AMERICAN MUSIC SERIES 106 a-c
Jacob Druckman
with Joan Thomson
780 Riverside Drive
New York, New York
November 16, 1978; January 31, 1979
TABLE OF CONTENTS
Side A pp. 1-15
early musical training--teacher Louis Gesensway--summer at Tanglewood--earning a living playing jazz--composition study with Copland at Tanglewood--study at Juilliard with Wagenaar, Persichetti, Mennin--abandoned pieces--traditional style during Juilliard years--discovery of European avant--garde during 60s--relationship with Aaron Copland--study at Ecole Normale de Musique--Columbia Princeton Electronic Studio--teaching at Bard and Juilliard--teaching--conducting.
Side B pp. 15-21
Brooklyn College--Yale--development of electronic studio at Yale--computer equipment--opinion of computer generated music--the Vocoder.
SideC pp. 21-38
period of early 60s--participation in psychoanalytic study during time of compositional inactivity--being born with caul as sign of good fortune-resurgence of compositional energy--interest in European avant-garde-Dark Upon the Harp--Jan DeGaetani--son playing his pieces--substitute singer--Meet the Composer--recording of Dark Upon the Harp -Animus I--television film--benefits of electronic sound.
AMERICAN MUSIC SERIES 106 d, e
Jacob Druckman
With Vivian Perlis
New Haven, CT
Jan. 20, 1986
TABLE OF CONTENTS
Side d pp 1-17
Prism--Druckman's opera--Windows--interest in working with older music, beginning with George Rochberg--Medea subject of Druckman opera--Lamia--Prism based on earlier operas on the subject of Medea--arrangement of the instruments in Prism--Mirage--performances of Prism--use of pre-existing material in Prism--Berio Sinfonia--work on Druckman's opera--the librettist--state of contemporary opera--Philip Glass--Carl Orff's Carmina Burana--Living Theater--
Boulez--Prism and Druckman opera--opening of the opera--challenges with Medea.
Side pp. 17-32
Librettist Tony Harrison--use of operatic conventions--Dominick Argento--setting text--Prism--reestablishing contact with the past--problems of structure--term: New Romanticism--neoclassicism--Horizons series with the New York Philharmonic--rehearsal of Prism.
Jacob Druckman
with Gene Cook
Norfolk, CT
July 11, 1981
during intermission
TABLE OF CONTENTS
Side p pp. 1-8
Shift in attitude about contemporary music--neo-romanticism--romantic vs. "cerebral" music--composers to appear at Norfolk Festival--seminar at Norfolk involving young composers--peer comment and comments of older composers about his music--Hindemith--composers and other composers--importance of prizes--winning the Pulitzer Prize--reception of his music in Europe--conducting a performance of The Gondoliers in New York.
Jacob Druckman
with Carlos Seco
April 1994
New Haven, CT
TABLE OF CONTENTS
DAT 1
Side q pp. 1-8
Early compositional influences--violin study--Debussy, Stravinsky--Petroushka, The Rite of Spring, Symphony in Three Movements--Juilliard with Persichetti--Tanglewood with Copland--training with violin teacher--influence of Kodály’s method--Gessenway--string quartet with Philadelphia Orchestra members--Madame Longy--question of “American” music--”Americana”--George Crumb and Garcia Lorca--”popular music”--Boulez, Stockhausen--the “Americanness” of Druckman’s music--Copland, Peter Mennin , Persichetti--changes in aesthetics--Boulez’s intellectual music--question of if Americans or Europeans returned to use of tonality--Terry Riley, In C, Steve Reich, Philip Glass--Boulez, Xenakis, Cage--Neo-Romanticism--Berio’s Sinfonia, Stravinsky’s Pulcinella and Baiser de la fee--Tippett [Sir Michael]--no “typical American music”--Druckman’s students.
AMERICAN MUSIC SERIES 106r
Jacob Druckman (Artistic Director, Horizons '83)
John Adams
David Del Tredici
John Harbison
With Robert Sherman, WQXR
1983 (?)
TABLE OF CONTENTS
Side r pp. 1-17
Horizons '83 program at the New York Philharmonic: concerts, symposia, open rehearsals, etc.--Is there a new romanticism?--David Del Tredici's In Memory of a Summer Day--Druckman and the new romanticism--Del Tredici's style: following his instincts--John Adams viewpoint--John Harbison: importance of melody for him--individual stylistic tendencies vs. generalities--Harbison's Flower Fed Buffaloes--his Enrich My Resignation--factors involved in getting a piece performed--Druckman's Aureole--symposia at Horizons '83--concert programs for Horizons '83.
Jacob Druckman
With Russell Sherman, WQXR, "The Listening Room"
New York, N.Y.
December 5, 1978
TABLE OF CONTENTS
Side s: pp. 1-13
Three Druckman works on the program of American Brass Quintet at Carnegie Hall concert--Other Voices--how the title was chosen--offstage trumpet--sense of singing in the music--Dark Upon the Harp--recitative-like section in Other Voices--virtuosity of the piece--concern in the piece for acoustic properties of brass--intellectual ideas and the music.
Side t: pp. 13-15
Additional music on the concert program with Other Voices--how the idea of playing three Druckman pieces on the same program came about--involvement of the American Brass Quintet in twentieth century music--English dances--other Druckman projects.
Jacob Druckman
with Gene Cook
Date unknown
Location unknown
TABLE OF CONTENTS
Side v pp. 1-11
Conducting--Windows--winning the Pulitzer Prize--Bruno Maderna--concert given with Maderna conducting--early piano playing--other early musical experience--Dark Upon The Harp--Valentine--Animus--rehearsing Windows--reviews of Druckman's music--Viola Concerto.
