Alvin Singleton
with Ingram Marshall
New Haven, Connecticut
April 28, 2000
TABLE OF CONTENTS
Side a p. 1-19
Returning to Yale as a teacher--remembering Mel Powell as a teacher--study with Hall Overton--seminar with Charles Wuorinen--course with Roger Sessions--early piano studies--Gwen Singleton--creating his own band--study at the Hartnett [sp?] School of Music--job at an accounting firm--Study at the New York College of Music (which became part of NYU)--quitting his accounting job--studying piano with Ilse Wunsch, composition with William T. Pollak and Paul Creston--trying to make sense of the classical tradition after having come from jazz tradition--admiration for Thelonius Monk, Ornette Coleman, and Miles Davis--influence of jazz--Woodwind Quintet--childhood musical experiences: singing in the choir, playing trumpet and glockenspeil in marching bands--studying double bass at Yale with Gary Carr and in Italy with Francesco Petracchi [sp?]--influence on Singleton of Mahler’s Second Symphony--ushering and hearing music at the N.Y. Philharmonic--joining the musicians’ union--working as a page at the music division of NYPL--
Side b: p. 19-40
working with Mel Powell--working with Yehudi Wyner--Marc-Antonio Consoli and the Yale Players of New Music [sp?]--Bülent Arel--Alexander Goehr--taking electronic music at Yale--Double Piano Concerto--more on Mel Powell and Yehudi Wyner--getting the MMA at Yale--choosing to go study in Rome--studying orchestration with Goffredo Petrassi--orchestration with Vittorio Rieti at the NY College of Music--learning Italian--befriending Fransiscan monk Mario Hancock--writing a mass (1975)--visiting Austria, moving to Austria and working as a disc jockey in Graz--Argoru pieces--Kwitiana performed by Ensemble des 20 Jahrhunderts of Vienna--winning the Kranischsteiner Musikpreis for Be Natural--Stockhausen--
Side c: p. 40-60
Side d: p. 60-72
