HUGH AITKEN
HUGH AITKEN
b. September 7, 1924, New York, NY — d. December 24, 2012, Oakland, NJ
After having served as navigator on a bomber flying out of Italy during the final months of WW II, Hugh Aitken entered The Juilliard School, which his father, a violinist, had also attended. There he studied clarinet with Arthur Christmann and composition with Vincent Persichetti, Bernard Wagenaar and Robert Ward. Graduating in 1950, he joined the faculty and taught there for twenty years. From 1970 to 1996, he was professor at William Paterson University in New Jersey.
Aitken composed over eighty works, including two operas, three violin concertos, a large-scale oratorio The Revelation of St. John the Divine and ten solo cantatas for voice and instruments. He has been commissioned by, among others, Yo-Yo Ma and Emanuel Ax, the Seattle Symphony, the Emerson String Quartet, the Coolidge Foundation at the Library of Congress, the Naumburg Foundation, the New York Chamber Soloists and Jan Opalach. Notable premieres include a duo for cello and piano performed by Yo-Yo Ma and Emanuel Ax, and Symphony, conducted by Gerard Schwarz with the Seattle Symphony. He received awards from The American Academy and Institute for Arts and Letters, and The National Endowment for the Arts.
Eleven of Aitken’s works are available on CDs from CRI (distributed by Albany), Artek, and New World Records. On Artek 0004, Gerard Schwarz conducts the Seattle Symphony in Aspen Concerto for violin and orchestra, featuring Elmar Oliveira, Rameau Remembered for flute and orchestra with Scott Goff as soloist, and In Praise of Ockeghem for strings. His music is published by Theodore Presser and Oxford University Press. A book, The Piece as a Whole, studies in holistic analysis, is published by Greenwood Press. Mr. Aitken died at his home in Oakland, NJ, on December 24th, 2012.
View scores here (roll over to view score title):
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Four Quiet Pieces for Symphonic Band -- 3'
Published: #165-00001
Movements:
• Arioso
• Canon
• Chorale
• Song
Available Separately:Full Score - Large (#165-00001F)
Set of parts (#165-00001P)
Suite in Six for Symphonic Band -- 9'
Movements:
• Chorale
• Dance
• Finale
• Interlude
• March
• Overture
Available Separately:Condensed Score (#165-00002C)
Full Score - Large (#165-00002F)
Set of parts (#165-00002P)
Four Pieces, Four Hands for 1 Piano, 4 Hands -- 3'
Published: #160-00132
Movements:
• Arioso
• Canon
• Chorale
• Song
Trios for 11 Players -- 23'
1 1 1 1 - 1 1 1 0; Vln. Vla. Vcl. Cb.
Available from the Presser Rental Library
Fables, A Diversion Chamber Opera for Four to Thirty Singers and Nine Instruments (1973-74) -- 90'
Fl., 2Ob., Bsn., Str. Quintet
Available from the Presser Rental Library
Commission Information: Elizabeth Sprague Coolidge Foundation
Premiere Information: The New York Chamber Soloists, Melvin Kaplan, director, Jean Hakes, soprano, Grayson Hirst and Charles Bressler, tenors, and Raymond Murcell, bass; Coolidge Auditorium, Library of Congress; November 1, 1975
Additional Information: Texts by the Composer after Jean de La Fontaine (1621-1695).
• Reviews
Felipe Opera in Three Acts (1982) -- ca. 3 hours
3 3 3 2 - 4 2 3 1; Timp. 2Perc. Hp. Str.
Available from the Presser Rental Library
Additional Information: Libretto by Laura Tapia
Aspen Concerto for Violin and Orchestra (1989) -- 7'
Available from the Presser Rental Library
Premiere Information: Aspen Music Festival; August 1989
• Recordings
• Reviews
Partita for String Quartet and Orchestra -- 13'
1 2 1 1 - 2 1 1 1; Timp. Perc. Str.
Available from the Presser Rental Library
Rameau Remembered for Flute and Orchestra -- 20'
1 2 0 1 - 0 0 0 0; Str.
Available from the Presser Rental Library
Commission Information: David S. Dana, President of the White Mountain Center for the Arts, NH
Premiere Information: Gerard Schwarz, conductor; White Mountain Center for the Arts, NH; August 1980
• Recordings
Songs and Caprices (2001) -- 20'
2(2Picc.) 1 2(E-flat Cl./A Cl./B.Cl.) 0(E.H.) 2 - 2 2 0 0; Timp. 3Perc. Str.
Available from the Presser Rental Library
Premiere Information: New York Chamber Symphony, Gerard Schwarz, conductor; Alice Tully Hall, New York, NY; November 3, 2001
• Reviews
Symphony (1998) -- 26'
3(Picc.) 3(E.H.) 3(B.Cl.) 3 - 4 3 3 1; Timp. 4Perc. Str.
Available from the Presser Rental Library
Commission Information: Seattle Symphony
Premiere Information: Seattle Symphony, Gerard Schwarz, conductor; Benaroya Hall, Seattle, WA; April 8, 1999
Violin Concerto -- 21'
Solo Vln.; 2 2 2 2 - 2 2 0 0; Timp. Str.
Available from the Presser Rental Library
Commission Information: 92nd Street Y
Premiere Information: Y Chamber Symphony, Gerard Schwarz, conductor, Elmar Oliveira, violin; Theresa L. Kaufmann Concert Hall, 92nd Street Y; February 15, 1986
• Reviews
"I am sure that many listeners, randomly hearing on the radio the slow movement of Hugh Aitken’s Aspen Concerto, would rush to the nearest record shop in search of it. It is a grave passacaglia, rising to a beautiful, sober eloquence at the soloist’s first entrance, and again after the violin has exchanged confidences with string soloists from the orchestra, when the passacaglia resumes... Aitken’s is a likeable and individual voice."-Gramophone"He writes in a conservative, Neoclassical style that at times, especially in its often rich polyphonic texture, is reminiscent of Hindemith, although Aitken is decidedly more lyrical. These qualities are most apparent in the [Aspen] Concerto, a fine, solidly crafted work that emphasizes line and development more than virtuosity. The slow movement, a songlike meditation with a quiet, lovely ending, is particularly attractive."-Fanfare"The concerto is attractive to the ear, and remarkably well integrated."-Musical America
"…expertly crafted, with long, angular melodies that pass from soloist to orchestra and back again. The violinist… is given many opportunities to prove his virtuosic credentials, yet Mr. Aitken’s concerto never devolves into flash or ostentation. …this is an important work."-Tim Page, New York Times"…a lovely work brimming with fresh invention, heartfelt lyricism, and a fiery dramatic spirit."-Peter G. Davis, New York Magazine
"…Hugh Aitken’s “Songs and Caprices” is a more carefree piece, also harmonically easygoing but full of allusions to popular and international styles. On a first hearing, its most striking feature is its adventurous writing for four percussionists, who often hold the spotlight."-Allan Kozinn, New York Times
"…has wit, pungency and vocal passages of grateful character. Its varied nature precludes any impatience on the part of the listener and the composers authoritative instrumental writing keeps the players both busy and, one expects, happy."-Daniel Cariaga, Los Angeles Times"Aitken’s score is stunning, moving easily from profoundly beautiful passages to outrageous satires... The vocal writing is a tour de force."-Michael Redmond, Newark Star Ledger
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