I met Mr. Fuller when I took his class on performance practice in 1992. Tyically, one would think a Juilliard class such as this would be centered around "what kind of trills to execute" and "which editions of Bach's works are the most authentic". However, I'm happy to report that his class had very little to do with any of that.
His lectures reminded us how magical the invisible world of music really is and how fortunate we are to study it. He encouraged us to use our imagination, to question authorities, and to create our own rules and lives. He wanted us to understand that the master composers were not just statues and chapters in music history books. They felt what we felt - they were warmed by the same sun, breathed the same air, walked on the same earth. They felt love and lust, joy and sorrow, victory and defeat. We are all one.
I was so taken by his lectures that I signed up for private chamber music coachings with him - and he let me take them as a solo guitarist. One day I played a Bach Largo for him in a rather dry manner. He stopped me half way through and simply said "think hand mic" and then sang the melody freely as a jazz singer would - pretending to hold a microphone in his hand. It might sound humorous, but I tell you that this one lesson changed my entire perspective on music.
Albert wanted us to think outside the box - and to realize that the box was put there by someone else. I'm very grateful to have known this man for even a little bit of time. May he be joyous.
Here is Kevin's blog.
Showing posts with label Juilliard. Show all posts
Showing posts with label Juilliard. Show all posts
Monday, March 3, 2008
Thursday, December 6, 2007
Article by violinist, Anthony Martin published in "Early Music America" Winter 2007
Albert Fuller (1926–2007) in memoriam vitae bene peractæ et spiritus semper viventis (an article by Anthony Martin from “Early Music America Magazine,” Winter 2007, Latin courtesy of Otto Steinmayer)
Performer, teacher, conductor, thinker, catalyst, eloquent speaker and sympathetic listener, Albert Fuller was mentor, guide, and friend to the generations of students and colleagues he influenced and inspired and brought together. Among his many accomplishments was the creation of Aston Magna, where performers, artists, and scholars would work, play, and eat together—oh! the heavenly meals created by the virtuosi that Albert installed in the kitchen! One memorable summer there he brought forth the first performances and recordings in America of the complete Brandenburg Concertos. His Helicon Foundation will continue that multi-disciplinary exploration in New York. Albert taught at the Juilliard School for over forty years, seeking always to put technique and repertoire into a wider, humanistic context. Many who heeded him are now at the center of early music activities throughout America. His book on Alice Tully is also his own spiritual autobiography.
There is little I could add to Albert’s legacy, except to quote his own words, taken from various sources dating back to the beginning of our friendship. Most touching were his holiday letters, in which he shared his hopes and his fears, readings and poems that had excited him, and his feelings of love and connection with his worldwide family of friends. I hope this selection gives some idea of what moved Albert, who so moved us.
"We know where we have been: in high spirits, on a flight without always knowing where we will land and, with only a few and happily rare exceptions, in a collaborative effort characterized by kind words, hard effort and joyous feelings at the moment of performance." (1978)
"Our desire to contribute to the stylistic discernment of the various musical periods, and hence the true meaning of the music, is unique, strong and revelatory in new and unexpected ways. That you can share this adventure with us is a source of the deepest satisfaction of comradeship in the feelings of which all artistic works are the metaphors." (1978)
"In these hard times I feel that adding anything of good, even whatever little drop we may have of our good feelings and our benevolent aims, adding that to the rampant evil such as the confrontation of nuclear war, is a valuable thing." (1982)
"The love that we all share has been the real glue of our work together. The musical products of that work are themselves the testimony of the power of exercising that love. In addition many other facets of our lives have been illuminated by the brightness of all that loving effort together." (1983)
"To Aston Magna’s musicians as well as to those spiritually close to them, there was an underlying dynamic focus to the effort that was more important than the aural exoticism [of “original instruments”], a focus that was not so apparent to a large segment of the public nor even to many close to the foundation’s support. That was the feeling of newness of discovery or better, re-discovery, that attached itself to each performance. This new feeling derived not so much from the simple exercise of the “original instruments” themselves; rather, and more importantly, the instruments, as the true starting line, were the new tools that beckoned and prodded the players to exercise their art within a further and hitherto unsuspected spectrum of musical expressivity. This new territory was in effect the rediscovered chambers of psychological perceptions and emotional preoccupations of segments of our inherited past, of our own direct 17th- and 18th-century musical ancestors … Those who participated in this expansive growth of physical gestures and psychological conceptions formed into a network of musicians bonded and characterized by the intense camaraderie of initiation. Love for one another was fueled by the effort of new learning, and was fired on a regular basis by the excitement, the thrill, the frisson of participating, each with all, in the living performance results of the work." (1983)
"Although I can’t think of any time when I have been busier, nevertheless, it is almost 1991 and, boy, does that ever cause me to pause and to think over so many years of knowing people and working hard at what I love! I conclude that the work will be here long after I have departed hence and, thus, in the end it is the people who have shared what we love together that matters most to me." (1990)
"Gratitude is on my mind for all the musical experiences that continue to demonstrate the mysterious workings of the human spirit and heart, especially in the manner that only musical art can reveal." (1992)
"As we all hurtle toward the new millennium I suspect, I pray, I may know a little bit more than previously about what to do about each day." (1995)
"My 70th birthday isn’t a surprise; after all, you know I’ve been counting! Nevertheless, I can easily say that it’s the happiest birthday I have thus far celebrated. According to my parents, getting old was a drag. Not so here! I know more, I understand more and I love it more." (1996)
"My own problems over the past year have been far outweighed by the blessings of understanding and experience. In whatever the future brings I pray that our spirits may intertwine in some productive fashion to bring us all the measure of personal freedom that we can use for our benefit and that of our brothers and sisters." (1997)
"The cement that binds us together is our understanding that music holds an almost supreme place in our bodies, in our psyches and in our life’s study and work. What a great joy and comfort it is for each of us, and for those friends with whom we share the precious and unique understanding: the meaning of musical art!" (1998)
"I thank God, whoever she may be, that the Internet is really founded on the network of friendship that has held us all together." (1999)
“'Insanity is when we keep doing the same thing and go on expecting different results.' It turns out that, from my earliest years, this particular dictum has been the major reason for my growth in coming to terms with my own life, and for my success, if I may call it that, in being a teacher. Now, as an old geezer, I’m disappointed that I couldn’t have passed this idea on to more than I have." (2000)
"Sharing the heartfelt beauties of music and the other arts encourages me to continue to cling to my normally optimistic view: good finally triumphs over evil and mankind will one day fulfill the role to which all sages have always pointed us!" (2002)
"Now that the late century is behind us, I pray that each of us will do his/her part in attempting to 'calm the waters,' and pass the word and example of loving one another amongst us all, each in his own way. What else can an individual do except to offer one’s unique and individual energy in an attempt to steer the mass of humanity toward a truly creative and joyous existence?" (2003)
For Albert Fuller, music, the arts, and the sciences were all means to the end of uniting all human beings of the past, present, and future into one continuum of love and understanding. His faith in that project was the foundation of his life and work. Let us each endeavor to carry it on!
Performer, teacher, conductor, thinker, catalyst, eloquent speaker and sympathetic listener, Albert Fuller was mentor, guide, and friend to the generations of students and colleagues he influenced and inspired and brought together. Among his many accomplishments was the creation of Aston Magna, where performers, artists, and scholars would work, play, and eat together—oh! the heavenly meals created by the virtuosi that Albert installed in the kitchen! One memorable summer there he brought forth the first performances and recordings in America of the complete Brandenburg Concertos. His Helicon Foundation will continue that multi-disciplinary exploration in New York. Albert taught at the Juilliard School for over forty years, seeking always to put technique and repertoire into a wider, humanistic context. Many who heeded him are now at the center of early music activities throughout America. His book on Alice Tully is also his own spiritual autobiography.
There is little I could add to Albert’s legacy, except to quote his own words, taken from various sources dating back to the beginning of our friendship. Most touching were his holiday letters, in which he shared his hopes and his fears, readings and poems that had excited him, and his feelings of love and connection with his worldwide family of friends. I hope this selection gives some idea of what moved Albert, who so moved us.
"We know where we have been: in high spirits, on a flight without always knowing where we will land and, with only a few and happily rare exceptions, in a collaborative effort characterized by kind words, hard effort and joyous feelings at the moment of performance." (1978)
"Our desire to contribute to the stylistic discernment of the various musical periods, and hence the true meaning of the music, is unique, strong and revelatory in new and unexpected ways. That you can share this adventure with us is a source of the deepest satisfaction of comradeship in the feelings of which all artistic works are the metaphors." (1978)
"In these hard times I feel that adding anything of good, even whatever little drop we may have of our good feelings and our benevolent aims, adding that to the rampant evil such as the confrontation of nuclear war, is a valuable thing." (1982)
"The love that we all share has been the real glue of our work together. The musical products of that work are themselves the testimony of the power of exercising that love. In addition many other facets of our lives have been illuminated by the brightness of all that loving effort together." (1983)
"To Aston Magna’s musicians as well as to those spiritually close to them, there was an underlying dynamic focus to the effort that was more important than the aural exoticism [of “original instruments”], a focus that was not so apparent to a large segment of the public nor even to many close to the foundation’s support. That was the feeling of newness of discovery or better, re-discovery, that attached itself to each performance. This new feeling derived not so much from the simple exercise of the “original instruments” themselves; rather, and more importantly, the instruments, as the true starting line, were the new tools that beckoned and prodded the players to exercise their art within a further and hitherto unsuspected spectrum of musical expressivity. This new territory was in effect the rediscovered chambers of psychological perceptions and emotional preoccupations of segments of our inherited past, of our own direct 17th- and 18th-century musical ancestors … Those who participated in this expansive growth of physical gestures and psychological conceptions formed into a network of musicians bonded and characterized by the intense camaraderie of initiation. Love for one another was fueled by the effort of new learning, and was fired on a regular basis by the excitement, the thrill, the frisson of participating, each with all, in the living performance results of the work." (1983)
"Although I can’t think of any time when I have been busier, nevertheless, it is almost 1991 and, boy, does that ever cause me to pause and to think over so many years of knowing people and working hard at what I love! I conclude that the work will be here long after I have departed hence and, thus, in the end it is the people who have shared what we love together that matters most to me." (1990)
"Gratitude is on my mind for all the musical experiences that continue to demonstrate the mysterious workings of the human spirit and heart, especially in the manner that only musical art can reveal." (1992)
"As we all hurtle toward the new millennium I suspect, I pray, I may know a little bit more than previously about what to do about each day." (1995)
"My 70th birthday isn’t a surprise; after all, you know I’ve been counting! Nevertheless, I can easily say that it’s the happiest birthday I have thus far celebrated. According to my parents, getting old was a drag. Not so here! I know more, I understand more and I love it more." (1996)
"My own problems over the past year have been far outweighed by the blessings of understanding and experience. In whatever the future brings I pray that our spirits may intertwine in some productive fashion to bring us all the measure of personal freedom that we can use for our benefit and that of our brothers and sisters." (1997)
"The cement that binds us together is our understanding that music holds an almost supreme place in our bodies, in our psyches and in our life’s study and work. What a great joy and comfort it is for each of us, and for those friends with whom we share the precious and unique understanding: the meaning of musical art!" (1998)
"I thank God, whoever she may be, that the Internet is really founded on the network of friendship that has held us all together." (1999)
“'Insanity is when we keep doing the same thing and go on expecting different results.' It turns out that, from my earliest years, this particular dictum has been the major reason for my growth in coming to terms with my own life, and for my success, if I may call it that, in being a teacher. Now, as an old geezer, I’m disappointed that I couldn’t have passed this idea on to more than I have." (2000)
"Sharing the heartfelt beauties of music and the other arts encourages me to continue to cling to my normally optimistic view: good finally triumphs over evil and mankind will one day fulfill the role to which all sages have always pointed us!" (2002)
"Now that the late century is behind us, I pray that each of us will do his/her part in attempting to 'calm the waters,' and pass the word and example of loving one another amongst us all, each in his own way. What else can an individual do except to offer one’s unique and individual energy in an attempt to steer the mass of humanity toward a truly creative and joyous existence?" (2003)
For Albert Fuller, music, the arts, and the sciences were all means to the end of uniting all human beings of the past, present, and future into one continuum of love and understanding. His faith in that project was the foundation of his life and work. Let us each endeavor to carry it on!
Monday, December 3, 2007
Juilliard Journal Coverage of the Albert Fuller Memorial Concert
The December issue of The Juilliard Journal includes coverage of the Albert Fuller Memorial Concert, including photographs by Peter Schaaf and tributes by Andrew Appel, Barbara Bogatin, and James Roe.
For the article, "Celebrating the Life of an Extraordinary Musician," click here.
For the article, "Celebrating the Life of an Extraordinary Musician," click here.
Friday, November 23, 2007
Bobby White's remarks at AF's Tribute Concert (12 Nov 07)
ALBERT FULLER - Thoughts in Passing
How do I celebrate the life of someone as remarkable as Albert Fuller? How do I explain those feelings of loss, the loss of truly one of my very closest friends, mentors, best, best buddies in the whole world?
Albert was unique. I--and virtually everyone I ever have known that came in contact with him in the glory years, in Albert's youth and very enlightened older age, before he got ill these past several years and slowed down--all agree that there was no one like him. His radiant sense of humor and appreciation of the offbeat and bizarre, informed so much of what made him special.
His words and insights could sometimes be 'sharp', but they were always to the point. This ability was apparent from early on. Albert loved to tell how he handled a stern headmaster's challenge when he was a mere 9 year old boy in his Washington D.C. grade school. The teacher glowered at Albert in his seat and said, "MASTER Fuller, did you give me a dirty look?" Albert replied, with great calm, "Teacher, you might have a dirty look, but I didn't give it to you!"
The experiences that I had through Albert's kindness, his loving friendship, his caring about me as a human being, as a musician.. as an artist..enhanced my life in myriad ways....Albert reminded any and all of us, students and professionals alike, that we each must be (pause) "The Artist of Your Life". "Don't let people put you down!", he'd say. "Don't let ANY one smother your art! And the biggest person to watch out for in all of this, is your SELF, because YOU'RE the one most responsible for keeping that spark of art alive in your heart!"
Albert helped us achieve this so often by his own enthusiastic example......whether it meant cooking an absolutely FLAWLESS, Glorious, Chinese meal for a dozen friends, or a classic French meal, or an Italian one..or a Belgian waterzooi, (Pronounced vatter-zoy), ..whatever the cuisine, Albert could throw it together at the drop of a toque..(PAUSE) And there'd always be 'Music' following dinner, either live or in recordings of extraordinary performances from Monteverdi to ALMOST Montovani...by that I mean, Aretha Franklin would share the spotlight with Wanda Landowska or Janis Joplin with Couperin's Leçons de Ténèbres. If the music-making was superb, that's all that mattered to Albert.
I met him in 1961 when I was 24 years old– can it be nearly half a century ago?- at the Spoleto Festival in Italy. Throughout the 60s, 70s and 80s, I sang in numerous concerts with Albert at the helm. So many beautiful performances took place as well with Mel Kaplan's New York Chamber Soloists...Albert inventing away at the clavicembalo. As Artist-in-Residence at the NYU Medical Center over on East 30th Street, Albert presented many seasons of extraordinary concerts under the aegis of his great friend on the NYU Medical Faculty, immunologist Dr. Zoltan Ovary.
I will never forget the glorious Baroque operas Albert arranged and conducted here at Juilliard in the 70s, as well as endless instrumental and vocal works performed through the years at his Aston Magna and later, Helicon series. A stunning Platée- of Rameau- radiantly sung by then Juilliard student Barbara Hendricks under Albert's direction- is only one of many events that remain burned in my memory. His beautiful apartment on West 67th street with the two-story living room was the scene of so many wondrous musical evenings. Pianos and harpsichords and viols and lutes were constantly coming in and out of the apartment as young performers took their places for yet another 'soiree musicale' chez-Albert.
Lovely performances took place as well in a number of the several sumptuous apartments lived in by his great friend and musical benefactor, Gregory Smith. I recall a special evening of French poesie and Couperin music at Gregory's french-boiseried home on 73rd street just off Vth Avenue - The Pulitzer Mansion. Albert played harpsichord, Hugues Cuenod sang and Jean-Louis Barrault and his wife Madeleine Renaud read Racine and Moliere texts.
Albert had a great friendship with Alice Tully who was in his home so often for dinners and concerts. Through Albert, young performers got to know and perform for this legendary lady in the most gracious and personal of ways. How fitting that Albert was to be Alice's affectionate and perceptive biographer.
Another great friend and colleague was Hugues Cuenod, the Swiss tenor, who made his Met Opera debut in 1986 at the age of 84 in the Zefirelli production of "Turandot". I heard that performance, seated between Albert and Alice (who was born the same year as Cuenod..1902). Recently this past Summer, to the astonishment of us all, Albert, confined to a wheelchair, flew- ON HIS OWN- to Switzerland to celebrate Cuenod's 105th Birthday(!), and, as Albert put it all too prophetically, "to say 'goodbye' to Huguie."
I'd like to end this note on Albert by reading from an email I received from another dear friend and colleague, the distinguished British pianist Graham Johnson, who too, was devoted to this wonderful man. Graham writes: "..Albert retained voracious interests in ALL aspects of music-making and he greeted those whom he regarded as talented with an openness of heart that will always be unforgettable. Like all great artists he was capable of being moody and self-absorbed, but he remained to the end someone who respected talent when he saw it, and found it, as an utterly sacred thing, to be nurtured, helped, advised and encouraged....One of the greatest teachers, thus, that I have ever known.... After an evening in his company when he was on form, one could be lifted to another place. Whatever our problems, we were artists and part of a family that nothing could destroy. Albert made one feel part of a blessed community of kindred and supportive spirits."
Graham says in closing, "Albert treasured a signed portrait of Mae West that I had bought him at the Argosy Bookstore in Manhattan after staying at his flat in 2000. Couperin and Aretha Franklin.... Alice Tully and Mae West.... that was our incomparably curious, incomparably iconoclastic Albert."
Robert White
12 November 2007
How do I celebrate the life of someone as remarkable as Albert Fuller? How do I explain those feelings of loss, the loss of truly one of my very closest friends, mentors, best, best buddies in the whole world?
Albert was unique. I--and virtually everyone I ever have known that came in contact with him in the glory years, in Albert's youth and very enlightened older age, before he got ill these past several years and slowed down--all agree that there was no one like him. His radiant sense of humor and appreciation of the offbeat and bizarre, informed so much of what made him special.
His words and insights could sometimes be 'sharp', but they were always to the point. This ability was apparent from early on. Albert loved to tell how he handled a stern headmaster's challenge when he was a mere 9 year old boy in his Washington D.C. grade school. The teacher glowered at Albert in his seat and said, "MASTER Fuller, did you give me a dirty look?" Albert replied, with great calm, "Teacher, you might have a dirty look, but I didn't give it to you!"
The experiences that I had through Albert's kindness, his loving friendship, his caring about me as a human being, as a musician.. as an artist..enhanced my life in myriad ways....Albert reminded any and all of us, students and professionals alike, that we each must be (pause) "The Artist of Your Life". "Don't let people put you down!", he'd say. "Don't let ANY one smother your art! And the biggest person to watch out for in all of this, is your SELF, because YOU'RE the one most responsible for keeping that spark of art alive in your heart!"
Albert helped us achieve this so often by his own enthusiastic example......whether it meant cooking an absolutely FLAWLESS, Glorious, Chinese meal for a dozen friends, or a classic French meal, or an Italian one..or a Belgian waterzooi, (Pronounced vatter-zoy), ..whatever the cuisine, Albert could throw it together at the drop of a toque..(PAUSE) And there'd always be 'Music' following dinner, either live or in recordings of extraordinary performances from Monteverdi to ALMOST Montovani...by that I mean, Aretha Franklin would share the spotlight with Wanda Landowska or Janis Joplin with Couperin's Leçons de Ténèbres. If the music-making was superb, that's all that mattered to Albert.
I met him in 1961 when I was 24 years old– can it be nearly half a century ago?- at the Spoleto Festival in Italy. Throughout the 60s, 70s and 80s, I sang in numerous concerts with Albert at the helm. So many beautiful performances took place as well with Mel Kaplan's New York Chamber Soloists...Albert inventing away at the clavicembalo. As Artist-in-Residence at the NYU Medical Center over on East 30th Street, Albert presented many seasons of extraordinary concerts under the aegis of his great friend on the NYU Medical Faculty, immunologist Dr. Zoltan Ovary.
I will never forget the glorious Baroque operas Albert arranged and conducted here at Juilliard in the 70s, as well as endless instrumental and vocal works performed through the years at his Aston Magna and later, Helicon series. A stunning Platée- of Rameau- radiantly sung by then Juilliard student Barbara Hendricks under Albert's direction- is only one of many events that remain burned in my memory. His beautiful apartment on West 67th street with the two-story living room was the scene of so many wondrous musical evenings. Pianos and harpsichords and viols and lutes were constantly coming in and out of the apartment as young performers took their places for yet another 'soiree musicale' chez-Albert.
Lovely performances took place as well in a number of the several sumptuous apartments lived in by his great friend and musical benefactor, Gregory Smith. I recall a special evening of French poesie and Couperin music at Gregory's french-boiseried home on 73rd street just off Vth Avenue - The Pulitzer Mansion. Albert played harpsichord, Hugues Cuenod sang and Jean-Louis Barrault and his wife Madeleine Renaud read Racine and Moliere texts.
Albert had a great friendship with Alice Tully who was in his home so often for dinners and concerts. Through Albert, young performers got to know and perform for this legendary lady in the most gracious and personal of ways. How fitting that Albert was to be Alice's affectionate and perceptive biographer.
Another great friend and colleague was Hugues Cuenod, the Swiss tenor, who made his Met Opera debut in 1986 at the age of 84 in the Zefirelli production of "Turandot". I heard that performance, seated between Albert and Alice (who was born the same year as Cuenod..1902). Recently this past Summer, to the astonishment of us all, Albert, confined to a wheelchair, flew- ON HIS OWN- to Switzerland to celebrate Cuenod's 105th Birthday(!), and, as Albert put it all too prophetically, "to say 'goodbye' to Huguie."
I'd like to end this note on Albert by reading from an email I received from another dear friend and colleague, the distinguished British pianist Graham Johnson, who too, was devoted to this wonderful man. Graham writes: "..Albert retained voracious interests in ALL aspects of music-making and he greeted those whom he regarded as talented with an openness of heart that will always be unforgettable. Like all great artists he was capable of being moody and self-absorbed, but he remained to the end someone who respected talent when he saw it, and found it, as an utterly sacred thing, to be nurtured, helped, advised and encouraged....One of the greatest teachers, thus, that I have ever known.... After an evening in his company when he was on form, one could be lifted to another place. Whatever our problems, we were artists and part of a family that nothing could destroy. Albert made one feel part of a blessed community of kindred and supportive spirits."
Graham says in closing, "Albert treasured a signed portrait of Mae West that I had bought him at the Argosy Bookstore in Manhattan after staying at his flat in 2000. Couperin and Aretha Franklin.... Alice Tully and Mae West.... that was our incomparably curious, incomparably iconoclastic Albert."
Robert White
12 November 2007
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