Colburn School Announces $1 Million Donation for Ziering-Conlon Initiative for Recovered Voices
Sel Kardan, President and CEO of The Colburn School, announced today the establishment of The Ziering-Conlon Initiative for Recovered Voices at the Colburn School. Los Angeles philanthropist Marilyn Ziering has made the Initiative possible with a generous $1 million gift to Colburn. The Initiative builds upon the Recovered Voices project at LA Opera, established to support conductor James Conlon's long-term commitment to bring attention to the works of important composers whose music was suppressed during the Nazi years in Europe.
Mr. Kardan said, "The Ziering-Conlon Initiative's primary focus will be performance, advocacy and dissemination of music by suppressed composers. Research and academic activities will be explored through creative collaborations, conferences, concerts and publishing. In addition, we hope that Internet, public radio and television broadcasting will provide opportunities to reach international audiences."
He continued, "The Ziering-Conlon Initiative will give Mr. Conlon, whose leading advocacy of this repertoire is acknowledged throughout the world, the unprecedented opportunity to share his insights on this important music, literature and the history of music in the first half of the twentieth century with Colburn students and the Colburn community at large."
Mr. Kardan continued, "We are pleased that LA Opera's pioneering work in establishing the Recovered Voices project on behalf of these artists, also supported by Marilyn Ziering and others, established the groundwork for this exciting program. Colburn was gratified to present Ernst Krenek's The Secret Kingdom and Viktor Ullmann's The Emperor of Atlantis in January of 2012 under Mr. Conlon's direction in collaboration with LA Opera's Domingo-Thornton (now Domingo-Colburn-Stein) Young Artists Program. That collaboration gave impetus to the announcement we make today."
James Conlon responded, "I am honored that my name is directly associated with this important project at The Colburn School, together with that of Marilyn Ziering, whose dedication to the cause of artistic and moral justice for composers suppressed by the Nazi regime is no less emphatic than my own."
Mr. Conlon continued, "I am grateful to Sel Kardan and the leadership of The Colburn School for their appreciation of the importance of placing the music of these composers into the hands, ears and hearts of Colburn students. These young musicians will help to ensure that many previously under-performed works will have the opportunity to find their rightful
places in the repertory."
Marilyn Ziering said, "I am proud to have supported James Conlon's work to bring operas by Recovered Voices composers into LA Opera's repertoire. I am gratified that The Colburn School will now also fulfill a central role in disseminating the knowledge of national and international scholars in the field to students and the public. I am also pleased that Colburn students will have the opportunity to learn and perform the works of composers whose artistry was banned by the Nazis."
A major element of The Ziering-Conlon Initiative will be an annual one-semester seminar developed, overseen and taught by Mr. Conlon in consultation with Conservatory Dean Richard Beene for Colburn Conservatory undergraduate and graduate students, and, as a gift to the community, the seminar may be audited by the general public at no cost, but registration is necessary. To register to audit, please visit: www.colburnschool.edu/adultstudies. The first seminar begins on Monday, January 13 from 5:30 to 7:30 p.m., and will continue weekly through April 28. Mr. Conlon will be assisted in the course by Mr. Robert Elias, President of The OREL Foundation, and other guest scholars.
This course will examine two generations of composers who were active and, in many cases, very successful and influential in Europe prior to the entrenchment and dominance of the National Socialist German Workers Party (Nazi) party in Germany from 1933 to 1945. The music and lives of these composers-most, though not all of them, Jewish-will be examined in depth. The course will also review the lives and works of composers who lived in exile during those years, some of them here in Los Angeles. It will examine a variety of questions: Who were these composers and why do we know so little of their music? What were the artists' artistic milieus? Why were these composers and their works suppressed? What happens when art collides with its society? Why were the works of these composers, many of whom having thrived before 1933, not revived after World War II? How do composers express themselves in times of great upheaval and personal duress? What are the challenges in reviving excellent, though relatively unknown, works?