Richard Wernick

Richard Wernick (born January 16, 1934) in Boston, Massachusetts is an American composer. He is best known for his chamber and vocal works. His composition Visions of Terror and Wonder won the 1977 Pulitzer Prize for Music.

Career

Wernick began his musical studies playing the piano at age 11. His high school music theory teacher took notice of his abilities, and introduced him to Irving Fine, who was a composition professor at Harvard University at the time.[1] Wernick went on to complete his undergraduate studies with Fine at Brandeis University. While at Brandeis, Wernick also studied with Harold Shapero, Arthur Berger, and Leonard Bernstein. His studies at Tanglewood included composition work with Ernst Toch, Aaron Copland, and Boris Blacher and conducting studies with Leonard Bernstein and Seymour Lipkin. Wernick also studied at Mills College with Leon Kirchner.[2]

During the 1950s and early 1960s, Wernick worked as a theater, film, television, and dance composer.[2] His output during this time includes the film score for the short comedy A Bowl of Cherries.[3]

Wernick spent much of his career as a composition professor, teaching at SUNY Buffalo (1964-1965) and the University of Chicago (1965-1968). However, his longest tenure was at the University of Pennsylvania, from 1968 to 1996.[2] For his notable students, See: List of music students by teacher: T to Z#Richard Wernick. David Patrick Stearns of The Philadelphia Inquirer considered Wernick's time at University of Pennsylvania, especially during the 1970s, to represent the height of his compositional influence as part of the University's composition "triumvirate" (Wernick, George Crumb, and George Rochberg).[4]

In 1983, Riccardo Muti selected Wernick to be the Consultant for New Music to the Philadelphia Orchestra. His role as advisor was to assist Muti in identifying new works for the Philadelphia Orchestra to perform, with a stated emphasis on American composers.[5] He held this position until 1989, when he was re-appointed as Special Consultant to the Music Director. He continued until the end of Muti's tenure with the Philadelphia Orchestra in 1993.[6]

Wernick won the 1977 Pulitzer Prize for Music for his composition Visions of Terror and Wonder. He won Kennedy Center Friedheim Awards in 1986 for his Violin Concerto (first place, tie with Bernard Rands), 1991 (first place, for String Quartet No. 4), and 1992 (second place, for Piano Concerto). He has also received awards from the Ford, Guggenheim and Naumburg foundations.[2][6] (See also List of Awards below.)

Wernick lives outside of Philadelphia with his wife, bassoonist Bea Wernick. His son Adam Wernick is a theatrical composer who has won several Helen Hayes Awards. His other son Lew Wernick is also a musician.

Compositional style

Wernick has described his style as one that attempts to find common ground with an audience:

My expectation is that I'm not writing down to an audience, but I'm not trying to write above their heads. I'm not writing to an audience which is illiterate and I'm not writing to an audience which is technically educated in music, but I do write for an audience that I assume has experience in listening to music and is willing to at least meet me halfway. So I'll go halfway to meet them."[7]

As such, critics have sometimes identified his style as more audience-accessible, particularly when compared to more strictly serialist composers of the 20th century.[8] More recently, however, some critics have emphasized the modernist characteristics of his style, calling him a "modernist holdout against prevailing trends toward music that falls easier on the ears."[9][10]

Harmonic analysis of Wernick's work suggests that his style makes reference to tonal harmony, but is usually based on fixed cells of intervals. He occasionally makes use of twelve-tone sequences and their permutations, but this technique is not necessarily a defining feature of his output. Wernick also makes extensive use of contrapuntal techniques, especially in his string quartets.[2]

In vocal and programmatic works, Wernick's choice of texts often reflect an ideological message. Kaddish Requiem mourns "the victims of Indochina," referring to the contemporaneous Vietnam War as well as to related violence throughout the region.[6] Likewise, the final movement of his Duo for Cello and Piano is a memorial for the World Trade Center attacks on September 11, 2001. Several of his works, most notably Kaddish Requiem and Visions of Terror and Wonder, combine religious texts from multiple traditions.[2]

Performers with whom Wernick has frequently worked include the Juilliard String Quartet, the Emerson String Quartet, David Starobin, Mstislav Rostropovich, Jan de Gaetani, Lambert Orkis, and Gregory Fulkerson.[2][6]

Works

The majority of Wernick's works are published by Theodore Presser Company[11] Most of his manuscripts are held by the Special Collections of the Van Pelt Library at the University of Pennsylvania.[6] The collection also contains marked scores from premieres of other composers' works that Wernick directed.

Discography

Wernick's works were represented on some of the earliest releases by Bridge Records, a label founded by guitarist David Starobin.[12] His works have also been recorded on Deutsche Grammophon, Nonesuch Records, Centaur Records, Composers Recordings, Inc., and Albany Records.[6]

Quintet for French Horn and String Quartet, William Purvis, Juilliard String Quartet
Da'ase for Guitar, David Starobin
String Quartet No. 6, Colorado String Quartet
Trochaic Trot, David Starobin
The Name of the Game, David Starobin, International Contemporary Ensemble, Cliff Colnot, conductor[13]
Concerto for Piano and Orchestra, Lambert Orkis, piano; Symphony II, Richard Wernick, conductor.
Concerto for Violin and Orchestra, Gregory Fulkerson, violin; Symphony II, Larry Rachleff, conductor.[6]
Haiku of Basho for Soprano, Flute, Clarinet, Violin, Contrabass, Two Percussion, Piano and Tape.
Moonsongs from the Japanese for Soprano and Two Pre-recorded tracks of Soprano Voice, or Three Solo Sopranos.[6]

Awards

External links

References

  1. ↑ Cheifetz, Tori. "Never Compromise." The Jerusalem Post. January 28, 2009, p. 24.
  2. 1 2 3 4 5 6 7 Hirshberg, Jehoash. "Wernick, Richard." Grove Music Online. Oxford Music Online.
  3. ↑ Internet Movie Database. "Wernick, Richard"
  4. ↑ Stearns, David Patrick. "Philadelphia's Latest Generation of Emerging Composers". The Philadelphia Inquirer. May 2, 2010, p. H01
  5. ↑ Holland, Bernard. "Riccardo Muti Makes Music His Way". The New York Times. October 9, 1983, Arts and Leisure p. 1
  6. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 Theodore Presser Company. "Wernick, Richard"
  7. ↑ Duffie, Bruce. "Composer Richard Wernick: A Conversation with Bruce Duffie"
  8. ↑ Horowitz, Joseph. "Wernick's 'Introits and Canons'". The New York Times. January 15, 1978, p.47.
  9. ↑ Stearns, David Patrick. "75th birthday concert honors Penn's Wernick". The Philadelphia Inquirer. October 21, 2008, p. E01
  10. ↑ Griffiths, Paul. "Virtues of Persistence, Persistently Applied". The New York Times. October 7, 1999
  11. ↑ Theodore Presser Company. Richard Wernick: List of works
  12. ↑ Kozinn, Alan. "Holding onto a Niche, Very Firmly". The New York Times. October 9, 2011, p.21
  13. ↑ Bridge Records Catalog, http://www.bridgerecords.com/catpage.php?call=9303
  14. ↑ Unless otherwise indicated, list of awards sourced from Theodore Presser Company. "Wernick, Richard"
  15. ↑ Holland, Bernard (September 7, 1992). "Awards Are Made to the Minds And Notes of Four Composers". New York Times
  16. ↑ New York Times (November 13, 1991). "4 Composers Honored At Kennedy Center"
  17. 1 2 3 4 5 6 7 8 Kuhn, Laura (2000). "Wernick, Richard", Baker's Dictionary of Opera, p. 886. Schirmer Books. ISBN 0-02-865349-1
This article is issued from Wikipedia - version of the Wednesday, February 17, 2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.