Apr 17, 2023
Kramer, Lawrence, ‘The Return of the Gods: Keats to Rilke’, Studies in Romanticism, 17.4 (1978), 483–500 <https://doi.org/10.2307/25600154>
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Kramer, Lawrence, ‘The Return of the Gods: Keats to Rilke’, Studies in Romanticism, 17.4 (1978), 483–500 <https://doi.org/10.2307/25600154>
Lawrence Kramer: String Quartet No. 8 " Reflections and Memories", performed by the Eurasia Quartet
World Premiere of Lawrence Kramer's String Quartet No. 8 "Reflections and Memories " (2018-2020) during the AEMC (Online) Conference 2020
1. Reflection I - 01'00" 2. Mackerel Sky - 05'18" 3. Reflection II - 09'45" 4. Clouds. Wind. Stars. - 15'17"
The recording was premiered on 27 June 2020 within the 3rd AEMC Conference on "Music, Communication and Performance", and it was sponsored by the AEMC upon an idea and initiative of its President, professor Alberto Nones.
Asia Czaj - Violin 1 Egle Kaunietyte - Violin 2 Ekaterina Degtiareva - Viola Stanislav Degtyarev - Cello
Kramer, Lawrence, ‘The Return of the Gods: Keats to Rilke’, Studies in Romanticism, 17.4 (1978), 483–500 <https://doi.org/10.2307/25600154>
“What is expressed cannot be written. Expression consumes itself in the moment. It can be documented and recorded but not repeated; information storage is a record of its loss.”
Lawrence Kramer From “Expression and Truth” p.5
“For me, words are musical objects.”
Lawrence Kramer, editor of the NYRB Poets edition of Walt Whitman’s Drum-Taps, was interviewed about the sonic elements of Whitman’s Civil War poems for an episode of WBUR’s Open Source. The episode also includes an interview with composer Matthew Aucoin about his latest work, Crossing, an opera based on Whitman’s Civil War diary, Lisa New on Whitman’s Brooklyn youth, readings by actor Ben Evett, and remarks from Harold Bloom on why Whitman is “the most magnificent American poet.”
You can listen to the entire episode above (Kramer’s segment begins around the 31:40 mark) or right here.
The notion that we can keep reason and imagination in seperate compartments, separate cages, does great disservice to both.
Lawrence Kramer (Why Classical Music Still Matters)