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Valley banks

fine arts
education

on

ramat

.
t!iiit#'

ic increases in chalirable

conrribtttiont ro bencfir ASU's

Herberger College of Fine Arts are
bucking national trends. Annual increases in
giving to the college throughout ASU's fiveyear Carnpaign for Leadership fundraising
initiative have come at sharply higher rates than
those experienced by most arts and education
organizations in recent years. As of Nov. 30,
with a month remaining in the campaign, the
college had raised $65.1 million and was a
staggerir-rg 325 percent ahead of its goal.
This level of giving is far from the norm.
According to the Americar.r Association of
-lrust for Philanthropy in
Fundraising Counsel
its publication Giuing LISA (May 2001), total
charitable contributions in 2000 increased
6.6 percent over 1999 levels. Contributions
to arts, culture and humanities organizations
increased an average of 3.9 percent. Giving to
education lose just 2.6 percent.
Though the college's stlccess is extraordinary,
I(atherine K. Herberger, the college's namesake,
brings the reason for it down to the simplest of
terms: 'Art survives." And with her $12 million
gift last year, the largest single gift ever given to
ASU, Mrs. Herberger helped to ensure that
those words long will ring true at ASU'
"I believe there is a sense in the community
that an investment in the arts within the
framework of this universiry is a very lasting
gift," says J. Robert Wills, dean of the
Herberger College. "There's a sense that the
university will be here 100 years from now
continuing in its role to nurture' educate arrd
inspire new generatiot-ts of artists, who will, in
tllrn, nLlrture and inspire this community'"

Capturing the real emphasis of the Campaign for
Leadership, the Herberger College continues to focus
on outstanding students, faculty and our Valley
community. Pictured are the college's ACF Arts
Scholars for'00-'01 and '01-'02.

The Herberger College's programs actually
have invited investment, because ail four of
the college's academic uni15-d1s School of Art,
School of Music, Department of Dance and
Department of Theatre-enjoy national
rankings, adds Wills.
Record investment has benefited students,
faculry and the communiry and, through many
generous endowed gifts given during the
campaign, will continue to do so for decades
to come. Scholarship and fellowship support has
increased more than 60 percent during the
course of the Campaign for Leadership.
Endowed chairs, numerous endowed faculry
positions and distinguished guest artist positions
have beer-r created. Endowments to support
faculty research and creative activity have been
launched. The college's connections with the
community have been strengthened through
initiatives that allocate college resources to
provide access to and training in the arts to a

wide r-ange of Valley residents.
Dean \Wills says funds raised through the
Campaign for Leadership are just the beginning
of f.,ttdoirit-tg efforts intended to strengther.r the
Herberger College's role as one of the nations
leading-centers for the study, practice and develop-.i, of the arts. Future goals include providing stronger suPport to faculty, boosting the
rr.r-b.. and value of scholarships and fellowships offered, increasing individual Program
suppolt ancl providing adequate facilities for
-lempe camPus'
study of the arts on the ASU
I

Tracey Benson, Herberger College Communications Group

a

in the Grouwn
*Ieurels
Klett beconnes college's fourth Regents' professor
ark Klett, a professol ofphotography
at the Herberger College School
of Art, has transformed the practice
oflandscape photography over the past
20 years. Now he has been named an
Arizona Regents' professor.
It is the highest honor the university may
bestow on a faculty member. The designation

DAVID HICKMAN, Regents' professor of trumpet
at the School of Music, is considered to be one
of the world's finest trumpet soloists. He has
appeared with more than 400 orchestras
throughout the U.S. and Europe and has given
workshops and master classes at more than
200 major university campuses. Hickman has
published 15 music texts and written more than
40 articles and editions of music for the trumpet-

takes effect A:ug. 15,2002.
Klett wiil become the fourth Herberger
College of Fine Arts faculty members to receive
the prestigious designation, joining the School
of Art's Kurt \(/eiser (ceramics), and the School

CAIO PAGANO, Regents' professor of piano at the

School of Music, is an internationally recognized
Steinway adist who records for Fanfare and
Summit Records. He frequently performs with
leading orchestras in Central and South America,
Europe and the United States, pedorming
concedos by all the masters, from Beethoven to
Shostakovich, as well as several world premieres
of contemporary composers.

of Music's David Hickman (trumpet) and Caio
Pagano (piano). (See sidebar for more on these
accomplished faculty members.) ASU currently
has

33 Regents' proGrsorr.

Klett, who joined ASU
member

as a classified

in l982 and later became

staff
world-renowned ceramist and
Regents' professor in the School of Art, has been
on the faculty since 1989. Weiser is best known
professionally for brilliantly colored, finely painted
ceramic art works that merge Asian technique
with Western imagery and style. His works can be
found in major museums in the U.S. and abroad.
Within the School of Art, Weiser is known for his
dedication to his students, many of whom have
gone on to find their own success, receiving
international awards and teaching contracts at
major universities.
KURT WEISER,

a plofessoq

is known for landscape photography that maps

the temporal and spatial transformations of the
Amelican West. His work addresses human
interaction with the land and attempts to
g€nerate new ways oflooking at places.
The idea of returning to a place to
encapsulate change over time is central to
Kett's work. Photographs of the western
United States in the 19th century formed the
basis for his helalded Third View project, for
which Klett "re-photographed" the scenes in
the old photos, once in the 1970s and again,
with the help of colleagues, in the 1990s. The
resulting families of images illuminate the
relationship between people and place in the
western United States and make connections
between past and present, showing the dynamic
interaction of nature and culture.
In 2001, Kett was featured in the book,
View Finder: Mark Klett, Photography and the

exhibition later this year at the ASU Art
Museum. ln fall 2002, the museum will
originate the exhibition Mark Klett: Lleas
About Time. Co-curated by museum director

Marilyn Zeitlin and senior curator Heather

(University of New Mexico Press). His work

Lineberry, the ambitious project will include
photographs from the artistt entire output, a
color catalogue and an international tour. The
exhibition will follow the concept of time
throughout Klett's work, from panoramas and
sequential works to photographs that will be
exhibited for the first timc.

will be the subjecr of a ne* retro.pective

I

Reinuention of the Landscapr by William L. Fox

Tracey Benson, Herberger College Communications Group
Snrino tOO, Ser<nn Plrvhill

3

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stablished in January 2001 within
the Herberger College of Fine Arts,
the Office of Public Art at ASU strives
to enlich the cultural life of the ASU campus
and the larger Valley comrnuniry. From public
Depression-era murals to contemporary

sculpture, public art at ASU reflects both the
rich historical traditions of Arizona, as well as
recent artistic expression by nationally known
artists. Public art plograms mirror ASU's great
diversity, welcome the surrounding communiry
and provide a lively forum for discussion about
art and the context in which it was created.
The role of public arr is integrared into the
fabric of the ASU community thlough
partnerships with several campLls organizations
and departments.
Thke a Walking Tour of ASU's Public Altyou'll find artworks are located throughout the
720-acre main campus in Tempe .
Visit the north secrion of campus for a
glimpse of ASUs pasr, beginning in front of
Old Main with the Emry Kopta fountain,
which features themes from the Hopi culture.
Cor.rtinue inside the building with a large,scale,
Depression-era mural of Arizona industry by
Joseph Henninger.
Near the center of the campus are several
contemporary sculptures. In front of Hayden
Library, view Dale Eldredt Time Garden, an
installation ofglass panels that breaks sunlight
into bands of color that vary with the time of day.
The Administration Building, just south of
Hayden Library, houses an Arizona-inspired
fresco in the Mexican muralist tradition by Jean
Charlot. Divided by a stairway, Man's Wisdom
Subdues tbe Aggressiue Forces of Nature,
painted in 1951, depicts a Native American
Snake Dance on rhe rop portion and ASU's
'fhe Kaiherine K. l lerberger
Col eqe of F ine Ads

i

:r:.ir-ri:i:!' i:J!:ri,r:it,:.

i:\$i..r iri;j-:!:.r

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i\i ir i:.iilir;rlirl

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world-renowned role in ploducing rarrlesnake
anri-ve nom on rhe lower.
Rico Eastmant multifaceted steel sculpture

titled Fragmenr is located just west of the
Administration Building. The colorful conremporary work, Celebration, by Chicago arrist Jerry
Peart is located further west ar the intersection of
Orange and Forest malls and was commissioned

]n 1984 to markASU's centennial.
Continuing wesr on Orange mall, next
to the Music Building, is the stark, black
geometric sculpture, Double Ring Column
Thiangle, by noted artist Fletcher Benton and
Southutest Pietaby L:uis Jimenez, on the
Nelson Fine Arts Cenrer Plaza. The subject of
this 1O-foot Fiberglas work is an icon of
Mexican culture as well known as the Virgin of
Guadalupe. Jimenez describes the theme as
"a Romeo and Juliet story of rwo lovers turned
into volcanoes by the gods."
n&

Dianne Cripe, Director of Public Aar, Herberger College

School of Music

University Sy-phony Orchestra
Timothy Russell, Conductor
Kayoko Dan and Nicholas Ross, Guest Conductors

Concert

of Soloists'

Katayoon Hodjati, flute
Mariona Oliu Nieto, viola
Brian Holman, piano
Kirk O'Riordan, composer
John Marchiando, trumpet
Yali Luo, piano

Monday, February II, 2002
7:30 p.m.
Gammage Auditorium

,4ferberserCollese
Dof
Fine

Artso

)

Program

....JohnVilliams

Music from Superwan

(b. 1932)

Timothy Russell, conductor
.

Ballade

" "FrankMartin

(r890-t974)

Katayoon Hodjati, flute
Kayoko Dan, conductor
Concerto for Viola and

.\flilliam Walton

Orchestra

( 1 902-1

983)

Andante comodo

Mariona Oliu Nieto, vioia
Nicholas Ross, conductor
Bdla Bart6k

Concerto No. 2

(1 88 1-1

945)

I. Allegro
Brian Holman, piano
Kayoko Dan, conductor

INTERMISSION
Kirk O'fuordan

Tarantella

\7orld Premiere*
Nicholas Ross, conductor
Concerto

a

Tlomba principale

inE..

..JohannNePomukHummel
(1778-t837)

TT Andante

III

l

Rondo
John Marchiando, trumPet
Kayoko Dan, conductor

Concerto No. 2 in C minor,

III.

Op.22

. 'Camille Saint-Sadns

(t835-192t)

Presto

Yali Luo, piano
Nicholas Ross, conductor

i

"Red Cape Tango" ftom thc "Metropolis

Symphony'

. . .Michael Daugherry

(b.1e54)

Timothy Russell, conductor

Li

*

Recipient of the Grant Fletcher Award in Musical Composition ,po,tJor.d by Arioso'com

Biographies

TIMOTHY RUSSELL
In the Fall of 1993, Timothy Russell

became
Professor of Music and the Director of Orchestras
at Arizona State University. He has established
himself as one of Americat most versatile
conductors, foremost music educators and

outstanding record producers. His recording, The

Manhattan Tidnsfer Meets Tubby the Tuba,
rcceived a Grammy nomination as the "Best
Musical Album for Childrcn." In January of
2000, Inner Voices, with Native American cedar
flutist R. Carlos Nakai, received a Grammy
nomin:rtion as "Bcst New Age Album." Other
popLrlar recordings by Russell include his own
children's srory, The GtJi of the Edgle,Poulenc's
The Story of Babar tnd The Nutoackerlry
Tchaikovsky. In addition to these favorites,
Russell l-ras conducted the world grremiere
recordings of Peter Schickele's Thurber's Dogs,

writrcn in honor of the 100th anniversary of the
birth oFhumorist James Thurbcr, Stephen Paulus'
riveting inter-related arts masrerpicce, Voices Jr"om
the Gallery, and Circle of Faith. Russellt other
recordings ir-rclrrde Remembering Mdrian
Anderson, Hope's Journey, A Brassy Night at the
Operu with thc ASU Cl.rarnber Orchestra,
Perception, and Lilacs: The Music of George Walker

with the ASU Symphonv Orchestra. Thesc
recordings have been enthusiastically received by
listeners and critics alike, as has his vital and
imaginative orchestral leadership.
Equally at home conductir-rg the great
symphonic literature, music for chamber
orchestra, large choral works, pops concerrs and
children's programsJ Russell has been a frequent

gllest cor,*eictol r'vith The Phoer-rix Symphony.
Other recent guest conducting appearances have
included the American Classical Orchestra, the
Charlotte Symphony, Hawaii Symphony, Spokane
Symphony, Baltimore Chamber Orchestra, South
Dakota Symphony, Pittsburgh New Music
F,nsemble, Lehigh Valley Chamber Orchestra,
Summit Brass, Interlochen Arts Acadcmy
Orchestra, \X/orld Youth Svmphony and
symphony orchestr:rs in Arkansas, L-rdiana, Iow:r,
Missouri, Montana and Texas. He has conducted
All-State orchestras in Illinois, Iowa, Kansas,
Minnesota, New Mexico and Ohio.
The 2001-2002 season will be most cxciting,
his twenty-third as Mr-rsic Director of the
ProMusica Chamber Olchestra of Columbus,
Ohio. Russell'.s achievcments with ProMusica have
been remarkable and diverse. The orchestra
continues to make significant strides in musical
excellence, having earr-red an outstanding
reputation for artistic performances and exciting,
adventuresome programming. C)n eight occasions

the Arnerican Society of Composers, Aurhors and
Publishers (ASCAP) has honorcd Russell and
I'roMttsicr.t lor .rut"tanding rervicc ro
contemporary music.
For nine seasons, Russell served as Music
Director ancl Conductor of The Napies
Philharmonic in Florida. Under his leadership,
the orchestra experienced drarnatic growrh in the
size of its audience and became recognized as one
of the finest performing ensembles in thc
soLrtheastern United States, with a full-time
rcsident core enscmble of forty mr-rsicians. In

addition to the numerous symphonic, pops, and
educational performances, Russell conducted a
collaborative ballet series wirh the Miami City
Ballet and its Artistic Director, Edward Villella. In
Noven-rber of 1990, Russell conducted the
premier performances of a new production of I/e
Nutcracker, as choreographed by George
Balanchine.
Timothy Russcll ar-rd ProMusica have been
active in the comrnissioning of r-rew wolks.
Rursell's cornmirmenL Io conrernporary mtrsic.
having conducted the world premier
perlorrnlnce' of over rcrerrry ncw conrpu\;tion\.
is coupled with energetic ancl exacting renditions
of a repertoire that covcrs over 300 ycars of
musical composition.
A Danforth Foundation Fellow, Dr. Russcll is
an active music educator. He regularly leads preconcert talks and symposia and is involved in
research and publication. He continues to be a
University Symph0ny 0rchestra

iii

featured speaker at music conferences
workshops, as well as guest conductor ofAll-State
orchestras. Dr. Russell has held academic
appointments at The Ohio State Universiry and
the University of Rochester, including in its
Eastman School of Music as an Associate
Professor of Conducting and Ensembles'
Timothy and his wife, Jill, reside in Phoenix,
Arizona with their children, Kathryn and
Geoffrey. They enjoy sports, travel and cooking'

KAYOKO DAN
A native ofJapan, Kayoko
Dan grew up in Texas,
where she received her
musical training as a flutist
and conductor before
beginning her study at

Arizona State UniversitY.
she received her
Bachelort degree in Music
Studies (or Music Education) with instrumental
emphasis lrom the Universiry of Texas at Austin'
There she studied conducting with Glenn A'
Richter and flute performance from Karl F
Kraber and Jackie Hofto' At Arizona State
University, Kayoko is currently pursuing a
Masters degree in Music Education with an
emphasis in conducting under the guidance of
Dr-Timothy Russell. She is also a Teaching
Assistant for the ASU Orchestra Program and a
co-conductor of the ASU Sinfonietta.

In 2000,

NICHOI-AS ROSS
Nicholas Ross is currentlY
pursuing a Doctor of
Musical Arts degree at
Arizona State University,
studying conducting with
Dr. Timothy Russell,

Director of Orchestras.
Ross has recently been
appointed to the position
of Conducting Assistant with The Phoenix
Symphony. He received a Bachelor of Music
degree in Violin Performance from Ithaca College'
He earned a Master of Music degree in Violin
Performance and a New York State Teaching
Certificate as a String Fellow at Syracuse

Mr.

University.

Prior to relocating to Arizona, Mr. Ross held
the positions of Music Director of the Onondaga
Civic Symphony Orchestra and Assistant
Conductor of the Syracuse Symphony Youth

iv

The Katherine K. Herberger coLlege of Fine Arts

Orchestra in New York. In addition, he was an
Alfiliate Artist at Syracuse University in the
School of Music, where he was a private violin

instructor and taught string pedagogy for five
years. As a guest conductor, Mr. Ross has
appeared with the Syracuse University Symphony
Oi.h"rtt", the Finger Lakes Symphony Orchestra
and at area all-state and all-county festivals
throughout central New York. He also has
extensive public school teaching experience,
having taught in three school districts in the
Syracuse area.
Mr. Ross remains acdve as a

violinist and

performs locally with Arizona Opera. He is a
member of the Glimmerglass Opera Company in
Cooperstown, New York, and performed parttimowith the Syracuse Symphony Orchestra for
13 years. He has also been a member of the
Binghamton Philharmonic and served as Principal
Second Violinist with the Utica Symphony
Orchestra for five years.

KATAYOON HODJATI
Katayoon Hodjati,
originally from Maryland,
is an active teacher and

performer in the Phoenix
metropolitan area. She
enjoys performing on alto
flute, piccolo and baroque
flute. Katayoon is a
member of the Mesa
Symphony Orchestra and also frequently
collaborates with Andrew Dickenson of the New
York Guitar Quartet. An avid supporter of

contemporary music, she wili soon participate in
a premiere of a chamber work by composer Kirk
O'Riordan. Katayoon has been a prize-winner in
the Baltimore Music Club Competition (2001)
and the Flute Sociery of 'Washington's Collegiate
Soloists Competition (1998), and was a semifinalist in the Fort Collins Young Artist
Competition (2001). She has performed and
taught in Panama on numerous occasions with
the Asociaci6n Nacional de Conciertos. Although
she primarily focuses on classical music, Katayoon
also enjoys studying and performing non-\(/estern
music - specificaily Latin American and Middle
Eastern music. Recent performances inciude a
guest appearance with the Nava Ensemble (a
classical Persian ensemble) at the Kennedy Center
in tVashington D.C. Katayoon has been on the
faculty of the Gaithersburg Flute Camp and the
Mid-Atlantic Band Camp at Ferrum College.

ii\

Katayoon holds a B.M. in Flute Performance
from Oberlin Conservarory and a B.A. in Spanish
from Oberlin College. Her principal teachers
include Elizabeth Buck, Tiygve Pererson, Michel
Debost, Kathleen Chastain and Virginia
Nanzetta. She has also studied with Patrick
Gallois at the Banff Centre (2001), ar rhe Hor
Springs Music Festival (2001) and with \Talfrid
Kujala at the Orchestlal Excerpts Masterclass at
Northwestern University (1999). Formerly an
elementary school foreign language teacher,
Katayoon is currently pursuing a Master
of Music degree in performance at Arizona State
Universiw.

MARIONAOLIU
NIETO
Mariona Oliu Nieto

was

born in Girona, Spain, in
7979. Her teachers
include Fabienne Tassart,
Barbara Horn, Norbert
Blume and Carol
Johansen. She finished her
studies with honors at the
Terrasa Conservatory in 1998.
Mariona has been Principal

Violist in the

Catalunian Youth Orchestra and in the National
Youth Orchestra of Spain (JONDE). Last year she
became a member of the European Union Youth
Orchestra (EUPO), under the direction of Sir
Collin Davis. She has studied with Carol Rodland
at the Hochschtile ftir Musik Hanns Eisler in
Berlin and at the Herberger College School of
Music at ASU. She is currently pursuing her

Bachelort Degree in Performance.
Last fall Mariona won the ASTA
Competition in Arizona.

BRIAN HOLMAN
A native of the Phoenix
area, Brian Holman
began his musical career ar

eight, singing in the

T[cson Boys Chorus, with
whom he toured Australia.
New Zealand and Hawaii.
Having studied piano
since the age of 10, Brian
is currentiy a senior in Piano Performance at
Arizona State University, pursuing a Bachelor of
Music degree and studying with Professor Robert

Hamilton. A recipient of the Regents, President
and Flinn Finalist scholarships, Brian has been a

prir.-* '

,' ir-r s.rr.."l piano competitions,
including the Tucson Symphony Young Artists
Competition and the Arizona State Music
Teachers Association Honors Recital. He has

performed in masterclasses for James Giles,
Vladimir Feltsman, Edward Aldwell, Eteri
Andjaparidze, Phillip Kawin and Paul Ostrovsky,
and participated in the Piano Summer 2000
Festival in New Paltz, New York.
A versatile musician, Briant interests also
include conducting. This past summer he traveled
to the Czech Republic to study conducting at a
symposium hosted by Symphonic
\(orkshops.\7hile there, Brian was invited to
perform in a concert of piano music by Aaron
Copland. In his spare time, Brian also composes
his own music. Having worked with Stephen
Paulus in the Tucson Symphony Young
Composers Project, his compositions have been
read and performed by the Thcson Symphony and
the Tucson Pops Orchestr-as. In 1998 he was
invited to present his work at the MENC
National Convention.
Brian currently maintains a private piano
studio in the East Valley and is an active chamber
musician and accompanist. Upon completion of
his degree in piano this May, he will also be
awarded a Bachelor of Arts degree in English
literature with a minor in Spanish. He plans to
pursue graduate studies in piano next fall.

JOHN MARCHIANDO
John Marchiando received both a B.M. and
M.M. from the Universiry of Michigan, where he
studied with Armando Ghitalla, Ramon Parce11s,
and Charles Daval. He has also studied
extensively with Raymond Mase and Chris
Gekker at the Aspen Music Festival in Colorado.
In 1998 John accepted the appointment of
Visiting Assistant Professor at the University of
Toledo in Ohio. In addition to his duties at the
university, he frequently appeared as a clinician,
both individually and with the Faculry Brass
Quintet, in the Northwest OhioiSoutheast
Michigan area. Vhile in Toledo, John gave the
area premiere of the Concerto for Tiumpet and
Strings by Eric Ewazen with the Universiry
Symphony Orchestra.
Since relocating to Arizona, Mr. Marchiando
has worked regularly as a freelance performer in
the greater Phoenix area. He is a member of the
Harmonie Brass - a Phoenix-based brass quintet
composed of members of the Arizona Opera

Universily Symphony 0rchestra

v

Orchestra. John has held the position. )oPrincipal Tiumpet with the Battle Creek
Symphony Orchestra, Third Tiumpet with the
Richmond (lndiana) Symphony Orchestra,
Second Tiumpet with the Michigan Chamber
Brass, and Solo E-flat Cornet in the Dodworth
Sa-xhorn Band. He has also performed with the
orchestras in Toledo, Flint, Lansing and Ann
Arbor, Michigan, and \findsor, Ontario. He has
played with several notable artists including
Dudley Moore, Ray Charles, Doc Severinsen, the
Canadian Brass and the American Brass Quintet.
Recording projects include performances for
National Public Radio and the Public
Broadcasting System. John is currently a graduate
Teaching Assistant at Arizona State Universiry.
He is working or.r his D.M.A. in tumpet
Performance and studies with Arizona Regents'
lrofessor David Hickman.

vi

The Katherine K. Herberger Col ege of

F

ne Arts

YALI LUO
Yali Luo, now

a

sophomore student of
Professor Robert
Hamilton, is pursuing a
Bachelor of Music degree
in Piano Performance at
Arizona State University.
She was borr.r

in l9B2 in

Chengdu, China, and
began playing the piano when she was five years
old. In 1994 she took first place in the National
Children's Piano Competition in Beijing, China'
She took third place in the 1997 lnternational
Young Pianist Competition in Los Angeles,

California. In that same year, she was selected to
take part in the Music Bridge Festival in Calgary,
Car-rada, where she appeared with the Mount
Royal College Orchestra. Yali holds the Liberace
Scholarship for international students.

Notes
"Red Cape Tango" from the "Metropolis Symphony'' (1988-1993)

Michael Daugherty

'

I

.

in 1993,I

began composing my Metropolis Symphony in 1988, inspired by the celebration in Cleveland of
the fiftieth annivelsary of Superman's first appearance in the comics. \fhen I completed the score
dedicated

it to the conductor David Zinman, who had

encouraged me to compose the
work, and to the Baltimore Symphony Orchestra. The Metropolis Symphony evokes an American
mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each
movement of the symphony - which may be performed separately - is a musical response to the
myth of Superman. I have used Superman as a compositional metaphor in order to create an
independent musical world that appeals to the imagination. The symphony is a rigorously
structured, non-programmatic work, expressing the energies, ambiguities, paradoxes and wit of
American popular culture. Like Charles Ives, whose music recalls small-town America early in our
century, I draw on my eclectic musical background to reflect on late-twentieth-century urban
America. Thlough complex orchestration, timbral exploration and rhythmic polyphony, I
combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition.
"Red Cape Tango" was composed after Superman's fight to the death with Doomsday, and is my
final musical work based on the Superman mythology. The principal melody, first heard in the
bassoon, is derived from the medieval Latin death chant "Dies irae." This dance of death is
conceived as a tangoJ presented at times like a concertino comprising string quintet, brass tlio,
bassoon, chimes, and castanets. The tango rhythm, introduced by the castanets and heard later in
the finger cymbals, undergoes a gradual timbral transformation, concluding dramatically with
clash cymbals, brake drum and timpani. The orchestra alternates betlveen legato and sraccato
sections to suggest a musical bullfight.

-Michael Daugherty
Michael Daugherty is one of the most perfbrmed and commissioned American composers of his
generation. He has created a niche in the music world that is uniquely his own, composing
concert music inspiled by contempolary American popular cultule. After teaching music
composition several years at the Oberlin Conservatory of Music, Daugherty joined the School of
Music at the Universiry of Michigan (Ann Arbor) in 1991, where he is Professor of Composition.

In 1999, Daugherty

began a four-year tenure as composer-in-residence with the Detroit
Symphony Orchestra. Future commissions include a violin concerto for Pamela Frank and the
Detroit Symphony Orchestra, a new work for three conductors and orchestra for the Pittsburgh
Symphony Orchestra, an octet for the Lincoln Center Chamber Music Society and a work to
celebrate the 25th anniversary of the ProMusica Chamber Orchestra

in Columbus. Ohio.

University Symph0ny 0rcheslra

vii

UNIVE,RSITY SYMPi. JNY ORCHE,STRA PE,RSONNEL
Violin

I

Bass

Andrew Tholl**

Lee Veazey*

Tlra Planeta
AmyAllred

Kurt Hinterbichler
Akiko Kikuchi

Linda Faulstick

Marisin Alzamora R.
Allison Zenner
Keith Lokey
Blake Thomson
Brian Barr

Larry Dunn
Rebecca \Tilliams
D. Nathan Rice
Jessica Belflower

Contrabassoon
David Wells

Nicholas Ross

Horn
Nathan Stark ^
Matthew Vlahovich
Melanie Woodward ^
Andrew Vaia

Trumoet

Malia Roggenhofer
Flute #

Amanda Pepping*

Violin II

Monique Brouwer

Allyn Swanson

Julie Tollefsen*

AmyTatum
Andrea Urrutia

Andrew Kissling
Erik Hasselquist

Telian Dodge
Lisa Strong

Piccolo
Monique Brouwer
Andrea Urrutia

Trombone
Ryan Williams*
Mario Villalobos

Oboe #

Bass

Robert Cockrell

Cayce tM Miners

Melanie Carter
Annie Henneke

Viola

Laura Medisky
Ashley Reid

Tirba
Curtis Peacock

Enolish horn

Harp

Melanie Carter

Rebecca Foreman

Clarinet #

Piano

Bethany Brestel

Robert Springer

Marisa Sharer
Megan Kemp

Katrina Bertrand

Vhitney

Paul

Anna Stafford
Lincoln Kilby

Trombone

Verona Rapp*

MariaTirhti
Emily Pullen
Suzanne Morello

Christine D'Alexander
Steven Heitlinger
Ryan Berkseth

Tim

Junghyun Kim

James

Haas

Quintero

Timoani
Jason Covert*

Cello

Bass Clarinet

Ryan Swigert*

James

Quintero

Merrick Jones

Percussion
Jason Covert*

Benjamin Vickers
Joel Morgan

Bassoon
Ryan Maples*

Ben Dumbauld

Rustan Sharer

David Vells

Elizabeth Madsen

Chi-Hwa Wu

Jordan Gallaher
Eric Gewirtz

Michelle Morales
Terra Fulkerson

viii

rne KatheIne K Herberger co lege of

Casey Farina

Brad Stell

Mavis Enders

Fine Arts

Orchestra Assistants
Kayoko Dan

Orchestra Librarian
Shannon Sigler

Orchestra Managers
Erik Hasselquist
Andrew Kissling

r*
*

Concertmaster

^
#

Co-princiPals
For this concert,

Principai

this section is using a
rotating seating Pian

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collection and study of ceramics at the
ASU Art Museum .r-r*r, new era when
"
'' the museum celebrates the grand opening
of its Ceramics Research Center March 1-3.

The Ceramics Research Center will be

a

national and international destination for the
hands-on study and enjoymer.rt of ceramics. It
will house and present the ASU Art Museumt
extensive ce ramic collecrion, comprising more
than 3,000 pieces and emphasizing 20th century
and contemporary American and British works.
Located just north of the ASU Art Museumk
Nelson Fine Arts Center, the center will
provide 7,200 square feet ofgallery and storage
space. The bulk of the collectiorr will be on
view for students, scholars and the public. In
addition, ceramic works from the collection can
be requested for close viewing by appointment.
The ASU Art Museum has been actively collecting and exhibiting ceramics since 1968. At
that time the collection already included works
by such ceramic artists as Peter Voulkos and
Maria Martinez. The museum received a
matching grant from the National Endowment
for the Arts in 1977 and used this resource to
solidify and strengthen its holdings in
conremporary American ceramics.
Over the years, regional collectors and
supporters, including Stdphane Janssen, Sara
and David Lieberman, and Joanne and James
Rapp, have steadily built a collection of
national importance. And, in 1998, the
museum was the recipient of the Anne arrd
Sam Davis collection of 315 modern and
contemporary ceramic works by 120 British
and American ceramists.
Long range plans for the centel include a
permanent, specially-designed space; a curator
to care for and continue to research the
collection; and a dedicated endowment to fund

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collecting, conservation, publications,

exhibitions and educational programming.
With these goals in mind, a new group, CIA
(Ceramics Leaders ofASU,) has formed to
support the center. CIA members have been
involved from the outset with events that focus on
supporting the centerl educational and research
activities. Membership in the group entitles you
to receive special members-only invitations to
CIA events, including salons and tlips. Ceramics
collector and arts supporter Sara Lieberman is
chair of CLA and is also coordinating the grand
opening March 1-3 weekend.
The celebration will include Great Botuls of
Fire, a party featuring a silent auction, sale and
altist performances; a free public lecture by
internationally known artist Stephen de Staebler;
a bus tour of collectors' homes; and an open
studio event at the studios of ASU ceramics
graduate students and other local ceramists.

For more information about joining CLA
or to purchase tickets for the grand opening
weekend events, call the ASU Art Museum at
(480) 965-2787.
S Jennifer Pringle, Herberger College Communications Group

Spring 2002 Season Playtlill 5

General lnformation
General Box Office

Emergency Messages

Serving Dance, Lyric Opera Theatre, Theatre,
Organ Series and the Institute for Studies in
the Arts:
Galvin Playhouse/Nelson Fine Atts Center

Physicians and other paffons expecting calls
during a performance are asked to give their
seat locations and paging devices to the House
Manager. All checked paging devices wiil be

480-965-6447
Hours: 10:30 a.m. - 6 P.-.,Tuesday-Friday
noon-4 p.m., Saturday

monitored throughout the performance and
can be picked up from the House Manager
following the performance. Patrons who need
to make an emergency phone call should
contact an usher or the House Manager for
assistance. (Be sure to leave seat locations with
your sitter!)

Facility Box Offices
Dance Theatre
132 Physical Education Building East
Opens one hour before performances
Galvin Playho usel 480 -9 65 -6447
Opens one hour before performances,

Emergency Phone Numbers
ASU Public Safety: 480-955-3456
Galvin Playho use: 480 -9 55 -6447
Gammage Box officer 480-965-3434
Lyceum Theatre Box Office: 480-965-3437
Evelyn Smith Music Theatre

plus regular hours of 10:30 a.m.-6 p.m.
Tuesday-Friday, noon-4 p.m. Saturday
Lyceum Theatre: 480 -9 65 -3 437
Opens one hour before performances
Evelyn Smith Music Theatre: 480-965-3398
Opens one hour before performances
Gammage Auditorium: 480-965 -3434
Opens one hour before performances

Box Office: 480-965-3398

Late Seating Policy

Facility Policies
Due to the disturbance to other Patrons and
to performers on stage and in observance of
copyright laws, the use of cameras and
recording devices is strictly prohibited; cameras
are to be given to house manager to lock up.
Patrons also are asked to please turn offwatch
alarms, pagers and cell phones. Food, beverages
and smoking are not permitted in facilities.

Group Sales
Put together a group of 20 or more family,
friends, neighbors or co-workers and
save with group discounts. They're
available for many performances. Simply
call the Herberger College Box Office,
480-965-6447.

to notif,

The Katherine K. Herberger college of Fine Arls

Seating areas open 30 minutes before

curtain time.

Lost and Found
Galvin Playho uset 480 -9 65 - 6447
Gammage Auditorium: 480 -9 65 -3497
Lyceum Theatre: 480 -9 65 -6447
Evelyn Smith Music Theatre: 480-965-6603
Physical Education Bldg East: 480-965-5447

Patrons with Physical Disabilities

us

about a change ofaddress. \7e want to keep
our records accurate and keep you informed of
new developments. If you move, please call or
write with the new inlormation.

6

Theatre and Auditorium Openings

The college welcomes all patrons to our
performances. Seating for patrons with a physi-

Change of Address
Season subscribers are encouraged

Late-arriving patrons will be seated at the
discretion of the House Manager. It is often
impossible to seat late-arriving patrons until
an appropriate break in the performance.

cal disability is available in all facilities and may
be requested when purchasing tickets. Parking
spaces designated for patrons who have a
physical disabiliry are located in all parking lots

6tr

Parking
Free on-campus parking is available weekday
evenings after 7 p.m. and for most weekend
events, Saturdays and Sundays. Exceptions are

The following are suggested parking instrucrions
for Herberger College of Fine Arts facilities:

restricted, metered parking, visitor/pay lots and
residence hall lots, as noted on the signs at the iot

Paul V. Galvin Playhouse
(Nelson Fine Arts Genter)

entfances.

Evenings and Weekends:
Lot 3 on Gammage Pkwy.

Those attending weekday (Monday through
Friday) events held during the hours of
7 a.m. to 7 p.m. must use designated "Visitor
Parking" areas (metered or paid). Parking
designated for those with a physical disability
placard or iicense plate is available in all

parking

areas.

Parking Structure 3 on Myrtle Ave.

Gammage Auditorium
Evenings and Weekends:

Lot 3 on Gammage Pkwy. (Arrive earlyl)
Patrons arriving less than 30 minutes
before curtain should go directly to
Parking Structure 1 on Apache Blvd.

Please read posted signs and avoid parking in
reserved or restricted spaces. \7e cannot assume

Lyceum Theatre

responsibility for parking violations.

Evenings and \Teekends
, Parking Structure 3

NOTE; There is a charge for anyone parking on
campus before 7 p.m. on weekdays- Metered
parking is in effect on Saturdays. Metered
parking is free on Sundays.

:

on Myrtle Ave.

Dance Theatre/ 132 PE Building East
Evenings and \Teekends:

- Lot 42 at Orange Ave. and McAllister
Parking Structure 4 at Orange Ave.
and McAllister Ave.

Ave

.

Evelyn Smith Music Theatre
(Music Building)

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Architecture

Norlh/Solth

Evenings and \Teekends:

Lor J on Cammage Phry. (Arrive earlyl)
parking Strucrure J on Myrrle Ave.

ASU Art Museum
(Nelson Fine Arts Center)
Evenings and \Teekends

:

Parking Structure 3 on Myrtle Ave.

Tempe Center

Tvler Sireet

Prism Theatre

Museum Parking

Nelson

Arts Center
. ASU Art
. Gavin
. Dance

.

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'Al campus parking is FREE afrer
7 p.m. weekdays and Saturday, and
ALL day on Sunday. Exceptions inc ude
restrcted, meiered, visitor/pay and
residential hall ots, as noted at the entrance
to each lot and special event days

$pring 2092 Seaso! Pleybill 7

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480.3s0.8101
WWW. C}IILDSPLAYAZ. ORG

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T. JONE$-rh€

Breathing show

5un., Feb. 10, 2002'3 p.m.
50 year-old Jones connectsthe disjointed and janing elements ofhis personal history
into rhythms of life-sustaining breath, in a poignant 90-minute solo ofdance, film,
text and song
50Vo

discountfor students, children & groups.' Use your Fry\VlP cord far 500k off.

DAVIA I{RAKAUEK-ruezner

madness

Sat., Mar.2, 2002 '8 p-m.
David Knkauer and his ensemble, Klezmer Madness, bring enthusiasm and intensity to
Klezmer in a way that honors centuries of
50ok discountfor rtudents, children & groups.'

tndition.

Use

your trylVIP cord for

SIIAOIIN l[IAAfiIOKS-Bacr

500/o

off.

ny popular demand!

'7

p.m.
Tues., Mar. 1? 2002
Following their standing-room only Arizona premiere Iasl season, the Shaolin Warriors
return to Gammage with their stunning martial arts skills in an all new dea th-defuing
performance! Be sure to bring the whole family for this shared adventurel

EOK TICKDTS CALL

. 480-965-3434

www.asusammage.com

ticketntaster.colt

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Public Events