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John Eaton

Eaton began his executing career being a jazz pianist and shortly became one of the better known early exponents of live electronic efficiency. His piano instructors included Steuermann, Erich Kahn, and Frank Sheridan. From 1953 to 1959, Eaton gained his M.F.A. level at Princeton College or university, where he researched structure with Babbitt, Cone, and Roger Periods. During this time period he constructed his chamber opera in three works entitled Ma Barker (1957) to a libretto with a. Gold, a Track Routine (1957) for soprano and orchestra (piano) to terms of John Donne’s Holy Sonnets, aswell as many instrumentals, the Piano Variants (1958), a String Quartet (1959), and an overture Tertullian (1959). Another year Eaton produced his Adagio and Allegro (1960) for flute, oboe, and strings. Around 1964, Eaton became a devoted exponent of and carefully identified with the brand new digital synthesizer known as the Syn-ket, developed by Paolo Ketoff. The instrument’s keyboards are delicate to finger pressure also to slipping movement. Eaton 1st compositions because of this device include his Tunes for R.P.B. for soprano, piano duet, and Syn-ket (1965); his well-known Live concert Part for Syn-ket and Symphony Orchestra (1966) premiered from the Boston Symphony Orchestra, carried out by Gunther Schuller, at Tanglewood; his Concert Piece for Single Syn-ket No. 2 (1966); Applying for grants Rilke (1967) for just two Syn-kets, Syn-mill, and reverberation dish; and Soliloquy (1967) for Syn-ket. In the 1960s, Eaton also became captivated by microtonal options using acoustic devices and created his Microtonal Dream (1965) for just two pianos which (like Charles Ives’ popular Quarter-Tone piano duets) are tuned a quarter-tone aside, and his wonderful Vibrations (1966) for flute, two clarinets tuned a quarter-tone aside, and two oboes similarly tuned a quarter-tone aside. Using the further advancement of the Moog synthesizer, Eaton also integrated it in two functions: the Duet (1968) for Syn-ket and Moog synthesizer, and Blind Man’s Cry (1969) for Syn-ket, Moog synthesizer, Syn-mill, and two tape recorders (for hold off, etc., a live show practice employed thoroughly by composer Terry Riley). Eaton’s acoustic functions continued using the premiere of his second opera Heracles (1964), having a libretto by M. Fried, in 1972, on the opening from the Musical Arts Middle at Indiana College or university. Following the structure of his gorgeous Sonority Movement (1971) for nine harps, he developed the vocal functions Ajax (1972) for baritone and chamber orchestra, as well as the Three Graces (1972) for three sopranos, professional, and digital ensemble. Eaton was composer-in-residence at Indiana College or university in 1970 and was afterwards appointed associate teacher there. In 1970, his one-act opera Myshkin with libretto by Patrick Creagh was shown, and in 1973, his comic opera The Lion and Androcles. His 5th opera Danton and Robespierre, with libretto by Patrick Creagh, was completed in 1978. Among his many honours, he received the American Prix de Rome in 1959, 1960 and 1961 and many Guggenheim Fellowships.

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