Richard Wernick and his Students

IMG_0070Here is the mentor and his mentorees: L to R, Philip Maneval, Yinam Leef, Richard Wernick, Melinda Wagner, and myself, taken after the April 18 concert of music by students of Dick Wernick held at the Settlement Music School here in Philadelphia.

Dick told the story of the graffito above the urinal in the men’s room in the Penn Music Department annex, the building where the faculty composers’ offices used to be. The inscription read: “Rochberg is the Father, Crumb is the Holy Ghost, and Wernick is the Son of a Bitch.” Yes, Dick was a challenging teacher, as some of us wrote in the program book for the concert. (Find the program notes here, here, here and here.) But there is more to the man than that, as I know from the kindnesses he showed me decades ago when I was ill with the same disease that took the life of his son. It would have been quite understandable if Dick went running in the other direction when he got word of my diagnosis. Instead, he was on the phone to me with advice, with names of doctors, with generous support. I count myself fortunate to know Dick Wernick.

And you will be fortunate if you check out his music! Try the recordings on Bridge of his concerti, or of his chamber music, or the one with big sonatas written for Lambert Orkis by Dick and myself. These are all splendid performances of Dick’s powerful, beautifully made pieces.

Speaking of performances, the players of the Daedalus Quartet, the Trio Cavatina, Elizabeth Hainen and Burchard Tang were superb in some very challenging music last week. These were high-calorie pieces, densely argued, with wide-ranging expressive demands. The performances were notable for their passion and sharply etched character. I was delighted with the performance of my quartet, and was astonished at how the Daedalus took on not just my piece, but three substantial works, all played with uncommon care.

Thank you, Richard Wernick

wernick-richard_2009credit-adamleefNext Thursday, April 18, is the Philadelphia Chamber Music Society‘s concert in honor of Richard Wernick, featuring music by four of his former pupils:

Daedalus Quartet
Trio Cavatina
Burchard Tang, viola
Elizabeth Hainen, harp
Thursday, April 18, 2013, 7:30 pm
Settlement Music School (Queen Street)

program:
Melinda Wagner (Pulitzer Prize, 1999): Pan Journal
James Primosch (current Penn faculty): Quartet No. 3
Yinam Leef (President, Rubin Academy, Jerusalem): Quartet No. 2
Philip Maneval (Executive Director, Philadelphia Chamber Music Society): Quartet in C-sharp, Op. 50

My third quartet was commissioned by the Philadelphia Chamber Music Society, and premiered by the Ying Quartet in 1999. Here is a program listing and note on the piece:


String Quartet No. 3 (1999)
I. Theme and Variations
Theme: Largo
Var. 1: Andante Moderato
Var. 2: Allegretto Grazioso
Var. 3: Vivace
Var. 4: Prestissimo
II. Fantasia: Allegro Ansioso
Var. 5: Adagio
III. Finale: Vivace, Poco Scherzando
Coda: Largo

program note

After writing a series of pieces that either set texts or relied on pre-existing melodies (old sacred tunes) as compositional resources, I set out to create a more autonomous, abstract world in my Quartet No. 3. My efforts yielded a somewhat unusual formal scheme: a theme and variations set is first interrupted by an anxious (“ansioso”) and expressionistic Fantasia; then resumes for a single variation, infiltrated by the gestures of the Fantasia. A viola cadenza follows, introducing a rondo-like finale. This attempt to cap the piece in a playful spirit is surprised by another reprise of the slow variation theme, this time in a simple unison statement.  The entire sequence plays without pauses and runs about 20 minutes.

Philip Maneval at PCMS requested that each of the composers write a note on their experience working with Dick as a student at Penn. Here is my note:

Some teachers of composition make it easier for the student to compose; some make it harder. Richard Wernick made it harder, and I am grateful that he did. Dick encouraged me to think deeply about fundamental musical issues, to work at making pitches truly matter, to hold myself to the toughest standards, to avoid simplistic solutions. Striving in his own composing for similar goals, he earned the right to be a kind of biblical prophet, issuing a radically uncompromising call to the highest artistic ideals. Thank you, Dick, for continuing to strive, for clinging to your vision of what a composer can be, for enriching us all with music of substance and expressive power.

That’s Dick in the photo above, taken by Yinam Leef’s son, Adam. It could be Dick the magician, conjuring up a new work – or sending it off into the world, in flight.