Emma Lou Diemer


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– Sat 26 Jul: Koorconcert, Tiramisu zomerkoor Lutherse Kerk, Maastricht, Netherlands
– Sun 27 Jul: Lines and Waves in Blue Deep for 5 accordions (wp) Tenri Cultural Institute, New York, USA
– Mon 28 Jul: Trio Stravinskij: contaminations from jazz, music-hall, cabaret and American folklore Astronomical Observatory, Loiano, Italy
– Tue 29 Jul: Trio Stravinskij: contaminations from jazz, music-hall, cabaret and American folklore Church in Piazza Giovanni XIII, Tolè di Vergato, Italy
– Wed 30 Jul: First performance of the Quintet for clarinet and strings Congress Centre, Davos, Switzerland
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Fitkin to be Composer in Residence in London 16 Jun 2008
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Lost Bach composition found back 22 Apr 2008
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Sheet music for Diemer




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Born: 1927USA
Died:
→ See also: American composers | Modern composers | Female composers |
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Music


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Life

"Having studied at Yale under the Hindemith influence in the late ‘40s and early ‘50s, my concept of composing is to some extent the Gebrauchsmusik approach," Diemer wrote in The American Organist in September, 1982. In The Piano Quarterly, Spring 1985, she wrote, "Most of my music has been produced within a certain context: composition student, composer-in-residence, organist/choir director in various churches, university professor. If I had been apprenticed to a ballet company, a symphony orchestrao an opera company, I would have written music for that situation... I have little affinity with the composers who write only for their fellow composers. Some of history’s dullest, most ephemeral music has been produced for that reason."

lt is precisely this grassroots quality that has made Diemer one of the most widely performed composers in America today. Hers is music to be used, much of it (particularly a vast output of choral music) written to fill a need. Yet, even at its most conservative, it is substantial, innovative, sometimes whimsical, and always enduring.

About this piece, Diemer notes: "Fantasie was written in 1958 at Eastman when l was working on my Ph.D. in composition. I remember writing it in one of the practice rooms and feeling quite happy about the fugue subject, which came to mind in an especially free frame of mind." (The performer senses Buxtehude’s approval.) "The piece originally had a slow middle section based on the 4-note idea that the whole work is based on (short-short-short-long), but Oxford eliminated it. The beginning and ending are improvisatory with the more structured fugal section in between."

Oxford University Press published this piece in 1967, as catalogue number 93.107.

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