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GordonGetty ThemusicoftheAmericancomposerGordonGettyhasbeenwidelyperformedinNorth AmericaandEuropeinsuchprestigiousvenuesasNewYork’sCarnegieHallandLincoln Center,London’sRoyalFestivalHall,Vienna’sBrahmssaal,andMoscow’sTchaikovskyHall andBolshoiTheatre,aswellasattheAspen,Spoleto,andBadKissingenFestivals.In1986, hewashonoredasanOutstandingAmericanComposerattheJohnF.KennedyCenterfor thePerformingArts,andhewasawardedthe2003GoldBatonoftheAmericanSymphony OrchestraLeague. Gettyhasrecentlydevotedconsiderableattentiontoapairofone-actoperas,UsherHouse (derivedfromEdgarAllanPoe’sTheFalloftheHouseofUsher)andTheCantervilleGhost (afterOscarWilde’stale).Theformerwillbepremieredin2014bytheWelshNational Opera.Getty’sfirstopera,PlumpJack,involvingadventuresofShakespeare’sSirJohn Falstaff,waspremieredbytheSanFranciscoSymphonyin1984andhasbeenrevivedby theLosAngelesChamberOrchestra,BBCPhilharmonic,andLondonPhilharmonia,among otherensembles.In2011theMunichRadioOrchestraandaninternationalcastconducted byUlfSchirmerperformedanewconcertversionofPlumpJack,whichwassimulcaston BavarianRadioandreleasedin2012byPentaToneClassics.Thesamelabelispreparing thereleaseofUsherHouse,withLawrenceFosterconductingtheGulbenkianOrchestra Lisbon. Getty,whostudiedattheSanFranciscoConservatory,hasproducedasteadystreamof compositionssincethe1980s,beginningwithTheWhiteElection(1981),amuchperformedsongcycleonpoemsbyEmilyDickinson.Ithasbeenrecordedtwice—by KaarenEricksonforDelosandbyLisaDelanforPentaTone—andhasbeenperformedin LincolnCenter’sAliceTullyHallandtheMorganLibrary(inNewYork),theKennedy CenterandNationalGalleryofArt(inWashington,D.C),andtheHermitageTheatre(inSt. Petersburg,Russia),amongmanyothervenues.Histhree-songcyclePoorPeter(2005)was includedbyLisaDelanandpianistKristinPankoninontheirPentaTonerecitalAndIfthe SongBeWorthaSmile,whichfeaturessongsbysixcontemporaryAmericancomposers. Poetryfromthenineteenthandearly-twentiethcenturieshasofteninspiredGettyinhis vocalcompositions.HischoralworksVictorianScenes(1989,totextsbyTennysonand Housman)andAnnabelLee(1990,toapoembyPoe)werepremieredbytheLosAngeles MasterChoraleandSinfoniaattheDorothyChandlerPavilion.MichaelTilsonThomasled theSanFranciscoSymphonyandChorusinAnnabelLeein1998and2004,onthelatter occasionalsopremieringGetty’sYoungAmerica(2001),acycleofsixmovementsfor chorusandorchestratotextsbythecomposerandbyStephenVincentBenét.Joanandthe Bells,acantataportrayingthetrialandexecutionofJoanofArc,hasbeenperformedwidely sinceits1998premiere,notablyina2004revivalinSt.George’sChapelofWindsorCastle, underthebatonofMikhailPletnev.In2005,PentaTonereleasedaCDofGetty’sprincipal choralworksuptothattime,performedbytheSanFranciscoSymphonyOrchestraand Chorus(MichaelTilsonThomasconducting)andtheEricEricsonChamberChoirand RussianNationalOrchestra(conductedbyAlexanderVerdernikov).Gettyhasrecently completedchoralworksbasedonKeats’LaBelleDameSansMerci,HansChristian Andersen’sTheLittleMatchGirl,andanoriginalpoemthathemodeledonMasefield,The OldManintheNight.HehaswrittenanewsettingofthetraditionaltextHodieChristus NatusEstforchildren’schorusorwomen’schorusaccompaniedbychamberensemble,and iscurrentlyexpandingthatintoatriptychofsimilarlyscoredChristmaspieces. AlthoughmostofGetty’sworksfeaturethevoice,hehasalsowrittenfororchestra, chamberensembles,andsolopiano.In2010,PentaTonereleasedaCDdevotedtosixofhis orchestralpieces,withSirNevilleMarrinerconductingtheAcademyofSt.Martininthe Fields,andin2013itfollowedupwithaCDofthecomposer’ssolo-pianoworksplayedby ConradTao.CurrentlyinpreparationisaPentaToneCDofhischambermusic,whichwill includeastring-quartetversionofhisFourTraditionalPieces,aworkthatwasperformed inastring-orchestraarrangementbyNadjaSalerno-SonnenbergandtheNewCentury ChamberOrchestrain2012.Otherrecentperformancesofparticularnotefeaturedhis balletAncestorSuite,whichin2009wasgivenitspremierestaging,withchoreographyby VladimirVasiliev,bytheBolshoiBalletandRussianNationalOrchestraattheBolshoi Theatre,Moscow,andwasthenpresentedatthe2012FestivaldelSoleinNapa,California. OfhiscompositionsGettyhassaid:“Mystyleisundoubtedlytonal,thoughwithhintsof atonality,suchasanycomposerwouldlikelyusetosuggestadegreeofdisorientation.But I’mstrictlytonalinmyapproach.Irepresentaviewpointthatstandssomewhatapartfrom thetwentiethcentury,whichwasinlargemeasurearepudiationofthenineteenthanda sockinthenosetosentimentality.WhateveritwasthatthegreatVictoriancomposersand poetsweretryingtoachieve,that’swhatI’mtryingtoachieve.”’ Getty’smusicispublishedbyRorkMusic. April2013