Arthur Berger (composer)

Arthur Victor Berger (May 15, 1912 – October 7, 2003) was an American composer and music critic who has been described as a New Mannerist.

Biography

Born in New York City, of Jewish descent, Berger studied as an undergraduate at New York University, during which time he joined the Young Composer's Group, as a graduate student under Walter Piston at Harvard, and with Nadia Boulanger and at the Sorbonne under a Paine Fellowship.

He taught briefly at Mills College and Brooklyn College, then worked briefly at the ''New York Sun'' and then for a longer period of time at the ''New York Herald Tribune''. In 1953 he left the paper to teach at Brandeis University where he was eventually named the Irving Fine Professor Emeritus. His notable students there included Gustav Ciamaga and Richard Wernick. He taught occasionally at the New England Conservatory during his retirement.

He co-founded (with Benjamin Boretz), in 1962, ''Perspectives of New Music'', which he edited until 1964. He was elected a Fellow of the American Academy of Arts and Sciences in 1971. He wrote the first book on Aaron Copland (reprinted 1990, Da Capo Press), and coined the terms ''octatonic scale'' and '' pitch centricity'' in his "Problems of Pitch Organization in Stravinsky". He died in Boston, Massachusetts, age 91.

Works

His works show a preoccupation with vertical and horizontal musical space (see pitch space). His musical influences include Igor Stravinsky, Arnold Schoenberg, and later Anton Webern. In the forties he composed neoclassical works including ''Serenade Concertante'' (1944) and ''Three Pieces for Strings'' (1945), and embraced the twelve-tone technique in the 1950s. His later works moved away from serialism but continued to use tone cluster 'cells' whose pitch classes are displaced by octaves. George Perle has described his "keen and sophisticated musical intellect" and praised "his serial music or beingas far removed from current fashionable trends as his diatonic music was a few years ago."

Perle further praises his ''String Quartet'': "in the quartet, as in Berger's earlier works, and in most of the great music of our Western heritage, timbre, texture, dynamics, rhythm, and form are elements of a musical language whose syntax and grammar are essentially derived from pitch relations. If these elements never seem specious and arbitrary, as they do with so many of the dodecaphonic productions that deluge us today from both the left and right, it is precisely because of the authenticity and integrity of his musical thinking at this basic level."(1980).
Liner notes: ''Form''
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His works include ''Ideas of Order'', ''Polyphony'', ''Quartet for Winds'', described by Thomson as "one of the most satisfactory pieces for winds in the whole modern repertory", ''String Quartet'' (1958), ''Five Pieces for Piano'' (1969) and ''Septet'' (1965–66). He was a fellow of the American Academy of Arts and Letters and the American Academy of Arts and Sciences.

Berger is grouped in the " Boston school" along with Lukas Foss, Irving Fine, Alexei Haieff, Harold Shapero, and Claudio Spies.

References

Further reading

* Anderson, E. Ruth. ''Contemporary American Composers. A Biographical Dictionary'', 2nd edition, G. K. Hall, 1982.
* Butterworth, Neil. ''A Dictionary of American Composers'', Garland, 1984.
* Coppock, Jane. "A Conversation with Arthur Berger". ''Perspectives of New Music'' 17, no. 1 (1978), pp. 40–67.
* Cummings, David M.; McIntire, Dennis K. (Ed.). ''International who's who in music and musician's directory. In the classical and light classical fields'', 12th edition 1990/91, International Who's Who in Music 1991.
* Gordon, Stewart. ''A History of Keyboard Literature. Music for the Piano and its Forerunners'', Schirmer Books, 1996.
* Jones, Pamela. "A Bibliography of the Writings of Arthur Berger". ''Perspectives of New Music'' 17, no. 1 (1978), p. 83-89.
* Jones, Robert Frederick. ''A List of Works by Arthur Berger.'' Perspectives of New Music. 17, 1 (1978), p. 90-91.
* Lister, Rodney. "Arthur Berger: The Progress of a Method", ''American Music'', 13-1, 1995, pp. 56–95.
* Lyman, Darryl. ''Great Jews in Music'', J. D. Publishers, 1986.
* Northcott, Bayan. "Arthur Berger: An Introduction at 70", ''Musical Times'', 123 (1982), pp. 323–326.
* Pollack, Howard Joel. ''Harvard composers. Walter Piston and his students, from Elliott Carter to Frederic Rzewski'', Scarecrow Press, 1992.
* Press, Jaques Cattell (Ed.). ''Who's who in American Music. Classical'', 1st edition. R. R. Bowker, 1983.
* Silver, Sheila. "Pitch and Registral Distribution in Arthur Berger's Music for Piano", ''Perspectives of New Music'' 17, no. 1 (1978), p. 68-76.
* Sadie, Stanley; Hitchcock, H. Wiley (Ed.). ''The New Grove Dictionary of American Music''. Grove's Dictionaries of Music, 1986.

External links

Arthur Berger Official Website

Arthur Berger papers
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* The online music revie
La Folia
has an article about Berger



The New York Times, October 10, 2003 (retrieved January 31, 2010)


March 28, 1987

{{DEFAULTSORT:Berger, Arthur
1912 births
2003 deaths
20th-century American classical composers
Twelve-tone and serial composers
American male classical composers
Jewish American classical composers
American expatriates in France
Composers from New York City
Brandeis University faculty
Brooklyn College faculty
Fellows of the American Academy of Arts and Sciences
Harvard University alumni
Mills College faculty
New England Conservatory faculty
New York University alumni
University of Paris alumni
Pupils of Darius Milhaud
Pupils of Walter Piston
20th-century American male musicians