The Odyssey Of An American Composer

Born in Milwaukee in 1900, Otto Luening grew up in the rich musical culture of German immigrants. At the age of five he wrote his first piece of music - a "very modern" waltz. When his father, a conductor and conservatory teacher, heard it he said, "It must be discouraged, an artist's life is much too difficult in the United States." In 1912 the Luenings moved to Munich, where Otto studied flute at the Royal Academy. Soon after World War I began, Luening fled to Zurich, where he studied with the legendary Ferruccio Busoni and played in the Tonhalle Orchestra under such conductors as Richard Strauss. In Zurich he found a patron in Edith Rockefeller McCormick. He also acted in James Joyce's theater group and took part in some of the bizarre musical projects of the Dadaists. Back in America in the twenties, he worked as a pit musician in a Chicago movie theater, played vaudeville piano, and organized the American Grand Opera Company. His reputation as a composer, conductor, and performer soon earned him a position at the Eastman School of Music, and from there he went on to teach at the University of Arizona, Bennington College, and Columbia University. Luening has been a vital force in American music for many years. As the composer of Evangeline and as conductor of world premieres of Gian Carlo Menotti's The Medium and Virgil Thomson and Gertrude Stein's The Mother of Us All, he has fostered the growth of American opera. One of the first to compose electronic music, he has also been tireless in his work as a composer and educator to alert Americans to their musical heritage. Here is the delightful story of one man's adventures in the republic of music, and his excursions to Hollywood, Tunisia, the Cologne studio of Karlheinz Stockhausen, and the Acadian towns of Nova Scotia and Louisiana, where he wrote his opera. Here also is the story of his relationships with such different personalities as Martha Graham, Harry Partch, Edgar Varese, and Carl Sandburg. A pioneer, musical roustabout, and faithful servant of his art, Otto Luening affords us through his memoirs a vivid and full picture of twentieth-century musical life.

Luening tells of his musical training in Europe, his work with James Joyce's theater group, Richard Strauss, and Martha Graham, and his compositions which range from choral music to an opera to electronic music

Schoenberg's Correspondence with American Composers is the first edition of all known and available letters between Arnold Schoenberg and over seventy American composers written between 1915 and 1951, in English and English translation and with commentary. In six chronologically organized chapters, the correspondence first casts new light on Schoenberg's contacts with American composers before 1933, including correspondence with students and champions of his music (Israel Amter, James Francis Cooke, Henry Cowell, Edgar Varèse, and Adolph Weiss among others). The letters after 1933 show how Schoenberg gradually built a network of composer colleagues and friends, among them Mark Brunswick, Oscar Levant, Roger Sessions, Nicolas Slonimsky, Gerald Strang, with whom he discussed compositional ideas, specific musical works and writings, performances and the publication of his compositions. These letters also provide insight into his ideas about teaching in private settings, at the Malkin Conservatory and the University of California. The correspondence of his last years illuminates how the reception of Schoenberg's music in the United States was flourishing and how he attracted a growing number of disciples exploring twelve-tone composition. The book also qualifies the concept of and Schoenberg's association with the Second Viennese School. Schoenberg's Correspondence with American Composers not only illuminates a varied and vivid epistolary style, but clearly demonstrates Schoenberg's far-reaching connections in the American music world.

Ramey, a composer and pianist, discusses Fine's brief teaching career in the 1940s at his alma mater, Harvard University - shadowed, Fine was convinced, by a malign tradition of tacit anti-Semitism - and his subsequent years at the newly opened Brandeis University, where he flourished, founding the music department and introducing a landmark performing arts festival."

"Page is tremendously versatile, a musical polymath in his interests and understanding. This collection includes both short pieces and longer articles, some about unique souls whom Page knew well and admired, including Glenn Gould and Otto Luening, and others about whom he feels strongly in other ways, among them Vladimir Horowitz. He takes readers along for closeup glimpses at Midori, Nadja Salerno-Sonnenberg, Dawn Upshaw, and Bobby McFerrin, as well as Frank Sinatra and Captain Beefheart, to name just a few."--BOOK JACKET.

In the preface to his work, Rupert Hughes explains his motivation and method for writing this historical account of American composers. Being a musician himself, he was interested to know who of merit was a native composer. He found it difficult to obtain such information, so he resolved to research contemporary composers, listen to and read their scores and make his own judgements. This wide-ranging book is the result.

The Dictionary of American Classical Composers covers over 650 composers active from the 18th century to today. Covering all classical styles, it offers the most comprehensive overview of key composers in the United States available. Entries include basic biographical information and critical analysis of each composer's key works and ideas. Entries also include worklists and bibliographic information. Whenever possible, the entries will have been checked by the composers themselves to assure greatest possible accuracy. This new edition, completely updated and expanded from the 1984 edition, also includes over 200 historic photographs.