LIBRARY OF WELLESLEY COLLEGE
PRESENTED BY
PUBLISHER
Its First Quarter Century
Airview, Eastman Theatre and Eastman School of Music
The Eastman School of Music
Its First Quarter Century
1921-1946
BY CHARLES RIKER
This book is gratefully dedicated
to the memory of George Eastman
whose vision and generosity
created this school of music.
THE UNIVERSITY OF ROCHES T E R
ROCHESTER, NEW YORK
19 4 8
MUSIC LIBRARY.
COPYRIGHT 1948 BY THE UNIVERSITY OF ROCHESTER, ROCHESTER, NEW YORK
CONTENTS
Foreword \ 1 1
George Eastman and Rush Rhees 1.5
Early Beginnings 18
Direction 22
Sibley Music Library 23
Orchestral Department 28
Conducting f 30
Chamber Music 31
Choral Music 32
Opera Department 33
Graduate Department 36
Theory and Composition 37
American Composers' Concerts 38
Publication and Recording of American Music 40
Recording Department 41
Concert Bureau 43
Placement Bureau 11
Student Aid 44
World War II 44
Rochester Civic Music Association 45
Rochester Philharmonic Orchestra 48
Kilbourn Hall Concerts . 19
Association with Rochester Public Schools 1()
David Hochstein Memorial Music School 50
Eastman School of Music as a Part of the University ... 51
Educational Philosophy 52
The Past and Present as Measured by Each Other .... 57
APPENDIX
Honorary Degrees 61
Eastman School of Music Publications: 62
Music 62
Faculty Educational Publications . ... 62
RCA Recordings of American Music 63
Faculty Commissions " 63
Faculty Awards, and Honors 64
Faculty Publications: 65
Articles and Reviews 65
Books 67
Music . . . 67
Alumni Awards, Commissions, and Honors 71
Alumni in Symphony Orchestras 73
Alumni in Concert, Opera, and Radio 77
Alumni Conductors 78
Colleges and Universities in which
Alumni are Represented 79
Board of Managers ' 85
Officers of Administration 85
Board of Trustees 86
Faculty 86
Former Faculty 91
Guest Instructors at Summer Sessions 96
Student Aid 97
FOREWORD
T
his account marks the completion of the first quarter century of the Eastman School of Music. Its record of distinguished service to music and music education in America is unique and unparalleled. Still a relative infant among institutions of higher education, and among the youngest of the nation's leading music institutes, it has already become a powerful influence in the musical world, and has set standards which others openly strive to emulate.
Its achievement is naturally a tremendous satisfaction to those who created it, to those who have shared in its work and accom- plishment, to the community and indeed the nation which it serves, and to the cultural • world to which it notably contributes. It is a source of justified pride to the University of which it is an integral part.
All of us who are associated with the Eastman School delight to honor it upon this important anniversary, and to bask in the reflec- tions of its esteem. Many have played parts, large or small, in the building of this great center of music, and without the manifold contributions of teachers, students, administrative officers, man- agers and friendly citizens the Eastman School would not be whal it is today. But in this great development three men stand out- would that all three were with us now to share our pride in the fruit of their skillful planting and nurture!
The first of these is George Eastman. Without his great \ ision, generosity and endowment, there would be no Eastman School oi Music. Let no one think that George Eastman gave only money and
Ml
GEORGE EASTMAN
VIII
material things to the Eastman School or the University! He con- tributed a confident and unwavering idealism tempered with shrewd practical wisdom; he gave a constant and detailed personal interest to every aspect of the School's program and problems: and he created a system for the permanent management of the School through its own Board and through the University that events have proven a model of foresight and administrative organization. No institution ever more appropriately or proudly bore the name of its greatest donor.
Yet not even George Eastman alone could have established a school of music and integrated its work so happily within a univer- sity. The concept, the vision and the experienced educational judg- ment to achieve this were primary contributions of its second great founder, Rush Rhees, President of the University from 1900 to 1935. Like his close friend George Eastman, he was not himself a musician, but he had appreciation, understanding and a rare power to conceive daring projects and to bring them into being and into balanced adjustment with existing realities. He and George Eastman, so different in their talents yet so similar in their vision, made ideal collaborators, supplementing one another with mutual high regard in many superb undertakings.
Rut a great musician and music educator, possessing courage, energy and administrative skill of a high order, was needed to realize the noble concept of George Eastman and Rush Rhees. There are many talented musicians, many other men with high educational ideals, still others with administrative skill. To find one man who possessed all of these, and more, must have seemed an impossible task. But fortune smiled upon the two leaders and pro- duced the third great figure. Fortune smiled, but it was the percep- tion and daring of Mr. Eastman and Dr. Rhees which made possible the selection of a director then so young, so relatively inexperi- enced, so relatively unknown. The man was Howard Hanson, hap- pily still with us, and with us, we hope, for many years to come. He is no longer so young, and no longer inexperienced or unknown,
IX
RUSH RHEES
relatively or otherwise! George Eastman gave of his fortune and his deep interest; Rush Rhees gave of his vision and his judgment; Howard Hanson has given, without stint or limit, all of himself with his astonishing assortment of talents and his tremendous energy. More, even, than in the case of his two great colleagues now no longer with him, the Eastman School as we know it ioday is the lifework — indeed the life — of Howard Hanson.
X
Thus to denote three outstanding figures is not to belittle the contributions of many others. The School has known and knows great teachers, fine scholars, creators and performers. More than is realized by those who work and study in its lecture and practice rooms, or who enjoy its varied musical programs, the School ba- flourished through the constant interest and support of the mem- bers of its original Board of Managers, selected by Mr. Eastman, and their successors, chosen by the original members and approved by the University. Back of them stand the University trustees, charged with the ownership of the School and all its resources as an integral part of the University of Rochester.
Among the leading conservatories and schools of music, the posi- tion of the Eastman School of Music as part of a great University is unique. From that relationship the School benefits in many ways, some obvious to all, but many apparent only to those who, like Dr. Hanson, see the scene of music education and creation in its broadest and clearest perspective. The arrangement is mutually beneficial since the University gains immeasurably through its inclusion of the Eastman School.
No brief account of so exciting an educational venture — with its multifarious activities, its enthusiastic students, its influence and encouragement pervading every musical activity of America and beyond — could be wholly adequate to the occasion. Charles Riker and those who helped him have done well to include, in the essay which follows, so much of the spirit as well as the facts of the Eastman School's first quarter century. To them, our thanks; to Dr. Hanson and the School, our congratulations, which thousands in Rochester and in far places will echo. Secure in its material foundations, sound in its concepts and practice, magnificently led, and still youthful in its enthusiasms and flexibility, the Eastman School of Music embarks upon a second quarter century in which its achievements may outshine even the brilliance of the first.
Alain Valentine
PRESIDENT OF THK UNIVERSITY
\l
HOWARD HANSON
XII
The Eastman School of Music of The University of Rochester
Its First Quarter Century
George Eastman and Rush Rhees
Twenty-five years ago, in the fall of 1921, the Eastman School of Music of the University of Rochester opened its doors to its first students — some one hundred four in all — in a building which was not yet dry from the plasterer's art, and from which the construc- tion scaffoldings were not yet removed. After a quarter of a century of steady, consistent growth, it seems appropriate to review the history of those twenty-five years — to see the expansion and enrichment of a noble idea, and to acknowledge in some way the specific contributions of those who have made the Eastman School what it now is. The story of the Eastman School has been related on many previous occasions. John Rothwell Slater in his Rhees of Rochester has given us the main outlines. But the full story has never been told, and perhaps never will be told. Much of it remains in the memories of those who have long since left Roch- ester. Much has been forgotten.
George Eastman's interest in the University of Rochester, not only as a civic enterprise, but as a potential force in American education, his personal need for music, and his awareness that
13
The Eastman Theatre.
others might share that need, led him as early as 1918 to suggest to Rush Rhees, then President of the University of Rochester, the establishment of a great school of music within the University. President Rhees was most receptive to the idea. In 1904, four years after his inauguration as President of the University, he had written G. L. Heins of the New York architectural firm, Heins and La Forge, who had been retained as consultants in the development of the Prince Street campus, "It might be well to bear in mind a possible building for a music school — though that is in the some- what distant future." It seems quite evident that President Rhees scarcely expected the idea of that "possible" music building to materialize within fourteen years after his letter to Heins. But, in George Eastman, he had found a man quick to act in bringing about the accomplishment of this huge project.
It was characteristic of George Eastman that, rather than destroy
14
what already existed and begin anew, he chose to buy the propert) and corporate rights of a small music school at 47 Prince Street, across from the University campus — the Institute of Musical Art, founded in 1913 by Alf Klingenberg and Herman Dossenbach — and to build upon what had already been accomplished. The 1917-1918 catalog of the Institute of Musical Art announced this new affilia- tion with the University of Rochester "whereby students who have met the college entrance requirements will be enabled to work for a bachelor's degree from the University by adding to the regular four years' course of the Institute the necessary academic studies." In the light of the subsequent development of the curriculum, the pedagogical implications of the quotation deserve our attention.
In 1919, Mr. Eastman purchased a site for a new building on Gibbs, Swan, and Main Streets, in the business section of Roch- ester, and provided the funds necessary for the construction of the new building and for the endowment of the School. This building was to consist of the Eastman School of Music and the Eastman Theatre. Its architects were McKim, Mead, and White of New York in collaboration with Gordon and Kaelber of Rochester. The divi- sion of the structure into school and theater was in accord with Mr. Eastman's purpose. The school was to be used for the training of both professional and amateur students of music; the theater for the development of the appreciation of music among Rocheste- rians, or, as the inscription on the facade of the Eastman Theatre has it, in the words of Rush Rhees, "For the enrichment of com- munity life."
It was Mr. Eastman's belief that one of the best ways by which the public might become acquainted with good music was in con- nection with motion pictures. It was his hope that, in this way, films could be used to develop and subsidize symphonic music. The show- ing of these films was to be accompanied by the best in music and in stage entertainment. The maintenance of a full-sized symphony orchestra, which eventually was to become the Rochester Philhar- monic Orchestra, was to be an integral part of the theater organiza-
L5
Old Institute of .Musical Art.
tion. Finally, the setting for this project was to be the Eastman Theatre itself. This magnificent auditorium, an adaptation of the Renaissance style, seating some thirty-three hundred persons, was to afford architecturally beautiful and dignified surroundings in which music and drama might congenially co-operate. As a matter of fact, Mr. Eastman's project was not greatly dissimilar from Wagner's at Bayreuth in its attempts at a synthesis of the arts, and it may be remarked in passing that Wagner was one of Mr. Eastman's favorite composers. The motion picture project failed in its original purpose — this largely due to the advent of sound films. In the fall of 1928, when it became evident that the theater could not operate without a c'onsiderable financial loss, Paramount-Publix took over the operation of the Eastman Theatre. But over a period of about three years, even they were
16
The Eastman Theatre as viewed from the stage.
unable to make a financial success of the undertaking. The basic purpose of giving Rochester symphonic music was nevertheless realized, for as a direct result of this experiment there was formed in 1923 the Rochester Philharmonic Orchestra, which has be- come one of the country's major symphony orchestras.
In 1923-1924, Mr. Eastman added a five-story annex adjacent to the theater on Swan Street to provide rooms adequate for orches- tral rehearsal and for the design and construction of costumes and scenery for operatic performances. In 1925, three connecting dormitories for women students of the School were erected on University Avenue, adjoining the campus of the present College for Women. In 1927, a ten-story annex to the School was built so as to provide one hundred twenty additional practice rooms, additional classrooms, quarters for the opera department, and a gymnasium. In 1937, the Sibley Music Library was constructed to give adequate housing to its growing collection of books and music, and congenial quarters for its use.
17
George Eastman loved to build, and all these buildings, with the exception of the Sibley Music Library, which was erected after his death on March 14, 1932, had his closest attention in their planning and in their execution. His eye for detail, his in- terest in the simplest point, as well as in the great over-all design, have stamped the buildings of the Eastman School of Music with the hallmark of the personality and generosity of a great man. For example, Kilbourn Hall, the small auditorium dedicated to the memory of Mr. Eastman's mother, Maria Kilbourn Eastman, is, in its beautiful Renaissance style, but one instance of this. So long as Mr. Eastman lived, he was intensely interested in what he had brought into being, and he continued his largess with hand- some gifts to its endowment. The total of these gifts, including buildings, equipment, and endowment, amounts to approximately twenty million dollars.
Early Beginnings
In its beginning the Eastman School consisted of two depart- ments: the collegiate' department, and the preparatory and special department. The collegiate department was designed for high school graduates who wished to prepare for some branch of the music profession. The preparatory and special department was organized to serve the more general music-educational needs of the community; to furnish well-planned and supervised instruc- tion for preparatory students, and instruction for the non- professional student of music. The collegiate department at first offered curricula leading to the Bachelor of Music degree and the Eastman School Certificate. The Bachelor of Arts degree with con- centration in music was later offered in co-operation with the College of Arts and Science of the University.
Of the one hundred four students who were the first' to come to the Eastman School as regular course students, forty-five were candidates for undergraduate degrees in music, and fifty-nine for the so-called certificate course. Eleven came from outside the state:
18
Women's Dormitory, Eastman School of Music.
from Washington, California, New Mexico, Wisconsin, Ohio- Pennsylvania, New Jersey, Massachusetts. Ninety-three came from New York State, including the fifty-one from Rochester. During the twenty-five years of the School's existence, its students have been drawn from all forty-eight states and the District of Columbia.
19
as well as from Alaska, the Canal Zone, Hawaii, the Philippines, Canada, Cuba, Colombia, Brazil, Guatemala, Uruguay, Peru, the British Isles, France, Germany, Denmark, Norway, Sweden, Hungary, Bulgaria* Greece, Russia, India, China, Japan, and Korea. On November 25, 1946, there were 648 undergraduate, graduate, and postgraduate students. Special and preparatory students numbered 1207 in 1921-1922; 1249 on November 25, 1946. In its first twenty-five years the Eastman School of Music has graduated a total of 2085: 1408 Bachelors of Music, 447 Masters of Music, 117 Masters of Arts, 29 Doctors of Philosophy, and 84 Certificates.
With Alf Klingenberg as its first director, the first faculty of thirty-two included some distinguished names; and the presence of a number of illustrious Europeans gave something of a cosmo- politan air to the new undertaking. In many instances this was for some people their first experience with the great world of music — or at least part of that world. Many Rochesterians and early students of the School still hark back to those very glamor- ous and exciting days. Christian Sinding, the Norwegian com- poser, was the first teacher of composition. It was previously an- nounced that no less a man than Jan Sibelius would occupy this post; but the famous Finnish composer could not be lured from his native land — a nervous breakdown was given as his excuse— and Sinding was selected to take his place. He was succeeded by Selim Palmgren in 1923. Joseph Bonnet, the celebrated French- man, came as guest-artist teacher of organ; Frederick Lamond, of piano; and Ernest Bloch, as a guest-lecturer. The opera depart- ment brought \ ladimir Rosing, Nicolas Slonimsky, and the young, inexperienced, but very talented Rouben Mamoulian, later to become distinguished in Hollywood. Dr. Yorke Trotter and Marjorie Truelove MacKown came from England to the depart- ment of theory. In the years that followed, many eminent artists came to the Eastman faculty. At the present time, one can name Jose Echaniz, Carl Fuerstner, Cecile Staub Genhart, Catharine
20
Crozier Gleason, Jacques Gordon, Nicholas Konraty, Arthur Kraft, Max Landow, Allison MacKown, Luigi Silva, Leonard Treash, and Sandor Vas, all of whom have had marked success in concert work, both in this country and abroad. They have done a great service to the School in extending and enhancing its reputation. Of the original faculty, there are nine who are still affiliated with the School: Erne Knauss, violin; Samuel Beiov, violin and viola; Marjorie Truelove MacKown, piano and theory; Ernestine Klin- zing, piano; Raymond Wilson, piano; Lucy Lee Call, voice; Harold Gleason, organ; Arthur See, piano; and Mabel Cooper, piano. Miss Call, Miss Knauss, Miss Klinzing, Mrs. Cooper, Mr. Gleason, and Mr. See had taught at the old school on Prince Street.
The first catalog shows that instruction was offered in piano, organ, voice, stringed instruments, composition, public school music, and the theory and history of music. It was announce" I that, upon the completion of the Eastman Theatre, instruction in all orchestral instruments would be given. A glance at the current Eastman School catalog will give some indication of the subse- quent expansion of the School's offerings.
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Direction
Distinguished as this faculty was, the man most responsible for making the Eastman School what it is today, not only as an insti- tution in itself, but as a shaping force in American musical edu- cation, is its present director, Howard Hanson. Upon the retire- ment of Alf Klingenberg in 1922, Raymond Wilson of the piano faculty was placed in charge as acting director. The name of Howard Hanson was first suggested by Albert Coates, who shared with Eugene Goossens the first full season as conductor of the newly formed Rochester Philharmonic Orchestra. At that time, Dr. Hanson was a young student in Rome, a winner of the Prix de Rome. He had received a diploma from Luther College Conserva- tory in 1911, studied at the University of Nebraska in 1912-1913, received a diploma from the Institute of Musical Art in New York in 1915, and his bachelor's degree in music from Northwestern University in 1916. He had taught in the theory department of the College of the Pacific from 1916 to 1919, and from 1919 to 1921 was dean of the Conservatory of Fine Arts in the same insti- tution. In 1921, he became the first American to win the Prix de Rome and left the United States for Italy, to spend three years as a Fellow of the American Academy in Rome. In 1924, on the rec- ommendation of President Rhees, Howard Hanson was appointed by the trustees of the University as the second director of the Eastman School; and the Eastman School of Music, which had begun its career with a complexion distinctly European, was to see its future more closely shaped in accordance with American ideas of education — specifically, music education in its broadest aspects. It was to move away from the ideal of the Continental conservatory, which was seldom more than a collection of studios, primarily occupied with the development of individual talents along rather narrow and restricted lines, to a school of music of real university stature, devoted to the objective of making its students aware of what more nearly amounts to the whole of music and to the humanities of which music is one part.
22
Reading room, Sibley Music Library.
The Sibley Music Library
It was fortunate for the Eastman School of Music that another Rochesterian shared Mr. Eastman's interest in music. Mr. Hiram W. Sibley had, as early as 1902, given the University of Roch- ester a collection of music and books about music. This collection "for the use of all music lovers in Rochester," as the bronze plate just inside the doors of the present Sibley Music Library reads, was first housed in Sibley Hall, the University library given by Mr. Sibley's father, on the old campus on Prince Street. The books were the selection of Mr. Elbert Newton, a bibliophile and a musician, and it was Mr. Newton who first suggested to Mr. Sibley that a collection of books and music in the Universih library would be of immense value to Rochester, which was. at that time, without a municipal library. Mr. Newton, whose per- sonal letters indicate that he was a man of considerable lit cm an ability, bought wisely and with an eye to the future. The collection
23
.'■'..
Eastman School of Mftsic Symphony Band.
Eastman School of Music Choir and Junior Orchestra.
24
25
which Mr. Sibley presented to the University in 1905 is indicative of Mr. Newton's taste and judgment. New scores of composers who were just coming into the public notice at the turn of the century: Malipiero, Debussy,. Faure, Strauss, Sibelius, Rachmaninoff, Moussorgsky, Prokofieff, Respighi — to mention only a few — found places in the collection. In January, 1922, after the comple- tion of the new Eastman building, the Sibley Music Library was brought to the Eastman School and first housed in what is now the student and faculty lounge. Mr. Sibley continued his support of the library by contributing funds for the acquisition of many rare works. In all, his gifts amounted to something well over seventy-five thousand dollars. Generous appropriations from East- man School funds have occasioned its present stature among music libraries, so that the collection of what had grown to be- come seven thousand volumes in 1922 numbered more than fifty-five thousand by 1947. The rapid growth of the library finally necessitated the construction of a new building in 1937. Its old quarters had never been intended as a library, and proved to be quite inadequate to the processing, housing, and use of its books and music.
The library has developed in line with the growth of the School's curriculum and distinction. The same broadening may be observed in the acquisition of books' in related fields: in general philosophy, as well as in aesthetics, in poetry, and in the fine arts. It is now particularly strong in works of musical theory, in the complete and authoritative editions of J;he great composers, in historical anthologies and incunabula. Among the anthologies are the Denkmaler der Tonkunst in Osterreich, the Denkmaler Deutscher Tonkunst, the Paleographie Musicale, the Lira Sacro-Hispana, the Monumenta Musicale Byzantinae. Its incunabula in the field of theory include works by Gafurius, Keinspeck, and Le Fevre. Other rare treatises are works by Hermann Finck, Adrian Coclicus, Cerone, Piestro Aaron, Vicenzo Galilei, G. B. Doni, Boethius, Praetorius, Prasberg, Ramos de Pareja, Salinas, Wollick, Zarlino,
26
Agricola, Cochlaeus, Fogliani, Glareanus, Thomas Morley, Thon Mace, Christopher Simpson, John Playford, and Charles Butler. In 1929, the library acquired, from the famous librar) of Dr. Werner Wolffheim, the eleventh century Reichenau Codex, which
contains musical treatises by Hermannus Contractus. W illiam of Hirsau, Bernon, and Frutolf of Michelsberg, as well a- treatises on other arts of the Middle Ages. It also possesses what i- now known as the Rochester- Admont Codex, a twelfth century codex from the monastery of Admont in Austria, which consists of works b) Guido, Aribo the Scholar, William of Bernon, and Hermann n- Contractus. The library is rich in its manuscript collection, some of it beautifully illuminated. It includes some eighty leaves from the collection of- Oskar Fleischer with his descriptive note-. Among its holograph scores are works by Purcell, Beethoven. Mozart, Liszt, Brahms, Rubinstein, Schumann, Debussy, Faint'. Krenek, as well as the Americans Chadwick, Foote, Hill, Mac- Dowell, Mason, Copland, Harris, Rogers, Thompson, Antheil, Bacon, White, Porter, and Hanson. The library is rich in its comprehensive collections of orchestral scores, chamber music, folk song, instrumental music, and the history of music. It owns many valuable letters and rare engravings, and a number oi paintings.
The present library building was planned with expert help from the late Donald Gilchrist, then University librarian. Besides the four levels of stacks with a capacity of one hundred thousand volumes, it contains a reading room, offices, processing rooms. seminar rooms, piano and phonograph rooms, treasure room, and staff room. Cubicles for graduate students and faculty are pro- vided in the stacks. The building is so constructed as to allow for future expansion. Miss Barbara Duncan, librarian since 1()22, now emeritus, is largely responsible for the excellence of its present collection. Through her efforts many rare items have come to tin' Sibley Music Library from famous collections in this country and abroad. Where books and scores have not been available in their
27
original editions or reprints, photostatic facsimiles and microfilm reproductions have been added. In this way the wealth of its own acquisitions has been enriched by valuable works in other li- braries. In 1946, the Library of Congress in its project of securing books published abroad during the war, of which no copies had hitherto reached this country, gave the Sibley Music Library a first priority rating in music. Through this undertaking, over nine hundred works have been received, both books and music, among them several recent operatic scores of Richard Strauss. Elizabeth Schmitter, who since 1922 has been head of the catalog department, deserves the highest praise in building one of the finest music catalogs in this country. Her painstaking care and scholarship have facilitated to an immense degree the use of this extraordinarily rich collection of music and music literature.
Orchestral Department
The orchestral department of the Eastman School of Music has grown rapidly, as the registrations of 1921 and 1947 will indicate. In 1921, with an orchestral faculty of eight, there were sixteen students of orchestral instruments enrolled; in 1947, with an orchestral faculty of thirty-two, there were two hundred fifty-four students of orchestral instruments (ninety-seven in strings, seventy-one in brasses, seventy-two in wood winds, five in harp, and nine in percussion). Under the direction of Selim Palmgren, the first Eastman School student symphony orchestra was founded in 1922. It was a small organization of only twenty-eight student players and, in some instances, members of the faculty were en- listed for solo work. In 1924, when Samuel Belov took over the office of conductor of an organization numbering one hundred players, faculty assistance was no longer necessary in solo parts or in the first desks. The rapid growth of the orchestral depart- ment necessitated the formation of a second full orchestra in the early thirties, and a third orchestra in 1946. These three orchestras are at present under the direction of Howard Hanson,
28
Paul White, and Frederick Fennell. The repertory of all three groups has included contemporary works as well as the standard ones of the past. Membership in these organizations has given many a student his first knowledge of a rich musical literature, and a valuable introduction to orchestral performances. Graduates of the Eastman School of Music are to be found in every symphom orchestra in the United States, and at least thirty-five occupy first desks. A partial list of these will be found in the appendix begin- ning on page 73.
In 1931, the Eastman School Symphony Orchestra attained such proficiency under the direction of Samuel Belov that it was invited by the National Broadcasting Company to give a series of weekly broadcasts over the NBC coast-to-coast network through Station WHAM, the Stromberg-Carlson station in Rochester. This was the first occasion on which any student orchestra had pre- sented a regular series of broadcasts over a national circuit. In 1938-1939, programs illustrating the development of musical com- position from the Middle Ages to the present time, entitled Mile- stones in the History of Music, were presented under Dr. Hanson's direction over Station WHAM and the Red Network of the Na- tional Broadcasting Company. These programs continued for sev- eral years, intermittently during the war.
In 1939, Dr. Hanson and the Eastman School of Music were honored in a special citation by the National Broadcasting Com- pany. In 1946, Dr. Hanson received the George Foster Peabo.K Award for distinguished service to music broadcasting in connec- tion with the broadcasts of the Eastman School over Station WHAM, which received a similar citation.
In the spring of 1947, the National Broadcasting Company re- sumed its broadcasts of music emanating from the Eastman School by scheduling a series of fifteen programs of chamber music in which members of the faculty and student body took part. In Ma) of the same year, Dr. Hanson conducted four weekly conceits oi the Eastman School Senior Symphony Orchestra in the Orchestras
of the Nation series. The Columbia Broadcasting System, through Rochester Station WHEC, has, during the past few years, carried numerous Eastman School programs. Its most notable series came in 1941-1942.
The Eastman School Little Symphony Orchestra, formed in 1927 as the Phi Mu Alpha Sinfonia and restricted in personnel to members of that organization, was opened to women students at the beginning of the war. Its first conductor was Samuel Belov. Mr. Belov was succeeded by Karl Van Hoesen, who, from 1928 to 1938, presented, in addition to the classic repertory, some forty American first performances. In 1938, Frederick Fennell took over the orchestra and, with the exception of the three years during the war when he was on leave of absence, has continued as its director. During the war interim Emanuel Balaban and Jacques Gordon acted as guest conductors.
The first Eastman School Symphonic Band was organized in 1934 by Mr. Fennell. Pattee Evenson, instructor in trumpet, was its conductor during Mr. Fennell's absence. In 1946, the large number of returning veterans and consequent increased enroll- ment occasioned a second band. During the war, the United States Army, Navy, and Marine Bands drew many of their players from the Eastman School organization.
Conducting
The first class in orchestral conducting was organized in 1924 by Albert Coates. With the co-operation of the Rochester public schools, the Rochester Junior Orchestra was founded with a mem- bership of sixty, drawn from two Rochester high schools and from the Eastman School of Music. With this organization Mr. Coates taught his classes in conducting, reading, and interpretation of orchestral scores. Mr. Goossens, in the catalog of 1924-1925, is listed as offering instruction in this department. In more recent years, Paul White, Karl Van Hoesen, and Frederick Fennell have held classes in orchestral conducting; Herman Genhart, in choral
30
Chamber Music Ensemble.
conducting. Students in this department are given the opportunity of conducting one of the student orchestras in rehearsal and in public performance.
Chamber Music
The Eastman School of Music has not been unaware of the value of experience in the smaller ensemble. In the first years of the school such groups were formed within the string, wood-wind, brass, harp, and voice departments. In 1941 and 1942, the Gordon Quartet under the direction of Jacques Gordon, now a member of the faculty, came to the Eastman School in a somewhat unique capacity. In 1941, Luigi Silva had been appointed instructor in chamber music, and, under his direction and supervision, student trios, quartets, quintets, and octets were formed to work out in performance the problems of the literature of this field. In the spring of 1941 and again in 1942, after sufficient time for prepara-
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tion in rehearsal had been allowed, the student quartets played their works for the Gordon Quartet in Kilbourn Hall in a chamber music symposium which lasted several days. It was an interesting adventure for both participants and audience. Comments from members of the Gordon Quartet, kindly criticism, repetition of the music by the more experienced organization, and the occa- sional playing of the work by both groups simultaneously did much to stimulate the interest in chamber music. Under the leadership of Mr. Silva, work in this department has continued, and, in 1946, the first of what was to be an annual Chamber Music Festival was held. The Gordon String Quartet, which has become affiliated with the Eastman School of Music, now offers a series of chamber music concerts in Kilbourn Hall, and gives one performance of contemporary American music at the annual Festival of Ameri- can Music.
Choral Music
The first choral group to have a connection with the Eastman School of Music and the Eastman Theatre was the Festival Chorus, founded in 1923 by Oscar Gareissen. The Eastman School Chorus, now known as the Eastman School Choir, was organized in 1925 by Howard Hanson, with Herman Genhart as his assistant. In 1927, Mr. Genhart became its principal conductor. Works, large and small, with orchestra and a capella, have been performed. Among them: Bach's Passion According to St. Matthew, Mozart's Requiem, Beethoven's Missa Solemnis, Brahms' German Requiem, Haydn's Creation, Handel's Messiah, Mendelssohn's St. Paul. Berlioz' Requiem, Franck's Beatitudes, Debussy's Blessed Damosel, Hanson's Lament for Beowulf, Heroic Elegy, Drum Taps, and the orchestration of Palestrina's Pope Marcellus Mass, Delaney's John Broivns Body, Loefner's Evocation. To its credit are world pre- mieres of Malipiero's oratorio, La Cena; Leo Sowerby's cantata, the Vision of Sir Launfal; Bernard Rogers' Exodus, the Raising of Lazarus, and one section of the Passion.
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Among the smaller ensembles is the group known a- the Mad- rigal Singers. It was founded before the war by an Eastman gradu- ate student, William Schempf. Charles Warner is its presenl director. Programs in Kilbourn Hall have been given twice a jrear, and have been chosen from the contemporary field as well as from the rich literature of the seventeenth century. Several firsl per- formances have been given of works by Eastman School composers.
The Opera Department
A complete opera department came in 1923. George Todd, a close friend of Mr. Eastman, had met Vladimir Rosing on a ship bound for Europe. A week or so of close association on shipboard gave Mr. Todd sorne notion of Rosing's ideas of opera in the United States and, what is more, opera in English. Mr. Todd re- turned from Europe with a considerable enthusiasm for Mr. Rosing, and, again through the generosity of Mr. Eastman, the American Opera Company was formed, an organization of profes- sionals with Mr. Rosing as its head. After a trial performance which met with marked success, scholarship funds were set up— again with Mr. Eastman's backing — and auditions were offered in Rochester, New York, Boston, Cleveland, and New Orleans. Quot- ing the catalog of 1923-1924, "Candidates for these scholarships [of which there were twelve in 1923-1924 and sixteen in 1924- 1925, each providing tuition fees and $1000 per year for living expenses] were required to be American by birth or adoption." Among those who came to be associated with the new organiza- tion were Rouben Mamoulian, Marion Weed, Guy Fraser Harri- son, Frank Waller, Nicolas Slonimsky, George Houston, Helen Oelheim, Emanuel Balaban, and Paul Horgan. Miss Weed came with a rich experience in the Metropolitan Opera Company and at Bayreuth; Mr. Harrison, from the Philippines. Mr. Horgan- prize-winning novel, The Fault of Angels, the manuscript of which is in the Sibley Music Library, attempted in some measure to capture the story of this interesting venture.
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Students inspect set model in opera workshop.
The project developed rapidly during the next four years. On April 4, 1927, because of the interest of the Theater Guild of New York, which had sent observers to Rochester, the American Opera Company gave its New York debut in the Guild Theater. It was a great success. With the backing of Mrs. William Carrington, wife of Robert Edmund Jones, the stage designer of the company, and Mrs. Christian Holmes, a generous supporter of the New York Philharmonic Orchestra, the work continued. Seasons followed in New York, Boston, Chicago, and on tour. Finally, in the spring of 1930, the company disbanded, a musical casualty of the depression.
The Eastman Theatre, in close affiliation with the Eastman School of Music, instituted in 1925 its School of Dramatic Action, and supplied dramatic training to students of the opera depart- ment. That same year, Martha Graham, well established as a
34
teacher and performer, came to Rochester from IWw York to give instruction in the dance and to supervise the performances of ballet in the theater. After the death of the American Opera Company and the School of Dramatic Action, work in the dance continued in the performances of ballet, under the direction of Thelma Biracree, at the annual Festivals of American Music, and in the courses in modern dance given at the Eastman School bj Elsa Bockstruck and, at the present time, by Elsa Jordan.
From 1923 to 1928, Vladimir Rosing served, first as director and producer, later as dramatic director, and finally as an adviser to the department. Rouben Mamoulian acted as vice-director and producer from 1923 to 1925, and as dramatic instructor during the following season. Eugene Goossens, conductor of the Roch- ester Philharmonic Orchestra, was director of the department from 1925 to 1931, when he left to become permanent conductor of the Cincinnati Symphony Orchestra. Emanuel Balaban, who had come in 1925 as assistant musical director, succeeded to Mr. Goossens' post. This he retained until 1944, when he accepted the appointment as conductor of the Ballet Russe de Monte Carlo. During the following season Guy Fraser Harrison served as acting director. In 1945, Carl Fuerstner came as musical director.
With the emergence of the American Opera Company as a full- fledged professional organization, the opera department within the School assumed a more collegiate status. The department was then able to ally itself more and more closely with the work ol other departments of the School. In 1947, with the appointment of Leonard Treash as dramatic director, the idea of the opera workshop was finally realized. In the workshop, students are in- troduced to opera, not merely as interpretation of roles, but as operatic production. It aims to give the student a sound under- standing of opera in its completeness: experience in direction, production, scenic design and construction, and performance. I he first student-produced and student-directed operatic excerpts, given on November 10 and 11, 1947, are important dates in the
35
history of the opera department and in the revitalization of the operatic art.
The opera department has always maintained its early commit- ment to opera in English and, even after twenty years, still finds itself a pioneer for opera in the mother tongue. Its students have received careful instruction in English as well as in French, Ger- man, and Italian diction. On many occasions its faculty has re- translated a libretto into idiomatic English for a school perform- ance when the existing translations appeared clumsy and ludi- crous. The opera department has presented operas large and small in the Eastman Theatre and in Kilbourn Hall, and has carried out many of the ideas originally devised by Mr. Rosing. Among its first performances of American works are Henry Hadley's Bianca, Charles Wakefield Cadman's The Sunset Trail, Bernard Rogers' Marriage of Aude, and Robert Russell Bennett's ballet-opera Endymion. Students of the opera department have gone from the Eastman School into leading opera companies of this country; in most instances they had their first experience in operatic roles at the Eastman School of Music. In the appendix, on page 77, will be found a partial list of singers who have affiliated themselves with professional operatic companies.
The Graduate Department
A graduate department was established in 1926. This division, a part of the Graduate School of the University of Rochester, originally offered work only in the field of composition, leading to the degrees of Master of Arts in music and Master of Music. The department was soon expanded to include musicology, the- ory, music education, and, more recently, music literature (ap- plied music). In addition to the two masters' degrees, the Doc- tor of Philosophy degree is now awarded in the fields of composi- tion, theory, musicology, and music education. In 1947, there were one hundred forty-six students registered in the graduate division and, of these, twenty-two were studying for the doctorate.
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Among graduate schools, the Eastman School- graduate de- partment has, in at least one respect, stood almost alone. In theory, at least, some graduate schools in this country have admitted their willingness to accept original creative work as a partial fulfillment of the requirements for the advanced degree. In actual practii however, this has not often been the case. The Eastman School of Music from its very beginning has encouraged creative writing, and its positive position with respect to the American composer has nowhere been more evident than in its American Composers1 Concerts. Closely connected with these concerts has been tin- work in composition in both graduate and undergraduate divisions. But in the School's encouragement of creative work, it has alwa) - been happy to award the degree, on the completion of the required work, with an original composition in place of the more usual dis- sertation. Obviously, the work must meet the high requirements of the faculty of composition. In other fields — theory, musicolog) . and music education — the dissertation is a partial requirement.
Theory and Composition
The department of theory is the heart of any good music school. Its work in developing the student's basic musicianship, powers <>l analysis and synthesis, is of primary importance. It affects vitallx every other department of the school.
The work done at the Eastman School in the department of theory has been noteworthy. Modesty should not prevent the factual statement that the Eastman School has revolutionized and modernized the whole field of the teaching of basic musicianship. The intensive work in this course of study throughout the four- year course affords the student the necessary background per- haps one should say foreground — to musical understanding. The present system, evolved from years of study and experimentation, has proven highly effective and is rapidly finding its ua\ into the curricula of numerous colleges and music schools throughout the country. The result of these successful experiments in pedagog)
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is being embodied in a series of textbooks by Allen McHose, Gustave Soderlund, Bernard Rogers, Wayne Barlow, Donald White, Ruth Tibbs, and Elvera Wonderlich, in the fields of con- trapuntal harmony, counterpoint, sight-singing and dictation, and orchestration.
In the field of musical composition, growth has been consistent, so that, during the year 1946-1947, there were forty-five students majoring in that department: twenty-six undergraduates and nine- teen graduates. The organization of the Composers' Workshop in 1947 is indicative of this increasing interest. Student works are performed in Kilbourn Hall in the spring symposium for orches- tral music and in the annual symposium of student compositions for solo instruments and ensemble groups.
The American Composers' Concerts
On May 1, 1925, at the close of his first year as director of the Eastman School of Music, Dr. Hanson initiated the first of a con- tinuing series of American Composers' Concerts. It was Dr. Han- son's idea, supported wholeheartedly by Mr. Eastman and Presi- dent Rhees. On one occasion when one of Rochester's local critics complained that the American Composers' Concerts had been continuing for several years and had as yet produced no Beethoven, Mr. Eastman replied, "If we produce a Beethoven in fifty years, I shall consider those concerts a good investment." As a composer himself, Dr. Hanson was quite aware of the plight of the young artist. In the literary field, the unfortunate situation was remedied in some measure by the so-called "little magazines," wherein a considerable number of young writers first saw their work in print. But for the composer, the problem was different and more serious. The writer could and often did continue his work, regardless of whether or not it was published. But the composer was denied what was most essential to his development as a musi- cian— the opportunity to hear his own works performed by a competent orchestra and to profit by the hearing. In these Ameri-
38
can Composers' Concerts, that unfortunate situation was sub- stantially remedied. Many of today's important American com- posers heard their work first performed at these concerts, and travelling expenses to and from Rochester were paid by the East- man School of Music in order that they might do so. Among the composers whose works first received hearings were Roy Harris, Aaron Copland, Russell Bennett, Henry Cowell, Nathaniel Dett, David Diamond, Herbert Elwell, Werner Janssen, Otto Leuning, Charles Skilton, Robert McBride, Douglas Moore, Randall Thomp- son, Quincy Porter, Bernard Rogers, Lazare Saminsky, Robert Sanders, Leo Sowerby, Burnet Tuthill, Charles Vardell, Bernard Wagenaar, Peter Mennin, Earl George, Robert Ward, to mention but a few.
These American Composers' Concerts, of which four were given each year in Kilbourn Hall and in the Eastman Theatre, were re- placed in 1935 by two annual symposia. The fall symposium was designed primarily for the reading of works of composers from all over the country; the spring symposium, held shortly before the annual American Festival, for the reading of scores from students, faculty, and graduates of the Eastman School. The formality of the earlier American Composers' Concerts had now given way to an informality which seemed to be of greater advantage to the composer. In four or five daily sessions of several hours each, com- posers as well as students, faculty, and general public could hear these new works. Forums in which students, faculty, and guests would participate proved to be of no little value in apprehending the problems of composition and of the composer.
The first annual Festival of American Music was held in 1930. The seventeenth festival, culminating in the seventy-sixth Ameri- can Composers' Concert and celebrating the twenty-fifth anniver- sary of the School, was held in 1947. During this full week of con- certs, music for orchestra, band, chorus, little symphony, string quartet, and ballet was presented; some old, some new, but all American. If a partisanship has existed in the choice of music per-
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Group of prominent figures at Eastman School Festival of American Music hold infor- mal discussion with Dr. Howard Hanson, director of the Festival, seated at piano. From left: Jacques Gordon, violinist, head of Gordon String Quartet and Eastman faculty member; Robert Sanders, dean of music school of Indiana University; Dr. Roy Harris, prominent composer; and Dr. Herbert Inch of Hunter College music faculty.
formed, it is only that of Dr. Hanson's keen musical judgment. From the beginning, he has insisted on the right of the serious and responsible composer to hear his music — at least once. Hence, works from all the so-called schools have been given performance, and the impressive list of well over a thousand works of nearly five hundred composers performed indicates a cross section of Ameri- can music.
Publication and Recording of American Music
Coincident with the beginning of the American Composers' Concerts was the project to make available certain of the works performed through publication of the scores and parts. The first score, Bernard Rogers' Soliloquy, for flute and strings, was pub- lished in 1926, and since that time a sizable catalog of Eastman
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publications has been developed, which is listed in the appendix. (See page 62.)
A natural corollary of the publication project was the supple- mentary plan to make American music available through record- ings. In September, 1939, RCA Victor, in collaboration with the Eastman School of Music, issued its first album of recordings of American orchestral music. In these recordings, Dr. Hanson con- ducted the Eastman-Rochester Orchestra, an organization con- sisting of members of the Rochester Civic Orchestra and the Eastman School Symphony Orchestras. A list of these recordings will be found on page 63 of the appendix.
The Eastman School of Music has, then, made a tremendous effort in behalf of American music and the American composer. It has made it possible for the composer to have his works per- formed and recorded. It has, furthermore, subsidized the publica- tion of a considerable number of new works. Finally, it has made it possible for the public to hear these works, and to become aware of the existence of a native American art.
Activities in behalf of American music have won widespread attention. Columbia University has in recent years formulated a plan which closely approximates the one in effect at the Eastman School. In 1935, Dr. Hanson was sent by the Oberlaender Trust to Germany to conduct a series of concerts of American music with such orchestras as the Berlin Philharmonic. In a word, the effects have been far-reaching and felicitous.
Recording Department
In 1934, the Eastman School of Music made its first instanta- neous recordings of some of its musical performances. For sonic time Dr. Hanson had wished to give some permanence to the music produced at the School by students and faculty, and, be- cause of his foresight, the School now possesses a priceless docu- mental library of more than eight hundred fifty hours of music, much of it of commercially unrecorded and seldom played works.
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invaluable to the actual educational program of the School.
Instantaneous recording thirteen years ago was in its aluminum- disc infancy. The single recording machine, operating at 78 r.p.m., made it possible to record only the shortest works without inter- ruption, and the quality of the reproduction was inferior. In spite of these shortcomings, the project proved to be of such value that the original equipment was replaced by two high-quality stationary recorders. The introduction of coated 16-inch discs and 33M r.p.m. operation so reduced the cost and improved the quality of the recordings that the policy of recording all public performances and many rehearsals, for later musical study, was soon estab- lished. At the present time experiments are under way in the use of tape-recording. .
The volume of work now exceeds that of many commercial studios, insomuch as recordings are made of performances by the
Recording Department.
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larger orchestral groups, the bands, the opera department, the smaller ensembles, and by individuals. The symposia, festival concerts, and concerto concerts are all recorded. For study pur- poses, the value of these recordings is considerable, and as docu- mentary evidence of the musical activity at the Eastman School of Music, they speak most eloquently. Of course, these recordings are solely for the private use of the School, and are never com- mercially sold or made available to the public.
Concert Bureau
The Eastman School Concert Bureau was organized in 1922 by the late Gertrude Vayo, one year after the School was opened. Its purpose was to establish a nexus at which individuals and groups needing the professional service of students and faculty desirous of such engagements might meet. All students wishing professional engagements are now required to work through the bureau, which arranges all details, including fees. In so doing, they are protected from unsatisfactory negotiations.
Aside from the accruing financial advantages, the experience which the student has gained from such engagements has been of great service. Many students, through the excellence of their per- formance, have been able to create for themselves a considerable following in the Rochester area. As requests for performances fre- quently come from some distance, students have been able to make valuable contacts, which in some instances have led to en- gagements on a more permanent basis. The bureau has also as- sumed a responsibility in encouraging an attention to such im- portant matters as stage presence and dependability.
In spite of a depression and a war, the volume of the bureau's service has grown steadily. In 1945-1946 alone, its financial deal- ings amounted to more than ten thousand dollars. Since 1943, Jean Ancona has been its head, and, through her management, the bureau has been more and more efficient in discharging this service of the School to its students and to the general public.
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Placement Bureau
Under the direction of Mr. A. H. Larson, Secretary-Registrar of the Eastman School of Music, the Placement Bureau has been maintained for a number of years. Through this organization re- quests from colleges and universities, preparatory and public schools for the services of graduating Eastman students and Eastman alumni are handled. A very considerable number of Eastman students through this means have secured appointments on the faculties of institutions throughout the country. The bureau is in close contact with a number of agencies, and so is in a position to give advice and a superior service to those who choose to work through it.
Student Aid
Through the generosity of Mr. Eastman and others to the en- dowment of the Eastman School of Music, financial aid is given students with talent who are in need of such assistance. These awards are made on a competitive basis and are applied to the tuition charges of the School. The major requirement is that the student maintain a satisfactory academic record. In the graduate department there are four kinds of awards: teaching, research and technical assistantships, and graduate scholarships. Some of the assistantships carry stipends of varying amounts in excess of the tuition fees. They are awarded annually and may be held for two years. Requirement for these awards is that the graduate show evidence of aptitude for teaching, research, performance, or composition. A list of scholarships in addition to those pro- vided by the Eastman endowment will be found in the appendix.
World War II
It may be a commonplace to mention that the Eastman School of Music was very strongly affected by World War II, but the na- ture of its influence is of interest. In 1938-1939, there were 262 men and 256 women enrolled. As soon as the draft boards began
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to make their demands, the number of male students gradually declined, and although there was no decrease in the over-all en- rollment, the women came to outnumber the men. Many women enlisted for service with the WAVES, the WACS, the Red Cross, and the U.S.O. A large number of men saw combat service as officers or enlisted men in the Army, Navy, Marines, and Air Forces. A smaller number were assigned to the service bands, many of whom became bandmasters. Over five hundred students and alumni were represented in all branches of the services. Fourteen members of the faculty enlisted for service, not only in musical organizations of the armed forces, but in combat. Nine students, so far as is known, gave their lives, and are remembered with high honor and gratitude. They are:
Sidney Archibald ex 1933 Earl Krumwiede ex 1946
Seth Chapin B.M. 1944 Marvin Lee B.M. 1942
James Deming ex 1944 (awarded posthumously)
Thor Hamrin, Jr. ex 1942 Robert Speas ex 1942
Paul Husted ex 1945 Vernon Winton B.M. 1943
With the return of veterans, the Eastman School has found itself faced with many problems and responsibilities. The increase of approximately one hundred fifty students over the normal limit of five hundred has taxed the facilities of the institution. Yet, the presence of these returning veterans has done much to enrich the life at the School. The interest, the quality of the work done, the co-operation in the face of what might have been unsurmountable difficulties have been extraordinary, and to those who have been in the School during the past year and a half veterans, civilians, students, and faculty alike — the stimulation of the intellectual experience has far outweighed the trials of attendant inconveniences.
The Rochester Civic Music Association
The association of the Rochester Civic Music Association with the Eastman School of Music has been close. The Rochester Civic
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Orchestra, under the leadership of Dr. Hanson, provides accompa- niment for performers and artists of the Eastman School in a series of graduation concerts. It also plays for the symposia of American music, and the Rochester Philharmonic participates in the annual Festival of American Music. First-desk players of the Civic Orchestra and the Philharmonic Orchestra are members of the Eastman School faculty. On many occasions members of the Eastman faculty have appeared as soloists on Civic and Philhar- monic programs. Furthermore, many advanced students have found an invaluable professional experience in being members of one or the other of these orchestras.
The Eastman School has been extremely generous in its co- operation with the .Rochester Civic Music Association, and in so doing has played an important part in the development of music in Rochester. Its present subscription to the Rochester Civic Music Association is fifty thousand dollars a year. The Associa- tion occupies office space in the Eastman School, and its concert manager, Arthur M. See, is the financial secretary of the School. In this latter capacity, "he has been ably assisted by Marion Davis, cashier of the Eastman School, who has given long and faithful service.
The existence and co-operation of the Civic Music Association has in turn been of great benefit to the School. The Rochester Civic Music Association sponsors, in addition to the orchestral series of the Civic and Philharmonic, artist series, productions of the Metropolitan Opera Company, children's plays, performances by the various ballet groups, and occasional first-rate films such as Shakespeare's Henry V. Admission to the Philharmonic series is included in the fee which the student pays the Student Associa- tion of the Eastman School, and all that is required of the student is the payment of the government tax.
The cordial relations between the Association and the School are beneficial to both parties. The Eastman School offers much to the Association and to the city of Rochester and, in turn, the
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Lounge, Eastman School of Music.
Association makes it possible for the student to hear the best in musical performance, and to enlarge and strengthen his repertory. As remarked earlier in another connection, the Rochester Civic Music Association came into existence in 1929, when a number of generous and interested Rochesterians felt that Mr. Eastman's original plan of a community musical theater should not be al- lowed to come to an early death. At first, the activities of the Association overlapped the tenure of Paramount-Publix which had leased the theater from the University. Under the terms of the agreement, one day each week was reserved for concerts sponsored by the Association. But with the dissolution of the old theater orchestra, the Rochester Civic Orchestra and the Roch- ester Philharmonic Orchestra were formed. The Rochester Civic Orchestra, composed of some forty-five men, gave weekly concerts on Sunday afternoons in the several Rochester high school audi-
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toriums, as well as educational concerts in the public schools as a part of the program set up by the Rochester Board of Education. These educational concerts have continued to the present and are a contribution of the Civic Music Association to the city of Roch- ester. Since the return of the theater to University use in 1931, the weekly concerts by the Civic Orchestra have been given on Sunday evenings in the Eastman Theatre. Guy Fraser Harrison has been the conductor of this organization from the beginning.
Rochester Philharmonic Orchestra
The Rochester Philharmonic Orchestra, with the Civic Orches- tra as its nucleus, numbers some ninety players. Its first concert was given in the Eastman Theatre on March 28, 1923, under the baton of Arthur. Alexander, with All Klingenberg as piano soloist. Its 1923-1924 season was to have been opened by Albert Coates, but Coates, finding himself unable to leave England, sent Eugene Goossens in his place. With the exception of the two concerts which were conducted by Vladimir Shavitch, Goossens led the orchestra during the first half of the season. It was finished by Mr. Coates who came to Rochester in January. The 1924-1925 season was shared by Goossens and Coates; and for the 1925-1926 season, Goossens was appointed the first permanent conductor of the Rochester Philharmonic Orchestra. During that year Mengel- berg and Hanson conducted one concert each. Guy Fraser Harri- son, who had been associated with the organ department of the Eastman School, was the associate conductor, a position which he still occupies with credit and distinction.
Mr. Goossens continued as permanent conductor until 1931, when he left to take over the leadership of the Cincinnati Sym- phony Orchestra. Until that time he carried on his affiliation with the opera department of the Eastman School.
Five seasons with guest conductors followed Mr. Goossens' resignation. In 1936, Jose Iturbi was named musical director ol the Rochester Philharmonic Orchestra. After Mr. Iturbi's resig-
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nation in 1944, guest conductors led the orchestra until, in 1917. Eric Leinsdorf, formerly Wagnerian conductor of the Metropolitan Opera Company and conductor of the Cleveland Orchestra, was named the third permanent conductor of the Philharmoni* Orchestra.
Kilbourn Hall Concerts
In addition to the concerts brought by the Civic Music Associa- tion are those sponsored by the Eastman School in its Kilbourn Hall series. These concerts, of a more intimate nature than those given in the Eastman Theatre, include the series given by the Gordon String Quartet, and the individual concerts by artists distinguished in their fields. Student admission to these concerts is included in the Student Association fee. The Kilbourn Hall re- citals were for many years under the management of the late Gertrude Vayo. Arline Putnam is now manager of Kilbourn Hall and discharges her duties with understanding and efficiency.
Association with the Rochester Public Schools
Association of the Eastman School of Music with Rochester's public school music department has been close. It had been the plan of Mr. Eastman and President Rhees that co-operation with the public schools should be directed toward improving school orchestras and bands, and that musical instruments should be lent to those who were unable to purchase them. This plan was carried out, and the Eastman School has done a great service to the children of Rochester by lending them orchestral and band instruments from its large collection.
Nine members of the music department of the Rochester public schools are members of the Eastman School faculty. Students of the Eastman School in the public school music department com- plete the requirements in practice teaching in the Rochester schools under the supervision of these instructors, to the benefit of school pupils and Eastman students alike.
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The David Hochstein Memorial Music School
Closely associated with the Eastman School of Music, although having its own board of directors and administration, is the David Hochstein Memorial Music School. The. original School at 421 Joseph Avenue was opened on January 2, 1920, as a memorial to David Hochstein, the talented young Rochester violinist, who gave his life in the Battle of the Argonne. His home, purchased by Mrs. James Sibley Watson and given to the School, was used until the growth of the School made it impossible to continue there. New property, sufficient to provide for a community play- ground as well as a site for a new building, was purchased and given by Mr. Hiram Sibley. Funds for the new building, amounting to more than seventy-five thousand dollars, were subscribed by a comparatively small group of friends. The new School at 12 Hoeltzer Street was opened on February 4, 1928, with a piano recital by Myra Hess, who very generously offered her services as a testimony of her interest and approval' of the work which was being done. The original idea of a settlement music school in Rochester was that of Mrs. Alf Klingenberg, and it was largely through her tireless efforts that it materialized. Harold Gleason, formerly director of the Boston Music School Settlement, was re- sponsible for the details of its organization.
The original plan of the School, which is still in effect, was twofold: to give instruction in music to children of limited means, and to afford an opportunity for advanced students of the Eastman School to gain an experience in teaching. From the beginning, the Eastman School of Music has contributed handsomely to the enterprise, and it now underwrites the cost of instruction to the amount of four thousand dollars a year. The School has an enroll- ment of over three hundred students, and a faculty of thirty.
Instruction in applied music, theory, creative dance, and mu- sicianship is correlated with these courses of instruction at the Eastman School, and supervision of this work is held by members of the Eastman School faculty. Its directors, appointed from the
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Eastman School faculty, have been, in order: Harold Gleason (1920-1930), Samuel Belov (1930-1943), Emanuel Balaban (1943- 1944), and its present director, Charles Riker (1944— — ).
During the quarter century of the School's existence, main of its graduates have continued their studies at the Eastman School of Music, and many have won recognition in subsequent profes- sional work. The Hattie M. Strong Foundation of Washington, D. C, maintains a yearly scholarship at the Eastman School for a worthy graduate of the Hochstein School.
The Eastman School of Music
as a Part of the University of Rochester
As a part of the University of Rochester, the Eastman School of Music plays an important role in University life. Its many musical activities have done much to enrich the cultural life of the Uni- versity and to spread its fame throughout the world. The Uni- versity of Rochester, therefore, regards its school of music with pride. At the same time, the Eastman School is proud of its con- nection with a great university. Through its close association with the other schools of the University — the College of Arts and Science, the Graduate School, the School of Medicine and Dentis- try, the School of Nursing, and the University College of Liberal and Applied Arts — opportunities and advantages in great variety are offered to the Eastman School. Its finances are under expert University management. Its Commencement is the University of Rochester Commencement, and its degrees are University degrees. Its faculty is held to the same high qualifications existing in all schools of the University. Students of the Eastman School of Music may elect courses at the College of Arts and Science when those courses are not offered at the Eastman School, just as stu- dents of the College may elect courses in music at the Eastman School and may study for the Bachelor and Master of Arts de- grees with concentration in music. This arrangement has done much to bring about a happy association among students and
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faculty of both the School and the College. The School of Medi- cine and Dentistry, with its immense resources in staff and equip- ment, makes available to Eastman students, as indeed to all mem- bers of the University of Rochester family of schools, the very best in medical attention. The lectures and conferences on the several University foundations are open to all students of the University. The excellent permanent collection and the monthly exhibitions at the Memorial Art Gallery are available to Eastman students who wish to take advantage of the opportunities offered by the University in an allied field. The Sibley Music Library is a part of the University of Rochester library system, and profits immensely by the affiliation. The opportunity of using the great collections of the University in the Sibley Music Library, the Library of the School of Medicine and Dentistry, the Rush Rhees Library, the Sibley Hall Library, and the Memorial Art Gallery Library is ac- corded to all University students and faculty. Thus, the Eastman School of Music, as a part of the University of Rochester, has es- caped the narrowness of the conservatory and has attained, by its connection with the University of Rochester, the status of a real university school of music.
Educational Philosophy
In the booklet entitled Two Decades of Progress, published in 1941, Dr. Hanson wrote:
The administration has been conscious of its obligation in utilizing the magnificent equipment and endowment ivhich the generosity of George Eastman has provided. The purpose of the School has been stated briefly as follows:
(1) To give the student intensive professional training in the field of his particular interest, (2) to equip him with a solid foundation of thorough musicianship and (3) to develop a sufficiently broad back- ground of general education to enable him to become an effective member of society.
In attaining these objectives it has been the aim of the School to
52
Dormitory Court, Eastman School of Music.
provide a basic training in musicianship which will develop in the student an informed and inquiring mind, well equipped to handle the fundamental problems of his art. For this reason certain tech- nical courses are required of all students. Beyond this basic training it is the endeavor of the School to discover the individual talents of each student and to develop those talents along the lines which will contribute to his greatest usefulness as a musician in society.
In the solution of the first problem, the matter of the evaluation of the student's abilities is of the greatest importance. Early in the history of the Eastman School of Music, both Mr. Eastman and President Rhees became interested in the work of Carl Emil Sea- shore of the University of Iowa. Dr. Seashore was at that time de- veloping his famous tests of musical talent, and the Eastman- School of Music offered him an ideal opportunity for testing the efficiency of his tests. The thorough study of these tests, many of
53
which are still used by the Eastman School, furnished an invalu- able background for psychological study of specific aptitudes. Under Dr. William S. Larson's expert direction, they still remain an important part of the Eastman School's entrance tests.
The second and third points taken together tend to develop the student to the point where he is able to adjust his professional life both to his own abilities and to the opportunities which arise. The training of a musician solely for the concert stage means that failure to attain that goal destroys the ego of the individual, making him at once a disappointed and frustrated musician who will probably become a poor teacher and a misfit in society. A broader training may, on the other hand, make full use of the individual's potentialities.
The third of these objectives is in a sense the most difficult. In the early years of the Eastman School of Music, the great majority of students concentrated almost entirely upon the study of music. The so-called certificate course contained only one academic re- quirement in a four-year course, and this one course, strangely enough, was French. More by natural events than by persuasion it was possible over the years to turn students from the certificate course to the degree course, which contained a greater number of non-musical subjects. By 1930, all students had left the certifi- cate course, and it was removed from the catalog.
The problem of the desirable proportion of music and non- musical subjects, however, can probably never be completely solved by any rigid formula. Music as a professional course of study presents problems which are unique in the academic family of the humanities. Most other professional courses can be post- poned until after the completion of two to four years of under- graduate training. Since music requires the development of me- chanical and technical skills, it is unwise to postpone all profes- sional instruction. Actually, technical training must begin at an early age and cannot profitably be interrupted for a purely academic training. The solution of the problem by the Eastman School is to
54
blend the two ingredients of professional and general education.
The present position taken by the Eastman School is clearl) indicated by two paragraphs from Dr. Hanson's convocation ad- dress to the students of the Eastman School in September, 1946:
/ find myself approaching steadily in the direction of what we might call a centripetal theory of education where the major interest and talent of the student in one field draws to its center an interest in other fields on its periphery, the radius of the circle being directly pro- portional to the depth and strength of interest existing at that center. I am only too well acquainted with the, to me, sophomoric theory that a musician who is deeply interested in music becomes so absorbed that he loses interest in all else. This I do not believe, but rather its opposite. An interest in the superficialities of an art may indeed cut one off from the world, but a deep immersion in the art cannot leave one satisfied until he has explored it in its entirety, and such an ex- ploration will require of any genius at least one lifetime! Those of us who are not geniuses must take longer!
In working out this "centripetal" theory of education we have al- ready made a beginning. Courses offered in the Eastman School such as aesthetics, history of art, historical survey, and the like accomplish to a considerable degree the ends of which I am speaking. We expect this year to experiment with three additional courses of this type. The first will be a course in applied acoustics, the second a course in mathe- matical acoustics and its relation to music, and the third a course in applied psychology. Progress in this field of education is necessarily slow because such courses are essentially new in their conception and must be built up from the beginning. Such courses also can be success- fully formulated and taught only by teachers having technical com- petence and interest in more than one field, and in this age of speciali- zation such men and women are rare. The Eastman School considers itself fortunate to have on its own staff such a large number of faculty members interested in and capable of formulating courses of this type:
These non-musical subjects, in addition to those mentioned by Dr. Hanson, include comparative literature, English, French,
55
Promenade, Eastman School of Music.
German, and Italian. In the early years of the School, students received this instruction at the College of Arts and Science or at the Eastman School. In the latter case, instructors from the College came to the Eastman School to conduct their classes. With the growth of the School and the increasing demand for non- musical subjects, instructors serving exclusively at the Eastman School of Music were provided, under the general supervision of their respective College departments. With this change came the eventual breakdown in the distinction between musical and non- musical studies. At the present time, the distinction is purely academic. Aesthetics, acoustics, fine arts, languages, literature, and psychology are taught as a part of the students' musical edu- cation, just as music is taught as a part of the students' general education. The teaching of the so-called academic subjects to music students has demanded a different pedagogic technic from that used in the same subjects at a liberal arts college. When it has seemed wise, the materials for study have been changed.
56
Otherwise, the quality of instruction in the academic depart m en 1 has adhered to the high standards maintained hy the College of Arts and Science. It is important to note that, at the present time, the emphasis of the curriculum is on a well-rounded education with a strenuous concentration in music. But whereas the student in the earlier days on many occasions resented the intrusion of the non-musical subjects upon his chosen field, the majority of students at the present time regard the academic studies as part of the "humane" education, in no way a mere diversion, but as an integral part of the training for a professional career. The histories of music, literature, and the fine arts are taught, not as isolated phenomena, but rather as focal points, where considerations of allied fields, not excluding the economic, the philosophic, and the sociological, are of great importance.
The Past and Present as Measured by Each Other
The foregoing account of the first twenty-five years of the Eastman School of Music may seem inadequate in many ways. And indeed it is! It would be a presumption to suggest that it is without error. One is conscious of its many omissions, among them names of faculty, administration, staff, contributors to the scholarship funds and to the library, friends of the School in Rochester and elsewhere, all of whom have done much to make the School the unique organization that it now is. There is slight reference to the student of the Eastman School as student, and little mention is made of those of the student body who have been outstanding in the School's many activities and who have, through the stimulus of their intellectual activity, made it possible for the faculty to teach and the School to be a school. What the Eastman School has been and what the Eastman School is must be ex- perienced, and an anniversary volume is no substitute. This ac- count has, however, tried to indicate something of its growing and expanding ideology, and something of the force that it has been in American musical education, documentary evidence of which
57
follows in the supplementary pages. (See appendix, pages 62-83.) As for its theory and practice of musical education, the Eastman School has reached no immutable resting place, and it is hoped that such a position of pseudo-security ..will never be attained. The School must be prepared to adapt itself constantly to an ever- changing world, to reconcile perhaps such disparate philosophies of knowledge as the scientific and the aesthetic. The changes of the past twenty -five years furnish ample evidence that the Eastman School has changed when occasion has demanded change. In many instances it has anticipated the new with courage and re- sponsibility. Relations between the past, present, and future in music, as envisioned by the Eastman School, are close in many ways to those in poetry, of which Mr. T. S. Eliot speaks in his essay, Tradition and the Individual Talent.
To paraphrase and to expand. Mr. Eliot, the musician and the school of music must be aware of the musical tradition, but not as something merely handed down or inherited. This tradition must be obtained by great labor, and once secured, includes a percep- tion of the living presence of the past. In coming to grips with the old or, on the other hand, the really new work of art, one must be prepared to admit that both are measured by each other. Neither exists alone. The Eastman School, with all its commitments to the new in American music, has also its commitments to the old. One of its larger aims has been to effect a rapprochement of the two.
58
APPENDIX
HONORARY DEGREES
A WARDED BY
THE UNIVERSITY OF ROCHESTER
TO MUSICIANS
Earl Vincent Moore Mus. Doc.
Daniel Gregory Mason ....... Mus. Doc.
Randall Thompson Mus. Doc.
Leo Sowerby Mus. Doc.
Oliver Strunk Litt. D.,
Rudolph Ganz . Mus. Doc.
Deems Taylor Mus. Doc.
Serge Koussevitzky Mus. Doc.
Frederick August Stock Mus. Doc.
Ernest Hutcheson Mus. Doc.
Quincy Porter Mus. Doc.
Roy Ellsworth Harris Mus. Doc.
Douglas Stuart Moore Mus. Doc.
1929 1932 1933 1934 1936 1938 1939 1940 1941 1942 1944 1946 1947
61
EASTMAN SCHOOL OF MUSIC PUBLICATIONS
Music
(Obtainable through Carl Fischer, Inc., 56-62 Cooper Square, New York City)
Barlow, Wayne: The Winter's Passed, for oboe and strings.
Chadwick, George: Rip Van Winkle.
DeLamarter, Eric: The 144th Psalm.
Hanson, Howard: Symphony No. 1, the "Nordic"; Symphony No. 2, the "Romantic"; Symphony No. 3; Sym- phony No. 4, the "Requiem."
Kennan, Kent: Night Soliloquy, for flute, piano and strings.
McBride, Robert: Mexican Rhapsody.
Moore, Douglas: The P. T. Barnum Suite.
Phillips, Burrill: Selections from McGujfey's Readers; Concert Piece, for bassoon and strings. •
Porter, Quincy: Ukrainian Suite.
Rogers, Bernard: Soliloquy, for flute and strings.
Royce, Edward: Tone Poem, Far Ocean.
Sowerby, Leo: A Set of Four; Suite of Ironies for Orchestra; Mediaeval Poem; Symphonic Poem, Prairie.
Still, William Grant: Darker Amer- ica.
Thompson, Randall: Symphony No. 1; Symphony No. 2.
Vardell, Charles: Joe Clark Steps Out.
Wagenaar, Bernard: Divertimento.
Faculty Educational Publications
(Obtainable through F. S. Crofts and Co., 101 Fifth Avenue, New York City)
Austin-Ball, Thomas: Answers to Some Vocal Questions.
Gleason, Harold: Method of Organ Playing; Examples of Music Before 1400.
McHose, Allen I.: Contrapuntal Har- monic Technique of the Eighteenth Century.
McHose and Tibbs: Sight-Singing Manual; Dictation Manual.
Soderlund, Gustave Frederic: Di- rect Approach to Counterpoint in the
Sixteenth Century Style; Examples Illustrating the Development of Me- lodic Line and Contrapuntal Style from Greek Melody to Mozart; Exam- ples of Gregorian Chant and Works by Orlandus Lassus and Giovanni Pierluigi Palestrina.
Van Hoesen, Karl: Handbook of Con- ducting.
Watson,' Nelson: A Modern Method for the Double Bass.
Wonderlich, Elvera: Chorale Collec- tion.
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RCA VICTOR RECORDINGS OF AMERICAN MUSIC Eastman-Rochester Symphony Orchestra — Howard Hanson, Conductor
Barlow, Wayne: The Winter'' s Passed , for oboe and strings.
Bergsma, William: Introduction and Finale from the Ballet, Gold and the Sehor Commandante.
Braine, Robert: Habanera, Lazy Cig- arette; Pavane, El Greco.
Chadwick, George: Jubilee.
Copland, Aaron: Music for the Theatre.
Griffes, Charles T.: Poem, for flute and orchestra; The White Peacock.
Hanson, Howard: Lament for Beo- wulf, for orchestra and chorus; Suite from the opera, Merry Mount; Symphony No. 1, the "Nordic"; Symphony No. 2, the "Romantic."
Keller, Homer: Serenade, for clari- net and strings.
Kennan, Kent: Night Soliloquy, For
flute, piano and strings.
Loeffler, Charles M.: Pagan Poem.
MacDowell, Edward: "Dirge," from Indian Suite.
Norton, Spencer: Dance Suite
Paine, Thomas K.: Oedipus Tyrannus.
Phillips, Burrill: Concert Piece, lor bassoon and strings; Selections from McGujfey' 's Readers.
Rogers, Bernard: Soliloquy, for flute and strings; Suite of Fairy Tales.
Skilton, C. S.: War Dance and Sun- rise Song.
Sowerby, Leo: Comes Autumn Time.
Still, William Grant: Scherzo.
Vardell, C: Joe Clark Steps Out.
COMMISSIONS TO EASTMAN SCHOOL OF MUSIC FACULTY
Barlow, Wayne: League of Compos- ers in co-operation with the Colum- bia Broadcasting System: radio piece for special broadcast series; Station WHAM, Rochester, New York: radio piece, Nocturne, for small orchestra, 1945-46.
Hanson, Howard: Boston Symphony Orchestra: Symphony No. 2, 1930; Metropolitan Opera Company: Merry Mount, 1933; Station WHAM, Rochester, New York: Serenade, 1945; Koussevitzky Foundation: Concerto, for piano and orchestra, 1947; Elizabeth Sprague Coolidge Commission; C.B.S. Commission for Third Symphony.
Phillips, Burrill: American-Soviet Society: chamber music on Soviet folk themes, 1947; Juilliard Music Foundation: opera, 1946; League
of Composers and the Columbia Broadcasting System: Scherzo, for orchestra; Koussevitzky Founda- tion: Tom Paine Overture, 1944; Station WHAM, Rochester, N. Y.: Scena, for small orchestra, 1946.
Rogers, Bernard: Juilliard Music Foundation: Amphitryon Overture. 1947; Juilliard School of Music: symphonic score, 1946; League of Composers and the Columbia Broadcasting System: opera, The Warrior, 1946; Ojai, California, 1947 Festival; Temple Emanu-El: work for its centenary, 1946; League of Composers Commission: Inva- sion.
White, Paul: Samuel R. Rosenbaum: Sea Chanty, 1941; Station WHAM. Rochester, New York: Idvl, 1(>I7.
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HONORS AND AWARDS TO MEMBERS OF THE EASTMAN SCHOOL OF MUSIC FACULTY
Barlow, Wayne: Lillian Fairchild Award, 1935.
Clute, Sherman: Lillian Fairchild Award, 1941.
Fennell, Frederick: Fellow in Con- ducting, Berkshire Music Center, 1942; International Mozart Foun- dation Award in Conducting, for study at Salzburg, 1938.
Genhart, Herman: Mus. Doc. (ho- noris causa), New York College of Music, 1938.
Gordon, Jacques: Elizabeth Sprague Coolidge Medal for Chamber Music. Library of Congress, 1938; Mus. Doc. (honoris causa), American Conservatory of Music, 1938.
Hanson, Howard: President, National Music Council; Alice M. Ditson Award, 1945; Chairman of the Committee of Graduate Study, Na- tional Association of Schools of Music; George Foster Peabody Award, 1946; Henry Hadley Award; David Bispham Award; Rochester Civic Medal, 1948; Fellow of the Royal Academy of Music in Swe- den, 1938; Member of the Na- tional Institute of Arts and Letters, 1935; Consultant, U. S. Depart-' ment of State; Member, Army and Navy Committee on Recreation and Welfare; Member, U. S. Com- mission for UNESCO; Mus. Doc. (honoris causa) — Northwestern University, .1924; Syracuse Uni- versity, 1928; Horner Institute (Conservatory of Music of Kansas City), 1928; Augustana College and Theological Seminary, 1935; Uni- versity of Nebraska, 1935; Ameri-
can Conservatory of Music, 1939; Columbia University, 1946; Litt. D.. Keuka College, 1945; XL.D., Illi- nois Wesleyan University, 1940; L.H.D., Drury College, 1948; President of the Music Teachers' National Association; President of the National Association of Schools of Music, eight years; Prix de Rome, 1921; Pulitzer Prize for Symphony No. 4, opus 34, 1944.
Kneisel, Jessie H.: German-American Student Exchange Fellow, 1930-31.
Larson, Arthur H.: President, Ameri- can Association of Collegiate Regis- trars, 1941-42.
Larson, William S.: George Eastman Fellow in Psychology of Music at the University of Iowa, 1927-29.
McHose, Allen I.: Mus. Doc. (hono- ris causa), Oklahoma City Univer- sity, 1945.
Phillips, Burrill: Guggenheim Fel- low in Creative Composition, 1942- 43. American Academy of Arts and Letters Award, 1944.
Riker, Charles: Rockefeller Fellow in the Humanities Division for work in Aesthetics, 1945.
Rogers, Bernard: Alice M. Ditson Prize for The Warrior (produced at the Metropolitan Opera House on January 11, 1947), 1946; David Bispham Prize for American opera, 1934; Guggenheim Fellow, 1927- 29; Juilliard Publication Award, 1936; Loeb Composition Prize, In- stitute of Musical Art, 1923; Mem- ber of the National Institute of Arts and Letters, 1946; Pulitzer
64
Travelling Fellow, Columbia Uni- versity, 1918; Seligman Prize, In- stitute of Musical Art, 1923.
Silva, Luigi: Boccherini Prize, 1934.
Watanabe, Ruth: Mu Phi Epsilon Research Award of $100, 1946.
White, Paul: Mus. Dor. (honoris causa), Unix »T~ii\ of Maine, 1939.
Wilson, Raymond: M.M. (honoris
causa), Syracuse University, 1920; Mus. Doc. (honoris causa), Chi- cago Musical College, 1917.
PUBLICATIONS OF THE FACULTY OF THE EASTMAN SCHOOL OF MUSIC
(Excluding Eastman School of Music Publications)
A — Articles and Reviews
Barlow, Wayne: Radio-Craft; Sinfo- nian of Phi Mu Alpha.
Clute, Sherman: Collier's; School Music.
Coit, Lottie Ellsworth: Childhood Education Magazine.
Davis, Ralph: Physical News Bulletin.
Duncan, Barbara: Bulletin of the University of Rochester Library; Library Journal; Program Notes of the Rochester Philharmonic Or- chestra, 1921-1945; Special Librar- ies.
Evenson, Pattee: Etude.
Fennell, Frederick: Modern Music; Music Journal.
Fox, Charles Warren: American Journal of Psychology; Bibliography of Periodic Literature in Musicology; Bulletin of American Musicological Society; Modern Music; Musical Quarterly; Notes of Music Library Association; Papers of American Musicological Society; Program Notes of the Rochester Philhar- monic Orchestra, 1945 — ; Psycho- logical Abstracts; Psychological Bul- letin; Saturday Review of Literature.
Gleason, Catharine Crozier: Tri-
angle of Mu Phi Epsilon.
Gleason, Harold: Bibliograj)hv of Periodic Literature in Musicology: Bulletin of American Musicological Society; The Diapason; Musical Quarterly; Notes of Music Librar\ Association; Proceedings of the Mu- sic Teachers' National Association.
Hanson, Howard: Alumni Bulletin of the Eastman School of Music; American Journal of Psychiatry; At- lantic Monthly; Bulletin of the Col- gate-Rochester Divinity School; Bulletin of the National Music Council; Bulletin of WQXR; Edu- cation; Etude; Journal of the So- ciety of Motion Picture Engineers; Legion aVUonneur Magazine; Music Clubs Magazine; Music Educators Journal; Musical America; Musical Digest; Musical Leader; Musical Re- view; Musician; Prelude to 1939 of the National Music Camps Publi- cations; Proceedings of the Music Teachers' National Association Publications of the New York State Educational Dept.; Rochester Civic News; Saturday Review of Litera- ture; Stadium Concerts Review; Torch; World Affairs.
Haywood, Frederick: Etude: Musical America; Musician.
65
Larson, William S.: Education Maga- zine; Educational Music Magazine; Encyclopedia of Vocational Guid- ance; Music Educators' Journal; Music Educators' National Conference Year Book; Music Publishers'1 Jour- nal; Musical Observer; Ninth Inter- national Congress of Psychology Proceedings and Papers; Proceedings of Music Teachers' National Asso- ciation; School Music; Third Mental Measurements Yearbook.
MacNabb, George: Etude.
McHose, Allen I.: Bulletin of the Na- tional Association of Schools of Music; Proceedings of the Music Teachers' National Association.
Riker, Charles: Bulletin of the I di- versity of Rochester Library; Ken- yon Review.
Rogers, Bernard: Modern Music: Mu- sic Notes; Musical America; Musical Courier; Musical Digest; Opera Notes of the Metropolitan Opera Company.
Silva, Luigi: Publications of the Car- mel Bach Festival.
Spouse, Alfred: Etude; Musical Amer- ica; National Conference Bulletin; Supervisors'' National Journal.
Watanabe, Ruth: Triangle of Mu Phi Epsilon.
White, Paul: School Music News.
B — Books
Coit, Lottie Ellsworth (and Ruth Bampton) : Childhood Days of Fa- mous Composers (Philadelphia: Theodore Presser Company) ; The Child Bach, The Child Handel, The Child Haydn, The Child Mozart, The Child Beethoven, The Child Chopin; Fun With Notes and Rests, Chicago : Clayton F. Summy Co.; Itfs Fun to Listen, New York: Harold Flam- mer, Inc.; Let's Listen to the Birds, New York: Harold Flammer, Inc. (Recordings of these by RCA Victor for Harold Flammer); The Little Red Hen, New York: G. Schirmer, Inc.; Tone Matching Tunes, New York: Harold Flammer, Inc.
Fox, Charles Warren (and R. B. MacLeod), translators: The World of Colour, by David Katz, London: 1935.
Gleason, Harold: See Eastman School Publications.
Kneisel, Jessie Hoskam: Mbrike and Music, 1947.
McHose, Allen I.: See Eastman School Publications.
Soderlund, Gustave Frederic: See Eastman School Publications.
Tibbs, Ruth Northrup: See Eastman School Publications.
Van Hoesen, Karl: Violin Method, 3 volumes, New York: Carl Fischer, 1931.
Wonderlich, Elvera: See Eastman School Publications.
Zimmerman, Oscar: Elementary Meth- od for Double Bass, New York: G. Schirmer, 1940.
C — Music
Barlow, Wayne: Lyrical Piece, for clarinet and piano or strings, New
York: Carl Fischer; Madrigal for a May Morning, New York: J. Fisch-
67
er; Sarabande, for orchestra, New York: Carl Fischer; Twenty-third Psalm, for tenor solo, mixed chorus, and organ or orchestra, New York: J. Fischer. See Eastman School Publications.
Coit, Lottie Ellsworth (and Ruth Bampton) : A DolVs Lullaby, New York: J. Fischer.
Fennell, Frederick: Palestra, New- York: Carl Fischer, 1932; Tran- scription for band of Paul White's College Caprice, Philadelphia: El- kan, Vogel, 1943.
Gordon, Jacques: Loeffler, Partita, edited by Jacques Gordon, New York: G. Schirmer; Seven Orches- tral Sketches, Maillard Freres, 1922; String Quartet, in B Flat, opus 16, Leipzig: Schmidt Verlag, 1923; Transcriptions for violin: Brahms, Waltz, in E minor, New York: Carl Fischer; Glazounov, Caprice Val- iant, New York: Carl Fischer; Loeffler, Adieu pour jamais, New York: G. Schirmer; Loeffler, The Peacock, New York: G. Schirmer; Rimsky-Korsakov, Orientale, New York: Carl Fischer; Shilkret, A Wee Bit 0' Heart, New York: Carl Fischer.
Hanson, Howard: "Clog Dance" for piano, from Scandinavian Suite, opus 13, New York: Composers' Music Corporation, 1918-19; Con-' certo, for organ, harp and string or- chestra, opus 22, No. 3, New York: Carl Fischer, 1947; Hymn for the Pioneers, for male voices, New York: J. Fischer, 1938; Lament for Beo- wulf, opus 25, for mixed chorus and orchestra, Boston: C. C. Bir- chard, 1925; Lux Eterna, Sym- phonic Poem, with piano obligato, opus 26, New York: G. Schirmer, 1923; Merry Mount, opera in three
acts, opus 31, with libretto by Richard L. Stokes, New York: Harms, 1933; Pan and the Priest, Symphonic Poem, with piano ob- ligato, opus 26, Boston: C. C. Bir- chard', 1926; Serenade for flute, harp and string orchestra, opus 35, New York: Carl Fischer, 1947; "Songs" from Drum Taps, opus 32, for mixed chorus, baritone solo, and orchestra, New York: J. Fisch- er, 1935; String Quartet, opus 23, Boston: C. C. Birchard, 1923; "Suite" from the opera Merry Mount, New York: Harms, 1938; Three Miniatures, for piano, opus 12, New York: Carl Fischer, 1918- 19; Transcription of Palestrina's Pope Marcellus Mass (Kyrie, Gloria, and Credo), for mixed chorus and large orchestra, New York: J. Fischer, 1937; Two Yuletide Pieces, for piano, opus 19, Philadelphia: Theodore Presser, 1920; "Verme- land" from Scandinavian Suite, opus 13, for organ, Boston: White- Smith. See Eastman School Pub- lications.
Haywood, Frederick: Sieber Vocal Exercises, 1921; Universal Song, 3 volumes, 1917.
Pezzi, Vincent: Orchestral Studies for Bassoon, Philadelphia: Elkan, Vo- gel; Transcriptions for Bassoon, Cin- cinnati: A. J. Andraud.
Phillips, Burrill: Dance Overture, for small orchestra, New York: Carl Fischer, 1941; Declaratives, for women's voices and small orches- tra, Philadelphia: Elkan, Vogel, 1945; Scena, for small orchestra, New York: Hargail Music Press, 1947 {Three Divertimenti, for piano, Philadelphia: Elkan, Vogel, 1946; Three Informalities, for piano, New York: G. Schirmer, 1946; Toccata,
68
for piano, Philadelphia: Elkan, Vogel, 1946. See Eastman School Publications.
Rogers, Bernard: Amphitryon Over- ture, New York: G. Schirmer, 1946; Characters from Hans Christian An- derson (Four drawings for small orchestra), Philadelphia: Elkan, Vogel; Dance of Salome, for orches- tra, Philadelphia: Elkan, Vogel, 1938; Elegy to the Memory of Frank- lin Delano Roosevelt, for orchestra, Philadelphia: Elkan, Vogel, 1945; The Exodus, a cantata, Boston: C. C. Birchard, 1932; In the Gold Room, New York: Composers' Music Corporation, 1920; Once Upon a Time, for small orchestra, Scars- dale, New York: E. F. Kalmus, 1935; The Passion, a cantata, for mixed chorus, solo voices and or- chestra, Philadelphia: Elkan, Vogel, 1941-42; Raising of Lazarus, a can- tata, Boston: C. C. Birchard, 1927; Song of the Nightingale, for orches- tra, Philadelphia: Elkan, Vogel, 1939; Supper at Emmaus, for or- chestra, Philadelphia: Elkan, Vogel, 1937. See Eastman School Publi- cations.
Royce, Edward: Four Piano Pieces, New York: G. Schirmer, 1918; Song, Boston: A. P. Schmidt, 1921; Study, for piano, Boston: A. P. Schmidt, 1921; Three Songs, New York: Composers' Music Corpora- tion, 1920; Variations, for piano, New York: G. Schirmer, 1917. See Eastman School Publications.
Silva, Luigi: Alfano, Four Roumanian Dances, Paris: Deiss; Anonymous (XVII Century) , Allegretto Gracioso, Padua: Zanibon; Anonymous (XVII Century), Andante, Padua: Zani- bon; Bach, J. S., Andante (from the Goldberg Variations), Padua: Zani-
bon; Borghi, L., Adagio, Padua: Zanibon; Canteloube, Bourree tu- vergnate, Paris: Leduc; Ca&ella, Notturno, Milan: Ricordi; Casella, Tarantella, Milan: Ricordi; Dukas, P., Citana, Paris: Leduc; Giardini, F., Rondo, Padua: Zanibon; Kreut- zer, Fascicola, 3 volumes, Padua: Zanibon; Mendelssohn, "Spinning Song" from Songs without Words, Padua: Zanibon; Mule, Arab Song and Dance, Milan: Ricordi; Nar- dini, P., Adagio, Padua: Zanibon: Paganini, N., Variations, Padua: Zanibon; Piatti, Twelve Caprices, Milan: Ricordi; Pizzetti, Dance Movement, Milan: Ricordi; Porrino, Traccas, Milan: Ricordi; Pugnani, G., Adagio, Padua: Zanibon; Scar- latti, D., Suite from the Sonata for Clavicembalo, Padua: Zanibon; So- mis, G. B., Allegretto, Padua: Zani- bon; Tartini, G., Andante affettuoso, Padua: Zanibon; Tartini, G., Con- certo in D Major, Padua: Zanibon; Vitali, T., Ciaccona, Padua: Zani- bon; Vivaldi-Bach, Recitativo, Pad- ua: Zanibon; Verretti, Minuetto, Milan: Ricordi; Guerrini, Thirteen Studies, edited by Silva, Milan: Ricordi; Servais, F., Six Caprices, for violoncello, edited by Silva, Padua: Zanibon.
Smith, Harold Osborn: In April, New York: G. Schirmer, 1915; Place of Dreams, New York: G. Schirmer. 1915; Three Sails, New York: G. Schirmer, 1915; White Lilac, New York: G. Schirmer, 1915.
Soderlund, Gustave: Nocturne, Leip- zig: Breitkopf and H'artel, 1918.
Spouse, Alfred: Art Songs, 2 volumes, Boston: Oliver Ditson.
Van Hoesen, Karl: Arrangements for solo and trio trumpets, New York: Foley; Kreisler, Liebesfreud, Old
69
Refrain, Schon Rosmarin; Music of Our Time, New York: Carl Fischer
Watts, Harry: (and H. Maxwell Oh ley) : Arrangements for two pianos four hands; Jarnefelt, Praeludium New York: Mills; for two pianos eight hands; Bach, J. S., Bourree New York: Mills; Bach, J. S., Jesu Joy of Man's Desiring, New York Mills; Brahms, J., A Rose Breaks into Bloom, New York: Mills Brahms, ]., 0 World, I Now Must Leave Thee, New York: Mills.
White, Paul: Andante and Rondo opus 18, for violoncello and orches tra, Philadelphia: Elkan, Vogel 1944; Boston Sketches (Four Spokes from the Hub), opus 14, New York Carl Fischer, 1938, on rental; Col lege Caprice, opus 15, for orches tra, Philadelphia: Elkan, Vogel 1939, on rental; The Dying Soldier a song, New York: G. Schirmer Fantastic Dance, opus 4, for violin and piano, Leipzig: Cranz, 1921 Five Miniatures, opus 7, for piano Philadelphia: Elkan, Vogel, 1924 Five Miniatures, opus 7, arranged for orchestra, Philadelphia: Elkan,
Vogel, 1933; Idyl, opus 19, foi orchestra, Philadelphia: Elkan, \ <>- gel, 1944, on rental; "In tin- Fen- way," from Boston Sketches, opus 14, New York: Carl Fischer, L938; Lake Spray, opus 13, for orchestra. Philadelphia: Elkan, Vogel, 1936- 38; Old- Fashioned Suite, opus 3, lor vioiin and pianu, Leipzig: (Iran/. 1921; Poem, opus 4, for violin and piano, Leipzig: Cranz, 1922; Rev- erie, opus 4, for violin and piano. Leipzig: Cranz, 1922; Sea Chanty Quintet, opus 16, for harp and strings, Philadelphia: Elkan, Vo- gel, 1941-42; Serenade, opus 4, for violin and piano, Leipzig: Cranz, 1922; Sinfonietta, for string or- chestra or quartet, Philadelphia: Elkan, Vogel; Sonata, opus 9, for violin and piano, Philadelphia: El- kan, Vogel, 1926; Symphony in E Minor, opus 12, Philadelphia: Elkan, Vogel, 1932, on rental; Voyage of the Mayflower , opus 11, for orches- tra and chorus, Boston: C. C. Bir- chard, 1927-32.
Woolford, Jeane: Denouement, Bos- ton: E. Schirmer, 1925.
AWARDS, COMMISSIONS, HONORS TO THE ALUMNI OF THE EASTMAN SCHOOL OF MUSIC
Alter, Martha, MM., 1932: Ken- drick-Ryland Fellowship; Associate Alumnae Fellowship (Vassar) ; Sal- mond Fund for Research; Seventy- fifth Annual Publication Award (Vassar), 1931.
Anderson, Louise, B.M., 1946: New York Madrigal Society Scholar- ship, 1948.
Barlow, Wayne, B.M., 1934; MM., 1935; Ph.D., 1937: See Faculty Awards and Commissions.
Beeson, Jack, B.M., 1942; MM.,
1943: Lillian Fairchild Award for Creative Art; Prix de Rome, 1948.
Beversdorf, S. Thomas, MM., 1946: National Federation of Music Clubs, second prize, for Reflections, 1947.
Bergsma, William, A.B., 1942; MM., 1943: American Academy of Arts and Letters and National Institute of Arts and Letters, $1000, 1945; Beams Prize, Columbia Universitx . 1943; Collegiate Chorale, commis- sion, 1946; Guggenheim Memorial Fellowship, 1946; Independent Mu-
71
sic Publishers' Contest, Special Publication Award, 1945; Kousse- vitzky Music Foundation, commis- sion, 1943-44; Society for the Pub- lication of American Music, award, 1945; Town Hall, commission, 1942.
Dawson, William: Rodman Wanna- maker Prize for Music Composition.
Dett, R. Nathaniel, MM.', 1932: Co- lumbia Broadcasting System, com- mission, 1938.
Diamond, David, ex 1937: American Ballet, commission; Elfrida White- man Fellowship; Guggenheim Fel- low, 1938 and 1941; Juilliard Publi- cation Award, 1938; MacDowell Colony Fellowship; Music Critics' Circle of New York, citation, 1946; music for Margaret Webster's pro- duction of Shakespeare's Tempest', National Academy of Arts and Let- ters, grant of $1000, 1944; New York Music Critics' Circle, String Quartet No. 3; Paderewski Prize for Piano Quintet, $1000;- Prix de Rome, cash prize, 1942; Powers, Dorothea, commission, for Second Concerto for violin and orchestra; Scherman, Thomas K., commission for music for Shakespeare's Romeo and Juliet; Society for the Publica- tion of American Music, award, 1941; Koussevitzky Commission, 1945; League of Composers Com- mission, 1937.
Donato, Anthony, B.M., 1931; MM., 1938; Ph.D., 1947: Co-winner of 1947 Publication Contest of the Society for the Publication of American Music, for String Quartet.
Elliot, Willard, MM., 1946: Na- tional Federation of Music Clubs, first prize for Night Piece, 1947.
Fax, Mark 0., MM., 1945: Julius Rosenwald Fellowship.
Fletcher, Grant, Ph.D. candidate: Duluth Symphony Competition Award, 1948.
George, Earl, B.M., 1946; MM., 1947:. George Gershwin Memorial Contest, joint award of $1000 for Introduction and Allegro; James Millikin University, first prize for Four American Portraits, for mixed chorus; Koussevitzky award of $250 for a composition for any in- strument and piano, 1947.
Goodenough, Forrest, MM., 1943: Woodstock Foundation Award in composition, 1948.
Grant, Wm. Parks, Ph.D. candidate: Prizes and awards from National Federation of Music Clubs, Texas Manuscript Society, Texas Federa- tion of Women's Clubs, and Na- tional Composer's Congress.
Haines, Edmund, MM., 1938; Ph.D., 1941: Pulitzer Fellowship, 1941.
Hart, Weldon, Ph.D., 1946: First Prize for orchestral composition, American Broadcasting Co., through National Composers Con- gress, 1945.
Ihrke, Walter H., Ph.D., 1947: Nashville Symphony Orchestra, commission to write and play a fantasy for piano and orchestra.
Inch, Herbert, B.M., 1925; MM., 1928; Ph.D., 1941: Damrosch Fel- lowship; Ernest Bloch Award, 1946; Mus. Doc. (honoris causa) Montana State University, 1943; Prix de Rome, 1931; University of Rochester Travelling, Fellowship, 1928J930.
Johnson, Hunter, B.M., 1929: Gug- genheim Fellowship, 1941; Prix de Rome, 1933.
72
Kay, Ulysses, M.M., 1940: Alice M. Ditson Fellowship for Creative Writing, $1000; American Com- posers' Alliance, sponsored by Broadcast Music, Inc., first prize of $700, 1947; Fellowship of Amer- ican Composers and the American Broadcasting Company, first prize of $500 for Of New Horizons, 1946; Fellowship of American Compos- ers' Contest, honorable mention for Evocation, for symphonic band, 1946; George Gershwin Memorial Contest, joint award of $1000 for Short Overture, 1947; Phi Mu Alpha Sinfonia Class A Instrumental Award, first prize fqr Sonata, for piano, 1940; Phi Mu Alpha Sin- fonia Selection for band and male voices, first prize, 1943.
Keller, Homer, B.M., 1937; MM., 1938: MacDowell Colony Fellow- ship; Henry Hadley Prize, cash award and publication in addition to performance by the New York Philharmonic Symphony Society Orchestra.
Kennan, Kent, B.M., 1934; MM., 1936: Prix de Rome, 1940.
Kubik, Gail, B.M., 1934: Carl Fischer, Inc., Prize of $1000 for Concerto, for violin and orchestra, for Jascha Heifitz; Guggenheim Fellowship; MacDowell Colony Fel- lowship; Society for the Publica- tion of American Music Award; Di- rector of Music for O.W.I., Bureau of Motion Pictures, 1942-43; staff composer for N.B.C., 1940; com- poser-conductor for Army Air Force films and radio, 1943-45; Sinfonia National Award, 1934; Chicago Symphony Golden Jubilee Award, 1941; Citation, National Association of Composers and Con-
ductors; commissions by C.B.S. and B.B.C., London.
McKay, George, B.M.. L923: Ameri- can Guild of Organists, fir-t prize for Sonata, for organ; Jascha Hei- fitz Competition, honorable men- tion for Concerto, for violin and or- chestra; National Broadcasting Company, Chamber Music Compe- tition, honorable mention for Quin- tet, for wood winds, 1937.
Mennin, Peter, B.M., 1945; MM., 1945: American Academy of Arts and Letters, award of $1000, 1946. Beams Prize, $900, 1945; Commis- sion to write Symphony No. 3 (per- formed by the New York Philhar- monic Symphony Society Orches- tra on February 27 and 28, 1947); Station WHAM, Rochester, New York, commission for a violin con- certo, 1947; George Gershwin Me- morial Award, 1945.
Palmer, Robert, B.M., 1938; MM., 1939: Academy of Arts and Letters, grant of $1000; Columbia Broad- casting System, commission, 1940; Koussevitzky Music Foundation, commission; MacDowell Colony Fellowship; Dimitri Mitropolous Commission.
Phillips, Burrill, B.M., 1932; MM., 1933: See Faculty Awards and Commissions.
Read, Gardner, B.M., 1936; MM., 1937: Berkshire Music Center, Fel- lowship in Composition, 1941; Cleveland Symphony Orchestra, commission; Cromwell Travelling Fellowship, $2000, for study in Europe, 1938; Fabien Sevitzky and Indianapolis Symphony Orchestra, commission; Juilliard School of Mu- sic, Publication Prizes, 1938, L941;
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MacDowell Colony Fellowship, 1936; New York Philharmonic Sym- phony Society Orchestra, first prize of $1000 for Symphony No. 1, 1937; Paderewski Prize, $1000, for Symphony No. 2; winner of Sym- phonic Award Contest, 1947, for First Overture.
Reed, Owen, Ph.D., 1939: Guggen- heim Fellowship, 1948.
Rosenthal, Lawrence, B.M., 1947: Honorable Mention, Symphonic Award Contest, 1947, for Overture in C.
Spencer, Kenneth, B.M., 1938: Jul- ius Rosenwald Fellowship.
Vardell, Charles, A.M.. I Ph.D., 1939: Eastman Publication
Award, 1937.
Ward, Robert, B.M., 1939: \1,,. Dow- ell Colony Fellowship; Juilliard Publication Award, 1937; Fellow- ship, Columbia University, 1945; American Academy of \ri- and Letters Award, 19 VS.
Wilkinson, Julia, B.M., 1936: tr- ust's Diploma, 1939: Frank Hunt- ington Beebe Prize of $2400.
Woltmann, Frederick, B.M., 1937: Dimitri Mitropolous and the Min- neapolis Symphony Orchestra, commission for an orchestral work; Prix de Rome, 1937.
ALUMNI OF THE EASTMAN SCHOOL OF MUSIC
AS MEMBERS OF SYMPHONY ORCHESTRAS
1946-1947
Arkansas Philharmonic: Barbara Shattuck, B.M., 1940: Principal second violinist.
Baltimore Symphony: W. Stanley Hasty, B.M., 1941: Clarinet; Frank Yaroshuck, ex 1948: First violin.
Boston Symphony: Henry Freeman, B.M., 1931: Bass; John Holmes, B.M., 1940: First oboe; Harold Meek, B.M., 1941: First and third horn; Willis Page, B.M., 1939: First bass.
Charleston Symphony: Harry Hoff- man, B.M., 1940: Solo horn.
Charlotte Symphony: Thomas Hib- bard, B.M., 1932: Concertmaster.
Chicago Symphony: B.M., 1938: Horn.
Harry Jacobs,
Cincinnati Symphony: James Pierce, B.M., 1941: First horn.
Cleveland Symphony: John Boda, M.M., 1945: Apprentice conductor;
Alan Collins, B.M., 1935, M.M., 1939: Violoncello; George Goslee, B.M., 1939: First bassoon; Martin Heylman, ex 1942: Flute; Vitold Kushleika, B.M., 1943: Viola; Frank May, B.M., 1937: Bass; Robert Willoughby, B.M., 1942: Assistant first flute.
Columbia Concerts Corporation: Steven Barrett, B.M., 1934: Ac- companist and assistant soloist.
Corpus Christi Symphony: Josephine DeCarne, B.M., 1946: Flute.
Denver Symphony: Richard Joiner. B.M., 1940: Clarinet.
Drake-Des Moines Symphony: Mar- tha McCrory, M.M., 1944, Artist's Diploma, 1946: Principal violon- cello.
Duluth Symphony: William Schliep*, M.M., 1936: Associate conductor and clarinet.
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Houston Symphony: Marylouise Baker, M.A., 1944, Artist's Di- ploma, 1946: Violoncello; Geral- dine Ball, B.M., 1946: Percussion; Thomas Beversdorf, M.M., 1946: First trombone; Nadine Borden, M.M., 1946: Violoncello; Carl Eberl, M.M., 1947: Principal viola; Willard Elliott, M.M.; 1946: Bas- soon; Earnest Harrison, B.M., 1942, MM., 1946: Principal oboe; Leonard Laitenen, ex 1947: Viola; Ruth Lyon, M.M., 1946: Second violin; Betty Maynard, B.M., 1946: Harp; Naomi Schaeller, M.M., 1946: Viola; John Woldt, Ph.D. Candidate: Fourth horn.
Indianapolis Symphony: Sarah East, M.A., 1945: Principal viola.
Kansas City Philharmonic Sym- phony: Catherine Farley, B.M., 1932, MM., 1946: Cello; John Gillam, ex 1941: Flute and piccolo; Maxine Mathisen, B.M., 1947: Clarinet; Nancy Moore, B.M., 1943: Second oboe; Janet Reming- ton, B.M., 1943: Solo harp; Con. stance Rutherford, ex 1943: Violin.
Los Angeles Philharmonic Sym- phony: Doriot Anthony, B.M., 1943: Second flute; Vance Beach, MM., 1941: Violoncello; Hilda Bernstein, ex 1947: Cello.
Louisville Symphony: Virginia Kersh- ner, MM., 1946: First viola; Ernest- Lyon, M.M., 1938: First trombone; Carol Tinker, B.M., 1945: Solo trumpet.
Metropolitan Opera Company: Alfio Micci, B.M., 1940, MM., 1941: Violin.
Minneapolis Symphony: Waldemar Lindner, B.M., 1937: First horn.
National Symphony: Richard An- drews, B.M., 1935: Bass; Hope
Baker, £.M.,.1943: Viola; Betty Barney, ex graduate student: First violin; Dolores Brennecke, B.M., 1945: First violin; Louis Brown, M.A., 1943: Viola; Crystal Gutheil, B.M.,- 1940, M.M., 1943: First vio- lin; William Hedges, ex 1947: Flute; Samuel Krachmalnick, ex 1946: Fourth horn; Wallace Mann, B.M., 1943: First flute; Bonnie Moeller, B.M., 1942: Violoncello; Elliott Siegal, B.M., 1945: Violin.
New Orleans Symphony: Glennis Metz, B.M., 1945: Second flute.
New York Philharmonic Symphony Society: Gordon Pulis, B.M., 1935: First trombone; Lewis Van Haney, B.M., 1942: Second trom- bone.
Norfolk Symphony: Mary Tegg Kier- nan, ex 1942: First violin.
Oklahoma Symphony: Jesselyn Pul- len, ex 1947: Second flute; Doris Reed, B.M., 1946: Oboe; George Yaeger, B.M., 1939: Solo horn.
Philadelphia Symphony: Burnett At- kinson, B.M., 1935: Flute; Albert Tipton, ex 1939: Flute.
Pittsburgh Symphony: Eugene Alt- schuler, B.M., 1943: First violin; Charles Birnn, ex 1946: Violon- cello; Richard Fischer, B.M., 1945: Viola; Kras Malno (Morris Krach- malnick), B.M., 1942, Artist's Di- ploma, 1943: Principal viola; Hugh Robertson, B.M., 1936: Percus- sion; William Schinstein, B.M., 1945: Percussion; Frank Schultz, B.M., 1934: Second violin.
Rochester Philharmonic: Rosalie Allison, B.M., 1946, MM., 1947 Oboe; Joseph Bein, B.M., 1941 Viola; Edwin Betts, B.M., 1946 Trumpet; Paul Bishop, Class of
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1948: Second violin; Karl Blaas, B.M., 1935: First violin; Laura Bohle, B.M., 1947: Bass; Abram Boone, B.M., 1929: Assistant con- certmaster; Herbert Brill, B.M., 1939: First violin; Claude Carlson, Class of 1948: Viola; Norman Carr, ex 1949: First violin; John Celen- tano, B.M., 1937, MM., 1941: First violin; David Craig, Special student: . Bass; Arthur Culver, Class of 1950: First violin; Miriam Farrell, B.M., 1946: Violoncello; Peter Farrell, Class of 1949: Violoncello; Doro- thy Fennell, BM., 1936, MM., 1939: Viola; Reed Finley, B.M., 1933: Clarinet; Rodney Flatt, ex 1947: Librarian; Adon Foster, B.M., 1947: First violin; Michael Ga- lasso, BM., 1944, MM., 1947: First violin; Don Garlick, M.M., 1943: Violoncello; Irene Gedney, B.M., 1933, Artist's Diploma, 1936: Piano; John Golz, B.M., 1942: Sec- ond violin; Anastasia Jempelis, B.M., 1946: Second violin; Lyle Keith, Certificate, 1927: Assistant manager; Victor Kestle, M.A., 1947: Cello; Lawrence Kinney, B.M., 1946: Viola; Edgar Kirk, Class of 1948: Bassoon and Contra- bassoon; Norbert Klem, Special student: Second violin; Ruth Kra- mer, B.M., 1946: First violin; Ed- ward Krolick, Class of 1948: Bass; Peter La Bella, B.M., 1947: Trum- pet; Avram Lavin, Class of 1949: Cello; William Long, Class of 1948: Percussion; John Lo Verde, Sum- mer School student: Second vio- lin; Allison MacKown, Special stu- dent: Principal cello; David Ma- jors, Class of 1949: Second violin; Eileen Malone, B.M., 1928: Harp; Clinton Manning, Special student: Bass; Virginia Morgan, B.M., 1939, Artist's Diploma, 1945: First vio-
lin; Irving Nathanson. li. \l.. 1941: Bass; William Osseck, li. If., 1941,
MM., 1942: Clarinet; Paul Philips, Special student: Bassoon; Florence Reynolds, B.M., 1946, MM.. 19 17: Violoncello; Ralph Rozzi, li.M . 1937: Second violin: Herman Ru- din, Special student: Viola; Bett) Schrepel, M.M., 1947: Second vio- lin; Arthur Senderofi", Class <</ 1950: First violin; Robert Sprenkle, B.M., 1936: First oboe; William Starr, B.M., 1944, M.M., 1917: First violin; Herman Surasky, Cer- tificate, 1935: Second violin; Robert Swan, B.M., 1944: Percussion; Richard Swingley, B.M., 1934: Clarinet and English horn; Millard Taylor, B.M., 1935, M.M., 1935, Artist 's Diploma, 1936: Co nee rl mas- ter; John Thomas, Class of 1948: Flute; Lichard Toland, B.M., 1939: Assistant Librarian; Ellery Tuck, Class of 1948: Second violin; Fran- cis Tursi, Class of 1948: Viola; Eduard Van Niel, BM., 1941, MM., 1942: Viola; Harry Wahler, Class of 1948: Bass; William E. Whybrew, B.M., 1943, MM., 1947: Tuba.
St. Louis Symphony: Norman Hertz- berg, B.M., 1937: First bassoon; Carl Mannle, B.M., 1941: Bass; Edward Murphy, ex 1930: Solo horn; Dorothy Zeigler, B.M., 1943: Principal trombone.
San Antonio Symphony: Richard Koons, BM., 1944: First trumpet: Donald MacDonald, BM., 1937: Solo flute; Alfio Pignotti, ex L944: Concertmaster; Betty Jo Sanner, ex 1947: Viola; Barbara Tobin, BM., 1946: First violin.
Scranton Philharmonic: Elizabeth Enright, B.M., 1942, MM., 1915: Violin.
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Springfield Symphony: Loren Glick- man, B.M., 1945: Bassoon.
United States Army Band: Parker Taylor, B.M., 1937: Flute.
United States Marine Band: Robert DeHart, ex 1938: Trumpet; Robert Isele, ex 1940: Principal musician and trombone; Robert Kadarauch, B.M., 1940: Violin; Ralph Moeller, B.M., 1941: Baritone saxophone;
Lester Remsen, B.M., 1940: Trum- pet ; Louis Saverino, Certificate, 1938 : Bass clarinet; Daniel Tabler, ex 1948: Clarinet; Oliver Zinsmeister, ex 1935: Percussion.
Wheeling Symphony: Waljis Braman, MM., 1940: Violoncello.
Wichita Symphony: Dorothy McCon- nell, B.M., 1945, MM., 1946: Second violin.
ALUMNI OF THE EASTMAN SCHOOL OF MUSIC IN PROFESSIONAL WORK SUCH AS CONCERT, OPERA, AND RADIO
Altman, Thelma, B.M., 1941: Metro- politan Opera Company.
Boardman, Roger, B.M., 1935, MM., 1936: Pianist.
Brancato, Rosemarie, B.M., 1931: Chicago Opera Company; radio and concert work.
De Spirito, Romolo, ex 1937: Bari- tone.
De Surra, Giovanni, B.M., 1930: Principal operatic roles, in Italy and with the Philadelphia Opera Company.
Gedney, Irene, B.M., 1933, Artist's Diploma, 1936. Piano soloist in RCA Victor's recording of Charles Martin Loeffler's Pagan Poem.
Goldowsky, Margaret Codd, ex 1931 : Philadelphia Opera Company.
Hedley, Charles, Certificate, 1926: Roles in Broadway musical come- dies and in productions of Max Reinhardt.
Houston, George, American Opera Company: Singer and actor in mo- tion pictures.
Ingraham, Gerald, B.M., 1938, Ar- tist's Diploma, 1939: Baritone solo- ist on Columbia Broadcasting Sys- tem programs.
Kubic, Howard, B.M., 1930: Pianist.
La Montaine, John, B.M., 1942: Pianist.
Leuning, Ethel Codd, Certificate, 1928: Recitalist in programs of con- temporary American music.
Lieberson, Goddard, ex 1935: Di- rector of Masterworks and Educa- tional Departments, Columbia Re- cording Corporation.
Lowe, Jack, B.M., 1938, MM., 1939: Duo-pianist with Arthur Whitte- more, RCA recordings.
Manning, Irene (Inez Harvuot), B.M., 1934: Musical comedy and Warner Brothers motion pictures.
Morgan, Mac, B.M., 1940, Artist's Diploma, 1942: Baritone with Cities Service radio programs; soloist with symphony orchestras; and recitals.
Mourant, Walter, BM., 1935, MM., 1936: Arranger.
Oelheim, Helen, American Opera Com- pany: Metropolitan Opera Com- pany.
Priebe, John, ex 1934: Oratorio solo- ist in the Boston Symphony Or- chestra's RCA Victor recordings of Bach's Passion according to St. Mat- thew, and at the Bethlehem, Penn- sylvania, Bach festivals.
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Quillian, James, B.M., 1928: Ac- companist.
Rudina, Rima, B.M., 1943, M.M., 1944: Violinist.
Sargent, Paul, B.M., 1931: Pianist.
Schumann, Henrietta, Certificate, 1927: Concert and radio work as pianist; soloist with the Radio City Orchestra in Radio City Music Hall and on its broadcasts over NBC; soloist with symphony orchestras.
Sherman, Cecile, Certificate, 1926: Broadway productions.
Silviera, Mary, Certificate, 1926: Mu- sical comedies, radio.
Spencer, Kenneth, B.M., 1938: Basso in New York operettas, in-
cluding the revival of Showboat; soloist on NBC programs.
Stockwell, Harry, American Opera
Company: Musical com**d\ and ra- dio; the Prince in Walt Disney's Snow White and the Seven Dwarfs. Warfield, William, B.M., 1942: Mu- sical comedy.
Weede, Robert, American Opera Company: Metropolitan Opera Company.
Weisberg,Roslyn,.B.M., 1922: Piano.
Whittemore, Arthur, MM., 1936:
Duo-pianist with Jack Lowe, RCA
recordings.
Wilder, Alexander, Special student: Radio performances; Columbia re- cordings.
ALUMNI OF THE EASTMAN SCHOOL OF MUSIC AS CONDUCTORS
1946-1947
Alessandro, Victor, B.M., 1937: Ok- lahoma Symphony Orchestra.
Bales, Richard Horner, B.M., 1936: National Gallery of Art Orchestra, and conductor of summer concerts of the National Symphony Orches- tra.
Boda, John, M.M., 1945: Apprentice conductor of the Cleveland Sym- phony Orchestra.
Duncan, Richard, B.M., 1935: Omaha Symphony.
Fennell, Frederick, B.M., 1937, MM., 1939: Eastman School of Music and elsewhere, as guest conductor.
Hacker, William, B.M., 1942, MM., 1943: Northwest Arkansas Sym- phony.
Hufstader, Robert, B.M., 1931: Bach Circle, New York City.
Landau, Irving, B.M., 1932, MM., 1933: Radio City Music Hall.
Lane, Louis, MM., 1947: Apprentice conductor of the Cleveland Sym- phony Orchestra (1947-1948).
Schliep, William, MM., 1936: Asso- ciate conductor, Duluth Symphony.
Siverson, Charles, B.M., 1930: Sta- tion WHAM, Rochester, New York.
Weiskopf, Robert, B.M., 1941: Cleveland Heights Symphony.
COLLEGES AND UNIVERSITIES IN WHOSE MUSIC FACULTIES EASTMAN SCHOOL OF MUSIC ALUMNI ARE REPRESENTED: 1941-1947
Alabama: Alabama Polytechnic In- stitute, Auburn; Huntingdon Col- lege, Montgomery; Tuskegee In- stitute, Tuskegee; University of
Alabama, University. Arizona: Arizona State Teachers College, Tempe; University of Ari- zona, Tucson.
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Arkansas: Henderson State Teachers College, Arkadelphia; University of Arkansas, Fayetteville.
California: Chaffee Junior College, Ontario; College of the Pacific, Stockton; George Washington Jun- ior College, Long Beach; Pomona College, Claremont; San Francisco State College, San Francisco; San Jose State College, San Jose; Santa Barbara State College, Santa Bar- bara; University of California, Los Angeles; University of Southern California, Los Angeles.
Colorado: Colorado College, Colo- rado Springs; Colorado State Teach- ers College, Greeley; Mesa County Junior College, Grand Junction; Western State Teachers College, Gunnison; University of Colorado, Boulder.
Connecticut: Connecticut College for Women, New London; Connec- ticut State Teachers College, Willi- mantic; Hartford Schoot of Music, Hartford; Julius Hartt School of Music, Hartford; University of Connecticut, Storrs.
Florida: Florida State College for Women, Tallahassee; John B.' Stet- son University, Deland; University of Miami, Coral Gables. .
Georgia: Agnes Scott College, De- catur; Bessie Tift College, Forsyth; Georgia State College for Women, Milledgeville; Shorter College, Rome; Wesleyan College, Macon.
Idaho: College of Idaho, Caldwell; University of Idaho, Moscow.
Illinois: Augustana College, Rock Island; Aurora College, Aurora; Bradley Polytechnic Institute, Pe- oria; Eastern Illinois State Teach- ers College, Charleston; Illinois State Normal School, Normal; Illi-
nois Wesleyan University, Bloom- ington; Knox College, Galesburg; MacMurray College, Jacksonville; McKendree College, Lebanon; Milli- kin University, Decatur; Mon- mouth College, Monmouth; Shurt- leff College, Alton; Southern Nor- mal University, Carbondale; State Teachers College, Macomb; Uni- versity of Chicago, Chicago; Uni- versity of Illinois, Urbana.
Indiana: Arthur Jordan Conservatory, Indianapolis; Ball State Teachers College, Muncie; DePauw Univer- sity, Greencastle; Franklin College, Franklin; University of Indiana, Bloomington; Valparaiso Univer- sity, Valparaiso.
Iowa: Buenavista College, Storm Lake; Central College, Pella; Cor- nell College, Mt. Vernon; Drake University, Des Moines; Grinnell College, Grinnell; Morningside Col- lege, Sioux City; State Teachers College, Cedar Falls; University of Dubuque, Dubuque; University of Iowa, Iowa City; Wartburg College, Waverly.
Kansas: Fort Hays State Teachers College, Hays; Friends University, Wichita; Kansas State Teachers College, Emporia; Kansas Wesleyan University, Salina; University of Kansas, Lawrence; University of Wichita, Wichita; Washburn Col- lege, Topeka.
Kentucky: Berea College, Berea; Cen- tre College, Danville; Kentucky State Teachers College, Richmond; Morehead State Teachers College, Morehead; Murray State Teachers College, Murray; Southern Baptist Theological Seminary^ Louisville; University of Kentucky, Lexing- ton; University of Louisville, Louis- ville; Western State Teachers Col- lege, Bowling Green.
80
Louisiana: Centenary College of Lou- isiana, Shreveport; Lake Charles Junior College, Lake Charles; Lou- isiana College, Pineville; Louisiana Polytechnic Institute, Ruston; Loy- ola University, New Orleans; Northeast Junior, Louisiana State University, Monroe; Northwestern State College, Natchitoches; South- western Louisiana Institute, La- fayette; University of Louisiana, Baton Rouge.
Maine: Bowdoin College, Brunswick.
Maryland: Hood College, Frederick.
Massachusetts: Mount Holyoke Col- lege, South Hadley; New England Conservatory of Music, Boston; Smith College, Northampton.
Michigan: Albion College, Albion; Michigan State College, East Lan- sing; Olivet College, Olivet; State Teachers College, Marquette; Uni- versity of Michigan, Ann Arbor; Wayne University, Detroit.
Minnesota: Bemidji State Teachers College, Bemidji; College of St. Theresa, Winona; Concordia Col- lege, Moorhead; Gustavus Adol- phus College, St. Peter; Minneapo- lis College of Music, Minneapolis; State Teachers College, Duluth; State Teachers College, St. Cloud; University of Minnesota, Minne- apolis.
Mississippi: Mississippi State College for Women, Columbus; Mississippi Women's College, Hattiesburg; University of Mississippi, Univer- sity; Whitworth College, Brook- haven.
Missouri: Central College, Fayette; Conservatory of Music of Kansas City, Kansas City; Missouri Valley
College, Marshall; St. Louis [nsti- tute of Music, St. Louis; State Teachers College, Kirks ville; State Teachers College, Mary ville; Ste- phens College, Columbia; I Diver- sity of Missouri, Columbia; W illiain Woods College. Fulton.
Montana: Montana State I Diversity, Missoula.
Nebraska: Doane College, Crete; Grand Island Conservatory, Grand Island; Hastings College, Hastings; State Teachers College, Kearney; Union College, Lincoln; Universitj of Nebraska, Lincoln; University of Omaha, Omaha.
New Hampshire: Colby Junior Col- lege, New London; Dartmouth Col- lege, Hanover; University of New Hampshire, Durham.
New Jersey: Georgian Court College, Lakewood; Westminster Choir Col- lege, Princeton.
New Mexico: Danfelser School of Music, Albuquerque.
New York: Brockport State Teachers College, Brockport; Colgate Uni- versity, Hamilton; Columbia Uni- versity, New York City; Cornell University, Ithaca; Eastman School of Music, University of Rochester, Rochester; Elmira College, Elmira; Hartwick College, Houghton; Houghton College, Houghton; Hunter College, New York City; Ithaca College, Ithaca; Juilliard School of Music, New York Cit] : Keuka College, Keuka Park; Pots- dam Normal School, Potsdam; St. Bonaventure College, Olean; St. Lawrence University, Canton; State Normal School, Plattsburg; Uni- versity of Buffalo, Buffalo; Wells College, Aurora.
81
North Carolina: Asheville College, Asheville; Bennett College, Greens- boro; Duke University, Durham; East Carolina Teachers College, Greenville; Greensboro College, Greensboro; Peace College, Ra- leigh; Queens College, Charlotte; Salem College, Winston-Salem; University of North Carolina, Chapel Hill; University of North Carolina, Greensboro; Western Carolina Teachers College, Cullo- whee.
North Dakota: Jamestown College, Jamestown.
Ohio: Akron University, Akron; Ash- land College, Ashland; Baldwin- Wallace College, Berea; Bowling Green State University, Bowling Green; Cleveland Institute of Mu- sic, Cleveland; Conservatory of Music, Cincinnati; Denison Uni- versity, Granville; Heidelberg Col- lege, Tiffin; Hiram College, Hiram; Kent State College, Kent; Miami University, Oxford; Mount Union College, Alliance; Muskingum Col- lege, New Concord; Oberlin Col- lege, Oberlin; Ohio Northern Uni- versity, Ada; Ohio State Univer- sity, Columbus; Ohio University, Athens; Ohio Wesleyan Univer- sity, Delaware; Otterbein College, Westerville; Western College, Ox- ford; Western Reserve University, Cleveland; Youngstown College, Youngstown.
Oklahoma: Northeast State Teachers College, Tahlequah; Northwestern State College, Alva; Oklahoma A. and M. College, Stillwater; Okla- homa City University, Oklahoma City; Panhandle A. and M. College, Goodwell; Philips University, Enid; Southwestern State Teachers Col- lege, Weatherford; University of
Oklahoma, Norman; University of Tulsa, Tulsa.
Oregon: Linfield College, McMinn- ville; University of Oregon, Eu- gene; Willamette University, Salem.
Pennsylvania: Allegheny College, Meadville; Bucknell University, Lewisburg; Carnegie Institute of Technology, Pittsburgh; College Misericordia, Dallas; Juniata Col- lege, Huntington; Lehigh Univer- sity, Bethlehem; Mansfield State Teachers College, Mansfield; State Teachers College, Indiana; State Teachers . College, West Chester.
Rhode Island: Brown University, Providence.
South Carolina: Converse College, Spartanburg; Erskine College, Due West; Furman University, Green- ville; Limestone College, Gaffney; Newberry College, Newberry; Win- throp College, Rock Hill.
Tennessee: Austin Peay Normal School, Clarksville; George Pea- body College for Teachers, Nash- ville; Maryville College, Maryville.
Texas: Baylor University, Waco; Corpus Christi Junior College, Cor- pus Christi; Hardin Simmons Col- lege, Abilene; John Tarleton Ag- ricultural College, Stephenville; North Texas Agricultural College, Arlington; North Texas State Teachers College, Denton; Our Lady of the Lake College, San An- tonio; Southern Methodist Uni- versity, Dallas; Texas Christian University, Fort Worth; Texas State College for Women, Denton; Trinity University, San Antonio; University of Texas, Austin; Way- land Baptist College, Plainview.
Utah: Brigham Young University, Provo.
82
Vermont: Green Mountain Junior College, Poultney; Trinity College, Burlington.
Virginia: Blackstone College for Girls, Blackstone; Hollins College, Hol- lins; Madison College, Harrison- burg; Marion Junior College, Ma- rion; Mary Baldwin College, Staun- ton; Richmond Conservatory of Music, Richmond; Shenandoah College, Dayton; Sullins College, Bristol; Sweet Briar College, Sweet Briar.
Washington: College of Puget Sound, Tacoma; Eastern Washington Col- lege of Education, .Cheney; Uni- versity of Washington, Seattle; Walla Walla College, Walla Walla; Washington State College, Pull- man; Whitman College, Walla Walla.
West Virginia: Alderson-Brooddus College, Philippi; Greenbriar Col- lege for Women, Lewisburg; Mar- shall College, Huntington; Salem College, Salem; West Virginia Wesleyan University, Buchanan.
Wisconsin: Lawrence College, \pple- ton; Milwaukee Downer College. Milwaukee; State Teachers College. Superior.
Wyoming: University of Wyoming, Laramie.
Hawaii: University of Hawaii, Hono- lulu.
Canada: Toronto Conservatory of Music, Toronto; University of To- ronto, Toronto; University of Win- nipeg, Winnipeg.
Informal session opening the second annual American Music Students' Symposium.
83
THE EASTMAN SCHOOL OF MUSIC BOARD OF MANAGERS
(past and present)
George Eastman 1921 to 1932
George W. Todd 1921 to 1938
Alan I a /en tine 1935 to —
Howard Hanson 1924 to —
Rush Rhees 1921 to 1939
W . Roy MeCanne 1933 to 1934
Charles F. Hutchison 1933 to —
M. Herbert Eisenhart 1933 to —
Raymond L. Thompson 1933 to —
BOARD OF MANAGERS OF THE EASTMAN SCHOOL OF MUSIC Alan Valentine M. Herbert Eisenhart
Howard Hanson Charles F. Hutchison
Raymond L. Thompson
OFFICERS OF ADMINISTRATION OF THE EASTMAN SCHOOL OF MUSIC
WITH THE DATES OF THEIR APPOINTMENT
Director. Howard Hanson, 1924
Assistant Director, Director of the Summer School, and Head of the Preparatory Department Raymond Wilson, 1921
Dean of Students Flora Burton
Administrative Assistant Allen I. McHose
Secretary-Registrar Arthur H. Larson
Financial Secretary and Concert Manager Arthur M. See
Secretary of the Graduate Committee Wayne Barlow
Medical Adviser for Men John Fletcher McAmmond
Medical Adviser for Women Jean D. Watkeys
Acting Librarian of the Sibley Music Library .... Ruth Watanabe
Librarian Emeritus of the Sibley Music Library .... Barbara Duncan
Cashier . Marion Davis
Recorder Dorothy Vincent
Manager of Kilbourn Hall Arline Piper Putnam
Director of the Concert Bureau Jean Ancona
Director of the Dining Halls and Dormitories Etta Handy
Director of Dormitory Council and Head of MacDowell
Hall Helen Bishop
Social Director and Head of Foster Hall Camilla Ayers
85
1946 1929 1929 1921 1947 1946 1943 1947 1922 1927 1940 1937 1943 1934
1946 1946
BOARD OF TRUSTEES OF THE UNIVERSITY OF ROCHESTER
M. Herbert Eisenhart, Chairman
Charles F. Hutchison, Secretary Ernest A. Paviour, Assistant Secretary
Alan Valentine, President of the Raymond L. Thompson, Treasurer of
University Edward G. Miner Horace F. Taylor Herbert S. Weet Harper Sibley Kendall B. Castle Raymond N. Ball
the University
Martin F. Tiernan Thomas G. Spencer James E. Gleason Thomas J. Hargrave S. Sloan Colt Carl A. Lohmann
Bernard E. Finucane Amory Houghton Albert D. Kaiser Gilbert J. C. McCurdy Marion Warren Fry Bartel H. Reinheimer
FACULTY OF THE EASTMAN SCHOOL OF MUSIC OCTOBER 1, 1947
WITH THE DATES OF THEIR APPOINTMENTS
President Alan Valentine, 1935
Director Howard Hanson, 1924
Assistant Director Raymond Wilson, 1921
THEORY, COMPOSITION, AND HISTORY OF MUSIC
Wayne Barlow, 1937
Thomas Canning, 1947
Charles Warren Fox, 1932
Howard Hanson, 1924
Marjorie Truelove MacKown, 1921
Allen Irvine McHose, 1929
Frank Morris, 1946
Burrill Phillips, 1933
Bernard Rogers, 1929
Gustave Soderlund, Emeritus, 1928
Ruth Northrup Tibbs, 1924
Ruth Watanabe, 1946
Donald White, 1932
Elvera Wonderlich, 1928
Charles Warren Fox, 1932
MUSICOLOGY
Harold Gleason, 1920
MUSIC LITERATURE
Harold Gleason, 1920
86
PIANO
Margaret Bussell, 1946
Elizabeth Watson Chadwick, 1941
Mabel Lewis Cooper, Emeritus, 1921
Blair Cosman, 1945
Jerome Diamond, 1926
Jose Echaniz, 1944
Marie Erhart, 1923
Carl Fuerstner, 1945
Cecile Staub Genhart, 1926
Wallace Gray, 1941
Zillah Halstead, 1932
Norma Holmes, 1946
Alice Jefferson, 1943
Ernestine Klinzing, 1919
Max Landow, Emeritus, L922 Gladys Metcalf Leventon, L929
Donald Liddell, 1923
Marjorie Truelove MacKown, 192
George MacNabb, 1922
Evelyn McCann Prior, 1935
Gladys Rossdeutscher, 1(' 39
Barbara Smith, 1943
Mildred Randall Stalker, L937
Donna Harris Terepka, 1947
Sandor Vas, 1923
Harry Watts, 1921
Harold Weiss, 1947
Raymond Wilson, 1921
HARPSICHORD Catharine Crozier Gleason, 1938
VOICE
Lucy Lee Call, Emeritus, 1921 Frederick Haywood, 1924 Nicholas Konraty, 1929
Arthur Kraft, 1936 LeRoy Morlock, 1929 Leonard Treash, 1947
Jeane Woolford, Emeritus, 1925
ORGAN
Catharine Crozier Gleason, 1938 Harold Gleason, 1920
Norman Peterson, 1947
VIOLIN
Samuel Belov, 1921 Abram Boone, 1947 John Celentano, 1946 Glennes Garlick, 1944
Jacques Gordon, 1941 Effie Knauss, Emeritus, 1921 Millard Taylor, 1944 Karl Van Hoesen, 1926
VIOLA Samuel Belov, 1921
87
VIOLONCELLO
Joseph Mariano, 1935
Donald Garlick, 1946
Luigi Silva, 1941
BASS Oscar Zimmerman, 1945
HARP Eileen Malone, 1933
FLUTE
OBOE
Robert Sprenkle, 1937
CLARINET
Rufus Arey, 1931
Zena Gemmalo Baranowski, 1944
• William Osseck, 1946
BASSOON Vincent Pezzi, 1932
Allison MacKown, 1937
John Thomas, 1946
Anthony Bruno, 1944 Jack End, 1940
Fred Bradley, 1944
HORN
Arkadia Yegudkin, 1930
Edwin Betts, 1944
TRUMPET
Charles Starke, 1943
TUBA Clinton Manning, 1942
TROMBONE Emory Remington, 1922
Pattee Evenson, 1935
88
PERCUSSION Frederick Fennell, 1940 Wiuiwi Strei i. 1927
PIANO METHODS Marjorie Truelove MacKown, 1921 George Mai \ vbb, L922
ORGAN METHODS Harold Gleason, 1921
CHOIR TRAINING AND SERVICE PLAYING Norman Peterson, 1947
STRING METHODS Samuel Belov, 1921
WOOD-WIND AND BRASS ENSEMBLES
Emory Remington, 1922 Paul White, 1928
Arkadia Yegudkin, 1930
PIANO AND STRING ENSEMBLES
John Celentano, 1946 Sandor Vas, 1923
Luigi Silva, 1941 Harry Watts, 1921
GORDON STRING QUARTET, 1942
Jacques Gordon, first violin
Urico Rossi, second violin
David Dawson, viola
Fritz Magg, violoncello
ORCHESTRAL CONDUCTING Frederick Fennell, 1940 Paul White, 1928
CHORAL CONDUCTING Herman Genhart, 1922
EASTMAN SCHOOL ORCHESTRAS
Howard Hanson, 1924; Paul White, 1928; Frederick Fennell, 1940; conductors
Rodney Flatt, 1946, librarian
89
EASTMAN SCHOOL SYMPHONY BAND . Frederick Fennell, 1940
EASTMAN SCHOOL CHOIR Herman Genhart, 1922, conductor
OPERA DEPARTMENT
Leonard Treash, 1947, Dramatic Di- Arthur Kraft, 1936, Voice
rector; Voice Jeane Woolford, Emeritus, 1925,
Carl Fuerstner, 1945, Musical Di- Voice
rector v Harold Osborn Smith, 1924, English
Herman Genhart, 1922, Chorus Mas- Diction
ter; Coach Anne Theodora- Cummins, 1924,
Lucy Lee Call, Emeritus, 1921, Voice French and Italian Diction
Nicholas Konraty, 1929, Voice JESSIE Hoskam Kneisel, 1932, German
Diction
PUBLIC SCHOOL MUSIC
Ellen Hatch Beckwith, 1931 William Larson, 1929
Sherman Clute, 1924 Ann Morrow, 1938
Emeline Dake, 1945 Marlowe Smith, 1936
Howard Hinga, 1938 , Alfred Spouse, 1938
Elizabeth Lanigan, 1938 Karl Van Hoesen, 1926
EDUCATION Byron B. Williams, 1946
ENGLISH AND ENGLISH DICTION
Ethel-Mae Haave, 1945 Charles Riker, 1930
Harold Osborn Smith, 1924
FINE ARTS Charles Riker, 1930
FRENCH, FRENCH DICTION, ITALIAN, AND ITALIAN DICTION
Anne Theodora Cummins, 1924
GERMAN AND GERMAN DICTION Jessie Hoskam Kneisel, 1932
90
Flora Burton, 1946
MUSIC EDUCATION William Larson, 1929
PSYCHOLOGY
Charles Warren Fox, 1932
INTRODUCTION TO MUSIC— CHILDREN'S COURSE Lottie Ellsworth Coit, 1935
Ralph Davis, 1931
PHYSICAL EDUCATION
Sylvia Fabricant, 1944 Elsa Jordan, 1944
ELEMENTARY THEORY
Marie Erhart, 1923
Gladys Metcalf Leventon, 1929
Marjorie Truelove MacKowv L921 Barbara Smith, 1943
PSYCHOLOGIST IN MUSIC William Larson, 1929
FORMER MEMBERS OF THE EASTMAN SCHOOL FACULTY
Abele, Catherine Eaton. Public School Music. 1924-1928.
Alexander, Arthur. Voice. 1921- 1922.
Ames, William. Theory and Composi- tion. 1928-1938.
Augieras, Pierre. Piano. 1921-1925. Died May 28, 1925.
Austin-Ball, Thomas. Voice. 1924- 1943. Died October 3, 1944.
Bacon, Ernst. Opera and Piano. 1925-1928.
Balaban, Emanuel. Opera. 1925- 1944.
Barnett, Marjorie. Physical Educa- tion and Folk Dancing. 1927-1929.
Beach, Vance. Violoncello. 1941- 1943.
Benson, Frederick. Voice. 1921- 1930.
Berentsen, Robert. Organ. 1924- 1930.
Berry, Charles Raymond. 1946-
1947. Bishop, Eugene. Trumpet. 1926- l^i!1'. Bloch, Ernest. Theory. 1924-1()2k Bloom, Robert. Oboe. 1936-1937.
Bockstruck, Elsa. Physical Educa- tion and Dancing. 1936-1945.
Bonnet, Joseph. Organ. 1921-1923. Died August 3, 1944.
Botsford, Enid. Ballet. 1924-1925.
Catalano, Lewis. Oboe. 1924-1925. Chamberlin, Rachel Hazeltine. Pi- ano. 1927-1929.
91
Coates, Albert. Opera Department and Conducting. 1924-1925.
Conrad, Otto. Clarinet. 1924-1928.
Cooper, Mabel Lewis. Piano. 1921- 1941.
Croxford, Lyndon. Piano. 1922-1947.
D'Angelis, Frederick. Oboe. 1925- 1926.
D'Antalffy, Deszo. Organ. 1922- 1923. Died April 29, 1945.
Decaux, Abel M. Organ. 1923-1936. Died August 11, 1943.
DeLorenzo, Leonardo. Flute. 1924-
1935. Denker, Fred. Piano. 1944-1945.
Duncan, Hazel Sampson. Piano. 1929- 1941.
Dunlap, Jack W. Education. 1937- 1939.
Eaton, Rachel Winger. Piano. 1929- 1932.
Edwards, Norman. Opera Depart- ment. 1924-1925.
Ellis, Jean Marion. Piano. 1943-1944.
Fauver, Edwin. Physical Education.
1929-1939. Fermin, Adelin. Voice. 1921-1935.
Died May 9, 1941.
Finckel, George. Violoncello. 1928-
1937. Ftnley, Reed. Clarinet. 1941-1944.
Fitch, Theodore. Theory and Com- position. 1928-1930. Foreman, Arthur. Oboe. 1926-1936. Fortuna, Joseph. Violin. 1936-1942.
Freeman, Henry. Trumpet. 1924- 1927.
Fuller, Jeanette C. Piano and Mu- sicianship. 1921-1930. Died Oc- tober 14, 1931.
Gareissen, Ox \K. Voice. 1921-19 Died December 9. [924.
Gehrken, Warren. Organ. 1924-
1931. Died Jul> l."». L931.
Goldthorpe, J. Harold. Education.
1932-1938.
Goossens, Eugene. Opera, Conduct- ing and Composition. 192 H93 1 . Grant, Margaret. Dean. 1945-1946. Greene, Carlotta Ward. Public
School Music. 1930-1945.
Griffith, Rose-Cumins. Piano. 1921- 1926.
Gulick, Sidney. English. 1932-19 Gunther, Virginia. Physical Educa- tion. 1943-1944.
Halliley, Reginald. Voice. 1925- 1926. Died November 12, 1935.
Hammond, John. Organ. 1923-1924.
Harrison, Guy Fraser. Organ and Opera. 1922-1925; 1944-1945.
Hartmann, Arthur. Violin. L921- 1922.
Hasel, Haven Binford. Piano. I'M I- 1946.
Holloway, Phyllis. Piano. 1944- 1946.
Hoss, Wendall. Horn and Wind En- semble. 1924-1926; 1928-1930.
Houston, George F. Diction, Opera. 1924-1927.
Husband, Anna. Piano. 1941-191 I.
Inch, Herbert. Theory and Composi- tion. 1925-1928; 1930-1931.
Ireland, Dwight B. Education. 1939- 1942.
Jamieson, Margaret. Piano. L924-
1926. Johnson, Louise. Flute. 1943-1945. Johnson, Mark. Opera. 1927-1(>2<>.
93
Kaun, Bernard. Theory and Compo- sition. 1926-1928.
Keenan, Gertrude. Piano and Musi- cianship. 1927-1936. Died April 12, 1936.
Kefer, Paul. Violoncello and String Ensemble. 1924-1941. Died Febru- ary 22, 1941.
Kelley, Dorothy. Public School
Music. 1928-1930. Kimball, Marian Stevens. Physical
Education and Folk Dancing. 1929-
1936.- Klingenberg, Alf. Director. Piano.
1921-1923. Died April 20, 1944. Kramer, Clair. Physical Education.
1929-1931. Krasmalnick, Morris (Kras Malno).
String Ensemble. 1945-1946. Kunz, Gerald. Violin. 1921-1932.
Lamond, Frederick. Piano. 1923- 1925. Died February 21, 1948.
Lischner, Rose. Opera. 1932-1933.
Lockner, Avery. Radio. 1944-1945.
Loeffler, Kathryn Makin. Piano. 1927-1929.
Loysen, Hilda Carlson. Physical Edu- cation and Dancing. 1929-1932.
Luening, Otto. Opera. 1926-1928.
Maas, Gerald. Violoncello. 1921-
1922. Mackenzie, Hugh. History. 1932-
1936. Died February 26, 1946. MacRury, Norma. French. 1932;
1938-1941. Mamoulian, Rouben. Opera. 1923-
1926. Marjarum, Edward Wayne. English.
1933-1945. • Maslinkowsky (Masling), Samuel.
Violoncello. 1923-1926. Mattern, David E. Public School
Music. 1924-1927.
May, Hilda. Physical Education and Folk Dancing. 1926-1928.
McCleery, Kathleen. Piano and Mu- sicianship. 1924-1927.
McConnell, Albert. Trumpet. 1941- 1945. '
McCrory, Martha. Violoncello. 1945- 1946.
Mear, Sidney. Trumpet. 1942-1944.
Mellon, Edward K. Trumpet. 1929- 1941.
Miller, Charles H. Public School Music. 1924-1938.
Miller, Dorothy Hawkins. Public School Music. 1927-1928. Died August 17, 1944.
Montgomery, Merle. Piano and Theory. 1944-1945.
Montjoy, Harry. English. 1925-1926. Moore, Fannie Helner. Piano. 1923- 1929; 1930-1932.
Morse, Louise. Physical Education.
1932-1935. Mumford, Jane B. Piano. 1921-1932.
Nabokin, Jacob. Bassoon. 1926-1932.
Newbury, Constance. Physical Edu- cation. 1937-1943.
Olson, Clair C. English. 1926-1932.
Palmgren, Selim. Theory and Com- position. 1922-1926.
Pennoyer, Miriam Mellon. Medical Adviser. 1942-1943.
Penny, George Barlow. Theory, Composition, History of Music, and Public School Music. 1921- 1934. Died November 14, 1934.
Pettis, Ashley. Piano. 1926-1932.
Phillips, Helen. Piano. 1944-1946.
Press, Joseph. Violoncello. 1922- 1924. Died October 4, 1924.
94
Quillian, James. Opera. 1928-1929.
Rader, Catherine Bodler. Opera. 1929-1931; 1935-1944.
Remington, Frederick E. Trumpet.
1930-1935. Resnikoff, Vladimir. Violin. 1923-
1925.
Rose, Edgar. Piano. 1921-1931.
Rosenblum, Lucille Johnson. Harp. 1921-1936.
Rosing, Vladimir. Opera. 1923-1928. Royce, Edward. Composition. 1923- 1947.
Sauer, Marian Eccleston. Violin. 1926-1936. Died March 28, 1940.
Schempf, William. Mathematics. 1942-1943.
Schenck, Ludwig. Violin. 1921-1929. Died April 8, 1929.
Schibsted, Olive Puttick. Piano and Musicianship. 1922-1924.
Schmidt, Paul. Tuba. 1925-1942. Schoenegge, Florence Alexander.
Piano. 1924-1938. Scholl, Evelyn. English. 1926-1930.
Schott, Ellen Waite. Piano. 1929- 1932.
Scott, Dorothy Gillette. Piano. 1921-1935.
Scoutten, E. F. Education. 1945- 1946.
Shear, Charlotte Krick. Piano. 1941-1943.
Sheil, Gladys Apitsch. Opera. 1944- 1946.
Sinding, Christian. Theory and Com- position. 1921-1922.
Sisson, Margaret. Theory. 1928- 1930.
Skinner, Laila. Piano. 1924-1929. Slonimsky, Nicolas. Opera. 1924- 1925.
Smith, Hazel Dossenbach. Violin.
1921-1926.
Smith, Melville. Theor\ and Com- position. 1925-1930.
Snyder, Lorene Carpenter. Violin. 1942-1944.
Stanton, Hazel M. Psycholo-ii-i in Music. 1921-1932.
Stark, Mary. Public School Music. 1942-1944.
Taggart, Marguerite Castellami- French Diction. 1922-1923.
Thorpe, Christina. Public School Music. 1935-1936.
Tinlot, Gustave. Violin. 1925-1932. Died March 2, 1942.
Tweedy, Donald N. Theory and Com- position. 1923-1929.
Versteeg, Willem. Violoncello. 1936- 1941. Died January 10, 1948.
Waller, Frank. Opera. 1924-1925. Waterhouse, George. Tympani.
1924-1929. Watson, Nelson. Bass. 1924-1945.
Died February 21, 1945.
Weed, Marian. Dramatics, English and German Diction, Voice. 1921- 1937. Died June 22, 1947.
Weiss, Adolf. Bassoon. 1924-1925.
Wells, Elizabeth Buck. Opera, 1933-1935.
Wilbraham, Hazel. Physical Educa- tion. 1932-1936.
Woodcock, Edith. Piano. 1923-1927.
Wylie, Norma McKelvie. Piano. 1921-1924. Died April 10, 1931.
Trotter, T. H. Yorke. Theory and Composition. 1921-1923. Died March, 1934.
Yost, Robert. Piano. 1938-1941. •
Yost, Ruth Wentworth. Piano. 1936-1941.
95
GUEST INSTRUCTORS AT SUMMER SESSIONS
Ahearn, Ella Mason. Piano Normal
Class. 1934. Ahrendt, Karl. Theory. 1943.
Barr, Grace. Music Appreciation and Public School Music. 1925.
Belov, Joel. Violin and Viola. 1936, 1941.
Carter, Russell. Public School Mu- sic. 1930-1931.
Colgan, Marion. Public School Mu- sic. 1931, 1933.
Donoghue, Anne. Public School Mu- sic. 1934-1940.
Dykema, Peter W. Public School Music. 1930.
Ellinwood, Leonard. Theory and History of Music. 1935-1936.
Elwell, Herbert. Composition. 1936- 1941, passim. 1947.
Fryberger, Agnes. Appreciation of Music and Public School Music. 1926-1930.
Gartlan, George W. Public School Music. 1930.
Hammond, John. Organ. 1924. Hekking, Gerard. Violoncello. 1937.
Johnson, Louise. Flute. 1943.
Kammerer, Hope. Piano Normal Class. 1930-1932.
Kinscella, Hazel G. Public School Music. 1925-1928.
MacKinnon, Lilias. Piano. 1945- 1947.
Maier, Guy. Piano. 1945.
Mohler, Louis. Music Appreciation and Public School Music. 1925.
Moore, Doris. Piano Normal Class. 1939-1941.
Rich, Mabel. Public School Music. 1926.
Robertson, Hugh. Percussion. 1943.
Thorpe, Christina. Public School Music. 1931-1937, passim.
96
The Eastman School of Music Student Aid
1 he Eastman School of Music has been greatly assisted h\ nil ta from friends of the institution which make it possible to reduce, or, in exceptional cases, to cancel charges for tuition to talented but needy students. Such grants may come from endowed funds for student aid, annual funds, or from the Eastman School en- dowment fund. The Eastman School is deeply indebted to the generosity of its friends who have made, and are making, this aid to students possible.
Endowed Funds for Student Aid
The Molly Mulligan Fund. The late Dr. and Mrs. E. W. Mul- ligan, of Rochester, by a gift of $10,000, have provided tuition for one full voice course, one preparatory course in piano, and one preparatory course in violin.
The Martha B. Stone Fund. Under the will of Martha B. Stone, a bequest of $10,000 is made to provide a student aid fund in the regular piano course of the Eastman School of Music.
The Alice K. Whitney Fund. A sum of $5,000, given by Mrs. Alice Whitney Hutchison, provides aid for a student in the regular piano course.
The Adelaide H. Lindsay Fund. This represents a gift of $6,000 from Jean L. DuPuy and Adelaide L. Thomson in memory of their mother; it provides tuition in voice for a young woman, preference being given to a candidate with mezzo-soprano voice.
The Lilli Lehmann Fund. A gift of $2,000 has been given anony- mously to endow a fund in memory of Lilli Lehmann, teacher of the donor.
The Gertrude Vayo Fund. A gift of $10,000 was given by the late Mrs. Ernest R. Willard to endow a fund in memory of Miss
97
Gertrude Vayo, for many years manager of Kilbourn Hall and of the Concert Bureau of the Eastman School of Music.
The Edith H. Babcock Fund. A gift of $20,000 and the income from property to be used for the aid of talented arid needy students.
Annual Funds for Student Aid
The Hattie M. Strong Fund. The Hattie M. Strong Foundation gives $250 annually to the David Hochstein Memorial Music School to provide aid for those of its students who are deemed worthy of continuing in the Eastman School of Music.
The McCurdy Fund. A gift of $1,000 has been given by The McCurdy Company, Rochester, N. Y., to assist talented and needy students in the regular course and in the Preparatory Department.
The Relin Music Company Fund. A gift of $100 has been given by the Relin Music Company, Rochester, N. Y., to assist a talented and needy student in the regular course.
The Elks Fund. Four awards, each of the value of $250, con- tributed by the Rochester Lodge No. 24 of the Order of Elks, available to a regular student of the Eastman School of Music or the College of Arts and Science, upon nomination by the Rochester Lodge.
The Fordyce Tuttle Graduate Fellowship. An annual grant of $500 for four years has been given by Fordyce Tuttle to assist students in the graduate department, preference being given to a student from Wisconsin.
The Vernon Kellogg Penny Award. Established by Mr. and Mrs. George Barlow Penny in memory of their son who died in battle in France in 1918. This provides a sum of $100 to be awarded annually to a young man born in the United States of
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American parents whose ancestors were American; preference to be given to a student in the Bachelor of Music course concentrating in piano.
The Sigma Alpha Iota Fund. The Sigma Alpha Iota sororit) provides annually a sum of $150 open to general competition, but preference in award is given to a member of the sororiu .
The Mu Phi Epsilon Fund. This sorority provides annually a sum of $125 designated as the Marion Weed Scholarship Prize t<» be awarded as follows: a prize of $25 to the sophomore woman student maintaining the highest scholastic standing during her freshman year; $100 to be awarded preferably to a member of the sorority.
The Delta Omicron Sorority Fund. The Rho Chapter of Delta Omicron sorority provides annually a sum of $100 to be awarded to a needy, worthy, and active member of the sorority.
The Delta Omicron Alumnae Prize. The Rochester Alumnae Club of Delta Omicron annually awards a prize of $25 to the initiate who at the end of the school year attains the highest scho- lastic average.
General Funds
In addition to the specific funds for aid available through gifts and bequests, the Eastman School has a general fund to assist worthy students in any department. Candidates of exceptional ability are also eligible for Rochester Prize Scholarships.
Graduate Awards
The Eastman School of Music makes provision to give financial- aid to a number of graduate students each year through assistant - ships and scholarships.
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Library Bureai |
i Cat. No. 1137 |
780.72 R44e
3 5002 00235 2362
Riker, Charles
The Eastman School of Music, its first q
HT 4 . R6 E247
Riker, Charles, 1906-
The Eastman School of Music