Wuorinen, Charles (Peter)
Wuorinen, Charles (Peter)
Wuorinen, Charles (Peter), prominent American composer, pedagogue, pianist, and conductor; b. N.Y., June 9, 1938. He was a student of Beeson, Ussa-chevsky, and Luening at Columbia Univ. (B.A., 1961; M.A., 1963), where he then taught (1964-71). With Harvey Sollberger, he founded the Group for Contemporary Music in 1962, which became a vital force in the propagation of modern music via concerts and recordings. He was a visiting lecturer at Princeton Univ. (1967-68) and the New England Cons. of Music in Boston (1968-71). After serving as adjunct lecturer at the Univ. of South Fla. (1971-72), he was on the faculty of the Manhattan School of Music in N.Y (1972-79). From 1973 to 1987 he was artistic director and chairman of the American Composers Orch. in N.Y. In 1984 he became a prof. at Rutgers, the State Univ. of N.J. From 1985 to 1989 he served as composer-in-residence of the San Francisco Sym. He was a visiting prof, at the State Univ. of N.Y. at Buffalo from 1989 to 1994. Wuorinen has received numerous prizes, grants, and commissions, among them the Joseph Beams Prize (1958,1959,1961), a National Inst. of Arts and Letters Award (1967), 2 Guggenheim fellowships (1968,1972), the Pulitzer Prize in Music for his Times Encomium (1970), the Brandeis Univ. Creative Arts Award (1970), NEA grants (1974, 1976), Rockefeller Foundation fellowships (1979, 1980, 1981), and a MacArthur Foundation fellowship (1986-91). He also was elected to membership in the American Academy and Inst. of Arts and Letters. Wuorinen publ. the book Simple Composition (N.Y., 1979), which gives insight into his use of 12-tone composition. Wuorinen is one of the most representative of contemporary composers of his generation. His techniques derive from Stravinsky’s early period, when stark primitivism gave way to austere linear counterpoint. An even greater affinity in Wuorinen’s music is with the agglutinative formations of unrelated thematic statements as practiced by Varèse. A more literal dependence connects Wuorinen’s works with the dodecaphonic method of composition as promulgated by Schoenberg. These modalities and relationships coalesce in Wuorinen’s writing into a sui generis complex subdivided into melodic, harmonic, and contrapuntal units that build a definitive formal structure. The foundation of his method of composition is serialism, in which pitch, time, and rhythmic divisions relate to one another in a “time point system,” which lends itself to unlimited tonal and temporal arrangements, combinations, and permutations. In his prolific output, Wuorinen has explored the entire vocabulary of serial composition.
Works
dramatic: The Politics of Harmony, masque (1966-67; N.Y., Oct. 28,1968); The W. of Babylon (or The Triumph of Love Over Moral Depravity), Baroque burlesque (partial perf., N.Y., Dec. 15, 1975; 1st complete perf., San Francisco, Jan 20, 1989); Delight of the Muses, ballet (1991; N.Y., Jan. 29,1992; based on the orch piece). ORCH.: Concert-Piece for Piano and Strings (Bennington, Vt, Aug. 18, 1956); Music (N.Y., Dec. 1, 1956); Alternating Currents for Chamber Orch. (1957); Concertante I for Violin and Strings (Middlebury, Vt., July 7,1957) and IV for Violin, Piano, and Chamber Orch. (Bennington, Vt., Aug. 29, 1959); 3 numbered syms.: No. 1 (1957-58; N.Y., March 7, 1958), No. 2 (1958; N.Y., Feb. 27,1959), and No. 3 (N.Y., Nov. 11, 1959); 2 violin concertos: No. 1 (1958) and No. 2 for Amplified Violin and Orch. (1971-72; Tanglewood, Aug. 4, 1972); Concertone for Brass Quintet and Orch. (1960; Iowa City, Feb. 19,1964); An Educator’s “Wachet Auf” for Chamber Orch. (1961); Evolutio Transcripta for Chamber Orch. (Bennington, Vt., Aug. 19, 1961; transcription of the organ piece); Orchestral and Electronic Exchanges for Orch. and Tape (1964-65; N.Y., July 30,1965); 3 piano concertos: No. 1 (1965-66; Iowa City, May 4, 1966), No. 2 for Amplified Piano and Orch. (1973-74; N.Y., Dec. 6, 1974), and No. 3 (1982-83; Troy, N.Y., May 4, 1984); Contrafactum (Iowa City, Nov. 19,1969); Grand Bamboula for Strings (1971; Iowa City, Sept. 30, 1972); A Reliquary for Igor Stravinsky (1974-75; qai, Calif., June 1, 1975); Percussion Sym. (1976; Somerville, N.J., Jan. 26,1978); Tashi for Clarinet, Violin, Cello, Piano, and Orch. (1975-76; Cleveland, Oct. 13, 1976); Two-Part Symphony (1977-78; N.Y., Dec. 11, 1978); The Magic Art, instrumental masque, after Purcell (1977-79; St. Paul, Minn., Sept. 26, 1979); Ancestors for Chamber Orch. (Portland, Ore., Aug. 10, 1978); Short Suite (1981; Purchase, N.Y., Feb. 13, 1983); Rhapsody for Violin and Orch. (1983; San Francisco, Jan. 16, 1985); Bamboula Squared for Orch. and Tape (1983-84; N.Y., June 4, 1984); Concertino (1984; also for 15 Solo Instruments, N.Y., Feb. 5, 1985); Movers and Shakers (Cleveland, Dec. 13, 1984); Crossfire (1984; Baltimore, May 9, 1985); Prelude to Kullervo for Tuba and Orch. (N.Y., Nov. 21, 1985); The Golden Dance (1985-86; San Francisco, Sept. 10, 1986); Fanfare for the Houston Symphony (Houston, March 15, 1986); Galliard for Chamber Orch. (Cleveland, Sept. 27,1987); Five, concerto for Amplied Cello and Orch. (1987; N.Y., April 28, 1988); Bamboula Beach, overture (1987; Miami, Feb. 4, 1988); Another Happy Birthday (San Francisco, Sept. 14, 1988); Machault Mon Chou (1988; San Francisco, May 24,1989); Astra (1989-90; Copenhagen, Aug. 11,1990); Delight of the Muses (Stony Brook, N.Y., Nov. 9,1991; as a ballet, N.Y., Jan. 29, 1992); Microsymphony (1992); Saxophone Quartet Concerto (1992); The Mission of Virgil (1993); Windfall (1994). CHAMBER: Prelude and Fugue for 4 Percussionists (1955; Urbana, 111., March 1, 1956); Sonatina for Woodwind Quartet (Bennington, Vt., Aug. 15, 1956); Into the Organ Pipes and Steeples for 11 Instruments (1956); Subversion for String Septet (1956; Bennington, Vt., Aug. 1957); 3 wind quintets: No. 1 (1956; N.Y., Jan. 16, 1957), No. 2 (1958), and No. 3 (1977; N.Y., Feb. 24, 1978); 1 unnumbered string quartet (Bennington, Vt., Aug. 1957); 3 numbered string quartets: No. 1 (1970-71; Chicago, Oct. 11, 1971), No. 2 (1978-79; Jackson, Wy., Aug. 1, 1979), and No. 3 (1986-86; Hanover, N.H., Nov. 6, 1987); 3 Mass Movements for Violin (East Hampton, N.Y., July 28, 1957); Triptych for Violin, Viola, and Percussion (1957; N.Y., Jan. 19, 1958); Spectrum for Violin and Brass Quintet (Philadelphia, April 10, 1958); Movement for Wind Quintet (1958; 1st movement of his 2nd Wind Quintet); Concertante II for Violin and Chamber Ensemble (Middlebury, Vt., July 6, 1958) and III for Harpsichord, Oboe, Violin, Viola, and Cello (1959; N.Y., Aug. 2, 1961); 3 Pieces for String Quartet (Bennington, Vt., Aug. 9, 1958); Trio Concertante for Oboe, Violin, and Piano (Troy, N.Y., Oct. 31, 1958); Musica duarum partium ecclesiastica for Brass Quartet, Timpani, Piano, and Organ (1959); Flute Sonata (1960; WNYC Radio, N.Y., Nov. 17, 1962); Consort of 4 Trombones (N.Y., April 4, 1960); Turetzky Pieces for Flute, Clarinet, and Double Bass (Westbrook, Conn., Aug. 7, 1960); 8 Variations for Violin and Harpsichord (1960; N.Y., June 21, 1961); Consort from Instruments and Voices (1960-61; N.Y., Jan. 15, 1961); Tiento Sobre Cabezón for Flute, Oboe, Violin, Viola, Cello, Harpsichord, and Piano (N.Y., Aug. 2,1961); Concert for Double Bass (1961; Southport, Conn., May 11,1962); 3 trios for Flute, Cello, and Piano: No. 1 (N.Y., Dec. 14, 1961), No. 2 (1962; N.Y., May 6,1963), and No. 3 (1972-73; N.Y., May 28, 1973); Octet for Oboe, Clarinet, Horn, Trombone, Violin, Cello, Double Bass, and Piano (1961-62; N.Y., Sept. 27, 1962); Invention for Percussion Quintet (N.Y., March 6, 1962); Duuiensela for Cello and Piano (New Haven, Conn., April 30, 1962); Bearbeitungen über das Glogauer Liederbuch for Flute, Clarinet, Violin, and Double Bass (Hartford, Conn., July 17, 1962); chamber concertos for Cello and 10 Players (1963; N.Y., Feb. 17, 1964), for Flute and 10 Players (Tanglewood, Aug. 9, 1964), for Oboe and 10 Players (N.Y., Nov. 8, 1965), and for Tuba, 12 Winds, and 12 Drums (1969-70; N.Y., March 7, 1971); Flute Variations I (N.Y., Dec. 18, 1963) and II (1968; Jersey City, N.J., April 17,1969); Variations à 2 for Flute and Piano (1963-64); Composition for Violin and 10 Instruments (1963-64; N.Y., April 26, 1964); Composition for Oboe and Piano (1964-65; Boston, April 3, 1966); The Bells for Percussion (1965-66); Bicinium for 2 Oboes (1966; N.Y., May 10, 1967); Janissary Music for Percussionist (part 1, Swarthmore, Pa., Oct. 26,1966; part 2, N.Y., March 12,1967); Salve Regina: John Bull for 14 Instruments (N.Y., Oct. 31, 1966); Duo for Violin and Piano (1966-67; N.Y., April 17,1968); String Trio (1967-68; Washington, D.C., Oct. 27, 1968); Adapting to the Times for Cello and Piano (1968-69; Amherst, Mass., Feb. 25, 1970); Nature’s Concord for Trumpet and Piano (1969); The Long and the Short for Violin (Berkeley, Calif., Aug. 4, 1969); Ringing Changes for Percussion Ensemble (1969-70; Wayne, N.J., April 28, 1970); Cello Variations I (Philadelphia, Dec. 8, 1970) and II (1975; WQXR Radio, N.Y., Dec. 1976); Canzona for 12 Instruments (1971; N.Y., Jan. 31, 1972); Bassoon Variations for Bassoon, Harp, and Timpani (1971-72; Cambridge, Mass., Oct. 28, 1973); Harp Variations for Harp, Violin, Viola, and Cello (1971-72; N.Y., April 17, 1973); Violin Variations (N.Y., May 14, 1972); On Alligators for 8 Instruments (1972); Speculum speculi for 6 Players (1972; Grand Forks, N.Dak., Jan. 14,1973); Arabia Felix for 6 Instruments (1973; N.Y., Feb. 23,1974); Grand Union for Cello and Drums (Chicago, Nov. 5,1973); Fantasia for Violin and Piano (1974; Baltimore, Dec. 14, 1975); Tashi for Clarinet, Violin, Cello, and Piano (1975; Colorado Springs, Jan. 15, 1976); Hyperion for Chamber Ensemble (1975; Adelaide, March 21, 1976); Album Leaf for Violin and Cello (1976); The Winds for 8 Winds and Piano (1976-77; N.Y., May 19,1977); 6 Pieces for Violin and Piano (1977; N.Y., April 18, 1978); Fast Fantasy for Cello and Piano (1977); Archangel for Bass Trombone and String Quartet (1977; N.Y., Dec. 18, 1978); Archaeopteryx for Bass Trombone and 10 Players (1978; Car-amoor, N.Y., July 1, 1982); Percussion Duo for Mallet Instruments and Piano (Iowa City, Oct. 29,1979); Fortune for Clarinet, Violin, Cello, and Piano (1979); Joan’s for Flute, Clarinet, Violin, Cello, and Piano (1979; N.Y., March 23, 1980); Beast 708 for Computer-generated Tape or 10 Instruments (1980); Horn Trio (1981; N.Y., April 18, 1983); Trio for Bass Trombone, Tuba, and Contrabass (1981; N.Y., April 14, 1983); N.Y. Notes for 6 Instruments (1981-82; Sacramento, Nov. 8,1982); Divertimento for Alto Saxophone and Piano (1982; N.Y., March 6, 1983); Divertimento for String Quartet (1982; Glen Falls, N.Y., May 9, 1983); Spinoff for Violin, Contrabass, and Conga Drums (N.Y., May 18, 1983); Trio for Violin, Cello, and Piano (Union, N.J., Oct. 1, 1983); Concertino for 15 Instruments (1984); Horn Trio Continued (1985; Los Angeles, May 24, 1988); Trombone Trio (1985; N.Y., Nov. 6, 1986); Double Solo for Horn Trio (1985; N.Y., March 16, 1986); Fanfare for Rutgers University for 2 Horns, 2 Trumpets, and 2 Trombones (1986); A Doleful Dompe on Deborah’s Departure as well as Borda’s Bawdy Badinage for English Horn, Violin, and Cello (1986); Violin Sonata (Washington, D.C., Nov. 25, 1988); String Sextet (1988-89; Covington, Ga., Nov. 4, 1989); Saxophone Quartet (1992); Percussion Quartet (1994); Piano Quintet (1994; Chicago, Feb. 19, 1995); Guitar Variations (1994). KEYBOARD: Piano: Scherzo (1953; N.Y., May 13, 1956); Song and Dance (1955; N.Y., May 13, 1956); 2 Tranquil Pieces (1956); 1 unnumbered sonata (N.Y., Dec. 16, 1958); 3 numbered sonatas: No. 1 (1969; Washington, D.C., Dec. 14, 1970), No. 2 (Washington, D.C., Oct. 2, 1976), and No. 3 (1986; N.Y., March 29, 1989); 3 Prepositions (1958); Piano Variations (1963; N.Y., Jan. 13, 1964); Making Ends Meet for Piano, 4-Hands (1966; Washington, D.C., May 19, 1968); 12 Short Pieces (1973); Self-Similar Waltz (1977; Evanston, 111., May 11, 1978); The Blue Bamboula (1980; Tokyo, May 29, 1981); Capriccio (1980-81; N.Y., April 14, 1982); Album Leaf (N.Y., May 30, 1984); Bagatelle (1987-88; Buffalo, June 12, 1989). Organ: Homage à Bach (1955; Gardner, Mass., June 30, 1956); Evolutio: Organ (1961; Boston, April 8, 1962; also transcribed for Orch.); Natural Fantasy (1985; N.Y., Jan. 31, 1988). Harpsichord : Harpsichord Diversions (1966). VOCAL: O Filii et Filiae for Chorus (1953; N.Y., May 2, 1954); Te decet hymnus for Soloists, Chorus, Timpani, Organ, and Piano (1954; N.Y., May 13, 1956); Faire, If You Expect Admiring, and Turne Backe, You Wanton Flyer for Men’s Chorus (N.Y., May 13,1956); Dr. Faustus Lights the Lights for Narrator and 7 Players (1956-57; N.Y., April 8, 1957); Wandering in This Place for Mezzo-soprano (1957); Be Merry All That Be Present for Chorus and Organ (1957; N.Y., Jan. 26, 1958); The Door in the Wall for 2 Mezzo-sopranos and Piano (N.Y., April 22, 1960; also for Mezzo-soprano, Soprano, and Piano); On the Raft for 2 Mezzo-sopranos and Piano (N.Y., April 22, 1960; also for Mezzo-soprano, Soprano, and Piano); Madrigale spirituale sopra Salmo Secundo for Tenor, Bass, and 6 Instruments (Bennington, Vt., Aug. 27, 1960); Symphonia sacra for Tenor, Baritone, Bass, and 6 Instruments (N.Y., March 27,1961); The Prayer of Jonah for Chorus and String Quintet (1962; N.Y., March 21, 1963); Super salutem for Men’s Voices and Instruments (1964); A Song to the Lute in Musicke for Soprano and Piano (1969-70; N.Y., Jan. 11, 1971); A Message to Denmark Hill for Baritone, Flute, Cello, and Piano (1970); Mannheim 87.87.87. for Chorus and Organ (N.Y., May 1, 1973); An Anthem for Epiphany for Chorus, Trumpet, and Organ (1974); 6 Songs for Countertenor or Alto, Tenor, and 6 Instruments (1977; Wayne, N.J., Jan. 26, 1978); 3 Songs for Tenor and Piano (1978-79); Psalm 39 for Baritone and Guitar (1979); The Celestial Sphere, oratorio for Chorus and Orch. (1980; Rock Island, 111., April 25, 1981); Mass for Soprano, Chamber Chorus, Violin, 3 Trombones, and Organ (1982; N.Y., Nov. 23, 1983); A Solis Ortu for Chorus (1988-89; N.Y., Dec. 30, 1990); Twang for Mezzo-soprano or Soprano and Piano (1988-89); Genesis for Chorus and Orch. (1989; San Francisco, Sept. 26, 1991); Missa Brevis for Chorus and Organ (1991; N.Y., Feb. 23,1992); A Winter’s Tale for Soprano and Piano (Atlanta, Oct. 12, 1992; also for Soprano, Clarinet, Horn, String Trio, and Piano, Houston, Jan. 10, 1995). ELECTRONIC: Time’s Encomium (1968-69).
Bibliography
R. Burbank, C. W.: A Bio-Bibliography (Westport, Conn., 1994).
—Nicolas Slonimsky/Laura Kuhn /Dennis McIntire