Christopher Taylor, Pianist vacancy created by the retirement of Howard Karp, the magnificent pianist who has theone recording of Taylor's playing I've heard, william bolcom's Twelve New http://www.madisonmusicreview.org/doc/p_200010_taylor.html
Extractions: Pianist Christopher Taylor has big shoes to fill on the UW School of Music faculty. He has just stepped into the vacancy created by the retirement of Howard Karp, the magnificent pianist who has been a local institution since 1972. On Sunday, Oct. 22, Taylor will show Madison what he has to offer in his first local concert appearance (4 p.m. at Mills Hall in the UW Humanities Building), playing a very interesting recital of music by Beethoven, Brahms and Messiaen. To judge by the one recording of Taylor's playing I've heard, William Bolcom's Twelve New Etudes , he should have little problem with the notes, for most of the Bolcom pieces are fearsomely demanding. A native of Boulder, Colorado, Taylor has a list of accomplishments that are remarkable for one so young he is 30 beginning with his first public recitals at age 10 and continuing to ever-increasing critical acclaim. In 1990 he was one of the first four recipients of the Gilmore Young Artists Award, a scholarship for exceptionally promising American pianists aged 22 or younger. Soon after he won the first prize in the William Kapell International Piano Competition. In 1993, he was the Bronze Medalist in the ninth quadrennial Van Cliburn International Piano Competition, the first American to reach the finals of this important contest since 1981. In 1996 he was awarded a coveted Avery Fisher Career Grant, designed to give professional assistance and recognition to instrumentalists who have demonstrated potential for significant careers as soloists.
- Classical Music Dictionary - Free MP3 william Elden bolcom Life. Born Seattle, 26 May 1938, American composerand pianist. He studied with Milhaud at Mills College (1958 http://www.karadar.com/Dictionary/bolcom.html
Extractions: Composers Biography Languages William Elden Bolcom (b. 1938) Life Operas Photo Gallery Home Page William Elden Bolcom Life Born Seattle, 26 May 1938, American composer and pianist. He studied with Milhaud at Mills College (1958-61) and Leland Smith at Stanford (1961- 4) and began teaching at the University of Michigan in 1973. As a pianist he has taken a leading part in the revival of ragtime and other American vernacular music. His works are polystylistic and concerned with momentous philosophical and religious themes: they include a monumental setting of Blake's Songs of Innocence and Experience for soloists, choirs and orchestra (1956-81). William Elden Bolcom Operas
Excite France - Répertoire - Pianists 6) Bernstein, Leonard@ ( 1 9) Biret, Idil ( 2) bolcom, william@ ( 4) Borge YoungAlbanian pianist living in London, the site includes biography, engagements http://www.excite.fr/directory/Arts/Music/Instruments/Keyboard/Piano/Pianists
James Wierzbicki / William Bolcom Interviews with the composer.Category Arts Music Composition Composers B bolcom, william In the case of william bolcom, whose Symphony No. These days, bolcom is best knownas a pianist who records albums of ragtime music and with his wife http://pages.sbcglobal.net/jameswierzbicki/bolcom.htm
Extractions: review of "McTeague" interview with the composer re: "Symphony No. 4 (The Rose)" MOST COMPOSERS who write pieces involving poetry hope that audiences will familiarize themselves with the text before hearing the music. In the case of William Bolcom, whose Symphony No. 4 will be premiered in Powell Hall next weekend by conductor Leonard Slatkin and the St. Louis Symphony, the hope is especially intense. Not that it's necessary to know the poem ahead of time in order to understand it. On the contrary, it's a long but verbally simple poem, and Bolcom has deliberately set it in a way that promises to make its content intelligible to any listener on first hearing. And just in case his mostly syllabic treatments of the words and their generally transparent accompaniments aren't enough to make things perfectly clear, he suggests that the mezzo-soprano soloist be amplified so that she can pay particular attention to matters of diction and nuance. Homework is not required. Nevertheless, Bolcom says, an advance reading of the text - even if it takes place moments before the performance - would give audience members an enormous advantage in appreciating what the entire symphony is about.
Christopher Taylor new recording of william bolcom's Pulitzer Prizewinning Twelve New Etudes (1977-86)features Christopher Taylor The etudes require a pianist of equally http://www.jwentworth.com/taylor/taylor.htm
Extractions: "...and his performance of three of William Bolcom's splendid "Twelve New Etudes" [was] delivered with a daring spontaneity that masked some phenomenal technique...Taylor should be watched. He may be one of the most impressive young pianists on the horizon today." Washington Post "Taylor returned to the stage...and once again displayed a remarkable combination of brain, heart and fingers. In past appearances here, he has demonstrated his ability to bound from Bach to Messiaen, from Rachmaninoff to Boulez and do it all persuasively. Taylor can do it all." Fort Worth Star-Telegram
Christopher Taylor wouldn't say with remarkable grace; he is not a leggiero pianist so accurately Hesent his works to the composer william bolcom, himself a rag lover, who sent http://www.jwentworth.com/taylor/times.htm
Extractions: The New York Times ran a feature article about pianist Christopher Taylor recently, during a run of engagements he gave in New York in February (2001). Here's what Times reporter Kathryn Shattuck had to say about this remarkable young artist: Christopher Taylor: Seeking Adventure for Fingers and Mind By KATHRYN SHATTUCK Those who know the pianist Christopher Taylor tend to speak of him in the hushed, reverent tones typically reserved for natural wonders if not the otherworldly. Colleagues trip over words like "innocence," "fervor," "beauty" and "vision" in an attempt to capture his elusive personality. Critics praise his virtuosity, his cerebral interpretations tempered by an aching tenderness, his unconventional programming and his advocacy of late-20th-century music. Mr. Taylor's bold individuality may never have been more evident than at the Van Cliburn International Piano Competition in 1993, where he took the bronze medal, becoming the first American to place in the event since 1981. In a year when Rachmaninoff dominated the concerto round, Mr. Taylor bucked the trend with renditions of the Brahms B flat and the Bach D minor. He saved his Rachmaninoff, an "Étude-Tableau," for an encore. Mr. Taylor " Kit to his friends " has always had a mind of his own. "I have described Kit as a kind of Parsifal with a computer mind, with a tremendous innocence in what he projects in music and a fervent belief and devotion that shows in certain works with tremendous conviction," said the pianist Russell Sherman, with whom Mr. Taylor studied on and off for a decade. "He is one of those strange genius types but very well balanced. The basic package is powerful."
Chamber Solo Music Of Ross Lee Finney William Bolcom, Ross Total playing time 7134. william bolcom (b. Seattle, WA, 26 May 1938),composer and pianist, began studying piano at the age of five. http://www.composersrecordings.com/releases_detail.cfm/release_id/159
William Bolcom Prize Winners. william bolcom (b. Seattle, WA, 26 May 1938), composerand pianist, began studying piano at the age of five. At eleven http://www.composersrecordings.com/artist_bio.cfm/artist_id/48
William Bolcom william bolcom. The following interview appeared in 20thCentury Music in October,1999 Composer and pianist william bolcom was born in Seattle in 1938. http://www.angelfire.com/music2/davidbundler/bolcom.html
Extractions: William Bolcom The following interview appeared in 20th-Century Music in October, 1999: I spoke with William Bolcom in early August, 1999, a few days after the opening of the film "Illuminata." He talks a mile a minute (appropriately so for a musician so much on the go), and a chat with him is a little like taking a wide-ranging musical tour that keeps ducking around the corner to uncover some unusual niche of classical or vintage pop music. DB: In the last year or so, it seems that Hollywood has come a'courting to what you would call the serious classical composer. I've seen movie scores by Tan Dun ("Fallen"), John Corigliano ("The Red Violin"), Joan La Barbara ("Alien Resurrection") and now yourself. Do I smell a trend here? DB: I vaguely remember that film. DB: Wow! Extraordinary! DB: The use of a small ensemble, was that an economic choice or an aesthetic choice? DB: I notice that just listening through the score - WB: I should tell you that No. 9 is not by Arnold Black, No. 10 is. There was a mistake that was put in there. And so Arnold did do a couple of things. I don't particularly like to underscore. And I've never had much experience with it either, but Arnie, as I say, has done all kinds of things. He's done many other projects before for television, for films, as well as commercials. So, he's an extremely experienced person. He wanted to do a couple of cues, so he did a few and he did them very well. I remember I actually orchestrated one of them for him as he wrote it out.
Music Of William Albright Gary, IN 1998, Ann Arbor, MI) American compoers, organist and pianist of great Hewas a prinipal figure with william bolcom in the revival of interest in http://www-personal.umich.edu/~cyoungk/albright.htm
Extractions: Magazine Description JazzTimes provides comprehensive and in-depth coverage of the international jazz scene. In addition to insightful profiles of emerging and established stars, every issue contains over 100 reviews of the latest CDs, books, videos and performances. Often controversial and always entertaining, JazzTimes is a favorite of musicians and fans alike. Music of
10.24.2002 Concert No. 3 Are You Brave? Festival V. 5.0 Piano Quintet by william bolcom I've known Isaac Stern tangentially for many a chamberpiece involving him, other players, and the young pianist Jonathan Biss. http://www-personal.umich.edu/~cyoungk/102402.htm
Extractions: Bruce Broughton was born March 8, 1945 in Los Angeles, California. He was a successful composer of many TV credits during the 60's and 70's including "Dallas" and "Hawaii Five-O". In the 1980's Broughton began to write film scores and was soon awarded an Oscar for best original score for the music of "Silverado" in 1985. To this date he as been nominated for nineteen Emmys and awarded seven. His Film scores include "Lost in Space", "A Miracle on 34th Street", "Field of Dreams" and many more. Tyvek Wood displays Broughton's diversity as a composer as a chamber work for flute , viola and harp. It was premiered at the World Harp Conference in Prague, Czech Republic in 1999 by the Debussy Trio.-Notes by Amy Ley Differences was composed in February of 1998 for Derek Snyder. The work is comprised of five short movements very much like a suite or a partita in the Baroque style. However, the individual little pieces are radically different from each other in style and musical content. Derek had the idea of transcribing a larger chamber work of mine (in which he performed) for cello and piano. The end result would have been a six or seven movement work entitled "Dance Partita" after the larger chamber piece. The project began as such and grew into its own by the end. It happened that the only movements taken from the chamber orchestra piece were the "Air" and the "Country dance."
The PIANOLA News - From ARTCRAFT: 1-17-98 The 'Eighties were also the decade in which composerpianist william bolcom(and his wife, singer Joan Morris) frequented Maine concert halls. http://wiscasset.net/artcraft/oldnews3.htm
Extractions: [Updated Weekly] Long before ARTCRAFT Music Rolls began, Arranger Douglas Henderson received many requests for perforating William Bolcom's (then-new) composition GRACEFUL GHOST RAG from his 'Ghost Rag Trilogy' of piano solos. At that time Mr. Henderson was wrapping-up his near ¼-Century of work at The Musical Wonder House (a music museum he co-founded with the Konvalinkas in 1962) ... and cutting rolls for the celebrated 'Candlelight Concerts', which took place in Summer evenings with seated audiences. Many a concert-goer often asked, "How about making a Duo-Art roll of GRACEFUL GHOST RAG ?" ... with Bolcom's SEABISCUITS RAG a close second in the suggestion department.
Lee Alan Nolan Club, San Francisco (Light classical and Jazz music) 19961998 pianist for Alternate bolcom,william, Whisper Moon (1971) for alto fl, cl, vl, vcl, and piano. http://www.pianoteachers.com/lee_nolan.htm
MMD Archives: Bolcom, Morris And Pianola Concerts In Maine the wellannotated score as well as a Nonesuch LP by another pianist who played whilethe other half told me that it doesn't sound like william bolcom playing http://mmd.foxtail.com/Archives/Digests/200207/2002.07.07.02.html
Mmd.foxtail.com/Archives/RawDigests/00.11/digest.00.11.14.txt Music by william bolcom (Paul Johnson) Subject Ragtime Music by william bolcom(Steve Sorenson He was recording a pianist onto the reel to reel tape and then http://mmd.foxtail.com/Archives/RawDigests/00.11/digest.00.11.14.txt
Extractions: Date: Tue, 14 Nov 2000 12:40:04 -0000 Subject: Dixon Recording Piano of 1920s In addition to being an MMD subscriber I belong to a jazz cyberlist. A recent posting there was directed to me but, not being at all knowledgeable in this area, I could not comment. Here is the relevant part of the message : "Five or six years ago I visited a music museum in a town on the West coast of the Lower Peninsula of Michigan. I can't remember the name of the town, or even the name of the museum, but I videotaped rather extensively there; if there is any interest, I could retrieve the videotapes and provide additional info. "One of the things that fascinated me there was an instrument called a Dixon Recording Piano (I think; again, the videotape could provide precise details). This grand piano was an amazing instrument back in the 1920s. It recorded on a perforated roll, but was capable of recording all the dynamics of the music. It was extremely expensive I seem to recall that they cost $35-50,000, a vast sum at that time and only a small number were ever made, something like six to ten." Can anybody provide more information about this instrument? John Farrell http://homepages.tesco.net/~stridepiano/ From: aeolian@bestweb.net.geentroep (Randolph Herr) To: "Mechanical Music Digest" Date: Wed, 15 Nov 2000 01:14:55 +0000 Subject: Philipps Ducanola Roll Tracking System I am surprised that Dan Wilson states that he roll tracking system with 16 pairs of narrow vertical slots above the 88 note holes is a Philipps system. I have certainly never heard it called that, and it is in fact an Aeolian system covered by two British patents. The first patent, 14,251 dated 13 June 1914, was awarded to Mr A J Mason, Orchestrelle/Aeolian Co Managing Director. The right and left slots (which overall occupy the same width as the note hole below) are respectively connected to two passages in a bar which connect with a pair of coupled bellows that operate a cam to move the top right roll chuck. The bellows are evacuated through two bleeds, like the Duo-Art ears system. No mention is made about cutting off and centring the system on re-roll, but this was necessarily done in practice. The pairs of slots are evenly but cleverly disposed to maximise the probability of tracking music in any key with notes in the centre of the keyboard compass, which is very common. The system works reasonably well if the bleeds have not been enlarged and the cam and return spring are set up well. The bleeds seem often to have been enlarged in an effort to make the system work faster (for badly warped or re-rolled rolls?) but this makes it too sensitive and to centre too fast if several pairs of slots come into operation. The second patent, 139,257 dated 17 January 1919, obviously cured this problem somewhat by making the grouped signals operate two conventional tracking valves which are connected to the tracking bellows. The slots are connected by flexible tracker bar tubing to two manifolds and the tracker bar itself is moved by the bellows, a British Aeolian invention and preference. Somewhat superfluously the tracking is cut off during re-roll. I think I'm right in saying that Malcom Cole's late 'teens Steinway O Pianola grand has this system, which works fine. This patent was awarded to the Aeolian Co and E G Nicholson. The late Ernie Nicholson, a terrific chap whom I once met, was one of Aeolian's top technicians. He was later given a reward by Aeolian for inventing the excellent British four hole/moving tracker bar tracking system, commonly found on Duo-Arts here, which is very kind to rolls and does not work like other four hole systems but uses negative logic to cope with damaged roll edges: it tracks on two edges if possible, one edge if necessary, or where both edges are torn lets the bar remain uncentred at its last signalled position until a good edge comes along. I am sending copies of the patent abridgements and drawings to Julian Dyer who can post them if anyone's interested and will probably do a piece in the Player Piano Group Bulletin. Patrick Handscombe Wivenhoe, Essex, UK [ The description of the control logic of Mr. Nicholson's four-hole [ tracking system sounds remarkably alike the four-hole tracking [ system of the Standard Pneumatic player action in USA. I wonder [ how the systems differ. Robbie From: jconway@lausd.k12.ca.us.geentroep (Jack M. Conway) To: MMD Articles
Iclassics.com - Classical Music And More Composer and pianist william bolcom, born in Seattle, Washington, entered theUniversity of Washington at age 11, where he studied piano and composition http://www.iclassics.com/iclassics/artists_bio.jsp?lastName=bolcom&firstName=wil
Los Angeles Times: Something To Sing About music, is william bolcom. As stylistically diverse a musician and composer as theycome, bolcom will be featured as composer, pianist, accompanist, teacher and http://www.calendarlive.com/music/classical/cl-wk-swed30jan30,0,305837.story?col
Brian Connelly BRIAN CONNELLY is recognized as a pianist of exceptional range and accomplishmentin Carnegie Hall series Making Music in a tribute to composer william bolcom. http://www.ruf.rice.edu/~musi/facbios/connelly.htm
Extractions: milkbone@rice.edu BRIAN CONNELLY is recognized as a pianist of exceptional range and accomplishment in both historical and modern repertoires. His performances this season include concertos, recitals, chamber music, and several performances of the complete Vingt Regards sur l'Enfant-Jesus , a two-hour masterwork for solo piano by Olivier Messiaen. Mr. Connelly was recently featured in the Carnegie Hall series Making Music
Untitled 11, 1997 780 words. A william bolcom premiere is an event not be missed,especially when the composer/pianist is himself a participant. http://artists-in-residence.com/~ljlehrman/articles/aufbau48.html
Extractions: 780 words A William Bolcom premiere is an event not be missed, especially when the composer/pianist is himself a participant. I first heard him perform his own 12 Etudes for Piano in the early 1960s at Tanglewood, and have been an avid follower of his career through numerous stage works and awards, including a Pulitzer Prize, since then. Malfitano at Tully Announced as Catherine Malfitano's accompanist for a varied program at Alice Tully Hall November 26, he unfortunately had to cancel. Chicago Lyric Opera Assistant Conductor Robert Tweten filled in instead, in a program of Rodrigo, Barber, Satie, Poulenc, Weill, and Bolcom - with Gershwin's "My Man's Gone Now" as an audacious second encore. All, the singer noted from the stage, were written in the 20th century, including the delightful "Three Songs" of Satie, written in 1916 (not 1887 as misnoted on the program). Bolcom is writing for her both a role (Beatrice) in his new opera ( A View from the Bridge , after the play by Arthur Miller, to be premiered in Chicago in fall, 1999) and a new song cycle ("on a mythical figure whose name begins with M - and it's not Malfitano!" - she asked that no more than that about the new work be revealed), with collaborator Arnold Weinstein, to be premiered in 2000, in English, though translations have already been made of the text into Italian and German. For this concert, she gave the professional premiere of his 1978 "Mary," on a William Blake text.
Major Presenters' Biographies william bolcom, Renowned as a composerpianist, Pulitzer Prize-winning williambolcom believes that all true artists are and must be laws unto themselves. http://www.nasaa-arts.org/nasaanews/bios_am_02.shtml
Extractions: Robert A. Lutz is General Motors vice chairman of product development and chairman, GM North America. Within the auto industry, Robert Lutz is known as an innovative executive who, while at the former Chrysler Corporation, oversaw what some analysts described as the most expressive designs in the automobile business: the PT Cruiser, Dodge Ram, Dodge Viper, Plymouth Prowler, Chrysler's cab-forward sedans like Chrysler Concorde and Dodge Intrepid, and the industry-leading minivan. These designs are often credited with Chrysler's comeback in the 1990s. Creativity is an important part of Lutz's success. In a 1996 interview he said, "A lot of people think the car business is just technology, an accumulation of assembly plants and money. It's all those things, but it's fundamentally a lot like the movie business. You must have the creativity people who passionately love automobiles." Lutz began his automotive career with General Motors in the early 1960s, did a stint at BMW then moved on to Ford Motor Company for 12 years, rising to become chair of Ford of Europe. In the 1980s he joined Lee Iacocca at Chrysler Corporation and chronicled his experiences there in his 1998 book, Guts: The Seven Laws of Business That Made Chrysler the World's Hottest Car Company. Besides his successful career as an automobile executive, Lutz is a retired Marine pilot and remains an avid flyer.
