The Rice Thresher (Houston, Tex.), Vol. 62, No. 13, Ed. 1 Thursday, November 7, 1974 Page: 7 of 16
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Shepherd String Quartet to include eminent soloists
The Rice University Shepherd
School of Music announced
recently the formation of the
Shepherd String Quartet. The
new professional quartet is, it is
believed, the first string quartet
composed of the four principal
string players of a major
symphony orchestra to make its
home on a university campus as
performers and instructors. The
members of the quartet are Hou-
ston Symphony Orchestra string
principals Ronald G. Patterson,
concertmaster; Raphael Norton
Fliegel, principal second violin-
ist; Wayne T. Crouse, principal
violist, and Shirley Trepel, prin-
cipal cellist.
"We are confident that the
Shepherd String Quartet, which
will be in residence on the Rice
University campus, will take its
place as one of the important
string quartets in the country,"
said Samuel Jones, director of
the Shepherd School.
The members of the group, in
addition to continuing with the
Houston Symphony and per-
forming throughout the country
with the new quartet, will pro-
vide individual instruction and
coaching in chamber music to
Shepherd School students and
also will be deeply involved in
the School's innovative Orches-
tral Studies program.
"In view of their eminence as
soloists, chamber musicians and
orchestra performers," contin-
ued Jones, "the quartet mem-
bers are especially well qualified
to be a part of the Shepherd
School's coordinated approach
to professional music training. It
is a pleasure and an honor to
have there four gifted perform-
ers and teachers on the Rice fac-
ulty."
Patterson will begin working
immediately with Jones, Paul
Cooper, professor of music and
composer-in-residence, and Anne
Schnoebelen, associate professor
of music, in formulating the
curriculum for the Shepherd
School which will formally begin
instruction in the fall of 1975.
Crouse, Fliegel and Trepel will
join the Rice faculty at the
beginning of the 1975-76 aca-
demic year.
Patterson attended the Aspen
Music School (1960-64) and the
University of Southern Califor-
nia (1962-64) and studied with
Jascha Heifetz for two years
(1964-65).
He joined the Houston
Symphony as concertmaster in
1972, coming from that position
with the Denver Symphony. In
1965, at the age of 21, he
became the youngest concert-
master in any metropolitan
orchestra in America when he
was chosen for that post with
the Greater Miami Philharmonic.
In 1970, he won the Certificate
of Merit in the fourth interna-
Colleges "let women slide by," fail to motivate
Faculty should have higher
expectations of their women stu-
dents, according to former Rad-
cliffe President Mary I. Bunting,
now assistant to the president at
Princeton University. "I don't
see enough faculty really work-
ing at choosing women students
or at challenging them once
they've been accepted. Too
often they just let the women
students slide by."
She cited the difference be-
tween letters of recommenda-
tion for men and for women as
another example. "Letters about
women have more about looks
and about relating to other
people than letters about men.
They show great concern over
whether the women will fit into
a given program or place.
"But the letters are static.
They don't have a paragraph
about what they expect her to
do in the future, which may be
the most important paragraph in
a letter of this kind. And it
comes from a real gut feeling
that women aren't going to do
much." Bringing more women
into the educational mainstream
has affected not only how many
women are educated, but also
what an education consists of
and how it is to be achieved, she
indicated.
"Co-residence — men and
women students living in th3
same dorms — was the most edu-
cational thing that happened in
my 12 years at Radcliffe," she
said. "I was surprised to discover
the importance of co-residence,"
she admitted.
But questionnaires sent to
Radcliffe women before coed
dorms were established and
again two years later showed sig-
nificant changes in relationships
among the women themselves as
well as between women and
men.
"The most important change
was that they no longer thought
in stereotypes," Bunting said.
"They no longer answered the
question by saying, 'Men do this
and women do that.' They an-
swered in terms of individuals,
of people they knew."
Many other changes were the
result of one of her own cre-
ations, the Radcliffe Institute.
During her years as president of
Radcliffe from 1960 to 1972 the
Institute attempted to aid
women, particularly mature
women with families, to com-
plete projects, such as books or
research, which they had no
other way of continuing.
"We tried to find out what it
was they needed to do what
they wanted to do," Bunting
explained, "whether it was a
room of their own or money for
a babysitter."
A major problem confronting
these women wishing to con-
tinue their education, she
pointed out, was the difficulty
of doing so on a part-time basis.
One woman who had completed
medical school, for example,
complained that the live-in
nature of hospital internships
made it impossible for her to
complete one, since she had two
children. *
The Institute agreed, and by
paying her expenses, obtained a
part-time internship for her at a
prestigious Boston hospital. She
and the part-time interns who
followed. her did so well that
Boston hospitals now themselves
support a program of part-time
internships.
tional Tchaikovsky competition
in Moscow.
Fliegel studied with Herbert
Butler at the American Conser-
vatory in Chicago, Leon Same-
tini at the Chicago Musical Col-
lege, Moody Dawson of Houston
and Henry T. Ginsburg of Den-
ver, and at the Henryk Szerying
Master Class at the Instituto
Nacional de Bellas Artes in Mex-
ico City.
He has been with the Hou-
ston Symphony Orchestra since
1946: Concertmaster for 25
years and principal second vio-
linist since 1972. He has been
artist-in-residence at Houston
Baptist University since 1963
and taught in 1972-73 at the
High School for tfyg Performing
and Visual Arts. He has been
concertmaster and soloist with
the Houston Chamber Orchestra
(1970-73); music director of the
string quartet for the Music
Guild of Houston (1950-72);
applied music instructor at the
University of Houston
(1954-56), and violinist with the
6 28th Air Force Band
(1942-45).
Crouse, who received a soloist
diploma from Juilliard School of
Music, has been principal violist
with the Houston Symphony
Orchestra since 1956 and artist-
in-residence at the University of
Houston since 1964. He joined
the Houston Symphony in 1951
as assistant principal violist. He
has performed internationally as
a soloist and guest artist and has
conducted master classes for the
Texas Music Educators Associa-
tion, the Fort Worth Symphony
League and the University of
Houston String Festivals.
Trepel began cello lessons at
age five and later gained a schol-
arship to study with Daniel
Saidenberg at the Chicago Musi-
cal College. In 1941 she entered
the Curtis Institute of Music
where her tutors were Feuer-
mann and Piatigorsky. Subse-
quently she remained at the
Institute as the latter's assistant.
A former member of the Cleve-
land, Pittsburgh and Chautauqua
Symphony Orchestras, Trepel
has been cellist with the Lyric
Art String and the Virtuoso
Quartet and artist-in-residence at
the University of Houston since
1963. In 1967 she premiered
Andre Previn's Cello Concerto
which was composed for and
dedicated to her.
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the rice thresher, november 7, 1974—page 7
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Brewton, Gary. The Rice Thresher (Houston, Tex.), Vol. 62, No. 13, Ed. 1 Thursday, November 7, 1974, newspaper, November 7, 1974; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth245208/m1/7/: accessed June 21, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Rice University Woodson Research Center.