AMERICAN MUSIC SERIES                                                                                     290 a-d

Yehudi Wyner

with Vivian Perlils

Rockefeller Research Center,

Bellagio, Italy

October 15-16, l998

TABLE OF CONTENTS

Side a                                                                                                                         pp. 1-18

Years in Italy--earlier background--formative influence of Ann Parish (Board, Professional Children’s School)--Charles Rosen--study of harmony and counterpoint with Paul Boepple--Turnau opera company--meaning of the Italian experience--Rome Prize, l953--study of Italian--Academy in Rome--Elliott Carter and others at the Academy:  Jim Hoffman, Leon Golden, Steven Green, Richard Wilbur, Anthony Hecht, Ralph Elison, Theodore Rilke--compositions of this period--Hindemith’s influence--Schoenberg--Stravinsky--Leo Schrade--Psalm CXLIII--year at Harvard--Randall Thompson--courses in harmony and counterpoint with Walter Piston--Partita--Billy Jim Layton.

Side b                                                                                                                                    pp.  18-34

Billy Jim Layton (cont.)--Layton’s Five Studies for Violin and Piano--jazz influence--American music vs. Jewish heritage--Louise Talma--promoting and recording Layton’s music--Wyner in the Stravinsky camp:  Theme and Variations--relationship to Hindemith--Collegium Musicum--Helen Boatwright--Hindemith’s conducting--Hindemith as teacher--life in Rome--travels in Italy and Europe--piano recital at Yale with Martin Boykin[sp?]-Piano Sonata--Rome--use of musical material from other cultures--compositional ideas and compositional process.

Side c                                                                                                                         pp. 34-51

Elliott Carter--Concert Duo--John Harbison--Three Medieval Latin Lyrics [sp?]--voice and vocal music:  Psalm 119, Psalm 66--Susan Davenny Wyner--Intermedio--Fragments from Antiquity--piece in progress based on Milocz anthology--George and Ira Gershwin--On This Most Voluptuous Night--possibility of an opera--Bethany Beardsley--Webern--Elliott Carter’s forthcoming opera--Carter’s A Mirror--influence of Wyner’s father, Lazar Weiner--”university composer”:  balancing teaching and composing--Webern and Schoenberg--Aaron Kernis--Ellen Taafe Zwilich--William Schuman, Aaron Copland and others.

Side d                                                                                                                                    pp. 51-70

Teaching at the university--Hindemith’s teaching--Mel Powell--freelancing--Accompanists Unlimited--concert of new music at Martha Graham Foundation--exclusive musical aesthetic of serialism--teaching at Yale--marriage to Susan Davenny--Billy Jim Layton’s Three Studies--Horatio Parker’s Gorm the Grim[sp?]--Paul Ulanowsky--experiences with the Bach Aria Group [Bernard Greenhouse, Samuel Barron, Maureen Forrester, Robert Bloom, William Scheide--Martin Bresnick--commissions as musical stimulus--Birthday Greetings--Intermedio--Restaurants, Wines, Bistros, Shrines--Toby Malawista--Dragon Choruses--with poetry by Marianne Moore, set for the Cornell Women’s Chorus--Torah Services--Passover Offering--Tanz and Maissele--Dances of Atonement--Memorial Music--Song of Songs--The Mirror of Isaac Bashevis Singer.