{"id":12267,"date":"2022-02-28T01:16:06","date_gmt":"2022-02-28T06:16:06","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/sibley\/?p=12267"},"modified":"2026-01-23T11:01:10","modified_gmt":"2026-01-23T16:01:10","slug":"feb28-mar6","status":"publish","type":"post","link":"https:\/\/esm4.esm.rochester.edu\/sibley\/2022\/02\/feb28-mar6\/","title":{"rendered":"February 28th-March 6th: Kilbourn hall, Khachaturian Week, Oliver Nelson & more"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=”.vc_custom_1728410567178{background-color: #ffffff !important;}”]Published on Feb 28th, 2022<\/em><\/p>\n

Back to This Week at Eastman<\/a><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1645817512502{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1728410577817{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_custom_heading text=”1922: Formal opening of Kilbourn Hall” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1645800200829{border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;border-radius: 1px !important;}”][vc_row_inner equal_height=”yes” content_placement=”top” gap=”10″][vc_column_inner width=”1\/2″ css=”.vc_custom_1728410588313{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”12430″ img_size=”full” add_caption=”yes” alignment=”center” style=”vc_box_border” border_color=”black” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/2″ css=”.vc_custom_1728410598377{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”12448″ img_size=”full” add_caption=”yes” alignment=”center” style=”vc_box_border” border_color=”black” onclick=”link_image”][\/vc_column_inner][\/vc_row_inner][vc_row_inner content_placement=”top”][vc_column_inner][vc_column_text css=””]One hundred years ago this week, on March 3rd and 4th, 1922, Kilbourn Hall was formally opened to the public, marking the completion of the Eastman School portion of the building at 26 Gibbs Street.\u00a0 (The Eastman Theater would be completed later in the year and would be opened to the public on September 4th, 1922.)\u00a0 The opening of Kilbourn Hall, which was folded into a faculty chamber recital, signified not only the completion of the Eastman School facility, but also a formal dedication of the hall to the musical future of the city of Rochester.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner content_placement=”top”][vc_column_inner width=”2\/3″][vc_column_text css=””]The printed program for the hall\u2019s formal opening indicates events on two dates: Friday, March 3rd, when the opening recital was performed for a private audience; and Saturday, March 4th, when the opening recital was repeated, this time for the public.\u00a0 On both evenings, guests were cordially invited to tour the entire building, a gesture that signified the Eastman School opening its doors to the public, much as we will do on March 2-6, 2022.\u00a0 Curiously, the performers\u2019 names were not printed in the program, but press accounts of the event confirm that it was the Kilbourn Quartet\u2014the Eastman School\u2019s first resident string quartet\u2014performing the Beethoven, and then they were joined by Eastman School Director Alf Klingenberg on piano for the Christian Sinding work.\u00a0 (The press also reported that Mr. Sinding, a member of the Eastman School faculty, was in the audience.) Attendance was high, with fully 1,500 invitations having been sent out for each evening\u2019s event. \u00a0The Rochester press later reported that some 2,000 guests had visited the Eastman School premises on the Saturday evening which had signified the general opening.<\/p>\n

While not indicated in the printed program, the Rochester press reported that Dr. Rush Rhees, President of the University of Rochester, read a statement from the stage between the Beethoven and the Sinding works. \u00a0Speaking on the meaning of the Eastman School and of Kilbourn Hall to the people of Rochester, Dr. Rhees proclaimed, \u201cThere is even a broader thought of education behind all this, besides training and developing musical talent, and that is to build up a community which will love and appreciate music.\u201d\u00a0 Such were Dr. Rhees\u2019 words one hundred years ago; as for the results of such an endeavor, the history of the past century will amply bear witness.<\/p>\n

A special dedication edition of the Eastman School\u2019s student newspaper, The Note Book, <\/em>was released on Thursday, March 2nd, immediately preceding the formal opening.\u00a0 The Note Book <\/em>was a newspaper published by and for the students of the Eastman School over a four-year period (1921-1925), conveying all manner of school news and \u201coverheard-in-the-corridor\u201d scuttlebutt.\u00a0 Previous issues of The Note Book <\/em>had contained glowing accounts of the progress being made towards completion of the building.\u00a0 The special dedication edition presented a wealth of information about the Eastman School\u2019s physical plant generally, and about Kilbourn Hall in particular, much of it sourced from the daily Rochester press.\u00a0 The special dedication edition may be perused in its entirety, together with all other issues of The Note Book, <\/em>here\u00a0<\/a><\/p>\n

One aspect of the formal opening of Kilbourn Hall deserves special mention, that being a special verse that had been written for the occasion.\u00a0 Professor John Rothwell Slater was a faculty member in the University\u2019s English Department (served 1905-1940), and also served the University in various capacities throughout his distinguished tenure, including those of University Bellman (i.e., carillonneur) and Acting Librarian (1939-1940).\u00a0 Among Professor Slater\u2019s unique contributions are the verses that he wrote on numerous special occasions to celebrate some facet of the University of Rochester or, more broadly, the city of Rochester.\u00a0 For the occasion of the Kilbourn Hall opening, Professor Slater wrote a lyrical ode that was printed in the Kilbourn Hall opening program.\u00a0 The verses are presented here in their entirety.<\/p>\n

KILBOURN HALL<\/p>\n

Here shall music have a home.
\nHere shall many lovers come,
\nSeeking at her inner shrine
\nMeanings intimate, divine.
\nThese four walls shall hear the strings
\nTelling of immortal things.
\nYouth and age and music meet
\nHere beside the busy street.
\nYouth\u2019s allegro violin,
\nLove\u2019s adagio stealing in,
\nJoy\u2019s gay scherzo and caprice,
\nAnd the final chords of peace:
\nLife\u2019s sonata, played for all
\nIn this dedicated hall,
\nAll who know and all who care
\nFor the fine things and the rare.
\nIn this consummated whole
\nRochester shall find a soul.
\nDreams of years take form at last;
\nBeauty rises from the past.
\nMothers see more than children know:
\nMother of music, long ago,
\nCould you dream these marble halls
\nWhere the voice of beauty calls?
\nCould you hear the harmony
\nStill unuttered, still to be?
\nAre you waiting now to hear
\nMusic of the future clear?
\nHappy mother, so to come
\nTo your everlasting home.<\/p>\n

\u2014John R. Slater (1872-1965), Professor of English, University of Rochester
\n<\/em>written for the opening of Kilbourn Hall on March 3rd<\/sup> and 4th<\/sup>, 1922<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1728411304444{padding-top: 20px !important;padding-bottom: 20px !important;background-color: #ffffff !important;}”][vc_images_carousel images=”12424,12425,12426,12427,12428″ img_size=”320×500″ css=”.vc_custom_1645818211974{margin-top: 5px !important;margin-bottom: 5px !important;margin-left: 5px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1728411227149{margin-bottom: 1px !important;border-bottom-width: 0px !important;padding-bottom: 1px !important;}”]Printed program for the formal opening and dedication of Kilbourn Hall on March 3rd and 4th, 1922. The first evening was for an invited audience and the second evening was for the general public. <\/span>[\/vc_column_text][vc_empty_space height=”35px” css=”.vc_custom_1728411288954{margin-top: 0px !important;margin-right: -30px !important;margin-bottom: 15px !important;margin-left: -30px !important;border-top-width: 0px !important;padding-top: 0px !important;background-color: #f4f4f4 !important;}”][vc_single_image image=”12446″ img_size=”medium” add_caption=”yes” alignment=”center” style=”vc_box_border” border_color=”black” onclick=”link_image” css=”.vc_custom_1645823013139{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_empty_space height=”45px” css=”.vc_custom_1728411714756{margin-top: 0px !important;margin-right: -30px !important;margin-bottom: 15px !important;margin-left: -30px !important;border-top-width: 0px !important;padding-top: 0px !important;background-color: #f4f4f4 !important;}”][vc_single_image image=”12432″ img_size=”medium” add_caption=”yes” alignment=”center” style=”vc_box_border” border_color=”black” onclick=”link_image” css=”.vc_custom_1645823055285{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1645814698709{margin-top: 30px !important;}”][vc_column css=”.vc_custom_1728410614723{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_custom_heading text=”1960: Departure on tour of the Eastman String Quartet” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1645800245141{border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;border-radius: 1px !important;}”][vc_row_inner][vc_column_inner width=”2\/3″][vc_column_text css=””]Sixty-two years ago this week, on March 2nd, 1960, the members of the Eastman String Quartet departed on a nine-week tour that would take them to Eastern Europe, the Near East, and Northern Africa, constituting the first international tour by any Eastman School ensemble.\u00a0 Departing from Rochester on March 2nd, the four musicians spent one night in New York City before catching their trans-Atlantic flight to Europe.\u00a0 After a change of planes in London, the four men landed in Paris at mid-day on March 4th.\u00a0 They would spend four full days in the French capital before flying on March 8th to Belgrade, Yugoslavia, where they would begin their performing.<\/p>\n

Altogether, between March 2nd and May 9th, the members of the Eastman String Quartet would perform 40 concerts in 25 cities in eight countries, logging a total of 30,000 miles.\u00a0 The countries on the itinerary were Yugoslavia, Greece, Turkey, Lebanon, Syria, Jordan, Egypt, and Morocco; a copy of the itinerary is displayed here.\u00a0 The tour was sponsored by the International Cultural Exchange Service of the American National Theatre and Academy, a body chartered by the United States Congress.\u00a0 In keeping with the tour\u2019s mission of cultural exchange, the Quartet members played not only an artistic role, but also a diplomatic role.\u00a0 At many stops along their route, the Quartet members were hosted at functions and receptions attended by state and artistic dignitaries in those respective locales.<\/p>\n

The Eastman String Quartet was the third of the Eastman School\u2019s resident string quartets, following the Kilbourn Quartet and the Gordon String Quartet.\u00a0 Like many a chamber ensemble, its personnel composition was not static with the passing of time, but in 1960, the Quartet was comprised of first violinist Joseph Knitzer, second violinist John Celentano, violist Francis Bundra, and violoncellist Georges Miquelle.\u00a0 Profiling the four men in brief:[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1728411778486{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_single_image image=”12405″ img_size=”medium” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1645815763542{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”2\/3″][vc_column_text css=””]Francis Bundra <\/strong>(1928-2000), M.M. \u201957, joined the Eastman String Quartet in 1959, succeeding Francis Tursi as the Quartet\u2019s violist, and remained a member of the Quartet through the 1962-63 season.\u00a0 He later served on the faculty of the University of Michigan (1965-81).<\/p>\n

\u00a0<\/strong>John Celentano<\/strong> (1912-2009), BM & PC \u201937, MM \u201941, served on the Eastman School faculty for 33 years (1946-79), after which he was named Professor Emeritus.\u00a0 Mr. Celentano began his faculty service immediately after his wartime service in the U. S. Army Air Force; his was a career of distinguished service as teacher, performer, and widely travelled clinician and adjudicator. Director Howard Hanson formally tasked Mr. Celentano with founding the Eastman School\u2019s program in chamber music. In 2000 the University of Rochester conferred on him the status of Distinguished Professor Emeritus of Chamber Music.<\/p>\n

Joseph Knitzer<\/strong> (1913-1967) served on the Eastman School faculty for ten years (1954-64).\u00a0 He had studied under Leopold Auer and Louis Persinger and graduated from the Institute of Musical Art and the Juilliard Graduate School. Before his Eastman appointment he had taught at the Cleveland Institute of Music (1941-54) and had appeared as soloist with most of the major U.S. orchestras.\u00a0 His dozen or so New York City appearances had included recitals at Carnegie Hall and at Town Hall.<\/p>\n

Georges Miquelle<\/strong> (1896-1977) served on the Eastman School faculty for ten years (1954-64).\u00a0 Born in Lille, France, he studied at the conservatory in Lille and then at the Paris Conservatoire where he won first prize in violin and graduated with highest honors. He taught at the Longy School of Music in Boston (1918-25) and then served as principal \u2018cellist of the Detroit Symphony Orchestra (1925-54); he also maintained a private studio in Detroit during that time. His c.v. promoted that he had appeared in concert with composers Ravel, Bartok, Ernst Toch, Honegger, Roy Harris, d\u2019Indy, and Florent Schmitt playing their own works.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1728411778486{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_single_image image=”12393″ img_size=”medium” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1645814926792{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner][vc_column_text css=””]In 2003 Mr. Celentano, the last surviving member of the Quartet, archived his papers at the Sibley Music Library, the only member of the Eastman String Quartet to have done so.\u00a0 His papers enable us to understand something of the preparations for the tour, together with the week-by-week details of travel and performing.\u00a0 Mr. Celentano wrote home at least every other day to his wife Mary, who faithfully preserved his postcards and letters which are now archived.\u00a0 Future entries of \u201cThis Week at Eastman\u201d will trace the movement of the Eastman String Quartet on their tour.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes”][vc_column_inner width=”1\/4″][vc_images_carousel images=”12396,12397,12398,12399,12400″ img_size=”280×360″ css=”.vc_custom_1645821069378{margin-top: 10px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=””]Copy of the itinerary for the Eastman String Quartet tour in March-May, 1960. John Celentano Collection. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12402″ img_size=”medium” add_caption=”yes” alignment=”center” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_images_carousel images=”12403,12404″ img_size=”280×370″ css=”.vc_custom_1645821019930{margin-top: 10px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=””]Copy of the contract that was administered to each member of the Eastman String Quartet for the March-May, 1960 tour. John Celentano Collection. <\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” content_placement=”top” css=”.vc_custom_1645811519134{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1728410628267{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_custom_heading text=”1968: “Khachaturian Week“ at Eastman begins” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1645800308822{border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;border-radius: 1px !important;}”][vc_row_inner equal_height=”yes” content_placement=”top” gap=”10″ css=”.vc_custom_1644013651465{padding-bottom: 0px !important;}”][vc_column_inner width=”1\/2″ css=”.vc_custom_1728412187543{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_images_carousel images=”12381,12382″ img_size=”medium” css=”.vc_custom_1645813644970{margin-top: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1728412227297{margin-left: 5px !important;border-top-width: 0px !important;padding-top: 0px !important;}”]<\/p>\n

Director Walter Hendl sharing a private moment of conversation with composer Aram Khachaturian and his wife, Nina Makarova. It was reported during the Eastman School\u2019s \u201cKhachaturian Week\u201d that Mr. Hendl conversed in German with the composer. \u25ba R339-16, R340-4A<\/span><\/p>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ css=”.vc_custom_1728412201023{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_images_carousel images=”12474,12475,12476,12477″ img_size=”medium” css=”.vc_custom_1646061347397{margin-top: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1728412234938{margin-left: 5px !important;border-top-width: 0px !important;padding-top: 0px !important;}”]<\/p>\n

Four shots from the Eastman Philharmonia rehearsal with guest conductor and composer Aram Khachaturian on March 4th, 1968. \u25ba R340-5A, R340-6A, R340-10A, and R340-15A <\/span><\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner content_placement=”top”][vc_column_inner][vc_column_text css=””]Fifty-four years ago this week, March 4th, 1968 marked the beginning of \u201cKhachaturian Week\u201d at the Eastman School of Music. Armenian-born composer Aram Khachaturian (year-year) was just then on a conducting tour in the U.S., and the Eastman School took advantage of his presence in the country to host him for a week\u2019s residency.[1]<\/a>\u00a0 There had already been three other such weeks during the Walter Hendl administration (1964-1972) at the Eastman School, each one complete with the residency of the featured composer.\u00a0 Those previous composers\u2019 weeks had recognized Howard Hanson (1966), Igor Stravinsky (1966), and Peter Mennin (1967).\u00a0 Each of the occasions had enabled Eastman School students to learn through direct interaction with the composer in question, whether conversing with the composer in the moderated context of a symposium or convocation, or whether receiving counsel from that composer in rehearsal.\u00a0 Such would again be the agenda during Khachaturian Week.\u00a0 Further, while the aims of \u201cKhachaturian Week\u201d were pedagogical and musical in nature, the invitation of Aram Khachaturian to a residency at the Eastman School at this particular time no doubt also reflected Director Hendl\u2019s own professional activities associated with the USSR in the mid- to late-1960s.\u00a0 In 1965 he had conducted the Western Hemisphere premiere of the Requiem, opus 27 by Dmitri Kabalevsky; in 1966 he had served as a juror at the Third International Tchaikovsky Piano Competition (1966); and he had been booked for conducting engagements in the USSR later in 1968.<\/p>\n

<\/a><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner content_placement=”top”][vc_column_inner width=”2\/3″][vc_column_text css=””]Arriving in Rochester on Monday, March 4th, composer Khachaturian came directly from the airport to the Eastman School, where he immediately went into a rehearsal with the Eastman Philharmonia, which he would be conducting in concert at week\u2019s end.\u00a0 The following day, on Tuesday, March 5th, there was an all-school convocation in Kilbourn Hall at which composer Khachaturian was the guest of honor.\u00a0 The convocation served as the occasion for a Composers\u2019 Symposium at which works by three student composers were performed; the composers were Joseph Packales, BM \u201979; Max Stern, BM \u201969; and Daria Semegen, BM \u201968.\u00a0 The Symposium was moderated by Professor Wayne Barlow[2]<\/a> and was followed by a discussion period during which composer Khachaturian fielded questions from members of the audience.\u00a0 The composer was assisted by his U.S. manager, Mr. Joseph H. Zarovich, who on this occasion served as translator.\u00a0 \u00a0The Rochester press reported that the composer \u201cappeared to be enjoying himself\u201d during the exchange with the audience.[3]<\/a><\/p>\n

The week\u2019s events continued with a concert on the evening of Wednesday, March 6th.\u00a0 The composer was in attendance when the Eastman School Symphony Band gave a concert in the Eastman Theater.\u00a0 The program included the composer\u2019s Armenian Dances <\/em>in an arrangement by Ralph Satz, conducted by guest conductor Dr. Donald Shetler.[4]<\/a><\/p>\n

\u201cKhachaturian Week\u201d would conclude in splendid fashion on the evening of Friday, March 8th when the Eastman Philharmonia would perform music of Khachaturian under the composer\u2019s baton.\u00a0 Details to follow in next week\u2019s \u201cThis Week at Eastman\u201d entry.<\/p>\n

Composer Khachaturian was accompanied to Rochester by his wife, Nina Vladimirovna Makarova (1908-1976), herself a composer of note in the former Soviet Union.\u00a0 Mme Makarova appears in numerous photographs taken during the week.<\/p>\n

 <\/p>\n

\u25ba Photos by Louis Ouzer<\/p>\n

<\/a><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_single_image image=”12367″ img_size=”290×380″ add_caption=”yes” onclick=”link_image” css=”.vc_custom_1645814534468{margin-top: 10px !important;}”][vc_images_carousel images=”12368,12369″ img_size=”280×370″ css=”.vc_custom_1645814148665{margin-top: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1645814507114{margin-top: -10px !important;}”]<\/p>\n

Printed program, March 6, 1968: \u00a0Eastman School Symphony Band (2 pages)<\/span><\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”10″ css=”.vc_custom_1643993043910{margin-bottom: 5px !important;padding-bottom: 10px !important;}”][vc_column_inner width=”1\/2″ css=”.vc_custom_1643996499698{background-color: #ffffff !important;}”][vc_single_image image=”12376″ img_size=”medium” add_caption=”yes” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/2″ css=”.vc_custom_1728412400561{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_images_carousel images=”12377,12378,12379,12380″ img_size=”medium” css=”.vc_custom_1645813513238{margin-top: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1728412457362{margin-left: 5px !important;border-top-width: 0px !important;padding-top: 0px !important;}”]<\/p>\n

Four shots from the All-Convocation on March 5th, 1968 in Kilbourn Hall. Composer Khachaturian is seated together with Director Hendl, his wife, and his manager during the Composers\u2019 Symposium; afterwards, on-stage in Kilbourn Hall are Director Hendl, Composer Khachaturian, Mr. Joseph Zarovich (the composer\u2019s U.S. manager), and Dr. Wayne Barlow, moderator of the discussion portion of the event. R339-10, R342-4A, R342-12A, R342-16A <\/span><\/p>\n

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[1]<\/a>\u00a0 \u201cSabre Dance Man\u201d by George Kimball in The Rochester Times-Union, <\/em>March 5, 1968.<\/span><\/p>\n

[2]<\/a> \u00a0Dr. Wayne Brewster Barlow (1912-1996), BM \u201934, MM \u201935, PhD \u201937, member of the Eastman School faculty in the Music Theory and Composition departments (1937-78) and at this time serving as Associate Dean of Graduate Research Sudies.\u00a0 For the record, Dr. Barlow\u2019s Ph.D. had been the first doctoral degree in composition granted by the Eastman School of Music.\u00a0 The Sibley Music Library\u2019s RTWSC holds a substantive collection of his manuscripts.<\/span><\/p>\n

[3]<\/a>\u00a0 \u201cIt\u2019s \u2018gifted\u2019 jazz for Khachaturian\u201d by George Kimball, Rochester Times-Union, <\/em>March 6, 1968.\u00a0<\/span><\/p>\n

[4]<\/a> \u00a0Dr. Donald Shetler (1926-2014), member of the Eastman School faculty in the Music Education department (1965-88) and at this time Associate Chair of the Music Education faculty.\u00a0 He was an accomplished conductor in his own right.\u00a0 The Sibley Music Library\u2019s RTWSC holds a substantive collection of his writings.<\/span><\/p>\n

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Fifty years ago this week, on March 3rd, 1972, the Eastman Studio Orchestra appeared on-stage in the Eastman Theater in a concert marking two milestones: the world premiere performance of a newly commissioned work, and a collaboration with a renowned and sought-after jazz professional.\u00a0 The concert performance of\u00a0 Piece for Studio Orchestra and Soloist <\/em>\u00a0by Oliver Nelson featured the composer as guest soloist on alto saxophone, and it marked the latest in the Eastman School\u2019s 1971-72 series of premiere performances of Fiftieth Anniversary Festival commissions.\u00a0 The Eastman Studio Orchestra and Mr. Nelson performed the new work again on the following evening when the Eastman Jazz Ensemble and Eastman Studio Orchestra gave a special performance for employees of the Eastman Kodak Company.\u00a0 The Oliver Nelson work was one of three new works that were introduced in the March 3rd program; the others were J. Foxx Blues, <\/em>composed and arranged by J. Markowitz, BM \u201874; and It\u2019s a Great Day, <\/em>arranged by Jeff Tkayzik (now Tyzik), BM \u201973, MM \u201977.<\/p>\n

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\u25ba Printed program, March 3rd (9 pages)
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\u25ba Printed program, special performance on March 4th (8 pages)
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Oliver Nelson\u2019s appearance at the March 3rd concert was actually just the beginning of a more extensive collaboration with the Eastman Studio Orchestra.\u00a0 Mr. Nelson would accompany the Eastman musicians several days later when the Eastman Jazz Ensemble and the Eastman Studio Orchestra, directed respectively by Chuck Mangione and Rayburn Wright, would depart on a three-city tour.\u00a0 Each of the three new works introduced at the March 3rd concert would be performed during the tour.\u00a0 There would be three concerts: the first at Walnut Hills High School in Cincinnati (March 8th); the second being a Jazz Night Concert at the Music Educators\u2019 National Conference in Atlanta (March 10th); and the third under the auspices of the program \u201cJazz: Unlimited Horizons in Music Education\u201d at Fisk University in Nashville (March 11th).\u00a0 In each of those concerts, Mr. Nelson not only appeared as soloist in his own work, but also joined the Eastman Studio Orchestra in playing solo soprano saxophone in Jeff Tkayzik\u2019s arrangement of Neil Young\u2019s Ohio. <\/em><\/p>\n

While on-site at Eastman Mr. Nelson also gave a master class; some photos from that session are displayed here.<\/p>\n

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Oliver Nelson with Eastman School Jazz and Contemporary Media students in master class in Room 120 (today the Rayburn Wright Room)
\n\u25ba Photos by Louis Ouzer: R1442-12A, R1442-16A, R1442-19A, R1442-28A<\/span><\/p>\n

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Oliver Nelson, Chuck Mangione, and Ray Wright confer on the podium in the Eastman Theater preparatory to the Eastman Jazz Ensemble and Eastman Studio Orchestra joint concert of March 3rd, 1972.
\nR1445-25 and R1445-31
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Click here for a brief excerpt from the March 3rd, 1972 performance of the Piece for Studio Orchestra and Soloist.\u00a0 <\/em><\/p>\nhttps:\/\/esm4.esm.rochester.edu\/sibley\/files\/test.mp3<\/a><\/audio>\n

Members of the networked U of R community\u2014that is, all end-users with current UR netID and log-in credentials\u2014can hear the complete work (duration 13:28) via the Ampache interface here<\/a><\/p>\n

Oliver Nelson (1932-1975) was highly versatile as a saxophonist, clarinetist, arranger, composer, and bandleader; by the age of 30 he had solidified his reputation as a composer and arranger.\u00a0 A native of St. Louis, Missouri, Mr. Nelson had had formative musical experiences during his military service in the U.S. Marine Corps, playing woodwinds in the 3rd<\/sup> Division Marine Band.\u00a0 It was during his USMC service that he decided to become a composer; returning home to Missouri, he earned degrees at Washington University and at Lincoln University, and studied with such eminent professionals as Elliott Carter.\u00a0 As with so many an accomplished professional, Mr. Nelson\u2019s professional biography is studded with a myriad of different jobs and collaborations while on his upward path.\u00a0 After moving to New York City, one of his jobs was working as house arranger for the Apollo Theater in Harlem; he also worked briefly with Count Basie and with Duke Ellington.<\/p>\n

After playing lead saxophone on six albums for the Prestige label between 1959 and 1961, he scored his breakthrough with his 1961 album The Blues and the Abstract Truth, <\/em>released on the Impulse! label.\u00a0 The album was significant in several respects, and it firmly established Mr. Nelson as a composer-arranger.\u00a0 The album\u2019s track \u201cStolen Moments\u201d quickly became a standard in the jazz repertory; it has been performed and recorded by many mainline artists.\u00a0 One further indication of the track\u2019s acceptance as a standard was that \u201cStolen Moments\u201d made its way into The Real Book, <\/em>the essential text for the developing jazz student.\u00a0 The Blues and the Abstract Truth <\/em>also represented Mr. Nelson\u2019s sole collaboration with renowned pianist Bill Evans (1929-1980).\u00a0 Bill Evans will be featured in a future \u201cThis Week at Eastman\u201d entry; stay tuned.<\/p>\n

Mr. Nelson later moved to Los Angeles and became involved with film and television.\u00a0 He composed scores for such series as Columbo, Night Gallery, <\/em>and The Six Million Dollar Man, <\/em>each of which has gone into syndication in the past half-century.\u00a0 His work in film included the highly popular Franco-Italian release Last Tango in Paris <\/em>(1972), for which he arranged and conducted the score.\u00a0 Altogether, his work in film and television encompassed more than two dozen separate TV series and motion picture productions, and his discography numbered more than thirty recordings.\u00a0 Sadly, Oliver Nelson died all too young, succumbing to a heart attack in 1975 at the age of 43.<\/p>\n

I thank my Sibley Music Library colleagues Jim Farrington, Robert Iannapollo, and Rick McRae\u2014ardent jazz aficionados all\u2014for sharing with me their insights into Oliver Nelson\u2019s work and legacy, which enabled me to understand more deeply the significance of Mr. Nelson\u2019s Eastman School commission and collaboration.<\/p>\n

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Forty years ago this week, on March 4th, 1982, concert pianist Emanuel Ax gave a master class in Howard Hanson Hall.\u00a0 This master class marked yet one more in a truly remarkable series of master classes during the Eastman School\u2019s 60th anniversary year, 1981-82. \u00a0Previous entries in \u201cThis Week at Eastman\u201d have taken note of others in the series.<\/p>\n

A highly sought-after artist, Mr. Ax (b. 1949) needs no introduction.\u00a0 Born in Lvov (today Lviv) of Polish-Jewish heritage, he resides in New York City and has been a faculty member of the Juilliard School since 1990.\u00a0 He was the winner of the first Arthur Rubinstein International Piano Competition in 1974, the Michaels Award of Young Concert Artists in 1975, and the Avery Fisher Prize in 1979.\u00a0\u00a0 Among his numerous recognitions, he has received Grammy Awards in both the Best Chamber Music Performance category and the Best Instrumental Soloist Performance (without orchestra) category.<\/p>\n

\u25ba Photos by Louis Ouzer.<\/p>\n

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Emanuel Ax working with an Eastman School piano major in Howard Hanson Hall. R3072-22, R3072-23, R3072-24, R3072-25
\n<\/span><\/p>\n

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Pianist Emanuel Ax with Professor David Burge during Q&A in Howard Hanson Hall.R3072-29, R3072-30, R3072-31 <\/span><\/p>\n

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In this week\u2019s \u201cWeekly Dozen\u201d we recognize a performance from the era when dance was present in the Eastman School\u2019s curriculum; one of Howard Hanson\u2019s American Composers Concerts; a dramatic production by the school\u2019s French Club; a symposium that brought students from seven institutions to Eastman to play chamber music; a production of a genuine rarity in the operatic repertory; a performance by an enterprising student jazz ensemble; and some superlative student performances such as grace the Eastman concert calendar each week of the semester.<\/p>\n

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\u25baMarch 4, 1926: Harold Samuel, pianist <\/strong><\/p>\n

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\u25baMarch 2, 1927 : Dance Demonstration <\/strong><\/p>\n

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\u25baMarch 3, 1932 : American Composers\u2019 Concert <\/strong><\/p>\n

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\u25baMarch 3, 1934 : Seventh Annual French Club Play<\/strong><\/p>\n

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\u25baMarch 4-7, 1948: Second Annual American Music Students\u2019 Symposium<\/strong><\/p>\n

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\u25baFebruary 27, 1964: Roger Sherman, trumpet <\/strong><\/p>\n

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\u25baMarch 1, 1972 : Petrus <\/strong><\/p>\n

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\u25baFebruary 27, 1975 : Rebecca Lyden, horn <\/strong><\/p>\n

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\u25baMarch 2, 1978 : The \u201cNot Yet Ready for Prime Time Players\u201d <\/strong><\/p>\n

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\u25baFebruary 27th\/March 1, 1981 : Eastman Opera Theater production of L\u2019Ormindo <\/strong><\/p>\n

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\u25baMarch 1, 1982: Seventeen Magazine and General Motors National Concerto Competition <\/strong><\/p>\n

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\u25baMarch 4, 1985 : Concert of works by guest composers Barbara Kolb and Robert Sherlaw Johnson
\n<\/strong><\/p>\n

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One hundred years ago this week, on March 3rd and 4th, 1922, Kilbourn Hall was formally opened to the public,<\/p>\n","protected":false},"author":276,"featured_media":12465,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[18],"tags":[24,25],"coauthors":[3],"class_list":["post-12267","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-this-week-at-eastman","tag-february","tag-march"],"acf":[],"_links":{"self":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/12267","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/276"}],"replies":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=12267"}],"version-history":[{"count":2,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/12267\/revisions"}],"predecessor-version":[{"id":22643,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/12267\/revisions\/22643"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media\/12465"}],"wp:attachment":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=12267"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=12267"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/tags?post=12267"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=12267"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}