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George Antheil
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Berlin
Berlin (; ) is the capital city of Germany and one of sixteen states of Germany. With a population of 3.4 million people, Berlin is Germany's largest city. It is the second most populous city proper and the eighth most populous urban area in the European Union. Located in northeastern Germany, it is the center of the Berlin-Brandenburg Metropolitan Area, comprising 5 million people from over 190 nations. Geographically embedded in the European Plains, Berlin is influenced by a temperate seasonal climate. Around one third of the city's territory is composed of forests, parks, gardens, rivers and lakes.
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Budapest
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Frankfurt Opera
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In a Lonely Place
In a Lonely Place (1950) is a film noir directed by Nicholas Ray, and starring Humphrey Bogart and Gloria Grahame, produced for Bogart's Santana Productions. The script was adapted by Edmund North from the 1947 novel In a Lonely Place by Dorothy B. Hughes.
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Manhattan
Manhattan is one of the five boroughs of New York City. Located primarily on Manhattan Island at the mouth of the Hudson River, the boundaries of the borough are identical to those of New York County, an original county of the state of New York. It consists of Manhattan Island and several small adjacent islands: Roosevelt Island, Randall's Island, Wards Island, Governors Island, Liberty Island, part of Ellis Island, and U Thant Island; as well as Marble Hill, a small section on the mainland adjacent to the Bronx. The original city of New York began at the southern end of Manhattan, and expanded in 1898 to include surrounding counties. It is the smallest, yet most urbanized of the five boroughs.
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Museum of Modern Art
The Museum of Modern Art (MoMA) is an art museum located in Midtown Manhattan in New York City, on 53rd Street, between Fifth and Sixth Avenues. It has been singularly important in developing and collecting modernist art, and is often identified as the most influential museum of modern art in the world. The museum's collection offers an unparalleled overview in modern and contemporary art, including works of architecture and design, drawings, painting, sculpture, photography, prints, illustrated books and artist's books, film, and electronic media.
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New Jersey
New Jersey (, ) is a state in the Northeastern and Middle Atlantic regions of the United States. It is bordered on the northeast by New York, on the southeast and south by the Atlantic Ocean, on the west by Pennsylvania and on the southwest by Delaware. New Jersey lies largely within the sprawling metropolitan areas of New York City and Philadelphia. It is the most densely populated state in the United States.
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New York
New York (; locally or ) is a state in the Northeastern region of the United States. It is the nation's third most populous state. New York is bordered by New Jersey and Pennsylvania to the south, and by Connecticut, Massachusetts and Vermont to the east. The state has a maritime border with Rhode Island east of Long Island, as well as an international border with the Canadian provinces of Ontario to the north and west, and Quebec to the north. New York is often referred to as New York State to distinguish it from New York City.
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Philadelphia
Philadelphia () is the largest city in Pennsylvania, sixth-most-populous city in the United States and the fifty-first most populous city in the world.
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Trenton, New Jersey
Trenton is the capital of the U.S. state of New Jersey and the county seat of Mercer County. As of 2008, the United States Census Bureau estimated that the city of Trenton had a population of 82,883.
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United States
The United States of America (also referred to as the United States, the U.S., the USA, or America) is a federal constitutional republic comprising fifty states and a federal district. The country is situated mostly in central North America, where its forty-eight contiguous states and Washington, D.C., the capital district, lie between the Pacific and Atlantic Oceans, bordered by Canada to the north and Mexico to the south. The state of Alaska is in the northwest of the continent, with Canada to the east and Russia to the west across the Bering Strait. The state of Hawaii is an archipelago in the mid-Pacific. The country also possesses several territories in the Caribbean and Pacific.
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Vienna
Vienna (; ; ) is the capital of the Republic of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.7 million (2.3 million within the metropolitan area, more than 25% of Austria's population), and is by far the largest city in Austria, as well as its cultural, economic, and political centre. It is the 10th largest city by population in the European Union. Vienna is host to many major international organizations such as the United Nations and OPEC.
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Wigmore Hall
Wigmore Hall is a leading international recital venue that specialises in hosting performances of chamber music and is best known for classical recitals of piano, song and instrumental music. It is located at 36 Wigmore Street, London, UK and was built to provide London with a venue that was both grandly impressive yet intimate enough for recitals of chamber music. With near perfect acoustics, the Hall became quickly celebrated across Europe, acquiring almost legendary attraction for the greatest artists of the 20th century. Today the Hall promotes some 400 concerts a year and broadcasts a weekly concert on BBC Radio 3 attracting an audience of several hundred thousand listeners as well as an extensive worldwide internet audience. The Hall also promotes an extensive education programme throughout London and beyond.
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Aaron Copland
Aaron Copland (November 14, 1900 – December 2, 1990) was an American composer of concert and film music. Instrumental in forging a distinctly American style of composition, he was widely known as "the dean of American composers." Copland's music achieved a balance between modern music and American folk styles. The open, slowly changing harmonies of many of his works are said to evoke the vast American landscape.
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African American
African Americans (also referred to as Black Americans or Afro-Americans, and formerly as American Negroes) are citizens or residents of the United States who have origins in any of the black populations of Africa. In the United States, the terms are generally used for Americans with at least partial Sub-Saharan African ancestry.
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Alfred Stieglitz
Alfred Stieglitz (January 1, 1864 – July 13, 1946) was an American photographer and modern art promoter who was instrumental over his fifty-year career in making photography an accepted art form. In addition to his photography, Stieglitz is known for the New York art galleries that he ran in the early part of the 20th century, where he introduced many avant-garde European artists to the U.S. He was married to painter Georgia O'Keeffe.
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Arthur Honegger
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Arthur Schnitzler
Dr. Arthur Schnitzler (May 15, 1862, Leopoldstadt, Vienna - October 21, 1931, Vienna) was an Austrian author and dramatist.
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Artur Schnabel
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Ben Hecht
Ben Hecht (last name ; February 28, 1894 – April 18, 1964) was an American screenwriter, director, producer, playwright, and novelist. Called "the Shakespeare of Hollywood", he received screen credits, alone or in collaboration, for the stories or screenplays of some 70 films and as a prolific storyteller, authored 35 books and created some of the most entertaining screenplays or plays in America. According to film historian Richard Corliss, he was "the" Hollywood screenwriter, someone who "personified Hollywood itself." The Dictionary of Literary Biography - American Screenwriters, calls him "one of the most successful screenwriters in the history of motion pictures."
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Benjamin Lees
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Cecil B. DeMille
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Charles Amirkhanian
Charles Amirkhanian (born January 19, 1945; Fresno, California) is an American composer. He is a percussionist, sound poet, and radio producer of Armenian extraction. He is mostly known for his electroacoustic and text-sound music. Performance artist Laurie Anderson praises his work: "The art of audio collage has been reinvented here...A brilliant sense of imaginary space." (ST-206)
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Claude Debussy
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Darius Milhaud
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Dudley Murphy
Dudley Murphy (July 10, 1897 – February 22, 1968) Murphy was born on July 10, 1897 in Winchester, Massachusetts. He began making films in the early 1920s after working as a journalist.
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Erik Satie
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Ernest Hemingway
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Ezra Pound
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Fernand Léger
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Francis Picabia
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Franz Liszt
Franz Liszt (, from 1859 to 1867 officially Franz Ritter von Liszt) (October 22, 1811July 31, 1886) was a Hungarian composer, virtuoso pianist and teacher.
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George Antheil
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Helen of Troy
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Henry Brant
Henry Dreyfuss Brant (September 15, 1913 – April 26, 2008) was a Canadian-born American composer. An expert orchestrator with a flair for experimentation, many of Brant's works featured spatialization techniques.
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Humphrey Bogart
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Igor Stravinsky
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James Cagney
James Francis Cagney, Jr. (July 17, 1899 – March 30, 1986) was an American film actor. Although he won acclaim and major awards for a wide variety of roles, he is best remembered for playing "tough guys." In 1999, the American Film Institute ranked him eighth among the Greatest Male Stars of All Time.
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James Joyce
James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark novel which perfected his stream of conciousness technique and combined nearly every literary device available in a modern re-telling of The Odyssey. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939), and his complete oeuvre includes three books of poetry, a play, occasional journalism, and his published letters.
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Jean Cocteau
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John Marin
John Marin (December 23, 1870 - October 2, 1953) born in Rutherford, New Jersey, was an early American modernist artist. He was known for his abstract landscapes and watercolors.
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Käthe Kollwitz
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Leo Ornstein
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Les Six
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Man Ray
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Marcel L'Herbier
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Nicholas Ray
Nicholas Ray (born Raymond Nicholas Kienzle; 7 August 1911 – 16 June 1979) was an American film director best known for the movie Rebel Without a Cause.
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Oscar Hammerstein II
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Pablo Picasso
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Paul Rosenfeld
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Sergei Prokofiev
Sergei Sergeyevich Prokofiev () (5 March 1953) was a Russian composer, pianist and conductor who mastered numerous musical genres and came to be admired as one of the greatest composers of the 20th century.
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Sylvia Beach
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T. S. Eliot
Thomas Stearns Eliot OM (September 26, 1888 – January 4, 1965) was an American-born English poet, playwright, and literary critic, arguably the most important English-language poet of the 20th century. The poem that made his name, The Love Song of J. Alfred Prufrock—started in 1910 and published in Chicago in 1915—is regarded as a masterpiece of the modernist movement, and was followed by some of the best-known poems in the English language, including Gerontion (1920), The Waste Land (1922), The Hollow Men (1925), Ash Wednesday (1930), and Four Quartets (1945). He is also known for his seven plays, particularly Murder in the Cathedral (1935). He was awarded the Nobel Prize in Literature in 1948.
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Virgil Thompson
:For the American composer with a similar name, see Virgil Thomson
http://wn.com/Virgil_Thompson -
Wallingford Riegger
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Antheil, George Filmography
- En femme de l'horreur (2011)
- Bad Boy of Music (2000)
- Cabeza de Vaca (1962)
- The Pride and the Passion (1957)
- The Young Don't Cry (1957)
- Air Power (1956)
- Not as a Stranger (1955)
- Dementia (1955)
- Hunters of the Deep (1954)
- The Juggler (1953)
- Actor's and Sin (1952)
- The Sniper (1952)
- Sirocco (1951)
- House by the River (1950)
- In a Lonely Place (1950)
- Knock on Any Door (1949)
- The Fighting Kentuckian (1949)
- Tokyo Joe (1949)
- We Were Strangers (1949)
- Repeat Performance (1947)
- That Brennan Girl (1946)
- Plainsman and the Lady (1946)
- Specter of the Rose (1946)
- Angels Over Broadway (1940)
- The Buccaneer (1938)
- Make Way for Tomorrow (1937)
- The Plainsman (1936)
- Once in a Blue Moon (1935)
- Ballet mécanique (1924)
RELEASE
ALBUMS
- Fifth Sonata: I. Andante - Allegro molto
- Fifth Sonata: II. Minuet
- Fifth Sonata: III. Allegro
- Sonate Sauvage: I. A la nègre
- Sonate Sauvage: II. Serpents
- Sonate Sauvage: III. Ivoire
- Woman Sonata: I. Woman (Langour)
- Woman Sonata: II. Tree (Prestissimo)
- Woman Sonata: III. Flower (Moderato)
- Fourth Sonata: I. Allegro giocoso
- Fourth Sonata: II. Andante
- Fourth Sonata: III. Vivo
- Third Sonata: I. Allegro
- Third Sonata: II. Adagio
- Third Sonata: III. Diabolic 'Cartoon'
Ballet Mécanique (Philadelphia Virtuosi Chamber Orchestra feat. conductor: Daniel Spalding)
(Released 2001)
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add to playlist
- Ballet Mécanique (1953 revision), W. 156c
- Serenade for String Orchestra No. 1, W. 189: I. Allegro
- Serenade for String Orchestra No. 1, W. 189: II. Andante molto
- Serenade for String Orchestra No. 1, W. 189: III. Vivo
- Symphony for Five Instruments (second version) "Quintette":, W. 129b: I. Allegro
- Symphony for Five Instruments (second version) "Quintette":, W. 129b: II. Lento
- Symphony for Five Instruments (second version) "Quintette":, W. 129b: III. Presto
- Concert for Chamber Orchestra, W. 170
- A Jazz Symphony
- Second Sonata for Violin, Piano and Drum
- String Quartet No. 1
- Ballet pour instruments mécanique et percussion-Roll One
- Ballet- Roll Two
- Ballet- Roll Three
Born: 1900-07-08
Died: 1959-02-12
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George Antheil, Ballet mècanique, part 1
- Order: Reorder
- Duration: 7:00
- Published: 23 Nov 2008
- Updated: 16 Jul 2012
Scored for pianos, percussion, electric buzzers and airplane propellers. The best piece of a composer who gradually faded into obscurity. In Paris of the 1920s however, his concerts regulary incited huge scandals and riots. Performed here by the Ensemble Modern on the album "Fighting the Waves-The Music of George Antheil"
http://wn.com/George_Antheil,_Ballet_mècanique,_part_1
George Antheil - Ballet Mécanique Roll 1
- Order: Reorder
- Duration: 7:32
- Published: 14 Sep 2010
- Updated: 23 May 2012
Original Compositions for Player Piano between 1915 and 1930. In this period composers discovered the superhuman possibilities of the Player Piano. Strawinsky, Hindemith, Toch, Antheil, Münch, Haass and Casella used this new medium, decades before Conlon Nancarrow discovered it again for his ingenious Studies for Player Piano. This clip was recorded by a finely restored Bösendorfer Ampico Grand. See www.playerpianokonzerte.de and www.nancarrow.de
http://wn.com/George_Antheil_Ballet_Mécanique_Roll_1
George Antheil, Jazz Symphony
- Order: Reorder
- Duration: 6:35
- Published: 06 Apr 2009
- Updated: 14 Jul 2012
A light-hearted ditty, for a change Written in 1925, it was premiered at his infamous 1927 Carnegie Hall Concert which also debuted the Succès de scandale Ballet Mécanique. It was originally intended to be used in Paul Whiteman's Experiment in Modern Music (which famously premiered George Gershwin's Rhapsody in Blue) concerts, but was deemed too radical. Scored for a massive instrumentation of 2 oboes, 2 clarinets, soprano saxophone, alto saxophone, tenor saxophone, 3 trumpets, 3 trombones, tuba, various percussion, 2 banjos, 3 pianos (including one soloist), and full string section. For convenience, he reorchestrated the work in 1955 for a much more conservative ensemble, a version which also rids itself of the many dissonances and noises of the original. It was performed by the Harlem Symphonietta conducted by WC Handy, and was complimented by the likes of Gershwin and Aaron Copland. Despite this critical success, it was overshadowed by the spectacle of the main work, Ballet Mécanique. The work can be seen with Gershwin's Rhapsody in Blue and Darius Milhaud's La Création du Monde as one of the first classical works with a successful and overt jazz influence. Furthermore, while Gershwin's piece is more influenced by big band and swing, Milhaud's and Antheil's works can be seen as reinterpretations of the large freeness of Creole and New Orleans and cutting-edge New York jazz.
http://wn.com/George_Antheil,_Jazz_Symphony
George Antheil - Sonata for Piano and Violin 1 (b)
- Order: Reorder
- Duration: 4:06
- Published: 24 Jan 2009
- Updated: 23 May 2012
Here is an early work of Antheil's, really beautiful, with two pictures by Gaudier-Brzeska. Two of Ezra Pound's favorite artists.
http://wn.com/George_Antheil_Sonata_for_Piano_and_Violin_1_b
George Antheil: Piano Concerto No.1 (1921)
- Order: Reorder
- Duration: 21:39
- Published: 26 Mar 2011
- Updated: 15 Jul 2012
George Antheil (1900-1959): Concerto per pianoforte e orchestra No.1 (1921). Markus Becker, pianoforte NDR Radiophilharmonie diretta da Eiji Oue. Cover image: painting by Carmen Herrera. **** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/George_Antheil_Piano_Concerto_No1_1921
George Antheil - Dreams (1/4)
- Order: Reorder
- Duration: 8:25
- Published: 31 Jan 2010
- Updated: 17 Jun 2012
George Antheil (1900-1959) Dreams (1934-35) ballet music I. Introduction 0:00 II. Andante 0:45 III. Polka 2:51 IV. Rat 4:00 V. Acrobat 5:27 VI. The King's March VII. Can-Can VIII. Valse IX. Finale & Epilogue Philadelphia Virtuosi Chamber Orchestra/Daniel Spalding Painting: "Shaker barns" by Charles Sheeler (1883-1965) In 1934-35, Antheil was working for Ben Hecht and Charlie MacArthur as music director of their film studio in Astoria, Queens, which provided him with valuable new experience in orchestration. And he was composing a dance score for Martha Graham (Dance in Four Parts) based on his piano collection, La Femme 100 Têtes. Antheil recalled later that since '[choreographer George] Balanchine was looking for an American ballet sufficiently Parisian! I regret to say that he found exactly the combination of Americanness [sic] and Parisianness he wished in me. He had attended the premiere of [Antheil's opera] Helen Retires, liked it (he was probably the only one), and on the strength of that commissioned me to write him a ballet. I did. It was called Dreams and had a décor by Derain, explained by Balanchine in gorgeous Balanchinesque choreography.' While they did share a recent Parisian history, Balanchine had already met Antheil in New York, through an introduction by the Russian dancer Lisa Parnova ... What Antheil doesn't mention is that Dreams had a prior existence, in Paris. It was called Les Songes, and Darius Milhaud wrote the music in 1933. The plot was based <b>...</b>
http://wn.com/George_Antheil_Dreams_1_4
Ballet Mecanique at the National Gallery of Art
- Order: Reorder
- Duration: 9:53
- Published: 02 Jul 2006
- Updated: 12 Jul 2012
Premiere of all-robotic version of George Antheil's infamous Dada piece for 16 player pianos and percussion orchestra. Features new robotic instruments from LEMUR: League of Electronic Musical Urban Robots (lemurbots.org)
http://wn.com/Ballet_Mecanique_at_the_National_Gallery_of_Art
George Antheil, A Jazz Symphony
- Order: Reorder
- Duration: 8:03
- Published: 20 Feb 2010
- Updated: 12 Jul 2012
Written in 1925, it was premiered at his infamous 1927 Carnegie Hall Concert which also debuted the Succès de scandale Ballet Mécanique. It was originally intended to be used in Paul Whiteman's Experiment in Modern Music (which famously premiered George Gershwin's Rhapsody in Blue) concerts, but was deemed too radical. Scored for a massive instrumentation of 2 oboes, 2 clarinets, soprano saxophone, alto saxophone, tenor saxophone, 3 trumpets, 3 trombones, tuba, various percussion, 2 banjos, 3 pianos (including one soloist), and full string section. For convenience, he reorchestrated the work in 1955 for a much more conservative ensemble (this version) The première was performed by the Harlem Symphonietta conducted by WC Handy, and was complimented by the likes of Gershwin and Aaron Copland. Despite this critical success, it was overshadowed by the spectacle of the main work, Ballet Mécanique. The work can be seen with Gershwin's Rhapsody in Blue and Darius Milhaud's La Création du Monde as one of the first classical works with a successful and overt jazz influence.
http://wn.com/George_Antheil,_A_Jazz_Symphony
George Antheil: Symphony No.6 (1948)
- Order: Reorder
- Duration: 26:05
- Published: 26 Mar 2011
- Updated: 16 Jul 2012
George Antheil (1900-1959): Symphony No.6 (1948). 1. Maestoso - Allegro molto; Marcato 2. Larghetto 3. Allegro National Symphony Orchestra of Ukraine diretta da Theodore Kuchar. Cover image: painting by Carmen Herrera. **** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/George_Antheil_Symphony_No6_1948
dementia
- Order: Reorder
- Duration: 9:22
- Published: 27 Jun 2008
- Updated: 13 Jul 2012
girl goes crazy
http://wn.com/dementia
George Antheil - Second Sonata for Violin with Accompaniment of Piano and Drums
- Order: Reorder
- Duration: 8:22
- Published: 30 Jan 2010
- Updated: 29 Apr 2012
George Antheil (1900-1959) Second Sonata for Violin with Accompaniment of Piano and Drums (1923) Chameleon Arts Ensemble: Joanna Kurkowicz, violin Gloria Chien, piano Deborah Boldin, drums Paintings: "American Landscape" by Charles Sheeler (1883-1965) Self-described "bad boy of music," George Antheil (1900-1959) is best known for the modernism and iconoclasm of his early works such as Airplane Sonata (1921) and Ballet mécanique (1923-1925). These works were inspired by the composer's interest in machines and time-space theories, the fragmentation of cubist art, and the propulsive music of Igor Stravinsky. From the late 1920's onward Antheil moved away from this modernist aesthetic to a more neoclassic and "fundamentally American style" (Antheil), incorporating folk music from the US into his compositions. He became a respected composer for opera, ballet, musical theater, and film, believing that more popular genres could attract larger audiences for modern music. Antheil's late works bear a highly Romantic sensibility. Antheil was born in Trenton, New Jersey, the son of a shoe salesman. At six years of age he began studying piano, and in his teenage years studied theory and composition with Constantin von Sternberg in Philadelphia, Pennsylvania. In 1919 he moved to New York City to study with Ernest Bloch; two years later he returned to Phildelphia and found a patron in Mary Louise Curtis Bok, founder of the Curtis Institute of Music, who supported Antheil for the next <b>...</b>
http://wn.com/George_Antheil_Second_Sonata_for_Violin_with_Accompaniment_of_Piano_and_Drums
George Antheil MécaniqueNo.1
- Order: Reorder
- Duration: 1:48
- Published: 14 Sep 2010
- Updated: 14 Sep 2010
Original Compositions for Player Piano between 1915 and 1930. In this period composers discovered the superhuman possibilities of the Player Piano. Strawinsky, Hindemith, Toch, Antheil, Münch, Haass and Casella used this new medium, decades before Conlon Nancarrow discovered it again for his ingenious Studies for Player Piano. This clip was recorded by a finely restored Bösendorfer Ampico Grand. See www.playerpianokonzerte.de and www.nancarrow.de
http://wn.com/George_Antheil_MécaniqueNo1
George Antheil - Symphony for Five Instruments
- Order: Reorder
- Duration: 11:49
- Published: 19 Sep 2010
- Updated: 28 Jun 2012
Symphony for 5 Instruments (second version 1923) Allegro - Lento - Presto A small-scale work by American avant-garde composer George Antheil (1900-1959). Conductor: Daniel Spalding Philadelphia Virtuosi Chamber Orchestra
http://wn.com/George_Antheil_Symphony_for_Five_Instruments
George Antheil: String Quartet No.2 (1927)
- Order: Reorder
- Duration: 15:36
- Published: 06 Jan 2012
- Updated: 02 Jul 2012
George Antheil (1900-1959): Quartetto per archi n.2 (1927) -- Mondriaan Kwartet cover image by Carmen Herrera ---- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/George_Antheil_String_Quartet_No2_1927
A Jazz Symphony (Part 1)
- Order: Reorder
- Duration: 7:10
- Published: 28 Dec 2008
- Updated: 12 Jul 2012
This is the first part of George Antheil's wonderful 1925 composition "A Jazz Symphony." It was originally to be preformed at Paul Whiteman's Second Experiment in Modern Music (Rhapsody in Blue was preformed at the first) but it was not finished in time. As a result the piece was not preformed until 1927 at Antheil's Carnegie Hall concert. This number was well received by public, also by such musical men as George Gershwin and Aaron Copland. *Note* This song is in one movement, but due to Youtube time limits I had to separate it into two parts.
http://wn.com/A_Jazz_Symphony_Part_1
George Antheil: Sonata Sauvage (1922/1923)
- Order: Reorder
- Duration: 10:33
- Published: 24 Mar 2011
- Updated: 21 Jun 2012
George Antheil (1900-1959): Sonata Sauvage, per pianoforte (1922/1923). 1st Movement 2nd Movement 3rd Movement Steffen Schleiermacher, pianoforte. Cover image: painting by Carmen Herrera. ***** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/George_Antheil_Sonata_Sauvage_1922_1923
George Antheil: Serenade for String Orchestra No.1 (1948)
- Order: Reorder
- Duration: 15:44
- Published: 26 Mar 2011
- Updated: 05 Jun 2012
George Antheil (1900-1959): Serenade for String Orchestra No.1 (1948). 1. Allegro 2. Andante molto 3. Vivo Philadelphia Virtuosi Chamber Orchestra diretta da Daniel Spalding. Cover image: painting by Carmen Herrera. **** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/George_Antheil_Serenade_for_String_Orchestra_No1_1948
George Antheil - Ballet Mécanique Roll 3
- Order: Reorder
- Duration: 5:50
- Published: 14 Sep 2010
- Updated: 27 May 2012
Original Compositions for Player Piano between 1915 and 1930. In this period composers discovered the superhuman possibilities of the Player Piano. Strawinsky, Hindemith, Toch, Antheil, Münch, Haass and Casella used this new medium, decades before Conlon Nancarrow discovered it again for his ingenious Studies for Player Piano. This clip was recorded by a finely restored Bösendorfer Ampico Grand. See www.playerpianokonzerte.de and www.nancarrow.de
http://wn.com/George_Antheil_Ballet_Mécanique_Roll_3
George Antheil: Symphony No.3 "American" (1936/1939, rev.1946)
- Order: Reorder
- Duration: 25:08
- Published: 06 Aug 2011
- Updated: 09 Mar 2012
George Antheil (1900-1959): Symphony No.3 "American" (1936/1939, rev.1946). 1. Allegro 2. Andante 3. The Golden Spike - Andante 4. Back to Baltimore - Presto Radio-Sinfonie-Orchester Frankfurt diretta da Hugh Wolff. Cover image: painting by Carmen Herrera. *** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be apreciated.
http://wn.com/George_Antheil_Symphony_No3_American_1936_1939,_rev1946
George Antheil - Sonata for Violin and Piano No. 1 (c) Funebre Lento
- Order: Reorder
- Duration: 7:21
- Published: 21 Feb 2009
- Updated: 24 Jun 2012
Moody piece by the avant-garde German-American composer. Painting by Kandinsky.
http://wn.com/George_Antheil_Sonata_for_Violin_and_Piano_No_1_c_Funebre_Lento
George Antheil - Ballet Mécanique Roll 2
- Order: Reorder
- Duration: 8:05
- Published: 14 Sep 2010
- Updated: 29 May 2012
Original Compositions for Player Piano between 1915 and 1930. In this period composers discovered the superhuman possibilities of the Player Piano. Strawinsky, Hindemith, Toch, Antheil, Münch, Haass and Casella used this new medium, decades before Conlon Nancarrow discovered it again for his ingenious Studies for Player Piano. This clip was recorded by a finely restored Bösendorfer Ampico Grand. See www.playerpianokonzerte.de and www.nancarrow.de
http://wn.com/George_Antheil_Ballet_Mécanique_Roll_2
George Antheil, Ballet mècanique, part 2
- Order: Reorder
- Duration: 7:31
- Published: 23 Nov 2008
- Updated: 02 Jul 2012
Scored for pianos, percussion, electric buzzers and airplane propellers. The best piece of a composer who gradually faded into obscurity. In Paris of the 1920s however, his concerts regulary incited huge scandals and riots. Performed here by the Ensemble Modern on the album "Fighting the Waves-The Music of George Antheil" Part 2
http://wn.com/George_Antheil,_Ballet_mècanique,_part_2
George Antheil - Jazz Symphony (1925)
- Order: Reorder
- Duration: 12:09
- Published: 23 Feb 2011
- Updated: 09 Jul 2012
This is George Antheil's "Jazz Symphony", the original version of 1925, premiered in Carnegie Hall along with his infamous "Ballet Mecanique". While the latter was generally panned in the states (though receiving vociferous praise in Paris), the former was lauded, and has since unfortunately become forgotten. Written at approximately the same time as the much more famous "Rhapsody in Blue", and commissioned for the same series of concerts (Paul Whiteman's "An Experiment in Modern Music"), the piece exemplifies the true "Jazz" of the age much better than Gershwin's music. This is not to disparage Gershwin, on the contrary, but where Gershwin's music is "jazzy", it comes from a whole different tradition. Antheil's Jazz Symphony, along with Darius Milhaud's "La Creation du Monde" picked Jazz off the streets and synthesized it with classical music in the first true and artistic way. The players are from the San Francisco Symphony, under the baton of Michel Tilson Thomas, in a live concert from his American Mavericks series,
http://wn.com/George_Antheil_Jazz_Symphony_1925
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Who's afraid of George Antheil?
17 Oct 2011
The Examiner
Friday, October 14, saw the opening of New Jersey Symphony’s 2011-2012 season and the performance of a seldom-heard work, George Antheil’s Symphony No. 6, “After Delacroix.” The crowd glittered with bangles and beaded gowns, floor-length and shorter, suits for the men,...(size: 15.9Kb)
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| George Antheil | |
|---|---|
| 180px | |
| Born | July 8, 1900 Trenton, New Jersey |
| Died | February 12, 1959 (1959-02-13) (age 58) New York City, New York |
| Occupation | Composer, pianist, author, and inventor |
George Antheil (July 8, 1900 – February 12, 1959) was an American avant-garde composer, pianist, author and inventor whose modernist musical compositions explored the modern sounds – musical, industrial, mechanical – of the early 20th century.
Spending much of the 1920s in Europe, Antheil returned to the US in the 1930s, and thereafter spent much of his time composing music for film scores and eventually, television.
His compositions for the concert hall, ballet, and films became more tonal. A man of diverse interests and talents, Antheil was constantly reinventing himself. He wrote magazine articles, (one accurately predicted the development and outcome of World War II), an autobiography, a mystery novel, newspaper and music columns. In 1941 he patented a "Secret Communications System" with actress Hedy Lamarr that used a code (stored on a punched paper tape) to synchronize a frequency hopping receiver and transmitter, a technique now known as spread spectrum which is now widely used in telecommunications.
Contents |
Early life[link]
Antheil was born Georg Carl Johann Antheil and grew up in a family of German immigrants in Trenton, New Jersey.[1] His father owned a local shoe store in Trenton.[2][3] Antheil was raised bilingually, writing music, prose, and poetry from an early age, and never formally graduated from high school or college.[3] According to Antheil's autobiography The Bad Boy of Music (1945), he was "so crazy about music", that his mother sent him to the countryside where no pianos were available. Undeterred, George simply arranged for a local music store to deliver a piano.[4] His somewhat unreliable memoir mythologized his origins as a futurist, and emphasized his upbringing near a noisy machine shop and an ominous prison.[2][5] George's younger brother was Henry W. Antheil, Jr., a diplomatic courier who was killed over the Baltic Sea by the Soviets on June 14, 1940.[citation needed]
Antheil started studying the piano at the age of six, and in 1916 he traveled regularly to Philadelphia to study under Constantine von Sternberg, a former pupil of Franz Liszt.[3] From Sternberg he received formal composition training in the European tradition, but his trips to the city also exposed him to conceptual art, including Dadaism.[6] In 1919, he began to work with the more progressive Ernest Bloch in New York.[3][6][7] Initially Bloch had been skeptical and had rejected him describing Antheil's compositions as "empty" and "pretentious"; however, the teacher was won over by Antheil's enthusiasm and energy, and helped him financially as he attempted to complete an aborted first symphony.[3][8] Antheil's trips to New York also permitted him to meet important figures of the modernist movement including the musicians Leo Ornstein and Paul Rosenfeld, the painter John Marin, photographer Alfred Stieglitz, and Margaret Anderson, editor of the The Little Review.[6]
At age 19, Antheil was invited to spend the weekend with Anderson and a group of friends; he stayed six months, and the close-knit group, who included Georgette Leblanc, former companion of Maurice Maeterlinck, were to become influential in Antheil's career. Anderson described Antheil as short with an oddly shaped nose, who played "a compelling mechanical music", and used "the piano exclusively as an instrument of percussion, making it sound like a xylophone or a cymballo." A workaholic, during this period he worked on songs, a piano concerto and a work that came to be known as "the Mechanisms".[9]
Around this time, von Sternberg introduced Antheil to his patron of the next two decades: Mary Louise Curtis Bok, later the founder of the Curtis Institute of Music.[9] Assured by von Sternberg of Antheil's genius and good character, Bok gave him a monthly stipend of $150, and arranged for him to study at the Philadelphia Settlement Music School. Though she came to disapprove of his behavior and his work, for the next twenty years she continued to respond favorably to his letters.[8][9] Though her financial support enabled Antheil to maintain a degree of independence in his work, many feel he should have done more in his autobiography to recognize the length and extent of her contribution to his career.[10]
Antheil continued his piano studies,[8] and the study of modernist compositions such as those by Igor Stravinsky and members of the Les Six group of French composers. In 1921, he wrote his first in a series of technology-based works, the solo piano Second Sonata, "The Airplane". Other works in the group included the Sonata Sauvage (1922–3) and subsequently Third Sonata, "Death of Machines" (1923), "Mechanisms" (ca 1923), both composed in Europe.[11] He also worked on his first symphony, managing to attract Leopold Stokowski to premiere it. However, before the performance could take place, he left for Europe to pursue his career, in retrospect perhaps dimming his chances for success in his native country.[12]
Berlin and Paris[link]
On May 30, 1922, at the age of 21, Antheil sailed for Europe to make his name as "a new ultra-modern pianist composer" and a "futurist terrible"."[13][14] He had engaged Leo Ornstein's manager, and opened his European career with a concert at Wigmore Hall. The concert featured works by Claude Debussy and Stravinsky, as well as his own compositions.[13]
He spent a year in Berlin, planning to work with Artur Schnabel, and gave concerts in Budapest, Vienna and at the Donaueschingen Festival. As he had desired, he achieved notoriety, but often had to pay the concert expenses out of his own pocket. His financial situation was not helped by Mrs. Bok's reduction of his stipend by 50 percent, though she often responded to requests to fund specific aspects of his concerts.[13] He met Boski Markus, a Hungarian and the niece of the Austrian playwright Arthur Schnitzler who became his companion and whom he married in 1925.[15][16]
In the fall of 1922, Antheil took advantage of a chance meeting to introduce himself to his idol Stravinsky in Berlin. They established a warm intimacy and the more established composer encouraged Antheil to move to Paris.[17][18] He went as far as arranging a concert to launch Antheil's career in the French capital, but the younger man failed to show up, preferring to travel to Poland with Markus.[19] The Antheils finally arrived in Paris in June 1923, in time to attend the premiere of Stravinsky's ballet Les Noces, but the relationship with Stravinsky did not survive for long. Stravinsky cut the younger man dead, having discovered that Antheil had boasted that "Stravinsky admired his work". The breach devastated Antheil, and was not ultimately repaired until 1941, when Stravinsky sent the family tickets to a concert he was giving in Hollywood.[2][18]
Despite the inauspicious beginning, Antheil found Paris, at the time a center of musical and artistic innovation, to be a "green tender morning" compared to the "black night" of Berlin.[20] The couple lived in a one bedroom apartment above Sylvia Beach's bookshop Shakespeare and Company.[16][21] Beach described him "as fellow with bangs, a squished nose and a big mouth with a grin in it. A regular American high school boy."[22] She was very supportive, and introduced Antheil to her circle of friends and customers including Erik Satie, Ezra Pound, James Joyce, Virgil Thompson and Ernest Hemingway. Joyce and Pound were soon talking of an opera collaboration.[23] Pound, in particular, was to become an extravagant supporter and promoter of Antheil and his work, comparing him variously to Stravinsky and James Cagney, and describing him as breaking down music to its "musical atom". Pound introduced Antheil to Jean Cocteau who in turn helped launch Antheil into the musical salons of Paris, and commissioned him to write three violin sonatas for his companion, Olga Rudge. In 1924 Pound published Antheil and the Treatise on Harmony, as part of his campaign to boost Antheil's reputation. The book may have done Antheil more harm that good, and the composer was to distance himself from it in his memoir.[24][25][26] Natalie Barney helped produce some original works, including the First String Quartet in 1925.[27]
Antheil was asked to make his Paris debut at the opening of the Ballets suédois, an important Paris social event. He programmed several recent compositions, including the "Airplane Sonata", the "Sonata Sauvage" and "Mechanism". Halfway through his performance a riot broke out, much to Antheil's delight. According to Antheil "People were fighting in the aisles, yelling, clapping, hooting! Pandemonium!... the police entered, and any number of surrealists, society personages, and people of all descriptions were arrested...Paris hadn't had such a good time since the premiere of Stravinsky's Sacre du Printemps.[28] The riot was filmed and may in fact have been engineered, as the Marcel L'Herbier movie L'Inhumaine needed a riot scene set in a concert hall. In the audience were Erik Satie, Darius Milhaud, Man Ray, Pablo Picasso, Jean Cocteau, and Francis Picabia. Antheil was delighted when Satie and Milhaud praised his music.[25][28]
Reactions to his first performances were cool at best. His technique was loud, brazen, and percussive. Critics wrote that he hit the piano rather than played it, and indeed he often injured himself by doing so. As part of his "bad boy" behavior, Antheil provocatively pulled a revolver from his jacket and laid it on the piano.[19]
[edit] Ballet Mecanique and later work in Europe
Antheil's best-known composition is Ballet Mécanique. The "ballet" was originally conceived to be accompanied by a film by experimental filmmakers Fernand Léger and Dudley Murphy (with cinematography by Man Ray),[29] although the nature of the collaboration is mysterious.[30] The first productions of Antheil's work in 1925 and 1926 did not include the film, which turned out to last around 17 minutes, only half as long as the Antheil's score.[29]
Antheil described his "first major work" as "scored for countless numbers of player pianos. All percussive. Like machines. All efficiency. No LOVE. Written without sympathy. Written cold as an army operates. Revolutionary as nothing has been revolutionary."[31] Antheil's original conception was scored for 16 specially synchronized player pianos, two grand pianos, electronic bells, xylophones, bass drums, a siren and three airplane propellers, but difficulties with the synchronization resulted in a rewrite for a single pianola and multiple human pianists.[32] The piece consisted of periods of music and interludes of silence set against the roar of the airplane propellers.[33] Antheil described as "by far my most radical work... It is the rhythm of machinery, presented as beautifully as an artist knows how."[34] The Léger-Murphy film and Antheil's score were finally performed together at the Museum of Modern Art, New York, in 1935.[29]
Antheil assiduously promoted the work, and even engineered his supposed "disappearance" while on a visit to Africa so as to get media attention for a preview concert.[35] The official Paris première in June 1926 was sponsored by an American patroness who at the end of the concert was tossed in a blanket by three baronesses and a duke.[1] The work enraged some of the concert-goers, whose objections were drowned out by the cacophonous music,[27] while others vocally supported the work, and the concert ended with a riot in the streets.[36]
On April 10, 1927, Antheil rented New York's Carnegie Hall in order to present an entire concert devoted to his works including the American debut of Ballet Mécanique in a scaled-down version. He commissioned elaborate backdrops of skyscrapers and machines, and engaged an African American orchestra to premiere his A Jazz Symphony.[29][37] The concert started well, but according to the concert's promoter and producer when the wind machine was turned on "all hell, in a minor way, broke loose." During the gale, audience members clutched their programs and their hats, one "tied a handkerchief to his cane and waved it wildly in the air in a sign of surrender." Much to the amusement of the audience, the untested siren failed to sound on cue, despite frantic cranking and reached its climax only after the end of the performance, as the audience were clapping and leaving the hall.[38] American critics were hostile, calling the concert "a bitter disappointment" and dismissing the Ballet Mécanique as "boring, artless, and naive" and Antheil's hoped-for riots failed to materialize. The failure of the Ballet Mécanique affected him deeply, and he never fully recovered his reputation during his lifetime,[39] though his interest in the mechanical was emulated by other prominent composers such as Arthur Honegger, Sergei Prokofiev, and Erik Satie.[40] In 1954, Antheil created a modified version of the work for percussion, four pianos, and a recording of an airplane motor.[1]
In the late 1920s, Antheil moved to Germany, where he worked as assistant musical director of the Stadttheater in Berlin, and wrote music for the ballet and theatre. In 1930, he premiered his first opera Transatlantic.[29][41] This work, which involved American politics and gangsters, was a success at the Frankfurt Opera.[1] In 1933, the rise of the Nazi party made Antheil's avant-garde music unwelcome in Germany, and at the height of the Depression, he returned to the US and settled in New York City.
He reentered American life with enthusiasm, organizing concerts, working on committees with Aaron Copland and Wallingford Riegger, and writing piano, ballet and film scores as well as an opera Helen Retires about Helen of Troy; the latter proved a flop. His music had moved away from more extreme aspects of modernism, and more tonal, neo-romantic aspects were by now discernible in his work.[1][41][42]
Hollywood[link]
Antheil went to Hollywood in 1936 and became a sought-after film composer, writing more than thirty scores for such directors as Cecil B. DeMille and Nicholas Ray,[1][7] including The Scoundrel (1935) and The Plainsman (1936).[26] The Antheils' only child, a son, was born in 1937.[43] However, Antheil found the industry hostile to modern music, complaining that it was a "closed proposition", and describing most background scores as "unmitigated tripe". He became increasingly dependent on more independent producers such as Ben Hecht to give him work, such as Angels Over Broadway (1940) and Specter of the Rose (1946).[44] He also wrote the score for the independent film Dementia (1955) and In a Lonely Place (1950) starring Humphrey Bogart.[45] Antheil was confident in his ability of his music to save a weak film. "If I say so myself I've saved a couple of sure flops," he said.[45]
Besides writing scores for movies, he continued to compose other music, including music for the ballet[46] and six symphonies; his later works were in a more romantic style and influenced by Prokofiev and Shostakovich, as well as American music including jazz.[1][26][45][47] Works such as Serenade No. 1, Piano Sonata No. 4, Songs of Experience and Eight Fragments from Shelley, written in 1948 showed a self-described desire "to disassociate myself from the passé modern schools of the last half-century, and to create a music for myself and those around me which has no fear of developed melody, real development itself, tonality, or other understandable forms."[43] His 1953 opera Volpone was premiered in New York in 1953 to mixed reviews,[45] while a visit to Spain in the 1950s influenced some of his last works, including the film score for The Pride and the Passion (1957).[43] He also accepted a commission from the CBS Television network to compose a theme for their newsreel and documentary film series The Twentieth Century (1957–1966), narrated by Walter Cronkite.
Other interests[link]
Apart from music, Antheil had many other pursuits. In 1930, as "Stacey Bishop", he wrote a murder mystery called Death in the Dark with a character based on Ezra Pound.[1][26] He was the film music reporter and critic for the magazine Modern Music from 1936 to 1940, writing columns considered lively and thoughtful, noting the comings and goings of musicians and composers during an era when the industry was flirting with more "modern" scores for films. He was disappointed, however, and wrote that "Hollywood, after a grand splurge with new composers and new ideas, has settled back into its old grind of producing easy and sure-fire scores."[44]
Antheil wrote a nationally syndicated newspaper relationship advice column, as well as regular columns in magazines such as Esquire and Coronet. He considered himself an expert on female endocrinology, and wrote a series of articles about how to determine the availability of women based on glandular effects on their appearance, with titles such as "The Glandbook for the Questing Male".[1][48]
Antheil's interest in this area brought him into contact with the actress Hedy Lamarr, who sought his advice about how she might enhance her upper torso. He suggested glandular extracts, but their conversation then moved on to torpedoes.[citation needed] Lamarr had fled her Austrian munitions-making husband, and coming to the US had become fiercely pro-American. Together they conceived and patented a frequency-hopping torpedo guidance system. Lamarr contributed the knowledge of torpedo control gained from her husband and Antheil a method of controlling the spread spectrum sequences using a player-piano mechanism similar to those used in Ballet Mécanique.[48][49] Despite the initial enthusiasm of the U.S. Navy, the importance of the Antheil-Lamarr discovery was only acknowledged in the 1990s.[48] The creation of the device designed by Lamarr and Antheil was not implemented until 1962, when it was used by the U.S. military in Cuba.[citation needed] Later it served as a basis for modern communication technology, such as COFDM used in wi-fi connections and CDMA transmission protocol for cellular telephones.[citation needed]
During World War II, he participated in the "Hollywood Anti-Nazi League for the Defense of American Democracy" with Oscar Hammerstein and others, putting on exhibits of artworks banned in Nazi Germany such as those by Käthe Kollwitz.[41] He also published a book of war predictions, entitled The Shape of the War to Come.[46]
In 1945, he published his autobiography Bad Boy of Music, which became a bestseller.[43]
Later life[link]
Antheil died of a heart attack in the New York City borough of Manhattan.[50] His legacy included two accomplished students, Henry Brant and Benjamin Lees. He is buried in Riverview Cemetery, in Trenton, New Jersey.
Charles Amirkhanian, director of the Other Minds festival is the executor of the Antheil estate [51]
Selected works[link]
Opera[link]
- Helen Retires (1931)
- Transatlantic (1930)
- Volpone (1949–1952)
- Venus in Africa (1954)
- The Wish (1954)
- The Brothers (1954)
Orchestral[link]
- Ballet Mécanique (1923–25, revised 1952–53)
- Capital of the World Suite (ca. 1955)
- Concert for Chamber Orchestra (1932)
- Decatur at Algiers (1943)
- Hot-time Dance (1948)
- A Jazz Symphony (1925, revised 1955)
- McKonkey's Ferry (1948)
- Piano Concerto No. 1 (1922)
- Piano Concerto No. 2 (1926)
- Serenade for Strings No. 1
- Symphony for 5 Instruments (1922–23, second version 1923)
- Symphony No. 1 "Zingareska" (1920–22, rev. 1923)
- Symphony No. 2 (1931–38, rev. 1943)
- Symphony No. 3 "American" (1936–39, rev. 1946)
- Symphony No. 4 "1942" (1942)
- Symphony No. 5 "Tragic" (1945–46, withdrawn)
- Symphony No. 5 "Joyous" (1947–48)
- Symphony No. 6 "After Delacroix" (1947–48)
- Tom Sawyer - California Overture (1949)
- Violin Concerto (1946)
Chamber and instrumental[link]
- Piano Sonata No. 1
- Piano Sonata No. 2
- Piano Sonata No. 3 (1947)
- Piano Sonata No. 4 (1948)
- String Quartet No. 1 (1924)
- String Quartet No. 2 (1927)
- String Quartet No. 3 (1948)
- Trumpet Sonata (1951)
- Violin Sonata No. 1 (1923)
- Violin Sonata No. 2 (1923)
- Violin Sonata No. 3 (1924)
- Violin Sonata No. 4 (1948)
- Violin Sonatina (1945)
Film[link]
Of his many film scores, Dementia (1955), which contains no dialogue, only music, is believed by many to be his finest.
- The Young Don't Cry (1957)
- The Pride and the Passion (1957)
- Air Power (1956) TV series (unknown episodes)
- Dementia (1955)
- Not as a Stranger (1955)
- Hunters of the Deep (1954)
- The Juggler (1953)
- Target Hong Kong (1953)
- Actors and Sin (1952) (uncredited)
- The Sniper (1952)
- Sirocco (1951)
- In a Lonely Place (1950)
- House by the River (1950)
- Tokyo Joe (1949)
- The Fighting Kentuckian (1949)
- We Were Strangers (1949)
- Knock on Any Door (1949)
- Along the Oregon Trail (1947)
- Repeat Performance (1947)
- That Brennan Girl (1946) (score music)
- Plainsman and the Lady (1946)
- Specter of the Rose (1946)
- Angels Over Broadway (1940)
- Adventure in Diamonds (1940)
- The Buccaneer (1938)
- Make Way for Tomorrow (1937)
- The Plainsman (1936)
- Once in a Blue Moon (1935)
- The Scoundrel (1935)
Written works[link]
- Death In the Dark, a crime novel edited and published by T. S. Eliot (1930)
- Everyman His Own Detective: A Study of Glandular Criminology, New York City: Stackpole Sons (1937)
- "The Shape of the War to Come", a pamphlet (1940)
- Bad Boy of Music, Garden City, New York: Doubleday (1945; various reprints and languages)
Notes[link]
- ^ a b c d e f g h i Greene, David Mason (1985), Greene's biographical encyclopedia of composers, Reproducing Piano Roll Fnd.,, pp. 1297–98, ISBN 978-0-385-14278-6, http://books.google.com/?id=m3S7PIxe0mwC&pg=PA1297
- ^ a b c Garafola 2005, p. 256
- ^ a b c d e Crunden 2000, p. 313
- ^ Guy Livingston, "George Antheil's Childhood in Trenton", English text of article originally published in German as "Der Mann hinter dem Mythos: George Antheils amerikanische Kindheit", trans. Esther Dubielzig. Neue Zeitschrift für Musik 162, no. 5 (September–October 2001): 18–21.
- ^ Oja 2000, pp. 73–74
- ^ a b c Oja 2000, p. 74
- ^ a b Linda Whitesitt, Charles Amirkhanian, and Susan C. Cook, "Antheil, George [Georg] (Carl Johann)", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers; New York: Grove's Dictionaries of Music, 2001)
- ^ a b c Johnson 2002, p. 2
- ^ a b c Crunden 2000, p. 314
- ^ Whitesitt, Linda (Spring, 1984), "Book review: Bad Boy of Music by George Antheil; Charles Amirkhanian", American Music (University of Illinois Press) 2 (1): 110–11, JSTOR 3051969
- ^ Oja 2000, pp. 74–75
- ^ Johnson 2002, pp. 2–3
- ^ a b c Crunden 2000, p. 315
- ^ Oja 2000, p. 75
- ^ Wilhelm 2008, p. 267
- ^ a b Monnier, Adrienne (1996), The very rich hours of Adrienne Monnier, U of Nebraska Press, pp. 495, ISBN 978-0-8032-8227-8, http://books.google.com/?id=JcH7g0vj1B0C&pg=PA495
- ^ Crunden 2000, pp. 315–17
- ^ a b White, Eric Walter (1985), Stravinsky, the composer and his works, University of California Press, pp. 80–84, ISBN 978-0-520-03985-8, http://books.google.com/?id=p3gjrxSRphoC&pg=PA83
- ^ a b Johnson 2002, p. 3
- ^ Fitch 1985, p. 148
- ^ Wilhelm 2008, p. 268
- ^ Meister, Barbara (2006), Music musique: French & American piano composition in the Jazz Age, Bloomington: Indiana University Press, p. 115, ISBN 0-253-34608-8, http://books.google.com/?id=WAxLixiOakUC&pg=PA115
- ^ Fitch 1985, pp. 150–51
- ^ Albright 2004, p. 70
- ^ a b Fitch 1985, pp. 156–57
- ^ a b c d Adams, Stephen J. (2005), "Antheil, George (1900–1959) and "Antheil and the Treatise on Harmony"", in Tryphonopoulos, Demetres P. and Adams, Stephen, The Ezra Pound encyclopedia, Greenwood Publishing Group, pp. 13–15, ISBN 978-0-313-30448-4, http://books.google.com/?id=ttMlqGMYCsIC&pg=PA13
- ^ a b Suzanne Rodriguez Wild Heart: A Life: Natalie Clifford Barney and the Decadence of Literary Paris (New York: HarperCollins, 2002): 249. ISBN 0-06-093780-7.
- ^ a b Garafola 2005, p. 257
- ^ a b c d e Garafola 2005, p. 258
- ^ Oja 2000, p. 190
- ^ Oja, Carol (2000), "George Antheil's Ballet Mécanique and Transatlantic Modernism", in Ludington, Townsend, A modern mosaic: art and modernism in the United States, Chapel Hill: University of North Carolina Press, p. 185, ISBN 0-8078-4891-3
- ^ Thomas, Key & Rothe 2001, p. 56
- ^ Albright 2004, pp. 69–70, 386
- ^ Oja 2000, p. 64
- ^ Fitch 1985, pp. 192–93
- ^ Thomas, Key & Rothe 2001, p. 58
- ^ Oja 2000, p. 176
- ^ Oja 2000, p. 71
- ^ Oja 2000, p. 195
- ^ Johnson 2002, p. 6
- ^ a b c Johnson 2002, p. 7
- ^ Garafola 2005, p. 260
- ^ a b c d Johnson 2002, p. 8
- ^ a b Marks, Martin Miller (1997), Music and the silent film: contexts and case studies, 1895–1924, Oxford [Oxfordshire]: Oxford University Press, pp. 14–16, ISBN 0-19-506891-2, http://books.google.com/?id=ALbz24g5aOAC&pg=PA14
- ^ a b c d "Music: Bad Boy at 53", Time, 1953-07-20, http://www.time.com/time/magazine/article/0,9171,889855,00.html
- ^ a b Garafola 2005, p. 266
- ^ Crunden 2000, p. 320
- ^ a b c Abelson, Harold; Ledeen, Ken (2008), Blown to Bits: Your Life, Liberty, and Happiness After the Digital Explosion, Lewis, Harry, Addison-Wesley, pp. 278–80, ISBN 978-0-13-713559-2, http://books.google.com/?id=Y7DOltmSGjgC&pg=PA278&lpg=PA278
- ^ Albright 2004, p. 69
- ^ Milestones, Feb. 23, 1959, Time Magazine, February 23, 1959, http://www.time.com/time/magazine/article/0,9171,825623,00.html, retrieved 2009-07-24
- ^ Amirkhanian, Charles. "Antheil Festival Schedule". http://www.paristransatlantic.com/festival/schedule.html. Retrieved 31 August 2011.
References[link]
- Albright, Daniel (2004), Modernism and music: an anthology of sources, University of Chicago Press, ISBN 978-0-226-01267-4, http://books.google.com/?id=PqSfxYTiA0cC&pg=PA71
- Crunden, Robert Morse (2000), Body & soul: the making of American modernism, Basic Books, ISBN 978-0-465-01484-2, http://books.google.com/?id=duhoC8Nr_Q4C&pg=PA311
- Fitch, Noel Riley (1985), Sylvia Beach and the Lost Generation: A History of Literary Paris in the Twenties and Thirties, W. W. Norton & Company, ISBN 978-0-393-30231-8, http://books.google.com/?id=Zpu5_c2o-2IC&pg=PA148
- Garafola, Lynn (2005), Legacies of Twentieth-century Dance, Wesleyan University Press, ISBN 978-0-8195-6674-4, http://books.google.com/?id=7gIDy6ait3IC&pg=PA256
- Johnson, John Andrew (2002), "George Antheil (1900–1959)", in Sitsky, Larry, and Kramer, Jonathan D, Music of the twentieth-century avant-garde: a biocritical sourcebook, Greenwood Publishing Group, ISBN 978-0-313-29689-5, http://books.google.com/?id=9-M_jhnOuboC&pg=PA3
- Key, Susan; Rothe, Larry (2001), American mavericks: Musical Visionaries, Pioneers, Iconoclasts, University of California Press, pp. 53–59, ISBN 978-0-520-23305-8, http://books.google.com/?id=vu3O9-Yk8E4C&pg=PA53
- Oja, Carol J. (2000), Making Music Modern: New York in the 1920s, Oxford University Press, ISBN 978-0-19-516257-8, http://books.google.com/?id=cVKLKpDRH4MC&pg=PA71
- Smith, Catherine Parsons (1994), ""A distinguished virility"; Feminism and Modernism in American Art Music", in Cook, Susan C. and Tsou, Judy S., Cecilia Reclaimed: Feminist Perspectives on Gender and Music, University of Illinois Press, ISBN 978-0-252-06341-1, http://books.google.com/?id=b2F_2J2vslwC&pg=PA96
- Thomas, Michael Frederic; Key, Susan; Rothe, Larry (2001), American mavericks, San Francisco, Calif: San Francisco Symphony, ISBN 0-520-23305-0, http://books.google.com/?id=vu3O9-Yk8E4C&pg=PA53
- Wilhelm, J. J. (2008), Ezra Pound in London and Paris, 1908–1925, Penn State Press, pp. 267–8, ISBN 978-0-271-02798-2, http://books.google.com/?id=UpmBwzOT7hwC&pg=PA267
External links[link]
 |
Wikiquote has a collection of quotations related to: George Antheil |
- The Original American in Paris - text of a programme written for BBCr3 by Michael Maxwell Steer in 1988
- Website devoted to Antheil by Paul Lehrman
- IMDB page of Antheil's film scores
- Article in Wired magazine about George Antheil and a modern-day performance of Ballet Mécanique
- Antheil and Futurpiano at LTM
- Eugene Weintraub papers, 1929-1992 Music Division, New York Public Library for the Performing Arts.
Listening[link]
- Art of the States: George Antheil Second Sonata for Violin (1923) and Dreams (1934–35)
- Tate Modern Online: George Antheil La femme 100 têtes (1929)
- Piano Music Fourth Sonata, Sonate Sauvage, Woman Sonata performed by Guy Livingston
- American Mavericks: Program 3 - Oh to Be Popular Three works performed by the San Francisco Symphony
- [dead link] New Music Jukebox: George Antheil Three works performed by the American Composers Orchestra
- From Other Minds Antheil Plays Antheil
- Del Sol Quartet: George Antheil The Complete Works for String Quartet by Del Sol Quartet, New Jersey
| Persondata | |
|---|---|
| Name | Antheil, George |
| Alternative names | |
| Short description | |
| Date of birth | July 8, 1900 |
| Place of birth | Trenton, New Jersey |
| Date of death | February 12, 1959 |
| Place of death | Manhattan, New York |
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7:10
A Jazz Symphony (Part 1)
DGatsby
A Jazz Symphony (Part 1)
This is the first part of George Antheil's wonderful 1925 composition "A Jazz Symphony." It was originally to be preformed at Paul Whiteman's Second Experiment in Modern Music (Rhapsody in Blue was preformed at the first) but it was not finished in time. As a result the piece was not preformed until 1927 at Antheil's Carnegie Hall concert. This number was well received by public, also by such musical men as George Gershwin and Aaron Copland. *Note* This song is in one movement, but due to Youtube time limits I had to separate it into two parts.
10:33
George Antheil: Sonata Sauvage (1922/1923)
TheWelleszCompany
George Antheil: Sonata Sauvage (1922/1923)
George Antheil (1900-1959): Sonata Sauvage, per pianoforte (1922/1923). 1st Movement 2nd Movement 3rd Movement Steffen Schleiermacher, pianoforte. Cover image: painting by Carmen Herrera. ***** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
15:44
George Antheil: Serenade for String Orchestra No.1 (1948)
TheWelleszCompany
George Antheil: Serenade for String Orchestra No.1 (1948)
George Antheil (1900-1959): Serenade for String Orchestra No.1 (1948). 1. Allegro 2. Andante molto 3. Vivo Philadelphia Virtuosi Chamber Orchestra diretta da Daniel Spalding. Cover image: painting by Carmen Herrera. **** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
5:50
George Antheil - Ballet Mécanique Roll 3
playerpianoJH
George Antheil - Ballet Mécanique Roll 3
Original Compositions for Player Piano between 1915 and 1930. In this period composers discovered the superhuman possibilities of the Player Piano. Strawinsky, Hindemith, Toch, Antheil, Münch, Haass and Casella used this new medium, decades before Conlon Nancarrow discovered it again for his ingenious Studies for Player Piano. This clip was recorded by a finely restored Bösendorfer Ampico Grand. See www.playerpianokonzerte.de and www.nancarrow.de
25:08
George Antheil: Symphony No.3 "American" (1936/1939, rev.1946)
TheWelleszCompany
George Antheil: Symphony No.3 "American" (1936/1939, rev.1946)
George Antheil (1900-1959): Symphony No.3 "American" (1936/1939, rev.1946). 1. Allegro 2. Andante 3. The Golden Spike - Andante 4. Back to Baltimore - Presto Radio-Sinfonie-Orchester Frankfurt diretta da Hugh Wolff. Cover image: painting by Carmen Herrera. *** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be apreciated.
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