AMERICAN MUSIC SERIES 349a OHV
Robert Helps
With Bruce Duffie
1987
Chicago, Illinois
Table of Contents
Side a pp. 1-44
Helps as composer, performer and teacher—focus on teaching piano—effect of his performing on his composition—knowledge of the piano as it affects his writing for the piano—Three Etudes performed by David Del Tredici—his own performances of his piano music—other pianists who have interpreted his music—a commission from Richard Goode—written indications about flexibility of performance—who he is writing for—Copland’s simpler style—early piano pieces—his symphony—how music “takes hold” of him—minimum of planning when he does a piece—Concerto No. 2—sketching—process of composition—commissions—commissioned two-piano piece for Mastrogiacomo Trio—piece for guitar and piano—differences between music for one piano, four hands, and two pianos, two pianists—tunings—“contextual” music—artistic achievement and entertainment value—purpose of music in society—pacing in music—greatness in music—art vs. craft—effect of his own composing on his interpretation of music—piece by Albeniz—different styles in his music—recorded music: New Music for the Piano—arranging a concert program—an all-Helps program—recorded music: Music of Robert Helps—Quartet—performances of his music—his reaction to records of his music—two piano piece—Del Tredici’s performance of Helps’s etudes—Quartet—
Portrait—Symphony No 1—how important it is for a composer to get recorded—Gossamer Noons—Duffie’s program of Helps’s music on the radio—The Running Sun—
New World record of his music—his chamber music—CRI record with music of Del Tredici, Tyson Street, and Helps—Nocturne—memorial concert for Roger Sessions—commercial recordings that get little circulation—professional associations with singers—sitting down to write a new piece—direction of music at the moment—advice for young composers—influence of Sessions.