Eberhard, Dennis

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Eberhard, Dennis

Eberhard, Dennis, American composer; b. Cleveland, Dec. 9, 1943. He contracted polio at an early age but persevered in his determination to adapt to his disability. He studied composition at Kent State Univ. (B.M., 1967) and at the Univ. of 111. at Urbana-Champaign (M.M., 1969; D.M.A., 1973), where he studied with Martirano, Mumma, and Brüm and worked with Cage and Hiller, before pursuing postdoctoral studies at the Warsaw Cons. (1973–75) on a Fulbright fellowship. In 1972–73 he was a lecturer at the Univ. of 111. After serving as an asst. prof, at Western 111. Univ. (1976–77), he was a visiting prof, at the Univ. of Nebr. (1980). From 1983 to 1987 he was a lecturer at Cleveland State Univ., where he returned as a prof, of music in 1993 and as an adjunct prof, in 1996. In 1991 he was a visiting assoc. prof, at the Oberlin (Ohio) Coll. Cons, of Music. From 1996 to 1998 he was a prof, of music at Kent State Univ. In 1998 he became director of transitional education of Services for Independent Living in Euclid, Ohio, where he works to empower people with disabilities. In 1978 he won the Prix de Rome and held a residency at the American Academy in Rome. He held MacDowell Colony residencies in 1980, 1988, and 1989. In 1982 and 1987 he received NEA grants. He was awarded the Cleveland Arts Prize in 1984, and in 1994 he held the Ore. Bach Festival/Composer’s Symposium Fellowship.

Works

Orch. Marginals for Antiphonal Trombone Quartet and 3 String Orch. Groups (1976; Hilversum, Sept. 10, 1977); Janus Music for 3 Orchs. (1978; Rome, June 27, 1981); Ephrata for 4 Solo Percussion and Orch. (1981; Sao Paulo, May 17, 1982); Voix Celestes for Prepared Organ and Strings (Cleveland, Nov. 14,1983); Night Tides (1983; Cleveland, Feb. 24,1984); Elegies (Cleveland, Nov. 3, 1985); Lucifer Rising for Cello and Orch. (1985); The Bells of Elsinore (1988; Cleveland, March 9, 1989); To the End of Dreamtime for Harp and Orch. (1988–91); Berceuse for Clarinet, Harp, and Strings (Shaker Heights, Ohio, April 16, 1989); The Bird of Four Hundred Voices for Violin and Orch. (1993; Cleveland, Jan. 23, 1995); For the Musicians of the Queen: Fanfare and Fugues (1994; Cleveland, Jan. 12, 1996); Crooked River Oracle (Cleveland, May 9, 1996); Prometheus Wept (August 6, August 9, 1945) for Strings (Shaker Heights, Ohio, Aug. 4, 1998). B a n d : Anamorphoses (Kent, Ohio, June 7, 1967); Morphos (Champaign, III, May 25, 1973). CHAMBER : Paraphrases for Woodwind Quintet (Urbana, 111., Nov. 3,1968); Two Poems for Clarinet and Piano (1970–71; Urbana, III, March 4, 1972); Chamber Music for 2 Percussion (1971; Urbana, 111., Nov. 3,1972); Verse varied for Slightly Amplified String Quartet (1971; Urbana, 111., Nov. 3, 1972); Dialogues I for Clarinet, Bass Trombone, Cello, Piano, and Lighting Effects (1973–74; Warsaw, April 8, 1975); Labyrinth for Trombone and Piano or Trombone Alone or Piano Alone (1974; Warsaw, April 8, 1975); Epodie for Violin, Viola, Cello, Percussion, and Piano (Cleveland, March 19, 1982); ”Especially…” for Harp (Cleveland, Oct. 14,1983); Returning for Guitar (1987; Cleveland, April 24, 1988); Endgame for Clarinet, Bassoon, Horn, 2 Violins, Viola, Cello, and Contrabass (1987; Cleveland, May 9, 1988); Encontros (Cadenzas & Interludes) for Harp, Violin, and Cello (Cleveland, May 13, 1990); Suite for Cello (Cleveland, July 15, 1992); On Celestial Wings for Violin, Contrabass, and Piano (1997; Akron, May 8, 1998); Phantom Dancer for Viola (1998). VOCAL: Parody for Soprano and Chamber Ensemble (1972; Urbana, 111., April 14, 1973); Veillees for Mezzo-soprano, Multiple Choirs, and Chamber Ensemble (1974); Visions of the Moon for Soprano and Chamber Ensemble (Rome, June 6, 1978); De Profundis for Chorus, 16 Flutes, 8 Horns, Organ, and Percussion (1983; Berea, Ohio, Jan. 17,1987); Let the Heavens be Glad, cantata for Chorus, Organ, and Digital Tape (Cleveland, May 17, 1986); O Sing a New Song to God for Chorus, Boys’ Choir, 3 Trumpets, Harp, Organ, and Percussion (Cleveland, June 19, 1989); To Catch the Light: Songs of Grieving Children for Mezzo-soprano, Boy Soprano, Boys’ Choir, and Orch. (1995). T a p e : Mariner (1969–70; Urbana, 111., March 29, 1971); Dialogues II (Warsaw, April 8, 1975); Ikona (1975).