Benjamin Lees: Quo Vadis?
Identifieur interne : 000390 ( Main/Corpus ); précédent : 000389; suivant : 000391Benjamin Lees: Quo Vadis?
Auteurs : Bret JohnsonSource :
- Tempo [ 0040-2982 ] ; 1990-12.
Abstract
Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at least four other orchestral compositions of substantial scale, and the Third and Fourth String Quartets. All of these have contributed to his continuing high profile in the American musical scene. When one surveys Lees's entire corpus of music over the last four decades, one sees an impressive range of works, achievements and awards. Such pieces as the Violin Concerto (1958), Third Symphony (1969) and Concerto for String Quartet and Orchestra (1965), all commercially recorded, stand out as landmarks not only of his own music but of postwar American music generally. His style has continued to evolve in recent years and whilst his hallmark is still his adherence to form and structure, he has become more concerned with orchestral sonority and, without becoming explicitly programmatic, practises his art within an ever-widening sound spectrum and colouristic palette. He has always possessed a strongly individual personality, and the ‘Lees Sound’ is unquestionably unique, even through his exposition and development of musical ideas-and the technique of continual evolution which he favours at present-derive, at source, from his most important early musical teacher: George Antheil.
Url:
DOI: 10.1017/S0040298200012560
Links to Exploration step
ISTEX:41F192D6EC662131B2096489B2CCCE0C638D8AF5Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Benjamin Lees: Quo Vadis?</title><author><name sortKey="Johnson, Bret" sort="Johnson, Bret" uniqKey="Johnson B" first="Bret" last="Johnson">Bret Johnson</name></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:41F192D6EC662131B2096489B2CCCE0C638D8AF5</idno><date when="1990" year="1990">1990</date><idno type="doi">10.1017/S0040298200012560</idno><idno type="url">https://api.istex.fr/document/41F192D6EC662131B2096489B2CCCE0C638D8AF5/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000390</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000390</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Benjamin Lees: Quo Vadis?</title><author><name sortKey="Johnson, Bret" sort="Johnson, Bret" uniqKey="Johnson B" first="Bret" last="Johnson">Bret Johnson</name></author></analytic><monogr></monogr><series><title level="j">Tempo</title><title level="j" type="abbrev">Tempo</title><idno type="ISSN">0040-2982</idno><idno type="eISSN">1478-2286</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1990-12">1990-12</date><biblScope unit="volume">113</biblScope><biblScope unit="issue">175</biblScope><biblScope unit="page" from="11">11</biblScope><biblScope unit="page" to="17">17</biblScope></imprint><idno type="ISSN">0040-2982</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0040-2982</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at least four other orchestral compositions of substantial scale, and the Third and Fourth String Quartets. All of these have contributed to his continuing high profile in the American musical scene. When one surveys Lees's entire corpus of music over the last four decades, one sees an impressive range of works, achievements and awards. Such pieces as the Violin Concerto (1958), Third Symphony (1969) and Concerto for String Quartet and Orchestra (1965), all commercially recorded, stand out as landmarks not only of his own music but of postwar American music generally. His style has continued to evolve in recent years and whilst his hallmark is still his adherence to form and structure, he has become more concerned with orchestral sonority and, without becoming explicitly programmatic, practises his art within an ever-widening sound spectrum and colouristic palette. He has always possessed a strongly individual personality, and the ‘Lees Sound’ is unquestionably unique, even through his exposition and development of musical ideas-and the technique of continual evolution which he favours at present-derive, at source, from his most important early musical teacher: George Antheil.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Bret Johnson</name></json:item></author><articleId><json:string>01256</json:string></articleId><arkIstex>ark:/67375/6GQ-JP2SBB9J-7</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at least four other orchestral compositions of substantial scale, and the Third and Fourth String Quartets. All of these have contributed to his continuing high profile in the American musical scene. When one surveys Lees's entire corpus of music over the last four decades, one sees an impressive range of works, achievements and awards. Such pieces as the Violin Concerto (1958), Third Symphony (1969) and Concerto for String Quartet and Orchestra (1965), all commercially recorded, stand out as landmarks not only of his own music but of postwar American music generally. His style has continued to evolve in recent years and whilst his hallmark is still his adherence to form and structure, he has become more concerned with orchestral sonority and, without becoming explicitly programmatic, practises his art within an ever-widening sound spectrum and colouristic palette. He has always possessed a strongly individual personality, and the ‘Lees Sound’ is unquestionably unique, even through his exposition and development of musical ideas-and the technique of continual evolution which he favours at present-derive, at source, from his most important early musical teacher: George Antheil.</abstract><qualityIndicators><score>8.371</score><pdfWordCount>3371</pdfWordCount><pdfCharCount>20419</pdfCharCount><pdfVersion>1.4</pdfVersion><pdfPageCount>7</pdfPageCount><pdfPageSize>482.4 x 811.44 pts</pdfPageSize><refBibsNative>true</refBibsNative><abstractWordCount>279</abstractWordCount><abstractCharCount>1788</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>Benjamin Lees: Quo Vadis?</title><pii><json:string>S0040298200012560</json:string></pii><genre><json:string>research-article</json:string></genre><host><title>Tempo</title><language><json:string>unknown</json:string></language><issn><json:string>0040-2982</json:string></issn><eissn><json:string>1478-2286</json:string></eissn><publisherId><json:string>TEM</json:string></publisherId><volume>113</volume><issue>175</issue><pages><first>11</first><last>17</last><total>7</total></pages><genre><json:string>journal</json:string></genre></host><ark><json:string>ark:/67375/6GQ-JP2SBB9J-7</json:string></ark><categories><inist><json:string>1 - sciences humaines et sociales</json:string><json:string>2 - histoire et sciences des religions</json:string></inist></categories><publicationDate>1990</publicationDate><copyrightDate>1990</copyrightDate><doi><json:string>10.1017/S0040298200012560</json:string></doi><id>41F192D6EC662131B2096489B2CCCE0C638D8AF5</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/41F192D6EC662131B2096489B2CCCE0C638D8AF5/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/41F192D6EC662131B2096489B2CCCE0C638D8AF5/fulltext/zip</uri></json:item><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/41F192D6EC662131B2096489B2CCCE0C638D8AF5/fulltext/txt</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/41F192D6EC662131B2096489B2CCCE0C638D8AF5/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Benjamin Lees: Quo Vadis?</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><availability><licence><p>Copyright © Cambridge University Press 1990</p></licence><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</p></availability><date>1990</date></publicationStmt><notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Benjamin Lees: Quo Vadis?</title><author xml:id="author-0000"><persName><forename type="first">Bret</forename><surname>Johnson</surname></persName></author><idno type="istex">41F192D6EC662131B2096489B2CCCE0C638D8AF5</idno><idno type="ark">ark:/67375/6GQ-JP2SBB9J-7</idno><idno type="DOI">10.1017/S0040298200012560</idno><idno type="PII">S0040298200012560</idno><idno type="article-id">01256</idno></analytic><monogr><title level="j">Tempo</title><title level="j" type="abbrev">Tempo</title><idno type="pISSN">0040-2982</idno><idno type="eISSN">1478-2286</idno><idno type="publisher-id">TEM</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1990-12"></date><biblScope unit="volume">113</biblScope><biblScope unit="issue">175</biblScope><biblScope unit="page" from="11">11</biblScope><biblScope unit="page" to="17">17</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1990</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en" style="text-abstract"><p>Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at least four other orchestral compositions of substantial scale, and the Third and Fourth String Quartets. All of these have contributed to his continuing high profile in the American musical scene. When one surveys Lees's entire corpus of music over the last four decades, one sees an impressive range of works, achievements and awards. Such pieces as the Violin Concerto (1958), Third Symphony (1969) and Concerto for String Quartet and Orchestra (1965), all commercially recorded, stand out as landmarks not only of his own music but of postwar American music generally. His style has continued to evolve in recent years and whilst his hallmark is still his adherence to form and structure, he has become more concerned with orchestral sonority and, without becoming explicitly programmatic, practises his art within an ever-widening sound spectrum and colouristic palette. He has always possessed a strongly individual personality, and the ‘Lees Sound’ is unquestionably unique, even through his exposition and development of musical ideas-and the technique of continual evolution which he favours at present-derive, at source, from his most important early musical teacher: George Antheil.</p></abstract></profileDesc><revisionDesc><change when="1990-12">Published</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.2" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title><issn pub-type="ppub">0040-2982</issn><issn pub-type="epub">1478-2286</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0040298200012560</article-id><article-id pub-id-type="pii">S0040298200012560</article-id><article-id pub-id-type="publisher-id">01256</article-id><title-group><article-title>Benjamin Lees: Quo Vadis?</article-title><alt-title alt-title-type="left-running">Benjamin Lees: Quo Vadis?</alt-title><alt-title alt-title-type="right-running">Benjamin Less: Quo Vadis?</alt-title></title-group><contrib-group><contrib><name name-style="western"><surname>Johnson</surname><given-names>Bret</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><month>12</month><year>1990</year></pub-date><issue>175</issue><fpage seq="5">11</fpage><lpage>17</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1990</copyright-statement><copyright-year>1990</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in <italic>Tempo</italic>: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at least four other orchestral compositions of substantial scale, and the Third and Fourth String Quartets. All of these have contributed to his continuing high profile in the American musical scene. When one surveys Lees's entire corpus of music over the last four decades, one sees an impressive range of works, achievements and awards. Such pieces as the Violin Concerto (1958), Third Symphony (1969) and Concerto for String Quartet and Orchestra (1965), all commercially recorded, stand out as landmarks not only of his own music but of postwar American music generally. His style has continued to evolve in recent years and whilst his hallmark is still his adherence to form and structure, he has become more concerned with orchestral sonority and, without becoming explicitly programmatic, practises his art within an ever-widening sound spectrum and colouristic palette. He has always possessed a strongly individual personality, and the ‘Lees Sound’ is unquestionably unique, even through his exposition and development of musical ideas-and the technique of continual evolution which he favours at present-derive, at source, from his most important early musical teacher: George Antheil.</p></abstract><counts><page-count count="7"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298200012560a.pdf</meta-value></custom-meta><custom-meta><meta-name>series</meta-name><meta-value>1</meta-value></custom-meta><custom-meta><meta-name>seriesText</meta-name><meta-value>New Series</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn01" symbol="1"><label><sup>1</sup></label><p><citation citation-type="journal" id="ref001"><name name-style="western"><surname>Slonimsky</surname><given-names>Nicolas</given-names></name>, ‘<article-title>Benjamin Lees In Excelsis</article-title>’, <source>Tempo</source> <volume>113</volume>, <month>06</month> <year>1975</year>, pp.<fpage>20</fpage>–<lpage>21</lpage></citation>.</p></fn><fn id="fn02" symbol="2"><label><sup>2</sup></label><p>As <italic>Tempo</italic> goes to press, the Violin Sonata No.2 (1973)has just been released on Bay Citics BCD 1018.(ED.)</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Benjamin Lees: Quo Vadis?</title></titleInfo><titleInfo type="alternative"><title>Benjamin Lees: Quo Vadis?</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Benjamin Lees: Quo Vadis?</title></titleInfo><name type="personal"><namePart type="given">Bret</namePart><namePart type="family">Johnson</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1990-12</dateIssued><copyrightDate encoding="w3cdtf">1990</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract" lang="en">Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at least four other orchestral compositions of substantial scale, and the Third and Fourth String Quartets. All of these have contributed to his continuing high profile in the American musical scene. When one surveys Lees's entire corpus of music over the last four decades, one sees an impressive range of works, achievements and awards. Such pieces as the Violin Concerto (1958), Third Symphony (1969) and Concerto for String Quartet and Orchestra (1965), all commercially recorded, stand out as landmarks not only of his own music but of postwar American music generally. His style has continued to evolve in recent years and whilst his hallmark is still his adherence to form and structure, he has become more concerned with orchestral sonority and, without becoming explicitly programmatic, practises his art within an ever-widening sound spectrum and colouristic palette. He has always possessed a strongly individual personality, and the ‘Lees Sound’ is unquestionably unique, even through his exposition and development of musical ideas-and the technique of continual evolution which he favours at present-derive, at source, from his most important early musical teacher: George Antheil.</abstract><relatedItem type="host"><titleInfo><title>Tempo</title></titleInfo><titleInfo type="abbreviated"><title>Tempo</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0040-2982</identifier><identifier type="eISSN">1478-2286</identifier><identifier type="PublisherID">TEM</identifier><part><date>1990</date><detail type="volume"><caption>vol.</caption><number>113</number></detail><detail type="issue"><caption>no.</caption><number>175</number></detail><extent unit="pages"><start>11</start><end>17</end><total>7</total></extent></part></relatedItem><identifier type="istex">41F192D6EC662131B2096489B2CCCE0C638D8AF5</identifier><identifier type="ark">ark:/67375/6GQ-JP2SBB9J-7</identifier><identifier type="DOI">10.1017/S0040298200012560</identifier><identifier type="PII">S0040298200012560</identifier><identifier type="ArticleID">01256</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1990</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © Cambridge University Press 1990</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/41F192D6EC662131B2096489B2CCCE0C638D8AF5/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/DiesIraeV1/Data/Main/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000390 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Main/Corpus/biblio.hfd -nk 000390 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= DiesIraeV1
|flux= Main
|étape= Corpus
|type= RBID
|clé= ISTEX:41F192D6EC662131B2096489B2CCCE0C638D8AF5
|texte= Benjamin Lees: Quo Vadis?
}}
| This area was generated with Dilib version V0.6.33. |  |