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Robert Erickson
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Robert Erickson
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Robert Erickson (March 7, 1917 – April 24, 1997) was an American modernist composer and influential music teacher. He was one of the first American composers to explore the twelve tone technique and to compose tape music.

Education

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Erickson was born in Marquette, Michigan. He learned both piano and violin as a child, and studied composition with Ernst Krenek at Hamline University in Saint Paul, Minnesota, graduating in 1943. He returned to Hamline after three years in the US Army, and earned a Master of Arts in music in 1947.

Career

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Teaching

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He taught at the College of St. Catherine in Saint Paul, Minnesota, San Francisco State College, the University of California, Berkeley, and chaired the composition department of the San Francisco Conservatory from 1957 to 1966. With composer Will Ogdon, he founded the music department at the University of California, San Diego (UCSD) in 1967: "We decided we wanted a department where composers could feel at home, the way scholars feel at home in other schools."[1] While there he met faculty performers such as bassist Bertram Turetzky, trumpeter Edwin Harkins, flutist Bernhard Batschelet, and singer Carol Plantamura: "I could go to Bert, or Ed, with something I'd written down and ask 'Hey, can you do this?' And I'd get an immediate answer. It was a fabulous time for cross-feeding."[1]

His notable students are Morton Subotnick, Pauline Oliveros, Terry Riley, Louise Spizizen, Ramón Sender, Loren Rush, Betty Ann Wong, Terry Jennings, Allen Strange, and Paul Dresher. Many of these composers became interested in improvisation under Erickson’s influence.

Oliveros, among others, praises his teaching:

Robert Erickson was my principal composition teacher from 1954-60 and my professional mentor. His teaching was notable for supporting me to work in my own way as he did with all his students. His attitude in teaching composition was devoid of sexism or racism. He was ethical. His delight was helping others to be creative and professional in composition what ever [sic] the style. Erickson was skillful in drawing out the best abilities of his students. He was tireless in his investigation of music and had a wealth of advice and pointers to relevant musical resources—always useful and specific. His guidance was invaluable to me and to my peers (all male). None of us sounded alike in our compositions even though we liked and admired each other's work.[2]

As a composer

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Erickson was one of the first American composers to compose twelve tone system music ("I had already studied—and abandoned—the twelve tone system before most other Americans had taken it up."[1]) and to create tape music: "If you get right down to the bottom of what composers do, I think that what composers do now and have always done is to compose their environment in some sense. So I get a special little lift about working with environmental sounds."[1] He also has used invented instruments such as stroking rods, used in Taffy Time, Cardinitas 68, and Roddy, tube drums, used in Cradle, Cradle II, and Tube Drum Studies, and the Percussion Loops Console designed with Ron George, used in Percussion Loops.

Many University of California San Diego faculty performers appear on his 1991 CRI release Robert Erickson: Sierra & Other Works (CD 616), playing works written for and with them:

  1. Kryl (1977), Harkins, named after the travelling cornet player Bohumir Kryl. The piece from time to time creates a hocket between the singing and playing.
  2. Ricercar À 3 (1967), Turetzky. For bass soloist live and on two tape tracks.
  3. Postcards (1981), Carol Plantamura and lutenist Jürgen Hübscher
  4. Dunbar's Delight (1985), timpanist Dan Dunbar. Virtuoso solo piece for timpani.
  5. Quoq (1978), flutist John Fonville. Named after Finnegans Wake.
  6. Sierra (1984), baritone Philip Larson, SONOR Ensemble conducted by Thomas Nee. Commissioned by Thomas Buckner.

He also has an album Pacific Sirens on New World Records.

He wrote Ricercar a 5 for Trombones for Stuart Dempster. The piece uses baroque imitation as well as singing, whistling, fanfares, slides, and other extended techniques.

His final work is Music for Trumpet, Strings, and Tympani (1990).

Other activities

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He is the author of the book The Structure of Music: A Listener's Guide, which he claimed helped him overcome a "contrapuntal obsession",[1] and Sound Structure in Music (1975), an important early attempt to systematically study timbre in music.

Erickson also served as music director of KPFA radio in Berkeley from 1955 to 1957 and as a director of the Pacifica Foundation, KPFA's parent body, for several years thereafter.

Recognition and awards

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He received several Yaddo fellowships in the fifties and sixties, a Guggenheim Fellowship in 1966, a Ford Foundation fellowship, was elected as a fellow of the Institute for Creative Arts of the University of California in 1968, and his string quartet Solstice won the 1985 Friedham Award for Chamber Music. He also received awards from the National Endowment for the Arts and the American Academy.

There are two books about Erickson's life and music: Thinking Sound Music: The Life and Work of Robert Erickson by Charles Shere and Music of Many Means: Sketches and Essays on the Music of Robert Erickson by Robert Erickson and John MacKay.

Illness and death

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He suffered from a wasting muscle disease, polymyositis, and was bedridden and in pain for fifteen years before his death. He died in San Diego in 1997, California, aged 80.

Recordings

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  • American Classics - A Continuum Portrait Vol 9 - Erickson: Recent Impressions, Songs, High Flyer, Summer Music. Naxos 8.559283
  • Robert Erickson: Pacific Sirens. New World Records 80603
  • Robert Erickson: Kryl, Ricercar, Postcards, Dunbars Delight. CRI 616
  • Robert Erickson: Auroras. New World Records 80682
  • Robert Erickson: Complete String Quartets. New World Records 80753
  • Robert Erickson: Duo, Fives, Quintet, Trio. New World Records 80808

Bibliography

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Robert Erickson

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Robert Erickson is an American composer and educator known for his pioneering contributions to modernist and experimental music, including early adoption of twelve-tone techniques and tape music among American composers, as well as his influential teaching that shaped key figures in contemporary music. Born in Marquette, Michigan, on March 7, 1917, he studied composition with Ernst Krenek at Hamline University, where he earned his B.A. in 1943 and M.A. in 1947, before serving in the Army during World War II. After relocating to California in 1953, he became a central figure in the Bay Area new music scene through his role as music director at KPFA radio and later co-founded the Department of Music at the University of California, San Diego, in 1967. Erickson's compositional style evolved from twelve-tone serialism to innovative experiments with tape manipulation, extended instrumental techniques, self-made percussion, and natural sounds, eventually developing a stripped-down approach featuring drones and hypnotic rhythms that influenced minimalist tendencies. His works were commissioned and performed by major ensembles including the Kronos Quartet, SONOR, and symphony orchestras in Minneapolis, San Francisco, Oakland, and Los Angeles, earning him fellowships from the Guggenheim Foundation and Ford Foundation, grants from the National Endowment for the Arts, and the Friedheim Award for his string quartet Solstice. Notable compositions include his four string quartets, Auroras, and Music for Trumpet, Strings, and Tympani, his final work completed in 1990. He also authored two influential books, The Structure of Music: A Listener’s Guide (1957) and Sound Structures in Music (1975). Among his students were Pauline Oliveros, Terry Riley, Morton Subotnick, and Paul Dresher, many of whom went on to become prominent voices in experimental and electronic music. For the last fifteen years of his life, Erickson was bedridden due to polymyositis, a debilitating muscle disease, yet continued to compose despite chronic pain, producing several significant works during periods of intense productivity, completing his final work in 1990. He died on April 24, 1997, in Encinitas, California.

Early life and education

Childhood in Michigan

Robert Erickson was born on March 7, 1917, in Marquette, Michigan. He grew up in this small town on Michigan's Upper Peninsula, which had about 15,000 inhabitants at the time and which he later described as "a little, no-place town in Northern Michigan." His family was Swedish-American, and much of his extended family consisted of amateur musicians who played violin and piano and sang for social entertainment. Erickson learned both piano and violin as a child amid this home-based musical activity. His early years in Marquette exposed him to a modest but active local musical scene, including a town orchestra that accompanied silent movies, a Lutheran church choir performing Bach chorales and Handel's Messiah annually, and summer band concerts featuring marches and arrangements of works by composers such as César Franck, Verdi, and Tchaikovsky. Beyond human-made music, his childhood was shaped by the natural sounds of the region, including birdcalls, beavertail slaps, wind on Lake Superior, and tumbling streams, as well as the resonant stillness that followed sudden silences. Erickson recalled the predominant local repertoire as band music and Handel's Messiah, noting that he felt like "an outsider right from the beginning." These early experiences with amateur music-making and the surrounding environment fostered his initial engagement with sound that later informed his compositional path.

Musical training and university studies

After high school, Erickson moved to Chicago to pursue further music study. He studied composition with May Strong in Chicago. He then attended Hamline University in St. Paul, Minnesota, where he earned his Bachelor of Arts degree in 1943 and, after military service during World War II, returned to complete his Master of Arts degree in music in 1947. These university studies at Hamline included his primary formal training in composition. He studied composition with Ernst Krenek at Hamline University.

Studies with Ernst Krenek

Robert Erickson studied composition with Ernst Krenek at Hamline University in Saint Paul, Minnesota, in the Minneapolis–Saint Paul area. He relocated there in the fall of 1942 specifically to work with Krenek, who had joined the faculty as a refugee from Vienna. Erickson had first encountered Krenek in 1938 when the composer lectured at Chicago's School of Design. These studies introduced Erickson to the twelve-tone technique and key aspects of European modernism, as Krenek was a leading exponent of serial composition and had studied with Arnold Schoenberg. Krenek's mentorship proved pivotal in shaping Erickson's modernist approach, enabling him to explore serialism and begin adapting the twelve-tone system to his own purposes by the time of his 1943 graduation from Hamline. After completing his initial studies with Krenek, Erickson served in the U.S. Army during World War II.

Military service and early career

World War II service

Robert Erickson was drafted into the United States Army in September 1943, at the age of 26, interrupting his musical studies with Ernst Krenek at Hamline University in St. Paul, Minnesota. Due to poor eyesight, he was barred from front-line duty and instead served close to home for the duration of his enlistment. His assignments included performing in an army band and handling desk jobs in personnel offices, experiences that also taught him organizational skills and time management within a structured environment. He was discharged in March 1946, at age 29. Other biographical accounts confirm that his total Army service lasted approximately three years during World War II. This period marked a significant interruption in his early adult life and emerging compositional career.

Initial teaching positions

Following his relocation to the San Francisco Bay Area in 1953, Robert Erickson took up initial teaching positions at institutions in California. He held temporary teaching positions at San Francisco State College for one year beginning in October 1953. In 1954, after a brief interlude as music director at the noncommercial radio station KPFA in Berkeley, he returned to teaching at San Francisco State College and also taught for a while at the University of California, Berkeley. These early appointments marked his transition to the California music and academic scene. He later joined the University of California, San Diego in 1967.

Academic career at UCSD

Co-founding the Music Department

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Professorship and teaching contributions

Robert Erickson served as professor in the Department of Music at the University of California, San Diego (UCSD) from 1967 until his retirement in 1987. A tribute festival and concerts organized by the UCSD music department in early 1987 celebrated both his 70th birthday and his retirement from the university. During his tenure, Erickson taught a wide range of undergraduate and graduate courses and seminars with a strong emphasis on contemporary music, timbre, orchestration, music theory, and composition. He led the long-running Seminar 206 on timbre from 1969 to 1985, along with extended series on contemporary orchestral music and the orchestra in various historical periods, as well as composition and analysis seminars through the 1980s. These courses reflected his commitment to exploring innovative sonic possibilities and experimental techniques, fostering an environment conducive to creative investigation in music. Erickson regarded teaching as a dynamic process beyond mere information transfer, observing that “teaching is not the transferring of information from teacher to student. Information gets imparted, but it may be the least of the things that go on in a classroom.” His approach supported students in developing independent and exploratory practices, contributing significantly to UCSD's reputation as a center for experimental music. While pursuing these educational responsibilities, he continued his own compositional work, integrating insights from his teaching into his evolving style.

Compositional career

Early compositions and stylistic beginnings

Robert Erickson's early compositions emerged from his formal training under Ernst Krenek at Hamline University, where he graduated with a bachelor's degree in 1943. During this period, he engaged deeply with Arnold Schoenberg's twelve-tone system, adopting and modifying it to fit his own expressive aims by 1943, which positioned him as one of the first American composers to explore this modernist technique. His initial works from the 1940s, preserved in his archival papers, include Canonic Variations for Piano, Sonata for Piano, Four Piano Pieces Op. 6, Symphony in Three Movements, and Symphony in Two Movements, reflecting a focus on contrapuntal and canonic structures influenced by his studies. After earning his M.A. from Hamline in 1947, Erickson taught at the College of St. Catherine in St. Paul until 1951 and composed his String Quartet No. 1 between 1948 and 1950. This three-movement work, premiered in St. Paul in 1951, features a first movement in developmental form with contrasting themes, a second movement in three-part form beginning with a fugue-like section, and a finale that integrates quick motives with contrapuntal elements drawn from earlier movements. These early pieces demonstrate a respect for traditional forms while incorporating harmonic and textural ideas colored by twelve-tone thinking, though Erickson never adhered strictly to serialism. Following a Ford Foundation fellowship in New York in 1951 and his move to the San Francisco Bay Area in 1953, Erickson produced works such as Concerted Music for Flute, Clarinet and String Orchestra, Divertimento for Flute, Clarinet and Strings, and Pastorale that year. In 1954, he completed the Fantasy for Cello and Orchestra, an expressionistic and rhapsodic piece that employs motivic retrograde, inversion, and prominent perfect fourth sonorities, signaling a shift away from rigid models toward freer atonal expression. Erickson was also among the first American composers to experiment with tape manipulation and recorded sounds, incorporating these elements into his evolving modernist approach during his formative years. By the late 1950s, his style began transitioning toward greater intuition and direct expressivity.

Mature works and innovations

In his mature period from the 1960s onward, Robert Erickson moved away from his earlier modifications of twelve-tone technique toward a more integrated and intuitive compositional language, where craft, thought, and intuition merged into a unified expressive whole. He became one of the first American composers to work extensively with tape-recorded sounds, creating both autonomous tape pieces and works that combined tape with live performers on conventional instruments. This approach reflected his preoccupation with timbre and overall sonic atmosphere, often treating composition as a means of shaping environments through naturally occurring and environmental sounds. Erickson also experimented with specially made percussion instruments, extended vocal and instrumental techniques, non-standard musical notation, and compositions that incorporated improvisation for soloists and ensembles. His 1975 book Sound Structures in Music articulated his mature thinking on musical morphology, perception, and the integration of sonic elements. From the late 1970s onward, Erickson's style evolved further toward greater simplicity, featuring frequent drones, long slow passages, and hypnotic rhythms that emphasized sustained listening and subtle transformation over dense structure. This stripped-down approach proved influential on younger minimalist composers.

Selected notable compositions

Erickson's selected notable compositions span his career and highlight his innovative approach to timbre, electronics, and form. The Fantasy for Cello and Orchestra (1954) is an early work that demonstrates his lyrical style and exploration of extended instrumental techniques. ) The Piano Concerto (1963) marks a mature phase, featuring complex serial structures and vivid orchestral color. ) General Speech (1969) for trombone and tape is a pioneering electroacoustic piece that manipulates a recorded speech by General Douglas MacArthur, blending spoken word with instrumental virtuosity. ) Pacific Sirens (1969) combines live instrumental ensemble with tape collage derived from ocean sounds, reflecting his interest in environmental audio and spatial music. ) The Lost Day (1982) is a tape composition that gained additional recognition through its use in a film score after his death. ) These works represent key examples of Erickson's contributions to mid-20th-century American experimental music.

Later years and death

Retirement from teaching

Robert Erickson retired from his professorship at the University of California, San Diego in 1987, marking the end of his two-decade role in shaping the department he co-founded. This retirement coincided with his 70th birthday on March 7, and the UCSD music department honored both occasions with a weeklong festival of concerts devoted to his compositions, running from late February through early March. Due to advancing polymyositis, a degenerative muscle disease that had progressively limited his mobility, Erickson was unable to attend the tribute events in person and observed them via closed-circuit television from his hospital room. In retirement, Erickson continued composing despite significant physical challenges that increasingly confined him. He completed his final work, Music for Trumpet, Strings, and Tympani, in 1990.

Final years and passing

In his final years, Robert Erickson was severely affected by polymyositis, a progressive inflammatory disease of the skeletal muscles that confined him to his bed for much of the time and left him bedridden in his Encinitas home. This condition had already limited his mobility significantly by the time of his retirement, progressing to the point where he spent his last fifteen years largely homebound and unable to leave his bed for extended periods. He completed his final composition, Music for Trumpet, Strings, and Tympani, in 1990, but was unable to compose thereafter and could not attend its premiere at UC San Diego the following year. Erickson died on April 24, 1997, at the age of 80 in a San Diego hospital.

Legacy

Influence as composer and educator

Robert Erickson exerted considerable influence as a composer and educator, particularly through his professorship at the University of California, San Diego, where he taught from 1967 until his retirement in 1987. He played a key role in fostering a community dedicated to contemporary and experimental music. His teaching style promoted open exploration of sound, structure, and technology, making him a mentor to numerous composers active in the late 20th century. Erickson is regarded as a pioneer in American modernism and tape music, with his early adoption of tape as a compositional tool influencing the development of electroacoustic music on the West Coast and beyond. His compositional innovations helped expand the boundaries of what was considered possible in concert music. His influence continues through ongoing interest in his ideas among contemporary musicians and educators.

Recordings and posthumous recognition

Erickson's compositions have been documented through numerous recordings, many on New World Records. Several releases occurred posthumously, including Auroras (2008) by the Boston Modern Orchestra Project under Gil Rose, featuring world-premiere recordings of Fantasy for Cello and Orchestra (1954), East of the Beach (1980), and Auroras (1982, revised 1985), alongside Night Music (1978). Auroras is regarded as the apex of his orchestral writing. The 2013 release Pacific Sirens includes works from 1963 to 1977 such as the Piano Concerto, Garden, White Lady, and the title piece, highlighting his engagement with environmental sounds. A landmark posthumous recording is Robert Erickson: Complete String Quartets (2014) by the Del Sol Quartet, presenting the first commercial recordings of all four quartets—String Quartet No. 1 (1948–1950), String Quartet No. 2 (1956), Solstice (1984–1985), and Corfu (1986)—spanning nearly four decades of development from contrapuntal early works to idiosyncratic late pieces characterized by drones, stasis, and direct expressivity. This set has been described as a historic presentation of an integrated achievement by an important figure in American music. Scholarly attention to Erickson's legacy includes two major publications from 1995: Thinking Sound Music: The Life and Work of Robert Erickson by Charles Shere and Music of Many Means: Sketches and Essays on the Music of Robert Erickson by Robert Erickson and John MacKay. These works, combined with sustained recording efforts after his death in 1997, demonstrate ongoing recognition of his contributions as a composer and innovator in twentieth-century American music.

Use in film and media

Erickson's music has seen limited use in film and media. The composition "The Lost Day" (1982) was included in Martin Scorsese's Shutter Island (2010), performed by the Cleveland Chamber Symphony conducted by Edwin London and licensed courtesy of New World Records. This placement in a film soundtrack relying on pre-existing works represents a notable example of his music reaching broader audiences posthumously.
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