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VINCENT PERSICHETTI

VINCENT PERSICHETTI

Works

Recordings

Reviews


There have been few more universally admired twentieth-century American composers than Vincent Persichetti. His contributions have enriched the entire musical literature and his influence as performer and teacher is immeasurable.

Born in Philadelphia in 1915, Persichetti began his musical life at age five, first studying piano, then organ, double bass, tuba, theory and composition. By the age of 11, he was paying for his own musical education and helping to support himself by performing professionally as an accompanist, radio staff pianist, orchestra member and church organist. At 16, he was appointed organist and choir director for the Arch Street Presbyterian Church in Philadelphia, a post he held for nearly 20 years. A virtuoso pianist and organist, he combined extraordinary versatility with an osmotic musical mind, and his earliest published works, written when the composer was 14, exhibit mastery of form, medium and style.

Concurrent with these early activities, Persichetti was a student in the Philadelphia public schools and received a thorough musical education at the Combs College of Music, where he earned a Mus. B. degree in 1935 under Russel King Miller, his principal composition teacher. From the age of 20, he was simultaneously head of the theory and composition departments at the Combs College, a conducting major with Fritz Reiner at the Curtis Institute and piano major with Olga Samaroff at the Philadelphia Conservatory, in addition to studying composition with a number of important American composers. He received a Diploma in Conducting from the Curtis Institute and Mus. M. and Mus. D. degrees from the Philadelphia Conservatory.

In 1941 Persichetti was appointed head of the theory and composition departments at the Philadelphia Conservatory and in the same year married pianist Dorothea Flanagan. A daughter Lauren, was born in 1944 and a son, Garth, in 1946. In 1947 he joined the faculty of the Juilliard School of Music, assuming chairmanship of the Composition Department in 1963. Persichetti was appointed Editorial Director of the music publishing firm of Elkan-Vogel, Inc. in 1952.

Over the years, Vincent Persichetti was accorded many honors by the artistic and academic communities, including Honorary Doctor of Music degrees from Bucknell University, Millikin University, Arizona State University, Combs College, Baldwin-Wallace College, Peabody Conservatory, and honorary membership in numerous musical fraternities. He was the recipient of three Guggenheim Fellowships, two grants from the National Foundation on the Arts and Humanities and one from the National Institute of Arts and Letters, of which he was a member. He received the first Kennedy Center Friedheim Award, Brandeis University Creative Arts Award, Pennsylvania Governor’s Award, Columbia Records Chamber Music Award, Juilliard Publication Award, Blue Network Chamber Music Award, Symphony League Award, Philadelphia Art Alliance Medal for Distinguished Achievement, Medal of Honor from the Italian Government, and citations from the American Bandmasters Association and National Catholic Music Educators Association. Among some 100 commissions were those from the Philadelphia Orchestra, the New York Philharmonic, the St. Louis and Louisville Symphony Orchestras, the Koussevitsky Music Foundation, Naumberg Foundation, Collegiate Chorale, Martha Graham Company, Juilliard Musical Foundation, Hopkins Center, American Guild of Organists, Pittsburgh International Contemporary Music Festival, universities and individual performers. He appeared as guest conductor, lecturer and composer at over 200 universities. Wide coverage by the major TV and news media of the premiere of his A Lincoln Address helped to focus worldwide attention on his music.

Vincent Persichetti at workPersichetti composed for nearly every musical medium. More than 120 of his works are published and many of these are available on commercial recordings. Though he never specifically composed "educational" music as such, many of his smaller pieces are suitable for teaching purposes. His piano music, a complete body of literature in itself, consists of six sonatinas, three volumes of poems, a concerto and a concertino for piano and orchestra, serenades, a four-hand concerto, a two-piano sonata, twelve solo piano sonatas, and various shorter works.

His keyboard virtuosity led him to produce nine organ works, including Sonatina for Organ, Pedals Alone, and the dramatic Shimah B’Koli (Psalm 130), as well as nine sonatas for harpsichord.

Persichetti’s style of orchestral writing reflected his considerable talent and experience as a conductor. Of his symphonies, several, notably the Fourth, Fifth (Symphony for Strings), and Eighth, have made their way into the repertoire of major American symphonic ensembles. The Seventh Symphony was a very personal statement and is a symphonic development of materials from his small choral book Hymns and Responses for the Church Year.   Another large important orchestral work, commissioned for the Philadelphia Orchestra, is Sinfonia: Janiculum, written while Persichetti was in Rome on his second Guggenheim Fellowship. The most famous of his smaller orchestral works, and one firmly established in American symphonic literature, is The Hollow Men for trumpet and string orchestra, a delicate evocation of the T.S. Eliot poem. Three of his last commissions were the English Horn Concerto (New York Philharmonic), Flower Songs: Cantata No. 6 (Michael Korn and the Philadelphia Singers), and Chorale Prelude: Give Peace, O God (Ann Arbor chapter of the American Guild of Organists).

The numerous instrumental compositions include two unique series: one comprises 15 different works each entitled Serenade for such diverse combinations as piano duet, flute and harp, solo tuba, orchestra, band, two recorders, two clarinets and the trio of trombone, viola and cello. The series of 25 pieces, each entitled Parable, occupied Persichetti’s thoughts for some time. He also wrote four string quartets, a piano quintet, solo sonatas for violin and cello, Infanta Marina for viola and piano, Little Recorder Book, and Masques for violin and piano, to name just a few.

Persichetti’s unusual feeling for poetry produced numerous vocal and choral compositions of remarkably high literary and musical quality. His greatest solo vocal work is undoubtedly Harmonium, an impressive cycle of 20 closely interrelated songs to poems by Wallace Stevens.

Though not of the same magnitude as Harmonium, Persichetti’s other vocal compositions exhibit a unique wedding of text and music which sets them apart from most other composers’ efforts in this genre. His choral output ranges from small works such as Proverb for mixed voices, Song of Peace for male chorus and piano, Spring Cantata for women’s voices and piano, through larger works: Mass for mixed chorus a cappella, Winter Cantata for women’s voices, flute and marimba, and Glad and Very for two-part mixed, women’s or men’s voices and piano, and then to large scale sacred and secular works: The Pleiades for chorus, trumpet and string orchestra, Celebrations for chorus and wind ensemble, and what Persichetti considered to be his magnum opus, The Creation, a huge work for solo vocal quartet, chorus and orchestra with texts drawn by the composer from mythological scientific, poetic and Biblical sources. The small but significant choral book Hymns and Responses for the Church Year, has already been influential in breathing a new spirit into twentieth-century hymnody.

More than any other major American composer, Persichetti poured his talents into the literature for wind band. From the Serenade for Ten Wind Instruments, Op. 1 to the Parable for Band, Op. 121, he provided performers and audiences with a body of music of unparalleled excellence. Of his 14 band works, four are of major proportions: Masquerade, Parable, A Lincoln Address and Symphony for Band. Of lesser compositional importance, the Divertimento is nevertheless one of the most widely performed works in the entire repertoire.

In additions to his exhaustive compositional efforts, Persichetti found time to write one of the definitive books on modern compositional techniques, Twentieth Century Harmony: Creative Aspects and Practice (W.W. Norton, 1961) and essays in two books by Robert Hines on twentieth century choral music and twentieth century orchestral music (University of Oklahoma Press, 1963 and 1970). He also co-authored a biography of William Schuman (G. Schirmer, 1954).

To a new, adventurous generation of composers — fortunately, large and musically eloquent — he was a teacher par excellence and a highly lucid theorist. In both capacities his great artistry was ever clear and impressive, providing an example of dynamic leadership for those who encountered his genius.

View scores here (roll over to view score title):



Works

Band | Chamber Ensembles and Instrumental Solos | Choral | Harpsichord | Opera | Orchestra | Organ | Piano | Vocal




Band


A Lincoln Address, Op. 124A for Narrator and Band (1973) -- 12'
Published: #165-00070
Premiere Information: Arkansas Tech Band, Tom Slater, narrator, Gene Witherspoon conducting, February 1, 1974

Available Separately:

Full Score - Large (#165-00070F)
Piano Reduction (#165-00070N)
Set of parts (#165-00070P)


Bagatelles for Band, Op. 87 (1961)
Available From E. F. Kalmus


Celebrations, Op. 103 Cantata No. 3, for Chorus and Wind Ensemble (1966) -- 23'
Published: #165-00083
Premiere Information: University of Wisconsin Choir, River Falls, WI, Donald Nitz conducting, November 18, 1966
Additional Information: Individual Octavos also available.

Available Separately:

Errata Sheet (#165-00083E)
Full Score - Large (#165-00083F)
Set of parts (#165-00083P)
Piano/Vocal Score (#462-00009)


Chorale Prelude: O God Unseen, Op. 160 (1984) -- 8' 30"
Published: #165-00091
Premiere Information: East Carolina University Wind Ensemble, Herbert Carter conducting, Winston-Salem, NC, November 4, 1984
Recordings

Available Separately:

Condensed Score (#165-00091C)
Full Score - Large (#165-00091F)


Chorale Prelude: So Pure the Star, Op. 91 (1962) -- 4'
Published: #165-00038
Premiere Information: Duke University Band, composer conducting, Durham, NC, December 11, 1962

Available Separately:

Condensed Score (#165-00038C)
Full Score - Large (#165-00038F)
Set of parts (#165-00038P)


Chorale Prelude: Turn Not Thy Face, Op. 105 -- 4' 30"
Published: #165-00039
Premiere Information: Ithaca High School Band, Frank Battisti conducting, May 17, 1967

Available Separately:

Condensed Score (#165-00039C)
Full Score - Large (#165-00039F)
Set of parts (#165-00039P)


Divertimento for Band, Op. 42 (1950) -- 11'
Published: #135-41014
Premiere Information: Goldman Band, composer conducting, June 16, 1950
Recordings
Reviews

Available Separately:

Condensed Score (#135-41014C)
Full Score - Large (#135-41014F)
Set of parts (#135-41014P)


Masquerade for Band, Op. 102 (1965) -- 12'
Published: #165-00040
Premiere Information: Baldwin-Wallace Conservatory Band, composer conducting, Berea, OH, January 23, 1966
Recordings

Available Separately:

Full Score - Large (#165-00040F)
Set of parts (#165-00040P)


O Cool is the Valley, Op. 118 Poem for Band (1971) -- 6'
Published: #165-00059
Premiere Information: Bowling Green Band, OMEA Convention, composer conducting, Columbus, OH, February 5, 1972
Recordings

Available Separately:

Condensed Score (#165-00059C)
Full Score - Large (#165-00059F)
Set of parts (#165-00059P)


Pageant for Band, Op. 59 (1953)
Available From Carl Fischer


Parable IX, Op. 121 for Band (1972) -- 17'
Published: #165-00066
Premiere Information: The Drake University Band, Don R. Marcouiller conducting, Des Moines, IA, April 6, 1973
Recordings
Reviews

Available Separately:

Full Score - Large (#165-00066F)
Set of parts (#165-00066P)


Psalm for Band, Op. 53 (1952) -- 8'
Published: #165-00041
Premiere Information: University of Louisville Band, composer conducting, May 2, 1952
Recordings

Available Separately:

Condensed Score (#165-00041C)
Full Score - Large (#165-00041F)
Set of parts (#165-00041P)


Serenade No. 11, Op. 85 for Band (1960) -- 6'
Published: #165-00042
Premiere Information: Ithaca High School Band, composer conducting, Ithaca, NY, April 19, 1961

Available Separately:

Condensed Score (#165-00042C)
Full Score - Large (#165-00042F)
Set of parts (#165-00042P)


Symphony for Band, Op. 69 (Symphony No. 6) (1956) -- 16'
Published: #165-00043
Premiere Information: Washington University Band, Clark Mitze conducting, St. Louis, MO, April 16, 1956
Recordings

Available Separately:

Full Score - Large (#165-00043F)
Set of parts (#165-00043P)
Set of parts (#165-00093)
Full Score - Study (#165-00093F)



Chamber Ensembles and Instrumental Solos


Concertato, Op. 12 for Piano and String Quartet (1940)
Available From New York Public Library


Fanfare for Two Trumpets, Op. 164a -- 1' 17"
Published: #164-00199


Fantasy, Op. 15 for Violin and Piano (1941)
Available From New York Public Library


First String Quartet, Op. 7 (1939) -- 17'
Published: #164-00135
Premiere Information: Stuyvesant String Quartet, League of Composers, New York, NY, March 14, 1943


Fourth String Quartet, Op. 122 (Parable X) -- 22'
Published: #466-00024
Premiere Information: The Alard String Quartet, Penn State University, February 28, 1973
Reviews

Available Separately:

Set of parts (#466-00024A)
Full Score - Large (#466-00024S)


Infanta Marina, Op. 83 for Viola and Piano (1960) -- 9'
Published: #164-00016
Premiere Information: Walter Trampler and Lucy Greene, New York, NY, March 5, 1961
Recordings


King Lear, Op. 35 Septet for Woodwind Quintet, Timpani and Piano (1948) -- 19'
Published: #164-00141
Premiere Information: Martha Graham Company, Montclair, NJ, January 31, 1949
Additional Information: Originally title "The Eye of Anguish"
Recordings

Available Separately:

Full Score - Large (#164-00141S)


Little Piano Book Arranged for Brass Quintet
Published: #164-00264


Little Recorder Book, Op. 70 (1956) -- 9'
Published: #464-00039
Premiere Information: Vincent and Lauren Persichetti, Philadelphia, PA, June, 1956


Masques, Op. 99 Ten Pieces for Violin and Piano (1965)
Published: #464-00005
Premiere Information: He-Kyong Kim and Joseph Kalickstein, Juilliard School of Music, NY, December 18, 1965


Parable I, Op. 100 for Solo Flute (1965) -- 7'
Alto or C Flute
Published: #164-00031
Premiere Information: Sophie Sollberger, Philadelphia Art Alliance, Philadelphia, PA, December 16, 1965


Parable II, Op. 108 for Brass Quintet (1968) -- 13'
Published: #164-00068
Premiere Information: New York Brass Quintet, Carnegie Recital Hall, NY, April 17, 1968


Parable III, Op. 109 for Solo Oboe (1968) -- 5' 30"
Published: #164-00094
Recordings


Parable IV, Op. 110 for Solo Bassoon (1969) -- 5' 30"
Published: #164-00083


Parable V, Op. 112 for Carillon (1969) -- 4'
Published: #164-00092
Premiere Information: Albert C. Gerken, Lawrence, KS, May 12, 1970


Parable VII, Op. 119 for Solo Harp (1971) -- 17'
Published: #164-00095
Premiere Information: Beth Schwartz, San Diego, CA, June 23, 1972


Parable VIII, Op. 120 for Solo Horn (1972) -- 6' 45"
Published: #164-00105
Premiere Information: Priscilla McAfee, Alice Tully Hall, New York, NY, November 7, 1972
Reviews


Parable XI, Op. 123 for Solo Alto Saxophone (1972) -- 4' 30"
Published: #164-00106
Premiere Information: Brian Minor, Kalamazoo, MI, April 14, 1973
Reviews


Parable XII, Op. 125 for Solo Piccolo (1973) -- 2' 40"
Published: #164-00110
Recordings


Parable XIII, Op. 126 for Solo Clarinet (1973) -- 5'
Published: #164-00111
Premiere Information: Esther Lamneck, Paris, France, October 4, 1974
Recordings


Parable XIV, Op. 127 for Solo Trumpet (1973) -- 4' 20"
Published: #164-00117


Parable XV, Op. 128 for Solo English Horn (1973) -- 2' 30"
Published: #164-00116
Premiere Information: Paula Dublinski, Tempe, AZ, April 2, 1975
Recordings


Parable XVI, Op. 130 for Solo Viola (1974) -- 9'
Published: #164-00125
Premiere Information: Donald McInnes, International Viola Congress, Ypsilanti, MI, June 29, 1975
Recordings


Parable XVII, Op. 131 for Solo Doublebass (1974) -- 6'
Published: #164-00121
Premiere Information: Bertram Turetzky, Poland, October 1974


Parable XVIII, Op. 133 for Solo Trombone (1975) -- 5'
Published: #164-00146
Premiere Information: Per Brevig, Nashville, TN, May 31, 1978


Parable XXI, Op. 140 for Solo Guitar -- 1978
Published: #164-00148
Premiere Information: Peter Segal, Carnegie Recital Hall, NY, October 21, 1978


Parable XXII, Op. 147 for Solo Tuba (1981)
Published: #164-00162
Premiere Information: Harvey Phillips, Carnegie Recital Hall, NY, April 25, 1982
Recordings


Parable XXIII, Op. 150 for Violin, Cello and Piano (1981)
Published: #464-00050
Premiere Information: Hamao Fujiwaro, James Kreger and composer, January 28, 1982
Recordings


Parable XXV, Op. 164 for Two Trumpets (1986)
Published: #164-00200


Pastoral, Op. 21 for Woodwind Quintet
Available From G. Schirmer


Quintet, Op. 66 for Piano and Strings (1954) -- 23'
Published: #164-00004
Premiere Information: Kroll String Quartet and the composer, Library of Congress, Washington, DC, February 4, 1955


Second String Quartet, Op. 24 (1944) -- 18'
Published: #164-00109
Premiere Information: Roth String Quartet, Colorado Springs Fine Arts Festival (Blue Network), August 16, 1945


Serenade No. 1, Op. 1 for Ten Wind Instruments (1929) -- 11'
Fl., Ob., Cl., Bsn., 2Hn., 2Tpt., Tbn., Tuba
Published: #164-00054
Premiere Information: New York Wind Ensemble, San Angelo College, TX, April 21, 1952


Serenade No. 10, Op. 79 for Flute and Harp (1957) -- 20'
Published: #164-00032
Premiere Information: Lora and Vito, Istanbul, Turkey, September 21, 1957
Recordings


Serenade No. 12, Op. 88 for Solo Tuba (1961) -- 5'
Published: #164-00062
Premiere Information: Harvey Phillips, Elkhart, IN, November 14, 1962


Serenade No. 13, Op. 95 for Two Clarinets (1963) -- 6'
Published: #164-00041
Premiere Information: Chapin School, NYC, May 7, 1964


Serenade No. 14, Op. 159 for Solo Oboe (1984) -- 12'
Published: #164-00171
Premiere Information: Pamela Epple, Christ and St. Stephen’s Church, NY, May 17, 1984


Serenade No. 3, Op. 17 for Violin, Cello, and Piano (1941)
Available From Southern Music Publishing Co.


Serenade No. 4, Op. 28 for Violin and Piano (1945) -- 9'
Published: #464-00049
Premiere Information: Peter Oundjian and Charles Abramovic, Tully Hall, NY, November 12, 1981


Serenade No. 6, Op. 44 for Trombone, Viola, and Cello (1950) -- 12'
Published: #164-00058
Premiere Information: Davis Shuman, Aaron Chaifetz and Robert Jamieson, Groton, MA, January 27, 1951


Serenade No. 9 for Flute and Alto Flute
Published: #164-00255


Serenade No. 9, Op. 71 for Soprano and Alto Recorders (1956) -- 10'
Published: #164-00085


Sonata for Solo Cello, Op. 54 (1952) -- 23'
Published: #164-00019
Premiere Information: Elsa Hilger, Samaroff Foundation, Museum of Modern Art, NY, May 6, 1953


Sonata for Solo Violin, Op. 10 (1940) -- 10'
Published: #164-00006
Premiere Information: Broadus Erle, Waldport, OR, November 17, 1945


Suite for Violin and Cello, Op. 9 (1940)
Available From New York Public Library


The Hollow Men, Op. 25 for Trumpet and Piano or Organ (1944) -- 8'
Published: #164-00166
Additional Information: Also available for Trumpet and String Orchestra


Third String Quartet, Op. 81 (1959) -- 20'
Published: #466-00010
Premiere Information: Alabama String Quartet, Tuscaloosa, AL, April 19, 1959
Additional Information: Score.

Available Separately:

Set of parts (#466-00010P)


Vocalise, Op. 27 for Cello and Piano (1945) -- 3'
Published: #164-00024
Premiere Information: Samuel Mayes, Tri-County Concerts, Wayne, PA, November 1, 1946



Choral


A Clear Midnight from Celebrations, Op. 103 (1966)
Part of Celebrations, Op. 103
SATB and Pno.
Published: #362-03227


Agnus Dei from Mass, Op. 84 for SATB, a cappella
Published: #362-01173


Amens from Hymns and Responses, Op. 68 for SATB Chorus
Published: #362-03157


Celebrations, Op. 103 Cantata No. 3
Additional Information: Chorus and Piano transcriptions of "Celebrations, Op. 103 for Chorus and Wind Ensemble."

There is That in Me from Celebrations, Op. 103

A Clear Midnight from Celebrations, Op. 103

Sing Me the Universal from Celebrations, Op. 103

I Sing the Body Electric from Celebrations, Op. 103

Stranger from Celebrations, Op. 103

I Celebrate Myself from Celebrations, Op. 103


Four cummings Choruses, Op. 98 for 2-part Mixed, Women’s, or Men’s Voices and Piano (1964) -- 6'
Commission Information: Dartmouth Glee Club, Paul Zeller conducting, Hanover, NH, February 12, 1964


Dominic Has a Doll
Published: #362-01222


Nouns to Nouns
Published: #362-01223


Maggie and Milly and Molly and May
Published: #362-01224


Uncles
Published: #362-01225



Glad and Very (Five cummings Choruses, Cantata No. 5), Op. 129 for 2-part Mixed, Women’s or Men’s Voices and Piano (1974) -- 11'
Published: #462-00028
Commission Information: Huntingdon Choir, Andrew E. Housholder conducting, Huntingdon, NY, December 18, 1974


Gloria from Mass, Op. 84
Published: #362-01172


Hymns and Responses for the Church Year
Reviews


Hymns and Responses for the Church Year Volume 1, Op. 68 (1955)
Published: #462-00001
First Presbyterian Church Choir, Philadelphia, Alexander McCurdy conducting, October 7, 1956


Hymns and Responses for the Church Year Volume 2, Op. 166 (1987)
Published: #462-00030



I Celebrate Myself from Celebrations, Op. 103
Part of Celebrations, Op. 103
SATB and Pno.
Published: #362-03342


I Sing the Body Electric from Celebrations, Op. 103
Part of Celebrations, Op. 103
SATB and Pno.
Published: #362-03229


Love, Op. 116 for Women’s Chorus (SSAA), a cappella (1971) -- 4'
Published: #362-03333
Premiere Information: Mount Holyoke Singers, Tamara Brooks conducting, 30th Wedding Anniversary at composer’s home, June 3, 1971
Additional Information: Text from Corinthians.
Recordings


Magnificat and Nunc Dimittis, Op. 8 for Mixed Chorus and Piano (1940) -- 7'
Published: #362-03325
Premiere Information: Ithaca College Choir, Lawrence Doebler conducting, November 10, 1979


Mass, Op. 84 for Mixed Chorus, a cappella (1960) -- 17' 50"
Published: #462-00012
Premiere Information: Collegiate Chorale, Mark Orton conducting, Carnegie Hall, NY, April 20, 1961
Additional Information: Latin text.
Recordings
Reviews


Proverb, Op. 34 for Mixed Chorus -- 2'
Published: #362-01102


Seek the Highest, Op. 78 for SAB Chorus and Piano (1957) -- 4'
Published: #362-00505
Premiere Information: Ethical Culture Society Chorus, John DeWitt, conducting, NY, March 17, 1957


Sing Me the Universal from Celebrations, Op. 103
Part of Celebrations, Op. 103
SATB and Pno.
Published: #362-03228


Song of Peace, Op. 82 for Male Chorus and Piano (1959) -- 3'
Published: #362-00130
Premiere Information: Colgate University Chapel Choir, William Skelton conducting, Hamilton, NY, April 26, 1959
Additional Information: Also available for SATB and Keyboard.


Song of Peace, Op. 82a Version for SATB and Keyboard (1959) -- 3'
Published: #362-03336
Additional Information: Also available for Male Chorus and Piano.


Spring Cantata (Cantata No. 1), Op. 94 for Women’s Chorus and Piano (1963) -- 6'
Published: #462-00010
Premiere Information: Wheelock College Choir, Leo Collins conducting, Boston, MA, April 1, 1964


Stranger from Celebrations, Op. 103
Part of Celebrations, Op. 103
SA and Pno.
Published: #362-03341


The Pleiades, Op. 107 for Trumpet, SATB Chorus and String Orchestra (1967) -- 23'
Available from the Presser Rental Library
Premiere Information: New York State University College Chorus and Orchestra, Potsdam, NY, composer conducting, May 10, 1968
Additional Information: Text by Walt Whitman

Available Separately:

Piano/Vocal Score (#462-00014)


There is That in Me from Celebrations, Op. 103
Part of Celebrations, Op. 103
SATB and Pno.
Published: #362-03226


Thou Child So Wise for Unison Chorus and Piano
Published: #362-03403
Additional Information: Arranged from the version for Vocal Solo


Three Canons for Voices, Op. 31 for 3-Part Women’s, Men’s, or Mixed Voices -- 3' 15"
Published: #362-03268


Three Selections from Winter Cantata for Women’s Chorus, Flute and Marimba (1964)
Published: #362-03126


Two cummings Choruses, Op. 33 for 2-part Mixed, Women’s or Men’s Voices and Piano
Available From G. Schirmer


Two cummings Choruses, Op. 46 for Women’s Voices, a cappella
Available From Carl Fischer


Winter Cantata (Cantata No. 2), Op. 97 for Women’s Chorus, Flute, and Marimba (1964) -- 13' 20"
Published: #462-00013
Premiere Information: Emma Willard Choir, Russell Locke conducting, Troy, NY, April 9, 1965
Recordings



Harpsichord


Eighth Harpsichord Sonata, Op. 158 (1984) -- 11'
Published: #160-00211
Premiere Information: Linda Kolber, Cathedral of St. John the Divine, New York, NY, November 15, 1985


Fifth Harpsichord Sonata, Op. 152 (1982) -- 9' 30"
Published: #460-00082
Premiere Information: John Metz, Tempe, AZ, December 8, 1982
Recordings


First Harpsichord Sonata, Op. 52 (1951) -- 13'
Published: #160-00182
Premiere Information: Fernando Valenti, Town Hall, NY, January 10, 1952
Reviews


Fourth Harpsichord Sonata, Op. 151 (1982) -- 9' 30"
Published: #460-00081
Premiere Information: Joan Applegate, Shippensburg State College, Shippensburg, PA, April 3, 1982
Recordings
Reviews


Little Harpsichord Book, Op. 155 -- 8' 40"
Published: #460-00083
Premiere Information: Elaine Comparone, Philadelphia Art Alliance, Philadelphia, PA, October 16, 1983


Ninth Harpsichord Sonata, Op. 163 (1985) -- 13'
Published: #460-00091
Premiere Information: Masanobu Ikemiya, Arcady Music Festival, Mt. Desert Island, ME, July 21, 1986


Parable XXIV, Op. 153 for Harpsichord (1982) -- 8'
Published: #160-00208
Premiere Information: Cathy Callis, Capital University, Columbus, OH, April 21, 1983


Second Harpsichord Sonata, Op. 146 (1981) -- 11' 30"
Published: #460-00076
Premiere Information: Elaine Comparone, Cleveland, OH, June 23, 1982
Recordings
Reviews


Serenade No. 15 for Harpsichord, Op. 159 -- 7' 30"
Published: #160-00210
Premiere Information: Larry Palmer, Dallas, TX, September 23, 1985


Seventh Harpsichord Sonata, Op. 156 (1983) -- 7'
Published: #460-00087
Premiere Information: Barbara Harbach, Wilmot Hall, Rochester, NY, March 19, 1983


Sixth Harpsichord Sonata, Op. 154 (1982) -- 7' 30"
Published: #460-00085
Premiere Information: Larry Palmer, Christ Church Cathedral, New Orleans, LA, September 11, 1983


Tenth Harpsichord Sonata, Op. 167 -- 12'
Published: #460-00093


Third Harpsichord Sonata, Op. 149 (1981) -- 9' 17"
Published: #460-00080
Premiere Information: Elaine Comparone, Washington, DC, October 10, 1982
Recordings
Reviews



Opera


The Sibyl: A Parable of Chicken Little (Parable XX), Op. 135 Opera in One Act (1976) -- 70'
Voices: Soprano, Mezzo-soprano, Alto, Tenor, Baritone, Bass, Mixed Chorus Orch: 2-1-2-1/2-2-2-1; Timp., Perc., Pno.
Available from the Presser Rental Library
Commission Information: The Pennsylvania Opera Theater
Premiere Information: The Pennsylvania Opera Theater, Philadelphia, PA, Barbara Silverstein conducting, April 13, 1985
Additional Information: Libretto by the composer

Movements:
Realization
Sky Spell
Wishing



Orchestra


A Lincoln Address, Op. 124 for Narrator and Orchestra (1972) -- 12'
4-3-4-3; 4-3-3-1; Timp., Perc., Str.
Available from the Presser Rental Library
Premiere Information: St. Louis Symphony Orchestra, William Warfield, narrator, Walter Susskind conducting, January 25, 1973

Available Separately:

Full Score - Study (#466-40023)


Concertino for Piano and Orchestra, Op. 16 (1941) -- 9'
2-2-2-2; 2-2-0-0; Timp., Str.
Available from the Presser Rental Library
Premiere Information: Vincent Persichetti, piano, Eastman-Rochester Symposium Orchestra, Howard Hanson, conductor, October 23, 1945

Available Separately:

Piano Reduction (#460-00051)


Concerto for English Horn and String Orchestra, Op. 137 (1977) -- 19'
Available from the Presser Rental Library
Premiere Information: New York Philharmonic, Thomas Stacy, English horn, Eric Leinsdorf, conductor, November 17, 1977
Recordings

Available Separately:

Solo Part with Piano Reduction (#164-00143)
Full Score - Study (#466-00032)


Concerto for Piano and Orchestra, Op. 90 -- 32'
3-2-3-2; 4-3-3-1; Timp., Perc., Str.
Available from the Presser Rental Library
Premiere Information: Anthony di Bonaventura, piano, Dartmouth Symphony, Mario di Bonaventura conducting, Hanover, NH, August 2, 1964
Recordings

Available Separately:

Piano Reduction (#460-00037)
Full Score - Large (#466-00031)


Dance Overture, Op. 20 (1942) -- 8'
3-3-3-3; 4-4-3-1; Timp., Perc, Pno., Str.
Available from the Presser Rental Library
Premiere Information: Tokyo Symphony Orchestra, Konoye conducting, Japan, February 7, 1948

Available Separately:

Full Score - Study (#466-00005)


Fables for Narrator and Orchestra, Op. 23 (1943)
Available From Carl Fischer


Fairy Tale, Op. 48 (1950)
Available From Carl Fischer


Flower Songs (Cantata No. 6), Op. 157 for Mixed Chorus and String Orchestra (1983) -- 21'
Available from the Presser Rental Library
Premiere Information: The Philadelphia Singers with the Concerto Soloists, Michael Korn conducting, Academy of Music, Philadelphia, April 20, 1984
Additional Information: Text by e.e. cummings

Available Separately:

Piano/Vocal Score (#362-03357)


Introit for Strings, Op. 96 (1964) -- 3'
Published: #166-00016
Premiere Information: Youth Symphony of Kansas City, Jack Herriman conducting, MO, May 1, 1965
Recordings

Available Separately:

Full Score - Large (#166-00016F)
Set of parts (#166-00016P)


Night Dances, Op. 114 (1970) -- 22'
3-3-2-2; 4-3-3-1; Timp., Perc., Str.
Available from the Presser Rental Library
Premiere Information: NYSSMA Orchestra, Kiamesha Lake, New York, Frederick Fennell conducting, December 9, 1970
Recordings

Available Separately:

Full Score - Study (#466-00022)


Serenade No. 5, Op. 43 (1950) -- 11'
2-2-2-2; 4-2-3-1; Timp., Str.
Available from the Presser Rental Library
Premiere Information: Louisville Orchestra, Robert Whitney conducting, November 15, 1950
Recordings

Available Separately:

Full Score - Study (#466-00008)


Sinfonia: Janiculum, Op. 113 (Symphony No. 9) -- 23'
4-3-4-3; 4-3-3-1; Timp., 2Perc., Hp., Str.
Available from the Presser Rental Library
Premiere Information: Philadelphia Orchestra, Eugene Ormandy, conductor, March 5, 1971
Reviews


Stabat Mater, Op. 92 for Chorus and Orchestra (1963) -- 28'
2-2-2-2; 4-2-3-1; Timp. Str.
Available from the Presser Rental Library
Premiere Information: Collegiate Chorale, Abraham Kaplan conducting, Carnegie Hall, NY, May 1, 1964


Symphony for Strings, Op. 61 (Symphony No. 5) (1953) -- 22'
Available from the Presser Rental Library
Premiere Information: Louisville Orchestra, Whitney conducting, August 28, 1954
Recordings

Available Separately:

Full Score - Study (#466-00007)


Symphony No. 1, Op. 18 (1942)
2-3-2-3; 7-3-3-1; Timp., B.Dr., Str.
Withdrawn


Symphony No. 2, Op. 19 (1942)
2-3-2-3; 4-2-2-0; Timp., Pno., Str.
Withdrawn


Symphony No. 3, Op. 30 (1946) -- 28'
3-3-3-3; 7-3-3-1; Timp., Perc., Pno., Str.
Available from the Presser Rental Library
Premiere Information: Philadelphia Orchestra, Eugene Ormandy conducting, November 21, 1947
Reviews

Available Separately:

Full Score - Study (#466-00052)


Symphony No. 4, Op. 51 (1951) -- 23'
3-3-3-2; 4-2-3-1; Timp., Perc., Str.
Available from the Presser Rental Library
Premiere Information: Philadelphia Orchestra, Eugene Ormandy, conductor, December 17, 1954

Available Separately:

Full Score - Study (#466-00006)


Symphony No. 7, Op. 80 (Liturgical) (1958) -- 25'
4-3-4-3; 4-3-3-1; Timp., Perc., Str.
Available from the Presser Rental Library
Premiere Information: St. Louis Symphony, Remoortel conducting, October 24, 1959

Available Separately:

Full Score - Study (#466-00009)


Symphony No. 8, Op. 106 (1967) -- 29'
3-3-3-2; 7-3-3-1; Timp., Perc., Hp., Str.
Available from the Presser Rental Library
Premiere Information: Baldwin Wallace Conservatory Orchestra, George Poinar conducting, October 29, 1967
Recordings

Available Separately:

Full Score - Study (#466-00020)


Te Deum, Op. 93 for Chorus and Orchestra (1963) -- 14'
2-2-2-2; 4-2-3-1; Timp., Perc., Str.
Available from the Presser Rental Library
Premiere Information: Pennsylvania All-State Chorus, Allen Flock conducting, Philadelphia, PA, March 15, 1964

Available Separately:

Piano/Vocal Score (#462-00026)
Full Score - Large (#466-00043)


The Creation, Op. 111 for SATB Soli, Chorus and Orchestra -- 70'
3-3-3-2; 4-3-3-1; Timp., Perc., Str.
Available from the Presser Rental Library
Premiere Information: Juilliard Chorus and Orchestra, composer conducting, Tully Hall, NY, April 17, 1970
Additional Information: Text by the composer from mythological, scientific, poetic and Biblical sources.


The Hollow Men for Trumpet and String Orchestra -- 8'
Published: #166-00047
Premiere Information: Germantown Symphony Orchestra, Arthur Lipkin conducting, December 12, 1946
Additional Information: Also available for Trumpet and Piano or Organ
Recordings

Available Separately:

Full Score - Large (#166-00047F)
Set of parts (#166-00047P)



Organ


Auden Variations, Op. 136 (1977) -- 22'
Published: #463-41000
Premiere Information: Leonard Raver, International Contemporary Organ Music Festival, Hartford, CT, July 14, 1978


Chorale Prelude: Drop, Drop, Slow Tears, Op. 104 -- 12'
Published: #163-00022
Premiere Information: Haskill Thomson, Lexington, KY, April 13, 1967
Recordings


Chorale Prelude: Give Peace, O God, Op. 162 -- 12'
Published: #463-41002
Premiere Information: Donald Williams, American Guild of Organists National Convention, Ann Arbor, MI, June 3, 1986
Reviews


Do Not Go Gentle, Op. 132 for Pedals Alone -- 8'
Published: #163-00035
Premiere Information: Leonard Raver, Boston, MA, November 18, 1974


Dryden Liturgical Suite, Op. 144 (1980) -- 18'
Published: #463-41001
Premiere Information: Marilyn Mason, American Guild of Organists National Convention, St. Paul, MN, June 18, 1980


Parable VI, Op. 117 (1971) -- 14'
Published: #163-00034
Premiere Information: David Craighead, American Guild of Organists National Convention, Forth Worth, TX, June 21, 1972


Shimah B’Koli (Psalm 130), Op. 89 (1962) -- 10'
Published: #163-00021
Premiere Information: Virgil Fox, Philharmonic Hall, NY, December 15, 1962


Sonata for Organ, Op. 86 (1960) -- 12'
Published: #463-00008
Premiere Information: Rudolph Kremer, Washington University, St. Louis, MO, December 28, 1960


Sonatine for Organ, Pedals Alone, Op. 11 (1940) -- 7'
Published: #163-00023
Premiere Information: Vincent Persichetti, Arch Street Presbyterian Church, Philadelphia, PA, November 8, 1940


Song of David, Op. 148 (1981) -- 5' 30"
Published: #163-00041
Premiere Information: Leonard Raver, Church of the Ascension, New York, NY, March 7, 1983



Piano


Appalachian Christmas Carols (After John Jacob Niles) for One Piano, Four Hands -- 7' 30"
Published: #460-00066


Concerto for Piano, Four Hands, Op. 56 -- 18'
Published: #460-00052
Premiere Information: Vincent and Dorothea Persichetti, Pittsburgh International Contemporary Music Festival, November 29, 1952
Recordings
Reviews


Eighth Piano Sonata, Op. 41 (1950) -- 7'
Published: #460-00032
Premiere Information: Claire Shapiro, Philadelphia Conservatory, Philadelphia, PA, March 19, 1956


Eleventh Piano Sonata, Op. 101 (1965) -- 19'
Premiere Information: Dorothea Persichetti, Philadelphia Art Alliance, Philadelphia, PA, December 16, 1965
Additional Information: Published: 460-00035


Fifth Piano Sonata, Op. 37 (1949) -- 8' 30"
Published: #460-00029
Premiere Information: Jean Geis, Town Hall, NY, March 11, 1951


First Piano Sonata, Op. 3 (1939) -- 16'
Published: #460-00073
Premiere Information: Vincent Persichetti, Philadelphia Conservatory, Philadelphia, PA, May 8, 1939


Four Arabesques, Op. 141 (1978) -- 3' 20"
Published: #160-00206


Fourth Piano Sonata, Op. 36 (1949) -- 18' 30"
Published: #460-00028
Premiere Information: Vincent Persichetti, League of Composers, NY, December 27, 1949
Reviews


Little Mirror Book, Op. 139 (1978) -- 4' 30"
Published: #460-00077


Little Piano Book, Op. 60 (1953) -- 9'
Published: #460-00026
Premiere Information: Lauren Persichetti, Philadelphia Conservatory, November 14, 1954


Mirror Etudes, Op. 143 (1979) -- 14'
Published: #160-00204
Premiere Information: Virginia Sircy, Lawton, OK, June 21, 1980


Ninth Piano Sonata, Op. 58 (1952) -- 12'
Published: #460-00033
Premiere Information: David Burge, Madison, WI, March 8, 1962
Reviews


Organ Prelude and Fugue in A Minor (Johannes Brahms)
Published: #160-00022


Parable XIX, Op. 134 for Piano (1975) -- 10' 30"
Published: #160-00190
Premiere Information: Daniel Pollack, MTNA National Convention, Dallas, TX, March 30, 1976


Parades, Op. 57 (1952) -- 3'
Published: #160-00097
Premiere Information: Garth Persichetti, Philadelphia Conservatory, Philadelphia, PA, February 5, 1956


Piano Sonatinas, Volume 1 -- 12' total
Published: #460-00036
Premiere Information: Sonatina No. 2: Margaret Barthel, Town Hall, NY, December 13, 1951

Movements:
Sonatina No. 1, Op. 38 (1950) (3min.)
Sonatina No. 2, Op. 45 (1950) (5min.)
Sonatina No. 3, Op. 47 (1950) (4min.)


Piano Sonatinas, Volume 2 -- 9' total
Published: #460-00136

Movements:
Sonatina No. 4, Op. 63 (1954) (3min.)
Sonatina No. 5, Op. 64 (1954) (3min.)
Sonatina No. 6, Op. 65 (1954) (3min.)


Poems for Piano, Volume 1, Op. 4 (1939) -- 9'
Published: #460-00024
Premiere Information: Vincent Persichetti, League of Composers (CBS), February 24, 1940


Poems for Piano, Volume 2, Op. 5 (1939) -- 9'
Published: #460-00025
Premiere Information: Vincent Persichetti, WNYC Festival of American Music, February 13, 1945


Poems for Piano, Volume 3, Op. 14 (1941) -- 10'
Published: #460-00071


Reflective Keyboard Studies, Op. 138 (1978)
Published: #160-00203


Second Piano Sonata, Op. 6 (1939) -- 11'
Published: #160-00205
Premiere Information: Dorothea Flanagan, El Dorado, KS, January 8, 1941


Serenade No. 2, Op. 2 (1929) -- 4'
Published: #160-00098
Premiere Information: Vincent Persichetti, Combs Conservatory, Philadelphia, PA, December 21, 1929


Serenade No. 7, Op. 55 (1952) -- 9'
Published: #160-00099


Serenade No. 8, Op. 62 for Piano, 4 Hands (1954) -- 3'
Published: #160-00154
Recordings


Seventh Piano Sonata, Op. 40 (1950) -- 7'
Published: #460-00031
Premiere Information: Robert Smith, Philadelphia Conservatory, Philadelphia, PA, May 21, 1956


Sixth Piano Sonata, Op. 39 (1950) -- 12'
Published: #460-00030
Premiere Information: Joseph Bloch, Town Hall, NY, April 26, 1951


Sonata for Two Pianos, Op. 13 (1940) -- 11' 17"
Published: #160-00186
Premiere Information: Dorothea Flanagan and Vincent Persichetti, Town Hall, New York, April 2, 1941
Recordings
Reviews


Sonatas for Piano Complete Edition
Published: #460-00092
Additional Information: Sonatas 1-12 also available separately.
Recordings
Reviews


Tenth Piano Sonata, Op. 67 (1955) -- 22'
Published: #460-00034
Premiere Information: Josef Raieff, Juilliard School of Music, NY, February 20, 1956
Reviews


Third Piano Sonata, Op. 22 (1943) -- 12' 30"
Published: #460-00027
Premiere Information: Vincent Persichetti, Colorado Springs Fine Arts Festival, August 13, 1943


Three Toccatinas, Op. 142 (1979) -- 6'
Published: #160-00196
Premiere Information: International Piano Festival and Competition, University of Maryland, June 18, 1980


Twelfth Piano Sonata (Mirror Sonata), Op. 145 (1981) -- 13'
Published: #460-00075
Premiere Information: Jeffrey Jacob, Notre Dame, IN, April 18, 1983
Reviews


Variations for an Album, Op. 32 (1947) -- 4'
Published: #160-00189
Premiere Information: John Kirkpatrick, Baldwin-Wallace College, October 17, 1947


Winter Solstice, Op. 165 (1986) -- 11'
Published: #160-00214



Vocal


A Net of Fireflies, Op. 115 Cycle of 17 Songs for Voice and Piano (1970) -- 19'
Published: #461-00005
Premiere Information: Carolyn Reyer, Tully Hall, NY, May 12, 1971
Additional Information: Haiku verse, translated by Harold Stewart.


Carl Sandburg Songs, Op. 73 (1957)
Available From New York Public Library


e. e. cummings Songs, Op. 26 (1945)
Available From New York Public Library


Emily Dickinson Songs, Op. 77 (1957)
Premiere Information: Shirley Verrett, Town Hall, NY, November 4, 1958


Out of the Morning
Published: #161-00046


I'm Nobody
Published: #161-00047


When the Hills Do
Published: #161-00048


The Grass
Published: #161-00049



English Songs, Op. 49 (1951)
Available From New York Public Library


Harmonium, Op. 50 Cycle for Soprano and Piano (1951) -- 65'
Published: #461-00003
Premiere Information: Hilda Rainer and Vincent Persichetti, League of Composers, Museum of Modern Art, NY, January 20, 1952
Additional Information: Poems by Wallace Stevens
Reviews


Hilaire Belloc Songs, Op. 75 (1957)


Thou Child So Wise
Published: #161-00053
Additional Information: Also available for Unison Chorus and Piano


The Microbe
Published: #161-00054



James Joyce Songs, Op. 74 (1957)
Premiere Information: Marlene Kleinman and Dorothea Persichetti, Philadelphia, PA


Unquiet Heart
Published: #161-00050


Brigid's Song
Published: #161-00051


Noise of Waters
Published: #161-00052



Robert Frost Songs, Op. 76 (1957)
Available From New York Public Library


Sara Teasdale Songs, Op. 72 (1957)
Available From New York Public Library


Two Chinese Songs, Op. 29 (1945) -- 1' 20"
Published: #161-00068
Premiere Information: Richard Harvey, Town Hall, NY, April 13, 1948

Movements:
All Alone
These Days


Recordings


Divertimento for Band, Op. 42


Harmonia Mundi 907092:
David Amos and the Winds of the London Symphony Orchestra.



Coronet Records No. S-1247:
McGinnis: Ohio State University Concert Band.



Serenade No. 8, Op. 62 for Piano, 4 Hands


Koch International Classics KIC 7213:
Malinova Sisters



Sonata for Two Pianos, Op. 13


Koch International Classics KIC 7213:
Malinova Sisters



Chorale Prelude: Drop, Drop, Slow Tears, Op. 104


Titanic Records Ti 205:
H. Spillman, org.



Infanta Marina, Op. 83 for Viola and Piano


Cyrstal Records CD 636:
P. Cortese, viola, J. Klibonoff, piano



Serenade No. 10, Op. 79 for Flute and Harp


Klavier KCD 11019:
Di Tullio and McDonald



Parable III, Op. 109 for Solo Oboe


Crystal Records No. C 321 (also CD 321):
Peter Christ, oboe.



Parable XII, Op. 125 for Solo Piccolo


CRYSTAL RECORDS CD713: Take Wing



Parable XIII, Op. 126 for Solo Clarinet


Ongaku No. 024-105:
Jonathan Cohler, clarinet.



Parable XV, Op. 128 for Solo English Horn


Crystal Records CD 328:
Carolyn Hove, English horn.



Parable XVI, Op. 130 for Solo Viola


Composers Recordings, Inc. (New World Records) No. ACS 6016:
John Graham, viola



Crystal Records CD 636:
P. Cortese, viola



King Lear, Op. 35 Septet for Woodwind Quintet, Timpani and Piano


AmCam Records ACR 10305 CD:
Albemarle Ensemble



Parable XXII, Op. 147 for Solo Tuba


Crystal Records CD 691:
Mark Nelson, tuba



Masquerade for Band, Op. 102


Coronet Records No. S-1247:
McGinnis: Ohio State University Concert Band



Harmonia Mundi HMU 907092:
David Amos and the Winds of the London Symphony Orchestra.



Psalm for Band, Op. 53


Coronet Records No. S-1247:
McGinnis: Ohio State University Concert Band.



Harmonia Mundi HMU 907092:
David Amos and the Winds of the London Symphony Orchestra.



Symphony for Band, Op. 69 (Symphony No. 6)


Klavier KCD 11047:
Eugene Corporon, conductor, Cincinnati College Conservatory of Music Winds.



O Cool is the Valley, Op. 118 Poem for Band


Harmonia Mundi HMU 907092:
David Amos and the Winds of the London Symphony Orchestra.



Coronet Records No. S-1247:
McGinnis: Ohio State University Concert Band.



Parable IX, Op. 121 for Band


Harmonia Mundi HMU 907092:
David Amos and the Winds of the London Symphony Orchestra.



Coronet Records No. S-1247:
McGinnis: Ohio State University Concert Band.



Chorale Prelude: O God Unseen, Op. 160


Harmonia Mundi HMU 907092:
David Amos and the Winds of the London Symphony Orchestra.



Introit for Strings, Op. 96


Crystal Records CD 508:
Amos and Israel Philharmonic Virtuosi.



The Hollow Men for Trumpet and String Orchestra


D’Note Classics DND 1002:
Hickman, trumpet.



Koch International Classics KIC 7282:



Love, Op. 116 for Women’s Chorus (SSAA), a cappella


New World Records No. 80316-2:
Brooks and Mendelssohn Club of Philadelphia.



Concerto for Piano, Four Hands, Op. 56


Koch International Classics KIC 7213:
Malinova Sisters.



Second Harpsichord Sonata, Op. 146


Laurel Records LR 838CD:
Elaine Comparone.



Third Harpsichord Sonata, Op. 149


Laurel Records LR 838CD:
Elaine Comparone.



Fourth Harpsichord Sonata, Op. 151


Laurel Records LR 838CD:
Elaine Comparone.



Fifth Harpsichord Sonata, Op. 152


Laurel Records LR 838CD:
Elaine Comparone.



Sonatas for Piano Complete Edition


Citadel Records CTD 88111:
IUP Chorus, Jack Stamp, conductor, Keystone Wind Ensemble.



New World Records 80677-2 (2-CD set): Complete Piano Sonatas
Geoffrey Burleson, Piano



Mass, Op. 84 for Mixed Chorus, a cappella


New World Records No. 80316-2:
Brooks and Mendelssohn Club of Philadelphia.



Winter Cantata (Cantata No. 2), Op. 97 for Women’s Chorus, Flute, and Marimba


New World Records No. 80316-2:
Brooks and Mendelssohn Club of Philadelphia.



Parable XXIII, Op. 150 for Violin, Cello and Piano


Music & Arts CD 686:
Mirecourt Trio.



Symphony No. 8, Op. 106


Albany Records TROY 024-2: American Archives
Mester and Louisville Orchestra



Concerto for English Horn and String Orchestra, Op. 137


New World Records No. 80489-2:
Stacy and Composer: New York String Orchestra.



Concerto for Piano and Orchestra, Op. 90


New World Records NW 370-2:
Robert Taub, piano, and Charles Dutoit and the Philadelphia Orchestra.



Night Dances, Op. 114


New World Records No. 80396-2:
James DePreist, conductor, Juilliard Orchestra



Serenade No. 5, Op. 43


First Edition Recordings FECD-0034: Vincent Persichetti
The Louisville Orchestra, Robert Whitney, Jorge Mester, conductors.



Symphony for Strings, Op. 61 (Symphony No. 5)


New World Records NW 370-2:
Riccardo Muti, conductor, Philadelphia Orchestra



First Edition Recordings FECD-0034: Vincent Persichetti
The Louisville Orchestra, Robert Whitney, Jorge Mester, conductors.



Symphony No. 8, Op. 106


First Edition Recordings FECD-0034: Vincent Persichetti
The Louisville Orchestra, Robert Whitney, Jorge Mester, conductors.



Reviews

"Mr. Persichetti has no embarrassment of melodic riches. He has just the right amount and very beautiful melody it is, too."

-Edward Downes, New York Times

"I’m pinning my hopes for new music on the amalgamation idea advanced, and practiced, by Persichetti."

-Wayne Johnson, Denver Post

"The extent of Mr. Persichetti’s knowledge, his ability to analyze and evaluate factors in musical style, and to illustrate them with clarity to an audience sprinkled with non-composers amount to virtuosity."

-Frank C. Campbell, The Washington Evening Star

"There is no more honored and respected American composer than Vincent Persichetti. His works, in virtually every form and for all media, are played throughout the world. Lovers of band music are especially indebted to him because he — of all the leading American composers — has most often turned his attention to the band, bringing to his many compositions for band all the originality, skill, taste, and spontaneity which mark his other works."

-Ainslee Cox, The Guggenheim Memorial Concerts

"Persichetti’s music is remarkable for its contrapuntal compactness, in a synthetic style, amalgamating the seemingly incompatible idioms of different historical epochs."

-Nicholas Slonimsky, Baker’s Biographical Dictionary

"Each work in his large catalog of varied music is in perfect balance and embraces the tonal emancipative doctrine and rhythmic non-symmetrical dogma of the twentieth century."

-Arthur Cohn, Philadelphia Art Alliance Bulletin

"Solid in his craft, conscious of his heritage, easy in his manner, precise and serious without being pedantic."

-John Haskins, Washington Times-Herald

"Persichetti has synthesized the several features of twentieth century music, but has also retained a connection with the musical culture of the last 300 years. At the same time his language is sufficiently advanced to allow further exploration of combinations that may bring a new realm of values, not yet realized, into a general musical speech."

-Thomas Sherman, St. Louis Dispatch

"Persichetti writes to express himself and to please the angels."

-Marjorie Eger, The Elkhart Truth

"Persichetti has become one of America’s most prolific contemporary composers, contributing major works in both the vocal and instrumental areas of music literature. Remarkable for its compact organization and simplicity of ideas, his music creates both warmth and brilliance uncommon to the contemporary music scene."

-Maurice Hinson, Clavier

"Persichetti enjoys the almost unique distinction of never having belonged to the Right, or Left, or for that matter, the Middle of the Road, and as a consequence, the extremes which one finds in his writing cannot be charged up as victories for any extant musical camp. In a sense, he is without portfolio, and in another sense, he is a musical Citizen of the World. He has deliberately exchanged the advantages of a single system for the challenges imposed by the critical acceptance of several systems. In having done this, he is one of the composers who, so far, has challenged the parochial narrowness of the major segments of contemporary musical thought."

-Robert Evett, The Juilliard Review

"This excellent and underrated Philadelphia-born composer wrote with incredible buoyancy and drive. Persichetti's technique was so sound that he could include all manner of instruments and traverse all manner of forms in his works."

-Andrew Druckenbrod, Pittsburgh Post-Gazette


Divertimento for Band, Op. 42

"Divertimento has unusual personality and expressive power. Its tunes, its harmony and its instrumentation have all of them originality. It makes a mood, sustains it, holds the interest. Neither its sense nor its sound is familiar, and both have real sweetness."

-Virgil Thomson, New York Herald Tribune


First Harpsichord Sonata, Op. 52

"The [First Harpsichord Sonata] is real harpsichord music; those pointed effects for which the instrument is most widely known are collected and husbanded with a master’s hand. In sum, we have a new work in which to show pride."

-Jay Harrison, New York Herald Tribune


Sonata for Two Pianos, Op. 13

"The four-movement Sonata for Two Pianos is an absolute delight. If you like contemporary music that speaks to the heart as well as to the brain, this is for you."

-Evelyn Garvey, American Music Teacher


Parable VIII, Op. 120 for Solo Horn

"Parable for Solo Horn is a musically stimulating, dramatically varied work of art… Its immediate impact is simple here and now reality, the second and more vital message being suggestive of a lasting inner quality."

-Harwood Simmons, School Music News


Parable XI, Op. 123 for Solo Alto Saxophone

"Parable for Solo Alto Saxophone is the most successful realization to date of the saxophone in the unaccompanied dimension. The work will surely find its place in the permanent repertory of our instrument."

-Brian Minor, World Saxophone Congress Newsletter


Parable IX, Op. 121 for Band

"Parable for Band is certainly one of the finest works written for the medium… It is destined to become a lasting work of the band repertoire."

-Don R. Marcouiller, Drake University Letter


Hymns and Responses for the Church Year

"Painters and architects have for years been giving a contemporary look to liturgy. Composers and poets, while slower, have also produced some of their wares in church. A new example is a slim hymnal by Philadelphia-born Persichetti… His tunes are fresh and singable; their lyrics contain more surprises."

-Time Magazine


Fourth Piano Sonata, Op. 36

"Persichetti delivers his music superbly, for he is a marvelous pianist, and the writing [Fourth Piano Sonata] is suited to the instrument better than almost anything written in America today."

-Virgil Thomson, Colorado Springs Gazette Telegraph


Ninth Piano Sonata, Op. 58

"The Ninth Piano Sonata is made as lightly as the works of a small watch. The tiny motif at the opening meshed with every note in the four movements."

-Daniel Webster, The Philadelphia Inquirer


Tenth Piano Sonata, Op. 67

"Their appearance [recordings of the Tenth and Twelfth Piano Sonatas] continues to document the gradual recognition of Persichetti’s contribution to this medium as one of the most comprehensive artistic statements in contemporary piano music."

-Walter Simmons, Fanfare


Concerto for Piano, Four Hands, Op. 56

"The Concerto for Piano, Four Hands was for me one of the most interesting stimulating American works of the Pittsburgh International Contemporary Music Festival."

-Colin Mason, Manchester Guardian


Twelfth Piano Sonata (Mirror Sonata), Op. 145

"Their appearance [recordings of the Tenth and Twelfth Piano Sonatas] continues to document the gradual recognition of Persichetti’s contribution to this medium as one of the most comprehensive artistic statements in contemporary piano music."

-Walter Simmons, Fanfare


Second Harpsichord Sonata, Op. 146

"So, start practicing, harpsichordists: composers ARE giving us lovely new music for our instrument. Let us now reward them by learning these pieces [Second, Third & Fourth Harpsichord Sonatas], playing them (both well and often), and getting them established as the important addition to our repertoire which they surely are."

-The Diapason


Third Harpsichord Sonata, Op. 149

"So, start practicing, harpsichordists: composers ARE giving us lovely new music for our instrument. Let us now reward them by learning these pieces [Second, Third & Fourth Harpsichord Sonatas], playing them (both well and often), and getting them established as the important addition to our repertoire which they surely are."

-The Diapason


Fourth Harpsichord Sonata, Op. 151

"So, start practicing, harpsichordists: composers ARE giving us lovely new music for our instrument. Let us now reward them by learning these pieces [Second, Third & Fourth Harpsichord Sonatas], playing them (both well and often), and getting them established as the important addition to our repertoire which they surely are."

-The Diapason


Sonatas for Piano Complete Edition

"Persichetti has added huge chunks to the repertory of our time. He has a conscious mastery of 20th-century materials as well as an intuitive feeling for them. Virtually no medium… has not gained from Persichetti’s prolific pen. In his piano writing he displays a technique for exploiting the keyboard that is unsurpassed, if equaled, by any other contemporary composer."

-William Schuman, Musical Quarterly

"Persichetti’s music is both subtle and accessible, in the manner of Mozart. You can enjoy it casually, as it is so elegantly constructed and sensible. But within the structure are countless little turns of phrasing that are not quite what you would expect, so that the astute listener is constantly stimulated.

…the geniality and warmth of the man always shines through."

-Peter Burwasser, Fanfare


Harmonium, Op. 50 Cycle for Soprano and Piano

"Harmonium is unquestionably a masterpiece— Persichetti at his finest in what is by far the best song-cycle of its length by an American composer."

-Peter Chrisafides, Pennsylvania Traveler


Mass, Op. 84 for Mixed Chorus, a cappella

"Persichetti’s Mass for mixed chorus, a cappella, is music eminently suitable for the church, but also rewarding for a concert-hall audience… It has a timeless quality which corresponds to that of the Mass itself… The lucid and admirable balanced character of the choral scoring and its gratefulness to the voices, along with the unobtrusive while impressive skill that marks its structure, were convincingly realized by the Collegiate Chorale."

-Francis D. Perkins, The Musical Quarterly


Chorale Prelude: Give Peace, O God, Op. 162

"The climax of the program… lyrical and poignant… a dramatic masterpiece."

-Calvert Shenk, American Organist


Fourth String Quartet, Op. 122 (Parable X)

"Persichetti has remained his own man through the years… the Fourth String Quartet emerges as a strong, assured, meaningful piece of considerable dignity."

-Harold C. Schonberg, New York Times


Symphony No. 3, Op. 30

"For me, the greatest surprise was in hearing Persichetti’s Third Symphony. At the time I thought this to be the best American symphony I had heard. The Copland Third, Harris Third, and the works of Barber paled in comparison, and they are about the best we have."

-David Ward-Steinman, The Florida Flambeau


Sinfonia: Janiculum, Op. 113 (Symphony No. 9)

""With seeming ease, Persichetti blends the sensuous and ideational possibilities of that largest of all instruments, using chromaticism, dissonance, and consonance in ways only a master can, convincing the listener that these musical manifestations are not just sophisticated expertise, but rather a way of postulating a sober philosophical statement."

-Lester Trimble, Stereo Review