragon Press facsimile edition of the opera, currently in press, for which she has provided the introduction and appendices.


Dr. Mary Berry studied with Nadia Boulanger in Paris and with Thurston Dart at the University of Cambridge, where she specialized in sacred music. Following her doctoral thesis, “The Performance of Plainsong in the Later Middle Ages and the Sixteenth Century,” she has continued her research into the evolution of different styles of performance practice from the tenth to the twenty-first century. She founded the Schola Gregoriana of Cambridge in 1975 and has organized workshops and master classes in Gregorian chant in Europe, the USA, Canada and Australia. With the Schola’s professional singers she has participated in numerous festivals in Great Britain, France, Italy, Belgium, and Canada and has made a series of award-winning CDs on the Herald label.


Professor of music history at the Université de Sherbrooke (Quebec) since 1992, Pr. Jean Boivin received his Ph.D. in musicology from the Université de Montreal. His book La classe de Messiaen (Paris, Christian Bourgois, 1995) was acclaimed by the French music critics and the Académie des Beaux-Arts de France.


E. Douglas Bomberger is professor of music at the University of Hawai‘i at Manoa, where he teaches courses in music history and serves as chair of musicology. He is the editor of Brainard’s Biographies of American Musicians (Greenwood, 1999) and author of “A Tidal Wave of Encouragement”: American Composers’ Concerts in the Gilded Age (Praeger, 2002).


Prior to joining the CU Music Faculty in 1986, James Brody taught at universities in Illinois, Indiana, and Kentucky. Mr. Brody’s major teachers include John Mack, Jerry Sirucek, and Marcel Moyse (oboe), Grant Moore and James Caldwell (Baroque oboe), and Marjorie Barstow and Barbara Conable (the Alexander Technique). He teaches the Alexander technique in the college curriculum and for the William Bennett International Flute Courses in Surrey, England. Mr. Brody is the coauthor of the textbook Rock and Roll: An Introduction, published by Schirmer.


Jeanice Brooks studied singing and music education in the U.S. and in France before completing the Ph.D. in Musicology and French Literature at the Catholic University of America. She taught at Georgetown University before taking up an appointment at the University of Southampton (UK) where she is currently Reader in Music. Her book on the strophic air de cour in the context of court culture, Courtly Song in Late Sixteenth-Century France (University of Chicago Press, 2000), received the Roland Bainton prize for the best book in music or art history to be published that year.


Helena Bugallo, a native of Argentina, has performed in the United States, Mexico, Argentina, England, Germany, Sweden, and Japan. She has collaborated with numerous established groups, including the Meridian Arts Ensemble (USA), the String Quartet of the University of La Plata (Argentina), Thuermchen Ensemble (Germany), the Slee Sinfonietta (USA), and the Birmingham Ensemble (UK). In 1999 she co-founded, with trumpeter Jon Nelson, the new music group Ensemble de Calaveras, whose first CD appeared in 2002.


Stephen Burnaman, pianist, has performed throughout the United States and abroad in such major musical centers as Boston, New York, Chicago, Rome, Warsaw and Taipei and will present concerts in Hong Kong with soprano Eugenia Yau in summer, 2004. He is currently Assistant Professor of Piano and College Organist at Huston-Tillotson College in Austin, Texas, and is immediate past president of the Austin District Music Teachers Association, which named him Teacher of the Year for 2003 and Collegiate Teacher of the Year for 2004. As an organist, he has served churches in Massachusetts and Texas. 


Carlo Caballero is assistant professor of music at the University of Colorado at Boulder. He is the author of Faure and French Musical Aesthetics (Cambridge University Press, 2001) and has published essays in two edited collections, Regarding Faure and The Arts Entwined: Painting and Music in the Nineteenth-Century as well as Victorian Studies and The Journal of the American Musicological Society.


Don Campbell is an author and consultant in the role of music in education and health. He studied in Fontainebleau and Paris from 1960 to 1962 with Nadia Boulanger and Jean Casadesus. Author of sixteen books, including Master Teacher, Nadia Boulanger, he serves on the boards of the American Music Research Center, ARTS for People, the Society for Arts in Healthcare and the Arts and Health program at Duke University.


Nelly Maude Case has been professionally active for over thirty years. She earned a Bachelor of Music degree in piano from Ohio State University, a Master of Music in piano from Yale University, and a doctorate in musicology from Boston University. Since 1991 she has taught at the Crane School of Music of the State University of New York at Potsdam, where she is an associate professor, specializing in history, literature, and women in music.


David Conte, Professor of Composition and Conductor of the Conservatory Chorus at the San Francisco Conservatory of Music, has received commissions from Chanticleer, the San Francisco Symphony Chorus, the Dayton, Oakland and Stockton Symphonies, the American Guild of Organists, Sonoma City Opera, and the Gerbode Foundation. Conte has composed songs for Barbara Bonney, Thomas Hampson, and Phyllis Brun-Julson. The composer of three operas: The Dreamers, The Gift of the Magi, and FirebirdMotel, Conte has published over forty works with E. C. Schirmer Music Company, and his work is represented on numerous recordings.


Sheila Kearney Converse, a native of upstate New York, teaches Studio Voice, Vocal Pedagogy and Women and Music at Washington State University. Before joining the faculty at WSU, Ms. Converse taught at the University of Idaho in Moscow, Idaho and at Centre College in Danville Kentucky. Among the roles Ms. Converse has sung are Carmen in "Carmen", Dorabella in "Cosi Fan Tutte", Marthe in "Faust", the Mother in "Amahl and the Night Visitors", Hansel in "Hansel and Gretel", Augusta in "The Ballad of Baby Doe" and the Principessa in "Suor Angelica".


Alejandro Cremaschi teaches piano, piano pedagogy and class piano at the University of Colorado at Boulder. A specialist in the areas of group piano, technology, and Latin American piano music, he has been a presenter at national and international conferences. An active performer, he has recorded for the labels IRCO and Marco Polo.


Alison d’Amato, praised as "an expert pianist" by Boston Globe critic Richard Dyer, has built a reputation as a dynamic and versatile musician. Equally committed to solo, vocal, and instrumental chamber music, she is engaged in a wide variety of projects, performing with such diverse organizations as Boston Modern Orchestra Project (BMOP), Radius Ensemble, Boston Musica Viva, Florestan Recital Project, and Opera Boston. Ms. D'Amato is an enthusiastic advocate of new music, and has worked with and performed music by many of today's leading composers, including John Harbison, Thea Musgrave, Michael Gandolfi, and John Heiss.


Brian Doherty is the Head Librarian at the Arizona State University Music Library. His article on Richard Wagner’s Großer Festmarsch has appeared in the Journal of the American Liszt Society, and he has contributed reviews to Choice, Notes, and has authored several entries in the forthcoming The Organ Encyclopedia (Routledge).


Donna Doyle teaches music theory and ear training at the Aaron Copland School of Music of Queens College, City University of New York, and is a Ph.D. candidate in music theory at CUNY's Graduate Center. As an undergraduate, having attended the Juilliard School, she received a B. M. in Music, summa cum laude, from Hunter College, where she studied with Louise Talma and Donald Lybbert and received the Heiniger Award for Excellence. Subsequently, Ms Doyle spent two summers in Fontainebleau and one winter in Paris studying privately with Mlles Boulanger and Dieudonné.


Luann Dragone teaches music at William Patterson University in Wayne, New Jersey in addition to her private piano students. Her extensive study of Talma's music culminated in her dissertation, "Stylistic Tendencies and Structural Design in the Music of Louise Talma." Dr. Dragone has recently contributed an article on Louise Talma to Notable American Women due be published in December of 2004 by Harvard University Press.


Julie Dunbar is Associate Professor of Music at Edgewood College in Madison, Wisconsin, where she teaches music history, music education courses, and is director of bands. Her research frequently combines her interest in music education and musicology, focusing on both historical and sociological issues in music education.


Aaron Engebreth, acclaimed for his “exemplary diction and rich baritone voice,” maintains an active solo career in opera, oratorio and recital, and has devoted considerable energy and time to the performance of new music, often collaborating with composers.


Paul Erhard is Associate Professor of Double Bass at the University of Colorado at Boulder, where he has taught since 1986 and was a founding member of the Faculty Jazz Quintet.. He earned his Bachelor of Music degree from the Eastman School of Music and his Masters and Doctoral degrees from the Juilliard School in New York City. Dr. Erhard has performed solo recitals and taught masterclasses in the United States, Europe, South America, and Asia. In 2004, he toured Western USA as the bassist for the Chris Norman Ensemble, a quartet performing Celtic music. Erhard composes for the double bass, drawing upon a variety of musical styles including Western classical, jazz, and Indian music.


Stéphan Etcharry is a music teacher at the University Paris IV-Sorbonne and at the Consérvatoire Jacques Ibert in Paris (19th district). His musicological research concerns French music between the second part of the nineteenth and the beginning of the twentieth centuries, particularly Henri Collet (1885-1951), the subject of his doctoral thesis (2004).


Elizabeth Farr performs on the harpsichord, organ, and pedal-harpsichord and teaches at the University of Colorado at Boulder. She holds degrees in organ performance from Stetson University and The Juilliard School, and harpsichord performance from the University of Michigan. Her teachers included Paul Jenkins, Vernon de Tar, and Edward Parmentier. She has won a number of concert organ and harpsichord competitions and concertizes in the United States and Europe.


The Florestan Recital Project is devoted to promoting the art of the song recital through performance and educational outreach. By presenting unique and carefully researched programs of artistic interest, the Florestan Recital Project strives to achieve the highest standards of performance and to build a diverse audience. The group takes its name from the composer Robert Schumann (1810-1856) who composed around 150 songs, which are cornerstones of the art song repertoire. Florestan was one of Schumann's alter egos - a fiery, revolutionary character who appeared in his music and as a pseudonym in his writings for the music journal he founded and edited, the Neue Zeitschrift für Musik. [Please see Engebreth, d'Amato, and the Harpers for individual bios.]


A native Texan, Anna Marie Flusche was the first person to receive a doctorate in organ performance from the Shepherd School of Music of Rice University. Organist, writer and researcher, she is also a member of the Dominican Order. Her special area of interest is the contribution made by clerics and religious to the art of music.


Elaine Funaro has appeared throughout the United States, Australia and Europe as a harpsichord soloist and chamber player in programs ranging from performances on period instruments to concerts of contemporary works. She has appeared at Festivals in Amherst, Amsterdam, Berkeley, Bloomington, Boston, Breckenridge, Charleston and Iowa as well as solo recitals at the Smithsonian Institution, Library of Congress, and Spivey Hall in Atlanta.


Tamara Goldstein, pianist, D.M.A. University of Colorado at Boulder, MM Juilliard School, BM Indiana Univ/Bloomington, is currently Artist-in-Residence and Assistant Professor at Metro State College of Denver.  She is also Coordinator of accompanying and chamber music at MSCD and on the accompanying faculty of the Aspen Music Festival during the summer season. She performs as a member of the Colorado Chamber Players and is director/founder of the annual Piano Celebration at Metro State.  The '04-05 season also includes a concert tour of Asia and a concerto appearance with the Lakewood Symphony.


Jay Gottlieb received a Master of Arts degree from Harvard University, where he also taught (piano, composition, harmony), performed, and organized concerts. He worked closely for many years with Nadia Boulanger; with pianists Robert Casadesus, Yvonne Loriod and Aloys Kontarsky, and with composers Lukas Foss, Stefan Wolpe, Olivier Messiaen, Maurice Ohana, Georges Aperghis, Luciano Berio, Pierre Boulez, Sylvano Bussotti, John Cage, George Crumb, György Ligeti, Betsy Jolas, Oliver Knussen, Giacinto Scelsi, Ralph Shapey.


Pianist Anne Kissel Harper, praised by the Boston Globe as “rhythmically charged” and “smouldering,” is active as a chamber musician and song recitalist. A founder and artistic director of the Florestan Recital Project, she has appeared often in recital with her husband, tenor Joe Dan Harper. Together they have premiered works by composers such as Daniel Pinkham and Lior Navok and have performed in Boston’s Jordan Hall, live on Boston’s WGBH, and throughout the southern United States. Their performance together in November 2002 with the Florestan Recital Project was acclaimed by Boston’s Bay Windows as the best recital of 2002.


Tenor Joe Dan Harper studied with renowned singing teacher Rudolf Piernay as a Fulbright Scholar at the Staatliche Hochschule für Musik in Mannheim. Mr. Harper has distinguished himself as a wonderfully versatile singer of concert, recital and chamber music repertoire. As fellow at the Tanglewood Festival during the summers of 1997 and 1999, Joe Dan performed under renowned conductors Seiji Ozawa, Robert Spano and Tan Dun; and in 2000, he was invited to participate in Tanglewood’s first annual Bach Institute, directed by Craig Smith.


Deborah Hayes is a professor emerita of musicology at the University of Colorado at Boulder. Her publications include: Peggy Glanville-Hicks: A Bio-Bibliography (1990); new editions of music by Francesca LeBrun, Marie-Emmanuelle Bayon-Louis, Ann Valentine, and other composers of the late eighteenth century; and translations of two music theory treatises by Jean-Philippe Rameau.


Dr. Peggy Holloway, soprano, teaches applied voice, voice class, elementary music methods, and directs the women's ensemble at Dana College in Blair, Nebraska. As the leading authority on the songs of Marion Bauer, she has presented lecture/recitals on Bauer at national conferences of the College Music Society, has served as the editor of an edition of Bauer's songs, and contributed the chapter on Bauer to Volume 7 of the series Women Composers: Music Through the Ages.


Pianist and scholar Sylvia Kahan has performed as soloist, recitalist, and chamber musician in venues and concert series throughout North American and Europe, including Tuesday Matinees Series at Merkin Concert Hall (NYC), the Dame Myra Hess Memorial Concerts (Chicago), and the Fondation Singer-Polignac (Paris). Her book, Music's Modern Muse: A Life of Winnaretta Singer, Princesse de Polignac (University of Rochester Press) was hailed by the London Times as a "superb new biography." Sylvia Kahan serves on the doctoral piano faculty of the CUNY Graduate Center, and is the Chair of the Department of Performing and Creative Arts, CUNY.


William Kearns is Distinguished Professor Emeritus of Music at the University of Colorado at Boulder, where he has taught courses in American music, Anglo-American folk music, music esthetics, and music history since 1965. He was also horn instructor (1965-78) and has served as Associate Dean of Graduate Studies in Music (1981-1985), chair of the PhD in Music program (1966-92), chair of the Music History Faculty (1965-75), and Director of the American Music Research Center (1989-92). He is now a Senior Fellow in the AMRC.


Meg Kelley received the B.A and M.Mus. in piano performance from the University of Idaho and the University of Iowa, respectively. She has taught at Lewis-Clark State College in Lewiston, Idaho and at the University of Idaho in Moscow and currently teaches independently in Pullman, Washington. She has performed as a soloist, in chamber ensembles and as an accompanist since 1970.


David A. King instructs Piano, Class Piano, Accompanying, and Theory at Colorado State University. CSU's Piano Area has recently initiated a Masters degree program in Collaborative Piano based on his decades of experience. He is also an active avocational composer and a church musician.


Janet Morrow King is Associate Professor of Voice, Coordinator of the Voice Area and Assistant to the Chair at Colorado State University. She holds a Doctor of Musical Arts degree in Vocal Performance from the University of Minnesota as well as a B.M. in Vocal Performance from the University of Redlands and M.M. degrees in Opera/Music Theater and Vocal Performance/Pedagogy from Southern Illinois University and the University of Idaho, respectively.


Timothy J. Krueger, Artistic Director and founder of Saint Martin's Chamber Choir, studied musicology at Wheaton College Conservatory, CU-Boulder, the University of Hamburg, and the University of London’s Royal Holloway College. He is choirmaster of St. Andrew’s Episcopal Church, Denver, and is a part-time faculty member at Metropolitan State College of Denver.


Alexandra Laederich, General Secretary of the Nadia and Lili Boulanger International Foundation,is a Doctor of Musicology from Paris-Sorbonne University. Her notable publications include: Catalogue de l’œuvre de Jacques Ibert (Georg Olms Verlag, 1998), “Les associations symphoniques parisiennes”, in La Vie musicale sous Vichy (Paris, Éditions Complexe, 2001), “La première audition à Londres des Litanies à la Vierge Noire par Nadia Boulanger (November 1936)” in Francis Poulenc et la voix (Lyon, Symétrie, 2002), Les fonds Nadia Boulanger: un héritage musical complexe, Bulletin spécial du Groupe français de l’AIBM (to be published in 2004).


Laurence Languin is Librarian of the Médiathèque Nadia Boulanger in the National Superior Conservatory of Music and Dance in Lyon, France and President of the French Group of International Association of Music Libraries, Archives and Documentation Centres.


Noël Lee, composer and pianist of American origin, went to Paris in 1948 to continue his education under the guidance of Nadia Boulanger. She has written, "Noël Lee is one of the finest musicians I have met. Composer with a real personality, he has refinement and strength, an acute perception of the resources of his instrument, a sense of the hierarchy of values and a total understanding of the works." During the 1970s, the French Cultural Affairs Ministry and the French National Radio awarded him three important commissions. In 1986 he received a second prize in the Arthur Honegger Composition Contest for a set of Piano Etudes—the first prize going to György Ligeti. In 1991, the Charles Oulmont Prize was awarded him by the Fondation de France.


Leonard Lehrman studied with Lenore Anhalt, Elie Siegmeister, Olga Heifetz, Kyriena Siloti, David Del Tredici, Earl Kim, Jean-Jacques Painchaud, N.B. (at Fontainebleau, 1969; and on a Fulbright in Paris, 1971-72), Erik Werba, Leon Kirchner, Lukas Foss, Robert Palmer, Karel Husa, John Eaton, Donald Erb, Tibor Kozma, Wolfgang Vacano, and taught under Malcolm Bilson at Cornell. His 168 compositions to date include 10 operas, 6 musicals, and over 400 individual vocal pieces. His Capstone CD of solo piano music received glowing praise in "The American Record Guide".


Kendra Leonard is widely recognized as an authority on the history of the Conservatoire Américain de Fontainebleau and has most recently presented her research findings at the 2004 national meeting of the Society for American Music and the Fall 2003 Midwest chapter meeting of the American Musicological Society. An alumna of the Conservatoire Américain, Leonard is an independent scholar active within the National Coalition for Independent Scholars and has served as a panelist with the American Musicological Society as a speaker on careers outside of academia for scholars. Her history of the Conservatoire Américain is currently under consideration for publication in 2005.


Robert Levin has performed throughout the United States, Europe, Australia and in Asia, appearing with the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Montreal, Utah and Vienna on the Steinway and with the Academy of Ancient Music, the English Baroque Soloists, the Handel & Haydn Society, the London Classical Players, the Orchestra of the Age of Enlightenment and the Orchestre Révolutionnaire et Romantique on period pianos. Renowned for his improvised cadenzas in Classical period repertoire, Robert Levin has made recordings of a wide range of repertoire for DG Archiv, ECM, New York Philomusica, Philips and SONY Classical. Carnegie Hall has commissioned him to create a new completion of the Mozart C-minor Mass to be premiered in January 2005.


Roberta Lindsey, Assistant Professor, Indiana University School of Music, has studied Aaron Copland’s musical career for over twenty years, her primary focus being his early orchestral work, Grohg: A Ballet in one-act (1921 through 1924). She has participated in all four Susan Porter Symposia at the AMRC, in 1995, 1998, 2001, and 2004.


Margaret McDonald received degrees in solo piano from the University of Minnesota and will receive her DMA in collaborative piano from the University of California, Santa Barbara.  She is currently on the faculty at the University of Colorado at Boulder.  McDonald has been a full-fellowship student at the Tanglewood Music Center and Music Academy of the West.  Last summer she was on the accompanying staff at Meadowmount School of Music and beginning in summer 2005, she will be associate faculty in collaborative piano at the Music Academy of the West.  McDonald will be returning to the MTNA National Convention in Seattle this spring as an official accompanist.


Edward McKenna was educated at St. Mary of the Lake Seminary, Mundelein, Illinois; ordained priest of the Archdiocese of Chicago, 1965: M.Div.; A.M. The University of Chicago (Music theory and composition, 1973); Diplome, Institut Catholique de Paris, Musicologie liturgique, 1977; student of Nadia Boulanger, 1975-77, at Paris; Associate editor, Worship magazine, 1979-1991, and editor of The Collegeville Hymnal, Liturgical Press, Collegeville, Minnesota. He is the composer of two operas, a piano concerto, two violin concerti, and other works, produced in Chicago. Father McKenna was chaplain to N.B. in 1976-77, was present for a last visit in October 1979, concelebrated her funeral at Trinite, and performed the final interment at Cimitiere Montmartre.


Emile Naoumoff began to play the piano at the age of five, and started composing his own music a year later. At eight years, after a fateful meeting in Paris, he became Nadia Boulanger’s last disciple. He studied with her until her death in 1979. During this auspicious apprenticeship, Mlle Boulanger gave Emile the opportunity to work with Clifford Curzon, Igor Markevitch, Robert and Gaby Casadesus, Nikita Magaloff, Jean Francaix, Leonard Bernstein, and Yehudi Menhuin.  Lord Menhuin conducted the premiere of Emile’s first piano concerto, with the composer as a soloist when he was ten years old. He is currently on the piano faculty at Indiana University.


Christel Nies, born in Düsseldorf, studied voice, piano, and organ and specializes in contemporary music and music of women composers. She is the founder and leader of the concert-series Komponistinnen und ihr Werk, which has produced 71 concerts to date, and she is editor and author of three books about women-composers.


Frances Nobert is College Organist and Professor Emerita of Music at Whittier College, California. Dr. Nobert has performed for conventions of the American Guild of Organists and the Organ Historical Society, as well as for national and international festivals and conferences related to the position of women in the music profession. Dr. Nobertmay be heard on Organ Historical Society's recordings of the Organs of Maine and on the Raven-label release of Music, She Wrote: Organ Compositions by Women.


Craig B. Parker has been on the faculty at Kansas State University since 1982, and currently teaches music history and plays trumpet with the faculty brass quintet. Professor Parker's research interests focus on American music, including the Los Angeles years of Igor Stravinsky and the composers in his orbit. Formerly an associate editor for the International Trumpet Guild Journal, he is currently the Recording Reviews editor for American Music.


Vivian Perlis is a historian in American music, specializing in twentieth-century composers. On the faculty of the Yale School of Music and Library, Perlis is founding-director of Oral History, American Music (OHAM), a unique archive of oral and videotaped interviews with leading figures in the music world. Publications by Perlis include Charles Ives Remembered: An Oral History (l974), awarded the Kinkeldey Prize of the American Musicological Society; An Ives Celebration (l976); two volumes co-authored with Aaron Copland, Copland: 1900 through 1942 (l984), which garnered a Deems Taylor/ASCAP Award, and Copland: Since l943 (l989).


Edward Phillips is a music theorist, organist, and choral conductor whose research interests are the music of Gabriel Faure' and the transition in structure from tonal to post-tonal music. He holds degrees from Amherst College and Yale University, and he studied with Nadia Boulanger from 1971 until 1973. Dr. Phillips has taught at Yale and the University of Ottawa and is now professor of music at the University of Guelph.


Daniel Pinkham studied organ and harmony at Phillips Academy, Andover, with Carl F. Pfatteicher; then at Harvard with A. Tillman Merritt, Walter Piston, Archibald T. Davison and Aaron Copland (A.B. 1942; M.A. 1944). He also studied harpsichord with Putnam Aldrich and Wanda Landowska, and organ with E. Power Biggs. He is on the faculty of the New England of Conservatory of Music where he is senior professor in the Musicology Department.


Howard Pollack is professor of music and Director of Graduate Studies at the Moores School of Music at the University of Houston, where he has taught since 1987. His most recent book, Aaron Copland: The Life and Work of an Uncommon Man (Henry Holt, 1999), recipient of an ASCAP-Deems Taylor Award and an Irving Lowens Award, has been described as by the New York Times as "the definitive study of Aaron Copland's life and work, no doubt for a long time to come."


Rachel Samet is a doctoral student in Choral Conducting at the University of Colorado at Boulder, where she conducts the Collegiate Chorale. She spent this past summer as the musical director for The Opera House at Boothbay Harbor, Maine.


Harriet Simons retired in 1999 from her position as Director of Choruses and Professor of Voice and Conducting at the State University of N.Y. at Buffalo. In addition to preparing choruses for Robert Shaw, Pablo Casals, Lukas Foss, Pierre Boulez and others during earlier faculty appointments at Oberlin College Conservatory and the State University College of N.Y. at Fredonia, Dr. Simons has guest-conducted and/or lectured at several colleges and universities.

Daniel Pinkham studied organ and harmony at Phillips Academy, Andover, with Carl F. Pfatteicher; then at Harvard with A. Tillman Merritt, Walter Piston, Archibald T. Davison and Aaron Copland (A.B. 1942; M.A. 1944). He also studied harpsichord with Putnam Aldrich and Wanda Landowska, and organ with E. Power Biggs. He is on the faculty of the New England of Conservatory of Music where he is senior professor in the Musicology Department.


Daughter of the late French pianists Robert and Gaby Casadesus,Thérèse Casadesus Rawson received a Ph.D in French Language and Literature from the University of Pennsylvania in 1977. She has taught French, French Diction and French Vocal Repertoire at the Curtis Institute of Music for many years. She is also President of the Fontainebleau Associations which organizes a summer music program in France.


St Martin's Chamber Choir, led by founder and Artistic Director Timothy Krueger, is a professional ensemble of twenty balanced voices. Founded in 1994, the ensemble's repertoire is drawn from a cappella choral literature which spans the centuries, from Renaissance motets, through 18th century Baroque and Classical works and Romantic-era partsongs, to masterworks of the 20th century and new pieces composed expressly for St. Martin's. The choir has released several critically acclaimed recordings which have been featured on the nationally syndicated radio program "The First Art."


David Ward-Steinman is currently Adjunct Professor of Music at Indiana University (Bloomington) and also Professor Emeritus and former composer-in-residence at San Diego State University, where he directed the Comprehensive Musicianship program and the New Music Ensembles. He has received many national awards and commissions for his compositions from groups such as the Chicago Symphony Orchestra, N.Y. Joffrey Ballet, San Diego Symphony (two in a row, 2001 and 2002), San Diego Ballet, Music Teachers National. Association, National Association of College Wind and Percussion Instructors, American Harp Society, and other prominent ensembles and artists.


Amy Williams has appeared as a pianist and composer at renowned contemporary music venues in the United States and Europe, including the Logos Foundation and Ars Musica (Belgium), Gaudeamus Music Week (Netherlands), Musikhøst Festival (Denmark), Subtropics Experimental Music Festival (Miami), North American New Music Festival (Buffalo), Sound Field Festival (Chicago), Tanglewood Contemporary Music Festival, LA County Museum, Mondavi Center and Hildegard Festival (California). Her compositions have been performed by leading contemporary music soloists and ensembles, including the Buffalo Philharmonic Orchestra, Empyrean Ensemble, Klang, International Contemporary Ensemble, CUBE, California E.A.R. Unit, North/South Consonance, Monarch Brass, Ensemble Aleph, pianists Yvar Mikhashoff and Luk', and bassist Robert Black.


Avid Williams, singer, coach, and conductor, is a graduate of the Boys Choir of Harlem and Queens College (CUNY). He studied at the Boston University Tanglewood Institute and participated in master classes and concerts hosted by Sylvia Olden Lee and William Warfield at the National Association of Negro Musicians Annual Convention. He also recorded the world premiere recording of Psalm by John Magnussen, commissioned by the Jose Limon Dance Company for its performance in the Winter Olympics in Salt Lake City, Utah.


Helene Williams co-founded the Bronx Opera in 1967 and the Elie Siegmeister Society in 1999. Since 1987, beginning with "E.G.: A Musical Portrait of Emma Goldman," she has performed close to 400 times with Leonard Lehrman (whom she married on July 14, 2002) on one Australian and seven European tours, on a dozen recordings (on Opus One, Premier, Capstone, and Original Cast Records), and in several dozen works he has written for her. She teaches at Queensborough Community College and at Court Street Music in Valley Stream, N.Y.


Sue Williamson is an instructor of choral music education at the University of Colorado at Boulder. She received her B.M.E. from Ball State University, her M.M.E. from the University of Colorado, and is currently completing her Ph.D. in music education at the University of Washington. She has been the featured honor choir conductor in festivals in Washington, Oregon, and British Columbia.


Robert Xavier Rodriguez was born in San Antonio, Texas, where he received his earliest training in piano and harmony. Subsequent musical education included study in composition with Hunter Johnson, Halsey Stevens, Jacob Druckman, and Nadia Boulanger. He gained international recognition in 1971 when awarded the Prix de Composition Musicale Prince Pierre de Monaco by Prince Rainier and Princess Grace at the Palais Princier in Monte Carlo. Other honors include the Prix Lili Boulanger, a Guggenheim Fellowship, four National Endowment for the Arts grants, and the Goddard Lieberson Award from the American Academy and Institute of Arts and Letters.


Eugenia Oi Yan Yau has recently joined the music faculty at Borough of Manhattan College (City University of New York). At BMCC, she teaches voice, choirs and general music classes. Yau maintains an active performance schedule including lecture-recitals on Chinese Art Songs at Hope College (Michigan, 2001) and University of Michigan (2002), and recitals on American Art Songs at National University of Singapore (2001).


For further information, contact amrc@colorado.edu or 303-735-3645.