Elliott Schwartz

This noted composer, writer, and educator studied composition with Otto Luening and Jack port Beeson at Columbia School, piano with Thomas Richner, and theory with Howard Murphy; he gained his M.A. in 1958 and an Ed.D. in 1962. Since 1964, he continues to be the Robert K. Beckwith Teacher of Music at Bowdoin University. From 1967 to 1979, Schwartz’s visitor appointments included trips towards the Trinity University of Music in London, the faculty of Creative Research (U.C. Santa Barbara), and the guts for Music Test (U.C. NORTH PARK). During this time period, his compositions included the Magic Music for orchestra (1967), Isle for orchestra (1970), The Tranquility of Maine for synthesizer and orchestra (1975), Eclipse III for chamber orchestra (1975), as well as the Chamber Concerto Nos. 1 and 2 (1977). His compositions are mentioned for their assorted, imaginative orchestrations and wealthy palette of timbres. Furthermore to his carrying on responsibilities at Bowdoin University, Schwartz kept a distinguished college or university going to professorship at Ohio Condition College or university (1985 -1986) and, from 1988 to 1992, he kept a professorship of structure in the Ohio Condition University College of Music. Schwartz offers appeared like a visitor lecturer/composer through the entire USA and European countries (Cambridge, Oxford, Royal Academies in Aarhus and Copenhagen, L’Ecole Country wide du Musique in Saint Germain-en-Laye, the Leningrad Springtime Event, etc.). His compositions have already been performed by many main orchestras and chamber organizations (including St. Paul Chamber Orchestra, ALEA III of Boston, NY Chamber Soloists, Atlanta Virtuosi, Lontano [U.K.], Esbjerg Outfit [Denmark], and Range [U.K.]) across the world. He offers served as citizen composer at ten places in the us since 1990 and continues to be chief executive and chairman of many music societies. Schwartz’s latest compositions add a seven-minute orchestral overture entitled Rainbow (1996) premiered with a mixed orchestra of thousands of exuberant players in the Western Youth Event in Copenhagen. The name relates both to the countless changing suffered timbres that are vigorously exchanged between your players and to desires for worldwide understanding and “co-operation on a worldwide size.” The 18-minute Equinox: Concerto for Orchestra (1994) depicts the gradual changes (thickness of foliage and embellishment, moods of “temperatures” and “climate,” changing shades, etc) between your Sept and March equinoxes (when daylight and darkness are similar and “well balanced”) through a soundscape made up of a moody, intimate melody range, a Beethoven-like rhythmic design, and a Wagnerian chord development that recur and progress into a gorgeous climax. Schwartz includes a deep fascination with the looks of modern music and in developing methods to perceptive hearing that may be experienced by music artists and nonmusicians as well. He co-edited both an anthology, Modern Composers on Modern Music (1967), and Music Since 1945; and was the writer of Electronic Music: A Listener’s Information (1973), The Symphonies of Ralph Vaughan Williams (1964), and Music: Means of Hearing (1982). He in addition has created for Perspectives of SONGS, The Musical Quarterly, Musical America, Music and Music artists (Britain), and various other publications.