Klein, Lothar

Klein, Lothar, German-born Canadian composer; b. Hannover, Jan. 27, 1932. He went to England in 1939 and to the U.S. in 1941, where he studied composition with Fetler at the Univ. of Minn. (B.A., 1954), and then composition with Petrassi at the Berkshire Music Center in Tanglewood (summer, 1956) and orchestration with Dorati in Minneapolis (1956–58). After winning a Fulbright fellowship, he went to Berlin to study composition with Rufer at the Free Univ. and with Blacher at the Hochschule für Musik (1958–60). He also studied with Nono in Darmstadt before completing his studies at the Univ. of Minn. (Ph.D., 1961), serving on its faculty (1962–64). He later taught at the Univ. of Tex. at Austin (1964–68). In 1968 he joined the faculty of the Univ. of Toronto, where he was chairman of its graduate music dept. (1971–76). Klein has publ. extensively on various topics dealing with 20^th century music. As a composer, he has devoted himself in the main to orch. pieces. His early music is essentially tonal, aesthetically derived from neo-Romantic procedures; he then experimented with various branches of serialism; also wrote collage pieces embodying elements of all historical periods through linkage of stylistic similarities.

Works

dramatic:Lost Love, ballet (1950–56); The Prodigal Son, dance drama (1966); Tale of a Father and Son, opera (1983). orch.:The Bluebird, suite (1952); Eclogues for Horn and Strings (1954); 3 syms. (1955; 1966; Symphonic Etudes, 1972); Concerto for Winds, Timpani, and Strings (1956); Appassionato (1958); Symmetries (1958); Trio concertante for String Trio and Orch. (1961); Epitaphs (1963); Rondo Giocoso (1964); Charivari: Music for an Imaginary Comedy (1966); Musique à Go-Go: A Symphonic Mêlée (1966); Paganini Collage for Violin and Orch. (1967); Le Trésor des dieux for Guitar and Orch. (1969); Janizary Music for Military Orch. (1970); Design for Percussion and Orch. (1970); Passacaglia of the Zodiac for 14 Strings (1971); Music for Violin and Orch. (1972); Slices of Time for Trumpet and Orch. (1973; also for Trumpet and String Quartet); Invention, Blues, and Chase for Free Bass Accordion and Strings (1975); Musica Antiqua for Consort and Orch. (1975); Boccherini Collage for Cello and Orch. (1978); Scenes for Timpani and Strings (1979); Concerto Sacro for Viola and Orch. (1984); Landscape with Pipers for Chamber Orch. (1984); Festival Partita (1990); Columbus Music (1992); Homage à Toulous-Latrec (1994); Danseries (1994). band:Centre- Stage (1992); “Lei the Kettle to the Trumpet Speak…” (1998). chamber:Suite on 12^th Night for 7 Instruments (1951); Wind Quintet (1952); Piano Quintet (1954); Partita I for Flute, Clarinet, and Harp (1955) and 17 for Trumpet, Tuba, and Piano (1980); 3 Greek Rites for 8 Percussion (1964); Incantations for 7 Percussion (1965); Arias for String Quartet (1966); Trio Sonata for Clarinet, Cello, Piano or Harpsichord, and Drum Set (1968); Vaudeville,”acrobatics” for Soprano Saxophone and Wind Quintet (1979); Grand Duo Concertante for Clarinet and Timpani (1979); Cancioneros for Violin and Piano (1980); Meditation “for John Lennon, Dec. 9, 1980” for Violin and Piano (1980); Variations on 2 Well-known Airs for 9 Instruments (1981); Tombeau for 2 Guitars (1981); Choreagos for Oboe, Percussion, and Optional Reciter (1982); Virtuoso Music for Viola, Cello, and Double Bass (1987); Vice-Versa for 2 Trombones (1991); 2 string quartets (Quartets of the Sounds, 1991; 1992); Baroque Suite for Oboe and English Horn (1992); Scenes from Homer for Horn and Harp (1994); Trocadero for Oboe, Clarinet, Bassoon, and Piano (1995); Esprit for Flute, Clarinet, and Piano (1997); Paolo e Francesca for Violin and Harp (1998); Partita 2000 for Clarinet, Cello, Piano, and Harp (1999). Piano: Sonata (1968); Canadiana for 2 Pianos (1980). vocal:The Masque of Orianna for 2 Sopranos, Chorus, and Orch. (1973); The Philosopher in the Kitchen,”gastronomic meditations” for Contralto and Orch. (1974); Orpheus for Soprano, Tenor, Narrator, Chorus, and Instruments (1976); Voices of Earth for Soprano, Children’s Chorus, and Orch. (1976); Hachcava: Memorial Meditations for Bass and 5 Instruments (1979); The Jabberwock in Ogden Nash’s Dining Room for Women’s Chorus and Percussion Ensemble (1991); Symphonia armoniae celestium revelationem for Soprano, Viola, 2 Harps, and Percussion Ensemble (1999); choruses; solo songs.

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire