Hearing The Pulitzers hearingthepulitzers
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Hearing the Pulitzers: A piece-by-piece, episode-by-episode exploration of the winners of the Pulitzer Prize in Music with hosts Andrew Granade and David Thurmaier.
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Episode 48 - 1990: Mel Powell, Duplicates
In this episode, Dave and Andrew explore a composer who played with Benny Goodman as a jazz pianist, and then embraced Arnold Schoenberg's musical ideas as a member of the academy. What kind of music does that concoction create? Listen to this episode on Duplicates, Powell's winning piece for two pianos and orchestra.
If you'd like more information about Mel Powell, we recommend:
Sally Lamb, “An Analytical Guide to the Works of Mel Powell.” DMA diss., Cornell University, 1988.
Jeffrey Perry, "Constructing a Relevant Past: Mel Powell's Beethoven Analogs" American Music 29, no. 4 (2011): 491–535.
Finally, you might like to see Mel Powell in action with Benny Goodman: -
Episode 47 - 1989: Roger Reynolds, Whispers Out of Time
In this episode, Dave and Andrew explore a work for string orchestra that Kyle Gann opined was the first experimental composition to win the Pulitzer since Charles Ives. Given how much Dave loves Ives, how does he react to Whispers Out of Time? How does the piece fit in the context of music written in the late 1980s?
If you'd like more information about Roger Reynolds, we recommend:
Kyle Gann's American Music in the 20th Century (Schirmer, 1997).
Roger Reynolds's "Ideals and Realities: A Composer in America" American Music Vol. 25, No. 1 (2007): 4-49. -
Bonus: An Interview with William Bolcom
In this special bonus episode, Dave and Andrew talk with 1988 Pulitzer Prize Winner William Bolcom. What is the difference between the Etudes and the New Etudes? What impact did John Cage have on his career? And who is answering the phone? We hope you enjoy hearing from him about these insights and many more!
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Episode 46 - 1988: William Bolcom, Twelve New Etudes
In this episode, Dave and Andrew discuss the first solo piano work to ever win a Pulitzer Prize. And they try to answer the question–if these are "new" etudes, what are the "old" etudes? They also examine how Bolcom incorporates various styles and techniques into the etudes, and ponder the set's historical place among other etude collections.
If you'd like more information about William Bolcom, we recommend:
Henry S. Jones's dissertation "William Bolcom's Twelve New Etudes for Piano" (Louisiana State University, 1994).
Ji Sun Lee's dissertation "Revolutionary Etudes: The Expansion of Piano Technique Exploited in the Twelve New Etudes of William Bolcom" (University of Arizona, 2001)
William Bolcom's website.
And if you'd like to read Dave's interview with Marc-André Hamelin (who premiered the entire set), you can find it here. -
Bonus: An Interview with John Harbison
In this special bonus episode, Dave and Andrew talk with Pulitzer Winner John Harbison. Why did he decide to play the tuba? What was it like to study composition with two-time winner Walter Piston? What was the impetus for looking at the darker side of Christmas in The Flight Into Egypt? We hope you enjoy hearing from him about these insights and many more!
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Episode 45 - 1987: John Harbison, The Flight Into Egypt
In this episode Dave and Andrew discuss a composer known for his eclecticism, who writes music that features the influence of jazz, Stravinskian neoclassicism, Schoenbergian serialism, and a variety of popular idioms. But will that mixture of styles win them over when applied to a Biblical text about the "dark side" of Christmas?
If you'd like more information about Harbison, we recommend:
Brian Galante's dissertation "John Harbison's The Flight into Egypt: An Analysis for Performance," University of North Texas, 2008.
Mike Seabrook's "John Harbison and His Music," Tempo 197 (July 1996): 7–11.
Tom Jacob's profile in the San Francisco Classical Voice.
Customer Reviews
Stellar!
OK, guys, I'm writing a review, now that I'm out of new episodes to enjoy! Seriously, though, this podcast is a wonder. In recent years, I've been ranting and raving (seems like mostly ranting) about the winners of the Pulitzer, under the assumption that the winners "back in the day" represented the best of the best. While that was occasionally true, now I know that, more often than not, the committee has selected winners based on friendship and professional connection. So many truly important works and composers have been (purposely?) ignored. Your work has made me finally get over 2018. Thank you for taking the time to produce such an informative and entertaining podcast. 1991, where are you? :)
A SUBJECT I’VE FOLLOWED FOR DECADES
Since I was precociously interested 12-yr-old, I’ve been following the music Pulitzers for decades. So this podcast caught my attention. The Pulitzer winners year by year are sometimes worthy, sometimes questionable, and sometimes just goofy. One questions if works of art should be awarded prizes at all, but the hosts of this podcast have a good time evaluating the history, discovering both the gems and the duds.
Great insight!
These guys are great. We’ll organized podcast and significant scholarship on each person. Great for musicians and graduate students studying for comps!