Carl Maria von Weber’s Overture to Oberon: A History of Recorded Performance

My research examines the recorded performance history of the Overture to Weber’s Oberon in light of these aesthetic goals. I have charted changes in performance practice trends, including in timing, tempo fluctuation, rhythmic accuracy and ensemble, and the use of portamento. The twenty recordings studied that I surveyed span nearly seventy-five years, and include many of the 20th century’s most prominent conductors and orchestras, including groups from Communist Russia, both pre-World War II and post-World War II continental Europe, the British Isles, and the United States.8 Though by no means comprehensive, my selections encompass a diverse sampling of surviving recordings, ensuring a large enough sample size to reflect general trends in the performance of Weber’s masterpiece. My research and analysis confirms the conventional view of a move toward more accurate—but also more cautious, uniform, and inexpressive— performances. Surprisingly, however, this analysis also suggests that we are on the cusp of a new era in orchestra performance practice, one that shares many of the values of the earlier recorded performances. While maintaining today’s high standards of execution, modern performances now look to regain many of the past’s expressive qualities, doing so in sometimes surprising ways.

Modernist Success in a Postmodern Failure: Jackson Pollock and Abstract Expressionism, the Avant-Garde and the Ascension of Late Capitalism, Art after 1945

It is hard to imagine the magnitude of the events at the end of World War II. The thought produced in the face of a myriad of deaths is almost unfeasible sixty years after the fact, but the energy was integral to the changing social landscape. Because of the country's prominence in and fortitude after the war, the U.S. was left responsible for reshaping and rejuvenating the international landscape that was destroyed by the years of brutal fighting and vile contestation. The American establishment was granted a major opportunity to establish itself amongst the global leaders. Such a grand responsibility must account for the multiplicity of thought that arises in such a decisive moment. In order to align the Abstract Expressionist art movement with the intersection of the intense, multifaceted thought developed during the postwar period, the following will discuss the political, philosophical, economic, and art historical overlap that occurred in the mid to late 1940s in the hopes of illustrating the fertility yet lingering problems associated with the restructuring of the world with America at the helm. In this way, the duration of the Abstract Expressionist moment will be better understood for both its triumphs and downfalls.

Levine Family Reunion Members, interviewed by Wendy Miller in September 2009: Transcript

The Levine family held an extensive reunion during the Summer of 2009 during which 29 DVDs of raw material were recorded for use in the creation of a Levine family mini-documentary. Many of these DVDs contain oral history interviews conducted by Wendy Miller, one of the organizers of the reunion. Although these interviews were not designed for historical research, they contain valuable historical information. Some of the family members interviewed include: Ben Arnon (4/5), Marjorie, Stephen, and Michael Kaplan (8), Glenyce Miller Kaplan (starts in 15, continues in 9; separate interview in 13), Burt, Phyllis, and Louis Shiro (9) [Burt Shiro also in 26/27], Myrt and Gordon Wolman (9), Ted and Billy Alfond (10), Barbara and Joan Alfond (10), Susan and Peter Alfond (10), Alice Emory [caregiver for Bibby] (11), Eric Bloom and Stu Cushner (11), Saralee Kaplan Bloom (11), Sarah Miller Arnon (12), Kayla and Jenna Cushner (12), Josh Soros and Eliana Miller-Kaplan (12), Sarah, Wendy, and Julie Miller (starts in 12, continues in 14), Bill Shutzer (13), Maschia and Glicka Kaplan, Sharon Kushner, Dan Hood (13), Gene, Alex, Kate Cohen (14), Ben, Jeremy, Joselyn Arnon (14), Wendy and Julie Miller at the store (15), and Eric Bloom (15).