{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://milken.aviaryplatform.com/iiif/qv3bz61z7b/manifest","type":"Manifest","label":{"en":["Beveridge, Thomas"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/115/original/Boxed_Milken_Center_logo.png?1628711583","metadata":[],"provider":[{"id":"https://milken.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Lowell Milken Center for Music of American Jewish Experience"]},"homepage":[{"id":"https://milken.aviaryplatform.com/","type":"Text","label":{"en":["Lowell Milken Center for Music of American Jewish Experience"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/115/original/Boxed_Milken_Center_logo.png?1628711583","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/110/726/small/Thomas-Beveridge.jpg?1618941114","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726","type":"Canvas","label":{"en":["Media File 1 of 1 - B11737_MA_OH_Thomas_Beveridge_2017_Logo_Fix.mp4"]},"duration":1574.01354,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/110/726/small/Thomas-Beveridge.jpg?1618941114","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/content/1","type":"AnnotationPage","items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-milken.s3.wasabisys.com/collection_resource_files/resource_files/000/110/726/original/B11737_MA_OH_Thomas_Beveridge_2017_Logo_Fix.mp4?1615765153","type":"Video","format":"video/mp4","duration":1574.01354,"width":640,"height":360},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726","metadata":[]}]}],"annotations":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094","type":"AnnotationPage","label":{"en":["Edited Transcript [Transcript]"]},"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Welcome.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Thank you.\u003cbr\u003e\u003cbr\u003eLEVIN:  Before we talk about the piece, I’d just like to get acquainted a little bit, about your own background and life and so forth, as a composer.  So — just for some biographical information, and so forth.  I mean, you’re a native of America, of course.  But…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=15.0,35.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BEVERIDGE:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Of where?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Yes.  I was born in New York.  And my father was a professor at Columbia.  And he was a musician who was the organist and choirmaster at, at the chapel.\u003cbr\u003e\u003cbr\u003eLEVIN:  St. Paul’s.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  At St. Paul’s Chapel.  Which, at that time, had a magnificent choir, that sang Renaissance music daily.\u003cbr\u003e\u003cbr\u003eLEVIN:  What years were those?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Uh…\u003cbr\u003e\u003cbr\u003eLEVIN:  At the peak?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=35.0,62.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBEVERIDGE:\u003c/strong\u003e Well, it all ended around 1950, when my father left New York.  So, I was, I was brought up there and I was educated at Harvard.  Studied with Walter Piston and Randall Thompson.  And I studied subsequently with Nadia Boulanger, composition and conducting.  And for a long… I’ve written almost 500 pieces of music.  But I’ve primarily been a, a professional singer during my life. And for the last ten years, I’ve discovered that conducting is a lot, I like it a lot better.  It’s, it’s easier.  It, it allows me to sleep in my own bed.  And I don’t have to be on tour all the time.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=62.0,114.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  You’re a professional singer, I mean, that was your primary…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Yes.  That was my way of…\u003cbr\u003e\u003cbr\u003eLEVIN: …role in music.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  …earning a living.  Because, as we all know, composing is a wonderful way to lose money.  Unless you’re able to get commissions, and I was never really in that circuit of people who, who were getting steady commissions.  So that’s basically…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=114.0,140.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Were you on the faculty of…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  I have taught in universities, but I don’t care for it.\u003cbr\u003e\u003cbr\u003eLEVIN:  What kind of singing, mostly?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Oratorios.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oratorio work.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  And recitals.  I was never a, a big player on the scene.\u003cbr\u003e\u003cbr\u003eLEVIN:  And conducting mostly choral, orchestral?\u003cbr\u003e\u003cbr\u003eBEVERIDGE: Conducting choruses.  I have my own choruses in Washington, D.C.\u003cbr\u003e\u003cbr\u003eLEVIN:  Tell me about that, the choruses you have.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=140.0,162.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBEVERIDGE:\u003c/strong\u003e Well, there’s The New Dominion Chorale, which is now ten years old, which did the premiere of Yizkor Requiem, which has now over 200 voices.  And that’s a completely non-auditioned chorus that, that, that did the Yizkor Requiem.  And I have a, a 50-voice men’s chorus called The National Men’s Chorus.  And I’m also the organist and choirmaster at a, at a church.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=162.0,189.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Fifty men?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Fifty men, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  And what kind, how old is that chorus?  I mean, how old?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  That’s now in its second year.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s new.  Brand-new.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  What led you to found — you founded it, or…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  I founded this one. What led me to, to found it was that I, I had a, I was the music director of another men’s chorus which — we parted ways.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=189.0,211.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Which chorus was that?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  It was called The Washington Men’s Camerata.  And for one reason or another, we parted ways.  And I formed another…\u003cbr\u003e\u003cbr\u003eLEVIN:  I’m interested…\u003cbr\u003e\u003cbr\u003eBEVERIDGE: …chorus.\u003cbr\u003e\u003cbr\u003eLEVIN: …because I also direct a men’s chorus, and I’m interested…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Oh, really?\u003cbr\u003e\u003cbr\u003eLEVIN: …and that’s, of course, a… it’s a very forgotten medium, I think, isn’t it?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=211.0,230.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBEVERIDGE:\u003c/strong\u003e Yes, and it’s hard to find repertoire.  So, I’ve written about a hundred arrangements for men’s voices of folk music. In fact, I’ve just arranged three or four Hanukkah pieces to be presented in a holiday concert.  Because I, it’s my feeling that holiday music, it’s very tiresome to have it all be Christmas.  And there’s, it, it is conceivable to have at least a gesture toward the, the holiday of Hanukkah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=230.0,260.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  I’d like to see some of your arrangements.  I’m always looking for arrangements of…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  I’ll send them to you.\u003cbr\u003e\u003cbr\u003eLEVIN: …male choirs, because, but I, you know, in general, I think it’s very interesting that that’s, I’d like to see a revival of male choir singing and…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  There is tremendous interest, primarily through the gay choruses.\u003cbr\u003e\u003cbr\u003eLEVIN:  That there, yeah.  But…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Well, that’s a political…\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s a political thing.  But I mean…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  And the…\u003cbr\u003e\u003cbr\u003eLEVIN: …in the sense that there’s a…\u003cbr\u003e\u003cbr\u003eBEVERIDGE: …the music is political.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=260.0,283.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah.  It is.  I’m thinking in terms of, well, I mean, Jewishly, at one time, it was a very big thing.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Oh, yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  But not now anymore.  And it would be politically unwise in many views to do that, because it would send the message that there is some political reason, as opposed to just a musical reason of sound. But in the way that, in the early 19th century in Austria, there was a, there was a…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=283.0,304.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BEVERIDGE:  Oh, absolutely.\u003cbr\u003e\u003cbr\u003eLEVIN: …the Männerchor thing, and there was a…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  And a strong Männerchor tradition in America.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Through the Moravians.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s right.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  There’s a huge amount of repertoire that’s, that’s now deposited at, at the Library of Congress, which is…\u003cbr\u003e\u003cbr\u003eLEVIN:  So you founded this chorus.  And it’s — does a broad repertoire of things, or…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=304.0,323.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BEVERIDGE:  A lot of — some folk music.  But we just did the Cherubini Requiem, for instance, last year, which was a written exclusive.  We’re trying to explore the, the music that’s written for men’s voices.  I’m doing the Masonic music of Mozart.  In the Masonic memorial, the George Washington Masonic memorial in…\u003cbr\u003e\u003cbr\u003eLEVIN:  In…\u003cbr\u003e\u003cbr\u003eBEVERIDGE: …in Alexandria.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=323.0,349.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  In terms of Jewish things, I mean, there is enormous amount of material for male voices.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Well, then, we must trade repertoires.\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, not hundreds — thousands.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Yeah?\u003cbr\u003e\u003cbr\u003eLEVIN:  Of male choir pieces.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Ooh, I’d love to see it.\u003cbr\u003e\u003cbr\u003eLEVIN:  Of all kinds.  From secular to, or quasi-religious…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN: …concert works to INAUDIBLE, so forth.  So that’s very interesting.  And that, is that chorus is, also, it’s not a professional chorus.  It’s a volunteer chorus?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=349.0,373.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BEVERIDGE:  You know, amateurs.\u003cbr\u003e\u003cbr\u003eLEVIN:  But you were able to find 50 men in Washington?  I mean, that’s…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  No trouble.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s what intrigues me.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  No trouble.\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, there’s no such chorus in New York, really.  Not…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  No, aside from the Gay Chorus.\u003cbr\u003e\u003cbr\u003eLEVIN:  No.  There is, it’s very interesting.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  There may be.  But we now have actually four, counting the U.S. Army Chorus.  We have four…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=373.0,397.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But the Army Chorus isn’t men either, is it?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Yes, it is.\u003cbr\u003e\u003cbr\u003eLEVIN:  They still haven’t, because then they have the, what’s it called?  The Singing Sergeants.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  That’s the Air Force.\u003cbr\u003e\u003cbr\u003eLEVIN:  The Sergeants is Air Force?  Then what’s the Army?  The Navy is the…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  The Army is the U.S. Army Chorus.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s what it’s called?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Which I was a member of for 20 years.  I, I, I’m a retired master sergeant.\u003cbr\u003e\u003cbr\u003eLEVIN:  Uh-huh.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=397.0,419.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BEVERIDGE:  That’s part of my solution for being a composer…\u003cbr\u003e\u003cbr\u003eLEVIN: Mm-hmm.\u003cbr\u003e\u003cbr\u003eBEVERIDGE: …is trying to find some form of subsidy that doesn’t involve being on the faculty of a university.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, tell me about this piece.  The genesis of this piece.  Of the Yizkor Requiem.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=419.0,441.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBEVERIDGE:\u003c/strong\u003e The, the genesis is, is very interesting.  My father was a musician, a professional musician — a choral conductor and organist — who in mid-career became intrigued by the idea of becoming, of going to seminary and becoming an Episcopal priest, which he did.  And he subsequently — he never had a parish, but he taught at the Virginia Theological Seminary, taught music and speech and liturgics. And at the end of his career at the, at the Seminary, he, he, he was always very interested in theological philosophical ideas.  The idea of the soul intrigued him.  The, the philosophers talking about the soul and music.  And he became interested in an institution in Israel called Tantur, which is an ecumenical institution run, I believe, by the Vatican, which is there to promote the dialogue between Jewish and Muslim and Christian thinkers.  And upon his retirement from the Seminary, he went to Tantur for two years and lived there, and studied Hebrew; and became very interested in the, in the Jewish religion.\u003cbr\u003e\u003cbr\u003eAnd when he came back, he, he said to me, he said, “You are the only one who, who might understand this.”  Because I had a lot of experience as a professional singer performing in synagogues as a part of a professional choir or in — actually, I have been a cantorial soloist in a Reform synagogue. He said, “But if I hadn’t made so many changes in my life, I think I would become a Jew.” And I said, “Well, I, I think I understand what you’re talking about.”  Because he, he was intrigued in, we never really had many discussions about what it was that, about the Jewish religion itself that intrigued him. When he died, I, actually, on the very day of his death, I started to think, a theme came into my head.  This, this sounds like I’m making it up.  But it really did happen.  It was a very strange time, because my father died in my house.  And I was busy trying to, to deal with my, with my mother, and get, you know. But this theme, the Requiem Eternum theme came to me.  And I, and I began to, to think of a way of memorializing or, or, or writing a, a piece in his memory that would somehow bring together some of the ideas that he wanted to, to express — not musically, but in terms of philosophy, and, and in research. And I had, I knew that one of his, the biggest influences on him was a book by Eric Werner called The Sacred Bridge, which explores the origins of Christian liturgy in the synagogue.  Fantastic book.  Which proves beyond doubt — not, not, it didn’t, I, I suppose it did need to be proved.  It’s so, it’s so, once you read the book, it seems so logical, of course, that the origins of the liturgy of the church came from the synagogue. And so I studied, I can’t say I studied it thoroughly.  But I tried to get some of these ideas.  And then the, the whole idea of trying to find similar texts between the liturgical requiem mass.  And, as we know, there are certain texts, like the Sanctus, which come, you know, directly from, from Isaiah. And to try to write a piece that, where, where, where one stands on the bridge between the Judeo and the Christian religions and takes a simultaneous look at the, how the Jewish memorial service and the requiem mass can be brought together in some similar way. So that, that’s basically the origin of the, of my ideas.  I was not trying to demonstrate that the music of the Church and the music of the synagogue were similar.  I think what I’ve come up with is a, is a style out of my head.  I, I can’t explain why it does, but it seems to appeal to both Christians and, and to Jews.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=441.0,766.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  What year did you do this piece?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  I wrote this piece in, my father died in 1991.  And I, it took me about two years to complete the work.  So, the premiere of the work with my New Dominion Chorale, which I’m the conductor of, took place in 1994. And then it started to go places.  From there, it had a Kennedy Center performance by the, The Choral Arts Society of Washington, which is the big Washington chorus, in 1996, at the Kennedy Center.  And a performance in Orchestra Hall, and of parts of it with the Chicago Sinfonietta.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=766.0,811.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  When was that?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  That was in, same year, in ’96.\u003cbr\u003e\u003cbr\u003eLEVIN:  And who was the soloist there?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Alberto Mizrahi.\u003cbr\u003e\u003cbr\u003eLEVIN:  In Chicago?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  In Chicago.\u003cbr\u003e\u003cbr\u003eLEVIN:  That, those were excerpts?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  It was a, it was a performance that was done on, in memory of Martin Luther King.  And there were, oh, it was in memory of the, of the, the Jewish, his — this is terrible, I can’t remember their names.  Who were, who were murdered in Mississippi.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=811.0,845.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Well, but only one of them was Jewish.  But it doesn’t matter.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  One of them was…\u003cbr\u003e\u003cbr\u003eLEVIN:  Mickey Schwerner and….  Anyway.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  All right.  So…\u003cbr\u003e\u003cbr\u003eLEVIN:  Anyway.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  So anyway, they wanted to bring in the, the element, and, and so that’s what happened.  But it was a good half of the Requiem was performed.\u003cbr\u003e\u003cbr\u003eLEVIN:  Do you have any performances coming up?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=845.0,866.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBEVERIDGE:\u003c/strong\u003e Actually, I am conducting it myself.  I, I’m flying back on Monday to go to a rehearsal of Yizkor Requiem which I am conducting at the Washington Cathedral in October.  Which is going to be, there is a lot of interest in this piece, in Washington especially. And we’re performing it two days after Yom Kippur at the Washington National Cathedral in a performance that is free, open admission.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=866.0,893.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Uh-huh.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  And I’m doing some of the wonderful Mendelssohn settings of, of Psalms for eight-part a cappella chorus along with it, as a, as a…\u003cbr\u003e\u003cbr\u003eLEVIN:  Who is the orchestra at the…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  It’s a, a pick-up professionals.\u003cbr\u003e\u003cbr\u003eLEVIN:  And the chorus is your chorus?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  The chorus is my own.  Yes.  It’ll be almost 200 voices.\u003cbr\u003e\u003cbr\u003eLEVIN:  Wow.  And the singers, and the soloists are…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=893.0,913.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BEVERIDGE:  Alberto Mizrahi from Chicago and…\u003cbr\u003e\u003cbr\u003eLEVIN:  But the other two?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  The other two are a local, two locals.\u003cbr\u003e\u003cbr\u003eLEVIN:  Washington singers?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Washington singers.  Who have performed it before.\u003cbr\u003e\u003cbr\u003eLEVIN:  Do you, do you anticipate any new work along these kinds of lines, or combining Hebrew with other liturgies?  Or is this —","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=913.0,931.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBEVERIDGE:\u003c/strong\u003e I’m in, I’m intrigued.  You know, the more I work with my piece — I, I don’t, it’s hard to imagine, I suppose, for somebody who’s, who’s not a composer, but I, I really, as a, it’s a performance piece, as Neville Marriner was saying.  And I, and I identify with it completely now, as a performer. I, yes, I would love to be able to, to work —  I don’t, I don’t think I would ever be able to, I would, I don’t think I would ever try this again. I think it’s, I’ve done…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=931.0,962.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  It stands on its own.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  It stands on its own.  And it would be foolish to try to, to, to reproduce anyway, because I would just be self-conscious through….  When I was writing this piece I was, I wasn’t aware of the fact that I was creating something that really apparently is unique. I was talking to a man, or a man called me up the other day who has written a thousand-page history of the Requiem.  And he said, “I’ve heard about your piece.  Please send me a CD and a score.” So I sent it to him, and he said, and I, and I, when I sent it to him, I said, “I think this is unique.” And he says, “Yes, I know.  I’ve looked at thousands of, of Requiems, and this is, there is nothing else like it.”  Not, not, why would there be?  I mean, a Requiem is a Requiem.  It’s a Requiem Mass.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=962.0,1012.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yes.  Of course.  Yes, yes, yes.  What are you working on now?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  I…\u003cbr\u003e\u003cbr\u003eLEVIN:  Composition-wise?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  I do primarily arrangements, now.  For the last several years.  Choral — of, of folk music.  And, that, that seems to be what I….  I do what I have to.  And that’s because I have this chorus that always needs repertoire.\u003cbr\u003e\u003cbr\u003eI’m, I’m, it’s, it’s easier, it takes me less time to write an arrangement of what I want than to go to the music store and try to find something.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1012.0,1049.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah.  And also, then it’s the way you want it.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Then it’s the way I want it.  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  There’s a, I think a, very specific, well, talent or, and/or craft for male choir arrangements.  You can’t just, I mean, I, I see what people are publishing and what’s useable and what isn’t.  And those who have a very special, are very few who know how to do it. I think part of the thing is hanging around male choirs.  And you have to hear…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1049.0,1075.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BEVERIDGE:  Yes, I’ve been around them all of my life.\u003cbr\u003e\u003cbr\u003eLEVIN: …how it sounds.  Otherwise it can’t be done.  I mean, I can think of some decent choral arrangers who can’t arrange for male choir, because it’s not part of their…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  They don’t write for unison.\u003cbr\u003e\u003cbr\u003eLEVIN:  No.  They’re afraid.  They think that every four-part chord…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  They think it has to be in four parts.  And that’s their biggest mistake.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1075.0,1092.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: …it must have four parts.  And they don’t understand, there’s certain keys that just don’t work.  Muddy.  And also, there is a certain knack, just a certain knack for it. But I think it has to do with having, I think you have to have sung in a male choir and hung around it for years, in order to…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Right.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1092.0,1110.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: …to know what works.  So I would be very interested to see some of your things. What about harmonic language?  I mean, how would you characterize your own approach from…  Your own…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  My, the harmonic language that I use is very old-fashioned, I suppose.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1110.0,1132.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: I mean, in this piece.  I’m talking about Yizkor.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  It’s hard to characterize.  It, it definitely is harmonic.  I mean, there’s only a couple of places where there, where it is deliberately dissonant.\u003cbr\u003e\u003cbr\u003eThere is one spot where it, where, where the, where I stop on the word “light,” for instance.  And…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1132.0,1158.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yes.  That’s the four, the four…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  And because light has the same properties as music.  I wanted to, to create a, a moment when all 12 tones of the, of the scale are sounding simultaneously, to illustrate, like a rainbow.  But that’s about the only, I suppose, self-consciously, even remotely avant-garde moment in the piece.  My, my style is melodic.  And the harmonies are the logical consequence of the, of the, of…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1158.0,1198.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Is there any pre-existing kind of chant material that you’ve used in any of the three…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  No.\u003cbr\u003e\u003cbr\u003eLEVIN: …liturgical sections?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  No.  There’s nothing that is, none of the Gregorian chant is used.  I’ve, I do some pseudo-chant, I suppose you would call it.  And, and the, a lot of, many of the melodies come out sounding Jewish, I suppose. But I don’t know what the characteristic is.  I mean, we always think…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1198.0,1227.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  There isn’t.\u003cbr\u003e\u003cbr\u003eBEVERIDGE: …of Fiddler on the Roof, or something like that.\u003cbr\u003e\u003cbr\u003eLEVIN:  No, that’s just…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  But it’s, that’s absurd.\u003cbr\u003e\u003cbr\u003eLEVIN:  It is absurd.  That’s just…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  But it…\u003cbr\u003e\u003cbr\u003eLEVIN: …Polish folk music.\u003cbr\u003e\u003cbr\u003eBEVERIDGE: …many people seem to think that the melodies sound Jewish.  I mean, I certainly wasn’t…\u003cbr\u003e\u003cbr\u003eLEVIN:  I don’t.\u003cbr\u003e\u003cbr\u003eBEVERIDGE: …sitting down and thinking.  You know, that’s right.  You wouldn’t.\u003cbr\u003e\u003cbr\u003eLEVIN:  But you didn’t turn to any preexistent chant for the…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1227.0,1247.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BEVERIDGE:  No.  I…\u003cbr\u003e\u003cbr\u003eLEVIN: …for the Latin sections or…\u003cbr\u003e\u003cbr\u003eBEVERIDGE: …sometimes or…\u003cbr\u003e\u003cbr\u003eLEVIN: …plain chants for the English sections.\u003cbr\u003e\u003cbr\u003eBEVERIDGE: No, I often do.  But in this particular piece, I, I…\u003cbr\u003e\u003cbr\u003eLEVIN:  And similarly, for the Hebrew sections.  It’s…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  There, there’s, there are, for instance, there, there, at the very end, when, when the cantor sings Kaddish for the second time, uh, I tried to — it’s a very difficult passage for, for a, for a singer.  Because I’m trying to reproduce the, the inflections of, of chanting and, and to write out what ordinarily a cantor would just do. But for, for, formed a — it’s like, in a way, if you look at the way popular music that one has heard in one’s ear and then you see the, the sheet music.  It has very little to do with it, because…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1247.0,1294.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah, it’s just, it’s only suggested, and not…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  That’s right.  And that, that, that was one of the most difficult things to do — to try to create a pseudo-chant piece, but that, that sounded authentic.  And I don’t know whether that’s, it’s been successful or not.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1294.0,1311.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Who, who would you say — I mean, in your own mind — who do you think would, were the greatest influences on you, composer-wise?  I mean, in terms of…?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Well, I’d, one of my favorite criticisms of my music is when a reviewer said, “Beveridge’s music is, at, at best, eclectic.”  And I, I thought that that was a compliment.  Because, I mean, where would any of the great composers be unless they stood on the shoulders of the, of the ones who had come before? I’m, I’m asked this question all the time, and I can’t, I can’t — because I love all — so much music.  I, I was brought up playing… with my father playing forehand piano music.  The music of Haydn was something that, that has always just been such a natural thing. But I, I think in terms of, I like, I think just being a singer has, has been a great influence.  But I, I, I’ve, I think, in terms of orchestration, which is the hardest of the arts — the Berlioz.  Sometimes, some, as, as Neville Marriner was saying, some parts of this piece remind him of Berlioz.  And I, I think that’s true.  But I…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1311.0,1393.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  You know Ralph Shapey’s music?\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  A, a bit.\u003cbr\u003e\u003cbr\u003eLEVIN:  All right.  So, you know the, well, then, you know, when I asked him once what he, who the greatest influence on his music would be.  And do you know what he said?  Bach.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Well, that’s what I was going to say.  We all come back to Bach.  He was the ultimate performer’s composer.  I mean, he, and he was the one who was the greatest musical mind in, in our civilization, in our, in our culture.\u003cbr\u003e\u003cbr\u003eBecause he — actually, what’s intriguing about Bach was that he was, his sons said that he never wrote a piece of music that was as great as what he improvised.  And so, I think that improvisation is of, perhaps of greater influence on, on me, or that the, the history of, of Mozart, for instance, as an improviser, or Handel or Bach.  And I, it’s, I find it very dismaying that, that everything has to be written down in, in order to be performed by a symphony orchestra or a chorus or a, or a piece like this. There are, there are moments in Yizkor Requiem when the cantor is given the okay to, to improvise.  And some cantors, some people who have performed this who know, who are cantors, will take full advantage of that.  And will, but then, but the most part, people will stick, pretty much, to, to the way it’s written.  But both are, as far as I’m concerned, legitimate.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1393.0,1489.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah, I think it stands, actually, my own feeling is it stands…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  It stands pretty much…\u003cbr\u003e\u003cbr\u003eLEVIN: …maybe even better without that, in this particular piece.  Because…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  For recording it, certainly.\u003cbr\u003e\u003cbr\u003eLEVIN:  For recording, yeah.  Even for concert, I think.  I’m not so sure that it doesn’t take away and, because you don’t, you only have it….  See, the, to be honest with you, the texts that appear here are not such improvisatory texts.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1489.0,1513.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BEVERIDGE:  That’s correct.  It’s pushing at it a bit.\u003cbr\u003e\u003cbr\u003eLEVIN:  It pushes it and pushes it out of perspective.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  That’s a good point.\u003cbr\u003e\u003cbr\u003eLEVIN:  Because it’s not supposed to be hazzanut.  It’s supposed to be…\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  That’s right.\u003cbr\u003e\u003cbr\u003eLEVIN: …what it is.  And I personally, I know if I were conducting it in performance, I wouldn’t do it.  I would do it just this way.\u003cbr\u003e\u003cbr\u003eBEVERIDGE:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  Because it then ties in with the, with the, with the other, uh…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1513.0,1532.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BEVERIDGE:  I think that’s gradually what, what is coming to be the accepted performance of this particular piece.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah. Okay.  It’s been an exciting experience so far, and I think it’s going to be even more exciting as we, as we finish the piece.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1532.0,1548.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726/transcript/24094/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBEVERIDGE:\u003c/strong\u003e Well, it’s certainly an inc — this is the greatest — to, to hear this great orchestra and this, this fabulous conductor working with my music.  That’s the greatest experience of my life.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39349/file/110726#t=1548.0,1574.01354"}]}]}]}