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The Group for Contemporary Music

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THE GROUP FOR CONTEMPORARY MUSIC 1962 to 1992 by Susan Elizabeth Deaver Thesis Advisor: Dr. David Noon The Group for Contemporary Music 1962 to 1992 by Susan Elizabeth Deaver Submitted to The Manhattan School of Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts March 1993 Dedicated to Harvey Sollberger, Charles Wuorinen and Nicolas Roussakis LIST OF MUSICAL EXAMPLES #1 Charles Wuorinen: Chamber Concerto for Cello and Ten Players (1963) - 17 February 1964 #2 Chou Wen-Chung: Cursive for Flute and Piano (1963) - 16 November 1964 #3 Charles Wuorinen: Bearbeitungen über das Glogauer Liederbuch (ca. 1470; 1962) - 11 January 1965 #4 Stefan Wolpe: Trio in Two Parts (1964) - 16 November 1964 #5 Stefan Wolpe: Piece in Two Parts for Flute and Piano (1960) - 25 April 1966 #6 Charles Wuorinen: Janissary Music (1966) - 1 May 1967 #7 Charles Wuorinen: Nature's Concord (1969) written for Ronald Anderson #8 Nicolas Roussakis: Six Short Pieces for Two Flutes (1969) - 27 October 1969 #9 Charles Wuorinen: Ringing Changes (1969-70) - 4 May 1970 #10 Stefan Wolpe: Form IV: Broken Sequences (1969) - 10 April 1972 \#11 Charles Wuorinen: Flute Variations II (1968) - 10 April 1972 #12 Mario Davidovsky: Synchronisms No. 1 (1963) - 5 February 1973 #13 Mario Davidovsky: Synchronisms No. 6 (1970) 19 March 1973 #14 Harvey Sollberger: The Two and The One (1972) - 23 April 1973 #15 Harvey Sollberger: Riding The Wind II (1973-74) - 11 November 1974 #16 Elliott Carter: Canaries from Eight Pieces for Four Timpani (1950-66)- 16 December 1974 #17 Charles Wuorinen: Ringing Changes (1969-70) written for The New Jersey Percussion Ensemble #18 Milton Babbitt: Arie Da Capo (1974) written for The Da Capo Players #19 Elliott Carter: A Mirror on Which to Dwell (1975/1976) written for Speculum Musicae #20 Charles Wuorinen: Second Trio: Piece for Stefan Wolpe (1962) performed by the New Music Consort #21 Donald Martino: Triple Concerto (1977) - 18 December 1978 #22 Nicolas Roussakis: Ephemeris (1979) - 9 March 1979 #23 Nicolas Roussakis: Pas de Deux (1985) - 2 April 1985 #24 Harvey Sollberger: Double Triptych (1984) - 29 January 1986 #25 Charles Wuorinen: String Quartet No. 3 (1987) - 5 January 1988 LIST OF PRINTED PROGRAMS Ex. 1: GCM Inaugural Concert - 22 October 1962 Ex. 2: GCM Program - Fourth Season - 8 November 1965 Ex. 3: GCM Program - Seventh Season - 28 October 1968 Ex. 4: GCM Program - Seventh Season - 24 March 1969 Ex. 5: New Jersey Percussion Ensemble Program - Eighth Season - 4 May 1970 Ex. 6: GCM Program - Eleventh Season - 20 November 1972 Ex. 7: GCM Program - Eleventh Season - 21 May 1973 Ex. 8: GCM Season Flyers from Ninth, Tenth and Twelfth Seasons Ex. 9: GCM Programs - Logo of Eleventh Season and Twelfth Season Ex. 10: GCM Program - Thirteenth Season - 20 May 1975 Ex. 11: GCM Fourteenth Season Flyer 1975-1976 Ex. 12: Tully Hall Recital by Harvey Sollberger - Fourteenth Season 29 March 1976 Ex. 13: GCM Sixteenth Season Flyer 1977-1978 Ex. 14: GCM Candlelight Concert - Sixteenth Season - 21 November 1977 Ex. 15: The New Jersey Percussion Ensemble - Sixteenth Season - 6 March 1978 Ex. 16: GCM Program - Seventeenth Season - 18 December 1978 Ex. 17: GCM Program - Seventeenth Season - 16 April 1979 Ex. 18: GCM Program - Nineteenth Season - 10 November 1980 & 8 May 1981 Ex. 19: GCM Program - The New York State New Music Network - 19 November 1983 Ex. 20: GCM Season Flyers - Twenty-fourth and Twenty-fifth Seasons Ex. 21: GCM Concert Announcement - 13 January 1987 Ex. 22: GCM Concert Announcement - Twenty-eighth Season - 25 March 1990 Ex. 23: GCM: Concert Announcement - Twenty-eighth Season - 19 and 20 April 1990 Ex. 24: GCM Concert Announcement - Twenty-ninth Season - 21 April 1991 PREFACE AND AKNOWLEDGEMENTS Articles have been written on The Group for Contemporary Music, but to date no one has devoted an entire thesis to this ensemble. My interest in the Group came about initially through my involvement as a flutist in Manhattan School of Music's Contemporary Ensemble in 1972. At that time Harvey Sollberger had just been appointed as the Contemporary Ensemble's director. I can still vividly remember the rehearsals and performance of Wolpe's Cantata that Harvey conducted with the ensemble. He was extremely inspiring. Harvey's way of approaching music and bringing it to life influenced me greatly as a flutist, teacher and conductor. Gradually I came in contact with Charles Wuorinen and Nicolas Roussakis--Wuorinen when he conducted performances of Manhattan's Orchestra and Roussakis when I first performed his Six Short Pieces for Two Flutes on a Group concert. I was fortunate to have been drawn into contemporary music on a professional level through flutist Patricia Spencer who recommended me to Daniel Shulman for several concerts with The Light Fantastic Players. Around the same time I was introduced by oboist Susan Barrett to Josef Marx, who had been the Group's manager and oboist during its years at Columbia University. I was invited to his chamber music evenings which he had every Saturday night at his home in New York. My association with new music continued as a performer on Group concerts and also as the flutist for the New Music Consort from 1976 to 1982. The design of my thesis is that of a chronological nature, so that the history of The Group for Contemporary Music unfolds season by season. To give some sense of historical periods, I divided the history of The Group into four periods of time--the residency at Columbia University from 1962 to 1971, the residency at Manhattan School of Music from 1971 to 1985, the period of transition and crisis from 1985 to 1989, and The Group since 1989. The exception of chronology is Chapter V which is devoted to the second generation performers and ensembles that The Group inspired. Program and music examples along with the appendices of concert dates and repertoire, recordings, performers and administrators, and a time line help to illustrate The Group's history My research for this thesis began as early as 1988 when I first started to formalize the idea of writing about The Group for Contemporary Music. In the spring of 1991 I began to gather information on The Group. For months I would go on a weekly basis to work through the files on The Group that Nicolas Roussakis had organized over his fifteen years as Executive Director of The Group. During the winter and spring of 1992, I spent one afternoon a week continuing to go through Roussakis' files, and one afternoon a week in the basement of Wuorinen's brownstone sorting through boxes of Group materials to organize and obtain programs from 1962 to 1992. Research at Wuorinen's was also made possible through the assistance of Howard Stokar. Angie Marx gave me access to earlier information on The Group from Josef Marx's files, which contained the program from The Group's Inaugural Concert The other approach of my research was through interviews which reinforced my belief that The Group had been a tremendous influential force in shaping the history of new music in New York. ACKNOWLEDGEMENTS The author wishes to acknowledge and thank the following people who offered encouragement, support and valuable assistance with the research and completion of my doctoral thesis on The Group for Contemporary Music. This thesis was a project that could have not been realized had it not been for The Group's Directors, Harvey Sollberger and Charles Wuorinen and the work of Nicolas Roussakis who as The Group's Executive Director for fifteen years compiled a rich source of information on The Group into files. In addition, Roussakis also contributed editing corrections to the thesis. My special thanks goes also to Howard Stokar who provided a wealth of information on The Group and Angie Marx who gave me access to The Group's early files compiled by her late husband, Josef Marx. A personal thanks to David A. Coester for all his support, encouragement and understanding throughout the entire project. My thanks also to my supportive colleagues at C.W. Post/Long Island University, to my family, D. Clem Deaver, friends, students and Dr. Viginia Kelley. Many of The Group's performers and composers who I interviewed were also extremely supportive of my thesis and in particular I wish to thank performers Raymond DesRoches, Ronald Anderson, Patricia Spencer, Allen Blustine, Claire Heldrich and composers Milton Babbitt, Raoul Pleskow and Joan Tower. Thanks also is extended to those individuals who assisted in computer and organizational problems --Joshua Gilinsky, Hugh G. Williams, Carole Schaffer and Virgilio Serrano. Special recognition and thanks is acknowledged to Dr. David Noon who was my thesis advisor and Dr. Jeffrey Langford, Director of Doctoral Studies at Manhattan School of Music. The following publishers are acknowledged for their assistance. Musical examples from (Charles Wuorinen: Chamber Concerto for Cello and Ten Players, Bearbeitungen über das Glogauer Liederbuch, Janissary Music, Nature's Concord, Ringing Changes, Flute Variations II, Second Trio: Piece for Stefan Wolpe and String Quartet No. 3 ; Chou Wen-Chung: Cursive for Flute and Piano; Stefan Wolpe: Form IV: Broken Sequences; Milton Babbitt: Arie Da Capo; and Harvey Sollberger: Double Triptych.) are used with the kind permission of C. F. Peters Corporation. Musical examples from (Nicolas Roussakis: Six Short Pieces for Two Flutes, Ephemeris, and Pas de Deux; and Harvey Sollberger: The Two and the One and Riding The Wind II) are reprinted with the permission of American Composers Alliance, New York, New York. Musical examples from (Mario Davidovsky: Synchronisms No. 1 and Stefan Wolpe: Piece in Two Parts for Flute and Piano) are reprinted with permission of McGinnis and Marx Music Publishers.
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