(b Westfield, ma, 13 April 1938). American composer, pianist and conductor. He was a pupil of Thompson and Spies at Harvard (1954-8) and of Wagner and Strunk at Princeton (1958-60). In 1962-4 he was associated with Stockhausen and in 1966-71 he was a member of Musica Elettronica Viva, based in Rome. During this period his music gained a socialist message (e.g. Coming Together, 1972) and he has explored folk and popular melodies; his works are characterized by drive and intensity.
Frederic Rzewski is among the major figures of the American musical avant-garde to emerge in the 1960s, and he has been highly influential as a composer and performer. He was born in Westfield, Massachusetts, earned his B.A. in music at Harvard, and later received an M.F.A. from Princeton, where he had the privilege of studying with Roger Sessions and Milton Babbit. A Fulbright scholarship allowed him to travel to Florence in 1960 to study for a year with Luigi Dallapiccola. Since then, except for a five-year period in the 1970s, he has mainly lived in Europe. He first came to public attention as a performer of new piano music, having participated in the premieres of such monumental works as Stockhausen's Klavierstück X (1962). In 1966, he founded, with Alvin Curran and Richard Teitelbaum, the famous ensemble Musica Electronica Viva (MEV). MEV combined free improvisation with written music and electronics. These experimentations directly led to the creation of Rzewski's first important compositions, pieces such as Les moutons de Panurge, a so-called "process piece," which also combines elements of spontaneous improvisation with notated material and instructions. Rzewski's improv-classical hybrids are some of the most successful of the kind ever produced thanks to the fervent energy at the core of his music. During the 1970s, his music continued to develop along these lines, but as his socialist proclivities began to direct his artistic course, he developed new structures for instrumental music that used text elements and musical style as structuring features. Attica, which includes the recitation of a prison letter, and The People United Will Never Be Defeated, a virtuosic set of piano variations, are his most well-known works of the period. In 1977, he was made professor of composition at the Royal Conservatory of Liège, Belgium, and has continued to teach there since. During the 1980s, Rzewski produced a number of surprising twelve tone compositions that (happily) provided fresh ideas of what could be done with serial systems. The 1990s saw him revisiting, via scored music, some highly spontaneous approaches to composition that recall his inspired experiments of the late 1960s. Rzewski's music is among that which defines postwar American new music. He has consistently given the exuberant boyish pleasures of a composer like Copland within the rigorously experimental framework of a composer like Cage. Often unapologetically tonal and fun, Rzewski's music cuts right through the frequent churlishness of avant garde music. ~ Donato Mancini, All Music Guide
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Many of Rzewski's works are inspired by secular and socio-historical themes, show a deep political conscience and feature improvisational elements. Some of his better-known works include The People United Will Never Be Defeated! (36 variations on the Sergio Ortega song El pueblo unido jamás será vencido), a set of virtuosic piano variations written as a companion piece to Beethoven's Diabelli Variations; Coming Together, which is a setting of letters from Sam Melville, an inmate at Attica State Prison, at the time of the famous riots there (1971); North American Ballads; Night Crossing with Fisherman; Fougues; Fantasia and Sonata; The Price of Oil, and Le Silence des Espaces Infinis, both of which use graphical notation; Les Moutons de Panurge; and the Antigone-Legend, which features a principled opposition to the policies of the State, and which was premiered on the night that the United States bombed Libya in April 1986 (ibid). Between his most recent compositions, the most interesting are the two sets of Nanosonatas (2007) and the Cadenza con o senza Beethoven (2003), written on the Beethoven's Fourth Piano Concerto.
Nicolas Slonimsky (1993) says of him in Baker's Biographical Dictionary of Musicians: "He is furthermore a granitically overpowering piano technician, capable of depositing huge boulders of sonoristic material across the keyboard without actually wrecking the instrument."
Frederic Rzewski Nonsequiturs - Writings & Lectures on Improvisation, Composition, and Interpretation. Unlogische Folgerungen - Schriften und Vorträge zu Improvisation, Komposition und Interpretation. Edition Musiktexte, Cologne, 2007. ISBN 3-9803151-8-5
Sources
Murray, Edward. "Rzewski, Frederic," in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vols. London: Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2.
Murray, Edward. "Rzewski, Frederic". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. 29 vols. London: Macmillan Publishers, 2001. ISBN 1-56159-239-0.
Slonimsky, Nicolas. The Concise Edition of Baker's Biographical Dictionary of Musicians, 8th ed. Revised by Nicolas Slonimsky. New York: Schirmer Books, 1993. ISBN 0-02-872416-X.
References
^ "Frederic Rzewski," in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980.