AMERICAN MUSIC SERIES                                                                               343 a-c


Lisa Bielawa

With Ed Harsh

New York, N.Y.

November 12, 2004


Table of Contents


Disk a                                                                                                                                 pp. 1-52


Early years—studying in the Suzuki program—playing in the city-wide orchestra—studying piano—love of reading—singing—playing her father’s music—name “Bielawa”—interest in music theater—study of acting—early compositions—writing a musical: That Year—singing—writing music for choir—studying literature at Yale—courses at Yale—Harold Bloom—studying composition at Yale—senior recital—commission from San Francisco Girls Chorus—Jonathan Berger—singing--

friend in music theater—singing in choirs to make money—other work in publishing—horal commission—other work—auditioning for choral jobs—singing in chorus for Einstein on the Beach—becoming a full-fledged member of the Glass ensemble—studying voice—continuing to compose—working on Vireo, an opera—chamber and orchestral music—The Trojan Women—MATA.


Disk b                                                                                                                                 pp. 52-81


Doing concerts presenting pieces by young composers—MATA—harmony—Hurry

vertical vs. horizontal aspects of music—modality—UCross—more on Hurry—harmonic language and emotional content—importance of literature for her—The Right WeatherRoamCape May Pictures—solo piece for Andy Armstrong—violinist Colin Jacobsen—Start—Carla Kihlstedt—Jon Nakamatsu—different musical media and different music—discomfort with chamber music—love of orchestral music—more on HurryLamentations—more on orchestral and chamber music—work with Jim Matheson.


Disk c                                                                                                                                  pp. 81-105


Teaching—piece for solo piano and building—instability of freelance life—master class at UCSD—Making Score—postmodernism—meaninglessness of uptown-downtown distinction—Milton Babbitt—modernism and postmodernism—Ingram Marshall’s music—Jürgen Habermas—project based on Pasternak and Tsvetayeva—Jon Nakamatsu—pieces with Nakamatsu and Jacobsen—The Right Weather—getting into a style slowly.