By Amy C. Beal
Amy C. Beal chronicles Beyer's lifestyles from her early participation in New York's modern track scene via her performances on the Federal song Project's Composers' Forum-Laboratory concert events to her unlucky early dying in 1944. This publication is a portrait of a passionate and artistic girl underestimated by way of her track group whilst she tirelessly utilized her presents with compositional rigor.
the 1st book-length examine of the composer's lifestyles and song, Johanna Beyer reclaims a uniquely leading edge artist and physique of labor for a brand new generation.
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Use low pitched instruments to give a mystic, rather subconscious impression do the whole thing behind a curtain, if possible II. Utopia (“. . Behold the hypocrite, the pleasure loving, his heavenly abode . ” use high pitched instruments “rootless unreality” III. Destruction “. . . purifying . ” use all instruments double up parts to vary the pitch don’t keep within rhythm literally use all possible sounds and blitz tricks vary it with each performance instinctively IV. Reality (“. . Stars, moon, suns, boundless beauty .
Yet there is no evidence that the three shorter pieces were ever performed. Beyer’s Three Movements for Percussion—the three movements titled “Restless,” “Endless,” and “Tactless”—is in some ways Beyer’s most radical work. 8 “Restless” is an almost perfect palindrome (in terms of the overall material, but at the measure level everything is always played “frontwards”), opening with an aggressively loud gong stroke played three times, with the material doubling back on itself at M. 58 and then speeding to its close with a steady accelerando.
Shall leave again for Germany the end of this week. The Bach-Fest at Leipzig was great, quite interesting audience, one hears all kinds of languages, and saw also Hitler, crown prince, and princess— Have to do a lot of traveling and visiting yet before I start back, which will be on Sept. ” I discovered your name on this program and thought you might be interested to see it. I had forgotten all about my birthday, till 2 days afterwards, but it was on July 11th, when I had tea with Miss K. Eggar, the Director of the Society.