Giving

Alan Stanek: Paying it forward

Mariefaith Lane — Wed, 28 Jan 2026 19:37:45 +0000

Alan Stanek: Paying it forward Mariefaith Lane Wed, 01/28/2026 - 12:37

Adam Goldstein + Sabine Kortals Stein

Photo: Alan Stanek (BME '61) and a rendering of his likeness painted by his late wife, artist Janette Swanson Stanek.

Academic scholarships looked a little different when Alan Stanek was a student at the �鶹ӰԺ College of Music.

Stanek—who earned a bachelor’s in music education at CU �鶹ӰԺ in 1961, followed by an MM degree from the Eastman School of Music and a DMA in clarinet performance from the University of Michigan School of Music, Theatre & Dance—relied on some financial assistance on his academic journey.

Before enrolling at CU �鶹ӰԺ, Stanek had been considering other schools in the state; but encouragement from then-Band Director Hugh McMillen, in addition to the prospect of scholarship support, brought him to the College of Music.

“The scholarship was $54 a year—$27 a semester—for four years,” recalls Stanek, currently based in Omaha, Nebraska following his retirement in 2001 from an illustrious career as an educator, academic administrator and professional musician. “It paid for books and helped me pay my expenses to go to college.”

Photo: Valentine “Tiny” Henrich.

Slight as an annual sum of $54 seems today, that boost left a strong impression on Stanek who established the Valentine Henrich Memorial Endowed Clarinet Scholarship Fund, named for one of Stanek’s most influential instructors at CU �鶹ӰԺ from 1957 to 1961. The fund has provided financial support to musicians in training at the College of Music for more than a decade, serving as a critical resource for the college’s woodwind department.

Stanek’s generosity and commitment to up-and-coming music students hasn’t been limited to CU �鶹ӰԺ: He’s given back to many of the institutions that were instrumental in forging his own professional path—from Hastings College where he taught and directed the orchestra early in his career to the Idaho State University Music Department where the professor emeritus served as chair for a quarter century.

Stanek attributes his continued contributions in part to his family legacy—he’s quick to reminisce about the generosity of his grandfather who set up an educational trust. He also notes his deep ties to his unique experience in �鶹ӰԺ, a place where he found support and inspiration around every corner.

“I was given every opportunity at CU �鶹ӰԺ,” adds Stanek who went on to garner numerous awards and prestigious recognitions including his induction into the Idaho Music Educators Hall of Fame. “By my second year, I was principal clarinet in the band, librarian for the band department and playing in the orchestra.

“Hugh McMillen was a father figure to me. He came to my high school to talk about the CU �鶹ӰԺ bands program.”

Henrich, an adjunct professor at the College of Music during Stanek’s undergraduate tenure, also left a deep impression. “I thought it would be nice to honor him as my mentor and the mentor of many,” says Stanek. “I was able. I called and said I’d like to establish a scholarship in his name.”

That scholarship has helped countless students, reflecting Stanek’s decades-long commitment to music education. At Idaho State University—in addition to his administrative duties—he taught clarinet, clarinet performance literature and woodwind methods for music education majors; coached chamber music ensembles; and supervised student teachers. He also served as conductor/music director of the Idaho State Civic Symphony, and as principal clarinetist of the Idaho State Civic Symphony and the Pocatello Municipal Band.

Stanek’s legacy is multifaceted—he’s a dedicated Rotarian, a founding member of Citizens Community Bank in Pocatello, Idaho and a committed father, grandfather and husband. But a big part of his lifelong work has remained rooted in music, specifically in the instrument he played in bands and orchestras across the country and internationally in France, Belgium and Hungary.

Thanks to his commitment, College of Music students will continue to receive support in pursuing similar paths—assistance that amounts to a lot more than $54 a year.

Make a gift to the Valentine Henrich Memorial Endowed Clarinet Scholarship Fund

Before enrolling at CU �鶹ӰԺ, alumnus Alan Stanek had been considering other schools; but encouragement from then-Band Director Hugh McMillen, in addition to the prospect of scholarship support, brought him to the College of Music.

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2025-26 Bruce Ekstrand Memorial Graduate Student Competition winners announced

Mariefaith Lane — Wed, 19 Nov 2025 17:38:43 +0000

2025-26 Bruce Ekstrand Memorial Graduate Student Competition winners announced Mariefaith Lane Wed, 11/19/2025 - 10:38

Kathryn Bistodeau

Congratulations to the winner of the 2025-26 Bruce Ekstrand Memorial Graduate Student Performance Competition: Violinist Katharine Nelson!

At the competition finals on Nov. 18 in Grusin Music Hall, Nelson performed works by Eugène Ysaÿe, Florence Price and William Kroll accompanied by collaborative pianist Gabrielle Lowman. In addition to winning first prize ($2,000), Nelson—a student of Takács Quartet members Harumi Rhodes and Edward Dusinberre—also earned the $250 audience favorite prize.

“I’m immensely grateful to Harumi Rhodes and Edward Dusinberre for their guidance,” Nelson says. “It was a privilege to share the stage with my pianist, Gabrielle Lowman, who made the learning process so enjoyable.”

Flute and piccolo player Mallory Wood, a student of Professor of Flute Christina Jennings, won second prize ($1,000). Other finalists this year (awarded $500 each) include soprano Alice Del Simone, a student of Associate Professor of Voice Jennifer Bird-Arvidsson and Associate Professor Voice Andrew Garland; baritone Tyler Middleton, also a student of Andrew Garland; and the Skyline Saxophone Quartet comprising Joel Ferst (soprano saxophone), Spencer Cox (alto saxophone), Catherine Oles (tenor saxophone) and Gavin Martellotti (baritone saxophone)—all studying with Assistant Professor of Saxophone Nathan Mertens.

Esteemed judges
This year’s competition finals were judged by Barbara Lynne Jamison, general director and CEO of Opera Colorado; alumnus Charles Lee (DMA ’04, cello performance), principal cellist of the �鶹ӰԺ Philharmonic and cello faculty at Metropolitan State and Regis universities; and Rita Sloan, professor emeritus of collaborative piano at the University of Maryland and founder of the Aspen Music Festival collaborative piano program.

2025 semifinalists
Mark Bennett, trombone
Alice Del Simone, soprano
Jared Hartl, tuba
Carrina Macaluso, mezzo soprano
Aimée McAnulty, viola
Paige Michaud, flute
Tyler Middleton, baritone
Katharine Nelson, violin
Luca Pompilio, piano
Mallory Wood, flute
Alex Yang, percussion
Cello Quartet: Priscilla Kim, Matthew Huff, Thea Dardanis, Sam Moore
Skyline Saxophone Quartet: Joel Ferst, Spencer Cox, Catherine Oles, Gavin Martellotti

2025 semifinal judges
Associate Professor of Opera and Director of the Eklund Opera Program Leigh Holman; Professor and Chair of Composition Carter Pann; and Teaching Professor + Chamber Music Coordinator for the Chamber Music Program Meta Weiss.

The competition, launched in 1986, is named in honor of Bruce Ekstrand—former CU vice chancellor, supporter of the college and member of the CU Golden Buffalo Men’s Chorus. Every year, CU �鶹ӰԺ College of Music graduate students compete in preliminary competitions in their studios for the opportunity to advance to the semifinals and finals. The competition is generously supported by the Ekstrand family—Norma Ekstrand, Andrea Ekstrand, and Brad and Diana Ekstrand among other College of Music donors.

Finalists of the 2025-26 graduate competition. Photo by Kathryn Bistodeau.

Finalists of the 2025-26 graduate competition.

Skyline Saxophone Quartet with Assistant Professor of Saxophone Nathan Mertens.

Congratulations to the winners—and all participants—of the College of Music’s annual graduate student competition, named in honor of former Vice Chancellor for Academic Affairs Bruce Ekstrand.

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Innovation as a collaborative act

Mariefaith Lane — Thu, 30 Oct 2025 10:00:41 +0000

Innovation as a collaborative act Mariefaith Lane Thu, 10/30/2025 - 04:00

John Davis

From left to right: On Oct. 1-4, 2025, Associate Dean of Graduate Studies Margaret Berg, Assistant Dean for Strategic Initiatives Kate Cimino, Dean John Davis and Associate Dean of Undergraduate Studies Matthew Roeder welcomed participants of the National Association of Music Executives at State Universities (NAMESU) Annual Meeting to our campus and the brand new Limelight �鶹ӰԺ.

Greetings “from the road” where I’ve been engaged in two accreditation site reviews for the National Association of Schools of Music (NASM)—at institutions in Mississippi and New York—as well as a trio of October conferences: From hosting the National Association of Music Executives at State Universities (NAMESU) Annual Meeting right here on our campus and at the new Limelight hotel to the 61st Annual Conference of the International Council for Arts Deans (ICfAD) in Santa Fe, New Mexico to the College Music Society (CMS) National Conference in Spokane, Washington this week where I’ll be interacting with other deans and senior arts administrators engaged in public service and mentoring. Everywhere I go, I enjoy representing the unique achievements, aspirations and opportunities of our College of Music; along the way, I’ve been struck by the supportive camaraderie and timely shared learnings among my counterparts.

As noted by American theatre and opera director Anne Bogart, “We have been discouraged to think that innovation can be a collaborative act” and yet it’s exactly that—a collaborative act—that’s at the heart of institutions like ours.

It’s a collaborate act to not only innovate our curriculum in accordance with our universal musician approach—most recently including the launch of our songwriting degree emphasis, a new master’s degree in performance and pedagogy and the addition of a strings emphasis within our jazz studies degree programs; but also to sustain a healthy environment in which our students and faculty can advance their artistic integrity and imagination, and push back against ongoing pressures and pervasive feelings of despair—for example, when the Evergreen High School Cougar Pride Marching Band joined our Golden Buffalo Marching Band for a halftime performance on Oct. 11, marking a significant moment of healing for a community still recovering from a school shooting in September; and when our University Choir takes the spotlight at the National Collegiate Choral Organization Biennial Conference at Cal State Fullerton College on Nov. 7, among just 10 choirs selected to perform via a nationwide competitive application process.

These days, we’re constantly buffeted by events. In the 24/7 news cycle, it’s all too easy to catastrophize, to lose proportion. In response, among arts leaders nationally, I’m finding a palpable purpose to meet the moment with intentionality, resulting in more opportunities for energetic engagement based on shared values.

At ICfAD, I participated in several facilitated discussions including Building Coalitions Across Campus, Creating Cultural Buy-In, and Strategies for Leading and Building a Team; as well as a riveting presentation—Common Characteristics of the Most Successful Fundraising Deans by James M. Langley, a prolific author and successful pioneer of fundraising strategies in higher education. The result? My own deepening dedication to the college’s focus areas—offering relevant, adaptable curriculum and student opportunities; enhancing faculty and staff success; and sustaining a community of wellness and resilience—as well as refining, right-sizing or even shifting college priorities to ignite greater immediate impacts as well as future possibilities for our students.

In short, my notes from a month of travel on behalf of our college—where I’m enthusiastic about my second term as dean—reflect that we’re not alone in taking a fresh look at everything we do to ensure student, staff and faculty flourishing within a resilient community, no matter the external pressures on (and often misdirected passions against) universities, generally.

Through radical resourcefulness, and with your programmatic and scholarship support, I’m eager to redirect adversity into advocacy, and conflict into collaborative acts that elevate music making as a basic human right: A right that serves and sustains the human experience, that draws us together when words fail, that offers an inclusive place of refuge and that uplifts expression of the beauty within all of us.

Dean Davis shares reflections “from the road” where he’s been engaged in a trio of October conferences as well as two accreditation site reviews for the National Association of Schools of Music (NASM).

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Unique klezmer + Yiddish song residency features diverse guest artists

Mariefaith Lane — Wed, 15 Oct 2025 22:40:17 +0000

Unique klezmer + Yiddish song residency features diverse guest artists Mariefaith Lane Wed, 10/15/2025 - 16:40

College of Music

Anthony Mordechai Tzvi Russell and Dmitri Gaskin. Photo by Stefan Loeber.

On Oct. 24-29, the CU �鶹ӰԺ College of Music will host a unique klezmer and Yiddish song residency featuring singer Anthony Mordechai Tzvi Russell, accordionist and composer Dmitri Gaskin, violinist Zoë Aqua and cellist Raffi Boden—all leading musicians in the international Yiddish music scene.

Organized by Associate Professor of Music Theory Yonatan Malin, the residency will include workshops for the strings, voice and composition areas; guest performances in several classes; a recital featuring Yiddish song, klezmer dances and Central European folk tunes (Oct. 29, 7:30 p.m., Grusin Music Hall); a workshop on the use of black music in Jewish spaces (Oct. 27, 7:30 p.m., S102, Imig Music Building); and a colloquium on klezmer and Transylvanian folk music pedagogy (Oct. 27, 2:30 p.m., S101, Imig Music Building). The concert, workshop and colloquium are all free and open to the public.

Zoë Aqua

“I’m excited for this residency because it will bring in a remarkable group of young musicians who have followed unique musical and personal paths,” says Malin. “Anthony Mordechai Tzvi Russell is an operatic bass who combines African American traditions with music of Jewish Eastern Europe in a multi-diasporic sound. Zoë Aqua is a klezmer and classical violinist and educator who spent several years studying folk music pedagogy in Transylvania. And Raffi Boden and Dmitri Gaskin also have followed unique paths—Boden is an Oberlin- and Juilliard-trained cellist who has a dynamic freelance career in New York playing experimental chamber music, jazz and klezmer. Gaskin is an accordionist, composer and arranger specializing in klezmer and Polish and Romanian folk music.

Raffi Boden

“All four are multiskilled, multidisciplinary artists who will serve as models and inspiration for our students.”

Adds Malin, “The residency involves so many departments in the College of Music! Anthony Russell will give a workshop and master class for voice majors, Zoë Aqua will lead a workshop for all the string studios and Dmitri Gaskin will give a guest presentation in Associate Professor of Composition Annika Socolofsky’s orchestration class.”

All four guest artists will also perform and present in Malin’s course, “Music in Jewish Cultures”; and in Associate Professor of Ethnomusicology + International Affairs Ben Teitelbaum’s course, “Introduction to Musical Styles and Ideas.” Additionally, Aqua and Boden will lead a rehearsal for the college’s Cross-Genre American Roots String Ensemble, taught by Jazz Studies Lecturer Enion Pelta-Tiller.

Malin concludes, “This residency has been a remarkable opportunity for campuswide collaboration. These interdisciplinary connections reflect the College of Music’s universal musician approach to achieving our mission, supporting our students to become compassionate and engaged world citizens.”

The klezmer + Yiddish song residency is a campus collaboration among the College of Music (American Music Research Center), the Program in Jewish Studies, Jews of Color: Histories and Futures, the Center for African and African American Studies, and the Religious Studies and History departments. In the College of Music, this residency is supported by the Roser Visiting Artist Endowment.

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The Cleveland Orchestra residency returns

Mariefaith Lane — Thu, 04 Sep 2025 11:00:13 +0000

The Cleveland Orchestra residency returns Mariefaith Lane Thu, 09/04/2025 - 05:00

Kathryn Bistodeau

From Sept. 10-12, members of The Cleveland Orchestra will resume their biyearly collaboration with the College of Music that began over a decade ago—including a guest recital on Sept. 11, joined by College of Music faculty and students, and offering coachings, rehearsals, panel discussions on auditions and careers in music, and more.

Professor of Clarinet Daniel Silver describes the residency as a unique opportunity for students to observe and learn from professionals in the industry.

“No one gets into The Cleveland Orchestra unless they’re one of the very best,” he says. “People don’t win jobs like that because they’re lucky. So you’re really dealing with an incredibly high level of skill and artistry.

“This is a really wonderful group of people, too—they have a sense of humor. And they love coming to �鶹ӰԺ, meeting students and sharing what they know.”

Participating members of The Cleveland Orchestra will team up with their instrument’s faculty counterpart at the College of Music for studio classes, lessons and coachings. For Silver, a standout event on the schedule is a side-by-side rehearsal with the CU �鶹ӰԺ Symphony Orchestra.

“I think that’s one of the linchpins, because the orchestra is playing big orchestral repertoire—and not only do The Cleveland Orchestra members know these pieces well, but they’ve played them dozens of times in their lives,” he explains. “So they’re full of experience about the pieces, and how to be more artistic, responsive and professional in an orchestra at a high level.”

According to Silver, the impact of the residency on students is tangible: They come away fired up and eager to put their new ideas and advice into practice.

“Somebody who plays in an orchestra at this level all the time will bring insights, wisdom, suggestions, ideas about practice and approaches to the music that are unique—and that would be hard for our students to get anywhere else,” he says.

There’s also a personal connection for Silver, who grew up attending The Cleveland Orchestra concerts. “I used to hear the orchestra every week when I was in middle school and high school,” he reflects. “It took me a few years to realize when I would go other places and come back how fortunate I was. I’m looking forward to rekindling the connections to my hometown.”

Our gratitude to the 16 members of The Cleveland Orchestra who are joining us on campus this year:

Amy Lee, Associate Concertmaster
Stephen Rose, Principal Second Violin
Stanley Konopka, Assistant Principal Viola
Mark Kosower, Principal Cello
Maximilian Dimoff, Principal Bass
Mary Fink, Principal Piccolo | Flute
Frank Rosenwein, Principal Oboe
John Clouser, Principal Bassoon
Amy Zoloto, Bass Clarinet | Clarinet
Michael Sachs, Principal Trumpet | Cornet
Meghan Guegold, French Horn
Shachar Israel, Assistant Principal Trombone
Yasuhito Sugiyama, Principal Tuba
Paul Yancich, Principal Timpanist (retired)
Marc Damoulakis, Principal Percussion
Trina Bourne, Principal Harp

From Sept. 10-12, members of The Cleveland Orchestra will resume a biyearly collaboration with the College of Music that began over a decade ago—including a guest recital on Sept. 11, joined by College of Music faculty and students.

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Celebrate + aspire

Mariefaith Lane — Thu, 13 Mar 2025 15:59:06 +0000

Celebrate + aspire Mariefaith Lane Thu, 03/13/2025 - 09:59

John Davis

On March 2, the College of Music’s talented Opera Theater Singers once again delivered outstanding performances at our Eklund Opera Program gala at the Academy University Hill. We were honored to welcome Chancellor Schwartz for the first time at this annual fundraising event that aims to sustain and support the arts in our community. Pictured above (left to right): Andrew Todd, Assistant Dean for Advancement; Justin Schwartz, CU �鶹ӰԺ Chancellor; Leigh Holman, Eklund Opera Program Director; Paul + Kristina Eklund, naming donors of the Eklund Opera Program; and John Davis, College of Music Dean.

At the College of Music’s recent Eklund Opera gala, Chancellor Justin Schwartz described the magic of music as a hallmark of human connection; of a civilized society; and as its own kind of renewable energy.

More broadly, in the words of Ukrainian-born writer Joseph Conrad, “All creative art is magic, is evocation of the unseen in forms persuasive, enlightening, familiar and surprising, for the edification of mankind.”

As I reflect on the first months of 2025, I’m struck by the countless ways in which our students, alumni, faculty, staff and supporters embody these values. In these disorienting times, I’m heartened that our mission is more relevant than ever—as is my commitment to continue to celebrate and support our students and colleagues in their transformative work and artistic aspirations.

For example, I encourage you to discover how Associate Dean for Graduate Studies and Professor of Music Education Margaret Berg is creating sustainability through music education, ensuring the well-being of individuals and communities. By integrating human and environmental sustainability into music education, the College of Music is preparing students to make an impact on our interconnected society. Related, two graduate students—Nicholas Felder and Ian Gunnarschja—received grants to support innovative projects that promote equity in music and wellness among neurodiverse musicians.

Creative courage and unique expression at our college are further personified by Enion Pelta-Tiller—a master’s candidate in jazz performance and pedagogy—whose ambitious, experimental approach to music brings together a wealth of coexisting influences and helped shape our new cross-genre ensembles and curricula. And, in case you missed it, our Distinguished Professor of Piano David Korevaar recently shared a delayed tribute to Beethoven’s semiquincentennial birthday—a labor of love and creative fortitude in the face of COVID-19 lockdowns and social distancing five years ago.

Additionally, more than 100 guest artists, ensembles and lecturers have energized our classrooms and graced our stages so far this academic year—most recently including Kennedy Center honoree and five-time Grammy Award-winner Renée Fleming, and Pulitzer Prize-winning Diné composer, musician and sound installation artist Raven Chacon; as well as visiting scholars in our Musicology + Music Theory Colloquium Series and local luminaries like alumnus Gregory Walker—son of the late Helen Walker-Hill and Pulitzer Prize-winning composer George Walker—who presented a master class last week as part of our annual Persevering Legacy events showcasing works by women composers including those from historically marginalized groups. Also inspiring to our community this month was a musicians’ workshop led by Blues icon (and �鶹ӰԺ resident) Otis Taylor, a Colorado Music Hall of Famer.

For all these reasons among many more, I remain steadfast in our resolve to inspire artistry and discovery, together.

With gratitude,

John Davis
Dean, College of Music

"At the College of Music’s recent Eklund Opera gala, Chancellor Justin Schwartz described the magic of music as a hallmark of human connection; of a civilized society; and as its own kind of renewable energy. As I reflect on the first months of 2025, I’m struck by the countless ways in which our students, alumni, faculty, staff and supporters embody these values. In these disorienting times, I’m heartened that our mission is more relevant than ever—as is my commitment to continue to celebrate and support our students and colleagues in their transformative work and artistic aspirations."

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Distinguished professor shares delayed tribute to Beethoven’s semiquincentennial birthday

Mariefaith Lane — Tue, 04 Mar 2025 18:33:44 +0000

Distinguished professor shares delayed tribute to Beethoven’s semiquincentennial birthday Mariefaith Lane Tue, 03/04/2025 - 11:33

Adam Goldstein

Photo credit: Manfred Fuß

The timing was unfortunate for Ludwig van Beethoven’s 250th birthday celebration.

Commemorations of the fêted composer came in 2020 (scholars’ best guess at his birthday is 1770), just as the world was shutting down in the wake of the COVID-19 pandemic—and opportunities to experience the great artist’s music and legacy in person disappeared.

So David Korevaar, distinguished professor of piano at CU �鶹ӰԺ’s College of Music, sought alternative ways to honor Beethoven’s oeuvre in the face of lockdowns and social distancing.

“I found myself, like many of us, at something of a loss—no concerts, no in-person teaching, isolated at home,” Korevaar recalls now. “I had been thinking of filling in the gaps in Beethoven’s 32 piano sonatas—there were a few that I had never played—and that inspired me to begin the process of playing through all of them and sharing ‘quick and dirty’ video recordings from home on my YouTube channel.”

Those videos (which are still available on Korevaar’s channel) were only the beginning. Korevaar found himself intrigued by the prospect of recording the complete sonatas properly and—in his role at the College of Music—he realized that he had the resources to realize that vision. With support from the college's C.W. Bixler Family Foundation Faculty Initiatives Fund, Korevaar set about doing justice to Beethoven’s timeless music.

“I talked with Kevin Harbison—the College of Music’s fantastic recording engineer—with Kawai America and with the college’s scheduling guru Brooke Balbuena to set up sessions in our gorgeous new Chamber Hall,” Korevaar says, adding that Kawai came through with a loan to the college of a 9-foot Shigeru Kawai concert grand for a year. “We recorded in a series of sessions that ended in July 2024 with all 32 sonatas completed.”

The next step was finding a way to share roughly 11 hours of music with the world. Enter Prospero Classical, a Swiss orchestral music label that offered Korevaar and his crew a thoroughly modern and multifaceted way to distribute the music. On March 7, the label will release a two-CD physical release of highlights from the sonatas followed by a series of digital-only albums of the sonatas issued chronologically.

“The two CDs will feature three sonatas from Beethoven’s ‘heroic’ period—so called because of the composition of the Eroica Symphony during this time: The Sonata Op. 53 (‘Waldstein’), Sonata Op. 54, Sonata Op. 57 (‘Appassionata’) as well as the ‘Andante favori,’ a movement originally intended to be part of the ‘Waldstein’ sonata,” Korevaar explains. “The second CD has two more sonatas, both of which Beethoven suggested be published as written for the ‘Hammerklavier,’ a German word for piano.”

All of the recorded sonatas (with the exception of Op. 106) are also up on Spotify as EPs; those are accessible here.

This approach offers a perfect way to share Beethoven’s music in the era of streaming and Spotify; it also offers a way to fulfill a musical mission that first came to Korevaar during the pandemic.

“I really wanted and, in a way, needed to do these properly,” he adds. “To record professionally, in a beautiful space, on a beautiful piano, with a first-rate engineer.”

Distinguished Professor of Piano David Korevaar found an alternative to celebrating Beethoven’s 250th birthday in the face of COVID-19 lockdowns and social distancing five years ago.

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“Art is possibility, expression is potential.”

Mariefaith Lane — Tue, 18 Feb 2025 19:12:27 +0000

“Art is possibility, expression is potential.” Mariefaith Lane Tue, 02/18/2025 - 12:12

Adam Goldstein

“Art is possibility, expression is potential.”

That’s according to Raven Chacon, the Pulitzer Prize-winning Diné composer, musician and sound installation artist slated to deliver the CU �鶹ӰԺ College of Music’s annual Genevieve McVey Wisner lecture on Feb. 26. In his wide-ranging and ambitious oeuvre, Chacon—a member of the Navajo Nation who resides in Albuquerque, New Mexico—has tackled themes ranging from colonization to displacement to questions of environmental stewardship and conservation.

The myriad media he’s chosen to explore these themes reflect a spirit of creative exploration. His Pulitzer Prize-winning work, “Voiceless Mass,” is an ensemble work composed specifically to be performed in any space of worship with high ceilings and pipe organ. “Sound Ladder” is a sound installation—debuted in 2024—that features a sequence of 16 pine planks hung from ceiling to floor; for this work, Chacon collaborated with members of the Bål Nango family, a Sámi family of reindeer herders and land guardians.

Chacon has built instruments and explored new ways to present sound. He’s paired his compositions with visual cues and physical components, and drawn upon the very land surrounding his compositions to convey his messages.

“I think art is there to show that we can all think in different ways, we can all dream in ways we didn’t know we could,” Chacon explains. “We’re in danger when we become narrow and exclude possibilities.” That philosophy is part of the lure of Chacon’s upcoming visit to �鶹ӰԺ. Working firsthand with students and offering novel perspectives about the possibilities of self-expression reconnects the artist to his own commitment to learning and growth; the chance to explore his work and style with developing musicians and artists holds its own unique appeal.

“Part of my interest in giving lectures and visiting universities is to share my work and offer music students insights into ways that music doesn’t have to be on the stage,” Chacon says, also reflecting the College of Music’s universal musician approach to achieving our mission. “It can be presented in different media—performance art, sound sculpture, as film or video. I am really interested in sharing my different tactics with students.”

The concept of place plays a large role in Chacon’s work and one of the pieces he’ll detail in his lecture is located in the United Arab Emirates in a “ghost village” that was originally assigned to a tribe of nomads by the government. “Being that they’re nomadic people, they did not move in. These houses are being taken by the desert,” Chacon explains.

“I’ve collaborated with these individuals and musicians to record their songs,” he adds, noting that the ultimate effect of the installation is that “it sounds like their music is moving through these houses and into the desert.”

It’s an immediacy that Chacon stresses in his approach to music. While he’s a classically trained composer and musician, he’s careful not to undervalue the importance of the indefinable elements of the art form—the aspects of music that can’t necessarily be conveyed in a classroom, studio or textbook.

“I do feel like I’m continually learning,” says Chacon . I’m always seeking out the best media that an artwork should take. I’m constantly researching new technologies—experiencing exhibitions, artists and concerts.

“I’m still a big fan of being able to see musicians play, even more so than listening to recordings. I think live music is not only an obligation or responsibility, but it’s something that is wonderful to do, as a member of an audience.”

Even as he tackles weighty questions in his work, Chacon also finds power and joy in the ability to create—a boon he looks forward to sharing during his residency. “No matter what our occupation or how we spend our daily lives, we should be conscious of the work we can do to improve upon justice and the way we treat each other.”
__________________________________________________________________________________________

Join us for the College of Music’s annual Genevieve McVey Wisner Lectureship* featuring Raven Chacon on Feb. 26 at 11:30 a.m., Chamber Hall (S102), Imig Music Building. On Feb. 27 at 9:30 a.m., Room NB185, Imig Music Building, Chacon will be part of a panel discussion, “Situating your soul’s work in a hegemonic sphere.” Both events are free and open to the public.

Raven Chacon’s residency is made possible by the CU �鶹ӰԺ American Music Research Center, the College of Music’s composition department and the college’s Diverse Musicians’ Alliance.

*Having graduated from Western University in Kansas—an historically Black college—with her first bachelor’s degree in 1922, Genevieve McVey Wisner became the first Black graduate of the College of Music in 1940 with a bachelor’s degree in music education, followed by a master’s degree in 1944 at age 42.

On Feb. 26 and 27, the College of Music’s annual Genevieve McVey Wisner Lectureship will feature trailblazing composer, musician and sound installation artist Raven Chacon. Even as he tackles weighty questions in his work, Chacon also finds power and joy in the ability to create—a boon he looks forward to sharing during his residency. “No matter what our occupation or how we spend our daily lives, we should be conscious of the work we can do to improve upon justice and the way we treat each other,” says Chacon, the first Native American to win the Pulitzer Prize for music.

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Flourishing in times of flux

Mariefaith Lane — Fri, 06 Dec 2024 08:00:00 +0000

Flourishing in times of flux Mariefaith Lane Fri, 12/06/2024 - 01:00

John Davis

NASM celebrates 100 years
Last month, Dean John Davis attended the annual meeting—and centennial celebration—of the National Association of Schools of Music (NASM) in Chicago, Illinois. This organization of schools, conservatories, colleges and universities establishes national standards for undergraduate and graduate degrees, as well as other credentials for music and music-related disciplines. Our college has been a member since 1941.

Dear friends,

As we approach our much-anticipated annual Holiday Festival performances this weekend, I’m filled with awe and gratitude as I reflect on a busy, successful fall semester at the CU �鶹ӰԺ College of Music—including continued progress in developing multiskilled, multifaceted universal musicians.

Our commitment to both refining and expanding our offerings has never felt more relevant—and more urgent; our faculty members, advisors and other staff are highly motivated to ensure that our students not only master their chosen craft, but also emerge as well-rounded, adaptable professionals prepared to take on the opportunities and challenges of a rapidly changing world.

Having represented our College of Music at several conferences this fall—including, among others, the annual conferences of the College Music Society and National Association of Music Executives at State Universities, the National Association of Schools of Music annual meeting, and the annual conference of the International Council for Arts Deans in Montreal, Canada—I was heartened to observe that our work at CU �鶹ӰԺ reflects real-world trends and mandates in music education. Colleges and schools like ours are similarly focused on widening students’ horizons, fostering interdisciplinary collaborations and emphasizing broadly-based skills. I’m proud that our approach amplifies current best practices at comparable institutions, nationally and internationally.

We’re also aware that the landscape of higher education is shifting and that we must be vigilant, agile and proactive. In the new year, changes to federal policies may impact how we accomplish—and communicate—our work; what isn’t changing, however, is our commitment to support our students with the resources, knowledge, experiences and inspirations they need to succeed and thrive in their chosen ventures—and in life. To that end, we continue to deepen our relationships with campus partners including Chancellor Justin Schwartz, who champions our efforts. The new CU �鶹ӰԺ chancellor has encouraged our campus community to embody courage, curiosity, care and consistency as we engage with one another, prioritize free expression and pursue creative ideas. His vision aligns with our values and I’m optimistic that the College of Music—along with all arts and humanities units on campus—will prosper under his leadership, and sustain our current momentum in student recruitment and retention.

By reimagining our offerings to include more diverse disciplines and perspectives, we’re implementing a richer, more holistic educational experience for our students that ignites their explorations across wide-ranging fields of interest—while nurturing their capacity to engage meaningfully, compassionately and confidently with the summons of our time.

From our dedicated community of supporters to our versatile students to our forward-looking faculty and staff, I’m immensely proud of what we’ve already achieved together. In the new year, stay tuned for announcements of our most recent programmatic and curricular developments that meet the moment—including a new BA degree emphasis.

Meanwhile, I wish you peaceful, joyful holidays!

John Davis
Dean, College of Music

In his year-end message, Dean John Davis reflects on the college's commitment to both refining and expanding our offerings: "Our faculty members, advisors and other staff are highly motivated to ensure that our students not only master their chosen craft, but also emerge as well-rounded, adaptable professionals prepared to take on the opportunities and challenges of a rapidly changing world."

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2024-25 Ekstrand Graduate Student Competition winners announced

Mariefaith Lane — Wed, 20 Nov 2024 19:00:00 +0000

2024-25 Ekstrand Graduate Student Competition winners announced Mariefaith Lane Wed, 11/20/2024 - 12:00

Kathryn Bistodeau

We are thrilled to announce the winner of the 2024-25 Bruce Ekstrand Memorial Graduate Student Performance Competition: The Koa String Quartet!

The College of Music’s current graduate string quartet in residence—comprising violinists Kisa Uradomo and Leah Pernick, violist Thomas Chafe and cellist Heewon Lee—studies with the Takács Quartet. On Nov. 19, the Koa Quartet performed selections from works by Joseph Haydn and Kevin Lau, and was awarded $2,000 for their Ekstrand win.

“We are so happy to have started our residency at CU �鶹ӰԺ on such a positive note! It was an incredible opportunity to perform onstage alongside so many of our talented peers,” Pernick says. “Thank you so much to the Takács Quartet and string faculty for their mentorship, and to the Ekstrand family for their generous support of students.”

Lee shares, “Our main goal of the performance was to have fun and keep up the good energy. I think us dancing backstage helped with that. But in all seriousness, we’re super thankful for the win!”

Second prize ($1,000) went to saxophonist Joel Ferst, who also won the audience favorite prize ($250). This year’s other Ekstrand finalists ($500 each) include pianist John-Austin King, baritone Andrew Konopak and violinist Laura Pérez Rangel.

This year’s esteemed panel of judges were Jason Bergman—Associate Professor of Trumpet, Indiana University Jacobs School of Music; Courtney Hershey Bress—Principal Harpist, Colorado Symphony; Adjunct Professor of Harp, University of Denver Lamont School of Music; and Lecturer of Harp, University of Wyoming; and Cameron Stowe—Chair, Collaborative Piano, New England Conservatory; Director, Collaborative Piano, Aspen Music Festival and School.

The Ekstrand Competition was launched by previous College of Music dean Robert Fink, and later renamed to honor the late Vice Chancellor for Academic Affairs and psychology professor Bruce Ekstrand. The competition invites top graduate students to compete for cash prizes for professional development. This year’s faculty judges for the  semi-final competition were Renee Gilliland, Jeremy Reger and Branden Steinmetz.

Semi-finalists included:

Voice: Sidney Grimm, soprano; Andrew Konopak, baritone; James Robinson, baritone
Piano: John-Austin King, Luca Pompilio
Strings: Julian Bennett, cello; Koa String Quartet; Laura Pérez Rangel, violin
Woodwinds: Joel Ferst, saxophone; Dylan King, saxophone; Harold Gomez-Montoya, clarinet
Brass + percussion: Mark Bennett, trombone; Sydney Hoehl, trumpet; Connor Johnson, trumpet

Congratulations to the Koa String Quartet and all participants in this year’s competition, as well as their teachers—the Takács Quartet, Andrew Cooperstock, Andrew Garland and Nathan Mertens in the final round. Our special thanks also to collaborative pianists Runze Li, Hsiao-Ling Lin, Matthew Sebald—and all other pianists, mentors and teachers involved in the previous rounds of this competition.

Partially funded by the Ekstrand Competition Endowment Fund, this annual event is the premier performance competition for the College of Music’s most outstanding graduate students.

We are thrilled to announce the winner of the 2024-25 Bruce Ekstrand Memorial Graduate Student Performance Competition: The Koa String Quartet!

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