By Leta E. Miller
Winner of either the Pulitzer Prize and the Grawemeyer Award, Aaron Jay Kernis completed attractiveness as one of many top composers of his iteration whereas nonetheless in his thirties. considering the fact that then his eloquent but obtainable variety, emphasis on melody, and willingness to interact renowned in addition to classical types has introduced him frequent acclaim and admiring audiences. Leta Miller's biography deals the 1st survey of the composer's lifestyles and paintings. Immersed in tune via center college, and later education less than Theodore Antoniou, John Adams, Jacob Druckman, and others, Kernis rejected the belief of distancing his paintings from worldly issues and dared to compose on political subject matters. His moment Symphony , from 1991, engaged with the 1st Gulf warfare; 1993's nonetheless second with Hymn was once a response to the Bosnian Genocide; and the following year's coloured box and 1995's Lament and Prayer handled the Holocaust. but Kernis extensively utilized resources as disparate as futurist agitprop and kid's video games to...
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Extra resources for Aaron Jay Kernis
5 Kernis never abandoned this commitment to synthesis, even when he freed himself from the detailed structural planning of his early years. His most recent works continue to integrate diverse elements (the Third Symphony stands as one of the most inclusive, in fact), but over the years he has perfected the art of smoothing the borders and refining the linkages. 6 Asked in 1999 to characterize his music, Kernis immediately offered the adjectives “colorful” and “dramatic” and emphasized the role of melody and expressivity.
Photo by Richard Bowditch. ) A comprehensive and broadly based examination of the composer’s stylistic development is thus long overdue. Information about Kernis’s music must currently be culled from newspaper and magazine articles, liner notes, and a variety of short interviews, which necessarily address a limited repertoire or time span. In contrast, this book surveys Kernis’s work over the course of more than thirty years, detailing both continuities and changes in his musical language. It is based on published documents, personal interviews, and materials in Kernis’s extensive collection of programs, reviews, and correspondence.
Kernis, for his part, was astonished that Druckman recommended his piece, and he raced to complete it. Morton Subotnick, his teacher that semester, helped him finalize the score. Kernis also faced considerable expense in having the parts copied. Fortunately, two women at Yale—development officer Anne-Marie Soulliere and soprano Phyllis Curtin—came to the rescue by locating a patron to cover the cost. Kernis’s piece opened the rehearsal on June 7, followed by a reading of a work-in-progress by George Crumb (conducted by Arthur Weisberg) and a rehearsal of Nicholas Thorne’s Symphony from Silence.