Samuel Adler was born March 4, 1928, Mannheim, Germany and came to the United States in 1939. He was inducted into the American Academy of Arts and Letters in May 2001, awarded the the highest civilian honor from the German government (the Bundesverdienstkreuz, 1st class) in 2018, and inducted into the American Classical Music Hall of Fame in October 2008. He is the composer of over 400 published works, including 5 operas, 6 symphonies, 12 concerti, 8 string quartets, 4 oratorios and many other orchestral, band, chamber and choral works and songs, which have been performed all over the world. He is the author of three books, Choral Conducting (Holt Reinhart and Winston 1971, second edition Schirmer Books 1985), Sight Singing (W.W. Norton 1979, 1997), and The Study of Orchestration (W.W. Norton 1982, 1989, 2001). He has also contributed numerous articles to major magazines and books published in the U.S. and abroad.
Adler was educated at Boston University and Harvard University, and holds honorary doctorates from Southern Methodist University, Wake Forest University, St. Mary’s Notre-Dame, the St. Louis Conservatory, and Hebrew Union College – Jewish Institute of Religion. His major teachers were: in composition, Herbert Fromm, Walter Piston, Randall Thompson, Paul Hindemith and Aaron Copland; in conducting, Serge Koussevitzky.
He is Professor-emeritus at the Eastman School of Music where he taught from 1966 to 1995 and served as chair of the composition department from 1974 until his retirement. Before going to Eastman, Adler served as professor of composition at the University of North Texas (1957-1977), Music Director at Temple Emanu-El in Dallas, Texas (1953-1966), and instructor of Fine Arts at the Hockaday School in Dallas, Texas (1955-1966). From 1954 to 1958 he was music director of the Dallas Lyric Theater and the Dallas Chorale. From 1997 to his retirement in 2014 he was a member of the composition faculty at the Juilliard School of Music in New York City, and was awarded the 2009-10 William Schuman Scholars Chair. Adler has given master classes and workshops at over 300 universities worldwide, and in the summers has taught at major music festivals such as Tanglewood, Aspen, Brevard, Bowdoin, as well as others in France, Germany, Israel, Spain, Austria, Poland, South America and Korea.
Some recent commissions have been from the Cleveland Orchestra (Cello Concerto), the National Symphony (Piano Concerto No. 1), the Dallas Symphony (Lux Perpetua), the Pittsburgh Symphony (Viola Concerto), the Houston Symphony (Horn Concerto), the Barlow Foundation/Atlanta Symphony (Choose Life), the American Brass Quintet, the Wolf Trap Foundation, the Berlin-Bochum Bass Ensemble, the Ying Quartet and the American String Quartet to name only a few. His works have been performed lately by the St. Louis Symphony, the Los Angeles Philharmonic, the Berlin Radio Symphony Orchestra and the Mannheim Nationaltheater Orchestra. Besides these commissions and performances, previous commissions have been received from the National Endowment for the Arts (1975, 1978, 1980 and 1982), the Ford and Rockefeller Foundations, the Koussevitzky Foundation, the City of Jerusalem, the Welsh Arts Council and many others.
Adler has been awarded many prizes including a 1990 award from the American Academy of Arts and Letters, the Charles Ives Award, the Lillian Fairchild Award, the MTNA Award for Composer of the Year (1988-1989), and a Special Citation by the American Foundation of Music Clubs (2001). In 1983 he won the Deems Taylor Award for his book, The Study of Orchestration. In 1988-1989 he was designated “Phi Beta Kappa Scholar” In 1989 he received the Eastman School’s Eisenhard Award for Distinguished Teaching. In 1991 he was honored being named the Composer of the Year by the American Guild of Organists. Adler was awarded a Guggenheim Fellowship (1975-1976); he has been a MacDowell Fellow for five years and; during his second trip to Chile, he was elected to the Chilean Academy of Fine Arts (1993) “for his outstanding contribution to the world of music as a composer” In 1999, he was elected to the Akademie der Kuenste in Germany for distinguished service to music. While serving in the United States Army (1950-1952), Adler founded and conducted the Seventh Army Symphony Orchestra and, because of the Orchestra’s great psychological and musical impact on European culture, was awarded a special Army citation for distinguished service. In May, 2003, he was presented with the Aaron Copland Award by ASCAP, for Lifetime Achievement in Music (Composition and Teaching).
Adler has appeared as conductor with many major symphony orchestras, both in the U.S. and abroad. His compositions are published by Theodore Presser Company, Oxford University Press, G. Schirmer, Carl Fischer, E.C. Schirmer, Peters Edition, Ludwig Music, Southern Music Publishers, Transcontinental Music Publishers. Recordings of his works have been done on RCA, Gasparo, Albany, CRI, Crystal and Vanguard.
Cover Title (Subtitle) Duration Instrumentation Solo Instrumental 4 Composer PortraitsBirthday Cards for Solo Piano Piano Unaccompanied BassooneryStudy for Bassoon Solo Bassoon Unaccompanied A Bonnie TuneA Scherzo for Solo Flute 3:40 Flute Unaccompanied BravuraA Concert Piece for Bass Trombone 6:00 Bass Trombone Unaccompanied Bridges To Span AdversityFor Harpsichord 6:00 CantilenaFor Solo Horn 5:00 Horn in F Canto IIISolo Violin Violin Canto V Canto VIII Piano ClarinonStudy for B Flat Clarinet Solo 2:00 Clarinet Unaccompanied FantasyFor Solo Piano 6:30 Piano Festschrift for Piano Solo Piano Unaccompanied FlauntingStudy for Flute Solo Flute Unaccompanied Four ChoreographiesA Suite for Piano Solo 9:00 Piano From Generation To GenerationA Celebration for Organ Solo 6:00 Organ Unaccompanied In Memory Of MiltonFor Solo Violin 5:00 Violin Unaccompanied In Praise Of BachA Fantasy for Organ On Bach 7:00 Organ Unaccompanied MeadowmountetudesFour Studies Of 20Th-Century Techniques, for Solo Violin 7:00 OborationStudy for Oboe Solo Oboe Unaccompanied The Sense Of TouchEight Short Pieces Introducing The Young Pianist To Techniques Used In Twentieth-Century Music 12:00 Piano Unaccompanied Solemn SoliloquyFor Violin Solo 5:00 Violin SonataFor Solo Guitar 11:00 Sonata for Harpsichord 14:00 Three Piano Preludes Piano Thy Song Expands My Spirit(A Tribute To Aaron Copland On His 80th Birthday) for Piano Solo 3:30 Piano Unaccompanied Two MeditationsFor Organ Chamber Ensemble 5 Movements AcrosticsFour Games for Six Players 18:00 Be Not Afraid: The Isle Is Full Of NoisesFor Brass Quintet 7:00 trumpet 1, Horn in F, trombone, Bass trombone or tuba, trumpet 2 Brahmsiana 6:00 CacciaA Scherzo for Two Flutes (2 Scores) Contrasting Inventions Diary Of A Journey 20:00 DivertissementFor Viola and Marimba Divertissementfor Violin and Marimba 14:00 Festival Fanfare and DanceFor Brass Ensemble 8:00 Brass Ensemble Fidl-Fantazye: A Klezmer Concerto(arr.) Violin, Piano Four Dialogues for Euphonium Mixed Duet Into The Radiant BoundariesA Duo for Viola and Guitar String Duet Introit & Toccatina L’Olam VaedA Meditation for Cello and Piano Let The Trumpet SoundA Prelude For An Auspicious Occasion For Trumpet And Organ 5:00 Trumpet in C, Organ Life Is an EcstasyAn Essay for Trumpet and Organ 8:00 Trumpet, Organ PasiphaeA Musical Portrait for Piano and Percussion 10:00 Piano, Percussion Pensive SoliloquyFor E-Flat Alto Saxophone and Piano 7:00 Alto Saxophone with Piano Ports Of Call Violin Duet Praeludium Primavera Amarilla QuintetFor Piano and String Quartet 13:00 Piano Quintet Recitative And Rondo CapricciosoFor Flute And Piano 8:00 Flute with Piano Ricercare a 6from “The Musical Offering”(arr.) 8:00 Fl. Cl. Tpt.; Hp. Str. Romp 3:00 String Quartet Scherzo Schmerzo 8:00 4Tpt. 1Hn. 4Tbn. Tu. 2Perc. Scherzo SchmerzoA Fun Piece for 4 Trumpets, Horn, 4 Trombones, Tuba, and Percussion 8:00 Trumpet Ensemble with Percussion Sixth String QuartetA Whitman Serenade for Medium Voice and String Quartet Violin 1, Violin 2, Viola, violonCello SonataFor Flute and Piano SonataFor Viola and Piano 14:00 Viola with Piano String Quartet No. 9 20:00 String Quartet String Quartet No. 10 15:00 String Quartet Three PiecesFor Cello and Piano 12:00 Cello, Piano Time In Tempest Everywhere Trio“5 Snapshots” String Trio Two Southern Appalachian Folk SongsFor Violin And Piano 4:00 Violin, Piano Vocal / Choral Five Choral ScherziFor Mixed Chorus, Viola and Guitar S.A.T.B. Chorus; Vla. Guit. In Praise Of LaborFor Voice and Piano Voice with Piano JonahThe Man Without Tolerance. A Cantata for Soprano, Tenor, Baritone Soli, Choir and Orchestra 35:00 Sop., Ten., Bar. Soli; SATB Chorus; 2 2 2 2 – 3 3 3 0; Timp. 2Perc. Str. Nuptial Scene Of Love and DreamsA Song Cycle on Irish Poetry 15:00 Voice with Piano Of Saints & Sinners-Mez Passionate Sword-Fl/Cl A Psalm TrilogyFor S.A.T.B. Chorus, A Cappella 10:00 Recalling The Yesterdays Mezzo-Soprano, Flute, Clarinet, Violin, Cello, Piano, Percussion Serenade Sixth String QuartetA Whitman Serenade for Medium Voice and String Quartet full score, medium voice, Violin 2, violonCello, Viola, Violin 1 Song Of Songs FragmentsFor Mezzo-Soprano, Clarinet, and Piano 7:00 Voice with Instrument Those Were The Days To —S.A.T.B., With Piano 3:10 SATB To Remember: To Be Remembered 7:00 TodesfugeFor Tenor and Piano 5:00 Tenor, Piano Two Shelley SongsThe Fugitives 2:45 We Believe A Hymn Of Fa Orchestra All Nature PlaysAn Overture for Orchestra 9:00 2(dbl. Picc.) 2 2 2 – 2 2 2 0; Timp. 2Perc. Str. American Airs and Dances 15:00 3(dbl. Picc.) 3(E.H.) 3(B.Cl.) 2 – 4 3 3 1; Timp. 2Perc. Hp. Str. Art Creates ArtistsA Celebration for Orchestra 2:30 3(Picc.) 3(E.H.) 3(B.Cl.) 3 – 4 3 3 1; Timp. 3Perc. Str. Art Creates Artists – Small Score A Bridge to UnderstandingA Suite for Orchestra 18:00 3(Picc.) 3(E.H.) 3(B.Cl.) 2 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Str. CentennialA Celebration for Symphony Orchestra 4:00 3 2 2 3 – 4 3 3 1; Timp. 3Perc. Str. Centennial – Small Score Drifting on Wind and CurrentsA Poem for Orchestra 8:00 3(Picc.) 2 2 2 – 4 3 3 1; Timp. 2Perc. Str. ElegyFor String Orchestra String Orchestra Elegyfor String Orchestra 7:30 Str. Gedenkfeierfor String Orchestra 6:00 Str. In Just SpringOverture for Symphony Orchestra 8:00 3(Picc.) 3(E.H.) 3 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno.(Cel.) Str. In The Spirit Of Bach(Nel Spirito Di Bach) For String Orchestra 3:15 Strings JonahThe Man Without Tolerance. A Cantata for Soprano, Tenor, Baritone Soli, Choir and Orchestra 35:00 SATB Man Lebt Nur Einmal (Darum Tanzen Wir)Dance Suite for Large Orchestra 23:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Hp. Str. Serenade 17:00 SATB chorus; picc., fl.(2), ob.(2), eng.hn., Eb cl., cl.(3), a.cl., b.cl., bsn., a.sax.(2), t.sax.; hn.(4), tpt.(4), tbn.(3), bar.hn., tba.; timp., perc.(4), hp. Seven Variations On “God Save The King”For Orchestra(arr.) 10:00 Orchestra Seven Variations on ‘God Save the King’for Orchestra(arr.) 10:00 2 2 2 2 – 2 2 0 0; Timp. Str. Shadow DancesSuite of Dances for Orchestra 20:00 3(Picc.) 3 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno. Str. Shadow Dances – Small Score Orchestra Show An Affirming FlameA Poem for Orchestra (“September 1, 1939” by W. H. Auden) 5:00 Small Orch.: 2(dbl.Picc.) 2 2 2 – 2 2 0 0; Timp. Perc. Str.
Full Orch.: 2(dbl.Picc.) 2 2 2 – 2 2 2 0; Timp. Perc. Str.
Symphony #1 Symphony #2 Symphony #6 – Small Score Symphony No. 1 27:00 3 3 2 3 – 4 3 3 1; Timp. Hp. Str. Symphony No. 2 29:00 3 3 3 3 – 4 3 3 1; Timp. Perc. Pno. Str. Symphony No. 6 20:00 3 3 3 3 – 4 3 3 1; Timp. Perc. Pno. Str. Time in Tempest Everywherefor Soprano, Oboe and Chamber Orchestra 17:00 2 1 2 2 – 2 0 0 0; Perc. Pno. Str. We Believe: A Hymn of Faith 18:00 Solo SATB voices; SATB Chorus; Fl., Cl., Bsn., A.Sax.; Vln., Vcl.; amp. Hpschd., Perc. Orchestra with Soloist(s) Arcos Concerto (A Bridge between the old and the new)for Flute, Oboe, Clarinet, Bassoon and String Orchestra 15:00 Fl. Ob. Cl. Bsn. Soli; Str. Beyond The Pale Beyond the PaleA Portrait of a Klezmer for Clarinet and String Orchestra 14:00 Solo Cl.; Str. ConcertoFor Cello and Orchestra 20:00 Cello solo, Piano Concertofor Viola and Orchestra 23:00 Viola, Piano Concertofor Viola and Orchestra ConcertoFor Violin and Orchestra 20:00 Orchestra ConcertoFor Violin and Orchestra 20:00 Violin, Piano Concerto “Shir Ha Ma’alot” 18:00 Solo Woodwind Quintet; 0 0 0 0 – 4 3 3 1; Timp. Perc. Str. Concerto for Cello and Orchestra Concerto for Cello and Orchestra 20:00 Solo Vcl.; 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno. Cel. Str. Concerto for Guitar and Orchestra Concerto for Guitar and Orchestra 21:00 Solo Gtr.; 2 2 2 2 – 2 2 0 0; Timp. Perc. Str. Concerto for Guitar and OrchestraSolo Part and Piano Reduction 21:00 Concerto for Horn and Orchestra Horn, Piano Concerto for Horn and Orchestra 20:00 Solo Hn.; 2 2 2 2 – 2 2 0 0; Timp. Perc. Str. Concerto for Organ and Orchestra 20:00 Solo Org.; 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. Perc. Hp. Str. Concerto for Tuba and Orchestra 21:00 Solo Tu.; 3(Picc.) 3(E.H.) 2 2 – 4 3 3(B.Tbn.) 0; Timp. 2Perc. Str. Concerto for Viola and Orchestra 20:00 Solo Vla.; 3(Picc.) 3(E.H.) 3(B.Cl.) 2 – 4 3 3(B.Tbn.) 1; Timp. 2Perc. Str. Concerto for Violin and Orchestra 20:00 Solo Vn.; 3(Picc.) 2 3(B.Cl.) 2 – 4 3 3(B.Tbn.) 0; Timp. 3Perc. Str. Concerto No. 2For Piano and Orchestra (Solo Piano and Piano Reduction) 23:00 Concerto Shir Hama’A LotFor Woodwind Quintet and Orchestra Fidl-Fantazye: A Klezmer Concertofor Violin and Orchestra(arr.) Solo Vln.; 3(Picc.) 3(E.H.) 3(B.Cl.) 2 – 4 3 3(B.Tbn.) 1; Timp. 2Perc. Str. Lux Perpetua Organ with Piano Lux PerpetuaA Poem for Organ and Orchestra Lux PerpetuaA Poem for Organ and Orchestra 14:00 Solo Org.; 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Str. Piano Concerto No. 2 Piano Concerto No. 3for Piano and String Orchestra 15:00 Solo Pno.; Str. Second Piano Concerto 22:00 Solo Pno.; 2 2 2 2 – 2 2 2 1; Timp. 2Perc. Pno. Str. Those Were the DaysFour Nostalgic Songs Solo Voice; 2 2 3(B.Cl.) 2 – 2 2 0 0; Timp. 2Perc. Str. Band / Wind Ensenble American Airs and DancesVersion for Band 15:00 3Fl.(dbl. Picc.) 2Ob. 3Cl. B.Cl. 2Bsn. 2A.Sax. Ten.Sax. Bar.Sax – 4Hn. 3Tpt. 3Tbn. Euph. Tu. Cb. Timp. 4Perc. Concerto for Guitar and Wind Ensemble 21:00 Solo Guit.; 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.), 2AltoSax, Ten.Sax. – 2 3 2 1; Timp. 2Perc. Cb. Concerto for Winds, Brass and Percussion 19:00 picc.(2), fl.(2), ob.(2), eng.hn., Eb cl., cl.(3), a.cl., cb.cl., bsn.(2), a.sax.(2), t.sax., b.sax.; hn.(4), cor.(3), tpt.(1), tbn.(3), bar., tba.; cb., timp., perc.(4) Dawn to Glory 10:00 fl.(3) (picc.), ob.(2), eng.hn., Eb cl., cl.(3), b.cl., bsn.(2), s.sax., a.sax., t.sax., b.sax.; hn.(4), tpt.(4), tbn.(3), bar.hn., tba.; timp., perc.(4) A Little Night and Day Music Concert Band PygmalionAn Overture for Large Wind Ensemble 5:30 picc., fl.(2), ob.(2), eng.hn., Eb cl., cl.(3), b.cl., bsn.(2), cbsn.; s.sax., a.sax., t.sax, b.sax.; hn.(4), tpt.(4), tbn.(3), euph., tba; timp., perc.(3) The River That Mines The Silences Of StonesAn Adagio For Wind Ensemble 10:00 Wind Ensemble Rogues and LoversA Folksong Suite for Chorus and Wind Ensemble 18:00 SATB Chorus; 3(Picc.) 3(E.H.) 5(Eb Cl./B.Cl.) 0, AltoSax. – 2 2 2 1, Euph.; Timp. Perc. Serenata Concertantefor Flute, Oboe, Clarinet, Bassoon, Alto Saxophone and Wind Ensemble 24:00 Fl., Ob., Cl., Bsn., A.Sax. Soli; 3(Picc.) 2 3(BbCl.) 2, A.Sax., Ten.Sax. – 4 3 3 1; Timp. 3 Perc. Solemn March(arr.) 11:00 picc., fl.(2), ob.(2), eng.hn., Eb cl., cl.(2), b.cl., bsn.(2), cbsn.; a.sax.(2), t.sax.; hn.(4), tpt.(3), tbn.(3), bar.hn., tba.; cb., timp., perc.(2) Staged Works The Lodge of ShadowsA Musical Drama for Baritone Solo, Dancers and Orchestra 30:00 Solo baritone voice; dancers; 2(dbl. Picc.) 1 1 1 – 1 1 2 0; Perc. amp.Hpschd. Str. The Waking 40:00 SATB chorus; Children’s Chorus; 3(Picc.) 2 3(B.Cl.) 2 – 4 3 3 1; Timp. 3Perc. Pno. Str.
Four Games for Six Players
Adler consistently finds new things to say within his chosen musical language and makes wonderfully resourceful use of his tiny forces. This piece is a winner in every way.
–John Story, Fanfare
CONCERTO FOR CELLO AND ORCHESTRA
…mysterious chants, quizzical chattering, jazzy riffs and virtuosic flights came together to form a substantial and vigorous whole.
–Donald Rosenburg, The Cleveland Plain Dealer
…opens on a note of tranquil reflection. It continues to unfold in a gracefully spacious manner, ratcheting up tension in small stages and often using the solo instrument to add a layer of calm introspection to proceedings.
–Marc Rochester, MusicWeb International
CONCERTO FOR VIOLA AND ORCHESTRA
…textural and tuneful elements successfully rub shoulders…the range of contrast is wider [than other viola concertos], the orchestration more colorful (listen to the inventive writing for solo accompanied by temple blocks in the finale). I would say that it represents a major contribution to the genre.
Mr. Adler wrote a lovely orchestra part for this Concerto, and it fits with the viola nicely. They were balanced well, sometimes complimenting, sometimes contrasting each other, but always making musical sense. This was a truly delightful piece … I certainly hope that this piece makes its way into the standard viola repertoire soon.
–Paul Richelmi, The Pittsburgh Tartan
The Concerto reflects Adler’s love of the viola, which was his own instrument, as well as his quick-witted, and it must be said, quirky mind. It pushes the viola to its limits. This music is genuinely memorable.
–Mark Kanny, Pittsburgh Tribune
This exhilarating three-movement work walks a fine line between accessibility and substance. The orchestration is especially skillful and wonderfully diaphanous at times. The work came across like a cheerful, untroubled piece which is essentially what the composer was shooting for in varying degrees.
–Andrew Druckenbrod, Pittsburgh Post-Gazette
JOSÉ SEREBRIER CONDUCTS SAMUEL ADLER (RECORDING)
These works are benchmarks of contemporary American composition: monumental in scale and embracing a wide expressive spectrum with ease and visceral power, Adler merges twenty-first century ebullience with an almost classical economy and balance.
A Poem for Organ and Orchestra
Adler exploits all the resources of the organ. It is a bright, outgoing piece in which the organ becomes the assertive partner of the large orchestra. It was a breath of fresh air in this season and its attractive melodies in a basically theatrical setting made this piece a most celebratory and thrilling work.
–Olin Chism, The Dallas Morning News
SHOW AN AFFIRMING FLAME
A Poem for Orchestra (“September 1, 1939” by W. H. Auden)
…a skillfully put-together and most effective work.
–Allan Kozinn, New York Times
SONATA FOR GUITAR SOLO
Adler’s “”Sonata”” is a work that is both streamlined and confidently written, a splendid contemporary guitar piece. It recalls Britten’s Nocturnal without the color.
–Ellis, American Record Guide
SYMPHONY NO. 6
…a splendid orchestral tour de force which showcases every section of a very fine orchestra indeed in a vivid recording.
–Marc Rochester, MusicWeb International
Don’t play this if you have a hangover. The American composer Samuel Adler’s sixth symphony is so loud, frantic and brilliantly exciting it will blow you across the room. In three movements it crackles with electric energy, with only the central section offering a brief respite. Yet for all the clamour it is tightly organised, with a clarity of purpose and sense of direction that sends it hurtling to a dramatic conclusion.
–Stephen Pritchard, The Guardian
TIME IN TEMPEST EVERYWHERE
for Soprano, Oboe and Chamber Orchestra
Everything sounds organically grown with an impeccable ear for detail and color. Adler makes explosive use of the chamber orchestra, but evokes tenderness and delicacy as the texts raise more questions than answers. A fascinating and haunting work.
–Donald Rosenberg, The Cleveland Plain Dealer
JOSÉ SEREBRIER CONDUCTS SAMUEL ADLER
Linn Records (CKD 545); June 10, 2016
Performer(s): Maximilian Hornung, cello; Royal Scottish National Orchestra, Jose Serebrier, conductor
Work(s): Concerto for Cello and Orchestra
Symphony No. 6
Azica Records (ACD71229); February 7, 2006
Performer(s): Karel Paukert, Organ
Work(s): In Praise of Bach
PISTON, HARBISON, ADLER: VIOLA CONCERTOS
Albany Records (TROY558); February 1, 2003
Performer(s): Latvian National Symphony Orchestra, Aleksandrs Vilumanis, conductor, Randolph Kelly, viola
Work(s): Concerto for Viola and Orchestra
VISIONS IN METAPHOR
Albany Records (TROY442); July 31, 2001
Performer(s): John Sampen, saxophone; Marilyn Shrude, piano
Work(s): Pensive Sililoquy
20TH CENTURY HARPSICHORD MUSIC, VOL. I
Gasparo Records (GSCD251); May 10, 2000
Performer(s): Barbara Harbach, harpsichord
Work(s): Sonata for Harpsichord
BY THE RIVERS OF BABYLON
Gloriae Dei Cantores (No. 027); May 1, 1999
Performer(s): Gloriae Dei Cantores; Elizabeth C. Patterson, conductor; James E. Jordan, Jr., organ
Work(s): A Psalm Trilogy
Albany Records (TROY328); April 20, 1999
Performer(s): University of Southern Mississippi Faculty Chamber Ensemble
Second Piano Concerto
THE AMERICAN RECORD
Centaur Records (CRC2204); April 16, 1995
Performer(s): Stephen Robinson, guitar
Work(s): Sonata for Guitar Solo
SAMUEL ADLER: MUSIC FOR VIOLIN
Gasparo Records (GSCD297); May 24, 1994
Performer(s): William Steck, violin
CONTEMPORARY ORGAN MUSIC
Gasparo Records (GSCD277); September 28, 1993
Performer(s): Barbara Harbach, organ
Work(s): Two Meditations
20TH CENTURY HARPSICHORD MUSIC, VOL. III
Gasparo Records (GSCD280); September 11, 1993
Performer(s): Barbara Harbach, harpsichord
Work(s): Bridges to Span Adversity
2018: Bundesverdienstkreuz, 1st class
2009-2010: William Schuman Scholars Chair at the Juilliard School
2008: American Classical Music Hall of Fame
2003: Aaron Copland Award by ASCAP, for Lifetime Achievement in Music (Composition and Teaching)
2001: American Academy of Arts and Letters
2001: Special Citation by the American Foundation of Music Clubs
1999: Akademie der Kuenste in Germany for distinguished service to music
1993: Chilean Academy of Fine Arts
1991: Composer of the Year by the American Guild of Organists
1990: American Academy of Arts and Letters
1989: Eastman School’s Eisenhard Award for Distinguished Teaching
1988-1989: Phi Beta Kappa Scholar
1988-1989: MTNA Award for Composer of the Year
1975-1976: Guggenheim Fellowship
1950-1952: Special Army citation for distinguished service
Charles Ives Award
Lillian Fairchild Award
MacDowell Colony Fellowships
A Bridge to Understanding
A Suite for OrchestraA Little Night and Day Music
for Concert BandAmerican Airs and Dances
for Concert BandAmerican Airs and Dances
for OrchestraArcos Concerto
for Flute, Oboe, Bassoon and String OrchestraArt Creates Artists
A Celebration for OrchestraBeyond the Pale
A Portrait of a Klezmer
for Clarinet and String OrchestraCentennial
A Celebration for Symphony OrchestraConcerto “Shir HaMa’alot”
for Woodwind Quintet and OrchestraDrifting on Wind and Currents
A Poem for OrchestraElegy
for String OrchestraFestival Fanfare and Dance
for Brass Ensemble and TimpaniFive Choral Scherzi
for Mixed Chorus, Viola and GuitarIn Just-spring
An Overture for Symphony OrchestraJona
Der Mann ohne Toleranz (The Man Without Tolerance)
A Cantata for Soprano, Tenor, Baritone, SATB Choir, and OrchestraMan lebt nur einmal (darum tanzen wir)
for Large OrchestraNuptial Scene
for Mezzo-Soprano and Eight InstrumentsPiano Concerto No. 3
for Piano and String OrchestraQuintet
for Piano and String QuartetRogues and Lovers
A Folksong Suite for Chorus and Wind EnsembleSerenade
for Mixed Chorus and BandSerenata Concertante
for Flute, Oboe, Clarinet, Bassoon, Saxophone and Wind EnsembleShadow Dances
A Suite of Dances for OrchestraSymphony No. 1
for Large OrchestraSymphony No. 2
for OrchestraSymphony No. 6
for OrchestraThose Were The Days
Four Nostalgic Songs for Soprano and OrchestraTime in Tempest Everywhere
for Soprano, Oboe and Chamber Orchestra