The Dickinsonian
Thursday, September 27, 2007
by Alyssa Coltrain
Florestan Recital Project Debuts at Dickinson
On Sept. 22, 2007, the Florestan Recital project gave its debut concert in the Rubendall Recital Hall, performing “Evidence of Things Not Seen,” a song cycle composed by Ned Rorem.
Robert Pound, the Chair of the Music Department, said that the cycle contained “the full breadth of human experience from youth and first love….through to old age and confronting the finality of life.” The 90-minute song cycle contains a blend of solos, duets, trios and quartets for four vocalists and one pianist, and arranges a variety of texts to music, including poetry by W.H. Auden, Oscar Wilde, Charles Baudelaire and Paul Goodman, as well as prose from William Penn, Julian Green, and John Woolman.
“Evidence of Things Not Seen” is operatic and theatrical in nature, using the stance and position of the vocalists during each part of the performance to help convey the meaning and situation of the text. It also uses the contradiction of music to lyrics to alter the effect of each song. “A Comment on War,” roughly halfway through the piece, uses a light, almost pastoral melody and the angelic postures of the two vocalists to add a bitter irony to the words “Truth is a bunch of vicious lies/ tied together and sterilized/a warmaker’s bait for unwise youth/to kill off each other/for the sake of/Truth.”
Ned Rorem assisted Florestan with their premier of the work in Boston in 2003, and commented that “I would most like to be remembered by ‘Evidence of Things Not Seen’…the performance of ‘Evidence,’ by the Florestan Recital Project, is exemplary and definitive. I am deeply moved that Florestan should wish to retain this work in the their repertory.”
“The performers were exceptionally talented,” said Christina Neno ’11, who attended the concert. “I really liked the way the melodies emphasized the atmosphere of the poems.”
The Florestan Recital project is a Boston based group of vocalists and pianists that was founded in 2001.
They are the Musical Artists-in-Residence for this and the next academic year, following in the footsteps of groups such as the Eaken Piano Trio, the Corigliano Quartet and Alarm Will Sound.
“My colleagues and I look for excellent musicians, first and foremost, but we also seek musicians who can communicate and contribute within the liberal-arts setting. We were impressed with their many ideas for integrating their residency with other parts of the music and academic programs on campus,” said Pound, citing some of the reasons why the group was chosen.
“Vocal music, because of its association with and frequent dependence on text, lends itself to interdisciplinary collaboration."
Florestan itself seemed equally impressed with the College. “The very existence of Dickinson's unique residency is evidence of the significant role the fine arts play at Dickinson as well as the visionary thinking of its administration," said tenor Jon Dan Harper, who is also an artistic co-director of the Project.
Florestan will also be researching British texts and compositions this fall, and will next perform “Let Us Garlands Bring: Songs of Shakespeare,” in which texts from Shakespeare have been set to music by various composers, including Vaughan and Schubert. They will perform this on Nov. 2, 2007, during Homecoming Weekend.
Boston Globe Thursday, April 17, 2007 by Matthew Guerrieri, Globe Correspondent Rich harmonies give life to a choral menagerie
Children's stories use animals to depict human nature. The French poet Carmen Bernos de Gasztold uses human language to imagine the inner life of animals.
Premiered on Friday, pianist/composer John McDonald's hourlong song cycle on Bernos de Gasztold's "The Creatures' Choir" was commissioned by the ever-intrepid Florestan Recital Project. McDonald set 20 poetic letters from a menagerie of animals to God, in Rumer Godden's English translation; six other beasts are represented by solo piano interludes.
With a vocabulary of rich, clustered harmonies hinting at tonalities without settling on them, McDonald builds each song around tight gestures that often exploit the piano's extremes of register and articulation: Biting jabs in one song give way to cloudy rumbles in the next. The poems contain no overarching narrative thread. The fact that McDonald hasn't imposed one musically is true to the text, but it makes for less drama than might be expected from a concert-length work.
McDonald, a professor at Tufts, is a pianist of protean technique; the way he uses the instrument to conjure up each animal is uncanny, but for many of the songs, that's all there is. His attention to each word and image is skillful and apt, but rarely unexpected.
For some movements, this literal approach paid off. In "The Parrot," mezzo-soprano Jessica Bowers chattered incessantly, with the accompaniment jumping in to repeat, at length, the occasional prattling phrase. A wearily wandering "Snail" dragged itself along a glacial chord progression, Bowers complaining in a trombone-like, sepulchrally low register.
But despite McDonald's cleverness in channeling toad, lamb, and bear, it was the creatures without an obvious sonic stamp that yielded the most musically satisfying results. "The Centipede," neurotically puzzled by its own length, chanted mechanically rocking intervals over skittering keyboard clockwork. "The Spider" set the singer in a slow, delicate polyrhythmic web that moved past documentary to poetry. And "The Beaver" confidently exulted in its architectural ability with proud phrases, sturdy and optimistic.
Bowers sang with a sure command of the often demanding vocal line and communicated every word with sharp clarity. She has a big sound, and her dynamics were mostly on the loud side of the spectrum, but her characterizations were wholehearted, from a humming fly to a Wagnerian whale. Her extroversion tallied well with McDonald's playing: postcards from the zoo in bright, primary colors.
Boston Globe
Friday, May 13, 2005
Classical Notes
by Richard Dyer, Globe Staff
Hidden gems...
... Another example is the work of the Florestan Recital Project, a collective of young singers and pianists devoted to art songs. Florestan
presented some of the French master Francis Poulenc's songs about art and
artists Sunday afternoon in the context of songs on related subjects.
Baritone Sumner Thompson sang Poulenc's ''Five Poems of Paul Eluard" and
''The Work of a Painter," vivid musical characterizations of seven artists
who were his contemporaries (Picasso, Chagall, Klee, etc.). His bearing was
stiff, but he sang with attractive tone, excellent French, and a supple and
elegant style. Former baritone Joe Dan Harper is now a tenor, and proved it
with a stirring delivery of Britten's ardent ''Seven Sonnets of
Michelangelo." His timbre is sunnier than before, his diction superb.
Crystalline soprano Amanda Forsythe sang Poulenc, Rorem, and Richard
Wilson's clever settings of witty poems by Phyllis McGinley (''In pictures
by Grandma Moses/ The people have no noses"). She was even more
communicative than the others because she was not score-bound.
The pianists were first-rate: Anne Kissel Harper accompanied her husband
with subtlety and insight, Alison D'Amato was more flamboyant with Thompson,
and Karl Paulnack was both subtle and flamboyant with Forsythe and with
Harper on ''Four Ben Jonson Songs" by Martin Hennessy. The composer is a
prominent collaborative pianist himself; he knows the piano, the voice, and
poetry, but songwriting is also a gift, and he has it. ''Echo's Song," famous in a setting by Dowland, was his particularly personal and poignant
response to Sept. 11.
Boston Globe
Friday, October 8, 2004
Classical Notes
by Richard Dyer, Globe Staff
Preserving the Art Song
The Florestan Recital Project is dedicated to assuring the continuing vitality of the art song. Founded by singers Joe Dan Harper, Aaron Engebreth, and pianist Alison d'Amato, the group brings together the cream of the crop of the new generation of Boston-based singers and pianists for enterprising programs of the song literature. The project is now in the second season of a survey of the complete songs of the French composer Francis Poulenc. The next program, Oct. 24 at 4 p.m. in Seully Hall at the Boston Conservatory, features contrasting cycles by Poulenc, "Chansons Gaillardes" and "La Fraicheur et le Feu," as well as Samuel Barber's "Hermit Songs" and Robert Beaser's "Seven Deadly Sins." Performers include Harper, baritone Jesse Clark, soprano Sarah Pelletier , pianist D'Amato, and Shiela Kibbe.
Boston Herald
Friday, January 23, 2004
ARTS/ CULTURE NEWS
by Keith Powers/ Classical Music
Trio of Classical Presenters Cues Youth Movements
If Boston has a decidedly youthful feel for the next few days, it's because of the coincidental efforts of three separate music presenters. Dinosaur Annex, the New England Conservatory and the Florestan Recital Project will celebrate the young - in vastly different ways - with concert presentations this weekend....
Beginning at 4 p.m. Sunday, the fancifully named Florestan Recital Project explores music of the young in quite a different way at Boston Conservatory's Seully Hall. This season, Florestan presents three concerts of music by Les Six, a small but influential group of French composers that formed just before World War I and continued to produce music well past midcentury.
In this first recital, Florestan explores the group's early works, all written around World War I, when intellectual life in Paris swirled around the twin geniuses of Jean Cocteau and Eric Satie. Les Six, whose most prominent members include Francis Poulenc and Darius Milhaud, took on Cocteau and Satie as mentors, trying to expand on their modernist aesthetic.
``There are two settings in this concert inspired by Jean Cocteau, and we're closing out with a reference to Satie to honor that inspiration,'' said Florestan co-artistic director and pianist Alison d'Amato.
``One difficulty with the texts is that they are early Dada, and the verses are obscure,'' she said. ``We are just trying to understand the images, and let the music convey a subtext. Dada came from a human need to explore undefined emotions and reality, and that needs to be expressed.''
Florestan's mission is to investigate art song - that confluence of poetry, voice and music in balanced measure. ``There are plenty of chamber groups, and lots of orchestras, in Boston,'' d'Amato said, ``but nobody else dedicated to art song. The repertory is great, and financial restraints make this more popular. I think art song recitals have been enjoying a resurgence. And besides, Boston has a tradition of embracing the new.''
( For information about the Florestan Recital Project concert, call 617-859-8637. For the Dinosaur Annex Young Composers weekend, call 617-482-3852. For NEC's Piano Festival,
call 617-536-2412.)
Florestan Press Release
December 19, 2003
The Florestan Recital Project
48 Burbank Street, #9
Boston, MA 02115
Alison d'Amato, Anne Harper, Joe Dan Harper and Aaron Engebreth,
artistic directors
The Florestan Recital Project announces its new artistic residency at Boston Conservatory and its third season highlighting the songs of Les six.
Now in its third season, Florestan Recital Project is pleased to announce its opening concert on Sunday, January 25th, 2004 at 4pm in Boston Conservatory's Seully Hall. This marks the beginning of an artistic residency with Boston Conservatory. Subsequent recitals will be Sunday, March 21st at 6pm and Sunday, May 9th at 4pm.
The Florestan Recital Project presents songs by the group of French composers known as Les six: Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc and Germaine Tailleferre. Their compositions not only responded to great political unrest in the early 20th century, but also gave voice to changing artistic trends in France and re-defined French music and poetry. Florestan's exploration of this era also begins a multi-season project presenting the complete songs of Francis Poulenc.
This third season will also proudly include Florestan's third world premiere; a song-cycle by American composer Paul Preusser which will explore a multi-cultural poetic response to World War II. This premiere will be performed on the May 9th program.
Florestan's third season will include performances by sopranos Sarah Pelletier, Amanda Forsythe and Caprice Corona; mezzo-sopranos Krista River, Jessica Bowers and Paula Murrihy; tenors Jason McStoots and Charles Blandy and baritones Drew Poling and Aaron Engebreth. Pianists will include Shiela Kibbe, Linda Osborn-Blaschke, John McDonald and Alison D'Amato.
This season also welcomes the addition of pianist Alison d'Amato to Florestan?s Artistic Direction team.
For more information, please call the Florestan Recital Project at 617.859.8637 or visit its website: www.florestanproject.org
Bay Windows
November 9, 2003 - ARTSPLUS
The year in review - classical music
by Stephen Marc Beaudoin
2002 has still left many arts organizations reeling from the economic recession. Ticket sales are down at even our largest classical music institutions - it's tough to do satisfying, challenging work as an individual or group when you're just worried about pulling through the year.
Despite this recession, the ten groups and individuals below made outstanding contributions to Boston's classical music community in 2002.
.Florestan Recital Project: "Women's Voices" program, November 16th. Florestan Recital Project - a welcome new presenter of song recital programs - entered their second season, dedicated to composers Daniel Pinkham and Ned Rorem, November 16. Krista River, Joe Dan Harper and Anne Kissel Harper helped make it an unforgettable evening. www.florestanproject.org
Boston Globe
Friday, June 27, 2003
Classical Notes
by Richard Dyer
Contemporary Music Takes the Stage
.Grand Tour: Baritone Joe Dan Harper and his wife, collaborative pianist Anne Kissel Harper, are off to Mannheim, Germany, where he will study German Lieder and opera on a Fulbright Fellowship (Anne Kissel Harper has already had her own Fulbright year, which she spent in Stuttgart).
The Harpers were among the founders of the Florestan Recital Project and the Red House Opera Group [sic], and they were both involved in the recent debut season of Opera Unlimited, a festival of chamber opera - Joe Dan was Adam in tennis clothes in Daniel Pinkham's "Garden Party," and Anne was at the piano.
Boston Globe
January 14, 2003
Music Review
Poems sing with life in 'Evidence'
by Ellen Pfeifer, Globe Correspondent
Ned Rorem has been - first, last, and always - a composer of songs. That conclusion shouldn't be surprising, considering he is almost as prolific a published writer as he is a composer of music. Words have always been important to him.
For many years, he had cherished the idea of producing an evening-length song cycle. The New York Festival of Song, in conjunction with the Library of Congress, gave him the chance to do it for his 75th birthday celebration in 1998. The result was ''Evidence of Things Not Seen,'' a collection of 36 mostly poetic texts by 24 authors ranging from the 18th-century Thomas Ken to the 49-year-old Mark Doty. The Florestan Recital Project (Anne Harley, soprano; Jason McStoots, tenor; Krista River, mezzo-soprano; Aaron Engebreth, baritone; Alison d'Amato and Linda Osborn-Blaschke, pianos) gave the Boston-area premiere of the work on Saturday night at the Community Music Center of Boston.
Arranged in three parts, corresponding to the ''Beginnings,'' ''Middles,'' and ''Ends'' of life, the staggeringly varied texts are concerned with passion and affection, the contemplation of life's long horizons, the sudden recognition of mortality, death, and (quite specifically) the sweetness and pain of homosexual love. The authors Rorem calls upon most frequently are W. H. Auden, Paul Goodman, and Walt Whitman. There are also single texts by Oscar Wilde, Colette, Langston Hughes, Baudelaire, and Kipling. Dealing with the permanence of spiritual things, the cycle takes its title from Hebrews 2:1 - ''Faith is the substance of things hoped for, the evidence of things not seen.''
Rorem's settings are all about responding to words, individually and in phrases. His music is always skillful, always beautifully crafted. It draws the listener into the poetry. With its all-purpose chromatic grammar and sweet-sour dissonance, the musical language never ravishes the ear in the way that a single piano accompaniment pattern by Schumann can do. Yet the alternating solos, duos, trios, and quartets always reveal something fascinating about the structure or conceit of a poem. So, for example, in Colette's ''On an Echoing Road,'' the composer mirrors the trotting of two horses saddled together, now in unison, now out of step, through the voices of soprano and mezzo who sing, now in unison, now in out-of-phase counterpoint.
One of the most striking songs incorporates Doty's lengthy poem ''Faith,'' in which the narrator describes the terrible recurrent nightmares he has had, after his lover's death from AIDS, in which a beloved dog is struck by a car. Set for baritone solo and sung intensely by Engebreth, it sears the heart.
Hughes's ''Comment on War '' features straightforwardly consonant but ironic harmonies underscoring the words, ''Let us kill off youth/For the sake of truth.'' In John Woolman's ''I Saw a Mass,'' Rorem opens with a horrific piano tone cluster, held seemingly forever to emphasize the words, ''I saw a mass of matter of a dull gloomy color ... and was informed that this mass was human beings in as great misery as they could be and live, and that I was mixed in with them.''
The performances by the quartet of singers and two pianists were deeply felt and impeccably prepared. Of the vocalists, baritone Engebreth and mezzo River stood out for the beauty of their voices as well as their eloquence.
Boston Globe
Friday, January 10, 2003
Classical Picks
by Richard Dyer
.The Florestan Recital Project presents the Boston premiere of Ned Rorem's "Evidence of Things Not Seen," Saturday at 8 p.m. in the Community Music Center of Boston.
Boston Globe
January 5, 2003
Critics' Picks
by Richard Dyer
.THE FLORESTAN RECITAL PROJECT - Celebrating the 80th birthday of composer Ned Rorem, the group offers the Boston premiere of his magnum opus, "Evidence of Things Not Seen," an evening-length song cycle for four singers, Saturday at 8 p.m. in the Community Music Center of Boston. The singers are Jason McStoots, tenor, Aaron Engebreth, baritone, Krista River, mezzo-soprano, and Anne Harley, soprano; pianists are Alison d'Amato and Linda Osborn-Blaschke.
South End News
November 21, 2002 [Vol. 23, No. 44]
Music Review
Welcome Surprises
Florestan concert at Music Center delights despite last minute changes
by Stephen Marc Beaudoin
Classical Correspondent
Saturday evening's second season debut concert of the Florestan Recital Project was a full of surprises. Because of illness, singers Caprice Corona and Jessica Bowers - around whom Florestan's "Women's Voices" program had been planned - were forced to cancel. With some deft last-minute handling on the part of Florestan founders Anne Kissel and Joe Dan Harper, however, the evening turned out to be a series of spontaneous delights.
The spontaneity of the evening in fact worked very much to the group's advantage. Mr. and Mrs. Harper were sincere in their informal introductions and explanations of the varied program as it unfolded (and included only two of the four originally scheduled song cycles).
Absent any programs, the audience was forced to concentrate only on the singer and their song. It was a treat to see patrons sitting up and engaged with the artists instead of hunched over program notes and artist biographies.
Baritone Joe Dan Harper joined his wife Anne for Beethoven's "An die ferne Geliebte," what Mr. Harper referred to as "the first true song cycle." Mr Harper's communication was so vivid and complete that translations (or supertitles, which have crept onto both the opera and recital stages) would here have been absurd. High marks also to Mr. Harper's splendid diction.
Mezzo-soprano Krista River "got the call this morning to do the program," according to Mrs. Harper, who had earlier confided that River was also ill and just might not be able to perform. She performed Robert Schumann's "Frauenliebe und Leben," a short cycle on eight poems of Adelbert von Chamisso detailing a woman's journey of love and life.
River sang with warmly lush, even tone and meaningful diction. She also knows a thing or two about using straight tone. This was my third time hearing the mezzo in five months, and she just keeps getting better.
Ned Rorem's "Women's Voices," the concert's show piece and the crux of its theme, opened the first half of the program. Rorem's 11-song cycle, on poems by women from various times throughout history, encompasses a huge vocal and emotional range, including the rage of The Countess of Pembroke ("If ever hapless woman had the cause") and the warmth of Christina Rossetti's "A Birthday."
Soprano Sabrina Learman, on loan from the Chameleon Arts Ensemble, gamely stepped in for the cycle, and on less than a week's notice.
Learman and pianist Anne Kissel Harper performed seven songs from the set, Learman read the music from a stand. her approach was notable for effectively dramatic declamation and sheer volume, but an uneven vibrato and the tendency to push her voice compromised otherwise good musical intentions. The high B flat of "If ever hapless woman had the cause" was just out of the soprano's reach.
Composer Daniel Pinkham (an artistic advisor to the group) introduced his 1999 set, "Come, Look Quietly," by way of a letter from poet James Wright's widow, Anne Wright, which helped to illuminate Wright's poetry.
Pinkham's cycle is charatteristically filled with wit and always well-wrought; his prosody is second to none. Mr. Harper, for whom the work was written, demonstrated again why he is one of Boston's most gifted and intelligent young recitalists; the voice always at the service of the words, the communication always present not only vocally but physically.
The brave pianist for all four - count 'em, four - song cycles on the program was the attentive Anne Kissel Harper, the true hero of the evening. Kissel Harper attacked the Rorem fearlessly and went lush into the Schumann set. Her best work, though, was the thoughtful, subtle pianism she supplied in the Pinkham and the fine accompanying of her husband Joe Dan in the Beethoven cycle, which truly soared and sparkled.
Florestan Recital Project's upcoming "Evidence of Things Not Seen" is on Saturday, January 11 at 8p.m. at the Community Music Center, 34 Warren Ave.
South End News
October 17, 2002 [Vol. 23, No. 39]
Music Center home to two wonderful series
by Stephen Marc Beaudoin
Classical Correspondent
In Robert Schumann's solo piano cycle Carnaval, opus 9, the sixth movement opens with a quick, relentless motif in the right hand; restless, breathless and searching. The movement is called "Florestan," after one of Shumann's alter-ego characters. Florestan, the extrovert, Florestan the romantic, Florestan.
".was the fiery, revolutionary one," quipped pianist Anne Kissel Harper over coffee and scones on a recent Monday morning. "Also, we chose the name Florestan because all three of [the founding members] had such a strong affinity for Schumann's lieder," added her husband, baritone Joe Dan Harper.
And so an organization was born. The tree performers - Mr. and Mrs. Harper and baritone Aaron Engebreth - met as artists with the Handel and Haydn Society and Boston Academy of Music. They decided to turn their love for the classical song repertoire into something more tangible by creating a presenting organization for singers and instrumentalists interested in exploring the genre.
With one season now under their belt, the Florestan Recital Project is planning an ambitious second season beginning November 16, most of it in residence at the South End's Community Music Center of Boston, with one foray (though not with Fauré - just yet) to the Church of the Advent on Beacon Hill.
"We looked at a lot of spaces, but the Community Music Center of Boston's space is so nice and intimate, it's just perfect for what we are doing," commented Joe Dan Harper.
Anne jumps in: "You really feel like you're in someone's living room. I don't think a lot of people have experienced that intimacy - they're used to going to Symphony Hall or Jordan Hall. But here they're so close to the musicians."
"They're going to see everything," Joe Dan exclaims, finishing his wife's sentence. "For the performers it can be a bit unnerving!"
But the extremely capable performers they've assembled for the season are more than up to the task. Included on the roster are personalities as varied as Heinrich Christensen (music director at historic King's Chapel), soprano Caprice Corona, mezzo-sopranos Jessica Bowers and Krista River and tenor Jason McStoots, in addition to the founders and other guests, totaling a roster of about 20 for the season. And speaking of their season, what does the Project have in store for its listeners in their second year?
"We couldn't resist the temptation this year of celebrating the birthday of Dan Pinkham - our advisor and guardian angel - who's turning 80 this year. and when we realized that Ned Rorem was also turning 80, we just couldn't pass up the opportunity to celebrate their works together this season.
Pinkham and Rorem are giants in the song literature, with more than 400 songs to their credit between them. The two met as composition fellows at Tanglewood in the summer of 1946 and have remained friends since, partly (at least) because of their shared affinity for song.
"Dan Pinkham" has been very active, from the beginning, as our advisor. Dan asked us if we wanted to try to get Ned [Rorem] on board of this project, and we said 'Yes, if we can call him up and ask him anything, any time.' [Rorem] has been very kind to us, and we hope to have him even more actively involved with the group in the future."
This year begins November 16 with a program titled "Women's Voices," after a Ned Rorem song cycle using texts by women from the 15th through 20th centuries. Also included on that program are other works from the female perspective, including Schumann's "Frauenliebe und Leben" ("Woman's Love and Life"), Pinkham's "The Song of Jephthah's Daughter" and "Music in the Manger." There will also be a pre-concert lecture by women's literature specialist Rebecca Boggs.
"We hope to have some of our composers speak at the concerts. We've commissioned a work by composer Lior Navok, "A Dome of Many-Coloured Glass," which we'll be premiering, with help from the St. Botolph Club, on our May concert."
"Our first goal, always, is to do high-quality and interesting work," Mr. Harper continued. "We strive to have programs that are cohesive but divers."
Boston Globe
Friday, April 5, 2002
Classical Picks
by Richard Dyer
.The Florestan Recital Project performs songs by American students of Nadia Boulanger tomorrow at 8 in the Community Music Center at 34 Warren Ave., Boston.
Boston Globe
Friday, January 18, 2002
Classical Notes
by Richard Dyer
Three young Boston-based musicians have created a new ensemble to present the vocal recital literature - the Florestan Recital Project. The founders are two baritones, Joe Dan Harper and Aaron Engebreth, and pianist Anne Kissel Harper. The group makes its debut tomorrow night at 8 in the Community Music Center in the South End, with additional programs Feb. 3 at the Longy School of Music and April 6 back in the Community Music Center. This season's programs feature songs by American pupils of the great French music teacher Nadia Boulanger. Tomorrow's program presents works by Leaonard Bernstein, Virgil Thomson, Theodore Chanler, Daniel Pinkham, and Boulanger herself; guest artists include mezzo Sandra Piques Eddy and pianist Linda Osborn-Blaschke. Later programs feature such additional guests as soprano Sarah Pelletier and Janna Baty, tenor Alan Schneider, and pianist John McDonald, and the composers include Paul Bowles, Aaron Copland, Marc Blitzstein, John Duke, Elliott Carter, David Diamond, Thomas Pasatieri, Ned Rorem, and Irving Fine.
