DOCSLIB.ORG

INSIDEINSIDE Bernstein and Copland, the Cold

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
INSIDEINSIDE Bernstein and Copland, the Cold H ARVARD UNIVERSITY DEPARTMENT OF Art Placement only MUSIC NEWSLETTER Vol. 4, No. 1/Winter 2004 Bernstein and Copland, the Cold War: Music Building Oja and Schreffler’s 20th-Century Studies North Yard CAROL J. OJA “I would have never thought of it in America,” Harvard University says Anne Shreffler of her current project, a Cambridge, MA 02138 book on new music during the Cold War. Shreffler spent nine years in Europe, at the 617-495-2791 University of Basel, before joining the faculty at Harvard. www.music.fas.harvard.edu “It changed my life. I thought about the dif- ferences between Europe and America every day while I was there. Europeans do it this way, Americans do it this way; it was a constant back- ground noise, this awareness of difference.” Shreffler is interested in the decade after INSIDEINSIDE WWII—1945-1957—and in exploring the dif- ferences in political context between American 22Faculty News “I take pride in working across disciplines,” says 32 Shelemay in Ghana Carol J. Oja, referring to her recent work with ANNE C. SHREFFLER 43 Library News 20th-century American music. Oja has just fin- 4 Jazz innovator Greg ished her first semester at Harvard as the newly Osby at Harvard appointed William Powell Mason Professor of 5 Alumnae News Music. 6Graduate News “I really loved my graduate seminar this fall. 6Undergraduate News The discussion around the table was extraordi- 7 Heisey-Rotner’s nary, with students in ethnomusicology, theory, Music & Art composition, and historical musicology—even 8 Aaron Berkowitz: An one from the History of American Civilization— Interview and the sparks that flew were pretty amazing. 9 Arthur Berger I’m looking forward to building a network of 10 Calendar graduate students interested in investigating 11 2004 Fromm American musical traditions from diverse disci- Commissions Announced plinary perspectives.” and European new music: “We had such differ- 11 Staff News For Oja, “American” is most compelling when ent experiences of the war, our music histories 12 Yannatos Celebrates widely defined. are different. It wasn’t just Soviet and commu- 40 Years at Harvard “The notion of ‘national identity’ is continu- nist cultures that created a political music, what ally fluid, posing all sorts of intriguing issues. we think of when we think of Eisler and Brecht. Take Cage. Cage was certainly American, but his People in the West were writing music—Cage, work was profoundly shaped by Asian philoso- Schoenberg, Boulez—that occupied an ideologi- phies at the same time as it had a strong impact cal position. It was a political music as well.” in Western Europe. Studying American music New music, Shreffler believes—music per- DEPARTMENT CHAIR isn’t about being a nativist booster but rather ceived by creators and listeners as advanced, or Thomas F. Kelly provides an opportunity to probe our culture in experimental—was part of the political context DEPARTMENT ADMINISTRATOR terms of its internal diversities and relationship of the Cold War. Nancy Shafman to traditions around the globe.” “One strand of new music after WWII in NEWSLETTER EDITOR Oja is happy to be stepping onto the moving America was highly systematized. It was related Lesley Bannatyne train at Harvard. “The maverick here in study- to science and technology—think IBM in the ing American music was Eileen Southern [the 50s. There was an academic establishment be- Continued on page 3 Continued on page 4 F aculty News Professor Emeritus REINHOLD BRINKMANN Shelemay in Ghana delivered a “Wiener Vorlesung” at the Schubert-Saal of the Vienna Konzerthaus Kay Kaufman Shelemay took a research trip commemorating the 175th anniversary of to Ghana during the first half of January, Schubert’s death. The topic was Schubert’s 2004. Shelemay worked primarily in Accra, “Winterreise.” In March, Professor the Ghanaian capital, where she researched a Brinkmann will give the annual Donald J. case study of urban musical life for the sec- Grout lecture at Cornell University, also on ond edition of her Soundscapes textbook. In Schubert songs. collaboration with Harvard historian Emmanuel Akyeampong, Shelemay also vis- Assistant Professor MAURO CALCAGNO and ited traditional healers in the Volta region to James Edward Ditson Professor ANNE the east of Accra, where she and Akyeampong SHREFFLER initiated a seminar on opera at explored collaborative research possibilities the Harvard Humanities Center. The semi- relating to healing, ritual, and music for the nar is a discussion group, and will provide a Harvard African Studies initiative. forum for presenting new work and bring- Akyeampong and Shelemay also met with of- ing together scholars from different fields. ficials at the University of Ghana and trav- elled north to Kumasi, where they had an SEAN GALLAGHER is co-editor of Western audience with the Asantehene (King of the Plainchant in the First Millennium, a collec- Asante Nation), Otumfuo Osei Tutu II. tion of essays recently published by Ashgate. While in Ghana, Shelemay attended many He is on leave this year, thanks to a fellow- events with rich musical content including ship from the American Council of Learned church services, healing rituals, performances Societies, and is currently writing a book on by various funeral and dance associations, and musical poetics in the fifteenth century. a rehearsal of the national Ghana Dance En- semble. Shelemay interviewed a number of Morton B. Knafel Professor THOMAS FORREST Ghanaian musicians and came back with re- KELLY gave the opening lecture for the Los cordings and photographs documenting Angeles Philharmonic orchestra in Walt many aspects of present-day Ghanaian mu- Disney Hall during a series entitled “First sical life. Nights,” based on his Harvard Core course and his book of the same title. In February Top to bottom: Children from families associated with he was the Geiringer Lecturer at the Univer- African Star Dancers in Accra learn to play drums; Star Dancers performing a dance to drum accompaniment; sity of California, Santa Barbara. He pre- Master drummer accompanying singing and dancing of sented a paper to the American Musicologi- the Agbadza by an Ewe Funeral Society in Accra. cal Society on a new fragment of Old-Ro- Photos by Kay Shelemay. man chant, and he spoke in the Department's own lecture series. Kelly also addressed the Harvard Clubs of Westchester and Louisville. Visiting Faculty & Associates Dwight D. Robinson, Jr. Professor ROBERT LEVIN is working full tilt on his commission DEBORAH BURTON’s forthcoming book— from Carnegie Hall to complete the Mozart Tosca's Prism Northeastern U. Press, 2004— C-minor Mass, K.427 (to be premiered by won an AMS subvention grant to help with Helmuth Rilling at Carnegie, January 15, musical examples. The book derives from an 2005). Recent performances include concerts international conference Burton organized with Günter Herbig, the Detroit Symphony; in Rome in June 2000 for the centennial of Christopher Hogwood, Götegorg Symphony Puccini's “Tosca” and the bicentennial of the (Sweden); Nicholas McGegan, New World historical events depicted in the opera. Both Symphony (Miami Beach, FL); Sir Roger Professors Kelly and Lockwood were on the Norrington, Stuttgart Radio Orchestra Advisory Committee. continued on page 5 2 Oja, continued from page 1 first professor with a dual appointment in Block, the series editor, just published the first Afro-American Studies and Music], whose volume, about Richard Rodgers. Library News Music of Black Americans (1971) simulta- “When I first was approached about the neously established a scholarly model and series, I considered writing about Gershwin,” made a political statement. Currently, Ingrid says Oja, “but I was intrigued by the idea of Computer Workstations at Monson, Kay Kaufman Shelemay, and Anne tackling a later time period.” Loeb Music Library Shreffler are all working on different corners Why Bernstein? Tailored for Music Scholars of the American scene, and our methodolo- “I admire Bernstein’s theatrical scores, and gies vary considerably, yielding a wonderful West Side Story was an important part of my Computer workstations tailored for multi- synergy.” adolescence. I am a pianist and organist, and media music research are available in the Oja developed her interest in 20th-cen- in high school I played for lots of musicals, Eda Kuhn Loeb Music Library’s Aldrich tury American music through graduate study including that one. This repertory is central reading room. Students can complete with H. Wiley Hitchcock at the Graduate to our national identity. On a scholarly level, course listening assignments, compose School of the City University of New York. Bernstein’s music attracts me in part because music, or access online multimedia re- A project about the music of Aaron Copland of his relationship with Copland; it feels like sources from the workstations, which are hooked her early on: “As a first-year student, a natural extension of work I’ve done before. equipped with high-end sound cards, I interviewed Copland for a paper and There are some dissertations emerging about headphones, and headphone amplifiers. In jumped headlong into archival research– Bernstein, but the scholarly literature remains addition, Finale, a notation software for which in this case meant having the good surprisingly slim.” creating, editing, and printing sheet mu- fortune to work with correspondence and Oja is also co-editing a volume of essays sic, is installed on each of the four ma- music manuscripts housed in his basement about Copland with Judith Tick, to be pub- chines. Regular software updates ensure in Peekskill, New York. This material is now lished in conjunction with the Bard Festival the latest versions of plugins, such as at the Library of Congress.” in 2005 (Princeton University Press), and she RealAudio and Beatnik, are installed. Research into American 20th-century is currently president of the Society for “Music scholars have always conducted music led to Oja’s extensive publications American Music.
Load more

Recommended publications
  • Report to the Friends of Music
    Summer, 2020 Dear Friends of the Music Department, The 2019-20 academic year has been like no other. After a vibrant fall semester featur- ing two concerts by the Parker Quartet, the opening of the innovative Harvard ArtLab featuring performances by our faculty and students, an exciting array of courses and our inaugural department-wide throwdown–an informal sharing of performance projects by students and faculty–we began the second semester with great optimism. Meredith Monk arrived for her Fromm Professorship, Pedro Memelsdorff came to work with the Univer- sity Choir as the Christoph Wolff Scholar, Esperanza Spalding and Carolyn Abbate began co-teaching an opera development workshop about Wayne Shorter’s Iphigenia, and Vijay Iyer planned a spectacular set of Fromm Players concerts and a symposium called Black Speculative Musicalities. And then the world changed. Harvard announced on March 10, 2020 that due to COVID-19, virtual teaching would begin after spring break and the undergraduates were being sent home. We had to can- cel all subsequent spring events and radically revise our teaching by learning to conduct classes over Zoom. Our faculty, staff, and students pulled together admirably to address the changed landscape. The opera workshop (Music 187r) continued virtually; students in Vijay Iyer’s Advanced Ensemble Workshop (Music 171) created an album of original mu- sic, “Mixtape,” that is available on Bandcamp; Meredith Monk created a video of students in her choral class performing her work in progress, Fields/Clouds, and Andy Clark created an incredible performance of the Harvard Choruses for virtual graduation that involved a complicated process of additive recording over Zoom.
    [Show full text]
  • New and Old Tendencies in Labour Mediation Among Early Twentieth-Century US and European Composers
    Anna G. Piotrowska New and Old Tendencies in Labour Mediation among Early Twentieth-Century U.S. and European Composers: An Outline of Applied Attitudes1 Abstract: New and Old Tendencies in Labour Mediation among Early Twen- tieth-Century U.S. and European Composers: An Outline of Applied Atti- tudes.This paper presents strategies used by early twentieth-century compos- ers in order to secure an income. In the wake of new economic realities, the Romantic legacy of the musician as creator was confronted by new expecta- tions of his position within society. An analysis of written accounts by com- posers of various origins (British, German, French, Russian or American), including their artistic preferences and family backgrounds, reveals how they often resorted to jobs associated with musicianship such as conducting or teaching. In other cases, they willingly relied on patronage or actively sought new sources of employment offered by the nascent film industry and assorted foundations. Finally, composers also benefited from organized associations and leagues that campaigned for their professional recognition. Key Words: composers, 20th century, employment, vacation, film industry, patronage, foundations Introduction Strategies undertaken by early twentieth-century composers to secure their income were highly determined by their position within society.2 Already around 1900, composers confronted a new reality: the definition of a composer inherited from earlier centuries no longer applied. As will be demonstrated by an analysis of their Anna G. Piotrowska, Institute of Musicology, the Jagiellonian University (Krakow), ul. Westerplatte 10, PL-31-033 Kraków; [email protected] ÖZG 24 | 2013 | 1 131 memoirs, diaries and correspondence, those educated as professional musicians and determined to make their living as active composers had to deal with similar career challenges – regardless of their origins (British, German, French, Russian or Ameri- can), their artistic preferences, or their family backgrounds.
    [Show full text]
  • Lifetime Learning Is a Non-Sectarian Campus - a 10 Minute Walk
    Andover Newton Theological School ARRIVING BY CAR: From points west: Take the Massachusetts From points south: From I-95 (also known as Turnpike heading East. Take Exit 17 (Newton/ 210 Herrick Rd Newton Centre, MA 02459 Route 128), take exit 20A (Route 9) east toward Watertown). Stay in the right lane and turn right (617) 964-1100 LIFETIME Boston. Proceed 2.1 miles on Route 9 to the at Centre Street. After you have turned onto Newton Centre/West Roxbury right hand exit. Centre, the Eliot Church will be on your left in Turn left (north) onto Parker Street at the end of less than a block. Proceed 1.8 miles on Centre LEARNING the exit ramp and proceed for .6 mile. Turn right Street, past the Commonwealth Avenue intersec- onto Braeland Avenue. Then take the first right tion, to the Newton Centre business district. onto Herrick Road and follow the signs up the Go left at the light at Beacon Street and take an 6 Monday Mornings hill to the campus. immediate right onto Union Street. Take your first right onto Herrick Road. Continue straight September 16, 23, 30; From points north: From I-95 (Route 128), up the hill to the campus. take exit 21A. Turn right onto Route 16 East at October 7, (no class October 14), 21, 28 end of exit ramp, proceed .3 mile. At light turn ARRIVING BY RAPID TRANSIT (MBTA): right onto Beacon St.; follow for 3 miles to New- Take the Green Line, Riverside Branch (D Sponsored by Newton Community Education ton Centre.
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Listening to Movies: Film Music and the American Composer Charles Elliston Long Middle School INTRODUCTION I Entered College
    Listening to Movies: Film Music and the American Composer Charles Elliston Long Middle School INTRODUCTION I entered college a naïve 18-year-old musician. I had played guitar for roughly four years and was determined to be the next great Texas blues guitarist. However, I was now in college and taking the standard freshman music literature class. Up to this point the most I knew about music other than rock or blues was that Beethoven was deaf, Mozart composed as a child, and Chopin wrote a really cool piano sonata in B-flat minor. So, we’re sitting in class learning about Berlioz, and all of the sudden it occurred to me: are there any composers still working today? So I risked looking silly and raised my hand to ask my professor if there were composers that were still working today. His response was, “Of course!” In discussing modern composers, the one medium that continuously came up in my literature class was that of film music. It occurred to me then that I knew a lot of modern orchestral music, even though I didn’t really know it. From the time when I was a little kid, I knew the name of John Williams. Some of my earliest memories involved seeing such movies as E.T., Raiders of the Lost Ark, and The Empire Strikes Back. My father was a musician, so I always noted the music credit in the opening credits. All of those films had the same composer, John Williams. Of course, I was only eight years old at the time, so in my mind I thought that John Williams wrote all the music for the movies.
    [Show full text]
  • Contact: a Journal for Contemporary Music (1971-1988) Citation
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Toplis, Gloria. 1983. ‘Stravinsky’s Pitch Organisation Re-Examined’. Contact, 27. pp. 35-38. ISSN 0308-5066. ! 36 material, each involving different textures, registers, Example 1 harmonies, rhythms, and metres, are set synchro- nically side by side; when considered apart from their immediate context, the blocks may be seen to possess one or another of these parameters in common.' The same author has defined the structur- ing of the first movement of the Symphony in C ( 1938- 40)-one of the neoclassical works most obviously conform to the dictates of functional tonality. The akin in spirit to Classical models-not in terms of the appropriateness of the octatonic theory to Stravin- tonal relationships of sonata form, but in terms of the sky' s output becomes increasingly obvious the more temporal proportion to one another of the sections closely the constitution of the scale itself is examined. (established by means of rather ill-defined tonal For example, each degree articulating a division at areas), which is very much the same as that of a the minor third supports both a minor and a major typical sonata form movement. 3 triad-in Example 1 C supports the triads C-E flat-G Stravinsky students in the sixties were strongly and C-E-G, E flat supports the triads E flat-G flat-B influenced by the somewhat scathing and (in the flat and E flat-G-B flat, and so on; overlapping opinion of later analysts) harmful remarks of Pierre tetrachords a minor third apart contain interlocking Boulez on the composer's compositional technique in minor/major thirds-C-C sharp-D sharp-E, D sharp- works following The Rite of Spring (1911-13).
    [Show full text]
  • High Fidelity's Description ) a D Q F L V F R (Modem Music, 1944
    ) ( ' / "New York-born composer whom a good many of York Times and leading magazines. his American colleagues regard as the best musical Arthur Berger was born in New York City on May stylist among them," is High Fidelity's description 15, 1912. When his family acquired a piano in 1921, of Arthur Berger (Feb., 1957). His stylism is marked his older sister received piano lessons which he by a highly personal stamp and capacity for precise learned before she did, and he played by ear. Between shape. Time Magazine (April 27, 1953) stated "it eleven and sixteen, aside from piano lessons, he was clear that Berger had a style of his own." was musically self-taught, and by 1928 when he "Clarity, refinement, perfect timing and impecca- entered New York City College he was writing tra- bly clean workmanship are the keynotes to his style," ditional sonatas. Since the College offered little in wrote Alfred Frankenstein (San F~ancisco Chronicle, music he later transferred to New York University, June 6, 1948). He "is the sort of musician who thinks working mainly in the education division with Vincent twice before he reaches for the staff-paper." In the Jones. There, along with two fellow students, he same vein Darius Milhaud remarked on his "loving extolled Charles lves as early as 1930, entered the attention to minute detail" (Modem Music, 1944). vital set that Henry Cowell attracted, and also became The Time article already quoted points out that part of the Young Composers Group that formed after a work '.'is technically finished, Berger often around Aaron Copland as guardian.
    [Show full text]
  • Schedule of Activities and Programs
    Kansas State University Libraries New Prairie Press 2014 – Flint Hills Land, Sky, and People (Cathy Symphony in the Flint Hills Field Journal Hoy, Jim Hoy, Marty White, Editors) Schedule of Activities and Programs Follow this and additional works at: https://newprairiepress.org/sfh Recommended Citation (2014). "Schedule of Activities and Programs," Symphony in the Flint Hills Field Journal. https://newprairiepress.org/sfh/2014/contents/2 To order hard copies of the Field Journals, go to shop.symphonyintheflinthills.org. The Field Journals are made possible in part with funding from the Fred C. and Mary R. Koch Foundation. This is brought to you for free and open access by the Conferences at New Prairie Press. It has been accepted for inclusion in Symphony in the Flint Hills Field Journal by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. SYMPHONY IN THE FLINT HILLS JUNE 14, 2014 Flint Hills Land, Sky, and People SCHEDULE OF ACTIVITIES 1:00 p.m. Ticket gate opens Rides to concert site begin from Wait and Ride Tent Wildflower walking trail to concert site opens Food Tent and Beverage Tent open until 11 p.m. 1:00 – Intermission Prairie Art Silent Auction A juried selection of paintings inspired by the Flint Hills will be offered by silent auction in the Prairie Art Tent. One painting has been chosen for the 2014 limited edition fine art print. 1:00 – 6:00 Horse-drawn covered wagon rides Musical Instrument Petting Zoo Roving Music by Tallgrass Express String Band Prairie Walks and Interpretation Learn about native grasses, wildflowers, birds and other wildlife, habitats, geologic formations, and cattle grazing on the tallgrass prairie from knowledgeable prairie enthusiasts.
    [Show full text]
  • The Gamut Archives Publications
    Cleveland State University EngagedScholarship@CSU The Gamut Archives Publications Summer 1988 The Gamut: A Journal of Ideas and Information, No. 24, Summer 1988 Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/gamut_archives Part of the Arts and Humanities Commons, Business Commons, and the Social and Behavioral Sciences Commons How does access to this work benefit ou?y Let us know! Recommended Citation Cleveland State University, "The Gamut: A Journal of Ideas and Information, No. 24, Summer 1988" (1988). The Gamut Archives. 22. https://engagedscholarship.csuohio.edu/gamut_archives/22 This Book is brought to you for free and open access by the Publications at EngagedScholarship@CSU. It has been accepted for inclusion in The Gamut Archives by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. First Prize $1 ,000 Three Second Prizes of $250 each The four winning entries will be published in The Gamut in 1989. MANUSCRIPT REOUIREMENTS Entry should be ashort story between 1000 and 5000 words long. Entries must be original , previously unpublished, and not under consideration elsewhere. Each entry should be typed (or printed in near letter quality), with adark ribbon, double spaced. Clear photocopies are acceptable. Pages should be numbered , with author's name or short title on each sheet. A cover sheet should include the title, number of words, and author's name, address, phone number, and social security number. , ENTRY FEE Each entry must be accompanied by a fee of $5 .00 . Make checks payable to The Gamut. One entry fee is waived for each subscriber to The Gamut.
    [Show full text]
  • Henry Brant on the Birth of Angels and Devils by Nancy Toff
    The New York Flute Club N E W S L E T T E R March 2003 A Conversation With Robert Aitken Interview by Patti Monson Patti Monson spoke with Robert Aitken by phone in January. ATTI MONSON: Could you tell us often looking for works to play with instru- about some of your most recent ments besides piano. Then there are my Pcompositions? two [1977] solo flute pieces Plainsong ROBERT AITKEN: The last work and Icicle which are quite often played, [Shadows V, a concerto for flute and and may in fact become contemporary strings, 1999] was a commission for the flute classics. From time to time Plain- Chamber Orchestra of Neuchâtel [Switzer- song is a required piece in flute contests land]. They specifically wanted a work and Icicle is often a required work for related to native peoples. At first I had entrance to French music schools. little interest in doing exactly that, but Of course extended techniques are eventually I became fascinated with the used in all these pieces, but in an unpre- idea. I think it came off rather well. It is tentious, rather natural way. I hope that not an imitation of western Indian music all are playable on every flute. Of course In Concert but the inspiration for the work came one runs into trouble if a composition is from what I had learned about the music intended for a flute with B foot and the ROBERT AITKEN, flute several years ago. It is quite a long piece, flutist does not have one. But I am really PHOTO: JOHNPHOTO: SHAW Colette Valentine, piano some 22 minutes in length, [but it] seems not very upset if a practical solution is Saturday, March 29, 2003, to hold the attention of the audience.
    [Show full text]
  • SAAKE, GARRETT. D.M.A. the Elements of Neoclassical Style in the Women‟S Choir Compositions of Irving Fine
    SAAKE, GARRETT. D.M.A. The Elements of Neoclassical Style in the Women‟s Choir Compositions of Irving Fine. (2011) Directed by Dr. Welborn Young. 65 pp. The composer Irving Fine died in 1962 at the age of forty-seven cutting short the life of an important figure in twentieth-century American music. Since Fine‟s life was relatively short, his musical output is proportionally small and often goes unstudied. Fine‟s contribution to the choral genre is particularly small but offers a unique perspective of composing for choir. Fine‟s complete oeuvre includes music in many genres that can stylistically be divided into two categories; tonal-neoclassical and atonal- neoclassical. Fine‟s early instrumental compositions are decidedly tonal-neoclassical and ultimately become serially based, a style that characterizes most of his later works. While Fine‟s instrumental music developed towards atonality, his works for women‟s choir did not. The choral music for women‟s choir remained rooted in the tonal- neoclassical style of his early period. The purpose of this study is to demonstrate that Irving Fine composed choral music for women‟s choir in an operative and nuanced style of choral writing that remained effectively tonally based and in the neoclassical style as understood and applied by Fine and his colleagues. This document places the selected choral works in context through a brief biography and discussion of neoclassicism as the term was understood during Fine‟s compositional period. The biography “Irving Fine: A Composer in His Time” by Phillip Ramey and information from the Irving Fine Collection at the Library of Congress are the primary sources of biographical information.
    [Show full text]
  • Here Center and Performed There for 20 Seasons
    Merkin Hall at Kaufman Music Center Mindy Kaufman joined the New York Phil- music from Mozart concerti to Brazilian samba Sunday, November 17, 2019 at 8 pm harmonic in 1979 at age 22, after playing for worldwide. Paula Robison was a founding artist three years with the Rochester Philharmonic. She member of the Chamber Music Society of Lincoln graduated from the Eastman School of Music, where Center and performed there for 20 seasons. The New York Flute Club she studied with Walfrid Kujala, James Galway, She holds the Donna Hieken Flute Chair at New founded 1920 by Georges Barrère and Bonita Boyd. Ms. Kaufman has performed as England Conservatory. a soloist with the New York Philharmonic and for one season substituted as principal flute with the Nancy Toff is the author of The Development of Centennial Gala Concert Milwaukee Symphony. Ms. Kaufman has recorded the Modern Flute, The Flute Book, and Monarch more than 40 films. of the Flute: The Life of Georges Barrère, and was curator of the exhibition “Georges Barrère and the GEORGES BARRÈRE Nocturne (1913) Robert Langevin joined the New York Phil- Flute in America” at the New York Public Library (1876-1944) ROBERT LANGEVIN, flute harmonic as principal flute in 2001. He was for the Performing Arts, for which she wrote the BRYAN WAGORN, piano previously principal flute of the Pittsburgh Symphony catalog. She received the Dena Epstein Award Orchestra and taught at Duquesne University. for Archival and Library Research in American ELDIN BURTON Sonatina (1948) He served as associate principal of the Montreal Music from the Music Library Association and the (1913-1981) Allegretto grazioso Symphony Orchestra for 13 years and as a member National Flute Association’s 2012 Distinguished Andantino Sognando of Musica Camerata Montreal and l’Ensemble de Service Award.
    [Show full text]