Category Archives: arts education

Why You Never Saw Her Out.

Formerly titled:

RUTH ANN SCANZILLO,

Professional Pianist / ‘Cellist.

Dear Readers of littlebarefeetblog.com:

A few have pointed out that I have no professional website; herewith a brief history of my work in the region, as a preliminary bio for the future website. Dates are occasionally approximate because, well, I’ve been around awhile and the memory isn’t complete….thanks!

Ruth Ann Scanzillo

pianist; ‘cellist

PO BOX 3628 Erie, Pennsylvania 16508

DOB: April 26, 1957                                                                       814.453.3523; 814.881.5372

littlebarefeet@msn.com

EDUCATION

SUNY @ Fredonia, Fredonia NY

1975 – ’77 – Graphic Design/Printmaking;

1979 – ’81 – December, 1981: Bachelor of Music, Music Education, magna cum laude, concentration: cello – Dr. Louis Richardson, Professor of Cello;

1989 – ’94 – SAA Suzuki Summer Institutes, Stephen’s Point WI; Ithaca College, Ithaca NY; Chicago, IL; registered, Violin IA; IB; Cello, I, II, and III

PIANO:

Theater:

1975 – rehearsal/performance piano, Footlights Theatre, Erie, PA

  • “You’re A Good Man, Charlie Brown!” – Jane Behan, musical director

1982-83 – rehearsal/performance piano,  Lincoln Theatre, Erie, PA

  • “SUGAR” – Mark Moffatt, director;
  • “HAIR”  —  Mark Moffat, director;

1984 – rehearsal/performance piano/instrumental ensemble director, Erie Playhouse, Erie, PA:

  • “Ain’t Misbehavin'” – Leo Estes, John Burton, directors;

circa 1985 – rehearsal/performance piano, live scene underscoring, Erie Playhouse, Erie PA:

  • “I Remember Mama” – Charlie Corritore, director;

circa 1999 – Piano I,  Fredonia Opera House, Fredonia, NY:

  • “The Fantastiks” – summer stock cast; Harry John Brown, music director;

1999 – 2000 – rehearsal pianist, Mercyhurst University D’Angelo Department of Music:

  • “Song of Norway” — Louisa Jonason, opera director;
  • “Don Giovanni” —– Louisa Jonason, opera director;

2000 – 11 –  Production, direction, set design and build, live piano accompaniment and synth. keyboard underscoring, The Dillon Drama Club,  Grover Cleveland Elementary School, Erie PA:

  • Beauty and The Beast (final production assisting founder Carolyn Dillon)
  • Wizard of Oz (2002)
  • Oliver!
  • GREASE!
  • Annie, Jr (2009)
  • A Christmas Carol
  • A Christmas Story
  • Spanky and Our Gang (two shorts, original staged adaptations);
  • Star Wars (five movies, consolidated, original staged adaptation by verbal permission conference call w/ LucasFilm licensing);
  • You’re A Good Man, Charlie Brown (2011)

2011 – rehearsal and performance piano, Mercyhurst University, D’Angelo Department of Music/opera:

  • “TINTYPES” — Louisa Jonason, director (slated for August, 2011, West Bank Cafe, Manhattan. Hurricane Irene aborted); performed, September 11, 2011, Walker Hall, Mercyhurst University;

2015 – rehearsal pianist, “The Selfish Giant”, original opera by Stephen Colantti, Erie Opera Theatre, Brent Weber and James Bobick, directors;

Collaborative/Chamber Music:

1986 – present:  piano collaborator for juries, hearings, college recitals and concerto competitions:

  • SUNY@Fredonia Conservatory of Music (1989 – 2008) – studios of Barry Kilpatrick, Marc Guy, Susan Royal, James East, Jack Gillette;
  • Edinboro University music department (1999 – 2014) – studios of LeAnne Wistrom, Patrick Jones, David Sublette, Robert Dolwick, Howard Lyon, Brad Amidon, Anne Wintle-Ortega;
  • Mercyhurst University D’Angelo Department of Music, vocal and instrumental performance departments (1999 – 2000; 2008-12) – studios of Louisa Jonason, Geoffrey Wands, Robert Dolwick, Chris Rapier, Alyssa, Scott Meier; and, with Shaun Pomer (1989) and Glen Kwok;
  • Erie Jr. Philharmonic Eiji Oue Concerto competition (1989 – 2013) – violin; trumpet; clarinet; tuba;
  • COYO Concerto competition, Cleveland, OH (2007) – cello; soprano;
  • Young Artist’s Debut Orchestra concerto competition (2007-08) – violin;

2011-12  – rehearsal and performance pianist, vocal performance studio of Louisa Jonason, D’Angelo Department of Music, Mercyhurst University;

Repertoire:

including, but not limited to:

  • Artunian; Bach; Barber; Beethoven; Bernstein; Bozza; Brahms; Britten; Creston; Chopin; Chaminade; Copland; Colantti; Dvorak; Franck; Grieg; Hartley; Haydn; Hindemith; Hummel; Ibert; Korngold; Loeffler; Mozart; Mendelssohn; Neruda; Piazzolla; Puccini; Rossini; Rachmaninoff; Ravel; Saint-Saens; Schubert; Schumann; Shostakovich; R. Strauss; Telemann; Vaughn-Williams; Wieniawski; Verdi; Von Weber; H. Wolf;

for the following instruments:

  • soprano; mezzo; tenor; baritone; bass;
  • violin;
  • viola;
  • cello;
  • bass;
  • clarinet;
  • oboe;
  • bassoon;
  • flute;
  • trumpet;
  • trombone;
  • Euphonium;
  • French horn;
  • natural horn;
  • tuba
  • marimba;
  • alto and tenor saxophone;

Orchestral Piano:

1989 – 2000   – Erie Philharmonic Orchestra, Maestros Eiji Oue and Peter Bay; composers: Copland; Korngold, et al   (film scores)

CELLO:

Orchestral:

1986 – 2013   — section cello, Erie Philharmonic Orchestra, Erie PA, under maestros: Walter Hendl; Eiji Oue; Peter Bay; Hugh Keelan; Daniel Meyer; Jeff Tyzik; various additional guest batons;

1986 – 2011 — section cello/Principal cello/harpsichord, Erie Chamber Orchestra, Maestro Bruce Morton Wright;

2011 – 2018 — Principal cello, Erie Chamber Orchestra, maestros Matthew Kraemer and Bradley Thachuk, musical directors, and various baton candidates;

1999 – present:  Principal cello, Bemus Bay Pops Orchestra/Chautauqua Pops Orchestra, Bruce Morton Wright and John Marcellus, musical directors; Chautauqua Pops Strings, Lenny Solomon, musical director;

Artist Pick up hires:

  • circa 1987 – Johnny Mathis, Erie Warner Theatre;
  • circa 1992 – Anne Murray, “
  • 2008 – Clay Aiken, Erie Civic Center;
  • 2015 – MANNHEIM STEAMROLLER, Red Tour, Erie Warner Theatre;

Other Work History:

1986 – 2011 —  Public school music teacher, K – 12, School District of the City of Erie, PA  –  general/vocal and instrumental, including: marching band, choir, chorus, string ensemble, string orchestra, music appreciation, and special classes for the hearing impaired

1989 – present — Private studio teacher, Suzuki-registered cello (Books 1 – 4) and violin (Books 1 – 3).

Chamber Music:

To be continued…………..

Scholarships and Awards:

1975 – Card-Catlin Art Award, Erie PA – portfolio adjudicated;

1981 – Gaeliewicz String Award, SUNY@Fredonia; Hillman Scholarship, SUNY@Fredonia;

1984 – S.A.D.I.E Award for Drama In Erie :  Best Orchestra, “Ain’t Misbehavin”, Leo Estes/John Burton, directors; starring Wydetta Carter, John Burton, Michael Henderson, Tootie Howard, Marlene Spells…..

© 7/22/19  Ruth Ann Scanzillo. I certify that the above information is true and accurate, to the best of my memory. John Burton may not have been a director of Ain’t Misbehavin’, but I believe that I am correct on all other points.  Thank you.

littlebarefeetblog.com

 

 

 

 

 

 

 

 

 

 

 

 

The Cold Holy War.

There are many layers to the oppression of immigrants, in our time.

Because of 9/11, both the cause and perpetrators of which have never actually been proven, immigrants of a particular religious persuasion are regarded as suspect by those who assign terroristic activity in a broad swath to anyone to which the alleged 9/11 terrorists’ religion ascribes – namely, Islam.

It isn’t immigration the objectors resist; it’s the threat of infiltrating terrorism, driven by a belief that those who practice Islam are intent upon destroying everyone who does not.

They falsely assign the threat of terrorism to every immigrant woman wearing a head covering, every immigrant whose skin is a particular shade of brown, and every immigrant whose surname begins with Al.

What we are embroiled in, presently, is the secondary effect of a not-so-cold, holy war.

Never before has the separation of church and state been more relevant, been more vital, been more required, if we as Americans are to survive as a nation.

As for the holy war, we must leave that to those who practice religion.

If the government attempts to assign value to anything based in religious persuasion, it is already out of its lane; unfortunately, such assignments are being made, every day, by those in power.

President Trump was described recently by the news media, following his obvious tacit acceptance of the rally chant against the Congresswoman: “Send Her Back!”,  as an “old-world segregationist”.

Perhaps society needs to take a straight ahead look at itself. To what extent do cultural groups self-segregate, and to what end does doing so protect and sustain culture itself? People of similar ilk stay close together. When they do not, or when they are forced apart – such as when Hurricane Katrina scattered the Creole population in the Gulf of Mexico – how do they survive?

Many old world beliefs, discarded by progressives intent upon a new world order, had value. Educated people can distinguish between what is old and worthy, vs. what is archaic and outmoded.

But, President Trump represents neither.

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© 7/18/19   Ruth Ann Scanzillo      All rights, including the title, those of the author, whose name appears above this line. Please respect original material. Thank you.

littlebarefeetblog.com

 

The Capriol Suite.

Strains of Warlock, piped across the live night air; amplified, then compressed: a posted video, momentarily searing the thymus. A fresh brushburn.
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Wax;
wane;
philosophize.
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Before that which honors principle, do most choose that which serves them?
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Remembrance of the glory days, decades past, under the town’s most celebrated maestro’s baton, integral to these. The house, always full; the town, equally filled, with its talk. Performance, live, virtually every weekend. Inside; outside; running out, further, by bus. To most ears and eyes, everybody fully involved, equally satisfied.
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Except not.
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One handful, older musicians, heretofore secure, contracts unceremoniously revoked, scheduled to drop out of sight from month to next.
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These, positioned, in the back desks of string sections, barely noticed by the teeming and energized, that complement rallied close to the stick to be among those increasingly closer.
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The lesser talk, of discontent, unnoticed; no warning, no choice; mutterings, whisperings of master contract terms, incongruent with the surrounding ebullience. Such exchanges not self sustaining, lacking gravitas, generating remote, averting eyes, fading like irrelevance…
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Now, among these, to float, beyond the stage
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to dance
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the Capriol Suite.
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© 7/16/19  Ruth Ann Scanzillo. All rights those of the author, who played the Capriol Suite, and all the other Suites, under all the batons. Please; don’t steal “fading like irrelevance.” Okay? Thanks.
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littlebarefeetblog.com