Louise Talma (1906–1996) Was Born in Arcachon, France, a Resort Town Near Bordeaux

Total Page:16

File Type:pdf, Size:1020Kb

Louise Talma (1906–1996) Was Born in Arcachon, France, a Resort Town Near Bordeaux Louise Talma (1906–1996) was born in Arcachon, France, a resort town near Bordeaux. Her father died while she was still a child, and her American mother moved with her daughter to New York City in the summer of 1914. An excellent science student, Talma studied chemistry at Columbia University while pursuing piano and composition studies at the Institute of Musical Art, the music academy that later became the Juilliard School of Music. Talma took courses there from 1922 until 1930, winning the Seligman Prize for composition in 1927, 1928, and 1929. She later earned her Bachelor of Music degree from New York University in 1931, and in 1933, an M.A. degree from Columbia. During summers from 1926 to 1939, Talma traveled to Fontainebleau to study piano at the American Conservatory under Isidor Philipp, one of France's most renowned piano instructors, and composition under the rigorous training of Nadia Boulanger. By 1935, Boulanger had convinced Talma to focus exclusively on composition, and Talma's career truly took shape. Talma's earliest compositions included Song of the Songless (1928); Three Madrigals (1928), a piece for voice and string quartet; Two Dances (1934); and a sacred work titled In principio erat verbum (1939). This composition won the Stovall Prize at the Fontainebleau School in both 1938 and 1939. She wrote a myriad of vocal and chamber works, including La Corona (1955), an a cappella setting of seven sonnets of John Donne; A Time to Remember (1967), a work for three choirs and orchestra that features quotes of John F. Kennedy; and The Alcestiad (1958), an opera written in collaboration with Thornton Wilder. Her output of instrumental chamber music is prolific and varied. Her primary keyboard works include Alleluia in Form of Toccata (1945); Six Etudes (1954); Three Bagatelles (1955); Passacaglia and Fugue (1962); a five-movement study in Textures (1977); and Kaleidoscopic Variations (1984) Interview with Louise Talma: https://www.bruceduffie.com/talma.html Listen: Alleluia in Form of Toccata (1945) https://www.youtube.com/watch?v=IMwL3goJMek Let's Touch the Sky for choir, flute, oboe & bassoon (1952) Louise Talma - Let's Touch the Sky (1952) - YouTube Six Etudes for piano (1954) Louise Talma: Six Etudes for piano (Beveridge Webster, pianist) - YouTube Seven Episodes for flute, viola & piano (1987) Seven Episodes for flute, viola, & piano - YouTube © 2021 Patricia Yee/for the City Choir of Washington .
Recommended publications
  • Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Louise Talma Honored
    Louise Talma Honored It was a way of saying thank you and a warm tribute to Louise Talma on Saturday night, February 5, when a host of her friends, colleagues on the Hunter faculty, students, and other music lovers gathered in the Hunter College Playhouse for a concert billed as "A Celebration for Louise." Performing withherqn the presentation of her own com- positions were friends and colleagues, among them Phyl- lis Curtin, Charles Bressler, Lukas . Foss, Herbert Rogers, Peter Basquin an3 the Gregg Smith ,Singers. One of the numbers, "Voices of Peace,!' which she composed in 1973, was performed for the first time in New York. The Monday after the concert, Louise Talma began her -50th year of teaching at Hunter College. Now Professor Emeritus, she had-taught thre'e courses in the fall semester and is now teaching one in th'e spring, all without pay. "I know I can ell on her," says James Harrison, chairman of the music department, "anytime I need help. She's a fine teacher in the old tradition, with high standards, and she's demanding of herself and of her students." Miss Talina, who was born in. France while her mother, an American, was singing opera'there, is a composer of Louise Talma 'mbto 6y iy~asliL'ahghn note. She was the first woman to be elected to the Na- tional lnstitute of Arts and Letters, and the first American woman composer to have a full-length, 'three-act opera produced by $imajor European opera house. This was "The Alcestiad," which was based on a libretto by Thorn- ton Wilder, and was performed by the Frankfurt Opera Company.
    [Show full text]
  • A Performance Guide to Wallace Stevens' Thirteen Ways of Looking at a Blackbird As Set by Louise Talma
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 2020 A Performance Guide to Wallace Stevens' Thirteen Ways of Looking at a Blackbird as Set by Louise Talma Meredith Melvin Johnson The University of Soutthern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Johnson, Meredith Melvin, "A Performance Guide to Wallace Stevens' Thirteen Ways of Looking at a Blackbird as Set by Louise Talma" (2020). Dissertations. 1787. https://aquila.usm.edu/dissertations/1787 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A PERFORMANCE GUIDE TO WALLACE STEVENS’ THIRTEEN WAYS OF LOOKING AT A BLACKBIRD AS SET BY LOUISE TALMA by Meredith Melvin Johnson A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Christopher Goertzen, Committee Chair Dr. Jonathan Yarrington Dr. Kimberley Davis Dr. Maryann Kyle Dr. Douglas Rust ____________________ ____________________ ____________________ Dr. Christopher Goertzen Dr. Jay Dean Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School May 2020 COPYRIGHT BY Meredith Melvin Johnson 2020 Published by the Graduate School ABSTRACT This dissertation presents a two-fold discourse, first to provide a contextual source for singers interested in 20th century composer Louise Talma, and second to provide an analytical guide to Talma’s adaption of Wallace Stevens’ poem Thirteen Ways of Looking at a Blackbird for voice, oboe, and piano.
    [Show full text]
  • Bulletin Germany/Holland 2007 July 5Th Ð 20Th
    THE www.amica.org Volume 44, Number 2 AMICA March/April 2007 AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION BULLETIN GERMANY/HOLLAND 2007 JULY 5TH – 20TH Tour Historic Germany and Holland with your fellow AMICANs. Visit Munich with its clock tower, Hofbrau House and many interesting attractions. See world-class museums with wonderful collections of automatic musical instruments. Bus through scenic countryside, with quaint towns full of wonderfully painted buildings. Shop in wood carving centers. Tour King Ludwig’s Linderhof Castle. Visit organ factories and private collections. Stroll through the Historic walled city of Rothenburg. Cruise the Beautiful Rhein River, with castles lining the waterway. Listen to dance organs, pianos, Dutch Street Organs and more. Enjoy the pumper contest, with contestants using Conrad Adenauer’s grand piano. There’s so much more to see and do. Applications will be coming soon, and you need to register right away….remember, registration is limited. Questions? Call Frank at 818-884-6849 ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens • Editor Emeritus: Robin Pratt VOLUME 44, Number 2 March/April 2007 AMICA BULLETIN FEATURES Display and Classified Ads Articles for Publication Visit to San Sylmar’s Auto/Musical Collection .
    [Show full text]
  • Volume 33, Number 05 (May 1915) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1915 Volume 33, Number 05 (May 1915) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 33, Number 05 (May 1915)." , (1915). https://digitalcommons.gardner-webb.edu/etude/613 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. Pressed Musical Magazine M AY 1915 PRICE 15 <F $1.5 0 - YEAR 321 The tops of even the sheerest THE ETUDE hosiery will not “start 1 secured by the famous m y Emerson N Rubber Button Clasp. The Oblong BUILDING Rubber Button and the Hump Loop P1AYER- PIANO give absolute protection as well as ENABLES EVERYBODY TO RENDER AKTISriCALIY support. To avoid “drop stitches LASTING SUCCESS THE BEST MUSIC Of EVERY0 KIND be sure your corsets are fitted with the Hose Supporters. THROUGH THE ETUDE The grandest cathedrals, the largest buildings, the Liberal premiums and cash deductions are \ obtaining subscriptions. greatest engineering structures in the world, depend for ni Y'.^!ate M- T- A- on Vooal Teaching; Conductor Boston OBLONG RUBBER BUTTON Unoral Union, 400 voioe*, Oratorio Concerts, Symphony Hall).
    [Show full text]
  • « Leopold Godowsky's Fifty-Three Studies on Chopin's Études »
    « Leopold Godowsky’s Fifty-Three Studies on Chopin’s Études » by « Younggun Kim » A thesis submitted in conformity with the requirements for the degree of « Doctor of Musical Arts » « Graduate Department of Music » University of Toronto © Copyright by « Younggun Kim » « 2017 » Leopold Godowsky’s Fifty-Three Studies on Chopin’s Études Younggun Kim Doctor of Musical Arts Graduate Department of Music University of Toronto 2017 Abstract Leopold Godowsky (1870-1937) composed works that require pianistic fluency of an exceptional order, including fifty-three Studies based on twenty-six of Frédéric Chopin’s twenty-seven Études. The purpose of this dissertation is to examine the significance of these Studies and to reveal the compositional techniques that Godowsky used to create them. This dissertation consists of a foreword and seven chapters. The foreword describes the unique position that Godowsky’s Studies occupy in the piano literature and argues that they deserve further scholarly research. Chapter one discusses Godowsky’s life and the composition of the Studies, and it provides a review of relevant literature. Chapter two is divided into ii two sections. The first section proposes five compositional techniques that are used to create the Studies: switch, condensation, superimposition/addition, reconstruction and merging. The second section examines Godowsky’s classification of the Studies into five categories: Strict Transcriptions, Free Transcriptions, Cantus Firmus Versions, Versions in Form of Variations and Metamorphoses. Chapters three, four and five are case studies of selected Studies, arranged by the compositional techniques presented in Chapter two. Chapter three deals with Studies that are composed using switch, superimposition/addition and merging technique.
    [Show full text]
  • Harold Shapero Was Born on April 29, 1920, in Lynn, Massachusetts
    Harold Shapero was born on April 29, 1920, in Lynn, Massachusetts. Raised there and in Newton, another Boston-area suburb, he was already playing the piano at age seven. By the time he reached college, he had achieved a good bit more musically than most teenagers. This included theory and composition lessons with Nicolas Slonimsky and Ernst Kenek, piano studies with Eleanor Kerr and Manfred Malkin, and a small but promising portfolio of concert music written for string trio and solo piano, even extensive experience as a jazz pianist and arranger. Shapero’s undergraduate years at Harvard University (1937–1941) saw the young man’s muse fall strongly under the spell of his teacher, Walter Piston, and the middle-period oeuvre of Igor Stravinsky, who had delivered the Charles Eliot Norton lectures at the school during the 1939–1940 academic year. Further studies with Paul Hindemith at Tanglewood (summers, 1940 and 1941) and Nadia Boulanger at the Longy School of Music (1942–1943) reinforced his stylistic inclinations within the then-dominant Neoclassic camp. Even at this time, Shapero was producing pieces far superior to those of the average music student. The sonatas for trumpet/piano duo and for piano four hands, the wind trio 3 Pieces for 3 Pieces, the String Quartet, and the Nine Minute Overture for Orchestra in fact compare favorably to the finest works of the era. The 1940s saw Shapero and his music gain much favorable attention. During this decade, he won nearly every major award a composer could hope for: the Rome Prize (1941—residency cancelled because of World War II), fellowships from the Naumburg (1942), Guggenheim (1947, 1948), and Fulbright (1948) foundations, the Joseph H.
    [Show full text]
  • SEEKING ARTISTIC GOALS: SUGGESTIONS for PIANO STUDENTS and TEACHERS by Jiayin LI
    SEEKING ARTISTIC GOALS: SUGGESTIONS FOR PIANO STUDENTS AND TEACHERS by Jiayin LI Concert Pianist Member Precollege Piano Faculty Manhattan School of Music As a student in China, I had a great deal of exposure to the well- developed teaching methods of my home country. However, when I came to the US and began to study with Solomon Mikowsky in the doctoral program at Manhattan School of Music, I had no idea what to expect. It was an epiphany for me! In just a few years, he has taught me the most important requirements to become a good and successful piano instructor: how to listen and how to apply it into effective teaching. My added experience, first as Dr. Mikowsky’s Assistant, and then, as a member of the MSM Precollege faculty, I have developed a series of concepts that have informed my teaching. I wish to share them with the reader. Before starting on this discourse, I wish to share a selection of the great teachers of the past, included in Kookhee Hong’s “The Piano teaching legacy of Solomon Mikowsky,” where Dr. Mikowsky pays tribute to them. Just as pianists are familiar with the names of some of the most famous pianists, it is time for credit to be given to their teachers. Great teachers in the past: Alfredo Casella (Italian, 1883-1947), Marcel Ciampi (French, 1891-1980), Maria Curcio (Italian, 1918-2009), Louis Diémer (French, 1843-2019), Edwin Fischer (Swiss, 1886-1960), Sidney Foster (American, 1917-1977), Carl Friedberg (German, 1872-1955), Alexander Goldenweiser (Russian, 1865-1961), Ernest Hutcheson (Australian, 1871-1951),
    [Show full text]
  • U·M·I University Microfilms International a Bell & Howell Information Company 300 North Zeeb Road
    Music for clarinet and string quartet by women composers. Item Type text; Dissertation-Reproduction (electronic) Authors Rothenberg, Florie. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 14:53:18 Link to Item http://hdl.handle.net/10150/186505 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely. event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy.
    [Show full text]
  • Bradley Institute Fonds, 1935-1938, 1940-1950, 1952-2006, 2008, N.D
    Bradley Institute fonds, 1935-1938, 1940-1950, 1952-2006, 2008, n.d. RG 349 Brock University Archives Creator: Harold Bradley Grace Barnes Extent: 1.23 m. textual records 1 col. post card, 1 b&w post card 116 col. photographs, 59 b&w photographs 6 negatives, 1 metal logo 2 photo cuts 7 woodcuts 1 VHS tape 1 stamp/press 1 guest book 5 account books. Abstract: The textual materials of the Bradley Institute fonds includes manuscripts, speeches, account books, clippings, correspondence, programs, photographs and various other materials that document the activities of this institution. Materials: Account books, clippings, correspondence, photographs, post card, negatives, guest book, stamp/press, woodcuts, photo cuts, metal logo. Repository: Brock University Archives Processed by: Anne Adams Finding Aid: Anne Adams Last Updated: April 2011 Terms of Use: The Bradley Institute fonds is open for research. Use Restrictions: Current copyright applies. In some instances, researchers must obtain the written permission of the holder(s) of copyright and the Brock University Archives before publishing quotations from materials in the Bradley Institute Fonds RG 349 p. 2 collection. Most papers may be copied in accordance with the Library's usual procedures unless otherwise specified. Preferred Citation: RG 349, Bradley Institute fonds, 1935-1938, 1940-1944, 1946-1950, 1952-2006, 2008, n.d., Brock University Archives. Acquisition Info.: This collection was brought to Brock’s attention by Dr. Ian Brindle. The records were located at the home of Grace Barnes. Harold Bradley was the director of the institute until his death in 1984. Grace Barnes took over the institute until she became ill in 2006 and was unable to continue in this capacity.
    [Show full text]