2010 Student Catalog

David Zinman music director

Alan Fletcher president and ceo

Joan Gordon dean

Aspen Music Festival and School

StudentCatalog

2010

Aspen Music Festival and School Calendar

Full Session June 23–August 22, 2010

1st Session June 23–July 25, 2010

2nd Session July 26–August 22, 2010

Live Audition Dates November 2009–January 2010

* Live auditions in selected cities are required ONLY for the following programs: (See details listed within each program) Orchestral String Fellowship, page 14 Collaborative Artists Program, page 16 Center for Advanced Quartet Studies, page 20 Aspen Opera Theater Center, page 21

Application and Financial Aid Application Deadlines Applications for Admission and Financial Aid are in the back of this catalog. All deadlines are POSTMARK deadlines

September 1–October 31 $25 application fee in effect November 1–November 30 $60 application fee in effect November 13 Final Application Deadline for the following programs:

Aspen Contemporary Ensemble, page 19 American Academy of Conducting at Aspen, page 28 November 30 Final Application Deadline for the following programs:

Collaborative Artists Program, page 16 Center for Advanced Quartet Studies (pre-screening), page 20 Aspen Opera Theater Center, page 21 All Composition Programs (Master Class, Individual Studies, and Film Scoring), page 24 December 1–December 14 $80 application fee in effect December 15–January 4 $120 application fee in effect January 4 Final Application Deadline for the following programs:

Instrumental Program, page 8 Classical Guitar Program, page 15 Piano Program, page 18 Center for Advanced Quartet Studies, page 20 Edgar Stanton Audio Recording Institute, page 27 Resident Assistant Positions, page 33 *Please note: Applications postmarked after January 4, 2010 will be considered only subject to enrollment.

Arrival and Registration Dates June 23–24 American Academy of Conducting registration

June 23–25 Full Session and Half Session I registration

June 24–25 American Academy of Conducting string auditions June 25–26 American Academy of Conducting conductor auditions June 25–27 Orchestra and chamber music placement auditions June 26–28 Aspen Opera Theater Center auditions June 28, 10:30 am New Student Welcome/Orientation in the Benedict Music Tent 11 am Convocation for all AMFS students and artist-faculty in the Benedict Music Tent Week of June 28 Aspen Music Festival and School: Rehearsals, lessons, classes and performances begin July 25 Half Session II students arrive, and may check in to School housing beginning at 4 pm. July 26 Half Session II registration (Half Session II students will be joining classes already in progress)

Check-Out Dates July 25 Half Session I ends. Half Session I students must check out of School housing by 10 am. August 22 Aspen Music Festival and School ends (last concert is at 4 pm on 8/22). August 23 All Aspen Music Festival and School students must check out of School housing by 12 pm.

Aspen Music Festival and School Student Catalog 2010 | 1

About the Aspen Music Festival and School 2 Overture

3 What’s New for 2010

3 The Aspen Experience

4 Town of Aspen and AMFS Facilities

5 Student Life

5 Important Information for Students Under Age 18

6 Welcome to the Aspen Music Festival and School

Programs 8 Instrumental Program

9 Chamber Music Opportunities

10 Orchestral Woodwind, Brass, Percussion, and Harp Fellowship

14 Orchestral String Fellowship

15 Classical Guitar Program

16 Collaborative Artists Program

18 Piano Program

19 Aspen Contemporary Ensemble

20 Center for Advanced Quartet Studies

21 Aspen Opera Theater Center

24 Susan and Ford Schumann Center for Composition Studies

24 Master Class Program

25 Individual Studies Program

26 Film Scoring Program

27 Edgar Stanton Audio Recording Institute

28 American Academy of Conducting at Aspen

School Information 32 Enrollment and Other Fees

33 Financial Assistance

34 Information for International Students

35 List of Endowed and Special Scholarships and Fellowships

37 Staff and Board of Trustees

Application Forms 38 Application Checklist

39 Application for Admission

40 Financial Assistance Application

The catalog of the Aspen Music Festival and School is not to be construed as a contract between the School and the prospective student. Rather, it describes the Aspen Music Festival and School’s general philosophies, policies, and procedures. All information is subject to change.

The Aspen Music Festival and School admits students of any race, color, creed, sex, marital status, affectional or sexual orientation, family responsibility, national origin, ancestry, handicap, or religion to all the rights, privileges, programs, and activities generally accorded or made available to students at the AMFS.

Aspen Music Festival and School ©2009Photographs: Alex Irvin | Design: David Taylor Graphics

2 | Student Catalog 2010 Aspen Music Festival and School

What sets the Aspen Music Festi-val and School apart from other summer programs for students

is the high level of artistry and the incredible diversity of musical experience it offers. With programs including orchestral, opera, con-ducting, composition, piano, chamber music, and more; students ranging in age from eight to seventy-three, from thirty-six countries and virtually every major conservatory; a distin-guished artist-faculty with experience in all facets of music-making; and world-class con-certs, master classes, and lectures, the AMFS is an intense musical world of its own.

In addition to offering such breadth, the AMFS allows musicians to deepen their mu-sical skills over the summer months, with orchestral, chamber, and recital performance opportunities as well as private study under the tutelage of more than 140 highly respect-ed artist-faculty members, with an emphasis on individual development.

Some of today’s most highly regarded musical professionals studied at the AMFS, including Joshua Bell, William Bolcom, Sarah Chang, James Conlon, John Corigliano, Den-nis Russell Davies, Renée Fleming, Carlisle Floyd, Lawrence Foster, Philip Glass, Lynn

Harrell, Barbara Hendricks, Sharon Isbin, Nigel Kennedy, James Levine, Cho-Liang Lin, Robert McDuffie, Sylvia McNair, Susanne Mentzer, Edgar Meyer, Midori, Shlomo Mintz, Samuel Rhodes, Nadja Salerno-Sonnenberg, Peter Schickele, Gerard Schwartz, Gil Shaham, Orli Shaham, Morton Subotnick, Kyoko Takezawa, Augusta Read Thomas, Joan Tower, Dawn Up-shaw, Carol Wincenc, Hugh Wolff, Wu Han, and Pinchas Zukerman.

Yet perhaps Aspen’s greatest virtue is that it is a place of inspiration for all musicians—artist-faculty, students, and guest artists alike. The informal atmosphere encourages a coming-together of musical minds. The presence of musicians from countless different backgrounds brings breadth and growth. And millions of acres of surrounding wilderness allow for an opening of the spirit. Join us for our sixty-first season, and see what has made the AMFS such an extraordinary place for artistic and personal development since 1949.

Overture

Enrollment fees FULL SESSION HALF SESSION I OR II

Tuition $3,000 $2,000Health Service Fee $175 $110Security Deposit $100 $100Room and Board Fee $3,200 $2,000

AMFS Music Director David Zinman with the Aspen Chamber Symphony and soprano Deborah Voigt in 2009.


The AspenExperience

The Aspen Experience begins with the opportunity to study classical music for eight weeks in a charming moun-

tain town. Students apply to study privately with a particular artist-faculty member, but there are numerous educational opportuni-ties beyond the one-on-one studio experi-ence. Master classes, organized by instru-ment, are open to students in all disciplines and to the general public. Chamber groups are formed by audition and coached by worldclass artist-faculty and guest artists. Student competitions offer winners the op-portunity to perform a featured solo with an orchestra.

Playing in an orchestra or performing in an Aspen Opera Theater Center production is a key part of the Aspen Experience for many students. Opera students may have the opportunity to perform in fully staged opera productions and weekly opera scenes. There are four distinct orchestras, three of which perform under a variety of celebrated conductors and one that is part of the American Academy of Conducting at Aspen. Some of the orchestras allow students to perform major orchestral reper-toire alongside their teachers. This side-by-side integration of student and professional

musicians is a distinctive element of the Aspen Experience.

Gaining exposure to all aspects of music-making is also critical to the Aspen Experience. Every day, artist-faculty and guest artists offer lectures, workshops, panel discussions, pre- and post-concert talks, open rehearsals, and master classes in which students can gain a different perspective on music-making. Students are given an AMFS Season Pass and are

encouraged to attend the 350-plus events presented each summer.

The majority of students in Aspen are college-age or older (average age: 22) and have achieved a high level of musical pro-ficiency and personal maturity. The AMFS has a select number of spaces for extraor-dinarily talented high school students who possess exceptional maturity and ability. (See page 5 for more information about un-derage students.)

The 2010 edition of the Aspen Music Festival and School season will con-tinue to foster new ideas and explore

musical works created in The Magic Years of 1800–1810, 1900–1910 and 2000–2010—peri-ods of heightened activity and brilliant works.

2010 is also an anniversary year of Robert Schumann, whose works will be explored through the musical eyes of Johannes Brahms, perhaps his greatest protégé. The great American composer Samuel Barber also celebrates his centenary. Endowed with the gift of music, Barber created lasting works including Symphony No. 1, Knoxville: Summer of 1915, Adagio for Strings, the Overture to The School for Scandal, and his remarkable concertos, including the rhapsodic Violin Concerto.

Summer of 2010 will include a wide array of standard orchestral repertoire, including the music of Beethoven, Debussy, Ravel, Men-

delssohn, Berlioz, Mahler, Bruckner, Strauss, Stravinsky, Rouse, Golijov, and much more.

In addition to our artist-faculty, guest artists invited to the 2010 season include violinists Julia Fischer, Joshua Bell, Hilary Hahn, Leonidas Kavakos, Leila Josefowicz, Sarah Chang, Gil Shaham, Robert McDuffie, Valeriy Sokolov; pianists Yuja Wang, Lise de la Salle, Simon Trpceski, Joyce Yang, Wu Han, Stephen Hough, Jeffrey Kahane, Simone Dinnerstein, Steven Osborne, David Fray, and Marc-André Hamelin; bassist Edgar Meyer, flutist Emmanuel Pahud, and cellists Sol Gabetta, Alisa Weilerstein, Lynn Harrell, and David Finckel; conductors led by our music director David Zinman—James Conlon, Robert Spano, Edo de Waart, Nicholas McGegan, Mark Wigglesworth, Jeffrey Kahane, Andrey Boreyko, and Kirill Karabits.

Ensembles-in-residence include the Ameri-can String Quartet, the American Brass Quin-

tet, the Takács Quartet, and the Ying Quartet. Christopher Rouse and Osvaldo Golijov will be composers-in-residence.

Another hallmark of the Festival has been a wide variety of lectures and enrichment events, as well as collaborations with organi-zations such as the Aspen Santa Fe Ballet, the Aspen Institute, and Aspen Public Radio.

Nicholas McGegan will once again lead a special Baroque evening of multiple concertos featuring guest artists, artist-faculty, and 2010 students, side by side.

The Aspen Opera Theater Center will delve into the trilogy of operas based on Beaumarchais plays involving the life and times—from young romance to the golden years—of one family: the Count and Countess Almaviva, their servants Susanna and Figaro, and many of the characters that bring The Barber of Seville, The Marriage of Figaro, and The Ghosts of Versailles to life.

What’s New in 2010

Kevin Cobb, of the American Brass Quintet, coaches a student quintet.


The town of AspenAspen, a former silver-mining town with

a summertime population of 20,000, is an incredible place to spend a summer. With spectacular mountains and rivers, clean air, abundant sunshine, and a charming Victorian downtown, it serves as a retreat from life’s stresses as well as a place to grow—person-ally, artistically, and spiritually.

The town is easy to get around, whether by foot, bicycle, free bus, or car, and music and musicians are everywhere. Artist-faculty, staff, students, and guest artists frequently meet casually after concerts at restaurants or while strolling down the wide pedestrian malls in town. In addition, the magnificent Rocky Mountains that surround the town offer musi-cians the chance to hike through fields of wild-flowers, bike amid incredible vistas, or spend time quietly in a beautiful environment.

At an altitude of 7,900 feet, summer days are generally dry and sunny with tempera-tures in the eighties; nights are generally clear and cool.

FacilitiesThe Aspen Music Festival and School is

headquartered at a pastoral campus just out-side of Aspen among groves of aspen trees and three ponds. Campus facilities include two rehearsal halls, several large classrooms and studios, eighty practice rooms, two music libraries, a dining hall, and the administrative offices.

The primary performance facility for the AMFS is the Benedict Music Tent, located a short bus ride from Campus in Aspen’s his-toric West End neighborhood. This 2,050-seat facility, opened in the summer of 2000, com-bines the ambiance of a tent with the acoustic integrity of a concert hall. The Tent sits amid lush fields, aspen groves, and gardens; the surrounding David Karetsky Music Lawn is al-ways free and open for an informal, al fresco concert experience.

The 500-seat Harris Concert Hall, located next to the Tent, provides a more intimate and acoustically pristine venue for chamber music performances and recitals. This warm, woody

hall was proclaimed “the Carnegie of the Rockies” by the Denver Post when it opened in 1993.

The 450-seat Wheeler Opera House, an exquisite Victorian structure built in 1889 and restored in 1984, is the venue for each sum-mer’s fully staged opera productions. Located

in downtown Aspen, the facility provides su-perior sightlines, state-of-the-art production amenities, and a great deal of historical ambi-ance.

Other venues for performances and re-hearsals include Aspen churches, public schools, and private homes.

Castle Creek Campus Harris Concert Hall Benedict Music Tent Wheeler Opera House

Students and artist-faculty meet and mingle at the Castle Creek Campus cafeteria.


Important information for students under age 18

Admission to the Aspen Music Festi-val and School is based on musical back-ground and performance ability. Although there are no age requirements, the AMFS is designed for students college age or older; a limited number of spaces are available for exceptionally talented high school students who possess outstand-ing maturity. Students under the age of eighteen must be responsible, self-moti-vated in their musical development, and able to schedule their rehearsal and prac-tice time without strict supervision.

The AMFS is not structured like a summer camp; other than some Monday events, there are few organized recre-ational activities. The AMFS is not staffed to handle the special social and structural needs of younger students. There are no uniforms, no daily sign-out procedures, and no supervised practice times. The AMFS strongly encourages parents to be in residence with their underage child.

There are two categories of underage students—those between the ages of fifteen and eighteen, and those younger than fifteen.

Students between fifteen and eigh-teen generally participate in orchestras and chamber ensembles, although the AMFS cannot guarantee orchestra or chamber music placement for any under-age student. These students are required to live in AMFS housing unless accom-panied by a parent or legal guardian. The AMFS abides by the 11 pm curfew set by the city of Aspen, and all underage students MUST be in their dorm rooms at this time. No visitors are allowed in un-derage rooms after 11 pm. Also, no over-night guests are allowed. Room-check is conducted nightly, and violations are reported immediately to the dean.

Students under the age of fifteen

cannot be accommodated in the

dorms and must be accompanied in

Aspen by a parent or legal guardian.

Ensemble placement cannot be guar-anteed for underage students, but every effort will be made to place the young musician in an appropriate chamber mu-sic group, as well as an orchestra when possible.

Student lifeApproximately 625 student musicians from

around the world train at the Aspen Music Festival and School each summer.

Transportation to AspenStudents are responsible for providing their

own transportation to and from Aspen, which is located approximately 200 miles southwest of Denver, Colorado, and is accessible by car and by plane. Aspen is served by several ma-jor airlines. Train and bus service is available to Glenwood Springs, forty miles from Aspen, with bus service available from Glenwood Springs to Aspen. Colorado Mountain Express and Gray Line operate shuttle services to As-pen from the airports in Denver and Eagle/Vail. The Office of Student Services will begin a carpool list after April 1. Aspen Music Tours can help make your travel arrangements and can be reached at 800-928-9463.

HousingThe Aspen Music Festival and School has

housing available for approximately two-thirds of the student population and for students over age fifteen only. (Students under eigh-teen have special requirements; see the sec-tion on underage students, at right.)

Others make their own living arrangements outside of AMFS housing. A resort town, Aspen’s affordable housing is competitively sought-after: Students are strongly encouraged to make arrangements as early as possible. However, summer housing usually does not become available until April, after ski season.

The AMFS provides a referral list of avail-able local housing which will be available on our website on and after April 1, 2010. This list is not an endorsement but is strictly a list of properties and roommate situations. Students wishing to be referred to other stu-dents for apartment-sharing should contact [email protected] to be added to the list.

School housingStudents fifteen and older are housed at the

Marolt Ranch, Burlingame Ranch, and in other locations throughout Aspen that are leased by the AMFS for the summer. Students under fif-teen as of June 23, 2010, must be accompa-nied by a parent or guardian and must find non-AMFS housing for their entire stay in Aspen.

Students are placed in AMFS housing on a first-come, first-served basis according to the order in which the housing reservation form and housing deposit are received. Room and roommate requests are fielded on a priority basis, but no guarantees can be made. Stu-dents are housed two or three to a unit. How-ever, the AMFS reserves the right to house students four to a unit at Marolt, if necessary. The facilities are staffed by Resident Supervi-sors and student Resident Assistants.

All students in AMFS housing are required to be on the meal plan; there is no room-only plan. Students electing to live in AMFS hous-ing facilities are strongly urged to submit the required housing reservation form and the nonrefundable $1,000 housing deposit imme-diately upon notification of acceptance.

Harris Concert Hall


Thank you for your interest in the Aspen Music Festival and School.

The reason to be in Aspen together is to watch the continued growth and enthusiasm of our young students, some we know from past years, others new, but all capable of thrilling us with their powerful talents.

Our artist-faculty members never cease to amaze me with their dedication to excellence, not only in performance, but also in helping to transform the young minds of students into future colleagues and peers.

See you in Aspen this upcoming summer. David Zinman Music Director

In Aspen we believe in the power of performance, of practice, of mentoring, and of playing. Our signature orchestral programs bring students and artist-faculty together in a unique way—every student, even if not in a side-by-side performance program, should feel the intense engagement our artist-faculty bring to their work. The success of our alumni is intensified by the number of times they say that they first felt that great confidence in themselves here, in Aspen. This is because we believe in encouragement, and see a life in music in a holistic way: Everyone is always learning and playing, since Aspen is a place of unparalleled fun as well.

Alan Fletcher President and CEO

I am so happy that you are interested in participating in our 2010 Festival! Musicians who attend the Aspen Music Festival and School have the opportunity to immerse themselves in a very global musical world which includes performing, learning, and listening. The atmosphere at the AMFS is charged with inspiration and creativity and it is a place for musicians at all levels to remember or rediscover the reasons they chose music.

I look forward to working with you throughout the admissions process and hope to see you in Aspen this summer!

Joan Gordon Dean

WelcomeJo

sef

Stu

cker

Lynn

Gol

dsm

ith


The Aspen Music Festival and School offers a wide variety of programs of performance and

study. Most of these programs include a weekly private lesson with an artist-faculty member,

extensive performance opportunities, coaching sessions, and master classes. The AMFS prides

itself on providing a broad musical experience for students, faculty, guest artists, and audience

members: We allow and encourage all of our students to participate in every appropriate aspect

of the Festival and School.

Programs

8 Instrumental Program

9 Chamber Music Opportunities

10 Orchestral Woodwind, Brass, Percussion, and Harp Fellowship

14 Orchestral String Fellowship

15 Classical Guitar Program

16 Collaborative Artists Program

18 Piano Program

19 Aspen Contemporary Ensemble

20 Center for Advanced Quartet Studies

21 Aspen Opera Theater Center

24 Susan and Ford Schumann Center for Composition Studies

24 Master Class Program

25 Individual Studies Program

26 Film Scoring Program

27 Edgar Stanton Audio Recording Institute

28 American Academy of Conducting at Aspen

Details on each of the AMFS’s programs follow on the subsequent pages.Nicholas McGegan led AMFS students and artist-faculty in Bach’s complete Brandenburg Concertos in 2009.


As an instrumentalist, your Aspen ex-perience may include orchestral per-formances, private lessons, chamber

music studies, elective music-related courses, and the chance to compete in student com-petitions, the winners of which will perform a solo with orchestra.

It is important that students be aware that we are, by design, a full-session program. We strongly encourage applicants to apply for the full eight weeks, as orchestral and chamber music participation for half-session instrumen-talists may be extremely limited.

Private lessonsAcceptance to the Aspen Music Festival

and School is contingent upon being accepted into an artist-faculty member’s studio. Appli-cants designate three teachers of choice on the application form and will study weekly with their assigned teacher. Please note that audition recordings are not necessarily re-viewed by all three requested teachers.

For information on specific artist-faculty members, see the listing on the inside back cover. Check www.aspenmusicfestival.com

before applying for the most current artist-

faculty list and biographies.

Solo opportunitiesStudents are welcome to participate in a

series of student competitions, the winners of which are invited to perform with one of the orchestras during the summer. Students may only participate in competitions with the writ-ten consent of their teachers, and previous win-ners are not eligible to compete. A full schedule of competition and performance dates will be mailed to accepted students in the spring.

The Spotlight, String Showcase, and Open Door recital series also provide solo opportu-nities for students. Students may participate with permission from their teachers and the series coordinator.

CoursesAll students are encouraged to participate

in the music-related courses offered by the AMFS artist-faculty and staff. In addition, the

AMFS offers courses in body awareness, including Alexander Technique. College credit is available for some courses (see page 15). For a full list of course offerings, please see www.aspenmusicfestival.com.

OrchestrasAspen maintains four performing orches-

tras, each of which plays in the Benedict Mu-sic Tent. Auditions for orchestral placement are held upon arrival in Aspen. Wind, brass, per-cussion, and harp players may rotate through different orchestras throughout the eight weeks. String players are generally placed in one orchestra for the season. Conductors and soloists for AMFS orchestras are some of the finest artists on the concert circuit today. The orchestras, in alphabetical order, follow.

The American Academy of Conducting

at Aspen Orchestra is the centerpiece of a program directed by AMFS Music Director David Zinman that is the country’s premier institution for training young conductors. The orchestra is guided by both master con-ductors and the next generation of up-and-coming conducting talents, who perform in the orchestra when off the podium. Activities

include weekly orchestral concerts, concerto performances, opera scenes master classes, repertoire readings, film scoring readings, and a family concert. For more information on this program, see page 28.

The Aspen Chamber Symphony is composed of AMFS artist-faculty members and students, and is led by world-renowned conductors and joined for most concerts by guest soloists. Repertoire consists of standard and contemporary works for the chamber symphony.

The Aspen Concert Orchestra is a large symphony orchestra. Concerts are directed by world-renowned guest conductors and artist-faculty of the Aspen Music Festival and School. The ensemble provides its members with an important opportunity to continue to develop their orchestral playing skills while rehearsing and performing major orchestral works.

The Aspen Festival Orchestra is composed of AMFS artist-faculty members and students and is led by world-renowned conductors and joined for most concerts by guest soloists. Repertoire consists of standard and contemporary works from the symphonic literature.

Instrumental Program

Artist-faculty oboist Elaine Douvas with student Melissa Hooper, 2009.


The Aspen Music Festival and School’s chamber music program is built around myriad student ensembles studying a wide range of repertoire prepared in coachings and master classes by more than forty artist-faculty members, guest artists, the American Brass Quintet and—schedules permitting—members of the resident string quartets.

While auditioning for chamber music in Aspen is optional, students accepted into the program must demonstrate professional initiative and responsibility in their weekly coaching sessions and all assigned perfor-

mances. Student ensembles focus primarily on traditional configurations—string quartets; piano trios, quartets, and quintets; and wind and brass quintets. Chamber music auditions take place during registration in Aspen; string, woodwind, and piano students must prepare required repertoire. Students are encouraged to bring their own chamber music scores and parts, as a supplement to the repertoire in the AMFS chamber music library.

Performance opportunities abound for Aspen’s many student ensembles, including a chamber music series at Aspen Chapel,

COMPLINK, the Day of Music, the Composer’s Forum, outreach concerts, Chamber House Music concerts, Spotlight Recitals, and Benedict Music Tent fanfares. In addition to performance opportunities, there are weekly coaching classes, public master classes, piano and strings classes, and concerts by resident and visiting ensembles.

The 2010 ensembles-in-residence will include the American Brass Quintet, American String Quartet, Ying Quartet, and Takács Quartet.

Bärli Nugent director

Chamber Music Opportunities

Students perform Messiaen’s Quartet for the End of Time in the weekly chamber music series at the Aspen Chapel.


Winds, Brass, Percussion, and Harp(general admission and fellowships)

Brass Quintet Opportunity

The AMFS sponsors three fellowships and two full scholarships to a preformed brass quintet for the eight-week program. The quintet will perform on two recitals with the American Brass Quintet, receive coachings and lessons from ABQ members, and its individual members will be part of the regular orchestra rotation.

To apply, send a group résumé and a recording (live or studio) that includes the first movement of the Victor Ewald Quintet in B-flat (first quintet), and at least two other contrasting pieces.

Send all materials by January 4, 2010 to: John Rojak25 Cimarron RoadPutnam Valley, NY 10579Once a group is chosen, each individual

must immediately complete the Application for Admission on page 39 and send it to the Office of Student Services. Group members may also apply as individual students to the AMFS.

Please note: There is no application fee for students applying solely for the brass quintet opportunity. However, if a student chooses to also apply as an individual student for the AMFS program, the student must follow the “instrumental” application procedure and application fees will apply.

Due date: January 4, 2010

Apply early for discounted application fee.

All items to be submitted together:*

n Completed Application and Financial Assistance

Application (pages 39 and 40)

n Application fee n Four copies of a CD with required repertoire

n Current résumé

In addition to the above requirements, students are strongly encouraged but not required to send

two letters of recommendation,

which may be used in the scholarship process.*All materials, including recordings, will not be

returned.

Please be sure all items on the Application Checklist

(page 38) have been completed.

HOW TOAPPLY

Artist-faculty bassoonist Nancy Goeres with student Daryn Zubke in the Aspen Chamber Symphony.

Instrumentalists have numerous playing opportunities including orches-tra, chamber music, solo appearances, weekly private lessons with an artist-faculty member, coaching sessions, and master classes. (See page 8 for more details.) Approximately three-fourths of all AMFS students receive financial assistance based on talent and demonstrated financial need.

Fellowship students receive tuition, room, and board in AMFS facilities, and may take advantage of the full AMFS curriculum. Students who choose not to reside in AMFS facilities receive a stipend of $2,750 for the whole session. All fellowship students will be assessed the health service fee ($175) and the security deposit ($100).

Fellowships in the areas of flute, oboe, clarinet, horn, trumpet,

trombone, and percussion are chosen from the general pool of applicants; auxiliary instruments have specific repertoire requirements. See pages 11 and 12 for all repertoire requirements.

There are no live auditions for woodwind, brass, percussion or harp

applicants, including fellowship applicants.

American Academy of Conducting at Aspen Orchestra Fellowship for Woodwinds, Brass, and Percussion:

Fellowships are chosen from the general pool of applicants. If selected, orchestral participation will be limited to the Academy Orchestra.


Winds, Brass, Percussion, and Harprepertoire requirements for audition recordingsFlute and Flute Fellowshipn MOZART: Flute Concerto in G major,

K. 285c (K. 313) (1st movement) OR MOZART: Flute Concerto No. 2 in D major,

K. 314 (1st movement)n A French conservatory piece (i.e. Fauré or

Enesc°u)n BEETHOVEN: Leonore Overture No. 3, op.

72b (m. 29 to 61 after Reh. E)n BRAHMS: Symphony No. 4 in E minor, op.

98 (4th movement, m. 97-105)n MENDELSSOHN: A Midsummer Night’s

Dream, op. 61 (Scherzo, two before Reh. P to end)

n RAVEL: Daphnis et Chloé, Suite No. 2 (three after Reh. 176 to two after Reh. 179)

Piccolo FellowshipOn fluten All of the repertoire above under “Flute and

Flute Fellowship”On piccolon VIVALDI: Piccolo Concerto in C major, RV

443 (1st movement)n BERLIOZ: Dance of the Sprites from La

damnation de Faust, op. 24 (Presto after Reh. 9)

n RIMSKY-KORSAKOV: Scheherazade, op. 35 (4th movement, m. 17 to 8 after Reh. V)

n TCHAIKOVSKY: Symphony No. 4 in F minor, op. 36 (3rd movement, Scherzo, two after Reh. E to Reh. G and 4th movement, m. 3 to 12 after Reh. H)

n RAVEL: Daphnis et Chloé, Suite No. 2 (three after Reh. 156 to two after Reh. 159)

n SHOSTAKOVICH: Symphony No. 6 in B minor, op. 54 (three measures after Reh. 8 to the third beat at Reh. 10)

Oboe and Oboe Fellowshipn Two solo pieces and three standard

orchestral excerpts

English Horn FellowshipOn oboen All of the repertoire above under “Oboe

and Oboe Fellowship”On English hornn BERLIOZ: Roman Carnival Overture, op. 9

(beginning to modulation) n DVORÀK: Symphony No. 9 in E minor,

op. 95, “From the New World” (2nd movement, principal solo)

n FALLA: The Miller’s Dance from The Three-cornered Hat (solo)

n ROSSINI: Overture to William Tell (solo)

Clarinet and Clarinet Fellowshipn MOZART: Clarinet Concerto in A major, K.

622 (3rd movement to m. 222) n NIELSEN: Clarinet Concerto, op. 57 (the

two cadenzas only)n BRAHMS: Symphony No. 3 in F major, op.

90 (1st movement, m. 36-46) n BEETHOVEN: Symphony No. 8 in F major,

op. 93 (3rd movement, trio including repeat)

n PROKOFIEV: Peter and the Wolf (Nervoso, Reh. 20 to 21)

n RAVEL: Daphnis et Chloé, Suite No. 2 (third bar of Reh. 212 to the end of the piece)

n SIBELIUS: Symphony No. 1 in E minor, op. 39 (3rd movement, six after Reh. E through six after Reh. G)

Second and E-Flat Clarinet FellowshipOn clarinetn All of the repertoire above under “Clarinet

and Clarinet Fellowship”On E-flat clarinetn RAVEL: Bolero (Reh. 3 to Reh. 4) n BERLIOZ: Symphonie fantastique, op. 14

[5th movement, Allegro, for 26 measures (Reh. 63 to 5 after Reh. 64)]

n SHOSTAKOVICH: Symphony No. 5 in D minor, op. 47 (2nd movement, Reh. 49 to 5 after Reh. 50 and Reh. 53 to 1 after Reh. 54)

n SHOSTAKOVICH: Symphony No. 6 in B minor, op. 54 (2nd movement, Reh. 34 to Reh. 37)

n RAVEL: Piano Concerto in G major (1st movement, Reh. 18 to Reh. 19 and 9 before Reh. 35 to Reh. 35; and 3rd movement, Reh. 1 to six after Reh. 1)

n RAVEL: Daphnis et Chloé, Suite No. 2 (one before Reh. 157 to Reh. 161, Reh. 200 to six after Reh. 203, and Reh. 214 to four after Reh. 220)

Bass Clarinet FellowshipOn clarinetn All of the repertoire above under “Clarinet

and Clarinet Fellowship”On bass clarinetn MEYERBEER: Les Huguenots [5th Act

(cadenza starting on clarion F)] n SCHUMANN: Symphony No. 3 (toccata

section solo to m.170) n KHACHATURIAN: Piano Concerto (2nd

movement solo, 220 to low C) n GROFÉ: Grand Canyon Suite [section 3

(“On the Trail”) from Reh. 2 to Reh. 3]

Follow these guidelines when submitting audition recordings:

Recordings are a required part of the application process for all students, new and returning. They are used by artist-faculty members to select students for their private studios and to make scholarship recommendations. Acceptance to the Aspen Music Festival and School is contingent upon acceptance into a private studio.n DVDs (strings and piano only) and CDs (all other instruments)

must be compatible with U.S. playback equipment.n Recordings will not be returned. Please do not send

originals.n Videotapes, DATs, minidiscs, and cassettes will not be

accepted.

Note: DVDs (strings and piano only) and CDs (all other instru-ments) should be of the highest-possible artistic and audio quality. Applicants should play the pieces straight through with pauses only where they belong and with no artificial reverberation. Please record all orchestral excerpts under the same conditions, i.e. location and microphone distance.

Labeling instructionsn Label all discs and the spines of ALL cases with your name

and instrument using a permanent marker (even if the spine is narrow).

n Write the track listings on the jewel-case cover or directly on the disc itself.

n Each disc must be packaged in its own jewel case or sleeve.


Bassoon and Bassoon Fellowshipn MOZART: Bassoon Concerto in B-flat

major, K. 191 (1st movement, exposition only)

n STRAVINSKY: The Rite of Spring (opening) n RIMSKY-KORSAKOV: Scheherazade, op. 35

(2nd movement, solo plus the cadenzas) n RAVEL: Bolero (solo) n TCHAIKOVSKY: Symphony No. 4 in F

minor, op. 36 (2nd movement, solo)

Contrabassoon Fellowship On bassoonn All of the repertoire above under “Bassoon

and Bassoon Fellowship”On contrabassoonn RAVEL: Mother Goose Suite (solo)n RAVEL: Piano Concerto for Left Hand in D

major (solo)n BEETHOVEN: Symphony No. 5 in C minor,

op. 67 (4th movement, Allegro, m. 374-464)n J. S. BACH: Suite No. 1 for Unaccompanied

Cello in G major, BWV 1007 (Gigue)

Saxophone FellowshipOn alto saxn RACHMANINOFF: Symphonic Dancesn MUSORGSKY: Pictures at an ExhibitionOn tenor saxn PROKOFIEV: Suite No. 2 from Romeo and

Juliet, op. 64tern RAVEL: Bolero

Horn and Horn Fellowship Choose one selection from each bullet, for a total of four items.n 1st movement only from any of the

following MOZART Concerti: Horn Concerto No. 2 in E-flat major, K. 417; Horn Concerto No. 3 in E-flat major, K. 447; or Horn Concerto No.4 in E-flat major, K. 495

n RAVEL: Piano Concerto in G major; BEETHOVEN: Symphony No. 7 in A major, op. 92 (1st movement); WAGNER: from Gotterdammerung (Siegfried’s Short Call)

n SHOSTAKOVICH: Symphony No. 5 in D minor, op. 47 (1st movement, low tutti); BEETHOVEN: Symphony No. 3 in E-flat major, op. 55, “Eroica” (Scherzo trio, second horn); R. STRAUSS: Don Quixote (Variation VIII, second horn, six measures before Reh. 59 to eight measures after Reh. 62)

n MAHLER: Symphony No. 3 in D minor (opening tutti); R. STRAUSS: Ein Heldenleben (one measure before Reh 78 to one measure after Reh 79)

Trumpet and Trumpet Fellowshipn One movement of a concerto or sonata,

one etude and two standard orchestral excerpts; these contrasting selections should demonstrate technical facility and lyrical style.

Tenor Trombone and Tenor Trombone Fellowship n Two movements in contrasting style (fast,

slow) n MOZART: “Tuba mirum” from Requiem, K.

626 n ROSSINI: Overture to The Thieving Magpien RAVEL: Bolero

Bass Trombonen Two contrasting solo movements (fast,

slow) n Three orchestral excerpts

Tuban BRUCE BROUGHTON: Tuba Concerto (2nd

movement)n BERLIOZ: Symphonie Fantastique, op. 14

(4th movement, Reh. 56 to six measures after Reh. 57; 5th movement, five measures before Reh. 85 to Reh. 86; 5th movement, four measures before Reh. 86 to end);

n MAHLER: Symphony No.1 in D major, (3rd movement, four measures before Reh. 3 to Reh. 4)

n PROKOFIEV: Symphony No. 5 in B-flat major, op. 100 (1st movement, Reh. 3 to two measures after Reh. 5; 1st movement, two measures before Reh. 14 to three measures after Reh. 17)

n RESPIGHI: Fountains of Rome (pick up to Reh. 11 to Reh. 14)

n WAGNER: Prelude to Die Meistersinger von Nürnberg (Reh. J to Reh. L)

Tuba Fellowship*All of the above, PLUSn BERLIOZ: Le corsaire Overture, op. 21

(Reh. 5 to ten measures after Reh. 5 and four measures after Reh. 12 to downbeat of Reh. 13)

n WAGNER: Prelude to Act III from Lohengrin (Reh. B to three measures before Reh. C and six measures after Reh. D to two measures after Reh. E)

n WAGNER: Eine Faust Overture (measures 1-3)

Percussion and Percussion Fellowship*On snare drumn J. DELECLUSE: Etude No. 10, from 12

Studies for Snare Drumn RIMSKY-KORSAKOV: Scheherezade, op. 35

(3rd movement, Reh. D-Reh. E. and Reh. F-Reh. H; 4th movement, Reh. P-Reh. R)

On timpanin HOCHRAINER: Etuden fur Timpani,

Vo. 2, # 50 n BEETHOVEN: Symphony No. 7 in A major,

op. 92 (1st movement, m. 89-110; 4th movement, m. 413 to the end)

n HINDEMITH: Symphonic Metamorphosis after Themes by Carl Maria von Weber (2nd movement, Reh. S-T; and two measures before Reh. Z to the end)

On xylophonen GERSHWIN: Overture to Porgy and Bess

(main passage with strings only) n W. SCHUMAN: Symphony No. 3 (main

passage)n KODÁLY: Háry János Suite (6th movement,

all passages)On marimba or vibraphone

n Solo of your choice (approximately 3-8 minutes in length)

*All full session percussion applicants are eligible for the Charles Owen Memorial Fellowship, awarded to the most outstanding percussion applicant as judged by members of the AMFS percussion artist-faculty.

Harpn Solo of your choice, 6-8 minutes in lengthn TCHAIKOVSKY: from Nutcracker, op. 71

(Cadenza)n BRITTEN: from Young Person’s Guide to

the Orchestra (Variations and Fugue on a Theme of Henry Purcell), op. 34 (Cadenza)

n VERDI: Overture to La forza del destino (Reh. G to Reh. O)

n R. STRAUSS: Don Juan, op. 20 (beginning to Reh. G and Reh. L to Reh. N)

Harp Fellowship *All of the above, PLUSn Cadenza of your choice n DONIZETTI: from Lucia di Lammermoor

(Scena e Cavatina)n BRUCH: Scottish Fantasy, op. 46

(1st movement, Reh. E to Reh. H; 3rd movement, Reh. B to Reh. C; and 4th movement, beginning to Reh. C)


Strings(general admissionand fellowships)

Due Date: January 4, 2010 Apply early for discounted application fee.


n Completed Application and Financial Assistance Application (pages 39 and 40)n Application fee

n Four copies of a DVD

Violin, Viola, Cello: Two or three pieces in contrasting style, approximately fifteen minutes in lengthDouble Bass: Two or three pieces in contrasting style, approximately fifteen minutes in length, and two contrasting orchestral excerpts of your choice

n Current résumé

In addition to the above requirements, students are strongly encouraged but not required to send two letters of recommendation, which may be used in the scholarship process.*All materials, including recordings, will not be returned.

ATTENTION STRING FELLOWSHIP APPLICANTS:

Schedule a live audition online at www.aspenmusicfestival.com after

November 1, 2009, in addition to submitting all of the items above.

Please be sure all items on the Application Checklist (page 38) have been

completed.

HOW TOAPPLY

Ji Eun Anna Lee, 2009 winner of the AACA Violin Competition, performs Shostakovich’s Violin Concerto No. 1 in A minor with Patrick Furrer of AACA.

String players have numerous playing oppor-tunities including orchestra, chamber music, solo appearances, weekly private lessons with an artist-faculty member, coaching sessions, and master classes. (See page 8 for more de-tails.) Approximately three-fourths of all AMFS students receive financial assistance, based on talent and demonstrated financial need. Please see repertoire requirements (below) and in-structions (at right) on how to apply.

Violin, Viola, Cellon Two or three pieces in contrasting style,

approximately fifteen minutes in length

Double Bassn Two or three pieces in contrasting style,

approximately fifteen minutes in length, and two contrasting orchestral excerpts of your choice

String repertoire requirements for audition recordings


Orchestral String Fellowship Audition DatesTo schedule a live audition, go to www.aspenmusicfestival.com after November 1, 2009.

Violin

n MOZART: Violin Concerto No. 4 in D major, K. 218 (1st movement exposition only)

OR

MOZART: Violin Concerto No. 5 in A major, K. 219 (1st movement exposition only)

n 1st movement of a major concerto (in addition to the Mozart concerto above)

n R. STRAUSS: Don Juan, op. 20 (beginning to twelve measures after Reh. C) (first page)

n BEETHOVEN: Symphony No. 7, (1st movement, pick-up to m. 89 to the downbeat of m. 130)

n PROKOFIEV: Symphony No. 1 in D major, op. 25, “Classical”, (1st movement, beginning to five measures after Reh. 3)

Viola

n Your choice of any movement of an unaccompanied Bach suite (excluding Preludes)

n 1st movement of a major concerton MENDELSSOHN: A Midsummer Night’s

Dream, op. 61 (Scherzo: Reh. B to Reh. D)n R. STRAUSS: Don Juan, op. 20 (m. 1-8;

and pick-up to m. 21 to m. 48)n BERLIOZ: Roman Carnival Overture, op.

9 (up-beat to three measures after Reh. 1 through Reh. 4)

Cello

n Your choice of any movement of an unaccompanied Bach suite (excluding Preludes)

n Any movement of a major concerton BRAHMS: Symphony No. 3 in F major, op.

90, (3rd movement, m. 1–16)n DEBUSSY: La mer (Reh. 9 to six measures

before Reh. 10; top divisi line)n R. STRAUSS: Don Juan, op. 20 (m.1-49)

Double Bass

n Your choice of any dance movement from an unaccompanied Bach suite (excluding Preludes)

n BRAHMS: Symphony No. 2 in D major, op. 73 (4th movement, m. 244-279)

n MOZART: Symphony No. 35 in D major, K. 385, “Haffner” (4th movement, m. 134-181)

n R. STRAUSS: Ein Heldenleben (A Hero’s Life), op. 41 (Reh. 9 to the first measure of Reh.11)

Orchestral String Fellowship (live audition repertoire)

Recordings are a required part of the application process for all students, new and returning. They are used by artist-faculty members to select students for their private studios and to make scholarship recommendations. Acceptance to the Aspen Music Festival and School is contingent upon acceptance into a private studio.n DVDs (strings and piano only) and

CDs (all other instruments) must be compatible with U.S. playback equipment.

n Recordings will not be returned. Please do not send originals.

n Videotapes, DATs, minidiscs, and cassettes will not be accepted.

Note: DVDs (strings and piano only) and CDs (all other instruments) should be of the highest-possible artistic and audio quality. Applicants should play the pieces straight through with pauses only where they belong and with no artificial reverberation. Please record all orchestral excerpts under the same conditions, i.e. location and microphone distance.

Labeling instructionsn Label the discs and spines of

ALL cases with your name and instrument using a permanent marker (even if the spine is narrow).

n Write the track listings on the jewel-case cover or directly on the disc itself.

n Each disc must be packaged in its own jewel case or sleeve.

Ann Arbor ...................................................................................................... Saturday, January 30Baltimore .................................................................................................. Wednesday, January 20Bloomington ............................................................................................. Wednesday, January 20Boston ............................................................................................................ .Sunday, January 31Boulder ..........................................................................................................Thursday, January 14Chicago ...............................................................................................................Friday, January 15Cincinnati ........................................................................................................ Tuesday, January 19Cleveland ........................................................................ Sunday, January 31–Monday, February 1Houston .....................................................................................................Wednesday, February 3Los Angeles .................................................................................................... Monday, January 25New York ........................................................................Saturday, January 16–Sunday, January 17Philadelphia ..................................................................................................... Tuesday, January 19Rochester ......................................................................................................Thursday, January 28San Francisco .................................................................................................. Tuesday, January 26

A limited number of fellowships are awarded to outstanding string players at the professional level. Fellowships are awarded on the basis of competitive auditions. Note: In addition to the required live audition, all orchestral string fellowship applicants must complete the application process as outlined on page 13.

Fellowship students receive tuition, room, and board in AMFS facilities, and may take advantage of the full curriculum of the AMFS.

Students who choose not to reside in AMFS facilities receive a stipend of $2,750 for the whole session. All fellowship students will be assessed the health service fee ($175) and the security deposit ($100). For additional information on fellowships, refer to page 33.

Fellowships are also awarded for participa-tion in the Academy Conducting Orchestra; if selected, participation will be limited to the the Academy Orchestra.

Orchestral String Fellowship

Follow these guidelines when submitting audition recordings:


College CreditUndergraduate and graduate students may enroll for credit in most full-session

courses through the University of Colorado by Monday, July 12, 2010. Primary and secondary students interested in receiving credit must have written permission from their school. The University of Colorado charges $60 for one credit and $100 for two credits. (The Board of Regents reserves the right to change tuition and fees at any time.) The tuition for receiving a college credit is paid separately and must be submitted along with a credit registration form to the University of Colorado.

The last day to drop classes for credit will be Monday, August 9, 2010; however, students wishing to have their credit tuition refunded must drop their courses by Friday, July 16, 2010. The University of Colorado will not refund any tuition after July 16. If you are interested in college credits, we urge you to consult with your college academic advisor before registration in Aspen.

The Aspen Classical Guitar Program is an intensive four-week program occur-ring during Half Session II (July 26–Au-

gust 22). The program offers master class in-struction with director Sharon Isbin and her assistant concentrating on technique, sound production, interpretation of all repertoire, and Baroque performance practices.

Advanced students will receive all of their master class lessons from Ms. Isbin; others may have one or more of their lessons with her assistant. Placement will be determined on an individual basis. Qualified students enjoy many opportunities for performance, including chamber music collaborations. The program

culminates with a class concert. Students also have the opportunity to participate in chamber music and guitar ensemble, coached by Ms. Isbin’s assistant.


in the music-related courses offered by the AMFS artist-faculty and staff. In addition, the AMFS offers courses in body awareness, including Alexander Technique. College credit is available for some courses, see below. For a full list of course offerings, please see www.aspenmusicfestival.com.

Due date: January 4, 2010 Apply early for discounted application fee.


n Completed Application and Financial Assistance Application (pages 39 and 40)

n Application fee

n Two copies of a CD, approximately fifteen minutes in

length, with two or three contrasting works

n Current résumé

In addition to the above requirements, students are strongly encouraged but not required to send two letters of

recommendation, which may be used in the scholarship process.* All materials, including recordings, will not be returned.


completed.

Classical Guitar

Half Session II, July 26–August 22 Sharon Isbin director

HOW TOAPPLY

J. H

enry

Fai

r

Address all inquiries about college credit before coming to Aspen to:

Barbara RussellUniversity of Colorado at BoulderContinuing Education& Professional Studies1505 University Avenue 178 UCBBoulder, CO 80309-0178Phone: 303-492-7735Email: [email protected]/ContinuingEducation/ASPEN.htm (ASPEN must be capitalized)


Rita Sloan director

The Collaborative Artists Program pro-vides training for exceptional pianists who are already committed to collab-

orative arts or are considering a career in this area. The term “collaborative arts” includes any area of piano performance that involves more than solo piano (vocal and instrumental accompanying, duo work, orchestral piano, piano chamber music, etc.). The program combines practical experience with theoreti-cal study, and covers the entire range of the keyboard collaborative arts.

Students may participate in orchestral per-formance under resident and visiting guest conductors, instrumental collaborations (stu-dio accompanying and performances in vari-ous venues), vocal collaborations (including studio work, opera, chamber, and lieder), and

contemporary works with various ensembles. Seminars involve teachers from the Aspen Music Festival and School’s artist-faculty as well as visiting guest artists. Subjects covered range from sight-reading and score reading to vocal and instrumental repertoire, inter-pretative skills, and varying aspects of the accompanist and collaborative artist’s work. Students receive weekly private lessons from a member of the piano artist-faculty and are encouraged to participate in the full curricu-lum and activities of the AMFS.

Fellowships are available in the areas of Orchestral Piano and Instrumental and Vocal Accompanying.

Opera Coaching Fellowship applicants should read about additional opportunities in the Aspen Opera Theater Center (see page 21).

All other participants in the program are eli-gible for Collaborative Artists scholarships.

Collaborative Artists Program participants have the opportunity to accompany master classes, private studio lessons, and Spotlight Recitals to augment their scholarship. Accom-panying time varies from student to student. See page 33 for more information on financial assistance.

Students must complete a live audition

to be considered for the Collaborative Art-

ists Program. Students residing outside the U.S. may obtain permission from the program director to send auditions on DVD in lieu of the live audition. DVDs must be compatible with U.S. playback equipment.

CollaborativeArtists Program

AMFS alumni Ryan McKinny and Jamie Barton in a 2009 recital, with artist-faculty member Richard Bado.


Collaborative Artists Live Audition Requirements

Please bring a repertoire list and two letters of recommendation specifically addressing collaborative skills to your audition. Sight-reading will be a significant part of each audition. Repertoire requirements for each area are listed below; any proposed repertoire substitutions must be approved in advance. If you are applying to more than one area of specialization (i.e., orchestral piano and vocal) you must notify the Office of Student Services prior to scheduling your audition.

Instrumental Collaborative Artist

Applicants are encouraged but not required to bring an instrumentalist to the audition. Please prepare:n Solo work of your choice n At least one movement (in orchestral reduction) of the Tchaikovsky

Violin Concerto in D major, op. 35 , the Dvorák Cello Concerto in B minor, B. 191, op. 104 , or any Mozart instrumental concerto

n Two contrasting movements selected from the following sonatas: n FAURÉ: Violin Sonata No. 1 in A major, op. 13 n FRANCK: Violin Sonata in A major, M. 8n R. STRAUSS: Violin Sonata in E-flat major, op. 18 n BRAHMS: Sonata (Violin or Viola or Cello and Piano) n a work comparable to the above, which may be substituted with

advance permission

Vocal Collaborative Artist

Applicants are encouraged but not required to bring a vocalist to the audition. Please prepare:n A solo work and/or a substantial movement from a Mozart or

Beethoven Sonata for Violin and Piano n Choose five songs from the following list:

n BRAHMS: “Meine Liebe ist grün“ from Junge Lieder, op. 63 (original key)

n SCHUBERT: “Liebesbotschaft” from Schwanengesang, D. 957 (G major)

n SCHUMANN: “Im wunderschönen Monat Mai” from Dichterliebe, op. 48 (original key)

n DEBUSSY: “Green” from Ariettes oubliées (A-flat minor)n POULENC: “Violon” from Fiançailles pour rire, op. 101 (original

key)n R. STRAUSS: “Cäcilie” from Vier Lieder, op. 27 (E major)n BRITTEN: “Seascape” from On This Island, op. 11 (original key)n BARBER: “Solitary Hotel” from Despite and Still, op. 41 (original

key)n ARGENTO: “Winter” from Six Elizabethan Songs (original key)

Orchestral Piano Fellowship

n Solo work of your choice n The thirteen-member version of Copland’s Appalachian Spring n Standard excerpts from Stravinsky’s Petrushka

Collaborative Artists Program Audition Dates

To schedule a live audition, go to www.aspenmusicfestival.com after November 1, 2009.Chicago ...........................................................Sunday, December 13Los Angeles ...................................................Monday, December 14New York ........................................................Tuesday, December 15Washington, D.C. ................................................ Sunday, January 17

Due date: November 30, 2009 Apply early for discounted application fee.

n Schedule a live audition online at www.aspenmusicfestival.com after November 1, 2009. Results of the audition will not be given without receipt of all required materials listed below.

All items to be submitted together:*n Completed Application and Financial Assistance

Application (pages 39 and 40)n Application fee n Three copies of a DVD, approximately fifteen

minutes in length, with two or three contrasting works. These recordings are used for studio placement.

n Cover letter describing your accompanying experience. Please include:n The areas you prefer to accompany

(strings, voice winds, orchestral experience, etc.). If applying for more than one area of specialization, you must notify the Office of Student Services prior to scheduling your audition.

n Any experience with organ, celesta, harpsichord, or synthesizer

n Any experience reading figured bass and improvisingn If you are an international student, please describe

your proficiency in the English languagen Please explain why you are interested in the

collaborative arts, when this interest started, etc.n Comprehensive repertoire list (collaborative works

only)n Current résuméIn addition to the above requirements, students are strongly encouraged but not required to send two letters of recommendation, which may be used in the scholarship process.*All materials, including recordings, will not be returned

Please be sure all items on the Application Checklist (page 38) have been completed.

HOW TOAPPLY

Artist-faculty violinist Cho-Liang Lin in 2009.


Piano students at the Aspen Music Fes-tival and School study with members of the internationally renowned artist-

faculty. In addition, they have the opportunity to augment their weekly lessons by perform-ing in master classes taught by guest artists and members of the piano artist-faculty. Piano master classes are held on a weekly basis, and Harris Hall Master Classes are often hosted by artist-faculty and guest artists.

Students may also elect to study and per-form mixed-ensemble literature (i.e., piano and strings, piano and wind ensemble), take music-related courses including keyboard studies and piano pedagogy, and participate in the student competitions for solo opportunities.

Private lessonsAcceptance to the AMFS is contingent upon

being accepted into an artist-faculty member’s studio. Applicants designate three teachers on the application form and will study weekly with their assigned teacher. Please note that audi-tion recordings are not necessarily reviewed by all three requested teachers. For complete information on specific artist-faculty mem-bers, visit www.aspenmusicfestival.com.

Chamber music opportunitiesStudent chamber music groups receive

coachings by members of the AMFS artist-

faculty. Groups are formed by audition upon arrival in Aspen.

Note: Students are not guaranteed place-ment in a chamber music group. The Spotlight Recital, Chapel Chamber Music, and Chamber Music Studio Class series provide chamber music performance opportunities. Ensembles are selected for those performances through a required screening process.

Solo opportunitiesAll students are welcome to participate in

student competitions, the winners of which are invited to perform with one of the orches-tras during the summer. Students may only participate in competitions with the written consent of their teachers, and previous win-ners are not eligible to compete.

A full schedule of competition and perfor-mance dates will be mailed to accepted stu-dents in the spring. The Spotlight and Open Door recital series provide solo opportunities for students. Students may participate with permission from their teachers and the coor-dinator of the series. For Spotlight Recitals a screening is required.

AccompanyingAny piano student wishing to work and be

paid as an accompanist during the summer needs to apply to and enroll in the Collabora-

tive Artists Program. For more information, see page 16.

Note: Students may only apply to one pro-gram at the AMFS. All students are encour-aged to participate in the music-related cours-es offered by the AMFS artist-faculty and staff. In addition, the AMFS offers courses in body awareness, including Alexander Technique. College credit is available for some courses (see page 15). For a full list of course offerings, please see www.aspenmusicfestival.com.

Due date: January 4, 2010


All items to be submitted

together:*

n Completed Application

and Financial Assistance

Application (pages 39 and

40)

n Application fee n Three copies of a DVD, at

least twenty minutes in

length, with at least two

works in contrasting style

and tempo. One must be

from the Classical Era.

n Current résumé


recommendation, which may be used in the scholarship process.*All materials, including

recordings, will not be

returned.

Please be sure all items on the

Application Checklist (page 38)

have been completed.

Note: There are no live

auditions for the piano

program. Piano fellowships are

not available.

HOW TOAPPLY

Piano Program

Fei-Fei Dong, winner of the 2009 AACA Piano Competition, performs with Tong Chen of AACA.


The Aspen Contemporary Ensemble (ACE) is in residence for the full eight-week session. The septet functions as

the ensemble for the Susan and Ford Schu-mann Center for Composition Studies and reads music written by student composers. Instrumentation is as follows: flute/piccolo/alto flute, clarinet/E-flat clarinet/bass clarinet, violin, viola, cello, piano, and percussion.

The ensemble also participates in many contemporary music performances with the artist-faculty of the AMFS. Members of this ensemble receive private weekly lessons with artist-faculty members and may also take elective courses. For a full course listing, please see www.aspenmusicfestival.com. All ensemble members accepted will receive a fellowship. For more information on fellow-ships, turn to page 33.

Aspen ContemporaryEnsemble

Sydney Hodkinson conductor

The Aspen Music Festival and School is known for its dedication to new music; in fact, nearly 200 world and U.S. premieres have been presented at the AMFS.

Aspen’s commitment to contemporary music began at the inception of the AMFS with featured composer Igor Stravinsky. In 1951, Darius Milhaud founded the Conference on Contemporary Music, bringing celebrated composers-in-residence to Aspen for performances of their works and to give seminars on contemporary music.

Notable composition alumni include William Bolcom, Carlisle Floyd, David Lang, Peter Schickele, Bright Sheng, Morton Subotnick, Augusta Read Thomas, and Joan Tower.

New Music in Aspen

Individual applicantsIndividual applicants for the summer of 2010 will only be accepted in the area of cello.Due date: November 13, 2009



n Current résumé

n Statement (paragraph) about your interest in contemporary

music

n Two copies of a CD, approximately fifteen minutes in length,

demonstrating a proficiency in contemporary music

*All materials, including recordings, will not be returned.

Please be sure all items on the Application Checklist (page 38) have been completed.

HOW TOAPPLY

Composer and conductor Sydney Hodkinson leads

the Aspen Contemporary Ensemble through new works.


The Center for Advanced Quartet Stud-ies is this country’s premier training program for emerging string quartets.

Alumni of the center are among today’s most celebrated young quartets and have won nu-merous prestigious chamber music awards and competitions.

The Center for Advanced Quartet Studies was established by Claus Adam through the generosity of Mrs. Jane W. Kitselman. The program offers eight weeks of intensive study devoted exclusively to quartet repertoire and performance practice. Instructors and coaches include members of the world’s most prestigious string quartets: Earl Carlyss (Juilliard Quartet), James Dunham (Cleveland Quartet), and Sylvia Rosenberg, plus members of the American, Ying, and Takács string quartets.

In addition, each quartet member may receive weekly private lessons with a member of the Aspen Music Festival and School artist-faculty. Public performances occur as part of the AMFS, and quartets have the opportunity to participate in the spectrum of musical activities offered at Aspen.

The Center for Advanced Quartet Studies is open to highly qualified preexisting quartets who wish to continue training at a professional level. It is suggested that quartets not apply for the program unless they have been together for at least one year and performed a substantial number of concerts. Quartets are selected through competitive auditions and usually no more than three groups are selected for participation each summer. Quartets will be pre-screened for a live audition based on the information submitted (see How to Apply at right). Submission of audio or video recordings in lieu of a live audition will only be considered in rare instances.

All students accepted to the program will receive fellowships. For more information on fellowships, see page 33. Quartet members may also apply as individual students to the

AMFS and should follow the appropriate guidelines. All students are encouraged to participate in the music-related courses offered by the AMFS artist-faculty and staff. In addition, AMFS offers courses in body awareness, including Alexander Technique. College credit is available for some courses (see page 15). For a full list of course offerings, please see www.aspenmusicfestival.com.

Earl Carlyss director

Center for Advanced Quartet Studies Audition DatesTo schedule a live audition,

go to www.aspenmusicfestival.com after

November 1, 2009.

Chicago .........................Thursday, January 28New York .................. Wednesday, January 27San Francisco ................ Saturday, January 30

Due date: November 30, 2009

Schedule a live audition online at www.aspenmusicfestival.com after

November 1, 2009.

Email the materials listed below to Associate Dean Jennifer Johnston ([email protected]), or send by fax to 970-925-5708. All items to be submitted together:*

n Group resumé outlining quartet’s performance and

educational experience

n Detailed biographies of individual quartet members.

(Please include contact information.)

n Concert reviews and/or programs

* Materials will not be returned

Once groups are selected following the live audition, each individual must

complete the Application for Admission on page 39 and send it to the Office

of Student Services. An application fee is not required. If interested in private

lessons, applicants should send three audition DVDs as noted on page 13.

HOW TOAPPLY

Center for Advanced Quartet Studies

AMFS alumni quartet, the Jupiter String Quartet, taught and performed as artist-faculty in 2009. Pictured here with alumna pianist Joyce Yang.


Edward Berkeley director

Aspen Opera Theater Center

Tharanga Goonetilleke as Mimì and Ernest Alvarez as Rodolfo in the 2009 Aspen Opera Theater Production of La bohème.


Aspen Opera Theater Center offers a wide range of exciting performance opportunities. These include three

fully-staged productions in the Wheeler Opera House with distinguished conductors and directors, the Art Song Series, weekly public Opera Scenes Master Classes, and house concerts. All performers in these events are AOTC singers.

In addition, AOTC singers participate in an intensive curriculum of music, acting, song repertory, diction and movement classes, rehearsals, Alexander Technique sessions, auditioning and professional-orientation work-shops, individual music and dramatic coach-ings, weekly voice lessons, and vocal master classes taught by resident artist-faculty and guest artists.

There will be eight Opera Scenes Master Classes with director Edward Berkeley. Two of these sessions are presented with full orchestra in collaboration with the American Academy of Conducting in Aspen. These give all AOTC singers the opportunity to appear publicly in scenes with conductor and either piano or orchestra. In addition, there may be an Aria Master Class led by international conductor James Conlon, music director of the Los Angeles Opera and Chicago’s Ravinia Festival.

AOTC 2010 stage productions are centered on the Beaumarchais Figaro trilogy: Rossini’s The Barber of Seville (libretto by Cesare Sterbini), Mozart’s The Marriage of Figaro (libretto by Lorenzo da Ponte) and John Corigliano’s The Ghosts of Versailles (libretto by William Hoffmann).

The final week of the season will be devoted to classes focused on audition technique and professional orientation. In different sessions, singers will work both in groups and individually with Gayletha Nichols, director of the Metropolitan Opera’s National Auditions, and Diane Zola, artistic administrator of the Houston Grand Opera, in addition to resident artist-faculty.

A select number of singers will participate in one of a series of song recitals. This element, in which students prepare repertoire under the guidance of AOTC artist-faculty, provides excellent opportunities for both artistic and technical development.

All members in AOTC are expected to sing in one opera chorus and to provide technical-support hours as part of their experience.

The AOTC also conducts an opera coaching program in which opera piano fellowship

students participate in opera and vocal coaching with the AOTC’s artist-faculty pianists and coaches. In this program, fellows play for opera and class scene preparation, and perform with AOTC singers in the weekly opera scenes master classes. Fellowship candidates are auditioned by members of the opera artist-faculty.

All singers and coaches must do a live audition. Assignments of all major roles will be made based on the AOTC 2010 national

Performances during the upcoming season will include new productions of:

Rossini: The Barber of Seville

Mozart: The Marriage of Figaro

John Corigliano: The Ghosts of Versailles

Operas for Summer 2010

Yoosun Park (Donna Anna) with Donovan Singletary in the 2009 production of Mozart’s Don Giovanni.


Aspen Opera Theater CenterAudition DatesTo schedule a live audition, go to www.aspenmusicfestival.com after November 1, 2009.

Ann Arbor ............................Friday, January 8Boston ........................ Saturday, December 5Chicago ........................... Saturday, January 9Cincinnati ........................Thursday, January 7Houston .................... Saturday, November 14Los Angeles ....................Monday, January 11New York ................. Saturday, December 12– Sunday, December 13;

Saturday, January 16– Sunday, January 17San Francisco .............. Sunday, November 15



Schedule a live audition at www.aspenmusicfestival.com

after November 1, 2009. Results of the audition will not be given without receipt of all required materials listed below.


n Completed Application and Financial Assistance

Application (pages 39 and 40)

n Application fee

n Three copies of a CD, approximately fifteen minutes in

length, with two or three contrasting works (used for

studio placement)


recommendation, which may be used in the scholarship process.*All materials, including recordings, will not be returned.

Live Audition Requirements

Singers

A pianist will be provided. If auditioning for a specific role, singers are expected to perform an aria from that role. n Present two arias in contrasting styles (one in English and one

in Italian). n Present a one-minute monologue.n Bring an 8” x 10” glossy photograph.n Bring a current professional résumé. Coaches

The AMFS will make every effort to provide a singer. All applicants must be prepared to sing as they play and to sight-read as requested. For the live audition, prepare the following works:PUCCINI: La bohème: “Mi Chiamano Mimì” MOZART: Le nozze di Figaro: Act II Finale STRAVINSKY: The Rake’s Progress: “No word from Tom”

HOW TOAPPLY

Mary-Jane Lee (Musetta) in the 2009 production of La bohème.

audition tour. Supporting roles and principal covers may be assigned based on the national audition tour and/or after the Aspen auditions are held the first week of the season. Audition CDs are used to determine studio placement. All students are encouraged to participate in the music-related courses offered by the AMFS artist-faculty and staff. College credit is available for some courses (see page 15). For a full list of course offerings, please visit www.aspenmusicfestival.com.

Note: Financial aid is available in the form of fellowship and scholarship assistance. Fellowships, covering full tuition, room, and board, are usually awarded to students assigned to major roles. Scholarships are awarded on the basis of the audition results, the Aspen private teacher’s recommendation, and demonstrated financial need.


Up to six students will be accepted to participate in composition studies in a master class format. All partici-

pants will receive a full fellowship. There will be readings of student works by the American Academy of Conducting at Aspen Orchestra. In addition, pieces composed for the Aspen Contemporary Ensemble will be rehearsed and publicly performed.

Participation is limited to those accepted

through the application process. Students ac-cepted into the Master Class Program should complete a five- to seven-minute piece prior to their arrival in Aspen utilizing all or part of the instrumentation of the Aspen Contemporary Ensemble (flute/piccolo/alto flute, clarinet/E-flat clarinet/bass clarinet, violin, viola, cello, piano, and percussion). Composers who have been accepted into this program in any previ-ous year are not eligible to apply.

Susan and Ford Schumann Center for Composition Studies Christopher Rouse composer-in-residence

Half Session I, June 23–July 25 Osvaldo Golijov composer-in-residence

The Susan and Ford Schumann Center for Composition Studies offers three distinct programs for composition studies, designed to meet the needs of talented students of different interests.

For all composition students, Aspen offers an unparalleled opportunity for an exchange of ideas with some of the world’s foremost composers and performers of contemporary

music. Students may observe guest compos-ers performing their established repertoire and world premieres, as well as consult with them on performance problems of works in progress. Student composers will also have the opportunity for public readings of their approved works in scheduled recitals, orches-tral readings, or with the Aspen Contempo-rary Ensemble.

All students are encouraged to participate in the music-related courses offered by the AMFS artist-faculty and staff. In addition, the AMFS offers courses in body awareness, in-cluding Alexander Technique. College credit is available for some courses (see page 15). For a full list of course offerings, please see www.aspenmusicfestival.com.



All items must be submitted

together:*

n Completed Application

(page 39) (The financial aid portion of application is not required of Master Class Program applicants.)

n Application fee

n One set of scores

n One CD of

two recent

works

n Current

résumé


recommendation, which may be used in the scholarship process.*All materials, including

recordings, will not be returned.

Please be sure all items on the

Application Checklist (page 38)

have been completed.

HOW TOAPPLY

MasterClassProgram

AMFS composer-in-residence Christopher Rouse with David Robertson and artist-faculty oboist Richard Woodhams after a performance of Rouse’s Oboe Concerto.

The Susan and Ford Schumann Center for Composition Studies

Note: Students may only apply to one

of the three composition programs offered

at the Aspen Music Festival and School.


This program provides student com-posers with an intensive one-on-one learning experience. Students will have

weekly private lessons, master classes, and joint seminars. In addition, there will be read-ings of approved works with string quartets, woodwind and brass quintets, and mixed chamber ensembles. Orchestral readings by the American Academy of Conducting at As-pen Orchestra will be given as space allows.

Accepted students will complete a short composition prior to arrival in Aspen for an approved instrumentation selected for string, woodwind, brass, and vocal chamber ensembles, which will be presented in one of two Harris Concert Hall recitals.

All applicants will be eligible for scholar-ship consideration. Two fellowships will be awarded to students in the Individual Studies Program and will be chosen from the general pool of applicants. For more information on fellowships, see page 33.




Susan and Ford Schumann Center for Composition Studies Sydney Hodkinson composer-in-residence

Half Session II, July 26–August 22 George Tsontakis composer-in-residence

Individual Studies Program

The Denver Young Artists Orchestra Award for Orchestral Composition

For the third year, Denver Young Artists Orchestra (DYAO), the premier youth orchestra of the Rocky Mountain region, will offer the DYAO Award for Orchestral Composition to one composition student in partnership with the Aspen Music Festival and School. The winning composition is chosen by a panel of distinguished judges for a performance on a regular-season DYAO concert, and the winning composer is invited to Denver with all expenses paid to present the composition to the audience.

The Jacob Druckman Award for Orchestral Composition

Each year, the Aspen Music Festival and School awards a prize in memory of the American composer Jacob Druckman, a longtime member of our composition faculty. The award recipient receives a performance of the winning work the following summer by one of the AMFS orchestras on a regularly scheduled program in Aspen. Works are judged by David Zinman, music director of the Aspen Music Festival and School.

How to apply:Registered students who completed any 2009 AMFS composition program are

eligible for this prize. They must submit one work roughly eight to twelve minutes in duration and scored for any orchestral ensemble up to the maximum full standard symphony (woodwinds in threes with customary doublings, brass 4331, timpani, three percussion, harp, piano/celeste, and strings). Works for string orchestra are also acceptable.

Scores should be sent before September 30, 2009 to: Attn: Mary Rechlitz, Aspen Music Festival and School, 2 Music School Road, Aspen, CO 81611




n Application fee

n Two sets of scores

n Two copies of a CD of two recent works




completed.

HOW TOAPPLY

Osvaldo Golijov, 2010 composer-in-residence, with David Zinman and Dawn Upshaw, soprano, in 2009.


The Susan and Ford Schumann Film Scoring Program provides a theoretical and technical training in film scoring in

an intensive four-week session. This unique learning environment supplies students with the necessary skills required to pursue a career in the film industry and related music technology fields.

The participating composers will focus on scoring two large orchestral cues during the program. The American Academy of Conducting at Aspen orchestra will record a large orchestral cue in Harris Concert Hall near the end of the session. The other cue will be produced using a hybrid mix of sampled orchestra sounds and recordings of live solo performances. The breadth of these two production types ensure that the composers will not only be given substantial technical information but, more importantly, significant practical experience through varied scoring practices.

Composing for film relies heavily on computers, digital technology, producing audio recordings, and mixing techniques in addition to broad knowledge of music composition.

Our digital composition studio is the center of the production process. The studio uses Logic Pro sequencing software, Sibelius music notation software, Pro Tools recording soft-ware, and a host of other technologies as inte-gral components of the film scoring process.

The program begins with an intense technology workshop during the first three

days of the program then consists of master classes conducted by one of our artist-faculty. These classes and demonstrations cover a wide range of topics from the study of classic film scores, theme development, extended composition techniques, orchestration, timing cues, studio recording and producing, to creating computer mock-ups.

A limited number of students (no more than five) are accepted to the program to allow participants ample time to compose and to become proficient with our studio technologies. The program admits graduate-level composers to this unique learning experience. Applicants are expected to be proficient in orchestration and computer notation software with an intermediate level of competency in MIDI sequencing and digital

audio workstation production. The program does not require any specific prerequisite courses or training. However, preference may be given to applicants with extended compositional and/or technical background.


in the music-related courses offered by the AMFS artist-faculty and staff. In addition, AMFS offers courses in body awareness, in-cluding Alexander Technique. College credit is available for some courses (see page 15). For a full list of course offerings, please see www.aspenmusicfestival.com.




ASCAP FoundationFellowship for Film Scoring and Composition

The American Society of Composers, Authors and Publishers (ASCAP) offers a fellowship, selected from the general pool, covering tuition, room, and board to a graduate composition student who is applying to the Susan and Ford Schumann Film Scoring Program.

Thomas Haines director

Susan and Ford Schumann Center for Composition Studies Jeff Rona artist-faculty

Half Session I, June 23–July 25 Jack Smalley artist-faculty


All items must be submitted together:*


n Application fee

n One set of scores

n One CD of two recent works

n Current résumé




completed.

HOW TOAPPLY

Film Scoring Program


The Edgar Stanton Audio Recording In-stitute (ESARI) provides an intensive four-week, full-time program of wide-

ranging audio recording experiences, mainly of classical music. This program is designed for students preparing themselves for careers as recording engineers and sound designers. Most academic institutions allow credit for this program.

The curriculum consists of classroom lec-tures as well as hands-on recording sessions in which participants assist in the recording of a wide variety of performing arts including symphonic orchestras, chamber ensembles, solo performers, operas, and choral groups. The Aspen Music Festival and School venues include a large concert stage, a modern con-cert hall, an intimate opera house, churches, and other settings. The regular engineering staff, typically ten members, ranges from the production manager (chief engineer) to addi-tional engineers with various levels of profes-sional expertise.

The summer session is divided into four one-week categories. Most lectures and dem-onstrations have the character of workshops—faculty and prominent guest lecturers from the professional audio industry work with the students on various recording projects.

Lecture topics include: fundamentals of acoustics, psycho-acoustics, sound, and listen-ing skills; microphone design and application; stereo microphone techniques and perspec-tives; and classical recording techniques in ste-reo and surround sound, including film sound.

Students will assist the regular staff en-gineers and work with all components of a complex recording chain such as micro-phones, mixing-consoles, signal processing equipment, loudspeakers, amplifiers, automa-tion, and recording work stations, in both the analog and digital domains. All AMFS perfor-mances are recorded and made available to the musicians as a finished CD.

Participants will receive a syllabus and bib-liography of available literature. Several stan-dard texts will be recommended for purchase. Enrollment is limited to guarantee a small stu-dent-to-faculty ratio. State-of-the-art equipment is made possible by sponsorships from lead-ing companies: AKG Acoustics, Aphex Audio, DTS, Inc., Genelec Inc., Grace Design, JBL Pro Audio, Neumann USA, Sennheiser Electronic Corp., Pappas Consulting, and others.

Jack Renner artist-faculty

Half Session II, July 26–August 22 Juergen Wahl artist-faculty

Due date: January 4, 2010 Apply early for discounted application fee.



n Application fee

n Cover letter, describing your interest in the program

n Current résumé


recommendation, which may be used in the scholarship process.*Materials will not be returned.


completed.

Note: The institute does not require any specific prerequisite courses or training; however, preference will be given to applicants with musical and/or technical background.

Edgar Stanton Audio Recording Institute

HOW TOAPPLY


in the music-related courses offered by the AMFS artist-faculty and staff. In addition, AMFS offers courses in body awareness,

including Alexander Technique.College credit is available for some courses

(see page 15). For a full list of course offerings, please see www.aspenmusicfestival.com.

Juergen Wahl, ESARI artist-faculty member.


The American Academy of Conducting at Aspen (AACA) provides participants with intensive conducting training with

a skilled orchestra, assists them in gaining podium experience, and supports each indi-vidual’s development as a conductor.

The heart of the Academy is the opportunity for sixteen to twenty conductors to work with an orchestra of experienced musicians, and to play as a member of that orchestra under the baton of program colleagues—all under the guidance of master conductors. Participants learn by conducting a wide range of repertoire and types of performances, including orches-tral concerts, concerto performances, opera master class arias and scenes, repertoire readings, composer readings, film scoring, and a family concert.

The program is overseen by Aspen Music Festival and School Music Director and AACA Director David Zinman and AACA Associate

Director and Program Coordinator Murry Sidlin, who are joined by distinguished AMFS artist-faculty including many guest conductors. In 2009, the list included Nicholas Kraemer, Asher Fisch, James Conlon, James DePreist, Jane Glover, George Manahan, John Nelson, Christopher Seaman, and Leonard Slatkin.

The Academy brings to each participant the national attention that is critical to establish-ing a career. Established conductors, orches-tra managers, artist managers, music critics, and other music executives may come to As-pen each summer to spotlight the brightest emerging talent.

The programEach AACA participant will receive a full fel-

lowship to the AMFS. The participant will be active as a conductor in front of the fifty-five-member Academy Orchestra, with the goal of permitting each conductor at least thirty

minutes of podium time in at least six of the Academy’s eight weeks. When off the po-dium, each conductor will play an instrument in the orchestra.

Participants will rehearse and conduct con-certs of orchestral and concerto repertoire, and opera master class scenes and/or arias. They share repertoire-reading sessions and re-hearse contemporary scores. All sessions are videotaped for individual use and artist-faculty review.

Beyond the podium, the Academy offers all participants an extensive curriculum covering both musical and extra-musical elements, in-cluding a set of intensive sessions on score analysis. Murry Sidlin oversees regular tech-nique classes and sessions on career advice, and guest conductors present sessions on score study.

Academy participants are expected to attend rehearsals and concerts of the AMFS’s

American Academy of Conducting at Aspen

David Zinman director

Murry Sidlin associate director and program coordinator

Asadour Santourian program administrator

Joshua Weilerstein is the recipient of the Robert J. Harth Conductor Prize for the 2010 season.


other three orchestras, and are encouraged to organize their own performances. They also are welcome to take other AMFS classes, and as many as eight private instrumental lessons from an AMFS artist-faculty member. While the Academy program is intensive and demanding, averaging eight orchestral services each week, the AMFS is committed to ensuring that participants have adequate time for study and rest.

Auditors may be admitted and will be welcome at all sessions, but will not conduct the orchestra. Financial assistance is not available for auditors.

Fellowships are available for instrumentalists to play as regular members of the Academy Orchestra. Interested applicants should follow the guidelines on pages 10 and 14.


in the music-related courses offered by the AMFS artist-faculty and staff. In addition, the AMFS offers courses in body awareness, including Alexander Technique. College credit is available for some courses (see page 15). For a full list of course offerings, please see www.aspenmusicfestival.com

American Academy of Conducting at Aspen program components

n Conducting the Academy Orchestra in readings, rehearsals, and performance

n Coaching with master conductorsn Evaluation with videotape of the

conducting sessionsn Observation by and meeting with AMFS

guest conductorsn Technique classesn Periodic classes in score reading and

analysis and score preparationCase Scaglione will return to the AMFS as 2010 assistant conductor.

Robert Katkov-Trevino is the recipient of the James Conlon Conductor Prize for 2010.


Recognition Opportunities

Academy participants are eligible to be chosen for four prestigious opportunities:n One Academy participant may be awarded the Aspen

Conducting Prize, which carries with it the invitation to return to Aspen the following summer as assistant conductor. For 2010, the prize is awarded to Case Scaglione.

n One Academy participant may be awarded the Robert

J. Harth Conductor Prize, which carries with it the invitation to return to Aspen the following summer as an Academy Conductor on fellowship. For 2010, the prize is awarded to Joshua Weilerstein.

n One Academy participant may be awarded the James

Conlon Conductor Prize, which carries with it the invitation to return to Aspen the following summer as an Academy Conductor on fellowship. For 2010, the prize is awarded to Robert Katkov-Trevino.

n One or more outstanding Academy participants may be invited to conduct and work with the Cleveland Orchestra at the Blossom Music Center, sharing the podium with David Zinman the following summer. This American Academy of Conducting at Aspen

Residency at Blossom Music Festival also may include an invitation to visit the Cleveland Orchestra during the regular subscription season to attend rehearsals and

performances, and possibly to be assigned as cover conductor for a week.




n Completed Application (page 39). (The financial aid portion of application is not required of AACA applicants.)

n Application fee

n One DVD

n showing recent conducting experiencen NTSC standard, playable on U.S. video

systemsn showing a front view of the conductor from a reasonable distance,

and ideally demonstrating a varied selection of repertoiren Two copies of an instrumental CD

n instrumental performance, approximately fifteen minutes in lengthNote: Applicants will not be considered without receipt of instrumental

CDs.n Current résumé

In addition to the above requirements, students are strongly encouraged but not required to send two letters of recommendation, which may be used in the scholarship process.* All materials, including recordings, will not be returned.

Please be sure all items on the Application Checklist (page 38) have

been completed.

HOW TOAPPLY

AMFS Music Director David Zinman with AACA conductor Cristian Macelaru.


Artist-faculty violinist Gil Shaham works with Sirena Huang in a Harris Concert Hall Master Class.


Enrollment feesTuition and all fees are due in full at

registration. Tuition includes weekly lessons and chamber music coaching, an AMFS pass (good at all concerts except operas, special events, and benefits), lectures, seminars, and all classes and master classes.

The health service fee, required of all students, provides unlimited access to the AMFS health team and provides supplemental insurance. Emergency medical service is provided for students by Aspen Valley Hospital. Health services also include programs for performance injuries, limited emergency dental care, mental health counseling, and health-oriented classes.

The $100 security deposit is required of all students, including fellowship and full-tuition scholarship recipients, and is refundable sub-ject to completion of the checkout procedure.

All fees are payable in U.S. funds drawn on a U.S. correspondent bank. Domestic and International Money Orders, checks drawn on U.S. banks, or credit cards (Visa, Mastercard, or American Express) are accepted. Checks should be payable to the Aspen Music Festival and School.

Once a student has made a deposit or registered, all fees (including tuition, room, and board) are nonrefundable.

The AMFS reserves the right to expel any

student for violations of AMFS policy, city

ordinances, or state law without refunding

any fees paid.

Extra lessons feeLessons beyond those included in tuition

are available for a per-lesson fee. Special arrangements must be made with the teacher and a fee of $100 per lesson must be paid at the Office of Student Services before the lesson can be given.

Acceptance procedureAn official letter of acceptance and reserva-

tion materials will be sent to students accept-ed to the AMFS. In order to reserve a place at the AMFS, students must return the following by the due date in the acceptance letter:

n Tuition deposit of $500 (nonrefundable, applicable toward tuition and fees)

n Nonrefundable housing deposit of $1,000 (if applicable)

n Reservation formsn Health services information forms

Scholarship/fellowship awards and studio acceptance may be forfeited if appropriate forms have not been returned by the due date in the acceptance letter.

Practice room feeStudents may reserve a practice room with

a piano three hours daily for the entire term of their study. The fee for full-session students to reserve a room is $80; $50 for half-session stu-dents. Students have one week from the day of registration to arrange a practice room refund. Percussion and harp students are required to pay the practice room/equipment fee.

Family Festival passesParents, spouses, and other family

members who are in residence or visiting with a student for the summer may purchase a specially priced season pass good for all AMFS events (except operas, special events, and benefits) for $80 per week.

Car registration feeFree buses are provided to transport

students between all residential, rehearsal, and performance locations. In compliance with the auto disincentive initiatives of the City of Aspen, students who bring a car to Aspen will be assessed a $75 auto registration fee.

Enrollment fees FULL SESSION HALF SESSION I OR II

Tuition $3,000 $2,000Health Service Fee $175 $110Security Deposit $100 $100Room and Board Fee $3,200 $2,000

Enrollment and Other Fees


The Aspen Music Festival and School has a generous financial aid program that offers two forms of financial

assistance to its students: scholarships and fellowships. Scholarships range from partial to full tuition, and fellowships cover full tuition as well as room and board in School housing. Approximately three-fourths of the AMFS student body receive some amount of financial assistance. The AMFS has several scholarships designated for minority students (see Question 8 on the Finanical Assistance Application, page 40).

ScholarshipsScholarship awards are available only

to students enrolling in the Full Session or special Half Session programs (Classical Guitar, Composition, and Audio Recording Institute). Awards are based on a combination of talent and financial need; a live audition is not required in order to receive a scholarship.

Scholarship applicants must apply by January 4, 2010 or by their program deadline if it is earlier. Applicants are required to complete the financial assistance application.

Accepted students must reserve their place at the AMFS within fourteen days of the date of the acceptance letter. Failure to do so will jeopardize scholarship offers.

FellowshipsThe AMFS offers numerous fellowships to

eight-week students who have achieved an exceptional level of performance. Fellowships are available to string, wind, brass, and harp players for participation in one of the AMFS orchestras, and to participants of the following programs: Aspen Opera Theater Center, Col-laborative Artists, Center for Advanced Quar-tet Studies, Composition Master Class and Individual Studies, and the Aspen Contempo-rary Ensemble.

Fellowships are merit-based, and are either awarded on the basis of competitive auditions held throughout the country or selected from the general pool of applicants depending on the instrument or program. A live audition is required for the following programs: Orchestral String Fellowship, Aspen Opera Theater Center, Collaborative Artists, and Center for Advanced Quartet Studies.

Fellowship students receive tuition, room, and board in AMFS facilities, and may take advantage of the full curriculum of the AMFS. Students who choose not to live in AMFS facilities receive a stipend of $2,750 for the whole session, or $1,750 for the special half session programs. All fellowship students will be assessed the health service fee and the security deposit.

Student employmentEmployment opportunities are available

at the AMFS and in Aspen. Please be aware that student schedules are very busy and vary week to week, which may limit availability for work. Students must schedule employment around required rehearsal and performance obligations. Please inquire about positions and job openings at registration; information is not available before the start of the summer session.

Jobs available through the AMFS may

include copy-machine operator, poster-runner (must have a car), ticket-seller, parking crew, computer lab monitor, part-marker for the libraries, and usher for concerts.

The AMFS’s Roaring Fork Music Lessons program provides advanced students with local private teaching opportunities. Advanced students can also participate in a Community Connections program, which provides informal performance jobs such as parties, weddings, and children’s programs, including several informal concert opportunities that require some communication with the audience.

Resident AssistantsThere are twelve Resident Assistant

positions available to students age twenty-one and older. The application deadline for Resident Assistants is January 4, 2010. Please visit www.aspenmusicfestival.com

for an application and job description.

Financial Assistance

Benjamin DeKock, double bass, warming up before a concert.


The Aspen Music Festival and School welcomes nearly 200 international students over the course of each sum-

mer. In the 2009 season, students came to Aspen from thirty-six countries. The Office of Student Services is well acquainted with the challenges of studying abroad and is equipped to help you make your plans. Please read the following information before applying:

English proficiency and correspondence

All written correspondence, including let-ters of recommendation, must be in English. If you are concerned about a potential language barrier when calling the Office of Student Ser-vices, you may wish to consult your long-dis-tance carrier about telephone interpretation services. In Aspen all instruction, rehearsals, and master classes are conducted in English. Students must be proficient in English in

order to fully participate in the program.

Payment of feesAll fees are payable in U.S. funds drawn

on a U.S. correspondent bank. Domestic and International Money Orders, checks drawn on U.S. banks, or credit cards (Visa, Mastercard, or American Express) are accepted. Checks should be payable to the Aspen Music Festival and School.

Foreign mail feeAll applicants living abroad, including resi-

dents of Canada and Mexico, will be charged a $30 fee in addition to the application fee. The fee is used to expedite the admissions process, as acceptance material are sent via Federal Express. Applicants are also strongly encouraged to use express mail when corre-sponding with the AMFS.

Application FormPlease use the first and last name and coun-

try of citizenship that appear on your passport. Also, please make sure that your foreign ad-dress is current and correct.

Financial Aid FormStudents applying for a scholarship or fi-

nancial assistance must make certain that all areas of the financial aid application are complete. Incomplete applications may result in ineligibility for aid. The scholarship commit-tee is aware that other countries use differ-

ent methods of calculating personal income. Please include a separate page to clarify your finances if necessary.

Fellowship live auditionStudents living abroad may receive permis-

sion to submit audio or video recordings in lieu of a live audition. Please call the Office

of Student Services for information.

Visa informationThe AMFS is authorized to issue I-20s for the

M-1 (vocational or other non-academic student) visa only. Non-U.S. citizens who must enter the U.S. to attend the School will require an AMFS-issued I-20. The I-20 will be sent to admitted students after they have reserved their place. Attending students must pay a $200 fee to the U.S. government for I-20 processing. Most

non-U.S. citizens will require an appointment with the U.S. Consulate in order to obtain the M-1 visa. Non-U.S. citizens not currently attend-ing a year-round U.S. academic institution, but planning to enroll, will need to obtain both the M-1 visa (required for Aspen) and the F-1 visa through the year-round institution. Additional travel and visa-related costs should be a con-sideration. Please note: Entering the U.S. on a tourist visa for the purpose of attending the AMFS is in violation of U.S. Immigration and Customs Enforcement policy. This information is intended to be used merely as a guideline. For specific questions, call 1-800-375-5283 within the U.S. or contact the U.S. Consul-ate in your country of residence. Information is also available online at http://uscis.gov and www.ice.gov/sevis. Further details will be sent to accepted students.

Information for International Students

Cellist Mindy Park performs Bloch’s Schelomo with the Aspen Concert Orchestra.


Stephen Abramson Memorial ScholarshipACC/AIA Foundation Music ScholarshipACC/Lady Fung Memorial Music FellowshipFreda Cohen Acker Scholarship FundClaus Adam Memorial ScholarshipAmerican Academy of Conducting at Aspen

Fellowship in Honor of James Conlon A Gift from Mercedes and Sid Bass

Terry and Les Anderson Endowed ScholarshipASCAP Foundation Fellowship for Conducting

and Film ScoringCourtlandt D. Barnes, Jr. Scholarship

Robert B. Eichholz BequestCourtlandt D. Barnes, Jr. Opera ScholarshipMerle M. Barr Endowed Piano or Organ

Scholarship for KansansMary Allen Bates Memorial ScholarshipEd Berkeley Opera FellowshipBerns-Rothchild Quartet ScholarshipRose Frishman Blatt Memorial Scholarship for

Female PianistBowers/Noyce Oboe FellowshipEndowed Scholarship in honor of the

Brandfonbrener FamilyPer Brevig Trombone ScholarshipYefim Bronfman Scholarship in Memory of

Janet Rae Naster

The Bulkley-Flint Scholarship In Memory of Katherine MacKenty Bryan

Kay and Matthew Bucksbaum Endowed Scholarships

Kay and Matthew Bucksbaum New Horizons Fellowships

The Chambers – Grant Fellowships FundMarion and Leslie Chabay Endowed Memorial

ScholarshipCisneros ScholarshipMr. and Mrs. Gerald Clarke ScholarshipsHenry Claessens Memorial ScholarshipClow-Odén Scholarship

In Memory of J. Beach Clow and Olga Odén

Miné Sawahara Crane Memorial ScholarshipJoan Cundill Memorial ScholarshipMartha Daube Memorial Piano ScholarshipTerese David Memorial ScholarshipJan DeGaetani Memorial ScholarshipHelen Warren DeGolyer Memorial Scholarship

for Violin or PianoDorothy DeLay Endowed FellowshipEdward H. Deming Memorial Piano

ScholarshipJames DePreist Scholarship for Students with

Disabilities

Des Moines Symphony Guild ScholarshipEdelstein Foundation Endowed ScholarshipRobert Edgerton Memorial Cello ScholarshipRichard and Deborah Felder Foundation

Extraordinary Talent Vocal FellowshipMartha Fischer Memorial ScholarshipFlug Anniversary ScholarshipGerald Logan Fulton Memorial ScholarshipRosemary and Richard Furman Opera

Apprentice FellowshipHarriett and Richard Gold Endowed

ScholarshipEdward A. Goldstein ScholarshipMarcelle Goltzer Memorial ScholarshipFondation Princesse Grace de Monaco

ScholarshipsH. Paul Gudelsky Scholarship for Guitar Lynette Gutner Memorial Piano ScholarshipLillian and Gordon Hardy Endowed

Scholarships and FellowshipsEugenie Harris Scholarship FundJoan W. Harris Endowed Scholarships for

Minority StudentsRobert Harth ScholarshipWilliam Randolph Hearst Endowed

Scholarships for Minority MusiciansEllen and Irv Hockaday Endowed ScholarshipIndianapolis Scholarship FundBeverley Peck Johnson Voice ScholarshipJaquish-Kenninger ScholarshipSeth Kahn Endowed Fellowship for BrassRuth S. Kahn Endowed Scholarship

In Memory of her husband, son and son-in-law

David A. Karetsky Memorial Fellowship for a Young Conductor

The Katcher Family Miami ScholarshipsJane W. Kitselman Chamber Music

FellowshipsSidney Knapp Memorial ScholarshipDonna and Edwin Kornfeld Piano ScholarshipDoris B. Kovner Endowed Chamber Music

ScholarshipTherese S. and Harry J. Lackritz ScholarshipFred O. Lane Memorial Lemonade Stand

ScholarshipsHarry and Effie Lerner Endowed ScholarshipsRaphael Levy Memorial Foundation

Scholarship, In Honor of Edward LevyRuth S. Luby Endowed Scholarship

Endowed and Special Scholarships and FellowshipsThe Aspen Music Festival and School would like to thank the donors who have made the following scholarships possible. Prospective students may not apply for a specific listed scholarship; instead, all scholarships will be assigned by AMFS staff on the basis of merit and need.


Munro L. Lyeth Endowed Scholarship for Pianists

Helen Mack Memorial Piano ScholarshipWilma and Ernst Martens Endowed

ScholarshipsSusan and Larry Marx Endowed ScholarshipCharles E. Merrill Trust ScholarshipJorge Mester Conducting ScholarshipSue and Leonard Miller Scholarship for an

African AmericanCaroline and John Moore ScholarshipMusical Merit Foundation of Greater San

Diego/Aspen ScholarshipBecky and Michael Murray Endowed

ScholarshipElizabeth W. Musser Memorial ScholarshipMarcie and Robert Musser Endowed

ScholarshipsJanet Rae Naster Scholarship for a Member of

the Denver Young Artists OrchestraNeuman Family Foundation ScholarshipNational Association of Teachers of Singing

Foundation ScholarshipNational Federation of Music Clubs

ScholarshipCharles Owen Memorial ScholarshipElizabeth Paepcke Memorial Piano ScholarshipThe Fonda and Charles Paterson Scholarship

In Memory of Steve ShanzerJay and Rose Phillips Family Foundation

FellowshipMichael and Ellen Pokress Memorial

Scholarship for StringsAnne and Arnold Porath Endowed Scholarship

FundPortland Youth Philharmonic Association

ScholarshipJean Wood Preston ScholarshipLois Risley Endowed Flute ScholarshipRoaring Fork Valley Scholarships Supported by The Thrift Shop and Les

Dames d’AspenRuth Coates Roush Endowed Cello

ScholarshipOlga Ryss Memorial ScholarshipStuart Sankey Endowed Scholarship FundJules Selcer Endowed ScholarshipJacob Shaham Memorial ScholarshipGalen Shea Memorial ScholarshipSigma Alpha Iota National Vocal ScholarshipEdward A. Smith Memorial ScholarshipDorothy K. Sommer Memorial ScholarshipSpiegel Family ScholarshipFraternity of Friends Sponsored Scholarships

for Winners of the Music Center of Los Angeles County Spotlight Awards

Edgar Stanton Audio Recording Institute Endowed Scholarship

Cita and Irwin Stelzer Fellowship In Memory of Marina Stelzer

The John N. Stern Endowed Scholarships for students currently enrolled at the Oberlin

Conservatory of MusicNancy Stessin Memorial Piano ScholarshipJack Strandberg Endowed ScholarshipsTalented Students in the Arts Initiative, a

collaboration of the Doris Duke Charitable Foundation and the Surdna Foundation Fellowships

Goodrich and Norris Taylor ScholarshipRose Palmai-Tenser ScholarshipBecky Topelson Piano ScholarshipSylvia Eisenberg Tucker Memorial

ScholarshipsAube Tzerko Memorial Piano ScholarshipRoberta and Terry Turkat Endowed Spotlight

Award ScholarshipVan Straaten Flute ScholarshipLinda and Dennis Vaughn ScholarshipDavid and Ann Verdrager Memorial

ScholarshipAudrey J. Walton Missouri ScholarshipsEleanore Mullen Weckbaugh Foundation

ScholarshipsHelen F. Whitaker FellowshipsAvedis Zildjian Co. Percussion ScholarshipCity of Zurich Art Prize Scholarship1954 Willy’s Pick Up Truck Scholarship

The largest single endowment objective in the Future in Concert campaign was faculty salary en-hancement. As part of this campaign, the Festival and School accepted and met an exciting challenge from an anonymous donor. Upon raising our goal of $7 million for faculty salary enhancement, this gen-erous individual donated an additional $1 million gift. We would like to extend special thanks to all of the contributors who helped us meet this challenge.

We will continue to work to secure endowment for faculty positions and many other programs. En-dowed programs span many facets of the Festival and School, guaranteeing that excellent quality will be maintained and that new programs will receive the funding necessary to achieve excellence. Chairs may be named in honor of the donor or someone designated by the donor.

Endowed and Special Scholarships and Fellowships continued from previous page

Endowed Chairs and ProgramsAnonymous Donors ............................................................... Faculty Salary Enhancement FundSusan and Ford Schumann ...............Center for Composition Studies Composers-in-Residence Aspen Film Scoring ProgramKay and Matthew Bucksbaum .......................................................New Horizons Faculty ChairsMarty Flug .............................................................................Dorothy DeLay Violin Faculty ChairJudy and Lanny Gertler ...................Judy and Lanny Gertler Faculty Salary Enhancement FundElizabeth W. Musser ..........................................................Robert McDuffie Violin Faculty ChairMarcie and Robert Musser ........................................................................Quartet-in-ResidenceSimms Family Foundation ..................................................... Simms Family Piano Faculty ChairRon D. Streicher .................................Edgar Stanton Audio Recording Institute Endowed FundKay and Kenneth R. Whiting .................................................................Guest Pianist ResidencyMary and David Zinman ...........................................................Isaac Stern Concertmaster Chair


Alan Fletcher, PresidentRob LeBuhn, ChairMichael Murray, Vice ChairArnold Porath, TreasurerFonda Paterson, SecretaryNadine AsinSandra K. BishopKay BucksbaumMitchell CaplanMartin CarverCarole CowanJohn DonnellJerry EberhardtStefan EdlisAlan EnglanderNanette B. FingerJane FrazerGideon GartnerLeonard GertlerNancy Goeres

Harriett GoldJohn GoldSanford GrossmanJonathan HaasPer HannevoldConnie HeardShirley B. HelzbergEllen J. HockadaySydney HodkinsonPaul KantorGerald KatcherMichael KleinBarbara KovalFred KuckerAnthony MazzaStephanie NaidoffJanet O’ConnorPatricia PapperVirginia PearceAllen Questrom

Robert RichJohn RojakLauren SchiffCita StelzerMarc SternAlison TealJoaquin ValdepeñasLinda VaughnDonald WeissCarrie WellsHarriet ZimmermanWalter Isaacson, ex-officio

Honorary TrusteesGordon Hardy, President EmeritusJoan W. HarrisItzhak PerlmanPinchas Zukerman

Life TrusteesPaula BernsteinWilliam BernsteinMatthew Bucksbaum Noël R. CongdonMarian Lyeth DavisAlfred DietschJohn DoremusWilliam DunawayMartin FlugGerri KaretskyNancy OdénCharles PatersonBetty SchermerW. Ford SchumannDennis VaughnKenneth R. Whiting

Board of Trustees

Executive OfficeAlan Fletcher President and CEODavid Zinman Music DirectorStephanie Krolick Executive Assistant

Artistic AdministrationAsadour Santourian Artistic Advisor and

AdministratorShelby Murphy Music Production CoordinatorFrances Atkins Program Book Managing Editor

CommunicationsLaura Smith Director of Communications and

Corporate SupportJanice Conniff Public Relations AssociateSusannah Luthi Publications AssociateDiane Stine Guest Services CoordinatorEric Woodhams Marketing and New Media

Associate

DevelopmentKat Berg Donor Records ManagerLenor Leeds Development CoordinatorJenny Lyons Special Events CoordinatorAlexandra Tatge Development Assistant

Finance and AdministrationJennifer B. Elliot Director of Finance and

AdministrationScott Crawford ControllerDavid Forsman ControllerFritz Grueter Manager of Information ServicesDonna Phelps Assistant Controller

Management and OperationsMatthew Loden General ManagerMatthew Ritter Director of OperationsDeborah Barnekow Director of Educational

OutreachMatthew Bergdahl MaintenancePeter Estock Meadows Facility ManagerSean Kehoe Operations and Safety ManagerGlenn Ledesma Campus Facilities ManagerHeidi Lord Office ManagerMary Rechlitz Contracts Administrator and

Assistant to the General ManagerKaren Smart Director of Ticket Services

Student ServicesJoan Gordon DeanJennifer Johnston Associate DeanSarah Babb Mazur Manager of Student

ServicesMolly Sassaman Admissions Officer and

Scholarship CoordinatorMeg Sippey Admissions Officer and Housing

Coordinator

Staff


n 1. Check application deadlines and fees on inside front cover and “how to apply” section for your program.

n 2. Sign up for a live audition online at www.aspenmusicfestival.com for the following programs ONLY:• Orchestral String Fellowship, Aspen Opera Theater

Center, Collaborative Artists Program, or Center for Advanced Quartet Studies

n 3. Complete the AMFS application for admission on page 39.• Select your three instructors from the artist-faculty

list at www.aspenmusicfestival.com. Note: Not all artist-faculty teach for the full eight weeks. If you are applying as a full-session student, and your first-choice teacher is only here for a half session, please list a teacher for the other half session on the same line.

• Application forms with unanswered portions and/or the absence of proper signatures will not be processed.

• Applicants must list three artist-faculty with whom they are committed to study. It is unlikely we can accommodate teacher changes after January 4, 2010. Note: Audition recordings are not necessarily reviewed by all three requested teachers.

• Indicate your session of study.• Applicants are strongly encouraged to apply for

the full eight-week session.• It is unlikely that we can accommodate changes

in session—especially the change from full to half session.

n 4. Enclose recordings (check the program to which you are applying for CD or DVD requirements).• Send copies, not originals, as they will not be

returned.• Each disc must be packaged in its own jewel case

or sleeve.

• Label the discs and spines of ALL jewel cases with your name and instrument using a permanent marker (even if the spine is narrow).

• Write the track listings on the jewel-case cover or on the disc.

• Videotapes, DATs, minidiscs, and cassettes will not be accepted.

n 5. Enclose appropriate number of scores and recordings as specified in the program to which you are applying. • Send copies, not originals, as they will not be

returned.

n 6. Complete the financial assistance application on page 40.• For scholarship or fellowship consideration,

students must apply for the full-session or special half-session programs (Guitar, Composition Mas-ter Class program, Composition Individual Studies program, Audio Recording, and Film Scoring).

• Financial assistance forms may be sent separately by parents.

n 7. Enclose your current résumé.

n 8. Enclose the appropriate nonrefundable application fee.• See inside cover or application itself for listing of

fees.• FOR APPLICANTS LIVING ABROAD: Enclose an

additional $30 foreign mailing fee.

n 9. Mail your application by your program’s deadline.• FAXED applications will not be accepted.• Applications should be mailed to: Office of Student

Services, Aspen Music Festival and School, 2 Music School Road, Aspen, CO 81611.

• Applicants will receive an email acknowledging receipt of application (please allow several weeks).

Students are strongly encouraged but not required to send two letters of recommendation which may be used in the scholarship process.

Application Checklist

Instructor Desired (must choose three; see page 38, #3 for instructions): Be sure to check our web site (www.aspenmusicfestival.com) for updated artist-faculty residencies before making your selections.

_______________________________________________________________________________________________________FIRST CHOICE

_______________________________________________________________________________________________________SECOND CHOICE

_______________________________________________________________________________________________________THIRD CHOICE

Have you attended the AMFS previously? Yes No

If so, when?_________________________

AMFS major teacher(s) _____________________________________________________

__________________________________________________________________________

Financial Assistance Information (Financial assistance is only available to students enrolling in the full session or select half session programs)Are you applying for a scholarship? Yes NoAre you applying for a fellowship? Yes NoNote: In order to be considered for scholarship or fellowship aid, applicants must complete the reverse side of this form. If you wish to be considered for scholarship assistance, your complete application must be postmarked by January 4, 2010. No scholarships will be awarded to any applicant submitting an application after the January 4 postmark date.

Background Information

_______________________________________________________________________________________________________PRESENT SCHOOL OR POSITION

Principal music instructors and/or private teachers:

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

I am enclosing one of the following application fees (fees are nonrefundable):NOTE: All dates are POSTMARK DATES .

$25 through Oct. 31 $60 Nov. 1–30

$80 Dec. 1–14 $120 Dec. 15–Jan. 4

Visa MasterCard American Express Check # _______________

Credit Card # ______________________________________________________________ (Be sure to write clearly)

Expiration Date ____________________________________________________________

Three-digit verification number (on back of card) _______________________________

Credit Card Billing Address _________________________________________________

Credit Card Billing Zip Code _________________________________________________

Signature of Cardholder _____________________________________________________ Please make checks or money orders payable to: Aspen Music Festival and School Mail to: 2 Music School Road Aspen, CO 81611

Personal InformationMs. Mr. __________________________________________________________________ LAST (FAMILY NAME) FIRST MIDDLE

__________________________________________________________________ PREFERED FIRST NAME

Date of Birth: Month ____________________ Day _______________ Year__________

SS# ________________________Country of Citizenship _______________________

Current Mailing Address (valid until: Month ___________ Day ______ Year _________)

_______________________________________________________________________________________________________NUMBER AND STREET APARTMENT #

_______________________________________________________________________________________________________CITY STATE ZIP CODE COUNTRY

_______________________________________________________________________________________________________TELEPHONE # CELL PHONE #

_______________________________________________________________________________________________________E-MAIL ADDRESS

Permanent or Home Address (if different from above)

_______________________________________________________________________________________________________NUMBER AND STREET APARTMENT #

_______________________________________________________________________________________________________CITY STATE ZIP CODE COUNTRY

_______________________________________________________________________________________________________TELEPHONE # CELL PHONE #

_______________________________________________________________________________________________________E-MAIL ADDRESS

Parents’ Names _________________________________________________________

_______________________________________________________________________________________________________DAYTIME TELEPHONE #

Session: (check one only; note that Full Session is required for Conducting, Opera, and Collaborative Artists applicants)

Full Session (6/23–8/22) Half Session: HS1 (6/23–7/25) OR HS2 (7/26–8/22)

Major Study: Indicate program to which you are applying.Note: Applicants may only apply to one program.

Opera Theater Center ___________________________________ (voice type)

Guitar (HS2) Harp ACE Percussion Collaborative Artists Piano

Strings (instrument) ___________________ Winds (instrument) ___________________ (required) (required)

Composition Master Class (HS1) Audio Recording Institute (HS2)

Film Scoring (HS1) Composition Individual Studies (HS2)

Conductor in AACA ______________________________________________ (instrument)

Advanced Quartet Studies ______________________________ (quartet name, instrument)

If you are also applying for a fellowship on an auxiliary instrument listed below, please check the appropirate box.

Piccolo English Horn Bass ClarinetSecond and E-flat Clarinet Contrabassoon

I am enclosing the following materials:

A current résumé

A recent conducting DVD (conducting only)

_____ Sets of scores (composition only)

_____ Audition DVDs or CDs

Completed financial assistance application

Application for Admission Aspen Music Festival and School | June 23– August 22, 2010 | Aspen, ColoradoPlease type or print clearly.

I live abroad and, in addition to the application fee, am including the mandatory $30 mailing fee.

I understand that the information in this application is true to the best of my knowledge and that the recording submitted is my own unedited performance. I also understand that the Aspen Music Festival and School reserves the right to discharge students who have submitted false or misleading information in the application process.

If accepted as a student of the Aspen Music Festival and School, I agree to abide by AMFS regulations. I agree not to bring any alcoholic beverages or firearms

onto AMFS premises or to possess or engage in the illegal use of drugs while a student of the Aspen Music Festival and School.

Students are expected (in their academic conduct) to comport themselves with basic standards of honesty and character. Plagiarism, cheating, and dishonesty in AMFS-related matters are prohibited and can result in a student’s dismissal from the AMFS without refunding any part of the fees paid.

The applicant consents to the creation and distribution

of any recording, broadcast, or electronic transmission of any kind, without compensation, made by the AMFS or any AMFS-approved entities while he/she is a student at the AMFS. The applicant similarly consents to the use of his/her likeness in photographs, video, or any visual media created and distributed by the AMFS or AMFS-approved entities.

I understand a non-refundable tuition deposit ($500 or balance of tuition) is required by the due date in the acceptance letter.

_______________________________________________________________________________________________________SIGNATURE OF APPLICANT (required of all applicants) DATE

_______________________________________________________________________________________________________SIGNATURE OF PARENT OR GUARDIAN (required if applicant is under 18 years of age) DATE

Parents’ Information

Father or Guardian

Home Address

Nature of Business Position Held

Name of Employer

Mother or Guardian

Home Address

Nature of Business Position Held

Name of Employer

Dependents, excluding Applicant (include age[s], relationship[s], and note degree[s] of dependency—full or partial)________________________________________________________________________________________________________________________________________________________________________________________________________________________

Financial Independence

1. Are you over 23 years of age? Yes No2. Are you a graduate student? Yes No3. Are you married, a ward of the court, or a veteran? Yes No If yes, please specify __________________________________________________4. Are you supporting any dependents (i.e., children, elderly parent)? Yes No If yes, please specify __________________________________________________

If you have answered “Yes” to one or more of the above questions, you may claim yourself financially independent. Skip questions 5, 6, and 7, and indicate your personal financial information below. If you have answered “No” to all questions 1-4, you must answer the following questions (5, 6, and 7).

5. Did you live in your parents’ home for more than six consecutive weeks in the past year? Yes No6. Do your parents list you as a tax exemption on their Federal Income Tax Return? Yes No7. Have you received more than $2,000 assistance from your parents in the past year? (This includes clothing, medical care, insurance, etc.) Yes NoIf you have answered “No” to all questions 5, 6, and 7, above, then you may claim yourself financially independent and should substitute your personal data for your parents’ information below. If you have answered “Yes” to one or more of the above questions, you may not claim yourself financially independent, and you must have your parents submit the required financial data below.

Financial Assistance Application

Applicant’s Information

Ms. Mr. ___________________________________________________________________ LAST (FAMILY NAME) FIRST MIDDLE

1. 2009 Gross Income $__________________ 2008 Gross Income $_____________ Nature of Job__________________________________________________________2. Financial resources available for coming summer: Cash on hand $ ______________ Assistance from family $___________________ Other assistance for summer 2010 (e.g., scholarships, grants, loans, gifts, etc.) _____________________________________________________________________ Estimated 2010 Gross Income until June $ ________________________________3. Did or will you pay Federal Income Tax for 2009? (estimate)

Yes No Amount $_______________________4. Do you own a car? Yes No Make______________ Year ____________ Purchase Price $_______________________Current Value $ __________________5. Are you or have you ever been the recipient of any financial aid (scholarship, grant, award, or prize) given by an educational institution? Yes No If so, name title of award, period covered, source, and amount:______________ _____________________________________________________________________6. Are you the recipient of any educational funds (scholarship, grant, award, or prize) from any country, state, organization, or individual specifically for your attendance at the Aspen Music Festival and School during 2010? Yes No If so, name title of award, source, and amount:_____________________________ ______________________________________________________________________7. Without a scholarship, will you still be able to attend the Aspen Music Festival and School? Yes No8. The Aspen Music Festival and School has several scholarships designated for minority students (i.e., African American, Native American . . .). If you feel you qualify for one of these, please check here: 9. The Aspen Music Festival and School has been given funds to assist students with disabilities. Would you like information about support services for students with disabilities? Yes No10. Check below if you are a member of: Mu Phi Epsilon

National Federation of Music Clubs Sigma Alpha Iota

Financial assistance is available only to students enrolling in the Full Session or select Half Session Programs. All applicants for financial assistance must complete this application in its entirety. Unanswered portions and/or absence of proper signatures will constitute an incomplete application and will disqualify the applicant from consideration. Information will be held in strict confidence.

Financial Information · All applicants must fill out information below. If claiming financial independence, substitute applicant’s data for parents’ information. International students may omit tax information.

Estimated Federal Income Tax paid in 2009: Father $ ___________________________ Mother $ ___________________________

FATHER’S SIGNATURE DATE MOTHER’S SIGNATURE DATE

APPLICANT’S SIGNATURE DATE

I understand that only full-session students and select half-session program students are eligible for scholarship consideration and that this application will not be considered until the application for admission, the proper application fee, résumé, and the appropriate number of recordings have been submitted. Additional information or comments may be attached on a separate page.

Father or Self,if Independent:

Mother or Spouse, if Independent:

2009 Gross Income Estimated 2010 Gross Income Real Estate Values Savings Account Other Investments

Amount Owed Obligations and Loans Taxes on Real Estate Business Expenses (credit cards, bank loans, family obligations) excluding Federal Income Other

Father or Self,if Independent:

Mother or Spouse, if Independent:

MUSIC DIRECTORDavid Zinman

PRESIDENT AND CEOAlan Fletcher

DEANJoan Gordon

VOICEVinson ColeElizabeth HynesStephen KingW. Stephen Smith

ASPEN OPERA THEATER CENTEREdward Berkeley, directorRichard Bado 4Florence Blager, voice workshopElizabeth Buccheri 3Miah Im 2Kenneth MerrillGayletha Nichols 3, 7Jennifer Ringo 3Diane Zola 3, 7

PIANOMisha Dichter 3, 7Joseph Kalichstein 3Yoheved KaplinskyAnton Nel 5John O’ConorJohn Perry 3, 7Ann ScheinRita SloanVirginia WeckstromWu Han 5

COLLABORATIVE ARTISTSRita Sloan, director

VIOLINRenata Arado 5, 7Earl Carlyss 7Laurie Carney 3, 7Carole Cowan 3, 7Eugene Drucker 4Herbert GreenbergDavid HalenCornelia HeardPaul KantorMasao KawasakiAlexander Kerr 5Gary Levinson 3, 7Espen Lilleslåtten 5Cho-Liang Lin 5Robert LipsettRobert McDuffie 3, 7Beth Newdome 3, 7

Sylvia RosenbergPhilip Setzer 4Naoko TanakaBing Wang 6Peter Winograd 3, 7

VIOLADaniel Avshalomov 3, 7Catharine CarrollVictoria Chiang 5James Dunham 5Lawrence Dutton 4John Graham 3, 7Jeffrey Irvine 6Masao KawasakiKathleen Mattis 3, 7Lynne Ramsey 3, 7Sabina Thatcher 5Stephen Wyrczynski 6

CELLORichard AaronDarrett AdkinsDavid Finckel 3, 7William Grubb 3, 7Alan Harris 5Eric Kim 5Wolfram Koessel 3, 7Michael MermagenAndrew Shulman 6

BASSBruce BransbyChristopher Hanulik 5Albert LaszloEugene Levinson 3, 7Edgar Meyer 3, 7

FLUTEMartha Aarons 5Nadine AsinBonita Boyd 6Mark Sparks

OBOEJeannette BittarPedro Diaz, English horn 3Elaine Douvas 6Robert Walters, English horn 3Richard Woodhams 5

CLARINETBurt Hara 5Bil Jackson 6Theodore OienJoaquin Valdepeñas

BASSOONNancy GoeresPer Hannevold

FRENCH HORNEli Epstein 5David WakefieldJohn Zirbel

TRUMPETKevin CobbRaymond MaseLouis Ranger

TROMBONEPer BrevigChristopher Dudley 3Michael PowellJohn D. Rojak, bass trombone

TUBAWarren Deck

PERCUSSIONJonathan HaasDavid HerbertDouglas Howard 5Thomas Stubbs 6

HARPNancy Allen 6Deborah Hoffman 5

CLASSICAL GUITAR 6Sharon Isbin, director 6

CHAMBER MUSICBärli Nugent, administrative

director Fumiko Kawasaki 7Members of the artist-faculty

CENTER FOR ADVANCED QUARTET STUDIESEarl Carlyss, director 7James Dunham 5American String Quartet 3Emerson String Quartet 4Sylvia RosenbergTakács Quartet 3Ying Quartet 3

ALEXANDER TECHNIQUELauren Schiff

LUTHIERJoan Balter

AMERICAN ACADEMY OF CONDUCTING AT ASPENDavid Zinman, directorMurry Sidlin, associate director

and program coordinatorAsadour Santourian, administrator

SUSAN AND FORD SCHUMANN CENTER FOR COMPOSITION STUDIESMaster Class Program 5Christopher Rouse 5Osvaldo Golijov 5Individual Studies Program 6Sydney HodkinsonGeorge Tsontakis 6Film Scoring Program 5Thomas Haines, directorJeff Rona 3Jack Smalley 3

ASPEN CONTEMPORARY ENSEMBLESydney Hodkinson, conductor

EDGAR STANTON AUDIO RECORDING INSTITUTE 6Jack RennerJuergen Wahl

ENSEMBLES-IN-RESIDENCEAmerican Brass QuintetAmerican String Quartet 3Emerson String Quartet 4Takács Quartet 3

ARTIST-FACULTY EMERITUSAdele Addison, voiceRobert Biddlecome, tromboneGabriel Chodos, pianoMichael Czajkowski, compositionIrene Gubrud, voiceGordon Hardy, president, deanJennifer John, violinJorge Mester, music directorAntoinette Perry, pianoSylvia Plyler, AOTCDennis Smylie, bass clarinetPaul Sperry, voiceHerbert Stessin, pianoViviane Thomas, voiceMartin Verdrager, theoryDick Waller, clarinetWon-Bin Yim, violin

This artist-faculty list is accurate as of September 11, 2009. Please visit www.aspenmusicfestival.com for the most up-to-date artist-faculty list and bios.

1 Master classes only2 Leave of absence 20093 Limited length of residence4 Leave of absence 20105 Half session I only6 Half session II only7 Does not teach privatelyArtist-Faculty

Aspen Music

Festival and School

2 Music School RoadAspen, Colorado 81611

(970) 925-3254www.aspenmusicfestival.com

Documents

2010 Student Catalog