Content deleted Content added
| (8 intermediate revisions by 6 users not shown) | |||
Line 1:
{{Short description|American composer (born 1934)}}
{{Infobox person
| name = Roger Reynolds
Line 11:
| website = [http://www.rogerreynolds.com rogerreynolds.com]
}}
'''Roger Lee Reynolds''' (born July 18, 1934) is
During his early career, Reynolds worked in Europe and Asia, returning to the US in 1969 to accept an appointment in the music department at the [[University of California, San Diego]]. His leadership there established it as a state of the art facility – in parallel with [[Stanford]], [[IRCAM]], and [[MIT]] – a center for composition and computer music exploration.<ref name=crca /> Reynolds won early recognition with [[Fulbright Program|Fulbright]], [[Guggenheim Fellowship|Guggenheim]], [[National Endowment for the Arts]], and [[National Institute of Arts and Letters]] awards. In 1989, he was awarded the [[Pulitzer Prize]] for a string orchestra composition, ''[[Whispers Out of Time]]'', an extended work responding to [[John Ashbery]]’s ambitious ''[[Self-Portrait in a Convex Mirror (poetry collection)|Self-Portrait in a Convex Mirror]]''.<ref name=pulitzerfound /> Reynolds is principal or co-author of five books and numerous journal articles and book chapters. In 2009 he was appointed University Professor, the first artist so honored by University of California.<ref name=kiderra-ucprof>{{cite web|last=Kiderra|first=Inga|title=UC San Diego Faculty Member Receives 'Highest Honor' Appointment|url=http://ucsdnews.ucsd.edu/archive/newsrel/arts/08-09RogerReynolds.asp|work=News Center|publisher=University of California, San Diego|access-date=17 December 2013}}</ref><ref>{{Cite web|url=http://adminrecords.ucsd.edu/Notices/2009/2009-8-4-2.html|title=Appointment of Roger Reynolds, University Professor}}</ref> The [[Library of Congress]] established a Special Collection of his work in 1998.<ref name=loc_bio />
His nearly 150 compositions to date are published exclusively by the C. F. Peters Corporation,<ref name=peters-rr-bio>{{cite web|title=Roger Reynolds|url=http://www.edition-peters.com/composer/Reynolds-Roger|work=Composer Biography|publisher=C.F. Peters|access-date=17 December 2013}}</ref> and several dozen CDs and DVDs of his work have been commercially released in the US and Europe. Performances by the Philadelphia, San Francisco, Los Angeles, and San Diego Symphonies, among others, preceded the most recent large-scale work, ''george WASHINGTON'', written in honor of America's first president.<ref name=kennedy-center>{{cite web|title=National Symphony Orchestra: Christoph Eschenbach, conductor / Saint-Saëns's "Organ Symphony," plus the world premiere of Roger Reynolds's ''george WASHINGTON''|url=http://www.kennedy-center.org/events/?event=NOCSA|work=Calendar|publisher=the Kennedy Center|access-date=17 December 2013}}</ref> This work knits together the Reynolds's career-long interest in orchestra, text, extended musical forms, intermedia, and computer spatialization of sound.<ref name=kennedy-center-prognotes>{{cite web|last=May|first=Thomas|title=george Washington|url=http://www.kennedy-center.org/calendar/?fuseaction=composition&composition_id=5196|work=Program Notes|publisher=The Kennedy Center|access-date=17 December 2013}}</ref>
Line 82:
<blockquote>The idea was to get out and to have the time to do the kind of growing that I thought I needed to do, because I had composed very few pieces by the time I had graduated from the University of Michigan. So at that time, although it seems odd now, going to Europe was a way of living cheaply. I lived in Europe for almost three years on nothing and with nothing, and that time was spent trying to find myself and my voice.<ref name=fjo /></blockquote>
It emerged later that Philip Glass was in Paris during a similar period and living in the same way.<ref name="glass_bio">{{cite web |title=Philip Glass |url=https://www.britannica.com/biography/Philip-Glass |website
Before Paris, Reynolds had gone to Germany to study with [[Bernd Alois Zimmermann]] in Cologne, on a Fulbright Scholarship in 1962/1963.<ref name=in_america /> But things did not turn out the way he expected:
<blockquote> I was supposed to study with Zimmermann. I went to his class. And afterwards he took me to coffee and he said, “Look,
Instead, Reynolds worked with [[Gottfried Michael Koenig]], and collaborated with [[Michael von Biel]], who was living in the atelier of [[Karlheinz Stockhausen]]'s friend [[Mary Bauermeister]]. Reynolds worked at the [[West German Radio]]'s Electronic Music Studio, where he completed ''A Portrait of Vanzetti'' (1963)<ref name=fjo />
Line 104:
Roger and Karen were visiting the Seattle Symphony during 1965 with sponsorship from the [[Rockefeller Foundation]]. A trip down the West Coast to visit various university music programs was suggested by the foundation's Arts Officer, [[Howard Klein (music critic)|Howard Klein]]. The last stop on that trip was at the still young University of California, San Diego campus, in La Jolla.<ref name=loc_bio /> The nascent music life at this University was viewed with much promise:
<blockquote>We thought that the most dynamic social scene at that point – this was the late ’60s – was California, and so
===University of California, San Diego (1969–present)===
Line 125:
In the late 1970s, [[John Chowning]] invited Reynolds to come to [[Stanford]]'s summer courses at the Center for Computing Research in Music and Acoustics ([[CCRMA]]).<ref name=karen /> Because of the expense of computer equipment, electroacoustic work was done very differently at that time:
<blockquote>...[W]hen I went to Stanford to start working in computers at the end of the ’70s, I worked with a lot of different people there who were around the lab, because this was at a time when the so-called time-sharing machines meant that everyone in the building heard what everyone else was doing and everyone was involved with everyone else. So if something
At CCRMA, Reynolds finished the sound synthesis portion of ''...the serpent-snapping eye...'' (1978) (uses FM Synthesis) and ''VOICESPACE IV: The Palace'' (1978–80) (uses digital signal processing).
Line 142:
====UPIC (1983–84)====
Shortly after his first trip to IRCAM, he was also invited to compose a work using the Les Ateliers [[UPIC]] System, which [[Iannis Xenakis]] had created for ''Mycenae Alpha'' (1978).<ref name=mode_upic>{{cite web|last=Brant|first=Brian|title=Xenakis, UPIC, Continuum Electroacoustic & Instrumental works from CCMIX Paris|url=http://www.moderecords.com/catalog/098_9ccmix.html|work=Mode Records Catalog|publisher=Mode Records|access-date=23 January 2012}}</ref>
====SANCTUARY (2003–07)====
Line 156:
for contrabassist Mark Dresser, involved close collaboration with computer musician, Jaime Oliver. ''Toward Another World: LAMENT'' for clarinet and computer musician, as well as similar duos involving violin (''Shifting/Drifting'') and cello (''PERSISTENCE'') followed.
When composing ''Shifting/Drifting'', Reynolds worked closely with his frequent violin collaborator [[Irvine Arditti]] on the acoustic material, and computer musician Paul Hembree on the electronic sound.
|date=26 June 2019 |issue=681}}</ref></blockquote>
Line 164:
While serving as Valentine Visiting Professor at [[Amherst College]] in the late 1980s, Reynolds immersed himself in poetry because of the connection of Amherst with poet Emily Dickinson. He came across [[John Ashbery]]'s ''Self-Portrait a Convex Mirror'' (1974) while reading one evening:
<blockquote>The next morning I realized that things that I had understood the night before I
====Influence of visual arts====
Line 181:
====Space: metaphoric, auditory, architectural====
Reynolds has been involved with the concept of Space as a potential musical resource for most of his career, leading to a reputation that rests, in part, upon his “wizardry in sending music flying through space: whether vocal, instrumental, or computerized”.<ref name=leighton-wind>{{cite news|last=Kerner|first=Leighton|title=The Sudden Wind|newspaper=[[The Village Voice]]|date=March 8, 1985}}</ref>
<blockquote>I began my own efforts to address space in modest fashion, in a music-theater composition ''[The Emperor of Ice Cream]'' intended for the ONCE Festivals but not actually premiered until 1965 in the context of the Nuova Consonanza Festival of Franco Evangelisti's, in Rome. ... So, in the case of [Wallace] Stevens's line "And spread it so as to cover her face," the eight singers, arrayed across the front of the stage, pass the phonemes of the associated melodic phrase back and forth by fading in and out successively.<ref name=in_america /></blockquote>
Line 211:
Most recently, Reynolds completed the monograph ''Xenakis Creates in Architecture and Music: The Reynolds Desert House'' (2022), working with his wife Karen Reynolds to describe how Xenakis designed an unbuilt but fully-planned house for the Reynolds family in the Anza Borrego desert.<ref name="deserthouse">{{cite web |last1=Reynolds |first1=Roger |title=Xenakis Creates in Architecture and Music The Reynolds Desert House |url=https://www.routledge.com/Xenakis-Creates-in-Architecture-and-Music-The-Reynolds-Desert-House/Reynolds-Reynolds/p/book/9780367698461 |website=Routledge: Taylor & Francis Group |publisher=Routledge |access-date=18 September 2022}}</ref>
In addition to visiting positions, Reynolds has also given [[master class]]es around the world, in places such as Buenos Aires, Thessaloniki, Porto Alegre, IRCAM, Warsaw, the Sibelius Academy in Helsinki, and the Central Conservatory of Music in Beijing. Furthermore, he has been a featured composer at numerous music festivals, including Music Today and the Suntory International Program in Japan, the Edinburgh and [[The Proms|Proms]] festivals in the United Kingdom, the Helsinki and Zagreb biennales, the [[Darmstädter Ferienkurse]], New Music Concerts (Toronto), [[Warsaw Autumn]], Why Note? (Dijon), [[Musica
==Notable students==
Line 253:
*: ''The Ivanov Suite'' (1991, tape)
*: ''Versions/Stages'' (1988–91, tape)
*ROGER REYNOLDS:
*: ''Not Only Night'' (1988, soprano, flute, clarinet, violin, cello, piano)
*ROGER REYNOLDS: THE PARIS PIECES (1995) – Neuma Records 450-91 (2 CD)
Line 338:
*: ''not forgotten'' (2007-2010, string quartet)
*ROGER REYNOLDS: ROGER REYNOLDS AT 85, VOL 2 (2021) - mode 329
*: ''Piano Etudes: Books I & II'' (
==References==
Line 380:
[[Category:21st-century American male musicians]]
[[Category:Brooklyn College faculty]]
| |||