Sonneck Society for American Music
Bulletin, Volume XXIV, no. 1 (Spring 1998)
Marsalis and Page Take Home Pulitzer Prize
This year marks the 150th anniversary of the birth of Joseph Pulitzer and the
completion of the first building-wide renovation of Columbia University's School
of JOurnalism, founded by Pulizer in 1912; hence, a special air of excitemtn
was evident as the twenty 1997 winners attended the luncheon ceremony on 29 May
to receive their awards and accolades. A reception preceding the ceremony
provided the opportunity for attendees to exchange stories with the honored guests.
The Prize in Music was awarded for the first time to a jazz composers, Wynton
Marsalis, for "Blood on the Fields," premiered on 28 January 1997 at Woolsey Hall,
Yale University. George Rupp, President of Columbia University and prize presenter,
referred to the jazz artist's work as "rich in humanity" and excellend for its
"extended orchestral writing." The work, scored for forteen musicians and three
singers, centers on the story of Jesse and Leona, two African slaves. According
to Iver Peterson, the work employs "traditional jazz techniques, Afro-Caribbean
rhythms and acidic, dissonant harmonies that are gradually relaxed as the three
hour work unfolds" (New York Times, 8 April 1997). The composer has
acknowledged that his position as director of the jazz program at Lincoln Center
was helpful in the composition process. As he stated to David Streitfeld:
"I feel grateful that I had the opportunity to write "Blood on the Fields." Without
Lincoln Center I wouldn't have had access to a big band" (Washington Post,
8 April 1997). When asked what he felt about following the footsteps of Duke
Ellington who was rejected for a special Pulitzer citation in 1965, Marsalis
responded, "I wish he would have gotten it. It's an honor for me to receive it."
In the journalism category, Tim Page, chief classical music critic for the
Washington Post, won for "his lucid and illuminating music criticism." Page, best
known for his monographs on Virgil Thomson, William Kapell, and Glenn Gould, stated
that, "Music critics are being cut back at newspapers throughout the country;
perhaps my winning this award will help the future." Musing on the state of the
music industry he added: "with the turn-of-the-century approaching and as we
continue to head towards information saturation, access to music may be radically
different. Any kind of music you want will likely be available at the touch of a
button."
Distinguished composer Jack Beeson, who joined in the pre-award conversations,
reflected on future jazz contenders for the Pulitzer: "How does one assign
authorship to a work that may be mianly improvised and performed by two or
more persons? In Wynton's case, his work was scored." The Pulitzer Board must also
be pondering the same question as, for the first time since the award was
initiated in 1943, they have widened the definition and entry requirements
for the 1998 competition. The new definition states: "For distinguished
musical composition of significant dimension by an American that has had its
first performance in the United States during the year." New instructions
require "a score of the non-improvisational elements of the work and a
recording of the entire work." (Columbia University News, 7 April 1997).
--James R. Heintze
American University
Updated 4/15/98