AMERICAN MUSIC SERIES 240 a-c
Stephen Paulus
with Libby Van Cleve
Boston, Massachusetts
March 8, 1994
TABLE OF CONTENTS
Side a: pp. 1-22
early years--parental influence--Schubert Club--early compositions--encouragement from teachers--women’s involvement with music education--creativity--hearing Rubinstein as a youngster--music’s power to transform--to manipulate emotions--accessibility of Paulus’ music--choral writing--music in academics--Elie Siegmeister--resident composer with Minnesota Orchestra--opportuinities for composers--Paulus’ role in promoting new music--his business sense--college career--Libby Larsen and the creation of the Minnesota Composers Forum--Linda Hoeschler--decision not to enter academia--NEA commission
Side b pp. 22-42
Richard Gaddes and the Opera Theater of St. Louis--business relation with Boosey & Hawkes leading to commission--Mad Book, Shadow Book: Songs by Michael Morley-- numerous great reviews for first opera, The Village Singer--Harwood and the Houston Symphony--Fromm commission--Tanglewood--Richard Vogt and the Greenwich Choral Society--Spectra--Concerto for Orchestra--business aspects--Composers Forum--Gayle [Davidge]--styles of writing modern opera--support of his colleagues--amalgamators of musical style--broad support of others’ musical choices--influence from popular music--close harmony of Beach Boys--melodies in Postman-- “out front” quality of his music--Midwestern attitudes--
Side c: p. 42-49
viewpoints in Atlanta and Minnesota--comparison with East coast--the Far East--Three Elizabethan Songs-- Paul Fetler--influences--Ravel--Crumb--Stravinsky--non-musical interests