From: lampson@software.pulse.com (Dave Lampson)
Newsgroups: rec.music.classical
Subject: REC.MUSIC.CLASSICAL BIOGRAPHICAL COMPENDIUM - Part 1 of 2
Date: 15 Oct 92 22:20:21 GMT
Article-I.D.: software.9210152220.AA17962


This is the monthly posting of the biographies for participants of
rec.music.classical gathered so far.  I have edited many of them 
slightly to make for a more consistent format and to correct some 
typos.  If anyone would like to submit updates, additions or
corrections to their biography, please don't hesitate to send the
information to me.  The biographies have been listed alphabetically.

NEW!  The compendium is now available in PostScript format for 
easier-to-read printouts.  If you would like a copy, send email to 
the address below.

I really appreciate the effort everyone has put into this so far, and 
I'm sure members of the newsgroup appreciate having this informaiton 
available.  I'd especially like to thank everyone who submitted a bio 
this month.  Let's keep those bios rollin' in!

So far, the compendium contains 50 biographies for the following
participants in and/or readers of rec.music.classical (* new since 
last posting; + revised since last posting):

          Deryk G.R. Barker
          Anthony Becker
          Hector Bellmann
          John Bodnar
         +David Brooks
          Deborah Burton
          Jon Alan Conrad
          Kyle Dawkins
          Jonathan Delatizky
          Rob Dobson
          James Nathan Duquette
          Houston Dunleavy
          Victor Eijkhout
          Dave Frederick
          Mike Garrahan
          Fred Goldrich
         *Robert Haskins
          Curtis Heisey
          James G. Henderson
          Karl Prescott Henning
          Jill Hollifield
          Michael Hughes
         *Mike Hurben
          Werner Icking
         +Bill Johnson
          Chris Johnson
          Bob Kosovsky
          Winslowe Lacesso
         +Lawrence David Lampson
          Maarten van Loon
          Vance Maverick
          Tony Movshon
          Iain Neill Reid
          Bruce Rodean
          Henry D. Shapiro
          Greg Skinner
          Harold Smoliar
          Stephen Smoliar
          Max Stern
          Carl Tait
          Timothy Takahashi
          Gregory Taylor
          Michael Thorn
          Jennifer Turney
          Raymond S. Tuttle
          Francois R. Velde
          Gabe M. Wiener
          Richard Wilmer
          Ellis Workman
          Carol Gee Zarbock

If you would like to participate in this project and add your biography
to the compendium, please send the information to lampson@pulse.com,
or post it to the newsgroup.

Dave
lampson@pulse.com




                 REC.MUSIC.CLASSICAL BIOGRAPHICAL COMPENDIUM
                 *******************************************



Deryk G.R. Barker          (dbarker@camins.camosun.bc.ca)
-----------------

Born 25 September 1950 - the day Bruno Walter gave his only post-war
concert in Berlin! 

Educated at small English grammar school, studied Mathematics Cambridge 
University 1968-70, Mathematics Education & Philosophy London University 
1970-73.  Master's in Computer Science Brunel University 1988.

Studied classical guitar 1963-68, piano 1966-8.  Played double bass in
various (very) amateur orchestras 1966-70, sang in various choral societies 
1966-70.  Cantor Sidney Sussex College Cambridge 1968-70.  Member of 
Cornelius Cardew's Scratch Orchestra 1969-73: sang on DG recording of 
Cardew's The Great Learning February 1972, and at Promenade Concert 
performance August 1972; participated in European premiere of Christian 
Wolff's Burdocks, London Spring 1972.

My family was never especially musical, although my father "knows what 
he likes"; I first became interested in music in my early teens.  First 
purchase I can remember being Sargent's recording of Holst's Planets -
closely followed by The Beatles Please Please Me LP.

My peer group at school was very musical and together we made many musical 
discoveries, the most significant for me probably being the music of Gustav 
Mahler, which I first heard when I was 14.

After a (very) brief stint teaching school I gravitated into the computer 
business, which I have been working in since 1974, mostly as a software 
developer.

Came to Canada in August 1988, stayed in Toronto 1 year then moved West to 
Victoria.  Since July 1991 have been teaching Computer Science at Camosun 
College.

Married (twice), no children although 3 grown-up stepdaughters still living
in England.

Began presenting weekly classical music show on CFUV-FM in Victoria, 
March 1990 - programme concentrates on historic performances and unusual 
repertoire; Classical Music Director of the station since October 1990. 
Music critic of Victoria Times-Colonist since April 1992.

If forced at gunpoint to select a single musical style as my favourite
I would nominate romantic orchestral, although I enjoy most music from
early classical (even late baroque) to moderately avant-garde. I have
little patience for opera or vocal music.

Favourite composers: Beethoven, Mahler, Bruckner, Elgar, Nielsen,
Sibelius, Haydn.

Favourite performers: Furtwaengler, Horenstein, Walter, Mravinsky,
Hofmann, Solomon, Sammons, Ogdon, Barere.

Bees in bonnet: Busoni, Sorabji, Reger, Grainger.




Anthony Becker          (becker@vela.acs.oakland.edu)
--------------

("Tony" to netters)

I was born in December 1959 in Detroit, and have lived in the Metro
Detroit area all my life.  I am married and have one daughter.  We
speak German at home.

I am currently working on my M.Mus. in Composition at Oakland University
(Rochester, Mich.), and I also received my B.Mus. from there.  My main
performance instruments are piano and voice, though I play a variety of
Renaissance wind instruments as well.  I have performed mostly with the
Oakland University Collegium Musicum, directed by Lyle Nordstrom, but am
also active in the University Chorus and in my church, both as an
accompanist and a singer.  I compose mostly for small ensembles, though
I've also written for orchestra.  However, as this is not my chief
livelihood, I don't write very often.

In my other life, I'm a frustrated VM Systems Programmer (my shop is
switching to MVS; all VM job offers seriously considered).  My work is
mainly with administrative users.  I access the network through an
account on one of the academic systems.  I try to follow a number of
newsgroups, mainly soc.culture.german, and various VM and MSDOS related
groups, as well as a few of the music related ones.




Hector Bellmann          (h.bellmann@qut.edu.au)
---------------

I was born in 1947.  In my early years my parents made me believe that 
I liked classical music, which reflects in my asking of a record of the
Egmont overture for Christmas when I was four.  (I attest that I never
gave a damn about it,  but as it happens to be my father's favourite 
piece, I reckon I was just coerced into asking for it).  They took me
to watch The Great Caruso and told me I was crazy about La donna e mobile
which I was not, but I have to acknowledge at least a passing enthusiasm
over Liszt's La Campanella which didn't survive the crash of the record.

In a chat (at five) with my mother about writing music she suggested that
if I came up with something she could write it down for me.  I thought it 
was a marvellous ability, but my first attempt at a waltz was also my last.
I run into trouble in seconds as I realized that you cannot sing both the
melody and the um-pah-pah which forced me to switch to the latter as soon
as I got in doubt about the former.  But I was incapable of explaining this
to her.  She was so disappointed at my effort that gave up without looking
for a pretext.  I was hurt and that was it.  She didn't even keep the sheet
as a souvenir.

When she was doing the housework we used to play guessing the name of the
opera aria the other was singing.  I soon noticed I could beat her with
any aria that modulated (not that I knew what modulation was, but I knew 
the feeling).  I got her pissed off once and again with the same one, until
once she accused me of singing out of tune.  I never played that game again.

For years I adamantly refused to take up piano lessons because, as everybody
knew, piano playing was for girls.  I had already trouble enough with the 
school bullies to give them a real motive of scorn.

For my father Beethoven was the be-all-and-end-all of music.  My mother was
slightly more eclectic.  She liked Respighi and Dvorak.  Classical AM radio
was always playing at home.  I never paid much attention.  The first time I
ever asked what was some piece being played it turned to be Bartok's Second 
Piano Concerto.  My next time I was ten and alone at home.  I turned the 
radio on and was awestruck by what I heard.  I stayed sort of hypnotised and 
then I scribbled in a piece of paper the only thing I understood, which was 
"Pacific 231".

At thirteen I got hepatitis A.  The doctor kept me bedridden for 50 days.
It was the best thing that ever happened to me.  There was no TV, so all I
got in order to avoid boring to death was the radio.  In two days I realized
I knew a lot of pieces and set up to write down a list.  In a month classical
music had become my main interest in life.  My list grew daily.  My first 
gods were Wagner, Honegger, Hindemith and Prokofiev.  There were three items 
whose author's names I couldn't get but I thought too good to forget about 
them.  In time I found out what they were: Vaughan Williams' First Symphony; 
Jean Hanus Second Symphony; and Janacek's Sonata for violin and piano.  One 
month later I started to study piano, and music became my only preoccupation. 
According to my father, I was listening to the radio an average of six hours
per day.  I remember a row with my mother as I wanted to miss school one day
because they were playing Sibelius' Fourth Symphony in the morning...

However I was strongly discouraged to take up music as a career, in which 
my parents didn't see any future except as high school teacher (!).  So I 
yielded and studied maths, physics, eventually becoming Electronic Engineer
and IBM programmer.  I kept trying to study music as an aside but with
little luck.  I worked in the country (Argentina) and abroad, and eventually
migrated to Australia.  In the meantime I managed to had private lessons of
harmony in 1982 and then took up Robert Ottman's book in 1987 with the help
of a friend.  

In Australia I have been working as a PC hardware technician for four 
years.  When I turned 42 I decided to give music a serious go, and I'm 
about completing my third year as a part-time student of BA majoring in
Music and Psychology.  I cannot fool myself that I will ever be a 
professional composer (I would love to write film music) but I've promised 
myself I'll write symphonic music just for myself even if I never get to
hear it played except by my home computer.  During the last twenty years my 
favourite composers had varied from Mahler and Nielsen to William Alwyn, 
Alan Pettersson, Eduard Tubin and Arvo Part.




John Bodnar          (jbodnar@ccwf.cc.utexas.edu)
-----------

Born 4/14/70

I was born into a relatively non-musical family from New Jersey, although
the ever present strains of 50's and 60's "oldies" tunes during my younger
years have pretty well become a permanent part of my memory.  I first
started reading music in the fourth grade as a trombone player and became
a proficient tuba player two years later.

Upon moving to Texas in 1983, I permanently settled upon playing the
trombone and continued to do so until I graduated from high school.  I
played in both concert and marching bands as well as trombone and brass
ensembles during high school and from this experience gained a true
appreciation of band and brass music.

I first started listening to classical music after moving to Texas.  I
seem to recall that rock music once gave me nasty headaches, and as such,
classical music provided welcome relief.  My first recordings were those
$3.99 each or 3 for $10 tape cassettes that are common in mall record
stores, and from these, I became familiar with the music of many composers.
After a couple of years, I came to the realization that Beethoven's music
was for me somehow more satisfying than the music of any other composer.
Since then, I have become what you might call an "amateur Beethoven
scholar."  I have read numerous biographies about Beethoven, books of his
letters, biographies of performers who have done Beethoven justice, and
just about anything else that might be available to someone not intimately
involved in the study or performance of music.  From all of this, I seem to
have committed an unusual amount of factual information to memory which
occasionally comes in handy for various discussions in rec.music.classical.

In 1988, I entered The University of Texas at Austin with a major in
Computer Engineering, and, after a lot of academic hassles, I will probably
end up graduating in May of 1993.  During this time, I have become
increasingly interested in recorded music, especially performances that are
considered historical from our current perspective (anything prior to, say,
1960).  I attended my first classical concerts while here at UT, and for
that matter, my first (and for the present, only) rock concert.

I have two younger brothers.  Jason, the elder of the two, is a Computer
Science sophomore here at UT.  Jason's interests in rock music probably
rival my own interests in classical music, and as such, there have been
numerous battles between us for most of our adolescent lives.  The
juxtaposition of these two extremes has had its effects on both of us with
Jason now liking Mozart, Pachelbel, and the Canadian Brass, and with me
listening to the Beatles, Squeeze, They Might Be Giants, and The Pogues.

Access to the Usenet is available to everyone here at UT for a paltry $5,
and as a sophomore, I became exposed to "the Net."  I have learned much
from reading rec.music.classical, and I hope I can continue to share what I
have learned about classical music with other people.  I am responsible for
the occasional appearances on rec.music.classical of performance overviews
of various recordings of Beethoven's Ninth Symphony and his "Missa
Solemnis."

Apart from classical music, I like to cook, and I spend a lot of time
using computers.  As a freshman, I became involved with UT's Student
Engineering Council, and I have since held numerous positions in the
organization.  Currently I am the SEC's Systems Administrator and the
Editor-in-Chief of "Meeting of the Minds," the Newsletter of the National
Association of Engineering Student Councils for which UT is currently the
host school.




David Brooks          (brooks@osf.org)
------------

Born in London in 1949, attended Cambridge University 1968-71, and
emigrated to New England in 1983.  Naturally, I have an affinity for
English music.  I've always been an amateur musician whose enthusiasms
exceed his technical skills; still I am a mediocre pianist and reasonable
percussionist (my parents couldn't afford *real* music lessons) who enjoys
the management aspects of this post, as well as the visual impact, often
underrated.  I am also a choral tenor.

In over-compensation for my own missed education, I have grown three
children who are skilled cellist, violist and singer respectively; my
oldest is a music/math major at Swarthmore College and takes part in r.m.c.

My days in youth orchestras were some of the best times of my youth, and
I dedicate some of my time and energy to giving some of that back; I work
with the orchestra at my local high school as a part-time teacher, and I do
what I can with the New England Conservatory youth orchestras.  Keep the
flame alive!




Deborah Burton          (cubsfan@cultnet.ch)
--------------

I was born in New York and began studying piano with my grandmother who
taught music in the New York City public schools.  I finally got a degree
in piano from Mannes, after pursuing other goals at Columbia.  Then, an 
M.M. from Yale and am currently working on a Ph.D. in Music Theory from
Univ. of Michigan - Ann Arbor.  Despite that, I am living in Switzerland
with my husband who is a CAD/CAM software engineer.  I live near the 
Italian border which makes work on my dissertation easier - it is an 
analysis of Giacomo Puccini's Tosca.

I have also taught at a tiny liberal arts school in Michigan, Adrian 
College, and have contributed to the forthcoming Puccini companion, due
out next year from Norton.




Jon Alan Conrad          (conrad@brahms.udel.edu)
---------------

Ph.D. in music theory from Indiana University in 1985 (dissertation on
the songs of Gershwin).

Since 1982, on the faculty of the Department of Music of the University
of Delaware, teaching music theory and literature.  1986-88, record reviewer
and Contributing Editor for OPUS magazine.

Writing:  reviews and articles, THE KURT WEILL NEWSLETTER, OPERA QUARTERLY,
THE NEW YORK TIMES.  Program notes, Blossom Music Festival, Opera Theatre
of St. Louis, Elektra/Nonesuch records ("Girl Crazy," "Strike Up the Band").

Speaking engagements:  Delaware Symphony, Opera Delaware, Wagner Society
of New York.

Contributor to the forthcoming publications THE NEW GROVE DICTIONARY OF
OPERA (3 composer articles), THE PENGUIN OPERA GUIDE (32 composer articles),
and THE METROPOLITAN OPERA GUIDE TO RECORDED OPERA (9 opera chapters).




Kyle Dawkins          (kldawkin@undergrad.math.waterloo.edu)
------------

I was born on September 14th, 1971, in Wellington, New Zealand, and grew up 
in the very same city.  I have always been surrounded by music. My father, 
as a fanatic Chopiniser, played primarily Chopin while I was growing up. 
Both parents sang in multiple choirs, and my father was also a performing
member of the New Zealand Gilbert and Sullivan society.  My older sister is 
very musically gifted and studied piano, cello and voice before joining the 
New Zealand National Youth choir, which won the Best Choir award at the 
Vienna International Choral festival in 1988.  I began piano lessons aged 
seven, hated it, and gave up. After a number of years, I began again, 
learned for three years, hated it, and gave up.  All through high school, 
I had no interest at all in "classical" music.  Until my final year.  Then, 
something clicked.  I took piano up again, sadly regretting my earlier 
attitude.  I taught myself a great deal of theory and composition, writing
fugue after fugue in an attempt to learn tonal counterpoint.  Immediately 
following this outburst, I moved to Canada, where I had no ready access to
a piano, so I devoted time to theory and so forth whilst carrying on a 
degree in Computer Science.  I took a few music history courses and 
discovered that I really enjoyed it, and am now minoring in music.  I 
will begin my final year of my degree in September.  I have also worked 
in Systems Engineering at Motorola.

I am a musical snob, and will readily admit it. I cannot stand much modern 
pop/rock music, and jazz bores me to tears.  I do, however, like many 
different composers, beginning with Purcell, and ending with Mahler.  I 
find it hard to say who is my favourite, but often Bach and Mozart bubble 
to the top of my list.  I now devote free time to piano practice, and
composition.  Of note, I have written a string trio, a piano sonata, and 
numerous fugues, including one (in the style of Bach) on Suzanne Vega's 
"Tom's diner".  My next project is to write an opera but I'm too busy 
copying out Mozart's 41st symphony by hand to start on that just yet... :-)

And Haydn is DEFINITELY the most underrated composer ever.




Jonathan Delatizky          (delatizk@bbn.com)
------------------

I was born and grew up in Johannesburg, South Africa, in an essentially
non-musical home.  As a teenager during the heyday of the Beatles, the
"classics" of the sixties had and still retain an important place in my
life, but my first love in those days was folk and traditional music.
Later I became entranced with its re-interpretation by bands like
Fairport Convention, Pentangle, and Steeleye Span.

I discovered the other classics at college, pretty much on my own (I had
some help from a cousin whose favorite music included the Bartok quartets
and Jimi Hendrix).  At the time there was a record store in Johannesburg
with an extensive classical selection, knowledgeable staff, and listening
booths.  I benefited considerably from the advice available there.  My
interest in a wide range of repertoire goes back to this time - my earliest
purchases included (for example) Bernstein's recording of the Eroica, the
Tchaikovsky D major string quartet, Szell's Mahler 4, and Peter Maxwell
Davies' _Revelation and Fall_.  I became an avid record collector and
attended as much as I could of Johannesburg's limited concert circuit.
In my junior & senior years I helped run a music association on campus
which maintained a record library and sponsored occasional concerts.

Over the ensuing years I've remained an active and interested amateur.
I don't get to as many concerts as I'd like, I buy too many CDs, and I
vicariously enjoy my daughter's violin lessons (I don't really play any
instrument, except for a brief stint as a rotten clarinetist in a high
school band).  By profession I'm somewhere between an engineer and a
computer scientist, in case that's of interest.

My tastes are pretty wide.  I still enjoy both traditional and electric
folk, much "World Music", and some rock and jazz, though I just don't
have the time (or budget) to follow those genres more than cursorily.
I listen to (and enjoy :-) music from almost every period, with some
major reservations about the years between (roughly) 1835 and 1890,
though this gap has been diminishing recently.  Within this period it's
mostly chamber music that I do enjoy, so don't pay any attention if I
comment on a Chopin concerto or Schumann symphony :-)

Representative favorite works (today - these change!):
Mahler 6			Gurrelieder
Chronochromie (Messiaen)	Bartok solo violin sonata
Schubert string quintet		Winterreise
Bach cello suite #2		Berg violin concerto
Le Nozze di Figaro		Shostakovich 14th symphony
Beethoven 7			Volans - White Man Sleeps (original version)




Rob Dobson          (rwd4f@poe.acc.Virginia.EDU)
----------

I work at the University of Virginia Music Library. The job is low-low 
paying, but as a recent college graduate I am more than happy to have a 
job which is not waiting tables and also has lots of paid days off.  But 
even better, I get to take home music from the Library's collection, a
privilege reserved mainly for faculty.  Just yesterday I took home a 
recording on 20+ LPs of the complete works of Stravinsky, conducted by 
Stravinsky.  I have this problem with Stravinsky's name, I keep wanting 
to type Stravinksy.  But that's irrelevant.

I have always loved music, but until the last year or so I was part of the
rock and roll generation and listened to nothing else.  I still listen to
rock, especially the Grateful Dead, but now for the most part I find it
pretty dull, simple minded, etc.  I like jazz a lot, too; it was the first
non-rock music I liked.  And now, working at the Music Lib. where most of 
the collection is classical, I have been eating it up.  In my position I 
see everything new, score or recording, that comes into the Library, so I 
have learned almost as much in this job as in 4 years of college (I majored 
in Anthropology and Religion).

I like a wide range of classical music, just as I like a wide range of
non-classical music {yes, I even like rap, or some of it}.  I certainly
love baroque music, Vivaldi and Bach esp., but I realize that that music
is limited, and sometimes (just last night, in fact, as I put on a disc
of Telemann) that it can all sound a little too light and airy for me.
It depends on my mood I guess.  I tend to like concertos or chamber music 
as forms of classical music, as opposed to symphonies, which for some reason
never really do it for me {Beethoven is the major exception}. I even like
a lot of modern music, though some of it is frightfully tedious. However, 
it is not possible {or rather, pointless} to go back and try to write music
that sounds like Mozart--what would M. have said if he was berated to
`write something that sounds more like Vivaldi'?  So I like music which is
modern but still seems to go somewhere.  Judith Shatin, a prof. here at UVA,
has written some really beautiful music for flute lately.

And finally, I have some artistic pretensions/aspirations myself, and am
currently writing two pieces of music myself.




James Nathan Duquette          (dewy@mentor.cc.purdue.edu)
---------------------

University: Purdue University
School: Science
Major: Nuclear Physics
Year: Freshman
Age: Eighteen

I may be in the school of science with the intention of Nuclear Physics
but my true heart lis set in music.  I listen to everything with strong
devotion to orchestra soundtracks and classical works.

My present and future hobby, besides studying, is composing for orchestra
and string quintets.  I got my musical background from the high school
music department.  I played cornet and I was rather good at it.  Getting
many performance experiences from weddings and being in a small band
consisting of drums, piano, two violins, two trumpets, electric bass,
flute, saxophone, and trombone.  There was no lead singer.  With such a
configuration we called ourselves "Reality's Rhapsody" and we were damn
good.

Yes I know we had a weird instrumentation, but we all had talent and we
composed and arranged our own pieces with style and class.  It wasn't
jazz it was us!

My favorite pieces of music consist of:

			Mozart's Symphony No. 25
			Liszt's Hungarian Rhapsody No. 2
			Stavinsky's Rite Of Spring
 			Beethoven's Everything
			Bizet's Carmen
			Mozart's Serenade For Woodwinds
			Schubert's Piano Sonata D. 959
			Dukas The Sorceror's Apprentice
			Ravel's Bolero
			John William's "Hook"
			Hans Zimmer's Green Card
			Hans Zimmer's Backdraft




Houston Dunleavy          (dunleavy@acsu.buffalo.edu)
----------------

Houston Dunleavy was born in Ballymena, Northern Ireland in November 1962.
After early choral, Kodaly and Orff instruction, he began studying piano
at age seven and, after moving to Australia with his family in 1973 and
winning a full academic scholarship to Haileybury College in 1975, began
studies on clarinet, saxophone, music history and music theory.

	He attended The University of Melbourne from 1981-86 where he
graduated with a B.A. in British and American history and a B.Mus. in
composition, as a student of Peter Tahourdin, Barry Conyngham and Donald
Erb.  He had also studied clarinet with Isobel Carter-Stockigt.

Both during and after his undergraduate studies, he worked in Melbourne
as a freelance musician, actor, clown, dancer and mimist as well as a
teacher of woodwind instruments, firstly at Firbank Anglican Girls' Grammar
School and then at St. Bede's College where he was Head of Department.  A
freak accident in which his left thumb was almost severed turned Dunleavy's
thoughts toward graduate study in composition and to study the art of
conducting more seriously.  To this end he began orchestral conducting
studies with Roland Yeung and applied for admission into the Cleveland
Institute of Music in the USA.

In 1988, he was accepted into the M.M program in composition at the
Cleveland Institute of Music, studying with Donald Erb.  Whilst there, he
began a second M.M. degree in choral conducting studying with Gilbert
Brooks.  Dunleavy undertook his first serious vocal studies there as a
student of George Vassos, singing with the University Circle Chorale as
tenor soloist and with the CIM Opera Theater.  He graduated with the first
M.M. degree in 1990, and with the second in 1991.  Before the completion of
the second degree, Dunleavy was awarded a Presidential Fellowship to study
for a PhD in composition at the State University of New York at Buffalo as
a student of David Felder.

His conducting credits have seen him appear as the musical director and/or
conductor of such diverse ensembles as Mordialloc Musical Society, Northern
Theatre Company, Dandenong Light Opera Company, Donvale Community Orchestra,
South Melbourne Symphony Orchestra, Kew Philharmonic, Dandenong Valley
Combined Schools' Band and Northern Theatre Company in Australia and The
University Circle Chorale and Chamber Choirs and The Fires of Tonawanda in
the USA.  His conducting activities have spanned all genres and styles from
the theatre pit to the concert hall.

As a singer he has been a soloist and professional chorister with The
Church of the Covenant (Presbyterian) in Cleveland OH, USA, St. Matthew's
United Church of Christ in Hamburg NY, USA and First Presbyterian Church
of Buffalo, NY, USA.  Other singing credits include the roles of "Curzio"
in Mozart's _The Marriage of Figaro_ and "Dr. Stone" in Menotti's _Help!
Help! The Globolink!_

However, he has always considered composition to be his main activity.
He was chosen as the composer to write for the Geelong Youth Symphony
during the 1985 International Year of Peace celebrations.  His works have
been played in Australia and in a number of US states with performances
slated for Europe and South America in the next twelve months.  He was also
a composer/participant in the 1991 June in Buffalo New Music Festival and
was featured as both a composer and conductor at the 1991 North American
New Music Festival with the group "The Fires of Tonawanda".  He was
appointed to the theory and composition faculty at the National Music
Camp at Interlochen Michigan during the summers of 1989 and 1990 and
refused re-appointment for 1991 for personal reasons.  Whilst there, he
conducted the World Youth Symphony Orchestra in readings by student
composers and had works performed in faculty recitals.

Awards and honours include full tuition scholarships to Haileybury College
and SUNY/Buffalo, The Florence Bradford Scholarship at the University of
Melbourne, The Berly Rubinstein Scholarship at the Cleveland Institute of
Music, a Presidential Fellowship from SUNY/Buffalo, a Life Membership from
Nova Theatre Company and a certificate of achievement from The Old
Haileyburians Association.

His compositional interests include music for the theatre and voice,
liturgical and non-liturgical church music and interactive digital
synthesis.  He currently resides in Buffalo, NY where he is completing
Doctoral studies in music composition and is a teaching assistant at
SUNY/Buffalo.




Victor Eijkhout          (eijkhout@cs.utk.edu)
---------------

I was born in 1959.  Started playing piano at the age of 7 and gave it up
within a year.  Later took up recorder and played that for a number of
years, later switching to flute.  Played recorder in a large ensemble (at
least 20 people) and flute in a double woodwind quintet.  Picked up piano
again in the late seventies, and played flute and later piano in a group
of people performing in old peoples homes; later playing those same
instruments and pipe organ in two church choirs throughout the eighties.
Style of music: pop-like.

On flute developed a penchant for contemporary stuff (keyclicks,
multiphonics), but eventually abandoned the instrument around 1986.
Took up the bass guitar in the early 80's, first playing in a top-40
covers band, later in the New Wave band 'Triplex' that did 30 concerts
somewhere halfway the eighties.  In the same period had a brief fling
with ragtime guitar, writing a number of rags for one and two guitars.

Developing a fascination with Bach on the piano and organ, wrote some
atonal preludes and fugues for one or two pianos.  In the late eighties
played electric bass in a big band (Count Basie stuff and Bob Mintzer-like
big band funk), and tried playing Bach Cello suites on bass.  This got much
easier after purchasing a 5-string bass (which has B-E-A-D-G tuning low to
high), and certainly after adopting the 'two handed tapping' style.

Throughout the second half of the eighties played church organ, accompanying
four part mixed choirs in several churches.  At home had a multitimbral
synthesizer hooked up to a computer, and arranged music on that, both
popular and classical.

Also played recorder duets (renaissance, transcribed Bach pieces, and
contemporary original music), occasionally performing as street musicians
(a certain passageway under some houses in the city centre had a particularly
pleasing reverberation).  Since coming to the United States in late 1990 not
much organized music, only performing twice in a pop/jazz setting with a
number of colleagues at departmental Christmas parties. At the moment owner
of an electronic piano, a 5-string bass and good amplification for that.




Dave Frederick          (sasdrf@unx.sas.com)
--------------

Born sometime in the late '50's (my parents tell me 1958, by I don't
remember much before 1960) just outside lovely Philadelphia.

After encountering a living beatnik (a trumpet player named Vigo) at
the tender age of 7, I decided that I would be a musician.  Since my
brother had also decided to follow our mentor and study trumpet, and
since the trombone had that neat sliding dohickey that would fascinate
any second grader, I opted for the study of trombone at that time.

In my fourteenth year, my parents were prompted to move our homestead
to the Blue Ridge mountain city of Roanoke, Virginia.  Suddenly becoming
a rather large fish in a somewhat small pond, I began to make a name
for myself as a "young musician" in my high school years, performing
in such varied ensembles as the Roanoke Symphony Orchestra, the
Mill Moutain Playhouse (in the pit of a summer schlock theatre), and
whatever union gig came my way, such as circuses (circi?) where a
colleague once collected some elephant phlegm on his case, horse
shows (a big draw in VA), and once even the Miss VA pageant (where the
musician has a similar view from below the runway as do the judges,
making it that much easier to predict the winner and why:-), as well as
any county, district, and even all-state bands our public educational
system provided.

Having been cursed with this false success at such an early age, I
convinced myself to pursue music as a career.  I attended Syracuse
University as an undergrad, graduating magna cum lauda in Composition
with Performance Honors at a school whose music program was beginning
to decay into oblivion (I'm extremely dismayed to report that I've read
that all but the music ed department are being eliminated from the
degree program at Syracuse, and that the Syracuse Symphony Orchestra
has recently folded due to insolvency).  While at Syracuse, I was able
to study with the Ying and Yang of their Hindemith-taught composition
faculty (Howard Boatwright and Franklin Morris were both old Yale
alums, each with a different view regarding the worth of their mentor),
as well as the estimable Earl George.  I had the opportunity to spend
3 years in one of the largest analog electronic music studios in use
at the time, as well as a part-time job in the university's recording
studio, and both experiences were to provide me opportunities in my
subsequent life.  I also continued my performing career, playing with
such heavyweights as Frank Cetrone and, of course, Stan Callela...his
Trumpet and Orchestra (which was about his order of precedence in
treating his musicians; unfortunately, being the local union big-wig
in a very-closed town, he had a virtual monopoly on any lucrative
gig the Symphony turned down).  Not needing to study anything practical
(hey, I was going to be a musician), I enrolled in enough German and
Philosophy courses to risk not graduating until taking some football-
level social sciences courses my senior year.

Upon graduation, I decided to continue my studies at whatever reputable
institution was willing to offer me the most lucrative financial aid
package, and this turned out to be a fine school with an otherwise
hefty price tag.  Boston University offered me a full-tuition assistant-
ship to teach electronic music in their piddly little studio (one Arp
and a 4-track mixer!) for one semester a year.  I studied trombone with
Norm Bolter for a year, and, after returning to Syracuse over the
summer for whatever gigs I could muster, became so frustrated with the
treatment of freelance musicians that I discontinued my performing
career.  I studied composition first with Theodore Antoniou (whose
style of composition was, shall we say, in sharp contrast with mine),
and, when he returned from his Pulitzer sabbatical, David Del Tredici
(who, although he could be quite a perfectionist and slave driver at
times, was easily the most instructive and enjoyable teacher of
composition I have ever encountered).  But by far the most useful
training I received while at this school was attending a two-semester
workshop in digital music in Barry Vercoe's studio at MIT (and, if
there are any student composers reading this in any Boston area schools,
and if Professor Vercoe is still teaching this, I would most highly
endorse this course even if you have absolutely no interest in studying
electronic music!).  In order to create a musical programming language
which was "composer friendly", Dr. Vercoe invited each music school in
the area to send up to two composers to attend his seminar (and there
are several music schools in that area!).  Among the represented were
Berklee, Boston Conservatory, Boston Univ., Brandeis, Harvard, and
New England Cons.  By the second semester, when most of the undergrad
MIT engineers who realized that this was indeed a music class and not
recess were weeded out, while a few MIT students with a great technical
knowledge and an understanding of and appreciation for music remained,
we were able to have a twice-weekly forum for composers from different
schools to share ideas.  But I digress...

While completing my MMus., I was becoming increasingly disenchanted
with my music career, both in terms of what I was doing (or not doing),
as well as the unfriendly environment in which I was doing or not doing
whatever it was that I had set out to do.  Fortunately, having had that
wee bit of computer training at MIT allowed me to land a job at a small
medical technologies company, where I helped write a digital EKG
analysis system despite my complete lack of formal training in both
computers and medicine (kind of sheds some new light on the medical
profession, eh?).  Actually, we did have an actual doctor to consult
while working on the project (even if he was an urologist rather than a
cardiologist), and they did send me to UMass/Boston to complete an
MS in Computer Science.  Once I completed this degree, I married my
wife (a real live working musician, not a refugee like myself), and
sought a better job.  I worked for a firm along 128 which was indirectly
defense oriented (well, most of it was directly defense oriented, but
I had a bit of a buffer since I was working on the Ada compiler).
This company was going through what we call hard times while I was there
and, living in Boston at the peak of the false boom and therefore
unable to purchase housing while my wife was getting burnt out by her
40-odd flute students and freelancing career, we decided a change was
in order.  So we exchanged senators (from Ted Kennedy to Jesse Helms...
I love living on the edge) by moving to the cultural Mecca of North
Carolina, where I've spent the past four years working for a splendid
corporation in a glorious environment where the musical life is at best
abysmal.

Thus, while my training fostered a love of music itself in spite of a
disdain for a lot of what one needs to do in order to be on the
productive (or reproductive) end of music, and now being starved for
musical interaction of any kind, I lurk on the net ready to pounce on
any comment that allows my cynicism to better my judgement.  Sorry.




Mike Garrahan          (mike@satvrnvs.async.vt.edu)
-------------

Violinist and undergraduate student at Virginia Tech.  Plays in a
quartet that meets about once a week and occasionally gives private
performances.  Principal second violin in the community/student
orchestra.  Also does a daily classical music program on the college
radio station once a week; plays mostly modern music, avoids Top 100.
Listens to the radio a lot.  Enjoys St. Louis Symphony concerts and
Peter Van de Graaff.  Favorite composers are Brahms, Dvorak, R Strauss.
Also fond of Mendelssohn, Schumann, and most modern music.  Partial to
lesser-known works and pieces for string orchestra or quartet.  Other
activities include astronomy and computer programming.




Fred Goldrich          (fredg@escc.com)
-------------

Both parents violinists, showed interest in music at an early age;
first musical love, Gilbert & Sullivan; first instrument, accordion!
Secretly always wanted to conduct, didn't have the courage to admit
it.  Did some conducting in college (N.Y.U.), but was a Physics major,
eventually went on to a Ph.D. from Princeton.

But was utterly miserable, immediately went into musical comedy
conducting; after six years experience, decided to make the break toward
classical conducting.  Conducted the Brooklyn Chamber Orchestra for four
seasons.  Took Vincent LaSelva's course in the Juilliard extension division
(highly recommended!); attended conducting workshops taught by Max Rudolf,
Gunther Schuller, Kurt Sanderling, Lawrence Leighton Smith, David Zinman,
Sergiu Comissiona, and others.  Currently studying with Michael Charry,
Music Director at Mannes and formerly assistant to Szell in Cleveland.
One of three candidates for new Music Director of South Shore Symphony
(Rockville Center, Long Island), will conduct them in concert this May
(you will all be invited).

Earns a living as free-lance programmer.




Robert Haskins          (rhaskins@comm1.ab.umd.edu)
--------------

Born June 24, 1960, Roanoke, Virginia 

Began studying clarinet and writing music at age 12.  Undertook study
of piano at 14, "in order to learn how to write effectively for the
instrument."  Discovered through this study a flair for the keyboard,
leading to musical studies in that instrument first at the University
of Southern Mississippi (Hattiesburg).  While at USM, studied piano 
with George Imbragulio, composition with Luigi Zaninelli, and harmony
with William Presser.

In 1980, transferred to Peabody Conservatory of Music, majoring in piano
with Lillian Freundlich.  Completed Master's in piano in 1984. Also studied 
harpsichord with Shirley Mathews and composition with Elam Ray Sprenkle. 

In 1985, won full scholarship for study at the Guildhall School of Music
and Drama, London, where continued studies in harpsichord with Christopher
Kite.  Earned the concert recital diploma (that school's highest performance
degree) in harpsichord in 1986; was the first harpsichordist to do so in the
school's history. 

After return to the U.S., was a co-founder of Industrial Arts, 
synthesizer ensemble devoted to the performance of music composed by its
members, as well as performances of Steve Reich, Phil Glass, Gavin Bryars,
et al.  Group continued to 1989.  

In 1988, began writing articles about music, visual art, performance
art for various newspapers and magazines.  The list includes _The Sun_ 
(Baltimore), _Columbia Flier_ (their Classical Music Critic since 1990), 
and (most recently) _Chorus!_ magazine.  

After a hiatus from academia, returned to Peabody in 1991 to complete a 
long-delayed thesis for the degree Master of Music History.  The thesis
is titled "The Music of Philip Glass, 1965-1975: An Analysis of Three 
Selected Early Works and _Einstein on the Beach."  Am presently in the
process of applying to do Ph.D. work in musicology, to matriculate in
fall, 1993.

I also do work for radio and sit in on some panel discussions on 20th
century music, and maintain some semblance of a performing life (planning
recital in May, 1993 and appearances on concert programs in the spring as
well).  I have taught composition privately on occasion, and am doing so
at the moment.  

Principal musical interests/preferences are 20th century music and Baroque
music, but draw no sharp ideological lines preventing me from enjoying a
healthy interest in other periods as well.  Also interested in progressive
music -- industrial music and techno music.  

Favorite performer: Glenn Gould

Recent listening passions: Mahler, Strauss opera, Cage, Christopher Rouse.




Curtis Heisey          (curtis@aer.com)
-------------

By trade I am an apprentice in atmospheric science, but my first love is
classical music.  My interest in music began at an early age, and I played
trombone from age 11 through college.  My current favorites are Mahler,
Bartok, Stravinsky, and Shostakovich.  I'm also a pipe organ afficionado
and enjoy Bach, Tournemire, and Alain (and yes, even Widor).




James G. Henderson          (james@cfmu.eurocontrol.be)
------------------

I do not have anymore detailed information at the office, but I have sung 
(tenor) in a choir in Manchester (England) which performed Gordon Crosse's 
piece called "Changes" for choir and (large) orchestra.  It refers to 
bell-ringing changes as I recall.  It was quite an effective piece!




Karl Prescott Henning          (henning@acsu.buffalo.edu)
---------------------

born 6 Oct 1960

Karl Prescott Henning was born in Amityville, Long Island, the eldest
of seven children; his family moved to New Jersey when he was 8.  In
the fifth grade, he found a science club to attend instead of the weekly
music class, because he found the latter such a dismal waste of time.
At the end of the sixth grade, however, at a friend's invitation he
attended a school band concert, where he conceived a sudden, non-genetic
and irrational interest in the clarinet; he immediately devoted himself
to wearying his parents with pleas that he be permitted to learn to play
the instrument.

Henning's otherwise unfocused secondary schooling included private (but
unexceptional) lessons, and participation in the band, various pit-
orchestras for school plays, stage-band (prettified jazz-band), and
chorus; in addition to the clarinet, he acquired some proficiency on
the bass clarinet and a number of the more obnoxious saxophones.  By
audition, he also participated in northern New Jersey Region Bands, and
the All-State Band and Orchestra.  Towards the end of high school, he
also began work which would later direct itself towards composition,
in arranging the wind-charts for /West Side Story/ for three winds
(hey, we were on a tight budget), and arranging the upbeat bits of
/Star Wars/ for marching-band, by ear (anticipating the subsequent
industrial rush to provide such arrangements).

Henning's exposure to the so-called "classic repertory", then, was much
delayed; consisting at first of various arrangements for symphonic band.

Upon graduation from high school (1978), lacking money for further
education, or even (since neither of his parents had any experience
with Institutions of Higher Learning) the knowledge of how to beg
for student loans, Henning passed three years as a bank teller.  This
period was characterized by a growing awareness that what he really
wanted and ought to do, was music; an increasing but unsystematic
familiarity with varieties of pop-music; participation in a church
choir and occasional semi-pro pit-orchestras; and poverty.

Through the patient and generous guidance of a friend, Henning came
to attend the College of Wooster (Ohio), where he took a B.M. with
departmental honors, studying clarinet and conducting with Nancy
Buckingham Garlick, and composition with Jack Gallagher.  His other
activities included acting (most notably playing Salieri in the
campus production of Amadeus), and writing poetry and fiction.

After a year in Oklahoma unconducive to brief explanation, Henning took
an M.A. at the University of Virginia (Charlottesville), studying
composition with Judith Shatin, conducting with A. Douglas Hargrave,
and beer-brewing (with possible compositional ramifications) with
Walter Ross.  Henning co-founded and -directed a student chamber
orchestra, the Camerata Rotunda; and continued writing poetry and
fiction of a sort which sent academic English departments scurrying
for cheap handguns.  After the two-year program at UVa, Henning moved
to Rochester NY, to finish his master's thesis (a 15' piece for chorus
and wind ensemble to his own text, as yet unperformed) and to try to
weasel his way into the doctoral program at the Eastman School.

Instead, Henning wound up at SUNY Buffalo ["UB", locally], where he is
currently completing his Ph.D. in composition.  Here on the sunny banks
of the Niagara River, Henning and his colleagues, Gary Barwin and
Houston Dunleavy, maintain a composer/performer group dubbed the Fires
of Tonawanda; and Henning has studied for two years with visiting
professor Charles Wuorinen.  At time of going to press, he has all but
finished his comprehensive examinations (including a 10' unpitched
percussion quartet, /to the person sitting in darkness/, to be performed
this Fall by the UB Percussion Ensemble); and is about to begin work on
his dissertation:  a 20' piece for S, T & B solo and wind ensemble,
titled /Uncondission'd Ayres/, on texts of his own.

On an uncharacteristically first-person note, my other interests
and miscellaneous pursuits include Japanese (the language, principally),
and Strip Cribbage.




Jill Hollifield          (jill@gopher.ccbr.umn.edu)
---------------

I was born in 1966 in Bangor, Maine, and have lived all over the country
as an Air Force brat.  I come from a non-musical family, and remember first 
becoming enthused about classical music after seeing a television broadcast
of Il barbiere di Siviglia with Beverly Sills when I was 10.  It was then
I started nagging my parents for music lessons.  I made up for a late start
by being very active musically through high school - I played oboe in band
and orchestra, piano for two choirs and the jazz band, and sang with the 
concert and jazz choirs.  During this period, I discovered that I was much
more comfortable as a singer than as an instrumentalist, and began seriously
studying voice.

I was a vocal performance major my first year in college, but frustrated by
slow progress, switched to theatre.  I graduated from the University of MN
in 1988, with a major in theatre arts and a minor in vocal performance.  I 
then became very active in theatre around the Minneapolis area, and totally
dropped singing.  But I am studying again with a vengeance!  A year ago I 
started lessons again, and am learning some of the 'lighter' Mozart roles
(e.g., Zerlina, Pamina, Cherubino), and have discovered a great affection
for Rossini.  I am not in a choir at the moment, but sing wherever and 
whenever I can.  My goal is to sing in at least one opera before I die.
(The stint I did as a gingerbread child in Hansel und Gretel when I was 12 
doesn't count!)

My main musical interests are opera and choral works - I find the human
voice to be the most passionate instrument of them all.  But I also enjoy 
chamber orchestra works, early music, and anything with a talented conductor
or soloist.  I don't have a favorite period, but don't tend to listen to a
lot of Romantic orchestral music.

I make a living as a part-time graphic designer for an AIDS-research project
at the University of Minnesota, as a part-time comedy improvisation and
beginning acting instructor for adults, and as a free-lance actress and
improvisationalist.  I hope to add musician to this list soon.
Newsgroups: rec.music.classical