University of Illinois Press, Sep 15, 2012 - Biography & Autobiography - 136 pages
In this first interpretive narrative of the life and work of Christian Wolff, Michael Hicks and Christian Asplund trace the influences and sensibilities of a contemporary composer's atypical career path and restless imagination. Written in full cooperation with Wolff, including access to his papers, this volume is a much-needed introduction to a leading avant-garde composer still living, writing music, and speaking about his own work. Wolff has pioneered various compositional and notational idioms, including overtly political music, indeterminacy, graphic scores, and extreme virtuosity. Trained as a classicist rather than a musician, Wolff has never quite had both feet in the rarefied world of contemporary composition. Yet he's considered a "composer's composer," with a mind ensconced equally in ancient Greek tragedy and experimental music and an eccentric and impulsive compositional approach that eludes a fixed stylistic fingerprint. Hicks and Asplund cover Wolff's family life and formative years, his role as a founder of the New York School of composers, and the context of his life and work as part of the John Cage circle, as well as his departures from it. Critically assessing Wolff's place within the experimental musical field, this volume captures both his eloquence and reticence and provides insights into his broad interests and activities within music and beyond.
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American Ashgate avant—garde Boulez Bread and Roses Burdocks Cage’s Changing the System chords Christian Asplund Christian Wolff classics clef composer composition concert coordination Cornelius Cardew counterpoint Cues Cunningham Dartmouth David Tudor dynamics Earle Brown ensemble Euripides exercises Experimental Music February 201 ﬁlled ﬁnal ﬁnd ﬁnished ﬁrst ﬁve ﬁxed ﬂute Frederic Rzewski friends gestures Harvard Heterophony hocket Holly ideas improvisation indeterminate inﬂuence instruments interview John Cage John Tilbury kind Kurt Wolff Larry Polansky later letter lines listener melody Michael Hicks Morton Feldman movement neumes notation ofWolff’s Peace March percussion performance pianist piano piece pitches played players political preludes premiere recordings rhythmic rhythms Rzewski to Wolff score Scratch Orchestra sixteenth notes slot solo songs sonic sounds speciﬁc Stockhausen style technique textures timbres tion University violin Webern Wolff Papers Wolff to Michael Wolff wrote Wolff’s music work’s write York School