Word: rzewski
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...Fredrick Rzewski's Two Songs confirmed the initial impression they made in a Lab concert: that they were well constructed and his finest work to date. His earlier Trio, despite some lovely lyricism at times, lacked integration, and was only spasmodically expressive...
...Rilke Songs, by Frederic Rzewski, which followed, are written in a twelve-tone idiom of particular expressivity. They are for soprano with piano accompaniment, and are based upon two poems from the Book of Hours. Rzewski's music, although not easily accessible, is definitely to be reckoned with. In the first song particularly, there were moments of real beauty...
Stephen Addiss and Frederic Rzewski, of the Composer's Laboratory, planned and organized this program, to give composers at Harvard a much-needed opportunity to have their works performed before an audience. That music of quality is being produced, both in the faculty and the student body, was fully demonstrated...
...trio for trumpet, flute, and piano by Frederic Rzewski was played by John Gibson, Karen Peterson, and the composer. In the three movements of this intensely dissonant work, Rzewski arrives at some very unusual instrumentations. The piece is difficult to understand after only one hearing, but there is always activity, the music is always going somewhere, even when the direction is unclear. In spirit, if not to the note, the trio is a twelve-tone work, in the style of Schoenberg and his disciples. This performance was not altogether successful. Rzewski was too heavy-handed at times, and John Gibson...
...piano reduction of Claudio spies Music for a Ballet, an orchestral score which won the 1956 Nadia Boulanger Prize, was performed by Ann Besser and Rzewski. The work is in four movements--Prelude, Vivace, Pantomine, and Pas d'action. It is impossible to judge a symphonic piece fairly after hearing it on the piano. The repeated-chord figurations which were so annoying would probably have been effective, had they been lightly chanted by a woodwind choir (or even played much more softly on the pianos). The melodies that could be heard above the accompanimental material were often charming and expressive...