DESCRIPTION:
"Great, real earnest, mystical dream - Glorious, sensual, sublime, madness, Art - Colour, warmth, light radiance: Man and Woman is Life. Life is man and woman - Man, Woman - Eternity."

"[A] 'radical traditionalist' is what I've been called. My music combines two fundamentally contradictory impulses---radical language and romantic sensibility. The melodies are disjunct and dissonant; they contain 'atonal' harmonies and extremes in register, dynamics, and textural contrast. Yet the musical structures are grandly formed and run the gamut of dramatic gestures. Like the Romantics, I conceive of art in a deeply spiritual way. A great work of art transcends the immediate moment into a world of infinity.

My credo is: 1) The music must speak for itself. 2) Great art is a miracle. 3) What the mind can conceive will be done."

Ralph Shapey (Philadelphia, March 12, 1921 -- Chicago, June 13, 2002) was an American composer and conductor. He is well-known for his work as a composition professor at the University of Chicago, where he founded and directed the Contemporary Chamber Players. Shapey was a MacArthur Fellow in 1982.

Although Shapey's style is characterized by angularity, irony, and technical rigor, it eschews the pointillism, anti-emotionalism, and detached austerity of much twelve-tone music. His work's insistence instead on sweeping gesture, frenetic passion, rhythmic vitality, lyrical melody, and dramatic arc recall Romanticism. Shapey was dubbed by critics Leonard Meyer and Bernard Jacobson as a "radical traditionalist," which pleased him immensely -- he held a deep respect for the masters of the past, whom he regarded as his finest teachers.

The French-American composer Edgard Varèse was among Shapey's most important influences. Both composers shared a fascination with unusual sonorities, counterpoint masses, and the outer extremes of pitch space. The coordination of static "sound blocks" in Shapey's music also reminds one of another great French composer, Olivier Messiaen, though Shapey reportedly found Messiaen's music saccharine and maudlin. Shapey also studied with Stefan Wolpe.

Although comparisons are useful, Shapey's compositional voice is undoubtedly personal and distinctive. Many listeners would call his music "atonal," but Shapey himself denied the label. He considered himself a tonal composer, and indeed his work, though couched in a highly dissonant harmonic idiom rich in interval classes 1 and 6, does adhere to certain organizational features of tonal music, including pitch hierarchy and object permanence.

In 1992 the Pulitzer Prize for Music jury, which that year consisted of George Perle, Roger Reynolds, and Harvey Sollberger, selected Shapey's "Concerto Fantastique" for the award. However, the Pulitzer Board rejected that decision and choose to give the prize to the jury's second choice, Wayne Peterson. The music jury responded with a public statement stating that they had not been consulted in that decision and that the Board was not professionally qualified to make such a decision. The Board responded that the "Pulitzers are enhanced by having, in addition to the professional's point of view, the layman's or consumer's point of view," and they did not rescind their decision.

"It is Art that makes Life . . . " Henry James