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Catching Up on Wolpe

Published online by Cambridge University Press:  04 February 2010

Bayan Northcott
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Extract

During his Tango Marathon at the Almeida Festival last June, the formidable American pianist Yvar Mikhashoff threw in an extra, unheralded example by Stefan Wolpe dating from 1927, which had been passed on to him by Wolpe's pupil, cataloguer, and biographer Austin Clarkson only a couple of weeks before. Not unexpectedly—coming from a socially conscious 25-year old working in Weimar Republic Berlin—the piece opened in a mode of Neue Sachlichkeit stylization similar to Weill, but was soon subjecting its material to a most un Weill-like cross-cutting and discontinuity. Evidently that radical sense of a musical language being freshly created before one's very ears, which at once lends Wolpe's later music such immediacy from moment to moment and makes it so demanding to grasp in the large, was latent from the start.

Type
Research Article
Information
Tempo , Issue 154 , September 1985 , pp. 11 - 14
Copyright
Copyright © Cambridge University Press 1985

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References

1 In Music and Civilization: Essays in Honour of Paul Henry Lang, edited by Strainchamps, Edmond and Maniates, Maria Rika with Hatch, Christopher (New York: W.W. Norton, 1984)Google Scholar.

2 What are Winds & What are Waters, by Morley, Hilda (Palo Alto: Matrix Press, 1983)Google Scholar.

3 This has been exquisitely recorded by Russell Sherman on New World Records Nw 306.

4 WOLPE: Symphony (1956). SCHOENBERG: Erwartung. Susan Davenny Wyner (sop), Orchestra of the 20th Century, c. Arthur Weisberg. CRI SD 503. WOLPE: Enactments for Three Pianos (1950–53). Second Piece for Violin Alone. From Here on Farther. Continuum. Nonesuch 78024.