William Kraft (September 6, 1923 – February 12, 2022) was an American composer, conductor, teacher, timpanist, and percussionist.
Kraft was born in Chicago, Illinois. He was awarded two Anton Seidl Fellowships at Columbia University, graduating with a bachelor's degree cum laude in 1951 and a master's degree in 1954. He studied composition with Jack Beeson and Henry Cowell, orchestration with Henry Brant, percussion with Morris Goldenberg, timpani from Saul Goodman, and conducting with Rudolph Thomas and Fritz Zweig.
While in New York City, Kraft worked as a freelance musician and was an extra percussionist at the Metropolitan Opera. In 1954, Kraft joined the Dallas Symphony. After one season, he accepted a position as percussionist with the Los Angeles Philharmonic.[1]
Kraft began as a member of the Los Angeles Philharmonic's percussion section, before being promoted to the orchestra's principal timpanist. From 1968 to 1972, he also served as the orchestra's assistant conductor, under then music director Zubin Mehta.[2] From 1981 to 1985, Kraft was Composer-in-Residence for the orchestra; during that period he founded and directed its New Music Group.[3] Altogether he spent 26 years with the Philharmonic.[4]
In 1958, Kraft founded the Los Angeles Percussion Ensemble, a group which made its debut on March 10 with the Monday Evening Concerts.[5] The group performed the world and local premieres of works by Alberto Ginastera, Lou Harrison, Ernst Krenek, Igor Stravinsky, Edgard Varèse, and other composers. He performed in the local premiere of Pierre Boulez's Le marteau sans maître under the composer's direction[6] and played the American premiere of Karlheinz Stockhausen's Zyklus. The latter led to a journalistic debate between Los Angeles Times music critic Albert Goldberg and Kraft, who took exception to the critic's use of the term "noisemakers" in reference to percussion instruments.[7]
He has also composed film soundtracks, including the scores to Psychic Killer (1975),[8] Avalanche (1978), Bill (1981), and Fire and Ice (1983).
Kraft served as chairman of the composition department and holder of the Corwin Chair at the University of California, Santa Barbara until he retired in June 2002.
Kraft died on February 12, 2022, at the age of 98.[9] [10]
In the 1960s and 1970s, most of Kraft's compositions were serial, while in the 1980s he incorporated jazz rhythms and impressionist harmonies. Although percussion works feature prominently in his catalog, in 1996–1998 he concentrated on composing his first opera, Red Azalea. His works have been performed by many major American orchestras as well as those in Europe, Japan, Korea, China, Australia, Israel, and the USSR. Kraft's Contextures: Riots – Decade '60 (1967) has been choreographed and performed by both the Scottish National Ballet and the Minnesota Dance Company. In 1986, United Airlines commissioned a work expressly to accompany a lumetric sculpture by Michael Hayden titled Sky's the Limit, for their pedestrian passageway at Chicago-O'Hare International Airport.[13]
| Instrumentations | Details | |||
|---|---|---|---|---|
| General List | Percussion | |||
| Soliloquy | Multi-percussion with tape |
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| Encounter II | Tuba | None |
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| Encounter III | Multi-percussion and trumpet |
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| Encounter IV | Multi-percussion and trombone with tape |
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| In the Morning of the Winter Sea | Multi-percussion and cello |
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| Concertino for Roto Toms and Percussion Quartet | Multi-percussion with percussion quartet |
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| Blessed Are the Peacemakers | Multi-percussion duet |
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| The Latimer Encounter | Multi-percussion solo |
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| Encounters IX | Alto saxophone and multi-percussion |
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| Duologue for Violin and Marimba | Violin and marimba | None |
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| The Demise of Suriyodhaya | Multi-percussion and English horn |
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| The Gabrielic Foray | Multi-percussion and harp |
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| Concertino for Percussion and Woodwind Quintet | Multi-percussion and woodwind quintet |
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| Concerto a Tre | Violin, piano, and percussion |
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| Encounter XV | Multi-percussion and amplified guitar |
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| Title | Instrumentation | Details | |||
|---|---|---|---|---|---|
| Solo | Ensemble | Percussion | |||
| Concerto for Four Percussionists and Symphonic Wind Ensemble[14] | Multi-percussion |
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| Configurations Concerto for Four Percussion Soloists and Jazz Orchestra | Multi-percussion |
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| Concerto for Timpani and Orchestra | Timpani |
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| Concerto for Percussion and Chamber Ensemble[16] | Multi-percussion |
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| Concerto No. 2 for Timpani and Orchestra The Grand Encounter[17] | Timpani (15 Timpani are required) |
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Compact discs completely devoted to Kraft's music can be found on Harmonia Mundi, CRI, Cambria, Crystal, Albany, and Nonesuch labels. Other works can be found on GM, Crystal, London Decca, Townhall, EMI, and Neuma. Recent works include Brazen, commissioned by the San Francisco Symphony Orchestra; Quintessence Revisited and Concerto for Four Percussion Soloists and Symphonic Wind Ensemble, premiered and recorded by the New England Conservatory Wind Ensemble, Frank Battisti conducting. His Encounter solo series has been recorded multiple times on all appropriate instruments. On Encounters, he worked with guitarist John Schneider. Encounters II showcases unique techniques for tuba such as multiphonics double pedal range. In 2010, the Los Angeles Philharmonic released a recording on DG Concerts of the Timpani Concerto No. 1 featuring Joseph Pereira as soloist with John Adams conducting.