Rhythmic Training Robert Starer Pdf Writer
Robert Starer's Home PageRobert StarerJanuary 8, 1924 to April 22, 2001 This home page was written by Robert Starer before his death:Welcome to my Web Site. Tobegin with: a brief biography.
Series: Instructional Format: Softcover Author: Robert Starer. A continuation of Basic Rhythmic Training, this collection of progressive rhythmic drills is designed to increase a music student's proficiency in executing and understanding Rhythm. The exercises begin very simply and proceed to more complex meters, beat divisions and polyrhythms. Series: Instructional Format: Softcover Author: Robert Starer A continuation of Basic Rhythmic Training, this collection of progressive rhythmic drills is designed to increase a music student's proficiency in executing and understanding Rhythm.
Longer, more detailed ones are availablefrom a number of sources. Included here is an autobiographical storycalled CONTINUO, which deals with my early years in Vienna and Jerusalem.To help youlocate one of my compositions I have prepared two lists of work: one bypublisher and one by instrument. (A complete list of works with the datesthey were written can be found in the 2001 edition of Grove's Dictionary).On this web siterecordings, books and articles areseparate. Theses are not included.
Neither are reviews.My feelings about listing reviews are that if you like my music, you don't needthem and if you don't like it, they won't convince you.I hope you findthis information useful and I thank you for your interest.BiographyROBERT STARER was born in Vienna in 1924 and entered the State Academyof Music at the age of 13. Soon after Hitler's annexation of Austria, he went toJerusalem and continued his studies at the Palestine Conservatoire. During WorldWar II, he served with the Royal British Air Force. In 1947, he came to New Yorkfor post-graduate study at the Juilliard School and also studied withAaron Copland at Tanglewood in 1948. He became an American citizen in 1957.
He has taught at Juilliardfrom 1949 to 1974 and at Brooklyn College and the Graduate Center of the CityUniversity of New York from 1963 to 1991. He was named a Distinguished Professorin 1986. Among his honors are two Guggenheim Fellowships and grants from theNational Endowment and the Ford Foundation. He was elected a member of the American Academy of Arts and Letters in 1994, awarded the Medal of Honor for Science and Art by the President of Austria in 1995, an Honorary Doctorate by the State University of New York in 1996 and a Presidential Citation by the National Federation of Music Clubs in 1997.His stage works include three operas with libretti by Gail Godwin and several ballets for Martha Graham. His orchestral works have been performed by major orchestras here and abroad under such conductors asMitropoulos, Bernstein, Steinberg, and Mehta. Interpreters of his music include Janos Starker, Jaime Laredo, Paula Robison and Leontyne Price. The recording of his Violin Concerto(Itzhak Perlman with the Boston Symphony under Seiji Ozawa) was nominated for a Grammy.
Excerpts from his book CONTINUO: A Life in Music have appeared in the New Yorker, Musical America, and the London Times. In 1997 the Overlook Press published THE MUSIC TEACHER, his first work of fiction. The opening chapter was excerpted in The Keyboard Companion. CD recordings of his music are available from CRI, VOX, Albany Records, Transcontinental andMMC.From: Continuo: A Life in Music, Random House, New York, 1987:'Nations go through stages just as human beings do; in essence there areonly three such stages (not counting birth and death), the first being ascentand the vigor of youth; the second maturity and the height of power; the thirddecline and the diminishing of vital forces.The Austria of my childhood was already past the third stage. The JewishPalestine I knew in my teens had just begun its youthful ascent and was the mostidealistic society I have even known. The British were just beyond their highestpeak when I proudly wore their uniform. They fought valiantly, but while theydid win the war, it cost them dearly.The United States that I came to as a student in 1947, was young, pure andstrong when I arrived.
It had beaten evil and felt itself untainted by it.Why all these observations? Mainly to see my own life in relation to that ofsocieties I have been part of. It appears that I have swum against the stream;that I moved from an old, decaying civilization to a young, powerful one, havingtouched others in between.How has all this affected me and my music? I have probably selected whatsuited me from all the cultures that have touched me, and rejected or ignoredwhat was incompatible with my nature. In my music, I have been told, there areelements of Viennese sentiment, Jewish melisma, Near Eastern playfulness andAmerican jazz. These elements must have been compatible with my nature to havebecome part of my style and musical personality. Other features of the culturesI have known did not become part of me.
This has led me to believe that whileour lives are shaped by events that others control, we do have the choice ofaccepting from the worlds around us only what can coexist with our essentialself.' Nations go through stages just as human beings do; in essence there are onlythree such stages (not counting birth and death), the first being ascent and thevigor of youth; the second maturity and the height of power; the third declineand the diminishing of vital forces.The Austria of my childhood was already past the third stage. The JewishPalestine I knew in my teens had just begun its youthful ascent and was the mostidealistic society I have even known. The British were just beyond their highestpeak when I proudly wore their uniform.
They fought valiantly, but while theydid win the war, it cost them dearly.The United States that I came to as a student in 1947, was young, pure andstrong when I arrived. It had beaten evil and felt itself untainted by it.Why all these observations? Mainly to see my own life in relation to that ofsocieties I have been part of. It appears that I have swum against the stream;that I moved from an old, decaying civilization to a young, powerful one, havingtouched others in between.How has all this affected me and my music? I have probably selected whatsuited me from all the cultures that have touched me, and rejected or ignoredwhat was incompatible with my nature. In my music, I have been told, there areelements of Viennese sentiment, Jewish melisma, Near Eastern playfulness andAmerican jazz. These elements must have been compatible with my nature to havebecome part of my style and musical personality.
Other features of the culturesI have known did not become part of me. This has led me to believe that whileour lives are shaped by events that others control, we do have the choice ofaccepting from the worlds around us only what can coexist with our essentialself.' Contact:Daniel Starer(son and executor)59 West 85th St.New York, NY 10024email.
Robert Starer (8 January 1924[1] in Vienna – 22 April[2] 2001 in Kingston, New York) was an Austrian-born Americancomposer, pianist and educator.[3]
Robert Starer began studying the piano at age 4 and continued his studies at the Vienna State Academy. After the 1938 plebiscite in which Austria voted for annexation by NaziGermany, Starer left for Palestine and studied at the Jerusalem Conservatory with Josef Tal. In World War II he served in the British Royal Air Force. And in 1947 he settled in the United States. He studied composition at the Juilliard School in New York with Frederick Jacobi[4], then with Aaron Copland in 1948 and received a postgraduate degree from Juilliard in 1949. Starer became an American citizen in 1957.
Robert Starer taught at the Juilliard School, Brooklyn College and the Graduate Center of the City University of New York where he became a distinguished professor in 1986. He was married, had one child, Daniel, and resided in Woodstock, NY until his death. He lived with writer Gail Godwin for some thirty years; the two collaborated on several librettos.
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Starer was prolific and composed in many genres. His music was characterized by chromaticism and driving rhythms. His vocal works, whether set to English or Hebrew texts, were particularly praised. He composed the score for Martha Graham's 1962 ballet Phaedra. He also wrote four operas, The Intruder (1956), Pantagleize (1967), The Last Lover (1975), and Apollonia (1979). Notable concertos include Violin Concerto which was written for Itzhak Perlman and recorded by the Boston Symphony Orchestra, Seiji Ozawa, conductor, and his Cello Concerto, commissioned by Janos Starker and recorded by Pro Arte Chamber Orchestra, Leon Botstein, conductor.
One of Starer’s better-known pieces is 'Even and Odds' for young pianists.
He is also known for his pieces entitled 'Sketches in Color', as well as his sight-reading training manual, 'Rhythmic Training.'
He died on April 22, 2001 in Kingston New York.
He is buried in Artists Cemetery, Woodstock, Ulster County, New York.
References[edit]
- ^Music Information Center Austria
- ^Gaylord Music LibraryArchived 2009-06-25 at the Wayback Machine Necrology:2001
- ^Starer, Robert. (1987) Continuo – A Life in Music. Random House, New York. ISBN0-394-55515-5.
- ^Butterworth, Neil (2013). Dictionary of American Classical Composers. Routledge. p. 231. ISBN1136790241.
Other sources[edit]
- Jaques Cattell Press (Ed.): Who's who in American Music. Classical. First edition. R. R. Bowker, New York 1983.
- Darryl Lyman: Great Jews in Music. J. D. Publishers, Middle Village, N.Y, 1986.
- Stanley Sadie, H. Wiley Hitchcock (Ed.): The New Grove Dictionary of American Music. Grove's Dictionaries of Music, New York, N.Y. 1986.
External links[edit]
- Robert Starer interview by Bruce Duffie, March 21, 1987
- David Dubal interview with Robert Starer, WNCN-FM, 7-Oct-1984