Percy Grainger was one of the most colourful of this century's cultural figures. The All-Round Man depicts that scrambling diversity through seventy-six challenging letters from Grainger's "American" years, 1914-61. These letters are fascination to read: they are cultivated "rambles" (as Grainger actually called several of his compositions), not dissimilar to today's telephone conversations. Often written in Grainger's crunchy "Blue-eyed English", they explore uninhibitedly every corner of his public and private life. They reflect the magnificent attempts of a great but flawed mind to encompass the world.
Allen Sapp's multifaceted career as a gifted composer, influential teacher, and innovative administrator is presented in this first book-length study of his life and works. The biography chronicles his studies with Aaron Copland, Walter Piston, and Nadia Boulanger; his service as Chief Cryptanalyst for the U.S. Army in Europe at the close of WWII; his early career on the faculty at Harvard; his formation of a highly influential center for avant-garde music at Buffalo in the 1960s; and his dramatic explosion of creativity in the 1980s. Musical examples from the biography are supplemented by corresponding sound files available via the World Wide Web (http: //muslib.lib.ohio-state.edu/sapp/index.htm).
Following the biography is a listing of Sapp's works and performances, featuring excerpts from performance reviews. This is followed by a Discography/Webography, which lists all commercially produced recordings as well as all known noncommercial recordings available in libraries, archives, or on the World Wide Web. The final two sections of the book present an annotated bibliography of writings by and about Allen Sapp. The book is supplemented by appendices providing a listing of academic and nonacademic positions held by Sapp, and chronological and alphabetical listings of his compositions.
Internationally known Welsh composer Alun Hoddinott has played a major role in the promotion of contemporary music in his country through his own prolific compositions--operas; orchestral, chamber, band, and solo instrumental pieces; choral music; songs; and incidental music--and as a professor of music at Cardiff University and artistic director of the Cardiff Festival of Twentieth-Century Music. This bio-bibliography includes a catalog of his works, classified by genre, which documents 278 compositions (plus numerous derived pieces) composed from 1946 to 1991, indicating commissioning, dedication, instrumentation, duration, manuscript information, publication, recordings, and premieres and selected performances.
The works catalog is cross-referenced to recordings in a discography section and to related items in an annotated bibliography, which includes a large number of reviews and writings by the composer. An introductory biography, appendices listing the musical compositions alphabetically and chronologically, and a general index complete the volume. Prepared with the full cooperation of Hoddinott, this is the first detailed publication on this important composer.
" . . . Strickland's own deep involvement with the works of these composers is] revealed by the questions and comments he poses in an appreciative, Paterian way. His profound pleasure in these works also leads him to scrutinize and challenge them intimately." --Publishers Weekly
"This is an indispensable book about American music . . . " --Fanfare
" . . . exhilarating . . . Any of the interviews in American Composers will stimulate your curiosity and appetite." --Hungry Mind Review
" . . . not only engaging, but also a useful representation of the major compositional styles of the 1980s and their corresponding practitioners." --Notes
Philip Glass, Keith Jarrett, Meredith Monk, and eight other active American composers reveal a broad spectrum of musical personalities in these candid, in-depth conversations. Witty and articulate, their remarks convey the great vitality, diversity, and distinctiveness of today's American music.
From the end of the nineteenth century a national musical consciousness gradually emerged in the United States as composers began to turn away from the European conventions on which their music had been modeled. It was in this period of change that experimentalism was born and America subsequently became, as it still is, a major source of new musical ideas for European musicians. David Nicholls considers the most influential figures in the development of American experimentalism, including Charles Ives, Charles Seeger, Ruth Crawford, Henry Cowell and the young John Cage. He analyzes the music and ideas of this group, explaining the compositional techniques invented and employed by them and the historical and cultural context in which they emerged. The book is thus an important contribution toward our understanding of some of the most challenging music of the twentieth century.
With their unforgettable melodies, timeless messages, and stylistic indebtedness to both jazz and Broadway, American popular standards have proven to be among the most widely performed and enjoyed songs of the past century. Shaped in many ways by the technological and cultural developments of the early twentieth century, they have also managed to transcend these origins and become an enduring part of the American musical landscape. Ann van der Merwe explores how and why American songbook standards developed in the early twentieth century and how these standards have shaped American-and even global-musical culture ever since. The American Songbook explores key aspects of individual songs, including the musical and lyrical reasons for their broad appeal and applicability over the years. The American songbook continues to permeate the fabric of our daily lives. It is a repertoire that spans generations, from Fred Astaire to Tony Bennett and Lady Gaga. As a result, music lovers both young and old will enjoy discovering how these beloved songs emerged and why they remain relevant a century later.
The American Wind Symphony Editions comprises the more than 150 works commissioned by Robert Austin Boudreau for the American Waterways Wind Orchestra and published by the C. F. Peters Corporation. They are here presented for the first time in a complete catalog with detailed descriptive data, biographical information on the composers or arrangers, and score facsimiles. The published music represents about half of the over 300 works commissioned by the orchestra since 1957 in the largest such project in wind instrument history.
Presented in this catalog are the published works of 83 composers from 28 countries, including such notables as Alan Hovhaness, Toshiro Mayuzumi, Krzysztof Penderecki, Ned Rorem, and Heitor Villa-Lobos. Genres include original concert and chamber music, incidental and occasional music, and theatrical and pop pieces, as well as arrangements of past masters. The compositional characteristics of each work are described, and data on number of performers, date of composition, duration, score accessibility, composer nationality and dates, and itemized instrumentation is listed. The catalog further provides appendixes classifying the music by composer nationality, duration of works, type of soloist, number of performers, programming category, and other fields. A selective discography is included, as are indexes of works by composer and title. Background history on the wind orchestra and music publisher is also provided.
Amy Marcy Cheney Beach (1867-1944), the most widely performed composer of her generation, was the first American woman to succeed as a creator of large-scale art music. Her "Gaelic" Symphony, given its premiere by the Boston Symphony Orchestra in 1896, was the first work of its kind by an American woman to be performed by an American orchestra. Almost all of her more than 300 works were published soon after they were composed and performed, and today her music is finding new advocates and audiences for its energy, intensity, and sheer beauty. Yet, until now, no full-length critical biography of Beach's life or comprehensive critical overview of her music existed. This biography admirably fills that gap, fully examining the connections between Beach's life and work in light of social currents and dominant ideologies.Born into a musical family in Victorian times, Amy Beach started composing as a child of four and was equally gifted as a pianist. Her talent was recognized early by Boston's leading musicians, who gave her unqualified support. Although Beach believed that the life of a professional musician was the only life for her, her parents had raised her for marriage and a career of amateur music-making. Her response to this parental (and later spousal) opposition was to find creative ways of reaching her goal without direct confrontation. Discouraged from a full-scale concert career, she instead found her m�tier in composition. Success as a composer of art songs came early for Beach: indeed, her songs outsold those of her contemporaries. Nevertheless, she was determined to separate her work from the genteel parlor music women were writing in her day by creating large-scale works--a Mass, a symphony, and chamber music--that challenged the accepted notion that women were incapable of creating high art. She won the respect of colleagues and the allegiance of audiences. Many who praised her work, however, considered her an exception among women. Beach's reaction to this was to join with other women composers of serious music by promoting their works along with her own. Adrienne Fried Block has written a biography that takes full account of issues of gender and musical modernism, considering Beach in the contexts of her time and of her composer contemporaries, both male and female. Amy Beach, Passionate Victorian will be of great interest to students and scholars of American music, and to music lovers in general.