bgcolour	#6495ED
name	Kenneth Noland
birth date	April 10, 1924
birth place	Asheville, North Carolina, U.S.
death date	January 05, 2010
death place	Port Clyde, Maine, U.S.
nationality	American
field	Abstract art
training	Black Mountain College
movement	Color Field painting
influenced by	Helen Frankenthaler, Ilya Bolotowsky, Paul Klee, Jackson Pollock, Morris Louis, Josef Albers
awards	}}

Kenneth Noland (April 10, 1924 – January 5, 2010) was an American abstract painter. He was one of the best-known American Color field painters, although in the 1950s he was thought of as an abstract expressionist and in the early 1960s he was thought of as a minimalist painter. Noland helped establish the Washington Color School movement. In 1977 he was honored by a major retrospective at the Solomon R. Guggenheim Museum, in New York that then traveled to the Hirshhorn Museum and Sculpture Garden in Washington, DC. and the Toledo Museum of Art, in Ohio in 1978. In 2006 Noland's ''Stripe Paintings'' were exhibited at the Tate in London.

Biography

Early life and education

A son of Harry Caswell Noland (1896–1975), a pathologist, and his wife, Bessie (1897–1980), Kenneth Clifton Noland was born in Asheville, North Carolina. He had four siblings: Lawrence, Billie, Neil, and Harry Jr.

A veteran of World War II Noland took advantage of the G.I. Bill to study art at Black Mountain College in his home state of North Carolina. He attended the experimental Black Mountain College (two of his brothers studied art there as well) and studied with Ilya Bolotowsky, a professor who introduced him to Neo-plasticism and the work of Piet Mondrian. There Noland also studied Bauhaus theory and color under Josef Albers and he became interested in Paul Klee, specifically his sensitivity to color.

Career

In 1948 and 1949 Noland worked with Ossip Zadkine in Paris, and had his first exhibition of his paintings there. In the early 1950s he met Morris Louis in Washington DC. He became friends with Louis, and after being introduced by Clement Greenberg to Helen Frankenthaler and seeing her new paintings at her studio in New York City in 1953 he and Louis adopted her “soak-stain” technique of allowing thinned paint to soak into unprimed canvases.

Most of Noland's paintings fall into one of four groups: circles, or targets (see ''Beginning'' illustrated), chevrons, (see infobox), stripes, and shaped canvases. His preoccupation with the relationship of the image to the containing edge of the picture led him to a series of studies of concentric rings, or bull’s-eyes, or as they were known - ''Targets'' - like the one reproduced here called ''Beginning'' from 1958, using unlikely color combinations. This also led him away from Morris Louis in 1958. In 1964 he was included in the exhibition ''Post-Painterly Abstraction'' curated by Clement Greenberg which traveled the country and helped to firmly establish Color Field painting as an important new movement in the contemporary art of the 1960s. Noland pioneered the shaped canvas, initially with a series of symmetrical and asymmetrical diamonds or chevrons. In these paintings, the edges of the canvas become as structurally important as the center. During the 1970s and 1980s his shaped canvases were highly irregular and asymmetrical. These resulted in increasingly complex structures of highly sophisticated and controlled color and surface integrity. In 1964 Noland occupied half the American pavilion at the Venice Biennale. In 1965 his work was exhibited at the Washington Gallery of Modern Art and the Jewish Museum (New York). In 1949 he had his first solo exhibition: ''Kenneth Noland'', at the Galerie Creuze, in Paris. In 1957 he had the first solo exhibition of his paintings in New York at the Tibor de Nagy Gallery and he had the final solo exhibition of his lifetime - ''Kenneth Noland Shaped Paintings 1981-82,'' which opened Oct 29 2009 at the Leslie Feely Fine Art Gallery on E.68th St. in New York City and was scheduled to close January 9, 2010, though, the closing date was later extended to January 16.

Selected museum collections

Albright-Knox Art Gallery, Buffalo, New York; Art Institute of Chicago, Chicago, Illinois; Australian National Gallery, Canberra; Baltimore Museum of Art, Baltimore, Maryland; Butler Institute of American Art, Youngstown, Ohio; St. Louis Art Museum, St. Louis, Missouri; Cleveland Museum of Art, Cleveland, Ohio; Columbus Gallery of Fine Arts, Columbus, Ohio; Corcoran Gallery of Art, Washington, DC.; Des Moines Art Center, Des Moines, Iowa; Detroit Institute of Arts, Detroit, Michigan; Art Gallery of South Australia, Adelaide; Fogg Art Museum, Cambridge, Massachusetts; Hirshhorn Museum and Sculpture Garden, Washington, DC.; Kunsthaus, Zurich; Kunstmuseum, Basel; Kunstsammlung Nordrhein-Westfalen, Düsseldorf; Los Angeles County Museum of Art, California; Louisiana Museum, Humlebaek, Denmark; Metropolitan Museum of Art, New York; Milwaukee Art Museum, Milwaukee, Wisconsin; Minneapolis Institute of Arts, Minneapolis, Minnesota; Centre Georges Pompidou, Paris; Boston Museum of Fine Arts, Boston, Massachusetts; Museum of Modern Art, New York; National Gallery of Art, Washington, DC.; Norton Simon Museum, Pasadena, California; Phillips Collection, Washington, DC.; Rose Art Museum, Brandeis University, Waltham, Massachusetts; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam; Tate Gallery, London; Walker Art Center, Minneapolis, Minnesota; Whitney Museum of American Art, New York

Personal life

He was married to:

Cornelia Langer, a daughter of a Republican U. S. senator from North Dakota, William Langer. The couple married in 1950 and later divorced. They had three children: daughters Cady and Lyndon (aka Lyn) and a son, William. Stephanie Gordon, a psychologist, lived with Noland from November 1964 until June 1970. They married April 1967 and divorced June 1970. Peggy L. Schiffer, an art historian and daughter of Dr. Morton A. Schiffer. Married circa 1970, the Nolands had one son, Samuel Jesse. Paige Rense, editor in chief of Architectural Digest, whom he married in Bennington, Vermont, on 10 April 1994. Noland was her fifth husband; her previous spouses included Arthur F. Rense.

Noland had an affair in the 1960s with artist and socialite Mary Pinchot Meyer.

Death

Noland died on January 5, 2010 of kidney cancer in his home in Port Clyde, Maine.

Notes

References

Gowing, L (ed.) 1995, ''A Biographical Dictionary of Artists'', Rev. edn, Andromeda Oxford Limited, Oxfordshire.

Further reading

"Kenneth Noland." ''Contemporary Artists'', 4th ed. St. James Press, 1996. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Thomson Gale. 2005.

"Kenneth Noland: Color, Format and Abstract Art." Interview by Diane waldman (1977), in: ''Teories and Documents of Contemporary Art'', edited by K. Stiles and P. Selz, Berkeley: University of California Press, 1996, pp. 94–98.

"Kenneth Noland." Encyclopedia of World Biography, 2nd ed. 17 Vols. Gale Research, 1998. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Thomson Gale. 2005.

"Painting: Bold Emblems", an 18 April 1969 profile of Kenneth Noland in Time magazine

"Art: Pure, Uncluttered Hedonism", a 2 May 1977 review of Kenneth Noland's work by Robert Hughes of Time magazine

"Painting: Peacock Duo", an 8 May 1965 examination of Kenneth Noland's work

External links

kennethnoland.com The official website of Kenneth Noland

Kenneth Noland at Mitchell-Innes & Nash Kenneth Noland

Tate08 Series: Kenneth Noland: The Stripe Paintings exhibition at Tate Liverpool, England, 2006

''New York Times'' artblog by Roberta Smith

New York Times Obituary

Washington Post Obituary

The Guardian Obituary

The Independent Obituary

Times Online Obituary

Category:1924 births Category:2010 deaths Category:Abstract expressionist artists Category:American painters Category:Modern painters Category:American artists Category:Artists from New York Category:Contemporary painters Category:American printmakers Category:American military personnel of World War II Category:Members of the American Academy of Arts and Letters Category:Artists from North Carolina Category:Black Mountain College alumni Category:People from Asheville, North Carolina Category:Cancer deaths in Maine Category:Deaths from kidney cancer

de:Kenneth Noland et:Kenneth Noland es:Kenneth Noland fr:Kenneth Noland it:Kenneth Noland nl:Kenneth Noland pt:Kenneth Noland ru:Ноланд, Кеннет fi:Kenneth Noland sv:Kenneth Noland

name	Steve Lacy
background	non_vocal_instrumentalist
birth name	Steven Norman Lackritz
birth date	July 23, 1934
death date	June 04, 2004
origin	New York City, New York, United States
instrument	Soprano saxophone
genre	Jazz, dixieland, avant-garde jazz
occupation	Saxophonist
associated acts	Henry "Red" Allen, Pee Wee Russell, George "Pops" Foster, Thelonious Monk, Mal Waldron, Roswell Rudd, Cecil Taylor
website	}}

Steve Lacy (July 23, 1934 – June 4, 2004), born Steven Norman Lackritz in New York City, was a jazz saxophonist and composer recognized as one of the important players of soprano saxophone.

Coming to prominence in the 1950s as a progressive Dixieland musician, Lacy went on to a long and prolific career. He worked extensively in experimental jazz and dabbled in free improvisation, but Lacy's music was typically melodic and tightly-structured.

Biography

Lacy began his career at sixteen playing Dixieland music with much older musicians such as Henry "Red" Allen, Pee Wee Russell, George "Pops" Foster and Zutty Singleton and then with Kansas City jazz players like Buck Clayton, Dicky Wells, and Jimmy Rushing. He then became involved with the avant-garde, performing on ''Jazz Advance'' (1956), the debut album of Cecil Taylor, and appearing with Taylor's groundbreaking quartet at the 1957 Newport Jazz Festival; he also made a notable appearance on an early Gil Evans album. His most enduring relationship, however, was with the music of Thelonious Monk: he recorded the first album to feature only Monk compositions (''Reflections'', Prestige, 1958) and briefly played in Monk's band in 1960 and later on Monk's ''Big Band/Quartet'' album (Columbia, 1963).

Monk tunes became a permanent part of his repertoire, making an appearance in virtually every concert appearance and on albums, and Lacy often collaborated with trombonist Roswell Rudd in presenting interpretations of Monk's compositions.

Beyond Monk, he performed the work of jazz composers such as Charles Mingus, Duke Ellington and Herbie Nichols; unlike many jazz musicians he rarely played standard popular or show tunes. Lacy also became a highly distinctive composer with a signature simplicity of style: a Lacy composition is often built out of little more than a single questioning phrase, repeated several times. In the 1960s he continued to work with other players involved in the American free-jazz avant-garde and, in the 1970s, the European free improvisation scene, and free improvisation remained an important element in his work thereafter.

Lacy's first visit to Europe came in 1965, with a visit to Copenhagen in the company of Kenny Drew; he went to Italy and formed a quartet with Italian trumpeter Enrico Rava and the South African musicians Johnny Dyani and Louis Moholo (their visit to Buenos Aires is documented on ''The Forest and the Zoo'', ESP, 1967). After a brief return in New York, he returned to Italy, then in 1970 moved to Paris, where he lived until the last two years of his life. He became a widely respected figure on the European jazz scene, though he remained less well-known in the U.S.

The core of Lacy's activities from the 1970s to the 1990s was his sextet: his wife, singer/cellist Irene Aebi, soprano/alto saxophonist Steve Potts, pianist Bobby Few, bassist Jean-Jacques Avenel, and drummer Oliver Johnson (later John Betsch). Sometimes this group was scaled up to a large ensemble (e.g. ''Vespers'', Soul Note, 1993, which added Ricky Ford on tenor sax and Tom Varner on French horn), sometimes pared down to a quartet, trio, or even a two-saxophone duo. He played duos with pianist Eric Watson. Lacy also, beginning in the 1970s, became a specialist in solo saxophone; he ranks with Anthony Braxton and Evan Parker in the development of this demanding form of improvisation.

Lacy was interested in all the arts: the visual arts and poetry in particular became important sources for him. Collaborating with painters and dancers in multimedia projects, he made musical settings of his favourite writers: Robert Creeley, Samuel Beckett, Tom Raworth, Taslima Nasrin, Herman Melville, Brion Gysin and other Beat writers, including settings for the Tao Te Ching and haiku poetry. As Creeley noted in The Poetry Project Newsletter, "There’s no way simply to make clear how particular Steve Lacy was to poets or how much he can now teach them by fact of his own practice and example. No one was ever more generous or perceptive."

In 1992, he was the recipient of a MacArthur Fellowship (nicknamed the "genius grant").

He also collaborated with a truly extraordinary range of musicians, from traditional jazz to the avant-garde to contemporary classical music. Outside of his regular sextet, his most regular collaborator was pianist Mal Waldron, with whom he recorded a number of duet albums (notably ''Sempre Amore'', a collection of Ellington/Strayhorn material, Soul Note, 1987).

Lacy returned to the United States in 2002, where he began teaching at the New England Conservatory of Music in Boston, Massachusetts. One of his last public performances was in front of 25,000 people at the close of a peace rally on Boston Common in March 2003, shortly before the US-led invasion of Iraq.

Lacy was diagnosed with cancer in August 2003, he continued playing and teaching until weeks before his death at the age of 69.

Discography

References

External links

Steve Lacy Discography from WNUR-FM

Category:1934 births Category:2004 deaths Category:MacArthur Fellows Category:Avant-garde jazz musicians Category:Dixieland jazz musicians Category:Jazz soprano saxophonists Category:Cancer deaths in Massachusetts Category:Candid Records artists Category:BYG Actuel artists Category:ESP-Disk artists Category:Novus Records artists Category:Verve Records artists Category:Tzadik Records artists Category:Prestige Records artists Category:RCA Records artists

da:Steve Lacy de:Steve Lacy es:Steve Lacy fr:Steve Lacy nds:Steve Lacy pt:Steve Lacy sc:Steve Lacy fi:Steve Lacy

bgcolour	#6495ED
name	Helen Frankenthaler
birth date	December 12, 1928
birth place	New York City
nationality	American
field	Abstract painting
training	Dalton School.Bennington College.
movement	Abstract Expressionism, Color Field painting, Lyrical Abstraction
works	Mountains and Sea
influenced by	Jackson Pollock, Hans Hofmann
influenced	Morris Louis, Kenneth Noland
awards	}}

Helen Frankenthaler (born December 12, 1928) is an American abstract expressionist painter. She is a major contributor to the history of postwar American painting. Having exhibited her work in six decades she has spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. She began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s. She was included in the 1964 ''Post-Painterly Abstraction'' exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as Color Field. Born in New York City, she was influenced by Hans Hofmann, Jackson Pollock's paintings and by Clement Greenberg. Her work has been the subject of several retrospective exhibitions; including a 1989 retrospective at the Museum of Modern Art in New York City. Her work has been exhibited worldwide since the 1950s. In 2001, she was awarded the National Medal of Arts.

Frankenthaler has a home and studio in Darien, Connecticut.

Early life and education

Helen Frankenthaler comes from a Jewish family. She is the youngest daughter of Alfred Frankenthaler, who was a justice on the New York State Supreme Court. Her nephew is the artist/photographer Clifford Ross

She studied at the Dalton School under Rufino Tamayo and also at Bennington College in Vermont. She was later married to fellow artist Robert Motherwell (1915–1991), from 1958 until they divorced in 1971.

Frankenthaler has been on the faculty of Hunter College.

Style and technique

Initially associated with abstract expressionism her career was launched in 1952 with the exhibition of ''Mountains and Sea''. This painting is large - measuring seven feet by ten feet - and has the effect of a watercolor, though it is painted in oils. In it, she introduced the technique of painting directly onto an unprepared canvas so that the material absorbs the colors. She heavily diluted the oil paint with turpentine so that the color would soak into the canvas. This technique, known as "soak stain" was used by Jackson Pollock (1912–1956), and others; and was adopted by other artists notably Morris Louis (1912–1962), and Kenneth Noland (1924–2010), and launched the second generation of the Color Field school of painting. This method would sometimes leave the canvas with a halo effect around each area to which the paint was applied but has a disadvantage in that the oil in the paints will eventually cause the canvas to discolor and rot away.

Influences

One of her most important influences was Clement Greenberg (1909–1994), an influential art and literary critic with whom she had a personal friendship and who included her in the ''Post-Painterly Abstraction'' exhibition that he curated in 1964. Through Greenberg she was introduced to the New York art scene. Under his guidance she spent the summer of 1950 studying with Hans Hofmann (1880–1966), catalyst of the Abstract Expressionist movement.

The first Jackson Pollock show Frankenthaler saw was at the Betty Parson's Gallery in 1950. She had this to say about seeing Pollock's paintings ''Autumn Rhythm, Number 30, 1950'' (1950), ''Number One,1950 (Lavender Mist)'' (1950):

"It was all there. I wanted to live in this land. I had to live there, and master the language."

In 1960 the term Color Field painting was used to describe the work of Frankenthaler. This style was characterized by large areas of a more or less flat single color. The Color Field artists set themselves apart from the Abstract Expressionists because they eliminated the emotional, mythic or the religious content and the highly personal and gestural and painterly application.

Some of her thoughts on painting:

"A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it—well, she did this and then she did that, and then she did that—there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute." (In Barbara Rose, ''Frankenthaler'' (New York: Harry N. Abrams, Inc. 1975, p. 85)

See also

Post-painterly abstraction

Lyrical abstraction

Wash (painting)

Notes

Additional reading

Elderfield, John. ''Helen Frankenthaler'', 1989, Harry N. Abrams ISBN 0-8109-0916-2

Helen Frankenthaler, ''After Mountains and Sea: Frankenthaler 1956-1959'' (New York : Guggenheim Museum, ©1998.) ISBN 0-8109-6911-4 9780810969117 0892071974 9780892071975

Marika Herskovic, ''New York School Abstract Expressionists Artists Choice by Artists,'' (New York School Press, 2000.) ISBN 0-9677994-0-6. p. 16; p. 37; pp. 142–145, York 1986. ISBN 0-87099-477-8

Pollock, Griselda, "Killing Men and Dying Women". In: Orton, Fred and Pollock, Griselda (eds), ''Avant-Gardes and Partisans Reviewed''. London: Redwood Books, 1996. ISBN 0-7190-4398-0

Wilkin, Karen. ''Frankenthaler: Works on Paper 1949-1984'', George Braziller (February 1985), ISBN 978-0-8076-1103-6

Bibliography

Alison Rowley, ''Helen Frankenthaler: Painting History, Writing painting''. I.B.Tauris Publishers, 2007.

Helen Frankenthaler in Interview with Henry Geldzahler, in ''Theories and Documents of Contemporary Art'', edited by Kristine Stiles and peter Selz, Berkeley: University of California Press, 1996, pp. 28–30. ISBN 0-520-20253-8

External links

Biography from the ''Jewish Women's Archive''

Jacob's Ladder at MoMA

Helen Frankenthaler Artwork Examples on AskART.

Frankenthaler's New Way of Making Art, The Wall Street Journal, November 8, 2008

Helen Frankenthaler represented by Knoedler & Company

Lush Spring (1975) Phoenix Art Museum

Category:1928 births Category:Living people Category:Abstract expressionist artists Category:American painters Category:American printmakers Category:Hunter College faculty Category:Jewish painters Category:Jewish artists Category:Jewish American artists Category:Members of the American Academy of Arts and Letters Category:United States National Medal of Arts recipients Category:Art Students League of New York alumni Category:Artists from New York Category:People from Manhattan Category:American women artists Category:Bennington College alumni Category:Dalton School alumni Category:Women painters

de:Helen Frankenthaler es:Helen Frankenthaler fr:Helen Frankenthaler it:Helen Frankenthaler nl:Helen Frankenthaler ja:ヘレン・フランケンサーラー pl:Helen Frankenthaler pt:Helen Frankenthaler ru:Франкенталер, Элен fi:Helen Frankenthaler sv:Helen Frankenthaler

Vincent Ludwig Persichetti (June 6, 1915 – August 14, 1987) was an American composer, teacher, and pianist. An important musical educator and writer, Persichetti was a native of Philadelphia. He was known for his integration of various new ideas in musical composition into his own work and teaching as well as for training many noted composers in composition at the Juilliard School.

His students at Juilliard included Philip Glass, Michael Jeffrey Shapiro, Kenneth Fuchs, Richard Danielpour, Robert Dennis, Peter Schickele, Lowell Liebermann, Robert Witt and Thelonious Monk. He also taught composition to conductor James DePreist at the Philadelphia Conservatory.

Life

Persichetti was born in Philadelphia, Pennsylvania in 1915 and remained a resident of that city throughout his life. Though neither of his parents were musicians, his musical education began early. Persichetti enrolled in the Combs College of Music at the age of five, where he studied piano, organ, double bass and later music theory and composition with Russel King Miller, whom he considered a great influence. By the time he reached his teens, he was paying for his own education by accompanying and performing. He continued to do so throughout high school, adding church organist, orchestral player and radio staff pianist to his experience. His first public performance of his own original works came at the age of 14. In addition to his musical talents, the young Persichetti attended art school and remained an avid sculptor until his death. He attended Combs for his undergraduate education as well. After receiving his bachelor's degree in 1936 he was immediately offered a teaching position.

By the age of 20, Persichetti was simultaneously head of the theory and composition department at Combs, a conducting major with Fritz Reiner at the Curtis Institute, and a student of piano (with Olga Samaroff) and composition at the Philadelphia Conservatory. He earned a master's degree in 1941 and a doctorate in 1945 from Philadelphia, as well as a conducting diploma from Curtis. In 1941, while still a student, Persichetti headed the theory and composition department as well as the department of postgraduate study at Philadelphia. In 1947, William Schuman extended an offer of professorship at Juilliard, where his students included Einojuhani Rautavaara, Leonardo Balada, Steven Gellman, Peter Schickele (P.D.Q. Bach), Michael Jeffrey Shapiro, Larry Thomas Bell, Claire Polin, Toshi Ichiyanagi, Robert Witt (who also studied with Persichetti at the Philadelphia Conservatory) and Philip Glass. He became Editorial Director of the Elkan-Vogel publishing house in 1952.

Music

Persichetti is one of the major figures in American music of the 20th century, both as a teacher and a composer. Notably, his ''Hymns and Responses for the Church Year'' has become a standard setting for church choirs. His numerous compositions for wind ensemble are often introductions to contemporary music for high school and college students. His early style was marked by the influences of Stravinsky, Bartók, Hindemith, and Copland before developing into his own distinct voice in the 1950s.

Persichetti's music draws on a wide variety of thought in 20th century composition as well as Big Band music. His own style was marked by use of two elements he refers to as "graceful" and "gritty": the former being more lyrical and melodic, the latter being sharp and intensely rhythmic. He frequently used polytonality and pandiatonicism in his writing and his music could be marked by sharp rhythmic interjections, but his embracing of diverse strands of musical thought makes characterizing his body of work difficult. This trend continued throughout his compositional career. His music lacked sharp changes in style over time. (Persichetti once proclaimed in an interview in ''Musical Quarterly '' that his music was "...not like a woman, that is, it does not have periods!"). He frequently composed in his car, sometimes taping staff paper to the steering wheel.

His piano music forms the bulk of his creative output, with a concerto, a concertino, twelve sonatas, and a variety of other pieces written for the instrument, virtuosic pieces as well as pedagogical and amateur-level compositions. Persichetti was an accomplished pianist. Persichetti wrote many pieces suitable for less mature performers, considering them to have serious artistic merit. Persichetti is also one of the major composers for the concert wind band repertoire, with his 14 works for the ensemble. The ''Symphony No. 6'' for band is of particular note as a standard larger work. He wrote one opera, entitled ''The Sibyl.'' The music was noted by critics for its color, but the dramatic and vocal aspects of the work were found by some to be lacking. He wrote nine symphonies, of which the first two were withdrawn (as were the first two symphonies by two other American composers of the late thirties and early forties, William Schuman and Peter Mennin), and four string quartets. Many of his other works are organized into series. One of these, a collection of primarily instrumental works entitled ''Parables'', contains 25 works, many for unaccompanied wind instruments (complete listing below), and his 15 ''Serenades'' include such unconventional combinations as a trio for trombone, viola, and cello as well as selections for orchestra, for band, and for duo piano.

In addition to his frequent appearances as lecturer on college campuses, for which he was noted for his witty and engaging manner, he wrote the famous music theory textbook ''Twentieth Century Harmony: Creative Aspects and Practice'' as well as coauthoring a monograph, with Flora Rheta Schreiber, on William Schuman.

Works

Selected works

''Celebrations'', for Chorus and Wind Ensemble, Op. 103

''Chorale Prelude: So Pure the Star'', Op. 91

''Chorale Prelude: Turn Not Thy Face'', Op. 105

''Divertimento For Band'', Op. 42

''Masquerade'' for Band, Op. 102

''Masques'' for violin and piano Op. 99

''Mass'' for a capella mixed chorus, Op. 84

''Pageant'', Op. 59

''Parable IX'' for Band, Op. 121

''Pastorale'' for Wind Quintet, Op. 151

''Psalm for Band'', Op. 53

''Symphony No. 6'' For Band

''The Hollow Men'', for trumpet and string orchestra, Op. 25

''The Sibyl: A Parable of Chicken Little (Parable XX)'': An Opera in One Act, Op. 135

''Winter Cantata'', Op. 97 for Women’s Chorus, Flute, and Marimba

Complete listing of parables

''Parable [I]'' for Flute, Op. 100 (1965)

''Parable II'' for Brass Quintet, Op. 108 (1968)

''Parable III'' for Oboe, Op. 109 (1968)

''Parable IV'' for Bassoon, Op. 110 (1969)

''Parable V'' for Carillon, Op. 112 (1969)

''Parable VI'' for Organ, Op. 117 (1971)

''Parable VII'' for Harp, Op. 119 (1971)

''Parable VIII'' for Horn, Op. 120 (1972)

''Parable IX'' for Band, Op. 121 (1972)

''String Quartet No. 4 (Parable X)'', Op. 122 (1972)

''Parable XI'' for Alto Saxophone, Op. 123 (1972)

''Parable XII'' for Piccolo, Op. 125 (1973)

''Parable XIII'' for Clarinet, Op. 126 (1973)

''Parable XIV'' for Trumpet, Op. 127 (1973)

''Parable XV'' for English Horn, Op. 128 (1973)

''Parable XVI'' for Viola, Op. 130 (1974)

''Parable XVII'' for Double Bass, Op. 131 (1974)

''Parable XVIII'' for Trombone, Op. 133 (1975)

''Parable XIX'' for Piano, Op. 134 (1975)

''The Sibyl: A Parable of Chicken Little (Parable XX)'': An Opera in One Act, Op. 135

''Parable XXI'' for Guitar, Op. 140 (1978)

''Parable XXII'' for Tuba, Op. 147 (1981)

''Parable XXIII'' for Violin, Cello, and Piano, Op. 150 (1981)

''Parable XXIV'' for Harpsichord, Op. 153 (1982)

''Parable XXV'' for Two Trumpets, Op. 164 (1986)

Poems for piano

Volume 1, Op. 4:

#''Unroll the flicker's rousing drum'' (Louis Untermeyer ''First Words Before Spring'') #''Soft is the collied night'' (James Elroy Flecker ''Fountains'') #''Gather for festival bright weed and purple shell'' (William Watson ''Songs from Cyprus'') #''Wake subtler dreams, and touch me nigh to tears'' (William Watson ''The Frontier'') #''Ravished lute, sing to her virgin ears'' (Robert Fitzgerald ''Song after Campion'') #''Whose thin fraud I wink at privily'' (William Watson ''The Mock Self'')

Volume 2, Op. 5:

#''And warms winds spilled fragrance into her solitudes'' (Edmond Kowalewski ''Change'') #''To whose more clear than crystal voice the frost had joined a crystal spell'' (Léonie Adams ''Home Coming'') #''Sleep, weary mind; dream, heart's desire'' (Edna St. Vincent Millay ''There are no islands any more'') #''Dust in sunlight, and memory in corners'' (T. S. Eliot ''A Song for Simeon'') #''Make me drunken with deep red torrents of joy'' (John Gould Fletcher ''Autumnal Clouds'')

Volume 3, Op. 14:

#''Rear its frondings sighing in aetherial folds'' (Hart Crane ''Royal Palm'') #''Listen! Can you hear the antic melody of fear those two anxious feet are playing?'' (Walter Prude) #''Puffed out and marching upon a blue sky'' (Amy Lowell ''Lilacs'') #''And hunged like those top jewels of the night'' (Léonie Adams ''Twilit Revelation'') #''Each gay dunce shall lend a hand'' (John Trumbull ''The Country Clown'')

Piano sonatas

#Op. 3 #Op. 6 #Op. 22 #Op. 36 #Op. 37 #Op. 39 #Op. 40 #Op. 41 #Op. 58 #Op. 67 #Op. 101 #Op. 145 (Mirror Sonata)

List of complete works

Concertino for Piano, op.16, 1941

Symphony no.1, op.18, 1942

Symphony no.2, op.19, 1942

Dance Overture, op.20, 1942

Fables, op.23, 1943

The Hollow Men, op.25, 1944

Symphony no.3, op.30, 1946

Serenade no.5, op.43, 1950

Fairy Tale, op.48, 195

Symphony no.4, op.51, 1951

Symphony for Strings (Sym. no.5), op.61, 1953

Symphony no.7 ‘Liturgical’, op.80, 1958

Piano Concerto, op.90, 1962

Introit, op.96, 1964

Symphony no.8, op.106, 1967

Symphony no.9 ‘Sinfonia janiculum’, op.113, 1970

Night Dances, op.114, 1970

A Lincoln Address, op.124, 1972

Concerto for English Horn and Strings, op.137, 1977

Band:

*Divertimento, op.42, 1950

*Psalm, op.53, 1952

*Pageant, op.59, 1953

*Symphony for Band (Sym. no.6), op.69, 1956

*Serenade no.11, op.85, 1960

*Bagatelles, op.87, 1961

*So Pure the Star, chorale prelude, op.91, 1962

*Masquerade, op.102, 1965

*Turn not thy Face, chorale prelude, op.105, 1966

*O Cool is the Valley (Poem for Band), op.118, 1971

*Parable IX, op.121, 1972

*A Lincoln Address, op.124a, nar, band, 1973

*O God Unseen, chorale prelude, op.160, 1984

Vocal

*Choral:

**Mag and Nunc, op.8, SATB, pf, 1940

**Canons, op.31, SSAA/TTBB/SATB, 1947

**2 Cummings Choruses (e.e. cummings), op.33, 2vv, pf, 1948

**Proverb, op.34, SATB, 1948

**2 Cummings Choruses, op.46, SSAA, 1950

**Hymns and Responses for the Church Year (W.H. Auden and others), op.68, 1955

**Seek the Highest (F. Adler), op.78, SAB, pf, 1957

**Song of Peace (anon.), op.82, TTBB/SATB, pf, 1959

**Mass, op.84, SATB, 1960

**Spring Cantata (Cummings), op.94, SSAA, pf, 1963

**Stabat mater, op.92, SATB, orch, 1963

**Te Deum, op.93, SATB, orch, 1963

**4 Cummings Choruses, op.98, 2vv, pf, 1964

**Winter Cantata (11 Haiku), op.97, SSAA, fl, mar, 1964

**Celebrations (cant., W. Whitman), op.103, SATB, wind ens, 1966

**The Pleiades (cant., Whitman), op.107, SATB, tpt, str, 1967

**The Creation (Persichetti), op.111, S, A, T, Bar, SATB, orch, 1969;

**Love (Bible: Corinthians), op.116, SSAA, 1971

**Glad and Very (Cummings), op.129, 2vv, 1974

**Flower Songs (Cant. no.6) (Cummings), op.157, SATB, str, 1983

**Hymns and Responses for the Church Year, vol. 2, op.166, 1987

*Solo:

**2 Chinese Songs, op.29, 1945

**e.e. cummings Songs, op.26, 1945, unpubd

**3 English Songs (17th century), op.49, 1951, unpubd

**Harmonium (W. Stevens), song cycle, op.50, S, pf, 1951

**Carl Sandburg Songs, op.73, 1957, unpubd

**Emily Dickinson Songs, op.77, 1957

**Hilaire Belloc Songs, op.75, 1957

**James Joyce Songs, op.74, 1957

**Robert Frost Songs, op.76, 1957, unpubd

**Sara Teasdale Songs, op.72, 1957, unpubd

**A Net of Fireflies (Jap., trans. H. Steward), song cycle, op.115, 1970

Chamber and Solo Instrumental

*3 or more instruments:

**Serenade no.1, op.1, 10 wind, 1929

**Str Qt no.1, op.7, 1939

**Concertato, op.12, piano quintet, 1940

**Serenade no.3, op.17, violin, cello, piano, 1941

**Pastoral, op.21, woodwind quintet, 1943

**String Quartet no.2, op.24, 1944

**King Lear, op.35, woodwind quintet, timpani, piano, 1948

**Serenade no.6, op.44, trombone, viola, cello, 1950

**Piano Quintet, op.66, 1954

**String Quartet no.3, op.81, 1959

**Parable II, op.108, brass quintet, 1968

**String Quartet no.4 (Parable X), op.122, 1972

**Parable XXIII, op.150, violin, cello, piano, 1981

*1–2 instruments:

**Sonata, op.10, violin, 1940

**Suite, op.9, violin, cello, 1940, unpubd

**Fantasy, op.15, violin, piano, 1941, unpubd

**Serenade no.4, op.28, violin, piano, 1945

**Vocalise, op.27, cello, piano, 1945

**Sonata, op.54, cello, 1952

**Little Recorder Book, op.70, 1956

**Serenade no.9, op.71, 2 recorder, 1956

**Serenade no.10, op.79, flute, harp, 1957

**Infanta marina, op.83, viola, piano, 1960

**Serenade no.12, op.88, tuba, 1961

**Serenade no.13, op.95, 2 clarinets, 1963

**Masques, op.99, violin, piano, 1965

**Parable [I], op.100, flute, 1965

**Parable III, op.109, oboe, 1968

**Parable IV, op.110, bassoon, 1969

**Parable VII, op.119, harp, 1971

**Parable VIII, op.120, horn, 1972

**Parable XI, op.123, alto saxophone, 1972

**Parable XII, op.125, piccolo, 1973

**Parable XIII, op.126, clarinet, 1973

**Parable XIV, op.127, trumpet, 1973

**Parable XV, op.128, English horn, 1973

**Parable XVI, op.130, viola, 1974

**Parable XVII, op.131, double bass, 1974

**Parable XVIII, op.133, trombone, 1975

**Parable XXI, op.140, guitar, 1978

**Parable XXII, op.147, tuba, 1981

**Serenade no.14, op.159, oboe, 1984

**Parable XXV, op.164, 2 trumpet, 1986

Keyboard

*Piano:

**Serenade no.2, op.2, 1929

**Poems, vols.1–2, opp.4–5, 1939

**Sonata no.1, op.3, 1939

**Sonata no.2, op.6, 1939

**Sonata, op.13, 2 pianos, 1940

**Poems, vol. 3, op.14, 1941

**Sonata no.3, op.22, 1943

**Variations for an Album, op.32, 1947

**Sonata no.4, op.36, 1949

**Sonata no.5, op.37, 1949

**Sonata no.6, op.39, 1950

**Sonata no.7, op.40, 1950

**Sonata no.8, op.41, 1950

**Sonatina no.1, op.38, 1950

**Sonatina no.2, op.45, 1950

**Sonatina no.3, op.47, 1950

**Concerto, op.56, 4 hands, 1952

**Parades, op.57, 1952

**Serenade no.7, op.55, 1952

**Sonata no.9, op.58, 1952;

**Little Piano Book, op.60, 1953

**Serenade no.8, op.62, 4 hands, 1954

**Sonatina no.4, op.63, 1954

**Sonatina no.5, op.64, 1954

**Sonatina no.6, op.65, 1954

**Sonata no.10, op.67, 1955

**Sonata no.11, op.101, 1965

**Parable XIX, op.134, 1975

**4 Arabesques, op.141, 1978

**Little Mirror Book, op.139, 1978

**Reflective Studies, op.138, 1978

**Mirror Etudes, op.143, 1979

**3 Toccatinas, op.142, 1979

**Sonata no.12, op.145, 1980

**Winter Solstice, op.165, 1986

*Other:

**Sonatine, op.11, organ pedals, 1940

**Harpsichord Sonata no.1, op.52, 1951

**Organ Sonata, op.86, 1960

**Shimah b'koli, op.89, organ, 1962

**Drop, Drop Slow Tears, chorale prelude, op.104, organ, 1966

**Parable V, op.112, carillon, 1969

**Parable VI, op.117, organ, 1971

**Do Not Go Gentle, op.132, organ pedals, 1974

**Auden Variations, op.136, organ, 1977

**Dryden Liturgical Suite, op.144, organ, 1980

**Harpsichord Sonata no.2, op.146, 1981

**Song of David, op.148, org, 1981

**Harpsichord Sonata no.3, op.149, 1981

**Harpsichord Sonata no.4, op.151, 1982

**Harpsichord Sonata no.5, op.152, 1982

**Parable XXIV, op.153, harpsichord, 1982

**Harpsichord Sonata no.6, op.154, 1982

**Little Hpd Book, op.155, 1983

**Harpsichord Sonata no.7, op.156, 1983

**Harpsichord Sonata no.8, op.158, 1984

**Serenade no.15, op.161, harpsichord, 1984

**Give Peace, O God, chorale prelude, op.162, organ, 1985

**Harpsichord Sonata no.9, op.163, 1985

Awards and honors

In honor of Persichetti's vast influence on American music, on May 19, 1984 he was awarded the prestigious University of Pennsylvania Glee Club Award of Merit. Beginning in 1964, this award "established to bring a declaration of appreciation to an individual each year that has made a significant contribution to the world of music and helped to create a climate in which our talents may find valid expression."

Persichetti was an honorary brother of the Omicron Chapter of Kappa Kappa Psi at West Virginia University. He was initiated into the fraternity on November 17, 1967.

Further reading

Minut, Mirabella A. "Style and Compositional Techniques in Vincent Persichetti's Ten Sonatas for Harpsichord.". DMA diss. Muncie: Ball State University, 2009.

References

Bell, Larry. review of ''Vincent Persichetti: The Louisville Orchestra'' for Sequenza21.com

Burleson, Geoffrey "Vincent Persichetti and the Piano Sonata". Liner notes to ''Vincent Persichetti: Complete Piano Sonatas''. New World Records.

Cassaro, James P. "Persichetti, Vincent". Grove Music Online (OperaBase, source: ''The New Grove Dictionary of Opera'', 1992), ed. Deane L. Root (subscription access), accessed 12 May 2011.

Patterson, Donald L., and Janet L. Patterson. "Vincent Persichetti: A Bio-Biography". Westport, Conn: Greenwood Press, 1988.

Simmons, Walter G. "Persichetti, Vincent". Grove Music Online, ed. Deane L. Root, (subscription access) accessed 12 May 2011.

Simmons, Walter. ''Voices of Stone and Steel: The Music of William Schuman, Vincent Persichetti, and Peter Mennin''. Lanham, MD: Scarecrow Press, 2011. ISBN 978-0-8108-5748-3.

External links

Vincent Persichetti Papers, 1901-1996, the composer's manuscripts and personal papers at the Music Division of The New York Public Library for the Performing Arts.

Vincent Persichetti Collection, the composer's personal collection of recordings, at the Rodgers and Hammerstein Archives of Recorded Sound in The New York Public Library for the Performing Arts

UNSUNG SONGS discussion of Emily Dickinson Songs, Opus 77, by Vincent Persichetti (1915–1987)

Bandroom.com Persichetti information and trivia

List of works from ArkivMusic

Vincent Persichetti Society

Interviews

Vincent Persichetti interview by Bruce Duffie, November 15, 1986

Listening

Art of the States: Vincent Persichetti ''Night Dances, op. 114'' (1970)

Category:1915 births Category:1987 deaths Category:20th-century classical composers Category:American composers Category:Guggenheim Fellows Category:American musicians of Italian descent Category:People from Philadelphia, Pennsylvania Category:Juilliard School faculty Category:Curtis Institute of Music alumni Category:Combs College of Music alumni Category:University of the Arts (Philadelphia) alumni Category:University of the Arts (Philadelphia) faculty

da:Vincent Persichetti de:Vincent Persichetti es:Vincent Persichetti fr:Vincent Persichetti it:Vincent Persichetti nl:Vincent Persichetti ja:ヴィンセント・パーシケッティ ru:Персикетти, Винсент

Name	Jon Peters
Birth date	June 02, 1945
Birth place	Van Nuys, California }}

Jon Peters (born John H. Peters; June 2, 1945) is an American movie producer.

Early life

Peters was born John H. Peters in Van Nuys, California, the son of Helen (née Pagano), a receptionist, and Jack Peters, a cook. He is of Cherokee and Italian descent.

Career

Peters went into the family hair styling business and was successful on Rodeo Drive in Hollywood where he made many industry connections. Peters first gained national prominence when he began dating superstar singer and actress Barbra Streisand after designing the short wig Barbra wore for the 1974 comedy ''For Pete's Sake''. He then produced Streisand's 1974 ''Butterfly'' album, from which two songs, There Won't Be Trumpets/A Quiet Thing and God Bless the Child, were later released on her 'Just For the Record' box set - on the liner notes she stated that 'no one at the record company shared my enthusiasm. They thought the songs didn't belong on a contemporary album like Butterfly'. In 1976 he was given a controversial producing credit on Streisand's remake of ''A Star Is Born'' ("Barbra" by Donald Zec and Anthony Fowles, chapter 17). He worked with Peter Guber for the next ten years. Their hits included ''The Color Purple'', ''Flashdance'', ''Batman'', and ''Rain Man''. He headed Sony Pictures with Guber for two years until Guber fired him. The pair were the subject of the book ''Hit and Run: How Jon Peters and Peter Guber Took Sony for a Ride in Hollywood'' by Nancy Griffin and Kim Masters.

Peters and Superman

In his Q&A;/comedy DVD, ''An Evening With Kevin Smith'', writer/director Kevin Smith relates an anecdote about working with Peters when he was hired to write a script for a new Superman movie, then called ''Superman Reborn'', and would later be renamed ''Superman Lives''. According to Smith, before being hired to draft a screenplay he had to meet with Peters, the project's producer. During this meeting, Peters expressed disdain for most of Superman's iconic characteristics by demanding that Superman was never to fly or appear in his trademark costume. He also suggested Sean Penn as being ideal for the role, based on his performance as a violent death row inmate in ''Dead Man Walking'' saying that Penn had the eyes of a "caged animal, a fucking killer," even though Superman is known for refusing to ever kill. Peters then demanded that if Smith were to write a script, the third act of the film would have to include Superman fighting a giant spider, to be unveiled in an homage to ''King Kong''. Peters later produced the 1999 steampunk western ''Wild Wild West'', the finale of which features a giant mechanical spider.

Smith says he met with Peters again after finishing an 80-page outline, which Peters asked him to read aloud in its entirety. Peters then instructed him to include a robot sidekick for Brainiac (who would speak with a stereotypical homosexual lisp), a fight scene between Brainiac and two polar bears, and a marketable "space dog" pet, similar to ''Star Wars'' character Chewbacca. While Smith, against his own judgment, acquiesced to Peters' demands and inserted them into his script, the project eventually was abandoned and the script discarded.

In ''Look, Up in the Sky: The Amazing Story of Superman'', Jon Peters admitted that the Superman franchise was problematic for him: "The elements that I was focusing on were away from the heart, it was more leaning towards ''Star Wars'' in a sense, you know. I didn't realize the human part of it, I didn't have that." He subsequently served as Executive Producer for ''Superman Returns'', the 2006 movie directed by Bryan Singer.

Peters and ''The Sandman''

Jon Peters's involvement in producing the adaptation of the ''Sandman'' comics for Warner Brothers met with controversy. One draft script commissioned by Peters was reviewed on the Internet at Ain't It Cool News, and was met with scorn. Sandman creator Neil Gaiman called the last screenplay that Warner Brothers would send him "...not only the worst ''Sandman'' script I've ever seen, but quite easily the worst script I've ever read." By 2001, the project had become stranded in development hell.

In a 2005 interview, Gaiman summarized the Peters approach as follows: "But Sandman movies, they just got increasingly appalling. It was really strange. They started out hiring some really good people and you got Elliott and Rossio and Roger Avary came in and did a draft. They were all solid scripts. And then Jon Peters fired all of them and got in some people who take orders, and who wanted fistfights and all this stuff. It had no sensibility and it was just...they were horrible."

Book

Nikke Finke's Deadline Hollywood blog reported on a book proposal for the autobiography of Jon Peters, written by him and Los Angeles writer William Stadiem. Peters reportedly intended to write about his life with Streisand and string of other lovers including Kim Basinger, Pamela Anderson, Nicolette Sheridan, Sharon Stone, Salma Hayek and Catherine Zeta-Jones, among many other celebrities. In 2009 he subsequently withdrew from the HarperCollins book deal after adverse publicity triggered by the leaking of the proposal and potential lawsuits.

Legal issues

In November 2008, Peters was sued for sexual harassment by his ''Superman: Man of Steel'' co-producer Brian Quintana.

In December 2008, Peters sued his past President and General Counsel, Ronald Wayne Grigg. Peters accused Grigg of a campaign of deceit that included hiring an assistant with the company's money, stealing his computers, and drugging and raping two women on Peters' property.

In August 2011, a Los Angeles jury ordered Jon Peters to pay a former assistant $3 million after finding she was subjected to sexual harassment and a hostile work environment during the production of Superman Returns.

Selected filmography as producer and executive producer

''A Star Is Born'' (1976)

''Caddyshack (1980)

''An American Werewolf in London'' (1981)

''Flashdance'' (1983)

''The Color Purple'' (1985)

''Clue'' (1985)

''Rain Man'' (1988)

''Tango & Cash'' (1989)

''Batman'' (1989)

''The Bonfire of the Vanities'' (1990)

''Batman Returns (1992)

''Money Train'' (1995)

''My Fellow Americans'' (1996)

''Wild Wild West'' (1999)

''Superman Returns'' (2006)

''A Star Is Born'', announced

Further reading

References

External links

Category:1945 births Category:Living people Category:American film producers Category:Hairdressers Category:People from California

fr:Jon Peters it:Jon Peters pt:Jon Peters tr:Jon Peters