David Bernard (MM, 1988 Orchestral Conducting) Leads Park Avenue Chamber Symphony in The Rite of Spring
In February, David Bernard (MM, 1988 Orchestral Conducting), led the Park Avenue Chamber Symphony in a performance of The Rite of Spring at Lincoln Center’s Rose Theater. In its review of the performance, Lucid Culture exclaimed “Anyone who experienced Stravinsky’s Rite of Spring for the first time in this performance is spoiled for life.”
Bill Kalinkos (DMA, 2009) Appointed Visiting Assistant Professor of Clarinet at the University of Missouri School of Music
Bill Kalinkos (DMA 2009) was appointed Visiting Assistant Professor of Clarinet at the University of Missouri School of Music for the 2014- 15 academic year. He previously served on the faculties of the University of California at Berkeley and Santa Cruz. Bill maintains an active performance schedule with the new music ensemble Alarm Will Sound, which presents concerts in New York City, Poland, Denver, St. Louis, and South Korea this season. In addition, Bill will perform John Adams’ concerto “Gnarly Buttons” with Eco Ensemble in Venice, Italy, the Mozart Concerto with the Eureka Symphony in California, and Scott MacAllister’s “Black Dog” with the Mizzou Wind Ensemble.
Sonya Hofer (Ph.D. Music History/Theory – Stony Brook University) has been appointed as Visiting Assistant Professor, Riley Scholar-in-Residence at Colorado College starting Fall 2014. At Colorado College, Hofer will be teaching classes ranging from Experimental Music, Music Fundamentals, and Indie Rock, while also developing a monograph on various forms of Experimental Electronica and Sound Art.
Solomiya Ivakhiv (DMA, Violin – Stony Brook University) has been appointed Assistant Professor of Violin and Viola and Head of Strings in the Department of Music in the School of Fine Arts at University of Connecticut starting Fall 2014.
Prior to University of Connecticut, Dr. Ivakhiv has been Assistant Professor of Violin and Viola at Ohio University and has taught and given masterclasses at Temple University Music Preparatory, Swarthmore College, Utah’s Tuacahn Summer Arts Institute, Curtis SummerFest, West Chester University, SUNY Fredonia (New York), Mansfield University, Guangzhou and Hunan Conservatories in China. She is also currently on the faculty at Mannes College the New School for Music Extension Division.
Originally posted in Stony Brook Happenings:
Christine Goerke at SBU’s 2010 Distinguished Alumni Awards with (from left): President Samuel L. Stanley Jr., Professor David Lawton and former Alumni Association President Gloria Snyder
Grammy Award winning soprano Christine Goerke has performed in the world’s major opera houses. But her return after four years to New York City’s Metropolitan Opera — the stage where she made her debut in 1995 — was marked with an ovation not heard at the Met in recent years. Goerke is playing the role of Die Färberin in Strauss’ Die Frau ohne Schatten, and within days of her opening performance, the Met signed her to sing upcoming performances in Wagner’sRing cycle and Lohengrin, as well as Strauss’ Elektra.
“Christine Goerke was extraordinary and received one of the biggest ovations I’ve heard there in some time,” said Ryan Minor, an associate professor in Stony Brook University’s Department of Music, after attending her November 12 performance at the Met. “She’s also gotten extraordinarily good reviews in The New York Times and elsewhere.”
“This was a breakthrough night at the Met for the American soprano Christine Goerke, who received an ecstatic ovation for her powerfully sung and wrenching portrayal of the hard-bitten Dyer’s Wife.” — The New York Times
“Christine got her start in Stony Brook’s opera program,” said David Lawton, a professor in the University’s Department of Music who worked with Goerke as an undergraduate. “She sang Fiordiligi in our production of Mozart’sCosì fan tutte and Asteria in our production of Handel’s Tamerlano when she was an undergraduate. Normally we would not cast an undergraduate in a leading role, but her talent was exceptional and extraordinary.”
While at Stony Brook, Goerke studied voice with the internationally acclaimed mezzo soprano Elaine Bonazzi who provided her with the vocal foundation and musicianship to begin her career. In addition to Bonazzi and Lawton, she also worked with Sarah Fuller, Timothy Mount, Dan Weymouth and Peter Winkler.
Goerke grew up in Medford, New York. She graduated from Stony Brook in 1994 with a bachelor’s degree in liberal arts, concentrating in vocal performance, and then became a member of the Metropolitan Opera’s Young Artist Program from 1994 to 1997. Since then Goerke has performed in lead roles in major opera houses throughout the world. She has also appeared at notable music festivals, given recitals at venues such as Carnegie Hall and has performed with the world’s leading orchestras.
Goerke has been the recipient of numerous awards and has won several music competitions. She is featured on two Grammy Award winning CDs: the 1999 recording of Benjamin Britten’s War Requiem with the National Symphony Orchestra and the 2003 recording of Ralph Vaughan Williams’ Sea Symphony with Robert Spano and the Atlanta Symphony Orcehstra. In 2001 she earned the prestigious Richard Tucker Award and in 2010 she received aDistinguished Alumni Award from Stony Brook University.
“We are so pleased by Christine’s success in the competitive world of opera and are proud that the Department of Music’s rigorous undergraduate requirements in music history, musicianship, theory and performance provided the excellent foundations for her development as an artist of the highest caliber,” said Perry Goldstein, professor and chair of Stony Brook’s Department of Music.
Click here to read The New York Times review.
Nicholas Tochka (Ph.D., Ethnomusicology 2012) has accepted a visiting position as Instructor in Ethnomusicology at Northern Arizona University’s School of Music
Nicholas Tochka (Ph.D., Ethnomusicology 2012) has accepted a visiting position as Instructor in Ethnomusicology at Northern Arizona University’s School of Music in Flagstaff, AZ. Beginning Fall 2013, Nick will be teaching courses in ethnomusicology and popular music to undergraduate and graduate students while continuing work on a book project examining the politics of popular music in post-1945 Eastern Europe. Nick had most recently been appointed lecturer in Tufts University’s Music Department (Spring 2013).
New Music USA’s third annual round of the Composer Assistance Program for Recording proved to be our most competitive round of applications to date, with a 140% increase in applicants from 2011, requesting over $2 million dollars in support. Our peer panelists had their work cut out for them, but after weeks of remote review and an intensive 2-day, in-person meeting here at our offices in New York City, we were left with an immensely talented final group of composers, performers, and artists who represent a tremendously diverse range of musical and aesthetic styles. Our final mix of awardees includes DVDs, video companions, CDs, digital releases, and works incorporating jazz, voice, multi-media, opera, film, string quartet, Partch instruments, thermin and shakuhachi, juststrokerods and zoomoozophone, instructional compositional videos for percussion, works for solo bass and electronics, among many other creative compositions and performances, all listed below.
Without giving too much away, we think it’s safe to say that the 2012 Composer Assistance Program for Recording awardees are some of the more unique – and extraordinary – artists that define and pioneer our field today.
“Home” is a self-released, ongoing commissioning project founded by bassist Eleonore Oppenheim in 2006, aiming to inspire talented emerging composers to create exciting repertoire for the upright bass. The works featured on this album are of composers Florent Ghys, Wil Smith, Angélica Negrón and Jenny Olivia Johnson. These composers offer a range of compelling techniques, unique sonic textures, and genre-defying idioms for upright bass. Johnson places the instrument in a rock setting, adding guitar effects to create a sound world akin to noise rock; while Negrón utilizes the performer’s voice, a gamelan-like electronics track, and the body of the bass as a resonating chamber for music box. Ghys, a bassist himself, creates beautifully interlocking melodic lines by layering sounds of the instrument with speech samples and live singing. Smith includes distorted, manipulated electronic samples of the bass while challenging the instrument’s extended percussive capabilities. The CD is virtuosic without sounding difficult, stylistically varied, but with a cohesiveness of aesthetic: to explore and experiment with the boundaries of the physical instrument, the player, and the genre associated with each work. Oppenheim will release the album in April of 2013.