Composers in Residence Named for the Summer

THREE international celebrities of contemporary music will be composers-in-residence at the 1969 Congregation of the Arts at Dartmouth's Hopkins Center, it was announced last month by Mario di Bonaventura, Director of Music at Dartmouth.

They are Luigi Dallapiccola, Italian composer whose work in the 12-tone system has led the renaissance of modem music in Italy; Roger Sessions, recognized as one of America's "immortals" of 20th century music; and Roberto Gerhard, who has been described as "the most significant composer Spain has produced since her Golden Age." Each will spend two full weeks at Hopkins Center next summer teaching, lecturing, advising on his music to be played, and, as in the case of Mr. Dallapiccola, sometimes conducting his own works.

Returning to the summer faculty in 1969 will be Barry Tuckwell, one of the world's leading horn virtuosi. Mr. Tuck-well will play with the Dartmouth Festival Orchestra and give master classes.

For the past ten years, Mr. Dallapiccola, who has emerged since World War II as one of Europe's most important composers, has been working on his opera Ulysses, which received its premiere in West Berlin this fall. The day after he completed Ulysses, his third opera, Mr. Dallapiccola accepted Mr. di Bonaventura's long-standing invitation to come to Dartmouth.

Although Mr. Gerhard, the only Spanish pupil of Schonberg, left Spain in 1936 and has since made England his home, he has retained recognizable Spanish idioms in much of his music, which is essentially modern, sophisticated and international. His Fourth Symphony was given its premiere by the New York Philharmonic last spring on its 125th anniversary. He is writing a chamber symphony for Hopkins Center to be played for the first time during the 1969 season here.

Mr. Sessions, selected this year to give the Norton Lectures at Harvard University, towers as a key figure in American cultural progress for nearly the past half-century. Now 72, he has consistently been in the forefront of the quest to find new musical forms for the new material being developed. Exemplifying his remarkable intellectual capacity, he entered Harvard at the age of 14, and six years later won the Steinert Prize for composition with his Symphonic Prelude. As early as 1927, Koussevitzky introduced his First Symphony in Boston.