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1 University of Iowa Iowa Research Online Theses and Dissertations 1995 An annotated bibliography and performance commentary of the works for concert band and wind orchestra by composers awarded the Pulitzer Prize in music , and a list of their works for chamber wind ensemble Timothy Jon Mahr University of Iowa Copyright 1995 Timothy Jon Mahr. Posted with permission of the author. This dissertation is available at Iowa Research Online: Recommended Citation Mahr, Timothy Jon. "An annotated bibliography and performance commentary of the works for concert band and wind orchestra by composers awarded the Pulitzer Prize in music , and a list of their works for chamber wind ensemble." DMA (Doctor of Musical Arts) thesis, University of Iowa, Follow this and additional works at: Part of the Music Commons

2 A N A N N O T A T E D B IB L IO G R A P H Y A N D P E R F O R M A N C E C O M M E N T A R Y O F T H E W O R K S F O R C O N C E R T B A N D A N D W IN D O R C H E S T R A B Y C O M P O S E R S A W A R D E D T H E P U L IT Z E R P R IZ E IN M U S IC , A N D A L IS T O F T H E IR W O R K S F O R C H A M B E R W IN D E N S E M B L E V O L U M E I b y T im o th y Jo n M a h r A n e ssay su b m itte d in p a rtia l fu lfillm ent o f th e re q u ire m e n ts fo r th e D o c to r o f M u sic a l A rts d e g re e in th e G ra d u a te C o lle g e o f T h e U n iv e rsity o f Io w a D e c e m b e r 1995 E ssay su p e rv iso r: P ro fe sso r M y ro n D. W e lc h

3 C o p y rig h t by T IM O T H Y J O N M A H R 1995 A ll R ig h ts R eserv e d

4 G ra d u a te C o lle g e T h e U n iv e rs ity o f Io w a Io w a C ity, Io w a C E R T IF IC A T E O F A P P R O V A L D.M.A. E S S A Y T h is is to c e rtify th a t th e D.M.A. e ssay o f T im o th y J o n M a h r h a s b e e n a p p ro v e d b y th e E x a m in in g C o m m itte e fo r th e e ssa y re q u ire m e n t fo r th e D o c to r o f M u sic a l A rts d e g re e a t th e D e c e m b e r 1995 gra d u a tio n. E ssay c o m m itte e : E s s a y S u p e rv iso r M erriber M em b e r M em b e r M e m b e r

5 A C K N O W L E D G M E N T S A g re a t d e al o f tim e a w ay fro m fa m ily an d frien d s w e n t in to th e re searc h in g a n d w ritin g o f th is essa y. F o r th e ir e n c o u ra g e m e n t, p a tie n c e and u n d e rsta n d in g, I am ete rn ally g ra te fu l. I g iv e m y p ro m ise to m y w ife Jill a n d d a u g h te r Jen n a th a t I'll try n o t to le t so m e th in g lik e th is h a p p e n again. It to o k a w h ile to a c c e p t th e c h a lle n g e o f sch o la rly w ritin g, as I w o u ld h a v e m u c h p re fe rre d to h a v e w ritte n m u sic in stead. In th e p ro c e ss o f c o m p le tin g th is p ro je c t, I le a rn ed q u ite a b it a b o u t m y e ssa y to p ic and ev en m o re a b o u t m y self. F o r th is e x p e rie n c e, as w ell as e x p e rt a d v ic e a n d frie n d ly su p p o rt, I am m o s t a p p re c ia tiv e o f m y a d v iso r D r. M y ro n W elch. I re c e iv e d w o n d e rfu l re searc h a ssista n c e fro m B eth C h riste n se n a n d th e s ta f f o f the H a lv o rso n M u sic L ib ra ry a t S t. O la f C o lle g e, D r. F ra n c is C ro c ia ta o f th e L e o S o w e rb y F o u n d a tio n, D r. A lfre d C o c h ra n o f th e K u b ik A rc h iv e s at K a n sa s S ta te U n iv e rsity, an d Jim C o c h ra n o f S h a ttin g e r M u sic. R e a d y access to th e b an d lib ra rie s at T h e U n iv e rsity o f Io w a, th e U n iv e rsity o f M in n e so ta, D u lu th and St. O la f C o lle g e e a se d th e b u rd e n o f sco re a cq u isitio n, as did th e lib ra ria n s o f th e U n ite d S tates M arin e B an d a n d th e U n ite d S tates A ir F o rc e B a n d, and th e g e n e ro u s c o o p e ra tio n o f th e m a n y p u b lish in g h o u ses h a n d lin g th e re n ta l w o rk s o f th e se P u litz e r P riz e c o m p o se rs. F in a lly, I a p p re c ia te th e tim e affo rd ed m e b y P u litzer P riz e w in n in g c o m p o se rs L e slie B a ssett, Jo h n H a rb iso n, K arel H u sa, D o n a ld M a rtin o, G ia n C a rlo M e n o tti, W a y n e P e te rso n, S h u la m it R an, B e rn a rd R a n d s, N e d R o re m, J o se p h S c h w a n tn e r, R ic h a rd W e m ic k a n d E llen T a a ffe Z w ilich. ii

6 T A B L E O F C O N T E N T S P a g e L IS T O F T A B L E S... vi V O L U M E I C H A P T E R I. IN T R O D U C T IO N, P U R P O S E O F T H E S T U D Y A N D P R O C E D U R E S... 1 In tro d u c tio n... 2 T h e P u litz e r P riz e in M u sic... 6 N e e d fo r th e S tu d y P u rp o se o f th e S t u d y S co p e an d L im ita tio n s P r o c e d u r e II. T H E C H A M B E R W IN D E N S E M B L E, C O N C E R T B A N D A N D W IN D O R C H E S T R A W O R K S O F C O M P O S E R S A W A R D E D T H E P U L IT Z E R P R IZ E IN M U S IC S tep h en A l b e r t D o m in ic k A r g e n to S am u el B a r b e r L eslie B a s s e tt W illiam B o lc o m E llio tt C a r te r M ich ael C o l g r a s s A a ro n C o p la n d G e o rg e C r u m b M ario D a v id o v s k y N o rm a n D e llo Jo io D av id D el T r e d i c i Jaco b D r u c k m a n H o w a rd H a n s o n J o h n H a rb is o n K a rel H u sa C h a rle s I v e s L e o n K irc h n e r G a il K u b ik Jo h n L a M o n ta in e D o n ald M artin o G ian C arlo M e n o tti D o u g la s M o o r e iii

7 G e o rg e P e rle W ay n e P e te r s o n W a lte r P isto n Q u in c y P o r t e r M el P o w ell S h u la m it R a n B e rn a rd R a n d s R o g e r R e y n o ld s N e d R o r e m W illia m S c h u m a n J o se p h S c h w a n tn e r R o g e r S e s s io n s L e o S o w e r b y V irg il T h o m s o n E rn st T o c h R o b e rt W a r d R ic h ard W e m ic k C h arle s W u o rin e n E llen T a affe Z w ilic h III. A N N O T A T E D B IB L IO G R A P H Y A N D P E R F O R M A N C E C O M M E N T A R Y O F W O R K S F O R C O N C E R T B A N D A N D W IN D O R C H E S T R A B Y C O M P O S E R S A W A R D E D T H E P U L IT Z E R P R IZ E IN M U S IC S tep h en A lb e rt S am u el B a r b e r L e slie B assett W illiam B o lc o m E llio tt C arte r M ich a e l C o lg ra ss A aro n C o p la n d M ario D a v id o v sk y N o rm a n D e llo J o i o D av id D el T r e d i c i Jaco b D r u c k m a n H o w a rd H a n s o n Jo h n H a rb is o n K a rel H u s a C h a rle s I v e s L e o n K irc h n e r G a ilk u b ik Jo h n L a M o n ta in e D o n ald M artin o D o u g la s M o o r e G e o rg e P e r l e W a y n e P e te r s o n W a lte r P is to n Q u in cy P o rter M el P o w ell S h u la m it R a n B e rn a rd R a n d s R o g e r R e y n o ld s N e d R o r e m iv

8 W illiam S c h u m a n J o se p h S c h w a n tn e r R o g e r S e s sio n s L e o S o w e r b y V irg il T h o m s o n E rn st T o c h R o b e rt W a r d R ic h ard W e m ic k C h arle s W u o rin e n E llen T a a ffe Z w ilic h V O L U M E n C H A P T E R IV. C O N C L U S IO N S A N D S U G G E S T IO N S F O R F U R T H E R R E S E A R C H A P P E N D IX A. W O R K S F O R C O N C E R T B A N D A N D W IN D O R C H E S T R A O R G A N IZ E D B Y C O M P O S E R A P P E N D IX B. W O R K S F O R C O N C E R T B A N D A N D W IN D O R C H E S T R A O R G A N IZ E D B Y T I T L E A P P E N D IX C. W O R K S F O R C H A M B E R W IN D E N S E M B L E O R G A N IZ E D B Y C O M P O S E R A P P E N D IX D. W O R K S F O R C H A M B E R W IN D E N S E M B L E O R G A N IZ E D B Y T I T L E A P P E N D IX E. W O R K S F O R C H A M B E R W IN D E N S E M B L E O R G A N IZ E D B Y N U M B E R O F IN S T R U M E N T A L P E R F O R M E R S A P P E N D IX F. S E C O N D -P A R T Y T R A N S C R IP T IO N S, A R R A N G E M E N T S A N D R E C O N S T R U C T IO N S O F W O R K S F O R C O N C E R T B A N D, W IN D O R C H E S T R A A N D C H A M B E R W IN D E N S E M B L E O R G A N IZ E D B Y C O M P O S E R A P P E N D IX G. C H R O N O L O G IC A L L IS T IN G O F T H E P U L IT Z E R P R IZ E S IN M U S IC B IB L IO G R A P H Y v

9 L IS T O F T A B L E S T ab le P a g e 1. N u m b e r o f A n n o ta te d W o rk s W ritte n fo r C o n c e rt B an d and W in d O rc h estra ; N u m b e r o f W o rk s W ritte n fo r C h a m b e r W in d E n se m b le ; W ith d ra w n, L o st, In c o m p le te an d J a z z W o rk s; a n d th e T o ta l N u m b e r o f W in d W o r k s T o tal N u m b e r o f A n n o ta te d W o rk s fo r C o n c e rt B an d and W in d O rc h estra, L iste d in D e sc e n d in g O rd er, C o m p a re d w ith T o ta l N u m b e r o f W in d W o r k s T o ta l N u m b e r o f W o rk s fo r C h a m b e r W in d E n sem b le, L iste d in D e sc e n d in g O rd e r, C o m p a re d w ith T o tal N u m b e r o f W in d W o r k s T o tal N u m b e r o f W in d W o rk s L iste d in D e sc en d in g O r d e r W ith d ra w n W o rk s fo r C o n c e rt B a n d a n d W in d O r c h e s tr a S e le c tiv e L ist o f W o rk s fo r C o n c e rt B an d a n d W in d O rc h e stra b y C o m p o se rs A w a rd e d th e P u litz e r P riz e in M u sic vi

10 1 C H A P T E R I IN T R O D U C T IO N, P U R P O S E O F T H E S T U D Y A N D P R O C E D U R E S

11 2 Introduction T h e P u litz e r P riz e is a rg u a b ly o n e o f o u r n a tio n 's m o s t p re s tig io u s a n d c o v e te d h o n o rs a w a rd e d a n n u a lly in th e fie ld o f m u sic. T h e fo rty -tw o m u sic ia n s w h o h a v e re c e iv e d th e P u litz e r P riz e in M u sic d u rin g its first fifty y ears o f e x iste n c e ( ) fo rm a c o lle c tiv e b o d y re p re se n tin g m a n y o f A m e ric a 's m o st h ig h ly re g a rd e d tw e n tie th c e n tu ry c o m p o se rs. A ll h a v e w ritte n w o rk s th a t w o u ld b e o f in te re s t to th o se in v o lv e d w ith th e s tu d y a n d p e rfo rm a n c e o f c o n c e rt b a n d an d w in d e n se m b le lite ra tu re. A n o n g o in g c o n c e rn in th e w in d b a n d fie ld is th e e sta b lish m e n t o f a b o d y o f q u ality lite ra tu re fo r w in d b a n d s a n d e n se m b le s. B a ttisti c o m m e n ts, "T h e id e n tific a tio n o f th e p ie c e s in th is b o d y o f lite ra tu re; a ssistin g b a n d d ire c to rs/c o n d u c to rs in b e c o m in g a cq u a in te d w ith it a n d th e n p e rfo rm in g it is o n e o f o u r m a in c o n c e rn s."1 T h e re p e rto ire fo r c o n c e rt b a n d a n d w in d e n se m b le h a s b e e n an d still is c o n sid e re d b y m a n y in p ro fe s sio n a l c irc le s to b e second rate. H o rw o o d, th e e d ito r o f th e B ritis h b a n d jo u rn a l W IN D S, s h e d s so m e lig h t on th is situ a tio n w ith th e statem e n t, "A h ig h ly re g a rd e d B ritish m ilita ry m u sic ia n re c en tly w ro te 'I h a v e alw a y s k n o w n th e "g reat" w o rk s fo r b a n d w e re b u t c ru m b s fro m ric h m e n 's ta b le s a n d n o t to b e s e rio u sly ra n k e d w ith g re a t w o rk s o f a rt.'"2 G u n th e r S c h u lle r, h im s e lf a P u litz e r P riz e in M u sic re c ip ie n t in 1994, e x p re ssed a related c o n c e rn a b o u t th e m e d iu m in h is a d d re ss a t th e 1981 C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n N a tio n a l C o n fe re n ce: It b o th e rs m e e n o rm o u sly th a t th e w in d e n se m b le an d b a n d m e d iu m is n o t y e t p e rc e iv e d b y o u r c u ltu re, b y o u r m u sic a l e sta b lish m e n t a n d b y o u r ta stem a k e rs and c u ltu ra l le a d ers a s an im p o rtan t, v iable, a n d in te g ra l p a rt o f th is c o u n try 's m u sic a l life. T h e re is fa r to o m u c h ig n o ra n c e a n d p re ju d ic e 1 F ra n k B a ttisti, "R e p e rto ire E v e ry o n e s C o n cern," W IN D S, IV /1 (sp rin g ), W a lly H o rw o o d, "T h e B a ttisti In te rv ie w 3: W e N e e d C ritic s," W IN D S, V II/3 (a u tu m n, ), 18.

12 3 a g a in st th is fie ld, th e b an d, a m isp e rc e p tio n th a t I b e lie v e c a n b e c o m b a tte d m o re e ffe c tiv e ly th a n h a s b e e n d o n e th u s fa r.3 In an a rtic le su m m a riz in g th e d e v e lo p m e n t o f th e w in d b a n d re p e rto ire in th e U n ite d S ta te s d u rin g th e p a st c e n tu ry, H u n sb e rg e r e m p h a siz e d th e im p o rta n t ro le o f th is e m e rg in g re p e rto ire w ith th e fo llo w in g c o n clu sio n s: W h a t w e m a y d ra w fro m th is sk etc h in a p o sitiv e m a n n e r lie s in th e fa c t th a t e v e ry p e rio d o f h isto ry m a y b e m e a su re d b y th e q u a lity o f its a rt a n d its lite ra tu re. W e a re n o w in th e w in d b a n d 's m o s t c re a tiv e p e rio d ev er, a fa c t th a t m a y b e a ttrib u te d in p a rt to a c h a n g e in p h ilo so p h y a c h a n g e in e m p h a sis in w h ic h th e b a n d its e lf h a s c e a sed to b e th e c e n te r o f a ttra c tio n th e m e ssa g e, so to s p e a k w ith th e b o rro w e d tra n scrib e d re p e rto ire a n d o c c a sio n a l p ie c e s se rv in g as th e m e d iu m fo r th e m e ssa g e. N o w th e m u sic is th e m e ssa g e a n d th e p e rfo rm in g e n se m b le serv e s as th e m e d iu m to p ro c la im th e m e s s a g e.4 R e c e n t e ffo rts to e x p a n d an d u p g ra d e c o n c e rt b a n d a n d w in d e n se m b le re p e rto ire te n d e ith e r to lo o k b a c k to p re v io u s e ra s fo r so u rc es o f "new " m u sic o r tu rn to c o m m issio n in g p ro je c ts. S ir D a v id W h itw e ll's e x te n siv e sch o la rly w o rk in u n c o v e rin g e a rly w in d w o rk s a n d c o n se q u e n tly c re a tin g m o d e m e d itio n s p ro v id e s a stro n g illu stra tio n o f th e fo rm er. T h e la tte r is a m p ly re p re se n te d b y th e c o m m issio n in g p ro je c ts o f th e A m e ric a n W in d S y m p h o n y, th e v a rio u s U n ite d S ta te s serv ic e b a n d s, o rg a n iz a tio n s s u c h as th e A m e ric an B a n d m a ste rs A sso c ia tio n and th e C o lle g e B an d D ire c to rs N a tio n a l A sso c ia tio n, a n d n u m e ro u s u n iv e rsitie s a n d h ig h sch o o ls. In th e c o lu m n "B an d S tan d : A F o ru m fo r P e rso n a l B e liefs," F o s te r e n th u sia stic a lly p o in te d out:... I th in k th a t as b a n d d ire c to rs it is e x c itin g to r e a liz e... if w e c an c o n tin u e to d e v elo p a g re a te r b an d re p e rto ire b y e n co u rag in g o u r g re a te st c o m p o se rs to w rite fo r b a n d s a n d th e n e n c o u ra g in g p e o p le to p la y th is b e tte r lite ra tu re, w e h a v e th e o p p o rtu n ity to d ro p o u r se c o n d -c la ss sta tu s, a n d to ^ G u n th e r S c h u lle r, "G u n th e r S c h u lle r A d d re ss A t T h e C B D N A N a tio n a l C o n fe re n c e, F e b ru a ry, 13, , A n n A rb o r, M ic h ig a n," C B D N A J o u r n a l, V (w in te r, ), [h is ita lic s] ^ D o n a ld H u n sb e rg e r, "K eep th e P e n d u lu m S w in g in g," W IN D S, V /2 (su m m e r, ), 5.

13 4 e sta b lish th e b a n d as th e p re m ie r p e rfo rm in g e n se m b le n o t o n ly in o u r sc h o o ls and in th is c o u n try, b u t th ro u g h o u t th e w o rld.5 A p ro je c t in v o lv e d w ith d e fin in g th is b o d y o f lite ra tu re an d p ro v id in g a n e ffe c tiv e so u rc e o f in fo rm a tio n a b o u t it seem s to b e a n a p p ro p ria te re sp o n se to th is p e rc e iv e d c a ll fo r actio n. In a c o m m e n c e m e n t a d d re ss a t B ro o k ly n C o lle g e in , A a ro n C o p la n d s p o k e o f th e re la tio n sh ip b e tw e e n so cie ty and th e a rtist, a n d o f th e v ital ro le th e c re a tiv e a rtist p la y s as a sp o k e sp e rso n fo r so ciety : H is im p o rta n c e to so c ie ty, in th e d e e p e s t sen se, is th a t th e w o rk h e d o es g iv e s su b sta n c e a n d m e a n in g to life as w e liv e it... O b v io u sly, w e d e p e n d o n th e g re a t w o rk s o f th e p a st fo r m a n y o f o u r m o st p ro fo u n d a rtistic e x p e rie n c e s, b u t n o t e v e n th e g re a te st s y m p h o n y o f B e e th o v e n o r th e g re a te st c a n ta ta o f B a c h c a n say w h a t w e c a n say ab o u t o u r tim e a n d o u r o w n life... It's n o t a q u e stio n o f s im p ly d e p e n d in g o n th e g re a t w o rk s o f th e p a st th e y a re w o n d e rfu l a n d c h e rish a b le, b u t th a t's n o t e n o u g h. W e as a n a tio n m u st b e ab le to p u t d o w n in te rm s o f art w h a t it feels to b e aliv e n o w, in o u r o w n tim e, in o u r o w n c o u n try..,6 T h o s e c o n cern e d w ith th e fu tu re o f b a n d s sh o u ld also e n su re th a t th e lite ra tu re p re sen tly a v ailab le fro m so m e o f th e m o st h ig h ly re sp ecte d A m e ric an co m p o se rs o f o u r tim e is also w e ll k n o w n. T h is stu d y w ill m a k e a p p a re n t th e la rg e b o d y o f e x ta n t lite ra tu re fo r c o n c e rt b a n d an d w in d e n se m b le s w ritte n b y th e c o m p o se rs a w a rd e d th e P u litz e r P riz e in M u sic. T h e stu d y w ill aid in d isse m in a tin g in fo rm a tio n to in te re sted p a rtie s a n d serv e to su p p o rt th e w o rk o f th e se c o m p o se rs " o f o u r tim e " b y w a y o f en c o u ra g in g in -d e p th s tu d y a n d p e rfo rm a n c e. In re c e n t y e ars, m a n y P u litz e r P riz e c o m p o se rs e.g. K a re l H u sa, M ic h a e l C o lg ra s s, Jo se p h S c h w a n tn e r, N o rm a n D e llo Jo io, E lle n T a a ffe Z w ilic h, Jo h n H a rb iso n, W a y n e P e te rso n, B e rn a rd R a n d s a n d C h a rle s W u o rin e n h a v e w ritte n m a jo r 5 R o b e rt E. F o ste r, "T h e E n s e m b le o f th e F u tu re," B D G u id e, II/4 (M a rc h /A p ril, ), A a ro n C o p la n d, c ite d in H. W ile y H itc h c o c k, "A a ro n C o p la n d," P e rsp e c tiv e s o f N e w M u sic, X IX ( ), [h is ita lic s]

14 5 c o m p o sitio n s fo r th e m e d iu m. O stlin g fo u n d th a t c o m p o se rs aw a rd e d th e P u litz e r P riz e w e re w ritin g w o rk s o f se rio u s a rtistic m e rit fo r w in d s.7 In G ilb e rt's re p lic a tio n a n d u p d a te o f th e O stlin g stu d y, th irty -tw o o f th e 191 w o rk s (1 6.7 % ) e v a lu a te d as h a v in g serio u s a rtistic m e rit w e re c o m p o se d b y P u litz e r P riz e c o m p o se rs.8 T h re e c h a m b e r w o rk s fe a tu rin g w in d s a lo n e o r in c o m b in a tio n w ith so lo strin g in stru m e n ts, p ia n o a n d /o r p e rc u ssio n h a v e b e e n a w a rd e d th e P u litz e r P riz e in M u sic : D o n a ld M a rtin o 's N o ttu m o w as a w a rd e d th e P u litz e r P riz e in , B e rn a rd R a n d 's C a n ti d e l S o le in 1984, a n d G e o rg e P e rle 's W in d Q u in te t N o. 4 in In re sp o n se to g re a t in te re s t fro m th e b a n d fie ld, M ic h a e l C o lg ra ss tra n scrib e d h is 1978 P u litz e r P riz e w in n in g w o rk D e ja V u (a p iece o rig in a lly c o m p o se d fo r fo u r so lo p e rc u ssio n ists a n d o rc h e stra) fo r w in d e n se m b le, w h ile re ta in in g th e sam e so lo ist re q u ire m e n ts.9 T h e w o rk p re sen tly re c e iv e s ro u g h ly a n e q u a l n u m b e r o f p e rfo rm a n c e s b y w in d e n se m b le s a n d o rc h e stra s.10 I t c a n b e se e n th a t th e se c o m p o se rs h ave a b ly tu rn e d to th e c o n c e rt b a n d /w in d e n se m b le m e d iu m to artistic a lly e x p re ss th e m selv e s a n d th e se e ffo rts h a v e b e en re c o g n iz e d b y a w a rd ju rie s a n d m u sic s c h o la rs alik e as re p re se n tin g so m e o f th e c o m p o se rs ' fin e s t e ffo rts. C re a tiv e w o rk o f th e h ig h e s t o rd e r is ra re ly a s e m in e n tly a ccla im e d in th e U n ite d S tates, p u b lic ly o r p ro fe ssio n a lly, as th e a c k n o w le d g e m e n t in h e re n t in th e re c eiv in g o f a P u litz e r P rize. ^ A c to n E. O stlin g, Jr., "A n E v a lu a tio n o f W in d B an d L ite ra tu re A c c o rd in g to S p e c ific C rite ria o f S e rio u s A rtistic M erit" (u n p u b lish e d P h D d isse rta tio n, T h e U n iv e rsity o f Io w a, ), , , 167, ^ Jay W. G ilb e rt, "A n E v a lu a tio n o f C o m p o sitio n s fo r W in d B a n d A c c o rd in g to S p e c ific C rite ria o f S erio u s A rtistic M erit: A R e p lic a tio n and U p d a te" (u n p u b lish ed D M d is s e rta tio n, N o rth w e ste rn U n iv e rs ity, 1993), ^ T h e w in d e n se m b le v e rsio n o f D e ja V u w a s c o m m issio n e d b y th e M id A m e ric a n C o n fe re n c e B an d D ire c to r's A sso c ia tio n in 1986 and p re m ie re d in lo W ritte n c o rre sp o n d e n c e w ith A rth u r C o h n, C a rl F isc h e r, In c. R e n ta l L ib ra ry, A u g u s t 2 9, 1995.

15 6 The Pulitzer Prize in Music T h e P u litz e r P riz e in M u sic is w id e ly re c o g n ized as o n e o f th e p re m ie r c o m p e titiv e a w a rd s in th e arts. T h e g e n e ra l p u b lic 's p e rc e p tio n o f th e P u litz e r P riz e s is p e rh a p s b e st illu stra te d in a stan d a rd e n c y c lo p a e d ic d efin itio n. T h e e n try o n th e P u litz e r P riz e in th e 1981 A c a d e m ic A m e r ic a n E n c y c lo p e d ia o p e n s w ith th e sta te m e n t "A w a rd e d e a c h sp rin g in th e U n ite d S ta te s fo r e x c e lle n c e in jo u rn a lis m, le tte rs a n d m u sic, th e P u litz e r P rizes are p re s tig io u s a n d h ig h ly c o v e te d sy m b o ls o f su c c e ss in th e d e sig n a te d fie ld s." 11 In sig h t as to h o w a w in n in g c o m p o s e r p e rc e iv e s th e p riz e c an b e fo u n d in a re c e n t te le v isio n d o c u m e n ta ry a b o u t Jo h n H a rb iso n, th e 1987 re c ip ie n t fo r h is c a n ta ta, F lig h t in to E g y p t. T h e 3 0 m in u te p ro d u c tio n c o n ta in e d a se g m e n t w h e re H a rb is o n a n d h is w ife R o se m a ry d iscu ssed w h a t it w a s lik e in th e first fe w d a y s fo llo w in g th e a n n o u n c e m e n t th a t h e w a s a w a rd e d th e p riz e. T h e te le g ra m fro m C o lu m b ia U n iv e rsity P re s id e n t M ic h a e l I. S o v e m is sh o w n, sim p ly sta tin g "Y o u w e re a w a rd e d th e P u litz e r M u sic P riz e to d a y, c o n g ra tu la tio n s." 12 O v e r a m o n ta g e o f im a g e s, in c lu d in g c o n g ra tu la to ry te le g ra m s a n d le tte rs fro m c o lle a g u e s a cro ss th e p ro fe ssio n a l m u sic scene, h is T im e m a g a z in e fe a tu re artic le, an d a p h o to o f th e c o m p o se r rid in g in a c o n v ertib le as th e g ra n d m a rsh a ll o f an u n id e n tifie d p a ra d e, J o h n H a rb iso n o ffe re d th e fo llo w in g c o m m e n t a b o u t th e p rize: "It m e a n s a lo t o f g o o d lu c k an d it m e a n s a lo t o f c a re e r h e lp, b u t it c e rta in ly is n o t so m e so rt o f g lo rio u s o b je c tiv e sta n d a rd," to w h ic h R o se m a ry re p lie d "It's ju s t a lo t o f fu n and p e o p le tre a t y o u s o m e w h a t d iffe re n tly. I d id lo v e fo u r d a y s o f n o n -sto p e u p h o ria. I w o u ld n 't m in d th a t a g ain, th a n k y o u v e ry m u c h. T h a t w a s g r e a t!"13 ^ ^ D o n a ld H. Jo h n sto n, " P u litz e r P rize," A c a d e m ic A m e r ic a n E n c y c lo p e d ia, Vol. X V (P rin c e to n, N e w Jerse y : A re te P u b lic a tio n s C o m p a n y, ), l^ L in d a C a rte r, p ro d u c e r, "Jo h n H a rb iso n : A C o m p o se r's V o ic e," (M a d iso n : W isc o n s in E d u c a tio n a l C o m m u n ic a tio n s B o a rd a n d th e B o a rd o f R e g e n ts, U n iv e rsity o f W is c o n s in S y ste m, 1994). 13 Ibid.

16 7 E sta b lish e d in 1917 as a re s u lt o f a b e q u e s t to C o lu m b ia U n iv e rsity b y th e n o te d H u n g a ria n -A m e ric a n n e w sp a p e r p u b lis h e r a n d e d ito r Jo se p h P u litz e r ( ), th e p riz e s w e re first a w ard e d in th a t sam e year. T h e p riz e s are b e sto w e d b y th e tru ste e s o f th e u n iv e rsity u p o n th e re c o m m e n d a tio n s o f an A d v is o ry B o ard. Ju rie s a p p o in te d b y th e u n iv e rsity p re s e n t th e ir fin d in g s to th e b o a rd fo r a ctio n in e a c h o f th e d e sig n a te d c ateg o ries o f e n d e a v o r. In h is w ill, P u litz e r le ft $ 2,0 0 0,0 0 0 to th e u n iv e rsity a s seed m o n e y to e sta b lish a S c h o o l o f Jo u rn a lism. H e s tip u la te d th a t th e in c o m e o f $ 5 0 0,0 0 0 o f th e to ta l sh o u ld be u sed to m a in ta in a n n u al p riz e s and sch o la rsh ip s fo r th e a d v a n c e m e n t o f jo u rn a lis m, p u b lic serv ic e a n d m o ra ls, e d u c a tio n an d le tte rs, a n d h a d in d ic a te d fo u r jo u rn a lis m aw a rd s and fo u r fo r letters. S in c e th e n, th e A d v iso ry B o a rd h a s a d d e d n e w c a te g o rie s and re v ised s o m e o f th e w o rd in g ; fo r e x a m p le, a w a rd s a re n o w g iv e n fo r " d istin g u ish e d," ra th e r th a n th e "best" w o rk in a p a rtic u la r c a te g o ry.14 A t first, th e fie ld o f m u sic w a s su p p o rte d b y a n a n n u al "tra v e lin g sch o la rsh ip " o f $ 1,5 0 0, g iv e n to a stu d e n t o f m u sic in th e U n ite d S ta te s to fu n d fu rth e r stu d y in E u ro p e. T h e u n iv e rsity ap p ro v e d th e A d v iso ry B o a rd 's p ro p o sa l to a d d a P u litz e r P riz e in M u sic in 1943 a n d W illia m S c h u m a n w a s its first re c ip ie n t. S in c e 1970, th e re h a s b e e n a n ad d itio n a l jo u rn a lis m a w ard in th e fie ld o f critic ism, fo r w h ic h m u sic c ritic s, a m o n g o th e r w rite rs o n th e a rts, a re e lig ib le. Jo h n H o h e n b e rg, c o n sid e re d an au th o rity o n Jo se p h P u litz e r, th e h is to ry o f th e P u litz e r P rize, its re c ip ie n ts a n d th e c re a tiv e w o rk s h o n o re d, h a s w ritte n th e tw o m o s t c o m p re h e n s iv e te x ts w h ic h fo c u s o n th e p riz e. H is m o re re c en t w o rk, T h e P u litz e r P rizes: A H is to r y o f the A w a r d s in B o o ks, D ra m a, M u sic, a n d J o u rn a lism, B a s e d o n th e P riv a te 14J o h n s to n, op. c it.,

17 8 F ile s o v e r S ix D e c a d e s g a v e b a c k g ro u n d in fo rm a tio n on th e a w ard s m a d e in a ll categ o ries fro m 1943 to A lso d e sc rib e d a t le n g th w e re th e c o m p o se rs, th e ir w in n in g w o rk s, a n d th e p e rfo rm e rs an d n o m in a tin g p a rtie s in v o lv e d, as w e ll a s (in m a n y in sta n c e s) th e ju ry m e m b e rs w h o m a d e th e d e te rm in a tio n s. L ig h t is sh e d u p o n th e y e a rs w h e n n o aw a rd s w e re m a d e in m u s ic ( , a n d 1965; n o a w a rd w a s m a d e in , sev e n y e a rs after th is b o o k w a s w ritte n ).15 H o h e n b e rg 's e a rlie r w o rk, T he P u litze r P r iz e S to ry, c o n ta in e d a d e ta ile d a c c o u n t o f th e in itia l b e q u e st fro m P u litz e r a n d th e e sta b lish m e n t o f th e m e c h a n ism s n e c e ssa ry to fairly a n d p ro p e rly d e te rm in e re c ip ie n ts and adm in istra te th e e n tire a w a rd p ro c e ss.16 Its th ird a p p e n d ix p re sen te d th e "P lan fo r th e A w a rd o f th e P u litz e r P rizes," w h ic h c o n ta in e d sp ecific in fo rm a tio n c o n cern in g th e p riz e in m u sic ; "T h e fo llo w in g a w a rd w ill b e m a d e a n n u a lly as a P riz e in M u sic; F o r d istin g u ish e d m u s ic a l c o m p o sitio n in th e la rg e r fo rm s o f c h a m b e r, o rc h e stral, o r c h o ra l m u sic, o r fo r a n o p e ra tic w o rk (in c lu d in g b a lle t), p e rfo rm e d o r p u b lish e d d u rin g th e y e a r b y a c o m p o se r o f e sta b lish e d re sid e n c e in th e U n ite d S ta te s." 17 In 1977 th e re sid e n c y c la u se w a s c h a n g e d to read "b y a n A m e ric a n." H a rlo w p re sen te d an in te re stin g o v e rv ie w o f th e p rizes in h is 1968 a rtic le "T w en ty - F iv e Y e a rs o f th e P u litz e rs fo r M u sic " in w h ic h h e a tte m p te d to a sse ss th e m e rit o f th e p riz e in te rm s o f th e "la stin g p o w e r" o f th e w in n in g w o rk s. F o r e a c h w o rk h e d o c u m e n te d th e c o m m e rc ia l re c o rd in g s issu e d a n d th o se w h ic h w e re still av ailab le fo r p u rc h a se, in ad d itio n to th e n u m b e r o f p e rfo rm a n c e s th e w o rk re c e iv e d d u rin g th e c o n c e rt seaso n, as 15John H o h e n b e rg, T he P u litz e r P rizes: A H is to r y o f th e A w a r d s in B o o ks, D ra m a, M u sic, a n d J o u rn a lism, B a s e d o n the P riv a te F iles o v e r S ix D e c a d e s (N e w Y o rk : C o lu m b ia U n iv e rs ity P re ss, 1974). l^ J o h n H o h e n b e rg, T he P u litz e r P rize S to ry (N e w Y o rk : C o lu m b ia U n iv e rsity P re s s, ). W lb id.,

18 9 re p o rte d in th e B M I O rc h e stra l P r o g r a m S u rvey. H e fo u n d th a t so m e w o rk s w e re " im m e d ia te ly re c o g n iz a b le as 'su re w in n e rs,' as 'sta n d a rd ' as th e A m e ric a n re p e rto ry c o n ta in s. O th e rs are b a re ly re c o lle c ta b le fo r a n e x p e rt." 18 T h e a rtic le a lso re v ie w s th e p ro c e d u re s in v o lv e d in n o m in a tin g and a d ju d ic a tin g w o rk s fo r th e p riz e, a n d o ffers s u g g e stio n s fo r im p ro v in g th e e n tire p ro c e ss. W o rk s are g e n e ra lly n o m in a te d fo r c o n sid e ra tio n b y p e rfo rm in g g ro u p s, c o n d u c to rs a n d p u b lish e rs, a n d a re u su a lly n o t self-n o m in a te d. Q u a lifie d w o rk s a re th o se w h ic h re c e iv e th e ir A m e ric a n p re m ie re d u rin g th e y e a r fro m th e p rev io u s A p ril 1 to M a rc h 31 o f th e y e a r o f th e a w ard, a p e rio d o f tim e w h ic h c o m p rise s th e a c c e p te d o p e n in g a n d c lo sin g d a te s fo r th e th e a te r a n d m u sic seaso n s in th e U n ite d S tates. T h e n o m in a tio n is m a d e b y su b m ittin g a c o m p le te d n o m in a tio n fo rm, in fo rm a tio n co n cern in g p la c e a n d d a te o f p e rfo rm a n c e, a c o p y o f th e sco re a n d a re c o rd in g o f th e p ie c e w h e n re q u ire d, a n d an a g re e m e n t fro m th e p e rfo rm in g g ro u p to allo w th e A d v iso ry B o a rd, a t its d iscre tio n, to p u rc h a se tic k e ts fo r re v ie w in g a liv e p e rfo rm a n c e o f th e n o m in a te d w o rk.19 A c o m p o se r m a y re c e iv e th e p riz e m o re th a n o n c e a n d th e u n iv e rsity tru stees re serv e th e rig h t to n o t g ra n t an aw ard. T h e a n tic ip a tio n in m u sic a l c irc le s m o u n ts a n n u a lly as th e first M o n d a y o f M a y is a p p ro a c h e d, fo r th is is th e d a y w h e n th e w in n in g w o rk a n d its c o m p o s e r a re a n n o u n c e d. O n ly fo rty -tw o c o m p o se rs re c e iv e d th e P u litz e r P rize in M u sic d u rin g its first fifty y e a rs o f ex isten c e. F o u r c o m p o se rs re c e iv e d th e p riz e tw ic e d u rin g th is p e rio d : S a m u e l B a rb e r, E llio tt C a rte r, G ia n C a rlo M en o tti, and W a lte r P isto n. F o u r tim e s a d e c isio n w as re a c h e d to m a k e no aw ard. L e w is A. H a rlo w, " T w e n ty -F iv e Y e a rs o f th e P u litz e rs fo r M u sic," S a tu rd a y R e v ie w, (A p ril 2 7, ), 6 8. ^ C h r is to p h e r P a v la k is, T h e A m e r ic a n M u s ic H a n d b o o k. (N e w Y o rk : T h e F re e P re s s, ),

19 10 A h ig h ly c o n tro v e rsia l d e cisio n w ith in th e h isto ry o f th e P u litz e r P riz e in M u sic o c c u re d in 1992, w h e n th e P u litz e r b o a rd a w a rd e d th e p riz e to W a y n e P e te rs o n fo r h is o rc h e stra l w o rk, T h e F a c e o f th e N ig h t, th e H e a r t o f th e D a rk, o v e r th e m u s ic ju ry 's u n a n im o u s d e cisio n to a w a rd it to R a lp h S h a p e y fo r h is C o n certo F a n ta stiq u e. In a n article in T h e N e w Y o rk T im e s re c o u n tin g th e c o n tro v e rs y, R o th ste in e x a m in e d th e a w a rd p ro c e ss in g e n e ra l a n d th e 1992 d e c isio n in p a rtic u la r. H e p re sen te d th e re a so n in g b e h in d b o th th e A d v is o ry B o a rd 's and th e ju ry 's actio n s, a n d in c lu d e d tw o p a ra g ra p h s w h ic h s p e a k stro n g ly a n d d ire c tly to th e statu s o f th e P u litz e r P riz e in M u sic a m o n g to d a y 's m u sic a l c o m m u n ity. T h e issu e is in tricate. B u t th e P u litz e r P riz e in m u sic is n o t b a se d o n p o p u la rity. It is a p ro fe ssio n a l a w ard c ertify in g a h ig h le v e l o f a ch iev e m e n t. Its tra c k re c o rd is a sto n ish in g ; it h a s m isse d fe w e r n o ta b le a n d h o n o re d fe w e r c lin k e rs th a n th e N o b e l P riz e in lite r a tu r e.... T h e m u sic p riz e m a rk s a c o m p o se r's e n try in to a p a rtic u la r trad itio n. T h a t tra d itio n is p a rtly in su re d b y u sin g ju ro rs w h o h a v e p re v io u sly b e e n w in n e rs. S in c e 1982, su c h ju ro r s h a v e in c lu d e d : C h a rle s W u o rin e n, D o m in ic k A rg e n to, R ic h a rd W e m ic k, L e o n K irc h n e r, R o b e rt W a rd, Jaco b D ru c k m a n, M ilto n B a b b itt [re c ip ie n t o f a sp e c ia l citatio n ], Jo se p h S c h w a n tn e r, W illia m S c h u m a n, E lle n T a a ffe Z w ilich, D o n a ld M a rtin o, [R o g er] R e y n o ld s a n d [G e o rg e ] P e rle. F o r all th e sty listic v a rie ty su g g e ste d b y th e se n a m e s, th e y d e m a rc a te a m o d e m tra d itio n o f serio u s c o m p o sitio n, w ith in w h ic h th e P u litz e r P riz e re m a in s th e h ig h e st p ro fe ssio n a l h o n o r; it c o n fe rs th e h ig h e st p u b lic h o n o r as w e ll.20 B ein g n a m e d a re c ip ie n t o f th e P u litz e r P riz e in M u sic ty p ic a lly b rin g s in c re ase d o p p o rtu n ity as a c o m p o se r in ad d itio n to th e m u c h d e se rv e d c ritic a l acc la im. In a fe a tu re a rticle o n th e fin an cially d iffic u lt c a re e r o f p riz e re c ip ie n t Jo h n L a M o n ta in e, W ein tra u b in d ic a te d " O f co u rse, h a v in g w o n th e 1959 P u litiz e r P riz e fo r c o m p o sitio n h a sn 't h u rt. A t th e tim e he [L am o n tain e] th o u g h t th e p rize d id n 't m a k e a d ifferen ce, b u t sin c e th e n h e h as n e v e r b een w ith o u t a c o m m is sio n."21 * T h e y o u n g e st m u sic ian to h a v e re c e iv e d th e p riz e ^ E d w a r d R o th ste in, "In T h e F ra c a s O v e r a P riz e, N o O n e W o n," T h e N e w Y o rk T im es, (A p ril 19, ), S e c tio n T w o, p 2 5. ' 21 E ric a B eth W e in tra u b, "L ife o n th e E d g e," M u s ic E d u c a to rs J o u rn a l, L X IX /7 (M a rc h, ), 4 1.

20 11 w a s C h a rle s W u o rin e n, w h o a t th e a g e o f 3 2 h a d a lre a d y e sta b lish e d h im s e lf as a p ro m in e n t, y o u n g A m e ric a n c o m p o se r. In h is b io -b ib lio g ra p h y o n W u o rin e n, B u rb a n k p o in te d o u t "In p a rtic lu a r, th e P u litz e r P riz e h a d g iv e n h im th e re c o g n itio n it ty p ic a lly b rin g s its w in n ers: n a tio n a l e x p o su re, in v ita tio n s to jo in te a c h in g fa c u ltie s o f p ro m in e n t u n iv e rsitie s a n d c o lle g e s, and, m o s t im p o rta n tly, co m m issio n s to c o m p o se m u s ic a l w o rk s fo r m a jo r s y m p h o n y o rc h e stra s a n d e n s e m b le s."22 L o o k in g b a c k u p o n th e P u litz e r P riz e s in M u sic to w a rd th e e n d o f 1972, A a ro n C o p la n d w ro te : "A s I lo o k d o w n th e list, I s e e n o n a m e o f a c o m p o se r w h o is n o t w e ll k n o w n, a n d c e rta in ly su ffic ie n tly p la y e d. In o th e r w o rd s, th e re a re n o b ra n d n e w d isco v e rie s h ith e rto u n h e a rd o f b e fo re b e in g c ro w n e d w ith a P u litz e r. T h is w o u ld seem to in d ic a te th a t a c o m p o se r's g e n eral re p u ta tio n m a y p u t h im in a fa v o ra b le lig h t w h e n b e in g c o n sid e re d b y his p e e rs."23 T h e m u sic ia n s w h o h a v e b e en a w a rd e d th e P u litz e r P riz e in M u sic d o in d e e d m a k e u p a c o lle c tiv e b o d y re p re se n tin g m a n y o f o u r n a tio n 's m o s t d istin g u ish e d c o m p o se rs. O n e sh o u ld n o t c o n s id e r th is c o lle c tio n to b e a d e fin itiv e, allin c lu siv e listin g o f th e fin e st A m e ric a n c o m p o se rs o f th e tw e n tie th c e n tu ry, h o w e v e r. G iv e n th e fa c t th a t o n ly o n e a w ard is to b e p re sen te d e a c h y e a r fo r a w o rk p re m ie re d th a t p re c e d in g seaso n, as w ell as th e p o litical n a tu re o f th e n o m in a tin g a n d re v ie w p ro c e ss, it is in e v ita b le th a t so m e c o m p o se rs h a v e b e e n o v e rlo o k e d. N o ta b le c o m p o se rs su c h as Ig o r S tra v in sk y, P a u l H in d e m ith, A rn o ld S c h o e n b e rg a n d L e o n a rd B e rn ste in p a sse d a w a y w ith o u t re c e iv in g th e h o n o r. N o tw ith sta n d in g th e se fe w n o ta b le e x c lu sio n s, th o se c o m p o se rs w h o h a v e b e en a w ard e d th e p riz e n e v e rth e le ss m a k e u p a v e rita b le "W h o 's 2 2 R ic h a rd. D. B u rb a n k, C h a rle s W u o rin e n : A B io -B ib lio g ra p h y (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1994), Jo h n H o h e n b e rg, T h e P u litz e r P rizes: A H is to ry o f th e A w a r d s in B o o k s, D ra m a, M u sic, a n d J o u rn a lism, B a s e d o n the P riv a te F iles o v e r S ix D e c a d e s (N ew Y ork: C o lu m b ia U n iv e rs ity P re ss, ),

21 12 W h o " o f A m e ric a n c o m p o se rs o f th e la s t 100 y e a rs a n d p ro v id e th is stu d y w ith a su b sta n tia l c a ta lo g o f w in d w o rk s to e x p lo re. Need for the Study M an y p ro fe ssio n a l m u sic asso c iatio n s h a v e d e m o n stra ted tim e a n d tim e a g ain th e n e e d fo r e x p a n d in g th e c o n c e rt b a n d /w in d e n se m b le re p e rto ire a n d re p o rtin g in fo rm a tio n c o n c e rn in g re p e rto ire to in te re sted p arties. F itz g e ra ld, in a p a p e r p re sen te d n e arly fifty y e a rs a g o b e fo re th e 1949 N a tio n a l C o n fe re n c e o f th e C B D N A, s ta te d "...th e tim e h as c o m e w h e n w e m u s t sto p le a n in g u p o n th e o rc h e stra so h e a v ily, a n d sta rt d e v e lo p in g a re p e rto ry o f b a n d m u s ic b y c o n te m p o ra ry c o m p o s e rs."24 H e g o e s o n to say: T h e u ltim ate g o al is to c ap ita liz e u p o n th e b e st re p e rto ry o f b o th o ld a n d n e w m u sic, c e rta in ly n o t to a b a n d o n th e o ld fo r th e n ew. T h e p ro c e ss is b o u n d to b e a la b o rio u s o n e in v o lv in g m u c h s iftin g o f m u sic m a te ria ls, b u t it is ab so lu tely n e c e ssa ry if th e c o n c e rt b a n d is to b e re g a rd e d a s a re sp ecte d m ed iu m o f m u sic a l e x p re ssio n ra th e r th a n as a m isc e lla n e o u s g ro u p o f w in d in stru m e n ta lists w h o a tte m p t to p e rfo rm o rc h e stra l m u s ic.25 T h e ty p e o f stu d y p ro p o sed h ere, c a lle d fo r b y th e A m e ric a n B a n d m a ste rs A sso c ia tio n R e se a rc h C o m m itte e as a su g g e ste d re searc h to p ic, w ill serv e th is n e ed by p ro v id in g a re so u rc e to in te re ste d p a rtie s w h ic h w ill b rin g to lig h t w o rk s o f w h ic h th e y w e re p e rh a p s u n a w a re.26 It w ill aid in th e "siftin g " p ro c e ss c a lle d fo r b y F itzg e ra ld. W ritin g in 1965, W h itw e ll d e sc rib e d th re e c risis p e rio d s in th e d e v e lo p m e n t o f tw e n tie th -c e n tu ry w in d b a n d lite ra tu re. W ith in e a c h p erio d, c o m p o se rs w e re a ctiv e in w ritin g sig n ific a n t w in d lite ra tu re, o n ly to b e m e t w ith an a p p a re n t d isin te re st o n th e p a rt o f ^ B e r n a r d F itz g e ra ld, "T h e M u sic o f th e C o n c e rt B an d," a p a p e r p re sen te d to th e N a tio n a l C o n fe re n c e o f th e C o lle g e B an d D ire c to rs N a tio n a l A sso c ia tio n, c ite d in The C o lle g e a n d U n iv ersity B and,. D a v id W h itw e ll and A c to n O stlin g, Jr., e d ito rs (R e sto n, V irg in ia : M u sic E d u c a to rs N a tio n a l C o n fe re n c e, 1977), Ib id., A rth u r L. W illia m s, "B an d R e s e a rc h T o p ic s S u g g e ste d fo r G ra d u a te S tu d y," J o u r n a l o f B a n d R e s e a r c h, V I E 1 (F all, 1970),

22 13 m o s t w in d b a n d c o n d u c to rs to w a rd th is n e w m u s ic.27 O n e c an a ssu m e th a t s o m e o f th is a p p a re n t d isin te re st w a s (a n d still is) d u e to u n a w a re n e ss. It is a d iffic u lt, tim e -c o n su m in g c h a lle n g e fo r a c o n d u c to r to stay a b re a st o f th e n e w m u sic b e in g w ritte n, le t a lo n e b e co m e fa m ilia r w ith w o rk s w h ic h, h a v in g b e e n p re m ie re d, re c eiv e fe w n o ta b le a d d itio n a l p e rfo rm a n c e s. F lo y d illu stra te s th is d ile m n a in h is re m a rk s c o n c e rn in g th e m a n y c o m m issio n e d w o rk s o f th e A m e ric a n W in d S y m p h o n y : U n fo rtu n a te ly, m a n y o f th e se w o rk s a re p re m ie re d, re c e iv e a sm a tte rin g o f o th e r p e rfo rm a n c e s, a n d fa ll in to o b scu rity. O ften, th is fa te is ju s tly d e se rv e d b e c a u se o f th e q u e stio n a b le m e rit o f th e m u sic ; h o w e v e r, fa r to o freq u e n tly, th e lim ited p e rfo rm a n c e life o f a w o rk is d e te rm in e d b y th e fa c t th a t th ro u g h o u t th e ra n k s o f w in d e n se m b le a n d b an d c o n d u c to rs th e re is a g e n e ra l la c k o f a w a re n e ss c o n c e rn in g th e c o m p o sitio n.28 In a p a p e r p re sen te d to th e 1967 N a tio n a l C o n fe re n c e o f th e C B D N A, S c h a e fe r also m e n tio n e d th e n e ed to p erfo rm stu d ie s su c h as th e p re sen t one: "W e m u s t c o n tin u e to a ssist c o m p o se rs and p e rfo rm e rs b y c o m p ilin g lists, b y e n c o u ra g in g p u b lis h e rs to p u b lish m o re d iffic u lt w o rk s, b y p e rfo rm in g w o rk s th a t a re in c o n v e n ie n t to o b ta in p e rh a p s e v e n g o in g in to th e re n ta l o r p u b lish in g b u s in e s s o u rs e lv e s."29 G ilb e rt o ffe rs s u g g e stio n s fo r fu rth e r s tu d y h is C o n c lu sio n s/r e c o m m e n d a tio n s sectio n, w h ic h a p p ly d ire c tly to th e fu n c tio n o f th e p re sen t stu d y : A n e x te n siv e an n o ta ted b ib lio g ra p h y co u ld be d e v elo p ed fro m th e an n o tated b ib lio g rap h y in c lu d e d in th is d o c u m e n t. It c o u ld in clu d e m o re sp ecific in fo rm a tio n a b o u t in stru m e n ta tio n, in c ip its o f th e m e s fro m th e p ie c e s, and a b ib lio g ra p h y o f lite ra tu re a b o u t e a c h w o rk. T h is b ib lio g ra p h y w o u ld b e v e ry u sefu l in w in d lite ra tu re c o u rses a t th e c o lle g e le v e l...t h e id e n tificatio n 2? D a v id W h itw e ll, "T h re e C rises in B a n d R ep e rto ire," T h e In s tr u m e n ta list, X X /8 (M a rc h, ), R ic h a rd L. F lo y d, "T h e A m e ric a n W in d S y m p h o n y E d itio n s," C B D N A Journ a l, I (s p rin g, ) w illia m A. S c h a efer, "T h e E m e rg in g B an d R ep erto ire," a p a p e r p re sen te d to th e 1967 N a tio n a l C o n fe re n c e o f th e C o lle g e B an d D ire c to rs N a tio n a l A sso c ia tio n, cited in The C o lle g e a n d U n iv ersity B a n d, D a v id W h itw e ll and A c to n O stlin g, Jr., e d ito rs (R e sto n, V irg in ia : M u sic E d u c a to rs N a tio n a l C o n fe re n c e, 1977), 65.

23 14 o f q u a lity literatu re fo r p e rfo rm a n c e a n d stu d y is im p o rta n t a t a ll le v e ls o f m u sic a l d e v e lo p m e n t.30 T h e re is a n e e d fo r re fe re n c e listin g s o f th e c o m p le te w o rk s fo r c o n c e rt b a n d a n d w in d e n se m b le b y m a jo r A m e ric a n c o m p o se rs. T h is stu d y w ill fo c u s o n th o se c o m p o se rs id e n tifie d as b e in g "m o st h ig h ly re g a rd e d " c o m p o se rs b y w a y o f re c e iv in g th e P u litz e r P riz e in M u sic. A re v ie w o f th e lite ra tu re re v e a ls th a t a n a n n o ta ted b ib lio g ra p h y o f th e w o rk s fo r c o n c e rt b a n d and w in d o rc h e stra b y c o m p o se rs a w a rd e d th e P u litz e r P riz e in M u sic d o e s n o t e x ist, n o r d o e s a c o m p le te listin g o f th e ir c h a m b e r w in d e n se m b le w o rk s. M a n y re p e rto ire lists a n d b o o k s a re a v a ila b le, y e t n o n e c o m e c lo se to c o v e rin g all o f th e se P u litz e r P riz e c o m p o se rs n o r d o th e y p ro v id e an in c lu siv e listin g o f a ll th e ir w o rk s fo r c o n c e rt b a n d a n d w in d e n se m b le s. W h e n w ritin g ab o u t th e c o m p o se rs aw ard e d th e P u litz e r P riz e in M u sic, th e au th o rs o f m a n y b o o k s, en c y c lo p e d ia s, b io g ra p h ie s a n d artic le s e ith e r c ite a fe w o f th e ir b an d w o rk s o r d o n o t m e n tio n th e m a t all. T h e m y o p ia o f th e se sch o la rs to w a rd th e c o n c e rt b a n d /w in d e n se m b le w o rk s by th e se c o m p o se rs is d ish e a rte n in g (a n d fru stra tin g!) to th is w rite r an d se rv e d as an in itial im p e tu s to w a rd sele c tin g th is e ssa y to p ic. E v e n as re c e n t and th o ro u g h a w o rk as R e h rig 's tw o v o lu m e T h e H e rita g e E n c y c lo p e d ia o f B a n d M u s ic c o m e s u p sh o rt in c o v e rin g P u litz e r P riz e c o m p o se rs and all o f th eir w o rk s fo r c o n c e rt b a n d and w in d e n s e m b le.31 C o m m issio n in g p ro je c ts h a v e b e en a n d still a re e n co u rag e d b y m a n y m u sic o rg a n iz a tio n s. T h is stu d y w ill p ro v id e in fo rm a tio n u sefu l in sele c tin g c o m p o se rs to a p p ro a c h w ith o ffers. S p e c ific a lly, it w ill id e n tify th o se liv in g P u litz e r P riz e c o m p o se rs ^ G i l b e r t, op. c it., 183, W illia m H. R e h rig, T he H e rita g e E n c y c lo p e d ia o f B a n d M u s ic : C o m p o se rs a n d T h e ir M u sic, 2 v o ls. (W e ste rv ille, O h io : In te g rity P ress, ). [8,5 9 3 c o m p o se rs; 3,6 8 5 b io g ra p h ic s k e tc h e s; 5 4,8 5 6 title s in in d e x ; 1,087 pages]

24 15 a lre ad y a ctiv e ly in v o lv e d in w ritin g fo r th e m e d iu m (and th e re fo re p e rh a p s th e m o s t "open" to an o th e r c o m m issio n ), as w e ll as th o se w h o h a v e n o t b een o v e rly in v o lv e d a n d w h o sh o u ld b e e n c o u ra g e d to d o so w ith a n a ttra c tiv e c o m m issio n. A t tim e s, all it m ig h t ta k e is th e e ffo rt at m a k in g th e c o m m issio n o ffer. In an in te rv ie w w ith th is a u th o r, G ia n C a rlo M e n o tti w a s a sk e d, "W h y h a v e y o u n o t w ritte n fo r b and?" to w h ic h h e re p lie d, "N o b o d y a s k e d."32 T h e re is a n e e d to assess th e a tte n tio n g iv e n to th e w in d b a n d m e d iu m b y m a n y o f th e m o st h ig h ly re g a rd e d tw e n tie th -c e n tu ry A m e ric a n co m p o se rs. T h e s tu d y w ill in d icate w h ic h P u litz e r P riz e c o m p o se rs h a v e tu rn e d to th e c o n c e rt b a n d and w in d e n se m b le s m o st o fte n as an e x p re ssiv e m e d iu m. T h e g ro u p o f P u litz e r P rize c o m p o se rs in c lu d e s m a n y n o t th o u g h t o f as h a v in g c o n trib u te d g re a tly to th e c o n c e rt b an d a n d w in d e n se m b le rep erto ire w h e n in fa c t th e y h av e. O n e n e e d s to o n ly p e ru se th e w o rk listin g s fo r J a c o b D ru c k m a n, Jo h n H a rb iso n, G e o rg e P e rle, R o b e rt W a rd, a n d C h a rle s W u o rin e n to re a liz e th e h ig h lev el o f in te re st th ey h a v e h a d fo r c re atin g m u sic u tiliz in g th is m ediu m. Purpose o f the Study T h e p u rp o se o f th e s tu d y w ill b e to d e te rm in e th e w o rk s fo r c o n c e rt b a n d, w in d o rc h e stra a n d c h a m b e r w in d e n se m b le w ritten b y c o m p o se rs a w a rd e d th e P u litz e r P rize in M u sic, F ro m th is lis t an a n n o ta te d b ib lio g ra p h y, in c lu d in g p e rfo rm a n c e c o m m e n ta ry, w ill be c o n stru c te d o f th e w o rk s fo r c o n c e rt b a n d and w in d o rc h e stra, w h ic h w ill serv e as a re fe re n c e fo r c o n d u c to rs, e d u c a to rs and sch o la rs to 139 c o m p o sitio n s. T h is a n n o ta ted b ib lio g ra p h y w ill in c lu d e a sele c tiv e b ib lio g rap h y o f re la te d p u b lish e d m aterials a n d a d isco g ra p h y o f sele c te d av a ila b le re c o rd in g s w h ic h w o u ld aid a c o n d u c to r in p re p a rin g and u n d e rsta n d in g th e se sco res. A p p e n d ic e s w ill in c lu d e listin g s o f th e se w o rk s 3 2 G ia n C a rlo M en o tti, in te rv ie w w ith a u th o r, F e b ru a ry 15, 1984.

25 16 b y c o m p o se r a n d by title. L istin g s b y c o m p o se r, title a n d n u m b e r o f p e rfo rm e rs fo r th e w o rk s in v a rio u s c h a m b e r w in d e n se m b le settin g s w ritte n b y th e se c o m p o se rs w ill a lso be in c lu d e d in th e A p p e n d ic e s. T h e c h a m b e r w in d e n se m b le listin g s p ro v id e in fo rm a tio n o n o v e r th re e h u n d re d a d d itio n a l w o rk s, s o th a t th e fu ll c o n trib u tio n to w in d a n d p e rc u ssio n lite ra tu re b y th e se c o m p o se rs can b e a sc e rta in e d. A listin g o f seco n d -p a rty tra n scrip tio n s o f w o rk s b y th e se c o m p o se rs w ill a lso b e in c lu d e d in th e A p p e n d ices, so th a t th e re a d e r can b e c o m p le te ly aw are o f th e se a d d itio n a l w o rk s b y P u litz e r P riz e c o m p o se rs a v a ila b le fo r stu d y a n d /o r p e rfo rm a n c e. S u g g e stio n s w ill b e m a d e fo r fu rth e r re s e a rc h b a se d u p o n th e re s u lts o f th e stu d y. T h e stu d y w ill g a th e r to g e th e r w id e ly d isse m in a te d m a te ria ls in to a c o m p a c t so u rce th a t w ill serv e c o n d u c to rs, p e rfo rm e rs, e d u c a to rs and sch o la rs as an e ffe c tiv e a n d e ffic ie n t re fe re n c e tool. T h e s tu d y w ill h o p e fu lly e n c o u ra g e o th e r c o m p o se rs a n d c o m m issio n in g p a rtie s to serio u sly c o n sid e r th e m e d iu m. Scope and Lim itations T h e b o d y o f c o m p o se rs in c lu d e d in th e s tu d y w ill b e th o se w h o h a v e re c e iv e d th e a n n u a l m u sic a w a rd o f th e P u litiz e r P riz e ( ). T h o se c o m p o se rs w h o h a v e re c eiv e d P u litz e r P riz e S p e c ia l C ita tio n s, a S p e c ia l P o sth u m o u s A w a rd, o r M u sic T rav e lin g S c h o la rsh ip s ( ) w ill n o t b e in c lu d e d, u n le ss th e y also re c e iv e d th e P u litz e r P riz e in M u s ic R o g e r S e ssio n s re c e iv e d a S p e c ia l C ita tio n in 1974, M ilto n B a b b itt in 1982 an d W illia m S c h u m a n in 1985 (S c h u m a n w a s also th e first re c ip ie n t o f th e P u litz e r P riz e in M u sic in 1943). S c o tt Jo p lin re c e iv e d a S p e c ia l P o sth u m o u s A w a rd in M u sic T ra v e lin g S c h o la rsh ip s w e re aw a rd e d to M e y e r I. S ilv e r, 1917; S a m u e l G a rd n e r, 1918; B e rn a rd R o g e rs, 1920; F o s te r M o n tg o m e ry H a n k in s, 1921; S a n d o r H a rm a ti, 1922; W in tte r W atts, 1923; D o u g la s M o o re, 1924; L e o p o ld D a m ro sch M a n n e s, 1925; L u c ille C re w s, 1926; Q u in to E. M a g a n in i, 1927; L a m a r S trin g fie ld, ; C a rl B ric k e n, 1929; M a rk W e ssel, 1930; E llio tt G riffis, 1931; E rn st B a c o n, 1932; R o b e rt D e la n e y, 1933; P e riv a l P ric e, 1934; S a m u e l B a rb e r, 1935 a n d 1936; R o ss L e e F in n e y, 1937.

26 17 T h e te rm s "co n c e rt b a n d," "w in d o rc h e stra," an d " c h a m b e r w in d e n se m b le " w ill b e d e fin e d a ccord in g to th e c a te g o rie s e m p lo y e d b y O stlin g, w ith a fe w m in o r re v isio n s. In th e p re s e n t stu d y, th e te rm "c o n c e rt b and" w ill in c lu d e w o rk s fo r b o th "sm all b a n d " a n d "large b a n d " a s d e fin e d b e lo w. 1. C h a m b e r W in d E n se m b le : fiv e to fo u rte e n w o o d w in d, b ra s s o r p e rc u ssio n in stru m e n ta l p e rfo rm e rs in e ith e r a m ix e d o r u n m ix e d in stru m e n ta tio n. 2. W in d O rc h estra : fifteen to tw e n ty -fiv e in stru m e n ta l p e rfo rm e rs in th e b asic in stru m e n ta tio n o f th e s y m p h o n y o rc h e stra w o o d w in d, b ra ss and p e rc u ssio n sectio n s. 3. S m a ll B an d : in c lu d e s th e u se o f s a x o p h o n e s a n d /o r e u p h o n iu m s in th e e n se m b le (tw e n ty -fiv e to six ty p la y e rs), u su a lly w ith sp e c ific a tio n o n th e sco re o f th e e x a c t n u m b e r o f p la y e rs o n e a c h part. 4. L a rg e B an d : a c o m p o sitio n fo r an e n se m b le o f six ty to n in e ty p la y e rs w ith th e re sp o n sib ility fo r n u m b e rs o f p la y e rs o n each se p a ra te p a rt g iv e n to th e c o n d u c to r, o r a t le a st n o t e x a c tly sp e c ifie d in th e s c o re.34 T h e c rite ria fo r in c lu sio n o f w o rk s fo r c h a m b e r w in d e n se m b le n e e d s fu rth e r c la rific a tio n. W h ile O stlin g c a lle d fo r a lo w e r lim it o f te n w in d in stru m e n ts, th is s tu d y w ill a c c e p t w o rk s u tilizin g fiv e Or m o re in stru m e n ts w h ic h m e e t th e c rite ria th a t fo llo w s.35 T h is w ill p ro v id e as th o ro u g h a listin g as p o ssib le o f w o rk s th a t w o u ld b e o f in te re s t to w in d c o n d u c to rs an d w ill en a b le th e stu d y to in c lu d e w o rk s su c h as G e o rg e P e rle 's W in d Q u in te t N o. 4 an d M a rtin o 's sex te t N o ttu r n o, b o th P u litz e r P riz e w in n e rs, as w e ll a s n u m e ro u s o th e r o u tsta n d in g c h a m b e r w o rk s. A c o n d u c to r is u su ally re q u ire d b u t n o t m a n d a to ry fo r th e se c h a m b e r w in d e n se m b le w o rk s. S trin g in stru m e n ts a re a llo w e d in c o m b in a tio n w ith 3 4 ()s tlin g, op. cit., ^ O s t l i n g, op. c it., 6 6.

27 18 w in d s a n d p e rc u ssio n, h o w e v e r, th e w in d s an d p e rc u ssio n sh o u ld e q u a l o r o u tn u m b e r th e strin g s. T h e strin g s sh o u ld g e n e ra lly n o t b e d o u b le d. T h e strin g c o n tra b a s s w ill n o t b e c o u n te d as a strin g in stru m e n t as it is g e n erally c o n sid e re d a b o n a fid e m e m b e r o f th e c o n c e rt b a n d, w in d o rc h e stra o r c h a m b e r w in d e n se m b le. W o rk s in v o lv in g s o lo v o ic e s, n a rra to rs, c h o ru ses a n d /o r e le c tro n ic m e d ia in c o m b in a tio n w ith a c h a m b e r w in d e n se m b le m e e tin g th e a b o v e c rite ria w ill b e in clu d ed. W o rk s w ritten s p e c ific a lly fo r ja z z b a n d o r ja z z e n se m b le, w o rk s w ith d ra w n fro m p u b lic p e rfo rm a n c e b y th e c o m p o se r a n d w o rk s w h ic h are lo s t o r in c o m p le te w ill b e liste d b u t n o t a n n o ta ted o r in c lu d e d in th e ap p en d ices. T ra n scrip tio n s o f w o rk s o rig in ally c o m p o se d in a n o n -w in d b a n d m e d iu m w ill b e in c lu d e d in th is stu d y. T h o s e tra n scrip tio n s fo r c o n c e rt b an d a n d w in d o rc h e stra d o n e b y th e c o m p o se r w ill b e a n n o ta ted. T h e tra n scrip tio n s fo r c h a m b e r w in d e n se m b le s b y th e c o m p o se r, a n d tra n scrip tio n s b y o th e rs o f w o rk s fo r c o n c e rt b a n d, w in d o rc h e stra o r c h a m b e r w in d e n se m b le w ill b e in c lu d e d in th e a p p en d ices, b u t n o t an n o tated. T h e sele c tiv e b ib lio g ra p h y in c lu d e d w ith th e an n o ta tio n s w ill in c lu d e texts, d isse rta tio n s, re v ie w s, a n aly se s and o th e r a rtic le s th a t m ig h t a id th e re a d e r in assessin g th e w o rk s. T h e sele c te d d isco g ra p h y o f a v a ila b le re c o rd in g s, also lo c a te d in th e a n n o ta tio n s, w ill a d d itio n a lly aid in th e re a d e r's a sse ssm e n t p ro c e ss. E a c h o f th e a n n o ta te d c o n c e rt b a n d and w in d o rc h e stra w o rk s w ill a lso re c e iv e a p e rfo rm a n c e c o m m e n ta ry, w h ic h w ill d iscu ss p e rfo rm a n c e c o n c e rn s fro m a c o n d u c to r's stan d p o in t. Ite m s a d d re ssed c o u ld p o ssib ly in c lu d e so lo ist re q u ire m e n ts, d iffic u lt te c h n ical p a ssag e s, stru c tu ra l e le m e n ts, a n d te m p o, as w e ll as o th e r e le m e n ts w h ic h fa c to r in to th e a ssig n in g o f th e g ra d e lev el o f d iffic u lty fo r e a c h w o rk. N o e v a lu a tio n w ill b e m a d e as to th e m e rit o f th e w o rk s. In h is P re fa c e to W in d E n se m b le L ite ra tu re, F re d e ric k F e n n e ll su m m e d u p th is ap p ro ach :

28 19 "T h is fo rm id a b le c a ta lo g te lls y o u w h a t, fo r w h a t, b y w h o m, w ith w h o m, w h e n, fro m w h e re a n d h o w ; b e in g a c a ta lo g a n d n o t a c ritiq u e, it d o e s n o t tell y o u w h y ; th is is u p to y o u to d e c id e th ro u g h e x a m in a tio n a n d /o r a u d itio n ; th a t, to o, is p a rt o f th e fu n and th a t p o rtio n o f re p e rto ry s tu d y a n d p ro g ra m -m a k in g w h ic h o n ly y o u c a n p r o v id e.... L ik e all c a ta lo g s, it is a m e re listin g o f fa c ts an u n e m o tio n a l re c ita tio n o f in fo rm a tio n."36 Procedure T h e listin g o f w o rk s fo r c o n c e rt b an d, w in d o rc h e stra a n d c h a m b e r w in d e n se m b le s b y c o m p o se rs aw ard e d th e P u litz e r P riz e in M u sic w ill be c o n stru c te d b y c o n su ltin g as m a n y so u rc e s as p o ssib le : b io g ra p h ie s, e n c y lo p e d ia en trie s, c a ta lo g s, d isse rta tio n s, re v ie w s, jo u rn a l articles, a n d re p e rto ire lists. B rie f b io g ra p h ic a l s k e tc h e s w ill b e in c lu d e d fo r e a c h c o m p o se r. C o m p o sitio n a v a ila b ility (e.g. p u b lish e d, m a n u sc rip t, re n ta l, o u t-o f- p rin t) fo r th e w o rk s fo r c o n c e rt b a n d and w in d o rc h e stra w ill b e d e te rm in e d a n d th e se m u sic a l sco re s w ill be a c q u ire d, if p o ssib le, fo r stu d y and re v ie w. A n n o ta tio n s and p e rfo rm a n c e c o m m e n ta rie s w ill b e w ritten fo r th o se c o n c e rt b a n d a n d w in d o rc h e stra w o rk s w ith s c o re s a v a ila b le. P u b lish e d a n a ly se s, d e sc rip tiv e m a te ria ls, re v ie w s, a n d o th e r p e rtin e n t in fo rm a tio n w ill b e re searc h e d and cited in th e an n o tatio n, alo n g w ith selected d isco g ra p h ic in fo rm a tio n. C o m p o s e r e n trie s fro m sta n d a rd m u s ic re fe re n c e s w o rk s (e.g. T h e N e w G ro v e D ic tio n a r y o f M u s ic a n d M u sic ia n s, B a k e r's B io g ra p h ic a l D ic tio n a r y o f M u sic ) w ill n o t b e c ite d in th e a n n o ta te d b ib lio g rap h ies. W o rk s w h ic h w ill b e liste d b u t n o t n o t a n n o ta te d o r c ite d in th e ap p en d ices in c lu d e w o rk s w ritten s p e c ific a lly fo r ja z z b a n d o r ja z z e n se m b le, w o rk s w ith d ra w n fro m p u b lic p e rfo rm a n c e b y th e c o m p o se r an d w o rk s w h ic h are lo st o r in co m p lete. 3 6 h. R o b e rt R e y n o ld s, E u g e n e C o rp o ra n, A lla n M c M u rra y, S ta n le y D e R u s h a an d R o b e rt G re c h e fsk y, W in d E n sem b le L ite ra tu re (M a d iso n : U n iv e rsity o f W isc o n sin B a n d s, ), v.

29 2 0 C h a p te r O n e w ill in c lu d e in tro d u c to ry in fo rm a tio n, th e n e e d a n d p u rp o se o f th e stu d y, th e sco p e a n d lim ita tio n s to b e a p p lie d, a n d p ro c e d u re s to b e fo llo w e d. C h a p te r T w o w ill lis t th e c h a m b e r w in d e n se m b le, c o n c e rt b a n d a n d w in d o rc h e stra w o rk s, a n d in c lu d e b rie f b io g ra p h ic a l sk e tc h e s fo r e a c h c o m p o se r. A n n o ta te d w o rk s w ill b e m a rk e d w ith an a ste risk an d th e first p a g e o f th e a n n o ta tio n w ill b e cited. C h a p te r T h re e w ill p re s e n t th e a n n o ta te d b ib lio g ra p h y, in c lu d in g p e rfo rm a n c e c o m m e n ta ry, o f th e w o rk s fo r c o n c e rt b a n d a n d w in d o rc h e stra. C h a p te r F o u r w ill o ffe r c o n c lu sio n s a n d su g g e stio n s fo r fu rth e r re searc h. A p p e n d ic e s w ill b e c o n stru c te d in th e fo llo w in g m a n n e r: A p p e n d ix A : W o rk s fo r C o n c e rt B an d a n d W in d O rc h estra O rg a n iz e d by C o m p o se r A p p e n d ix B : W o rk s fo r C o n c e rt B a n d a n d W in d O rc h estra O rg a n iz e d b y T itle A p p e n d ix C : W o rk s fo r C h a m b e r W in d E n se m b le O rg a n iz e d b y C o m p o se r A p p e n d ix D : W o rk s fo r C h a m b e r W in d E n se m b le O rg a n iz ed b y T itle A p p e n d ix E : W o rk s fo r C h a m b e r W in d E n se m b le O rg a n iz e d b y N u m b e r o f In stru m e n ta l P e rfo rm e rs A p p e n d ix F: S e c o n d -P a rty T ra n sc rip tio n s, A rra n g e m e n ts a n d R e c o n stru c tio n s o f W o rk s fo r C o n c e rt B a n d, W in d O rc h e stra a n d C h a m b e r W in d E n se m b le O rg a n iz ed by C o m p o se r A p p e n d ix G : C h ro n o lo g ic a l L istin g o f th e P u litzer P riz e s in M u sic T h e w o rk s w ill b e p re s e n te d a lp h a b e tic a lly b y c o m p o se r. E a c h c o m p o se r's w o rk s w ill b e p re sen te d in c h ro n o lo g ic a l o rd e r b y d a te o f c o m p o sitio n. W o rk s c o m p o se d in th e s a m e y e a r w ill b e p re sen te d a lp h a b etically b y title. T h e m e th o d w ith w h ic h th e in stru m e n ta tio n fo r e a c h c o m p o sitio n, th e a b b re v iatio n s e m p lo y e d fo r each in stru m e n t a n d v o ic e, an d th e m a n n e r in w h ic h p u b lish e rs a re in d ic a te d is liste d b elo w.

30 21 1. T h e in stru m e n ta tio n o f w o rk s in te n d e d to b e p e rfo rm e d b y o n e p la y e r p e r p a rt w ill b e liste d b y a seq u e n c e o f n u m b e rs in ty p ic a l sco re o rd e r fo r th e w in d sectio n o f an o rch estra. E a c h in d iv id u a l sectio n (e.g. flu te s, c la rin e ts) w ill b e sep a ra te d b y a p e rio d. T h e sla sh is u sed to in d ic a te th e d iv isio n b e tw e e n th e w o o d w in d s a n d b r a s s : / In te rp re ta tio n : 2 flu te s, 2 o b o e s, 2 c la rin e ts, 2 b a sso o n s, 4 h o rn s, 3 tru m p e ts, 3 tro m b o n e s, 1 tu b a. 2. P a re n th e se s c o n ta in in g in stru m e n t a b b re v iatio n s in d ic a te d o u b lin g o n th o se in stru m e n ts b y a p la y e r fro m th e sectio n w h o se n u m b e r p re c e d e s th e p a re n th ese s: 3 (p ic ). 2 (e h ). 3 (E b c l, b c l). 3 (cbn). In te rp re ta tio n : 3 flu te s w ith 1 d o u b lin g p icco lo, 2 o b o e s w ith 1 d o u b lin g E n g lish h o rn, 3 cla rin e ts w ith 1 p la y e r d o u b lin g E ^ c la rin e t a n d 1 p la y e r d o u b lin g b a ss c la rin e t, a n d 3 b a sso o n s w ith 1 d o u b lin g c o n tra b a s s o o n. 3. In stru m e n ts n o t d o u b le d w ill b e liste d d ire c tly fo llo w in g th e n u m b e r in d ic a tin g th e in d iv id u a l sectio n to w h ic h th e in s tru m e n t b e lo n g s, u sin g a b b re v iatio n s a n d sep a ra te d b y a c o m m a fro m th e p re c e d in g n u m b e r. A n u m b e r d ire c tly p re c e d in g th e a b b re v iatio n (n o t sep a ra te d fro m it b y a c o m m a ) in d ic a te s m o re th a n o n e p a rt fo r th at in stru m en t: 2, 2 p ic. 0, eh. 2, acl. 2./4.2, flh n. 2, 3 b trb. 1. In te rp re ta tio n : 2 flu te s, 2 p ic c o lo s, n o o b o e s, E n g lish h o rn, 2. c la rin e ts, a lto c la rin e t, 2 b a sso o n s, 4 h o rn s, 2 tru m p e ts, flu g e lh o rn, 2 tro m b o n e s, 3 b a ss tro m b o n e s, tu b a. 4. T h e p e rc u ssio n sectio n w ill b e liste d afte r th e b ra ss sectio n. T h e n u m b e r o f p e rfo rm e rs fo r th e p e rc u ssio n sectio n w ill b e p la c e d in p a re n th e se s dire c tly fo llo w in g th e ab b re v iatio n fo r p e rc u ssio n : / ; p (5 ) In te rp re ta tio n : 2 tru m p e ts, 2 tro m b o n e s, an d a p e rc u ssio n sectio n re q u irin g 5 p la y e rs. 5. T h e u se o f a tim p a n is t w h o d o e s n o t p la y an y o th e r p e rc u ssio n in stru m e n ts w ill b e in d ic a te d so le ly b y its ab b re v iatio n (t) a n d does n o t g e n e ra lly h a v e a p a rt n u m b e r a ssig n e d to it b y a c o m p o se r.

31 22 6. T h e sax o p h o n e s w ill b e liste d d ire c tly after th e o rc h e stral w o o d w in d s. T h e strin g c o n tra b a ss w ill be liste d d ire c tly a fte r th e b ra sse s, a n d b e fo re th e p e rc u ssio n. K e y b o a rd in s tru m e n ts, g u ita rs a n d h a rp w ill b e liste d d ire c tly a fte r th e p ercu ssio n. S trin g in stru m e n ts o th e r th a n th e strin g c o n tra b a ss w ill a p p e a r a fte r th e p e rc u ssio n a n d k e y b o a rd s: w o o d w in d s; s a x o p h o n e s /b ra sses; strin g c o n tra b a ss; p e rc u ssio n ; k e y b o a rd s, g u ita rs, h a rp ; strin g s 7. S trin g in stru m e n ts o th e r th a n th e strin g c o n tra b a ss w ill b e liste d w ith in b rackets: / ; d b ; p (2 ); p n o ; [ ] In te rp re ta tio n : 2 flu te s, 2 o b o e s, n o cla rin e ts, n o b a s s o o n s, 2 h o rn s, 2 tru m p e ts, 2 tro m b o n e s, 1 tu b a, strin g c o n tra b a s s, 2 p e rc u ssio n is ts, p ia n o, 1 1st v io lin, 1 2 n d v io lin, 1 v io la, 1 v io lo n cello 8. In stru m e n ta l an d v o c a l so lo ists a n d so lo g ro u p in g s w ill b e liste d first, p re c e d in g th e in s tru m e n ta l e n se m b le listin g. C h o ra l g ro u p s w ill b e liste d la st, fo llo w in g th e strin g s. 9. A b b re v ia tio n s fo r v o ic e s (S, A, T, B, etc.) in d ic a te a so lo v o ic e w h e n u sed b y th e m selv e s. T h e a b b re v ia tio n s d e sig n a te v o ic e a ssig n m e n ts w ith in a c h o ru s w h e n fo llo w e d b y th e w o rd "ch o ru s:" S, T ; / In te rp re ta tio n : so lo so p ra n o v o ic e, so lo te n o r v o ic e, 4 h o rn s, 2 tru m p ets / ; S A T B c h o ru s In te rp re ta tio n : 2 flu te s, 2 o b o e s, 2 c la rin e ts, 2 b a sso o n s, 4 p a rt c h o ru s w ith so p ra n o, a lto, te n o r a n d b a ss p a rts 10. W h e n a w o rk is w ritte n fo r c o n c e rt b a n d, its in stru m e n ta tio n w ill b e liste d as "co n c e rt b a n d." A n y q u a lify in g re m a rk s, o r sp e c ia l in stru m e n ta tio n in d ic a tio n s fo r th e c o m p o sitio n s, w ill b e g iv e n in a lin e fo llo w in g th is d e sig n a tio n, a n d w ill b e p re sen te d in s c o re o rd e r a n d u sin g ab b re v iatio n s. A c o n c e rt b a n d w o rk c o n ta in in g s e p a ra te so lo, 1st, 2 n d and 3 rd c la rin e t o r c o m e t p arts w ill h a v e th is fa c t n o te d in th e lin e b e n e a th th e d e sig n a tio n "co n cert b a n d." D iv isi p a rts w ill also b e n o te d in th is fash io n : c o n c e rt b and afl, so lo c l, n o a c l, flh n, d iv. trb 1, sy n th, o rg

32 23 In te rp re ta tio n : c o n c e rt b an d, w ith alto flu te, so lo c la rin e t, n o alto c la rin e t, flu g e lh o m, d iv isi 1s t tro m b o n e, sy n th e s iz e r a n d o rg a n. 11. A sta n d a rd in stru m e n ta tio n fo r th e c o n c e rt b a n d h a s b e e n a d o p te d b y th e N a tio n a l B an d A sso c ia tio n, th e A m e ric a n B an d D ire c to rs A sso c ia tio n, th e M u sic P u b lish e rs A sso c ia tio n an d th e M u sic E d u c a to rs N a tio n a l C o n fe re n c e in o rd e r to e n su re th a t th e a p p ro p ria te p a rts a re p u b lis h e d fo r a n y g iv en w o rk fo r c o n c e rt b an d. T h is s tu d y w ill e m p lo y th is sta n d a rd in stru m e n ta tio n w h e n d e sig n a tin g a w o rk as b e in g fo r " c o n c e rt b and." T h is sta n d a rd in stru m e n ta tio n fo llo w s: p ic c o lo fib c o m e t/tru m p e t 1 j?u te * B ^ c o m e t/tru m p e t 2 o t e l B b c o m e t/tru m p e t 3 o b o e 2 P bo m l ^ ' i s h h m F h o r n 3 E D cla rin e t p h o rn 4 fib clarinet 1 trom bone 1 B b clarinet 2 trom bone 2 B b c la rin e t 3 tro m b o n e 3 E b alto cla rin e t b arito n e (treb le) B b b a ss c la rin e t b a rito n e /e u p h o n iu m (b ass) E E b contrabass clarinet B B b contrabass clarinet b a sso o n 1 b a sso o n 2 con trab assoon Eb alto saxophon e 1 Eb alto saxophon e 2 B b tenor saxophon e Eb baritone saxophon e strin g c o n tra b a ss timpani m allet percussion battery p ercu ssion 12. T h e fo llo w in g a b b re v iatio n s a re u sed : a alto (p refix ) b sx b a rito n e s a x o p h o n e A alto v o ic e b ssx b a ss sax o p h o n e acc accord ian b trb b a ss tro m b o n e acl alto cla rin e t C A c o n tra lto v o ic e a h n alto h o m cb c o n tra b a ss (p refix ) a m p am p lified c b c l c o n tra b a ss c la rin e t b b a ss (p refix ) c b n c o n tra b a sso o n B b a ss v o ic e cel celeste b ar b a rito n e h o m cem cem b alo B a r b arito n e v o ic e cl c larin et bcl b ass c la rin e t c o r c o m e t b n b a sso o n c y m c y m b a ls

33 2 4 d b strin g c o n tra b a s s p n o p ia n o d r d ru m s re c re c o rd e r e h E n g lish h o rn S s o p ra n o v o ic e el e lectric (p refix ) sc su sp e n d e d c y m b a l e u p h e u p h o n iu m s n s n a re d ru m fl flu te s tr s trin g s flh n flu g e lh o m s x s a x o p h o n e gl g lo c k e n sp ie l ssx s o p ra n o sax o p h o n e g tr g u ita r sy n s y n th e s iz e r h a rm h a rm o n iu m T te n o r v o ic e h o rg H a m m o n d o rg a n t tim p ani h n h o rn ta m b ta m b o u rin e h p h a rp ten te n o r (p refix ) h p sd h a rp s ic h o rd tp t tru m p e t k b k e y b o a rd in stru m e n t trb tro m b o n e m a n d m a n d o lin tri trian g le m a r m a rim b a tt tam -tam M S m e z z o -so p. v o ic e ttm to m -to m s n a r n a rra to r tu tu b a o b o b o e x y l x y lo p h o n e o b d 'a o b o e d 'a m o re v a v io la o rg o rg a n v c v io lo n c e llo p p e rc u ssio n v ib v ib ra p h o n e p ic p icco lo v n v io lin T h e se a b b re v ia tio n s w e re e m p lo y e d in th e G ilb e rt stu d y a n d in c lu d e so m e m in o r re v is io n s a n d a d d itio n s fro m th is a u th o r P u b lish e rs. In re c e n t y e a rs m u sic p u b lish in g firm s h a v e b e e n c o m b in e d in to fin a n c ia l c o n g lo m e ra tes, an d so m e A m e ric a n m u sic firm s h a v e b e c o m e th e so le d istrib u to rs fo r fo re ig n p u b lish in g h o u ses. B e c a u se o f th e se d e v e lo p m e n ts, th e fo llo w in g sy ste m w ill b e u sed in id e n tify in g p u b lish e rs: (1 ) tw o n a m e s d iv id e d b y a slash in d ic a te first th e o rig in a l firm o w n in g th e w o rk fo llo w e d b y th e c u rre n t c o n g lo m e ra te firm ; and (2) w h e re sev e ra l p u b lish e rs o ffe r a sin g le c o m p o sitio n, th e c o m p a n ie s a re sep a ra te d b y s e m i-c o lo n s.38 A s d e ta ile d a listin g as p o ssib le w ill b e g iv e n fo r th e in stru m e n ta tio n o f e a c h w o rk cited. A t tim es, a v ailab le so u rc e s o n ly in d ic a te in stru m e n ta tio n in g e n eral te rm s (e.g. "clarin ets," "b rasses," "w in d s"). T h e in stru m e n ta tio n o f th e se w o rk s w ill b e lis te d as ^ G i l b e r t, op. c it., ^ G i l b e r t, op. c it.,

34 2 5 sp e c ific a lly as is p o ssib le g iv e n th e in fo rm a tio n w h ic h is a v ailab le. O c c a sio n a lly it w ill n o t b e p o ssib le to list th e in stru m e n ta tio n u sin g th e c o d in g sy ste m o u tlin e d ab o v e. W h e n sco re a v a ila b ility allo w s, th e fo llo w in g in fo rm a tio n w ill b e p re s e n te d as c o m p le te ly as p o ssib le fo r e a c h o f th e c o n c e rt b a n d a n d w in d o rc h e stra w o rk s: 1. C o m p o se r 2. T ide 3. P re m ie re in fo rm a tio n (e.g. d a te, lo c a tio n, p e rfo rm in g g ro u p, c o n d u c to r) 4. In stru m e n ta tio n 5. P u b lish e r, date o f p u b lic a tio n and p u b lish e r c a ta lo g n u m b e r 6. A v a ila b ility (e.g. in p rin t, re n ta l, m a n u sc rip t, o u t-o f-p rin t, w ith d ra w n ) 7. S c o re in fo rm a tio n (fu ll a n d /o r c o n d e n se d ; i f fu ll, tra n sp o se d o r c o n c e rt p itch) 8. G ra d e o f d iffic u lty ( 1-6 scale; a se p a ra te g rade w ill b e liste d first fo r a n y so lo ists o r c h o ru s, fo llo w e d b y a g ra d e fo r th e e n se m b le ; e.g. G ra d e 5/4) 9. D u ratio n 10. C o m m issio n (c o m m issio n in g p a rty a n d any o th e r p e rtin e n t in fo rm a tio n ) 11. P ro g ra m N o te (w h e th e r o r n o t o n e is in c lu d e d in th e sco re) 12. P e rfo rm a n c e C o m m e n ta ry 13. S ele c tiv e B ib lio g ra p h y 14. S ele c tiv e D isco g rap h y

35 2 6 C H A P T E R II T H E C H A M B E R W IN D E N S E M B L E, C O N C E R T B A N D A N D W IN D O R C H E S T R A W O R K S O F C O M P O S E R S A W A R D E D T H E P U L IT Z E R P R IZ E IN M U S IC

36 2 7 Stephen Albert A lb e rt w a s aw a rd e d th e P u litz e r P riz e in 1985 fo r h is o rc h e stra l w o rk, R iv e r R u n. B o m in N e w Y o rk C ity in 1941, h e s tu d ie d c o m p o sitio n w ith E lie S e ig m e iste r, D a riu s M ilh a u d, B e rn a rd R o g e rs a n d G e o rg e R o c h b e rg. H e e arn ed a B M d e g re e fro m th e P h ila d e lp h ia A c a d e m y o f M u sic in 1962 a n d re c e iv e d a F o rd F o u n d a tio n g ra n t to b e a c o m p o se r-in -re sid e n c e in th e L im a, O h io sch o o l d istric t H e h e ld te a ch in g p o sitio n s a t th e P h ila d e lp h ia A c a d e m y o f M u sic, S ta n fo rd U n iv e rsity, a n d S m ith C o lle g e a n d re c e iv e d n u m e ro u s h o n o rs fo r h is m u sic, in c lu d in g tw o M a c D o w e ll C o lo n y F e llo w s h ip s, tw o G u g g e n h ie m F e llo w s h ip s, a n d tw o R o m e P riz e s. A lb e rt's c o m p o sitio n a l o u tp u t c e n te re d o n o rc h e stral a n d c h a m b e r w o rk s, m a n y u tiliz in g a so lo v o ice. A fte r re c e iv in g th e P u litz e r P riz e, he w a s a c o m p o se r-in -re sid e n c e w ith th e S eattle S y m p h o n y O rc h e stra a n d S eattle O p e ra as p a rt o f th e M e e t T h e C o m p o se r p ro g ra m and e n jo y e d c o m m is sio n s and p e rfo rm a n c e s fro m so m e o f th e n a tio n 's fin e st m u sic a l e n se m b le s. H is u n tim e ly d e ath in a c a r a c c id e n t in 1992 o c c u re d a t th e h e ig h t o f h is c areer. T itle an d D ate o f W o rk In stru m en tatio n Illu m in a tio n s ( ) b ra ss; p e rc ; 2 p n o, 2 h p (w ith d ra w n ) C a th ed ral M u sic: C o n certo 2 (p ic, a fl b o th a m p ) / fo r F o u r Q u a rte ts ( )* [p. 9 1 ] 2.1 (p ic tp t).1.0.; p (2 ); 2 p n o, e l p n o, e l o rg, h p (a m p ), g tr (a m p ); [ (a m p ).j T o W a k e th e D e a d ( ) S; l(a f l).l( b c l).0.0./ ; p n o, h a rm (a d lib ) ;[ l( v la ) ] In to E c lip se ( ) T ; l(p ic ).0.1 (E b c l).0./l ; d b ; p (2 ); p n o, h p ; [ ] (c h a m b e r v e rsio n o f o rc h e stra l w o rk ) T re e sto n e ( ) S, T ; l( p ic, a f l).0.1 ( b c l).0./l ; db; p ( l ) ; p n o, h p ; [ ] F lo w e r o f th e M o u n ta in ( ) S; l. l. l. l. / l ; d b ; p n o ; [ ] (c h a m b e r v e rsio n o f o rc h e stra l w o rk )

37 2 8 D ista n t H ills ( ) S, T ; ; d b ; p n o ; [ ] S u n 's H e a t fro m T ; / ; d b ; p n o ; [ ] "D ista n t H ills" ( ) (p u b lish e d sep arately ) Dom inick A rgento B o m in Y o rk, P e n n sy lv a n ia, in 1927, A rg e n to re c eiv e d th e P u litz e r P riz e in 1975 fo r h is so n g c y c le, F ro m the D ia r y o f V irg in ia W o o lf. H is c o m p o sitio n te a c h e rs in c lu d e d N ic o la s N a b o k o v, H u g o W e isg a ll, L u ig i D a lla p ic c o la, H e n ry C o w e ll, B e rn a rd R o g e rs, H o w a rd H a n so n and A la n H o v h a n e ss. H e re c e iv e d h is B M and M M d e g re e s fro m th e P e a b o d y C o n se rv a to ry in B a ltim o re, a n d c o m p le te d h is P h D a t th e E a stm a n S c h o o l o f M u sic, all in c o m p o sitio n. H e h a s ta u g h t a t th e U n iv e rsity o f M in n e so ta s in c e 1958 w h ere h e is a R e g e n ts P ro fe sso r. C o n sid e re d to b e o n e o f A m e ric a 's fin e s t c o m p o se rs fo r v o ic e, th e m a jo rity o f A rg e n to 's c a ta lo g o f w o rk s c o n sists o f o p e ra s, s o n g -c y c le s and chora l w o rk s. T itle and D a te o f W o rk In stru m en tatio n C h ris to p h e r S ly ( ) 3 S, M S, 3 T, 3 B a r, B, n o n -s in g in g ro le s; (T w o -S c e n e O p e ra w ith in te rlu d e ) / ; p ( l ) ; p n o o r h p sd ; [ ]; (3 re c o rd e rs o n -s ta g e o p tio n a l) T h e M a sq u e o f A n g e ls ( ) S, M S, 4 T, 2 B a r, B ; 0.2.0, e h (O n e -A c t O p era) O.2.I.O.; t, p ( l ), h p ; [ ]; S A T B c h o ru s; (4 d a n cers) T h e R e v e la tio n o f St. Jo h n T ; / ; t, p (2 ); c e l, h p, p n o ; th e D iv in e ( ) m e n 's c h o ru s T h e S h o e m a k e r's H o lid a y ( ) 2 S, 2 M S, 2 A, 2 T, T /B a r, 4 B ar, 3 B /B a r, (B a lla d -O p era) 3 B ; l( p ic, a fl) ; p ( l ) ; g tr(am p ); S A T B c h o ru s; (9 sp e a k in g ro les) P o stc a rd fro m M o ro c c o ( ) 2 S, M S, 2 T, B a r, B ; (a s x,b c l).0./ (O n e -A c t O p era) O.O.I.O.; db; p ( l ) ; g tr, p n o (c e l); [l.o.l.o.]; (m im es) J o n a h a n d th e W h a le ( ) T, B, n a r; / ; t, p (2 ); p n o, (O rato rio ) h p, o rg ; S A T B c h o ru s A W a te r B ird T a lk ( ) B a r o r lo w T ; ; d b ; p ( l ) ; (O n e-a ct O p era) p n o (c e l), hp; [ ]

38 2 9 L e t A ll th e W o rld in E v e ry C o m e r S in g ( ) / ; t; o rg ; S A T B c h o ru s Samuel Barber B a rb e r w a s tw ic e h o n o re d w ith th e P u litz e r P riz e in m u sic. H is fo u r-a c t o p era, V a n essa, w ith a lib re tto su p p lie d b y fe llo w p riz e w in n e r an d lo n g -tim e frie n d G ia n C arlo M en o tti, re c e iv e d th e a w a rd in 1958, a n d B a rb e r w a s selected as th e re c ip ie n t a g a in in 1962 fo r h is P ia n o C o n c e rto, c o m m is sio n e d b y h is p u b lish e r, G. S c h irm er. B a rb e r w a s b o m in W e s t C h e ste r, P e n n s y lv a n ia, in 1910 and e x p e rie n c e d a c u ltu re d a n d p ro sp e ro u s u p b rin g in g. W h ile a stu d e n t a t the C u rtis In stitu te (h e w a s a m e m b e r o f th e fo u n d in g c la ss) h e stu d ie d v o ic e a n d p ia n o in a d d itio n to c o m p o sitio n, fo r w h ic h h is p rin c ip a l te a c h e r w a s R o sa rio S calero. W h ile in h is e a rly tw e n tie s, h e sp en t su m m e rs in E u ro p e stu d y in g a n d tra v e llin g. A t th is tim e h e also c o m p o se d w o rk s th a t w o u ld re m a in ste a d fa st in th e A m e ric a n o rc h e stra l rep erto ire, in c lu d in g h is A d a g io f o r S trin g s, O v ertu re to "The S c h o o l f o r S c a n d a l," F ir s t E ssa y f o r O rc h e stra a n d M u s ic f o r a S c e n e fr o m S h e lle y. A lth o u g h h e h e ld b rie fly a fe w te a ch in g p o sitio n s a t th e C u rtis In stitu te e a rly in h is c a re e r, B a rb e r m a n a g e d to c re a te th e en v io u s situ a tio n w h e re b y h e c o u ld liv e o ff o f th e in c o m e g e n e ra te d so le ly fro m h is w o rk as a c o m p o se r. B a rb e r's m u sic, p o sse ssin g a la n g u a g e w h ic h is ro m a n tic in sty le, q u ite ly ric a l a n d m ild ly a d v e n tu re so m e, h a s b e e n ab le to re a c h a v a st a n d w id e ly d iv erse a u d ie n ce. H e p ro d u c e d v e ry little m u sic la te in life as h is h e alth fa ile d h im. H e d ied o f c a n c e r a t a g e 7 0 in T itle and D a te o f W o rk C o m m a n d o M a rc h ( )* [p. 92] F u n e ra l M a rc h ( )* [p. 94] A S to p w a tc h a n d an O rd in a n c e M a p ( ) In stru m en tatio n c o n c e rt band c o n c e rt band / ; t; T T B B c h o ru s A d v e n tu re ( ) / ; p (2 ); h p S u m m e r M u sic ( ) /

39 3 0 A H a n d o f B rid g e, O p. 3 5 ( ) 4 so lo v o ic e s (2 fe m a le a n d 2 m a le ); 1. U. 1. / ; d b ; p ( l ) ( 2-3 p re fe rra b le ); p n o ; [ ] C h o ra le fo r A sc e n sio n D a y / ; t; o rg ; S A T B c h o ru s ; ( ) (also liste d as E a ste r C h o ra le) M u ta tio n s fro m B a c h ( ) / ; t "H ap p y B irth d a y " v a ria tio n ( ) / ; t Leslie Bassett B a ssett re c e iv e d th e P u litz e r P riz e in 1966 fo r h is V a ria tio n s f o r O rch estra. B o m in H a n fo rd, C a lifo rn ia, in 1923, he serv e d in E u ro p e d u rin g W o rld W a r II as a tro m b o n ist a n d a rra n g e r w ith th e 13th A rm o re d D iv isio n B an d. H e atten d ed F re sn o S ta te C o lle g e fo r h is u n d e rg ra d u a te w o rk, re c e iv in g h is B A d e g re e in 1949, a n d w e n t o n to th e U n iv e rs ity o f M ic h ig a n, w h e re h e re c eiv e d h is M M d e g re e ( ) a n d A M u sd d e g re e ( ) in c o m p o sitio n. H is p rim a ry te a c h e r w a s R o ss L e e F in n e y, a v e ry in flu e n tia l te a c h e r. P o s t d o c to ra l stu d ie s in c lu d e d w o rk a t th e E c o le N o rm a le d e M u siq u e in P a ris as a F u llb rig h t S c h o la r an d p riv a te le sso n s w ith N a d ia B o u la n g e r a n d A rth u r H o n e g g e r. A d d itio n a l stu d y in 1964 w ith M a rio D a v id o v sk y in th e fie ld o f e le c tro n ic m u sic p ro v e d to b e v e ry in flu en tial o n h is la te r w o rk. B a s s e tt w a s tw ic e a w a rd e d G u g g e n h e im F e llo w sh ip s ( , 1 981) a n d w a s also th e re c ip ie n t o f th e R o m e P riz e ( ) in a d d itio n to m a n y o th e r h o n o rs. In 1976 h e w a s ele cte d to m e m b e rsh ip in th e In stitu te o f th e A m e ric an A c a d e m y a n d In stitu te o f A rts a n d L etters. H e b e g an h is lo n g te a ch in g c a re e r a t th e U n iv e rsity o f M ic h ig a n in 1952, re m a in in g th e re u n til h is re tire m e n t in 1991 as th e A lb e rt A. S ta n le y P ro fe sso r o f M u sic. H e c o n tin u e s to b e a ctiv e as a c o m p o se r in h is re tirem e n t, an d h is C o n certo f o r O rch estra w a s p re m ie re d in 1992 b y th e D e tro it S y m p h o n y. T itle and D a te o f W o rk S y m p h o n ic S k e tc h ( ) In stru m en tatio n c o n c e rt b a n d, w ith d ra w n

40 31 S o n o ritie s a n d L in e s ( ) c o n c e it b a n d, w ith d ra w n W o o d w in d Q u in te t ( ) l. l. l. l. / l E a ste r T rip ty c h ( ) C a n ta ta fo r C ity, N a tio n, W o rld ( ) T ; / e u p h.l; t, p (3 ); c el; S A T B c h o ru s T ; / ; o rg ; S A T B c h o ru s, o p t c h ild c h o ru s M o o n rise ( ) S, 2 A ; 1, p ic, afl / ; p (2 ); p n o ; [ ] D e sig n s, Im a g e s a n d T e x tu re s ( )* [p. 96] N o n e t ( ) c o n c e rt b and l. l. l. l. / l ; p n o S o u n d, D ru m s a n d T ru m p e ts c o n c e rt b an d (w ith d raw n ) ( ) W in d M u sic ( /7 6 ) l. l. l. l. a s x / S o u n d s, S h a p e s a n d S y m b o ls ( )* [p. 98] c o n c e rt b an d S e x te t fo r F lu tes, C la rin e ts a n d 1, a fl. 0.1, b c l. 0./ ; d b ; [ ] S trin g s ( ) C o n c e rto da C a m e ra ( ) tp t (B ^ tp t, flh n, p ic tp t); / O.O.O.O.; p ( l ), p n o ; [ ] C o n c e rto G ro s so ( )* [p. 9 9 ] b ra ss q u in te t (1.2.1, b trb. 0.); 6(2 p ic ).2 ( e h ).l, b c l, B B ^ c b c l. 2 (c b n ).2 a sx, tsx./o.o.o.euph.l.; p (4 ); p n o ; [ ] C o lo rs a n d C o n to u rs ( )* [p. 101] c o n c e rt b an d S a lu te to C liff ( ) / L u lla b y fo r K irste n ( )* [p. 103] c o n c e rt b and F a n ta sy ( )* [p. 104] cl; 5 (p ic, a fl).2, eh. 5, 2 b c l. 1.2 ssx, 3 a s x./4.5.3.e u p h.l.; p (4 ); p n o P ie rro t S o n g s ( ) S; / ; p n o ; [ L ] Q u in te t ( ) /

41 3 2 W illiam Bolcom W illia m B o lc o m, p re s e n tly a P ro fe sso r o f C o m p o sitio n at th e U n iv e rsity o f M ic h ig a n, re c e iv e d th e P u litz e r P riz e in M u sic fo r h is T w elve N e w E tu d e s f o r P ia n o in H e w a s b o m in S e a ttle, W a sh in g to n, in 1938 a n d e n te re d th e U n iv e rsity o f W a sh in g to n a t a g e 11 to b e g in h is c o m p o sitio n a l stu d ie s w ith Jo h n V e rra ll. H e g ra d u a ted a t th e ag e o f tw e n ty a n d w a s a lre a d y re c e iv in g g lo w in g c ritic a l re v ie w fo r h is w o rk. H e la te r atten d ed M ills C o lle g e w h e re h e stu d ied w ith D a riu s M ilh a u d. T h is e x p e rie n c e w as a u g m e n ted b y fu rth e r stu d y in P a ris w ith M ilh a u d a n d M essiaen and e v e n tu a lly le d to a M A d e g re e in 1961 fro m M ills C o lleg e. B o lc o m w a s th e first c o n fe re e o f a D M A d e g re e fro m S ta n fo rd U n iv e rsity in H e ta u g h t a t th e U n iv e rsity o f W a sh in g to n, Q u e e n s C o lle g e a n d N e w Y o rk U n iv e rsity b e fo re assu m in g h is p o sitio n at th e U n iv e rsity o f M ic h ig a n. A d d itio n a l h o n o rs in c lu d e tw o G u g g e n h e im F e llo w sh ip s, a n d K o u sse v its k y F o u n d a tio n g ran t, th e M arc B litz stein A w a rd fo r M u sic a l T h e a te r a n d a w a rd s fro m th e A m e ric a n A c a d e m y o f A rts an d L e tte rs, th e M ich ig a n C o u n c il o f th e A rts a n d th e S ta te o f M ich ig an. B o lc o m is m a rrie d to sin g e r Jo a n M o rris and th e y e n jo y a w o n d e rfu l c a re e r o f p e rfo rm in g an d re c o rd in g A m e ric a n p a rlo u r a n d v a u d e v ille m u sic. B o lc o m, w id e ly k n o w n as an a u th o rity a n d p e rfo rm e r o f ra g tim e p ia n o m u sic, has c o m p o se d m u sic in n e arly all g e n re s. H e h as b e e n c o m m issio n e d b y th e U n iv e rsity o f M ic h ig a n B a n d s to c o m p o se a w o rk fo r b a n d to b e p re m ie re d in T itle an d D a te o f W o rk In stru m e n ta tio n O c te t( ) / ; d b ; p n o ; [ l.o.l.l.] S e ssio n I ( ) l( a f l), p ic. 1, e h. 0.1./ ; p ( l ) ; [ ] S e ssio n III ( ) 0.0.0, E b cl. 0./ ; p ( l ) ; p n o ; [l.o.o.l.] S e ssio n IV ( ) / ; p (2 ); p n o, h p ; [O.O.2.I.]

42 3 3 T h e a tre o f th e A b su rd ( ) D u e ts fo r Q u in te t ( ) W h isp e r M o o n ( ) B ro a d sid e fo r B a n d ( , re v is e d )* [p. 106] / ; p n o ; a c to r, ta p e d a c to rs, ta p e s, m e c h a n iz e d e y eb a lls / ; p n o ; [l.o.o.l.] / ; p n o ; [l.o.o.l.] c o n c e rt b and B ra ss Q u in te t ( ) /1.2.1, b trb.0 L ib erty E n lig h te n in g th e W o rld 3, p ic. 3, eh. 3, b c l. 3, c b n./5.5 (in C ).3, ( )* [p. 108] 2 b trb.2; p (6 ) 5 F o ld 5 ( ) / ; p n o Elliott Carter O n e o f fo u r tw o -tim e re c ip ie n ts o f th e P u litz e r P rize, C a rte r re c eiv e d th e a w ard in fo r h is Strin g Q u a rte t N o. 2 a n d again in 1971 fo r h is S trin g Q u a rte t N o. 3. H e w a s b o m in N e w Y o rk C ity in 1908 an d earn ed h is B A d e g re e in E n g lish lite ra tu re a n d M A d e g re e in m u sic fro m H a rv a rd U n iv e rsity. H e liv e d in P a ris fro m , w h e re h e stu d ie d a t the E c o le N o rm a le d e M u siq u e a n d p riv a te ly w ith N a d ia B o u la n g er. C a rte r h as h e ld te a c h in g p o s itio n s a t S t. J o h n 's C o lle g e [A n n a p o lis], P e a b o d y C o n se rv a to ry, C o lu m b ia U n iv e rsity, Q u e e n 's C o lle g e, Y a le U n iv e rsity, C o rn e ll U n iv e rsity a n d th e Ju illia rd S c h o o l o f M u sic. H e h a s a lso p u b lish e d a n u m b e r o f s c h o la rly a rtic le s o n a b ro a d ra n g e o f m u sic a l su b jects. O n e o f o u r n a tio n 's m o s t e ste e m e d a n d d e c o ra te d c o m p o se rs, C a rte r h as been h o n o re d w ith n u m e ro u s p riz e s, a w ard s, h o n o ra ry d o c to ra te s a n d e le c te d m e m b e rsh ip s. T itle an d D a te o f W o rk In stru m en tatio n T h re e P o e m s o f R o b e rt F ro s t m e d iu m v o ic e, ; d b ; g tr; ( , o rch ) [ ] W o o d w in d Q u in te t ( ) /

43 3 4 D o u b le C o n c e rto fo r H a rp sic h o rd h p s d, p n o ; l ( p i c ). l. l ( E b c l ). l. / ; an d P ia n o w ith T w o C h a m b e r d b ; p (4 ); [ ] O rc h e stra s ( )* [p. 109] B ra ss Q u in te t ( ) /1.2.1, b trb. 0. A F a n ta sy a b o u t P u rc e ll's /1.2.2 (a trb /ttrb & b trb ).0. "F a n ta sia U p o n O n e N o te " ( ) A M irro r o n W h ic h to D w e ll ( ) S; l( p ic, a f l ).l ( e h ).l( E b c l, b c l).0./ ; d b ; p ( l ) ; p n o ; [ ] B irth d a y F a n fa re fo r S ir / ; p (2 ) W illia m d o c k 's 7 0 th ( ) S y rin g a ( ) In S le e p, In T h u n d e r ( ) M S, B ; 0, a fl.0, e h.0, b c l.0./ ; db; p ( l ) ; p n o, g tr; [ ] T ; l( p ic, a f l ). l ( e h ). l ( b c l ). l. / l ; db; p ( l ) ; p n o ; [ l. l. l. l. ] T rip le D u o ( ) l(p ic ).0. l( E b c l, b c l).0./ ; p ( l ) ; p n o ; [l.o.o.l.] P e n th o d e ( )* [p. 112] l( p ic, a fl). l( e h ).l ( E b c l), b c l(b B b c b cl). 1./ ; db; p (3 ); p n o, h p ; [ l. l. l. l. ] B irth d a y F lo u rish ( ) / Q u in te t ( ) / ; p n o MOchael Colgrass D e ja V u, a w o rk b y C o lg ra ss fo r fo u r so lo p e rc u ssio n is ts a n d o rc h e stra, w a s a w a rd e d th e P u litz e r P riz e in C o lg ra ss w a s la te r c o m m issio n e d b y th e M id A m e ric a n B a n d D ire c to rs A sso c ia tio n to re v ise th is w o rk in 1987 fo r w in d e n se m b le, re ta in in g th e fo u r so lo ists. B o rn in C h ic a g o in 1932, C o lg ra ss re c e iv e d h is B M d e g re e in 1956 fro m th e U n iv e rsity o f Illin o is, w h e re h e w a s in v o lv e d w ith th e fo u n d in g o f th e first u n iv e rsity p e rc u ssio n e n se m b le in th e n a tio n. U p o n g ra d u a tio n, h e m o v e d to N e w Y o rk C ity, w h e re h e su p p o rte d h is c o m p o sitio n a l activ ity b y b e in g a fre e -la n c e p e rc u ssio n ist fo r te n y e ars, p e rfo rm in g w ith a w id e v a rie ty o f e n se m b le s su ch a s th e C o lu m b ia S y m p h o n y

44 3 5 O rc h e stra (c o n d u c te d by S tra v in sk y fo r h is c o m m e rc ia l re c o rd in g s), th e p it o rc h e stra fo r B e rn s te in 's W e st S id e S to r y a n d D iz z y G ille s p ie 's b a n d. D u rin g th is tim e, h e s tu d ie d c o m p o sitio n w ith W a llin g fo rd R ie g g e r a n d B en W e b e r, w h ic h a u g m e n te d e a rlie r s tu d y at th e B e rk sh ire M u sic C e n te r in T a n g le w o o d w ith L u k a s F o ss a n d th e A sp e n M u sic F estiv al w ith D a riu s M ilh aud. C o lg ra ss h as m a d e h is liv in g e x c lu siv e ly as a c o m p o se r s in c e 1967 a n d h a s liv e d in T o ro n to s in c e th e 1970s. H e h as re c e iv e d tw o G u g g e n h e im F e llo w s h ip s a n d a R o c k e fe lle r g ra n t as w e ll as c o m m is sio n s fro m m a jo r o rc h e stra s, fe stiv a ls a n d fo u n d a tio n s. H is w o rk, W in d s o fn a g u a l ( ), w o n th e S u d le r In te rn a tio n a l, th e B a rlo w In te rn a tio n a l a n d th e N a tio n a l B a n d A sso c ia tio n first p riz e s fo r th e b e st w in d e n se m b le c o m p o sitio n. T itle an d D a te o f W o rk In stru m entatio n T h re e B ro th e rs ( ) p (9 ) C o n c e rtin o fo r T im p an i w ith t; / p (2 ) B ra ss and P e rc u s sio n ( ) Q u in te t fo r P e rc u ssio n ( ) p (5 ) W in d Q u in te t ( ) / F a n ta sy v a ria tio n s ( ) 8 c h ro m a tic d ru m s an d p (6 ) D e ja V u ( )* [p. 114] p (4 ); 6 (3 p ic, 2 a fl).0.6 (E b c l, b c l), B B ^ c b c l.3 (c b n )./4.6 (p ic tp t a d lib, 2 flh n ).5, b trb. e u p h.l.; 2 d b ; p n o, 2 h p, cel (o rig in a lly fo r p e rc u ssio n so lo ists an d o rch estra) F la sh b a c k s ( ) / W in d s o f N a g u a l ( )* [p. 116] 6 (6 p ic, 2 a fl).0.6, E*5 c l, b c l, EE*5 c b c l, BB*5 c b c l. 0, cb n. ssx, a s x./6.6 (2 c o r), flh n e u p h.2.; 2 d b ; p (6 ); p n o, c e l, h p A rc tic D re a m s ( )* [p. 118] 6 (6 p ic, 3 a fl).3.6, E b c l, b c l, B B ^ c b c l. 3, c b n. ssx, a sx, b s x./6.6.4, 2 b trb. 2 e u p h.2.; 2 d b ; p (6 ); p n o, cel, h p ; 4 v o c a lists

45 3 6 Aaron Copland T h e b ro a d ly fa m ilia r b a lle t sco re fo r M a rth a G ra h a m 's A p p a la c h ia n S p rin g earn ed A a ro n C o p la n d th e 1945 P u litz e r P riz e in M u sic. B o m in B ro o k ly n, N e w Y o rk, in 1900, C o p la n d b e g a n h is p ia n o stu d ie s a t th e a g e o f 13. T ra d itio n a l m u sic th e o ry in stru c tio n w as ta k e n w ith R u b in G o ld m a rk, w h o se c o n se rv a tism is th o u g h t to h a v e h e lp e d c re a te in C o p la n d a d e sire fo r m o d e m m u sic a l e x p re ssio n. In 1920 h e w a s a m o n g th e first o f A m e ric a 's y o u n g c o m p o se rs to m a k e th e p ilg rim a g e to P aris, w h e re h e stu d ie d a t th e n e w A m e ric a n C o n se rv a to ry in F o u n ta in e b le a u w ith N a d ia B o u la n g e r u n til H e re h is m u sic attra c te d th e a tte n tio n o f th e c o n d u c to r S e rg e K o u ssev itsk y, w h o b e g a n to c h a m p io n C o p la n d 's m u s ic in th e U n ite d S ta te s. D u rin g th is tim e p erio d, C o p la n d b e g a n to b u m w ith th e d e sire to w rite d istin c tly A m e ric a n m u sic, m u c h in th e sam e w a y th a t R av e l re p re se n te d a F re n c h n a tio n a lis t sch o o l a n d S tra v in sk y a R u ssia n sc h o o l. U p o n h is re tu rn to th e U n ite d S tates in 1924, C o p la n d fo u n d h im s e lf to b e in th e m id s t o f m a n y o p p o rtu n itie s, as c u ltu ra lly a d v a n c e d N e w Y o rk e rs w e re e a g e r to m a tc h a n d b e tte r th e e ffo rts o f th e ir c o u n te rp a rts in P aris. T h u s b e g a n C o p la n d 's lo n g c a re e r as o n e o f th e m a jo r in flu e n tia l fig u re s on th e c la ssic a l m u sic sc e n e in tw e n tie th c e n tu ry A m erica. H is tireless w o rk w ith in th e L e a g u e o f C o m p o se rs, th e A m e ric a n C o m p o se rs A llia n c e, and o n h is o w n as a p ro m o te r a n d p re s e n te r o f n e w A m e ric a n m u sic w a s p a ra lle le d b y h is ow n h ig h ly su c c e ssfu l c o m p o sitio n a l e ffo rts. A s a te a c h e r and w rite r, C o p la n d a ffe c te d h u n d re d s o f a sp irin g c o m p o se rs d u rin g h is lo n g te n u re w ith th e T a n g le w o o d F e stiv a l and w ith h is m a n y re sid e n c ie s, p u b lic le c tu re s and books. T itle a n d D a te o f W o rk M u sic fo r th e T h e a tre ( )* [p. 119] In stru m en tatio n l( p ic ).l( e h ).l( E t> c l).l./0.2 ( in C ).1.0.; db; p ( l ) ; p n o ; [ J A n O u td o o r O v e rtu re ( )* c o n c e rt b an d, arr. C o p la n d 1942 [p. 122]

46 3 7 F a n fa re fo r th e C o m m o n M an / ; t. p (2 ) ( ) V a ria tio n s o n a S h a k e r M e lo d y c o n c e rt b a n d, arr. C o p la n d 1956 ( )* [p. 125] T h e R e d P o n y ( )* [p. 127] c o n c e rt b a n d, a rr. C o p la n d 1969 (4 m v t. su ite) P re a m b le fo r a G re a t O c c a sio n c o n c e rt b an d, arr. C o p la n d 1973 ( )* [p. 129] E m b le m s ( )* [p. 130] c o n c e rt band In a u g u ra l F a n fa re 3 (p ic ) / ; t, p (4 ) ( , re v is e d )* [p. 135] C e re m o n ia l F a n fa re ( ) / George Crumb A m e m b e r o f th e m u sic fa c u lty a t th e U n iv e rsity o f P e n n sy lv a n ia s in c e 1965, G e o rg e C ru m b w a s aw a rd e d th e P u litz e r P riz e in M u sic in 1968 fo r h is o rc h e stra l w o rk, E c h o e s o f T im e a n d T he R iv e r. B o m in C h a rle sto n, W e s t V irg in ia in , C ru m b re c e iv e d h is B.A. d e g re e fro m th e M a so n C o lle g e o f M u sic (in h is h o m e to w n ), th e M M d e g re e fro m th e U n iv e rsity o f Illin o is, and in 1969, h is D M A d e g re e fro m th e U n iv e rsity o f M ic h ig a n. H is p rim a ry c o m p o sitio n te a c h e rs w e re E u g e n e W e ig e l a n d R o ss L e e F in n ey. H e also sp e n t a y e a r a t th e H o c h sc h u lk e fiir M u sik in B erlin stu d y in g w ith B o ris B la c h e r in P re v io u s to h is lo n g te n u re a t th e U n iv e rs ity o f P e n n sy lv a n ia, C ru m b h e ld te a c h in g p o sitio n s at H o llin s C o lle g e (V irg in ia ) an d th e U n iv e rsity o f C o lo ra d o at B o u ld er. P o sse ssin g a d istin c tiv e c o m p o sitio n a l v o ic e d u rin g th e la tte r h a lf o f th e tw en tieth c e n tu ry, C ru m b in fu se s h is m u sic w ith a s e n se o f d ra m a, m y stic ism, a n d sp a c e. M u sic ia n s a re ask e d a t tim e s to w e a r m a sk s, re c ite n u m b e rs, a n d p ro c e ss a c ro ss th e s ta g e, as w e ll as u s e e x te n d e d p e rfo rm a n c e tech n iq u es. H e w e a v e s a fabric o f la y e re d s o u n d s d e p e n d e n t u p o n d y n a m ic c o n tro l and sp a tia l lo c a tio n. H is M a k r o k o s m o s serie s is c o n sid e re d to b e s o m e o f th e m o s t in v e n tiv e m u sic w ritte n fo r p ia n o in th e la st fifty y ears.

47 38 T itle a n d D a te o f W o rk In stru m e n ta tio n A n c ie n t V o ic e s o f C h ild re n ( ) S, b o y S; / ; e l p n o, to y p n o, m a n d, h p ; p (2 ) Q u e st ( ) g tr; s x./ ; d b ; h p ; p ( l ) M ario Davidovsky M a rio D a v id o v sk y re c e iv e d th e P u litz e r P riz e in M u sic in 1971 fo r S y n c h ro n ism N o. 6, th e seco n d ele c tro n ic m u sic p ie c e to b e a w a rd e d the P u litz e r P riz e. D a v id o v sk y, b o m in M e d a n o s, A rg e n tin a, in 1934, stu d ie d v io lin as a y o u th and b y th e a g e o f 13, sh o w e d a k e e n in te re st in c o m p o sitio n. H e stu d ie d in B u en o s A ire s w ith G u ille rm o G ra e tz e r, T e o d o ro F u c h s, E rw in L e u c h te r a n d E rn e sto E p ste in. H e w a s fo rtu n a te in b e in g in v ite d b y A a ro n C o p la n d to atte n d th e B e rk sh ire M u sic C e n ter in 1958, w h e re h e stu d ie d w ith C o p la n d and M ilto n B ab b itt. B a b b itt e n c o u ra g e d D a v id o v sk y to settle in th e U n ite d S ta te s, w h ic h h e d id w ith th e aid o f a G u g g e n h e im F e llo w sh ip. In 1960 h e b e g a n w o rk at th e C o lu m b ia -P rin c e to n E lectro n ic M u sic C en ter, e m b a rk in g o n a te a ch in g re la tio n sh ip w h ic h h a s re m a in e d a c tiv e u n til th e p resen t. H e p re sen tly te a ch e s a t H a rv a rd U n iv e rsity a n d h a s a lso ta u g h t a t th e U n iv e rsity o f M ic h ig a n, th e D i T e lia In stitu te o f B u e n o s A ire s, th e M a n h a tta n S c h o o l, Y a le U n iv e rsity, and C ity C o lle g e, C U N Y. D a v id o v sk y 's w o rk s w h ic h co m b in e liv e in stru m e n ta l p e rfo rm a n c e w ith re c o rd e d e le c tro n ic so u n d s h a v e le d th e w a y in th is a re a o f c o m p o sitio n. H e fre q u e n tly a sk s in stru m e n ta lists to e m p lo y e x te n d e d te c h n iq u es to p ro d u c e aco u stic so u n d s w h ic h have b een in flu en c e d by h is stu d y o f ele c tro n ic m u sic. T itle and D a te o f W o rk In stru m entatio n N o n e to ( ) / ; d b ; [ ] In fle x io n s ( ) / ; d b ; p (4 ); p n o, c e l, [ ] S y n c h ro n is m s N o. 5 ( ) S y n c h ro n is m s N o. 8 ( ) p (5 ); ta p e / ; ta p e

48 3 9 S h ir H a -S h irim ( ) C a n ta ta fo r S T T B so li; l( p ic, a f l).l( o b d 'a ).l( b c l).0./ O.O.O.O.; db; p ( l ) ; p n o ; [ ] P e n n p la y ( )* [p. 137] 2 (p ic, a fl).0.2 (E b c l, b c l ). 0. / l. l. l. l. ; d b ; p (2 ); p n o ; [ l. l. l. l. ] C o n so rts ( )* [p. 138] 8, p ic. 1, eh. 15, c l, 3 b cl. 0, c b n. a sx, 2 ts x, b s x / ; p (3 ); p n o S a lv o s (?) l( p ic, a f l).0.1 (b c l).0./ ; p ( l ) ; h p ; [ l.o.o.l.] Norman Dello Joio N o rm a n D e llo J o io w a s b o rn in N e w Y o rk C ity in 1913, a d e sc e n d a n t o f th re e g e n e ra tio n s o f Ita lia n c h u rc h o rg a n ists. H e re c eiv e d th e P u litz e r P riz e in M u sic in 1957 fo r h is o rc h e stra l w o rk, M e d ita tio n s o n E c c le sia ste s. D e llo Jo io is a c o m p o se r w h o h a s tu rn ed h is a tte n tio n to th e c o n c e rt b a n d m e d iu m w ith g re a t reg u larity, m o re so th an a n y o th e r c o m p o se r a w a rd e d th e P u litz e r P riz e in M u sic S ix teen o f h is w o rk s a re w ritten fo r fu ll c o n c e rt b an d, w h ile a n o th e r e ig h t a re fo r c h a m b e r w in d e n se m b le. D e llo Jo io 's m u sic a l stu d ie s b e g an q u ite e a rly w ith h is fa th e r C a sim iro a n d h e q u ic k ly d e m o n stra te d a re m a rk a b le m u sic al ap titu d e. A fte r m u sic a l stu d ie s a t A ll H a llo w s In stitu te, C o lle g e o f th e C ity o f N e w Y o rk, and th e In stitu e o f M u sic a l A rt, h e d id g ra d u a te w o rk u n d e r B e rn a rd W a g e n a a r a t th e J u illia rd S c h o o l o f M u sic. T h is w a s fo llo w e d b y a d d itio n a l stu d y w ith P a u l H in d e m ith a t th e B e rk sh ire M u sic a l In stitu te a t T a n g le w o o d and a t Y a le U n iv ersity. D e llo Jo io th en e m b a rk e d on a te a ch in g c a re e r, b e g in n in g a t S arah L a w re n c e C o lle g e, fo llo w e d b y p o sitio n s at th e M a n n e s C o lle g e o f M u sic, and th e S ch o o l o f th e A rts, B o sto n U n iv e rsity, w h e re h e w a s D e a n u n til h is re tire m e n t in A n ad d itio n a l c o n trib u tio n m a d e b y D ello Jo io to th e A m e ric a n m u sic al sc e n e th a t c e rta in ly riv a ls h is o w n w o rk as a c o m p o se r w a s h is v isio n a ry in v o lv e m e n t a n d le a d ersh ip w ith th e F o rd F o u n d a tio n Y o u n g C o m p o se rs P ro je c t (Y C P ), w h ic h a fte r fiv e y e ars,

49 4 0 e v o lv e d in to th e C o n te m p o ra ry M u sic P ro je c t (C M P ). D u rin g e ig h te e n o f th e tw e n ty y ears th e se tw o o rg a n iz a tio n s w e re in e x isten c e, D e llo Jo io serv ed as th e h e a d o f th e ir re sp ectiv e a d m in istra tiv e p o lic y co m m ittees. P re se n tly D e llo J o io re sid e s in E a s t H a m p to n, N e w Y o rk, w h e re h e still d e v o te s h is m o rn in g s to c o m p o sitio n. H is m o s t re c e n t w o rk fo r b a n d, F a n ta sie s o n a n O rig in a l T h e m e, w a s p re m ie re d in T itle a n d D a te o f W o rk T h e L a m e n ta tio n o f S au l ( ) In stru m en tatio n B a r; / ; p n o ; [O.O.I.O.] A ir P o w e r S u ite ( )* [p. 140] c o n c e rt b an d, arr. D e llo J o io 1992 T o St. C e c e lia ( ) /3.3.2, b trb. 1; S A T B c h o ru s A n th o n y an d C le o p a tra ( ) / ; p ; [ ] V arian ts on a M e d ie v a l T u n e ( )* [p. 142] F ro m E v e ry H o riz o n ( )* [p. 144] c o n c e rt b an d c o n c e rt b and S c e n es fro m T h e L o u v re ( )* c o n c e rt b a n d, arr. D e llo Jo io 1966 [p. 146] T h e D a n cin g S e rg e a n t ( )* c o n c e rt b an d, arr. D e llo Jo io 1979 [p. 148] P ro u d M u sic o f th e S to rm ( ) F a n ta sie s o n a T h e m e b y H a y d n : ( )* [p. 150] M a ss ( ) Y e ars o f th e M o d e m ( ) S o n g s o f A b e la rd ( )* [p. 152] / ; o rg ; S A T B c h o ru s c o n c e rt b and /3.3.2, b trb. 1; o rg ; S A T B c h o ru s /3.3.2, b trb. 1; p ; S A T B c h o ru s B a r o r M S ; c o n c e rt b an d E v o c a tio n s: P ro m ise o f S p rin g c o n c e rt b a n d ; S S A A T T B B c h o m s, y o u n g ( )* [p. 154] p e o p le 's c h o ru s, arr. D e llo Jo io 1970 C o n c e rta n te ( )* [p. 155] c o n c e rt b and C a c c ia ( )* [p. 157] c o n c e rt b an d, arr. D e llo Jo io 1978

50 41 M a ss in H o n o r o f th e B le ssed V irg in M ary ( ) S a tiric D a n c e s ( )* [p. 158] C o lo n ia l B a lla d s ( )* [p. 160] A ria a n d R o u la d e ( )* [p. 161] M e ta p h ra se o n L in e s fro m S h a k e sp e a re ( )* [p. 162] c a n to r; / ; o rg ; S A T B c h o ru s c o n c e rt b an d c o n c e rt b and c o n c e rt band c o n c e rt b and R efle ctio n s o n an O rig in a l / C h ristm a s T u n e ( ) A P ro cla m a tio n : "L e t U s Sin g A N e w S o n g " ( )* [p. 164] F a n ta sies o n an O rig in a l T h e m e ( )* [p. 165] c o n c e rt b and; S A T B choru s c o n c e rt b and David Del Tredici In M e m o ry o f a S u m m e r D a y, fo r s o p ra n o a n d o rc h e stra, e a rn e d D a v id D e l T re d ic i th e P u litz e r P riz e in M u sic in B o m in C lo v e rd a le, C a lifo rn ia, in 1937, D e l T re d ic i re c iev e d p ia n o in stru c tio n as a c h ild and d ev elo p ed in to an ta le n te d p ia n ist, so lo in g w ith m a n y w e st c o a s t e n se m b le s, in c lu d in g th e S a n F ra n sisco S y m p h o n y O rc h e stra, b e fo re h e w a s tw e n ty y e ars o ld. B rie f c o n ta c t w a s m a d e w ith D a riu s M ilh a u d a t th e A sp e n M u sic F e stiv a l in 1958 w h ic h p ro v e d v e ry in flu en tial, as D el T re d ic i w a s e n c o u ra g e d b y th e F re n c h m a ste r to p u rsu e c o m p o sitio n serio u sly. H e stu d ie d w ith A rn o ld E lsto n and S e y m o u r S c h ifrin a t th e U n iv e rsity o f C a lifo rn ia, B e rk e le y (B A ), a n d R o g e r S e ssio n s a n d E arl K im a t P rin c e to n U n iv e rsity (M F A 1964). H e h as b e e n in re sid e n c e a t th e B e rk sh ire M u sic C en ter, th e M a c D o w e ll C o lo n y, an d th e M a rlb o ro F e stiv a l, and h a s h e ld te a c h in g ap p o in tm e n ts a t H a rv a rd U n iv e rsity and B o sto n U n iv e rsity. H e p re s e n tly serv es o n th e fa c u ltie s o f th e C ity C o lle g e, C U N Y, th e C U N Y G ra d u a te C e n te r a n d th e Ju illia rd S c h o o l o f M u sic.

51 4 2 A la rg e a m o u n t o f D e l T re d ic i's w o rk s h a v e b e e n b a se d u p o n lite ra ry w o rk s b y J a m e s J o y c e a n d L e w is C a rro ll. H is "return" to a v e ry c h ro m a tic to n a lity in th e la te 1960's fro m h is e a rlie r seria l w o rk h a s b e e n fo u n d to be q u ite su ccessfu l b y c ritic s a n d au d ie n ces alik e. T itle and D a te o f W o rk N ig h t C o n ju re V e rse ( ) S y z y g y ( )* [p. 166] In stru m e n ta tio n S, M S (o r c o u n te r T ); 2 (p ic ).1.2 ( b c l).l./ ; [ ] S (a m p ), h n, tu b u la r b e lls (2 p la y e rs); l( p ic ), p ic (a fl). l( e h ), eh (o b ). 2 (c l in A, b c l ).l, c b n (b n )./ ; d b ; p ( l ) ; [ ] V in tage A lice: F a n ta sc e n e o n S (a m p ), fo lk g ro u p (2 ssx, m a n d, b a n jo, "A M a d T e a P a rty " ( )* a c c o rd ); l(p ic ).1.0, E ^ c l. 1./ ; db; [p. 168] t, p ( l ) ; [ l. l. l. l. ] H a d d o c k 's E y e s ( ) S (a m p ); 0, p ic / ; d b ; p n o ; [ l. l. l. l. ] A c ro stic S o n g ( ) / ; d b ; p ( l ) ; p n o ; [ l. l. l. l. ] B ra ss S y m p h o n y ( ) / H eav y M e ta l A lice ( ) / Jacob Druckman B o m in P h ila d e lp h ia in 1928, Jaco b D ru c k m a n w a s a w a rd e d th e P u litz e r P riz e in M u sic fo r h is o rc h e stra l w o rk, W in d o w s, in H e stu d ie d p ia n o, v io lin a n d tru m p e t as a y o u th and w a s w ritin g m u sic b y th e a g e o f 15. H e stu d ie d c o m p o sitio n w ith A a ro n C o p la n d at th e B e rk sh ire M u sic C e n te r b e fo re e n te rin g th e Ju illia rd S c h o o l o f M u sic, w h ere h is p rin c ip a l te ach ers w e re P e te r M en n in, V in c e n t P ersich etti and B e rn a rd W a g e n n a r. H e stu d ie d w ith T o n y A u b in at th e E c o le N o rm a le d e M u siq u e in P a ris on a F u lb rig h t F e llo w sh ip in H e c o m p le te d h is m a ste r's d e g re e a t Ju illia rd in 1956 a n d su b se q u e n tly jo in e d th e fa c u lty th e re, te a c h in g a t Ju illia rd fro m 1956 to H e a lso h e ld b rie f te a ch in g p o sitio n s a t B a rd C o lle g e an d B ro o k ly n C o lle g e, C U N Y b e fo re b e in g

52 4 3 a p p o in te d c h airm a n o f th e c o m p o sitio n d e p a rtm e n t a n d d ire c to r o f th e e lectro n ic m u sic stu d io a t Y a le in 1976, w h e re h e re m a in s a c tiv e to d a y as an a d ju n c t p ro fesso r. D ru c k m a n 's w o rk in th e e le c tro n ic m u sic m e d iu m g re a tly in flu e n c e d h is c o m p o sitio n a l sty le in g e n eral and h is o rc h e stra tio n a l te c h n iq u es sp ecifically. H is re c e n t w o rk is c h aracte riz e d as e clectic n e o -ro m a n tic ism. H e receiv ed tw o G u g g e n h eim F e llo w s h ip s a n d m a n y o th e r a w a rd s fo r h is w o rk, and h as re c e iv e d c o m m is sio n s fro m m a n y o f th e to p o rc h e stras, in c lu d in g th e N e w Y o rk P h ilh a rm o n ic a n d th e C h ic a g o S y m p h o n y O rc h estra. T itle and D a te o f W o rk In stru m en tatio n D a rk U p o n T h e H a rp ( ) M S ; / ; p (2 ) In c e n te rs ( ) l. l. l. l. / l ; d b ; p ; p n o, e l o rg ; [ ] (c h a m b e r v e rsio n ) D e liz ie C o n te n te C h e l'a lm e / ; ta p e B eate ( ) O th e r V o ic es ( ) / A n im u s IV ( ) T ; / ; p (2 ), p n o (e l p n o ), e l o rg ; [ ]; ta p e B o ( ) 3 fe m a le v cs; 0.0.l( b c l ).l./ ; m a r; h p ; [ ] E n g ra m ( )* [p. 169] c o n c e rt b an d, arr. D ru c k m a n 1987 P a e a n ( )* [p. 171] 2, p ic. 2, eh. 2, b c l. 2./ ; t, p (3 ); p n o In M em o riam V in c e n t P ersichetti 3 (p ic ). 2, eh. 0.2./ ; t, p (3 ) ( )* [p. 173] D a n c e w ith S h a d o w s ( ) / C o m e R o u n d ( ) / ; p n o ; [ ] W ith B ells O n ( )* [p. 174] 1, 2 p ic / ; p (3 ); p n o

53 4 4 Howard Hanson H o w a rd H a n s o n 's S y m p h o n y N o. 4 w a s a w a rd e d th e s e c o n d P u litz e r P riz e in M u sic in B o m in 1896 to S w e d ish im m ig ra n t p a re n ts in W a h o o, N e b ra sk a, H a n so n re c e iv e d in itia l m u sic al in stru c tio n fro m h is m o th er. H e atten d ed L u th e r C o lle g e in W a h o o fo r h is e a rly e d u catio n, fu rth e re d h is m u sic a l stu d ie s w ith P e rc y G o e tsc h iu s a t th e In stitu te o f M u sic a l A rt in N e w Y o rk, an d w e n t on to re c e iv e h is b a c h e lo r's d e g re e fro m N o rth w e ste rn U n iv e rsity in 1916, w h e re h is p rin c ip a l te a ch e rs w e re P e te r L u tk in a n d A rn e O ld b u rg. A t th is poin t, H a n so n b e g a n a m u lti-fa c e te d c a re e r as a c o m p o se r, c o n d u c to r, e d u c a to r, a u th o r a n d a d m in istra to r, e v e n tu a lly b e co m in g an in te rn a tio n a l fig u re in e a c h o f th e se realm s. H is first te a ch in g an d ad m in stra tiv e p o sitio n s w e re a t th e C o lle g e o f th e P a c ific in S an Jo se, C a lifo rn ia ( ), w h e re h e b e cam e d e a n o f th e C o n se rv a to ry o f F in e A rts. In 1921, h e w a s aw a rd e d th e A m e ric a n P rix de R o m e a n d b e c a m e th e first A m e ric a n p riz e w in n e r to ta k e u p re sid e n c e in R o m e. U p o n h is re tu rn to th e U n ite d S tates in 1924, h e w a s in v ite d b y G e o rg e E a stm a n to b e c o m e d ire c to r o f th e E a s tm a n S ch o o l o f M u sic in R o c h e ste r, N e w Y o rk, w h e re h e re m a in e d u n til h is re tire m e n t in H is v isio n an d w o rk eth ic h e lp e d to b u ild th e E a stm a n S ch o o l o f M u sic in to o n e o f th e fin e st c o n se rv a to rie s in th e w o rld. H a n so n w a s p re sid e n t o f th e N a tio n a l A sso c ia tio n o f S c h o o ls o f M u sic, th e N a tio n a l M u sic C o u n c il a n d th e M u sic T e a c h e r's N a tio n a l A sso c ia tio n. H e g u e st c o n d u c te d m a jo r s y m p h o n y o rc h e stra s in th e U n ite d S tates an d E u ro p e o n a re g u la r b a sis a n d w a s a c h am p io n o f A m e ric a n m u sic. H e w as a c tiv e as a c o m p o se r u n til h is d e ath in R o c h e s te r in T itle and D ate o f W o rk F a n fa re ( ) In stru m en tatio n / ; t F a n fa re fo r th e S ig n a l C o rp s / ; t, p (2 ) ( )

54 4 5 C h o ra le a n d A lle lu ia ( )* [p. 176] c o n c e rt b and S o n g o f D e m o c ra c y ( )* c o n c e rt b a n d ; S S A A T T B B c h o ru s, tran s. [p. 178] H a n so n 1957 C e n te n n ia l M a rc h ( )* [p. 180] D ie s N a ta lis II ( )* [p. 182] c o n c e rt band c o n c e rt band Y o u n g P e o p le 's G u id e to th e p n o ; 3, p ic. 2, e h. 3, b c l. 3, c b n./ ; S ix T o n e S c a le ( )* [p. 184] t, p (3 ); c el L au d e: C h o ra le, V a ria tio n s a n d M e ta m o rp h o se s ( )* [p. 185] F a n fa re a n d C h o ra le fro m "L a u d e " ( )* [p. 188] c o n c e rt b and 2, p ic. 2, eh. 3.2, c b n./ ; t, p S y m p h o n y N o. 7 "A S e a c o n c e rt b a n d ; S A T B c h o ru s, tra n s. H a n so n S y m p h o n y " ( )* [p. 189] 1977 V a ria tio n s on an A n c ien t H y m n ( )* [p. 191] c o n c e rt band John Harbison Jo h n H a rb is o n 's c a n ta ta fo r so p ra n o, b a rito n e, c h o ru s and c h a m b e r o rc h e stra, T h e F lig h t in to E g y p t, re c e iv e d th e P u litz e r P riz e in M u sic in B o m in 1938 in O ra n g e, N e w Jerse y, H a rb iso n w a s ra ised in an in te n sely m u sic a l a n d lite ra ry fa m ily c lim a te, w h ich h e lp e d to b rin g fo rth his m u sic a l g ifts a t an e a rly age. D u rin g h is te e n a g e y e a rs, he w a s fo rtu n a te to be ab le to re c e iv e e v a lu a tio n o n h is e a rly c o m p o sitio n s fro m R o g e r S essio n s. H e re c e iv e d h is B A d e g re e in m u sic fro m H a rv a rd U n iv e rsity in 1960, w h e re h e stu d ie d w ith W a lte r P isto n. H e tra v e lle d to B e rlin in 1961 to stu d y w ith B o ris B la c h e r a t th e H o c h s c h u le fu r M u sik. C o n tin u e d w o rk w ith R o g e r S e ssio n s a t P rin c e to n U n iv e rs ity, as w e ll as ad d itio n a l stu d y w ith E a rl K im, led to h is M F A d e g re e in T h e m a jo rity o f h is te a ch in g c a re e r (sin ce 1969) h a s b een a t th e M assa c h u se tts In stitu te o f T e c h n o lo g y, w h e re h e is p re sen tly th e C la ss o f 1949 P ro fe sso r o f M u sic.

55 4 6 H a rb is o n d o e s m o st o f h is c o m p o sin g d u rin g th e su m m e rs m o n th s o n a fa rm in W isc o n sin, w h e n h e is fre e o f h is te a c h in g c o m m ittm e n ts. H e h a s b e e n c o m p o se r-in re sid e n c e w ith m a jo r s y m p h o n y o rc h e stra s th ro u g h o u t the c o u n try a n d also c o n d u c ts p ro fe s sio n a l e n se m b le s o n a re g u la r b a sis. H is o u tp u t in c lu d e s th re e s y m p h o n ie s, tw o o p e ra s, th re e strin g q u a rte ts, six c o n c e rto s a n d n u m e ro u s c h a m b e r w o rk s. H a rb is o n h as b e en th e re c ip ie n t o f a G u g g e n h e im F e llo w h ip ( ), th e K e n n e d y C e n te r F rie d h e im A w a rd ( ) a n d a M ac A rth u r F e llo w sh ip ( ). H e h as re c e n tly b e e n c o m m issio n e d b y th e C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n to w rite a b a lle t fo r b a n d to b e p re m ie re d w ith th e A tla n ta B a lle t C o m p a n y a t th e 1997 n atio n al co n v en tio n in A th ens, G e o rg ia. T itle and D a te o f W o rk In stru m en tatio n C o n fin e m e n t ( ) 1.1 (e h ). 1 (b c l).0.a s x./ ; d b ; p; p n o ; [ ] F u ll M o o n in M arch ( ) S, M S,T, B ar, d a n c e r; l. l. l. l ( b c l ). 0. / (O n e-a ct O p era) O.O.O.O.; p ; p re p a re d p n o ; [ ] T h e F lo w e r F e d B u ffa lo s ( ) B ; ts x./ ; d b ; p ; p n o ; (cantata) [ ]; S A T B c h o ru s Q u in te t fo r W in d s ( ) l. l. l. l. / l S am u el C h a p te r ( ) S; / ; p ; p n o ; [ ] O rg a n u m fo r P au l F ro m m ( ) g l, m a r, v ib ; h p, p n o E x e q u ie n fo r C alv in S im m o n s a fl, b cl; v ib ; p n o ; [ ] ( ) M ira b a i S o n g s ( ) S ; a fl, b c l; db; p ; h p ; [ ] (c h a m b e r v ersio n ) O v ertu re: M ich ael K o h lh ass ( ) D e ep P o to m a c B ells ( ) M u sic fo r E ig h te e n W in d s ( )* [p. 192] /4.4.3 ( b t r b ).l. 10 tu b a s 2 ( p ic ) ( c b n ).a s x./4.2.2 ( b tr b ).l.

56 4 7 F a n fa re fo r F o le y 's ( ) / ; t, p R o t u n d W e iss ( ) S o r.t ; ; p ( l ) ; p n o ; [O.O.O.I.] T w o C h o ra le P re lu d e s fo r A d v e n t / (fo r s a le a s m v t. 1 o f ( ) C h ristm a s V esp ers) M a g n u m M y ste riu m ( ) / T h e N a tu ra l W o rld ( ) S o r M S ; / ; p n o ; [ ] L ittle F a n ta sy o n "T h e T w e lv e / D a y s o f C h ristm a s" ( ) T h e T h re e W ise M e n ( ) re a d e r; / C h ristm a s V e sp e rs ( ) re a d e r; / N o c tu rn e ( ) / W o rd s fro m P a te rso n ( ) B a r; l( a f l).l( e h n ).0.0./ ; h p, p n o ; [ ] D u e L ib ri ( ) M S ; l.l.l( b c l ).0./ ; d b ; o p t. c e l; [ ] (c h a m b e r v e rsio n o f M o te tti d i M o n ta le 1980) T h re e C ity B lo c k s ( )* [p. 194] 4 (2 p ic ).2.4, 2 E b c l, 2 b c l (B B b c b c l). 2 (c b n ).2 asx, 2 ts x./ e u p h.2.; 2 db; p (5 ); p n o, h p Karel Husa A w a rd e d th e P u litz e r P riz e in M u sic in 1969 fo r h is S trin g Q u a rte t N o. 3, K arel H u sa w a s b o m in P rag u e, C z e c h o slo v a k ia, in E a rly stu d ie s in p ia n o a n d v io lin w ere c o u p le d w ith an in te re st in p a in tin g a n d e n g in e e rin g. F o llo w in g th e G e rm a n o c c u p a tio n o f C z e c h o slo v a k ia in 1939, a serie s o f fo rtu n a te e v e n ts a n d p e rso n al c o n ta c ts le d to h is e n ro llm e n t in th e P ra g u e C o n se rv a to ry o f M u sic in 1941, w h e re h e re m a in e d th ro u g h o u t W o rld W a r II. T h e re h e stu d ie d c o m p o sitio n w ith Jaro sla v R id k y a n d c o n d u c tin g w ith P a v e l D e d ecek. U p o n g ra d u a tio n fro m th e c o n se rv a to ry in 1945, H u sa im m e d ia te ly e n ro lle d in th e c o m p o sitio n p ro g ram o f a n e w g ra d u a te sch o o l, th e A c a d e m y o f M u sic a l

57 4 8 A rts (P ra g u e), w h e re h e c o n tin u e d h is stu d ie s w ith R id k y. It w a s d u rin g th e se stu d e n t y ears th a t H u sa e sta b lish e d h im s e lf as a c o m p o se r o f n o te a n d also as a c o m p e te n t p ro fe ssio n a l c o n d u c to r. It w a s a lso a t th is tim e th a t H u sa b e g a n h is stu d ie s in P a ris in c o m p o sitio n w ith N a d ia B o u la n g e r a n d A rth u r H o n e g g e r a n d c o n d u c tin g w ith C h a rle s M u n c h. H u sa e m ig ra te d to th e U n ite d S tates in 1954 to a c c e p t a te a ch in g p o sitio n a t C o rn e ll U n iv e rsity. T h is fo llo w e d a p e rio d o f tim e w h ic h fo u n d h im re lin q u ish in g h is C z e c h c itiz e n sh ip in o rd e r to re m a in in P a ris, a re fu g e e p ro te c te d b y th e F re n c h G o v e rn m e n t. H e re m a in e d a t C o rn e ll th ro u g h o u t h is te a ch in g c a re e r a n d is p re sen tly p ro fe s so r em e ritu s. H u sa 's w o rk s c o v e r a w id e sp e c tru m o f m e d ia a n d h a v e re c e iv e d p e rfo rm a n c e s w o rld w id e. H e h a s b e e n h o n o re d w ith n u m e ro u s p re s tig io u s a w a rd s fo r h is m u sic, as w e ll as h o n o ra ry d e g re e s a n d n o ta b le c o m m issio n s. H is c o n trib u tio n s to th e w in d b a n d m e d iu m are m a n y a n d o f v e ry h ig h m u sic a l in te g rity. H e re c e n tly fin ish e d L e s c o u le u rs fa u v e s, a c o m m issio n e d w o rk w h ic h w ill m a rk th e 100th a n n iv e rsa ry o f th e N o rth w e ste rn U n iv e rsity S c h o o l o f M u sic w h e n p re m ie re d and w ill also serv e as a trib u te to its re tirin g c o n d u c to r J o h n P a y n te r. T itle an d D a te o f W o rk In stru m e n ta tio n C o n c e rtin o fo r P ia n o a n d p n o ; w in d e n se m b le, tra n s. H u s a 1983 W in d E n se m b le ( )* [p. 197] M u siq u e p o u r H a rm o n ie ( ) a s x./2 a h n.l, c o r, 2 b u g le b a r.2.; p (w ith d ra w n ) D iv e rtim e n to fo r B ra ss an d /3 (4 th o p t.) ; p (2 ) P e rc u s sio n ( ) S e re n a d e fo r W o o d w in d Q u in te t a n d P ia n o ( ) F e s tiv e O d e ( )* [p. 199] C o n c e rto fo r B ra ss Q u in te t a n d S trin g s (P ian o ) ( ) / ; p n o c o n c e rt b a n d ; S A T B c h o ru s (also o rc h e stra and c h o ru s o r b ra ss b a n d an d c h o ru s) / ; p n o

58 4 9 C o n c e rto fo r A lto S a x o p h o n e a n d B a n d ( )* [p. 201] asx ; c o n c e rt b a n d D iv e rtim e n to ( ) / M u sic fo r P ra g u e 1968 ( )* [p ] A p o th e o sis fo r th e E a rth ( )* [p ] C o n c e rto fo r P e rc u s sio n a n d W in d E n s e m b le ( l)* [ p. 213] C o n certo fo r T ru m p e t a n d W in d O rc h e s tra ( )* [p. 216] A1 F re sc o ( )* [p ] A n A m e ric an T e D e u m ( )* [p. 222] c o n c e rt b an d c o n c e rt b an d p (5 ); co n c e rt b an d tp t; w in d o rc h e stra c o n c e rt b and B ar; c o n c e rt b a n d ; S S A A T T B B choru s L a n d scap e s ( ) / F a n fa re ( ) /4.3.2, b trb. 1.; t, p (2 ) In tra d a s and In te rlu d e s ( ) 7 tp t (p ic in B b, p ic in A, tp ts in E b, D, C & B b, flh n in B b ); t, cy m C o n certo fo r W in d E n se m b le 6 (2 p ic ).3 (e h ).9, E b c l, a c l, b c l, B B b cb c l. ( )* [p ] 2, c b n.2 a sx, ts x, b s x, b s s x./ e u p h.2 ; t, p (4 ) R ecolle c tio n s ( ) C a n ta ta ( ) / ; p n o / ; T T B B c h o ru s In tra d a fo r B ra ss Q u in te t ( ) / S m e ta n a F a n fa re ( )* [p ] c o n c e rt b and F iv e P o e m s ( ) l. l. l. l. / l Charles Ives C h a rle s Iv e s w ro te h is S y m p h o n y N o. 3 in 1904, n e a rly fifty y e a rs b e fo re W illia m S c h u m a n w a s a w a rd e d th e first P u litz e r P riz e in M u sic. T h e w o rk re c e iv e d th e P u litz e r

59 5 0 P riz e in 1947 d u e to th e fa c t th a t it w a s n o t p re m ie re d u n til O n e o f th e m o s t o rig in al o f all A m e ric a n co m p o se rs, C h a rle s Iv e s w a s b o m in 1874 in D a n b u ry, C o n n e c tic u t. P e rh a p s th e la rg e st in flu e n c e on h is m u sic a l d e v e lo p m e n t w a s th e e x te n siv e e x p o su re d u rin g h is c h ild h o o d d a y s to h is fa th e r G e o rg e 's u n iq u e aesth e tic s e n s e a n d w o rk e th ic. C h a rle s b e g a n c o m p o sin g a t th e a g e o f tw e lv e a n d h a d w ritten a la rg e a m o u n t o f m u sic b e fo re e n te rin g Y a le U n iv e rsity in H is stu d y w ith H o ra tio P a rk e r w h ile a t Y a le g a v e Iv e s fo rm a l tra in in g in c o u n te rp o in t an d c o m p o sin g in la rg e r fo rm s. U p o n g ra d u a tio n, Iv es e m b a rk e d on a lo n g, h ig h ly su c c e ssfu l c a re e r in th e in su ra n c e in d u stry. H e w a s a b u sin e ssm a n b y d ay a n d c o m p o se d a t n ig h t a n d o n S a tu rd a y s u n til 1926, w h e n h e d ecid ed h e c o u ld n o t c o m p o se an y m o re. It is an a w e so m e e x p e rie n c e fo r a n y o n e in te re ste d in m u s ic to e n c o u n te r Iv e s' to tal m u s ic a l o u tp u t fo r th e first tim e. Iv e s' m u s ic a l c o n trib u tio n is s ta g g e rin g, e sp e c ia lly w h e n o n e c o n sid e rs h is u p b rin g in g, s o m e w h a t iso la te d life, a n d c o n su m in g b u sin e ss c a re e r. H is u n c o m p ro m isin g m u sic e x p lo re d m a n y o f th e "co n tem p o rary " te c h n iq u e s th a t w o u ld b e a ttrib u te d to o th e r c o m p o se rs a t first, su ch as p o ly to n a lity, sp a tia l m u sic a n d m ic ro to n a lity. H is w o rk s b e g a n to b e p ro g ra m m e d (c h a m p io n e d b y so m e) d u rin g th e s a n d slo w ly o v e r th e n e x t fe w d e c a d e s h e a tta in e d w e ll-d e se rv e d re c o g n itio n as b e in g p e rh a p s th e m o st im p o rta n t o f all A m e ric a n c o m p o se rs, an a c k n o w le d g e m e n t th a t to th is d a y c o n tin u e s to b e a ffirm e d b y p e rfo rm e rs a n d s c h o la rs alik e. H e p a sse d a w ay in 1954 a fte r su ffe rin g a s tro k e. T itle and D a te o f W o rk S c h o o lb o y M a rc h, O p. 1 ( ) S lo w M a rc h o n A d e s te F id e lis ( o r 1887) H o lid a y Q u ic k ste p ( ) F a n ta sia o n J e ru sa le m th e G o ld e n ( ) In stru m en tatio n sm a ll b a n d (lost) sm a ll b a n d (lost) p ic, 2 c o r, 2 v ln, p n o sm a ll b a n d (lost)

60 51 M arch In te rc o lle g ia te w ith 0, p ic. 0.3, c l. 0.ts x./3 a h n.3, cor. A n n ie L is le ( )* [p ] 2, b trb. b a r.e E ^ tu.; p (2 ) M a rc h N o. 1 w ith T h e Y e a r o f th e J u b ile e ( ) sm a ll b a n d (lost) M a rc h N o. 2, w ith A S o n g o f a /0.0, c o r. 1.1.; p ; [2.2.O.O.] G a m b o lie r ( ) M a rc h N o. 3, w ith M y O ld /0.0, c o r. 1.1.; p ; [2.2.O.O.] K e n tu c k y H o m e ( ) M a rc h N o. 6 w ith H e r e 's to G o o d O ld Y ale ( ) T h e C irc u s B a n d ( ) O v e rtu re : T o w n G o w n a n d S tate ( ) sm all b a n d (lost) sm all b a n d (lost) sm all b a n d (lost) M arch : O m e g a L a m b d a C h i ( )* 0, p ic /4 a h n.4 c o r.2.2 b a r. [p ] E E ^ tu.; p M arch fo r [A d m iral] D e w e y D a y ( ) F ro m th e S te e p le s and th e M o u n ta in s ( ) sm all c o n c e rt b a n d (lo st) / ; 4 c h im e s T h re e H a rv e st H o m e C h o ra le s / ; d b ; o rg ( ) (also w /m ix e d c h o ru s) R u n a w a y H o rse o n M a in S tre e t (c. 1905) S c h e rz o "O v er T h e P a v e m e n ts" ( ) T h e U n a n sw e re d Q u e stio n ( ) D e c e m b e r ( ) T h e S e 'e r (c ) sm all b a n d (in co m p lete) 0, p ic (o r s x )./ ; p ; p n o 4 fl (o r 2 fl, o b, c l); tp t (o r o b o r e h o r c l); [ ] (c h a m b e r v e rs io n ) 0, p ic / ; u n is o n m e n 's c h o ru s 0.0.0, E ^ cl. 0./0.1 (c o r).0.b a r.0.; p ; p n o

61 5 2 Leon Kirchner L e o n K irc h n e r w a s h o n o re d w ith th e P u litz e r P riz e in M u sic in 1967 fo r h is S trin g Q u a r te t N o. 3. B o m in B ro o k ly n, N e w Y o rk, in , he m o v e d w ith h is fa m ily to L o s A n g e le s w h e n h e w a s fiv e y e a rs old. H e d id n o t b e g in c o m p o sin g u n til h e w a s a stu d e n t at L o s A n g e le s C ity C o lle g e, w h e re h is e ffo rts w e re e n c o u ra g e d b y h is te a c h e rs, m o s t n o ta b ly E rn s t T o c h. H e e n ro lle d a t th e U n iv e rsity o f C a lifo rn ia at L o s A n g e le s fo r a y e a r in o rd e r to b e in A rn o ld S c h o e n b e rg 's c o m p o sitio n c la ss. K irc h n e r tra n sfe rre d to th e U n iv e rs ity o f C a lifo rn ia at B e rk e le y w h e re h e re c e iv e d h is B A d e g re e in 1940 a n d b e g a n h is g ra d u a te w o rk, stu d y in g w ith E rn e s t B lo c h. A g ra d u a te fe llo w sh ip fin a n c e d tra v e l to N e w Y o rk C ity a n d tu to rin g u n d e r R o g e r S essio n s. T h re e y e a rs o f m ilitary serv ic e fo llo w e d, a fte r w h ic h he re tu rn e d to B e rk eley, w h e re h e re c e iv e d h is M A d e g re e in 1949 a n d an a p p o in tm e n t as a le c tu re r. K irc h n e r h e ld te a c h in g p o sitio n s a t th e U n iv e rsity o f B u ffa lo, U n iv e rsity o f C a lifo rn ia, U n iv e rsity o f S o u th e rn C a lifo rn ia, Y a le U n iv e rsity, th e Ju illia rd S c h o o l o f M u sic and M ills C o lle g e. In 1961, h e su cceed e d W a lte r P is to n a t H a rv a rd U n iv e rsity, w h e re h e e sta b lish e d its first g ra d u a te p ro g ra m in c o m p o sitio n. H e ta u g h t th ere u n til h is re tire m e n t in K irc h n e r w a s g re a tly in flu e n c e d by h is e a rly stu d ie s w ith S c h o e n b e rg a n d h is m u sic re fle c ts a u n iq u e a ssim ila tio n o f tw e lv e -to n e a n d se ria l tech n iq u es. A lth o u g h h is m u sic al o u tp u t c e n te rs on ch a m b e r, v o c a l a n d so lo m u sic, h e h a s w ritte n a n o p e ra, L ily, a n d n in e w o rk s fo r fu ll o rc h e stra. K irc h n e r is still a c tiv e as a c o m p o se r a n d h is w o rk fo r th e c eleb rated c ellist Y o Y o M a, M u sic f o r C ello a n d O rchestra, receiv ed g re a t critical acclaim a t its p re m ie re in T itle a n d D a te o f W o rk In stru m e n ta tio n C o n c e rto fo r V io lin, C e llo, v n, v c ; l ( p i c ). l. l. l, c b n. / l ; t, p (3 ); T e n W in d s a n d P e rc u ssio n cel ( )* [p ] L ily ( ) S; / ; p, p n o, c e l; [ ]; ta p e (c h a m b e r v e rsio n o f th e o p era)

62 5 3 F a n fa re H ( ) / M u sic fo r T w e lv e ( ) / ; p n o ; [ ] Illu m in a tio n s fo r B ra ss E n se m b le /2.3.3, b trb. 0. ( ) Gail Kubik B o m in S o u th C o ffe y v ille, O k la h o m a, in 1914, G a il K u b ik h a d a w id e ly v a rie d c a re e r as a c o m p o se r. H e w a s a w a rd e d th e P u litz e r P riz e in M u sic in 1952 fo r h is w o rk, S y m p h o n y C o n certa n te f o r P ia n o, V iola, T r u m p e t a n d O rc h e stra. A t th e a g e o f 15, h e w o n a fo u r-y e a r sch o la rsh ip to atte n d th e E a stm a n S c h o o l o f M u sic, w h e re h e stu d ie d c o m p o sitio n w ith B e rn a rd R o g e rs and E d w a rd R o y c e, an d v io lin w ith S a m u e l B elo v. H e g ra d u a te d w ith d istin c tio n in tw o d e g re e s at th e a g e o f 19 in H e ta u g h t b rie fly at M o n m o u th C o lle g e in Illin o is b e fo re en ro llin g a t th e th e A m e ric a n C o n se rv a to ry in C h ic ag o w h e re h e w o rk e d w ith L e o S o w e rb y in c o m p o sitio n and e arn ed h is M M d e g re e in H e a tte n d e d H a rv a rd U n iv e rsity th e fo llo w in g y e ar, stu d y in g w ith W a lte r P isto n a n d N a d ia B o u la n g e r. A t th e a g e o f 2 1, a p ro g ra m m a d e u p e n tire ly o f K u b ik 's w o rk s w a s b ro a d c a s t o v e r th e N B C n e tw o rk. H is re la tio n sh ip w ith N B C c o n tin u e d in w h e n h e w a s a p p o in te d s ta f f c o m p o se r o f th e n e tw o rk th e first c o m p o se r o f "serio u s a tta in m e n t" to b e e m p lo y e d fu ll tim e b y a m a jo r ra d io n e tw o rk. D u rin g th e w a r y ears, K u b ik w a s a p p o in te d d ire c to r o f m u s ic fo r th e O ffic e o f W a r In fo rm a tio n a n d h e a lso w o rk e d fo r sev e ra l m ilitary m o tio n p ic tu re u n its. H is m u sic a l sco res fo r th e se p ro je c ts w e re h ig h ly su c c e ssfu l and re c e iv e d p o s itiv e p u b lic notice. H e b e c a m e th e c o m p o se r-in -re sid e n c e a t S c rip p s C o lle g e in C la re m o n t, C a lifo rn ia, in U p o n re a c h in g th e a g e o f 65 ( ), h e w a s a sk e d to re tire. H e b ro u g h t an u n su c c e ssfu l la w su it a g a in st th e co lle g e, c la im in g th a t o n ly a te a c h e r's p ro d u c tiv ity sh o u ld d e te rm in e th e tim e o f re tirem e n t, n o t age. H e c o n tra c te d a ra re v isceral p ro to z o a n in fectio n (k a la azar) w h ile on a trip to A fric a a n d d ie d o f its sid e

63 5 4 e ffe c ts in K u b ik 's m u sic a l sco re s, re c o rd in g s a n d p e rs o n a l p a p e rs a re h o u s e d a t K a n sa s S ta te U n iv e rsity. K u b ik re c e iv e d tw o G u g g e n h e im F e llo w sh ip s and w o n th e A m e ric a n P rix d e R o m e tw ic e. H is c h a m b e r w o rk, G e ra ld M c B o in g B o in g, w ritte n fo r th e a n im a te d film b a se d u p o n th e D r. S eu ss c h a ra c te r b y th e s a m e n am e, w o n a M o tio n P ic tu re A c a d e m y A w a rd in H is in v o lv e m e n t w ith c o m p o sin g fu n c tio n a l m u sic fo r ra d io, te le v isio n a n d film g re a tly in flu e n c e d h is p e rso n a l w ritin g sty le. K u b ik o ften in c o rp o ra te d a d ra m a tic fla ir c o u p le d w ith v ig o ro u s rh y th m s a n d ja z z e le m e n ts in to a n e o -c lassic sty le. A c ita tio n in R eh rig 's T he H e rita g e E n c y lo p e d ia o f B a n d M u s ic o f a n O vertu re f o r B a n d ( ) b y K u b ik seem s to b e in e rro r a n d c o u ld p o ssib ly b e a m is ta k e n listin g fo r h is F a n fa re a n d M a rc h, a lso fro m th e s a m e y ear. T h e liste d p u b lish e r, a n d its su cceed in g o w n e r, h a v e n o re c o rd o f a w o rk b y th a t title fo r K u b ik in th e ir c a ta lo g s. T h e w o rk d o e s n o t a p p e a r in K u b ik 's arc h iv e d m a te ria ls a t K a n sa s S ta te U n iv e rsity, n o r is it k n o w n b y K u b ik 's c u rre n t b io g ra p h e r, D r. A lfre d C o c h ra n. T itle a n d D ate o f W o rk In stru m entatio n W o o d w in d Q u in te t ( ) / P u ck : A L e g e n d o f B eth leh em s p e a k e r, l. / l ; [ ] ( ) S tew b all: V a ria tio n s on an A m e ric a n F o lk T u n e ( )* [p. 236] c o n c e rt band B e n n ie th e B e a v e r (A C h ild re n 's n a r; 1 (p ic ). 1.1.l. / l ; t, p (2 ), p n o ; T a le ) ( ) [ ] A L itan y and P ra y e r ( ) (also listed: A W a rtim e L itan y ) F ra n k ie and J o h n n ie ( ) F a n fa re a n d M a rc h ( )* [p ] F a n fa re fo r O n e W o rld ( )* [p ] / ; t, p (2 ); T T B B c h o ru s b a lle t seq u e n c e fo r v o c a list a n d d a n ce b an d c o n c e rt b and c o n c e rt b and

64 5 5 G e ra ld M c B o in g B o in g ( ) n a r; / ; p ; p n o ; [ ] D iv e rtim e n to N o. 1 ( ) l ( p i c ). l ( e h ). l ( b c l ). l. / l ; p ; p n o, h p sd D iv e rtim e n to N o. 2 ( ) 1 (p ic ) / ; p n o ; [ ] F a n fa re fo r th e C e n tu ry ( ) / John La M ontaine Jo h n L a M o n ta in e w a s aw a rd e d th e P u litz e r P riz e in M u sic in 1959 fo r h is C o n certo f o r P ia n o a n d O rchestra, O p. 9. B o m in 1920 to m u sic a l p a re n ts in C h ic a g o, h e e n ro lle d a t th e A m e ric a n C o n se rv a to ry o f M u sic at th e ag e o f fifte e n fo r th re e y e a rs o f w o rk in m u sic th e o ry w ith S tella R o b e rts an d c o n tin u e d stu d y o f th e p ian o. H e a tte n d e d th e E a stm a n S c h o o l o f M u sic b e g in n in g in 1938, w h e re h e stu d ie d c o m p o sitio n w ith B e rn a rd R o g e rs a n d H o w a rd H a n so n, a n d re c e iv e d h is B M d e g re e in F o llo w in g fo u r y e ars o f a rm e d serv ic e d u rin g W o rld W a r II, h e d id ad d itio n a l w o rk in c o m p o sitio n w ith B e rn ard W a g e n a a r a t the Ju illia rd S c h o o l o f M u sic an d w ith N a d ia B o u la n g e r a t th e A m e ric an C o n se rv a to ry in P a ris. H e re c e iv e d tw o G u g g e n h e im F e llo w sh ip s w h ic h a llo w e d h im to re searc h m e d ie v a l lite ra tu re a n d m u sic. T h e so u n d s o f n atu re w e re a p o w e rfu l in flu en c e o n h is w ritin g h e tra v e lle d th e g lo b e n o ta tin g b ird so n g s and utilized w h a t h e le a rn ed fro m th is p ro je c t in m a n y o f h is la te r w o rk s. L a M o n ta in e w a s th e p ia n ist fo r th e N B C S y m p h o n y O rc h e s tra u n d e r T o sc a n in i fo r fo u r y e a rs ( ) a n d ta u g h t fo r o n e y e a r a t th e E a stm a n S c h o o l ( ). O th e r th an th e se tw o p o sitio n s a n d a fe w a d d itio n a l c o m p o se r re sid en c ie s, h e h a s m a d e h is liv in g so le ly fro m th e in c o m e o f h is w o rk as a c o m p o se r. H e re s id e s in H o lly w o o d, C a lifo rn ia, a n d w rite s m u sic ra n g in g fro m o p e ra (all fiv e su c c e ssfu lly re c eiv e d b y a u d ie n c e s an d c ritic s) and o rc h e stra l w o rk s to c h a m b e r a n d so lo p ie c e s, c h o ra l w o rk s, a n d an In c a n ta tio n f o r J a zz B a n d.

65 5 6 T itle a n d D a te o f W o rk In stru m e n ta tio n T e D e u m, op. 3 5 ( )* n a r; 2, p ic. 2.1, c l. 1, c b n (in C ), [p ] 2 h e ra ld tpt. 3.1.; t, p (3 ), c a rillo n (o r la rg e b e ll o r c h im e in E ^ ); S S A A T T B B c h o ru s In c a n ta tio n fo r J a z z B a n d, O p. 3 9 ( ) ja z z b and T h e L e s so n s o f A d v e n t, o p. 52 s o lo v c s, n a rr; / ; p, ( ) h a n d b e lls; h p, g u it, o rg ; S S A A T T B B ch o ru s Donald M artino D o n a ld M a rtin o 's sex te t, N o ttu r n o, fo r 2 w o o d w in d s, 2 strin g s, p ia n o a n d p e rc u ssio n, re c e iv e d th e P u litz e r P riz e in M u sic in 1974, th ru stin g M a rtin o in to in te rn a tio n a l lim e lig h t as a c o m p o se r fo r th e first tim e. B o m in P la in fie ld, N e w Jerse y, in 1931, h e b e g an stu d y in g th e c la rin e t a t a g e n in e b e c a u se the e le m e n ta ry b a n d p ro g ram o w n e d n o m o re tru m p ets. H e e n jo y e d th e in stru m e n t, attain in g th e so lo c la rin e t c h a ir in th e N e w Jerse y A ll-s ta te B an d a n d O rc h e stra d u rin g h is hig h sc h o o l y e a rs. H e atte n d ed S y ra c u se U n iv e rsity fro m , e n te rin g as a c la rin e t p e rfo rm a n c e m a jo r a n d g ra d u a tin g as a c o m p o sitio n m a jo r. W h ile th e re h e stu d ied c o m p o sitio n w ith E rn st B a c o n a n d w ro te his first w o rk s o f a n y re a l m erit. H e w a s a w ard e d a B ro a d c a s t M u sic In c o rp o ra te d S tu d e n t C o m p o se r A w a rd in T w o y ears o f g ra d u a te w o rk fo llo w e d a t P rin c e to n U n iv e rsity, w h e re M a rtin o stu d ie d w ith M ilto n B a b b itt a n d R o g e r S e ssio n s, an d re c e iv e d h is M F A d e g re e in W h ile a t P rin c e to n, he w a s e x p o se d in d e p th fo r th e first tim e to th e serial c o m p o sitio n s o f A rn o ld S c h o e n b erg, w h ic h w o u ld p ro v e to b e v e ry in flu e n tia l in h is d e v e lo p m e n t as a c o m p o se r. F ro m , tw o F u lb rig h t g ra n ts e n a b le d h im to tra v e l to F lo re n c e, Italy, to stu d y w ith serialist L u ig i D a lla p ic c o la. U p o n h is retu rn to th e U n ite d S tates, M artin o p la y e d c la rin e t in ja z z b a n d s and w ro te p o p u la r m u sic, w h ic h e n a b le d h im to d e v o te m o re tim e to se rio u s m u sic. H e h ad little fin a n c ia l su ccess in th is v e n tu re, h o w e v e r, a n d su b se q u e n tly tu rn e d to te a ch in g. H e

66 57 h a s h e ld p o sitio n s a t P rin c e to n U n iv e rsity, Y a le U n iv e rsity, th e N e w E n g la n d C o n se rv a to ry o f M u sic, B ra n d e is U n iv e rsity, and fro m 1983 u n til h is re tire m e n t in 1994, M a rtin o w a s th e W a lte r B ig e lo w R o se n P ro fe sso r o f M u sic a t H a rv a rd U n iv e rsity. A d d itio n a l h o n o rs in c lu d e th re e G u g g e n h e im F e llo w sh ip s, a K e n n e d y C e n te r F rie d h e im A w a rd, n u m e ro u s im p o rta n t c o m m issio n s, and m e m b e rsh ip in th e A m e ric a n A c a d e m y o f A rts and S cie n c es. H e fo rm e d h is o w n p u b lish in g c o m p a n y, D a n ta lia n P re ss, in 1978 in o rd e r to p u b lish and p ro m o te h is o w n m u sic. M a rtin o s w o rk R ito m o ( ), o rig in a lly fo r h ig h sch o o l o rc h e stra, is liste d in h is c a ta lo g as b e in g a rra n g e d fo r b an d. H e h a d in te n tio n s o f p re p a rin g it fo r b a n d p e rfo rm a n c e a n d liste d th e n e w v e rsio n in h is c a ta lo g, b u t n e v e r c o m p le te d th e p ro ject. T itle an d D ate o f W o rk In stru m en tatio n P re lu d e a n d F u g u e fo r B ra ss b ra ss e n s, p erc (w ith d ra w n ) an d P e rc u s sio n ( ) C o n certo fo r W in d Q u in te t / ( ) N o ttu rn o ( ) l( p ic, a fl).0.1 (b c l).0./ ; p ( l ) ; p n o ; [l(v la ) ] (P u litz e r P riz e 1 974) T rip le C o n c e rto fo r C la rin e t, c l, b c l, B B b c b cl; / ; d b ; p (2 ); B a ss C la rin e t a n d C o n tra b a ss p n o, c e l; [ ] C la rin e t ( )* [p. 241] T h e W h ite Isla n d ( )* l ( p i c ).l( e h ).l, b c l(b B b c b c l). 1./ [p ] l.l( f l h n ). 1, b trb. 0.; d b ; p (2 ), p n o ; [ l. l. l. l. ] ; S S A A T T B B c h o ru s (c h a m b e r v ersio n ) Gian Carlo M enotti A p rin c ip a l fig u re in tw e n tie th c e n tu ry o p era, G ian C arlo M en o tti w a s h o n o re d tw ic e w ith a P u litz e r P riz e in M u sic fo r o p e ra tic w o rk s. T he M e d iu m w a s a w a rd e d th e p riz e in 1950 an d in 1955 he re c e iv e d th e p rize fo r T h e S a in t o fb le e c k e r S treet. M e n o tti w a s b o m in C a d e g lia n o, Italy, in 1911 a n d re c e iv e d h is early m u s ic in stru c tio n a t th e M ila n

67 58 C o n se rv a to ry. H e c a m e to th e U n ite d S ta te s in 1928 to b e g in c o m p o sitio n stu d ie s w ith R o sa rio S c a le ro a t th e C u rtis In stitu te in P h ilad e lp h ia. It w a s h e re w h e re h e m e t fe llo w stu d e n t S a m u e l B a rb e r, fo rg in g a p ro fe ssio n a l re la tio n sh ip a n d life lo n g frie n d sh ip b y w a y o f tra v e ls to g e th e r to E u ro p e d u rin g th e su m m e rs o f th e ir c o lle g ia te y ears. U p o n re c e iv in g h is d ip lo m a fro m C u rtis in 1933, M e n o tti c o n tin u e d to re fin e h is o p e ra tic c ra ft (h e h ad w ritten h is first tw o o p e ra s b e fo re e n te rin g th e M ila n C o n se rv a to ry a t th e a g e o f 13!). E a rly s u c c e sses in c lu d e d A m e lia a l B a llo, w h ic h w a s p ro d u c e d a t th e M e tro p o lita n O p e ra w h e n M e n o tti w a s 25 y e a rs o ld. H is A m a h l a n d th e N ig h t V isito rs ( ) w as th e first o p e ra c o m m issio n e d fo r te le v isio n b ro a d c ast. M e n o tti w as in stru m e n ta l in fo u n d in g th e F e stiv a l o f T w o W o rld s in S p o leto, Ita ly in 1958 a n d h e su c c e ssfu lly c re a te d a re la te d fe stiv a l in C h a rle sto n, S o u th C a ro lin a in In a d d itio n to h is P u litz e r P rizes, M e n o tti re c eiv e d n u m e ro u s o th e r re c o g n itio n s d u rin g h is c areer, in c lu d in g tw o G u g g e n h e im F e llo w sh ip s, th e N e w Y o rk M u sic C ritic s' C irc le A w a rd, a n d a K en n ed y C e n te r A w ard fo r lifetim e a chiev em ent. T itle a n d D a te o f W o rk In stru m en tatio n T h e U n ic o m, th e G o rg o n an d th e / ; d b ; p ; h p ; [ ]; M a n tico re o r T h e T h re e S A T B c h o ru s, 10 d a n c e rs S u n d a y s o f a P o e t ( ) Douglas M oore A n o p e ra b ased u p o n O le R o lv a ag 's n o v e l, G ia n ts in th e E a rth, a n d b e arin g th e sam e title e arn ed th e 1951 P u litz e r P rize in M u sic fo r D o u g la s M o o re. B o m in 1893 in to a w e a lth y fa m ily w h o se d e sc e n d a n ts first se ttle d o n L o n g Isla n d in 1640, M o o re s p e n t m o s t o f h is ch ild h o o d in h is h o m e to w n o f C u tc h o g u e, N e w Y o rk. A n o rg a n ist, h e also stu d ie d c o m p o sitio n w ith H o ra tio P a rk e r w h ile at Y a le U n iv e rsity, w h e re h e re c e iv e d h is B A d e g re e in 1915 a n d h is B M d e g re e in T h ro u g h o u t h is c o lle g ia te d a y s h e w ro te m a n y p o p u la r so n g s an d it is sa id he h ad re g re ts o f n o t fo llo w in g th e c a re e r p a th o f a n o th e r Y a le g ra d u a te, C o le P o rter. A fte r s e rv in g in th e U.S. N a v y d u rin g W o rld W a r I, M o o re

68 59 re m a in e d in P a ris in 1919 to stu d y w ith N a d ia B o u la n g e r a n d V in c e n t D 'In d y, th e la tte r h a v in g had a g re a t in flu e n c e on M o o re 's h a rm o n ic la n g u a g e. W h ile th e re, h e b e c a m e w ell a c q u a in te d w ith w rite r S te p h e n V in c e n t B en d t a n d b e g an a c o lla b o ra tio n th a t w o u ld re su lt in tw o o p e ra s, T h e H e a d le s s H o rse m a n a n d T h e D e v il a n d D a n ie l W eb ster. M o o re accepte d a p o sitio n w ith th e C le v e la n d M u se u m o f A rt in 1921 as an o rg a n ist a n d p ro d u c e r o f a c o n c e rt series. W h ile in C le v e la n d h e stu d ie d w ith E rn e s t B lo c h a n d w as e x p o se d to an in v ig o ra tin g a rtistic life. H e ta u g h t fro m 1926 to 1962 a t C o lu m b ia U n iv e rsity, w h e re h e b e c a m e d e p a rtm e n t c h a irm a n in 1940, re ta in in g th a t p o s t u n til h is re tire m e n t. D u e to h is c o m p o sin g, te a ch in g and serv ic e o n th e b o a rd s o f im p o rta n t m u sic o rg a n iz a tio n s, M o o re w as o n e o f th e m o st in flu e n tia l fig u res in A m e ric a n m u sic. T h e b u lk o f h is m u sic a l o u tp u t in v o lv e d w ritin g fo r th e v o ic e, b o th in s o lo a n d o p e ra tic settin g s. H e d ie d a t th e a g e o f 7 6 in G re e n p o rt, N e w Y o rk, in T itle an d D ate o f W o rk In stru m entatio n W in d Q u in te t ( , rev ) / F arm Jo u rn al: S u ite fo r 2 (p ic ) ; d b ; t, p (2 ); [ ] C h a m b e r O rc h e stra ( )* [p. 245] T h e P e o p le 's C h o ic e ( )* [p. 246] c o n c e rt b and George Perle W ell k n o w n as b o th a m u sic th e o rist a n d c o m p o se r, G e o rg e P e rle w a s aw a rd e d th e P u litz e r P riz e in M u sic fo r h is W o o d w in d Q u in te t N o. 4 in H e w a s b o m in B a y o n n e, N e w Jerse y, in 1915 a n d s p e n t h is y o u th liv in g in W isc o n s in, Illin o is a n d In d ia n a. H e b e g an th e s tu d y o f p ia n o at a g e six a n d fro m v e ry e a rly o n, h e p o sse sse d an in q u isitiv e m in d as to th e th e o re tic a l u n d e rp in n in g s o f m u sic c o m p o sitio n. H e a tte n d ed D e P au l U n iv ersity w h ere h e stu d ie d c o m p o sitio n w ith W esle y L a V io le tte a n d re c eiv e d h is B M d e g re e in F o llo w in g p riv a te stu d y w ith E rn st K re n ek, h e e a rn e d an M A d e g re e fro m th e A m e ric a n C o n se rv a to ry in H e se rv e d in th e U.S. A rm y fro m

69 6 0 In 1956 h e w a s a w ard e d a P h D in M u sic o lo g y fro m N ew Y o rk U n iv e rs ity, w h e re h e s tu d ie d w ith G u sta v e R e e s e a n d C u rt S achs. P e rle 's te a c h in g c a re e r b e g a n in 1948 w ith a sin g le y e a r a t th e C o lle g e o f th e C ity o f N e w Y o rk, b e fo re h e m o v e d on to th e U n iv e rsity o f L o u isv ille, w h e re h e ta u g h t fro m 1949 to A b rie f th re e -y e a r p o sitio n a t th e U n iv e rsity o f C a lifo rn ia a t D a v is p re c lu d ed a lo n g te n u re a t Q u e e n s C o lle g e, C ity U n iv e rsity o f N e w Y o rk ( ), w h e re h e is p ro fe sso r em eritu s. In 1978 h e w a s e le c te d to th e In stitu te o f th e A m e ric a n A c a d e m y an d In stitu te o f A rts a n d L e tte rs. H e w a s a w a rd e d a M a c A rth u r F o u n d a tio n F e llo w sh ip in a d d itio n to th e P u litz e r P riz e in H e h e ld th e p o sitio n o f co m p o se r-in -re sid e n c e w ith th e S an F ra n sisco S y m p h o n y O rc h e s tra in P e rle b e g an d e v e lo p in g his o w n sp ecia l m e th o d o f tw e lv e -to n e to n a lity in 1939, u p o n w h ic h m o st o f h is w o rk s are b a se d. H is th e o re tic a l stu d ie s h a v e e n lig h te n e d s c h o la rsh ip on 20th cen tu ry m u sic, e sp e c ia lly th a t c o n c e rn in g th e w o rk s o f S c h o e n b erg, W e b e rn a n d B erg. P e rle 's b o o k, S e ria l C o m p o sitio n a n d A to n a lity ( ), is a c c e p te d as a sta n d a rd te x t on th e su b ject. T itle and D a te o f W o rk In stru m en tatio n S o le m n P ro c e ssio n ( )* c o n c e rt b an d (fro m S tr in g Q u a rte t N o. 4) [p. 248] V a ria tio n s o n a W e lsh M elo d y, c o n c e rt b an d (w ith d raw n ) op. 3 0 ( ) Q u in te t fo r W in d s N o. 1 ( ) / S y m p h o n y fo r B a n d, o p. 3 8 c o n c e rt b an d (w ith d ra w n ) ( ) Q u in te t fo r W in d s, N o. 2 ( ) / M u sic fo r A risto p h a n e s' l(p ic ).0.0, E*3 c l( b s x ).0./ ; p n o ; "T h e B ird s" ( ) [ ] S e re n a d e N o. 1 fo r V io la ( ) a s x./l ; x y l; [O.O.I.O.] Q u in te t fo r W in d s N o. 3 ( ) /

70 61 S e re n a d e N o. 2 ( ) tsx./o.l.o.o.; p ( l ) ; p n o ; [ ] C o n c e rtin o fo r P ia n o, W in d s a n d T im p a n i ( )* [p ] p n o ; 2.2 (e h ).2.2./ ; t S e re n a d e N o. 3 ( ) p n o ; l.s s x ( a s x )./ l ; p ( l ) ; [l.o.o.l.] W o o d w in d Q u in te t N o. 4 ( ) / ; (P u litz e r P r iz e ) N e w F a n fa re s ( ) / S e x te t fo r P ian o an d W in d s ( ) / ; p n o W ayne Peterson T he F a c e o f th e N ig h t, th e H e a r t o f th e D a rk, an o rc h e stra l w o rk c o m m issio n e d by th e S an F ra n sisco S y m p h o n y O rc h estra, e a rn e d th e 1992 P u litz e r P riz e in M u sic fo r W a y n e P e te rso n. B o rn in A lb e rt L e a, M in n e so ta, in 1927, P e te rso n a tte n d e d th e U n iv e rsity o f M in n e so ta fo r all o f h is d e g re e w o rk. H e re c e iv e d th e B A d e g re e in 1951, th e M A d e g re e in 1953, an d in 1960, h is P h D d e g re e, all u n d e r th e g u id a n c e o f h is p rin c ip a l te a c h e r P a u l F e tle r. W h ile in M in n e so ta, h e h a d in flu e n tia l c o n ta c ts w ith E r a s t K re n e k, w h o w as te a c h in g at H a m lin e U n iv e rsity (S t. P au l) a t th e tim e, and th e c o n d u c to r o f th e M in n eap o lis S y m p h o n y, A n ta l D o rati. P e te rso n sp e n t tw o y e a rs stu d y in g w ith L e n n o x B e rk e le y a n d H o w a rd F e rg u so n a t th e R o y a l A c a d e m y o f M u sic in L o n d o n o n a F u lb rig h t S c h o la rsh ip in E a rly p o sitio n s in P e te rso n 's te a ch in g c a re e r a t th e U n iv e rsity o f M in n e s o ta a n d C h ic o S ta te U n iv e rsity (C a lifo rn ia) p re c e d e d a lo n g tenure at S an F ra n sisco S ta te U n iv e rsity ( ), w h e re h e is p ro fe s so r e m e ritu s. U p o n re tire m e n t h e ta u g h t fo r b rie f p e rio d s a t In d ia n a U n iv e rsity and S ta n fo rd U n iv e rsity. H e h a s b e en h o n o re d w ith a G u g g e n h e im F e llo w sh ip an d n u m e ro u s c o m m issio n s, in c lu d in g a c o n so rtiu m c o m m issio n fro m th e N a tio n a l E n d o w m e n t fo r th e A rts. H is w o rk s fall m a in ly in to o rc h e stra l an d c h a m b e r m u sic c ateg o ries.

71 62 T itle a n d D a te o f W o rk In stru m e n ta tio n M e ta m o rp h o se s ( ) l. l. l. l. / l E n c o u n te rs ( ) l( p ic ).0.1 ( b c l).0./l ; p (2 ); p n o ; [ l. O. O. l. ] S e x te t ( ) / ; p ; h p ; [l.o.o.l.] A ria d n e 's T h re a d ( ) h p ; l( p ic, afl). 1.1 (b c l).o.l ; p ( l ) ; [I.O.O.O.] T ra n s fo rm a tio n s ( )* [p ] 1 (a fl). 1.1 (b cl). 1./2.1 (in Q.I.O.; d b ; p (2 ); p n o, h p ; [ ] (c h a m b e r v e rs io n ) D ip ty c h : A u b a d e, O d y sse y ( ) l( p ic, a fl).0.1 (b c l).0./ ; p ( l ) ; p n o ; [l.o.o.l.] o r [ ] Ja n u s ( ) ; p ( l ) ; p n o ; [ ] A n d th e W in d s S h a ll B lo w ( )* s a x o p h o n e q u a rte t (ssx, a sx, tsx, b sx ); [p ] 3 (p ic ).3 (e h ).3 (b c l).2./ ; t, p (3 ); h p, p n o (c e l) W alter Piston A n A m e ric a n o f Ita lia n d e sc e n t (h is p a te rn a l g ra n d fa th e r w a s A n to n io P isto n e ), W a lte r P isto n w a s b o m in R o c k la n d, M a in e, in T w o o f h is w o rk s w e re a w a rd e d th e P u litz e r P riz e in M u sic : h is S y m p h o n y N o. 3 re c e iv e d th e p riz e in , and in 1961 P is to n w a s h o n o re d fo r h is S y m p h o n y N o. 7. H is e a rly stu d ie s w e re in m e c h a n ic a l d ra w in g and art, a n d it w a sn 't u n til h e e n te re d H a rv a rd U n iv e rsity as a sp e c ia l stu d e n t th a t h e tu rn e d h is in te re sts to c o m p o sitio n (th is fo llo w e d h is serv ice a s a sax o p h o n is t in th e N a v y B a n d sta tio n e d a t th e M a ssa c h u se tts In stitu te o f T e c h n o lo g y ). H e g ra d u a te d su m m a c u m la u d e in 1924 an d w a s h ire d as an in s tru c to r in H a rv ard 's D e p a rtm e n t o f M u sic in 1926 a fte r tw o y e ars o f stu d y on a fe llo w sh ip w ith P a u l D u k a s and N a d ia B o u la n g e r in P a ris. H e b e c a m e a fu ll p ro fe sso r in 1944 a n d h e ld th e W a lte r M. N a u m b e rg P ro fe sso r o f M u sic c h a ir fro m 1948 u n til h is re tire m e n t in H e c o n tin u e d c o m p o sin g rig h t u p u n til h is d e ath in 1976.

72 63 P isto n w a s o n e o f th e g re a t A m e ric a n m u sic te a c h e rs o f o u r cen tu ry. A re c e n t w o rk b y H o w a rd P o llack, H a r v a r d C o m p o se rs: W a lte r P isto n a n d H is S tu d e n ts (M e tu ch e n, N e w Jerse y : S c a re c ro w P re s s, 1993), o u tlin e s th is p e d a g o g ic a l le g a c y. P is to n 's te x ts on H a rm o n y ( ), C o u n te rp o in t ( ), a n d O rc h e stra tio n ( ) a re c o n sid e re d m a ste rly tre a tm e n ts o f th e ir su b jects. T itle an d D a te o f W o rk In stru m e n ta tio n S a lu te (n o date; e a rly w o rk ) / ; p (w ith d ra w n ) C a rn iv a l S o n g ( ) F a n fa re fo r th e F ig h tin g F re n c h ( ) / ; T T B B c h o ru s / ; t, p D iv e rtim e n to fo r N in e / ; d b, [ ] In stru m e n ts ( ) T u n b rid g e F a ir ( )* [p ] c o n c e rt b and W in d Q u in te t ( ) / P sa lm and P ra y e r o f D a v id fo r M ix e d C h o ru s and S ev en In stru m e n ts ( ) / ; d b ; [ ]; S A T B c h o ru s C e re m o n ia l F a n fa re ( )* / ; t, p (2 ) [p. 255] C o n c e rto fo r S trin g Q u a rte t, 2, p ic. 2, eh. 2, b c l. 2./ ; t(2 ), p (4 ); W in d In stru m e n ts and [ ] P e rc u s sio n ( )* [p. 257] Quincy Porter A w o rk fo r tw o p ia n o s and o rc h e stra p re m ie re d b y th e L o u isv ille O rc h e stra, th e C o n certo C o n certa n te b y Q u in c y P o rter, w as aw a rd e d th e P u litz e r P riz e in M u sic in B o m in N e w H a v e n, C o n n e c tic u t, in 1897, P o rte r a tte n d e d Y a le U n iv e rsity, w h e re h e stu d ie d c o m p o sitio n w ith H o ra tio P a rk e r an d D a v id S ta n le y S m ith, a n d e a rn e d h is B A d e g re e in 1919 and B M d e g re e in In 1920, h e tra v e lle d to P a ris to ta k e le sso n s in c o m p o sitio n w ith V in c e n t D 'In d y. U p o n h is re tu rn to th e U n ite d S ta te s in 1921, P o rte r

73 6 4 stu d ie d w ith E rn st B lo c h in N e w Y o rk a n d fo llo w e d h im to C le v e la n d in P o rte r jo in e d th e m u sic th e o ry fa c u lty o f th e C le v e la n d In stitu te o f M u sic a y e a r later. T w o G u g g e n h ie m F e llo w sh ip s e n a b le d h im to re tu rn to P a ris in 1928, w h e re h e c o m p o se d fu ll tim e a n d d ev elo p ed h is p e rso n al sty le. A n a cadem ic c a re e r a w a ite d P o rte r u p o n h is retu rn to th e U n ite d S ta te s in H e h e ld a p o sitio n a t V a ssar C o lle g e ( ) b e fo re te a ch in g a t th e N e w E n g lan d C o n se rv a to ry o f M u sic, w h e re h e w a s d e an o f th e fa c u lty ( ) and d ire c to r o f th e c o n se rv a to ry ( ). H e re tu rn e d to h is a lm a m a te r in 1946 a n d ta u g h t a t Y a le U n iv e rsity u n til h is re tire m e n t in A c tiv e as a p e rfo rm e r th ro u g h o u t h is life o n v io lin a n d v io la, P o rter m a d e im p re ssiv e c o n trib u tio n s c o m p o sin g c h a m b e r m u sic w h ic h re fle c te d h is in tim ate in v o lv e m e n t w ith th a t g en re. H e p a sse d aw ay in H is w o rk O vertu re to "O h io " ( ) is liste d in so m e c a ta lo g s as a w in d o rc h e stra w o rk. T h is listin g is in erro r, as th e p ie c e is fo r o rc h e stra. T itle and D a te o f W o rk In stru m e n ta tio n C o n certo fo r W in d O rc h e stra 9 (2 p ic, b s fl).8 (2 e h ).9 (E b, b c l, B B ^ c b c l). ( )* [p ] 8 (2 c b n )./6.6.2, 2 b trb. 1.; p (2 ) (also liste d as A d a g io a n d S c h e rzo f o r W in d O rchestra) D iv e rtim e n to fo r W o o d w in d / Q u in te t (1960) Mel Powell A cclaim ed as a classical c o m p o se r, ja z z p ia n ist and in n o v a tiv e academ ic a d m in istra to r, M el P o w e ll w a s b o m in 1923 in N e w Y o rk C ity, w h e re h is e a rly y e a rs w e re s p e n t liv in g in a h o u se w h ic h o v e rlo o k e d Y a n k e e S ta d iu m. In 1990, h is w o rk, D u p lic a te s: A C o n certo f o r T w o P ia n o s a n d O rch estra, re c eiv e d th e P u litz e r P riz e in M u sic. H e b e g a n. h is stu d y o f p ia n o a t th e a g e o f six and p ro g re sse d q u ic k ly. A t th e a g e o f 13, h e fe ll in lo v e w ith th e so u n d s o f th e p o p u la r b ig b a n d s o f th e tim e, a n d b y a g e 16 h a d im p re sse d B e n n y

74 65 G o o d m a n w ith h is ta le n ts to th e p o in t w h e re G o o d m a n h ire d P o w e ll a s h is b ig b a n d 's p ia n is t an d arra n g e r. P o w e ll also p e rfo rm e d a n d a rra n g e d fo r G le n n M ille r's b a n d w h ile he se rv e d in th e U n ite d S ta te s A rm y A ir F o rc e d u rin g W o rld W a r II. H e e n te re d Y a le U n iv e rsity a fte r le a v in g th e serv ice in o rd e r to s tu d y c o m p o sitio n w ith P a u l H in d e m ith and re c e iv e d h is B M d e g re e in P o w e ll h e ld te a ch in g p o sitio n s a t M a n n e s S c h o o l a n d Q u e e n s C o lle g e in N e w Y o rk b e fo re b e g in n in g an e le v e n y e a r te n u re a t Y a le U n iv e rsity ( ), w h e re h e b e c a m e c h a irm a n o f th e c o m p o sitio n fa c u lty a n d d ire c to r o f th e ele ctro n ic stu d io. A n in trig u in g o ffe r c a m e in 1969 to sta rt a m u sic sch o o l a t th e C alifo rn ia In stitu te o f th e A rts. P o w e ll a ccep te d th e in v itatio n and h is p e d ag o g ical v isio n d ev elo p ed a c u rric u lu m th a t to th is d a y is c o n sid e re d ahead o f its tim e. W h ile P o w e ll w a s D e a n o f th e S c h o o l o f M u sic fro m and P ro v o st o f th e In stitu te fro m , h e h a d little tim e fo r c o m p o sin g a n d to o k u p p a in tin g in ste ad. H e le ft h is a d m in istra tiv e p o s t in 1978, b e c o m in g an In stitu te F e llo w and, to th is d ay, th e h o ld e r o f th e R o y E. D is n e y c h a ir in m u sic a l c o m p o sitio n. H e h a s b e en c o m p o sin g p ro lific ally e v e r sin c e in a v a rie ty o f m edia. T itle an d D ate o f W o rk C a p ric c io ( )* [p. 2 60] In stru m entatio n c o n c e rt b and D iv e rtim e n to (1957) 1.1.l. l. / l M in ia tu re s fo r B a ro q u e E n se m b le / ; h p s d ; [ ] ( ) Im m o b ile 5 ( ) S e ttin g ( ) S e ttin g s ( ) S e ttin g s fo r Jazz B an d ( ) 5 "d iv erse" in stru m e n ts; ta p e w in d in stru m e n ts, v ln, ta p e S; c h a m b e r e n se m b le ja z z b and W in d Q u in te t ( ) l ( a f l ). l. l. l. / l ; p (3 )

75 6 6 Shulam it Ran A c h ild p ro d ig y as a p ia n is t a n d c o m p o se r, S h u la m it R a n w a s b o m in T e l-a v iv, Isra e l, in S h e w a s a w a rd e d th e 1991 P u litz e r P riz e in M u sic fo r h e r S y m p h o n y fo r o rc h e stra. R a n w a s re g u la rly c o m p o sin g so n g s a t th e a g e o f six a n d m a d e h e r c o n c e rt d e b u t as a p ia n is t a t th e ag e o f tw elv e. P ia n o sch o la rsh ip s a llo w e d h e r to s tu d y in th e U n ite d S ta te s in 1962 a t M a n n e s C o lle g e, w h e re sh e also stu d ie d c o m p o sitio n w ith N o rm a n D e llo Jo io. T h a t sam e y e a r sh e p e rfo rm e d h e r C a p ric c io a t th e a g e o f 13 w ith L e o n a rd B e rn ste in a n d th e N e w Y o rk P h ilh a rm o n ic as p a rt o f th e ir Y o u n g P e o p le 's C o n c e rt series. S h e g ra d u a ted in 1967 fro m M a n n e s C o lle g e (a t th e a g e o f 18) w ith a d o u b le m a jo r in p ia n o and c o m p o sitio n, b u t o n ly a fte r sh e fin ish e d c o rre sp o n d e n c e w o rk to w a rd e a rn in g h e r h ig h sch o o l d ip lo m a! Im m e d ia te ly a fte r g rad u a tio n, R an d e v o te d m o s t o f h e r tim e to h e r b lo sso m in g c a re e r as a c o n c e rt p ia n ist b u t fo u n d it d iffic u lt to fin d tim e to c o m p o se. S h e re c eiv e d an o ffe r fro m R a lp h S h a p e y to te a c h a t th e U n iv e rsity o f C h ic ag o, w h ic h sh e a c c e p te d in S h e h a s re m a in e d th e re to th is d a y a n d is p re sen tly P ro fe sso r o f C o m p o sitio n. R a n h as b e en th e re c ip ie n t o f m a n y m a jo r a w ard s and p riz e s, in c lu d in g tw o G u g g e n h e im F e llo w sh ip s, g ra n ts fro m th e N a tio n a l E n d o w m e n t fo r the A rts, F ro m m F o u n d a tio n, and R o c k e fe lle r F u n d, as w e ll as a K e n n e d y C e n te r F ried h e im A w ard. S h e h a s b e en c o m m is sio n e d re g u la rly a n d h a s h a d h e r w o rk s p e rfo rm e d b y m a jo r e n se m b le s w o rld w id e. In 1990, D a n ie l B a ren b o im in v ite d h e r to be C o m p o se r-in -R e sid e n c e w ith th e C h ic ag o S y m p h o n y O rc h estra. T itle a n d D a te o f W o rk In stru m entatio n M ed itatio n fo r a P ic k le ( ) n ar; sm all c h a m b e r w in d e n se m b le (m v t. 4 o f "T h e P ic k le S u ite") (w ith d raw n ) T w o L o v e P o e m s ( ) T ; 4 (p ic ).2.4 (b c l).2./ ; t, p (4 ), b e lls, c e l, v ib, x y l (w ith d ra w n ) O T h e C h im n e y s ( ) fe m a le v o ic e ; 1.0.1, b cl. 0./ ; p; p n o ; [ ] ta p e

76 67 E n se m b le s fo r S e v e n te en ( )* S (a m p ); 2 (p ic, a fl).0.2.(e b c l, b c l, [p ] s a r r u s o p h o n e ).l./ l.l.l, b trb. 0.; p (2 ); p n o ; [ ] D o u b le V isio n ( ) A P ra y e r ( ) l( p ic ).1.2 ( E b c l, b c l).l./1.2.1.e u p h.o.; p n o 0.0.1, b c l. 1./ ; t C o n c e rto d a C a m e ra I ( ) l. l. l. l. / l M ira g e ( ) l( p ic, a m p a fl) / ; p n o ; [l.o.o.l.] C h ic a g o S k y lin e ( )* [p ] /6.4.2, b trb. 2.; t, p (3 ) F a n fa re ( ) / Bernard Rands A w o rk fo r te n o r so lo ist a n d c h a m b e r e n se m b le b y B e rn a rd R a n d s, C a n ti d e l S o le, w a s aw ard e d th e P u litz e r P riz e in M u sic in B o m in to a fa m ily o f a m a te u r m u sic ian s in S h e ffie ld, E n g la n d, in , R a n d s stu d ie d p ia n o, o rg a n, h a rm o n y a n d c o u n te rp o in t as a ch ild. D u rin g th is tim e, h e im m e rse d h im s e lf in a tte n d in g as m a n y p e rfo rm a n c e s a n d re h e a rsa ls as p o ssib le o f th e H alid O rc h e stra, u n d e r th e b a to n o f Jo h n B a rib o lli. H e m a jo re d in m u sic a n d E n g lish lite ra tu re a t th e U n iv e rsity o f W a le s in B a n g o r, w h e re h e re c e iv e d h is B M d e g re e in 1956 and th e M M d e g re e in U p o n le a v in g th e u n iv e rsity, a n aw ard to o k h im to Italy fo r tw o y e a rs o f le sso n s w ith R o m a n V la d an d L u ig i D a lla p ic c o la. H e re m a in e d in E u ro p e d u rin g th e e a rly 1960s in o rd e r to s tu d y c o m p o sitio n a n d c o n d u ctin g w ith B ru n o M a d e m a a n d P ie rre B o u le z at D a rm sta d t a n d e le c tro n ic m u sic w ith L u c ia n o B erio in M ilan. R an d s re c eiv e d a p re stig io u s H a rk n e ss In te rn a tio n a l F e llo w sh ip o f th e C o m m o n w e a lth F u n d o f N e w Y o rk in 1966 w h ic h a llo w e d h im to stu d y fo r tw o y e a rs in th e U n ite d S tates, w h e re h e sp e n t tim e a t P rin c e to n U n iv e rsity a n d th e U n iv e rsity o f Illin o is a t C h am p a ig n -U rb a n a. T h is e x p o su re to A m e ric a n life u n d o u b te d ly a ffe c te d h is d e cisio n to

77 68 a c c e p t an a p p o in tm e n t a t th e U n iv e rsity o f C a lifo rn ia a t S an D ie g o in R a n d s h a s also b e en o n th e te a ch in g fa c u ltie s o f U n iv e rsity o f Y o rk, B o sto n U n iv e rsity a n d th e Ju illia rd S c h o o l o f M u sic. H e b e c a m e a U n ite d S ta te s c itiz e n in H e w a s a p p o in te d C o m p o se r-in -R e sid e n c e w ith th e P h ila d e lp h ia O rc h e s tra in 1989 a n d is p re sen tly P ro fe sso r o f C o m p o sitio n a t H a rv a rd U n iv e rsity. In c lu d e d in h is m a n y h o n o rs a re a w a rd s fro m th e G u g g e n h e im F o u n d a tio n, th e K o u sse v itsk y F o u n d a tio n, th e F ro m m F o u n d a tio n a n d th e N a tio n a l E n d o w m e n t fo r th e A rts. C o m m issio n s fro m th e N e w Y o rk P h ilh a rm o n ic, th e P h ila d e lp h ia O rc h e stra, th e L o s A n g e le s P h ilh a rm o n ic, th e B.B.C. O rc h e s tra a n d th e C le v ela n d Q u a rte t h a v e o c cu p ied h is c re ativ e tim e in re c en t years. T itle an d D a te o f W o rk In stru m en tatio n A c tio n s fo r S ix ( ) / ; p (2 ); h p ; [ ] S o u n d P a tte rn s 2 ( ) fo r v o ic e s, p e rc u ssio n and m isc e lla n e o u s m e lo d ic in stru m e n ts (7 p a rts ra n d o m p a rt a ssig n m e n t) F o rm a n ts 2 - L a b y rin th ( ) h p ; (b c l).0./ ; p (2 ); p n o, c e l, e l o rg ; [0.0.1.L ] B a lla d 1 ( ) M S ; l(a fl) / ; d b ; p n o ; p M eta le p sis II ( ) M S ; / ; 2 h p, e l o rg, p n o ; S S A A T B (6 v o ic e c h o ru s) "A s A ll G e t O u t" ( ) / ; p (2 ); 2 h p, g u it; [ ,] m e sa llia n c e ( )* [p. 2 64] p n o ; 1, afl. 0.1, b cl. 0./ ; d b ; p (2 ); c e l, e l o rg, h p, v ib, m a r; [O.O.O.2.] d d ja ( , rev 7 9 ) S; l(a fl).0.1 (b c l).0./ ; p ; p n o, h p ; [ ] 0 1 o g y ( ) 17 p ie c e ja z z o rchestra au m ( )* [p ] h p ; 2 (a fl).0.3 (E b c l, b c l).0./ ; d b ; p (3 ); c e l, e l o rg, h p, g tr; [O.O.4.2.] d tendre M em o lc ( ) d b ; l(a fl).0.1 (E b cl, b c l).0./l ; p ( l ) ; p n o (c e l), e l o rg ; [ ]

78 69 S e re n a ta 75 ( ) fl; O.O.l.O./O.O.O.O.; c e l, p n o, e le c p n o, e le c o rg ; [l.o.o.l.] ddja 2 ( ) S; l(a f l).0.1 ( b c l).0./ ; p (2 ), p n o ; [ ] B allad 4 ( ) S S A A T T B B so li; (E b c l, b c l).0./ (btrb).o.; db; p (2 ); h p, e le c o rg ; [O.O.3.2.] (w ith d raw n ) C an ti L u n a tic i ( ) S ; l( p ic, a fl).0.1 (E ^ c l, b c l).0./ ; p (2 ); p n o ; [ ] (c h a m b e r v e rsio n ) C an ti d e l S o le ( ) T ; / ; d b ; p (3 ); p n o ; [ ] (c h a m b e r v e rsio n ) (P u litz e r P rize 1 984) C a n ti d e ll'e c lissi ( ) B ; l( p ic, a fl).0.1 (b c l) ; d b ; p (2 ); p n o ; [ ] (c h a m b e r v e rsio n ) C e re m o n ia l ( )* [p ] c o n c e rt band Roger R eynolds R o g e r R ey n o ld s re c e iv e d th e P u litz e r P riz e in M u sic in 1989 fo r h is w o rk fo r strin g o rc h e stra, W h isp e rs O u t o f T im e. H e w a s b o m in D e tro it in a n d a tte n d e d th e U n iv e rsity o f M ic h ig a n, w h e re h e g ra d u a te d w ith a d e g re e in e n g in e e rin g p h y sic s in A s h is in te re sts tu rn e d to m u sic, h e sta y e d at th e u n iv e rsity to s tu d y w ith R o ss L e e F in n e y a n d R o b erto G e rh a rd, e a rn in g h is B M d e g re e in 1960 an d th e M M d e g re e in W h ile d o in g h is g ra d u a te w o rk, h e w a s c o -fo u n d e r (w ith R o b e rt A sh le y and G o rd o n M u m m a ) o f th e O N C E c o n te m p o ra ry m u sic g ro u p, a n d h e lp e d o rg a n iz e its first fe stiv a l. H e liv e d in E u ro p e a n d Jap a n fro m , o rg a n iz in g h ig h ly su c c e ssfu l c o n te m p o ra ry m u sic c o n c e rts. R e y n o ld s re tu rn e d to th e U n ite d S tates in 1969 to te a ch a t th e U n iv e rsity o f C a lifo rn ia a t S an D ie g o, w h e re h e is p re sen tly P ro fe sso r o f C o m p o sitio n, an d fo u n d e r/d ire c to r o f th e u n iv e rsity 's C e n te r fo r M u sic E x p e rim en t. H e h a s le c tu re d an d b e e n a v isitin g c o m p o se r a t in stitu tio n s th ro u g h o u t th e U n ite d S tates an d E u ro p e.

79 7 0 R e y n o ld s h as re c e iv e d c o m m is sio n s fro m th e K o u ssev itsk y F o u n d a tio n, th e F ro m m F o u n d a tio n an d th e C o n te m p o ra ry M u sic S o c ie ty, an d aw ard s fro m th e N a tio n a l In stitu te o f A rts and L etters, th e N a tio n a l E n d o w m e n t fo r th e A rts a n d th e R o c k e fe lle r F o u n d atio n. H is m u sic is v ery d e m a n d in g a n d o fte n q u ite e x p e rim e n ta l d u e to h is re searc h in te re sts in e le c tro n ic a n d c o m p u te r-g e n e ra te d a n d m a n ip u la te d m u sic. T itle an d D a te o f W o rk In stru m en tatio n W e d g e ( ) 2 (p ic ) / ; d b ; p ; p n o (w ith d ra w n ) Q u ic k a re th e M o u th s o f E arth 3 (3 p ic ) /0.1.1, b trb. 0.; p (2 ); p n o ; ( ) [ ] G a th e rin g ( ) / B lin d M en (M elv ille) ( ) 2 4 s o lo v o ic e s; /0.3.2, b trb. 1.; p; p n o A g a in ( , re v ) 2 S; / ; 2 d b ; p (2 ) fo u r-tra c k ta p e (all am plified) T h e P ro m ise o f D a rk n e ss ( ) l. / l ; d b ; p n o ; [ ] O n ly N o w, a n d A g a in ( )* 1, 2 p ic. 1.0, E b c l, B B b c b c l. 1, c b n. a sx / [p ] I ; p (3 ); p n o M istral ( ) / ; 2 d b ; h p s d (a m p ); [ ] N o t O n ly N ig h t ( ) S; l(p ic ).0.), E b cl. 0./ ; p n o ; [ ] tw o c h a n n e l ta p e P e rso n a e ( ) v ln ; l(p ic ).0.1 (b c l).0./0.0.b trb.0.; d b ; p; p n o ; [ ] 2 o r 3 c h a n n e l ta p e S ig n a ls ( ) tp t, tb a ; / Ned Rorem W id e ly c o n sid e re d o n e o f th is c e n tu ry 's fin e s t c o m p o se rs o f a rt so n g s, N e d R o re m w a s s o m e w h a t s u rp risin g ly aw a rd e d th e 1976 P u litz e r P rize in M u sic fo r h is su ite, A ir M u s ic, an o rc h e stra l w o rk. B o m in R ic h m o n d, In d ia n a, in 1923, h e w a s ra ised in

80 71 C h ic a g o, w h e re h is e a rly m u sic a l stu d ie s in c lu d e d p ia n o an d th e o ry le sso n s w ith L e o S o w e rb y. H e d e v e lo p e d a k e e n in te re s t in 2 0 th c e n tu ry m u sic, c e n te rin g on th e w o rk s o f S tra v in sk y a n d F re n c h im p re ssio n ists, as w e ll as re c o rd e d p e rfo rm a n c e s b y b lu e s sin g e r B illie H o lid a y. A fte r a y e a r o f w o rk a t th e C u rtis In stitu te ( ), R o re m e n te re d th e Ju illia rd S c h o o l o f M u sic, e a rn in g h is B S d e g re e in 1946 a n d th e M S d e g re e in H e a u g m e n te d h is stu d ie s w ith p riv a te le sso n s a n d c o p y ist re sp o n sib ilitie s w ith V irg il T h o m so n in 1944, and a c k n o w le d g e s T h o m so n as h is c h ie f m e n to r. E a rly su c c e sses w ith h is w ritin g b ro u g h t re c o g n itio n in th e fo rm o f a F u lb rig h t sch o la rsh ip w h ic h allo w e d R o re m to stu d y in F ra n c e w ith A rth u r H o n e g g e r. A fte r sp e n d in g a fe w y e a rs liv in g in M o ro c c o, h e settle d in P aris in 1952 a n d re m a in e d th e re u n til 1958, w h e re h e m a d e th e a c q u a in ta n c e o f F ra n c is P o u le n c, G e o rg e s A u ric a n d Jean C o c te a u. In c re a se d in te re st in h is m u sic in th e U n ite d S tates p ro m p te d R o re m to re tu rn to N e w Y o rk. H e h as s in c e m a d e h is liv in g m a in ly as a c o m p o se r a n d au th o r. H e h e ld b rie f te a c h in g p o sitio n s a t th e U n iv e rsity o f B u ffa lo a n d th e U n iv e rsity o f U ta h, and s p e n t six y e a rs o n th e fa c u lty o f th e C u rtis In s titu te fro m 1980 to E le v e n p u b lis h e d b o o k s, m a in ly d ia rie s a n d c o lle c tio n s o f e ssa y s, h a v e m a d e fo r v ery in te re stin g re a d in g as R o re m is c o n sid e re d to b e a v e ry e lo q u e n t a n d e le g a n t w rite r w h o is n o t a fra id to sp e a k h is m in d. A m o n g h is m a n y h o n o rs an d a w a rd s a re tw o G u g g e n h ie m F e llo w s h ip s, e le c tio n to th e In stitu te o f th e A m e ric a n A c a d e m y a n d In stitu te o f A rts and L etters, and n u m e ro u s c o m m issio n s fro m so m e o f th e to p p e rfo rm e rs, en se m b le s a n d in s titu tio n s in th e w o rld. T itle an d D ate o f W o rk In stru m entatio n O v e rtu re fo r G I's ( ) c o n c e rt b and (w ith d raw n ) T h e S e v e n tie th P salm ( ) / ; S A T B c h o ru s C o n c e rtin a d a C a m e ra ( ) h p s d ; l.l.o.l./o.c o r.o.o.; [ ] A C h ild h o o d M ira c le ( ) S, 2 M S, C o u n te r T, B /B a r; / ; P ; p n o ; [ ]

81 72 T h e R o b b e rs ( ) T, B ar, B /B a r; 1 (p ic ). 1 (eh ). 1 (b c l). 17 (M e lo d ra m a in O n e S cen e) ; db; t, p; p n o (c e l); [ ] S in fo n ia fo r 15 W in d 2, p ic. 2, eh. 2 (in A a n d B ^ ), E ^ cl, b cl. In s tru m e n ts ( )* [p ] 2, c b n./ (o p tio n a l: t, p (3 ); p n o, c e l) L a s t D a y ( ) (m o n o d ram a) 1 v c ; / ; p n o ; [ ] E lev e n S tu d ies fo r E le v e n l(p ic ).l( e h ).1.0./ ; p (2 ); p n o, h p ; P la y e rs ( ) [ ] L ift U p Y o u r H ead s: T h e A sc e n sio n ( )* [p ] ; t; S A T B c h o ru s S o le m n P re lu d e ( ) / H e a rin g ( ) (o p e ra ) W in te r P a g e s ( ) A W h itm a n C an tata ( ) H o m er: T h re e S c e n es fro m th e Iliad ( ) S, M S, T, B a r; 0.0.l( a s x ).0./ ; db; p ; p n o, m a n d ; [ ] / ; p n o ; [l.o.o.l.] / ; t; T T B B c h o ru s ; p n o ; [ ] ; S A T B c h o ru s W o o d w in d Q u in te t ( ) T e D eu m (1987) F a n fa re a n d F lo u rish ( ) ; o rg ; S A T B c h o ru s ; o rg (a ls o lis te d as A C eleb ra to ry A n tip h o n a l F a n fa re) D iv e rsio n s fo r B ra ss Q u in te t ( /9 0 ) P re se n t L a u g h te r ( ) ; p n o ; S A T B c h o ru s W illiam Schuman T h e first re c ip ie n t o f th e P u litz e r P riz e in M u sic, W illiam S c h u m a n w a s h o n o red w ith th e a w a rd in 1943 fo r h is c a n ta ta, A F re e S o n g. O n e o f th e to w e rin g fig u re s o f 2 0 th c e n tu ry A m e ric a n m u sic, S c h u m a n w a s b o m in N e w Y o rk C ity in 1910 a n d b e g a n c o m p o sin g a t th e a g e o f six teen. H is e a rly w o rk s w e re in th e p o p u la r v e in, a n d h e e n jo y e d a fa ir a m o u n t o f su c c e ss w ith th is g enre. A t th e a g e o f 20, S c h u m a n h e a rd T o sc a n in i

82 73 c o n d u c t th e N e w Y o rk P h ilh a rm o n ic O rc h estra, w h ic h p ro m p ted a d e c isio n to le a v e th e S c h o o l o f C o m m e rc e o f N e w Y o rk C ity a n d d e v o te h is fu ll a tte n tio n to p u rsu in g m u sic a l c o m p o sitio n. H is p rin c ip a l te a c h e rs d u rin g su m m e r c o u rses a t th e J u illia rd S c h o o l w e re B e rn a rd W a g e n a a r a n d A d o lp h S c h m id ( a n d 1 933) a n d R o y H a rris ( ). H e c o n tin u e d to s tu d y p riv a te ly w ith H a rris u n til 1938 a n d w a s g re a tly in flu e n c e d b y h is te a c h in g. S c h u m a n re c e iv e d h is B S d e g re e in 1935 a n d h is M A d e g re e in 1937, b o th fro m C o lu m b ia U n iv e rsity T e a c h e rs C o llege. S c h u m a n 's first te a c h in g p o sitio n a t S a ra h L a w re n c e C o lle g e la ste d te n y e a rs, b e g in n in g in In 1945 h e b e c a m e d ire c to r o f p u b lic a tio n s a t th e p u b lish in g h o u se G. S c h irm e r fo r th re e y e ars. H e a ssu m e d th e p re s id e n c y o f th e J u illia rd S c h o o l o f M u sic in 1948, w h ic h h e n u rtu re d w ith in n o v a tiv e id e a s in to b e co m in g o n e o f th e p re m ie r sch o o ls o f m u sic in th e w o rld. H e le ft J u illia rd in 1962 to b e c o m e th e p re s id e n t o f th e L in c o ln C e n te r fo r th e P e rfo rm in g A rts, w h e re h is a d m in istra tiv e and a rtistic in sig h ts w e re in stru m e n ta l in e sta b lish in g th e re p u ta tio n th is in stitu tio n n o w e n jo y s. H e le ft th a t p o s t in 1969 to d e v o te m o re tim e to c o m p o sin g and o th e r p ro je c ts. H e p a sse d a w a y in S c h u m a n is o n e o f o u r n a tio n 's m o s t h o n o re d fig u res in th e fie ld o f m u sic. A m o n g h is m a n y h o n o rs a re tw o G u g g e n h e im F e llo w s h ip s, 2 5 h o n o ra ry d o c to ra te s, m e m b e rs h ip s in the N a tio n a l In stitu te o f A rts an d L etters, an d la te r th e A m e ric an A c a d e m y o f A rts an d L e tte rs, a K e n n ed y C e n te r L ife tim e A c h ie v e m e n t A w ard, and th e first W illia m S c h u m a n A w ard, p re sen te d to a c o m p o se r fo r life tim e a c h ie v e m e n t an d n a m e d in h is h o n o r. S c h u m a n re c eiv e d a sp ecial c ita tio n fro m th e P u litz e r P rize B o ard in 1985 fo r h is c o n trib u tio n s to A m e ric a n m u sic th ro u g h o u t h is career. T itle an d D a te o f W o rk In stru m en tatio n T h e B a n d S o n g ( )* [p ] c o n c e rt b a n d, arr. S c h u m a n 1967 (o rig in a lly The O rc h e stra S o n g ) A N e w sre e l in F iv e S h o ts ( )* [p ] c o n c e rt b and

83 7 4 G e o rg e W a s h in g to n B rid g e ( )* [p ] c o n c e rt b and N e w E n g la n d T rip ty c h ( ) C h e s te r* [p ] c o n c e rt b a n d, arr. S c h u m a n 1956 W h e n J e s u s W e p t* [p ] c o n c e rt b a n d, arr. S c h u m a n 1958 B e G la d, T h e n A m e ric a * [p. 286] c o n c e rt b a n d, arr. S c h u m a n 1975 P h ilh a rm o n ic F a n fa re ( ) b ra ss c h o ir (w ith d ra w n ) D e d ic a tio n F a n fa re ( )* [p. 288] c o n c e rt b an d A n n iv e rsary F a n fa re ( ) / ; t, p (2 ) (w ith d ra w n ) P re lu d e fo r a G re a t O c casio n / ; t, p (4 ) ( )* [p ] T h e Y o u n g D ead S o ld iers ( )* S; 0.2, e h. 2, b c l. 2./ ; d b ; [O.O.4.4.] [p. 292] A m e ric a n H y m n ( ) A m e ric a n H y m n ( )* [p ] c o n c e rt b a n d, arr. S c h u m a n 1981 D ances: D iv e rtim e n to fo r W in d Q u in te t a n d P e rc u ssio n ( ) / ; p Joseph Schw antner Jo se p h S c h w a n tn e r g a in e d n a tio n a l a tte n tio n in 1979 w h e n h e w a s a w a rd e d th e P u litz e r P riz e in M u sic fo r h is o rc h e stra l w o rk, A fte r to n e s o f In fin ity. B o m in C h ic a g o in 1943, h e p la y e d tu b a a n d g u ita r as a c h ild and stu d ie d m u sic th e o ry a n d h isto ry in h ig h sch o o l. S c h w a n tn e r a tte n d e d th e C h ic a g o C o n se rv a to ry C o lle g e, w h e re h e to o k le sso n s in c o m p o sitio n w ith B e rn ard D ie te r a n d e a rn e d h is B M d e g re e in H e e n te re d N o rth w e ste rn U n iv e rsity fo r h is g ra d u a te w o rk, stu d ie d c o m p o sitio n w ith A n th o n y D o n a to a n d A lan S to u t, and re c eiv e d h is M M d e g re e in D u rin g th e fo llo w in g tw o y e a rs, h e w a s a te a ch in g a ssista n t in m u sic th e o ry a t N o rth w e ste rn w h ile h e w o rk e d o n h is d o c to ra te, w h ic h h e w a s a w a rd e d in 1968.

84 7 5 S c h w a n tn er's te a c h in g c a re e r b e g a n w ith b rie f p o sitio n s a t th e C h ic a g o C o n se rv a to ry C o lle g e, P a c ific L u th e ra n U n iv e rsity, a n d B a ll S ta te U n iv e rsity. H e is c u rre n tly P ro fe sso r o f C o m p o sitio n a t th e E a stm a n S c h o o l o f M u sic a t th e U n iv e rsity o f R o c h e ste r, w h e re h e h a s ta u g h t s in c e H e h as b e e n a v isitin g p ro fe s so r a t th e Ju illia rd S c h o o l o f M u sic and w a s th e K a re l H u sa v is itin g p ro fe s so r o f c o m p o sitio n a t Ith a c a C o lle g e. S c h w a n tn e r w a s C o m p o se r-in -R e sid e n c e w ith th e S t L o u is S y m p h o n y fro m S c h w a n tn e r's c o m p o sitio n s h a v e b e e n p e rfo rm e d th ro u g h o u t th e w o rld. A m o n g th e m a n y h o n o rs h e h a s re c e iv e d a re a K e n n e d y C e n te r F rie d h e im A w a rd, a G u g g e n h eim F e llo w sh ip, a n d fo u r C o m p o se rs F e llo w sh ip G ra n ts fro m th e N a tio n a l E n d o w m e n t fo r th e A rts. H e h a s been th e re c ip ie n t o f c o m m issio n s fro m th e F ro m m M u sic F o u n d a tio n, th e N a u m b e rg F o u n d a tio n, th e C h a m b e r M u sic S o c ie ty a t L in co ln C e n te r, a n d n u m e ro u s p ro fe ssio n a l p e rfo rm e rs a n d e n se m b le s. A c o n so rtiu m o f c o lle g e a n d u n iv e rsity b a n d p ro g ra m s le d b y Illin o is W e s ly a n U n iv e rsity an d sp o n so re d in p a rt b y th e C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n h as c o m m issio n e d S c h w a n tn e r fo r a n e w w o rk to b e p re m ie re d in T itle and D ate o f W o rk In stru m en tatio n C o n so rtiu m II ( ) /O.O.O.O.; [ ] In A e te m u m (C o n so rtiu m IV ) l(a fl).0.1 (b c l).0./ ; p ( l ) ; ( ) [1 (v ia ) ] C an ticle o f th e E v e n in g B e lls ( ) fl: 0.1 ( e h ).l ( b c l ) l./ l ; d b ; p ( l ) ; p n o ; [ ] E lix e r (C o n so rtiu m V III) l(a f l).0.1 ( b c l).0./ ; p n o ; [ ] ( ) E th erea ( ) / ; d b ; p ( l ) ; p n o and th e m o u n ta in s risin g p n o (a m p ); 6 (4 p ic ).4 (2 e h ).2.4./ n o w h e re ( )* [p ] ; d b ; p (6 ) S p a rro w s ( ) S; l( p ic ) / ; p ( l ) ; p n o, hp; [ ]

85 7 6 F ro m a D a rk M ille n n iu m ( )* 3 (2 p ic ).2, e h. 3 c l, 2 b c l).3./ ; 2 [p ] d b ; p n o (a m p ), cel; t, p (4 ) T h ro u g h In te rio r W o rld s ( ) l( a f l).l( e h ).1.0./ ; p n o ; [ l. O. l. l. ] W in d W illo w, W h is p e r ( ) M u sic o f A m b e r ( ) / ; p n o ; [l.o.o.l.] (b c l).0./ ; p ( l ) ; p n o ; [l.o.o.l.] D ista n t R u n es a n d In c a n ta tio n s / ; p n o ; [l.o.o.l.] ( ) (c h a m b e r v ersio n ) F a n fa re fo r D.H. ( ) / T o w e r P o w e r ( ) / ; p n o ; [l.o.o.l.] R o g e r S e s s io n s H o n o re d a t th e ag e o f 85 w ith th e 1982 P u litz e r P rize in M u sic fo r h is C o n certo f o r O rc h e stra, R o g e r S e ssio n s w a s b o m in B ro o k ly n, N e w Y o rk, in H a v in g d e c id e d to b e c o m e a c o m p o se r w h e n h e w a s e le v e n, S e ssio n s e n te red H a rv a rd U n iv e rsity a t th e a g e o f fo u rte e n, a n d a t e ig h te e n re c e iv e d h is B A d e g re e ( ). H e s tu d ie d w ith H o ra tio P a rk e r at Y a le U n iv e rsity w h ile w o rk in g to w a rd h is 1917 B M d eg ree. H is m o s t in flu e n tia l te a ch e r, h o w e v e r, w as E rn e s t B lo c h, w ith w h o m S e ssio n s stu d ie d in N e w Y o rk a n d la te r fo llo w e d to C le v e la n d, w h e re h e w a s B lo c h 's a ssista n t a t th e C le v e la n d In s titu te o f M u sic. T w o G u g g e n h e im F e llo w sh ip s, a P rix d e R o m e, and a g ra n t fro m th e C a rn e g ie F o u n d a tio n h e lp e d to s u p p o rt S e ssio n s w h ile h e stu d ie d in E u ro p e fro m U p o n h is re tu rn to th e U n ite d S ta te s h e c o n tin u e d h is c a re e r as a n e d u c a to r w ith a serie s o f b rie f p o sitio n s at fo u r in stitu tio n s b e fo re h e b e g a n a lo n g te n u re in 1935 a t P rin ceto n U n iv e rsity. H e ta u g h t a t th e U n iv e rsity o f C a lifo rn ia a t B e rk e le y fro m , a fte r w h ic h h e re tu rn e d to P rin c e to n, w h e re h e ta u g h t u n til h is re tire m e n t in In h is re tire m e n t, S essio n s w a s a v isitin g p ro fe s so r a t th e U n iv e rsity o f C a lifo rn ia a t B e rk e le y, H a rv a rd U n iv e rsity, a n d th e J u illia rd S c h o o l o f M u sic. H e w a s e le c te d to m e m b e rsh ip in th e N a tio n a l In stitu te o f A rts a n d L e tte rs, th e A m e ric a n A c a d e m y o f A rts a n d L etters, an d

86 77 th e A m e ric a n A c a d e m y o f A rts a n d S c ie n c es. In 1974, he w a s a w a rd e d a P u litz e r P riz e S p e c ia l C ita tio n fo r h is life 's ach ie v e m e n ts. H e p a sse d aw ay in P rin c e to n, N e w Jerse y, in T itle an d D a te o f W o rk T h e T ria l o f L u c u llu s ( )* [p ] In stru m en tatio n 35 sin g in g ro le s; 2.1 ( e h ).l, b c l. l ( c b n ) i O.; 2 d b ; p (2 ); p n o ; [ ]; th re e c h o ru ses Leo Sowerby E q u a lly w e ll k n o w n as a c o m p o se r a n d c h u rc h m u sic ia n, L e o S o w e rb y w a s b o m in 1895 to B ritish p a re n ts in G ra n d R a p id s, M ic h ig a n. H e re c eiv e d th e fo u rth P u litz e r P rize in M u sic in 1946 fo r h is c a n ta ta, C a n tic le f o r th e S u n. H e to o k an in te re s t in h a rm o n y and c o m p o sitio n a lm o st im m e d ia te ly a fte r h e sta rte d p ia n o lesso n s a t th e a g e o f sev e n an d h ad w ritte n a n u m b e r o f in te re stin g c o m p o sitio n s b y th e a g e o f fo u rteen. A t fifte e n, in sp ire d by th e w o rk s o f C e s a r F ran c k, h e d e c id e d to le a rn o rg an, w h ich b e c a m e h is p rin c ip a l p e rfo rm in g m e d iu m. A n e a rly h o n o r o c c u rre d w h e n th e C h ic ag o S y m p h o n y O rc h estra p e rfo rm e d h is C o n certo f o r V io lin a n d O rc h e stra in H e stu d ie d fo r a b rie f p e rio d w ith P e rc y G ra in g e r in N e w Y o rk C ity in 1916, w h ic h b o lste re d h is e a rly in te re s t in fo lk m u sic. H e re c eiv e d th e M M d e g re e in 1918 fro m th e A m e ric an C o n se rv a to ry o f M u sic in C h ic a g o. S o w e rb y e n liste d in th e s e rv ic e d u rin g W o rld W ar I an d e v e n tu a lly b e c a m e a b a n d m a ste r w ith th e ra n k o f se c o n d lie u te n a n t. A fte r serv in g in F ra n c e to w a rd th e e n d o f th e w a r, h e w a s d isch a rg e d in F o llo w in g tw o y e a rs tim e d e v o te d to se rio u s c o m p o sitio n, S o w e rb y w a s aw ard e d th e first P rix d e R o m e in 1921, w h ic h su p p o rte d th re e y e ars o f s tu d y in Ita ly. U p o n h is re tu rn to th e U n ite d S tates, h e to o k a te a ch in g p o sitio n a t th e A m e ric a n C o n se rv a to ry, w h e re he re m a in e d fro m C o n c u rre n tly, S o w e rb y w a s th e o rg a n is t an d c h o irm a s te r a t th e E p isc o p a l C a th e d ra l o f St. Jam e s ( ). U p o n h is re tire m e n t fro m th e s e tw o p o sitio n s, h e w a s th e fo u n d in g d ire c to r o f th e C o lle g e o f C h u rc h M u sic ia n s a t th e

87 78 N a tio n a l C a th e d ra l in W a sh in g to n, D C, fro m 1962 u n til h is d e ath in A m o n g his m a n y h o n o rs is a n e le c te d m e m b e rsh ip to th e N a tio n a l In stitu te o f A rts a n d L e tte rs, a n d h e w a s th e first A m e ric a n to b e m a d e a F e llo w o f th e R o y a l S ch o o l o f C h u rc h M u sic in L o n d o n. A lth o u g h h is life c e n te re d on th e c h u rc h, h e w ro te m u sic fo r all g e n re s e x c e p t th e stag e. T itle an d D a te o f W o rk In stru m e n ta tio n C o m e 's A u tu m n T im e ( )* c o n c e rt b and; arr. S o w e rb y 1917 [p. 302] W o o d w in d Q u in te t ( ) l. l. l. l. / l T ra m p in g T u n e ( )* [p. 3 03] u n title d (c )* [p ] T h re e -T h re e -T w o, F.A.(c. 1919)* [p. 306] R e c ita tiv e a n d P ilg rim 's C h o ru s ( )* [p. 308] O ld E n g lish S o n g s ( ) c o n c e rt band c o n c e rt b an d (titled F ie ld O vertu re b y th e L eo S o w e rb y F o u n d a tio n ) c o n c e rt band c o n c e rt b and; S A T B c h o ru s S ; 1.1.1, b cl. 0./ ; d b ; c e l, h p "P o p G o e s T h e W e a sel" ( ) l. l. l. l. / l A m e ric a n R h a p so d y ( )* [p. 309] S p rin g O v e rtu re ( )* [p. 311] c o n c e rt b and c o n c e rt band F a n fa re fo r A irm e n ( )* 2, p ic. 2, eh. 2, b c l. 2, c b n./ ; t, p (3 ) [p- 314] F e stiv a l M u sic k ( ) / ; t; o rg T h re e F a n fa re s ( ) / ; p (2 ) C o m e, R ise n L o rd ( ) F a n ta sy on "In B a b ilo n e " ( )* [p. 315] B e h o ld, O G o d O u r D e fe n d e r ( ) / ; t; o rg ; S A T B c h o ru s c arillo n ; c o n cert b an d / ; t, S A T B c h o ru s

88 7 9 Virgil Thom son T h e o n ly m o tio n p ic tu re sco re to b e a w a rd e d a P u litz e r P riz e in M u sic w a s The L o u isia n a S to ry b y V irg il T h o m so n, w h ic h w o n th e a w ard in O n e o f th e p rin c ip a l A m e ric a n m u sic a l fig u re s o f th e tw e n tie th c e n tu ry, T h o m so n w a s b o m in K a n sa s C ity, M isso u ri, in E a rly stu d ie s in p ia n o a n d o rg a n p re c e d e d h is u n d e rg ra d u a te w o rk a t H a rv a rd U n iv e rsity, w h e re h e e v e n tu a lly b e c a m e th e a ssistan t c o n d u c to r an d a c c o m p a n ist o f th e fa m e d G le e C lu b. H e stu d ie d o rg a n an d c o u n te rp o in t in P a ris w ith N a d ia B o u la n g e r fro m , a n d u p o n h is re tu rn to H a rv a rd, fin is h e d h is w o rk to w a rd h is B A d e g re e, w h ic h h e re c e iv e d in A fte r b rie f g ra d u a te s tu d y a t th e Ju illia rd S c h o o l o f M u sic, T h o m so n m o v e d to P a ris in 1925, w h e re h e re m a in e d q u ite a c tiv e as a c o m p o se r, w rite r a n d so c ia lite u n til W h ile in P a ris, h e e sta b lish e d a c lo se w o rk in g re la tio n sh ip w ith w rite r G e rtru d e S tein w h ic h c u lm in a te d in h is h ig h ly a ccla im e d o p e ra F o u r S a in ts in T h ree A c ts. In 1940, h e w a s a p p o in te d m u sic c ritic fo r th e N e w Y o rk H e ra ld -T rib u n e. H is w ritin g s a re re sp e c te d fo r th e ir lite ra ry b rillia n ce a n d c ritic a l a cu m en. H e le ft th is p o sitio n in to d e v o te h is fu ll atte n tio n to c o m p o sitio n and c o n d u ctin g. T h o m so n 's m u sic is m a rk e d b y a h ig h d e g re e o f o rig in ality. H e so u g h t to e m b ra c e a ll m e a n s o f m u sic a l e x p re ssio n in an e c le c tic, p e rso n a l style. H is lis t o f h o n o rs a n d a w a rd s is v ery le n g th y. M o st n o ta b le a re a G u g g e n h e im F e llo w sh ip, D e e m s T a y lo r A w ard, H a n d e l M ed a llio n, K e n n e d y C e n te r L ife tim e A c h ie v e m e n t A w ard, M a c D o w e ll A w ard, e le cte d m e m b e rsh ip in th e A m e ric a n A c a d e m y and In stitu te o f A rts a n d L e tte rs, and a N a tio n a l B o o k C ritic s C irc le A w a rd in 1983 fo r A V irg il T h o m so n R e a d e r. H e w a s a w a rd e d e ig h te e n h o n o ra ry d e g re es. T h o m so n p a sse d aw ay in N e w Y o rk C ity in T itle an d D a te o f W o rk In stru m en tatio n S tu d y P iece: P o rtra it o f A L a d y c o n c e rt b a n d, arr. T h o m so n 1969 ( )* [p ] F a n fa re fo r F ra n c e ( ) / ; P (2 )

89 8 0 B a rc a ro lle fo r W o o d w in d s ( ) 1.1, e h. 1, b c l. 1./ A t T h e B e a c h ( )* [p. 319] A S o le m n M u sic ( )* [p ] tpt; c o n c e rt b an d c o n c e rt b an d O d e to th e W o n d e rs o f N a tu re / ; t, p (2 ) ( ) E d g e s...a P o rtra it o f c o n c e rt b a n d, a rr. T h o m so n 1969 R o b e rt In d ia n a ( ) * [p. 322] M etro p o litan M u se u m /4.2, 3 c o r. 3.1.; p (6 ) F a n fa re ( )[p. 320] F a m ily P o rtra it ( ) / P a rso n W e e m s a n d th e C h e rry 1, p ic. 0.1, b c l. 0./1.1, flh n. 1.0.; d b ; t, T re e ( ) p (2 ); [I.O.O.O.] (b a lle t) F a n fa re fo r P e a c e ( ) C a n ta n te s e a m u s ( ) S to c k to n F a n fa re ( ) /0.2 (in Q.3.O.; t, p ( l ) ; S A T B c h o ru s, arr. b y T h o m so n o f T h e P e a c e P la ce ( ), S A T B c h o ru s w ith p n o accom p anim ent / ; t, p (2 ); T T B B c h o ru s (a lso arr. T T B B c h o ru s, p n o ) 3 trp t, s n d ru m, fie ld d ru m Ernst Toch E n tire ly self-ta u g h t as a c o m p o se r, E rn st T o c h w a s b o m in V ie n n a, A u stria, in H e re c e iv e d th e 1956 P u litz e r P riz e in M u sic fo r h is S y m p h o n y N o. 3. H e stu d ie d p ia n o in F ra n k fu rt w ith W illy R eh b e rg and b e c a m e an accom p lish e d p e rfo rm er. T o c h to o k a p o sitio n as te a c h e r o f c o m p o sitio n at th e M a n n h e im M u sik h o c h sch u le in H e liv e d in B erlin fo r th re e y ears b e fo re e m ig ra tin g to L o n d o n in 1933 d u e to m o u n tin g p o litic a l p re ssu re. H e accep te d a n in v ita tio n in 1934 to te a ch a t th e N e w S c h o o l fo r S o c ia l R e se a rc h in N e w Y o rk C ity and he settled in C a lifo rn ia tw o y e ars later. H e b e c a m e a U n ite d S tates c itiz e n in 1940.

90 81 T o c h b e g an a lo n g te a c h in g c a re e r a t th e U n iv e rsity o f S o u th e rn C a lifo rn ia in 1936 th a t w a s a u g m e n te d b y n u m e ro u s g u e st le c tu re sh ip s a t le a d in g u n iv e rsitie s a c ro ss th e c o u n try. H e b e c a m e q u ite in v o lv e d w ith th e m o tio n p ic tu re in d u s try an d w ro te m a n y film s c o re s in th e 1 930s a n d 1940s. A d d itio n a l h o n o rs in c lu d e a H u n tin g to n -H a rtfo rd P riz e in 1956, e le c tio n to m e m b e rsh ip in th e N a tio n a l In stitu te o f A rts a n d L e tte rs, a n d a G ra m m y A w a rd in H e w a s v e ry a c tiv e as a c o m p o se r la te in life, w ritin g e ig h t o rc h e stral w o rk s in th e fin a l tw o y e a rs b e fo re h is d e ath a t a g e 7 6 in L o s A n g e le s in A n E rn st T o c h A rc h iv e w a s e sta b lish e d a t th e U n iv e rsity o f C alifo rn ia, L o s A n g e le s in T itle and D ate o f W o rk In stru m en tatio n C h a m b e r S y m p h o n y in F m a jo r / ; d b ; [ ] ( ) D ie C h in e sisc h e R o te, S ; l(p ic ).0.1, b c l. 0./ ; d b ; t, p (5 ) O p. 2 9 ( ) [ ] (liste d a s T h e C h in e se F lu te: A C h a m b e r S y m p h o n y f o r 1 4 Solo In stru m e n ts) T a n z -S u ite, O p. 3 0 ( ) / ; d b ; p ; [l.o.l.o.] S p iel fu r B la so rc h e ste r, 1, p ic. 1.3, c l. 1./4.3, 2 b u g le, 2 B ^ O p. 3 9 ( )* [p ] flh n. 3.e u p h, b a r. 1.; t, p (5 ) E g o n u n d E m ile, O p. 4 6 ( ) K la n g film O v e rtu re ( ) A n a b a sis ( ) c o lo ra tu ra S, n a r; 0.0.1, E ^ c l, bcl. 1.a s x./ (c h a m b e r o p e ra in o n e a ct) w in d o rc h e stra (lo st m a y h a v e b een M in ia tu r O uvertiire) / ; p ; S A T B c h o ru s (in cid ental m usic) D ie H e ilig e v o n U.S.A. ( ) A ; 1.0.1, E ^ c l. 0.a s x./ ; p ( l ) ; p n o, (T h e S a in ts o f U.S.A.) h a rm ; S A T B ch o ru s (in cid en tal m u sic ) M e d e a (1931) T u ra n d o t ( ) 0.0.1, b c l. 0./ ; p ( l ) ; sp e a k in g c h o ru s (in cid en tal m u sic fo r ra d io p lay) / ; p ( l ) ; p n o : [O.O.O.I.] (in cid en tal m u sic fo r ra d io p lay) M in ia tu r O u v ertiire ( ) 2.1.1, b c l. 0./ ; p ( l ) (also k n o w n as K le in e O vertu re)

91 82 W illia m T ell (1939) ; p; S A T B c h o ru s (in cid en tal m usic) F iv e P ie c e s fo r W in d In stru m e n ts / ; p (2 ) a n d P e rc u s sio n, O p. 83 (5 p ie c es are p u b lish e d s e p a ra te ly as ( ) "C a n z o n e tta," "C a p ric e," " N ig h t S o n g," "C av alcad e," a n d "R o u n d e la y ") S in fo n ie tta, O p. 97 ( )* ; t, p (2 ) [p. 327] Robert Ward R o b e rt W a rd 's w id e ly p e rfo rm e d w o rk, th e o p e ra T he C ru c ib le, w a s aw a rd e d th e P u litz e r P riz e in M u sic in W a rd w a s b o m in 1917 in C le v e la n d, O h io, and b e g a n h is p ia n o a n d c o m p o sitio n stu d ie s e a rly in life. H e a tte n d e d th e E a s tm a n S c h o o l o f M u sic, w h e re h e s tu d ie d w ith B e rn a rd R o g e rs an d H o w a rd H a n so n. A fte r re c e iv in g h is u n d e rg ra d u a te d e g re e in 1939, h e c o n tin u e d h is stu d ie s a t th e J u illia rd S c h o o l o f M u sic. H is w o rk th e re w as in te rru p te d b y serv ic e as a b a n d le a d e r in th e U n ite d S tates A rm y fro m U p o n d isch a rg e, h e w a s a b le to re tu rn to Ju illia rd to fin is h h is g ra d u a te w o rk, re c eiv in g h is C e rtific a te in W a rd b e g a n h is c a re e r as an e d u c a to r a n d a d m in istra to r w ith te n y e a rs o n th e fa c u ltie s o f C o lu m b ia U n iv e rsity ( ) and th e Ju illia rd S c h o o l ( ). F o r th e n e x t ten y e ars, h e w a s v ic e -p re sid e n t a n d m a n a g in g e d ito r o f G a la x y M u sic C o rp o ra tio n a n d H ig h g a te P ress. In 1967, h e b e c a m e th e C h a n c e llo r o f th e N o rth C a ro lin a S c h o o l o f th e A rts in W in sto n -S a le m. H e re ta in e d th a t p o sitio n u n til 1974, w h e n h e le ft th e a d m in istra tio n to b e c o m e p ro fe sso r o f c o m p o sitio n fo r th e n e x t fiv e y e ars. A fte r serv in g as a g u e st le c tu re r at D u k e U n iv e rsity in 1978, h e w a s n a m e d th e M a ry D u k e B id d le P ro fe sso r o f M u sic th e re in 1979 and h e ld th a t p o sitio n u n til h is re tire m e n t in H e h as b e e n th e re c ip ie n t o f a M a c D o w e ll C o lo n y F e llo w sh ip, th e N e w Y o rk M u sic C ritic s C irc le A w ard, a n d th re e G u g g e n h e im F e llo w sh ip s. W a rd w a s e le c te d to m e m b e rsh ip to th e N a tio n a l

92 83 In stitu te o f A rts a n d L e tte rs in H is m u sic a l outp u t, n o te d fo r its e c le c tic a n d s o m e w h a t c o n se rv a tiv e n a tu re, in c lu d e s six o p e ra s and fiv e sy m p h o n ie s. T itle an d D ate o f W o rk F a n ta sia fo r B ra ss C h o ir a n d T im p a n i ( ) P ra irie O v e rtu re ( )* [p ] N ig h t F a n ta sy ( )* [p ] F ie sta P ro c e ssio n a l ( )* [p. 3 31] A n tip h o n y fo r W in d s ( )* [p. 332] In stru m en tatio n /4.3.2, b trb. 1.; t c o n c e rt band c o n c e rt band c o n c e rt b and c o n c e rt band M u sic fo r a G re a t O c casio n c o n c e rt b an d (w ith d ra w n ) ( ) F o u r A b stra c tio n s fo r B a n d ( )* [p ] c o n c e rt b and R aleig h D iv e rtim e n to ( ) / T h e F a n fa re fo r D u rh a m ( ) / ; t, p (2 ) Richard W ernick R ic h a rd W e rn ic k w a s h o n o re d w ith th e 1977 P u litzer P riz e in M u sic fo r h is o rc h e stra l w o rk, V isio n s o f W o n d e r a n d T e rro r. B o m in B o sto n in , W e rn ic k h e a rd a p e rfo rm a n c e o f B arto k 's C o n certo f o r O rc h e stra a t th e age o f n in e a n d d e c id e d th en and th e re th a t h e w a n te d to be a c o m p o se r. H e stu d ie d c o m p o sitio n w ith Irv in g F in e, H a ro ld S h a p e ro an d A rth u r B e rg e r a t B ra n d e is U n iv e rsity, w h e re h e e a rn e d h is B A d e g re e in D u rin g th e su m m e rs o f 1954 a n d 1955 h e to o k c o m p o sitio n le sso n s a t th e B e rk sh ire M u sic C e n te r in T a n g le w o o d w ith A a ro n C o p la n d, E rn st T o c h, a n d B o ris B la c h e r, w h ic h w e re su p p le m e n te d w ith c o n d u c tin g in stru c tio n fro m L e o n a rd B e rn ste in and Se y m o u r L ip k in. H e d id h is g ra d u a te w o rk a t M ills C o lle g e, w h e re h e w o rk e d w ith L e o n K irc h n e r a n d re c eiv e d h is M A degre e in 1956.

93 84 T w o y e ars in C a n a d a w ritin g m u sic an d c o n d u c tin g fo r th e R o y a l W in n ip e g B allet a n d th e C a n a d ia n B ro a d c a stin g C o m p a n y d ire c tly fo llo w e d W e m ic k 's g ra d u a te stu d y. H e th e n m o v e d to N e w Y o rk C ity, d e te rm in e d to m a k e a liv in g as a c o m p o se r. F ro m 1962 to 1964, h e w a s a c o m p o se r-in -re s id e n c e in th e B a y S h o re, L o n g Isla n d s c h o o l d istric ts u n d e r th e a u sp ic e s o f th e F o rd F o u n d a tio n 's C o n te m p o ra ry M u sic P ro ject. H e b e c a m e v e ry in v o lv e d in w ritin g m u sic fo r film, te le v isio n an d b ro a d w a y fro m 1958 to B rie f te a c h in g p o sitio n s at th e S tate U n iv e rsity o f N e w Y o rk a t B u ffa lo a n d th e U n iv e rsity o f C h ic a g o p re c ed e d h is a c c e p ta n c e o f an in v ita tio n to jo in th e fa c u lty o f th e U n iv e rsity o f P e n n sy lv a n ia in H e is p re sen tly a p ro fe s so r o f m u sic a t th is in stitu tio n, as w e ll as th e M u sic D ire c to r o f th e P enn C o n te m p o ra ry P la y e rs. W e m ic k serv e s a s S p ecial C o n su lta n t fo r C o n te m p o ra ry M u sic to th e M u sic D ire c to r o f th e P h ila d e lp h ia O rchestra. H e is th e first tw o -tim e w in n e r o f th e K e n n e d y C e n te r F ried h eim A w a rd, an d h as re c e iv e d n u m e ro u s o th e r m u sic a l h o n o rs. T itle an d D a te o f W o rk T h e D io c le tia n s ( 1959)* [p. 335] C h a n u k a h F e stiv a l O v ertu re ( )* [p ] In stru m e n ta tio n c o n c e rt b and c o n c e rt b and C o n c e rt O v e rtu re ( ) c o n c e rt b an d (w ith d raw n ) F a n ta sia "F u ll F a d o m F iv e" ( ) S n a p sh o ts ( )* [p. 3 37] /l.l.l.b a r.o.; d b ; p ; S A T B c h o ru s c o n c e rt band T a raw a: S c e n e an d E p ilo g u e c o n c e rt b an d (w ith d raw n ) fo r B a n d ( ) S tu d ies fo r E le m e n ta ry B an d ( )* [p ] H a ik u o f B a sh o ( ) c o n c e rt band S; l( p ic, a fl).0.1 (E b c l, b c l).0./ ; db; t, p (3 ); p n o ; [ ]; 2 ta p e re c o rd e rs K a d d ish R e q u ie m ( ) M S ; l(p ic ).0.1 (b c l).0./ ; p (2 ); p n o ; [ ]; ta p e

94 85 In tro its a n d C a n o n s 1.0.l. l. / l ; d b ; p ( l ) ; [ ] ( , rev. 1981) A P o iso n T re e ( ) S ; / ; p n o ; [l.o.o.l.] C o n c e rto fo r C e llo and T e n v c ; 0.1.0, b cl. l ( c b n ). / l ; d b ; p ( l ) ; P la y e rs ( ) h p ; [ ] F a n fa re fo r a F e stiv e / , p (2 ) O c casio n ( ) M u sic a P to lem e ic a ( ) /1.2 (p ic tp t) Charles W uorinen In 1970, C h a rle s W u o rin e n 's T im e E n c o m iu m b e c a m e th e first e le c tro n ic m u sic w o rk to be a w a rd e d th e P u litz e r P riz e in M u sic. W u o rin e n w a s b o rn in N e w Y o rk C ity in 1938 a n d h a s liv ed th e m a jo rity o f h is life th ere. H e to o k to th e p ia n o a t a v e ry e a rly a g e a n d w a s c o m p o sin g his o w n m u sic a t th e a g e o f fiv e. W h ile in h is s o p h o m o re y e a r in h ig h s c h o o l, h e re c e iv e d th e N e w Y o rk P h ilh a rm o n ic Y o u n g C o m p o se rs ' A w a rd in H e a tte n d e d C o lu m b ia U n iv e rsity, w h e re h e stu d ie d w ith O tto L u e n in g, V la d im ir U ssa c h e v sk y a n d Jack B eeso n, an d e a rn e d h is B A d e g re e in 1961 a n d th e M A d e g re e in H e w as th e c o -fo u n d e r (w ith H a rv e y S o llb e rg e r) o f th e G ro u p fo r C o n te m p o ra ry M u sic in 1962, a n d s in c e 1984, h as b e e n th e g ro u p 's p re sid e n t. W u o rin e n stay e d at C o lu m b ia u p o n receiv in g h is g ra d u a te d e g re e, and ta u g h t th e re u n til h e w as d e n ie d te n u re in C o lu m b ia 's te n u re d e cisio n w a s v e ry c o n tro v e rsia l a n d d iffic u lt fo r m a n y to u n d e rsta n d, in th a t W u o rin e n h ad ju s t re c e iv e d th e P u litz e r P rize th e p re v io u s y ear. C h a rg e s a n d c o u n te r-c h a rg e s e x c h a n g e d in th e N e w Y o rk p re ss a t th e tim e m a k e fo r v e ry in te re stin g re a d in g. A fte r le a v in g C o lu m b ia, W u o rin e n w a s a g u e st le c tu re r a n d c o m p o se r-in -re sid e n c e a t n u m e ro u s p re stig io u s in stitu tio n s. H e a ccep te d a p o s itio n as P ro fe sso r o f C o m p o sitio n a t R u tg e rs U n iv e rsity in , w h e re h e h as re m a in e d to th is day.

95 86 A p ro lific c o m p o se r, W u o rin e n h a s re c e iv e d a lm o st e v e ry h o n o r fo r w h ic h an A m e ric a n c o m p o se r c a n b e e lig ib le. H is w o rk s h a v e b e e n p e rfo rm e d e x te n siv e ly a ro u n d th e w o rld a n d h e h a s re c e iv e d c o m m is sio n s fro m m a jo r e n se m b le s and p e rfo rm e rs. H e h as serv e d h is p ro fe ssio n as a b o a rd m e m b e r o f m a n y n a tio n a l m u sic a n d arts o rg a n iz atio n s. H e m a in ta in s a su c c e ssfu l c a re e r as a p ia n is t a n d c o n d u c to r. H is te x tb o o k, S im p le C o m p o sitio n, is h ig h ly re g a rd e d a n d h a s b e e n tra n sla te d in to C h in e se. W u o rin e n 's m o s t re c e n t w o rk fo r w in d o rc h e stra, W in d fa ll ( ), w a s p re m ie re d o n N o v e m b e r 7, b y th e R u tg e rs C h a m b e r W in d s, W illia m B e rz, c o n d u c to r, at R u tg e rs U n iv e rsity. T itle an d D a te o f W o rk In stru m en tatio n In to th e O rg a n P ip e s and 0, p ic a s x./ ; d b ; t; 2 p n o ; S te e p le s ( ) [O.O.2.2.] W in d Q u in te t N o. 1 ( ) / D r. F a u s tu s L ig h ts th e n a r; a s x./ ; p ; p n o ; [ ] L ig h ts ( ) M o v e m e n t ( ) / S p e c tru m ( ) / ; p n o ; [I.O.O.O.] W in d Q u in te t N o. 2 ( ) / M u sic a d u aru m p artiu m e ccle sia stic a (1959) In v e n tio n fo r P e rc u ssio n Q u in te t (1962) O c tet (1962) / ; t; p n o, o rg p (4 ); p n o / ; d b ; p n o ; [l.o.o.l.] C h a m b e r C o n c e rto fo r v c l; l.l( e h ).l( b c l ).l./ ; d b ; p (2 ); V io lo n cello a n d T e n p n o ; [ ] P la y e rs ( ) C o m p o sitio n fo r V io lin an d T e n In stru m e n ts ( ) 0.2.0, b c l. 0./ ; d b ; p ; p n o C h a m b e r C o n c e rto fo r F lu te fl; db; p (4 ), p n o, h p, g u it, c e m ; [ ] a n d T e n P la y e rs ( )

96 87 S u p e r S a lu te m ( ) C h a m b e r C o n c e rto fo r O b o e ( ) / ; p ; p n o ; m a le v o ic e s o b ; / ; d b ; t, p (5 ); h p, p n o S a lv e R eg in a: Jo h n B u ll ( ) 2.2 ( e h ).l( b c l).0./l ; t; p n o ; [ ] T h e P o litic s o f H a rm o n y A,T,B ; 2 (p ic, 2 a fl) / ; 2 d b ; (M a sq u e ) ( ) p (3 ); p n o, 2 h p ; [2.O.O.O.] R in g in g C h a n g e s fo r P e rc u s sio n p (1 2 ) E n se m b le ( ) C h a m b e r C o n c e rto fo r T u b a ( ) tb a ; 4 (p ic, 2 a fl).2 (2 e h ).0.2 (c b n )./ ; Pd) C a n z o n a fo r T w e lv e 1.1 ( e h ).l( b c l ).l./ ; d b ; v ib ; p n o, h p ; In stru m e n ts (to th e m e m o ry [ ] o f Ig o r S tra v in sk y ) ( ) S p e c u lu m S p e c u li ( ) 1.1.0, b cl. 0./ ; d b ; p ; p n o O n A llig a to rs ( ) / ; [ ] A ra b ia fe lix ( ) / ; p n o, v ib ; g u it; [ ] H y p e rio n ( ) l. l. l. l. / l ; d b ; p n o ; [ ] P e rc u s sio n S y m p h o n y ( )* p (2 4 ) [p. 340] S ix S o n g s fo r T w o V o ic e s ( ) C o u n te rte n o r(a ); / ; [ ] T h e W in d s ( ) 1.1.1, b c l. 1./ ; p n o W in d Q u in te t ( ) / A rc h a e o p te ry x ( ) J o a n s ( ) N e w Y o rk N o te s ( ) b trb ; 3 (p ic ).0.2 (b c l).0./ ; m a r; p n o / ; p n o ; [l.o.o.l.] / ; p ; p n o ; [l.o.o.l.] C o n c e rtin o ( )* [p. 342] 2 (2 p ic ).2.4 (E b c l, b c l, B B b c b c l).2 (c b n )./ ; db F a n fa re fo r R u tg e rs U n iv e rs ity / ( )

97 88 W in d fa ll ( )* [p ] 2, p ic. 2.2, b cl. 2, c b n./4.3 (in C ).2, b trb. e u p h. 1.; p (5 ) G re a t P ro c e s sio n ( ) l(p ic ).0.1 (b c l).0./ ; p ; p n o ; [ l.o.o.l.] Ellen Taaffe Zwilich T h ru st in to n a tio n a l lim e lig h t as th e first w o m a n to re c e iv e th e P u litz e r P riz e in M u sic, E lle n T a a ffe Z w ilic h e a rn e d th e 1983 p riz e fo r h e r S y m p h o n y N o. 1. S h e w a s b o m in 1939 in M ia m i, F lo rid a, a n d b y h e r te e n s, Z w ilic h w a s p ro fic ie n t o n p ia n o, tru m p e t a n d v io lin, h a d b e e n c o m p o sin g fo r y e a rs, a n d w a s co n d u c tin g h e r s c h o o l b a n d a n d o rch estra. S h e re c e iv e d h e r B M d e g re e in 1960 a n d h e r M M d e g re e in c o m p o sitio n in 1962 fro m F lo rid a S ta te U n iv e rsity, w h e re sh e stu d ie d w ith Jo h n B o d a a n d C a rlis le F lo y d. H a v in g fo c u sed h e r p e rfo rm in g on th e v io lin, Z w ilich m o v e d to N e w Y o rk C ity a n d m a d e a liv in g as a fre e -la n c e v io lin ist. S h e w a s a m e m b e r o f th e A m e ric a n S y m p h o n y O rc h e stra u n d e r L e o p o ld S to k o w sk i fo r sev e n y ears. R e sp o n d in g to h e r d e sire to s p e n d m o re tim e c o m p o sin g, sh e e n te re d th e Ju illia rd S c h o o l o f M u sic, stu d y in g w ith R o g e r S e ssio n s and E llio tt C arte r. In 1975, sh e b e c a m e th e first w o m a n to re c e iv e th e D M A d e g re e in c o m p o sitio n fro m Ju illia rd, w h e re sh e is p re sen tly o n th e m u sic fa c u lty. S h e h as b e e n th e re c ip ie n t o f fe llo w sh ip s fro m th e G u g g e n h e im F o u n d a tio n, M a c D o w e ll C o lo n y a n d th e N a tio n a l E n d o w m e n t fo r th e A rts, and w a s e le cte d to m e m b e rsh ip in th e A m e ric a n A c a d e m y o f A rts and L e tte rs in S in c e re c e iv in g th e P u litz e r P riz e, sh e h a s b e e n in u n d a te d w ith c o m m issio n o ffers fro m so m e o f th e fin e s t s y m p h o n y o rc h e stra s in th e U n ite d S tates. H e r re c e n t m u sic al o u tp u t h a s re c e iv e d critical a cclaim w h ic h d e sc rib e s c o n tin u e d g ro w th an d m a tu rity w ith in h e r e x p re ssiv e ly d irect a n d u n tra d itio n a lly to n a l sty le. T itle and D a te o f W o rk In stru m en tatio n E s s a y ( ) c o n c e rt b an d (w ith d raw n )

98 89 P a ssa g e s ( ) S ; l( p ic, a fl).0.1 (b c l).0./ ; p ; p n o ; [ ] C h a m b e r C o n c e rto fo r T ru m p e t trp (in C ); l(p ic ).0.1 (b c l).0./ ; d b ; p; a n d 5 P la y e rs ( ) p n o C h a m b e r S y m p h o n y l( p ic ).0.1 ( b c l).0./ ; p n o ; [ ] In tra d a ( ) C e re m o n ie s ( )* [p. 345] / ; p n o ; [l.o.o.l.] c o n c e rt b and (o rig in a lly title d S y m p h o n y f o r W in d s)

99 9 C H A P T E R IH A N N O T A T E D B IB L IO G R A P H Y A N D P E R F O R M A N C E C O M M E N T A R Y O F W O R K S F O R C O N C E R T B A N D A N D W IN D O R C H E S T R A B Y C O M P O S E R S A W A R D E D T H E P U L IT Z E R P R IZ E IN M U S IC

100 91 Stephen Albert Cathedral Music: Concerto f o r Four Quartets 1. tempo quasi rubato 2. moderato 3. allegro brilliante 4. pesante 5. allegro scherzando 6. andante m ysterioso 7. tempo quasi rubato; flo w in g but dignified; steady P rem iere: 1971 U n iv e rsity o f M a ssa c h u se tts C h a rle s F u sse ll, c o n d u c to r A m h e rst, M a ssa c h u se tts In stru m e n ta tio n : 2 (p ic, a fl b o th a m p ) /2.1 (p ic tp t).1.0.; p (2 ); 2 p n o,e l p n o, e l o rg, h p (a m p ), g tr (a m p ); [ (a m p ).] P u b lish er/d ate: C a rl F is c h e r, 1977 (N ) A vailability: S co re: ren tal; stu d y sco re a v ailab le fo r p u rc h a se fu ll, s c o re in C L e v e l o f difficulty : G ra d e 6 D u ration: c. 2 1 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : in fo rm a tio n u n availab le in c lu d e d in sco re T h is w o rk w a s in sp ire d b y a film a b o u t th e life o f P ab lo C a sa ls A lb e rt re m e m b e re d seein g as a y o u n g ste r, d u rin g w h ic h C a sa ls p la y e d alo n e in an e m p ty c ath e d ra l. A lb e rt's u se o f a m p lificatio n a n d rev e rb e ra tio n in C a th e d ra l M u sic h e lp s to c re a te th e a m b ia n c e o f a c ath ed ra l. T h e ju x ta p o sitio n a n d e v e n tu a l u n ific a tio n o f d isp arate m u sic a l id e a s is th e p rin c ip a l c o m p o sitio n a l te c h n iq u e u sed in th is p iece. T h e sco re n o te s in d ic a te th a t a so u n d e n g in e e r w ith a m ix e r p an el, e x te rn a l d ire c tio n a l m ic ro p h o n e s, am p lifiers and sp e a k e rs w ill be n e ed e d. B alan c e b e tw e e n th e a c o u stic a n d a m p lified in stru m e n ts w ill b e a d e lic ate m a tte r re q u irin g serio u s atten tio n. A lb e rt su g g ests th a t e a c h q u a rte t re h e arse sep a ra te ly. T h e re a re m a n y in sta n c e s o f u n m e a su re d m u sic w h ic h re q u ire th e g u id a n c e o f a c o n d u c to r to h o ld th e

101 9 2 S e le c tiv e B ib lio g raphy: e n se m b le s to g e th e r. T h e sco re flu c tu a te s b e tw e e n m o m e n ts o f tra n sp a re n t o rc h e stratio n to stro n g tu tti d e c la m a tio n s. T h e w ritin g fo r th e in d iv id u a l in stru m e n ts p la c e s p ro fessio n alle v e l d e m a n d s on th e p erfo rm ers. D reier, R u th. "M u sic ia n o f th e M o n th : S te p h e n A lb e rt," M u s ic a l A m e ric a, X X X V (S e p te m b e r, ), 4-5. H u m p h re y, M a ry L o u. S te p h e n A lb e r t. (N ew Y o rk : G. S c h irm e r, 1987). R eilly, R o b ert. "S te p h e n A lb e rt: ," A m e r ic a n R e c o r d G u id e, L V I/2 (M a rc h /A p ril, ), S e lectiv e D isco g rap h y : n o n e av ailab le Samuel Barber C o m m a n d o M a r c h P rem iere: M a y 2 3, 1943 A rm y A ir F o rc e T e c h n ic al T rain in g C o m m a n d B an d C o n v e n tio n H a ll A tla n tic C ity, N e w Jerse y S a m u e l B a rb e r, c o n d u c to r In stru m e n ta tio n : c o n c e rt b an d sin g le o b, sep a ra te b trb P u b lish er/d ate: G. S c h irm e r, 1943 ( c ) A vailability: S co re: in p rin t c o n d e n s e d, s c o re in C L evel o f D ifficulty: G ra d e 5 D u ration: c. 3 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : U n ite d S tates A rm y A ir F o rce n o t in c lu d e d in sco re A n u m b e r o f c h alle n g e s a w a it th e e n se m b le in th is m arch. T h e q u ic k te m p o (F ast m a rc h -tim e; q u a rte r n o te = 144)

102 93 S ele c tiv e B ib lio g rap h y : in c re ase s th e d iffic u lty o f accu rately alte rn a tin g b e tw een trip lets a n d d o tte d e ig h th n o te /six te en th n o te fig u res. R ap id ly sh iftin g to n a l cen ters re q u ire th e e n se m b le to p ay sp ecia l h e e d to in to n a tio n. T h e tro m b o n e s a re a sk e d to c o n tro l tw o s tro n g m o m e n ts o f e x p o se d d e sc e n d in g p o rta m e n ti th a t c o v e r a d im in ish e d fifth. S e c tio n p la y e rs on se c o n d and th ird p a rts a re n o t a llo w e d th e lu x u ry o f "hiding" b e h in d th e first p a rt p la y e rs, as th e ir m u sic is ju s t as d e m a n d in g to n a lly a n d rh y th m ically. B ro d e r, N a th a n. S a m u e l B a r b e r. (N e w Y o rk : G. S c h irm e r, 1954). F rie d e w a ld, R u sse ll E. "A F o rm a l a n d S ty listic A n a ly sis o f th e P u b lish e d M u sic o f S a m u e l B a rb e r." U n p u b lish e d P h D d isse rta tio n, T h e U n iv e rs ity o f Io w a, D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n s e m b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 86. G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "H o w a rd H a n so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin es, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), H e n n e sse e, D o n a ld A. S a m u e l B a rb e r: A B io -B ib lio g ra p h y (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1985). H e y m a n, B a rb a ra B. S a m u e l B a rb e r: T he C o m p o se r a n d H is M u s ic. (N ew Y o rk /O x fo rd : O x fo rd U n iv e rs ity P ress, ), "S a m u e l B a rb e r: A D o c u m e n ta ry S tu d y o f H is W o rk s." U n p u b lis h e d P h D d isse rta tio n, C ity U n iv e rs ity o f N e w Y o rk, R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S ele cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), 38. S m ith, N o rm a n. M a r c h M u s ic N o te s. (L ak e C h a rle s, L o u isia n a : P ro g ra m N o te P re s s, ), 2 5. S m ith, N o rm a n, and A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ieg o : K jo s W e s t, ), W a th e n, L a w re n c e S. "D isso n a n ce T re a tm e n t in th e In stru m e n ta l M u sic o f S a m u e l B a rb e r." U n p u b lis h e d P h D d isse rta tio n, N o rth w e ste rn U n iv e rs ity, 1960.

103 9 4 S electiv e D isco g rap h y : N a tio n a l B a n d A s s o c ia tio n C o n ven tio n. U n ite d S ta te s A ir F o rc e B a n d, A.G a b rie l, G o ld e n C re st N B A A m e r ic a n C o n c e rt B a n d M a ste rp ie c e s. E a stm a n W in d E n sem b le, F. F e n n e ll, M e rc u ry G o ld e n Im p o rts M G [re issu e d as M e rc u ry G o ld e n Im p o rts S R I ] I n C o n c e r t w ith th e U n iv e rsity o f Illin o is S y m p h o n ic B a n d. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, H. B e g ia n. R e c o rd # 8 7. M a c h o M a r c h e s. C le v e la n d S y m p h o n ic W in d s, F. F e n n e ll, T e la rc D G (D ig ital) an d C D P ittsb u r g O v ertu re. T o k y o K o se i W in d O rc h estra, K. A k iy a m a, K o se i P u b lish in g C o m p a n y K O C D U n c o m m o n V alor: C o m m e m o ra tin g the 5 0 th A n n iv e r s a r y o f W o rld W a r T w o. U n ite d S ta te s M a rin e B a n d, J. B o u rg e o is, W a te r M u s ic S u ite, Vol. 5. T o k y o K o se i W in d O rc h e s tra, K. A k iy a m a, K o se i P u b lish in g C o. K O R W in d s o f W a r a n d P e a c e. N a tio n a l S y m p h o n ic W in d s, L. G ra h a m, c N S W Funeral March (B ased on the Army A ir Corps Song) P rem iere: e arly 1943 A rm y A ir F o rc e B an d C o l. G e o rg e S. H o w a rd, c o n d u c to r W a sh in g to n, D C In stru m e n ta tio n : c o n c e rt b an d 3 fl, s in g le o b a n d b n, n o E ^ cl o r a c l, 2 h n, 4 tp t, 4 trb, o ff-stag e tpt P u b lish er/d ate: u n p u b lish e d, 1943 A vailability: S co re: m a n u sc rip t o n ly, lo c a te d in L ib ra ry o f C o n g re ss c o n d e n se d, s c o re in C L ev el o f D ifficu lty : G ra d e 3+ D uration: c. 4 '0 0

104 95 C o m m issio n : P ro g ra m N o te : P e rfo rm a n ce C o m m entary : C o m m issio n e d b y th e U n ite d S ta te s A rm y A ir F o rc e B a n d C o l. G e o rg e S. H o w a rd, c o n d u c to r n o n e B arb er's so le m n F u n e r a l M a rc h is in A B A fo rm. T h e A sectio n is a d a rk, b ro o d in g re n d itio n o f th e first sectio n o f T h e A r m y A ir C o rp s M a r c h (" O f f w e g o..." ) in c m in o r. T h e B sectio n, la b e le d as th e trio o f th e m a rc h, is in F m a jo r. I t fe a tu re s th e s e c o n d sectio n o f T h e A r m y A i r C o rp s M a rc h, (also k n o w n s e p a ra te ly as T o a s t to th e H o s t ) a n d is sta te d tw ice. T h e s o lo o ff-sta g e tru m p e t p la y s T a p s as an o b lig a to ("fro m th e d ista n c e ") d u rin g th e seco n d statem en t. S e lectiv e B ib lio g rap h y : T h e rh y th m s and ra n g e s are m o d e ra te in th e ir d e m a n d s. A m a tu re e n se m b le is re q u ire d in o rd e r to d e liv e r a sen sitiv e, c o n tro lle d perfo rm an c e. T h e w o rk w a s p e rfo rm e d a n u m b e r o f tim e s b o th as a c o n c e rt p ie c e a n d as a fu n e ra l m a rc h in N o e v id e n c e so fa r h a s re v e a le d th a t th e m a rc h w a s c o m p o se d fo r a s p e c ific fu n e ra l. C o l. H o w a rd w a s to h a v e g iv e n a m o d e m p e rfo rm a n c e o f th e w o rk a t th e A m e ric a n B a n d m a ste rs A sso c ia tio n 1994 c o n v e n tio n in H o n o lu lu, H a w a ii w ith th e U n ite d S ta te s A ir F o rc e B an d, b u t ill h e a lth k e p t h im fro m a tte n d in g th e e v e n t a n d fo llo w in g th ro u g h w ith th e se p lans. T h e w o rk w a s re c e n tly p la y e d in S e p te m b e r, 1995 a t C o l. H o w a rd 's fu n e ra l. T he A r m y A ir C o rp s M a rc h w a s w ritte n b y R o b e rt C ra w fo rd. F o r y e a rs, B a rb e r's w o rk w a s m is file d u n d e r "C raw fo rd " in th e U S A F O rc h e stra L ib ra ry. B ro d e r, N a th a n. S a m u e l B a rb e r. (N e w Y o rk : G. S c h irm e r, 1954). G le a s o n, H a ro ld, a n d W a rre n B e c k e r. " H o w a rd H a n so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o sers, M u s ic L ite ra tu re O u tlin es, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, 1 980), H e y m a n, B a rb a ra B. S a m u e l B a rb e r: T h e C o m p o se r a n d H is M u sic. (N e w Y o rk /O x fo rd : O x fo rd U n iv e rsity P re ss, ), "S a m u e l B arb er: A D o c u m e n ta ry S tu d y o f H is W o rk s." U n p u b lis h e d P h D d is se rta tio n, C ity U n iv e rs ity o f N e w Y o rk, S electiv e D isco g rap h y : n o n e availab le

105 9 6 Leslie Bassett D esigns, Im ages and Textures: C oncert Band 1. Oil Painting 2. W ater Color 3. Pen and Ink Drawing 4. Mobile 5. Bronze Sculpture Five Pieces f o r P rem iere: A p ril 2 8, 1965 Ith a c a H ig h S c h o o l B a n d F ra n k B a ttisti, c o n d u c to r Ith a c a, N e w Y o rk In stru m entatio n : c o n c e rt band T h e fo llo w in g p a rts are all d iv isi: p ic, fl 1, fl 2, B ^ c l 1, B*3 cl 2, B ^ c l 3, B ^ cl 4, tp t 1, tp t 2, tu ; trb 3 is b trb ; p n o P u b lish er/d ate: C. F. P e te rs, 1966 (P ) A vailability: S core: in p rin t fu ll, tra n s p o se d L ev el o f difficulty : G ra d e 5 + D uration: c. ll'oo C o m m issio n : C o m m issio n e d b y a n d dedic ate d to th e Ith a c a (N ew Y o rk ) H ig h S c h o o l B a n d, F ra n k B a ttisti, c o n d u c to r P ro g ra m N o te: P e rfo rm a n ce C o m m entary : in c lu d e d in sco re T h e e x te n siv e p ro g ram n o te in th e s c o re o ffe rs in sig h ts in to B a ssett's c re a tiv e p ro c e ss in th is w o rk a n d d e sc rib e s th e in flu e n c e o f m o d e m a rt te c h n iq u es o n each m o v e m e n t. T h e w o rk re q u ire s secure p layers in th a t th e re is v e ry little d o u b lin g in th e o rc h e stra tio n a n d m a n y p a rts a re d iv isi, re q u irin g c o n fid e n t in d e p e n d e n c e fro m all p e rfo rm e rs, n o t ju s t p rin c ip a l p la y e rs. R h y th m ic security is a m u st. S o lo m o m e n ts are fo u n d in m a n y p a rts a n d B a s s e tt c a lls fo r a d iv isi 4 p a rt c la rin e t sectio n. T h e a lto c la rin e t h as im p o rta n t lin e s th ro u g h o u t th e e n tire w o rk w h ic h a re n o t c ro ss-c u e d. C o m p o sitio n a l te c h n iq u es u sed in c lu d e q u ic k o v erla p p in g sc a le p a ssag e s (at tim e s c a n o n ic in n a tu re ), la y e rin g o f c h o rd

106 97 S electiv e B ib lio g rap h y : c lu ste rs, risin g p y ra m id e ffe c ts, e x te n d e d "in sid e th e p iano" te c h n iq u e s, a n d trille d clu sters. B allard, B a rb a ra R o e n n e c k e. "L eslie B assett: H is L ife a n d M u sic w ith S p e c ia l E m p h a s is o n S o u n d s R e m e m b e red." U n p u b lis h e d M A th e sis, M ic h ig a n S ta te U n iv e rsity, D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n se m b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 18. J o h n so n, E lle n S. L e s lie B a s s e tt: A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1994). K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L ite ra tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), A - 2. N ic h o lls, W.D. "F a c to rs C o n trib u tin g to th e C o m m is sio n in g o f A m e ric a n B an d W o rk s sin c e 1945." U n p u b lish e d D M A E s s a y, U n iv e rsity o f M ia m i, N o rc ro ss, B ria n. O n e B a n d T h a t T o o k a C h a n ce: T h e Ith a c a H ig h S c h o o l B a n d fr o m D ir e c te d b y F r a n k B a ttisti. (F t. L a u d e rd a le, F lo rid a : M e re d ith M u sic P u b lish e rs, ), R a c h le ff, L arry. "A n In te rv ie w w ith L e slie B assett," C o lle g e B a n d D irecto rs N a tio n a l A s s o c ia tio n Jo u rn a l, I I / l (W in te r, 1985), 1-4. R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), S m ith, N o rm a n, and A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ieg o : K jo s W e s t, ), S e lectiv e D isco g rap h y : C o llege B a n d D irecto rs N a tio n a l A sso c ia tio n N a tio n a l C o n ference, Vol. 5. U n iv e rsity o f C in c in n a ti C o lle g e -C o n s e rv a to ry o f M u sic W in d E n s e m b le, R. H o rn y a k, c o n d u c to r. E d u c a tio n a l R e fe ren c e R e c o rd in g L ib ra ry, 11. U n iv e rsity o f M ich ig an B a n d, W. R e v e lli, c o n d u c to r. E R R L B P T h e R e v e lli Y ears, Vol. 4. U n iv e rs ity o f M ic h ig a n S y m p h o n y B a n d, W. R e v e lli, c o n d u c to r, G o ld e n C re s t C R S [re c o rd e d 1967]

107 98 Sounds, Shapes and Sym bols: fo r Band F our M ovem ents P rem iere: M a rc h 1 7, U n iv e rsity o f M ic h ig a n S y m p h o n ic B a n d H. R o b e rt R e y n o ld s, c o n d u c to r A n n A rb o r, M ic h ig a n In stru m e n ta tio n : c o n c e rt b an d 4 fl (2 p ic ), 4 c l (e a c h d iv.), 4 c o r/tp t, 2 b a r, p n o P u b lish er/d ate: C. F. P e te rs, 1978 (P ) A vailability: S co re: rental sco re av ailab le fo r p u rc h a se fu ll, tra n s p o se d L e v e l o f difficulty : G ra d e 6- D uration: c. 1 2 '0 0 C o m m issio n : P ro g ra m N o te : P e rfo rm a n c e C o m m e n ta ry : U n iv e rsity o f M ic h ig a n S y m p h o n ic B a n d in c lu d e d in sco re; m in im al B a ssett u ses a v a rie ty o f c o n te m p o ra ry te c h n iq u e s w ith in a lo o sely serialized fo rm a t to c re a te m u sic fu ll o f a sen se o f m o tio n, sp a c e a n d d e n sity. T h e firs t m o v e m e n t is q u ic k, a g g re ssiv e a n d sco re d fu lly th ro u g h o u t. T h e s e c o n d is v ery slo w and is m a rk e d b y b lo c k sco rin g w ith in v a rio u s sectio n s o f th e e n se m b le, all risin g in o n e lo n g d y n a m ic a rc h fro m q u ie t to stro n g and b a c k to quiet. M u sic w h ic h is rh y th m ically free m a k e s u p th e ta p e stry o f th e th ird m o v e m e n t. T h e la s t m o v e m e n t is q u ic k a n d stro n g, w ith a fin a l c re sc e n d o b rin g in g m a ssiv e b lo c k c h o rd s to c lo se th e p iece. A s is ty p ic a l in m o s t B a ssett sco res, o n e e n c o u n te rs sectio n s o f u n m e te re d m u sic and th e u se o f p ro p o rtio n a l n o ta tio n, e sp e c ia lly in th e th ird m o v e m e n t. M a n y p a rts c o n ta in fig u res w h ic h a re to b e re p e a te d o v e r a n d o v e r in a ra n d o m fash io n. C o n fid e n t p la y e rs a re re q u ire d to d e al w ith th e se k in d s o f m u sic a l m o m e n ts. A ll flu tes n e e d an in s tru m e n t w ith a "b" fo o t. A sco re n o te in d ic a te s th a t th e p ie c e sh o u ld b e liste d on p ro g ra m s w ith o u t s e p a ra te m o v e m e n t d e sig n a tio n, b u t

108 9 9 S e lectiv e B ib lio g ra p h y : sim p ly as "in fo u r m o v e m e n ts" o r "fo u r m o v e m e n ts fo r b a n d." B a lla rd, B a rb a ra R o en n e c k e. "L e slie B assett: H is L ife a n d M u sic w ith S p e c ia l E m p h a s is o n S o u n d s R e m e m b e red." U n p u b lis h e d M A th e sis, M ic h ig a n S ta te U n iv e rs ity, J o h n so n, E lle n S. L e s lie B a s s e tt: A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1994). M ik k e lso n, R u sse l C. "A S tu d y o f S o u n d s, S h a p e s a n d S y m b o ls b y L e slie B a ssett: A C o n te m p o ra ry C o m p o sitio n fo r B an d." U n p u b lish e d D M A d is se rta tio n, U n iv e rs ity o f W isc o n s in, M a d is o n, N ic h o lls, W.D. "F a cto rs C o n trib u tin g to th e C o m m issio n in g o f A m e ric a n B a n d W o rk s s in c e 1945." U n p u b lis h e d D M A E s s a y, U n iv e rs ity o f M ia m i, R a c h le ff, L a rry. "A n In te rv ie w w ith L e slie B a ssett," C o lle g e B a n d D irecto rs N a tio n a l A s s o c ia tio n J o u rn a l, I I / l (W in te r, 1985), 1-4. R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e r t B a n d M u sic, : A S e le c te d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), 44. S electiv e D iscograp h y : In C o n c e r t w ith th e U n iv e rsity o f Illin o is S y m p h o n ic B a n d. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, J.K e e n e, c o n d u c to r, c R e c o rd # a n d R e c o rd # 128 (c. 1993). N a tio n a l M u s ic C a m p. H ig h S c h o o l S y m p h o n ic B a n d # 1, W. R e v e lli, N M C , R e c o rd # Concerto Grosso fo r Brass Quintet with Wind a n d Percussion Ensem ble P rem iere: F e b ru a ry 4, 1983 U n iv e rsity o f M ic h ig a n W in d E n se m b le H. R o b e rt R e y n o ld s, c o n d u c to r A n n A rb o r, M ich ig an In stru m en tatio n : b ra ss q u in te t (2 trp, h n, trb, b trb ); 6(2 p ic ).2 (e h ).1 0, b c l, B B ^ c b c l. 2 (c b n ).2 a sx, tsx./o.o.o.euph.l.; p (4 ); p n o ; [O.O.O.I.] P u b lish er/d ate: C. F. P e te rs, 1983 (P )

109 100 A v ailability: S core: ren tal fu ll, tra n sp o se d L ev el o f d ifficulty : G ra d e 6/6 D uration: c. 1 7 '4 5 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : U n iv e rsity o f M ic h ig a n W in d E n se m b le in c lu d e d in sco re M a n y o f B a ssett's sty listic tra its c o m e to b e a r on th e m u sic in th is w o rk : sta g g e re d c a n o n ic e n tra n c e s at s u b d iv isio n s o f th e b e a t, risin g a n d d e sc e n d in g a rp e g g io s s u sta in e d w ith p y ra m id sco rin g, th e u s e o f p ro p o rtio n a l n o ta tio n in th e p e rc u ssio n, u n m e te re d m e a su re s w ith c u e s fo r c o n tro l o f sp e c ific ev en ts, an d stre tc h es o f b o th m e lo d ic and h a rm o n ic tim b ra l m o d u latio n. A s e ria lly d e riv e d w o rk, th e p ie c e is in th re e m o v e m e n ts a n d fo llo w s th e g e n e ra l p rin c ip le s o f th e c o n c e rto g ro sso fo rm. T h e first m o v e m e n t starts w ith q u ie t a tm o sp h eric m u rm u rin g s o u tlin in g a c h o rd p ro g re s sio n th a t p o s se sse s a s lo w h a rm o n ic rh y th m. T h e q u in te t u sh e rs in m u sic w h ic h b e c o m e s w ild ly e n e rg e tic b e fo re e n d in g w ith q u ie t su sta in e d c h o rd s in th e a cco m p a n y in g e n se m b le. T h e su b d u e d m id d le m o v e m e n t is a w e lc o m e calm m o m e n t th a t fe a tu re s so lo lin es fo r flu te 1, o b o e 1 a n d c la rin e t 1. T h e fin a l m o v e m e n t is o n e to a b a r a n d s u rp a sses th e first m o v e m e n t in e n e rg y, su rg in g p o w e rfu lly to a c lim a c tic fin ish. T h is w o rk is a to u r d e fo r c e fo r th e b ra ss q u in te t. T h e m u sical a n d te c h n ic a l d e m a n d s o n th e so li g ro u p a re at an advan c e d lev el. T h e p la y e r's e n d u ra n c e is te ste d as a fa ir a m o u n t o f th e m u sic is in th e u p p e r te ssitu ra fo r e a c h in stru m e n t. T h e h o rn p la y e r n e e d s to u se a h a rm o n m u te a n d th e sco re n o te s in d ic a te th a t o n e c an b e m a d e b y ad d in g e x tra c o rk to a tro m b o n e h a rm o n m u te. T h e h o rn a n d b a ss tro m b o n e h a v e e x te n d e d solo m o m e n ts. It is im p o rta n t th a t o n ly o n e p la y e r o n a p a rt b e u sed so th a t d e lic a te b a la n ces c an b e m a in tain ed. T h e w ritin g fo r th e w in d a n d p e rc u ssio n e n se m b le is a lso v e ry d e m a n d in g, re q u irin g g re a t te c h n ical fa cility a n d c o n fid e n t in d ependen ce. T h ro u g h o u t th e sco re, B a ssett o fte n w rite s te n se p a ra te c la rin e t p arts. T h e o u te r m o v e m e n ts a re c o n tra p u n ta l w e b s o f g re a t c o m p le x ity.

110 101 S electiv e B ib lio g rap h y : B a lla rd, B a rb a ra R o e n n e c k e. "L e slie B assett: H is L ife a n d M u sic w ith S p e c ia l E m p h a s is o n S o u n d s R e m e m b e red." U n p u b lis h e d M A th e sis, M ic h ig a n S ta te U n iv e rsity, J o h n so n, E lle n S. L e s lie B a ssett: A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1994). R a c h le ff, L arry. "A n In te rv ie w w ith L e slie B assett," C o lle g e B a n d D ir e c to r s N a tio n a l A s s o c ia tio n Jo u rn a l, I I / l (W in te r, 1985), 1-4. S e lectiv e D isco g rap h y : n o n e av ailab le C o lo r s a n d C o n to u r s P rem iere: M a rc h 1, 1985 M c N e e se S ta te U n iv e rsity B an d D a v id W a y b rig h t, c o n d u c to r C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n C o n v en tio n B o u ld e r, C o lo ra d o In stru m entatio n : c o n c e rt b an d T h e fo llo w in g p a rts a re all div isi: fl 1, fl 2, fl 3 (p ic), B ^ c l 1, B b c l 2, B b cl 3, tp t 1, tp t 2 ; s in g le o b, s in g le b n, 2 h n, p n o P u b lish er/d ate: C. F. P e te rs, 1985 (P ) A vailability: S co re: rental sco re a v ailab le fo r p u rch ase fu ll, tra n s p o se d L ev el o f d ifficulty: G ra d e 5 D uration: c. 9 '0 0 C o m m issio n : C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n P ro g ra m N o te: in c lu d e d in sco re, d a te d A p ril 1, P e rfo rm a n c e C o m m en tary : T h is is a c h allen g in g w o rk w ritten w ith th e sm all c o lle g e b a n d o f m o d e st size a n d tech n ical ab ility in m in d. A to n e ro w g e n erate s m u c h o f th e h arm o n ic and m e lo d ic m aterial. P la y e rs w ill b e re q u ire d to p la y w ith a g o o d se n se o f

111 102 S ele c tiv e B ib lio g raphy: e n se m b le p re c isio n w ith in sm all g ro u p in g s o f in stru m e n ts. A g o o d se n se o f b a la n c e is a lso n e c e ssa ry, e sp e c ia lly in th e th in ly sc o re d m o m e n ts in th e first sectio n o f th e piece. T h e ra n g e d e m a n d s a re re a so n a b le fo r all in stru m e n ts. T h e o b o e a n d b a sso o n p a rts are c ro ss-c u e d. M e te rs a re m ix e d th ro u g h o u t th e p ie c e, a lth o u g h th e w o rk is n o t v e ry co m p le x rh y th m ic a lly. S o m e rh y th m ic in d e p e n d e n c e is re q u ire d, h o w e v e r, to n e g o tia te stag g e re d e n tra n c e s a t h a lf-b e a t in te rv a ls. M a n y in sta n c e s o f u n m e te re d m u s ic a re in clu d ed, w h ic h u tiliz e n u m b e re d cu es to c o n tro l e n tra n ces. T h e p e rc u ssio n w ritin g e m p lo y s p ro p o rtio n a l n o ta tio n and B a ssett u tilizes re so n an c e trills (a trill to th e sam e pitch, u sin g a "re so n a n c e" fin g e rin g ) in th e w o o d w in d p arts. T h e w o rk re q u ire s a stro n g e u p h o n iu m p la y e r fo r a ra th e r e x p o se d so lo, w h ic h se p a ra te s th e tw o s e c tio n s o f th e w o rk. B a lla rd, B a rb a ra R o e n n e c k e. "L e slie B assett: H is L ife a n d M u sic w ith S p e c ia l E m p h a s is o n S o u n d s R e m e m b e red." U n p u b lis h e d M A th e sis, M ic h ig a n S ta te U n iv e rsity, C a m o u s, R a o u l. "C o lo rs a n d C o n to u rs," M u s ic L ib r a r y A s s o c ia tio n N o te s, X L III/2 (D e c e m b e r, 1986), D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, an d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n se m b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 18. H a lse th, R o b e rt P. H. "T h e Im p a c t o f th e C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n on W in d B a n d R ep erto ire." U n p u b lis h e d D A d is se rta tio n, , Jo h n so n, E llen S. L e slie B a s s e tt: A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1994). R a c h le ff, L arry. "A n In te rv ie w w ith L e slie B assett," C o lle g e B a n d D irecto rs N a tio n a l A s s o c ia tio n J o u rn a l, I I / l (W in te r, 1985), "C o lo rs and C o n to u rs," C o lle g e B a n d D ir e c to r s N a tio n a l A s s o c ia tio n J o u rn a l, I I / 1 (W in te r, ), 1-7. S e lectiv e D isco g rap h y : C o llege B a n d D irecto rs N a tio n a l A sso c ia tio n N a tio n a l C o n feren ce, Vol. 10. M c N e e s e S ta te U n iv e rsity W in d E n s e m b le, D. W a y b rig h t, c o n d u c to r.

112 103 A m e r ic a n M u s ic f o r W in d E n se m b le. T h e M ia m i U n iv e rs ity W in d E n se m b le, G. S p e c k, c o n d u c to r. S te v e n s R e c o rd e d P e rfo rm a n c e s S R P Lullaby fo r Kirsten P rem iere: O c to b e r 4, U n iv e rsity o f M ic h ig a n S y m p h o n y B a n d H. R o b e rt R e y n o ld s, c o n d u c to r A n n A rb o r, M ic h ig a n In stru m e n ta tio n : c o n c e rt b an d sin g le fl, 4 c l, 2 c o r/tp t, hp P u b lish er/d ate: C. F. P e te rs, 1985 A vailability: S co re: rental fu ll, tra n s p o se d L e v e l o f difficu lty : G ra d e 5 D uration: c. 3 '0 0 C o m m issio n : P ro g ra m N o te : P e rfo rm a n ce C o m m en tary : U n iv e rsity o f M ic h ig a n B an d stu d e n ts in c lu d e d in sco re Q u o te d in a p ro g ra m n o te fo r a p e rfo rm a n c e o f th e w o rk b y th e L a w re n c e C o n se rv a to ry W in d E n se m b le a t th e 1992 C B D N A N a tio n a l C o n v en tio n a t T h e O h io S ta te U n iv e rsity, B a ssett m a d e th e fo llo w in g c o m m e n ts ab o u t th e w o rk : "L u lla b y w a s c o m p o se d in 1985 fo r M ich ig a n c o lle a g u e H. R o b e rt R e y n o ld s a n d fa m ily, fo llo w in g the b irth o f d a u g h te r K irste n. M ic h ig a n B a n d m e m b e rs, w ish in g to c ele b ra te th e o c casio n a n d feelin g h a p p ily p o s se ssiv e a b o u t th e b a b y, sp o n so re d th is sh o rt, te n d e r, g e n tle b a lla d. S e v e n y e a rs la te r, K irste n, n o w old e n o u g h, ta k e s h e r o w n b o w w h e n a tte n d in g a p e rfo rm a n c e. T h is m u sic m a y p o ssib ly b e th e o n ly lu lla b y e v e r sp ecifically w ritten fo r an d c o m m is sio n e d b y a b and." T h e in te rv a l o f a risin g m in o r th ird, so p re v a le n t a t th e b e g in n in g o f th e lu lla b y attrib u ted to Jo h a n n e s B ra h m s, is

113 104 S ele c tiv e B ib lio g rap h y : p re s e n t in B a ssett's w o rk as w e ll, a lth o u g h ty p ic a lly d isg u ise d in a c le v e r fa sh io n. A p o te n t w o rk in its b rie f th irty -n in e m e a su re s, th e p iece re q u ire s sen s itiv e p la y in g, e sp e c ia lly in re g a rd to to n e co lo r, p h ra sin g a n d b a la n ce. S tru ctu ra lly, th e w o rk c o n ta in s a b rie f in tro d u c tio n, th re e sta te m e n ts o f th e m a in th em e, e a c h v a rie d in o rc h e stra tio n w ith th e la s t o n e s o m e w h a t a b b re v iated, a n d e n d in g w ith a q u ie t c o d a o f su sta in e d c h o rd s o v e r w h ic h a so lo flu te d e liv e rs a fin a l risin g m in o r third. B a lla rd, B a rb a ra R o e n n e c k e. "L eslie B assett: H is L ife a n d M u sic w ith S p e c ia l E m p h a s is o n S o u n d s R e m e m b e red.'' U n p u b lis h e d M A th e sis, M ic h ig a n S ta te U n iv e rs ity, J o h n so n, E lle n S. L e s lie B a ssett: A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1994). R a c h le ff, L arry. "A n In te rv ie w w ith L e slie B assett," C o lle g e B a n d D ir e c to r s N a tio n a l A s s o c ia tio n J o u rn a l, I I / l (W in te r, 1985), 1 4. S electiv e D isco g rap h y : A m e r ic a n M u s ic f o r W in d s. L a w re n c e U n iv e rsity W in d E n s e m b le, R. L e v y, M a rk R e c o rd s M C C F a n ta s y f o r C la r in e t a n d W in d E n s e m b le P rem iere: O c to b e r 2, F red O rm a n d, c la rin e t U n iv e rsity o f M ic h ig a n W in d E n se m b le H. R o b e rt R e y n o ld s, c o n d u c to r A n n A rb o r, M ich ig an In stru m e n ta tio n : cl; 5 (p ic, a fl).2, eh. 5, 2 b cl. 2.ssx, 3 a s x./ e u p h.l.; p (4 ); p n o P u b lish er/d ate: C. F. P e te rs, 1987 A vailability: S co re: rental fu ll, tra n s p o se d L e v e l o f difficu lty : G ra d e 6 /5 + D uration: c. 1 5 '0 0 C o m m issio n : C o m m issio n e d b y th e U n iv e rsity o f M ic h ig a n B a n d s in c o n so rtiu m w ith o th e r u n iv ersities.

114 105 P ro g ra m N o te: P e rfo rm a n c e C o m m entary : in c lu d e d in sco re (m in im al) B a ssett h a s w ritte n a b ra v u ra so lo fo r th e c la rin e t w h ic h e m p lo y s re s o n a n c e trills, fa st s c a le r p a ssa g e s, ra p id a rp e g g io s, a d -lib rh y th m s, m u ltip le c a d e n z a -lik e so lo m o m e n ts, th e u s e o f th e e x tre m e u p p e r re g iste r, a n d a t tim e s a n a g g re ssiv e, d e c la m a to ry sty le. T h e m u s ic fo r th e a c c o m p a n y in g e n se m b le is a lso q u ite c h alle n g in g a n d w ill re q u ire s e n sitiv e p la y in g in o rd e r to c o n tro l b a la n ce. T w o v ib ra p h o n e s a re re q u ire d a n d all o f th e tru m p e ts a n d tro m b o n e s n e e d h a rm o n m u tes. S e lectiv e B ib lio g rap h y : T h e w o rk o p e n s w ith u n m e te re d m e a su re s c o n ta in in g n u m b e re d c u es tim e d o u t to th e h a lf-se c o n d. T w o serie s o f v e ry q u ie t fiv e -p itc h c h o rd s in tro d u c e th e w o rk, p la y e d b y tw o v ib ra p h o n e s, a n d s u p p o rte d by d iffe re n t g ro u p in g s o f fiv e w in d s. T h e s e series are sep a ra te d b y c a d e n z a -lik e m o m e n ts fo r th e so lo cla rin e t. T h is stru c tu ra l d e v ic e o f sep a ra tin g sectio n s o f m u sic w ith so lo m o m e n ts re c u rs th ro u g h o u t th e p ie c e, m o s t n o ta b ly a t th e e n d. T h e re a re fe w m o m e n ts o f tu tti sco rin g an d th e so lo ist is o fte n a c c o m p a n ie d b y c h a m b e r-lik e g ro u p in g s o f in stru m e n ts. B a lla rd, B a rb a ra R o e n n e c k e. "L e slie B assett: H is L ife a n d M u sic w ith S p e c ia l E m p h a sis o n S o u n d s R e m e m b e red." U n p u b lis h e d M A th e sis, M ic h ig a n S ta te U n iv e rsity, Jo h n so n, E lle n S. L e s lie B a ssett: A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1994). R a c h le ff, L arry. "A n In te rv ie w w ith L e slie B assett," C o lle g e B a n d D ir e c to r s N a tio n a l A s s o c ia tio n J o u rn a l, I I / 1 (W in te r, 1985), 1-4. S c o tt, Jo h n. "F a n ta sy fo r C la rin e t a n d W in d E n sem b le," T h e C la rin et, (M a y /Ju n e, ), 5 0. S electiv e D isco g rap h y : n o n e availab le

115 106 W illiam Bolcom Broadside fo r Band: A Ceremonial fo r Winds 1. Cerem onial M arch 2. The Tall Ships (Sea Chantey) 3. H oliday Afternoon 4. Fireworks P rem iere: S e p te m b e r 1 8, U n iv e rsity o f M ic h ig a n S y m p h o n ic B a n d H. R o b e rt R e y n o ld s, c o n d u c to r G e ra ld R. F o rd M u se u m G ra n d R a p id s, M ic h ig a n In stru m en tatio n : c o n c e rt b and 2 p ic, 3 fl, 3 o b (3 rd alt. e h ), 3 b n (3 rd alt. c b n ), 4 tp t P u b lish er/d ate: E.B. M a rk s/c P P -B e lw in, 1983 A vailability: S core: o u t o f p rin t fu ll, tra n s p o se d L evel o f difficu lty : G ra d e 5+ D uration: c. 8 '0 0 C o m m issio n : P ro g ram N o te: P e rfo rm a n c e C o m m entary : fo r th e o p e n in g o f th e G e ra ld R. F o rd M u se u m G ra n d R a p id s, M ic h ig a n in c lu d e d in sco re T h e o rig in al su ite w a s d e sig n e d to a c c o m p a n y a p e rm a n e n t slid e sh o w a t th e M u se u m o f th e B ic e n te n n ia l, Ju ly 4, , w h e n P re s id e n t F o rd w a s in o ffice. T h e p e rc u ssio n sectio n calls fo r tw o d iffe re n t trap d ru m s setu p s w ith o n e p la y e r fo r each, th e first u tiliz in g a s u sp e n d e d c y m b a l, s n a re d ru m a n d b a ss d ru m, a n d th e se c o n d c a llin g fo r a su sp e n d e d c y m b a l, te n o r d ru m a n d la rg e b a ss d ru m. "C ere m o n ia l M arch " in itia lly fin d s so m e in stru m e n ts in 2 /4 tim e a n d th e o th e rs in 6 /8, all m a rk e d "Q u ick m a rc h tem p o." T h e w o rk b e g in s w ith a q u ie t p e rc u ssio n c a d e n c e w h ic h in tro d u c e s p o ly to n a l m e lo d ic fra g m e n ts in th e w o o d w in d s q u o tin g p a trio tic tu n e s su ch as Yankee Doodle a n d Columbia, Gem of the Ocean. B o lc o m d e sc rib e s th is as "th e m a ssin g o f a b and" in h is p ro g ra m n o te. T h e o b o e sta rts on

116 107 S ele c tiv e B ib lio g raphy: its h ig h D fla t a n d a sc e n d s to its h ig h G fla t w ith in its first m e lo d ic frag m e n t. A ll fo u r tru m p e t p a rts p la y a tu tti m e lo d y th ro u g h o u t th e m o v e m e n t, re m in is c e n t o f a b u g le call. T h e seco n d m o v e m e n t "T he T a ll S h ip s" (6 /4 D ig n ified, n o t to o slo w ) fe a tu re s flo w in g m e lo d ic lin e s th a t rise a n d fall as if w a v e s in th e w ater. T h e c lim a x o f th e m o v e m e n t is a tu tti h a rm o n iz e d sta te m e n t o f a s e a c h a n te y w h ic h o ccu rs o v e r ro llin g s "w av es" o f so u n d c o m in g fro m th e p e rc u ssio n sectio n. T h e m o v e m e n t en d s w ith a m e lo d ic c h im e so lo in e ig h th n o te s w ith p ia n is sim o b ra s s c h o rd s u n d e rn e a th. T h e s e fin a l c h o rd s lo o k in n o c e n t u p o n first g la n c e, b u t re q u ire s e c u re p la y in g a t v e ry s o ft le v e ls in d ie h ig h re g iste r b y m a n y in stru m e n ts. "H o lid a y A fte rn o o n " is a 6/8 ro m p m a rk e d A lle g r o m o lto. A so lo fo r c la rin e t le a d s to a p o lk a in 2 /4 a t a b it slo w e r te m p o. B rie f s o lo m o m e n ts o c c u r in th e o b o e 1, b a sso o n 1, tru m p e t 1, tro m b o n e 1 a n d tro m b o n e 2 p arts. T h e m o v e m e n t p ro c e ed s a tta cca in to th e last m o v em ent. T h e c lo sin g "F irew o rk s" (3/2 S lo w a n d m a je stic ) co n sists o f slo w m o v in g n o b le th e m e s in th e lo w e r in stru m e n ts w ith q u ic k u p w a rd th ru sts in th e h ig h w o o d w in d s ("ro m a n c a n d le s") w h ich e n d in sh im m e rin g tre m e lo s, a t first w ritten as six te e n th n o te scale s an d e v e n tu a lly tu rn in g in to b rillia n t th irty -seco n d n o te fig u re s. T h e u p p e r w o o d w in d s w ill fin d th e se fig u re s e x tre m e ly ch allen g in g at th is te m p o, e v e n th o u g h t m o s t are d ia to n ic in natu re. T h e b ra sse s w ill b e ta x e d b y th e lo n g p h ra sin g a t su ch a stro n g d y n a m ic lev el. C arl, R o b e rt. "S ix C a se S tu d ies in N e w A m e ric a n M u sic : A P o stm o d e rn P o rtra it G a lle ry," C o lle g e M u s ic S y m p o siu m, X X X /1 (sp rin g, ), F e in g o ld, M. "C la ssic a l M u sic S p e c ia l," V illa g e V o ice, X X X V II (S e p te m b e r 1, ), R o y, Jr., Ja m e s G. W illia m B o lc o m. (N e w Y o rk : B ro a d c a s t M u sic, In c., ). S electiv e D isco g rap h y : N o n e a v ailab le

117 108 L iberty E nlightening the W orld P rem iere: J u ly 4, 1986 A m e ric a n W in d S y m p h o n y O rc h estra R o b e rt A u stin B o u d re a u, c o n d u c to r In stru m en tatio n : 3, p ic. 3, e h. 3, b cl. 3, c b n./5.5 (in C ).3, 2 b trb.2; p (6 ) P u b lish er/d ate: C. F. P e te rs, 1985 (P ) A vailability: S co re: rental fu ll, tra n s p o se d L ev el o f difficu lty : G ra d e 5 + D uratio n : c. 6 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : A m e ric a n W in d S y m p h o n y O rc h estra R o b e rt A u stin B o u d re a u, co n d u c to r in c lu d e d in sco re (la st p a g e o f sco re) T h is w o rk w a s w ritte n fo r th e u n v e ilin g o f th e re fu rb ish e d S ta tu e o f L ib e rty. B o lc o m in d ic a te s th e w o rk c an be m o d ifie d in o rc h e stra tio n, a lth o u g h th e s ta te d w in d s a re th e e ffe c tiv e m in im u m and w ill w o rk b e st as th e y are. H e also su g g e s ts th a t in stru m e n ts n o t fo u n d in th e s c o re (e.g. sax o p h o n e s a n d e u p h o n iu m ) c o u ld d o u b le e x istin g in stru m e n ts in th e tu tti sectio n s o n ly. N o te s a re p ro v id e d fo r a d ju stin g th e in stru m e n ta tio n fo r o u td o o r u se, and also in d ic a te th e p o ssib ility o f p e rfo rm in g th e w o rk w ith a m a rc h in g b an d. T h is is a to n a l w o rk m a rk e d b y th e e m p h a sis o f th e in te rv a l o f a m a jo r th ird in its m e lo d ic, h a rm o n ic, and to n a l re la tio n sh ip s. A n ab u n d an c e o f p a ra lle l m o v e m e n t in th e h a rm o n ic w ritin g is p re v a len t, as is m e lo d ic and h arm o n ic s e q u e n c in g. S o n o ritie s w ith stre n g th a n d a se n se o f so lid fo u n d a tio n o p e n and c lo se th e w o rk. T h e c o m p o se r g iv es th e lis te n e r a se n se o f h e ig h t w ith an e m p h a sis on u sin g risin g m e lo d ic lin es. T h e so m b re o p e n in g b e c o m e s a g itated, sp u rre d on w ith a q u ic k e r te m p o an d fa s t fig u re s in th e w o o d w in d s a n d p e rc u ssio n b e fo re b e g in n in g a series o f b e a u tifu lly sco re d cascad es.

118 109 S e le c tiv e B ib lio g rap h y : C a rl, R o b e rt. "S ix C a s e S tu d ie s in N e w A m e ric a n M u sic : A P o stm o d e rn P o rtra it G a lle ry," C o lle g e M u s ic S y m p o siu m, X X X /1 (sp rin g, ), F e in g o ld, M. "C lassical M u s ic S p e c ia l," V illa g e V o ice, X X X V II (S e p te m b e r 1, ), R e n sh a w, Jeffre y. T h e A m e r ic a n W in d S y m p h o n y C o m m issio n in g P ro je c t: A D e sc rip tiv e C a ta lo g o f P u b lish e d E d itio n s, (N e w Y o rk : G re e n w o o d P re s s, ), R o y, Jr., J a m e s G. W illia m B o lc o m. (N e w Y o rk : B ro a d c a s t M u sic, In c., ). S e lectiv e D isco g rap h y : T he A m e r ic a n W in d S y m p h o n y O rchestra, Vol. 6. A m e ric a n W in d S y m p h o n y O rc h e s tra, R. B o u d re a u. A W S 107. Elliott Carter Double Concerto fo r H arpsichord and Piano with Two Cham ber Orchestras P rem iere: S e p te m b e r 6, R a lp h K irk p a tric k, h a rsich o rd C h a rle s R o se n, p ia n o E n g lish C h a m b e r O rch estra G u sta v e M eie r, co n d u c to r M etro p o lita n M u se u m o f A rt N e w Y o rk, N e w Y o rk In stru m e n ta tio n : h p s d, p n o ; l ( p i c ). l. l ( E ^ cl). 1./ ; d b ; p (4 ); [ ) P u b lish er/d ate: A vailability: S core: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1964 (A M P ) rental fu ll, sco re in C L ev el o f difficulty : G ra d e 64- D uration: c. 2 2 '4 5

119 no C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : F ro m m M u sic F o u n d a tio n in c lu d e d in sco re C a rte r's D o u b le C o n c e rto is a th ro u g h -c o m p o se d w o rk w ith a sev e n p a rt s y m m e tric a l stru ctu re, c o n sis tin g o f an In tro d u c tio n, C a d e n z a fo r H a rp sic h o rd, A lle g ro S c h e rz an d o, A d a g io, P re s to, C a d e n z a s fo r P ia n o, a n d C o d a. T h e p ie c e sets tw o c h a m b e r o rc h e stras a g a in st e a c h o th e r a n tip h o n a lly, w ith e a c h so lo ist le a d in g o n e o f th e o rc h e stra s. E a c h o rc h e stra h as its o w n re p e rto ry o f h a rm o n ic and m e lo d ic in te rv a ls, rh y th m ic su b d iv isio n s, a n d fie ld s o f sp ecia liz atio n. T h e w o rk e x p lo re s th e c o n fro n ta tio n o f d iv e rsifie d m aterials, fo c u sin g o n h o w th e y c o m in g le. S e lectiv e B ib lio g raphy: T h is p ie c e is p e rh a p s th e m o st c h a lle n g in g w o rk e n c o u n te re d in th is stu d y a n d it w ill p u sh p la y e rs to th e ir lim its. W h ile all o f th e p e rfo rm e rs n e e d to b e se c u re p ro fe s sio n a ls, th e tw o so lo ists n e e d to b e v irtu o so s, a d e p t a t h a n d lin g c o m p le x rh y th m s in d e p e n d e n tly in each h a n d sim u lta n e o u sly. T h e e n tire w o rk is in te lle c tu a lly a n d p h y sic a lly ta x in g, in v o lv in g p o ly rh y th m, p o ly to n a lity, m etric m o d u la tio n, a n d u se o f th e e x tre m e ra n g e s. T h e p e rc u ssio n ists p la y a n im p o rta n t ro le th ro u g h o u t th e p ie c e, e m p lo y in g n o le ss th a n 4 2 p e rc u ssio n in stru m e n ts and tw e lv e k in d s o f stic k s, m a lle ts, a n d b e aters a m o n g th e fo u r p la y e rs. T h e w ritten sco re is a t first d iffic u lt to fo llo w, n o t o n ly d u e to th e d e m a n d in g m u sic c o n ta in ed w ith in, b u t fo r th e sim p le fa c t th a t th e s c o re p a g e is set u p to sh o w th e tw o a n tip h o n a l o rc h e stra s sep a ra te ly, o n e a b o v e th e o th er. C a rte r o ffers e x te n siv e sco re n o te s o n seatin g, h a rp sic h o rd re g istra tio n, a n d p e rc u ssio n n o ta tio n and in stru m e n ta tio n. C a rte r, E llio tt. C a rte r. P. Jaco b s, h a rp sic h o rd ; G. K a lisc h, p ia n o. C o n te m p o ra ry C h a m b e r E n se m b le, A. W e isb e rg, N o n e su c h ; E le k tra N o n e su c h [reco rd ja c k e t n o tes] D o e rin g, W illia m T. E llio tt C a rter: A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1993). D u fa llo, R ic h ard. T ra c kin g s: C o m p o se rs S p e a k w ith R ic h a r d D u fa llo. (N e w Y o rk : O x fo rd U n iv e rs ity P re ss, ), E d w a rd s, A lle n. F la w e d W o rd s a n d S tu b b o rn S o u n d s: A C o n v e rsa tio n w ith E llio tt C a rter. (N e w Y o rk : W.W. N o rto n, 1 971).

120 I l l F rie d m a n, Jan e. F r o m m M u s ic F o u n d a tio n T w e n tie th C e n tu ry C o m p o se rs S e rie s. R. K irk p a tric k, h a rp s ic h o rd ; C. R o se n, p ia n o. E n g lish C h a m b e r O rc h e stra, G. M e ie r, E p ic L C [m o n o ]; E p ic B C 1157 [stereo] [reco rd ja c k e t n otes] G a g n e, C o le, and T ra c y C a ra s. "E llio tt C arter," S o u n d p ie c e s : In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Je rse y : S c a re c ro w P re s s, ), G le a so n, H a ro ld, a n d W a rre n B e c k e r. "E llio tt C a rte r," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), H a rv e y, D a v id H. T h e L a te r M u s ic o f E llio tt C a rter: A S tu d y in M u s ic T h e o ry a n d A n a ly s is. (N e w Y o rk : G a rla n d P u b lish in g, ), , P e te rsen, B a rb a ra. E llio tt C a rter. (N e w Y ork: B ro a d c a s t M u sic, In c., ). R o se n, C h a rle s. T h e M u s ic a l L a n g u a g e o f E llio tt C a rter. (W a sh in g to n, D C : M u sic D iv isio n, R e s e a rc h S e rv ic e s, L ib ra ry o f C o n g re ss, 1984). S a lz m a n, E ric. "R e p o rt fro m N e w Y o rk : T h e N e w V irtu o sity," P e r p e c tiv e s o f N e w M u s ic, 1/2 ( ), S c h iff, D a v id. "C a rte r fo r W in d s: T h e M u sic o f E llio tt C a rte r," W in d s Q u a rte rly, I (fa ll, ), T he M u s ic o f E llio tt C a rter. (N e w Y o rk : D a C a p o P re ss, 1983). S c h w a rtz, E llio t, and B a rn e y C h ild s, ed. "S h o p T a lk b y a n A m e ric a n C o m p o se r," C o n te m p o r a r y C o m p o se rs o n C o n te m p o ra ry M u sic. (N e w Y o rk : H o lt, R in e h a rt and W in sto n, ), W h itta l, A rn o ld. " P o st-t w e lv e -N o te A n aly sis," P ro c e e d in g s o f th e R o y a l M u s ic a l A s s o c ia tio n, X C IV ( ), W ie rz b ic k i, Jam e s. T h e M u s ic o f E llio tt C arter. (N e w Y o rk : B ro a d c a st M u sic, In c., 1 988). S electiv e D isco g rap h y : C a rter. P. J a c o b s, h a rp sic h o rd ; G. K a lisc h, p ia n o. C o n te m p o ra ry C h a m b e r E n sem b le, A. W e isb e rg, N o n e su c h ; E le k tra N o n e su c h C a rter, K irc h n e r. P. Jaco b s, h a rp sic h o rd ; C. R o se n, p ia n o. E n g lish C h a m b e r O rc h e stra, F. P ra u sn itz. C o lu m b ia M S ; C B S

121 112 F r o m m M u s ic F o u n d a tio n T w e n tie th C e n tu ry C o m p o se rs S e rie s. R. K irk p a tric k, h a rp s ic h o rd ; C. R o se n, p ia n o. E n g lis h C h a m b e r O rc h e stra, G. M e ie r, E p ic L C [m o n o ]; E p ic B C 1157 [stereo] Penthode f o r Five Groups o f F our Instrum ents P rem iere: J u ly 2 6, 1985 E n se m b le In te rc o n te m p o ra in P ie rre B o u le z, c o n d u c to r A lb ert H all L o n d o n, E n g la n d In stru m en tatio n : l( p ic, a f l).l ( e h ).l( E ^ c l), b c l (B B ^ c b c l). 1./ ; d b ; p (3 ); p n o, h p ; [ ] P u b lish er/d ate: H e n d o n M u sic /B o o se y & H a w k e s, 1985 (F S B ) A vailability: S core: rental sco re av ailab le fo r p u rch ase fu ll, tra n s p o se d L ev el o f difficu lty : G ra d e 6 + D uration: c. 1 8 '0 0 C o m m issio n : P ro g ra m N o te: E n se m b le In te rc o n te m p o ra in P ie rre B o u le z, c o n d u c to r in c lu d e d in sco re P e rfo rm a n c e C o m m en tary :: P e n th o d e is an in c re d ib ly c o m p le x, seria lly d e riv e d w o rk, an d o n e o f the m o s t d e m a n d in g c o m p o sitio n s to b e a n n o ta ted in this stu d y. It is e x tre m e ly c h allen g in g a t an ad v an c e d lev el on all m u sic a l a n d in te lle c tu a l fro n ts. T h e w o rk is v e ry th in ly te x tu re d, w ith fe w in sta n c e s o f tu tti sco rin g. T y p ic a l o f a C a rte r w o rk, m e tric m o d u la tio n o c c u rs v e ry fre q u e n tly b e tw e e n sectio n s in th is p ie c e a n d th e re is a p re p o n d e ra n c e o f q u in tu p le t s u b d iv isio n s th ro u g h o u t th e w o rk. T h e p la y e rs w h o d o u b le o n o th e r in stru m e n ts n e ed b e b e e q u a lly a d e p t o n e a c h th a t th e y play. T h e fiv e g ro u p s e a c h c o n ta in a d iffe re n t m ix o f fo u r in stru m e n ts. E a c h g ro u p in g has its o w n m u sic a l c h a ra c te r h ig h lig h te d b y m u sic m a d e u p o f d iffe re n t sp e e d s and m u sic al in terv als. C a rte r u ses th is in stru m e n ta tio n to h e lp c o m m u n ic a te a m u sic al m e ssa g e o f c o n n e c te d n e ss an d

122 113 S e lectiv e B ib lio g rap h y : iso latio n. A t tim e s, lo n g lin es a re cre ate d b y m e lo d ic c o n n e c tio n s b e tw e e n in stru m e n ts fro m d iffe re n t g ro u p in g s. C a rte r su p p lie s a seatin g p la n in th e sco re n o te s. B ra c k e ts w ith in th e s c o re in d ic a te p rin c ip a l a n d s e c o n d a ry v o ic e s as a n aid in b a la n c in g th e p e rfo rm an c e. T h e s c o re is s e t u p to sh o w th e fiv e g ro u p in g s sep a ra te ly, fro m to p to b o tto m on th e sco re p a g e. I t ta k e s a w h ile to g e t u sed to re a d in g a sco re s e t u p in th is m a n n e r. B ro o k s, R ic h a rd. "E llio tt C a rte r: P e n th o d e," M L A N o te s, X L V III/2 (D e c e m b e r, ), D o e rin g, W illia m T. E llio tt C a rter: A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1993). D u fa llo, R ic h a rd. T ra c kin g s: C o m p o se rs S p e a k w ith R ic h a r d D u fa llo. (N e w Y o rk : O x fo rd U n iv e rs ity P re ss, ), E d w a rd s, A lle n. F la w e d W o rd s a n d S tu b b o r n S o u n d s: A C o n v e rsa tio n w ith E llio tt C a rter. (N e w Y o rk : W.W. N o rto n, 1971). G a g n e, C o le, and T ra c y C a ra s. "E llio tt C arter," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re s s, ), G le a so n, H a ro ld, a n d W a rre n B e c k e r. "E llio tt C a rte r," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re s s, ), N e lso n, Jo n. "C o m p o sitio n a l T e c h n iq u e in E llio tt C a rte r's P e n th o d e : A S tu d y in P h ra s e o lo g y a n d F o rm a l D e sig n." U n p u b lis h e d P h D d isse rta tio n, B ra n d e is U n iv e rs ity, P e te rsen, B a rb a ra. E llio tt C a rter. (N e w Y o rk : B ro a d c a s t M u sic, In c., ). R o se n, C h a rle s. T he M u s ic a l L a n g u a g e o f E llio tt C a rter. (W a sh in g to n, D C : M u sic D iv isio n, R e s e a rc h S e rv ic e s, L ib ra ry o f C o n g re ss, 1984). S c h iff, D a v id. "C a rte r fo r W in d s: T h e M u sic o f E llio tt C a rte r," W in d s Q u a rte rly, I (fall, ), T h e M u s ic o f E llio tt C a rter. (N e w Y o rk : D a C a p o P re ss, 1983). S c h w a rtz, E llio t, an d B a rn e y C h ild s, ed. "S h o p T a lk b y an A m e ric a n C o m p o s e r," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u sic. (N e w Y o rk : H o lt, R in e h a rt and W in sto n, ),

123 114 W ie rz b ic k i, Jam e s. T h e M u s ic o f E llio tt C arter. (N e w Y o rk : B ro a d c a st M u sic, In c., 1988). S electiv e D isco g rap h y : P e n th o d e. E n s e m b le In te rc o n te m p o ra in, P.B o u le z, E rato E C D M ichael Colgrass D e ja V u P rem iere: F e b ru a ry 2 6, 1987 C e n tra l M ic h ig a n U n iv e rsity S y m p h o n ic W in d E n sem b le Jo h n E. W illia m s o n, co n d u c to r J ill B a ll, T o d d Jo h n so n, R o b e rt S a g e n and M a rk V a n H o o s e, so lo ists 2 4 th N a tio n a l C B D N A c o n fe re n c e P ic k -S ta ig e r H a ll, N o rth w e ste rn U n iv e rs ity E v a n s to n, Illin o is O rc h estra l p rem iere: O c to b e r 2 0, N e w Y o rk P h ilh a rm o n ic E ric h L e in sd o rf, co n d u c to r R o la n d K o h lo ff, W a lte r R o se n b e rg e r, E ld e n B ailey a n d M o rris L a n g, s o lo ists N e w Y o rk C ity, N e w Y o rk In stru m entatio n : p (4 ); 6 (3 p ic, 2 a fl).0.6 (E b, b c l), B B ^ c b c l. 3 (c b n )./ 4.6 (p ic tp t ad lib, 2 flh n ).5, b trb. e u p h.l.; 2 db; 2 h p, p n o, cel P u b lish er/d ate: C a rl F isc h e r, 1987 A vailability: Score: rental fu ll, sco re in C L ev el o f d ifficulty: G ra d e 6/6 D uration: c. 1 8 '0 0 C o m m issio n : P ro g ra m N o te: M id A m e ric an C o n fe re n c e B a n d D ire c to r's A sso c ia tio n n o t in c lu d e d in sco re

124 115 P e rfo rm a n ce C o m m entary : R e c ip ie n t o f th e 1978 P u litz e r P riz e in M u sic, D e ja Vu w as o n e o f a series o f c o n c e rto s c o m m is sio n e d b y th e N e w Y o rk P h ilh a rm o n ic fo r its p rin c ip a l p la y e rs. T h e title re fe rs to C o lg ra ss lo o k in g b a c k u p o n h is o w n e x p e rie n c e s as a p ro fe s sio n a l p e rc u s s io n is t a n d a lso to th e m u sic 's in c o rp o ra tio n o f p a st m u sic a l sty les. T h e w o rk c o n ta in s a sin g le th e m e fro m w h ic h th e e n tire p ie c e is g e n erate d b y w ay o f v a ria tio n and d e v e lo p m e n t te c h n iq u e s. C o lg ra ss u ses th e w in d in stru m e n ts to e m b e llish and s u p p o rt th e so u n d s e m a n a tin g fro m th e p erc u ssio n. T h e a c c o m p a n y in g e n se m b le is d iv id e d on stag e in to tw o g ro u p in g s B a n d I (sta g e le ft) a n d B a n d II (sta g e rig h t). T h e m u sic fo r B a n d I ap p ears a t th e to p o f th e sco re, th e p e rc u ssio n is in th e m id d le a n d B a n d II's m u sic is a t th e b o tto m. A s u g g e ste d sta g e s e t u p is o ffe re d o n th e in stru m e n ta tio n p ag e. T h is w o rk is v e ry c o m p le x rh y th m ic a lly fo r all p la y e rs, e sp e c ia lly th e so lo ists. P e rfo rm e rs w ill e n c o u n te r sectio n s o f m ix e d m e te r n o ta tio n, p o ly m e tric m u sic w h ic h, a t tim es, o c cu rs s im u lta n e o u sly a t d iffe re n t te m p i, and sectio n s o f m u sic to b e p la y e d "by eye" (p ro p o rtio n a l n o ta tio n ). It is a sin g le m o v e m e n t w o rk w h ic h h a s a fa st slo w fa st stru c tu re. T h e first la rg e sectio n in v o lv e s sm a lle r p a ssa g e s w h ic h su c c e e d in g ly g e t fa s te r u n til a rriv in g a t th e s lo w e r m id d le sectio n. D u rin g th e fin a l sectio n, th e m u sic a g ain g e ts in c re m e n ta lly fa ster u n til th e en d in g. T im b ra l m o d u la tio n is v e ry p re v a le n t th ro u g h o u t th e w o rk, w ith s u sta in e d c h o rd s w ritte n as lo n g s e rie s o f s h o rte r n o te s tie d to g e th e r so th a t th e rh y th m ic p la c e m e n t o f d y n am ic flu c tu a tio n s c an be c o n tro lle d accura te ly. W in d p la y e rs w ill fin d m a n y in sta n c e s o f n o te s su sta in e d o v e r v e ry lo n g p e rio d s o f tim e, w ith th e in d ic a tio n "b re ath e w h e n n e cessa ry." T h is re q u ire s s e n s itiv e p e rfo rm e rs w ith g o o d d y n a m ic c o n tro l o f re le ase a n d atta c k sh ap es..o ne o f th e strin g c o n tra b a ss p la y e rs n e e d s to b e c o m fo rta b le p la y in g in a ja z z sty le. T h e first tru m p e t p la y s u p to its h ig h E ^. T h e fo u r s o lo ist p a rts are v irtu o sic in th e ir d em a n d s. A m o n g th e m a n y p e rc u ssio n in stru m e n ts n e e d e d a re 5 tim p a n i, 8 ro to -to m s, a n d g ra d u a te d sets o f tria n g le s, ta m b o u rin e s, c o w b e lls and w o o d b lo c k s.

125 116 S electiv e B ib lio g rap h y : W G B H (B o sto n ) a n d C a n a d ia n B ro a d c a stin g C e n te r, p ro d u c e rs. S o u n d in g s: T h e M u s ic o f M ic h a e l C o lg ra ss. D o c u m e n ta ry fo r P u b lic B ro a d c a s tin g S y ste m, W ie rz b ic k i, Jam es. "M ic h a e l C o lg ra ss and Jaco b D ru c k m a n : 2 0 th C en tu ry E c le c tic ism," in St. L o u is S y m p h o n y O rc h e stra : W o rk s b y M ic h a e l C o lg ra ss a n d J a c o b D ru c k m a n. St. L o u is S y m p h o n y O rc h e stra, L. S la tk in, c o n d u c to r. N e w W o rld R e c o rd s 3 1 8, [re c o rd ja c k e t n o tes] S e lectiv e D isco g rap h y : C o llege B a n d D irecto rs N a tio n a l A sso c ia tio n 2 4 th N a tio n a l C o n fe re n c e. C e n tra l M ic h ig a n S y m p h o n ic W in d E n se m b le, J. W illia m s o n, c o n d u c to r, M ark C u sto n R e c o rd in g s C A - C B D N A St. L o u is S y m p h o n y O rc h e stra : W o rk s b y M ic h a e l C o lg ra ss a n d J a c o b D ru c k m a n. S t. L o u is S y m p h o n y O rc h e s tra, L. S la tk in, N e w W o rld R e c o rd s [o rc h e stra v ersio n ] Winds o f Nagual: A M usical Fable fo r Wind Ensem ble on the W ritings o f Carlos Castaneda P rem iere: F e b ru a ry 14, 1985 N e w E n g la n d C o n se rv a to ry W in d E n se m b le F ra n k B a ttisti, c o n d u c to r Jo rd a n H a ll, B o sto n In stru m en tatio n : 6 (6 p ic, 2 a fl).0.6, E ^ c l, b c l, E E ^ c b c l, B B ^ cb c l. 0, cbn. ssx, a s x./6.6 (2 c o r), flh n. 6.2 e u p h.2.; 2 d b ; p (6 ); p n o, c e l, h p P u b lish er/d ate: C a rl F is c h e r, 1987 A vailability: S co re: rental fu ll, s c o re in C L ev el o f difficulty : G ra d e 6 D uration: c. 2 5 '0 0 C o m m issio n : N e w E n g la n d C o n se rv a to ry W in d E n s e m b le F ra n k B a ttisti, c o n d u c to r M a ssa c h u se tts C o u n c il o n th e A rts a n d H u m a n itie s g ra n t s u p p o rt

126 117 P ro g ra m N o te : P e rfo rm a n c e C o m m e n ta ry : in c lu d e d in sco re W in d s o fn a g u a l is a v e ry d e m a n d in g w o rk, re q u irin g a d v a n c e d p la y e rs o n all in stru m e n ts. S tro n g so lo ists are e sp e c ia lly n e e d e d o n th e alto flu te, E*3 c la rin e t, c larin et, s o p ra n o s a x o p h o n e a n d flu g e lh o m, as w e ll as a ll o f th e p e rc u ssio n p a rts, p ia n o, c e le ste a n d h a rp. C o lg ra s s d id n o t c ro s s-c u e so lo s, a n d h e w ro te so lo m o m e n ts fo r ju s t a b o u t e v e ry in s tru m e n t, fro m p ic c o lo d o w n to c o n tra b a sso o n. P la y e rs a re re q u ire d to d e m o n stra te te c h n ic a l c o n tro l a t th e e x tre m e s o f th e ir ra n g e s at m a n y d y n a m ic le v e ls. S e lectiv e B ib lio g raphy: M u sic a lly, th e p ie c e h as th e a d v a n ta g e o f b e in g v e ry p ro g ram m atic in c h a ra c te r w ith m u c h o f th e m u sic a l m aterial b e in g v ery d e sc rip tiv e, th e re b y m o re e a s ily a ssim ila te d b y th e p e rfo rm e rs. A n y o n e c o n sid e rin g p e rfo rm in g th e w o rk sh o u ld c o n su lt th e th o ro u g h a n aly sis b y M a th e s c ite d in th e b ib lio g ra p h y th a t fo llo w s. B a ttisti, F ran k. "T h e L e g a c y o f L e a d e rs w ith V isio n," T h e In stru m e n ta list, X L V II/6 (J a n u a ry, ), , 27. D y e r, R ic h a rd. "F ra n k B a ttisti d riv e s th e w in d -e n sem b le b a n d w a g o n," T he B o s to n S u n d a y G lo b e, O c to b e r 3, , B 2 2. M a th e s, Jam es. "A n aly sis: W in d s o f N a g u al b y M ic h a e l C o lg ra ss," J o u rn a l o f B a n d R e s e a r c h, X X III/1 (F all 1987), W G B H (B o sto n ) a n d C a n a d ia n B ro a d c a stin g C e n te r, p ro d u c e rs. S o u n d in g s: T he M u s ic o f M ic h a e l C o lg ra ss. D o c u m e n ta ry fo r P u b lic B ro a d c a s tin g S y ste m, W ie rz b ic k i, Jam es. "M ich a e l C o lg ra ss an d Jaco b D ru c k m a n : 2 0 th C e n tu ry E c le c tic ism," in St. L o u is S y m p h o n y O rc h e stra : W o rks by M ic h a e l C o lg ra ss a n d J a c o b D ru c k m a n. St. L o u is S y m p h o n y O rc h e stra, L. S la tk in, c o n d u c to r. N e w W o rld R e c o rd s 3 1 8, [re c o rd ja c k e t notes] S e lectiv e D isco g rap h y : H e a rts M u sic. C in c in n a ti C o lle g e -C o n se rv a to ry o f M u sic W in d E n se m b le, E. C o rp o ra n, c o n d u c to r. M a rk M C D

127 118 A r c t i c D r e a m s 1. I n u i t L a n d s c a p e 2. T h r o a t S i n g i n g w ith L a u g h t e r 3. T h e W h is p e r in g V o ic e s o f th e S p ir its W h o R id e W ith t h e L ig h t s in t h e S k y 4. P o la r N i g h t 5. S p r in g L ig h t : I c e F l o a tin g in th e S u n 6. T h e H u n t 7. D r u m D a n c e r P rem iere: J a n u a ry 2 6, 1991 U n iv e rsity o f Illin o is S y m p h o n ic B an d Ja m e s K e e n e, c o n d u c to r K ra n n e rt C e n te r fo r th e P e rfo rm in g A rts U n iv e rsity o f Illin o is C h a m p a ig n -U rb a n a, Illin o is In stru m en tatio n : 6 (6 p ic, 3 a fl).3.6, c l, b cl, B B ^ c b c l. 3, cb n. ssx, a sx, b s x./6.6.4, 2 b trb. 2 e u p h.2.; 2 db; p (6 ); p n o, c e l, h p ; 4 v o c alists P u b lish er/d ate: C a rl F isc h e r, 1991 A vailability: S co re: rental fu ll, sco re in C L ev el o f d ifficulty : G ra d e 6 D uration: c. 2 7 '0 0 C o m m issio n : U n iv e rsity o f Illin o is S y m p h o n ic B an d Jam e s K e en e, c o n d u c to r P ro g ra m N o te: in c lu d e d in sco re, in c lu d in g e x te n siv e "sp e c ia l in stru c tio n s" P e rfo rm a n ce C o m m entary : T h is w o rk is a v e ry d e sc rip tiv e to n e p o e m, m o re in th e sty le a n d s tru c tu re o f W in d s o fn a g u a l th a n th e m o re a b stra c t n a tu re o f D e ja Vu. M a n y o f th e p e rfo rm a n c e d e m a n d s liste d a b o v e fo r W in d s o fn a g u a l a p p ly h e re as w ell. A n a m p lifie d so lo fo r tro m b o n e re q u irin g e n d u ra n c e and g o o d c o n tro l in th e h ig h ra n g e b e g in s th e w o rk an d is h e a rd o ff a n d on th ro u g h o u t th e first m o v e m e n t. A n in te re stin g fe a tu re in th e se c o n d m o v e m e n t is th e e m p lo y m e n t o f fo u r v o c a lists u tilizin g th ro a t-sin g in g tech n iq u es. T h is sty le o f sin g in g is in d ig e n o u s to th e In u it p e o p le, w ith w h o m C o lg ra ss liv e d w h ile re searc h in g th is p ie c e. T h e th ird m o v e m e n t fin d s fo u r c la rin e tists sw itch in g to c la rin e t in A fo r th a t m o v e m e n t. A n o ff-sta g e b an d, m a d e u p o f an acco rd ia n, fife a n d th re e

128 119 S electiv e B ib lio g raphy: "sa ilo rs" (w h ic h sin g in g ru ff v o ic e s in a d ru n k e n m a n n e r), is re q u ire d in th e fo u rth m o v e m e n t. C o lg ra ss o c casio n ally u ses p u re ly g ra p h ic n o ta tio n, a t tim e s lim ite d b y su g g este d p itc h e s and rh y th m s, to p o rtra y h is m u sic a l th o u g h ts a b o u t su b jects su c h as th e sh im m e rin g a u ro ra b o rea lis in m o v e m e n t fo u r an d an im a l c rie s d u rin g a h u n t in th e six th m o v e m e n t. T h is w o rk p ro m ise s to p re s e n t a v e ry fu n an d re w a rd in g c h a lle n g e to th e p e rfo rm e rs a n d co n d u cto r. B a ttisti, F ra n k. " A m e ric a n D ia ry," W IN D S, Y l / 4 (s u m m e r, ), 4 6. W G B H (B o sto n ) a n d C a n a d ia n B ro a d c a stin g C e n te r, p ro d u c e rs. S o u n d in g s: T h e M u s ic o f M ic h a e l C o lg ra ss. D o c u m e n ta ry fo r P u b lic B ro a d c a s tin g S y ste m, W ie rzb ick i, Jam e s. "M ic h a e l C o lg ra ss and Jaco b D ru c k m a n : 2 0 th C e n tu ry E c le c tic ism," in St. L o u is S y m p h o n y O rc h e stra : W o rks b y M ic h a e l C o lg ra ss a n d J a c o b D ru c k m a n. St. L o u is S y m p h o n y O rc h e stra, L. S la tk in, c o n d u c to r. N e w W o rld R e c o rd s 3 1 8, [reco rd ja c k e t n o tes] S e lectiv e D isco g rap h y : 1991 C o llege B a n d D irecto rs N a tio n a l A sso cia tio n, 2 5 th N a tio n a l C o n v e n tio n. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, J. K e e n e, C o lg ra ss, H a rb iso n. N e w E n g la n d C o n se rv a to ry o f M u sic W in d E n s e m b le, F. B a ttisti, fall, C e n ta u r, [no c a ta lo g n u m b e r asssig n ed a t th is tim e] Aaron Copland M usic fo r a Theatre 1. Prologue 2. Dance 3. Interlude 4. Burlesque 5. Epilogue P rem iere: N o v e m b e r 2 0, 1925 B o sto n S y m p h o n y O rc h estra S e rg e K o u sse v its k y, c o n d u c to r B o sto n, M a s sa c h u se tts

129 120 In stru m e n ta tio n : l ( p i c ).l( e h ).l( E ^ c l).l./0.2 ( in C ).1.0.; d b ; p ( l ) ; p n o ; [ J P u b lish er/d ate: A rro w P re s s [N e w Y o rk ]/B o o s e y & H a w k e s, 1925 A vailability: S co re: rental fu ll, tra n s p o se d L ev el o f d ifficulty : G ra d e 6- D uratio n : c. 2 2 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : D e d ic a te d to S e rg e K o u sse v itsk y in c lu d e d in sco re T h is e a rly w o rk w a s w ritten w h e n th e y o u n g C o p la n d (age 25) h a d th e re p u ta tio n o f being a m u sic a l e ccentric, a w ild re v o lu tio n a ry an d an e n fa n t terrib le. It is o n e o f th e e a rlie st p ieces o f m u sic to a tte m p t to in c o rp o ra te ja z z m u sic in to th e c la ssic al m a in stre am. T h e first m o v e m e n t b e g in s w ith so lo fa n fa re s fo r b o th tru m p ets. T h is ra th e r d isso n a n t o p e n in g le a d s to a s lo w e r c h o ra le sectio n w h ic h c o n ta in s b itte rsw e e t h a rm o n ic m o m e n ts. A sy m m e tric a l w ritin g in m ix e d m e te r e n su e s, v ig o ro u s in its d e liv e ry, a n d p u n c tu a te d b y s fo rza n d o a ccen ts. T h e re a re a lso so lo s fo r th e o b o e a n d E ^ c la rin e t. T h e m o v e m e n t e n d s q u ietly. M u sic in 5/8 tim e m a k e s up th e seco n d m o v e m e n t. Its m e lo d ie s c o n ta in "b lu e n o tes" an d th e se ja z z e le m e n ts so u n d a b it "fo rced " to to d a y 's ears. T h e b a sso o n a n d E ^ c la rin e t h a v e so lo s. T h e th ird m o v e m e n t sta rts and e n d s w ith a n E n g lish h o rn so lo an d, alth o u g h it is m a rk e d in c o m m o n tim e, th e m e a su re s a re su b d iv id e d T w o d u e ts, o n e b e tw een v io lin an d flu te a n d th e o th e r p a irin g th e c ello w ith th e b a sso o n, h e lp to fill o u t th is "In terlu d e," w h ic h c o n ta in s e x te n d e d m e lo d ie s o v e r s ta g n a n t h a rm o n ie s a n d p e d a l p o in ts. T h e "B u rle sq u e " is in a fa s t 3 /8, o n e to th e b a r, a n d is m a rk e d by a te n sio n b e tw een d u p le a n d trip le s u b d iv isio n s o f th e bar. T h e m o v e m e n t also c o n ta in s so m e c h allen g in g sy n c o p a tio n s an d a so lo fo r tru m p e t 2. T h e fin a l m o v e m e n t b e g in s w ith th e so lo c la rin e t statin g a s lo w e r v e rsio n o f th e tru m p e t fa n fa re s th a t b e g a n th e w o rk. M a te ria l fro m th e

130 121 S ele c tiv e B ib lio g rap h y : th ird m o v e m e n t is a lso re w o rk e d h ere. T h e re a re so lo s fo r th e b a sso o n and v io la. T h e w o rk e n d s in B m a jo r. B u tte rw o rth, N eil. T h e M u s ic o f A a r o n C o p la n d. (L o n d o n : T o c c a ta P re ss, 1985 a n d N e w Y o rk : U n iv e rs e P re s s, 1986). C o p la n d, A a r o n. (L o n d o n : B o o s e y & H a w k e s, 1 991). C o p la n d, A a ro n. "A aro n C o p la n d o n A a ro n C o p la n d," T he In s tr u m e n ta list, X L /4 (N o v e m b e r, ), C o p la n d, A a ro n, a n d V iv ia n P e rlis. C o p la n d : (N e w Y o rk : S t. M a rtin 's P re s s, ).. C o p la n d : S in c e (N e w Y o rk : S t. M a rtin 's P re s s, 1989). D a v is, D a n a. "A C o p la n d P o rtra it," T h e In s tr u m e n ta list, X X X III/8 (M a rc h, ), D u fa llo, R ic h ard. T ra ckin g s: C o m p o se rs S p e a k w ith R ic h a r d D u fa llo. (N e w Y o rk : O x fo rd U n iv e rs ity P ress, ), G a g n e, C o le, a n d T ra c y C a ra s. "A a ro n C o p la n d," S o u n d p ie c e s : In te r v ie w s w ith A m e r ic a n C o m p o sers. (M e tu c h e n, N e w Jersey: S c a re c ro w P re s s, ), G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "A aro n C o p la n d," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), S c h w a rtz, E llio t, an d B a rn e y C h ild s, ed. "T h e C re a tiv e M in d and th e In te rp re tiv e M in d," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u sic. N e w Y o rk : H o lt, R in e h a rt and W in s to n, ), S k o w ro n s k i, Jo A n n. A a r o n C o p la n d : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1985). S electiv e D isco g rap h y : T h e C o p la n d A lb u m. N e w Y o rk P h ilh a rm o n ic, L. B e rn ste in, C o lu m b ia M G C o p la n d : S y m p h o n y N o. 3; M u s ic f o r the T h e a tre. A tla n ta S y m p h o n y O rc h e stra, L e v i, T e la rc C D M u s ic f o r a T h eatre. St. P a u l C h a m b e r O rc h estra, W o lff. T e ld e c

131 122 A n O u td o o r O v e r tu r e P rem iere: B a n d v ersio n : J u n e 17, 1942 T h e G o ld m a n B a n d A a ro n C o p la n d, c o n d u c to r N e w Y o rk, N e w Y o rk [a rra n g e d b y C o p la n d fo r b a n d in 1942] O rc h estra l v ersio n : D e c e m b e r 16, 1938 N e w Y o rk H ig h S c h o o l o f M u sic a n d A rt O rc h e stra A le x a n d e r R ic h ter, c o n d u c to r N e w Y o rk H ig h S c h o o l o f M u sic a n d A rt A u d ito riu m In stru m e n ta tio n : c o n c e rt b an d so lo a n d 1st B ^ c l p a rts, b ssx, so lo a n d 1 st c o r p a rts, n o c o r 3, trb 3 is b trb, tu is div. P u b lish er/d ate: H a w k e s & S o n s /B o o se y & H a w k e s, 1948 (B & H ) A vailability: S core: in p rin t fu ll, tra n sp o se d c o n d e n se d, s c o re in C L ev el o f d ifficulty : G ra d e 5 D uration: c. 9 '3 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : H ig h S c h o o l o f M u sic and A rt N e w Y o rk in c lu d e d in sco re R e sc o re d fo r th e 2 5 th a n n iv e rsa ry o f th e G o ld m a n B a n d b y C o p la n d fro m h is o rc h e stra l sco re, A n O u td o o r O v ertu re is in fo u r sectio n s, a lte rn a tin g slo w fa s t s lo w fa st. Its b a sic m a te ria l c o n sists o f tw o m a rc h -lik e su b je c ts a n d an e x te n d e d ly rical th e m e, first stated b y th e so lo c o m e t in an e x p o se d, ch a lle n g in g so lo w h ic h a sc e n d s to h ig h C a n d c o v e rs a tw o o c ta v e ran g e. O th e r b rie f so lo s o c c u r in th e flu te 1, o b o e 1, B ^ c la rin e t 1, c o m e t 1, c o m e t 2 and tru m p e t 1 p arts. T h e p e rfo rm e rs w ill fin d in to n a tio n to b e c h a lle n g in g d u e to th e v a rio u s k e y c e n te rs u tiliz e d (e.g. B m ajo r) an d th e h ig h te ssitu ra p la y in g fo u n d in m a n y o f th e p a rts (e.g. th e p ic c o lo and flu te s all p la y a u n is o n h ig h C, th e so lo a n d first B b c la rin e t a u n iso n h ig h G a n d th e first

132 123 S e lectiv e B ib lio g raphy: tro m b o n e p la y s its h ig h A ). R h y th m ic a lly th e p ie c e is s y n c o p a te d a n d a b it trick y a t tim es. S o m e c o n d u c to rs c o n su lt th e o rig in a l o rc h e stra l sco re to re sto re th e w o rk to a m o re tra n sp a re n t state, e sp e c ia lly fo r a fe w o f th e so lo m o m e n ts, w h ic h C o p la n d d o u b le d in th e b a n d v ersio n. I t is e ffe c tiv e to a lso in c lu d e th e p ia n o p a rt fro m th e o rig in al v e rsio n, w h ic h C o p la n d d e c id e d to le a v e o u t o f h is b a n d v e rsio n. T h e re c o rd in g c ite d b e lo w b y th e C in c in n a ti C o lle g e -C o n se rv a to ry o f M u sic W in d S y m p h o n y illu stra te s th ese m o d ificatio n s. B else r, R o b e rt S. "O rig in a l W o rk s fo r C o n c e rt B a n d P re m ie re d o r C o m m is sio n e d b y E d w in F ra n k o G o ld m a n, R ic h a rd F ra n k o G o ld m a n, and th e G o ld m a n B a n d " U n p u b lish e d D M A d is se rta tio n, T h e U n iv e rs ity o f Io w a, B u c h m a n, C arl. " C o m p o se rs D e d ic a te W o rk s to th e B an d," M o d e m M u s ic, X X ( ), B u tte rw o rth, N eil. T h e M u s ic o f A a r o n C o p la n d. (L o n d o n : T o c c a ta P re ss, 1985 a n d N e w Y o rk : U n iv e rse P re s s, 1986). C o p la n d, A a r o n. (L o n d o n : B o o se y & H a w k e s, 1991). C o p la n d, A a ro n. "A a ro n C o p la n d o n A a ro n C o p la n d," T h e In s tr u m e n ta lis t, X L /4 (N o v e m b e r, ), C o p la n d, A a ro n, a n d V iv ia n P e rlis. C o p la n d : (N e w Y o rk : S t. M a rtin 's P re s s, ).. C o p la n d : S in c e (N e w Y o rk : S t. M a rtin 's P re ss, 1989). D a v is, D a n a. "A C o p la n d P o rtra it," T h e In s tr u m e n ta list, X X X IU /8 (M a rc h, ), D u fa llo, R ic h ard. T ra c kin g s: C o m p o se rs S p e a k w ith R ic h a r d D u fa llo. (N e w Y o rk : O x fo rd U n iv e rs ity P ress, ), D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n sem b les. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 2 5. G a g n e, C o le, an d T ra c y C aras. "A a ro n C o p la n d," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, 1982),

133 124 G le a so n, H a ro ld, a n d W a rre n B e c k e r. "A aro n C o p la n d," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), G o ld m a n, R ic h a rd F ra n k o. T h e C o n c e r t B a n d. (N e w Y o rk : R in e h art, ), K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L ite ra tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), M A - 2. L a n e, C h e s te r. "M u sic fo r Y o u th," S y m p h o n y, X L V /1 (J a n u a ry /F e b ru a ry, ), , , 54. R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C aro lin a : M c F a rla n d a n d C o m p a n y, 1988), S c h w a rtz, E llio t, a n d B a rn e y C h ild s, ed. "T he C re a tiv e M in d a n d th e In te rp re tiv e M in d," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u s ic. (N e w Y o rk : H o lt, R in e h a rt a n d W in s to n, ), S k o w ro n sk i, Jo A n n. A a r o n C o p la n d : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1985). S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S an D ieg o : K jo s W e s t, ), S e lectiv e D isco g rap h y : A m e r ic a n D ream s. C in c in n a ti C o lle g e-c o n serv a to ry o f M u sic W in d S y m p h o n y, E. C o rp o ro n, K la v ie r K C D B a rb e r, C o p la n d, Iv e s. P a c ific S y m p h o n y O rc h e stra, C la rk, V a re s e S a ra b a n d e V C D [o rch e stra v ersio n ] C eleb ra tio n! T o k y o K o se i W in d O rc h estra, F e n n e ll. K o se i P u b lish in g C o m p a n y K O C D C o p la n d. S e a ttle S y m p h o n y O rc h e stra, G. S c h w a rz, D e lo s [o rch e stra v ersio n ] C o p la n d C o n d u c ts C o p la n d. L o n d o n S y m p h o n y O rc h e s tra, A. C o p la n d, C B S M a s te rw o rk s M S [o rc h e stra v e rsio n ] E a stm a n W in d E n se m b le in Ja p a n, Vol. 2. E a stm a n W in d E n se m b le, D. H u n sb e rg e r, E M I T o s h ib a T A G o o d 0 1 D a y s. U n ite d S ta te s A ir F o rc e B a n d o f th e G o ld e n G a te, P. C h e v a lla rd, 1990.

134 125 T h e R e v e lli Y ears, Vol. 4. U n iv e rs ity o f M ic h ig a n S y m p h o n y B a n d, W. R e v e lli, G o ld e n C re s t C R S [re c o rd e d 1964] S y m p h o n ic S o n g s f o r B a n d. T o k y o K o se i W in d O rc h e s tra, F. F e n n e ll, 1987, K o se i P u b lish in g C o m p a n y K O C D Variations on a Shaker M elody fro m Appalachian Spring P rem iere: B a n d v ersio n : 1958 N o rth C e n tra l C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n C o n v e n tio n U n iv e rsity o f Illin o is C o n c e rt B an d U rb a n a, Illin o is [a rra n g e d b y C o p la n d fo r b an d in 1956] O rig in al c h a m b e r v ersio n : O c to b e r 3 0, M a rth a G ra h a m C o m p a n y L o u is H o rst, c o n d u c to r L ib ra ry o f C o n g re ss W a s h in g to n, D.C. In stru m e n ta tio n : c o n c e rt b and hp P u b lish er/d ate: B o o se y & H a w k e s, 1960 (Q M B ) A vailability: S co re: in p rin t fu ll, tra n s p o se d c o n d e n s e d, s c o re in C L ev el o f d ifficulty : G ra d e 54- D uration: c. 4 '0 0 C o m m issio n : C o lle g e B a n d D ire c to rs N atio n al A sso c ia tio n, 1958 [o rch e stra v ersio n : E lizab e th S p ra g u e C o o lid g e F o u n d atio n ] P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : n o n e C o p la n d g ra c io u sly allo w e d a d v a n c e d b a n d s th e o p p o rtu n ity to e n jo y p e rfo rm in g th is p o rtio n o f h is P u litz e r P riz e w in n in g b a lle t A p p a la c h ia n S p rin g w h e n h e a rra n g e d it fo r b a n d in T h is e x c e rp t is sectio n sev e n o f th e b a lle t, titled "S cen es o f D a ily A c tiv ity fo r th e B rid e a n d h e r F arm er- H u sb a n d." S ta rtin g th is settin g o f fiv e v a ria tio n s o f th e tu n e S im p le G ifts w a s n o t a p ro b le m, as th e o rig in a l o rc h e stra l w o rk h a d an e a s y p o in t fro m w h ic h to b e g in. C o p la n d h ad

135 126 S e lectiv e B ib lio g rap h y : to fig u re o u t h o w to e n d h is b a n d v e rsio n, h o w e v e r, as th e o rig in al d id n o t c o n ta in an o b v io u s c o n c lu d in g p o in t fo r th is sectio n o f m u sic. C o p la n d k e p t th in g s s im p le b y w ritin g an au th e n tic c a d e n c e, an e n d in g w h ic h h as p u z z le d m a n y an d d isap p o in te d a fe w c o n d u c to rs. T h is c h a lle n g in g w o rk c o n ta in s so lo s fo r flu te 1, o b o e 1, c la rin e t 1, alto sax o p h o n e 1, c o m e t 1, tru m p e t 1, and tro m b o n e 1. T h e h a rp p a rt is e ffe c tiv e ly c ro ss-c u e d in th e g lo c k e n sp ie l and v a rio u s w o o d w in d p a rts. M a jo r se c tio n s o f th e w o rk a re in m a jo r a n d C m a jo r. T h e s c o rin g is a t tim e s v e ry tra n sp a re n t a n d m a tu re m u sic ia n sh ip is re q u ire d to p ro p e rly s h a p e th e p h ra ses. C o n fid e n c e in th e h ig h ra n g e is n e ed e d b y th e first c la rin e ts (e n tra n c e o n h ig h F ), b o th b a sso o n s (b o th asc e n d to hig h B ^ ), all tru m p e ts, p rin c ip a l h o m and tro m b o n e, a n d th e e u p h o n iu m (h ig h B ^ ). S ix teenth n o te sc a le s fo r th e w o o d w in d s are w ritte n as b e in g sep a ra te ly artic u la te d b u t are ty p ic a lly slu rred d u e to th e ir ra p id tem p o. T h e b ra ss n e e d to b e s tro n g to c a rry o ff th e w e ll k n o w n e n d in g v a ria tio n. B u tte rw o rth, N eil. T h e M u s ic o f A a r o n C o p la n d. (L o n d o n : T o c c a ta P re ss, 1985 a n d N e w Y o rk : U n iv e rs e P re s s, 1986). C o p la n d, A a r o n. (L o n d o n : B o o se y & H a w k e s, 1991). C o p la n d, A a ro n. "A aro n C o p la n d o n A a ro n C o p la n d," T he In s tr u m e n ta lis t, X L /4 (N o v e m b e r, ), C o p la n d, A a ro n, a n d V iv ia n P e rlis. C o p la n d : (N e w Y o rk : S t. M a rtin 's P re s s, ).. C o p la n d : S in c e (N e w Y o rk : S t. M a rtin 's P re s s, 1989). D a v is, D a n a. "A C o p la n d P o rtra it," T h e In s tr u m e n ta list, X X X III/8 (M a rc h, ), D u fa llo, R ic h ard. T ra ckin g s: C o m p o se rs S p e a k w ith R ic h a r d D u fa llo. (N e w Y o rk : O x fo rd U n iv e rs ity P re ss, ), D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, and G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n se m b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 2 5. _r G a g n e, C o le, a n d T ra c y C a ra s. "A a ro n C o p la n d," S o u n d p ie c e s: i In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, 1 982), 101 v l 16.

136 127 G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "A aro n C o p la n d," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re s s, 1980), K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), M A - 2. R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le c te d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), 81. S c h w a rtz, E llio t, an d B a rn e y C h ild s, ed. "T h e C re a tiv e M in d a n d th e In te rp re tiv e M in d," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u s ic. (N e w Y o rk : H o lt, R in e h a rt a n d W in sto n, ), S k o w ro n s k i, Jo A n n. A a r o n C o p la n d : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1985). S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ieg o : K jo s W e s t, ), S electiv e D isco g rap h y : C e le b ra tio n! T o k y o K o se i W in d O rc h estra, F. F e n n e ll. K o se i P u b lish in g C o m p a n y K O C D C o rn e ll U n iv ersity W in d E n sem b le "In C o n c e r t." C o rn e ll U n iv e rsity W in d E n s e m b le, M. S tith, C.U.W.E E d u c a tio n a l R e c o r d R e fe ren c e L ib ra ry 2 0. N o rth T e x a s S ta te U n iv e rsity C o n c e rt B a n d, R. M c A d o w, E R R L - B P G re a t B a n d R e p e rto ire Vol. 5. A m e ric a n S y m p h o n ic W in d E n se m b le, J. D. W a y n e, B o o se y & H a w k e s D e m o n stra tio n C a ssette. T h e R e d P o n y P rem iere: B an d v ersio n : D e cem b e r, 1968 U n ite d S ta te s N a v y B a n d A n th o n y M itc h ell, c o n d u c to r M id w e st B an d an d O rc h estra C lin ic C h ic a g o, Illin o is [a rra n g e d b y C o p la n d fo r b a n d in 1966] O rc h estra v e rsio n [suite]: O c to b e r 3 0, 1948 H o u sto n S y m p h o n y O rc h e stra E fre m K u rtz, c o n d u c to r

137 128 In stru m e n ta tio n : c o n c e rt b an d 2 p ic, o n ly 2 c l, 4 trb (3 rd a n d 4 th a re b trb ); fl 1, fl 2, e u p h p a rts a ll d iv.; cel, p n o, h p a ll a d lib P u b lish er/d ate: B o o se y and H a w k e s, 1969 (Q M B ) A vailability: S co re: in p rin t fu ll, tra n s p o se d L e v e l o f d ifficu lty : G ra d e 6- D uration: c. 1 5 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : H o u sto n S y m p h o n y O rc h e stra, E fre m K u rtz, c o n d u c to r [o rch e stra l su ite fro m th e film sco re] in c lu d e d in sco re S e t o rig in a lly as a su ite in six m o v e m e n ts fo r o rc h e stra a n d la te r tra n scrib e d b y C o p la n d fo r b a n d, th is fo u r m o v e m e n t s u ite is ta k e n fro m h is m u sic fo r a film b a se d o n th e sto ry T h e R e d P o n y b y J o h n S te in b e c k. It c o n ta in s tu n e fu l, p la y fu l w ritin g sim ila r in d e liv e ry to C o p la n d 's o th e r p o p u la r s u ite s fro m th e 1940s. T h e m u sic 's p rin c ip a l c h alle n g e lie s in th e h ig h te ssitu ra fo u n d in m a n y o f th e p a rts (e.g. flu te 1 p la y in g its h ig h C, B*3 c la rin e t 1 g o in g to h ig h G # and A, b o th b a sso o n s p la y in g th e ir h ig h e st D, b o th c o m e t 1 a n d tru m p e t 1 p la y in g h ig h D, th e tu b a s p la y in g its h ig h C ); th is c h a lle n g e is b o th o n e o f e n d u ra n c e an d in to n a tio n. A v a rie ty o f k e y c en ters are e m p lo y e d, in c lu d in g A m a jo r a n d E m a jo r. B rie f so lo s a re fo u n d in th e p ic c o lo, B ^ c la rin e t 1, c o m e t 1, tru m p e t 1, e u p h o n iu m an d tu b a p a rts. T h e p e rc u ssio n w ritin g is s ta n d a rd. T h e sco rin g is m o d e ra te ly thin in te x tu re th ro u g h o u t th e w o rk, u n til th e fin a l m o v e m e n t, w h e re sectio n s are o rc h e strate d ra th e r th ic k ly, w ith th e tu tti e n se m b le p e rfo rm in g q u ic k e ig h th note p a ssa g e s a t a fo r tis s im o d y n am ic. A lig h t a p p ro a ch to th e a rtic u la tio n h e re w ill h e lp a p p ro x im a n te th e c o m p o se r's o rig in a l o rc h e stra l in ten t. T h e fin a l m o v e m e n t a lso c o n ta in s u n iso n w ritin g in v o lv in g w id e in te rv a llic leaps at a stro n g d y n a m ic lev el. T h e se c o n d m o v e m e n t is in 3 /4 2 /4 (a lte rn a tin g m e a su re s o f 3 /4 and 2 /4 ) a n d an o c casio n al 1/4 o r 1/2 b a r is e n c o u n te re d. A fe w tric k y s y n c o p a tio n s o c c u r in th e fin a l

138 129 S e le c tiv e B ib lio g raphy: m o v e m e n t, b u t o n th e w h o le, th e w o rk is o f a m o d e ra te rh y th m ic c h allen g e. T h e fin a l m o v e m e n t w o u ld stan d w ell b y its e lf in p e rfo rm a n c e. B u tte rw o rth, N eil. T h e M u s ic o f A a r o n C o p la n d. (L o n d o n : T o c c a ta P re ss, 1985 a n d N e w Y o rk : U n iv e rs e P re s s, ), C o p la n d, A a r o n. (L o n d o n : B o o se y & H a w k e s, 1991). C o p la n d, A a ro n. " A a ro n C o p la n d o n A a ro n C o p la n d," T h e In stru m e n ta list, X L /4 (N o v e m b e r, ), C o p la n d, A a ro n, a n d V iv ia n P e rlis. C o p la n d : (N e w Y o rk : S t. M a rtin 's P re s s, 1984).. C o p la n d : S in c e (N e w Y o rk : S t. M a rtin 's P re ss, 1989). D a v is, D a n a. "A C o p la n d P o rtra it," T h e In s tr u m e n ta list, X X X III/8 (M a rc h, ), D u fa llo, R ic h ard. T ra c kin g s: C o m p o se rs S p e a k w ith R ic h a r d D u fa llo. (N e w Y o rk : O x fo rd U n iv e rs ity P re ss, ), G a g n e, C o le, a n d T ra c y C a ra s. "A aro n C o p la n d," S o u n d p ie c e s : In te r v ie w s w ith A m e r ic a n C o m p o sers. (M e tu c h e n, N e w Jersey : S c a re c ro w P re s s, ), G le a so n, H a ro ld, a n d W a rre n B e c k e r. "A aro n C o p la n d," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), A S -2. S c h w a rtz, E llio t, a n d B a rn e y C h ild s, ed. "T h e C re a tiv e M in d a n d th e In te rp re tiv e M in d," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u s ic. (N e w Y o rk : H o lt, R in e h a rt a n d W in s to n, ), v l5 9. S k o w ro n sk i, Jo A n n. A a r o n C o p la n d : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1985). S te m fe ld, F red e ric k. "C o p la n d as a F ilm C o m p o se r," M u s ic a l Q u a rterly X X X V II/2 (A p ril, ), T u c k e r, A u b re y. "M u sic fro m T he R e d P o n y F ilm M u sic b y A a ro n C o p la n d." U n p u b lis h e d M M th e sis, R ic e U n iv e rs ity, 1989.

139 130 S e lectiv e D iscograp h y : C o p la n d. P h o e n ix S y m p h o n y O rc h e s tra, J. S e d a re s, K o c h H 1. [o rc h e stra v e rsio n ] C o p la n d C o n d u c ts C o p la n d. L o n d o n S y m p h o n y O rc h e s tra, A. C o p la n d, C B S M a s te rw o rk s C D [o rc h e stra v e rsio n ] C o p la n d : M u s ic f o r F ilm s. St. L o u is S y m p h o n y O rc h e s tra, L. S latk in. R C A [o rc h e stra v ersio n ] Pream ble f o r a Solemn Occasion P rem iere: B a n d v e rsio n : in fo rm a tio n u n availab le [a rra n g e d b y C o p la n d fo r B a n d in 1974] O rc h e stra v ersio n : D e c e m b e r 10, 1949 L a u re n c e O liv ie r, n a rra to r B o sto n S y m p h o n y O rc h estra L e o n a rd B e rn ste in, c o n d u c to r C arn eg ie H a ll N e w Y o rk In stru m e n ta tio n : n ar; c o n c e rt b a n d p ic /fl 3, o n ly 2 B ^ c l p arts, 4 trb (4 th is b trb ); d iv. e u p h an d tu P u b lish er/d ate: B o o se y & H a w k e s, 1974, (Q M B ) [b a n d v e rsio n ] A vailability: S core: in p rin t fu ll, tra n sp o se d L ev el o f difficulty : G ra d e 5 + D uration: c. 6 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : N a tio n a l B ro a d c a stin g C o m p a n y T o c o m m e m o ra te th e a d o p tio n b y th e U n ite d N a tio n s o f the D e cla ra tio n o f H u m a n R ig h ts n o n e T h e w o rk o p e n s w ith a p o w e rfu l u n iso n th e m e a t a slo w te m p o in th e tru m p e ts a n d tro m b o n es. T h e c e n tra l p o rtio n o f th e p ie c e is a flo w in g c h o ra le w h ic h c o n tra sts th e o p en in g

140 131 S ele c tiv e B ib lio g rap h y : m u sic a n d sets u p th e e n tra n c e o f th e n a rra tio n. A sim ila rity to C o p la n d 's L in c o ln P o rtra it is e v id e n t in th e m a n n e r in w h ic h th e te x t is d e lv iv e re d. E a c h te x tu a l p h ra se is a llo cated to a h eld, su sta in e d m e a su re e n a b lin g fre e d e clam a tio n. A n a lte rn a te v e rsio n is su p p lie d if it is d e sire d to p e rfo rm th e w o rk w ith o u t a n a rra to r. T h e c o n c lu sio n is v e ry p o w e rfu l. T h ro u g h o u t th e p ie c e th e b ra ss h a v e ta x in g p a rts, re q u irin g g o o d e n d u ra n c e fo r th e stro n g, su sta in e d p la y in g in th e h ig h ra n g e. T h e w o o d w in d s e n c o u n te r 3 2 n d n o te q u in tu p le ts and sex tu p lets. A ll p arts a re c h aracte riz e d b y w id e m e lo d ic leaps w h ic h c a ll fo r security a n d flex ib ility. D u rin g th e e n d in g, th e first c o m e t a n d tru m p e t p la y h ig h D a t a ^ d y m a n i c o v e r an e n tire b a r a t a s lo w te m p o. C o p la n d 's tig h t h a rm o n ie s in o p e n v o ic in g s w ill b e an in to n a tio n a l c h a lle n g e, e sp e c ia lly w h e n c o m b in e d w ith stro n g d y n a m ic s and h ig h te ssitu ra p la y in g. B u tte rw o rth, N eil. T h e M u s ic o f A a r o n C o p la n d. (L o n d o n : T o c c a ta P re ss, 1985 a n d N e w Y o rk : U n iv e rs e P re ss, 1 986). C o p la n d, A a r o n. (L o n d o n : B o o se y & H a w k e s, 1991). C o p la n d, A a ro n. "A a ro n C o p la n d o n A a ro n C o p la n d," T h e In stru m e n ta list, X L /4 (N o v e m b e r, ), C o p la n d, A a ro n, a n d V iv ia n P e rlis. C o p la n d : (N e w Y o rk : S t. M a rtin 's P re s s, 1984).. C o p la n d : S in c e (N e w Y o rk : S t. M a rtin 's P re s s, 1989). D a v is, D a n a. "A C o p la n d P o rtra it," T he In stru m e n ta list, X X X III/8 (M a rc h, ), D u fa llo, R ic h ard. T ra c kin g s: C o m p o se rs S p e a k w ith R ic h a r d D u fa llo. (N e w Y o rk : O x fo rd U n iv e rs ity P re ss, ), G a g n e, C o le, an d T ra c y C a ra s. "A a ro n C o p la n d," S o u n d p ie c e s : In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, ), G le a so n, H a ro ld, a n d W a rre n B e c k e r. "A aro n C o p la n d," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, 1980), S c h w a rtz, E llio t, an d B a rn e y C h ild s, ed. "T h e C re a tiv e M in d and th e In te rp re tiv e M in d," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u s ic. (N e w Y o rk : H o lt, R in e h a rt a n d W in sto n, ),

141 132 S k o w ro n s k i, Jo A n n. A a r o n C o p la n d : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1985). S electiv e D iscograp h y : C o p la n d C o n d u c ts C o p la n d. L o n d o n S y m p h o n y O rc h e stra, A. C o p la n d, C B S M a s te rw o rk s M [o rc h e stra v e rsio n ] E m b l e m s P rem iere: D e c e m b e r 1 8, U n iv e rsity o f S o u th e rn C a lifo rn ia T ro ja n B a n d W illia m S c h a efer, c o n d u c to r C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n N a tio n a l C o n fe re n ce T e m p e, A riz o n a In stru m e n ta tio n : c o n c e rt b and o n ly B b c l 1 & 2 p a rts; 4 trb (4 th is b trb ); d iv. e u p h an d tu; p n o a n d cel P u b lish er/d ate: B o o se y & H a w k e s, 1965 (Q M B ) A vailability: S core: in p rin t fu ll, tra n s p o se d c o n d e n s e d, sco re in C L ev el o f difficulty : G ra d e 6 D uration: c. 11 '3 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : C o lle g e B an d D ire c to rs N a tio n a l A sso c ia tio n in clu d ed in sco re C o p la n d 's m o s t a m b itio u s w o rk fo r b a n d (a n d th e o n ly w o rk o rig in a lly w ritte n fo r b a n d ), E m b le m s h a s c h a lle n g e d c o n d u c to rs a n d e n se m b le s s in c e its p re m ie re a n d o n ly re c en tly seem s to b e re c eiv in g th e atte n tio n it d e serv es. It is trip a rtite in stru c tu re, slo w fa s t slo w, w ith th e re tu rn o f th e first p a rt v a rie d. Its h a rm o n ic la n g u a g e c o v e rs a w id e sp ectru m, fro m th e to n a l sim p lic ity o f sele c te d m o m e n ts w h e n q u o tin g th e tu n e A m a z in g G ra c e, to ra th e r c a u stic, a c c e n te d d isso n a n c e s a n d p o ly to n a l stru c tu re s. T h e w o rk is v e ry sy n c o p a te d, w ith a stro n g ja z z in flu e n c e re a d ily ap p aren t. E n se m b le p re c isio n is d e m a n d e d fo r th e m a n y e x a c tin g e n tra n c e s o n u p b e a ts fo llo w in g rests. T h e te x tu re s

142 133 S electiv e B ib lio g rap h y : w ith in th e w o rk ra n g e fro m so lo a n d c h a m b e r m o m e n ts to th ic k ly sco red c o n tra p u n ta l w e b s. A p rin c ip a l c h alle n g e in th e w o rk is p ro p e r c o n tro l an d in to n a tio n w h ile p la y in g in th e e x tre m e u p p e r re g iste r, e sp e c ia lly in th e w o o d w in d sectio n s. T h e B B ^ c o n tra b ass c la rin e t m a k e s an im p o rta n t tim b ra l c o n trib u tio n to th e w o rk. B rie f so lo s a b o u n d in a lm o st a ll p arts a n d a ll p e rfo rm e rs sh o u ld b e c o n fid e n t so lo ists. Im p o rta n t s o lo s are fo u n d in th e flu te 1, o b o e 1, a lto cla rin e t, b a ss c la rin e t, alto s a x o p h o n e 1, c o m e t 1, c o m e t 2, c o m e t 3, a n d tru m p e t 1 p a rts. T h e p e rc u ssio n sectio n, n o ta b ly th e p ia n o, c e le sta and sn a re d ru m are also fe a tu re d e x te n siv e ly. B u tte rw o rth, N e il. T h e M u s ic o f A a r o n C o p la n d. (L o n d o n : T o c c a ta P re ss, 1985 a n d N e w Y o rk : U n iv e rse P re s s, 1986). C o p la n d, A a r o n. (L o n d o n : B o o se y & H a w k e s, 1991). C o p la n d, A a ro n. "A aro n C o p la n d o n A a ro n C o p la n d," T h e In stru m e n ta list, X L /4 (N o v e m b e r, ), C o p la n d, A a ro n, a n d V iv ia n P e rlis. C o p la n d : (N e w Y o rk : St. M a rtin 's P re s s, 1984).. C o p la n d : S in c e (N e w Y o rk : S t. M a rtin 's P re ss, 1989), D a v is, D a n a. "A C o p la n d P o rtra it," T h e In s tr u m e n ta list, X X X IH /8 (M a rc h, ), D u fa llo, R ic h ard. T ra c kin g s: C o m p o se rs S p e a k w ith R ic h a r d D u fa llo. (N e w Y o rk : O x fo rd U n iv e rs ity P ress, ), D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n se m b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 2 5. G a g n e, C o le, a n d T ra c y C a ra s. "A a ro n C o p la n d," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o sers. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, ), G le a so n, H a ro ld, a n d W a rre n B e c k e r. "A aro n C o p la n d," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), H u n sb e rg e r, D o n a ld. "S c o re S tu d y a n d P re p a ra tio n, P a rt II," T he I n s tr u m e n ta lis t, X X X V /2 (S e p te m b e r, ),

143 134 K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), A -4. N ic h o lls, W.D. "F a c to rs C o n trib u tin g to th e C o m m is sio n in g o f A m e ric a n B a n d W o rk s s in c e 1945." U n p u b lish e d D M A E s s a y, U n iv e rs ity o f M ia m i, R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le c te d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, 1988), 79 S c h w a rtz, E llio t, a n d B a rn e y C h ild s, ed. "T h e C re a tiv e M in d a n d th e In te rp re tiv e M in d," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u s ic. (N e w Y o rk : H o lt, R in e h a rt a n d W in s to n, ), S k o w ro n sk i, Jo A n n. A a r o n C o p la n d : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1985). S m ith, N o rm a n, and A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ieg o : K jo s W e s t, ), W h itw e ll, D a v id. "T h e E n ig m a o f C o p la n d 's E m b le m s,'' J o u r n a l o f B a n d R e sea rc h, V II/2 (sp rin g, ), 5-9. S e lectiv e D isco g rap h y : K a p p a K a p p a P si/t a u B e ta S ig m a N a tio n a l In te rco lle g ia te B a n d s in C o n cert, In te rc o lle g ia te S y m p h o n ic B a n d, G. S c h u lle r, , C e n tu ry R e c o rd s C o lleg e B a n d D ir e c to r s N a tio n a l A sso c ia tio n C o n ven tio n. T h e O h io S ta te U n iv e rs ity C o n c e rt B a n d, C. K irc h h o ff, G o ld e n C re st D C B D N A - 3. C o rn e ll U n iv ersity W in d E n se m b le "In C o n c e r t." C o rn e ll U n iv e rsity W in d E n s e m b le, M. S tith, C.U.W.E E d u c a tio n a l R e fe ren c e R e c o rd in g L ib ra ry 11. U n iv e rsity o f Illin o is C o n c e rt B a n d, M. H in d s le y, E R R L B P E m b le m s. C in c in n a ti C o lle g e -C o n se rv a to ry o f M u sic W in d S y m p h o n y, E. C o rp o ro n, K la v ie r K C D E m b le m s. U n ite d S ta te s A ir F o rc e A ir C o m b a t C o m m a n d H e rita g e o f A m e ric a B a n d, L. G ra h a m, E m b le m s, Vol. 7. T o k y o K o se i W in d O rc h e s tra, K. A k iy a m a, K o se i P u b lish in g C o. K O R H a n so n, S c h w a n tn e r, C o p la n d. E a s tm a n W in d E n s e m b le, D. H u n sb e rg e r, M e rc u ry G o ld e n Im p o rts, S R I

144 135 In C o n c e r t w ith the U n iv e rsity o f Illin o is S y m p h o n ic B a n d. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, M. H in d sle y. R e c o rd # 4 2. In C o n c e r t w ith the U n iv e rsity o f Illin o is S y m p h o n ic B a n d. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, J. L o c k e. R e c o rd # P ittsb u r g O v ertu re. T o k y o K o se i W in d O rc h estra, K. A k iy a m a, K o se i P u b lish in g C o m p a n y K O C D R e fle c tio n s. U n iv e rs ity o f N o rth e rn C o lo ra d o W in d E n s e m b le, E. C o rp o ro n, S o u n d m a rk R B S C R. Inaugural Fanfare P rem iere: J u n e 14, 1969 G ra n d R a p id s S y m p h o n y (w in d a n d p e rc u ssio n sectio n s) G re g o ry M illa r, co n d u c to r G ra n d R a p id s, M ic h ig a n [C o p la n d re v is e d th e w o rk in 1975] In stru m en tatio n : 3 (p ic ) / ; t, p (4 ) P u b lish er/d ate: B o o se y a n d H a w k e s, 1976 (B. E n s ) [also in clu d ed in A a r o n C o pland: C e re m o n ia l M u sic, B o o se y a n d H a w k e s, 1992 (H P S 1125)] A vailability: in p rin t. S core: fu ll, tra n s p o se d L ev el o f difficulty : G ra d e 6- D uration: c. 3 '3 0 C o m m issio n : P ro g ra m N o te : P e rfo rm a n ce C o m m en tary : C ity o f G ra n d R a p id s, M ic h ig a n, fo r its n e w C ity -C o u n ty P la z a in V a n d e n b e rg C e n te r a n d th e u n v e ilin g o f A le x a n d e r C a ld e r's sta b ile, "L a G ra n d e V ite sse." in c lu d e d in sco re T h is b rillia n tly sc o re d fa n fa re fe a tu re s strid e n t, d isso n a n t m aterials w h ic h a re b alan ced b y th e ir e v e n tu a l re so lu tio n s in to m o re c o n so n a n t, to n a l h a rm o n ie s. T h e p e rc u ssio n sectio n (e m p lo y in g te n d ifferen t in stru m e n ts a m o n g fiv e p e rfo rm e rs) o p e n s th e w o rk, a n d is im m e d ia te ly fo llo w e d b y th e b ra ss sectio n s d e c la m a tio n o f th e o p e n in g th e m e. A b rie f p a ssa g e w h ic h c o n ta in s sim u lta n e o u s m u sic a t d ifferen t te m p i c o m e s as a s u rp rise fro m C o p la n d 's p e n : a d ru m c a d e n c e a n n o u n c e s a n e w, q u ic k e r te m p o, w h ic h fa d e s a w a y

145 136 d y n a m ic a lly u n d e rn e a th q u ie t so lo s a t a m u c h s lo w te m p o b y th e first a n d s e c o n d tru m p e ts, p la y e d "as fro m a d ista n ce." T h e w in d s an d b ra ss e v e n tu a lly re tu rn, th e ir m u sic q u ie t and c o n so n a n t, o n ly to b e c o m e m o re a g ita te d as th e w o rk d riv es to its co n c lu sio n. T h e p ie c e is v e ry c h allen g in g fro m th e s ta n d p o in t o f te ssitu ra an d in to n a tio n. T h e flu te 1 a n d p ic c o lo p e rfo rm e rs p la y h ig h a n d C to g e th e r, th e first a n d seco n d c la rin e tists p la y a u n is o n h ig h A, a n d first tro m b o n ist p la y s h ig h C. A n a d d itio n a l in to n a tio n a l d e m a n d p la c e d o n th e p e rfo rm e rs' e a rs is th e p re d o m in a n c e o f se c o n d in v e rsio n c h o rd v o ic in g s, w ith th e tu b a p la y in g th e fifth, ra th e r th a n th e ty p ic a l ro o t o f th e c h o rd. T h e 1975 re v isio n b y C o p la n d enta ile d in c o rp o ra tin g th e o rig in al so lo tru m p e t p a rts in to th e e n se m b le tru m p e t p arts. T h e re is a m isp rin t in th e sco re in th e te n o r d ru m p a rt a t m e a su re 37 in b o th e d itio n s. S e lectiv e B ib lio g raphy: B u tte rw o rth, N eil. T h e M u s ic o f A a r o n C o p la n d. (L o n d o n : T o c c a ta P re ss, 1985 a n d N e w Y o rk : U n iv e rs e P re s s, 1 986). C o p la n d, A a r o n. (L o n d o n : B o o se y & H a w k e s, ). C o p la n d, A aro n. "A aro n C o p la n d o n A a ro n C o p la n d," T h e In s tr u m e n ta lis t, X L /4 (N o v e m b e r, ), C o p la n d, A a ro n, a n d V iv ia n P e rlis. C o p la n d : (N e w Y o rk : S t. M a rtin 's P re s s, ).. C o p la n d : S in c e (N e w Y o rk : S t. M a rtin 's P re s s, ) D a v is, D a n a. "A C o p la n d P o rtra it," T he In stru m e n ta list, X X X IO /8 (M a rc h, ), D u fa llo, R ic h ard. T ra ckin g s: C o m p o se rs S p e a k w ith R ic h a r d D u fa llo. (N e w Y o rk : O x fo rd U n iv e rs ity P ress, ), G a g n e, C o le, a n d T ra c y C a ra s. "A a ro n C o p la n d," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re s s, ), G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "A aro n C o p la n d," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ),

146 137 S c h w a rtz, E llio t, an d B a rn e y C h ild s, ed. "T h e C re a tiv e M in d a n d th e In te rp re tiv e M in d," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u s ic. (N e w Y o rk : H o lt, R in e h a rt a n d W in sto n, ), S k o w ro n sk i, Jo A n n. A a r o n C o p la n d : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1985). S electiv e D isco g rap h y : In a u g u r a l F a n fa re. C in c in n a ti P o p s, E. K u n zel. T e la rc C D T w e n ty F a n fa re s f o r the C o m m o n M a n. T h e L o n d o n P h ilh a rm o n ic O rc h e stra, J. M e ste r, K o c h In te rn a tio n a l. D D D H I. M ario Davidovsky P ennplay P rem iere: 1978 P e n n C o n te m p o ra ry P la y e rs U n iv e rsity o f P e n n sy lv a n ia P h ila d e lp h ia, P e n n sy lv a n ia In stru m en tatio n : 2 (p ic, a fl).0.2 (E b cl, b c l ).0./l ; d b ; p (2 ); p n o ; [ ] P u b lish er/d ate: C. F. P e te rs, 1978 (P ) A vailability: rental [p eru sal sco re u n a v a ila b le a t tim e o f th is w ritin g ] S core: fu ll, s c o re in C L ev el o f difficu lty : G ra d e 6 D uration: c. 1 0 '3 0 C o m m issio n : P ro g ra m N o te: U n iv e rsity o f P e n n sy lv a n ia in fo rm atio n u n availab le P e rfo rm a n ce C o m m entary : T h is is an e n g a g in g w o rk m a rk e d b y a s e n se o f su rp rise, e sp e c ia lly in te rm s o f p e rc eiv e d te m p o, d y n a m ic v a ria tio n an d p itc h re g iste r. A t tim e s, m a n y so u n d la y e rs e x ist, w ith slo w er, q u ie t e v e n ts s e e m in g ly h a p p e n in g "at a d istan ce" w h ile fa ste r, lo u d e r m a te ria ls a p p e a r to b e c lo se a t h an d. T h e w o rk o p e n s v e ry e n e rg e tic a lly, th e n re la x e s to w a rd th e

147 138 S e lectiv e B ib lio g raphy: m id d le w ith an e m p h a sis on lo n g h e ld p itc h e s. T h e e n d in g sectio n e m e rg e s fo llo w in g a p a ssag e fe a tu rin g p o in tilistic w ritin g. C o n tro l in th e e x tre m e re g iste rs is re q u ire d fro m all p la y e rs. T h e s c o re m a k e s p ro fe ssio n a l-le v e l d e m a n d s o n th e p e rfo rm e rs th ro u g h o u t th e w o rk. D 'A m b ro se, Jo se p h. M a r io D a v id o v s k y. (N e w Y o rk : B ro a d c a s t M u sic, In c., ). G a g n e, C o le, a n d T ra c y C a ra s. "M a rio D a v id o v sk y," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, ), K re sk y, Jeff. "A N e w Y o rk S c h o o l: T h re e G e n e ra tio n s o f C o m p o se rs," in P a r n a s s u s p la y s w o rk s b y S te fa n W o lp e, M a r io D a v id o v sk y, C h a rle s W u o rin en, E r ik L u n d b o rg, D a v id O lan. P a rn a ssu s, A. K ro f, c o n d u c to r. N e w W o rld R e c o rd s N W 3 0 6, [re c o rd ja c k e t notes] S electiv e D isco g rap h y : P a rn a s su s p la y s w o rk s b y S te fa n W o lp e, M a r io D a v id o v s k y, C h a rle s W u o rin e n, E r ik L u n d b o rg, D a v id O lan. P a rn a s su s, A. K ro f, N e w W o rld R e c o rd s N W 306. C o n s o r t s P rem iere: F e b ru a ry 12, 1981 U n iv e rsity o f N o rth e rn C o lo ra d o W in d E n se m b le E u g e n e C o rp o ro n, c o n d u c to r C o lle g e B an d D ire c to rs N atio n al A sso c ia tio n C o n v en tio n U n iv e rsity o f M ic h ig a n A n n A rb o r, M ich ig a n In stru m entatio n : 8, p ic. 1, eh. 15, E*3 c l, 3 b cl. 0, c b n. 2 a sx, 2 tsx, b s x./ ; p (3 ); p n o P u b lish er/d ate: C. F. P e te rs, (P ) A vailability: S core: ren tal fu ll, s c o re in C L ev el o f difficulty : G ra d e 6 D uration: c. 6 '3 0

148 139 C o m m issio n : P ro g ra m N o te: C o lle g e B a n d D ire c to rs N atio n al A sso c ia tio n n o n e P e rfo rm a n c e C o m m entary : A p tly titled, th is w o rk is m a rk e d b y th e rh y th m ic, m e lo d ic, and h a rm o n ic in te rp la y o f a v a rie ty o f in stru m e n ta l co n so rts. U n c o m p ro m isin g ly ato n a l, C o n so rts is a v e ry d em a n d in g w o rk fo r all p e rfo rm e rs w h ic h fe a tu re s a b ru p t c h a n g e s in d y n a m ic s, sh iftin g tim b re s, b itin g to n e c lu ste rs, and th e u se o f e x tre m e ra n g e s a n d in te re stin g p e rc u ssiv e effe c ts. D a v id o v sk y 's c h o ic e o f in s tru m e n ta l fo rc e s in th is w o rk fo r w in d e n se m b le a llo w s h im a w id e v a rie ty o f h e te ro g e n e o u s c o m b in a tio n s, in a d d itio n to g re a t d e p th w ith in certain h o m o g e n e o u s se c tio n s (e.g. e ig h t tro m b o n e s, fifte e n c la rin e ts), to e x p re ss h is m u sic a l th o u g h ts. T h e a b ru p t d y n a m ic c o n tra sts c re a te the illu sio n o f p h y sical d e p th w ith in th e w o rk, as q u ie t m u s ic is th ru st in to th e b a c k g ro u n d b y su d d e n lo u d m o m e n ts. T h e c o n d u c to r sh o u ld p la n to s c h e d u le m o re re h e arsa l tim e th a n n o rm a l in o rd e r to a llo w th e p e rfo rm e rs o f th e m a n y c h a m b e r-lik e sectio n s a c h a n c e to g ain c o n fid e n ce. S e lectiv e B ib lio g rap h y : D 'A m b ro se, Jo se p h. M a r io D a v id o v s k y. (N e w Y o rk : B ro a d c a s t M u sic, In c., ). G a g n e, C o le, an d T ra c y C a ra s. "M a rio D a v id o v sk y," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, ), H a lse th, R o b e rt E.P. "T h e Im p a c t o f th e C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n on W in d B a n d R ep erto ire." U n p u b lis h e d D A d is se rta tio n, U n iv e rs ity o f N o rth e rn C o lo ra d o, , , 156. R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C aro lin a : M c F a rla n d a n d C o m p a n y, ), 89. S electiv e D isco g rap h y : 1981 C o lleg e B a n d D irecto rs N a tio n a l A sso c ia tio n C o n ven tio n. U n iv e rsity o f N o rth e rn C o lo ra d o W in d E n se m b le, E. C o rp o ro n, G o ld e n C re st D - 8 l- C B D N A - 2.

149 140 Norm an D ello Joio A ir P ow er Suite: A Suite f o r Sym phonic Band 1. Introduction 2. Frolics o f the Early Days S kylarkin g Sport M eet Sky Parade 3. W ar Scenes The P ilot's L etter Home A lert Take O ff W olf Pack Pursuit L iberators P rem iere: B a n d v e rsio n : S e p te m b e r 1 9, A ir F o rc e B a n d o f F lig h t L t. C o l. R ic h a rd A. S h elto n, C o m m a n d e r a n d C o n d u c to r W rig h t-p a tte rso n A ir F o rce B a se, O h io [a rra n g e d b y D e llo Jo io fo r b a n d in 1992] O rc h e stra v ersio n : 1956 film sco re 1957 o rc h e stra l su ite In stru m e n ta tio n : c o n c e rt b an d no cl, n o a cl, 4 tp t, 4 trb P u b lish er/d ate: m a n u sc rip t, 1992 A vailability: S co re: N o rm a n D e llo Jo io fu ll, s c o re in C L ev el o f d ifficulty: G ra d e 5 D uration: c. 1 6 '4 5 C o m m issio n : C o m m is sio n e d b y th e A ir F o rc e B a n d o f F lig h t, L t. C o l. R ic h a rd A. S h e lto n, C o m m a n d e r a n d C o n d u c to r, c o m m e m o ra tin g th e b a n d 's 5 0 th a n n iv e rsa ry a n d th e 4 5 th a n n iv e rsa ry o f th e U n ite d S tates A ir F o rce. T h e film sco re w a s c o m m is sio n e d b y C B S T e le v isio n. P ro g ra m N o te: n o n e

150 141 P e rfo rm a n c e C o m m en tary : D e llo J o io w a s c o m m issio n e d to a d a p t fo r b a n d h is o rc h e stral su ite o f m u sic from th e h ig h ly a ccla im e d televisio n d o c u m e n ta ry A i r P o w e r. T h is is v e ry d e sc rip tiv e m u sic in th re e m o v e m e n ts. T h e In tro d u c tio n p re sen ts th e p rin c ip a l th e m e, fra g m e n ts o f w h ic h a p p e a r th ro u g h o u t th e re st o f the w o rk. T h e second m o v e m e n t d e p ic ts th e d a rin g an d so m e w h a t c o m ic a l sc e n e s o f e a rly a tte m p ts a t f lig h t T h e fin al m o v e m e n t o p e n s q u ietly w ith a q u ie t sectio n called "T h e P ilo t's L e tte r H o m e " w h ic h is v e ry te n d e r a n d u ses c h ro m a tic h a rm o n y in th e sty le o f a c o n te m p o ra ry b allad on th e 1950s. T h e m o v e m e n t th e n b e c o m e s q u ite e n erg etic as it b rin g s to life w a r sc e n e s in th e a ir o v e r G e rm a n y a n d th e P a c ific T h e a te r. T h e w o rk c o n ta in s n u m e ro u s sectio n s w h ic h are re p e a te d, u tilizin g first a n d second e n d in g s. S e lectiv e B ib lio g raphy: T h e p ie c e re q u ire s ra p id sta cca to articu latio n s fro m all o f the w in d p la y e rs, as th e y e n c o u n te r n u m e ro u s p a ssa g e s o f ru n n in g six te e n th n o te s a t q u ic k tem p i. A b ru p t h a rm o n ic sh ifts th ro u g h a v a rie ty o f k e y c e n te rs p ro v id e in to n a tio n c o n cern s. A ll o f th e tru m p ets a sc e n d to a u n iso n h ig h C. T h e m u sic is stra ig h tfo rw a rd rh y th m ic a lly, w ith o c c a sio n al s y n c o p a tio n and a b rie f sectio n in 7/4. T h e flu te s are re q u ire d to flu tte r to n g u e. B rie f so lo s o c c u r in th e flu te 1, o b o e 1, c la rin e t 1 a n d tru m p e t 1 p arts. W ritte n in 1956, A i r P o w e r d isp la y s s o m e o f th e o rc h e stra tio n a l a n d c o m p o sitio n a l d e v ic e s w h ic h w o u ld e m e rg e in D e llo J o io 's first o rig in a l w o rk fo r b a n d, V a ria n ts o n a M e d ia e v a l T u n e in B u m g a rd n e r, T h o m a s A. N o r m a n D e llo Jo io. (B o sto n : G.K. H a ll, 1986). G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis an d P e rfo rm a n c e P ractic e s." U n p u b lish e d P h D d is se rta tio n, A riz o n a S ta te U n iv e rsity. M e ie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u rn a l, L X X IV (O c to b e r, 1987), R o y, Jr. Ja m e s G. N o rm a n D e llo Jo io. (N ew Y o rk : B ro a d c a s t M u sic, In c., 1 978) S electiv e D isco g rap h y : A ir P o w e r S y m p h o n ic S u ite. P h ila d e lp h ia O rc h e s tra, E. O rm a n d y, C o lu m b ia M S [o rch e stra v e rsio n ]

151 142 D e llo J o io, G o u ld. K ra k o w P h ilh a rm o n ic O rc h e s tra, D. A m o s, K o c h In te rn a tio n a l H I. [o rc h e stra v e rsio n ] G o ld e n A n n iv e r s a r y C ele b ra tio n. T h e A ir F o rc e B a n d o f F lig h t, R. S h e lto n, Variants on a M ediaeval Tune 1. Introduction Andante moderato 2. Tema" In dulci Jubilo" 3. Variation 1: Allegro deciso 4. Variation 2: Lento, pesante 5. Variation 3: Allegro spumante 6. Variation 4: Andante 7. Variation 5: A llegro gioioso P rem iere: A p ril 1 0, D u k e U n iv e rsity C o n c e rt B an d P a u l B ry a n, c o n d u c to r D u k e U n iv e rsity D u rh a m, N o rth C a ro lin a In stru m en tatio n : c o n c e rt b and s in g le o b, b n p a rts; 4 trb (4th is b trb ) P u b lish er/d ate: E d w a rd B. M a rk s/h a l L e o n a rd, 1963 ( F S ) A vailability: S co re: in p rin t fu ll, s c o re in C L ev el o f difficu lty : G ra d e 6- D uration: c. 11'45 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : M a ry D u k e B id d le F o u n d a tio n fo r th e D u k e U n iv e rsity B an d in c lu d e d in sco re O n e o f th e m a n y w o rk s in w h ic h D e llo Jo io u ses th e m e lo d y In d u lc i ju b ilo as th e su b je c t fo r a s e t o f v a ria tio n s, V a ria n ts o n a M e d ia e v a l T u n e p re sen ts m a n y d e m a n d s u p o n its p e rfo rm e r a n d c o n d u c to r. T h e se in c lu d e ra p id six te e n th n o te p a ssa g e s lig h tly artic u la te d a t a q u ic k te m p o, th in ly tex tu red sco rin g, m u sic re q u irin g g re a t rh y th m ic c o n tro l, e n se m b le p re c isio n and e x c e lle n t to n e p ro d u c tio n, and a fin a l m o v e m e n t in fa st trip le m eter, o n e-to -a -b a r. S o lo s (n o n e c ro ss-c u e d ) are fo u n d in th e p ic c o lo, o b o e, c la rin e t 1, alto c la rin e t, b ass c la rin e t a n d b a sso o n p a rts. T h e

152 143 S e lectiv e B ib lio g rap h y : strin g b a ss p a rt c o n ta in s im p o rta n t so lo m o m e n ts w h ic h also are n o t c ro ss-c u e d. T h e p e rc u ssio n sectio n h a s e x p o se d m o m e n ts re q u irin g sen sitiv e p la y in g a n d rh y th m ic p re c isio n. S k illed m a lle t p la y e rs a re n e c e ssa ry a n d a se c u re tim p a n ist is n e ed e d fo r th e ra p id tu n in g a d ju stm e n ts. P ro p e r b a la n c e is d iffic u lt to a c h ie v e in a fe w sp o ts w h e n D e llo J o io 's d y n a m ic m a rk in g s a re ta k e n literally, e sp e c ia lly in th e la st m o v e m e n t T h is m a y re fle c t th e fa c t th a t th is p ie c e w a s th e re su lt o f h is first a tte m p t a t c o m p o sin g a b a n d w o rk. B u m g a rd n e r, T h o m a s A. N o r m a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, and G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n sem b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1 993), 2 6. G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis and P e rfo rm a n c e P ractic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity. K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S erv ic e, 1 989), A - 6. M e ie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u r n a l, L X X IV (O c to b e r, ), R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le c te d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), R o y, Jr. J a m e s G. N o rm a n D e llo J o io. (N e w Y o rk : B ro a d c a s t M u sic, In c., ) S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ieg o : K jo s W e s t, ), S electiv e D isco g rap h y : A m e r ic a n O rig in a ls. A ir C o m b a t C o m m a n d H e rita g e o f A m e ric a B an d, L. G ra h a m, M C D E d u c a tio n a l R e fe ren c e R e c o rd in g L ib ra ry 1. B ald w in W a lla c e C o lle g e S y m p h o n ic B a n d, S n a p p, E R R L B P In C o n c e r t w ith the U n iv e rsity o f Illin o is S y m p h o n ic B a n d. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, M. H in d sle y. R e c o rd # 4 1.

153 144 T h e R e v e lli Y ears, Vol. 1. U n iv e rs ity o f M ic h ig a n S y m p h o n y B a n d, W. R e v e lli, G o ld e n C re st C R S [re c o rd e d 1969] T rittico. D a lla s W in d S y m p h o n y, F. F e n n e ll, R e fe re n c e R e c o rd in g s R R C D. V a ria n ts o n a M e d ia v a l T une. D u k e U n iv e rsity C o n c e rt B a n d, P. B ry a n, C e n tu ry R e c o rd s From Every H orizon: A Tone Poem to New York 1. Andante; commodo ed amabile 2. Adagio 3. Allegro con spirito P rem iere: B a n d v ersio n : 1965 U n iv e rsity o f N o rth D a k o ta F a rg o, N o rth D a k o ta [a rra n g e d b y D e llo Jo io fo r b a n d in 1965] F ilm sco re v ersio n : M a rc h 7, 1964 N e w Y o rk, N e w Y o rk In stru m entatio n : c o n c e rt b and sin g le ob, b n p a rts; n o E ^ cl P u b lish er/d ate: E d w a rd B. M a rk s/m u sic M a ste rs, 1965 ( F S 37) A vailability: S core: in p rin t fu ll, tra n sp o se d L evel o f difficu lty : G ra d e 4 D uration: c. 7 '3 0 C o m m issio n : P ro g ram N o te: P e rfo rm a n ce C o m m entary : U n iv e rsity o f N o rth D a k o ta in c lu d e d in sco re T h is is an u n u su a l w o rk w ith in D e llo J o io 's o u tp u t fo r b a n d in th a t it is v ery p ro g ra m m a tic in n a tu re. It is a re w o rk in g o f so m e film cues h e w ro te fo r a film b y th e s a m e title w h ic h w a s fe a tu re d at th e N e w Y o rk W o rld 's F a ir in D e llo Jo io is su c c e ssfu l in cre atin g v a rio u s m o o d s w h ic h e v o k e th e s p irit o f N e w Y o rk, as w e ll as c o m m u n ic a tin g w ith a v e ry b ro ad au d ien ce. T h e m u sical m a te ria ls re fle c t th e d istin ct

154 145 S ele c tiv e B ib lio g raphy: p o ssib ility th a t D e llo Jo io w as in flu e n c e d b y th e m u sic o f B e rn ste in and G e rsh w in w h e n c o n c e iv in g th is w o rk. S o m e o f th e m u sic al dem an d s in c lu d e ra p id six te e n th n o te g ro u p in g s re q u irin g c risp staccato a rtic u la tio n, 3 2 n d n o te m e lo d ic fig u re s, and th e rh y th m ic c h a lle n g e o f s lo w m o v in g c o m p o u n d m eter. T h e re a re b rie f s o lo s fo r tp t 1 a n d h n 1. D e llo Jo io h as p ro v id e d in te re stin g p a rts fo r all p e rfo rm ers. T h e s c o re h a s a h e lp fu l "P ian o fo r stu d y " re d u c tio n ru n n in g th ro u g h th e m id d le o f e a c h sco re p ag e. B u m g a rd n e r, T h o m a s A. N o rm a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis and P e rfo rm a n c e P ra c tic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity. M eie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u rn a l, L X X IV (O c to b e r, 1 987), R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C aro lin a : M c F a rla n d a n d C o m p a n y, ), 94. R o y, Jr. Ja m e s G. N o r m a n D e llo J o io. (N ew Y o rk : B ro a d c a s t M u sic, In c., 1 978) S m ith, N o rm a n, and A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ie g o : K jo s W e s t, ), S electiv e D iscograp h y : T he A u th e n tic a te d C o m p o se rs S eries: T he C o m p o sitio n s o f N o rm a n D e llo Jo io. W e s t T e x a s S ta te U n iv e rsity S y m p h o n ic B a n d, G. G a m e r, G o ld e n C re s t A I H E d u c a tio n a l R e fe ren c e R e c o rd in g L ib ra ry 22. U n iv e rsity o f T e x a S y m p h o n ic B a n d, W. M o o d y, E R R L B P

155 146 Scenes from "The Louvrebased on Ancient Airs 1. The Portals 2. Children's Gallery 3. The Kings o f France 4. The N ativity Paintings 5. Finale P rem iere: M a rc h 1 3, B a ld w in -W a lla c e C o lle g e S y m p h o n ic B an d N o rm a n D e llo Jo io, c o n d u c to r B erea, O h io In stru m en tatio n : c o n c e rt b an d sin g le o b a n d b n p a rts, n o acl P u b lish er/d ate: E d w a rd B. M a rk s M u sic C o rp o ra tio n /C P P -B e lw in, 1966 ( ) A vailability: S core: in prin t fu ll, s c o re in C L evel o f D ifficulty: G ra d e 4 + D uration: C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m entary : ca. 10 m in u te s B ald w in -W a lla c e C o lle g e fo r th e B alw in -W a lla c e S y m p h o n ic B a n d, K e n n e th S n a p p, c o n d u c to r. in c lu d e d in sco re. T h e first m o v e m e n t, m a rk e d A n d a n te m a e sto so, o p e n s w ith th e lo w b ra ss c h o ir p la y in g a w e d g e -lik e c h o rd a l p ro g re ssio n in G m a jo r a b o v e a p e d a l p o in t o n th e to n ic in th e tim p ani. T h is p a ssa g e re q u ire s secure in to n a tio n fro m th e lo w b ra ss, e sp e c ia lly d ie tro m b o n es; an "F" a tta c h m e n t o n th e in stru m e n ts o f th e se c o n d and th ird tro m b o n e s w ill e a se th e d iffic u lty o f th e se o p e n in g p h ra ses. B re a th c o n tro l is also an issu e, as so ste n u to p la y in g is re q u ire d a t fo rte and fo rtissim o d y n a m ic levels. T h e p rin c ip a l m a te ria l o f th e "C h ild re n 's G a lle ry " is a p la y fu l d iato n ic m e lo d y m a rk e d sta cca to. A la te r re tu rn to the p rim a ry m a te ria l re q u ire s leg g iero six te e n th n o te p a ssag es o f th e w o o d w in d s, tru m p e ts and h o rn s. B rie f s o lo m o m e n ts fo r p ic c o lo and b a sso o n h elp b rin g th e m o v e m e n t to a clo se. T h e th ird m o v e m e n t p o ses a c h a lle n g e to p la y e rs in th a t it re q u ire s stro n g p la y in g and e ffe c tiv e b re a th c o n tro l in b o th su sta in e d a n d m a rc a to sty les. "T h e K in g 's o f F ra n c e " is in

156 147 S e lectiv e B ib lio g rap h y : G m a jo r an d h a s se c tio n s e m p lo y in g c a n o n ic im itatio n, h e m io la, a n d a b ru p t c h an g e s o f sty le. A p a rtic u la r ch allen g e e x ists in th e a lla rg a n d o co d etta, w h e re th e 1st c o m e t, 1st tru m p e t a n d 1st tro m b o n e are a sk e d to trill a d o tte d q u a rte r n o te alo n g w ith m a n y o f th e w o o d w in d s. "T h e N a tiv ity P a in tin g s" co n ta in s a slig h tly v a rie d v ersio n o f In d u lc i ju b ilo fo r so lo clarin et. Q u ie t d y n a m ic s th ro u g h o u t re q u ire s e n sitiv e p la y in g fro m all, e sp e c ia lly th e s o lo o b o e, w h ic h p re sen ts y e t a n o th e r v a ria tio n o f th e tu n e n e a r th e e n d o f th e m o v e m e n t. T h e "F in ale" is an e x citin g flo u rish b u ilt o n th e rh y th m ic p a tte rn o f an e ig h th n o te fo llo w e d b y tw o six te e n th n o tes. A c o n fid e n t tim p a n ist w ill g reatly a d d to th e m u sic a l d eliv ery o f th is m u sic. T h e e n tire tru m p et sectio n w ill fin d th e ir e n d u ra n c e c h a lle n g e d b y the u n iso n fa n fa re c a lls th ro u g h o u t th e m o v e m e n t. B a k e r, W illia m E lm e r, Jr. "D e v e lo p in g M u sic a lity th ro u g h th e J u n io r H ig h S c h o o l B a n d P ro g ra m." U n p u b lish e d E d D d isse rta tio n, C o lu m b ia U n iv e rs ity, , B u m g a rd n e r, T h o m a s A. N o r m a n D e llo J o io. (B o sto n : G.K. H a ll, 1986), 6 8, 7 0, 1 1 2, C a m p b e ll, G.M. " C o m p o sitio n T e c h n iq u e s in S e le c ted C o n te m p o ra ry B a n d W o rk s," J o u r n a l o f B a n d R e sea rc h V I/2 (sp rin g, 1970), D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n sem b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 2 7. G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis an d P e rfo rm a n c e P ractic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity. K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, ), M A -3. M e ie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u rn a l, L X X IV (O c to b e r, 1987), R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n cert B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), 95.

157 148 R o y, Jr. J a m e s G. N o r m a n D e llo J o io. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1 978) S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ieg o : K jo s W e s t, ), S e lectiv e D isco g rap h y : N a tio n a l In te rco lle g ia te B a n d s in C o n cert th A n n iv e r sa r y K a p p a K a p p a P si/t a u B e ta S ig m a C o n ven tio n C o n cert N a tio n a l In te rc o lle g ia te S y m p h o n ic B a n d, N. D e llo Jo io, C e n tu ry R e c o rd s E d u c a tio n a l R e fe ren c e R e c o rd in g L ib ra ry 4. A u g u sta n a C o lle g e C o n c e rt B a n d, G. O p h e im, c o n d u c to r. E R R L B P ( ). N a tio n a l M u s ic C a m p. H ig h S c h o o l C o n c e rt B a n d, A. K a tte rjo h n, N M C , R e c o rd # N a tio n a l M u s ic C a m p. H ig h S c h o o l C o n c e rt B a n d, H.S m ith, N M C , R e c o rd # N o rm a n D e llo J o io C o n d u ctin g the B a ld w in -W a lla c e C o lleg e C o n c e r t B a n d. B a ld w in -W a lla c e C o lle g e C o n c e rt B a n d, N. D e llo Jo io, C e n tu ry R e c o rd s P ra irie O vertu re. U n ited S tates A ir F o rc e M o b ility C o m m a n d B an d (A m e ric a 's B a n d in B lu e ), P. C h e v e lla rd, T h e R e v e lli Y e a rs Vol. 4. U n iv e rs ity o f M ic h ig a n S y m p h o n y B a n d, W. R e v e lli, G o ld e n C re s t C R S [re c o rd e d 1968] The D ancing Sergeant P rem iere: B a n d v ersio n : 1979 [a rra n g e d b y D e llo Jo io fo r b a n d in 1979] O rc h estra v ersio n : 1967 P ia n o v ersio n : 1966 In stru m en tatio n : c o n c e rt b an d sin g le fl, o b, b n p a rts; n o c l, n o acl P u b lish er/d ate: E d w a rd B. M a rk s/m u sic M a ste rs, ( F S -1 2 )

158 149 A vailability: S core: in p rin t fu ll, sco re in C L ev el o f d ifficulty : G ra d e 3- D uration: c. 1'45 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : in fo rm a tio n u n availab le n o n e T h is w o rk is a tra n scrip tio n fo r b a n d o f th e la s t m o v e m e n t o f a 1966 p ia n o su ite title d F ive Im a g e s. T h e p ia n o su ite w a s w ritte n w ith y o u n g p la y e rs in m in d. T h is is a n b rie f, e n erg etic w o rk c o n ta in in g d e m a n d s w h ic h m a k e it a b it h a rd e r th an a t first it m ig h t a p p ear. A to n a lity cen terin g o n C m a jo r, re a so n a b ly fa s t 6 /8 tim e, sim lu ta n e o u s d u p le v e rsu s trip le feel (2 /4 an d 6/8 ), and b rie f m o m e n ts o f p o ly to n a lity w ill c h a lle n g e y o u n g e r p layers. S e lectiv e B ib lio g rap h y : B u m g a rd n e r, T h o m a s A. N o rm a n D e llo J o io. (B o sto n : G.K. H a ll, ), 6 8, 7 0, 1 1 2, D v o ra k, T h o m a s, C y n th ia T a g g a rt, a n d P e te r S c h m a lz. B e s t M u s ic f o r Y o u n g B a n d. (B ro o k ly n, N e w Y o rk : M a n h a tta n B e a c h, ), 19. G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis and P e rfo rm a n c e P ractic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity. R o y, Jr. J a m e s G. N o r m a n D e llo J o io. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1 978) S electiv e D isco g rap h y : n o n e av ailab le

159 150 Fantasies on a Theme o f Haydn 1. Theme 2. Fantasy I 3. Fantasy II 4. Fantasy III P rem iere: 1968 M ic h ig a n S tate U n iv e rsity C o n c e rt B an d L e o n a rd F a lc o n e, c o n d u c to r E a s t L a n sin g, M ic h ig a n In stru m en tatio n : c o n c e rt b an d n o acl; 4 trb (4 th is b trb ) P u b lish er/d ate: E d w a rd B. M a rk s/h a l L e o n a rd 1968 ( F S 5 6 ) A vailability: S core: in p rin t fu ll, s c o re in C L ev el o f difficulty : G ra d e 5 D uration: c. 1 4 '0 0 C o m m issio n : P ro g ram N o te: P e rfo rm a n ce C o m m entary : M ic h ig a n S c h o o l b a n d a n d O rc h e stra A sso c ia tio n D e d ic a te d to L e o n a rd F alco n e u p o n h is re tirem e n t as D ire c to r o f B a n d s a t M ich ig a n S ta te U n iv e rsity in c lu d e d in sco re D e llo Jo io u sed a th e m e fro m a p ia n o w o rk b y H a y d n as th e b a sis fo r th is w o rk. N e a rly e v e ry n o te in th e e n tire p ie c e c an b e re la te d to o n e o f fiv e m o tiv e s c o n ta in e d in th e first fo u r m e a su re s o f th e th em e. T h e B a u m g a rd n e r b io g ra p h y c ite d b e lo w c o n ta in s an a n aly sis o f th e v a ria tio n te c h n iq u es e m p lo y e d b y D e llo Jo io in th is w o rk. In te rm s o f ra n g e s, flex ib ility, artic u la tio n a n d tech n ical fa c ility, th is w o rk c o n ta in s s im ila r d e m a n d s to th o se fo u n d in his V a ria n ts o n a M e d ia e v a l Tune. I t is a to n a l w o rk w h ic h e m p lo y s h a rm o n ic e x c u rsio n s in to a w id e v a rie ty o f to n a l areas. A t tim e s, D ello Jo io c h o o se s to u se tig h tly v o ic e d, d isso n a n t h a rm o n ie s. E ig h th n o te fig u re s are b e a m e d a cro ss th e barlin es. F re q u e n t u n iso n p la y in g w ith in sectio n s p re sen ts b o th in to n a tio n a l a n d b a la n c e c o n cern s. T h e re a re b rie f so lo s fo r o b o e a n d c la rin e t 1. T h e first tru m p e t n e e d s a secure h ig h C #. M o m e n ts o f th in ly sco red c h a m b e r p la y in g a re altern ated w ith th ick ly sco red co u n terp o in t. A lig h t a p p ro a ch to a rtic u la tio n a n d to n e th ro u g h o u t th e w o rk is re q u ire d.

160 151 S e lectiv e B ib lio g rap h y : B u m g a rd n e r, T h o m a s A. N o r m a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n sem b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 2 5. G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis and P e rfo rm a n c e P ractic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity. K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), A -6. M eie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u rn a l, L X X IV (O c to b e r, 1 987), R a sm u sse n, R ic h a rd M ich a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C aro lin a : M c F a rla n d a n d C o m p a n y, ), 94. R o y, Jr. Ja m e s G. N o r m a n D e llo J o io. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1 978) S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ie g o : K jo s W e s t, ), S electiv e D isco g rap h y : N a tio n a l In te rco lle g ia te B a n d s in C o n cert th A n n iv e rsa ry K a p p a K a p p a P su T au B e ta S ig m a C o n ven tio n C o n cert N a tio n a l In te rc o lle g ia te S y m p h o n ic B a n d, N. D e llo J o io, C e n tu ry R e c o rd s T he A u th e n tic a te d C o m p o se rs S e rie s: T h e C o m p o sitio n s o f N o rm a n D e llo J o io. W e s t T e x a s S ta te U n iv e rsity S y m p h o n ic B a n d, G. G a m e r, G o ld e n C re s t A T H C e leb ra tio n! T o k y o K o se i W in d O rc h e stra, F e n n e ll. K o se i P u b lish in g C o m p a n y K O C D F ire w o rk s f o r B a n d. T a c tic a l A ir C o m m a n d B a n d, L. G ra h a m, M C D 848. In C o n c e r t w ith th e U n iv e rsity o f Illin o is S y m p h o n ic B a n d II. U n iv e rsity o f Illin o is S y m p h o n ic B a n d II, T. H a rris. R e c o rd # 9 1.

161 152 Songs o f Abelard 1. Introduction 2. The Tryst 3. Praise and Profanation 4. The Parting P rem iere: A u g u s t 2 2, N a tio n a l In terco lleg iate B an d N o rm a n D e llo Jo io, co n d u c to r In stru m en tatio n : B ar; co n c e rt b an d sin g le fl, o b, b n p a rts; 4 trb P u b lish er/d ate: E d w a rd B. M a rk s/t h e o d o re P re s s e r, ( ) A vailability: S co re: in prin t fu ll, s c o re in C L e v e l o f difficu lty : G ra d e 5/5 D uration: c. 1 5 '3 0 C o m m issio n : C o m m is sio n e d b y K a p p a K a p p a P s i a n d T a u B e ta S ig m a, N a tio n a l B a n d F rate rn ity a n d S o ro rity P ro g ra m N o te: P e rfo rm a n ce C o m m entary : in c lu d e d in sco re T h is w o rk is a sy m p h o n ic sy n th e sis c u lle d fro m Time of S n o w, an e a rlie r d a n c e sco re b y D e llo J o io w ritte n fo r M a rth a G ra h a m 's d a n c e c o m p a n y in A so lo b a rito n e h o rn m a y b e su b stitu te d fo r th e b a rito n e v o ic e. T h e In tro d u c tio n b eg in s w ith the so lo v o ic e settin g th e scen e fo r th e e n su in g sto ry o f th e trag ic A b e la rd a n d H e lo ise legend. T h e o p e n in g th re e b a rs su p p ly m u sic a l m a te ria ls w h ic h h elp g e n e ra te th e re st o f th e piece. E a c h p h ra s e is u n d e rsco re d b y a d isso n a n t c h o rd in th e e n se m b le re so lv in g to a c o n so n a n t one. D e llo Jo io e m p lo y s th e a e lo ia n m o d e in th is "In tro d u c tio n " to h e lp e v o k e th e s e n se o f tim e fo r th e sto ry (1 2 th cen tu ry ). S lo w, p a ssio n a te, ly ric a l w ritin g in "T h e T ry st" a n d "T h e P artin g " c o n tra sts th e e n erg etic m u sic o f "P ra ise and P ro fa n a tio n." T h e s o lo ist d o es n o t s in g in "T h e T ry st." T h e w ritin g is q u ite c h ro m a tic at tim e s w ith accente d d isso n a n c e s, a n d te n d s to e ith e r b e v e ry s tro n g in its d y n a m ic o r v e ry q u iet. T h e w h o le w o rk s c e n te rs o n th e to n al a re a o f A m a jo r a lth o u g h n o k e y s ig n a tu re is g iv en, w h ic h re q u ire s th e p la y e rs to c o n sta n tly b e re a d in g m a n y a ccid e n ta ls. A t tim e s, th e m u sic is b e a m e d acro ss b arlin es.

162 153 S e lectiv e B ib lio g raphy: P rin c ip a l c h a lle n g e s in c lu d e a g g re ssiv e p la y in g o f u n iso n p a ssa g e s a t q u ic k te m p i, so m e m ix e d m e te r p a ssag e s a n d tric k y rh y th m s, and ach iev in g p ro p e r in to n a tio n w ith in sh a rp -k e y e d to n a litie s and d isso n a n t h a rm o n ie s. R a n g e s are re a so n a b le fo r a w o rk a t th is g e n eral le v e l o f d ifficulty. B rie f so lo s are fo u n d in th e flu te 1 a n d o b o e 1 p arts. C are w ill o b v io u sly n e ed to be taken to b a la n c e th e s in g e r ag ain st th e in stru m e n ta l accom p a n im e n t, w h ic h a t tim e s is sco red ra th e r h e av ily. B u m g a rd n e r, T h o m a s A. N o r m a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis and P e rfo rm a n c e P ra c tic e s." U n p u b lish e d P h D d is se rta tio n, A riz o n a S ta te U n iv e rsity. M eie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u r n a l, L X X IV (O c to b e r, 1 987), R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), 95. R o y, Jr. Ja m e s G. N o r m a n D e llo J o io. (N ew Y o rk : B ro a d c a s t M u sic, In c., ) S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S an D ieg o : K jo s W e s t, ), S electiv e D isco g rap h y : N a tio n a l In te rco lle g ia te B a n d s in C o n cert 5 0 th A n n iv e r sa r y K a p p a K a p p a P si/t a u B e ta S ig m a C o n ventio n C o n cert N a tio n a l In te rc o lle g ia te S y m p h o n ic B a n d, N. D e llo J o io, C e n tu ry R e c o rd s N o rm a n D e llo J o io C o n d u ctin g the B a ld w in -W a lla c e C o lle g e C o n c e rt B a n d. B a ld w in -W a lla c e C o lle g e C o n c e rt B a n d, N. D e llo Jo io, C e n tu ry R e c o rd s W in d M u sic. U n iv e rs ity o f S o u th F lo rid a W in d s, J. C ro ft. C re s t C R S

163 154 Evocations: Prom ise o f Spring P rem iere: B a n d v e rsio n : D e c e m b e r 6, U n iv e rsity o f W isc o n s in E a u C la ire S y m p h o n y B an d E a u C la ire M e m o ria l H ig h S ch o o l C h o ir E a u C la ire N o rth H ig h S ch o o l C h o ir E a u C la ire R e g is H ig h S ch o o l C h o ir N o rm a n D e llo Jo io, c o n d u c to r E a u C la ire, W isc o n s in [a rra n g e d b y D e llo Jo io fo r b a n d in 1970] O rc h e stra v ersio n : O c to b e r 2, T a m p a, F lo rid a In stru m e n ta tio n : P u b lish er/d ate: A vailability: S core: c o n c e rt b a n d ; S S A A T T B B ch o ru s, y o u n g p e o p le 's c h o ru s E.B. M a rk s /T h e o d o re P re sse r, n o d a te ren tal, alth o u g h w o rk is u n a v ailab le a t th is tim e in fo rm a tio n u n av ailab le L ev el o f difficu lty : G ra d e 5+ /5 D uration: c. 1 6 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : U n iv e rsity o f W isc o n sin E a u C la ire D e d icatio n o f F in e A rts C en ter in fo rm a tio n u n av ailab le D ello Jo io tra n scrib e d fo r c o n cert b a n d th e seco n d m o v e m e n t o f a w o rk fo r c h o ru ses an d o rc h e stra in m e e tin g th is c o m m issio n. H e re ta in e d th e c h o ra l p a rts. T h is m o v e m e n t is b a se d u p o n th e p o e m S p rin g b y R ic h a rd H o n e y. T h e w o rk w o u ld m a k e an e ffe c tiv e c lim a x to a n y m u sic fe stiv a l. It is s e t in an A B A 'fo r m a n d fe a tu re s o stin a to p a tte rn s. B a la n c e c o n c e rn s ty p ic a l w ith a n y w o rk in v o lv in g b a n d and c h o ru s w ill b e e n co u n tere d. It is a to n a l, d ia to n ic w o rk w h ic h c o n ta in s m o m e n ts o f tig h tly v o ic e d h a rm o n ic d isso n a n c e s w ith in p a ssag e s e m p lo y in g w e d g e te c h n iq u e. T h e h a rm o n ic c o n te n t, esp e c ially in th e b a n d w ritin g, is v ery c h alle n g in g, e n c o m p a ssin g a w id e v a rie ty o f to n a l cen ters. T h e p rin c ip a l c h a lle n g e s in th e w o rk a re a ch ie v in g p ro p e r in to n a tio n and b alan ce. T h e rh y th m ic d e m a n d s are m o d e ra te, alth o u g h p la y e rs w ill e n c o u n te r b e a m in g o v e r th e b a rlin e s.

164 155 S ele c tiv e B ib lio g rap h y : T h e y o u n g p e o p le 's c h o ru s, c o n c e iv e d f o r h ig h sc h o o l v o ic e s, first e n te rs in th e B sectio n o f th e p ie c e. It is w ritten in tre b le c le f a n d is in u n iso n w ith o c c a sio n a l tw o -p a rt w ritin g. T h e p re fe rre d p la c e m e n t fo r th e y o u n g p e o p le 's c h o ru s is in th e a u d ie n ce. B u m g a rd n e r, T h o m a s A. N o r m a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). G a n d e l, F re d. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis and P e rfo rm a n c e P ra c tic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity. M e ie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u rn a l, L X X IV (O c to b e r, ), R o y, Jr. J a m e s G. N o r m a n D e llo J o io. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1 978) S electiv e D isco g rap h y : n o n e availab le C o n c e r t a n t e P rem iere: 1973 N o rth H ills H ig h S c h o o l B an d P ittsb u rg h, P e n n s y lv a n ia In stru m en tatio n : c o n c e rt b an d sin g le fl, o b, bn p a rts; n o cl, 4 trb P u b lish er/d ate: E d w a rd B. M a rk s/m u sic M a ste rs, 1973 ( F S 4 5 ) A vailability: S core: in p rin t fu ll, s c o re in C L e v e l o f difficulty : G ra d e 4 + D u ration: c. 9 '3 0 C o m m issio n : P ro g ra m N o te: N o rth H ills H ig h S c h o o l S y m p h o n y B a n d, P ittsb u rg h P e n n sy lv a n ia in c lu d e d in sco re

165 156 P e rfo rm a n c e C o m m entary : A lth o u g h D e llo Jo io e m p lo y s a tw e lv e -to n e ro w in th is w o rk to g e n e ra te m e lo d ic a n d h a rm o n ic stru c tu re s, it is n o t a strictly seria l p ie c e a n d is a ctu ally q u ite to n al. I t p ro v id e s a fin e o p p o rtu n ity fo r e x p o sin g y o u n g e r p la y e rs to tw e lv e -to n e te c h n iq u e s. A s is th e c a s e w ith m a n y o f h is w o rk s fo r b an d, D e llo Jo io h a s w ritten m u sic w h ic h is c h a lle n g in g o n m a n y fro n ts. H is p e n c h a n t fo r u n iso n a n d o c ta v e s c o rin g w ith in sectio n s re q u ire s c o n sta n t liste n in g and a d ju stm e n t fro m th e p e rfo rm e rs, as d o e s h is h a rm o n ic la n g u a g e, w h ic h in c lu d e s so n o ro u s c h o rd s ric h w ith m in o r a n d m a jo r seconds. T h e h ig h b ra ss and w o o d w in d s e n c o u n te r v e ry q u ic k rh y th m ic fig u re s w h ic h w ill p ro b a b ly b e d o u b le d to n g u e d b y m o s t p lay ers an d fra n tic a lly n e g o tia te d b y th e cla rin e ts. B rie f so lo s a re fo u n d in th e flu te 1, o b o e, c la rin e t 1, b a sso o n, c o m e t 1 a n d h o rn 1 p arts. T h e p e rc u ssio n w ritin g is o rc h e stra l in sty le. S e lectiv e B ib lio g rap h y : T h e first m o v e m e n t is v e ry th in ly te x tu re d a t first, th en b ro a d e n s to in c lu d e u n iso n m e lo d ic sta te m e n ts a cro ss larg e g ro u p in g s o f in stru m e n ts and b e a u tifu lly sco re d p y ra m id c h o rd s. T h e se c o n d m o v e m e n t h a s a p la y fu l, d a n c e -lik e d e liv e ry w h ic h fe a tu re s a n tip h o n a l e x c h a n g e s o f m e lo d ic and rh y th m ic m o tiv e s b e tw een v a rio u s sectio n s in th e b an d. H in ts o f D e llo Jo io 's fa v o rite tu n e In d u lc i ju b ilo m a k e b rie f a p p e a ra n c e s. B u m g a rd n e r, T h o m a s A. N o r m a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, and G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n sem b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 2 5. G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis an d P e rfo rm a n c e P ractic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity. M e ie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u rn a l, L X X IV (O c to b e r, 1987), R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le c te d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d and C o m p a n y, ), 94. R o y, Jr. J a m e s G. N o rm a n D e llo Jo io. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1 978)

166 157 S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ieg o : K jo s W e s t, ), S electiv e D isco g rap h y : T he A u th e n tic a te d C o m p o se rs S e rie s: T he C o m p o sitio n s o f N o rm a n D e llo J o io. W e s t T e x a s S ta te U n iv e rsity S y m p h o n ic B a n d, G. G a m e r, G o ld e n C re s t A T H C a c c ia P rem iere: B a n d v ersio n : 1978 [a rra n g e d by D e llo Jo io fo r b a n d in 1978] P ia n o v ersio n : 1975 In stru m en tatio n : c o n c e rt b and s in g le fl, o b, b n p a rts; n o E ^ c l, n o acl P u b lish er/d ate: E d w a rd B. M a rk s/c P P -B e lw in, 1975 A vailability: S core: in p rin t fu ll, sco re in C c o n d e n s e d, sco re in C L ev el o f difficulty : G ra d e 3- D uration: c. 2*30 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : in fo rm atio n u n availab le n o n e H e re D e llo Jo io tra n scrib ed th e th ird m o v e m e n t o f h is D iv e rsio n s, a s e t o f fiv e p ia n o p ie c e s w ritte n in A n a n im a te d w o rk in 2 /2 tim e, it p re sen ts an o p p o rtu n ity to teach y o u n g e r p la y e rs a b o u t th e c a c c ia fo rm. S h o rt fa n fa re fig u res are treated to h arm o n ic a n d m e lo d ic im itatio n. T h e h a rm o n ie s are te rtia n, a lth o u g h D e llo J o io fre q u e n tly u ses n in th, e le v e n th, an d th irte e th c h o rd stru c tu re s. T h e tro m b o n e s w ill h a v e to n e g o tia te a re p e ate d e ig h th n o te p a tte rn c o n ta in in g a lo w B n a tu ra l. T h e ra n g e s are re a so n a b le, alth o u g h th e first c o rn e t is w ritten to its h ig h A.

167 158 S electiv e B ib lio g rap h y : B u m g a rd n e r, T h o m a s A. N o rm a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). D v o ra k, T h o m a s, C y n th ia T a g g a rt, a n d P e te r S c h m a lz. B e s t M u s ic f o r Y o u n g B a n d. (B ro o k ly n, N e w Y o rk : M a n h a tta n B e a c h, ), 19. G a n d e l, F re d. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis and P e rfo rm a n c e P ra c tic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity. M e ie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u rn a l, L X X IV (O c to b e r, 1987), R o y, Jr. J a m e s G. N o r m a n D e llo J o io. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1 978) S electiv e D isco g rap h y : n o n e a v ailab le Satiric Dances f o r a Comedy by A ristophanes 1. Allegro pesante 2. Adagio mesto 3. Allegro spum ante P rem iere: 1975 C o n c o rd B an d C o n c o rd, M a s sa c h u se tts. In stru m entatio n : c o n c e rt b an d s in g le fl, o b, b n p a rts; 4 trb P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1975 ( A M P ) A vailability: S co re: in p rin t fu ll, sco re in C L ev el o f d ifficulty : G ra d e 4 + D uration: c. 8 '0 0 C o m m issio n : C o m m issio n e d in c o m m e m o ra tio n o f th e B ic e n te n n ia l o f A p ril 19, 1775 b y th e C o n c o rd B a n d, C o n c o rd M a ssa c h u se tts. F u n d e d b y th e T o w n o f C o n c o rd w ith a ssista n c e fro m th e E a ste rn N a tio n a l P a rk a n d M o n u m e n t A sso c ia tio n in c o o p e ra tio n w ith th e N a tio n a l P a rk Serv ice.

168 159 P ro g ra m N o te: P e rfo rm a n c e C o m m entary : in c lu d e d in sco re T h e m u sic is b a se d u p o n D e llo J o io 's in c id e n ta l m u sic fo r th e p la y T h e zm o p h o ria zo u sa e w h ic h w a s p ro d u c e d a t B o sto n U n iv e rsity d u rin g T h e o u te r tw o m o v e m e n ts a re b a se d on so n g s w h ile th e m id d le m o v e m e n t c o m e s from a b o is te ro u s d ance. S ele c tiv e B ib lio g rap h y : T h e lis te n e r is in sta n tly e n g ag e d b y th e sy n th etic scales (u tiliz in g au g m e n te d seco n d s) and m o d e s w h ic h D e llo Jo io u ses to su p p ly a s e n se o f tim e a n d lo c a tio n to h is sco re. T h e s e scale s and m o d e s also su p p ly th e p e rfo rm e rs w ith tech n ical c h a lle n g e a n d sp ecific d e m a n d s o n tru m p e t lip fle x ib ility, as th e sc a le s are o ften le g a to a n d q u ick. T o n a l c e n te rs o f A M ajo r, a m in o r, a n d B M a jo r p ro v id e in to n a tio n a l c o n cern. T h e re a re b rie f so lo s fo r flu te 1, c la rin e t 1, c la rin e t 2, a n d b o n g o s. T h e u p p e r w o o d w in d s w ill be c h a lle n g e d b y h ig h u n iso n m e lo d ic lin e s. T h e w o rk is o fte n th ic k ly sco red in stro n g sectio n s a n d th e p ro p e r b a la n c e o f all p arts w ill require atten tio n. B u m g a rd n e r, T h o m a s A. N o r m a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis an d P e rfo rm a n c e P ra c tic e s." U n p u b lish e d P h D d is se rta tio n, A riz o n a S ta te U n iv e rsity. M eie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u rn a l, L X X IV (O c to b e r, 1987), R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C aro lin a : M c F a rla n d a n d C o m p a n y, ), R o y, Jr. Ja m e s G. N o r m a n D e llo J o io. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1 978) S e lectiv e D isco g rap h y : T he A u th e n tic a te d C o m p o se rs S eries: T he C o m p o sitio n s o f N o rm a n D e llo J o io. W e s t T e x a s S ta te U n iv e rsity S y m p h o n ic B a n d, G. G a m e r, G o ld e n C re s t A T H C o m m a n d P e r fo rm a n c e s N o. 2. U n ite d S ta te s A ir F o rc e B a n d o f th e G o ld e n G a te, L. G ra h a m. D a n c e s. S tra te g ic A ir C o m m a n d B a n d, A. B o n n e r, 1986.

169 160 T h is W a s th e B ic e n te n n ia l! U n ite d S ta te s C o a s t G u a rd B a n d, L. B u ck ley. U S C G A. Colonial Ballads 1. Andante 2. Allegro 3. Andantino 4. Allegro 5. Lento 6. A llegro con fu oco P rem iere: 1979 In stru m e n ta tio n : c o n c e rt b an d sin g le o b, b n p a rts ; n o acl, 4 trb P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h al L e o n a rd, 1979 (A M P ) A vailability: S co re: in p rin t fu ll, sco re in C L e v e l o f difficu lty : G ra d e 4 + D u ration: c. 1 4 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : in fo rm atio n u n av ailab le n o n e T h is is an a rra n g m e n t fo r b an d o f six m o v e m e n ts o f th e th irteen m o v e m e n t o rchestra w o rk C o lo n ia l V a ria n ts o f T h e w o rk s o u n d s lik e a c lo se re la tiv e to D e llo Jo io 's V a ria n ts o n A M e d ia e v a l T une in th a t it a lso u tilizes th e tu n e I n d u lc i ju h ilo as a th e m e fo r v a ria tio n. T h e six m o v e m e n ts p ro v id e a v a rie ty o f c h a lle n g e s w ith m u sic w h ic h is q u ite e n erg etic a n d te c h n ic a l o n o n e h a n d an d v e ry g e n tle a n d su sta in e d o n th e o th e r. P la y e rs w ill e n c o u n te r 3 2 n d n o te trip lets, ch ro m a tic an d q u in ta l h arm o n ic s tru c tu re s, d e m a n d in g to n al c e n te rs su c h as F # m in o r, trick y c ro ss rh y th m s d u rin g o n e -to -a -b a r m u s ic, a n d u n iso n th e m a tic sta te m e n ts in v o lv in g e n tire sectio n s. T h e re is a b rie f so lo fo r c o m e t 1 a n d th e c o m p o s e r a sk s fo r o ff-stag e so lo s b y tru m p e t 1 a n d h o rn 1 if it is fe a sib le. T h e w o rk is c le a rly ed ited fo r articu latio n a n d in v o lv e s a fa ir a m o u n t o f sta c c a to p la y in g in q u ic k p assages.

170 161 S ele c tiv e B ib lio g raphy: B u m g a rd n e r, T h o m a s A. N o r m a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis and P e rfo rm a n c e P ra c tic e s." U n p u b lish e d P h D d is se rta tio n, A riz o n a S tate U n iv e rsity. M e ie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u rn a l, L X X IV (O c to b e r, 1987), R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S ele cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), R o y, Jr. Ja m e s G. N o r m a n D e llo J o io. (N ew Y o rk : B ro a d c a s t M u sic, In c., 1978) S e lectiv e D isco g rap h y : M id w e st B a n d a n d O rc h e stra C linic. V a n d e rc o o k C o lle g e o f M u sic B a n d, V. Z a je c, G o ld e n C re st M I D T he A u th e n tic a te d C o m p o se rs S e rie s: T he C o m p o sitio n s o f N o r m a n D e llo J o io. W e s t T e x a s S ta te U n iv e rsity S y m p h o n ic B a n d, G. G a m e r, G o ld e n C re s t A T H A r ia a n d R o u la d e P rem iere: 1984 S alem C o n c e rt B an d S alem, O re g o n In stru m e n ta tio n : c o n c e rt b an d sin g le fl, o b, b n p a rts; n o c l, n o a c l, 4 trb P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1988 (A M P ) A vailability: S core: in p rin t fu ll, s c o re in C L evel o f difficu lty : G ra d e 4 D uration: c. 1 2 '0 0 C o m m issio n : S a le m C o n c e rt B a n d, S alem, O re g o n

171 162 P ro g ra m N o te : P e rfo rm a n c e C o m m en tary : n o n e T h is is o n e o f D e llo J o io 's le sse r d e m a n d in g w o rk s fo r b an d. T h e A r ia c o n ta in s ly rical m e lo d ic lin e s sp u n o u t o v e r lo n g p e rio d s o f tim e, a n d fo llo w s th e stru c tu ra l s h a p e o f a d y n a m ic arc h, g o in g fro m p ia n is sim o to fo r tis s im o a n d b a ck to p ia n issim o. T h e R o u la d e fe a tu re s a lig h t sta c c a to th e m e in re p e ate d e ig h th n o te s w h ic h is p a ssed b e tw e e n a v a rie ty o f in stru m e n ts. T h is m o v e m e n t is m a rk e d p r e s to le g g ie ro an d is d o n e in a o n e -to -a -b a r feel. S e lectiv e B ib lio g rap h y : T h e e n tire w o rk is to n a l, u sin g stan d a rd tria d ic h a rm o n ie s. T h e re a re b rie f so lo s fo r flu te, o b o e, c la rin e t 1, b a sso o n a n d tim p a n i. T h e ra n g e s an d rh y th m ic d e m a n d s are m o d erate. A lig h t, q u ic k articu latio n is re q u ire d th ro u g h t th e la st m o v e m e n t. B u m g a rd n e r, T h o m a s A. N o r m a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). G a n d e l, F re d. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis an d P e rfo rm a n c e P ractic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity. M e ie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u r n a l, L X X IV (O c to b e r, 1987), R o y, Jr. J a m e s G. N o rm a n D e llo J o io. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1978) S electiv e D isco g rap h y : n o n e a v ailab le M e ta p h r a s e o n L in e s f r o m S h a k e s p e a r e P rem iere: N o v e m b e r 2 4, 1985 C o lle g e o f St. T h o m a s/c o lle g e o f St. C a th e rin e C o n c e rt B an d N o rm a n D e llo Jo io, c o n d u c to r St. P a u l, M in n e so ta In stru m en tatio n : c o n c e rt b and s in g le fl, o b, b n p a rts; n o c l, n o a cl, 4 trb P u b lish er/d ate: M e rio n M u sic /T h e o d o re P resse r, 1991 ( )

172 163 A vailability: S core: in p rin t fu ll, s c o re in C L ev el o f difficulty : G ra d e 5- D uration: c. 1 2 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : C o lle g e o f S t. T h o m a s, St. P a u l, M in n e so ta n o n e D e llo Jo io tu rn e d to lin e s fro m S h a k e sp e a re 's L o v e 's L a b o u r 's L o s t, A c t I V S c e n e 2, (q u o te d o n th e c o v e r) fo r th e in sp ira tio n fo r th is pie c e. T h is p a ssag e e n d s w ith th e w o rd s "ut, re, so l, la m i, fa." D e llo J o io c le v e rly u ses th is p itc h o rd e r in a g ro u n d -lik e m a n n e r th ro u g h o u t th is tw o sectio n w o rk, w h e re it p ro v id e s a n a p p ro p ria te a n ch o rin g lin e as w e ll as m aterial fo r m e lo d ic and h arm o n ic d e v elo p m en t. T h e g ro u n d is p re sen te d in re tro g ra d e at tim es. T h e in te rv a ls o f a w h o le step a n d h a lf step are im p o rta n t m e lo d ic a lly. A s is c o m m o n in m a n y o f h is w o rk s, D e llo Jo io w o rk s in an a p p eara n c e o f th e tu n e In D u lc i J u b ilo to w a rd th e e n d o f th e w o rk. S elective, B ib lio g rap h y : In to n a tio n a l d e m a n d s in c lu d e th e a b u n d a n c e o f u n iso n m e lo d ic w ritin g fo r th e w o o d w in d sectio n s a n d th e m o d u la tio n th ro u g h m a n y to n al c e n te rs a s th e p iece p ro g re sse s. T h e p e rc u ssio n w ritin g is v e ry sta n d a rd. B u m g a rd n e r, T h o m a s A. N o rm a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis and P e rfo rm a n c e P ractic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity. M e ie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u r n a l, L X X IV (O c to b e r, 1987), R o y, Jr. J a m e s G. N o rm a n D e llo J o io. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1 978) S electiv e D isco g rap h y : n o n e availab le

173 164 A P r o c la m a tio n : " L e t U s S i n g a N e w S o n g " P rem iere: 1990 [a rra n g e d b y D e llo J o io fo r b a n d a n d c h o ru s in 1990] In stru m entatio n : c o n c e rt b and; S S A A T T B B ch o ru s sin g le, fl, o b, b n p a rts; n o c l, n o acl, 4 trb P u b lish er/d ate: M e rio n M u sic /T h e o d o re P resse r, ( ) A vailability: Score: rental c o n d e n s e d, s c o re in C L ev el o f difficulty : G ra d e 5/5 D uration: c. 1 3 '0 0 C o m m issio n : P ro g ram N o te: P erfo rm a n ce C o m m entary : in fo rm a tio n u n av ailab le n o n e A s is th e c a se w ith o th e r w o rk s fo r b a n d b y D e llo Jo io, th is p ie c e is a tra n scrip tio n o f an e a rlie r w o rk, in th is c a s e o n e o rig in a lly set fo r c h o ru s an d p ia n o. C e le b ra to ry in n a tu re, A P ro c la m a tio n liv es u p to its title in its m u sic al d eliv ery. T h e ra n g e s a n d rh y th m s are re a so n a b le fo r a w o rk o f th is n atu re. In stru m e n ta lists w ill e n c o u n te r c h a lle n g e s in th e are a o f in to n a tio n, d u e to sectio n s o f p o ly to n a l m u sic, a re lia n c e on u n iso n m e lo d ie s w h ic h are o fte n c o u p le d a t an o c ta v e, an d th e d e m a n d in g to n a l c e n te r o f F # m a jo r in th e m id -se c tio n o f th e p iece. T h e h a rm o n ic w e d g e in a n im p o rta n t d e v ic e w ith in th e w o rk, as is th e u se o f o stin a to. T h e c h o ra l p a rts in v o lv e th e h ig h te ssitu ra fo r all, a lth o u g h D e llo Jo io p ro v id e s ad e q u a te re stin g tim e fo r th e sin g ers. S e lectiv e B ib lio g raphy: B u m g a rd n e r, T h o m a s A. N o rm a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis an d P e rfo rm a n c e P ractic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity. M e ie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u rn a l, L X X IV (O c to b e r, 1987), R o y, Jr. Ja m e s G. N o rm a n D e llo J o io. (N ew Y o rk : B ro a d c a s t M u sic, In c., 1 978)

174 165 S electiv e D isco g rap h y : n o n e a v ailab le Fantasies on an O riginal Theme 1. Allegro moderato 2. Lento sostenuto 3. Allegro P rem iere: S e p te m b e r 19, 1992 A ir F o rc e B a n d o f F lig h t L t. C o l. R ic h a rd A. S h e lto n, C o m m a n d e r a n d C o n d u c to r W rig h t-p a tte rso n A ir F o rce B ase, O h io In stru m entatio n : c o n c e rt b an d s in g le fl, o b, b n p a rts; n o c l, n o acl, 4 trb (4 th is b trb ) P u b lish er/d ate: P e m b ro k e M u sic /C a rl F isc h er, 1994 (J7 3 2 ) A vailability: S co re: in p rin t fu ll, tra n sp o se d L ev el o f difficulty : G ra d e 5 D uration: c. 11*15 C o m m issio n : C o m m is sio n e d b y th e A ir F o rc e B a n d o f F lig h t, L t. C o l. R ic h a rd A. S h e lto n, C o m m a n d e r a n d C o n d u c to r, c o m m e m o ra tin g th e b a n d 's 5 0 th a n n iv e rsa ry a n d th e 4 5 th a n n iv e rsa ry o f th e U n ite d S tates A ir F o rce. P ro g ra m N o te: P erfo rm a n ce C o m m en tary : n o n e D e llo Jo io tu rn ed to h is fav o red v a ria tio n te c h n iq u e in re sp o n d in g to th is c o m m issio n. T h e p rin c ip a l e le m e n t o f th e w o rk is a rh y th m ic m o tif b a se d lo o s e ly o n th e T h e U.S. A i r F o rc e (" O ff w e g o... " ). T h e tu n e its e lf a p p e a rs b rie fly in th e first a n d la st m o v e m e n ts. In th is la te st w o rk fo r b a n d b y D e llo J o io, o n e h e a rs h a rm o n ic p ro g re s sio n s a n d o rc h e stra tio n a l d e v ic es h e h a s u s e d m a n y tim e s b efo re. T h is first m o v e m e n t is in th re e sectio n s, w ith th e o u te r tw o p ro v id in g am p le o p p o rtu n ity fo r te c h n ic a l d isp lay. T h e m id d le m o v e m e n t is so m b e r a n d n o sta lg ic in c h aracte r, an d c o n ta in s a m aje stic clim ax. T h e fin a l m o v e m e n t p u lls to g e th e r a ll o f th e rh y th m ic an d m e lo d ic m o tifs u sed th ro u g h o u t th e p ie c e in to a ro u sin g c o n c lu sio n.

175 166 S e lectiv e B ib lio g rap h y : B rie f so lo s a re fo u n d in th e o b o e, b a sso o n, tru m p e t 1 a n d tim p a n i p a rts. T h e strin g b ass p la y s an im p o rta n t ro le, is n o t g e n e ra lly c ro ss-c u e d, a n d n e e d s a lo w C e x te n sio n. B u m g a rd n e r, T h o m a s A. N o r m a n D e llo J o io. (B o sto n : G.K. H a ll, 1986). G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Jo io : A n a ly sis and P e rfo rm a n c e P ra c tic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity. M eie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u s ic E d u c a to rs J o u r n a l, L X X IV (O c to b e r, 1987), R o y, Jr. J a m e s G. N o r m a n D e llo J o io. (N e w Y o rk : B ro a d c a s t M u sic, In c., ) S electiv e D isco g rap h y : G o ld e n A n n iv e r s a r y C eleb ra tio n. T h e A ir F o rc e B a n d o f F lig h t, R. S h e lto n, David Del Tredici S y z y g y 1. Ecce Puer 2. N ight Piece P rem iere: J u ly 6, 1968 P h y llis B ry n -J u ls o n, so p ra n o F e stiv a l '68 C h a m b e r E n se m b le R ic h a rd D u fa llo, c o n d u c to r P h ilh a rm o n ic H all N e w Y o rk C ity, N e w Y o rk In stru m entatio n : S (a m p ), h n, tu b u la r b e lls (2 p la y e rs); l( p ic ), p ic (a fl). l( e h ), eh (o b ). 2 (c l in A, b c l).l, c b n (b n )./ ; d b ; [ ] P u b lish er/d ate: B o o se y & H a w k e s, (H.P.S ) A vailability: S co re: rental fu ll, s c o re in C L e v e l o f d ifficulty: G ra d e6 /6 D uration: c. 2 6 '0 0

176 167 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : S e rg e K o u sse v itsk y M u sic F o u n d a tio n in th e L ib ra ry o f C o n g re s s n o n e o th e r th a n texts T h is w o rk is a n in c re d ib ly d e m a n d in g s e ttin g o f tw o p o e m s b y Jam e s J o y c e fo r a sm all so lo g ro u p a n d c h a m b e r e n se m b le. A s h a v e n u m e ro u s o th e r c o n te m p o ra ry c o m p o se rs, D e l T re d ic i fo u n d th is p o e t's w ritin g s fe rtile g ro u n d fo r th e in sp ira tio n o f m a n y w o rk s w ith in h is catalo g. S ele c tiv e B ib lio g raphy: A ll o f th e w ritin g in S y zy g y is o n an a d v a n c e d lev el. T h e so p ra n o so lo ist w ill n e e d to b e c o m fo rta b le s in g in g ato n al m u sic o v e r a tw o and o n e -h a lf o c ta v e ra n g e. A s o n e c a n see fro m th e in stru m e n ta tio n listin g, m o s t o f th e w o o d w in d p la y e rs w ill n e e d to h a v e d o u b lin g c a p a b ilitie s, w ith an a d v a n c e d le v e l o f ex p e rtise o n b o th in stru m e n ts. T h e tw o m o v e m e n ts a re m a rk e d b y c o m p le x rh y th m s a p p lie d to a n g u la r m e lo d ic lin e s w h ich e m p lo y la rg e in te rv a llic leap s. T h e re is v e ry little tu tti w ritin g, as all p a rts a re treated in a so lo istic m a n n e r. A lth o u g h th e se lin e s a t tim e s a re co m b in ed in to a d e n se c o n tra p u n ta l w eb, th e y u su a lly m a k e u p a th in ly -te x tu re d, tra n sp a re n t b a c k g ro u n d fo r th e so lo voice. M u ch o f th e w o rk is in a m ix e d -m e te r fo rm a t an d m etric m o d u la tio n o c c a sio n ally o ccu rs b e tw e e n sectio n s in th e m u sic. T h e first m o v e m e n t is a p a lin d ro m e w h ic h p ro c e ed s fo r an asto u n d in g 129 m e a su re s b e fo re fa ith fu lly d o u b lin g b a c k u p o n itself. T h is c o m p o sitio n a l te c h n iq u e is a lso u sed to a m u c h le sse r e x te n t q u ite o fte n in th e seco n d m o v em en t. T h e tu b u la r b e lls n e ed to h ave a ra n g e o f tw o and o n e -h a lf o c ta v e s, w h ic h m a y re q u ire su b stitu tin g o th e r in stru m e n ts. T h e strin g c o n tra b a ss n eed s e ith e r a fifth strin g o r C -strin g e x te n sio n. T h e sco re n o tes in d ic a te th a t in th e c ase o f e n d u ra n c e p ro b le m s, th e so lo h o rn p a rt c a n b e d iv id e d fo r tw o p la y e rs. T h is is by fa r o n e o f th e m o s t c h a lle n g in g w o rk s en c o u n te re d in th is study. C a m p b e ll, K aren. "L ife a fte r A lice: D a v id D e l T re d ic i a t 5 0," S y m p h o n y M a g a z in e, X X X V III/3, (Ju n e /Ju ly, ), C h u te, Jam e s E. "T h e R e e m e rg e n c e o f T o n a lity in C o n te m p o ra ry M u sic as S h o w n in th e W o rk s o f D a v id D e l T re d ic i, J o se p h S c h w a n tn e r an d Jo h n A d a m s." U n p u b lish e d D M A d isse rta tio n, U n iv e rs ity o f C in c in n a ti, D u fa llo, R ic h ard. T ra c kin g s: C o m p o se rs S p e a k w ith R ic h a r d D u fa llo. (N e w Y o rk : O x fo rd U n iv e rs ity P re ss, ),

177 168 G riffith s. P. "N ew M u sic," T h e M u s ic a l T im e s, C X V II (Ju ly, ), 589. K n u sse n, O liv e r. "D a v id D e l T re d ic i and S y zy g y," T e m p o, C X V III/8, (S e p te m b e r, ), W a le s o n, H e id i. D a v id D e l T re d ic i. (B o o sey & H a w k e s, 1987). S electiv e D isco g rap h y : S y zy g y. F e s tiv a l C h a m b e r E n s e m b le, P. B ry n -J u ls o n, s o p ra n o a n d R. D u fa llo, c o n d u c to r. C o lu m b ia S tereo M S [re issu e d as C R I A C S ] Vintage Alice: Fantascene on "A M ad Tea P arty P rem iere: A u g u s t 5, C la u d ia C u m m in g s, so p ra n o S a n F ra n s is c o E n se m b le D a v id D e l T re d ic i, c o n d u cto r P au l M a sso n M o u n ta in W in e ry S a ra to g a, C a lifo rn ia In stru m e n ta tio n : S (a m p ), fo lk g ro u p (2 ssx, m a n d, te n b a n jo, a c c o rd ); 1 ( p ic ).1.0, E b c l. 1./ ; d b ; t, p ( l ) ; [ ] P u b lish er/d ate: B o o se y & H a w k e s, 1979 (H P S ) A vailability: S co re: rental sco re availab le fo r p u rc h a se fu ll, tra n s p o se d L ev el o f d ifficulty: G ra d e 6/6 D uration: c. 2 8 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : P a u l M asso n M u sic a t the V in e y a rd s C o n c e rts in c lu d e d in sco re A sco re n o te in d ic a te s th a t e ith e r so lo strin g s o r a sm all strin g o rc h e stra m a y b e u sed. A lic e, th e M a d H a tte r, M arch H a re a n d D o rm o u s e a re all su n g b y th e s a m e so p ra n o. T h e th re e so n g te x ts u sed are T he H a tte r 's S o n g fro m A lic e 's A d v e n tu r e s in W o n d e r la n d b y L e w is C a rro ll, T h e S ta r (T w in k le, T w in k le L ittle Star) b y Jan e T a y lo r a n d th e tra d itio n a l H y m n to the Q u een (G o d S a v e O u r G ra c io u s Q u een ). D el T re d ic i p resen ts th ese c o m m o n m a te ria ls in a

178 169 S ele c tiv e B ib lio g rap h y : h e te ro p h o n ic ta p e stry o f a u g m e n ted a n d d im in ish e d rh y th m ic s ta te m e n ts o f th e tu n e s in a p o ly rh y th m ic fa sh io n. T h is is a v e ry lig h t an d fu n p ie c e w h ich re q u ire s a v e ry se rio u s m u sic a l a p p ro a c h in o rd e r to a c h ie v e th e se e ffects. D el T re d ic i sta te s th a t th e so p ra n o s a x o p h o n e s sh o u ld p la y in a "b lu esy " m a n n e r th ro u g h o u t th e w o rk. T h e in stru m e n ta l p a rts a re c h a lle n g in g in te rm s o f ra n g e, rh y th m ic co m p le x ity a n d e n se m b le p re c isio n. T h e s o p ra n o v o ic e e x te n d s to h ig h E a b o v e th e staff. C a m p b e ll, K a ren. "L ife a fte r A lic e : D a v id D e l T re d ic i at 5 0," S y m p h o n y M a g a z in e, X X X V III/3, (Ju n e /Ju ly, 1 987), C h u te, Jam e s E. "T h e R e e m e rg e n c e o f T o n a lity in C o n te m p o ra ry M u sic as S h o w n in th e W o rk s o f D a v id D e l T re d ic i, J o se p h S c h w a n tn e r a n d Jo h n A d a m s." U n p u b lish e d D M A d isse rta tio n, U n iv e rs ity o f C in c in n a ti, D u fa llo, R ic h ard. T ra c kin g s: C o m p o se rs S p e a k w ith R ic h a r d D u fa llo. (N e w Y o rk : O x fo rd U n iv e rs ity P re ss, ), G riffith s. P. "N ew M u sic," T h e M u s ic a l T im e s, C X V II, (Ju ly, 1976), K n u sse n, O liv e r. "D a v id D el T re d ic i an d S y z y g y," T e m p o, C X V III/8, (S e p t., ), M a th e w s, R o b e rt P. "D av id D e l T re d ic i's F in a l A lic e." U n p u b lis h e d D M A d is se rta tio n, P e a b o d y In s titu te o f Jo h n H o p k in s U n iv e rs ity, W a le s o n, H e id i. D a v id D e l T red ici. (B o o sey & H a w k e s, 1987). S electiv e D isco g rap h y : n o n e av ailab le Jacob Druckman Engram P rem iere: b a n d versio n : N o v e m b e r 8, 1987 U n iv e rsity o f M ic h ig a n C o n c e rt B an d D o n a ld S c h le ic h er, co n d u c to r [a rra n g e d by D ru c k m a n fo r b a n d in 1987]

179 170 o rc h e stra v ersio n : M a y 2 1, 1980 B altim o re S y m p h o n y O rc h estra S erg iu C o m m isio n a m c o n d u c to r In stru m e n ta tio n : c o n c e rt b and 3 c o r a n d 3 tp t p a rts, p n o, p ic c o lo tim p a n i P u b lish er/d ate: B o o se y & H a w k e s, 1988 A vailability: S core: rental fu ll, tra n sp o se d L e v e l o f d ifficulty : G ra d e 6 D uration: c. 8 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : fo r th is arran g em en t: U n iv e rsity o f M ich ig a n n o n e T h is is an arra n g e m e n t fo r b a n d o f th e th ird (fin al) m o v e m e n t o f o rc h e stra l w o rk P rism, w ritte n in T h e w o rk in c o rp o ra te s m u sic fro m th re e e a rlie r o p e ra s b a se d u p o n th e m y th o f M ed e a. In E n g ra m, su b title d "A fte r L u ig i C h eru b in i," D ru c k m a n o v e rla y s h is o w n m a te ria l o n to p o f C h e ru b in i's o rig in al th e m a tic m aterial fro m his o p e ra M e d e a o f A n in siste n t re p e a te d -n o te fig u ra tio n d o m in a te s the m o v e m e n t fro m its o n set in an a lm o st m in in a lis t fash io n. C h e ru b in i's th e m e e m e rg e s to c o m p e te w ith D ru c k m a n 's id e a s, d riv in g th e p ie c e to a c ata c ly sm ic c o n clu sio n. S e lectiv e B ib lio g rap h y : P la y e rs w ill e n c o u n te r m ix e d -m e te r p a ssa g e s a n d m e tric m o d u la tio n b e tw e e n sectio n s. T h e rh y th m ic d issip a tio n o f la rg e so n o ritie s b y w a y o f b re a k in g e a c h p itc h d o w n in to re p e ate d n o te s o f in c re asin g ly sh o rte r d u ra tio n is p re v a le n t th ro u g h o u t th e w o rk. T h e u p p e r w o o d w in d s a re a sk e d to p ro d u c e flu tte r-to n g u e d q u a si g lissa n d i. T ru m p e ts an d tro m b o n es w ill all n e e d h a rm o n m u te s and th e tro m b o n e s also need p lu n g ers. T h e la rg e st c h a lle n g e to th e p la y e rs is rh y th m ic pre c isio n. T h e ra n g e s a re m o d e ra te w ith o c c a sio n a l p e rio d s o f h ig h te ssitu ra in th e tru m p e t a n d h o rn. G a g n e, C o le, a n d T ra c y C aras. "Ja c o b D ru c k m a n," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, ),

180 171 N ig g, E rw in. "A n A n a ly sis o f Jaco b D ru c k m a n 's W o rk s fo r W in d E n se m b le : E n g r a m ( ), P a e a n ( ), In M e m o ria m V in cen t P e r sic h e tti ( ), W ith B e lls O n ( )." U n p u b lis h e d D M A d isse rta tio n, U n iv e rsity o f C in c in n a ti C o lle g e - C o n se rv a to ry o f M u sic, R e illy, R o b e rt. "C la ssic a l R e v ie w s," H ig h F id e lity, X X X V III/1 (Ja n u ary, ), 62. S m e d, M a rk. J a c o b D ru c k m a n. (L o n d o n : B o o se y & H a w k e s, 1 988). W ie rz b ic k i, Jam e s. "M ich a e l C o lg ra ss an d Jaco b D ru c k m a n : 2 0 th C e n tu ry E c le c tic ism," in St. L o u is S y m p h o n y O rc h e stra : W o rks b y M ic h a e l C o lg ra ss a n d J a c o b D ru c k m a n. S t. L o u is S y m p h o n y O rc h e stra, L. S la tk in, c o n d u c to r. N e w W o rld R e c o rd s 3 1 8, [re c o rd ja c k e t n o tes] S e lectiv e D isco g rap h y : T h e B a y lo r U n iv e rsity W in d E n sem b le. T h e B a y lo r U n iv e rsity W in d E n s e m b le, M. H a ith c o c k, M a rk C u sto m R e c o rd in g s. C B D N A 8 9 M C - 8. P rism. N e w Y o rk P h ilh a rm o n ic, Z.M e h ta, N e w W o rld R e c o rd s [o rc h e stra v e rsio n ] P a e a n P rem iere: Ja n u a ry 3, 1987 H o u sto n S y m p h o n y O rc h e stra T o s h iy u k i S h im a d a, c o n d u c to r H o u sto n, T e x a s In stru m en tatio n : 2, p ic. 2, eh. 2, b c l. 2./4.3 (in Q. 3. I. ; t, p (3 ); p n o P u b lish er/d ate: B o o se y & H a w k e s, 1987 A vailability: S core: rental s c o re a v a ila b le fo r p u rc h a se [T w o P ie c e s f o r S y m p h o n ic W in d s, B o o se y & H a w k e s, H P S 1181] fu ll, tra n sp o se d L ev el o f difficulty : G ra d e 6- D uration: c. 2 '0 0 C o m m issio n : C o m m issio n e d b y th e H o u sto n S y m p h o n y O rc h e stra. D e d ic a te d to A a ro n C o p la n d. It w a s c o m p o se d fo r th e

181 172 C itic o rp H o u sto n S y m p h o n y F a n fa re P ro je c t (a salu te to th e T e x a s S e sq u icen te n n ia l). P ro g ra m N o te: P e rfo rm a n ce C o m m entary : in c lu d e d in sco re (brief) T h is w o rk w a s w ritte n w ith an o rc h e stra l w in d an d p e rc u ssio n sectio n in m in d an d it c o n ta in s th e u su al ad v an c e d d e m a n d s o n e w o u ld e x p e c t in a p ie c e o f th is n a tu re. T im b ra l m o d u la tio n is a c o m p o sitio n a l te c h n iq u e fo u n d in m a n y o f D ru c k m a n 's w o rk s fro m th is p e rio d a n d it is c e rta in ly e v id e n t in th is p iece. T h is te c h n iq u e s re q u ire s c a re fu l c o n sid e ra tio n o f b a la n c e a n d g re a t co n tro l o v er d y n a m ic sh ap in g. A "sliding" m u sic a l g e stu re is an im p o rta n t m o tiv ic e le m en t, u su a lly in v o lv in g tro m b o n e p o rta m e n ti a n d ra p id g ra c e n o te s in th e w o o d w in d s. A rh y th m ic fig u re c o n sistin g o f g ro u p in g s o f re p e a te d 16th n o te s on th e sam e p itc h is in tro d u c e d e a rly in th e w o rk a n d is c o n se q u e n tly d e v elo p ed in to th e m a in fa n fa rish id e a w h ich b rin g s th e w o rk to a clo se. T h is e x c itin g w o rk m o v e s a t a b risk te m p o th ro u g h o u t an d p la y e rs w ill e n c o u n te r a fa ir a m o u n t o f m ix e d -m e te r, angula r lin e s an d in d e p e n d e n t p la y in g. S e lectiv e B ib lio g rap h y : G a g n e, C o le, a n d T ra c y C aras. "Ja c o b D ru c k m a n," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Jersey : S c a re c ro w P re ss, ), N ig g, E rw in. "A n A n a ly sis o f Jaco b D ru c k m a n 's W o rk s fo r W in d E n se m b le : E n g ra m ( ), P a e a n ( ), In M e m o ria m V in cent P e r sic h e tti ( ), W ith B e lls O n ( )." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f C in c in n a ti C o lle g e - C o n se rv a to ry o f M u sic, S m e d, M ark. J a c o b D ru c k m a n. (L o n d o n : B o o s e y & H a w k e s, 1988). W ie rz b ic k i, Jam es. "M ich a e l C o lg ra ss and Jaco b D ru c k m a n : 2 0 th C e n tu ry E c le c tic ism," in St. L o u is S y m p h o n y O rc h e stra : W o rk s b y M ic h a e l C o lg ra ss a n d J a c o b D ru c k m a n. St. L o u is S y m p h o n y O rc h e stra, L. S la tk in, c o n d u c to r. N e w W o rld R e c o rd s 3 1 8, [re c o rd ja c k e t n o tes] S electiv e D isco g rap h y : M a d e in A m e ric a. C in c in n a ti C o lle g e - C o n se rv a to ry o f M u sic W in d S y m p h o n y, E. C o rp o ra n, M a rk C u sto m R e c o rd in g s M C C [re issu e d as K la v ie r K C D 11051]

182 173 In M emoriam Vincent P ersichetti P rem iere: D e c e m b e r 6, A m e ric a n C o m p o se rs O rch estra D e n n is R u sse ll D a v ies, co n d u c to r C a rn e g ie H a ll, N e w Y o rk C ity In stru m entatio n : 3 (p ic ).2, eh. 2, b cl. 2./4.3 (in C ).3.1.; t, p (3 ); p n o P u b lish er/d ate: B o o se y & H a w k e s, 1987 A vailability: S core: rental s c o re a v a ila b le fo r p u rc h a se [T w o P ie c e s f o r S y m p h o n ic W in d s, B o o s e y & H a w k e s, H P S 1 181] fu ll, tra n sp o se d L evel o f d ifficulty: G ra d e 6 D uration: c. 3 '3 0 C o m m issio n : P ro g ram N o te: P e rfo rm a n ce C o m m en tary : in fo rm a tio n u n availab le in c lu d e d in sco re P a rts b e a r th e in d ic a tio n "co rre cte d 9 /6 /8 9." D ru c k m a n u ses th e o p e n in g b a rs o f P e rs ic h e tti's S y m p h o n y f o r S trin g s, O p. 61 as a c a n tu s firm u s. T h is m o u rn fu l s c o re is m a rk e d by m a n y in sta n ces o f tim b ra l m o d u la tio n, b rie f stro n g p u n c tu a tio n s w h ic h m a sk th e a tta c k o f q u ie t e m e rg in g to n es, a n d th e d issip a tio n o f la rg e b lo c k s o f so u n d in to fa d in g c o n tra p u n ta l w eb s. T h e d e sc e n d in g m u sic a l g e stu re o f a "sig h " (a sig h o f lo ss a n d /o r re sig n a tio n, p e rh a p s) p e rm e a te s th e w o rk. T h is th ro u g h -c o m p o se d p ie c e a lte rn a te s sectio n s o f tra n sp a re n t, slo w -m o v in g m u s ic w ith q u ic k p a ssag e s in v o lv in g tu tti w ritin g at stro n g d y n a m ic le v e ls. T h e m u sic a l c h alle n g e s to th e p la y e rs are at a n a d v an c e d lev el, esp e c ially in te rm s o f rh y th m ic and e n se m b le p re c isio n, b a la n ce, an d d y n a m ic c o n tro l. S electiv e B ib lio g rap h y : G a g n e, C o le, a n d T ra c y C aras. "Ja c o b D ru c k m a n," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o sers. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, 1 982), "N ew s S e c tio n : C o m p o se rs," T e m p o, C L X II (D e c e m b e r, ), 5 3.

183 174 N ig g, E rw in. "A n A n a ly s is o f Jaco b D ru c k m a n 's W o rk s fo r W in d E n se m b le : E n g r a m ( ), P a e a n ( ), In M e m o ria m V in cent P e r sic h e tti ( ), W ith B e lls O n ( )." U n p u b lis h e d D M A d isse rta tio n, U n iv e rsity o f C in c in n a ti C o lle g e - C o n se rv a to ry o f M u sic, S m e d, M ark. J a c o b D ru c k m a n. (L o n d o n : B o o s e y & H a w k e s, 1988). W ie rz b ic k i, Jam e s. "M ich a e l C o lg ra ss and Jaco b D ru c k m a n : 2 0 th C e n tu ry E c le c tic ism," in St. L o u is S y m p h o n y O rc h e stra : W o rk s b y M ic h a e l C o lg ra ss a n d J a c o b D ru c k m a n. S t. L o u is S y m p h o n y O rc h e stra, L. S la tk in, c o n d u c to r. N e w W o rld R e c o rd s 3 1 8, [re c o rd ja c k e t n o tes] S e lectiv e D isco g rap h y : M a d e in A m e ric a. C in c in n a ti C o lle g e - C o n se rv a to ry o f M u sic W in d S y m p h o n y, E. C o rp o ra n, M a rk C u sto m R e c o rd in g s M C C [re issu e d as K la v ie r K C D 11051] W ith B e lls O n P rem iere: M a rc h 3 1, 1994 L o s A n g e le s P h ilh arm o n ic O rc h estra Z u b in M e h ta, c o n d u c to r D o ro th y C h a n d le r P a v illio n L o s A n g e le s, C a lifo rn ia In stru m en tatio n : 1, 2 p ic / ; p (3 ); p n o P u b lish er/d ate: B o o se y & H a w k e s, 1993 A v ailability: S core: ren tal fu ll, tra n s p o se d L ev el o f d ifficulty: G ra d e 5 D uration: c. 2 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : L o s A n g e le s P h ilh arm o n ic O rc h estra 7 5 th A n n iv e rsary C o m m issio n n o n e T h is w o rk m a k e s a b u n d a n t u se o f p itc h e d and n o n -p itch e d m e ta llic p e rc u ssio n (v ib rap h o n e, s iz z le c y m b a l, co w b ell, ta m -ta m, c h im e s, c y m b a ls, s le ig h b e lls, g lo c k e n sp ie l, lo w cy m b al, trian g le) in co m b in a tio n w ith th e m etallic orchestral

184 175 S ele c tiv e B ib lio g raphy: w o o d w in d s (flu te a n d p ic c o lo s) a n d b ra s s in s tru m e n ts to p ro d u c e a fu n, lig h t, b rie f c o n c e rt o p e n er. S tru c tu re d a s a d y n a m ic arc h o v e r 62 m e a su re s, th e p ie c e o p e n s a n d clo ses w ith th e s o u n d o f a re p e atin g tria n g le p la y e d v e ry q u ietly, a n d it re a c h e s f f f at its h ig h p o in t a b o u t fo u r-fifth s o f th e w a y th ro u g h th e p ie c e. S ta rtin g w ith a q u ie t o stin ato in th e trian g le, h ig h co w b ell, sle ig h b e lls, siz z le c y m b a l a n d g lo c k e n sp ie l, th e o p e n in g is e v e n tu a lly p u n c tu a te d b y ra p id ly e x p a n d in g w e d g e s o f so u n d fro m th e 2 p ic c o lo s, flu te, 3 m u te d tru m p e ts a n d p ian o. T h is m a te ria l is fo llo w e d w ith th e p re sen ta tio n o f a m e lo d ic lin e b y th e p ia n o, v ib ra p h o n e a n d c h im e s, su p p o rte d b y su sta in e d to n e s in th e brass, w h ic h b u ild s a d isso n a n t 6 p itch ch o rd. T h e te n sio n is m o m e n ta rily re so lv e d w ith a m in im a list ta p e stry o f so u n d, le a d in g to a s e rie s o f p o ly to n al sta te m e n ts o f n e w m a te ria l in th e b ra sse s. T h e c lim a x is a b it u n iq u e D ru c k m a n h as th e e n tire b ra ss sectio n c re sc e n d o to fffd X n e a rly th e b o tto m o f th e ir ra n g e s, c re a tin g a v e ry d a rk, g ro w lin g so u n d. T h e e ffe c t is a id e d b y th e fa c t th a t th e c lim a c tic m o m e n t is a p o ly c h o rd o f F # m a jo r/c m ajo r. T h e w o rk th e n slo w ly d isso lv e s in to a p ia n issim o o stin a to sim ila r in sty le a n d in stru m e n ta tio n to th e o p e n in g, w h ic h c lo se s o ff th e w o rk as it d rifts a w ay w ith th e fin a l d e c a y o f th e trian g le. T ro m b o n e 2 and 3 n e e d to b e b a ss tro m b o n e s a n d th e lo w e st tim p a n i n e e d s to b e ab le to p ro d u c e a lo w C. A ll o f th e w in d in s tru m e n t ra n g e s a re reaso n able. T h e la rg e s t c h a lle n g e is in to n a tio n and b a la n c e, due to th e w id e u s e o f p o ly to n ality. G a g n e, C o le, an d T ra c y C a ra s. "Ja c o b D ru c k m a n," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o sers. (M e tu c h e n, N e w Jersey : S c a re c ro w P re ss, ), N ig g, E rw in. "A n A n a ly sis o f Jaco b D ru c k m a n 's W o rk s f o r W in d E n sem b le : E n g r a m ( ), P a e a n ( ), In M e m o ria m V in cen t P e r sic h e tti ( ), W ith B e lls O n ( )." U n p u b lis h e d D M A d isse rta tio n, U n iv e rsity o f C in c in n a ti C o lle g e - C o n se rv a to ry o f M u sic, S m e d, M ark. J a c o b D ru c k m a n. (L o n d o n : B o o se y & H a w k e s, 1988). W ie rz b ic k i, Jam e s. "M ich a e l C o lg ra ss and Jaco b D ru c k m a n : 2 0 th C e n tu ry E c le c tic ism," in St. L o u is S y m p h o n y O rc h e stra : W o rks b y M ic h a e l C o lg ra ss a n d J a c o b D ru c k m a n. St. L o u is S y m p h o n y O rc h estra, L. S la tk in, c o n d u c to r. N e w W o rld R e c o rd s 3 1 8, [reco rd ja c k e t n o tes]

185 176 S e lectiv e D isco g rap h y : n o n e av ailab le Howard Hanson Chorale and A lleluia P rem iere: F e b ru a ry 2 6, 1954 W e s t P o in t A c a d e m y B an d C ol. W illia m S a n te lm a n, c o n d u c to r A m e ric a n B a n d m a ste rs A sso ciatio n C o n v e n tio n W e s t P o in t, N e w Y o rk In stru m e n ta tio n : c o n c e rt b an d 4 b 6 cl, 3 tp t, 3 c o r P u b lish er/d ate: C a rl F is c h e r, 1955 A vailability: S core: in p rin t fu ll, tra n sp o se d c o n d e n se d, s c o re in C L ev el o f difficu lty : G ra d e 4 + D uration: c. 5 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : E d w in F ra n k o G o ld m a n fo r th e A m e ric a n B a n d m a ste rs A sso ciatio n in c lu d e d in sco re H a n so n 's first w o rk fo r c o n c e rt b a n d, C h o ra le a n d A lle lu ia h as e sta b lish e d its e lf firm ly in th e re p e rto ire a s a d e m a n d in g a n d re w a rd in g p ie c e fo r a d v a n c e d h ig h s c h o o l b a n d. T h e p rin c ip a l c h alle n g e is o n e o f p a cin g and b a la n c e fo r th e c o n d u cto r. T h e tem p o o f th e C h o ra le m u s t b e accu rately d o u b le d at th e o n s e t o f th e A lle lu ia. V a rio u s q u ic k e n in g s o f th e tem p o d u rin g th e p resen tatio n o f the, A lle lu ia m aterial n eed to be c are fu lly c o n tro lled. N o to rio u s m o m e n ts o f c o n c e rn o c c u r a t m e a su re s 9 0,9 3 a n d 9 7, w h e re e a c h tim e H a n so n o v e rla y s th e 3 /2 e n d in g o f slo w c h o ra le m a te ria l w ith a c a n o n ic 9 /4 v ariatio n (w h ich is fu ll o f c ro ss-a c cen ts) fo r th e w o o d w in d s o f th e "A llelu ia" th em e.

186 I l l S e lectiv e B ib lio g rap h y : T h e w o rk re q u ire s a stro n g h o rn and e u p h o n iu m sectio n, e q u a lly b a la n ced sectio n s o f th re e tru m p e ts a n d th re e c o m e ts, and a se c u re p e rc u ssio n sectio n. T h e tim p a n is t is re q u ire d to m a k e n u m e ro u s q u ic k p itc h a d ju stm e n ts. S en sitiv e p la y in g is re q u ire d o f a ll in th e C h o ra le statem en ts. C o n su lt F e n n e ll s a rtic le cited b e lo w fo r a listin g o f errata. D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, and G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n se m b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), F e n n e ll, F re d e ric k. " H o w a rd H a n so n : C h o ra le a n d A lle lu ia," B D G u id e, V /l (S e p te m b e r/o c to b e r, ), T h e B a n d 's M u sic, Vol. T w o, ed. K e n N e id ig. (T ra v e rse C ity, M ic h ig a n, V illa g e P re s s, ), G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "H o w a rd H a n so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), J o h n so n, B a rry W. "A n A n a ly tic a l S tu d y o f th e B a n d C o m p o sitio n s o f H o w a rd H a n so n." U n p u b lis h e d E d D d isse rta tio n, U n iv e rs ity o f H o u s to n, K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), M A - 6. L e C ro y, H o y t F. "P e rc u ssio n T e c h n iq u e s in O rig in a l M u sic fo r B a n d." U n p u b lis h e d P h D d isse rta tio n, U n iv e rsity o f S o u th e rn M ississip p i, N e lh y b e l, V acla v. "T im e in Y o u r H a n d s," The In s tr u m e n ta list, X X X II/2 (S e p te m b e r, ), P e ro n e, Jam e s E. H o w a r d H a n so n : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1993). P rin d l, F ra n k J. "A S tu d y o f T e n O rig in a l C o m p o sitio n s fo r B a n d P u b lish e d in A m e ric a sin c e 1946." U n p u b lis h e d E d D d isse rta tio n, F lo rid a S ta te U n iv e rsity, R a sm u sse n, R ic h a rd M ich a e l. R e c o r d e d C o n cert B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d, ), 147. S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S an D ieg o : K jo s W e s t, ),

187 178 T a rw a te r, Jr. W illia m. "A n a ly se s o f S e v e n M a jo r B a n d C o m p o sitio n s o f th e T w e n tie th C e n tu ry." U n p u b lish e d P h D d isse rta tio n, G e o rg e P e a b o d y C o lle g e o f T e a c h e rs, W illia m s, D a v id R u sse ll. C o n v e rsa tio n s w ith H o w a r d H a n so n. (A rk a d e lp h ia, A rk a n sa s: D e lta P u b lic a tio n s, ), S e lectiv e D isco g rap h y : A m e r ic a n B a n d m a ste rs A s s o c ia tio n C o n ventio n. F lo rid a A & M U n iv e rs ity S y m p h o n ic B a n d, F. F e n n e ll, G o ld e n C re s t A B A C o rn e ll U n iv ersity W in d E n se m b le "In C o n c e r t." C o rn e ll U n iv e rsity W in d E n s e m b le, M. S tith, C.U.W.E E d u c a tio n a l R e fe ren c e R e c o rd in g L ib ra ry 25. A rk a n sa s P o ly te c h n ic C o lle g e S y m p h o n ic B a n d, G. W ith e rs p o o n. E R R L B P L a F iesta M e x ic a n a a n d o th e r S y m p h o n ic B a n d M a ste rp ie c e s. E a stm a n S y m p h o n ic W in d E n se m b le, F. F e n n e ll, M e rc u ry M G [re issu e d as M G ] M u s ic f o r W in d s a n d P e rcu ssio n. N o rth e rn Illin o is U n iv e rsity W in d E n s e m b le, S. S q u ire s, N I U /812. N a tio n a l M u s ic C a m p. H ig h S c h o o l S y m p h o n ic B a n d # 4, F. F e n n e ll, N M C , R e c o rd # 9 5. N a tio n a l M u s ic C a m p. U n iv e risity o f M ic h ig a n A ll-s ta te H ig h S c h o o l B an d, L. R a c h le ff a n d H.R. R e y n o ld s, N M C , R e c o rd # A. S o n g o f D e m o c r a c y P rem iere: A p ril 4, 1957 C en ten n ia l C eleb ratio n o f the N a tio n a l E d u c a tio n A sso ciatio n W a sh in g to n, D C In stru m en tatio n : c o n c e rt b a n d ; S S A T T B B c h o ru s h p, cel P u b lish er/d ate: C arl F isc h e r, n o d a te (C F ) A vailability: S core: rental fu ll, tra n sp o se d L ev el o f difficulty : G ra d e 5/5

188 179 D uration: c. 1 2 ' '0 0 C o m m issio n : P ro g ra m N o te: P erfo rm a n ce C o m m entary : T h e N a tio n a l E d u c a tio n A sso c ia tio n a n d th e M u sic E d u c a to rs N a tio n a l C o n fe re n c e fo r th e 100th a n n iv e rsa ry o f th e N E A a n d th e 5 0 th a n n iv e rsa ry o f M E N C n o n e T h is w o rk is an in sp ira tio n a l settin g o f tw o te x ts b y W a lt W h itm a n. T h e first is an addre ss b y W h itm a n a t th e d e d ic a tio n o f a p u b lic sch o o l a n d th e o th e r th e fo u rth p a rt o f h is p o e m T h o u M o th e r w ith th y e q u a l b ro o d. T h e w o rk is v e ry p o p u la r a n d h as re c e iv e d o v e r 3,0 0 0 p e rfo rm a n c e s. S e lectiv e B ib lio g rap h y : H a n so n u ses th e h a rm o n ic p ro g re ssio n fro m h is R o m a n tic S y m p h o n y, lo n g asso c ia te d w ith th e N a tio n a l M u sic C a m p a t In te rlo c h e n, as o n e o f th e g e rm id e a s fo r th is w o rk. A su c c e ssfu l p e rfo rm a n c e o f th is p ie c e p ro m ise s to b e a v e ry re w a rd in g e x p e rie n c e, e sp e c ia lly fo r h ig h sc h o o l stu d en ts. A v e rsio n is a v a ila b le fo r T T B B c h o ru s a rra n g e d b y M.E. F o rd a n d availab le o n re n ta l th ro u g h C a rl F isch er. H a n so n k e p t th e m u sic a l ab ilitie s o f h ig h sch o o l m u sic ia n s in m in d as h e w ro te th is p ie c e, e sp e c ia lly in te rm s o f in stru m e n ta l a n d v o c a l ran g es, rh y th m ic c o m p le x itie s, and th in n e ss o f sc o rin g. C a re fu l a tte n tio n to sco rin g o n H a n so n 's p a rt le sse n s th e d iffic u lty o f b a la n c in g th e c h o ru s to th e b an d, as v e ry little o f th e c h o ra l w ritin g is a c c o m p a n ie d b y tu tti fo rces. B a la n c e w ill still b e o n e o f th e p rim a ry c o n c e rn s in p re p a rin g th is w o rk, h o w e v e r, i f o n e is in d e e d u sin g a h ig h sch o o l c h o ru s. C a re m u s t b e ta k e n to a m a ss a p ro p e r n u m b e r o f sin g e rs to g iv e th e c h o ru s e n o u g h d e p th o f to n e a n d p re sen c e o f so u n d to b e h e a rd p ro p e rly. O f p a rtic u la r c h a lle n g e is an e x te n d e d sectio n fo r so lo c h o ru s, w h e re p itch w ill b e n e ed to b e m a in ta in e d u n til th e b a n d 's e v e n tu a l retu rn. T h e re is v e ry little s o lo w ritin g fo r th e b an d m e m b e rs. S o lo m o m e n ts fo r strin g b a ss an d c o n tra b a sso o n m a y re q u ire c ro ss-c u e in g, l l i e to n a l c e n te rs o f certain sectio n s o f th e w o rk fa ll o u tsid e th e n o rm fo r h ig h sc h o o l b an d. C a m in e, A lb e rt. "T h e C h o ra l M u sic o f H o w a rd H a n so n." D M A d isse rta tio n, U n iv e rs ity o f T e x a s, C o h n, A rth u r. R e c o rd e d C la ssic a l M u sic : A C ritica l G u id e to C o m p o sitio n s a n d P e rfo rm a n c e s. (N e w Y o rk : S c h irm e r, 1981),

189 180 G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "H o w a rd H a n so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin es, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re s s, 1980), P e ro n e, Ja m e s E. H o w a r d H a n so n : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1993). S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ie g o : K jo s W e s t, 1 979), 103. W illia m s, D a v id R u sse ll. C o n v e rsa tio n s w ith H o w a r d H a n so n. (A rk a d e lp h ia, A rk a n sa s: D e lta P u b lic a tio n s, 1988). S electiv e D isco g rap h y : A n A m e r ic a n T rib u te. U n ite d S ta te s A ir F o rce B a n d an d S in g in g S e rg e a n ts/m o rm o n T a b e rn a c le C h o ir, J B a n k h e a d. C B S M K ; M T H a n so n C o n d u c ts H a n so n. E a stm a n -R o c h e ste r O rc h e stra /E a stm a n S chool o f M u sic C h o ru s, H. H a n so n, 1957 M e rc u ry G o ld e n Im p o rts M G /S R [also re le a sed as M e rc u ry L iv in g P re se n c e a n d also as E a stm a n R o c h e ste r A rc h iv e s E R A 1010] [o rc h e stra v ersio n ] T e sta m en t. T u rtle C re e k C h o ra le /D a lla s W in d S y m p h o n y, T. S e e lig, R e fe re n c e R e c o rd in g s R R -4 9 C D. ['1T B B v ersio n ] Centennial March P rem iere: J a n u a ry 6, 1967 C a p ita l U n iv e rsity C o n c e rt B an d C ap ital U n iv e rsity C o lu m b u s, O h io In stru m entatio n : c o n c e rt b and P u b lish er/d ate: C arl F isc h e r, 1968 A vailability: S core: o u t o f p rin t fu ll, tra n s p o se d c o n d e n s e d, sco re in C L ev el o f difficulty : G ra d e 4 D uration: c. 6 '0 0 C o m m issio n : O h io M u sic E d u c a to rs A sso c ia tio n

190 181 P ro g ra m N o te: P e rfo rm a n c e C o m m entary : in c lu d e d in sco re H a n so n w ro te th is w o rk to c o m m e m o ra te th e 100th a n n iv e rsa ry o f N e b ra s k a 's a d m is sio n to th e U n io n (h is n a tiv e state). It is an u n u su a l c o n c e rt m a rc h, fu ll o f u n e x p e c te d h a rm o n ic and stru c tu ra l tw ists. It's to n a lity c o m b in e s m a jo r a n d m in o r sy ste m s w ith m o d a l a n d c h o rm a tic h a rm o n ie s. Iso lated th e m a tic id e a s are co m b in e d to w a rd th e e n d o f th e w o rk. It is c a s t in a trip a rtite fo rm w ith a co d a. S electiv e B ib lio g raphy: A lth o u g h to n al, th e w o rk w ill c h a lle n g e th e p e rfo rm e rs w ith its d e n se te x tu re, d isso n a n t n a tu re, a n d a b ru p t sh ifts o f to n a l c e n te rs, w h ic h a t tim e s fin d th e b a n d in q u ite c h allen g in g k e y areas. T h e m a rc h p la y s h eav ily on th e h a rm o n ic re la tio n sh ip o f c h o rd s a m in o r se c o n d apart. T h e re a re m a n y in sta n c e s o f c h o rd s w ith m ix e d th ird s an d m e lo d ie s w h ic h u tilize scales w h ic h are a t o d d s w ith th e u n d e rly in g h a rm o n y. T h e o v e ra ll h a rm o n ic la n g u a g e is o n e o f s tre n g th, b ro u g h t to b e a r o n th e liste n e r b y th e triad ic an d open in te rv a l v o ic in g s o f th e c h o rd s p la y e d b y v a rio u s sectio n s o f th e b an d. T h e se c h o rd s ty p ic a lly m o v e in p a ra lle l a n d c o n tra ry m o tio n w ith a n d a g a in st e a c h oth er. H a n so n c o u n te rs th e c h o rd a l ta p e stry w ith so a rin g leg ato m e lo d ie s. T h e w o rk c o n c lu d e s triu m p h a n tly in C m ajo r. B o o n sc h a ft, P eter. "R e p e rto ire fo r rent: A re v ie w o f sev e n p ie c e s fo r c o n c e rt b a n d," T he In s tr u m e n ta list, X X X V I/6 (Jan u a ry, ), G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "H o w a rd H a n so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), Jo h n so n, B a rry W. "A n A n a ly tic a l S tu d y o f th e B a n d C o m p o sitio n s o f H o w a rd H a n so n." U n p u b lis h e d E d D d is se rta tio n, U n iv e rs ity o f H o u sto n, P e ro n e, Jam e s E. H o w a r d H a n so n : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1993). S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ie g o : K jo s W e s t, ), 103. S m ith, N o rm a n. M a r c h M u s ic N o te s. (L a k e C h a rle s, L o u isia n a : P ro g ra m N o te P re ss, ), 184.

191 182 W illia m s, D a v id R u ssell. C o n v e rsa tio n s w ith H o w a r d H a n so n. (A rk a d e lp h ia, A rk a n sa s: D e lta P u b lic a tio n s, 1988). S e lectiv e D isco g rap h y : n o n e av ailab le D ie s N a ta lis [ I I ] P rem iere: A p ril 7, E a stm a n W in d E n se m b le D offald H im sb e rg e r, c o n d u c to r E a stm a n T h eatre R o c h e s te r, N e w Y o rk In stru m e n ta tio n : c o n c e rt band P u b lish er/d ate: C arl F isch e r, 1973 A vailability: S co re: in p rin t fu ll, tra n s p o se d c o n d e n s e d, sco re in C L e v e l o f difficulty : g ra d e 5- D uration: c. 1 5 '0 0 C o m m issio n : "D ed icated to D o n ald H u n sb e rg e r a n d th e E a stm a n W in d <: E n ssm b le " - P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : in c lu d e d in sco re B a s e d u p o n th e o ld S w e d ish c h o ra le tu n e, A l l H a il to You, O B le s s e d M o m!, re fe rre d to b y H a n so n in th e s c o re n o te s as "the g re a te st sin g le m u sic al in flu en c e " o n h is life, D ie s N a ta lis is a le n g th y w o rk w h ic h re q u ire s fu ll, su sta in e d le g a to p la y in g and w ill c h allen g e th e e n d u ra n c e o f m o s t h ig h sc h o o l b ra ss p la y e rs. T h e p ie c e p o s se sse s a fo u r-p a rt stru c tu re (In tro d u c tio n C h o ra le V a ria tio n s F in ale) a n d is sim ila r to his w o rk, L a u d e, in its o v e ra ll d e liv e ry. T h e sco rin g is ty p ic a l o f o th e r H a n so n w o rk s fo r b a n d, fe a tu rin g m a ste rfu lly v o ic e d so n o ritie s. E x c e p t fo r a b rie f v a ria tio n in th e m id d le o f th e p ie c e a t a q u ic k te m p o, a slo w to m o d e ra te flo w p e rm e a te s th e w o rk, w h ic h a llo w s p la y e rs to te c h n ically assim ila te th e m u sic w ith re la tiv e ease. A m ix e d -m e te re d v a ria tio n featu rin g fu g a l tre a tm e n t o f th e c h o ra le tu n e a m o n g so lo in stru m e n ts m a y c a u s e so m e

192 183 S ele c tiv e B ib lio g rap h y : c o n c e rn in itially. B rie f so lo s are re q u ire d o f th e p icco lo, flu te 1, o b o e 1, c la rin e t 1 an d 2, alto a n d b a ss c la rin e t, b a sso o n 1, te n o r sa x o p h o n e a n d e u p h o n iu m. T h e e n tire tru m p e t sectio n n e g o tia te s a u n iso n lin e a t th e e n d o f th e w o rk th a t asc e n d s to h ig h B. T h e c h a lle n g e in th is p ie c e is o n e o f m u sic a l m a tu rity fo r th e p e rfo rm e rs and c o n d u c to r alik e. D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e r to ir e G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n se m b le s. (B ro o k ly n : M a n h a tta n B e a c h, ), 3 6. G le a so n, H a ro ld, a n d W a rre n B e c k e r. " H o w a rd H a n so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin es, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), Jo h n so n, B a rry W. "A n A n a ly tic a l S tu d y o f th e B a n d C o m p o sitio n s o f H o w a rd H a n so n." U n p u b lis h e d E d D d is se rta tio n, U n iv e rs ity o f H o u s to n, K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), M A -6. P e ro n e, Ja m e s E. H o w a r d H a n so n : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1993). R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d, ), 148. S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S an D ieg o : K jo s W e s t, ), 103. W illia m s, D a v id R u sse ll. C o n v e rsa tio n s w ith H o w a r d H a n so n. (A rk a d e lp h ia, A rk a n sa s: D e lta P u b lic a tio n s, ), S e lectiv e D isco g rap h y : C o rn e ll U n iv ersity W in d E n sem b le "In C o n c e r t." C o rn e ll U n iv e rsity W in d E n s e m b le, M. S tith, C.U.W.E H a n so n, B e n so n, B ra n t. E a s tm a n W in d E n s e m b le, D. H u n sb e rg e r, C e n ta u r C R C

193 184 Young Person's Guide to the Six Tone Scale P rem iere: N o v e m b e r 17, 1972 E a stm a n W in d E n se m b le B a rry S n y d e r, p ia n o D o n a ld H u n sb e rg e r, c o n d u c to r E a stm a n T h eatre R o c h e ste r, N e w Y o rk In stru m e n ta tio n : p n o ; 3, p ic. 2, eh. 3, b c l. 3, c b n./ ; t, P (3 ); c e l P u b lish er/d ate: C a rl F is c h e r, 1972 (C F 1654) A vailability: S co re: rental sco re a v ailab le fo r p u rch ase fu ll, tra n sp o se d L ev el o f difficu lty : G ra d e 6-/6 - D uration: c. 2 7 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m e n ta ry : E a stm a n S ch o o l o f M u sic "D ed icated to th e F iftie th A n n iv e rsary o f th e E a stm a n S chool o f M u sic, , " n o n e T h is w o rk b e ars tw o su b title s o n th e title p a g e: T h irty-five S c a le s in S e a rc h o f C o m p o se r a n d S u ite f o r S o lo P ia n o, W in d s a n d P e rcu ssio n in 35 M o v e m e n ts. E a c h m o v e m e n t has its o w n d istin c tiv e c h aracter, d u e in la rg e p a rt to th e su c c e ssiv e c h a n g in g fro m o n e six -to n e sc a le to th e n e x t as th e w o rk p ro g re sse s. E a c h c h a n g e re s u lts in a su b tle re a rra n g in g o f th e o rd e r o f h a lf step s, w h o le ste p s a n d a u g m e n te d s e c o n d s /m in o r th ird s w ith in th e s ix -to n e scales. H a n so n u ses all 35 cate g o rie s o f th e s ix -to n e scale. T h e m o v e m e n ts a re v ery b rief, w ith m o s t b e in g u n d e r o n e m in u te in d u ratio n. M o v e m e n ts a re u su a lly sep a ra te d, a lth o u g h a fe w a re c o n n e c te d b y m e a n s o f su sta in e d to n es. S o m e m o v e m e n ts a re tran sito ry in n a tu re w h ile o th ers are stro n g p o in ts o f a rriv a l w ith in th e stru c tu re o f th e w o rk. M an y m o v e m e n ts are in e ssen c e c h a m b e r settin g s fo r so lo p ia n o and a fe w w in d o r p e rc u ssio n in s tru m e n ts, w h ile m o v e m e n t six is fo r p ia n o so lo. T h is is e sse n tia lly a w o rk fo r an o rc h e stra l w in d and p e rc u ssio n sectio n, an d th e w ritin g is id io m a tic fo r th e settin g and p ro fe ssio n a lly c h a lle n g in g a t tim e s. S o lo s

194 185 S e lectiv e B ib lio g rap h y : ab o u n d fo r th e p rin c ip a l p la y e rs o f n e a rly all th e sectio n s. B alan c e w ith th e p ia n o w ill be a m a jo r c o n c e rn, b u t H a n so n 's m a ste rfu l sco rin g d o e sn 't m a k e it a in su rm o u n ta b le ta sk. T h e w o rk is m a rk e d b y tra n s p a re n t sco rin g and b e a u tifu lly v o ic e d c h o rd s. A stag g e rin g d e g re e o f in v e n tiv e n e ss o n th e p a rt o f th e c o m p o se r is c o n ta in e d in th is w o rk. W h a t th e p ie c e m ig h t la c k b y w a y o f d e v e lo p m e n t (d u e to e a c h m o v e m e n t's b re v ity ) is m a d e u p b y th e s h e e r n u m b e r o f o rig in a l id e a s c o n ta in e d in th irty -fiv e s e p a ra te m o v e m e n ts. T h is is a stro n g w o rk b y a m a tu re m a ste r th a t sh o u ld b e p e rfo rm e d m o re o fte n. G le a s o n, H a ro ld, an d W a rre n B e c k e r. " H o w a rd H a n so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o sers, M u s ic L ite ra tu re O u tlin es, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), Jo h n so n, B a rry W. "A n A n a ly tic a l S tu d y o f th e B a n d C o m p o sitio n s o f H o w a rd H a n so n." U n p u b lis h e d E d D d is se rta tio n, U n iv e rs ity o f H o u s to n, P e ro n e, Ja m e s E. H o w a r d H a n so n : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1993). R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d, ), 149. S m ith, N o rm a n, and A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S an D ie g o : K jo s W e s t, 1979), 103. W illia m s, D a v id R u ssell. C o n v e rsa tio n s w ith H o w a r d H a n so n. (A rk a d e lp h ia, A rk a n sa s: D e lta P u b lic a tio n s, ), 7-8. S electiv e D isco g rap h y : H a n so n, S c h w a n tn e r, C o p la n d. E a s tm a n W in d E n s e m b le, D. H u n sb e rg e r, M e rc u ry G o ld e n Im p o rts, S R I Laude: Chorale, Variations and M etam orphoses P rem iere: F e b ru a ry 7, 1975 C a lifo rn ia S tate U n iv e rsity L o n g B each S y m p h o n ic B an d L a rry C u rtis, c o n d u c to r C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n 18th N a tio n a l C o n fe re n ce B e rk e le y, C a lifo rn ia

195 186 In stru m e n ta tio n : c o n c e rt b an d P u b lish er/d ate: C arl F isc h e r, 1976 A vailability: S core: in p rin t fu ll, tra n s p o se d L ev el o f d ifficulty : G ra d e 5 + D uration: c. 12'45 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : C o lle g e B a n d D ire c to rs N atio n al A sso c ia tio n in c lu d e d in sco re H a n so n 's L a u d e p re s e n ts th e p e rfo rm e rs a n d c o n d u c to r w ith m u sic o f g re a t d e p th and d ra m a w h ic h is c h a lle n g in g in te rm s o f e n d u ra n c e, p a cin g, te m p i, a n d rh y th m ic in te g rity. T h e o p e n in g c h o ra le, w h ic h g e n e ra te s sev e n v a ria tio n s, is b a se d u p o n an o ld S w e d ish c h o ra le, A ll th e W o r ld P r a is e s th e L o rd, w h ic h H a n so n san g in c h u rc h as a y o u th. T h e sco re is p re fa c e d w ith a p a ra p h ra se o f P s a lm T h e v a ria tio n s o ffe r sen sitiv e, ly rical m o m e n ts as w e ll as a g g re ssiv e m u sic d e c o ra te d w ith flo ru ish in g fa n fa re s. T h e re is little so lo p la y in g in v o lv e d, w ith la rg e sectio n s o f tu tti sco rin g. D o tte d rh y th m s a b o u n d w h ic h w ill re q u ire a tte n tio n to p ro p e r su b d iv isio n. A s in g le m e a su re is in 4/1 tim e and b e ars d ie in d ic a tio n sen za m isu ra. A ll six tru m p e t p arts re q u ire th e a b ility to trip le-to n g u e, as d o th e flu te a n d p ic c o lo parts. T e n p e rc u ssio n p a rts are w ritte n d u rin g th e fin al v ariatio n. S ele c tiv e B ib lio g rap h y : T h e H a lse th d isse rta tio n cited b e lo w co n ta in s c o rre sp o n d e n c e c o n c e rn in g L a u d e b e tw e e n H a n so n an d F ra n k B en c risc u tto w h ic h in c lu d e s a m o re d etailed d e sc rip tio n o f th e th in k in g b e h in d th e p ie c e th a n is c o n ta in ed in th e sco re 's p ro g ra m n o te. D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n sem b le s. (B ro o k ly n : M a n h a tta n B e a c h, ), 3 6. G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "H o w a rd H a n so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin es, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, 1980),

196 187 H a lse th, R o b e rt E.P. "T h e Im p a c t o f th e C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n o n W in d B an d R ep e rto ire." D A d isse rta tio n, U n iv e rsity o f N o rth e rn C o lo ra d o, , , 156, Jo h n so n, B a rry W. "A n A n a ly tic a l S tu d y o f th e B a n d C o m p o sitio n s o f H o w a rd H a n so n." U n p u b lis h e d E d D d is se rta tio n, U n iv e rs ity o f H o u s to n, K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1 989), A S -6. P a y n te r, Jo h n. "N ew M u sic R e v ie w s," T he In s tr u m e n ta lis t, X X X I/1 (S e p te m b e r, ), 88. P e ro n e, Ja m e s E. H o w a r d H a n so n : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1993). S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S an D ie g o : K jo s W e s t, ), 103. W illia m s, D a v id R u ssell. C o n v e rsa tio n s w ith H o w a r d H a n so n. (A rk a d e lp h ia, A rk a n sa s: D e lta P u b lic a tio n s, 1988). S electiv e D isco g rap h y : C o llege B a n d D irecto rs N a tio n a l A sso c ia tio n C o n ven tio n. C a lifo rn ia S ta te U n iv e rs ity L o n g B e a c h S y m p h o n ic B a n d, L. C u rtis, G o ld e n C re st C B D N A M id w e s t N a tio n a l B a n d a n d O rch estra C linic. V a n d e rc o o k C o lle g e o f M u sic B a n d, V. Z a je c, G o ld e n C re s t M I D A m e r ic a n B a n d m a s te rs A sso c ia tio n C o n ven tio n. U n iv e rsity o f F lo rid a S y m p h o n ic B a n d, G. W ith e rs p o o n, G o ld e n C re st A B A A m e ric a n B a n d m a ste rs A sso c ia tio n C o n ven tio n. U n ite d S tates A ir F o rc e B a n d, R. S tra n g e, G o ld e n C re s t A B A E m b lem s. U n ite d S ta te s A ir F o rc e A ir C o m b a t C o m m a n d H e rita g e o f A m e ric a B a n d, L. G ra h a m, In C o n c e r t w ith the U n iv e rsity o f Illin o is S y m p h o n ic B a n d II. U n iv e rsity o f Illin o is S y m p h o n ic B a n d II, T. H a rris. R e c o rd # 9 7.

197 188 Fanfare and Chorale from "Laude" P rem iere: F e b ru a ry 2 0, 1976 C in c in n a ti S y m p h o n y O rc h estra T h o m a s S c h ip p e rs, c o n d u c to r C in c in n ati, O h io In stru m en tatio n : 2, p ic. 2, e h. 3.2, c b n./ ; t, P (3 ) P u b lish er/d ate: C a rl F isc h e r, 1976 (C F 1824) A vailability: S core: rental fu ll, tra n sp o se d L ev el o f d ifficu lty : G ra d e 5 D uration: c. 5 '4 5 C o m m issio n : P ro g ram N o te: P erfo rm a n ce C o m m entary : C in c in n a ti S y m p h o n y O rc h estra, in h o n o r o f th e B ic en te n n ia l o f th e U n ite d S tates n o n e T h is w o rk is an in te re stin g p ro je c t in e x tra ctio n. T o fu lfill th e c o m m issio n fro m th e C in c in n a ti S y m p h o n y O rc h estra, H a n so n tu rn e d to h is b a n d w o rk, L a u d e, p re m ie re d a y e a r e a rlie r. H e re sco re d sectio n s o f it fo r an o rc h e stra l w in d a n d p e rc u ssio n sectio n an d gave it a re la te d title. In th e p ro c e ss, h e n a tu ra lly h a d to d o a b it o f a d ju stin g in th e a ssig n m e n t o f p a rts, a n d in e d itin g d y n a m ic s a n d a rtic u la tio n s. T h is w o rk o b v io u sly is b a se d u p o n th e o ld S w e d ish h y m n tu n e, A l l the W o rld P r a is e s th e L o rd, as w a s L a u d e. H a n so n b e g in s a t w h a t is th e fifth m e a su re o f th e o rig in a l b a n d w o rk, an d p re sen ts th e fu ll th e m e as it is sta te d in th e o rig in al. H a n so n o m its V a ria tio n s 1 a n d 2, a n d c o n tin u e s o n startin g w ith th e se n za m isu ra b a r w h ic h le a d s in to V a ria tio n 3. H e re ta in s th e e n tire th ird and fo u rth v a ria tio n s, as w e ll as th e b e g in n in g a n d e n d in g o f V a ria tio n 5, c u ttin g fro m n u m b e r 16 in th e o rig in al to th e p o c o a lla rg a n d o six b ars b e fo re n u m b e r 18. H e sk ip s o v e r V a ria tio n 6 and u ses th e b e g in n in g and e n d in g o f th e sev e n th v a ria tio n, o m ittin g th e m u sic fro m n u m b e r 2 2 to n u m b e r 2 6 o f th e o rig in al. C o n su ltin g th e above in fo rm a tio n w ith a sco re to th e fu ll b an d w o rk in h a n d w ill g iv e th e re a d e r a v e ry a ccu ra te a sse sm e n t o f w h a t F a n fa re a n d C h o ra le h as to o ffer.

198 189 S ele c tiv e B ib lio g rap h y : G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "H o w a rd H a n so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), P e ro n e, Ja m e s E. H o w a r d H a n so n : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1993). \ R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le c te d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d, ), 148. S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S an D ie g o : K jo s W e s t, ), 103. W illia m s, D a v id R u sse ll. C o n v e rsa tio n s w ith H o w a r d H a n so n. (A rk a d e lp h ia, A rk a n sa s: D e lta P u b lic a tio n s, 1988). S e lectiv e D isco g rap h y : T w e n ty F a n fa re s f o r the C o m m o n M a n. T h e L o n d o n P h ilh a rm o n ic O rc h e stra, J. M e ste r, K o c h In te rn a tio n a l. D D D H I. S y m p h o n y N o. 7 " A S e a S y m p h o n y " 1. L a rg a m e n te m a e sto so 2. T h e U n to ld W a n t 3. Jo y! S h ip m a te Jo y! P rem iere: b a n d v ersio n : in fo rm a tio n u n availab le [tra n scrib e d b y H a n so n fo r c h o ru s a n d w in d e n se m b le in 1977] o rc h e stra v ersion: A u g u s t 7, 1977 W o rld Y o u th S y m p h o n y O rch estra N a tio n a l M u sic C a m p H ig h S c h o o l C h o ir H o w a rd H a n so n, c o n d u c to r N a tio n a l M u sic C a m p In terlo ch en In stru m en tatio n : c o n c e rt b and; S A T B c h o ru s p n o, h p P u b lish er/d ate: C a rl F isch e r, 1977 A v ailability: S co re: rental fu ll, tra n sp o se d

199 190 L ev el o f d ifficulty: G ra d e 6 -/5 + D uratio n : c. 1 7 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : D e d icate d to th e N a tio n a l M u sic C a m p a t In te rlo ch e n on its 5 0 th A n n iv e rs a ry and in m e m o ry o f J o s e p h M a d d y, its fo u n d e r. n o n e T h is w o rk is la rg e ly sim ila r in s e n tim e n t a n d m u sic al d e liv e ry to H a n so n 's S o n g o f D e m o c r a c y o f tw e n ty y e a rs e a rlie r, w h ic h a lso in c o rp o ra te s a te x t b y W a lt W h itm a n. It's p rin c ip a l c h allen g e s in clu d e a c h iev in g p ro p e r b a la n ce b e tw e e n th e c h o ra l fo rc e s an d in s tru m e n ta lis ts and H a n so n 's u se o f o c ta to n ic and six -to n e scale s, w h ic h in v o lv e m a n y accid e n ta ls and a v ariety o f d e m a n d in g to n a l cen ters. O stin ato p a tte rn s a re a n im p o rta n t e le m e n t in th e w o rk, as are th e m a n y in sta n c e s o f th in ly te x tu re d m u sic, w h ic h s e rv e to c o n tra st d e n se ly sco red c lim actic m o m e n ts. T h e c h o ra l p a rts a re freq u e n tly a n d e ffe c tiv e ly cro ss-c u e d a n d su p p o rte d b y th e w in d s. C h o ru s m e m b e rs w ill n e e d to n e g o tia te v e ry ch ro m a tic m elism atic lin e s in q u ic k 16th n o tes. A v e ry la rg e c h o ru s is re q u ire d fo r p ro p e r b alan ce. H a n so n 's su b titlin g o f th e w o rk fo r "ch o ru s a n d w in d e n se m b le " w o u ld seem to in d ic a te h is d e sire to h a v e o n e p la y e r p e r part. S e lectiv e B ib lio g raphy: T h e e u p h o n iu m p a rts e m p lo y te n o r c le f a n d a 4 -v a lv e in stru m e n t is n e e d e d in o rd e r to p la y th e lo w E ^ b e lo w th e staff. T h e p e rc u ssio n w ritin g is m o d e ra te ly c h a llen g in g. In th e fin a l m o v e m e n t, th e p icco lo, flu te 1 a n d flu te 2 p arts e n c o u n te r fig u re s w h ic h re q u ire e n tra n c e s o n th e ir h ig h B. A ll o f th e u p p e r w o o d w in d s h a v e to p la y v e ry ra p id 3 2 n d n o te a rp e g g io s w h ic h are slu rred. T h e tru m p e t 1 p a rt re m a in s in th e u p p e r ra n g e fo r a c h a lle n g in g le n g th o f tim e d u rin g th e la st m o v e m e n t. G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "H o w a rd H a n so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), Jo h n so n, B a rry W. "A n A n a ly tic a l S tu d y o f th e B a n d C o m p o sitio n s o f H o w a rd H a n so n." U n p u b lis h e d E d D d is se rta tio n, U n iv e rs ity o f H o u s to n, 1986.

200 191 P e ro n e, Ja m e s E. H o w a r d H a n s o n : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1993). S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ieg o : K jo s W e s t, ), 103. W illia m s, D a v id R u ssell. C o n v e rsa tio n s w ith H o w a r d H a n so n. (A rk a d e lp h ia, A rk a n sa s: D e lta P u b lic a tio n s, 1988). S e lectiv e D isco g rap h y : H o w a r d H a n so n : S y m p h o n y N o. 7 "A S e a S y m p h o n y." S e a ttle S y m p h o n y O rc h e s tra a n d C h o ru s, G. S c h w a rz, D e lo s D E [o rc h e stra v e rsio n ] W o r ld Y o u th S y m p h o n y O rc h e stra, N a tio n a l M u s ic C a m p H ig h S c h o o l C h o ir, H. H a n so n, c S ilv e r C re s t N M C ; re issu e d in 1989 as B ay C itie s B C D , [o rc h e stra v e rsio n ] V a r ia tio n s o n a n A n c i e n t H y m n P rem iere: In stru m entatio n : in fo rm a tio n u n availab le c o n c e rt b and s in g le fl, o b, b n, 2 h n P u b lish er/d ate: C a rl F isch e r, 1977 A vailability: S co re: in p rin t fu ll, tra n sp o se d c o n d e n s e d, sco re in C L ev el o f d ifficulty: G ra d e 3 D uration: c. 3 '0 0 C o m m issio n : C a rl F is c h e r, In c. "A C o m m issio n e d C o n te m p o ra ry W o rk fo r B an d " P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : in c lu d e d in sco re T h is w o rk c o n sists p rim arily o f a s e t o f rh y th m ic v a ria tio n s o n an e a rly A m e ric a n h y m n -tu n e (u n id e n tifie d in th e sco re n ote). A lth o u g h w ritten at a m o d e ra te te m p o w h ic h is m a in ta in e d th ro u g h o u t th e p iece, p la y e rs w ill b e c h allen g e d b y th e 5 /4 an d 6 /4 tim e sig n atu re s, as w e ll as th e to n a l c e n te rs e n c o u n te re d, w h ic h in c lu d e A m a jo r, a m in o r an d C m ajo r. T h e s m a lle st rh y th m ic d iv isio n is th e e ig h th note.

201 192 S e lectiv e B ib lio g rap h y : D e m a n d s a re m a d e o n th e b a n d to p la y w ith a fu ll, su sta in e d to n e in a ly ric a l sty le th ro u g h o u t th e p ie c e w ith a fe w in sta n c e s o f a ritc u la te d fa n fa re fig u res. T h e w o rk is d e cep tiv e ly ta x in g o n th e e n d u ra n c e o f y o u n g e r p la y e rs an d w ill also re q u ire a le v e l o f m u sic al m a tu rity b ey o n d w h a t its sim p le n o ta tio n m a y seem to in dicate. T h e e a rly v a ria tio n s, w h ic h fe a tu re th e w o o d w in d s, e x ist o v e r h a rm o n ic a lly static o stin a to fig u re s a n d p e d a l p o in ts in m ix e d m e te r settin g s. T h e fin a l sta te m e n t is stro n g ly stated in c o m m o n tim e w ith th e h y m n sc o re d fo r th e fu ll b a n d o v e r a m u c h m o re a c tiv e b asslin e. T h e w o rk e n d s m a je stic a lly w ith a lo n g in to n a tio n o f C m a jo r c h o rd s in th e ty p ic a l H a n so n m a n n e r. G le a so n, H a ro ld, a n d W a rre n B e c k e r. " H o w a rd H a n so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin es, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), Jo h n so n, B a rry W. "A n A n a ly tic a l S tu d y o f th e B a n d C o m p o sitio n s o f H o w a rd H a n so n." U n p u b lis h e d E d D d isse rta tio n, U n iv e rs ity o f H o u s to n, P e ro n e, Ja m e s E. H o w a r d H a n so n : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1993). S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S an D ie g o : K jo s W e s t, ), 103. W illia m s, D a v id R u sse ll. C o n v e rsa tio n s w ith H o w a r d H a n so n. (A rk a d e lp h ia, A rk a n sa s: D e lta P u b lic a tio n s, 1988). S electiv e D isco g rap h y : n o n e a v ailab le John Harbison M usic fo r Eighteen Winds P rem iere: A p ril 18, 1986 M IT P lay ers Jo h n H a rb is o n, c o n d u c to r C a m b rid g e, M a ssa c h u se tts In stru m entatio n : 2 (p ic ) (c b n ).a s x./4.2 (in C ).2 ( b tr b ).l.

202 193 P u b lish er/d ate: A vailability: S core: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1988 (A M P ) rental sco re availab le fo r p u rc h a se fu ll, tra n sp o se d L evel o f difficu lty : G ra d e 6 D uration: c. 1 0 '3 0 C o m m issio n : P ro g ram N o te: P erfo rm a n ce C o m m en tary : C o u n c il fo r th e A rts a t M a ssa c h u se tts In stitu te o f T e c h n o lo g y n o n e T h is w o rk w as ch o se n to re p re se n t th e U n ite d S ta te s in th e 1987 In te rn a tio n a l R o stru m o f C o m p o se rs in P a ris. M u s ic f o r E ig h te e n W in d s in is tw o la rg e sectio n s. T h e first is d e liv e re d in a t a v ery b risk te m p o and is in th re e p a rts (A B A 1). T h e m u sic is p ro p e lle d fo rw a rd th ro u g h th e u s e o f sy n c o p a tio n, w ith s fo rza n d i e ffe c ts h ig h lig h tin g m a n y o f th e u p b e ats. T h is m u sic is rh y th m ic a lly c o m p le x, a n d th e se d e m a n d s are h e ig h te n e d b y th e ra p id tem p o. T ig h t clu sters a n d th e u se o f tim b ra l m o d u la tio n c re a te in terest, as d o th e m a n y u p w a rd risin g scale s p itte d a g a in st b itin g, su sta in e d d isso n an ces. G re a t te c h n ical a g ility is re q u ire d o f th e c la rin e ts, b a sso o n s, a lto s a x o p h o n e and h o rn s, as th e y n e g o tia te q u ic k p a ssa g e s w h ich are a t tim e s a b it aw k w ard. T h is first sectio n o f th e w o rk is g e n e ra lly m a rk e d fo r te o r stro n g e r a n d in v o lv e s a fa ir a m o u n t o f tu tti p la y in g. S e lectiv e B ib lio g rap h y : T h e seco n d s e c tio n is m a rk e d m e n o m o sso and h e re th e e n e rg y slo w ly d issip a te s as th e w o rk c o m e s to its c o n c lu sio n. T h e m u sic is a s e rie s o f c h a m b e r m o m e n ts fo r v a rio u s in stru m e n ta l c o m b in a tio n s fu n c tio n in g as trio s, q u a rte ts, an d q u in te ts. T h e alto sax o p h o n e h a s an e x te n d e d so lo lin e in th is sectio n. A free sen se o f to n a lity a n c h o rs th e w o rk. O n e h e a rs e le m e n ts o f a c h o ra le, a m a rc h and a w a ltz, as w e ll as o b v io u s ja z z an d ro c k in flu en c e s in th e m e lo d ic, h a rm o n ic a n d rh y th m ic w ritin g. B o n u s-s m it, B a rb a ra. "Jo h n H a rb iso n : H is L ife, W o rk s and a n A n a ly sis and P e rfo rm a n c e G u id e o f S e le c ted W o rk s W h ic h U tiliz e P ian o." U n p u b lis h e d P h D d isse ra tio n, N e w Y o rk U n iv e rsity.

203 194 C o n d a ris, C h ristin e. "M u sic R e v ie w s: M u s ic f o r E ig h te e n W in d s," M L A N o te s, X L V I1 /3 (M a rc h, ), H a rb is o n, Jo h n. "S ix T a n g le w o o d T a lk s," P e r s p e c tiv e s o n N e w M u sic, X X III/2 (s p rin g /s u m m e r, ), , a n d X X IV /l(fa ll/w in te r, ), S p itta l, R o b e rt. "T h re e C ity B locks'. A W o rk fo r S y m p h o n ic W in d E n s e m b le b y Jo h n H a rb iso n." U n p u b lis h e d D M A d isse rta tio n, U n iv e rs ity o f C in c in n a ti, St. G e o rg e, D a v id. J o h n H a rb iso n. (N e w Y o rk : A sso c ia te d M u sic P u b lis h e rs, ). T e rry, K en. "Jo h n H a rb is o n," B M I M u s ic W o r ld (s u m m e r, ), W a lsh, M. " C o m p o se r w ith a H o t H a n d," T im e, C X V III/8 ( ), 64. S electiv e D isco g rap h y : T he B a y lo r U n iv e rsity W in d E n se m b le. T h e B a y lo r U n iv e rsity W in d E n s e m b le, M. H a ith c o c k, M ark C u sto m R e c o rd in g s. C B D N A 8 9 M C - 8. C o lg ra ss, H a rb iso n. N e w E n g la n d C o n se rv a to ry o f M u sic W in d E n se m b le, F. B a ttisti, fa ll, C e n ta u r, [n o c a ta lo g n u m b e r a ssig n e d at th is tim e] L a w ren c e U n iv ersity W in d E n sem b le. L a w re n c e U n iv e rsity W in d E n s e m b le, R. L e v y, M a rk C u sto m R e c o rd in g s M C C Three City Blocks 1. Fervent and resolute 2. Tough, driving 3. With relentless energy P rem iere: A u g u st 2, 1993 T h e U n ite d S tates A ir F o rce B an d L t. C o l. A la n B o n n e r, c o n d u c to r H ilto n H o te l C o n v e n tio n C e n te r F o rt S m ith A rk a n sa s In stru m entatio n : 4 (2 p ic ).2.4, 2 E ^ c l, 2 b c l (B B ^ c b c l).2 (c b n ).2 a sx, 2 ts x./ e u p h.2.; 2 d b ; p (5 ); p n o, h p P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1995 (A M P )

204 195 A vailability: S co re: rental sco re availab le fo r p u rch ase fu ll, tra n s p o se d L ev el o f d ifficulty: G ra d e 6 D uration: c. 1 5 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : Jo in tly c o m m is sio n e d by th e w in d e n se m b le s o f th e N e w E n g la n d C o n se rv a to ry, th e U n iv e rsity o f C in c in n a ti, F lo rid a S ta te U n iv e rsity, T h e O h io S ta te U n iv e rsity, th e U n iv e rsity o f M ic h ig a n, th e U n iv e rsity o f S o u th e rn C a lifo rn ia, a n d T h e U n ite d S ta te s A ir F o rce B an d in c lu d e d in sco re D e stin e d to b e c o m e o n e o f the m a jo r c o n trib u tio n s to the b an d re p e rto ry fro m th e fin al d e cad e s o f th e tw e n tie th c e n tu ry, T h ree C ity B lo cks h as re c e iv e d b o th critical a ccla im an d g e n eral a u d ie n ce accep tan ce. It is a self-p ro c la im e d m u sic a l s ta te m e n t w h ich deals w ith th e p h ilo so p h ic a l issu e o f c h a n g e in A m e ric a fro m th e ru ra l m y th to an u rb a n m y th. T h e first m o v e m e n t co n ta in s a p re p o n d e ra n c e o f q u a rte r n o te trip lets w h ic h te n d to d isg u ise th e u n d e rly in g q u a rte r n o te p u lse. T h e u n a b a sh e d ly stro n g ja z z a n d ro c k in flu e n c e s are re a d ily a p p a re n t a n d g iv e the m u sic a n a g g re ssiv e sen se. A re c u rrin g c o m p o sitio n a l d ev ice is an e x te n d e d q u ic k p a ssa g e in ru n n in g e ig h th n o te s fo u n d w ith in th e c la rin e t, s a x o p h o n e, tru m p e t, h o rn and tro m b o n e se c tio n s w h ic h is h a rm o n iz e d w ith tig h t, 4 v o ice c h o rd s. T h e se c o n d m o v e m e n t p resen ts an e n sem b le c h a lle n g e rh y th m ically w ith its sy n c o p a te d d e liv e ry an d e m p h a sis o n u p b e a t en tra n ces. T h e b a ss c la rin e t, tru m p e t 1, h o rn 1, h o rn 3 a n d tro m b o n e 1 p a rts c o n ta in m u sic re q u irin g a v e ry s e c u re u p p e r re g iste r. T h e flu te s, c la rin e t, c la rin e ts and o b o e s are a sk e d to flu tte r to n g u e. T h e m o v e m e n t e n d s w ith a c le v e r p e rc u ssio n sectio n s ta te m e n t o f th e p rin cip al th e m e, le a d in g to th e d e cay in g so u n d o f a rain m a c h in e (o ften p e rfo rm e d w ith a p a ir o f ra in stic k s). T h e last m o v e m e n t fe a tu re s a v irtu o sic d isp la y fo r th e tru m p e t q u a rte t a n d an im p o rta n t ro c k a n d ro ll p ia n o part. T h e tru m p e t an d tro m b o n e sectio n s n e ed p lu n g e r m u tes. T h e d e m a n d s o f th e e n tire w o rk re q u ire a d v an ced p la y e rs w ith g o o d e n d u ra n ce and te c h n ic a l ab ility, as w e ll as a s tro n g rh y th m ic sen se. M u sic a l e x p ecta tio n s, set up at th e b e g in n in g o f each m o v e m e n t, d e v ia te th ro u g h o u t th e c o u rs e o f th e ir jo u rn e y,

205 196 S ele c tiv e B ib lio g raphy: o n ly to a rriv e at u n e x p e c te d c o n c lu sio n s. H a rb is o n w ro te in a G. S c h irm e r p re ss re le a se d a te d Ju n e, 1993: "E ach b lo c k starts b ra v e ly a n d b u o y a n tly o n ly to e n d so m e w h e re e lse. Is th e e n d o f th e first o n e sin ister, o r d o e s it b rin g lib e ra tin g D io n y sian im p u lse s? D o e s th e se c o n d d isso lv e in to d a rk n e ss o r h e a lin g rain? Is th e A m e n th a t en d s th e fin a le ra g e o r h o p e?" B o n u s-s m it, B a rb a ra. "Jo h n H a rb iso n : H is L ife, W o rk s a n d a n A n a ly sis a n d P e rfo rm a n c e G u id e o f S e le c ted W o rk s W h ic h U tiliz e P ian o." U n p u b lis h e d P h D d is se ra tio n, N ew Y o rk U n iv e rs ity. D y e r, R ic h ard. "F ra n k B a ttisti d riv e s th e w in d -e n sem b le b a n d w a g o n," T he B o s to n S u n d a y G lo b e, O c to b e r 3, , B 2 2. H a rb iso n, Jo h n. "S ix T a n g le w o o d T a lk s," P e r s p e c tiv e s o n N e w M u sic, X X III/2 (s p rin g /s u m m e r, ), , a n d X X IV /l(fa ll/w in te r, ), "L o v e ly a n d N a sty in B o sto n," W IN D S, IX /1 (s p rin g, ), 19. S p itta l, R o b e rt. "T h ree C ity B lo c k s : A W o rk fo r S y m p h o n ic W in d E n s e m b le b y Jo h n H a rb iso n." U n p u b lish e d D M A d is se rta tio n, U n iv e rsity o f C in c in n a ti, St. G e o rg e, D a v id. J o h n H a rb iso n. (N ew Y o rk : A sso c ia te d M u sic P u b lish e rs, 1 994). T e rry, K en. "Jo h n H a rb iso n," B M I M u s ic W o r ld (s u m m e r, ), W a lsh, M. " C o m p o se r w ith a H o t H an d," T im e, C X V III/8 ( ), 64. S electiv e D isco g rap h y : C o lg ra ss, H a rb iso n. N e w E n g la n d C o n se rv a to ry o f M u sic W in d E n se m b le, F. B a ttisti, fa ll, C en tau r, [n o c a ta lo g n u m b e r a ssig n e d at th is tim e] P a ra d ig m. C in c in n a ti C o lle g e -C o n se rv a to ry o f M u sic W in d S y m p h o n y, E. C o rp o ro n, K la v ie r K C D T h e W all. T h e U n ite d S ta te s A ir F o rc e B an d, A. B o n n e r, B O L C

206 197 Karel Husa Concertino f o r Piano and Wind Ensem ble P rem iere: b a n d v ersio n : J a n u a ry 2 8, 1984 G a ry W o lf, p ia n o U n iv e rsity o f C e n tra l F lo rid a W in d E n se m b le K a rel H u sa, c o n d u c to r C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n /N a tio n a l B an d A sso c ia tio n C o m b in e d C o n v en tio n O rla n d o, F lo rid a [tra n sc rib e d b y H u sa fo r p ia n o a n d w in d e n se m b le in 1983) o rc h e stra v ersio n : rev isio n o f 1949 C o n certin o f o r P ia n o a n d O rchestra J u n e 6, 1952 H e le n e B o sc h i, p ia n o B elg ian R ad io an d T e le v isio n O rc h estra D a n iel S te m fe ld, c o n d u c to r B ru sse ls, B e lg iu m In stru m en tatio n : p n o ; w in d en se m b le P u b lish er/d ate: S c h o tt, n o d a te ( ) A vailability: S co re: ren tal [b an d v ersio n : M u sic A sso c ia tes o f A m erica] fu ll, tra n sp o se d L ev el o f difficulty : G ra d e 6 /6 - D uration: c. 1 6 '0 0 C o m m issio n : B an d versio n : U n iv e rsity o f C en tra l F lo rid a D e p a rtm e n t o f M u sic Je rry G a rd n e r, D ire c to r P ro g ra m N o te: P e rfo rm a n ce C o m m entary : n o n e A sk e d to w rite a w o rk fo r so lo p ia n o a n d b a n d, a n d a lre a d y h a v in g o th e r c o m m issio n s p e n d in g, H u s a tu rn e d to an e a rlie r w o rk, h is C o n certin o f o r P ia n o a n d O rc h e stra to h o n o r th e re q u e st. H e h ad p re v io u sly m a d e n o ta tio n s in h is sco re a b o u t th e su b stitu tio n s w h ich w o u ld b e re q u ire d to re v is e th e w o rk fo r b an d. T h e w o rk sh o u ld p ro v e in te re stin g to a n y o n e w h o k n o w s H u sa 's o th e r b a n d w o rk s b e c a u s e it d is p la y s h is e a rly sty le,

207 198 S e lectiv e B ib lio g rap h y : w h ic h h ad n a tu ra lly e v o lv e d d u rin g th e fifte e n y e a rs w h ic h p a sse d b e fo re h e w ro te h is C o n c e rto f o r A lto S a x o p h o n e a n d B a n d in T h e C o n certin o is w ritten in a c h ro m a tic, to n a l la n g u a g e, u n lik e h is la te r w o rk s w h ic h in c o rp o ra te e le m e n ts o f seria lism, so u n d m a ss, a n d a le a to ry. T h e w o rk fo llo w s a c la ssic fo rm a l stru c tu re. T h e first m o v e m e n t's p rin c ip a l rh y th m ic m o tif is a th re e -n o te fig u re in e ig h th n o tes w h ic h fre q u e n tly e x te n d s a cro ss th e b a rlin e. T h e p ia n o d o m in a te s th e se c o n d m o v e m e n t, su p p o rte d b y a th in ly - sco red accom p a n im e n t, w h ile p ro v id in g a ly ric a l c o n tra st to th e first m o v e m e n t's rh y th m ic e n e rg y. T h e la s t m o v e m e n t seem s to g a th e r m o m e n tu m th ro u g h o u t its d u ra tio n, an d e n d s in a w h irlin g flo u rish. A s in any w o rk th a t fe a tu re s s o lo p ia n o w ith a w in d e n se m b le, b a la n c e w ill o b v io u sly b e a p rim a ry c o n c e rn, e v en th o u g h H u sa h a s ta k e n g re a t c a re to n o t o v e r-o rc h e stra te th e w o rk. E x te n d e d so lo s a re fo u n d in th e flu te 1, o b o e 1, b a sso o n 1, a n d tru m p e t 1 p arts. B a ttisti, F ran k. "K arel H u sa K e e p in g T ies w ith T ra d itio n," T he In s tr u m e n ta lis t, L X V /1 2 (Ju ly, 1990), , 42. D u ff, Jo h n A. "T h re e W o rk s o f K a rel H u sa: A n A n a ly tic a l S tu d y o f F o rm, C o n te n t a n d S tyle." U n p u b lish e d P h D d isse rta tio n, M ic h ig a n S ta te U n iv e rs ity, H a ith c o c k, M ic h a e l L. "K a re l H u sa T a lk s A b o u t C o m p o sin g," T h e In s tr u m e n ta list, X X X V I/9 (A p ril, ), H a rtz ell, L a w re n c e W. "K arel H u sa, th e M an a n d th e M u sic," M u s ic a l Q u a rte rly, L X II/1 ( ), H e g v ik, A rth u r. "K arel H u sa T a lk s A b o u t H is L ife and H is W o rk," T he In s tr u m e n ta list, X X IX /5 (M a y, 1975), H itc h e n s, S u sa n H. K a r e l H u sa : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1991). H o rw o o d, W a lly. "T h e R e c o rd e d M u sic o f K a re l H u sa," W IN D S, V m /1 (s p rin g, ), 5-6. H u sa, K a re l. (N e w Y o rk : B ro a d c a s t M u sic, In c. 1977). M c L a u rin, D o n a ld. "K arel H u sa 's C o n trib u tio n to th e W in d B an d," C o llege B a n d D irecto rs N a tio n a l A sso c ia tio n Jo u rn a l, IV /1 (s u m m e r, 1987),

208 199. "T h e L ife a n d W o rk s o f K a re l H u sa w ith a n E m p h a s is o n th e S ig n ific a n c e o f H is C o n trib u tio n s to th e W in d B an d." U n p u b lish e d P h D d is se rta tio n, F lo rid a S ta te U n iv e rsity, N e id ig, K e n n e th. "A C o n v e rsa tio n w ith K a re l H u sa," B D G u id e, V II/1 (S e p te m b e r/o c to b e r, ), 2-8. N e lso n, Ju d y R. "K arel H u sa E c h o in g M a n k in d T h ro u g h M u sic," T he In s tr u m e n ta list, X L II/3 (O c to b e r, 1987), N o tt, M ic h a e l. K a r e l H u sa. (N e w Y o rk : G. S c h irm e r, 1990, re v ised, ). P h ilip s, H a rv e y. " M u sic ia n fro m P rag u e," T h e In stru m e n ta list, X L V II/2 (S e p te m b e r, ), S u m m ers, C. O land. "T h e D e v e lo p m e n t o f O rig in a l B a n d S c o rin g fro m S o u sa to H u sa." U n p u b lish e d D A d isse rta tio n, B a ll S ta te U n iv e rs ity, S electiv e D isco g rap h y : n o n e av ailab le F e s tiv e O d e P rem iere: O c to b e r 9, C o rn e ll U n iv e rsity C h o ru s an d G le e C lu b C o rn e ll U n iv e rsity B an d C o rn e ll S y m p h o n y O rc h estra T h o m a s S o k o l, c o n d u c to r B arto n H all C o rn e ll U n iv e rsity Ith a c a, N e w Y o rk b a n d an d ch o ru s v e rsio n : S e p te m b e r 20, 1969 C a lifo rn ia S tate C o llege In stru m entatio n : c o n c e rt b a n d ; S A T B c h o ru s P u b lish er/d ate: H ig h g a te P re ss/e. C. S c h irm e r, 1969 ( ) A vailability: S core: rental fu ll, tra n sp o se d (o rc h e stra l sco re o n ly w h ic h c o n ta in s a n n o ta tio n s fo r u s e w ith c o n c e rt b an d ) L evel o f difficu lty : G ra d e 4 +

209 2 0 0 D uratio n : c. 4 '0 0 C o m m issio n : P ro g ra m N o te: C o rn e ll U n iv e rsity C en ten n ia l C o n v o c a tio n in c lu d e d in sco re P e rfo rm a n c e C o m m entary : T h is is a v e ry c o n se rv a tiv e w o rk m u s ic a lly fo r K a re l H u sa, th e re s u lt o f try in g to c o m p o se an o c c a sio n a l w o rk th a t w o u ld be e ffe c tiv e in v e ry la rg e h a lls. In th e v e rsio n fo r b a n d H u sa a ssig n e d th e strin g p a rts to th e w o o d w in d s (re ta in in g th e strin g b a ss part). T h e b ra ss and p e rc u ssio n e sse n tia lly re m a in th e sam e (b a rito n es d o u b le the tro m b o n e s), w ith a fe w m in o r a d ju stm e n ts in th e fin a l th irte e n m e a su re s. S e lectiv e B ib lio g raphy: T e c h n ic a l d e m a n d s in c lu d e th e in to n a tio n a l ch allen g e th a t c o m e s w ith a la rg e a m o u n t o f u n iso n p la y in g a n d th e to n a l c e n te rs o f A a n d B m a jo r, as w e ll as 3 2 n d n o te fig u re s (d u p le an d trip le) in n e a rly all in stru m e n ta l p arts. T h e c h o ru s p a rt is d e clam a to ry in n a tu re a n d also is c o m p rise d o f u n iso n w ritin g fo r le n g th y s tre tc h e s a t a tim e. T h e alto and b a ss v o ic e p arts lies v e ry h ig h in th e ir tessitu ra. B a ttisti, F ran k. "K arel H u s a K e e p in g T ies w ith T ra d itio n," T he In s tr u m e n ta lis t, L X V /1 2 (Ju ly, 1990), , 42. D u ff, Jo h n A. "T h re e W o rk s o f K a rel H u sa: A n A n a ly tic a l S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d P h D d isse rta tio n, M ic h ig a n S tate U n iv e rs ity, H a ith c o c k, M ic h a e l L. "K arel H u sa T a lk s A b o u t C o m p o sin g," T h e In s tr u m e n ta list, X X X V I/9 (A p ril, ), H a rtz ell, L a w re n c e W. "K arel H u sa, th e M an a n d th e M u sic," M u s ic a l Q u a rte rly, L X II/1 ( ), H e g v ik, A rth u r. "K arel H u s a T a lk s A b o u t H is L ife a n d H is W o rk," T he In s tr u m e n ta lis t, X X IX /5 (M a y, 1975), H itc h e n s, S u sa n H. K a r e l H u sa : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1991). H o rw o o d, W a lly. "T h e R e c o rd e d M u sic o f K a re l H u sa," W IN D S, V m /1 (s p rin g, ), 5-6. H u sa, K a re l. (N e w Y o rk : B ro a d c a s t M u sic, In c. 1977).

210 201 M c L a u rin, D o n a ld. "K arel H u sa 's C o n trib u tio n to th e W in d B a n d," C o llege B a n d D irecto rs N a tio n a l A sso cia tio n J o u rn a l, IV /1 (s u m m e r, ), "T h e L ife a n d W o rk s o f K a re l H u sa w ith an E m p h a s is o n th e S ig n ific a n c e o f H is C o n trib u tio n s to th e W in d B a n d." U n p u b lish e d P h D d isse rta tio n, F lo rid a S ta te U n iv e rsity, N e id ig, K e n n eth. "A C o n v e rsa tio n w ith K a re l H u sa," BDGuide, V II/1 (S e p te m b e r/o c to b e r, ), 2-8. N e lso n, J u d y R. "K arel H u sa E c h o in g M a n k in d T h ro u g h M u sic," The In s tr u m e n ta list, X L II/3 (O c to b e r, 1987), N o tt, M ic h a e l. K a r e l H u sa. (N e w Y o rk : G. S c h irm e r, , re v is e d, ). P h ilip s, H a rv ey. "M u sic ia n fro m P rag u e," T he In s tr u m e n ta list, X L V II/2 (S e p te m b e r, ), S u m m e rs, C. O lan d. "T h e D e v e lo p m e n t o f O rig in a l B a n d S c o rin g fro m S o u sa to H u sa." U n p u b lis h e d D A d isse rta tio n, B a ll S ta te U n iv e rs ity, S electiv e D isco g rap h y : n o n e availab le Concerto f o r Alto Saxophone and Concert Band 1. Prologue 2. Ostinato 3. Epilogue P rem iere: M a rc h 17, 1968 S ig u rd R a sc h e r, a lto sax o p h o n e C o rn e ll U n iv e rsity W in d E n se m b le K a re l H u sa, c o n d u c to r Ith a c a, N e w Y o rk In stru m entatio n : asx; c o n c e rt b an d 2 p ic, E*3 cl o r E ^ fl, ssx, b ssx (ad lib ), 4 tp t, 2 trb, 2 b trb, 2 b ar, p n o P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, , rev A vailability: Score: in prin t fu ll, tra n sp o se d

211 202 L e v e l o f difficulty : G ra d e D uration: c. 1 8 '0 0 C o m m issio n : P ro g ra m N o te : P e rfo rm a n ce C o m m entary : C o rn e ll U n iv e rsity W in d E n sem b le M a u ric e S tith, c o n d u c to r [O rig in ally c o m m is sio n e d b y D o n a ld S in ta, p ro fe s so r o f alto s a x o p h o n e a t Ith a c a C o lle g e, and F ra n k B a ttisti, c o n d u c to r o f th e Ith a c a H ig h S c h o o l W in d E n sem b le. B o th m u sic ia n s le ft th e se te a c h in g p o sts a n d S tith a ssu m e d re s p o n sib ility fo r th e c o m m issio n a t C o rn e ll U n iv e rsity.] in c lu d e d in sco re H u sa 's first s e rio u s w o rk fo r w in d b a n d, th is co n c e rto c o n ta in s m u sic fo r th e a lto sa x o p h o n e w h ic h e x te n d s th e ra n g e o f its e x p re ssiv e c a p a b ilitie s, w h ile s u p p ly in g th e a c c o m p a n y in g e n se m b le w ith v e ry c h a lle n g in g m u sic o f its o w n. T h e o p e n in g slo w m o v e m e n t fe a tu re s th e so lo ist o n d eclam a to ry m a te ria ls in v o lv in g la rg e in te rv a llic leap s, a g ita te d rh y th m s, an d a v ery w id e ra n g e o f d y n a m ic e x p re ssio n. T h is m u sic e x ists o v e r a tra n s p a re n t b a c k g ro u n d p ro v id e d b y the m a lle t p e rc u ssio n a n d p ia n o (fo u r h a n d s), and s u p p le m e n te d w ith s o ft c h o rd s fro m th e c la rin e t a n d s a x o p h o n e sectio n s. A b rie f so lo c a d e n z a a p p ears to w a rd th e e n d o f th e m o v e m e n t, as o n e w o u ld e x p e c t in th is fo rm. T h e m o o d is p e n siv e a n d u n e a sy th ro u g h o u t a n d serv e s to set u p th e b u rs t o f e n e rg y fo u n d in th e su cceed in g m o v e m e n t. T h e O stin ato is in a m o d e ra te ly q u ic k te m p o a n d c o n ta in s p o ly m e tric m o m e n ts w h e n so m e p la y e rs are in 6/8 w h ile o th e r a re in 2 /4. A c risp, b itin g, sy n c o p a te d in tro d u c tio n b y all o f th e w in d s le a d s to a sectio n o f p e rc u ssio n in te rp la y in 6/8, w h ic h is p u n c tu a te d b y b rie f fo r te w in d in te rje c tio n s. T h e m o v e m e n t g ro w s w ith an ev erin c re asin g d riv e to a c lim a c tic c o n clu sio n. A re tu rn to a s lo w e r te m p o and th in n e r tex tu re, sim ila r to th e o p e n in g o f th e w o rk, m a rk s th e fin a l m o v e m e n t. A fte r a s h o rt c a d e n z a w h ich cu lm in a te s in a v e ry stro n g clim a x, th e p ie c e e n d s v e ry q u ie tly. T h e so lo ist re q u ire s an a d v an c e d le v e l o f c o m m a n d o v e r th e in stru m e n t, as w e ll as c o n su m m a te m u sic ia n sh ip. F le x ib ility and secu rity in all ra n g e s and at all d y n a m ic le v e ls is d em a n d ed. T h e ra n g e e x te n d s fro m th e lo w B ^ to a h ig h B tw o o c ta v es above th e staff. T h e a b ility to g lissa n d o b e tw een p itc h e s is also n e cessa ry.

212 203 S ele c tiv e B ib lio g rap h y : T h e w o rk is rh y th m ic a lly v ery c h alle n g in g fo r all o f th e p la y e rs a n d w ill re q u ire c o n fid e n t in d e p e n d e n c e. In to n a tio n is tro u b le so m e a t tim e s d u e to tig h tly v o ic e d c h o rd c lu ste rs in th e h ig h ra n g e s o f th e u p p e r w o o d w in d s. T h e b ra ss w ill n e ed to be a b le to d o u b le to n g u e, th e strin g b a ss p la y e r is a sk e d to p erfo rm h a rm o n ic s, and th e p ia n ist p lu c k s die strin g s w ith fin g e rn a ils. T h e c h im e s a re situ a te d rig h t n e x t to th e o p e n p ia n o so th a t its so u n d w ill be su sta in e d s y m p a th e tic a lly b y th e p ian o. T h e analy se s b y D u ff, Im p o la a n d M o rto n c ite d b e lo w p ro v id e g re a te r in s ig h t in to th is w o rk. B a ttisti, F ran k. "K arel H u s a K e e p in g T ies w ith T ra d itio n," The In s tr u m e n ta lis t, L X V /1 2 (Ju ly, 1990), , 42. D u ff, Jo h n A. "T h re e W o rk s o f K a re l H u sa: A n A n a ly tic a l S tu d y o f F o rm, C o n te n t a n d S tyle." U n p u b lish e d P h D d isse rta tio n, M ic h ig a n S tate U n iv e rs ity, H a ith c o c k, M ic h a e l L. "K arel H u sa T a lk s A b o u t C o m p o sin g," T h e In s tr u m e n ta lis t, X X X V I/9 (A p ril, ), H a rtz ell, L a w re n c e W. "K arel H u sa, th e M an a n d th e M u sic," M u s ic a l Q u a rte rly, L X II/1 ( ), H e g v ik, A rth u r. "K arel H u s a T a lk s A b o u t H is L ife a n d H is W o rk," The In s tr u m e n ta lis t, X X IX /5 (M a y, 1975), H itc h e n s, S u sa n H. K a r e l H u sa : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1991). H o rw o o d, W a lly. "T h e R e c o rd e d M u sic o f K a re l H u sa," W IN D S, V III/1 (s p rin g, ), 5-6. H u sa, K a re l. (N e w Y o rk : B ro a d c a s t M u sic, In c. 1977). Im p o la, C ry sta l. "A n A n a ly sis o f C o n certo f o r A lto S a x o p h o n e a n d C o n c e rt B a n d by K a rel H u sa." U n p u b lish e d M A th e sis, E a ste rn M ic h ig a n U n iv e rsity, M c L a u rin, D o n a ld. "K arel H u sa 's C o n trib u tio n to th e W in d B an d," C o llege B a n d D irecto rs N a tio n a l A sso c ia tio n Jo u rn a l, IV /1 (s u m m e r, ), "T he L ife a n d W o rk s o f K a re l H u sa w ith an E m p h a s is o n th e S ig n ific a n c e o f H is C o n trib u tio n s to th e W in d B an d." U n p u b lish e d P h D d isse rta tio n, F lo rid a S ta te U n iv e rsity, 1985.

213 2 0 4 M o rto n, D e re k M. " K a re l H u sa," S a x o p h o n e J o u rn a l, X III, (S e p te m b e r/o c to b e r, 1 988), "K a re l H u s a 's C o n c e rto f o r A lto S a x o p h o n e : A n A n a ly sis," S a x o p h o n e J o u r n a l, IX /4, (W in te r, ), N e id ig, K e n n e th. "A C o n v e rsa tio n w ith K a rel H u sa," B D G u id e, V II/1 (S e p te m b e r/o c to b e r, 1992), 2-8. N e lso n, J u d y R. " K a re l H u sa E c h o in g M a n k in d T h ro u g h M u sic," T he In s tr u m e n ta lis t, X L II/3 (O c to b e r, 1987), N o rc ro ss, B rian. O n e B a n d T h a t T o o k a C h a n ce: T h e Ith a c a H ig h S c h o o l B a n d fr o m D ir e c te d b y F r a n k B a ttisti. (F t. L a u d e rd a le, F lo rid a : M e re d ith M u sic P u b lish e rs, ), N o tt, M ic h a e l. K a r e l H u sa. (N e w Y o rk : G. S c h irm e r, 1990, re v is e d, ). P h ilip s, H arv ey. " M u sic ia n fro m P rag u e," T he In stru m e n ta list, X L V II/2 (S e p te m b e r, ), R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C aro lin a : M c F a rla n d a n d C o m p a n y, ), 170. S u m m ers, C. O lan d. "T h e D e v e lo p m e n t o f O rig in a l B a n d S c o rin g fro m S o u sa to H u sa." U n p u b lish e d D A d isse rta tio n, B a ll S ta te U n iv e rs ity, S electiv e D isco g rap h y : 1971 C o lleg e B a n d D irecto rs N a tio n a l A sso c ia tio n C o n ven tio n. F. H e m k e, a lto sax o p h o n e, U n iv e rsity o f T e x a s S y m p h o n ic B a n d, W. M o o d y, G o ld e n C re st C B D N A T h e A m e r ic a n S a x o p h o n e. R.B la c k, a lto sax o p h o n e, P. B la c k, p ia n o, B re w ste r R e c o rd s B R [a rra n g e m e n t fo r alto sa x o p h o n e and pian o ] T he A u th e n tic a te d C o m p o se rs S e rie s: T h e C o m p o sitio n s o f K a r e l H u sa. J.F ro g e r, a lto sax o p h o n e, M ic h ig a n S ta te U n iv e rs ity S y m p h o n y B a n d, K. H u s a a n d S. D e R u s h a, G o ld e n C re s t R e c o rd s A T H C o n c e r t R e p e rto ire f o r S a x o p h o n e. F. H e m k e, a lto sax o p h o n e, M. G ra n g e r, p ia n o, B re w s te r R e c o rd s B R [a rra n g e m e n t fo r alto s a x o p h o n e a n d pian o ]

214 205 C o n c e rto f o r A lto S a x o p h o n e a n d B a n d. T. T im m o n s, a lto sax o p h o n e, Ith a c a C o lle g e B a n d, E. G o b re c h t, G o ld e n C re s t R e c o rd s C R S C o rn e ll U n iv e rs ity W in d E n se m b le "In C o n c e rt." S. R a s c h e r, alto s a x o p h o n e, C o rn e ll U n iv e rs o ty W in d E n s e m b le, M. S tith. C N - C.U.W.E Music fo r Prague Introduction and Fanfare 2. Aria 3. Interlude 4. Toccata and Chorale P rem iere: J a n u a ry 3 1, M u sic E d u c a to rs N a tio n a l C o n fe re n c e c o n v en tio n Ith a c a C o lle g e C o n c e rt B an d K e n n e th S n a p p, c o n d u c to r W a sh in g to n, D C "U n o fficial" P rem iere on cam p u s: D e c e m b e r 1 4, C o rn e ll U n iv e rsity Ith a c a, N e w Y o rk In stru m en tatio n : c o n c e rt b an d 2 p ic (fl), E E b c b c l a n d B B b c b cl ad lib,b ssx ; th e fo llo w in g in s tru m e n ts a re 2 -w a y div.: tp t 1, tp t 2, tp t 3, tp t 4, eu p h, tu; th e fo llo w in g in stru m e n ts are 3 -w a y d iv isi: fl 1, fl 2, B b cl l,b b cl2,b b cl3 P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1969 A vailability: S co re: in p rin t fu ll, tra n s p o se d L ev el o f difficulty: G ra d e 6 D uration: c. 1 9 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : Ith a c a C o lle g e B an d K e n n e th S n a p p, c o n d u c to r in c lu d e d in sco re A c o rn e rsto n e o f c o n te m p o ra ry b a n d re p e rto ire, H u sa 's M u sic f o r P ra g u e d e liv ers a d ra m a tic m e ssa g e w ith an

215 206 im p a c t e q u a le d b y v e ry few o th e r w o rk s. C o m m e n su ra te w ith its h ig h p la c e m e n t w ith in th e re p e rto ire is th e ex trem ely h ig h le v e l o f d e m a n d it p laces u p o n th e p e rfo rm e rs an d c o n d u c to r in te rm s o f m u sic ian sh ip a n d te c h n ic a l ability. A c ritic a l c o n c e rn fo r th e c o n d u c to r is th e c o n tro l o f tem p i th ro u g h o u t th e w o rk. T h e c o m p o sitio n 's fo rm a l stru c tu re s a n d e x p re ssiv e c o n te n t, as w ell as th e te c h n ic a l d e m a n d s m a d e o n th e p e rfo rm e rs, are all d e p e n d e n t o n m a in ta in in g p ro p e r te m p o ra l re la tio n sh ip s. O f a n e q u a l c o n c e rn is ach iev in g p ro p e r b a la n c e am o n g th e in stru m e n ta l c o n trib u tio n s in b o th th in ly sco re d se c tio n s a n d d e n se tu tti p a ssa g es. R e la te d to th is c o n cern fo r b a la n c e is th e su ccessfu l n e g o tia tio n o f th e m a n y in to n a tio n a l c h allen g e s fo u n d in th e s c o re, in c lu d in g n u m e ro u s e x p o s e d u n is o n s a n d o c ta v es, fre q u e n t m o m e n ts in v o lv in g p la y in g in th e h ig h te ssitu ra, a n d th e d em a n d in g c o m p le x ity o f d ie h arm o n ic and m e lo d ic m a te ria ls e m p lo y e d b y H u sa. T h e "A ria" fe a tu re s th e sa x o p h o n e a n d lo w w o o d w in d sectio n s o n a u n iso n th e m e (at tim e s in o c ta v e s) o f an u n c o m m o n ly c h a lle n g in g length. T h is m o v e m e n t re q u ire s g re a t c o n tro l o f th e b re a th, in to n a tio n, p h ra s in g a n d d y n a m ic s. T h e "In terlu d e" sp o tlig h ts d ie fiv e p e rc u ssio n ists as a so lo sectio n fo r n e a rly th re e m in u te s o f m u sic. B e g in n in g v e ry q u ie d y a n d a t a c h a lle n g in g slo w te m p o, th e m o v e m e n t is v e ry in tricate rh y th m ically, in v o lv in g sn are d ru m, v ib ra p h o n e a n d sets o f sm all, m e d iu m and larg e a n tiq u e c y m b a ls, trian g le s, s u sp e n d e d c y m b a ls a n d ta m tam s. A ll o f th e p e rc u ssio n w ritin g fo r fiv e p e rfo rm e rs is c o n ta in e d o n a sin g le part. A sn are c a d e n c e a t th e e n d o f th is m o v e m e n t b u ild s in in te n sity a n d c u lm in a te s in a d ru m ro ll w h ic h p ro d u c e s a so u n d (aid ed b y th e a d d itio n o f u p to th re e a d d itio n a l sn a re d ru m s) th a t is "n early u n b e a ra b le." T h is ' leads d ire c tly in to th e fran tic e n e rg y o f th e fin a l m o v em en t. In ad d itio n to th e a fo re m e n tio n e d e x p o se d m o m e n ts fo r th e p e rc u ssio n and lo w re e d sectio n s, im p o rta n t s o lo s are fo u n d in th e p ic c o lo, flu te 1, c la rin e t parts. c la rin e t 1, alto c la rin e t, and b a ss T h is is a seria lly d e riv e d w o rk, a lth o u g h H u s a d o e s n o t u se th e se te c h n iq u es in a rig id m an n er. O th e r c o m p o sitio n a l d e v ic es e n c o u n te re d in th e p iece in c lu d e w e d g e te chniq u e, a rtic u la te d so u n d m a sse s, re p e ate d p a tte rn s (a d lib ), c h o rd c lu sters, g lis sa n d i an d q u a si-g lissa n d i e ffe c ts, an d c o n tro lle d aleato ry. H u sa u tilizes th em atic s e g m e n ts o f a 15th c en tu ry H u ssite w a r so n g as a p rin c ip a l u n ify in g e le m e n t in th e w o rk. T h e "In terlu d e" is a w o n d e rfu lly in v e n tiv e p a lin d ro m e, d iv id in g a t its cen tral p o in t a n d in c o rp o ra tin g a ra th e r stric t re tro g ra d e in v e rsio n o f p itc h, rh y th m an d

216 207 S e lectiv e B ib lio g raphy: d y n a m ic s w ith in th e in n e r m e ta llic p e rc u ssio n p a rts. T h e sn a re p a rt lo o sely o b serv e s th is m irro rin g w h ile th e v ib ra p h o n e d o e s not. T h e h a rp a n d p ia n o p a rts w ritten b y H u s a fo r th e o rc h e stra v e rsio n a re a v a ila b le o n ren tal th ro u g h A sso c ia te d M u sic P u b lish e rs/g. S c h irm e r (H al L e o n a rd ) and are c le a re d b y the c o m p o se r fo r u s e w ith th e b a n d v e rs io n, if d e sired. Q u ite a b it o f sch o la rly atten tio n h as b e e n p a id to M u sic f o r P ra g u e C o n su ltin g th e a n a ly se s o f th is c o m p o sitio n b y A d a m s, D u ff, H u s a a n d S c a tte rd a y, a s w e ll as th e m a n y o th e r p e rtin e n t a rticles cited b e lo w w ill c erta in ly a id in the p re p a ra tio n o f th e w o rk fo r p e rfo rm a n c e. A d a m s, B y ro n. "K arel H u sa 's M u s ic f o r P ra g u e 1968: A n In te rp re tiv e A n a ly sis," T h e In s tr u m e n ta list, X L II/3 (O c to b e r, ), "K arel H u sa 's M u s ic f o r P ra g u e 1968: A n In te rp re tiv e A n a ly sis," C o n d u c to rs A n th o lo g y (N o rth fie ld, U llinois: T h e In s tru m e n ta list, ), B a ttisti, F ran k. "K arel H u s a K e e p in g T ie s w ith T ra d itio n," T h e In s tr u m e n ta lis t, L X V /1 2 (Ju ly, 1990), , 42. C a s e y, R o b e rt L. "S e ria l C o m p o sitio n in W o rk s fo r th e W in d B an d." U n p u b lis h e d E d D d is se rta tio n, W a sh in g to n U n iv e rs ity, D a v id so n, R ic h a rd C. "A n a ly sis o f G ro w th in K a re l H u sa 's M u s ic f o r P ra g u e " U n p u b lish e d M M th esis, N o rth T e x a s S ta te U n iv e rs ity, D u ff, Jo h n A. "T h re e W o rk s o f K a re l H u sa: A n A n a ly tic a l S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d P h D d isse rta tio n, M ic h ig a n S ta te U n iv e rs ity, D u ffy, T h o m a s. '"M u sin g s fo r P ra g u e, :' R e fle c tio n s o n F e b ru a ry 13, 1990," C o llege B a n d D irecto rs N a tio n a l A s s o c a tio n J o u rn a l, IX, (su m m e r/fa ll, 1 991) 1-3. H a ith c o c k, M ic h a e l L. "K arel H u sa T a lk s A b o u t C o m p o sin g," T h e In s tr u m e n ta list, X X X V 1/9 (A p ril, 1982), 2 2 v 2 5. H a rtz e ll, L a w re n c e W. "K arel H u sa, th e M an a n d th e M u sic," M u s ic a l Q u a rte rly, L X II/1 ( ), H e g v ik, A rth u r. "K arel H u s a T a lk s A b o u t H is L ife a n d H is W o rk," T he In s tr u m e n ta lis t, X X IX /5 (M a y, 1975),

217 208 H itc h e n s, S u sa n H. K a r e l H u sa : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1991). H o rw o o d, W a lly. "M u sic fo r P ra g u e ," W IN D S, V /2 (su m m e r, ), 38.. "T h e R e c o rd e d M u sic o f K a re l H u sa," W IN D S, V III/1 (sp rin g, ), 5-6. H u sa, K a re l. (N e w Y o rk : B ro a d c a s t M u sic, In c. 1977).. "M u sic f o r P ra g u e 1968," c ite d in D a v id W h itw e ll a n d A c to n O stlin g, Jr., T h e C o lle g e a n d U n iv ersity B a n d. (R e sto n, V irg in ia : M u sic E d u c a to rs N a tio n a l C o n fe re n c e, ), K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), A M c L a u rin, D o n a ld. "K arel H u sa 's C o n trib u tio n to th e W in d B an d," C o llege B a n d D irecto rs N a tio n a l A sso cia tio n J o u rn a l, IV /1 (s u m m e r, ), "T h e L ife a n d W o rk s o f K a re l H u sa w ith an E m p h a s is o n th e S ig n ific a n c e o f H is C o n trib u tio n s to th e W in d B a n d." U n p u b lish e d P h D d is se rta tio n, F lo rid a S ta te U n iv e rsity, N e id ig, K e n n e th. "A C o n v e rsa tio n w ith K a re l H u sa," B D G u id e, V U /1 (S e p te m b e r/o c to b e r, 1992), 2-8. N e lso n, Ju d y R. "K arel H u sa E c h o in g M a n k in d T h ro u g h M u sic," T he In s tr u m e n ta list, X L II/3 (O c to b e r, 1987), N o tt, M ic h a e l. K a r e l H u sa. (N e w Y o rk : G. S c h irm e r, , re v is e d, ). O 'N e a l, T h o m a s J. "T im b re as a C o m p o sitio n a l D e v ic e in S e le c te d B a n d R e p e rto ire S in c e 1950." U n p u b lish e d P h D d isse rta tio n, U n iv e rsity o f A riz o n a, P h ilip s, H a rv e y. "M u sic ia n fro m P rag u e," T he In stru m e n ta list, X L V II/2 (S e p te m b e r, ), R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C aro lin a : M c F a rla n d a n d C o m p a n y, ), 171. S c a tte rd a y, M ark. "K arel H u sa : M u s ic f o r P ra g u e A P e rfo rm a n c e G u id e," B D G u id e, V II/3 (Ja n u a ry /F e b ru a ry, ), S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ie g o : K jo s W e s t, ),

218 209 S u m m e rs, C. O lan d. "T h e D e v e lo p m e n t o f O rig in a l B a n d S c o rin g fro m S o u sa to H u sa." U n p u b lis h e d D A d isse rta tio n, B a ll S ta te U n iv e rs ity, S electiv e D iscograp h y : 1991 C o lleg e B a n d D irecto rs N a tio n a l A sso c ia tio n 5 0 th A n n iv e rsa ry C o n v e n tio n. S te p h e n F. A u stin U n iv e rs ity S y m p h o n ic B a n d, K. H u sa, M a rk C u sto m R e c o rd in g s M C D A p o th e o s is o f th is E a rth - M u s ic f o r P ra g u e. U n iv e rsity o f M ich ig a n S y m p h o n y B a n d, K. H u sa, G o ld e n C re s t R e c o rd s C R S C o rn e ll U n iv e rsity W in d E n sem b le "In C o n c e r t." C o rn e ll U n iv e rsity W in d E n s e m b le, K. H u sa. C. U. W. E E a s tm a n W in d E n s e m b le w ith W y n to n M a rsa lis. W. M a rsa lis, c o m e t, E a s tm a n W in d E n s e m b le, D. H u n sb e rg e r, C B S M a s te rw o rk s M K E d u c a tio n a l R e fe ren c e R e c o rd in g L ib ra ry 3 6 U n iv e rsity o f T e x a s W in d S y m p h o n y, W. M o o d y, E R R L B P In C o n c e r t w ith th e U n iv e rsity o f Illin o is S y m p h o n ic B a n d. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, H. B eg ian. R e c o rd #61. In C o n c e r t w ith the U n iv e rsity o f Illin o is S y m p h o n ic B a n d. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, H. B eg ian. R e c o rd # 106. In C o n c e r t w ith the U n iv e rsity o f Illin o is S y m p h o n ic B a n d. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, J. K e en e. R e c o rd # 129. M u s ic f o r P ra g u e L o u isv ille O rc h estra, J. M este r. L o u isv ille R e c o rd s L S [o rc h e stra versio n ] T h e R e v e lli Y ears, Vol. 4. U n iv e rs ity o f M ic h ig a n S y m p h o n y B a n d, W. W.R e v e lli, G o ld e n C re s t C R S [re c o rd e d 1969] A p o t h e o s is o f th is E a r th 1. A p o t h e o s is 2. T r a g e d y o f D e s tr u c tio n 3. P o s ts c r ip t P rem iere: A p ril 1, 1971 U n iv e rsity o f M ic h ig a n S y m p h o n y B an d K a re l H u sa, c o n d u c to r A n n A rb o r, M ich ig an

219 2 1 0 N e w v e rsio n : M a rc h 11, 1990 C o rn e ll U n iv e rsity W in d E n se m b le a n d C h o ru s K a re l H u sa, c o n d u c to r Ith a c a, N e w Y o rk In stru m en tatio n : P u b lish er/d ate: c o n c e rt b and A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1971 (A M P ) A vailability: in p rin t (o rig in al v ersio n ) ren tal (n e w v ersio n ) S core: fu ll, tra n s p o se d L e v e l o f d ifficulty : G ra d e 6 D uration: c. 2 5 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : M ich ig an S chool B an d and O rc h estra A sso c ia tio n D e d ic a te d to W illia m D. R ev elli o n th e o c casio n o f his retirem en t in c lu d e d in sco re T h is is a m a jo r w o rk fo r the w in d m e d iu m w h ic h c o n ta in s e x tre m e ly c h a lle n g in g m u sic. F u n c tio n in g p o w e rfu lly as H u sa 's m u sic a l re a ctio n to th e e n v iro n m e n ta l a b u se h e o b serv e d all aro u n d him d u rin g th e la te 1960s, A p o th e o s is o f th is E a rth m a k e s a b o ld sta te m e n t w h ic h w ill re q u ire g re a t m a tu rity an d e ffo rt fro m the c o n d u c to r an d p e rfo rm ers. T h e w o rk is a v e rita b le co m p e n d iu m o f la te 2 0 th c en tu ry c o m p o sitio n a l d e v ic es, all o f w h ic h are d e m a n d in g in th e ir o w n rig h t and, w h e n c o m b in e d in o n e p ie c e, c re a te m u sic o f e x tre m e c o m p le x ity a n d ch allen g e. O n e fin d s th e u se o f q u a rte r to n e s, to n e c lu sters, flu tte r to n g u e, a rtic u la te d s o u n d m a ss te c h n iq u e, tim b ra l m o d u la tio n, g lissa n d o a n d q u a sig lissa n d o effe c ts, re p e ate d fig u re s (a d lib ) o v e r v a rio u s d u ra tio n s, a n d th e u se o f in d e fin ite p itc h (h ig h e st a n d lo w e st p o ssib le n o te s) an d in d e fin ite c h a n g e o f sp eed (g rad u a lly b e c o m in g fa ste r a n d slo w er). T h e o u te r m o v e m e n ts are v ery th in in te x tu re w ith e x p o se d, so lo istic m o m e n ts fo r m a n y, re q u irin g c o n fid e n t an d se c u re p la y e rs th ro u g h o u t th e ban d (th e first 7 0 m e a su re s o f o p e n in g m o v e m e n t in v o lv e o n e -p e r-p a rt p la y in g ). T h is is a d ra m a tic w o rk w h ic h d e m a n d s g re a t d y n a m ic c o n tro l o v e r th e e n tire ra n g e o f e a c h in stru m en t. M o v e m e n t tw o c o n ta in s

220 211 S e lectiv e B ib lio g raphy: p a ssa g e s o f trip le -to n g u in g in n e a rly all o f th e w in d p arts. T h e w o rk is v e ry c o m p le x rh y th m ic a lly. T h e w o rk 's m e lo d ic a n d h arm o n ic c o n te n t c re a te v e ry d iffic u lt m o m e n ts o f p ro d u c tio n accura c y and in to n a tio n a l c h a lle n g e. S tro n g p e rc u ssio n is ts a re n e e d e d, e sp e c ia lly o n th e tim p a n i, m alle t, a n d to m -to m parts. E x ten d e d p e d a l p o in ts re q u ire u n in tru siv e sta g g e r b re a th in g a n d c h a lle n g e th e p la y e rs' b re a th contro l. A ll tru m p e t a n d tro m b o n e p la y e rs n e ed h a rm o n m u te s. M u sic w h ic h re q u ire s p la y in g in th e v e ry h ig h te ssitu ra is fo u n d in th e u p p e r b ra ss p a rts. A u n iq u e fe a tu re o f th e w o rk is H u sa 's u s e o f v o ic e s fro m w ith in th e ban d in m o v e m e n t th ree. W o rd s, a t first b ro k e n d o w n in to sy lla b les, are sp o k en m e c h a n ic a lly in a c o m p u te r lik e o r e le ctro n ic in stru m e n t m a n n e r. E v e n tu a lly th e v o ices w a rm w ith e m o tio n, b eco m in g h u m a n -lik e w h e n statin g th e fin a l s im p le p h ra ses "th is b eau tifu l earth " a n d "b eau tifu l earth." It is o fte n c h allen g in g to g e t in stru m e n ta lists to u se th e ir v o ic e s and th is a sp e c t o f th e w o rk w ill p e rh a p s re q u ire sp ecia l atte n tio n in reh earsal. In 1972 H u sa c re a te d a v ersio n o f th is w o rk fo r o rc h e stra a n d S A T B c h o ru s fo r w h ich h e w ro te m a te ria l d e riv e d fro m th e o rig in a l w in d and p e rc u ssio n p a rts fo r th e sin g ers d u rin g th e first tw o m o v e m e n t. H is 1990 re v is io n o f th e w o rk c o m b in e s th e c h o ra l p a rts from th e o rc h e stra v e rsio n a n d th e o rig in a l w in d sco re. T h is 1990 v e rs io n is a lso av a ila b le o n a re n ta l b a sis fro m A sso c ia ted M u sic P u b lish e rs/h a l L e o n a rd. H u sa 's a rtic le in T he In s tr u m e n ta list c ite d b e lo w o ffers h is v ie w s o n h is th in k in g b eh in d th e p ie c e, as w e ll as h e lp fu l p e rfo rm a n c e su g g estio n s. T h e S c a tte rd a y artic le, a lso c ite d b e lo w, is v e ry h e lp fu l in p re p a rin g th e w o rk, esp e c ia lly in re g a rd to p e rc u ssio n set u p a n d o ffe rin g s u g g e stio n s fo r th e c o n d u c to r. B a ttisti, F ran k. "K arel H u s a K e e p in g T ies w ith T ra d itio n," T he In s tr u m e n ta lis t, L X V /1 2 (Ju ly, 1990), , 4 2. D u ff, Jo h n A. "T h re e W o rk s o f K a re l H u sa : A n A n a ly tic a l S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d P h D d isse rta tio n, M ic h ig a n S ta te U n iv e rs ity, H a ith c o c k, M ic h a e l L. "K arel H u sa T a lk s A b o u t C o m p o sin g," T he In s tr u m e n ta lis t, X X X V I/9 (A p ril, ), H a rtz ell, L a w re n c e W. "K arel H u sa, th e M an a n d th e M u sic," M u s ic a l Q u a rte rly, L X II/1 ( ),

221 2 1 2 H e g v ik, A rth u r. "K arel H u sa T a lk s A b o u t H is L ife a n d H is W o rk," T he In s tr u m e n ta lis t, X X IX /5 (M a y, ), H e ste k in, K je llru n K. "S tru c tu ra l E le m e n ts in K a re l H u s a 's A p o th e o s is o f th is E a rth." U n p u b lis h e d M M th esis, U n iv e rsity o f W isc o n sin, M a d is o n, H itc h e n s, S u sa n H. K a r e l H u sa : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1991). H o rw o o d, W a lly. "T h e R e c o rd e d M u sic o f K a re l H u sa," W IN D S, V III/1 (s p rin g, ), 5-6. H u sa, K a re l. (N e w Y o rk : B ro a d c a s t M u sic, In c. 1977).. "A p o th e o sis o f th is E a rth," C o n d u c to rs A n th o lo g y (N o rth fie ld, Illlin o is: T h e In s tru m e n ta lis t, 1989), " A p o th e o sis o f th is E a rth," T h e In s tr u m e n ta list, X X V III/1 (A u g u s t, ), " A p o th e o sis o f th is E a rth : S o m e T h o u g h ts," J o u r n a l o f B a n d R e s e a r c h, IX /2 ( ), 6-9. K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), A - l l. M c L a u rin, D o n a ld. "K arel H u sa 's C o n trib u tio n to th e W in d B an d," C o llege B a n d D irecto rs N a tio n a l A sso cia tio n J o u rn a l, IV /1 (su m m e r, ), "T h e L ife an d W o rk s o f K a re l H u sa w ith an E m p h a s is o n th e S ig n ific a n c e o f H is C o n trib u tio n s to th e W in d B a n d." U n p u b lish e d P h D d isse rta tio n, F lo rid a S ta te U n iv e rsity, N e id ig, K e n n e th. "A C o n v e rsa tio n w ith K a rel H u sa," B D G u id e, V II/1 (S e p te m b e r/o c to b e r, 1 992), 2-8. N e lso n, J u d y R. "K arel H u sa E c h o in g M a n k in d T h ro u g h M u sic," T he In s tr u m e n ta lis t, X L II/3, (O c to b e r, ), N o tt, M ic h a e l. K a r e l H u sa. (N e w Y o rk : G. S c h irm e r, , re v ised, ). P h ilip s, H a rv ey. "M u sic ia n fro m P rag u e," T he In s tr u m e n ta list, X L V II/2 (S e p te m b e r, ), R a sm u sse n, R ic h a rd M ich a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ),

222 213 S c a tte rd a y, M ark. "K a re l H u sa : A p o th e o s is o f th is E a rth," B D G u id e, V H I/1 (S e p te m b e r/o c to b e r, 1993), S m ith, N o rm a n, and A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ieg o : K jo s W e s t, ), S u m m e rs, C. O land. "T h e D e v e lo p m e n t o f O rig in a l B a n d S c o rin g fro m S o u sa to H u sa." U n p u b lis h e d D A d isse rta tio n, B a ll S ta te U n iv e rs ity, S e lectiv e D iscograp h y : A p o th e o s is o f th is E a rth. L o u isv ille O rc h e stra /U n iv e rsity o f L o u isv ille C o n c e rt C h o ir, K. H u sa, L o u isv ille L C D [o rc h e stra v ersio n ] A p o th e o s is o f th is E a rth M u s ic f o r P ra g u e. U n iv e rsity o f M ic h ig a n S y m p h o n y B a n d, K. H u sa, G o ld e n C re s t R e c o rd s C R S F ir s t E d itio n R e c o rd in g s. L o u isv ille O rc h estra, L. S m ith, L C D 005 [o rc h e stra v ersio n ] R e fle c tio n s. U n iv e rsity o f N o rth e rn C o lo ra d o W in d E n s e m b le, E. C o rp o ro n, S o u n d m a rk R B S C R. Concerto f o r Percussion and Wind Ensem ble 1. Maestoso 2. M oderato molto 3. Adagio ma non troppo - meno mosso - maestoso P rem iere: F e b ru a ry 7, 1972 B a y lo r U n iv e rsity S y m p h o n ic W in d E n se m b le G e n e C. S m ith, c o n d u c to r W a c o, T e x a s In stru m en tatio n : p(5); co n c e rt b and 2 p ic, 3 fl, 4 tp t, 2 b a r, 2 tu P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1973 (A M P ) A vailability: S core: re n ta l [G. S ch irm er] sco re av ailab le fo r p u rch ase fu ll, tra n sp o se d L ev el o f difficu lty : G ra d e 6/6 D uration: c. 1 5 '0 0

223 2 1 4 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : L u d w ig In d u strie s W illia m F. L u d w ig, Jr., p re s id e n t in c lu d e d in sco re A v irtu o sic d isp la y fo r p e rc u ssio n, th is C o n certo a lso g reatly c h alle n g e s th e a c c o m p a n y in g p lay ers. E a c h m o v e m e n t fe a tu re s a c o n tra stin g p e rc u ssiv e so n o rity. T h e first m o v e m e n t s h o w c a se s th e m e ta llo p h o n e s (c h im e s, v ib ra p h o n e, b ell ly re and g lo c k e n sp ie l) a lo n g w ith a n tiq u e c y m b a ls, g o n g s, a n d su sp e n d e d c y m b a ls. T h e s e c o n d h ig h lig h ts th e m a rim b a, to m -to m s a n d tim p a n i, w h ile re ta in in g th e v ib ra p h o n e a n d g lo c k e n sp ie l. T h e fin a l m o v e m e n t fe a tu re s th e x y lo p h o n e, as th e w h o le b a tte ry o f p e rc u ssio n c o m e s in to p la y in a v a rie ty o f c o m b in a tio n s. T h e fiv e p e rc u ssio n ists p erfo rm in fro n t o f th e w in d e n se m b le a n d H u sa p ro v id e s a d ia g ra m in th e sco re n o te s to in d ic a te in stru m e n t p lacem en t. F o u r o f th e fiv e so lo ists n eed to be m a lle t p lay ers. A ll n eed to b e a t a n a d v a n c e d le v e l o f m u sical ability. S ele c tiv e B ib lio g rap h y : T h e w o rk is e x tre m e ly co m p le x rh y th m ic a lly. T h e so lo ists n e ed to b e c o m fo rta b le w ith u n u su a l s u b d iv isio n s o f th e b e at a n d n o tatio n w h ic h in d icates to g ra d u a lly b e c o m e faster. T h e y m u st p o sse ss a c o n fid e n t in d e p e n d e n c e w h e n p la y in g. T h e w in d p la y e rs a lso n e ed to n e g o tia te trick y p a ssag es re q u irin g rh y th m ic exactitu d e. A stu rd y th e m e, stro n g ly stated in th e o p e n in g b a rs b y th e c h im e s, re c u rs th ro u g h o u t th e p ie c e as a u n ify in g e le m en t. T h is is a serial w o rk a n d th e m e lo d ic a n d h a rm o n ic e le m en ts are q u ite c h a llen g in g. C h o rd c lu ste rs a n d a w k a rd le a p s a b o u n d in th e w in d w ritin g. M a n y o f th e w in d s are a sk e d to u se flu tte r to n g u e te c h n iq u e, as w e ll as p la y q u a rte r-to n e s, g lissa n d i, o r th e ir h ig h e st n o te p o ssib le. T h e c la rin e t sectio n is re q u ire d to e m p lo y v ib ra to a t v a ry in g ra te s o f sp e e d a n d th e u p p e r w o o d w in d s are ask ed to to n g u e ra p id sta c c a to n o tes as fa st as p o ssib le. T h e re is in d e p e n d e n t w ritin g fo r th e alto c la rin e t w h ic h is n o t c ro ss-c u e d. A n e x te n siv e, e x p o se d flu te so lo is fo u n d a t th e b e g in n in g o f th e seco n d m o v e m e n t w h ic h d e m a n d s g o o d to n e a n d b re a th c o n tro l. B rie f so lo s are fo u n d in th is m o v e m e n t fo r m a n y o f th e p rin c ip a l w in d p lay ers. B a ttisti, F ran k. "K arel H u sa K e e p in g T ie s w ith T ra d itio n," T he In s tr u m e n ta lis t, L X V /1 2 (Ju ly, 1990), , 42.

224 2 1 5 D e S a rn o, R u th E. "P re p a ra tio n a n d P e rfo rm a n c e o f C o n c e rto f o r P e r c u s s io n a n d W in d E n s e m b le b y K a re l H u sa." U n p u b lis h e d M A th e sis, C a lifo rn ia S ta te U n v ie rsity at L o n g B e a c h, D u ff, Jo h n A. "T h re e W o rk s o f K a re l H u sa: A n A n a ly tic a l S tu d y o f F o rm, C o n te n t a n d S tyle." U n p u b lish e d P h D d isse rta tio n, M ic h ig a n S tate U n iv e rs ity, H a ith c o c k, M ic h a e l L. "K arel H u sa T a lk s A b o u t C o m p o sin g," T h e In s tr u m e n ta lis t, X X X V I/9 (A p ril, ), H a rtz e ll, L a w re n c e W. "K arel H u sa, th e M a n a n d th e M u sic," M u s ic a l Q u a rte rly, L X II/1 ( ), H e g v ik, A rth u r. "K arel H u s a T a lk s A b o u t H is L ife a n d H is W o rk," T he In s tr u m e n ta lis t, X X IX /5 (M a y, ), H itc h e n s, S u sa n H. K a r e l H u sa : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1991). H o rw o o d, W a lly. "T h e R e c o rd e d M u sic o f K a re l H u sa," W IN D S, V m /1 (s p rin g, ), 5-6. H u sa, K a re l. (N e w Y o rk : B ro a d c a s t M u sic, In c. 1977). K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), A M c L a u rin, D o n a ld. "K arel H u s a s C o n trib u tio n to th e W in d B a n d," C o llege B a n d D irecto rs N a tio n a l A sso c ia tio n J o u rn a l, I V /1 (s u m m e r, ), "T h e L ife a n d W o rk s o f K a re l H u sa w ith an E m p h a s is o n th e S ig n ific a n c e o f H is C o n trib u tio n s to th e W in d B an d." U n p u b lish e d P h D d isse rta tio n, F lo rid a S ta te U n iv e rsity, N e id ig, K e n n e th. "A C o n v e rsa tio n w ith K a rel H u sa," B D G u id e, V II/1 (S e p te m b e r/o c to b e r, 1992), 2-8. N e lso n, J u d y R. "K arel H u sa E c h o in g M a n k in d T h ro u g h M u sic," T he In s tr u m e n ta list, X L II/3 (O c to b e r, 1987), N o tt, M ic h a e l. K a re l H u sa. (N e w Y o rk : G. S c h irm e r, , re v ised, ). P h ilip s, H a rv e y. "M u sic ia n fro m P rag u e," T he In stru m e n ta list, X L V II/2 (S e p te m b e r, ), R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), 170.

225 2 1 6 S u m m ers, C. O lan d. "T h e D e v e lo p m e n t o f O rig in a l B a n d S c o rin g fro m S o u sa to H u sa." U n p u b lish e d D A d is se rta tio n, B a ll S tate U n iv e rs ity, S electiv e D isco g rap h y : C o lle g e B a n d D irecto rs N a tio n a l A sso c ia tio n C o n ven tio n. S a n D iego S ta te U n iv e rs ity B a n d, K. H u sa, G o ld e n C re s t C B D N A M E N C B i-d iv is io n a l C o n ven tio n. U n iv e rs ity o f N o rth e rn Io w a W in d E n s e m b le, K. H o lv ik, S ilv e r C re s t O M T he A u th e n tic a te d C o m p o se rs S eries: T h e C o m p o sitio n s o f K a r e l H u sa. J.F ro g e r, a lto sax o p h o n e, M ic h ig a n S ta te U n iv e rs ity S y m p h o n y B a n d, K. H u s a an d S. D e R u s h a, G o ld e n C re s t R e c o rd s A T H M u s ic f o r W in d s a n d P e rcu ssio n : A T a le o f T w o C itie s. T h e M o sc o w P h ilh a rm o n ic W in d s a n d P e rc u ssio n, D. K ita y e n k o, S h e ffie ld L a b S L S Concerto f o r Trumpet and W ind Orchestra 1. Intrada 2. Interm ezzo 3. Fanfare P rem iere: A u g u s t 9, N a tio n a l In terco lleg iate B an d R a y m o n d C risara, tru m p e t C o l. A m a ld G a b rie l, c o n d u c to r B ie n n ia l C o n v e n tio n o f K appa K a p p a P si F ra te rn ity a n d T a u B e ta S ig m a S o ro rity U n iv e rs ity o f C o n n e c tic u t, S to rrs In stru m entatio n : tpt; w in d o rc h e stra o n ly 2 B ^ cl p a rts; n o a sx 2, tsx, b sx, e u p h ; p r e f e r a b ly 3 o r 4 db ' P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1980 (A M P ) A vailability: Score: re n ta l [G. S ch irm er] sco re a v ailab le fo r p u rc h a se fu ll, tra n s p o se d L evel o f difficu lty : G ra d e 6 /G ra d e 6-

226 217 D uration: c. 1 4 '0 0 C o m m issio n : P ro g ra m N o te : P erfo rm a n ce C o m m entary : K a p p a K a p p a P si F ra te rn ity and T a u B e ta S ig m a S o ro rity in c lu d e d in sco re T h is is a v irtu o sic w o rk fo r th e so lo tru m p e t, c o n ta in in g te c h n ical and m u sic al d em an d s th a t ra n k th e w o rk am o n g th e m o s t c h a lle n g in g w ritte n fo r th e in s tru m e n t a n d w h ic h h a v e p ro b a b ly lim ited th e n u m b e r o f its p e rfo rm a n c e s. T h e so lo ist n e e d s a fo u r a n d o n e -h a lf o c ta v e ra n g e. T h e so lo tru m p e t is p a ire d w ith th ree a d d itio n a l so lo tru m p ets w h ic h stan d a ro u n d th e p e rim e te r o f th e b a n d, cre atin g an a u ra l sp a c ia l effect. T h e so lo tru m p e t e m p lo y s fo u r k in d s o f m u te s a n d is ask ed to c h a n g e m o u th p ie c e s a t o n e p o in t in th e p iece in o rd e r to ach ie v e a b rig h te r so u n d. In th e seco n d m o v e m e n t, H u sa w ro te p edal to n e s fo r th e so lo ist, to b e p la y e d w ith a h arm o n m ute. S e lectiv e B ib lio g raphy: T h e w o rk is an e clectic m ix o f tw e n tie th -c en tu ry c o m p o sitio n a l devic es. M o st n o ta b le a re se ria l te c h n iq u es, th e u se o f q u a rte r-to n e s, ra n d o m ly re p e a te d "b o x ed " e v e n ts, a rtic u la te d so u n d m a sses, an d ja z z -in flu e n c e d m e lo d ie s. T h e so lo a n d b a n d p a rts u tilize m a n y c o n te m p o ra ry n o ta tio n a l d e v ic es (e x p la in e d in th e s c o re n o te s), a n d sectio n s o f u n m e te re d m u sic a b o u n d. A su g g e ste d seatin g p la n is in d ic a te d in th e sco re n o tes. T h e a c c o m p a n y in g e n se m b le w ill e n c o u n te r v ery d iffic u lt p arts. E x ten d e d d u ets w ith t th e so lo ist a re c o n ta in ed in th e flu te a n d x y lo p h o n e p arts, an d th e th re e tru m p ets w ill fin d m a n y c h a lle n g e s in th e p a ssag e s th e y a re a sk e d to c o n trib u te. B a ttisti, F ran k. "K a re l H u sa K e e p in g T ies w ith T ra d itio n," T he In s tr u m e n ta lis t, L X V /1 2 (Ju ly, 1990), , 42. D u ff, Jo h n A. "T h re e W o rk s o f K a re l H u sa: A n A n a ly tic a l S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d PhD d isse rta tio n, M ic h ig a n S tate U n iv e rs ity, H a ith c o c k, M ic h a e l L. "K arel H u sa T a lk s A b o u t C o m p o sin g," T he In s tr u m e n ta lis t, X X X V I/9 (A p ril, ), H a rtz ell, L a w re n c e W. "K arel H u sa, th e M an a n d th e M u sic," M u s ic a l Q u a rte rly, L X II/1 ( ), H e g v ik, A rth u r. "K arel H u sa T a lk s A b o u t H is L ife a n d H is W o rk," T he In s tr u m e n ta lis t, X X IX /5 (M a y, 1975),

227 2 1 8 H itc h e n s, S u sa n H. K a r e l H u sa : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1991). H o rw o o d, W a lly. "T h e R e c o rd e d M u sic o f K a re l H u sa," W IN D S, V III/1 (s p rin g, ), 5-6. H u sa, K a re l. (N e w Y o rk : B ro a d c a s t M u sic, In c ). M c L a u rin, D o n a ld. "K arel H u sa 's C o n trib u tio n to th e W in d B an d," C o llege B a n d D irecto rs N a tio n a l A sso cia tio n J o u rn a l, IV /1 (s u m m e r, ), "T h e L ife a n d W o rk s o f K a re l H u sa w ith a n E m p h a s is o n th e S ig n ific a n c e o f H is C o n trib u tio n s to th e W in d B an d." U n p u b lish e d P h D d isse rta tio n, F lo rid a S ta te U n iv e rsity, N e id ig, K e n n e th. "A C o n v e rsa tio n w ith K a rel H u sa," B D G u id e, V II/1 (S e p te m b e r/o c to b e r, 1992), 2-8. N e lso n, Ju d y R. "K arel H u sa E c h o in g M a n k in d T h ro u g h M u sic," T h e In s tr u m e n ta list, X L II/3 (O c to b e r, 1987), N o tt, M ic h a e l. K a r e l H u sa. (N e w Y o rk : G. S c h irm e r, 1990, re v ised, ). P h ilip s, H a rv ey. "M u sic ia n fro m P rag u e," T h e In stru m e n ta list, X L V II/2 (S e p te m b e r, ), R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n cert B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C aro lin a : M c F a rla n d a n d C o m p a n y, ), S u m m ers, C. O lan d. "T h e D e v e lo p m e n t o f O rig in a l B a n d S c o rin g fro m S o u sa to H u sa." U n p u b lish e d D A d isse rta tio n, B a ll S tate U n iv e rs ity, S electiv e D isco g rap h y : 1973 K a p p a K a p p a P si/t a u B e ta S ig m a N a tio n a l In te rco lleg ia te B a n d In C o n cert. R. C risara, tru m p e t, N a tio n a l In te rc o lle g ia te B a n d, A. G a b rie l, C e n tu ry R e c o rd s C o lleg e B a n d D irecto rs N a tio n a l A sso c ia tio n C o n ven tio n. C o e C o lle g e C o n c e rt B a n d, T. S la tte ry, G o ld e n C re s t C B D N A T hree W o rks fr o m the T ra d itio n a l R e p e rto ire a n d a N e w L o o k a t a T ra d itio n a l F o rm. M. E w a ld, tru m p et, C a lifo rn ia S ta te U n iv e rsity, N o rth rid g e W in d O rc h e stra, D. W h itw e ll, 1973., C S U

228 2 1 9 A l Fresco P rem iere: A p ril 19, 1975 Ith a c a C o lle g e C o n c e rt B an d K a re l H u sa, c o n d u c to r M u sic E d u c a to rs N a tio n a l C o n fe re n ce C o n v e n tio n P h ila d e lp h ia, P e n n sy lv a n ia In stru m en tatio n : c o n c e rt b and b s sx, 4 tp t, 2 b a r, p n o P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h al L e o n a rd, 1975 (A M P ) A vailability: S co re: in p rin t fu ll, tra n sp o se d L e v e l o f difficu lty : G ra d e 5 + D uration: c. 1 2 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : Ith a c a C o llege W a lte r B e e le r M em o ria l C o m m issio n in c lu d e d in sco re T h is d ra m a tic w o rk is in tw o c o n tra stin g sectio n s. T h e first is slo w and v e ry tra n sp a re n t in its sco rin g. T h e se c o n d sectio n is rh y th m ic a lly a g itated an d b u ild s to a v e ry stro n g c lim a x b efo re d issip a tin g its e n e rg y a n d re tu rn in g to m aterial sim ila r to th e o p e n in g. T h e p ie c e is d e riv e d fro m th e first m o v e m e n t o f H u sa 's T h ree F re sq u e s f o r O rc h e stra o f C o n sid e re d to b e o n e o f H u sa 's m o re a c c e s s ib le w o rk s, it n e v erth eless c o n ta in s a w id e ra n g e o f te c h n ic a l a n d m u sic al d e m a n d s w ith in a serially -b a se d id io m. P e rfo rm e rs are a sk e d to n e g o tia te q u a rte r-to n e e ffe c ts, flu tte r-to n g u e (p ic c o lo, flu te s, sax o p h o n e s, tru m p e ts, tro m b o n e s, tu b a ), a n d p la y h ig h e st an d lo w e st p o ssib le n o te s, g lissa n d i (o b o e s, c la rin e ts, te n o r sax o p h o n e, h o rn s, tro m b o n e s, tu b a ), and ale ato ric p assag es. N e a rly a ll o f th e p rin c ip a l p la y e rs in each sectio n w ill e n c o u n te r so lo m o m e n ts, ty p ic a lly a t a so ft d y n am ic. T h e tro m b o n e sectio n n eed s h a rm o n m u te s. H o rn 1 e x e c u te s a rip to its h ig h C # a n d a ll tru m p e ts p la y th e ir h ig h B ^ to g eth er. T h e so lo B ^ c la rin e t 1 a n d b a ss c la rin e t a re a sk ed to v e ry th e ir lip p re ssu re to m o d ify th e tim b re o f th e so u n d th e y p ro d u c e o n lo n g to n e s. A te c h n ical c h allen g e fo r all p e rfo rm ers is th e rapid

229 2 2 0 S ele c tiv e B ib lio g rap h y : a rtic u la tio n o f q u ic k six te e n th n o te p a ssa g e s. S tro n g m a lle t p la y e rs a re re q u ire d. T h e p iece is c le a rly e d ite d w ith detailed a tte n tio n to c o n tro llin g tim b re. T h e re is a h e lp fu l p e rc u ssio n setu p d ia g ra m in th e s c o re note. T h e w o rk is e x a m in e d in d etail in th e d isse rta tio n b y F o x c ite d b elo w. B a ttisti, F ran k. "K arel H u sa K e e p in g T ies w ith T ra d itio n," T he In s tr u m e n ta lis t, L X V /1 2 (Ju ly, 1990), , 4 2. D u ff, J o h n A. "T h re e W o rk s o f K a re l H u sa: A n A n a ly tic a l S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d P h D d isse rta tio n, M ic h ig a n S tate U n iv e rs ity, D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n se m b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), F o x, G re g o ry C. "P e rfo rm a n c e, C o n d u c tin g, a n d R e h e a rs a l P ro b le m s in F iv e S e le c ted C o n te m p o ra ry W o rk s fo r W in d B an d." U n p u b lish e d E d D d isse rta tio n, U n iv e rsity o f Illin o is at U rb a n a -C h a m p a ig n, H a ith c o c k, M ic h a e l L. "K arel H u s a T a lk s A b o u t C o m p o sin g," T h e In s tr u m e n ta lis t, X X X V I/9 (A p ril, ), H a rtz e ll, L a w re n c e W. "K arel H u sa, th e M an a n d th e M u sic," M u s ic a l Q u a rte rly, L X II/1 ( ), H e g v ik, A rth u r. "K arel H u sa T a lk s A b o u t H is L ife and H is W o rk," T he In s tr u m e n ta lis t, X X IX /5 (M a y, 1975), H itc h e n s, S u sa n H. K a r e l H u sa : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1991). H o rw o o d, W a lly. "T h e R e c o rd e d M u sic o f K a re l H u sa," W IN D S, V III/1 (s p rin g, ), 5 v 6. H u sa, K a re l. (N e w Y o rk : B ro a d c a s t M u sic, In c. 1977). K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1 989), A S -2. M c L a u rin, D o n a ld. "K arel H u sa 's C o n trib u tio n to th e W in d B an d," C o llege B a n d D irecto rs N a tio n a l A sso cia tio n J o u rn a l, IV /1 (s u m m e r, ),

230 221. "T h e L ife a n d W o rk s o f K a re l H u sa w ith an E m p h a s is o n th e S ig n ific a n c e o f H is C o n trib u tio n s to th e W in d B an d." U n p u b lish e d P h D d is se rta tio n, F lo rid a S ta te U n iv e rsity, N e id ig, K e n n e th. "A C o n v e rsa tio n w ith K a re l H u sa," B D G u id e, V II/1 (S e p te m b e r/o c to b e r, 1 992), 2-8. N e lso n, J u d y R. "K arel H u sa E c h o in g M a n k in d T h ro u g h M u sic," T he In s tr u m e n ta lis t, X L II/3 (O c to b e r, 1987), N o tt, M ic h a e l. K a r e l H u sa. (N e w Y o rk : G. S c h irm e r, , re v is e d, ). P h ilip s, H a rv e y. "M u sic ia n fro m P ra g u e," T he In stru m e n ta list, X L V II/2 (S e p te m b e r, ), R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d and C o m p a n y, ), 169. S u m m e rs, C. O land. "T h e D e v e lo p m e n t o f O rig in a l B a n d S c o rin g fro m S o u sa to H u sa." U n p u b lish e d D A d isse rta tio n, B a ll S ta te U n iv e rs ity, T o p o le w sk i, T im o th y. E r r a ta S tu d ie s f o r the W in d B a n d C o n d u cto r. (P o tsd a m, N e w Y o rk : T im o th y T o p o lw e sk i, C ra n e S c h o o l o f M u sic, ?). S electiv e D isco g rap h y : M id w e s t N a tio n a l B a n d a n d O rch estra C linic. V a n d e rc o o k C o lle g e o f M u sic B a n d, K. H u sa, G o ld e n C re s t M I D T he A u th e n tic a te d C o m p o se rs S e rie s: T h e C o m p o sitio n s o f K a r e l H u sa. J.F ro g e r, alto sax o p h o n e, M ic h ig a n S ta te U n iv e rs ity S y m p h o n y B a n d, K. H u sa a n d S. D e R u s h a, G o ld e n C re s t R e c o rd s A T H T h e B e a d e d L ea f. W e s te rn Illin o is U n iv e rsity W in d E n s e m b le, K. H u sa, M a rk M C C o lla g e. U n iv e rs ity o f F lo rid a S y m p h o n y B a n d, D. W a y b rig h t, M a rk C u sto m R e c o rd in g s M C D F re sk o. S in fo n isc h e s Ju g e n d b la s o rc h e s te r B a d e n -W iirtte m b e rg, F. H a u sw irth, B e s te ll-n u m m e r M A S In C o n c e r t w ith the U n iv e rsity o f Illin o is S y m p h o n ic B a n d. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, H. B e g ian. R e c o rd # 80.

231 2 2 2 An American Te Deum f o r m ixed chorus, baritone solo, and band P rem iere: D e c e m b e r 5, C o e C o lle g e W in d E n se m b le T h o m a s S la tte ry, co n d u c to r C o e C o lle g e C h o ru s A lla n D. K e lle r, c o n d u c to r A lla n D. K e lle r, so lo ist C e d a r R a p id s, Io w a In stru m entatio n : P u b lish er/d ate: A vailability: S core: B ar; c o n c e rt b and; S S A A T T B B c h o ru s 2 p ic, 4 fl, b ssx, 4 tp t, 2 b trb, 2 b a r, 2-4 d b, o rg (n o t e sse n tia l b u t p re fe rre d ), h a n d b e ll p arts A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, n o date re n ta l (G.S c h irm er) fu ll, tra n s p o se d L ev el o f difficu lty : G ra d e 6/6 /6 D uration: c. 4 5 '0 0 C o m m issio n : P ro g ra m N o te: P erfo rm a n ce C o m m entary : L o u ie J., E lla, an d Jo a n n e P o c h o b ra d sk y to c o m m e m o ra te the 125th anniv e rsa ry o f C o e C o lle g e a n d th e B ic e n te n n ia l o f th e U n ite d S tates in c lu d e d in sco re O n e o f th e m o s t d e m andin g a n d critic a lly a ccla im e d o f all w o rk s fo r b a n d a n d c h o ru s, H u sa 's A n A m e r ic a n T e D e u m is in th irteen m o v e m e n ts d iv id e d in to th re e p arts. T e x ts fo r th e c h o ru s and b a rito n e so lo ist a re d ra w n fro m a v a rie ty o f so u rc e s, in c lu d in g e x c e rp ts fro m th e o ld Te D e u m, p o e m s b y Io w a p o e t P a u l E n g le, tw o p a ra g ra p h s fro m O. E. R o lv a a g 's G ia n ts o f th e E a rth, tw o v e rses fro m th e A m a n a S o n g b o o k E v e n in g P e a c e b y J.U.P. S c h u ltz, a M o ra v ia n fo lk so n g, a S w e d ish im m ig ra n t b a lla d, a w ritin g o f H e n ry D a v id T h o re a u, a n d a p o em b y C zech p o e t O to k a r B rezin a. A n in c re d ib le a m o u n t o f e ffo rt o n th e p a rt o f all p e rfo rm e rs, in c lu d in g th e c o n d u c to r a n d c h o ru sm a ste r, is re q u ire d to m o u n t a p e rfo rm a n c e o f this m a jo r w o rk. It is m o re to n a l th a n o th e r w o rk s fro m th is p e rio d o f H u s a 's w ritin g, b u t is n o n e th e le ss v e ry c h a llen g in g. P e rfo rm e rs n e e d to b e c o n fid e n t in o rd e r to handle th e in d e p e n d e n t p a rt-w ritin g, c o n te m p o ra ry n o ta tio n, and te c h n ic a l d e m a n d s. N o ta tio n in c lu d e s q u a rte r-to n e s, h ig h e st a n d lo w e s t p o s sib le n o tes, in d ic a tio n s fo r as fa st as p o ssib le and p ro g re s siv e ly slo w in g

232 223 S electiv e B ib lio g rap h y : d o w n o r g e ttin g fa ste r, irre g u la r tre m e lo s, a n d "sn eak-in " a tta ck s. In th e e ig h th m o v e m e n t th e b a rito n e so lo ist is a c c o m p a n ie d in p a rt b y a sim p le w o o d e n flu te. S co re n o ta tio n s in d ic a te th a t so m e m o v e m e n ts m a y b e p e rfo rm ed sep a ra te ly. T h is w o rk w a s lis te d as u n d e rg o in g re v is io n s as o f S e p te m b e r 1, T h e a n a ly sis b y T a m c ite d b e lo w w ill aid th e c o n d u c to r g re a tly in p re p a rin g th e sco re. B a ttisti, F ran k. "K arel H u sa K e e p in g T ie s w ith T ra d itio n," T he In s tr u m e n ta lis t, L X V /1 2 (Ju ly, 1990), , 42. D u ff, Jo h n A. "T h re e W o rk s o f K a rel H u sa: A n A n a ly tic a l S tu d y o f F o rm, C o n te n t a n d S tyle." U n p u b lish e d P h D d isse rta tio n, M ic h ig a n S ta te U n iv e rs ity, H a ith c o c k, M ic h a e l L. "K arel H u sa T a lk s A b o u t C o m p o sin g," T h e In s tr u m e n ta lis t, X X X V I/9 (A p ril, ), H a rtz e ll, L a w re n c e W. "K arel H u sa, th e M an a n d th e M u sic," M u s ic a l Q u a rte rly, L X II/1 ( ), H e g v ik, A rth u r. "K arel H u sa T a lk s A b o u t H is L ife a n d H is W o rk," T he In s tr u m e n ta lis t, X X IX /5 (M a y, 1975), H itc h e n s, S u sa n H. K a r e l H u sa : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1991). H o rw o o d, W a lly. "T h e R e c o rd e d M u sic o f K a re l H u sa," W IN D S, V H I/1 (s p rin g, ), 5-6. H u sa, K a re l. (N e w Y o rk : B ro a d c a s t M u sic, In c. 1977). M c L a u rin, D o n a ld. "K arel H u sa 's C o n trib u tio n to th e W in d B an d," C o llege B a n d D irecto rs N a tio n a l A sso c ia tio n J o u rn a l, IV /1 (s u m m e r, ), "T h e L ife and W o rk s o f K a re l H u sa w ith an E m p h a s is o n th e S ig n ific a n c e o f H is C o n trib u tio n s to th e W in d B a n d." U n p u b lish e d P h D d isse rta tio n, F lo rid a S ta te U n iv e rsity, N e id ig, K e n n e th. "A C o n v e rsa tio n w ith K a re l H u sa," B D G u id e, V II/1 (S e p te m b e r/o c to b e r, 1992), 2-8. N e lso n, J u d y R. "K arel H u sa E c h o in g M a n k in d T h ro u g h M u sic," T he In str u m e n ta list, X L II/3 (O c to b e r, 1987),

233 2 2 4 N o tt, M ic h a e l. K a r e l H u sa. (N e w Y o rk : G. S c h irm e r, 1990, re v ised, ). P h ilip s, H a rv ey. "M u sic ia n fro m P rag u e," T he In stru m e n ta list, X L V T U 2 (S e p te m b e r, ), S u m m ers, C. O la n d. "T h e D e v e lo p m e n t o f O rig in a l B an d S c o rin g fro m S o u sa to H u sa." U n p u b lis h e d D A d isse rta tio n, B a ll S ta te U n iv e rs ity, T a m, A n g e la C h in g C h i. "K arel H u sa : A n A m e r ic a n T e D e u m." U n p u b lis h e d A M u sd d isse rta tio n, U n iv e rsity o f C in c in n a ti, S electiv e D isco g rap h y : n o n e av ailab le C o n c e r to f o r W i n d E n s e m b l e 1. D r u m C e r e m o n y a n d F a n fa r e 2. E le g y 3. P e r p e tu a l M o tio n P rem iere: D e c e m b e r 3, 1982 M ich ig a n S tate U n iv e rsity W in d E n se m b le K a re l H u sa, c o n d u c to r W h a rto n C e n te r fo r th e P e rfo rm in g A rts M ich ig an S tate U n iv e rsity E a s t L a n sin g, M ich ig a n In stru m en tatio n : 6 (2 p ic ).3 (e h ).9, E ^ c l, a cl, b c l, B B ^ c b c l. 2, cb n. 2 asx, tsx, b sx, b s s x./ e u p h.2 ; t, p (4 ) P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1982 (A M P ) A vailability: Score: re n ta l [G. S c h irm er] sco re av ailab le fo r p u rch ase fu ll, tra n sp o se d L ev el o f difficulty : G ra d e 6 D uration: c. 1 9 '0 0 C o m m issio n : P ro g ram N o te: C o m m issio n e d b y th e M ich ig a n S ta te U n iv e rsity A lu m n i B an d. D e d ic a te d to th e M ich ig a n S ta te U n iv e rsity B an d s, S ta n le y D e R u sh a, D ire c to r in c lu d e d in sco re

234 2 2 5 P e rfo rm a n ce C o m m entary : R e c ip ie n t o f th e first b ie n n ia l L o u is S u d le r In te rn a tio n a l W in d B a n d C o m p o sitio n C o m p e titio n in 1983, th is w o rk is m e a n t to be a v irtu o sic d isp la y fo r so lo in stru m e n ts a n d g ro u p s w ith in th e w in d e n se m b le. T h e v a rio u s g ro u p s p e rfo rm in a co n certa n te m anner, e sp e c ia lly in d ie first an d la st m o v e m e n ts. T h e first m o v e m e n t is b a se d u p o n a S io u x d ru m c e re m o n y so n g w h ic h H u sa fo u n d in a c o lle c tio n h eld b y th e L ib ra ry o f C o n g re ss. T h e s e c o n d m o v e m e n t is an e le g y to H u sa 's fa th e r. A seatin g c h a rt is p ro v id e d in th e sco re n o te s a n d it is im p e ra tiv e th a t it b e fo llo w ed. T h e b ra s s sectio n is g ro u p ed in to fo u r b ra ss q u in te ts, seate d o n rise rs in a sin g le c u rv e d ro w b e h in d th e re s t o f th e w in d s. T h e p e rc u ssio n are sp lit w ith th e tim p a n i on th e c o n d u c to r's le ft, b e sid e th e w o o d w in d s, a n d th e re st o f th e p e rc u ssio n o n th e rig h t. In te re stin g au ral sp a tia l e ffe c ts re su lt fro m th is seatin g plan. M a n y o f th e c o n te m p o ra ry c o m p o sitio n a l te c h n iq u e s w h ic h m a rk H u sa 's sty le c a n be fo u n d in th is w o rk, in c lu d in g th e u se o f q u a rte r-to n e s, m irro r te c h n iq u e (h a rm o n ic and m e lo d ic ), tim b ra l m o d u la tio n s, a le a to ric sectio n s, so u n d - m a sse s, an d tim b re trills. T h e tim p a n is t is o fte n re q u ire d to c h a n g e tu n in g s w h ile ro llin g a n d w ill n e e d a v e ry secure sen s e o f pitch. S ta g g e re d p y ra m id e n tra n c e s a t v e ry sm all in te rv a ls o f tim e, su c h as a six te e n th n o te 's d u ra tio n, c re a te a c h a lle n g in g b a la n ce c o n cern, a s all e n tra n c e s n e e d to b e h e ard in o rd e r to d e liv e r su ccessfu lly th e d e sired m u sic a l e ffect. C an o n ic e n tra n c e s o f ra p id d e sc e n d in g and a sc e n d in g p a ssa g e s are also co m p re sse d in to v e ry sm a ll su b d iv isio n s o f th e b eat. E x te n d e d so lo p a ssag e s are fo u n d in th e p ic c o lo, flu te 1 an d 2, o b o e 1, E n g lish h o rn, E ^ c la rin e t, B ^ c la rin e t 1, b a ss c la rin e t, B B ^ c o n tra b a ss c la rin e t, a lto sax o p h o n e 1, te n o r sax o p h o n e, tru m p e t 1, h o rn 1, tro m b o n e 1, x y lo p h o n e, m a rim b a, v ib ra p h o n e a n d tim p a n i p arts. N e a rly all in stru m e n ts are treated in a so lo istic m a n n e r a t o n e p o in t o r a n o th e r in th is w o rk. T h e q u ic k te m p o o f th e fin a l m o v e m e n t (th e d o tte d q u a rte r n o te m a rk e d at in 6/8 tim e) c h alle n g e s e v e ry o n e as th e y n e g o tia te ra p id fig u res, w h ic h a re o fte n sco red as so li fo r e n tire sectio n s o r la rg e g ro u p in g s o f in stru m e n ts. T h o m p so n 's a n aly sis cite d b e lo w in v e stig a te s th is w o rk in g reat d etail.

235 2 2 6 S electiv e B ib lio g raphy: B a ttisti, F ra n k. "K arel H u s a K e e p in g T ies w ith T ra d itio n," T he In s tr u m e n ta lis t, L X V /1 2 (Ju ly, 1990), ,4 2. D u ff, Jo h n A. "T h re e W o rk s o f K arel H u sa: A n A n a ly tic a l S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d P h D d isse rta tio n, M ic h ig a n S tate U n iv e rs ity, H a ith c o c k, M ic h a e l L. "K a re l H u sa T a lk s A b o u t C o m p o sin g," T he In s tr u m e n ta lis t, X X X V I/9 (A p ril, ), H a rtz ell, L a w re n c e W. "K a re l H u sa, th e M an a n d th e M u sic," M u s ic a l Q u a rte rly, L X II/1 ( ), H e g v ik, A rth u r. "K arel H u sa T a lk s A b o u t H is L ife a n d H is W o rk," The In s tr u m e n ta lis t, X X I X J 5 (M ay, 1975), H itc h e n s, S u sa n H. K a r e l H u sa : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1991). H o rw o o d, W a lly. "T h e R e c o rd e d M u sic o f K a re l H u sa," W IN D S, V H I/1 (s p rin g, ), 5-6. H u sa, K a re l. (N e w Y o rk : B ro a d c a s t M u sic, In c. 1977).. "C o n c e rto f o r W in d E n se m b le." U n p u b lis h e d p a p e r p re sen te d a t th e C o lle g e B an d D ire c to rs N atio n al A sso c ia tio n C o n v en tio n, C o lu m b u s, O h io, M c L a u rin, D o n a ld. "K arel H u sa 's C o n trib u tio n to th e W in d B an d," C o llege B a n d D irecto rs N a tio n a l A sso cia tio n J o u rn a l, IV /1 (s u m m e r, ), "T h e L ife a n d W o rk s o f K a re l H u sa w ith an E m p h a s is o n th e S ig n ific a n c e o f H is C o n trib u tio n s to th e W in d B a n d." U n p u b lish e d P h D d is se rta tio n, F lo rid a S ta te U n iv e rsity, M o lin e u x, A llen. "T h e E lem e n ts o f U n ity and T h e ir A p p lic a tio n on V a rio u s L e v e ls o f th e F irst M o v e m e n t o f K arel H u sa 's C o n c e rto f o r W in d E n s e m b le," J o u r n a l o f B a n d R e s e a r c h, X X I/1, (fa ll, 1985), N e id ig, K e n n e th. "A C o n v e rsa tio n w ith K a rel H u sa," B D G u id e, V U /1 (S e p te m b e r/o c to b e r, 1992), 2-8. N e lso n, J u d y R. "K arel H u sa E c h o in g M a n k in d T h ro u g h M u sic," T h e In s tr u m e n ta list, X L II/3 (O c to b e r, 1987), N o tt, M ic h a e l. K a r e l H u sa. (N e w Y o rk : G. S c h irm e r, , re v ised, ).

236 227 P h ilip s, H a rv ey. "M u sic ia n fro m P rag u e," T h e In stru m e n ta list, X L V II/2 (S e p te m b e r, ), S u m m e rs, C. O lan d. "T h e D e v e lo p m e n t o f O rig in a l B a n d S c o rin g fro m S o u sa to H u sa." U n p u b lis h e d D A d isse rta tio n, B a ll S ta te U n iv e rs ity, T h o m p so n, M a llo ry B. "K arel H u sa, C o n certo f o r W in d E n s e m b le : A n A n a ly tic a l S tu d y." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f R o c h e s te r, S e lectiv e D isco g rap h y : C o llege B a n d D irecto rs N a tio n a l A sso c ia tio n 2 7 th N a tio n a l C o n fe re n c e. T h e O h io S ta te U n iv e rsity C o n c e rt B a n d, K. H u sa, A m b ie n c e D ig ital R ecord in g. C o n certo f o r W in d E n se m b le. M ic h ig a n S tate U n iv e rsity W in d S y m p h o n y, K. H u sa. M a rk R e c o rd s P C Smetana Fanfare P rem iere: A p ril 3, S an D ie g o S tate U n iv e rsity W in d E n se m b le C h a rle s Y a tes, c o n d u c to r S an D ie g o, C a lifo rn ia In stru m en tatio n : c o n c e rt b and p ic /fl 3, 3 o b, b ssx, 4 trb, 2 x y l; th e fo llo w in g p a rts e a c h h a v e 2 -w a y d iv isi: 4 tp t, euph a n d tu.; th e fo llo w in g p a rts e a c h h a v e 3 -w a y d iv isi: c l 1, c l 2 a n d c l 3. P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1988 (A M P ) A vailability: S core: in p rin t fu ll, tra n sp o se d L evel o f difficulty : G ra d e 5 D uration: c. 3 '3 0 C o m m issio n : P ro g ra m N o te: S an D ie g o S ta te U n iv e rsity fo r th e 1984 F e stiv a l o f M u sic c o m m e m o ra tin g th e 100th a n n iv e rsa ry o f th e d e ath o f C zech c o m p o se r B ed ric h S m etan a in c lu d e d in sco re

237 228 P e rfo rm a n c e C o m m en tary : T h is b rie f w o rk is o n e o f H u sa 's m o s t a c c e ssib le b a n d w o rk s. T h e w o rk h a s as its m a te ria ls a s e rie s o f p o ly to n a l fa n fa re fig u re s, a rtic u la te d so u n d m a sse s, a n d tw o e x c e rp ts fro m B e d ric h S m e ta n a 's ( ) sy m p h o n ic p o e m The W a lle n s te in s C a m p ( ). It h a s a v e ry e x p o se d o p e n in g in v o lv in g fo u r s o lo tru m p ets, re q u irin g c o n fid e n t so lo p la y e rs on e a c h p art. T h e re is a rh y th m ic e m p h a sis o n a 16th n o te trip le t p attern. T h e w o rk te n d s to b e h a rm o n ic a lly static a t tim e s, y e t H u sa k e e p s th e se m o m e n ts a liv e w ith ra p id re p e ate d fig u re s and o v erlap p in g d e sc e n d in g a rp e g g io e s w ith in th e h a rm o n y o f th e m o m e n t. M a n y in stru m e n ts a re w ritte n h ig h in th e ir te ssitu ra. T h e b ra ss sectio n c a rrie s th e w o rk o n th e ir sh o u ld e rs w h ile th e w o o d w in d s a re in a m o re su p p o rtiv e ro le. T h e b re v ity o f the w o rk m a k e s its p e rfo rm a n c e m o re fe a sib le b y a b ro a d e r ra n g e o f e n se m b le s. S e lectiv e B ib lio g raphy: B a ttisti, F ran k. "K arel H u sa K e e p in g T ies w ith T ra d itio n," T he In s tr u m e n ta lis t, L X V /1 2 (Ju ly, 1990), , 42. D u ff, J o h n A. "T h re e W o rk s o f K a re l H u sa: A n A n a ly tic a l S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d P h D d isse rta tio n, M ic h ig a n S tate U n iv e rs ity, D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n se m b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 4 3. H a ith c o c k, M ic h a e l L. "K arel H u sa T a lk s A b o u t C o m p o s in g, T h e In s tr u m e n ta list, X X X V I/9 (A p ril, 1982), H a rtz e ll, L a w re n c e W. "K arel H u sa, th e M an a n d th e M u sic," M u s ic a l Q u a rterly, L X I U l ( ), H e g v ik, A rth u r. "K arel H u sa T a lk s A b o u t H is L ife a n d H is W o rk," T he In s tr u m e n ta list, X X IX /5 (M a y, 1975), H itc h e n s, S u sa n H. K a r e l H u sa : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1991). H o rw o o d, W ally. "T h e R e c o rd e d M u sic o f K a rel H u sa," W IN D S, V III/1 (sp rin g, ), 5-6. H u sa, K a re l. (N e w Y o rk : B ro a d c a s t M u sic, In c ).

238 229 M c L a u rin, D o n a ld. "K arel H u sa 's C o n trib u tio n to th e W in d B a n d," C o llege B a n d D irecto rs N a tio n a l A sso cia tio n J o u rn a l, IV /1 (s u m m e r, ), "T h e L ife a n d W o rk s o f K a re l H u sa w ith an E m p h a s is o n th e S ig n ific a n c e o f H is C o n trib u tio n s to th e W in d B an d." U n p u b lish e d P h D d isse rta tio n, F lo rid a S ta te U n iv e rsity, N e id ig, K e n n e th. "A C o n v e rsa tio n w ith K a rel H u sa," B D G u id e, V13/1 (S e p te m b e r/o c to b e r, 1992), 2-8. N e lso n, J u d y R. "K arel H u sa E c h o in g M a n k in d T h ro u g h M u sic," T he In s tr u m e n ta list, X L II/3 (O c to b e r, 1987), N o tt, M ic h a e l. K a r e l H u sa. (N e w Y o rk : G. S c h irm e r, , re v is e d, ). P h ilip s, H a rv ey. "M u sic ia n fro m P rag u e," T he In stru m e n ta list, X L V II/2 (S e p te m b e r, ), S u m m e rs, C. O land. "T h e D e v e lo p m e n t o f O rig in a l B an d S c o rin g fro m S o u sa to H u sa." U n p u b lish e d D A d isse rta tio n, B a ll S ta te U n iv e rs ity, S electiv e D isco g rap h y : n o n e av ailab le C h a r l e s I v e s M a r c h I n te r c o l le g i a te : T w o - S te p f o r B a n d P rem iere: O c to b e r, 1892 D a n b u ry B an d D a n b u ry F a irg ro u n d s D a n b u ry, C o n n e c tic u t In stru m entatio n : O rig in al in stru m en tatio n : 0, D ^ p ic. 0.3, E ^ c l. 0.ts x./3 a h n.3 c o r, E b c o r. 2, b trb. bar. E E b tu.; p(2) E d itio n by K eith B rio n : c o n c e rt band E b c o r P u b lish er/d ate: P e p p e r & C o., 1896; Jo se p h B o o n in /E u ro p e a n A m e ric a n, 1973 (B )

239 2 3 0 A vailability: S core: in p rin t fu ll, tra n s p o se d c o n d e n se d, sco re in C L e v e l o f d ifficulty : G ra d e 4 D uration: c. 3 '3 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : in fo rm a tio n u n av ailab le in c lu d e d in sco re T h e e x c e lle n t p ro g ram n o te p ro v id e s in fo rm a tio n o n th e o rig in a l in stru m e n ta tio n, a llo w in g a p e rfo rm a n c e b y 19 p la y e rs w h ic h w o u ld a p p ro x im a te Iv e s' in te n tio n s o f T h e w o rk is a 6/8 tw o -ste p d a c a p o m a rc h w h ic h c o n ta in s an u n u su al tra n sito ry sectio n a fte r th e seco n d stra in w h ich stro n g ly c a d e n c e s in C m ajo r. T h e w o rk th e n a b ru p tly m o d u la te s by p iv o t to n e m o d u la tio n to A*5 m a jo r in th e trio sectio n. T h e d a c a p o re tu rn p o s se sse s an Iv e s ia n su rp ris e, as th e in tro d u c tio n b e g in s in th e k e y o f a m in o r. T h is m a rc h fe a tu re s th e tu n e A n n ie L isle (also k n o w n as A lm a M a te r ) in th e seco n d stra in, p re s e n te d b y th e b c l, tsx, trb s a n d b ar. T h e w o rk is d e riv e d fro m Iv e s' p ia n o w o rk o f 1892 M a r c h N o. 5, w ith A n n ie L isle. A n o th e r e a rly re c o rd e d p e rfo m a n c e o f th e w o rk w a s a t P re s id e n t M c K in le y 's In a u g u ra tio n on M a rc h 4, b y th e N e w H av en B an d and W ash in g to n M a rin e B a n d in W a sh in g to n, D.C. Iv e s p re p a re d a s e t o f e n g ra v e d p a rts fo r th is e v e n t and th is set w a s e v e n tu a lly d istrib u te d b y P e p p e r & C o m p a n y. S e lectiv e B ib lio g raphy: H ig h re g is te r p la y in g is re q u ire d o f flu te 1, flu te 2, tro m b o n e 1, a n d b a rito n e, as w e ll as th e B ^ c o m e t 1 p la y e r i f n o c o m e t is av ailab le. T h is is e a rly Iv e s a n d ra th e r ta m e c o m p a re d to th e c h alle n g e s a n d in n o v a tio n s o f h is la te r w ritin g. B a ttisti, F ra n k, a n d D o n a ld H u n sb e rg e r. "T h e W in d M u sic o f C h a rle s Iv e s," T h e In s tr u m e n ta list, X X V III/1 (A u g u st, ), B lo c k, G e o ffre y. C h a rle s Iv e s: A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1988.) B rio n, K e ith, Ja m e s S in c la ir, a n d Jo n a th a n E lk u s. "Iv e s fo r B a n d," T h e In s tr u m e n ta lis t, X X IX /3 (O c to b e r, 1974),

240 231 B u rk h o ld e r, J. P e te r. C h a rle s Iv e s: T h e Id e a s B e h in d th e M u s ic. (N e w H a v e n, C o n n e c tic u t: Y a le U n iv e rsity P re ss, 1985). C o w e ll, H e n ry, a n d S id n e y C o w e ll. C h a rle s Iv e s a n d H is M u s ic. (N e w Y o rk : O x fo rd U n iv e rs ity P re s s, 1955). E lk u s, Jo n a th a n. C h a rles Iv e s a n d th e A m e r ic a n B a n d T ra d itio n : A C e n te n n ia l Tribute. (E x eter, E n g lan d : A m e ric an A rts D o c u m e n ta tio n C e n tre, U n iv e rsity o f E x e te r, 1974). G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "C h a rle s Iv es," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin es, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, 1980), H itc h c o c k, H. W ile y. Iv e s: A S u r v e y o f H is M u s ic. (L o n d o n : O x fo rd U n iv e rs ity P re ss, 1977). H itc h c o c k, H. W ile y, a n d V iv ia n P e rlis, ed. A n Iv e s C e leb ra tio n : P a p e rs a n d P a n e ls on the C h a rles Iv e s C e n ten n ia l F e stiv a l C o n ference. (U rb a n a, Illin o is: U n iv e rsity o f Illin o is P re ss, 1977). Iv e s, C h arle s. E ssa y s b e fo re a S o n a ta, The M a jo rity, a n d O th e r W ritin g s. E d ite d b y H o w a rd B o a tw rig h t. (N e w Y o rk : W. W. N o rto n, ).. M e m o s. E d ite d b y Jo h n K irk p a tric k. (N e w Y o rk : W. W. N o rto n, 1972). P e rlis, V iv ia n. C h a rle s Iv e s R e m e m b e red : A n O ra l H isto ry. (N e w H a v e n, C o n n e c tic u t: Y a le U n iv e rsity P ress, 1974). R o ssite r, F ran k. C h a rle s Iv e s a n d H is A m e r ic a. (N e w Y o rk : L iv e rig h t, ). S electiv e D isco g rap h y : C o rn e ll U n iv e rsity W in d E n sem b le "In C o n c e r t." C o rn e ll U n iv e rsity W in d E n s e m b le, M. S tith, C.U.W.E F o o tlifters: A C en tu ry o f A m e r ic a n M a rc h es. T h e In c re d ib le C o lu m b ia A ll- S ta r B a n d, G. S c h u lle r, C o lu m b ia C B S M M e m b e rs o f th e N e w E n g la n d C o n se rv a to ry W in d E n sem b le, F. B attisti. G o ld e n C re st/n e w E n g la n d C o n se rv a to ry N E C March: Omega Lambda Chi P rem iere: in fo rm a tio n u n av ailab le b e g a n late 1895 a n d fin ish e d J a n u a ry 4,

241 2 3 2 In stru m en tatio n : O rig in al in stru m en tatio n : 0, p ic /4 a h n.4 c o r.2.2 b a r.e E b tu.; p E d itio n b y K e ith B r i o n : c o n c e rt b and s o lo a n d 1st c l, so lo and 1st co r; p ic, fl 1 a n d tu a re d iv. P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1974 (A M P ) A vailability: S core: in p rin t fu ll, tra n sp o se d L evel o f difficulty : G ra d e 5- D uration: c. 3 '0 0 C o m m issio n : P ro g ra m N o te: P erfo rm a n ce C o m m entary : in fo rm a tio n u n availab le in c lu d e d in sco re A lth o u g h e d ite d fo r p e rfo rm an c e w ith m o d e m in stru m e n ts, th is e d itio n allo w s fo r th e 19th c e n tu ry s o n o rity, i f d e sire d, by lim itin g p la y e rs to a clo se fa c sim ile o f th e o rig in a l 1896 in stru m e n ta tio n. T h is 6/8 m a rc h is to n a l (F m a jo r g o in g to C m a jo r) an d c o n ta in s an u n o rth o d o x m o d u la tio n a t th e trio, w h e re Iv e s re m o v e s a fla t fro m th e k e y sig n a tu re, in ste a d o f th e u su al ad d itio n o f a flat. T h e tu n e O m e g a L a m b d a C h i, d e riv e d fro m Sailin g, S a ilin g, c a n b e fo u n d stated in th e first stra in b y th e lo w b ra ss and lo w w o o d w in d s. A b rie f a lto h o rn so lo o p e n s th e trio. T h e w o rk is d e riv e d fro m Iv e s' p ia n o w o rk o f c M a rc h N o. 3, w ith O m e g a L a m b d a C h i. T h is e d itio n c o n ta in s fre q u e n t p a ssa g e s a t a fo rtissim o d y n a m ic and m a n y u n iso n m e lo d ic lin e s w ith in sectio n s, b o th o f w h ich c o n trib u te to th e o v e ra ll in to n a tio n a l c h alle n g e o f th e piece. A n o th e r c o n cern is th e h ig h te ssitu ra o f th e p a rts fo r flu te 1 an d p ic c o lo (to h ig h C ), c o m e t 1 (to h ig h D ), and c la rin e t 1 (to hig h A ). T h e e d itio n is v ery c le a rly e d ite d as fa r as artic u la tio n s a n d d y n a m ic s a re c o n cern e d. S electiv e B ib lio g raphy: B a ttisti, F ran k, a n d D o n a ld H u n sb e rg e r. "T h e W in d M u sic o f C h a rle s Iv es," T h e In s tr u m e n ta list, X X V EII/1 (A u g u st, ),

242 233 B lo c k, G e o ffre y. C h a rle s Iv e s: A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1988.) B rio n, K e ith, J a m e s S in c la ir, a n d Jo n a th a n E lk u s. "Iv e s fo r B a n d," T h e In s tr u m e n ta lis t, X X IX /3 (O c to b e r, ), B u rk h o ld e r, J. P e te r. C h a rle s Iv e s: T h e Id e a s B e h in d th e M u sic. (N e w H a v e n, C o n n e c tic u t: Y a le U n iv e rsity P re s s, 1985). C o w e ll, H e n ry, a n d S id n e y C o w e ll. C h a rle s Iv e s a n d H is M u s ic. (N e w Y o rk : O x fo rd U n iv e rs ity P re s s, 1955). E lk u s, Jo n ath a n. C h a rle s Iv e s a n d the A m e ric a n B a n d T ra d itio n : A C e n te n n ia l T ribute. (E x eter, E n g lan d : A m e ric a n A rts D o c u m e n ta tio n C en tre, U n iv e rsity o f E x e te r, 1974). G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "C h a rle s Iv e s," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re s s, ), H itc h c o c k, H. W ile y. Iv e s: A S u r v e y o f H is M u s ic. (L o n d o n : O x fo rd U n iv e rs ity P re ss, 1977). H itc h c o c k, H. W ile y, a n d V iv ia n P e rlis, ed. A n I v e s C e leb ra tio n : P a p e r s a n d P a n e ls on the C h a rles Iv e s C en ten n ia l F e stiv a l C onference. (U rb a n a, Illin o is: U n iv e rsity o f Illin o is P re s s, 1977). Iv e s, C h a rle s. E ssa y s b e fo re a S o n a ta, T he M a jo rity, a n d O th e r W ritin g s. E d ite d b y H o w a rd B o a tw rig h t. (N ew Y o rk : W. W. N o rto n, ).. M e m o s. E d ite d b y Jo h n K irk p a tric k. (N e w Y o rk : W. W. N o rto n, 1972). P e rlis, V iv ian. C h a rle s Iv e s R e m e m b e red : A n O r a l H isto ry. (N e w H a v en, C o n n e c tic u t: Y a le U n iv e rsity P ress, 1974). R o ssite r, F ran k. C h a rle s Iv e s a n d H is A m e ric a. (N e w Y o rk : L iv e rig h t, ' ). S electiv e D isco g rap h y : C o rn e ll U n iv ersity W in d E n sem b le "In C o n c e r t." C o rn e ll U n iv e rsity W in d E n s e m b le, M. S tith, C.U.W.E F o o tlifters: A C en tu ry o f A m e r ic a n M a rc h es. T h e In c re d ib le C o lu m b ia A ll- S ta r B a n d, G. S c h u lle r, C o lu m b ia C B S M N B : C h a rle s Iv e s w ro te o th e r w o rk s fo r b a n d e a rly in h is c a re e r. In 1928, he c o n stru c te d a listin g o f h is b a n d m u sic o n th e b a ck o f o n e o f h is in su ra n ce c o m p a n y 's c a le n d a rs, listin g h is o rig in al b a n d w o rk s. O n ly M a r c h In te rco lle g ia te

243 2 3 4 an d M a rc h : O m eg a L a m b d a C h i h a v e b e en fo u n d in th e ir c o m p le te b a n d sco rin g. T h e o th e r w o rk s (liste d b e lo w ) a re e ith e r lo s t o r in c o m p le te, a n d in a n y c a se, m o st lik ely did n o t in v o lv e m o re th a n 15 p la y e rs (w in d o rc h e stra m in im u m ) in th e ir o rig in al in stru m e n ta tio n. S c h o o lb o y M a rc h, O p. 1 ( ? ) [lost; m ig h t h a v e b e e n a so u rc e fo r H o lid a y Q u ic k ste p ] S lo w M a r c h o n "A d este F id e lis" ( o r 1887) H o lid a y Q u ic k ste p ( ) [Iv es' arr. fo r b a n d lo st; e d itio n fro m sex te t fo r b an d b y S in c la ir av ailab le] F a n ta sia o n "Jeru sa lem the G o ld e n " (1888) [lost] A S o n o f a G a m b o lie r ( ) M a r c h N o. 1, w ith "T he Y e a r o f J u b ile e " ( ) [lost] M a r c h N o. 6, w ith "H e re's to G o o d O ld Y a le " ( ) [lost] T he C irc u s B a n d ( ) O vertu re: T o w n G o w n a n d S ta te ( ) M a rc h f o r [A d m ira l] D e w e y D a y (1899) R u n a w a y H o rse o n M a in S tr e e t (c ) [in c o m p le te ; o n ly 2 fu ll sco re p a g es rem ain ] Leon K irchner Concerto fo r Violin, Cello, Ten Winds, and P ercu ssion 1. Allegro ma non troppo 2. Adagio P rem iere: O c to b e r 1 6, R o b e rt G e rle, v io lin A ld o P a riso t, c e llo M e m b e rs o f th e B altim o re S y m p h o n y O rc h e stra L e o n K irc h n e r, c o n d u c to r In stru m entatio n : v n, v c; 1 (p ic ) , c b n./ ; t, p (3 ); c el P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1962 (A M P ) A vailability: S co re: re n ta l (G. S c h irm er) fu ll, s c o re in C L evel o f difficulty: G ra d e 6/6 D uration: c. 1 9 '0 0 C o m m issio n : P ro g ra m N ote: C h a m b e r M u sic S o ciety o f B altim o re n o n e

244 235 P e rfo rm a n c e C o m m entary : T h is is a v e ry e n e rg e tic, e n g a g in g w o rk w h ic h in v o lv e s c h a lle n g in g m u sic fo r all p erfo rm ers. T h e strin g so lo ists w ill fin d th e ir p arts to b e d e m a n d in g a t a n a d v a n c e d lev el, c o n ta in in g fre q u e n t u se o f h a rm o n ic s, d o u b le sto p s, and w id e in te rv a llic leap s. T h e m u sic is m ix e d -m e te re d th ro u g h o u t a n d th e e ig h th note p u lse is q u ite q u ic k in th e first m o v e m e n t. A ll w in d s a n d p e rc u ssio n h a v e m o m e n ts o f e x p o se d p la y in g an d c o n fid e n t p e rfo rm e rs a re re q u ire d. A n g u la r lin e s as w e ll as m e lo d ic and h a rm o n ic c ro ssre la tio n sh ip s p re s e n t m o m e n ts o f c o n c e rn. T h e w o rk is less c h alle n g in g rh y th m ic a lly, fe a tu rin g p rim a rily d u p le su b d iv isio n s. F u ll ra n g e s are re q u ire d o f a ll in stru m e n ts. A n in te re stin g a n d in n o v a tiv e m o m e n t o c cu rs in th e first m o v e m e n t w h e n K irc h n e r a sk s fo r a g lissa n d o w h ic h in v o lv e s th e e n tire p e rc u ssio n sectio n. T h is is c o u n te rb a la n c e d a t th e e n d o f th e w o rk w ith a g lissa n d o fro m th e c la rin e t in to th e fin a l c h o rd, as c a n b e fo u n d a t th e b e g in n in g o f G e rsh w in 's R h a p s o d y in B lu e. S e lectiv e B ib lio g raphy: F isk, Jo sia h. "K irc h n er: C h a m b e r M u sic," M u s ic a l A m e r ic a, C X /6 (S e p te m b e r, ), R in g e r, A le x a n d e r. "L eo n K irc h n e r," M u s ic a l Q u a rte rly, X L III ( ), S c h a n tz, E llen. L e o n K irc h n e r. (N e w Y ork: G. S c h irm e r, 1993). \ S e lectiv e D isco g rap h y : F r o m m M u s ic F o u n d a tio n T w e n tie th C en tu ry C o m p o se rs S e rie s. E n g lish C h a m b e r O rc h e stra, G. M e ie r, E p ic L C [m o n o ]; B C 1157 [stereo] L e o n K irc h n e r. B o sto n S y m p h o n y C h a m b e r P la y e rs, L. K irc h n e r, E le k tra N o n e su c h v

245 236 G a il K u b i k Stewball: Variations on an Am erican Folk Tune 1. M oderately fa st: rhythm ically, energetically 2. Fast, with spirit: with steady a n d sharp rhythm throughout 3. Slowly, very sm oothly 4. Fast, briskly P rem iere: 1942 In stru m e n ta tio n : c o n c e rt b and 2 flh n, 2 e u p h, p n o P u b lish er/d ate: P e e r S o u th e m /T h e o d o re P resse r, 1956 ( ) A vailability: Score: in p rin t fu ll, tra n sp o se d L evel o f difficulty : G ra d e 5 D uration: c. 1 2 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : W ritte n a t th e re q u e st o f C arl E n g e l (d istin g u ish e d A m e ric an e d ito r and m u sic o lo g ist) in c lu d e d in sco re S te w b a ll w as th e n a m e o f a fa m o u s ra c e h o rse w h o se triu m p h s on th e tu rf w e re c eleb rated in a fo lk tu n e b y th e sam e n am e. T h e fo lk tu n e, fo u n d in th e c o lle c tio n American Ballads and Folk Songs b y Jo h n L o m a x, w a s u tiliz e d b y K u b ik as th e p rin c ip a l th em e fo r th is set o f v a ria tio n s. T h is c h allen g in g p ie c e is a sy n co p a te d, e n e rg e tic ro m p w h ic h re q u ire s rh y th m ic security a n d c risp a rtic u la tio n fro m th e p la y e rs. B rie f so lo s are scatte re d th ro u g h o u t th e b an d, m o s t n o ta b ly fo r p ic c o lo, flu te 1, o b o e, c la rin e t 1, alto s a x o p h o n e, te n o r sa x o p h o n e, b a sso o n, tru m p e t 1 a n d h o rn. A n e x te n d e d, fa st p a c e d sn are d ru m so lo, p u n c tu a te d w ith rim sh o ts, b e g in s th e fo u rth m o v e m e n t. T y p ic a l o f K u b ik 's m u sic, Stewball is o c casio n a lly tin g e d w ith h a rm o n ic w ritin g b a se d in a ja z z a n d p o p u la r m u sic b a c k g ro u n d. T h e tex tu re o f th e sco rin g v a rie s w id e ly in d e n sity a n d c o n ta in s m a n y in sta n ces w h e re b a la n ce am o n g th e m a n y d ifferin g p a rts w ill b e a c o n cern. C o n sta n tly sh iftin g to n a litie s p ro v id e an in to n a tio n a l d e m a n d on th e p e rfo rm e rs. P la y e rs o n first

246 237 S e lectiv e B ib lio g rap h y : p a rts w ill e n c o u n te r m u sic w h ic h fre q u e n tly re q u ire s n im b le n e ss a n d fle x ib ility in th e ir h ig h ran g e. B a z e lo n, Irw in. " In te rv ie w w ith G a il K u b ik," K n o w in g th e S c o re : N o te s o n F ilm M u sic. (N e w Y o rk : V a n N o stra n d R e in h o ld, 1975). L y a ll, M a x D. "T h e P ia n o M u sic o f G a il K u b ik." U n p u b lis h e d D M A d is se rta tio n, P e a b o d y In s titu te o f Jo h n H o p k in s U n iv e rs ity, R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), 198. S electiv e D isco g rap h y : E d u c a tio n a l R e fe ren c e R e c o rd in g L ib ra ry 29. U n iv e rsity o f Illin o is C o n c e rt B a n d, G. D u k e r. E R R L B P In C o n c e r t w ith the U n iv e rsity o f Illin o is S y m p h o n ic B a n d. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, G. D u k e r. R e c o rd # 27. Fanfare and March P rem iere: 1946 In stru m entatio n : P u b lish er/d ate: A vailability: S core: c o n c e rt band n o E b cl, 2 flh n, 2 e u p h, d iv. tu G. S c h irm e r ( ); m a n u sc rip t as o f 1970 c ita tio n in A S C A P C o n c e r t a n d S y m p h o n ic B a n d C a ta lo g m a n u sc rip t; o u t o f p rin t fu ll, tra n s p o se d L evel o f d ifficulty : G ra d e 5 D uration: c. 5 '1 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : in fo rm atio n u n availab le n o n e T h e o p e n in g fa n fa re is at a m o d e ra te te m p o in 4 /4 a n d is sep a ra te d fro m th e m a rc h b y a b rie f p a u se. T h e fa n fa re fe a tu re s stro n g ly v o ic e d te rtia n c h o rd s in th e b ra ss w h ic h in v o lv e p arallel m o v e m e n t and c h an g in g m o d a litie s, o fte n

247 2 3 8 S e lectiv e B ib lio g raphy: o v e r lo n g p e d a l p o in ts. T h e w o rk is o fte n p o ly to n a l in its h a rm o n ic content. A p ro m in e n t fig u re fo r tru m p e ts 1 a n d 2 c o n sists o f re p e a te d six te en th n o te s on a sin g le p itc h fo llo w e d b y a q u ic k a rp e g g iated flo u rish w h ic h im p lie s a sh ift fro m m in o r to m a jo r to n a lity b y in v o lv in g b o th th e m in o r a n d m a jo r th ird. T h e re is m in im a l w o o d w in d an d p e rc u ssio n p a rtic ip a tio n. T h e 2 /2 m a rc h b e g in s in F # m a jo r a n d w o rk s its w a y to m a te ria l w h ic h o ccu rs o v e r an im p lie d B m a jo r o stin ato. T h e re is a v e ry stro n g e m p h a sis o n p a ra lle l m o v e m e n t o f th e h a rm o n ic in te rv a l o f th e p e rfe c t fifth. T h e se tw o e le m en ts c o m b in e to c re ate a ra th e r ch allen g in g situ atio n in re g a rd to in to n a tio n. A n e x p a n d in g h a rm o n ic w e d g e is th e p rin c ip a l c o m p o sitio n a l te c h n iq u e e m p lo y e d in th is m o v e m e n t. A b rie f q u ie t m id d le sectio n fe a tu re a so lo fo r h o rn 1 o v e r alte rn a tin g c h o rd s in th e c larin ets. L a te r in th e m o v e m e n t th e re are b rie f so lo s fo r p ic c o lo, flu te 1, c la rin e t 1, an d tru m p e t 1, as w e ll as an e x p o se d so lo fo r flu g e lh o m 1 in its u p p e r re g iste r. T h e w o rk e n d s c o n v in c in g ly in C m ajo r. T h ro u g h o u t th e p ie c e d isso n a n c es a re h e ld fo r fa irly lo n g d u ra tio n s. T h e rh y th m ic d e m a n d s a re m o d e ra te. In stru m e n ta l ra n g e s a re ra th e r d e m a n d in g fo r m o s t o f th e b ra ss (h ig h A in th e tro m b o n e 3 p a rt), as w e ll as c la rin e t 1 a n d 2. B a z e lo n, Irw in. " In te rv ie w w ith G a il K u b ik," K n o w in g th e S c o re : N o te s o n F ilm M u s ic. (N e w Y o rk : V an N o stra n d R e in h o ld, 1975). L y a ll, M a x D. "T h e P ia n o M u sic o f G a il K u b ik." U n p u b lis h e d D M A d isse rta tio n, P e a b o d y In s titu te o f Jo h n H o p k in s U n iv e rs ity, S electiv e D isco g rap h y : n o n e av ailab le F a n f a r e f o r O n e W o r ld P rem iere: M arch 8, 1970 G e tty sb u rg C o lle g e B an d R o b e rt Z e lln e r, co n d u c to r G e tty sb u rg, P e n n sy lv a n ia In stru m entatio n : c o n c e rt band n o c l o r acl, so lo a n d 1st B ^ cl, 4 cor, 2 tp t, 2 flh n, 2 e u p h, d iv. tu

248 2 3 9 P u b lish er/d ate: m a n u sc rip t, 1947 A vailability: S core: u n availab le m a n u sc rip t lo c a te d in K u b ik A rc h iv e s, K a n sa s S tate U n iv e rsity fu ll, tra n s p o se d L ev el o f difficu lty : G ra d e 5 + D uration: c. 1*20 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : in fo rm a tio n u n availab le n o n e T h is b rie f w o rk (o n ly 37 m e a su re s lo n g ) c o n ta in s a g g re ssiv e m u sic w h ic h is m a rk e d "B risk ly, w ith p e rc u ssiv e fo rc e." A s n a re d ru m an d su sp e n d e d c y m b a l ro ll o p e n s th e w o rk, settin g up a flo u rish o f a c tiv ity fro m th e h ig h b ra ss w h ic h re q u ire s crisp artic u la tio n an d g o o d fle x ib ility fo r ra p id lip slu rs. T h e e n e rg y le v e l is ra th e r h ig h fo r m o s t o f th e w o rk. A b rie f re sp ite n e a r th e en d, h o w e v e r, h e lp s to h e ig h te n th e im p a c t o f th e stro n g c o n c lu d in g m e a su re s. B rie f q u o te s fro m A m e r ic a a n d th e S ta r S p a n g le d B a n n e r a re sly ly in te rje c te d by K u b ik in to th e m u sic a l fa b ric o f th e w o rk. S electiv e B ib lio g raphy: T h e w o rk is in A B C A 'D fo rm an d th e m u sic h a s a sen s e o f u n p re d ic ta b ility to it. It is a s y n c o p a te d w o rk a n d th e rh y th m ic activ ity is e n g ag in g fo r th e liste n e r an d ch allen g in g fo r th e p lay ers. O th e r d e m a n d s o n th e p e rfo rm e rs in c lu d e th e n eed fo r c le an articu latio n o f six te en th n o te p a tte rn s a t a q u ic k te m p o, accu ra te c h a n g e s b e tw een d u p le a n d trip le s u b d iv isio n s o f th e b eat, and s e c u re u p p e r ra n g e s fro m m a n y o f th e p la y e rs. T h e so lo a n d 1st B ^ c la rin e ts p la y th e ir h ig h F # c o m e t 1 a n d tru m p e t 1 th e ir h ig h C # a n d tro m b o n e 1 its h ig h A. A v a rie ty o f to n a l cen ters p ro v id e in to n a tio n a l c h a lle n g e, as d o th e o c c a sio n a l d isso n a n t h a rm o n ie s. T h e w o rk s e n d s ra th e r su rp risin g ly w ith a tu tti c h o rd o n E v o ic e d as a p e rfe c t fifth. B a z e lo n, Irw in. "In te rv ie w w ith G a il K u b ik," K n o w in g th e S c o re : N o te s o n F ilm M u sic. (N e w Y o rk : V a n N o stra n d R e in h o ld, 1975). L y a ll, M a x D. "T h e P ia n o M u sic o f G a il K u b ik." U n p u b lish e d D M A d isse rta tio n, P e a b o d y In s titu te o f Jo h n H o p k in s U n iv e rs ity, 1980.

249 2 4 0 S e lectiv e D isco g rap h y : n o n e av ailab le John La M ontaine Te Deum, Op. 35 P rem iere: M a y 7, 1964 W ash in g to n N a tio n a l C ath ed ral W ash in g to n D C In stru m en tatio n : n a r; 2, p ic. 2.1, cl. 1, c b n./2.3 (in C ), 2 h e ra ld tp t. 3.1.; t, p (3 ), c a rillo n (o r la rg e bell o r c h im e in E ^ ); S S A A T T B B c h o ru s P u b lish er/d ate: W a s h in g to n N a tio n a l C a th e d ra l/p J. S ifle r, 1964 A vailability: S core: rental fu ll, tra n s p o se d L ev el o f difficu lty : G ra d e 6 /5 + D uration: C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : c. lo'oo C o m p o se d in h o n o r o f th e c o m p le tio n o f th e G lo ria in E x c e lsis T o w e r o f th e W ash in g to n N a tio n a l C ath e d ra l and d e d ic ate d to th e g lo ry o f G od in c lu d e d in sco re T h e Te D e u m te x t is ta k e n fro m th e B o o k o f C o m m o n P ra yer. L a M o n ta in e sets the fin a l p a rt o f th e T e D e u m fo r so lo n a rra to r a t th e e n d o f th e w o rk, a fte r th e c h o ru s a n d w in d e n se m b le h a v e co m p le te d th e ir m u sic. T h e carillo n so u n d s its sin g le n o te a t th e e n d o f e a c h p h ra s e sp o k e n b y th e n a rra to r. T h e w o rk o p e n s in a m ajestic 3/2 settin g w ith th e h e ra ld tru m p ets and c a rillo n in to n in g th e p itc h E ^. T h is p e d a l p o in t is taken u p b y th e c h o ru s u p o n th e ir first e n tra n c e an d th e c o m p o se r u ses th e in stru m e n ts to g ra d u a lly s h e a r a w a y fro m th e p e d a l p o in t, p ro v id in g h a rm o n ic te n sio n. T h is c o m p o sitio n a l d e v ic e is an im p o rtan t stru ctu ral e le m e n t th ro u g h o u t th e p iece.

250 241 S ele c tiv e B ib lio g raphy: A la rg e c h o ru s w ill b e n eed ed to b a la n c e th e w in d s and p e rc u ssio n, as th e ir p a rts are sco re d fa irly stro n g ly. T h e b ra ss a n d p e rc u ssio n w ritin g in g e n e ra l is fa n fa rish in n a tu re in th e o u te r se c tio n s o f th e w o rk. T h e q u ie t m id d le sectio n fin d s th e w o o d w in d s p la y in g s lu rre d q u in tu p le ts a n d e n d s w ith a u n iso n m e lo d ic lin e in v o lv in g w id e in te rv a ls p la y e d b y a lm o st all o f th e w in d s a g a in st a p e d a l p o in t in th e b a ss in stru m e n ts and tim p an i. T h e h a rm o n ie s at tim e s b e co m e q u ite d isso n a n t an d d em an d sp ecia l c a re fo r in to n a tio n an d b len d. T h e stro n g p la y in g in th e o u te r s e c tio n s w ill c h a lle n g e th e e n d u ra n c e o f th e b ra ss p la y e rs. R an g e s are re a so n a b le fo r m o st in stru m e n ts, a lth o u g h th e tru m p e t 1 a n d h e ra ld tru m p e t 1 p a rts are w ritten to h ig h D. T h is w o rk a p p e a rs to b e q u ite ex citin g a n d e ffe c tiv e a n d b ears in v e stig a tio n fo r fu tu re p e rfo rm an c e. It w a s p re m ie re d at th e sam e serv ic e as L e o S o w e rb y 's F a n ta sy o n "In B a b ilo n e " and R o re m 's L ift U p Y o u r H e a d s: T h e A s c e n s io n. H u tc h in so n, P a u la. "Jo h n L a M o n ta in e 's F lu te M u sic," F lu te T a lk, X T V /6 (F e b ru a ry, ), , 33. L a M o n ta in e, Jo h n. "M u sic a n d th e S o u n d s o f N a tu re," M u s ic J o u rn a l (A n n u a l, ), , W e in tra u b, E ric a B eth. "L ife on th e E dge," M u s ic E d u c a to r s J o u rn a l, L X IX /7 (M a rc h, ), S e lectiv e D isco g rap h y : n o n e availab le Donald Martino T r ip le C o n c e r to f o r C la r in e t, B a s s C la r in e t a n d C o n tr a b a s s C la r i n e t P rem iere: D e c e m b e r 18, 1978 G ro u p fo r C o n te m p o ra ry M u sic M an h a tta n S ch o o l o f M u sic N e w Y o rk, N e w Y o rk In stru m entatio n : cl, b c l, B B ^ c b c l; / ; d b ; p (2 ); p n o, cel; [ ]

251 242 P u b lish er/d ate: D a n ta lia n, In c., 1978 (D S E A ) A vailability: S co re: rental fu ll, s c o re in C L ev el o f difficulty : G ra d e 6 + /6 D u ration: c. 2 6 '0 0 C o m m issio n : P ro g ra m N o te : P e rfo rm a n c e C o m m en tary : G ro u p fo r C o n te m p o ra ry M u sic, w ith a ssis ta n c e fro m th e N e w Y o rk S tate C o u n c il fo n th e A rts, T h e A n d re w W. M ello n F o u n d a tio n and the N a tio n a l E n d o w m e n t fo r th e A rts in c lu d e d in sco re In th is w o rk, th e th re e so lo c la rin e ts b e c o m e a sin g le "su p er c la rin e t." A s is ty p ic a l w ith m o s t o f M a rtin o 's m u sic, the p ie c e is e x tre m e ly ch allen g in g, w ith v irtu o sic d e m a n d s p laced o n th e so lo ists an d very d iffic u lt p a rts fo r a ll p lay ers in th e a c c o m p a n y in g e n sem b le. A se ria l w o rk, th e T rip le C o n erto, is v e ry c o m p le x rh y th m ically (p e rh a p s its u ltim ate c h a lle n g e ), w ith m a n y tran sitio n s in v o lv in g m e tric m o d u latio n. T h e a c c o m p a n im e n t is g e n e ra lly te x tu re d th in ly an d c re a te s a p o in tillistic ta p e stry a g a in st w h ic h th e so lo ists s ta n d out. M a rtin o is v e ry e x p lic it w ith h is sco rin g, e sp e c ia lly in re g a rd to d y n am ics, a rtic u la tio n a n d tem p o. A p a rtic u la r c o n c e rn is th e p re v a len c e o f m e lo d ic frag m ents p la y e d b y in d iv id u a l in stru m e n ta lists w h ic h m u s t c o alesce in to a c o m p le te m elo d y. S e lectiv e B ib lio g rap h y : T h e w o rk o p e n s w ith a fo r tis s im o "th u n d e rc la p " o f so u n d from th e tim p a n i, g o n g an d p ia n o (lo w fo re a rm clu ster). A s it d ecay s, th e b a ss c la rin e t q u ie tly e m e rg e s w ith a su sta in e d to n e, la u n c h in g a fa scin a tin g d isp la y p ie c e fo r th e se th ree cla rin e ts. T h e p ie c e is o n e c o n tin u o u s m o v e m e n t, w ith d istin c t sectio n s w h ic h fo llo w a ty p ic a l c o n c e rto fo rm al stru ctu re. A h ig h lig h t o f th e w o rk is th e le n g th y trip le c a d e n z a a t th e e n d o f th e first sectio n o f th e w o rk. A ll th re e so lo parts are e q u a lly d em an d in g, re q u irin g c o m p le te c o n tro l o f th e p itc h a n d d y n a m ic ra n g e s o f th e in stru m e n ts. T h e so lo ists are ask ed to flu tte r to n g u e. B o ro s, Jam e s. "A C o n v e rsa tio n w ith D o n a ld M a rtin o," P e r sp e c tiv e s o f N e w M u s ic, X X IX /2 (s u m m e r, ), C re d ito r, B ru ce. "C larin et L iteratu re R ev iew : D o n a ld M a rtin o T riple C o n c e rto," N A C W P I J o u rn a l, X L /3 (sp rin g, ),

252 243 D 'A m b ro se, Jo se p h. D o n a ld M a r tin o. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1 978). M a rtin o, D o n a ld. "T rip le C o n c e rto," in M a rtin o, B a b b itt. A. D e v e n d ra, c la rin e t, D. S m y lie, b a ss c la rin e t, L. T h im m ig, c o n tra b a s s c la rin e t, T h e G ro u p fo r C o n te m p o ra ry M u sic, H. S o llb e rg e r, N o n e su c h H [re c o rd ja c k e t n o tes] N ic h o lls, D av id. "D o n ald M artin o : A S u rv e y o f h is R e c e n t M u sic," M u sic & L e tte r s, L X X III/1 (F e b ru a ry, 1992), S tu rm, G e o rg e. "E n c o u n te rs: D o n a ld M a rtin o," M a d A m in A!, X II/2 (fall, ), V ish io, A n to n. "A n In v e stig a tio n o f S tru ctu re a n d E x p e rie n c e in M a rtin o S p a c e," P e r s p e c tiv e s o f N e w M u s ic, X X IX /2 (s u m m e r, ), S e lectiv e D iscograp h y : M a rtin o, B a b b itt. A. D e v e n d ra, c la rin e t, D. S m y lie, b a ss c la rin e t, L. T h im m ig, co n tra b a ss c la rin e t, T h e G ro u p fo r C o n te m p o ra ry M u sic, H. S o llb e rg e r, N o n e su c h H The White Island 1. The Bell Man 2. Upon Time 3. His Letanie, to the Holy Spirit 4. The goodnesse o f his God 5. The white island: or place o f the blest P rem iere: A p ril 8, 1987 B o sto n S y m p h o n y O rc h e stra S y m p h o n y H a ll B o sto n, M a s sa c h u se tts In stru m entatio n : l ( p i c ).l( e h ).l, b c l(b B b c b c l). l. / l. l ( f l h n ). l, b trb. 0.; db; p (2 ); p n o ; [ ]; S S A A T T B B c h o ru s (c h a m b e r v e rsio n ) P u b lish er/d ate: D a n talian, 1986 (3 0 3 a) A vailability: S co re: ren tal, stu d y sco re av a ila b le fo r p u rc h a se fu ll, s c o re in C L ev el o f difficulty : G ra d e 6/6 D uration: c. 2 2 '0 0

253 2 4 4 C o m m issio n : P ro g ra m N o te : P e rfo rm a n ce C o m m entary : B o sto n S y m p h o n y O rc h e stra fo r its C e n te n n ia l D e d ic a te d to Jo h n O liv e r an d th e T a n g le w o o d F estiv al C h o ru s in c lu d e d in sco re M a rtin o a u th o rizes a c h a m b e r v e rsio n o f th is w o rk u tilizin g fiv e so lo strin g s. T h e p io u s te x ts a re b y R o b e rt H e rric k. T h e m e lo d ic in te rv a l o f a risin g h a lf step is a u n ify in g e le m e n t th ro u g h o u t th e p iece, a lo n g w ith its re la te d in terv als o f th e m in o r n in th and m a jo r sev e n th. S e ria l in flu e n c e s are e v id e n t in m e lo d ic a n d h a rm o n ic stru c tu re s. T h e w o rk 's o v e ra ll d y n a m ic a n d te m p o ra l s tru c tu re is an arch fo rm, e v o lv in g fro m a slo w, q u ie t c a lm to a q u ic k, stro n g a g ita tio n, an d th e n re tu rn in g to c a lm m u sic. T he W h ite Is la n d h as b een a c c la im e d as o n e o f th e m o s t im p o rta n t an d e ffe c tiv e c h o ra l w o rk s o f th e la s t tw o decades. F o r a d e ta ile d a n aly sis o f th e w o rk, c o n s u lt th e a rtic le b y B ro d y liste d in th e b ib lio g ra p h y belo w. S e lectiv e B ib lio g raphy: T h e tw o p e rc u ssio n ists a re k e p t v e ry b u sy. M a rtin o m a k e s th e ir jo b a little e a s ie r b y p ro v id in g e x c e lle n t sco re n o te s c o n c e rn in g n o ta tio n and set u p, a s w e ll as v e ry e x p lic it n o ta tio n th ro u g h o u t th e sco re. T h e strin g c o n tra b a ss n e e d s a lo w C e x te n sio n. T h e p rin c ip a l c h a lle n g e s o f th e w o rk in c lu d e in to n a tio n (d u e to th e c o m p le x h a rm o n ic la n g u a g e e m p lo y e d ) and e n se m b le p re c isio n w ith in a v e ry c o m p le x rh y th m ic w e b. Q u ic k q u in tu p le ts, se p tu p le ts a n d d o d e c u p le ts are fo u n d in th e w o o d w in d p arts. In th e th ird m o v e m e n t th e te n o r a n d b ass v o ic e s u tilize a d ram atic sp o k en d e liv e ry o v e r q u ie t lo n g m e lo d ic lin e s in th e so p ra n o a n d alto v o ices. B o ro s, Jam e s. "A C o n v e rsa tio n w ith D o n a ld M a rtin o," P e rsp e c tiv e s o f N e w M u s ic, X X IX /2 (s u m m e r, ), B ro d y, M a rtin. "M S H J: F a ith an d D e e d s in T h e W h ite Isla n d," P e r s p e c tiv e s o f N e w M u s ic, X X IX /2 (s u m m e r, ), D 'A m b ro se, Jo se p h. D o n a ld M a r tin o. (N e w Y o rk : B ro a d c a s t M u sic, In c., ). N ic h o lls, D a v id. "D o n ald M artin o : A S u rv ey o f h is R e c e n t M u sic," M u sic & L e tte r s, L X X III/1 (F e b ru a ry, 1992), S tu rm, G e o rg e. "E n c o u n te rs: D o n a ld M a rtin o," M a d A m in A!, X II/2 (fall, ),

254 245 V ish io, A n to n. "A n In v e stig a tio n o f S tru ctu re an d E x p e rie n c e in M artin o S p a c e," P e r s p e c tiv e s o f N e w M u s ic, X X IX /2 (s u m m e r, 1991), W o o d, G a ry F. "T h e C h o ra l M u sic o f D o n a ld M a rtin o." U n p u b lish e d D M A d isse rta io n, U n iv e rsity o f Illin o is U rb a n a -C h a m p a ig n, S electiv e D isco g rap h y : n o n e availab le Douglas M oore Farm Journal: Suite f o r Chamber Orchestra 1. Up Early 2. Sunday Clothes 3. Lam plight 4. H arvest Song P rem iere: J a n u a ry 19, 1948 L ittle O rc h estra S o ciety T h o m a s S c h e rm a n, c o n d u c to r T o w n H a ll N e w Y o rk, N e w Y o rk In stru m en tatio n : 2 (p ic ) / ; d b ; t, p (2 ); [ ] P u b lish er/d ate: C a rl F is c h e r, 1950 (N ) A vailability: S core: rental fu ll, tra n s p o se d L e v e l o f difficulty : G ra d e 4 D uration: c. 1 3 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m entary : L ittle O rc h estra S ociety T h o m a s S c h e rm a n, c o n d u c to r in c lu d e d in sco re M o o re d e sc rib e d th is su ite as a "ru stic c o m p o sitio n " in h is sco re n o te, an d in d ic a te d th a t m u c h o f its m a te ria ls w ere ta k e n fro m a d o c u m e n ta ry film sco re h e w ro te in 1940, P o w e r a n d th e L a n d, w h ich w a s b a se d u p o n life in a sm all farm c o m m u n ity in so u th ern O h io. T h e m o v e m e n ts d ep ict m o rn in g, th e S a b b a th, th e e v e n in g a n d a u tu m n. A lth o u g h a

255 2 4 6 S e lectiv e B ib lio g rap h y : to n al w o rk, th e re are a fe w su rp risin g h a rm o n ic tw ists and tu rn s w h ic h p ro v id e in to n atio n al c h allen g e. T h e first m o v e m e n t c o n ta in s ja u n ty, stu rd y o rig in a l fo lk tu n e s w h ic h are o c casio n ally sy n c o p a te d. F e rm a ti in te rru p t th e m e lo d ic lin es in th e seco n d m o v e m e n t, w h ich a lso fe a tu re a tru m p e t so lo a n d u p p e r w o o d w in d p a rts w h ich c o n ta in 3 2 n d n o te trip lets. L e n g th y so lo m e lo d ic lin es re q u irin g g o o d b re a th c o n tro l a re fo u n d in th e flu te 1, o b o e 1 a n d c la rin e t 1 p a rts d u rin g th e th ird m o v e m e n t. T h e fin al m o v e m e n t is in 6/8 an d opens w ith d e c la m a to ry h o rn calls. B e e so n, J. "In M e m o ria m : D o u g la s M o o re," P e r s p e c tiv e s o f N e w M u sic, V III/1, ( ), G le a so n, H a ro ld, a n d W a rre n B e c k e r. "D o u g las M o o re," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), L u e n in g, O. " D o u g la s M o o re," M o d e r n M u sic, x x /4 ( ), R e a g a n, D o n a ld J. "D o u g las M o o re an d H is O rc h e stra l W o rk s." U n p u b lis h e d P h D d isse rta tio n, C a th o lic U n iv e rs ity, , S electiv e D isco g rap h y : F a r m J o u rn a l. O slo P h ilh a rm o n ic O rchestra, A. A n to n in i. C o m p o se r R e c o rd in g s, In c o rp o ra te d C R I 101. The People's Choice: M arch f o r Election Eve P rem iere: J u n e 18, 1959 T h e G o ld m a n B an d R ic h a rd F ra n k o G o ld m a n, c o n d u c to r N e w Y o rk, N e w Y o rk In stru m en tatio n : c o n c e rt b and p ic/fl 3; trb 3 is btrb P u b lish er/d ate: G a la x y M u sic /E.C. S c h irm e r, 1959 A vailability: S core: in p rin t fu ll, tra n sp o se d L evel o f d ifficulty: G ra d e 4

256 2 4 7 D uration: c. 4 '3 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m entary : T h e G o ld m a n B a n d D e d ic a te d to th e m e m o ry o f E d w in F ra n k o G o ld m a n in c lu d e d in sco re T h is is a tu n e fu l c o n c e rt m a rc h p o sse ssin g d ia to n ic m e lo d ie s su p p o rte d w ith b o th te rtia n a n d q u a rta l h a rm o n ie s. T h e w o rk tra v e rses th ro u g h a w id e v ariety o f to n a l c e n te rs d u rin g its b rie f d u ra tio n. T h e p rin c ip a l m e lo d y is b a se d u p o n a th e m e fro m h is o p e ra T h e B a lla d o f B a b y D o e. T h e m u sic a l m aterials are id io m atic to th e g enre a lth o u g h th e p e rc u ssio n w ritin g is m o re sp a rse th an is ty p ic a l o f m o s t m a rc h es. B rie f six te en th n o te sc a le fig u re s e x ist in n e a rly all p a rts, th e re is little so lo p la y in g, an d th e rh y th m s a n d ra n g e s fa ll w ith in re a so n a b le d e m a n d s. T h e m ain c h a lle n g e w ill b e in to n a tio n, d u e to th e a d v e n tu re so m e h arm o n ic su p p o rt M o o re g iv e s to h is m e lo d ie s. S e lectiv e B ib lio g rap h y : B e e so n, J. "In M e m o ria m : D o u g la s M o o re," P e r s p e c tiv e s o f N e w M u s ic, V III/1, ( ), B e lse r, R o b e rt S. "O rig in a l W o rk s fo r C o n c e rt B a n d P re m ie re d o r C o m m is sio n e d b y E d w in F ra n k o G o ld m a n, R ic h a rd F ra n k o G o ld m a n, an d th e G o ld m a n B a n d " U n p u b lis h e d D M A d is se rta tio n, T h e U n iv e rs ity o f Io w a, G le a so n, H a ro ld, a n d W a rre n B e c k e r. "D o u g las M o o re," 2 0 th -C e n tu r y A m e r ic a n C o m p o sers, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, 1 980), L e ste r, N o e l. "R ich a rd F ra n k o G o ld m a n and th e G o ld m a n B an d," J o u rn a l o f B a n d R e s e a r c h, X X IV /1 (fall, 1988), L u e n in g, O. "D o u g la s M o o re," M o d e r n M u sic, x x /4 ( ), S electiv e D isco g rap h y : T h e S o u n d o f th e G o ld m a n B a n d. G o ld m a n B a n d, R. F. G o ld m a n. D e c c a D L

257 248 George Perle S o l e m n P r o c e s s io n P rem iere: b a n d versio n : 1947 [a rra n g e d b y P e rle fo r b a n d in 1947] In stru m en tatio n : c o n c e rt b an d 2 co r, 2 tp t P u b lish er/d ate: T h e o d o re P re sse r, 1967 ( ) A vailability: Score: in p rin t fu ll, tra n sp o se d L evel o f difficulty : G ra d e 5- D uration: c. 4 '3 0 C o m m issio n : P ro g ra m N o te: P erfo rm a n ce C o m m entary : in fo rm atio n u n availab le n o n e T h is w o rk w a s d e riv e d fro m P e rle 's S tr in g Q u a rte t N o. 4 o f 1947, and ev e n tu a lly b e cam e a m o v e m e n t o f h is 1959 S y m p h o n y f o r B a n d, w h ic h w a s la te r w ith d ra w n. I t o ffe rs an e x p e rie n c e in th e c o m p o se r's e a rly m u sic a l lan g u a g e. M a rk e d a d a g io, th e p ie c e o p ens v e ry q u ie tly an d is th in ly sco red. A d o u b le d o tte d e ig h th n o te th irty -second n o te rh y th m ic m o tiv e is in tro d u ced w h ic h is fe a tu re d th ro u g h o u t th e w o rk. T h e p rin c ip a l m e lo d ic m a te ria l is q u ite ch ro m a tic a n d is d ev elo p ed w ith a fra g m e n te d d e liv e ry o v e r p e d a l p o in ts. H a rm o n ic su p p o rt is v e ry c h ro m a tic as w ell. A su b ito fo r tis s im o o u tb u rs t in th e m id d le o f th e w o rk is a n n o u n c e d w ith fa n fa re s u tilizin g th e in te rv a l o f a p e rfe c t fo u rth, w h ic h e v e n tu a lly tra n sfo rm s in to a trito n e. S tro n g u n iso n fig u re s in th e b ra sse s a n d w o o d w in d s v ie a n tip h o n a lly fo r th e liste n er's atte n tio n as th e sectio n c o m e s to a clo se. T h e w o rk e n d s w ith a d issip a tio n o f th is m u sic a l e n e rg y and a re tu rn o f o p e n in g id eas. B rie f so lo s are fo u n d in th e flu te, o b o e, cla rin e t, b a ss c la rin e t a n d alto s a x o p h o n e p a rts. S e lectiv e B ib lio g rap h y : K ra ft, L eo. "T h e M u sic o f G e o rg e P e r l e," M u s ic a l Q u a rterly, L V II/3 (Ju ly, ),

258 249 P e rle, G e o rg e. T he L is te n in g C o m p o se r. (B e rk e le y a n d L o s A n g e le s, C a lifo rn ia : U n iv e rs ity o f C a lifo rn ia P ress, 1990).. T w e lv e -T o n e T o n a lity. (B e rk e le y and L o s A n g e le s, C a lifo rn ia : U n iv e rs ity o f C a lifo rn ia P re ss, 1977). S ele c tiv e D iscograp h y : C eleb ra tio n! T o k y o K o se i W in d O rc h e stra, F e n n e ll. K o se i P u b lish in g C o m p a n y K O C D Concertino fo r Piano, Winds a n d Timpani P rem iere: A p ril 2 0, M. R itt, p ia n o D a C a p o C h a m b e r P lay ers R a lp h S h a p e y, c o n d u c to r C h ic a g o, Illin o is In stru m entatio n : p n o ; 2.2 (e h ).2 (in A ).2./ ; t P u b lish er/d ate: B o lk e -B o m a rt, 1980 (B -B ) A vailability: S co re: rental stu d y s c o re a v ailab le fo r p u rc h a se F u ll, s c o re in C L ev el o f difficulty : G ra d e 6 /6 - D uration: c. 9 '3 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : F ro m m F o u n d a tio n n o n e T h e stru c tu re o f th is w o rk h as e le m e n ts o f ro n d o fo rm w ith in it (th e o p e n in g m u sic al g e stu re re tu rn s a n u m b e r o f tim e s in the fin al stag e s o f the p ie c e), as w e ll as a to c c ata -lik e d e liv e ry o f th e m u sic in th e first o f its th re e sectio n s. T h e C o n certin o is m a rk e d by c o n sta n tly sh iftin g m e te rs, c h a lle n g in g rh y th m s, th e u se o f tim b ra l m o d u la tio n, an d sp a rse sco rin g o f th e a c c o m p a n im e n t. T h e in te rv a ls o f th ird s and sev e n th s g e n erate m u c h o f th e m e lo d ic a n d h a rm o n ic c o n te n t o f th e piece. T h e w in d w ritin g te n d s to fe a tu re lik e p a irs o f in stru m e n ts set a g a in st th e p ia n o a n d /o r o th e r p a irs o f in stru m e n ts. T h e ra n g e s e m p lo y e d fo r th e w in d in stru m e n ts a re re a so n a b le,

259 250 S electiv e B ib lio g raphy: w ith th e real d e m a n d b e in g rh y th m ic e n se m b le p recisio n. T h e re is an e x te n d e d so lo fo r E n g lish h o rn in th e m id d le sectio n, w h e re it p re sen ts a th e m e w h ic h th e p ia n o th en e m b e llish e s w ith v a riatio n s. T h e tim p a n i is sile n t fo r th e first m e a su re s o f th is m e a su re p ie c e. G o o d e, R ic h ard. G e o rg e P e rle : B a lla d e, C o n c e rtin o a n d S e re n a d e N o. 3. R. G o o d e, P ia n o, M u sic o f T o d a y E n s e m b le, G. S c h w a rz, c o n d u c to r. N o n e su c h [reco rd ja c k e t n o te s] K raft, L eo. "T h e M u sic o f G e o rg e P e r l e," M u s ic a l Q u a rte rly, L V II/3 (J u ly, ), P e rle, G e o rg e. T h e L iste n in g C o m p o se r. (B e rk e le y a n d L o s A n g e le s, C alifo rn ia : U n iv e rs ity o f C a lifo rn ia P re ss, 1990).. T w e lv e -T o n e T o n a lity. (B e rk e le y and L o s A n g e le s, C a lifo rn ia : U n iv e rsity o f C a lifo rn ia P re ss, 1977). S e lectiv e D isco g rap h y : G e o rg e P e rle : B a lla d e, C o n certin o, S e re n a d e N o. 3. R. G o o d e, P ia n o, M u sic o f T o d a y E n s e m b le, G. S c h w a rz. N o n e s u c h W ayne Peterson Transform ations P rem iere: 1986 In stru m en tatio n : 1 (a fl). 1.1 (b c l). 1./2.1 (in C ).1.0.; d b ; p (2 ); p n o, h p ; [ ] (c h a m b e r v e rsio n ) P u b lish er/d ate: H e n m a r/c.f. P e te rs, 1992 ( ) A vailability: S co re: rental fu ll, sco re in C L ev el o f d ifficulty: G ra d e 6 D uration: c. 1 7 '0 0 C o m m issio n : P ro g ram N ote: C o m m is sio n e d b y th e S a n F ra n sisco S y m p h o n y a n d d e d ic ate d to C h arle s W u o rin en n o n e

260 251 P e rfo rm a n c e C o m m e n ta ry : A p p ro p ria te ly title d, th is th ro u g h -c o m p o se d, sin g le m o v e m e n t w o rk p re sen ts m u ltip le c h a lle n g e s to all p e rfo rm ers. A ll p a rts a re tre a te d in a so lo istic m a n n e r, e s p e c ia lly th e v io lin 1, p ia n o, h a rp, a n d p e rc u ssio n p arts. T h is m ix e d -m e te re d w o rk is v e ry c o m p le x rh y th m ically, c o n ta in in g m a n y in sta n c e s o f m e tric m o d u la tio n a n d an a b u n d a n c e o f c ro ss-rh y th m s a n d q u in tu p le t v a ria n ts. A t tim e s th e w o rk is s e ria lly d eriv ed. T h e m e lo d ic w ritin g p o ses m a n y c h a lle n g e s, w ith d e m a n d in g u n is o n lin e s in v o lv in g d ie e n tire w o o d w in d a n d /o r u p p e r s trin g sectio n s, as w e ll as in te rc o n n e c tin g lin e s w h ic h p a s s fro m o n e in stru m e n t to th e n ext. T h e p ie c e is g e n e ra lly v e ry th in in te x tu re an d q u ite c o n tra p u n ta l in n a tu re. T h e h a rm o n ie s are c o m p le x a n d in c lu d e clu sters. P ro fe ssio n a l le v e l p e rfo rm e rs a re n e c e ssa ry. S e lectiv e B ib lio g rap h y : P e te rso n in d ic a te s in h is sco re n o te s th a t th e strin g p a rts can b e p la y e d b y sin g le p la y e rs o r sectio n s. T h e strin g p arts c o n ta in m a n y d o u b le sto p s in v o lv in g m a n y d iffe re n t in te rv a ls. T h e tro m b o n e n eed s to b e a te n o r-b a ss tro m b o n e. A fu ll p a g e o f s c o re n o te s is d e v o te d to h a rp n o ta tio n and a n o th e r p a g e to th e e x te n siv e p e rc u ssio n b a tte ry h a n d le d b y o n ly tw o p e rc u ssio n is ts. M o o r, P a u l. "S an F ra n s is c o S F S U : W a y n e P e te rs o n W o rk s," A m e r ic a n R e c o r d G u id e, X L IV /3 (M a y /Ju n e, ), 44. R o th ste in, E d w a rd. "In T h e F ra c a s O v e r a P riz e, N o O n e W o n," T h e N e w Y o rk T im e s, (A p ril 19, ), S e c tio n T w o, p 2 5. S electiv e D isco g rap h y : n o n e av ailab le A n d the Winds Shall Blow P rem iere: N o v e m b e r?, 1994 R a sch e r Q u a rte t P h ilh a rm o isc h e O rc h e ste r d er S ta d t F reib u rg J o h a n n e s F ritsc h e, c o n d u c to r F re ib u rg, G e rm a n y In stru m e n ta tio n : s a x o p h o n e q u a rte t (ssx, asx, tsx, b sx ); 3 (p ic ).3 (e h ).3 (b c l).2./ ; t, p (3 ); h p, p n o (c e l) P u b lish er/d ate: C. F. P e te rs, 1995

261 252 A vailability: rental S co re: fu ll, sco re in C L ev el o f difficulty : G ra d e 6 + /6 D uration: C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : c. 2 l OO C o m m issio n e d b y th e R a sc h e r Q u artet. n o n e In c o m p o sin g th is w o rk, P e te rso n c re a te d a p ie c e w h ic h m a y b e c o m e a b e n c h m a rk in th e g ro w in g re p e rto ire fo r s a x o p h o n e q u a rte t. A n d the W in d s S h a ll B lo w p la c e s v irtu o sic d e m a n d s u p o n th e q u a rte t m e m b e rs and re q u ire s v ery ad v a n c e d p la y e rs in th e a c c o m p a n y in g e n sem b le. It w o u ld seem as th o u g h th is p ie c e w o u ld b e st b e a tte m p te d by an e x istin g, "se a so n e d " sa x o p h o n e q u a rte t, as th e m u sic in v o lv e s g re a t s e n sitiv ity in te rm s o f e n se m b le p la y in g, e sp e c ia lly w ith in th e e x te n d e d c a d e n z a -lik e p a ssag es. H ere, P e te rso n w rite s lo n g, sin u o u s m e lo d ic lin e s w h ic h m u s t be p a ssed e ffo rtle ssly fro m p la y e r to p la y e r w ith g re a t a tte n tio n to b le n d in g tim b re, as w e ll as h o m o p h o n ic m a te ria l th a t sh ifts q u ic k ly b e tw e e n a v a rie ty o f s u b d iv isio n s o f th e b e a t a n d d e m a n d s g re a t rh y th m ic in teg rity. T h e so p ra n o sax o p h o n ist m u s t h a v e c o m p le te c o n tro l o f th e altissim o re g iste r. T h e a to n a l, sin g le m o v e m e n t w o rk o p e n s m y ste rio u sly w ith slo w, q u ie t, th in ly te x tu re d m u sic th a t is v e ry c o n tra p u n ta l in n atu re. T h e q u a rte t m e m b e rs in tro d u ce th e ir v o ices o n e a t tim e. A lo n g c e n tra l sectio n o f th e w o rk fe a tu re s q u ic k, sy n c o p a te d m u sic, u su a lly d e liv e re d at a stro n g d y n a m ic lev el, w h ic h is s o m e w h a t le ss c o n tra p u n ta l a n d c o n ta in s m o m e n ts th a t b e a r a stro n g ja z z in flu en ce. T h e q u a rte t is o ften p itte d c o lle ctiv ely ag ain st th e a c c o m p a n y in g ense m b le. T h is sectio n in c re a se s slo w ly in in te n sity a n d th e ra n g e s e m p lo y e d fo r all p arts c o n tin u a lly ex p an d u n til a c o n clu d in g serie s o f m a ssiv e c h o rd s, q u ite d is so n a n t in h a rm o n ic c o n te n t, sig n al th e e n d o f th is a c tiv e m u sic. Q u ie t, slo w m u sic re tu rn s, re m in is c e n t o f th e o p e n in g o f th e w o rk a n d w h ic h fe a tu re s th e p ercu ssio n. A n e x te n d e d c a d e n z a fo r th e q u a rte t e n su e s, w h ic h is fo llo w e d b y a re tu rn o f v e ry a c tiv e m aterial. T h e w o rk e n d s im p re ssiv e ly w ith a ra p id tu tti flo u rish w h ic h c u lm in a te s in a g g re ssiv e b lo c k s o f so u n d. T h e re are p ro m in e n t so lo m o m e n ts fo r E n g lish h o rn a n d b a ss c la rin e t, a n d e x p o se d p a ssa g e s o f b ra s s sectio n p la y in g.

262 253 S e lectiv e B ib lio g rap h y : A ll p e rfo rm e rs in th e e n se m b le w ill e n c o u n te r so lo istic d e m a n d s. M o o r, P a u l. "S a n F ra n c is c o S F S U : W a y n e P e te rs o n W o rk s," A m e r ic a n R e c o r d G u id e, X L IV /3 (M a y /Ju n e, ), 44. R o th ste in, E d w a rd. "In T h e F ra c a s O v e r a P riz e, N o O n e W o n," T h e N e w Y o rk T im es, (A p ril 19, ), S e c tio n T w o, p 2 5. S electiv e D isco g rap h y : n o n e av ailab le W alter Piston Tunbridge Fair P rem iere: Ju n e 16, 1950 G o ld m a n B an d W a lte r P isto n, c o n d u c to r N e w Y o rk, N e w Y o rk In stru m en tatio n : c o n c e rt b and P u b lish er/d ate: B o o se y & H a w k e s, 1951 A vailability: Score: in p rin t fu ll, tra n sp o se d L ev el o f d ifficulty: G ra d e 5 + D uration: c. 5 '0 0 C o m m issio n : P ro g ra m N o te: P erfo rm a n ce C o m m entary : L e a g u e o f C o m p o se rs at th e su g g e stio n o f E d w in F ra n k o G o ld m a n n o n e T h is w o rk d e p ic ts th e an n u al co u n try fa ir a t T u n b rid g e, o n e o f V e rm o n t's o ld e st a n d m o st c h e rish e d e v e n ts. It re q u ire s c risp artic u la tio n s, rh y th m ic p re c isio n (e sp ecia lly six te e n th. e ig h th s ix te e n th n o te g ro u p in g s in sp ire d b y e a rly ja z z m u sic ), an d c o n tro l o f w id e m e lo d ic leap s. A lso co n trib u tin g to its lev el o f d ifficu lty is th e c o m p le x ity o f th e c o n tra p u n ta l w e b P isto n h as c o n c e iv e d fo r th e p ie c e a n d h is

263 254 S e lectiv e B ib lio g rap h y : c h o ic e to sco re th e w o rk in a d e n se m a n n e r. It is n e o -c lassic in fo rm (A B A B A, w ith co d a) a n d c o n c e p tio n, and e x p o se s P is to n 's lig h te r sid e, e v id e n t in o th e r o f h is w o rk s, su c h as T h e In c red ib le F lu tist. T h e c la rin e t, tru m p e t a n d h o rn p arts c o n ta in a fa ir a m o u n t o f u p p e r ra n g e p la y in g. F re q u e n t o c ta v e d o u b lin g s, c h ro m a tic lin es, m o v in g a c c u ra te ly a fte r tie d n o te s, and th e q u ic k te m p o also c h a lle n g e th e p layers. In sp ite o f its d iffic u ltie s, th e w o rk is fu n to p la y an d p o s se sse s an u n d e rly in g h u m o r. S o m e e n c y c lo p a e d ia c ite an In te r m e z zo f o r B a n d b y P isto n as a se p a ra te w o rk fro m T u n b rid g e F a ir. T h e y a re o n e an d th e sam e. T h e w o rk w a s p re m ie re d in 1950 w ith th e title In te rm e zzo f o r B a n d and w as re title d T u n b rid g e F a ir in B else r, R o b ert. "O rig in a l W o rk s fo r C o n c e rt B a n d P re m ie re d o r C o m m is sio n e d b y E d w in F ra n k o G o ld m a n, R ic h a rd F ra n k o G o ld m a n, and th e G o ld m a n B a n d " U n p u b lish e d D M A d is se rta tio n, T h e U n iv e rs ity o f Io w a, C a rte r, E llio tt. "W a lte r P isto n," M u s ic a l Q u a rte rly, X X X II/3 (Ju ly, 1946), G o ld m a n, R ic h ard F ran k o. "C u rre n t C h ro n ic le," M u s ic a l Q u a rterly, X X X V I ( ), G le a so n, H a ro ld, a n d W a rre n B e c k e r. "W a lte r P is to n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L itera tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a, F lo rid a: F lo rid a M u sic S erv ice, ),A S - 3. L e ste r, N o el. "R ich a rd F ran k o G o ld m a n an d th e G o ld m a n B an d," J o u rn a l o f B a n d R e s e a r c h, X X IV /I (fall, 1988), P o llack, H o w a rd. W a lte r P isto n. (A n n A rb o r, M ic h ig a n : U M I R e se a rc h P re s s, ).. H a r v a r d C o m p o se rs: W a lte r P isto n a n d h is stu d en ts, fr o m E llio tt C a rte r to F re d e ric R zw esk i. (M e tu ch e n, N e w Jersey : S c a re c ro w P re s s, ).. W a lte r P isto n. (N e w Y o rk : G. S c h irm e r, 1992). "W a lte r P isto n an d H is M u sic." U n p u b lis h e d P h D d isse rta tio n, C o rn e ll U n iv e rs ity, 1981.

264 255 R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), 255. S m ith, N o rm a n, and A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S an D ieg o : K jo s W e s t, ), 181. W e s te rg a a rd, P. "C o n v e rs a tio n s w ith W a lte r P isto n," P e r s p e c tiv e s o f N e w M u s ic, V II ( ), S electiv e D isco g rap h y : A m e r ic a n C o n c e rt B a n d M a ste rp ie c e s. E a stm a n W in d E n sem b le, F. F e n n e ll, M e rc u ry G o ld e n Im p o rts M G [re issu e d as M e rc u ry G o ld e n Im p o rts S R I 75086] E m b le m s. C in c in n a ti C o lle g e -C o n se rv a to ry o f M u sic W in d S y m p h o n y, E. C o rp o ro n, K la v ie r K C D M a r in e B a n d S h o w c a se, Vol. T w o. U n ite d S ta te s M a rin e B a n d, J. B o u rg e o is, Cerem onial Fanfare P rem iere: F e b ru a ry 10, 1970 W a lte r S tein, co n d u c to r M etro p o lita n M u seu m o f A rt N e w Y o rk, N e w Y o rk In stru m en tatio n : / ; t, p (2 ) P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h al L e o n a rd, 1970 (A M P ) A vailability: in p rin t S co re: fu ll, tra n sp o se d (fa c sim ile o f c o m p o se r's m a n u sc rip t) L ev el o f difficu lty : G ra d e 5 D uration: c. 2 '2 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : M e tro p o lita n M u seum o f A rt fo r its 100th A n n iv e rsary E x h ib itio n n o n e S e t in a sin g le m a e sto so te m p o th ro u g h o u t, th is w o rk is stro n g ly d e c lam a to ry, w ith th e m o st q u ie t d y n a m ic b ein g

265 256 S ele c tiv e B ib lio g raphy: fo r te. It is in trip le m eter, a lte rn a tin g b e tw e e n 3 /4 a n d 9/8 w h ile m a in ta in in g th e sam e b asic p u lse unit. A m id d le sectio n fe a tu re s so ste n u to m e lo d ic lin e s in lo n g e r n o te s as a c o n tra st to th e q u ic k e r rh y th m s o f th e o u te r sectio n s. T h is m id d le sectio n c o n ta in s m a n y u n iso n s a n d o c ta v e s w h ic h w ill b e ch allen g in g. T h e to p b ra ss in e a c h sectio n w ill re q u ire e n d u ra n c e a n d security in th e u p p e r range. T h e h o rn s h a v e u p w a rd risin g fig u res w h ic h a re v e ry q u ic k an d, a lth o u g h th e y a re fu lly n o ta te d, c o m e o ff as "rips." T h e first a n d s e c o n d tro m b o n e s n e ed to b e ab le to read tenor clef. T h e tim p a n i p a rt is v ery activ e, w h ile th e p e rc u ssio n ists p la y sta n d a rd fa n fa rish su p p o rtin g ro le s. F iv e e x h ib itio n s w e re m o u n te d fo r th e M e tro p o lia n M u se u m o f A rt's 100th a n n iv e rsa ry an d fiv e fa n fa re s w e re c o m m is sio n e d. In a d d itio n to P is to n 's p ie c e, n e w w o rk s b y B e rn ste in, C o p la n d, S chum an a n d T h o m so n w e re p re m ie re d th a t seaso n. C a rte r, E llio tt. "W a lte r P isto n," M u s ic a l Q u a rte rly, X X X II/3 (Ju ly, 1946), G o ld m a n, R ic h a rd F ran k o. "C u rre n t C h ro n ic le," M u sic a l Q u a rte rly, X X X V I ( ), G le a so n, H a ro ld, an d W a rre n B e c k e r. "W a lte r P isto n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, ), P o lla c k, H o w ard. W a lte r P isto n. (A n n A rb o r, M ic h ig a n : U M I R e searc h P re s s, 1981).. H a r v a r d C o m p o sers: W a lte r P isto n a n d h is stu d en ts, fr o m E llio tt C a rte r to F red e ric R zw eski. (M etu ch en, N e w Jerse y : S c a re c ro w P re s s, 1992).. W a lte r P isto n. (N e w Y o rk : G. S c h irm e r, 1992).. "W a lte r P isto n and H is M u sic." U n p u b lis h e d P h D d isse rta tio n, C o rn e ll U n iv e rs ity, W e s te rg a a rd, P. " C o n v e rsa tio n s w ith W a lte r P isto n," P e r s p e c tiv e s o f N e w M u s ic, V II ( ), 3 17.

266 257 S e lectiv e D isco g rap h y : T w e n ty F a n fa re s f o r th e C o m m o n M a n. L o n d o n P h ilh a rm o n ic O rc h estra, J. M e ste r, K o c h In te rn a tio n a l C la ssic s H I. Concerto fo r String Quartet, Wind Instruments and Percussion P rem iere: O c to b e r 2 6, P o rtla n d S trin g Q u a rte t, P o rtla n d S y m p h o n y O rc h e stra B ru c e H a n g e n, c o n d u c to r P o rtla n d, M ain e In stru m en tatio n : 2, p ic. 2, e h. 2, b c l. 2./ ; t(2 ), p (4 ); [ ] P u b lish er/d ate: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1976 A vailability: S core: re n ta l [G. S c h irm er] fu ll, tra n sp o se d L ev el o f d ifficulty : G ra d e 6/6- D uration: c. 1 7 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : P o rtla n d S y m p h o n y O rc h e stra 5 0 th A n n iv e rsary C o m m issio n n o n e A sin g le m o v e m e n t w o rk, th is C o n certo is c lo se ly re la te d to v a ria tio n fo rm. A fa s t slo w fa s t slo w fa s t set o f v a ria tio n s m a k e u p th e m a in b o d y o f th e p ie c e, e a c h w ith a m o o d q u ite d iffe re n t fro m a n y o ther. A slo w c a d e n z a fo r v io la c o n c lu d e s th e w o rk. T h is C o n c e rto is P is to n 's fin a l c o m p le te d w o rk ; h e h e a rd a ta p e o f th e p re m ie re a fe w w e ek s b e fo re h e died. T h e p ie c e o p en s w ith a c o n fu o c o sectio n in 5/8 w h ic h a lte rn a te s in its su b d iv isio n b e tw e e n 2+ 3 a n d A w id e v a rie ty o f in stru m e n ta l c o m b in a tio n s a re em p lo y e d. E x te n d e d sectio n s o f m u sic fe a tu re th e strin g q u a rte t b y itself. T h e re is a fa ir a m o u n t o f u n iso n w ritin g in th e q u a rte t a n d w in d p arts. A n h a rm o n ic la n g u a g e w h ic h c e n te rs o n q u a ra l stru c tu re s is p re v a len t. Q u a d ru p le sto p s a re fo u n d in all o f th e strin g p arts. T h e w in d w ritin g re q u ire s a g ility an d g re a t technical co n tro l.

267 2 5 8 S e lectiv e B ib lio g rap h y : C a rte r, E llio tt. "W a lte r P isto n," M u s ic a l Q u a rterly, X X X H /3 (Ju ly, 1946), G o ld m a n, R ic h a rd F ran k o. "C u rre n t C h ro n ic le," M u sic a l Q u a rte rly, X X X V I ( ), G le a so n, H a ro ld, a n d W a rre n B e c k e r. "W a lte r P isto n," 2 0 th -C e n tu r y A m e r ic a n C o m p o sers, M u s ic L ite ra tu re O u tlin es, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re ss, 1 980), v l4 7. L e h m a n, M ark. "M u sic R ev iew : P isto n." A m e ric a n R e c o rd G u id e, L V D /1 (J a n u a ry /F e b ru a ry, ), v l3 2. P o lla c k, H o w a rd. W a lte r P isto n. (A n n A rb o r, M ic h ig a n : U M I R e se a rc h P re s s, 1981).. H a r v a r d C o m p o se rs: W a lter P isto n a n d h is stu d en ts, fr o m E llio tt C a rte r to F red e ric R zw esk i. (M e tu ch e n, N e w Jersey : S c a re c ro w P re s s, 1992).. W a lte r P isto n. (N e w Y o rk : G. S c h irm e r, 1992).. "W a lte r P isto n a n d H is M u sic." U n p u b lis h e d P h D d isse rta tio n, C o rn e ll U n iv e rs ity, W e s te rg a a rd, P. " C o n v e rsa tio n s w ith W a lte r P isto n," P e r s p e c tiv e s o f N e w M u s ic, V II ( ), S electiv e D isco g rap h y : C o w ell, K o u sse v itsk y, P isto n. E m e rso n S trin g Q u a rte t, J u illia rd O rc h e s tra, E h rlin g. C o m p o se rs R e c o rd in g, In c. C R I S P isto n. J u illia rd S trin g Q u a rte t, S e a ttle S y m p h o n y O rc h e stra, S c h w a rz, D e lo s Quincy Porter C o n c e r to f o r W in d O r c h e s tr a P rem iere: 1959 A m e ric an W in d S y m p h o n y O rch estra R o b e rt A u stin B o u d re a u, c o n d u c to r In stru m entatio n : 9 (2 p ic, b s fl).8 (2 e h ).9 (E b cl, b cl, B B ^ cb cl). 8 (2 c b n )./6.6.2, 2 b trb. 1.; p (2 )

268 259 P u b lish er/d ate: C. F. P e te rs, 1959 (P ) A v ailability: Score: ren tal s tu d y sco re availab le fo r p u rc h a se fu ll, tra n sp o se d L ev el o f difficu lty : G ra d e 6 D uration: c. 8 '0 0 C o m m issio n : P ro g ram N o te: P e rfo rm a n ce C o m m en tary : A m e ric a n W in d S y m p h o n y O rc h estra R o b e rt A u stin B o u d re a u, c o n d u c to r n o n e T h is sin g le m o v e m e n t p o ly p h o n ic w o rk c o n ta in s fe w tu tti m o m e n ts an d p re sen ts itse lf m o re as a serie s o f in te re stin g c h a m b e r e n se m b le c o m b in a tio n s. T h e in d e p e n d e n t n a tu re o f th e c o n tra p u n ta l w ritin g is th e p rin c ip a l c h alle n g e fo u n d in th e p ie c e, alth o u g h a t tim es, it is o n ly c a n o n ic im itatio n. T h e rh y th m ic d e m a n d s are m o d e ra te fo r th e m o s t part. M u sic w h ic h re q u ire s a se c u re h ig h ra n g e is fo u n d in th e p a rts fo r flu te 1 (h ig h C # ), o b o e 1 (h ig h G ^ ), th e c la rin e t sectio n (tu tti h ig h B ), an d h o rn 1-3 (tu tti h ig h B ^ ). T h e p e rc u ssio n w ritin g ten d s to be m in im a l a n d is s u p p o rtiv e in n atu re. T h e w o rk is to n a l in its h a rm o n ic c o n te n t. T h e re is n o te m p o in d ic a tio n o n th e sco re to b egin th e first sectio n o f th is th re e sectio n piece. T h e la rg e n u m b e r o f d o u b le re e d p lay ers re q u ire d h as p ro b a b ly lim ited th e n u m b e r o f p e rfo rm an c e s th is w o rk h as receiv e d. S e lectiv e B ib lio g rap h y : B o a tw rig h t, H. " Q u in c y P o rter," P e r sp e c tiv e s o f N e w M u s ic, V /2 (s p rin g /s u m m e r, ), C la rk e, G a riy E. E s s a y s o n A m e r ic a n M u sic. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, ), E lw e ll, H e rb e rt. " Q u in c y P o rter," M o d e r n M u s ic, X X III/1 ( ), H a ll, W illa rd K en t. "Q u in cy P o rter: H is L ife and C o n trib u tio n s as a C o m p o s e r and E d u c a to r." U n p u b lish e d D M A d isse rta tio n, U n iv e rs ity o f M isso u ri, K a n sa s C ity, ). M a rc h a n t, S u san. T h e P o r te r P a p e rs: A r c h iv a l C o lle ctio n M S S 1 5. (N ew H a v e n, C o n n e c tic u t: Y a le U n iv e rsity, 1976).

269 260 R e n s h a w, Je ffre y. T h e A m e r ic a n W in d S y m p h o n y C o m m issio n in g P ro je c t: A D e sc rip tiv e C a ta lo g o f P u b lis h e d E d itio n s, (N e w Y o rk : G re e n w o o d P re ss, ), T e m m e, W a lte r F. "T h e S y m p h o n ic W o rk s o f Q u in c y P o rter." U n p u b lis h e d D M A d isse rta tio n, A riz o n a S ta te U n iv e rsity, S electiv e D isco g rap h y : n o n e a v ailab le Mel Powell Capriccio f o r Band P rem iere: 1950 T h e G o ld m a n B an d R ic h a rd F ra n k o G o ld m a n, c o n d u c to r N e w Y o rk, N e w Y o rk In stru m entatio n : c o n c e rt b an d P u b lish er/d ate: T e m p le to n /S h a w n e e P ress, 1972 (K ) A vailability: S co re: in p rin t fu ll, tra n sp o se d L ev el o f d ifficulty: G ra d e 5 D uration: c. 6' 15 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : in fo rm a tio n u n availab le in c lu d e d in sco re M el P o w e ll's o n ly p ie c e fo r b a n d, w ritte n w h ile h e w a s a stu d e n t a t Y a le U n iv e rsity, is a tu n e fu l w o rk, q u ite p la y fu l at tim e s, w h o se h a rm o n ic la n g u a g e a n d o d d p h ra se le n g th s m a k e it m o re c h alle n g in g than it a t first ap p ears. It is a rh y th m ically d em a n d in g sco re c a llin g fo r a fa ir a m o u n t o f in d e p e n d e n t p la y in g. T h e re a re e x te n d e d so lo s fo r c o m e t 1, o b o e 1, b a sso o n 1 a n d b a sso o n 2. S h o rte r so lo lin e s e x is t fo r m a n y o f th e se c o n d an d th ird p a rts as w e ll. W h ile th e c o rn e t/tru m p e t ra n g e s a re re a so n a b le, a ll o f th e h o rn s go to h ig h C a n d th e te ssitu ra fo r th e e n tire tro m b o n e sectio n lie s ra th e r h ig h. T h e re is w ritin g fo r h o rn 3 a n d 4 in th e b ass clef. A fte r a w h im sic al in tro d u ctio n, a p rin c ip a l th e m e is

270 261 S e lectiv e B ib lio g raphy: h e ro ic a lly s ta te d in th e h o rn s, w h ic h g o e s th ro u g h m a n y p e rm u ta tio n s as th e p ie c e d ev elo p s. E x te n siv e re h a rsa l su g g estio n s b y F ra n k B a ttisti a re in clu d ed in th e sco re. T h e w o rk is c le a rly e d ite d a lm o s t e v e ry n o te h a s an artic u la tio n m a rk applied to it. K o z in n, A. "M el P o w e ll's Jo u rn e y to a P u litz e r P riz e," T h e N e w Y o rk T im e s, A p ril 2 4, T h im m ig, L eslie. "T h e M u sic o f M el P o w ell," M u s ic a l Q u a rterly, L V /1 (J a n u a ry, ), Z a fa re s, P e te r. M e l P o w e ll. (N e w Y o rk : G. S c h irm e r, 1 990). S electiv e D isco g rap h y : n one av ailab le Shulam it Ran E n s e m b l e s f o r S e v e n t e e n P rem iere: A p ril 2 2, E lsa C h a rlsto n, so p ra n o C o n te m p o ra ry C h a m b e r P la y e rs o f th e U n iv e rsity o f C h ic ag o R a lp h S h a p e y, c o n d u c to r C h ic a g o, Illin o is In stru m en tatio n : S (a m p ); 2 (p ic, a fl).0.2 (E b c l, b c l, s a r r u s o p h o n e ).l./ 1.1.1, b trb. 0.; p (2 ); p n o ; [ ] P u b lish er/d ate: T h e o d o re P re sse r, 1975 A vailability: S core: rental fu ll, s c o re in C L ev el o f difficulty : G ra d e 6/6 D u ration: c. 2 0 '0 0 C o m m issio n : P ro g ra m N o te: F ro m m M u sic F o u n d a tio n n o n e

271 262 P e rfo rm a n c e C o m m e n ta ry : T h e te x t fo r th is w o rk c o m e s fro m th e c o n c lu d in g lin e s o f S h a k e sp e a re 's O th e llo. C o n d u c to r R a lp h S h a p e y im m e d ia te ly re p e a te d th e w o rk a t its p re m ie re, sen sin g the n e ed to g iv e th e a u d ie n c e a n o th e r h e a rin g so th a t th e y c o u ld u n d e rsta n d th e relatio n sh ip b e tw e e n th e d e liv e ry o f th e te x t a n d th e e n se m b le 's a c c o m p a n y in g fa b ric. M o s t o f th e a u d ie n ce did n o t c a re to h e ar it a second tim e. T h e w o rk is in tw o u n title d m o v em en ts. S ele c tiv e B ib lio g rap h y : T h e v o c al d e liv e ry in v o lv es te x t p a in tin g te c h n iq u e s a n d the fra g m e n tin g o f w o rd s in to th e ir c o m p o n e n t s y lla b le s a n d p h o n e tic so u n d g ro u p in g s fo r u s e as sep a ra te m u sic a l b u ild in g b lo c k s. T e x tu a l p h ra ses a re u su a lly sep a ra te d b y lo n g p e rio d s o f in stru m e n ta l m u sic a n d o fte n th e w o rd s th e m selv e s w ith in a p h ra se are se p a ra te d fro m e a c h o th e r in a s im ila r m a n n e r. A t tim e s th e s in g e r is a sk e d to w h isp er. T h e sco re is v e ry ch allen g in g rh y th m ic a lly, e sp e c ia lly in te rm s o f e n se m b le p recisio n. I t is m ix e d -m e te re d th ro u g h o u t, u tiliz in g a w id e v a rie ty o f tim e sig n a tu re s, a n d at tim e s is u n m e te re d, c o n tain in g q u a si-a le a to ric m aterials. T h e re a re fre q u e n t m e tric m o d u la tio n s b e tw e e n sectio n s o f m u sic. A ll m a n n e r o f su b d iv isio n o f th e b e a t u n it a re e m p lo y e d. R an in d ic a te s th a t a b a ss cla rin e t c an su b stitu te fo r th e sarru so p h o n e. T h e strin g s a re fre q u e n tly a sk e d to p la y d o u b le sto p s. In stru m e n ta l ra n g e s a re re a so n a b le fo r a w o rk a t th is le v e l o f d ifficulty. T h e p ie c e re q u ire s a d v an c e d p la y e rs an d a p ro fe ssio n a l c o n d u c to r. T h e ren tal sco re stu d ie d by th is w rite r b o re th e in scrip tio n "co rre cte d sco re" to w h ic h a c o n d u c to r ad d ed in re d p e n cil "?" a n d "ha!" F ro m th e se c o m m e n ts o n e c o u ld su rm ise th a t a fe w e rro rs still e x ist in th e s c o re a n d p arts. L e P a g e, J a n e W e in e r. W o m a n C o m p o se rs, C o n d u cto rs, a n d M u s ic ia n s o f th e T w e n tie th C en tu ry: S e le c te d B io g ra p h ie s, Vol. III. (M e tu ch e n, N e w Je rse y : S c a re c ro w P re ss, 1988). M o n so n, K a ren. "C o n te m p o ra ry C h a m b e r P la y e rs," H ig h F id e lity /M u sic a l A m e r ic a, X X V (Ju ly, ), 2 9. S electiv e D isco g rap h y : n o n e av ailab le

272 263 C h ic a g o S k y l i n e P rem iere: D e c e m b e r 12, 1991 C h ic a g o S y m p h o n y O rc h estra P ie rre B o u le z, c o n d u c to r C h ic a g o, Illin o is In stru m e n ta tio n : /6.4.2, b trb. 2.; t, p (3 ) P u b lish er/d ate: T h e o d o re P re sse r, 1991 ( ) A vailab ility: rental S co re: fu ll, s c o re in C L e v e l o f difficulty : G ra d e 6 D uratio n : c. 6 '0 0 C o m m issio n : P ro g ra m N o te: C o m m issio n e d b y W F M T fo r its fo rtie th anniv e rsa ry celeb ratio n n o n e P e rfo rm a n ce C o m m en tary : H e re is an u n c o m p ro m is in g w o rk fo r b ra s s a n d p e rc u ssio n, ap p ro p ria te ly fitted to th e im ages c o n ju re d u p b y its title, w h ic h fe a tu re s so lid b lo c k s o f so u n d c o n tra ste d w ith risin g a n d fa llin g fig u res. T h e p ie c e o p e n s at a v e ry slo w te m p o w ith stro n g fig u re s b a se d u p o n p itc h sets. T h e h a rm o n ic an d m e lo d ic la n g u a g e is strid en t, a n d a lth o u g h th e te m p o o f th e w o rk re m a in s p o n d e ro u sly slo w, th e p ie c e is v e ry c o m p le x rh y th m ically, fe atu rin g q u ic k, ag ita te d m o m e n ts q u ite freq u e n tly. A sectio n o f th e w o rk is re p e a te d (w ith m in o r v ariatio n ) th ree tim es. S ele c tiv e B ib lio g rap h y : W h ile all o f th e p arts are q u ite c h alle n g in g, th e tru m p e t 1, h o rn 1, b a ss tro m b o n e, tim p a n i a n d to m -to m p a rts a re e sp e c ia lly d e m a n d in g. H o rn 1 e n c o u n te rs a so lo m a rk e d "h ero ic, q u a si c a d e n z a " w h ich in v o lv e s la rg e in te rv a ls. R a n g e s are e x tre m e fo r tru m p e t 1, h o rn 1 a n d tu b a 2. T h e tru m p e ts a re re q u ire d to flu tter to n g u e. L e P a g e, Ja n e W e in e r. W o m a n C o m p o se rs, C o n d u cto rs, a n d M u s ic ia n s o f th e T w e n tie th C en tu ry : S e le c te d B io g ra p h ie s, Vol. III. (M e tu c h e n, N e w Je rse y : S c a re c ro w P re ss, 1988).

273 264 S e lectiv e D iscograp h y : n o n e availab le Bernard Rands m e s a l l i a n c e P rem iere: Jan u a ry, 1972 R o g e r W o o d w a rd, p ia n o B B C S y m p h o n y O rc h estra P ie rre B o u le z, c o n d u c to r L o n d o n In stru m e n ta tio n : p n o ; 1, afl. 0.1, b c l. 0./ ; d b ; p (2 ); c e l, e l o rg, h p, v ib, m a r; [O.O.O.2.] P u b lish er/d ate: U n iv e rsal E d itio n, 1972 (U E 15482) A vailab ility: S core: rental fu ll, sco re in C L ev el o f difficu lty : G ra d e 6+ /6 D uration: c. 1 4 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : B ritish B ro a d c a stin g C o rp o ra tio n in c lu d e d in sco re R an d s e m p lo y s a u n iq u e fo rm in th is w o rk d e sig n e d to fe a tu re so lo p ia n o. T h e p ia n o d o e sn 't e n te r d u rin g th e in itial th re e m in u te s o f m u sic, w h ic h fe a tu re w ild b u rs ts o f so u n d fro m all o f th e o th e r in stru m e n ts. W h e n it d o e s b e g in to p lay, it u sh e rs in a sectio n o f slo w, q u ie t, th in ly -te x tu re d m u sic p u n c tu a te d b y b rie f fo r te in te rje c tio n s. T h e p ia n o p ro c e ed s to ta k e o n a m o re c o m m a n d in g ro le fro m th is p o in t fo rw a rd, e v e n tu a lly su b d u in g a n d o v e rp o w e rin g all th e o th e r in stru m e n ts. It e n d s th e w o rk w ith an e x te n d e d so lo a t a jiff d y n am ic lev el fe a tu rin g c h o rd clu sters. T h ick ly sco red re p e a te d sectio n s o f so m e w h a t fran tic tim e fram e d a le ato ric m u sic o p e n th e w o rk, sep a ra te d b y p e rio d s o f silence. A sy m m e tric a lly m e te re d m u sic fo llo w s, c h aracte riz e d b y ch allen g in g m u sic in v o lv in g w id e in te rv a ls and serially - d eriv ed p itch co llectio n s.

274 265 S e lectiv e B ib lio g rap h y : T h e w o rk is rh y th m ic a lly c o m p le x, o n o n e h a n d re q u irin g g re a t in d e p e n d e n c e a n d on th e o th e r d e m a n d in g u n iso n rh y th m ic p re c isio n a m o n g la rg e g ro u p in g s o f in stru m e n ts. A ll o f th e p a rts a re ch allen g in g o n an ad v an ced le v e l w ith th e m a lle t p a rts b ein g e sp e c ia lly d e m a n d in g. T h e c la rin e t a n d b a ss c la rin e t a re ask ed to flu tter-to n g u e. D re ie r, R u th. "B e rn a rd R an d s," M u s ic a l A m e r ic a, X X X IV (O c to b e r, 1 984), 4-5, 4 0. H a rris, R. L. "B e rn a rd R a n d s a t 50," M u s ic a l T im e s, C X X V I (S e p te m b e r, ), P e te rsen, B a rb a ra. B e r n a r d R a n d s. (N e w Y o rk : B ro a d c a s t M u sic, In c., ). S m a ll. C. "B e rn a rd R a n d s," M u s ic a l T im es, C V III (O c to b e r, ), T e rry, K en. "B e rn a rd R a n d s," B M l: T he M a n y W o rld s o f M u s ic, N o. 2, , S electiv e D isco g rap h y : n o n e availab le a u m P rem iere: A p ril 17, 1974 S id o n ie G o o se n s, hp B ritish B ro a d c a stin g C o rp o ra tio n S y m p h o n y O rc h e stra P ie rre B o u le z, c o n d u c to r L o n d o n In stru m entatio n : h p ; 2 (a fl).0.3 (E b c l, b c l).0./ ; d b ; p (3 ); c e l, el o rg, h p, g tr; [O.O.4.2.] P u b lish er/d ate: U n iv e rsal E d itio n, 1977 (U E L ) A v ailability: Score: rental fu ll, sco re in C L evel o f difficu lty : G ra d e 6 /5 + D uration: c. 1 5 '0 0 C o m m issio n : B ritish B ro a d c a stin g C o rp o ra tio n

275 266 P ro g ram N o te: P e rfo rm a n ce C o m m en tary : n o n e T h is q u ie t w o rk takes its title fro m a m a n tric w o rd o f th re e s o u n d s (O m ) re p re se n tin g th e h y p o s ta tic sta te o f B ra h m a, V ish n u and S iva. It b e g in s w ith u n m e a su re d fig u re s fro m th e so lo h a rp, w h ic h is e v e n tu a lly jo in e d b y th e e n se m b le h arp a n d th e n th e g uitar. T h e p re d o m in a n t d y n a m ic ra n g e o f th e p iece is p p p - m p, w ith o c c a s io n a l sfo rza n d o o u tb u rts and a fe w b rie f p u n c tu a tin g p a ssa g e s fo r th e w o o d w in d s and b ra ss. O n th e w h o le, th is is an a le a to ric w o rk, w ith o n ly sh o rt p a ssa g e s p o sse ssin g a tim e sig n atu re. In d e te rm in a te rh y th m ic n o ta tio n is q u ite c o m m o n, alth o u g h R an d s re ta in s a b so lu te c o n tro l o v e r p itc h. T h e s c o rin g is th in, and o fte n in v o lv e s c o n tra stin g th e p lu c k e d in stru m e n ts (h arp s a n d g u ita rs) w ith lo n g su sta in e d c h o rd s in th e s trin g s and w in d s. T h e th re e p e rc u ssio n ists w ill n e e d to am a ss th irty -tw o in stru m e n ts fo r p e rfo rm a n c e. T h e w o rk e n d s w ith fo u r m in u te s o f a le a to ric m u sic, all v e ry, v e ry q u ie t. S electiv e B ib lio g raphy: T h e c o n d u c to r m u s t u se le ft h a n d, rig h t h a n d, and b o th h a n d d o w n b e a ts to c o n tro l th e u n m e a su re d a n d a le ato ric sectio n s. D ire c tio n s fo r p e rfo rm a n c e c o n c e rn in g th e se p a ssag e s are p ro v id e d in th e sco re n o tes, as is a seatin g chart. D re ie r, R u th. "B e rn a rd R a n d s," M u s ic a l A m e r ic a, X X X IV (O c to b e r, 1984), 4-5, 4 0. H a rris, R. L. "B e rn a rd R a n d s a t 5 0," M u s ic a l T im e s, C X X V I (S e p te m b e r, ), P e te rsen, B a rb a ra. B e r n a r d R a n d s. (N e w Y o rk : B ro a d c a s t M u sic, In c., ). S m all. C. "B e rn a rd R a n d s," M u s ic a l T im e s, C V III (O c to b e r, ), T e rry, K en. " B e rn a rd R a n d s," B M I: T he M a n y W o rld s o f M u s ic, N o. 2, , S electiv e D isco g rap h y : n o n e av ailab le

276 267 C erem onial P rem iere: F e b ru a ry 2 5, 1993 U n iv e rsity o f M ich ig a n S y m p h o n y B an d H. R o b e rt R e y n o ld s, c o n d u c to r C o lle g e B a n d D ire c to rs N a tio n al A sso c ia tio n C o n v en tio n C o lu m b u s, O h io (T h e O h io S ta te U n iv e rsity ) In stru m e n ta tio n : c o n c e rt b and n o E h cl o r a cl P u b lish er/d ate: H e lic o n /E u ro p e a n A m erican, 1993 (E A ) A vailability: S co re: rental sco re availab le fo r p u rch ase fu ll, tra n sp o se d L e v e l o f difficulty : G ra d e 6 D u ration: c. 1 3 '0 0 C o m m issio n : P ro g ram N o te: P e rfo rm a n c e C o m m entary : U n iv e rsity o f M ic h ig a n fo r th e U n iv e rsity o f M ich ig an S y m p h o n y B a n d, H. R o b e rt R e y n o ld s, c o n d u c to r n o n e In th e p ro g ram n o te s fro m the p re m ie re p e rfo rm a n c e, th e c o m p o se r states: C ere m o n ia l is a m o n o th em atic c o m p o sitio n in w h ic h a sin g le, e x te n d e d m e lo d y is re p e ate d te n tim es d u rin g th e c o u rs e o f th e w o rk. T h e m e lo d y, first s ta te d b y a so lo b a sso o n, is su b se q u e n tly p layed b y v a rio u s c o m b in a tio n s o f in stru m e n ts, alw ay s in c re a sin g in d e n sity and in c o m p le x ity o f tim b re. T h is la tte r q u a lity is th e c en tral c o n c e rn o f th e w o rk w h ic h e m p lo y s u n u su a l a n d u n c o n v e n tio n a l m ix tu re s o f in stru m e n ta l g ro u p s so m e tim e s in e x tre m e re g iste rs in o rd e r th a t th e m e lo d y in c o n tin u o u sly tra n sfo rm e d. E a c h sta te m e n t o f the m elo d ic th e m e is sep a ra te d fro m th e n e x t by a d e n se h a rm o n ic id e a w h ic h serv es to in te rru p t th e fo rw a rd m o tio n o f th e m e lo d ic and rh y th m ic flo w. A t th e outset, b o th h arm o n ic a n d m e lo d ic id e a s flo a t free o f a n y d iscern ib le m e te r o r p u lse. A s sp ecific rh y th m ic id eas are in tro d u c e d and

277 268 S ele c tiv e B ib lio g rap h y : a c c ru e in th e p e rc u ssio n sectio n, th e m u sic g ra d u a lly ta k e s o n a re g u la r b e a t w h ic h p ro p e ls it to its c o n clu d in g clim a x. T h e m o o d an d p a c e o f th e m u sic is c o m p a ra b le to a c e re m o n y w h ic h g ra d u a lly, d e lib e ra te ly, a n d in e v ita b ly m o v e s th ro u g h its ritu als. T h e w o rk h a s a strik in g ly sim ila r o v e ra ll e ffe c t to R a v e l's B o le ro. T h e u se o f a s lo w trip le m e te r, th e illu sio n o f a s n a re o stin a to, g lissa n d o e ffe c ts, a n d th e re ite ra tio n o f a sin g le th em e w ith a v a ry in g tim b ra l d e liv e ry all m a k e th e liste n e r p o n d e r a b o u t R a v e l's in flu e n c e o n R a n d s ' w ritin g in th is in sta n c e. R h y th m ic secu rity is o f vital im p o rtan c e d u e to the in c re a sin g ly la rg e r n u m b e r o f p la y e rs a sk e d to p erfo rm d ie th e m e in u n iso n (w ith o c ta v e tra n sp o sitio n s). T h is th e m e sh ifts b e tw e e n d u p le a n d trip le s u b d iv isio n s re g u la rly a n d c o n ta in s h e m io la s w h ic h a re d isp la c e d fro m th eir "n o rm al" p o sitio n s w ith in m e a su re s and exte n d o v e r b a r lin e s. P ro p e r e n se m b le re le ases a fte r tied n o te s are a n o th e r rh y th m ic c o n c e rn w ith in the m a in th em e. V e ry ad v an c e d p la y e rs a re n eed ed to n e g o tia te th e u p p e r re g iste r re q u ire m e n ts w h ich a re p re v a le n t in m a n y o f th e p a rts, m o s t n o ta b ly flu te 1, c la rin e t 1, b a sso o n 1, an d u p p e r tru m p e t a n d tro m b o n e p arts. D re ie r, R u th. "B e rn a rd R an d s," M u s ic a l A m e r ic a, X X X IV (O c to b e r, 1984), 4-5, 4 0. H a rris, R. L. "B e rn a rd R a n d s a t 5 0," M u s ic a l T im e s, C X X V I (S e p te m b e r, ), P e te rsen, B a rb a ra. B e r n a r d R a n d s. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1.98 i). S m a ll. C. "B e rn a rd R an d s," M u s ic a l T im es, C V III (O c to b e r, ), T e rry, K en. "B e rn a rd R a n d s," B M I: The M a n y W o rld s o f M u s ic, N o. 2, , S electiv e D isco g rap h y : P a ra d ig m. C in c in n a ti C o lle g e -C o n se rv a to ry o f M u sic W in d S y m p h o n y, E. C o rp o ro n, K la v ie r K C D

278 269 Roger R eynolds Only Now, and Again P rem iere: 1977 In stru m e n ta tio n : 1, 2 p ic. 1. 0, c l, B B ^ c b c l. 1, cb n. a s x./l ; p (3 ); p n o P u b lish er/d ate: C. F. P e te rs, 1977 ( ) A vailability: S core: rental fu ll, s c o re in C L ev el o f difficu lty : G ra d e 6 D uration: C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : c. ll'o O Jo in tly c o m m issio n e d b y th e F ro m m M u sic F o u n d a tio n at H a rv a rd U n iv e rsity a n d th e N o rth e rn Illin o is U n iv e rsity W in d E n se m b le, L a rry L iv in g sto n, c o n d u c to r. in c lu d e d in sco re T h is in n o v a tiv e w o rk is R e y n o ld s' a tte m p t to e x p re ss a rtistic a lly a p e rso n 's th o u g h ts c o n c e rn in g e x p e rie n c e s e n c o u n te re d in th e p re sen t and th e re c o n sid e ra tio n o f th e ir e x iste n c e a n d im p o rta n c e in h in d sig h t as th e y re e m erg e. T h e w o rk p re sen ts h ig h ly stratified m u sic a l id e a s a m o n g fiv e sm all g ro u p in g s o f in stru m e n ta lists. T h e s e d iffe re n t la y e rs o f m u sic a l th o u g h t a re m a d e u p o f re p e a te d p h ra ses a n d e v e n ts w h ic h a re p re sen te d in v a ry in g c o m b in a tio n s. F o r e x a m p le, an id e a fro m o n e in stru m e n ta l g ro u p in g w h ic h is h eard in itially in th e b a ck g ro u n d w ill re a p p e a r la te r in th e w o rk as fo re g ro u n d m aterial. T h is a sp e c t o f re p e titio n in th e s tru c tu re o f th e w o rk e a se s th e b u rd e n o f p re p a ra tio n so m e w h a t, as each gro u p in g e ssen tia lly h a s to le a rn sectio n s o f m u sic w h ic h are th en re p e ate d la te r in th e w o rk. T h e m u sic is v ery c o m p le x in te rm s o f rh y th m ic, h a rm o n ic, m e lo d ic and c o n tra p u n ta l stru ctu res. T h e re is an a n tip h o n a l e le m e n t to th e p ie c e (a seatin g c h a rt is p ro v id e d ) w h ic h in c re a se s th e d iffic u lty o f p e rfo rm an c e. P e rfo rm e rs w ill e n c o u n te r a d v a n c e d le v e l dem ands. F lo u rish e s in th e tw o b ra ss a n d p ic c o lo g ro u p in g s re q u ire sta g g e re d g ra c e n o te e n tra n c e s c o o rd in a te d a m o n g fiv e p lay ers. G re a t a tte n tio n to b a la n c e in reg ard to d y n a m ic sh ap in g a n d c o n tro l is re q u ire d.

279 270 S electiv e B ib lio g rap h y : T h e c o n d u c to r sh o u ld p lan to sch e d u le e x tra re h e a rsa l tim e to a c c o m o d a te th e c o m p le x itie s o f th e score. C h a se, G ilb e rt, an d D o n G ille sp ie. R o g e r R e y n o ld s: P o r tr a it o f a C o m p o se r. (N e w Y o rk : C. F. P e te rs, 1982). G a g n e, C o le, a n d T ra c y C a ra s. "R o g e r R e y n o ld s," Soundpieces: In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Jerse y " S c a re c ro w P re ss, ), R e y n o ld s, R o g e r. A S e a rc h e r's P a th : A C o m p o se r's W ay. (B ro o k ly n, N e w Y o rk : In stitu te fo r S tu d ies in A m e ric a n M u sic, 1987).. M in d M o d e ls: N e w fo r m s o f M u s ic a l E x p e rie n c e. (N e w Y o rk : P ra e g e r, 1975). T e rry, K en. "R o g e r R e y n o ld s: P ro file," B M I M u s ic W o r ld (fa ll, ), S e lectiv e D isco g rap h y : n o n e a v ailab le N e d R o r e m Sinfonia f o r 15 W ind Instrum ents 1. Like a motor, with no alteration o f tempo 2. Slow 3. Lento appassionato 4. Scherzando P rem iere: J u ly 14, 1957 A m e ric an W in d S y m p h o n y O rc h estra R o b e rt A u stin B o u d re a u, co n d u c to r P ittsb u rg h, P e n n s y lv a n ia In stru m entatio n : 2, p ic. 2, eh. 2 (in A a n d B ^ ), c l, b c l. 2, c b n./ (o p tio n al: t, p(3 ); p n o, cel) P u b lish er/d ate: H e n m a r P re ss/c. F. P e te rs, n o d a te (P ) A vailability: S core: rental sco re av ailab le fo r p u rc h a se fu ll, tra n sp o se d

280 271 L ev el o f d ifficulty : G ra d e 6- D uration: c. 9 '0 0 C o m m issio n : P ro g ra m N o te: P erfo rm a n ce C o m m entary : A m e ric an W in d S y m p h o n y O rc h estra R o b e rt A u stin B o u d re a u, c o n d u c to r D e d ic a te d to M r. a n d M rs. H. J. H e in z II a n d th e H o w a rd H e in z F o u n d a tio n n o n e T h is w o rk is a re v isio n b y R o re m o f m u sic o rig in a lly w ritten fo r o th e r p e rfo rm in g m ed ia. T h e first a n d fo u rth m o v e m e n ts are tra n scrib ed fro m th e first an d th ird m o v e m e n ts o f R o re m 's S o n a ta I I I fo r p ian o. T h e o th e r m o v e m e n ts are d ra w n fro m E c lo g u e s, an u n p u b lish e d so n g c y cle. S electiv e B ib lio g rap h y : A s th is m u sic w a s n o t o rig in ally c o n c e iv e d as w in d m u sic, it c o n ta in s o c c a sio n a lly aw k w a rd, u n id io m a tic m o m e n ts, e sp e c ia lly fo r th e c larin ets. T h e w ritin g is v e ry co n tra p u n ta l in n a tu re an d in v o lv e s th e p a ssin g o f lo n g m e lo d ic lin e s a m o n g th e in stru m e n ts. T h e re are n u m e ro u s k e y c h a n g e s a n d th e p la y e rs w ill fin d in to n a tio n c h a llen g in g. T h e first m o v e m e n t is a t a q u ic k tem p o and fe a tu re s m u sic w h ich m o v e s alo n g w ith a lm o s t c o n sta n t six te e n th n o te p a ssag es. T h e re is an e x te n d e d so lo fo r o b o e 1 in th e th ird m o v e m e n t. C h a lle n g in g w ritin g in th e h ig h te ssitu ra is fo u n d in th e c la rin e t, c la rin e t 1 a n d o b o e 1 p arts. T h e o p tio n a l p a rts o b v io u s ly a re n 't n e c e ssa ry, b u t d o a d d in te re st, p u n c tu a tio n, su sta in a n d d riv e. W h e n th e auth o r c o n d u c te d th is w o rk in a t th e U n iv e rsity o f M in n e so ta, D u lu th d u rin g a R o re m C o m p o se r R e sid e n c y, th e c o m p o se r re o rd e re d th e m o v e m e n ts fo r p e rfo rm an c e. H e stated th a t h e h a d little e x p e rie n c e w ith th is w o rk in p e rfo rm a n c e in th e p a st, a n d u p o n h e a rin g th e re h e arsa ls, d ecid ed th a t th e p ie c e w o u ld w o rk b e tte r if th e m o v e m e n ts w e re re a rra n g e d. A n a d d e n d e d sco re n o te fro m R o re m d a te d Ju n e, 1991 n o w in d ic a te s th e fo llo w in g p re fe rre d o rd e r fo r th e m o v e m e n ts: A v e y, D e n n is. "A C o n v e rsa tio n w ith N e d R o re m," F lu te T a lk, X / l (S e p te m b e r, ), 8-1 0, 22. B ly, L eo n. "A n A n n o ta te d B ib lio g ra p h y o f T w e n tie th C e n tu ry S y m p h o n ie s in P rin t fo r W in d E n sem b le s," J o u rn a l o f B a n d R e sea rc h, IX /2 (s p rin g, ),

281 272 M c D o n a ld, A rly s. N e d R o re m : A B io -B ib lio g ra p h y. (W e stp o rt: C o n n e c tic u t: G re e n w o o d P re s s, 1989). N e d R o rem, V ol. I: V o c a l W o rk s & Vol. II: In s tr u m e n ta l a n d O rc h e stra l W o rk s. (N e w Y o rk : B o o s e y & H a w k e s, ). R e n sh a w, Jeffre y. T he A m e r ic a n W in d S y m p h o n y C o m m issio n in g P ro je c t: A D e sc rip tiv e C a ta lo g o f P u b lis h e d E d itio n s, (N ew Y o rk : G re e n w o o d P re ss, ), S e lectiv e D isco g rap h y : T h e A m e r ic a n W in d S y m p h o n y O rch estra, V ol. 5. A m e ric a n W in d S y m p h o n y O rc h e s tra, R. B o u d re a u, A W S 106 L i f t U p Y o u r H e a d s ( T h e A s c e n s i o n ) P rem iere: c h o ru s and o rg a n v ersio n : M a y 7, 1964 C a th ed ral C h o ir W a y n e D irk se n, c o n d u c to r T h e W ash in g to n N a tio n a l C ath ed ral M o u n t S a in t A lb a n W a s h in g to n, D C c h o ru s and w in d e n se m b le v ersio n : in fo rm a tio n u n availab le In stru m entatio n : ; t; S A T B c h o ru s P u b lish er/d ate: B o o se y & H a w k e s, 1964 (B H. B K ) A vailability: S co re: rental fu ll, tra n sp o se d L e v e l o f difficu lty : G ra d e 4 + /4 + D uration: c. 3 '2 0 C o m m issio n : P ro g ra m N o te: P erfo rm a n ce C o m m en tary : in fo rm atio n u n av ailab le in c lu d e d in sco re W ritte n in 1963 a n d d ed icated to th e m e m o ry o f F ra n c is P o u le n c (w h o h ad b e e n an in flu e n c e o n R o re m 's m u sic a l d e v e lo p m e n t), th is b rie f an th e m e x ists in v e rsio n s fo r c h o ru s a n d o rg a n, c h o ru s and b ra ss q u in te t, a n d c h o ru s a n d w in d e n se m b le. T h e te x t is b y Jo h n B e a u m o n t ( ). T h e w o rk is m a rk e d B rillia n te - a lle g ro m o lto a n d is in 3/2 an d

282 273 2 /2 m e te r w ith th e h a lf n o te e q u allin g 96. M u c h o f th e w o rk is m a rk e d fo r tis s im o a n d is d e c la m a to ry in n a tu re. S e lectiv e B ib lio g raphy: T h e o p e n in g o f th e w o rk cen ters o n e ^ m in o r, th e m id d le is in A m a jo r a n d fe a tu re s ru n n in g e ig h th a n d six te e n th n o te p a ssag e s, a n d th e fin a l sectio n w o rk s its w a y to m a jo r w h ile re tu rn in g to so m e o f th e m a te ria l fro m th e o p en in g sectio n. A c h a lle n g e e n c o u n te re d in th e first fe w b a rs is the sin g in g a n d p la y in g o f a ltern atin g m in o r n in th an d m a jo r sev e n th h a rm o n ic in terv als. T h e re a re in sta n c e s o f p o ly to n a lity in b o th th e c h o ru s a n d in s tru m e n ta l p arts. T h e s o p ra n o p a rt h a s a h ig h te ssitu ra. T h is w o rk w a s p re m ie re d a t th e s a m e serv ic e as L a M o n ta in e 's T e D e u m a n d S o w e rb y 's F a n ta s y o n "In B a b ilo n e." A v e y, D e n n is. "A C o n v e rsa tio n w ith N ed R o re m," F lu te T a lk, X I 1 (S e p te m b e r, ), 8-1 0, 22. M c D o n a ld, A rly s. N e d R o re m : A B io -B ib lio g ra p h y. (W e stp o rt: C o n n e c tic u t: G re e n w o o d P re ss, 1989). N e d R o rem, Vol. I: V o c a l W o rk s & Vol. II: In s tr u m e n ta l a n d O rc h e stra l W o rk s. (N e w Y o rk : B o o se y & H a w k e s, 1991). S electiv e D isco g rap h y : B in k e r d & R o r e m W o rks. N o rth T e x a s S tate U n iv e rs ity A C a p e lla C h o ir, M c K in le y, B o o se y a n d H a w k e s S N B H W illiam Schuman The B and Song P rem iere: B an d v ersio n : in fo rm atio n u n availab le [a rra n g e d by S c h u m a n fo r b an d in 1964] O rc h estra v ersio n : A p ril 11, 1964 N ew Y o rk P h ilh arm o n ic O rchestra A n d re K o stela n e tz, co n d u cto r N e w Y o rk, N e w Y o rk

283 274 In stru m en tatio n : c o n c e rt b and b s sx P u b lish er/d ate: M e rio n /T h e o d o re P re s se r, ( ) A vailability: S co re: in p rin t fu ll, tra n sp o se d L evel o f difficu lty : G ra d e 2 + D uration: c.3 '3 0 C o m m issio n : P ro g ra m N o te : P e rfo rm a n ce C o m m entary : in fo rm a tio n u n av ailab le in c lu d e d in sco re T h is is a v e rsio n fo r b an d o f an o rc h e stra l w o rk w h ic h h as as its ro o ts a p ie c e fo r v o ic e an d p ia n o w h ic h S c h u m a n w ro te in It is an ad ap tatio n o f an A u stria n m e lo d y k n o w n to m a n y in g e n eral m u sic cla sses a t T h e In stru m e n ts. F iv e c h a racte ristic v ariatio n s are p re sen te d, e a c h fe a tu rin g a d iffe re n t sectio n o f th e b an d, in c lu d in g o n e fo r sev e n -p a rt p e rc u ssio n sectio n and o n e fo r b a ss-v o ic e in stru m e n ts m a rk e d fjf. T h e v a ria tio n s are c le v e rly c o m b in e d a t th e e n d p ro d u c in g an in te re stin g p o ly p h o n ic ta p estry. S e lectiv e B ib lio g rap h y : T h e w o rk, in m a jo r, is in a m o d e ra te trip le m eter. E x p o se d w ritin g fo r w o o d w in d s o p e n s th e p ie c e. T ru m p e ts are g iv en a sh o rt p a ssa g e re q u irin g q u ic k to n g u e in g o f p a irs o f six teen th n o te s and th e flu tes e n c o u n te r a rp e g g iated fig u res. T h e sn a re d ru m p a rt c o n ta in s six te e n th n o te trip lets. T w o a b ru p t d y n a m ic chan g e s o c c u r b e fo re th e fin a l fu ll statem e n t o f th e tune. A n a c cele ra n d o a lfin e b rin g s th e w o rk to a c lo se. B ro w n, M ic h a e l R. "T h e B an d M u sic o f W illia m S c h u m a n : A S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d E d D d isse rta tio n, U n iv e rs ity o f G e o rg ia, D v o ra k, T h o m a s, C y n th ia T a g g a rt, an d P e te r S c h m a lz. B e s t M u s ic f o r Y o u n g B a n d : A S e le c tiv e G u id e to th e Y o u n g B a n d /Y o u n g W in d E n se m b le R e p e rto ire. (B ro o k ly n : M a n h a tta n B e a c h, 1986), 32. G le a so n, H a ro ld, a n d W a rre n B eck e r. "W illiam S c h u m a n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L itera tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev. 1981),

284 275 H a ll, D. "A B io -d is c o g ra p h y o f W illia m S ch u m an," O v a tio n, V F 7 ( ), 4, a n d V I/8, 8. H y m e l, M a ry J. "A C o m p a ra tiv e A n a ly sis o f T h re e W o rk s fo r B a n d b y W illia m S ch u m an." U n p u b lis h e d M M E d th e sis, L a m a r U n iv e rsity, M ille r, K a rl F. "W illia m S c h u m a n : ," A m e r ic a n R e c o r d G u id e, L V /4 (Ju ly /A u g u s t, 1 992), P e te rsen, B a rb a ra. W illia m S c h u m a n. (N ew Y o rk : B ro a d c a s t M u sic, In c., ). R h o d e s, S te p h e n L. "A C o m p a ra tiv e A n a ly sis o f th e B a n d M u sic o f W illia m S ch u m an." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f N o rth e rn C o lo ra d o, R o u se, C h risto p h e r. W illia m S h u m a n : D o c u m e n ta ry. (B ry n M a w r, P e n n sy lv a n ia : T h e o d o re P re sse r, 1980). S la tk in, L e o n a rd. "W illia m S c h u m a n : A n A p p re c ia tio n," S y m p h o n y, X L III/3 (M a y /Ju n e, ), S electiv e D isco g rap h y : n o n e av ailab le A N ew sreel in Five Shots 1. H orse-race 2. Fashio Show 3. Tribal Dance 4. M onkeys at the Zoo 5. Parade P rem iere: B an d v ersio n : 1942 P e n n sy lv a n ia S ta te C o lle g e B an d G e o rg e S. H o w a rd, c o n d u c to r U n iv e rs ity P a rk, P e n n sy lv a n ia O rc h estra v ersio n : J u ly 14, 1942 N e w Y o rk S tad iu m N e w Y o rk, N e w Y o rk In stru m entatio n : c o n c e rt b and b ssx, 2 flh n ; 3 rd trb is btrb P u b lish er/d ate: G. S c h irm e r/h a l L e o n a rd, 1942 (B a n d S e rie s, N o 133) ( )

285 276 A vailability: S core: ren tal [G. S c h irm er] sco re av ailab le fo r p u rc h a se fu ll, tra n s p o se d c o n d e n se d, s c o re in C L e v e l o f d ifficulty : G ra d e 5- D uration: c. 8 '0 0 C o m m issio n : P ro g ra m N o te: P erfo rm a n ce C o m m entary : P e n n sy lv a n ia F o re n sic and M u sic L e a g u e in c lu d e d in sco re T h is p ie c e is S c h u m a n 's first o rig in a l w o rk fo r b a n d. It illu stra te s h is p e n c h a n t fo r o rc h e stra tin g b y c h o irs a n d fo r b u ild in g stru c tu ra l c lim a x e s th ro u g h th e re ite ra tio n o f rh y th m ic and m o tiv ic id eas. T h is is d e sc rip tiv e m u sic w h ic h takes its c u es fro m th e p h y sical m o tio n s im p lie d b y e a c h m o v e m e n t's titles. S e lectiv e B ib lio g raphy: T h e m o v e m e n ts are to b e c o n n ecte d in an a tta c c a fash io n. A q u a rta l h a rm o n ic la n g u a g e is e m p lo y e d o ften, as are p o ly to n al te c h n iq u es w ith in a n o rm a l triad ic id io m. T h e p ie c e is trick y rh y th m ically w ith m a n y in sta n c e s o f d u p le v e rsu s trip le c o m b in a tio n s, sy n c o p a tio n, a n d h e m io la, as w e ll as o d d p rh a s e le n g th s in th e fo u rth m o v e m e n t, w h ic h is d o n e in o n e to th e b ar. T h e b a ss c la rin e t is a sk e d to p la y in its h ig h re g iste r. T h e u p p e r b ra ss are re q u ire d to flu tte r to n g u e a n d all th e b ra ss o th e r th a n e u p h o iu m and tu b a s are a sk e d to p la y w ith th e ir b ells in the a ir a t th e e n d o f th e w o rk. S o lo s a p p e a r in th e e u p h o n iu m a n d tim p a n i p a rts. B ro w n, M ic h a e l R. "T h e B an d M u sic o f W illia m S c h u m a n : A S tu d y o f F o rm, C o n te n t and S ty le." U n p u b lish e d E d D d isse rta tio n, U n iv e rs ity o f G e o rg ia, G le a so n, H a ro ld, a n d W a rre n B eck e r. "W illiam S c h u m a n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev. 1981), H a ll, D. "A B io -d is c o g ra p h y o f W illia m S c h u m a n," O v a tio n, V F 7 ( ), 4, a n d V I/8, 8. H y m e l, M ary J. "A C o m p a ra tiv e A n a ly sis o f T h re e W o rk s fo r B an d b y W illia m S chum an." U n p u b lish e d M M E d th esis, L a m a r U n iv e rsity,

286 277 M ille r, K arl F. "W illia m S c h u m a n : ," A m e r ic a n R e c o r d G u id e, L V /4 (Ju ly /A u g u st, 1992), P e te rs e n, B a rb a ra. W illia m S c h u m a n. (N ew Y o rk : B ro a d c a s t M u sic, In c., ). R h o d e s, S te p h e n L. "A C o m p a ra tiv e A n a ly sis o f th e B an d M u sic o f W illia m S ch u m an." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f N o rth e rn C o lo ra d o, , R o u se, C h ris to p h e r. W illia m S h u m a n : D o c u m e n ta r y. (B ry n M a w r, P e n n s y lv a n ia : T h e o d o re P re sse r, 1980). S la tk in, L e o n a rd. "W illia m S c h u m a n : A n A p p re c ia tio n," S y m p h o n y, X L II1 /3 (M a y /Ju n e, ), S electiv e D isco g rap h y : T h e R e v e lli Y ears, Vol. 4. U n iv e rs ity o f M ic h ig a n S y m p h o n y B a n d, W. R e v e lli, G o ld e n C re st C R S [re c o rd e d 1950] A m e r ic a n F e stiv a l. M ilw a u k e e S y m p h o n y O rc h e s tra, L. F o ss, P ro A rte P A D 102. [o rch e stra v ersio n ] G eorge W ashington B ridge P rem iere: J u ly 3 0, 1950 N a tio n a l M u sic C a m p H ig h S c h o o l C o n c e rt B an d In te rlo ch e n, M ich ig an In stru m entatio n : c o n c e rt b and b s s x P u b lish er/d ate: G. S c h irm e r/h a l L e o n a rd, 1951 ( ) A vailability: Score: in p rin t fu ll, tra n sp o se d L evel o f d ifficulty: G ra d e 5 + D uration: c. 9 '0 0 C o m m issio n : P ro g ram N o te: D e d icate d to the M ich ig an S chool B a n d an d O rc h estra A sso ciatio n in c lu d e d in sco re

287 278 P e rfo rm a n ce C o m m entary : S c h u m a n u tilized th e p h y sical n a tu re o f th e b rid g e as a stru c tu ra l m o d e l fo r th is p iece. T h e a rtic le s b y G a rafo lo cited b e lo w o u tlin e th is re la tio n sh ip o f m u sic a l a n d p h y sical stru c tu re v e ry w ell. S e lectiv e B ib lio g rap h y : A n a g g re ssiv e p o ly to n a l h a rm o n ic la n g u a g e is em p lo y ed. A tte n tio n n e ed s to be p aid by th e c o n d u c to r a n d p la y e rs to p ro p e r re le a se s as w e ll as e n tra n c e s so th a t c la rity o f p re sen ta tio n o f th e se p o ly to n a l stru c tu re s is p o ssib le. T h e se h a rm o n ie s a re d iffic u lt to play w ith p ro p e r in to n a tio n a n d sep a ra tin g th e p o ly c h o rd s in to th e ir h a rm o n ic su b u n its w ill aid th e p e rfo rm e rs in h e arin g p ro p e r re la tio n sh ip s. C o n tro llin g b a la n ces d u rin g th e m a n y m o m e n ts o f e n se m b le c re scendi an d d e c re sc e n d i is cru cial. A n e x te n d e d u n iso n m elo d ic lin e fo r th e e n tire c o m e t/tru m p e t sectio n c o n ta in s lip slu rs o v er la rg e in te rv a ls. A s it e x p a n d s in to a h ig h e r te ssitu ra it is d o u b le d a t th e o c ta v e b y th e u p p e r w o o d w in d s. T h e re is a lso q u ite a b it o f d o u b lin g b e tw een th e flu tes a n d E b c la rin e t in th e ir h ig h te ssitu ra th ro u g h o u t th e w o rk. T ric k y sy n co p a te d m o tifs, o fte n in v o lv in g an e n tra n c e o n a su b d iv isio n o f th e b e a t a fte r a re st, a re p a sse d b e tw een sectio n s. A m a tc h ed leggiero sty le o f a rtic u la tio n am o n g all w in d p e rfo rm e rs w ill h e lp to e n su re s u c c e ss in th ese p a ssa g e s. T h e re are a few p a ssa g e s o f a c c e le ra n d o w h e re th e p la y e rs sen se o f rh y th m ic e n se m b le p re c isio n w ill b e p u t to th e test. D u rin g th e m id d le sectio n o f th e w o rk, p e rfo rm e rs a re a sk e d to p lay in a ly ric a l sty le. E n d u ra n c e is a c o n c e rn fo r th e b ra ss p la y e rs, as th e y e n c o u n te r v e ry stro n g d y n a m ic s a n d lo n g to n e s, o fte n in th e u p p e r ra n g e s o f th e le a d p arts. T h e p e rc u ssio n w ritin g is m in im al b u t at tim e s v e ry e x p o sed. B ro w n, M ic h a e l R. "T h e B an d M u sic o f W illia m S c h u m a n : A S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d E d D d isse rta tio n, U n iv e rs ity o f G e o rg ia, 1989, D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, and G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n se m b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 66.

288 279 F e n n e ll, F re d e ric k. "W illia m S c h u m a n : G e o rg e W a sh in g to n B rid g e A n Im p r e s s io n f o r B a n d," B D G u id e, V II/4 (M a rc h /A p ril, 1993), G a ra fo lo, R o b e rt J. "A N e w P la n fo r C o n c e rt B an d," M u s ic E d u c a to r s J o u rn a l, L X V II/8, (A p ril, ), G u id e s to B a n d M a s te rw o r k s. (Ft. L a u d e rd a le, F lo rid a : M e re d ith M u sic P u b lic a tio n s, ), G le a so n, H a ro ld, a n d W a rre n B e c k e r "W illiam S c h u m a n," 2 0 th -C e n tu ry A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev. 1981), H a ll, D. "A B io -d is c o g ra p h y o f W illia m S ch u m a n," O v a tio n, V I/7 ( ), 4, a n d V I/8, 8. H y m e l, M a ry J. "A C o m p a ra tiv e A n a ly sis o f T h re e W o rk s fo r B an d by W illia m S ch u m a n." U n p u b lish e d M M E d th e sis, L a m a r U n iv e rsity, K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1 989), A M ille r, K arl F. "W illiam S c h u m a n : ," A m e r ic a n R e c o r d G u id e, L V /4 (Ju ly /A u g u st, 1992), P e te rsen, B a rb a ra. W illia m S c h u m a n. (N ew Y o rk : B ro a d c a s t M u sic, In c., ). P rin d l, F ra n k J. "A S tu d y o f T e n O rig in a l C o m p o sitio n s f o r B an d P u b lish e d in A m e ric a sin c e 1946." U n p u b lis h e d E d D d isse rta tio n, F lo rid a S ta te U n iv e rs ity, R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), 295. R h o d es, S te p h e n L. "A C o m p a ra tiv e A n a ly sis o f th e B a n d M u sic o f W illia m S chum an." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f N o rth e rn C o lo ra d o, 1987, R o u se, C h risto p h e r. W illia m S h u m a n : D o c u m e n ta r y. (B ry n M a w r, P e n n sy lv a n ia : T h e o d o re P re sse r, 1980). S la tk in, L e o n a rd. "W illia m S c h u m a n : A n A p p re c ia tio n," S y m p h o n y, X L III/3 (M a y /Ju n e, ), S m ith, N o rm a n, and A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S an D ieg o : K jo s W e s t, ),

289 280 S e lectiv e D isco g rap h y : A m e r ic a n C o n c e rt B a n d M a ste rp ie c e s. E a stm a n W in d E n sem b le, F. F e n n e ll, M e rc u ry G o ld e n Im p o rts M G [re issu e d as M e rc u ry G o ld e n Im p o rts S R I 75086] A m e r ic a n D rea m s. C in c in n a ti C o lle g e -C o n se rv a to ry o f M u sic W in d S y m p h o n y, E. C o rp o ro n, K la v ie r K C D A m e r ic a n O rig in a ls. A ir C o m b a t C o m m a n d H e rita g e o f A m e ric a B an d, L. G ra h a m, M C D C o rn e ll U n iv ersity W in d E n s e m b le "In C o n c e r t." C o rn e ll U n iv e rsity W in d E n s e m b le, M. S tith, C.U.W.E E d u c a tio n a l R e fe ren c e R e c o rd in g L ib ra ry 17. U n iv e rsity o f M ich ig a n S y m p h o n y B a n d, W. R e v e lli, E R R L B P S y m p h o n ic S o n g s f o r B a n d. T o k y o K o se i W in d O rc h e s tra, F. F e n n e ll, K o se i P u b lish in g C o m p a n y K O C D Chester Overture P rem iere: B a n d v ersio n : Jan u a ry, 1957 U n iv e rsity o f L o u isv ille B and [a rra n g e d by S c h u m a n fo r b a n d in ] O rc h e stra v e rsio n (N e w E n g la n d T rip ty c h ): O c to b e r 2 8, U n iv e rsity o f M ia m i S y m p h o n y O rc h e stra A n d re K o ste la n e tz, co n d u cto r C o ra l G a b le s, F lo rid a In stru m en tatio n : c o n c e rt band b s sx P u b lish er/d ate: M e rio n M u sic /T h e o d o re P resse r, 1957 ( ) A vailability: S core: in p rin t fu ll, tra n sp o se d c o n d e n se d, s c o re in C L ev el o f difficulty : G ra d e 5 D uration: c. 6 '0 0 C o m m issio n : Pi K a p p a O m ic ro n, n atio n al b an d frate rn ity U n iv e rsity o f L o u isv ille c h ap ter

290 281 P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : in c lu d e d in sco re T h is w o rk, th e th ird m o v e m e n t o f S c h u m a n 's N e w E n g la n d T rip ty c h, is b a se d u p o n a v ery p o p u la r h y m n a n d m a rc h in g so n g fro m th e A m e ric a n R ev o lu tio n w ritten b y W illia m B illin g s. It o p e n s w ith th e h y m n b e in g sta te d in a relig io so m a n n e r b y th e w o o d w in d c h o ir first, th e n th e b ra s s ch o ir. A s e t o f a lle g ro v a ria tio n s fo llo w, w h ic h illu stra te S h u m a n 's p e n c h a n t fo r settin g sectio n s a g ain st e a c h o th e r a n tip h o n a lly an d th e u se o f p a ra lle l triad ic h a rm o n ic m o v em en t. S e lectiv e B ib lio g raphy: T h e p ie c e is c h a lle n g in g on a n u m b e r o f fro n ts. T h e o p e n in g h y m n sta te m e n ts p ro v id e an o p p o rtu n ity to w o rk o n b a la n ce an d b lend a cro ss th e sectio n s. T h e a n tip h o n a l in te rp la y a t a v ery q u ic k te m p o re q u ire s rh y th m ic se c u rity, as d o th e m any s y n c o p a te d fig u re s a n d u p b e at e n tra n ces. A fa ir a m o u n t o f u n iso n w ritin g, a t tim e s as six te en th n o te le g a to ru n n in g p a ssag e s, p re sen ts a n o th e r c o n cern. O ssia p a rts are p ro v id e d fo r th e h ig h te ssitu ra w ritin g fo r alto c la rin e t a n d b ass cla rin e t. T h e v a rio u s a n aly se s c ite d b e lo w aid th e c o n d u c to r in p re p a rin g th e score. T h e P i K a p p a O m ic ro n b an d frate rn ity s u p p o rte d its c o m m issio n in g e n te rp rise by p la y in g d a n c e jo b s w ith ja z z b a n d s o rg a n iz e d fo r th is p u rp o se. B ro w n, M ic h a e l R. "T h e B an d M u sic o f W illia m S c h u m a n : A S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d E d D d isse rta tio n, U n iv e rs ity o f G e o rg ia, , D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n sem b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 6 5. G a ro fa lo, R o b e rt. G u id e s to B a n d M a s te rw o r k s. (F t. L a u d e rd a le : F lo rid a, M e re d ith M u sic P u b lic a tio n s, 1992), G le a so n, H a ro ld, a n d W a rre n B e c k e r. "W illiam S c h u m a n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev. 1981), H a ll, D. "A B io -d is c o g ra p h y o f W illia m S ch u m an," O v a tio n, V I/7 ( ), 4, a n d V I/8, 8. H y m e l, M a ry J. "A C o m p a ra tiv e A n a ly sis o f T h re e W o rk s fo r B a n d b y W illia m S ch u m an." U n p u b lish e d M M E d th e sis, L a m a r U n iv e rsity,

291 2 8 2 K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1 989), M A Jo h n so n, C h a rle s E. "C o m m o n M u sic a l Id io m s in S e le c ted C o n te m p o ra ry W in d B an d M u sic." U n p u b lish e d E d D d isse rta tio n, F lo rid a S tate U n iv e rs ity, M ille r, K arl F. "W illiam S c h u m a n : ," A m e r ic a n R e c o r d G u id e, L V /4 (Ju ly /A u g u st, ), P e a rlm u tte r, A la n, a n d Jacq u e s V o o is. "W illiam S c h u m a n 's N e w E n g la n d T rip ty c h a n d th e M u sic o f W illia m B illin g s," J o u rn a l o f the C o n d u c to r's G u ild, V M /2 (S p rin g, 1987). P e te rsen, B a rb a ra. W illia m S c h u m a n. (N e w Y o rk : B ro a d c a s t M u sic, In c., ). R a sm u sse n, R ic h ard M ich a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), 294. R h o d es, S te p h e n L "A C o m p a ra tiv e A n a ly sis o f th e B a n d M u sic o f W illia m S c h u m a n." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f N o rth e rn C o lo ra d o, , "W illia m S c h u m a n : C h e s te r O v ertu re f o r B a n d," B D G u id e, III/4 (M a rc h /A p ril, ), R o u se, C h risto p h e r. W illia m S h u m a n : D o c u m e n ta ry. (B ry n M a w r, P e n n s y lv a n ia : T h e o d o re P re s se r, 1980). S la tk in, L e o n a rd. "W illia m S c h u m a n : A n A p p re c ia tio n," S y m p h o n y, X L III/3 (M a y /Ju n e, 1992), S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ie g o : K jo s W e s t, ), S u m m ers, C. O land. "T h e D e v e lo p m e n t o f O rig in a l B an d S c o rin g fro m S o u sa to H u sa." U n p u b lish e d D A d isse rta tio n, B a ll S ta te U n iv e rs ity, T o p o le w sk i, T im o th y. E r r a ta S tu d ie s f o r th e W in d B a n d C o n d u cto r, Vol. 1. (P o tsd a m, N e w Y o rk : T im o th y T o p o le w s k i, 1990?). S electiv e D isco g rap h y : A m e r ic a n B a n d m a ste rs A sso c ia tio n C o n ven tio n. A riz o n a S ta te U n iv e rs ity S y m p h o n ic B an d, F. E b b s, G o ld e n C re s t A B A

292 283 A m e r ic a n D re a m s. C in c in n a ti C o lle g e -C o n se rv a to ry o f M u sic W in d S y m p h o n y, E. C o rp o ro n, K la v ie r K C D B a n d M a s te rp ie c e s. G o ld m a n B a n d, R.F. G o ld m a n, 196?. D e c c a D L C o rn e ll U n iv e rsity W in d E n se m b le "In C o n c e r t." C o rn e ll U n iv e rsity W in d E n s e m b le, M. S tith, C.U.W.E E d u c a tio n a l R e fe ren c e R e c o rd in g L ib ra ry 15. C a m e g ie -M e llo n U n iv e rsity K iltie S y m p h o n ic B a n d, R. S tra n g e, E R R L B P In C o n c e r t w ith the U n iv e rsity o f Illin o is S y m p h o n ic B a n d. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, M. H in d sle y. R e c o rd # 2 4. Iv e s, S c h u m a n. P h ila d e lp h ia O rc h e s tra, E. O rm a n d y, R C A L SC [o rc h e stra v ersio n ] M u s ic f o r W in d s a n d P e rcu ssio n. N o rth e rn Illin o is U n iv e rsity W in d E n s e m b le, S. S q u ire s, N IU / S c h u m a n. P h o e n ix S y m p h o n y O rc h e stra, J. S e d a re s. K o c h In te rn a tio n a l H 1. [o rc h e stra v e rsio n ] S y m p h o n ic M e ta m o r p h o sis. T o k y o K o se i W in d O rc h e stra, C. K irc h h o ff, K o se i P u b lish in g C o m p a n y K O C D A T rib u te to W illia m S c h u m a n. S e a ttle S y m p h o n y O rc h e s tra, G. S c h w a rz, D e lo s D E [o rc h e stra v e rsio n ] W h e n J e s u s W e p t: P r e lu d e f o r B a n d P rem iere: B an d versio n : J u n e 18, 1958 T h e G o ld m a n B a n d R ic h a rd F ra n k o G o ld m a n, c o n d u c to r [a rra n g e d by S c h u m a n fo r b a n d in 1958] O rc h e stra v e rsio n (N e w E n g la n d T rip ty c h ): O c to b e r 2 8, U n iv e rsity o f M ia m i S y m p h o n y O rc h estra A n d re K o stela n e tz, c o n d u c to r C o ra l G a b le s, F lo rid a In stru m en tatio n : c o n c e rt band s o lo c o r, so lo b a r o r so lo e u p h, b ssx P u b lish er/d ate: M e rio n M u sic /T h e o d o re P re sse r, 1957 ( ) A vailability: in p rin t

293 2 8 4 S core: fu ll, tra n sp o se d c o n d e n s e d, s c o re in C L ev el o f d ifficu lty : G ra d e 5 D uration: c. 5 '0 0 C o m m issio n : P ro g ra m N o te : P erfo rm a n ce C o m m entary : in fo rm a tio n u n availab le in c lu d e d in sco re T h e o rig in a l so lo ist p a irin g o f o b o e a n d b a sso o n c a n b e e a s ily u tilized w ith th is b and v e rsio n a n d it is p e rfo rm e d in th is m a n n e r o ften. W h e n th is second m o v e m e n t o f th e N e w E n g la n d T rip tych w a s o rig in ally set fo r b a n d b y S h u m a n, h e in d ic a te d th a t it sh o u ld b e p layed b e fo re C h ester, and su b title d it P relu d e f o r B a n d. S e lectiv e B ib lio g raphy: In a d d itio n to th e w in d so lo s, a s e c u re, sen sitiv e p e rc u ssio n ist w ill b e n e ed e d to p e rfo rm th e so lo m o m e n ts fo r fie ld d ru m. L y ric a l p la y in g, o fte n a t q u ie t d y n am ic le v e ls, is re q u ire d fro m all th e w in d s. C o n tro l o f le a p s a t la rg e in te rv a ls, to n g u e d, is d e m a n d e d a t th e c lim a x o f th e w o rk. T h e h y m n tu n e W h en J e su s W e p t re c e iv e s c a n o n ic tre a tm e n t in th e c h allen g in g k e y s o f a ^ m in o r a n d e ^ m in o r, a n d serv e s as an e x a m p le o f th e fu g u e in g tu n e s so p o p u la r d u rin g re v o lu tio n a ry tim e s T h e a rtic le by B attisti c ite d b e lo w is m o s t h e lp fu l in p re p a rin g th e w o rk. B a ttisti, F ran k. "W illia m S c h u m a n : W h en J e s u s W ep t," B D G u id e, IV /3 (J a n u a ry /F e b ru a ry, ), B else r, R o b e rt S. "O rig in a l W o rk s fo r C o n c e rt B a n d P re m ie re d o r C o m m is sio n e d b y E d w in F ra n k o G o ld m a n, R ic h a rd F ra n k o G o ld m a n, a n d th e G o ld m a n B a n d " U n p u b lish e d D M A d isse rta tio n, T h e U n iv e rs ity o f Io w a, B ro w n, M ic h a e l R. "T h e B an d M u sic o f W illia m S c h u m a n : A S tu d y o f F o rm, C o n te n t and S ty le." U n p u b lish e d E d D d isse rta tio n, U n iv e rs ity o f G e o rg ia, D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n se m b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 66. r

294 285 G le a so n, H a ro ld, an d W a rre n B e c k e r. "W illia m S c h u m a n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev ), H a ll, D. "A B io -d is c o g ra p h y o f W illia m S c h u m a n," O v a tio n, V I/7 ( ), 4, a n d V I/8, 8. H y m e l, M a ry J. "A C o m p a ra tiv e A n a ly sis o f T h re e W o rk s fo r B an d b y W illia m S ch u m a n." U n p u b lish e d M M E d th e sis, L a m a r U n iv e rsity, K re in e s, Jo se p h. M u s ic f o r C o n c e rt B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), M A L e ste r, N o e l. "R ich a rd F ra n k o G o ld m a n an d th e G o ld m a n B an d," J o u rn a l o f B a n d R e s e a r c h, X X IV /1 (fall, ), M ille r, K arl F. "W illiam S ch u m an : ," A m e r ic a n R e c o r d G u id e, L V /4 (Ju ly /A u g u st, 1992), P e a rlm u tte r, A lan, a n d Jacq u e s V o o is. "W illiam S c h u m a n 's N e w E n g la n d T rip tych and th e M u sic o f W illia m B illin g s," J o u rn a l o f the C o n d u c to r's G u ild, V TII/2 (S p rin g, 1987). P e te rsen, B a rb a ra. W illia m S c h u m a n. (N ew Y o rk : B ro a d c a s t M u sic, In c., ). R a sm u sse n, R ic h a rd M ic h a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), R h o d es, S te p h e n L. "A C o m p a ra tiv e A n a ly sis o f th e B a n d M u sic o f W illia m S ch u m an." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f N o rth e rn C o lo ra d o, R o u se, C h risto p h e r. W illia m S h u m a n : D o c u m e n ta r y. (B ry n M aw r, P e n n s y lv a n ia : T h e o d o re P re sse r, 1980). S la tk in, L e o n a rd. "W illia m S c h u m a n : A n A p p re c ia tio n," S y m p h o n y, X L III/3 (M a y /Ju n e, 1 992), S m ith, N o rm a n, an d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S an D ie g o : K jo s W e s t, ), S electiv e D isco g rap h y : C o rn e ll U n iv ersity W in d E n sem b le "In C o n c e r t." C o rn e ll U n iv e rsity W in d E n s e m b le, M. S tith, C.U.W.E Iv e s, S c h u m a n. P h ila d e lp h ia O rc h e s tra, E. O rm a n d y, R C A L S C [o rc h e stra v ersio n ]

295 2 8 6 T h e R e v e lli Y ears, Vol. 1. U n iv e rs ity o f M ic h ig a n S y m p h o n y B a n d, W. R e v e lli, G o ld e n C re st C R S ^ [re c o rd e d 1963] S c h u m a n. P h o e n ix S y m p h o n y O rc h e stra, J. S e d a re s. K o c h In te rn a tio n a l H 1. [o rc h e stra v e rsio n ] S y m p h o n ic M e ta m o r p h o sis. T o k y o K o se i W in d O rc h e s tra, C. K irc h h o ff, K o se i P u b lish in g C o m p a n y K O C D A T rib u te to W illia m S c h u m a n. S e a ttle S y m p h o n y O rc h e s tra, S c h w a rz, D e lo s D E [o rc h e stra v e rsio n ] B e G la d, T h e n A m e r ic a P rem iere: B an d versio n : in fo rm a tio n u n av ailab le [a rra n g e d b y S c h u m a n fo r b an d in 1975] O rc h e stra v e rsio n (N e w E n g la n d T rip ty c h ): O c to b e r 2 8, U n iv e rsity o f M ia m i S y m p h o n y O rc h e stra A n d rd K o ste la n e tz, co n d u cto r C o ra l G a b le s, F lo rid a In stru m entatio n : c o n c e rt b an d b ssx ; o p tio n a l 3 rd tp t p a rt (3 co r a n d 3 tp t) P u b lish er/d ate: M e rio n M u sic /T h e o d o re P resse r, 1975 ( ) A vailability: S core: in prin t fu ll, tra n sp o se d L ev el o f difficulty: G ra d e 6- D u ration: c. 5 '0 0 C o m m issio n : P ro g ra m N o te: P erfo rm a n ce C o m m entary : in fo rm a tio n u n a v ailab le; p o ssib ly n o c o m m issio n in c lu d e d in sco re T h is w o rk w a s fre e ly tra n scrib e d b y S c h u m a n fro m h is o rc h e stral p iece, an d it p ro v e s to b e a v e ry c h a lle n g in g settin g fo r b an d. T h e p o ly to n a l h a rm o n ic la n g u a g e, a t tim e s ra th e r strid e n t in its e ffe c t, p re sen t in to n a tio n a l c o n c e rn s, as d o m o m e n ts c e n te rin g in th e k e y o f B m a jo r. S h u m a n 's w ritin g fo r th e u p p e r w o o d w in d s in th e ir h ig h re g is te r (e.g. flu te 1, flu te 2 a n d p ic c o lo all o n h ig h B ^, c la rin e t 1 an d

296 287 S e lectiv e B ib lio g rap h y : c la rin e t 2 b o th o n h ig h G # ) w ill re q u ire g re a t care. In a d d itio n to th e u p p e r w o o d w in d s, d ie c o m e t I, tru m p e t 1, tro m b o n e 1 an d b a rito n e p arts also re a c h in to th e ir u p p e r re g is te r o ften. M o st p la y e rs e n c o u n te r m u sic w h e re th e y n e e d to d iffe re n tia te b e tw e e n sim ila r rh y th m ic fig u re s (d u p le v ersu s trip le su b d iv isio n ) a t a v ery q u ic k te m p o. B rie f so lo s are fo u n d in th e p ic c o lo, o b o e 1, c o rn e t 1 a n d b a rito n e p arts. T w o ex te n siv e so lo s fo r tim p an i, at th e b e g in n in g an d in the m id d le o f th e w o rk, w ill re q u ire a c o n fid e n t p e rfo rm e r. B ro w n, M ic h a e l R. "T h e B an d M u sic o f W illia m S c h u m a n : A S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d E d D d isse rta tio n, U n iv e rs ity o f G e o rg ia, D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, an d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n sem b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 6 5. G le a so n, H a ro ld, a n d W a rre n B e c k e r. "W illiam S c h u m a n," 2 0 th -C e n tu ry A m e r ic a n C o m p o se rs, M u s ic L itera tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev. 1981), H a ll, D. "A B io -d is c o g ra p h y o f W illia m S ch u m an," O v a tio n, V I/7 ( ), 4, a n d V I/8, 8. H y m e l, M a ry J. "A C o m p a ra tiv e A n a ly sis o f T h re e W o rk s fo r B an d b y W illia m S ch u m a n." U n p u b lish e d M M E d th e sis, L a m a r U n iv e rsity, K re in e s, Jo se p h. M u s ic f o r C o n c e r t B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L itera tu re. (T am p a: F lo rid a M u sic S e rv ic e, 1989), M A M ille r, K arl F. "W illiam S c h u m a n : ," A m e r ic a n R e c o r d G u id e, L V /4 (Ju ly /A u g u st, 1992), P e a rlm u tte r, A la n, a n d Jacq u e s V o o is. "W illiam S c h u m a n 's N e w E n g la n d T rip tych an d th e M u sic o f W illiam B illin g s," J o u rn a l o f the C o n d u c to r's G u ild, V III/2 (S p rin g, 1987). P e te rsen, B a rb a ra. W illia m S c h u m a n. (N ew Y o rk : B ro a d c a s t M u sic, In c., ). R a sm u sse n, R ic h ard M ich a e l. R e c o r d e d C o n cert B a n d M u sic, : A S ele cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, 1988),

297 288 R h o d e s, S te p h e n L. "A C o m p a ra tiv e A n a ly sis o f th e B a n d M u sic o f W illia m S ch u m a n." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f N o rth e rn C o lo ra d o, R o u se, C h risto p h e r. W illia m S h u m a n : D o c u m e n ta ry. (B ry n M a w r, P e n n sy lv a n ia : T h e o d o re P re sse r, 1980). S la tk in, L e o n a rd. "W illia m S c h u m a n : A n A p p re c ia tio n," S y m p h o n y, X L III/3 (M a y /Ju n e, ), S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ieg o : K jo s W e s t, ), S electiv e D isco g rap h y : C o rn e ll U n iv ersity W in d E n sem b le "In C o n c e r t." C o rn e ll U n iv e rsity W in d E n s e m b le, M. S tith, C.U.W.E.- 19 Iv e s, S c h u m a n. P h ila d e lp h ia O rc h e s tra, E. O rm a n d y, R C A L S C [o rc h e stra v e rsio n ] S c h u m a n. P h o e n ix S y m p h o n y O rc h e stra, J. S e d a re s. K o c h In te rn a tio n a l H 1. [o rc h e stra v e rsio n ] S y m p h o n ic M e ta m o r p h o sis. T o k y o K o sei W in d O rc h e s tra, C. K irc h h o ff, K o se i P u b lish in g C o m p a n y K O C D A T rib u te to W illia m S c h u m a n. S e a ttle S y m p h o n y O rc h e stra, S c h w a rz, D e lo s D E [o rc h e stra v e rsio n ] D edication Fanfare P rem iere: J u ly 4, 1968 St. L o u is, M isso u ri In stru m entatio n : c o n c e rt band b ssx P u b lish er/d ate: M e rio n M u sic /T h e o d o re P resse r, ( ) A vailability: S core: in p rin t fu ll, tra n sp o se d L ev el o f difficulty : G ra d e 5 D uration: c. 4 '3 0 C o m m issio n : N e w M u sic C irc le o f St. L o u is fo r th e d e d ic a tio n o f th e G a tew a y A rch

298 2 8 9 P ro g ra m N o te: P e rfo rm a n ce C o m m entary : in c lu d e d in sco re S im ila r in d e sig n in c e rta in asp ects to G e o rg e W a sh in g to n B rid g e, th is w o rk also u ses th e a rc h ite c tu re o f its su b je c t m a tte r to h e lp g e n erate its o w n stru c tu re an d m u sic al m aterials. H e re, S c h u m a n a tte m p ts to p o rtra y m u sic a lly th e u p w a rd th ru st a n d s o a rin g lin e s o f th e G a te w a y A rch. S e lectiv e B ib lio g rap h y : T h e re is an e m p h a sis on p arallel triad ic m o v e m e n t in th e piece. T h e in te rv a l o f a trito n e p ro v id e s e x p re ssiv e c o n te n t a t c ritic a l m o m e n ts in th e w o rk. T h e re is v e ry little c o u n te rp o in t, w ith lo n g sectio n s o f m u sic c o n ta in in g u n iso n rh y th m ic d e liv e ry fro m th e e n tire e n se m b le. In to n a tio n is ch allen g in g, as th e h a rm o n ie s a re tig h tly stru c tu re d a n d a t tim e s p o ly to n a l. T h e u p p e r w o o d w in d s are a sk e d to p la y in th e ir h ig h e st registers. A p rin cip al co n c e rn in m o u n tin g a p e rfo rm a n c e o f th is p ie c e is en d u ra n ce. T h e w o rk ra re ly is m a rk e d d y n a m ic a lly b e lo w fo r te, a n d th e b ra ss p la y d u rin g a m a jo rity o f th e w o rk, o fte n in th e ir u p p e r re g iste rs, w ith v ery little rest. B ro w n, M ich a e l R. "T h e B an d M u sic o f W illiam S c h u m a n : A S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d E d D d isse rta tio n, U n iv e rs ity o f G e o rg ia, D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n sem b le s. (B ro o k ly n : M a n h a tta n B e a c h, 1993), G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "W illiam S c h u m a n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev ), H a ll, D. "A B io -d isc o g ra p h y o f W illia m S ch u m an," O v a tio n, V I/7 ( ), 4, an d V I/8, 8. H y m e l, M a ry J. "A C o m p a ra tiv e A n a ly sis o f T h re e W o rk s fo r B a n d b y W illia m S chum an." U n p u b lish e d M M E d th e sis, L a m a r U n iv e rsity, M ille r, K a rl F. "W illiam S c h u m a n : ," A m e r ic a n R e c o r d G u id e, L V /4 (Ju ly /A u g u st, ), P e te rsen, B a rb a ra. W illia m S c h u m a n. (N e w Y o rk : B ro a d c a s t M u sic, In c., ).

299 2 9 0 R a sm u sse n, R ic h a rd M ich a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le c te d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), R h o d e s, S te p h e n L. "A C o m p a ra tiv e A n a ly sis o f th e B a n d M u sic o f W illia m S ch u m an." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f N o rth e rn C o lo ra d o, , R o u se, C h ris to p h e r. W illia m S h u m a n : D o c u m e n ta ry. (B ry n M a w r, P e n n s y lv a n ia : T h e o d o re P re s se r, 1 980). S la tk in, L e o n a rd. "W illia m S c h u m a n : A n A p p re c ia tio n," S y m p h o n y, X L III/3 (M a y /Ju n e, ), S m ith, N o rm a n, and A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ie g o : K jo s W e s t, ), S e lectiv e D isco g rap h y : M id w e s t B a n d a n d O rc h e stra C lin ic. N o rth sh o re C o n c e rt B a n d, J. P a y n te r, G o ld e n C re s t M I D Prelude f o r a Great Occasion P rem iere: O c to b e r 1, M em b e rs o f th e N a tio n a l S y m p h o n y O rc h estra A n ta l D o rati, co n d u cto r H irsh h o rn M u se u m a n d S c u lp tu re G a rd e n W a s h in g to n, D.C. In stru m en tatio n : / ; t, p (4 ) P u b lish er/d ate: M e rio n M u sic /T h e o d o re P resse r, 1975 ( ) A vailability: S core: in p rin t full, tra n sp o se d L ev el o f d ifficulty: G ra d e 6- D uration: c. 5 '0 0 C o m m issio n : P ro g ra m N ote: P e rfo rm a n ce C o m m en tary : F o r th e o p e n in g o f th e H irsh h o rn M u se u m a n d S c u lp tu re G a rd e n, W a s h in g to n, D.C. in clu d ed in sco re H e re is a w o rk re q u irin g v e ry stro n g p la y e rs in th e b ra ss sectio n. T h e d y n a m ic m a rk in g f f f a b o u n d s th ro u g h o u t th e

300 291 S electiv e B ib lio g raphy: sco re a n d th e 1st a n d 3 rd h o rn s re m a in in th e ir h ig h te ssitu ra fo r th e m a jo rity o f th e p iece. V a rio u s p e rm u ta tio n s o f s e x tu p le t su b d iv isio n d riv e th e o p e n in g sectio n o f m u sic. T ig h tly -k n it h a rm o n ie s c o n ta in in g th e in te rv a l o f a m in o r se c o n d w ill p ro v id e in to n a tio n a l c h allen g e, as w ill e x te n d e d u n iso n m e lo d ie s fo r th e lo w b ra ss a n d tru m p e t sectio n s. T h e m id d le p o rtio n o f th e w o rk re la x e s th e rh y th m ic im p e tu s b y o fferin g lo n g h e ld c h o rd s w h ic h a re sh a p e d d y n a m ic a lly o v e r tim e. T h e w o rk e n d s w ith a re tu rn to a m o re rh y th m ically a ctiv e deliv ery o f its m u sic al m aterials. T h e p e rc u ssio n w ritin g is ra th e r sta n d a rd in an o rc h e stra l sen se th ro u g h o u t th e p iece. S c h u m a n in d ic a te s th a t a lth o u g h th e w o rk is in te n d e d to b e p e rfo rm e d b y o n e p la y e r p er p a rt it m a y a lso b e p e rfo rm e n d b y m u litp le b ra ss p la y e rs if g re a t c a re is ta k e n to e n su re a p ro p e r b a la n c e o f p arts. B ro w n, M ic h a e l R. "T h e B an d M u sic o f W illia m S c h u m a n : A S tu d y o f F o rm, C o n te n t an d S ty le." U n p u b lis h e d E d D d isse rta tio n, U n iv e rs ity o f G e o rg ia, G le a so n, H a ro ld, a n d W a rre n B e c k e r. "W illia m S c h u m a n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev. 1981), H all, D. "A B io -d is c o g ra p h y o f W illia m S ch u m a n," O v a tio n, V F 7 ( ), 4, a n d V I/8, 8. H y m e l, M a ry J. "A C o m p a ra tiv e A n a ly sis o f T h re e W o rk s fo r B a n d b y W illia m S ch u m an." U n p u b lish e d M M E d th e sis, L a m a r U n iv e rsity, M ille r, K a rl F. "W illiam S ch u m an : ," A m e r ic a n R e c o r d G u id e, L V /4 (Ju ly /A u g u st, 1992), P e te rsen, B a rb a ra. W illia m S c h u m a n. (N ew Y o rk : B ro a d c a s t M u sic, In c., ). R h o d e s, S te p h e n L. "A C o m p a ra tiv e A n a ly sis o f th e B an d M u sic o f W illia m S chum an." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f N o rth e rn C o lo ra d o, R o u se, C h risto p h e r. W illia m S h u m a n : D o c u m e n ta r y. (B ry n M a w r, P e n n s y lv a n ia : T h e o d o re P re sse r, 1980). S la tk in, L e o n a rd. "W illiam S c h u m a n : A n A p p re c ia tio n," S y m p h o n y, X L III/3 (M a y /Ju n e, 1992),

301 2 9 2 S electiv e D isco g rap h y : n o n e av ailab le The Young D ead Soldiers: Lamentation f o r soprano, French horn, eight woodwinds and nine strings P rem iere: A p ril 6, R o sa lin d R e e s, so p ra n o E d w a rd C. T h a y e r, F re n c h h o rn N a tio n a l S y m p h o n y O rc h estra A n ta l D o ra ti, c o n d u cto r W a s h in g to n, D.C. In stru m en tatio n : S, h n ; 0.2, e h. 2, b c l. 2./ ; d b ; [O.O.4.4.] P u b lish er/d ate: M e rio n M u sic /T h e o d o re P resse r, 1976 ( ) A v ailability: S co re: rental fu ll, tra n sp o se d L ev el o f difficulty : G ra d e 6 /5 + D uration: c. 1 8 '0 0 C o m m issio n : P ro g ra m N o te: P erfo rm a n ce C o m m entary : N a tio n a l S y m p h o n y O rch estra n o n e T h e w o rk b eg in s w ith a q u ie t e x te n d e d c a n o n ic d u e t a t th e o c ta v e fo r th e tw o so lo ists, w h e re th e s o p ra n o sin g s a ly ric a l m e lo d y o n "ah" a n d is fo llo w e d b y th e h o rn (p la c ed n e x t to th e sin g e r). A n ab ru p t, sev e n p itc h tig h tly -v o ic e d c h o rd fro m th e w in d s an d strin g s th e n in tro d u c e s th e e n tra n c e o f th e actu al te x t (a p o em b y A rc h ib a ld M acl e ish ). T h e sin g e r is o fte n d o u b le d an o c ta v e lo w e r b y th e h o rn. L o n g h e ld, q u ie t c h o rd s, co m p a c t in v o ic in g a n d sh a p e d d y n a m ic ally, c o n tin u e to serv e as su p p o rt to th e m e lo d y. A n u n a c c o m p a n ie d d u e t fo r th e so lo ists sw e e p s th e w o rk to its c lim a x, w h e re th e e n se m b le p la y s trick y u n iso n rh y th m ic p a tte rn s w h ic h re q u ire su b d iv isio n d o w n to th e 6 4 th n o te. ' T h e w o rk th en c alm s b e fo re re so lv in g all h a rm o n ic te n sio n w ith a tra n slu c e n t E m a jo r c h o rd in d ie c lo sin g b ars. T h is is a p o w e rfu l, m o v in g settin g o f an e m o tio n a lly c h a rg e d p o em. T h e w in d an d strin g w ritin g is la rg e ly h o m o p h o n ic, fe a tu rin g c lo se ly v o ic e d h a rm o n ie s. T h e e n se m b le c h alle n g e

302 293 S ele c tiv e B ib lio g raphy: o f th is p ie c e is o n e o f b lend, b a la n c e a n d in to n a tio n w ith th e se c lo se ly k n it h arm o n ic stru c tu re s. T h e v e ry slo w te m p o (q u a rte r n o te e q u a ls 4 0 th ro u g h o u t) also in c re a ses th e te c h n ic a l d e m a n d s fo u n d in th e p iece. T h e E n g lish h o rn a n d b a ss c la rin e t p lay a b o v e the sta ff re g u la rly, w h ile th e re s t o f th e in stru m e n ts a re n o t terrib ly ch a lle n g e d in th e e x tre m e s o f th e ir ra n g e s. B ro w n, M ic h a e l R. "T h e B an d M u sic o f W illia m S c h u m a n : A S tu d y o f F o rm, C o n te n t and S ty le." U n p u b lish e d E d D d isse rta tio n, U n iv e rs ity o f G e o rg ia, G le a so n, H a ro ld, a n d W a rre n B e c k e r. "W illiam S c h u m a n," 2 0 th -C e n tu ry A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev. 1981), H all, D. "A B io -d is c o g ra p h y o f W illia m S ch u m a n," O v a tio n, V I/7 ( ), 4, a n d V I/8, 8. H y m e l, M a ry J. "A C o m p a ra tiv e A n a ly sis o f T h re e W o rk s fo r B an d b y W illia m S ch u m a n." U n p u b lish e d M M E d th e sis, L a m a r U n iv e rsity, M ille r, K a rl F. "W illia m S c h u m a n : ," A m e r ic a n R e c o r d G u id e, L V /4 (Ju ly /A u g u s t, 1 992), P e te rsen, B a rb a ra. W illia m S c h u m a n. (N ew Y o rk : B ro a d c a s t M u sic, In c., ). R o u se, C h risto p h e r. W illia m S h u m a n : D o c u m e n ta r y. (B ry n M a w r, P e n n sy lv a n ia : T h e o d o re P re sse r, 1980). S la tk in, L e o n a rd. "W illia m S c h u m a n : A n A p p re c ia tio n," S y m p h o n y, X L III/3 (M a y /Ju n e, 1992), S electiv e D isco g rap h y : R o s a lin d R e e s s in g s W illia m S c h u m a n. R. R ees, s o p ra n o, R. G ra h m a n, F re n c h h o rn, W h ite M o u n ta in s F e stiv a l O rc h e s tra m e m b e rs, G. S c h w a rz, C o m p o se rs R e c o rd in g s, In c. C R I S D A m e r i c a n H y m n : V a r ia tio n s o n a n O r ig in a l M e lo d y P rem iere: M a rc h 5, 1980 U n ited S tates M arin e B an d Jo h n P a y n te r, c o n d u c to r A m e ric a n B an d m aste rs A sso ciatio n C o n v en tio n W a s h in g to n, D.C.

303 2 9 4 In stru m e n ta tio n : c o n c e rt b an d n o a cl, trb 3 is b trb P u b lish er/d ate: M e rio n M u sic /T h e o d o re P resse r, 1981 ( ) A vailability: S core: in p rin t fu ll, tra n s p o se d c o n d e n s e d, s c o re in C L ev el o f d ifficulty: G ra d e 5 + D u ration: c. 9 '0 0 C o m m issio n : P ro g ra m N ote: P e rfo rm a n ce C o m m entary : C o m m issio n e d b y the A m e ric an B a n d m a ste rs A sso ciatio n an d th e U n ite d S ta te s A ir F o rce B a n d in c lu d e d in sco re S c h u m a n tu rn e d to an o rig in al h y m n h e w ro te in 1957, T he L o r d H a s a C h ild, fo r h is b asic th e m a tic m a te ria l fo r th is p ie c e. S tru c tu ra lly, th e w o rk is a m o d ifie d th e m e an d v a ria tio n s, a n d th e co m p o sitio n a l te c h n iq u e s e m p lo y e d are re m in is c e n t o f h is e a rlie r w o rk, C h e ste r. S c h u m a n also u sed th is s a m e h y m n w ith in a w o rk fo r b ra ss q u in te t and o n e fo r o rc h e stra w h ic h h e w a s c o m p o sin g aro u n d th e sam e tim e. It w o u ld b e in te re stin g to c o m p a re th e th e se th re e w o rk s in a sep a ra te stu d y. S e lectiv e B ib lio g rap h y : T h e w o rk c o n ta in s all o f S c h u m a n 's "th u m b p rin ts," in c lu d in g th e u se o f p a ra lle l tria d s o v e r a v ig o ro u s b a ss lin e, d isso n a n t m elo d ic lin es a c c o m p a n ie d b y q u ic k c o n tra p u n ta l fig u re s, p y ra m id e ffe c ts to b u ild u p h a rm o n ic stru c tu re s, a n d rapid rh y th m ic e x c h a n g e s w ith o ff-b e a t a c c e n ts b e tw een in stru m e n ta l sectio n s. A ten m e a su re in tro d u c tio n le a d s to th e first s ta te m e n t o f th e h y m n tu n e b y s o lo c o m e t. A fast, w a ltz -lik e sectio n fe a tu re s th e c la rin e t, first c o m e t an d g lo c k e n sp ie l. T h e w o rk en d s q u ie tly w ith a re tu rn o f th e in tro d u cto ry m aterial. T h e a n aly sis artic le b y M ich ael B ro w n c ite d b e lo w w o u ld be h e lp fu l in stu d y in g th e w o rk. B ro w n, M ic h a e l R. "T h e B an d M u sic o f W illia m S c h u m a n : A S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d E d D d isse rta tio n, U n iv e rs ity o f G e o rg ia, 1989,

304 295. "A n aly sis: 'A m e ric a n H y m n : V a ria tio n s o n an O rig in a l M elo d y ' b y W illia m S ch u m a n," J o u rn a l o f B a n d R e s e a r c h, X X V II/2 (S p rin g, ), G le a s o n, H a ro ld, a n d W a rre n B e c k e r. "W illiam S c h u m a n," 2 0 th -C e n tu ry A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev. 1981), H a ll, D. "A B io -d is c o g ra p h y o f W illia m S ch u m a n," O v a tio n, W ill ( ), 4, a n d V I/8, 8. H y m e l, M a ry J. "A C o m p a ra tiv e A n a ly sis o f T h re e W o rk s fo r B a n d b y W illia m S ch u m an." U n p u b lis h e d M M E d th e sis, L a m a r U n iv e rsity, M ille r, K arl F. "W illia m S c h u m a n : ," A m e r ic a n R e c o r d G u id e, L V /4 (Ju ly /A u g u s t, 1992), P e te rsen, B a rb a ra. W illia m S c h u m a n. (N ew Y o rk : B ro a d c a s t M u sic, In c., ). R h o d es, S te p h e n L. "A C o m p a ra tiv e A n a ly sis o f th e B a n d M u sic o f W illia m S chum an." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f N o rth e rn C o lo ra d o, R o u se, C h risto p h e r. W illia m S h u m a n : D o c u m e n ta ry. (B ry n M a w r, P e n n sy lv a n ia : T h e o d o re P re sse r, 1980). S la tk in, L e o n a rd. "W illia m S c h u m a n : A n A p p re c ia tio n," S y m p h o n y, X L III/3 (M a y /Ju n e, ), S electiv e D isco g rap h y : A m e r ic a n H y m n. S t. L o u is S y m p h o n y, L. S la tk in. E le k tra N o n e su c h [o rch e stra l v ersio n ] E m b lem s. U n ite d S ta te s A ir F o rc e A ir C o m b a t C o m m a n d H e rita g e o f A m e ric a B a n d, L. G ra h a m, Joseph Schw antner a n d th e m o u n t a i n s r is in g n o w h e r e P rem iere: F e b ru a ry 2 8, 1977 E astm an W in d E n se m b le D o n a ld H u n sb e rg e r, c o n d u c to r U n iv e rsity o f R o c h e ste r E a stm a n S c h o o l o f M u sic R o c h e ste r, N e w Y o rk

305 296 In stru m e n ta tio n : p n o (a m p ); 6 (4 p ic ).4 (2 e h ) ; d b ; p (6 ) P u b lish er/d ate: H e lic o n M u sic /E u ro p e a n A m e ric an, 1977 (3 7 5 ) A vailability: in p rin t S co re: fu ll, s c o re in C L ev el o f difficu lty : G ra d e 6/6 D uration: C o m m issio n : P ro g ra m N o te : P e rfo rm a n c e C o m m en tary : c. ll'o O E a stm a n S c h o o l o f M u sic W in d E n se m b le D o n a ld H u n sb e rg e r, c o n d u c to r in c lu d e d in sco re C o n sid e re d b y m a n y to be o n e o f th e la n d m a rk w in d w o rk s o f th is c e n tu ry, a n d th e m o u n ta in s risin g n o w h e r e p re sen ts tech n ical a n d m u sic al ch allen g es w h ic h, at th e tim e o f its c o m p o sitio n, w e re o n th e c u ttin g e d g e o f w in d w ritin g. A g re a t a m o u n t o f p re p a ra tio n b y th e c o n d u c to r is m a n d a to ry, as th is is a w o rk w h ic h n eed s c o n fid e n c e a n d se c u rity e m a n a tin g fro m th e p o d iu m as few o th e r in th e re p e rto ire do. T h e w o rk, b a se d u p o n a p o em b y C a ro l A d le r, is in e le v e n sectio n s w h ic h g ro u p to g e th e r in to a th re e p a rt la rg e r fo rm A B A '. It is a to n a l w o rk b a se d u p o n a p itc h -s e t w h ic h p ro v id e s th e B a eo lian m o d a l scale. O c ta to n ic scale stru c tu re s are also utilized. S ix m o tiv e s, all s ta te d in th e in tro d u ctio n, g e n erate m u ch o f th e m a te ria ls w h ic h g iv e th e w o rk c o h e sio n. T h e analy se s b y F o lio, L o c k e a n d R e n sh a w cited b e lo w c o v e r all o f this in g re a t d e ta il, as w e ll as o ffer h e lp fu l p e rfo rm a n c e su g g estio n s. T h is p iece e m p lo y s a w id e sp ectru m o f e x p re ssio n w h ic h in v o lv e s g re a t co n trast: c h am b er-lik e m o m e n ts c o n tra st tu tti d e clam a tio n s; in tim ate, q u ie t m u sic c o n tra sts d ra m a tic even ts o f in c re d ib le stre n g th an d p resen ce; a n d rh y th m ic a lly sim p le m u sic, o ften la c k in g a sen se o f p u lse, c o n tra sts h ig h ly o rg a n iz ed, in tric a te rh y th m ic passag es. T h e p rin cip al c h allen g e s o f th e w o rk in c lu d e its in c re d ib le rh y th m ic co m p le x ity, m elo d ic w ritin g in v o lv in g larg e, o ften a w k w a rd in te rv a ls a t ra p id tem p i, h ig h te ssitu ra p la y in g in the b ra ss (all h o rn s "rip" to h ig h C a t o n e c lim a c tic m o m e n t), a n d th e hig h le v e l o f m u sic ian sh ip n e e d e d to a b so rb an d re c re a te th e e x p re ssiv e co n te n t o f th e w o rk. B a la n c e is a c o n c e rn th ro u g h o u t th e p iece, e sp e c ia lly in th e sectio n s o f sh a re d m o n o d y. T h e so lo p a rt fo r a m p lifie d p ia n o is v e ry

306 297 S e lectiv e B ib lio g rap h y : d e m a n d in g and re q u ire s a m u sic ian c o m fo rta b le w ith c o n te m p o ra ry m u sic tren d s. M a n y p e rfo rm e rs are a sk e d to sin g as a "celestial ch o ir" (m en m a y h a v e to u se fa ls e tto v o ic e ) a n d /o r a c c u ra te ly w h istle. T h e lo g istic a l n ig h tm a re o f a m a ssin g th e re q u ire d 4 6 p e rc u ssio n in stru m e n ts is also a m a jo r c o n c e rn. T h e s e in c lu d e e le v e n to m -to m s, ten s u sp e n d e d c y m b a ls, six tria n g le s, tw o v ib ra p h o n e s, tw o g lo c k e n sp ie ls, tw o x y lo p h o n e s and th re e b a ss d ru m s. T w o d iffe re n t s iz e d ta m ta m s and tw o d iffe re n t sized w a te r g o n g s a re a lso n e e d e d. It is re c o m m e n d e d th a t th e p e rc u ssio n sectio n s u rro u n d th e e n se m b le a lo n g th e sid e s and acro ss th e b ack. T h e sev e n g la ss c ry sta ls c an b e p la y e d b y u n a ssig n e d m e m b e rs o f the c la rin e t a n d s a x o p h o n e sectio n s. T h e n o ta tio n e n c o u n te re d b y th e p e rfo rm e rs p re sen ts y e t a n o th e r series o f c h a lle n g e s. A lth o u g h b e a u tifu lly e n g ra v e d, th e m u sic is d iffic u lt to read a t first. S c h w a n tn e r c h o se to e m p lo y tim e sig n atu re s w h ich p la c e a n u m b e r o v e r a n o te (sim ila r to O rff), fo r e x a m p le 4 /p \ w h ic h c o u ld h a v e also b een w ritten as 12/16 tim e. H e a lso u tiliz e s m any c o n te m p o ra ry n o ta tio n a l d ev ices to c o n tro l a leato ric a n d in d e te rm in a te m o m e n ts, tim e-fram ed m u sic, rh y th m ic d eliv ery, a n d duratio n. A d etailed sco re n o te e x p la in s th e n o ta tio n. T h is is a w o rk w h ic h p la c es e x tre m e ly h ig h d e m a n d s o n all in v o lv e d. B rig g s, Jeffre y. "T h e R e c e n t M u sic o f Jo se p h S c h w a n tn e r: U n iq u e an d E ssen tia l E lem e n ts." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f Illin o is at U rb a n a -C h a m p a ig n, C h u te, Jam e s E. "T he R e e m e rg e n c e o f T o n a lity in C o n te m p o ra ry M u sic as S h o w n in th e W o rk s o f D a v id D e l T red ici, J o se p h S c h w a n tn e r and Jo h n A d am s." U n p u b lis h e d D M A d isse rta tio n, U n iv e rs ity o f C in c in n a ti, F o lio, C y n th ia. "A n A n a ly sis and C o m p a riso n o f F o u r C o m p o sitio n s b y S c h w a n tn e r: A n d th e M o u n ta in s R isin g N o w h e r e ; W ild A n g e ls o f th e O p e n H ills ; A fte r to n e s o f In fin ity, S p a rro w s." U n p u b lis h e d P h D d isse rta tio n, U n iv e rsity o f R o c h e ste r, K a ste n d ie c k, M. "Jo se p h S c h w a n tn e r P ro file," B M I: T h e M a n y W o r ld s o f M u s ic, 1979, no. 2,

307 2 9 8 L o c k e, Jo h n R. "A P e rfo rm a n c e A n a ly sis o f J o se p h S c h w a n tn e r's a n d the m o u n ta in s risin g n o w h e r e," W in d s Q u a rterly, (su m m e r, ), , (fall, ), O 'N e a l, T h o m a s J. "T im b re as a C o m p o sitio n a l D e v ic e in S e le c ted B a n d R e p e ro itre S in c e 1950." U n p u b lis h e d P h D d is se rta tio n, U n iv e rsity o f A riz o n a, R e n s h a w, Je ffre y. " S c h w a n tn e r's F irst W o rk fo r W in d E n se m b le," T h e In s tr u m e n ta list, X L V /6 (J a n u a ry, ), , 39.. " S c h w a n tn e r o n C o m p o sitio n," T h e In s tr u m e n ta list, X L V /1 0 (M a y, ), S c h w a n tn e r, Jo se p h, a n d Jeffre y R e n sh a w. " A n d th e M o u n ta in s R is in g N o w h e r e, P a th w a y to P e rfo rm a n c e." U n p u b lis h e d p a p e r p re s e n te d a t th e 4 4 th A n n u a l M id w e st In te rn a tio n a l B a n d a n d O rc h e stra C lin ic, C h ic a g o, Illin o is, D e c e m b e r 1 9, S te a m s, D. P. "Jo se p h S c h w a n tn e r," H ig h H id e lity /M u s ic a l A m e r ic a, X X I X /12 (D e c e m b e r, ), 6. S electiv e D isco g rap h y : T he E a stm a n W in d E n sem b le - C o llege B a n d D irecto rs N a tio n a l A sso c ia tio n 1 9 th N a tio n a l C o n feren ce. E a stm a n W in d E n sem b le, D. H u n sb e rg e r, C re s t R e c o rd s C B D N A H a n so n, S c h w a n tn e r, C o p la n d. E a s tm a n W in d E n s e m b le, D. H u n sb e rg e r, M e rc u ry G o ld e n Im p o rts S R I L iv e in O sa ka. E a stm a n W in d E n se m b le, D. H u n sb e rg e r, S o n y C la ssic a l S K F r o m A D a r k M ille n n i u m P rem iere: 1980 In stru m en tatio n : 3 (2 p ic ).2, e h. 3 (E b c l, 2 b c l).3./ ; 2 d b ; p n o (a m p ), cel; t, p (4 ) P u b lish er/d ate: H e lic o n M u sic /E u ro p e a n A m e ric an, 1981 (4 7 0 ) A vailability: in p rin t S core: fu ll, s c o re in C L ev el o f difficu lty : G ra d e 6-

308 2 9 9 D uration: c. 1 1 '0 0 C o m m issio n : P ro g ram N o te: P e rfo rm a n ce C o m m entary : M id -A m e ric an C o n fe re n ce B an d D ire c to rs A sso c ia tio n n o n e In c o m p o sin g th is p ie c e, S c h w a n tn e r tu rn e d to h is p o e m S a n c tu a ry fo r in sp ira tio n. B a s e d u p o n an o c ta to n ic scale, th is w o rk p re sen ts m a n y d e m a n d s, in c lu d in g th e u s e o f e x tre m e ra n g e s a n d d y n a m ic s, a n g u la r lin e s m a d e u p o f d iffic u lt in te rv a ls, ch an g in g m e tric a l stru c tu re s, ex o tic in stru m e n ta l c o m b in a tio n s, and th e w h istlin g and s in g in g o f sp ecific p itc h e s. It is a rh y th m ic a lly c o m p le x w o rk w h ic h re q u ire s e x a c tin g e n se m b le p re c isio n. S c h w a n tn e r's c h o ic e o f p re sen tin g h is m u sic w ith th e e ig h th n o te a n d d o tted e ig h th n o te as th e p u lse u n its u su a lly c a u se s a n o te -re a d in g c o n c e rn in th e first fe w reh earsals. W h ile a ll in tru m en tal p a rts a re c h a lle n g in g, th e p e rc u ssio n p a rts a re e sp e c ia lly d e m a n d in g. A w id e v a rie ty o f p e rc u ssio n in stru m e n ts a re re q u ire d, in c lu d in g tw o v ib ra p h o n e s. S e lectiv e B ib lio g raphy: T h e c o n d u c to r is fa c e d w ith m a n y b a la n c e p ro b le m s, e sp e c ia lly b e tw een th e p e rc u ssio n a n d w in d s. T h e c o n d u c to r also has th e re sp o n sib ility o f in stillin g in th e m u sic ia n s a sin g u la rity o f e x p re ssio n w ith in th is h ig h ly sectio n a liz e d w o rk, w h ic h m o re th a n lik e ly a sk s p la y e rs to e x p a n d th e ir m u sic a l h o riz o n s in n e w d irectio n s. T h is w o rk is less c h alle n g in g o v e ra ll th a n h is e a rlie r w o rk, a n d the m o u n ta in s risin g n o w h ere, and m a y p ro v e to b e th e b e tte r c h o ic e o f a le ss a d v an ced e n se m b le fo r its in itial e x p o su re to th e w in d m u sic o f S c h w a n tn er. T h e in te rp retiv e a n a ly sis b y R e n sh a w c ite d b e lo w p ro v id e s n u m e ro u s h e lp fu l in sig h ts w h e n p re p a rin g th e w o rk. B rig g s, Jeffre y. "T he R e c e n t M u sic o f Jo se p h S c h w a n tn e r: U n iq u e and E ssen tia l E lem ents." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f Illin o is a t U rb a n a -C h a m p a ig n, C h u te, Jam e s E. "T h e R e e m e rg e n c e o f T o n a lity in C o n te m p o ra ry M u sic as S h o w n in th e W o rk s o f D a v id D e l T re d ic i, J o se p h S c h w a n tn e r a n d Jo h n A d a m s." U n p u b lish e d D M A d isse rta tio n, U n iv e rs ity o f C in c in n a ti, F o lio, C y n th ia. "A n A n a ly sis a n d C o m p a riso n o f F o u r C o m p o sitio n s b y S c h w a n tn e r: A n d th e M o u n ta in s R isin g N o w h e r e ; W ild A n g e ls o f th e O p e n H ills; A fte r to n e s o f In fin ity ; S p a rro w s." U n p u b lis h e d P h D d isse rta tio n, U n iv e rsity o f R o c h e ste r, 1985.

309 3 0 0 K a ste n d ie c k, M. "Jo se p h S c h w a n tn e r P ro file," BM 1: T h e M a n y W o rld s o f M u s ic, , no. 2, R e n sh a w, J e ffre y. "Jo se p h S c h w a n tn e r's F r o m a D a r k M ille n n iu m," T he In str u m e n ta list, X L IV /2 (S e p te m b e r, ), , "S c h w a n tn e r on C o m p o sitio n," T h e In s tr u m e n ta list, X L V /1 0 (M a y, ), S te a rn s, D. P. "Jo se p h S c h w a n tn e r," H ig h H id e lity /M u s ic a l A m e r ic a, X X I X /12 (D e c e m b e r, ), 6. S electiv e D isco g rap h y : F ire w o rk s. S in fo n isc h e s Ju g e n d b la s o rc h e s te r B a d e n -W u rtte m b e rg, F. H a u sw irth, B e s te ll-n u m m e r M A S Im a g in a tio n & B e y o n d. U n iv e rsity o f N o rth e n C o lo ra d o W in d E n se m b le, E. C o rp o ro n, S o u n d m a rk R B S C R. Ith a c a C o lleg e W in d E n sem b le. Ith a c a C o lle g e W in d E n se m b le, R. W in th e r, M a rk R e c o rd s M C B S Roger Sessions T h e T r ia l o f L u c u l l u s P rem iere: A p ril 18, 1947 U n iv e rsity o f C a lifo rn ia a t B e rk e le y R o g e r S e ssio n s, c o n d u c to r B e rk e le y, C a lifo rn ia In stru m entatio n : 3 5 s in g in g ro le s; 2.1 ( e h ).l, b cl. l(c b n )./ ; 2 db; p (2 ); p n o ; [ ]; th re e c h o ru s e s P u b lish er/d ate: E. B. M a rk s/t h e o d o re P re sse r, 1947 A v ailability: S core: rental fu ll, tra n sp o se d L evel o f difficu lty : G ra d e 6 + /6 + D uration: c. 7 2 '0 0 C o m m issio n : P ro g ram N o te: U n iv e rsity o f C alifo rn ia at B erk eley D ra m a D e p a rtm e n t H e n ry S c h n itz le r, h ead n o n e

310 301 P e rfo rm a n ce C o m m en tary : A lth o u g h c o n sid e re d b y m a n y to b e S e ssio n s' m o s t su c c e ssfu l d ra m a tic w o rk, th is o n e a c t o p e ra, w ith a lib retto b y B e rto lt B re ch t, h as re c eiv e d o n ly th re e p e rfo rm a n c e s sin c e its p re m ie re. W ritte n fo r sta g e o r ra d io p e rfo rm an c e, it c o n ta in s an in tro d u c tio n and th irteen scen es. T h e p ie c e in v o lv e s a c a st o f 35 c h aracte rs a n d u tiliz e s th re e ch o ru ses. T h e p lo t in v o lv e s th e d eceased R o m a n g e n eral L u c u llu s sta n d in g tria l in th e C o u rt o f Ju stic e o f th e D e a d fo r h is life's activ ities. S electiv e B ib lio g raphy: T h e w o rk is c o n s is te n t w ith S e s sio n s ' fin e c ra ftsm a n sh ip a n d c o m p le x m u sic a l la n g u a g e. H e e m p lo y s ten se, c h ro m a tic h arm o n ic stru ctu res. T h e rh y th m ic d e liv e ry is v a rie d, w ith m ix e d m e te r b e in g th e n o rm, and th e m e lo d ic w ritin g is e x tre m e ly ch allen g in g a lth o u g h q u ite ly r ic a l. T h e p ie c e is d e m a n d in g on an a d v an ced le v e l on a ll fro n ts. A ll o f th e te m p o ra l c o n cern s co n tain ed in m o st o p eras a re certain ly fo u n d h ere. T h e w ritin g fo r th e o rc h e stra is le a n a n d taut, w ith relativ ely few m o m e n ts o f tu tti d e clam atio n. C o n tro l o f th e fu ll p itc h a n d d y n a m ic ra n g e o f e ach in s tru m e n t is re q u ire d. T h e strin g sectio n c an be a u g m e n ted b e y o n d th e n u m b e r o f p la y e rs liste d ab o v e. It is p re fe rra b le th a t th e strin g b a sse s e ith e r b e fiv e -strin g e d in stru m e n ts o r h a v e lo w C exte n sio n s. B o re n tz, B en jam in. "C u rre n t C h ro n ic le," M u s ic a l Q u a rterly, X L V II (Ju ly, ), O lm ste a d, A n d re a. C o n v e rsa tio n s w ith R o g e r S e ssio n s. (B o sto n : N o rth e a ste rn U n iv e rs ity P re ss, 1987).. R o g e r S e ssio n s a n d H is M u sic. (A n n A rb o r, M ic h ig a n : U M I R e s e a c h P re ss, 1985), O lm ste a d, A n d re a, ed. T he C o rresp o n d e n c e o f R o g e r S e ssio n s. (B o sto n : N o rth e a ste rn U n iv e rs ity P re ss, 1992). S electiv e D isco g rap h y : n o n e availab le

311 3 0 2 Leo Sowerby Com e's Autumn Time P rem iere: b an d v e rsio n : [a rra n g e d b y S o w e rb y fo r b a n d in 1918] o rc h e stra v ersio n : J a n u a ry 18, 1917 o rg a n v ersio n : 1916 In stru m en tatio n : c o n c e rt b and P u b lish er/d ate: L e o S o w e rb y F o u n d a tio n /T h e o d o re P re sse r, 1994 A vailability: S co re: ren tal fu ll, tra n sp o se d S o w e rb y m e re ly a n n o ta ted a n d re a ssig n e d p a rts on th e p rin te d o rc h e stral sco re L e v e l o f difficulty : G ra d e 5 D uration: c. 5 '3 0 C o m m issio n : E ric D e L a m a rte r (o rg an versio n ) P ro g ram N o te: P e rfo rm a n ce C o m m entary : n o n e C o m e 's A u tu m n T im e w a s S o w e rb y 's m o s t p o p u la r and w e ll-k n o w n w o rk fo r o rc h e stra e a rly in h is c areer. I t w a s c h a m p io n e d b y F re d e ric k S to c k a n d p e rfo rm e d b y m a jo r o rc h e stra s acro ss th e n atio n. It is w ritte n a fte r a p o e m o f th e sam e title b y B liss C arm a n. S o w e rb y tra n scrib e d th e p iece fo r ban d w h ile h e w a s a b a n d m a ste r d u rin g W o rld W a r I. J o h n P h ilip S o u sa tra n scrib e d th e w o rk fo r h is b a n d in S o u sa 's tra n scrip tio n is u n p u b lis h e d a n d u n a v a ila b le at th is tim e. A n e n e rg e tic th em e is stated at th e o n set o f th is o v ertu re, fo llo w e d by a q u ie t se c o n d th e m e w h ic h h o v e rs o v e r g e n tly ro c k in g h a rm o n ic su p p o rt. T h is s e c o n d sectio n fe a tu re s b rie f so lo s fo r th e flu te, o b o e, c la rin e t a n d b a ss c la rin e t, as w ell as o c c a sio n a l stro n g o u tb u rs ts fro m th e b ra ss, w h ic h p u n c tu a te the p a sto ra le m o o d. T h e w o rk re lie s h e a v ily on m o tiv ic d e v elo p m en t o f m elo d ic fra g m e n ts ta k e n fro m th e

312 3 0 3 S ele c tiv e B ib lio g rap h y : o p e n in g th e m e. It is to n a l (B ^ m a jo r), a lth o u g h th e h a rm o n ie s are a t tim e s v ery ch ro m atic. H in d s, W a y n e B. "L eo S o w e rb y : A B io g ra p h y an d D e sc rip tiv e L istin g o f A n th e m s." U n p u b lis h e d E d D d isse rta tio n, P e a b o d y C o lle g e fo r T e a c h e rs o f V a n d e rb ilt U n iv e rsity, H u n tin g to n, R o n a ld M. "A S tu d y o f th e M u sic a l C o n trib u tio n s o f L e o S o w e rb y." U n p u b lis h e d M M th e sis, U n iv e rs ity o f S o u th e rn C a lifo rn ia, Jo n e s, R a y m o n d D. "L eo S o w e rb y : H is L ife and H is C h o ra l M u sic." U n p u b lis h e d P h D d isse rta tio n, T h e U n iv e rs ity o f Io w a, T h e M u s ic o f L e o S o w e rb y. (R o c h e ste r, N e w Y o rk : T h e L e o S o w e rb y F o u n d a tio n, 1995). T u th ill, B u rn e t. "L eo S o w e rb y," M u s ic a l Q u a rte rly, X X IV (Ju ly, 1938), S e lectiv e D isco g rap h y : M u s ic o f L e o S o w e rb y. N a tio n a l S y m p h o n y O rc h e s tra, M. R o stro p o v ic h, L e o S o w e rb y F o u n d a tio n L S F 5A. [o rc h e stra v ersio n ] Tramping Tune, descriptive o f the political rally times, off-key bands, street-corner harangues, and stirring come along spirit P rem iere: In stru m entatio n : no reco rd o f p re m ie re p e rfo rm an c e c o m p le te d D e c e m b e r 8, c o n c e rt b an d P u b lish er/d ate: T h e L eo S o w e rb y S o c ie ty /T h e o d o re P re sse r, 1994 A v ailability: S co re: rental fu ll, tra n s p o se d L ev el o f difficulty: G ra d e 4 D uration: c. 2 '3 0 C o m m issio n : n o n e T h e sco re b e ars th e d e d ic atio n "F o r m y g o o d frie n d C ap t. Jo h n P a u l M o n tg o m e ry."

313 3 0 4 P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : in c lu d e d in sco re T h is w o rk w a s o rig in a lly w ritten fo r p ia n o and s trin g s u n d e r th e title M a r c h in g S o n g. It w a s s u b se q u e n tly sc o re d fo r b a n d (o r " o rc h e s tra o f w o o d -w in d, b ra ss a n d p e rc u ssio n " ) b y S o w e rb y th ro u g h o u t the e n tire e v e n in g b e fo re h e jo in e d th e serv ic e d u rin g W o rld W a r I. T h e s c o re is d a te d "D ec. 8, a.m." an d b e a rs th e a n n o ta tio n "E n liste d U.S. A rm y, 9 a.m. D e c. 8, 1917." S o w e rb y d id th e tra n scrip tio n as a p ra c tic e e x e rc ise, hav in g h o p e s o f b e in g a ssig n e d to a m ilitary b an d. In 1916, a t th e im p re ssio n a b le ag e o f tw e n ty -o n e, S o w e rb y to o k p ia n o le sso n s fro m P e rc y G ra in g e r. T h is b rie f e x p o su re m a y e x p la in so m e o f th e p e c u lia ritie s fo u n d in th is sco re. M u sic a l in d ic a tio n s su ch as th e o p e n in g in stru ctio n, "P o u n d in g ly ; b u t n o t fast. W h o le -so u le d ly," le t a lo n e th e title, all p o in t to th e p ro b a b le stro n g im p re ssio n G ra in g e r h ad o n th e y o u n g c o m p o se r. T h e m u s ic itse lf, fu ll o f o d d h a rm o n ic tw ists and "to n g u e -in -c h e ek " m o m e n ts, also su g g e sts a s tro n g in flu en c e. S e lectiv e B ib lio g raphy: T h e m a rc h is in 4 /4 a n d in th e k e y o f F m a jo r. A stu rd y, sy n co p a te d, d ia to n ic tu n e resid es o v e r a c h ro m a tic b a ss lin e a n d h a rm o n y. T h e a c c o m p a n im e n t is v a rie d e a c h tim e th e tu n e is stated. P e rfo rm e rs w ill e n c o u n te r m a n y a ccid e n ta ls, in c lu d in g d o u b le flats. T h e u p p e r w o o d w in d p a rts c o n ta in ra p id, sw e e p in g sc a le s o v e r a s in g le b e a t, as w e ll as artic u la te d six te e n th n o te sex tu p lets o n a sin g le pitch. T h e first c o m e t a n d first tro m b o n e a re re q u ire d to p la y slu rre d in te rv a ls c o v e rin g n e arly tw o a n d a h a lf o c ta v es. T h e seco n d c la rin e t is w ritten to its h ig h F. H in d s, W a y n e B. "L eo S o w e rb y : A B io g ra p h y a n d D e sc rip tiv e L istin g o f A n th e m s." U n p u b lish e d E d D d isse rta tio n, P e a b o d y C o lle g e fo r T e a c h e rs o f V a n d e rb ilt U n iv e rsity, H u n tin g to n, R o n ald M. "A S tu d y o f th e M u sic a l C o n trib u tio n s o f L eo S o w e rb y." U n p u b lis h e d M M th e sis, U n iv e rs ity o f S o u th e rn C a lifo rn ia, Jo n e s, R a y m o n d D. "L e o S o w e rb y : H is L ife a n d H is C h o ra l M u sic." U n p u b lis h e d P h D d is se rta tio n, T h e U n iv e rs ity o f Io w a, T h e M u s ic o f L e o S o w e rb y. (R o c h e ste r, N e w Y o rk : T h e L e o S o w e rb y F o u n d a tio n, 1995).

314 305 K ie rm a n, M a rilo is. "T h e C o m p o sitio n s o f L e o S o w e rb y fo r O rg a n S o lo." U n p u b lis h e d M A th e sis, A m e ric a n U n iv e rsity, T u th ill, B u rn e t. "L eo S o w e rb y," M u s ic a l Q u a rte r ly, X X IV (Ju ly, 1938), S electiv e D isco g rap h y : n o n e availab le untitled (F ield O verture) P rem iere: 1918 C a m p d e S o u g e, F ra n c e In stru m e n ta tio n : c o n c e rt b an d p ic and fl in D ^, so lo a n d first c l, so lo a n d 1st B*3 c o r, 4 ahn in E ^, E E ^ and BB^3 tu P u b lish er/d ate: L e o S o w e rb y F o u n d a tio n /T h e o d o re P re sse r, 1995 A vailability: S core: rental fu ll, tra n sp o se d L ev el o f difficulty : G ra d e 3 D uration: c. 3 '0 0 C o m m issio n : P ro g ram N o te: P e rfo rm a n ce C o m m en tary : in fo rm atio n u n av ailab le n o n e T h is is a w o rk fo r c o n c e rt b and w ritte n b y S o w e rb y w h ile h e w a s an arm y b a n d m a ste r in F ra n c e d u rin g W o rld W a r I. T h e s c o re b e ars th e a n n o ta tio n " " N o v e m b e r 2 1, L e C o u rn e a u, G iro n d e, F ran ce," w h ic h w a s th e fin a l s ta tio n fo r S o w e rb y 's b a n d d u rin g th e w ar. It h a s b e e n g iv e n th e title F ie ld O v ertu re b y th e L e o S o w e rb y F o u n d a tio n, w h ic h is so m e w h a t o f a m isn o m e r, as th e w o rk is a ra th e r sta n d a rd 2/2 m a rc h in E ^ m ajo r. T h is u n k n o w n w o rk is w e ll c ra fte d and d e se rv e s a serio u s lo o k. A lth o u g h it c o n ta in s n o g re a t s u rp rise s, it d o es p o sse ss c a tc h y, so m e w h a t sy n c o p a te d tu n e s and in te re stin g c o u n te rp o in t. It fe a tu re s the sn a re d ru m in a s o lo d u rin g th e in tro d u c tio n to th e trio sectio n. A v e ry a c tiv e w o o d w in d o b lig a to d e c o ra te s th e seco n d strain. T h e rh y th m s are

315 3 0 6 m o d e ra te ly c h a lle n g in g th ro u g h o u t th e m a rc h, w ith e ig h th n o te q u in tu p le ts a n d sex tu p lets fo u n d in th e u p p e r w o o d w in d p a rts. T h e so lo c o m e t a n d first tro m b o n e p la y in th e ir u p p e r te ssitu ra a t th e e n d o f th e b re a k stra in. T h e re are few d y n a m ic s an d a rtic u la tio n s in d ic a te d in th e sco re. S ele c tiv e B ib lio g raphy: H in d s, W a y n e B. "L eo S o w e rb y : A B io g ra p h y and D e sc rip tiv e L istin g o f A n th e m s." U n p u b lish e d E d D d isse rta tio n, P e a b o d y C o lle g e fo r T e a c h e rs o f V a n d e rb ilt U n iv e rsity, H u n tin g to n, R o n a ld M. "A S tu d y o f th e M u sic a l C o n trib u tio n s o f L e o S o w e rb y." U n p u b lis h e d M M th esis, U n iv e rs ity o f S o u th e rn C a lifo rn ia, Jo n e s, R a y m o n d D. "L eo S o w e rb y : H is L ife and H is C h o ra l M u sic." U n p u b lis h e d P h D d is se rta tio n, T h e U n iv e rs ity o f Io w a, T h e M u s ic o f L e o S o w e rb y. (R o c h e s te r, N e w Y o rk : T h e L e o S o w e rb y F o u n d a tio n, 1995). T u th ill, B u m e t. "L eo S o w e rb y," M u s ic a l Q u a rte r ly, X X IV (Ju ly, 1938), S e lectiv e D isco g rap h y : n o n e availab le Three-Three-Two, F.A. P rem iere: 1919 C a m p d e S o u g e, F ra n c e In stru m en tatio n : c o n c e rt b an d p ic a n d fl in D ^, so lo a n d first B ^ cl, so lo a n d first B ^ c o r, 4 ah n in P u b lish er/d ate: L e o S o w e rb y F o u n d a tio n /T h e o d o re P re sse r, 1995 A vailability: S core: rental fu ll, tra n sp o se d L evel o f difficu lty : G ra d e 3+ D uration: c. 4 '0 0

316 307 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m en tary : D e d icate d to th e o fficers and m en o f th e n d F ie ld A rtillery n o n e A w o rk fo r b a n d w ritte n sh o rtly a fte r W o rld W a r I, w h e n S o w e rb y w a s b a n d m a s te r o f th e n d F ie ld A rtille ry B an d. It w a s th e o ffical m a rc h fo r h is u n it, b u t w a s n e v e r p u b lish e d as sco re d fo r b an d. It w a s la te r p u b lis h e d, h o w e v e r, as sh e e t m u sic fo r p ia n o and v o ic e (M u sic P re ss o f C h ic a g o, ). S e lectiv e B ib lio g rap h y : W ritte n in A B B so n g fo rm, it is in m a rc h sty le in 2 /4 tim e, an d u tilizes th e ty p ic a l settin g o f a tu n e fu l m e lo d y o v e r an "o o m -p a h " a c c o m p a n im e n t. W ith sp irite d w o rd s b y C ap t. L o u is E. L e g n e r, th e w o rk h as a sim ila r d e liv e ry to th e m a n y p a trio tic p o p u la r tu n e s p ro d u c e d in th is era. It is in th e k e y o f E ^ m a jo r, a lth o u g h th e re are o c c a sio n a l h a rm o n ic tw ists w h ic h c o m e as su rp ris e s a n d d e m o n stra te S o w e rb y 's w it and m a stery o f c o n te m p o ra ry h a rm o n ic p ra c tic e. T h e u p p e r w o o d w in d s c o n trib u te a rath er a ctiv e c o u n te rp o in t th ro u g h o u t th e piece. T h e in stru m e n ta l ra n g e s are m o d e ra te fo r m o st o f th e p a rts, as are th e rh y th m s. T h e E ^ c la rin e t, h o w e v e r, p la y s its h ig h G re g u la rly. H in d s, W a y n e B. "L eo S o w e rb y : A B io g ra p h y and D e sc rip tiv e L istin g o f A n th e m s." U n p u b lish e d E d D d isse rta tio n, P e a b o d y C o lle g e fo r T e a c h e rs o f V a n d e rb ilt U n iv e rsity, H u n tin g to n, R o n a ld M. "A S tu d y o f th e M u sic a l C o n trib u tio n s o f L eo S o w e rb y." U n p u b lis h e d M M th e sis, U n iv e rsity o f S o u th e rn C a lifo rn ia, Jo n e s, R a y m o n d D. "L eo S o w e rb y : H is L ife a n d H is C h o ra l M u sic." U n p u b lis h e d P h D d isse rta tio n, T h e U n iv e rs ity o f Io w a, T h e M u s ic o f L e o S o w e rb y. (R o c h e s te r, N e w Y o rk : T h e L e o S o w e rb y F o u n d a tio n, 1995). T u th ill, B u rn e t. "L eo S o w e rb y," M u s ic a l Q u a rterly, X X IV (Ju ly, 1938), S electiv e D isco g rap h y : n o n e av ailab le

317 308 Recitative and Pilgrim's Chorus fo r the Pilgrim Tercentenary Pageant P rem iere: J u ly 2 0, 1921 G a llo S y m p h o n y B a n d C h a lm e rs C lifto n, c o n d u c to r P ly m o u th, M a ssa c h u se tts In stru m en tatio n : P u b lish er/d ate: A vailability: c o n c e rt b a n d ; S A T B choru s L eo S o w e rb y F o u n d a tio n /T h e o d o re P re sse r, n o date unav ailab le fu ll s c o re and set o f p a rts lost S core: c o n d e n se d, sco re in C (p ia n o /v o c a l s c o re ) L evel o f difficu lty : G ra d e 5 /4 D uration: c. 7 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : G e o rg e B a k e r, H a rv a rd U n iv e rsity fo r th e P ilg rim T e rc e n te n ary P a g e an t in fo rm atio n u n availab le S o w e rb y w ro te th is e n g a g in g m u s ic fo r c h o ru s a n d b a n d as h is c o n trib u tio n to th e P ilg rim T e rc e n te n a ry P a g e an t. T h e o p e n in g m u sic, in b ^ m in o r, fe a tu re s p a ra lle l sev e n th c h o rd s an d is m a rk e d "4 /4 V e ry S lo w ly." T h e w o rk a s a w h o le is q u ite c h ro m a tic in its h arm o n ic la n g u a g e, y e t stra ig h t ah ead rh y th m ically. T h e p iece p ro g resse s to a c lim a c tic c o n c lu sio n, m a r k e d ^, in B ^ m a jo r. A c o n te m p o ra ry re v ie w o f the p re m ie re p e rfo rm a n c e by H e n ry L e v in e (cited b elo w ) d e sc rib e s th e w o rk : T h e th ird a n d fin a l scen e o f th e e p iso d e d e p ic ts th e d e p artu re fro m D e lftsh av e n. T h e m e n w a lk u p a n d d o w n, a b so rb e d in th o u g h t; c h ild re n a p p e a r frig h tened, a n d th e w o m e n are so b b in g. A s lig h t d a w n s, th e c o n c e a le d c h o ir sin g s a p salm set to m u sic b y L e o S o w e rb y. T h o u g h u ltra -m o d e m in h a rm o n ic stru c tu re, th e m u sic su g g e sts u n m is ta k a b ly th e p re v a ilin g m o o d o f th e scene. R ic h, s o n o ro u s d isso n a n c e s, a n d b le n d in g s and ju x ta p o s itio n s o f in stru m e n ta l tim b e rs [sic] w ith sk illfu l realism p o rtra y th e su p p re ssed

318 309 S e lectiv e B ib lio g raphy: b u t p o ig n a n t g rie f a t d e p artu re. M r. S o w e rb y 's a c h ie v e m e n t in e x p re ssin g th e p sy c h ic m o o d s o f th e s o rro w -la d e n P ilg rim s in m u sic a l p h ra seo lo g y w a s o n o f th e h ig h lig h ts o f th e p e rfo rm an c e. A fte r a p ra y e r, th e c o n c e a le d c h o ir sin g s "T h e P ilg rim 's C h o ru s," th e v e rses o f w h ic h w e re w ritte n b y E d w in A rlin g to n R o b in so n, an d th e m u sic b y L e o S o w erb y. T h e m e lo d y is im p re ssiv e in its re lig io u s fe rv o r w ith o u t b e in g c o n v e n tio n a l. D e ft w o rk m a n sh ip and sen sitiv e n e ss o f in stru m e n ta tio n are a g ain d isclo sed. T h e to n al in tricacie s d id n o t d a u n t th e c h o ru s w h ic h sang th e m u sic a u th o ritativ ely. G iv e n th is ta n ta liz in g d e sc rip tio n o f th e w o rk, it is h o p e d b y th e a u th o r th a t th e s c o re an d s e t o f p a rts c a n b e lo cated. H in d s, W a y n e B. "L eo S o w e rb y : A B io g ra p h y and D e sc rip tiv e L istin g o f A n th e m s." U n p u b lish e d E d D d isse rta tio n, P e a b o d y C o lle g e fo r T e a c h e rs o f V a n d e rb ilt U n iv e rsity, H u n tin g to n, R o n ald M. "A S tu d y o f th e M u sical C o n trib u tio n s o f L e o S o w e rb y." U n p u b lis h e d M M th e sis, U n iv e rs ity o f S o u th e rn C a lifo rn ia, Jo n e s, R a y m o n d D. "L eo S o w e rb y : H is L ife and H is C h o ra l M u sic." U n p u b lis h e d P h D d isse rta tio n, T h e U n iv e rs ity o f Io w a, L e v in e, H enry. "G lo w in g M u sic b y T e n A m e ric an s V iv ifie s P a g e a n t a t P ly m o u th T e rc e n te n a ry o f P ilg rim L an d in g," M u s ic a l A m e r ic a, X X X IV (Ju ly 3 0, 1921), 1-2, 4. T h e M u s ic o f L e o S o w e rb y. (R o c h e s te r, N e w Y o rk : T h e L e o S o w e rb y F o u n d a tio n, 1995). T u th ill, B u rn e t. "L eo S o w e rb y," M u s ic a l Q u a rte rly, X X IV (Ju ly, 1938), S e lectiv e D isco g rap h y : n o n e av ailab le Am erican Rhapsody P rem iere: C o m p o se d in 1931 n o re c o rd o f first p e rfo rm a n c e

319 3 1 0 In stru m entatio n : c o n c e rt b and P u b lish er/d ate: L e o S o w e rb y F o u n d a tio n /T h e o d o re P re sse r, 1994 A v ailability: S co re: rental c o n d e n s e d, sco re in C L ev el o f difficu lty : G ra d e 5 + D uration: 11 '0 0 C o m m issio n : P ro g ram N o te: P erfo rm a n ce C o m m en tary : in fo rm atio n u n availab le in fo rm atio n u n availab le T h is w o rk w as p e rfo rm e d th re e tim e s in 1931 b y th e G o ld m a n B a n d an d, acco rd in g to th e L e o S o w e rb y F o u n d a tio n, w a s la st p e rfo rm e d a t G ra n t P a rk in C h ic a g o d u rin g th e seaso n. T h e fu ll s c o re b e a rs th e d e d ic a tio n "to E F G " [E d w in F ra n k o G o ld m a n ]. T h e w o rk o p e n s slo w ly w ith g re a t b re a d th in th e k e y o f E ^ m a jo r, e m b a rk in g o n a d ra m a tic m u sic al jo u rn e y c h a ra c te riz e d by m a n y m o o d s. It is a to n a l p ie c e w h ic h p o sse sse s a v e ry a ctiv e c h ro m a tic h a rm o n ic a n d m e lo d ic c o n te n t d o u b le fla ts ab o u n d th ro u g h o u t th e sco re. T h e re a re also o c casio n al m o m e n ts o f p o ly to n a lity. S ecu re in to n a tio n is th e re fo re o n e o f th e p rim a ry c h a lle n g e s o f th e w o rk. R h y th m ic a lly, th e p ie c e is also d em a n d in g. T h e a c c o m p a n im e n ta l m a te ria l is u su ally p re sen te d in a v ery s y n c o p a te d sty le. A sn a p p y m o tif o f a six te e n th fo llo w e d b y a d o tted e ig h th n o te o c cu rs freq u e n tly. T h e re a re sw e e p in g p ic k u p s b y th e u p p e r w o o d w in d s in to th e b e g in n in g s o f m any o f the th em atic statem en ts w h ich need to b e d eliv ered in a q u ic k te m p o an d w h ich e m p lo y u n u su a l sc a le c o n stru ctio n s. T h e re seem s to be an a lm o s t c o n sta n t rh y th m ic u n e a sin e ss as th e re s u lt o f su p e rim p o se d d u p le a n d trip le fig u res. T h e w o rk is rh a p so d ic a t tim e s in te rm s o f te m p o and th e c o n d u c to r w ill b e c h a lle n g e d w h e n n e g o tia tin g th e flu id n a tu re o f th e te m p o ch an g es. T h e se c o n d th e m e is in a fo lk so n g sty le a n d o u tlin e s m e lo d ic a lly v a rio u s sev e n th c h o rd s. T h e w o rk is m a rk e d b y m a n y p o w erfu l c lim actic m o m ents.

320 311 S e lectiv e B ib lio g rap h y : S o w e rb y w a s c o n c e rn e d w ith b a la n c e, in d ic a tin g a t o n e p o in t tw o p la y e rs p e r p a rt o n a p a ssag e fo r th e c la rin e ts, th en th re e p la y e rs a n d fin a lly fo u r p la y e rs p e r p art. H e also seem e d to h a v e b e e n in a h u rry p ro d u c in g th e c o n d e n sed sco re, as th ere are m issp e llin g s in so m e o f th e m u sic a l in d ic a tio n s. B e lse r, R o b e rt S. "O rig in a l W o rk s fo r C o n c e rt B a n d P re m ie re d o r C o m m is sio n e d b y E d w in F ra n k o G o ld m a n, R ic h a rd F ra n k o G o ld m a n, and th e G o ld m a n B an d " U n p u b lish e d D M A d is se rta tio n, T h e U n iv e rs ity o f Io w a, G o ld m a n, R ic h a rd F ran k o. T h e B a n d 's M u sic. (N e w Y o rk : P itm a n, ), 4 7. H in d s, W a y n e B. "L eo S o w e rb y : A B io g ra p h y and D e sc rip tiv e L istin g o f A n th e m s." U n p u b lish e d E d D d isse rta tio n, P e a b o d y C o lle g e fo r T e a c h e rs o f V a n d e rb ilt U n iv e rsity, H u n tin g to n, R o n a ld M. "A S tu d y o f th e M u sic a l C o n trib u tio n s o f L e o S o w e rb y." U n p u b lis h e d M M th e sis, U n iv e rs ity o f S o u th e rn C a lifo rn ia, Jo n e s, R a y m o n d D. "L eo S o w e rb y : H is L ife a n d H is C h o ra l M u sic." U n p u b lis h e d P h D d isse rta tio n, T h e U n iv e rs ity o f Io w a, L e ste r, N o el. "R ic h a rd F ran k o G o ld m a n and th e G o ld m a n B an d," J o u rn a l o f B a n d R e s e a r c h, X X I V / I (fall, ), T he M u s ic o f L e o S o w e rb y. (R o c h e ste r, N e w Y o rk : T h e L e o S o w e rb y F o u n d a tio n, 1995). T u th ill, B u m e t. "L eo S o w e rb y," M u s ic a l Q u a rte rly, X X IV (Ju ly, 1 938), S electiv e D isco g rap h y : n o n e availab le Spring O verture P rem iere: J u n e 17, 1942 G o ld m a n B an d E d w in F ra n k o G o ld m a n, c o n d u c to r N e w Y o rk, N e w Y o rk C o m p o se d in 1934 In stru m en tatio n : c o n c e rt b and

321 3 1 2 P u b lish er/d ate: L e o S o w e rb y F o u n d a tio n /T h e o d o re P re sse r, 1994 A vailability: S co re: u n av ailab le c o n d e n s e d, sco re in C L ev el o f d ifficulty: G ra d e 5 D uration: c. 9 '3 0 C o m m issio n : P ro g ra m N o te: P erfo rm a n ce C o m m entary : in fo rm a tio n u n availab le n o n e S p rin g O vertu re is a su b sta n tia l w o rk fo r b a n d w ritte n a t a tim e w h e n few m a jo r c o m p o se rs w e re tu rn in g th e ir a tte n tio n to th e m e d iu m. It is a to n al w o rk w h ic h fo llo w s stan d a rd o v e rtu re fo rm. A n in tro d u c tio n m a rk e d le n to m a e sto so p re sen ts stro n g, d ra m a tic m u sic w h ic h, a lth o u g h in m a jo r, is so m e w h a t h a rm o n ic a lly u n settle d fro m th e o p e n in g b ars. T h is p re p a re s th e a llegro g io c o so sta te m e n t o f th e first th e m e, w h ic h is te n m e a su re s in le n g th a n d m a rk e d b y d o tte d rh y th m s. A calm m id d le sectio n fe a tu re s a d iato n ic m e lo d y su p p o rte d w ith c h ro m a tic h a rm o n y, fre q u e n tly o v e r a p e d a l p o in t in th e b ass. T h e d e v e lo p m e n t sectio n p ro g e sse s th ro u g h a v a rie ty o f to n al cen ters on its w a y b a c k to th e re c a p itu latio n o f th e first th em e, p re sen tin g in to n a tio n a l c h a lle n g e s. T h e w o rk e n d s w ith a s tro n g d e c la m a tio n o f th e o rig in a l k ey. C h ro m a tic h a rm o n y p re v a ils th ro u g h o u t th e p ie c e, ty p ic a l o f the tim e p erio d an d a t tim es p ro d u c in g a so u n d re m in isc e n t o f a 1930s film sco re. In ad d itio n, th e re a re m o m e n ts o f q u a rta l h a rm o n ic stru c tu re. P e rfo rm e rs w ill h a v e to b e a le rt to th e tu n in g d e m a n d s o f th is k in d o f h a rm o n y and w ill e n c o u n te r n u m e ro u s accid en tals. R h y th m ic a lly, th e p ie c e is ra th e r s tra ig h tfo rw a rd, w ith an e m p h a sis o n sy n c o p a tio n in th e su p p o rtin g h a rm o n ic m a terials. M o v in g p ro p e rly a fte r tied n o te s is a fre q u e n t c o n cern, as is th e a c c u ra te p la y in g o f artic u la te d th irty -second n o te fig u res. T h e re is a fa ir a m o u n t o f c a n o n ic im itatio n a n d seq u e n c in g in th e m e lo d ic w ritin g. T h e first c la rin e ts asc e n d to th e ir h ig h A. B rie f so lo s are fo u n d in th e flu te 1, o b o e 1, E n g lish h o rn, alto sa x o p h o n e 1 a n d b a rito n e parts. T h is w o rk w a s re v ie w e d as b e in g "effe ctiv e b u t u n d istin g u ish e d " b y C a rl B u c h m a n (se e c ita tio n b elo w ). T h e sco re b e ars n o d e d ic atio n. It w a s p e rfo rm e d tw ic e in

322 313 S e lectiv e B ib lio g rap h y : 1942 b y th e G o ld m a n B an d at th e ir S ilv e r Ju b ile e C o n certs. It h a s re c e iv e d v e ry fe w p e rfo rm a n c e s s in c e th en. T h e o n ly e x ta n t set o f sco re a n d p a rts h a s b e e n m issin g sin ce th e 1982 p e rfo rm a n c e b y th e G o ld m a n B a n d w h ic h re e n a c te d o n e o f th e b a n d 's m o st fa m o u s c o n c e rts, th e p e rfo rm a n c e in 1942 w h ich fe a tu re d a ll o rig in a l w o rk s fo r b an d (see G o ld m a n c ita tio n b e lo w ). It is th e h o p e o f th e L eo S o w e rb y F o u n d a tio n th a t th is s e t w ill b e lo c a te d so o n, at w h ic h p o in t th e w o rk w ill b e c o m e a v a ila b le o n a ren tal b asis. B else r, R o b e rt S. "O rig in a l W o rk s fo r C o n c e rt B a n d P re m ie re d o r C o m m is sio n e d b y E d w in F ra n k o G o ld m a n, R ic h a rd F ran k o G o ld m a n, a n d th e G o ld m a n B an d " U n p u b lish e d D M A d is se rta tio n, T h e U n iv e rs ity o f Io w a, B u c h m a n, C arl. "C o m p o se rs D e d ic a te W o rk s to th e B a n d," M o d e m M u s ic, X X /1 (N o v e m b e r, ), G o ld m a n, R ic h a rd F ra n k o. T he W in d B a n d. (B o sto n : A lly n and B a c o n, ), 9 0, H in d s, W a y n e B. "L eo S o w e rb y : A B io g ra p h y and D e sc rip tiv e L istin g o f A n th e m s." U n p u b lish e d E d D d isse rta tio n, P e a b o d y C o lle g e fo r T e a c h e rs o f V a n d e rb ilt U n iv e rsity, H u n tin g to n, R o n ald M. "A S tu d y o f th e M u sic a l C o n trib u tio n s o f L eo S o w e rb y." U n p u b lis h e d M M th e sis, U n iv e rs ity o f S o u th e rn C a lifo rn ia, Jo n e s, R a y m o n d D. "L eo S o w e rb y : H is L ife a n d H is C h o ra l M u sic." U n p u b lis h e d P h D d isse rta tio n, T h e U n iv e rs ity o f Io w a, L e ste r, N o el. "R ich a rd F ra n k o G o ld m a n an d th e G o ld m a n B an d," J o u rn a l o f B a n d R e s e a r c h, X X IV /1 (fall, 1988), T he M u s ic o f L e o S o w e rb y. (R o c h e ste r, N e w Y o rk : T h e L e o S o w e rb y F o u n d a tio n, 1995). T u th ill, B u rn e t. "L eo S o w e rb y," M u s ic a l Q u a rte rly, X X IV (Ju ly, 1938), S electiv e D isco g rap h y : M u s ic o f L e o S o w e rb y. T h e G o ld m a n B an d, A. C o x, L e o S o w e rb y F o u n d a tio n L S F 5 A.

323 314 Fanfare (for Airm en) P rem iere: 1942 C in c in n a ti S y m p h o n y O rch estra E u g e n e G o o se n s, c o n d u c to r C in c in n ati, O h io In stru m en tatio n : 2, p ic. 2, eh. 2, b cl. 2, c b n./ ; t, p (3 ) P u b lish er/d ate: L e o S o w e rb y F o u n d a tio n /T h e o d o re P re sse r, 1993 A vailability: S co re: rental fu ll, tra n s p o se d L ev el o f difficu lty : G ra d e 5 D uration: c. 1:40 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : C in c in n a ti S y m p h o n y O rchestra E u g e n e G o o se n s, c o n d u c to r n o n e T h is e x c itin g w o rk w a s one o f th e m a n y fa n fa re s c o m m issio n e d b y G o o se n s d u rin g W o rld W a r II to b o lste r su p p o rt fo r th e w a r effo rt. W ritte n in a b risk trip le m e te r in th e k e y o f m a jo r, th e w o rk o p e n s w ith a s n a re d ru m ro ll, w h ic h leads d ire c tly to horn calls. T h e e n su in g m u sic is ' h a rm o n ic a lly in te re stin g, w ith so m e c h o rd s b e in g c o n so n a n t and o p e n ly v o ic e d, w h ile o th ers a re tig h tly v o ic e d d isso n a n c e s. T h e la st h a lf o f th e w o rk is a s e rie s o f c a d e n c e s o v e r p e d a l p o in ts, e a c h p ro g re ssin g fro m h a rm o n ic te n sio n to re le a se a n d d ifferen t fro m th e o th ers. S e lectiv e B ib lio g raphy: A lth o u g h th e w o o d w in d s d o m in a te th e s c o rin g d u rin g a b rie f p a ssa g e in th e m id d le o f the w o rk, th e y b a sic a lly serv e to s u p p o rt th e b ra ss w ritin g th ro u g h o u t th e re s t o f th e p iece. A ll th e b rass are re q u ire d to d o u b le to n g u e. T h e tru m p e t p arts often exte n d in to th e ir h ig h te ssitu ra. T h e rh y th m ic fig u re o f a d o u b le -d o tte d q u a rte r a n d tw o th irty -second n o tes is u sed o ften. H in d s, W a y n e B. "L eo S o w e rb y : A B io g ra p h y and D e sc rip tiv e L istin g o f A n th e m s." U n p u b lish e d E d D d isse rta tio n, P e a b o d y C o lle g e fo r T e a c h e rs o f V a n d e rb ilt U n iv e rsity, 1972.

324 315 H u n tin g to n, R o n a ld M. "A S tu d y o f th e M u sic a l C o n trib u tio n s o f L e o S o w e rb y." U n p u b lis h e d M M th e sis, U n iv e rs ity o f S o u th e rn C a lifo rn ia, J o n e s, R a y m o n d D. "L eo S o w e rb y : H is L ife a n d H is C h o ra l M u sic." U n p u b lis h e d P h D d is se rta tio n, T h e U n iv e rs ity o f Io w a, T h e M u s ic o f L e o S o w e rb y. (R o c h e s te r, N e w Y o rk : T h e L e o S o w e rb y F o u n d a tio n, 1995). T u th ill, B u rn e t. "L eo S o w e rb y," M u s ic a l Q u a rte r ly, X X IV (Ju ly, 1938), S electiv e D isco g rap h y : M u s ic o f L e o S o w e rb y. N B C S y m p h o n y, J. S te p e c, L e o S o w e rb y F o u n d a tio n L S F 5A. F a n ta s y o n " I n B a b i l o n e " P rem iere: M a y 7, 1964 W a sh in g to n N a tio n a l C ath ed ral W a sh in g to n, D C In stru m e n ta tio n : c o n c e rt b and and carillo n P u b lish er/d ate: W a sh in g to n C a th e d ra l/t h e o d o re P re sse r, 1964 A vailability: S core: rental c o n d e n se d, s c o re in C L ev el o f difficulty : G ra d e 4- D uration: c. 7 '0 0 C o m m issio n : P ro g ram N o te: P e rfo rm a n ce C o m m en tary : C o m p o se d in h o n o r o f th e c o m p le tio n o f th e G lo ria in E x c e lsis T o w e r o f th e W a sh in g to n N a tio n a l C a th e d ra l n o n e S o w e rb y w a s th e fo u n d in g d ire c to r o f th e C o lle g e o f C h u rc h M u sic ia n s at th e W ash in g to n N a tio n a l C a th e d ra l. T h is w o rk w a s p re m ie re d a t th e s a m e serv ice as Jo h n L a M o n ta in e 's Te D e u m, O p. 3 5 a n d R o re m 's L ift U p Y o u r H e a d s: T h e A s c e n s io n. T h is p ie c e is a ra th e r fu n c tio n a l settin g o f th e h y m n tu n e In B a b ilo n e in 4 /4 tim e a t a q u ic k tem p o. A fte r a sev en m e a su re in tro d u c tio n, fo u r stan z a s are p re sen te d, th e o u te r

325 3 1 6 S e lectiv e B ib lio g rap h y : tw o in m a jo r and stan z a s tw o and th re e in E m a jo r, e a c h sep a ra te d b y b rie f tra n sitio n s. S o w e rb y u s e s c o n v e n tio n a l fo u r-p a rt v o ic in g fo r th e first th re e stan z a s a n d th e fo u rth b e co m es only a little m o re c o m p lic a te d in its v o ic in g. T h e c a n tu s is in th e a lto v o ic e in sta n z a o n e, th e b a ss in tw o, th e so p ra n o in th re e, and it flu c tu a te s b e tw e e n b e in g stated in th e h ig h e st an d m id d le v o ic e s d u rin g th e fin a l stan z a. T h e carillo n e n te rs d u rin g th e tran sitio n g o in g in to s ta n z a th re e and re in fo rc e s th e can tu s. T h e b ra ss b e c o m e d o m in a n t d u rin g th e tra n sitio n in to stan z a fo u r. R h y th m ic a lly th e w o rk is v e ry s tra ig h tfo rw a rd, w ith th e m o st c o m p lic a te d rh y th m b e in g a q u a rte r n o te tr ip le t T h e h a rm o n ic settin g s b e c o m e m o re a d v e n tu re so m e in each s u b se q u e n t s ta n z a a n d th e p la y e rs w ill e n c o u n te r n u m e ro u s m o m e n ts o f a ccen te d d isso n a n c e to w a rd th e e n d o f th e w o rk. T h e ra n g e s fo r th e in stru m e n ts a p p e a r to b e o n ly m o d e ra te ly ch allen g in g, as th e re is v e ry little in stru m e n ta tio n in d ic a te d in th e sco re u p o n w h ic h to b a se th is a sse ssm e n t. B u c h m a n, C arl. "C o m p o se rs D e d ic a te W o rk s to th e B an d," M o d e m M u s ic, X X /1 (N o v e m b e r, ), H in d s, W a y n e B. "L eo S o w e rb y : A B io g ra p h y a n d D e sc rip tiv e L istin g o f A n th e m s." U n p u b lish e d E d D d isse rta tio n, P e a b o d y C o lle g e fo r T e a c h e rs o f V a n d e rb ilt U n iv e rsity, H u n tin g to n, R o n ald M. "A S tu d y o f th e M u sic a l C o n trib u tio n s o f L e o S o w e rb y." U n p u b lis h e d M M th e sis, U n iv e rs ity o f S o u th e rn C a lifo rn ia, Jo n e s, R a y m o n d D. "L eo S o w e rb y : H is L ife a n d H is C h o ra l M u sic." U n p u b lish e d P h D d is se rta tio n, T h e U n iv e rs ity o f Io w a, T h e M u s ic o f L e o S o w e rb y. (R o c h e ste r, N e w Y o rk : T h e L e o S o w e rb y F o u n d a tio n, 1995). T u th ill, B u rn e t. "L eo S o w e rb y," M u s ic a l Q u a rte rly, X X IV (Ju ly, 1938), S electiv e D isco g rap h y : n o n e av ailab le j

326 317 Virgil Thom son A Solemn M usic P rem iere: Ju n e 17, 1949 T h e G o ld m a n B a n d V irg il T h o m so n, co n d u c to r C en tra l P a rk N e w Y o rk, N e w Y o rk In stru m entatio n : c o n c e it b an d P u b lish er/d ate: G. S c h irm e r/h a l L e o n a rd, 1949 ( C ) A vailability: S core: o u t o f p rin t fu ll, tra n sp o se d c o n d e n se d, s c o re in C L ev el o f difficulty : G ra d e 5 D uration: c. 5 '0 0 C o m m issio n : L e a g u e o f C o m p o se rs fo r th e G o ld m a n B a n d P ro g ra m N o te : P e rfo rm a n ce C o m m en tary : in c lu d e d in sco re T h o m so n assim ila te d th e tw e lv e -to n e c o m p o sitio n a l m e th o d o f A rn o ld S c h o e n b e rg in to h is o w n w ritin g sty le in d e v e lo p in g an e x p re ssiv e ato n al la n g u a g e fo r th is w o rk. T h e first fo rty m e a su re s o f th is tri-p a rtite w o rk (A B A ) in v o lv e triad ic p ro g re ssio n s set o v e r a tw e lv e -to n e ro w w h ic h serv es as a g ro u n d in th e b a ss voices. T h is s a m e ro w a p p e a rs a g ain in th e b a ss u p o n th e re tu rn o f th e A sectio n. T h e w o rk w a s in sp ire d b y th e d e ath o f tw o c lo se frien d s: G e rtu d e S tein, w rite r, and th e p a in te r C h ristia n B erard. S e t as a c h o ra le -d irg e, th e p ie c e p re sen ts th e ty p ic a l d e m a n d s fo u n d in slo w -m o v in g, h o m o p h o n ic m u sic. A tta c k s, re le ases, b a la n c e and b le n d re q u ire g re a t c o n tro l, a n d th e p iece also req u ires a m atu re m e n ta l a p p ro a ch to c o m m u n ic a tin g its m essage. C h a lle n g in g m e lo d ic lin es in v o lv in g w id e in te rv a ls an d n o te s in th e h ig h ra n g e are fo u n d in the c o m e t 1 a n d tru m p e t 1 p arts. T h e u p p e r w o o d w in d s en c o u n te r u n iso n c h ro m a tic lin e s w h ic h w ill n eed secure in to n a tio n. R h y th m ic a lly th e w o rk is ra th e r sim p le and th e p e rc u ssio n w ritin g is m in im al. T h e p ie c e o ffe rs th e te a c h in g o p p o rtu n ity o f e x p o sin g stu d e n ts to tw e lv e -to n e tech n iq u es.

327 318 S electiv e B ib lio g raphy: A S o le m n M u s ic w a s a rra n g e d b y T h o m so n fo r o rc h e stra in B else r, R o b e rt S. "O rig in a l W o rk s fo r C o n c e rt B a n d P re m ie re d o r C o m m is sio n e d b y E d w in F ra n k o G o ld m a n, R ic h a rd F ra n k o G o ld m a n, a n d th e G o ld m a n B a n d " U n p u b lish e d D M A d isse rta tio n, T h e U n iv e rs ity o f Io w a, D v o ra k, T h o m a s, R o b e rt G re c h e fs k y, a n d G a ry C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d : A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n sem b les. (B ro o k ly n : M a n h a tta n B e a c h, 1993), 7 1. F e n n e ll, F re d e ric k. "M u sic R e v ie w s: A S o le m n M u s ic," M I A N o te s, V II ( ), G le a so n, H a ro ld, a n d W a rre n B e c k e r. "V irg il T h o m so n," 2 0 th -C e n tu ry A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev. 1981), H a n a n i, H a n n a h. "V irg il T h o m so n : F ro m th e P la in s to P a ris," T he In s tr u m e n ta lis t, X L II/1 (A u g u st, 1987), H o o v e r, K a th le e n O 'D o n n e ll. V irg il T h o m so n : H is L ife a n d M u sic. (N e w Y o rk : T. Y o se lo ff, 1959.) L e ste r, N o el. "R ic h a rd F ran k o G o ld m a n and th e G o ld m a n B an d," J o u rn a l o f B a n d R e s e a r c h, X X IV /1 (fall, 1988), M e c k n a, M ic h a e l. V irg il T h o m so n A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1986). P rin d l, F ra n k Jo se p h. " A S tu d y o f T e n O rig in a l C o m p o sitio n s fo r B a n d P u b lish e d in A m e ric a S in c e 1946." U n p u b lis h e d P h D d isse rta tio n, F lo rid a S ta te U n iv e rsity, R a sm u sse n, R ic h a rd M ich a e l. R e c o r d e d C o n c e rt B a n d M u sic, : A S e le cte d, A n n o ta te d L istin g. (Je ffe rso n, N o rth C a ro lin a : M c F a rla n d a n d C o m p a n y, ), S c h w a rtz, E llio t, a n d B a rn e y C h ild s, ed. "F ro m 'T h e S ta te o f M u sic '," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u sic. (N e w Y o rk : H o lt, R in e h a rt an d W in sto n, 1967), S m ith, N o rm a n, and A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S a n D ieg o : K jo s W e s t, 1979), T h o m so n, V irg il. V irg il T h o m so n. (N e w Y o rk : A lfre d A. K n o p f, 1966).

328 319 S e lectiv e D isco g rap h y : L a F iesta M e x ic a n a a n d o th e r S y m p h o n ic B a n d M a ste rp ie c e s. E astm an S y m p h o n ic W in d E n se m b le, F. F e n n e ll, M e rc u ry M G [re issu e d as M G ] V irg il T h o m so n. M o n a d n o c k F e stiv a l O rc h e s tra /B u d a p e s t S y m p h o n y O rc h e stra, B o lle, A lb a n y R e c o rd s T R O Y [o rch e stra v e rsio n ] A t T h e B e a c h : C o n c e r t W a ltz P rem iere: J u ly 2 1, N e w Y o rk, N e w Y o rk [a rra n g e d b y T h o m so n fo r b a n d in 1950] T ru m p e t a n d P ia n o v ersion: F e b ru a ry 19, 1949 E d n a W h ite, tru m p e t N e w Y o rk, N e w Y o rk In stru m entatio n : tpt; c o n c e rt b and P u b lish er/d ate: C arl F isc h e r, 1963 (N ) A vailability: S co re: in p rin t fu ll, tra n s p o se d c o n d e n s e d, s c o re in C L ev el o f difficulty: G ra d e 5 (6 )/4 D uration: c. 4 '4 5 C o m m issio n : P ro g ra m N ote: P e rfo rm a n ce C o m m entary : in fo rm atio n unavailab le in c lu d e d in sco re T h is w o rk is b a se d o n T h o m so n 's L e B a in s -b a r fo r v io lin a n d p ia n o o f It is m e a n t to e v o k e th e m o o d o f se a sid e b an d c o n c e rts o f th e tu rn o f th e c e n tu ry a n d c o n ta in s sty listic ele m e n ts w h ic h b o rd e r on th e clichd, w e re it n o t fo r th e c o n te m p o ra ry settin g T h o m so n p ro v id e s. A b risk tem p o d i va lze r m a k e s so m e o f the a c c o m p a n im e n ta l fig u res c h a lle n g in g, as th e w o o d w in d s are o fte n a ssig n e d e ig h th n o te a rp e g g ia te d fig u res. S e c tio n s in th e k e y s o f C m a jo r an d G m a jo r ad d to th e level o f d iffic u lty, as d o e s th e o c c a sio n a l fe m a ta w ith in a bar, ty p ic a l o f a so lo a c c o m p a n im e n t in th is style.

329 3 2 0 S e lectiv e B ib lio g raphy: T h e s o lo w o u ld b e a g ra d e 6 if th e o s sia p a rts p ro v id e d w ere n o t u tilized. F o r e x a m p le, th e w o rk e n d s w ith th e tru m p e t e n te rin g o n its h ig h e st G in a so lo m o m e n t b e fo re th e la st c h o rd e n te rs to p ro v id e su p p o rt. G le a so n, H a ro ld, a n d W a rre n B e c k e r. "V irg il T h o m so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev ), H a n a n i, H a n n a h. "V irg il T h o m so n : F ro m th e P la in s to P a ris," T he In s tr u m e n ta lis t, X L II/1 (A u g u st, 1987), & H o o v e r, K a th le e n O 'D o n n e ll. V irg il T h o m so n : H is L ife a n d M u sic. (N ew Y o rk : T. Y o se lo ff, ) M e c k n a, M ic h a e l. V irg il T h o m so n A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1986). S c h w a rtz, E llio t, a n d B a rn e y C h ild s, ed. "F ro m 'T h e S ta te o f M u sic '," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u s ic. (N e w Y o rk : H o lt, R in e h a rt and W in sto n, 1967), S im p so n, Isa ac. "M u sic R e v ie w s: A t the B e a c h," M L A N o te s, X X II ( ), T h o m so n, V irg il. V irg il T h o m so n. (N e w Y o rk : A lfre d A. K n o p f, 1966). S electiv e D isco g rap h y : "... pr. A t th e B e a c h. G. S c h w a rz, c o rn e t, W. B o lc o m, p ia n o. N o n e s u c h H /H Q A t th e B e a c h. H. H a rd e n b e rg e r, c o rn e t, R. P o n tin e n, p ia n o, P h ilip s M e tr o p o lita n M u s e u m F a n f a r e P rem iere: O c to b e r 1 6, F re d e ric k P ra u sn itz, c o n d u c to r M etro p o litan M u se u m o f A rt N e w Y o rk, N e w Y o rk P ia n o v ersio n : O c to b e r 5, 1941 In stru m en tatio n : * 0 : , 3 c o r. 3.1.; p (6 ) P u b lish er/d ate: G. S c h irm e r/h a l L e o n a rd, 1972 ( c )

330 321 A vailability: S co re: o u t o f p rin t fu ll, tra n sp o se d L ev el o f d ifficulty : G ra d e 4 + D uration: c. 1 '45 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : M etro p o litan M u se u m o f A rt in c lu d e d in sco re W ritte n fo r th e o p e n in g o f th e M e tro p o lita n M u se u m o f A rt's e x h ib itio n o f N e w Y o rk P ain tin g and S c u lp tu re ( ), th is fa n fa re w a s a rra n g e d b y T h o m so n fro m an e a rlie r p iano w o rk, P o r tr a it o f F lo rin e S tetth eim er. E m p lo y in g m u te d b ra ss a t th e b e g in n in g, T h o m so n e sta b lish e s a p o ly to n a l h arm o n ic a n d m e lo d ic la n g u a g e fro m th e o n s e t w h ic h is a t tim e s v e ry d isso n a n t. T h e w o rk o p e n s a t a q u ic k te m p o (in 3/4 ) w h ich is m a in ta in e d th ro u g h o u t th e piece. In th e m id d le o f th e p iece, a b rie f se c tio n in 2 /4 fe a tu re s th e w h o le to n e scale an d its n a tu ra l h arm o n ic e x te n sio n, th e a u g m e n te d triad, b o th in th e m e lo d ic m aterial an d th e su p p o rtin g ch o rd s. T o w a rd th e e n d o f th e w o rk, th e x y lo p h o n e, m a rim b a a n d g lo c k e n sp ie l p la y in u n iso n a slig h tly v a rie d v e rsio n o f Y ankee D o o d le a n d D ix ie, a c c o m p a n ie d by th e tim p an i. T h is sets u p th e fin a l e ig h t b ar c o n c lu sio n, w h ic h e v e n tu a lly in v o lv e s all o f th e p la y e rs. T y p ic a l fa n fa rish fig u re s a re fo u n d in th e h ig h b ra ss p a rts w h ile th e lo w b ra ss p ro v id e h a rm o n ic su p p o rt w h ic h c o n ta in s m in im al m e lo d ic w riting. T h e m u sic a l m a te ria l fo r the c o m e t/tru m p e t sectio n is often tra d e d o ff w ith th a t o f th e h orn sectio n. T h is im itatio n is m im ic k e d in th e p e rc u ssio n w ritin g, as th e sn are d ru m an d fie ld d ru m a lso p la y o ff o f o n e a n o th e r's m a te ria ls. T h e h o rn s a re a sk e d a t to p la y w ith th e ir b ells u p a t a ^ d y n a m i c a t o n p o in t in th e p iece. T h e ir w ritin g te n d s to be in th e ir lo w to m id d le ra n g e s, and th e ra n g e s fo r th e re st o f th e b rass are also m o d e ra te. R h y th m ic d e m a n d s are m in im al fo r a w o rk at th is lev el, w ith th e m o st d iffic u lt fig u res b e in g six te en th n o te trip lets in th e c o rn e t/tru m p e t an d h o rn parts. M e a su re in th e sco re c o n ta in s a m y ste rio u s lin e o f m u sic fo r 2 b a rito n e s, w h ic h is an e rro r.

331 3 2 2 S e lectiv e B ib lio g rap h y : G le a so n, H a ro ld, and W a rre n B e c k e r. "V irg il T h o m so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o sers, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev ), H a n a n i, H a n n a h. "V irg il T h o m so n : F ro m th e P la in s to P a ris," T he In s tr u m e n ta lis t, X L II/1 (A u g u st, 1987), H o o v e r, K a th le e n O 'D o n n e ll. V irg il T h o m so n : H is L ife a n d M u sic. (N e w Y o rk : T. Y o se lo ff, ) M e c k n a, M ic h a e l. V irg il T h o m so n A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1986). S c h w a rtz, E llio t, a n d B a rn e y C h ild s, ed. "F ro m 'T h e S ta te o f M u sic '," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u sic. (N e w Y o rk : H o lt, R in e h a rt and W in sto n, 1967), T h o m so n, V irg il. V irg il T h o m so n. (N e w Y o rk : A lfre d A. K n o p f, 1966). T o m m a sin i, A n th o n y. "T h e M u sic a l P o rtra its b y V irg il T h o m so n," M u s ic a l Q u a rte r ly, L X X /2 (sp rin g, ), V irg il T h o m so n 's M u s ic P o rtra its. (N e w Y o rk : P e n d ra g o n P re ss, ), , S electiv e D isco g rap h y : C e n te n n ia l F a n fa re s. B ra ss a n d P e rc u ssio n E n se m b le, P ra u s n itz, c M etro lp o lita n M u se u m o f A rt A K S Edges: A Portrait o f R obert Indiana P rem iere: B a n d v ersio n : S p rin g, 1970 H a rv ard U n iv e rsity B a n d C a m b rid g e, M a ssa c h u se tts [a rra n g e d b y T h o m so n fo r b a n d in 1970] P ia n o versio n : D e c e m b e r 2 5, 1966 In stru m entatio n : c o n c e rt b and P u b lish er/d ate: G. S c h irm e r/h a l L e o n a rd, 1972 ( C ) A vailability: S core: o u t o f p rin t fu ll, sco re in C

332 323 L evel o f d ifficulty : G ra d e 4 D uration: c. 2 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : H a rv a rd U n iv e rsity B a n d in c lu d e d in sco re T h e se c o n d o f tw o w o rk s c o m m is sio n e d b y th e H a rv a rd U n iv e rsity B an d, th is p ie c e is also an a rra n g m e n t o f an e a rlie r T h o m so n w o rk fo r so lo p ia n o (w h ic h b e a rs th e sam e title). T h e en erg etic E d g e s u tilizes th e h a rm o n ic in te rv a l o f a m a jo r se c o n d a n d lo n g p a ssag es o f slu rre d m e lo d ic p a irs as its p rin cip al m u sical m aterials. R a n g e s are re a so n a b le and rh y th m s are b asic. T h e c h alle n g e lie s in tu n in g a n d b a la n cin g th e p o ly to n a l an d tig h tly -v o ic e d so n o ritie s, as w ell as n e g o tia tin g w ith in th e w o rk 's ra th e r c h ro m a tic p allette. S electiv e B ib lio g rap h y : G le a s o n, H a ro ld, a n d W a rre n B eck e r. "V irg il T h o m so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev. 1981), H a n a n i, H a n n a h. "V irg il T h o m so n : F ro m th e P la in s to P a ris," T he In s tr u m e n ta lis t, X L II/1 (A u g u st, 1987), H o o v e r, K a th le e n O 'D o n n e ll. V irg il T h o m so n : H is L ife a n d M u sic. (N e w Y o rk : T. Y o se lo ff, ) M e c k n a, M ic h a e l. V irg il T h o m so n A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1986). S c h w a rtz, E llio t, a n d B a rn e y C h ild s, ed. "F ro m 'T h e S ta te o f M u sic '," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u sic. (N e w Y o rk : H o lt, R in e h a rt a n d W in sto n, 1967), T h o m so n, V irg il. V irg il T h o m so n. (N e w Y o rk : A lfre d A. K n o p f, 1966). T o m m a sin i, A n th o n y. "T h e M u sical P o rtraits b y V irg il T h o m so n," M u s ic a l Q u a rte rly, L X X /2 (sp rin g, ), V irg il T h o m so n 's M u s ic P o rtra its. (N e w Y o rk : P e n d ra g o n P re s s, ), 165. S electiv e D isco g rap h y : n o n e av ailab le

333 3 2 4 Study Piece: Portrait o f a Lady P rem iere: B an d versio n : S p rin g, 1970 H a rv a rd U n iv e rsity B an d C a m b rid g e, M a ssa c h u se tts [a rra n g e d b y T h o m so n fo r b a n d in 1970] P ia n o versio n : J u ly 6, 1941 In stru m en tatio n : c o n c e rt b an d P u b lish er/d ate: G. S c h irm e r/h a l L e o n a rd, 1972 ( C ) A vailability: S core: o u t o f p rin t fu ll, s c o re in C L ev el o f difficu lty : G ra d e 34- D uration: c. 2 '3 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : H a rv a rd U n iv e rsity B an d in c lu d e d in sco re In fu lfillin g th is c o m m issio n, T h o m so n arra n g e d h is p ia n o w o rk In sisten c ie s: P o rtra it o f L o u ise C ra n e ( ) fo r b an d. T h e p ie c e ex p lo its th e ru d im en ts o f p e rfo rm a n c e p ra c tic ed re g u la rly b y b a n d s. T h o m so n u ses lo n g n o te s, sh o rt n o te s, in te rv a ls an d scale s as p rim ary m a te ria ls w ith th e re su ltin g w o rk g iv in g th e o d d im p re ssio n o f an e n se m b le w h ic h a t tim e s d o e s n o t sta y to g e th e r w h ile p e rfo rm in g fro m a b a n d m e th o d b o o k. T h e c irc le o f fifth s is v e ry e v id e n t in th e o p e n in g lo n g to n e stu d ies. O stin ato s a n d c a n o n ic im itatio n h elp to g e n e ra te fo rw a rd m o m e n tu m, as d o th e scale s, w h ic h sta rt at u n iso n, b u t e v e n tu a lly tra n sfo rm th e m selv e s in to sm all c lu ste rs m o v in g in p arallel m o tio n. P la y e rs w ill b e c h a lle n g e d b y th e p o ly to n ality, in additio n to th e scale s w h ic h e n c o m p a s s m a n y d iffe re n t k e y s. T h is w o rk c o u ld e ffe c tiv e ly su p p le m e n t o n g o in g te c h n ic a l stu d y b y a b an d. S e lectiv e B ib lio g raphy: G le a so n, H a ro ld, an d W a rre n B e c k e r. "V irg il T h o m so n," 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : rev. 1981),

334 325 H a n a n i, H a n n a h. "V irg il T h o m so n : F ro m th e P la in s to P a ris," T he In s tr u m e n ta lis t, X L II/1 (A u g u st, 1987), H o o v e r, K a th le e n O 'D o n n e ll. V irg il T h o m so n : H is L ife a n d M u sic. (N e w Y o rk : T. Y o se lo ff, 1959.) M e c k n a, M ic h a e l. V irg il T h o m so n A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1986). S c h w a rtz, E llio t, a n d B a rn e y C h ild s, ed. "F ro m 'T h e S ta te o f M u sic '," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u s ic. (N e w Y o rk : H o lt, R in e h a rt a n d W in sto n, ), T h o m so n, V irg il. V irg il T h o m so n. (N ew Y o rk : A lfre d A. K n o p f, 1966). T o m m a sin i, A n th o n y. "T h e M u sic a l P o rtraits b y V irg il T h o m so n," M u sic a l Q u a rte r ly, L X X /2 (sp rin g, 1984), :. V irg il T h o m so n 's M u s ic P o rtra its. (N e w Y o rk : P e n d ra g o n P re s s, ), 151. S e lectiv e D isco g rap h y : n o n e a v ailab le Ernst Toch Spiel f u r BlasorChester, Op Ouvertiire 2. Idyll 3. Buffo P rem iere: J u ly 2 4, 1926 D o n a u e sch in g e n M u sic C o rp s H e rm a n n S c h e rc h e n, c o n d u c to r D o n a u e sch in g e n K a m m e rm u sik fe st 1926 G e rm a n y In stru m entatio n : 1, p ic. 1.3, E ^ cl. 1./ 4.3, 2 b u g le, 2 flh n. 3. b ar, e u p h.l.; t, p (5 ) o p tio n al acl and bcl parts P u b lish er/d ate: S c h o tt, , 1954 (S H S 1003) A vailability: S co re: in p rin t fu ll, tra n sp o se d

335 326 L ev el o f d ifficulty : G ra d e 5 + D uration: c. 8 '0 0 C o m m issio n : P ro g ram N o te: P e rfo rm a n c e C o m m e n ta ry : D o n a u e sch in g e n K a m m e rm u sik fe st P aul H in d e m ith, o rg an izin g c o m m itte e D e d icate d to H e rm a n n Scherchen in clu d ed in sco re T h is w o rk is b e st su ite d to b e p e rfo rm e d as a w in d e n se m b le w o rk, w ith n o d o u b lin g o f p arts. P la y e rs w ill e n c o u n te r m ix e d m e te re d m u sic, so m e u n c o m m o n m u sic a l in d icatio n s in G e rm a n, a n d d e m a n d in g p a rts w h ic h re q u ire a lig h tly a rtic u la te d sty le. T h e o u te r m o v e m e n ts are lig h t in character, w h ile th e m id d le m o v e m e n t o ffers su b lim e m o m e n ts, fe a tu rin g an e x te n d e d so lo fo r o b o e a n d s o m e e x p o se d p la y in g fo r th e b a sso o n. T h is m id d le m o v e m e n t is a re o rc h e stratio n b y T o c h o f the P a sto ra le m o v e m e n t o f h is w o rk, B a c c h a e, in c id e n ta l m u sic fo r a ra d io p la y w ritten fo r w o o w in d q u in te t in T h ro u g h o u t th e S p ie l th e w ritin g ten d s to b e q u ite ch ro m a tic, y e t to n al. S e lectiv e B ib lio g raphy: C a re m u st b e ta k e n if p e rfo rm in g fro m th e 1926 e d itio n to p ro p e rly tra n sla te th e G erm an in stru m e n ta tio n listin g. T h e 1954 e d itio n in c lu d e s an E n g lish tra n sla tio n. A n altern ativ e v e rsio n a rra n g e d b y T o c h fo r th e w in d in stru m e n ts o f th e sy m p h o n y o rc h e s tra (n o b u g le s, flu g e lh o m s, b a rito n e s, e u p h o n iu m ) is av a ila b le on rental fro m S chott. C a rm ic h a e l, Jo h n. "W in d M u sic an d th e 1926 D o n a u e sch in g e n M u sic F estiv al," C o llege B a n d D irecto rs N a tio n a l A sso c ia tio n J o u rn a l, V I. (S p rin g /S u m m e r, ), 1-4. J a c o b i, F re d e ric k. "L ie g e, ," M o d e rn M u sic, V III/6 (N o v e m b e r/d e c e m b e r, ), 19. Jezic, D ia n e P eaco ck. T he M u s ic a l M ig ra tio n a n d E r n s t T o ch. (A m es, Io w a: Io w a S ta te U n iv e rs ity P ress, 1989). J o h n so n, C h a rle s. "T h e U n p u b lis h e d W o rk s o f E rn st T o c h." U n p u b lish e d P h D d is se rta tio n, U n iv e rsity o f C alifo rn ia, L o s A n g e le s, L o p a tn ik o ff, N ik o la i, "N ew L ife in B erlin," M o d e r n M u s ic, V I/3... (M a y /Ju n e, ), 2 8. P isk, P aul. "E rn st T o c h," M u s ic a l Q u a rterly, X X IV (O c to b e r, 1 938),

336 327 T o c h, E rn st. T h e S h a p in g F o r c e s in M u sic. (N e w Y o rk : D o v e r, ; 3rd e d itio n by L. W e s c h le r, 1977) S electiv e D isco g rap h y : D o n a u e sc h in g e n, H in d e m ith a n d M u s ic f o r W in d s. F u rm a n C iv ic W in d E n s e m b le, J. C a rm ic h a e l, C o m p o se r R e c o rd in g S tu d io s C R S D ig ita l F re sk o. S in fo n isc h e s J u g e n d b la s o rc h e s te r B a d e n -W iirtte m b e rg, F. H a u sw irth, B e s te ll-n u m m e r M A S Sinfonietta, Op (no tempo indication) 2. Andante flebile: "Life W ithout a Dog" 3. (no tempo indication) "Thank Goodness He Barks Again" P rem iere: 1964 R ad io Z u rich sp ecific d a te a n d p e rfo rm e rs u n k n o w n In stru m e n ta tio n : / ; t, p (2 ) P u b lish er/d ate: B elw in M ills /T h e o d o re P resse r, 1967 ( ) A v ailability: S core: rental fu ll, tra n sp o se d L ev el o f d ifficulty : G ra d e 44- D uration: 1 4 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : in fo rm atio n u n av ailab le n o n e W ritte n d u rin g th e fin a l y e a r o f T o c h 's life, th is w o rk p o s se sse s th e y o u th fu l p la y fu ln e ss o f h is S p ie l f u r B la so rch e ste r, c o m p o se d nearly fo rty y e a rs e arlier. G e n e ra lly lig h t in characte r, as w ell as sco rin g, th e p ie c e ra re ly fin d s all fifte en in stru m e n ta lists p la y in g a t th e sam e tim e. T h is is n o t to say, h o w e v e r, th a t T o c h d o e sn 't c re a te v e ry stro n g c lim a c tic m o m e n ts in th e w o rk, as th e th ird m o v e m e n t starts a n d e n d s w ith v e ry a g g re ssiv e m u sic.

337 328 S e lectiv e B ib lio g rap h y : R a n g e s an d rh y th m s a re o n ly m o d e ra te ly c h alle n g in g. S o lo istic m o m e n ts o c c u r in n e a rly e v e ry p art. T h e tw o p e rc u ssio n ists b o th n e e d to p la y m a lle t in stru m e n ts. Jezic, D ia n e P eaco ck. T he M u s ic a l M ig ra tio n a n d E r n s t T o ch. (A m es, Io w a : Io w a S ta te U n iv e rs ity P re ss, 1989). J o h n so n, C h a rle s. "T h e U n p u b lis h e d W o rk s o f E rn st T o c h." U n p u b lis h e d P h D d isse rta tio n, U n iv e rs ity o f C a lifo rn ia, L o s A n g e le s, P isk, P au l. "E rn st T o ch," M u s ic a l Q u a rte rly, X X IV (O c to b e r, ), T o c h, E rn st. T h e S h a p in g F o r c e s in M u sic. (N ew Y o rk : D o v e r, 1948; 3 rd e d itio n b y L. W e s c h le r, 1977) S electiv e D isco g rap h y : n o n e av ailab le Robert Ward Prairie Overture P rem iere: J u n e 2 6, 1958 T h e G o ld m a n B an d R o b e rt W a rd, c o n d u c to r P ro sp e c t P a rk B ro o k ly n, N e w Y o rk In stru m entatio n : c o n c e rt b and P u b lish er/d ate: H ig h g a te P re ss/e. C. S c h irm e r, (H P 13) A vailability: S core: in p rin t fu ll, tra n s p o se d c o n d e n se d, sco re in C L ev el o f d ifficulty: G ra d e 4 + D uration: c. 6 '1 5 C o m m issio n : P ro g ra m N o te: in fo rm atio n u n availab le n o n e

338 3 2 9 P erfo rm a n ce C o m m entary : W a rd c o m p o se d an id io m a tic w o rk fo r c o n c e rt b a n d w h ic h p o rtra y s life o n th e p ra irie, u tiliz in g m u sic a l m a te ria ls w h ic h w e re c o n v en tio n al a t th e tim e fo r d e p ic tin g W e ste rn scen es su c h as th is. T h e tw o p rin c ip a l th e m e s a re o rig in a l and h a v e a fo lk -tu n e q u ality. S ta te d sep a ra te ly at first, th e y la te r c o m b in e b efo re th e w o rk cu lm in a te s in a lo n g a ccelera n d o w h ic h le a d s to a b risk c o d a ta k e n o n e to th e b ar. S e lectiv e B ib lio g raphy: T h e re is q u ite a b it o f u n iso n m e lo d ic w ritin g in v o lv in g b ro a d sectio n s o f th e b an d. B a s ic q u a rte r e ig h th n o te sy n c o p a tio n p a tte rn s g iv e rh y th m ic im p e tu s to th e w o rk. T h e d e v e lo p m e n t sectio n co n ta in s m u sic w h ic h re q u ire s in d e p e n d e n c e. T h e e n su in g sectio n fe a tu re s ra p id e ig h th n o te p a ssa g e s fo r th e u p p e r w o o d w in d s. T h e 4 th h o rn s ta rts in b a ss clef. R a n g e s and rh y th m s a re re a so n a b le in th is to n al w o rk. W a rd a rra n g e d th e w o rk fo r o rc h e stra in B e lse r, R o b e rt S. "O rig in a l W o rk s fo r C o n c e rt B a n d P re m ie re d o r C o m m is sio n e d b y E d w in F ra n k o G o ld m a n, R ic h a rd F ra n k o G o ld m a n, a n d th e G o ld m a n B a n d " U n p u b lish e d D M A d is se rta tio n, T h e U n iv e rs ity o f Io w a, G o ld m a n, R ic h a rd F ra n k o. T h e W in d B a n d. (B o sto n : A lly n and B a c o n, ), K re itn e r, K e n n e th. R o b e r t W a rd : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1988).. R o b e r t W a rd : A B io -B ib lio g r a p h y S u p p le m e n t. (D u rh a m, N o rth C a ro lin a, 1990). L e ste r, N o el. "R ich a rd F ran k o G o ld m a n and th e G o ld m a n B an d," J o u rn a l o f B a n d R e s e a r c h, X X IV /1 (fall, 1988), S eay, A lb ert. "M u sic R ev iew s: P ra irie O vertu re," M L A N o te s, X V III ( ), 134. S electiv e D isco g rap h y : E d u c a tio n a l R e fe ren c e R e c o rd in g L ib ra ry 1. H ig h S c h o o l S y m p h o n ic B an d o f th e N a tio n a l M u sic C a m p, S n a p p, E R R L B P In C o n c e rt w ith the U n iv e rsity o f Illin o is S y m p h o n ic B a n d. U n iv e rs ity o f Illin o is S y m p h o n ic B a n d, M. H in d sle y. R e c o rd # 3 2. P ra irie O vertu re. U n ited S tates A ir F o rce M o b ility C o m m a n d B an d (A m e ric a 's B a n d in B lu e ), P. C h e v e lla rd, 1992.

339 3 3 0 R o b e rt W ard: F estive O de, P ra irie O verture, In v o c a tio n a n d T o cca ta f o r O rch estra, S a c r e d S o n g s f o r P a n th eists, E u p h o n y f o r O rchestra. P o lish R a d io O rc h e stra, B. W o d ic z k o, B a y C itie s, In c. B C B [o rc h e stra v e rsio n ] R o b e r t W a rd : N ig h t F a n ta sy. T h e K e y sto n e W in d E n se m b le, J. S ta m p, C ita d e l (K la v ie r) C T D R o b e r t W ard: P ra irie O verture, F a n ta sia f o r B r a s s C h o ir a n d T ym pani, In v o c a tio n a n d T o cca ta, F e stiv e O de. P o lish R a d io O rc h estra, B. W o d ic z k o, M u sic a l H e rita g e S o c ie ty M H S [o rc h e stra v ersio n ] N i g h t F a n t a s y P rem iere: J u n e 2 0, 1962 T h e G o ld m a n B an d R ic h a rd F ran k o G o ld m a n C e n tra l P a rk M all N e w Y o rk, N e w Y o rk In stru m en tatio n : c o n c e it band P u b lish er/d ate: H ig h g a te P re ss/e. C. S c h irm e r, (H P 27) A vailability: S core: in p rin t fu ll, tra n sp o se d c o n d e n s e d, sco re in C L evel o f difficu lty : G ra d e 4 D uration: c. 4 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : T h e G o ld m a n B an d d e d ic ate d to th e m e m o ry o f E d w in F ra n k o G o ld m a n in c lu d e d in sco re A q u ie t and c o n te m p la tiv e w o rk ro o te d in a b lu e s sty le, N ig h t F a n ta sy is in th re e sectio n s. T h e first sectio n fe a tu re s an e x te n d e d ly rical so lo fo r tru m p e t 1 in a b lu e s settin g, s u p p o rte d b y s p lit-th ird h a rm o n ie s in th e lo w w o o d w in d s. F a n ta sia-lik e m u sic m a rk e d p o c o a n im a to is fo u n d in th e se c o n d sectio n. T h is m u sic e v e n tu a lly re tu rn s in th e la st sectio n to th em atic m aterial fro m th e o p e n in g tru m p e t solo. T h e w o rk w ill re q u ire sen sitiv e p la y in g fro m all p la y e rs in th e q u ie t o u te r sectio n s. A sp ecia l c o n c e rn fo r b a la n ce

340 331 S ele c tiv e B ib lio g rap h y : a b o u n d s as W a rd la y e rs a n u m b e r o f m u sic a l id e a s sim u lta n e o u sly. In to n a tio n w ill also re q u ire sp ecia l atten tio n as th e w o rk tra v e ls th ro u g h d iffic u lt to n a l c e n te rs (A m a jo r a n d B m a jo r) as w ell as e n c o m p a ssin g th e b lu e s-b a se d h a rm o n ie s. B e lse r, R o b e rt S. "O rig in a l W o rk s fo r C o n c e rt B a n d P re m ie re d o r C o m m is sio n e d b y E d w in F ra n k o G o ld m a n, R ic h a rd F ra n k o G o ld m a n, and th e G o ld m a n B a n d " U n p u b lish e d D M A d isse rta tio n, T h e U n iv e rs ity o f Io w a, K re itn e r, K e n n e th. R o b e r t W a rd : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1988).. R o b e r t W a rd : A B io -B ib lio g ra p h y S u p p le m e n t. (D u rh a m, N o rth C a ro lin a, 1990). L e ste r, N o el. "R ich a rd F ra n k o G o ld m a n an d th e G o ld m a n B an d," J o u rn a l o f B a n d R e s e a r c h, X X IV /1 (fall, 1988), S electiv e D isco g rap h y : R o b e r t W a rd : N ig h t F a n ta sy. T h e K e y sto n e W in d E n s e m b le, J. S tam p, C ita d e l (K la v ie r) C T D Fiesta P rocessional P rem iere: M a y 17, 1967 Ith a c a H ig h S c h o o l B an d F ra n k B a ttisti, c o n d u c to r F o rd A u d ito riu m Ith aca C o llege Ith a c a, N e w Y o rk In stru m entatio n : c o n c e rt b and h p o r p n o P u b lish er/d ate: H ig h g a te P re ss/e. C. S c h irm e r, 1969 (H P 68) A vailability: S co re: in p rin t fu ll, tra n s p o se d c o n d e n se d, sco re in C L ev el o f difficulty: G ra d e 4 + D uration: c

341 3 3 2 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m entary : Ith a c a H ig h S c h o o l B an d F ra n k B a ttisti, c o n d u c to r in c lu d e d in sco re A fte r a s o m b e r in tro d u ctio n, th is w o rk b e c o m e s fe stiv e a n d p la y fu l, fe a tu rin g in te re stin g, s o m e w h a t u n p re d ic ta b le m e lo d ie s. A lo n g sectio n in 7 /8 ( ) o v e r a p e d a l p o in t, w h ic h p ro v id e s a rh y th m ic c h a lle n g e fo r y o u n g e r p la y e rs, arriv e s at a v e ry re w ard in g c lim a x. T h e c o m e ts a re re q u ire d to trip le to n g u e six te e n th n o te trip le ts a t a fa st tem p o. T h e w o o d w in d s e n c o u n te r so m e tric k y m e lo d ic lin e s. C la rin e t 1 a n d c o m e t 1 h a v e b rie f so lo s, a n d th e e u p h o n iu m s, tu b a s an d lo w w o o d w in d s h a v e c h a lle n g in g, q u ic k m e lo d ic lin es. A n a c c e le ra n d o p o c o a p o c o b rin g s th e w o rk to an excitin g c o n c lu sio n. S ele c tiv e B ib lio g raphy: K re itn e r, K e n n e th. R o b e r t W a rd : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1988).. R o b e r t W a rd : A B io -B ib lio g ra p h y S u p p le m e n t. (D u rh a m, N o rth C a ro lin a, 1990). N o rc ro ss, B ria n. O n e B a n d th a t T o o k a C h a n ce: T he Ith a c a H ig h S c h o o l B a n d fr o m D ir e c te d b y F r a n k B a ttisti. (F t. L a u d e rd a le, F lo rid a : M e re d ith M u sic P u b lish in g, ), 9 2. S electiv e D isco g rap h y : M id w e s t B a n d a n d O rc h e stra C lin ic. N o rth s h o re C o n c e rt B an d, J. P a y n te r, G o ld e n C re s t M I D R o b e r t W a rd : N ig h t F a n ta sy. T h e K e y sto n e W in d E n s e m b le, J. S tam p, C ita d e l ( K la v ie r)c T D Antiphony fo r Winds P rem iere: A p ril 3 0, 1967 N atio n al M u sic C am p T h e Y o u th S y m p h o n y o f K a n sa s (w in d a n d p e rc u ssio n sectio n s) J a c k L. H e rrim a n, c o n d u c to r In te rlo ch e n, M ich ig an In stru m entatio n : c o n c e rt b and P u b lish er/d ate: H ig h g a te P re ss/e. C. S c h irm e r, 1973

342 333 A vailability: S core: in p rin t fu ll, tra n s p o se d L ev el o f difficulty : G ra d e 44- D uration: c. 5 '3 0 C o m m issio n : P ro g ra m N o te : P e rfo rm a n c e C o m m en tary : Jack L. H e rrim a n a n d Jam e s F u n k h o u s e r fo r T h e Y o u th S y m p h o n y o f K a n sa s C ity in c lu d e d in sco re T h e o rig in a l v e rsio n fo r o rc h e stra l w in d s an d p e rc u ssio n is sh o w n in th e sco re u sin g larg e n o te h e a d s, e n a b lin g a p e rfo rm a n c e in its o rig in al m o d e. S m a lle r n o te h e a d s are u sed to ad d th e p a rts w h ich flesh o u t th e s c o re to fu ll c o n c e rt b a n d in stru m e n ta tio n. S e lectiv e B ib lio g raphy: T ru e to its title, th e w o rk c en ters o n alte rn a tin g v a rio u s m u sic al m a te ria ls b e tw e e n th e w o o d w in d a n d b ra ss sectio n s o f th e b an d. T h e p e rc u ssio n w ritin g is ra th e r s p a rse a n d n o t n e a rly as d e m a n d in g as th at fo r th e w o o d w in d s a n d brass. T h e w o rk o p e n s w ith b rillia n t u n iso n w ritin g fo r th e w o o d w in d s w h ic h is te c h n ically c h alle n g in g. E x te n d e d p a ssag e s o f u n iso n p la y in g a c ro ss th e w o o d w in d sectio n also o c c u r la te r in th e piece. T h e w o rk a lte rn a te s b e tw een sectio n s in 12/8 a n d 3 /4 w h ich m a in ta in th e s a m e b asic p u lse unit. T h e re is a b e a u tifu lly sc o re d sectio n fo r b ra ss c h o ir in th e m id d le o f th e w o rk. T h e p ie c e is to n a l b u t c o v e rs a w id e ra n g e o f c h a lle n g in g k e y cen ters. T h e e n d in g is in a fa st 3 /4, d o n e o n e -to -a -b a r w ith an b rie f a c cele ra n d o p o c o a p o c o c a rry in g th e m u sic to m u sic in 6 /4 d o n e in tw o b e a ts to th e bar. In stru m e n ta l ra n g e s are m o d e ra te ly c h a llen g in g. K re itn e r, K e n n eth. R o b e r t W a rd : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1988).. R o b e r t W a rd : A B io -B ib lio g ra p h y S u p p le m e n t. (D u rh a m, N o rth C a ro lin a, 1990). S electiv e D isco g rap h y : R o b e r t W a rd : N ig h t F a n ta sy. T h e K e y sto n e W in d E n se m b le, J. S tam p, C ita d e l (K la v ie r) C T D

343 3 3 4 Four Abstractions fo r Band 1. Jagged Rhythm s in Fast Tempo 2. Color M asses and Luminous Lines in Dark Blue 3. Curves and Points o f Light in Motion 4. Interw eaving Lines P rem iere: M a y 13, 1977 O a k w o o d H ig h S c h o o l B an d F re d e ric k W a lk e r, co n d u c to r D a y to n, O h io In stru m e n ta tio n : c o n c e rt b an d p n o, c e l, h p P u b lish er/d ate: H ig h g a te P re ss/e. C.S c h irm e r, 1981 A vailability: S co re: in p rin t fu ll, tra n sp o se d L evel o f difficulty : G ra d e 5 D u ration: c. 1 4 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : O a k w o o d H ig h S c h o o l B an d F re d e ric k W a lk e r, c o n d u c to r D a y to n, O h io in c lu d e d in sco re T h is w o rk is a re fle c tio n o f W a rd 's in te re s t in th e p a in tin g sty le s o f K a n d in sk y, K le e and M iro. T h e first m o v e m e n t is a re w o rk in g o f W a rd 's p re v io u s w o rk fo r b a n d Music for a Great Occasion, w h ic h has sin ce b e en w ith d ra w n. It fe atu res im itativ e e n tran ces, an ex te n d ed sectio n in 7/8 ( ), a n d ra p id six te e n th n o te p a ssag e s. I t w o u ld stan d w ell if p e rfo rm e d alo n e. (T he first an d fo u rth m o v e m e n ts are p u b lish e d se p a ra te ly and th e seco n d and th ird m o v e m e n ts are p u b lish e d to g e th e r). T h e se c o n d m o v e m e n t co n ta in s w o n d e rfu lly im p ressio n istic w ritin g fo r b an d, h ig h lig h te d b y ro c k in g h a rm o n ie s in th e w o o d w in d s o v e r su sta in e d c h o rd s fro m th e c o n ic a l b rass. T h e re is an im p o rta n t h a rp p a rt w h ic h is c ro ss-c u e d in to th e p ia n o part. T h e h a rp and c eleste are fe a tu re d in th e th ird m o v e m e n t, w h ic h is sco red tra n sp aren tly. A sch e rz o m id d le sectio n in 12/8 p ro v id e s a b it o f te c h n ic s c h allen g e. T h e last m o v e m e n t c o n ta in s an o ff-stag e so lo fo r tro m b o n e 1, fo llo w e d b y a p a ssa g e fo r h o rn s, tro m b o n e s and tu b a. T h e re is also a b rie f so lo fo r c o rn e t 1. A fo u r-v a lv e

344 335 e u p h o n iu m is n e ed e d as a lo w B n a tu ra l b e lo w th e s ta ff is w ritten. A g lo rio u s fin a l sta te m e n t fo r fu ll b ra ss c h o ir h elp s b rin g th e w o rk to a c lo se. T h ro u g h o u t th e e n tire p ie c e th e p e rc u ssio n sectio n is treated in a s ta n d a rd fa sh io n. S ele c tiv e B ib lio g rap h y : K re itn e r, K e n n e th. R o b e r t W a rd : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n ecticu t: G re e n w o o d P re s s, 1988).. R o b e r t W a rd : A B io -B ib lio g ra p h y S u p p le m e n t. (D u rh a m, N o rth C a ro lin a, 1 990). S electiv e D isco g rap h y : R o b e r t W a rd : N ig h t F a n ta sy. T h e K e y sto n e W in d E n se m b le, J. S ta m p, C ita d e l (K la v ie r) C T D Richard W ernick T h e D io c le tia n s P rem iere: 1959 In stru m en tatio n : c o n c e rt b and P u b lish er/d ate: M ills M u sic /M u sic M aste rs, 1961 (B ) A vailability: S core: in prin t c o n d e n s e d, sco re in C L ev el o f difficu lty : G ra d e 2 + D uration: c. 3 '3 0 C o m m issio n : P ro g ram N ote: P e rfo rm a n ce C o m m en tary : in fo rm atio n u n av ailab le in c lu d e d in sco re T h is w o rk is a s o m e w h a t c o m ic a l m a rc h w ritte n to s u g g e s t a p ro c e ssio n b y th e p o m p o u s R o m a n E m p e ro r D io c le tio n. M a rk e d "b risk ly," th e p ie c e is in c u t-tim e, fo llo w s a D.S. a l c o d a stru c tu re, and is q u ite to n a l, c e n te rin g o n th e k e y o f B ^ m ajo r. T h e rh y th m s are p rin c ip a lly d u p le in th e ir

345 3 3 6 S ele c tiv e B ib lio g rap h y : su b d iv isio n, w ith th e sm a lle st u n it b e in g a n e ig h th n o te. A n o c c a sio n a l trip le t in e ig h th n o te s a p p ears in th e b ra ss w h e n fa n fa re statem e n ts occu r. T h e ra n g e s are re a so n a b le fo r all in stru m en ts. T h e p rin c ip a l c h alle n g e lie s in th e e x te n siv e u se o f an e ig h th n o te su b d iv isio n in a b risk c u t-tim e settin g, b rie f e x c u rsio n s in to th e to n a l areas o f a n d C^5 m a jo r a n d e ^ m in o r, an d s h o rt c o n tra p u n ta l sectio n s. T h e w o rk is c le a rly e d ite d fo r articu latio n. R ic h a r d W e rn ic k. (B ry n M a w r, P e n n sy lv a n ia : T h e o d o re P re s se r, 1988). R o se, M ic h a e l A. "U n ity in D iv e rsity : T h e S y n th e sis o f C o m p o sitio n a l A p p ro a c h e s in R ic h a rd W e rn ic k 's V isio n s o f T e rro r a n d W o n d er." U n p u b lis h e d P h D d is se rta tio n, U n iv e rsity o f R o c h e ste r, S electiv e D iscograp h y : n o n e a v ailab le C h a n n u k a h F e s tiv a l O v e r tu r e P rem iere: 1962 In stru m en tatio n : c o n c e rt b a n d, w ith o p tio n a l S A T B c h o ru s, 2 p a rt b o y 's o r g irl's c h o ru s, o r u n iso n c h o ru s P u b lish er/d ate: M ills M u sic /M u sic M aste rs, 1962 (B ) A vailability: S core: in p rin t c o n d e n se d, s c o re in C L ev el o f difficu lty : G ra d e 2 + D uration: c. 3 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : in fo rm atio n u n availab le n o n e T h is w o rk c an also b e u sed in c o n ju n c tio n w ith o rc h e stra. It is an u n a ssu m in g settin g o f d ia to n ic fo lk tu n e s w h ic h are v ery "sin g ab le." T h e re is v e ry little e x p o se d w ritin g fo r in d iv id u a l in stru m e n ts o r sectio n s a n d o n ly o c c a sio n a l u se o f e a sy c h ro m a tic ism in th e su p p o rtin g h a rm o n ie s. T h e rh y th m s e m p lo y e d are v ery b a sic, w ith v e ry little u se o f

346 3 3 7 S e lectiv e B ib lio g raphy: sy n c o p a tio n. In stru m e n ta l ra n g e s a re re a so n a b le. T h e w o rk c e n te rs o n th e k e y s o f a n d F m a jo r. T h e c h o ru s p a rt is sh o w n b y "(c h o ru s in )" a n d "(c h o ru s o u t)" in d ic a tio n s only o n th e b a n d sco re, w ith n o te x t g iv en. C h o ru s p a rts a re av ailab le sep arately. "C o n te m p o ra ry M u sic P ro je c t C a ta lo g u e fo r B an d," Journal of Band Research, IV /2 (sp rin g, ), 4-5. Richard Wernick. (B ry n M a w r, P e n n sy lv a n ia : T h e o d o re P re s se r, 1988). R o se, M ic h a e l A. "U n ity in D iv e rsity : T h e S y n th e sis o f C o m p o sitio n a l A p p ro a c h e s in R ic h a rd W e m ic k 's Visions of Terror and Wonder." U n p u b lis h e d P h D d is se rta tio n, U n iv e rsity o f R o c h e ste r, S electiv e D isco g rap h y : n o n e availab le Snapshots fo r Band 1. W alking on Eggs 2. Waltz fo r a Black and White Cat P rem iere: 1963 B a y sh o re P u b lic S c h o o ls B a y sh o re, N e w Y o rk In stru m entatio n : c o n c e rt band P u b lish er/d ate: M ills M u sic /C P P -B e lw in, 1965 A vailability: S core: o u t o f p rin t fu ll, tra n s p o se d c o n d e n se d, s c o re in C L evel o f difficu lty : G ra d e 3 D uration: c. 3 '4 5 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : in fo rm atio n u n availab le n o n e T h e first m o v e m e n t, m a rk e d allegretto, fo llo w s a n A A 'B A stru c tu re, a n d h a s an e ig h t b a r re p e a te d m e lo d y as its b a sis

347 338 S electiv e B ib lio g raphy: d u rin g th e A sectio n s. T h e m u sic is to n a l (C m a jo r, m a jo r, E m a jo r, and re tu rn in g to C m a jo r) a n d th e m e lo d y d ia to n ic. T h e re is a b rie f solo fo r e u p h o n iu m. T h e p rin c ip a l c h alle n g e is in to n a tio n w ith in th e to n a litie s W e m ic k c h o se fo r th is m o v e m e n t. A slo w w a ltz in d a c a p o fo rm, th e s e c o n d m o v e m e n t is th in ly sco red, b e g in n in g w ith o n ly th e first flu te s a n d c la rin e ts. T h e re are so lo s fo r c o m e t 1 an d o b o e 1. T h e re is a d o u b le sh arp in th e a lto sa x o p h o n e 1 p art. T h e m o v e m e n t is in G m a jo r a n d C m ajo r, so o n c e a g a in an in to n a tio n a l c h a lle n g e exists. T h is w o rk w a s w ritte n w h ile W e m ic k w a s a c o m p o se r in re sid e n c e u n d e r th e C o n te m p o ra ry M u sic P ro je c t in B a y s h o re, N e w Y o rk. "C o n te m p o ra ry M u sic P ro je c t C a ta lo g u e fo r B an d," J o u rn a l o f B a n d R e s e a r c h, IV /2 (sp rin g, 1 968), 4-5. R ic h a r d W e m ic k. (B ry n M a w r, P e n n sy lv a n ia : T h e o d o re P re sse r, 1988). R o se, M ic h a e l A. "U n ity in D iv e rsity : T h e S y n th e sis o f C o m p o sitio n a l A p p ro a c h e s in R ic h a rd W e rn ic k 's V isio n s o f T e r ro r a n d W o n d er." U n p u b lis h e d P h D d is se rta tio n, U n iv e rsity o f R o c h e ste r, S electiv e D isco g rap h y : n o n e availab le S t u d ie s f o r E l e m e n ta r y B a n d 1. S tu d y # 1 I n t o n a t i o n s ( H o m a g e to A lb a n B e r g ) 2. S tu d y # 2 M is ts 3. S tu d y # 3 R o u n d s P rem iere: M a y, 1964 S u m m e r E x te n sio n C o u rse P o tsd am S tate C o lleg e B a y S h o re, N e w Y o rk In stru m entatio n : P u b lish er/d ate: A vailability: c o n c e rt b and s in g le ob a n d b n, no b sx, div. tu M ills M u sic /T h e o d o re P resse r, n o d a te rental

348 339 S co re: fu ll, tra n s p o se d L e v e l o f difficulty : G ra d e 2 + D uration: c. 3 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m entary : in fo rm a tio n u n av ailab le n o n e T h is in te re stin g w o rk w as w ritten w h ile W e rn ic k w a s a c o m p o se r in re sid en c e u n d e r th e C o n te m p o ra ry M u sic P ro je c t in B ay sh o re, N e w Y o rk. It is a tw e lv e to n e p ie c e th a t is v e ry c le v e r in its c o n stru ctio n and w h ic h co u ld fu n c tio n as a w o n d e rfu l te a ch in g to o l fo r an in stru c tio n a l u n it on th is ty p e o f m u sic. T h e sp a rse o rc h e stra tio n is a ty p ic al fo r th is le v e l o f d iffic u lty and p re sen ts th e b ig g e st ch allen g e in th e p iece. B rie f so lo s are fo u n d in th e flu te 1, B ^ c la rin e t 1, c o m e t 1, h o rn 1 an d tu b a p arts. T h e ra n g e s fo r all in stru m e n ts a re v e ry reaso n a b le, as a re th e rh y th m s. T h e c h ro m a tic w ritin g in h e re n t in a n y tw e lv e to n e w o rk w ill p la c e stro n g d e m a n d s on y o u n g p la y e rs. T h e first m o v e m e n t is o n ly fifte e n m e a su re s lo n g a n d it is in d e e d an in to n a tio n, as the p itch c la ss o f B ^ is th e o n ly o n e u sed. T h e d y n a m ic s ra n g e fro m p ia n o to fo r tis s im o a n d th e p lay ers o fte n n e ed to b e able to p ro d u c e a c le an a tta ck a t a p iano d y n am ic. A re tro g rad e o f th e rh y th m ic d e liv e ry o f th e first fo u r b a rs h a p p e n s d u rin g th e la s t fo u r b ars. T h e re is o n ly o n e m e a su re o f tu tti playin g. T h e seco n d m o v e m e n t em p lo y s th e e x a c t sam e rh y th m ic p la c e m e n t in all p arts as the first m o v e m e n t, as w e ll as th e sam e d y n a m ic sh ap in g. T h is m e a n s th e stu d e n ts d o n o t h a v e to le a m n e w c o u n tin g. T h e ir m u sic is d iffe re n t, h o w e v e r, as th e p itc h e s o f th e to n e ro w are n o w a p p lie d, w ith th e first tw e lv e e n tra n c e s sp ellin g o u t th e p rim e ro w. A re tro g ra d e o f th e ro w also occu rs. T h e h a rm o n ie s a re v e ry in te re stin g and aptly fit th e title o f th e m o v em en t. T h e fin a l m o v e m e n t fe a tu re s a fo u r b a r, tw e lv e c o u n t o stin a to (2 /4 / 3 /4 4 /4 3 /4 ) w h ic h le n d s its e lf n ic e ly to a s ta te m e n t o f th e to n e ro w in q u a rte r n o te s. E ach s u c c e ssiv e e n tra n c e o f th e b e g in n in g o f th e ro u n d in v o lv e s a n e w set o f in stru m e n ts and is n o t w h a t o n e e x p ects. E a c h e n tra n c e is a serial p e rm u ta tio n o f th e ro w, e ith e r a tra n sp o sitio n o f th e o rig in al ro w o r its re tro g rad e.

349 3 4 0 S e lectiv e B ib lio g raphy: "C o n te m p o ra ry M u sic P ro je c t C a ta lo g u e fo r B an d," J o u rn a l o f B a n d R e s e a r c h, IV /2 (s p rin g, ), 4-5. R ic h a r d W e rn ick. (B ry n M a w r, P e n n sy lv a n ia : T h e o d o re P re s se r, 1988). R o se, M ic h a e l A. "U n ity in D iv e rsity : T h e S y n th e sis o f C o m p o sitio n a l A p p ro a c h e s in R ic h a rd W e m ic k 's V isio n s o f T e r ro r a n d W o n d er." U n p u b lis h e d P h D d isse rta tio n, U n iv e rsity o f R o c h e s te r, S electiv e D isco g rap h y : n o n e availab le Charles W uorinen P ercu ssion Sym phony P rem iere: M a y 17, 1977 N e w J e rse y P e rc u s sio n E n se m b le C h a rle s W u o rin e n, co n d u c to r W illia m P a tte rso n S tate C o llege W a y n e, N e w Jerse y In stru m en tatio n : p (2 4 ) P u b lish er/d ate: C. F. P e te rs, 1976 ( ) A vailability: S core: rental fu ll, sco re in C L ev el o f d ifficulty: G ra d e 6 D uration: c. 4 2 '0 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n c e C o m m entary : N a tio n a l E n d o w m e n t fo r th e A rts F e llo w sh ip in fo rm atio n u n availab le T h is th ree m o v e m e n t, 12-to n e w o rk is a re fle c tio n o f W u o rin e n 's h ig h re g a rd fo r th e in stru m e n ts o f th e p e rc u ssio n fa m ily an d th e c o n trib u tio n th e y 'v e c o m e to m a k e in tw e n tie th c e n tu ry m u sic -m a k in g. T h e p ie c e illu stra te s a d e c re a se (fro m h is e a rlie r w o rk s) in th e le v e l o f d isso n a n c e e m p lo y e d, an in te re st in g a m e la n -lik e s o u n d s, and h is in c lin a tio n to u tilize re w o rk in g s o f e a rly m u sic. B e tw e e n th e

350 341 S e lectiv e B ib lio g raphy: m o v e m e n ts are tw o in terlu d es w h ic h are W u o rin e n tra n scrip tio n s o f a D u fa y settin g (c ) o f P e tra c h 's V e rg in e b e lla, th e first fo r p itc h e d in stru m e n ts w ith th e seco n d a d d in g n o n -p itc h e d p e rc u ssio n. T h e w o rk is rh y th m ic a lly v ery c h alle n g in g. A lth o u g h the sco re states 2 4 p la y e rs are n e ed e d, W u o rin e n e m p lo y e d 26 in th e p re m ie re re c o rd in g (six m a lle t p la y e rs, fo u r k e y b o ard p la y e rs, th re e tim p a n ists, and th irte e n b a tte ry p e rc u ssio n ists). In a d d itio n to m u ste rin g p e rc u ssio n ists, a m a ssin g th e p e rc u ssio n in stru m e n ts w ill b e a c o n c e rn, as tw e n ty d iffe re n t ty p e s o f in stru m e n ts are re q u ire d. B u rb a n k, R ic h a rd D. C h a rle s W u o rin e n : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1994). G a g n e, C o le, an d T ra c y C a ra s. "C h arles W u o rin e n," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o sers. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, 1982), R a p p o p o rt, P au l. "G u id e to R e c o rd s," A m e r ic a n R e c o r d G u id e, X L II/5 (M a rc h, 1979), 48. S c h w a rtz, E llio t, a n d B a rn e y C h ild s, ed. "A n In te rv ie w w ith B a rn e y C h ild s," C o n te m p o r a r y C o m p o se rs o n C o n te m p o r a r y M u s ic. (N ew Y o rk : H o lt, R in e h a rt and W in sto n, 1967), T a w a, N ic h o la s. A M o s t W o n d ro u s B a b b le: A m e r ic a n A r t C o m p o se rs, T h e ir M u sic, a n d the A m e r ic a n Scene, (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1987), W a tk in s, G le n n. S o u n d in g s: M u s ic in the T w e n tie th C e n tu ry. (N e w Y o rk : S c h irm e r B o o k s, ), 642. W u o rin e n, C h a rle s. C h a rle s W u o rin e n : P e rcu ssio n S y m p h o n y. N e w J e rse y P e rc u s sio n E n s e m b le, C. W u o rin e n, c o n d u c to r, N o n e su c h H , [record ja c k e t n o tes] S electiv e D isco g rap h y : C h a rle s W u o rin en : P e r c u s s io n S y m p h o n y. N e w J e rse y P e rc u s sio n E n s e m b le, C. W u o rin e n, c o n d u c to r, N o n e su c h H P e r c u s s io n M u sic. N e w J e rse y P e rc u ssio n E n s e m b le, C.W u o rin e n, N o n e su c h [C D d ig ita l re m a ste rin g o f N o n e su c h H ]

351 3 4 2 C oncertino P rem iere: F e b ru a ry 5, 1985 T h e W in d s o f P a rn a s su s A n th o n y K o rf, c o n d u c to r A lic e T u lly H a ll, L in c o ln C e n te r fo r th e P e rfo rm in g A rts N e w Y o rk, N e w Y o rk In stru m e n ta tio n : 2 (2 p ic ).2.4 (E b c l, b c l, BB*3 c b c l).2 (c b n )./ ; d b [ J (o p t.) P u b lish er/d ate: C. F. P e te rs, 1985 (P e te rs a ) A vailability: S core: rental fu ll, sco re in C L ev el o f difficulty : G ra d e 6 D uration: c. 1 6 '0 0 C o m m issio n : P ro g ra m N o te: P erfo rm a n ce C o m m entary : K o u sse v itsk y M u sic F o u n d a tio n D e d ic a te d to th e m e m o ry o f S erg e and N a ta lie K o u sse v itsk y in c lu d e d in sco re W u o rin e n states in h is sco re n o te th a t th is w o rk c an b e p e rfo rm e d in tw o w a y s: as w ritten, as an o rc h e stra p ie c e w ith a la rg e so lo g ro u p o f 14 w in d s an d a s trin g c o n tra b a ss, o r as a c h a m b e r w o rk, e ith e r o m ittin g th e rip ie n o strin g s a lto g e th e r o r re p la c in g th em w ith so lo strin g s. C o n certin o is a se ria lly -b a se d ato n a l w o rk in a sin g le m o v e m e n t. P erfo rm e rs w ill en c o u n te r a rh y th m ic a lly c o m p le x sco re w h e re it seem s th a t n e a rly every m e a su re is in a d iffe re n t tim e sig n atu re th an th e p re c ed in g b ar. T e m p o ra l re la tio n sh ip s flu c tu a te co n tin u o u sly b y m e a n s o f m e tric m o d u la tio n. W u o rin e n often in d ic a te s w ith a ra tio h o w m a n y p u lses sh o u ld b e su p erim p o se d o v e r th e n o rm a l n u m b e r o f b e a ts in a m e a su re (e.g. 7 :5 in 5/8 o r 5 :4 in 4 /8 ). A s w ith h is o th e r m a n u sc rip t sco res, th is o n e is d iffic u lt to read, d u e to its c a llig ra p h y and also h o w th e in stru m e n ta l p a rts are la id o u t o n th e sco re p a g e. R a n g e d e m a n d s, d y n a m ic c o n tro l an d a n g u la r w ritin g c o m b in e w ith th e rh y th m ic c h alle n g e s to p ro d u ce m u sic re q u irin g ad v an c e d level p layers.

352 343 S e lectiv e B ib lio g rap h y : B u rb a n k, R ic h a rd D. C h a rle s W u o rin e n : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1994). G a g n e, C o le, a n d T ra c y C a ra s. "C h a rle s W u o rin e n," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, ), K re sk y, J e ff. "A N e w Y o rk S c h o o l: T h re e G e n e ra tio n s o f C o m p o se rs," in P a r n a s s u s p la y s w o rk s b y S te fa n W o lp e, M a r io D a v id o v s k y, C h a rle s W u o rin en, E r ik L u n d b o rg, D a v id O la n. P a rn a s su s, A. K ro f, c o n d u c to r. N e w W o rld R e c o rd s N W 3 0 6, [re c o rd ja c k e t notes] S c h w a rtz, E llio t, a n d B a rn e y C h ild s, ed. "A n In te rv ie w w ith B a rn e y C h ild s," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u s ic. (N ew Y o rk : H o lt, R in e h a rt a n d W in sto n, 1967), S e lectiv e D isco g rap h y : n o n e a v ailab le W indfall P rem iere: N o v e m b e r 7, 1995 R u tg e rs C h a m b e r W in d s W illia m B erz, co n d u c to r R u tg e rs U n iv e rsity In stru m entatio n : 2, p ic. 2.2, b c l. 2, c b n./4.3 (in C ).2, b trb. e u p h. 1.; p (5 ) P u b lish er/d ate: C. F. P e te rs, 1995 (P e te rs ) A vailability: S core: rental fu ll, sco re in C L ev el o f difficulty : G ra d e 6 D uration: c. 7 '3 0 C o m m issio n : P ro g ra m N o te: P e rfo rm a n ce C o m m en tary : R u tg e rs U n iv e rsity in c lu d e d in sco re A stro n g, d e c la m a to ry sta te m e n t o p e n s th is w o rk, w h ic h fe a tu re s ag g re ssiv e m u sic th ro u g h o u t m o s t o f its d u ra tio n. M o m en ts o f q u ie t d y n a m ic a n d /o r rh y th m ic c alm are fe w and

353 3 4 4 o c c u r m a in ly in th e m id d le o f th is m u lti-se c tio n, sin g le m o v e m e n t w o rk. T h is is a d e m a n d in g p iece, re q u irin g a d v a n c e d p la y e rs o n all p arts. It is an ato n a l seria lly -d e riv e d c o m p o sitio n. L a rg e le a p s are c o m m o n, w ith the in te rv a ls o f a m a jo r sev e n th a n d m in o r n in th o c cu rin g freq u en tly. M o m e n ts o f m e tric m o d u la tio n, w h ic h p ro v id e te m p o ra l lin k a g e b e tw e e n m a n y o f th e stru c tu ra l sectio n s, are ra th e r trick y. P la y e rs e n c o u n te r p a ssag e s in th e e x te n d e d ra n g e s o f th e ir in stru m e n ts: fo r e x a m p le, o b o e 1 p la y s its h ig h F, tru m p e t 1 p la y s its h ig h E, h o rn 1 an d 3 p la y th e ir h ig h C and tu b a its lo w E ^. T h e w o rk at tim e s is re m in isc en t o f th e w in d w ritin g fo u n d in S tra v in sk y 's L e sa c re du p r in te m p s, e sp e c ia lly in th e s tro n g e r sectio n s. A d d itio n a lly, so m e o f th e m u sic a l g e stu res seem to h a v e b e en in flu en c e d b y th e w in d w ritin g o f V a rese. T h e p re m ie re o f th e w o rk w a s v e ry w e ll re c eiv e d, so m u c h so th a t a seco n d p e rfo rm a n c e o f th e w o rk w a s g iv en o n th e s a m e p ro g ram. It is n e c e ssa ry to h a v e th re e m a lle t p la y e rs in th e p e rc u ssio n sectio n. A set o f c ro ta le s is re q u ire d. A p ro m in e n t s o lo fo r tim p an i o ccu rs n e a r th e e n d o f th e piece. S e lectiv e B ib lio g raphy: B u rb a n k, R ic h a rd D. C h a rle s W u o rin e n : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1994). G a g n e, C o le, a n d T ra c y C a ra s. "C h a rle s W u o rin e n," S o u n d p ie c e s: In te r v ie w s w ith A m e r ic a n C o m p o se rs. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, ), K re sk y, Jeff. "A N e w Y o rk S c h o o l: T h re e G e n e ra tio n s o f C o m p o se rs," in P a rn a s su s p la y s w o rk s b y S te fa n W o lp e, M a r io D a v id o v sk y, C h a rle s W u o rin en, E r ik L u n d b o rg, D a v id O la n. P a rn a s su s, A. K ro f, c o n d u c to r. N e w W o rld R e c o rd s N W 3 0 6, [re c o rd ja c k e t notes] S c h w a rtz, E llio t, an d B a rn e y C h ild s, ed. "A n In te rv ie w w ith B a rn e y C h ild s," C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u s ic. (N e w Y o rk : H o lt, R in e h a rt and W in sto n, 1967), S electiv e D isco g rap h y : n o n e av ailab le

354 345 Ellen Taaffe Zwilich Ceremonies fo r Band 1. M aestoso Allegro 2. Lento (Elegy: In Memory o f Manley Whitcomb) 3. A llegro vivo P rem iere: M a rc h 3, F lo rid a S tate U n iv e rsity S y m p h o n ic B an d Jam e s C ro ft, c o n d u c to r A m e ric an B an d m aste rs A sso c ia tio n N a tio n a l C o n v en tio n T a lla h a sse e, F lo rid a In stru m entatio n : c o n c e rt band ssx, p ic t; 3 rd trb is b trb P u b lish er/d ate: M e rio n M u sic /T h e o d o re P re sse r, 1991 ( F ) A vailability: Score: in p rin t fu ll, tra n s p o se d L ev el o f d ifficulty: G ra d e 6- D uration: c. 1 8 '0 0 C o m m issio n : P ro g ram N o te: P erfo rm a n ce C o m m en tary : F lo rid a S tate U n iv e rsity S chool o f M u sic in c lu d e d in sco re P re m ie re d u n d e r th e title o f S y m p h o n y f o r W in d s, th is w o rk is a d ark, b ro o d in g p ie c e th a t is b o th te c h n ic a lly an d in te lle c tu a lly ch allen g in g. Z w ilich is n o t afra id to le t slo w m o v in g, m a ssiv e b lo c k s o f so u n d c o m m u n ic a te h e r id eas. T h e slo w m u sic is o c casio n ally in te rru p te d b y q u ic k m o v in g in te rje c tio n s and th e first an d la st m o v e m e n ts d o sp o rt sp irite d th e m e s fo r a sh o rt w h ile. T h e h a rm o n ie s are v e ry d e n se ly stru c tu re d. T h e first m o v e m e n t starts w ith a s lo w in tro d u c tio n, w h ic h is fo llo w e d by an aggre ssiv e a lle g ro. T h is m u sic is p ro p e lle d b y re ite ra te d six te e n th n o te fig u re s, u su ally u p w a rd risin g a rp e g g io s th a t are in tro d u ced in an a d d itiv e m a n n e r, as w ell as fo r te -p ia n o c h o rd s w h ich a re fo llo w e d b e cre scendos. T h e se c o n d m o v e m e n t is th in ly sc o re d a n d th e re is an e m p h a sis on th e c o n tra b a sso o n, B B ^ co n tra b a ss c la rin e t an d strin g c o n tra b a s s so n o rity. T h is is a n g u ish e d m u s ic fo r

355 346 S e lectiv e B ib lio g raphy: b an d. T h e fin a l m o v e m e n t a llo w s a b rie f re sp ite fro m the p re v a ilin g m o o d w ith an open in g a lle g ro v iv o c o n ta in in g s o m e m ix e d m e te r a n d g e n erally p o sse ssin g a "co n cert-in - th e -p a rk " a tm o sp h ere. T h is m u sic is ra th e r sh o rt-liv e d, h o w e v er, a n d a retu rn to the in itial m a e sto so m a te ria l b rin g s th e w o rk to a clo se. A 20" tim p a n o is re q u ire d (h ig h C ) a n d a t tim e s tw o tim p a n ists a re re q u ire d. T h e e n d u ra n c e o f th e b ra ss p la y e rs w ill b e ta x e d h e av ily. T h e s o p ra n o sa x o p h o n e p ro v id e s an im p o rta n t tim b re and is essen tial. L e P a g e, Ja n e W e im e r. W o m a n C o m p o se rs, C o n d u c to rs, a n d M u s ic ia n s o f th e T w e n tie th C en tu ry, Vol. II. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, 1983), P e te rso n, S te v e. "N ew M u sic R e v ie w s," T h e In s tr u m e n ta list, X L V I/8 (M a rc h, ), 46. S c h w a rz, K. R o b e rt. E lle n T a a ffe Z w ilic h. (N e w Y o rk : B ro a d c a s t M u sic, In c., ). Z aim o n t, Ju d ith L an g. T he M u s ic a l W o m a n : A n In te r n a tio n a l P e rsp ective, Vol. I l l ( ). (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, ), S electiv e D isco g rap h y : A m e r ic a n B a n d m a ste rs A sso c ia tio n N a tio n a l C o n ventio n. F lo rid a S ta te U n iv e rs ity S y m p h o n ic B an d, J. C ro ft, 1989.

356 A N A N N O T A T E D B IB L IO G R A P H Y A N D P E R F O R M A N C E C O M M E N T A R Y O f t h e w o r k s f o r c o n c e r t b a n d a n d w i n d o r c h e s t r a b y C O M P O S E R S A W A R D E D T H E P U L IT Z E R P R IZ E IN M U S IC , A N D A L IS T O F T H E IR W O R K S F O R C H A M B E R W IN D E N S E M B L E V O L U M E II by T im o th y Jo n M a h r A n e ssa y su b m itte d in p a rtia l fu lfillm en t o f th e re q u ire m e n ts fo r th e D o c to r o f M u sic a l A rts d e g re e in th e G ra d u a te C o lle g e o f T h e U n iv e rs ity o f Io w a D e c e m b e r 1995 E ssay su p e rv iso r: P ro fe sso r M y ro n D. W e lc h

357 3 4 7 C H A P T E R IV C O N C L U S IO N S A N D S U G G E S T IO N S F O R F U R T H E R R E S E A R C H

358 348 S p a n n in g m o re th a n a c e n tu ry, th e w o rk s fo r w in d s b y th e fo rty -tw o c o m p o se rs a w a rd e d th e P u litz e r P rize in M u sic p re sen t an in te re stin g a n d re v e alin g o v e rv ie w o f w in d w ritin g d u rin g th e p a st 104 y e a rs. F ro m th e fu n c tio n a l, y e t in n o v a tiv e e a rly m a rc h e s fo r b an d o f C h a rle s Iv e s ( ) to th e m a n y re c e n t p re m ie re s o f a rt m u sic fo r w in d s, a v e ry w id e ra n g e o f c o m p o sitio n a l sty le a n d e x p re ssiv e c o n te n t is re p re se n te d. N e a rly e v e ry c o m p o sitio n a l te c h n iq u e an d m u sic a l sty le o f th e p a st c e n tu ry m a k e s an a p p e a ra n c e in th is c o lle ctio n, and a fu ll v a rie ty o f m u sic al fo rm s are fo u n d. A n in c re d ib ly b ro a d s p e c tru m o f in stru m e n ta l c o m b in a tio n s e x ists w ith in th e se w o rk s, ra n g in g fro m th e in tim a te c h a m b e r w in d e n se m b le to th e fu ll c o n c e rt b an d. W h e n o n e c o n sid e rs th e se w o rk s, th e e m e rg e n c e o f th e p e rc u ssio n sectio n o v e r th e last o n e h u n d re d y e a rs as an e x p a n d e d, v ital m u sic a l fo rce is q u ite e v id e n t, p e rh a p s cu lm in a tin g in K a re l H u sa 's C o n certo f o r P e rcu ssio n a n d W in d E n sem b le a n d D e ja Vu b y M ic h a e l C o lg ra ss, a n d c e rta in ly atta in in g n e w h e ig h ts in C h a rle s W u o rin e n 's P e rcu ssio n S y m p h o n y. M o s t all le v e ls o f tech n ical a n d m u sic al d iffic u lty are p re sen t, en co m p assin g th e re la tiv e sim p lic ity o f th e w o rk s fo r y o u n g b an d o f N o rm a n D e llo Jo io an d R ich ard W e m ic k, as w e ll as th e d e m a n d in g c o m p le x ity o f w o rk s su ch as Jo se p h S c h w a n tn er's a n d th e m o u n ta in s risin g n o w h e r e, E llio tt C a rte r's P e n th o d e, D a v id D el T re d ic i's S y zy g y a n d th e T rip le C o n certo f o r C larinet, B a ss C la rin et a n d C o n tra b a ss C la rin et b y D o n ald M artin o. O n e fin d s w ith in th is c o lle c tio n w o rk s w h ic h h ave re c e iv e d to p h o n o rs. T h re e w o rk s fo r c h a m b e r w in d e n se m b le w e re a w ard e d th e P u litz e r P riz e in M u sic (N o ttu rn o b y D o n a ld M a rtin o, B e rn a rd R a n d s' C a n ti d e l S o le a n d G e o rg e P e rle 's W o o d w in d Q u in te t N o. 4 ), w h ile a n o th e r P u litz e r P riz e w o rk, C o lg ra ss' D e ja V u, w a s tra n s c rib e d fo r w in d s b y its c o m p o se r. H u sa 's C o n c e rto f o r W in d E n s e m b le and C o lg ra s s ' W in d s o fn a g u a l re c e iv e d th e p re stig io u s S u d le r P riz e fro m T h e Jo h n P h ilip S o u sa F o u n d a tio n. A d d itio n a lly, th e re is a c o n c e rt b a n d w o rk, S c e n e s fr o m the L o u v r e, w h ic h N o rm a n D e llo J o io d istille d fro m h is E m m y w in n in g te le v isio n sco re, an d a c h a m b e r w in d e n se m b le

359 349 w o rk, G e ra ld M c B o in g B o in g b y G a il K u b ik, w h ic h re c eiv e d a M o tio n P ic tu re A c a d e m y A w ard. T h e re su lts o f th is s tu d y e n a b le o n e to a sse ss th e atte n tio n g iv e n to th e w in d m e d iu m (as d e fin e d in th is stu d y ) as a w h o le b y th is g ro u p o f P u litz e r P riz e c o m p o se rs, tw e n ty -e ig h t o f w h o m a re still liv in g. A to tal o f w in d w o rk s w e re lo c a te d w h ic h m e t th e c rite ria fo r in c lu sio n in th is stu d y. O f th is to ta l, 139 c o n c e rt b a n d a n d w in d o rc h e stra w o rk s w e re a n n o ta te d (2 9 % ), a n d w o rk s fo r c h a m b e r w in d e n se m b le in v o lv in g fiv e to fo u rte e n in stru m e n ta lists (6 5.2 % ) w e re liste d. S e v e n te e n c o m p o sitio n s (3.5 % ) in v o lv e d m o re th an fo u rte e n p la y e rs and w e re in c lu d e d in th e to ta l n u m b e r o f 4 7 9, b u t n o t an n o tated. O f th e se sev e n te e n p ie c es, th irteen w e re c o n c e rt b a n d and w in d o rc h e stra w o rk s w ith d ra w n fro m circ u la tio n by th e ir c o m p o se rs a n d th e re fo re n o t an n o tated in th is stu d y. T h e re m a in in g fo u r w o rk s w e re fo r ja z z b an d o r ja z z e n se m b le and also d id n o t m e e t th e crite ria fo r a n n o ta tio n. E le v e n w o rk s (2.3 % ) w e re in c lu d e d in th e to tal n u m b e r o f 4 7 9, b u t a re lo st o r in c o m p le te a n d w ere n o t an n o tated. F in a lly, an a d d itio n a l 9 0 seco n d -p a rty tra n scrip tio n s o f w o rk s b y P u litz e r P riz e c o m p o se rs w e re fo u n d. T h e se tra n scrip tio n s w e re n o t c o u n te d in th e to tal o f 479. T h e n u m b e r o f w o rk s in each o f fo u r c a te g o rie s is p re sen te d in T a b le 1. L iste d b y c o m p o se r in alp h a b e tic a l o rd er, T a b le 1 in d ic a te s th e n u m b e r o f w o rk s w ritte n fo r c o n c e rt b a n d and w in d o rc h e stra w h ic h w e re a n n o ta te d, th e n u m b e r o f w o rk s fo r c h a m b e r w in d e n se m b le (n o t a n n o ta te d ), th e n u m b e r o f w ith d ra w n, lo st, in c o m p le te o r ja z z w o rk s (also n o t a n n o ta te d ), a n d th e to tal n u m b e r o f o rig in al w in d w o rk s. T h o s e w h o w ro te m o st fre q u e n tly fo r c o n c e rt b and and w in d o rc h e stra w e re N o rm a n D e llo Jo io, K a rel H u sa, H o w a rd H a n so n, W illia m S c h u m a n, a n d L e o S o w e rb y. It is also c le a r th at D o m in ic k A rg en to, G e o rg e C ru m b an d G ia n C a rlo M en o tti h a v e n o t u tilized th e c o n c e rt b an d o r w in d o rc h e stra fo r th e ir m u sic al outp u t. T a b le 2 p re sen ts th e

360 3 5 0 T a b le 1. N u m b e r o f A n n o ta te d W o rk s W ritte n fo r C o n c e rt B an d and W in d O rc h estra ; N u m b e r o f W o rk s W ritte n fo r C h a m b e r W in d E n sem b le ; W ith d ra w n, L o st, In c o m p le te and J a z z W o rk s; a n d th e T o tal N u m b e r o f W in d W o rk s C o m p o s e r C B A V O C W E W D L S I INC IZ lill ii S tep h en A lb e rt D o m in ic k A rg en to S am u el B a rb e r L e slie B assett W illiam B o lco m O i l E llio tt C arte r M ich ael C o lg ra ss A a ro n C o p la n d G e o rg e C ru m b M ario D a v id o v sk y N o rm a n D ello Jo io D av id D el T red ici Jaco b D ru c k m a n H o w a rd H a n so n Jo h n H a rb is o n K arel H u sa C h a rle s Iv e s L e o n K irc h n e r G a il K u b ik Jo h n L a M o n ta in e D o n ald M artin o G ian C arlo M en o tti D o u g la s M o o re G e o rg e P e rle W a y n e P eterso n W a lte r P isto n Q u in cy P o rter M el P o w ell S h u la m it R an B e rn a rd R an d s R o g e r R e y n o ld s N e d R o r e m W illiam S chum an Jo se p h S c h w a n tn e r R o g e r S e ssio n s L e o S o w e rb y V irg il T h o m so n E rn st T o c h R o b ert W ard R ic h ard W e m ic k

361 351 T a b le 1. co n tin u e d C o m p o se r C B A V O C W E W D L S T IN C J Z T o tal C h arle s W u o rin e n E llen T a a ffe Z w ilich Q T o tals to ta l w o rk s fo r c o n c e rt b an d a n d w in d o rc h e stra b y P u litz e r P riz e c o m p o se rs w h ic h w e re a n n o ta te d, liste d in d e sc e n d in g o rd e r fro m h ig h to lo w, as w e ll as th e to ta l n u m b e r o f w in d w o rk s b y e a c h c o m p o se r fo r c o m p a riso n. F ro m th e se fin d in g s, it b e c o m e s a p p a re n t w h ic h c o m p o se rs c o n trib u te d g re a tly to th e w in d m e d iu m o n th e w h o le, b u t w ro te p rim a rily fo r c h a m b e r w in d e n se m b le s. Jo h n H a rb iso n, N e d R o re m, Jo se p h S c h w a n tn e r, E rn st T o c h, E llio tt C a rte r, a n d R o g e r R e y n o ld s all w ro te o v e r ten w in d w o rk s, y e t c o m p o se d less th a n th re e w o rk s fo r c o n c e rt b a n d an d w in d o rc h e stra. It sh o u ld b e n o te d th a t H a rb iso n a n d S c h w a n tn e r a re e a c h p re sen tly c o m m issio n e d to c o m p o se a n o th e r c o n c e rt b an d w o rk. T a b le 3 p re sen ts in d e sc e n d in g o rd e r th e n u m b e r o f w o rk s fo r c h a m b e r w in d e n se m b le w h ile also listin g th e to ta l n u m b e r o f w in d w o rk s fo r e a c h co m p o se r. T a b le 4 lists th e to tal n u m b e r o f w in d w o rk s w ritten b y e a c h c o m p o se r in d e sc e n d in g ord er. M a n y w ith in th is c o lle ctio n o f c o m p o se rs u tiliz e d th e w in d m e d iu m v ery ra re ly w ith th e ir m u sic. It is su g g e ste d th a t fu rth e r re searc h b e c o n d u c te d in to th e u se o f th e w in d m e d iu m b y all o f th e P u litz e r P riz e c o m p o se rs, e sp e c ia lly in re g a rd to assessin g th e ir attitu d es to w a rd w ritin g fo r w in d s. T h is in fo rm a tio n w o u ld a id th o se in te re ste d in e x p a n d in g th e w in d re p e rto ire w ith c o m m issio n in g p ro je c ts and be o f in te re st to th o se w h o a re c o n cern ed w ith in c re asin g th e p ro fessio n al statu s a n d c ritical a c c e p ta n ce o f th e w in d m e d iu m.

362 3 5 2 T a b le 2. T o ta l N u m b e r o f A n n o ta te d W o rk s fo r C o n c e rt B a n d and W in d O rc h estra, L iste d in D e sc e n d in g O rd e r, C o m p a re d w ith T o ta l N u m b e r o f W in d W o rk s W o rk s fo r C o n c e rt B a n d T o ta l N u m b e r o f C o m p o se r a n d W in d O rc h e stra W in d W o rk s N o rm a n D e llo Jo io K a rel H u sa W illiam S ch u m an H o w a rd H a n so n 9 11 L eo S o w e rb y 9 16 A aro n C o p la n d 7 9 L eslie B assett V irg il T h o m so n 5 13 R o b e rt W ard 5 9 Jaco b D ru c k m a n 4 12 R ich ard W e m ic k 4 13 M ich ael C o lg ra ss 3 9 G ail K u b ik 3 12 W a lte r P isto n 3 9 B ern ard R an d s 3 18 C h arle s W u o rin e n S am u el B a rb e r 2 9 W illiam B o lco m 2 11 E lliott C arter 2 13 M ario D a v id o v sk y 2 8 D avid D el T red ici 2 7 Jo h n H a rb is o n 2 23 C h arle s Iv e s D o n ald M artin o 2 5 D o u g las M o o re 2 3 G e o rg e P e rle 2 14 W a y n e P e te rso n 2 8 S h u lam it R an 2 10 N ed R o rem 2 19 Jo se p h S c h w a n tn e r 2 14 E rn st T o c h 2 14 S tephen A lb e rt 1 8 L eo n K irc h n e r 1 5 Jo h n L a M o n tain e 1 3 Q u in cy P o rter 1 2 M el P o w ell 1 8 R o g e r R e y n o ld s 1 11 R o g e r S e ssio n s 1 1 E llen T a affe Z w ilich 1 6 D o m in ick A rg en to 0 8 G e o rg e C ru m b 0 1 G ian C arlo M en o tti 0 1

363 3 5 3 T a b le 3. T o tal N u m b e r o f W o rk s fo r C h a m b e r W in d E n se m b le, L iste d in D e sc e n d in g O rd e r, C o m p a re d w ith T o ta l N u m b e r o f W in d W o rk s W o rk s fo r C h a m b e r T o ta l N u m b e r o f C o m p o s e r W in d E n sem b le s W in d W o rk s C h a rle s W u o rin e n J o h n H a r b is o n N e d R o r e m B e rn a rd R a n d s J o se p h S c h w a n tn e r E rn st T o c h L e slie B assett E llio tt C arter K a rel H u sa G e o rg e P e rle R o g e r R e y n o ld s W illiam B o lco m 9 11 C h a rle s Iv e s D o m in ic k A rg en to 8 8 N o rm a n D ello Jo io 8 24 Jaco b D ru ck m an 8 12 G a il K u b ik 8 12 V irg il T h o m so n 8 13 S tep h en A lb e rt 7 8 S am u el B a rb e r 7 9 L e o S o w e rb y 7 16 R ic h ard W e m ic k 7 13 M ich ael C o lg ra ss 6 9 M ario D a v id o v sk y 6 8 W a y n e P e te rso n 6 8 M e l P o w ell 6 8 S h u lam it R a n 6 10 D avid D el T red ici 5 7 W a lte r P isto n 5 9 L eo n K irc h n e r 4 4 E llen T a affe Z w ilich 4 6 D o n ald M artin o 3 5 W illiam S chum an 3 14 R o b e rt W ard 3 9 A a ro n C o p la n d 2 9 H o w a rd H a n so n 2 11 G e o rg e C ru m b 2 2 Jo h n L a M o n ta in e 1 3 G ian C arlo M enotti 1 1 D o u g la s M o o re 1 3 Q u in cy P o rter 1 2 R o g e r S e ssio n s 0 1

364 3 5 4 T a b le 4. T o tal N u m b e r o f W in d W o rk s L iste d in D e sc e n d in g O rd e r C o m p o s e r T o tal W in d W o rk s C h a rle s W u o rin e n 34 N o rm a n D e llo Jo io 24 Jo h n H a rb is o n 23 K a re l H u sa 23 L e slie B assett 20 C h a rle s Iv e s 20 N e d R o re m 19 B e rn a rd R an d s 18 L e o S o w e rb y 16 G e o rg e P e rle 14 W illiam S chum an 14 J o se p h S c h w a n tn e r 14 E rn st T o c h 14 E llio tt C arter 13 V irg il T h o m so n 13 R ic h ard W e m ic k 13 Jaco b D ru c k m a n 12 G a il K u b ik 12 W illiam B o lcom 11 H o w a rd H a n so n 11 R o g e r R ey n o ld s 11 S h u la m it R an 10 S a m u e l B a rb e r 9 M ich a e l C o lg ra ss 9 A a ro n C o p la n d 9 W a lte r P isto n 9 R o b e rtw a rd 9 S tep h en A lb e rt 8 D o m in ic k A rg ento 8 M ario D a v id o v sk y 8 W a y n e P eterso n 8 M el P o w ell 8 D av id D el T red ici 7 E llen T a a ffe Z w ilich 6 D o n ald M artin o 5 L eo n K irc h n e r 5 Jo h n L a M o n tain e 3 D o u g la s M o o re 3 Q u in cy P o rter 2 G e o rg e C ru m b 1 G ian C arlo M en o tti 1 R o g e r S e ssio n s 1

365 355 A s tu d y o f th e w o rk listin g s in C h a p te r T w o in d ic a te s th a t a fe w c o m p o se rs w ro te fo r c o n c e rt b a n d and w in d o rc h e stra early in th e ir careers, m o st n o ta b ly S a m u e l B arb er, G a il K u b ik, and R ic h ard W e m ic k, o n ly to n e g le c t th e m ed iu m a fte r b e in g a w a rd e d th e P u litz e r P riz e in M u sic. O n e c o u ld su rm ise th a t th e n atio n al e x p o su re o f w in n in g th e p rize b ro u g h t lu c ra tiv e a n d p re stig io u s co m m issio n o ffers to th ese c o m p o se rs fro m p ro fessio n al o rc h e stra s, e n se m b le s a n d p e rfo rm e rs, a n d th a t th e o p p o rtu n itie s to w rite fo r w in d s th e n se e m e d le ss attractiv e. T h is p ro b a b le e x p la n a tio n is b u t a sin g u la r c o n trib u tin g v o ic e w ith in th e la rg e r call to actio n fo r all th o se in te re sted in w in d w ritin g to d e v elo p an effectiv e, c o n v in c in g m e a n s o f c o m m u n ic a tin g w h a t th e w in d m ed iu m c an o ffe r a c o m p o se r. M o st u n iv e risty an d colle g e w in d g ro u p s are ab le to devote m u ch m o re re h e a rsa l tim e to a n e w w o rk th a n is c o m m o n in m o st p ro fe ssio n a l sp h e re s, and p o sse ss ty p ic a lly a g e n u in e in te re st in n e w m u sic an d a stro n g d e sire to e x p a n d th e w in d re p e rto ire w ith q u a lity w o rk s. M a n y o f th e se w in d g ro u p s are w illin g and a b le to m a tc h th e siz e o f c o m m issio n o ffers m a d e by o th e r p ro fe ssio n a ls, u tilizin g a v a rie ty o f fu n d in g stra te g ies. T h e y are also ab le to g e n e ra te rep eat p e rfo rm a n c e s o f th e c o m m issio n e d w o rk m o re re a d ily. T h e le v e l o f qu ality w ith in th e c o m m issio n in g e n se m b le can b e v e ry h ig h, as to p -n o tch p e rfo rm e rs a re fo u n d in th e p ro fe ssio n a l b a n d s, as w e ll as m a n y c o lle g e a n d u n iv e rsity e n se m b le s. T h is le v e l o f q u a lity w ill o n ly im p ro v e as p e o p le a ct u p o n th e p erceiv ed need in th e w in d fie ld to e sta b lish ev en m o re p ro fe ssio n a l c o n c e rt b a n d s an d w in d orc h e stras. N in e P u litz e r P rize c o m p o se rs w ro te w o rk s fo r c o n c e rt b a n d a n d w in d o rc h e stra w h ic h th ey la te r w ith d re w fro m th e ir c atalo g s. T a b le 5 lists th e se c o m p o se rs, th e ir w ith d ra w n w o rk s a n d th e d a te o f c o m p o sitio n s fo r e a c h w o rk. T h e s e c o m p o se rs se e m in g ly v ie w ed th e c o n c e rt b a n d and w in d o rc h e stra m ed iu m as an a d e q u a te m e a n s o f e x p re ssin g th e ir m u sic al th o u g h ts at th e tim e th e ir w o rk s w e re w ritte n, b u t la te r d e cid ed fo r o n e re a so n o r a n o th e r to w ith d ra w th e ir w o rk s. L e slie B a ssett, K a re l H u sa, G e o rg e P e rle, W illia m S c h u m a n, R o b e rt W ard, and E llen T a a ffe Z w ilich did e v e n tu a lly w rite later, m o re

366 356 m a tu re w o rk s fo r c o n c e rt b an d o r w in d o rc h e stra, w h ile S h u la m it R an, N e d R o re m an d R ic h a rd W e rn ic k d id n o t re tu rn to th is m e d iu m to any g re a t ex tent. T a b le 5. W ith d ra w n W o rk s fo r C o n c e rt B a n d and W in d O rc h e stra C o m p o se r C o m p o sitio n D ate B a ssett S y m p h o n ic S k e tc h 1952 B a ssett S o n o ritie s and L in e s 1957 B a ssett S o u n d, D ru m s a n d T ru m p e ts 1974 H u s a M u siq u e p o u r H a rm o n ie 1951 P erle V a ria tio n s o n a W e lsh M elo d y, op P erle S y m p h o n y fo r B a n d, op R an T w o L o v e P o e m s 1969 R o rem O v e rtu re fo r G I's S c h u m a n A n n iv e rsary F a n fa re 1969 W ard M u sic fo r a G re a t O c casio n W ern ick C o n cert O v e rtu re 1962 W e m ic k T araw a: S cene an d E p ilo g u e fo r B a n d 1963 Z w ilich E ssay fo r B a n d 1964 In re c e n t y e ars, a fe w P u litz e r P rize c o m p o se rs h ave b e e n w ritin g fo r c o n c e rt b an d a n d w in d o rc h e stra w ith re g u la rity, esp e c ia lly if o n e also c o n sid e rs th e c o m m issio n e d w o rk s w h ich are in p ro g re ss at th e tim e o f th is w ritin g. D u rin g th e p a st d e c a d e, M ic h a e l C o lg ra ss, N o rm a n D e llo Jo io, Jaco b D ru c k m a n, Jo h n H a rb iso n, a n d W a y n e P e te rs o n h a v e w ritte n m o re th an o n e m a jo r w o rk fo r c o n c e rt b an d o r w in d o rc h e stra. A d d itio n a lly, W illia m B o lc o m, Jo h n H a rb iso n, K a rel H u sa, an d Jo se p h S c h w a n tn e r w ill all be p re m ie rin g a n e w w o rk fo r c o n c e rt ban d o r w in d o rc h e stra in th e n e x t fe w y ears. T h is s tu d y also sh e d s new lig h t o n o ld e r c o m p o sitio n s w h ic h w e re "h id in g " in re la tiv e o b scu rity. It is s u g g e ste d th a t th o se w o rk s b y G a il K u b ik, L e o S o w e rb y a n d E rn st T o c h w h ic h h a v e b e en g a th e rin g d u st, a fte r re c e iv in g few k n o w n, d o c u m e n te d p e rfo rm a n c e s, b e g iv e n sp ecia l a tte n tio n w h e n co n sid e rin g fu tu re p ro g ra m m in g. It w o u ld

367 357 a lso b e in te re stin g to in v e stig a te w h y th e se w o rk s fe ll in to o b scu rity. S c h o la rs lis t w o rk s fo r sm all b an d w ritte n b y C h a rle s Iv e s v ery e a rly in h is c a re e r w h ic h are n o w lo st. C o n tin u e d re searc h m a y p ro v e fru itfu l in fin d in g th e se lo st m a n u sc rip ts. I f th e w o rk s are lo cated, it is re c o m m e n d e d th a t p e rfo rm an c e e d itio n s be m a d e a v ailab le, and th a t p e rfo rm a n c e s o f all o f th e se fo rg o tte n w o rk s b e p ro g ra m m e d. T h e re searc h e x p o se s a g ro u p o f P u litz e r P riz e c o m p o se rs w h o h a v e n e g le c te d th e w in d m e d iu m to a la rg e e x te n t a n d w h o are still a ctiv e ly c o m p o sin g. T h is g ro u p in c lu d e s D o m in ic k A rg e n to, E llio tt C arte r, G e o rg e C ru m b, D av id D el T red ici, L e o n K irc h n e r, Jo h n L a M o n ta in e, D o n a ld M a rtin o, G ian C a rlo M en o tti, G e o rg e P erle, M el P o w e ll, S h u la m it R an, an d N e d R o re m. R ic h a rd W e m ic k w ro te six w o rk s fo r sc h o o l b a n d e a rly in h is c a re e r ( ), b u t h as n o t c o n trib u te d a w o rk to th e m e d iu m sin c e th en. It is re c o m m e n d e d th a t th e se c o m p o se rs be ap p ro a ch e d w ith c o m m issio n o ffe rs to c o m p o se w o rk s fo r c o n c e rt b a n d o r w in d o rc h e stra, a n d an e ffo rt b e m a d e to fin d o u t w h y th e y h a v e n e g le c te d th e w in d m ediu m. M a n y w o rk s fo r w in d s b y P u litz e r P riz e w in n in g c o m p o se rs w e re c re a te d a s a re su lt o f v isio n a ry c o m m issio n in g pro je c ts. C o n d u c to r E u g e n e G o o se n s c o m m is sio n e d fa n fa re s fo r th e C in c in n a ti S y m p h o n y O rc h estra to h e lp in sp ire a p a trio tic s p irit d u rin g W o rld W a r II. T h is p ro je c t led to th e c re atio n o f A a ro n C o p la n d 's F a n fa re f o r the C o m m o n M a n, H o w a rd H a n so n 's F a n fa re f o r th e S ig n a l C o rp s, W a lte r P is to n 's F a n fa re f o r the F ig h tin g F rench, L eo S o w e rb y 's F a n fa re (fo r A irm e n ) a n d F a n fa re f o r F ra n c e by V irg il T h o m so n, a m o n g m a n y o th e r fin e c o m p o sitio n s. S im ila rly, K a p p a K a p p a P si an d T a u B eta S ig m a, th e n atio n al b and frate rn ity an d so ro rity, h a v e also b e en in v o lv e d w ith re g u la r c o m m is sio n s o f w in d w o rk s. K a rel H u sa 's C o n c e rto f o r T r u m p e t a n d W in d O rc h e stra an d S o n g s o f A b e la r d by N o rm a n D e llo Jo io w e re w ritte n as p a rt o f th is series. It w a s d isco v e re d in w ritin g th is p a p e r th a t n e ith e r c o m m issio n in g p ro je c t h as b e e n th e

368 358 su b je c t o f serio u s re searc h. It is re c o m m e n d e d th a t th e se tw o p ro je c ts b e in v e stig a te d in d e p th, p ro v id in g an in fo rm a tiv e d e sc rip tiv e c a ta lo g o f th e w o rk s g en erated. In p re p a rin g th is stu d y, it b e cam e a p p a re n t th a t n early a th ird o f th e se P u litz e r P rize w in n in g c o m p o se rs h a v e re c eiv e d to d ate v ery little sch o la rly atten tio n, b io g ra p h ic a l s tu d ie s, in p a rtic u la r. F o r so m e, th is m a y be d u e to th e fa c t th a t, fo r v a rio u s re a so n s, th e ir m u sic did n o t g e n erate o r m a in ta in a b ro a d in te re st and ap p eal fo llo w in g th e b rie f n a tio n a l e x p o su re in v o lv e d w ith re c e iv in g th e P u litz e r P riz e in M u sic. O th e rs are re la tiv e ly y o u n g a n d ju s t recen tly c o m in g to natio n al p ro m in en ce. It is re c o m m e n d e d th a t fu rth e r research b e d o n e on th e liv e s an d m u sic a l a ctiv itie s o f S tep h en A lb e rt a n d G a il K u b ik, w h o h a v e p a ssed aw ay, as w e ll as th e c o m p o se rs still activ e w h o h ave re c e iv e d m in im a l sch o la rly attentio n. T h e se in clu d e W illiam B o lc o m, M ario D a v id o v sk y, D a v id D el T red ici, L e o n K irc h n e r, Jo h n L a M o n ta in e, W a y n e P e te rso n, M e l P o w e ll, S h u la m it R a n, B e rn a rd R an d s, a n d E llen T a a ffe Z w ilich. A lo n g the sam e lin es, it w a s fo u n d w h ile c o n stru ctin g th e sele c te d d isco g ra p h y th at 5 0 o f th e 139 w o rk s fo r c o n c e rt b a n d o r w in d o rc h e stra (3 6 % ) w ritte n b y c o m p o se rs a w ard e d the P u litz e r P rize in M u sic do n o t h a v e a re c o rd in g a v ailab le. It w o u ld b e w o rth w h ile and d e sirab le to h a v e at le a st o n e hig h q u a lity re c o rd in g o f e a c h o f th e se n e g le c te d w o rk s availab le fo r s tu d y an d e n jo y m e n t. C o n d u c to rs and e n se m b le s sh o u ld b e e n c o u ra g e d to p ro d u c e th e se re c o rd in g s. It is also re c o m m e n d e d th a t c o m p o se rs and p u b lish e rs m a k e th e sco res to th e se w o rk s re a d ily availab le fo r stu d y and p e rfo rm a n c e. It is a c o m m o n ly h eld b e lie f a m o n g w in d co n d u c to rs an d sch o lars th at th e p ro d u c tio n o f m a n y d iffe re n t high q u a lity re c o rd in g s o f each o f th e fin est w o rk s fo r c o n c e rt b a n d a n d w in d o rc h e stra is a v ital step to w ard esta b lish in g a tru e re p e rto ire in th is re la tiv e ly y o u n g m e d iu m. A n o th e r tren d m a d e e v id e n t in co n stru ctin g th e d isco g ra p h y is th e m a jo r c o n trib u tio n to th e w in d m e d iu m 's re c o rd e d le g a c y m a d e b y v a rio u s e n se m b le s.

369 359 P ro fe ssio n a l serv ic e b a n d s, as w ell as u n iv e rsity and c o lle g e e n se m b le s, s u c h as th e E a s tm a n W in d E n sem b le, th e U n iv e rsity o f Illin o is S y m p h o n y B a n d, th e U n iv e rsity o f M ic h ig a n S y m p h o n y B an d, th e C o rn e ll U n iv e rsity W in d E n se m b le a n d th e C in c in n ati C o lle g e -C o n serv a to ry W in d S y m p h o n y, h a v e all p la y e d an im p o rta n t ro le in m a k in g re c o rd in g s o f fin e w in d m u sic a v ailab le to in te re sted listeners. M a n y o f th e w o rk s fo r c o n c e rt b a n d an d w in d o rc h e stra a n n o ta te d in th is stu d y h a v e b e en a n a ly z e d by sch o la rs. T h e s e a n a ly se s h a v e e ith e r b e e n p u b lis h e d in te x tb o o k s a n d jo u rn a l a rtic le s, o r a p p e a r in u n p u b lish e d d o c to ra l d isse rta tio n s. It w o u ld b e su g g este d th a t sch o la rs, w h e n sele c tin g fu tu re a n a ly sis p ro je c ts, co n sid e r th e m a n y w o rk s w ith in th is c o lle ctio n w h ic h h a v e n o t b een th e su b je c t o f a d e tailed study. In c o m p ilin g th is c o lle ctio n o f w o rk s fo r w in d s w ritten b y P u litz e r P riz e c o m p o se rs, n u m e ro u s in trig u in g w o rk s fo r c h a m b e r w in d e n se m b le s u rfa c e d w h ic h m e rit fu rth e r in v e stig a tio n an d p e rfo rm a n c e. In o rd e r to aid sch o lars and c o n d u c to rs in th e ir s tu d y o f th e se w o rk s, it is su g g e ste d th a t a n n o ta tio n s be done o n th e c h a m b e r w in d e n se m b le w o rk s w h ich in v o lv e fiv e to fo u rteen in stru m e n ta l p e rfo rm e rs. D u e to th e la rg e n u m b e r o f w o rk s, th is c o u ld p e rh a p s be a c c o m p lish e d w ith m o re th a n o n e stu d y b y lim itin g th e p a ra m e te rs fo r in c lu sio n in any p a rtic u la r study. A n ad d itio n al p ro je c t is re c o m m e n d e d, w h ich w o u ld u tilize th e sam e c rite ria as th e p re s e n t stu d y b u t w o u ld fo c u s on th e w in d w o rk s in v o lv in g le ss th an fiv e p la y e rs w ritte n b y P u litz e r P riz e c o m p o se rs. T h is p ro je c t w o u ld illu stra te fu rth e r th e fu ll e x te n t o f th e in te re s t in w in d w ritin g h e ld b y th e se c o m p o se rs. T h e re d o e s n o t e x is t a sin g le so u rc e w h ic h d iscu sses a t le n g th th e c o m p o sitio n s a w a rd e d th e P u litz e r P riz e in M u sic. A stu d y sim ila r to th e p re sen t o n e, w h ic h w o u ld in c lu d e an an n o ta ted b ib lio g ra p h y an d p e rfo rm a n c e c o m m e n ta ry fo r e a c h a w a rd -w in n in g w o rk, as w e ll as p ro v id e in fo rm a tio n a b o u t th e ir c o m p o se rs, w o u ld b e a u s e fu l re searc h a n d e d u catio n a l tool.

370 3 6 0 F u rth e r re searc h sh o u ld b e d o n e to fill th e g a p s w ith in th e p re s e n t stu d y w h e re in fo rm a tio n w a s u n a v a ila b le a t th e tim e o f w ritin g. In g e n e ra l,th e se g a p s in v o lv e in fo rm a tio n a b o u t th e p re m ie re o f c e rta in w o rk s, th e sp ecific in stru m e n ta tio n o f a fe w c h a m b e r w in d e n se m b le c o m p o sitio n s, and in fo rm a tio n a b o u t th e c o n c e rt b a n d a n d w in d o rc h e stra sco res w h ic h w e re n o t accessib le. It is re c o m m e n d e d th a t a stu d y sim ila r to th is o n e b e d o n e o n th e c o m p o se rs a w a rd e d th e P u litz e r P riz e s in c e A sele c tiv e listin g o f o n ly th e c o n c e rt b an d and w in d o rc h e stra w o rk s o f th o se c o m p o se rs w h o re c e iv e d th e P u litz e r P riz e in M u sic in (T ab le 6) d e m o n stra te s h o w th is p ro je c t w o u ld n a tu ra lly c o n tin u e to ex p an d. H a v in g d e te rm in e d th e c o lle ctio n o f c o n c e rt b an d and w in d o rc h e stra w o rk s w ritten b y c o m p o se rs aw ard e d th e P u litz e r P rize in M u sic , it is in te re stin g to s e e h o w m a n y o f th ese c o m p o sitio n s are in c lu d e d in re c e n t sele c tiv e re p e rto ire lists o r h a v e b e en p ro g ra m m e d fo r p e rfo rm a n c e b y th e co n d u c to rs o f o n e o f o u r n a tio n 's le a d in g w in d e n se m b le s. E ig h te e n o f th e 139 w o rk s fo r c o n c e rt b a n d o r w in d o rc h e stra a n n o ta te d in th is s tu d y, re p re se n tin g ten P u litz e r P riz e c o m p o se rs, h a v e b een in c lu d e d on th e re c e n tly re le a se d In te rn a tio n a l.r e p e rto ire ( ) by the W o rld A sso c ia tio n o f S y m p h o n ic B an d s a n d E n se m b le s.39 T w e n ty -th re e o f th e 139 a n n o ta te d w o rk s, re p re se n tin g n in e P u litz e r P riz e c o m p o se rs, w e re in c lu d e d in K re in e s' M u s ic f o r C o n c e rt B a n d : A S e le c tiv e A n n o ta te d G u id e to B a n d L ite ra tu re ( )40, w h ile 2 0 w o rk s, w ritte n b y e ig h t c o m p o se rs, a re fo u n d in B e s t M u s ic f o r H ig h S c h o o l B a n d ( )41. T h e N a tio n a l B an d 3 9 \V A S B E In te rn a tio n a l R e p e rto ire F ra n k B attisti, e d ito r (W o rld A sso c ia tio n o f S y m p h o n ic B a n d s and E n s e m b le s, 1995). ^ J o s e p h K rein es. M u s ic f o r C o n c e r t B a n d : A S e le ctive A n n o ta te d G u id e to B a n d L ite ra tu re (T am p a: F lo rid a M u sic S erv ices, 1989). ^ T h o m a s D v o ra k, R o b e rt G re c h e fsk y, a n d G a ry M. C ie p lu c h. B e s t M u s ic f o r H ig h S c h o o l B a n d s: A S e le c tiv e R e p e rto ire G u id e f o r H ig h S c h o o l B a n d s a n d W in d E n s e m b le s (B ro o k ly n : M a n h a tta n B each, 1993).

371 361 T a b le 6. S e le c tiv e L ist o f W o rk s fo r C o n c e rt B an d and W in d O rc h e stra b y C o m p o se rs A w a rd e d th e P u litz e r P riz e in M u sic C h risto p h e r R o u se P u litz e r P rize in M u sic recip ien t! T h o r V ulcan G u n th e r S c h u lle r P u litz e r P riz e in M u sic recip ien t) D ip ty c h fo r B ra ss Q u in te t an d B an d F a n fa re fo r S t. L o u is In P ra is e o f W in d s Ju m p in g in th e F u tu re M editation P a ssa c a g lia P a v a n e fo r C o m e t a n d B an d S tu d y in T e x tu re s S y m p h o n y fo r B ra ss a n d P e rc u ssio n T h re e In v e n tio n s S y m p h o n y fo r L a rg e W in d O rc h estra S u ite fo r V io lin an d W in d E n sem b le M o rto n G o u ld P u litz e r P riz e in M u sic recip ien t! A m e ric an B allad s B allad fo r B an d C h e e rs C o n c e rta n te fo r V io la an d B an d D e riv a tio n s fo r C la rin e t and B an d E a ste r M o rn in g E p iso d e s fro m H o lo c a u st F a n fa re fo r F re e d o m T h e F irst N o e l T h e F irst T h a n k sg iv in g F o rm a tio n s F o u rth o f J u ly H o rsele ss C a rn a g e G a lo p Jeric h o R h a p so d y M in i-s u ite P rim a D o n n a P rism s R em em b ran c e D ay St. L a w re n c e S u ite S a n ta F e S ag a S a ra je v o S uite: R o y al H u n t S arajev o S uite: R o y al M arch S arato g a Q u ick step S y m p h o n y fo r B an d : W e st P o in t

372 3 6 2 A sso c ia tio n 's S e le c tiv e M u s ic L is t f o r B a n d s ( )42 in c lu d e s 3 2 o f th e c o m p o sitio n s a n n o ta te d in th is stu d y, fro m e le v e n c o m p o se rs. D u rin g its first fo rty y e a rs o f e x iste n c e ( ), th e E a stm a n W in d E n se m b le p e rfo rm e d th irty -sev e n o f th e 139 a n n o ta ted w o rk s fo r c o n c e rt b a n d o r w in d o rc h e stra, re p re se n tin g fifte e n c o m p o se rs w ith in th e s tu d y.43. A s few as e ig h te e n and as m a n y as th irty -sev e n w o rk s w e re fo u n d to b e in c lu d e d in th e listin g s c ite d a b o v e, re p re se n tin g a ra n g e o f 13% to % o f th e 139 w o rk s fo r c o n c e rt b a n d and w in d o rc h e stra a n n o ta te d in th is stu d y. It is p o ssib le th a t th e se fin d in g s p re sen t a n a ssessm e n t o f th e q u a lity o f th e e n tire 139 w o rk s ta k e n as a w h o le ; in o th e r w o rd s, o n ly th is relativ ely sm all p e rc e n ta g e o f th e total w e re d e em ed w o rth y fo r in c lu sio n in th ese s e le c tiv e listin g s. It sh o u ld b e a d d itio n a lly n o ted th a t th e w id e ra n g e in le v e l o f d iffic u lty o f th e 139 w o rk s c e rta in ly h ad an a ffe c t on th e se p e rc en ta g e s. O n th e o th e r h a n d, th e fin d in g s d o seem to in d ic a te a g eneral u n fa m iliarity w ith m a n y o f the w o rk s fo r c o n c e rt b an d or w in d o rc h e stra w ritten b y P u litz e r P riz e c o m p o se rs, w h ic h is c o m p o u n d e d b y th e la c k o f re a d y a v ailab ility h a u n tin g m a n y o f th e se w o rk s. T h e o v e rid in g a im o f th e p re sen t stu d y has been to o v e rc o m e th is u n fa m iliarity. It is h o p ed th e id e n tificatio n o f th e w in d w o rk s o f c o m p o se rs a w ard e d th e P u litz e r P riz e in M u sic, an d th e p re sen ta tio n o f th e se fin d in g s, c o m b in e d w ith p e rtin e n t su p p o rtin g in fo rm a tio n in to o n e accu m u la tiv e so u rce, w ill aid w in d co n d u c to rs a n d sch o la rs in th e ir a sse ssm e n t o f th e se c o m p o sitio n s an d lead to in c re a se d p e rfo rm a n c e s o f th e w o rk s. 4 2 S e le c tiv e M u s ic L is t f o r B a n d s, 2 n d re v isio n R ic h a rd S tra n g e, e d ito r (N a sh v ille, T e n n e sse e : N a tio n a l B an d A sso c ia tio n, 1990). ^ T h e W in d E n sem b le a n d its R e p e rto ire : E s sa y s o n th e F o rtie th A n n iv e r s a r y o f th e E a stm a n W in d E n se m b le F ra n k C ip o lla a n d D o n a ld H u n sb e rg e r, e d ito rs (R o c h este r, N e w Y o rk : U n iv e rs ity o f R o c h e s te r P re ss, ),

373 363 A P P E N D IX A W O R K S F O R C O N C E R T B A N D A N D W IN D O R C H E S T R A O R G A N IZ E D B Y C O M P O S E R C o m p o se r A lb ert B a rb e r B a rb e r B a ssett B a ssett B a ssett B a ssett B a ssett B assett B o lcom B o lco m C arte r C arte r C o lg ra ss C o lg ra ss C o lg ra ss C o p la n d C o p la n d C o p la n d C o p la n d C o p la n d C o p la n d C o p la n d D a v id o v sk y D a v id o v sk y D e llo Joio D ello Jo io D ello Jo io D e llo Jo io D ello Joio D ello Jo io D ello Jo io D ello Jo io D ello Jo io D ello Jo io D ello Jo io D ello Jo io T itle C a th ed ral M u sic: C o n certo fo r F o u r Q u artets C o m m a n d o M arch F u n e ra l M arch C o lo rs and C o n to u rs C o n c e rto G ro sso D e sig n s, Im a g e s and T e x tu res F a n ta sy L u lla b y fo r K irsten S o u n d s, S h a p e s an d S y m b o ls B ro a d sid e fo r B an d L ib erty E n lig h te n in g th e W o rld D o u b le C o n c e rto fo r H a rp sic h o rd and P ian o w ith T w o C h a m b e r O rc h estra s P e n th o d e A rctic D ream s D 6ja V u W in d s o f N a g u al E m b lem s In a u g u ra l F a n fa re M u sic fo r th e T h e a tre A n O u td o o r O v ertu re P ream b le fo r a S o lem n O ccasio n T h e R ed P o n y V a ria tio n s on a S h a k e r M elo d y C o n so rts P e n n p la y A ir P o w e r S u ite Aida and R o u la d e C accia C o lo n ia l B allad s C o n certan te T h e D an cin g S erg eant E v o c a tio n s: P ro m ise o f S p rin g F a n ta sie s on a T h e m e b y H a y d n F a n ta sies o n an O rig in al T h em e F ro m E v e ry H o riz o n M e ta p h ra se on L in es from S h a k e sp e a re A P ro c la m a tio n : "L et U s S ing A N e w S ong"

374 364 D ello Jo io S atiric D a n ces D e llo Jo io S c e n es fro m T h e L o u v re D ello Jo io S o n g s o f A b e la rd D ello Jo io V arian ts on a M ed ia e v al T u n e D el T red ici S y z y g y D el T red ici V in ta g e A lice: F anta sc e n e on "A M a d T e a P arty" D ru ckm an E n g ram D ru c k m a n In M e m o ria m V in c en t P ersich etti D ru c k m a n P aean D ru ck m an W ith B ells O n H a n so n C en ten n ia l M arch H a n s o n C h o ra le and A llelu ia H a n so n D ie s N a ta lis II H a n so n F a n fa re and C h o ra le fro m "L aude" H a n so n L aude: C h o ra le, V ariatio n s an d M e ta m o rp h o se s H a n so n S o n g o f D e m o c ra c y H a n so n S y m p h o n y N o. 7 "A S e a S y m p h o n y " H a n so n V a ria tio n s on a n A n c ie n t H y m n H a n so n Y o u n g P e o p le 's G u id e to th e S ix T o n e S c a le H a rb iso n M u sic fo r E ig h teen W in d s H a rb is o n T h re e C ity B lo c k s H u sa A1 F resco H u sa A n A m erican T e D eum H u sa A p o th e o sis fo r th e E arth H u s a C o n c e rtin o fo r P ia n o and W in d E n se m b le H u sa C o n c e rto fo r A lto S a x o p h o n e a n d B an d H u sa C o n c e rto fo r P e rc u ssio n and W in d E n s e m b le H u sa C o n c e rto fo r T ru m p e t an d W in d O rc h e stra H u s a C o n c e rto fo r W in d E n se m b le H u s a F e stiv e O d e H u s a M u sic fo r P ra g u e 1968 H u s a S m e ta n a F a n fa re Iv e s M arch In te rc o lle g ia te w ith A n n ie L isle Iv e s M arch: O m e g a L a m b d a C hi K irc h n e r C o n c e rto fo r V io lin, C ello, T e n W in d s a n d P e rc u ssio n K u b ik F a n fa re and M arch K u b ik F a n fa re fo r O n e W o rld K u b ik S tew b all: V a ria tio n s o n an A m e ric a n F o lk T u n e L a M o n tain e T e D e u m, O p. 35 M artino T rip le C o n c e rto fo r C la rin e t, B ass C la rin e t a n d C o n tra b a ss C la rin e t M artin o T h e W h ite Islan d M o o re F arm Jo u rn al: S u ite fo r C h a m b e r O rc h e stra M o o re T h e P e o p le 's C h o ic e P erle C o n c e rtin o fo r P ia n o, W in d s and T im p a n i P e rle S o le m n P ro c e ssio n P e te rso n A n d th e W in d s S h a ll B lo w P e te rso n T ra n sfo rm a tio n s P isto n C erem o n ial F an fare P isto n C o n c e rto fo r S trin g Q u a rte t, W in d In s tru m e n ts and P e rc u ssio n

375 365 P isto n T u n b rid g e F a ir P o rte r C o n c e rto fo r W in d O rch estra P o w e ll C ap riccio R an C h ic a g o S k y lin e R an E n se m b le s fo r S e v e n te en R a n d s aum R a n d s C erem o n ial R a n d s m esallian ce R e y n o ld s O n ly N o w, and A g a in R o rem L ift U p Y o u r H ead s: T h e A sc e n sio n R o rem S in fo n ia fo r 15 W in d In stru m e n ts S c h u m a n A m e ric an H y m n S c h u m a n T h e B a n d S o n g S c h u m a n B e G la d, T h e n A m e ric a S c h u m a n C h e ste r S c h u m a n D e d icatio n F an fare S ch u m a n G e o rg e W a sh in g to n B rid g e S ch u m a n A N e w sre e l in F iv e S h o ts S c h u m a n P re lu d e fo r a G re a t O ccasio n S c h u m a n W h e n Jesu s W e p t S c h u m a n T h e Y o u n g D e a d S o ld iers S c h w a n tn e r a n d th e m o u n ta in s risin g n o w h e re S c h w a n tn e r F ro m a D a rk M illenniu m S e s sio n s T h e T ria l o f L u c u llu s S o w e rb y A m e ric an R h ap so d y S o w e rb y C o m e s A u tu m n T im e S o w e rb y F a n fa re (fo r A irm e n ) S o w e rb y F a n ta sy on "In B ab ilo n e" S o w e rb y R e c ita tiv e and P ilg rim 's C h o ru s fo r th e P ilg rim T e rc e n te n ary P a g e an t S o w e rb y S p rin g O v e rtu re S o w e rb y T h re e -T h re e -T w o, F.A. S o w e rb y T ra m p in g T u n e S o w e rb y u n titled (F ield O v ertu re) T h o m so n A t T h e B each T h o m so n E d g e s...a P o rtra it o f R o b e rt In d ia n a T h o m so n M etro p o lita n M u se u m F anfare T h o m so n A S o lem n M u sic T h o m so n S tu d y Piece: P o rtra it o f a L ady T o ch S in fo n ie tta, O p. 97 T o ch S p ie l fiir B la so rc h e ste r, O p. 39 W ard A n tip h o n y fo r W in d s W ard F ie sta P ro c e ssio n a l W ard F o u r A b stra c tio n s fo r B an d W ard N ig h t F a n ta sy W a rd P rairie O v ertu re W e m ic k C h an u k a h F e stiv a l O v ertu re W e m ic k T h e D io cletians W e m ic k S n a p sh o ts W e m ic k S tu d ies fo r E le m e n ta ry B an d W u o rin e n C o n certin o

376 366 W u o rin e n W u o rin e n Z w ilich P e rc u s sio n S y m p h o n y W in d fall C e rem o n ies

377 367 A P P E N D IX B W O R K S F O R C O N C E R T B A N D A N D W IN D O R C H E S T R A O R G A N IZ E D B Y T IT L E T itle A ir P o w e r S u ite A1 F resco A n d th e W in d s S h a ll B lo w A m erican H y m n A m e ric an R h a p so d y A n A m erican T e D eu m a n d th e m o u n ta in s risin g n o w h e re A n tip h o n y fo r W in d s A p o th e o sis fo r th e E arth A rctic D ream s A ria an d R o u la d e A t T h e B each aum T h e B a n d S o n g B e G lad, T h e n A m e ric a B ro a d sid e fo r B an d C accia C ap riccio C ath ed ral M u sic: C o n c e rto fo r F o u r Q u a rte ts C en ten n ial M arch C e re m o n ia l F a n fa re C erem o n ial C e rem o n ies C h an u k a h F e stiv a l O v e rtu re C h e ste r C h ic ag o S k y lin e C h o rale a n d A llelu ia C o lo n ial B allad s C o lo rs and C o n to u rs C o m es A u tu m n T im e C o m m a n d o M arch C o n certan te C o n certin o fo r P ia n o an d W in d E n se m b le C o n c e rtin o fo r P ia n o, W in d s and T im p a n i C o n certin o C o n c e rto fo r A lto S a x o p h o n e and B a n d C o n c e rto fo r P e rc u ssio n a n d W in d E n se m b le C o m p o s e r D e llo Jo io H u sa P e te rso n S c h u m a n S o w e rb y H u sa S c h w a n tn e r W ard H u s a C o lg ra ss D e llo Jo io T h o m so n R a n d s S c h u m a n S c h u m a n B o lco m D e llo Jo io P o w e ll A lb ert H a n so n P is to n R a n d s Z w ilich W e m ic k S c h u m a n R an H a n s o n D e llo Jo io B assett S o w e rb y B a rb e r D e llo Jo io H u s a P erle W u o rin e n H u s a H u s a

378 368 C o n c e rto fo r S trin g Q u a rte t, W in d In stru m e n ts a n d P e rc u ssio n C o n c e rto fo r T ru m p e t an d W in d O rc h estra C o n c e rto fo r V io lin, C e llo, T e n W in d s and P e rc u ssio n C o n c e rto fo r W in d E n se m b le C o n c e rto fo r W in d O rc h e stra C o n c e rto G ro sso C o n s o rts T h e D a n cin g S e rg e a n t D ed icatio n F a n fa re DdjH V u D e sig n s, Im a g e s a n d T e x tu re s D ies N atalis II T h e D io cletians D o u b le C o n c e rto fo r H a rp sic h o rd a n d P ia n o w ith T w o C h a m b e r O rc h e stra s E d g e s...a P o rtra it o f R o b e rt In d ia n a E m b lem s E n g ram E n se m b le s fo r S e v e n te e n E v o c a tio n s: P ro m ise o f S p rin g F a n fa re an d C h o ra le fro m "L au d e" F a n fa re an d M a rc h F a n fa re (fo r A irm e n ) F a n fa re fo r O n e W o rld F a n ta sie s on a T h e m e b y H a y d n F a n ta sies o n an O rig in a l T h e m e F a n ta sy F a n ta sy o n "In B a b ilo n e " F arm Jo u rn al: S u ite fo r C h a m b e r O rc h e stra F estiv e O d e F ie sta P ro cessio n a l F o u r A b stra c tio n s fo r B a n d F ro m a D a rk M illenniu m F ro m E v e ry H o riz o n F u n e ra l M arch G e o rg e W a sh in g to n B rid g e In M em o riam V in c en t P ersichetti In a u g u ra l F a n fa re L aude: C h o ra le, V a ria tio n s and M e ta m o rp h o se s L ib erty E n lig h te n in g the W o rld L ift U p Y o u r H ead s: T h e A sc e n sio n L u lla b y fo r K irsten M arch In te rc o lle g ia te w ith A n n ie L isle M arch : O m e g a L a m b d a C h i m esallian ce M e ta p h ra se o n L in es fro m S h a k e sp e a re M etro p o lita n M u se u m F a n fa re M u sic fo r E ig h teen W in d s M u sic fo r P ra g u e 1968 M u sic fo r th e T h e a tre P is to n H u s a K irc h n e r H u s a P o rte r B a ssett D a v id o v sk y D e llo Jo io S c h u m a n C o lg ra ss B a s s e tt H a n s o n W e m ic k C a rte r T h o m so n C o p la n d D ru c k m a n R a n D e llo Jo io H a n s o n K u b ik S o w e rb y K u b ik D e llo Jo io D e llo Jo io B a ssett S o w e rb y M o o re H u s a W a rd W a rd S c h w a n tn e r D e llo Jo io B a rb e r S c h u m a n D ru c k m a n C o p la n d H a n s o n B o lc o m R o re m B a ssett Iv e s Iv e s R a n d s D e llo Jo io T h o m so n H a rb is o n H u s a C o p la n d

379 369 A N e w sre e l in F iv e S h o ts N ig h t F a n ta sy O n ly N o w, an d A g a in A n O u td o o r O v ertu re P a e a n P e n n p la y P e n th o d e T h e P e o p le 's C h o ic e P e rc u s sio n S y m p h o n y P rairie O v ertu re P re a m b le fo r a G re a t O c casio n P re lu d e fo r a G re a t O c casio n A P ro c la m a tio n : "L et U s S in g A N e w S o n g " R e c ita tiv e an d P ilg rim s C h o ru s fo r th e P ilg rim T e rc e n te n ary P a g e a n t T h e R ed P o n y S atiric D an ces S cen es fro m T h e L o u v re S in fo n ia fo r 15 W in d In s tru m e n ts S in fo n ie tta, O p. 9 7 S m e ta n a F a n fa re S n a p s h o ts A S o lem n M u sic S o le m n P ro c e ssio n S o n g o f D e m o c ra c y S o n g s o f A b e la rd S o u n d s, S h a p e s a n d S y m b o ls S p ie l fu r B la so rc h e ste r, O p. 39 S p rin g O v e rtu re S tew b all: V a ria tio n s o n an A m e ric a n F o lk T u n e S tu d ies fo r E le m e n ta ry B an d S tu d y P iece: P o rtra it o f a L a d y S y m p h o n y N o. 7 "A S e a S y m p h o n y " S y z y g y T e D e u m, O p. 3 5 T h re e C ity B lo c k s T h re e -T h re e -T w o, F.A. T ram p in g T u n e T ra n sfo rm a tio n s T h e T ria l o f L u c u llu s T rip le C o n c e rto fo r C la rin e t, B ass C la rin e t an d C o n tra b a ss C la rin e t T u n b rid g e F air u n titled (F ield O v ertu re) V arian ts on a M ed iaeval T u n e V a ria tio n s on an A n c ie n t H y m n V a ria tio n s o n a S h a k e r M elo d y V in tag e A lice: F a n ta sc e n e on "A M ad T e a P arty" W h e n Jesu s W e p t T h e W h ite Islan d W in d fall S c h u m a n W ard R e y n o ld s C o p la n d D ru c k m a n D a v id o v sk y C a rte r M o o re W u o rin e n W ard C o p la n d S c h u m a n D e llo J o io S o w e rb y C o p la n d D e llo Jo io D e llo Jo io R o re m T o c h H u s a W e m ic k T h o m so n P e rle H a n s o n D e llo Jo io B a ssett T o c h S o w e b y K u b ik W e m ic k T h o m so n H a n s o n D el T red ici L a M o n tain e H a rb is o n S o w e rb y S o w e rb y P e te rso n S e s s io n s M artin o P is to n S o w e rb y D e llo Jo io H a n s o n C o p la n d D el T red ici S c h u m a n M artin o W u o rin e n

380 3 7 0 W in d s o f N a g u a l W ith B e lls O n T h e Y o u n g D e a d S o ld iers Y o u n g P e o p le 's G u id e to th e S ix T o n e S c a le C o lg ra ss D ru c k m a n S c h u m a n H a n s o n

381 371 A P P E N D IX C W O R K S F O R C H A M B E R W IN D E N S E M B L E O R G A N IZ E D B Y C O M P O S E R N u m b e r o f C o m p o s e r T itle In stru m e n ta l P e rfo rm e rs A lb ert D istan t H ills 13 A lb ert F lo w e r o f th e M o u n ta in 12 A lb ert Illu m in a tio n s?? A lb ert In to E clip se 14 A lb ert S u n 's H e a t fro m " D ista n t H ills" 12 A lbert T o W ak e th e D ead 6 A lbert T reesto n e 14 A rg en to C h ris to p h e r S ly 14 A rg en to J o n a h and the W h a le 9 A rg en to L e t A ll th e W o rld in E v e ry C o m e r S in g 6 A rg en to T h e M asq u e o f A n g e ls 12 A rg en to P o stc ard fro m M o ro c c o 8 A rg ento T h e R e v e la tio n o f St. Jo h n th e D iv in e 13 A rg ento A W a te r B ird T a lk 12 A rg ento T h e S h o e m a k e r's H o lid a y 9 B a rb e r A d v en tu re 6 B a rb e r C h o ra le fo r A sc e n sio n D a y 8 B a rb e r A H a n d o f B rid g e, O p B a rb e r "H ap p y B irth d a y " v a ria tio n 12 B a rb e r M u tatio n s from B ach 12 B a rb e r A S to p w atch an d an O rd in a n c e M ap 9 B a rb e r S u m m e r M u sic 5 B assett C a n ta ta fo r C ity, N a tio n, W o rld 5 B assett C o n certo da C a m e ra 8 B a ssett E a ste r T rip ty ch 12 B a ssett M o o n rise 9 B a ssett N o n e t 9 B a ssett P ie rro t S o n g s 5 B a ssett Q uintet 5 B a ssett S alu te to C liff 5 B assett S e x te t fo r F lu tes, C la rin e ts and S trin g s 6 B a ssett W in d M u sic 6 B a ssett W o o d w in d Q u in te t 5 B o lco m 5 F o ld 5 6 B o lco m B rass Q u in te t 5 B o lcom D u ets fo r Q u in te t 5 B o lcom O ctet 8 B o lco m S e ssio n I 9

382 B o lco m S e ssio n III 5 B o lcom S e ssio n IV 9 B o lco m T h e a tre o f th e A b su rd 6 B o lco m W h isp e r M o o n 5 C arte r B irth d a y F a n fa re fo r S ir W illia m d o c k 's 7 0 th 5 C arte r B irth d a y F lo u rish 5 C arte r B ra ss Q u in te t 5 C arte r A F a n ta s y a b o u t P u rc e ll's " F a n ta sia U p o n..." 5 C arte r In S le e p, In T h u n d e r 14 C arte r A M irro r on W h ic h to D w ell 9 C arte r Q u in tet 5 C arte r S y rin g a 13 C arte r T h re e P o e m s o f R o b e rt F ro st 11 C arter T rip le D u o 6 C arte r W o o d w in d Q u in te t 5 C o lg ra ss C o n c e rtin o fo r T im p a n i w ith B ra ss & P e rc u ssio n 10 C o lg ra ss F a n ta sy v a ria tio n s 7 C o lg ra ss F la sh b a c k s 5 C o lg ra ss Q u in te t fo r P e rc u ssio n 5 C o lg ra ss T h re e B ro th e rs 9 C o lg ra ss W in d Q u in tet 5 C o p la n d C erem o n ial F an fare 11 C o p la n d F a n fa re fo r th e C o m m o n M an 14 C ru m b A n c ien t V o ices o f C h ild ren 7 C ru m b Q u e st 5 D a v id o v sk y In fle x io n s 14 D a v id o v sk y N o n e to 9 D a v id o v sk y S a lv o s 6 D a v id o v sk y S h ir H a -S h irim 9 D a v id o v sk y S y n c h ro n is m s N o. 5 5 D a v id o v sk y S y n c h ro n is m s N o. 8 5 D ello Jo io A n th o n y and C le o p a tra 8 D ello Jo io T h e L am en tatio n o f S aul 5 D ello Jo io M ass 11 D ello Jo io M a ss in H o n o r o f th e B le ssed V irg in M a ry 6 D ello Jo io P ro u d M u sic o f th e S to rm 10 D ello Jo io R efle c tio n s o n an O rig in al C h ristm a s T u n e 5 D ello Jo io T o St. C e c ilia 10 D ello Jo io Y e a rs o f th e M o d e m 11 D e lt re d ic i A c ro stic S o n g 11 D el T redici B ra ss S y m p h o n y 5 D el T redici H a d d o c k 's E y e s 10 D el T redici H eav y M etal A lice 5 D el T redici N ig h t C o n ju re V e rse 11 D ru ck m an A n im u s IV 6 D ru ck m an B o 5 D ru ckm an C o m e R o u n d 5 D ru ck m an D a n c e w ith S h a d o w s 5 D ru ck m an D a rk U p o n the H arp 7 D ru ck m an D e liz ie C o n te n te C h e l'a lm e B e a te 5 D ru ck m an In c e n te rs

383 D ru ck m an O th e r V o ices 5 H a n so n F a n fa re 13 H a n so n F a n fa re fo r th e S ig n a l C o rp s 14 H a rb is o n C h ristm a s V e sp e rs 5 H a rb is o n C o n fin e m e n t 12 H a rb is o n D eep P o to m a c B ells 10 H a rb is o n D u e L ib ri 8 H a rb is o n E x e q u ie n fo r C alv in S im m o n s 7 H a rb is o n F a n fa re fo r F o le y 's 14 H a rb iso n T h e F lo w e r F e d B u ffa lo s 7 H a rb iso n F ull M o o n in M arch 8 H a rb is o n L ittle F a n ta sy o n "T h e T w e lv e D a y s o f C h ristm a s" 5 H a rb is o n M a g n u m M y steriu m 5 H a rb is o n M ira b a i S o n g s 8 H a rb is o n T h e N a tu ra l W o rld 5 H a rb is o n N o c tu rn e 5 H a rb iso n O rg a n u m fo r P a u l F ro m m 5 H a rb iso n O v ertu re: M ich ael K o lh ass 12 H a rb is o n Q u in te t fo r W in d s 5 H a rb is o n R o t u n d W e iss 5 H a rb iso n S a m u e l C h a p te r 6 H a rb iso n T h e T h ree W ise M en 5 H a rb iso n T w o C h o ra le P relu d e s fo r A d v e n t 5 H a rb iso n W o rd s fro m P a te rso n 6 H u s a C an tata 5 H u s a C o n c e rto fo r B rass Q u in te t a n d S trin g s (P ia n o ) 6 H u s a D iv e rtim e n to fo r B ra ss and P e rc u s sio n 12 H u s a D iv ertim en to 5 H u s a F a n fa re 14 H u sa F iv e P o e m s 5 H u s a In trad a s and In te rlu d e s 7 H u s a In tra d a fo r B ra ss Q u in te t 5 H u sa L a n d scap e s 5 H u s a R eco llectio n s 6 H u s a S e re n a d e fo r W o o d w in d Q u in te t a n d P ia n o 6 Iv e s D ecem b er 12 Iv e s F ro m th e S te e p le s an d th e M o u n ta in s 9 Iv e s H o lid a y Q u ic k ste p 6 Iv e s M a rc h N o. 2, w ith A S o n g o f a G a m b o lie r 10 Iv e s M a rc h N o. 3, w ith M y O ld K e n tu c k y H o m e 10 Iv e s S ch erzo "O v er th e P av em en t" 9 Iv e s T h e S e 'e r 5 Iv e s T h re e H a rv e st H o m e C h o ra le s 10 Iv e s T h e U n a n sw e re d Q u e stio n 9 K irc h n e r F a n fa re II 5 K irc h n e r Illu m in a tio n s fo r B ra ss E n se m b le 9 K irc h n e r L ily 11 K irc h n e r M u sic fo r T w e lv e 12 K u b ik B en n ie th e B e a v e r (A C h ild re n 's T a le ) 12 K u b ik D iv e rtim e n to N o K u b ik D iv e rtim e n to N o

384 K u b ik F a n fa re fo r th e C e n tu ry 6 K u b ik G e ra ld M c B o in g B o in g 10 K u b ik A L itan y an d a P ra y e r 14 K u b ik P u ck : A le g e n d o f B eth leh em 10 K u b ik W o o d w in d Q u in te t 5 L a M o n tain e T h e L e sso n o f A d v e n t 7 M artino C o n certo fo r W in d Q u in te t 5 M artin o N o ttu m o 6 M enotti T h e U n ic o m, th e G o rg o n and th e M a n tic o re 9 M o o re W in d Q u in tet 5 P erle M u sic fo r A ris to p h a n e s ' "T h e B ird s" 6 P e rle N e w F a n fa re s 10 P e rle Q u in te t fo r W in d s N o. 1 5 P erle Q u in te t fo r W in d s N o. 2 5 P erle Q u in te t fo r W in d s N o. 3 5 P e rle Q u in te t fo r W in d s N o. 4 5 P erle S e re n a d e N o. 1 fo r V io la 10 P erle S e re n a d e N o P e rle S e re n a d e N o P e rle S e x te t fo r P ia n o and W in d s 6 P e te rso n A ria d n e 's T h re a d 7 P e te rso n D ip ty c h : A u b a d e, O d y ssey 6 P e te rso n E n c o u n te rs 9 P e te rso n J a n u s 10 P e te rso n M e ta m o rp h o se s 5 P e te rso n S extet 6 P isto n C a rn iv a l S o n g 11 P isto n D iv e rtim e n to fo r N in e In stru m e n ts 9 P isto n F a n fa re fo r th e F ig h tin g F ren c h 13 P isto n P salm and P ra y e r o f D a v id 7 P isto n W in d Q u in tet 5 P o rte r D iv e rtim e n to fo r W o o d w in d Q u in te t 5 P o w e ll D iv ertim ento 5 P o w e ll Im m o b ile 5 5 P o w ell S e ttin g?? P o w e ll S e ttin g s?? P o w e ll M in ia tu re s fo r B a ro q u e E n se m b le 6 P o w e ll W in d Q u in tet 8 R an C o n c e rto da C a m e ra II 5 R an D o u b le V ision 11 R an F a n fa re 5 R an M ed itatio n fo r a P ic k le from "T h e P ic k le S u ite"?? R an M irage 5 R an O T h e C h im n e y s 6 R an A P ra y e r 5 R a n d s A c tio n s fo r S ix 6 R a n d s "A s A ll G e t O ut" 14 R a n d s B allad 1 5 R a n d s C an ti L unatici 8 R a n d s C an ti del S o le 12 R a n d s C an ti d e ll'e c lissi

385 R a n d s deja 7 R a n d s ddja 2 8 R a n d s e ten d re M e m o lc 14 R a n d s F o rm a n ts 2 L a b y rin th 9 R a n d s M eta le p sis II 9 R a n d s S e re n a ta 75 8 R a n d s S o u n d P a tte rn s 2 7 R e y n o ld s A g ain 8 R e y n o ld s B lin d M en (M elv ille) 9 R e y n o ld s G a th e rin g 5 R e y n o ld s M istral 13 R e y n o ld s N o t O n ly N ig h t 5 R e y n o ld s P e rso n a e 8 R e y n o ld s Q u ic k are th e M o u th s o f E arth 13 R e y n o ld s S ig n a ls 12 R e y n o ld s T h e P ro m ise o f D a rk n e ss 10 R o rem A C h ild h o o d M iracle 13 R o rem C o n c e rtin a d a C a m e ra 8 R o rem D iv e rsio n s fo r B ra ss Q u in te t 5 R o rem E le v e n S tu d ies fo r E le v e n P lay ers 11 R o re m F a n fa re an d F lo u rish 5 R o rem H e arin g 8 R o rem H o m er: T h re e S c e n es fro m th e Ilia d 8 R o rem L ast D ay 9 R o rem P re se n t L a u g h te r 5 R o rem T h e R o b b e rs 13 R o rem T h e S ev en tieth P sa lm 7 R o rem S o le m n P re lu d e 11 R o rem T e D eum 5 R o rem A W h itm an C an tata 13 R o rem W in te r P a g e s 5 R o rem W o o d w in d Q u in te t 5 S c h u m a n A m e ric an H y m n 5 S c h u m a n D ances: D iv e rtim e n to fo r W in d Q u in te t & P erc 6 S c h w a n tn e r C an ticle o f the E v e n in g B ells 13 S c h w a n tn e r C o n so rtiu m II 6 S c h w a n tn e r D ista n t R u n es an d In can tatio n s 5 S c h w a n tn e r E lix e r (C o n so rtiu m V III) 6 S c h w a n tn e r E th erea 5 S c h w a n tn e r F a n fa re fo r D.H. 11 S c h w a n tn e r In A e te m u m (C o n so rtiu m IV ) 5 S c h w a n tn e r M u sic o f A m b e r 6 S c h w a n tn e r S p a rro w s 8 S c h w a n tn e r T h ro u g h In te rio r W o rld s 7 S c h w a n tn e r T o w e r P o w e r 5 S c h w a n tn e r W in d W illo w, W h is p e r 5 S o w e rb y B eh o ld, O G o d O u r D e fe n d e r 5 S o w e rb y C o m e, R ise n L o rd 6 S o w e rb y F e stiv al M u sic k 6 S o w e rb y O ld E n g lish S o n g s 7 S o w e rb y "P o p G o e s th e W e a sel" 5 375

386 3 7 6 S o w e rb y T h re e F a n fa re s 7 S o w e rb y W o o d w in d Q u in te t 5 T h o m so n B a rc a ro lle fo r W o o d w in d s 6 T h o m so n C an tan te s e a m u s 9 T h o m so n F a m ily P o rtra it 5 T h o m so n F a n fa re fo r F ra n c e 12 T h o m so n F a n fa re fo r P e a c e 7 T h o m so n O d e to th e W o n d e rs o f N a tu re 11 T h o m so n P a rso n W e e m s an d th e C h e rry T re e 13 T h o m so n S to c k to n F a n fa re 5 T o c h A n a b asis 7 T o c h C h a m b e r S y m p h o n y in F m a jo r 10 T o ch D ie O h in e s is c h e F lo te, O p T o ch D ie H e ilig e v o n U.S.A. (T h e S a in ts o f U.S.A.) 11 T o ch E g o n u n d E m ile, O p T o ch F iv e P ie c e s fo r W in d In stru m e n ts, O p T o ch M edea 7 T o ch M in ia tu r O u v ertiire 9 T o c h T a n z -S u ite, O p T o ch T u ra n d o t 6 T o c h W illiam T ell 9 W ard F a n fa re fo r D u rh a m 14 W ard F a n ta sia fo r B ra ss C h o ir a n d T im p a n i 12 W ard R aleig h D iv ertim ento 5 W e m ic k C o n c e rto fo r C e llo a n d T e n P la y e rs 11 W e m ic k F a n fa re fo r a F e stiv e O ccasio n 12 W e m ic k F a n ta sia "F u ll F a d o m F iv e" 12 W e m ic k H a ik u o f B a sh o 9 W e m ic k In tro its a n d C a n o n s 9 W e m ic k K a d d ish R e q u ie m 7 * W e m ic k M usaca P to lem e ic a 5 W e m ic k A P o iso n T re e 5 W u o rin e n A ra b ia F e lix 6 W u o rin e n A rch aeo p te ry x 11 W u o rin e n C a n z o n a fo r T w e lv e In stru m e n ts 12 W u o rin e n C h a m b e r C o n c e rto fo r V io lo n c e llo & T e n P la y e rs 11 W u o rin e n C h a m b e r C o n c e rto fo r F lu te an d T e n P la y e rs 11 W u o rin e n C h a m b e r C o n c e rto fo r O b o e 11 W u o rin e n C h a m b e r C o n c e rto fo r T u b a 14 W u o rin e n C o m p o sitio n fo r V io lin an d T e n In stru m e n ts 11 W u o rin e n D r. F a u stu s L ig h ts th e L ig h ts 6 W u o rin e n F a n fa re fo r R u tg e rs U n iv e rs ity 6 W u o rin e n G re a t P ro c e s sio n 6 W u o rin e n H y p e rio n 12 W u o rin e n In to th e O rg a n P ip e s an d S teeples 11 W u o rin e n In v e n tio n fo r P e rc u ssio n Q u in te t 5 W u o rin e n J o a n 's 5 W u o rin e n M o v em en t 5 W u o rin e n M u ^ tf d u a r u m p artiu m eccle siastic a 8 W u o rin e n Nevif Y o rk N o te s 6 W u o rin e n O ctet 8 «

387 W u o rin e n O n A llig ato rs 8 W u o rin e n T h e P o litic s o f H a rm o n y 14 W u o rin e n R in g in g C h a n g e s fo r P e rc u ssio n E n se m b le 12 W u o rin e n S a lv e R eg in a: Jo h n B u ll 14 W u o rin e n S ix S o n g s fo r T w o V o ic e s 6 W u o rin e n S p e c tru m 7 W u o rin e n S p e c u lu m S p eculi 6 W u o rin e n S u p e r S a lu te m 11 W u o rin e n W in d Q u in te t N o. 1 5 W u o rin e n W in d Q u in te t N o. 2 5 W u o rin e n W in d Q u in tet 5 W u o rin e n T h e W in d s 9 Z w ilich C h a m b e r C o n c e rto fo r T ru m p e t a n d 5 p la y e rs 6 Z w ilich C h a m b e r S y m p h o n y 6 Z w ilich In trad a 5 Z w ilich P a s s a g e s 7 377

388 378 A P P E N D IX D W O R K S F O R C H A M B E R W IN D E N S E M B L E O R G A N IZ E D B Y T IT L E N u m b e r o f In stru m e n ta l T itle C o m p o s e r P e rfo rm e rs 5 F o ld 5 B o lc o m 6 A c ro stic S o n g D el T red ici 11 A c tio n s fo r Six R a n d s 6 A d v entu re B a rb e r 6 A g ain R e y n o ld s 8 A m e ric an H y m n S c h u m a n 5 A n a b asis T o c h 7 A n c ie n t V o ices o f C h ild re n C ru m b 7 A n im u s IV D ru c k m a n 6 A n th o n y an d C le o p a tra D e llo Jo io 8 A rab ia F elix W u o rin e n 6 A rch aeo p tery x W u o rin e n 11 A ria d n e 's T h re a d P e te rs o n 7 B allad 1 R a n d s 5 B a rc a ro lle fo r W o o d w in d s T h o m s o n 6 B eh o ld, O G o d O u r D e fe n d e r S o w e rb y 5 B e n n ie the B e a v e r (A C h ild re n 's T a le ) K u b ik 12 B irth d a y F a n fa re fo r S ir W illia m G lo c k 's 7 0 th C a rte r 5 B irth d a y F lo u rish C a rte r 5 B lin d M en (M elville) R e y n o ld s 9 B o D ru c k m a n 5 B ra ss Q u in te t B o lc o m 5 B ra ss Q u in te t C a rte r 5 B ra ss S y m p h o n y D el T red ici 5 C an tan te s e a m u s T h o m so n 9 C an tata H u s a 5 C a n ta ta fo r C ity, N a tio n, W o rld B a s s e tt 5 C an ti del S o le R a n d s 12 C an ti d e ll'e c lissi R a n d s 11 C an ti L u natici R a n d s 8 C an ticle o f the E v e n in g B ells S c h w a n tn e r 13 C a n z o n a fo r T w e lv e In stru m e n ts W u o rin e n 12 C a rn iv a l S o n g P is to n 11 C erem o n ial F a n fa re C o p la n d 11 C h a m b e r C o n c e rto fo r F lu te and T e n P lay ers W u o rin e n 11 C h a m b e r C o n certo fo r O b o e W u o rin e n 11 C h a m b e r C o n c e rto fo r T ru m p e t an d 5 p la y e rs Z w ilich 6

389 C h a m b e r C o n c e rto fo r T u b a W u o rin e n 14 C h a m b e r C o n c e rto fo r V io lo n c e llo & T e n P la y e rs W u o rin e n 11 C h a m b e r S y m p h o n y Z w ilich 6 C h a m b e r S y m p h o n y in F m a jo r T o c h 10 A C h ild h o o d M iracle R o rem 13 C h o ra le fo r A sc e n sio n D a y B a rb e r 8 C h ristm a s V e sp e rs H a rb is o n 5 C h ris to p h e r S ly A rg en to 14 C o m e, R ise n L o rd S o w e rb y, 6 C o m e R o u n d D ru c k m a n 5 C o m p o sitio n fo r V io lin and T e n In stru m e n ts W u o rin e n 11 C o n c e rtin a d a C am era R o re m 8 C o n c e rtin o fo r T im p a n i w ith B ra ss & P e rc u ssio n C o lg ra s s 10 C o n c e rto d a C a m e ra II R an 5 C o n certo da C a m e ra B a ssett 8 C o n c e rto fo r B ra ss Q u in te t and S trin g s (P ian o ) H u s a 6 C o n c e rto fo r C ello and T e n P la y e rs W e m ic k 11 C o n certo fo r W in d Q u in te t M artin o 5 C o n fin e m e n t H a rb is o n 12 C o n so rtiu m II S c h w a n tn e r 6 D a n c e w ith S h a d o w s D ru c k m a n 5 D an ces: D iv e rtim e n to fo r W in d Q u in te t & P erc S c h u m a n 6 D a rk U p o n th e H a rp D ru c k m a n 7 D ecem b er Iv e s 12 D eep P o to m ac B ells H a rb is o n 10 ddjji R a n d s 7 d e ja 2 R a n d s 8 D elizie C o n te n te C h e l'a lm e B eate D ru c k m a n 5 D ie C h in e sisc h e F lo te, O p. 29 T o c h 10 D ie H e ilig e v o n U.S.A. (T h e S a in ts o f U.S.A.) T o c h 11 D ip ty ch: A u b a d e, O d y sse y P e te rs o n 6 D istan t H ills A lb ert 13 D ista n t R u n es an d In c a n ta tio n s S c h w a n tn e r 5 D iv e rsio n s fo r B ra ss Q u in te t R o rem 5 D iv ertim ento H u s a 5 D iv ertim ento P o w e ll 5 D iv e rtim e n to fo r B ra ss a n d P e rc u ssio n H u s a 12 D iv e rtim e n to fo r N in e In stru m e n ts P isto n 9 D iv e rtim e n to fo r W o o d w in d Q u in te t P o rte r 5 D iv e rtim e n to N o. 1 K u b ik 10 D iv e rtim e n to N o. 2 K u b ik 8 D o u b le V ision R an 11 D r. F a u s tu s L ig h ts th e L ig h ts W u o rin e n 6 D u e L ibri H a rb is o n 8 D u e ts fo r Q u in te t B o lc o m 5 E a ste r T rip ty c h B a ssett 12 E g o n u n d E m ile, O p. 4 6 T o c h 7 E lev e n S tu d ies fo r E le v e n P la y e rs R o re m 11 E lix e r (C o n so rtiu m V III) S c h w a n tn e r 6 E n c o u n te rs P e te rso n 9 ete n d re M e m o lc R a n d s

390 E th erea S c h w a n tn e r 5 E x e q u ie n fo r C a lv in S im m o n s H a rb is o n 7 F a m ily P o rtra it T h o m so n 5 F a n fa re H a n s o n 13 F a n fa re H u s a 14 F a n fa re R an 5 F a n fa re an d F lo u rish R o rem 5 F a n fa re fo r a F e stiv e O c casio n W e m ic k 12 F a n fa re fo r D.H. S c h w a n tn e r 11 F a n fa re fo r D u rh a m W ard 14 F a n fa re fo r F o le y 's H a rb is o n 14 F a n fa re fo r F ra n c e T h o m so n 12 F a n fa re fo r P e a c e T h o m s o n 7 F a n fa re fo r R u tg e rs U n iv e rs ity W u o rin e n 6 F a n fa re fo r th e C e n tu ry K u b ik 6 F a n fa re fo r th e C o m m o n M a n C o p la n d 14 F a n fa re fo r th e F ig h tin g F ren c h P isto n 13 F a n fa re fo r th e S ig n a l C o rp s H a n s o n 14 F a n fa re II K irc h n e r 5 F a n ta sia fo r B ra ss C h o ir an d T im p a n i W ard 12 F a n ta sia "F u ll F a d o m F iv e" W e m ic k 12 A F a n ta sy a b o u t P u rc e ll's " F a n ta sia U p o n..." C arte r 5 F a n ta sy v a ria tio n s C o lg ra ss 7 F estiv al M u sic k S o w e rb y 6 F iv e P ie c e s fo r W in d In stru m e n ts, O p. 83 T o c h 9 F iv e P o e m s H u s a 5 F la sh b a c k s C o lg ra ss 5 F lo w e r o f th e M o u n ta in A lb ert 12 T h e F lo w e r F e d B u ffa lo s H a rb is o n 7 F o rm a n ts 2 L a b y rin th R a n d s 9 F ro m th e S te e p le s and th e M o u n ta in s Iv e s 9 F ull M o o n in M arch H a rb is o n 8 G a th e rin g R e y n o ld s 5 G e ra ld M c B o in g B o in g K u b ik 10 G re a t P ro c e ssio n W u o rin e n 6 H a d d o c k 's E y e s D el T red ici 10 H a ik u o f B a sh o W e m ic k 9 A H a n d o f B rid g e, O p. 35 B a rb e r 12 "H ap p y B irth d a y " v a ria tio n B a rb e r 12 H e arin g R o rem 8 H eav y M etal A lice D el T red ici 5 H o lid a y Q u ic k ste p Iv e s 6 H o m er: T h re e S cen es from th e Iliad R o rem 8 H y p e rio n W u o rin e n 12 Illu m in a tio n s A lb ert?? Illu m in a tio n s fo r B ra ss E n se m b le K irc h n e r 9 Im m o b ile 5 P o w e ll 5 In A e te m u m (C o n so rtiu m IV ) S c h w a n tn e r 5 In S le e p, In T h u n d e r C arte r 14 In c e n ters D ru ck m an 13 In fle x io n s D a v id o v sk y

391 In to E c lip se A lb ert 14 In to th e O rg a n P ip e s a n d S te e p le s W u o rin e n 11 In trad a Z w ilich 5 In tra d a fo r B ra ss Q u in te t H u s a 5 In tra d a s a n d In te rlu d e s H u s a 7 In tro its a n d C a n o n s W e m ic k 9 In v e n tio n fo r P e rc u ssio n Q u in te t W u o rin e n 5 J a n u s P e te rso n 10 J o a n 's W u o rin e n 5 J o n a h an d th e W h a le A rg en to 9 K a d d ish R e q u ie m W e m ic k 7 T h e L a m e n ta tio n o f S aul D e llo Jo io 5 L a n d scap e s H u s a 5 L a st D a y R o re m 9 T h e L e sso n o f A d v e n t L a M o n tain e 7 L e t A ll th e W o rld in E v e ry C o m e r S in g A rg en to 6 L ily K irc h n e r 11 A L itan y an d a P ra y e r K u b ik 14 L ittle F a n ta sy o n "T h e T w e lv e D a y s o f C h ristm as" H a rb is o n 5 M ag n u m M y steriu m H a rb is o n 5 M a rc h N o. 2, w ith A S o n g o f a G a m b o lie r Iv e s 10 M a rc h N o. 3, w ith M y O ld K e n tu c k y H o m e Iv e s 10 T h e M asq u e o f A n g e ls A rg en to 12 M ass D ello Jo io 11 M a ss in H o n o r o f th e B le ssed V irg in M ary D e llo Jo io 6 M ed itatio n fo r a P ic k le fro m "T h e P ic k le S u ite" R an?? M eta le p sis II R a n d s 9 M edea T o c h 7 M eta m o rp h o se s P e te rs o n 5 M in ia tu r O u v ertiire T o c h 9 M in ia tu re s fo r B aro q u e E n se m b le P o w e ll 6 M irabai S o n g s H a rb is o n 8 M irage R an 5 A M irro r on W h ic h to D w ell C arte r 9 M istral R e y n o ld s 13 M o o n rise B a ssett 9 M o v em en t W u o rin e n 5 M u sic fo r A ris to p h a n e s ' "T h e B ird s" P e rle 6 M u sic fo r T w e lv e K irc h n e r 12 M u sic o f A m b e r S c h w a n tn e r 6 M u sic a d u aru m p artiu m eccle siastic a W u o rin e n 8 M u sica P to lem eica W e m ic k 5 M u tatio n s fro m B ach B a rb e r 12 T h e N atu ral W o rld H a rb is o n 5 N e w F a n fa re s P erle 10 N ew Y o rk N o te s W u o rin e n 6 N ig h t C o n ju re V e rse D el T red ici 11 N o c tu rn e H a rb is o n 5 N o n e t B a ssett 9 N o n e to D a v id o v sk y 9 N o t O n ly N ig h t R e y n o ld s 5 381

392 N o ttu m o M artin o 6 O T h e C h im n e y s R an 6 O ctet B o lc o m 8 O ctet W u o rin e n 8 O d e to th e W o n d e rs o f N a tu re T h o m so n 11 O ld E n g lish S o n g s S o w e rb y 7 O n A llig ato rs W u o rin e n 8 O rg a n u m fo r P a u l F ro m m H a rb is o n 5 O th er V o ices D ru ck m an 5 O v ertu re: M ic h a e l K o lh a ss H a rb is o n 12 P a rso n W e e m s an d th e C h e rry T re e T h o m so n 13 P a s sa g e s Z w ilich 7 P e rso n a e R e y n o ld s 8 P ie rro t S o n g s B a ssett 5 A P o iso n T re e W e m ic k 5 T h e P o litic s o f H a rm o n y W u o rin e n 14 "P o p G o e s th e W e a sel" S o w e rb y 5 P o stc ard fro m M o ro c c o A rg ento 8 A P ra y e r R an 5 P re se n t L a u g h te r R o rem 5 T h e P ro m ise o f D a rk n e ss R e y n o ld s 10 P ro u d M u sic o f th e S to rm D ello Jo io 10 P salm a n d P ra y e r o f D a v id P isto n 7 P u ck: A legend o f B eth leh e m K u b ik 10 Q u est C ru m b 5 Q u ic k are th e M o u th s o f E a rth R e y n o ld s 13 Q uin tet B a ssett 5 Q u in te t fo r P e rc u ssio n C o lg ra ss 5 Q u in te t fo r W in d s H a rb is o n 5 Q u in te t fo r W in d s N o. 1 P e rle 5 Q u in te t fo r W in d s N o. 2 P e rle 5 Q u in te t fo r W in d s N o. 3 P e rle 5 Q u in te t fo r W in d s N o. 4 P e rle 5 Q u in tet C arte r 5 R aleig h D iv ertim ento W ard 5 R ecollectio n s H u s a 6 R efle ctio n s o n an O rig in al C h ristm a s T u n e D e llo Jo io 5 T h e R ev e la tio n o f St. Jo h n th e D iv in e A rg en to 13 R in g in g C h a n g e s fo r P e rc u s sio n E n s e m b le W u o rin e n 12 T h e R o b b e rs R o rem 13 R o t u n d W e iss H a rb iso n 5 S alu te to C liff B a ssett 5 S alv e R eg in a: Jo h n B u ll W u o rin e n 14 S a lv o s D a v id o v sk y 6 S am u el C h a p te r H a rb iso n 6 S ch erzo "O v er th e P a v e m e n t" Iv e s 9 T h e S e 'e r Iv e s 5 S e re n a d e fo r W o o d w in d Q u in te t a n d P ia n o H u s a 6 S e re n a d e N o. 1 fo r V io la P e rle 10 S e re n a d e N o. 2 P e rle 11 S e re n a d e N o. 3 P e rle

393 S e ren ata 75 R a n d s 8 S e ssio n I B o lc o m 9 S e ssio n H I B o lc o m 5 S e ssio n IV B o lc o m 9 S e ttin g P o w e ll?? S e ttin g s P o w e ll?? T h e S ev en tieth P sa lm R o re m 7 S extet P e te rs o n 6 S e x te t fo r F lu te s, C la rin e ts and S trin g s B a ssett 6 S e x te t fo r P ian o a n d W in d s P e rle 6 S h ir H a -S h irim D a v id o v sk y 9 T h e S h o e m a k e r's H o lid a y A rg ento 9 S ig n a ls R e y n o ld s 12 S ix S o n g s fo r T w o V o ic e s W u o rin e n 6 S o le m n P re lu d e R o re m 11 S o u n d P a tte rn s 2 R a n d s 7 S p a rro w s S c h w a n tn e r 8 S p ectru m W u o rin e n 7 S p ecu lu m S p ecu li W u o rin e n 6 S to c k to n F a n fa re T h o m so n 5 A S to p w atch an d an O rd in a n c e M ap B a rb e r 9 S u m m e r M u sic B a rb e r 5 S u n 's H e a t fro m "D ista n t H ills" A lb ert 12 S u p e r S alu tem W u o rin e n 11 S y n c h ro n is m s N o. 5 D a v id o v sk y 5 S y n c h ro n is m s N o. 8 D a v id o v sk y 5 S y rin g a C a rte r 13 T a n z -S u ite, O p 3 0 T o c h 5 T e D eum R o re m 5 T h e a tre o f th e A b su rd B o lco m 6 T h re e B ro th e rs C o lg ra ss 9 T h ree F a n fares S o w e rb y 7 T h re e H a rv e st H o m e C h o ra le s Iv e s 10 T h re e P o e m s o f R o b e rt F ro st C a rte r 11 T h e T h ree W ise M en H a rb is o n 5 T h ro u g h In te rio r W o rld s S c h w a n tn e r 7 T o St. C e c ilia D e llo Jo io 10 T o W a k e th e D ead A lb ert 6 T o w e r P o w e r S c h w a n tn e r 5 T reesto n e A lb ert 14 T rip le D u o C a rte r 6 T u ra n d o t T o c h 6 T w o C h o ra le P re lu d e s fo r A d v e n t H a rb is o n 5 T h e U n a n sw e re d Q u e stio n Iv e s 9 T h e U n ic o m, th e G o rg o n an d th e M a n tic o re M enotti 9 A W a te r B ird T a lk A rg en to 12 W h isp e r M o o n B o lc o m 5 A W h itm an C an tata R o rem 13 W illiam T ell T o c h 9 W in d M u sic B a s s e tt 6 W in d Q u in tet C o lg ra ss 5 383

394 W in d Q uin tet M o o re 5 W in d Q u in tet P is to n 5 W in d Q u in tet P o w e ll 8 W in d Q u in tet W u o rin e n 5 W in d Q u in te t N o. 1 W u o rin e n 5 W in d Q u in te t N o. 2 W u o rin e n 5 W in d W illo w, W h isp e r S c h w a n tn e r 5 T h e W in d s W u o rin e n 9 W o o d w in d Q u in te t B a s s e tt 5 W o o d w in d Q u in te t C a rte r 5 W o o d w in d Q u in te t K u b ik 5 W o o d w in d Q u in te t R o re m 5 W o o d w in d Q u in te t S o w e rb y 5 W o rd s fro m P a te rso n H a rb is o n 6 Y e a rs o f th e M o d e m D e llo Jo io

395 385 A P P E N D IX E W O R K S F O R C H A M B E R W IN D E N S E M B L E O R G A N IZ E D B Y N U M B E R O F IN S T R U M E N T A L P E R F O R M E R S N u m b e r o f In stru m en tal P e rfo rm e rs C o m p o se r Title 5 B a rb e r S u m m e r M u sic 5 B a ssett C a n ta ta fo r C ity, N atio n, W o rld 5 B a ssett P ie rro t S o n g s 5 B a ssett Q uintet 5 B a ssett S alu te to C liff 5 B a ssett W o o d w in d Q u in te t 5 B o lco m B rass Q u in te t 5 B o lcom D u ets fo r Q u in tet 5 B o lcom S e ssio n III 5 B o lcom W h isp e r M o o n 5 C arte r B irth d a y F a n fa re fo r S ir W illia m G lo c k 's 7 0 th 5 C arte r B irth d a y F lo u rish 5 C arte r B rass Q u in te t 5 C arte r A F a n ta sy a b o u t P u rc e ll's " F a n ta sia U p o n..." 5 C arte r Q uintet 5 C arte r S y rin g a 5 C arte r W o o d w in d Q u in te t 5 C o lg ra ss F la sh b a c k s 5 C o lg ra s s Q u in te t fo r P e rc u ssio n 5 C o lg ra ss W in d Q u in tet 5 C ru m b Q uest 5 D a v id o v sk y S y n c h ro n is m s N o. 5 5 D a v id o v sk y S y n c h ro n is m s N o. 8 5 D el T redici B ra ss S y m p h o n y 5 D el T red ici H eav y M etal A lice 5 D ello Jo io T h e L a m e n ta tio n o f Saul 5 D ello Jo io R efle ctio n s o n an O rig in al C h ristm a s T u n e 5 D ru ck m an B o 5 D ru ckm an C o m e R o u n d 5 D ru ck m an D a n c e w ith S h ad o w s 5 D ru ckm an D elizie C o n te n te C h e l'a lm e B eate 5 D ru ckm an O th er V o ices 5 H a rb iso n C h ristm a s V e sp e rs 5 H a rb iso n L ittle F a n ta sy on "T he T w e lv e D a y s o f C h ristm as" 5 H a rb iso n M ag n u m M y steriu m 5 H a rb iso n T h e N a tu ra l W o rld

396 5 H a rb is o n N o c tu rn e 5 H a rb is o n O rg a n u m fo r P a u l F ro m m 5 H a rb is o n Q u in te t fo r W in d s 5 H a rb iso n R o t u n d W e iss 5 H a rb is o n T h e T h re e W ise M en 5 H a rb is o n T w o C h o ra le P re lu d e s fo r A d v e n t 5 H u s a C an tata 5 H u s a D iv ertim ento 5 H u s a F iv e P o e m s 5 H u s a In tra d a fo r B ra ss Q u in tet 5 H u s a L a n d scap e s 5 Iv e s T h e S e 'e r 5 K irc h n e r F a n fa re II 5 K u b ik W o o d w in d Q u in te t 5 M artin o C o n certo fo r W in d Q u in tet 5 M o o re W in d Q u in tet 5 P e rle Q u in te t fo r W in d s N o. 1 5 P e rle Q u in te t fo r W in d s N o. 2 5 P e rle Q u in te t fo r W in d s N o. 3 5 P e rle Q u in te t fo r W in d s N o. 4 5 P e te rso n M eta m o rp h o se s 5 P is to n W in d Q u in tet 5 P o rte r D iv e rtim e n to fo r W o o d w in d Q u in te t 5 P o w e ll D iv ertim en to 5 P o w e ll Im m o b ile 5 5 R an C o n certo d a C a m e ra II 5 R an F a n fa re 5 R an M irage 5 R an A P ray e r 5 R a n d s B allad 1 5 R e y n o ld s G a th erin g 5 R e y n o ld s N o t O n ly N ig h t 5 R o rem D iv e rsio n s fo r B ra ss Q u in te t 5 R o rem F a n fa re an d F lo u rish 5 R o rem P re se n t L a u g h te r 5 R o rem T e D eum 5 R o rem W in te r P ag es 5 R o rem W o o d w in d Q u in te t 5 S c h u m a n A m erican H y m n 5 S c h w a n tn e r D istan t R u n es and In c antatio n s 5 S c h w a n tn e r E therea 5 S c h w a n tn e r In A etern u m (C o n so rtiu m IV ) 5 S c h w a n tn e r T o w e r P o w e r 5 S c h w a n tn e r W in d W illo w, W h isp e r 5 S o w e rb y B e h o ld, O G o d O u r D efen d e r 5 S o w e rb y "P op G o e s th e W easel" 5 S o w e rb y W o o d w in d Q u in te t 5 T h o m so n F a m ily P o rtra it 5 T h o m so n S to c k to n F a n fa re 5 T o c h T a n z -S u ite, O p W ard R aleigh D iv ertim ento 386

397 5 W e m ic k M u sica P to lem eica 5 W e m ic k A P o iso n T re e 5 W u o rin e n In v e n tio n fo r P e rc u ssio n Q u in te t 5 W u o rin e n J o a n 's 5 W u o rin e n M o v em ent 5 W u o rin e n W in d Q u in tet 5 W u o rin e n W in d Q u in te t N o. 1 5 W u o rin e n W in d Q u in te t N o. 2 5 Z w ilich In trad a 6 A lb ert T o W a k e th e D ead 6 A rg ento L e t A ll th e W o rld in E v e ry C o rn e r S ing 6 B a rb e r A d v en tu re 6 B a ssett S e x te t fo r F lu te s, C la rin e ts an d S trin g s 6 B a ssett W in d M u sic 6 B o lcom 5 F o ld 5 6 B o lco m T h e a tre o f th e A b su rd 6 C arte r T rip le D u o 6 D a v id o v sk y S a lv o s 6 D ello Jo io M ass in H o n o r o f th e B le ssed V irg in M ary 6 D ru c k m a n A n im u s IV 6 H a rb is o n S am u el C h ap ter 6 H a rb is o n W o rd s fro m P a te rso n 6 H u s a C o n c e rto fo r B ra ss Q u in te t an d S trin g s (P ian o ) 6 H u s a R ecollectio n s 6 H u sa S e re n a d e fo r W o o d w in d Q u in te t a n d P ia n o 6 Iv e s H o lid a y Q u ick step 6 K u b ik F a n fa re fo r th e C e n tu ry 6 M artin o N o ttu rn o 6 P e rle M u sic fo r A risto p h a n e s' "T he B ird s" 6 P e rle S e x te t fo r P ia n o a n d W in d s 6 P e te rso n D ip ty ch : A u b a d e, O d y ssey 6 P e te rs o n S extet 6 P o w e ll M in ia tu re s fo r B a ro q u e E n se m b le 6 R an O T h e C h im n ey s 6 R a n d s A c tio n s fo r Six 6 S c h u m a n D an ces: D iv ertim ento fo r W in d Q u in te t & P erc 6 S c h w a n tn e r C o n so rtiu m II 6 S c h w a n tn e r E lix er (C o n so rtiu m V III) 6 S c h w a n tn e r M u sic o f A m b e r 6 S o w e rb y C o m e, R ise n L o rd 6 S o w e rb y F estiv al M u sic k 6 T h o m so n B a rc a ro lle fo r W o o d w in d s 6 T o c h T u ra n d o t 6 W u o rin e n A ra b ia F elix 6 W u o rin e n D r. F a u s tu s L ig h ts th e L ig h ts 6 W u o rin e n F a n fa re fo r R u tg e rs U n iv e rsity 6 W u o rin e n G re a t P ro c e ssio n 6 W u o rin e n N e w Y o rk N o te s 6 W u o rin e n S ix S o n g s fo r T w o V o ic e s 6 W u o rin e n S p ecu lu m S p ecu li 6 Z w ilich C h a m b e r C o n c e rto fo r T ru m p e t a n d 5 p la y e rs 387

398 6 Z w ilich C h a m b e r S y m p h o n y 7 C o lg ra ss F a n ta sy v a ria tio n s 7 C ru m b A n c ie n t V o ices o f C h ild ren 7 D ru c k m a n D a rk U p o n th e H a rp 7 H a rb is o n E x e q u ie n fo r C a lv in S im m o n s 7 H a rb is o n T h e F lo w e r F e d B u ffa lo s 7 H u s a In tra d a s a n d In te rlu d es 7 L a M o n tain e T h e L e sso n o f A d v e n t 7 P e te rso n A ria d n e 's T h re a d 7 P isto n P salm a n d P ra y e r o f D a v id 7 R a n d s ddjzi 7 R a n d s S o u n d P a tte rn s 2 7 R o rem T h e S e v e n tie th P salm 7 S c h w a n tn e r T h ro u g h In te rio r W o rld s 7 S o w e rb y O ld E n g lish S o n g s 7 S o w e rb y T h re e F a n fa re s 7 T h o m so n F a n fa re fo r P e a ce 7 T o ch A n ab asis 7 T o c h E g o n u n d E m ile, O p T o c h M edea 7 W e m ic k K a d d ish R eq u iem 7 W u o rin e n S p ectru m 7 Z w ilich P a ssa g e s 8 A rg ento P o stc a rd fro m M o ro c co 8 B a rb e r C h o ra le fo r A sc e n sio n D a y 8 B a ssett C o n certo d a C a m e ra 8 B o lcom O ctet 8 D ello Jo io A n th o n y an d C le o p atra 8 H a rb is o n D u e L ibri 8 H a rb is o n F u ll M o o n in M arch 8 H a rb is o n M ira b ai S o n g s 8 K u b ik D iv e rtim e n to N o. 2 8 P o w e ll W in d Q u in tet 8 R a n d s C an ti L u n atici 8 R a n d s d eja 2 8 R a n d s S e re n a ta 75 8 R e y n o ld s A gain 8 R e y n o ld s P e rso n a e 8 R o rem C o n certin a d a C am era 8 R o rem H e arin g 8 R o re m H o m er: T h re e S cenes fro m th e Iliad 8 S c h w a n tn e r S p a rro w s 8 W u o rin e n M u sica d u aru m partiu m ecclesiastica 8 W u o rin e n O ctet 8 W u o rin e n O n A llig ato rs 9 A rg en to Jo n ah a n d th e W h a le 9 A rg ento T h e S h o e m a k e r's H o lid a y 9 B a rb e r A S to p w atch a n d an O rd in a n c e M ap 9 B a ssett M o o n rise 9 B a ssett N o n e t 9 B o lcom S e ssio n I 388

399 9 B o lco m S e ssio n IV 9 C arte r A M irro r on W h ic h to D w ell 9 C o lg ra ss T h re e B ro th e rs 9 D a v id o v sk y N o n e to 9 D a v id o v sk y S h ir H a -S h irim 9 Iv e s F ro m th e S teeples a n d th e M o u n ta in s 9 Iv e s S ch erzo "O v er th e P avem ent" 9 Iv e s T h e U n a n sw e re d Q u e stio n 9 K irc h n e r Illu m in a tio n s fo r B ra ss E n se m b le 9 M en o tti T h e U n ic o m, th e G o rg o n a n d th e M a n tic o re 9 P e te rs o n E n c o u n te rs 9 P is to n D iv e rtim e n to fo r N in e In stru m e n ts 9 R a n d s F o rm a n ts 2 L ab y rin th 9 R a n d s M eta le p sis II 9 R e y n o ld s B lin d M en (M elville) 9 R o rem L ast D ay 9 T h o m so n C a n ta n te s e am u s 9 T o ch F iv e P ie c e s fo r W in d In s tru m e n ts, O p T o c h M in ia tu r O u v ertu re 9 T o c h W illiam T eh 9 W e m ic k H a ik u o f B a sh o 9 W e m ic k In tro its and C a n o n s 9 W u o rin e n T h e W in d s 10 C o lg ra ss C o n c e rtin o fo r T im p a n i w ith B ra ss & P e rc u ssio n 10 D e lt re d ic i H a d d o c k 's E y e s 10 D ello Jo io P ro u d M u sic o f th e S torm 10 D ello Jo io T o St. C ecilia 10 H a rb iso n D eep P o to m ac B ells 10 Iv e s M arch N o. 2, w ith A S o n g o f a G a m b o lie r 10 Iv e s M a rc h N o. 3, w ith M y O ld K e n tu c k y H o m e 10 Iv e s T h re e H a rv e st H o m e C h o ra le s 10 K u b ik D iv e rtim e n to N o K u b ik G e rald M c B o in g B o in g 10 K u b ik P u ck: A le g e n d o f B eth leh em 10 P e rle N e w F a n fa re s 10 P e rle S e re n a d e N o. 1 fo r V io la 10 P e te rso n J a n u s 10 R e y n o ld s T h e P ro m ise o f D a rk n ess 10 T o ch C h a m b e r S y m p h o n y in F m a jo r 10 T o ch D ie C h in e sisc h e F lo te, O p C arte r T h re e P o e m s o f R o b e rt F ro st 11 C o p la n d C erem o n ial F an fare 11 D el T redici A c ro stic S o n g 11 D el T redici N ig h t C o n ju re V e rse 11 D ello Jo io M ass 11 D ello Jo io Y e ars o f th e M o d e m 11 K irc h n e r L ily 11 P erle S e re n a d e N o P erle S e re n a d e N o P isto n C a rn iv a l S o n g 11 R an D o u b le V ision 3 8 9

400 11 R a n d s C a n ti d e ll'e c lissi 11 R o rem E le v e n S tu d ies fo r E lev e n P la y e rs 11 R o rem S o le m n P relu d e 11 S c h w a n tn e r F a n fa re fo r D.H. 11 T h o m so n O d e to th e W o n d e rs o f N a tu re 11 T o ch D ie H e ilig e v o n U.S.A. (T h e S a in ts o f U.S.A.) 11 W e m ic k C o n c e rto fo r C ello and T e n P la y e rs 11 W u o rin e n A rc h aeopte ry x 11 W u o rin e n C h a m b e r C o n c e rto fo r F lu te a n d T e n P la y e rs 11 W u o rin e n C h a m b e r C o n c e rto fo r O b o e 11 W u o rin e n C h a m b e r C o n c e rto fo r V io lo n c e llo & T e n P layers 11 W u o rin e n C o m p o sitio n fo r V io lin a n d T e n In stru m e n ts 11 W u o rin e n In to th e O rg a n P ip e s an d S te e p le s 11 W u o rin e n S u p e r S alu tem 12 A lb ert F lo w e r o f th e M o u n tain 12 A lbert S u n 's H e a t fro m "D ista n t H ills" 12 A rg ento T h e M a sq u e o f A n g els 12 A rg en to A W a te r B ird T a lk 12 B a rb e r A H a n d o f B rid g e, O p B a rb e r "H ap p y B irth d ay " v ariatio n 12 B a rb e r M u tatio n s from B ach 12 B assett E a ste r T rip ty ch 12 H a rb iso n C o n fin e m e n t 12 H a rb iso n O v ertu re: M ic h a e l K o lh ass 12 H u sa D iv e rtim e n to fo r B ra ss a n d P e rc u ssio n 12 Iv e s D ecem b er 12 K irc h n e r M u sic fo r T w e lv e 12 K u b ik B e n n ie th e B e a v e r (A C h ild re n 's T a le ) 12 R a n d s C an ti del S ole 12 R e y n o ld s S ig n a ls 12 T h o m so n F a n fa re fo r F ran c e 12 W ard F a n ta sia fo r B ra ss C h o ir a n d T im p a n i 12 W e m ic k F a n fa re fo r a F e stiv e O c casio n 12 W e m ic k F a n ta sia "F ull F a d o m F iv e" 12 W u o rin e n C a n z o n a fo r T w e lv e In stru m e n ts 12 W u o rin e n H y p e rio n 12 W u o rin e n R in g in g C h a n g e s fo r P e rc u ssio n E n se m b le 13 A lb ert D istan t H ills 13 A rg ento T h e R e v e la tio n o f St. Jo h n th e D iv in e 13 D ru ckm an In c e n ters 13 H a n so n F a n fa re 13 P isto n F a n fa re fo r th e F ig h tin g F ren c h 13 R e y n o ld s M istral 13 R e y n o ld s Q u ick a re th e M o u th s o f E arth 13 R o rem A C h ild h o o d M iracle 13 R o rem T h e R o b b ers 13 R o rem A W h itm a n C an tata 13 S c h w a n tn e r C an ticle o f th e E v e n in g B ells 13 T h o m so n P a rso n W e e m s and th e C h e rry T re e 14 A lb ert In to E c lip se 14 A lb ert T reesto n e 3 9 0

401 14 A rg en to C h ris to p h e r S ly 14 C arte r In S le e p, In T h u n d e r 14 C o p la n d F a n fa re fo r th e C o m m o n M an 14 D a v id o v sk y In fle x io n s 14 H a n so n F a n fa re fo r th e S ig n al C o rp s 14 H a rb iso n F a n fa re fo r F o le y 's 14 H u s a F a n fa re 14 K u b ik A L itan y an d a P ray er 14 R a n d s "A s A ll G e t O ut" 14 R a n d s e te n d re M e m o lc 14 W ard F a n fa re fo r D u rh am 14 W u o rin e n C h a m b e r C o n c e rto fo r T u b a 14 W u o rin e n S a lv e R eg in a: Jo h n B ull 14 W u o rin e n T h e P o litic s o f H arm o n y?? A lb ert Illu m in atio n s?? P o w e ll S ettin g?? P o w e ll S ettin g s?? R an M ed itatio n fo r a P ickle from "T h e P ic k le Suite" 391

402 3 9 2 A P P E N D IX F S E C O N D -P A R T Y T R A N S C R IP T IO N S, A R R A N G E M E N T S A N D R E C O N S T R U C T IO N S O F W O R K S F O R C O N C E R T B A N D, W IN D O R C H E S T R A A N D C H A M B E R W IN D E N S E M B L E O R G A N IZ E D B Y C O M P O S E R C o m p o s e r S e c o n d -P a rty T itle B a rb e r J o h n O 'R e illy A d a g io fo r S trin g s B a rb e r C a lv in C u ste r A d a g io fo r S trin g s B a rb e r B a rry K o p te tz A F a n ta sy on a T h e m e b y S a m u e l B a rb e r {The S c h o o l f o r S c a n d a l) B a rb e r Jo se p h L e v i F irst E ssay fo r O rc h e stra B a rb e r G u y D u k e r F irst S y m p h o n y B a rb e r W a lte r B eele r In te rm e z z o fro m V a n essa B a rb e r F ra n k H u d so n M ed e a 's M ed itatio n an d D a n c e o f V e n g ean c e B a rb e r F ra n k H u d so n O v e rtu re to T h e S c h o o l f o r S c a n d a l, o p. 5 B a rb e r G u y D u k e r S e c o n d S y m p h o n y B a rb e r F ra n k H u d so n U n d e r th e W illo w T re e fro m V a n essa C o p la n d K a zu h iro M o rita A p p a lach ia n S pring (ex cerp tio n ) C o p la n d C la re G ru n d m a n A C o p la n d P o rtra it C o p la n d C la re G ru n d m a n A C o p la n d T rib u te C o p la n d M a rk R o g ers D a n z d n C u b an o C o p la n d M erlin P a tte rso n D o w n a C o u n try L a n e C o p la n d M ark H in d sley El S alo n M ex ico C o p la n d T h o m a s K n o x E l Salo n M ex ico C o p la n d S o ich i K o n a g a y a E x c e rp ts from B illy th e K id C o p la n d S o ich i K o n a g a y a F o u r D a n c e E p iso d e s fro m R o d e o C o p la n d M a rk R o g ers H o e d o w n fro m R o d e o C o p la n d W a lte r B eele r L in co ln P o rtra it C o p la n d Y a s u h id e lto M u sic fo r the T h e a te r C o p la n d Jam e s B a rn e s O ld A m e ric a n S o n g s C o p la n d T h o m a s K n o x O ld A m e ric an S o n g s C o p la n d K ris A n th o n y T h e P ro m ise o f L iv in g C o p la n d D o n a ld H u n sb e rg e r Q u iet C ity C o p la n d K ris A n th o n y S im p le G ifts C o p la n d Jam e s H ile S y m p h o n y N o. 3, m v t. 4 C o p la n d P au l L a n g W a ltz fro m B illy th e K id C o p la n d P au l L a n g W a ltz a n d C eleb ratio n fro m B illy the K id D e llo J o io D e n n is B lu n t A ir P o w e r D e llo J o io D a n a P eitersen A P salm o f D avid D ello Jo io Ja m e s K e ay s T h e T riu m p h o f S t. Jo a n D ello Jo io Jo h n B o y d V a ria tio n s, C h aco n n e a n d F in a le H a n so n F ra n k B e n c risc u tto C o n c e rto fo r P ia n o an d O rc h estra

403 H a n so n A n d re w B alen t H o w a rd H a n so n S u ite H a n s o n E rik L eidzdn M arch C arillo n H a n so n C h a rle s G a rla n d M e rry M o u n t H a n so n W illiam B eebe R o m a n tic T h e m e (fro m S y m p h o n y N o. 2) H a n so n F re d E b b s S e re n a d e fo r F lu te, H a rp, a n d S trin g s H a n so n M a u ric e F o rd S o n g o f D e m o c ra c y (T T B B v e rsio n ) H a n so n J o se p h M a d d y S y m p h o n y N o. 1 "T h e N o rd ic," m v t. 2 H a n so n W a lte r B eeler S y m p h o n y N o. 2 "T h e R o m a n tic," m v t. 2 H a n so n N o rm a n G o ld b e rg S y m p h o n y N o. 2 "T h e R o m a n tic," m v t. 2 H a n so n M a u ric e F ord S y y m p h o n y 5 (S in fo n ia S acra) Iv e s R ic h a rd T h u rsto n "T h e A lco tts" fro m S o n a ta N o. 2 "C o n c o rd " Iv e s Jam e s S in clair A n n S treet Iv e s S tu e v e n A t th e R iv er Iv e s J a c k B u llo c k A B ra ss S e re n a d e (A S o n o f a G a m b o lie r, R o m a n zo d i C e n tra l P a rk, T h e S id e S h o w, an d T h e C irc u s B a n d ) Iv e s G u n th e r S c h u lle r C h ro m a tim e lo d tu n e Iv e s J o n a th a n E lk u s C irc u s B an d M arch Iv e s G a rd n e r C o n co rd V illage Iv e s Jam e s S in c la ir C o u n try B an d M arch Iv e s J o n a th a n E lk u s D eco ratio n D ay Iv e s K e n n eth S in g leto n F o u r S o n g s fo r B ra ss Q u in te t (O n the C o u n te r, T h e S id e S h o w, S lo w M a r c h, T a rra n t M o ss) Iv e s Jam e s S in c la ir F u g u e in C M a jo r (fro m S trin g Q u a rte t N o. 1) Iv e s Jam e s S in c la ir H y m n Iv e s J o n a th a n E lk u s M arch II: w ith th e a ir S o n o f a G a m b o lie r Iv e s Jam e s S in c la ir M arch V I: H e re 's to G o o d O ld Y a le Iv e s J o n a th a n E lk u s O ld H o m e D ays S u ite Iv e s K e n n eth S in g leto n A n O ld S ong D e ran g e d Iv e s Jo n a th a n E lk u s T h e O p e ra H o u se /O ld H o m e D a y Iv e s Jam e s S in clair O v e rtu re and M arch 1776 Iv es Jo n a th a n E lk u s S y m p h o n y N o. 2, "F in ale" Iv e s Jam e s S in c la ir T h e y A re T h ere Iv e s W illiam R h o ad s V ariatio n s on "A m erica" (fro m W illia m S h u m a n 's o rc h e stra tio n ) Iv e s K e ith B rio n V a ria tio n s on "Je ru sa lem th e G o ld e n " L a M o n tain e F ra n k H u d so n J u b ila n t O v e rtu re, o p. 2 0 M enotti P a u l L a n g E x c e rp ts fro m S e b a stien M enotti F ra n k E ric k so n In tro d u c tio n, M a rc h a n d S h e p h e rd 's D a n c e fro m A m a h l a n d the N ig h t V isito rs M enotti P au l L a n g O v e rtu re and C a c c ia fro m T he L a s t S a v a g e M o o re P au l Y o d e r G o o d N ig h t, H a rv a rd M arch M o o re K eith W ilso n T h ree C o n te m p o ra rie s P isto n F ra n k E ric k so n T h e In cred ib le F lu tist P o rte r K eith W ilso n D an ce from P o e m a n d D a n ce R an C liff C o ln o t F an fare R an C liff C o ln o t L e n to and S c h e rz o fro m V ista s S c h u m a n D o n O w en C irc u s O v ertu re S c h u m a n S ta n le y D e R u sh a O n F re e d o m 's G ro u n d 3 9 3

404 S ch u m an F ra n k E ric k so n V a ria tio n s o n a F o lk S o n g S e s sio n s B a n c ro ft F in a le fro m T h e B la c k M a sk e rs S u ite S o w e rb y W illia m F erris B e n e d ic tu s e s, D o m in e S o w e rb y J a c k O ssew a a rd e C a n tic le o f th e S u n S o w e rb y Jo h n P h ilip S o u sa C o m e s A u tu m n T im e T h o m so n F ra n k E ric k so n C h o ra le fro m S u ite fr o m L o u is ia n a S to ry T h o m so n F ra n k E ric k so n F u g u e a n d C h o ra le fro m Y a n kee D o o d le T h o m so n C h a rle s F u sse ll A J o y fu l F u g u e T h o m so n S co tt W h e e le r W h e n I S u rv ey th e B rig h t C elestia l S p h ere T o ch W illiam S ch aefer C irc u s O v ertu re W ard R o b e rt L e ist Ju b ilatio n : A n O v e rtu re 3 9 4

405 395 A P P E N D IX G C H R O N O L O G IC A L L IS T IN G O F T H E P U L IT Z E R P R IZ E S IN M U S IC 1943 W illiam S chum an A F ree S o n g H o w a rd H a n so n S y m p h o n y N o A a ro n C o p la n d A p p a la c h ia n S p rin g (o rig in l v e rsio n ) L e o S o w e rb y C an tic le fo r th e S u n 1947 C h a rle s Iv e s S y m p h o n y N o W a lte r P isto n S y m p h o n y N o V irg il T h o m so n T h e L o u isia n a S to ry (film sco re) G ia n C arlo M en o tti T h e C o n su l 1951 D o u g la s M o o re G ia n ts in th e E a rth 1952 G a il K u b ik S y m p h o n y C o n c e rta n te fo r P ia n o, V io la, T ru m p e t a n d O rchestra 1953 n o aw ard Q u in c y P o rter C o n certo C o n certan te 1955 G ian C arlo M en o tti T h e S a in t o f B le eck e r S treet 1956 E rn st T o c h S y m p h o n y N o N o rm a n D e llo Jo io M ed itatio n s on E cclesiastes 1958 S a m u e l B a rb e r V a n essa 1959 Jo h n L a M o n tain e C o n c e rto fo r P ia n o and O rc h e stra, O p E llio tt C arte r S trin g Q u a rte t N o W a lte r P isto n S y m p h o n y N o R o b e rt W ard T h e C ru cib le 1963 S am u el B arb er P ia n o C o n c e rto n o aw ard 1965 n o aw ard 1966 L e slie B assett V a ria tio n s fo r O rchestra 1967 L e o n K irc h n e r S trin g Q u a rte t N o G e o rg e C ru m b E c h o e s o f T im e and the R iv e r 1969 K a rel H u sa S trin g Q u a rte t N o C h a rle s W u o rin e n T im e 's E n c o m iu m 1971 M ario D a v id o v sk y S y n c h o rn is m s N o Jaco b D ru ck m an W in d o w s 1973 E llio tt C arter S trin g Q u a rte t N o D o n ald M artin o N o ttu rn o 1975 D o m in ic k A rg ento D iary o f V irg in ia W o o lf N e d R o r e m A ir M usic 1977 R ichard W e m ic k V isio n s o f W o n d e r an d T e rro r 1978 M ich ael C o lg ra ss D dj& V u 1979 Jo se p h S c h w a n tn e r A fte rto n e s o f In fin ity D avid D el Tnedici In M e m o ry o f a S u m m er D a y 1981 n o a w ard

406 R o g e r S e ssio n s C o n c e rto fo r O rch estra 1983 E llen T a a ffe Z w ilich S y m p h o n y N o B e rn a rd R an d s C an ti del S ole 1985 S tep h en A lb e rt R iv e r R u n G e o rg e P e rle W o o d w in d Q u in te t N o J o h n H a rb is o n T h e F lig h t in to E g y p t 1988 W illiam B o lcom T w e lv e N e w E tu d e s fo r P ia n o R o g e r R e y n o ld s W h isp e rs O u t o f T im e M el P o w e ll D u p lic a tes: A C o n certo fo r T w o P ia n o s a n d O rch estra 1991 S h u la m itr a n S y m p h o n y 1992 W a y n e P eterso n T h e F a c e o f th e N ig h t, th e H e a rt o f th e D a rk 1993 C h ris to p h e r R o u se T ro m b o n e C o n certo * 1994 G u n th e r S c h u lle r O f R em in isc e n c e s and R eflectio n s* 1995 M o rto n G o u ld S trin g m u sic* * O u tsid e th e sco p e o f th is essa y.

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410 4 0 0 G le a s o n, H a ro ld, a n d W a rre n B e c k e r. 2 0 th -C e n tu r y A m e r ic a n C o m p o se rs, M u s ic L ite ra tu re O u tlin e s, ser. iv. (B lo o m in g to n, In d ia n a : F ra n g ip a n i P re s s, 1980). G o ld m a n, R ic h a rd F ra n k o. T h e B a n d 's M u s ic. (N e w Y o rk : P itm a n, ), T he C o n c e r t B a n d. (N e w Y o rk : R in e h a rt, 1946), T he W in d B a n d. (B o s to n : A lly n a n d B a c o n, 1961). G o ttlie b, Jan e. S e e Z a im o n t. G re c h e fs k y, R o b e rt. S e e D v o ra k.. S e e R e y n o ld s, H. R. G re e n e, D a v id M. G re e n e 's B io g ra p h ic a l E n c y c lo p e d ia o f C o m p o se rs. (N e w Y o rk : D o u b le d a y, 1985). G rie b, L y n d al. T h e O p e ra s o f G ia n C a rlo M e n o tti, : A S e le c te d B ib lio g ra p h y. (M e tu c h e n, N e w Jerse y : S c a re c ro w P re ss, 1974). G ru e n, Jo h n. M e n o tti: A B io g ra p h y. (N e w Y o rk : M a c M illa n, 1978). H a rv e y, D a v id H. T he L a te r M u s ic o f E llio tt C a rter: A S tu d y in M u s ic T h e o ry a n d A n a ly s is. (N e w Y o rk : G a rla n d P u b lish in g, 1989). H e n n e sse e, D o n a ld A. S a m u e l B a rb e r: A B io -B ib lio g ra p h y (W e stp o rt, C o n n ectic u t: G re e n w o o d P re s s, 1985). H e y m a n, B a rb a ra B. S a m u e l B a rb e r: T he C o m p o se r a n d H is M u s ic. (N e w Y o rk /O x fo rd : O x fo rd U n iv e rs ity P re ss, 1992). H in s o n, M au rice. T h e P ia n o in C h a m b e r E n se m b le : A n A n n o ta te d G u id e. (B lo o m in g to n / L o n d o n : In d ia n a U n iv e rs ity P re ss, 1978). H itc h c o c k, H. W ile y. Iv e s: A S u r v e y o f H is M u s ic. (L o n d o n : O x fo rd U n iv e rs ity P re ss, ). H itc h c o c k, H. W ile y, a n d V iv ia n P e rlis, ed. A n Iv e s C eleb ra tio n : P a p e r s a n d P a n e ls o n the C h a rles Iv e s C e n te n n ia l F e stiv a l C o n feren ce. (U rb a n a, Illin o is: U n iv e rsity o f Illin o is P re ss, 1977). H itc h c o c k, H. W ile y, a n d S ta n le y S a d ie, ed. T he N e w G ro ve D ic tio n a r y o f A m e r ic a n M u s ic, 4 v o ls. (L o n d o n : M a c m illa n, 1992). H itc h e n s, S u sa n H. K a r e l H u sa : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1991). H o h e n b e rg, Jo h n. T he P u litz e r P rize S to ry. (N e w Y o rk : C o lu m b ia U n iv e rs ity P ress, ).

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414 4 0 4 R o u se, C h risto p h e r. W illia m S h u m a n : D o c u m e n ta r y. (B ry n M a w r, P e n n sy lv a n ia : T h e o d o re P re s se r, 1980). R o y, Jr. Ja m e s G. N o r m a n D e llo J o io. (N e w Y o rk : B ro a d c a s t M u sic, In c., ). W illia m B o lc o m. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1981). S a d ie, S ta n le y, ed. T h e N e w G ro v e D ic tio n a r y o f M u s ic a n d M u s ic ia n s, 6 th e d., 2 0 v o ls. (L o n d o n : M a c m illa n, 1980).. T he N e w G ro v e D ic tio n a r y o f O p era, 4 v o ls. (L o n d o n : M a c m illa n, 1992).. S e e H itc h c o c k. S c h a efer, W illia m A. "T h e E m e rg in g B a n d R e p e rto ire," T he C o lle g e a n d U n iv e rsity B and, D a v id W h itw e ll a n d A c to n O stlin g, Jr. e d ito rs. (R esto n, V irg in ia: M u sic E d u c a to rs N a tio n a l C o n fe re n c e, 1977), S c h a n tz, E llen. L e o n K irc h n e r. (N e w Y o rk : G. S c h irm e r, 1993). S ch iff, D av id. T he M u s ic o f E llio tt C a rter. (N e w Y o rk : D a C a p o P re ss, 1983). S c h w a rtz, E llio t, a n d B a rn e y C h ild s, ed. C o n te m p o ra ry C o m p o se rs o n C o n te m p o ra ry M u sic. (N e w Y o rk : H o lt, R in e h a rt a n d W in sto n, 1967). S c h w a rz, K. R o b ert. E lle n T a a jfe Z w ilic h. (N e w Y o rk : B ro a d c a s t M u sic, In c., 1993). S e le c tiv e M u s ic L is t f o r B a n d s, 2 n d revisio n, R ic h a rd S tran g e, e d ito r. (N a sh v ille, T e n n e sse e: N a tio n a l B a n d A sso c ia tio n, 1990). S k o w ro n sk i, Jo A n n. A a r o n C o p la n d : A B io -B ib lio g ra p h y. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re s s, 1985). S m e d, M ark. J a c o b D ru c k m a n. (L o n d o n : B o o se y & H a w k e s, 1988). S m ith, N o rm a n. M a r c h M u s ic N o te s. (L a k e C h a rle s, L o u isia n a : P ro g ra m N o te P ress, ). S m ith, N o rm a n, a n d A lb e rt S to u ta m ire. B a n d M u s ic N o te s. (S an D ie g o : K jo s W e s t, ). S t. G e o rg e, D a v id. J o h n H a rb iso n. (N e w Y o rk : A sso c ia te d M u sic P u b lish e rs, 1994). S to u ta m ire, A lb ert. S e e S m ith. S tric k lan d, E d w ard. A m e r ic a n C o m p o se rs: D ia lo g u e s o n C o n te m p o ra ry M u sic. (B lo o m in g to n & In d ia n a p o lis: U n iv e rsity o f In d ia n a P re ss, 1987). T a w a, N ic h o la s. A M o s t W o n d ro u s B a b b le : A m e r ic a n A r t C o m p o se rs, T h e ir M u sic, a n d th e A m e r ic a n S cen e, (W e stp o rt, C o n n e c tic u t: G re e n w o o d P ress, ),

415 4 0 5 T h o m so n, V irg il. V irg il T h o m so n. (N e w Y o rk : A lfre d A. K n o p f, 1 966). T o c h, E rn st. T he S h a p in g F o rc e s in M u sic. (N e w Y o rk : D o v e r, 1948; 3 rd e d itio n b y L. W e sc h le r, 1 977) T o m m a s in i, A n th o n y. V irg il T h o m s o n 's M u s ic P o r tr a its. (N e w Y o rk : P e n d ra g o n P ress, ), , T o p o le w sk i, T im o th y. E r r a ta S tu d ie s f o r the W in d B a n d C o n d u cto r. (P o tsd a m, N e w Y o rk : T im o th y T o p o lw e sk i, C ra n e S c h o o l o f M u sic, 1992?). W a le s o n, H e id i. D a v id D e l T red ici. (B o o sey & H a w k e s, 1987). W a le s o n, H e id i. D o m in ic k A r g e n to. (N e w Y o rk : B o o se y & H a w k e s, 1 987). W allace, D a v id and E u g e n e C o ip o ro n. W in d E n s e m b le /B a n d L itera tu re. (G re e le y, C o lo ra d o : U n iv e rsity o f N o rth e rn C o lo ra d o S c h o o l o f M u sic, 1984). W A S B E In te r n a tio n a l R e p e rto ire. F ra n k B attisti, e d ito r. (W o rld A sso c ia tio n o f S y m p h o n ic B a n d s an d E n se m b le s, 1995). W a tk in s, G le n n. S o u n d in g s: M u s ic in th e T w e n tie th C en tu ry. (N e w Y o rk : S c h irm e r B o o k s, ), W e n k, A rth u r. A n a ly s e s o f N in e te e n th a n d T w e n tie th -C e n tu ry M u sic, (B o sto n : M u sic L ib ra ry A sso c ia tio n, 1987). W h itw e ll, D av id. S e e F itz g e ra ld.. S ee S c h a efer. W illia m s, D a v id R u sse ll. C o n v e rsa tio n s w ith H o w a r d H a n so n. (A rk a d e lp h ia, A rk a n sa s: D e lta P u b lic a tio n s, 1988), T he W in d E n se m b le a n d its R e p e rto ire : E ssa y s on th e F o rtieth A n n iv e r sa r y o f the E a stm a n W in d E n se m b le, F ra n k C ip o lla a n d D o n a ld H u n sb e rg e r, e d ito rs. (R o c h e s te r, N e w Y o rk : U n iv e rs ity o f R o c h e s te r P re ss, ), Z a fa re s, P e te r. M e l P o w e ll. (N e w Y o rk : G. S c h irm e r, 1990). Z a im o n t, Ju d ith L a n g, C a th e rin e O v e rh a u se r, and Ja n e G o ttlie b. T h e M u s ic a l W o m a n : A n In te r n a tio n a l P e rsp e c tiv e 1983, V o l 1. (W e stp o rt, C o n n e c tic u t: G re e n w o o d P ress, ). Z a im o n t, Ju d ith L ang. T he M u s ic a l W o m a n : A n In te r n a tio n a l P e rsp e c tiv e, Vol. I l l ( ). (W e stp o rt, C o n n e c tic u t: G re e n w o o d P re ss, 1991),

416 4 0 6 Periodicals A d a m s, B y ro n. "K arel H u s a 'sm usic fo r Prague 1968: A n In te rp re tiv e A n a ly sis," The Instrumentalist, X L II/3 (O c to b e r, ), A m e r ic a n R e c o r d G u id e. (C in c in n a ti, O h io : R e c o rd G u id e P ro d u c tio n s, ). A v e y, D e n n is. "A C o n v e rsa tio n w ith N e d R o re m," F lu te T a lk, X I 1 (S e p te m b e r, ), 8-10,22. B a ttisti, F ran k. "A m e ric a n D ia ry," W IN D S, V I/4 (su m m e r, ), 46.. "K arel H u sa K e e p in g T ie s w ith T ra d itio n," T he In s tr u m e n ta list, L X V /1 2 (Ju ly, ), , "T h e L e g a c y o f L e a d e rs w ith V isio n," T h e In s tr u m e n ta list, X L V II/6 (Ja n u a ry, ), , "R e p e rto ire E v e ry o n e 's C o n c e rn," W IN D S, IV /1 (sp rin g ), 14.. "W illia m S c h u m a n : W h en J e su s W ep t," B D G u id e, IV /3 (J a n u a ry /F e b ru a ry, ), B a ttisti, F ra n k, and D o n a ld H u n sb e rg e r. "T h e W in d M u sic o f C h a rle s Iv e s," The In s tr u m e n ta list, X X V III/1 (A u g u st, ), B e e s o n, J. "In M e m o ria m : D o u g la s M o o re," P e rsp e c tiv e s o f N e w M u s ic, V III/1 ( ), B ly, L eo n. "A n A n n o ta te d B ib lio g ra p h y o f T w e n tie th C e n tu ry S y m p h o n ie s in P rin t fo r W in d E n se m b le s," J o u r n a l o f B a n d R e s e a r c h, IX /2 (sp rin g, 1 973), B o a tw rig h t, H. " Q u in c y P o rte r," P e r sp e c tiv e s o f N e w M u sic, V /2 (sp rin g /su m m e r, ), B o o n sc h a ft, P e te r. "R e p e rto ire fo r rent: A re v ie w o f sev e n p ie c e s fo r c o n c e rt b a n d," T he In s tr u m e n ta list, X X X V I/6 (Ja n u a ry, ), B o re n tz, B en jam in. "C u rre n t C h ro n ic le," M u s ic a l Q u a rterly, X L V II (Ju ly, ), B o ro s, Jam e s. "A C o n v e rsa tio n w ith D o n a ld M a rtin o," P e r sp e c tiv e s o f N e w M u s ic, X X E X /2 (s u m m e r, ), B rio n, K e ith, Jam e s S in c la ir, a n d J o n a th a n E lk u s. "Iv es fo r B an d," T h e In str u m e n ta list, X X IX /3 (O c to b e r, ), B ro d y, M artin. "M S H J: F a ith a n d D e e d s in T h e W h ite Isla n d," P e r sp e c tiv e s o f N e w M u s ic, X X IX /2 (s u m m e r, ),

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418 4 0 8 E lw e ll, H e rb e rt. " Q u in c y P o rte r," M o d e r n M u s ic, X X III/1 ( ), F e in g o ld, M. "C la ssic a l M u sic S p e c ia l," V illa g e V o ice, X X X V II (S e p te m b e r 1, ), F e n n e ll, F re d e ric k. "H o w a rd H a n so n : C h o ra le a n d A lle lu ia," B D G u id e,n IX (S e p te m b e r/o c to b e r, 1990), "M u sic R e v ie w s: A S o le m n M u s ic," M L A N o te s, V II ( ), "W illia m S c h u m a n : G e o rg e W a sh in g to n B r id g e A n Im p r e s s io n f o r B a n d," B D G u id e, V II/4 (M a rc h /A p ril, ), F isk, Jo sia h. "K irc h n er: C h a m b e r M u sic," M u s ic a l A m e r ic a, C X /6 (S e p te m b e r, ), F lo y d, R ic h a rd L. "T h e A m e ric a n W in d S y m p h o n y E d itio n s," C B D N A J o u rn a l, 1/1 (s p rin g, ) 35. F o ste r, R o b e rt E. "T h e E n s e m b le o f th e F u tu re," B D G u id e, 3T/4 (M a rc h /A p ril, ), F re d, H e rb e rt W. "B an d L iteratu re: A B ib lio g ra p h y," J o u rn a l o f B a n d R e s e a r c h, X V II/2 (s p rin g, ), G a ro fa lo, R o b e rt J. "A N e w P la n fo r C o n c e rt B an d," M u sic E d u c a to r s J o u rn a l, L X V II/8 (A p ril, ), G o ld m a n, R ic h a rd F ra n k o. " C u rre n t C h ro n ic le," M u s ic a l Q u a rte rly, X X X V I ( ), G o o d, M ich ael. "A S elected B ib lio g ra p h y o f O rig in a l C o n c e rt B a n d M u sic," J o u rn a l o f B a n d R e s e a r c h, X V III/2 (sp rin g, ), and X IX /1 (fa ll, ), G riffith s. P. "N ew M u sic," T he M u s ic a l T im e s, C X V II (Ju ly, ), H a ith c o c k, M ic h a e l L. "K arel H u sa T a lk s A b o u t C o m p o sin g," T h e In stru m e n ta list, X X X V I/9 (A p ril, ), H a ll, D. "A B io -d is c o g ra p h y o f W illia m S c h u m a n," O v a tio n, V U 1 ( ), 4, a n d V I/8, 8. H a n a n i, H a n n a h. "V irg il T h o m so n : F ro m th e P la in s to P aris," T h e In s tr u m e n ta list, X L II/1 (A u g u st, ), H a rb is o n, Jo h n. "S ix T a n g le w o o d T a lk s," P e r sp e c tiv e s o n N e w M u s ic, X X III/2 (s p rin g /s u m m e r, ), , a n d X X IV /l(fa ll/w in te r, ), H a rlo w, L e w is A. " T w e n ty -F iv e Y e a rs o f th e P u litz e rs fo r M u sic," S a tu r d a y R e v ie w, (A p ril 2 7, 1968), 68. H a rris, R. L. "B e rn a rd R a n d s a t 5 0," M u s ic a l T im e s, C X X V I (S e p te m b e r, ),

419 4 0 9 H a rtz e ll, L a w re n c e W. "K arel H u sa, th e M a n a n d th e M u sic," M u s ic a l Q u a rte rly, L X II/1 ( ), H e g v ik, A rth u r. "K arel H u sa T a lk s A b o u t H is L ife a n d H is W o rk," T h e In s tr u m e n ta list, X X IX /5 (M a y, ), H itc h c o c k, H. W ile y. "A a ro n C o p la n d," P e r s p e c tiv e s o f N e w M u sic, X IX ( ), H o lv ik, K arl. "A n E m e rg in g B a n d R e p e rto ry : A S u rv ey o f th e m e m b e rs o f C B D N A," J o u r n a l o f B a n d R e sea rch, V I/2 (s p rin g, ), H o rw o o d, W a lly. "T h e B a ttisti In te rv ie w 3: W e N e e d C ritic s," W IN D S, V II/3 (a u tu m n, ), 18.. "M u sic fo r P ra g u e ," W IN D S, V /2 (su m m e r, ), 38.. "T h e R e c o rd e d M u sic o f K a re l H u sa," W IN D S V III/1 (sp rin g, ), 5-6. H u n sb e rg e r, D o n a ld. "K eep th e P e n d u lu m S w in g in g," W IN D S, V /2 (s u m m e r, 1990), 5.. "S c o re S tu d y a n d P re p a ra tio n, P a rt II," The In s tr u m e n ta lis t, X X X V /2 (S e p te m b e r, ), S ee B a ttisti. H u sa, K arel. "A p o th e o s is o f th is E a rth," T h e In str u m e n ta list, X X V III/1 (A u g u st, 1973), " A p o th e o sis o f th is E a rth : S o m e T h o u g h ts," J o u rn a l o f B a n d R e s e a r c h, IX /2 ( ), 6-9. J a c o b i, F re d e ric k. "L ie g e, 1930," M o d e r n M u sic, V III/6 (N o v e m b e r/d e c e m b e r, 1930), 19. K a ste n d ie c k, M. "Jo se p h S c h w a n tn e r P ro file," B M I: T he M a n y W o r ld s o f M u s ic, 1979, n o. 2, K n u sse n, O liv e r. "D av id D el T re d ic i a n d S y zy g y," T e m p o, C X V III/8 (S e p te m b e r, 1 976), K o z in n, A. "M e l P o w e ll's Jo u rn e y to a P u litz e r P rize," T he N e w Y o rk T im e s, A p ril 2 4, K ra ft, L e o. "T h e M u sic o f G e o rg e P e r l e," M u s ic a l Q u a rterly, L V II/3 (J u ly, 1971), "T h e R e c e n t M u sic o f C h a rle s W u o rin e n," P e rsp e c tiv e s o f N e w M u sic, X X V /1-2 ( ),

420 4 1 0 L a M o n ta in e, Jo h n. "M u sic and th e S o u n d s o f N a tu re," M u sic J o u r n a l (A n n u a l, 1965), , L a n e, C h e ste r. "M u sic fo r Y o u th," S y m p h o n y, X L V /1 (Ja n u a ry /F e b ru a ry, ), , , 5 4. L e ste r, N o e l. "R ic h a rd F ra n k o G o ld m a n and th e G o ld m a n B an d," J o u r n a l o f B a n d R e s e a r c h, X X IV /1 (fall, ), L e v in e, H e n ry. "G lo w in g M u sic b y T e n A m e ric a n s V iv ifies P a g e a n t at P ly m o u th T e rc e n te n a ry o f P ilg rim L a n d in g," M u s ic a l A m e r ic a, X X X IV (Ju ly 3 0, ), 1-2, 4. L o c k e, Jo h n R. "A P e rfo rm a n c e A n a ly sis o f Jo se p h S c h w a n tn e r's a n d the m o u n ta in s risin g n o w h e re," W in d s Q u a rte rly, (s u m m e r, 1981), , (fall, ), L o p a tn ik o ff, N ik o la i, "N ew L ife in B e rlin," M o d e m M u sic, V I/3 (M a y /Ju n e, ), 28. " L o v e ly a n d N a sty in B o sto n," W IN D S, IX /1 (s p rin g, 1994), 19. L u e n in g, O. "D o u g la s M o o re," M o d e r n M u s ic, x x /4 ( ), M a th e s, Jam e s. "A n aly sis: W in d s o f N a g u a l b y M ic h a e l C o lg ra ss," J o u r n a l o f B a n d R e s e a r c h, X X III/1 (F all 1987), M c L a u rin, D o n a ld. "K arel H u sa 's C o n trib u tio n to th e W in d B an d," C o lle g e B a n d D irecto rs N a tio n a l A sso c ia tio n J o u rn a l, IV /1 (su m m er, 1987), M e ie r, A n n. "A n In te rv ie w w ith N o rm a n D e llo Jo io," M u sic E d u c a to r s J o u rn a l, LX X TV (O c to b e r, ), M ille r, K arl F. "W illia m S c h u m a n : ," A m e r ic a n R e c o r d G u id e, L V /4 (J u ly /A u g u s t, ), M illig a n, T e rry G. "C h arles Ives: A S u rv ey o f th e W o rk s fo r C h a m b e r E n s e m b le W h ic h U tiliz e W in d In stru m e n ts ( )," J o u r n a l o f B a n d R e s e a r c h, X V IH /1, (fall, ), M o lin e u x, A llen. "T h e E lem e n ts o f U n ity an d T h e ir A p p lic a tio n o n V a rio u s L e v e ls o f th e F irst M o v e m e n t o f K a rel H u sa 's C o n c e rto f o r W in d E n se m b le," J o u r n a l o f B a n d R e s e a r c h, X X I/1, (fa ll, 1 985), M o n so n, K aren. "C o n te m p o ra ry C h a m b e r P la y e rs," H ig h F id e lity /M u sic a l A m e r ic a, X X V (J u ly, 1975), 29. M o o r, P au l. "S an F ra n s is c o - S F S U : W a y n e P e te rs o n W o rk s," A m e r ic a n R e c o r d G u id e, X L IV /3 (M a y /Ju n e, 1 993), 4 4. M o rto n, D e re k M. "K arel H u sa," S a x o p h o n e J o u rn a l, X III, (S e p te m b e r/o c to b e r, 1988),

421 411 N e id ig, K e n n e th. "A C o n v e rsa tio n w ith K a re l H u sa," B D G u id e, V II/1 (S e p te m b e r/ O c to b e r, ), 2-8. N e lh y b e l, V a c la v. "T im e in Y o u r H a n d s," T he In stru m e n ta list, X X X II/2 (S e p te m b e r, ), N e lso n, Ju d y R. "K arel H u sa E c h o in g M a n k in d T h ro u g h M u sic," T h e In s tr u m e n ta list, X L II/3 (O c to b e r, 1 987), "N e w s S e c tio n : C o m p o se rs," T e m p o, C L X II (D e c e m b e r, ), 53. N ic h o lls, D a v id. "D o n ald M artin o : A S u rv e y o f h is R e c e n t M u sic," M u s ic & L e tte rs, L X X III/1 (F e b ru a ry, ), O lso n, R o b e rt H. "A C o re R e p e rto ire fo r th e W in d E n se m b le," J o u r n a l o f B a n d R e s e a r c h, X V III/1 (fall, ), P a y n te r, Jo h n. "N ew M u sic R e v ie w s," T h e In s tr u m e n ta lis t, X X X I/1 (S e p te m b e r, 1976), 88. P e a rlm u tte r, A la n, and Jacq u e s V o o is. "W illia m S c h u m a n 's N e w E n g la n d T rip ty c h and th e M u sic o f W illia m B illin g s," J o u rn a l o f th e C o n d u c to r's G u ild, V IH /2 (S p rin g, ). P e te rso n, S teve. "N ew M u sic R e v ie w s," T h e In s tr u m e n ta list, X L V I/8 (M a rc h, ), 4 6. P h ilip s, H a rv ey. "M u sic ia n fro m P rag u e," T he In stru m e n ta list, X L V II/2 (S e p te m b e r, ), P isk, P au l. "E rn st T o c h," M u s ic a l Q u a rte rly, X X IV (O c to b e r, 1938), R a c h le ff, L arry. "A n In te rv ie w w ith L e slie B assett," C o llege B a n d D irecto rs N a tio n a l A s s o c ia tio n J o u rn a l, I I /l (W in te r, ), "C o lo rs a n d C o n to u rs," C o lle g e B a n d D irecto rs N a tio n a l A sso c ia tio n J o u rn a l, I I / l (W in te r, ), 1-7. R a p p o p o rt, P a u l. "G u id e to R e c o rd s," A m e r ic a n R e c o r d G u id e, X L II/5 (M a rc h, 1 979), 4 8. R e illy, R o b e rt. "C la ssic a l R e v ie w s," H ig h F id e lity, X X X V III/1 (J a n u a ry, ), 62.. "S te p h e n A lb e rt: ," A m e r ic a n R e c o r d G u id e, L V I/2 (M a rc h /A p ril, ), R e n sh a w, Jeffre y. "Jo se p h S c h w a n tn e r's F r o m a D a r k M ille n n iu m," T h e In stru m e n ta list, X L IV /2 (S e p te m b e r, ), , " S c h w a n tn e r on C o m p o sitio n," T h e In s tr u m e n ta list, X L V /1 0 (M a y, ),

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423 4 1 3 S te m fe ld, F red e ric k. "C o p la n d as a F ilm C o m p o se r," M u s ic a l Q u a rterly X X X V II/2 (A p ril, ), S tu rm, G e o rg e. "E n c o u n te rs: D o n a ld M a rtin o," M a d A m in A!, X II/2 (fa ll, ), T e rry, K en. "B e rn a rd R a n d s," B M I: T h e M a n y W o rld s o f M u s ic, N o. 2, , "Jo h n H a rb iso n," B M I M u s ic W o r ld (s u m m e r, ), "R o g e r R e y n o ld s: P ro file," B M I M u s ic W o r ld (fall, ), T h im m ig, L eslie. "T h e M u sic o f M e l P o w e ll," M u s ic a l Q u a rterly, L V /1 (Ja n u a ry, 1969), T o m m a sin i, A n th o n y. "T h e M u sic a l P o rtra its b y V irg il T h o m so n," M u s ic a l Q u a rterly, L X X /2 (sp rin g, ), T u th ill, B u rn e t. "L e o S o w e rb y," M u s ic a l Q u a rte rly, X X IV (Ju ly, 1938), V ish io, A n to n. "A n In v e stig a tio n o f S tru ctu re and E x p e rie n c e in M a rtin o S p ace," P e r sp e c tiv e s o f N e w M u s ic, X X 1 X J 2 (su m m e r, ), W a ls h, M. " C o m p o se r w ith a H o t H a n d," T im e, C X V II178 ( ), 64. W e in tra u b, E ric a B eth. "L ife o n th e E d g e," M u s ic E d u c a to rs J o u rn a l, L X IX /7 (M arch, ), W e s te rg a a rd, P. " C o n v e rsa tio n s w ith W a lte r P isto n," P e rsp e c tiv e s o f N e w M u s ic, V II ( ), W h itta l, A rn o ld. " P o st-t w e lv e -N o te A n a ly sis," P r o c e e d in g s o f the R o y a l M u s ic a l A s s o c ia tio n, X C IV ( ), W h itw e ll, D av id. "T h e E n ig m a o f C o p la n d 's E m b le m s," J o u rn a l o f B a n d R e sea rch, V II/2 (sp rin g, ), 5-9. W h itw e ll, D av id. "T h re e C rises in B a n d R e p e rto ire," T he In s tr u m e n ta list, X X /8 (M a rch, ), W illia m s, A rth u r L. "B an d R e searc h T o p ic s S u g g e ste d fo r G ra d u a te S tu d y," J o u r n a l o f B a n d R e s e a r c h, V II/1 (F a ll, 1970), U npublished Dissertations and Papers B a k e r, W illia m E lm er, Jr. "D e v e lo p in g M u sic a lity th ro u g h th e J u n io r H ig h S c h o o l B an d P ro g ra m." U n p u b lis h e d E d D d isse rta tio n, C o lu m b ia U n iv e rs ity, B a lla rd, B a rb a ra R o en n e c k e. "L e slie B assett: H is L ife and M u sic w ith S p e c ia l E m p h a sis o n S o u n d s R e m e m b e red." U n p u b lish e d M A th e sis, M ic h ig a n S tate U n iv e rsity,

424 4 1 4 B e lse r, R o b e rt S. "O rig in a l W o rk s fo r C o n c e rt B a n d P re m ie re d o r C o m m is sio n e d b y E d w in F ra n k o G o ld m a n, R ic h a rd F ra n k o G o ld m a n, a n d th e G o ld m a n B a n d " U n p u b lis h e d D M A d isse rta tio n, T h e U n iv e rsity o f Io w a, B o n u s-s m it, B a rb a ra. "Jo h n H a rb is o n : H is L ife, W o rk s a n d an A n a ly s is and P e rfo rm a n c e G u id e o f S e le c te d W o rk s W h ic h U tiliz e P ia n o." U n p u b lish e d P h D d is se ra tio n, N e w Y o rk U n iv e rsity. B rig g s, Jeffre y. "T h e R e c e n t M u sic o f J o se p h S c h w a n tn er: U n iq u e and E ssen tia l E lem e n ts." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f Illin o is at U rb a n a- C h a m p a ig n, B ro w n, M ic h a e l R. "T h e B an d M u sic o f W illia m S ch u m an : A S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lis h e d E d D d isse rta tio n, U n iv e rs ity o f G e o rg ia, C a m in e, A lb e rt. "T h e C h o ra l M u sic o f H o w a rd H a n so n." D M A d isse rta tio n, U n iv e rsity o f T e x a s, C a se y, R o b e rt L. "S erial C o m p o sitio n in W o rk s fo r th e W in d B a n d." U n p u b lis h e d E d D d is se rta tio n, W a s h in g to n U n iv e rs ity, C h u te, Jam e s E. "T h e R e e m e rg e n c e o f T o n a lity in C o n te m p o ra ry M u sic as S h o w n in th e W o rk s o f D a v id D e l T re d ic i, Jo se p h S c h w a n tn e r and J o h n A d a m s." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f C in c in n a ti, D a v id so n, R ic h a rd C. "A n a ly sis o f G ro w th in K a re l H u sa 's M u s ic f o r P r a g u e " U n p u b lis h e d M M th e sis, N o rth T e x a s S ta te U n iv e rsity, D e S a rn o ; R u th E. "P re p a ra tio n a n d P e rfo rm a n c e o f C o n certo f o r P e rcu ssio n a n d W in d E n se m b le b y K arel H u sa." U n p u b lis h e d M A th esis, C a lifo rn ia S ta te U n v ie rsity at L o n g B e a c h, D u ff, Jo h n A. "T h ree W o rk s o f K arel H u sa : A n A n a ly tic a l S tu d y o f F o rm, C o n te n t a n d S ty le." U n p u b lish e d P h D d is se rta tio n, M ic h ig a n S ta te U n iv e rs ity, F o lio, C y n th ia. "A n A n a ly sis an d C o m p a riso n o f F o u r C o m p o sitio n s b y S c h w a n tn er: A n d th e M o u n ta in s R isin g N o w h e r e ; W ild A n g e ls o f th e O p e n H ills; A fte r to n e s o f In fin ity ; S p a rro w s." U n p u b lis h e d P h D d isse rta tio n, U n iv e rs ity o f R o c h e ste r, F o x, G re g o ry C. "P e rfo rm a n c e, C o n d u c tin g, and R e h e a rsal P ro b le m s in F iv e S e le c ted C o n te m p o ra ry W o rk s fo r W in d B an d." U n p u b lish e d E d D d isse rta tio n, U n iv e rsity o f Illin o is a t U rb a n a -C h a m p a ig n, F rie d e w a ld, R u sse ll E. "A F o rm a l an d S ty listic A n a ly sis o f th e P u b lish e d M u sic o f S a m u e l B arb er." U n p u b lis h e d P h D d isse rta tio n, T h e U n iv e rs ity o f Io w a, G a n d e l, F red. "T h e C o m p le te W o rk s o f N o rm a n D e llo Joio: A n a ly sis a n d P e rfo rm a n c e P ractic e s." U n p u b lish e d P h D d isse rta tio n, A riz o n a S ta te U n iv e rsity.

425 4 1 5 G ilb e rt, Jay W. "A n E v a lu a tio n o f C o m p o sitio n s fo r W in d B a n d A c c o rd in g to S p ecific C rite ria o f S erio u s A rtistic M erit: A R e p licatio n and U p d a te." U n p u b lish e d D M d isse rta tio n, N o rth w e ste rn U n iv e rs ity, H a ll, W illa rd K en t. "Q u in cy P o rte r: H is L ife and C o n trib u tio n s as a C o m p o s e r a n d E d u c a to r." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f M isso u ri, K a n sa s C ity, H a lse th, R o b e rt E.P. "T h e Im p a c t o f th e C o lle g e B an d D ire c to rs N a tio n a l A sso c ia tio n o n W in d B an d R e p e rto ire." U n p u b lish e d D A d isse rta tio n, U n iv e rs ity o f N o rth e rn C o lo ra d o, H e ste k in, K je llru n K. " S tru c tu ra l E le m e n ts in K a re l H u sa 's A p o th e o s is o f th is E a rth." U n p u b lis h e d M M th e sis, U n iv e rs ity o f W isc o n sin, M a d is o n, H e y m a n, B a rb a r B. "S a m u e l B arb er: A D o c u m e n ta ry S tu d y o f H is W o rk s." U n p u b lis h e d P h D d isse rta tio n, C ity U n iv e rsity o f N e w Y o rk, H in d s, W a y n e B. "L eo S o w e rb y : A B io g ra p h y a n d D e sc rip tiv e L istin g o f A n th e m s." U n p u b lish e d E d D d isse rta tio n, P e a b o d y C o lle g e fo r T e a c h e rs o f V a n d e rb ilt U n iv e rs ity, H u n tin g to n, R o n ald M. "A S tu d y o f th e M u sic a l C o n trib u tio n s o f L e o S o w e rb y." U n p u b lish e d M M th e sis, U n iv e rs ity o f S o u th e rn C a lifo rn ia, H u sa, K arel. "C o n c e rto f o r W in d E n se m b le." U n p u b lish e d p a p e r p re s e n te d a t th e C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n C o n v e n tio n, C o lu m b u s, O h io, H y m e l, M a ry J. "A C o m p a ra tiv e A n a ly sis o f T h ree W o rk s fo r B a n d b y W illia m S c h u m a n." U n p u b lis h e d M M E d th e sis, L a m a r U n iv e rsity, Im p o la, C ry stal. "A n A n a ly sis o f C o n c e rto f o r A lto S a x o p h o n e a n d C o n c e r t B a n d b y K a rel H u sa." U n p u b lish e d M A th e sis, E a ste rn M ic h ig a n U n iv e rs ity, Jo h n so n, B a rry W. "A n A n a ly tic a l S tu d y o f th e B a n d C o m p o sitio n s o f H o w a rd H a n so n." U n p u b lis h e d E d D d isse rta tio n, U n iv e rs ity o f H o u sto n, J o h n so n, C h a rle s. "T h e U n p u b lis h e d W o rk s o f E rn s t T o c h." U n p u b lis h e d P h D d is se rta tio n, U n iv e rsity o f C a lifo rn ia, L o s A n g e le s, Jo h n so n, C h a rle s E. "C o m m o n M u sic a l Id io m s in S e le c ted C o n te m p o ra ry W in d B an d M u sic." U n p u b lish e d E d D d isse rta tio n, F lo rid a S tate U n iv e rs ity, J o n e s, R a y m o n d D. "L eo S o w e rb y : H is L ife an d H is C h o ra l M u sic." U n p u b lis h e d P h D d is se rta tio n, T h e U n iv e rs ity o f Io w a, K ie rm a n, M arilo is. "T h e C o m p o sitio n s o f L e o S o w e rb y fo r O rg a n S o lo." U n p u b lish e d M A th e sis, A m e ric a n U n iv e rsity, L e C ro y, H o y t F. "P e rc u ssio n T e c h n iq u e s in O rig in a l M u sic fo r B an d." U n p u b lis h e d P h D d isse rta tio n, U n iv e rs ity o f S o u th e rn M issis sip p i, 1978.

426 4 1 6 L y a ll, M a x D. "T h e P ia n o M u sic o f G a il K u b ik." U n p u b lish e d D M A d isse rta tio n, P e a b o d y In s titu te o f Jo h n H o p k in s U n iv e rs ity, M a th e w s, R o b e rt P. "D av id D e l T re d ic i's F in a l A lic e." U n p u b lish e d D M A d isse rta tio n, P e a b o d y In s titu te o f J o h n H o p k in s U n iv e rs ity, M c L a u rin, D o n a ld. "T h e L ife and W o rk s o f K a re l H u sa w ith an E m p h a s is on th e S ig n ific a n c e o f H is C o n trib u tio n s to th e W in d B an d." U n p u b lis h e d P h D d isse rta tio n, F lo rid a S ta te U n iv e rs ity, M ik k e lso n, R u sse l C. "A S tu d y o f S o u n d s, S h a p e s a n d S y m b o ls b y L e s lie B a ssett: A C o n te m p o ra ry C o m p o sitio n fo r B an d." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f W isc o n s in, M a d iso n, N e lso n, Jo n. " C o m p o sitio n a l T e c h n iq u e in E llio tt C arte r's P e n th o d e : A S tu d y in P h ra s e o lo g y and F o rm a l D e sig n." U n p u b lis h e d P h D d is se rta tio n, B ra n d e is U n iv e rs ity, N ic h o lls, W.D. "F a cto rs C o n trib u tin g to th e C o m m issio n in g o f A m e ric a n B a n d W o rk s s in c e 1945." U n p u b lish e d D M A E ssay, U n iv e rsity o f M ia m i, N ig g, E rw in. "A n A n a ly sis o f Jaco b D ru c k m a n 's W o rk s fo r W in d E n se m b le : E n g r a m ( ), P a e a n ( ), In M e m o ria m V in c e n t P e rsic h e tti ( ), W ith B e lls O n ( )." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f C in c in n a ti C o lle g e - C o n s e rv a to ry o f M u sic, O d e g a a rd, E.A. "T h e C u rre n t S ta tu s o f th e S y m p h o n ic B an d, th e M e d iu m a n d its M u sic." U n p u b lis h e d P h D d isse rta tio n, T h e U n iv e rs ity o f Io w a, O 'N e a l, T h o m a s J. "T im b re as a C o m p o sitio n a l D e v ic e in S e le c te d B a n d R e p e rto ire S in ce 1950." U n p u b lis h e d P h D d isse rta tio n, U n iv e rs ity o f A riz o n a, O stlin g, Jr., A c to n E. "A n E v a lu a tio n o f W in d B a n d L iteratu re A c c o rd in g to S p ecific C rite ria o f S e rio u s A rtistic M erit." U n p u b lish e d P h D d isse rta tio n, U n v e rsity o f Io w a, O tt, D a v id L ee. "T h e R o le o f T e x tu re an d T im b re in th e M u sic o f G e o rg e C ru m b." U n p u b lis h e d D M A d isse rta tio n, U n iv e rsity o f K e n tu c k y, P o lla c k, H o w a rd. "W a lte r P isto n and H is M u sic." U n p u b lish e d P h D d isse rta tio n, C o rn e ll U n iv e rs ity, P rin d l, F ra n k J. "A S tu d y o f T e n O rig in a l C o m p o sitio n s fo r B an d P u b lish e d in A m e ric a sin c e 1946." U n p u b lish e d E d D d isse rta tio n, F lo rid a S ta te U n iv e rs ity, P u g h, R. O. "T h e B an d C o m p o sitio n s o f th e C M P fo r C re a tiv ity in M u sic E d u c a tio n." U n p u b lis h e d E d D d is se rta tio n, U n iv e rsity o fa rk a n sas, R e a g a n, D o n a ld J. "D o u g las M o o re a n d H is O rc h e stra l W o rk s." U n p u b lis h e d P h D d is se rta tio n, C a th o lic U n iv e rs ity, 1972,

427 4 1 7 R e n s h a w, Jeffre y. S e e S c h w a n tn e r. R h o d e s, S. "A C o m p a ra tiv e A n a ly sis o f th e B a n d M u sic o f W illia m S ch u m a n." U n p u b lis h e d D M A d is se rta tio n, U n iv e rs ity o f N o rth e rn C o lo ra d o, R o se, M ich a e l A. "U n ity in D iv e rsity : T h e S y n th e sis o f C o m p o sitio n a l A p p ro a c h e s in R ic h a rd W e rn ic k 's V isio n s o f T e rro r a n d W o n d e r." U n p u b lis h e d P h D d isse rta tio n, U n iv e rs ity o f R o c h e s te r, S c h w a n tn e r, Jo se p h, a n d Jeffre y R e n sh a w. " A n d th e M o u n ta in s R is in g N o w h e r e, P a th w a y to P e rfo rm a n c e." U n p u b lish e d p a p e r p re sen te d a t th e 4 4 th A n n u a l M id w e st In te rn a tio n a l B an d a n d O rc h e stra C lin ic, C h ic a g o, Illin o is, D e c e m b e r 19, S h o e m a k e r, Jo h n. "A S e le c ted and A n n o ta te d L istin g o f T w e n tie th -C e n tu ry E n se m b le s P u b lish e d fo r T h re e o f M o re H e te ro g e n e o u s B ra ss In stru m e n ts." U n p u b lish e d E d D d is se rta tio n, W a s h in g to n U n iv e rs ity, S p itta l, R o b ert. "T h ree C ity B lo c k s : A W o rk fo r S y m p h o n ic W in d E n s e m b le b y Jo h n H a rb iso n." U n p u b lis h e d D M A d isse rta tio n, U n iv e rsity o f C in c in n a ti, S u m m e rs, C. O la n d. "T h e D e v e lo p m e n t o f O rig in a l B a n d S c o rin g fro m S o u s a to H u sa." U n p u b lish e d D A d isse rta tio n, B all S ta te U n iv e rsity, S w a le s, L.E. "C h a ra c te riz a tio n in D o m in ic k A rg e n to 's O p e ra P o s tc a rd fr o m M o r r o c o : A D ire c to r's G u id e." U n p u b lis h e d D M A d isse rta tio n, T h e U n iv e rs ity o f Io w a, S w ift. A. "2 0 th C e n tu ry B ra ss E n se m b le M u sic." U n p u b lis h e d P h D d is se rta tio n, T h e U n iv e rs ity o f Io w a, T a m, A n g e la C h in g C h i. "K arel H u sa: A n A m e r ic a n T e D e u m." U n p u b lis h e d A M u sd d isse rta tio n, U n iv e rs ity o f C in c in n a ti, T a rw a te r, Jr. W illia m. "A n aly ses o f S ev en M a jo r B a n d C o m p o sitio n s o f th e T w e n tie th C e n tu ry." U n p u b lish e d P h D d isse rta tio n, G e o rg e P e a b o d y C o lle g e o f T e a c h e rs, T e m m e, W a lte r F. "T h e S y m p h o n ic W o rk s o f Q u in c y P o rter." U n p u b lish e d D M A d isse rta tio n, A riz o n a S ta te U n iv e rsity, T h o m p so n, M a llo ry B. "K arel H u sa, C o n certo f o r W in d E n s e m b le : A n A n a ly tic a l S tu d y." U n p u b lis h e d D M A d isse rta tio n, U n iv e rsity o f R o c h e s te r, T u c k e r, A u b re y. "M u sic fro m T h e R e d P o n y F ilm M u sic b y A a ro n C o p la n d." U n p u b lis h e d M M th e sis, R ic e U n iv e rsity, T u n n e ll, M ic h a e l H. A C o m p re h e n siv e P e rfo rm a n c e P r o je c t... and a B ib lio g ra p h y o f B ra ss Q u in te ts W ritte n b y A m e ric a n C o m p o se rs fro m 1938 to 1980." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f S o u th e rn M ississip p i, 1982.

428 4 1 8 V a rs, D ian e. "T h e C h o ra l M u sic o f D o m in ic k A rg e n to." U n p u b lish e d D M A d isse rta tio n, U n iv e rsity o f W a s h in g to n, W a th e n, L a w re n c e S. "D isso n a n c e T re a tm e n t in th e In stru m e n ta l M u sic o f S a m u e l B a rb e r." U n p u b lis h e d P h D d isse rta tio n, N o rth w e ste rn U n iv e rs ity, W e s t, C h a rle s W. "M u sic fo r W o o d w in d s a n d S trin g s, P la y e rs, C o m p o se d B e tw e e n ca and ca. 1973: A C a ta lo g u e o f C o m p o sitio n s and A n a ly se s o f S e le c ted W o rk s by C o m p o se rs A c tiv e in th e U n ite d S tates a fte r 1945." U n p u b lish e d D M A d is se rta tio n, T h e U n iv e rs ity o f Io w a, W o o d, G a ry F. "T h e C h o ra l M u sic o f D o n a ld M a rtin o." U n p u b lis h e d D M A d isse rta io n, U n iv e rsity o f Illin o is U rb a n a -C h a m p a ig n, Record Jacket and Program Notes C a rte r, E llio tt. C a rte r. P. J a c o b s, h a rp sic h o rd ; G. K a lisc h, p ia n o. C o n te m p o ra ry C h a m b e r E n se m b le, A. W e isb e rg, N o n e su c h ; E le k tra N o n e su c h F rie d m a n, Jan e. F r o m m M u s ic F o u n d a tio n T w e n tie th C en tu ry C o m p o se rs S eries. R. K irk p a tric k, h a rp s ic h o rd ; C. R o se n, p ia n o. E n g lish C h a m b e r O rc h e stra, G. M e ie r, E p ic L C [m o n o ]; E p ic B C 1157 [stereo] G o o d e, R ic h ard. G e o rg e P e rle : B a lla d e, C o n c e rtin o a n d S e re n a d e N o. 3. R. G o o d e, P ia n o, M u sic o f T o d a y E n s e m b le, G. S c h w a rz, c o n d u c to r. N o n e su c h K re sk y, Jeff. "A N e w Y o rk S c h o o l: T h re e G e n e ra tio n s o f C o m p o se rs," in P a rn a s su s p la y s w o rk s b y S te fa n W o lp e, M a r io D a v id o v sk y, C h a rle s W u o rin e n, E r ik L u n d b o rg, D a v id O la n. P a rn a s su s, A. K ro f, c o n d u c to r. N e w W o rld R e c o rd s N W 3 0 6, L a w re n c e C o n se rv a to ry W in d E n se m b le, R o b e rt L e v y, co n d u c to r. P ro g ra m n o te s fro m p e rfo rm a n c e a t 1993 C o lle g e B an d D ire c to rs N atio n al A sso c ia tio n N atio n al C o n v e n tio n. M a rtin o, D o n a ld. "T rip le C o n c e rto," in M a rtin o, B a b b itt. A. D e v e n d ra, c la rin e t, D. S m y lie, b a ss c la rin e t, L. T h im m ig, c o n tra b a s s c la rin e t, T h e G ro u p fo r C o n te m p o ra ry M u sic, H. S o llb e rg e r, N o n e su c h H W ie rz b ic k i, Jam es. "M ich ael C o lg ra ss and Jaco b D ru c k m a n : 2 0 th C e n tu ry E c le c tic ism," in St. L o u is S y m p h o n y O rc h e stra : W o rk s b y M ic h a e l C o lg ra ss a n d J a c o b D ru c k m a n. St. L o u is S y m p h o n y O rc h e stra, L. S la tk in, c o n d u c to r. N e w W o rld R e c o rd s 3 1 8, W u o rin e n, C h a rle s. C h a rle s W u o rin e n : P e r c u s s io n S y m p h o n y. N e w J e rse y P e rc u ssio n E n se m b le, C. W u o rin e n, c o n d u c to r, N o n e su c h H , 1978.

429 4 1 9 Catalogs, N ew sletters and Unpublished R epertoire Lists A m e r ic a n S o c ie ty o f C o m p o se rs A u th o r s a n d P u b lish e rs: S y m p h o n ic C a ta lo g. (N ew Y o rk : B o w k e r, 1977). T h e A m e r ic a n W in d S y m p h o n y E d itio n s/t h e A m e r ic a n W in d S y m p h o n y R e c o rd in g s. (N e w Y o rk : C. F. P e te rs, 1 986). B o o s e y & H a w kes: B a n d a n d O rc h e stra C a ta lo g. (N e w Y o rk : B o o se y & H a w k e s, ). B o o s e y & H a w k e s: N e w s le tte r. (N e w Y o rk : B o o se y & H a w k e s, ). B o o s e y & H a w k e s: S c o re C a ta lo g. (N e w Y o rk : B o o se y & H a w k e s, 1993). B r o a d c a s t M u sic, In c.: S y m p h o n ic C a ta lo g. (N e w Y o rk,: B ro a d c a s t M u sic, In c., 1978). C a rl F isc h e r R e n ta l C a ta lo g o f M u s ic f o r B a n d a n d W in d E n se m b le. (N e w Y o rk : C arl F isc h e r, 1991, s u p p le m e n t 1994). C o lle g e B a n d D irecto rs N a tio n a l A sso c ia tio n : L is t o f R e c o m m e n d e d P u b lish e d B a n d M u sic. (C o lle g e B a n d D ire c to rs N a tio n a l A sso c ia tio n, 1969). C o m p o se rs R e c o rd in g s In c o r p o r a te d C o m p lete C a ta lo g. (N ew Y o rk : C o m p o se rs R e c o rd in g In c o rp o ra te d, n o d ate). G. S c h irm e r: B a n d C a ta lo g. (M ilw a u k ee: H a l L e o n a rd, 1990). G. S c h irm e r: C a ta lo g o f S cores, M u s ic f o r O rch estra, M ix e d C a h a m b e r E n se m b le s. (M ilw a u k ee: H a l L e o n a rd, 1989). K irc h h o ff, C ra ig. A S u g g e s te d L is t o f L ite ra tu re f o r H ig h S c h o o l B a n d. U n p u b lis h e d m a n u sc rip t, A S u g g e ste d L is t o f L ite r a tu r e f o r th e H ig h S c h o o l W in d E n se m b le. U n p u b lis h e d m a n u sc rip t, M u s ic E d u c a to rs N a tio n a l C o n fe re n c e: S e le ctive M u s ic L ist (B a n d ). (R esto n, V A : M u sic E d u c a to rs N a tio n a l C o n fe re n c e, 1971). M u s ic E d u c a to rs N a tio n a l C o n fe re n c e: S e le ctive M u s ic L is t ( C h a m b er). (R esto n, V A : M u sic E d u c a to rs N a tio n a l C o n fe re n c e, 1972). P a y n te r, Jo h n. N o rth w e ste r n U n iv e rsity S y m p h o n ic W in d E n s e m b le - M u s ic P r o g r a m m e d U n p u b lis h e d m a n u sc rip t, R e p o rts, ed. G a ry C o rc o ra n. (P ittsb u rg, K a n sa s a n d P ly m o u th, N e w H a m p sh ire : C o lle g e B an d D ire c to rs N a tio n a l A sso c ia tio n, ). R e y n o ld s, H. R o b e rt. C o re R e p e rto ire - T he U n iv e rsity o f M ic h ig a n B a n d s ( ). U n p u b lis h e d m a n u sc rip t, 1986.

430 4 2 0 S c h ir m e r /N e w s. (N e w Y o rk : G. S c h irm e r, ). T h e o d o re P re sse r. R e n ta l C a ta lo g. (B ry n M a w r, P e n n sy lv a n ia : T h e o d o re P re sse r, 1986). Broadcast M edia Productions C a rte r, L in d a, p ro d u c e r. "Jo h n H a rb iso n : A C o m p o se r's V o ic e," (M a d iso n : W isc o n sin E d u c a tio n a l C o m m u n ic a tio n s B o a rd and th e B o ard o f R e g e n ts, U n iv e rsity o f W isc o n s in S y ste m, 1994). W G B H (B o sto n ) a n d C a n a d ia n B ro a d c a s tin g C e n te r, p ro d u c e rs. S o u n d in g s : T he M u s ic o f M ic h a e l C o lg ra ss. D o c u m e n ta ry fo r P u b lic B ro a d c a stin g S y ste m, Correspondence and Interviews B a ssett, L e slie. W ritte n c o rre sp o n d e n c e w ith a u th o r, S e p te m b e r 8, B a ttisti, F ran k. W ritte n c o rre sp o n d e n c e w ith a u th o r, M arch 16, C o c h ra n, A lfre d. W ritte n c o rre s p o n d e n c e w ith a u th o r, S e p te m b e r 2 1, 2 6, 2 7, C o h n, A rth u r. W ritte n c o rre sp o n d e n c e w ith a u th o r, A u g u st 2 9, C ro ft, Jam e s. W ritte n c o rre sp o n d e n c e w ith a u th o r, J u n e 24, H a ith c o c k, M ic h a e l. W ritte n c o rre sp o n d e n c e w ith au th o r, A p ril 2 1, H a rb is o n, Jo h n. In te rv ie w w ith a u th o r, F e b ru a ry 2 5, H u sa, K arel. W ritte n c o rre sp o n d e n c e w ith a u th o r, S e p te m b e r 2 9, M a rtin o, D o n a ld. T e le p h o n e in te rv ie w w ith a u th o r, M arch 1 3, M en o tti, G ia n C arlo. In te rv ie w w ith a u th o r, F e b ru a ry 15, P e te rso n, W a y n e. W ritte n c o rre s p o n d e n c e w ith a u th o r, S e p te m b e r 2 5, R a n, S h u la m it. T e le p h o n e in te rv ie w w ith a u th o r, S e p te m b e r 12, R a n d s, B e rn a rd. T e le p h o n e in te rv ie w w ith a u th o r, A p ril 4, R o re m, N ed. In te rv ie w and c o rre sp o n d e n c e w ith a u th o r, F e b ru a ry 14 & 2 0, S c h w a n tn e r, Jo se p h. In te rv ie w w ith a u th o r, D e c e m b e r 19, S h e lto n, L t. C o l. R ic h ard. W ritte n c o rre sp o n d e n c e w ith au th o r, M a rc h 2 0, S to k a r, H o w a rd. T e le p h o n e in te rv ie w w ith a u th o r, S e p te m b e r 2 7, 1995.

431 421 Z w ilic h, E lle n T a a ffe. In te rv ie w w ith a u th o r, M a y 1 1, M usic Scores A lb e rt, S tep h en. C a th e d ra l M u sic : C o n certo f o r F o u r Q uartets. (N e w Y ork: C arl F is c h e r, 1977). B a rb e r, S a m u e l. C o m m a n d o M a r c h. (N e w Y o rk : G. S c h irm e r, 1 943).. F u n e r a l M a rc h, (m a n u scrip t, 1943). B a s s e tt, L e slie. C o lo rs a n d C o n to u rs. (N e w Y o rk : C. F. P e te rs, 1 985).. C o n c e r to G ro sso. (N e w Y o rk : C. F. P e te rs, 1983).. D e sig n s, Im a g e s a n d T e x tu re s. (N e w Y o rk : C. F. P e te rs, 1966).. F a n ta sy f o r C la rin e t a n d W in d E n s e m b le. (N ew Y o rk : C. F. P e te rs, 1987).. L u lla b y f o r K irste n. (N e w Y o rk : C. F. P e te rs, 1985).. S o u n d s, S h a p e s a n d S y m b o ls. (N e w Y o rk : C. F. P e te rs, 1978). B o lc o m, W illia m. B ro a d s id e f o r B a n d. (M ia m i: E.B. M a rk s/c P P -B e lw in, 1983).. L ib e r ty E n lig h te n in g th e W o rld. (N e w Y o rk : C. F. P e te rs, 1985). C arte r, E llio tt. D o u b le C o n certo f o r H a r p s ic h o rd a n d P ia n o w ith T w o C h a m b e r O rchestra s. (M ilw a u k ee: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, 1964).. P e n th o d e. (N e w Y o rk : H e n d o n M u sic /B o o se y & H a w k e s 1985). C o lg ra ss, M ic h a e l. A r c tic D re a m s. (N e w Y o rk : C a rl F isc h er, 1991).. D e jd V u. (N e w Y o rk : C a rl F isch e r, 1987).. W in d s o f N a g u a l. (N e w Y o rk : C a rl F isc h e r, 1987). C o p la n d, A a ro n. E m b le m s. (N e w Y o rk : B o o s e y & H a w k e s, 1965).. In a u g u r a l F a n fa re. (N e w Y o rk : B o o se y a n d H a w k e s, 1976).. M u s ic f o r th e T h e a tre. (N e w Y o rk : A rro w P re s s/b o o s e y & H a w k e s, 1925).. A n O u td o o r O v ertu re. (N e w Y o rk : H a w k e s & S o n s/b o o se y & H a w k e s, 1948).. P r e a m b le f o r a S o le m n O c ca sio n. (N e w Y o rk : B o o se y & H a w k e s, 1974).. The R ed Pony. (N e w Y o rk : B o o se y a n d H a w k e s, 1969).

432 Variations on a Shaker M elody. (New York: Boosey & Hawkes, 1960). D a v id o v sk y, M a rio. C o n so rts. (N e w Y o rk : C. F. P e te rs, 1984).. P e n n p la y. (N e w Y o rk : C. F. P e te rs, 1978). D e llo Jo io, N o rm a n. A ir P o w e r S u ite, (m a n u s c rip t, 1992).. A r ia a n d R o u la d e. (M ilw a u k ee: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, ).. C a ccia. (M ia m i: E d w a rd B. M a rk s/c P P -B e lw in, 1975).. C o lo n ia l B a lla d s. (M ilw a u k ee: A sso c ia te d M u sic P u b lish e rs/h a l L e o n a rd, ).. C o n c e rta n te. (B o ca R a to n, F lo rid a : E d w a rd B. M a rk s/m u sic M a ste rs, 1973).. T he D a n c in g S e rg e a n t. (B o c a R a to n, F lo rid a : E d w a rd B. M a rk s/m u sic M aste rs, ).. E v o c a tio n s: P ro m ise o f S p rin g. (B ry n M a w r, P e n n sy lv a n ia : E d w a rd B. M a rk s/t h e o d o re P re sse r, 1970).. F a n ta sie s o n a T h e m e b y H a y d n. (M ilw a u k e e : E d w a rd B. M a rk s/h a l L e o n a rd ).. F a n ta sie s o n a n O rig in a l T h em e. (N ew Y o rk : P e m b ro k e M u sic /C a rl F isch e r, ).. F r o m E v e ry H o rizo n. (B o c a R a to n, F lo rid a : E d w a rd B. M a rk s/m u sic M a ste rs, ).. M e ta p h r a se o n L in e s fr o m S h a k e sp e a re. (B ry n M aw r, P e n n sy lv a n ia : M e rio n M u sic /T h e o d o re P re s se r, 1991).. A P r o c la m a tio n : "L et U s S in g A N e w S o n g." (B ry n M a w r, P e n n s y lv a n ia : M e rio n M u sic /T h e o d o re P re sse r, 1990).. S a tiric D a n c e s f o r a C o m e d y b y A risto p h a n e s. (M ilw aukee: A sso c ia te d M u sic P u b lish e rs /H a l L e o n a rd, 1975).. S c e n e s fr o m T he L o u v re. (M iam i: E d w a rd B. M a rk s M u sic C o rp o ra tio n /C P P - B e lw in, ).. S o n g s o f A b e la r d. (B ry n M a w r, P e n n s y lv a n ia : E d w a rd B. M a rk s /T h e o d o re P re s s e r, ).. V a ria n ts o n a M e d ia e v a l T u n e. (M ilw a u k ee: E d w a rd B. M a rk s/h a l L e o n a rd, 1963 ).

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