Spend a session in one of the most beautiful and vibrant cities in the world immersed in music taught by a hand-picked, world-class faculty.
The Loyola International Music Institute offers high level preparation for College Auditions, Graduate School, Professional Orchestra Audition/Competition Preparation and Physical Conditioning for your instrument
About the institute
- Dates: August 3-11, 2018
- Eligibility: Pre-Professional level, University level, High School level, Middle School level
- Instruments offered: Violin, Viola, Cello, Double Bass, French Horn
- Institute includes: Private lessons, master classes, technique classes, ensembles, and solo and ensemble performances at the end of the session.
- Contact: For more information, contact Jean Montès, Director of Strings and Orchestral Studies, at firstname.lastname@example.org or (504) 616-1652.
Tuition and Fees
- Registration Fee: $50
- Tuition for New Orleans Residents: $600
- Tuition for all other students: $700
- Additional Charge for Room and Board: $600*
*Room and Board: Accommodations will be available with details on a first come first served basis. Amazing evening activities included.
Space is limited. Sign up today.
To Pay Tuition by Mail:
- Make check payable to: "Loyola University New Orleans" and indicate “LIMI-NOLA” on the check.
- Mailing address:
- Loyola University College of Music and Fine Arts
- Attention: Dr. Jean Montès
- 6363 St. Charles Avenue, Box 8
- New Orleans, LA 70118-6195
Described by The Washington Post as an artist graced with “spiritual authority” and “easy mastery of her instrument,” Tanya Anisimova enjoys a multifaceted career as a concert performer, composer, and a recording artist. An innovator by nature, Anisimova is as much at ease performing her own concerto with a symphony orchestra as she is improvising with the New Age legend Paul Horn.
Anisimova’s playing has inspired Pulitzer Prize winner David Del Tredici and the Dean of Yale School Of Music Ezra Laderman to write works specifically for her. Other noted composers who have written for Tanya include Francis Thompson McKay, Judith Shatin, Gary Powell Nash.
Recent highlights include а recorded video performance of “Delphi” – a piece composed for Tanya by the recipient of Wammie (Washington D.C. area version of a Grammy) Jessica Krash, as well as the performance of the Tchaikovsky’s Rococo Variations with Symphonicity Orchestra at Sandler Center For The Performing Arts in Virginia Beach.
Currently, Anisimova is getting ready to perform Shostakovich’s First Cello Concerto in New Orleans with Haitian-American conductor Jean Montes, as well as tour New England with Bona Fide Duo.
One of the most brilliant virtuosi ever to perform on the double bass, James VanDemark was hailed by the New York Times at his Lincoln Center recital debut as “an exceptionally gifted string player and a musician of taste, intelligence and the best spontaneous musical instincts, with an unerring sense for exact intonation.” The San Francisco Chronicle praised his “wonderful facility for making really musical phrases, relaxing, building, shading with unlimited subtleties—and a capacity to dig into whole pages of rip-roaring coloratura and make every note count.”
VanDemark began his musical studies at the age of 14 in his hometown of Owatonna, Minnesota, making such rapid progress that just 18 months later he made his solo debut with the Minnesota Orchestra. Subsequently, VanDemark has performed as soloist with the New York Philharmonic (Mehta), St. Paul Chamber Orchestra (Zukerman), Buffalo Philharmonic (Yoel Levi), Grant Park Symphony (James Paul), Rochester Philharmonic Orchestra (Peter Bay), the San Antonio Symphony (Barrios), the Mostly Mozart Festival Orchestra (Rampal), the Chautauqua Festival Orchestra (Hugh Wolff), the New Mexico Symphony (Lockington), the Quebec Symphony, the National Symphony of Mexico, the Netherlands Radio Symphony, and in numerous other concerto appearances.
VanDemark’s duo recitals with André Watts, including one on Lincoln Center’s Great Performer Series, and also with Samuel Sanders, Anthony Newman, Barry Snyder, and Robert Spillman have won him great acclaim. Chamber music collaborations with the Guarneri, Cleveland, Colorado, Muir, Ying, and Audubon Quartets, the Los Angeles Piano Quartet, Vienna Schubert Trio, Kandinsky Trio, Gryphon Trio and pianists Gary Graffman, Alfred Brendel, Anton Nel, Anton Kuerti, and Jeffrey Kahane highlight VanDemark’s versatility.
The recipient of numerous commissioned works, including those by three Pulitzer Prize winners – Gian-Carlo Menotti, Joseph Schwantner, and Christopher Rouse – VanDemark also performed the American premieres of Nino Rota’s Divertimento Concertante (Charlotte Symphony) and Edvard Tubin’s Double Bass Concerto (Queens Symphony). VanDemark’s most recent commission and world premiere was In Cantation, a work for baritone and double bass by composer Adrienne Elisha, which VanDemark played and sung to critical acclaim in March 2012. In Cantation was also performed as a fully staged, multi-media contemporary ballet in May 2014 by the Rochester City Ballet.
VanDemark recently premiered and recorded the recital work Dana la Colora by composer/cellist Emilio Colon. VanDemark premiered the concerto Shiva Shakti by composer Todd Coleman, winner of the Scorch Music Competition, and performed and recorded Jerod Sheffer Tate’s Iyaaknasha’ (The Medicine Man and His Helper) with the Columbus (OH) Pro Musica Chamber Orchestra.
Also in considerable demand as a narrator with orchestra, VanDemark has appeared on numerous occasions with the Rochester Philharmonic, the Texas Festival Orchestra, the Eastman Philharmonia, the NEO Ensemble, and many others.
As a sought-after guest artist at summer festivals, VanDemark performs at the Mostly Mozart, Spoleto, Seattle Chamber Music, Montreal Chamber Music, Round Top, Maverick, Norfolk, South Bank (London), and Newport festivals.
An important direction in VanDemark’s career has been his involvement with Native American performers in Circle of Faith, composed by Alton Clingan. VanDemark commissioned this unique musical and cultural collaborative work, developing it in conjunction with respected Native artists and elders. He also produces the work, which has had more than two dozen performances since its 1992 premiere with the Muir Quartet.
Appointed Professor of Double Bass at the Eastman School in 1976, at age 23, VanDemark became the youngest person ever to hold such a position at a major music school. VanDemark is recognized as a renowned teacher; his students hold positions with many of the world’s major orchestras – Cleveland, Pittsburgh, St. Louis, Minnesota, San Francisco, Singapore, and Taiwan, as well as the Rochester Philharmonic, New World Symphony, Buffalo Philharmonic, Oregon Symphony, the Vienna Chamber Orchestra and many others. VanDemark counts many of his students as Grammy nominees in a variety of categories, and also has placed students in leading contemporary ensembles such as Alarm Will Sound and Signal. Currently, VanDemark serves as Co-Chair of the String Department at the Eastman School, and Chair of the Musical Arts Major, Eastman’s renowned interdisciplinary academic honors program.
As a recording artist, VanDemark can be heard on d’Note Records, Philips, Telarc, Vox, Pantheon, and NEXUS.
VanDemark has been profiled in such diverse media as Connoisseur magazine, the New York Times, on PBS’s MacNeil/Lehrer NewsHour, National Public Radio’s Morning Edition and All Things Considered, and in the Lakota Times, the largest Native American newspaper in the United States. Noted for establishing the Eastman School’s boxing and conditioning program (and an accomplished amateur boxer himself), VanDemark was featured in a front-page story in the Wall Street Journal in December 2011, as well as on CBC’s Q and WNYC’s Soundcheck. VanDemark and the Eastman/RocBoxing Program was also recently profiled on ESPN’s E:60.
VanDemark graduated in 1976 from SUNY Buffalo (BFA, Magna cum Laude). His principal teachers include bassist James Clute and cellist Paul Katz, with additional study with bassist Gary Karr and cellists Gabor Rejto and Leonard Rose.
John Marquis Cahill received his early horn instruction from members of the Detroit Symphony and at the Interlochen Arts Academy where he was first horn and a concerto soloist. His formal training was at the Juilliard School where he earned B.M. and M.S. degrees studying with James Chambers. Additional studies were with Phillip Farkas, Joe Singer, Morris Secon, and John Barrows.
During his student years he was an active professional in New York as extra horn with the N.Y. Philharmonic and the N.Y.C. Ballet Orchestra, playing in Broadway shows, Radio City Music Hall Orchestra, Orchestra da Camera, and many chamber music ensembles. He was first horn in the Aspen Chamber Symphony and was a member of the New Jersey Symphony while earning his masters degree.
Upon graduating he joined the Toronto Symphony and began teaching at the University of Toronto Faculty of Music, where he presented many solo recitals as well as returning to New York City for a solo recital.
A long-time resident of the Caribbean, he has been an instructor at the University of the Virgin Islands as well as public and private schools. In addition to organizing choirs, chamber groups, and recitals, he presented solo horn recitals in New York, Detroit, and the Virgin Islands.
Currently he is active as a musician and teacher in Haiti where he has played first horn in the St. Trinite Philharmonic, appeared as horn soloist with the orchestra, and organized brass ensembles in three Haitian cities.
Most recently he has been invited by the Santiago, Cuba Symphony to organize a brass ensemble concert with the orchestra musicians next season.
Dr. Alice Lindsay became a member of the Dallas Symphony Orchestra immediately upon receiving her undergraduate degree. During her tenure, she was also principal viola with the Dallas Opera Company. Ms. Lindsay received a Master of Music Education Degree (magna cum laude) from Temple University and her DMA in viola performance from Combs College of Music in Philadelphia where she studied with Joseph DePasquale, principal violist with the Philadelphia Orchestra.
She served as assistant principal viola of the New Jersey Symphony Orchestra for many years, during which time she taught at Rutgers University and Burlington College. Alice Lindsay developed a successful string program for New Jersey public schools while serving as secretary –treasurer of the New Jersey MENC. Ms. Lindsay has been conductor of the New Jersey Region High School Orchestra, the Virginia South East Region High School Orchestra, the New Jersey Honors String Youth Orchestra, and conductor of the Juilliard at SMU Summer String Orchestra in conjunction with the Meadows Foundation in Dallas.
Dr. Lindsay was recruiter for the Tanglewood Young Artists Program, the Young Artists in Rome Program, the Juilliard at SMU Summer Program, and the Meadows School of the Arts at SMU (Dallas) for nearly a decade. She performed the world premier of Norman Dello Joio’s Lyric Fantasy for solo viola and orchestra at Carnegie Hall and Claire Polin’s Serpentine for Imaginary Dancer and Solo Viola which was dedicated to her. She has been a solo recitalist at Alice Tully Hall and other important concert venues. Alice Lindsay has taught master classes for the American String Teachers Associations in New Jersey, Pennsylvania, and Maine, and in summer programs at Hartt College of Music, Shenandoah University, and Southern Methodist University.
She has coached chamber music in the US and Europe, and served as violist with the Paganiniana and Berlin String Quartets. Alice Lindsay has performed as guest violist in chamber music recitals with principal players from the Dallas Symphony, the Philadelphia Orchestra, the Cleveland Orchestra, and the Chicago Symphony Orchestra.
Ms. Lindsay served on the Board of Directors of the Philadelphia Youth Orchestra and as Educational Director of the New Jersey Youth Symphony. Her viola students have received scholarships to the nation’s finest music schools and conservatories, and have won positions in major orchestras, including the Philadelphia Orchestra.
Dr. Lindsay was on the VASTA College Advisory Committee during her tenure at VCU where she started and directed the VASTA chapter, and has held the position of co-principal viola of Symphonicity, the official orchestra of Virginia Beach where she has appeared as soloist in Berlioz’ Harold in Italy. Dr. Lindsay is listed in the World’s Who’s Who in Music and Musicians and 2000 Most Notable American Women. In addition, Alice Lindsay has also served as Director of Outreach and Community Partnerships for the Philadelphia International Music Festival, and Coordinator of the Tidewater Intergenerational Orchestra. She is secretary of the Virginia Viola Society and editor of the Viola Forum for the Fingerboard Magazine, Virginia Chapter’s quarterly journal for the American String Teachers Association. She continues to teach viola in her studios in Williamsburg and Richmond.