[Rezension zu:] Mark Kopytman - Voices of Memories: Essays and Dialogues, ed. Yulia Kreinin, Israel Music Institute, Tel Aviv, 2004, 288 p.

Mark Kopytman - Voices of Memories: Essays and Dialogues, ed. Yulia Kreinin, Israel Music Institute, Tel Aviv, 2004, 288 p. A Doctor of Medicine who is also a composer is a rarity. A composer who is also a Doctor of Medicine is even rarer. Dr. Med. Mark Kopytman, however, is above all a composer, and one of Israel´s foremost contemporary composers at that. "Mark Kopytman - Voices of Memories" is a Festschrift - a volume of collected essays edited by Yulia Kreinin, to celebrate his 70th birthday. It is a formidable literary monument to honour this outstanding personality

Composer' Forum Concert, April 16, 1996

This is the concert program of the Composer' Forum Concert performance on Tuesday, April 16, 1996 at 12:30 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Seven Songs on Texts by James Joyce by Siggi, from the Twenty-Four Solar Seasons by Rosey Mei-Kuei Lee, Gardener for Clarinet and Tape by Roman Yakub, Sonata for Solo Violin by Matthew Marullo, and In a Dark Time by Travis Hardaway. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

An examination of the keyboard technique of Bach, Haydn, Chopin, Scriabin and Prokofiev

Master's Project (M.Mu.) University of Alaska Fairbanks, 2016In this research paper, I will explore the keyboard technique of each composer presented in my recital: J.S. Bach, Franz Joseph Haydn, Frederic Chopin, Alexander Scriabin and Sergei Prokofiev. I hope to elucidate the physical approach used by each composer, and show in turn how that same approach influenced the music of each composer by analyzing the pieces performed in my recital. To understand the distinct technique of the composers, it is important to know some context. The instrument each composer wrote for necessarily influenced their technique and resulting composition. However, the instrument cannot explain every facet of technique, and it becomes necessary to understand the underlying aesthetics of technique. Moving chronologically from Bach to Prokofiev, a general trend of expansion in the use of the hand and arm will be seen throughout. Keyboards became louder and heavier in touch and the hand faced greater reaches in every generation. The technique of Bach and Haydn was largely focused on compact and relaxed hands with distinct finger movements, while Scriabin and Prokofiev at the other end require sweeping gestures that occupy the entire arm. However, it would be too easy to present this progression as a story that technique is only getting better and better, implying that the older composers were inferior to the later. That is simply false. Instead, extended study of each composer shows that many technical principles are universal. The baroque keyboardists were likely playing with more weight than popularly imagined and one cannot play Scriabin with mittens on the hands

'If I were going there, I wouldn't start from here'

A composer reflects on the perils of getting one's bearings in a new piece

Grumo Festival 2013

Poster for the 2013 Grumo Festival, Italy featuring David Osbon (picture on poster)as composer and conductor

Musical minds

Comments on the idea that music might be a process of communication between composer and listener