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Robert DeGaetano

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Robert DeGaetano was a United States concert pianist and composer.

Early life and education

DeGaetano was born in 1946 in New York City. He studied with Alexis Weissenberg and Sviatoslav Richter.[1] He graduated from The Juilliard School with a Bachelor of Music in 1969, and obtained a Master of Music in Professional Studies in 1971.[2] He also studied with Adele Marcus, Rosina Lhévinne, and a Rotary International scholarship, recommended by Richter and David Oistrakh, made it possible for him to continue studying with Alexis Weissenberg in Paris.[3]

Career

In the mid 1970s DeGaetano made his performing debut in Saint Paul, Minnesota. In 1975 DeGaetano met Samuel Barber as DeGaetano was preparing to perform Barber's piano sonata at Carnegie Hall and they became close friends for the five years that he lived. He has credited Barber for inspiring him to compose, when he visited him in his Santa Cristina chateau in the Dolomites.[4]

During his early career, he taught at the Mannes College of Music, and oversaw a TV program called the 'Walrus Tales'.[1]

It was not until when he was in his 30s, that he would present his compositions though:[5] In 1986, DeGaetano premiered his first Piano Sonata in New York City.[6] The Jackson Symphony Orchestra in Michigan commissioned him to write a piano concerto, his first, which he completed in 1987.[5]

In November 1987, DeGaetano premiered 'The Challenger', a suite for solo piano, which Alice Tully had commissioned him to create as a tribute to the astronauts killed in the 1986 Space Shuttle Challenger disaster. The performance was at the Lincoln Center for the Performing Arts, and the family members of the astronauts were present.[5]

The performance was well received.[7] It was filmed live for television, and was featured on CBS Sunday Morning, as well as broadcast over radio stations around the country. It was performed on concert tours on three continents.[3]

In 1999 DeGaetano made his first Carnegie Hall appearance. The same year on Memorial Day he played Louis Moreau Gottschalk's 'L'Union' and 'The Banjo' at the Green-Wood Cemetery gravesite of the composer with the Goldman Memorial Band.[3]

DeGaetano has placed his works since the 1990s in a category he called “passionism”. About his 1992 composition 'Crystonix' he said in 2010, that it related to the physical development of the piano over the ages from relatively frail to strong and very resonant.[8] The pianist and composer died on February 12, 2015, in Palm Beach, Florida

Discography

DeGaetano created nine albums, playing 19th and 20th century composers as well as his own compositions.[3] In September 2013, he released his so far last album, a recording of his first piano concerto on Navona Records, which is distributed by Naxos Records.[2]

References

  1. ^ a b John Rockwell (September 22, 1984). "PIANO: DeGaetano in Recital". New York Times. Retrieved 13 February 2015.
  2. ^ a b "Alumni News for October 2013". Juilliard Alumni News. The Juilliard School. Retrieved 13 February 2015.
  3. ^ a b c d "Robert DeGaetano Bio". Robert DeGaetano. n.d. Retrieved 13 February 2015.
  4. ^ Julie Amacher (Mar 9, 2010). "An Interview with Robert DeGaetano on Samuel Barber". Minnesota Public radio MPR. Retrieved 13 February 2015. And that was the first time that I had been inspired to compose, because one night after dinner he said, "Why don't you write a song?"
  5. ^ a b c Marc Shulgold (December 16, 1987). "Pianist Turns His Passion To Composing". Chicago Tribune. Scripps Howard News Service. Retrieved 13 February 2015.
  6. ^ Tim Page (June 12, 1986). "Recital: DeGaetano, Piano". New York Times. Retrieved 13 February 2015.
  7. ^ ALLAN KOZINN (January 31, 1995). "IN PERFORMANCE; CLASSICAL MUSIC". New York Times. Retrieved 16 February 2015. The best of the eight works he offered was "The Challenger,"
  8. ^ Ray Ragosta (October 25, 2010). "Pianist Robert DeGaetano to mark the anniversaries of Chopin, Schumann and Barber, Nov. 7". Rhode Island College News. Retrieved 13 February 2015. Early pianos had wooden frames that couldn't stand up to aggressive playing. Pianists had to take care not to break strings or even the frame itself. But as the instruments got stronger, they could accommodate the great physical players like Liszt. For contemporary music, pianos need to have even greater resonance to go along with the louder and bigger sounds of our culture, like traffic noises.
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