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Fineberg's
Spectral Music
Joshua Fineberg joined the Composition
faculty in 2000. He received a B.M. from
Peabody Conservatory (major in composition
with a minor in harpsichord--specializing
in 17th-century French repertoire), and a
D.M.A. in composition from Columbia
University. He also spent seven years in
France where he worked as a composer,
conductor, pedagogue, and scientific
collaborator at IRCAM as well as artistic
director for recordings.
When Fineberg was five he'd play Boulez'
Le Marteau Son Maitre to scare himself. He
listened to his dad's Stockhausen because
he loved the sounds. Ligeti too. It
clearly wasn't the melody, or the form
that mesmerized him at that stage. It was
the sensory quality and drama of the
sounds.
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"What sparked that initial jolt of
attraction to musical composition in me when I was
little was not melody or structure, it was
something about the sound of music--sound as
opposed to what you're doing with the sound, like
the crunchiness of a Bartók Quartet."
It was timbre.
"Some things are universal," says Fineberg,
"like the ability to distinguish auditory sources,
for example, the wind in the trees from a lion
breaking a twig. It's a basic skill, and it doesn't
depend on specialized learning beyond what happens
to any normal infant. Timbre is like that. Without
excellent timbral perception, we couldn't
understand speech. It's been shown that timbral
differences, like distinguishing a flute and an
oboe playing the same pitch, are much easier for
the untrained ear to hear than intervallic
differences, like that between a major and
minor third."
Put in visual terms, Fineberg likes to use sound
like Seurat used light.
"Seurat found he could get more luminous colors
through 'optical mixing of light on the
retina'--using dots of component colors placed next
to each other--much as some computer monitors and
televisions work. This allows a greater range of
colors before things simply get too dark and murky
for much gradation to be perceptible. Spectral
composers--Fineberg's compositional
colleagues--went to frequency structures for a
parallel reason. The cluster and pure consonance
approach to harmony found, for example, in Ligeti's
works from the 60's tend only to allow extremely
tense or extremely harmonic sounds without leaving
much room for anything in-between. By turning to a
component reconstruction of frequency-based
harmonic structures (think of it as a sort of
orchestral synthesis) there's no limit to the
amount of transitional territory you can find
between any two sounds. In fact Gérard
Grisey, one of the founders of the Spectral
movement, liked to refer to it as 'Liminal Music'
because it was originally created as a means of
exploring those sounds that fall in-between."
For Fineberg, timbre is important not only
structurally, but culturally. He studies acoustics,
psychoacoustics and human perception to be able to
shape music that can be heard by anyone regardless
of whether they were brought up on Beethoven, pan
pipes, or gamelan.
"I don't believe we'll have a coherent enough
culture to insure that the audience will hear with
the idealized ears you might like them to have. So
when I think of composing a piece, how and what
people can hear (though not necessarily what they
want to hear) without any specialized training is
centrally important to me."
In each piece he tries to find its own unique
sound world.
In his 2001 Veils, for example: "Tibetan
Buddhists regard the world as a veil, or a series
of veils, obscuring 'reality' from view. This is
similar to how I see the piano. It is not the notes
(or not only the notes) which draw me to the piano;
rather, for me, the real magic of the piano is its
resonance. The shock that is delivered by the
hammers, when notes are struck, produces a
continuous vibration. Small impacts can color this
vibration, pushing it in one direction or another.
Large shocks, on the other hand, are capable of
completely eradicating the previous color, or
leaving only the faintest trace of what had been.
Very delicate interventions can even shift the
evolution of the resonance without being truly
perceptible as independent events. All of this
activity which is normally thought of as 'the
music' can be seen as a sort of veil, hiding the
real music whose heart is in the underlying
resonance (color). The interaction between the
punctuated surface and the continuous undercurrent
make up the form and movement of the piece."
Fineberg will now turn his attention to a series
of commissions--one for the Fromm Foundation (a
trio for flute, clarinet and cello for the New
Millennium Ensemble)--and a 70-minute ballet score
based on Nabokov's novel, Lolita, choreographed by
Christine Bastin for Compagnie da Folia in
France.
A CD of his music will be released on August 26,
2002, produced by the Ensemble Court-Circuit and
Musique Francaise d'aujourd'hui for Universal Music
France's Una Corda/Accord collection. You will find
it on cdnow.com, amazon.fr, or fnac.fr/
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Library
New: More Online Resources,
Collections
The Library staff would, once again, like to
thank our many friends for their kind and generous
support over the years. What follows highlights a
few new initiatives.
Collections
A list of new acquisitions of rare and unique
material may be seen on our website at
http://www-hcl.harvard.edu/loebmusic/isham-specialcollections-newacq.html.
As usual, there is a strong grouping of first and
early editions of works by W.A. Mozart. In
addition, there are several Bach prints from the
19th century Bach revival, one of Maria Antonia
Walpurgis' famous letters, a number of first
editions of works by the 2nd Viennese School and by
Stravinsky, and several scores of works by
Alexander Tcherepnin, new to the Library. We have
also acquired a collection of 32 videorecordings of
Berber music, a collection of 96 compact discs
documenting tango music in Argentina, the complete
catalogs of major jazz labels including Storyville,
Smithsonian, New World and Classics, a microfilm
collection of the final 25 years of Melody Maker
(1976-2000), Twentieth-Century Composers
Manuscripts, Unit 1 (Tippett, Bliss and Finzi),
Music Manuscripts from the Royal Academy of Music
in London, Die Drucke der Bach Söhne der
Hoboken Sammlung from the Österreichische
Nationalbibliothek, autograph music manuscripts
from the Musikbibliothek der Stadt Leipzig, and the
folk music periodicals Broadside (1962-1982),
People's Songs, and New City Songster
(1968-1984).
Online Access
The new HOLLIS online catalog, offering enhanced
searching capabilities as well as opportunities for
more user control of library transactions,
premiered July 8, 2002.
Some of the new features allow users to:
• Limit a search to an individual library
or a user-selected group of libraries.
• Limit a search to journals, reserves, or
e-resources.
• View lists of languages, formats, and
Harvard libraries to use when limiting
searches.
• Return to previous searches and modify,
combine, or review them.
• View a list of items checked out, renew
books, request materials from the Harvard
Depository, initiate recalls, and check for fines
owed through individual accounts accessible by
using University PINs.
• Receive library notices via e-mail.
Online Resources
Over the past few years, the Library has
produced a number of online inventories, or finding
aids, for its archival collections. The contents of
these collections range from papers of Eubie Blake
to musical scores of Joyce Mekeel. Our latest
production includes audio and image files as well
as a searchable inventory. The finding aid for the
Laura Boulton Collection of Byzantine and Eastern
Orthodox Chant lists the contents of the
collection, provides online access to images of
Boulton's field notes and offers selected audio
files of her recordings from Greece, Bulgaria and
the former Yugoslavia. You may see (and hear) these
resources at http://oasis.harvard.edu/mus.html.
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Hogwood's
Private
Music
Christopher Hogwood, conductor,
musician, scholar, recording artist,
musicologist, author, and founder of The
Academy of Ancient Music, presented the
Louis C. Elson Lecture in Paine Hall,
April 2002.
Hogwood addressed the artistic
challenges of performing music originally
intended for small chamber spaces in our
large modern concert halls. He argued that
the insistence on larger venues gives
short shrift to the restorative and
creative benefits of what he called
"private music"--"music where you're not
expecting a full house, or any public at
all...but where you're indulging in music
for its recreative, aesthetic,
therapeutic, and philosophic effect on
you."
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It's not the depth, not the width,
not the eloquence of the preacher
that pierces us, but the nearness.
--John Donne
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Bang
On A Can All-Stars In Residence
For a week in
May, Robert Black, David Cossin, Lisa
Moore, Mark Stewart, Wendy Sutter, and
Evan Ziporyn convened in Paine Hall to put
the finishing touches on new music written
by Harvard graduate composers.
Collectively they
constitute Bang On A Can All-Stars, a
collaboration of some of the most
innovative musicians from the festivals of
Bang On A Can, a phenomenon that grew from
a one-day event on New York's Lower East
Side to a year-round organization with a
national and international reputation.
The six Bang
musicians involved in the Harvard concert
performed pieces by Peter Gilbert (Burn),
Michael Cuthbert (Vasarely Patterns),
Christopher Honett (Three Deaths in a
Cambridge Museum), Ken Ueno (…blood
blossoms…) and Du Yun (Vicissitudes
No. 1).
"There is simply
no substitute for the communicative powers
of top-level performers," comments
composer Peter Gilbert. "I think it is
quite important for composers to hear
their works played at a high level, and
the level of work throughout rehearsals
was absolutely wonderful. Additionally,
they were unique and
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rehearsals was
absolutely wonderful. Additionally, they
were unique and charismatic people and the
time we spent together outside of
rehearsals was very valuable. It was a
tremendous experience."
"If the term
'musicians' musicians' has any currency,
it applies to Bang," adds Myke Cuthbert.
"Every one of them has extraordinary
interests which they bring to the
group--instrument building, improvising
for movie sound tracks, composing.
"The main thing
I'd say is how great it was to work with
professionals who were so used to playing
together, that when I heard something
wrong I knew they heard it too and it was
fixed the next time. They were extremely
open to finding the style of the composer
and working to bring that out--unusual for
a group with such a strong 'sound' of
their own."
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Ying
Musicians Collaborate in Chamber Music
Concert
The Ying String Quartet completed their
first year in the department as Blodgett
Artists-in-Residence. In addition to their
evening concerts in Paine Hall and a
noontime series, the Yings worked with
several students to present a concert at
Leverett House last spring.
According to undergraduate cellist Kate
Bennett, the experience was extraordinary:
"I played Brahms B-flat Sextet with two
other students (Sarah Darling '01 and
Gabrielle Clark '02) and three of the
Yings. It was one of the best musical
experiences I've had here (which is saying
a lot). The Yings play with incredible
color and energy, and playing alongside
them challenged me in a way which is
completely different from the challenge of
a class or a coaching."
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Bennett explains further: "It's always risky when
students and teachers try to play chamber music
together. The chamber music setting requires equal
collaboration, and the student-teacher relationship
requires a different kind of collaboration--some of
the most tense musical situations I've heard about
come from this clash of expectations."
"The Yings were so gracious and playful that
this issue never came up. They seemed to feel that
they had something to offer us as musicians, but at
the same time I got the sense that they wanted to
be college kids along with us. Philip Ying (the
violist) mentioned to us that the idea to give a
house concert with students came from his own
nostalgia for playing concerts in Adams House as an
undergrad."
Says Phillip, "It's true. When I was an
undergraduate here, my fellow musicians and I would
often take a work we were studying and perform it
in one of the house common rooms for all of our
friends. The room would be packed, our friends
would be literally sitting all around and almost on
top of us, and we would be playing purely out of
love for chamber music. In a similar way, we hope
to become an integral part of the musical
community, both in how we contribute and in how we
ourselves benefit from the broad range of resources
and inspiration that continues to characterize this
environment."
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Harvard
Appoints Three to Music Department
Faculty
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The Department is
extremely pleased to introduce three new
faculty members.
Assistant Professor of Music
Sean Gallagher holds two degrees in
piano from the Peabody Conservatory and
received a Ph.D. in musicology from
Harvard (1998) with a dissertation on
fifteenth-century motets. His research
focuses on late medieval and renaissance
music and culture; other research
interests include aesthetics, liturgical
history, and nineteenth-century chamber
music (an area in which he is also active
as a performer). He taught for five years
at the University of North Carolina at
Chapel Hill before joining the Harvard
faculty in 2002.
Elliott Gyger,
Assistant Professor of Music, just
completed the Ph.D. in composition at
Harvard; he also holds a B.Mus. degree
from the University of Sydney (1990) in
Australia, where his music has been played
by many major performing groups. In recent
years he has written works for the Emerson
Quartet, the Wellesley Composers
Conference, the Hilliard Ensemble and the
New York New Music Ensemble. In addition
to his work as a composer, Gyger is active
as a conductor, choral singer and writer
on music.
Christopher Hasty,
Professor of Music, is a theorist
specializing in music of the 20th century,
and is an expert on rhythm and meter.
Hasty received the Samuel F. B. Morse
Fellowship in 1985 and a Paul Mellon
Fellowship in 1988. Hasty's publications
treat problems in the theory and analysis
of post-tonal music, particularly in
relation to problems of temporality, and
his book, Meter as Rhythm, won the Wallace
Berry Award from the Society for Music
Theory as the outstanding theory study of
1998. Among works now in progress is a
book on problems of musical form conceived
as process. Hasty was editor of the
Journal of Music Theory (1987-90), and
served on the editorial board of Music
Theory Spectrum (1982-87).
All three professors will
begin teaching this fall.
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Faculty
News
Brinkmann
Honored
James Edward Ditson Professor Reinhold
Brinkmann was elected to the American
Academy of Arts and Sciences, in honor of
his achievements in music. The Academy was
founded in 1780 by John Adams, James
Bowdoin and John Hancock to "cultivate
every art and science which may tend to
advance the interest, honor, dignity, and
happiness of a free, independent, and
virtuous people."
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For the academic year
2002-03, Mauro Calcagno has a fellowship
from the American Council of Learned Societies for
a project entitled: "On the meanings of voice in
seventeenth-century Italy: an inquiry into the
permeability of boundaries of Baroque
arts"
David Cohen
finished his teaching work at Harvard, where he was
Assistant Professor of Music for eight years. Cohen
will begin teaching at Columbia University in
September.
Assistant Professor of
Music Elliott Gyger had several recent
performances of his music: Hebrew, Latin,
Greek by the Seraphim Singers and Polishing
Firewood by the New York New Music Ensemble at
the SonicBoom Festival in New York, the Festival of
New American Music at California State University,
Sacramento, and at the Los Angeles County Museum of
Art.
Morton B. Knafel Professor
Thomas F. Kelly, on leave in Spring 2002,
was a Resident at the American Academy in Rome. In
addition to lecturing there, he taught at the
University of Chieti-Pescara, at the Centre
d'Études Supérieures de Civilisation
Médiévale at the University of
Poitiers, and at the Cours supérieure de
chant Grégorien at the Abbey of
Fontevraut.
Jameson Marvin,
Choral Director and Senior Lecturer on Music,
recently returned from a tour of Scandinavia with
the Harvard Glee Club.
Quincy Jones Professor of
Afro-American Music Ingrid Monson moderated
the Learning From Performers panel, "From Liberal
Arts to a Jazz Career," featuring jazz performers
and Harvard alums Don Braden, Anton Schwartz and
Sara Lazarus.
The HRO performed Senior
Preceptor John Stewart's composition
Threnody on the final concert of its
subscription series this year. Threnody,
meaning a song of lamentation, was written in
memory of Professor Emerita Luise Vosgerchian and
is a set of variations on Ms. Vosgerchian's
favorite Bach Chorale, Jesu Leiden, Pein und Tod.
The HRO (along with the Harvard-Radcliffe Collegium
Musicum, Radcliffe Choral Society and Harvard Glee
Club) also played the world premiere of Senior
Lecturer James Yannatos' work Symphonies
Sacred and Secular: Prais'd Be the Fathomless
Universe.
Assistant Professor
Richard Wolf will spend his sabbatical as
one of fifty worldwide Radcliffe Institute Fellows
for 2002-2003. He will continue work on his book,
Semiotics and Process in the Ritual Drumming of
South Asia.
William Powell Mason
Professor of Music Christoph Wolff was
elected to the American Philosophical Society--the
nation's oldest learned society devoted to the
advancement of scientific and scholarly inquiry.
Wolff was one of six Harvard faculty members
elected this year.
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Shelemay
Elected Chair of LOC Folklife
Center
Kay Kaufman
Shelemay, G. Gordon Watts Professor of
Music at Harvard University, has been
elected to a two-year term as Chair of the
Board of Trustees of the American Folklife
Center at the Library of Congress. The
American Folklife Center documents and
preserves the largest collection of
materials relating to the traditional
cultural heritage of the United States. At
Harvard, Dean Jeremy Knowles also honored
Shelemay as a Cabot Fellow this
year.
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Staff
News
Music building custodian Shakespeare
Christmas was named to the list of Boston
Magazine's "40 Bostonians We Love" along with
luminaries the likes of Celtics star Paul Pierce
and chef Jasper White.
Assistant to the Chair Mary Gerbi sang in
the Boston Secession's original live soundscape for
Marlene Dietrich's Blue Angel at the Somerville
Theater. She, along with fellow soprano and Staff
Assistant Beth Canterbury, sang roles in
Haydn's Lord Nelson Mass by the Dudley Choir in
Paine Hall.
Communications Coordinator Lesley
Bannatyne showed artwork at the Brickbottom
Gallery in Somerville as part of The Invisible
Cities Group: What Remains.
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Alumni
News
Joel Sachs, A.B. '61, received Columbia's
Ditson Conductor's Award for service to American
Music. Sachs is a member of the faculty of the
Juilliard School, where he also is director and
conductor of the New Juilliard Ensemble, and
produces and directs the annual Focus Festival of
recent music. In addition, he co-directs and
conducts the professional ensemble for new music
Continuum.
Philip Aaberg A.B. '71 received a
commission from Continental Harmony to compose a
Triple Concerto for Piano, Cello, and Fiddle. It
will premier in 2003 at the Prairie Fest in
Winfield, Kansas. His CD Live From Montana,
recorded at a concert to benefit his home town's
school fund, was nominated for a 2002 Grammy Award.
Website: www.sweetgrassmusic.com.
Eric D. Johnson A.B. '75 became Assistant
Professor of Music at Syracuse University, New
York. He recently sang with the Syracuse Opera in
Don Giovanni, Oswego Opera in The Magic Flute and
was bass soloist in Verdi's Requiem with the
Catskill Symphony Orchestra.
Stuart Malina A.B. '84 is Music Director
and Conductor of Greensboro Symphony Orchestra and
conductor and Music Director of the Harrisburg
Symphony. This past season he debuted with the
Cincinnati Pops Orchestra and guest conducted the
North Carolina Symphony.
Kurt Stallmann Ph.D. '99 has joined the
composition faculty as Assistant Professor of Music
at Rice University in Texas.
Alexander Fisher Ph.D. '01 has been named
Assistant Professor at the University of British
Columbia beginning fall, 2002.
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Graduate
Student News
In April 2002, Bok Center certificates for
excellence in teaching were awarded to music
department Teaching Fellows/Assistants James
Leach, Lansing McLoskey, Jamuna Samuel, Jonathan
Wild, Richard Whalley and Matthew Peattie.
Kiri Miller compiled and edited The
Chattahoochee Convention, 1852-1952: A Sacred Harp
Historical Sourcebook, coming out in August. She
will give a paper this fall at AMS entitled
"Americanism Musically: Educating the Public at the
Columbian Exposition, 1893".
Richard Giarusso sang Schubert's
Winterreise in a concert in Holden Chapel in April.
The concert was an extension of Reinhold
Brinkmann's class "Song, Schubert through Ives,"
and followed an afternoon symposium of related
student papers.
Peter Gilbert will collaborate with the
August Art festival in New York. He's also received
a commission from New York guitarist Daniel Lippel
and violist David Yang for a chamber music series
in Philadelphia.
Jeannie Guerrero won an Independent
Venetian Research grant from the Gladys Krieble
Delmas Foundation to do summer dissertation
research in Venice.
Arni Ingolfsson was a consultant for the
early music group Voces Thules on a program of
polyphony from medieval Icelandic manuscripts,
which they performed at the Skalholt Early Music
Festival in June. He wrote program notes for the
Reykjavik Arts Festival and liner notes for
recordings issued by BIS and Smekkleysa. He was
awarded a fellowship for the 2001-2002 school year
by the Icelandic Fund for Graduate Students.
April James gave a presentation at
Harvard on "Maria Antonia Unplugged," which
included the performance of an aria that had not
been performed in 250 years.
Natalie Kirschstein (percussion) and Myke
Cuthbert (clarinet) lent their talents to an April
production of Sweeney Todd on the Loeb Mainstage.
Kathleen Stetson '02 was music director.
Roe-Min Kok will be teaching as Faculty
Lecturer in Musicology at McGill University
beginning in the fall.
Lei Liang won a 2002 Paul & Daisy
Soros New American Fellowship. Liang came to the
United States as a teenager from Beijing in the
wake of the Tiananmen Square tragedy. He spent
three years as a junior fellow at the Harvard
Society of Fellows before joining the department as
a Ph.D. student in composition.
Lara Pellegrinelli guest edited the June
issue (women in jazz) of NewMusicBox.org, an
ASCAP-Deems Taylor award-winning webmagazine that
is part of the American Music Center. She also had
a piece published in the New York Times entitled
"Singer/Songwriter Abbey Lincoln: She's Got Her
Own."
Three graduate students have contributed
material to Mahler and His World, forthcoming from
Princeton University Press: Thomas Peattie,
"Mahler and the Broken Pastoral"; Zoe Lang,
"Mahler's American Debut: The Reception of the
Fourth and Fifth Symphonies, 1904-1906"; and
Bettina Varwig (co-authored with Karen
Painter), "Mahler in the German-language
Press."
Eric Spangler has been working with
performers at Oberlin Conservatory, resulting in
two pieces which will be performed this summer, one
in June at the Chicago Art Institute as part of the
new I.C.E. festival, and the other at Banff in
July.
Andrew Talle will present a paper at the
AMS Conference in Columbus, Ohio on the development
of music making and other leisure time activities
in early 18th century Germany.
Ken Ueno has contributed articles to a
forthcoming book, The New Musical Immigrants:
US/Latin American Exchanges in the Twentieth
Century.
Richard Whalley and Jennifer Loconto
(from the Department of Molecular Cell Biology)
were married in Memorial Church in May. Whalley is
spending a week in Normandy at Ensemble Aleph's
Second Forum for Composers where his Twisted
Variations (2001) will be performed. Whalley's
Monolith, a piece for 13 instruments, will be
premiered in July at the Wellesley Composers'
Conference.
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Undergraduate
News
Joel Sachs, A.B. '61, received
Columbia's Ditson Conductor's Award for service to
American Music. Sachs is a member of the faculty of
the Juilliard School, where he also is director and
conductor of the New Juilliard Ensemble, and
produces and directs the annual Focus Festival of
recent music. In addition, he co-directs and
conducts the professional ensemble for new music
Continuum.
Philip Aaberg A.B. '71 received a
commission from Continental Harmony to compose a
Triple Concerto for Piano, Cello, and Fiddle. It
will premier in 2003 at the Prairie Fest in
Winfield, Kansas. His CD Live From Montana,
recorded at a concert to benefit his home town's
school fund, was nominated for a 2002 Grammy Award.
Website: www.sweetgrassmusic.com.
Eric D. Johnson A.B. '75 became Assistant
Professor of Music at Syracuse University, New
York. He recently sang with the Syracuse Opera in
Don Giovanni, Oswego Opera in The Magic Flute and
was bass soloist in Verdi's Requiem with the
Catskill Symphony Orchestra.
Stuart Malina A.B. '84 is Music Director
and Conductor of Greensboro Symphony Orchestra and
conductor and Music Director of the Harrisburg
Symphony. This past season he debuted with the
Cincinnati Pops Orchestra and guest conducted the
North Carolina Symphony.
Kurt Stallmann Ph.D. '99 has joined the
composition faculty as Assistant Professor of Music
at Rice University in Texas.
Alexander Fisher Ph.D. '01 has been named
Assistant Professor at the University of British
Columbia beginning fall, 2002.
Will Aronson '04 won an Office for the
Arts grant for a new trombone composition.
Lembit Beecher '02 won an Arts First
Linker Grant to produce A Wild Rumpus, a
multi-media event combining children's stories and
music. Beecher also conducted the Bach Society
Orchestra spring concert featuring Shostakovich's
Cello Concerto #1.
The Harvard-Radcliffe Contemporary Music
Ensemble and Leverett House Arts Society presented
three student opera premiers in April: Poor Bibi,
with libretto by Joyce Carol Oates (Carson
Cooman '03); Syllabi, with libretto by Jesse
Coffino-Greenberg, (Anthony Cheung '03); and
Miss Julie, libretto by Leslie Chu, based on the
Strindberg play (Christopher Hossfeld '02).
In addition, Hossfeld received the Louis
Sudler Prize for Excellence in the Arts at a
reception hosted by President Summers. Hossfeld
conducts the Chamber Singers and is a member of the
Collegium Musicum. The prize is awarded to the
senior with the most outstanding artistic talent
and achievement in the arts and is intended to
honor the sum of the student's activities rather
than a single project. In addition, Hossfeld
conducted the Harvard-Radcliffe Collegium Musicum
Chamber Singers in a concert featuring Purcell and
Bach in Memorial Church.
Eric Hughes '02 and Sarah Darling '01
were two of scores of Harvard undergraduates who
performed with Bobby McFerrin in a concert at
Sanders Theatre as the culmination of McFerrin's
week-long residency at Harvard. The residency is
part of the Office for the Arts' Learning from
Performers Series.
Jihwan Kim '02 had his piece, Soundbytes
from Japanese Anime, played by the Brattle Street
Chamber Players in Paine Hall in March.
Dan Sedgwick was one of this year's
recipients of Harvard's Leonard Bernstein Music
Scholarship.
Kathleen Stetson was music director of
the Loeb mainstage production of Sondheim's Sweeney
Todd.
The 2002 Foote Prize of Harvard Musical
Association was awarded to Berenika
Zakrzewski, '04.
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