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	Gunther Schuller - Wikipedia, the free encyclopedia
		Gunther Schuller (born November 22, 1925) studied at the St.
		Thomas Choir School and became an accomplished horn player; at the age of seventeen he was principal hornist with the Cincinnati Symphony, and two years later took up a similar position with the Metropolitan Opera Orchestra.
		Schuller has been the recipient of many awards, including the 1994 Pulitzer Prize for his composition written for the Louisville Symphony Of Reminiscences and Reflections, the MacArthur Foundation "genius" award (1991), the William Schuman Award (1988), given by Columbia University for "lifetime achievement in American music composition", and ten honorary degrees.
	en.wikipedia.org /wiki/Gunther_Schuller (264 words)

	Third Stream - Wikipedia, the free encyclopedia
		Third Stream Music is a term coined in 1957 by Gunther Schuller referring to the synthesis of classical music and jazz.
		Schuller suggested that a similar fusion was made by Bela Bartok, who earned great acclaim after incorporating elements of Hungarian folk music into his music, which had earlier been heavily influenced by Claude Debussy and Richard Strauss.
		Other notable composers in the style are John Lewis and his Modern Jazz Quartet, Gunther Schuller, Gil Evans, David Baker, and William Russo, George Russell, Dave Brubeck and members of his Octet and Quartets (and his brother, Howard Brubeck), Toshiko Akiyoshi, David Amram, Ran Blake, Gunther Schuller, Gil Evans, and David Baker.
	en.wikipedia.org /wiki/Third_Stream_Jazz (396 words)

	Mozart Serenade no. 11
		Gunther Schuller was born in New York City in 1925.
		Gunther Schuller was a member of the St. Thomas Choir School at the age of eleven.
		Gunther Schuller's Symphony for Brass and Percussion marks a greater technical and expressive breadth in music for brass ensemble than was acknowledged prior to its existence.
	www.geocities.com /Vienna/Opera/2716/shullerbrsperc.html (572 words)

	Gunther Schuller conducts Beethoven & Brahms
		Composer-conductor Gunther Schuller has thought long and hard about these things, and his recording of the two most famous C minor symphonies ever written has a different aim than most: he wants to get to the core of these scores.
		Schuller therefore had to arrive at workable speeds on his own -- c 92 for Movement 1, c 50-55 for 2, c 92-76 for 3, c 100-126 for 4 -- which feel organic.
		Schuller's performers also articulate the rhythm with great precision, observing Brahms' minutely detailed syncopations and his frequent use of two against three.
	www.classical-music-review.org /reviews/Schuller.html (492 words)

	Gunther Schuller Biography / Biography of Gunther Schuller Biography Biography
		The versatility of the American musician Gunther Schuller (born 1925) was recognized when he received the Alice M. Ditson Award from Columbia University in 1970: "You have already achieved distinction in six careers, as conductor, as composer, as horn virtuoso and orchestral musician, and as author and educator."
		Gunther Schuller was born in New York City on November 22, 1925, the son of a New York Philharmonic Orchestra violinist.
		Schuller's first published compositions date from 1950, but it was his Seven Studies on Themes of Paul Klee (1959) that brought him wide attention through performances by many orchestras and through recordings.
	www.bookrags.com /biography-gunther-schuller/index.html (618 words)

	Schuller, The Compleat Conductor: A Review (by Bernard D. Sherman) (Site not responding. Last check: 2007-11-05)
		Schuller, who began his career at mid-century, reflects the aesthetic that dominated by the end of World War II, in which accurately realizing the details of the score is an end in itself.
		What Schuller ignores is that these literalistic performance values differ markedly from those of composers as recent as Elgar and Bartók—as proved by their recordings of their own music, which deviate considerably from their scores in many of the ways that Schuller detests.
		Schuller’s core belief is that composers know best how to make their music work in performance; but while that is often the case, it’s not as inalterably true as it may seem.
	homepages.kdsi.net /~sherman/schuller.html (2183 words)

	Gunther Schuller - Biography (Site not responding. Last check: 2007-11-05)
		The son of German immigrants, Schuller was born in New York on 22 November 1925.
		Schuller became actively involved in the New York bebop scene, performing and recording with such jazz greats as Dizzy Gillespie, Miles Davis, and John Lewis.
		Among Schuller's many awards are: the Pulitzer Prize (1994); the Gold Medal for Music from the American Academy of Arts and Letters (1997); the BMI Lifetime Achievement Award (1994); a MacArthur Foundation "genius" award (1991); the William Schuman Award (1988), given by Columbia University for "lifetime achievement in American music composition"; and ten honorary degrees.
	www.schirmer.com /composers/schuller_bio.html (383 words)

	Gunther Schuller (Site not responding. Last check: 2007-11-05)
		For me, the most memorable of Schuller's many distinguished concerts was a Mahler Third Symphony he led with the NEC Orchestra 20 years ago.
		If Haitink's was like a broad colorfield canvas, endless shades of the same muted hues, flat and all surface, Schuller's was like a Kandinsky, shapely, but achieving its elegance through the lively and dramatic juxtaposition of lines, angles, facets, and splotches of vibrant color.
		Schuller's Piano Concerto (1981) is a blast from the past -- an energetic, highly charged, personal response to, say, the most colorful and jazziest elements of the two Ravel concertos (Schuller is one of the world's jazz experts), combined with a songful, Rachmaninov-like lyricism.
	www.bostonphoenix.com /alt1/archive/music/reviews/12-14-95/GUNTHER_SCHULLER.html (1375 words)

	Northwest Bach Festival (Site not responding. Last check: 2007-11-05)
		Schuller was principal French hornist with the Cincinnati Symphony; two years later he was appointed to a similar position with the Metropolitan Opera Orchestra.
		Schuller was appointed President of the New England Conservatory of Music, Boston, in which post he served until 1977.
		Schuller is Editor-in-Chief of Jazz Masterworks Editions and Co-Director of the Smithsonian Jazz Masterworks Orchestra in Washington, D.C., both of which projects seek to sustain America's jazz performance traditions.
	www.nwbachfest.com /artists/schuller.html (454 words)

	Composing for the Large Jazz Ensemble
		Schuller is, without a doubt, one of the most qualified people on the planet to discuss the "Duke" and his impact on jazz.
		Schuller uses this essay to argue that Ellington’s mastery of the small form (something dictated to jazz musicians because of the proliferation of the 3-minute, 10’ disk) puts him in the company of art music’s treasured composers.
		Schuller argues that because so much of Ellington’s music was composed, as opposed to improvised, that it deserves to be performed today just as Ellington and his musicians from the past had performed it.
	www.csubak.edu /~jscully/jazzbib.html (7716 words)

	The Swing Era: The Development of Jazz, 1930-1945 (The History of Jazz, Vol. 2): Current Amazon U.S.A. One-Edition Data
		Schuller's evaluations are original, trenchant and even-handed: He discusses shortcomingsstylistic stultification, topheavy sound, exuberant vulgarity, for exampleas well as achievements.
		As Schuller points out--accurately, I think--Basie's band was a triumph because of the magnificent soloists, but frankly the arrangements were often uninspired and formulaic, the tunes undistinguished, the colors and contrasts minimized.
		Schuller also manages to cut through the Artie Shaw mystique (more BS than mystique, he feels; Shaw, with his verbal fecundity and limited knowledge of European art, was able to snow some jazz and pop writers, but he's just no match for Schuller).
	www.newyorkwebhosting.us /stuff-0195071409.html (2153 words)

	Boston.com / A&E / Music / Composer builds a bridge between classical and jazz
		In New York, in 1957, Schuller was principal horn of the Metropolitan Opera Orchestra and a prominent figure on the new-music scene.
		Schuller wrote the piece (which lasts 15 to 18 minutes) in two-plus weeks -- it has taken him longer to copy the parts, he says, than to compose the music.
		Schuller says he is a realist and was initially reluctant to consider the dream music as part of his new piece.
	www.boston.com /ae/music/articles/2003/10/19/composer_builds_a_bridge_between_classical_and_jazz?mode=PF (1173 words)

	Gunther Schuller (Site not responding. Last check: 2007-11-05)
		Gunther Schuller (born 1925, New York City) has developed a musical career that ranges from composing and conducting to his extensive work as an educator, jazz historian, administrator, music publisher, record producer, and author.
		Schuller was honored by Columbia University with the William Schuman Award for lifetime achievement in composition; in 1991 he was granted a coveted MacArthur Fellowship; in 1993 Downbeat Magazine honored Mr.
		Schuller has also had an extensive career in the field of jazz, collaborating (as composer, arranger, hornist, conductor) with such major jazz musicians as Miles Davis, Dizzy Gillespie, the Modern Jazz Quartet, Gil Evans, Eric Dolphy, Charles Mingus and Joe Lovano.
	www.opus102.com /Compositeurs/Schuller.G.html (516 words)

	SCHULLER, Gunther : MusicWeb Encyclopaedia of Popular Music (Site not responding. Last check: 2007-11-05)
		History seems to show that fusions can't be forced, but rather happen by themselves when no one is looking, like jazz itself; but 'third stream' is only a label, and anyway it is impossible to judge: much of this music has never even been played, let alone recorded.
		Schuller conducted pieces commissioned for the 1957 Brandeis University Festival of the Arts from John Lewis (Miles Davis played trumpet on 'Three Little Feelings' and made his recording debut on flugelhorn), J. Johnson, Charles Mingus, George Russell, Jimmy Giuffre, Harold Shapero and Milton Babbitt; Schuller's own Symphony For Brass And Percussion was cond.
		Schuller formed a Third Stream dept at the New England Conservatory '67, still run 30 years later by its original dir.
	www.musicweb-international.com /encyclopaedia/s/S36.HTM (534 words)

	Boston.com / A&E / Music / Pro Arte pulls off a unique pairing
		Gunther Schuller's annual concerts, as principal guest conductor of the Pro Arte Chamber Orchestra, have often been highlights of the musical season.
		Schuller has been one of the city's most important resident musicians since he moved here to become president of the New England Conservatory in 1966.
		One doesn't know whether to praise Schuller or the Pro Arte repertoire committee for that, but it was a nifty idea, and Schuller is one of the few musicians whose sympathies range widely enough to carry it off.
	www.boston.com /ae/music/articles/2004/04/05/pro_arte_pulls_off_a_unique_pairing?mode=PF (454 words)

	VH1.com : Gunther Schuller : Biography
		Gunther Schuller is probably the greatest friend jazz has ever had from the classical world.
		Schuller also started the New England Conservatory Jazz Repertory Orchestra and Ragtime Ensemble, and he soon became immersed in transcribing the works of Duke Ellington and Jelly Roll Morton and performing period arrangements of Scott Joplin rags.
		Schuller's involvement in the ragtime revival reached its apogee in 1975, when he conducted the first (and thus far, only) recording of Joplin's opera Treemonisha (Deutsche Grammophon) with the Houston Grand Opera, and Schuller and the NEC Ragtime Ensemble would tour well into the next decade.
	www.vh1.com /artists/az/schuller_gunther/bio.jhtml (843 words)

	Encyclopedia: Gunther Schuller
		Gunther Schuller (born November 22, 1925) studied at the St. Thomas Choir School and became an accomplished horn player; at the age of 17 he was principal hornist with the Cincinnati Symphony and two years later took up a similar position with the Metropolitan Opera Orchestra.
		Gunther Schuller This image has been released into the public domain by the copyright holder, its copyright has expired, or it is ineligible for copyright.
		Gunther Schuller (notes writer) for Footlifters performed by Gunther Schuller (1976)
	www.nationmaster.com /encyclopedia/Gunther-Schuller (631 words)

	ASU News & Information from the Office of Media Relations and Public Information
		Schuller, 78, became the principal horn with the prestigious Cincinnati Symphony at age 17, played with the likes of Dizzy Gillespie and Frank Zappa and won both a Pulitzer and the McArthur Foundation 'genius' Award in his 60s.
		Schuller is one of the foremost experts on the genres and musical forms he has worked with for more than 60 years.
		Schuller was born in New York to German immigrants.
	www.asu.edu /news/arts/schuller_011604.htm (680 words)

	Find Free Essays on Gunther Schuller
		Cross 1 Gunther Schuller "Scholar, composer, conductor, teacher, author, music publisher, indefatigable advocate -- Gunther Schuller isn't merely a musician, he's a monopoly." This is a description by Alan Rich of Gunther Schuller in the New York Magazine in 1995.
		Gunther is an extremely talented human being and has contributed and continues to contribute to society.
		Gunther Schuller was born in New York City on November 22, 1925.
	www.findfreeessays.com /show_essay/7541.html (324 words)

	MIT celebrates composer Gunther Schuller's 75th birthday - MIT News Office
		Schuller and once commissioned a piece by him for the wind ensemble at Belmont High School, where Dr. Harris was instrumental music director.
		Schuller is regarded as one of the elder statesmen of both post-war jazz musicians and 20th-century American composers.
		Schuller spent the 1980s as one of the primary on-call conductors for orchestras performing complex contemporary pieces.
	web.mit.edu /newsoffice/2000/schuller-1115.html (803 words)

	GUNTHER SCHULLER
		But Gunther Schuller is also a French horn player who, in addition to a position with New York's Metropolitan Opera Orchestra, spent much of the late forties and fifties as a session player and jazz musician.
		Schuller made very effective use of Dolphy's idiosyncratic way of playing the bass clarinet when he wrote this piece; its successful performance now depends on someone like Johnson adopting that same approach.
		"Schuller believes [it] to be the first full-fledged, purely atonal piece in jazz." As such it reminds me of Robert Graettinger's early compositions for Stan Kenton, the earliest of which, "Thermopylae," also dates back to 1947.
	www.holeintheweb.com /drp/drpgs.htm (1151 words)

	DR V2.1: FROM IDEA TO WORLD PREMIERE PERFORMANCES-- GUNTHER SCHULLER'S CONCERTO FOR CONTRA-BASSOON AND ORCHESTRA
		Gunther Schuller was deprived of the opportunity to attend the orchestra rehearsals because of very bad weather.
		Gunther Schuller, distinguished educator, administrator, author and music historian, is best known as a composer and conductor.
		Schuller advises further that he made his first sketches for the Concerto in Odessa last June, while on a tour of the Soviet Union with the New England Ragtime Ensemble.
	idrs.colorado.edu /Publications/DR/DR2.1/idea.html (2101 words)

	Mendi Rodan (Site not responding. Last check: 2007-11-05)
		As well as being an accomplished and prodigious composer, Gunther Schuller is a renowned conductor who has worked with major orchestras in Europe and the United States.
		Schuller's deep understanding of 20th-century compositional techniques and his expertise as a conductor have produced some of the best performances and recordings of this repertoire in the world.
		In addition to his work as a composer and performer, Schuller has written many articles on music (Musings is a collection of his articles published in book form), edited editions of works by Ives and other composers, and taught at several institutions.
	members.aol.com /mboynick/cmp/mb/mb_schuller.html (227 words)

	Michael Colgrass / Gunther Schuller - Déjà vu - Works for Wind Orchestra (Site not responding. Last check: 2007-11-05)
		Michael Colgrass and Gunther Schuller have led lives musically rich in varied influences - performing music of the 19th century tradition, embracing the 20th century innovations of both the academy and the avant-garde, and the exploration jazz and ethnic music.
		The ensemble engages in tutti playing for only a relatively small percentage of the piece, most often Schuller uses his enormous palette to paint a series of miniatures, building up to the large canvases only when the music is unable to resist its own momentum.
		Schuller's Symphony No. 3 In Praise of Winds calls for large forces -- at least 104 players -- but as Mahler often did, the composer tends to use them in small, chamber combinations.
	www.mode.com /catalog/125colgrass.html (753 words)

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