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• W267337196 abstract "CHARLES BESTOR (b. 1924, New York City) is currently Professor of Music Composition and Director of the Electronic Music Studio at the University of Massachusetts, Amherst. His composition training was with Paul Hindemith, Vincent Persichetti, and Peter Mennin at the Juilliard School, and independently with the electronic music composer, Vladimir Ussachevsky. He has written numerous works in a variety of mediums. Many of the early works were dodecaphonic and influenced by Hindemithian counterpoint. The composer has stated that in his more recent music, much of it in the electronic medium, he increasingly has explored the integration of jazz-derived, tonally based harmonic, melodic, and rhythmic elements into the formal structures of conventional concert music. Bestor is well known for his instrumental works, having received numerous fellowships (including one from the National Endowment for the Arts), commissions, and prizes in international competitions. But he may be less familiar to singers. Happily, among his wildly diverse output are two magnificent song cycles, Of Times and Their Places (1988, revised 1994) and For Ann, in Autumn (1999). Bestor is a Fellow of the MacDowell Colony, Yaddo, the Ragdale Foundation, the Virginia Center for the Creative Arts, and the Tyrone Guthrie Centre, Ireland. During these residencies, he met other artists with whom he has collaborated on various projects. One such collaboration is found in Of Times and Their Places. This fourteen minute cycle for soprano or mezzo soprano and piano (he provides the songs in two keys) contains texts by poets who were in residence at various times at these artist colonies. Bestor also contributed one of his own poems to the cycle. The songs are: Awake Once More in Spring (Kathryn Nocerino); It is a Fine Evening-A New York Pastorale (Kathryn Nocerino); Nights, in Small Voice I Call You (Bea Opengart); My Summer Love Too Late (Charles Bestor); and I'll Come No More to that Enchanted Wood (Cyd Ricketts Sumner). These reflective songs are of varying lengths and in an arch form. The first and last songs, and the second and fourth songs are related to one another musically and textually, while the third song forms the center or keystone of the arch. The cycle loosely traces the passage from dawn to dusk, spring to autumn, in a mostly contemplative way. This is intelligent, often pensive, music and poetry. Bestor writes beautifully for the voice, using a wide, approximately two octave, range. The vocal lines are traditional in concept, mostly angular, winding, at times conversational, with a little use of Sprechstimme, but generally extravagantly spun out and expressive over a piano accompaniment that never detracts from the text. Rather, it completely supports the voice tonally while allowing for prepared dissonance that helps to project the poignant and moving texts. Only song number four, My Summer Love Too Late, is overtly romantic and sentimental in the most complimentary use of those terms. This song contains a long, thoughtful, introspective twenty-seven bar piano commentary in the middle of the piece. The last song is short, full of the sights and smells of a place in the woods, and ends quietly and calmly as the voice holds the word stood over ten slow measures of pianistic serenity. These songs are not student pieces. They would be a marvelous addition to an advanced singer's repertoire. They require excellent diction, a flexible, wide vocal range with good use of the chest voice in either key, steady breath control, and an ability to achieve dramatic contrast through dynamic control and tone color variety. …" @default.
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• W267337196 date "2007-03-01" @default.
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• W267337196 title "Good, Better, Bestor" @default.
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