Ronald Caltabiano

with Ev Grimes

New York, New York

June 29, 1987

TABLE OF CONTENTS

Side a:                                                       pp. 1-11

Early musical experiences- -influence of r. high school teacher- -Elie Siegmeister, first composition teacher- -study with Andrew Thomas at Juilliard- -simplicity- -”first’ piece- -writing to express large ideas- -Vincent Persichetti- -Elliott Carter.

Side b:                                                pp. 11-19

Carter- -David Diamond- -Milton Babbitt and philosophy--Mary Anthony Cox- -criticism of Juilliard harmony, counterpoint, history classes- -First Dream- -String Quartet- -Peter Maxwell Davies- -Medea- -moving from strict serialism to incorporating other techniques- -Two Pieces for Mixed Chorus- -rejection of Two Pieces for Mixed Chorus by publisher- -Variations for String Orchestra- -First_Dream- -reading George Perle- -being comfortable with writing for voice.

Side c:                                                       pp. 19-28

Lyric Duo- -search for unity- -time point- -performance of Lyric Duo- -collaboration with dancer in Music for Dance- -writing solo music- -musical language of Sonata for Solo Trombone- -Medea- -harmonic concepts in Medea.

Side d:                                                       pp. 28-36

Description of his ‘system”- -models for vocal writing- -Britten- -music expressing multiple ideas simultaneously- -clarity of surface in vocal music- -conducting own works- -organ piece- -trying to find new technique- -writing String Quartet on Orkney Islands- -analysis of String Quartet- -getting a publisher- -reviewers’ use of composer’s program notes for String Quartet.

Side e:                                                       pp. 36-45

Passacaglia for band- -writing for less professional performers- -Sonata for Solo Cello- -Golden Wattles, Henry Kissinger Should be So Lucky-occasional pieces- -Concerto for Alto Saxophone, analysis- -premiere by San Francisco Symphony- -Ellington Sonata, commissioned by Bert Turetzky.

Side f:                                                                                                                                    pp. 45-53

Torch Liberty, political piece- -Duo for Piano Trio- -Rockefeller grant to work in Bellagio- -Poplars, from Monet’s painting- -continued study with Persichetti, Carter- -completing DMA- -concerts at Merkin Hall and at U.N.- -working for Aaron Copland.

Side g:                                                       pp. 53-59

Sonata for English Horn- -effort toward simpler sounding surface- -complex music to express complex ideas- -Concerto for Six- -Second String Quartet- -simplicity- -”damn the audience”- -moving in direction of full, complex sound- -ideas for Cincinnati commission.