Music

Lectures on Music

Claude Debussy and the Ghost of Old Klingsor
Debussy's Corner of Paris 1908
Debussy's Prism:  An Approach to Pelleas et Melisande
From the Calliope to the Mighty Wurlitzer:  Definitely Not the Church Organ
J. S. Bach and the Mystery of the B Minor Mass
Salome, Jokanaan and the Organization of the Opera

"Varieties of Musical Analysis:  Through the Analytical Sieve and Beyond,"  Conference on Music Bibliography, Evanston, Illinois, 1986.

"Value Change and Structures of Representation in Music." International Association of Philosophy and Literature, Seattle, 1986

Chairman, Session on Text and Music.  Society for Music Theory National Meeting, 1985

"Poetry and Music." Petit Jean International Art Song Festival, Little Rock, Arkansas, 1984

"One Face, Many Masks."  Romantic Festival XV, Butler University, Indianapolis, Indiana, 1982

"Debussy and the mélodie."  Romantic Festival XV, Butler University, 1982

Chairman, Paper Session on Debussy and 20th‑Century Music.  American Musicological Society National Meeting, 1981

Series of Lectures on Opera, Pittsburgh Opera Company 1980‑1981: Susannah; Carmen; Attila; The Flying Dutchman; Tosca; The Marriage of Figaro

Chairman, Study Session on the Future of Debussy Research.  American Musicological Society National Meeting, November 1980

"Claude Debussy: A Portrait of the Composer."  Cleveland State University, 1980

"The Fall of the House of Allemonde: From Poe to Pelléas."  University of Sydney, 1979; Second Biennial Conference on 19th­Century Music, King's College, Cambridge, 1980

Series of Lectures on Opera, Pittsburgh Opera Company 1979‑1980: Madama Butterfly; Don Giovanni; Il Trovatore; Elixir of Love; Ariadne auf Naxos

"Claude Debussy and the Art Nouveau Image of Woman."  International Musicological Society Third Intercongressional Symposium, Adelaide 1979

"Verlaine et Debussy: Poète et Compositeur."  Université Laval, Québec, 1981

Claude Debussy: The Formation of a New Musical Language."  Cleveland State University, 1979; Musicological Association of South Australia, 1979

Respondent, Symposium on "Impressionism in Literature and Music."  Northeastern University, 1979

"Mélisande: Key to Pelléas?"  Duke University, Durham, North Carolina, 1979

Chairman, Paper Session on Debussy's Dramatic Music.  American Musicological Society National Meeting, 1978

Series of Lectures on Opera, Pittsburgh Opera Company 1978‑1979, sponsored jointly by University of Pittsburgh and Pittsburgh Opera Company: Turandot; The Magic Flute; La Traviata; Salomé; Don Quichotte; Don Pasquale

"The Harmonic Structure of Debussy's Pelléas et Mélisande." American Musicological Society Allegheny Chapter 1978; American Musicological Society National Meeting, 1978

"Debussy and the Pretentious Maidens."  American Musicological Society Allegheny Chap­ter, 1975

"Debussy's Corner of Paris 1908."  American Musicological Society New York State Chapter, 1974

Musical Performance

My piano career began at age six when an adult friend showed me how you could play "Buttons and Bows" on just the black keys of the instrument (with a single exception four notes from the end).  I asked my parents for piano lessons and launched a life-long passion.

As a pianist I performed both solo recitals and piano concertos, with a repertoire focussing on the works of Claude Debussy.  In retirement I have been devoting myself to the late Beethoven sonatas that fall within limits of my technique, Op. 101, Op. 109, and Op. 110.

Lately I have begun playing half-hour programs each month for the two retirement homes in Orillia that have grand pianos.  I expect to continue this practice when I get to Florida.  I have compiled fifteen programs including works I haven't played in more than fifty yeas, including selections from Schumann's Album for the Young and Mozart's Sonata in C Major.

As a choral conductor, I founded and directed a cappella choirs in Boston, Pittsburgh, Quebec City and Toronto, and broadcast over PBS in the United States and Radio Canada (the French branch of CBC).  These choruses performed a wide repertoire of music, from plainsong to contemporary.

I began studying the organ in high school with our church organist and spent most of the years from the time I entered college in 1961 until I retired in 2014 as a church organisit.  Jubilee United Church's purchase of a Phoenix organ, which I got to design, launched an unexpected three-year career as a recitalist, with a repertoire including standard works for organ as well as transcriptions.

Here are the programs I played during that time.
2011
11 October 2011 (dedication)
1 December 2011
2012
5 January 2012
2 February 2012
8 March 2012
5 April 2012
26 April 2012
20 May 2012
30 September 2012
11 October 2012
28 October 2012
8 November 2012
2 December 2012
13 December 2012
2013
10 January 2013
20 January 2013
7 March 2013
14 April 2013
22 December 2013
2014
24 April 2014
5 May 2014