Mathew Rosenblum Named Guggenheim Fellow
Mathew Rosenblum, professor of music in composition and theory
at the University of Pittsburgh, has been named a 2013 Guggenheim Fellow. He is among 175 scholars, artists, and scientists selected in recognition of prior achievement and exceptional promise.
Rosenblum’s proposed project is a concerto for the renowned Classical/Klezmer clarinetist David Krakauer. Titled Lament/Witches’ Sabbath, Rosenblum will compose the concerto for Krakauer and the Boston Modern Orchestra Project, directed by Gil Rose. The new piece will be loosely based on the last movement of Berlioz’s Symphony Fantastique, "Songe d'une nuit du sabbat," and will be a re-working of elements of that music with Klezmer inspired excursions based on the folk elements already embedded in the Berlioz. According to Rosenblum,
“It’s meant as a new piece that appropriates, transforms, and interprets elements from the original. The idea is to mesh my microtonal musical language with David’s improvisational sensibility using aspects of Berlioz’s musical material and the evocative theme of “witches sabbath” as a reference point. The piece will begin with a Lament, and will be 18-25 minutes in length.”
at the University of Pittsburgh, has been named a 2013 Guggenheim Fellow. He is among 175 scholars, artists, and scientists selected in recognition of prior achievement and exceptional promise.
Rosenblum’s proposed project is a concerto for the renowned Classical/Klezmer clarinetist David Krakauer. Titled Lament/Witches’ Sabbath, Rosenblum will compose the concerto for Krakauer and the Boston Modern Orchestra Project, directed by Gil Rose. The new piece will be loosely based on the last movement of Berlioz’s Symphony Fantastique, "Songe d'une nuit du sabbat," and will be a re-working of elements of that music with Klezmer inspired excursions based on the folk elements already embedded in the Berlioz. According to Rosenblum,
“It’s meant as a new piece that appropriates, transforms, and interprets elements from the original. The idea is to mesh my microtonal musical language with David’s improvisational sensibility using aspects of Berlioz’s musical material and the evocative theme of “witches sabbath” as a reference point. The piece will begin with a Lament, and will be 18-25 minutes in length.”
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