DANIEL ASIA                                                                                    

OHV 361 a-d

Major Figures in American Music

Interviewed by Libby Van Cleve

June 18, 2007

New York, New York



Cassette Side a                                                                                                    

Transcript pp. 1-34


Musical background of his family—playing the trombone and trumpet—conducting the brass choir in ninth grade—first year college level theory course in ninth grade—studying classical guitar—studying jazz theory—playing in bands, orchestras, and Seattle Youth Symphony—music he was listening to—influence of pop and rock in his earlier music—Sand IIMiles Mix—Robert Dick—On the Surface—studying choral conducting at Hampshire College—experimental piece: Nineteen—encouragement and support of his parents—Dream Sequence I—attending Hampshire College—conducting a brass choir—playing Medieval and Renaissance music—LaNoue Davenport—studying with Iva Dee Hiatt—music he was listening to—writing choral pieces—Alex Set—program of study at Hampshire—physics of music course—piece for four recorders—studying Camus—other people at Hampshire—reading e e cummings—reading Heller and Mailer—listening to all the Haydn symphonies—music program at Amherst—studies at Hampshire: choral conducting, Beethoven, composition, conducting and score study—score study at Harvard—studying piano—studying counterpoint.


Cassette Side b                                                                                                               

Transcript pp. 34-57


Second year at Hampshire—course in the study of the Holocaust—Raoul Hilberg—Isaiah Trunk—Guenter Lewy—other courses—his Jewish identity—activities having to do with Jewish culture—attending San Francisco Conservatory for a year—John Adams—writing a piece reminiscent of Crumb—studying theory and solfège—studying conducting at San Francisco Conservatory—studying voice—listening to the Haydn symphonies—his focus as East Coast with an influence of popular music—pieces that he wrote soon after arriving in NYC: OrangeWhy Jacob?—Plum-DS II, Dream Sequence IRivalries—his music as American music—open intervals of Alex Set—pieces influenced by Webern and Crumb—European vs. American music—reconciling the Jewish component with the music component in college—Mahler—Jacob Druckman—conducting and composing at Hampshire—study with Stephen Albert—On the Surface—applying to Yale.


Cassette Side c                                                                                                    

Transcript pp. 57-92


Study at Yale with Pollack and MacCombie—Piano Set I—conducting with Otto Werner-Mueller—study with Arthur Weisberg and Robert Beaser—study in the second year with Druckman and Penderecki—looking at Druckman’s music—Rivalries—two piano piece—other colleagues at Yale—Beaser and the Contemporary Ensemble--positive comments from Donald Erb—moving to New York—Music for Pieces of Wood at Hampshire—attending concerts in New York—meeting Philip Glass—starting an ensemble—performing contemporary works with the ensemble—going to Tanglewood—getting married, his wife—getting a D.A.A.D.—study in Berlin with Isang Yun—more on group: Musical Elements.


Cassette Side d                                                                                                               

Transcript pp. 92-121


Job at Oberlin for five years—UK Fulbright Arts Award Fellowship and a Guggenheim—being in London for two years—birth of his son—visiting lecturer at City University—daughter Shoshana—Ossabaw Island DreamScherzo SonataBlack Light—work with Endymion Ensemble—work with group Lontano—more on Musical Elements—difficulty of raising money—recording with Musical Elements: The Songs from the Page of Swords—Piano Concerto—André-Michel Schub—composing the Piano Concerto—his symphonies—he describes his music—more on the movements of the piano concerto—first performance of the piano concerto—other performances of it—his feeling about the symphony orchestra—his opinions on opera—project with poet Paul Pines—On the SurfaceBreath in a Ram’s Horn.




OHV 361 e-g

Major Figures in American Music

Interviewed by Libby Van Cleve

New York, N.Y.

Nov. 8, 2007




Cassette Side e    [CD 1]                                                                                      

Transcript pp.  1-40; 40-43


[Track 1] Alex—Alex, the student—playing Berio’s Sequenza 7 with the Contemporary Ensemble—Soni Venturum Wind Quintet—Pines SongsSacred Songs with Ben Verdery—more on Alex—additional Alex pieces to make up the Alex Set—Sara Watkins—performers who promote new music—Alex piece recorded by a saxophone—having a publisher vs. self-publishing—Alexander Broude—Black Light—Arnold Broido—engraving—need for self-promotion—asking to conduct the ACO—programming of works for Musical Elements—receiving awards—going to Tanglewood—resident in Germany for a year—returning and taking a position at Oberlin—playing with the Contemporary Ensemble—RivalriesTrumpet Concerto

his Web Site—The Songs from the Page of Swords—Sara Watkins and John Shirley-Quirk—Pines Songs—poetry of Paul Pines—[Track 2] more on his poetry, texts from Songs from the Page of Swords.


Cassette Side f  [CD 2]                                                                                      

Transcript pp.  pp. 43-52; 53-70; 70-80


[Track 1] Breath in a Ram’s Horn—The Jewish Experience—more on Paul Pines—accepting the job to teach composition at the University of Arizona—his daughter’s health problem—his work with the Contemporary Ensemble—Symphony No. 1—Black Light——[Track 2] centrality for him of expressivity and beauty in music—Rivalries—his ideas about composition—his view of Schoenberg and post-Schoenbergian serialists: Babbitt, Carter, Boulez, Stockhausen—importance of harmony—terms the critics use to describe Asia’s music—importance of pitch centrality—importance of knowing past tradition--Del Tredici’s Final Alice—dedication of Black Light to Leonard Bernstein—view of Leonard Bernstein and Aaron Copland—Asia Second Symphony—Meet the Composer residency with the Phoenix Symphony—works of his that were performed or commissioned by the Phoenix Symphony—support from Ping Golf Clubs for Second Symphony—Second and Third Symphonies recorded by New World Records—talks he did as part of visiting composers series and elsewhere—Piano Concerto--Fourth Symphony.[Track 3] André-Michel Schub—smaller orchestral pieces—problem of getting orchestral music performed—big piece for Israel’s sixtieth anniversary—chamber music—what agents do—Asia’s agent—conversation with Schub’s agent—Kirchner’s experience with his cello concerto—Common Sense Composer’s Collective—composers through history and how they made a living—talking with students about making a living—his own career.


Cassette Side g [CD 3]                                                                                                                   

Transcript pp.  pp. 80-121



[Track 1]Ephemeral nature of success—finding your own place in history—difficulty of having music get picked up by others—importance of recordings—Breath in a Ram’s Hornhis symphonies and piano concerti—singer Paul Sperry—Paul Pines’s poetry—last movement of Breath in a Ram’s Horn—use of Yiddish folk song in that movement—concept in Judaism of the sacred and the profane—Sand II—motivation for different version’s of Breath in a Ram’s Horn—Second String Quartet—First String Quartet—Third String Quartet—Chemins of Berio—Sonata for Violin and Piano—Earle Brown—

Earle Brown Foundation—disseminating Brown’s music—Morton Feldman—Musical Elements—Copland Foundation—how living in Arizona has affected him—importance of presence in New York—other composers in different cities.


Additional material about this interviewee may be available. For more information on the contents of the collection, email oham@yale.edu.