David Ward-Steinman, a native of Alexandria, Louisiana, was an Adjunct Professor of Music at Indiana University-Bloomington and Distinguished Professor Emeritus (and former Composer-in-Residence) at San Diego State University where he directed the Comprehensive Musicianship Program, New Music Ensembles, and taught composition. He received many national and state awards for his compositions and teaching, including the Bearns Prize from Columbia University; four BMI-SCA awards; first prizes in the Phi Mu Alpha, SAI, and National Federation of Music Clubs composition contests; the Dohnanyi Citation and Outstanding Alumnus of the Year awards from Florida State University; the Outstanding Professor Award from the Trustees of the Calif. State Universities and Colleges; and was a White House reception honoree in 1966. In 1970-72 he was the Ford Foundation composer-in-residence for the Tampa Bay area of Florida, in 1986 composer-in-residence at the Brevard Music Center in North Carolina, and in 1986-87 he was appointed University Research Lecturer at San Diego State University.
Commissions include those from the Chicago Symphony Orchestra, Joffrey Ballet, San Diego Ballet, California Ballet, MTNA, National Association of College Wind & Percussion Instructors, American Harp Society (San Diego chapter), and the San Diego Symphony, which commissioned works for both the 2000-2001 and 2001-2002 seasons that were premiered under the baton of Jung-Ho Pak. Other orchestral works have been performed by the Japan Philharmonic, New Orleans Philharmonic, San Diego Symphony, San Diego Chamber Orchestra, Orchestra USA, Seattle Symphony, City of London Sinfonia, Moravian Philharmonic Orchestra, Brevard Festival Orchestra, The Philadelphia Virtuosi Chamber Orchestra, etc. Gregory Peck and Vincent Price have appeared as Narrator in different performances of Ward-Steinman’s oratorio The Song of Moses.
Ward-Steinman was a featured guest composer and lecturer at over 75 campuses here and abroad, with performances in all the major cities of the USA and over a dozen countries abroad, in every continent except Africa. He is the author of “Toward a Comparative Structural Theory of the Arts” and over fifty published compositions, and co-author of the two-volume “Comparative Anthology of Musical Forms.”
Ward-Steinman held degrees from Florida State University (BM cum laude), the University of Illinois (MM and DMA), and was awarded the Kinley Memorial Fellowship from UI for foreign study. He has also been a post-doctoral Fellow at Princeton, a Fulbright Senior Scholar to Australia and New Zealand, and a composer at IRCAM in Paris. His teachers included his mother Daisy Ward-Steinman, John Boda (FSU), Burill Phillips (UI), Darius Milhaud (Aspen), Milton Babbitt and Aaron Copland (Tanglewood), Nadia Boulanger (Paris), and Edward Kilenyi (Piano, FSU).
Cover Title (Subtitle) Duration Instrumentation Drag Here to Add To List Solo Derry Airs
Rondo for Jazz Piano
140-40108 2:30 Piano Unaccompanied Lullaby for Iluka
For Piano Solo Or Piano and Cello (Ad Lib.)
144-40519 1:45 Piano with Instrument Chamber Ensemble 3 Songs 494-00586 Clarinet with Piano Cinnabar 144-40262 5:40 Viola with Piano Incantation and Dance
For Alto Flute In G and fortified Piano (Or Harpsichord)
144-40557 6:00 Alto Flute with Piano Incantation and Dance
For Native American Flute and fortified Piano Or Chamber Orchestra
144-40520 6:00 Flute with Piano Night Winds 144-40269 17:00 Woodwind Quintet Summer Suite 494-01372 Oboe with Piano Orchestra Elegy for Astronauts
for Full Orchestra or Chamber Ensemble
15810 10:30::00 Version for Orchestra: 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 4 3 1; Timp. 4Perc. Hp. Str. Tape (2 Reel-to-Reel, Cassette)Version for Chamber Orch.: Timp. 4Perc. 2Pno. Cel. Hp. Tape (2 Reel-to-Reel, Cassette) Millennium Fanfare 10103 3:30 3(Picc.) 2 2 2 – 4 3 3 1; 3Perc. Timp. Str. Olympics Overture 15815 6:00 3(Picc.) 2 3(B.Cl.) 2 – 4 2 3 1; 3Perc. Pno. Str. Winging It 15827 13:00 1 1 1 0 – 1 0 0 0; Perc. Str. Orchestra with Soloist(s) Chroma
Concerto for Multiple Keyboards, Percussion and Chamber Orchestra
15804 19:00 1(Picc.) 1 1 1 – 1 0 0 0; Perc. Str. 2 Solo Kbds. (Synthesizer, Pno. ToyPno. Cel.) Cinnabar
Concerto for Viola and Strings, with Percussion and Piano(Celeste)
15805 17:00 Solo Vla.; Perc. Pno/Cel. Str. Fiesta!
(Millennium Dances Finale) for Symphony Orchestra and Solo Percussion
10213 6:00 Solo Perc.; 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 4Perc. Pno.(dbl. Toy Pno.or Cel. ad lib.) Hp. Str. Incantation and Dance
for Native American Flute and Chamber Orchestra
17291 6:00 Solo Native American Flute; 0 1 2(dbl. B.Cl.) 1 – 2 0 0 0; Timp. 2Perc. Hp. Str. (126.96.36.199.1 or multiple str.) Millennium Dances
for Symphony Orchestra and Solo Percussion
10102 18:00 Solo Perc.; 3(dbl. Picc./ Irish Tin Whistle) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 4Perc.(opt. assorted International instr.) Pno.(dbl.Cel./Toy Pno.) Hp. Str. Taj Mahal
(Raga for Symphony Orchestra)
17292 11:00 Solo Alto Sax. (ad lib); 3(Picc.) 2(dbl. E.H.) 2 2 – 4 3 3 1; Timp. 3-4Perc. Clave-Piano Hp. Str. Chorus and Ensemble And in These Times
A Christmas Cantata for Narrator, Soloists, Chorus and Wind Ensemble
15801 55:00 The Song of Moses
for Narrator, STTB Soli, Double SATB Chorus and Orchestra
15820 70:00 3(Picc.) 3(E.H.) 3(B.Cl.) 2 A.Sax. – 5 3 3 1; Timp. 4Perc. Pno.(Cel.) Hp. Str. Wind Ensemble Bishop’s Gambit
for Symphonic Wind Ensemble
23603 8:00 Picc., 2Fl., 2Ob., 3Cl., Eb Alto Cl., B.Cl., Contra-AltoCl. 2Bsn., 2A.Sax., Ten.Sax., Bar.Sax. – 4Hn., 4Tpt., 3Tbn., Euph., Tu., Pno(dbl. Cel.), Hp. Cb.; Timp. 6Perc.
…there can be no doubt that he knows how to write hightly effective music that plays to a listener’s mind and heart.
–Peter Jacobi, Herald-Times (Bloomington, IN)
It was something like finding some singing, celestial music, and then re-wiring it to make the component parts oppose each other to create exciting colors and rhythms and textures.
–Martin, The Tampa Times
Ward-Steinman uses four esoteric keyboards (synthesizer, ‘fortified’ piano, toy piano, and celesta) in addition to a multitude of percussion instruments, to create new – or at least unusual – colors and sounds, which he then develops rhythmically with gre
–Drobatschewsky, The Arizona Republic
…an exploration of the contrasting sonorities of the two instruments in moods varying from introverted meditation to intense aggressiveness.
–Saville, Readers Guide To Classical Music
CONCERTO FOR CELLO AND ORCHESTRA
…most intriguing, with its shimmering, almost extraterrestrial sounds.
–Johnson, The Tacoma News Tribune
The work is surcharged with intensity, and the contrasts are striking.
–Stromberg, Seattle Post-Intelligencer
CONCERTO NO. 2 FOR CHAMBER ORCHESTRA
[1st mvt.] …quick, swirling theme… a breathless, light-textured effect… [2nd mvt.] simple tune, clean lines and soaring trumpet… [3rd mvt.] energetic and syncopated, with many surprises…
–Susan L. Peña, Reading Eagle, PA
Its freshness of invention… made me sorry that I could get to hear it only once; it had throughout a treasurable quality that invited closer acquaintance.
–Saville, San Diego Reader
In this work, the composer shows his characteristic vigor, movement, the strong melodic elements, and the sonorous brass; and his distinctive use of the xylophone, percussion, and flute. The rhythms are coercive, compelling, and powerful.
–Shields, San Diego Magazine
The premiere of David Ward-Steinman’s Concerto No. 2 for Chamber Orchestra was a victory for both the composer and the orchestra, and one in which the audience took enormous delight in sharing … Vehement and convincing in expression and fitted together wi
–Kriegsman, The San Diego Union
David Ward-Steinman’s Concerto No. 2 begins where Bartók’s Concerto for Orchestra ends, with a percolating theme darting around the orchestra.
–Reel, The Arizona Daily Star
…a lyrical work with moments of Prokofiev-like vitality.
ELEGY FOR ASTRONAUTS
…written with poignancy… [following the Challenger explosion]
–Peter Jacobi, Hoosier Times
FRAGMENTS FROM SAPPHO
…one of the great finds of the year.
The setting…ricochets off this text in brilliant fashion…
The compositions were well thought out and attractively presented. The crystal-like combination of instruments and voice created a vivid tone coloring.
–Lois Roberts, La Jolla Journal
These songs illustrated Ward-Steinman’s fine perceptions of instrumental tone colors as they relate to each other and complement, in this instance, the soprano voice quality. And his settings of the texts were natural, graceful and generally integral to b
–Donald Dierk, San Diego Union
PRELUDE AND TOCCATA
The work has subtle as well as informal organization … There is bite to his harmonies as well as distinctive color to his orchestration… The Prelude And Toccata exhibits intelligence and sound craft.
–Gagnard, The Times-Picayune (New Orleans)
THE SONG OF MOSES
No event of the entire year was more impressive … than the world-premiere of the stirring oratorio The Song Of Moses… the year’s ultimate in musical rewards.
–Kriegsman, The San Diego Union
…brilliantly patterned with individual relationships, with little vignettes of private and personal tenderness and hopes and lamentations … its jazzy air, its insistent beat, its restless pace serve the choreographer expertly.
–Terry , World Journal Tribune
The score is composer David Ward-Steinman’s best. It achieves a sustained, at times moving balance between touching lyricism and demonic acerbity.
–Stamon, San Diego
David Ward-Steinman is a latter-day Greek Orpheus, carrying his Muse’s gift of a musical pilgrimage through the world of men and shades.
–Shields, The Valley News
Ward-Steinman’s work has continuity, not randomness. True, some of the harmonies are strange to ears more accustomed to the ‘conventional,’ and tempo changes abound, but the music is deeply expressive.
–Boyce, Sun-News (Las Cruces, NM)
…a jolly, jazzy little work in three movements.
–Dierks, The San Diego Union
WESTERN ORPHEUS AND OTHER WORKS
Fleur de Son (FDS 57996); March 26, 2013
Performer(s): Moravian Philharmonic Orchestra, David Amos, conductor; San Diego New Music Ensemle; California Ballet Company Orchestra, Donald Barra, conductor
Work(s): Elegy for Astronauts
The Tale of Issoumbochi
BOROBUDUR – PRISMS AND REFLECTIONS
Fleur de Son (FDS 57935); March 1, 2011
Performer(s): Arioso Wind Quintet; Karen Elaine, viola, David Ward-Steinman, piano
Work(s): Cinnabar for Piano and Viola
ROREM / WARD-STEINMAN: SONG CYCLES
CRI/New World Records (NWCRL238); August 1, 2010
Performer(s): Phyllis Curtin, soprano; Samuel Baron, flute; David Glazer, clarinet; David Ward-Steinman, piano
Work(s): Fragments from Sappho
Harmonia Mundi (HMU 906011); May 20, 2009
Performer(s): City of London Sinfonia; David Amos, conductor
Work(s): Concerto No. 2 for Chamber Orchestra
MUSIC FOR CELLO AND PIANO
Orion ( MAR3115); March 13, 2007
Performer(s): Edgar Lustgarten, cello; John Williams, piano
HOLIDAY OF THE NEW ERA, VOL. 1
ERM Media (ERM-6806); October 1, 2006
Performer(s): Kiev Philharmonic Orchestra, Robert Ian Winstin, conductor
Work(s): Season’s Greetings
Fleur de Son (FDS 57946); January 23, 2001
Performer(s): Moravian Philharmonic Orchestra, David Amos, conductor, Howard D. Colf, cello, Karen Elaine Bakunin, viola, David Ward-Steinman, piano
Concerto for Cello and Orchestra
1986-1987: University Research Lecturer at San Diego State University
1986: Composer-in-residence at the Brevard Music Center in North Carolina
1970-1972: Ford Foundation composer-in-residence for the Tamp Bay area of Florida
1966: White House reception honoree
Bearns Prize from Columbia University
4 BMI-SCA awards
First prize in the Phi Mu Alpha composition contest
First prize in SAI composition contest
First prize in National Federation of Music Clubs composition contest
Dohnanyi Citation and Outstanding Alumnus of the Year awards from Florida State University
Outstanding Professor Award from the Trustees of the California State Universities and Colleges
Elegy for Astronauts
for Orchestra and TapeMoiré
for Piano and Chamber Ensemble