A Bibliography of John Corigliano Research Compiled by Kylie Decker November 2019 Introduction This reference source contains sources with information on the life, works, and influence of composer John Corigliano (1938- ). Corigliano is a modern American composer who has written works for orchestras, bands, film scores, voice, operas, solos, and chamber music. He has won many awards for his music including an Oscar, five Grammy Awards, and Pulitzer Prize. Prominent methodologies used in this research are aesthetic inquiry and historical research. The most successful of his works have been analyzed many times, including harmonic, formal, and stylistic analyses. In the realm of historical research, one will find some form of a biography or interview in almost every source. Since Corigliano is still living, many people have been able to interview him about his inspirations, thoughts, and processes that go into composing new music. Another interesting part of historical research represented is Iconography. Corigliano is a composer that tries many new techniques, pushing the instruments to their limit. In his scores you will find unconventional notation that requires some interpretation to perform. Because of this, it is also common to see a section on performance practices included in analyses of his works. After a premier of a new work, there is almost always a newspaper article on how it was received by the audience. Several of Corigliano’s works have been thoroughly researched and analyzed many times, including the Clarinet Concerto, Dylan Thomas Trilogy, Altered States, The Red Violin, Ghosts of Versailles, Of Rage and Remembrance, and Symphony No. 1. However, he has hundreds of works that I was not able to find any sources on. While his most significant works have a significant body of research, there is still a need for additional research on most of his works. 2 Bibliography Adamo, Mark. John Corigliano: A Monograph. Todmorden: Arc Music, 2000. Unavailable for verification. Андрущенко, Елена Юрьевна (Andruŝenko, Elena Ûr'evna). “Жанрово-стилевые диалоги в историческом развитии мюзикла: Kонец 1960-х—1990-е годы (Genre and Style Dialogues in the Historical Development of the Musical: From the Late 1960s to the 1990s).” Проблемы музыкальной науки (Problems of Music Science) 2 (2016): 86-91. Follows the evolution of the musical from the late 1960s to the turn of the 21st century. Genres that influenced musicals are discussed, including rock, jazz, pop, light-genre musical theater, and classical music. Characteristics of popular musical theater influenced modern experiments in opera, including Corigliano’s The Ghosts of Versailles. There is an inseparable connection between the history of musicals and present-day characteristics of music (adapted from RILM abstract). Ball, James S. “Selected Contemporary American Orchestral Compositions: A Conductors Guide (Part I).” Journal of the Conductors’ Guild 13 (Summer-Fall 1992): 70-87. Strives to give conductors information that would be most helpful if they had little knowledge of contemporary music. Works included in this article were chosen because they have a good chance of becoming standard repertoire in the United States. Chapter 3 covers Corigliano’s work, Symphony No. 1. General information includes the date of composition, first performance, publisher, availability, recording, duration, movements, instrumentation, solos, contemporary effects, and who it was commissioned by. Musical analysis is provided for each movement, along with pictures of the scores to be useful to conductors. Barone, Joshua. “John Corigliano and David Lang: Two Paths to Political Music.” New York Times, 24 May 2019, C6. Examines Corigliano’s Symphony No. 1 and Lang’s Prisoner of the State. Brief history of Corigliano’s musical achievements. Includes a link to a recording of the piece. ________. “The Music Nearly Lost to AIDS.” New York Times, 31 May 2019, C5. The New York Philharmonic performed a concert full of music by composers lost to AIDS, ending with Corigliano’s Symphony No. 1, written as a tribute to his friends lost to AIDS. The composers featured in this concert were colleagues of Corigliano’s, who put the program together. A brief history, how they were associated with Corigliano, and a bit about their music is included. Bartos, Katarzyna. “Utwór ‘Epoki Intertekstualnej’: III Symfonia Circus Maximus Johna Corigliano.” Kwartalnik Młodych Muzykologów UJ, no. 32 (2017): 89-107. An analysis of Symphony No. 3 shows that it is an example of an intertextual work and programmatic music. Corigliano’s goal was to show how people living in Ancient Rome as 3 well as the contemporary world exhibit animalistic and coercive qualities. This article aims to show intertextual connotations and references within the music, including allusions, stylization, reminiscences, and memory of genre. Shows similarities to Mahler’s and Ives’ compositions (adapted from RILM abstract). Bergman, Elizabeth. "Of Rage and Remembrance, Music and Memory: The Work of Mourning in John Corigliano's Symphony No. 1 and Choral Chaconne for Kay." American Music 31 (Fall 2013): 340-61. Background is given about the piece Of Rage and Remembrance. Analysis of the music. Music examples are provided for some passages discussed in the analysis. Bobetsky, Victor V. “An Analysis of Selected Works for Piano (1959-1978) and the Sonata for Violin and Piano (1964) by John Corigliano.” PhD diss., University of Miami, 1982. Biographical background of the composer. Works by Corigliano, including Kaleidoscope, Piano Concerto, Etude Fantasy, and Violin Sonata, are analyzed. The elements of harmony, form, melody and rhythm are addressed for each piece. The analysis shows an evolution in Corigliano’s compositional style over time. Includes an annotated bibliography. ________. “Corigliano’s Fern Hill: An Addition to the Twentieth-Century Repertoire for High School and College Choruses.” The Choral Journal 46 (October 2005): 10-22. Starts with the text of Dylan Thomas’s poem Fern Hill. Background about Corigliano including his family, awards, compositional style, and the evolution of Fern Hill. The piece is analyzed as Bobetsky follows the music through “a fond reminiscence of childhood, to anxiety as time passes and, finally, to anger at the thought of death.” He shows how the choice of text, harmonies, dynamics, and rhythms help to bring emotion to the piece. Several excerpts from the score are included. Carlson, Marvin. “The Ghosts of Versailles.” Theatre Research International 25 (Spring 2000): 3-9. Historical analysis of the opera The Ghosts of Versailles. Argues that this opera is “a work of central artistic and historical importance in the late twentieth-century American culture” because it is the first commissioned work by the Metropolitan Opera in a quarter century, and the only modern critical and popular success. Carter, David R. “Corigliano’s Clarinet Concerto: The Clarinetist’s View.” DMA diss., University of Oklahoma, 2008. Analyzes four professional clarinetists approaches to playing Corigliano’s clarinet concerto: Stanley Drucker, Richard Stoltzman, Joaquin Valdenpenas, and Larry Combs. Each performer’s interpretation and technical approach to the concerto is examined, including unique solutions to work through difficult passages. Many examples from the score and fingering suggestions are given throughout. 4 Clendinning, Jane Piper. “Postmodern Architecture/Postmodern Music.” Chapter in Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Auner, 4:119-40. New York, London: Routledge, 2002. Discusses how architecture and music are connected, then gives examples of modernism and postmodernism in architecture and music. Corigliano’s The Ghosts of Versailles (1991) is used as an example of postmodernism and architecture in music. This analysis can be found on pages 131-33. Corigliano, John. Composer: John Corigliano. http://www.johncorigliano.com (accessed 12 November 2019). On this website you can find a list of all of Corigliano’s works, information about the first performance, sound clips, instrumentation, duration, recordings, and program notes for each piece. Also available are lists of recordings of his music, a record of past and upcoming performances, a biography of the composer, and links to videos of his works being played. Cowdin, Kristin. “Ghost Story.” Opera 60 (October 2009): 1186-93. Written right before The Ghosts of Versailles returned after a 15-year hiatus. Reviews the success the opera had at the premier and the events that led up to it. Compositional details and decisions are discussed. Coyle, Patrick O. “Significant Male Voice Repertory Commissioned by American Gay Men’s Choruses.” DMA diss., University of Cincinnati, 2006. Highlights three significant works commissioned by American Gay Men’s Choruses. These include: Of Rage and Remembrance by John Corigliano, Night Passage by Robert Moran, and Eos by David Conte. The chapters focusing on each of this works is meant to be a resource to conductors who would like to perform these works. Topics covered include basic structure, harmonic analysis, textual sources, structure, compositional techniques, and performance issues. The chapter on Corigliano can be found on pages 8-18. Cue, Ángel Riego. “Cine y musica: Un violin del color de la sangre.” Filomusica: Revista de musica cultura 10 (2000). Unavailable for verification. Deall, Michael Daniel. “The Role of Style in John Corigliano’s Film Score to The Red Violin (1999).” PhD diss., University of Florida,