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Renowned Violinist Charles Castleman Joins the Music Faculty

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Renowned Violinist Charles Castleman Joins the Music Faculty


UM News

The appointment of Charles Castleman, one of music world’s greatest and most beloved mentors, is " a watershed moment for the Frost School of Music."

The appointment of Charles Castleman, one of the music world’s greatest and most beloved mentors, is ” a watershed moment for the Frost School of Music.”

CORAL GABLES, Fla. (July 9, 2014)—Charles Castleman, a prize-winning concert artist, celebrated master teacher, and renowned string quartet coach, is joining the Frost School of Music faculty as professor of violin after nearly 40 years at the Eastman School of Music at the University of Rochester in New York, where he chaired the strings department for eight years.

Castleman is one of the world’s most active performers and pedagogues on the violin today. A dynamic and highly expressive musical artist, he has appeared as a featured soloist with the orchestras of Philadelphia, Boston, Brisbane, Chicago, Hong Kong, Moscow, Mexico City, New York, San Francisco, Seoul, and Shanghai, to name a few. A beloved artist-teacher with thousands of devotees and former students around the world, he has conducted master classes in all major cities of Europe, the U.S., Australia, Canada, and New Zealand.

He is also the founder and director of the prestigious Castleman Quartet Program, an intensive and extensive summer workshop in solo and chamber performance that is celebrating its 45th continuous year. Cellist Yo-Yo Ma praised it as “the best program of its kind… a training ground in lifemanship.”

Castleman will begin transitioning his teaching from Eastman to Frost during the 2014-2015 academic year. He will be traveling regularly to the Coral Gables campus beginning this September to teach select private lessons, conduct master classes, and coach chamber music ensembles. He will begin teaching exclusively at Frost at the start of the fall 2015 semester. Full-time undergraduate and graduate violin students who are selected to matriculate into the University and the Frost School at the start of the fall 2015 semester will then be eligible to study full time with Castleman. The application deadlines are this December 1, and admission requirements and audition information are available at www.miami.edu/frost.

A remarkably gifted performing artist whose first public performance was at age 6 with Arthur Fiedler and the Boston Pops, Castleman made his solo recital debuts at age 9 at Jordan Hall in Boston and Town Hall in New York. He was a medalist in his early 20s at the prestigious and highly competitive International “Tchaikovsky” and “Brussels” competitions (the International Tchaikovsky Competition is held every four years in Moscow, Russia; the Queen Elisabeth Competition, also known as the Brussels Concours Musical International, is held in Brussels, Belgium).

The recording of Castleman’s competition performance of Léon Jongen’s Concerto for Violin and Orchestra with the Belgian National Orchestra was recently selected as one of only 17 violin performances to represent the excellence of the Brussels Concours Musical’s 50-year history and is included in a multi-box CD set on the Cypres Records label. Castleman’s former students have also been winners at international competitions including Brussels, Munich, Naumburg, and Szeryng and perform in top professional chamber groups and major orchestras.

“The appointment of Charles Castleman is a watershed moment for the Frost School of Music,” said Frost Dean Shelton G. Berg. “He is one of the world’s greatest and most beloved mentors in music. Charles is an innovator and forward thinker, and he will contribute greatly to the paradigm-shifting curriculum and ideals of our school. We know that the world of music continues to expand, and we will nurture and inform the skill set that prepares our graduates for vibrant careers.”

Castleman credits the Frost School’s forward-thinking faculty and leadership for his decision to join the faculty, beginning August 15. “The leadership, history, and location of the Frost School uniquely positions it to find, educate, and nourish young musicians of the highest achievement, endowed with the most extraordinary talent, from all the Americas. I am pleased and proud to be able to contribute to its future effectiveness and to add my input to its remarkably innovative thrust.”

In addition to teaching private violin lessons exclusively at the Frost School and coaching Frost string quartets starting in fall 2015, Castleman will interact with all string musicians in the Frost Chamber Orchestra, Frost Symphony Orchestra, and the Frost School’s Henry Mancini Institute Orchestra through master classes and workshops. He also will incorporate his creative and collaborative teaching concepts into the Frost School’s trailblazing Experiential Music Curriculum, help shape a brand new type of master’s degree in performance, and participate in leading-edge initiatives at Frost, such as Universal Music U @ Frost to explore new concert and recording paradigms for classical music artists.

A prolific recording artist himself, Castleman’s impressive discography includes some of the most difficult works ever written for violin. His solo albums include recordings of six Solo Sonatas by Ysaÿe, eight Csardases for Violin and Orchestra by Jenő Hubay, and ten virtuoso cameos by Pablo de Sarasate. He also has recorded selections by George Gershwin and contemporary chamber music for violin with harpsichord by Darius Milhaud, Walter Piston, Samuel Adler, and much more.

As one of 16 Ford Foundation Concert Artists, Castleman commissioned David Amram’s Violin Concerto and premiered it with Leonard Slatkin and the St. Louis Symphony; he later recorded it with the Manhattan Chamber Orchestra for the Newport Classic label. He is a dedicatee of the Paracelsus-inspired violin-harpsichord work “Lares Hercii” by Pulitzer Prize-winning composer Christopher Rouse. 

Castleman’s long-term chamber music associations have included performing and recording with The New String Trio of New York, plus recording numerous albums on major labels with the Raphael Trio and much-admired premieres at the Vienna Festival and the Kennedy Center.

Castleman earned degrees from Harvard University, Curtis Institute of Music, and the University of Pennsylvania. His teachers were Emanuel Ondricek (teaching assistant of Otakar Ševčík, a student of Eugène Ysaÿe) and Ivan Galamian (venerated violinist and pedagogue). Castleman credits David Oistrakh, Henryk Szeryng, and Josef Gingold as his most influential coaches. He plays the “Marquis de Champeaux” Stradivarius and “Sammons” Goffriller from 1708, and chooses from over 80 bows.

From the four pinnacles of performing, teaching, recording, and collaborating, classical music professionals hold Castleman in the highest regard. His joining the award-winning and esteemed full-time faculty of the Frost School of Music, of which close to 50 percent has been hired since Dean Berg joined the school in 2007 will quickly help expand the Frost School’s range and reputation throughout the world.

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Music to Medical Ears: Frost Quartet Gives Medical and Nursing Students a Lesson in Patient Safety

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Music to Medical Ears: Frost Quartet Gives Medical and Nursing Students a Lesson in Patient Safety


By Maya Bell
UM News

Patient-Safety-Concert

Frost School of Music Dean Shelly Berg conducts members of a string quartet who convey important lessons to medical and nursing students through music.

CORAL GABLES, Fla. (June 20, 2014) — The last place one might expect to teach future doctors and nurses about patient safety is on a concert stage. But this Wednesday an accomplished string quartet from the Frost School of Music performed Mozart’s “Eine kleine Nachtmusik’’ for 210 medical and nursing students who spent the week forging teams to address medical crises thrown at them during the second Interprofessional Patient Safety Course run by the Miller School of Medicine and the School of Nursing and Health Studies.

The concert was not a respite from the rigors of the intense, fast-paced encounters with simulated patients—lifelike mannequins with fading vital signs and human actors with an assortment of maladies and emotions—that are designed to teach situational awareness, tear down hierarchies, and nurture the mutual respect and team-building skills future physicians and nurses will need to prevent errors and improve patient outcomes in the real world.


As Frost Dean Shelton G. “Shelly” Berg conducted, two violinists, a violist, and a cellist played Mozart’s joyous “little serenade” first beautifully and then badly, clearly demonstrating what happens when professionals with different roles work as a team and carry out their mission with focus, enthusiasm, clear communication, and positive, constructive leadership—and what happens when they don’t.

The attentive audience of about 150 third-year medical students at the Miller School and about 60 second-semester students in the School of Nursing and Health Studies’ (SONHS) accelerated Bachelor of Science in Nursing program, rewarded the musicians—Frost School graduates Michelle Godbee, Amanda Diaz, Ari Urban, and student Brent Charran—with rousing applause when the quartet opened their mini-concert in a Cox Science Building auditorium with a mesmerizing rendition of Mozart’s popular work.

But the medical and nursing students were supposed to see a little bit of themselves when, spurred by Berg, Godbee, a violinist with the Florida Grand Opera who happens to be starting the Miller School’s M.D./M.P.H. program on Monday, morphed into an over-achiever, playing the same piece faster than her fellow musicians; or when Diaz, demonstrating feelings of superiority, played her viola louder than the other instruments; or when Urban, nervous and scared, melted into the background after Berg loudly ridiculed her for asking a question; or when all of them played their parts with technical precision, but without a trace of passion or interest.

Under none of those scenarios did Mozart’s masterpiece sound like one, which conveyed Berg’s point better than any lecture or textbook could. “You have to be present in the moment,” he told the students. “You have to be aware of your job, but you have to be aware of other people’s jobs around you, because their jobs interrelate to yours. You have to react to what they’re doing in real time—and you have to put your heart and soul into it.”

Those were, in a nutshell, the over-arching lessons David Birnbach, Miller School professor and the director of the UM-Jackson Memorial Hospital Center for Patient Safety, and Mary McKay, assistant professor of clinical nursing and safety assurance director, hoped to impart when they and their teams joined forces for the first time last year to include nursing students in the weeklong training course Birnbach established for medical students after an Institute of Medicine (IOM) report concluded that most medical mistakes could be avoided with better communication and teamwork.

Last year’s pilot course was a great success and, with the support of SONHS Dean Nilda (Nena) Peragallo Montano and Miller School Dean Pascal J. Goldschmidt, was expanded to include more activities and simulations this year.

“What educators have been doing is educating nurses in a silo and medical students in a silo and then putting them together expecting them to work effectively as a team,” McKay said. “That’s why this course is such an eye-opening experience. They interact with each other in a variety of ways and they learn, ‘Well, this is what a nurse does, and this is what a physician does.’ They learn we have different roles, but the same ultimate goal—to provide safe, quality patient care—and when we work together we can achieve it.”

Birnbach, who is also senior associate dean for quality, safety, and risk at the Miller School and the University’s vice provost for faculty affairs, added new meaning to the collaborative nature of the course by arranging the Frost School’s live concert this year. (Last year, the Mancini Institute Orchestra performed for the course via video, but Birnbach really wanted a performance that would afford the students the opportunity to interact with the musicians.) He was thrilled with the outcome.

“It was an experiment, but as far as I am concerned it was a grand-slam home run,” he said after the applause died down. “The mistakes that physicians and nurses can make are wonderfully illustrated by musicians: From time to time, everyone can be lazy, unfocused, or showing off. That’s how we scripted the musical errors that Dean Berg and these gifted musicians showed our students.”

Also new to the course this year, which included lectures, team-building exercises, and simulated but realistic patient encounters at the SONHS on the Gables campus, and the Gordon Center for Research in Medical Education and the UM-JMH Center for Patient Safety on the medical campus, was a trip to the Lowe Art Museum. There, nursing and medical students jointly participated in the Lowe’s innovative workshop on “The Fine Art of Healthcare,” which uses art to hone visual thinking strategies.

By breaking into small groups and viewing and discussing different works of art, the students learned how to communicate their own impressions and incorporate the perspective of others who viewed the pieces differently—a process critical not only to interpreting art but making proper diagnoses. As Hope Torrents, the Lowe’s school programs coordinator and creator of the program, notes, “Someone else might see what you missed.”

For medical student Nikesh Shah, both exercises were as instructive as they were unexpected.

“I thought it was awesome,” he said. “Not that lectures are bad, but it was much more eye-opening than a lecture. Seeing and hearing is better than someone telling you that being in sync is important.”

After a long week for both the students and more than 40 faculty from the Miller School, SONHS, the Frost School, and the College of Arts and Sciences, the patient safety course concluded Friday with UM President Donna E. Shalala, who chaired the IOM report on the “Future of Nursing,” observing as the two most improved teams of future physicians and nurses competed in a final simulated patient encounter judged by their classmates.

Maya Bell can be reached at 305-284-7972.

 

 

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Alumnus Returns ‘Home’ to Direct UM’s Athletic Bands

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Alumnus Returns ‘Home’ to Direct UM’s Athletic Bands


Jay C. Rees

Jay C. Rees will lead the Frost Band of the Hour beginning July 1.

CORAL GABLES, Fla.,  (June 16, 2014)—The Phillip and Patricia Frost School of Music has appointed UM alumnus Jay C. Rees as the new director of athletic bands, a post he currently holds at The University of Arizona in Tucson.

Rees, B.M. ’84, will lead the Frost Band of the Hour, the University of Miami’s marching and pep band, at sporting events, including nationally televised Miami Hurricanes football and basketball games, and expand the band’s reach and reputation throughout the region.

Rees takes over a band program with an 86-year history that includes performing at national bowl games and international competitions and events. He is charged by Frost School Dean Shelton G. Berg to: invigorate the athletic band program so it provides modern, outstanding time-of-life experiences for student members, including brass and wind musicians, percussionists, dancers, and others; build the Frost Band of the Hour into a top source of pride for the entire University community and a prominent leader in the marching band world; and establish a fresh and distinctive musical performance and field style that reflects the musical and cultural diversity of the city of Miami while projecting it to the world.

“The Frost School is very excited to welcome Jay Rees as the director of athletic bands. He is universally regarded as one of the most excellent and innovative musicians in this field,” Berg said. “Professor Rees has worked at the highest levels in classical, jazz, and popular music as a performer, composer, and arranger, which fits in perfectly with the ‘cross-training’ of musicians that the Frost School is known for. I have no doubt that the ‘Rees Era’ will be a golden age for the Frost Band of the Hour and the athletic band program.”

Rees cited the University of Miami’s reputation for athletic excellence as well as the Frost School of Music’s innovative music curriculum for his decision to join UM, beginning July 1.

“Every person wants to be excellent at what they do, but not all are successful. The key is who’s willing to do the work, to make the sacrifices, to become truly great at something,” said Rees. “I look forward to ‘pushing the envelope’ with the outstanding students of the University of Miami and the Frost School of Music. What I bring to The Band of the Hour will not only shape and define the student experience at UM but also prepare [students] for life beyond their college years.”

In addition to his 21-year tenure at The University of Arizona, where he also was a professor of music, Rees is an accomplished musician in jazz performance, having appeared throughout the U.S., Canada, and Japan. He toured with the international recording act The Lettermen as bassist and musical director and still actively performs.

An alumnus of the Frost School, Rees has a large catalog of published original music written for jazz, wind ensemble, concert bands, and athletic bands that is commissioned and performed by major universities and high schools nationwide. He teaches undergraduate music education, jazz studies, and leadership courses. He also travels as a clinician, guest speaker, adjudicator, and conductor for band programs across the country.

As director of The University of Arizona marching and pep bands, Rees’s contemporary arrangements and inventive drill design have gained national presence. His inspired leadership helped transform the medium and is referenced extensively in the book Marching Bands and Drumlines: Secrets of Success from the Best of the Best. In 2009, the prestigious College Band Directors National Association (CBDNA) named UA’s Pride of Arizona one of the top marching bands in the country. Rees’s bands have released CD recordings and appeared in numerous television features, including NBC’s Today Show and Fox Sports.

“We are thrilled to welcome Jay Rees back to the U,” Director of Athletics Blake James said. “His musical reputation speaks for itself and we are confident that under his direction the Band of the Hour will continue to make a positive impact on our events, helping to create a first-rate gameday experience.”

In 2001, Rees choreographed a live “human flag” for the Tucson community in response to the events of 9/11. His iconic design incorporated 10,000 citizens and became a national symbol. The image appeared on CNN and was published in a special issue of Sports Illustrated.

Rees is listed in Who’s Who In America for the 21st Century as well as Who’s Who Among America’s Teachers. He is a member of ASCAP, The Recording Academy, and CBDNA. A native of Detroit, Rees lived in Miami and Los Angeles before making his home in Tucson with his wife Wendy Rees, and their two sons.

The Band of the Hour, named in 1948 after a Henry Fillmore march, “The Man of the Hour,” has existed in one form or another since 1928. Along with its commitment to musical and artistic excellence, the Band of the Hour has maintained a long tradition of service to the University. It is now referred to as the Frost Band of the Hour, in honor of Dr. Phillip Frost and Patricia Frost, generous donors to the marching band program who established an endowment to support its operations, and the naming donors of the Frost School of Music.

The Frost Band of the Hour is the largest and one of the most spirited student organizations on the UM campus. The band draws its membership from the entire student body, representing all of the states and almost every major.

 

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Frost Community Celebrates a Handful of 2014 Grammy Awards

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Frost Community Celebrates a Handful of 2014 Grammy Awards


From left, David Frost, UM alum Brian Losch and Tim Martyn won the Grammy for the Best Engineered Album, Classical, for "Winter Morning Walks."

From left, engineers David Frost, UM alumnus Brian Losch, and Tim Martyn won the Grammy Award for Best Engineered Album, Classical, for “Winter Morning Walks.”

Special to UM News

CORAL GABLES, Fla. (January 27, 2014) — The Frost School of Music at the University of Miami was well-represented at the 56th Annual Grammy Awards last week with alumni celebrating wins in categories ranging from classical and engineering to jazz and rock.

Brian Losch, a 2008 graduate of the Music Engineering Technology program, earned a Grammy in the Best Engineered Classical Album category for his work on singer Dawn Upshaw’s Winter Morning Walks (ArtistShare). The album also garnered wins for both Best Contemporary Classical Composition and Best Classical Vocal Solo for UM alumna Maria Schneider, who composed and orchestrated the record.

Frost alumnus Andrew Scheps, who earned a Bachelor of Music in 1989, was the engineer for Black Sabbath’s comeback album, 13 (Vertigo/Republic), which won the Grammy in the Best Metal Performance category for the track “God is Dead?” The album also was nominated in the Best Rock Album and Best Rock Song categories. In 2011 Scheps won a Grammy for Album of the Year for his engineering work on Adele’s landmark album 21 (XL Recordings).

Triple UM alumnus, Christopher “Kip” Sullivan, a partner with Summit Records who earned his bachelor’s and master’s degrees in music and his M.B.A. from the U in the 1980s, celebrated a Grammy win for Best Large Jazz Ensemble Album for his label’s Night In Calisia by winners Randy Brecker, Włodek Pawlik Trio, and Kalisz Philharmonic.

The University also earned nominations for Frost Dean Shelly Berg—a Steinway piano artist and critically acclaimed recording artist, composer, arranger, and orchestrator—who was nominated for his second Grammy in the Best Arrangement Accompanying a Vocalist category for “What a Wonderful World” on Gloria Estefan’s The Standards (Sony Masterworks). Berg was nominated in the same category last year for his arrangement of “Out There” on Lorraine Feather’s release, Tales of the Unusual (Jazzed Media).  He also arranged, orchestrated, and performed on Lorraine Feather’s 2014 Grammy-nominated album, Attachments.

Estefan, a multi-platinum, seven-time Grammy winning international vocal superstar, was nominated again in the Best Traditional Pop Album category for her  critically acclaimed Standards album, which she produced with Berg and her husband, Emilio Estefan. A UM alumna and trustee, Estefan also presented at the awards ceremony, held January 26 at the Staples Center in Los Angeles.

 

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Frost’s Dean Berg and Three UM Alums Garner 2014 Grammy Nominations

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Frost’s Dean Berg and Three UM Alums Garner 2014 Grammy Nominations


grammyFrost School of Music Dean Shelly Berg earned a Grammy nomination, his second, in the 2014 Best Arrangement Accompanying a Vocalist category for Gloria Estefan’s “What a Wonderful World,” while UM alums Brian Losch got the nod for the Best Engineered Classical Album and Maria Schneider for Best Contemporary Classical Composition for Dawn Upshaw’s Winter Morning Walks (ArtistShare).

In addition, UM Frost alumnus Andrew Scheps, B.M. ’89, was the engineer for Black Sabbath’s new album, 13, (Vertigo/Republic), which earned three 2014 Grammy nominations in Best Rock Album, Best Rock Song and Best Metal Performance categories. Scheps earned a 2011 Grammy Award in the Album of the Year category for his engineering work on Adele’s landmark album, 21(XL Recordings).

UM trustee and alumna Gloria Estefan, a multi-platinum and seven-time Grammy winning international vocal superstar, also was nominated  in the Best Traditional Pop Album category for the critically acclaimed Gloria Estefan: The Standards (Sony Masterworks), on which Berg’s latest nominated arrangement appears.

Berg, a Steinway piano artist and critically acclaimed recording artist, composer, arranger and orchestrator, was nominated in the same best arrangement category last year for  “Out There” on Lorraine Feather’s release, Tales of the Unusual (Jazzed Media). He and Emilio Estefan also co-produced The Standards album, on which Gloria Estefan served as producer.

 

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