VINCENT PERSICHETTI
VINCENT PERSICHETTI
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.
 Persichetti 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. |
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)
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)
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)
Concertato, Op. 12 for Piano and String Quartet (1940)
Available From New York Public Library
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 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 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
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
A Clear Midnight from Celebrations, Op. 103 (1966)
Part of Celebrations, Op. 103
SATB and Pno.
Published: #362-03227
Celebrations, Op. 103 Cantata No. 3
Additional Information: Chorus and Piano transcriptions of "Celebrations, Op. 103 for Chorus and Wind Ensemble."
Stranger 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
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
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
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
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)
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
Two cummings Choruses, Op. 33 for 2-part Mixed, Women’s or Men’s Voices and Piano
Available From G. Schirmer
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
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
Third Harpsichord Sonata, Op. 149 (1981) -- 9' 17"
Published: #460-00080
Premiere Information: Elaine Comparone, Washington, DC, October 10, 1982
• Recordings
• Reviews
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
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)
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)
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, Op. 25 for Trumpet and String Orchestra -- 8'
Available from the Presser Rental Library
Premiere Information: Germantown Symphony Orchestra, Arthur Lipkin conducting, December 12, 1946
Additional Information: Also available for Trumpet and Piano or Organ
• Recordings
Available Separately:Piano Reduction (#164-00166)
Score and parts (#166-00047)
Full Score - Large (#166-00047F)
Set of parts (#166-00047P)
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: 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
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
Fourth Piano Sonata, Op. 36 (1949) -- 18' 30"
Published: #460-00028
Premiere Information: Vincent Persichetti, League of Composers, NY, December 27, 1949
• Reviews
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
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.)
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
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
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
Variations for an Album, Op. 32 (1947) -- 4'
Published: #160-00189
Premiere Information: John Kirkpatrick, Baldwin-Wallace College, October 17, 1947
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.
Emily Dickinson Songs, Op. 77 (1957)
Premiere Information: Shirley Verrett, Town Hall, NY, November 4, 1958
I'm Nobody
Published: #161-00047
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
Thou Child So Wise
Published: #161-00053
Additional Information: Also available for Unison Chorus and Piano
James Joyce Songs, Op. 74 (1957)
Premiere Information: Marlene Kleinman and Dorothea Persichetti, Philadelphia, PA
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
Harmonia Mundi 907092:
David Amos and the Winds of the London Symphony Orchestra.
Harmonia Mundi HMU 907092:
David Amos and the Winds of the London Symphony Orchestra.
Harmonia Mundi HMU 907092:
David Amos and the Winds of the London Symphony Orchestra.
Klavier KCD 11047:
Eugene Corporon, conductor, Cincinnati College Conservatory of Music Winds.
Harmonia Mundi HMU 907092:
David Amos and the Winds of the London Symphony Orchestra.
Harmonia Mundi HMU 907092:
David Amos and the Winds of the London Symphony Orchestra.
Harmonia Mundi HMU 907092:
David Amos and the Winds of the London Symphony Orchestra.
Citadel Records CTD 88111:
IUP Chorus, Jack Stamp, conductor, Keystone Wind Ensemble.
New World Records NW 370-2:
Robert Taub, piano, and Charles Dutoit and the Philadelphia Orchestra.
"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 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
"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
"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 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 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 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
"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
"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
"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
"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
"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
"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
"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
"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
"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
"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 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
"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
"The climax of the program… lyrical and poignant… a dramatic masterpiece."-Calvert Shenk, American Organist
"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
"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
""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
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