The Listening Composer (Ernest Bloch Lectures , No 7)

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And listening is a spontaneous activity.

The Listening Composer Ernest Bloch Lectures No 7 1996

It has to move you in some way. Perle also likes it when people move to music. Growing up in Chicago, he first fell under the spell of dance when the Ballets Russes de Monte Carlo appeared in in the Auditorium Theatre, where he ushered as a youth, and it has remained a lifelong passion. The composer could not have been happier when Clark Tippet was inspired by the recording of Serenade No.


Yet it is just this intuitive element that seems to draw so many people to Mr. Perle's music, and even makes them want to dance to it, that he finds the most difficult to characterize. Introducing his first Bloch lecture, he writes that familiar as he is with the role of lecturer - he was professor of theory and composition at Queens College until his retirement from teaching in - ''whenever I've been called upon to address an audience on the subject of my own work as a composer I've had this uncomfortable sense of engaging in some inappropriate and awkward activity, like trying to turn a screw with a knife or to slice an apple with a screwdriver,'' borrowing the metaphor from John Updike.

Consequently, Mr.

Perle, George

Perle has not been the persuasive spokesman for his own music the way he has been for others', especially Berg's. He never quotes his own work when he needs examples in his writings and lecturing on tone tonality. And it is undoubtedly this reticence that kept the music from the public eye for so long. Perle says that people probably just assumed that his music would be as difficult to appreciate as much tone music is. No composer, however, can get out of talking about his music altogether in an interview, not when he has a pair of important premieres coming up, and Mr.

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Perle obliges. The Sextet, he says, was part of a project by Charles Wadsworth, then director of the Chamber Music Society, to encourage the composition of works for neglected chamber ensembles. Perle has particular fondness for the wind quintet: He has written four, and the Fourth was awarded the Pulitzer.

He is also drawn to the solo piano. So the combination seemed a natural one to Mr.

Inventory of the Ernest Bloch Collection, (bulk )

But Mr. Perle admits to having had serious reservations about the coupling of piano and winds, since the winds phrase through breathing, which is not the case at all with the piano. Still, he now says the challenge in the end inspired him. He doesn't, of course, volunteer much about the actual music, though. Perle, seems slightly more at ease talking about his new string quartet, his eighth but really only the third he has been willing to acknowledge.

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He borrowed the title, ''Windows of Order'' from James Gleick's book on developments in mathematical theory, ''Chaos,'' the expression reminding Mr. Perle of the way seemingly chaotic elements in a piece of music can mysteriously come together.

Concerto Grosso No. 1

That is what the composer hopes happens in the quartet. Perle says, describing how he began the piece, though he could also be talking about how his career as a composer has progressed. The turning point in George Perle's career as a composer was the record released in by Nonesuch 9 F; all three formats. An excellent introduction to Mr. Perle's music, it contains three particularly engaging works - Serenade No. More recently, New World Records has devoted two disks to Mr.

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While much of Mr. Image by: Oregon Jewish Museum. Piece Audio. Track Buffer Seek Playhead. Previous Play Pause Next. Mute Unmute Volume selector Volume level indicator. Piece Description Swiss-born composer Ernest Bloch was first and foremost known around the world for his music, blending a variety of musical influences, including Jewish, Swiss, and Native American.

Timing and Cues There is secs tail of music at beginning and a tail of music at the end.

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