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Consider the college in America.
It has long 'been the purveyor of tradition
to a society characterized by its preoccupation with the practical.
It has also
become a source of creative thought and experimentation in a society dominated by conformity and a love of the common.
Today the arts in' America are often more vigorous and venturesome within the ivy walls than in the marketplace of ideas and culture. The College in America encourages the artist and' craftsman, the composer and performing musician, the J
dramatist and actor, the poet and man of letters to challenge commonly accepted modes of thought and sensibility. The artist on campus is allowed to scorn the '-'
profit motive and to test his insights by the only true measure, his artistic judgement.
Where, then, resides the vitality of creative thought and perception in America? Is it on Broadway, in symphony halls, within the covers of best sellers, on commerCial television and radio? This festival of the contemporary arts is dedicated to the proposition that it can be, should be, and is on the college campus that creativity flourishes. We invite not only the community-at-Iarge to witness this fact, but the American college community itself. \
The American college has been handed a mandate by society (although largely by default) to protect and encourage originality of thought and imagination. Until society is capable of .reclaiming its aesthetic privileges and obligations, the American
colleg~
will remail'l responsible not only for the transmission of tradi-
tional values but for the stimulation of man's free and creative spirit.
Guest Participants LENORE ERIK¡AL T paints, teaches and lives in Berkeley, California. She has exhibited in Chicago, Detroit, Minneapolis, New York, and San Francisco. She has taught at the Art Institute in Chicago, the Walker Art Center School in Minneapolis, Macalester College in St. Paul, and University of California. ROBERT ERICKSON is the husband of Lenore Erik-Alt. He teaches composition and theory in the San Francisco Conservatory of Music. He is the author of The Structure of Music. Robert Erickson was a guest composer of Wesleyan's Symposium of Contemporary Music in 1961. ALLEN FORTE is Assistant Professor of the theory of music at Yale University and Editor of the Journal of Music Theory. He is the author of a number of articles, translator of Schoenberg's Moses and Aaron, and has publ ished three books: Contemporary Tone Structures, "{he Compositional Matrix, and Tonal Harmony in Concept and Practice. KENNETH GABURO teaches at the University of Illinois. In 1959 his Elegy was performed by the New York Philharmonic. His Line Studies have been recorded by Columbia Records. Mr. Gaburo is the recipient of many awards includ¡ ing a UNESCO award for lecturing abroad in 1962-63. GLENN GLASOW is Music Director of KPFA in Berkeley, California. He is also Assistant Professor of Music at Alameda State College and Choral Director at the San Francisco Conservatory of Music. In 1961 he received the Ohio State Award for Music Criticism. His Piano Trio won an Illinois chamber award in 1958. ROBERT HOLLIDAY is Professor of Music at Hamline University, ~nd director of the Hamline choir. He is choral conductor of the New Hampshire Festival and School. The American Heritage Society has recently issued a recording of contemporary choral music conducted by Mr. Holliday. GEORGE KERNODLE of the University of Arkansas is at present Visiting Professor in Drama at the State University of Iowa. Mr. Kernodle has lectured widely on Elizabethan and Modern drama. He is the author of two qooks and many articles appearing in professional journals such as the Yale Review, Theater Arts, and Shakespeare Survey. THOMAS NEE teaches at Macalester College in St. Paul and is the conductor of the Minneapolis Civic Orchestra. He is also Music Director of the New Hampshire Festival and School, and of the First Unitarian Society of Minneapolis. In 1960-61 Mr. Nee was assistant conductor of the Minneapolis Symphony Orchestra under Antal Dorati. CLAIRE RICHARDS is Professor of Piano at the University of Illinois. She is well-known for her performances of contemporary music both as a soloist and in ensemble. She will perform. Rochberg's Sonata-Fantasia during the symposium. GEORGE ROCHBERG . is chairman of the Department of Music at the University of Pennsylvania. His Second Symphony received the Naumberg Award in 1961. Mr. Rochberg is author of the book, The Hexachord and its Relation to the 12.Tone Row. In 1959 Mr. Rochberg was guest composer of the Wesleyan symposium. UNI THOMAS as violinist and chamber musIcian has been associated with new music performances in New York and Philadelphia as well as in Illinois. She and Bedford Watkins of Wesleyan's faculty gave the first performance of Robert Erickson's Duo for -violin and piano in 1961.
The Contemporary Arts Festival Calendar MARCH 1-16
An exhibit of paintings and drawings by Lenore Erik-Alt, Memorial Center. MARCH 7-10
The School of Drama's production of Eugene O'Niell's The Great God Brown, Memorial Center, 8:00 p.m. MARCH 7
7:30 p.m.-Leonre Erik-Alt, "Form, Growth, and Painting", Presser Hall. MARCH' 8
11 :GO a.m.-Glenn Glasow, "Japan's New Music", Memorial Center. 2:00 p.m.-Glenn Glasow, "Japan's New Music", Memorial Center.# 4:00 p.m.-Student Contemporary Music Recital, Presser Hall. 8: 15 p.m.-Symposium Concert I, Presser Hall.
10:00 p.m.-George .R. Kernodle comments after the play, Memorial Center. MARCH 9
9:00 a.m.-Inter-Art~ Panel, "Symbolism in the Arts", Memorial Center. 1 :00 p.m.-Glenn Glasow, "American Radio and the Arts", Memorial Center. 3:00 p.m.-Symposium Concert II, Presser Hall. 4:00 p.m.-George Rochberg, ''The New Image of Music", Presser Hall. * 7:30 p.m.-Robert Erickson, "T,ime Relations", Presser Hall. * 9:00 p.m.--Symposium Concert III, Presser Hall. MARCH 10
9:00 a.m.-Kenneth Gaburo, "Content Analysis and the New Music", Memorial Center. * 10:30 a.m.-Allen Forte, "Is the Present College Music Curriculum Obsolete?" Memorial Center. * 1: 15 p.m.-Thomas Nee and Robert Holliday, "On the Performance of Contemporary Music with Amateur and Student Groups", Memorial Center. * 2:30 p.m.-Panel and forum moderated by Allen Forte, "The Relation of Musicianship Training to the New Music", Memorial Center. * # Mr. Glasow will select different tape examples of contemporary Japanese music to avoid duplicating his morning lecture.
* This is part of.a colloquy on the question "Are We Evading the
Challeng~s of New Music" jnitiated this year by the School of Music in conjunction with its annual Symposium of Contemporary Music.
ILLINOIS WESLEYAN UNIVERSITY SCHOOL OF MUSIC STUDENT CONTEMPORARY MUSIC RECITAL Thursday, Ma.rch 8, 1962 4:00 p.m. I Movement (1960) ------------------ Wallingford Riegger Edwin Harkins, Richard Kosterman, trumpets; Charles Dalkert, trombone; Martha Robinson, piano
II Bulgarian Dance No. 6 ---------------------B~la Bart6k James O'Hare, piano Three Piano Pieces (1947) ------------- Andre Casanova L Non legato 2. Lent Alan Harler, piano Suite de Danzas Criollas (1946 rev. 1956) ---------- Alberto Ginastera 1. Adagietto pianissimo 2. Allegro rustico Carolyn C-ordle, piano Ruines (1961) -------------------------- Edwin Harkins Jame s Bolender, piano III La Corona (1942) ----------------------- Ernst Krenek Darlene Cech, Joann Goetzinger, Carol Prentice, sopranos; Douglas Amman, David Ferreira, baritones; Kenneth Axelson, George BUrr, Clarice Williams, organists; James O'Hare, William Meyer, percussion IV Dialogue I for Clarinet and Piano (1957-58) ----------- George Rochberg Paul Barber, clarinet; Marilyn Keiser, piano o Sweet Spontaneous Earth (1961) ------- Charles Dalkert Linda Fulton, soprano; Judith Spear, piano o Corne, 0 Corne Emmanuel (1961) ---- Schuyler Robinson Schuyler Robinson, organ
ILLINOIS WESLEYAN UNIVERSITY SCHOOL OF MUSIC SYMPOSIUM OF CONTEMPORARY MUSIC CONCERT I Thursday, March 8, 1962, 8:15 p.m. I
Music of Igor Stravinsky in anticipation of his eightieth birthday, June 17 THREE JAPANESE LYRICS (1913) Marjorie Polichio, soprano; John Silber, conducting TWO POEMS OF PAUL VERLAINE (1910) Henry Charles, baritone; Marjorie Kingland, piano THREE PIECES FOR CLARINET SOLO John McGrosso, clarinet TROIS PETITES CHANSONS (1913) Paul Sommers, ten<:)r; Marjorie King1and, piano THREE SONGS FROM WILLIAM SHAKESPEARE (1953) Henry Charles, baritone; John Silber, conducting Ensemble performers: Carl Petkoff, flute; Margaret Varda, piccolo; John McGrosso and Paul Barber, clarinet; Mario Mancinelli and Dorothy Walker, violin~; William Engelsman and Leonard Altieri, viola; Ruth Krieger, 'cello; Charla Johansen, piano II
Music by the SympOSium's visiting composers DUO FOR VIOLIN AND PIANO (1958)-- Robert Erickson Uni Thomas, violin; Bedford Watkins, piano AH SUNFLOWER from Four Blake Songs (1958) ----------- George Rochberg Beverly Ogdon, soprano; John Silber, conducting Ensemble performers; Mario Mancinelli, violin; Leonard Altieri,. viola; Ruth Krieger, 'cello; Paul Barber, clarinet; Thomas Hageman. bass clarinet
KECHWA SONG (1961) ------------------- Glenn G1asow Linda Fulton, soprano; Glenn Glasow, conducting Because of an inability to commit a harpist, the performance of Mr. G1asow's chamber song must be postponed. Our thanks to Miss Fulton, Thomas Hageman Leonard Altieri, and Bedford Watkins for the time and effort spent rehearsing this work and to its composer our regretful apology. LINE STUDIES (1958) ----------------- Kenneth Gaburo Mario Mancinelli, viola; John McGrosso, clarinet; Carl Petkoff, flute; John Silber, trombone; Lewis Whikehart, conducting
III THE COLLEGIATE CHOIR Lewis Whikehart, Director Psalm 134 (1937) -.------------------Normand Lockwood . (1906) Psalm 67 (1898) ------------------------- Charles Ives (1874~1954)
From the "Mass in G" (1937) -----------Francis Poulenc Sanctus (1899) From "Lamentations of Jeremiah" (1946) -------.--- Alberto Ginastera 11. Ego vir videns paupertatum (1916-) Friede auf Erden (1907) ------------ Arnold Schoenberg (1874-1951)
ILLINOIS WESLEYAN UNIVERSITY SCHOOL OF MUSIC SYMPOSIUM OF CONTEMPORARY MUSIC CONCERT II Friday, March 9. 1962, 3:00 p. m. Three piano compositions by American composers VARIATIONS FOR TWO PIANOS (1955) -------- Wallingford Riegger R. Dwight Drexler and Marjorie King1and. piano SONATA FOR PIANO (1948) -----.;.,----- Robert Erickson R. Dwight Drexler SONATA (1948) -----------------..:.------ Leon Kirchner Bedford Watkins CONCERT III Friday, March 9. 1962, 9:00 porno I CHAMBER CONCERTO --------------- Robert Erickson John Silber. conducting
The first three movements, which were performed for the first time during Wesleyan's 1961 symposium, will be heard on tape followed by the first public performance of the fourth movemento II Illinois Wesleyan Chamber Singers Lewis Whikehart, conductor AD TE DOMINE (1958) ---------------- Kenneth Gaburo THE CRY - Three Dedications (1953) --- Kenneth Gaburo COME HOLY SILENCE (1959-60) ---..:----- Wilbur Ogdon NUMERICALLY SPEAKING (1961) ----- Lewis Whikehart III SONATA-FANTASIA (1956) ----------.;., George Rochberg Claire Richards, piano
CHAMBER CONCERTO ENSEMBLE , Carl, Petkoff, 'flute and piccolo Jill Rylander, oboe Thomas Swain, clarinet William Archer, bass clarinet' Edward -Winkler~ bassoon Edwin Hark.ins, trumpet Larry Phifer" horn Charles Dalkert, tromoop.e Anna Jo Jal?-tz. prepared piano (in lieu of harp) Joy.ce Bower.sock, celeste , George Bp.r-r. hc;trpsichord' pavid Ferreira, piimo Mario MancineIli. violin Le'onard Altieri, viola Barbara Lenz', 'cello Kenneth K;ling. double bass_ William Meyer. percussi~n ' ,
'
ILLINOIS WESLE YAN G.HAMBER SINGERS Ruth U~zicker, soprano Carol Prentice', soprano Clarice Williams; s~prano ~inda Fulton. soprano.· I?arlene C·ech.•. soprano J~ann Goetzinger, alto
Donna Cox, alto Rogera 1?avis, ~lto . Charla Johansen, alto Marilyn Keiser, alto
Philip Burton, tenor Clyde Spooner, tenor Robert Brown. tenor Sch,uyler Robinson. tenor Douglas Amman, bass David Ferreira, bass John 'Waddell, bass Roger Rilling. bass