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United States Music


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Author Topic: United States Music  (Read 29693 times)
jowcol
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« Reply #135 on: January 13, 2014, 11:26:47 am »

Music of the Hartford Symphony Orchestra

From the collection of Karl Miller.

This collection of music focuses not on a single composer, but rather a collection of works of underappreciated americal composers performed by the Hartford Symphony Orchestra under the baton of Arthur Winograd.


To the best of my knowledge, None of these recordings have been commerically released in digital form.

Edward Diemente, Two Preludes for Orchestra



Material below from ZoomInfo:
Edward Diemente, born in Cranston, RI, grew up in New Britain, CT.He served a distinguished tenure as professor and chair of the music theory and composition department at the Hartt School of Music.His considerable output as a composer is eclectic, ranging from electronic music for tape and instruments to jazz to a more traditional vocabulary.The Hartford Chorale has had the privilege of premiering three of Diemente's works.Beginning with the Credo in 1991, continuing with My Heart is Ready in 1992 and Porterama in the same year, the Chorale has cherished its close relationship with this special and estimable musician.In the case of My Heart is Ready, Diemente has chosen an unusual instrumentation: 3 trumpets, French horn, trombone, tuba, percussion and strings.Drawing freely from Psalms 33, 108, 145 and 147, Diemente, true to his assertion that a composer's role is to be a "teller of stories," writes a piece that is at once direct, yet sophisticated, and simply, as Anton Bruckner said of his own Te Deum, "praises God" and humankind's relationship with God.
...
Diemente served as Professor of Composition at Hartt School, University of Hartford for over forty years.He also held the position of organist at the Cathedral of St. Joseph and various other organ positions.Diemente has written compositions for chorus and orchestra, orchestra, band, chamber music, choral music and music for solo instruments.
For the past few years, Diemente has been absorbed with the idea of synthesis in his music.His is working with combining musical styles (or dialects).In a search for continuity, not revolution, he looks for methods to bring together the musical past and what has been introduced into the musical vocabulary in the past thirty years.In simple terms, it is the combining of tonal and non-tonal music, acoustic and electronic music.Many composers in the past (often in their more mature years) have done the same.One thinks of Beethoven, in his later works, introducing contrapuntal forms associated with Bach, and of using "Turkish" music in his Ninth Symphony.
In a Diemente work, one might find Gregorian chant, impressionism,, jazz, nineteenth century romanticism, non-tonal music and electronic music (or its influence).For Diemente, it comes to this: Is the composer's music engaging?


Thomas Putsche: Symphony

I've been unable to find out much about Putsche other than he won the BMI Student Composer award in 1958, was a teacher at the Hartt School (in theory and composition)  along with Diemente, and was the author of the following paper.

http://www.ex-tempore.org/putsche/index.htm

Edward Miller: Reflections at the Bronx Zoo


Bio from the American Composer's Alliance:

For Edward J. Miller, the motivation for writing music came mainly from performers. During his 27 years on the Oberlin College Conservatory of Music composition faculty (four as chair), he was stimulated by the talents of colleagues and students. His most frequently-performed composition, “Piece for Clarinet and Tape,” was written for clarinet professor Lawrence McDonald. “Beyond the Wheel” for violin and tape, a piece praised by New York Times music critic Allan Kozinn for its “shimmering otherworldly texture,” was inspired by a dramatic passage from the Book of Ezekiel and written for Oberlin faculty violinist Gregory Fulkerson. Both tapes were created in the Oberlin electronic studio, where Miller worked closely with composer Gary Nelson. Another fellow faculty composer, Randolph Coleman, came up with the title for Miller’s orchestral piece, “Anacrusis.” The musical term for “pick-up notes,” the title acknowledged the borrowing of fragments from works by Ravel and Mahler that followed the world premiere of Miller’s piece on a concert by the Hartford Symphony.

Composer-conductor Edwin London, 1982 Cleveland Arts Prize winner and founding music director of the Cleveland Chamber Symphony, characterized Miller as a composer who made “music out of music,” a reference to the recycling of themes or ideas from previous generations. Newark Star-Ledger critic Paul Somers, reviewing Miller’s tone poem “Images from the Eye of a Dolphin,” admired the composer’s “ear for exact color differences” and “care for precise sonority.” Although most of his music is upbeat, Miller regards his doomsday piece, “The Seven Last Days” for chorus, orchestra, film and tape as his masterwork.

Before joining the Oberlin faculty in 1971 at the invitation of composition department chairman and 1980 Cleveland Arts Prize winner Walter Aschaffenburg, Miller completed several pieces that were performed by major orchestras, including the Berlin Philharmonic and the Cleveland Orchestra. By the time he retired in 1998, he had written about 70 works and received numerous commissions and awards. His music is published by Bote & Bock (Berlin), McGinnis & Marx, Music for Percussion, Ione Press, and Associated Music Publishers; and recorded on CBS, Orpheus, CRI, Opus One, New World Records and several other labels.

Born in Miami, Florida, on August 4, 1930, Miller started music lessons at age 10. His first instrument was trumpet, but he switched to valve trombone and baritone horn when he was required to wear braces on his teeth. At 16, he began playing in a professional jazz band. Midway through his undergraduate studies at the University of Miami, he took a year off to tour internationally as an arranger with Miguelito Valdez and His Orchestra. After earning a bachelor of music degree, he received a Koussevitzky Prize to study with Mexican composer Carlos Chavez at Tanglewood’s Berkshire Music Center. Aaron Copland, who had recommended Miller for the prize, later named him one of the “young talents whose music commands attention” and helped him win a Fulbright Fellowship to study with Boris Blacher and Josef Ruter in Germany.

Miller earned his master’s degree in composition at the University of Hartford’s Hartt School of Music, where he studied with Arnold Franchetti and Isadore Freed, and served on the faculty for 12 years prior to his Oberlin appointment. Following his retirement, Miller stayed in Oberlin until 2005 when his wife Judi stepped down from her post as a professor of psychology. The couple then moved to Las Cruces, New Mexico, where they have a new home with a magnificent view of the snow-capped Organ Mountains.

—Wilma Salisbury

If you are curious, you can hear a performance of his Beyond the Wheel at:





Obituary Notice from Oberlin (Sept 2013)
Throughout his 27 years at Oberlin, Professor of Composition Edward J. Miller found inspiration in the work of his students and fellow faculty members.

Miller, likewise, was an inspiration to countless others: His compositions have been performed by numerous major orchestras, including the Berlin Philharmonic and the Cleveland Orchestra, and he earned widespread acclaim for his work.

Miller, who retired in 1998, died on August 31 after an extended illness.

“The thing that impressed me most about Ed was his ability to teach a wide variety of courses,” says Professor Warren Darcy, a longtime colleague of Miller’s at Oberlin. “Music Theory, Aural Skills, Composition—he taught it all, and he did it all very well.

“In addition, he was a first-rate composer, and he wrote some of the most beautiful music that ever flowed from the pen of a late-20th-century composer.”

As a younger man, Miller was fortunate to study with some of the best. Born in Miami, he began playing music at age 10, and by 16 was performing in a professional jazz band. He earned a bachelor of music from the University of Miami, then won a Koussevitzky Prize, which afforded him the opportunity to study with Mexican composer Carlos Chavez at Tanglewood’s Berkshire Music Center. Miller had been recommended for the prize by Aaron Copland, who called Miller one of the “young talents whose music commands attention.”

Miller later earned a master’s degree in composition from the Hartt School of Music at the University of Hartford, where he taught for 12 years before joining the faculty of Oberlin. Over the course of his career, Miller won two Ohio Arts Council Awards, a composition award from the National Endowment for the Arts, and the Cleveland Arts Prize, among other honors.

Miller’s compositions—he wrote roughly 70 of them in all—were performed by a number of fellow Oberlin faculty members, including Peter Takács, Gregory Fulkerson, Daune Mahy, and Marlene and Michael Rosen. Though his works tended toward the upbeat, Miller was most proud of The Seven Last Days, an apocalyptic piece he wrote for chorus, orchestra, film, and tape.

“Ed had a fantastic attentiveness to the general flow of music,” says Professor of Violin Gregory Fulkerson, for whom Miller wrote a piece called Beyond the Wheel in the mid-1980s. Fulkerson played it in Cleveland and New York, where a New York Times critic praised it for its “shimmering otherworldly texture.”

Seven years after his retirement, Miller relocated to New Mexico with his wife, Judi Miller, a former Oberlin professor of psychology.



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All download links I have posted are for works, that, to  my knowledge, have never been commercially released in digital form.  Should you find I've been in error, please notify myself or an Administrator.  Please IM me if I've made any errors that require attention, as I may not read replies.

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