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Several of Jonathan's compositions were
published by G. Schirmer and MMB, and recorded on the Advance,
Orion, Opus One, Grenadilla, and Leonarda labels. His music
was performed at the ISCM's World Music Days: Musica Pro Musica
for orchestra (1992, Poland), Music for Piano, Number 5 (1985,
Netherlands), and Renascence for clarinet and electronics (1980,
Israel). Jonathan represented the United States at the International
Rostrum of Composers in Paris, where his music was selected
for worldwide broadcasts: Music for Piano, Number 5 (in 1984)
and Atlanta Licks (in 1992). His music has been played in twenty-three
countries by London Philharmonic, Warsaw Philharmonic, Cincinnati
Symphony, Seattle Symphony, American Composers Orchestra, Seoul
Philharmonic, Cleveland Chamber Symphony, Cincinnati Chamber
Orchstra, Saint Paul Chamber Orchestra, Verdehr Trio, Bridgehampton
Chamber Music, New York New Music Ensemble, Moebius, Speculum
Musicae, North/South Consonance, and the Cincinnati, Warsaw,
Mannes and Blackearth Percussion Groups to name a few. Performers
of Kramer's works have included Richard Stolzman, Andre-Michel
Schub, Aleck Karis, Geoffrey Madge, Deborah Bradley, Jean Kopperud,
Roger Smalley, Fred Sherry, Norman Fischer, Eric Bartlett, Mark
Peskanov, James Preiss, Gerard Schwarz, Jesus Lopez-Cobos, Michael
Gielen, Gerhard Samuel and Theodore Antoniou.
Active as a theorist, Jonathan wrote numerous books and articles,
and appeared over a hundred times as guest lecturer in the United
States and throughout Europe and Asia. He was vice-president
of the International Society for the Study of Time and served
on the Publications and Program Committees of the Society for
Music Theory. He was on the editorial board of Perspectives
of New Music and was regional co-editor for the United States
of Contemporary Music Review. His books include The Time
of Music (Schirmer Books) and an edited collection, Time
in Contemporary Musical Thought (Gordon and Breach). At
the time of his death he had just completed a book on music
and postmodernism and a cello composition for the American Holocaust
Museum. |
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