Thea Musgrave

with Vincent Plush

Santa Barbara, California

May 12. 1983

TABLE OF CONTENTS

Side a                                                                                                                         pp. 1-23

Childhood in Scotland-- piano lessons-- reading-- Mary Queen of Scots and historical background in Edinburgh-- music study-- change from medical school to music-- Edinburgh musical scene-- Mary Grierson-- study with Boulanger in Paris-- Stravinsky Cantata for a Summer’s Day-- early career in Scotland-- The Abbot of Drimock -- William Glock, Dartington School-- interest in Ives-- Tanglewood-- Copland, Foss, Babbitt-- American students.

Side b                                                                                                                                    pp. 23-44

Association with Copland-- Lili Boulanger Prize-- Second Chamber Concerto— “dramatic abstract”-- Koussevitzky Award-- quotation from Grove’s and Musgrave’s reaction-- The Phoenix and the Turtle-- turn from serial music-- The Decision--Nocturnes and Arias-- Orchestra Concerto, Clarinet Concerto, Horn Concerto, Viola Concerto-- Memento Vitae-- dramatic element-- Tovey Prize-- conducting lessons-- Beauty and the Beast-- practicality in composing-- relationship with performer-- From One to Another-- tape music-- Orfeo I and II.

Side c                                                                                                                         pp. 44-66

From One to Another-- move to America-- Elegy-- Virginia Opera-- The Voice of

Ariadne-- Christmas_Carol-- tape music-- notation-- An Occurrence at Owl Creek

Bridge, radio opera-- adjustment to American musical scene-- choice of subject

matter for operas-- Harriet_Tubman-- ideas of American music-- Terry Riley-- East Coast vs. West Coast-- Santa Barbara-- writing for existing forces.

Side d                                                                                                                                    pp. 66-83

Mary. Queen of Scots-- work with Colin Graham-- writing own libretto-- setting words-- timing-- size of opera-- form-- motives-- temporal scheme-- writing for particular voices-- Ashley Putnam-- musical materials-- Music Advisory Panel-- Music Panel of the Arts Council of Great Britain-- Composers’ Guild-- Commonwealth Fund-- no formal affiliation with any institution-- conducting concentration of energies.