Biography
Richard Teitelbaum gained recognition through his dynamic live electronic performances and his innovative approach to interactive computer music composition. He played a key role in establishing the synthesizer as a legitimate concert instrument while pioneering its integration into world music traditions and cutting-edge jazz groups.
Born in New York on May 19, 1939, he earned a B.A. from Haverford College in Pennsylvania in 1960 and completed a master’s degree at Yale University in 1964, where he pursued theory under Allen Forte and composition with Mel Powell. His early works from this period include the 1963 pieces The Rose for voice and piano and Music for Flute Alone. On a two-year Fulbright scholarship in Italy, he composed Concerto da Camera for 14 instruments and Tutto e Perdutto for voice and instruments, both dating to 1965. During this stay he introduced the first Moog synthesizer to Europe and gave more than 200 performances on the instrument. In Rome in 1966 he co-founded the groundbreaking live electronic ensemble Musica Elettronica Viva alongside composer-performers Frederic Rzewski and Alvin Curran. Notable compositions from these years encompass In Tune (1967), scored for amplified brainwaves, heartbeats, breath, and Moog synthesizer—joining other 1960s explorations by Alvin Lucier and David Rosenboom that used brainwaves to trigger sounds—and La Mattina Presto (1970-1971) for magnetic tape.
Throughout the 1970s he explored emerging electronic techniques while collaborating with world music ensembles, resulting in Tai Chi Alpha Tala (1974) for Tai Chi performer, biomedical telemetry system, synthesizer, mrdangam, and video synthesizer; Behemoth Dreams (1976) for contrabass clarinet and synthesizers with Anthony Braxton; and the refined Blends (1977) for shakuhachi (Katsuya Yokoyama), tabla and additional percussion (Trilok Gurtu), and synthesizers, its score employing varied notations drawn from Japanese, Indian, and American traditions.
The 1980s saw continued engagement with global music sources, including the Golem series rooted in Jewish mythology, alongside experiments with automated pianos and responsive electronics. Representative works include Mirror on the Wall (1980), environmental music for tape and outdoor Muzak system; BLT (1981) for synthesizers and computers with David Behrman and George Lewis; Reverse Polish Notation (1983) for a digital piano system; Digital Music and Jazz Live (1984) for synthesizers and winds with Braxton; Iro wa nioedo (1986), a choral piece for 20 Japanese Shingon Buddhist monks; the interactive opera Golem (1989-1994) for voices, acoustic instruments, robotic pianos, and interactive video system, along with related Golem Sketches, Golem I, Golem Studies, and Golemics; and Concerto Grosso No. 2 (1988) for piano, robotic piano, trombone, synthesizers, and interactive computer systems with Robert Rowe.
In the 1990s he deepened these ensemble and electronic explorations through pieces such as Intera (1992) for yokobue (Japanese bamboo flute), Western reeds, and interactive computer music system and Seq Transit Parammers (1998) for two Disklaviers and interactive computer system. He also produced numerous multimedia collaborations with artists including Nam June Paik and Joan Jonas. At Bard College he taught composition and electronic music while serving as Director of the Electronic Music Studio and received multiple awards. Teitelbaum died on April 16, 2020, after suffering a stroke.
Born in New York on May 19, 1939, he earned a B.A. from Haverford College in Pennsylvania in 1960 and completed a master’s degree at Yale University in 1964, where he pursued theory under Allen Forte and composition with Mel Powell. His early works from this period include the 1963 pieces The Rose for voice and piano and Music for Flute Alone. On a two-year Fulbright scholarship in Italy, he composed Concerto da Camera for 14 instruments and Tutto e Perdutto for voice and instruments, both dating to 1965. During this stay he introduced the first Moog synthesizer to Europe and gave more than 200 performances on the instrument. In Rome in 1966 he co-founded the groundbreaking live electronic ensemble Musica Elettronica Viva alongside composer-performers Frederic Rzewski and Alvin Curran. Notable compositions from these years encompass In Tune (1967), scored for amplified brainwaves, heartbeats, breath, and Moog synthesizer—joining other 1960s explorations by Alvin Lucier and David Rosenboom that used brainwaves to trigger sounds—and La Mattina Presto (1970-1971) for magnetic tape.
Throughout the 1970s he explored emerging electronic techniques while collaborating with world music ensembles, resulting in Tai Chi Alpha Tala (1974) for Tai Chi performer, biomedical telemetry system, synthesizer, mrdangam, and video synthesizer; Behemoth Dreams (1976) for contrabass clarinet and synthesizers with Anthony Braxton; and the refined Blends (1977) for shakuhachi (Katsuya Yokoyama), tabla and additional percussion (Trilok Gurtu), and synthesizers, its score employing varied notations drawn from Japanese, Indian, and American traditions.
The 1980s saw continued engagement with global music sources, including the Golem series rooted in Jewish mythology, alongside experiments with automated pianos and responsive electronics. Representative works include Mirror on the Wall (1980), environmental music for tape and outdoor Muzak system; BLT (1981) for synthesizers and computers with David Behrman and George Lewis; Reverse Polish Notation (1983) for a digital piano system; Digital Music and Jazz Live (1984) for synthesizers and winds with Braxton; Iro wa nioedo (1986), a choral piece for 20 Japanese Shingon Buddhist monks; the interactive opera Golem (1989-1994) for voices, acoustic instruments, robotic pianos, and interactive video system, along with related Golem Sketches, Golem I, Golem Studies, and Golemics; and Concerto Grosso No. 2 (1988) for piano, robotic piano, trombone, synthesizers, and interactive computer systems with Robert Rowe.
In the 1990s he deepened these ensemble and electronic explorations through pieces such as Intera (1992) for yokobue (Japanese bamboo flute), Western reeds, and interactive computer music system and Seq Transit Parammers (1998) for two Disklaviers and interactive computer system. He also produced numerous multimedia collaborations with artists including Nam June Paik and Joan Jonas. At Bard College he taught composition and electronic music while serving as Director of the Electronic Music Studio and received multiple awards. Teitelbaum died on April 16, 2020, after suffering a stroke.
Albums
Evocation
2022
Dream Libretto
2018
Golem
1995
Concerto Grosso - For Human Concertino and Robotic Ripieno (1985)
1994
Richard Teitelbaum: Piano Plus
1985
Singles
