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WILLIAM SCHUMAN

WILLIAM SCHUMAN

Awards

Works

Recordings

Reviews


William Howard Schuman was born in New York City on August 4, 1910, the second child of Samuel and Rachel Schuman. He began to study the violin as a young boy and later played a number of other instruments as well. His broad musical interests ranged form his own jazz band and the school orchestra to family evenings singing operetta and musical comedy excerpts as well as "semiclassics." On his own, he wrote some original popular songs. But music definitely took second place to Schuman’s all-consuming passion, baseball. Looking back on his youth, he would later claim that baseball was the main focus of his early years.

In 1928, Schuman entered New York University to prepare for a business degree at the School of Commerce, while at the same time working for an advertising agency. He continued to collaborate on pop songs with E.B. Marks, Jr., an old friend from summer camp, and also created some forty songs with lyricist Frank Loesser, a neighbor who was also at the beginning of his career. Loesser’s first publication, in fact, was a song with music by Schuman. Together they wrote many songs for radio, vaudeville, and nightclub acts. In April 1930, having attended (albeit unwillingly) his first professional symphony orchestra concert, Schuman suddenly realized that baseball, business, and popular music must be relegated to subsidiary positions (but never forgotten) in favor of composing "classical" or concert music.

Realizing that extensive training would be necessary to reach his goals, Schuman withdrew from new York University to study harmony with Max Persin and to hear as many concerts and operas as he could. He began counterpoint lessons with Charles Haubiel and at The Juilliard School attended summer courses in orchestration with Adolf Schmid and harmony with Bernard Wagenaar. Two years at Teachers College of Columbia University not only earned Schuman a B.S. in music education (1935), but also set him thinking about the current state of music education and how strongly he felt the need to reform and improve it.

In the fall of 1935, Schuman settled into his first teaching position, at Sarah Lawrence College, Bronxville, N.Y., where he remained on the faculty for a decade. Highlights of his life during these years were his marriage to Frances ("Frankie") Prince on March 27, 1936, sporadic composition studies with Roy Harris, an M.A. from Columbia University (1937), and the first successful public performances of his music. Although Schuman later withdrew several of his earliest efforts, it was these orchestral and chamber compositions that generated his first prizes and commissions. His Symphony No. 2 came to the attention of Aaron Copland, who wrote in Modern Music(May, 1938): "Schuman is, as far as I am concerned, the musical find of the year. There is nothing puny or miniature about this young man’s talent."

In 1944, G. Schirmer, Inc. appointed Schuman Director of Publications. He began work there even before leaving the Sarah Lawrence faculty and continued to serve Schirmer as Special Publications Consultant after moving in 1945 to his next post, the presidency of The Juilliard School. During the 1940s Schuman received his first honorary doctorates, became the father of a son and daughter, and was awarded the first Pulitzer Prize ever given in the field of musical composition. In spite of the heavy demands of his Juilliard presidency — into which he threw himself wholeheartedly, making essential and lasting improvements in the school — he remained first and foremost a composer. Schuman is a rarity among composers in that he was always able to balance his creative endeavors with administrative duties, classroom teaching, writing, public service, consultancy work, and public speaking.

Schuman was clearly fond of public speaking, an activity at which he had always triumphed. In 1961, Harold C. Schonberg wrote of him in The New York Times Magazine "the man can speak with the fervor, hypnotism and eloquence of Gielgud on one of his better days." Schonberg further stated, in the words of an awed observer, "he is by far the most brilliant off-the-cuff speaker in America." In one BMI brochure, Oliver Daniel claimed that Schuman "possesses in abundance the intellectual agility and personality quotient that stamp a man ‘presidential caliber.’" Indeed, Schuman was a man of multiple talents and boundless energy who accomplished in his long career what might have been achieved in the lifetimes of four or five ordinary mortals.

As Juilliard president, Schuman convinced the planners of Lincoln Center that the School should become one of its constituent organizations. It was not long before the Lincoln Center board of directors named him to preside over the entire complex. Schuman’s tenure as president of Lincoln Center began in January, 1962, months before the official opening of Philharmonic Hall [as Avery Fisher Hall was then known], the first completed building. He guided the growth of Lincoln Center, establishing both the Chamber Music Society of Lincoln Center and the Film Society of Lincoln Center. During this time, he continued to add to his own catalogue of compositions. In 1968, Schuman suffered a heart attack, and while recuperating, took stock of his personal and professional priorities. His ultimate decision was that he should forgo major administrative posts, and therefore would resign from Lincoln Center. Effective January 1, 1969, he was named President Emeritus, as he had earlier been designated by the Juilliard School.

This change was far from a retirement, but not having a full-time position allowed Schuman more freedom to compose and still participate in the dozens of organizations he served as consultant, officer, board member or advisor. Schuman was never one just to donate his name to a cause or a letterhead, but always believed in working for any foundation, school corporation, or agency with which he was connected. For four decades he provided invaluable direction to the BMI Student Composer Awards. First as a founder, then as chairman of the judging panel, and finally as chairman emeritus, Schuman was a guiding light and an inspiration for over 350 student composer award winners; his interest in their training, accomplishments, and styles of composition never waned.

Amid all Schuman’s awards, honors, prizes, and glowing reviews, perhaps what he treasured most were the strongly supportive opinions of his colleagues. Aaron Copland, when presenting Schuman with the MacDowell Colony Medal in 1971, said:

… In Schuman’s pieces you have the feeling that only an American could have written them … You hear it in his orchestration, which is full of snap and brilliance. You hear it in the kind of American optimism which is at the basis of his music.

Schuman’s impressive catalogue of works is especially rich in orchestral, band, and choral music. He continued the strong American symphonic tradition of such predecessors as Roy Harris and Walter Piston and is particularly recognized for his mastery of orchestration. On of — if not the — most popular of Schuman’s works is his orchestration of Charles Ives’ Variations on "America." Created in response to a twentieth-anniversary commission from BMI and first performed in 1964, this brilliant orchestration enjoyed extraordinary popularity during the U.S. Bicentennial year. Along withNew England Triptych and American Festival Overture, it remains one of his most frequently performed works.

In his orchestral compositions Schuman was fond of differentiating the various sections of the orchestra by creating distinct blocks of color; he used a large orchestra, but used it wisely and with great clarity. He drew on a variety of compositional devices, from fugues, canons, and passacaglias, to toccata, chorale, or variation procedures. He always had a clear plan for the ultimate large-dimension structure of a work. His basic building block may have been a small unit — as the three-note melodic germ in American Festival Overture — but he planned on a large scale, setting up tension and building suspense to a dramatic climax.

Traditional tonality was not a framework which Schuman was bound by, and he did not write his scores with key signatures. He did not restrict his harmonic vocabulary, but used an ample palette of chromaticism and the entire range of scales and modes in Western music. He could create powerful and thick harmonic structures; while these may sometimes sound polytonal, a tonal resolution usually follows. Long spun-out melodies and majestic arcs of sound characterize many of Schuman’s orchestral works. His rhythmic style is vital, full of variety, and intense — but never nervously so. Whether in simple ostinati, in complex rhythmic counterpoint, or in his characteristic cross rhythms, Schuman reveals his strong rhythmic foundations, undoubtedly gained in part from his early days with jazz and popular music.

In Schuman’s works based on pre-existing music, he absorbed elements of the source into his own style, while still maintaining the integrity of the original. In New England Triptych and the Concerto on Old English Rounds, his approach ranges from almost literal quotation to a wide range of juxtapositions, and transformations with extensive melodic, rhythmic, and harmonic alterations, as well as wholly new concepts of form and orchestration. The great variety and skill with which he handled his materials are demonstrated particularly well in the group of three works based on the old English round "Amaryllis": the "Amaryllis" Variations for string trio, Concerto on Old English Rounds (using "Amaryllis" as the basis for the first and final movements), and Amaryllis (Variants on an Old English Round), a brief version for string orchestra.

Along with Schuman’s re-use of pre-existing music should be mentioned his reworking of several of his compositions. Among the most performed important works available in more than one version are the Variations on "America," American Hymn, and New England Triptych. Others include The Mighty Casey (opera), Casey at the Bat (cantata), and the separately published Choruses from the Mighty Casey; The Orchestra Song and The Band Song; choral and solo versions of Holiday Song;and In Sweet Music and A Song of Orpheus, both derived from his early song Orpheus with His Lute.

In the world of choral music, Schuman is known as a master of both a cappella and accompanied styles, of both extended cantatas and short pieces, including some written for amateurs. With a special emphasis on American poetry, he was particularly discriminating in his choice of texts. The poetry of Walt Whitman, Archibald MacLeish, Genevieve Taggard, Langston Hughes, Edna St. Vincent Millay, and Thomas Wolfe, among others, inspired him. It is difficult to imagine anything more American than Casey at the Bat, or the Mail Order Madrigals, which are settings of texts from the Sears Roebuck catalog.

After writing many pop songs in his youth (estimated to be a hundred or more, but, alas, not a hit among them), Schuman evinced a marked reference for orchestral and choral music during most of his career. In the late 1970s, he began adding more music with voice to his catalog, including In Sweet Music, The Young Dead Soldiers, and Time to the Old. Even more significantly, his two major works of the 1980s featured solo voice(s): On Freedom’s Ground and A Question of Taste.

On Freedom’s Ground, with a text by Richard Wilbur (a Pulitzer Prize winner who was named U.S. Poet Laureate in 1987), celebrates the 100th anniversary of the Statue of Liberty. The work received some two dozen performances in the two years following its premiere (October 28, 1986, the very day of the statue’s rededication). Reporting on the gala concert, Stephen Holden in the New York Times described Schuman’s large-scale cantata as a "characteristically imposing mixture of lofty late-Romantic chromaticism and elegant New-Classical formality." Writing of the premiere of A Question of Taste, Willard Spiegelman commented in the Wall Street Journal "In his creative maturity, Mr. Schuman has composed a chamber opera that celebrates the triumph of youth, passion and idealism over the schemings of age, greed and money." Other late works also prove that Schuman’s outlook remained young and his creative energies retained their usual vitality. Indeed, he continued to compose new works as he entered his eighties. When Schuman received a 1989 Kennedy Center Honor "for an extraordinary lifetime of contributions to American culture," Schuyler Chapin aptly wrote in the program book "William Schuman is an amalgam of carefully wrought creativity, rhetoric and logic." Schuman always enjoyed the highest esteem of his colleagues in the arts, who were always ready to extol his virtues as a composer, administrator and friend. For instance, Leonard Bernstein penned an enthusiastic introductory note to the William Schuman Documentary (1980) by Christopher Rouse. Written just before Schuman’s seventieth birthday, it is still an equally appropriate salute to this master of American music:

… I have rarely met a composer who is so faithfully mirrored in his music; the man is the music. We are all familiar with the attributes generally ascribed to his compositions: vitality, optimism, enthusiasm, long lyrical line, rhythmic impetuosity, bristling counterpoint, brilliant textures, dynamic tension. But what is not so often remarked is what I treasure most: the human qualities that flow directly from the man into the works — compassion, fidelity, insight, and total honesty…

—By Barbara Petersen
Used with permission, Barbara Petersen and BMI

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


Awards


1989: American Eagle Award, National Music Council

1989: Kennedy Center Honors "for an extraordinary lifetime of contributions to American culture through the performing arts"

1987: National Medal of Arts

1986: Chamber Music America Award

1986: First Alfred I. DuPont Award

1985: George Peabody Medal "for outstanding contribution to music in America," Peabody Conservatory of Music

1985: Gold Baton Award, American Symphony Orchestra League

1985: Pulitzer Prize Special Citation "for more than half a century of contribution to American music as composer and educational leader"

1982: Gold Medal, American Academy of Arts and Letters

1981: First winner of the Columbia University William Schuman Award for "Lifetime achievement of an American composer whose works have been widely performed and generally acknowledged to be of lasting significance"

1980: Horblit Award of the Boston Symphony Orchestra

1975: Distinguished Alumni, Teachers College, Columbia University

1971: Edward MacDowell Medal "for exceptional contributions to the arts"

1968: Findley Award of the City University of New York

1967: American Music Center Letter of Distinction

1967: Certificate of Merit, Sigma Alpha Iota

1967: Concert Artists Guild Award

1967: Handel Medallion of the City of New York

1965: Brandeis Medal for Distinguished Service to Higher Education

1965: Composer’s Award, Lancaster (Pennsylvania) Symphony Orchestra

1964: Gold Medal of Honor, National Arts Club, New York City

1963: Citation of Merit, State University of New York at Buffalo

1957: Columbia University Bicentennial Anniversary Award

1957: First Brandeis University Creative Arts Award in Music

1951: New York Music Critics Circle Award (for "Judith")

1943: First Pulitzer Prize given for music (for "A Free Song")

1943: National Institute of Arts and Letters award

1942: Award of Merit, National Association of American Composers and Conductors

1942: New York Music Critics Circle Award (for "Symphony No. 3")

1940: First Town Hall League of Composers Award (for "String Quartet No. 3")

1939-1941: Guggenheim Fellowships


Works

Band |  Band and Wind Ensemble |  Chamber Music |  Choral |  Film and Stage Works |  Orchestra |  Organ |  Piano |  Vocal




Band and Wind Ensemble


American Hymn Variations on an Original Melody (1981) -- 9'
Published: #145-40022
Commission Information: American Bandmasters Association and the United States Air Force Band, for the 50th anniversary of the Bandmasters Association
Premiere Information: March 5, 1981, U.S. Marine Band, John Paynter, conductor

Available Separately:

Condensed Score (#145-40022C)
Errata Sheet (#145-40022E)
Full Score - Large (#145-40022F)
Set of parts (#145-40022P)


Anniversary Fanfare for Brass and Percussion (1969) -- 6'
Available from the Presser Rental Library
Commission Information: Metropolitan Museum of Art, for its centennial
Premiere Information: April 13, 1970, ensemble, Frederik Prausnitz, conductor
Recordings


Be Glad Then, America (1975) -- 7'
Published: #145-40016
Additional Information: Based on the first movement of "New England Triptych."
Recordings

Available Separately:

Full Score - Large (#145-40016F)
Set of parts (#145-40016P)


Chester Overture for Band (1956) -- 6’
Published: #145-40000
Commission Information: Pi Kappa Omicron
Premiere Information: January 1957, University of Louisville Band
Additional Information: Based on the third movement of "New England Triptych."
Recordings

Available Separately:

Condensed Score (#145-40000C)
Full Score - Large (#145-40000F)
Set of parts (#145-40000P)


Circus Overture for Band
Available From G. Schirmer


Credendum Arrangement for Band
Available from the Presser Rental Library


Dedication Fanfare for Concert Band (1968) -- 5'
Published: #145-40008
Commission Information: New Music Circle of St. Louis, for opening of the arch, Gateway to the West
Premiere Information: July 4, 1968

Available Separately:

Full Score - Large (#145-40008F)
Set of parts (#145-40008P)


George Washington Bridge for Band
Available From G. Schirmer


Newsreel (In Five Shots) for Band
Available From G. Schirmer


Prelude for a Great Occasion for Brass and Percussion (1974) -- 5’
6Hn., 4Tpt., 4Tbn., Tuba, Timp., 4Perc.
Published: #145-40015
Commission Information: Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution
Premiere Information: October 1, 1974, members of the National Symphony Orchestra, Antal Dorati, conductor

Available Separately:

Full Score - Large (#145-40015F)
Set of parts (#145-40015P)


The Band Song (1967) -- 4'
Published: #145-40005
Additional Information: Band version of "The Orchestra Song."

Available Separately:

Full Score - Large (#145-40005F)
Set of parts (#145-40005P)


Variations on "America" (1968) -- 7'
Published: #145-40006
Additional Information: Arranged for Concert Band by William E. Rhoads, from Schuman's arrangement for Orchestra.

Available Separately:

Condensed Score (#145-40006C)
Full Score - Large (#145-40006F)
Set of parts (#145-40006P)


When Jesus Wept Prelude for Band (1958) -- 5’
Published: #145-40001
Premiere Information: Summer 1958, Goldman Band, Richard Franko Goldman, conductor
Additional Information: Based on the second movement of "New England Triptych." Also available in an organ transcription by Samuel Adler.
Recordings

Available Separately:

Condensed Score (#145-40001C)
Full Score - Large (#145-40001F)
Set of parts (#145-40001P)



Chamber Music


Amaryllis Variations for String Trio with Three Women’s Voices, ad lib. (1964) -- 25'
Published: #144-40017
Commission Information: Elizabeth Sprague Coolidge Foundation in the Library of Congress
Premiere Information: October 31, 1964, New York String Trio

Available Separately:

Full Score - Large (#144-40017S)


American Hymn Variations on an Original Melody (1980) -- 9'
Brass Quintet
Published: #144-40091
Commission Information: American Brass Quintet
Premiere Information: March 30, 1981, American Brass Quintet
Additional Information: Also available for Concert Band.


Awake, Thou Wintry Earth Duo for Clarinet and Violin (1986) -- 17’
Published: #144-40148
Commission Information: Walter W. Naumberg Foundation
Premiere Information: March 10, 1987, Charles Neidich, clarinet and Curtis Macomber, violin


Cooperstown Fanfare for Two trumpets and Two Trombones (1987) -- 1'
Published: #144-40150
Commission Information: Written for the opening of the Alice Busch Opera Theater, home of the Glimmerglass Opera.
Premiere Information: June 28, 1987, Cooperstown, NY


Dances Divertimento for Wind Quintet and Percussion (1985) -- 10'
Published: #446-41053
Commission Information: Chamber Music Society of Lincoln Center
Premiere Information: October 31, 1986, Chamber Music Society of Lincoln Center

Available Separately:

Set of parts (#446-41053P)


Quatettino for Clarinet Quartet
Published: #60981-707
Additional Information: Arranged by Whitney Tustin, from original version for Four Bassoons (also available). Arrangement for Saxophone Quartet also available (arr. Sigurd Rascher).


Quatettino for Four Bassoons (1939) -- 5’
Published: #60979-707
Commission Information: New Music Quarterly Recordings
Additional Information: Versions for Clarinet Quartet (arr. Whitney Tustin), and for Saxophone Quartet (arr. Sigurd Rascher), also available.


Quatettino for Saxophone Quartet
Published: #60980-707
Additional Information: Arranged by Sigurd Rascher, from original version for Four Bassoons (also available). Arrangement for Clarinet Quartet also available (arr. Whitney Tustin).
Recordings


String Quartet No. 1 (1936)
Premiere Information: October 21, 1936, New String Quartet
Withdrawn


String Quartet No. 2 (1937)
Available From Hendon Music/Boosey & Hawkes


String Quartet No. 3 (1939) -- 24'
Published: #144-40001
Commission Information: Town Hall and the League of Composers
Premiere Information: February 27, 1940, Coolidge Quartet
Recordings

Available Separately:

Set of parts (#144-40001P)
Full Score - Large (#144-40001S)


String Quartet No. 4 (1950)
Available From G. Schirmer


String Quartet No. 5 (1987) -- 30'
Published: #144-40161
Commission Information: Chase Manhattan Bank, N. A., for the First New York International Festival of the Arts
Premiere Information: June 21, 1988, Oxford String Quartet


XXV Opera Snatches for Solo Flute (1978) -- 5'
Published: #444-41018
Premiere Information: October 1, 1985, Paula Robison
Additional Information: Transcription of original version for Unaccompanied Trumpet in B-flat (also available).


XXV Opera Snatches for Unaccompanied Trumpet in B-flat (1978) -- 5'
Published: #144-40074
Commission Information: Written at the request of the Metropolitan Opera Association, to honor Eleanor Robson Belmont’s 100th birthday
Premiere Information: January 10, 1979, Melvin Broiles and Frank Hosticka
Additional Information: Version for Solo Flute also available.



Choral


A Free Song for Chorus and Piano (1942)
Available From G. Schirmer


Carols of Death for Mixed Chorus, a cappella (1958) -- 11’
Commission Information: St. Lawrence University, for Laurentian Singers
Premiere Information: March 20, 1959, Laurentian Singers
Recordings


Last Invocation No. 1 from "Carols of Death"
Published: #342-400111


The Unknown Region No. 2 from "Carols of Death"
Published: #342-400121


To All, To Each No. 3 from "Carols of Death" (1958)
Published: #342-400131
Additional Information: Text by Walt Whitman.



Casey at the Bat for Chorus and Piano (1976)
Available From AMP (G. Schirmer)


Choral Etude for Chorus, a cappella (1937)
Available From Carl Fischer


Choruses from "The Mighty Casey" for Chorus and Piano (1953)
Available From G. Schirmer


Declaration Chorale for Mixed Chorus, a cappella (1971) -- 8'
Published: #342-40028
Commission Information: Lincoln Center
Premiere Information: April 30, 1972, International Choral Festival Choruses, Robert Shaw
Additional Information: Text by Walt Whitman.


Deo Ac Veritati for Male Chorus, a cappella (1963) -- 3'
Published: #342-40015
Commission Information: Colgate University, for the inauguration of Dr. Vincent Barnett as president
Premiere Information: April 19, 1963, Colgate University Glee Club, William Skelton
Additional Information: Text is Colgate University motto.


Esses Short Suite for Singers on words beginning with S. (1982) -- 12'
Mixed Chorus, a capella
Published: #342-40153
Commission Information: Ithaca College
Premiere Information: November 13, 1982, Ithaca College Choir, Lawrence Doebler

Movements:
Serenata
Singaling
Stillness
Suggestion

Recordings


Five Rounds on Famous Words for Mixed or Women's Chorus (1956, 1969) -- 12'
Recordings


Health for Mixed Chorus, a cappella
Published: #342-40000


Thrift for Mixed Chorus, a cappella
Published: #342-40001


Caution for Mixed Chorus, a cappella
Published: #342-40002


Beauty for Mixed Chorus, a cappella
Published: #342-40003


Health for Women's Chorus, a cappella
Published: #342-40004


Thrift for Women's Chorus, a cappella
Published: #342-40005


Caution for Women's Chorus, a cappella
Published: #342-40006


Beauty for Women's Chorus, a cappella
Published: #342-40007


Haste for Mixed Chorus, a cappella
Published: #342-40022


Haste for Women's Chorus, a cappella
Published: #342-40023



Four Canonic Choruses for Chorus, a cappella
Available From G. Schirmer


Holiday Song for Chorus and Piano (1942)
Available From G. Schirmer


Mail Order Madrigals (1971) -- 12'
Commission Information: Iowa State University Department of Music, for Iowa State Singers, through a grant from the J. W. Fisher Foundation
Premiere Information: March 12, 1972, Iowa State Singers, W. Douglas Pritchard
Additional Information: Texts freely adapted from the 1897 Sears Roebuck Catalogue.
Recordings


Attention, Ladies for TBB Chorus, a cappella
Published: #342-40029


Superfluous Hair for SSAA Chorus, a cappella
Published: #342-40030


Sweet Refreshing Sleep for SATB Chorus, a cappella
Published: #342-40031


Dr. Worden's Pills for SATB Chorus, a cappella
Published: #342-40032



Perceptions Choral Cycle on words of Walt Whitman (1983) -- 13'
Mixed Chorus, a cappella
Published: #342-40144
Commission Information: National Endowment, for the Arts for the Gregg Smith Singers, Dale Warland Singers, I Cantori and Philadelphia Singers
Premiere Information: January 9, 1983, Gregg Smith Singers, Gregg Smith, Greenwich, CT
Recordings


Prelude for Voices for Chorus, a cappella
Available From G. Schirmer


Prologue for Chorus and Piano (1939)
Available From G. Schirmer


Requiescat for Chorus and Piano
Available From G. Schirmer


Singaling for Mixed Chorus
Published: #342-40155


Te Deum for Chorus, a cappella
Available From G. Schirmer


The Last Invocation for Mixed Chorus, a cappella (1958)
Published: #342-40011
Additional Information: Text by Walt Whitman.


The Lord Has a Child Hymn for Brass Quintet and Mixed Chorus (1990) -- 6'
Published: #342-40159
Commission Information: Written for the 350th anniversary of the founding of Greenwich, CT.
Premiere Information: July 16, 1990, Greenwich Choral Society, Richard Vogt
Additional Information: Other versions available: High Voice and Piano Medium Voice and Piano SATB Chorus and Organ SSA Chorus and Organ

Available Separately:

Set of parts (#342-40159P)
Full Score - Large (#342-40159S)


The Lord Has a Child Hymn for SATB Chorus and Organ
Published: #342-40009
Additional Information: Other versions available: High Voice and Piano Medium Voice and Piano SSA Chorus and Organ Mixed Chorus and Brass Quintet


The Lord Has a Child Hymn for SSA Chorus and Organ
Published: #342-40008
Additional Information: Other versions available: High Voice and Piano Medium Voice and Piano SATB Chorus and Organ Mixed Chorus and Brass Quintet


The Orchestra Song for Chorus, a cappella
Available From G. Schirmer


The Unknown Region for Mixed Chorus, a cappella (1958)
Published: #342-40012
Additional Information: Text by Walt Whitman.


This Is Our Time for Chorus and Piano (1940)
Available From Hendon Music/Boosey & Hawkes


To All, To Each for Mixed Chorus, a cappella (1958)
Published: #342-40013
Additional Information: Text by Walt Whitman.


To Thy Love Choral Fantasy on Old English Rounds (1973) -- 15'
SSA Chorus, a cappella
Published: #342-40100


Truth Shall Deliver for Chorus, a cappella (1946)
Available From G. Schirmer



Film and Stage Works


A Question of Taste an Opera in One Act (1988) -- 50'
Voices: Sop., 2 Mezzo-sop., Ten., Bar., B-Bar. Orch: 2(Picc.) 2 2 2 - 2 2 3 0, 2Perc. Cel. Str.
Available from the Presser Rental Library
Commission Information: Glimmerglass Opera, through the Eugene V. and Clare Thaw Charitable Trust
Premiere Information: June 29, 1989, Glimmerglass Opera, B. Rodnet Marriott, stage director, Stewart Robinson, conductor
Additional Information: Libretto by J. D. McClatchy based on the story, "Taste," by Roald Dahl.

Available Separately:

Piano/Vocal Score (#441-41020)


Judith - Choreographic Poem for Orchestra and Choreography (1949)
Available From G. Schirmer


Night Journey a Ballet (1947) -- 21' 30"
1 1 1 1 - 1 1 1 1; Pno. Str.(2 2 2 2 1)
Available from the Presser Rental Library
Commission Information: Elizabeth Sprague Coolidge Foundation in the Library of Congress, for Martha Graham
Premiere Information: May 7, 1947, Martha Graham, choreographer, Louis Horst, conductor
Recordings


Steeltown Film score (1944) -- 30'
Available From Composer


The Earth is Born Film score (1944) -- 30'
Available From Composer


The Witch of Endor a Ballet (1965) -- 30'
1 1 1 1 - 1 1 1 1; Timp. Perc. Pno. Str.
Available from the Presser Rental Library
Commission Information: Martha Graham
Premiere Information: November 2, 1965, Martha Graham, choreographer, Robert Irving, conductor


World War II Music for the Office of War Information film
Not Available



Orchestra


A Free Song for Orchestra (1942)
Available From G. Schirmer


A Song of Orpheus Fantasy for Cello and Orchestra or Chamber Orchestra (1961) -- 21'
3(Picc.) 3(E.H.) 2(B.Cl.) 2 - 4 0 0 0; Hp. Str. or 2 2 3 2 - 1 0 0 0; Hp. Str.
Available from the Presser Rental Library
Commission Information: Ford Foundation, for Leonard Rose
Premiere Information: February 17, 1962, Leonard Rose, cello, Indianapolis Symphony, Izler Solomon, conductor
Recordings

Available Separately:

Piano Reduction (#444-41001)
Full Score - Large (#446-41006)


Amaryllis Variants on an Old English Round for String Orchestra (1976) -- 8'
Published: #446-41030
Premiere Information: July 27, 1976, Philadelphia Orchestra, Andre Kostelanetz


Amaryllis Variants on an Old English Round for String Orchestra (1976) -- 8'
Available from the Presser Rental Library
Premiere Information: July 27, 1976, Philadelphia Orchestra, Andre Kostelanetz


American Festival Overture for Orchestra (1939)
Available From G. Schirmer


American Hymn Orchestral Variations on an Original Melody (1981) -- 27'
3(Picc.) 2(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3 3 1; Timp. 3Perc. Pno. Str.
Available from the Presser Rental Library
Commission Information: St. Louis Symphony Orchestra in celebration of its centennial
Premiere Information: September 24, 1982, St. Louis Symphony Orchestra, Leonard Slatkin, conductor
Recordings

Available Separately:

Full Score - Large (#446-41044)


Casey at the Bat for Orchestra (1976)
Available From AMP (G. Schirmer)


Circus Overture (Side Show) for Orchestra (1944)
Available From G. Schirmer


Concerto for Piano and Orchestra (1938-1942)
Available From G. Schirmer


Concerto for Violin and Orchestra (1959, rev. from earlier versions of 1947 & 1956) -- 30'
3(Picc.) 2(E.H.) 4(B.Cl.) 3(Cbsn.) - 4 3 3 0; Timp. Perc. Str.
Available from the Presser Rental Library
Commission Information: Samuel Dushkin
Premiere Information: August 9, 1959, Roman Totenberg, Aspen Festival Orchestra, Izler Solomon, conductor
Recordings

Available Separately:

Solo Part with Piano Reduction (#444-41000)
Full Score - Study (#446-41002)


Concerto on Old English Rounds for Viola, Women's Chorus and Orchestra (1973) -- 40'
3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3 3 1; Perc. Str.
Available from the Presser Rental Library
Commission Information: Ford Foundation, for Donald McInnes
Premiere Information: November 29, 1974, Donald McInnes, Radcliffe Choral Society, Boston Symphony Orchestra, Michael Tilson Thomas, condcutor
Recordings

Available Separately:

Solo Part (#410-41227)
Full Score - Large (#446-41021)


Credendum - Article of Faith (1955) -- 18'
4(2Picc.) 4(E.H.) 5(E-flat Cl., B.Cl.) 4(Cbsn.) - 6 4 3 2; Timp. Perc. Pno. Str.
Available from the Presser Rental Library
Commission Information: Department of State, for the U.S. Commission of UNESCO
Premiere Information: November 4, 1955, Cincinnati Symphony Orchestra, Thor Johnson
Recordings

Available Separately:

Full Score - Large (#446-41000)


In Praise of Shahn Canticle for Orchestra (1972) -- 18’
3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3 3 1; Timp. Perc. Pno. Str.
Available from the Presser Rental Library
Commission Information: Friends of Ben Shahn, in his memory
Premiere Information: January 29, 1970, New York Philharmonic, Leonard Bernstein
Recordings

Available Separately:

Full Score - Large (#446-41017)


Let’s Hear it for Lenny!
Available From Composer


New England Triptych Three Pieces for Orchestra (1956) -- 15'
3(Picc.) 3(E.H.) 4(E-flat Cl., B.Cl.) 2 - 4 3 3 1; Timp. Perc. Str.
Available from the Presser Rental Library
Commission Information: Andre Kostelanetz
Premiere Information: October 26, 1956, University of Miami (FL) Symphony Orchestra, Andre Kostelanetz
Additional Information: Band versions of each movement also available (listed separately).
Recordings

Available Separately:

Full Score - Large (#446-41001)


Newsreel (In Five Shots) for Orchestra (1941)
Available From G. Schirmer


Night Journey Choreographic Poem for 15 Instruments (1981) -- 21' 30"
1 1 1 1 - 1 1 1 1; Pno. Str.(2 2 2 2 1)
Published: #444-41011


On Freedom's Ground an American Cantata for Baritone, Mixed Chorus and Orchestra (1985) -- 40'
3(3Picc.) 3(E.H.) 3(B.Cl.) 2 - 4 3 3 1, Timp. 4Perc. Pno./Cel. Str.
Available from the Presser Rental Library
Commission Information: New York Philharmonic, Crane School of Music of Potsdam College and a consortium of Symphony Orchestras: Albany, Atlanta, Chicago, National, Oregon, Pittsburgh and St. Louis
Premiere Information: October 28, 1986, Sherrill Milnes, Crane Chorus, New York Philharmonic, Zubin Mehta
Additional Information: Text by Richard Wilbur. Also available in a version for wind instruments.

Available Separately:

Choral Part(s) (#442-41010)
Full Score - Large (#446-41054)


Philharmonic Fanfare -- 1' 30"
4 4 5 4 - 6 4(in C) 3 2; Timp. Perc. Pno. Str.
Available from the Presser Rental Library


Potpourri for Orchestra
Withdrawn


Prayer in Time of War for Orchestra
Available From G. Schirmer


Prelude and Fugue for Orchestra
Withdrawn


Prologue for Orchestra
Available From G. Schirmer


Showcase: A Short Display for Orchestra (1986) -- 4'
3 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3 3 1; Timp. 4Perc. Pno. Str.
Available from the Presser Rental Library
Commission Information: Houston Symphony Orchestra, in celebration of the Texas Sesquicentennial
Premiere Information: September 26, 1986, Houston Symphony Orchestra, Sergiu Comissiona, conductor

Available Separately:

Full Score - Large (#446-41062)


Symphony for Strings (Symphony No. 5) (1943)
Available From G. Schirmer


Symphony No. 1 (1935)
Premiere Information: October 21, 1936, Gotham Symphony Orchestra, Jules Werner, conductor
Withdrawn


Symphony No. 10 "American Muse" (1975) -- 33'
3(II, III d. Picc.) 4(E.H.) 4(E-flat Cl., B.Cl.) 4(Cbsn.) - 6 4 4 1; Timp. 6Perc. Pno. Hp. Cel. Str.
Available from the Presser Rental Library
Commission Information: National Symphony Orchestra, for the American Bicentennial
Premiere Information: April 6, 1976, National Symphony Orchestra, Antal Dorati, conductor

Available Separately:

Full Score - Large (#446-41029)


Symphony No. 2 (1937)
Premiere Information: May 25, 1938, Greenwich Orchestra, Edgar Schenkman, conductor
Withdrawn


Symphony No. 3 (1941)
Available From G. Schirmer


Symphony No. 4 (1941)
Available From G. Schirmer


Symphony No. 6 (1948)
Available From G. Schirmer


Symphony No. 7 (1960) -- 28'
3(2Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3 3 1; Timp. Perc. Pno. Str.; Ad libitum additional Fl. Ob. E-flat Cl. Cl. Bsn. 2Hn. Tpt. Ten.Tuba
Available from the Presser Rental Library
Commission Information: Koussevitzky Music Foundation in the Library of Congress for the 75th anniversary of the Boston Symphony Orchestra
Premiere Information: October 21, 1960, Boston Symphony Orchestra, Charles Munch, conductor
Recordings

Available Separately:

Full Score - Large (#446-41003)


Symphony No. 8 (1962) -- 31'
4(2Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 6 4 4 1; Perc. 2Hp. Pno. Str.; Ad libitum: Additional Ob., Cl., Bsn.
Available from the Presser Rental Library
Commission Information: New York Philharmonic, for the opening of the Philharmonic Hall at Lincoln Center
Premiere Information: October 4, 1962, New York Philharmonic, Leonard Bernstein, conductor
Recordings

Available Separately:

Full Score - Large (#446-41008)


Symphony No. 9 "Le Fosse Ardeatine" (1968) -- 28'
3(Picc.) 4(E.H.) 4(B.Cl.) 4(Cbsn.) - 4 4 3 1; Timp. 4Perc. Pno. Str.
Available from the Presser Rental Library
Commission Information: Friends of Alexander Hilsberg, in his memory
Premiere Information: January 10, 1969, Philadelphia Orchestra, Eugene Ormandy, conductor
Recordings

Available Separately:

Full Score - Large (#446-41016)


The Mighty Casey
Available From G. Schirmer


The Orchestra Song (1963) -- 4'
2(Picc.) 1 1(B.Cl. ad lib) 1 - 4 3 3 1; Timp. Perc. Str.
Published: #146-40000
Premiere Information: April 11, 1964, New York Philharmonic, Andre Kostelanetz

Available Separately:

Full Score - Large (#146-40000F)
Set of parts (#146-40000P)
Full Score - Study (#446-41011)


The Young Dead Soldiers Lamentation for Soprano, Horn, Eight Woodwinds and Nine Strings (1976) -- 15'
2Ob., E.H., 2Cl., B.Cl., 2Bsn., 4Vla., 4Vcl., Cb.
Available from the Presser Rental Library
Commission Information: National Symphony Orchestra
Premiere Information: April 6, 1976, Rosalind Rees, soprano, Edward C. Thayer, French horn, National Symphony Orchestra, Antal Dorati, conductor
Additional Information: Text by Archibald MacLeish.
Recordings

Available Separately:

Piano Reduction (#444-41015)
Full Score - Large (#446-41026)


This is Our Time for Orchestra
Available From Hendon Music/Boosey & Hawkes


Three Colloquies for French Horn and Orchestra (1979) -- 24’
3(Picc.) 2 3(B.Cl.) 2 - 0 3 0 0; Timp. 4Perc. Hp. Pno./Cel. Str.
Available from the Presser Rental Library
Commission Information: New York Philharmonic Orchestra
Premiere Information: January 24, 1980, Philip F. Myers, French horn, New York Philharmonic, Zubin Mehta, conductor
Additional Information: Movements played without pause.

Movements:
Remembrance
Renewal
Rumination

Recordings

Available Separately:

Piano Reduction (#144-40085)
Full Score - Large (#446-41040)


To Thee, Old Cause Evocation for Oboe, Brass, Timpani, Piano and Strings (1968) -- 17'
0 1 0 0 - 4 3 3 1; Timp. Pno. Str.
Available from the Presser Rental Library
Commission Information: New York Philharmonic Orchestra, for its 125th anniversary
Premiere Information: October 3, 1968, Harold Gomberg, New York Philharmonic, Leonard Bernstein, conductor
Recordings

Available Separately:

Full Score - Large (#446-41015)


Undertow - Choreographic Episodes for Orchestra (1945)
Available From G. Schirmer


Variation V: Molto Tranquillo for String Orchestra
Available From Composer


Variations on "America" for Orchestra (1963) -- 8'
3(2Picc.) 2(E.H.) 2 2 - 4 3 3 1; Timp. Perc. Str.
Available from the Presser Rental Library
Commission Information: BMI, for its 20th anniversary
Premiere Information: May 20, 1964, New York Philharmonic, Andre Kostelanetz, conductor
Additional Information: Based on an original Organ composition by Charles Ives. Also available for Concert Band (arr. William E. Rhoads).
Recordings

Available Separately:

Full Score - Study (#446-41010)
Full Score - Large (#446-41171)


Variations on a Theme by Eugene Goossens for Orchestra
Available From Composer


Voyage for Orchestra (1972) -- 25'
3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3 3 1; Timp. Perc. Pno. Str.
Available from the Presser Rental Library
Commission Information: Eastman School of Music
Premiere Information: October 27, 1972, Eastman Philharmonic, Gustav Meier, conductor
Additional Information: Also available for Piano solo.

Movements:
Anticipation
Caprice
Decision
Realization
Retrospection

Recordings

Available Separately:

Full Score - Large (#446-41020)


William Billings Overture for Orchestra (1943)
Premiere Information: February 17, 1944, New York Philharmonic, Artur Rodzinski, conductor
Withdrawn



Organ


When Jesus Wept Prelude for Organ (1983) -- 5'
Published: #143-40006
Additional Information: Transcribed by Samuel Adler from Schuman's original version for Band (also available).
Recordings



Piano


Chester Variations for Piano (1988) -- 6’
Published: #440-40016
Commission Information: Eighth Van Cliburn International Piano Competition, as a required composition for all semi-finalists
Premiere Information: June 2, 1989, Fort Worth, TX
Additional Information: Based on William Billings’ Hymn and Marching Song of the American Revolution.


Three Piano Moods (1958) -- 11'
Premiere Information: December 2, 1958, Joel Rosen


Lyrical (1958)
Published: #140-40024


Pensive (1958)
Published: #140-40025


Dynamic (1958)
Published: #140-40026



Three-Score Set for Piano (1943)
Available From G. Schirmer


Voyage a Cycle of Five Pieces for Piano (1953) -- 24’
Published: #440-40000
Commission Information: Sigma Alpha Iota, for its Golden Anniversary
Premiere Information: August 18, 1953, Lillian Steuber
Additional Information: Also available for Orchestra.

Movements:
Anticipation
Caprice
Decision
Realization
Retrospection

Recordings



Vocal


God’s World for Voice (1932)
Available From E.B. Marks/Hal Leonard


Holiday Song for Voice (1942)
Available From G. Schirmer


In Sweet Music Serenade on a Setting of Shakespeare (1978) -- 23'
Voice, Fl.(Picc., A.Fl.), Vla., Hp.
Published: #144-40072
Commission Information: Chamber Music Society of Lincoln Center
Premiere Information: October 29, 1978, Paula Robinson, Jan DeGaetani, Walter Trampler, Osian Ellis
Recordings


Orpheus with His Lute for Voice (1944)
Available From G. Schirmer


The Lord Has a Child Hymn for High Voice and Piano
Published: #141-40003
Additional Information: Other versions available: Medium Voice and Piano SATB Chorus and Organ SSA Chorus and Organ Mixed Chorus and Brass Quintet


The Lord Has a Child Hymn for Medium Voice and Piano
Published: #141-40004
Additional Information: Other versions available: High Voice and Piano SATB Chorus and Organ SSA Chorus and Organ Mixed Chorus and Brass Quintet


Time to the Old Three Song Set on words of Archibald MacLeish. (1979) -- 11'
Voice and Piano
Published: #441-41015
Premiere Information: May 19, 1980, Rosalind Rees, Thomas Muraco
Recordings


Recordings


When Jesus Wept Prelude for Organ


Gasparo Records GS-258:
Harbach, organ.



String Quartet No. 3


Concert Hall Records AB (78 rpm):
Gordon Quartet



RCA Victor Records LSC-2481:
Juilliard Quartet



Vox Records SVBX-5305:
Kohon Quartet



In Sweet Music Serenade on a Setting of Shakespeare


Composers Recordings, Inc. (New World Records) SD-439:
Rees, voice, Orpheus Trio



Chester Overture for Band


Vanguard Records VRS-9119 (also VSD-2124):
University of Michigan Symphonic Band, Revelli, conductor.



Decca Records DL-8633 (also DL-78633):
Goldman Band, Goldman, conductor.



Cornell University Recordings CUWE-10:
Cornell University Symphonic Band, Stith, conductor.



Vogt Records CSR V-2503:
Concord Band, Toland, conductor.



When Jesus Wept Prelude for Band


Cornell University Recordings CUWE-9:
Cornell University Wind Ensemble, Stith, conductor.



Be Glad Then, America


Cornell University Recordings CUWE-19:
Cornell University Wind Ensemble, Stith, conductor.



Concordia No. S-1:
Concordia Choir, Christiansen, conductor



Perceptions Choral Cycle on words of Walt Whitman


Gregg Smith Singers Recordings GSS 110:
Gregg Smith Singers, Gregg Smith, conductor



Esses Short Suite for Singers on words beginning with S.


Gregg Smith Singers Recordings GSS 110:
Gregg Smith Singers, Gregg Smith, conductor



Carols of Death for Mixed Chorus, a cappella


Gregg Smith Singers Recordings GSS 110:
Gregg Smith Singers, Gregg Smith, conductor



Everest Records No. 3129 (also LPBR-6129 and SPBR-3129):
Gregg Smith Singers, Gregg Smith, conductor



Five Rounds on Famous Words for Mixed or Women's Chorus


Gregg Smith Singers Recordings GSS 110:
Gregg Smith Singers, Gregg Smith, conductor



Mail Order Madrigals


Gregg Smith Singers Recordings GSS 110:
Gregg Smith Singers, Gregg Smith, conductor



Voyage a Cycle of Five Pieces for Piano


Etcetera Records ETC-1036 (also KTC-1036 and XTC-1036):



Time to the Old Three Song Set on words of Archibald MacLeish.


Composers Recordings, Inc. (New World Records) SD-439:
Rees, voice, Muraco, piano.



Elektra/Nonesuch Records No. 79178-2: In Songs of America
Jan DeGaetani, voice, Gilbert Kalish, piano.



American Hymn Orchestral Variation on an Original Melody


Summit Records 365: American Visions
American Brass Quintet



American Hymn Orchestral Variation on an Original Melody


Elektra/Nonesuch Records No. 1-79072:
St. Louis Symphony, Slatkin, conductor.



Anniversary Fanfare for Brass and Percussion


Metropolitan Museum of Art No. AKS-10001: Centennial Fanfares



Concerto on Old English Rounds for Viola, Women's Chorus and Orchestra


Columbia No. M-35101
McInnes, viola, Camerata Singers, New York Philharmonic, Bernstein, conductor.



Concerto for Violin and Orchestra


Deutsche Grammophon No. 253-0103:
Zukofsky, violin, Boston Symphony Orchestra, Thomas, conductor.



Angel Records CDC 49464:
McDuffie, violin, St. Louis Symphony Orchestra, Slatkin, conductor.



Credendum - Article of Faith


Composers Recordings, Inc. (New World Records) S-308 (reissue of Columbia CML-5185):
Philadelphia Orchestra, Ormandy, conductor.



In Praise of Shahn Canticle for Orchestra


New World Records NW 368:
Juilliard Orchestra, Mueller, conductor.



Columbia No. M-30112:
New York Philharmonic, Bernstein, conductor.



New England Triptych Three Pieces for Orchestra


RCA Records IM-2677 (also LSC-2677 and ISC-3277):
Boston Pops Orchestra, Fiedler, conductor



Decca Records DL-710108:
Cincinnati Symphony Orchestra, Rudolph, conductor



Columbia MS-6040:
New York Philharmonic, Kostelanetz, conductor



Mercury Records SRI-75020 (also MG-503791):
Eastman Rochester Symphony Orchestra, Hanson, conductor.



London Records No. 26442:
National Symphony Orchestra, Dorati, conductor



RCA Victor Records LSC-3060:
Philadelphia Orchestra, Ormandy, conductor.



Night Journey a Ballet


Composers Recordings, Inc. (New World Records) SD-500:
Endymion Ensemble, Goldberg, conductor.



A Song of Orpheus Fantasy for Cello and Orchestra or Chamber Orchestra


Columbia MS-6638:
Rose, cello, Cleveland Orchestra, Szell, conductor



Symphony No. 7


Turnabout Records TVS-34447:
Utah Symphony, Abravanel, conductor.



New World Records NW-348:
Pittsburgh Symphony Orchestra, Maazel, conductor.



Symphony No. 8


Odyssey Y-34140 (reissue of Columbia ML-5912 and MS-6512):
New York Philharmonic, Bernstein, conductor.



Symphony No. 9 "Le Fosse Ardeatine"


Composers Recordings, Inc. (New World Records) SD-477 (reissue of RCA Victor: LSC-3212):
Philadelphia Orchestra, Ormandy, conductor.



Three Colloquies for French Horn and Orchestra


New World Records NW 326:
Myers, horn, New York Philharmonic, Mehta, conductor



To Thee, Old Cause Evocation for Oboe, Brass, Timpani, Piano and Strings


Columbia MS-7392:
New York Philharmonic, Bernstein, conductor



Variations on "America" for Orchestra


Columbia MS-7289:
Philadelphia Orchestra, Ormandy, conductor.



London Records SPC-21178:
Boston Pops Orchestra, Fiedler, conductor



Columbia MA-33728:
Andre Kostelanetz and His Orchestra



RCA Victor Records LSC-2893:
Chicago Symphony, Gould, conductor



London Records No. 2246:
Los Angeles Philharmonic, Mehta, recordings



Louisville First Edition Recordings No. 651
Louisville Orchestra, Whitney, conductor



Voyage for Orchestra


Columbia CML-4987:



The Young Dead Soldiers Lamentation for Soprano, Horn, Eight Woodwinds and Nine Strings


Composers Recordings, Inc. (New World Records) SD-439:
Rees, soprano, Graham, horn, White Mountain Festival Orchestra, Schwarz, conductor



Quatettino for Saxophone Quartet


New Music Quarterly Recordings No. 1415:
Cohen, Knitzer, Kutzing, Sharrow



Reviews

"These pieces [Symphonies Nos. 4 and 9] are layered with dark mysteries that make you want to hear them again and again."

-David Patrick Stearns, The Philadelphia Inquirer


A Song of Orpheus Fantasy for Violoncello and Orchestra or Chamber Orchestra

"…an impressive work and beautifully orchestrated; [the soloist's] lyrical line was never overpowered."

-Nick Breckenfield, ClassicalSource.com