AMERICAN MUSIC SERIES 194 a-i OHV
John Corigliano
With Ev Grimes
New York, N.Y.
June 26, 1987
TABLE OF CONTENTS
Side a pp. 1-14
Playing and improvising as a child—encouragement by his high school teacher—study at Columbia with Otto Luening—writing a piece for marimba—studying with Giannini privately at the Manhattan School—working at WQXR—Fern Hill—Violin and Piano Sonata—working at WBAI as Music Director—going to Spoleto and winning the Spoleto Prize—Petit Fours—Kaleidoscope—Fern Hill—the way he writes—What I Expected Was—Samuel Barber—Album Leaves—being published by Schirmer—Violin Sonatat—its New York premiere.
Side b PP. 14-27
More on Viiolin Sonata—Oboe Concerto: first mature piece—song cycle, The Cloisters, with William Hoffman—Piano Concerto—Tournaments—starting his own company, Music for the Theater, a rental library of incidental music—Elegy, dedicated to Samuel Barber—teaching—teaching at the Colleg of Church Musicians at the National Cathedral in Washington—Concerto for Piano and Orchestra—Tantrum for Solo Piano—renting incidental music to small theaters.
Side c pp. 27-40
Writing music for the Rivals, for Oedipus Rex, and for The Imaginary Invalid—The Naked Carmen—Caldara Stabat Mater for Moog Synthesizer—balance between performance and piece—teaching at Manhattan and Lehman—teaching music appreciation—the composer and his audience—Clarinet Concerto—serialism—minimalism.
Side d pp. 40-51
Growth and development of composers—Fantasia on an Ostinato—value of teaching—being aware of your audience—Auden on Wagner—Poem in October—L’invitation au voyage—The Pied Piper Fantasy—A Black November Turkey—Creations—Altered States.
Side e pp. 51-66
Gazebo Dances—Williamsburg Sampler—Oboe Concerto—Harold Gomberg—Arabic oboe—Clarinet Concerto—Dylan Thomas Trilogy: Poem on His Birthday—commission for and performance of Dylan Thomas Trilogy—Etude Fantasy.
Side f pp. 66-
Psalm VIII—Clarinet Concerto—writing for the clarinet--
AMERICAN MUSIC SERIES 194 j,k
John Corigliano
with Vivian Perlis
Sept. 29, l997
New York City
TABLE OF CONTENTS
[Side j]
The Ghosts of Versailles--Bill Hoffman--pre-production of Ghosts--the opera recorded by Young Artists of the Met--the Sitzprobe--differences between musical theatre and opera--frustration of not having more performances of the opera--the video--television--Copland on opera--the Met dealing with a living composer--James Levine--the first and second productions of the opera--the Marilyn Horne part--the addition of
the virtuoso viola improvisations and how tradition gets started--the thirteen instrument version of Copland’s Appalachian Spring--Ghosts as a serious and a buffa opera--the meanings of Ghosts: a love story, a view of operatic tradition, the meaning of change--looking back and looking forward--different musical audiences for different music--Milton Babbitt--governmental support and control of the arts.
[Side k]
How audiences have been alienated--Corigliano and Copland: both reaching out to people--First Symphony--Pied Piper Fantasy--simplicity vs. complexity--influence of Copland’s Billy the Kid--the use of tempo and expressive markings in English--his reliance on performer friends to help with technical matters--the premiere of Ghosts--the plot of Ghosts--his desire for an opera not rooted in one time period--musical theatre vs. opera--problems with English in present day opera--Jacob Druckman--[Steven Spender’s] poetry--Elliott Carter--John Harbison--the symphonic world--Corigliano as composer-in-residence at the Chicago Symphony--[Sheldon Shulnik]--the establishment of reading sessions with the symphony for the music of younger composers--world premieres of music by emerging composers given by the Civic Orchestra of Chicago--the Young People’s Concerts for teenage composers--lectures with the Art Institute--Bach’s dinner--Shulamit Ran--Augusta Reed Thomas--Georg Solti--the Campane di Ravello --Tournaments--the Clarinet Concerto.
