New Faculty Join Music, Dance, and Drama

Michael G. Chin, who joins the Drama faculty as a stage combat teacher, is recognized as a fight master, fight director, and certified teacher with the Society of American Fight Directors. A student of northern style Shaolin long fist kung fu, he has taught, choreographed, and consulted on Broadway productions and at various other venues in New York City, including the Mint Theater Company, Theater Works U.S.A., La MaMa E.T.C., Pan Asian Repertory Theater, National Asian American Theater Company, the Public Theater, the Vineyard Theater, New York University, Henry Street Settlement, the Drama League, the Classical Theater of Harlem, and the American Musical and Dramatic Academy. Nationally, he has worked at the Barter Theater, Celebration Barn Theater, University of Tulsa, Louisiana Tech University, Tennessee Repertory Theater, the University of Northern Colorado, and the Merrimack Repertory Theater, among numerous others. Currently, Mr. Chin is an adjunct faculty member at Pace University, Brooklyn College, and Muhlenberg College in Pennsylvania.           


Pianist Antonio Ciacca joined the Jazz faculty last season to teach Business of Jazz. The director of programming at Jazz at Lincoln Center since 2007, Mr. Ciacca began his career as a sideman for such acclaimed jazz artists as Art Farmer, James Moody, Lee Konitz, Jonny Griffin, Mark Murphy, Dave Liebman, and Steve Grossman. Born in Germany and raised in Italy, Mr. Ciacca co-founded and previously served as artistic director of C-Jam Music, acultural organization and booking agency in Europe. He has worked with legendary musicians Steve Lacy, Benny Golson, and Wynton Marsalis, and has appeared at numerous festivals and venues across Europe and the United States, including Ronnie Scott’s, the National Theater in London, the New York Blue Note, the Village Vanguard, the Detroit International Jazz Festival, and the Rochester International Jazz Festival. A prolific recording artist, his latest CD, Lagos Blues, was released this year by Motéma and features Steve Grossman and Stacy Dillard on tenor sax, Kengo Nakamura on bass, and Ulysses Owens on drums.      

Sarah Cimino, who joined the Drama faculty last season as makeup supervisor in the Production Department, is a New York City-based makeup artist working in fashion, film, opera, and dance. She received a B.F.A. from New York University’s Tisch School of the Arts Experimental Theater Wing and makeup certifications from MESS Studios and Make-Up Designory. Currently, she designs makeup for the dance/theater troupe Company XIV. Ms. Cimino’s print credits include work for BlackBook magazine, IMG Artists, the Public Theater, and Fermata Designs, and assistant work for Vogue and O, the Oprah Magazine. Her theatrical clients and credits include Disney’s Broadway musical Mary Poppins, National Black Theater/Take Wings and Soar Productions, the Santa Fe Opera, the Princeton Festival, the Lincoln Center Festival, Curtis Opera Theater, New York University, Manhattan School of Music, Lincoln Center’s Mitzi E. Newhouse Theater, and the New York City Ballet. 

Joining the Historical Performance faculty, Sarah Cunningham will teach viola da gamba. Ms. Cunningham, who co-founded the ensemble Sonnerie with Monica Huggett, artistic director of Historical Performance, has toured around the world with numerous ensembles, including Sonnerie, Fretwork, Phantasm, Sequentia, Camerata Kilkenny, and the Orchestra of the Age of Enlightenment. She has performed as a soloist under such conductors as Simon Rattle, John Elliott Gardiner, Trevor Pinnock, and Ton Koopman, and has recorded extensively on ASV, Virgin/EMI, Harmonia Mundi, and Warner. A former faculty member at Hochschule fuer Kuenst in Germany, the Guildhall School in London, and the Sibelius Academy in Helsinki, Ms. Cunningham has presented workshops and master classes in such locations as Sweden, Canada, London, Boston, New York, and San Francisco. In addition, she is the founder and first artistic director of the East Cork Early Music Festival in Ireland and is a founding member of Les Filles de Sainte Colombe.  

Composer Scott Eyerly, who joins the Literature and Materials of Music faculty, studied with Elliott Carter at Juilliard and with William Bolcom, C. Curtis-Smith, and George Wilson at the University of Michigan. He composes in a variety of genres and his theater, choral, song, chamber, and symphonic works have been performed at venues across the United States. Recent commissions include Spires, premiered in New York City by the St. Thomas Choir of Men and Boys, conducted by John Scott, in May 2009 and Source, a clarinet sonata composed for Alan Kay and introduced at the Cape May (N.J.) Music Festival. His opera The House of Seven Gables, which was produced at the Manhattan School of Music, is available on Albany Records, and his Variations on a Theme by Honegger won the Louisville Orchestra New Music Prize. Mr. Eyerly has received grants from such organizations as the National Endowment for the Arts and ASCAP, and has held residencies at the MacDowell Colony, Ragdale, and the Banff Center, among others. He has been on the faculty of Juilliard’s Evening Division since 1988.

Andy Farber joins the Jazz faculty to teach advanced jazz composition and arranging. An award-winning jazz composer, arranger, and saxophonist, he has worked extensively with Jon Hendricks and Wynton Marsalis. Mr. Farber has been associated with Jazz at Lincoln Center since 1994, where he has worked as a composer, arranger, guest artistic director, and performer, and has arranged pieces for Bob Dylan, B.B. King, and Ray Charles, among others. Orchestras performing Mr. Farber’s arrangements have included the Boston Pops, the Philly Pops, and Boca Pops Orchestra. As a conductor, he has led the Jazz at Lincoln Center Orchestra, the Winnipeg Jazz Orchestra, and the Bronx Arts Ensemble. His band, Andy Farber and His Swing Mavens, regularly performs Farber’s original compositions and arrangements. He also leads a 17-piece big band, Andy Farber and His Orchestra. Mr. Farber is a staff composer at Duotone Audio Group, where he writes music for television and film. 

David Gaines joins the Drama faculty as a musical vocal coach. His New York City theater credits include Playwrights Horizons, the Public Theater, the Vineyard Theater, and the York Theater Company, among others. He has performed at Carnegie Hall, Town Hall, BAM, and various other venues, and has worked as an audition pianist/rehearsal pianist on many Broadway and Off-Broadway projects. For the past five years, Mr. Gaines has served as faculty member of cabaret conferences at the Perry Mansfield Performing Arts School in Steamboat Springs, Colo., and the Eugene O’Neill Theater Center in Waterford, Conn. He is also on the faculty of the N.Y.U. Tisch Playwrights Horizons Theater School.  

Susan Hamburger, who joins the Dance faculty to teach stagecraft, is a New York City-based lighting designer. She has worked with such notable artists as Philip Glass, Shirin Neshat, and Mark Rucker, and with numerous dance companies and choreographers, including the Urban Bush Women, Lucinda Childs, Nora Chipaumire, Troika Ranch, Blondell Cummings, Urban Tap, Ellis Wood, Alice Farley, Christopher Caines, Susan Cherniak, and Carol Nolte. She has designed numerous productions in New York City, including The Abundance Project at the Dance Theater Workshop, Hamletmachine at the Castillo Theater, Logic of the Birds at the Kitchen, Suddenly Last Summer at the Sanford Meisner Theater, The Great Highway at Columbia University, as well as many other plays and performance pieces at venues across the United States. A graduate of the Yale School of Drama, and Ms. Hamburger teaches at New York University’s Tisch School of the Arts dance department. 

Fred Hersch, a pianist known for reinterpreting the standard jazz repertoire as well as composing new works, joins the Jazz faculty. Since the late 1970s he has worked with such legends as Joe Henderson, Art Farmer, and Stan Getz, and his compositions have been commissioned by numerous organizations, including Columbia University’s Miller Theater, the Gramercy Trio, and the Brooklyn Youth Chorus. Mr. Hersch has received multiple Grammy nominations and awards, including a fellowship from the Rockefeller Foundation, grants from the National Endowment for the Arts, and a Guggenheim Fellowship for composition. In 2005 his work Leaves of Grass, a large-scale setting of Walt Whitman’s poem, was presented on a six-city U.S. tour that included a sold-out performance at Carnegie Hall’s Zankel Hall. Mr. Hersch’s extensive recordings include Fred Hersch: Concert Music 2001-2006(Naxos), Fred Hersch Plays Jobim (Sunny Side Records), and The Fred Hersch Trio: Whirl, released by Palmetto Records in June. He has taught at the New School and the Manhattan School of Music, and is currently a visiting professor at Western Michigan University and on the faculty at the New England Conservatory.

Conrad Herwig, who joins the Jazz trombone faculty, has performed with the Joe Henderson Sextet, the Horace Silver Octet, Tom Harrell’s Septet and Big Band, and the Joe Lovano Nonet. Mr. Herwig’s album The Latin Side of John Coltrane, released by Astor Place Records, was nominated for a Grammy in 1998, and his Another Kind of Blue: The Latin Side of Miles Davis, released by Halfnote Records, earned a 2005 Grammy nomination. He has led master classes, seminars, and workshops at conservatories and universities including Finland’s Sibelius Academy, the Royal Irish Academy, the Eastman School of Music, and the University of Southern California. Mr. Herwig is an associate professor at Rutgers University and was elected to the board of advisers of the International Trombone Association for the second time in 2006. He has received numerous accolades from the press, including multiple nominations for Trombonist of the Year from the Jazz Journalists Association. 

René Houtrides, who joined the Drama faculty last season, teaches T’ai Chi Ch’uan to first-year students. A T’ai Chi Ch’uan practitioner since 1972 and teacher since 1980, Ms. Houtrides has also taught improvisation, mime, theater movement, and character work at a number of institutions, including H.B. Studio, Yale University, Sarah Lawrence College, Clark Center for the Performing Arts, Skidmore College, Harvard University, New York University, and Barnard College. She has worked as a performer, writer, and director for such organizations as the Manhattan Theater Club, La MaMa E.T.C., and Ubu Repertory Theater, and has served as an on-site reporter for the National Endowment for the Arts and an auditor for the New York State Council for the Arts. Born and raised in New York City, Ms. Houtrides attended New York University, where she received a bachelor’s in English, and Bard College, where she earned a master’s in writing.    

R.J. Kelley, who joins the Historical Performance faculty to teach natural horn, marks his 30th season with the Philharmonia Baroque Orchestra and his 20th season as solo/principal horn with the ensemble this year. Co-founder and artistic director of the horn quartet Universal Piston, Mr. Kelley has recorded with numerous early-music orchestras across North America and has some 70 CDs to his credit. He has appeared with the Royal Court Theater Orchestra of Drottningholm, Capella Nuova, Freiburg Baroque Orchestra, and Musica Antiqua St. Petersburg. When not engaged in historical performance, Mr. Kelley is a regular guest with the New York Philharmonic, American Ballet Theater, Orchestra of St. Luke’s, New York City Ballet, and many other orchestras. He is also solo horn of Manhattan Brass, Smithsonian Chamber Players, the Englewinds, Hora Decima Brass Ensemble, Portland (Ore.) Baroque Orchestra, Mercury Baroque, and the Texas Camerata. Mr. Kelley has presented lectures and demonstrations at such venues as Yale University, Rutgers University, the University of Montana, and San Jose State University.  

Joining the Literature and Materials of Music faculty last season, composer Raymond J. Lustig has won a number of awards for his works, including the Charles Ives Fellowship from the American Academy of Arts and Letters; ASCAP’s Rudolf Nissim Prize for his three-movement piece Unstuck; and the Aaron Copland Award from Copland House. A recipient of M.M. and D.M.A. degrees from Juilliard, Mr. Lustig’s works have been presented at Alice Tully Hall, the 92nd Street Y, Symphony Space, Le Poisson Rouge, the Caramoor and Norfolk festivals, and the École Normale in Paris, among other venues. His music has been performed by such ensembles as the Bowling Green Philharmonia, Metropolis Ensemble, American Opera Projects, and the Da Capo Chamber Players. In addition to his musical accomplishments, he is a published researcher in molecular biology and helped co-found the Juilliard Weill Cornell Music and Medicine Initiative, a collaborative project that examines the intersections of music, the sciences, and the healing arts (see Faculty Forum on Page 4). Mr. Lustig received his B.A. from Holy Cross College. His composition teachers include John Corigliano, Robert Beaser, Samuel Adler, and Sebastian Currier.      

David Moody, who joined the Vocal Arts faculty last season as assistant coach and chorus master, has served as principal coach and assistant conductor at Glimmerglass Opera since 2004. From 1999 to 2007, Mr. Moody was an assistant conductor for the Opera Company of Philadelphia, participating in more than 20 productions, and was a member of the opera and voice faculty at the Curtis Institute of Music. As a pianist and vocal coach, he has been employed by the Opera Theater of Saint Louis, the Philadelphia Orchestra, the Washington National Opera, the Opera Festival of New Jersey, and the Chautauqua Institution’s school of music. In addition to his work in opera, Mr. Moody has an active career as a recitalist and has performed concerts presented by such organizations as the Marilyn Horne Foundation, Astral Artistic Services, and the Philadelphia Chamber Music Society. He attended the University of Illinois at Urbana-Champaign, where he was a pupil of John Wustman, and continued his studies at the National Opera Studio in London and at the Banff Center for the Arts. 

Robert Nguyen joins the Drama faculty as a yoga instructor. Mr. Nguyen began practicing yoga in the fall of 1999 after a co-worker encouraged him to go to his first class with Steve Ross at Maha Yoga in Brentwood, Calif. In a packed room of some 40 yogis and yoginis, he immersed himself completely and left with something that he never thought he would be able to discover through the practice of yoga: clarity and grace. He set his sights on becoming a yoga teacher and completed his training at Om Yoga Center in New York City, under the guidance of Cyndi Lee, Frank Mauro, and Sarah Trelease. In May 2010, Mr. Nguyen went on to study with Judith Lasater, a restorative yoga teacher, and is now a certified restorative yoga instructor. He is continuing his education at the Om Yoga Center and is currently enrolled in its advance teacher training program, to be completed by spring of 2011. In Mr. Nguyen’s classes, students will flow through various asanas to find balance and equilibrium.  

Opera and theater director David Paul joins the Vocal Arts faculty to teach acting to voice students. As an acting teacher for singers, Mr. Paul has served on the faculties of the International Vocal Arts Institute in Israel, Virginia Tech’s Viva Virginia festival, and Columbia University’s summer program for high school students. His engagements as a director in the 2010-11 season include debuts at Virginia’s Ash Lawn Opera and Westminster Choir College in New Jersey. In May, he directed Mozart’s Le Nozze di Figaro at the Kennedy Center Opera House in Washington as part of Plácido Domingo’s Domingo-Cafritz Young Artist Program at the Washington National Opera. In addition to full-length operas, Mr. Paul has directed concerts for the Metropolitan Opera’s Lindemann Young Artist Development Program and scenes from Verdi’s Falstaff by the Washington National Opera. Mr. Paul spent two seasons on the artistic staff of the Shakespeare Theater Company in Washington. In 2005, he joined the artistic staff of Perseverance Theater in Alaska, where he worked as both a theater and musical director. A native of Hamburg, Germany, Mr. Paul is a graduate of Columbia University.

David Schulenberg, who joins the Historical Performance faculty, is a scholar and performer on harpsichord, clavichord, and fortepiano. He is noted for his writings on music of the Bach family and has recorded chamber works of Quantz and King Frederick the Great with Baroque flutist Mary Oleskiewicz. His published works include the book The Keyboard Music of J. S. Bach (Routledge), the textbook and anthology Music of the Baroque (Oxford University Press), and articles in Early Music and other major journals. His latest book, The Music of Wilhelm Friedemann Bach, will be released by University of Rochester Press later this year in observance of the composer’s 300th birthday. Mr. Schulenberg’s research has been supported by grants from the National Endowment for the Humanities, the Andrew Mellon Foundation, the Japan Society for the Promotion of Science, and the American Bach Society. He has served on the faculties of Columbia University and the University of North Carolina. Currently, he is professor and chair of the music department at Wagner College on Staten Island. Mr. Schulenberg studied harpsichord with John Gibbons and Martin Pearlman while attending Harvard College. He received an M.A. in historical performance from Stanford University and a Ph.D. in music history from Stony Brook University.

Mark Sherman joins the Jazz faculty teaching doubles for drummers. A faculty member at New Jersey City University, he is an acclaimed vibraphonist, composer, and producer, and has performed and taught around the world. A four-time winner of DownBeat magazine’s Rising Star critics poll award, he was recently selected as a jazz ambassador by Jazz at Lincoln Center and the U.S. Department of State, allowing him to teach and perform on the Rhythm Road tour in Russia and Asia. He leads the Mark Sherman Quintet and Quartet and has performed with the Peggy Lee Quintet, Ruth Brown, the New York Philharmonic, and New York Voices, among others. He has recorded extensively and his 2005 release The Motive Series, featuring Michael Brecker, and 2006 recording One Step Closer, with Joe Lovano, remained on the jazz radio charts for 14 weeks. Mr. Sherman studied percussion with Saul Goodman and Elden “Buster” Bailey at Juilliard.

John Thiessen, who joins the Historical Performance faculty, has appeared as a soloist and principal trumpet with such early music ensembles as Tafelmusik, Philharmonia Baroque Orchestra, American Bach Solosits, and the Boston Early Music Festival. He has also performed with the English Baroque Soloists, the Amsterdam Baroque Orchestra, Taverner Players, Academy of Ancient Music, and Musica Angelica, among others. In addition to his career as a performer, he has recorded extensively for such labels as Sony Classical Vivarte, Telarc, EMI, BMG, Deutsche Harmonia Mundi, and London Decca. Mr. Thiessen, who is a graduate of the Eastman School of Music and King’s College, University of London, has received grants from the Canada Council and Ontario Arts Council for studies in the U.K. He has given master classes at Juilliard and the University of Texas, and has taught for Baroque institutes at Oberlin College in Ohio and the Longy School in Cambridge, Mass.   

Multi-instrumentalist, composer, and arranger Mark Vinci joins the Jazz faculty to teach doubles for reeds and winds. A big band veteran, Mr. Vinci has performed with Woody Herman, Gerry Mulligan, John Fedchock, Maria Schneider, and the Carnegie Hall Jazz Band. Mr. Vinci—who is a flutist, saxophonist, and clarinetist—has performed, toured, and/or recorded with artists including Joe Lovano, Stefon Harris, Rosemary Clooney, and Tony Bennett. A four-time Grammy nominee, Mr. Vinci has recorded for Blue Note, Concord, Telarc, Sony, and Albany Records, among others. His commissioned compositions have been performed at the Empire State Youth Orchestra’s New Music for a New Generation festival and the United Nations. Mr. Vinci is also a faculty member at Skidmore College and SUNY Purchase. 

Soprano Edith Wiens, who joins the Vocal Arts faculty teaching voice, has collaborated with numerous orchestras around the world including the New York, Berlin, London, Munich, and Israel Philharmonic Orchestras; the Boston, Chicago, Toronto, Montreal, and San Francisco Symphonies; the Dresden Staatskapelle; the Orchestre National de France; and the Academy of St. Martin in the Fields. She has worked under the baton of such conductors as Daniel Barenboim, Charles Dutoit, Bernard Haitink, Kurt Masur, and Sir Georg Solti, and her operatic appearances include principal Mozart roles at Glyndebourne, La Scala, and the Santa Fe Opera. A recipient of Grammy and Diapason d’Or Awards, Ms. Wiens is represented on the EMI, Erato, and Philips labels, and her extensive discography includes works by Bach, Mozart, Haydn, Mendelssohn, Mahler, Schumann, and Wagner. Ms. Wiens has been a professor at the music universities in Düsseldorf, Munich, and Nürnberg since 1995, and many of her students have established operatic and concert careers. She is also the artistic director of the Internationale Meistersinger Akademie, a new summer music program in Neumarkt, Germany, that will begin in 2011.

Musicologist Christoph Wolff, who joins the graduate studies faculty, is widely published on the music of the 15th to 20th centuries and has written extensively on Bach and Mozart. A professor of music at Harvard University, Mr. Wolff studied organ and historical keyboard instruments, musicology, and art history at the Universities of Berlin, Erlangen, and Freiburg. Before joining the Harvard faculty in 1976, he taught history of music at Erlangen, Toronto, Princeton, and Columbia Universities. Mr. Wolff has assumed a variety of editorial responsibilities throughout his career, including the role of editor at the periodical Bach-Jahrbuch from 1974 to 2004—he currently serves as consulting editor at the publication. His most recent books include Bach: Essays on His Life and Music (Harvard University Press, 1991), Mozart’s Requiem (University of California Press, 1994), The New Bach Reader (W.W. Norton, 1998), and Johann Sebastian Bach: The Learned Musician (W.W. Norton, 2000). In addition, he wrote extensively on the Bach family for The New Grove Dictionary of Music and Musicians (1980). The recipient of numerous awards and honorary degrees, Mr. Wolff holds an honorary professorship at the University of Freiburg and serves as director of the Bach-Archiv in Leipzig, Germany, and president of the Répertoire International des Sources Musicales.   


The Pre-College Division welcomes two new faulty members this year: Andrew Bove, who will teach tuba, and Donald Weilerstein, a College Division faculty member, who will teach violin.


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