First Quarter 2013 - Cleveland Institute of Music

Moving to the Rhythmof the Haitian CultureThe trip was made possible, in part, by funds from the CIM AlumniAssociation. * Recent alumna Samantha Cho (MM ’11) joinedMs. Hasan and Mr. DeLelles for part of the trip. Ms. Cho studied withPaul Schenly and Kathryn Brown. Ms. Hasan is a student of JoshuaSmith. Mr. DeLelles studies with Richard Weiner and Paul Yancich.This summer, students Bill DeLelles and Jeiran Hasan*spent nearly a month teaching music in Haiti. The seedsfor the trip were planted shortly after the devastating 2010earthquakes in Haiti. Approximately 316,000 people diedand more than a million were made homeless. Buildingswere severely damaged and many completely destroyed.Among them were two famous music schools, includingSainte Trinité, run by David Ceasar and Bernadette Williams.Six weeks after her school crumbled to its very foundation,Ms. Williams came to CIM as part of an exchange programby the Kennedy Center in Washington D.C. to develop futurearts leaders from around the world. She spent a week atCIM, gaining an understanding of CIM’s operations throughattendance of master classes, departmental meetings, orchestrarehearsals, distance learning and more. She hoped her tripwould strengthen her education on the implementation of theconservatory system in her country – an ambitious goal - whileshe and her colleagues rebuilt from the ground up.Ms. Williams was so impressed with CIM that she cameback the next year and invited CIM students to return with herto Haiti and help teach a summer program in the mountainsof Cange.Other musicians from the States also went to Haiti, butwhile they saw themselves as providing invaluable instructionto the Haitian people, Mr. DeLelles and Ms. Hasan viewedthemselves as the lucky ones and they were happy to trade theirmusical knowledge in exchange for the cultural experience.They considered it a small price to pay for the trip of a lifetime.Their initial excitement, however, was short lived. Twentytwo-year-oldMr. DeLelles said he stepped off the plane and“feared he’d landed in hell.” His mother is a nurse who’d donemedical missions in Haiti, so he felt like he knew a little aboutthe country. But photographs couldn’t prepare him for thesmell and the sheer poverty.“It took us three hours to get to the location in Cange,” said20-year-old Ms. Hasan. “The ride was terrible. Awful potholesand the cars were falling apart. There were four of us crammedinto the back seat.” Their living quarters also left much tobe desired, although, according to Ms. Hasan, the womenfared better.“We were in rooms of three or six,” she said. “Standardrooms in a hospital complex above the clinic. We had locks forour rooms. The boys, however, had huge rooms with partitions.They slept 20 to 30 in a room.”Showers were cold, with water brown from mineralscoming out of a lone spigot. “I showered because I felt like itwas the normal thing to do - not because I got, or even felt,clean,” Mr. DeLelles said.The food was no better and both blanched when it wasmentioned. Cornmeal daily, along with rice, spaghetti and ketchup.Both experienced some stomach issues as their bodies adjusted.(Later in the trip, they were treated to one culinary luxury:Domino’s pizza - “just like here!” - that came from the city.)“ Through this experience, we learnedthe rhythm of music and the rhythmof culture are one and the same; theformer beautifies time as we hear it;the latter beautifies life as we live it. ”–Bill DeLellesIt wasn’t until they reached the music camp, located in themountains of Haiti, 50 miles from Port Au Prince, that theyrealized just how rewarding the trip would be.“The students in the camp were hungry to learn,”Mr. DeLelles said, his entire demeanor changing to positiveenthusiasm. “We didn’t experience the city life, the touriststops. Instead, we had this incredible first-hand culturalexperience. I witnessed a level of connectedness andcommunity that you just don’t see in the States.”Neither CIM student spoke French or Creole, soMr. DeLelles and Ms. Hasan used hand motions to communicatewith their Haitian pupils, ages seven to 27. Not surprisingly, theirmost effective means of communication was through music.They worked with multiple ensembles, including twobands and three orchestras. Both also performed in theadvanced band and orchestra with the Haitian teachers.“They don’t have proper instruments,” Ms. Hasan said,shyly admitting that she performed on her beautiful flute ina country with an average daily salary of a mere $2. “Theydon’t own them. They’ve all been donated, and are worn outhand-me-downs.”“No one could fix instruments if they broke,” Mr. DeLellessaid. “And Haitians have limited funds to do so. I actuallyplayed on snare drums held together by toilet paper. I learned awhole bunch Haitian ‘short-cuts’ like that.”Were the Haitians embarrassed by how their lack of meansappeared to the Westerners? Mr. DeLelles said absolutelynot. The Haitians were grateful for what they DID have, notresentful about what they lacked - a mentality often missingfrom Americans.Another vast cultural difference between Haiti and theStates is a much more casual concept of time. “Things don’thappen at a certain hour,” explained Mr. DeLelles. “If it’slunchtime, you eat. The next thing begins after that. And thenit’s time for something else. It takes as long as it takes.” (In fact,he and Ms. Hasan nearly missed their return flight.)Ms. Hasan and Mr. DeLelles were both profoundlyaffected by their three-and-a-half week experience. Whenasked if they felt the Haitians learned anything fromthem, both Ms. Hasan and Mr. DeLelles downplayed theircontribution, focusing more on what the Haitians taughtthem instead.“There’s an essence and a presence in a rhythm thateveryone subscribes to,” he said. “It’s not forced, or taught. Itjust IS. From sunrise to sunset, seven days a week, we all weremoving to the rhythm of Haitian culture. There simply was noother way. Through this experience, we learned the rhythmof music and the rhythm of culture are one and the same; theformer beautifies time as we hear it; the latter beautifies lifeas we live it,” Mr. DeLelles said. “What the people lacked inquality of training and instrumentation, they more than madeup for with passion and energy.”Ms. Hasan couldn’t have agreed more. “On the surface,Haiti may seem like a poor country, though while we werethere, we experienced riches we had never experienced before.”Although they were eager to return home, planning theiractivities and anticipating American meals, both admitted thatthey viewed things differently upon their return.“Something was missing,” Mr. DeLelles said, describing avoid left without the joy and passion exhibited by the Haitianpeople. “When music naturally invites our attention, within liemany rhythms we cannot resist. These innumerable patterns ofmovement create an atmosphere which is inexplicably relatable,captivating and ultimately irresistible. Such an atmosphere wasever-present during our month-long stay in Haiti; not only inthe indigenous music, but in all aspects of life.”Opposite Page: Bernadette Williams, Sainte Trinité coordinatorwith Jeiran Hasan and Bill DeLelles.Above, from top: Group photo of the orchestra including facultyand students after the last orchestra performance of the threeweekcamp; Meret Bitticks (flute teacher from Chicago areaand volunteer), Jeiran Hasan, Deborah (flute teacher at SainteTrinité) and one of her students, Godson; Percussionist CadetMackenson teaches Bill DeLelles how to play and dance kompa;Just down the hill from the music camp is a dam, built in the1970s. This view is of the water in the man-made reservoir.4 winter 2013 5

AlumniVoice GradsMake CIM Proud Performing at Met and on Other StagesMezzo Irene Roberts 1 (MM ‘09), student of Mary Schillerand Dean Southern, will make her debut on the stage of theMetropolitan Opera singing roles in two operas, Parsifal andLe Nozze di Figaro. She will also make her debut this seasonat the San Francisco Opera singing the role of Giuletta inLes Contes d’Hoffman.Heather Engebretson 2 (BM ‘10) will make her Europeandebut on the stage of the Graz Opera in Austria singing the roleof Nannetta in Falstaff. In the summer of 2012, she was the firstplace winner of Finland’s prestigious Savonlinna Opera FestivalCompetition. She was also awarded the Sonderpreis der Oper Grazin the International Hans Gabor Belvedere Competition, afterwhich she appeared in concert at the Stadttheatre of Baden beiWien. This season, Ms. Engebretson makes her role debut as Gretel(Hansel und Gretel) with the Macon Symphony Orchestra under thebaton of Ward Stare, and appears with the Virginia Consort as thesoprano soloist in Brahms’ Ein deutsches Requiem. Ms. Engebretson,a 2006 Davidson Fellow Laureat in Music, studied voice with MarySchiller and violin with David Russell at CIM.Bass-baritone Richard Ollarsaba 3 (BM ‘09), currently withthe Minnesota Opera’s Young Artist Program, was selected forLyric Opera of Chicago’s 2013-2014 Young Artist Program,beginning late spring 2013. The Chicago Tribune calls theprogram at The Ryan Opera Center “an elite singer-trainingprogram...known as a launching pad to big-time careers...”Mr. Ollarsaba, also a Fellow of the A.J. Feltcher OperaInstitute at UNCSA, performed as part of Tanglewood’s 75thAnniversary Celebration Concert, broadcast on PBS in August.Last spring, his performance with the Greensboro SymphonyOrchestra as the featured soloist, as first prize winner of theCharles A. Lynam vocal competition, was called “vocallyflawless” and reviewers applauded his gifts of interpretation. Hewas a student of Mary Schiller and Dean Southern at CIM.Lindsey Anderson 4 (MM ‘10, student of Mary Schiller) wasan Apprentice Artist at Seattle Opera where she sang roles inproductions of Die Zauberfloete and Lucia di Lammermoor. Sheis now performing with Winter Opera St. Louis where she issinging leading roles in Mikado and The Ballade of Baby Doe. Shealso performed with Opera Fayetteville singing leading roles inMark Adamo’s Little Women and Jake Hague’s Dead Man Walking.Elizabeth Tredent 5 (BM ‘11, student of Mary Schiller) sang therole of Suzuki in Madame Butterfly with Lyric Opera Kansas Citywhere she is currently an Apprentice Artist. She is also pursuinga Master of Music degree, studying with Vinson Cole at theUniversity of Missouri at Kansas City.Tamara Ryan (AD ‘11, student of Mary Schiller) sang the roleof Susanna in Le Nozze di Figaro with the Emerald City Opera inSteamboat Springs (CO) this past summer. Miss Ryan has alsorecently established a new opera company, Opera Fayetteville inFayetteville (AR). Their premiere offering was Mark Adamo’sLittle Women in which recent CIM grads sang leading roles.Appearing with Miss Ryan were Megan Crews (PS ‘11),Chelsea Coyne (MM ‘10), Anne Coffman 6 (MM ‘09) andSarah Gardner 7 (MM ‘10). All were students of Mary Schiller.This season Opera Fayetteville will present Jake Hagey’s opera,Dead Man Walking.Chelsea Friedlander 8 (BM ‘10, student of Mary Schiller) sangthe role of Nanetta in Falstaff in New York City with the MartinaArroyo Opera Festival. She has also recently sung the leading rolein Fantasticks with the Women’s Theater Company of New Jersey.Samantha Gossard 9 (MM ‘12, student of Vinson Cole) sang therole of Second Lady in Die Zauberfloete with the Aspen Festivalthis past summer. Also attending the Aspen Festival and studyingwith Vinson Cole was tenor Nathaniel Hein (MM ‘12).Helen Wyatt (BM ‘11) and Antonia Botti-Lodovico (BM ‘10)sang Fiordiligi and Despina in Cosi fan Tutte at the Tuscia OperaFestival in Viterbo, Italy this past summer. Both were studentsof Mary Schiller. Miss Wyatt will also sing the leading roleof Giorgetta in Il Tabarro with the Chicago College of thePerforming Arts in November 2012.Anjin Stewart-Funai 10 (PS ‘12, student of Mary Schiller)and Andrew Manea 11 , student of Clifford Billions, sang rolesin Il Barbiere di Siviglia at the Perugia Music Festival this pastsummer at the Cortona Opera House and at the Castiglione delLago outdoor amphitheater in Italy.Elizabeth Frey (MM ‘12, student of Mary Schiller) wasan Apprentice Artist Des Moines Metro Opera this pastsummer. Also attending summer festivals were April Martin 12(MM ‘11), student of Mary Schiller and Vinson Cole whoattended the Castleton Festival along with Andrew Manea,Agostina Migoni (BM ‘13), student of Mary Schiller andOswaldo Iraheta 13 (PS ‘12), student of Vinson Cole.Sarah Mossman, student of Mary Schiller, performed withthe Light Opera in Falmouth, Cape Cod. David Fair (PS ‘12),student of Clifford Billions, sang Rinuccio in Gianni Schicchi atthe Bay Area Summer Opera Theater Festival in San Francisco.Rebecca Skirpan (AC ‘12), student of Mary Schiller, was anAmerican finalist in the Belvedere Competition in Vienna,Austria in July 2012.Kathryn Schumann 14 (MM ‘11, student of Clifford Billions)is in the Young Artists’ Program of the Chicago Opera Theaterwhere she will sing the role of Amelia in Daren Hagen’s newopera Amelia. She is also pursuing a master’s degree in theRoosevelt University Chicago College of the Performing Arts.Marcel Worrell Miller (BM ‘10, student of Clifford Billions),sang the roles of Goro in Madame Butterfly and Monostatos inDie Zauberfloete with the American Chamber Opera Companyin Chicago.Agostina Migoni, Andrew Manea and Oswaldo Irahetaperformed with the Castleton Festival Opera in Muscat, Omanin November at the Royal Opera House there in a production ofLa Boheme with Lorin Maazel conducting.57968101 2 3 4111213 148 winter 2013 9

Passing it onAlumna Experiences Hybridof Pedagogy, Performanceand Outreach in Fellowship RoleRecent graduate and CIM Presser Scholar Annalisa Boernertook her community service work at CIM to a professional levelupon graduation. She recently began a two-year Fellowship withCommunity MusicWorks (CMW) in Rhode Island.From One Generation to the Next:Giving the Gift of MusicCIM’s mission is to cultivate new generations of young musiciansthrough an immersive and educational process, guiding the mostmusically talented individuals towards careers that engage diverseand global audiences, stimulating the understanding and love ofmusic throughout the world.CMW, now in its 16th year, works to create communitythrough music education and performance to transform thelives of children, families and musicians. The model is centeredaround teaching, mentoring, program design and performanceactivities of the Providence String Quartet (in residence) andthe Community MusicWorks Players. As a Fellow, Ms. Boernerperforms as part of the Players ensemble, teaches, mentors andhelps to organize educational events to build community.“The teaching I did at the Cleveland School of the Artsthrough CIM Community Service gave me some of my firstopportunities to work with students on-on-one, participatein their development over the course of a year and cultivaterelationships with fantastic young people,” she said. “TheCSA environment made me particularly qualified for CMVemployment in that I had some experience working with kidsfrom an underserved community, much like the one in whichCMW resides.”Students participate in after-school program and receiveinstruments free of charge. They have weekly lessons, arepart of a weekly community day that includes studio classand ensemble playing, and can attend workshops led byguest artists, in addition to performing several times a year.Teens are eligible for a leadership development group inwhich they engage in discussions about social justice, mentoryounger students and work to create musical relevancy intheir community. All students are offered enrichment classes,including Media Lab, Fiddle Lab and Music Lab.“In a musical climate where the traditional orchestralmodel is struggling, this sort of organization puts classicalmusic to work without sacrificing the goals of artisticexpression and achievement,” Ms. Boener said. “Organizationslike CMW, or the El Sistema-style programs that are croppingnationwide, provide opportunities for both the musicians theyemployee and the communities in which they reside.”After just one month in Providence, Ms. Boener had afull schedule. She’d already performed in three concerts as amember of the CMW Players and was teaching a full studio ofbeginning and intermediate students ranging from age seven to14, while also coaching a high-school-age quartet. On Fridays,she co-leads a chamber orchestra / discussion group for teensin the leadership program, and team teaches a studio class thatincludes a mix of eurhythmics, signing, string technique andstudent performances.Ms. Boener said, “This position is a perfect fit for mebecause I am performing chamber music with my colleagues(including CIM alumna EmmaLee Holmes-Hicks) as wellas performing new, challenging solo repertoire; I’m teachingand serving as a role model for a sweet, dedicated group ofkids; and I am making a difference in this community as I sharethe power and joy of classical music.” In addition to growingas a musician and pedagogue, she knows she helps secure thefuture of classical music by creating new audiences and sharingclassical music with those who night never have encountered itwithout programs like CMW.She credits her success in this fellowship to her time atCIM. “My lessons with Jeffrey Irvine and Lynne Ramseyprepared me for the performance aspect of the position. Myteachers provided me with a full musical toolbox, such that Imight practice productively and analytically, think criticallyabout my musical development and perform successfully inmy role.“The Cavani Quartet’s creative, interactive and spiritedseminars about outreach inspired my excitement about thepotential marriage of performance and education and providedme with useful subject matter for presentations,” she said.“Additionally, CIM’s eurhythmic requirements have served mewell….I learned a very useful and broadly applicable curriculumof exercises, and have found that this subject matter is in highdemand from my employers.”In short - CIM strives to be the center for the educationof the complete musician of this century.Critical to achieving this goal is one generationsupporting the next. Help CIM achieve its mission byadding your voice to the chorus of supporters who havealready added their names to the growing list of LegacySociety members.Planned giving is long-range financial planning withcharitable intent. You can accomplish personal financialgoals and provide for your loved ones while ensuring CIM’sfuture. The Legacy Society was created to recognize thesedonors who have included CIM in their financial and estateplans by providing for the institute through a will bequest, atrust, insurance or life income arrangement. At establishedthresholds, it also includes donors who have made a currentgift to CIM’s endowment or established an endowedscholarship or prize fund.The most compelling reason to join the Legacy Societyis because you believe that CIM deserves your support. It isan opportunity to express your life values and to continue toprovide for future musicians. By designating a gift to CIM,donors help to ensure that it will be able to carry out itsmission and help students achieve their dreams with a highquality classical music education.Planned gifts, unless otherwise restricted by thedonor, support CIM’s endowment fund. The principal ofthe endowment fund remains intact while CIM relies onthe income it produces to support the school and its manyprograms. Likewise, the principal of endowed scholarship orprize funds remains intact and scholarships and prize awardsare made from income produced.Legacy Society members understand that a healthy andgrowing endowment fund, coupled with scholarship andprize opportunities, are important elements in attractingnew students and securing CIM’s long-term financial plan.The CIM experience has a profound impact on itsstudents. Not only do they refine their musical skills, butthey gain insights into the significance of their chosen field.From Mary VanHoozer, who gave the speech at this pastApril’s Legacy luncheon, “We are all interpreters of music,and our role is to give music a voice….before I sought topass a test. Today, I aim to minister a gift, and give back to acommunity that has offered me so much.”1234Music is a lifelong passionfor those who attend, teachand work at CIM. Manyof CIM’s students enrollat a very young age in theSuzuki or Eurhythmics 1programs and matriculatethrough the Conservatory 2 .Some graduates, likeMarshall Griffith 3 , returnto CIM to teach the nextgeneration of music lovers.And for members of theLegacy Society like Gailand Elliott Schlang 4 , alove of music translatesinto financial support ofa performer’s quest tobecoming a completemusician – one generationhelping the next. They arepictured here with violinistand beneficiary of theirsupport Alexandra Early(MM ’07, PS ’09, student ofPaul Kantor).If you would likeinformation aboutbecoming a member ofthe Legacy Society, pleasecontact Steven Pike,Development Officerat 216.795.3168 orsteven.pike@cim.edu.All inquiries are confidential.10

ApprenticeProgramLast spring, Notes reported onthe new Apprentice Programdeveloped by Heather YoungMandujano, Distance LearningEducation Coordinator. Theprogram teaches Conservatorymusicians how to create anddeliver engaging educationaldistance learning programs forK-12 students.“Forty-one members of TheCleveland Orchestra teach righthere at CIM,” she said. “This is aclear indicator that teaching skillsare a vital component to wellroundedmusicianship.”CIM’s DL programming is madepossible in part by a generousgrant from the Key Foundation.A portion of that funding wasused to develop and sustain theApprentice Program.More than 40 Conservatorystudents applied for the ApprenticeProgram this year. Congratulationsto the following students whowere selected:Susan BengtsonSophie BennAndrew BrownJohn CaughmanArmando ContrerasAddie DeppaSamantha FarmilantRyan FinefrockMeagan GillisDaniel GrambowGunnar HirtheTobias JamesNeil MeloroTristan MontaqueNick NelsonMyron PakDaniel ParvinStephanie SchoreMichael TerrasiMegan ThompsonDrew SullivanRainey WeberZachary WhitneyKevin WinterGrant Ensures MusicEducation in Rural OhioFor countless students in rural school districts, the artsare a luxury that is just out of reach- both financially andgeographically. CIM’s Distance Learning helps to bridgethat gap by providing videoconference lessons for studentsall over the world.Thanks to the Martha Holden Jennings Foundation, which recently awardedCIM a grant in support of Distance Learning, students in rural Ohio can alsobenefit from videoconference technology. The underwriting will allow theDistance Learning department to complete 80 to 100 live video connections withNew London Schools, in direct support of their entire music curriculum acrossgrades four to 12.This grant and its subsequent classes, coaching and mentoring sessions willallow CIM Conservatory and Preparatory faculty, and most importantly CIMstudents, to initiate and sustain high quality music education for rural, publicschool students. The program was piloted last spring to benchmark the district’sneeds prior to applying for the grant.The New London School system is located in rural Huron County, about60 miles west of Cleveland and 80 miles from Columbus. The district has a 42percent poverty level, with a mean income of just $27,500.Carol Girton, superintendant of New London Local Schools, wrote, “Beingin such a remote area and not really financially able to afford professionalperformances, CIM has opened the eyes of my students to the possibilities thatthe academic world has to offer. Our students have participated in lessons andconcerts they could not haveotherwise experienced. Two of our“ Forty-one members ofThe Cleveland Orchestrateach right here at CIM.This is a clear indicatorthat teaching skills are avital component to wellroundedmusicianship. ”-Heather Young Mandujanostudents have gone on to major inmusic because of our great musicstaff and the encouragement ofthe professors in CIM’s DistanceLearning department.”A 7th grade student whoparticipated in the pilot, said “I loveknowing that I have a talent andthat I can use it and join with otherkids who love to sing.”“I think it helped us a lot,” saida high-schooler who participatedin woodwind quintet coaching.“I liked how they took the timeto explain everything instead of just saying ‘This is the exercise and this is howyou do it’ and move on. They actually explained what it did to help us and weunderstood why we were doing this.”In addition to providing high quality instruction and performances toenhance the education of New London students, the program provides CIMapprentice instructors*with valuable opportunities to further their teaching andpresentation skills. (*See sidebar and Notes Spring ’12 for more information)“We will work closely with the New London music teachers andadministrators to ensure that CIM is supporting the aspirations and goals of theirentire school system,” said Greg Howe, director of CIM’s Distance Learningdepartment. “This project is unlike any teaching effort Distance Learning hasever done before.” Read more about Distance Learning on page 19.Offbeat Radio Show Returns for 9th SeasonTune in Saturday mornings at 11 a.m., WCLV 104.9 FM*indicates a new show.January 5 - Midori *This season marks the 30th anniversary ofviolinist Midori’s concert debut at just 11years old. It also marks the 20th anniversaryof the founding of Midori and Friends, a nonprofitprogram which provides thousands ofunder-served children with music lessons andexperiences. Midori shares her passion formusic and how she is sharing it with the world.January 12 - “For the Record” -Alan Bise*Musicians make sound and recordingartists capture it. Alan Bise is a recordingengineer who has mastered his art as theChief Classical Producer for Azica Recordsand the founder of Thunderbird Recordswho has returned to CIM as the Director ofRecording Arts & Services. Learn about hisexperiences, as well as what it means to beback at CIM in his new role.January 19 - “A Well ComposedLife” - Joan TowerHailed by New York Magazine as “One ofthe Most Successful Woman Composers ofAll Time,” Joan Tower was the first womanever to receive the Grawemeyer Award inComposition in 1990. She was inductedin 1998 into the prestigious AmericanAcademy of Arts and Letters, and into theAcademy of Arts and Sciences at HarvardUniversity in 2004. (from 2007)January 26 - “Everything Old isNew Again” - Dean Southern*The great baritone Dean Southern haswritten extensively about what today’ssingers can learn from those whopreceded them. He’ll share the work ofsingers he has unearthed from the past,what they tell us about the evolutionof Opera performance and how theyinfluence today’s singers.February 2 - Alisa WeilersteinYou’ll hear what it’s like to be part of CIM’sYoung Artist Program from a musicianwho has taken the classical music world bystorm. Alisa Weilerstein started playingthe cello when she was two and a half, andnever stopped. She made her debut withThe Cleveland Orchestra in 1995 when shewas only 13 and has gone on to performwith almost every major orchestra in theworld. CIM’s artist-in-residence shares herstories of a musical upbringing. (from 2009)February 9 – “Playing a New Tune” -Roger Tapping*Roger Tapping, chair of NEC’s chamber musicprogram, former violist of the Takács Quartet,is the newest member of the Juilliard StringQuartet. You’ll find out how Roger plans onbalancing his life as an educator with the life ofa full time member of one of the world’s mostfamous string quartets.February 16 – “Just for Laughs”Eric CharnofskyIn the deep, dark depths of musical history,one man’s music has been unearthed,enlightening the world to works that couldnever be imagined by the likes of Mozart orHaydn! Offbeat talks to a performer whois bringing the compositions of the greatPDQ Bach to audiences, along with his ownhumorous compositions -- Eric Charnofskyshares his musical witticisms. (from 2009)February 23 - Jaime Laredo*Offbeat talks to CIM’s newest violinfaculty member (and Mixon Hall MastersSeries season opener) about his career, hisrecordings and what it means to him to beat CIM.March 2 – “Queen of the Keys”Joela JonesJoela Jones, principal keyboardist of TheCleveland Orchestra, traveled the coastsof America as a child prodigy, a trip thatled to encounters with some of the all-timegreats of classical music. She’ll share herstories, her music and some of her otherlesser-known talents during this encorepresentation of Offbeat. (from 2009)March 9 – “All About the Tuba” -Ron Bishop*It’s an instrument that’s played in concertbands, jazz ensembles and marchingbands but when it comes to its place inthe orchestra, the tuba stands alone. RonBishop was principle tuba for The ClevelandOrchestra for 38 years and has also coachedand mentored the next generation oforchestral tuba players. He’ll share thehistory of the bass voice of the brass section.March 16 - “The Rhythm of Life withJamey Haddad”Jamey Haddad has got the beat and he issharing it with students at CIM. He discusseshis career and what he teaches to the nextgeneration of musicians. (from 2006)March 23 - “Life Inside theConservatory” - Yolanda Kondonassisand Michael SachsOffbeat explores life at a conservatorythrough the eyes of teachers and theirstudents. Harpist Yolanda Kondonassis andtrumpeter Michael Sachs share what life islike for musicians who are on the path tobecoming full-time professionals. (from 2007)March 30 – “Singing the Praises ofSoprano Christine Brewer” *Offbeat asks about her recital career, herGRAMMY Award-winning recording,what it’s been like to perform with thetop conductors of our time and her effortsto pass on the love of opera to the nextgeneration through the program she startedcalled “Opera-tunities.”12winter 2013 13

CIM Welcomes New FacultyCIM’s team is growing this season with the appointments of many new faculty, bothfull and adjunct. As of this season, ALL principle members of The Cleveland Orchestraare on faculty at CIM!In past issues of Notes, you read about the recent appointments of Jaime Laredo and Sharon Robinson, Ivan Zenaty,Dean Southern, Jacob Nissly and Erin Reidhead. Please welcome the following new adjunct faculty (clockwise from top left):• Jeremy Allen, composition• Julie Andrijeski, historical strings• Peter Bennett, head, harpsichord• G. Paul Cox, music literature• Joan Ellison, popular voice• Debra Nagy, baroque oboe• Yasuhito Sugiyama, low brass• Amitai Vardi, clarinet• Edward Zadrozny, chamber music and tromboneKorean ConnectionCIM President Joel Smirnoff and Dean Adrian Daly hadbreakfast with a group of CIM alumni during their recent tripto Seoul, Korea. While several of the alumni knew each other,many did not, and it was a great opportunity for CIM’s Koreangraduates to connect with both the CIM leaders and eachother. As a result, a new Facebook group has been created, CIMAlumni Association of Korea, which already has 34 members.Pictured with President Smirnoff and Dean Daly are: (Leftseated, going around the table) Soo-young Kim, Ina Ham,NaYoung Kim, Sehee Lee, Soyoung An, Jung Ah Ah (standing,trenchcoat), ChangJoo Im (standing, left), Eunhee Grace Jeon(standing right), Mee Ryu, Boram Nam.CIM Team AttendsShowcase in the CircleOn Thursday, September 27, staff from the Cleveland Instituteof Music met up with a many of their University Circleneighbors to participate in the 3rd Annual Showcase in theCircle, which was hosted this year at the Cleveland Museum ofNatural History. The event’s intent is to raise awareness in theneighborhood and surrounding communities of all the goodsand services that University Circle has to offer—includingresidential, educational, religious and social services as well asarts and cultural experiences. CIM had a prime spot in front ofthe dinosaurs.Distance Learning... Down UnderFor eight weeks this summer, seven 11th graders in Australia“attended” CIM as students of Head of Composition Keith Fitchor, perhaps more accurately, their video likenesses did.Instructor Ingrid Little at ABBOTSLEIGH, an AnglicanPreK-12 school for girls, assigned Baroque style compositionto her students last semester. This semester, they used thatexperience as a foundation to create two to three minute works,in any style.Eager to use their videoconferencing technology in anew way, the instructors at ABBOTSLEIGH partnered withCIM to provide the girls with a virtual composer-in-residence,one that could mentor them through each step of theircomposition projects.Keith Fitch held four videoconferences with the girlsover an eight-week period. After an initial session, where thegroup composed a piece and discussed elements that make up acomposition, the girls began to apply what they learned in theirindividual works.Scores were emailed to Dr. Fitch who then providedfeedback and had individual discussions during thesubsequent sessions.“I was thrilled to be able to work with these youngcomposers, half a world away. The commitment they showed totheir music and their own personal musical improvement wasperhaps the most inspiring part of the experience,” Dr. Fitchsaid. “I hope that we can repeat these lessons with new studentsmany times in the coming years and continue to connect CIM toyoung musicians around the world.”Timing the videoconferences was often tricky. When it was7:30 p.m. in Cleveland, it was 11:30 in the morning, a day later!“The sessions were extremely purposeful and soprofessionally conducted, both from a technical and musicalperspective,” said Naomi Manning, Senior IT Integrator forABBOTSLEIGH, in an email to CIM. “The girls felt that itled them to improving what they produced and they were verygrateful for all of the feedback from Keith. It was obvious that heput a lot of thought into his sessions, and carefully reviewed theirwork prior.”CIM Connected to Major Motion PictureDirector of Recording Arts & Services Alan Bise andHead of the Audio Recording degree program Bruce Egre,both of Azica Records, produced much of the soundtrack forthe recently released film A Late Quartet.Centered around Beethoven’s Op. 131 String Quartet, thefilm, starring Philip Seymour Hoffman, Christopher Walken,Catherine Keener and Imogen Poot follows the story of themembers of a world-renowned string quartet based in NewYork, who struggle to stay together in the face of death, affairsand competing egos.Directed and co-writen by string quartet aficionado, YaronZiberman, music for the film was performed by a real musicalensemble, the Brentano Quartet. The Brentano Quartet askedAzica Record’s Mr. Bise and Mr. Egre to record for them. Thebulk of the soundtrack was recorded at Richardson Auditoriumat Princeton University. For rehearsal and coaching scenes,Avatar Studios in New York was used to mimic the dryacoustics of apartments and practice studios.Large video playback screens were provided so that theBrentano Quartet could musically mimic the movements ofthe actors as they “performed” during filming. (Actors werecoached on bow positioning for the film by another New Yorkensemble, who landed cameo roles - appearing as students ofChristopher Walken in a rehearsal scene.)Both Mr. Bise and Mr. Egre, who also recorded a mariachiguitarist/singer for a bar scene, spent time in New York onthe set in order to understand the acoustics and the entireprocess for editing, mixing and lining up the audio with thepicture. They worked closely with the film’s sound editor onsynchronization and other details.The film premiered in September at the TorontoInternational Film Festival, and the soundtrack will be releasedon Decca Records.14 winter 2013 15

Eventsupcoming EVENTCIM Returns to Severance HallThanks to the support of generous donors, CIM is able to offer its students fouropportunities to perform in the stunning and elegant Severance Hall, home ofThe Cleveland Orchestra.Following the CIM Orchestra’s benefit performance Set the Night to Music withRoberta Flack in January (see back cover), the CIM@Severance series concludeswith two final performances.March 27 - The CIM Orchestra and conductor Carl Topilow invite you to enjoytwo distinct and inspiring masterpieces surrounded by the beauty of SeveranceHall. Pianist I-Chieh Wang will perform the much-beloved and romantic PianoConcerto by Edvard Grieg. The CIM Orchestra will take center-stage with asecond-half offering of Serge Prokofiev’s Fifth Symphony, composed duringWWII, which the composer intended as “a hymn to free and happy Man, to hismighty powers, his pure and noble spirit.”April 17 - Enjoy the CIM Orchestra with conductor, faculty violinist, JaimeLaredo playing two great works from Beethoven’s middle period. The first-halfoffering features the world renowned Kalichstein-Laredo-Robinson Trio in theTriple Concerto, Op. 56. The concert concludes with the “Eroica”, Beethoven’sthird symphony, “composed to celebrate the memory of a great man.” Beethovenhad originally planned to call this symphony “Bonaparte”, but changed his mindwhen he heard that Napoleon had declared himself emperor.upcoming EVENTOpera Theater Stages the Dramatic Story ofPoulenc’s Dialogues of the CarmelitesAudiences delighted in the arranged marriage of music and comedy that kickedoff the CIM opera season in November. Eliciting laughter in all the right places,the CIM production of Cimarosa’s famed opera buffa Il matrimonio segreto (TheSecret Marriage) was lauded by audiences and reviewers alike—with cast membersdemonstrating exceptional vocal prowess as well as excellent comedic timing.Now, artistic director David Bamberger and vocal department head Mary Schillerhave made a dramatic choice, literally, for the CIM Opera Theater’s winterproduction, selecting Francis Poulenc’s deeply emotional and vocally eloquentDialogues of the Carmelites (Dialogues des Carmélites).CIM@SeveranceWednesday, March 278:00 p.m. at Severance HallCarl Topilow, conductorI-Chieh Wang, pianoGrieg Concerto for Piano, Op. 16,A minorProkofiev Symphony No. 5 inB-flat Major, Op. 100Wednesday, April 178:00 p.m. at Severance HallCarl Topilow, conductorJaime Laredo, conductorKalichstein-Laredo-Robinson TrioJoseph Kalichstein, piano, guest artistJaime Laredo, violinSharon Robinson, celloBeethoven Concerto for Piano, Violinand Cello in C Major, Op. 56Beethoven Symphony No. 3 inE-flat Major, Op. 55, “Eroica”Tickets for CIM@Severance events are just $5general admission. Call 216.231.1111 to order.This concert made possible through the generosityof Joe and Ellen Thomas.DIALOGUES OFTHE CARMELITESWednesday, February 27 -Saturday March 27:00 p.m. | Kulas HallDavid Bamberger, directorCIM OrchestraHarry Davidson, conductorTickets are $20.Discounts available for seniors, students andgroups of 10+.Call 216.795.3211 ororder online at cim.eduPremiered in Italy’s Teatro alla Scala in 1957, the work tells the story of an orderof Carmelite nuns whose world collapses under the anti-religious fervor of theFrench Revolution. The plot centers on Blanche de la Force—the daughter of a wealthy nobleman. Timid and fearful of life andthe coming revolution, Blanche seeks refuge with the Carmelites. At the convent, Mother Superior admonishes Blanche thatbeing a nun is a sacred duty and warns against taking her vows out of fear or an illusion of the religious life as heroic.The order, like the aristocracy, soon faces the disdain of the revolting masses and the convent proves no safer than home forBlanche. The frightened novice runs away as the convent is overtaken. Returning to her father’s estate, she becomes a servant tothe revolutionaries now residing there. Upon learning that the nuns have been arrested and condemned to die at the guillotine,Blanche at last finds the strength of her character and conviction.A moving story, the music is at times hymnal and often haunting. The composer requested that productions be sung in thenative language of the country in which it is performed, so CIM will perform it in English with projected text provided to assistthe audience in following this story to its tearful conclusion.upcoming EVENTChristine Brewer Closes SeriesThe woman who was last picked by piano majors incollege for accompaniment due to her then “smallvoice” is now a sought-after recording artist andGrammy Award-winning American soprano.Christine Brewer’s appearances in opera, concertand recital are marked with her warm and brillianttimbre, vibrant personality and what reviewscall “emotional honesty reminiscent of the greatsopranos of the past”. She credits her mother, agospel and jazz singer who sang semi-professionally,with her great desire to communicate and connectwith people, inside and outside of the concert hall.She will close the 2012-2013 Mixon Hall Masters Series when she appears on March 7 withlong-time accompanist Terry Craig. Her program includes works by Wagner, R. Strauss andAmerican works by Alan Smith, Harold Arlen and Amy Beach.On the opera stage, she is highly regarded for her striking portrayal of the title role inStrauss’s Ariadne auf Naxos (performed at the Metropolitian Opera, Opéra de Lyon, Théatre du Chatelet, Santa Fe Opera andmore). Attracting glowing reviews with each performance she is also known for her performance in Wagner’s Tristan und Isolde,Gluck’s Alceste with Santa Fe Opera, the Dyer’s Wife in Strauss’s Die Frau Ohne Schatten at Lyric Opera of Chicago and the ParisOpera and Lady Billows in Britten’s Albert Herring with Santa Fe Opera.Ms. Brewer has the heart of an educator, after beginning her career as a music education teacher. She continues to stress theimportance of music as part of educational curriculum with her program “Opera-tunities” with students from the school at whichshe used to teach, members from the St. Louis Symphony and Opera Theatre of St. Louis.As part of her appearance on the Mixon Hall Masters Series, she will conduct a master class that is open to the public and presentedat no charge. She will coach CIM students at 10 a.m. in Mixon Hall on Friday, March 8.ReviewMixon Hall Masters Series: Fall EventsOn October 17, the Kalichstein-Laredo-Robinson Trio performed the first of the year’sMixon Hall Masters Series concerts. Members of the award-winning Trio performedworks by Beethoven, Previn and Brahms and then treated the enthusiastic audienceto Gershwin’s Summertime as an encore. CIM welcomed violinist Jaime Laredo andcellist Sharon Robinson to the faculty this year. The talented and married musiciansshared the stage with pianist Joseph Kalichstein, their partner in the Trio for 35 years.Donald Rosenberg of the Plain Dealer called the performances ‘illuminating.’ Hear themagain April 17 (opposite page).The Japanese violinist Midori performed with pianist Ozgür Aydin in Mixon Hall onNovember 5 as the second event in the series. Along with three Beethoven sonatas in the keyof A Major, the musicians presented works by Anton von Webern and George Crumb thatwere, according to Mr. Rosenberg, “marked by spare and ethereal gestures.” Midori, who madeher debut at age 11, is celebrating 30 years of performing. She is recognized as an extraordinaryperformer, a devoted and gifted educator, and an innovative community engagement activist.Turkish pianist Mr. Aydin made his major orchestral debut in 1997. That same year, he wonthe renowned ARD International Music Competition in Munich and the Nippon Music Awardin Tokyo. He is also a laureate of the Cleveland International Piano Competition. If the intenseprogram served as the main course, the musicians served up a lighter fare for their encore, theHartmann arrangement of Debussy’s The Girl with the Flaxen Hair.mixon hallmasters seriesConcertThursday, March 78:00 p.m. in Mixon HallChristine Brewer, sopranoCraig Terry, pianoWagner Wesendnk LiederR. Strauss Wiegenlied, Morgen!,ZueignungAmerican songs of Alan Smith,Harold Arlen and Amy BeachTickets are $28 and $40.Call 216.795.3211 ororder online at cim.eduMaster ClassFriday, March 810:00 a.m. in Mixon Hall16winter 2013 17

3456FacultyGreg Banaszak 3 (saxophone) andKatherine DeJongh 3 (chair, PreparatoryOrchestra Winds) released their newestCD “Duo Concertos for Alto Saxophone,Flute, and Orchestra” CRC 3192 onthe Centaur Label, recorded with thePodlasie Symphony Orchestra (Poland),Piotr Borkowski, conductor. Accordingto the album insert, “This compilationbrings together a set of world-premiereperformances featuring the rarely exploredmarriage of flute and saxophone withorchestra. The compositions representDeJongh and Banaszak’s commitment toexpand the concerto repertoire for theirinstruments. The soloists create a richsonority and blend of colors that are atestament to their artistry. Two additionalworks, for saxophone and orchestra,highlight the charismatic vocal qualityof the saxophone. With the PodlasieSymphony Orchestra and Maestro PiotrBorkowski, the soloists lead the listener on atruly memorable musical journey.”Joan Ellison (adjunct voice) performedin a retro radio-style Judy Garland showcalled A Date With Judy! The Songs of a YoungJudy Garland at the Stocker Arts Centerat Lorain County Community Collegein October. Past performances includeNighttown in Cleveland Heights, Stages atthe Cleveland Play House, Cain Park andother historic locations in Ohio.In July, conductor Carl Topilow appearedas guest conductor with the Music in theMountains in Durango (CO). Included inthe orchestra: NRO alumni Chloe Trevor(BM ’09, student of Linda and DavidCerone), Jeffrey Hook, Topilow, ChrisOliver (MM ’06, student of Steven Witser)and Marie Thais Levesque Oliver (MM’03, student of Richard Aaron; DMA ’06,student of Desmond Hoebig).Steven Mark Kohn (electronic musicproduction) is finding his American folksong settings performed regularly. Thisfall, baritone Andrew Garland and pianistWarren Jones performed several of hispieces on a Carnegie Hall neighborhoodconcert in NYC; David Daniels andMartin Katz performed them on recitalat Princeton University. The works havealso found their way onto recent recitalsin Ohio, Illinois, New York, Michigan,Missouri, Florida, Colorado and Texas,and are featured on Thomas Hampson’sradio series “Song of America,” whichcontinues to air in markets around thecountry. The Quiltmaker’s Gift, a musical forwhich Mr. Kohn wrote the lyrics, receiveda main stage production this Decemberat Phoenix Theatre in Arizona. He is nowwriting the libretto for a three-act grandopera based on Zane Grey’s Riders of thePurple Sage, with composer Craig Bohmler.Arizona Opera has joined in support ofthe project and will workshop the first twoacts in May. A suite from the opera will beperformed at the Evian Festival in Francenext summer. In September, Mr. Kohnserved as an adjudicator for the 2012MTNA Composition Competition for theState of Ohio.The Cleveland Classical Guitar Society(led by Executive Director Erik Mann 4 )provides educational outreach in thearea of classical guitar to more than 150students at Lincoln West High School –the majority of whom are economicallydisadvantaged. To find out more aboutthis program, or the CCGS concertseries, visit clevelandclassicalguitar.orgor emann.net.Kimberly Meier-Sims 5 (director, SatoCenter; violin) traveled throughoutthe United States this past summertraining violin and viola teachers inthe Suzuki Method of instruction fromthe beginning to the advanced level aswell as conducting master classes forstudents age three to 16. In June shetraveled to the University of Fairbanks,Alaska and Atlanta, Georgia. In July,she and her husband Stephen Sims(violin) were guest clinicians in NewYork State at the Ithaca College SuzukiInstitute and the Hawaii SuzukiInstitute in Honolulu.On February 11, 2012, Barbara Steisandwas honored as the MusiCares Personof the Year at a pre-GRAMMY eventin Los Angeles. The MusiCaresaward is presented to artists whohave demonstrated extraordinaryhumanitarian and philanthropic efforts.Performers at the event included FaithHill, Diana Krall, Seal, Stevie Wonderand CIM Honorary Doctorate TonyBennett. President Joel Smirnoff andhis wife, faculty violinist Joan Kwuon,with pianist Lee Musiker, performedwith Mr. Bennett. This performancewas released on DVD this fall 6 .Gerardo Teissonnière (adjunctConservatory, Preparatory piano)conducted master classes in Ohio andIllinois this fall: one at Cleveland’s Steinwaydealer Mattlin-Hyde and two masterclasses for students at the Chicago MusicInstitute in November (at Ravinia FestivalGrounds’ Bennett-Gordon Hall and at theCommunity Music School in Winnetka.)Guitar Department Head Jason Vieaux’s2012 – 2013 season involves concerts,tours and the successful launch of thefirst-ever online classical guitar school,the Jason Vieaux Classical School fromArtistWorks. A highlight of the fallwas Mr. Vieaux performing JoaquínRodrigo’s popular Concierto de Aranjuezfor Guitar and Orchestra with the HoustonSymphony in September. On January 13,he performs the works of Bach, Britten,Dowland and Visconti (BM ’04, MM’05) with soprano Sarah Shafer at thePhiladelphia Chamber Music Society. InFebruary, he’ll perform with the SpokaneSymphony in Washington state in aSpanish extravaganza that includes JoaquínRodrigo’s Concierto de Aranjuez. For more,please visit: jasonvieaux.comThis fall, the Cavani String Quartetgave a presentation at Case WesternReserve University’s Weatherhead Schoolof Business titled Coaching Strategiesand Techniques: Building Empowered andCollaborative Teams by Applying Principles ofChamber Music Pedagogy. The “outside thebox” presentation was about creating andmaintaining a collaborative and productivework environment and featuredmasterpieces of music from the 18ththrough 20th centuries as well as music byThe Beach Boys. The Quartet discussedthe topics of team work, the ability tolisten, react, alternate between leadershipand supportive roles, elements of conflictresolution and group cohesion. After morethan 25 years together, members of theensemble are well versed in this topic.“Masters of Bandoneon”, a recent releaseby Cleveland’s Azica Records featuringthe Cuartetango String Quartet and fivedistinguished Argentine bandoneonplayers, has received nominations in twocategories for the 13th Annual LatinGrammy Awards. The recording itselfwas nominated for Best Tango Albumand one of its tracks, Carlos Franzetti’sStringazo, was nominated for BestClassical Composition. Mike Telin’sreview of the disc was published onClevelandClassical. Read more about Azicaon page 15.StudentsAnna Vasilyeva 7 was a guest artist atthe Piano Plus International Festival inGreece, where she gave a recital and taughta master class at the Athens Conservatory.Recently, Ms. Vasilyeva recorded musicfor the film “Spectral Evidence” underthe multi-award winning directionof David Manocchio. She performedat the International Piano Festival inCastrolibero in Cosenza, Italy in the fall.Read more about her on page 19.7 8 9Jack Hughes’ wind ensemble work, AfterRain, has been published by Wingert-Jones Publications. Mr. Hughes was oneof only three composers to be selectedfor the 2012 National Band Association’sYoung Composer Mentor Project, wherehis work, Three Movements for WindEnsemble, was performed and recorded.He is currently a junior, studying withKeith Fitch.Chaconne Klaverenga 8 made herfourth appearance on American PublicMedia’s Performance Today in September.Ms. Kaverenga is a sophomore studyingwith Jason Vieaux.Composer Jesse Limbacher attendedthis summer’s fresh inc. music festival, wherehe composed two works for the residentmusicians. He is a junior and studies withKeith Fitch.Brian Myer (baritone) is having his firstchoral octavo Go, Lovely Rose publishedby Santa Barbara Music Publishing, Inc.in its fall 2012 New Issues collection.The University of Nevada, Las VegasChamber Chorale (of which Mr. Myeris a former member) will be performingthe work during its 2012-2013 season inhonor of its publication and dedication tothe ensemble. The octavo can be heard,previewed and purchased from the SantaBarbara Music Publishing, Inc. websiteat sbmp.com. Mr. Meyer is a student ofDean Southern.On September 28, Daniil Trifonov 9(piano) performed for the first timeat Avery Fisher Hall in the LincolnCenter for the Performing Arts withthe New York Philharmonic, with AlanGilbert conducting. Mr. Trifonov playedProkofiev’s Concerto for Piano No. 3 inC Major, Op. 26. Just weeks before, heperformed in duo at CIM with his teacherand mentor, Sergei Babayan.20 winter 2013 21

Notes is published four times a yearby the Cleveland Institute of Music.A pdf of the current issue of Notes isavailable on cim.edu.11021 East BoulevardCleveland, Ohio 44106Address Service RequestedKatie L. KuceraCommunications Manager / Editor, Lead Writercasey ocasioGraphic Design Manager / DesignLeigh-Anne DennisonMarketing Manager / PhotographyCLEVELAND INSTITUTE OF MUSIC11021 East BoulevardCleveland, OH 44106Preparatory classes at the main building and branches.P: 216.791.5000F: 216.791.3063E: katie.kucera@cim.edu| cim.eduThe Cleveland Institute of Music is generouslyfunded by Cuyahoga County residents throughCuyahoga Arts and Culture.About CIMSince its founding in 1920, CIM has offereda world-class education to students fromage three to 93 and provided concertsfor the community. Located in UniversityCircle, Cleveland’s cultural hub, CIM is easilyaccessible to all music lovers – providinghundreds of concerts annually, most free ofcharge. CIM graduates play important musicalroles in our world as composers producingmeaningful new repertoire, as eminentinstrumental and vocal soloists, as worldrenownedchamber musicians and as membersof premier orchestras around the globe. Morethan half of the members of The ClevelandOrchestra are connected to CIM as membersof the faculty, alumni or both. Visit cim.edu formore information.CIM is generously funded by Cuyahoga Countyresidents through Cuyahoga Arts & Culture.With the CIM OrchestraSaturday, January 26, 2013Severance HallTickets on sale now!Benefit guests will enjoy premier concert seating, cocktails,silent auction, dinner and complimentary parking.Go to cim.edu or call 216.791.5000, ext. 311for more information.Concert-only tickets are also available.