Visiting Faculty

Andrew Gerle

Specialization: music theatre composition.

Bio: Composer, playwright and pianist Andrew Gerle is a three-time recipient of the Richard Rodgers Award for musical theater writing, administered by the American Academy of Arts and Letters, for THE TUTOR (book and lyrics by Maryrose Wood). With lyricist Eddie Sugarman, he won a 2006 Jonathan Larson Award for their show, MEET JOHN DOE, which received seven Helen Hayes nominations for its world premiere last season at the Ford's Theatre in Washington, DC. A revue of his songs, "UP", recently had its premiere at the Zipper Factory Theater in NYC. Has been a Fellow at the MacDowell Artists' Colony and a writer-in-residence at the Sundance Theater Institute. As a musical director, he has worked on dozens of Off-Broadway, regional and touring productions. He has served as musical director and accompanist for such distinguished artists as Kitty Carlisle Hart, John Raitt, Jennifer Holliday, Leslie Uggams, Liz Calloway, Mary Testa and Michael Rupert. As a classical pianist, he has appeared as soloist with the Baltimore Symphony, the Yale Symphony, the National Symphony, and on programs for National Public Radio and Television. Andrew is a *magna cum laude* graduate of Yale University.
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Emily Green

Specialization: Eighteenth- and nineteenth-century musical consumerism, paratexts, domestic music, theories of authorship and collaboration, historically-informed performance

Bio: B.A. in Linguistics, Cornell University (2001); M. M. in Piano Performance, University of Missouri, Kansas City (2003); Ph.D. in Musicology, Cornell University (2009)
My scholarly work focuses primarily on the materiality of the musical object and its paratexts. Of particular interest to me is the rise of the composer-to-composer dedication in the mid- to late eighteenth century as well as its effect on the reception of various repertoires. My attempts to explain why this curious kind of musical offering grew out of a declining patronage system have led me to explore several interdisciplinary and historically broad topics including: the female consumer and the history of gendered advertising; the role of consumerism in the construction of taste; Bourdieu and ethnographic considerations of celebrity, capital, and prestige; the performance of authenticity; and the history of collaborative authorship. All of these topics find their intersection in my book manuscript, The Present Economy: Dedications and Musical Consumerism, 1750-1850. I have also written on trends in the dedications of contemporary music, and have recently begun a related project on the history of musical titles.
As a keyboardist, I am as comfortable at an eighteenth-century instrument as a Roland Juno-60. My repertoire interests range from Froberger to Schubert to Louis Andriessen, and I have given concerts as a solo, collaborative, and ensemble player on historical, modern, and electronic keyboards. I have studied fortepiano with Malcolm Bilson, modern piano with Xak Bjerken and Robert Weirich, and harpsichord with Christoph Rousset.
It is because of this background that I have developed and taught seminars on historically-informed performance, and on twentieth-century music, specifically Futurism and American experimentalism. I have previously been on the faculties of The Peabody Conservatory, The Catholic University of America, and American University, and was named a New Faculty Fellow by the American Council of Learned Societies in 2011.

Selected publications:
"A Patron Among Peers: Dedications to Haydn and the Economy of Celebrity," Eighteenth-Century Music 8.2 (Fall 2011), 215-237.
"The I in Dedication," NewMusicBox, forthcoming
"Between Text and Context: Schumann, Liszt, and the Reception of Dedications," Journal of Musicological Research 28.4 (2009), 312-339

Sara Kohane

Specializations:  vocal coaching, accompanying.

Bio: Sara Kohane holds a BM in piano performance from the University of Michigan and a MM in vocal accompaniment from Boston University, where she was twice the recipient of the Dean’s Scholar award.  Her solo and accompanying studies have been with Gyorgy Sandor, Martin Katz, Allen Rogers and Gary Steigerwalt.  Ms. Kohane has served as vocal coach and diction instructor at The Hartt School, Boston University, and New England Conservatory, and as head vocal coach at B.U.’s Tanglewood Institute. She has been the accompanist for Boston Concert Opera, Chorus Pro Musica, and the Zamir Chorale, and has accompanied under Leonard Slatkin, Lucas Foss and Peter Sellars. An active collaborative pianist, Ms. Kohane has performed in concerts and radio broadcasts throughout the Northeast, Midwest and Iceland.  She is Principal Keyboardist for the Bridgeport Symphony, under the direction of Gustav Meier, and a founding member of the Guastavino Trio.  Ms Kohane also serves on the board of the Lotte Lehman Foundation.
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Joshua Rosenblum

Specialization: music theatre composition.

Bio: Joshua Rosenblum received his B.A. in music summa cum laude from Yale College and his M.M. in Piano Performance from the Yale School of Music. He returns to Yale this fall for his second year teaching Composing for Musical Theater. Rosenblum composed the score to the cult hit musical Fermat's Last Tango, which had a critically acclaimed Off-Broadway production at the York Theatre Company in 2000, and spawned both CD and DVD recordings. Other works for the theater include The Joy of Going Somewhere Definite (Atlantic Theater Company), Arabian Nights, and Einstein’s Dreams, based on the best-selling novel by Alan Lightman. He is also the composer and creator of Bush Is Bad, the smash Off-Broadway musical revue, which Variety called “a sensation.” In addition to the New York production, the show has enjoyed successful runs in Los Angeles and Minneapolis, as well as numerous special benefit performances around the country. For the concert hall, Rosenblum has written pieces for trumpeter Philip Smith of the New York Philharmonic, flutist Kathleen Nester of the New Jersey Symphony, Mannes School of Music faculty trombonist Haim Avitsur, French hornist Eric Ruske, the Herrick Trio, and the ground-breaking string quartet Ethel, among many others. Recordings of his instrumental music include Impetuosities—Music of Joshua Rosenblum, and the forthcoming Sundry Notes, both available from Albany Records. Rosenblum has won awards from ASCAP and the Meet the Composer Foundation, and his music, including his prize-winning choral setting of Jabberwocky, is published by the Theodore Presser Co. Also a conductor, Rosenblum has led the orchestras for thirteen Broadway and Off-Broadway shows. Other conducting credits include guest appearances with the New Jersey Symphony Orchestra, the Brooklyn Philharmonic, and the American Repertory Ballet. He has also conducted world premiere productions for the Metropolitan Opera Guild, the B.A.M. Next Wave Festival, Playwrights Horizons, and Lincoln Center Theater, as well as the soundtracks to five major motion pictures. As a music journalist, Rosenblum has contributed articles to Newsday and Stagebill, as well as over 300 CD and concert reviews for Opera News. He lives in New York City with his wife, singer and author Joanne Lessner, and their two children, Julian and Phoebe. back to top