Allan Kozinn is a music critic for The New York Times.

Biography[link]

He received bachelor's degrees in music and journalism from Syracuse University in 1976.[1] He began freelancing as a critic and music feature writer for The New York Times in 1977, and joined the paper's staff in 1991.[2] Before joining the Times, he was a contributing editor to High Fidelity and Keynote magazines, and a frequent contributor to Guitar Player, Keyboard, Pulse and other publications. He was also the first music critic for the New York Observer. Kozinn has written a number of books, including Guitar: The History, the Music, the Players (1984),[3] Mischa Elman and the Romantic Style (1990),[4] The Beatles (1995) and a useful volume on [5] Classical Music: A Critic's Guide to the 100 Most Important Recordings (2004).[6].

Kozinn joined the faculty of New York University in 2004, where he has taught courses in music criticism, Baroque music literature and the Beatles.[7] He also taught a course in the history of musical interpretation at the Juilliard School.

External links[link]

• Allan Kozinn bio on the Macmillan site

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Robert R. Parrish (born 4 January 1916, Columbus, Georgia – 4 December 1995, Southampton, New York) was an American actor, film editor, film director, and writer. He received an Academy Award for Film Editing for the 1947 film, Body and Soul.

Parrish was the son of factory cashier Gordon R. Parrish and Laura R. Parrish. In the mid-1920s, the family moved from Georgia to Los Angeles and Parrish and his sisters Beverly and Helen began obtaining work as actors soon thereafter. Parrish made his film debut in the 1927 Our Gang short Olympic Games. (Their mother, Laura R. Parrish, was an actress as well and appeared in a few films of the 1940s.) He appeared in the anti-war classic All Quiet on the Western Front (1930) and Charles Chaplin's City Lights (1931), and in several films for John Ford.

Ford then enlisted him as an assistant editor in 1936 on Mary of Scotland, and as a sound editor on Young Mr Lincoln (1939). Parrish worked as an assistant editor and sound editor on other Ford movies as Drums Along the Mohawk (1939) and The Grapes of Wrath (1940). Parrish and Ford were in the United States Navy during the Second World War, and worked on documentary and training films including The Battle of Midway (1942).

In 1947 he won an Oscar for his debut as a feature film editor on Robert Rossen's high tempo boxing drama Body and Soul; the award was shared with Francis Lyon. Parrish was later nominated for another Rossen film – the political drama All the King’s Men (1949); he shared the nomination with Al Clark.

Parrish went on to contribute his technical talents to a host of highly regarded films and made a promising directorial debut in 1951 with the gripping revenge melodrama, Cry Danger. His subsequent output met with varying success. The Purple Plain (1954) was nominated for "Best British film" at the 8th British Academy Film Awards. One of the most notorious of his films was the James Bond Parody Casino Royale (1967), in which he was one of the film's five directors. His last film, on which he shared co-director credit with Bertrand Tavernier, was Mississippi Blues (1983).

Parrish wrote two memoirs, Growing Up in Hollywood (1976) and its sequel Hollywood Doesn't Live Here Anymore (1988). Of the first, Kevin Brownlow wrote, "His stories about these pictures were marvellous in themselves, and he often came at them sideways, so not only the punchline but the situation took you by surprise. We all entreated him to write them down and in 1976 he did so, producing one of the most enchanting - and hilarious - books about the picture business ever written. It was called Growing Up in Hollywood and it ought to be reprinted in this centenary year."^[1] Summing up Parrish's career, Allen Grant Richards wrote, "Other than his excellent editing work and early directing, Parrish may be most remembered as storyteller from his two books of Hollywood memoirs."^[2]

Autobiographies[link]

• Growing Up in Hollywood, New York: Harcourt, Brace, Jovanovich, 1976, ISBN 0-586-04859-6
• Hollywood Doesn't Live Here Anymore, Boston: Little, Brown, 1988, ISBN 0-316-69255-7

Selected filmography[link]

Director[link]

• Cry Danger (1951)
• Remember That Face (1951)
• My Pal Gus (1952)
• Rough Shoot (1953)
• The Purple Plain (1954)
• Lucy Gallant (1955)
• Fire Down Below (1957)
• Saddle the Wind (1958)
• The Wonderful Country (1959)
• In the French Style (1963)
• Up from the Beach (1965)
• Casino Royale (1967)
• The Bobo (1967)
• Duffy (1968)
• Doppelgänger (1969)
• A Town Called Bastard (1971)
• The Marseille Contract (1974)

Editor[link]

The director(s) of each film is indicated in parenthesis.

• The Battle of Midway (Ford-1942)
• How to Operate Behind Enemy Lines (Ford-1943)
• German Industrial Manpower (Ford-1943)
• December 7th (film) (Ford-1943)
• That Justice Be Done (Stevens-1945)
• The Nazi Plan (Stevens-1945)
• A Double Life (Cukor-1947)
• Body and Soul (Rossen-1947) - with Francis D. Lyon
• No Minor Vices (1948)
• All the King's Men (Rossen-1949) - as editorial advisor; with Al Clark (editor)
• Caught (Ophüls-1949)
• No Sad Songs for Me (Maté-1950) - as editorial advisor; with William A. Lyon
• Of Men and Music (Hammid/Reis-1951)

References[link]

External links[link]

• van Gelder, Lawrence (December 6, 1995). "Robert Parrish, 79, Film Editor-Director, Dies". The New York Times. http://www.nytimes.com/1995/12/06/nyregion/robert-parrish-79-film-editor-director-dies.html. 
• Robert Parrish at the Internet Movie Database

David Krakauer is an American clarinetist. He is a graduate of the High School of Music & Art, class of 1974. He is mostly known for his klezmer compositions. He became involved with klezmer music in the late 1980s while working as a classical musician, joining The Klezmatics.^[1] He has also collaborated with the Kronos Quartet.^[2]

His band Klezmer Madness! mixes traditional klezmer with more contemporary music genres. Klezmer Madness! comprises Michael Sarin (drums), Sheryl Bailey (guitar), Nicki Parrot (bass) and Will Holshouser (accordion), and features Socalled.^[3]

A recent collaboration with Socalled, Fred Wesley and Pee Wee Ellis, called Abraham Inc., has seen Krakauer fuse klezmer with funk.^[4]

Discography[link]

• Klezmer madness! (1995)
• Klezmer, NY (1998)
• A new hot one (2000)
• The twelve tribes (2001)
• Krakauer live in Krakow (2003)
• Bubbemeises: Lies my gramma told me (2005)
• Tweet Tweet (2009)

References[link]

Sources[link]

• Press, Jaques Cattell (Ed.). Who's who in American Music. Classical, first edition. R. R. Bowker, New York 1983.

External links[link]

• Official site
• Performance with Portland Chamber Orchestra
• World Premier "The Klezmer Concerto" by Ofer Ben-Amots
• Live pictures in Paris
• Elaine Strauss. Krakauer on Klezmer, France, and Goose Bumps (retrieved January 27, 2010)

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John Corigliano (born 16 February 1938, New York City, New York) is an American composer of classical music and a teacher of music. He is a distinguished professor of music at Lehman College in the City University of New York.

Biography[link]

Italian American Corigliano was born to a musical family. His father, John Corigliano Sr., was concertmaster of the New York Philharmonic for 23 years, and his mother, Rose Buzen, is an accomplished educator and pianist. He is a former student of Otto Luening,^[1] Vittorio Giannini and Paul Creston. Corigliano attended P.S. 241 and Midwood High School in Brooklyn.^[2] He studied composition at Columbia University (BA 1959)^[3] and at the Manhattan School of Music. Before achieving success as composer, Corigliano worked as assistant to the producer on the Leonard Bernstein Young People's Concerts, and as a session producer for classical artists such as André Watts.

Most of Corigliano's work has been for symphony orchestra. He employs a wide variety of styles, sometimes even within the same work, but aims to make his work accessible to a relatively large audience. He has written symphonies, as well as works for string orchestra, and wind band. Additionally, Corigliano has written concerti for clarinet, flute, violin, oboe, and piano; film scores; various chamber and solo instrument works, and the opera, The Ghosts of Versailles, which enjoyed a success at the premiere.

The younger Corigliano first came to prominence in 1964 when, at the age of 26, his Sonata for Violin and Piano (1963) was the only winner of the chamber-music competition of the Spoleto Festival of Two Worlds in Italy. Support from Meet the Composer, the National Endowment for the Arts, and the Guggenheim Foundation followed, as did important commissions. For the New York Philharmonic he composed his Vocalise (1999), Concerto for Clarinet and Orchestra (1977) and Fantasia on an Ostinato (1986); for the Chamber Music Society of Lincoln Center, he wrote Poem in October (1970); for the New York State Council on the Arts he composed the Oboe Concerto (1975); for flutist James Galway he composed his Promenade Overture (1981), as well as the Symphony No. 2 (2001); the National Symphony Orchestra commissioned the evening-length A Dylan Thomas Trilogy (1960, rev. 1999). He also composed Chiaroscuro [Listen here], for two pianos tuned a quarter tone apart for The Dranoff International Two Piano Foundation.

In 1991 he was awarded the Grawemeyer Award for his Symphony No. 1 (1991), which was inspired by the AIDS crisis. In 2001 he received the Pulitzer Prize for his Symphony No. 2 (2001). Corigliano composed dramatic scores for the 1980 film Altered States, the 1985 film Revolution and Francois Girard's 1997 film, The Red Violin. The award-winning score for Revolution is one of Corigliano's most impressive creations although it is less known, as it was never released in any recorded format;^[4] it has existed in a bootleg form until Varese Sarabande officially released the score for a limited time in December 2009 through their CD club, which will be released in stores as a regular release later in 2010.^[5] Corigliano did, however, export portions of the score for use in his first symphony. Portions of the score to The Red Violin were also used in his Violin Concerto (2003). In 1970 Corigliano teamed up with David Hess to create The Naked Carmen. In a recent communication with David Hess, Hess acknowledged that The Naked Carmen was originally conceived by Corigliano and himself as a way to update the most popular opera of our time referring to Bizet's Carmen. Mercury Records wanted the classical and popular divisions to work together and after a meeting with Joe Bott, Scott Mampe and Bob Reno it was decided to proceed with the project. In Hess's own words, the project was "a collective decision."

Among Corigliano's students are David S. Sampson, Eric Whitacre, Elliot Goldenthal, Edward Knight, Nico Muhly, Scott Glasgow, John Mackey, Avner Dorman, Mason Bates, Steven Bryant, Jefferson Friedman, Dinuk Wijeratne and David Ludwig. In 1996, The Corigliano Quartet was founded, taking his name in tribute. Corigliano lives with his partner, composer Mark Adamo, in New York City.^[6]

Awards[link]

• BAFTA Anthony Asquith Award^[4]

1986 Revolution

• Grawemeyer Award

1991 Symphony No. 1

• Academy Award for Original Music Score

1999 The Red Violin

• Pulitzer Prize for Music

2001 Symphony No. 2

• Grammy Award for Best Classical Contemporary Composition

2009 Mr. Tambourine Man: Seven Poems of Bob Dylan

Listening[link]

• John Corigliano interview from American Mavericks site

References[link]

External links[link]

• Official website of John Corigliano
• John Corigliano at the Internet Movie Database
• John Corigliano in conversation with Frank J. Oteri
• John Corigliano biography at G. Schirmer
• Two Interviews with John Corigliano by Bruce Duffie 1987 & 2004
• Sony BMG Masterworks' John Corigliano Podcast
• Classical Archives Interview

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2010)

Beth Levin (December 17, 1950) is an American classical pianist in the Romantic tradition of her teachers Marian Filar, Rudolf Serkin, Leonard Shure, and Dorothy Taubman at the Taubman Institute. Levin is devoted to the highly expressive and demanding repertoire of Beethoven, Schumann, Chopin, Brahms, Rachmaninoff, and Ravel, as well as to the work of leading modernists such as David Del Tredici, Alexander Goretzky, Louis Karchin, and Scott Wheeler.

Early influences[link]

Born in Philadelphia, Pennsylvania, Levin's fascination with music developed from the age of 3, when she first began piano lessons. Levin says: "Some of my earliest memories are of playing as my father sang. We were fortunate to have a brilliant pianist living just around the corner: Cecille Sharlip, who had emigrated from Europe to study at the Curtis Institute of Music. Sharlip guided me until I was 12, at which time she suggested I audition for the great Chopin interpreter Marian Filar, who was then teaching at the Settlement Music School (Philadelphia). I absorbed a sense of musical tradition that has never left me."^[1] Working with Filar, himself a former student of Walter Gieseking, led to Levin winning at the age of 12 an audition to perform with the Philadelphia Orchestra. Four years later, she again appeared with that orchestra. Levin is also cited by name in Filar's published memoirs.^[2]

Musical education[link]

At the age of 17, Levin successfully auditioned for Serkin, then a professor of piano and director of the Curtis Institute. Levin said: “Mr. Serkin was an inspiration the moment he walked into a room, a single word evoking the eloquence of a poem.”^[1] Other teachers at Curtis included chamber musicians Arnold Steinhardt and David Soyer, first violinist and cellist, respectively, of the Guarneri Quartet. Levin completed her academic work as a Boston University student of Leonard Shure, who was in turn a student and teaching assistant of the great Beethoven interpreter Artur Schnabel. "I recall Shure asking me at the audition why I made music. 'Because I love it,' I said simply. He suggested we start lessons that very day."^[1]

Performing career[link]

As a freshly minted performer, Levin undertook years of travel, both within the United States and abroad. Branching out into as many performing roles as possible, she appeared as a soloist, chamber music participant, and concerto soloist. As an artist in the “Music From Marlboro” program (an offshoot of the Marlboro Music School and Festival and the Curtis Institute), Levin worked with pianist Paul Badura-Skoda, violinist Sandor Vegh, founder of the renowned Vegh Quartet, and bassist Julius Levine,. She appeared in other chamber music venues, accompanying Raphael Hillyer of the Juilliard Quartet and flutist Paula Robison. Still in her early 20s, Levin appeared as piano concerto performer with the Boston Symphony Orchestra led by Arthur Fiedler, the Seattle Symphony led by American musician and conductor Milton Katims, and the Boston Philharmonic led by Benjamin Zander. European travel led Levin to Spain, Iceland, Serbia, and Turkey. In Iceland, where she continues to appear yearly as soloist, she founded and played for 10 years with Trio Borealis as well as with members of the Icelandic Symphony. She traveled throughout Spain as a member of the trio. She gave master classes in Serbia and Turkey under the aegis of the U.S. State Department.

New York[link]

Establishing herself in New York, Levin studied with pre-eminent piano mentor Dorothy Taubman. Levin gave recitals at Lincoln Center for the Performing Arts, Steinway Hall, and the Metropolitan Museum of Art. She worked with members of the New York Philharmonic and recorded with other Marlboro musicians for Columbia Masterworks Records. Concerts throughout the U.S. featured work with such chamber ensembles as the Audubon Quartet and the Vermeer Quartet. Levin is one of five musicians who comprise Vista Lirica, a chamber group devoted to the cause of environmentalism and the music of the Romantics. As part of her continued commitment to contemporary composers, Levin collaborated with Del Tredici to perform his “Ballad in Yellow.” Levin has appeared in broadcast interviews and performances on radio stations WNYC, WNYE, and WQXR in New York, WFMT in Chicago, and WGBH in Boston. She conducted American master classes at such institutions as New York University and The College of William & Mary.

Recent recordings[link]

In 2008, Levin recorded the Goldberg Variations by Bach, released by Centaur Records. She plans a series of performances and recording of Beethoven's extended late work, the Diabelli Variations. Jeremy Eichler, in a review in the New York Times on June 10, 2005, accurately summarizes Levin's Romantic pianism: “Ms. Levin [keeps] the ear engaged with boldly inflected readings and an impressive ability to convey emotion without exhibition."^[3]

References[link]

External links[link]

• "Beth Levin Website". http://www.bethlevinpiano.com.