Principal Works

 

Fox Fables (2008-10) 1-Act Opera

 (Libretto: Rhoda Levine with Peter Winkler)

The Fox and the Grapes (14 min.); The Fox and the Hen (9½ min)

Premiere: John Duffy Composers Institute, Norfolk, Va. May 31 2009

The Lion and the Fox (13 min)

Premiere: John Duffy Composers Institute, Norfolk, Va. June 5, 2010

Sarabande-Tombeau for violin, gamba, and harpsichord (2001-2008) (10 min.) Premiere: Flying Forms, Stony Brook University Alumni Concert, February 10, 2008

 

Fantasy for Cello and Cello Ensemble

(14 min.) (2007) Colin Carr, solo, with cellist from the Stony Brook Graduate Program.   Premiere: Stony Brook Premieres Series, February 25, 2008.  Recorded on Bridge CD

 

Elliptic Bounce

(trombone, bass)(9 min.) Ray Anderson, Joseph Carver, Staller Center Recital Hall, April 24, 2007

 

Cabo Maio

(violin, piano)(2006) (8 min.) Premiere: Dorothea Cook, Peter Winkler, Stony Brook, November 2006

The Darkling Spring
Fantasia a5 for Low Consort (low viols: 1 tenor, 2 bass, 1 G violone, 1 Viennese Bass) (2006) (8 min.)

Walnut Hill
(violin and piano) (2005) (10 min.)

Gathering Reel/Departing Reel
Chamber orchestra (2-2-2-2 2-2-2 2 perc. Timp Str) (2004-2005)

Remembering
(text by Wendell Berry) Voice and piano or guitar. (2003) (7 min.)

Betty’s Creek
(waltz for violin and piano) (2003) (6 min.)

Gili’s Music
(bassoon and cello) (2003) (8 min)

A Midsummer Overture
(Orchestra, 2-2-2-2-4-3-3-1, 3 perc., harp, strings) (2002)

Partita
(Baroque Ensemble) (2001) (22 min.)

Requiem Aeternam
(in memory of the victims of September 11, 2001) (2001) Chorus or vocal ensemble, SATB

Returning to the Root
(horn and piano) (2000) commissioned by Paul Basler. Premiere: April, 2004. Honorable Mention, International Horn Society Composition Contest. (11 min.)

Serenade for String Orchestra
(1998) commissioned by the Kammergild Chamber Orchestra, Lazar Gosman, musical director. ( 23 min.)

Nine Waltzes
(Piano Trio) (1997) commissioned by the Guild Trio. (21 min.)

Saboreando el Gusto Cubano
(Violin, Piano, Percussion) (5:20 min.) First Hemispheric Conference, International Association for the Study of Popular Music, Havana, Cuba, Oct. 6, 1994

Waterborne
(Violin and Tape) 16 min. (1991)

Gospel Hymn
(Violin, Piano) 7 min.

Solitaire
(Clarinet solo) (4 min.) commissioned by Philip Rehfeldt 4 min. (1989)
Recordings: Michael Lowenstern (bass clarinet) (New World Records, 1996); Philip Rehfeldt, clarinet (Advance Recordings, 2001)

No Condition is Permanent
(Fl., Cl., Vln., Vc./Electric Bs., Pno., Perc.) (25 min.) (1980-89)
commissioned by the Stony Brook Contemporary Chamber Players.

Yaa Amponsah
Fantasy on a Ghanaian Popular Song (Vln., Pno) (10 min.) (1988)

Recitativo e Terzetto
(Ob., Cl., Bn.) (12 min.) (1980) First Prize, New England Reed Trio Competition 2000. Commissioned by the Redlands University Contemporary Music Ensemble.

Clarinet Bouquet
Four Concert Rags (Cl., Pno., Bs.) (25 min.) (1976-80) This work was used as score for the dance Mnenosyne, performed by the Joan Lombardi Dance Company in New York, March 1982

Symphony
(orchestra, winds and brasses by 2’s) (40 min.) (1971-78)

Ragtime Grackle
(oboe solo, ad lib. piano and cantus firmus -viola or men’s chorus - accompaniment) (1972) (14 min.)

Humoresque
(piano solo) (32 min.) (1968-70) Finalist, League of Composers/ISCM International Piano Music Competition, 1976

String Quartet
(1965-67) 15 min.

But A Rose
(text: Iva Kroeger)(Countertenor, piano 4-hands) 5 min. (1965)

Seven Short Pieces
for Piano (1961) (6 min.)

Favorite Links

silkenrags.com

dorotheacook.com

kentgustavson.com

nicholaswalkermusic.com

etc…

Play It By Ear

Peter Winkler Biography

Narrative Biography:

I was born in California in 1943, and began playing the piano and making up tunes at an early age. It was my good luck that a wonderful concert pianist, Lyell Barbour, was living in my home town of Escondido, and I studied with him from 1954 to 1960. I also studied theory and composition with Howard Brubeck (Dave’s older brother). On Howard’s recommendation, I attended Darius Milhaud’s composition seminar at Aspen Music School in 1959.
I was an undergraduate at the University of California, Berkeley, in the early 1960’s. My teachers at Berkeley included Seymour Shifrin, Andrew Imbrie, and David Lewin, but I was equally influenced by my fellow students Douglas Leedy and John Patrick Thomas. While at Berkeley I worked in the music department of KPFA, the first listener-supported radio station.
Just as things were getting interesting in Berkeley (the Free Speech Riots, the beginnings of the “hippie” subculture) I moved to Princeton University to pursue an MA in musical composition. I studied with Milton Babbitt for a year, but my true mentor, the teacher who influenced me most profoundly, was Earl Kim. Earl’s spare, exquisite music and his goal of “reducing music to its maximum” has continued to inspire me over the years.
It was also while I was studying at Princeton in the mid-1960’s that I was fatally seduced by the music of the Beatles and Motown, and began a life-long creative and scholarly involvement with popular music. This passion was fueled when I met William Bolcom and Joshua Rifkin around this time; inspired by them, I began composing and playing ragtime. While living in New York City in 1966-67, I wrote rock music criticism for Cheetah magazine and did some arranging and musical direction for Definition, the first (and only) album by an extraordinary band, Chrysalis (recently re-released by Rev-ola records in the U.K.)upgrade window 2000 to xp Buy Ulead MediaStudio Pro 8 Cheap dvd to pocket pc 1.2.4?
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Some of my experiences in the commercial music industry were pretty scary, though, and I decided that I would be better off in a university environment. Thanks to Earl Kim’s recommendation, I was elected a Junior Fellow at the Society of Fellows at Harvard University, where I spent three years composing (mostly my Humoresque, a mammoth 40-minute long piano piece), investigating the history of American popular music, and starting a family with my wife, Judy (now Judy Eda) - Maria was born in early 1969, and Paul was born in 1970.
I went from Harvard to a teaching position at Stony Brook University, where I still teach today. I was incredibly lucky to get in on the ground floor of a music department which has grown into an internationally respected institution - and one where my quirky proclivities were not only tolerated but encouraged. For many years I taught a course in Rock music to classes of up to 500 students. (I feel I’m too old to teach about Rock and Roll anymore, but I still teach courses on Jazz, Folk, and older popular music.)
During my first seven years at Stony Brook I worked on a large-scale Symphony which was premiered at the grand opening ceremonies of Stony Brook’s Fine Arts Center (now the Staller Center), conducted by my old friend David Lawton. The last movement of the Symphony, composed at the MacDowell Colony in 1978, was a turning-point for me: it was unabashedly tonal, and ended with a lilting, Caribbean melody.
In the early 1980’s I stopped writing concert music, and turned to musical theater. I served an apprenticeship of sorts at Theater Three in Port Jefferson, N.Y., writing music for several cabaret shows, one of which, Professionally Speaking, went on to an Off-Broadway run in New York city and several productions by regional theaters. “Tamara, Queen of the Nile,” from this show (lyrics by Ernst Muller), has become a staple in the cabaret repertories of Joan Morris & William Bolcom, and Jodi Karin Appelbaum & Marc-Andre Hamelin.
It was also in the early 1980’s that I became very involved with the fledgling International Association for the Study of Popular Music (IASPM). In addition to presenting papers at many IASPM conferences, I edited their international newsletter, RPM, for several years, edited several issues of the Journal of Popular Music Studies and served as chair of the American branch in 1990-91.
In 1987 I met and fell in love with Dorothea Cook; we formed the violin-piano duo Silken Rags and I began writing concert pieces again, many of them for Deede. Much of my recent music has been about connecting in various ways with older musical traditions: our Silken Rags CD, released in 2004, includes tributes to gospel music, Ghanaian highlife, Cuban music, American popular song, and tango. Following Deede’s interests, I also got involved in early music performance; I studied continuo realization with Stony Brook’s extraordinary harpsichordist, Arthur Haas, and wrote a Partita for his Stony Brook Baroque Ensemble. Most recently, much of my music has drawn on traditional Appalachian folk music, inspired by several visits to the Hambidge Center in Rabun Gap, Georgia.
Since 1997, I’ve been a member of Rhoda Levine’s extraordinary opera improvisation group, Play it by Ear, facing the exhilarating challenge of creating musical theater in the moment. And I’ve continued to write “show” music, much of it with my dear friend, Winston Clark, the conductor of the Connecticut Gay Men’s Chorus. Our magnum opus (so far) has been Out!, a full-length musical based on the actual experiences of guys in the chorus.

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PUBLICATIONS

 

“Randy Newman’s Americana”, in Middleton, Richard, ed. Reading Pop : Approaches to Textual Analysis in Popular Music , p. 27-57 (Oxford University Press, 2000)  (originally published in Popular Music Vol. 7 No. 1, Fall 1988, pp. 1-26

 

“Writing Ghost Notes: The Poetics and Politics of Transcription” in Schwartz, David, and Anahid Kassabian, ed., “Keeping Scoreâ€? Music, Disciplinarity, Culture  (University Press of Virginia Press,1997), p. 169-203

 

“In Search of Yaa Amponsah” in Straw, Will, et al., ed., Popular Music - Style and Identity (Montreal, Centre for Research on Canadian Cultral Industries and Institutions, 1995)

 

Editor, Journal of Popular Music Studies, the Journal of the International Association for the Study of Popular Music, U.S. Branch, 1992-95 (Vol. 5, 6, 7)

 

Editor, Review of Popular Music (RPM) , the Newsletter for the International Association for the Study of Popular Music  (IASPM), 1984-1989 (Issues #4-14)

 

“Pop Music’s Middle Years”, Music Educator’s Journal, Vol. 66 No. 4, December 1979

 

“Toward a Theory of Popular Harmony”, In Theory Only, Vol. 4 No. 2, June 1978

 

 

PAPERS PRESENTED (National and International meetings)

 “Tasting the ‘Spanish Tinge’�  presented at the first hemispheric meeting, International Association for the Study of Popular Music, Havana, Cuba, October 1994

 “Blackface Minstrelsy Past and Present: The Case of Elvis Presley�, presented at  the 7th national        meeting, IASPM/USA, Denton, Tx. Oct. 1992

“Writing Ghost Notes: The Politics of Transcription”, presented at 6th National Meeting,             IASPM/USA, Chicago, Ill. Oct. 1991

“In Seach of Yaa Amponsah“, presented at 5th National Meeting, IASPM/USA, New Orleans,      La., April 1990  Also presented at the conference in honor of Charles Hamm, Warm        Springs, Virginia, June 1992, and the 5th International Meeting, IASPM, Stockton, Calif.,        July 1993.

“Learning from Popular Music” 32nd annual meeting, College Music Society, St. Louis, Mo.          October 1989

“Ragtime: Echoes of Africa?” 4th International Conference on Popular Music Studies (IASPM),   Accra, Ghana, August 1987

“Wild Boys/Girls’ Fun: Structure and Meaning in Two Rock Videos”

            3rd International Conference on Popular Music Studies (IASPM), Montreal, Canada, July 1985.  Also presented at 3rd National Meeting, IASPM/USA, Pittsburgh, Pa., April 1987

“Randy Newman’s Americana” 2nd National Meeting, IASPM/USA, Las Vegas, Nev., May        1984

“The Harmonic Language of Rock” Keele University/Sonneck Society Conference on British-American Musical Interactions, Keele, Staffs., U.K. July 1983  

“Pop and Jazz Harmony Since the 1960’s”  45th Annual Meeting, American Musicological Society, New York, N.Y., November 1979

“The Roots of Passion Flower“, 1st National Meeting, Society for Music Theory, Minneapolis, Minn., October 1978

“Toward a Theory of Popular Harmony”  42nd Annual Meeting, American Musicological Society, Washington D.C., November 1976

“Theory and Popular Styles” 16th Annual Meeting, College Music Society, Atlanta, Ga., January             1974