David Ward-Steinman

  • 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
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    Solo
    140-40108 Derry Airs
    Rondo for Jazz Piano
    140-40108 2:30 Piano Unaccompanied
    144-40519 Lullaby for Iluka
    For Piano Solo Or Piano and Cello (Ad Lib.)
    144-40519 1:45 Piano with Instrument
    Chamber Ensemble
    494-00586 3 Songs 494-00586 Clarinet with Piano
    144-40262 Cinnabar 144-40262 5:40 Viola with Piano
    144-40557 Incantation and Dance
    For Alto Flute In G and fortified Piano (Or Harpsichord)
    144-40557 6:00 Alto Flute with Piano
    144-40520 Incantation and Dance
    For Native American Flute and fortified Piano Or Chamber Orchestra
    144-40520 6:00 Flute with Piano
    144-40269 Night Winds 144-40269 17:00 Woodwind Quintet
    494-01372 Summer Suite 494-01372 Oboe with Piano
    Orchestra
    15810 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)
    10103 Millennium Fanfare 10103 3:30 3(Picc.) 2 2 2 – 4 3 3 1; 3Perc. Timp. Str.
    15815 Olympics Overture 15815 6:00 3(Picc.) 2 3(B.Cl.) 2 – 4 2 3 1; 3Perc. Pno. Str.
    15827 Winging It 15827 13:00 1 1 1 0 – 1 0 0 0; Perc. Str.
    Orchestra with Soloist(s)
    15804 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.)
    15805 Cinnabar
    Concerto for Viola and Strings, with Percussion and Piano(Celeste)
    15805 17:00 Solo Vla.; Perc. Pno/Cel. Str.
    10213 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.
    17291 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. (1.1.1.1.1 or multiple str.)
    10102 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.
    17292 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
    15801 And in These Times
    A Christmas Cantata for Narrator, Soloists, Chorus and Wind Ensemble
    15801 55:00
    15820 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
    23603 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)

    ANTARES
    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

    CHROMA
    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

    CINNABAR
    …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

    DUO
    …a lyrical work with moments of Prokofiev-like vitality.
    –The Instrumentalist

    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…

    –High Fidelity

    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

    THESE THREE
    …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

    WESTERN ORPHEUS
    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

    WINGING IT
    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 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
    Moiré
    The Tale of Issoumbochi
    Western Orpheus
    Borobudur - Prisms and Reflections 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
    Night Winds
    Rorem / Ward-Steinman: Song Cycles 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
    Modern Masters MODERN MASTERS
    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 MUSIC FOR CELLO AND PIANO
    Orion ( MAR3115); March 13, 2007
    Performer(s): Edgar Lustgarten, cello; John Williams, piano
    Work(s): Duo
    Holiday of the New Era, Vol. 1 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
    Three Concertos THREE CONCERTOS
    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
    Work(s): Chroma
    Cinnabar
    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 Tape
    Moiré
    for Piano and Chamber Ensemble

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