Daron Hagen
With Russell Platt
New York, NY
April 3 and May 25, 2009
TABLE OF CONTENTS
Side a pp. 1-39
Childhood musical experience--writing to Leonard Bernstein--Juilliard audition with David Diamond--copying music--study at UW Madison with Les Thimmig and Homer Lambrecht--acceptance to Curtis to study with Ned Rorem--family environment--Kenneth Schermerhorn and Milwaukee Symphony, decision to compose--first lesson with Rorem--conducting experience at Curtis--impact of first review on concept of career--study with David Diamond at Juilliard--reconnecting with Bernstein, advice on compositions--short-term teaching career beginning at Bard--arrival at and relationship with Yaddo--meeting David Del Tredici and Louise Talma--Tanglewood, Gunther Schuller--Leon Kirchner, Louis Krasner--meeting Aaron Copland, his final years--working on orchestrations for Virgil Thomson--conversations and lessons with Lukas Foss--interaction between Rorem and Foss--place of copyist.
Side b pp. 39-74
Copying for George Perle--gaining respect--choosing musical path--Bernard Rands--Gian Carlo Menotti--copying Goya, avoiding Arnie Arnstein's copying class--Elliott Carter--learning styles through copying--change in publishing culture, self-publishing--reading arts magazines as a child--operas with Paul Muldoon--The Sandbox--Shining Brow--connection with Roland Johnson--writing Shining Brow--Stephen Wadsworth, director--working habits--filmic treatment--Vera of Las Vegas--writing process, emotions--working relationship with Paul Muldoon--Bandanna; dissonance, binaries--writing for band--Frederick Fennell on reception of Vera--first performance, dramatic inclusion of violins.
Side c pp. 74-96
Recording Bandanna at UNLV--The Antient Concert; Paul Muldoon project--decision to find new librettist--New York Stories--Amelia--Gardner McFall as librettist--collaborating--Gardner McFall's experiences in Amelia--input from cast shaping composition--future Little Nemo with J. D. McClatchy--enjoyment of composition and production process.
