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John Adams
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约翰·亚当斯（John Adams）为什么为引发波士顿惨案（Boston Massacre）的英国士兵辩护？
提问者采纳
在一个哨兵被雪球击中后。这一事情就是后来举世闻名的波士顿惨案（Boston Massacre），其它的哨兵变得怒不可遏，一群波士顿青年聚集在一起，全波士顿没有一个律师愿意为那些英国哨兵进行辩护，嘲笑驻扎于此的英国哨兵，也是美国独立战争的导火索，“那些英军现在成了全波士顿最受人鄙视的人了”。因为他觉得他们是无罪的，那么在此之后，用亚当斯夫人阿比盖尔的话来说就是，但他还是仍然选择无偿的替英国哨兵辩护，英军仅仅是不受波士顿人欢迎的话，并向他们投掷雪球，多人受伤，尽管堂兄（著名的萨缪尔·亚当斯）劝其站对位置，尽管被命令不许开枪，但他们还是对着人群扫射，在波士顿海关大楼下面日的下午，“在一个自由的国家里。 最后。如果说在波士顿惨案发生之前。当波士顿惨案发生后，尽管夫人劝其慎重，辩护律师对被告而言最不可或缺的”，当英国哨兵找到约翰·亚当斯的时候，他对夫人说，结果造成5人死亡
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出门在外也不愁From Wikipedia, the free encyclopedia
This article is about the California-based composer.
For the Alaskan composer, see .
needs additional
for . Please help by adding . Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially
or harmful. (October 2014)
John Adams
John Coolidge Adams (born February 15, 1947) is an American composer with strong roots in .
His works include
(2002), a choral piece commemorating the victims of the
(for which he won a
in 2003), and
(1978), a minimalist four-movement work for strings. His operas include
(1987), which recounts 's 1972 , and
(2005), which covers , the , and the building of the first .
is an opera for which he wrote the music, based on the
in 1985, and the hijackers' murder of wheelchair-bound 69-year-old
passenger . The opera has drawn controversy, including allegations by some (including Klinghoffer's two daughters) that the opera is
and glorifies terrorism. The work's creators and others have disputed these criticisms.
John Coolidge Adams was born in , in 1947.[] He was raised in various
states, where he was greatly influenced by New England's musical culture. He graduated from
in . His father taught him how to play the clarinet, and he was a clarinetist in community ensembles. He later studied the instrument further with , clarinetist with the .
Adams began composing at the age of ten and first heard his music performed around the age of 13 or 14. After he matriculated at
in 1965 he studied composition under , , , and .[] While at Harvard, he conducted the
and was a reserve clarinetist for both the
and the . He earned two degrees from Harvard University (BA 1969, MA 1972) and was among the first students to be allowed to submit a musical composition for a Harvard undergraduate thesis. His piece "" was recorded and released on
in 1975. He taught at the
from 1972 until 1984. He served as musical producer for a number of series for the
including the award-winning series,
in 1976 and 1977.
Adams worked in the electronic music studio at the , having built his own analogue synthesizer, and as conductor of the New Music Ensemble, he had a small but dedicated pool of young and talented musicians occasionally at his disposal.
Some major works composed during this period include China Gates (1977), Phrygian Gates for solo piano (1977), Shaker Loops (1978), Common Tones in Simple Time (1979), Harmonium (1980–81), Grand Pianola Music (1982), Light Over Water (1983), Harmonielehre (1984–85), The Chairman Dances (1985), Short Ride in a Fast Machine (1986), and Nixon in China (1985–87).
(for string septet) (1978): A "modular" composition for three violins, one viola, two cellos, and one bass, with a conductor. It is divided into four distinct movements, each of which grows almost indiscernibly into the next. Adams worked with a group of Conservatory string players, at times composing as they rehearsed. The "period" – that is, the number of beats per repeated pattern – of each instrument is different, and this results in a constantly shifting texture of melody and rhythmic emphasis. This piece is a turning point in Adams's oeuvre, as it marks a return to pure instrumental writing and a re-engagement with tonality. Adams later arranged this piece for string orchestra.
for large orchestra and chorus (1980–81): The piece starts with quietly insistent repetitions of one note – D – and one syllable – "no". The successful Harmonium premiere was the first performance of his music by a major mainstream organization, and established Adams as a figure in America's musical landscape.
(1982): Adams commented, "Dueling pianos, cooing sirens, Valhalla brass, thwacking bass drums, gospel triads, and a Niagara of cascading flat keys all learned to cohabit as I wrote the piece." It is one of his first major works to incorporate American vernacular music within a classical symphonic tradition. Adams's use of the repetitive patterns of
within sweeping orchestral gestures is heard throughout the piece.
(1983): This work was commissioned by the
in Los Angeles as the score for the collaborative work , which was choreographed by
and had a set design by architect . The work is a long, unbroken composition with contrasting sections whose boundaries are so subtle as to be almost imperceptible. It is a kind of symphony played by an orchestra of both electric and natural instruments and frozen into its idealized form by means of a multichannel tape recorder. Essentially electronic, the piece still exhibits orchestral techniques. Changes in the piece evolve gradually, and sudden entrances are rare. It is personal and emotive,[] though not necessarily romantic, and it has a dance-like feel.
(1984–85): Inspired by a dream of an oil tanker taking flight out of San Francisco Bay and also by 's book, Harmonielehre (Theory of Harmony). This piece is also about harmony of the mind and was Adams's way of escaping writer's block.
(1985): This is a by-product of Nixon in China, set in the three days of President Nixon's visit to Beijing in February 1972.
(1986): This piece is joyfully exuberant, brilliantly scored for a large orchestra. It begins with a marking of half-notes (woodblock, soon joined by the four trumpets) and eighths (clarinets and synthesizers); the (amplified) woodblock is fortissimo and the other instruments play forte. The work uses many elements of
(1987): The opera, in three acts, is based on 's visit to China on February 21–25, 1972. Main characters in the opera are: the Nixons, , ,
(Madame Mao) and . 's visit to Beijing was made in the hope, but by no means the certainty, that he would see chairman Mao. It was directed by . This piece is John Adams's second major composition on a text, after Harmonium (1981) for chorus and orchestra.
Adams wrote, "in almost all cultures other than the European classical one, the real meaning of the music is in between the notes. The slide, the , the ""—all are essential to the emotional expression, whether it's a great Indian master improvising on a raga or whether it's
bending a blue note right down to the floor." Adams uses this concept in many of his influential pieces post-Nixon in China.
In October 2008, Adams told BBC Radio 3 that he had been blacklisted by the U.S. Homeland Security department and immigration services.
(1988): John Adams's setting of 's poem, "The Wound-Dresser", which Whitman wrote after visiting wounded soldiers during the . The piece is scored for baritone voice, 2 flutes (or 2 piccolos), 2 oboes, clarinet, bass clarinet, 2 bassoons, 2 horns, trumpet (or piccolo tpt), timpani, synthesizer, and strings.
(1991): The opera's story begins with the 1985 hijacking of the Italian cruise ship
terrorists and details the murder of a passenger named , a retired, physically disabled American Jew. The musical basis for The Death of Klinghoffer was the Passions of : grave, symbolic, narratives supported by a full chorus. A film version was made in 2003, which emphasised the work's somber, chilling mood.
(1992): This piece was commissioned by the Gerbode Foundation of San Francisco for the . While Chamber Symphony bears a strong resemblance to Arnold Schoenberg's Chamber Symphony Op. 9 in its tonality and its instrumental arrangement, Adams's additional instrumentation includes synthesizer, drum kit, trumpet, and trombone. The piece consists of three movements: "Mongrel Airs," "Aria with Walking Bass" and "Roadrunner." The piece is excited and aggressive, alluding to children's cartoon music (as evidenced by the titles of the movements). The piece is linear, chromatic, and virtuosic.
(1995): A stage piece with
and staging by . Adams called the piece "essentially a
love story in the style of a
comedy." The main characters are seven young Americans from different social and ethnic backgrounds, all living in Los Angeles. The story takes place in the aftermath of the earthquake in Los Angeles in 1994.
(1996): This piece for two pianos employs variations of a repeated two note rhythm. The
between the notes remain the same through much of the piece.
(2002): This piece commemorates those who lost their lives in the
on the World Trade Center in New York. It won the 2003
as well as the 2005
for . Adams was the first composer to have earned the latter award three times, having previously won the award for El Dorado (1998) and
(2003): Adams writes, "My Father Knew Charles Ives is musical autobiography, an homage and encomium to a composer whose influence on me has been huge." In true Ives style, in all three movements the piece begins subtly with few instruments and swells to a cacophonous mass of sound. The piece ranges from utilizing mysterious
in long tones to full scale march feels.
(2003): A piece for solo electric six-string violin and orchestra. The piece calls for some instruments (harp, piano, samplers) to use , a tuning system in which intervals sound pure, rather than , the common Western tuning system in which all intervals except the octave are impure. The piece was composed for the opening of Disney Hall in Los Angeles.
(2005): An opera in two acts, about , the , and the creation and testing of the first . The libretto of Doctor Atomic by
draws on original source material, including personal memoirs, recorded interviews, technical manuals of nuclear physics, declassified government documents, and the poetry of the , , , and . The opera takes place in June and July 1945, mainly over the last few hours before the first atomic bomb explodes at the test site in New Mexico. Characters include
and his wife Kitty, , General , and .
A Flowering Tree (2006): An opera in two acts, based on a folktale from the Kannada language of southern India as translated by A.K. Ramanujan. it was commissioned as part of the Vienna New Crowned Hope Festival to celebrate the 250th anniversary of Mozart’s birth. It takes as its model Mozart’s The Magic Flute, and its themes are magic, transformation and the dawning of moral awareness.
'Doctor Atomic Symphony (2007): Based on music from the opera.
Fellow Traveler (2007): This piece was commissioned for the
by Greg G. Minshall, and was dedicated to opera and theater director Peter Sellars for his 50th birthday.
The Gospel According to the Other Mary (2011–13): An oratorio in two acts for orchestra, soloists and chorus, it premiered in May 2012 with the
conducted by . The revised version, in the work's staged premiere, occurred in February 2013 again with the Los Angeles Philharmonic, the Los Angeles Master Chorale, conducted by Gustavo Dudamel and directed by Peter Sellars.
Scheherazade.2 (2015): A dramatic symphony for violin and orchestra. The World Premiere for this work took place on March 26, 2015 at Avery Fisher Hall, Lincoln Center, New York City and was performed by the , conducted by , and violinist .
The music of John Adams is usually categorized as
although in interview he has categorised himself as a 'post-style' composer. While Adams employs minimalist techniques, such as repeating patterns, he is not a strict follower of the movement. Adams was born ten years after
and , and his writing is more developmental and directionalized, containing climaxes and other elements of . Comparing Shaker Loops to minimalist composer 's piece , Adams says,
rather than set up small engines of motivic materials and let them run free in a kind of random play of counterpoint, I used the fabric of continually repeating cells to forge large architectonic shapes, creating a web of activity that, even within the course of a single movement, was more detailed, more varied, and knew both light and dark, serenity and turbulence.
Many of Adams's ideas in composition are a reaction to the philosophy of
and its depictions of "the composer as scientist." The
composition was dominant during the time that Adams was receiving his college education, and he compared class to a "mausoleum where we would sit and count tone-rows in ."[] By the time he graduated, he was disillusioned with what he saw as the restrained feeling and inaccessibility of serialism.
Adams experienced a musical epiphany after reading 's book Silence (1973), which he claimed "dropped into [his] psyche like a time bomb." Cage posed fundamental questions about what music was, and regarded all types of sounds as viable sources of music. This perspective offered to Adams a liberating alternative to the rule-based techniques of serialism. At this point Adams began to experiment with , and his experiences are reflected in the writing of Phrygian Gates (1977–78), in which the constant shifting between modules in
refers to activating
rather than architectural ones. Adams explained that working with synthesizers caused a "diatonic conversion," a reversion to the belief that
was a force of nature.
Minimalism offered the final solution to Adams's creative dilemma. Adams was attracted to its pulsating and diatonic sound, which provided an underlying rhetoric on top of which he could express what he wanted in his compositions. Although some of his pieces sound similar to those written by minimalist composers, Adams actually rejects the idea of mechanistic procedure- what Adams took away from minimalism was tonality and/or modality, and the rhythmic energy from repetition.
John Adams, Phrygian Gates, mm 21–40 (1977)
Some of Adams's compositions are an amalgamation of different styles. One example is Grand Pianola Music (1981–82), a humorous piece that purposely draws its content from musical cliches. In The Dharma at Big Sur, Adam's draws from literary texts such as Jack Kerouac, Gary Snyder and Henry Miller to illustrate the California landscape. Adams professes his love of other genres other
his parents were jazz musicians, and he has also listened to rock music, albeit only passively. Adams once claimed that originality wasn't an urgent concern for him the way it was necessary for the minimalists, and compared his position to that of , , and , who "were standing at the end of an era and were embracing all of the evolutions that occurred over the previous thirty to fifty years."[]
John Adams, Fearful Symmetries, mm 197–202 (1988)
Adams, like other minimalists of his time (e.g. ), used a steady pulse that defines and controls the music. The pulse was best known from 's early composition , and slowly more and more composers used it as a common practice. Jonathan Bernard highlighted this adoption by comparing , written in 1977, and Fearful Symmetries written eleven years later in 1988.
In the late 1980s and early 1990s, Adams started to add a new character to his music, something he called "the Trickster." The Trickster allowed Adams to use the repetitive style and rhythmic drive of minimalism, yet poke fun at it at the same time.[] When Adams commented on his own characterization of particular minimalist music, he stated that he went joyriding on "those Great Prairies of non-event."
John Adams, Violin Concerto, III "Toccare" (1993)
Oddly enough, his music of the 1990s slowly starts to incorporate it more and more to the point where one critic believes this slowly increasing incorporation of minimalism "represents a coming to terms with minimalism according to a decidedly tonal slant: pulse and repetition have been transmuted, by a kind of reverse-chronological alchemy, into devices of familiar from earlier eras, such as
and ."[] The third movement of the , titled "Toccare", portrays this transition.
Adams begins the movement with a repeated, scale-like eight-note melody in the violin and going into the second measure, it appears as if he will continue this, but instead of starting at the bottom again, the violin continues upward. From here, there are fewer instances of repletion and more moving up and down in a pulse like fashion. The orchestra on the other hand is more repetitive and pulse like: the left hand[] continually plays the high A and it is not until the fifth measure where another note is added, but the A continues to be played throughout always on the off beat. It is this pulsing A, played as an eighth note as opposed to a sixteenth note, that pokes fun at the minimalist, yet Adams still uses the pulse (i.e. alternating eighth notes between the right and left hand,[] creating a sixteenth note feeling) as an engine for the movement.
Adams won the annual American
in 2003 for his 9/11 memorial piece, . Response to his output as a whole has been more divided, and Adams's works have been described as both brilliant and boring in reviews that stretch across both ends of the rating spectrum.
has been described as "hauntingly ethereal," while 1999's "Na?ve and Sentimental Music" has been called "an exploration of a marvelously extended spinning melody."
called 1996's
"a two-piano work played with appealingly sharp edges," and 2001's "American Berserk" "a short, volatile solo piano work."
The most critically divisive pieces in Adams's collection are his historical operas. While it is now easy to say that ? 's influential score spawned a new interest in opera, it was not always met with such laudatory and generous reviews. At first release, Nixon in China received mostly mixed if not negative press feedback. Donal Henahan, special to the New York Times, called the
world premiere of the work "worth a few giggles but hardly a strong candidate for the standard repertory" and "visually striking but coy and insubstantial." James Wierzbicki for the
described Adams's score as the weak point in an otherwise well-staged performance, noting the music as "inappropriately placid," "cliché-ridden in the abstract" and "[trafficked] heavily in Adams's worn-out Minimalist clichés." With time, however, the opera has come to be revered as a great and influential production. Robert Hugill for Music and Vision called the production "astonishing … nearly twenty years after its premier," while City Beat's Tom McElfresh called Nixon's score "a character in the drama" and "too intricate, too detailed to qualify as minimalist."
2003's The Dharma at Big Sur/ My Father Knew Charles Ives was well-received, particularly at Adams's alma mater's publication, the . In a four-star review, Harvard's newspaper called the electric violin and orchestral concerto "Adams's best composition of the past ten years." Most recently,
commended Adams for his work conducting the American Composers Orchestra. The concert, which took place in April 2007 at , was a celebratory performance of Adams's work on his sixtieth birthday. Tommasini called Adams a "skilled and dynamic conductor," and noted that the music "was gravely beautiful yet restless."
The attention surrounding
has been full of controversy, and the opera has been alleged to be , including by the Klinghoffer family. After the 1991 premiere, reporter Edward Rothstein wrote that "Mr. Adams's music has a seriously limited range."
's daughters, Lisa and Ilsa, after attending the opera, released a statement saying: "We are outraged at the exploitation of our parents and the coldblooded murder of our father as the centerpiece of a production that appears to us to be anti-Semitic." In response to these accusations of antisemitism, composer and
professor Conrad Cummings wrote a letter to the editor defending Klinghoffer as "the closest analogue to the experience of Bach's audience attending his most demanding works," and noted that, as someone of half-Jewish heritage, he "found nothing anti-Semitic about the work."
After the 2001 cancellation of performances of excerpts from Klinghoffer by the , debate continued about the opera's content and social worth. Prominent critic and noted musicologist
called the work "anti-American, anti-Semitic and anti-bourgeois." Criticism continued when the production was released to DVD.
In 2003, critic and composer
updated his stage review to a movie critique, writing "the film affirms two ideas now commonplace among radical critics of Israel: that Jews acted like Nazis, and that refugees from the Holocaust were instrumental in the founding of the state, visiting upon Palestinians the sins of others."
On March 26, 2015, before a performance of the
Adams took to a microphone and spoke to the audience, speaking of brutality towards women around the world and how you can also "find it on ."
(opera-oratorio)
(opera-oratorio)
(1993) , winner of the 1995
for Music composition
(for solo electric violin and orchestra)
(version for cello and orchestra)
(2015) Scheherazade.2 (dramatic symphony for violin and orchestra) - World Premiere on March 26, 2015 at Avery Fisher Hall, New York City
(Io sono l'amore) – all existing pieces, no original compositions
( Cinq poèmes de Charles Baudelaire)
(1989–93)
for Nixon in China (1989)
Music Award for Best Chamber Composition for Chamber Symphony (1994)
for Violin Concerto (1995)
Fellow of the
Member of the
Grammy Award for
for El Dorado (1998)
for On the Transmigration of Souls (2003)
Grammy Award for
for On the Transmigration of Souls (2005)
Grammy Award for
for On the Transmigration of Souls (2005)
Grammy Award for
for On the Transmigration of Souls (2005)
of Arts from
Honorary Doctorate of Music from
Honorary Doctorate of Music from
California Governor's Award for Lifetime Achievement in the Arts
Cyril Magnin Award for Outstanding Achievement in the Arts
Chevalier dans l'Ordre des Arts et des Lettres ()
Adams' son is the composer .
Cooper, Michael. . The New York Times 2014.
Warrack and West, The Oxford Dictionary of Opera, 782 pages,
. Concord High School 2013.
Adams, John. Program Note, Grand Pianola Music Full Score, Associated Music Publishers, 1982.
Thorpe, Vanessa.
. October 19, 2008. . Retrieved February 10, 2009.
. Pultizer.org 2014.
. Earbox.xom 2014.
Thomas May, pp. 7–10.
Michael Broyles, , Yale University Press, 2004; ,
K. Robert Schwarz, Minimalists, p. 175.
Elliott Schwartz, Daniel Godfrey , Schirmer Books, 1993, pp. 336; ,
K. Robert Schwarz, Minimalists.
Jonathan W. Bernard, "Minimalism, Postminimalism, and the Resurgence of Tonality in Recent American Music" Journal of American Music, Spring 2003, Vol. 21, No. 1, pp. 112–33.
Heisinger, Brent.
American Music. Winter 1989. . Retrieved February 10, 2009.
Kozinn, Allan.
. March 23, 2005 . Retrieved February 11, 2009.
Henahan, Donal.
. October 24, 1987 . Retrieved February 11, 2009.
Wierzbicki, James.
. December 6, 1992
Hugill, Robert.
Music & Vision. July 2, 2006.
McElfresh, Tom.
City Beat (Cincinnati). July 14, 2007. . Retrieved February 11, 2009.
Lin, Eric W.
. October 19, 2006. . Retrieved February 11, 2009.
Tommasini, Anthony.
The New York Times. April 30, 2007 . Retrieved February 11, 2009.
Edward Rothstein (). . The New York Times.
Rothstein, Edward.
The New York Times. September 7, 1991. . Retrieved February 11, 2009.
Kozinn, Allan.
The New York Times. September 11, 1991 . Retrieved February 11, 2009.
Cummings, Conrad.
The New York Times. September 27, 1991. . Retrieved February 11, 2009.
The New York Times. November 2, 2001
Rothstein, Edward.
The New York Times. May 13, 2003 . Retrieved February 11, 2009.
Jay Nordlinger (). .
Anthony Tommasini (). .
Zoe Madonna (). .
(PDF). American Academy of Arts and Sciences 2011.
. American Association of Arts and Letters 2011.
. Harvard News Office 2012.
MacNamara, Mark. . 2010. San Francisco Classical Voice 2013.
Broyles, Michael. . New Haven: Yale University Press, 2004.
"John Adams" Butterworth, Neil, Dictionary of American Classical Composers. 2nd ed. New York and London: Rouledge, 2005.
Daines, Matthew. "The Death of Klinghoffer by John Adams", American Music Vol. 16, No. 3 (Autumn 1998), pp. 356–358. [review]
Heisinger, Brent. "American Minimalism in the 1980s", American Music Vol. 7, No. 4 (Winter 1989), pp. 430–447.
May, Thomas (ed.). The John Adams Reader: Essential Writings on an American Composer. Pompton Plains, N.J.: Amadeus, 2006.
Richardson, John. "John Adams: A Portrait and a Concert of American Music", American Music Vol. 23, No. 1 (Spring 2005), pp. 131–133. [review]
Rimer, J. Thomas. "Nixon in China by John Adams", American Music Vol. 12, No. 3 (Autumn 1994), pp. 338–341. [review]
Schwartz, Elliott, and Daniel Godfrey. Music Since 1945: Issues, Materials, and Literature. New York: Schirmer B Toronto: Maxwell Macmillan C New York: Maxwell Macmillan International, 1993.
Schwarz, K. Robert. "Process vs. Intuition in the Recent Works of Steve Reich and John Adams", American Music Vol. 8, No. 3 (Autumn 1990), pp. 245–273.
Schwarz, K. Robert. Minimalists. London: Phaidon Press Inc., 1996. . Reprinted 2008,
Warrack, John, and West, Ewan (1992), The Oxford Dictionary of Opera, 782 pages,
‘Klinghoffer’: An Opera and a
Letters September 22, 2014
John Adams.
(US: Farrar, Straus, and Giroux, UK: , 2008). Autobiography
Biographical
John Adams' biography on Pulitzer.org
with links to sections of programs about the composer and his music
Specific operas
on . References 2005 world premiere performances at the San Francisco Opera.
Interviews
: "" (January 1, 2001). John Adams in conversation with  on November 11, 2000.
, WGBH radio, Boston
Authorities, with 115 catalog records
: Hidden categories:}