Aspen Music Festival And School

Deep Focus: Enriching the Aspen Experience

An array of micro-essays by accomplished musicologists, curated to enhance and enrich your historical and aesthetic engagement with the musical programming offered at Aspen’s 2022 Season. 

Rebecca Clarke in World War II

Leah Broad, Junior Research Fellow, Christ Church, University of Oxford

In all of Clarke’s war works, there’s a tension between modern and traditional. For most of her life Clarke had been at the forefront of modern music, hailed by the Daily Telegraph as “a frank disciple of modernity” in 1922. But she was not prepared to embrace atonality, which was becoming increasingly dominant in the U.S. thanks to the arrival of Schoenberg and Stravinsky. In many of her war pieces, this friction is absolutely central.

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Gabriela Lena Frank: From Ivory Tower to Redwood Country

Deborah Hayes, Professor Emerita of Musicology, University of Colorado Boulder

Gabriela Lena Frank writes music for a wide range of audiences, from seasoned concertgoers to neophytes, in concert halls, community centers, hospitals, schools, prisons, and even less traditional venues. Now she is engaged in an extraordinary educational project.

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Illuminations of the Art Songs of Margaret Allison Bonds (1913-1972)

Alethea N. Kilgore, Associate Professor of Vocal Studies at Florida A & M University

Dr. Alethea Kilgore brings us a deep dive into Songs of the Seasons, a soon-to-be-published song cycle by Margaret Allison Bonds. Dr. Kilgore’s song-by-song analysis highlights the newfound attention Bonds enjoys from both performers and historians.

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Florence B. Price: A Biographical Vignette

Dr. Samantha Ege, Lord Crewe Junior Research Fellow in Music at Lincoln College, University of Oxford

Dr. Samantha Ege provides an orientation to an American masters of compositional craft with a resurgent historical profile: Florence Beatrice Price. 

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Fiddling “In the Barn” with Charles Ives

Dr. Jacob A. Cohen, Visiting Assistant Professor in Musicology, Oberlin Conservatory

Charles Ives loved a good, old-fashioned, rural barn dance. At least, he thought he did. Ives readily admits that his musical representations of the barn dance—as heard in pieces like “Washington’s...

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Robert Spano, Music Director

Alan Fletcher, President and CEO