Ethan Haimo Photo

ETHAN HAIMO

Professor of Music
Music Theory & Composition

Ph.D., Princeton University, 1978
M.F.A., Princeton University, 1974
A.B., University of Chicago, 1972

Office: 210 Crowley Hall
Telephone: (574) 631-7613
E-mail: ethan.t.haimo.1@nd.edu
Home Page: /~ehaimo/

Active as a composer and a theorist, Haimo has written almost forty compositions including solo, vocal, choral, chamber, and orchestral works which have been performed throughout the USA and have appeared on CD. As a theorist he has written three books:  Schoenberg's Serial Odyssey, Haydn's Symphonic Forms (both Oxford University Press), and Schoenberg’s Transformation of Musical Language (Cambridge University Press), and co-edited Stravinsky Retrospectives (University of Nebraska Press). Haimo has also written more than forty articles, reviews, and other publications. He has been the recipient of NEH, Fulbright, Mellon, and other grants.

Quick Links

Theoretical Work:
Books • Articles • Other
Compositions:
CDs • Compositions • Misc. Performance

THEORETICAL WORK

Books

  • Stravinsky Retrospectives (co-editor, Paul Johnson) University of Nebraska Press, 1987
  • _____, (paperback edition), 1997
  • Schoenberg's Serial Odyssey: the Evolution of his Twelve-tone Method, 1914-1928, Clarendon Press, 1990.
  • _____, (paperback edition), 1992.
  • Haydn's Symphonic Forms: Essays in Compositional Logic, Clarendon Press (1995).
  • Based on Tradition: Schoenberg’s Transformation of Musical Language, 1899-1909 (in progress).

Articles in Journals and Books:

  • 'Rhythmic Theory and Analysis,' In Theory Only 4/1 (1978), 18-35.
  • 'Generated Collections and Interval Control in Debussy's Preludes,' In Theory Only 4/8 (1979), 3-15.
  • 'Scale and Collection', In Theory Only 5/3 (1979), 25-7.
  • 'Inversional Invariants in Diatonic Music,' In Theory Only 5/4 (1981), 21-7.
  • 'Secondary and Disjunct Order-Position Relationships in Webern's Op. 20', Perspectives of New Music 24/2 (1986), 406-19.
  • 'Problems of Hierarchy in Stravinsky's Octet', in Stravinsky Retrospectives, Lincoln, 1987, 36-54.
  • 'Isomorphic Partitioning and Schoenberg's Fourth String Quartet', Journal of Music Theory 28/1 (1984), 47-72 [co-author, Paul Johnson].
  • 'Editing Schoenberg's Twelve-tone Music', Journal of the Arnold Schoenberg Institute 8/2 (1984), 141-57.
  • 'Remote Keys and Multi-movement Unity: Haydn in the 1790s', The Musical Quarterly 74/2 (1990), 242-68.
  • 'Redating Schoenberg's Passacaglia for Orchestra', Journal of the American Musicological Society 40 (1987), 471-94.
  • 'Schoenberg's Unknown Twelve-tone Fragments', Journal of the Arnold Schoenberg Institute 11/1 (1988), 52-69.
  • 'Haydn's Altered Reprise', Journal of Music Theory 32/2 (1988), 335-51.
  • 'Aspects of Set Structure in Schoenberg's Opp. 36 and 37', Israel Studies in Musicology 5 (1990), 131-45.
  • 'The Evolution of Schoenberg's Twelve-tone Method', in The Schoenberg Companion, ed. by Walter Bailey (Greenwood Press, 1998), 101-28.
  • 'Schoenberg's Mature Twelve-tone Compositions', in The Schoenberg Companion (1998), 129-56.
  • 'Schoenberg's Late Twelve-tone Compositions', in The Schoenberg Companion (1998), 157-76.
  • 'Schoenberg and the Origins of Atonality', in Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture, ed. by Julianne Brand and Christopher Hailey (University of California Press, 1997), 71-86.
  • 'Atonality, Analysis, and the Intentional Fallacy', Music Theory Spectrum 18/2 (1996),167-99.
  • 'Developing Variation and Schoenberg's Serial Music', Music Analysis 16/3 (1997), 349-65.
  • ‘Schoenberg’s Programmatic Compositions and the Ideology of Absolute Music’ Orbis Musicae,13 (2003), 177-84.
  • ‘Begleitungsmusik zu einer Lichtspielszene, op. 34’, in Schoenberg, Interpretationen seiner Werke, ed. Gerold Gruber (Vienna, 2002), 511-26.
  • ‘Variationen für Orchester, op. 31, in Schoenberg, Interpretationen seiner Werke, ed. Gerold Gruber (Vienna, 2002), 460-81.
  • ‘Tonal Analogies in Schoenberg’s Fourth String Quartet’, Journal of the Arnold Schönberg Center 4 (2002), 219-28.
  • ‘Pierrot Lunaire; A Cycle?’ in ‘Pierrot lunaire’ Albert Giraud—Otto Erich Hartleben—Arnold Schoenberg: Une collection d’études musico-littéraires. ed. Mark Delaere and Jan Herman (Leuven, 2004) forthcoming.
  • ‘The Interaction Between Art and Music in Schoenberg’s Career: A Reexamination’ in Journal of the Arnold Schönberg Center, forthcoming.
  • “Schoenberg, Bach, and B-A-C-H, in Journal of the Arnold Schönberg Center, forthcoming.
  • 'Schoenberg's Radical Athematicism' in Cambridge Companion to Schoenberg, forthcoming.
  • 'Parallel Minor as a Destabilizing Agent in the Music of Haydn, Beethoven, and Mozart', in Tijdschrift voor Muziektheorie, forthcoming.

Other Publications:

  • Review: Brahms and the Principle of Developing Variation by Walter Frisch. Journal of the Arnold Schoenberg Institute 8/1 (1984), 78-82.
  • Letter on Contemporary Music Theory, Perspectives of New Music 22 (1983-4), 583-5.
  • 'Arnold Schoenberg' in Blackwell Jewish Companion.
  • Review: Schoenberg and the New Music by Carl Dahlhaus, Journal of Music Theory 33/1 (1989), 210-14.
  • Review: The Not Quite Innocent Bystander by Edward Steuermann. Notes 47/3 (1991), 767.
  • Review: Schoenbergs Oper Moses und Aron by Christian Martin Schmidt. Notes 47/3 (1991), 766-7.
  • Review: Remaking the Past by Joseph Straus. Journal of Musicological Research 12/suppl. (1992), 139S-46S.
  • Review: Schoenberg's Error by William Thomson. Journal of Musicological Research 13/3-4 (1993), 290-304.
  • Review: Quellenstudien I, ed. by Hans Oesch. Notes 49/2 (1993).
  • Review: Haydn, String Quartets Op. 50 by W. Dean Sutcliffe. Journal of Musicological Research 14 (1994), 97-101.
  • Communication: Journal of American Musicological Society, response to Taruskin, 1993.
  • Review: Arnold Schoenberg, The Musical Idea (ed. and tr. by Patricia Carpenter and Severine Neff), Times Literary Supplement (May 31, 1996), 21.
  • CD Liner Notes: for Schoenberg's Opera, Moses und Aron, Royal Concertgebouw Orchestra, conducted by Pierre Boulez (Deutsche Grammophon Gesellschaft, No. 449 172-2).
  • 'Linear Analysis--A Cure for Pitch-Class Set Analysis?: A Reply', Music Theory Online, 3.3 (May, 1997).
  • Response to David Headlam: Music Theory Spectrum 19/2 (1997), 299.
  • Review: Haydn Studies (ed. W. Dean Sutcliffe) and Haydn: the 'Paris' Symphonies by Bernard Harrison, Times Literary Supplement, Spring 1999.
  • Review: The Atonal Music of Arnold Schoenberg, by Bryan Simms, Current Musicology 70 (Fall, 2000), 111-21.
  • Review: The Cambridge Companion to Stravinsky, ed. by Jonathan Cross, Slavic Review, forthcoming.

 

COMPOSITIONS

CDs

  • Solo and Chamber Works by Ethan Haimo (String Trio, Piano Sonata, Contrasts for Cello and Piano, Swenson Songs, Rhapsody for Violin and Piano, Etudes for Piano), performed by Barry Salwen, Georgine Resick, William Cerny, Karen Buranskas, Carolyn Plummer and Christine Rutledge. Centaur Records CRC-2253 (1995).
  • Symphony for Strings, Slovak Radio and Television Orchestra, Bratislava, Robert Stankovsky, conductor, Master Musicians Collective (August, 1999)
  • “I died for Beauty” from Dickinson Songs, Nancy Ogle, Soprano, "A Different Slant of Light: Songs on the Poetry of Emily Dickinson", Capstone Records.
  • Dialectics for Piano, Jeffery Jacob, pianist (forthcoming)

Compositions and their performances

  • Realization for Percussion Ensemble: Chicago, 1969; Evanston IL, 1970.
  • Elements for Solo Violin: Chicago, 1969.
  • Scene from Macbeth for Soprano and Chamber Group: Contemporary Chamber Players, Chicago, 1971.
  • Absalom my Son for Chorus: Lawrence, KS, 1972; KANU Radio, 1972.
  • String Quartet No. 1: Bennington VT, 1971; Princeton NJ, 1973.
  • Transformations for Chamber Ensemble: St. Louis, 1974.
  • Convergence for Computer Synthesized Tape: New York, 1976; Boston, 1976; South Bend, 1981.
  • Variations for Piano: Princeton, 1973.
  • String Quartet No. 2: American Quartet, Princeton, 1975; Colden Quartet, South Bend, 1982; Colden Quartet, Kalamazoo, 1983.
  • Yeats Songs, for Soprano and Piano: Elsa Charleston, soprano, South Bend, 1978.
  • Fantasy for Solo Cello: South Bend, 1977; Bloomington, IN 1979; South Bend, 1987; Wichita, KA 1987.
  • Duo for Violin and Harpsichord: Boston, 1982, South Bend, 1984.
  • Psalm 47 for Chorus: Boston, 1977.
  • Psalm 150 for Chorus: South Bend, 1977; Boston, 1978.
  • Five Bagatelles for Flute Viola, Cello: South Bend, 1987.
  • Psalm 23 for Chorus and Organ: South Bend, 1978; Boston 1978; South Bend 1983.
  • Trio for Piano, Violin, Cello: South Bend, 1979.
  • Quartet, for Oboe and String Trio: Kinhaven VT, 1980; Ames IA, 1983; South Bend, 1987.
  • Contrasts for Cello and Piano: Houston, 1981; South Bend, 1984, WSND Radio, 1996.
  • Swenson Songs for Soprano and Piano: South Bend, 1984, South Bend, 1993, South Bend, 1994, WSND Radio, 1996, Orono, Maine 1996 (3 performances).
  • Three Etudes for Piano, Wilmington NC 1994, WSND Radio, 1995.
  • Sonata for Piano: South Bend, 1987; South Bend, 1988; New Haven CT, 1988; Storrs CT, 1988; Binghamton NY, 1988; Miami, OH, 1988, Highland MI, 1988, Indianapolis, 1988, Wilmington, NC, 1994, WSND Radio, 1995, South Bend IN, 2000, Elkhart, IN, 2000.
  • Yeats Songs for Tenor and Piano: South Bend, 1987; South Bend, 1987.
  • Elegies for Chorus: South Bend, 1986; University of Notre Dame Chorale on tour, 1987.
    String Trio: South Bend, 1989; South Bend, 1990; WNIT Television, 1990, 1991, 1992. South Bend, 1994; Chicago, 1994, WSND Radio, 1995.
  • Quintet for Brass: South Bend, 1988.
  • Symphony for Strings: South Bend Symphony Chamber Orchestra, 1989; Great Lakes Music Festival, 1990; WSND Radio, 1999.
  • Rhapsody for Violin and Piano: South Bend, 1990; Indianapolis, 1995, Chicago, 1995, WSND Radio, 1996.
  • String Quartet in Two Movements: Lydian Quartet, Waltham, MA, June, 1999, South Bend, September 1999.
  • Dickinson Songs: South Bend, 1997, 1998, Orono Maine, 1999, Mexico, 2000. South Bend, 2003.
  • Duo Sonata for Violin and Cello: South Bend, 1996 (3 performances); Los Angeles, 1996; Valparaiso IN 1997.
  • Epitaphs for Soprano, Baritone, and Chamber Ensemble: South Bend, 1996.
    Symphony for Orchestra (3333 4231 perc. str.): South Bend Symphony, 1997; Rochester Institute of Technology, January, 2000.
  • Dialectics for Piano: South Bend, February 1999, Miko Kominami; Jerusalem, August, 1999, Barry Salwen; South Bend, February, 2000, Babette Reid; South Bend, August, 2003, Babette Reid; Spelman College, Atlanta, October 2003, Babette Reid; South Bend, University of Notre Dame, September, 2003, Miko Kominami; South Bend, St. Mary’s College, September, 2003, Jeffrey Jacob; Agnes Scott College, September, 2003, Jeffrey Jacob; Fort Valley State University, October, 2003, Jeffrey Jacob; Georgia State University, October, 2003, Jeffrey Jacob.
  • Overture: Reconsecration of the House for Orchestra (commissioned by the South Bend Symphony for the rededication of Morris Civic Auditorium): March, 2000; RIT Philharmonic, Rochester NY, 2004.
  • Two Psalms, for Male Choir (TTBB), South Bend, February, 2001; Notre Dame Glee Club, multiple performances on Tour, October 18-26, 2003; South Bend, 2 performances: October 30 and 31, 2003.
  • Concert Duo for Cello and Piano (one-movement version), Commissioned by Eric Kutz and Miko Kominami, South Bend, April, 2002; Luther Iowa, October 2002; KSUI, Iowa Public Radio, 2003.
  • Concert Duo for Cello and Piano (three-movement version): Murasaki Duo, Sept. 7, 2003, South Bend.

Papers Delivered at Meetings, Invited Papers, Compositions Performed at Festivals

  • String Quartet No. 1, Composers' Conference, 1971
  • Absalom my Son, Symposium of Contemporary American Music, University of Kansas, 1972.
  • Convergence for Synthesized Tape, 25th Anniversary Concert, Columbia-Princeton Electronic Music Center, 1976.
  • Convergence, 1st International Conference of Computer Music, Boston, 1976.
  • 'Diatonic Invariants', Central Midwest Theory Society, University of Northern Iowa, Cedar Falls, 1981.
  • 'Victoria and Palestrina', American Musicological Society, Midwest Chapter, Lawrence Kansas, 1981.
  • 'Secondary and Disjunct Order Positions', Society for Music Theory National Meeting, Ann Arbor, 1982.
  • 'Problems of Hierarchy in Stravinsky's Octet', Stravinsky Centennial Conference, University of Notre Dame, 1982.
  • Quartet for Oboe and Strings, American Society of University Composers, Iowa State University, 1983.
  • 'Haydn's Remote-Key Multi-Movement Cycles', Guest Lecture, Hebrew University, Jerusalem, 1985.
  • 'Haydn's Remote-Key Multi-Movement Cycles,' Guest Lecture, Tel-Aviv University, 1985.
  • 'Problems of Modern Music', American Cultural Center, Jerusalem, 1985.
  • 'The Development of Schoenberg's Twelve-tone System', Israel Musicological Society, 1985.
  • 'Haydn's Remote-Key Multi-Movement Cycles, Guest Lecture, SUNY
    Buffalo, 1986.
  • 'Haydn's Altered Reprise', Society for Music Theory National Meeting, Bloomington, IN, 1986.
  • 'Serial Order vs. Developmental Progression', Guest Lecture, Columbia University, 1988.
  • 'Tonal or Atonal?', Invited Speaker, Conference sponsored by New York Chapter, Society for Music Theory and Arnold Schoenberg Institute: Barnard College, Columbia University, 1991.
  • 'Imagining the Unimaginable: Schoenberg and the Abandonment of Tonality', Invited Speaker, Schoenberg International Conference: 'Constructive Dissonances', Arnold Schoenberg Institute, USC, 1991.
  • Invited Participant, Panel Discussion, Schoenberg's Gedanke MS, SMT Annual Meeting, AMS/SMT, Montreal, November, 1993.
  • 'Sessions, Schoenberg, and the Twelve-tone Method', invited lecture, delivered at the Sessions Centennial Conference, Elon College, 1996.
  • 'Atonality, Analysis and the Intentional Fallacy', Invited lecture, Royal Danish Conservatory, June 1996.
  • _____. Hebrew University, Invited Lecture, June 1996.
  • _____. Tel-Aviv University, Invited Lecture, June 1996.
  • _____. Bar-Ilan University, Invited Lecture, June, 1996.
  • ‘Schoenberg's Programmatic Compositions and the Ideology of Absolute Music’, International Conference at Tel-Aviv University, celebrating the 30th Year Anniversary of the Department of Musicology, June 1999.
  • ‘Schoenberg’s Program, Our Analyses: Form in Verklärte Nacht’, SMT Annual Meeting, Atlanta, GA, November 1999.
  • ‘A Replacement for Tonality? Tonal Analogies in the Fourth String Quartet’, International Musicological Symposium, Arnold Schönberg Center, Vienna, May, 2001.
  • _____. Hebrew University, Jerusalem, Israel, June 2001.
  • _____. Rubin Academy of Music, Jerusalem, Israel, June 2001.
  • ‘Parallel Minor as a Destabilizing Force’, Bar-Ilan University, Burney Society, Spring 2001.
  • ‘Schoenberg, Bach, and the Orchestral Variations, Op. 31’. Israel Musicological Society, June 2001
  • _____. College-Conservatory of Music, invited Lecture, Cincinnati, November 2001.
  • _____. Stanford University, invited Lecture, November, 2001.
  • ‘Schoenberg, Biography, and Analysis’, invited lecture, SUNY Stony Brook, September, 2002.
  • ‘Pierrot Lunaire: A Cycle?’ International Symposium, University of Leuven, Belgium, October, 2002.
  • “The Interaction Between Art and Music in Schoenberg’s Career: A Reexamination”, International Symposium, Vienna, Austria, September 2003.
  • “Schoenberg, Bach, and B-A-C-H”, Invited Lecture, Catholic University of Leuven, Belgium, December, 2003.
  • “Schoenberg’s Crossover to Radical Athematicism”, International Musicological Society, Melbourne Australia, July, 2004.
  • "Dialectical Form and Schoenberg's Piano Piece, Op. 11, No. 1", International Symposium, Vienna, February/March 2005.
  • "Composing with Order Numbers; Schoenberg's Fourth String Quartet", at "Arnold Schoenberg Reconsidered" Conference, Arizona State University, March 2005.

PERFORMANCE EXPERIENCE

  • Pianist: University of Chicago Orchestra, 1969-72.
  • Pianist: Princeton University Orchestra, 1974.
  • Founder and Director of the University of Notre Dame Collegium Musicum, 8 Concerts, 1979-84.
  • Pianist: Accompanied Soprano Georgine Resick in the performance of works by Paul Johnson and Ethan Haimo, 1997.
  • Lecture Recital: 'How to Listen to Twelve-tone Music', Notre Dame, 1999. Works by Schoenberg and Webern.
  • Lecture Recital: ‘How to Listen to Beethoven’s Last Piano Sonata’, Notre Dame, Feb. 2000.
  • Lecture Recital: ‘How to Listen to a Bach Fugue’, Notre Dame, Jan. 2001.
  • Lecture Recital: ‘How to Listen to Bartok’s Sonata for Piano, Feb. 2002.
  • Lecture Recital: ‘How to Listen to Schumann’s Fantasy, Op. 17, Feb. 2003.
  • Pianist: Soirée in honor of Dana Gioia, South Bend, October, 2003. Accompanied Georgine Resick.
  • Lecture Recital: "How to Listen to Skryabin's Sixth Sonata", February 2005.