1 SOCIETY NEWSLETTER 2007

Stefan Wolpe Newsletter/2007 © 2007 Stefan Wolpe Society, Inc. 1075 Stasia St., Teaneck NJ, 07666

editor Austin Clarkson

associate editors Noyes Bartholomew Martin Brody Matthew Greenbaum Cheryl Seltzer

production Daniel Foley

Stefan Wolpe Society, Inc. Directors

honorary president Katharina Wolpe president GREETING Martin Brody We hope you enjoy this newsletter, which arrives after a lapse of vice-presidents many years. The article on the Cantata Yigdal is by Stefan Wolpe’s Austin Clarkson cousin Gerald, who was attending the Jewish Theological Seminary at Matthew Greenbaum the time. Stephen M. Fry tells the story of the bronze bust of Wolpe that found a home in the music library of the University of California secretary at Los Angeles. And the events attending the birth of Wolpe’s one and Cheryl Seltzer only Symphony are recounted by one of the editors of the new edition. Bruce Pomahac of the Rodgers and Hammerstein Organization treasurer was most generous in supplying information for the appreciation of Noyes Bartholomew Trude Rittmann, who made an extraordinary contribution to the Broadway stage over three decades. And Dave Lewis instructs us on Hannah Arie-Gaifman how to access the Wolpe listings that he prepared for the All Music James Kendrick Guide website. The remaining departments bring news from the Robert Martin archives, conferences, books, editions, and recordings. The Chronicle Robert Morris of 2001-2007 and the Bibliography are comprehensive, but surely not Zaidee Parkinson complete, and we would be grateful for additions and corrections. We Paul Sadowski also welcome news items from performers, scholars, and enthusiasts for inclusion in the next newsletter. Becky Starobin David Starobin Austin Clarkson Todd Vunderink with Martin Brody, Matthew Greenbaum, [email protected] http://www.wolpe.org and Cheryl Seltzer The “Yigdal” Cantata and its Background Gerald Wolpe Table of Contents The trauma in the World Jewish Community in the mid 1940s was brutal. The full extent of the Holocaust was ARTICLES emerging from postwar Europe, and the number of the loss was shattering. I remember hearing Rabbi Kaplan, The Yigdal Cantata and its Background 2 the chief rabbi of , in a lecture to our class at the Gerald Wolpe Jewish Theological Seminary. A survivor of the camps, he reported that a million Jews had died. We thought The Birth of Symphony No. 1 4 that his experiences had affected his mind. "A million Austin Clarkson Jews — impossible." The true number was yet to be absorbed. Remembering Trude Rittmann 6 Bruce Pomahac & Austin Clarkson As the community began to deal with this loss, religious and cultural responses arose. In the words of one A Wolpe Portrait in Los Angeles 7 scholar, we were not going to give Hitler a posthumous Stephen M. Fry victory. Loyalty to Judaism, or at least to the Jewish A Shout Out from All Music Guide 8 People, became a priority. One priority was the struggle Dave Lewis to establish a Jewish State. A second was to expand Jewish institutions — synagogue and secular — REPORTS throughout America. Allies were sought and talented Jews were recruited for the effort. We had to prove to 9 the world that there were people of quality who wanted Heidy Zimmermann to be Jews and be identified without hesitation. Albert Einstein, (returning from Chapel Hill 9 Christianity), . and others became Austin Clarkson symbols of a new renaissance.

Kassel 10 Cantor David Putterman of the Park Avenue Synagogue Thomas Phleps in used this energy to introduce new interpretations of the liturgy. He wanted to leash the Salzburg 10 extraordinary talent of modern Jewish to Brigid Cohen their ancestral heritage. In some cases the effort had regrettable results. Many composers had had no contact BOOKS 11 with their heritage, and their works seemed to be forced into unacceptable forms. In other cases there EDITIONS 12 was a meaningful understanding of the ancient and RECORDINGS 14 modern words and compositions. Ernest Bloch was a pioneer of this new approach, even composing a CHRONICLE 2007-2001 18 complete service for the synagogue. Darius Milhaud and Mario Castelnuovo-Tedesco worked from a firm BIBLIOGRAPHY 22 grounding of their ancient Jewish communities. Milhaud was from the Provence and its Jewish history began in APPEAL FOR DONATIONS 24 the pre-Christian era. Tedesco was from , which featured major Jewish composers during the Middle Ages and Renaissance. These communities had developed distinctive Jewish musical traditions, and the composers were conversant with their nuances. In both cases they produced excellent works of Jewish interest.

The Stefan Wolpe Society Newsletter | 2007 | Page 2 Cantor Putterman wanted to enlist composers who had meeting with her, but I do not think it took place. On made their mark on the national and international April 5, 1998, a gathering of the Wolpe family took place scene. He hoped to show them that there was a in Washington, D.C. Close to 400 people attended from meaningful Jewish musical tradition in which they could Israel, Europe, South Africa, Australia, as well as Canada participate. Primary in the group was Leonard and the U.S.A. People spoke of their knowledge of Bernstein, who had made a stir in the musical world by Stefan’s family in and indeed we were related. a successful substitution for the ill Bruno Walter. He quickly became the star of the New York cultural scene As I went through my rabbinic training, Stefan and I and Putterman was quick to ask for his participation. would meet and discuss specific texts and I had known Leonard at our synagogue in Boston, and his interpretations. He surprised me with his knowledge of father was a close friend of our family. When Leonard Jewish sources, and I noted the extent of his own had a “Jewish concert,” his father would call me at the spiritual quests. His connection with leftist causes was Seminary and invite me to join him. Bernstein was clearly articulated, and he had piercing questions about presenting his Jewish symphonies, and I remember his the meaning of Judaism, as I understood it. He was telling me that the fourth movement of his clearly sympathetic to my choice of career. Cantor Symphony — the Eicha Theme — was based on his Putterman commissioned a work from Stefan, and, since remembrance of the Tisha B'Av service at our I knew both of them, I was present at many of their synagogue. The congregational musical director, Dr. meetings. The Third Annual Sabbath Eve Service of Solomon Braslavsky, taught him the ancient chant, a Liturgical Music by Contemporary Composers was held at mourning of the destruction of the Solomonic Temple. the Park Avenue Synagogue on May 11, 1945. While the One can imagine the response to any program which was compositions by the other composers — Bernstein, attended by Leonard Bernstein and which included Milhaud, Tedesco, Binder, etc. — were given complete works by , Bernard Rogers, Irving Fine and performances, only an excerpt of Stefan's Yigdal Cantata others. It became a highlight of the New York cultural was presented. Some time later Putterman arranged a scene. It was no longer parochial for intellectuals to concert of liturgical music at the Seminary. It was, to my attend a Jewish program. Now it was fashionable. knowledge, the first time that he produced a concert outside of his synagogue. It was an extended program of It was at this time that I met Stefan. His wife Irma was instrumental and vocal music. I remember Bernstein's a close friend of Judith Lieberman, who was the wife of Hashkevanu and Wolpe's Yigdal. I think it was the debut one of my teachers. Saul Lieberman was the world’s of the complete Yigdal. The music was above the leading Talmudist and a legend in our seminary. Mrs. understanding of the general audience. Students from Lieberman, a noted educator, was the daughter of a the Julliard School, which at that time was across the famous rabbi in Europe, and she maintained connections street from the Seminary, were enthralled. I was uneasy with noted figures in Germany, Palestine, and now for Stefan. His ire was not directed towards the America. I had dinner at their home a few times, and she audience, but towards the musicians, chorus and told me about Stefan. I met him at a concert and we soloists, whom he felt were not well chosen. We had began a short but delightful relationship. A major theme coffee after the concert, but it was not one of our more was the family background. The Wolpe family has a long pleasant meetings. He was clearly upset. history in Lithuania. There is a tradition (later bolstered by a genealogist in the family) that we were descendants From then on our meetings and contact were sporadic. I of Italian converts to Judaism. Many members still was in the midst of ordination examinations, and I also spelled the name as ‘Volpe,’ which is a popular Italian had to teach to support myself. I had also begun a . Stefan and I could not trace a direct graduate degree at New York University in Renaissance relationship, but we discovered that we were related to Art and History. It was a period when I struggled between the same Wolpes. We decided that we had to be cousins. the choice of the rabbinate or an academic career in He was pleased to know that we were related to Arnold Renaissance studies. With an activist effort on behalf of Volpe, who was born in Lithuania in 1869 and came to the struggle for a Jewish State, my calendar was America in 1898. Arnold was a noted conductor who crowded. Stefan and I did write to one another a few founded the popular Lewisohn Stadium Concerts in New times, but during one of my moves, that archive was lost. York in 1918. He later founded the University of Miami We lost contact and, to my regret, did not meet again. Symphony in 1926. After his death in 1940, his wife, Marie, was executive director of the orchestra for Gerald Wolpe was for 29 years rabbi of a congregation in Penn Valley, PA, and has recently retired as director of the many years. Stefan indicated that he was interested in Finkelstein Institute of the Jewish Theological Seminary

The Stefan Wolpe Society Newsletter | 2007 | Page 3 The Birth of Wolpe’s Symphony No. 1 Wolpe was disappointed that the commission called for only twenty minutes of music, as the three movements Austin Clarkson in hand already exceeded the allotted time. Resolved to write another symphony, he delivered the score as Early in 1955 Stefan Wolpe received a commission for an requested in January of 1956. Three years went by orchestral work from and Oscar before he could afford to have a fair copy made on Hammerstein by way of the League of Composers and vellum masters. The young Japanese pianist and the International Society of Contemporary Music. At Toshi Ichyanagi accomplished the arduous that time he was music director at Black Mountain task during the summer of 1959. On the title page of the College, but the college was failing financially and the new score Wolpe wrote “Symphony No. 1, 1955-1956,” staff had not been paid in months. The award of $1,350 and yet it remained his only symphony. was a godsend, and Wolpe set to work immediately. He set aside over 300 bars of a wind symphony he was When Leonard Bernstein saw the score, he scheduled sketching and set to work on the piece for orchestra. the premiere for the 1963-1964 season of the New York Expecting to return the piece in progress, he wrote Philharmonic. He noted, however, that the rhythms “Symphony No. 2” on the cover and laid out an were exceedingly complex and recommended to Wolpe expansive five-movement design modeled on that he simplify the metrics. The composer resisted Enactments for Three Pianos. Between May and strenuously, but Bernstein persisted and persuaded him September of 1955 he drafted three movements in short to accept the assistance of the conductor and score and by the following January had completed the mathematician Stefan Bauer-Mengelberg. The revision orchestration. It is not possible to say whether he used process was underwritten by Bernstein’s Amberson material from the wind symphony, as no sketches have Foundation and was accomplished during the spring of survived, but he scratched “No. 2” from the cover of 1962. As the work proceeded Bauer-Mengelberg the full score of the Symphony, which suggests that he recognized that the complexities of the score were not did not intend to return to the piece in progress. mere artifice but that Wolpe imagined the music exactly as he had notated it. This realization led to &0$)0)1 making as few changes as possible, and yet alterations were made to about one-third of the pages of the first " &#)+% 4 5 2 3 3 ,--.,-/ and third movements and one-half the pages of the 4 Andante con moto(q = 92) 4 4 16 4 ∑ ∑ ∑ ∑ ∑  † second. Bernstein approved the revised score,  j    & ‰ œ œ bœ œ œ Œ Ó Ó œ œ bœ œ Œ ∑ ∑ π π scheduled it for a series of avant-garde concerts in the  3  & ∑ ∑ ∑ ∑ Ó ‰ œ bœ fl - f j 3 winter of 1964, and invited Bauer-Mengelberg to   & ∑ ∑ ∑ ≈ œ j ‰Œ ‰ œ bœ œ fl - ƒ f ∑ ∑ ∑ ≈  Ó conduct the premiere.  & j bœ œ nœ ƒ   & ∑ ∑ ∑ ∑ ∑ œ nœ  œ œ bœ œ œ œ bœ nœ ( B J bœ œ bœ bœ bœ œ J ? B   ‰ J ‰Œ ‰J ‰ ∑ ‰ j Ó p œ. A Guggenheim Fellowship provided funds for making the poco ƒ t ∑ ∑ ∑ ∑ ∑    orchestral parts, and Wolpe supervised their  '  & ∑ ∑ ∑ ≈ œj j ‰Ó  bœ œJ  f preparation while residing at the American Academy in  '  & ∑ ∑ ∑ ≈ œj j ‰Ó  bœ œJ f  5 5 ∑ ∑ ∑ ∑ ≈≈≈ œ ≈Œ Rome. When the parts arrived in New York late in the  & œ œ #œ bœ p bœ bœ. molto ? J fall of 1963, most were found to be inadequate, and the  ∑ ∑ ∑ ∑ ‰ Ó F   j  ? ∑ ∑ ∑ ∑ ‰ nœ Ó premiere scheduled for mid-January of 1964 had to be  œ. F ? ∑ ∑ ∑ ∑ ∑   canceled. David Oppenheim of Columbia Records came Ÿ ~~~~~~~~~~ ? œ œ   ∑ ∑ ∑ ∑ ‰ J J ‰Œ f to the rescue and helped to raise the funds needed for #$ œ œ œ œ œ œ    ã Œ‰J Ó Ó Œ‰J Œ ∑ ∑ ∑ ∏ a crash program by a dozen copyists under Arnold "#) 3 & ∑ ∑ ∑ ∑ Ó ‰ œ˘  %&# ƒ Arnstein to prepare a fresh set of parts. On December Ê œ œ œ ‰ ‰Ó ∑ Œ R ‰ Ó & bœ p p . & ∑ ∑ ∑ ∑ ∑ 29 announced that the o o o  œ œ œ ? ‰ ‰ ∑ Œ R ‰ ∑ performance was rescheduled and rehearsals began two 4 π 5 2 π 3 3 4 Andante con moto(q = 92) 4 4 16 4 - - bœ5 bœ œ nœ œ days before the premiere. Bernstein allotted as much !" & ∑ ∑ ∑ ∑ ≈œb Œ f - - bœ5 bœ œ nœ œ time as possible to the Symphony, but it was soon !"" & ∑ ∑ ∑ ∑ ≈œb Œ f ** bœ ! B ∑ ∑ ∑ ∑ ‰ Ó nJœ apparent that only the two shorter movements could be ƒ bœ ? ** nœ !  ∑ ∑ ∑ ∑ ‰ J Ó prepared in time. Before each of the four performances ƒ ** t ∑ ∑ ∑ ∑ ‰ j Ó   œ January 16-19, 1964 Bernstein read a text that ƒ 1 2 3 3a 4 recounted the symphony’s difficult birth: © Copyright 2005 by Southern Music Publishing Co., Inc. International Copyright Secured. Printed in the U.S.A. All Rights Reserved.

The Stefan Wolpe Society Newsletter | 2007 | Page 4 . . . The symphony of Stefan Wolpe turned out Mr. Weisberg, who kindly photocopied and sent us the in practical rehearsals to be of such enormous needed pages from his score. The edition was prepared difficulty that it has proved impossible to in collaboration with Todd Vunderink and Robert Lee of prepare all of it in time for these concerts. . . . Peermusic in New York. David Nichol, who has engraved And so Mr. Mengelberg and I have chosen quality many Wolpe scores, mastered the challenges with his as against quantity and have decided to present accustomed patience and expertise. two of the three movements well prepared rather than all three movements in the rough. . A few months after completing the symphony Wolpe . . When the score first arrived at my office gave a lecture on new music in the U.S.A. at Darmstadt. some years ago, I was deeply struck by its intensity, originality, and great musicality, but it He said that “the prevailing style over in America is was frankly unperformable. . . . But I still becoming radicalized only very, very slowly.” A new thought that this music ought to be heard, and orchestral sound was emerging in ’s so I conceived the idea of asking Mr. Wolpe if he Variations for Orchestra (1955) and the Third Symphony would consider re-barring and rearranging the (1957) of , but most American metrical values of the Symphony in the interests symphonists were uninterested in the models provided of practicality. … by Ives, Varèse, and Ruggles. They continued to favor diatonicism, stratified thematic space in which The truncated Symphony made a powerful impression. instrumental choirs move integrally and antiphonally, wrote in The New York Times that the two and the auras of regionalism, Romanticism, and Neo- movements were Classicism. Wolpe’s symphony stands closer to the symphonic works of , , Morton to say the least, a remarkable, even Feldman, , and , who overwhelming experience. . . . It is full of a kind regarded Varèse and Wolpe as mentors. In the company of on-going process of transformation and of the painters, jazz musicians, and dancers of New York change that works itself out in rich, flashing, kaleidoscopic lines, colors and accents; the and the poets of Black Mountain College Wolpe made a music tumbles, it twists and turns, it plunges bold and brilliant contribution to the movement that ahead, and stumbles and falls, it darts and shifted the focus of the avant-garde from Europe to sweeps from top to bottom, from each moment North America. His Symphony No. 1 marks the threshold to the next creating its own unique world of of a new era of symphonic music in America. possibilities and realizations. It ends only by exhausting itself, by using up its own form, by [From the preface to the new edition.] destroying its own unique universe, created and then exhausted by the musical thought itself. References

The first complete performance was given in Boston in Bauer-Mengelberg, Stefan. 2003. In Recollections of Stefan April of 1965, when Frederick Prausnitz led the New Wolpe, edited by A. Clarkson. England Conservatory Orchestra. The following http://www.wolpe.org/Recollections. September he conducted the BBC Symphony in the European premiere. Arthur Weisberg made the first Falck, Robert. 2003. A Labyrinthine Universe: The One and Only Symphony No. 1. In The Music of Stefan Wolpe: Essays recording in September of 1975, when he led the and Recollections, ed. A. Clarkson, 221-232. Hillsdale, NY: Orchestra of the 20th Century in (CRI 676). Pendragon Press.

Perhaps it was a poorly balanced performance that Ichyanagi, Toshi. 2003. In Recollections of Stefan Wolpe. prompted Wolpe to delete most of the percussion after bar 106 of the second movement. The Weisberg Peyser, Joan. 1998. Bernstein, A Biography. New York: recording confirmed that Wolpe’s fears were Billboard Books. unfounded, and that the complete part fulfills the promise of a fugue in which one of the three subjects Salzman, Eric. 1964. The New York Times, 17 Feb. 1964. consists mainly of un-pitched percussion. When Prof. Robert Falck and I prepared the new edition, we Austin Clarkson, professor of music (ret.), York University, was a student decided to restore the deleted percussion, but the of Stefan Wolpe while studying musicology at . He is publisher no longer had a score with the complete general editor of the composer’s music and writings percussion or the original percussion part. We contacted

The Stefan Wolpe Society Newsletter | 2007 | Page 5 I was supposed to play the Berg , Op. 1, and Remembering Trude Rittmann then to end the program Joe Marx and I played Stefan's Sonata. Then a terrible thing Trude Rittmann was a brilliant happened. I played the Berg Sonata and nobody knew pianist, composer, and that I would repeat the exposition part, which I did. arranger who played a crucial And so when Joe and I started the Oboe Sonata and role in Broadway dance and played and played and played, we were not done musical theater from the when the time was finished. So part of it was hacked 1940s until the mid 1970s. She off, and poor Stefan had a fit. We played to the end was born in Mannheim, but didn’t know they had turned off. Adorno was Germany, in 1908 and began called out while we were playing and returned music studies at the age of looking very pale and disturbed, and afterwards he six. taught her told us Mayor LaGuardia had called to say he didn’t want any more of that music on his station. He was composition while she was in very outspoken about it. I still feel very guilty for her early teens, after which having done that to poor Stefan. I made that repeat she went to the Hochschule in which nobody had foreseen. It’s such a short piece , where she studied with Philip Jarnach for that if I repeat the exposition, it will make it a bit composition and Edward Erdmann for piano. She longer. graduated with the artist’s diploma in both fields in 1932 and the next year joined the group of soloists At that time Rittmann was touring with Ballet Caravan performing under the direction of Hermann Scherchen through the USA, Canada, and South America. Rittmann at the Festival of Contemporary Music. She and another pianist performed the repertoire on two premiered a piano work by Alan Bush, who was so pianos, and in 1941 she commissioned Wolpe to delighted that he brought her to England to teach at transcribe the Tchaikovsky Serenade for Strings and the Dartington. In 1935 she was again with Scherchen, performing and teaching at his International School of Bach Double (BWV 1043). That year she Music and Drama at Brussels. It was there that she met assisted Wolpe with music for the propaganda film Stefan Wolpe, who had come from Palestine to study “Palestine at War,” commissioned by the Palestine conducting. Rittmann, though six years younger, was Labor Committee. The eight items for flute, , Wolpe’s coach. She recalled: , , and piano included such titles as “Military Review,” “Diamonds Shop View,” Top of Saw Mill,” and I coached Stefan conducting a Bach Suite. He “Children at Givat Brenner.” The last, “Jewish Soldier’s conducted silently and I watched him with the score. Day,” is a setting of the march song “Rote Soldaten” He was already then a remarkable pianist of his own that Wolpe had composed ten years before in . stuff. He was so musical, the music dripped out of his fingers. He had always a magnetic quality in anything The song was published in a collection of Communist he did, whether he talked or played, such intensity songs distributed from (1935) and reprinted as and drama. “Ours is the Future” in Songs of the People, a song book published in New York by the Workers Library (1937). Rittmann stayed on in Brussels as Scherchen’s assistant The scoring of that item is in Rittmann’s hand, as are at the Théâtre de la Monnaie and also assistant editor two other items, one of which is perhaps her own of his journal . She immigrated to the U.S.A. composition. The materials have timings and other in 1937 and was soon engaged by as markings that indicate it was performed, presumably pianist for ’s American Ballet Caravan. At first she assisted Elliott Carter, who was the with Rittmann directing from the piano. Where and music director, but when he quit to concentrate on when the film was actually shown has not been composing, she took over for the next four years. She determined. Rittmann provided Wolpe entré to the and Wolpe got together at least by 1940, as ten letters dance community. Marthe Krueger (1910-2001), who from Rittmann to Wolpe from that year suggest that a had immigrated from Germany in 1933, commissioned romance had blossomed between them. In June of 1940 Wolpe to compose a suite of three dances in 1940. It Rittmann accompanied Josef Marx in the second and was through Rittmann that Wolpe met Eugene Loring, third movements of Wolpe’s Oboe Sonata for a who left the Ballet Theatre in 1941 to form his own broadcast over WNYC. Theodore Adorno, who produced company. The next year Wolpe composed the ballet The a series of music programs for the city radio station, Man from Midian for Loring’s Dance Players. included the Wolpe along with songs of Mahler and the Berg performed by Rittmann. It was at the invitation of and that Rittmann worked on her first Broadway musical, (1943). She was soon in demand as

The Stefan Wolpe Society Newsletter | 2007 | Page 6 a rehearsal and concert accompanist and choral and A Wolpe Portrait in Los Angeles dance music arranger, and through her career worked Stephen M. Fry on more than sixty Broadway productions. Her first Richard Rodgers musical was (1945), for which Since his emigration to this country in 1938, Stefan she arranged the music to Agnes de Mille’s dances. She Wolpe has been known primarily as an East Coast worked on four further Rodgers and Hammerstein composer with no ties to Los Angeles. Except for one. musicals—Allegro (1947), (1949), The King His likeness is sculpted in a superb bronze portrait and I (1951), and (1959). It was not which rests alongside busts of Arnold Schoenberg and until after the death of Rodgers in 1979 that his Ernst Toch in the UCLA Music Library. How this sculpture daughter Mary, also a composer, prevailed upon the came to the library is an interesting and consequential Rodgers and Hammerstein Organization to print story. The tale began in 1967 when Austin Clarkson Rittmann’s name on the music she had composed. She brought the well-known sculptor Helaine Blum to meet also contributed to the musicals of Lerner and Loewe — Wolpe. They talked of her creating a bronze head of the Brigadoon (1946), Paint your Wagon (1951), My Fair composer, and she invited them both to visit her studio. Lady (1956), Gigi (film, 1958 and Broadway She was attracted to the composer’s personality and version,1974), Camelot (1960) and The Little Prince agreed to commence with the work. I interviewed her (film, 1974). And she wrote for the stage, television, about this episode and how the bronze portrait and films, including several productions of Joshua Logan, the last being Rip van Winkle (1976). transpired. She remembers the event of some thirty- five years ago quite well and offered many details of As composer, arranger, and pianist Rittmann made a her experience. distinguished and lasting contribution to the Broadway musical stage. For some shows she only wrote dance “Wolpe had a strong music, for some only the vocal arrangements, for some mental energy about him,” the incidental music, for some she did all three and was she recalls. “I enjoyed our only credited for one or two. The only way to know for conversations while he sat sure is to check the opening night programs for credits. for the work. I felt there Then again sometimes she received little or no credit in was a lot of substance the program and was credited later in the published there to work with, and I vocal scores and libretti. In 1953 Agnes de Mille formed immediately wanted to do her own Dance Theatre and asked Rittmann to supervise the sculpture. We spoke the musical preparation. Rittmann composed The Cherry about his time in Israel, Tree Legend for de Mille, with whom she maintained an and also his early days in intimate and life-long association until her death in 1993. New York. However, he was In 1997, speaking with a reporter, Rittmann said, “That’s not an easy subject. He a story in itself—the development of women in the was a Jewish intellectual theater. We were not too welcome. Agnes had her and had a kind of sarcastic difficulties. I guess we both had our difficulties.” She wit, sometimes almost brought out her score of South Pacific with the signatures caustic, which seemed of Richard Rodgers and Oscar Hammerstein. The list of exacerbated by his ongoing credits mentioned neither Agnes de Mille nor Trude illness [He was suffering Rittmann. Trude Rittmann retired to Waltham, Mass., from Parkinson’s disease.] In fact this was an interesting where she died on February 22, 2005, aged 96. aspect of his personality to me, and seemed a common References characteristic of German intellectuals in my experience. I completed the clay model after several sessions. He Rittmann, Trude. 2003. In Recollections of Stefan Wolpe, would come around nine in the morning with Mr. edited by A. Clarkson. http://www.wolpe.org/Recollections. Clarkson. He would sit for about an hour and a half each The Rittmann Papers are in the Dance Division of the New York session, with a few breaks when I would make coffee.” Public Library at .

— Bruce Pomahac & Austin Clarkson

The Stefan Wolpe Society Newsletter | 2007 | Page 7 The Modern Art Foundry in New York cast the portrait in such recordings on the web or in print can be a daunting bronze, she explained. “From my original work in clay proposition, and part of what we do at AMG is to provide they made a plaster cast, then created a wax mould of a platform through which detailed information about it. It took about six weeks to finally cast the metal recordings of can be accessed with portrait using the lost wax process. The experience of relative ease. doing Wolpe’s portrait seemed to come and go very quickly. I felt the work was an absorbing challenge. This In 2001 AMG’s classical department instituted a number was a very exciting and active time in my life. I had just completed a portrait of Walter Starkie, who was Samuel of projects where we unified the work lists of about 200 Beckett’s teacher. This had been an extraordinary deserving classical composers. Wolpe was one of the last experience. Ben Gurion, Max Weber, and Marcel of the original series of composers "cleaned," the work Marceau were yet to come. I had done Linus Pauling.” being completed by myself in the summer-fall of 2005. I Blum described the unveiling. “The portrait was elicited the help of Austin Clarkson, who was most presented to the composer and a group of about twenty generous with his time and information — I have more of his friends, colleagues, and students in the Clarkson than a dozen emails that we have exchanged dealing apartment in New York. Wolpe liked it very much. I felt with fine details relating to Wolpe and his works. it was a great accomplishment for me. The Weintraub Gallery was my showcase at the time, and afterward the portrait went on exhibition there.” Here are some navigational hints to the allmusic.com Wolpe site. First, you go to www.allmusic.com and type I met Helaine Blum in the spring of 1987 and discussed with "Wolpe, Stefan" into the empty box to the right of the her the letters and other documents by writers and word "ALLMUSIC." Make sure that the tab below the box scientists with whom she was friends. Being a charming and is set to "Artist/Group," which it usually is when you witty woman and a marvelous conversationalist, we grew first go there. Hit "Enter" or press the "Go" button to the to be friends. She told me about her bronze portrait of right of the box, and that should take you right to Wolpe after I had assured her that I knew of the composer Wolpe's classical page, with photo and bio. Click the tab and his work. She placed the portrait on loan in the UCLA Music Library in 1988, and in 1991 the remarkable woman above his name that reads "Works." First, it brings up graciously donated the work to UCLA. Her portrait of Stefan "Highlights," which singles out those works of Wolpe that Wolpe, standing 16 inches high on a 5-by-5-inch ebony have been recorded with the most frequency. Click on base, now has a permanent home beside the two other the tab to the right of the "Highlights" box, and that illustrious emigrés in our library. leads to a pull down menu that lists "All" below "Highlights," followed by the various genres in which Stephen M. Fry retired from the UCLA Music Library Wolpe worked. Clicking "All" will bring you a listing of several years ago. Currently he writes a weekly column everything, which for Wolpe is four pages of works, on music for Blue Pacific Newspapers, and is preparing for publication transcriptions of songs and dances which you can navigate by clicking the row of numbers published in the 18th Century London monthly The at the bottom of the page. If you are interested in his Gentleman's Magazine. Choral works only, for example, then click on "Choral" and you will see them on their own page (or pages).

Click on a work and this will lead to that work's dedicated A Shout Out from All Music Guide page, listing the title, forces, relevant dates and, if we Dave Lewis have it, the typical duration of a given piece. If there is no recording of that work, then this is as far as our As assistant editor in the classical music department at system will take you. However, if there are recordings, the All Music Guide in Ann Arbor, Michigan, I want to then the "Performances" tab will be shaded, rather than congratulate the Wolpe Society on its new newsletter, gray. Click on that, and it will lead you to a listing of which I understand has been a long time in coming. albums that work appears on. There are "Complete" and Some real strides have been made on behalf of Wolpe in "Excerpt" tabs at the top of the listing. In Wolpe's case, the last couple of years, such as the discs Enactments the works are generally "complete," but if either tabs, or on Hat Art, which I reviewed for AMG, and Wolpe in just the "Excerpt" tab, are highlighted, you may need to Jerusalem on Mode, which was reviewed by my look at both to find all of the album listings. colleague Blair Sanderson. Accessing information about

The Stefan Wolpe Society Newsletter | 2007 | Page 8 Once clicked through to an album, you should see the replies were increasingly hampered by the symptoms of cover scan, titles and timings. A little speaker icon to Parkinson’s disease. The two artists shared similar the left of a track title indicates a 30-second sample of temperaments and discussed issues at the core of their that track is available for listening. You can access the aesthetic concerns. The extensive project to restore names of performers just by running your cursor over the Wolpe’s papers is ongoing, and our specialist has by now top of track titles, and it gives you the option of clicking treated about one half of the damaged manuscripts. for more information of that kind. Sometimes there is a The many letters that bear traces of fire and water will review of the album, and sometimes there isn't. If the be treated in due course. For the moment they have all disc is still commercially available, there should be a link been placed in special polyester folders for preservation, and to available vendors both underneath the scan of the the whole correspondence has been microfilmed. Scholars front cover and through the "Buy" tab above the title of who wish to study at the Sacher Foundation should go to the album. Track and Credit information for each album www.paul-sacher-stiftung.che/practical%20tips.htm is also available from that same row of tabs, though in for advice on applying for research stipends. some cases complete track info is already accessible from the page you are looking at. — Heidy Zimmermann

And that is how, in a nutshell, to navigate our Wolpe site, and it extends to every other composer and CHAPEL HILL performer that AMG has entered into our database. Happy surfing! Music at Black Mountain “Festival on the Hill,” Chapel Hill, March 30-April 2, 2006

REPORTS Festival on the Hill is a biennial event sponsored by the Music Department at the Chapel Hill campus of the University of North Carolina. “Music at Black Mountain” BASEL was organized by Professors Severine Neff (Chapel Hill) The Stefan Wolpe Collection was instituted at the Paul and Jonathan Hiam (Univ. of Hawaii), who obtained his Sacher Foundation when the composer’s papers were Ph.D. at Chapel Hill with a dissertation on music at Black purchased from Wolpe in 1992. Recent Mountain College. They brought together a rich additions to the collection include the materials of For assortment of scholars, musicians, and former students Marthe Krueger (1940), dance suite for two pianos, of the College for a stimulating and varied program of which were acquired in 2005. Judith Adler, the daughter concerts, workshops, lectures, and round tables. Mary of the artist Anni Wottitz, gave the Foundation Emma Harris gave the keynote address on the work of the four letters from Wolpe to her mother and recently Black Mountain College Project, which is concerned with presented us with the charcoal portrait that the the documentation and preservation of the College’s celebrated artist Friedl Dicker made of Wolpe in about history. Several sessions focused on the Summer Institute 1920. Ms. Adler also gave a volume of Hölderlin poems of 1944, which celebrated Schoenberg’s 70th birthday, published in 1920. On the flyleaf of the volume Wolpe and which, according to Dr. Hiam, was a crucial event for inscribed a dedication to Anni Wottitz in 1921 and the the cultivation of the in the beginning of the vocal part of a setting of "An Diotima," U.S.A. Gerold Grober (Univ. of ) provided a which is different from the one he composed in 1927. We also obtained the correspondence between Wolpe portrait of Schoenberg’s student Heinrich Jalowetz, who and the important German painter Hans Kaiser (1914- arrived at BMC in 1939. Dr. Grober conducted a lively 1982) from his daughter Anna H. Berger-Felix of Berlin. conversation with Lisa Jalowetz Aronson, who as the The collection consists of 15 letters from Wolpe to daughter of Heinrich and Johanna Jalowetz, grew up at Kaiser and 35 letters from Kaiser to Wolpe that they BMC. Sabine Feisst (Arizona State Univ.) discussed exchanged between 1961 and 1969, though Wolpe’s Schoenberg reception in America.

The Stefan Wolpe Society Newsletter | 2007 | Page 9 Several papers dealt with composers who taught at BMC SALZBURG in subsequent years: David Bernstein (Mills College) gave a paper on ’s “Defense of Satie,” the Music and Resistance: 1933-1945 provocative lecture of 1948; Ethan Lechner (Chapel Hill) University of Salzburg, April 10-11, 2006 discussed Lou Harrison, Nancy Perloff (Getty Research Institute) gave a presentation on , and Austin The conference was part of the Salzburg Easter Festival, Clarkson (York Univ.), assisted by David Holzman, directed by Simon Rattle, in conjunction with the lectured on Stefan Wolpe. Mr. Holzman gave a masterly International Center for Suppressed Music, University of recital of Webern, Schoenberg, Bartók. He devoted the London, and the Jewish Museum (Vienna). The second half to Wolpe, concluding with the prodigious conference was tremendously successful, with a Battle Piece. The superb Brentano gave a fascinating mixture of older and younger scholars and concert of Webern, Schoenberg, and Berg, which was performances of many composers affected by the preceded by a talk given by Prof. Neff. The Quartet also atrocities of the Third Reich. Peter Tregear (University of gave a most engaging workshop on performing the music Melbourne) presented a particularly thought-provoking of the Second Viennese School. The conference program paper on “Music Technique as Political Allegory in included two concerts performed by students and faculty Krenek’s early 12-tone Works,” and Katarzyna from the Chapel Hill campus. The final concert began Naliwajek-Mazurek (University of ) gave an with Psalm 122 by Wolpe, sung by the UNC Chamber excellent presentation on Constantin Regamey, a Singers, conducted by Susan Klebanow, and concluded composer whose musical innovations and Polish with a reinvention of John Cage’s celebrated Theater resistance activities have received too little attention. Piece No. 1, the so-called Happening of 1952. The star of Papers on , Erwin Schulhoff, and music in the Theater Piece was a festively caparisoned llama. the French resistance were also particularly interesting. — A. Clarkson My paper on Wolpe’s “Political Resistance, Migration, and Community” was very well received. At the end of the conference Juerg Stenzl remarked that he urgently needed to know more about Wolpe. I also enjoyed The edition of Wolpe’s Zehn frühe Lieder is now talking talk to Michael Haas, producer of the Decca CD complete. The songs were composed during the summer of Wolpe’s music theater pieces. The conference was of 1920, which Wolpe spent in Weimar with students at organized by Juerg Stenzl (University of Salzburg), Erik the Bauhaus. Three of the texts are by the medieval Levi (Royal Holloway, University of London), Peter mystics Mechthild von Magdeburg and Johannes Tregear (University of Melbourne), David Bloch Sterngassen and one is from Des Knaben Wunderhorn. (University of Tel Aviv), Jutta Raab Hansen (formerly of From modern authors Wolpe set a hymn from a play by University), and Michael Haas (Jewish Museum, Oskar Kokoschka and poems by Christian Morgenstern, Vienna). Papers from the conference will be published in , and the elusive German poet a forthcoming periodical by the Jewish Museum. Christina Godwin. Nearing completion is an edition of Unfortunately the musicians of the Berlin Philharmonic pieces that Wolpe wrote for “Teddy Stauffer and his were not able to prepare Wolpe’s Oboe Quartet in time Band” who were playing at the Berlin Cabaret “Anti” in and gave the Oboe Sonata instead. It seemed as though 1929. The movements are Blues, Marsch, and a setting they had just managed to get the notes under their for speaking chorus of Erich Kästner’s anti-war poem fingers and were beginning to get a sense of the “Stimmen aus den Massengrab.” The volume will also expressive side of things (but only beginning). include the Sport Revue “Alles an den roten Start” (1932) on a text by Siegfried Moos. It was performed by the Communist agitprop Truppe Fichte-Balalaika during — Brigid Cohen the “Rote Sportinternationale” of 1932. A new edition of the music theater piece Schöne Geschichten (1927- 1929) is in preparation. Werner Herbers, who with his Brigid Cohen is a Ph.D. candidate in historical musicology at Harvard University, where she is completing her dissertation Ebony Band, performs the music so brilliantly, gave titled "Migrant Cosmopolitan Modern: Cultural Reconstruction advice regarding details of performance. A second in Stefan Wolpe's Musical Thought." During the 2007–2008 volume of Wolpe’s writings is in preparation. It will academic year, she will hold the position of Mellon include a lecture given in Philadelphia in 1940, three Postdoctoral Fellow at the Center for the seminars given at Darmstadt in 1961, and a new edition Humanities, and she is also the recipient of an honorary Alvin and translation of the “Lecture on ” (1962). H. Johnson AMS 50 Dissertation Fellowship.

— Thomas Phleps

The Stefan Wolpe Society Newsletter | 2007 | Page 10 BOOKS Udo Kasemets, Musicworks 91, Winter, 2005

ON THE MUSIC OF STEFAN WOLPE: Particularly illuminating are the discussions of the ESSAYS AND RECOLLECTIONS musics of Wolpe, Eisler, and Vogel, which carry direct political messages. Music with a political content keeps surfacing time and again. Frustrated by policies and events contrary to human rights or needs, many a composer has felt the need to sing a song of anger (and / or hope!). The problem, so far unsolved, is how to find a common language that at once represents one’s political and musical ideals, and at the same time speaks to the vast and varied population in search of liberty and justice.

Adrian P. Childs, Music Library Association Notes, March, 2006: 723

The experience of reading this near-centennial collection of essays bears a striking parallel to the unfolding of one of [Wolpe’s] late compositions. The volume’s formal organization divides the contributions into two sections— “Engagements” and “Makings”—that Edited by Austin Clarkson. (Dimension & Diversity, no. 6) represent a sort of postmodern gloss on the traditional Hillside, NY: Pendragon Press, 2003. [xii, 371 p., ISBN1- Man-and-Music composer biography. Stretching across 57647-063-0. $42] Index, notes, illustrations, catalogue, and within these two parts is a complex web of discography, compact disc. associations, created by repeated references to composers, philosophers, and compositions that serve REVIEWS as guideposts for the authors in their explorations. The climax of the collection comes at the beginning of the Andy Hamilton, Wire 244 (June 2004), 75 second part, with essays by Martin Zenck and David Holzman that both involve Wolpe’s monumental Battle The first book on this seriously neglected composer is a Piece for piano. Zenck, a musicologist, uses compendious labour of love, plentifully illustrated and neoclassicism and as foils for several piano with a well-conceived CD to accompany it. … [T]he love works from the 1930s and 1940s. … Zenck explicitly which Stefan Wolpe inspired is very evident from this disavows any suggestion that Wolpe represents a magnificent edition. synthesis of these isms. … Pianist Holzman deals with Arnold Whittall, The Musical Times, Autumn, 2004 the physical and interpretive challenges of Battle Piece, contrasting his own performances and recordings with The 20 authors who contribute to Austin Clarkson's those of David Tudor (renditions of Battle Piece by both volume offer colourful snapshots of Wolpe's remarkably artists are on the accompanying compact disc). diverse life, in Berlin, Weimar (the Bauhaus), Israel and Holzman’s consideration of the large-scale impact of America, and of his work as teacher (Black Mountain the differences between his and Tudor’s interpretations College, Darmstadt) as well as composer. Clarkson's is especially engaging and expert. … citation of Wolpe's wish to 'mix surprise and enigma, magic and shock, intelligence and abandon, Form and This volume is a must-have for any scholar or enthusiast Antiform' (p.25) encapsulates the modernist instincts of of Wolpe’s compositions and writings, as well as for someone who counted Dadaism and the i2-note method anyone working in any of the composer’s various among his resources, and the best chapters in the book milieux. The stronger contributions and the compact manage to indicate how a distinctive musical manner disc also recommend the collection for all academic might be forged from these fruitfully warring elements libraries. Due to the vast reach and variety of Wolpe’s — in order, as Wolpe is quoted as saying, 'to coordinate own career, the essays inevitably touch on topics that multiplicities' (p. 147). are of interest to almost all musical readers; most will find reading the volume to be time well spent.

The Stefan Wolpe Society Newsletter | 2007 | Page 11 STEFAN WOLPE, DAS GANZE ÜBERDENKEN Berg given on January 26, 1941 at the Barbizon-Plaza Vorträge über Musik 1935-1962. Concert Hall in New York. Three of the fourteen Edited by Thomas Phleps. numbers on the program listed music by Wolpe, but the Quellentexte zur Musik des 20. Jahrhunderts. titles “Remembrance,” “The Women,” and “The Tides Band 7.1. Saarbrücken: Stiftung, Basel, und Pfau-Verlag, 2002. 262 p. of Man” did not correspond to any of his known scores. Here at last was some fourteen minutes of music that Thomas Phleps, Introduction: “‘Outsider im had not been seen or heard for 66 years. A long-standing besten Sinne des Wortes’: Stefan Wolpes mystery had been solved. Einblicke ins Komponieren in Darmstadt und anderswo.” Marthe Krueger was born in Mulhouse (Alsace) in 1910 1. Die musikalische Idee und das orchestrale and studied dance in France and England. She Equilibre (Brüssel 1935) immigrated to the U.S.A. in 1933, attended the Martha Zum 1. Satz der Symphonie Nr. 95 in c- Graham School in New York, and taught in various dance moll von Haydn studios. She collaborated with several young 2. Über die ersten acht Takte der Violinsonate composers, among them John Colman, Alex North, and a-moll op. 23 von Beethoven (Jerusalem Wolpe. Trude Rittmann (see Remembrance, p. 6) likely 1935) provided the link between Krueger and Wolpe, as her 3. Die Modulation als Prozess (Philadelphia 1940) 4. Der musikalische Vorgang (Maine 1941): name appears on the same dance program as the Über den 1. Satz der 7. Klaviersonate arranger of a Bach chorale. After the war Marthe D-Dur op. 10/3 von Beethoven Krueger moved to Ridgefield, Connecticut and taught 5. Zur Passacaglia in c-moll von Bach dance in Norwalk. In 1962 she built a home and dance (New York 1941) studio in Wilton and taught there until shortly before 6. Über Dance in Form of a Chaconne her death in 2001. While sorting through Krueger’s (New York 1941) music library, Ms. Hawkes found original scores of 7. Über neue (und nicht so neue) Musik in several composers. Having made her trove of Wolpe Amerika (Darmstadt 1956) materials known, the Paul Sacher Foundation of Basel 8. Einblick ins Komponieren (Kassel 1957) purchased them for their Stefan Wolpe Collection. 9. Thinking Twice (Los Angeles 1959) 10. Proportionen (Darmstadt 1960) For Marthe Krueger fills what had been a sizeable 11. Über Simultaneität (Darmstadt 1962) lacuna between the Zemach Suite (1939) and the Toccata (1941). The first movement, “The Women,” is a series of variegated actions in Wolpe’s Palestinian vein NEW EDITIONS of modernist modality. The second movement, “Remembrance,” with slow, freely chromatic outer sections bracketing a “Con moto” middle section in C For Marthe Krueger, Suite for Two Pianos minor, is a lament that prefigures the “Too much suffering in the world” movement of the Toccata. The The music had lain silent for over six decades. In the third movement, “The Tides of Man: Passions spin the summer of 2005 Sharon Hawkes of Auburn, Maine, who plot,” is a vehement march fantasy. The Suite will be had inherited the music library of her teacher, the published by Peermusic and will be re-awakened from dancer Marthe Krueger, mailed a large package its long slumber in the fall of 2007 by Susan Grace and containing copies of scores by Wolpe. 81 pages were in Alice Rybak of Colorado, who concertize as Quattro Wolpe’s hand, 9 were in the hand of Irma Wolpe, and 20 Mani and are recording the Suite for Bridge Records. pages had been copied by Marthe Krueger’s dance partner Atty van den Berg. In addition there were two — Editor dance scores by Krueger and van den Berg. Among the Wolpe papers were a handbill and program for a joint dance recital by Marthe Krueger and Atty van den

The Stefan Wolpe Society Newsletter | 2007 | Page 12 RECENT EDITIONS

Published by Peermusic Classical, unless noted otherwise.

Bearbeitungen Ostjüdischer Volkslieder [Arrangements of Yiddish Folksongs] (1925), medium voice and piano. Edited by David Bloch. Blues (1929). Blues, “Stimmen aus dem Massengrab” (Text: Erich Kästner), Marsch. 2 sax(cl), tpt, perc, 2 pno, speaking chorus. Edited by Johannes Schöllhorn & Stefan Wolpe Thomas Phleps. About the Seventh Enactments for Three Pianos (1953). Edited by A. Clarkson. Good Woman of Setzuan, The (1953). Text by Bertolt In the beginning Wolpe’s music did not attract me Brecht. English version by Eric Bentley. very much, rather, I was irritated by the diversity of and 9 songs, voices and piano. Edited by E. his styles and by his strange complexity. Later I Bentley & A. Clarkson. Published by Samuel understood that his music was so close to life that it French. was not possible for him (fortunately) to make any Konzert für Neun Instrumente [Concerto for Nine compromises. Because he was so personal, he did Instruments] (1937). For fl, cl, bn, tpt, hrn, tbn, not have to “create” a personal handwriting. I think vn (inc.), vc, pno. Edited by Johannes I will never really understand Wolpe, which is why he Schöllhorn, with Werner Herbers & Emilio attracts me all the time. Pomàrico. Music for Le malade imaginaire (Molière) (1935). For fl, I composed About the Seventh (1992) to celebrate cl, vn, va, cb. Edited by A. Clarkson. Wolpe’s 90th anniversary year. My point of departure Piano Music 1939-1942. Lied Anrede Hymnus (1939). was the set of four pieces that make up the work of Zemach Suite (1939): Song, Piece of Embittered the same name that Wolpe composed in 1945-46. Music, Fuge a 3 no. 1, Fuge a 3 no. 2, Jubilation, The work consists of 15 short movements for flute, Complaint, Dance in Form of a Chaconne. Two , violin, viola, cello, piano, and percussion. I Pieces for Piano (1941): Pastorale, Con fuoco. made three settings of each of the four pieces and The Good Spirit of a Right Cause (1942). Edited of a fifth piece that I composed in place of one that by A. Clarkson & David Holzman. is missing from the Wolpe work. The three settings Quartet for Trumpet, Tenor Saxophone, Percussion and of each item are in styles that are near to and Piano (1950-54). Edited by A. Clarkson. distant from Wolpe’s style. My goal was a prismatic Schöne Geschichten (Droll Stories) (1927-1929). Text: constellation of miniatures that provide a fresh and Otto Hahn & S. Wolpe. For actors, singers, marionettes, fl, 2 cl(sax), tpt, tbn, perc, vn, mutually illuminating perspective on the music of pno, chorus. Edited by T. Phleps. Wolpe. I was thinking of John Berger, when he writes Sportrevue “Alles an den roten Start” (Cantata on that the act of approaching a given moment of Sport). Text: Siegfried Moos. Edited by T. Phleps. experience produces at once a close investigation Suite for Marthe Krueger (1940). For two pianos. Edited and also the possibility of distant associations. The by A. Clarkson. piece has received many performances, and will be Suite from the Twenties: 1. March Nr. 1; 2. Tango für given in Paris in April by the ensemble instant donné. Irma; 3. Blues; 4. Tango; 5. Tanz (Charleston); 6. Rag-Caprice. For cl, Bcl, Asax, tpt, tbn, bjo, — Johannes Schöllhorn pno, vn, vc. Arrangements by Geert van Keulen. Symphony No.1 (1956). Edited by A. Clarkson & Robert Falck. Born in 1962, Johannes Schöllhorn studied with , Waltz for Merle (1952). Edited by D. Holzman. Emanuel Nuñes, and Mathias Spahlinger and attended Zehn frühe Lieder (1920). Texts: Christina Godwin, conducting courses with Peter Eötvos. He is laureate of the Mechthild von Magdeburg, Christian Morgenstern, Fondation Strobel at the SWR and the Gaudeamus Foundation Des Knaben Wunderhorn, Oskar Kokoschka, and in 1995 was winner of the Comitée de lecture of the Rainer Maria Rilke, Johannes Sternegassen, Ensemble Intercontemporain. His chamber les petites Stefan Wolpe. Edited by T. Phleps. filles modales was given many times in France. He taught at the Zwei Studien für Grosses Orchester (1933). Musikhochschule in Zürich-Winterthur and was conductor of the 1. Ouvertüre; 2. Pastorale in Form einer Ensemble für at the Musikhochschule Freiburg. He Passacaglia. Edited by Martin Brody & Matthew is currently professor of composition at the Hochschule für Greenbaum. Musik und Theater Hannover. Zwei Tänze für Klavier (1926). 1. Blues; 2. Tango. Edited by D. Holzman.

The Stefan Wolpe Society Newsletter | 2007 | Page 13 Dr. Einstein’s Address about Peace in the Wolpe, The Man from Midian, Ballet Suite no.1 RECORDINGS Atomic Era” (1950), Wolpe’s vigorous (1942) 19:05 Rundfunk Sinfonie-orchester protest against the hydrogen bomb. Leah Berlin, Joseph Silverstein, conductor. With: Summers, mezzo-soprano, and Ashraf Leon Stein, Three Hassidic Dances (1946); Sewailam, bass-baritone, accompanied Darius Milhaud, Opus Americanum no. 2, Suite respectively by Jacob Greenberg and from the Ballet Moïse (1947), excerpts; Lazare Susan Grace, perform seven of Wolpe’s Saminsky, The Vision of Ariel (opera-ballet) Hebrew settings of texts from the Bible (1916), excerpts. and by contemporary poets to round out this collection of songs from Wolpe’s Berlin, Jerusalem, and New York years. Some of the Hebrew songs will be performed by Mr. Sewailam and Ms. Grace at the Lincoln Center Library of Performing Arts on April 5, 2007, along with Egyptian and Egyptian-related works.

Songs (1920–1954) 1 Excerpts from Dr. Einstein’s Address about Peace in the Atomic Era (1950) 2 Ten Early Songs (1920) 3 Arrangements of Yiddish Folk Songs (1925) 4 Six Songs from the Hebrew (1938, 1954) 5 Der faule Bauer mit seinen Hunden, Fabel von Hans Sachs (1926) 6 Epitaph (1938) The Man from Midian Patrick Mason, bar, Robert Shannon, pno (1, 3, 5) Naxos 8.559265 (2006) Tony Arnold, sop, Jacob Greenberg, pno (2) Reissue of Koch International Classics. Leah Summers, m-sop, J. Greenberg, pno (4, 6) Group for Contemporary Music Ashraf Sewailam, bass-bar, Susan Grace, pno (4) 1 The Man from Midian for 2 Pianos (1942) Bridge 9209 (2007) Cameron Grant, James Winn, piano 2 Sonata for Violin and Piano (1949) This just-released CD brings first Jorja Fleezanis, violin, , piano Stefan Wolpe, Vol. 4 recordings from Wolpe’s extensive Ensemble SurPlus Bridge 9215 (2007) Dave Lewis, Allmusic Guide: catalogue of vocal music. The Ten Early 1 Oboe Sonata Fragment (1937) Songs (1920), composed when he was 17 2 Sonata for Oboe and Piano (1937-1941) Stefan Wolpe was a composer who cuts a years old and spending the summer with 3 Song, Speech, Hymn, Strophe (1939) Zelig-like path through the early 20th students of the Bauhaus at Weimar, reveal 4 Piece in Two Parts for Flute and Piano (1960) century.… Naxos’ Stefan Wolpe: The Man 5 Piece for Oboe, Cello, Percussion & Piano (1955) an extraordinary range of expressive and from Midian makes available once again , ob, James Avery, pno (1, 2, 3) technical resources. The texts include some of the first recorded salvos fired on Robert Aitken, flute, James Avery, piano (4) meditations on spiritual love by medieval Wolpe's behalf in the digital era… Peter Veale, oboe, Beverley Ellis, cello, mystics, a love song from Des Knaben The Man from Midian was written for Sven Thomas Kiebler, piano, Pascal Pons, Wunderhorn, and poems by contem- choreographer Eugene Loring and percussion, James Avery, conductor (5) poraries Oskar Kokoschka, Rilke, Christian illustrates some chapters in the life of Morgenstern, and Christina Godwin. Moses drawn from the Biblical book of Wolpe also set two of his own verses, Exodus; it originally premiered on the amusing poems to an infant child. The same program as Copland’s ballet Billy the Kid. The Man from Midian is not as Early Songs, which range in style from dissimilar from the far better known passionate Jugendstil odes to witty Copland work as one might think; it is ragtime tunes, are performed by soprano similarly potently rhythmic, and parts of Tony Arnold, nominated for a Grammy it are straightforwardly diatonic, though Award in 2006, and pianist Jacob not very “neo-classical” in the sense that Greenberg. The program for Wolpe’s this might imply. There are stretches of Berlin debut as composer and pianist busy twelve-tone composition that wind included his Arrangements of 13 Yiddish back into, and out of, the diatonic Folksongs. Baritone Patrick Mason, who sections, a very post-modern way of was nominated for a 2007 Grammy, sings working for 1942. It is also a very exciting and engaging piece, somewhat the six surviving arrangements reminiscent of ' four-hand accompanied by Robert Shannon. They piano work Le Retour de Ulysse (1944). also perform the solo cantata “Der faule Bauer mit seinen Hunden” [The lazy Jewish Music of the Dance Duo pianists Cameron Grant and James farmer and his dogs] (1926), the setting of Milken Archive of American Jewish Music Winn turn in a swinging, yet well- a long moralistic poem by the 16th- Naxos 8.559439 (2006) articulated performance of The Man from century Hans Sachs, and “Excerpts from Midian, and their steel-fingered sonorities The Stefan Wolpe Society Newsletter | 2007 | Page 14 raise just the right rhythmic profile in The “Concerto for Nine Instruments” is a Wolpe's music. Parts of The Man from curiosity, since the violin part was lost and Midian are deeply jazzy in sound, and reconstructed in 2000, but the vigor of the even these sections spin off through musical imagination is still unmistakable. twelve-tone sections scored at hair-raising The performances are compelling. tempi that will leave one's jaw agape. Dan Warburton The Sonata for Violin and Piano is a much ParisTransatlantic.com, April, 2006 more strict serial work and a very aggressive one; it is superficially similar to the fast sections of Arnold . . . once more Mode is setting the Schoenberg's Fantasy for violin and standard for excellent and informative piano, Op. 47. This Sonata will prove liner notes - translated into French, absolute torture for some, however if German and, not surprisingly, Hebrew. … you ever loved atonal music for its sense Though the [Passacaglia] was originally of bite and aggression, this is for you — scheduled for performance at the time it will remind many who have enjoyed Wolpe in Jerusalem 1934-1938 under the baton of William Steinberg, strict, old fashioned serialism in the past Mode 156 (2006) the members of the newly founded what they liked about it in the first Co-Production of Westdeutsche Rundfunk, Palestine Symphony found it too difficult place. Jorja Fleezanis and Garrick Beth Hatefutsoth Records. (presumably technically, though one Ohlsson’s performance is very good in its 1 Passacaglia, op. 23 (1937) 12:12* suspects the real reasons were musical) turbulent, hell-bent for leather WDR Sinfonieorchester Köln, and the piece wasn’t heard in public treatment of the music, but in this case Johannes Kalitzke, conductor until as late as 1983, when it was finally the recording, made at Concordia 2 Music for Molière’s Le malade imaginaire premiered by Charles Wuorinen and the College in Bronxville in 1991, is just a (1934) 20:01* American Composers Orchestra. This little too “live” — the generous 3 Drei kleinere Kanons, op. 24a (1936) 4:56 debut recording — at last — should help reverberation of the hall swallows up ensemble recherche establish the Passacaglia as one of the some of the music. Anyone interested in 4 Suite im , op. 24b (1936) 14:52 major early orchestral twelve-tone music of the 20th century, though, ensemble recherche works, one worthy of taking its place should endeavor to get to know The Man 5 Konzert für 9 Instrumente, op. 22 (1933-37) 24:48 alongside Berg's Der Wein and from Midian — it is one of the most ensemble recherche, Werner Herbers, cond. Schoenberg's Variations.… distinctive and direct musical utterances * first recording that Stefan Wolpe left to us. Proof that he was equally at home writing more harmonically and REVIEWS rhythmically straightforward music comes in the six pieces he wrote in 1934 Mark Swed as incidental music for Molière's Le The Los Angeles Times, April 16, 2006 Malade Imaginaire, brilliantly scored for flute, clarinet, violin, viola and double When Stefan Wolpe came to New York bass. Accessible they might be, but after fleeing Nazi Germany, he was there's no question of a dumbing down in known as a stubborn composer of terms of language - the Schlafmusik is brilliantly Modernist music. He was also another passacaglia based on a theme known as something of a reluctant father from Schoenberg’s String Quartet, op 10. of American avant-gardists — he was The canons and the suite may already be mentor to both pianist David Tudor and familiar to readers, having appeared composer . But little is before on disc, but this version by the known of the four years he spent in Ensemble Recherche is the best that's Jerusalem after leaving Berlin and appeared to date. Wolpe’s contrapuntal before arriving in America. The Israelis mastery is clear throughout: this is set all but erased him from their history, theory in action (I shan't bore you with finding him too ornery for a then talk of — why tell you how it Stefan Wolpe conservative musical culture — a works when you can hear how it works?) Naxos 8.559262 (2006) headache is better than his music, one and terrific music to boot, comparable Reissue of Koch International Classics 1996 Israeli critic wrote. They can have their with Webern and late Stravinsky in its (items 1, 2), and 1993 (items 3, 4). headaches. It turns out Wolpe wrote combination of formal complexity and Group for Contemporary Music. some remarkable music while in lucidity of line and texture. 1 String Quartet (1969) Jerusalem that is only now being 2 Second Piece for Violin Alone (1966) rediscovered; much of this disc contains The album's third scoop is the first 3 Trio in Two Parts for Flute, Cello & Piano (1964) first recordings. The “Passacaglia” for recording of the Concerto for Nine 4 Piece for Oboe, Cello, Percussion & Piano (1954) orchestra is a gripping 12-tone score Instruments, a work Wolpe had begun from 1937 that manages to sound angry while studying with Webern and Curtis Macomber, violin (1, 2), Theodore and visionary at the same time. To returned to four years later. It’s scored Arm, violin (1), Toby Appel, viola (1), Fred dislike Wolpe's witty, rambunctious and for near-identical forces as Webern’s Sherry, cello (1, 3, 4), , engagingly melodic incidental music for well-known piece of the same name — flute (3), conductor (4), Stephen Taylor, oboe Molière's “The Imaginary Invalid” seems the only difference being that Wolpe (4) Charles Wuorinen, piano (3), Aleck Karis, all but impossible. The “Hexachord calls for bassoon and cello where Webern piano (4), Daniel Kennedy, percussion (4). Suite” for oboe and clarinet is uses oboe and viola — but there the intriguingly inspired by Arab music. similarities end. Wolpe's work is

The Stefan Wolpe Society Newsletter | 2007 | Page 15 considerably more substantial in scope; smile decorating the Philharmonic ads initiator and senior participant in the calling it a chamber symphony might (side by side with well-dressed ladies, production of the new CD, once wrote have been more appropriate, and coffee, and cake) and a chromo journal things that he probably thought about also comparing it to Schoenberg’s two titled: “Music Magazine and the Good today: “The right of existence and the chamber symphonies might make more Life.” This is also pop industry. Wolpe’s vitality of the Art are in the possibility of sense. Where Webern seems to be music and his worldview were never provocation.” looking forward to the second half of the meant to be part of it. They were meant twentieth century, and the pointillism of to uproot it. Blair Sanderson, All Music Guide Nono, Boulez and Stockhausen, Wolpe, like Schoenberg, often glances One of the journalists who wrote about This 2006 Mode release of music by Stefan affectionately back at the latter part of the new disc complimented it by saying the nineteenth, with its octave doublings Wolpe is a significant survey of that “the compositions are not an compositions from the 1930s, when he and rather dense scoring. That said, impassable hurdle.” Incorrect. They were what we hear on the disc is not exactly was among the most important European constructed purposely as a hurdle in order musicians to settle and work in Jerusalem. what Wolpe wrote, unfortunately: both to force the listener to make an effort the full score and the violin part have Even though much of his time was and overcome it, otherwise what is meant occupied with teaching composition and been lost, and the work has been to be overcome is worthless. Wolpe asks reconstructed by Johannes Schöllhorn theory at the Palestine Conservatoire and the listener to stop, to give up his directing choral performances, Wolpe from the other existing parts, with only customs and expectations, to consider a few written cues to hint at what the found sufficient energy and creative other ways, other passages which lead resources to compose a substantial body violin was to have played. Rather than one doesn't know where. To those who attempt to write a violin part, of concert and theater music in these distinguish between contemporary transitional and often chaotic years. The Schöllhorn decided (wisely) to leave the composers who "take the audience into work as is, with eight complete parts and orchestral version of the Passacaglia, Op. consideration" and “composers’ 23 (1937), the Three Smaller Canons, Op. fragments of a ninth. Even so, its composers” — Wolpe is a blow in the face. appearance at last is cause for 24a, the Hexachord Suite, Op. 24b (both In Germany, before his arrival to 1936), and the reconstructed Concerto for celebration, and another feather in Jerusalem, and in the USA — he had great Mode’s cap. It's an impressive and Nine Instruments, Op. 22 (1933-1937) are influence on many music lovers, not among Wolpe's earliest accomplishments in rousing - if challenging - conclusion to an composers, but “the audience” — this excellent and highly recommended disc. twelve-tone composition. In some ways manipulative term — Wolpe refused to still influenced by Webern’s concepts, but take it into consideration. … also reflecting some of the more flexible Oded Assaf applications of Hauer's trope system, Ha'aretz (Israel), March 24, 2006 A review published in the daily Ha'aretz Wolpe demonstrates an independence of in 1936, after the gala performance of thought and freedom of technique that The real Stefan Wolpe was a well known the Passacaglia (in the two pianos sets him apart from the serial orthodoxy composer (b. 1902) who escaped the version) says almost everything: “In this of his mentors; as a result, his music is Nazis, lived in Jerusalem for four years, art the motion of our time and the often more ingratiating, naturally and immigrated to the USA, where he decadence of the previous time are inflected, and transparent to the ear. In died in 1972. His presence in Palestine combined together and this pairing striking contrast to these dodecaphonic became a deluded memory, like in Zarhi's makes this music …a little sick… it is works, his Incidental Music for Molière's Le novel Car Like an Orchid (1997). Recently, foreign here, a guest from abroad.” malade imaginaire (1934) is almost Beth Hatefutsoth’s Feher Jewish Music Somehow, with a few changes of style, shocking in its Neoclassical simplicity and Center has produced a disc named Stefan this criticism is coming back to fashion open , and it seems to reflect an Wolpe in Jerusalem: 1934-1938. Is it an nowadays, in the era of neo- acceptance of Stravinsky’s influence, indication that the dim and neglected conservatism, and not only in Israel. along with the ideas of the Second fringes of musical life in Israel are Viennese School. The performance of the gradually moving closer to the center? From the plans to celebrate the 100th Passacaglia by Johannes Kalitzke and the anniversary of Wolpe’s birth, which took WDR Sinfonieorchester Köln is fairly dry in It doesn't look like that. Just as Wolpe, place in 2002-2003 in the USA and Europe, tone and crisply detailed, as if to give the who really tried to be an Oleh and a many important parts were omitted due to music a heightened, analytical outline. pioneer, quickly discovered that in the lack of funds. But studies, performances, However, the remaining works here are Levant he was only a temporary guest. and new recordings, few as they are, and performed with a more fluid feeling, And later — to quote Paul Griffiths' especially an alternative discourse, can warmer expression, and richer sonorities Encyclopaedia of Twentieth-Century become new stimulants. And there is a by ensemble recherche, under the Music — he became a mere "German- unique interest in all this in Israel: Wolpe direction of Werner Herbers. Mode’s sound American composer." Moreover, to which was here; an opportunity was lost; the quality is a little uneven from track to center the Wolpe tradition can move things he had no time to teach — are track due to the different venues and closer now when everything introduced missing. The Pastorale — a part of Suite im recording dates, but because occasions to today as Israeli music — in the radio, TV, Hexachord — (also in the new disc) is a test hear Wolpe 's music are still too rare, most theatre and poetry evenings — is in fact case. A pastorale and at the same time of the audio problems may be excused for pop industry, to which even well- anti-pastorale, it is full of unsolved the sake of appreciating this phase of the established art composers are tensions, turning its back to nostalgia, composer’s career. considered the fringe? Is the fact that ‘ethnicity’ or ‘fusion’, but checking — in a the new disc was mentioned in the press high level of the abstraction — where signals a new, serious discussion of perfect systems of Western compositions Wolpe? This is doubtful; the disc can be meet with maquamic patterns, related to easily regarded as just another "item," Arab traditions: a provocative work today planted between Zubin Mehta's eternal as it was when composed. Yuval Shaked,

The Stefan Wolpe Society Newsletter | 2007 | Page 16 Spirit of a Right Cause is a brief gem of REVIEWS IN BRIEF agitprop music that possesses a tongue-in- cheek ambivalence, as though Wolpe isn’t , The New York sure whether a “good spirit” or “right Times: “fearless performances of steely cause” can be found in the depths of works by Stefan Wolpe.” Matthias World War II. The title work Enactments is Kriesberg, The New York Times: “David a world away from these other Holzman demon-strates with intro- considerations. Composed in 1953, it spective virtuosity the breadth of makes clear what the so-called “New York Wolpe’s pianistic expression, ranging School,” namely Morton Feldman, John from poignant delicacy to breathtaking Cage, Earle Brown, and others, found in ferocity.” Michael Oliver, BBC: “David the work of Wolpe. One might infer that Holzman passionately believes in the Feldman was attempting in his early music and, crucially, has the scorching Enactments, Works for Piano multi-hand piano pieces controlled by technique to do it justice.” Philip Hat[now]ART 161 (2005) graphic scores to achieve textures similar Ehrensaft, WholeNote Magazine: Co-Production to those found in Enactments without “Magnificent music played magnifi- / Hat Art Records Ltd. having to work as hard as Wolpe! cently. David Holzman presented this 1 March and Variations for Two Pianos Like March and Variations, this too is an music in a passionate and colorful (1933) 18:45 first recording. epic work, running to more than 32 manner, so that one does not for a Josef Christof & . minutes and scored for three pianos. In second feel it to be an intellectual 2 The Good Spirit of a Right Cause early movements of the piece the texture exercise.” Daniel Felsenfeld, Classics (1942) 3:29 Steffen Schleiermacher. is incredibly dense with rapid figurations Today: “performances of revelatory 3 Enactments for Three Pianos 1953 in a manner that may remind some of insight and passionate conviction. . . It’s 32:27 first CD recording. Conlon Nancarrow’s most hyperactive a disc I wouldn’t want to be without. Josef Christof, Benjamin Kobler & player piano music. It cools down Holzman’s precious, metallic “new Irmela Roelcke; James Avery, conductor. gradually into a sparser idiom before music” sound — makes this disc not only heating up again at the end. One can valuable to Wolpe admirers, but an REVIEWS listen to Enactments many times without entertaining and fun listening “getting” the full impact of it, so great is experience, something you can rarely its level of complexity. The performances Geoff Brown say about a recording dedicated to are very good, especially considering that avant-garde piano music.” The Times, 12 August 2005 this is such highly difficult and virtually unknown music. Enactments is mainly An electrifying piano disc, and an admirable recommended to listeners with fast ears Dave Lewis, All Music Guide introduction to the music of Stefan Wolpe, and advanced tastes in contemporary still not given his proper due as a 20th- music. If one is enthusiastic about the …For a pianist Wolpe's work represents a century giant. The exhilarating March and prospect of acquainting them-selves with challenge of the most formidable kind, Variations (a first recording) plunge us the music of Wolpe, then Enactments will as it combines pan-tonal gestures with straight into the composer's roots: Weimar prove a revelation. jazzy rhythms, agitprop tunes jerked out Berlin, and the music of revolutionary of proportion, and wistful moments of struggle. But most of the minutes are reflective sensitivity. Bringing all of gobbled up by the CD premiere of the these elements into focus is an extraordinary three-piano epic Enactments, incredible task that a mere reading of from Wolpe's American exile in the early Wolpe 's score is not going to expose. 1950s, when his music multiplied in David Holzman is wholly familiar with, complexity and spun out into some abstract and committed to, the letter and spirit expressionist outer space. The secret trick of this music. Wolpe is not "easy is to listen inwards towards the core, away listening," but the reward is found in the from surface detail. Christof, Benjamin largesse of Wolpe 's conceptions, the Kobler and Irmela Roelcke all display continuous flow of his arguments, and superhuman stamina and control. the sheer excitement of his propulsive rhythms. The Sonata No. 1 "Stehende Dave Lewis, All Music Guide Musik" is a real find, a work from the 1920s that could have been written 70 … The never-before-recorded, nearly 20- years later, as Antheil-like discord and minute long, four-hand work March and Compositions for Piano 1920-1952 motor rhythms are contrasted with a Variations of 1933 seems to have been David Holzman, piano Bridge 9116 (2002) stark, enigmatic middle movement of spurred on by the example of Ferruccio 1 Sonata No. 1 “Stehende Musik”(1925) 13:49 Satiëian plainness and simplicity. The Busoni in the Fantasia Contrappuntistica 2 Adagio “Gesang, weil ich etwas teures Battle Piece and Zemach Suite heard and bears some resemblance to Arnold verlassen muß” (1920) 2:51 3 Tango (1927) here are notable improvements over Schoenberg 's piano music of the early 3:30 4 The Good Spirit of a Right Cause (1942) previous recorded versions, and the '30s. However, where Busoni is relentlessly 3:00 first recording 5 Battle Piece (1943-1947) remaining shorter works, some contrapuntal, Wolpe is chordal, and the 24:30 6 Waltz for Merle (1952) 5:06 first previously unrecorded, are all chords rush onward in an unceasing, recording 7 Zemach Suite (1939) 11:33 revelatory. The recorded sound is uneasy marching rhythm that evokes the terrific. For those who dare to venture into the rarefied world of Stefan Wolpe, chilling aura of “funny little boots Holzman’s recording received a nomination for a marching over Europe.” This puts it in they could hardly do better than with Grammy Award and Holzman and Clarkson this exceptional Bridge Records release. context with Kurt Weill 's Symphony No. 2, jointly received ASCAP Deems Taylor Awards for except that it is far more intense and their essays in the booklet. considerably less sentimental. The Good The Stefan Wolpe Society Newsletter | 2007 | Page 17 April 9, 12, 13, Utrecht, Amsterdam, Den Bosch, Ebony Band, CHRONICLE 2007–2001 Werner Herbers, conductor: Wolpe-van Keulen, Suite from the Twenties. 2007 April 10-11, Salzburg, University of Salzburg, “Music and February 10, Heidenheim, Musikschule, Ensemble Audite Resistance: 1933-1945.” Wolpe, Sonata for Oboe and Nova, Manuel Nawri, conductor: Johannes Schöllhorn, Piano. Brigid Cohen paper, “Stefan Wolpe as ‘an old About the Seventh, version with oboe. collective individualist or individual collectivist’: Political Resistance, Migration, and Community.” March 10, Zürich, Brockenhaus, Collegium Novum. An all- Wolpe evening with Quartet for Trumpet, Tenor April 24, New York, NY. Orchestra of the S.E.M. Ensemble, Petr Saxophone, Percussion and Piano, and Blues, Stimmen aus Kotik, conductor. Celebrating 80th anniversary of Morton den Massengrab, Marsch. Feldman. Wolpe, Chamber Piece no. 1; Zenakis, Palimpsest; Feldman, For Samuel Becket. April 5, New York, Lincoln Center Library for the Performing Arts. Recital with Ashraf Sewailam, bass-baritone, and June 30, Zürich, Kunsthaus, Ensemble für Neue Musik, Susan Grace, piano: Wolpe, On a Mural by Diego Rivera, Sebastian Gottschick, conductor. Johannes Schöllhorn, David's Lament Over Jonathan, Lines from the Prophet About the Seventh (Wolpe), version with clarinet. Micah, . With Handel, Mozart, Brahms, Massenet, Halim el Dabh, Sherif Mohie el Din. 2005

April 10, Paris, Théâtre de Thouars, Ensemble Aleph: March 5, Tully Hall, New York. Family Musik Chamber “Officiels et diffamés, la musique et le IIIè Reich.” Wolpe, Ensemble, Robert Kapilow, director. Stefan Wolpe, “Lazy “performance, voix et diffusion sonore.” With: Dessau, Andy Ant,” with Sherry Boone, soprano, Judith Gordon Eisler, Schulhoff, Schwitters, von der Wense, Weill. and Rob Kapilow, piano. Monica Jordan, voice, Dominique Clément, clarinet, Sylvie Drouin, piano, accordion. April 7-10, 14-17, Center for the Arts, State University of New York at Buffalo. Theater Department, Saul Elkin, director: May 21, Nijmegen, De Vereniging. The Ebony Band, Werner , “The Good Woman of Setzuan,” translated Herbers, conductor. Wolpe, Suite from the Twenties. by Eric Bentley. Music by Stefan Wolpe, adapted by Donald Jenczka. August, Ostrava Days, . August 27, Ostravská Banda, Petr Kotik, conductor. Wolpe, Chamber Piece No. June 3, Vienna. Internationales Musikfest. Konzerthaus. 1. With: Cage, Stockhausen, Kolman, Kotik, Kupkovic, ensemble recherche, Werner Herbers, conductor: Brown. August 29, Sonar Streich Quartet (Berlin). Wolpe, Schönberg, Chamber Symphony no. 1; Schreker, “Der 12 Pieces for String Quartet. With Xenakis, Lachenmann. Wind”; Wolpe, Concerto for Nine Instruments; Eisler, Vierzehn Arten den Regen zu beschreiben. 2006 May 14, North*South*East*West Festival, Maluhia. Waihee, March 11, Bremen, Radio Bremen Sendesaal. Gunnar Brandt- Hawaii. David Holzman, piano: Wolpe, Tango, Dance in Sigurdsson, tenor, Johan Bossers, piano: “Songs and Piano Music of Wolpe: An Anna Blume von , Decret Form of a Chaconne, with Beethoven, Brahms, Chou Wen- nr. 2 (Majakowski), Cabaret and agitprop songs to texts by Chung, George Walker, Robert Pollock, William Anderson, Eckelt, Lenin, Weh, Lindt, Moos, Kästner, Weinert; Piano Alba Potes. music: Adagio, Gesang; Battle Piece for Piano. May 22, Jean Hartmann Memorial Concert, Temple Emanuel, March 14, Goethe-Institut, New York, NY. Recital with David San Francisco, CA David Holzman, piano: Brahms, Wolf Holzman, piano: Roger Sessions, Sonata no. 3; Wolpe, (with Roslyn Barak, soprano), Eric Zeisl. Wolpe, Battle Piece; , Ballade; and works by Zeisl, Palestinian Notebook; with music by Mamlok, Avni, Corbett, and Martino. Susman, Daniel, Feinsmith.

March 31-April 2, Chapel Hill. University of North Carolina. October 11, Austrian Cultural Forum, New York, NY. David “Festival on the Hill: Music at Black Mountain.” Concert: Holzman, piano: Wolpe, Waltz for Merle; with David Holzman, piano: Wolpe, Tango, Waltz for Merle, Schoenberg, Webern, Wolpe, Pleskow, Zeisl, Louis Lied Anrede Hymnus Strophe, Battle Piece. With music by Schoenberg, Webern, Bartók. Symposium: Austin Karchin, Arthur Krieger, Matthew Greenbaum, . Clarkson, lecture, assisted by David Holzman: “Form and Antiform.” Concert: UNC Chamber Singers, Susan October 25, New Paltz, Department of Music, SUNY. “World of Klebanow, conductor: Wolpe, Psalm 122. With music by Jewish Music Series.” Lecture by Austin Clarkson, “Quest Schoenberg, Cowell, Cage, Milhaud, Satie, Harrison. for a New Voice: Stefan Wolpe and the Modern Hebrew Art

The Stefan Wolpe Society Newsletter | 2007 | Page 18 Song.” Concert: “Songs of Stefan Wolpe,” performed by Alone. With music by Matthew Greenbaum, Butch Morris, Tony Arnold, soprano, Leah Summers, mezzo, Patrick Noyes Bartholomew. Mason, baritone, Jacob Greenberg, Robert Shannon, David Holzman, piano: Ten Early Songs, Arrangements of March 9-12, New England Conservatory, Boston. “Charlie Parker Yiddish Folksongs, Excerpts from Dr. Einstein’s Address, and the Teachers of his Dreams,” curated by Don Palma and Zemach Suite, Two Songs from the Hebrew, Three Time Robert Saden. Concert: Wolpe, Quartet for Trumpet, Tenor Saxophone, Percussion & Piano. With music by Parker, Wedding. Brookmayer, Russell. Concert: Wolpe, Form IV (Randall Hodgkinson); Piece for Two Instrumental Units (Don Palma, November 12, Seattle, WA, Society for Music Theory Annual cond.). With music by Varèse, Parker. Concert: Wolpe, Von Meeting. Panel, “Stefan Wolpe and Dialectics.” Brigid eine Handvoll Reis, Blues. With music by Parker, O’Farerill, Cohen, “’Boundary Situations’: Wolpe’s Migrant Lacy, Varèse. Lecture: Martin Brody, “Wolpe and the New Translational Poetics”; Matthew Greenbaum, “Debussy, York Scene.” Lecture-recital: Veronica Jochum, piano, Wolpe, and Dialectical Form”; Martin Brody, “Where to “Stefan Wolpe and the Bauhaus.” Act, How to Move: Wolpe’s Dialectical Moment”; Austin Clarkson, “Stefan Wolpe and the Dialectical Image.” March 14-15, City University of New York Graduate Center, Respondents: Christopher Hasty and Anne Shreffler. “Stefan Wolpe Centennial Symposium and Concerts.” Session 1: "Cultural Contexts," Austin Clarkson, moderator. November 13, Natick, Center for the Arts. Marvin Wolfthal, Papers by Heidy Zimmermann, "Wolpe's settings from the Song of Songs (1937): Folksong and collective identity," and piano. Battle Piece, 2nd part. “The Stefan Wolpe Collection at the Paul Sacher Foundation.” Session 2: A. Clarkson, "Wolpe in New York: 2004 Perspectives on the Milieu of Music, Poetry, and the Visual Arts." Respondents: Dore Ashton, Andrew Kohn, Basil King, January 3, , Staatsgalerie. “Cantos”. Ensemble Laura Kuhn, Olivia Mattis, Leonard Meyer, Larson Powell, Gelber Klang: Wolpe, Twelve Pieces for String Quartet; Eric Salzman, Cheryl Seltzer, Katharina Wolpe. Session 3: European first performance of the String Quartet “New approaches to the study of 20th century concert Fragment 1950-51; Morton Feldman, King of Denmark, music”: papers by Avi Berman, Brigid Cohen, Catherine Duration 4, Structures. Improvisationen zu den 18 Cantos Hirata, Brian Locke. Concert 1: Parnassus, , von Barnett Newman. conductor. Wolpe, Piece in 2 Parts for 6 Players, Piece for 2 Instrumental Units. With Charles Wuorinen, Matthew July 3, Leipzig. Klangrausch. “Hommage à Edgard Varèse.” Greenbaum, Mei-Fang Lin, Anthony Korf. Readings by poet Ensemble SurPlus, conducted by James Avery: Wolpe, Martine Bellen of texts by Stefan Wolpe, Hilda Morley, Enactments for Three Pianos. Robert Creeley and Martine Bellen. Session 4: Analysis Symposium. Martin Brody, “The Will to Connect: Wolpe’s August 29, Kunstmuseum, Basel, “Schwitters Arp Exhibition.” Theater of Action, Memory, and Estrangement.” Robert Christoph Homberger, tenor, Jay Gottlieb, piano: Wolpe, Morris, “Respiration in Stefan Wolpe’s Piece in 2 Parts for 6 Stehende Musik; An Anna Blume von Kurt Schwitters. With Players.” Dora Hanninen, “Association and the Emergence Antheil, Satie, Scelsi, Von der Wense, Schulhoff, of Form in Two Works by Wolpe.” Christopher Hasty, Feldman, Cage. “Concentrating your Attention: Some Effects of Disjunction in Wolpe’s Piece in 2 Parts for 6 Players.” Concert 2, November 27, Paris, Cité de la musique. “Le IIIe Reich et la : Varese, Davidovsky, Morris, Olan, Musique. Le cabaret.” Ebony Band & Cappella Chasalow, (Wolpe Variations), Brün, Babbitt. Panel on Amsterdam, conducted by Werner Herbers. Wolpe: An Wolpe and Electronic Music, David Olan, moderator. Mario Anna Blume von Kurt Schwitters; Suite from the Twenties; Davidovsky, Matthew Greenbaum, Robert Morris, Eric Schöne Geschichten. Chasalow. Concert 3, Katharina Wolpe, piano. Program: Wolpe, Zemach Suite, Form, Adagio, Rag-Caprice, Tango, 2003 March no. 1, Two Studies for Piano part 1, Sonata no. 1; Webern, Variationen. February 11, Merkin Hall, New York. Continuum, directed by Joel Sachs and Cheryl Seltzer, with Carol Meyer, soprano. March 31, Paul Sacher Stiftung, Basel, Annual Meeting. Marc Wolpe, Form IV, Psalms 64 & Isaiah 35, The Angel, Apollo Ullrich, trumpet, Marcus Weiss, saxophone, Sylwia and Artemis I, Decret Nr. 2, March and Variations; with Zytynska, percussion, Manuel Bärtsch, piano, Jan music by Ursula Mamlok. Schultsz, conductor. Wolpe, Quartet for Trumpet, Tenor Saxophone, Percussion and Piano. February 23, Center for Jewish History. “Edward Levy Memorial Concert.” Wolpe, Drei kleinere Kanons, 12 April 6, C.W. Post College, NY. “Stefan Wolpe: Pieces for String Quartet. With music by , Three Lands, One Language,” curated by David Holzman. David Glaser, Edward Levy, Noyes Bartholomew. Concert 1: David Holzman, Stephanie Watt, piano. Wolpe, Sonata no. 1, Tango. With music by Bartok, Varese, March 4, Galapagos, NY. Talea Quartet: “Stefan Hindemith, Stravinsky, Gershwin. Concert 2: “Josef Marx Wolpe Centenary Concert.” Stefan Wolpe: Drei Kleinere and Stefan Wolpe: A Friendship in Music.” Patricia Kanons, 12 Pieces for String Quartet, Piece for Viola Spencer, flute, Susan Barrett, oboe, Barbara Speer, Anne The Stefan Wolpe Society Newsletter | 2007 | Page 19 Chamberlain, piano. Wolpe, Oboe Sonata; Blues and June 7, Carl-Orff Saal, Munich. “Musica Viva: Stefan Wolpe Tango. With music by Pleskow, Nemiroff, Wuorinen, zum 100. Geburtstag.” Ensemble SurPlus, James Avery, Rovics, Sollberger. Concert 3: David Holzman, piano, with conductor. Wolpe, Enactments. Patricia Spencer, flute. Wolpe, Palestinian Notebook; Tango, Piece in Two Parts for Flute and Piano, Battle Piece. June 26, Museum Bochum (Germany), Veronica Jochum von With music by Eric Zeisl. Moltke, piano: Wolpe, Adagio Gesang, Es wird die neue Welt geboren, Tango, Rag-Caprice; with Krenek, April 7-8, Rock Hall, Temple University, Philadelphia. "Stefan Schoenberg, Busoni, Stuckenschmidt, Stravinsky, Milhaud. Wolpe: Music for Dancers" Charles Abramovic, piano. Choreography, Joellen Meglin. plus works by Alex July 21, Tanglewood Music Center. Tanglewood Fellows. DeVaron, Matthew Greenbaum, and others TBA Panel, Wolpe, Piece for Trumpet & 7 Instruments. with Austin Clarkson, Marion Kant. Concert: The Bugallo/Williams Piano Duo with Nicolas Hodges. Wolpe, August 25, 26. North Melbourne Town Hall (Australia). Astra, Enactments for Three Pianos. With music by Davidovsky, Michael Kieran Harvey, piano: Wolpe, Battle Piece, Early Feldman, Vigeland, and Williams. "Entartete Piece for Piano. Seven Pieces for Three Pianos. Astra (Degenerate) Musik" Choir, John McCaughey, director: Psalm 122; Dust of Snow; Ballad of the Widows of Ossek; Fantasy of the Day April 10, Americas Society, League/ISCM. Stefanie Griffin, viola, after Tomorrow. Blair McMillen and Cheryl Seltzer, piano; the Bugallo/Williams Piano Duo with Nicolas Hodges, piano. September 9-17, Berlin Festival, “The Composer Stefan Wolpe Wolpe, Form, Enactments for Three Pianos. With music by for his 100th Birthday: Berlin-Jerusalem-New York.” Davidovsky, Feldman, Greenbaum, Mamlok, Pleskow, Potes. Konzerthaus. Event 1, Konzerthaus. Ebony Band, Capella Amsterdam, Werner Herbers, cond. Wolpe, Blues- May 13, Norton Simon Museum, Pasadena, CA. Southwest Stimmen aus-, Marsch, Zeus und Elida, Schöne Chamber Music, Jeff van Schmidt, director. Wolpe, Geschichten. Event 2, Konzerthaus, Rundfunk- Palestinian Folksongs, Suite im Hexachord, Lamenatzeach, Sinfonieorchester Berlin, Johannes Kalitzke, cond. RIAS- Oboe Sonta, Good Spirit of a Right Cause, On a Mural by Kammerchor, David Hill, director. Wolpe, Symphony no.1; Diego Rivera, Excerpts of Dr. Einstein’s Address. Two Chinese Epitaphs, no. 2; Four Pieces for Mixed Chorus, nos. 1, 3, 4. Symphony no. 1. Event 3, Josef May 21, US Holocaust Memorial Museum, Washington DC. “Music Christof, Benjamin Kobler, Irmela Roelke, Steffen in Exile.” David Holzman, piano, et al.: Wolpe, Battle Piece. Schleiermacher, pianos. Wolpe, March and Variations, With music by Zeisl, Hindemith, and Schoenberg. Zemach Suite, Morton Feldman, Four Pianos (Version 1). Wolpe, Stehende Musik. Feldman, Four Pianos (Version 2). 2002 Wolpe, Enactments for Three Pianos. Event 4, Symposium: "Wolpe's Musical Theater: Schoenberg, January 19, Bauhaus Archiv, Berlin. Veronica Jochum, piano. Busoni, the Bauhaus, and Kunstjazz." Heinz-Klaus “Stefan Wolpe and the Bauhaus.” Metzger, Thomas Phleps (moderator), Annette Schwarzer, Hyesu Shin, and others. Event 5, Katharina Wolpe, piano. February 18-19, Rahmaninov Hall of Tchaikovsky Conservatoire, Wolpe, Six Piano Pieces, Music for Any Instruments, Form, Moscow. Concert 1: Studio New Music Ensemble, Igor Form IV, Sonate Stehende Musik, Webern, Variationen. Dronov, conductor. Vladimir Tarnopolsky, director. Wolpe, 6 Event 6, Musikklub: Stefanie Wüst, voice, Michael Nündel, Piano Pieces, 5 Hölderlin Songs, Marsch und Variationen, piano, Götz Schulte, speaker. Songs of Stefan Wolpe with Drei Arbeitslieder von Thomas Ring, Saxophone Quartet, documents about his life. Event 7, Symposium: “On Symposium: Austin Clarkson, Eugenie Golubeva. Performing Wolpe's Chamber Music,” with James Avery Rahmaninov Hall of Tchaikovsky Conservatoire. Concert 2: (ensemble SurPlus), Heinz-Klaus Metzger, Habakuk Traber Studio New Music Ensemble, Igor Dronov , conductor. Trio (moderator), Katharina Wolpe, and members of ensemble for Flute, Cello, and Piano; 4 Lieder auf Texte von Lenin, recherche (Lucas Fels, Martin Fahlenbock, Barbara Majakowski, et al..; Chamber Piece no. 1; Battle Piece; Maurer). Event 8, ensemble recherche: Lucas Vis; Wolpe- From Here on Farther. Johannes Schöllhorn, About the Seventh; Wolpe, Clarinet Quartet fragment (first performance); Piece for Two Instrumental Units. With music by Webern, Wuorinen, March 3, Concertgebouw, Bruges. March 19, Marni Theatre, Carter. Brussels. Prometheus Ensemble. Wolpe, Blues-Stimmen aus- Marsch, Schöne Geschichten. With Eisler, Antheil, Weill. September 26, Music Festival Strasbourg. Prometheus Ensemble, Etienne Siebens, director. Wolpe: Schöne Geschichten; Blues - May 5, Theatre Dubois, Paris. Ensemble Aleph. Wolpe, Quartet Stimmen aus dem Massengrab – Marsch. for Trumpet, Saxophone, Percussion, and Piano. September 30, Starr Auditorium, Tate Modern (London). Austin May 5, Basel Stadtcasino, Basel , Emilio Pomàrico, Clarkson lecture, “Stefan Wolpe and .” conductor: Wolpe, Symphony no. 1; Bruckner, Symphony Recital, Nicolas Hodges, piano, Mieko Kanno, violin: Wolpe, no. 1 (Linzer Fassung). May 4, Bern Dampfzentrale, May Battle Piece; Sonata for Violin and Piano. 8,. Schiffbau Zürich.

The Stefan Wolpe Society Newsletter | 2007 | Page 20 October 11-December 6, The Warehouse (London). 5 November 17, Instrumentensammlung, Musica reanimata, Centenary Concerts curated by Katharina Wolpe. Concert “Wolpe as Teacher”: The Wolpe Trio. The Wolpe Trio. 1, Oct. 11, Ensemble SurPlus, James Avery, conductor: "Wolpe as Teacher" Wolpe. Piano Pieces. Tango, Rag- Oboe Sonata, Piece in Two Parts for Flute and Piano, Oboe Caprice, Charleston. About the Seventh, Piece for Cello Quartet, Trio in Two Parts. Concert 2, Oct. 12. Katharina Alone, Trio in Two Parts for Flute, Cello, and Piano; Wolpe, piano: Wolpe, Zemach Suite, Form IV, Piano Pieces Herbert Brün, Gesto; Edward Levy, West of Nepal I, West 1920-29, Displaced Spaces; Webern, Variations; Wolpe, of Nepal II; Morton Feldman. Two Pieces, Untitled Sonata no. 1. Concert 3, Nov. 8. Rolf Hind, piano: Wolpe, composition, Intersection 4, Durations 2. Raoul Pleskow, Four Studies on Basic Rows, Music for a Dancer; with Zueignung; Charles Wuorinen, Third Flute Trio. music by Scriabin, Liszt. Concert 4, Nov. 9, Double Image Ensemble: Wolpe, From Here on Farther, Music for November 22-23, , Cologne. Musik der Hamlet, Decret Nr. 2, Five Holderlin Songs, Street Music; Zeit: Broken Sequences. Concert 1, For Voices, Daniel N. with music by Busoni, Debussy, Varese. Concert 5, Dec. 6, Seel, piano, and Chamber Choir, Ed Nicolas Hodges, piano: Wolpe, Form, Battle Piece; with Spanjaard, cond. Schoenberg, De Profundis, Psalm 130, music by Shapey, Feldman, Cage. Op. 50b; Wolpe, Four Pieces for Mixed Chorus; Morton Feldman, For Stefan Wolpe; Daniel N. Seel , new piece for October 12-13, Merkin Hall, New York, “The Palestinian piano; Wolpe, Two Chinese Epitaphs; Guo Wenjing, Echoes Years,” curated by Fred Sherry and Matthew Greenbaum. from Heaven and Earth for choir and percussion. Concert Concert 1. Helen Bugallo and Amy Williams, piano duo: 2. Orchestral Views, Cologne Philharmonie, with Claron Busoni, Fantasia Contrappuntistica. Wolpe, The Man From McFadden, soprano, Netherlands Chamber Choir (male Midian. Panel with Hanna Arie-Gaifman, Austin Clarkson, voices), preparation, Ed Spanjaard, WDR Rabbi Phillip Miller, Raoul Pleskow, Charles Wuorinen, Sinfonieorchester Köln, Johannes Kalitzke, cond. Varèse, Fred Sherry, moderator. Concert 2. Fred Sherry, artistic Nocturnal; Feldman, Episode for Orchestra; Wolpe, director. Wolpe, Piece in Two Parts for Flute and Piano, Passacaglia; Johannes Schöllhorn, Views of Water for Quintet with Voice; with music by Feldman, Babbitt, Orchestra; Varèse, Ecuatorial. Concert 3. Hommages & Greenbaum, Wuorinen. Program notes read by David Variations, with ensemble recherche, Markus Poschner, Margulies. Concert 3: Feldman, Triadic Memories, Marilyn cond. Wolpe, Le malade imaginaire; Elliott Carter, Inner Nonken, piano. Concert 4, 20th Century Classics Song; Claus-Steffen Mahnkopf, Hommage à Daniel Ensemble, Robert Craft, cond. Wolpe, Suite im Libeskind für Sextett; Johannes Schöllhorn, About the Hexachord, Piece for Trumpet and 7 Instruments. With Seventh for Ensemble; Wolpe, Piece for Two Instrumental music by Webern, Schoenberg. Panel with Milton Babbitt, Units. Matthew Greenbaum, Matthias Kriesberg, Fred Sherry, Martin Brody, moderator. November 29. Theatre Dubois, Paris. Ensemble Aleph. Wolpe at Black Mountain College. Solo Piece for Trumpet. 3 Canons for October 26-27, Kaufmann Concert Hall, 92nd Street Y: “Stefan 2 voices with accompaniment of a third voice. Quartet no. 1. Wolpe Centennial,” curated by Hanna Arie-Gaifman. Concert 1: , piano, Daniel Phillips, violin, December 1, Music Gallery, . New Music Concerts, . Wolpe, Second Piece for Violin Robert Aitken, conductor. Wolpe, Enactments. With Alone, Passacaglia, String Quartet, Violin Sonata. Geoffrey Palmer, String Quartet. Dadalogue and Brunch: Panel, Walter Frisch, Werner Herbers, Irina Zantovski-Murray, Hanna Arie-Gaifman, December 11, New York Society for Ethical Culture. The Cygnus Austin Clarkson. Concert 2: Ensembe, Werner Herbers, Ensemble. Wolpe, Music for Any Instruments; Matthew cond. Program: Alexey Zhivotov, Fragmente; George Greenbaum, Mute Dance; Ursula Mamlok, Five Intermezzi, Antheil, Quintet; Kurt Weill, Oil Music; Wolpe, Wumba- Elliott Carter, Inner Song; Varese: Density 21.5; David Wumba Lied, Wolpe-van Keulen, Suite from the Twenties; Claman, Gone for Foreign; William Anderson, The Job of Wolpe, An Anna Blume von Kurt Schwitters, Schöne Journeywork for Uillean Pipes and sextet. Geschichten. December 12, 19, Symphony Space, New York. Curated by October 30, Tully Hall, New York. The Riverside Symphony. Marshall Taylor Concert 1, “Entartete Musik and Music of Program: Wolpe, Two Studies for Orchestra; Scriabin, Piano Exile”: Marshall Taylor, saxophones, Samuel Hsu, piano, Concerto; Webern, Passacaglia; Bartok, Dance Suite. Joyce Lindorff, , Jenny Potes, reciter, Marion Kant, commentator. Program: Schulhoff, Dessau, November 15, Akademie der Künste, Berlin. Ensemble Mosaik, Hindemith, Pleskow, Foss, Mamlok; Wolpe, Form, Form IV. "Hommage an Stefan Wolpe." Wolpe, Saxophone Quartet, Concert 2: "Stefan Wolpe's Artistic Legacy: Three Piece for Two Instrumental Units; Morton Feldman, The Viola Generations of Composers." Pieces by Jay Fluellen, in My Life I; , Schatten der Ideen II; Katherine Malyj, Daniel Barta, Matthew Greenbaum, Sebastian Claren, Fehlstart (Detail). Kristin Hevner, Mark Rimple, Alba Potes; Wolpe, Solo Piece for Trumpet (for saxophone). November 15, Musica Viva, Herkulessaal, Munich. Symphonieorchester des Bayerischen Rundfunks, Peter December 15, Gasworks Theatre, Melbourne (Australia). Astra Rundel, cond. Wolpe, Symphony; Nicholaus Richter de Ensemble. Wolpe, Solo Piece for Trumpet, Second Piece Vroe, Tetra IV; Morton Feldman, Coptic Light. for Violin Alone, Holderlin Song No. 1, To the

The Stefan Wolpe Society Newsletter | 2007 | Page 21 Dancemaster, Reading: Why I am not a Dadaist, Chamber _____ . (2003). The Will to Connect: Wolpe’s Theater of Action Piece No. 2, March and Variations, Piece for Trumpet and and Memory, Open Space 5, fall 2003, 164-171. Seven instruments, Entrance march (Agitprop Song). With _____. (2003). A Concrete Element You Work With: Wolpe and Webern, Busoni, Schwitters, Feldman, Ligeti, Hufschmidt, the Painters. In The Music of Stefan Wolpe: Essays and Schoenberg, Brahms. Recollections, ed. A. Clarkson, 245-262. Hillsdale, NY: Pendragon Press. 2001 Clarkson, Austin. (2001). From Tendenzmusik to Abstract Expressionism: Stefan Wolpe’s Battle Piece for Piano, November 29-December 1. “Stefan Wolpe Festival- Mitteilungen der Paul Sacher Stiftung 14, April 2001, 38- Symposium,” School of Music, Evanston, Ill. Concert 1: Nicolas Hodges, piano. Four 43. Studies on Basic Rows, Form, Form IV, Battle Piece. _____. (2002). .Stefan Wolpe and Abstract Expressionism, in Concert 2: Northwestern Contemporary Music Ensemble, The New York Schools of Music and Visual Arts, edited by Pacifica String Quartet, Jacob Greenberg, piano. Wolpe, Steven Johnson, 75-112. New York: Routledge. String Quartet, Piece in Three Parts for Piano and 16 _____. (2002). Stefan Wolpe, in Music of the Twentieth- Instruments. Session 1: papers by Nicolas Hodges, Dora Century Avant Garde, edited by Larry Sitsky, 569-580. Hanninen. Session 2: papers by Patricia Morehead, Westport CT: Greenwood, 2002. Matthew Greenbaum. Concert 3: Patricia and Philip _____. (2002). Essays in Actionism: Wolpe’s Pieces for Three Morehead. Wolpe, Sonata for Oboe and Piano. With Pianists. Perspectives of New Music 40/2, 115-133. Shapey. Concert 4: David Holzman, piano. Wolpe: Sonata _____. (2003). Stefan Wolpe: Broken Sequences. In Music and No. 1, Zemach Suite, Waltz for Merle. Concert 5: eighth Nazism: Music under Tyranny 1933-1945. Edited by blackbird, Tony Arnold, soprano. Wolpe, Second Piece for Violin Alone, Lilacs, To the Dancemaster, Piece in Two Michael H. Kater and Albrecht Riethmüller, 219-240. Parts for Violin Alone. With Carter, Karlins, Rzewski, Laaber: Laaber Verlag. Varèse, Etezady. Session 4: papers by Andrew Kohn, _____. (2003). Introduction. In The Music of Stefan Wolpe: Austin Clarkson. Session 5: Keynote address, Christopher Essays and Recollections, ed. A. Clarkson, 1-28. Hillsdale, Hasty, responses by Robert Morris and Martin Brody. NY: Pendragon Press. Session 6: paper by A. Clarkson, responses by Thomas _____. (2004). Form and Antiform: Stefan Wolpe and the Bauman and Jesse Rosenberg. Concert 6: Bugallo-Williams Busoni Legacy, in Busoni in Berlin: Facetten eines Piano Duo with , piano. Wolpe, Solo Piece kosmopolitischen Komponisten, edited by Albrecht for Trumpet, Seven Pieces for 3 Pianos, Tango für den Riethmüller and Hyesu Shin, 257-274. Stuttgart: Franz Psychotechniker, Psalm 64, The Man from Midian. With Steiner Verlag. Carter, Feldman. _____. (2004). David Tudor’s Apprenticeship: The Years with Irma and Stefan Wolpe, Leonardo Music Journal 14, 2004, 5-10. _____. (2005). ‘Structures of fantasy and fantasies of BIBLIOGRAPHY structure’: Engaging the Aesthetic Self. Current Musicology 79-80 (2005): 67-94. Cohen, Brigid. (2006). Wolpe’s ‘Geschichte der Verknüpfungen’: Reflections on Writing and Community. Mitteilungen der Applebaum, Stanley. Lessons with Stefan Wolpe Began with Paul Sacher Stiftung 19, April 2006, 18-22. Just One Note, Clavier 44/7 2005, 24-28. Falck, Robert. (2003). A Labyrinthine Universe: The One and Ashton, Dore. (2003). Stefan Wolpe: Man of Temperament. In Only Symphony No. 1. In The Music of Stefan Wolpe: The Music of Stefan Wolpe: Essays and Recollections, ed. Essays and Recollections, ed. A. Clarkson, 221-232. A. Clarkson, 95-102. Hillsdale, NY: Pendragon Press. Hillsdale, NY: Pendragon Press Behrens, Jack, with A. Clarkson. (2003). The Sense of François, Jean-Charles. (2003). Stefan Wolpe’s Dual Thought, Nonsense: Wolpe, Satie, Cage. In The Music of Stefan Open Space 5, fall 2003, 172-181. Wolpe: Essays and Recollections, ed. A. Clarkson, 139- Greenbaum, Matthew. (2002). Stefan Wolpe’s Dialectical 152. Hillsdale, NY: Pendragon Press. Logic: A Look at the Second Piece for Violin Alone,” Benjamin, William. (2003). Distinctive and Original Features Perspectives of New Music 40/2, 91-114. of the Pitch Structures in Part One of Wolpe’s In Two Parts _____. (2003). The Proportions of Density 21.5: Wolpean for Six Players. In The Music of Stefan Wolpe: Essays and Symmetries in the Music of Edgard Varèse. In The Music of Recollections, ed. A. Clarkson, 279-288. Hillsdale, NY: Stefan Wolpe: Essays and Recollections, ed. A. Clarkson, Pendragon Press. 207-220. Hillsdale, NY: Pendragon Press. Brody, Martin. (2002). The Scheme of the Whole: Black _____. (2003). Debussy, Wolpe, and Dialectical Form, ex Mountain and the Course of American Music, in Black tempore 11/2: 110-123. Mountain College: Experiment in Art, edited by Vincent Hanninen, Dora A. (2002). Understanding Stefan Wolpe’s Katz, 237-267. Cambridge: MIT Press. Musical Forms. Perspectives of New Music 40/2, 8-67. _____. (2002). Wolpe’s Inner Beauty (A Response to _____. (2004). Association and the Emergence of Form in Two Christopher Hasty with 3 Entries for a Wolpe Lexicon. Works by Stefan Wolpe, Open Space 6, fall 2004, 174-203. Perspectives of New Music 40/2, Summer 2002, 174-182.

The Stefan Wolpe Society Newsletter | 2007 | Page 22 Hasty, Christopher. (2002). Broken Sequences: _____ (2002). “Outsider im besten Sinne des Wortes”. Stefan Fragmentations, Abundance, Beauty, Perspectives of New Wolpes Einblicke ins Komponieren in Darmstadt und Music 40/2, 155-173. anderswo. In: Stefan Wolpe: Das Ganze überdenken. Hirshberg, Joshua. (2003). A Modernist Composer in an Vorträge über Musik 1935-1962. edited by Thomas Phleps, Immigrant Community: The Quest for Status and National 7-19. Saarbrücken: PFAU-Verlag. Ideology. In The Music of Stefan Wolpe: Essays and _____ (2002). Schöne Geschichten und Zeus und Elida - Zwei Recollections, ed. A. Clarkson, 75-94. Hillsdale, NY: Opern von Stefan Wolpe. Vortrag beim Internationalen Pendragon Press. Symposium im Rahmen der Veranstaltungsreihe 'Stefan Holzman, David. (2003). On Performing Battle Piece. In The Wolpe Berlin - Jerusalem - New York'. Homepage: Music of Stefan Wolpe: Essays and Recollections, ed. A. http://www.uni-giessen.de/~g51092/schonegeschichten.html. Clarkson, 187-206. Hillsdale, NY: Pendragon Press. _____ (2003). Music Content and Speech Content in the Kohn, Andrew. (2002). Wolpe and the Poets of Black Mountain, Political Compositions of Eisler, Wolpe, and Vogel. In The Perspectives of New Music 40/2, 134-154. Music of Stefan Wolpe: Essays and Recollections, ed. A. _____. (2003). Black Mountain College as Context for the Clarkson. Hillsdale, NY: Pendragon Press, 59-74. Writings of Wolpe 1952-1956. In The Music of Stefan Pleskow, Raoul. (2003). On Wolpe’s Piece in Two Parts for Wolpe: Essays and Recollections, ed. A. Clarkson, 111- Violin Alone. In The Music of Stefan Wolpe: Essays and 132. Hillsdale, NY: Pendragon Press. Recollections, ed. A. Clarkson, 311-315. Hillsdale, NY: Lach, Friedhelm. (2003). Concepts of Dada and Pendragon Press. Postmodernism in Wolpe’s Lecture on Dada. In The Music Powell, Larson. (2005). Atonales Musikantentum? Stefan of Stefan Wolpe: Essays and Recollections, ed. A. Wolpes Moderne, Musik & Aesthetik 9: 101-105. Clarkson, 153-161. Hillsdale, NY: Pendragon Press. Roman, Zoltan. (2003). The Weimar Republic as Socio-Cultural Leutscher, Dick. (2003). A Composer Sitting Between the Context for the Songs of Wolpe and Eisler. In The Music of Chairs: Wolpe, Cage, Adorno. In The Music of Stefan Stefan Wolpe: Essays and Recollections, ed. A. Clarkson. Wolpe: Essays and Recollections, ed. A. Clarkson. Hillsdale, NY: Pendragon Press, 41-58. Hillsdale, NY: Pendragon Press, 133-138. Schwartzer, Annette. (2003). Das ‘goldblaublonde Levitz, Tamara. (2003). The Would-Be Master Student: Stefan pfirsichfarbene Glück’: Mythos und Werbung in Stefan Wolpe and . In The Music of Stefan Wolpes Oper Zeus und Elida op. 51, Maske und Kothurn Wolpe: Essays and Recollections, ed. A. Clarkson. 49/3-4: 123-135. Hillsdale, NY: Pendragon Press, 31-40. Wolpe, Stefan. (2002). Das Ganze Überdenken: Vorträge über Levy, Edward. (2003). Structure and Imagination II: Thinking Musik 1935-1962, edited by Thomas Phleps. Saarbrücken: and Writing Music in Milton Babbitt and Stefan Wolpe. In Pfau Verlag, 2002. 262 pp. The Music of Stefan Wolpe: Essays and Recollections, ed. Wyzard, Michael Sean. (2006). A Pitch Analysis of Stefan A. Clarkson, 103-110. Hillsdale, NY: Pendragon Press. Wolpe’s Piece in Two Parts for Flute and Piano. Malyj, Katherine. (2003). Structures of Fantasy: Part Two of Dissertation, Rutgers University. Wolpe’s In Two Parts for Six Players. In The Music of Zenck, Martin. (1995). Theodor W. Adorno – Stefan Wolpe – Stefan Wolpe: Essays and Recollections, ed. A. Clarkson, : Positionen der Webern-Rezeption 1941 289-310. Hillsdale, NY: Pendragon Press. und 1950, in Reihe und System, Kongress Bericht Morley Wolpe, Hilda. (2003). The Eighth Street Club. In The Hannover 1995 (Monogrphien des Ubst, für Music of Stefan Wolpe: Essays and Recollections, ed. A. Musikpädagogische Forschung der Hochschule für Musik Clarkson, 103-110. Hillsdale, NY: Pendragon Press. und Theater Hannover 9), 84-107. Morris, Robert. (2002). A Footnote to Hasty, Whitehead and _____. (2003). Beyond Neoclassicism and Dodecaphony: Plato: More Thoughts on Stefan Wolpe’s Music,” Wolpe’s Third Way. In The Music of Stefan Wolpe: Essays Perspectives of New Music 40/2, 183-189. and Recollections, ed. A. Clarkson. Hillsdale, NY: _____ (2003). Some Processes in Wolpe’s Piece in Three Parts Pendragon Press, 169-186. for Piano and Sixteen Instruments. In The Music of Stefan Zimmermann, Heidy. (2004). ‘Lass mich deine Stimme hören’: Wolpe: Essays and Recollections, ed. A. Clarkson, 263- Das Hohelied in jüdischen Tradition. Kirche und Israel: 278. Hillsdale, NY: Pendragon Press. Neukirchener Theologische Zeitschrift 19/1: 32-46. _____ (2004). “Respiration in Stefan Wolpe’s Piece in Two Zimmermann, Heidy, & Matthias Kassel. (2003). ’A 100 Eagle Parts for Six Players,” Open Space 6, fall 2004, 154-173. Wings Set Afire’: Bedrohung und Bewahrung der Phleps, Thomas. (2000). Stefan Wolpes politische Musik. Manuskipte Stefan Wolpes, Mitteilungen der Paul Sacher Vortrag im Rahmen des 'Stefan Wolpe Festival & Stiftung 16, March 2003, 18-24. Symposium' der Musikhochschule Freiburg vom 15. bis 18. November. Homepage: http://www.uni-giessen.de/~g51092/wolpe.html.

The Stefan Wolpe Society Newsletter | 2007 | Page 23 This certainly is the reason, is the raison d’être hand of the incredible Cézanne — There is what of the Form, ripped endlessly open, and self- there was and what there isn’t is also. Don't get renewed by interacting extremes of opposites. backed too much in a reality which has fashioned There is nothing to develop because everything your senses with too many realistic claims. When is already there in reach of one’s ears. If one has art promises you this sort of reliability, this sort enough milk in the house one doesn’t go to the of prognostic security, drop that baby I will say! grocery store. One doesn’t need to sit on the Good is to know not to know how much one is moon if one can write a poem about it with the knowing. And all the structures of fantasy and twitch of one’s senses. One is there where one all the fantasies of structures one should know directs oneself to be. On the back of a bird, about — and one should mix surprise and enigma, inside of an apple, dancing on the sun’s ray, magic and shock, intelligence and abandon, Form speaking to Machaut, and holding the skeleton’s and Antiform. — Thinking Twice, 1959

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