1Fine Arts Quartet

Fine Arts Quartet

Ralph Evans Efim Boico Robert Cohen Nicolò Eugelmi

50THANNIVERSARY!

November 11, 2012 at 3pmHelen Bader Concert Hall

2012-2013

2 UWM Peck School of the Arts

3Fine Arts Quartet

PROGR A M

String Quartet (in one movement) Op.89 (1929) ...............................Amy Marcy Cheney Beach (1867-1944)

Souvenirs de Voyage (Clarinet Quintet) (1967) ................................................ Bernard HerrmannAndante pastorale - Allegro (1911- 1975)BerceuseAndante tranquillo quasi barcarolla

Michel Lethiec, clarinet

-- Intermission --

String Quartet in B Flat Major, Op.130 ..........................................................Ludwig van BeethovenAdagio ma non troppo - Allegro (1770-1827)PrestoAndante con moto, ma non troppoAlla danza tedesca: Allegro assaiCavatina: Adagio molto espressivoFinale: Allegro

Amy Beach’s Quartet for Strings, Op. 89 is published in Amy Beach: Quartet for Strings (in One Movement), Op. 89 edition by Adrienne Fried Block, Music of the United States of

American, vol. 3 (Madison, Wisconsin: A-R Editions, Inc., 2000). Used with permission.

PROGR A M NOTES

Written by Timothy Noonan, Senior Lecturer - Music History and Literature

Beach, String Quartet, Op. 89Born Amy March Cheney in New Hampshire in 1867, the composer known as Mrs. H. H. A. Beach stands as the earliest American woman to achieve success in large-scale musical composition. Her mother, Clara Imogene Cheney, played the piano and had a fine singing voice, and Amy showed remarkable musical talent at a very young age. She gave her first public piano recital at 7, playing works by Beethoven and Chopin as well as her own compositions. The family moved to Boston when she was 8, and among her piano teachers there was the physician Henry Harris Aubrey Beach, some 25 years her senior, whom she married at age 18. Now using the name Mrs. H. H. A. Beach, she respected her husband’s wishes and performed just one recital a year and turned more of her attention to composing rather than piano performance. Her husband died in 1910, and then her mother passed the following year, whereupon she embarked on a journey to Europe, giving recitals in Germany. But the stay was cut short with the coming of the Great War, and she returned to the United States, performing widely and settling in her native New Hampshire. She began her only string quartet in 1921 at the MacDowell Colony, a retreat for artists created by the widow of composer Edward MacDowell, Marian, where Beach was a fellow. After laying the work aside, nearly complete, she returned to it during a trip to Rome in 1929 and gave it its final touches. Beach died of heart disease in 1944 at the age of 77.

The Quartet, in one movement, begins with a Grave-Più animato section, which leads to the Allegro molto that forms the main portion of the work; the Grave returns at the end.

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PROGR A M NOTES c o n t.

The Grave introduction is freely dissonant, feeling no obligation to resolve dissonances according to the principles of tonality. It begins with a pair of ascending chords that suggest the opening of Beethoven’s First Symphony. The Allegro section quotes three Inuit melodies that the composer found in a book about the Inuit of Alaska. Contrapuntal in texture, the four string parts are each built on motives taken from these melodies. The quartet received an informal premiere in 1931 in Washington, D. C., with its formal premiere there in 1942 in a concert in honor of Mrs. Beach’s 75th birthday.

Herrmann, Clarinet Quintet “Souvenir du Voyage”Bernard Herrmann was educated in music at New York University and the Juilliard School, studying composition with Bernard Wagenaar and Percy Grainger. In the 1930s he began composing music for radio programs, many of which were directed by Orson Welles. This relationship led to Herrmann’s first film score, composed for no less a film than Citizen Kane. Later, in the 1950s and 1960s, he entered into a partnership with Alfred Hitchcock, and wrote the scores for such classics as Vertigo, North by Northwest, and Psycho. He also composed for television programs such as Rawhide and The Twilight Zone, and late in his career he wrote the score to Taxi Driver (1976), a film that appeared after his death in late 1975.

Herrmann was an active composer of concert music as well. Scored for clarinet and string quartet, the three-movement Souvenirs de Voyage was composed in 1967. The first movement begins with a slow introduction featuring a long, touching melody in the clarinet above sustained and muted strings. This gives way to an Allegro moderato full of soaring melodies for both the clarinet and the strings. The slow second movement is a berceuse (lullaby) with a middle section in which the cello and clarinet engage in a lyrical dialogue. And the gentle “love song” (canto amoroso) finale brings the work to a soft and peaceful close.

Beethoven, String Quartet in B-flat Major, Op. 130In 1822, Prince Nikolai Galitzin, a cellist and music lover from St. Petersburg, commissioned Beethoven to write “one, two or three new quartets.” This came in a letter of November 9 that requested whatever fee the composer deemed appropriate and that the works be dedicated to Galitzin. Beethoven replied the following January 25, accepting the proposal and charging 50 ducats per quartet. While he promised to deliver the first work by mid-March, work on the Missa Solemnis, Op. 123, and the Ninth Symphony, Op. 125, delayed his progress. Even before the commission came, Beethoven was working on a quartet, his first since completing Op. 95 in 1810, and he completed that piece, which we call Op. 127, in February 1825. Then Beethoven turned to the second quartet for Galitzin, Op. 132, and completed it in July 1825, whereupon he began work on the third, the present quartet Op. 130, written from July to December 1825 and premiered by the Schuppanzigh Quartet on March 21, 1826. With it, the Galitzin commission was fulfilled. However, only the first quartet was paid for, and Galitzin now owed Beethoven 100 ducats for the remaining two quartets plus 25 more for the dedication of the Consecration of the House Overture, Op. 124, of 1822. He acknowledged the debt, indicating that he admired the quartets but was short of funds, and the monies remained unpaid at Beethoven’s death in March 1827. Near the end of his life, Beethoven wrote two more quartets, the great Op. 131 and his last, Op. 135. The string quartet was the dominant genre of the final five years of Beethoven’s career.

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PROGR A M NOTES c o n t.

Op. 130 is a quartet in six movements. The first movement seems initially to begin with a conventional slow introduction, which gives way to an Allegro section dominated by a long-long-short-short-long idea. But the slow tempo of the introduction recurs periodically during the movement, and the introduction is included in the repeat of the exposition. The secondary material is set in the remote key of G-flat major. The development section opens by juxtaposing brief sections of fast and slow tempo in close proximity before turning to a sighing accompaniment for the development of the Allegro’s main idea. In the recapitulation, the secondary material returns, now cast in D-flat major, and the coda returns to the alternation of tempos that began the development. The second movement, in B-flat minor, is a quick scherzo-like piece in A-B-A form. A distinctive transition from B to A leads not to a traditional da capo, but rather to a new version of the opening material. The large and beautiful third movement, moderately slow in tempo, is cast in a free sonata form. After two measures of introduction, the viola announces the opening theme, and then a pizzicato transition leads to a secondary idea that features an idea handed back and forth among the instruments. The fourth movement, marked “Alla danza tedesca,” a German dance, begins with two sections, each repeated, in the manner of a minuet. A contrasting section with a written-out repeat functions like a trio section, and the return of the opening material is subjected to variation. A remarkable passage near the end of the movement isolates the eight individual measures of the opening theme and gives each one to a solo player, but now out of order: 8-7-6-5 1-2-3-4. The profoundly beautiful fifth movement is identified as a Cavatina, a term borrowed from opera that underlines the expressivity of the music. A middle section, marked by repeated-note accompaniment in the three lower parts, is marked “beklemmt,” translated variously as strangled, choked, anxious, oppressed. As the first violin enters, its rhythmic hesitancy is one of the quartet’s most memorable moments. The finale of Op. 130 was, in its original form, a large fugue called the Grosse Fuge. Its size and complexity proved to be problematic for listeners as well as players. As a result, the publisher asked Beethoven to supply a different, easier finale. Beethoven, somewhat surprisingly, agreed to take on the task, and delivered a replacement finale in mid-November 1826. The fugue was then published separately as Op. 133. Both the fugue and the new finale begin with octave Gs, and in the replacement finale, which we hear today, the viola begins with them. The attractive theme that the first violin introduces begins off key, but leads to a cadence in the home key of B-flat. A secondary idea in the traditional key of the dominant rounds out a conventional yet very satisfying exposition. The large development section introduces a new theme as well as subjecting the opening theme to development and fragmentation. The recapitulation is quite regular, though its actual beginning point is not made particularly prominent; at this point, the first violin takes the octave Gs that the viola played initially, and the theme is taken by the cello before the first violin takes it over. In the large coda that concludes the work, Beethoven builds to a powerful climax at which the first violin presents the main theme in a high register and loud dynamic level. With the conclusion of this replacement movement, we hear the last completed work of Beethoven’s extraordinary creative output.

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THE F INE ARTS QUARTET

The Fine Arts Quartet, “one of the gold-plated names in chamber music” (Washington Post), ranks among the most distinguished ensembles of our time, with an illustrious history of performing success and an extensive recording legacy. Founded in Chicago in 1946, and based at the University of Wisconsin-Milwaukee since 1963, the Quartet is one of the elite few to have recorded and toured internationally for over half a century. Each season, violinists Ralph Evans and Efim Boico (who have been playing together nearly 30 years), violist Nicolò Eugelmi, and cellist Robert Cohen perform worldwide in such cities as New York, London, Paris, Berlin, Rome, Madrid, Moscow, Tokyo, Beijing, Istanbul, Jerusalem, Mexico City, and Toronto.

The Quartet has recorded more than 200 works. Their latest releases on Naxos include: chamber masterpieces by Schumann, the world premiere recording of Efrem Zimbalist’s Quartet in its 1959 revised edition, the world premiere digital recording of Eugène Ysaÿe’s long-lost masterpiece for quartet and string orchestra, “Harmonies du Soir”; Fritz Kreisler’s String Quartet, the two Saint-Saëns String Quartets, three Beethoven String Quintets; the Franck String Quartet and Piano Quintet; Fauré Piano Quintets; complete Bruckner chamber music; complete Mendelssohn String Quintets; “Four American Quartets” by Antheil, Herrmann, Glass, Evans; complete Schumann Quartets; and the Glazunov String Quintet and Novelettes. Aulos Musikado released their complete Dohnányi String Quartets and Piano Quintets, and Lyrinx released both their complete early Beethoven Quartets and complete Mozart String Quintets in SACD format. In 2013, Naxos plans to release their recording of Saint-Saëns’s brilliant piano quintet and piano quartets.

The Quartet’s recent recordings have received many distinctions. Their Fauré Quintets CD on Naxos with pianist Cristina Ortiz was singled out by the 2012 Gramophone Classical Music Guide as a “Gramophone award-winner and recording of legendary status”, and was among the recordings for which musical producer Steven Epstein won a 2009 Grammy® Award (“Producer of the Year, Classical”). The Quartet’s Franck CD was named “Editor’s Choice” by Gramophone Magazine in February, 2010, and their Glazunov, Mendelssohn, and Fauré CD’s were each named a “Recording of the Year” by Musicweb International (2007-2009). In addition, their “Four American Quartets” album was designated a “BBC Music Magazine Choice” in 2008, their Schumann CD was named “one of the very finest chamber music recordings of the year” by the American Record Guide in 2007, and their Mozart Quintets SACD box set was named a “Critic’s Choice 2003” by the American Record Guide. Nearly all of the Quartet’s Naxos CDs were selected for Grammy® Awards entry lists in the “Best Classical Album” and/or “Best Chamber Music Performance” categories. Special recognition was given for the Quartet’s commitment to contemporary music: a 2003-2004 national CMA/ASCAP Award for Adventurous Programming, given jointly by Chamber Music America and the American Society of Composers, Authors, and Publishers.

The Quartet members have helped form and nurture many of today’s top international young ensembles. They have been guest professors at the national music conservatories of Paris and Lyon, as well as at the summer music schools of Yale University and Indiana University. They also appear regularly as jury members of major competitions such as Evian, Shostakovich, and Bordeaux. Documentaries on the Fine Arts Quartet have appeared on both French and American Public Television. For more information, please visit: www.fineartsquartet.com

7Fine Arts Quartet

B IOGR APHIES

RALPH EVANS, violinist, prizewinner in the 1982 International Tchaikovsky Competition in Moscow, concertized as soloist throughout Europe and North America before succeeding Leonard

Sorkin as first violinist of the Fine Arts Quartet. Evans has recorded over 85 solo and chamber works to date. These include the two Bartók Sonatas for violin and piano, whose performance the New York Times enthusiastically recommended for its “searching insight and idiomatic flair,” and three virtuoso violin pieces by Lukas Foss with the composer at the piano. Evans graduated cum laude from Yale University, where he also received a doctorate. While a Fulbright scholar in London, he studied with Szymon Goldberg and Nathan Milstein, and soon won the top prize in a number of major American competitions, including the Concert Artists Guild Competition in New York, and the National Federation of Music Clubs National Young Artist Competition. Evans has also received recognition for his work as a composer. His award winning composition “Nocturne” has been performed on American Public Television and his String Quartet No.1, recently released on the Naxos label, has been warmly greeted in the press (“rich and inventive” - Toronto Star; “whimsical and clever, engaging and amusing” - All Music Guide; “vigorous and tuneful” -

Montreal Gazette; “seductive, modern sonorities” - France Ouest; “a small masterpiece” - Gli Amici della Musica).

EFIM BOICO, violinist, enjoys an international career that has included solo appearances under conductors Zubin Mehta, Carlo Maria Guilini, Claudio Abbado and Erich Leinsdorf, and

performances with Daniel Barenboim, Radu Lupu and Pinchas Zuckerman. After receiving his musical training in his native Russia, he emigrated in 1967 to Israel, where he was appointed Principal Second Violin of the Israel Philharmonic - a position he held for eleven years. In 1971, he joined the Tel Aviv Quartet as second violinist, touring the world with guest artists such as André Previn and Vladimir Ashkenazy. In 1979, Boico was appointed concertmaster and soloist of the Orchestre de Paris under Daniel Barenboim, positions he held until 1983, when he joined the Fine Arts Quartet. Boico has been guest professor at the Paris and Lyons Conservatories in France, and the Yehudi Menuhin School in Switzerland. He is also a frequent juror representing the United States in the prestigious London, Evian, and Shostakovich Quartet Competitions. As music professor at the University of Wisconsin, Milwaukee, he has received numerous awards, including the Wisconsin Public Education Professional

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B IOGR APHIES c o n t.

Service Award for distinguished music teaching, and the Arts Recognition and Talent Search Award from the National Foundation for Advancement in the Arts.

NICOLÒ EUGELMI, violist, joined the Fine Arts Quartet in July, 2009. He is described by The Strad magazine as �a player of rare perception, with a keen ear for timbres and a vivid

imagination. As soloist, recitalist, and member of chamber ensembles, he has performed around the world, collaborating most notably with conductors Mario Bernardi, Jean-Claude Casadesus, and Charles Dutoit. Eugelmi completed his musical training at the University of British Columbia and the Juilliard School. In 1999, he was appointed Associate Principal Violist of the Orchestre Symphonique de Montréal, and in 2005, he became Principal Violist of the Canadian Opera Company. Eugelmi�s recording, Brahms: Sonatas and Songs, was named a “Strad Selection” by The Strad, and his recording, Brahms Lieder, a collaboration with Marie-Nicole Lemieux, was named “Editor’s Choice” by Gramophone. He has recorded regularly for the CBC and Radio-Canada. His mentor, Gerald Stanick, was a member of the Fine Arts Quartet from 1963 to 1968.

ROBERT COHEN, cellist, made his concerto debut at the age of twelve at the Royal Festival Hall London and throughout his distinguished international career, he has been hailed as one of

the foremost cellists of our time. “It is easy to hear what the fuss is about, he plays like a God” (New York Stereo Review). “Cohen can hold an audience in the palm of his hand” (The Guardian). Invited to perform concertos world-wide by conductors Claudio Abbado, Kurt Masur, Riccardo Muti, and Sir Simon Rattle, Cohen has also collaborated in chamber music with many eminent artists such as Yehudi Menuhin and the Amadeus String Quartet, with whom he recorded the Schubert Cello Quintet on Deutsche Grammophon. At age nineteen, Cohen recorded the Elgar Concerto with the London Philharmonic Orchestra for the EMI label, and since then, he has recorded much of the cello repertoire for Sony, Decca, DGG, EMI, and BIS. Cohen, who studied with the legendary artists William Pleeth, Jacqueline du Pré, and Mstislav Rostropovich, is an inspirational teacher who has given masterclasses all over the world. He is a Professor at the Royal Academy of Music in London and at the Conservatorio della Svizzera Italiana in Lugano, and is director of the Charleston Manor Festival in the south of England. He joined the Fine Arts Quartet in January 2012.

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Fine Arts QuartetKing Lear

10 UWM Peck School of the Arts

2012-2013

50THANNIVERSARY!

KING LEAR

NOVEMBER 14-18, 20127:30pm Wed-Sat and 2pm SunMainstage Theatre

arts.uwm.edu/theatre

By William Shakespeare. Directed by Rebecca Holderness.Starring Dennis Krausnick, Shakespeare & Company

11King Lear

PROGR A M

Ladies and gentlemen, there can be no flash photography during the performances and no video or audio recording of the show. We thank you for remembering to turn off any personal

electronic devices that might beep, buzz, ring, or vibrate.

There will be one 15 minute intermission

Scenic Designer .................................................................................... Sandra J. Strawn Based on the original scenic design by Sandra Goldmark, Shakepeare & Company, Lenox, MA

Costume Designer .............................................................................. Govane Lohbauer

Lighting Designer ........................................................................................R. H. Graham

Sound Designer ............................................................................................ Peter Bayne

Original Dramaturgy ...........................................................................Flannery Steffens

Fight Director ..................................................................................................Bill Watson

Original fight choreography by Michael Toomey, Shakespare & Company, Lenox,MA

CAST

Character ActorLear .....................................................................................................................................*Dennis KrausnickKent .............................................................................................................................................. *James TasseGloucester .................................................................................................................................... *Bill WatsonOswald ...................................................................................................................................... Matt O’RourkeCornwall .......................................................................................................................................Cheong ParkAlbany..............................................................................................................................Glenn WiddicombeGoneril ........................................................ Taylor Lhamon Thu 7:30 pm, Fri 7:30 pm, Sun 2:00 pm

Stacey Gerard Wed. 7:30 pm, Thu. 9:00 am, Sat. 7:30 pmCordelia ......................................................Sola Thompson Thu 7:30 pm, Fri 7:30 pm, Sun 2:00 pm

Brittany Curran Wed. 7:30 pm, Thu. 9:00 am, Sat. 7:30 pmRegan ...................................................................Liz Faraglia Thu 7:30 pm, Fri 7:30 pm, Sun 2:00 pm

Brianna Borouchoff Wed. 7:30 pm, Thu. 9:00 am, Sat. 7:30 pmEdgar .......................................................................................................................................Mark PuchinskyKing of France/Team Lear ......................................................................................McCormick SweeneyDuke of Burgundy/Dagger Man/Team Lear ................................................................... Roc BaumanEdmund ................................................................................................................................... John GlowackiFool ...........................................................................................................................................Kristin JohnsonLear’s Knight/Team Lear .............................................................................................. Melanie LiebetrauKent’s Gentlemen/Team Lear ............................................................................................... Nolen BorneHorse Girl/Team Lear ...................................................................................................Gretchen MahkornCuran/Team Lear .................................................................................................. Keiandra HoneysuckerPeasant/Team Lear ...................................................................................................................... Willy Jonas

Cover image ..................................................................................Andrew Huso, Art & Design student

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PRODUCTION PERSONNEL

Stage Management StaffStage Manager .................................................................................................................. Meredith L. RoatAssistant Stage Manager .................................................................................................... Katie GraysonAssistant Stage Manager ..............................................................................................Leah MontesinosProduction Assistant ..................................................................................................................Leah Gayle

Movement Coach .............................................................................................................Edward WinslowDialect Coach ..............................................................................................................Michelle Lopez-Ríos

Technical Production StaffTechnical Director ........................................................................................................................Chris GuseProduction Shop Supervisor .............................................................................................Tim LaughnerAssistant Technical Director ..................................................................................................Kelly PursleyScenic Artisans ...................................................................... Angela Zylla, Will Haglund, John Leahy Technical Crew ....................................................................................Students in Stagecraft 214 classProperties Director........................................................................................................... Sandra J. StrawnProps Master ............................................................................................................................Katrina DrakeProperties Artisan ..................................................................................Robert Boinski, Adam JermainMaster Electrician ........................................................................................................Stephen Roy WhiteAssist. Master Elect ...............................................................................................................Adam JermainElectricians ............................................................................................Students in Stagecraft 214 classScenic Charge ....................................................................................................................... Christine IsbellShow Run Crew ...................................................................................Students in Stagecraft 214 class

Costume Production StaffCostume Director ...................................................................................................................Jeffrey LiederStudent Show Supervisor ........................................................................................................... Levi MilesAssistant Show Supervisor ............................................................................................. Shelby KaishianSupervising Draper ..................................................................................................... Pamela J. RehbergDrapers ...........................................................................................Emily Peplinski, Clare Richey-Kaplin, Heather Hirvela, Amy McLain, Karmen SeibFirst Hands Steven .....................................................................................Steven Krueger, Chen Chen, Katie Young, Olivia HerreraMen’s Alterations/Stitcher ...................................................................Andrew Beyer, Katherine JulyWomen’s Alterations/Stitcher ....................................................................................... Shelby KaishianStitchers ...............................................................................................Students from Theatre 225 classCostume Crafts ............................................................................................................................... Levi MilesWardrobe Supervisor .................................................................................................................. Levi MilesWardrobe Crew .............................................................................Andrew Beyer, Clare Kaplin-Richey, Students from Theatre 225 class

*Member of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States

13King Lear

DIRECTOR ’S NOTES - REBECCA HOLDERNESS

In this great tragedy, KING LEAR, a very personal mistake is borne out in the fate of a nation. It is a family tragedy. But in it we also see the chaos and pain that ensues when the great fall. It was the purpose of Greek tragedy to provide a story and experience to the body politic for the renewal of its health. By making palpable and audible the people and country that Lear puts in jeopardy and by placing it in a style both modern and ancient, I hope we can see past the family tragedy to the political tragedy. And I hope we are inspired to ask how do the decisions of our great, or our own bode for the future of our children? This process was blessed with great wisdom and youth in the rehearsal room, the shops and the design tables. The work you see before you is a work created across the generational divide and celebrates what each individual brings to the creation of solutions. As a mother, teacher and director, I can think of no process more gratifying. Your presence at the theater is a present. Thank you for being here.

Come back!

DEPARTMENT OF THEATRE

LeRoy Stoner .......................................................................................................................................... Chair

Administrative StaffKristy Volbrecht .................................................................................................................Office Manager

Faculty and Teaching Academic StaffKatherine Balsley ........................................................................................... Lecturer, Popular CultureAnne Basting, Ph.D ...........................................................................Associate Professor, PlaywritingJessica Berlin ...........................................................................................Lecturer, Stage ManagementDick Chudnow .................................................................................................................. Lecturer, ActingR.H. Graham ..................................................................... Associate Professor, Graphics and DesignChristopher J. Guse .......................................Associate Professor, Scenic and Audio ProductionRebecca Holderness ................................................................................. Associate Professor, ActingAnthony Horne ......................................................Assistant Professor, Directing, Musical Theatre

A THOUGHT FROM THE D IRECTOR

“In the government of states, when great events are afoot, the leader of the nation, whoever he be, is held accountable for failure and vindicated by success. He is about to be struck down. A dark hand at first gloved in folly, now intervenes. Exit Tsar. Deliver him and all he loved to wounds and death. Belittle his efforts, asperse his conduct, insult his memory, but pause then to tell us who else was found capable. Men gifted and daring, men ambitious and fierce, spirits audacious and commanding- of these there was no lack. But none could answer the few plain questions on which the life and fame of Russia turned.”

–Winston Churchill

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DEPARTMENT OF THEATRE c o n t.

Tim Laughner ...........................Associate Instrumentation Innovator, Scene Shop SupervisorJeffrey Lieder ...................................................Associate Professor, Head of Costume ProductionMichelle Lopez-Ríos ................................................................. Associate Professor, Voice & SpeechRaeleen McMillion ............................................................................................. Senior Lecturer, ActingRobin Mello, Ph.D. ............................................................... Associate Professor, Theatre EducationCorliss Phillabaum, Ph.D .......................................................... Professor Emeritus, Theatre HistoryPamela J. Rehberg ...................................................................................................Professor, CostumesAlvaro Saar-Rios ...................................................................................................Lecturer, Play AnalysisPamela Schermer ................Associate Professor, Visual Communication for Performing ArtsSandra J. Strawn ..........................................................Associate Professor, Properties Production, Head of Technical ProductionJames Tasse ........................................................................................................................ Lecturer, ActingJenny Wanasek ................................................................................................................. Lecturer, ActingBill Watson ....................................................................................Associate Professor, Head of ActingStephen Roy White .........................................................................Senior Lecturer, Lighting Design

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50THANNIVERSARY!

ART & DESIGN • DANCE • FILM • MUSIC • THEATRE • INTER-ARTS • INOVA • FINE ARTS QUARTET

15King Lear

DEPARTMENT OF MUSIC FACULT Y AND TEACHING STAFF

Ensembles John Climer, Bands Scott Corley, Bands Jun Kim, Orchestras Curt Hanrahan, Jazz Band Gloria Hansen, Choirs Sharon Hansen, Choirs David Nunley, Choirs José Rivera, Choirs

Guitar Peter Baime Beverly Belfer Pete Billmann Elina Chekan René Izquierdo Don Linke John Stropes

Harp Ann Lobotzke+

Jazz Studies Curt Hanrahan, Jazz Ensemble/Jazz

Arranging Steve Nelson-Raney, Jazz Theory and

History

Music Education Scott Emmons Sheila Feay-Shaw Jeffrey Garthee José Rivera

Music History and Literature Mitchell Brauner Judith Kuhn Timothy Noonan Gillian Rodger Martin Jack Rosenblum

Music Theory, Composition and Technology James Burmeister Christopher Burns Lou Cucunato William Heinrichs Jonathan Monhardt Steve Nelson-Raney Kevin Schlei Amanda Schoofs Jon Welstead*

Piano Elena Abend Judit Jaimes Leslie Krueger Peggy Otwell Jeffry Peterson Katja Phillabaum

Strings Scott Cook, String Pedagogy^ Darcy Drexler, String Pedagogy^ Stefan Kartman, Cello Lewis Rosove, Viola Laura Snyder, String Bass+ Bernard Zinck, Violin

Fine Arts Quartet Ralph Evans, Violin Efim Boico, Violin Nicolò Eugelmi, Viola Robert Cohen, Cello

Voice Valerie Errante Jenny Gettel Constance Haas Jamie Johns Tanya Kruse Ruck Kurt Ollmann Teresa Seidl

16 UWM Peck School of the Arts

DEPARTMENT OF MUSIC FACULT Y AND TEACHING STAFF c o n t.

Winds, Brass and Percussion Dave Bayles, Percussion Dean Borghesani, Percussion+ Margaret Butler, Oboe+ Stephen Colburn, Oboe+ Marty Erickson, Tuba & Euphonium Gregory Flint, Horn Beth Giacobassi, Bassoon+ Curt Hanrahan, Saxophone Kevin Hartman, Trumpet Mark Hoelscher, Trombone

Kyle Knox, Clarinet+ Todd Levy, Clarinet+ Ted Soluri, Bassoon+ Carl Storniolo, Percussion Caen Thomason-Redus, Flute Thomas Wetzel, Percussion+

*Department Chair +Milwaukee Symphony Orchestra ^String Academy of Wisconsin

PECK SCHOOL OF THE ARTS

Scott Emmons ......................................................................................................................... Interim DeanKim Cosier ............................................................................................................. Interim Associate Dean

ADMINISTRATIVE STAFFMary McCoy .............................................................................................................. Assistant to the DeanSue Thomas .............................................................................................................Administrative OfficerRandall Trumbull Holper .............................................................................................Facilities Manager

MARKETING AND DEVELOPMENT STAFFEllen Friebert Schupper ......................................Director, Marketing and Community RelationsDiane Grace ............................................................................................................Development DirectorNicole Schanen ......................................................................................................... Marketing SpecialistChelsey Lewis ................................................................................................ Communications AssistantJustin Kunesh ...................................................................................................................Graphic Designer

BOX OFFICETianna Conway ........................................................................................................... Box Office ManagerChristine Barclay, Aryel Beck, ......................................................................................... Box Office StaffMaria Corpus, Mike Gold, Tom Gray, Brianna Husman, Garrett Nei, Nick Ouchie, Anna Pfefferkorn, Chelsey Porth, Bob Schaab