Category Archives: personal testimony

history of personal belief and transformation

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

 

 

 

 

 

 

 

 

 

 

 

 

Pride, not Prejudice.

I’m so happy and encouraged that everyone, regardless of sexual orientation, can feel loved and accepted now, at least in theory and, increasingly, by law.

Now, I hope that straight people and gay people alike can befriend, hire, promote, and even fire without regard for sexual identity.

Nobody ever likes to feel pre-empted because of sexual identity. Women hate it when men do it; men hate it when women do it; minorities hate it when majorities do it; majorities hate it when minorities do it; gays hate it when straights do it; straights hate it when gays do it.

Let’s choose our friends, our colleagues, our employees, our managers, our leaders, on inherent merit and value, alone.

Please.

Let’s at least try, and see if we can.

 

love XO,

Ruth Ann Scanzillo

© 6/30/19

littlebarefeetblog.com

 

A Letter From The Law.

Sometimes realization comes in the strangest costume.
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Last night, I spent several significant minutes concluding that the latest female Trump accuser was, at best, unbalanced.
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Watching the excerpted clip of the final two minutes of her interview with Anderson Cooper, I declared E. Jean Carroll a delusional loon with a rape fantasy. Tonight, taking the entire interview – which gave the final two minutes their proper context – I discovered a lucid testimony maker making a bold assertion: the man who attacked her was living out a rape fantasy. And, the point missed by so many: she claimed this within the framework of generational context.
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Perhaps only old people will get it. Those, say, over 60.
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What was society’s collective position on rape when a husband could force himself on his wife, by law?
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I doubt that husbands behaving within the bounds of a law which served their patriarchal domination considered themselves rapists; to them, it was their estimable right to have their wives, whenever and however they so chose.
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As such, this accuser described her attacker in the very terms; she implied that he acted within his perceived right, the embodiment of the residual effect of the letter of the law.
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Now, how is it a different conversation to ask what society’s collective moral position was on abortion, prior to the connotation of the term “reproductive rights”?
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For every option a man took, within the law, a woman had none; now, the law states that a woman can dispense with the very life carried in her womb. Could one law have led to the other? Whether or not, in both cases the letter of the law acts as enabler, driving morality to drink.
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So, which leads: law, or conscience? How much longer will humanity use the law not as judge but as scapegoat for amoral action against another, before semantic label becomes libel?
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It takes courage to remove the mask.
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© 6/26/19 Ruth Ann Scanzillo.   Thank you for respecting original material. If you are reading this from 163.com, we are already wise to your action.
littlebarefeetblog.com