[NEohioPAL]Oberlin Orchestra at Severance Hall

[Marci Janas]

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FOR IMMEDIATE RELEASE:		MEDIA CONTACT: Marci Janas
March 15, 2004			440-775-8328//marci.janas at oberlin.edu



THE OBERLIN ORCHESTRA, CONDUCTED BY STEVEN SMITH, TO PRESENT FREE SEVERANCE =

HALL CONCERT AT 8 P.M. WEDNESDAY, APRIL 14

Event is part of enhanced collaboration between the Oberlin Conservatory of =

Music
and The Cleveland Orchestra



OBERLIN and CLEVELAND, OHIO -- The Oberlin Orchestra will present a free=20
concert at Severance Hall Wednesday, April 14, at 8 p.m. Music Director of=20
the Oberlin Conservatory Orchestras Steven Smith will lead the ensemble in=20
Gustav Mahler's Symphony No. 5 and Gy=F6rgy Ligeti's Atmosph=E8res. =
Severance=20
Hall is located at 11001 Euclid Avenue, Cleveland, Ohio.

Seating is general admission. To reserve free tickets, or for more=20
information, please contact the Severance Hall Box Office at 216-231-1111=20
or 1-800-686-1141, or visit www.clevelandorchestra.com.

This concert is produced with the generous support of the Clonick Family=20
Foundation. Media sponsorship is provided by WCLV 104.9 FM, Cleveland's=20
classical music radio station. WCLV will broadcast the concert live, with a =

simulcast on wclv.com, beginning at 8 p.m.

"The Oberlin Conservatory of Music is honored to provide this free concert=20
for the people of Cleveland and Northern Ohio, and we are very pleased with =

our evolving relationship with The Cleveland Orchestra," says Acting Dean=20
of the Conservatory David Stull.

"This is a marvelous opportunity for our students, and it would not be=20
possible without the significant generosity of the Clonick Family=20
Foundation."

The Conservatory Dean's Office is making available free bus transportation, =

on a first-come, first-serve basis, for members of the Oberlin community=20
who wish to attend the concert. To reserve a bus seat, please call Nita=20
Karpf at 440-775-8926 or e-mail her at nita.karpf at oberlin.edu. Those=20
planning to ride the bus to Severance Hall must do the following:

1. Call the Severance Hall Box Office to reserve a ticket for the concert=20
and
2. Call or e-mail Nita Karpf to reserve a seat on the bus and to obtain=20
departure location and time.

According to Peter Laki, program annotator for The Cleveland Orchestra and=20
visiting associate professor of music history at Oberlin, Ligeti's=20
Atmosph=E8res is "one of those epoch-making works by which classical music =
of=20
the early '60s is remembered."

A central idea in the work, says Laki, is "the realization of complete=20
stasis through extensive inner motion. Large portions of the piece consist=20
of extremely dense counterpoint, with up to 56 voices (each string=20
instrument has its own individual part to play). But the imitative=20
entrances are so close to one another that it is impossible to perceive=20
them separately, with apparent immobility as the result. . . . If we stand=20
by an apparently motionless lake long enough, we become aware of those=20
minute vibrations that we miss if we just walk by -- and these vibrations=20
are certainly part of what Atmosph=E8res is all about."

The Oberlin Orchestra is performing the third critical edition of Mahler's=20
Fifth Symphony, which was first performed in Cologne in 1904 under the=20
composer's baton.

The appearance in Cleveland by the Oberlin Orchestra is one of several=20
projects to emerge from a new, developing collaboration between The=20
Cleveland Orchestra and the Oberlin Conservatory of Music. This=20
collaboration builds upon a core element of Oberlin's mission: professional =

training and contact with one of the world's great orchestras is seminal to =

a formal music education.

On the institutions' collaboration, Cleveland Orchestra Executive Director=20
Gary Hanson says, "We are pleased to share our Severance Hall stage with=20
the Oberlin Orchestra, and we welcome these talented young people to=20
Cleveland. The Cleveland Orchestra has long enjoyed an association with=20
Oberlin College and because of Franz Welser-M=F6st's commitment to =
education,=20
our relationship with this fine conservatory has been invigorated."

Music Director of The Cleveland Orchestra Franz Welser-M=F6st took the=20
Oberlin Orchestra through a rehearsal of Beethoven's Leonore Overture last=20
fall. Several students and recent graduates of the Conservatory's vocal=20
studies program have performed with The Cleveland Orchestra the past two=20
seasons, including the Women of the Oberlin College Choir and mezzo-soprano =

Elizabeth DeShong '02 who made her Cleveland Orchestra debut in March by=20
joining Dame Felicity Lott in Debussy's La Damoiselle =E9lue.

The Oberlin Conservatory of Music, founded in 1865 and situated within the=20
intellectual vitality of Oberlin College since 1867, is the oldest=20
continuously operating conservatory in the United States. It is renowned=20
internationally as a professional music school of the highest caliber.

# # #





BACKGROUNDER 1 of 4:
The Oberlin Conservatory and Music and The Cleveland Orchestra

Although The Cleveland Orchestra and Oberlin Conservatory collaboration=20
seems like new growth, its roots actually run wide and deep:

*Founded in December 1918, The Cleveland Orchestra first performed at=20
Oberlin's Finney Chapel in the spring of 1919. Since then it has appeared=20
each season -- 203 times -- under the auspices of the College's Artist=20
Recital Series. The musicians' roster of The Cleveland Orchestra has=20
consistently included faculty members and graduates of the
Oberlin Conservatory. Current members of The Cleveland Orchestra are=20
Associate Professor of Viola da Gamba and Cello Catharine Meints, Teachers=20
of Double Bass Scott Haigh and Tom Sperl, and Teacher of Tuba Ron Bishop.=20
Current members of The Cleveland Orchestra who have graduated from the=20
Conservatory are John Rautenberg '58, associate principal flute; Mary Kay=20
Fink '83, flute and piccolo; Paul Kushious '83, cello; Michael Mayhew '92,=20
associate principal horn; Donald Miller '72, percussion and librarian; and=20
Trina Struble '91, assistant principal harp.

*Oberlin has conferred honorary doctor of music degrees on three past=20
Cleveland Orchestra music directors: Artur Rodzinski, George Szell, and=20
Christoph von Dohn=E1nyi

* Former Oberlin College President Fred Starr served as a national trustee=20
of The Cleveland Orchestra, from 1988 through 1992.

* John Long Severance graduated from Oberlin College in 1885. He was the=20
lead donor for the construction of the Orchestra's opulent home, Severance=20
Hall (the Oberlin campus also boasts a Severance Hall, originally built to=20
house science classrooms). John Long Severance was also the second=20
president of The Cleveland Orchestra's board of trustees.


# # #



BACKGROUNDER 2 OF 4

Steven Smith Biography

Associate Professor of Conducting and Music Director of the Oberlin=20
Conservatory Orchestras Steven Smith, who joined Oberlin's faculty in 2002, =

was formerly the assistant conductor of The Cleveland Orchestra. He=20
continues to be the music director of the Santa Fe Symphony.

Smith is in frequent demand as a guest conductor; last summer he conducted=20
the Aspen Concert Orchestra at the Aspen Music Festival. He also has held=20
previous conducting positions with the Kansas City Symphony (KSO), the San=20
Juan Symphony, the Colorado Springs Symphony, and "Epicycle: an ensemble=20
for new music." During his tenure with the KSO, he was the sole recipient=20
of the Conductor Career Development Grant and was named Foundation Artist=20
by the Geraldine C. and Emory M. Ford Foundation. Smith earned master's=20
degrees from the Eastman School of Music and the Cleveland Institute of=20
Music.


# # #





BACKGROUNDER 3 OF 4
About the Oberlin Orchestra

The Oberlin Orchestra is the largest of the more than 25 student ensembles=20
at the Conservatory; more than 120 members of the orchestra will appear on=20
stage for the performance at Severance Hall, for which Caroline Slack, of=20
Vashon Island, Washington, will be concertmaster. She is a student of=20
Professor of Violin Gregory Fulkerson and will graduate in May 2004.

Like the Oberlin Chamber Orchestra, its smaller counterpart, the Oberlin=20
Orchestra follows a demanding schedule of six hours of rehearsal each week=20
as well as concerts every three to four weeks. Students in both orchestras=20
are exposed to a cross section of orchestral literature, and both perform=20
well-known works from the standard orchestral repertoire as well as less=20
familiar works ranging from the baroque to the contemporary. Both=20
orchestras also collaborate with the Oberlin Opera Theater and the=20
Conservatory's larger choral ensembles.

Robert Spano, music director of the Atlanta Symphony Orchestra, is=20
professor of conducting at the Oberlin Conservatory. Guest conductors of=20
the Oberlin Orchestra have included Robert Shaw, Michael Morgan, Hugh=20
Wolff, Catherine Comet, Oscar Shumsky, and composer John Williams -- most=20
recently at the Getty Center in Los Angeles. In addition to Franz=20
Welser-M=F6st, Sir Simon Rattle of the Berlin Philharmonic rehearsed the=20
orchestra in fall 2003.

# # #

BACKGROUNDER 4 OF 4
A Brief History of the Oberlin Orchestra*

Very few people were violin or cello majors in 1896, and no one majored in=20
any of the wind instruments. Professors Fred and Charles Doolittle taught=20
violin and cello; Professor J. Arthur Demuth taught violin, cornet, horn,=20
trombone, oboe, and clarinet; and Charles Doolittle, flute. Their valiant=20
efforts made possible the formation that year of a Conservatory Orchestra=20
with Professor George W. Andrews as conductor.

In 1916 the string and wind instrument students at the Oberlin Conservatory =

of Music were a small group. The addition of Maurice Kessler, violinist=20
from the Boston Symphony, and Friedrich Goerner, former first cellist with=20
the Pittsburgh Symphony, had strengthened the department, but of the 13=20
students studying with Mr. Goerner, only one was a cello major.

At this time the Conservatory Orchestra under Dr. Andrews numbered 40 and=20
consisted of one flute, one clarinet, two trumpets, three horns, trombone,=20
timpani, and strings. Until the 1930s the missing parts would be supplied=20
by organist Bruce Davis, who through long experience and great ability, had =

acquired an enormous deftness in this task.  Willard Warch was a member of=20
the Orchestra=92s cello section of 1927-31, and recalls in his book Our =
First=20
100 Years, from which this account is taken, Professor Kessler looking out=20
over the orchestra at a typical rehearsal and saying, "Bruce! Today we need =

second flute, second oboe, both bassoons, and third and fourth horns." And=20
that, writes Warch, is what he gave them, or at least the essentials.

The orchestra in the years before the 1950s also had the assistance of=20
other faculty members. Arthur Heacox had studied string bass in Munich and=20
Paris and served the orchestra faithfully as bassist -- sometimes the only=20
one -- for years. When he retired he persuaded Don Morrison, of violin and=20
music education, to be his successor. Victor Lytle of the theory department =

was the orchestra timpanist for several years. (Dr. Andrews himself, while=20
a student in the 1870s, had learned trombone in order to help out the=20
orchestra of that time.)

Demuth, in 1916, played some of the winds or strings, as did his successor=20
of the 1920s, R. Walter Frederick. The violin and cello teachers, of=20
course, filled the first chairs of their instruments, and even the College=20
faculty helped out. Mr. Jameson played horn. Professor and Mrs. Wolfgang=20
Stechow played viola, and Dean Carl F. Wittke of the College of Arts and=20
Sciences first played viola and then string bass. When Mr. Arthur Williams=20
came in 1928, he played horn on occasion as well as trumpet; but the=20
outstanding record of assistance to the Oberlin Orchestra and Bands belongs =

to George Waln, who at one time or another played B-flat clarinet, E-flat=20
soprano clarinet, alto clarinet, bass clarinet, flute, English horn,=20
bassoon, and contrabassoon.

A notable professor of orchestral conducting from 1966 to 1983 was Robert=20
Baustian. The pantheon of conductors on the classical music scene who=20
trained at Oberlin includes David Zinman, Robert Spano, Raymond Harvey,=20
Michael Morgan, Jeannette Sorrell, Edwin London, John Kennedy, David Hoose, =

Stephen Gunzenhauser, and the up-and-coming Michael Christie.


* Selected source material from Our First 100 Years  by Willard Warch

# # #
	











Marci Janas
Director of Conservatory Media Relations
Oberlin Conservatory of Music
39 West College Street
Oberlin, OH 44074
Tel: 440-775-8328
Fax: 440-775-5457
marci.janas at oberlin.edu
www.oberlin.edu/con


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</bigger></bigger></bigger>FOR IMMEDIATE RELEASE:		MEDIA CONTACT: Marci =
Janas=20

March 15, =
2004			<color><param>0000,0000,00ff</param>440-775-8328//marci.janas at oberlin=
.edu <bigger><bigger><bigger>




</bigger></bigger></bigger></color></underline><bigger><bigger><bigger>THE =
OBERLIN ORCHESTRA, CONDUCTED BY STEVEN SMITH, TO PRESENT FREE SEVERANCE =
HALL CONCERT AT 8 P.M. WEDNESDAY, APRIL =
14</bigger></bigger></bigger><bigger><bigger><bigger><underline>


</underline>Event is part of enhanced collaboration between the Oberlin =
Conservatory of Music=20

and The Cleveland Orchestra <underline>




</underline></bold>OBERLIN and CLEVELAND, OHIO -- The Oberlin Orchestra =
will present a free concert at Severance Hall Wednesday, April 14, at 8 =
p.m. Music Director of the Oberlin Conservatory Orchestras Steven Smith =
will lead the ensemble in Gustav =
Mahler<bold><underline>'</underline></bold>s <italic>Symphony</italic> =
<italic>No. 5</italic> and Gy=F6rgy Ligeti's =
<italic>Atmosph=E8res</italic>. Severance Hall is located at 11001 Euclid =
Avenue, Cleveland, Ohio.=20


Seating is general admission. To reserve free tickets, or for more =
information, please contact the Severance Hall Box Office at 216-231-1111 =
or 1-800-686-1141, or visit =
<color><param>0000,0000,00ff</param>www.clevelandorchestra.com</color>.=20


This concert is produced with the generous support of the Clonick Family =
Foundation. Media sponsorship is provided by WCLV 104.9 FM, Cleveland's =
classical music radio station. WCLV will broadcast the concert live, with a =
simulcast on wclv.com, beginning at 8 p.m. =20


"The Oberlin Conservatory of Music is honored to provide this free concert =
for the people of Cleveland and Northern Ohio, and we are very pleased with =
our evolving relationship with The Cleveland Orchestra," says Acting Dean =
of the Conservatory David Stull.=20


"This is a marvelous opportunity for our students, and it would not be =
possible without the significant generosity of the Clonick Family =
Foundation."=20


The Conservatory Dean's Office is making available free bus transportation, =
on a first-come, first-serve basis, for members of the Oberlin community =
who wish to attend the concert. To reserve a bus seat, please call Nita =
Karpf at 440-775-8926 or e-mail her at =
<color><param>0000,0000,00ff</param>nita.karpf at oberlin.edu</color>. Those =
planning to ride the bus to Severance Hall must do the following: <bold>

</bold>

1. Call the Severance Hall Box Office to reserve a ticket for the concert =
and=20

2. Call or e-mail Nita Karpf to reserve a seat on the bus and to obtain =
departure location and time.=20


According to Peter Laki, program annotator for The Cleveland Orchestra and =
visiting associate professor of music history at Oberlin, Ligeti's =
<italic>Atmosph=E8res</italic> is "one of those epoch-making works by which =
classical music of the early '60s is remembered."=20


A central idea in the work, says Laki, is "the realization of complete =
stasis through extensive inner motion. Large portions of the piece consist =
of extremely dense counterpoint, with up to 56 voices (each string =
instrument has its own individual part to play). But the imitative =
entrances are so close to one another that it is impossible to perceive =
them separately, with apparent immobility as the result. . . . If we stand =
by an apparently motionless lake long enough, we become aware of those =
minute vibrations that we miss if we just walk by -- and these vibrations =
are certainly part of what <italic>Atmosph=E8res </italic>is all about."=20


The Oberlin Orchestra is performing the third critical edition of Mahler's =
<italic>Fifth Symphony</italic>, which was first performed in Cologne in =
1904 under the composer's baton.=20


The appearance in Cleveland by the Oberlin Orchestra is one of several =
projects to emerge from a new, developing collaboration between The =
Cleveland Orchestra and the Oberlin Conservatory of Music. This =
collaboration builds upon a core element of Oberlin's mission: professional =
training and contact with one of the world's great orchestras is seminal to =
a formal music education. =20


On the institutions' collaboration, Cleveland Orchestra Executive Director =
Gary Hanson says, "We are pleased to share our Severance Hall stage with =
the Oberlin Orchestra, and we welcome these talented young people to =
Cleveland. The Cleveland Orchestra has long enjoyed an association with =
Oberlin College and because of Franz Welser-M=F6st's commitment to =
education, our relationship with this fine conservatory has been =
invigorated." =20


Music Director of The Cleveland Orchestra Franz Welser-M=F6st took the =
Oberlin Orchestra through a rehearsal of Beethoven's <italic>Leonore =
Overture </italic>last fall. Several students and recent graduates of the =
Conservatory's vocal studies program have performed with The Cleveland =
Orchestra the past two seasons, including the Women of the Oberlin College =
Choir and mezzo-soprano Elizabeth DeShong '02 who made her Cleveland =
Orchestra debut in March by joining Dame Felicity Lott in Debussy's =
<italic>La Damoiselle =E9lue.</italic>=20

<italic>=20

</italic>The Oberlin Conservatory of Music, founded in 1865 and situated =
within the intellectual vitality of Oberlin College since 1867, is the =
oldest continuously operating conservatory in the United States. It is =
renowned internationally as a professional music school of the highest =
caliber.=20


<color><param>9999,6666,9999</param># # #=20

</color>





<bold>BACKGROUNDER 1 of 4:=20

The Oberlin Conservatory and Music and The Cleveland Orchestra </bold>


Although The Cleveland Orchestra and Oberlin Conservatory collaboration =
seems like new growth, its roots actually run wide and deep: =20


*Founded in December 1918, The Cleveland Orchestra first performed at =
Oberlin's Finney Chapel in the spring of 1919. Since then it has appeared =
each season -- 203 times -- under the auspices of the College's Artist =
Recital Series. The musicians' roster of The Cleveland Orchestra has =
consistently included faculty members and graduates of the=20

Oberlin Conservatory. Current members of The Cleveland Orchestra are =
Associate Professor of Viola da Gamba and Cello Catharine Meints, Teachers =
of Double Bass Scott Haigh and Tom Sperl, and Teacher of Tuba Ron Bishop. =
Current members of The Cleveland Orchestra who have graduated from the =
Conservatory are John Rautenberg '58, associate principal flute; Mary Kay =
Fink '83, flute and piccolo; Paul Kushious '83, cello; Michael Mayhew '92, =
associate principal horn; Donald Miller '72, percussion and librarian; and =
Trina Struble '91, assistant principal harp. =20


*Oberlin has conferred honorary doctor of music degrees on three past =
Cleveland Orchestra music directors: Artur Rodzinski, George Szell, and =
Christoph von Dohn=E1nyi=20


* Former Oberlin College President Fred Starr served as a national trustee =
of The Cleveland Orchestra, from 1988 through 1992.=20


* John Long Severance graduated from Oberlin College in 1885. He was the =
lead donor for the construction of the Orchestra's opulent home, Severance =
Hall (the Oberlin campus also boasts a Severance Hall, originally built to =
house science classrooms). John Long Severance was also the second =
president of The Cleveland Orchestra's board of trustees.=20



<color><param>9999,6666,9999</param># # #=20

</color>



<bold>BACKGROUNDER 2 OF 4=20


Steven Smith Biography</bold>=20


Associate Professor of Conducting and Music Director of the Oberlin =
Conservatory Orchestras Steven Smith, who joined Oberlin's faculty in 2002, =
was formerly the assistant conductor of The Cleveland Orchestra. He =
continues to be the music director of the Santa Fe Symphony.=20


Smith is in frequent demand as a guest conductor; last summer he conducted =
the Aspen Concert Orchestra at the Aspen Music Festival. He also has held =
previous conducting positions with the Kansas City Symphony (KSO), the San =
Juan Symphony, the Colorado Springs Symphony, and "Epicycle: an ensemble =
for new music." During his tenure with the KSO, he was the sole recipient =
of the Conductor Career Development Grant and was named Foundation Artist =
by the Geraldine C. and Emory M. Ford Foundation. Smith earned master's =
degrees from the Eastman School of Music and the Cleveland Institute of =
Music.=20



<color><param>9999,6666,9999</param># # #=20

</color>





<bold>BACKGROUNDER 3 OF 4=20

About the Oberlin Orchestra</bold>=20


The Oberlin Orchestra is the largest of the more than 25 student ensembles =
at the Conservatory; more than 120 members of the orchestra will appear on =
stage for the performance at Severance Hall, for which Caroline Slack, of =
Vashon Island, Washington, will be concertmaster. She is a student of =
Professor of Violin Gregory Fulkerson and will graduate in May 2004.<bold>=20

</bold>=20

Like the Oberlin Chamber Orchestra, its smaller counterpart, the Oberlin =
Orchestra follows a demanding schedule of six hours of rehearsal each week =
as well as concerts every three to four weeks. Students in both orchestras =
are exposed to a cross section of orchestral literature, and both perform =
well-known works from the standard orchestral repertoire as well as less =
familiar works ranging from the baroque to the contemporary. Both =
orchestras also collaborate with the Oberlin Opera Theater and the =
Conservatory's larger choral ensembles.=20


Robert Spano, music director of the Atlanta Symphony Orchestra, is =
professor of conducting at the Oberlin Conservatory. Guest conductors of =
the Oberlin Orchestra have included Robert Shaw, Michael Morgan, Hugh =
Wolff, Catherine Comet, Oscar Shumsky, and composer John Williams -- most =
recently at the Getty Center in Los Angeles. In addition to Franz =
Welser-M=F6st, Sir Simon Rattle of the Berlin Philharmonic rehearsed the =
orchestra in fall 2003. =20


<color><param>9999,6666,9999</param># # #=20

</color>

<bold>BACKGROUNDER 4 OF 4=20

A Brief History of the Oberlin Orchestra*</bold>=20


Very few people were violin or cello majors in 1896, and no one majored in =
any of the wind instruments. Professors Fred and Charles Doolittle taught =
violin and cello; Professor J. Arthur Demuth taught violin, cornet, horn, =
trombone, oboe, and clarinet; and Charles Doolittle, flute. Their valiant =
efforts made possible the formation that year of a Conservatory Orchestra =
with Professor George W. Andrews as conductor. =20


In 1916 the string and wind instrument students at the Oberlin Conservatory =
of Music were a small group. The addition of Maurice Kessler, violinist =
from the Boston Symphony, and Friedrich Goerner, former first cellist with =
the Pittsburgh Symphony, had strengthened the department, but of the 13 =
students studying with Mr. Goerner, only one was a cello major.=20


At this time the Conservatory Orchestra under Dr. Andrews numbered 40 and =
consisted of one flute, one clarinet, two trumpets, three horns, trombone, =
timpani, and strings. Until the 1930s the missing parts would be supplied =
by organist Bruce Davis, who through long experience and great ability, had =
acquired an enormous deftness in this task.  Willard Warch was a member of =
the Orchestra=92s cello section of 1927-31, and recalls in his book =
<italic>Our First 100 Years</italic>, from which this account is taken, =
Professor Kessler looking out over the orchestra at a typical rehearsal and =
saying, "Bruce! Today we need second flute, second oboe, both bassoons, and =
third and fourth horns." And that, writes Warch, is what he gave them, or =
at least the essentials.=20


The orchestra in the years before the 1950s also had the assistance of =
other faculty members. Arthur Heacox had studied string bass in Munich and =
Paris and served the orchestra faithfully as bassist -- sometimes the only =
one -- for years. When he retired he persuaded Don Morrison, of violin and =
music education, to be his successor. Victor Lytle of the theory department =
was the orchestra timpanist for several years. (Dr. Andrews himself, while =
a student in the 1870s, had learned trombone in order to help out the =
orchestra of that time.) =20


Demuth, in 1916, played some of the winds or strings, as did his successor =
of the 1920s, R. Walter Frederick. The violin and cello teachers, of =
course, filled the first chairs of their instruments, and even the College =
faculty helped out. Mr. Jameson played horn. Professor and Mrs. Wolfgang =
Stechow played viola, and Dean Carl F. Wittke of the College of Arts and =
Sciences first played viola and then string bass. When Mr. Arthur Williams =
came in 1928, he played horn on occasion as well as trumpet; but the =
outstanding record of assistance to the Oberlin Orchestra and Bands belongs =
to George Waln, who at one time or another played B-flat clarinet, E-flat =
soprano clarinet, alto clarinet, bass clarinet, flute, English horn, =
bassoon, and contrabassoon.=20


A notable professor of orchestral conducting from 1966 to 1983 was Robert =
Baustian. The pantheon of conductors on the classical music scene who =
trained at Oberlin includes David Zinman, Robert Spano, Raymond Harvey, =
Michael Morgan, Jeannette Sorrell, Edwin London, John Kennedy, David Hoose, =
Stephen Gunzenhauser, and the up-and-coming Michael Christie.=20



* Selected source material from <italic>Our First 100 Years</italic>  by =
Willard Warch=20

<bold><underline>=20

</underline></bold><color><param>9999,6666,9999</param># # #=20

</color><bold><underline>	=20










</underline></bold>=20


Marci Janas =20

Director of Conservatory Media Relations =20

Oberlin Conservatory of Music =20

39 West College Street =20

Oberlin, OH 44074 =20

Tel: 440-775-8328 =20

Fax: 440-775-5457 =20

marci.janas at oberlin.edu =20

www.oberlin.edu/con=20


</flushleft></fontfamily>=

--Boundary_(ID_IXz2aDbCF4494SbO8i3sCA)--