Elizabeth Brown (composer and performer)

Last updated
Elizabeth Brown
Born1953
Camden, Alabama, United States
NationalityAmerican
EducationThe Juilliard School, University of Cincinnati – College-Conservatory of Music
Known forComposing, flute, shakuhachi, theremin
StyleContemporary, experimental
Spouse(s) Lothar Osterburg
Awards Guggenheim Fellowship, New York Foundation for the Arts, New Music USA
Website Elizabeth Brown

Elizabeth Brown (born 1953) is an American contemporary composer and performer, known for music described as otherworldly, which employs microtonal expression, unique instrumentation and a morphing, freewheeling language. [1] [2] [3] Her work is frequently commissioned for specific ensembles (e.g., Newband, Orpheus Chamber Orchestra) [4] [5] and has been performed internationally in solo, chamber and orchestral contexts at venues including Carnegie Hall, Boston's Symphony Hall, the Smithsonian Institution, and the Hanoi National Conservatory of Music. [6] [7] [8] [9] She has written extensively for flute, unconventional instruments such as the Partch complement and theremin, and the traditional Asian shakuhachi and đàn bầu ; she combines them in original ways that mix Western and Eastern, ancient and modern, and experimental and conventionally melodic sensibilities. [10] [11] [12] Composer and critic Robert Carl calls Brown a "gentle maverick" whose avant-gardism bends and subverts traditional tropes with an unironic, unpretentious manner "that is fresh and imaginative, but never afraid of beauty, nor of humane warmth." [13]

Contents

As a multi-instrumentalist, Brown is best known for flute, shakuhachi and theremin. She has performed at Lincoln Center, Carnegie Hall, Symphony Hall in Boston, and the World Shakuhachi Festival (London), among other venues. [14] [15] [16] Her music was recognized with a Guggenheim Fellowship in 2007; [17] she has also received awards from the New York Foundation for the Arts, New Music USA, and composition competitions in Tokyo for traditional Japanese instrumentation, a rarity for a Westerner. [18] [19] [20] Brown lives in Red Hook, New York in the Hudson Valley and is married to visual artist and frequent collaborator Lothar Osterburg. [21] [22]

Elizabeth Brown, Rural Electrification, staged chamber opera for voice, theremin and recorded sound, 2006, performance still. Elizabeth Brown Rural Electrification 2006.JPG
Elizabeth Brown, Rural Electrification, staged chamber opera for voice, theremin and recorded sound, 2006, performance still.

Early life and career

Elizabeth Cecile Brown was born in 1953 in the small town of Camden, Alabama and grew up on an agricultural research station and working farm there. [23] [17] Despite the area's cultural limitations, she studied piano, performed in church choirs and school bands, and took up the flute at age 16. [24] [25] After a year at University of Southern Mississippi, she transferred to College-Conservatory of Music in Cincinnati (BM, 1975), studying with Robert Cavally. [23] She subsequently moved to New York, finding work as a union usher at Lincoln Center—a three-year experience she considers foundational to her education—and was accepted into The Juilliard School a year later. [23] [20]

After studying under Samuel Baron and earning a degree in flute performance at Juilliard (MM, 1977), Brown established herself in New York's freelance performance community. She subbed at the Metropolitan Opera and New Jersey Symphony Orchestra, and toured with groups such as Orpheus Chamber Orchestra and Philharmonia Virtuosi, gaining notice in the New York Times and other publications for her technique and musicianship. [26] [27] [28] [29] [30] In the 1980s, as a member of a dance company, Gathering Wood, she began her composing career while in her late 20s, despite the lack of formal training in composition. [31] [32] [33] [25]

While on an orchestra tour of Japan during this period, Brown discovered the shakuhachi, an ancient Japanese bamboo flute whose varied, subtle tones she has likened to the private music in her head. [5] The instrument evokes nature and was traditionally played by mendicant Zen monks as a mode of meditation. [34] [35] After studying in the Kinko School tradition with Ralph Samuelson, and Mizuno Komei and Yamato Shudo in Japan, the instrument became a major influence on her musical language. [20] In subsequent years, Brown learned the theremin—after seeing a documentary on the life of Leon Theremin in the mid-1990s—and the đàn bầu (Vietnamese monochord), traveling to Vietnam to study in 2000. [23] [36] She has incorporated all three instruments into her composing.

Composing

Brown's experience as a performer has shaped the way she composes. [13] [5] She gravitates toward instruments with distinctive, weightless timbres and the capacity for subtle inflections and wavering pitches, which glide in and out to blur or dissolve seemingly "normal" melodies and harmonies. [37] [1] As a result, her sound is often characterized as otherworldly, dreamlike and hallucinatory, whimsical, and sometimes, melancholy. [10] [12] [13] [1] Some writers compare her musical language to memory, with glimmers of thought emerging through microtonal expression, subtle textures, and unexpected recognizable sounds and musical references. [24] [37] [1] Composer and critic Kyle Gann calls her approach a "smooth, introverted surrealism," blending stream-of-conscious non-sequiturs, strange conceits and quotations (of Classical, standards and folk music) into elegant wholes that draw listeners into complicity rather than provoking them. [1] The American Record Guide writes that Brown combines "avant-garde gestures with open-hearted songfulness." [10]

Flute and chamber music

Brown's flute compositions often employ an extended microtonal technique influenced by shakuhachi music and birdsong. [34] The Los Angeles Times described her early piece "Augury" (1987, for flute and guitar) as a "mystical, quirky" work using simple tonal language, inventive guitar effects and dissonance; it won the National Flute Association’s (NFA) Newly Published Music Award in 1988. [38] The NFA later commissioned Brown to write a solo flute piece for its 2000 high school contest: "Trillium" (1999), a delicate, three-part work. [39] [23]

Several of Brown's flute compositions use pre-recorded sound to explore themes involving memory, sensation and place. The cinematic "Travelogue" (1995, performed and recorded by the quartet Flute Force) blends fluctuating melodies, Asian microtonalism, and modernist bent pitch and multiphonic technique to evoke family car trips; its sonic suggestions of arguments, passing cars and a surreal carnival calliope mix humor, nostalgia, delicacy and occasional raucous energy. [40] [41] [42] [43] In 2006, Brown joined Flute Force and together they premiered her "The Baths of Caracalla" (2007) at Carnegie's Weill Hall; the piece surrounds four alto flutes with pre-recorded theremin, flute and psalter whose dissonances, shrieks and slides represent the sights and sounds of the ancient Roman public baths. [7] "Arcana" (2004, commissioned by Toby and Itzhak Perlman) features an Eastern-flavored flute accompanied by recorded theremin and "homemade" drones, creaks, and scratches that evoke tender (a toy shop or dollhouse) and slightly spooky themes (secrets, mysteries, elixirs, intrigue). [12] [11] [3]

Brown's first orchestral piece, "Lost Waltz" (1997), was commissioned by Orpheus Chamber Orchestra. [5] [44] Critics such as The New York Times's Bernard Holland compare its approach to Charles Ives and the repetitive phrases of Janacek, while noting Brown's characteristic "clouds of unreconciled fragments" (e.g., a stray, poignant passage of "Zip-a-Dee-Doo-Dah" on clarinet). [6] [1] Newsday likened its sound to "a ballroom in Atlantis [or] quickly flowing water: attractive, allusive, even poetic." [45] The recording Blue Minor: Chamber Music by Elizabeth Brown (2003) contains five of Brown's flute compositions in chamber music contexts, including "Acadia" (1999), "Blue Minor" (2001), "The Memory Palace" (1990) and "Liguria" (1999), the latter commissioned for the New York New Music Ensemble. [1] [46] [47] The fifth piece, "Figures in a Landscape" (1995) opens with harmonies recalling Aaron Copland, before creating what Kyle Gann calls "an inescapably eerie scene" by juxtaposing a straight-pitched piano with a wavering violin line like "a warped 78 rpm record." [1]

Compositions for traditional Japanese instruments

Brown has composed many pieces that build on Japanese traditions while diverging in arrangement, orchestration, melodic twists or harmonic progressions. [35] [48] [49] Several works—some created during national park residencies—exploit the shakuhachi's ability to evoke specific natural settings; these include "Acadia" (shakuhachi and flute), "Shakuhachi Duos from Isle Royale" (2005, evoking sound moving across Lake Superior), and "Afterimage" (2011, inspired by the Grand Canyon). [34] [35] The earlier "Hermit Thrush" (1991, shakuhachi) and "The Secret Life of Birds" (1992, flute and koto) use birdsong as inspiration. [2] [50]

Brown's first shakuhachi composition, "Migration" (1990), combines the instrument with a string trio in a dreamlike, spare sonic landscape that recalls traditional Japanese music and theater while retaining a sense of European melody and harmony; reviews suggest the work, a memorial to a friend, evokes both familiar and alien, tragedy and transcendence. [51] [52] Two pieces on Brown's recording Mirage (2013) won Japanese composition competition prizes. "Mirage" (2008; Senzoku Gakuen shakuhachi competition prize) integrates Brown's western training and eastern practice with an iconic shakuhachi riff answered by a string quartet and gentle waltz. [20] [53] "Shinshoufuukei (An Imagined Landscape)" (2010; Makino Yutaka Grand Prize for traditional Japanese instruments, 2011) is a four-movement work using a traditional Japanese orchestra in a nontraditional way; it is a somewhat austere and atypical work for Brown, exploring themes of contemplation, focused attention and longing with meditative, but insistent action driven by percussion rhythms. [10] [20] [3] [53]

Partch instrument works

Brown composed several works for the original microtonal instruments of American composer and inventor Harry Partch, performed internationally by Dean Drummond and Newband. [54] [4] [55] "Archipelago" (1990) imposes a lyrical cello line over a hazy, multi-instrumental microtonal texture, balancing poetry, detail and the uncommon. [56] [57] "Delirium" (1997) challenges listeners with quietly playful, segueing quotations from "Oh! Susanna" and Prokofiev's Peter and the Wolf . [1] [4] The hallucinatory "Seahorse" (2008, also on Mirage) contrasts the propulsive physicality of Partch instruments with Brown's ethereal, floating theremin, evoking the title creature's marine odysseys with throbbing and wheezing, underwater-like sounds. [20] [53] [12] [58]

Compositions for theremin

Brown purchased a Moog Etherwave theremin in 1999; like the shakuhachi and đàn bầu, the instrument's flexible pitch and bending tones create an unearthly vocal quality. [23] [36] Critics distinguish Brown's flute-influenced theremin playing for its subtlety, lyricism and serious artistic intent, in contrast to its frequent use as a novelty instrument. [12] [58] [3] Individual theremin works include "Beatitudes" (2003), "Arcana," "Seahorse," and "Atlantis" (2007, also on Mirage), [59] whose expressively deformed, liquid-like sound (blended theremin and acoustic slide guitar) reviews have likened to "submerged" Segovia or Albéniz. [3] [10] [53] [58]

Elizabeth Brown, A Bookmobile for Dreamers, video and opera performance for theremin and recorded sound in collaboration with Lothar Osterburg, 2011, performance still. Elizabeth Brown A Bookmobile for Dreamers 2011.jpg
Elizabeth Brown, A Bookmobile for Dreamers, video and opera performance for theremin and recorded sound in collaboration with Lothar Osterburg, 2011, performance still.

In 2006, Brown premiered the staged chamber opera Rural Electrification (for voice, theremin and recorded sound) at Brooklyn's Old American Can Factory. [60] [61] A meditation on progress and labor exploring the effects of the advent of electricity on a young rural woman, it was inspired by Brown's Mississippi farming predecessors and historic pamphlets distributed by the Alabama Power Company. [61] [60] [22] The opera featured a duet between soprano vocals (by performance artist Stephanie Skaff) and Brown's cello-like theremin (which mixes in riffs from "Old MacDonald Had a Farm" and "You Are My Sunshine," addressed to a light bulb); they are augmented by field recordings of birds, wind, crickets, creaking wood and clanking metal, and video projections of rustic, rural scenes created by artist Lothar Osterburg. [22] [61]

Brown has created theremin works for several multimedia/performance collaborations with Osterburg, including "Piranesi" (2007), "A Bookmobile for Dreamers" (2011), and "Babel" (2019). [21] [62] "Piranesi" (theremin and string quartet) blends expressive, microtonal vibrato and the high octave and rare lowest register of the theremin to create airy, eerie patterns; [21] [12] [3] Robert Carl compares its color and texture to Ravel. [20] A Bookmobile for Dreamers (theremin and recorded sound) is a video/opera exploring reading, libraries, culture and imagination through a dialogue between Brown's dreamlike playing and the rambling title vehicle, rendered in Osterburg's whimsical style. [62] [63] Other theremin works include "Arboretum" (2013) and "To Walk Humbly" (2014), a memorial to Vietnam War veteran and peace advocate Colonel Robert Rheault. [36] [59]

Performance and collaborations

Brown has performed on flute with the American Composers Orchestra, Orpheus Chamber Orchestra, Philharmonia Virtuosi, and Momenta Quartet, among others. [5] [34] [37] She has played theremin with Newband, the American Symphony at Lincoln Center, the Boston Symphony Orchestra at Symphony Hall, and at Carnegie Hall. [55] [14] [15] She has also played shakuhachi with the New York City Opera, Kohei Nishikawa, Ralph Samuelson, Issui Minegishi, and Momenta Quartet. [64] [65] [23]

In addition to her work with Lothar Osterburg, Brown has collaborated with artist Lorie Novak on the multimedia installations Collected Visions (1992, 2000), which explore female identity, memory and intergenerationality through projected photographs and music. [66] [67] [68] [69] For the AIDS Quilt Songbook, she set Marie Howe's poem A Certain Light to music (for baritone and piano) in 1992. [70] [71]

Recognition and awards

Brown has received a Guggenheim Fellowship (2007), New York Foundation for the Arts fellowships (1992, 2000), and Composers Assistance Program Grants from New Music USA (1994, 2008, 2011). [17] [18] [63] In addition to composition prizes in Japan, she won an Ether Music prize for an original work for theremin in 2005. [20] [72] In 2004, she was awarded recording grants by the Mary Flagler Cary Charitable Trust and Aaron Copland Fund. [20]

Brown has received composer residencies from Montclair State University, Bravo! Vail Valley Music Festival, and Cape and Islands Chamber Music Festival, among others, [73] [74] [17] and artist residencies at the Hanoi National Conservatory of Music, Bellagio Center (Rockefeller Foundation), Bogliasco Foundation, MacDowell Colony, and several national parks. [9] [75] [76] [35] She has received commissions from New Music USA, Electronic Music Foundation, Music from Japan, Fromm Music Foundation, Dartmouth Symphony Orchestra, and many musical ensembles, among others. [77] [63] [78] [79] [5]

Discography

Related Research Articles

Symphony Type of extended musical composition

A symphony is an extended musical composition in Western classical music, most often written by composers for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning common today: a work usually consisting of multiple distinct sections or movements, often four, with the first movement in sonata form. Symphonies are almost always scored for an orchestra consisting of a string section, brass, woodwind, and percussion instruments which altogether number about 30 to 100 musicians. Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the notated music for their own instrument. Some symphonies also contain vocal parts.

Ellen Taaffe Zwilich is an American composer, the first female composer to win the Pulitzer Prize for Music. Her early works are marked by atonal exploration, but by the late 1980s she had shifted to a post-modernist, neo-romantic style. She has been called "one of America's most frequently played and genuinely popular living composers." She was a 1994 inductee into the Florida Artists Hall of Fame. Zwilich has served as the Francis Eppes Distinguished Professor at Florida State University.

The shakuhachi is a Japanese and ancient Chinese longitudinal, end-blown flute that is made of bamboo.

Shulamit Ran is an Israeli-American composer. She moved from Israel to New York City at 14, as a scholarship student at the Mannes College of Music. Her Symphony (1990) won her the Pulitzer Prize for Music. In this regard, she was the second woman to win the Pulitzer Prize for Music, the first being Ellen Taaffe Zwilich in 1983. Ran was a professor of music composition at the University of Chicago from 1973 to 2015. She has performed as a pianist in Israel, Europe and the U.S., and her compositional works have been performed worldwide by a wide array of orchestras and chamber groups.

John Luther Adams American composer

John Luther Adams is an American composer whose music is inspired by nature, especially the landscapes of Alaska, where he lived from 1978 to 2014. His orchestral work Become Ocean was awarded the 2014 Pulitzer Prize for Music.

Elizabeth Maconchy

Dame Elizabeth Violet Maconchy LeFanu was an Irish-English composer.

Toshi Ichiyanagi

Toshi Ichiyanagi is a Japanese composer and pianist and former husband of Yoko Ono.

Newband is a contemporary music ensemble devoted to the performance of microtonal music. The group was founded in 1977 by musicians Stefani Starin and Dean Drummond. As a youth, Drummond performed with maverick composer Harry Partch in a unique ensemble of microtonal instruments that Partch designed and built himself; Drummond performed in the premieres of Partch’s Daphne of the Dunes, And on the Seventh Day Petals Fell in Petaluma, and Delusion of the Fury, as well as on both Partch Columbia Masterworks recordings made during the late 1960s.

Hiroaki Zakōji was a Japanese composer and pianist.

Dean Drummond was an American composer, arranger, conductor and musician. His music featured microtonality, electronics, and a variety of percussion. He invented a 31-tone instrument called the zoomoozophone in 1978. From 1990 to his death he was the conservator of the Harry Partch instrumentarium.

Dalit Hadass Warshaw is a New York-based composer, pianist, thereminist. Previously on the composition and music theory faculty of Boston Conservatory, she currently serves on the composition faculty at Juilliard and CUNY-Brooklyn College. Her works have been performed by dozens of orchestral ensembles, including the New York Philharmonic and Israel Philharmonic Orchestras, the Boston Symphony, the Cleveland Orchestra, the Houston Symphony, the Y Chamber Orchestra, the Colorado Symphony and the Albany Symphony Orchestra. In April 2006, her piece After the Victory for orchestra and chorus, was premiered by the Grand Rapids Symphony and the North American Choral Company. Her first recording, entitled "Invocations" was released by Albany Records in 2011. Her first piano concerto, Conjuring Tristan, was commissioned by the Grand Rapids Symphony in 2014. The work was inspired by Richard Wagner's Tristan und Isolde, as well as by Thomas Mann's novella Tristan. The piece received its world premiere in January 2015, with Warshaw as the soloist.

Makoto Moroi was a Japanese composer.

James Nyoraku Schlefer, born 1956 in Brooklyn, New York, is a performer and teacher and composer of shakuhachi in New York City. He received the Dai-Shi-Han certificate in 2001, one of only a handful of non-Japanese to receive this high-level award. In 2008, he received his second Shi-Han certificate from Mujuan Dojo, in Kyoto. In Japan, Schlefer has worked with Reibo Aoki, Katsuya Yokoyama, Yoshio Kurahashi, Yoshinobu Taniguchi, and Kifu Mitsuhashi. His first teacher was Ronnie Nyogetsu Seldin. He holds a master's degree in Western flute and musicology from Queens College and currently teaches shakuhachi class at Columbia University and music history courses at the City University of New York. He has performed at Carnegie Hall, Lincoln Center, the Kennedy Center, Tanglewood, BAM, the Metropolitan Museum, at colleges and universities throughout the US and has toured in Japan, Indonesia, Brazil and counties in Europe. Schlefer has four solo recordings, Wind Heart(which travelled 120,000,000 miles aboard the Space Station MIR) Solstice Spirit (1998), Flare Up (2002), and In The Moment (2008). His music has been featured on NPR's All Things Considered. Schlefer's latest recording Spring Sounds, Spring Seas was released in June 2012 and features his original music for shakuhachi and orchestra.

Betty Olivero is an Israeli music educator and composer.

Helen Grime is a Scottish composer whose work, Virga, was selected as one of the best ten new classical works of the 2000s by the Royal Scottish National Orchestra.

Martin Suckling is a British composer. He is also a violinist and teacher.

Darryl Kubian is an American composer, thereminist, violinist, and audio/video engineer. His compositions have been commissioned and performed by North American orchestras, such as the New Jersey Symphony Orchestra and Omaha Symphony, and he has written soundtrack scores for the Wildlife Conservation Society, National Geographic, Discovery Channel, Pangolin Pictures, NHK, CBS, The Learning Channel, and others. Darryl performs and records as a thereminist, including chamber and solo works by Herb Deutsch, Martinu, and others, and has also been a featured soloist with the Chicago Symphony Orchestra, the Philharmonia of New York, and the NJ Symphony on theremin. He was the featured theremin soloist for the Lincoln Center Festival production of Danny Elfman's Music from the Films of Tim Burton. Darryl Kubian is a member of the first violin section of the NJ Symphony, and was the principle second violinist of the Brooklyn Philharmonic. Indigo Fox Media, Kubian's New Jersey-based audio/video production company, has recorded artists such as the Emerson String Quartet, the Orpheus Chamber Orchestra, members of the NY Philharmonic, New Jersey Symphony, and the Metropolitan Opera, among many others. He is married to violinist JoAnna Farrer.

Maan varjot is a composition for solo organ and orchestra by the Finnish composer Kaija Saariaho. The work was jointly commissioned by the Montreal Symphony Orchestra, the Orchestre national de Lyon, Southbank Centre, and the Philharmonia Orchestra. It was first performed in Montreal on May 29, 2014, by the organist Olivier Latry and the Montreal Symphony Orchestra under the conductor Kent Nagano.

Mathew Rosenblum American composer

Mathew Rosenblum is an American composer whose works have been commissioned, recorded and performed by musical groups such as the Pittsburgh Symphony Orchestra, the Boston Modern Orchestra Project, the Thailand Philharmonic Orchestra, the American Composers Orchestra, Opera Theater of Pittsburgh, FLUX Quartet, the New York New Music Ensemble, the Raschèr Saxophone Quartet, the Pittsburgh New Music Ensemble, and Newband among other ensembles, in venues throughout North America, Europe and Asia including the Andy Warhol Museum, Leipzig's Gewandhaus, the Tonhalle Düsseldorf, Thailand's Prince Mahidol Hall, as well as Merkin Hall, the Guggenheim Museum, the Miller Theatre, The Kitchen, Carnegie Recital Hall, and Symphony Space in New York City. Rosenblum's music has been recorded on such labels as Mode Records, New World Records, Albany Records, Capstone Records, Opus One Records, New Focus Recordings, and the Composers Recordings Inc. label, and has been published by Edition Peters, of Leipzig, London, and New York.

References

  1. 1 2 3 4 5 6 7 8 9 Gann, Kyle. "American Composer: Elizabeth Brown," Chamber Music, April 2002, p. 18–9.
  2. 1 2 Kozinn, Allan. "Zany New Music, But Quirkily Compelling," The New York Times, May 14, 2003. Retrieved November 5, 2020.
  3. 1 2 3 4 5 6 Clements, Dominy. "Elizabeth Brown, Mirage," MusicWeb International, August 2013. Retrieved November 5, 2020.
  4. 1 2 3 Powers, Ann. "A Generous, Friendly Dose of Experimentalism," The New York Times, November 3, 2001, p. 16. Retrieved November 5, 2020.
  5. 1 2 3 4 5 6 Keedle, Jayne. "A Musical Democracy: Orpheus Chamber Orchestra premieres the Lost Waltz," The Hartford Advocate, November 13, 1997.
  6. 1 2 Holland, Bernard. "In a World of Civility, A Sudden Mozart Shift," The New York Times, November 26, 1997, p. E12. Retrieved November 3, 2020.
  7. 1 2 Eisler, Edith. "Flute Force, Weill Recital Hall at Carnegie Hall," New York Concert Review, Spring 2008, p. 24.
  8. ↑ Music From Japan. "Flutes from the East and the West / Song from the Spirit of Japan," Events. Retrieved November 9, 2020.
  9. 1 2 Asian Cultural Council. Elizabeth Brown, Grantees. Retrieved November 9, 2020.
  10. 1 2 3 4 5 Sullivan, Jack. "Elizabeth Brown, Mirage," American Record Guide, January/February 2014, p. 83.
  11. 1 2 Gardner, Alexandra. "Sounds Heard: Blowing In The Wind (Flute Edition)," NewMusic USA, September 17, 2013. Retrieved November 5, 2020.
  12. 1 2 3 4 5 6 Hamilton, Andy. "Elizabeth Brown, Mirage," Wire, November 2013.
  13. 1 2 3 Carl, Robert. "2004 Want List," Fanfare, November/December 2004, p. 104–5.
  14. 1 2 Schweitzer, Vivien. "American Symphony Orchestra," The New York Times, January 28, 2008. Retrieved November 9, 2020.
  15. 1 2 Boston Symphony Orchestra. "Musicians Performing During the 2017-2018 BSO Season." Retrieved November 9, 2020.
  16. ↑ World Shakuhachi Festival. Concerts, 2018. Retrieved November 9, 2020.
  17. 1 2 3 4 John Simon Guggenheim Memorial Foundation. Elizabeth Brown, Fellows. Retrieved November 3, 2020.
  18. 1 2 New York Foundation for the Arts. "Directory of Artists’ Fellows & Finalists," 2018. Retrieved November 3, 2020.
  19. ↑ New Music Online Library. "Elizabeth Brown." Retrieved November 3, 2020.
  20. 1 2 3 4 5 6 7 8 9 Carl, Robert. Elizabeth Brown – Mirage, liner notes, Brooklyn, NY: New World Records, 2013. Retrieved November 3, 2020.
  21. 1 2 3 Ross, Alex. "The Power of Four: String quartets multiply across New York," The New Yorker, January 28, 2013. Retrieved November 3, 2020.
  22. 1 2 3 Sheridan, Molly. "New York: Bright Lights, Small Farm-Elizabeth Brown’s Rural Electrification," NewMusic USA, May 26, 2006. Retrieved November 5, 2020.
  23. 1 2 3 4 5 6 7 Van Cleve, Libby. Elizabeth Brown, Yale Oral History of American Music, 2010. Retrieved November 3, 2020.
  24. 1 2 Sheridan, Molly. "Slipping Through Memory: The Music of Elizabeth Brown," NewMusic USA, February 19, 2008. Retrieved November 5, 2020.
  25. 1 2 West, Paul R. "Brown, Elizabeth," Oxford Music Online. Retrieved November 3, 2020.
  26. ↑ de Marcellus, Juliette. "Hits of the 1700s Still Charming," Palm Beach Daily News, July 26, 1979.
  27. ↑ White, Marion. "Concert of concertos 'refreshes,'" Greenwich News, December 22, 1983.
  28. ↑ Kraglund, John. "Chamber series start triumphant," The Globe and Mail (Canada), November 26, 1984.
  29. ↑ Kozinn, Allan. "Lessons in Concert," The New York Times, November 28, 1998, p. C22. Retrieved November 3, 2020.
  30. ↑ Oestreich, James R. "A Violinist Returns, Playing Small-Scale Works," The New York Times, February 18, 1991, p. 18. Retrieved November 3, 2020.
  31. ↑ Dunning, Jennifer. "Nancy Allison in American Program," The New York Times, June 23, 1986, p. C12. Retrieved November 5, 2020.
  32. ↑ Teck, Katherine. Music for the Dance: Reflections on a Collaborative Art, Los Angeles: Greenwood Press/University of California, 1989. Retrieved November 5, 2020.
  33. ↑ Dunning, Jennifer. "The Dance: Jesse Duranceau," The New York Times, April 17, 1986. Retrieved November 5, 2020.
  34. 1 2 3 4 Hoover, Joanne Sheehy. "Composer-in-residence premieres two works," Taos Journal, May 30, 2001.
  35. 1 2 3 4 Williams, Ryan. "Evoking the sounds of nature through music," Williams-Grand Canyon News, April 20, 2011, p. 2B.
  36. 1 2 3 Ernest, Dagney C. "A singular voice, in honor of one," Courier-Gazette (Camden, ME), May 20, 2015. Retrieved November 9, 2020.
  37. 1 2 3 Fischer, Tobias. "15 Questions to Elizabeth Brown," Tokafi, October 21, 2008. Retrieved November 3, 2020.
  38. ↑ Wager, Gregg. "Music Reviews : Flute, Koto and Guitar Concert in Pasadena," Los Angeles Times, October 2, 1989. Retrieved November 5, 2020.
  39. ↑ Ford, Ronda Benson. "High School Soloist Competition: Elizabeth Brown's Trillium," The Flutist Quarterly, Winter 2008, p. 28.
  40. ↑ Bendheim, Anne. "Flute Force charms a sold-out house," Mobile Press Register, February 14, 1996, p. 3-D.
  41. ↑ Williams, David. "Flute Force plays with inspiration," The Charleston Gazette, February 15, 1999, p. 4D.
  42. ↑ Smith, Ken. "Flute Force, Eyewitness," Gramophone, August 2002.
  43. ↑ Buckley, Daniel. "Flute Force, Eyewitness," Stereophile, August 2002.
  44. ↑ Simon, Mark G. "Greater Goode," Ithaca Times, November 24, 1997.
  45. ↑ Davidson, Justin. "The Sound of Success," Newsday, November 28, 1997.
  46. ↑ Kozinn, Allan. "Works From Different Eras, but All Rife With Conflicts," The New York Times, May 10, 1993, p. C14. Retrieved November 3, 2020.
  47. ↑ Pasles, Chris. "N.Y. New Music Ensemble in Local Premieres of Works," Los Angeles Times, May 13, 1993, p. F12. Retrieved November 3, 2020.
  48. ↑ Elizabeth Brown website. Pieces with Shakuhachi or Traditional Japanese Instruments. Retrieved November 9, 2020.
  49. ↑ Elizabeth Brown website. Concerto for Dan Bau and Chamber Orchestra. Retrieved November 9, 2020.
  50. ↑ Ulrich, Allan. "David Tanenbaum—unplugged," San Francisco Examiner, 1992.
  51. ↑ Greenberg, Mike. "Concert Review: Camerata's 'Migration' deeply moving," San Antonio Express-News, April 13, 2006.
  52. ↑ Kosman, Joshua. "Getting Down to New-Music Basics," San Francisco Chronicle, June 14, 1992.
  53. 1 2 3 4 Bayley, Lynn René. "Elizabeth Brown, Mirage," Fanfare, November/December 2013.
  54. ↑ Kerner, Leighton. "New Band," Village Voice, June 18, 1996, p. 7.
  55. 1 2 Brown, Elizabeth. "Incredible Time (to live and die): Remembering Dean Drummond," NewMusic USA, April 23, 2013. Retrieved November 9, 2020.
  56. ↑ Ross, Alex. "Classical Music in Review," The New York Times, April 3, 1993, p. 16. Retrieved November 5, 2020.
  57. ↑ Silverton, Mike. "Newband," Fanfare, May/June 1997, p. 336.
  58. 1 2 3 Van Waes, Gerald. "Elizabeth Brown, Mirage," Psychefolk, 2013.
  59. 1 2 Elizabeth Brown website. Pieces with Theremin. Retrieved November 9, 2020.
  60. 1 2 Curtis, Lisa J. It's electric," The Brooklyn Paper, May 19, 2006. Retrieved August 10, 2020.
  61. 1 2 3 Tudor, Silke. "Electric Dreams," The Village Voice, July 18, 2006. Retrieved November 5, 2020.
  62. 1 2 Hoge, John. "A Bookmobile for Dreamers – chamber theremin opera," Theremin World, April 11, 2012. Retrieved November 5, 2020.
  63. 1 2 3 NewMusic USA. "A Bookmobile for Dreamers," April 2013. Retrieved November 5, 2020.
  64. ↑ Schweitzer, Vivien. "Music in Review," The New York Times, February 16, 2011, p. C3. Retrieved November 5, 2020.
  65. ↑ The International Shakuhachi Society. Ralph Samuelson, People. Retrieved November 9, 2020.
  66. ↑ Bowles, K. Johnson. "An Engaging, Evocative Ethereal Journey," Spot, Fall 1993, p. 12.
  67. ↑ Chadwick, Susan. "Exhibit makes strong statement on womanhood," The Houston Post, May 12, 1993, p. D-3.
  68. ↑ Willis, Deborah and Jane Lusaka. Imagining Families: images and voices, Washington, DC: National African American Museum, Smithsonian Institution Project, 1994.
  69. ↑ Novak, Lorie. Collected Visions. Retrieved November 9, 2020.
  70. ↑ Gelbert, Bruce-Michael. "Songs for an Epidemic," New York Native, 1992.
  71. ↑ Holland, Bernard. "The Whole Surpassing Its Parts," The New York Times, June 6, 1992, p. 13. Retrieved November 3, 2020.
  72. ↑ Mix. "Moog’s Ether Music Festival Contest Winner Announced," September 7. 2005. Retrieved November 9, 2020.
  73. ↑ Montclair State University. "Composer-performer Elizabeth Brown joins faculty as composer-in-residence." Retrieved November 9, 2020.
  74. ↑ Freud, Chris. "Premiere night at Bravo!," Vail Daily, July 17, 2001, p. B1.
  75. ↑ Bogliasco Foundation. Fellows. Retrieved November 9, 2020.
  76. ↑ Lublin, Joann S. "Nurturing Innovation," The Wall Street Journal, March 20, 2006, p. B1, B5. Retrieved November 5, 2020.
  77. ↑ NewMusic USA. "Sound & Appliqué Commissions," Projects, 2020. Retrieved November 9, 2020.
  78. ↑ Fromm Music Foundation. Elizabeth C. Brown, People. Retrieved November 9, 2020.
  79. ↑ New Music Online Library. Harmonia, Composition. Retrieved November 9, 2020.
  80. ↑ Brown, Elizabeth. Mirage, New York: DRAM, 2013. Retrieved November 9, 2020.
  81. ↑ Brown, Elizabeth. Blue Minor: Chamber Music by Elizabeth Brown, Albany, NY: Albany Records, 2003. Retrieved November 9, 2020.
  82. ↑ Samuelson, Ralph. The Universal Flute, St. Paul: Innova, 2016. Retrieved November 9, 2020.
  83. ↑ Bang on a Can. Emergency Music (Bang on a Can Live Vol. II ), New York: Composers Recordings, Inc., 1993. Retrieved November 9, 2020.
  84. ↑ Harmonia Mundi. The AIDS quilt songbook, France: Harmonia Mundi, 1994. Retrieved November 9, 2020.
  85. ↑ Newband. Dance of the Seven Veils, Hong Kong: Music and Arts, 1996. Retrieved November 9, 2020.
  86. ↑ Flute Force. eyewitness, St. Paul: Innova, 2002. Retrieved November 9, 2020.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.