Also in 1939 Schuman composed the Quartettino for Four Bassoons, the aforementioned Prologue for chorus and orchestra, the American Festival Overture, a revision of Prelude for women's chorus, and, in December, the Third String Quartet.
Author: K. Gary Adams
Publisher: Greenwood Publishing Group
Category: Biography & Autobiography
A reference guide to William Schuman--composer, educator, arts administrator, and first recipient of the Pulitzer Prize for music in 1943.
Hymnal American Ballads—Gould—American Ballads American Centennial March—Wagner, Richard—Grosser Festmarsch ... Wm.—American Festival Overture American Flag—Dvořák— American Flag American Folk Rhapsody No.1—Grundman—American Folk ...
Author: David Daniels
Publisher: Rowman & Littlefield
Daniels’ Orchestral Music is the gold standard reference for conductors, music programmers, librarians, and any other music professional researching an orchestral program. This sixth edition, celebrating the fiftieth anniversary of the original work, includes over 14,000 entries with a vast number of new listings and updates.
(Saaledes saae Johannes) Schuller, Gunther - Music for a Celebration: A Fantasy on National Themes Schuman, William - American Festival Overture - American Hymn - Circus Overture: Sideshow Shire, David - Farewell My Lovely (1975): Suite ...
Author: Lucy Manning
Publisher: Scarecrow Press
In this second edition of Orchestral “Pops” Music: A Handbook, Lucy Manning brings forward to the present her remarkable compendium of information about this form of orchestral music. Since the appearance of the first edition in 2008, this work has proven critical to successful “pops” concert programming. With changes in publishers and agents, the discontinuation of the publication of certain original material or, worst of all, presses going out of business, music directors, orchestra conductors, and professional instrumentalists face formidable challenges in tracking down accurate information about this vast repertoire. This revised handbook alleviates the time-consuming task of researching these changes by offering a list of works for orchestral “pops” concerts that is comprehensive, informative, and current. Manning’s emphasis on clarity and accuracy gives users an indispensable tool for gathering vital information on the style, instrumentation, and availability of the repertoire listed, as well as notes on its performance. The user-friendly appendices include expanded instrumentation choices, easy-to-find durations, and handy title cross-references. In addition to corrections and updates, this new edition of Orchestral “Pops” Music includes at least 1,000 new title listings. Orchestral “Pops” Music: A Handbook is the ideal tool for working conductors and orchestral librarians, as well as music program directors at colleges, conservatories, and orchestras.
... Wm.-American Festival Overture American in Paris Gershwin-American in Paris American Life Weiss-_American Life American Muse Schuman, Wm.-Symphony No.1() American Rhapsody Dohnanyi-American Rhapsody American Salute Gould-American ...
Author: David Daniels
Publisher: Scarecrow Press
Also Available: Orchestral Music Online This fourth edition of the highly acclaimed, classic sourcebook for planning orchestral programs and organizing rehearsals has been expanded and revised to feature 42% more compositions over the third edition, with clearer entries and a more useful system of appendixes. Compositions cover the standard repertoire for American orchestra. Features from the previous edition that have changed and new additions include: · Larger physical format (8.5 x 11 vs. 5.5 x 8.5) · Expanded to 6400 entries and almost 900 composers (only 4200 in 3rd Ed.) · Merged with the American Symphony Orchestra League's OLIS (Orchestra Library Information Service) · Enhanced specific information on woodwind & brass doublings · Lists of required percussion equipment for many works · New, more intuitive format for instrumentation · More contents notes and durations of individual movements · Composers' citizenship, birth and death dates and places, integrated into the listings · Listings of useful websites for orchestra professionals
American Festival Overture . But even when I was twelve years old , I thought the American Festival Overture was a bit of a dog in places . SS : It is a dog , but it's our dog . It is absolutely , palpably ours , our music , music of ...
Author: David Froom
Publisher: Psychology Press
First Published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.
Author: United States Information AgencyPublish On: 1964
4 , Op . 63 AMP ( R ) AMP SCHUMAN , William American festival overture GS ( R ) Circus overture ( side show ) GS ( R ) ( R Credendum TP ( R ) Declaration . Chorale . Finale . Judith ( choreographic poem ) GS ( R ) New England triptych ...
Author: United States Information Agency
Color drawings accompany a collection of well-known nursery rhymes.
Roosevelt Administration, 13–14 Roosevelt, Franklin Delano, 31–32, 173, 194 Saminsky, Lazare, 25 Schoenberg, Arnold, x Schuman, William, 25–26, 82 administrator, 71–72; American Festival Overture, 65–66, 72; background, 64–65; ...
Author: Nicholas Tawa
Publisher: Indiana University Press
The years of the Great Depression, World War II, and their aftermath brought a sea change in American music. This period of economic, social, and political adversity can truly be considered a musical golden age. In the realm of classical music, Aaron Copland, Samuel Barber, Howard Hanson, Virgil Thompson, and Leonard Bernstein -- among others -- produced symphonic works of great power and lasting beauty during these troubled years. It was during this critical decade and a half that contemporary writers on American culture began to speculate about "the Great American Symphony" and looked to these composers for music that would embody the spirit of the nation. In this volume, Nicholas Tawa concludes that they succeeded, at the very least, in producing music that belongs in the cultural memory of every American. Tawa introduces the symphonists and their major works from the romanticism of Barber and the "all-American" Roy Harris through the theatrics of Bernstein and Marc Blitzstein to the broad-shouldered appeal of Thompson and Copland. Tawa's musical descriptions are vivid and personal, and invite music lovers and trained musicians alike to turn again to the marvelous and lasting music of this time.
The fast movements are full of an exuberant energy.127 Schuman composed the American Festival Overture in response to Koussevitzky's encouragement that he continue composing orchestral music, with the assurance that the Boston Symphony ...
Author: Walter Simmons
Publisher: Rowman & Littlefield
William Schuman, Vincent Persichetti, and Peter Mennin were three of the most significant American composers of the 20th century, yet their music has largely disappeared from view since their respective deaths. Because they each spent the majority of their careers working at the Juilliard School and Lincoln Center, their music is often viewed as "interchangeable." In The Music of William Schuman, Vincent Persichetti, and Peter Mennin: Voices of Stone and Steel, Walter Simmons provides a thorough examination of the lives and work of these artists, clarifying their considerable individuality both as composers and as human beings. The book begins with a comprehensive introduction summarizing the conventional view of the history of American music, while noting the marginalization of traditionalist composers—those who preferred to work with the musical forms and developmental principles on which the body of Western classical music is based. In the chapters that follow, each composer is presented through a brief overview and a biographical essay, followed by a general description of his style. Extensively researched and including detailed discussions and insights, the sections include lists of the composer's "most representative, fully realized works" and then provide systematic overviews of most or all of their compositions, giving the reader a general understanding of the artist and his work. The overviews contain a description of each composition, information concerning first performance and first recording, excerpts from reviews as well as Simmons' own critical assessment of each, and a statement of its place within the composer's output as a whole. A selected bibliography and essential discography follows at the end of each chapter.