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Biography
Russell Peck was born in Detroit on January 25, 1945 to Thorland (Thom) and Margaret (Carlson) Peck. Peck was the youngest of three children, and doted on by his two older sisters, Jean and Joyce. His father, Thom, sang in a barbershop quartet and was a great proponent of Russell's interest in classical music, and encouraged him in his studies. From early on, Peck wanted to compose and began learning piano in fifth grade. Later, in high school, he played trombone in band.

Peck's early music education was grounded in Mozart and Beethoven, but also heavily influenced by the soul music emerging from Detroit during his formative years. The Motown sound inspired Peck to compose with melodic flow and rich harmonics. The marriage of these 2 musical worlds is the backdrop of Peck's compositions, and indeed is his trademark.

Education
Russell Peck was a cum laude graduate of the University of Michigan (1966), where he also received Master and Doctoral degrees in composition (1967 and 1972). His teachers included Clark Eastham, Leslie Bassett, Ross Lee Finney, Gunther Schuller, and George Rochberg.

Russell Peck received the Koussevitsky Prize, two Ford Foundation Fellowships, grants from the National Endowment for the Arts and several states' arts councils, and ASCAP awards. In 2000-2001 a consortium of 39 American orchestras commissioned Peck's Timpani Concerto, Harmonic Rhythm. The premiere performances began with the Louisville Orchestra and proceeded with orchestras throughout the country. Peck's artist residencies include the Gaudeamus Contemporary Music Festival in the Netherlands and a two year appointment as composer-in-residence for the city of Indianapolis and the Indianapolis Symphony. Peck served on the faculty of Northern Illinois University, Eastman School of Music, and the North Carolina School of the Arts.

Russell Peck held various university teaching positions. Beginning in the fall of 1974 through 1975 Peck was an assistant Professor of Music Theory at Northern Illinois University. In 1976 he accepted a position teaching Music Composition at Eastman School of Music, where he continued into the 1977 semester. In the fall of 1977, he began teaching various aspects of the study of music, including Music History and Music Theory, at the North Carolina School of the Arts. In 1979 Peck chose not to continue teaching in order to pursue his increasing interest in the cause of ending world starvation. Peck's altruistic concerns dominated his time for several years until he re-emerged with the popular orchestra piece, Signs of Life, in 1983.

Personal Life
Peck met his first wife, Linda, at a dance performance in March of 1966 in Ann Arbor. They married in June 1966 in Port Huron, Michigan. A Margaret Crofts Fellowship brought Russell to Tanglewood Music Center where he studied with Gunther Schuller and George Rochberg. In 1967, Peck was chosen as composer in residence for the Northshore School District through a grant from the Ford Foundation. Peck worked with Junior and High School bands and orchestras and lived in Hempstead, Long Island. In 1968 Russell and Linda had a daughter, Eva, his only child. The summers of 1968 and 1969 were spent in Maine at the Amherst Summer Music Center. Russell then moved to Ann Arbor to pursue a Doctoral degree in music composition, studying with Clark Eastham, Leslie Bassett, and Ross Lee Finney. Russell and Linda were divorced in 1970 and at that time he moved to Illinois for a position as Composer-in-Residence for the Indianapolis Symphony. It was during this time that Russell met his second wife, Cameron, with whom he was married for the remainder of his life. Russell met Cameron when he was serving as guest conductor, and Cameron was playing principal horn. Russell and Cameron continued to live in Illinois until 1976 when they moved to Rochester, New York. Russell was teaching Music Composition at Eastman School of Music through 1977. Peck then accepted a position with the North Carolina School of the Arts, and he and Cameron settled in North Carolina.

It was during this time that Peck and his friend, Marshall Gordon (not related to Cameron Gordon) began dedicating themselves to the cause of ending world starvation. To achieve this goal Peck and Gordon envisioned cooperation among the world's adversarial countries. In 1978 Peck determined that he needed to work exclusively on their new "Starvation Free World" project and so resigned from his position at the North Carolina School of the Arts. Over the years, Peck and Gordon's strong belief in the efficacy of this cause inspired them to work on the project together until the time of Peck's death in March of 2009.

On March 1, 2009, Russell Peck was found dead near his home in Greensboro, North Carolina.

Concertos

 * The Upward Stream, concerto for tenor saxophone and orchestra. The Upward Stream was commissioned for a world premiere performance in 1985 by James Houlik with the Winston-Salem Symphony, Peter Perret, Music Director, with funding assistance provided by the North Carolina Arts Council.  The Upward Stream's use of tenor sax, traditionally viewed as a jazz instrument, was a unique redefinition to the concerto form.  Peck chose tenor sax for its ability to project like a brass instrument against full orchestra, while retaining the technical virtuosity of a woodwind.  Additionally, the range of the tenor saxophone corresponds almost exactly to the human voice (from low baritone to highest soprano), and so has a full expressive range http://www.jameshoulik.net/index.php?option=com_content&view=article&id=5&Itemid=5 .  James Houlik  recorded the work with London Symphony.duration: 20', (1985) 3(3rd db. picc.)/2/2/2   4/3/3/1, timp. 2 perc.   strings, solo tenor saxophone.
 * The Glory and the Grandeur, concerto for three percussionists and orchestra. Incorporating an opening paraphrase of the composer's percussion piece Lift-Off, The Glory and the Grandeur is a visually engaging piece.  The percussionists perform in front of the orchestra on an impressive array of varied instruments.  At the opening they play rhythmic antiphony from widely separated drum stations, then gather at the metal instruments of vibraphone, bells, and Chinese cymbals and gongs.  At one point in the composition, all three perform together on one marimba.  The finale section builds in a rapid pace of color changes as the players hasten among different instruments, and concludes with the orchestra supporting a powerful return to the antiphonal drum idea of the opening.  Duration:  12', (1988), 3(3rd db. picc.)/2/2+b.cl./2+cbn.  4/3/3/1, timp.  1 perc.  harp  strings, solo  percussion  trio.
 * Voice of the Wood, concerto for cello quartet and orchestra. The only existing work written for the innovative medium of cello quartet and orchestra.  Voice of the Wood was premiered in 1999 by the Charlotte Symphony.  Movements include I.	Prelude * II.	Fantasia.  Duration: 21' (1999).  3(3rd db. picc.)/2+E.h./2+b.cl./2+cbn.   4/3/3/1, timp.   3 perc., piano, harp, violin I & II, violas, basses, solo cello quartet.
 * Harmonic Rhythm, concerto for timpani and orchestra. The writing of this concerto, which premiered in 2000, was inspired by the largest commissioning consortium to date in music history—39 orchestras. http://www.newmusicbox.org/articles/Commissioning-Consortia-Banding-Together-in-the-Name-of-New-Music/It was also sparked by interest among timpanists based on the composer's well-known percussion concerto The Glory and the Grandeur and percussion trio Lift-Off. It is visually stimulating due to the unusual variety of mallets and brilliant sticking. Harmonic Rhythm requires 5 drums (4 standard sizes plus a piccolo drum).  A primary feature is the melodic writing for the timpani, which shows the instrument's expressive range extending into areas of surprising lyricism. There is powerful action, too, with jazz and rock influences, leading to an explosive  ending.  3(3rd db. picc.)/2+E.h./2+b.cl./2+cbn.   4/3/3/1  2 perc.   piano   strings solo timpani.  Duration: 22' (2000).

Orchestral

 * Signs of Life, a composition in two movements for string orchestra, and Signs of Life II, for string orchestra. Signs of Life is in two movements: a lush Arioso (6') and a jazzy Scherzo (6') using many exotic string sounds including the composer's innovative picking technique.  Signs of Life II adds an Allegro first movement (3'30") to create a three-movement work.  Total duration: 15'30" (1983/1986).  Signs of Life was dedicated to Peck's wife, Cameron, and was written for Paul Polivnick and the Milwaukee Symphony.  The work was premiered at the Performing Arts Center in Milwaukee, June 16, 1984.
 * Gabriel, concert overture for orchestra, was originally the first movement of a trumpet concerto (The Phoenix) commissioned in 1988 by Doc Severinsen and the Phoenix and North Carolina Symphonies. The first movement of The Phoenix was reworked as Gabriel as performed by the Nashville Symphony.  Duration: 6', (1997), 3(3rd db. picc.)/2+E.h./2+E-flat/2+cbn. - 4/3/3/1, timp. - 3 perc. -strings.
 * Peace Overture, for orchestra. A programmatic tone poem about the struggle for peace - inspired by the life of Anwar Sadat and the Israel-Egypt Peace Accords.  Recorded by the London Symphony.  Conductor, Paul Polivnick, premiered the work in 1988 during the Birmingham International Festival of Arts, which commissioned Peck to write a piece for the Alabama Symphony honoring Egypt.  It traces an emotional outline regarding Sadat's story.  One very defined melody permeates the work.  Peck said he didn't intend to quote a phrase from the Negro Spiritual "Sometimes I feel like a motherless child" in this melody, but it is a clear correlation when listening to the spiritual as sung by Paul Robeson  Duration: 11', (1988), 3(3rd db. picc./2+E.h./2+b.cl./2+cbn. - 4/3/3/1, timp. - 4 perc. - piano - strings.
 * Freedom Fanfare, for orchestra. Showcases each part of orchestra, using chimes and brass band.  2+picc./2/2+b.cl./2   4/3/3/1 timp.  2 perc. strings.  Duration:  3' (1995).


 * Revolutionary Action, for orchestra (with drumset). This a short, high-energy rock-music piece based on the first section of Jack and Jill at Bunker Hill.  Jack and Jill is a story piece for narrator and orchestra.  3(3rd db. picc.)/2+E.h./2+b.cl./2+cbn.   4/3/3/1 timp.   2 perc. (incl. drumset)   harp   strings.  Duration 4' (1995).
 * Don't Tread on Me, for string orchestra. Don't Tread on Me is actually the first movement of Signs of Life.  Although it begins in a Mozartian vein, Don't Tread On Me quickly evolves with unequivocal rock influence, and is given a special energy by feroce string crossings.  Duration: 3' 30", (1995)
 * Mozart Escapes, settings of mozart for orchestra. I.	 Allegro maestoso (Revolutionary Brass)   4'30", II. Andante cantabile (Amadeus Meets Stradivarius   7'00", III. Allegretto scherzando (Woodwinds a la Wolfgang)   5'00", IV. Allegro vivace (Mallets and Mozart)   6'00". Total duration:   22' 30", (1997).
 * Ultra Americana, two pieces for orchestra. Out of the Blue, 8'45".  Openly nostalgic with many style elements of traditional blues and Americana, Out of the Blue is a moderately-paced intermesso.  Flying on Instruments, 4'45".  Allegro vivace throughout, Flying on Instruments draws upon jazzy, Latin, and gospel-music flavors with massed strings and other sections featured as group soloists.  Total duration: 13'30", (1997), 3(3rd db. picc.)/2+E.h./2+E-flat/2+cbn.  4/3/3/1, timp.   3 perc.   strings.

Educational and Family Pieces

 * Where's Red Robin? (formerly Who Killed Cock Robin?) nature story piece for narrator and orchestra, dedicated to Peck's daughter, Eva. Peck re-envisioned the classic English nursery rhyme as a tale of springtime and rebirth using the robin as muse.  Where's Red Robin? takes the audience on a musical journey which coincides with the mood changes in the narrative.  As the story unfolds, a host of musical emotions is employed including elation, sadness, humor, mystery, dramatic danger and finally the reassurance of another joyfilled spring.  The work was a commission of the New Orleans Philharmonic, with Conductor Carter Nice.  Duration: 17', with options for reduced duration (1995/1973) 3(3rd db. picc.)/3/2+E-flat/2+cbn.  4/3/3/1, timp.  2  perc.  piano  harp  strings   narrator.
 * Jack and Jill at Bunker Hill, revolutionary story piece for narrator and orchestra. Written in 1976 for Carter Nice and the New Orleans Philharmonic as a celebration of America's Bicentennial, Jack and Jill is a humorous look at the American Revolution.  Peck again tipped his hat to a classic English nursery rhyme to explore the excitement of this American narrative:  I. Battle of Bunker Hill, II. Declaration of Independence, and III. Liberty Bell Celebration.  Jack and Jill combines an action-packed story of American history and idealism with music for a family audience.  Jack and Jill effectively highlights historical fact, while incorporating sounds which are strikingly American in feel (such as Motown), thus paying homage to American musical culture in general.  Duration:  9', (1997/1976), 3(3rd db. picc.)/2+E.h./2+b.cl./2+cbn.  4/3/3/1 timp.   2 perc. (incl. drumset)   harp   strings narrator
 * The Thrill of the Orchestra, demonstration piece for narrator and orchestra. The Thrill of the Orchestra colorfully illustrates the instruments and how they are played.  Frequently performed and repeated by many major American and foreign orchestras (Pittsburgh, Atlanta, Montreal, Royal Philharmonic, etc.) and more than 100 regional and other orchestras across the United States.  The Thrill was commissioned by and is dedicated to Alfred Savia and te Florida Symphony, which premiered the work in October 1985 on the series of young people's concerts.  Duration: 13' (1985) 3(3rd db. picc.)/2+E.h./2+b.cl./2+cbn.  4/3/3/1 timp.  3  perc.  strings narrator.
 * Playing with Style, demonstration piece for orchestra with narration. This "concerto for conductor" uses music and narration to illustrate the conductor's role and the basics of crescendo, diminuendo, accelerando, ritardando, legato and staccato.  The piece concludes with a fast-paced musical finale designed to showcase the ability of the orchestra to change in mood and style This work is also designed to permit narration by the conductor.  Dedicated to Darryl One, it was commissioned in 1991 for a consortium of North Carolina Orchestras by the North Carolina Arts Council.  Duration: 10' (1991) 2/2/2/2   4/2/3/1 timp.   2 perc.   strings   narrator (or conductor narration)
 * The Thrill of the Orchestra, demonstration piece for narrator and orchestra. The Thrill of the Orchestra colorfully illustrates the instruments and how they are played.  Frequently performed and repeated by many major American and foreign orchestras (Pittsburgh, Atlanta, Montreal, Royal Philharmonic, etc.) and more than 100 regional and other orchestras across the United States.  The Thrill was commissioned by and is dedicated to Alfred Savia and te Florida Symphony, which premiered the work in October 1985 on the series of young people's concerts.  Duration: 13' (1985) 3(3rd db. picc.)/2+E.h./2+b.cl./2+cbn.  4/3/3/1 timp.  3  perc.  strings narrator.
 * Playing with Style, demonstration piece for orchestra with narration. This "concerto for conductor" uses music and narration to illustrate the conductor's role and the basics of crescendo, diminuendo, accelerando, ritardando, legato and staccato.  The piece concludes with a fast-paced musical finale designed to showcase the ability of the orchestra to change in mood and style This work is also designed to permit narration by the conductor.  Dedicated to Darryl One, it was commissioned in 1991 for a consortium of North Carolina Orchestras by the North Carolina Arts Council.  Duration: 10' (1991) 2/2/2/2   4/2/3/1 timp.   2 perc.   strings   narrator (or conductor narration)
 * Playing with Style, demonstration piece for orchestra with narration. This "concerto for conductor" uses music and narration to illustrate the conductor's role and the basics of crescendo, diminuendo, accelerando, ritardando, legato and staccato.  The piece concludes with a fast-paced musical finale designed to showcase the ability of the orchestra to change in mood and style This work is also designed to permit narration by the conductor.  Dedicated to Darryl One, it was commissioned in 1991 for a consortium of North Carolina Orchestras by the North Carolina Arts Council.  Duration: 10' (1991) 2/2/2/2   4/2/3/1 timp.   2 perc.   strings   narrator (or conductor narration)

Chamber Music

 * Two Songs on Poems of William Carlos Williams, for soprano, 4 celli, 4 flute, 1963
 * Seven-Fold Amen, for cello, percussion and cellesta, 1964
 * Gothic Music, for band, 1965
 * Six Pak, for violin, cello, double bass, flute, clarinet and horn, 1965
 * Automobile, for soprano, flute, double bass and percussion, 1966
 * Lion's Breath, for double bass and percussion, 1966
 * Unsafe at Any Speed, for string quartet and percussion quartet, 1966
 * #1 DB, for double bass "solo trio": double bass with tape, 1968
 * Lift Off, for persuccsion trio, 1968
 * The Cat's Meow, for piano four hands or duo, 1969
 * Quotations from the Electric Chairman, for mixed chorus and tape or double bass, 1969
 * Time Being, for violin "solo trio", violin with tape and optional mime/dance, 1969
 * Manner of the World Nowadays, male chorus and brass ensemble, 1970
 * Upon a Dead Man's Head, tenor and small ensemble with slides, 1970
 * American Epic, for band, 1972
 * The New Cats Meow, for jazz band, 1972
 * Romance, for piano, dedicated to Margaret and Thom Peck, 1972
 * Suspended Sentence, for piano, 1972
 * Cave, for wind ensemble/band, 1976
 * Drastic Measures, for saxophone quartet, 1976
 * Funky Boogie, for young band, 1976
 * In the Garden, for pipe organ and drum set, 1976
 * Star Machine, for young band, 1977
 * Upward Stream, concerto for tenor saxophone and orchestra, solo part with piano arrangement, 1985
 * Don't Treat on Me or on My String Quartet, for string orchestra, 1986
 * Five-Ring Circus, for woodwind quintet, 1986
 * A "Minor Monster-piece", for brass quintet, 1986
 * The Glory and the Grandeur, concerto for percussion trio, solo parts with piano arrangement, 1988
 * Big Shot Brass, for brass quintet, 1991
 * The New Cats Meow, for jazz band, 1972
 * Romance, for piano, dedicated to Margaret and Thom Peck, 1972
 * Suspended Sentence, for piano, 1972
 * Cave, for wind ensemble/band, 1976
 * Drastic Measures, for saxophone quartet, 1976
 * Funky Boogie, for young band, 1976
 * In the Garden, for pipe organ and drum set, 1976
 * Star Machine, for young band, 1977
 * Upward Stream, concerto for tenor saxophone and orchestra, solo part with piano arrangement, 1985
 * Don't Treat on Me or on My String Quartet, for string orchestra, 1986
 * Five-Ring Circus, for woodwind quintet, 1986
 * A "Minor Monster-piece", for brass quintet, 1986
 * The Glory and the Grandeur, concerto for percussion trio, solo parts with piano arrangement, 1988
 * Big Shot Brass, for brass quintet, 1991
 * Star Machine, for young band, 1977
 * Upward Stream, concerto for tenor saxophone and orchestra, solo part with piano arrangement, 1985
 * Don't Treat on Me or on My String Quartet, for string orchestra, 1986
 * Five-Ring Circus, for woodwind quintet, 1986
 * A "Minor Monster-piece", for brass quintet, 1986
 * The Glory and the Grandeur, concerto for percussion trio, solo parts with piano arrangement, 1988
 * Big Shot Brass, for brass quintet, 1991
 * Five-Ring Circus, for woodwind quintet, 1986
 * A "Minor Monster-piece", for brass quintet, 1986
 * The Glory and the Grandeur, concerto for percussion trio, solo parts with piano arrangement, 1988
 * Big Shot Brass, for brass quintet, 1991
 * The Glory and the Grandeur, concerto for percussion trio, solo parts with piano arrangement, 1988
 * Big Shot Brass, for brass quintet, 1991
 * Big Shot Brass, for brass quintet, 1991

Links
http://www.newmusicbox.org/articles/Commissioning-Consortia-Banding-Together-in-the-Name-of-New-Music/ http://www.allmusic.com/artist/russell-peck-mn0001327172 http://www.newmusicbox.org/articles/Americana-Arcana-What-is-the-MostPerformed-American-Classical-Music/5/ http://www.newmusicbox.org/articles/Composer-Russell-Peck-Found-Dead-After-Weeklong-Search/ http://wfdd.org/wfddnews/wfddnews.php/story1547/start1 http://en.wikipedia.org/wiki/James_Houlik http://www.amazon.com/dp/B0000049LJ/ http://www.amazon.com/Thrill-Orchestra-Russell-Pecks-Narration/dp/B000MC3FOO/ref=sr_1_4?s=music&ie=UTF8&qid=1346721166&sr=1-4 http://www.youtube.com/watch?v=10fYcfAjbjI&feature=related http://www.youtube.com/watch?v=KyxT3yEguQM http://www.newmusicbox.org/articles/Bernard-Rands-Honored-with-Lancaster-Symphony-Composer-Award http://paulanthonymcrae.com/recordings/ http://www.russellpeck.com/gabriel.html