SMU News Feed feed contains news and information from SMU News Feed (Gary Shultz) (Aren Cambre)60World-renowned organist fills Centennial Chair Following an international search, world-renowned organist and educator Stefan Engels has joined the Division of Music at SMU’s Meadows School of the Arts as the new Leah Young Fullinwider Endowed Centennial Chair in Music Performance.

DALLAS (SMU) --- Following an international search, world-renowned organist and educator Stefan Engels has joined the Division of Music at SMU’s Meadows School of the Arts as the new Leah Young Fullinwider Endowed Centennial Chair in Music Performance.

Stefan Engels

The new endowed senior position was made possible by a $2 million gift from Sarah and Ross Perot, Jr., in honor of Sarah’s mother, Mrs. Leah Fullinwider. The position is the first Endowed Centennial Chair in the Meadows School of the Arts and the second for SMU.

“We are grateful to Sarah and Ross Perot, Jr. for their appreciation of the importance of distinguished artists and teachers as endowed professors in the Meadows School,” said SMU President R. Gerald Turner. “Stefan Engels will bring worldwide experience and acclaim to his students in Meadows. He also will teach in Perkins School of Theology as a model of cross-disciplinary sharing of outstanding professors.”

Engels, winner of the “Concerto Gold Medal” at the 1998 Calgary International Organ Competition, has served as professor of organ at one of Europe’s oldest and most prestigious  musical institutions, the University of Music and Theatre “Felix Mendelssohn Bartholdy” in Leipzig, Germany, since 2005. He is also the founder and artistic director of the European Organ Academy Leipzig. He maintains a busy international concert schedule with performances from London to Vienna to Seoul. He has also recorded two highly acclaimed CDs on the Naxos and Priory labels.

“Without a doubt, Stefan Engels is one of the world’s top organists and organ pedagogues,” said Sam Holland, director of music and interim dean of the Meadows School of the Arts. “For many years, he has brought an outstanding class of young organists to his teaching position at Leipzig.  He is equally brilliant as a concert organist and as a high liturgical organist, and each will be important since he will be teaching in both the Meadows School of the Arts and the Perkins School of Theology at SMU. We couldn’t be more pleased to bring an organist of his talent and pedigree to Dallas. Great things lie ahead.”

The international search for the new chair was led by Dr. Pamela Elrod, director of choral activities at Meadows. The search committee included SMU faculty members Andres Díaz, international concert cellist; Xi Wang, award-winning composer; and Christopher Anderson, associate professor of sacred music, as well as noted Dallas Morning News classical music critic Scott Cantrell.

Engels will present his first concert at SMU on Saturday, November 22, with a program of classic French works spanning the centuries. Included will be Nicolas de Grigny’s Selections from Livre d’Orgue (1699), Michel Corrette’s 18th-century Organ Concertos No. 2 and No. 5, and Louis Vierne’s Symphonie IV, op. 32 (1914). The concert is offered in partnership with the Dallas Bach Society and will also feature a Baroque orchestra. For more information, visit

About Stefan Engels

Stefan Engels began his tenure as professor of organ in the fall of 2005 at one of Europe’s oldest and most prestigious musical institutions, the University of Music and Theatre “Felix Mendelssohn Bartholdy” in Leipzig, Germany.  This appointment was preceded by his position as associate professor of organ and chair of the organ department at Westminster Choir College in Princeton, New Jersey.   

During his appointment in Leipzig, Engels helped shape the university’s Church Music Institute as a center for organ performance and organ pedagogy of international acclaim.  He also founded and served as artistic director of the European Organ Academy Leipzig, which attracts faculty and students from around the world.  In 2009 the Academy was given a generous grant from the German Academic Exchange Service.  Engels is also the initiator and chair of the jury for the International Competition in Organ Improvisation in Leipzig.  In 2006 Engels was named artistic director of the Jordan International Organ Competition based at Columbus State University in Columbus, Ga. As a juror, he is in frequent demand at international organ competitions such as the Mendelssohn Competition, the Bach Competition and the Deutscher Musikwettbewerb, all in Germany, as well as the St. Albans International Organ Festival and the Canadian International Organ Competition.  Furthermore, as an advocate and specialist for the music of the late-Romantic German composer Sigfrid Karg-Elert, he founded the Karg-Elert Festtage in Leipzig, demonstrating and discovering the unique works of this Leipzig composer.

            Engels maintains a vigorous international concert schedule and is a sought-after teacher, having presented lectures and master classes across Europe, North America and South Korea. Recital engagements have included Smetana Hall in Prague, St. Paul’s Cathedral in London, Victoria Hall in Geneva, the Berlin Philharmonic, Gewandhaus Leipzig, Torch Centre in Seoul, St. Augustine in Vienna, Chartres Cathedral, Hallgrimskirkja Reykjavik, Sydney Cathedral, St. Jakobi Lübeck, Harvard University, the Cleveland Museum of Art, the Meyerson Symphony Center in Dallas, King’s College Cambridge, Spivey Hall in Atlanta, Balboa Park in San Diego and the Cadet Chapel of West Point.  He was a featured recitalist at the 2006 national convention of the American Guild of Organists in Chicago.

Engels has recorded two highly acclaimed CDs with works by Marcel Dupré on the Naxos label, and one with works of Karg-Elert, Reger, Messiaen and Germani on the Priory label as part of their Great European Organ Series.  His specialization in the organ works of Sigfrid Karg-Elert has resulted in the world premiere recording of the complete organ works of Karg-Elert, also on the Priory label.  Of this 14-CD project, eight CDs are now available for purchase and have been reviewed to the highest international acclaim.

Engels received his broad musical education in Germany and the United States.  He studied organ, piano, harpsichord, choral conducting and church music at the universities in Aachen, Düsseldorf and Cologne.  From 1993 until 1998 he pursued further organ studies with Wolfgang Rübsam in Chicago and the late Robert Anderson in Dallas, receiving an Artist Certificate degree from the Meadows School in 1995.  He achieved his international breakthrough when he was awarded the “Concerto Gold Medal” at the 1998 Calgary International Organ Competition.  Since then he has been represented by Karen McFarlane Artists Inc. of Cleveland, Ohio.


About the Division of Music at SMU Meadows School of the Arts

The Division of Music in the Meadows School of the Arts is a professional, comprehensive educational institution devoted to the advancement of music performance and scholarship, to the preparation of the next generation of music professionals, and to service in the artistic life of our community, our nation and the world. The music faculty – including violinists Chee-Yun Kim and Emanuel Borok, cellist Andrés Díaz, pianist Joaquín Achúcarro, classical guitarist Robert Guthrie, operatic tenor Clifton Forbis and members of the Dallas Symphony Orchestra – consists of a truly outstanding team of internationally acclaimed artists, scholars and educators who care deeply about their students and who work in close collaboration to serve the mission of the school. The approximately 300 students in the Meadows Division of Music pursue a broad range of undergraduate and graduate degree options, including the Bachelor of Music degree (Performance, Music Education, Music Therapy, and Composition), the Bachelor of Arts in Music degree (liberal arts focus), the Master of Music degree (professional focus, advanced studies), and the graduate level Performer’s Diploma and Artist Diploma (elite performance focus). All degrees and diplomas offered by the Division of Music are accredited by the National Association of Schools of Music.


A private university located in the heart of Dallas, SMU is building on the vision of its founders, who imagined a distinguished center of learning emerging from the spirit of the city. Today, nearly 11,000 students benefit from the national opportunities and international reach provided by the quality of SMU’s seven degree-granting schools.




Tue, 30 Sep 2014 16:18:00 GMT
Goya Exhibition The Meadows Museum is showing complete first edition sets of the Spanish master's four great print series.

DALLAS (SMU) – The Meadows Museum announces its fall exhibition, Goya: A Lifetime of Graphic Invention.

On view through March 1, 2015, the exhibition launches the Meadows’ 50th anniversary year by presenting the entirety of the Museum’s holdings of printed works by Francisco José de Goya y Lucientes (1746-1828): 222 etchings, four lithographs, and three trial proofs.

The exhibition provides visitors with a rare opportunity to view complete first edition sets of Goya’s four great print series—Los Caprichos (The Caprices, 1799), Los Desastres de la Guerra (The Disasters of War, 1810-19), La Tauromaquia (Bullfighting, 1816), and Los Disparates (The Follies, 1815-23) — as well as the Museum’s holdings of Goya’s paintings, which will be displayed alongside the prints.

Curated by Meadows/Kress/Prado Fellow Alexandra Letvin, Goya: A Lifetime of  Graphic  Invention, which opened Sept. 21 also features the Museum’s recent gift of a trial proof  from  Los  Disparates,  Disparate  Puntual  (Punctual Folly), and closely follows the Meadows’ acquisition of Portrait of Mariano Goya (1827), one of the artist’s final paintings, in 2013.  The Meadows houses one of the largest public collections of Goya’s works in the United States, and the exhibition will enable visitors to experience for the first time the Meadows’ extensive Goya holdings at once, further enhancing the Museum’s role as a leader in the study and presentation of Spanish art.

“Goya’s mastery in prints marked a turning point in the evolution of graphic art and had a profound influence on the work of later artists, such as Manet and Picasso,” says Mark A. Roglán, the Linda P. and William A. Custard Director of the Meadows Museum and Centennial Chair in the Meadows School of the Arts. “As the Meadows Museum’s collection is one of the largest depositories of Goya’s works— including the recent acquisition of a late portrait of his grandson, which was a gift in honor of our anniversary — it seems appropriate to kick off the celebration with an exhibition of his genius.”

Goya, widely regarded as one of the most important artists in Western history, represents both the culmination of the Old Master tradition and the beginning of modernity. A witness to decades of political upheaval and social unrest, he began experimenting with printmaking in the late 1770s. The  most ambitious endeavor of his early career was a group of 11 etchings (1599-1660) after paintings by Diego Velázquez housed in the Spanish Royal Collection, three of which will be featured in the exhibition alongside other examples of Goya’s early prints, including a rare trial proof for an unpublished etching. Shortly thereafter, following an illness that left him permanently deaf, Goya produced 28 drawings titled Sueños (Dreams), which formed the initial core and inspiration for the artist’s first large-scale print series, Los Caprichos. These 80 aquatint etchings engage a  variety  of  themes—including  the  complex relationship between men and women, ignorance, superstitious beliefs, and witchcraft — and offer a view of human weakness and irrationality that is both deeply personal and imbued with critical social commentary.

“Over the course of his career, Goya produced almost 300 etchings and  lithographs  that  reveal  his personal vision, tireless invention, and enthusiasm for technical experimentation,” said Roglán. “This exhibition presents his printed oeuvre as an integral — indeed, defining — component of his life and career, and invites visitors to experience the Museum’s paintings by Goya in the context of his lifelong engagement with printmaking.”

Following the Napoleonic occupation of Spain and  the  abdication  of  Bourbon  King  Ferdinand  VII in 1808, Goya began working on a group of small, compact etchings meditating on the atrocities of war — its causes, manifestations, and consequences — that underscore the senselessness of violence, which ravaged Spain during this decade of turmoil. Published posthumously as Los Desastres de la Guerra, these prints take on a documentary character, illustrating the effects of the conflict on individual soldiers and citizens, as well as arresting scenes of starvation, degradation, and humiliation.

Portrait of Francisco Goya by Vicente López y Portaña (1826). Oil on canvas, 93 × 75 cm, Museo del Prado, Madrid, Spain

Concurrent to his work on Los Desastres, Goya began developing La Tauromaquia, a series of 33 aquatint etchings examining the art of bullfighting, today regarded as Goya’s largest and most technically accomplished printed works. Bullfighting, recognized as a quintessentially Spanish practice, had regained popularity during this time, and La Tauromaquia tells the story of the bullfighting tradition and culture from its origins in Spain to the legendary performances of contemporary masters.

Etchings on the reverse of seven plates indicate that Goya had initially conceived La Tauromaquia in broader terms — Goya: A Lifetime of Graphic Invention includes prints of two of these additional designs to offer unique  insight  into  Goya’s  editing  and selection process prior to publication. Goya revisited the subject of bullfighting a decade later, producing four large-scale lithographs known as the Bulls of Bordeaux (1825), which will also be on display.

Goya’s final print series, Los Disparates, comprises 22 etchings that depict a range of enigmatic, dreamlike subjects — from the playful to the monstrous — that continue to fascinate scholars and viewers alike. Commonly translated as “The Follies,” these works were created during the last years of the artist’s life and remain without conclusive interpretation. Seeking to match  the  prints’  thematic  ambiguities, Goya’s technical approach pushed the medium of etching to its limits, employing aquatint to manipulate light and shadow to create a sense of haunting otherworldliness.

Los Disparates was first published by the Royal Academy of San Fernando in Madrid in 1864, and it is unclear as to whether the artist intended these works to be published as a series. While Goya’s intentions may remain unknown, Goya: A Lifetime of Graphic Invention illuminates an under-recognized aspect of Goya’s artistic legacy by showcasing the artist’s ongoing thematic and technical experimentation in the medium of printmaking, which helped to push the techniques of the Old Masters into the modern era.

This exhibition has been organized by the Meadows Museum, SMU. A generous gift from The Meadows Foundation has made this project possible.

# # #

About the Meadows Museum

The Meadows Museum is the leading U.S. institution focused on the study and presentation of the art of Spain. In 1962, Dallas businessman and philanthropist Algur H. Meadows donated his private collection of Spanish paintings, as well as funds to start a museum, to Southern Methodist University. The Museum opened to the public in 1965, marking the first step in fulfilling Meadows’ vision to create a “Prado on the Prairie.”

Today, the Meadows is home to one of the largest and most comprehensive collections of Spanish art outside of Spain. The collection spans from the 10th to the 21st century and includes medieval objects, Renaissance and Baroque sculptures, and major  paintings  by  Golden  Age  and  modern  masters.  Since 2010 the Museum has been engaged in a multidimensional partnership with the  Prado,  which  has included the exchange of scholarship, exhibitions, works of art, and other resources.

Tue, 30 Sep 2014 12:02:00 GMT
Finding Great Teaching Preston Hutcherson took the same course at SMU and Richland College to see if value was tied to price.

As a student at a private university I had a sneaking suspicion that the magic between the pages of our great books had nothing to do with the cost of tuition, but had much to do with the generous heart of the instructor -- no matter the setting. I think I was right.

I spent the fall of 2013 enrolled at a community college in Texas trying to discover what you really get when you pay the most in the world of higher education -- and what you get when you pay the least.

By day, I was a junior English major at Southern Methodist University, one of the nation’s most expensive private universities. By night, I was a commuter student in an American literature class at Richland College, a nearby community college. An English class at my university cost over $5,100, while at Richland it was only $153. While at SMU, after a few false starts, the liberal arts had come alive through accessible professors and vibrant class discussions, something near the fantasy of "Dead Poets Society" but with textbooks too expensive to be able to justify tearing out any pages. As the semesters passed, I began to wonder about the extent to which this experience was tied to the amount I paid for it -- what do the liberal arts look like on a budget? What does a literature class feel like at our most accessible institutions? I went to find out.


The most important thing I had done at SMU was to go to my English 2312 professor’s office on a Friday afternoon and tell the truth. The truth was not that I was unprepared for college, but that I simply didn’t like college. It’s a different world up there, my mother had warned. I must have misplaced the map. And I didn’t know if I wanted to stay at SMU. I wondered how I would I ever begin to come to terms with this whole college thing -- what it was for and how it could ever be worth the cost. These are hard questions to ask during the best years of your life, which is what they called college in the movies I had watched. But I couldn’t recall a scene where the freshman pulled doubts like rabbits from a hat and turned them into answers for his soul.

The teacher was there, door open and waiting, just as the syllabus had promised under the heading of “Office Hours.” My purpose was to discuss my second paper -- a postmortem. Tim Cassedy, a young assistant professor recently arrived from New York, observed that it seemed my high school had prepared me well for college writing -- an innocuous compliment to most students. But for me it was an invitation. The proper response is to say "thank you" and indicate how happy you are to be at college now instead of that dreadfully confining high school that taught you how to form simple paragraphs. I hesitated for a second, half-inclined just to agree, give the correct answer, and continue with the conversation. But another part of me, the honest part, wanted badly to tell the truth.

I began to unpack my situation, my confusion, my questions, my longing for something more from my college experience than just velvet green lawns and affluent classmates. And Professor Cassedy listened. He didn’t dismiss or diagnose. He didn’t tell me that everything would be O.K. I was surprised to find that he seemed just as interested as I was in finding the answers to my questions and wishful thinkings. He understood. I got better. And I became an English major.

That moment saved college for me. If I had decided not to tell the truth that afternoon, I could have continued to accrue credits and eventually a degree, but I wouldn’t have been to college. Something significant would have been missed and valuable time wasted. I went back to his office another time and again I was reassured and challenged. I went back again and again and the door was always open. All of my big and important realizations were tested there; made sharper through discussion, questioning and that ancient practice most simply known as “teaching.”


Three semesters later I was at Richland, looking again for a way to understand college. My search led me to a green armchair. You nearly trip over it when you walk into Crockett Hall 292, but its importance there has more to do with symbolism than functionality. Near the halfway point of the semester, I decided to go to the office of my English 2326 professor, Mary Northcut, and try to tell her the truth about why I was taking her class and the answers I was seeking. I say “try to” because I didn’t know whether it was even possible to experience this part of the professor-student relationship in the way I had at SMU. There were office hours listed on the syllabus, but how could my professor, who was teaching six classes that semester, possibly have the time or energy to engage meaningfully with her students one-on-one? I was mistaken in questioning her availability and commitment to her students, and along the way I found that I was wrong about many other things as well. Important, life-changing conversations are happening at community colleges too, and I was lucky to have found myself in the middle of one that afternoon.

Professor Northcut has been teaching at Richland College for nearly 40 years. After completing a doctorate at Texas Christian University, she immediately devoted herself to teaching outside the spotlight but inside a social mission. She first taught at Bishop College, a historically black college that later closed its doors in 1988, and then at El Centro College before transferring across the Dallas County Community College District to Richland. At some point during her decades-long stay she must have acquired this green padded chair, the arm of which served as my seat during our hourlong talk. She was a fascinating conversation partner, possessing the tendency toward eccentricity that marks college professors everywhere. Between exchanges on the nature and purpose of higher education we discussed her love for horses, East Asian cinema and collecting Ancient Grecian coins. (In fact, it seemed I had walked into her office at a crucial moment in an eBay bidding war over a coin bearing the image of Phillip II of Macedon.)

But what deeply moved me, largely because I had foolishly believed that it couldn’t possibly be true, was this important truth: Professor Northcut wants to be at Richland and she is there on purpose. She is convinced that community colleges serve a vital purpose in aiding the best and brightest students who lack the resources to attend four-year schools right out of high school, or perhaps got sidetracked along the way. By her description, Richland exists explicitly to help those students find their way to universities and brighter futures. She is not at Richland because she never found a better job, or to collect a few extra paychecks before retirement. And she certainly does not see her students as the caricatures they often become in our higher-education debates -- representatives of broken systems; too unprepared to make it at a “real college.”

She knows them to be just as capable of academic success as any other students. And she has an astounding track record of helping her students take the next step. Professor Northcut is full of stories of her students, many of whom she describes as being like her own children, going on to schools like TCU, SMU and even Columbia University. To her, Richland College is a serious place with serious goals, and despite decades of changes and challenges, she is no less committed to its mission now than she was as a newly minted Ph.D. joining the ranks of socially conscious community college faculties in the 1970s. She told me she plans to keep teaching full-time for the foreseeable future and to retire later, reducing her teaching load to only “one or two classes” per semester. Two classes per semester is the ordinary teaching load for professors at SMU and most other elite colleges.

As I sat listening to all this on the arm of the green chair, worn threadbare by the pants of many students before me, I was overwhelmed with an awareness that the ancient art of teaching had found a home in this small office also. And the stakes in this office were much higher, the problems more pressing and the margin for error more perilously thin than perhaps in most of the offices at SMU. Futures were forged here not from an abundance of advantages but out of a struggle for a fighting chance. I don’t consider it an exaggeration to say that lives were saved in that office, in addition to the moments of intellectual growth we expect from any college experience. And most important for me, I left with that same feeling I had found my freshman year in Professor Cassedy’s office -- that the world is full of complexity and college is here to help you recognize and make sense of it. The best professors show you how. The best professors are everywhere.


I can no longer assume that office hours and compelling professors are the exclusive property of private universities. But of course, I cannot guarantee that they exist at every single college either. I can only claim this: I am a product of office hours and great teachers and truth-telling, and I would not pay for a class, be the cost $150 or $5,000, that doesn’t include the chance to find an open door and welcoming ear whenever the questions become too large to face alone. This is the difference between a degree and an education.

Tue, 30 Sep 2014 12:01:00 GMT
The corporal punishment debate George Holden, psychology professor at SMU, and Michael Farris, president of ParentalRights.Org, debate the benefit of corporal punishment on NBC’s Meet she Press: Make the Case. Holden is a leading expert on parenting, discipline and family violence. He is a founding steering committee member of the U.S. Alliance to End the Hitting of Children.

Mon, 29 Sep 2014 13:40:00 GMT
Health Leadership SMU and a consortium of area universities will launch a new Albert Schweitzer Fellowship chapter.

From the The Albert Schweitzer Fellowship

Albert Schweitzer Fellowship logoThe Albert Schweitzer Fellowship (ASF) today announced the launch of a program chapter in the Dallas-Fort Worth area. The site will be housed at Southern Methodist University’s Dedman College of Humanities and Sciences and is supported by a consortium of Dallas-Fort Worth-based universities including Baylor University, Louise Herrington School of Nursing; Texas Christian University; Texas Woman’s University; University of Dallas; University of Texas at Arlington; University of Texas at Dallas; and University of Texas at Southwestern Medical Center.

Recruiting in underway for the chapter’s first class of Fellows, who will begin their Fellowship year in April, 2015.

“The Albert Schweitzer Fellowship excels in developing emerging leaders in health who will serve vulnerable populations not just in their Fellowship year, but throughout their career,” said Sylvia Stevens-Edouard, Executive Director of The Albert Schweitzer Fellowship. “Our individual chapters supplement traditional education with programs focused on supporting emerging professionals’ desire to serve populations in need. Our new program in Dallas-Fort Worth will make important and vital contributions that will improve lives and create positive change.”

“The Dallas-Fort Worth Schweitzer Fellowship Program will embrace Albert Schweitzer’s commitment to service and compassion for people in need,” said Courtney Roy, Program Director for the Dallas-Fort Worth Schweitzer Fellowship Program. “Our program will support a range of projects that address health and wellbeing in multiple and creative ways, in order to reach those with needs that often go unmet in traditional healthcare and social service settings.”

Dallas Hall at Southern Methodist University

“We are so pleased to host the Dallas-Fort Worth Schweitzer Fellowship Program,” said Renee McDonald, Associate Dean for Research and Professor of Psychology for SMU’s Dedman College of Humanities and Sciences. “The values of The Albert Schweitzer Fellowship align closely with those of Southern Methodist University, which is to prepare students for leadership in their professions and their communities. We look forward this collaboration.”

Schweitzer Fellows are graduate students in healthcare fields, social work, law, education, and other fields who design and implement year-long service projects that address the root causes of health disparities in under-resourced communities, while also fulfilling their academic responsibilities. The process of moving their Fellowship projects from an initial concept to completion teaches Schweitzer Fellows valuable skills in working with others in allied fields. As Schweitzer Fellows develop professionally, this skill is critical to their ability to effect larger-scale change among vulnerable populations.

Schweitzer Fellows who have successfully completed their year-long service project are called Fellows for Life. Some of ASF’s Fellows for Life include: 

  • Robert Satcher, Jr., MD, PhD, Assistant Professor, Anderson Cancer Center and NASA Mission Specialist
  • Rishi Manchanda, MD, author of the TED Book, The Upstream Doctors: Medical Innovators Track Sickness To Its Source
  • Jessica Lahey, JD, who writes about education and parenting issues for The New York Times, The Atlantic and on her blog, Coming of Age in the Middle. 

Additionally, three Schweitzer Fellows for Life are among those currently working in West Africa to fight the Ebola outbreak: 

  • Meredith Dixon, MD, who is a CDC Epidemic Intelligence Service Officer
  • Nahid Bhadelia, MD, director of infection control at Boston’s National Emerging Infectious Diseases Laboratory and a hospital epidemiologist at Boston Medical Center
  • William Fischer II, MD, a pulmonologist and critical care physician at UNC Health Care and UNC School of Medicine.

The Dallas-Forth Worth chapter will be the second Texas-based chapter; the Houston-Galveston chapter opened in 2008. The Dallas-Forth Worth chapter is ASF’s 12th US-based program. The others are in Baltimore; Boston; Chicago; Columbus-Athens; Los Angeles; New Orleans; New Hampshire and Vermont; North Carolina; Pittsburgh; and San Francisco. ASF also has a program chapter based in Lambaréné, Gabon, at The Albert Schweitzer Hospital.

Fri, 26 Sep 2014 13:34:00 GMT
SMU lecture to examine Eastern Front of World War I The 2014 Stanton Sharp Lecture at SMU will examine Germany's WWI occupation of the Eastern Front with historian Vejas Liulevicius' presentation, "Eastern Europe and German Occupation in the First World War" at 6:30 p.m., Wednesday, Oct. 8, at SMU's Hughes Trigg Student Center Ballroom.

DALLAS (SMU) – The 2014 Stanton Sharp Lecture at SMU will examine Germany's WWI occupation of the Eastern Front with historian Vejas Liulevicius' presentation, "Eastern Europe and German Occupation in the First World War" at 6:30 p.m., Wednesday, Oct. 8 at SMU's Hughes Trigg Student Center Ballroom.

Eastern Front of WWIThis year marks the centennial of the Aug. 4, 1914 beginning of the Great War. The lecture is free and open to the public.

While the trench warfare of the Western Front is familiar through movies and books, the war fought across the wide open spaces of the Eastern Front is lesser known, stretching 1,000 miles across Eastern Europe, twice the length of the Western Front. Liulevicius will discuss the ethnic landscape where the Russian, Austria-Hungarian and German empires converged, the utopian expectations of military authorities, and the experiences of occupiers and the occupied.

Liulevicius is the Lindsay Young Professor of History and director of the Center for the Study of War and Society at the University of Tennessee. He is the author of War Land on the Eastern Front: Culture, National Identity, and German Occupation in World War I (Cambridge, 2000), and The German Myth of the East, 1800 to the Present (Oxford, 2009).

The 2014 Stanton Sharp Lectures are supported by a gift from Ruth Sharp Altshuler honoring her son, Stanton Sharp, and are sponsored by SMU’s Clements Department of History. 

For more information visit or call 214-768-2967. Parking is available at Moody Parking Center and Binkley Parking Center.  

Fri, 26 Sep 2014 13:06:00 GMT
SMU Meadows Faculty Artist & Distinguished Alumni Recital Series Award-winning international concert pianists Alessio Bax and Lucille Chung and Dallas Symphony percussionists Douglas Howard and Brian Jones, all of whom are SMU Meadows faculty members, will join forces for a dynamic concert at SMU on Sunday, Oct. 5, at 7:30 p.m.

Award-winning international concert pianists Alessio Bax and Lucille Chung and Dallas Symphony percussionists Douglas Howard and Brian Jones, all of whom are SMU Meadows faculty members, will join forces for a dynamic concert at SMU on Sunday, Oct. 5, at 7:30 p.m. 

The concert is the second offering in this season’s Faculty Artist and Distinguished Alumni Recital Series at SMU Meadows, which features performances by outstanding faculty and/or alumni who maintain concert careers.

Bax and Chung, who are husband and wife, will perform masterpieces of the 20th century from the two-piano repertoire. The program opens with Lutoslawski’s Variations on a Theme by Paganini; its punchy rhythms and sharp edges take Paganini’s famous 24th Caprice to an exciting new level. It will be followed by Bartok’s epic Sonata for Two Pianos and Percussion with Howard and Jones. One of Bartok’s most unusual and beloved works, it features two pianists and two percussionists playing seven different instruments.

The second half of the concert will showcase two early 20th-century French works. Debussy’s En blanc et noir was inspired by the sonorities of two pianos – its title translates to “In black and white,” a reference to the color of piano keys. Composed during World War I, it incorporates numerous references to war and recalls the gloomy and fantastic imagery of Velásquez and Goya. The concert concludes with Ravel’s La Valse, composed in 1919-20. Originally scored for two pianos, it “takes the waltz as a symbol of 19th-century opulence and, through the filter of reality and the tragedy of war, distorts and corrupts it before spinning it into oblivion,” said Bax. “It is one of the most engrossing pieces of music of the 20th century, a symbol of uncertainty and the end of an era.”

The concert will be held in Caruth Auditorium, located in the Owen Arts Center, 6101 Bishop Blvd. on the SMU campus in Dallas. Tickets are $13 for adults, $10 for seniors and $7 for students and SMU faculty and staff. For more information, call the Meadows ticket office at 214-768-2787 or visit



Lucille Chung:

Born in Montréal, Canadian pianist Lucille Chung has been acclaimed for her “stylish and refined” performances by Gramophone. Since her debut at age 10 with the Montreal Symphony Orchestra, she has toured with Charles Dutoit in Asia and has performed with over 65 leading orchestras around the world, including the Philadelphia Orchestra, Moscow Virtuosi, BBC National Orchestra of Wales, KBS Orchestra, Israel Chamber Orchestra, Seoul Philharmonic, Orquesta Sinfónica de Tenerífe, Staatskapelle Weimar, UNAM Philharmonic (Mexico), Flemish Radio Orchestra, Belgrade Philharmonic, and New Jersey Symphony as well as all the major Canadian orchestras, including Montreal, Toronto and Vancouver, among others. She has appeared with conductors such as Nézet-Séguin, Penderecki, Spivakov, Oundjian, Petrenko and Dutoit.

Chung has given solo recitals at the finest concert halls in over 30 countries including New York’s Carnegie Hall and Lincoln Center, Washington’s Kennedy Center, the Concertgebouw in Amsterdam, the Wigmore Hall in London, and Madrid’s Auditorio Nacional. Festival appearances include the Verbier, Dresden, Bard, Music@Menlo and Santander festivals.

She graduated from both the Curtis Institute and the Juilliard School before she turned 20. She furthered her studies in London with Maria Curcio, at the “Mozarteum” in Salzburg, and in Weimar and Imola, Italy with Lazar Berman.  She also studied with Joaquín Achúcarro at SMU where she is now on the faculty.  In Dallas, she serves as co-artistic director of the Joaquín Achúcarro Foundation.

Chung has received excellent reviews worldwide for her discs of the complete works of Ligeti as well as Scriabin piano works on the Dynamic label, garnering 5 Stars from the BBC Music Magazine and Fono Forum in Germany, as well as R10 from Répertoire Classica in France.  She also recorded “Saint-Saëns Piano Transcriptions” and ”Mozart & Me” on the XXI/Universal label and recently released a piano duo album with Alessio Bax for Signum Records.

Highlights of this upcoming season include her debuts with the Dallas Symphony Orchestra and the Teatro Colón Philharmonic in Buenos Aires, and a recording of music by Poulenc for Signum Records.

She is fluent in French, English, Korean, Italian, German and Russian. She and her husband, pianist Alessio Bax, live in New York City with their daughter Mila. 

Alessio Bax:

Pianist Alessio Bax creates “a ravishing listening experience” (Gramophone) with his lyrical playing, insightful interpretations, and dazzling facility. First Prize winner at the Leeds and Hamamatsu international piano competitions – and a 2009 Avery Fisher Career Grant recipient – he has appeared as soloist with over 100 orchestras, including the London and Royal Philharmonic orchestras, the Dallas and Houston symphonies, the NHK Symphony in Japan, the St. Petersburg Philharmonic with Yuri Temirkanov, and the City of Birmingham Symphony Orchestra with Sir Simon Rattle.

After a summer residency debut at the Santa Fe Chamber Music Festival, Bax launched the 2014-15 season with the Chamber Music Society of Lincoln Center, playing two Mozart piano concertos for the society’s opening-night gala. October brings the release of his next solo album for Signum Classics, an all-Beethoven program featuring the “Hammerklavier” and “Moonlight” Sonatas. Upcoming orchestral engagements include Beethoven’s “Emperor” Concerto and Rachmaninov’s Second Piano Concerto with London’s Royal Philharmonic on a UK tour, as well as appearances with orchestras in Denmark, Finland and the U.S. With violinist Joshua Bell, Bax embarks on three extensive tours of Europe and the United States, crowned by dates at London’s Wigmore Hall and L.A.’s Disney Hall.

Among recent highlights are Rachmaninov and Mozart with the St. Petersburg Philharmonic under Temirkanov, Barber with the Dallas Symphony under Jaap van Zweden, Mozart with the Los Angeles Chamber Orchestra under Hans Graf, and debuts at Washington’s Kennedy Center, New York’s Carnegie Hall, Metropolitan Museum of Art, and 92nd Street Y, and the Teatro Colón in Buenos Aires. Besides giving solo recitals last season at Lincoln Center, in Atlanta, Dallas, Minneapolis and Tokyo, Bax partnered with pianist Lucille Chung in the U.S., Canada and Hong Kong, and Joshua Bell in South America. In 2013, he received the Andrew Wolf Chamber Music Award and Lincoln Center’s Martin E. Segal Award, which recognizes young artists of exceptional accomplishment.

Bax’s acclaimed discography includes Bax & Chung (Stravinsky, Brahms, Piazzolla), Alessio Bax plays Mozart (Piano Concertos K. 491 and K. 595), Alessio Bax plays Brahms (Gramophone “Critic’s Choice”), Rachmaninov: Preludes and Melodies (American Record Guide “Critics’ Choice 2011”), and Bach Transcribed; and for Warner Classics, Baroque Reflections (Gramophone “Editor’s Choice”).

At age 14, Bax graduated with top honors from the conservatory of his hometown, Bari, Italy, and after further studies in Europe moved to Dallas to study with Joaquín Achúcarro at Southern Methodist University where he now serves on the piano faculty. A Steinway artist, he resides in New York City with his wife, pianist Lucille Chung.

Douglas Howard:

Douglas Howard is the principal percussionist and assistant timpanist of the Dallas Symphony Orchestra. He has been an adjunct professor of percussion at SMU since 1977 and is a founding member of the percussion group D’Drum. After earning a B.S. in music education from The University of Tennessee, Knoxville, in 1970, Howard joined the United States Air Force Concert Band in Washington, D.C., where he played timpani and percussion for four years. While serving in the Air Force he earned a Master of Music degree in percussion performance from the Catholic University of America. Upon completion of his military duties, Howard was a fellowship student at the 1974 Aspen Music Festival where he studied with retired Philadelphia Orchestra principal percussionist Charles Owen.

In 1974 Howard was appointed principal percussionist of the Louisville Orchestra where he played one season before accepting the position with the Dallas Symphony in 1975. In 1982 he was invited to join the faculty of the Aspen Music Festival and School where he spends five weeks teaching and performing each summer. He is also the principal percussionist for the Peninsula Music Festival in Door County, Wis., each August.

In 2006 Howard received the Sabian Lifetime Achievement award at the Percussive Arts Society International Convention (PASIC). He has presented clinics at PASIC on several occasions and is a former member of the PAS board of directors. He has also been on the faculty of the Oberlin Percussion Institute and the Ludwig International Percussion Symposium. Howard has toured Europe and Asia with the Dallas Symphony and has played multiple concerts with the orchestra in New York’s Carnegie Hall. He can be heard on numerous Dallas Symphony recordings on several different record labels including RCA, Angel-EMI, Telarc, Dorian, Delos and Pro Arte.

Brian Jones:

Brian Jones joined the Dallas Symphony Orchestra as principal timpanist in 2011, after having served thirteen seasons as principal timpanist with the Detroit Symphony Orchestra. Jones has also performed as guest principal timpanist with the orchestras of Chicago, Philadelphia, Boston, San Francisco and Columbus, and has performed as a percussionist with the orchestras of Chicago, Boston, Houston and the Grand Teton Music Festival. He has toured and recorded with the Empire Brass Quintet, appeared as a performer on NBC’s The Today Show, and was featured in a command performance for Prince Rainier of Monaco. As an undergraduate at The University of North Texas, he was a member of the Grammy-nominated One O’clock Lab Band, playing drum set and bass trombone in alternate semesters. Jones served as adjunct professor of percussion at The University of Michigan from 2001 to 2011 and is currently a faculty member at SMU Meadows. He has been recorded in a wide variety of musical settings and has premiered solo works with the Detroit Symphony, the New World Symphony and The University of Michigan.


Fri, 26 Sep 2014 12:22:00 GMT
Country’s population affects its economic policies The Economist’s “Free Exchange” column covered the research of SMU economist Klaus Desmet as part of a larger examination of the ideal size of nations from an economic perspective and within the context of Scotland’s recent vote on the question of independence.

Fri, 26 Sep 2014 12:02:00 GMT
Student-run venture fund reaches $3M In 12 years since its founding, Southern Methodist University’s MBA Venture Fund has grown to $3 million and is providing money to venture capitalists in a variety of industries.

By Korri Kezar
Staff Writer
Dallas Business Journal

In 12 years since its founding, Southern Methodist University’s MBA Venture Fund has grown to $3 million and is providing money to venture capitalists in a variety of industries.

In 2002, two investors put forward $600,000 to begin the fund and give SMU students the chance to gain hands-on experience with venture capital deals. In just over a decade the fund has given money to a gaming technology company, a biotech company, a booking services company and a network technology business, among others.

Periodic distributions of capital and exiting two investments has brought the fund’s cash to the $3 million mark. In 2011, SMU’s fund left an investment, resulting in a $273,809.29 payment from co-investor Lone Star CRA Fund.

The venture fund is run by MBA students taking the university’s Venture Capital Practicum course. Students decide what deals to consider before evaluating the pitch and deciding whether to recommend the venture to the fund’s board of directors. The board then decides whether to give the pitch a go-ahead.

“The MBA Venture Fund was started to teach students that wanted to know about how venture investments are made and to give them some practical experience,” said Jerry White, director of the fund. “That requires students to source, evaluate and recommend investment opportunities to the fund.”

Students are chosen for the program through a highly-selective process, White said. Moving forward, he hopes to increase involvement and place more students to receive private equity and venture capital funds after graduating.

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Fri, 26 Sep 2014 12:01:00 GMT
Mustang Minute Videos NoViolet Bulawayo, alumna and author of this year's Common Reading selection, visits campus.

Thu, 25 Sep 2014 15:59:00 GMT