Fred Lerdahl

From Wikipedia, the free encyclopedia
Jump to: navigation, search

Alfred Whitford (Fred) Lerdahl (born March 10, 1943, in Madison, Wisconsin) is the Fritz Reiner Professor of Musical Composition at Columbia University,[1] and a composer and music theorist best known for his work on pitch space and cognitive constraints on compositional systems or "musical grammar[s]." He has written many orchestral and chamber works, three of which were finalists for the Pulitzer Prize for Music: Time after Time in 2001, String Quartet No. 3 in 2010, and Arches in 2011.


Lerdahl studied with James Ming at Lawrence University, where he earned his BMus in 1965, and with Milton Babbitt, Edward Cone, Roger Sessions, and Earl Kim at Princeton University, where he earned his MFA in 1967. He then studied with Wolfgang Fortner at the Hochschule für Musik in Freiburg/Breisgau in 1968-69, on a Fulbright Scholarship. Lerdahl was awarded an honorary doctorate from Lawrence University in 1999, and previously taught at the University of Michigan, Harvard University, and the University of California at Berkeley. He is a member of the American Academy of Arts and Letters.

Lerdahl's maternal uncle was the noted astronomer Albert Whitford.

Lerdahl has written two books: A Generative Theory of Tonal Music (1983, second edition 1996, with linguist Ray Jackendoff, MIT Press) and Tonal Pitch Space (2001, Oxford University Press). He has also written numerous articles on music theory, music cognition, computer-assisted composition, and other topics. He has served as a consulting editor to the music journals Music Perception since 1983 and Musicæ Scientiæ since 1999.

Notable students of Fred Lerdahl include composers R. Luke DuBois, Jason Freeman, Mark Gustavson, Huck Hodge, Arthur Kampela, Paul Phillips, and Dalit Warshaw. See: List of music students by teacher: K to M#Fred Lerdahl.


Lerdahl's influences include Elliott Carter, late Sibelius, early Schoenberg, Bartok, and Stravinsky. Lerdahl has said he "always sought musical forms of [his] own invention," and to discover the correct form for the expression.[2] His spiral form (implying both change and repetition), "in which a simple and stable musical idea is expanded on,"[2] has been described as a "recurrent motif of interweaving patterns."[3]

List of Compositions[4][edit]


  • Chords, large orchestra (12 winds, 11 brass, harp, piano, percussion, violas, cellos, double basses), 1974–83
  • Cross-Currents, large orchestra (12 winds, 10 brass, harp, piano, percussion, strings), 1987
  • Waves, small orchestra (8 winds, 2 French horns, strings), 1988
  • Without Fanfare, small orchestra (12 winds, 11 brass, 3 percussion), 1994
  • Quiet Music, large orchestra (12 winds, 11 brass, harp, piano, percussion, strings), 1994 (also version for 2 pianos)
  • Spirals, orchestra (8 winds, 2 French horns, 2 trumpets, piano, percussion, strings), 2006
  • Arches, cello, small orchestra (22 players), 2011
  • Time and Again, small orchestra, 2014

Chamber Music[edit]

  • String Trio, violin, viola, cello, 1966
  • Imitations, flute, harp, viola, 1977, revised 2001
  • String Quartet No. 1, 1978, revised 2008
  • Waltzes, violin, viola, cello, double bass, 1981
  • Episodes and Refrains, flute, oboe, clarinet, French horn, bassoon, 1982
  • Fantasy Etudes, flute, clarinet, violin, cello, piano, percussion, 1985
  • Marches, clarinet, violin, cello, piano, 1992
  • Time after Time, flute, clarinet, violin, cello, piano, percussion, 2000
  • Imbrications, flute, clarinet, violin, cello, piano, percussion, 2001
  • Oboe Quartet, oboe, violin, viola, cello, 2002
  • Duo, violin, piano, 2005
  • String Quartet No. 2, 1982–2010
  • String Quartet No. 3, 2008
  • Arches, cello, ensemble (flute, oboe, clarinet, bassoon, French horn, trumpet, trombone, harp, 2 violins, viola, double bass, piano, 2 percussion), 2010 (also version for cello, small orchestra [22 players])
  • There and Back Again, cello, 2010
  • Times 3, violin, cello, piano, 2012
  • Give and Take, violin, cello, 2014


  • Cornstalks (text by Richard Wilbur), 8 mixed voices, 2012


  • Wake (text by James Joyce), soprano, harp, violin, viola, cello, 3 percussion, 1967–68
  • Aftermath (dramatic cantata, text by the composer), soprano, alto, baritone, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, harp, 2 violins, viola, cello, double bass), 1973
  • Eros (text by Ezra Pound), mezzo-soprano, alto flute, harp, electric guitar, viola, bass guitar, piano, 2 percussion, 1975
  • Beyond the Realm of Bird (text by Emily Dickinson), soprano, orchestra (8 winds, French horn, trumpet, trombone, harp, piano, percussion, strings), 1984
  • The First Voices (text by Jean-Jacques Rousseau, translated by John H. Moran and Alexander Gode), soprano, mezzo-soprano, alto, 8 percussion, 2007
  • Fire and Ice (text by Robert Frost), high soprano, double bass, 2015


  • Piano Fantasy, 1964
  • Quiet Music, 2 pianos, 2001 (version of orchestral work)
  • Three Diatonic Studies, 2004–09


  • String Quartet No. 1 (original version). Juilliard String Quartet (Composers Recordings, Inc.: CRI 551, 1987 [reissued as New World Records: NWCR551, 2007])
  • Waltzes; Fantasy Etudes; Eros; Wake. Bethany Beardslee, soprano; Beverly Morgan, mezzo-soprano; Rolf Schulte, violin; Scott Nickrenz, viola; Fred Sherry, cello; Donald Palma, double bass; Robert Beaser/Musical Elements; David Epstein/Boston Symphony Chamber Players; Fred Lerdahl/Collage (Composers Recordings, Inc.: CRI 580, 1991 [reissued as New World Records: NWCR580, 2007; partially reissued as Bridge Records: 9269; partially reissued as Bridge Records: 9391; partially reissued as New World Records: NWCRL378])
  • Waves. Orpheus Chamber Orchestra (Deutsche Grammophon: 435 389-2, 1992 [partially reissued as Bridge Records: 9191])
  • Fantasy Etudes. eighth blackbird (eighth blackbird, 1999)
  • Time after Time; Marches; Oboe Quartet; Waves. Antares; La Fenice; Jeffrey Milarsky/Columbia Sinfonietta; Orpheus Chamber Orchestra (Bridge Records: 9191, 2006 [partial reissue of Deutsche Grammophon: 435 389-2])
  • Cross-Currents; Waltzes; Duo; Quiet Music (original version). Rolf Schulte, violin; Scott Nickrenz, viola; Fred Sherry, cello; Donald Palma, double bass; James Winn, piano; Paul Mann/Odense Symfoniorkester (Bridge Records: 9269, 2008 [partial reissue of Composers Recordings, Inc.: CRI 580, New World Records: NWCR580])
  • String Trio; Piano Fantasy. Robert Miller, piano; members of The Composers Quartet (New World Records: NWCRL319, c. 2009)
  • String Quartets Nos. 1–3. Daedalus Quartet (Bridge Records: 9352, 2011)
  • The First Voices. Frank Epstein/New England Conservatory Percussion Ensemble (Naxos Records: 8.559684, 2011)
  • Eros. Beverly Morgan, mezzo-soprano; Fred Lerdahl/Collage (New World Records: NWCRL378, 2011 [partial reissue of Composers Recordings, Inc.: CRI 580, New World Records: NWCRL378])
  • Spirals; Three Diatonic Studies; Imbrications; Wake; Fantasy Etudes. Bethany Beardslee, soprano; Mirka Viitala, piano; eighth blackbird; Michel Galante/Argento Ensemble; David Epstein/Boston Symphony Chamber Players; Scott Yoo/Odense Symfoniorkester (Bridge Records: 9391, 2013 [partial reissue of Composers Recordings, Inc.: CRI 580, New World Records: NWCR580])
  • There and Back Again. Anssi Karttunen, cello (Toccata Classics: TOCC0171, 2013)



See also[edit]


  1. ^ "Lerdahl, Fred", Columbia University
  2. ^ a b Schweitzer, Vivien (November 21, 2010). "Spiral Form and Other Compositional Modes of Fred Lerdahl",
  3. ^ Sabel, Claire (20 November 2010). Composer Portrait: Fred Lerdahl, Bwog.
  4. ^ "Schott Music". Retrieved 2016-07-19. 
  5. ^ "The Living Composers Project". Retrieved 15 October 2010. 
  6. ^ "Time After Time". Retrieved 2016-07-19. 
  7. ^ "String Quartet No. 3". Retrieved 2016-07-19. 
  8. ^ "American Academy of Arts and Letters - Current Members". Retrieved 2016-07-19. 
  9. ^ ""Arches"". Retrieved 2016-07-19. 

External links[edit]