The Rorem Symphony 3 is the one work here that should have more currency. It is a delightful update of the kind of symphony that was produced in the 1930s, except you can hear intimations of jazz and Broadway melodies at work. This is a major collection no library of American music should be without.
William Schuman began with a pop-music childhood—forming a schoolboy band with Frank Loesser—but became the chief executive of Julliard and then Lincoln Center, the personification of “classical music” in the public mind. During his early adulthood, a dawning sense of America’s importance in the world (and encouragement from conductor Serge Koussevitzky) sent Schuman, Roy Harris.
Her style is modern but accessible: no one who responds to Shostakovich or to such American symphonists as Walter Piston or William Schuman will find it problematic. And yet a reservation that I had about the First Symphony seems in the Third to have become almost insuperable. I described the First as ''lacking a conclusion''; it is not so much that, I now suspect, as a lack of any real sense.
A year later Serge Koussevitzky conducted that symphony with the Boston Symphony Orchestra and also conducted the premieres of Schuman’s American Festival Overture (1939); Symphony No. 3—which received the first New York Music Critics’ Circle Award; A Free Song, a cantata based on poetry by Walt Whitman that was awarded the first Pulitzer Prize in music; and Symphony for Strings, which.
Harris' Symphony No. 3, conceived in an organic form that takes more inspiration from natural growth than from traditional symphonic development, and molded from indigenous musical materials, satisfied that hunger, propelling Harris to fame and heralding the beginning of a new tradition in American symphonic music.
Symphony No. 3 Cop land began his third symphony in the summer of 1944 and completed it in September of 1946. Serge Koussevitzky conducted the first performance on October 18, 1946, in Boston. The score calls for three flutes and two piccolos, three oboes and english horn, t bassoons and contrabassoon, four horns, four trumpets, three trombones and tuba, timpani, two harps, celesta, piano.
This book -- The Music of William Schuman, Vincent Persichetti, and Peter Mennin: Voices of Stone and Steel -- is the second in a projected series of books on American composers. The first of these -- Voices in the Wilderness: Six American Neo-Romantic Composers -- focused on Bloch, Hanson, Giannini, Creston, Barber, and Flagello and was a model of its kind: graceful and clear writing in the.
The book boasts generous coverage of American composers, with sections on Howard Hanson, Walter Piston, Roger Sessions, Aaron Copland, William Schuman, and John Harbison. Steinberg gives us such a vivid portrait of each composer's personality that we get the most immediate sense of how the work is a direct expression of the person from whose soul and brain it has sprung. Tracing the ways in.
Ingolf Dahl: Concerto a Tre (1947) by William Schuman, Ingolf Dahl, Juilliard String Quartet, Mitchell Lurie, Eudice Shapiro, Victor Gottlieb; Douglas Moore: Quintet for Clarinet and Strings (1946). Wallingford Riegger: String Quartet No. 2, Op. 43 by David Oppenheim, New Music String Quartet, New Music Quartet, Douglas Moore, Wallingford Riegger; Walter Piston: Sonatina for Violin and.
With the 6th Symphony, Schuman's music began turning inwards - and the extrovert works of the 1940s became transformed into the dark, brooding, dramatic essays of the remaining 35 years of his career. In one long movement, it favors Schuman's variation procedures (a sort of gigantic passacaglia) framed in what could be called the George Washington Bridge structure. Two enormous dramatic peaks.
This course brings longtime Teaching Company favorite Professor Robert Greenberg to a 300-year survey of the symphony with the enthusiasm, energy, and breadth of knowledge that are his trademarks. As you explore the evolution and development of this remarkable musical genre, you enjoy musical excerpts from well- known compositions in addition to some that may be new to you, along with.
The winner of the first Pulitzer Prize in Music, Schuman composed music that is rhythmically febrile, harmonically pungent, melodically long-breathed, and timbrally brilliant, and Swayne offers an astute analysis of his work, including many unpublished music scores. Swayne also describes Schuman's role as president of the Juilliard School of Music and of Lincoln Center, tracing how he both.