Ethan Haimo

Ethan Haimo, composer and theorist, is Professor of Music at the University of Notre Dame.

E-mail address: ehaimo@nd.edu.

Mail address:
Department of Music
University of Notre Dame
Notre Dame, IN 46556

Telephone: (574) 631-7613
FAX (574) 631-4539

Compositions

(To hear recordings of the following, click on the highlighted links.)

Symphonic Works

• Symphony for Strings
• Symphony for Orchestra
• Overture: Reconsecration of the House

Chamber works

• String Trio
• String Quartet in Two Movements
• Duo Sonata for Violin and Cello
• Rhapsody for Violin and Piano
• Duo for Violin and Harpsichord
• Brass Quintet
• Quartet for Oboe and Strings
• Contrasts for Cello and Piano
• Concert Duo for Cello and Piano
• Five Bagatelles for Flute, Viola, Cello

Vocal Works

• Yeats Songs for Soprano and Piano
• Swenson Songs for Soprano and Piano
• Dickinson Songs for Voice (mezzo or baritone) and Piano
• Epitaphs for Soprano, Baritone, and Chamber Ensemble
• Weary with Toil (Shakespeare) for Mezzo and Piano

Piano Music

• Sonata for Piano
• Three Etudes for Piano
• Dialectics for Piano

Choral Works

• Psalm 23 for Chorus and Organ
• Elegies for Chorus
• Two Psalms for Male Choir

Recordings

Ethan Haimo, Solo and Chamber Works Centaur Records (CRC 2253)  This disc includes recordings of String Trio, Sonata for Piano, Rhapsody for Violin and Piano, Contrasts for Cello and Piano, Etudes for Piano, Swenson Songs

MMC New Century, Volume IX, MMC Recordings (MMC 2064).  This disc includes a recording of the Symphony for Strings, Robert Stankovsky conducting the Slovak Radio Symphony Orchestra.

Masterworks of the New Era, Vol. 7, ERM Media (ERM 6709).  This disc includes a recording of the Symphony for Orchestra, Robert Winstin conducting the Kiev Philharmonic

A Different Slant of Light, Capstone Records (CPS 8683).  This disc includes a recording of the song I died for Beauty from the Dickinson Songs.

Reviews

The CD released on Centaur has received high praise from the reviewers. Peter Burwasser, writing in Fanfare stated: "he writes with a sense of style and cohesiveness that makes his music stand out from the pack . . . works of tightly coiled energy expressing a distinctive voice . . . The pungent, but concisely expressed String Trio, and the lively neo-Classical Piano Sonata are particularly impressive. Haimo possesses a remarkable gift for sounding melodic without ever reverting to pure tonality. Fine performances and a crisp recording: this is a beautifully constructed and truly expressive selection of "old fashioned" modern music." Mark Lehman, writing in the American Record Guide stated: "He writes in a sharply-etched atonal mode that maintains strong allegiance to traditional forms and procedures. . . Haimo writes brilliantly for piano . . . an impressive debut recording by a composer of integrity and substance."

Scores

Scores to all the compositions listed above can be obtained directly from the composer.  Please write for details.

Publications

Books

• Stravinsky Retrospectives (co-editor, Paul Johnson) University of Nebraska Press, 1987.
•    ____ (paperback edition), 1997.
• Schoenberg's Serial Odyssey: the Evolution of his Twelve-tone Method, 1914-1928, Oxford University Press, 1990.
•   ____  (paperback edition), 1992.
• Haydn's Symphonic Forms: Essays in Compositional Logic, Oxford University Press (1995).
• Schoenberg’s Transformation of Musical Language (Cambridge University Press, forthcoming).

Articles in Journals and Books:

• ‘Rhythmic Theory and Analysis,’ In Theory Only 4/1 (1978), 18-35.
• ‘Generated Collections and Interval Control in Debussy’s Preludes,’ In Theory Only 4/8 (1979), 3-15.
• ‘Scale and Collection,’ In Theory Only 5/3 (1979), 25-7.
• ‘Inversional Invariants in Diatonic Music,’ In Theory Only 5/4 (1981), 21-7.
• ‘Secondary and Disjunct Order-Position Relationships in Webern’s Op. 20,’ Perspectives of New Music 24/2 (1986), 406-19.
• ‘Problems of Hierarchy in Stravinsky’s Octet,’ in Stravinsky Retrospectives, Lincoln, 1987, 36-54.
• ‘Isomorphic Partitioning and Schoenberg’s Fourth String Quartet,’ Journal of Music Theory 28/1 (1984), 47-72 [co-author, Paul Johnson].
• ‘Editing Schoenberg’s Twelve-tone Music,’ Journal of the Arnold Schoenberg Institute 8/2 (1984), 141-57.
• ‘Remote Keys and Multi-movement Unity:  Haydn in the 1790s,’ The Musical Quarterly 74/2 (1990), 242-68.
• ‘Redating Schoenberg’s Passacaglia for Orchestra,’ Journal of the American Musicological Society 40 (1987), 471-94.
• ‘Schoenberg’s Unknown Twelve-tone Fragments,’ Journal of the Arnold Schoenberg Institute 11/1 (1988), 52-69.
• ‘Haydn’s Altered Reprise,’ Journal of Music Theory 32/2 (1988), 335-51.
• ‘Aspects of Set Structure in Schoenberg’s Opp. 36 and 37,’ Israel Studies in Musicology 5 (1990), 131-45.
• ‘The Evolution of Schoenberg’s Twelve-tone Method,’ in The Schoenberg Companion, ed. by Walter Bailey (Greenwood Press, 1998), 101-28.
• ‘Schoenberg’s Mature Twelve-tone Compositions,’ in The Schoenberg Companion (1998), 129-56.
• ‘Schoenberg’s Late Twelve-tone Compositions,’ in The Schoenberg Companion (1998), 157-76.
• ‘Schoenberg and the Origins of Atonality,’ in Constructive Dissonance:  Arnold Schoenberg and the Transformations of Twentieth-Century Culture, ed. by Julianne Brand and Christopher Hailey (University of California Press, 1997), 71-86.
• ‘Atonality, Analysis, and the Intentional Fallacy,’ Music Theory Spectrum 18/2 (1996), 167-99.
• ‘Developing Variation and Schoenberg’s Serial Music,’ Music Analysis 16/3 (1997), 349-65.
• ‘Schoenberg’s Programmatic Compositions and the Ideology of Absolute Music,’ Orbis Musicae, 13 (2003), 177-84.
• ‘Begleitungsmusik zu einer Lichtspielszene, op. 34,’ in Schoenberg, Interpretationen seiner Werke, ed. Gerold Gruber (Vienna, 2002), 511-26.
• ‘Variationen für Orchester, op. 31,’ in Schoenberg, Interpretationen seiner Werke, ed. Gerold Gruber (Vienna, 2002), 460-81.
• ‘Tonal Analogies in Schoenberg’s Fourth String Quartet,’ Journal of the Arnold Schönberg Center 4 (2002), 219-28.
• ‘Pierrot Lunaire; A Cycle?’ in ‘Pierrot lunaire’ Albert Giraud—Otto Erich Hartleben—Arnold Schoenberg: Une collection d’études musico-littéraires. ed. Mark Delaere and Jan Herman (Leuven, 2004), 145-56..
• ‘The Interaction Between Art and Music in Schoenberg’s Career: A Reexamination’ in Journal of the Arnold Schönberg Center, forthcoming.
• ‘Schoenberg, Bach, and B-A-C-H’, in Journal of the Arnold Schönberg Center, forthcoming.
• ‘Schoenberg’s Radical Athematicism’ in Cambridge Companion to Schoenberg, forthcoming.
• ‘Parallel Minor as a Destabilizing Agent in the Music of Haydn, Beethoven, and Mozart’, in Tijdschrift voor Muziektheorie 10/2 (2005), 190-200.

Other Publications:

• Review:  Brahms and the Principle of Developing Variation by Walter Frisch.  Journal of the Arnold Schoenberg Institute 8/1 (1984), 78-82.
• Letter on Contemporary Music Theory, Perspectives of New Music 22 (1983-4), 583-5.
• ‘Arnold Schoenberg’ in Blackwell Jewish Companion.
• Review:  Schoenberg and the New Music by Carl Dahlhaus, Journal of Music Theory 33/1 (1989), 210-14.
• Review:  The Not Quite Innocent Bystander by Edward Steuermann.  Notes 47/3 (1991), 767.
• Review:  Schoenbergs Oper Moses und Aron by Christian Martin Schmidt.  Notes 47/3 (1991), 766-7.
• Review:  Remaking the Past by Joseph Straus.  Journal of Musicological Research 12/suppl. (1992), 139S-46S.
• Review:  Schoenberg's Error by William Thomson. Journal of  Musicological Research 13/3-4 (1993), 290-304.
• Review:  Quellenstudien I, ed. by Hans Oesch.  Notes  49/2 (1993).
• Review:  Haydn, String Quartets Op. 50 by W. Dean Sutcliffe.  Journal of Musicological Research 14 (1994), 97-101.
• Communication:  Journal of American Musicological Society, response to Taruskin, 1993.
• Review:  Arnold Schoenberg, The Musical Idea (ed. and tr. by Patricia Carpenter and Severine Neff), Times Literary Supplement (May 31, 1996), 21.
• CD Liner Notes:  for Schoenberg’s Opera, Moses und Aron, Royal Concertgebouw Orchestra, conducted by Pierre Boulez (Deutsche Grammophon Gesellschaft, No. 449 172-2).
• ‘Linear Analysis--A Cure for Pitch-Class Set Analysis?:  A Reply,’ Music Theory Online, 3.3 (May, 1997).
• Response to David Headlam:  Music Theory Spectrum 19/2 (1997), 299.
• Review:  Haydn Studies (ed. W. Dean Sutcliffe) and Haydn:  the ‘Paris’ Symphonies by Bernard Harrison, Times Literary Supplement, Spring 1999.
• Review: The Atonal Music of Arnold Schoenberg, by Bryan Simms, Current Musicology 70 (Fall, 2000), 111-21.
• Review: The Cambridge Companion to Stravinsky, ed. by Jonathan Cross, Slavic Review (2005).