AMERICAN MUSIC SERIES                                           293a                OHV

Richard Wilson

With Steve Sullivan

New York, N.Y.

1993

Table of Contents

Side a                                                                                      p. 1-13

Award of the Stoeger Prize—article in the New York Times—performance of the third movement of his Third String Quartet, subtitled Elegy—recording of it by the Muir Quartet on CRI—bequest given to Chamber Music Society at Lincoln Center for this award—attending Harvard—study of counterpoint with Randall Thompson—study of composition with Robert Moevs—getting the Beebe Award to study music in Europe as a pianist—piano study in Munich—visiting Robert Moevs in Rome—following him to Rutgers—getting a position at Vassar—Kennedy assassination—meeting Copland—his Piano Concerto written for Blanca Uribe, dedicated to Jack Roman—performance of the last movement, “Capriccio”—convocation address he delivered at Vassar, Sept. 1989—more on meeting and getting to know Copland—showing Copland some of his music.

AMERICAN MUSIC SERIES                                                          293 b-d  

Richard Wilson

With Ed Harsh

New York, N.Y.

November 17, 2004

TABLE OF CONTENTS

Side b                                                                                                                        p. 1-27

Music in his early family life--his sister--piano lessons--interest in the organ and cello--interest in Arthur Rubenstein--attending Cleveland orchestra concerts--organizing a classical music assembly in high school--study at Cleveland Music School Settlement--composing children's piano pieces at age eleven--lessons with Leonard Shure of Longy School--college at Harvard--winning a concerto competition--going to Aspen to study with Shure--deciding on music as a major but continuing with pre-med studies--meeting Copland and Milhaud at Aspen--continuing lessons with Shure in New York City--meeting Leon Botstein--hearing music of Robert Moevs and Pierre Boulez at Harvard--studying composition with Robert Moevs--analysis and history at Harvard--Moevs Attis--interviewing and being accepted to medical school--fellowship from New England conservatory as a pianist--James Haar--Munich--study with Friedrich Wührer--recital in Rome--composing and playing at the American Academy in Rome--Boulez--concert of Boulez's music.

Side c                                                                                                             pp. 27-50

Going to Rutgers with Robert Moevs--his masters degree--teaching--accompanying Pierre Bernac's voice, lessons at Dartmouth--meeting Krenek, Kodaly and Finney--Walter Piston--studying with Moevs and Randall Thompson--job at Vassar--meeting Copland--James Joyce--influence on him of Boulez--interest in poet Stephen Sandy; setting his poems--piano piece Eclogue: a move in a different direction--hearing Horowitz play--Eclogue originally written for Peter Pears--Carter's Bariolage--getting more diatonic contrast into his music--Elliott Carter--meeting Helen Carter--getting to know Carter--Krenek and Vassar--Krenek's music--hearing Copland's music--professional association with Leon Botstein, Bard Festival, American Symphony.

Side d                                                                                                                        pp. 50-69

More on Bard Festival--work on program committee--performing Kurt Weill--pre-concert talks--doing concerts with Rolf Schulte and Sophie Shao--his string quartets--his First Symphony--music critics--his  opera Aethelred the Unready--

being his own librettist--Transfigured Goat--memory in music--playing piano and cello--his  background of classical music--viability  of the classical tradition--positive side of the Internet--academia.