Shulamit ran

Posted by / 04-Jul-2019 13:12

One of her first such pieces is (1990), for flute, piccolo, amplified flute, clarinet, violin, cello, and piano.As one of America’s foremost composers whose gender happens to be female, Ran takes exception to the often politically overtoned label “woman composer,” which she insists she is not.I like to think that my music has been gradually evolving….In the context of her brand of “free atonality,” or nontonality, however, she has generally avoided restrictive systems, including strict serialist or other self-imposed schemes.Ran’s natural propensity toward the dramatic is reflected not only in the music itself, but even in the nontraditional, nontechnical graphic indications found in some of her scores—directions such as “scream,” “with breadth and passion,” “get wilder,” brooding,” “sneaking,” or “like a stuck record needle” (certain to baffle anyone under a certain age).

But her musical language has been characterized frequently as growing out of the pointed, direct expressionist style—although in a 1991 interview she stated, “I don’t know that I would use the word ‘expressionist’ in quite the same way I would have ten years ago.” Certainly her approach to music expression is complex (and, by her own admission, for the most part undefinable), in stark contrast to fashions of so-called “accessibility” that have hovered over and even overtaken contemporary music since the 1990s—almost as remorse for the intellectual rigors of the 1960s and 1970s that date to the Second Viennese School—fashions that include minimalism as well as yet another round of neo-Romanticism (actually, neo-neo-Romanticism).Other major commissions have come from the Baltimore Symphony Orchestra, for Vessels of Courage and Hope, which it premiered in 1998 to commemorate the State of Israel’s fiftieth anniversary; the Chamber Music Society of Lincoln Center, for Concerto da Camera II; the American Composers Orchestra, for her Concerto for Orchestra, performed subsequently by the Chicago Symphony, and then for another work for chorus and orchestra; the Taneyev String Quartet (Leningrad; now St. Geraldine Freund, for her second string quartet; and Lyric Opera of Chicago, where she was composer-in-residence from 1994 to 1997, for her opera, Between Two Worlds (The Dybbuk)—based on the famous Yiddish play about demonic possession written by S.An-Ski [Solomon Zainwil Rapaport] (in turn based on a Jewish folk legend from the Czarist Pale of Settlement that he had heard firsthand from an innkeeper’s wife in 1912 during the Jewish Ethnographic Expedition in the Russian Empire).In 1992 she was elected a fellow of the American Academy of Arts and Sciences.She has received honorary doctorates from Mount Holyoke College, Beloit College, Spertus Institute (Chicago), and the New School of Social Research in New York.

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She commenced piano studies as a young child, almost immediately demonstrating her natural gifts, and by the age of eight she began to compose short songs and melodies.