1997-1998 Season Schedule
All concerts started at 8:00 pm unless otherwise noted.
||Artist / Event
|September 9-October 3, 1997
||JAZZ FILM SERIES
||Curated by jazz radio host Larry Appelbaum, our
popular jazz film series returns to the Pickford Theater, September
9 - October 3, with programs on Tuesday and Friday evenings at 7:00
p.m. Opening the series: the U.S. premiere of Don McGlynn's new documentary,
DEXTER GORDON: More Than You Know. Also to be screened: performances
by Milt Jackson, Mose Allison, Kenny Burrell, Ray Anderson, and a
tribute to the Jazz Messengers.
|October 8-10, 1997
||NATHAN KROLL FILM SERIES
||Distinguished producer and filmmaker Nathan Kroll
introduces a trio of evenings presenting gems from a 60-year career
embracing film, television, radio, and sound recordings. Winner of
three Peabody awards, an Emmy, and first prizes at film festivals
in Venice, Edinburgh, Berlin, Spain, and France, Kroll is admired
for recording extraordinary encounters with some of the most important
performing artists of our time--legendary figures like Pablo Casals,
Andrés Segovia, Helen Hayes, Jascha Heifetz, Martha Graham,
Joan Sutherland, and George Szell.
|October 15, 1997
||1897 DANCE EXPOSITION
Put on your dancing shoes, jump in your time
machine, and help us celebrate the one hundredth anniversary of
the Library of Congress Music Division! Dance scholar and producer
Elizabeth Aldrich (known for authentic and visually sumptuous dance
sequences in the films Jefferson in Paris and The Age
of Innocence) creates a centennial spectacle--a vision appropriate
for our founding year, 1897. Her Jonquil Street Foundation Dancers
present a grand evening of quadrilles, waltzes, polonaises, and
two-steps, a dazzling display of dances and amusements from the
After the performance, we turn the dance floor over to you, as
the Library of Congress Centennial Cotillion Brass Band, under the
direction of Robert E. Sheldon, the Library's Curator of the Musical
Instruments Collections, plays vintage music from the Music Division
vaults. Relive those days with us, as we celebrate our one hundredth
birthday in the Library's magnificent Great Hall.
|October 30, 1997
||JUILLIARD STRING QUARTET
||First violinist Joel Smirnoff, violist Samuel
Rhodes, and cellist Joel Krosnick welcome violinist Ronald Copes to
the Coolidge Auditorium as a new partner in a foursome that's celebrating
thirty-five years as the Library's resident string quartet. They reopen
our concert hall on October 30 with the Quartet in E-flat major,
Op. 12 of Mendelssohn; Three Pieces for String Quartet
by Aaron Copland; and Schubert's Quartet in D minor, D. 810.
|October 31, 1997
IL GIARDINO ARMONICO (period instrument
"[Their] Vivaldi was so astonishing that it put worthy local
efforts in the shade... Il Giardino Armonico are brilliant players
by any standard." - The New York Times
|This stunning period-instrument ensemble from
Italy won the 1996 Gramophone Award (Baroque non-vocal category) for
its recording of Antonio Vivaldi's double and triple concertos. The
group performs the composer's La Follia Variations, RV 63,
the Lute Concerto in D major, RV 93, and the Concerto
in C major, RV 443 for sopranino recorder. Also on the program,
Matthew Locke's incidental music for Shakespeare's The Tempest,
and J.S. Bach's Brandenburg Concerto No. 5, BWV 1050.
|November 6, 1997
||JORGE CABALLERO (guitar)
||In 1996, nineteen year-old Peruvian guitarist
Jorge Caballero added the Naumburg Guitar Award to his growing list
of honors. Hear this sensational young artist in a solo recital of
works by Francesco Canova da Milano, Johann Sebastian Bach, Mauro
Giuliani, Agustin Barrios, Elliott Carter and Alberto Ginastera.
|November 7, 1997
BORROMEO and BRENTANO STRING QUARTETS
"Blockbuster" comes to mind for this concert pairing
two of the finest string quartets around. "The Borromeo is
simply the best there is," raves The Boston Globe.
The Philadelphia Inquirer declares that the Brentano players
"...could well be the best of the latest generation."
|These highly-acclaimed young artists will delight
concertgoers with a "battle of the bands." The Brentano
offers Haydn's Quartet in B-flat major, Op. 71, No. 1, and
the Borromeo performs the Quartet in F major of Ravel. The
players will call a truce with the Octet in E-flat major, Op.
20 of Felix Mendelssohn. Not to be missed!
|November 12, 1997
||LEONARD SLATKIN CONDUCTS
||A special chamber orchestra concert evoking the
historic 1944 collaboration between Aaron Copland and Martha Graham.
Appalachian Spring is the centerpiece, heard in its original
thirteen-instrument version. Violinist William Steck and cellist David
Hardy are the featured soloists for Ellen Zwilich's Romance for
violin and chamber orchestra -- a Library of Congress McKim Fund
commission -- and Paul Hindemith's Kammermusik No. 3, Op. 36,
No. 2. An extraordinary evening!
|November 18, 1997
MARIETTA SIMPSON and JEROME ROSE
(mezzo-soprano and piano)
Marietta Simpson's "rich tone, searching musicianship, and
imposing stage presence endow everything she sings with great depth
of feeling," says The Atlanta Journal. One of the
most sought-after mezzo-sopranos performing today, Ms. Simpson collaborates
with such luminaries as Charles Dutoit, Lorin Maazel, Kurt Masur,
Simon Rattle, and Robert Shaw.
| With pianist Jerome Rose, Marietta Simpson performs
Schubert favorites, including An die Musik, and Im Abendrot,
and the Zigeunerlieder, Op. 103 of Brahms. Mr. Rose completes
the program with the Sonata in C minor, D. 958. of Schubert.
|November 19, 1997
THE NEW YORK VOCAL ARTS ENSEMBLE
"Impeccable musicianship and great joy in performance..."
- The New York Times
Winning first prize at the thirty-sixth Annual
Geneva International Music Competition is one of many notable achievements
of the New York Vocal Arts Ensemble, which counts more than 1500
concerts in its twenty-six year history. The program for this distinguished
ensemble--currently recording the complete vocal chamber music of
Johannes Brahms--includes Lieder, vocal quartets, partsongs,
and motets by Schubert and Brahms.
|November 20, 1997
||ORION STRING QUARTET and JEROME ROSE
||Hailed for uniting the best qualities of both
the European and American quartet traditions, the Orion serves as
quartet-in-residence of the Chamber Music Society of Lincoln Center.
The artists pair Franz Schubert's Quartet in G major, D. 887,
with the Brahms Piano Quintet in F minor, Op. 34.
|November 21, 1997
||MARTIN MASTIK & CHRISTÒPHEREN
NOMURA (guitar & baritone)
||A wonderful evening of music for voice, guitar,
and chamber ensemble, with little-known gems by Franz Schubert, the
composer's seldom-performed Quartet in G major, D. 96 for Flute,
Viola, Guitar, and Cello. Mr. Nomura also sings Lieder
by Brahms, and David Buechner performs the composer's Two Rhapsodies,
Op. 79, for solo piano.
|November 22, 1997
||JUILLIARD STRING QUARTET
||Our own world-renowned quartet-in-residence joins
the celebration with Schubert's Quartet in E-flat major, D. 87,
the String Quartet No. 3 by Alban Berg, and the Quartet
in C minor, Op. 51, No. 1 by Johannes Brahms.
|November 23, 1997 at 2:00p.m.
OLAF BAER and WARREN JONES (baritone
"Baer is at the height of his art, and in the twenty-four
songs...he revealed the master's touch," Australia's Manly
| One of the foremost interpreters of Lieder, Baer
has appeared in concert halls and opera houses worldwide. In our festival's
final concert, he and pianist Warren Jones add works of Hugo Wolf
to those of Brahms and Schubert.
|February 20, 1998
||ENSEMBLE CLÉMENT JANEQUIN (six-man
||Countertenor Dominique Visse leads his stellar
six-man vocal ensemble in Fricassée Parisienne, a
unique marriage of popular and high Renaissance culture contrasting
the touching lyricism of the chanson amoureuse, and the earthy
humor of the chanson rustique, with references to popular
farce, and to the sounds of war, nature, and street cries.
|February 24, 1998
||JEAN-PIERRE RAMPAL (flute)
||Jean-Pierre Rampal celebrates the fortieth anniversary
of a work he premiered in the Coolidge Auditorium in 1957: Francis
Poulenc's Sonata for Flute and Piano. Join us at 6:30 for Rich Kleinfeldt's
onstage interview with Mr. Rampal, a conversation about the Poulenc
premiere and his four-decade friendship with the Library of Congress.
|February 25, 1998 at 2:00p.m.
||Mr. Rampal will work with a group of gifted students
from the Levine School's honors program. This two-hour class will
be open to flute lovers, teachers, and students at all levels.
|February 25, 1998
SKAMPA STRING QUARTET
Founded in 1989 at the Prague Academy of Music, the Skampa Quartet's
hallmarks are intensity and vigor, passion and finesse. In 1994,
the group became Wigmore Hall's first quartet-in-residence. The
London Times reports that the Wigmore concerts are "red-letter
days in London's chamber music season."
| Making its Washington debut, the Skampa offers
Mozart's Quartet in D Major, K. 575, Janácek's Quartet
No. 1 "Kreutzer Sonata," and Beethoven's Quartet
in E-flat Major, Op. 127.
|February 25, 1998 at noon
||FLUTE MAKING AND THE CRAFT OF THE
COMPOSER with BRENT MICHAEL DAVIDS
||A noontime lecture-demonstration introducing listeners
to a young Native American composer whose music moves between the
worlds of the Kronos String Quartet, the National Symphony, and Native
American Song. Mr. Davids, a member of the Mohican Nation, is an internationally
recognized composer and flutemaker who will demonstrate his glass
flutes in this Coolidge Auditorium session.
|February 27, 1998
SANDRA MILLER (flute)
with MARY OLESKIEWICZ (flute), ROB TURNER (flute), DAVID SCHULENBERG
(harpsichord), NANCY WILSON (violin), DAVID MILLER (viola),
LISA TERRY (cello), and JAMES RICHMAN (harpsichord)
|Period flute specialist Sandra Miller brings together
a group of accomplished colleagues for an evening of music by Wolfgang
Amadeus Mozart -- the Flute Quartet in D major, K. 285 --
C.P.E. Bach, J.J. Quantz, and Anton Diabelli. Ms. Miller is replacing
Konrad Hünteler, who is ill. She is joined by flutist and musicologist
Mary Oleskiewicz, an internationally recognized performer, writer,
and lecturer on the Baroque flute; David Schulenberg, author of The
Instrumental Music of J.S. Bach, and a widely recognized performer
on early keyboard instruments; Rob Turner, a flutist who is also a
wellknown flutemaker; Nancy Wilson, violin; David Miller, viola; Lisa
Terry, cello; and James Richman, harpsichord.
|March 4, 1998
GRAND MUSIC CINEMA (live music
Grand Music Cinema transports you to a time when the new medium
of film plus live music equaled a unique and compelling art. Conductor
and musicologist Gillian Anderson has reconstructed and restored
the original orchestral scores for more than twenty of the great
silent classics, performing them in Europe, the United States and
Film composer Elmer Bernstein (The Age
of Innocence, The Ten Commandments, The Magnificent
Seven) has created a new violin-and-piano score, commissioned
by the McKim Fund in the Library of Congress, for a visually stunning,
hand-painted Dutch gem from the earliest days of the cinema: The
400 Tricks of the Devil (The Adventures of a Professor) Fantasie-Film
. Come join us for the premiere of Bernstein's score and the
evening's featured work, a 1926 MGM version of La Bohème,
starring Lillian Gish as Mimi and John Gilbert as Rodolfo.
|March 5, 1998
||GOLDEN AGE OF TANGO (lecture and demonstration)
||Musicologist Susana Salgado, the Library's Consultant
for Iberian and Latin-American music, brings together violinist José
Miguel Cueto, pianist Nancy Roldán, and bandoneón player
Raúl Jaurena--with tango dancers Daniela and Armando--for a
night devoted to the history of the tango, and its relationship to
the films of Carlos Gardel.
Tango buffs can see clips from Gardel's
1930's Paramount films El día que me quieras (The
Day You Love Me), Cuesta abajo (Downward Slope), Tango
Bar, and El Tango en Broadway. Ms. Salgado will present
her lecture in English.
|March 11, 1998
||NEWBAND (live music with film)
||Composer Dean Drummond conducts Newband--juxtaposing
conventional instruments with unique Harry Partch inventions like
the cloud chamber bowls and the chromelodeon--in his new score for
the controversial 1924 German expressionist classic, Der Lezte
Mann. Directed by F.W. Murnau, with a screenplay by Carl Mayer
and photography by Karl Freund, the film features Emil Jennings in
one of his greatest roles: an aging doorman at the cosmopolitan Atlantic
|March 20, 1998
||L'EUROPA GALANTE WITH FABIO BIONDI (violin)
||The hot young Italian violinist Fabio Biondi has
"reinvented" Antonio Vivaldi's Four Seasons, according
to European critics and music lovers. Sensuous sound, clarity, and
a vivid palette of instrumental colors characterize this virtuosic
period instrument ensemble from Milan. Biondi kicks off our Violin
Summit on his first American tour, conducting and playing concertos
by Vivaldi (including the Four Seasons) and Locatelli.
|March 21, 1998
"Elegant calculation...this is a talented instrumentalist,
with the kind of high-gloss tone that pulls sensuously at the listener's
ear." - The New York Times
Winner of the Avery Fisher Career Grant and
the Young Concert Artist International Auditions, Chee-Yun is "a
rising star among a pack of young virtuoso violinists," says
The Cincinnati Enquirer. Known for "doing something
different" in her programs -- a concerto for violin and gamelan
by Lou Harrison, and arrangements of Leonard Bernstein's West Side
Story -- the Korean-born Chee-Yun has appeared at the Mostly Mozart,
Aspen, and Spoleto festivals, and has collaborated with such conductors
as Pinchas Zukerman, Gerard Schwarz, and Michael Tilson Thomas.
Recital program to be announced.
|March 29, 1998 at 6:00pm
HOURYU-KAI (Japanese Noh Theater)
Houryu-kai, one of Japan's most revered artistic ensembles, will
appear at the Coolidge Auditorium of the Library of Congress for
a special performance on Sunday, March 29 at 6:00 p.m. Washington
audiences will be offered a rare opportunity to see an evening-length
Noh presentation by Houryu-kai, an internationally-recognized troupe
of players trained in the Hohshoh School tradition. The company
is led by Ryuzoh Tazaki, who was designated one of Japan's "Important
Intangible Cultural Assets" in 1991.
The featured work for the March 29th Noh performance
is Funabenkei (Benkei Aboard Ship), a story about the involuntary
separation of Minamoto-no-Yoshitsune, a tragic hero of the late
12th century, from his lover Shizuka-gozen. Benkei, Yoshitsune's
retainer, insists that honor dictates that the two must separate,
to appease a family conflict with Yoshitsune's brother Yoritomo.
After Shizuka's departure Yoshitsune and his men take to the sea,
on a voyage of exile. Their ship is attacked by a vengeful warrior
ghost from the Taira clan, whom Yoshitsune has vanquished, but Benkei's
priestly powers overcome the angry ghost, which fades away into
Also to be presented with Funabenkei is a farce, Kyogen: Fukuro-Tamabushi
(The Owl-Mountain Priest) with Ishida Yukio as Shite, a mountain
priest; Nomura Mansai as Ado, the big brother; and Koado, the little
brother, Ishida Tanro.
The Noh performance is being presented under the auspices of
the Music Division and the Asian Division of the Library of Congress,
in cooperation with the 1998 National Cherry Blossom Festival and
the Embassy of Japan.
|April 3, 1998
PAUL DRESHER ENSEMBLE with DAVID ABEL (violin)
"This may be a chamber concerto in size of musical forces...but
the scope and effect ranged from rock band to Wagnerian orchestra...tantalizing,
strikingly original and immensely satisfying" (Octavio Roca,
The San Francisco Chronicle).
|David Abel joins the Paul Dresher Ensemble for Fresh With a Vengeance,
and the world premiere performance of Dresher's recently completed
Concerto for Violin and Electro-Acoustic Band. Mr. Abel and pianist
Julie Steinberg will also premiere a new work for violin and piano
by Dresher, commissioned by the McKim Fund in the Library of Congress.
|April 9 and 10, 1998
BEAUX ARTS TRIO
Time magazine writes about pianist Menahem Pressler, violinist
Ida Kavafian, and cellist Peter Wiley: "Among the world's piano
trios, there is none better ... the Beaux Arts players' real virtuosity
lies in their ability to become one instrument."
| These perennial favorites return to Coolidge
Auditorium with the Trio in B-flat major, K. 502 by Mozart,
Beethoven's Trio in C minor, Op. 1, No. 3, and the Trio
in A minor by Tchaikovsky.
|April 10, 1998 at 2:30p.m.
||MENAHEM PRESSLER MASTERCLASS
||Presented in cooperation with the Levine School
|April 11, 1998
||ARCADO STRING TRIO
||Arcado is a category-defying string trio uniting
the impressive talents of bassist Mark Dresser, cellist Hank Roberts
and violinist Eyvind Kang, musical explorers charting new sonic landscapes.
Dresser's new Library of Congress commission for violinist Mary Rowell
stretches the boundaries of conventional string playing, with an experimentalist's
take on structure and technique. Kang's tours with Bill Frisell, and
Hank Roberts's credentials as "the most respected improvising
cellist on the international scene," make this evening an unbeatable
|April 16 and 17, 1998
||JUILLIARD STRING QUARTET
||On April 16 and 17, 1998 the Juilliard performs
Beethoven's Grosse Fuge, Op. 133; Mozart's Piano Quartet
in G minor, K. 478 with pianist Thomas Sauer. Plus a world premiere:
Donald Martino's Three Sad Songs, for viola and piano.
|April 18, 1998
||NEW YORK FESTIVAL OF SONG / EVIDENCE OF THINGS
||Ned Rorem's new song cycle draws on the poetry
of W.H. Auden, Walt Whitman, Theodore Roethke, Langston Hughes, Robert
and Elizabeth Browning, and others. Meet the composer at this full-length
evening of song, along with four superb singers and the two New York
Festival of Song directors, pianists Michael Barrett and Steven Blier.
A seventy-fifth birthday co-commission of the Library of Congress
and the New York Festival of Song.
|April 23, 1998
IRINA REES (harpsichord)
A graduate of the Russian National Academy of Music in Moscow,
Irina Rees won First Prize at the Southeastern Historical Keyboard
Society's Fourth International Competition in 1996.
| Rees brings subtle articulation, excellent agility, and a feel
for refined colors in her program of Forqueray, Duphly, J.S. Bach,
Frescobaldi, and others.
|April 25, 1998
JELLY ROLL! (two-man cabaret) - Starring
Vernel Bagneris and Morten Gunnar Larsen, Piano
Winner of the Obie Award, the Lucille Lortel Award,
and Best Off-Broadway Musical, Outer Circle Critics Award
"Bagneris is one of those musical-comedy performers whom you
get to see only two or three times in your life..." - Whitney
Balliett, The New Yorker
"One of the most revivifying entertainments to be found on
Broadway or off..." - Vincent Canby, The New York Times
"A 90-minute tribute to the now-legendary Jelly Roll Morton,
the New Orleans jazz pianist, composer, arranger and bandleader
as well as the self-styled creator of jazz," writes critic
Vincent Canby. Jelly Roll! is a dazzling two-man cabaret evening
of sketches honoring the sixtieth anniversary of Morton's epoch-making
1938 recording sessions in the Coolidge Auditorium with folklorist
A master of the American vernacular, actor, author, song-and-dance-man
Vernel Bagneris wrote and starred in the hit shows One Mo' Time,
Further Mo', and Staggerlee. With his longtime musical partner,
the brilliant Norwegian pianist Morten Gunnar Larsen, Bagneris crafted
Jelly Roll!, conjuring the jazz genius in riveting re-creations
of his words and music. "...Bagneris is laid-back, effortless,
and swinging. When he sings, he recalls Fred Astaire, and when he
dances, his feet--in the lingo of Honi Coles, praising Bill Robinson--never
touch the ground," Balliett enthused in The New Yorker. The
Associated Press dubs Larsen "a pianist with lightning fingers
and early jazz in his soul..."; "It takes two to make
Jelly Roll," comments Martin Gayford; Bagneris and Larsen "are
clearly the two halves of one great man" (John Simon).
Meet the man and his music in Jelly Roll! an unforgettable evening
of musical theater.
|May 1, 1998
ANTHONY BRAXTON (Ghost Trance Music)
"...Completely stimulating performances -- spellbinding in
fact...hope for future generations of music." -- DOWN BEAT
The uncompromising integrity of musical philosopher Anthony Braxton
earned the composer a coveted MacArthur Fellowship in 1994. A formidable
saxophonist and master improviser, Braxton creates ambitious and
visionary compositions--his opera, Trillium R, multimedia collaborations
with video and graphic artists, large-scale music theater and performance
art works--that transcend genre and integrate performance traditions:
what Braxton describes as the "trans-African" and the
American experimentalist perspectives. The program includes the
premiere of his Ghost Trance Duo for Violin and Piano.
|May 2, 1998
MILTON BABBITT SYMPOSIUM
Milton Babbitt is one of the most important composers and music
theorists of the twentieth century. Born in Philadelphia on May
10, 1916, he was educated at the University of Pennsylvania (mathematics,
1931), New York University (music, 1932-35, B.A.), and Princeton
University (music, M.F.A., 1942). At Princeton Mr. Babbitt was on
the music faculty 1938-42 and 1948-60 and on the mathematics faculty
1943-45; he was named Conant Professor of Music at Princeton in
1960 and he has been Professor Emeritus there since 1981. He has
also been on the composition faculty at the Juilliard School of
Music since 1973. He has taught at Darmstadt, Tanglewood, Salzburg,
and the New England Conservatory. Among numerous awards and honorary
degrees, in 1982 he received a Pulitzer Prize Special Citation for
Milton Babbitt is a long time friend of the Music Division in the
Library of Congress. Beside having several of his own works premiered
at the Library, since 1977 Mr. Babbitt has served on the Coolidge
Foundation Committee, lending valuable assistance to the Music Division
regarding commissioning of the works of other composers. Most recently,
he agreed to donate his papers to the Library. The Babbitt collection
will give a unique and valuable insight into many of the most important
musical developments in our recent past--developments Mr. Babbitt
* 10:00 a.m. - Introduction (Stephen Soderberg,
Music Division) and Welcome (Jon Newsom, Chief, Music Division)
* 10:10 a.m. - Babbitt, Stravinsky, and the Serial "Tyranny"
of the 1950s and 1960s (Joseph Straus, Queens College and Graduate
School, City University of New York) ABSTRACT: According to many
standard accounts, serialism dominated American musical life in
the 1950s and 1960s, at least in classical music circles. In an
empirical study that draws on contemporary books, magazines, and
newspapers as well as lists of grants, awards, and faculty positions,
I will challenge that account and demonstrate that serialism, if
it dominated anywhere, did so only at the very periphery of American
musical life. As a proof of my revisionist account, I will study
the case of Babbitt and Stravinsky. Babbitt is usually taken as
the principal exponent of serialism in America and Stravinsky the
most prominent convert to that approach. I will attempt to measure
the influence exerted on Stravinsky by Babbitt and other members
of the serial community in order to discover if Stravinsky was bowing
to pressure from a dominant group or pursuing his own, idiosyncratic
* 10:50 a.m. - What's the Use of the Twelve-Tone System? (Joseph
Dubiel, Columbia University) ABSTRACT: Most discussion of Milton
Babbitt's music focuses on its being "twelve-tone." Babbitt's
writing strongly directs attention to this fact; yet Babbitt also
emphasizes that this fact may not account for much about any particular
twelve-tone piece (especially compared with what the fact of being
tonal may account for about a tonal piece). It is not simple to
understand how observations of twelve-tonishness might be indispensable
at the same time as they are relatively unrevealing. An important
possibility to consider is that the very limitation of what the
twelve-tone system implies about a twelve-tone work is the crucially
interesting characteristic of the system: thus twelve-tone theory
in general might be considered remarkable precisely for how lightly
it grasps its objects. Obviously this claim will require careful
elaboration in order not to be seen as mere evasion of the reasonable
demand for theoretical constructs to have perceptual meaning. Such
elaboration will be undertaken in the lecture.
* 11:50 a.m. - Rigors of Subjectivity (Marion A. Guck, University
of Michigan) ABSTRACT: Milton Babbitt is known for, among other
things, certain methodological claims he has made, particularly
his stipulation that music scholars must take the language of science
as their model of verbal adequacy. What he meant was that certain
standards of precision must be adhered to, not, as so many people
seem to have thought, that a particular style of language must be
used in musical descriptions. I wrote about these issues once before,
and I propose to return to them in light of greater experience with
Babbitt's precepts in order to consider why they might matter to
those, like myself, who view musical analysis as interpretive rather
than an explanatory. To exemplify these as well as other methodological
and analytical concerns Babbitt has taught us to care about, I will
provide an account of Brahms' Intermezzo in Eb Major, Op. 117, no.
1, a piece that raises interesting questions about the appeal of
its simplicity and complexity at much the same time.
* 12:30 p.m. - Milton Babbitt's "Three Theatrical Songs"
in Perspective (Allen Forte, Yale University with Richard Lalli,
Yale University, baritone) ABSTRACT: This presentation aspires to
provide informative perspectives on Babbitt's three remarkable songs,
both as they relate to traditional music for the American musical
theater and with respect to the special idiomatic features that
identify them as innovational, representing an original approach
to the theater song that is of the highest musical quality.
* 2:30 p.m. - Listening to Milton Babbitt's Electronic Music: the
Medium and the Message ( Robert Morris, Eastman School of Music)
ABSTRACT: Over the last four decades, Milton Babbitt has been often
cited as a "pioneer" in two areas of twentieth-century
music: serial and electronic music. Even if Babbitt is less remembered
today for his contributions to the development of American electronic
music, he certainly was a major figure in its history; in fact,
he was the first major composer to make music of substance on a
digitally-controlled synthesizer. And the ten electronic works Babbitt
composed from 1961 to 1979--most of them for synthesized tape and
instruments--still shine as examples of the best of the genre. My
paper examines Babbitt's conception of the electronic medium which
includes his consideration of issues in psychoacoustics that directly
bear on the perception of musical sound, synthesized or otherwise.
I sample passages from two of Babbitt's early electronic pieces--the
Composition for Synthesizer and Ensembles for Synthesizer--to show
how Babbitt was able to use the medium to implement his innovative
musical interests of the 1960s, such as the time point system and
the articulation of arrays of pitch classes and time points. Examples
and discussion of later electronic works indicate the means by which
Babbitt resolved or confronted the problematics of "programmed"
* 3:10 p.m.- Reflections (1974) for Piano and Synthesized Tape,
by Milton Babbitt (Performed by Robert Taub,
Institute for Advanced Studies, Princeton University)
* 3:50 p.m. - Still Being an American Composer--Milton Babbitt at
80 (Andrew Mead, University of Michigan)
* 4:30 p.m. - Response (Milton Babbitt, Princeton University and
The Juilliard School of Music)
|May 3, 1998
||MARK O'CONNOR (violin)
||Hear this master musician in the company of five
good friends from Nashville. Still at the top of the charts for his
Appalachia Waltz, phenomenal violinist and composer Mark
O'Connor performs music from his newest Sony release, Liberty!
The American Revolution. In his scores for the six-part PBS series,
scheduled to air in fall 1997, O'Connor spins compositions reflecting
the American musical melting pot, with sounds from the fiddle, guitar,
banjo, harpsichord, dobro, and pennywhistle. Actor Clay Jenkinson
takes the role of the Library's violinist founder, Thomas Jefferson,
in an evening that premieres a new O'Connor commission for the Library
|May 8, 1998
||CONTINUUM (new music specialists)
||Led by founding directors Joel Sachs and Cheryl
Seltzer, this much-admired group of New York new music specialists
focuses on the Caucasus republics: Armenia, Azerbaijan, and Georgia.
Vibrant, meditative music from the mountains bridging Europe and Asia.
Composers featured include Franghiz Ali-Zadeh, Giya Kancheli, and
Oleg Felzer, whose Sonata for Violin and Piano, commissioned
by the McKim Fund in the Library of Congress, will receive its world
|May 13, 1998 at 3:00p.m. and 8:00p.m.
||THE MARTHA GRAHAM DANCE COMPANY
On the occasion of the acquisition by the Library
of the Martha Graham Archives
* Martha Graham's Appalachian Spring
* Tony Award-winning choreographer Susan Stroman's Gershwin
Graham--"But Not For Me" (World Premiere)
Gershwin Graham--"But Not For Me" was commissioned
with the generous support of the Ira and Leonore S. Gershwin Fund