Uploaded August 2011 | Updated September 2026, 4 days ago
Following the linguistic model of [Paul Celan's] poem, I have divided the musical form into nine sections with each section connected to the next one by a sequence of six notes in the vocal part. At the second entry of the hosanna in the eighth section this "refrain" is processed by the piano into a fugue with contrapuntal subordinate voices of the first piano entry -- which also recur in "counter motif" several times in the piece -- with final "Engführung" of the "refrain" theme. Not only by this strict form, but also by forms such as agglomerations and the piling of tone groups one upon the other I have attempted to investigate the concept and situation of "Engführung" in all its mental and atmospheric interpretations.
This opus was composed in November of 1967
Aribert Reimann
After studying composition, counterpoint and piano (under, among others, Boris Blacher) at the Berlin University of the Arts, Reimann took a job as a repetiteur at the Deutsche Oper in Berlin. His first appearances as a pianist and accompanist were towards the end of the 1960s. In the early 1970s, he became a member of the Akademie der Künste in Berlin, and held a professorship in contemporary song at Berlin's Hochschule der Künste from 1983 to 1998.
Reimann's reputation as a composer has increased greatly with several great literary operas, including Lear and Das Schloss (The Castle). Besides these, he has written chamber music, orchestral works and songs. He has been honoured repeatedly, including the Großen Verdienstkreuz mit Stern der Bundesrepublik Deutschland (Great German Cross of Merit, with Star) and the Verdienstorden des Landes Berlin (Berlin Order of Merit).
Invited by Walter Fink, he was the seventh composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 1997, in songs and chamber music with the Auryn Quartet, playing the piano himself.
His commissioned work, Cantus for Clarinet and Orchestra, dedicated to the clarinetist and composer Jörg Widmann, was premiered on January 13, 2006, in the WDR's Large Broadcasting Hall in Cologne, Germany, in the presence of the composer, who claims the work was inspired by Claude Debussy's compositions for clarinet.
His opera Medea after Franz Grillparzer was premiered at the Vienna State Opera in 2010, conducted by Michael Boder, with Marlis Petersen in the title role.
In 2011 he was awarded the Ernst von Siemens Music Prize "für sein Lebenswerk" (for his life's work).
Following the linguistic model of [Paul Celan's] poem, I have divided the musical form into nine sections with each section connected to the next one by a sequence of six notes in the vocal part. At the second entry of the hosanna in the eighth section this "refrain" is processed by the piano into a fugue with contrapuntal subordinate voices of the first piano entry -- which also recur in "counter motif" several times in the piece -- with final "Engführung" of the "refrain" theme. Not only by this strict form, but also by forms such as agglomerations and the piling of tone groups one upon the other I have attempted to investigate the concept and situation of "Engführung" in all its mental and atmospheric interpretations.
This opus was composed in November of 1967
Aribert Reimann
After studying composition, counterpoint and piano (under, among others, Boris Blacher) at the Berlin University of the Arts, Reimann took a job as a repetiteur at the Deutsche Oper in Berlin. His first appearances as a pianist and accompanist were towards the end of the 1960s. In the early 1970s, he became a member of the Akademie der Künste in Berlin, and held a professorship in contemporary song at Berlin's Hochschule der Künste from 1983 to 1998.
Reimann's reputation as a composer has increased greatly with several great literary operas, including Lear and Das Schloss (The Castle). Besides these, he has written chamber music, orchestral works and songs. He has been honoured repeatedly, including the Großen Verdienstkreuz mit Stern der Bundesrepublik Deutschland (Great German Cross of Merit, with Star) and the Verdienstorden des Landes Berlin (Berlin Order of Merit).
Invited by Walter Fink, he was the seventh composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 1997, in songs and chamber music with the Auryn Quartet, playing the piano himself.
His commissioned work, Cantus for Clarinet and Orchestra, dedicated to the clarinetist and composer Jörg Widmann, was premiered on January 13, 2006, in the WDR's Large Broadcasting Hall in Cologne, Germany, in the presence of the composer, who claims the work was inspired by Claude Debussy's compositions for clarinet.
His opera Medea after Franz Grillparzer was premiered at the Vienna State Opera in 2010, conducted by Michael Boder, with Marlis Petersen in the title role.
In 2011 he was awarded the Ernst von Siemens Music Prize "für sein Lebenswerk" (for his life's work).
![Billy Jim Layton, String Quartet in Two Movements (1955-56), First Movement [1 of 2 total]](https://i.ytimg.com/vi/U9InVL2Nz1E/mqdefault.jpg "Billy Jim Layton, String Quartet in Two Movements (1955-56), First Movement [1 of 2 total]
Billy Jim Layton, an innovative American composer of the 1950s and 60s who was well known in his prime but abruptly stopped composing and concentrated on academic pursuits, died on Saturday in Cambridge, Mass. He was 79.
The cause was complications of pneumonia, said his daughter, Daphne Layton.
Mr. Layton, who became the first chairman of the music department at the State University of New York at Stony Brook, was widely recognized in his time as a fresh musical voice. He wrote well-crafted pieces in a style he termed new liberalism, which he described, according to the New Grove Dictionary of Music and Musicians, as a new, rich, meaningful, varied, understandable and vital music which maintains contact with the great cultural tradition of humanism in the West.
Reviewing a performance of Mr. Laytons work in The New York Times in 1960, Eric Salzman wrote, Billy Jim Laytons String Quartet is as vital, as startling, and as overwhelming as if nobody had ever written a quartet before.
Born in Corsicana, Tex., on Nov. 14, 1924, Mr. Layton started out in music as a jazz saxophonist and clarinetist before joining the Air Force and serving in a B-29 bomber in World War II. After the war, he studied at the New England Conservatory of Music, going on to Yale for his masters degree and Harvard for his Ph.D.; his teachers included the composer Walter Piston.
It was at the New England Conservatory that he met his wife, Evro Zeniou, a native of Cyprus, whom he married in 1949.
From 1946 to 1964, Mr. Layton wrote a number of well-received pieces, including Three Dylan Thomas Poems and Three Studies for piano; and won numerous awards, including a Guggenheim fellowship and the Rome Prize Fellowship of the American Academy of Arts and Letters.
In 1966, Mr. Layton was appointed chairman of the new music department at Stony Brook, which he helped to establish as a dynamic presence on the music scene, bringing in important composers and performers, in a tradition that remains alive today. In 2002, Brian Wise acknowledged the Stony Brook music department as small but vital in The New York Times.
In 1992, Mr. Layton retired and moved with his wife to Cambridge to be near his two children, Alexis and Daphne, and two grandchildren, all of whom survive him.
This recording of the String Quartet in Two Movements (1955-56) is by the Claremont String Quartet.
We apologize humbly, profusely, and on our bended knees for the execrable sound quality of this 1950s thirty-three-and-one-third revolutions-per-minute long-playing microgroove recording.")
![Claude Ballif, Sonate pour flûte et piano Op. 23 [1958] - 1 of 2](https://i.ytimg.com/vi/VE2in5tjJHw/mqdefault.jpg "Claude Ballif, Sonate pour flûte et piano Op. 23 [1958] - 1 of 2
Claude Ballif - Compositeur français né le 22 mai 1924 à Paris, mort le 24 juillet 2004 à Poissons, Haute-Marne. Claude Ballif a étudié au Conservatoire de Paris dans les classes de Noël Gallon, Tony Aubin et Olivier Messiaen. Puis à Berlin en 1954 auprès de Boris Blacher et Josef Rufer. Enfin à Darmstadt avec Luigi Nono, Bruno Maderna, Luciano Berio et Karlheinz Stockhausen. Il obtient en 1955 le Premier prix de composition musicale au concours international de Genève pour son oeuvre orchestrale Lovecraft et son premier Quatuor à cordes. En 1956 il publie dans la Revue Musicale son traité : Introduction à la métatonalité.
De retour en France en 1959, il entre comme assistant au GRM où il restera jusquen 1963. Rencontrant Iannis Xenakis, François Bayle et Ivo Malec, Claude Ballif écrit deux pièces pour bande : Etudes au ressort (1961) et Points, Mouvements (1962). Mais lessentiel de sa production demeure instrumentale, avec notamment la création en 1965, au Théâtre des Champs-Elysées, dA Cor et à Cri pour orchestre sous la direction d Hermann Scherchen .
Claude Ballif participe à la création de lUniversité de Paris VIII en 1968 et publie la même année un ouvrage sur Berlioz, il reçoit de nombreux prix et enseigne lanalyse et la composition au Conservatoire de Paris de 1971 à 1990. Depuis, il enseigne ces mêmes matières au Conservatoire de Sevran. En 1984 le Festival Estival de Paris le choisit comme compositeur de lété et organise toute une série de concerts et de manifestations autour de son oeuvre.
Il est Chevalier des arts et lettres en 1984; en 1986 il reçoit le Grand Prix SACEM de la Musique Symphonique; en 1991 il est Officier dans lOrdre national du mérite, puis Commandeur en 1994. Il obtient le Grand Prix national de la Musique en 1999.
Il a publié de nombreux ouvrages sur la musique: Introduction à la Métatonalité, Richard Masse, Paris 1956; Berlioz, Seuil, Paris 1968; Voyage de mon oreille, «10/18», Union Générale dÉdition, 1979; Économie Musicale, Méridiens-Klincksiec, Paris 1988; Lhabitant du Labyrinthe : Entretiens avec Alain Galliari, Pro Musica 1992. Un numéro spécial de la Revue Musicale lui a été consacré en 1968.
Claude Ballif sest toujours situé en marge des écoles et des systèmes, auteur dune oeuvre abondante, il a peu varié dans son esthétique depuis ses débuts de compositeur, fidèle à une écriture atonale (mais non sérielle), usant de micro-intervalles, où lémotion affleure constamment. Compositeur catholique, Claude Ballif a signé plus dune pièce dinspiration sacrée.")
