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Richard Gilliam
Richard Strauss and His World
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Strongly influencing European musical life from the 1880s through the First World War and remaining highly productive into the 1940s, Richard Strauss enjoyed a remarkable career in a constantly changing artistic and political climate. This volume presents six original essays on Strauss's musical works--including tone poems, lieder, and operas--and brings together letters, memoirs, and criticism from various periods of the composer's life. Many of these materials appear in English for the first time. In the essays Leon Botstein contradicts the notion of the composer's stylistic "about face" after Elektra; Derrick Puffett reinforces the argument for Strauss's artistic consistency by tracing in the tone poems and operas the phenomenon of pitch specificity; James Hepokoski establishes Strauss as an early modernist in an examination of Macbeth; Michael Steinberg probes the composer's political sensibility as expressed in the 1930s through his music and use of such texts as Friedenstag and Daphne; Bryan Gilliam discusses the genesis of both the text and the music in the final scene of Daphne; Timothy Jackson in his thorough source study argues for a new addition to the so-called Four Last Songs. Among the correspondence are previously untranslated letters between Strauss and his post-Hofmannsthal librettist, Joseph Gregor. The memoirs range from early biographical sketches to Rudolf Hartmann's moving account of his last visit with Strauss shortly before the composer's death. Critical reviews include recently translated essays by Theodor Adorno, Guido Adler, Paul Bekker, and Julius Korngold.
A valuable late-summer festival at Bard College in upstate New York, devoted each year to a different composer, has produced several noteworthy collections of papers. This volume on Strauss appeared just before the 1992 festival. When the book was first published, Timothy L. Jackson's thoughts on the Four Last Songs got the most attention. Jackson argues, quite persuasively, that the four songs were originally five, with the orchestral song "Ruhe, meine Seele!" to be heard before "Im Abendrot." His analysis extends all the way to details of orchestration, but the best proof is in the hearing. Several recordings (such as Jessye Norman's with Kurt Masur) allow listeners to program the songs in this order, and the sequence is revelatory. Elsewhere, Leon Botstein contributes the "keynote address," taking up the odd disjunction of the composer's life versus his music. He demolishes the idea of Strauss having stylistic shifts. (Botstein, as president of Bard College, is known to consider Elektra one of the essential texts for a liberal-arts education.) Michael Steinberg takes on Strauss's behavior during the Nazi era. Like Kirsten Flagstad, Karl Boehm, and Elisabeth Schwarzkopf, Strauss will always be linked to his politics. James Hepokoski offers a look at Macbeth, Strauss's first tone poem. In general, the lesser-known works such as Intermezzo and the Burleske for piano and orchestra come up more than you would expect, with correspondingly less on Don Juan or Ariadne auf Naxos. Two chapters offer selections from the composer's correspondence, nicely translated by Susan Gillespie. The most interesting is that with Josef Gregor, the librettist for Daphne. The essays are quite fine individually; taken together they offer nothing less than a wholesale reevaluation of the composer. Focusing on the "middle period" after Elektra, editor Gilliam asks for a separation of style from historical era, and it is the key to a much deeper understanding of the music. --William R. Braun
Richard Strauss's Elektra (Studies in Musical Genesis & Structure)
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Elektra was the fourth of fifteen operas by Strauss and opened his successful partnership with the librettist Hugo von Hofmannsthal. Gilliam's study of this major work examines its musical-historical context and also provides a detailed analysis of some of its musical features. He establishes a chronology of the evolution of the opera and places it in the larger framework of German opera of the time. His detailed examination of the sketchbooks enables him to offer fresh insight into Strauss's use of motifs and overall tonal structure. In so doing he shows how the work's arresting dissonance and chromaticism have hidden its similarities to his later, seemingly more tonally conservative opera, Der Rosenkavalier: not only does Strauss exploit in both a variety of musical styles to express irony, parody, and other emotions, but both are in fact thoroughly tonal.
Richard Strauss: New Perspectives on the Composer and His Work (Sources of Music & Their Interpretation)
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As we approach the fiftieth anniversary of Richard Stauss’s death, scholarly interest in the composer continues to grow. Despite what was once a tendency by musicologists to overlook or deny Strauss’s importance, these essays firmly place the German composer in the musical mainstream and situate him among the most influential composers of the late nineteenth and early twentieth centuries. Originally published in 1992, this volume examines Strauss’s life and work from a number of approaches and during various periods of his long career, opening up unique corridors of insight into a crucial time in German history. Contributors discuss Strauss as a young composer steeped in a conservative instrumental tradition, as a brash young modernist tone poet of the 1890s, as an important composer of twentieth-century German opera, and as a cultural icon manipulated by the national socialists during the 1930s and early 1940s. Individual essays use Strauss’s creative work as a framework for larger musicological questions such as the tension between narrative and structure in program music, the problem of extended tonality at the turn of the century, stylistic choice versus stylistic obligation, and conflicting perspectives of progressive versus conservative music. This collection will interest Strauss scholars, musicologists, and those interested in the artistic and cultural life of Germany from 1880 through the Second World War. Contributors. Kofi Agawu, Günter Brosche, Bryan Gilliam, Stephen Hefling, James A. Hepokoski, Timothy L. Jackson, Michael Kennedy, Lewis Lockwood, Barbara A. Peterson, Pamela Potter, Reinhold Schlötterer, R. Larry Todd
Excalibur
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This book contains a collection of stories based on the legends of King Arthur. The stories range in time from Camelot to the present day.
The Life of Richard Strauss (Musical Lives)
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Richard Strauss' successful conducting and composing career spanned one of the most fascinating stretches of modern German history, from oil lamps to atomic energy, from a young empire to a divided Germany. This biography covers Strauss' early musical development, his emergence as a tone poet in the late nineteenth century, his turn to the stage at the beginning of the twentieth century, the successes and misfires of the post-World War I era, the turbulent 1930s, and the period of the Second World War and its aftermath.
Richard Gilliam News
Classic watering holes - Maine Switch
Maine Switch, ME - Feb 11, 2939
Classic watering holesBut when alcohol became legal again in 1933, the room was turned into a bar and renamed Top of the East. “The hotel itself has changed names many times,” said Tamara Gilliam, general manager of the Eastland Park. “But the Top of the East has always
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Buying Masters for the First Family - Washington Informer
Washington Informer, Washington DC - Feb 11, 5813
Washington InformerBuying Masters for the First Family1952) who has mastered the primordial medium of clay for installations, and landscape painter Richard Mayhew. Others artists featured include Sam Gilliam, Edward Clark, Joe Overstreet, Richard Hunt, Herbert Gentry, William T. Williams, Camille Billops,
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The Imaginarium of Doctor Parnassus - Variety
Variety, CA - May 22, 2009
Times OnlineThe Imaginarium of Doctor Parnassus and Gilliam no doubt played a dominant role in conceiving the film's look, which is ornate without being a riot of detail, but production designer Anastasia Masaro, visual effects supervisors John Paul Docherty and Richard Bain and costume designer The Imaginarium of Doctor Parnassus: Heath Ledger's Last Laugh
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USJ hosting soccer camp - Jackson Sun
Jackson Sun, TN - Feb 11, 9965
USJ hosting soccer campThe Gilliam League will host a jamboree at 5 pm Saturday at Centennial Park. All teams will be in uniform, and there will be brief introductions and comments from league supporters. Shirlene Mercer will throw out the first pitch, but the first game
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Cannes 2009: As Terry Gilliam goes, so does the festival - Los Angeles Times
Los Angeles Times, CA - Feb 11, 1658
Cannes 2009: As Terry Gilliam goes, so does the festivalRichard Verrier is a Los Angeles Times reporter who focuses on labor and production issues in Hollywood. Ben Fritz is a Los Angeles Times reporter who covers the entertainment industry with a focus on box office and technology.
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