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Eaton, John (b. March 30, 1935, Bryn Mawr, Pennsylvania). American composer of stage, orchestral, chamber, choral, vocal, and piano works that have been performed throughout the world.
Prof. Eaton studied composition with Milton Babbitt, Edward Cone, Earl Kim, and Roger Sessions at Princeton University from 1953-59, where he earned his BA and MFA. There he also studied musicology with Arthur Mendel and Oliver Strunk and piano with Erich Itor Kahn, Frank Sheridan, Eduard Steuermann, and Louise Strunsky.
Among his many honors are ten ASCAP awards (1957-66), a Woodrow Wilson Fellowship (1958), three Prix de Rome (1959-61), two Guggenheim fellowships (1962, 1965), 32 annual BMI awards (1967-98), and the George F. Peabody and Ohio State awards (1973, both for Myshkin). He has also received a Fulbright Travel Grant (1987), the National Music Theater Award (1988), the MacArthur Award (1990), a grant from the Aaron Copland Foundation (1995), and numerous grants from the National Endowment for the Arts. In addition, he served as composer-in-residence at the American Academy in Rome (1974) and at Bellagio (1993). His music has been heard throughout the world, including at the UNESCO International Rostrum of Composers in Paris in 1970, on television throughout the Americas in the mid-1970s and in Estonia, Lithuania and Russia during a visit as an honored guest of the Russian Composers Union in 1977. Numerous ensembles, orchestras and organizations throughout the world have commissioned his works.
Prof. Eaton is also active in other positions. He performed as a jazz pianist from 1953-71 and as a new music pianist and synthesist from 1960-70. As such, he participated in world premières by Larry Austin, Leslie Bassett, Niccolò Castiglioni, Joel Chadabe, Donald Martino, Robert Moevs, William O. Smith, and other composers. He has written numerous articles on new music, as well as the book Involvement with Music: New Music since 1950 (1976).
He gave concerts and lectures for USIS-USIA throughout the Americas from 1959-77. He taught as Professor of Music at Indiana University from 1970-91, where he also served as artistic director of its Center for Electronic and Computer Music. He was a visiting professor at the University of Chicago in 1990-91 and Professor of Music from 1991-2001, where is he now Professor Emeritus. He lectured at Carleton College in 1973, the Salzburg Center for American Studies in 1976 and in China and South Korea in 2000 and was the Distinguished Visiting Fellow at Princeton University in 1981.
Schirmer publishes most of his music, but European-American Music and Shawnee Press publish some scores. In addition, all of his scores have been housed at East Stroudsburg University in Pennsylvania since 2003.
CONTACT INFORMATION
E-mail address: johneaton1@earthlink.net
Street address: Prof. John Eaton, 28 72nd St., N. Bergen, NJ 07047-5902, USA
Telephone: 201 868 7473
COMPLETE LIST OF WORKS
STAGE: Ma Barker (2 act opera, libretto by Arthur Gold), lyric soprano, dramatic mezzo-soprano, tenor, small orchestra, 1957-58; Herakles (3 act opera, libretto by Michael Fried, after Sophocles, Seneca), soprano, mezzo-soprano, tenore spinto, Heldentenor, baritone, mixed chorus, large mixed chorus, large orchestra, 1961-64; Myshkin (1 act opera, libretto by Patrick Creagh, after Fyodor Dostoyevsky), coloratura soprano, soprano, mezzo-soprano, tenor, baritone, bass, 2 synthesizers/tape, orchestra, 1966-71 (one section may be performed separately: Prelude to 'Myshkin'); The Three Graces (theatre piece, text by David Anderson), 2 sopranos, mezzo-soprano, actor, synthesizers (2 players), 1972; The Lion and Androcles (1 act children's opera, libretto by Eugene Walter, David Anderson, after Aulus Gellius), children's voices, 2 sopranos, mezzo-soprano, tenor, baritone, bass, flute, oboe, clarinet, bassoon, 2 pianos (tuned a quarter-tone apart), synthesizers (1 or more players), drumkit ad libitum, 1973 (also version with orchestra, 1973); Danton and Robespierre (3 act opera, libretto by Patrick Creagh), coloratura soprano, lyric soprano, mezzo-soprano, lyric tenor, Heldentenor, tenor, baritone, bass, 18 mixed voices, large mixed chorus, large male chorus, on-stage ensemble (brass, snare drum/tenor drum), large orchestra, 1978
STAGE: The Cry of Clytaemnestra (1 act opera, libretto by Patrick Creagh, after Aeschylus), coloratura soprano, soprano spinto/dramatic soprano, mezzo-soprano, lyric tenor, tenore spinto, bass-baritone, on-stage tenor drum, off-stage Stierhorn, small orchestra (20 players), tape, live electronics, 1979-80; The Tempest (3 act opera, libretto by Andrew Porter, after William Shakespeare), lyric soprano, coloratura mezzo-soprano, female jazz voice, countertenor, 3 tenors, 2 baritones, bass-baritone, bass, large mixed chorus, on-stage Renaissance ensemble (recorders/flutes [1 player], shawm/oboe, lute/harpsichord), on-stage jazz ensemble (alto saxophone, electric guitar, bass guitar, drumkit), large orchestra, 1983-85; The Reverend Jim Jones (3 act opera, libretto by James Reston, Jr.), soprano, female gospel voice, tenor, baritone, 12 children's voices, 16 mixed voices, large mixed chorus, on-stage gospel piano, on-stage jazz ensemble (alto saxophone, electric guitar, double bass [+ bass guitar], drumkit), large orchestra, 1988; Peer Gynt (incidental music, play by Henrik Ibsen), flute (+ piccolo, alto flute, bass flute), clarinet (+ bass clarinet), violin, cello, piano, percussion (with conductor ad libitum), stage setup ad libitum, digital delay system, 1990
STAGE: Let's Get This Show on the Road: an Alternative View of 'Genesis' (1 act opera, libretto by Eugene Walter), soprano, mezzo-soprano, tenor, baritone, flute(s), clarinet(s), violin, cello, piano, Eaton-Moog Multiple-Touch-Sensitive Keyboard, percussion, 1993; Salome's Flea Circus (theatre piece), clarinet, piano, 1994; Don Quixote (theatre piece, text by Miguel Cervantes de Saavedra), flute (+ piccolo, alto flute, bass flute), clarinet (+ bass clarinet), violin, cello, piano (+ synthesizer), percussion (with conductor ad libitum), stage setup ad libitum, lights ad libitum, live electronics ad libitum, 1994; Golk (1 act opera, libretto by Richard Stern), soprano, mezzo-soprano, tenor, baritone, flute(s), clarinet(s), violin, cello, piano, synthesizer, percussion, stage setup ad libitum, lights ad libitum, live electronics ad libitum, 1995; Travelling with Gulliver (theatre piece, text by Estela Eaton, after Jonathan Swift), flute (+ piccolo, alto flute, bass flute), clarinet (+ bass clarinet), violin, cello, piano (+ synthesizer), percussion (with conductor), stage setup ad libitum, lights ad libitum, live electronics ad libitum, 1997; El Divino Narciso (cantata, text by Nelda Nelson, after Sor Juana Inés de la Cruz), coloratura soprano, mezzo-soprano, lyric tenor, dance troupe, mixed chorus, flute (+ piccolo, alto flute, bass flute), cello, 2 percussion (conductor ad libitum), live electronics ad libitum, 1998 (version of vocal work)
STAGE: Antigone (1 act opera, libretto by Nicholas Rudall, after Sophocles), soprano, mezzo-soprano, female jazz voice, tenor, baritone, flute(s), clarinet(s), violin, cello, piano, percussion, digital delay system, 1999; Youth (dramatic cantata-opera, libretto by Estela Eaton), soprano, mezzo-soprano, female jazz voice, tenor, baritone, flute(s), clarinet(s), violin, cello, piano, percussion, digital delay system, 2000; '...inasmuch' (1 act opera, libretto by Estela Eaton, after Eugene Walter), 3 coloratura sopranos, mezzo-soprano, female jazz voice, tenor, baritone, flute(s), clarinet(s), violin, cello, piano, Eaton-Moog Multiple-Touch-Sensitive Keyboard, percussion, digital delay system, 2002; King Lear (3 act opera, libretto by Laura Bates, after William Shakespeare), 2003-04
ORCHESTRAL: Tertullian Overture, 1958; Adagio and Allegro, flute, oboe, string orchestra, 1960; Concert Piece, synthesizer(s) (1 player), large orchestra (minimum 89 players), 1968; Transformations, synthesizer(s) (1 player), symphonic band, 1975; Symphony No. 2, large orchestra, 1981; Remembering Rome (symphony), 22 or more strings, 1986; Threnody for Paisan, 2003
CHAMBER MUSIC: String Quartet No. 1, 1958; Sonata, trumpet, piano, 1959; Encore Piece, flute, piano, 1959; Three Epigrams, clarinet, piano, 1960; Concert Piece, clarinet, piano, 1960; Concert Music for Solo Clarinet, 1961; Theme and Variations, flute, 1964; Prelude to 'Myshkin', synthesizer, 1966 (section of Myshkin; may be performed separately); Concert Piece No. 2, synthesizer, 1966; Soliloquy, synthesizer, 1967; Vibrations, flute, 2 oboes, 2 clarinets, 1967; Five Thoughts for Sunny, trumpet, 1967; Duet, synthesizer(s) (1 player), 1968; Study for Viola and Two Tape Recorders, 1970; Sonority Movement: In the Cave of the Sybil, flute, 9/12 harps, 1971; Piano Trio: In Memoriam Mario Cristini, violin, cello, piano, 1971; Variants, double bass, 1975; Burlesca, tuba, piano, 1981; Duo for Julian and Estela, 1 or more violins, cello, 1984; Big Aerobics, violin, 1985; A Little Love Song, flute, piano, 1987; String Quartet No. 2, 1987; Four Miniatures, tenor saxophone, 1987; Fantasy Romance, cello, piano, 1989; Two Plaudits for Ralph (Shapey), flute, oboe, cello, 1991; Genesis..., Eaton-Moog Multiple-Touch-Sensitive Keyboard, 1992; Golk Sonatina, oboe, piano, 1995; 3 Designs for Solo Clarinet, 1996; Footnotes, 2 bass clarinets, 2000; String Quartet No. 3, 2003
CHORAL: Duo (text from the Bible), soprano, mixed chorus, piano, 1977; Mass, soprano, 5 mixed voices, clarinet, piano, 2 percussion, digital delay system, 1997 (version of choral work)
VOCAL: Song Cycle on Holy Sonnets of John Donne, female voice, large orchestra, 1956; Songs for R.P.B. (texts by Hart Crane, Richard Palmer Blackmur), voice, piano (2 players), synthesizer, 1964; Thoughts on Rilke, soprano, synthesizers (2 players), sound technician (with reverberation plate), 1966; Blind Man's Cry (text by Tristan Corbier [translated by Patrick Creagh]), soprano, synthesizers (1 player), 1968; Mass, soprano, clarinet, synthesizers (4 players), 2 tape recorders (1 operator), 1970 (also version for soprano, 5 mixed voices, clarinet, piano, 2 percussion, digital delay system); Ajax (text by Sophocles [translated by John Moore]), baritone, flute, oboe, clarinet, bassoon, French horn, trumpet, 3 harps (tuned a sixth-tone apart), double string quartet, double bass, 2 pianos (tuned a quarter-tone apart), 1972; Guillen Songs (text by Giorgi Guillen), mezzo-soprano, piano, 1974; Oro (text by Matthias Bomhard), voice, synthesizers (1 player), 1974; Land of Lampedusa (text by Marilyn Perry), soprano, mezzo-soprano, piano, synthesizers (1 player), 1974; Lullaby for Estela (text by Patrick Creagh), voice, piano/synthesizer, 1975; Emily Dickinson Song, voice, piano, 1975; A Greek Vision (text by Angelos Sikelianos [translated by Edmund Keeley]), soprano, flute, 1981
VOCAL: Ars Poetica (song-cycle, text by William Butler Yeats), mezzo-soprano, flute, harp, cello (with conductor ad libitum), 1986; Songs of Despair (song-cycle, text by James Joyce), mezzo-soprano, small orchestra (17 players), 1987; El Divino Narciso (cantata, text by Nelda Nelson, after Sor Juana Inés de la Cruz), coloratura soprano, mezzo-soprano, lyric tenor, flute (+ piccolo, alto flute, bass flute), cello, 2 percussion (with conductor ad libitum), live electronics ad libitum, 1989 (also version with dance troupe, mixed chorus, live electronics ad libitum); Overture for the Dedication of a House (texts by Margarita Peña, Federico Campbell, Hernán Lavin Cerda, Héctor Valdés), mezzo-soprano, boy soprano, viola, synthesizer, 1990; A Packet for Emile and Bill (text by Emile Snyder), soprano/mezzo-soprano, clarinet, piano/digital delay system, 1991; Notes on Moonlight (song-cycle, texts by Federico García Lorca, Wallace Stevens, Leopoldo Lugones, Charles Baudelaire, William Butler Yeats), soprano, mezzo-soprano, flute, oboe, clarinet, bassoon, harp, string quartet, piano, percussion, 1991; Trumpet Voluntary (text by Geoffrey Chaucer), dramatic soprano, French horn, 2 trumpets, trombone, tuba, 1991
VOCAL: Songs of Desperation and Comfort (texts by John Donne, Patrick Creagh, William Shakespeare, Tristan Corbier), mezzo-soprano, orchestra, 1993; Lettere (text by Michaeli Ranchetti), mezzo-soprano, flute, harp, string quartet, 1994; Ad Luciam Beatricem (text by Henricus Hugo Paoli Firentinus), mezzo-soprano, clarinet, 1995; Sor Juana Songs, mezzo-soprano, piano, 1998; Tocotín (text by Sor Juana Inés de la Cruz), mezzo-soprano, guitar, 1998; Sor Juana's Dreams, mezzo-soprano, guitar, piano, digital delay system, 1999; Elegy for Jane (text by Theodore Roethke), mezzo-soprano, harp, guitar, mandolin, 1999; Dirge without Music (text by Edna St. Vincent Millay), mezzo-soprano, piano, 2002; Vespers, 2 sopranos, mezzo-soprano, tenor, baritone, bass, flute (+ piccolo, alto flute, bass flute), clarinet (+ bass clarinet), bassoon, viola, piano, 2 percussion, digital delay system, 2002
PIANO: Variations, 1957; Microtonal Fantasy, 2 pianos (tuned a quarter-tone apart) (1 player), 1965
DISCOGRAPHY
Mass; Blind Man's Cry; Concert Music for Solo Clarinet. (CRI: SD-296, 1971) (LP)
Danton and Robespierre. (CRI/IUS: 421, 1980) (LP)
Aria and Scena from The Cry of Clytaemnestra; Ajax; Fantasy Romance; Sonority Movement: In the Cave of the Sybil; A Greek Vision; Ars Poetica. (Indiana University Press, 1992)
Songs of Desperation and Comfort. (Albany: 298, 1998)
Mass (second version). Carmen Helena Téllez/Aguavá New Music Ensemble (Aguavá: 2001-1, 2001)
(Last updated on July 8, 2004)
