(Director, University Wind Ensemble and the Cal Band)
The University Wind Ensemble, under the direction of Robert Calonico (’76), performed an arrangement of Antonio Lotti’s Crucifixus a 10 for brass ensemble by Emeritus Professor Michael Senturia on December 6, 2015. Calonico will guest-conduct the Wheaton College (IL) Symphonic Band in February 2016.
The Wind Ensemble has been invited to perform at the College Band Directors National Association Western/Northwestern Division Conference in Reno, NV in March of 2016. Spring 2015 concerts in Hertz Hall include: Wednesday, March 9 noon concert featuring Mendelssohn, Overture for Wind Instruments in C major, op. 24; William Bolcom, Song; and Ira Hearshen, Divertimento for Band. Sunday, April 24, 3pm concert: Itaru Sakai, The Seventh Night of July; Samuel Barber, Sure on this Shining Night; Arturo Marquez, Conga del Fego Nuevo; Edward Cupero, Honey Boys on Parade; Oja Gjeilo, Serenity; Vaclav Nelhybei, Trittico.
(Professor of Composition, CNMAT Director)
Professor Edmund Campion’s Cluster X, commissioned by the Ensemble Intercontemporain in collaboration with audiovisual artist Kurt Hentschläger was premiered at the new Philharmonie Hall in Paris in October of 2015 and then taken on tour to UC Berkeley and Chapel Hill, North Carolina. Upcoming projects include a new commission by pianist Marilyn Nonken to compose a piece inspired by Gerard Grisey’s Vortex Temporum and a new work for the Korean National Gugak Center’s Contemporary Gugak Orchestra for premiere in Seoul in 2017 and on tour.
Karen Chang & Zoe Xu
Karen Chang is the new Graduate Student Services Advisor. After graduating from Berkeley with a BA in Linguistics and German, she spent the subsequent eight years in Arizona and Indiana working in the social services field. She went on to earn a master’s degree in nonprofit administration from the University of Notre Dame, where she also served as the coordinator for the graduate program in biomedical sciences. She is thrilled to return to the Bay Area and resume singing in Berkeley’s Chamber Chorus. She also enjoys Irish fiddling, learning languages, teaching music, being an aunt to her one-year-old niece, and finding joy in unexpected places.
Zoe Xu graduated from Cal with a degree in Psychology. Firmly believing in the transformative power of education, she has worked in various roles in education and dabbled in psychological science research. For the last four years, she served as an undergraduate advisor at UC Berkeley and is having the time of her life.In her free time, Zoe loves to cook, bake, read, and tend to her tenacious plants. Her life-long goals are to wander in every country in the world (she will happily settle for “many countries in the world”), read every book on her ever-growing list, and plant a garden of roses.
(Professor of Composition, Department of Music Chair)
In addition to chairing the Music Department, Professor Cindy Cox has also had a busy year with performances of her works across the world. In April, there was a portrait concert in Shanghai, China at the Oriental Arts Center of La cigüeña and Mallets, Playing a round, Hishuk ish ts’walk, and Patagón. As part of the centennial celebration of the carillon, her Mysterium Coniunctionis was performed across the globe on April 1 in a series of coordinated performances. Hishuk ish ts’walk was performed by the department’s Eco Ensemble at the Festival of New American Music in Sacramento, and Wave was performed in Havana by the ensemble Third Sound, in a special delegation to Cuba with the American Composers Forum. This past summer, Cox was invited to participate in the International Gugak Workshop in Seoul, South Korea, as well as the Institute Français, “FOCUS Musique Contemporaine” by the Ministry of Culture in Paris. Her monograph CD, Patagón, by the Alexander String Quartet was released in October on Naxos, and named the “best new music disc this year” by Audiophile Audition magazine in a recent review.
(Professor of Music Studies)
Professor Jocelyne Guilbault’s book, Roy Cape: A Life on the Calypso and Soca Bandstand, was published by Duke University Press in October 2014. Also in 2014, the journal Ethnomusicology published her article, “Politics of Ethnomusicological Knowledge, Production, and Circulation,” and in 2015, the Cambridge University Press journal Popular Music published her review essay of Living Politics, Making Music: The writings of Jan Fairley, edited by Simon Frith, Stan Rijven, and Ian Christie. Among invited lectures in 2014 and 2015, she spoke at UCLA, Columbia University, the University of the West Indies (St. Augustine, Trinidad), Harvard University, and Boston University. For those presentations she developed versions of a paper titled, “Roy Cape’s Labor of Love: Theorizing Work Ethics through Musical Biography” and gave seminars on “Biography and Experimental Dialogical Writing in Ethnomusicology.” In Fall 2015, she was invited to give a public lecture on her recent book as well as a graduate seminar on her vision of Ethnomusicology today at the Universidade Nova de Lisboa, Portugal, where she presented “Geography beyond Geography: A Vision of Ethnomusicology through Intellectual Biography.” Her 2015 conference presentations included “Music and Militarization: How Are They Related?” for the Caribbean Studies Association in May, and for the American Anthropological Association in November, she presented on issues central to her new co-edited book project Sounds of Vacation: Cross-Caribbean Perspectives on Music and Tourism.
(Assistant Teaching Professor)
Composer, guitarist and writer Matthew Hough joined the Berkeley music faculty in 2015. From July 15–22, , Hough was a resident composer at the Mid-Missouri Composers Symposium, hosted by the Osage Arts Community in Belle, MO. For the month of August 2015, he was a resident composer at the Willapa Bay AiR program in Oysterville, WA, and on November 7, 2015, the Ohio University New Music Ensemble performed his work for chamber ensemble, pppppppppppppppp. On November 20, 2015, he presented a paper, “Jamaican Popular Music in the College Aural Skills Classroom: Developing Musicianship Skills with Chill Spot Riddim” at Ann Arbor Symposium IV: Teaching and Learning Popular Music, an interdisciplinary conference hosted by the University of Michigan.
(Professor, Choral Director)
In 2014 the University Chamber Chorus enjoyed a banner year. After raising some $30,000 in concert revenue, raffles, Christmas caroling, etc., the singers traveled to New York City to perform in a sold-out concert at Weill Recital Hall at Carnegie Hall. The concert, called ” a cappella Next” and organized by Distinguished Concerts International, featured three acclaimed American choirs: Notus from Indiana University, Ad Astra Singers from Wichita, KS, and our chamber chorus. After the concert at Carnegie Hall, they sang at The Church of St. Luke in the Fields to a full house and also at Memorial Church on the Harvard campus. For some of the singers, it was their first time traveling in New York, for some their first time in Boston, for all their first time singing at those prestigious venues. In spring 2015, the Chamber Chorus will perform the Bach B minor Mass on April 10 and 11 and choruses from John Adams Death of Klinghoffer
The University Chorus sang concerts under three Berkeley conductors last year. First, they were led by Li-Wen Kuo Monk (class of 1991) in a concert that included the Duruflé Requiem; then they sang Part I of the Handel Messiah in December and a concert of Brahms and Stravinsky in April under Marika Kuzma; finally they joined the UC Alumni Chorus and the UC Symphony in performances of Mahler Symphony No. 2 in May. So many musical styles! Fall 2015, the chorus sang Orff’s Carmina Burana, and the Mozart Requiem with the Berkeley Symphony in Zellerbach Hall on April 30, 2015.
For an update on all 2015 activities (a big year!), see featured story in department news section (add link).
(Assistant Professor, Music Scholarship)
In Fall 2015, Tamara traveled to Georgia and South Carolina with the Spiritual Technologies Project, a venture she co-founded in 2013. Along with filmmaker Michaela Leslie-Rule and artist/cultural worker Ron Ragin, Tamara documented meter hymn singing in multiple southern black churches, including interviews with practitioners and audio/video recording in church services. Tamara’s book, Resounding Afro Asia: Interracial Music and the Politics of Collaboration (Oxford UP), will be out in February 2016.
(Curator, Salz Collection of Stringed Instruments)Carla Shapreau joins the UC Berkeley Music Department as Curator of the Ansley Salz Collection of Stringed Instuments. She brings to this position a background of violin making, restoration, and service as a Board member and advisor to the non-profit American Federation of Violin and Bow Makers and the Violin Society of America.Co-author of Violin Fraud — Deception, Forgery, Theft and Lawsuits in England and America, Oxford University Press, Carla Shapreau has written and lectured broadly on topics pertaining to instruments of the violin family and other music-related issues, most recently: “The Plunder and Restitution of Vg: the Nazi Era and its Aftermath, 1940–9,” The Ferrell-Vogüé Machaut Manuscript, Oxford: DIAMM Publications, 2014; “The Austrian Copyright Society and Blacklisting During the Nazi Era,” the OREL Foundation, 2014; “Mastery of the Past,” Symposium: The Vienna Philharmonic 100 Years After the Outbreak of the First World War, Cal Performances, University of California, Berkeley, 2014; “The Loss of French Musical Property During World War II, Post-War Repatriations, Restitutions, and 21st Century Ramifications,” France Berkeley Fund Report, 2013; “The Theft of Culture, Persecution, and the Identity of Wanda Landowska,” The Musical Worlds of Polish Jews, 1920–1960, Identity, Politics, and Culture, Arizona State University, 2013; “A Nazi Violin Still Keeps Its Secrets,” New York Times, September 23, 2012.In addition, Carla Shapreau is a Lecturer in the School of Law, where she teaches a course on art and cultural property law, including topics pertaining to collection management. She is also a Senior Fellow in the Institute of European Studies, where she is conducting cultural property research in the field of music.
(Head Librarian, Jean Gray Hargrove Music Library)
Early in 2015, the noted composer Frank Ferko joined the staff of the Jean Gray Hargrove Music Library to take on the tasks of cataloging rare and unusual scores and recordings. Since his arrival, Frank has been cataloging the backlog of rare score editions that head librarian John Shepard has been acquiring from antiquarian dealers and at auction since the summer of 2012. Among those are first editions of Handel, French Baroque music, and Italian Baroque “concerti grossi”. Rare acquisitions for the first half of 2015 were limited because the Hargrove Music Library made the final payment for an important 18th-century manuscript of chorales by J.S. Bach. However, late in the year the library was the successful bidder at auction for four substantial diaries of the early 19th-century opera composer Ferdinand Hérold. In early November, John Shepard returned to his hometown to receive a Distinguished Alumni Award from the School of Music, Theatre and Dance of the University of North Carolina at Greensboro.
Mary Ann Smart
(Professor of Music Studies)
In December 2014 students in the new mentoring program Berkeley Connect had the opportunity to talk to Yo-Yo Ma about the future of classical music and career opportunities for young musicians. In a lively chat on the stage of Zellerbach Hall, Ma invited Berkeley students to come up with their own plans for how to revitalize music and make politicians and policy makers care about culture, and promised to come back and talk to them about their ideas next time he comes to the Bay Area.
Since then Berkeley Connect students have had the opportunity to attend for free performances of the San Francisco Symphony, the Simon Bolivar Symphony with Gustavo Dudamel at the Greek Theater, and the Mariinsky Ballet at Zellerbach Hall.
In November 2014 Nicholas Mathew and Mary Ann Smart organized a day-long conference to scrutinize “quirk historicism,” a new tendency in academic writing about music that focuses on strange historical details such as a pair of much-discussed eighteenth-century elephants who loved French revolutionary songs but found Haydn symphonies boring. The conference brought together speakers from Harvard, Cambridge, Cornell, SUNY Buffalo, and the University of Toronto; UC Berkeley’s Tom Laqueur (History) and Alan Tansman (Townsend Center) gave lively responses from outside the field of music. The papers have just been published in the journal Representations.
Musicology graduate students Nell Cloutier, Amalya Lehmann, and Danielle Simon presented papers at the first international conference on opera in Bologna, Italy in June 2015.
In April 2015 Mary Ann Smart convened a workshop at King’s College London on her forthcoming book, Waiting for Verdi: Opera and Political Opinion in Nineteenth-Century Italy. Participants from Cambridge University, the University of Rome, University of Nottingham, and University College, London spent a day discussing the book, which will be published by the University of California Press in 2016.
(Associate Professor, Composition)
Ken Ueno, Associate Professor of Composition, was very active this past year. He had three important premieres: Zetsu, a chamber violin concerto for the San Francisco Contemporary Music Players, conducted by Steve Schick; Four Contemplations, an hour-long piece commissioned by Community MusicWorks with support from the prestigious MAP Fund, which premiered at the RISD Museum; and Fanfares for the Apocalypse, a trumpet concerto, commissioned by the Henry Mancini Institute. Starting this fall, Ueno will spend ten weeks, spread out over the academic year in Pittsburgh, supported by a generous grant from the Pittsburgh Foundation and the Heinz Foundation. As part of the first installments of this residency, he performed his vocal concerto, On a Sufficient Condition for the Existence of Most Specific Hypothesis, with Alia Musica, a Pittsburgh-based ensemble. He also performed his vocal concerto at the Governor’s School of North Carolina, where he was a featured guest artist. During the summer, he taught at the Atlantic Music Festival and the Modern Academy, in Hong Kong. At the Modern Academy, world-renowned Neue Vocalsolisten Stuttgart premiered his new vocal ensemble piece. Other performance highlights include a performance of Zetsu in Boston with Sound Icon, a performance of his piece for the Bang on a Can All-Stars, …blood blossoms…, at Warsaw Autumn, Poland’s premiere new music festival, and a performance at the Spoleto Festival. He presented invited lectures on his music at: the Cleveland Institute of Music, the University of Pittsburgh, the University of Miami (Henry Mancini Institute), the Bowdoin International Music Festival, Brigham Young University, and Stony Brook University. Additionally, he served as a panelist at the College Art Association Conference, where he was invited to talk about his sound installations. He served as a Mentor-Composer for Berkeley Symphony’s “EarShot Under Construction New Music Readings”. Three CDs featuring recordings of Ueno’s works were published during the year: Peradam, in Scrapyard Exotica, Sono Luminus, Del Sol String Quartet; Fullimmobilizationinacuirassereamed, in A Simple Procedure, Estuary ltd. est5007, Various; and Ed è subito sera, in The Legend of Hagoromo, Stone Records, Aaron Large-Caplan.
Bonnie C. Wade
(Professor of Music Studies)
Bonnie Wade is serving as Acting Chair of the History of Art Department this year and next, and continuing to serve as Chair of the Faculty Group in Asian Studies. Recent publications include Composing Japanese Musical Modernity, a book by Bonnie C. Wade (Chicago Studies in Ethnomusicology) and an article “Performing Studies of Music in Asian Cultures: Some Personal Reflections on What We Have Been and Are Up to,” Asian Music, 2014, Vol. 45, #2 (Summer-Fall), pp. 3-32. Professor Wade is “going full tilt until retirement in June 2016 (and beyond)”.