Earle Brown

With Ev Grimes

Rye, New York

January 21, 1987

 

TABLE OF CONTENTS

 

Cassette Side a:                                                                                                                          pp. 1-12

 

Musical background--music making as joyous activity--importance of jazz background in writing classical music--playing in dance orchestras in high school--Kirkpatrick recording of Ives Concord Sonata--pilot in the Air Force--playing in bands--Schillinger School of Music--study with Roslyn Brogue Henning--writing twelve-tone compositions--first composition for Carolyn Brown--learning pre-compositional planning and potential of compositional manipulation from Schillinger techniques--importance of jazz and Schillinger in music writing.

 

Cassette Side b:                                                                                                                         pp. 12-22

 

Opening Schillinger studio in Denver--meeting John Cage and Merce Cunningham--invitation to work with John Cage and David Tudor on electronic music project--Three Pieces for Piano, Music for Violin, Cello, and Piano, Perspectives for Piano based on Schillinger techniques-influence of Calder and Pollock--search for balance between spontaneity and control--French symbolist poets--Kenneth Patchen--musical mobiles (open form scores)--experience as trumpeter in orchestra helpful in composing--graphic symbols.

 

Cassette Side c:                                                                                                                          pp. 22-32

 

Four Systems for David Tudor--Folio pieces and Four Systems--Magnetic Tape Project--Cage's Williams Mix--Time Spans--discipline of Cage--difference between Cage and Brown--origin of Tape Music Project--International Concert of Electronic and Tape Music at University of Illinois--Music for Cello and Piano--working for Brentano's--recording engineer at Capitol Records-travel to Europe for purpose of getting music known.

 

Cassette Side d:                                                                                                                         pp. 32-41

 

Meeting Boulez, Berio, Maderna--Europe--Stockhausen--American and European viewpoints-- Webern, Varèse--Boulez' Book of Music for Two Pianos--producing records for Time Mainstream-- Pentathis--Available Forms I, II--other pieces.

 

 Cassette Side e:                                                                                                                         pp. 41-52

Available Forms I, Pentathis, Available Forms-II--Gertrude Stein--Max Ernst--Cage, Feldman-- lecturing and conducting in Europe--Guggenheim Fellowship--prediction of good fortune-appointment to Peabody Conservatory--Time article.

 

 

 

Cassette Side f:                                                                                                                          pp. 52-62

 

Time article--residency in Berlin--New Piece--commissions from Venice Biennale and German Olympics--Time Spans--New Piece LoopsCentering--Windsor Jambs--visiting composition professor at Cal Arts--composer in residence at USC,Berkeley--relationship of teaching to composing.

 

Cassette Side g:                                                                                                                          pp. 62-71

 

Residencies at Tanglewood and Aspen--changes in music--Modules--columns of sound--Cross Sections and Color Fields--Sounder Rounds--current commissions--Cincinatti College Conservatory-- Indiana University--American Music Center.

 

Cassette Side h:                                                                                                                         pp. 71-78

 

Fromm Music Festival--contemporary music programming--deKooning anecdote--Rauschenberg—open form scores similar to collages--European music festivals-Corroboree.

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Earle Brown

with Vivian Perlis

Mamaroneck, NY

December 17, 1996

 

TABLE OF CONTENTS

 

Cassette Side i:                                                                                                                           pg. 1-17

 

Folio II (Eberhard Blum, graphic notation)--New York School (Cage, Feldman, Wolfe)--Atlantic Center for the Arts, New Smyrna Beach, FL--Folio I--Roslyn Brogue Henning--color sketching--Bob Rauschenberg, Tracer--jazz, quotation (or lack thereof)--Joel Chadabe--From Here--Dean Drummond, Centering--composer as inventor/researcher--Time Spans--Tracking Pierrot--Summer Suite--Earle Brown, Works for Piano (recording)--David Arden: first meeting, Gorecki.

 

 

Cassette side j:                                                                                                                           pg. 18-32

 

Composition on computer--un-pianistic piano-writing--sketches, Schillinger background, Modules I and II--composition methods--more on Feldman and Cage--Carolyn (former wife), Merce Cunningham and Cage--Trisha Brown--Boulez--Berio--Stockhausen--German radio, Darmstadt--Available Forms I--Kagel--German musical life vs. French--Gilbert Amy--recordings: Sony Classics, Hat Art Records--Time Mainstream’s ownership of masters--Universal Edition--new piece, Bloom.