DOCSLIB.ORG

Arthur Berger Papers03.Mwalb00294a

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arthur Berger Papers03.Mwalb00294a Arthur Berger papers03.MWalB00294A This finding aid was produced using ArchivesSpace on September 30, 2021. eng Describing Archives: A Content Standard Brandeis University 415 South St. Waltham, MA URL: https://findingaids.brandeis.edu/ Arthur Berger papers03.MWalB00294A Table of Contents Summary Information .................................................................................................................................... 3 Biographical / Historical ................................................................................................................................ 3 Scope and Contents ........................................................................................................................................ 4 Administrative Information ............................................................................................................................ 4 Controlled Access Headings .......................................................................................................................... 4 Other Descriptive Information ....................................................................................................................... 5 Collection Inventory ....................................................................................................................................... 5 Publications .................................................................................................................................................. 5 By Berger .................................................................................................................................................. 5 Scores ........................................................................................................................................................... 6 Sound Recordings ........................................................................................................................................ 6 Berger, Arthur ........................................................................................................................................... 6 Subject Files ................................................................................................................................................ 7 Student Compositions .................................................................................................................................. 7 - Page 2 - Arthur Berger papers03.MWalB00294A Summary Information Repository: Brandeis University Creator: Berger, Arthur, 1912-2003 Title: Arthur Berger papers ID: 03.MWalB00294A Date [inclusive]: 1948-2004, undated Physical Description: 1.00 Linear Feet Physical Description: 1.00 Linear Feet Text [other]: 1 record center box, 1 flat box Abstract: Arranged in four series: 1. Publications, 1953-1966; 2. Sound Recordings, 1959-1972, undated; 3. Subject Files, 1948-2004, undated; 4. Student Compositions, 1961-1971, undated. The materials are arranged alphabetically. For more information about each series, please consult the series descriptions in the box and folder listing. 1 record center box, 1 flat box. ^ Return to Table of Contents Biographical / Historical Arthur Berger (1912-2003) was an established music composer and critic before he joined the Brandeis faculty in 1953. He received his musical education at New York University, Harvard University, and the Sorbonne in Paris. Through his membership in the Young Composers Group, Berger befriended Aaron Copland and became Copland's principal biographer. He also became a prominent American music critic who received awards from the Guggenheim, National Endowment for the Arts, and Fulbright foundations, among many others. He founded the scholarly journal Perspectives on New Music in 1962. From 1939-1953, Berger worked as a full-time teacher and music critic until joining Brandeis University's new graduate music program in 1953. He specialized in teaching orchestra, chamber, and solo piano music, all areas in which he was renowned as a critic. Berger retired from Brandeis in 1980, becoming the Irving Fine Professor of Music Emeritus. He went on to teach at the New England Conservatory of Music until 1999. ^ Return to Table of Contents - Page 3- Arthur Berger papers03.MWalB00294A Scope and Contents Files in this collection were created from 1948-2004. Materials include books, reprints, reel-to-reel audiotapes, LP records, a memorial CD, concert programs, photographs, reviews, essays, and musical compositions. Most of these items were created during Arthur Berger's tenure at Brandeis, and many of them pertain to his role as a professor. Of note is his biography of Aaron Copland published in 1953, as well as a collection of music reviews from various New York newspapers published by Music Reporter. The latter contains several reviews by Berger, which are indexed on the last two pages. ^ Return to Table of Contents Administrative Information Publication Statement Brandeis University 415 South St. Waltham, MA URL: https://findingaids.brandeis.edu/ Conditions Governing Access Access to the collection is in accordance with the policies of the Robert D. Farber University Archives & Special Collecctions Department, Brandeis University. Please contact the department for more information. Conditions Governing Use Requests to reproduce or publish material from the collection should be directed to the Robert D. Farber University Archives & Special Collections Department, Brandeis University, ^ Return to Table of Contents Controlled Access Headings • Brandeis University -- Faculty - Page 4- Arthur Berger papers03.MWalB00294A • Brandeis University. Department of Music • Music -- United States • Berger, Arthur, 1912-2003 • Brandeis University Other Descriptive Information Addenda to this collection may not be listed in the finding aid, but may be available for research use. Please contact us for more information. ^ Return to Table of Contents Collection Inventory Publications, 1953-1966 Date: 1953-1966 Scope and Contents This series includes books and reprints related to Arthur Berger. It contains works that analyze his career as a musician and composer, as well as those that he wrote or edited. Title/Description Instances About Berger, 1961-1966 Box 1 Folder 1 Date: 1961-1966 By Berger Box 1 Title/Description Instances Copland, 1953 Box 1 Folder 2 Date: 1953 Ideas of Order [2 copies], oversize folder, 1952 Box 2 Folder 7 Date: 1952 Scope and Contents Peach cover version shows incorporation of annotations and changes entered into the red cover version. Perspectives of New Music [2 copies], 1962 Box 1 Folder 4 - Page 5- Arthur Berger papers03.MWalB00294A Date: 1962 ^ Return to Table of Contents Scores, 1981, 1983 Date: 1981, 1983 Title/Description Instances Two Birthday Pieces for piano: for Aaron Copland and for Elliott Box 1 Folder 18 Carter, 1981, 1983 Date: 1981, 1983 ^ Return to Table of Contents Sound Recordings, 1959-1972, undated Date: 1959-1972, undated Scope and Contents Files in this series include reel-to-reel audiotapes of performances and discussions of musical pieces pertaining to Berger and Copland. Also included is a record of the French performance "Carnet de Notes" and a Philharmonic performance of Berger's "Ideas of Order." Folder labels replicate labels provided on the audiotapes, some of which are vague and nondescript. Berger, Arthur Box 1 Title/Description Instances (49-51) VI, undated Box 1 Folder 5 Date: undated Ideas-Voice, undated Box 1 Folder 6 Date: undated Ideas of Order (Philharmonic), 1959 Box 1 Folder 7 Date: 1959 Brown, J: Piano piece, undated Box 1 Folder 8 Date: undated Copland, Aaron: Bach and Music for Theater, undated Box 1 Folder 9 Date: undated Jolas, Betsy and Marcel Mihalovich: Carnet de Notes 36, 1972 Box 1 Folder 10 - Page 6- Arthur Berger papers03.MWalB00294A Date: 1972 ^ Return to Table of Contents Subject Files, 1948-2004, undated Date: 1948-2004, undated Scope and Contents This series contains programs, photographs, and reviews relating to Berger, as well as a memorial performance at the New England Conservatory of Music (on CD). It also has a collected volume of New York music reviews, including several by Berger. Of note are concert programs from the Brandeis University Department of Music, featuring performances of works by Berger and other Brandeis faculty. Several of these performances were tributes to Berger at birthday milestones and after his passing. Title/Description Instances Aaron Copland: Symphonic Ode--signed, 1959 Folder 11 Date: 1959 Concert programs: Brandeis University Department of Music, Folder 12 1989-2004 Date: 1989-2004 Fine Arts and School of Creative Arts ten year plan, undated Box 1 Folder 13 Date: undated Music Reporter: New York Reviews, 1948-1949 Folder 13 Date: 1948-1949 Nederlands Blazers Ensemble Program, 1987 Folder 14 Date: 1987 New England Conservatory Memorial Performance [CD], 2004 Folder 15 Date: 2004 Photographs of Arthur Berger, undated Folder 16 Date: undated "There's Music in Germany", 1963 Folder 17 Date: 1963 ^ Return to Table of Contents Student Compositions, 1961-1971, undated Date: 1961-1971, undated - Page 7- Arthur Berger papers03.MWalB00294A Scope and Contents This series includes papers and musical compositions created by students of Arthur Berger and Aaron Copland. Title/Description Instances Essays and short musical compositions, 1971 Box 1 Folder 18 Date: 1971 Cone, E.T.: "Sonata for Unaccompanied Violin", undated Box 2 Folder 1 Date: undated Farrand, Noel: "Trio", undated Box 2 Folder 2 Date: undated Herman, Thomas: "How Silent are the Things of Heaven", 1968 Box 2 Folder 3 Date: 1968 Lewis, Peter: "Three Epigrams for Chamber Ensemble", undated Box 2 Folder 4 Date: undated Randall, Jack: "Pitched-Derived Rhythm, Demonstration I", Box 2 Folder 5 undated Date: undated Wuorinsen, Charles: "Evolutio Transcripta: Chamber Orchestra", Box 2 Folder 6 1961 Date: 1961 ^ Return to Table of Contents - Page 8-.
Load more

Recommended publications
  • New and Old Tendencies in Labour Mediation Among Early Twentieth-Century US and European Composers
    Anna G. Piotrowska New and Old Tendencies in Labour Mediation among Early Twentieth-Century U.S. and European Composers: An Outline of Applied Attitudes1 Abstract: New and Old Tendencies in Labour Mediation among Early Twen- tieth-Century U.S. and European Composers: An Outline of Applied Atti- tudes.This paper presents strategies used by early twentieth-century compos- ers in order to secure an income. In the wake of new economic realities, the Romantic legacy of the musician as creator was confronted by new expecta- tions of his position within society. An analysis of written accounts by com- posers of various origins (British, German, French, Russian or American), including their artistic preferences and family backgrounds, reveals how they often resorted to jobs associated with musicianship such as conducting or teaching. In other cases, they willingly relied on patronage or actively sought new sources of employment offered by the nascent film industry and assorted foundations. Finally, composers also benefited from organized associations and leagues that campaigned for their professional recognition. Key Words: composers, 20th century, employment, vacation, film industry, patronage, foundations Introduction Strategies undertaken by early twentieth-century composers to secure their income were highly determined by their position within society.2 Already around 1900, composers confronted a new reality: the definition of a composer inherited from earlier centuries no longer applied. As will be demonstrated by an analysis of their Anna G. Piotrowska, Institute of Musicology, the Jagiellonian University (Krakow), ul. Westerplatte 10, PL-31-033 Kraków; [email protected] ÖZG 24 | 2013 | 1 131 memoirs, diaries and correspondence, those educated as professional musicians and determined to make their living as active composers had to deal with similar career challenges – regardless of their origins (British, German, French, Russian or Ameri- can), their artistic preferences, or their family backgrounds.
    [Show full text]
  • Music Library Association's 70Th Annual Meeting
    MMLLAA NEWSLETTER Music Library Association’s 70th Annual Meeting Coverage begins on page three A bunch of happy music librarians having just exited the backstage tour of the Metropolitan Opera. Photo taken by Bob Kosovsky. No. 125 May–June 2001 ISSN 0580-289-X President’s Report MUSIC LIBRARY ASSOCIATION BOARD OF DIRECTORS James P. Cassaro, MLA President successful University of Pittsburgh relation- Officers ship with JAMES P. CASSARO, President As I prepare to chair my first our new University of Pittsburgh Board of Directors meeting as manage- PAULA MATTHEWS, Past President President of the Association, I am ment Princeton University struck by the tremendous support and services LAURA GAYLE GREEN, respect the membership has afforded provider! The transition to the Treasurer /Executive Secretary me in my new role. It is indeed combined Treasurer/Executive Secre- University of Missouri — Kansas City gratifying to see how much you all do tary position, where two positions LYNN GULLICKSON, on a volunteer basis for the once were, is moving forward, as well. Recording Secretary organization. When I read through the I am incredibly grateful to Michael Northwestern University various reports submitted by our Colby, who has agreed to act in the special officers, editors, and committee capacity of administrative support for Members-at-Large 2000-2002 chairs, it is abundantly apparent that Laura Gayle Green. His willingness to the Association is bubbling with do this for the Association is matched ALLIE GOUDY Western Illinois University activity. Solid ideas for projects and as well by his generosity. He has programs are coming to the surface refused any compensation in the form LESLIE TROUTMAN and are being thoroughly discussed.
    [Show full text]
  • Contact: a Journal for Contemporary Music (1971-1988) Citation
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Toplis, Gloria. 1983. ‘Stravinsky’s Pitch Organisation Re-Examined’. Contact, 27. pp. 35-38. ISSN 0308-5066. ! 36 material, each involving different textures, registers, Example 1 harmonies, rhythms, and metres, are set synchro- nically side by side; when considered apart from their immediate context, the blocks may be seen to possess one or another of these parameters in common.' The same author has defined the structur- ing of the first movement of the Symphony in C ( 1938- 40)-one of the neoclassical works most obviously conform to the dictates of functional tonality. The akin in spirit to Classical models-not in terms of the appropriateness of the octatonic theory to Stravin- tonal relationships of sonata form, but in terms of the sky' s output becomes increasingly obvious the more temporal proportion to one another of the sections closely the constitution of the scale itself is examined. (established by means of rather ill-defined tonal For example, each degree articulating a division at areas), which is very much the same as that of a the minor third supports both a minor and a major typical sonata form movement. 3 triad-in Example 1 C supports the triads C-E flat-G Stravinsky students in the sixties were strongly and C-E-G, E flat supports the triads E flat-G flat-B influenced by the somewhat scathing and (in the flat and E flat-G-B flat, and so on; overlapping opinion of later analysts) harmful remarks of Pierre tetrachords a minor third apart contain interlocking Boulez on the composer's compositional technique in minor/major thirds-C-C sharp-D sharp-E, D sharp- works following The Rite of Spring (1911-13).
    [Show full text]
  • High Fidelity's Description ) a D Q F L V F R (Modem Music, 1944
    ) ( ' / "New York-born composer whom a good many of York Times and leading magazines. his American colleagues regard as the best musical Arthur Berger was born in New York City on May stylist among them," is High Fidelity's description 15, 1912. When his family acquired a piano in 1921, of Arthur Berger (Feb., 1957). His stylism is marked his older sister received piano lessons which he by a highly personal stamp and capacity for precise learned before she did, and he played by ear. Between shape. Time Magazine (April 27, 1953) stated "it eleven and sixteen, aside from piano lessons, he was clear that Berger had a style of his own." was musically self-taught, and by 1928 when he "Clarity, refinement, perfect timing and impecca- entered New York City College he was writing tra- bly clean workmanship are the keynotes to his style," ditional sonatas. Since the College offered little in wrote Alfred Frankenstein (San F~ancisco Chronicle, music he later transferred to New York University, June 6, 1948). He "is the sort of musician who thinks working mainly in the education division with Vincent twice before he reaches for the staff-paper." In the Jones. There, along with two fellow students, he same vein Darius Milhaud remarked on his "loving extolled Charles lves as early as 1930, entered the attention to minute detail" (Modem Music, 1944). vital set that Henry Cowell attracted, and also became The Time article already quoted points out that part of the Young Composers Group that formed after a work '.'is technically finished, Berger often around Aaron Copland as guardian.
    [Show full text]
  • An Arthur Berger
    AN ARTHUR BERGER New World Records 80360 RETROSPECTIVE with GILBERT KALISH, piano JOEL KROSNICK, cello CHRISTOPHER OLDFATHER, piano JOEL SMIRNOFF, violin DAVID STAROBIN, guitar Members of the Boehm Quintette Arthur Berger is a stalwart of the American concert tradition. No popularizer, he has for some fifty years been producing sturdily crafted pieces that spring from the mixed lineage of Stravinsky, Schoenberg, and Copland. Yet the style is all his own. At times it readily appeals. Always it challenges. Born in 1912 and raised in the Bronx, Berger first studied at City College and New York University, later at the Longy School of Music and at Harvard. He completed his formal education with Nadia Boulanger in Paris. From 1939 to 1943 he taught at Mills College and Brooklyn College, then began writing music criticism for the New York Sun and, principally, the New York Herald-Tribune. In 1953 Berger joined the faculty of Brandeis University; he has also taught at Harvard and the Juilliard School, and is currently on the faculty of the New England Conservatory. Like many of his composer contemporaries, Berger has been an important and prolific writer. In addition to his stints as a journalist, he founded two quite different periodicals, each an outgrowth of the notion of a "little magazine" directed to a special public. The first, The Musical Mercury, was started in 1934 by Berger and Bernard Herrmann--the man later famous as a Hollywood film composer. Although The Musical Mercury included some articles about new works, it mostly explored European compositions of the past. The journal with which Berger is most closely identified, however, is Perspectives of New Music, begun with Benjamin Boretz in 1962.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1963-1964
    TANGLEWOOD Festival of Contemporary American Music August 9, 10, 11, 12, 13, 1964 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation RCA Victor R£D SEAL festival of Contemporary American Composers DELLO JOIO: Fantasy and Variations/Ravel: Concerto in G Hollander/Boston Symphony Orchestra/Leinsdorf LM/LSC-2667 COPLAND: El Salon Mexico Grofe-. Grand Canyon Suite Boston Pops/ Fiedler LM-1928 COPLAND: Appalachian Spring The Tender Land Boston Symphony Orchestra/ Copland LM/LSC-240i HOVHANESS: BARBER: Mysterious Mountain Vanessa (Complete Opera) Stravinsky: Le Baiser de la Fee (Divertimento) Steber, Gedda, Elias, Mitropoulos, Chicago Symphony/Reiner Met. Opera Orch. and Chorus LM/LSC-2251 LM/LSC-6i38 FOSS: IMPROVISATION CHAMBER ENSEMBLE Studies in Improvisation Includes: Fantasy & Fugue Music for Clarinet, Percussion and Piano Variations on a Theme in Unison Quintet Encore I, II, III LM/LSC-2558 RCA Victor § © The most trusted name in sound BERKSHIRE MUSIC CENTER ERICH Leinsdorf, Director Aaron Copland, Chairman of the Faculty Richard Burgin, Associate Chairman of the Faculty Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director DEPARTMENT OF COMPOSITION Aaron Copland, Head Gunther Schuller, Acting Head Arthur Berger and Lukas Foss, Guest Teachers Paul Jacobs, Fromm Instructor in Contemporary Music Stanley Silverman and David Walker, Administrative Assistants The Berkshire Music Center is the center for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D. Perry, Jr., Manager BALDWIN PIANO RCA VICTOR RECORDS — 1 PERSPECTIVES OF NEW MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music.
    [Show full text]
  • SAAKE, GARRETT. D.M.A. the Elements of Neoclassical Style in the Women‟S Choir Compositions of Irving Fine
    SAAKE, GARRETT. D.M.A. The Elements of Neoclassical Style in the Women‟s Choir Compositions of Irving Fine. (2011) Directed by Dr. Welborn Young. 65 pp. The composer Irving Fine died in 1962 at the age of forty-seven cutting short the life of an important figure in twentieth-century American music. Since Fine‟s life was relatively short, his musical output is proportionally small and often goes unstudied. Fine‟s contribution to the choral genre is particularly small but offers a unique perspective of composing for choir. Fine‟s complete oeuvre includes music in many genres that can stylistically be divided into two categories; tonal-neoclassical and atonal- neoclassical. Fine‟s early instrumental compositions are decidedly tonal-neoclassical and ultimately become serially based, a style that characterizes most of his later works. While Fine‟s instrumental music developed towards atonality, his works for women‟s choir did not. The choral music for women‟s choir remained rooted in the tonal- neoclassical style of his early period. The purpose of this study is to demonstrate that Irving Fine composed choral music for women‟s choir in an operative and nuanced style of choral writing that remained effectively tonally based and in the neoclassical style as understood and applied by Fine and his colleagues. This document places the selected choral works in context through a brief biography and discussion of neoclassicism as the term was understood during Fine‟s compositional period. The biography “Irving Fine: A Composer in His Time” by Phillip Ramey and information from the Irving Fine Collection at the Library of Congress are the primary sources of biographical information.
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • Sccopland on The
    THE UNITED STATES ARMY FIELD BAND SOLDIERS’ CHORUS The Legacy of AARON COPLAND Washington, D.C. “The Musical Ambassadors of the Army” he Soldiers’ Chorus, founded in 1957, is the vocal complement of the T United States Army Field Band of Washington, DC. The 29-member mixed choral ensemble travels throughout the nation and abroad, performing as a separate component and in joint concerts with the Concert Band of the “Musical Ambassadors of the Army.” The chorus has performed in all fifty states, Canada, Mexico, India, the Far East, and throughout Europe, entertaining audiences of all ages. The musical backgrounds of Soldiers’ Chorus personnel range from opera and musical theatre to music education and vocal coaching; this diversity provides unique programming flexibility. In addition to pre- senting selections from the vast choral repertoire, Soldiers’ Chorus performances often include the music of Broadway, opera, barbershop quartet, and Americana. This versatility has earned the Soldiers’ Chorus an international reputation for presenting musical excellence and inspiring patriotism. Critics have acclaimed recent appearances with the Boston Pops, the Cincinnati Pops, and the Detroit, Dallas, and National symphony orchestras. Other no- table performances include four world fairs, American Choral Directors Association confer- ences, music educator conven- tions, Kennedy Center Honors Programs, the 750th anniversary of Berlin, and the rededication of the Statue of Liberty. The Legacy of AARON COPLAND About this Recording The Soldiers’ Chorus of the United States Army Field Band proudly presents the second in a series of recordings honoring the lives and music of individuals who have made significant contributions to the choral reper- toire and to music education.
    [Show full text]
  • Arthur Berger New World Records Notes Clip
    There may come a day when Arthur Berger, with his twin talents as composer and critic, will be regarded as his generation’s Robert Schumann, who likewise excelled at both. Their impact on the music and thought of their respective eras is similar. Both have composed works of great beauty, while maintaining a keen ear for the musical achievements of others—Schumann instrumental in Brahms’s success, Berger championing the work of Ives, Copland, and many others. Arthur Berger (born 1912) studied theory and composition with Vincent Jones, Walter Piston, Nadia Boulanger, and Darius Milhaud. The scholars D. W. Prall at Harvard and Meyer Schapiro at NYU were also early influences, and Berger shared friendships with the poet Delmore Schwartz and the painter Robert Motherwell. Berger began composing in his teens, and he began writing music reviews for the Boston Transcript while he was studying at Harvard in the thirties. After a fruitless apprenticeship in France with Boulanger (Berger found her too authoritarian), he taught briefly at Mills College (where he met Milhaud), Juilliard, and other universities. He settled in New York and joined the New York Sun in 1943. Virgil Thomson subsequently recruited him for the New York Herald Tribune, where Berger remained as associate music critic from 1946 to 1953. In that year he gave up reviewing and returned to academia, taking a post in the music department at Brandeis University, where he stayed until his retirement. In 1979 he took a joint appointment at the New England Conservatory as well. Berger also founded and edited two small but influential publications: the Musical Mercury in the thirties and Perspectives of New Music in the sixties, in addition to contributing to general interest magazines like Saturday Review.
    [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]
  • Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
    TANGLEWOOD Festival of Contemporary American Music August 14, 15, 16, 17, 18, 1966 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation I " STMVINSKY tt.VlOW agon vam 7/re Boston Symphony SCHULLER 7 STUDIES ox THEMES of PAUL KLEE BOSTON SYMPHONY ORCHESTRA/ERICH lEINSDORf under Leinsdorf Leinsdorf expresses with great power the vivid colors of Schuller's Seven Studies on Themes of Paul Kiee and, in the same album, Stravinsky's ballet music from Agon. Forthe majorsinging roles in Menotti's dramatic cantata, The Death of the Bishop of Brindisi. Leinsdorf astutely selected George London, and Lili Chookasian, of whom the Chicago Daily Tribune has written, "Her voice has the Boston symphony ecich teinsooof / luminous tonal sheath that makes listening luxurious. menotti Also hear Chookasian in this same album, in songs from the death op the Bishop op BRSndlSI Schbnberg's Gurre-Lieder. In Dynagroove sound. Qeonoe ionoon • tilt choolusun s<:b6notec,/ou*«*--l(eoeo. sooq of the wooo-6ove ac^acm rca Victor fa @ The most trusted name in sound ^V V BERKSHIRE MUSIC CENTER ERICH LeinsDORF, Director Joseph Silverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Louis Speyer, Assistant Director Victor Babin, Chairman of the Tanglewood Institute Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director FELLOWSHIP PROGRAM Contemporary Music Activities Gunther Schuller, Head Roger Sessions, George Rochberg, and Donald Martino, Guest Teachers Paul Zukofsky, Fromm Teaching Fellow James Whitaker, Chief Coordinator Viola C Aliferis, Assistant Administrator The Berkshire Music Center is maintained for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D.
    [Show full text]