OTTO LUENING (b. Milwaukee WI, June 15, 1900 - d. New York NY, September 2, 1996) demonstrated an infectious musical catholicism both through his prolific output as a composer and as a tireless educator and advocate for new music.
In the 1950s, Luening and fellow composer Vladimir Ussachevsky helped to establish the Columbia-Princeton Electronic Music Center where they created on a landmark series of collaborative compositions for magnetic tape and synthesizer, as well as works for acoustic instruments in combination with electronic sounds. This association resulted in twenty compositions, Luening's sole-authored works including Fantasy in Space for tape (1952), Gargoyles for violin and tape (1960), and Synthesis for orchestra and tape (1962), commissioned for the 20th anniversary of BMI. Although this is the music he is most famous for today, Luening composed a vast body of music, much of it chamber music, characterized by its accessibility and its stylistic variety. Highlights of his extensive output include a flute concertino, four symphonic fantasias, a short symphony for chamber orchestra, three string quartets, three sonatas for violin and piano, three solo violin sonatas, and a substantial body of chamber music with flute, an instrument he played professionally throughout his life. He also composed scores for Hollywood films and television.
Born to a musical family of German descent, he moved with his family at the age of twelve to Munich where he studied at the Staatliche Hochschule für Musik. He made his debut as a flutist at sixteen and moved to Switzerland the following year where he studied composition with Ferruccio Busoni and also spent time as an actor and stage manager for James Joyce's English Players Company. He returned to America in 1924 and became known primarily as an operatic conductor. Among the works whose premieres he conducted are Virgil Thomson's The Mother Of Us All, Gian-Carlo Menotti's The Medium, and his own Evangeline (1930), based on the narrative poem of Longfellow.
He served as the executive director of the opera department at Eastman during the first years of Hanson's tenure (1925-28), and later taught at the University of Arizona, Bennington College (VT), The Julliard School, Columbia University, and Barnard College. He was awarded two Guggenheim Fellowships, and awards from the National Institute of Arts and Letters, Phil Beta Kappa and the Wisconsin legislature. He is the author of the book Modern Music (1943), and an autobiography, The Odyseey of an American Composer (1980).
In addition to co-founding the American Music Center, Luening served as Chairman of the American Music Committee of the National Federation of Music Clubs (a program operated through The American Music Center), director of New Music Editions and New Music Quarterly Recordings (after Henry Cowell), and was a co-founder of the American Recording Society and Composers Recordings Inc. (CRI).
For his centennial in the year 2000, there will be two new all-Luening CD releases on CRI, an all-Luening centennial concert at Columbia University's Miller Theatre on May 24, 2000, and a printed publication of essays and historic photos.
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First Person Sections:
·Personal & Musical
Backgrounds ofthe
Founders
·The Pre-History of
the Center
·The Center Opens
·The Center's Difficult
First Years
·Great Teachers and
Music
Education
·The State of Music in
the United States
·What is
American Music?
·On Other Composers
and Other Forms
of Music
·Later History of the
AmericanMusic Center
·Advice for Today's
Composers
·Press Release
Announcing the Opening
of the Center
Biographies:
·Marion Bauer
(1882 - 1955)
·Aaron Copland
(1900 - 1990)
·Howard Hanson
(1896 - 1981)
·Harrison Kerr
(1897 - 1978)
·Otto Luening
(1900 - 1996)
·Quincy Porter
(1897 - 1966)
