Author Topic: Samuel (Hans) Adler [1928 - TBA]  (Read 639 times)

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Offline Scion7

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Samuel (Hans) Adler [1928 - TBA]
« on: September 05, 2021, 12:10:28 AM »
German Jew born in Mannheim in 1928.  Came from musical family - father was a composer of Jewish religious music.
Family wisely got out in 1939 to America before it was too late.  As an adult, he has lived in Dallas, Tx and later in Rochester, NY in 1966.
He was educated at Boston University, and also at Harvard.
Some of his famous teachers were: Piston, Thompson, Hindemith, and Fine at Harvard (1948-1950); and Copland at Tanglewood (1949, 1950).
He was married to Carol Starker (1960-1989) and currently to conductor Emily Brown Freeman (1991- ).
Besides his memoirs, he is the author of three books about music and has written for many magazines over his years.
A prolific composer, his music covers the ground from serial techniques to "melodic Modern," typically using much orchestral colour.

selected works from New Grove - see full listing at:  https://www.samuelhadler.com/works
instrumental
Orch: Sym. no.1, 1953
 Sym. no.2, 1957
 Southwestern Sketches, wind, 1960
 Sym. no.3 ‘Diptypch’, 1960, rev. 1980
 Requiescat in pace, 1963
 Sym. no.4 ‘Geometrics’, 1967
 Conc., ww, brass, perc, 1968
 Org Conc., 1970
 Conc. for Orch, 1971
 Sym. no.5 ‘We are the Echoes’ (C. Adler, A.J. Heschel, J.R. Oppenheimer, M. Rukeyser, K. Wolfskehl), Mez, orch, 1975
 Concertino no.2, 1976
 Fl Conc., 1977
 Pf Conc., 1983
 Sym. no.6, 1985
 Conc., ww qnt, orch, 1991
 Concertino no.3, 1993
 Time in Tempest Everywhere, 1993
 Gui Conc., 1994
 Vc Conc., 1995
 Pf Conc. no.2, 1996
 Viola Conc, 1998
 Violin Concerto, 2012
 c38 other works, incl. c19 works for wind ens, brass

Chbr and solo inst: Sonata, hn, pf, 1948
 Str Qt no.3, 1953
 Sonata, vn, pf, 1956
 Introduction and Capriccio, hp, 1964
 Pf Trio no.1, 1964
 Sonata no.3, vn, pf, 1965
 Sonata, vc, pf, 1966
 Cantos I–XV, various insts, 1968–96
 4 Dialogues, euphonium, marimba, 1974
 Str Qt no.6 (W. Whitman), Mez/Bar, str qt, 1975
 Aeolus, God of the Winds, cl, vn, vc, pf, 1977
 Pf Trio no.2, 1978
 Sonata, fl, pf, 1981
 Str Qt no.7, 1981
 Gottschalkiana, brass qnt, 1982
 Sonata, va, pf, 1984
 Sonata, gui, 1985
 Sonata, ob, pf, 1985
 Str Qt no.8, 1990
 A Mediterranean Suite, vn, pf, 1992
 c50 other works

keyboards:
 Toccata, Recitation and Postlude, org, 1959
 Sonata breve, pf, 1963
 Pf Sonatina, 1979
 Hpd Sonata, 1982
 Duo Sonata, 2 pf, 1983

stage
The Outcast of Poker Flat (op, 1, J. Stampfer), 1959, Dallas, April 1961; The Wrestler (op, 1, Stampfer), 1971, Dallas, June 1972; The Lodge of Shadows (musical drama, J. Ramsey), Bar, orch, dancers, 1973, Fort Worth, TX, 1988; The Disappointment (op, A. Barton), 1974 [reconstruction of an early ballad opera]; The Waking (ballet, T. Roethke and others), chorus, orch, 1978

vocal
Shir chadash (Sabbath service), B, SAB, org, 1960; The Vision of Isaiah (Bible), B, SATB, orch, 1962; B’Shaaray tefilah (Sabbath service), B, SATB, org/orch, 1963; Shiru Ladonay (Sabbath service), solo/unison vv, org, 1965; Behold your God (cant., Bible), 1966; The Binding (orat, A. Friedlander, after Bible: Genesis, Midrash), 1967; From out of Bondage (Bible), S, A, T, B, SATB, brass qnt, perc, org, 1968; A Whole Bunch of Fun (cant., G.V. Catullus, Finjan, Moore, O. Nash, Roethke, Dr Seuss), vv, orch, 1969; We Believe (liturgical), mixed vv, 8 insts, 1974; Of Saints and Sinner (I. Feldman, W. Kaufmann, others), medium v, pf, 1976; A Falling of Saints (Rosenbaum), T, B, chorus, orch, 1977; It is to God I shall Sing (Pss), chorus, org, 1977; Of Musique, Poetrie, Nature and Love (R. Herrick), Mez, fl, pf, 1978; Snow Tracks (Amer. poets), high v, wind, 1981; Choose Life, Mez, T, SATB, orch, 1986; 6 other large choral works; numerous smaller sacred and secular choral works; c20 works for solo vv, acc. and unacc.; works for children; arrs.


« Last Edit: September 06, 2021, 09:08:55 PM by Scion7 »
The Germans, who make doctrines out of everything, deal with music learnedly; the Italians, being voluptuous, seek in it lively, though fleeting, sensations; the French, more vain than perceptive, manage to speak of it wittily; and the English pay for it . . . - Stendhal

Offline Scion7

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Re: Samuel (Hans) Adler [1928 - TBA]
« Reply #1 on: September 05, 2021, 12:11:17 AM »
An excellent overview of his chamber music is currently on YT:

https://www.youtube.com/playlist?list=OLAK5uy_l-Rh3AsXQZnjBmJBMESLU6TTTlpVo1N-4
The Germans, who make doctrines out of everything, deal with music learnedly; the Italians, being voluptuous, seek in it lively, though fleeting, sensations; the French, more vain than perceptive, manage to speak of it wittily; and the English pay for it . . . - Stendhal

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Re: Samuel (Hans) Adler [1928 - TBA]
« Reply #2 on: September 05, 2021, 07:27:50 AM »
German Jew born in Mannheim in 1928.  Came from musical family - father was a composer of Jewish religious music.
Family wisely got out in 1939 to America before it was too late.  As an adult, he has lived in Dallas, Tx and later in Rochester, NY in 1966.
He was educated at Boston University, and also at Harvard.
Some of his famous teachers were: Piston, Thompson, Hindemith, and Fine at Harvard (1948-1950); and Copland at Tanglewood (1949, 1950).
He was married to Carol Starker (1960-1989) and currently to conductor Emily Brown Freeman (1991- ).
Besides his memoirs, he is the author of three books about music and has written for many magazines over his years.
A prolific composer, his music covers the ground from serial techniques to "melodic Modern," typically using much orchestral colour.

instrumental
Orch: Sym. no.1, 1953
 Sym. no.2, 1957
 Southwestern Sketches, wind, 1960
 Sym. no.3 ‘Diptypch’, 1960, rev. 1980
 Requiescat in pace, 1963
 Sym. no.4 ‘Geometrics’, 1967
 Conc., ww, brass, perc, 1968
 Org Conc., 1970
 Conc. for Orch, 1971
 Sym. no.5 ‘We are the Echoes’ (C. Adler, A.J. Heschel, J.R. Oppenheimer, M. Rukeyser, K. Wolfskehl), Mez, orch, 1975
 Concertino no.2, 1976
 Fl Conc., 1977
 Pf Conc., 1983
 Sym. no.6, 1985
 Conc., ww qnt, orch, 1991
 Concertino no.3, 1993
 Time in Tempest Everywhere, 1993
 Gui Conc., 1994
 Vc Conc., 1995
 Pf Conc. no.2, 1996
 Viola Conc, 1998
 c38 other works, incl. c19 works for wind ens, brass

Chbr and solo inst: Sonata, hn, pf, 1948
 Str Qt no.3, 1953
 Sonata, vn, pf, 1956
 Introduction and Capriccio, hp, 1964
 Pf Trio no.1, 1964
 Sonata no.3, vn, pf, 1965
 Sonata, vc, pf, 1966
 Cantos I–XV, various insts, 1968–96
 4 Dialogues, euphonium, mar, 1974
 Str Qt no.6 (W. Whitman), Mez/Bar, str qt, 1975
 Aeolus, God of the Winds, cl, vn, vc, pf, 1977
 Pf Trio no.2, 1978
 Sonata, fl, pf, 1981
 Str Qt no.7, 1981
 Gottschalkiana, brass qnt, 1982
 Sonata, va, pf, 1984
 Sonata, gui, 1985
 Sonata, ob, pf, 1985
 Str Qt no.8, 1990
 c50 other works

keyboards:
 Toccata, Recitation and Postlude, org, 1959
 Sonata breve, pf, 1963
 Pf Sonatina, 1979
 Hpd Sonata, 1982
 Duo Sonata, 2 pf, 1983

stage
The Outcast of Poker Flat (op, 1, J. Stampfer), 1959, Dallas, April 1961; The Wrestler (op, 1, Stampfer), 1971, Dallas, June 1972; The Lodge of Shadows (musical drama, J. Ramsey), Bar, orch, dancers, 1973, Fort Worth, TX, 1988; The Disappointment (op, A. Barton), 1974 [reconstruction of an early ballad opera]; The Waking (ballet, T. Roethke and others), chorus, orch, 1978

vocal
Shir chadash (Sabbath service), B, SAB, org, 1960; The Vision of Isaiah (Bible), B, SATB, orch, 1962; B’Shaaray tefilah (Sabbath service), B, SATB, org/orch, 1963; Shiru Ladonay (Sabbath service), solo/unison vv, org, 1965; Behold your God (cant., Bible), 1966; The Binding (orat, A. Friedlander, after Bible: Genesis, Midrash), 1967; From out of Bondage (Bible), S, A, T, B, SATB, brass qnt, perc, org, 1968; A Whole Bunch of Fun (cant., G.V. Catullus, Finjan, Moore, O. Nash, Roethke, Dr Seuss), vv, orch, 1969; We Believe (liturgical), mixed vv, 8 insts, 1974; Of Saints and Sinner (I. Feldman, W. Kaufmann, others), medium v, pf, 1976; A Falling of Saints (Rosenbaum), T, B, chorus, orch, 1977; It is to God I shall Sing (Pss), chorus, org, 1977; Of Musique, Poetrie, Nature and Love (R. Herrick), Mez, fl, pf, 1978; Snow Tracks (Amer. poets), high v, wind, 1981; Choose Life, Mez, T, SATB, orch, 1986; 6 other large choral works; numerous smaller sacred and secular choral works; c20 works for solo vv, acc. and unacc.; works for children; arrs.




I had two positive interviews with him when I was applying to the Eastman School.  I don't know a note of his music. Do you have an entrée to suggest? I certainly keep his Orchestration text handy.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline Scion7

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Re: Samuel (Hans) Adler [1928 - TBA]
« Reply #3 on: September 05, 2021, 10:51:51 PM »
The most extensive release of his (mostly) orchestral music:

https://www.youtube.com/playlist?list=OLAK5uy_nmvFAgWx6URZbcrLxW2-psJqCxDqwTAto
The Germans, who make doctrines out of everything, deal with music learnedly; the Italians, being voluptuous, seek in it lively, though fleeting, sensations; the French, more vain than perceptive, manage to speak of it wittily; and the English pay for it . . . - Stendhal

Offline Scion7

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Re: Samuel (Hans) Adler [1928 - TBA]
« Reply #4 on: September 05, 2021, 10:56:04 PM »
I had two positive interviews with him when I was applying to the Eastman School.  I don't know a note of his music. Do you have an entrée to suggest? I certainly keep his Orchestration text handy.

He's done a lot of good work.  The sonata for horn and piano - an early work - is one of the best of its kind.
The 2nd symphony is entertaining - reminding me of Copland at times.

I would say visit YT and sample from the links I've left and also see the string quartets that have been posted, and see what tickles your cochlea . . .


The Germans, who make doctrines out of everything, deal with music learnedly; the Italians, being voluptuous, seek in it lively, though fleeting, sensations; the French, more vain than perceptive, manage to speak of it wittily; and the English pay for it . . . - Stendhal