This biography summarizes the career of American composer and pianist Robert Helps. It outlines that he is currently a professor of music at two universities and has received many awards for his compositions. It describes some of his major compositions, including his Symphony No. 1 which won awards. It also lists that he has extensively performed as both a pianist and composer, recording many of his works, and has toured nationally and internationally with other musicians.
Jazz musicians who live short lives often leave the deepest impressions. There is something about their immutable youth, echoed through the sound of distant recordings, that encapsulates the spirit of jazz. One thinks of Bix and Bubber, Murray and Teschemacher, and Lang and Christian. Of these, guitarist Eddie Lang left the largest recorded testament, spanning jazz, blues and popular music generally.
Whether his guitar was imparting a rich chordal support for
other instrumentalists, driving jazz and dance bands with rhythmic propulsion, or providing a sensitive backing for a variety of singers, Lang’s influence was pervasive. Django Reinhardt once said that Eddie Lang helped him to find his own way in music. Like his contemporary Bix Beiderbecke, Lang’s defining role as a musician was acknowledged early on in his career, and has been venerated ever since.
As is often the case with musicians who are prolific, there are
gaps in our knowledge. This article attempts to address some of these, with particular attention being paid to Lang’s early career. In the second part of the article the Mound City Blue Blowers’ visit to London in 1925 is discussed in detail, and possible recordings that Lang made during the band’s engagement at the Piccadilly Hotel are outlined and assessed. More generally, Lang’s importance as a guitarist is set in context against the background of the guitar’s role in early jazz and dance music.
The avant garde style was associated with electronic music and dealt with the parameters
or dimensions of sound in space. It made use of variations of self-contained note groups
to change musical continuity, and improvisation, with an absence of traditional rules on
harmony, melody, and rhythm.
In the first in a series of articles to celebrate DownBeat’s 75th
anniversary, we shine the spotlight on 75 of the all-time great jazz, blues and beyond guitarists who have graced the pages of the magazine. We talked to a number of the living masters, and combed our archives for quotes and background information on the artists who have given the most popular instrument in the world a place in DownBeat.
Jazz musicians who live short lives often leave the deepest impressions. There is something about their immutable youth, echoed through the sound of distant recordings, that encapsulates the spirit of jazz. One thinks of Bix and Bubber, Murray and Teschemacher, and Lang and Christian. Of these, guitarist Eddie Lang left the largest recorded testament, spanning jazz, blues and popular music generally.
Whether his guitar was imparting a rich chordal support for
other instrumentalists, driving jazz and dance bands with rhythmic propulsion, or providing a sensitive backing for a variety of singers, Lang’s influence was pervasive. Django Reinhardt once said that Eddie Lang helped him to find his own way in music. Like his contemporary Bix Beiderbecke, Lang’s defining role as a musician was acknowledged early on in his career, and has been venerated ever since.
As is often the case with musicians who are prolific, there are
gaps in our knowledge. This article attempts to address some of these, with particular attention being paid to Lang’s early career. In the second part of the article the Mound City Blue Blowers’ visit to London in 1925 is discussed in detail, and possible recordings that Lang made during the band’s engagement at the Piccadilly Hotel are outlined and assessed. More generally, Lang’s importance as a guitarist is set in context against the background of the guitar’s role in early jazz and dance music.
The avant garde style was associated with electronic music and dealt with the parameters
or dimensions of sound in space. It made use of variations of self-contained note groups
to change musical continuity, and improvisation, with an absence of traditional rules on
harmony, melody, and rhythm.
In the first in a series of articles to celebrate DownBeat’s 75th
anniversary, we shine the spotlight on 75 of the all-time great jazz, blues and beyond guitarists who have graced the pages of the magazine. We talked to a number of the living masters, and combed our archives for quotes and background information on the artists who have given the most popular instrument in the world a place in DownBeat.
Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, with its roots in blues and ragtime. Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music.
As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. But jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands, Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
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Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
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The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
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Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
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2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
2. Symphony); "playing of astonishing virtuosity" (Richard Dyer--Boston Globe); "stunning
pianism--Helps' composition Portrait demands much of the pianist and tempts one to add
Helps
to the line of famous composer/pianists of the 19th and 20th centuries" (James Bossert--
Los
Angeles Times). Mr. Helps’ major teachers were Abby Whiteside, piano, and Roger
Sessions,
composition.
He has toured extensively with such internationally famous performers as Bethany
Beardslee, soprano; Isidore Cohen, violinist; Rudolf Kolisch, violinist; Phyllis Curtin,
soprano,
and Aaron Copland, composer/pianist, and has for many years performed solo and
chamber
works, many of them world premieres, for internationally known chamber music and
contemporary music organizations in New York City, Chicago, Los Angeles, San
Francisco,
Boston, Minneapolis, and elsewhere. Recent concerts have included memorial solo
recitals of
the music of renowned American composer Roger Sessions at both Harvard and
Princeton
Universities; an all-Ravel recital at Harvard, a solo recital in Town Hall, NY; four
summers with
*New Groves Dictionary of American Music, S.v. "Helps, Robert." and New Groves Dictionary of Music and Musicians, S.v. "Helps,
Robert."
ROBERT HELPS PAGE 2 11/28/01
Chamber Music West, the well-known San Francisco based summer festival; with Jorja
Fleezanis, violinist and concert master of the Minnesota Symphony in Minneapolis, San
Francisco, New York and Detroit; with Bethany Beardslee, soprano, in Boston, New
York City
(Town Hall) and Colorado Springs.
Recent compositions include Eventually the Carousel Begins for 2 pianos (commissioned
by Norma and Leonard Mastrogiacomo from Tallahassee on a National Endowment for
the Arts
award), A Mixture of Time for guitar and piano which was premiered in San Francisco in
June
1990 by Adam Holzman and the composer, The Altered Landscape (1992) for organ solo
and
Shall We Dance (1994) for piano solo written on commission for the Boston-based
pianist
Russell Sherman.
Season 1995-96 included two concerts in Merkin Hall, NYC--an all John Ireland recital
and, in collaboration with Jorga Fleezanis, concertmaster of the Minnesota Orchestra, an
all
Roger Sessions recital celebrating his 100th birthday year. It also included an all Helps
piano
recital for Detroit’s chamber music society, “Pro Musica,” and, in 1997, much the same
recital in
3. New York City and Berlin, Germany, as a guest of Spectrum Concerts Berlin. He
returned to
Berlin in November 2000 for another solo recital with Spectrum and a performance of his
Quartet for piano, violin, viola, and cello.
His most recent compositions are Trio #2 for Piano, Violin and Cello, commissioned by
the University of South Florida for the Lions Gate Trio (performed by them in Tampa,
France,
Finland and New York City); the other, Quartet for Piano, Violin, Viola and Cello,
commissioned by the Koussevitzky Music Foundation, Inc. for the San Francisco based
Dunsmuir Quartet and recently performed by them in many places including the National
Gallery in Washington D.C. and the Composers Inc. series in San Francisco.
He recently completed Symphony No. 2, commissioned by the Institute for American
Music at the Eastman School of Music. It was premiered February 18th, 19th and 20th,
2000, in
Tampa, St. Petersburg, and Clearwater, Florida, by the Florida Orchestra, Jahja Ling,
conductor.
Mr. Helps has received an honorary “Doctor of Humane Letters” from the University of
St. Thomas in St. Paul, Minnesota.
ROBERT HELPS PAGE 3 11/28/01
Robert Helps
Compositions
from C. F. Peters, Inc.
PIANO SOLO
Three Etudes P6998 19561 19662
Recollections P66167 1959 1968
Portrait P6997 1960 1966
3 Hommages P66525 1971 1972
Quartet for Piano P66404 1971 1972
Nocturne P66563 1972 1974
Waltzes by 25 Contemporary
Composers (includes Valse
Mirage by Helps)
P66404 1977 1978
Shall We Dance in production 1994
ONE PIANO FOUR HANDS
Saccade P66282 1968
TWO PIANOS FOUR HANDS
Eventually the Carousel Begins P67209 1987 1991
PIANO SOLO AND PIANO FOUR HANDS
Berceuse in production 1995
VOICE AND PIANO
The Running Sun
(poems by James Purdy)
P66650 1972 1976
4. CHAMBER MUSIC
Trio #2 for Piano, Violin and
Cello
1996 2000
Quartet for Piano, Violin, Viola
and Cello
1997 2000
ORCHESTRAL
Concerto #1 for piano and
orchestra
1968
Gossamer Noons (for voice and
orchestra) -- (poems by James
Purdy)
1974
Symphony #2 in production 2000 2000
1 Date of composition
2 Date of publication
ROBERT HELPS PAGE 4 11/28/01
from Associated Music Publishers (G. Schirmer)
Symphony #1 1955
Concerto #2 (for piano and
orchestra)
1973
Music for Left Hand (3 Etudes for
Piano Solo)
1975 1976
In Retrospect (5 pieces for piano) 1977 1980
Second Thoughts (for solo flute) 1977 1980
from Lawson-Gould (G. Schirmer)
New Music for the Piano
(includes Helps' Image)
1966 1967
from American Composers Edition
170 W. 74th Street
New York, NY 10023
(212) 362-8900
Two Songs for Voice and Piano
(Herman Melville)
1950
String Quartet 1951
Fantasy (for Piano) 1952
Trio (for Violin, Cello and Piano) 1957
Nocturne (for String Quartet) 1960
Solo (for Piano) 1961
Fantasy (for Violin and Piano) 1963
Postlude (for Horn, Violin and
5. Piano)
1964
Quintet (for Violin, Cello, Flute,
Clarinet and Piano)
1975
A Mixture of Time (for Guitar and
Piano)
1990
in manuscript
Duo for Cello and Piano (1977) 1977
The Altered Landscape (for
organ) (1992)
1992
Chatting (for 2 cellos) (1997) 1997
SONG TRANSCRIPTIONS
Schilflied Mendelssohn-Helps
(1988)
1988
Love Is a Sickness Full of Woes
John Ireland-Helps (1995)
1995
Chanson Pour Jeanne
Chabrier-Helps (1998)
1998
Testament Duparc-Helps (1998) 1998
ROBERT HELPS PAGE 5 11/28/01
Recordings
CDs
as COMPOSER & PIANIST
Solo Flights--Robert Helps (In Retrospect-5 Pieces for Piano), CRI CD 864, 2000
American Masters--ROBERT HELPS: Symphony No. 1 (Columbia Symphony Orchestra,
Zoltan
Rozsnyai, cond.), Gossamer Noons (Bethany Beardslee, soprano; American Composer's
Orchestra; Gunther Schuller, conductor), 3 Etudes (piano), Recollections (piano), 3
Hommages (piano), Robert Helps, piano, CRI CD717, 1996
Robert Helps (The Running Sun) But Yesterday Is Not Today, Bethany Beardslee,
soprano,
Robert Helps, piano, New World Records 80243-2, 1996
Robert Helps (Nocturne for String Quartet; Hommage à Fauré, Hommage à
Rachmaninoff
and Hommage à Ravel), David Del Tredici, Jan Radzinski and Tison Street, New
Chamber &
Solo Music, Robert Helps, piano, Members of Spectrum Ensemble Berlin (performing the
Nocturne) and The Tel Aviv String Quartet, CRI CD 649, 1993
Robert Helps (Image), Henry Cowell, Harry Partch, Irving Fine, Otto Luening, Virgil
6. Thomson, William Albright, George Walker, Harvey Sollberger, Curtis Curtis-Smith,
Ned
Rorem, Joan Tower, Guy Klucevesk, Michael Gordon, Victoria Jordanova, Tan Dun and
Alice Shields, The Composer-Performer: The 40th Anniversary, Cowell, Partch, Fine,
Luening, Helps, Thomson, Albright, Walker, Sollberger, Curtis-Smith, Rorem, Tower,
Klucevesk, Gordon, Jordanova, Dun and Shields, performers, CRI CD 680, 1994
as COMPOSER
Piano Trios by Robert Helps [and others] (Trio #2), Lions Gate Trio, Centaur CRC
2410,
1999
Incantations (pieces for solo flute--Robert Stallman, flautist), includes Second
Thoughts for
solo flute by Robert Helps, VAI Audio VAIA 1112, 1995
Robert Helps (Hommage à Fauré), John Adams, Todd Brief and Roger Sessions,
Christopher O'Riley, piano, Albany Records, TROY038-2, 1990
Robert Helps (Nocturne, Three Hommages: Hommage à Fauré, Hommage à
Rachmaninoff,
Hommage à Ravel and Schilflied--Mendelssohn/Helps), Louis Moreau Gottschalk and
Amy
Beach, The American Romantic, Alan Feinberg, piano, ARGO 430 330-2, 1990
Robert Helps (Second Thoughts for solo flute), Arthur Woodbury, Howard Buss,
Hilton
Kean Jones, Ingold Dahl and Robert Constable, Premiers Plus One, the McCormick Duo,
Kim McCormick, flute and Robert McCormick, percussion, HoneyRock RM01, 1994
Trio #1 for Piano, Violin and Cello; Francesco Trio; Contemporary American Piano
Trios,
Vol. 2, Music & Arts CD-933
as PIANIST
Solo Flights--Leopold Godowsky (Studies on Chopin's Etudes, No. 45), CRI CD 864,
2000
LEO KRAFT: Allegro Giocoso, Robert Helps, piano, CRI CD-799, 1998
ROBER SESSIONS: Sonata 3, Robert Helps, piano, New World Records, 80546-2, 1998
ROBERT HELPS PAGE 6 11/28/01
ROBER SESSIONS: Sonatas 1-3, From My Diary, Robert Helps, piano, CRI CD800,
1998
A Tribute to Soprano Bethany Beardslee, To Prove My Love (Godfrey Winham),
Robert
Helps, piano, CRI CD724, 1996
American Masters--VIVIAN FINE: Sinfonia and Fugato for Solo Piano, Robert Helps,
piano,
CRI CD692, 1995
David Del Tredici (Scherzo for piano four-hands), Robert Helps and David Del Tredici,
piano,
CRI CD 689, 1995
Arthur Berger (Two Episodes), American Masters, Paul Jacobs, Gilbert Kalish, Robert
Helps,
7. pianists, the Brandeis Festival Orchestra, Izler Solomon, cond., and the Columbia
Chamber
Ensemble, Gunther Schuller, cond., CRI CD 622, 1992
Maurice Ravel and Claude Debussy, Stories, Airs and Verse, Bethany Beardslee,
soprano,
and Robert Helps, piano, GM Recordings GM2029CD, 1990
Aaron Jay Kernis (Brilliant Sky, Infinite Sky), Love Scenes, Sanford Sylvan, baritone,
Jorja
Fleezanis, violin, Daniel Druckman, percussion, Robert Helps, piano, CRI CD 635, 1992
LPs
as COMPOSER & PIANIST
Robert Helps (The Running Sun), But Yesterday Is Not Today, Bethany Beadslee,
soprano,
Robert Helps, piano, New World Records NW 243
as COMPOSER
Robert Helps, Symphony No. 1, Columbia Symphony Orchestra, Zoltan Rozsnyai,
cond.,
Columbia MS 6801
Robert Helps, Symphony No. 1, Columbia Symphony Orchestra, Zoltan Rozsnyai,
cond.,
CRI SD 411
Robert Helps (Valse Mirage), The Waltz Project, John Cobb, piano, Nonesuch
D-79011
Robert Helps, Music of Robert Helps, David del Tredici (Three Etudes), William
Masselos
(Recollections) and Robert Helps (Quartet), pianists, Desto Records DC-7122
Robert Helps (Gossamer Noons), Premiere, Bethany Beardslee, soprano, with
American
Composers Orchestra, Gunther Schuller, cond., CRI SD 384
Robert Helps (Saccade), American Contemporary, Genevieve Chinn and Allen Brings,
pianists, CRI SD 383
as PIANIST
Igor Stravinsky (Requiem Canticles), The New Stravinsky, Robert Craft, cond., Robert
Helps,
piano, Columbia MS 7386
Arnold Schoenberg, The Book of the Hanging Gardens, Bethany Beardslee, soprano,
Robert
Helps, piano, SON NOVA 2
Music of Mel Powell & Milton Babbitt, Bethany Beardslee , soprano, Robert Helps,
piano,
SON NOVA 1
Arnold Schoenberg (Pierrot Lunarie), The Music of Arnold Schoenberg, Bethany
Beardslee,
soprano, Robert Helps, piano, and the Columbia Chamber Ensemble, Columbia MS 679
ROBERT HELPS PAGE 7 11/28/01
8. Roger Sessions, Piano Sonata No. 3, Robert Helps, piano, New World Records NW
307
Roger Sessions, Piano Sonata No. 3, Robert Helps, piano, AR/Deutsche
Grammophon 0654 086
Roger Sessions, Piano Sonata No. 1, Robert Helps, piano, CRI 198
New Music for the Piano (music by 24 composers), Robert Helps, piano, RCA Victor
LSC-
7042
New Music for the Piano (music by 24 composers), Robert Helps, piano, CRI 288