Meet The 2012 Bloggers

She served as co-chair of the Major University Presenters Values and Impact Study, a two-year, $400,000 initiative that explored the intrinsic impacts of attending live performances and the underlying values and motivations driving arts attendance and donation, and has also served as project director for the UMS Lobby initiative (www.umslobby.org).  Sara received an MBA from Stanford University with additional certification in nonprofit management and a Bachelor’s of Arts degree in English from the University of Michigan.  She was invited to participate in the 2010 Salzburg Global Seminar, “The Performing Arts in Lean Times: Opportunities for Reinvention.”

In 2011, he was first runner up for the The American Prize in Conducting for the world premiere performance of Lembit Beecher’s multi-media oratorio “And Then I Remember.” During the summers of 2009 and 2010, he served as Marin Alsop’s Assistant Conductor at the Cabrillo Festival of Contemporary Music in Santa Cruz, CA. He also serves as Assistant Conductor for Howard Shore’s “The Lord of the Rings Symphony” with CAMI Music for which he has assisted in over 30 performances, including a tour of Germany.

In this position, he worked with the choruses, orchestras, and technical crews of the Colorado Symphony Orchestra, Florida Orchestra, Minnesota Orchestra, and Vancouver Symphony Orchestras, among others. Robert has conducted 10 World Premieres and over 30 orchestras nationwide, including the Houston Symphony, Spokane Symphony Orchestra, Lake Placid Sinfonietta and Cabrillo Festival Orchestra. He has participated in masterclasses and workshops with Lorin Maazel, Kurt Masur, Gustav Meier, and Larry Rachleff. In 2010, he achieved the DMA of Orchestral Conducting from the U-M School of Music, Theatre & Dance, where he studied with Kenneth Kiesler.

He has been a pre-concert speaker or writer for programs by the Detroit and Chicago Symphonies and is currently a historical consultant for the San Francisco Symphony’s centennial celebration; with Michael Mauskapf and Joseph Horowitz, he hosted the American Orchestras Summit at the Universitya of Michigan in January, 2010. He also serves as Project Editor for the Second Edition of the New Grove Dictionary of American Music and as founding faculty advisor and board member of Arts Enterprise.

Before coming to Michigan, Anthony studied at the Pierre Monteux School for Conductors and Orchestra Musicians, Conductors Retreat at Medomak and Conductors Institute at Bard, having worked with conductors such as Gustav Meier, Michael Jinbo, Harold Farberman, Lawrence Golan, and RichardRintoul.  Off the podium, he has performed in master classes and received coaching from Leon Fleisher, Yael Weiss, Yuval Yaron, Julie Bees, Noel Engebretson, and the Juilliard String Quartet.  He is a recipient of career grants from the LéniFé Bland Foundation and first prize awards from the MTNA, MTAC, CAPMT, and Saddleback Symphony Young Artist Competitions.As a featured performer, Anthony has appeared both as a pianist and conductor on Southern California’s Classical KDB 93.7 FM, as well as on Maine’s Public Broadcasting Network.

Anthony holds a Bachelor of Music and Master of Music in Piano Performance from the University of California, Santa Barbara, where he was a student of Charles Asche and was the recipient of the Outstanding Graduate Student of the Year Award and the Ernö Daniel Memorial Award for Distinguished Performance.  He is currently pursuing a Master of Music in Orchestral Conducting at the University of Michigan, as a conducting student of Kenneth Kiesler.

He holds an undergraduate degree from Temple University and his MM and DMA from the University of Michigan. He has been a member of numerous orchestras across the country and has performed with the Philadelphia Orchestra, the Metropolitan Opera Orchestra, the Opera Company of Philadelphia, the Savannah Symphony, the ProMusica Chamber Orchestra of Columbus, the Grand Rapids Symphony, and the Michigan Opera Theatre, to name a few.

He has appeared often on the international festival circuit, most notably at the Moscow Autumn Festival, the Festival dei Due Mondi (Spoleto, Italy), Académie Européene d’Été de Musique (Tournon, France), Colorado Music Festival, Vermont Mozart Festival, Bellingham Music Festival, Saint Bart’s Music Festival (French West Indies) and the Chamber Music Conference and Composers’ Forum of the East at Bennington College. He performs annually at the conferences of the International Double Reed Society and is a popular clinician at bassoon master classes around the world. He has given master classes and guest recitals at McGill University, USC, the Curtis Institute, the Eastman School, the Tchaikovsky Conservatory (Moscow), the Florida State University, Rice University, and many others.

Lyman is also known as an author and advocate of new music, and has many publications and commissions to his credit, including works by Yuri Kasparov, John Steinmetz, John Allemeier, David Gompper, Bill Douglas, and Kathryn Hoover. As an author, Lyman is a frequent contributor to the publications of the International Double Reed Society,and his article subjects range from textual issues in the music of Stravinsky and Canteloube through 19th century bassoon treatises and their impact on bassoon design to the biography of bassoonist and winemaker Gérard Faisandier. His article After Shostakovich, What Next?, an annotated bibliography of recent music by Moscow composers, helped to spread that repertory around the world. His most recent major project is a mixed-media web-based survey of the history of the bassoon in Mexico titled El Bajón en México, available on-line.

With oboist Martin Schuring, he was co-host of the 1998 conference of the International Double Reed Society. Lyman appears on Summit, Le Chant du Monde, New World, Brasswell, Koch International and BlockM recordings.

For more information on Jeffrey Lyman and the Michigan Bassoon Studio, click here.

He has written numerous concert works for a wide variety of musical forces, including solo instruments, chamber ensembles, choir, orchestra, and electronic media. As a collaborator he produces music for film, media, and choreography, regularly working with artists around the country. Having received awards and commissions from ASCAP, ECCE, Sospiro, Filmusik, Somebodies Dance Theater, Valerie Ifill Dance and numerous other music and arts organizations, he continues to work as a freelancing artist, consultant, and pedagogue with numerous individuals and institutions. Current projects include audio/video installations in collaboration with mixed media artist, Marcela Torres (Salt Lake City), and an original score for Alexandra Taylor Dance (New York City).