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A CELEBRATION OF CHRISTIAN WOLFF 3

OCTOBER 22–24, 2015 22–24, OCTOBER CHRISTIAN WOLFF A CELEBRATION OF

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THE EXCEPTION AND THE RULE 2 College Library. College Christian Wolff at in the 1980s. Photo by StuartBratesman. Courtesy of Dartmouth making these days areality. place it what is today. made both the sounds and their sounder so formative in making this the quality of exception that forever skirts and flouts the rules—has master narrative; they are under no magician’s spell.” This evanescence— celebration, in person and in these pages, to honor agiant. the world of music because of him than are those who gather for this sense that Christian may be more astonished has what at happened in and sound and form and art to their boundaries and beyond—and you about how unassuming Christian can be as he has pushed people Thomas and Frederic Rzewski have to say about Christian and his music— for example, welcomes attention; humility does not. Read Philip what has brought to Hanover, depths that defy celebration. Accomplishment, department—so much richer than any of us can fully fathom. is) his work in music that has made Dartmouth—and especially our those twenty-eight years, to be sure. Iwould But argue that it was (and students and colleagues in classics and comparative literature during Christian’s interview with Polansky Larry for this backstory.) Christian’s words, he “no had formal education in music all.” at (See with the music department was an afterthought, considering that, in department and the comparative literature program. Involvement Christian Wolff came to Dartmouth in to 1971 in teach the classics Steve Swayne Chair, Music of Department Jacob H.Strauss 1922 Professor of Music Now, then: Welcome, Christian and everyone else, to this celebration! Thanks to Margaret Lawrence and others in the Hopkins Center for Alex Ross posits that Christian’s “sounds are still independent of a This celebration is our attempt to plumb the depths that Christian Christian retired from Dartmouth in 1999, having made his mark on

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- - - Cage’s music music Cage’s 3 In the wider wider the In 4 . That provocative state 1 — , published by University of Illinois Illinois of University by , published Changing the System Changing , Wolff put it this way: “One finds a concern for for a concern finds “One way: this it put , Wolff Christian Wolff Silence In his 1958 article “New and Electronic Music,” which which Music,” Electronic and “New article 1958 his In 2 While Cage is properly considered the prime mover of this “art “art this of mover prime the considered properly Cage is While Not School. York New the of figure surviving last the now is Wolff Until the mid-twentieth century, even the most radical composers composers radical most the even century, mid-twentieth the Until kind of traditional greatness.) It could be argued that Wolff has remained remained has Wolff that argued be could It greatness.) traditional of kind articulated he that idea School York New the of representative a purer master of a independent still are sounds His fifties. the in forcefully so spell. magician’s no under are they narrative; and Hicks Michael in effectively described are work and life Wolff’s Asplund’s Christian Not surprisingly, this revolution involved the modification or rejection of rejection or modification the involved revolution this surprisingly, Not received habits the confirm to tend which notation, of systems extant of professional musicians. the as Wolff credit to failed never he composition, of approach form” sounds of a flow of that concept: School York New a crucial of originator wrote Wolff as continuity,” linear for regard “without proceeds that around 1952. in Cage quoted . . . own its into come anonymity—sound almost objectivity, of kind a the part of not are like the and psychology, drama, expression, Personal gratuitous.” at best are they calculation, initial composer’s the over impersonality and discontinuity toward had been gravitating a as circle School York New the entering Wolff, but 1940s, the of course an of point the to others the Cage and push to helped teenaged prodigy, to relative Webern of that to compared be can role His break. absolute advance in be to seemed at who times pupil star the was he Schoenberg: of the master. liberation the on anonymity, on collective emphasis the withstanding in enshrined increasingly are comrades his personality, from sound of clichés the to prey is and historical become itself has that a tradition break of periods, late and middle, early, of speaks One canon. the of sure, be to (Feldman, valedictions. and consolidations and throughs a for aimed consciously and thinking, such from himself distanced never Morton Feldman once said: “ was the first composer in the the in composer first the Cage was “John said: once Feldman Morton music maybe that implication by question the raised who music of history form.” a music than rather form art an be could of members other the to Cage also to but only not applied be can ment and, Brown; Earle himself; Feldman composition: of School York New the celebration. Dartmouth current the of focus the Wolff, Christian least, not had been evolving that grammar a musical of bounds the within worked were changes the part, most the For centuries. the over incrementally School York New the of principals The continuities. the than dramatic less same the with sounds treated they model: different a radically adopted objects became Sounds media. visual in had claimed artists that freedom language. musical of rules self-perpetuating the from detached space, in Press in 2012. Closer analyses can be found in Stephen Chase and Philip Philip and Chase Stephen in found be can analyses Closer 2012. in Press collection, essay 2010 Thomas’s TRULE H E C T IA O N N D TEX H E EP ALEX ROSS ESSAY: CHRISTIAN WOLFF WOLFF CHRISTIAN ESSAY:

AND THE EXCEPTIONS TO THE RULES THE TO EXCEPTIONS THE AND THE EXCEPTION AND THE RULE THE AND EXCEPTION THE A CELEBRATION OF CHRISTIAN WOLFF 7 - -

in Spaulding Burdocks especially for his early promotion promotion early his for especially Robert Werfel, Rilke, Kafka, of other of dozens and Walser, Helen(e) mother, Wolff’s authors. and German to born was Mosel, and Macedonia, in parents Austrian of literature the in steeped was born was Christian languages. many 6 for piano four hands, a symbol of dots dots of a symbol hands, four piano for

Duet I , for flute, trumpet, and cello, have a have cello, and trumpet, flute, , for Trio I Almost at once, he made a crucial contribution to Cage’s Cage’s to contribution a crucial made he at once, Almost 5 , which his parents had published. This inspired gift would impel impel would gift inspired This had published. parents his , which Feldman and Cage had loosened the bounds of notation some years years some notation of bounds the Cage had loosened and Feldman The Wolff home was rich in music, and Christian immersed himself himself immersed Christian and music, in rich was home Wolff The in School York New the of obsession reigning the was Webern

independent of a master of a master independent narrative; they are under under are they narrative; spell. magician’s no His sounds are still still are sounds His toward open-ended indeterminacy. open-ended toward distinc own his in and 1957, in only indeterminacy up took Wolff before; performer the direct that signs of system a devised first He tive fashion. rest the a given duration, within pitches of number a certain play to suggestive visually a more supplied he later, years A few left choice. to among interaction the for a guide as lines and dots drawing notation, in example, For players. the recording melodica, and assorted percussion guitar, electric with Wolff Christian Library. College Dartmouth of Courtesy 1971. August, College, Dartmouth Center, Hopkins Auditorium, one of the leading imprints of the postwar era. postwar the of imprints leading the of one ­ grand (His age. early an from repertory Bach-to-Brahms classic the in had been a member Wolff, Leonhard historian and conductor the father, had a gal Wolff age fourteen, at of the 1948, In circle.) Brahms the of School Viennese Second the of composers the with encounter vanizing Sultan, Grete teacher, piano His vein. a modernistic in write to began and charging a pupil, as on him took who Cage, John friend her to him sent Feldman sneakers,” tennis in sixteen—“Orpheus just was Wolff tuition. no dubbed him. the of edition Bollingen the of a copy him giving development, own I Ching composition. chance toward turn Cage’s York a New after bonded famously Feldman Cage and days; early the Wolff’s 1950. in Symphony Webern’s of performance Philharmonic as such works, early varied intricately to confined being lucidity, and sparseness Webernian apart stand But they pitches. of groups limited through maneuvers period; postwar the of writing post-Webernian frenetic often the from pioneering the to ahead look pitches of repetitions built-in their Wolff As Riley. Terry and Young La Monte of compositions minimalist launch to seemed poised he Duckworth, William to commented once restlessness, habitual his fact; with but, the before years minimalism then and density greater toward first direction, a different in moved he context of the American experimental tradition, what seems striking striking what seems tradition, experimental American the of context father, His orientation. Germanic strongly its is background Wolff’s about noted , in publisher had been a progressive-minded Wolff, Kurt Hitler’s from exile parents’ his of years early the during 1934, in Nice, in Books, Pantheon founded Helen and Kurt York, New in 1941, In .

THE EXCEPTION AND THE RULE THE AND EXCEPTION THE 6 8 connected by a vertical line indicates that players should “coordinate as closely as possible both attack and release without any intentional signals.” As Hicks and Asplund put it, such music of internal cueing was T H E “less text than pretext for musical conversation.”7 Kyle Gann, in his book American Music in the Twentieth Century, notes that Wolff’s method influenced the “game pieces” of John Zorn, among others.8 But Wolff resists the game metaphor, preferring to think of his works as a species of chamber music.9 With the Wolff family heritage in mind, one might see him as a hyper-radicalized Brahms. Over the course of the 1960s, Wolff’s music became ever more non-hierarchical in its processes; two classic scores, For 1, 2, or 3 People EX (1964) and Edges (1968) leave instrumentation open (“for any sound producing means” and “for any number of players,” respectively) and invite the participation of non-professionals. By the end of the decade, Wolff was creating works that consisted entirely of textual instructions. A famous instance is Stones, from the Prose Collection series (1968–71): Make sounds with stones, draw sounds out of stones, using

a number of sizes and kinds (and colors); for the most part CEPA CELEBRATION OF CHRISTIAN WOLFF discretely; sometimes in rapid sequences. For the most part striking stones with stones, but also stones on other surfaces (inside the open head of a drum, for instance) or other than struck (bowed, for instance, or amplified). Do not break anything.10 Yet, no matter how informal the plan, these pieces retain a certain classical rigor and clarity; they lack the carnivalesque air of much avant- T I O N garde music of the period. The persistent emphasis on group dynamics, on the exchange of musical signals between engaged individuals, gives the work an unmistakably human dimension, even as Wolff strategically

THE EXCEPTION AND THE RULE THE AND EXCEPTION THE avoids the imposition of his own personality. In the 1970s, leftist political commitments, particularly with regard to American aggression during the Vietnam War, encouraged Wolff to insert folksongs and other simple melodic materials into his music. Frederic Rzewski and Cornelius Cardew, two admired colleagues, were thinking A N D Left to right: Christian Wolff, Alvin Lucier and John Cage performing Wolff’s For 1, 2, or 3 People at along the same lines; in addition, the emergence of minimalism seemed , February 25, 1988. Courtesy of Wesleyan University, Special Collections & Archives. to give an aura of historical inevitability to the resurgence of tonality. Changing the System (1973–74) incorporates a text by Tom Hayden: “It’s the system itself that sets the priorities that we have, that distorts the facts, that twists our brains and …there is a double- therefore the system would have edged urge toward to be changed in order to change priorities and to make it possible for T H E economy and informality, us to really see what’s happening.” concision and freedom. Wolff’s embrace of a collaborative, consensual model, antithetical to the cult of authority and genius, enacted in musical terms the change that the political program demanded. Yet he did not make the facile gesture of renouncing avant-garde methods; rather, he accommodated surface simplicities within a larger complex that remained unsettled at its core. RULE9 10 In recent decades, Wolff has synthesized the various techniques that he employed in prior pieces, in unpredictable and constantly mutating Tfashion. Sometimes performers are H given precise notation; sometimes E they move through a more indeterminate environment. A composer who long devoted himself almost exclusively to chamber ensembles has branched out into writing for full orchestra. Harmonies may veer toward an almost neo-Romantic sweetness, as in For Morty, a 1987 memorial for Feldman; or they may recall the austere pointillism of the early period, as in the first of thePianist: Pieces of 2001. All the while, there is a double- edged urge toward economy and informality, concision and freedom. ThisEX essential, elusive music evades the chilly hand of history and keeps pivoting toward an unknown future.

Alex Ross is the music critic of The New Yorker and the author of the books The Rest Is Noise and Listen to This.

1 Morton Feldman, Morton Feldman Says: Selected Interviews and Lectures, 1964-1987, ed. Chris Villars (Hyphen, 2006), 183. 2 Christian Wolff, “Statement,” in Pierre Boulez and John Cage, The Boulez-Cage Correspon- CEPA CELEBRATION OF CHRISTIAN WOLFF dence, ed. Jean-Jacques Nattiez, trans. Robert Samuels (Cambridge University Press, 1993), 108. 3 John Cage, Silence: Lectures and Writings by John Cage (Wesleyan University Press, 1973), 68. 4 Michael Hicks and Christian Asplund, Christian Wolff (University of Illinois Press, 2012); Ste- phen Chase and Philip Thomas, Changing the System: The Music of Christian Wolff (Ashgate, 2010). 5 Morton Feldman, Give My Regards to Eighth Street: Collected Writings of Morton Feldman, ed. B. H. Friedman (Exact Change, 2000), 119. 6 William Duckworth, Talking Music: Conversations with John Cage, Philip Glass, Laurie Ander- son, and Five Generations of American Experimental Composers (Schirmer, 1995), 192. T Hicks and Asplund, Christian I Wolff, 25. O N 7 8 Kyle Gann, American Music in the Twentieth Century (Schirmer, 1997), 149. 9 George E. Lewis, “An Aesthetic of Suggestion,” in the booklet for the recording of Christian Wolff, Duos (New World, 2013). 10 Christian Wolff, Cues: Writings and Conversations (MusikTexte, 1998), 470. THE EXCEPTION AND THE RULE THE AND EXCEPTION THE A N D

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Performing Exercise 14, , 1974. Photo by Nancy Walz. Courtesy of Wesleyan University, Special 11 CollectionsRULE & Archives. 12 think—my first idea—was that I would start thinking about possible courses, do something related to experimental because those seminars are open, you H E E H T music and do a workshop in experi- could write your own ticket. It wasn’t mental music. The Department had right away, but I got interested in never done anything quite like that. political music, so I offered a seminar And that’s something I had occasionally in political music. This again involved done on visits to various schools. And my doing a lot of work and educating it sort of went on from there. myself, but I had a lot of fun doing that.

LP As it evolved, what kinds of things LP Do you still have the syllabus for did you do? Did you extend your job that course? EX into more usual things? AN INTERVIEW CW I might somewhere, yeah. CW Yeah. I was reasonably—certainly— WITH CHRISTIAN WOLFF qualified to do the experimental music LP I know a lot of people who would workshop, and I enjoyed doing that a really like to see that! [Both laugh] BY LARRY POLANSKY lot, and in the first years it went really That’s interesting, how many times did well. And then two other things pre- you teach that? sented themselves. I can’t remember if I volunteered or not, or if they were CW Certainly two or three times, suggested. One was the course in maybe more. The thing is because I CEP A CELEBRATION OF CHRISTIAN WOLFF A CELEBRATION OF CHRISTIAN WOLFF 20th century music. I felt reasonably was teaching in three departments, qualified to do that, though I ended my teaching loads in each one were up doing a lot of homework for it. It’s thinned out so the cycle was moving all very well to have listened to, say, a much slower than if I was teaching in lot of Bartók, but on the other hand… just one.

LP To talk about it, to teach it… LP [incredulously] And you went to PART 1 no objections to that. It seemed a long three different department meetings? N CHRISTIANN WOLFF AT DARTMOUTH shot since I had no formal education TI CW …you have to learn stuff! And in music at all—I had no credentials, then the other course, mostly that I CW [Laughs] That was the downside of Larry Polansky Christian, the first basically. Then it turned out also that did, I forgot the number, but it’s the this appointment. Occasionally I might question I’d like to ask you is about the Dean of the Humanities at the introductory music theory course, it cheat a little bit and tell one depart-

THE EXCEPTION AND THE RULE THE AND EXCEPTION THE your history at Dartmouth, specifically time, who happened to be a friend of started from dead scratch. ment I couldn’t come because I had a in the Music Department. How did Jon’s, was very keen on interdisciplinary meeting with the other one and vice you come to be there? How did that studies of various kinds. And seeing LP Yes, we both did that. The number versa. [Laughs] But basically I tried to position evolve over time vis-à-vis that I actually had a degree in compar- changed frequently over the years. keep up with all three. your joint positions at the school, in ative literature and had been teaching Classics D and Comparative Literature? in N the Classics Department at Harvard, A CW And I liked doing it, because I like LP What year did you come to What did you do as part of the Music I seemed made to order for this agenda. teaching things from the very beginning. Dartmouth? Department? So they worked on it and made me In one sense it’s routine, but at the an appointment, which would put me same time you also are thinking and CW ’71 I think. Christian Wolff I originally went to partly in Classics, and the rest of my can be talking about why these very Dartmouth to interview for a job in the time would be divided between Music basic things are there in the first place. LP And you came right from Harvard? Classics Department, and it looked and Comparative Literature. So it’s fun. And it’s also pedagogically like I had the job but there were challenging—what’s the best way to CW No. I had a year in between at some complications—the Classics LP Was that interesting to you, to be in introduce people to scales, and all something called the Hellenic Center Department E didn’t have quite enough the H Music Department as well? T these different things, so… in Washington, D.C. It was a great room for me. And there happened to scene—you got a year’s stipend, and if be, I should say, two things … One is CW Yes, yes, it was, I think (laughs), it LP I liked to think of it as the only you had a family you got a house, sort that Jon Appleton knew about me as was a challenge. Initially I thought “I music theory course one could teach of in a little compound in a very up- a composer. I hadn’t met Jon before can’t do this!” I’d never been at the without lying. [Both laugh] scale part of Washington. They had a that, but when he heard that I was receiving end of it. But then I talked very good library, and a very interesting applying he said well, you know, if to the folks in the Music Department CW Dartmouth also had this First Year director, and you just did your work. you’re going to come here you should and saw what kinds of things I might seminar, which I’m not sure if it still 13 also be in the Music Department. I had do. The first thing that came up, I RULE does or not. That encouraged me to LP And when did you officially retire A CELEBRATION OF CHRISTIAN WOLFF 15 E X L TRU H E CEP T IA of Courtesy Wasserman. Nancy by Photo 1983. Music, of Department Dartmouth in teaching Wolff Dartmouth College Library. O N N D TE H E

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Yeah. I had already done that stuff. Yeah. Yeah. stuff. that done I had already Right…. Actually not so much! much! so not Actually Right…. No, not at all! When I first started I first When at all! not No, Exactly. When I’m writing I writing I’m When Exactly. But it was irrelevant how good he he good how irrelevant But was it You use a lot of chorales in your your in chorales of a lot use You So you think that was a good thing … thing a good was that think So you Can you think of a specific instance— a specific of think you Can LP good? was he that except was, CW some counterpoint and some chorales, stuff much pretty was it I think but that I had already… LP is counterpoint obviously and pieces, important, but that that stuff was was was it your… of fabric the in already that… nothing CW that Bach did see to how fun was It very good very, was he because stuff, at [Laughs] it! servatory, and I was discouraged from from discouraged I was and servatory, my parents. by actually, that, LP music, political with much so not obvious—when more that’s because theory actually music beginning work? own your in emerged CW Yeah, that! Sorry about laugh] [Both can You simple. pretty it’s because and intervals and scales about think get you time the by extent a certain to do could you course the of end the to And then later on I think, “well, it might might it “well, I think, on later then And mode a Phrygian have to interesting be because especially Phrygian here!” political in a lot quite up turns that interested it So happens. it as songs no. no, No, well. as angle that from me focus. my sharpened definitely It LP music… your make didn’t It CW of what sort decide I had to out, My first getting. be I should education con go to I should that was thought you’re not concerned directly with the the with directly concerned not you’re Yet music. own your in mode Phrygian in… dribbles it sometimes CW configuration this that realize suddenly fact mode! a Phrygian in is notes of - And especially in that music and and music that in especially And Yeah, I ended up analyzing analyzing up I ended Yeah, It was an education. I know the the I know education. an was It ’99. In teaching things like beginning beginning like things teaching In So using real music as the basis for for basis the as music real So using So almost 30 years! 30 So almost What effect did teaching music for for music teaching effect did What

Phrygian mode to your students. But students. your to mode Phrygian political context. LP that ideas teaches theory one music music. one’s exactly in use doesn’t one them about think to have you Yet the explain to how very deeply—like mining songs from Kentucky—fantastic, Kentucky—fantastic, from songs mining was It that. like So things stuff. amazing very nice. about think I got to course, politics which way, a formal in simply not music teaching you’re when a temptation is and historical about also but theory, otherwise, well, for political music, music, political for well, otherwise, my on education modest with again, popular about I learned in, part going the like music, traditional and music, inter really these and songs, mining they’re guess recordings—I old esting Library of Congress recordings of LP the course? CW way the all Schoenberg, Stravinsky, learning Or Carter. Elliot to down So that these. of analyses the about And interesting. and very unusual, was learn something is to teach it. And I And teach it. to is something learn say, teaching of My way it. enjoyed facts basic was music, century 20th analysis, do to mostly but things, and “how’d know to curious I’m because they do that?” so many years have on your musical life? musical your on have years many so CW music, classical especially repertoire, But, a very age. early from well, quite know teach—you to actually having to way fastest The teaching! about CW LP PART 2 DARTMOUTH AT MUSIC TEACHING LP from Dartmouth—you did a phased a phased did Dartmouth—you from retirement?

THE EXCEPTION AND THE RULE RULE THE THE AND AND EXCEPTION EXCEPTION THE THE 14 14 A CELEBRATION OF CHRISTIAN WOLFF 17

Yeah, but he was out of work and and work of out was he but Yeah, Of course, exactly. We suddenly suddenly We exactly. Of course, Yes, it was a different kind of of kind a different was it Yes, And because he had students, had students, he because And He was up at Bowdoin College, right? College, at Bowdoin up was He I think that’s why it didn’t work very work didn’t it why that’s I think was But there gave up. it So he well. we that department the in a feeling Malcolm and it, try continue to should it. do to got him we so available, was completely. it transformed that And on stay to managed only he I think but years, four or three about for of point high the I think were those actually at Dartmouth, music new it a sense But in on. came you until he because active, more even was something did he and group, had this used he that was which very smart, were there that got lucky He students. had a he that so ones, good enough would he then and core, solid fairly York. New from friends up bring also LP come would students the of friends to the concerts. CW get you if because audience, had an will friends their involved, students was that And gets out. word and come, CW York, New like wasn’t It environment. that, they enjoyed like it. something or happened that thing next the then And there was, interesting was I think that a New doing of talk this always was it a while for and ensemble, Music Guigui. a guy Efrain by called run was of conductor the was he Actually, a while, for Symphony Dartmouth the worked He a very conductor. good and a summer with Bennington in down to wanted he and there, thing music at that Dartmouth. like something do wasn’t fly—he really didn’t it end the In had he and basis, a regular on there But interests. musical other of a lot how quite know had … I don’t we then get to managed we but happened… it Malcolm Goldstein. LP CW was do to trying was Guigui What free. using ensemble Music a New make whose instructors, instrumental the was… music new to commitment and complete, not [Laughs], various Well, actually, in the first years, I years, first the in actually, Well, I think there, them have to But just And they probably liked coming up up coming liked probably they And That remained a problem through through a problem That remained I like the example that one can’t can’t one that example the I like about a little talk can you Maybe that ultimately did have some effect. some have did ultimately that lively. was that area one was So that played— and once came Tilbury John AMM And ‘70s. early the was this again had We year. First away. Right came! So Dartmouth a concert. playing them in scene music new the part of became affair, low-key of a kind was It way. that me. for great was it and LP here. Dartmouth? Some of the interesting interesting the of Some Dartmouth? that Changes happened? that things witnessed? you CW about, came it how quite know don’t important more seemed be it but to up bring to me to interesting just or I found who musicians Dartmouth to And hearing. worth and interesting or Center Hopkins the I persuaded to Department Music the sometimes the was this like—and people up bring Glass, Phillip Reich, ‘70s—Steve early people I mean, Lucier. Alvin Riley, Terry So I me. interested at time that who at Dartmouth. there right had them extent, a certain to friends were These at the up them put sometimes we so were what you much pretty house—it’s had Dartmouth years. later the in doing and that, like quite seen anything never because problematic, was it certainly concerts! the to come would nobody laugh] [Both LP there! time whole our CW an E-flat is an E-flat!” There’s nothing nothing There’s an E-flat!” is E-flat an another. or way one polemical LP a “That’s play and at a piano down sit play a cat to and point can cat!” One play even can’t one but something, that simple. something PART 3 DARTMOUTH AT LIFE MUSICAL LP at life musical your of history the - - Well, it’s true, to a certain extent extent certain a to true, it’s Well, Exactly. I mean that’s something something that’s I mean Exactly. I once had a conversation with with had a conversation I once Exactly. So the music itself re-contextualizes re-contextualizes itself music So the notes the but music, use can You Some old English lord being being lord English old Some themselves can’t say anything except except anything say can’t themselves activity. human with association by CW know “you said, he and Hemphill, Julius music, but if you put it in that setting setting that in it put you if but music, color, other this on takes suddenly it are there that is you shows what it and this play who musicians serious these are who but very beautifully music old will are and committed politically also a context. of kind this in that do to ing LP example. a great is Shostakovich things. 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—I just enjoy the the enjoy —I just So things like that, I enjoyed I enjoyed that, like So things Uh … not really, no. I think that we we that I think no. really, … not Uh The examples you gave about gave about you examples The Was that somehow influenced by influenced somehow that Was

students, when they talk about that— about talk they when students, songs But miners’ text. involve all they sung— when political only really are they tunes fiddle as them play you if How text. a political reference only course music teach a political you do music? the about talk actually and Rzewski, and a bunch of others. others. of a bunch and Rzewski, there and very strong, was List Garrett Grosskopf, Erhard Berlin, a guy in was forth. so and LP because this I ask music—and political my with time the all up comes it LP Cardew? meeting your by Cardew, CW interest political that into fell of sort all It mutual. was it time, same the about Frederic was it Cardew, Cornelius was trying to apply these ideas or to see to or ideas these apply to trying So I gave literature. to related they how for literature in Marxism on a course a was course my music and instance, political with that of equivalent of kind have never I would which music, before. years five say of, thought the lower servant class. the about was it because up, picking I got to when about just time, same left- in I got interested that Dartmouth, had we and Marxism, and politics, wing also I was And group. reading a Marxist covered that the libretto of the opera opera the of libretto the that covered banned was that a play from comes banned certainly was and France, in that reason The Vienna. in Austria, in it that so was Italian in was libretto the because censorship, get the by could of uprising possible the about all it’s CW Teaching, especially the course course the especially CW Teaching, in think to got me music, political on about ways political historical, social, my of one example, For music. classical Mozart’s is there out pieces favorite Figaro of Marriage I began however, But then, it. of music dis and more, learn and more, read to INTERLUDE ITS TEACHING AND POLITICAL MUSIC

THE EXCEPTION AND THE RULE RULE THE THE AND AND EXCEPTION EXCEPTION THE THE 16 16 THE EXCEPTION AND THE RULE 18 brought some…. festival, Mario Di Bonaventura, and he interesting, there was asummer music ally there would be something very which varied in interest, but occasion used to be this thing Dartmouth, at was it. On the second festival—there on the farm, and fed them, and that no money, nothing, we put people up about it. It was done on completely Appleton, but he was enthusiastic very person in the first festival was Jon no, it wasn’t all. at The only Dartmouth CW all? at Dartmouth with Burdocks Festival, was that involved annotated on mysite. What about the LP think! CW Glasgo plays in it. that recording; Iremember that Don LP the opportunity to do that… in the middle of it. Sothings like that, students, and of course that Frederic is flavor to the recording because it is the CW it. downloaded and it to listened and Idigitized it. Alot of people have LP CW LP piece. that of recorded of the best performances you can find doing the voice part. Ithink that’s one playing the keyboard, and astudent of [Rzewski], and we did aperformance best memory there was with Frederic coming up, so that was pretty good. My lucky. And we interesting got people normally one it been had if you were fiveconcerts a year, of new music— would do as many as three, four, or successfula very venture, because he Iremember. Ihave the whole group There are some great players on You me gave the original recording, It’s on mywebsite. Coming Together Oh good, oh good. It has a kind of really? Oh Well, marginally. speaking, Strictly DonGlasgo—yes. Iplayed flute I with Frederic Frederic with - organ. There’s astretch in that record possibility for David Tudor to play the over for him. And it allowed for the older man, but Gordon sort of took engineer with attached Spaulding, an of the engineering. There was asound pieces, and Gordon [Mumma] did most Frederic [Rzewski] recorded piano made it possible for us to do that. question facilities, of Dartmouth but recording, agreat recording. It was a CW LP in…. recording went down to record it, we made that Festival, for which Iwrote theat end of the second Burdocks the facilities here are good! And very nection with the Burdocks Festival: con and its thing Dartmouth about CW LP was invited to . happening. And as aresult of that I cause word out got had that this was Festival, and he came up for it, be I think, during the second Burdocks cellist in the ’60s and ’70s. This was, you know, the top German new music Dartmouth— for was reason at some CW Berry-Baker Library afew years ago. researched exhibit about the festival at LP CW as well. LP various dudes… heavy very summer that much. there But were summer and Iwasn’t around in the some of them because it was in the Henze,had Ican’t remember. Imissed street! [Laughs] And he might have was Mr. Krenek walking down the down the street in Hanover and there CW LP Spaulding Auditorium? was That in the early ‘70s. Yes, Steve Swayne did anicely Ithink Cowell he Henry had there [Ernst] Krenek! 1971 Ithink. 1971 Ishould say one more One of those times, Siegfried Palm Really? Ididn’t That know. [Laughs] Yes. Imean you walked Spaulding, right. That’s quite a Burdocks - -

, we - again not academically qualified, exactly, of it—they might have poets, people The English Department atradition had sarily straight ahead academic types. to take in people who are not neces has, I’veDartmouth capacity a noticed, ness of the place to do that. So again it’s the facilities and the open the tune was banging out on the organ. before you knew it he was up there and never used. Tudor saw it up there, and and it’s the organ, you know, that is ing where suddenly you hear the organ, concerts. Actually, the next phase phase next the Actually, concerts. improvised together, concerts of CW LP College! I first heard Cecil Taylor,at Dartmouth to hear these people play. That’s where thecatch concerts and achance get and interesting people. And Iwould CW LP the drumming ensemble. part of the curriculum, which is now for anumber of years we this had as appointment for black musicians. And Department pitched in with an open about more diverse hirings, the Music new political awareness, and feelings with it. In the early ‘70s, partof the Dixieland—but Ihadn’t really kept up tionship. Ilistened to as akid— with which atenuous Ihad rela talked about the other day. It’s jazz, which is important to me, which we CW history you’d like to talk about? the early history. Is there more recent LP ple. is That valuable avery point of view. openness to alternatives kinds of peo also part of that mentality, which is an things. Sothat they would take me is there and did all kinds of interesting academic all, at and yet he was afixture Noel Perrin is agood example—not an writers. distinguished they’re but Did you work with Bill Cole? It was first. at DonCherry You’ve talking been mostly about Yes, some, Ithink we did acouple DonCherry, yes, important very Yes, there’s one other phase, This is alittle bit different, but -

- - - Interview conducted April 13, 2015 think. I LP CW LP contrary… the college does not discourage that, on to have to make it happen, and the thing’s going to happen, you’re going such an isolated place, and so if any CW sing with the Shakers! and Idid, bring Dartmouth students to selves to the college, or as Ann Mary do things like bring the Shakers them and with so much support, you could LP occasions. and ties the college, there are these possibili you, so again, that’s anice thing about CW AnnMary Haagen! LP music! yourself, and myintroduction to Shaker it! And while we’re it, at we can mention unless somebody locally does it, that’s especially in Hanover, New Hampshire… the opportunities to hear those things, something Iwas aware of, but again opened up things that way. It was musical occasions to the college, and who himself brought interesting very brought is still with us—Ted Levin— end the most interesting person they its toes in the water there. And in the should it have felt Dartmouth Again would be the thing. That’s anice way to conclude, They really encourage it. One could pursue one’s interests, [Laughs] Oh! came That through They encourage it and support it! Imean it’s alittle bit because it’s Yes, but it was funneled through

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19 WOLFF CHRISTIAN OF CELEBRATION A AA CELEBRATIONCELEBRATION OFOF CHRISTIANCHRISTIAN WOLFFWOLFF 21

highlights key aspects of of aspects key highlights PROGRAM

Faulkner Recital Hall, Department of Recital Music Hall, Faulkner – Free pm 4:30 noted Cruz), Santa UC Music, of (Prof. Larry by Polansky Moderated past the over public the to transmitted as music Wolff’s discuss guests composer/ Behrman, David musicologist; Amy Beal, With decades. six Hartt at The program composition the of chair Carl, Robert artist; Michael and composer; Lucier, Alvin Hartford; of University School, composer/performer/writer.Parsons, Burak. Eli by Photo 2015. March, Hanover, In SEPTEMBER 1–DECEMBER 10, 2015 10, 1–DECEMBER SEPTEMBER Dartmouth Exhibition Library at every ending anew beginning Wolff: Christian Hall Main Library Baker at every ending anew beginning Wolff: Christian and collaboration; and politics, indeterminacy, work: Wolff’s Christian as College Dartmouth with association long composer’s the celebrates literature. comparative and classics, music, of a professor 2015 22, OCTOBER THURSDAY, Reception Exhibition Dartmouth Library Hall, Main Baker – Free 4 pm Library Dartmouth the by Sponsored 2015 23, OCTOBER FRIDAY, Performance In Wolff: Christian Discussion: Panel

THE EXCEPTION AND THE RULE THE AND EXCEPTION THE 20 AA CELEBRATIONCELEBRATION OFOF CHRISTIANCHRISTIAN WOLFFWOLFF 23 ,

Isn’t for Pete (2000), (2000), (1973-4) with with (1973-4) from 1957 in in 1957 from (1973–1975), (1973–1975), (1957-1982-2001), (1957-1982-2001), Percussionist Isn’t this a Time this Isn’t Exercises , from a collection of of a collection , from ) (2015). (1950); a work for piano piano for a work (1950); 1–13, 15–18 1–13,

, (1950), , (1950), (2006); a percussion solo, solo, a percussion (2006); Duo for Pianists for Duo (2015), a piece with open open with a piece (2015), Exercises continued Exercises Serenade Brooklyn (1987) (2006), (2006), (2014), and and (2014), Pete “For Morty” Trio V for James Tenney Tenney James V for Trio music for two pianos/piano 4 hands pianos/piano two for music (2000), and one of the the of one and (2000), (1974), (1974), (1982), (1982), Serenade for flute, clarinet and violin and clarinet flute, for Serenade Performance Department of Recital Music Hall, Faulkner – Free 7 pm Larry Polansky, Mori, Ikue including artists sets featuring Improvisation Wolff Christian Lewis, George Baron, Joey Schulkowsky, Robyn by combinations, various in performances, feature will concert This percussionists and a laptop, uses who Mori, Ikue improvisers noted guitars, Larry Polansky, with along Baron, Joey and Schulkowsky Robyn objects. and piano Wolff, Christian and TO CHANGE SUBJECT WORKS ALL PERFORMANCE a variety of performers. and percussion, percussion, and Percussionist playing, heterophonic improvised and instrumentation open with pieces including ensemble a larger by played be will This 1973-4. in written ICE. of members eight 2015 24, OCTOBER SATURDAY, Performance Chapel Rollins – Free 2 pm from selections including Works a Time this pieces, ensemble larger recent two of consist will program The and ICE by commissioned Seeger (2014), Pete for piece a memorial and them, by performed here including players, more or six by performance allowing instrumentation Polansky, Baron, Schulkowsky, here improvisers, also are who some and Lewis, George improviser and composer jazz and music new Wolff, are program the on Also ICE. of members several of a selection and (1982) saxophone and clarinet FRIDAY, OCTOBER 23, 2015 ( 2015 23, OCTOBER FRIDAY, Performance Department of Recital Music Hall, Faulkner – Free 7 pm including Works case), case), Trio V For James Tenney James V For Trio Exercise 14 breakthrough the includes program The the in configurations sound variable chooses freely each pianist which of one are program the on Also performance. of process real-time this in (three pitches of numbers very small using very pieces early the

, including solos solos , including Exercises 15–18, For any number of instruments of number any For 15–18, Exercises from Exercise 18

Christian Wolff, Wolff, Christian reserved. rights All permission. kind by Used #66727. edition Peters 1975. trombone), keyboard, g., (e.

THE EXCEPTION AND THE RULE RULE THE THE AND AND EXCEPTION EXCEPTION THE THE 22 22 A CELEBRATION OF CHRISTIAN WOLFF 25 -

. But I might be

Long Piano —Frederic Rzewski No funny stories today, although although today, stories funny No As someone who knows Wolff’s Wolff’s knows who someone As I think I like performing more than than more performing I like I think He has written a number of pieces pieces of a number written has He His music is always surprising, so I so surprising, always is music His You have experienced Wolff’s music music Wolff’s experienced have You celebration the of occasion this On FR But it. expect do it play to supposed I was example. an in myself found suddenly but Berlin, in unexpected. was that so hospital; the AF a performer. and a listener as both satisfying? more role one find Do you insights? different offer Do they FR I hard how on depends it but listening, case. either in work to have AF as accomplishments many Wolff’s of there is intellectual, and a composer A funny add? to like you’d anything a to A response story? A well-wish? ask? to thought have I should question FR later. or sooner up pop well could one 2015 22, April conducted Interview thetic, at least one which shows sen shows which one at least thetic, Could experience.” women’s to sitivity does How point? that on elaborate you sensitivity? that convey music Wolff’s . . . music Christian’s it had say said what to said stopped. then It and silence. with more FR like theme, this to explicitly referring Hay Desaparecida Una Mujer rhythm to approach his that say would well: as it with do to something has interruptions. with do to something go to complex too is that But I think into here. AF and intimately output compositional a composer as grow him watched has out stick piece one does decades, over A turn surprising? particularly being as make? to him expect didn’t you - - - you The Algebra of Everday Life Everday of Algebra The I’m not sure I really follow you; but but you; follow I really sure not I’m You can’t be an “outsider” if you’re you’re if “outsider” an be can’t You In The two groups Wolff is most often most is Wolff groups two The As legend has it, you met Wolff in in Wolff met you it, has legend As shared interests? FR situations two the of neither I think a as described be can mention you hang “friends that I suppose “group.” ing” is probably more accurate. AF a of example a rare is “Wolff wrote, to been able has who composer male aes exactly not a feminine if express, experimental an in otherwise thinkers conservative Harvard climate? FR not could Shostakovich as just Harvard, in also while Stalinism” of a “victim be prize. Stalin the awarded that jury the “conserva not was Harvard Besides, I that there was it tive” at time; that like people of acquaintance the made I Marcuse. Herbert and Sontag Susan were we that felt both we that think élite. a privileged of members AF Brown Feldman, with—Cage, associated you then and York New in Tudor and move his after Cardew Cornelius and seem portrayed, Cambridge—often to There’s band. a rock like retrospect, in told is story the way the in a sense confidence, reinforcing a mutually of a collective hip, of brand a certain and seemed undergird that to identity each of thought individual the spark at that the like feel it Did ‘member.’ a creating consciously you Were time? or a movement, alliance, professional than that—just haphazard it more was their about talking out hanging friends each night. I never thought I would I would thought I never each night. that.experience AF continued then and ’56 in Darmstadt to returning after friendship your Cambridge. Harvard and Darmstadt very different undoubtedly were strikes it though time, at the contexts felt have may Wolff and you that me in reasons, different for outsiders, like Did characterization? a fair that Is both. you bond over that status— outsider as and Darmstadt, in Americans as TRULE H E CEP TI A N D TE H E - - Madrid in 2008, at the national au national at the 2008, in Madrid It’s usually easier when there are are there when easier usually It’s Of all the times you’ve performed performed you’ve times the Of all FR so, or 2,000 of An audience ditorium. ovations standing a row, in nights two find that to be true? Do you prefer one one prefer you Do be true? to that find another? to setting FR noticed But I have people. several friends, of a group be to tends it that some in seen each not other have who a a lot waste to tend we that so time, is This rehearsing. of instead time of lot thing a good necessarily not course of music. the for AF concert a certain does music, Wolff’s memorable? particularly as out stick collective decision-making, I would I would collective decision-making, music Wolff’s performing that imagine differ quite is setting ensemble an in Do you solo. it performing than ent

- O BY ASHLEY FURE BY The use of silence, silence, of use The As a performer, you’ve you’ve a performer, As INTERVIEW RZEWSKI OF FREDERIC N X Given his focus on the interaction interaction the on focus his Given

of performers and the dynamics of of dynamics the and performers of It then said more with silence. It was was It silence. with more said then It I think irony. called Greeks what the some is silence with encounter this effect on had a lasting has that thing evenme, today. AF I guess. Most of the music I heard I heard music the of Most I guess. either was (‘50s) time that around post- or post-Bartók, Stravinskyan, seemed all it case, any In Schoenberg. relentlessly. on and on chug to hand, other the on music, Christian’s stopped. and say had to what it said Ashley Fure Ashley of supporter been a longstanding drew first What music. Wolff’s Christian or hear you did What work? his to you sparked that it performing when feel engagement? a sustained such FredericRzewski

THE EXCEPTION AND THE RULE THE AND EXCEPTION THE 24 26 E H T

CELEBRANTS X E

THE INTERNATIONAL CONTEMPORARY research and performance activities ENSEMBLE (ICE), described by the New explore the history of American experi- York Times as “one of the most accom- mental music. She is the author of three plished and adventurous groups in new books: New Music, New Allies: American music,” is dedicated to reshaping the Experimental Music in West Germany way music is created and experienced. from the Zero Hour to Reunification CEP A CELEBRATION OF CHRISTIAN WOLFF With a modular makeup of 35 leading (2006); Carla Bley (2011); and Johanna instrumentalists, performing in forces Beyer (2015). She currently serves on ranging from solos to large ensembles, the Board of Trustees for New World ICE functions as performer, presenter, Records and on the editorial advisory and educator, advancing the music of board for Tempo magazine. our time by developing innovative new works and new strategies for audience DAVID BEHRMAN has been active as a engagement. ICE redefines concert composer and artist since the 1960s. music N as it brings together new work O His compositions I and installations T and new listeners in the 21st century. feature flexible structures and the use of technology in personal ways. My JOEY BARON, born in 1955 in Richmond, Dear Siegfried, Leapday Night, On the

THE EXCEPTION AND THE RULE THE AND EXCEPTION THE Virginia, started playing at age 9. Over Other Ocean, Long Throw, Interspecies the years, he has developed a unique Smalltalk and Open Space with Brass are approach to making music with the drum among his works for soloists and small set, evident in his extended tenures with ensembles. His multimedia installations jazz icons Jim Hall, Steve Kuhn, and John have been exhibited at galleries and Abercrombie. D His long-term collabo- museums N in the and A ration with Bill Frisell was documented Europe. Cloud Music, a collaboration and released as Just Listen on Relative with Robert Watts and Bob Diamond, Pitch Records in 2013. Presently, Mr. was acquired by the collection of the Baron’s activities include solo concerts, Smithsonian American Art Museum in workshops, master classes, drum music 2013. A recent orchestra piece, How collaborations with percussionist Robyn We Got Here, commissioned by the BBC Schulkowsky (Dinosaur Dances CD), Scottish Symphony, was premiered in plus ongoing projects with John Zorn, 2014. He had long associations with the duo concerts E with Lee Konitz, and the Merce H Cunningham Dance Company, T Joe Lovano/Dave Douglas-led “Sound John Cage and David Tudor, and was a Prints” quintet. co-founder, with Alvin Lucier, Robert Ashley and Gordon Mumma, of the Sonic AMY C. BEAL is professor of music at Arts Union. Audio recordings of his works UC Santa Cruz, and her musicological are on the Alga Marghen, XI, Pogus, New

Top left to right: Christian Wolff, Jon Appleton; middle: Paul Moravec; bottom left to right: Bill Cole, David Evan 27 Jones, at a Dartmouth New Musics concert. Photo by Stuart Bratesman. Courtesy of Dartmouth College Library.RULE World, WERGO and Lovely Music labels; Ensemble, Dinosaur Annex, Ensemble and Vergo. Lucier was awarded the Amy Williams, Christian Wolff, Amnon 28 videos can be viewed at Roulette.org, Pamplemousse, Wet Ink, Turning Point Lifetime Achievement Award by the Wolman, and Charles Wuorinen. Ms. ubu.com, and dbehrman.net. Ensemble, Ensemble Erik Satie, Orkestra Society for Electro-Acoustic Music Oppens has performed with virtually Futura, Eco Ensemble, Oberlin Contem- and received an Honorary Doctorate all of the world’s major orchestras, ROBERT CARL’s teachers include porary Music Ensemble, and others, with of Arts degree from the University of including the New York Philharmonic, Iannis Xenakis, Ralph Shapey, George commissions from the San Francisco Plymouth, England. Alvin Lucier is John Boston Symphony Orchestra, Los Rochberg, and Jonathan Kramer. His Spencer Camp Professor of Music, Angeles Philharmonic, and American music is performed throughout the US Emeritus, at Wesleyan University. Composers Orchestra. Abroad, she has and Europe. As a writer on new music, appeared with the Berlin Symphony, Mr. Carl was commissioned by Oxford Christian’s music redefines IKUE MORI started playing drums when Orchestre de la Suisse Romande, University Press to write Terry Riley’s she moved from Japan to New York Deutsche Symphonie, Scottish In C; writes extensively on new music the composer’s role; it City in 1977 and formed the seminal BBC, and the London Philharmonic for Fanfare; has contributed a chapter completely overturns received NO WAVE band DNA with Arto Lindsay Orchestras. Distinguished Professor to The Farthest Place, an anthology of aesthetic notions, discovering and Tim Wright, which created a new of Music at Brooklyn College and writings on the music of John Luther brand of radical rhythms and dissonant the CUNY Graduate Center in New Adams; and was the editor of an issue unexpected possibilities in sounds, forever altering the face of York City, she served as John Evans of Contemporary Music Review on his- familiar material: surprising, rock music. In the mid ’80s Mori em- Distinguished Professor of Music at toricism in late 20th century American ployed drum machines in the unlikely Northwestern University in Evanston, IL music. For the latter, he first met and disconcerting and enlivening context of improvised music, forging from 1994-1998. interviewed Christian Wolff. CDs on in equal measure. her own highly sensitive signature style. New World Records have included his During the ’90s, she collaborated with has been active —Michael Parsons MICHAEL PARSONS A CELEBRATION OF CHRISTIAN WOLFF string chamber works, and experi- numerous improvisers throughout the since the 1960s as a composer, mental/electroacoustic works derived US, Europe, and Asia, continuing to performer and writer on music. After from Japanese music and aesthetics. produce and record her own music. taking a degree in classics at Oxford His works are published by American Contemporary Music Players, 2010 Van- 1n 1999, Mori won an Award of Distinc- he studied piano and composition at Composers Edition (www.composers. couver Cultural Olympiad, OPUS (Paris), tion in the Digital Music and Sound Art the Royal College of Music. In 1969 com). Other CDs of his music can be IRCAM, Harvestworks, Studio Museum category of the Prix Ars Electronica, he was co-founder with Cornelius found on Innova, Centaur, Cedille, and in Harlem, the Glasgow Improvisers and shortly after started using a laptop Cardew and Howard Skempton of the VMM. Carl is chair of the composition Orchestra, and others. computer to expand her vocabulary, Scratch Orchestra, an experimental program at The Hartt School, University not only playing sounds but creating collective of musicians and artists from of Hartford. ALVIN LUCIER was born in 1931 in and controlling the visual work as well. diverse backgrounds who developed Nashua, New Hampshire. He studied at Her works have been commissioned by an open-ended approach to sound GEORGE E. LEWIS is the Edwin H. Case Yale and Brandeis and spent two years in the Tate Modern, SWR German Broad- and performance, unrestricted by

THE EXCEPTION AND THE RULE THE AND EXCEPTION THE Professor of American Music at Colum- Rome on a Fulbright Scholarship. He has casting Corporation and Shajah Art traditional boundaries and definitions bia University. Recipient of MacArthur pioneered in many areas of music com- foundation (United Arab Emirates). She of music. From 1970 to 1990 he was a and Guggenheim Fellowships, Alpert position and performance, including the has led workshops at many schools, visiting lecturer in the Department of Award in the Arts, United States Artists use of brain waves in live performance including University of Gothenburg, Fine Art, Portsmouth Polytechnic, Walker Fellowship, and fellowships from and the evocation of room acoustics Dartmouth College, Stanford and the and at the Slade School of Art. In 1996- the National Endowment for the Arts, for musical purposes. His works include School of the Art Institute of Chicago. 97 he was composer in residence at Lewis studied composition with Muhal sound installations and works for solo Kettle’s Yard, Cambridge, working in Richard Abrams at the AACM School of instruments, chamber ensembles, and Pianist URSULA OPPENS has long been association with artists of the Systems Music, and trombone with Dean Hey. A orchestra in which, by means of close recognized as a leading champion group. His early work was influenced member of the Association for the Ad- tunings with pure tones, sound waves of contemporary American piano by Schoenberg and Webern; in the vancement of Creative Musicians (AACM) are caused to spin through space. music. An enduring commitment to 1960s he became interested, through since 1971, Lewis’s work in electronic Lucier performs, lectures and exhibits integrating new music into regular Cardew, in indeterminacy and the and computer music, computer-based his sound installations extensively in concert life has led Ms. Oppens to music of the New York School. He multimedia installations, text-sound the United States, Europe and Asia. His commission and premiere countless has written many works for piano, works, and notated and improvisative most recent work, Orpheus Variations, compositions. In addition to her instrumental ensembles, and, more forms is documented on more than 140 will be premiered at the New Music long and productive association with recently, for voices, including Three recordings. His work has been presented Days, Ostrava, Czech Republic, in August Elliott Carter, she has premiered Sappho Lyrics (for the Finnish female by the American Composers Orchestra, 2015. His recent book, Music 109, Notes works by such leading composers as vocal ensemble Fiori), and settings of International Contemporary Ensem- on Experimental Music, was published Luciano Berio, William Bolcom, John choruses from Sophocles’ Antigone. ble, Ensemble Dal Niente, BBC Scottish by the Wesleyan University Press. Many Harbison, , Tania Leon, Symphony Orchestra, Boston Modern of his works have been recorded on Harold Meltzer, György Ligeti, Witold LARRY POLANSKY is a composer, Orchestra Project, Ensemble Either/Or, Disques Montaigne, Mainstream, Mode, Lutoslawski, Conlon Nancarrow, Tobias theorist, performer, editor, writer 29 London Philharmonia Orchestra, Talea CBS Odyssey, New World, Lovely Music, Picker, Frederic Rzewski, Joan Tower, and teacher. He is the Emeritus A CELEBRATION OF CHRISTIAN WOLFF 31 - - , has - , . , Attica , a virtuosic set , a virtuosic Encouragement The People United United People The ROBYN SCHULKOWSKY ROBYN (with Joey Baron and Fredy Fredy and Baron Joey (with 8 Duos–music by Christian Wolff Christian by 8 Duos–music she took her “rhythmlab” to Greece Greece to “rhythmlab” her took she she , and Berlin In England. and per of interpretations new directed based compositions orchestra cussion Charles composer the by sketches on her released Records World New Ives. trio, percussion for composition own Armadillo the released also World New Studer). cd percussion solo for work latest Wolff’s orchestra, string and Münchener the by commissioned Kammerorchester, was premiered Robyn 2015 In October. in in and China to rhythmlab with travels percus large for work a new premiers Iceland. in ensemble sion that used text elements and musical musical and elements text used that features. structuring as style a of recitation the includes which and letter, prison Be Defeated Never Will well- most his are variations, piano of he 1977, In period. the of works known composition of professor made was Liège, of Conservatory Royal at the teach to continued has and Belgium, since. there a soloist, As the of many recorded and premiered of works percussion important most 1998, Since centuries. 21st and 20th the Schulkowsky Lab, Rhythm of founder as count to workshops rhythm taken has drumming incorporating cities, less 2005 In globe. the around from music Lab Rhythm Frequency And Space Lukas and Schulkowsky by created the for music original premiered Kühne, of Hall Vanderbilt the in “marimbon” Station. Central Grand City’s York New of students 100 with working 2009, In created she backgrounds, social mixed based project theatre music a new year Last Antigone. of story the on , piano, is among among is , piano, premieres of such monumental works works monumental such of premieres X (1962). Klavierstück Stockhausen’s as Alvin with founded, Rzewski 1966, In the Teitelbaum, Richard and Curran Electronica Musica ensemble famous free combined which (MEV), Viva and music written with improvisation music his ‘70s, the During electronics. lines, these along develop to continued to began proclivities socialist his as but developed he course, artistic his direct music instrumental for structures new and awards, including Guggenheim, Guggenheim, including awards, and Directions New Mellon and Fulbright, in work for latter (the Fellowships performance). Language Sign American (with recipient inaugural the was He Henry the Cowell of Behrman) David Center. Music American the from Award guitarist as (primarily a performer As premiered has he mandolinist), and and recorded important contemporary Barbara Wolff, Christian by works James Parsons, Michael Feldman, Monk Ron V Vierk, Lois Harrison, Lou Tenney, Mahler, David Goode, Daniel Nagorcka, and many others. FREDERIC RZEWSKI American the of figures major the the in emerge to avant-garde musical composer influential a highly and ‘60s, Massachusetts, in Born performer. and at Harvard, music in B.A. his earned he from M.F.A. received an later and with studied he where Princeton, Babbit. Milton and Sessions Roger to him took scholarship A Fulbright a year for study to 1960 in to came first He Dallapiccola. Luigi with new of a performer as attention public the in participated having music, piano Strauss Professor of Music at Music of Strauss Professor Dartmouth the co-founderCollege, Music Peak Frog of co-director and is and Collective), (A Composers’ at UC Music of Professor currently at Bard taught also has He Cruz. Santa His schools. other several and College World New on available are CDs solo Blue, Cold and Artifact, Records, anthologized widely is music his and are works His labels. other many on the around frequently performed of recipient the is Polansky world. commissions, prizes, of a number TR H E CEP T IA O N N D T EX U H LE E

Promoting a new music and jazz concert at Dartmouth. Left to right: Jon Appleton, Christian Wolff, Hafiz Hafiz Wolff, Christian Appleton, Jon right: Left to Dartmouth. at concert jazz and music a new Promoting Library. College Dartmouth of Courtesy Stuart Bratesman. by photo Cole; Bill Jones, Evan David Shabazz,

THE EXCEPTION AND THE RULE THE AND EXCEPTION THE 30 A CELEBRATION OF CHRISTIAN WOLFF 33 . For Piano Four Hands and One Percussionist (page 3). Peters 3). Peters (page Percussionist One and Hands Four Piano . For Trio V for James Tenney James V for Trio Christian Wolff, Wolff, Christian reserved. rights All permission. kind by Used Corp. Peters C. F. ©2007 #68174. Edition TRULE H E CE T A N D TEX H E - I There is no one quite like Christian Christian like quite one no is There It’s conceptual, and yet when you you when yet and conceptual, It’s ST looking is he work, at Christian’s look terms in forward looks he as back Feldman and Cage, but he’s nothing nothing he’s but Cage, and Feldman could you I mean them. of any like pre very for piece early the that argue piano a prepared it’s yes piano, pared material, limited fairly uses it piece, I Cagean influence, obvious an has it wrote he when sixteen was he mean influences your bear of kind you it, has Hicks Michael then, But even then. the in chapter fantastic that written music, Christian’s about I edited, book for case strong a really makes which Cage influenced music Christian’s how Feldman, influenced also it how and really. them of any like not he’s but PT so original, so is music his and Wolff, yes and place, to hard so and unique, with historically him associate people

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Bread Bread Folklore BY SPENCER TOPEL OF CHRISTIAN WOLFF ON PERFORMING THE MUSIC MUSIC THE PERFORMING ON How did you get to you did How I played this piece by by piece this I played INTERVIEW WITH PHILIP THOMAS (1976) by Christian in the the in Christian by (1976) P On the topic of experimental music music experimental of topic the On

and that I think spurred me on to to on me spurred I think that and music. his of more ST does how music, in experimentalism or in history the into fit Wolff Christian U.K.? the and States United the both and Roses I time first the was It concert. same there and music, his of any played about immediately something was the just I liked, that world sound the narrative of kind the and harmony maybe, flow non-narrative the or flow Spencer Topel at or music, his and Christian know Christian encounter you did what point Wolff? Thomas Philip entitled Finnissy Michael played I also and (1993-94),

THE EXCEPTION AND THE RULE THE AND EXCEPTION THE 32 A CELEBRATION OF CHRISTIAN WOLFF 35

E N with . He is is . He sub rosa Electronic Music for Music Electronic . currently recording all of Wolff’s Wolff’s of all recording currently for music piano solo John of performer experienced an the performed having music, Cage’s orchestra and piano for Concert Merce the and House Apartment both well as Company Dance Cunningham prepared and piano solo the of most as 12-hour a unique including music, piano performance of piano 2015 30, April conducted Interview

in , published Long Piano Small Preludes Small , having co-edited and and co-edited , having specializes in performing performing in specializes Changing the System: System: the Changing in 2014 and and 2014 in He wasn’t going to tell me these these me tell to going wasn’t He It was incredibly frustrating, and and frustrating, incredibly was It Wolff, and composers who broadly broadly who composers and Wolff, aesthetic, a post-Cageian within work been particularly has he years recent in TH Christian of music the with associated his of premiere world the giving Wolff, By Sailing of premiere UK the 2009, 11) March (Peace of study major first the to contributed music, Wolff’s Wolff Christian of Music the and RULE 2010, in Publications Ashgate by like what you do there” or “Could you you “Could or there” do what you like sound doesn’t that Well more.” this do do. to thing Wolff a very Christian like score. the with job his done He’s happen what would because things, CEP I might and me, know didn’t He then? how is “This my pupils: to go then because I know music, this play to what he me told Wolff Christian get a performing you then and liked,” like sound doesn’t that and tradition, he’d because either Wolff Christian differently it play to my pupil want really is So that it. I had played than TIO the of shrug simple that important, so That’s “sure.” the and shoulders he that appear might it important, he because it’s but care, doesn’t deeply cares. Thomas Philip including music, experimental and new music. improvised and notated both A each on emphasis much places He designing event, a unique being concert and provoke that programs imaginative drawn Particularly connections. suggest John of music experimental the to Christian and Feldman Morton Cage, N D variably when you meet a composer for for meet a composer you when variably sure quite not you’re and time first the T a be can it out, work to going it’s how across I looked nerve-wracking. little sitting was he and afterwards him to the for waiting just I was and there, otherwise— or blessing response—the looked just he and composer, the from and shoulders his shrugged and at me it. was that and “sure” went EX so was it I realize more and more yet he what could’ve because important I don’t or there it like I don’t “No, said? H E - - - . I

is probably the Bread and Roses and Bread Edges , he was playing one piano piano one playing was , he , in Bologna [Italy] with Christian Christian with [Italy] Bologna , in There was another performance performance another was There —Philip Thomas —Philip Exercises The most important experience for for experience important most The Definitely, but he’s quite good at good quite he’s but Definitely, Something a bit mischievous... a bit Something ex important any there are Finally, PT him, met I time very that first was me playing I was when in and afternoon, the in him with met we repeated it, and again it was pretty pretty was it again and it, repeated we I think Christian, was it I think hairy. hadn’t we places to it pushing was he planned. ST PT quite looks he know, you it, hiding innocent. ST beyond share might you that periences my questions? playing as well. well. as playing written, he’s score improvisatory most ambiguous most and open most the it’s scores. his all of perhaps some quite House Apartment with of one was it Cambridge, ago in years the got we and other the playing I was and nailed rehearsal...really in good really it had went...I all it concert, the In it. got all we on, going what was idea no completely lost. It got ova a standing then and received well, so was it tion, That feeling of wanting to to of wanting That feeling of playing, joy the and play, heart the absolutely is music. ensemble of his play, to want you makes It it importantly, more and play to want you makes with other people. PT: On one level I’m interested to to interested I’m level one On PT: he’s another on but him, surprise what very but much, written not often respect. to going I’m written has he surprises are there that, said Having of a performance In him! from often Edges

- As you dig a little deeper he comes comes he deeper a little dig you As I think it was Cage who said that that said Cage who was it I think Considering that Christian’s work work Christian’s that Considering Not to dwell too much on the the on much too dwell to Not

play, and more importantly, it makes makes it importantly, more and play, people. other with play to want you ST instructions, game-like often contains where circumstances any there are past the boundaries. things taken you’ve love that, because it just typifies how how typifies just it because that, love playfulness, play, of idea the important music, the in is innocence childlike and he techniques the in out comes it and That feeling playing. ensemble in uses of joy the and play, to wanting of his of heart the absolutely is playing, to want you makes It music. ensemble childlike playfulness as well about him him about well as playfulness childlike man this is there that a musician, as who’s old, years eighty-one now is who of a concert playing be to very happy blowing and sitting music, avant-garde lap, his on melodica little this into I know. you tunes, little these making endearing, and when you actually actually you when and endearing, really to access you gives he probe, insights. incredible PT comments amazing some with out really and perceptive really are that fantastic this there’s yet and reflective, I know. I know. ST is he but Wolff, Christian person modest, and self-effacing extremely coax things of sort to have you and really I find which a way, in him of out improvisation either, it’s a strange a strange it’s either, improvisation melodic little odd with music, textured hockets, little strange there, in phrases inter performer based on rhythms a create they and things, and actions motivic with dealing and line of sense else anything unlike is which material, PT a “classical like is music Christian’s I mean, civilization.” alien an of music there, in Webern got Bach and you’ve like not it’s obscure, so is it but an has of kind it and else, anybody not it’s but it, to quality improvisatory of what he draws from traditional traditional from draws what he of counterpoint and practices notational techniques.

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THE EXCEPTION AND THE RULE 1 DARTMOUTH COLLEGE DARTMOUTH HANOVER, NH HANOVER, E H EX T E D H RULE N N T O A I T CEP