Paul Creston: A Bio-Bibliography (Bio-Bibliographies in Music)

PAUL CRESTON

Paul Creston Photograph courtesy of the Creston family.

PAUL CRESTON A Bio-Bibliography Compiled by

Monica J. Slomski

Bio-Bibliographies in Music, Number 55 Donald Hixon, Series Adviser

GREENWOOD PRESS Westport, Connecticut • London

Library of Congress Cataloging-in-Publication Data Slomski, Monica J. Paul Creston : a bio-bibliography / compiled by Monica J. Slomski. p. cm.—(Bio-bibliographies in music, ISSN 0742-6968 ; no. 55) Discography: Includes index. ISBN 0-313-25336-6 (alk. paper) 1. Creston, Paul, 1906- —Bibliography. 2. Creston, Paul, 1906—Discography. I. Title. II. Series. ML134.C73S6 1994 780'.92—dc20 [B] 94^31649 British Library Cataloguing in Publication Data is available. Copyright © 1994 by Monica J. Slomski All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 94-31649 ISBN: 0-313-25336-6 ISSN: 0742-6968 First published in 1994 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. Printed in the United States of America

The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10 9 8 7 6 5 4 3 2 1

Contents Preface

vii

Acknowledgements

ix

Biography

1

Works and Performances

17

Discography

71

Bibliography

81

Appendix I: Alphabetical Listing of Compositions

179

Appendix II: Chronological Listing of Compositions

183

Index

187

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Preface Paul Creston undoubtedly ranks among our foremost American composers. He therefore seems an especially appropriate subject for inclusion in the Bio-Bibliographies in Music series published by Greenwood Press. The present volume consists of four main sections, as follows: (1) a brief biography, prepared with the assistance of Paul Creston; (2) a complete list of works and performances classified by genre and then arranged alphabetically by title of composition. Following each title is a listing of premieres and other selected performances, with references to commentaries from performance reviews cited in the "Bibliography." Each work is preceded by the mnemonic "W" (Wl, W2, etc.) and each performance of that work is identified by successive lowercase letters (Wla, Wlb, Wlc, etc.); (3) a discography of commercially-produced sound recordings. Each recorded work is preceded by the mnemonic "D" (Dl, D2, D3, etc.). Reference is made to commentaries of the recordings cited in the "Bibliography;" and, (4) an annotated bibliography of writings by and about Paul Creston, his style and his music, with annotations often taking the form of quotations extracted from his performance reviews. Each citation is preceded by the mnemonic "B." Entries in the bibliography refer back to the "Works and Performances" and "Discography" sections. In addition appendixes provide alphabetical and chronological listings of Creston's works. A complete index of names (personal, corporate, and geographical) and titles concludes the volume. A number of bibliographical citations, particularly those to newspaper articles, are based on material supplied to Louise Creston by various clipping services. While these notices proved exceedingly valuable in completing bibliographic coverage, occasionally,

viii Paul Creston publication dates of articles are either lacking or illegible, and pagination is rarely indicated. These are rather significant omissions for adequate bibliographic treatment, and attempts have been made to secure omitted detail by a variety of methods, including correspondence. However, there are instances where bibliographic detail remains incomplete. Happily, it was possible to complete most of the entries.

Acknowledgements Many persons and institutions contributed to the preparation of this volume. I should like to extend special thanks to the librarians of Southwestern Connecticut Library Council, Anita Barney, Ann Neary, and Janet Weston. I have the highest respect for their professionalism, willingness, and ability to assist researchers and library users. For providing specialized bibliographical assistance, I should like to extend thanks to: Rae Shepherd-Schlechter of the Louisville Free Public Library, Anne Denny of the Tucson Public Library, Kay Vyhanik of Washington State University Library, Pamela Vance of Gary Public Library, Ms. Mae Morey of Central Washington State University, the Eastman School of Music, University of Rochester, the Dayton and Montgomery County Public Library, the University of Connecticut Interlibrary Loan Department, the Fort Worth Public Library, the Dallas Public Library, Purdue University Library, the University of Massachusetts-Amherst Library, the Cleveland Public Library, the Yale University Interlibrary Loan Department, Harold Samuel of the Yale Music Library for his encouragement and support, the Library of Congress. For providing English translations of foreign-language annotations: Mr. French of the Department of Music of Yale University (translations from Russian). I should also like to extend special thanks to Dr. Marion Peterson of the University of Missouri-Kansas City. Her dedication, professionalism, and guidance has inspired and sustained me throughout this project. For her expertise and assistance, I should like to thank Michele Jacobson of the Bridgeport Public Library who indexed this book. To Linda Soley Reed, who devoted countless hours toward the preparation of this manuscript, grateful thanks and appreciation.

x Paul Creston I should like to extend my special gratitude to Louise Creston for all the invaluable assistance she has given so freely. She was enthusiastic about this project when I visited her in San Diego, California, and she provided me complete access to all of her scrapbooks. She accorded me helpful support and encouragement until her death.

Biography Two Italian immigrants, Gaspare Guttovergi and his wife Carmela Collura, left their small Sicilian village of Prizzi for New York City in 1905. On October 10th of the following year, Mrs. Guttovergi gave birth to a son, who was baptized Giuseppe Guttovergi. Although the spelling of the family name was later changed to Guttoveggio, it was as Paul Creston that Giuseppe rose to prominence. The family lived at several East Side locations; however, they considered their residence on East 17th Street to be their New York home. Its environment typified that of many Italian immigrant families: conservative, unpretentious, industrious, and devoted.1 Gaspare Guttoveggio (1883-1965) was a short, slender, blue-eyed, handsome man of immaculate appearance, a man of strength and self-discipline with an infinite capacity for work. In his efforts to provide well for his family, he did not limit himself to his field of painting and plastering, but also worked as a butcher and a traveling salesman.2 Carmela Collura (1886-1947) took in sewing from time to time when the family needed extra money, but she never told her husband for fear of hurting his fierce pride in being able to support her and the children. She was a beautiful woman with dark eyes and hair, and was tender, understanding and devotedly concerned with the health and happiness of her family.3 Charles Guttoveggio was three years older than his brother Giuseppe (Paul) and had been born in Italy. He resembled Gaspare in facial features, except that his eyes were brown rather than blue.4 In his reflections upon his childhood, Creston acknowledged his parents' influence on his musical development.5 He was introduced to music at an early age, because his parents appreciated music and were aware that their son was musically inclined. When Paul

2 Paul Creston reached the age of four, he learned Sicilian folk songs from his father, Gaspare, as the elder accompanied himself on the guitar. Two years later, a trip to Italy with his mother and brother carried one vivid memory for the youngster - the sound of his uncle Cola's clarinet, as he sat beside him in a circus band. 6 Frequently, as Paul sat at the table waiting to be served, he would pretend he was playing the piano. His parents were finally convinced that his interest was genuine, and they purchased from neighbors a nineteenth-century square piano for $10.00. 7 His formal piano lessons began when he was eight. Of his early instruction he said: The first six years of piano instruction were definitely of mediocre quality. My first piano teacher was one of those rare individuals who taught all instruments

but played

none, and my musical

fare

consisted mainly of operatic overtures, the Waldteufel Waltzes, all the waltzes that were popular at the time, and undying classics like 'Hearts and Flowers' or 'The Maidens Lust.'

8

His teacher taught no technique or interpretation and very little solfeggio. When he wished to hear a new composition, he would ask Paul to play it. 9 Although Paul's older brother, Charles, was given violin lessons, it was the younger boy who diligently practiced his brother's lesson, and who reproduced or improvised on tunes he often heard played on the hurdy-gurdy outside their apartment window. 10 Paul began composing soon after the acquisition of his first piano although he considered his work to be more of a diversion or pastime than a serious pursuit; his childhood compositions were modeled after the music he had heard and played. ] ] He also engaged in literary activity for pleasure, completing his first poem when he was twelve years old. A year later, he began work on a novel, which he felt had an H.G. Wells touch, since it predicted the hidden microphone prior to its use. Entitled "The Brendon Mystery," the book's main character had a persecution complex and was always hearing mysterious voices; the fledgling author completed three chapters and blocked out twenty-five more before he abandoned the project. 12 When Paul entered DeWitt Clinton High School in 1919 and began to mingle with other music students, he developed reservations about his own musical training. He was introduced to the music of Chopin when he heard a high school friend perform the "Military Polonaise" and to live opera performance when his English teacher gave him an extra ticket to Madame Butterfly.^

Paul's subsequent hunger for a deeper understanding of

music led him to employ his extraordinary energy and self discipline toward this end. Since he was too poor to buy scores and attend concerts, he spent many after school hours in the public libraries of New York, reading and studying: thus came his real initiation into music. He learned orchestration by checking out scores of the music to be programmed on the WNYC Masterworks Hour, studying a score and marking it in his own way. Creston stated, "When it was played, I made note of it ... later on, I got to such a point that I could look at one note in a clarinet part and know how much power and brilliance it had." 14

Biography 3 He also participated in the high school play, The Fan. His friends nicknamed him Cress after the character he had portrayed. The nickname stuck, and after he left school, he lengthened the name to Creston, chose Paul as his first name, and adopted Paul Creston as his permanent name. 1 5 At the urging of a high school friend, Paul began studying piano, first with Gaston Dethier for three months, then with Carlo Stea for one year, followed by G. Aldo Randegger with whom he studied for three and one-half years. 16 In 1921, when he was fifteen years old, financial difficulties compelled Paul to go to work and abandon his formal education. His employer was MacFadden Publications (Physical Culture Corporation), where after a month he was promoted to clerkreceptionist. 17 During this time, Paul kept a demanding schedule. After work he practiced until about 11 p.m. and then studied until the early hours of the morning. 18 He was relentless in his determination and self-discipline. He reasoned that, If Edison could get along on four hours of sleep, I thought I could too...But I paid the penalty in trying to keep awake at the rare concert I went to. And when I was working late, I would smoke ground coffee in a pipe to keep awake.

19

According to Creston, he was greatly assisted in his studies during this period by what Rameau called "the invisible guide of the musician," a force which guided him to appropriate material which satisfied his questions. 20 It was this process which lent him courage to challenge accepted beliefs and led him through eclecticism to his own brand of individualism.

His

studies extended

in many

directions -

cryptography,

natural

therapeutics, literature and philosophy including Eastern and occult. In 1923 Creston left MacFadden Publications to work for a short time as a bank clerk for the Foreign Exchange Department of the Irving Bank (Columbia Trust Co.); he then served as an insurance claim examiner for the Metropolitan Life Insurance Company from 1924-26. 21 While he was working at Metropolitan Life, Creston earned a diploma in accident, health, and life insurance through a correspondence course. Nonetheless, Creston's interests lay in the field of music. The next segment in Creston's musical development came about because of a conversation between his father and a fellow parishioner who attended St. Malachy's Church on West 48th Street. Since she was aware of Creston's musical interests, she suggested that perhaps he should study the pipe organ. Further, she offered to arrange for him free practice time on the organ, as well as to introduce Creston to an organist friend, Pietro Yon. Yon was at that time organist at St. Patrick's Cathedral and an honorary organist at the Vatican. Creston found the idea much to his liking and began lessons with Yon in 1925 and continued as his student for about a year and a half.22 Between 1926 and 1929, Creston's musical activities changed directions once again when a fellow organ student of Yon asked him to act as his replacement at the New York Coliseum Theater on 181st Street. He enjoyed being a theater organist and played in

4 Paul Creston several theaters, including the Cassello Theater on 159th Street and the Lynnbrook Theater in Lynnbrook, New York. Creston stated that it was in the theater that he learned to improvise. He said, / learned to cue pictures...The way you did it was they had cue sheets that would describe

the scene and give you one line of music

appropriate for it... You could use that or something similar to it...I just had it there and improvised most of the time...! still composed as a delightful pastime and still wasn't intending to be a composer. 2^ In July of 1927, Creston married Louise Gotto whom he had met at MacFadden Publications. She was employed there as a secretary in order to finance her studies in dance. Born in 1903 in Yonkers, New York, she was the seventh daughter of twelve children in a poor Italian family. Her parents were Joseph Gotto, a construction worker originally from Salerno, and Rosario Filpi. 24 Louise had been studying dance, first with Ruth St. Dennis and Ted Shawn and later with Martha Graham, and was one of the initial members of the Graham Company when they made their New York debut. 25 She remained with the company approximately ten years, and appeared in such performances as he Sacre du Printemps under Stokowski's baton and Appalachian choreographed by Martha Graham.

26

Spring, commissioned by and

Through Louise, Creston was introduced to the art of

dance and gained a concomitant awareness of the importance of rhythm, the individualistic use of which would become a basic feature of his style. Louise was also musically talented. She had studied piano with her husband and his teacher, and had a keen ear. She could recognize, on hearing, any of Creston's works, and in addition, she remembered exactly from her childhood many songs she was taught in elementary school. 27 After their honeymoon in Woodstock, New York, they returned to New York to reside. The stock market crash in 1929, which brought unemployment to so many Americans, made it even more difficult for the traditionally hard-pressed artist. With the advent of sound films in 1927, live music in theaters became obsolete. 28 The Crestons, too, were affected adversely by the depression, and Creston tried selling real estate and insurance. He stated, / tried everything to earn money. Musically, the only way I could earn money was by becoming a member of the Musicians

Emergency

Fund...I was asked to accompany Pauline Pierce, a contralto, and Alii Ronka. We played in different elementary schools. I received $3 for a performance and the singer received $5.

29

Creston also accompanied Alii Ronka in other performances. In addition to his musical activities, Creston's literary interests continued, and between 1926 and 1929 he had several articles published in Dance Magazine: "The Crime Against Music" in December 1929, "The Three S's of Modern Music" in June, 1927, and "Is Dancing Art?" in August, 1927, as well as several articles in Etude Magazine: "Security

Biography 5 in Intermediate Notes: in January, 1928, "Daily Exercises for the Busy Teacher" in April 1928, "Building Scale Techmc" in August, 1929 and "On Interpreting Bach" in September, 1931. He also wrote one unpublished essay: "The Philosophy of Musico-Therapy." 30 His music career took on an added dimension when, in 1932, he decided to become a composer. His first premiere was heard in June, 1933 with the performance of his incidental music to "Iron Flowers" at the Westchester County Center with the composer at the piano; this work, however, has since been omitted from his list of compositions. 31 The next performance of his works was given at the New School of Social Research when his Seven Theses for piano, Four Songs to Death, Suite for Eb Alto Saxophone and Piano, and the first and second movements from the String Quartet were heard. Henry Cowell later said of the Seven Theses that Each piece contains its own distinctive harmonic intervals, and the meters are employed in sequence. Thus, the first is based on triads and octaves in the right hand, and its metrical sequence is 4/4, 5/4, 6/4, 5/4, 4/4, 5/5, 6/6, 5/5, etc. Thesis II uses broken chords in triplets. The pattern, which sometimes does change, closes with the retrograde of a major third followed by a fifth. The metrical scheme is 8/4, 2/2, 7/4, 3/4, 6/4, etc. Thesis III is a study in thirds and fifths with a metrical pattern of 2/4, 3/4, 5/4; Thesis IV has seventh chords lacking the fifth and meters of 4/4, 3/4, 2/4; the fifth piece has fourths in the left hand, thirds and sixths in the right, and meters of 4/4, 3/8, 2/2; the sixth uses parallel chords in first inversion and 2/8, 5/8, 3/8, 4/8 meters; and the last uses secundal chords and a metrical plan of 5/8, 11/16, 6/8, 13/16, etc. The pieces are atonal and dissonant in a virtuosic style and as difficult to listen to as they are to play.,32 Subsequently, Henry Cowell, then editor of New Music Quarterly,

issued the

"Seven Theses" in Volume VIII, Number 2, January, 1935, believing that Creston showed promise as an individualistic and innovative composer. Engraving on the score was begun in November. 33 It was a slim volume containing only eleven pages of music. Another Creston composition from this era is Three Poems from Walt Whitman, a work for cello and piano which was performed on November 20, 1934 by Ana Drittell and the composer. Further performances included Bird of the Wilderness, for high voice and piano and Thanatopsis,

originally Four Songs to Death, dedicated to Alii Ronka; the

former was performed on May 5, 1935 and the latter on December 1, 1935 at Roerich Hall in New York. For a number of years prior to 1934, Creston was a freelance organist, primarily at St. Catherine of Sienna Church in New York; in 1934, he was appointed organist at St. Malachy's Church on West 48th Street, a post he maintained until 1967. 34 However, he continued to perform and compose as opportunities came.

6 Paul Creston Creston was a participant in the Composers Forum Laboratory Series. The CFL orginated in the New York City Project in October, 1935 as part of the Music Education Division of the Federal Music Project. Although the Forum did not provide funding for new compositions, it gave composers an opportunity for public performance and discussion of their music. 35 In addition to his participation in the CFL series, he gained an active interest in music for dance. His Five Dances for Piano, written in collaboration with his wife, was performed in New York in 1935. Creston also wrote music for other dancers in the Graham Company, including Sylvia Manslow, Lils M. Tashamira, and Don Oscar Becque. 3 6 In 1936, Creston toured various cities of the Central and Southwestern United States with Cecil Leeson, a saxophone virtuoso from North Dakota in a Cadillac driven by a chauffeur. The tour was arranged by Leeson's manager Arthur Furnald; however, an Interlochen stop was added because of the performer's interest in the music education of young people. 37 The repertoire consisted almost entirely of transcriptions except for Creston's Suite for Saxophone and Piano,38 During that year, Creston also participated in the Yaddo Festivals of American music in Saratoga Springs, New York. These eleven festivals, a series organized for the purpose of improving the economic and artistic status of the American composer, were held in 1932 and 1933, followed by nine festivals scheduled over the next two decades. 39 Works which were selected for performance at the festivals were chosen from scores submitted by composers and read in open rehearsals during the several weeks preceding the concerts. 40 In 1936 and 1938 respectively, Creston's Partita for flute, violin and strings, Op. 12, and Two Choric Dances, Op. 17 were performed at Yaddo. Concerning the latter, Rudy Shackelford stated that: The strongest pieces to emerge in 1938 were 'Eight Epitaphs" for baritone by Theodore Chanler, "Two Choric Dances" by Paul Creston, Ross Lee Finney's "Sonata for Viola and Piano," and William Schuman's "String Quartet No. 2". 4 1 Creston's works were also premiered at Town Hall recitals during 1936 and 1937, with the composer performing. He accompanied Cecil Leeson in his Town Hall debut on February 6, 1937. In a Town Hall recital on November 27, 1937, the composer accompanied Julius Shaier, violist, in a program which featured the "Suite for Viola and Piano" by Creston, and was reviewed in The New York Times. Julius Shaier, a talented young viola player born and educated in this city, gave a successful first recital last night in Town Hall... The Creston suite proved to be an attractive creation with a particularly ingratiating "Air" as its third movement. Save for a slip on the soloist's part near the beginning the work was delightfully performed. Mr. Creston, who provided the piano support during the evening, proved himself to be exceptionally gifted as an ensemble player. The audience was large and responsive. 4 2

Biography 7 Pauline Pierce additionally premiered the Three Sonnets for voice and piano, Op. 10, on November 10, 1937 in Town Hall, New York City. In 1938, Creston was awarded a Guggenheim Fellowship, which was renewable the following year. Although at that time a Guggenheim Fellow received $2,000 and was expected to do his or her work abroad, the composer chose to remain in New York to await the birth of his first child, Joel Anthony, who was born on Thanksgiving Day. Nonetheless, this award and subsequent honors over the next few years served to bring Creston into national prominence. For example, his first orchestral work, Threnody, was performed by Fritz Reiner and the Pittsburgh Symphony on December 2, 1938. The work later received its New York premiere by Eugene Goossens and the Philharmonic Symphony Orchestra in 1941. For this first Stadium novelty, a work by a New Yorker was an appropriate choice. Mr. Creston's "Threnody" was not designated as a local premiere, but, so far as we know, had not been heard here before in concert. It was first played in December, by the Pittsburgh Symphony under Fritz Reiner, and introduced to Cincinnati by Mr. Goossens last January. The title needs no explanation, expressive

character

of music

emotional and dignified.

which

The principal

and indicates the general succeeds

in being

both

theme has profile, and is

dealt with skillfully; the work as a whole gives an impression of command of form. There is nothing in its harmonies which should irk a conservative-minded

listener, although the composer does not deny

the present; the style is homogeneous, and such influences as it may possess are not obvious. Concerted strings dominate in the scoring, apart from

certain episodes,

and sometimes

there is

overmuch

uniformity of color. At the same time, the orchestration tells of the composer's ability in this field. There was much applause, and Mr. Creston was called upon for acknowledgement.

43

A full orchestral version of Two Choric Dances, Op. 17A, was performed by the Cleveland Federal Orchestra with Arthur Shepherd conducting on February 20, 1939, since at the time the work was premiered in a chamber orchestra version at the Yaddo Festival in 1938, Quincy Porter and Richard Donovan had suggested that it would get more performances if it were scored for full orchestra, and when critic Harold Taubman had reviewed the performance, he, too, had agreed that it called for a larger orchestra. 44 Creston performed in a Town Hall recital with violinist Rachmael Weinstock on October 18 of 1939 in which Creston's "Suite" for violin and piano was premiered. Rachmael Weinstock ... gave a recital last night at Town Hall. He played the Brahms D Minor Sonata, the Mozart A Major

Concerto,

the Bach solo sonata in G Minor, a Polonaise of Wieniawski, and the

8 Paul Creston first performance

of a "Suite" by Paul Creston, the pianist of the

evening. Mr. Creston's unpoised performance of the Brahms sonata and particularly his curiously wooden accompaniment of the Mozart did not whet anticipation of his own music. However, it turned out that he is a far better composer than pianist. The "Prelude" of the suite may be traced to Hindemith

both, in its muscularity

and in its

disdain of the sensuous ear. It was received in silence. Not so the "Air," a contemplative

tune over a simple accompaniment

nor the

final "Rondo, which fuses energy and good nature with neat craft.

45

In 1940, Creston accepted a teaching appointment at the Cummington School of the Arts in Massachusetts, and taught piano and composition during the summer session. After this appointment, Creston began to accept private students in both specialties. The same year also brought Creston several first performances: the Sonata for saxophone and piano, Op. 20, and the Concertino for marimba and orchestra, Op. 21, first performed by Ruth Stuber and the Orchestrette Classique with Frederique Petrides conducting on April 29, 1940. Stuber became associated with the conductor when she came to New York to study with George Hamilton Green. 46 Together they requested that Paul Creston compose a piece for marimba. The result, "Concertino" for marimba and orchestra, was included on a concert of the Orchestrette Classique at Carnegie Hall on April 29, 1940. Louis Biancolli of the New York World Telegram was one of several critics who reviewed the premiere: Under cover of night, the soft-toned marimba slipped quietly into classic port yesterday at the Carnegie Chamber Music Hall... Mr. Creston has known how to keep a small orchestra supporting the marimba's timbre. The concertino is well made. Simplicity itself, it goes its lush, purling way in one or two veins, chiefly Ravel and Mr. Creston's mildly modernistic self. The second movement grazed suavely through Ravel's pour

une Infante

Defunte,

probably

unintentionally.

movement is all Creston. The concertino has real sensuous Of course,

with the marimba

one always feels

Pavanne The last appeal.

that given the

marimbist, it plays itself. In other words, everything that comes from it sounds right.

47

This was one of Creston's earliest associations with "the neglected instruments" and he continued to contribute to the original literature of these instruments over the next decades. His first symphony, Op. 20, completed in 1940, was premiered the following year on February 22, 1941 by the NYA Symphony Orchestra with Fritz Mahler conducting. It was this work which won him the New York Music Critics Circle Award for the 1942-43

Biography 9 season, an annual award given to the year's best American orchestral composition. The other works considered were: Roy Harris' Fifth Symphony,

Aaron Copland's

Lincoln

Portrait, William Schuman's Prayer 1943, and Morton Gould's Spirituals for string choir and orchestra. Olin Downes of the New York Times wrote: Mr. Creston's composition gave us much satisfaction by its clear-cut, straightforward and

musical thinking, its balance of lyrical,

contrapuntal

soundworthiness

elements;

the

of the instrumentation;

general

rhythmic

skillfulness

and

the contrast and balance,

within the unity of the framework of the different movements, and the style which did not ride to death some technical theory, form or formula; a score which reflected though in no greatly individual or epochal pretense,

manner

the composer's

apology

interesting symphony.

or

intention

braggadocio,

a

to provide soundly

without a

wrought

and

48

In the New York Herald Tribune, Virgil Thomson observed: It is a work of gusto and buoyancy. His musical facility and technical command are more like what we import from Europe than like what we currently grow here. The piece is full of notes, and they all sound. It is full of tunes and they are all good. Such effective abundance is rare and welcome.

musical

49

The same year his Prelude and Dance for orchestra was premiered by the Columbia Concert Orchestra on July 27, with Harold Barlow conducting. Creston was awarded the 1941 Citation of Merit as the outstanding American composer of serious music from the National Association of American Composers and Conductors, and a $1,000 grant from the American Academy of Arts and Letters for creative work. In 1942, also, Creston's second son, Timothy, was born. Creston's continuing interest in young musicians led to his composing several works for them. In 1942, he was commissioned to write a work for the High School of Music and Art. The result was his Fantasy for piano and orchestra first performed by the orchestra of the High School of Music and Art with Richter conducting on February 14, 1943. He spent thirty-nine weeks of the same year composing and conducting the music for the Storyland Theater, a series of fifteen-minute radio dramas for children. Each story was set in a different country and each had a particular moral. 50 Collaborating with Jules Werner, Creston supplied the score for forty-two programs. 51 The first fifteen were recorded by Sonora Recording Company. But his works were not restricted to those for children. He also wrote the musical scores for the dramatic portions of the Philco Hall of Fame over the Blue Network in I944 52 fj u r i n g the same year, Creston was writing for the radio program Creeps by Night, heard on ABC. He composed the music for three segments of the series, on May 16, May

10 Paul Creston 23 and June 6, and was subsequently offered a long term contract with ABC, which he declined. 53 Symphony

No. 2 was completed in 1944 and premiered by the New York

Philharmonic Orchestra with Arthur Rodzinski conducting on February 15 of the following year. This work was his most successful up to that date, and Theodore Bloomfield said that: It has proven to be one of the most successful and popular

symphonies

to emerge from

the pen of an

universally American

composer. Like the First of Samuel Barber, the Second of Walter Piston, and the Third of William Schuman, it has won a secure place in the repertoire of our major orchestras. Its continued appeal is due not merely to the brilliance of Creston's orchestral writing or to the 'singability' of his themes, but perhaps

to the effectiveness

with

which these elements are fused into a whole that is both concise and understandable.

54

Creston was cited for this work by the National Federation of Music Clubs in 1947; he also received the Alice M. Ditson Award for his Poem for harp and orchestra and the following year, received one from the Music Library Association for his Two Choric Dances. Despite his composing commitments, however, Creston continued to perform. Between 1944 and 1950, he conducted a quartet on the WJZ Hour of Faith Program each Sunday morning. 55 Rhythm had been a continued subject of research and study for the composer ever since he had begun teaching composition, and by 1945, he wished to establish a terminology for rhythmic structures which he had observed both in his own music and in the music of other composers. Six Preludes for piano, Op. 38, written in 1945, was a set of rhythmic studies which anticipated the publication of two later books on the subject, R of Rhythm published in 1964 and Rational Metric Notation published in 1978. During this time, Creston also set down in an unpublished work, Creative Harmony, his innovative ideas about that aspect of music. 56 During the summer of 1948, on the basis of a recommendation by Roy Harris, Creston was invited to teach composition at the University of Southern California. 57 In addition, Creston was honored by the American music journal, Musical Quarterly, in a feature article about his life and work based on data gathered by Henry Cowell. Other articles followed, such as those by Madeline Goss, Verne Arvey, David Ewen, Quaintance Eaton, Howard Mitchell, Arthur Cohn, Zenia Cleigh, and Walter Simmons, who wrote the entry about Creston in The New Grove Dictionary of Music and Musicians as well as an article in Ovation Magazine in 1981. The 1950s saw the premiere of over thirty of Creston's works. These include some of his most well known and widely performed orchestral works: Walt Whitman,

Invocation

and Dance, Dance Overture, Prelude and Dance for band and his Symphonies 3, 4 and 5, several choral works, and compositions for the "neglected instruments."

Biography 11 In 1952, Creston's First Symphony won first place at the Referendum Concert in Paris, in a four-nation competition. The three other countries were represented by Ildebrando Pizzetti from Italy, Ralph Vaughan-Williams from England, and Hilding Rosenberg from Sweden. 58 Since he acted as a guest conductor as well as a performer, he limited his musical appearances to concerts of his own music. In 1950, he conducted a performance of his Two Motets for TTBB and organ for ABC radio, he conducted the premiere of his Celebration Overture, Op. 61, with the University of Michigan Band in Elkhart, Indiana on February 19, 1955; he also conducted the premiere of Prelude and Dance for band on August 22, 1959 in Tallahassee, Florida. He performed with Raya Garbusova in the premiere of his Suite for violoncello and piano on October 20, 1956 at the Library of Congress. Creston was also in demand as an adjudicator, by groups such as the Ladies' Auxiliary, Merriweather Post Contest, National Federation of Music Clubs, and Doctors Orchestra. 59 Despite Creston's commitment to composing, he set aside time for giving piano lessons with his sons, Joel and Tim, since they loved and appreciated music. In addition, Tim also studied the violin. 60 In 1956, Creston was the recipient of a Citation of Honor from the National Catholic Music Educators Association. He was teaching composition at Swarthmore College, a coeducational liberal arts college in Swarthmore, Pennsylvania, about eleven miles southwest of Philadelphia at this time, where he had as a student, Peter Schickele. By the late 1950s, in an orchestral survey prepared by Robert Sabin, which demonstrated the number of compositions by American composers performed by the thirty-three leading American symphony orchestras, Creston and Copland shared first place in regard to the number of compositions and the number of performances of their works. 61 Further, in an article in The New York Times on October 25, 1959, entitled "Amity is Voiced by Shostakovich," that composer was asked which modern American composers were most admired in his country. He said that "Russians play the works of George Gershwin, Samuel Barber, Roy Harris, and Paul Creston." 62 Creston worked largely from commissions at this time. In a Creston interview broadcast over WNYC in New York, on December 9, 1959, the composer stated that he had enough commissions to keep him busy through 1965. 63 Howard Mitchell evaluated the composer' s works in 1956 when he said: If a composer's message is to be considered great by people of other countries, the music must be of such significance in its glorification of the composer's

own country that it speaks above and beyond

national boundaries in a universal message that people can understand. This hallmark of greatness characterizes music.

64

everywhere Creston's

12 Paul Creston From 1956-60, Creston served as president of the National Association of American Composers and Conductors. In addition, in 1959, he was asked to compose music for the ABC Television documentary, "Twentieth Century" with Walter Cronkite as narrator, and that year wrote the music for "Mussolini," "The Frozen War," "The Russo-Finnish War," and "Suicide Run to Murmansk." He continued writing for the series in the early 1960s, completing "The Doolittle Raid" and "Bastogne" in 1960, "The Battle of Cassino" in 1961, "Invasion of Sicily" in 1963, and "Revolt in Hungary," "Riot in East Berlin," "Typhoon in Okinawa," and "The Great Weather Mystery," in the next few years. 65 Creston received the Christopher Award for his score to "Revolt in Hungary." For CBS, Creston wrote the score for "In the American Grain," the documentary about William Carlos Williams, and "Strangle-Airpower." "In the American Grain" was distinguished with an Emmy Award. 66 In March, 1960, Creston received a State Department grant as an American specialist which took him to Israel and Turkey. The composer spent one week in Israel where he delivered lectures on American music, in addition to hearing performances of his own music. An American guest conductor there, Thomas Sheridan, performed Creston's Second Symphony with the Israel Philharmonic in Tel Aviv. Creston spent about a month in Turkey, traveling to several cities, among them Ankora, Ismir, Istanbul, and Barahasiv, where he again delivered lectures and attended concerts. 67 Between 1960 and 1980, he was invited to be guest composer at many American universities and colleges, appearing twice at the University of Delaware and the University of Minnesota, and once at the University of East Carolina, University of California at Los Angeles, De Pauw University, New York University, Baldwin Wallace College of Music, Del Mar College, University of Colorado, University of Southern Florida, University of Bridgeport,

and the University

of Illinois. 68 He continued to receive

numerous

commissions and these years again saw the premiere of many new works. In 1964, Creston accepted a teaching position at the New York College of Music, located at 114th and 85th Streets between Park and Lexington Avenues. At the time, it was the oldest music school in New York City, having been charted in 1878 and founded by Herman Alexander. 69 Creston remained there until 1968. From 1960-68, he also served on the board of directors of the American Society of Composers, Authors and Publishers. 70 In 1967, Creston was invited to join the faculty at Central Washington State College as distinguished visiting professor of music. Subsequently, he joined the faculty as composer in residence and professor of music, and remained until he retired in 1975. Then he and his wife moved to Rancho Bernardo on the outskirts of San Diego. In the spring of 1980, Creston's Piano Trio, Op. 112, was introduced by the Mirecourt Trio at Grinnell College as part of a Creston festival. Public television taped the event for a documentary on the composer, which was broadcast on television stations across the country. 71 On March 4, 1981, the United States Army Band premiered his Festive Overture, which was commissioned for this fiftieth anniversary of the American Bandmasters Association. 72 Lawrence University in Wisconsin hosted a Creston festival

Biography 13 in 1981, which resulted in a digital recording of five works for symphonic band on the Golden Crest label.73 In 1981 also, his work Sadhana for violoncello and orchestra was premiered. This work was commissioned by the Los Angeles Chamber Orchestra and was inspired by a book, The Realization of Life, by Rabindranath Tagore.74 When Gerard Schwarz and the Y Chamber Symphony premiered this work in 1981, Edward Rothstein wrote in The New York Times that although its "ripe Romantic gestures could have been penned 40 years ago, it was so original in voice, well wrought and compellingly sincere, that for a few brief moments, music history seemed undone."75 In 1982, Creston's Symphony No. 6 received its premiere at the Kennedy Center in Washington, D.C. He also wrote a Suite for String Orchestra which was recorded by David Amos and the Israel Philharmonic. More recently, Creston delivered a keynote address at the 1983 Convention of the National Federation of Music Clubs where a new work, Prelude and Dance for two pianos, was also premiered. Creston became ill late in 1984 and underwent surgery for the removal of a malignant tumor. Several months later, he was moved to the National Health Care Home in Poway, California where he died on August 24, 1985. At the time of his passing, Ann and Sebastian Caratelli wrote, We have lost a friend. The music world has lost a great artist. But history has gained an illustrious name and has enshrined it in its pantheon. 7 6

14 Paul Creston NOTES

1 Paul Creston, personal interview, San Diego, California, August 5-8, 1982. 2

Ibid.

3

Ibid.

4

Ibid.

5

Ibid.

6

Ibid.

7

Ibid.

8 David Ewen, American Composers Today. (New York: H.W. Wilson, 1949), p. 74. 9 Paul Creston, personal interview. ^ M a d e l i n e Goss, Modern Music Makers. (New York: E.P. Dutton, 1952), p. 372. 1 1 Paul Creston, personal interview. 12

Ibid.

13

Ibid.

14 Ibid. 15

Goss, p. 372.

1" Paul Creston, personal interview. 17

Ibid.

18

Goss, p. 372.

19 Ibid. 2

^ Walter Simmons, "Paul Creston: A Genial Maverick." Ovation Magazine,

October, 1981, p. 29. 2

^ Paul Creston, personal interview.

22

Ibid.

23

Ibid.

24

Ibid.

25

Ibid.

26

Ibid.

27

Ibid.

28

Barbara Zuck, A History of Musical Americanism. (Ann Arbor: UMI Research

Press, 1980), p. 28.

Biography 15 29

Paul Creston, personal interview.

30

Ibid.

3

* Henry Cowell, "Paul Creston." Musical Quarterly (October, 1948): 533.

32

Rita, H. Mead, Henry Cowell's New Music: 1925-1936: The Society, The Music,

Editions and The Recordings (Ann Arbor: UMI Research Press, 1981), p. 331. 33

Ibid.

34

Paul Creston, personal interview.

35

Zuck, p. 169.

3

" P a u l Creston, personal interview.

37

Ibid.

38

Ibid.

39

Rudy Shackelford, "The Yaddo Festival of American Music, 1932-52,"

Perspectives of New Music 17 (1978): 92. 40

Ibid., p. 106.

41

Ibid., p. 110.

42

Clipping files, Paul Creston, Music Research Division, New York Public Library.

43

Ibid.

44

Paul Creston, personal interview.

45

New York Times, October 19, 1939, p. 26.

4

6 Shirley Hixson, "An Interview with Ruth Stuber Jeanne," Percussive Notes 14

(November, 1975): 22. 47

Louis Biancolli, New York World Telegram, April 30, 1940, p. 20.

48

New York Times, June 13, 1943, p. 5.

49

A ^ w York Herald Tribune, February 23, 1941, Sec. II, p. 29.

50 Paul Creston, personal interview. 51

Ibid.

52

Ibid.

53

Ibid.

4

^ Theodore Bloomfield, Program notes, Portland Symphony, January 12, 1959. 55 Paul Creston, personal interview. 56

Ibid.

57

Ibid.

58

Ibid.

16 Paul Creston 59

Ibid.

60

Ibid.

61 Howard Mitchell, "The Hallmark of Greatness," Musical Courier 154 (November 15, 1956): 10. " 2 "Amity is Voiced by Shostakovich," New York Times, October 25, 1959. 6 3 Interview with Paul Creston broadcast on WNYC, New York, December 9, 1959. Rodgers and Hammerstein Sound Archive, New York Public Library. " 4 Howard Mitchell, "The Hallmark of Greatness," Musical Courier 154 (November 15, 1956): 10. 65 Paul Creston, personal interview. 66

Ibid.

67

Ibid.

68

Ibid.

69

New York College of Music Catalogs, 1964-1968.

7

0 p a u l Creston, personal interview.

71

Ibid.

72

Simmons, p. 31.

73

Ibid.

74

Paul Creston, personal interview.

7

5 Edward Rothstein, "Music: Y Chamber Symphony Gives Twist to the Past." New

York Times, October 20, 1981, p. Cl 1. 7

6 Program notes from Memorial Service, San Diego, California, September, 1986.

Works and Performances I.

CONCERT BAND Wl.

Anatolia, Op. 93 (1967; Shawnee Press; 8 min.) Turkish rhapsody of Turkish folk songs and dances for band. Commissioned by Eastern Illinois University.

Wla.

Premiere 1968 (April 28): Charleston, Illinois; Eastern Illinois University; Eastern Illinois University Band; Paul Creston, conductor.

Wlb.

Other Selected Performances 1968 (July 11): Central Park, New York City; Guggenheim Memorial Concerts; Goldman Band; Richard Franko Goldman, conductor.

Wlc.

1969 (June 13): Urbana, Illinois; University of Illinois Concert Band; Mark Hindsley, conductor.

Wld.

1971 (March 12): Huntsville, Texas; Sam Houston State University Band; Paul Creston, conductor.

Wle.

1974 (February 27): Ellensburg, Washington; Central Washington State College; A. Bert Christianson, conductor.

Wlf.

1976 (February 10): Ithaca, New York; Ithaca College Symphonic Band; Ithaca College Festival of Contemporary Music; Paul Creston, conductor.

Wig.

Interlochen, Michigan; National Music Camp; High School Symphonic Band; George C. Wilson, conductor.

W2.

Celebration Overture, Op. 61 (1954; Shawnee Press; 7 1/2 min.) For symphonic band; Commissioned by Goldman for the American Bandmasters Convention, February 19, 1955.

18 Paul Creston

W2a.

Premiere 1955 (February 9): Elkhart, Indiana; University of Michigan Band; Paul Creston, conductor.

W2b.

Other Selected Performances 1955 (March 27): Texas; University of Texas; Southwestern Symposium of Contemporary American Music; University Symphonic Band.

W2c.

1957: Milwaukee, Wisconsin; University of Wisconsin Band, Raymond Dvorak, conductor.

W2d.

1962 (December 12): Tampa, Florida; University of South Florida; University of South Florida Band; Gale L. Sperry, conductor.

W2e.

1963 (April 21): Newark, Delaware; University of Delaware, Contemporary Music Festival; Paul Creston, conductor.

W2f.

1964 (February 19): Knoxville, Tennessee; University of Tennessee Concert Band; Knoxville Civic Auditorium, David Van Vactor, conductor.

W2g.

1964 (April 3): Great Neck, New York; Contemporary Composers Concert; Great Neck High School Band; Bruce Thompson, conductor.

W2h.

1966 (March 4): Berea, Ohio; Contemporary Music Festival; BaldwinWallace College Symphonic Band; Paul Creston, conductor.

W2i.

1966 (April 1): Decorah, Iowa; Luther College Concert Band; Weston H. Noble, conductor.

W2j.

1967 (November 30): Ellensburg, Washington; Central Washington State College; Paul Creston, guest conductor.

W2k.

1968 (July 11): New York City, Guggenheim Memorial Concerts; Goldman Band; Richard F. Goldman, conductor.

W21.

1972 (April 25): Emporia, Kansas; Kansas State Teachers College; Project College Ensembles; Festival of Twentieth Century Music; Paul Creston, conductor.

W2m.

1973 (July 25): Washington, D.C.; United States Marine Band, Capitol steps; Capt. William Rusinak, conductor.

W2n.

1974 (November 8): Ft. Worth, Texas; Texas Wesleyan College; Texas Wesleyan College Wind Ensemble; Stephen Ehrich, conductor.

W2o.

1975 (March 2): Bridgeport, Connecticut; University of Bridgeport Symphonic Band; Contemporary Composers Festival; Robert Myers, conductor.

W2p.

1977 (November 10): Berea, Ohio; Walt Whitman College; Walt Whitman College Symphonic Band; Paul Creston, conductor.

W2q.

1977 (November 19): Boston, Massachusetts: New England Conservatory of Music; Massachusetts Youth Wind Ensemble; Carl J. Atkins, conductor.

W2r.

1978 (Fall Tour): Ft. Worth, Texas; Texas Wesleyan College Wind Ensemble; Stephen Ehrich, conductor.

Works and Performances 19 W3.

W3a. W4.

Festive Overture, Op. 116 (1980; Shawnee Press; 9 min.) Commissioned by the American Bandmasters Association for their 50th anniversary. Premiere 1981 (March 4): Washington, D.C.; United States Army Band; American Bandmasters Association Convention; Lt. Col. Gilbert Mitchell, conductor. Jubilee, Op. 102 (1971; Music Graphics Press; 12 min.) Commissioned by the United States Army Band.

W4a.

Premiere 1972 (January 24): Washington, D.C.; Kennedy Performing Arts Center; Col. Samuel R. Loboda, conductor.

W4b.

Other Selected Performances 1974 (May 16): Ellensburg, Washington; Chamber Band; Washington State College; A. Bert Christianson, conductor.

Central

W4c.

Long Island, New York: Thomas Jefferson High School Band; Robert Scharzenbach, conductor.

W5.

Kalevala, Op. 95 (1968; G. Schirmer; 10 min.) Commissioned by the Ohio Music Education Association. Fantasy on Finnish folk songs.

W5a.

Premiere 1969 (February 7): Columbus, Ohio; Jackson Memorial Symphonic Band; Paul Creston, conductor at O.M.E.A. Convention.

W5b.

Other Selected Performances 1975 (March 2): Bridgeport, Connecticut; Contemporary Festival; University of Bridgeport; Robert Myers, conductor.

Composers

W5c.

1977 (November 10): Berea, Ohio; Walt Whitman College Symphonic Band; Paul Creston, conductor.

W6.

Legend, Op. 31 (1942; Leeds Music Corp.; 7 min.)

W6a.

1942 (July 16): New York City; Goldman Band; Richard Franko Goldman, conductor.

W6b.

Other Selected Performances 1949 (February 27): Omaha, Nebraska; University of Nebraska ROTC Symphonic Band; Donald Lentz, conductor.

W6c.

1951 (May 23): Miami, Florida: Miami Edison High School Band; J. Howard Reynolds, conductor.

W6d.

1957 (July): Cincinnati, Ohio; Summer Symphonic Band; Ernest N. Glover, conductor.

W6e.

1959: Tallahassee, Florida; National Intercollegiate Band; Paul Creston, conductor.

W6f.

1964 (August 3): Lake Placid, New York; Royal Canadian Mounted Police Band from Ottawa, Canada; E.J. Lydall, conductor.

W6g.

1965 (July 9): Central Park; New York City; Guggenheim Memorial Concerts; Goldman Band; Richard Franko Goldman, conductor.

20 Paul Cersttn W6h.

1966 (March 4): Berea, Ohio; Baldwin-Wallace College; Baldwin-Wallace College Symphonic Band; Kenneth Snapp, conductor.

W6i.

1967 (February 28): Kalamazoo, Michigan; Western Michigan University Band; Paul Creston, conductor.

W6j.

1967 (November 30): Ellensburg, Washington; Central Washington State College; A. Bert Christianson, conductor.

W6k.

1968 (July 11): Central Park, New York; Guggenheim Memorial Concerts; Goldman Band; R.F. Goldman, conductor.

W61.

1976 (February 10): Ithaca, New York; Festival of Contemporary Music; Ithaca College Band; Paul Creston, conductor.

W7.

Liberty Song, Op. 107 (1975; G. Schirmer; 8 min.) Commissioned by Ithaca College for the Walter Beeler Series.

W7a. W8.

Premiere 1976 (February 9): Ithaca, New York; Ithaca College; Ithaca College Band; Paul Creston, conductor. Prelude And Dance, Op. 76 (1959; Franco Colombo; 7 min.) Commissioned by Kappa Kappa Psi and Tau Beta Sigma.

W8a.

Premiere 1959 (August 22): Tallahassee, Florida, National Intercollegiate Band; Paul Creston, conductor.

W8b.

Other Selected Performances 1962 (April 28): Syracuse, New York; Syracuse University; Syracuse University Symphonic Band; Festival of the Arts; Paul Creston, conductor.

W8c.

1963 (May 16): Miami, Florida; University of Miami; University of Miami Symphonic Band; Fred McCall, conductor.

W8d.

1966 (March 30): Ann Arbor, Michigan; University of Michigan Symphonic Band; William D. Revelli, conductor.

W8e.

1966 (April 14): Greencastle, Indiana; De Pauw University; De Pauw University Concert Band; Paul Creston, conductor.

W8f.

1966 (May 4): New York City; Philharmonic Hall, Lincoln Center; University of Michigan Symphonic Band; William Revelli, conductor.

W8g.

1967 (February 28): Kalamazoo, Michigan; Western Michigan University; Western Michigan University Band; Paul Creston, conductor.

W8h.

1968 (July 11): Central Park, New York City; Guggenheim Memorial Concerts; Goldman Band; R.F. Goldman, conductor.

W8i.

1969 (July 16): Portland, Oregon; University of Oregon Band; Ira D. Lee, conductor.

W8j.

1972 (March 11): Denton, Texas; North Texas State University; North Texas State University Band in a program for MENC; Maurice McAdow, conductor.

Works and Performances 21

II.

W8k.

1972 (March 16): Vancouver, Washington; Thomas Jefferson High School Band; All State MENC Performance; Roland Schanzenbach, conductor.

W81.

1977 (October 18, 20): Terre Haute, Indiana; Tilson Hall, Indiana State University; Indiana State University Wind Ensemble; Paul Creston, conductor.

W9.

Zanoni, Op. 40 (1946; G. Schirmer; 7 min.)

W9a.

Selected Performances 1958 (March 30): Lowell, Massachusetts; New England Intercollegiate Band; Lowell Memorial Auditorium; Paul Creston, conductor.

W9b.

1963 (April 21): Newark, Delaware; University of Delaware; University of Delaware Symphonic Band; Paul Creston, conductor.

W10.

Ave Maria, Op. 57: For High Voice and Piano (1953; Franco Colombo, 3 min.)

SONGS Wll.

Bird of the Wilderness, Op. 2: For High Voice and Piano (1933; G. Schirmer; 3 min.) Also for medium voice and piano in album of songs published by G. Schirmer. Text by Rabindranath Tagore.

Wlla.

Premiere 1935 (February 2): New York City: Town Hall; Alii Ronka, soprano; Paul Creston, piano.

Wllb.

Other Selected Performances 1935 (May 5): New York City; Roerich Hall; Alii Ronka, soprano; Miriam Le Mon, piano; presented by the Finnish Roerich Association.

Wile.

1937 (January 12): New York City; Barbizon Hotel; Milo Miloradovich, soprano.

Wild.

1953 (April 6): Hartford, Connecticut; Hartt School of Music; Institute of Contemporary American Music Series; John Ferrante; Elizabeth Warner, piano.

Wile.

1969 (November 16): Tacoma, Washington; Persis Reynolds Shook, soprano; Calvin Knapp, piano; Pacific Lutheran University; Mu Phi Epsilon Concert.

Wllf.

1972 (May 28): Ellensburg, Washington; Central Washington State College; Kristy Adolphsen, soprano, Paul Creston, piano.

Wllg.

1974 (April 14): Ellensburg, Washington; Central Washington College; Eileen Hatte, mezzo-soprano; Sylvia Taylor, piano.

Wllh.

1974 (May 24): Ellensburg, Washington; Central Washington State College; De Anna Turner, soprano; Ternie Zamzow, piano.

Wlli.

1974 (November 17): Ellensburg, Washington; Central Washington State College; Adele Blankenship, soprano; Paul Creston, piano, in program of songs by Paul Creston.

State

22 Paul Cerston Wllj.

1981 (May 7): Appleton, Wisconsin; Lawrence University; Mari Taniguchi, soprano; Steve Edmund, piano. Four Songs to Death

W12.

LM Lettre, For High Voice and Piano, Op. 59 11954, Music Graphics Press; 2 min.)

W12a.

Premiere 1974 (March 9): Ellensburg, Washington; Central Washington College; Adele Blankenship, soprano; Paul Creston, piano.

W12b.

Other Selected Performances 1974 (May 15): Ellensburg, Washington; Central Washington State College; Melissa Haard, soprano; Paul Creston, piano.

W13.

W13a

State

A Song of Joys, Op. 63: For High or Medium Voice and Piano (1955; Franco Colombo; 3 min.) Commissioned by the Juilliard School of Music. Selected Performances 1959 (May 1): Lansing, Michigan; Michigan State University; Lynn Beckman, soprano; Rita Fuszek, piano.

W13b.

1963 (November 22): Columbus, Ohio; Women's Club of Ohio; Hazel Nicklaus, mezzo-soprano; Florence Bailey, piano.

W13c.

1964 (April 3): New York; Contemporary Composers Concert presented by North Shore Community Arts Center; Marjorie McClung, soprano; Max Walmer, piano.

W13d.

1965 (October 24): Westchester, New York; United Nations 20th Anniversary Concert under the auspices of Westchester Ethical Society; Serafina Amato, soprano; Salvadore Ley, piano.

W13e.

1974 (May 24): Ellensburg, Washington; Central Washington State College; De Anna Turner, soprano; Terrie Zamzow, piano .

W13f.

1974: Ellensburg, Washington; Central Washington State College; Adele Blankenship, soprano; Paul Creston, piano.

W14.

Thanatopsis, Op. 7: For High or Medium Voice and Piano; also arr. for String Quartet (1935; Music Graphics Press; 11 min.) Text by Rabindranath Tagore, from the Gitanjali. Originally titled Four Songs to Death.

W14a.

Premiere 1935 (December 1): New York City; Town Hall, New York; Alii Ronka, soprano; Paul Creston, piano.

W14b.

Other Selected Performances 1936 (March 4): New York; WPA Federal Music Project held at Composers Forum Laboratory; Alii Ronka, soprano; Miriam Le Mon, piano.

W14c.

1936 (April 15): New York City; Hotel Des Artistes; Alii Ronka.

W14d.

1958 (March 21): Detroit, Michigan, Detroit Institute of Arts; Marjorie McClung, soprano; Paul Creston, piano.

Works and Performances 23 W14e.

1963 (November 22): Columbus, Ohio; Women's Club at Battelle Memorial Auditorium; Louise McDonald, soprano; Louise Yost, piano.

W14f.

1964 (April 3): New York; Contemporary Composers Concert presented by North Shore Community Arts Center; Marjorie McClung, soprano; Max Walmer, piano.

W14g.

1966 (October 21): Westchester, New York; Westchester Conservatory of Music; Helen Woodward, soprano; Christine Berl, piano.

W14h.

1974 (November 17): Ellensburg, Washington; Central Washington State College; Adele Blankenship, soprano; Paul Creston, piano.

W14i.

1975 (March3): Bridgeport, Connecticut; University of Bridgeport; Zelda Manacher, mezzo-soprano; Don Books, piano.

W15.

Thirteen French Canadian Folksongs, Op. 49: For Voice and Piano (1950, Franco Colombo; 26 min.)

W15a. W16.

W16a.

Premiere 1974 (November 17): Ellensburg, Washington; Central Washington State College; Adele Blankenship, soprano; Paul Creston, piano (Nos. 1-7). Three Songs, Op. 46; For High Voice and Piano (1950; Leeds Music Co.; 8 min.) Selected Performances 1951 (March 3): New York City; Metropolitan Opera Studio 650; (Fountain Song) Janet Southwick, soprano.

W16b.

1951 (April 11): New York City; Juilliard School of Music; Ftorence Fogelson; David Garvey, piano.

W16c.

1953 (April 6): Hartford, Connecticut; Hartt Schoot of Music; Institute of Contemporary American Music Series; John - Ferrante (Serenade).

W16d.

1953 (April 6): Hartford, Connecticut; Hartt School of Music; (Lullaby and Fountain Song) - Jacquelynne Moody, soprano; Elizabeth Warner, piano.

W16e.

1969 (May 20): Ellensburg, Washington; Central Washington State College; (Lullaby) - Barbara Brummett, soprano; Vivienne Rowley, piano.

W16f.

1974 (May 15): Ellensburg, Washington; Central Washington State College; Melissa Hazard; Paul Creston, piano.

W16g.

1974 (May 24): Ellensburg, Washington; Central Washington State College; De Anna Turner; Terrie Zamzow, piano.

W16h.

1974 (November 17): Ellensburg, Washington; Central Washington State College; Adele Blankenship, soprano; Paul Creston, piano.

W17.

Three Sonnets, Op. 10: For Medium Voice and Piano (1936; Ms.; 12 min.)

W17a.

Premiere 1937 (February 10): New York City; Town Hall; Pauline Pierce.

24 Paul Cerston

W17b.

Other Selected Performances 1944 (June 25): Brooklyn, New York; Brooklyn Museum; Ask The Composer Series; Marion Selee, mezzo-soprano; Edna Willington Smith, piano.

W17c.

1948 (January 17): New York City; Times Hall; (Joy Like A Fawn) - Wilma Thompson, mezzo-soprano; William Achilles, piano.

W17d.

1951 (November 25): New York City; Music School of Henry Street Settlement; Pauline Pierce; Paul Creston, piano.

W17e.

1969 (May 8): Ellensburg, Washington; Central Washington State College; (Joy Like A Fawn) - Lynn Dupin, contralto; Charles Davis, piano.

W17f.

1970 (May 15): Tacoma, Washington; Margaret Myles, contralto; Lynn Hoover, piano.

W17g.

1971 (April 25): Portland, Oregon; Lewis and Clark College; Janet Hammack, mezzo-soprano; Bruce Lamott, piano.

W17h.

1974 (November 17): Ellensburg, Washington; Central Washington State College; Adele Blankenship, soprano; Paul Creston, piano.

W17i.

1975 (March 3): Bridgeport, Connecticut: University of Bridgeport; Zelda Manacher, mezzo-soprano; Don Books, piano.

VOCAL AND CHORAL MUSIC WITH ORCHESTRA W18.

Dance Variations, Op. 30 (1942; G. Schirmer; 5 min.) For soprano and orchestra; 3.2.2.2/4.2.3.1/perc./strings. Piano reduction (score and parts) Schirmer.

W18a.

Premiere 1961 (June 1): New York; Roberta Peters, soloist; New York Philharmonic; Pierre Monteux, conductor.

W18b.

Other Selected Performances 1952 (January 27): New York; Piano Reduction - Carnegie Recital Hall; Nelly Peermine, soprano; George Reeves, piano.

W18c.

1961 (June 20): New York; Lewissohn Stadium Concert; New York Philharmonic; Roberta Peters, soloist; Pierre Monteux, conductor.

W18d.

1961 (June 22): Philadelphia; Robin Hood Dell Orchestra; Roberta Peters, soloist; Wilfrid Pelletier, conductor.

W18e.

1961 (December 10): White Plains, New York; Orchestral Society of Westchester; Roberta Peters, soloist; Simon Asen, conductor.

W18f.

1962 (February 1&3): Cincinnati, Ohio; Cincinnati Symphony Orchestra; Roberta Peters, soloist, Max Rudolf, conductor.

W18g.

1962 (February 22): Wheeling, Ohio; Wheeling Symphony Orchestra; Roberta Peters, soloist; Henry Aaron, conductor.

W18h.

1963 (November 10): New York State; Hudson Valley Philharmonic Orchestra; Roberta Peters, soloist; Claude Monteux, conductor.

Works and Performances 25 W19.

W19a.

W20.

Dedication, Op. 22 (1940; Shawnee Press; 3 min.) For SATB and piano or string orchestra. Selected Performances 1977 (November 10): Berea, Ohio; Walt Whitman College; Whitman College Choir; Kenneth E. Schilling, conductor; Judy Furlong, piano; Blaine Newland, soloist; Paul Creston, guest conductor. Hyas Illahee (Great Land), Op. 98 (1969; E.C. Kerby; 14 min.) For SATB and orchestra; 3.2.2.2/2.4.2.2/timp./perc./piano/stnngs. Corosymphonic suite. Dedicated to Wayne S. Hertz and the Central Singers.

W20a.

Premiere 1969 (March 16-19): Ellensburg, Washington; Central Washington State College; Central Singers and Orchestra; Paul Creston, conductor.

W20b.

Other Selected Performances 1970 (May 26): Ellensburg, Washington; Central Washington State College; Paul Creston, conductor.

W20c.

1976 (March 14-15): Shreveport, Louisiana; Shreveport Symphony with Choruses, Symphony Chorale, and Grambling College Chorus; John Shenaut, conductor; Garrick Ohlsson, piano.

W21.

Isaiah's Prophecy, Op. 80 (1962; Belwin-Mills; 30 min.) 3.2.2.2/2.2.2.0/ timp./perc./glock./chimes/xylophone/harp/strings. For soloists, chorus (SATB) and orchestra (piano or organ). Christmas oratorio.

W21a.

W21b.

Premiere 1962 (December 9): Tampa, Florida; University of South Florida; Dr. A.A. Beecher, conductor. Other Selected Performances 1962 (February 28): Kalamazoo, Michigan; Western Michigan University; University Choir and Orchestra; Soloists: Michael Dundas, Gerald Klein, Paul Braden, Mona Lindauer, David French, Wendell Thorngate, Dale Mills; Paul Creston, conductor.

W21c.

1967 (November 30): Ellensburg, Washington; Central Washington State College; Central College Orchestra; Paul Creston, conductor.

W22.

Psalm XXIII, Op. 37 (1945; G. Schirmer; 3 min.) For High Voice and Piano or Organ or Orchestra. Also for medium voice and piano (or organ or orchestra). Also for soprano solo, mixed chorus and piano (organ or orchestra).

W22a.

Premiere 1945 (November 5): Houston, Texas; Houston Symphony Orchestra; Helen Jepson, soloist; Hoffman, conductor.

W22b.

Other Selected Performances 1949 (March 22): New York; Studio Club; Phyllis Duval; Lucile Snyder, piano.

W22c.

1951 (May 3): Redlands, California; University of Redlands; Charles Fisher, baritone; Margaret Whitney Dow, organ; University of Redlands Workshop.

26 Paul Creston W22d.

1957 (March 14): Newark, Delaware; University of Delaware; Delaware Symphonette; Janice Olsen, soloist; J. Robert King, conductor.

W22e.

1962 (April 8): New York; Carnegie Hall; Norman Summers, baritone; Lowell Farr, piano.

W22f.

1963 (January 18): New York; Harlem Philharmonic Society of New York; Lillian Mernick, contralto; John Rayburn, piano.

W22g.

1963 (May 5): Mount Vernon, New York; First Baptist Church; Dorothy White, mezzo-soprano; Aram Grayson, organ.

W22h.

1969 (November 16): Tacoma, Washington; Pacific Lutheran University; Mu Phi Epsilon Concert; Persis Reynolds Shook; Calvin Knapp, piano.

W22i.

1970 (February-March): Ellensburg, Washington; Central Washington State College; Central Singers on tour; Wayne S. Hertz, conductor.

W22j.

1974 (November 17): Ellensburg, Washington; Central Washington State College; Central Singers; Adele Blankenship; Paul Creston, piano.

W22k.

1976 (September 22): New York; Church of The Ascension; Floyd Worthington, baritone; Vernon De Tar, organ.

W221.

1980 (March 16): San Diego, California; First United Methodist Church; Anne McMillan, soprano; Daniel Burton, organ.

W22m. 1981 (May 7): Appleton, Wisconsin; Lawrence University; Mari Taniguchi, soprano; Steve Edmund, piano. W22n.

1984 (June 3): San Diego, California; First United Methodist Church; Nancy Jones, alto; Daniel Burton, organ.

W22o.

1985 (June 2): San Diego, California; First United Methodist Church; Nancy Jones, alto; Daniel Burton, organ.

W23.

The Psalmist, Op. 91 (1967; Ms.; 21 min.) For contralto and orchestra; 2.2.2.2/4.2.3.1/perc./harp/strings. Commissioned by the Jackson Symphony Orchestra.

W23a.

W23b.

IV.

Premiere 1968 (April 1): Jackson, Mississippi; Jackson Symphony Orchestra; Jean Madeira, contralto; Lewis Dalvit, conductor. Other Selected Performances 1973 (November 8): Ellensburg, Washington; Central Washington State College; Central Symphony Orchestra; Lynn Dupin, contralto; Clifford Cunha, conductor.

VOCAL AND CHORAL MUSIC W24.

Black and Tan America, Op. 51 (1951; Ms.; 9 min.) For baritone, chorus and piano. Text by Charles Stern.

Works and Performances 27 W25.

W25a. W26.

W26a.

Calamus, Op. 104 (1972; G. Schirmer; 10 min.) For SATB and brass and percussion ensemble; or TTBB. Text by Walt Whitman. Commissioned by Epsilon Pi Chapter of Phi Mu Alpha Sinfonia Fraternity. Premiere 1973 (April 27): Oneonta, New York; Phi Mu Alpha Sinfonia, 75th anniversary of National Chapter; Hartwick College. The Lamb to the Lamb, Op. 47 (1950; Carl Fischer; 3 min.) For SSA and piano or organ. Christmas song. Selected Performances 1965 (December 17): S. Hadley, Massachusetts; St. Thomas Church; Mount Holyoke College Glee Club; Myrtle Regier, organ; Ruth E. Douglas, conductor.

W26b.

1969 (November 16): Tacoma, Washington; Pacific Lutheran University; Mu Phi Epsilon Concert.

W26c.

1977 (November 10): Walla Walla, Washington; Walt Whitman College; Walt Whitman College Choir; Paul Creston, conductor.

W26d.

1978 (December 24): Los Angeles; Wilshire Presbyterian Church Choir; Howard Barr, conductor.

W27.

Leaves of Grass, Op. 100 (1970; G. Schirmer; 12 min.) For SATB and piano. Text by Walt Whitman.

W27a.

Premiere 1971 (February 28-March 3): Western Washington and Oregon; Central Washington State College; Central Singers; Wayne Hertz, conductor; Paul Creston, piano, on tour.

W27b.

1972 (May 5): Ellensburg, Washington; Central Washington State College; Central Singers; Wayne Hertz, conductor; Paul Creston, piano.

W27c.

1973 (February 18): Ellensburg, Washington; Northwest Music Educators Conference; Central Singers; Wayne Hertz, conductor; Paul Creston, piano.

W27d.

1974 (May 25): Ellensburg, Washington; Central Washington State College (One's Self I Sing-Smile, O Voluptuous Earth - The Most Jubilant Song); E. Gordon Leavitt, conductor.

W27e.

1975 (March 2): Bridgeport, Connecticut; University of Bridgeport Concert Choir; Dr. Samuel Gordon, conductor; Don Books, piano.

W27f.

1976 (February 16): Wenatchee, Washington; Washington Music Educators Conference; All State Chorus; Wayne Hertz, conductor.

W27g.

1977 (October 18 & 20): Terre Haute, Indiana; Indiana State University; Indiana State University Singers.

W27h.

1981 (May 11): Appleton, Wisconsin; Lawrence University; Lawrence University Choir; William Heinz, conductor.

W28.

Lilium Regis, Op. 73 (1930; Franco Colombo; 5 min.) For SATB and piano. Text by Francis Thompson. Commissioned by C.A. Peloquin.

28 Paul Cerston

W28a.

Premiere 1959 (April 14): Boston, Massachusetts; Glee Clubs of Boston and Emmanuel College.

W28b.

Other Selected Performances 1963 (May 4): Greenville, North Carolina; East Carolina College; East Carolina College Choir; Paul Creston, conductor.

W28c.

1967 (February 27): Kalamazoo, Michigan; Western Michigan University; Western Michigan University Choir Octet; Thomas Hardie, conductor.

W28d.

1971 (March 12): Huntsville, Texas; Sam Houston State University; A Cappella Choir; Paul Creston, conductor.

W28e.

1972 (April 25): Emporia, Kansas; Kansas State Teachers College; Festival of 20th Century Music; Combined Project Chorus; Donna Herren, piano; Paul Creston, conductor.

W29.

MissaAdoro Te, Op. 54 (1952; J. Fisher; 15 min.) Unison or SA or SATB and piano.

W30.

Missa Pro Defunctis, Op. 15 (1938; J. Fischer; 20 min.) Also titled: Requiem Massachusetts For TB and organ. English text.

W30a. W31.

Premiere 1949 (April 3): Baton Rouge, Louisiana; Louisiana State University; James King, baritone; Lavan Robinson, tenor; Lecil Gibson, organ. Missa Solemnis, Op. 44 (1949; Mills Music; 20 min.) For SATB or TTBB and organ (or orchestra) 2.2.2.2/2.2.2.0/harp/strings.

W31a.

Premiere 1949 (December 24): New York; St. Malachy's Church; Paul Creston, organist and conductor.

W31b.

Other Selected Performances 1968 (April 4): Jackson, Mississippi; Belhaven College; Belhaven College Concert Choir; Henry Thomas Fors, conductor.

W31c.

1977 (October 18 & 20): Terre Haute, Indiana; Indiana State University; Indiana State University Concert Choir and University Symphony.

W32.

Nocturne, Op. 83 (1964; Mills Music; 9 min.) For soprano and eleven instruments (woodwind quintet, string quintet, piano). Commissioned by the National Arts Club, New York for their 65th anniversary.

W32a.

W32b.

Premiere 1964 (April 19): New York; National Arts Club; Thomas Scherman, conductor; Marjorie McClung, soprano; Andrew Loyla, flute; Harriet Orenstein, oboe; Wallace Shapiro, clarinet; Robert Cole, bassoon; Peter Dimitriades, Marguerite Kuehne, violins; Sol Montlack, viola; George Koutzen, cello; Angelo LaPenne, doublebass, Eileen Flissler, piano. Other Selected Performances 1966 (April 13): Greencastle, Indiana; DePauw University Festival of Contemporary Music; Joan Daggy, violin, Denise Holmes, violin; Katherine Warner, viola; Leon Friedberg, cello; Amanda Butterfield, doublebass; Virginia Twyman, flute; Linda Stockstill, oboe; Sandra Gilkey, French

Works and Performances 29 horn; Susan Reno, clarinet; James Burrier, bassoon; Carole Wessler, piano, Bonita Moore, soprano; Floyd Peterson, conductor.

V.

W32c.

1969 (November 16): Tacoma Washington; Pacific Lutheran University; Jerry Knecht, conductor; Birgitte Greve, Dalwyn Olberg, violins; Nancy Roberts, viola; Kristine Nelson, cello; Marilyn Fern, doublebass; Jill Farver, piano; Genevieve Baird, flute; Laurel Mosier, oboe; Karen Haubrich, clarinet; Mark Anderson, French horn; Roberta Allen Larson, soprano.

W32d.

1970 (January 27): Ellensburg, Washington; Central Washington State College; Paul Creston, conductor; Bert Christianson, flute; Douglas Nott, oboe; Bruce Pirret, clarinet; Raymond Wheeler, bassoon; Bruce Brummett, French horn; Kay Roskam, piano; Tom Havel, Ethel Carp, violins; Mary McManus, viola; Charles Fuller, cello; Joe Bynum, bass.

W32e.

1971 (March 12): Huntsville, Texas; Sam Houston State University; Ernest Hagen, conductor; Diane Tobola, soprano; Nancy Brownlee, piano, Dale Lumpkin, flute; Janet Meves, oboe; Sally Watson, clarinet; James Marks, French horn; Jon Sullivan, bassoon, Joe Howell, Wilma Howe, violins; David Amyx, viola; John Hagen, cello; Candi Hallenbek, bass.

W33.

None Lives Forever, Op. 92 (1967; Carl Fischer; 7 min.) For SSA and piano or organ. Commissioned by Mu Phi Epsilon for Convention. Text by Rabindranath Tagore, from The Gardener.

W33a.

Premiere 1968 (August 22): Dallas, Texas; Southern Methodist University; Southern Methodist University Choir; Lloyd Pfautsh, conductor.

W33b.

Other Selected Performances 1969 (November 16): Tacoma, Washington; Pacific Lutheran University; Mu Phi Epsilon Concert; Mu Phi Epsilon Chorus.

W34.

Now Thank We All Our God, Op. 88 (1966; J. Fischer; 3 min.) Processional anthem. Commissioned by the Church Music Association of America. For congregation, SATB choir and organ.

W35.

O Come, Let Us Sing, Op. 119 (1982; Ms.; 6 min.) For mixed chorus and organ. Thanksgiving anthem. Commissioned by the First Church of San Diego.

W36,

Prodigal, Op. 115 (1980; G. Schirmer; 4 min.) Poem by Renato Getti.

W37.

Two Motets, Op. 45 (1950; G. Schirmer; 6 min.) For TTBB and organ.

W37a.

Premiere 1950; ABC Radio; Paul Creston, conductor.

UNACCOMPANIED CHORAL MUSIC W38.

Celestial Vision, Op. 60 (1954; Shawnee Press; 15 min.) For TTBB a cappella. Commissioned by Leonard De Paur.

30 Paul Cerston

W38a. W38b. W39.

W39a. W40.

W40a.

Premiere New York; Infantry Chorus; Leonard De Paur, conductor. Other Selected Performances 1961 (Spring): Pasadena, California; Caltech Glee Club; California Institute of Technology; Olaf M. Frodsham, conductor. Missa Cum Jubilo, Op. 97 (1968; E.C. Kerby; 12 min.) For SATB a cappella or with string orchestra or organ. Commissioned by Bell Haven College. Premiere 1969 (November 20): Jackson, Mississippi; Bell Haven College; Henry Thomas Ford, conductor. Praise the Lord, Op. 72 (1958; Franco Colombo; 2 min.) For SATB a cappella. Commissioned by C. Alexander Peloquin. Other Selected Performances 1966 (June 16): New York; New York College of Music; New York College of Music Chorus at Town Hall; John L. Molley, conductor.

W40b.

1972 (April 25): Emporia, Kansas; Kansas State Teachers College; Combined Project Choirs; Paul Creston, conductor.

W4L

Three Chorales From Tagore, Op. 11 (1936; G. Schirmer; 10 min.) For SATB a cappella; Nos. 1-2 also TTBB; No. 2 also SSA. Text by Rabindranath Tagore.

W41a. W41b.

Premiere 1938 (May 23): Princeton, New Jersey; Westminster Choir College. Other Selected Peformances 1943 (July 1): Robert Shaw Collegiate Chorale performing Here Is Thy Footstool; Alexander Smallens, conductor.

W41c.

1948 (November 17): Norristown, Pennsylvania; Octave Club; Vocal quartet; Here Is Thy Footstool.

W41d.

1951 (November 11): Boston, Massachusetts; Old South Church; Carl McKinley, conductor and organist; Here Is Thy Footstool.

W41e.

1957 (March 14): Newark, Delaware; University of Delaware; University of Delaware Concert Choir; Ivan Trusler, conductor.

W41f.

1964 (January 12): Plandome, Long Island; North Shore Unitarian Church; Peter Flanders, Music Director; Florence Orpin, organ; Thou Hast Made Me Endless.

W41g.

1966 (January 31): De Paur Chorus on tour of Africa, Cairo and Alexandria; Leonard De Paur, conductor; Here Is Thy Footstool.

W41h.

1967 (February 26): Athens, Ohio; First Presbyterian Church; Chancel Choir of the First Presbyterian Church; William Evans, director.

W41i.

1967 (February 27): Kalamazoo, Michigan; Western Michigan University; Western Michigan University Choir; Here Is Thy Footstool.

Works and Performances 31 W41j.

1968 (February 13): New York, New York; College of Music Chorus at WNYC Festival of American Music; New York Public Library; John Motley, conductor.

W41k.

1971 (March 13-14): Moscow, Idaho; University of Idaho; University of Idaho Concert Choir; Glen Lockery, conductor on a European concert tour.

VI. ORCHESTRAL MUSIC W42.

Afternoon in Montreal from Airborne Suite, (1966; Shawnee Press; 2 1/3 min.) See: Airborne Suite.

W43.

Airborne Suite, (1966; Shawnee Press; ca. 10 min.) Commissioned by Eastern Airlines. 3.3.3.3/3.3.4.l/timp./perc.(3)/strings.

W43a.

Premiere 1968 (June 20-22): New York, New York; Philharmonic Promenades; Andre Kostelanetz, conductor.

W43b.

Other Selected Performances 1972 (March 27-28): Albany, New York; Albany Symphony Orchestra; Julius Hegyi, conductor.

W43c. 1973 (November 8): Ellensburg, Washington; Central Washington State College; Clifford Cunha, conductor. W43d. 1975 (May 29): Ellensburg, Washington; Central Washington State College; Paul Creston, conductor. W44.

Chant of 1942, Op. 33 (1943; G. Schirmer; 10 min.) 2.2.2.2/2.2.0.0 or 3.2.2.2/4.2.3.1/perc./strings. Written in commemoration of Hiroshima.

W44a.

Premiere 1943 (May 3-4): New York; Orchestrette of New York; Frederique Petrides, conductor.

W44b.

Other Selected Performances 1943 (November 27): Washington, D.C.; National Symphony Orchestra; Hans Kindler, conductor.

W44c.

1943 (December 26): New York City; NBC Symphony; Leopold Stokowski, conductor, at Radio City Studio.

W44d.

1944 (May 7): Boston, Massachusetts; Boston Civic Symphony Orchestra at Jordan Hall; Joseph Wagner, conductor.

W44e.

1945 (May 4): Ann Arbor, Michigan; Philadelphia Orchestra; at the May Festival; Eugene Ormandy, conductor.

W44f.

1945 (June): Buffalo, New York; Philadelphia Orchestra at Kleinhans Music Hall; Eugene Ormandy, conductor.

W44g.

1946 (June): Milwaukee, Wisconsin; Philadelphia Orchestra; Eugene Ormandy, conductor.

32 Paul Cerston W44h.

1947 (November 13): Los Angeles; Los Angeles Philharmonic Orchestra; Alfred Wallenstein, conductor.

W44i.

1953 (September 17): Toronto; Prom Concert at Varsity Arena; Dr. Heinz Unger, guest conductor.

W44j.

1958 (May 28-29): Kiev, U.S.S.R.; Philadelphia Orchestra on tour in Soviet Union; Eugene Ormandy, conductor.

W44k.

1959 (November 11): New York City; Orchestra of America in Carnegie Hall; Richard Korn, conductor.

W441.

1974 (December 7): Montana; Montana State Orchestra; Paul Creston, conductor.

W44m.

1977 (June 5): San Diego, California; Civic Youth Orchestra at Sherwood Hall; Paul Creston, conductor.

W44n.

1983 (April 30): San Diego, California; San Diego Youth Symphony at College Avenue Baptist Church; Louis Campiglia, conductor.

W44o.

1985 (February 22): Texas; East Texas Symphony Orchestra; Louis Campiglia, guest conductor.

W45.

Choreographic Suite, Op. 86B (1965; Belwin Mills Music; 5 min.) 2.2.2.2/ 4.2.3.1/perc./piano/strings. Commissioned by the Harkness Foundation.

W45a. W46.

Premiere 1975 (March 7): Fort Lauderdale, Florida; Fort Lauderdale Orchestra; Emerson Buckley, conductor. Chthonic Ode, Op. 90 (1966; G. Schirmer; 14 min.) Commissioned by the Detroit Symphony Orchestra. 3.3.3.3/4.3.3.2/perc.(4)/piano/strings/euph./ tuba. Homage to Henry Moore.

W46a.

Premiere 1967 (April 4, 6 & 8): Detroit, Michigan; Detroit Symphony Orchestra; Sixten Ending, conductor.

W46b.

Other Selected Performances 1967 (November 2): New York, New York; Detroit Symphony in Carnegie Hall; Sixten Ehrling, conductor.

W46c.

1968 (April 1): Boston, Massachusetts; Boston Symphony Orchestra; Sixten Ehrling, conductor.

W47.

Concertino for Marimba and Orchestra, Op. 21 (1940; G. Schirmer; 15 min.) 2.1.1.1/2.0.0.0/timp./strings. Written for Ruth Stuber Jeanne and the Orchestrette Classique, directed by Frederique Petrides. Piano reduction published by G. Schirmer (1963): 2nd movement arr. for marimba and organ (G. Schirmer, 1972).

W47a.

Premiere 1940 (April 29): New York; Orchestrette Classique at Carnegie Chamber Music Hall; Ruth Stuber, soloist; Frederique Petrides, conductor.

Works and Performances 33

W47b.

Other Selected Performances 1940 (June 25): Boston, Massachusetts; Symphony Hall Pops; Lawrence White, soloist; Arthur Fiedler, conductor.

W47c.

1940 (September 7): Saratoga Springs, New York; Yaddo Chamber Orchestra; Ruth Stuber, soloist.

W47d.

1940 (December 10): New York, New York; 1941 season of the Orchestrette Classique, Carnegie Music Chamber Hall; Ruth Stuber, soloist; Frederique Petrides, conductor.

W47e.

1941 (May 16): Boston, Massachusetts; New England Conservatory of Music; Chamber Orchestra; Lawrence White, soloist.

W47f.

1951 (May 2-4, July 10): Rochester, New York; Richard Barnett, soloist at 21st Festival of American Music at Eastman School of Music.

W47g.

1951 (June 3): Chicago, Illinois; American Conservatory of Music; Margaret Ann Heath (2nd movement), soloist.

W47h.

1958 (August 21): New York, New York; Music By The River Series, Carl Schuz Park, Vida Chenoweth, soloist; Frederique Petrides, conductor.

W47i.

1961 (March 22): New York, New York; Orchestra of America; Vida Chenoweth, soloist; Richard Korn, conductor.

W47j.

1963 (April 24): Santa Barbara, California; University of California, Santa Barbara; Campbell Hall; Tricia Ellern, soloist; Erno Daniel, conductor.

W47k.

1964 (May 18): Philadelphia, Pennsylvania; Temple University; Michael Rosen, soloist; Eugene Klein, piano.

W471.

1966 (March 11): Tempe, Arizona; Arizona State University, University Symphony Orchestra; Jeffrey Morse, soloist; Eugene P. Lombardi, conductor.

W47m.

1966 (March 31): New York, New York; Manhattan School of Music; Gary Miller, soloist, Taijiro Jimori, conductor.

W47n.

1968: New Haven, Connecticut; Yale University School of Music; Randall S. Edson, soloist; Stephen Brown, piano.

W47o.

1969 (February 28): Corpus Christi, Texas; Del Mar College; Bill Patterson, soloist; Paul Creston, piano.

W47p.

1969 (April 19): Cincinnati, Ohio; University of Cincinnati; Cynthia Elizabeth Soames, soloist; Dorothy Stolzenbach Payne, piano.

W47q.

1970 (January 12): E. Lansing. Michigan; Michigan State University; Linda Maxey, soloist; Ralph Votapek, piano.

W47r.

1970 (December 11-12): Albany, New York; Albany Symphony; Richard Albagli, soloist; Julius Hegyi, conductor.

W47s.

1971 (March 17): Denver, Colorado; Arapahoe Symphony, Wesley Wicks, soloist.

34 Paul Cerston W47t.

1972 (April 24): Emporia, Kansas; Kansas State Teachers College; Linda Maxey, soloist; Carole Ross, piano.

W47u.

1974 (February 25): Columbus, Ohio; Ohio State University; Jamison, soloist; Barbara Wilson, piano.

Roger

W47v.

1976 (August 13): San Diego, California; San Diego Symphony; Tatsuo Sasaki, soloist; Peter Eros, conductor. W47w. 1977 (October 18 & 20): Terre Haute, Indiana; Indiana State University; Dedee Schwomeyer, soloist; Stella Tatlock, piano. W47x.

1978 (April 19): Tucson, Arizona; University of Arizona Wind Ensemble, Gilbert Baker, soloist; Richard E. Peters, conductor (3rd movement).

W47y.

1981 (March 1): Washington, D.C.; National Symphony Orchestra (Young Soloists Competition); Mstislav Rostropovich, conductor.

W47z.

1982 (February 4-7): Houston, Texas; Houston Ballet, in "Just By Chance", ballet; choreography by Daniel Jamison, music by Creston; Louie Smith, soloist; James Slater, conductor (World Premiere).

W47aa. 1984 (September 3): California; Port Angeles Symphony; Ed Grier, soloist; Ronald S. Jones, conductor. W47bb. 1984 (November 1): Ann Arbor, Michigan; Gordon Stout, soloist; University of Michigan Orchestra; Larry Rachleff, conductor. W48.

Concerto for Accordion, Op. 75 (1958; Belwin-Mills; 20 min.) Commissioned by the American Accordionists Association. Piano and study score published by Ricord, 1960. 2.2.2.2/4.2.3. l/timp./strings.

W48a.

Premiere 1959 (May 10): Boston, Massachusetts; Carmen Carrozza, soloist; Boston Pops Orchestra; Arthur Fiedler, conductor.

W48b.

Other Selected Performances 1960 (June 19): Bridgeport, Connecticut; Carmen Carrozza, soloist; Bridgeport Civic Orchestra; Cesare Borgia, conductor.

W48c.

1961 (November 21): Denver, Colorado; Denver Symphony; Patricia Tregellas, soloist; Saul Caston, conductor.

W48d. 1966 (February 20): New York, New York; United States Navy Band; (Rondo Movement); Carmen Carrozza, soloist; Lt. Comm. Anthony A. Mitchell, conductor. W48e. 1967 (February 19): West Point, New York; United States Military Academy Band; Carmen Carrozza, soloist; Lt.C. William H. Schempf, conductor. W48f.

1972 (March 19): Seattle, Washington; Seattle Symphony Orchestra; Diane Schmidt, soloist; Milton Katims, conductor.

W48g. 1974 (December 20): Cincinnati, Ohio; Cincinnati Symphony; Carmen Carrozza, soloist; Thomas Schippers, conductor (May Festival). W49.

Concerto for Piano and Orchestra, Op. 43 (1949; Shawnee Press; 20 min.) 3.2.2.2/4.2.3.2/timp./strings

Works and Performances 35

W49a.

Premiere 1950 (November 1): Washington, D.C.; National Symphony Orchestra; Earl Wild, soloist; Howard Mitchell, conductor.

W49b.

Other Selected Performances 1962 (November 7): New York, New York; Orchestra of America at Carnegie Hall; Eugene List, soloist; Richard Korn, conductor.

W49c.

1967 (November 30): Ellensburg, Washington; Central Washington State College; Central College Orchestra; Donald King Smith, soloist; W. Charles Fuller, conductor.

W50.

Concerto for Saxophone and Orchestra, Op. 26 (1941; G. Schirmer; 16 min.) 2.2.2.2/4.2.3. l/timp./strings

W50a.

Premiere 1944 (February 27): New York; New York Philharmonic Symphony; Vincent Abato, soloist; William Steinberg, conductor.

W50b.

Other Selected Performances 1945 (March 4): California; Janssen Symphony Orchestra; Wilshire Ebell Theater; Charles Strickfaden, soloist; Werner Janssen, conductor.

W50c.

1953 (March 15): Baltimore, Maryland; Baltimore Symphony Orchestra; Vincent Abato, soloist; Massimo Freccia, conductor.

W50d.

1960 (June 4): India; Concerts for Conoisseurs presented by BALOS and Indo-American Society; Johnnie Baptiste, soloist; Paranjoti, conductor.

W50e.

1961 (March 16): Wilkes-Barre, Pennsylvania; Wilkes College; Vincent Abato, soloist.

W50f.

1963 (April 22): Camden, Delaware; University of Delaware; Symphonic Wind Ensemble, performed at W.B. Simpson Elementary School; Vincent Abato, soloist; J.R. King, conductor.

W50g.

1963 (April 21): Newark, Delaware; University of Delaware; Vincent Abato, soloist; Paul Creston, conductor.

W50h.

1972 (April 15): Indianapolis, Indiana; Philharmonic Orchestra of Indianapolis; Eugene Rousseau, soloist; Wolfgang Vacano, conductor, at Marian College Auditorium.

W50i.

1976 (November 28): Saginaw, Michigan; Germania Symphony; Dr. Brian Minor, soloist; Dr. Kurt Tintner, conductor.

W50j.

1981 (May 7): Appleton, Wisconsin; Brian Koser, soloist; Dan Stienert, piano.

W51.

Concerto for Saxophone, Op. 26B (1941; G. Schirmer, 16 min.) For saxophone and band. Piano reduction published.

W51a. W51b.

Selected Performances 1962 (October 28): Columbus, Ohio; Ohio State University; Ohio State University Band; Vincent Abato, soloist; Donald E. McGinnis, conductor. 1966 (April 14): Greencastle, Indiana; De Pauw University; De Pauw University Concert Band; Peter Hill, saxophone; Daniel Hanna, conductor.

36 Paul Creston W51c.

1968 (May 2): New York; University of Michigan Band at Carnegie Hall; Jean Marie Londeix, soloist; William Revelli, conductor.

W51d.

1971 (March 12): Huntsville, Texas; Sam Houston State University; James Cunningham, soloist; Ralph L. Mills, conductor.

W51e.

1972 (April 24): Emporia, Kansas; Kansas State University; Kansas State Symphonic Band; Dr. Max Plank, soloist; Melbern Nixon, conductor.

W52.

Concerto for Two Pianos and Orchestra, Op. 50 (1951; Franco Colombo; 20 min.) 3.2.2.2/4.2.3. l/timp./stnngs.

W52a.

Premiere 1968 (November 18): New Orleans, Louisiana; New Orleans Philharmonic; Joan Yarbrough, Robert Cowan, soloists; Werner Torkanowsky, conductor.

W52b.

Other Selected Performances 1983 (April 21-25): Columbus, Ohio; 1983 Biennial Convention, National Federation of Music Clubs; Joan Yarbrough and Robert Cowan, soloists.

W53.

Corinthians XIII, Op. 82 (1963; Mills Music; 14 min.) Dedicated to Louise Creston. Commissioned by the Phoenix Symphony Orchestra. 3.3.3.3/4.3.3.1/ timp./perc./piano/harp.

W53a.

Premiere 1964 (March 30): Phoenix, Arizona; Phoenix Symphony Orchestra; Guy Taylor, conductor.

W53b.

Other Selected Performances 1964 (October 4-5): Wichita, Kansas; Wichita Symphony Orchestra; James Robertson, conductor.

W53c.

1964 (October 28): Oklahoma City, Oklahoma; Oklahoma City Orchestra; Guy Fraser Harrison, conductor.

W53d.

1965 (April 5): New York, New York; American Symphony Orchestra at Carnegie Hall; Leopold Stokowski, conductor.

W53e.

1965 (April 10): Brooklyn, New York; Brooklyn College; American Symphony Orchestra; Leopold Stokowski, conductor.

W53f.

1965 (October 18-19): Monterey, California; Monterey County Symphony (West coast premiere); John Gosling, conductor.

W53g.

1966 (March 4): Berea, Ohio; Baldwin-Wallace College; Baldwin-Wallace College Symphony Orchestra; George Poinar, conductor.

W53h.

1966 (April 14): Greencastle, Indiana; De Pauw University; De Pauw Symphony Orchestra; Paul Creston, conductor.

W53i.

1966 (November 22): Tucson, Arizona; Tucson Symphony Orchestra; Gregory Millar, conductor.

W53j.

1967 (November 27): Seattle, Washington; Seattle Youth Orchestra; Vilem Sokol, conductor.

Works and Performances 37 W53k.

1969 (October 6-7): Portland, Oregon; Oregon Symphony Orchestra; Jacques Singer, conductor.

W531.

1970 (August 6): Tacoma, Washington; Tacoma Youth Symphony at Pacific Lutheran University; C. Irvin Wright, conductor.

W53m. 1975 (May 25): Ellensburg, Washington; Central Washington State College; Paul Creston, conductor. W54.

Dance Overture, Op. 62 (1954; Shawnee Press; 12 min.) Commissioned by the National Federation of Music Clubs. 4.3.3.3/4.3.3.1/perc./strings.

W54a.

Premiere 1955 (April 24): Miami, Florida; University of Miami Symphony Orchestra for NFMC Convention; John Bitter, conductor.

W54b.

Other Selected Performances 1955 (November 11-12): St.Louis, Missouri; St. Louis Symphony; Vladimir Golschmann, conductor.

W54c.

1956 (March 15): New York, New York; New York Philharmonic; Guido Cantelli, conductor.

W54d.

1957 (July): Cleveland, Ohio; Cleveland Symphony Orchestra; Erroll Garner, conductor.

W54e.

1957 (February 8): S. Hadley, Massachusetts; Cleveland Symphony Orchestra at Mt. Holyoke College; George Szell, conductor.

W54f.

1957 (December 5): Atlanta, Georgia; Atlanta Symphony; Thomas Brockman, conductor.

W54g.

1957 (December 12): Rochester, New York; Rochester Philharmonic; Henry Sopkin, conductor.

W54h.

1957 (December 15-20): Minneapolis, Minnesota; Minneapolis Symphony Orchestra at University of Minnesota; Antal Dorati, conductor.

W54i.

1957 (December 29): Chicago, Illinois; Chicago Symphony Orchestra; Guy Fraser Harrison, conductor.

W54j.

1958 (February): Minneapolis, Minnesota; Orchestra; Antal Dorati, conductor.

W54k.

1958 (December 3-5): San Francisco, California; San Francisco Symphony; Enrique Jorda, conductor.

W541.

1959 (July 19): Brevard, North Carolina; Brevard Festival Orchestra; James Christian Pfohl, conductor.

Minneapolis

Symphony

W54m. 1959: Santiago, Chile; Orquesta Filarmonica de Chile; Alfredo Antonini, conductor. W54n.

1960 (July 19): New York, New York; Lewissohn Stadium Concert; Alfredo Antonini, conductor.

W54o.

1962-3 season: Kansas City, Missouri; Kansas City Philharmonic; Hans

38 Paul Cerston Schwieger, conductor. W54p.

1963 (January 17): Los Angeles, California; Highland Park Symphony Orchestra; Leo Arnaud, conductor.

W54q.

1963 (November 19): Jacksonville, Florida; Jacksonville Orchestra; John Canarina, conductor.

W54r.

1965 (December 6-7): Phoenix, Arizona; Phoenix Symphony Orchestra; Guy Taylor, conductor.

W54s.

1965 (December 12): Amherst, Massachusetts; Orchestra; Joseph Wincenc, conductor.

W54t.

1966 (February 14-16): Houston, Texas; Houston Symphony Orchestra; Sir John Barbirolli, conductor.

W54u.

1966 (October 22-23): Sacramento, California; Sacramento Symphony Orchestra; Harry Newstone, conductor.

W54v.

1967 (February 17): Oklahoma City, Oklahoma; Oklahoma Symphony Orchestra; Guy Fraser Harrison, conductor.

W54w.

1967 (April 5): Dayton, Ohio; Dayton Philharmonic; Paul conductor.

W54x.

1970 (April 19): Lancaster, Pennsylvania; Lancaster Symphony Orchestra; Paul Creston, conductor.

W54y.

1972 (November 5-6): Honolulu, Hawaii; Honolulu Symphony Orchestra; Anshel Brusilov, conductor.

W54z.

1972 (December 6): Dayton, Ohio; Dayton Philharmonic Orchestra; Dr. Paul Katz, conductor.

Amherst

Symphony

Symphony

Creston,

W54aa. 1974 (June 20): Memphis, Tennessee; Memphis Symphony Orchestra; Vincent De Frank, conductor. W54bb. 1976 (June 3): Ellensburg, Washington; Central Washington State College. W55.

Dawn Mood, Op. 36 (1944) WITHDRAWN - Only holograph exists.

W55a.

Premiere ABC Orchestra; Paul Whiteman, conductor.

W56.

Evening in Texas, (1966; Shawnee Press). See: Airborne Suite.

W57.

Fanfare '76, Op. 106 (1975; Ms; 5 min.) 3.3.3.3/4.3.3. l/perc./strings. Commissioned by Thomas Schippers. Written for the United States Bicentennial. (The Republic Stands)

W57a. W58.

Premiere 1976 (March 5-6): Cincinnati, Ohio; Cincinnati Symphony Orchestra; Thomas Schippers, conductor. Fantasy for Accordion and Orchestra, Op. 85 (1964; Mills Music; 7 min.) For accordion or accordion and orchestra. Commissioned by the American Accordionists Association. 2.1.2.1/2.2.1.0/timp./perc. (2)/strings.

Works and Performances 39

W58a.

Selected Performances 1974 (August 14): Brooklyn. New York; Municipal Arts Orchestra; Patricia Costagliola, accordion; Julius Grossman, conductor.

W58b.

1975 (March): Bridgeport, Connecticut; Bridgeport Civic Orchestra; Monica Slomski, accordion; Harry Valante, conductor.

W59.

Fantasy for Piano and Orchestra, Op. 32 (1942; G. Schirmer; 8 min.) 2.2.2.2/2.2.0.0 or 3.2.2.2/4.2.2.0/perc/strings. Reduction for two pianos published by G. Schirmer, 1973.

W59a.

Premiere 1943 (February 14): New York, New York; High School of Music and Art; Alexander Richter, conductor.

W59b.

Other Selected Performances 1951 (May 27): Washington, D.C.; National Gallery Orchestra at the National Gallery of Art; Rose D'Amore, soloist; Richard Bales, conductor.

W59c.

1960 (December 29): White Plains, New York; White Plains Community Church; Garrick Ohlsson, piano; Paul Creston, conductor.

W59d.

1972 (April 8): White Plains, New York; Westchester Symphony Orchestra; Anne Mazur, piano; Anton Coppola, conductor.

W59e.

1973 (May 6): Ellensburg, Washington; Central Washington State College; Community Symphony Orchestra; Clifford C. Cunha, conductor; Bonnie Fjeld, soloist.

W60.

Fantasy for Trombone and Orchestra, Op. 42 (1947; G. Schirmer; 10 min.) 3.2.2.2/4.2.3.l/timp./strings. Piano reduction published by G. Schirmer. Commissioned by Alfred Wallenstein for Robert Marstellar.

W60a.

Premiere 1948 (March 12): Los Angeles, California; Los Angeles Philharmonic; Robert Marstellar, soloist; Alfred Wallenstein, conductor.

W60b.

Other Selected Performances 1951 (April 4-5): Cambridge; Maisie Ringham, soloist; London Symphony; Sir John Barbirolli, conductor.

W60c.

1967 (February 9): Winnipeg; Winnipeg Symphony Orchestra; John Huntington, soloist; Victor Feldbill, conductor.

W60d.

1971 (January 1): Detroit, Michigan; Detroit Symphony Orchestra; Dennis Smith, soloist; Sixten Ehrling, conductor.

W60e.

1973 (December 12): Philadelphia, Pennsylvania; Philadelphia Orchestra; Glen Dodson, soloist; William Smith, conductor.

W61.

Frontiers, Op. 34 (1943; G. Schirmer; 10 min.) 3.3.3.3/4.3.3.3/perc./ piano/strings. Commissioned by the Toronto Symphony Orchestra.

W61a.

Premiere 1943 (October 14): Toronto; Toronto Kostelanetz, conductor.

Symphony

Orchestra;

Andre

40 Paul Cerston

W61b.

Other Selected Performances 1943 (December 5): San Francisco, California; San Francisco Symphony Orchestra; Andre Kostelanetz, conductor.

W61c.

1944 (January 11): Philadelphia, Pennsylvania; Philadelphia Orchestra; A. Kostelanetz, conductor.

W61d.

1944 (March 24): Boston, Massachusetts; Boston Symphony Orchestra; Andre Kostelanetz, conductor.

W61e.

1945 (January 11): Philadelphia, Pennsylvania; Philadelphia Orchestra; Andre Kostelanetz, conductor.

W61f.

1945 (November 25): New York, New York; NBC Symphony Orchestra; A. Toscanini, conductor.

W61g.

1945 (December 30): Indianapolis, Indiana; Indianapolis Symphony; Fabien Sevitzky, conductor.

W61h.

1946 (December 26): New York, New York; New York Philharmonic Symphony; Leopold Stokowski, conductor.

W61i.

1951 (February 8): Indianapolis, Indiana; Indianapolis Symphony Orchestra; Fabien Sevitzky, conductor.

W61j.

1958 (November 4): Kansas City, Missouri; Kansas City Philharmonic; Andre Kostelanetz, conductor.

W61k.

1958 (November 9): Toronto; Toronto Symphony; Andre Kostelanetz, conductor.

W611.

1958 (December 21): New York, New York; New York Philharmonic; Andre Kostelanetz, conductor.

W61m.

1976 (January 16): New York, New York; New York Philharmonic; Andre Kostelanetz, conductor.

W62.

Gregorian Chant from String Quartet (1936; Shawnee Press) Arr. for string orchestra.

W62a.

Selected Performances 1965 (October 18): Oklahoma City, Oklahoma; Oklahoma City Symphony; Guy Fraser Harrison, conductor. Images In Flight See: Airborne Suite

W63.

W63a.

W64.

Introit, Op. 87 (1966; G. Schirmer; timp./stnngs. Homage a Pierre Monteux.

3

mm.)

2.2.2.2/2.2.2.1/harp/

Premiere 1966 (June 21): Cleveland, Ohio; At the dedication concert of John Carroll University's new Kulas Auditorium; Cleveland Orchestra; Louis Lane, conductor. Invocation and Dance, Op. 58 (1953; G. Schirmer; 12 min.) Commissioned by the Louisville Orchestra.

Works and Performances 41

W64a.

Premiere 1954 (May 15): Louisville, Kentucky; Louisville Whitney, conductor.

W64b.

Other Selected Performances 1956 (February 28): Kansas City, Missouri; Kansas City Philharmonic; Hans Schwieger, conductor.

Orchestra;

Robert

W64c.

1957 (January 22): New York, New York; National Orchestral Association; John Barnet, guest conductor.

W64d.

1960 (January 9): Brooklyn, New York; Brooklyn Philharmonia at Brooklyn Academy of Music; Siegfried Landau, conductor.

W64e.

1960 (July 21): California; Hollywood Bowl Concert; William Steinberg, conductor.

W64f.

1960 (November 25-6): Philadelphia, Pennsylvania; Philadelphia Orchestra; Eugene Ormandy, conductor.

W64g.

1962 (December 1): New York, New York; Music For Westchester; Westchester Mamaroneck Symphony; Siegfried Landau, conductor.

W64h.

1963 (March 25): Tulsa, Oklahoma; Tulsa Philharmonic Orchestra; Franco Autori, conductor.

W64i.

1963 (April 18-19): Syracuse, New York; Syracuse Symphony; Karl Kritz, conductor.

W64j.

1963 (November 12): Long Island, New York; Long Island Philharmonic Orchestra; Jak Zadrikov, conductor.

W64k.

1966 (February 17): Los Angeles, California; Los Angeles Philharmonic Orchestra; Sixten Ehrling, conductor.

W641.

1966 (March 28): Richmond, Virginia; Hochstein Sinfonia on tour; Paul Freeman, conductor.

W64m.

1967 (March 1-3): San Francisco, California; San Francisco Symphony; Paul Freeman, conductor.

W64n.

1975 (March 2): Bridgeport, Connecticut; Bridgeport Civic Orchestra; University of Bridgeport; Harry Valante, conductor.

W64o.

1976 (June 15): Wisconsin; Wisconsin Youth Symphony; James Latimer, conductor.

W65.

Janus, Op. 77 (1959; Franco Colombo; 12 min.) 4.3.3.3/4.3.3.1/perc./ piano/strings. Commissioned by the Association of Women's Committees for Symphony Orchestras.

W65a. W65b.

Premiere 1959 (July 17); Denver Symphony; Saul Caston, conductor. Other Selected Performances 1959 (November 5-6): Atlanta, Georgia; Atlanta Symphony Orchestra; Henry Sopkin conductor.

42 Paul Cerston W65c.

1959 (November 27): Minneapolis, Minnesota; Minneapolis Symphony Orchestra; Antal Dorati, conductor.

W65d.

1960 (January 12-13): Washington, D.C.; National Symphony Orchestra; Howard Mitchell, conductor.

W65e.

1961 (March 18): New York, New York; New York Philharmonic; Russell Stanger, conductor.

W65f.

1961 (April 5): San Francisco, California; San Francisco Symphony Orchestra; E. Jorda, conductor.

W65g.

1963 (November 21): Columbus, Ohio; Columbus Symphony Orchestra; Evan Whallon, conductor.

W66.

Lydian Ode, Op. 67 (1956; Franco Colombo, 12 min.) Commissioned by Dr. M. Tinterow for Wichita Symphony Society. 3.2.2.2/4.2.3.1/perc./ piano/strings

W66a.

Premiere 1957 (February 24): Wichita, Kansas; Wichita Symphony Orchestra; James Robertson, conductor.

W66b.

Other Selected Performances 1958 (February 16-17): Nashville, Orchestra; Guy Taylor, conductor.

Tennessee;

Nashville

Symphony

W66c.

1959 (April 14): New York, New York; The Manhattan Orchestra presented by the Contemporary Music Society; Emerson Buckley, conductor.

W67.

Night in Mexico (1966; Shawnee Press, 4 1/4 min.) See Airborne Suite, W43. From Airborne Suite. 3.3.3.3/4.3.3. l/perc.(3)/timp./strings or 3.3.4.4/ 4.3.3.1/perc.(3)/timp./strings. Condensed and full score available.

W67a.

Selected Performances 1974 (March 24): Anaheim, California; MENC Convention; Carmen Dragon, conductor.

W67b.

1975 (March 2): Bridgeport, Connecticut; University of Bridgeport, University of Bridgeport Orchestra; Harrison Valante, conductor.

W67c.

1975 (August 29-30): Rancho Bernardo, California; Symphony on the Green Series; San Diego Symphony; Andre Kostelanetz, conductor.

W67d.

1981 (June 11): California; JCC Symphony Orchestra at the Tifereth Israel Synagogue Auditorium; David Amos, conductor.

W68.

Out of the Cradle, Op. 5 (1934; Carl Fischer; 12 min.) 1.1.1.1/ 2.1.0.0/ perc./piano/strings. Revised 1962 for chamber orchestra.

W68a. W69.

Premiere 1938 (October 18-20): Rochester, New York; Rochester Civic Symphony Orchestra at Eastman School of Music; Howard Hanson, conductor. Pastorale and Tarantella, Op. 28 (1941; G. Schirmer; 10 min.) 3.2.2.2/4.2.3.1/ perc./piano/strings.

Works and Performances 43

W69a.

Premiere (1941): New York, New York; NBC Symphony Orchestra; Dean Dixon, conductor.

W69b.

Other Selected Performances 1942 (May 25): Chicago, Illinois; Illinois WPA Symphony at Eighth St. Theatre; Rudolph Ganz, conductor.

W69c.

1942 (July 13): New York, New York; New York Philharmonic Symphony Orchestra, Lewissohn Stadium-City College; Alexander Smallens, conductor.

W69d.

1942 (November 13): St. Louis, Missouri; St. Louis Symphony Orchestra at Municipal Auditorium; Vladimir Golschmann, conductor.

W69e.

1944 (January 24): Boston, Massachusetts; Boston Symphony Orchestra; Vladimir Golschmann, conductor.

W69f.

1944 (February 1): San Francisco, California; San Francisco Symphony Orchestra; Pierre Monteux, conductor.

W69g.

1944 (December 1): San Francisco, California; San Francisco Symphony Orchestra; Pierre Monteux, conductor.

W69h.

1945 (August 9): Chicago, Illinois; Chicago Symphony Orchestra; Pierre Monteux, conductor.

W69i.

1957 (March 14): Newark, Delaware; University of Delaware; Delaware Symphonette; J. Robert King, conductor.

W69j.

1967 (April 5): Dayton, Ohio; Dayton Philharmonic; Paul Creston, conductor.

W70.

Pavane Variations, Op. 89B (1966; G. Schirmer; 14 min.) For full orchestra; originally composed for chamber orchestra. 3.3.3.3/4.3.3.1/ perc./piano/strings. Commissioned by the La Jolla Musical Arts Society.

W70a. W71.

Selected Performances 1966 (November 6): Washington, D.C.; National Symphony Orchestra; Howard Mitchell, conductor. Poem for Harp and Orchestra, Op. 39 (1945; G. Schirmer; 12 min.) Commissioned by Alice M. Ditson. 3.2.2.2/4.2.3. l/timp./strings.

W71a.

Premiere 1946 (July 6): New York, New York; ABC Orchestra; Gloria Agostini, soloist; Paul Creston, conductor.

W71b.

Other Selected Performances 1947 (December 11): San Francisco, California; San Francisco Symphony; Virginia Morgan, soloist; Pierre Monteux, conductor.

W72.

W72a.

Pre-classic Suite, Op. 71 (1958; G. Ricordi; 10 min.) Commissioned by Edward B. Benjamin. 3.3.3.3/2.2.0.0/strings. Premiere 1958 (March 4): New Orleans, Louisiana; New Orleans Philharmonic; Alexander Hilsberg, conductor.

44 Paul Cerston W73.

Prelude and Dance, Op. 25 (1941; G. Schirmer; 7 min.) 2.1.1.0/perc./piano/strings.

1.1.2.1/

W73a.

Premiere 1941 (1941): New York, New York; Columbia Concert Orchestra; Howard Barlow, conductor.

W73b.

Other Selected Performances 1942 (February 1): New York, New York; Orchestrette of New York at Carnegie Chamber Music Hall; Frederique Petrides, conductor.

W73c.

1957 (January 11): Swarthmore, Pennsylvania; Swarthmore College; Swarthmore College Symphony Orchestra; William Reese, conductor.

W73d.

1963 (May 4): Greenville, North Carolina; East Carolina College; 2nd Annual Contemporary Music Festival; East Carolina College Symphony; Paul Creston, conductor.

W74.

A Rumor, Op. 27 (1941; G. Schirmer; 5 min.) 1.1.2.1/2.1.1.0 or 2.2.2.2/ 4.2.2.0/strings.

W74a.

Premiere 1941 (December 13): New York, New York; Columbia Concert Orchestra; Howard Barlow, conductor.

W74b.

Other Selected Performances 1942 (February 1): New York, New York; Orchestrette of New York; Frederique Petrides, conductor.

W74c.

1942 (December 17): Cleveland, Rodzinski, conductor.

Ohio; Cleveland

Orchestra;

Artur

W75.

Sadhana, Op. 117 (1981; G. Schirmer; 15:15) For violoncello and orchestra. Commissioned by the Los Angeles Chamber Orchestra.

W75a.

Premiere 1981 (October 1): El Cajon, California; Los Angeles Chamber Orchestra; Douglas Davis, soloist; Gerard Schwarz, conductor.

W75b.

Other Selected Performances 1981 (October 19): New York, New York; Y Chamber Orchestra; Andre Emelianoff, soloist; Gerard Schwarz, conductor (New York premiere).

W75c.

1983 (May 24): La Jolla, California; Nautilus Chamber Orchestra at La Jolla Museum of Contemporary Art Auditorium; Louis Campiglia, conductor.

W76.

Square Dance '76, Op. 105 (1975; Henmar Press; 5 min.) For wind orchestra. Written for the United States Bicentennial. Commissioned by the American Wind Symphony Orchestra.

W76a, W77.

Premiere 1975 (June conductor.

15): Point State Park, Pennsylvania; Robert

Boudreau,

Suite, Op. 109 (1978; Music Graphics Press; 16 min.) For string orchestra. Commissioned by the Jewish Community Center.

Works and Performances 45 W77a.

Premiere 1978 (May 21): San Diego, California; JCC Chamber Orchestra of San Diego, David Amos, conductor.

W77b.

Other Selected Performances 1967 (May 28): Tijuana, Mexico; JCC Chamber Orchestra at Teatro de la Casa de la Cultura de Tijuana; David Amos, conductor.

W77c.

1980 (June 22): San Diego, California; Horace Mann Jr. High Auditorium; JCC Chamber Orchestra; David Amos, conductor.

W78.

Sunrise in Puerto Rico (1966; Shawnee Press) From the Airborne Suite. Full and condensed scores available.

W79.

Symphony No. 1, Op. 20 (1940; G. Schirmer; 20 min.) 3.2.2.2/4.2.3.1/ perc./ piano/strings. Music Critics Circle Award. First Place-Paris Referendum.

W79a.

Premiere 1940 (February 22): Brooklyn, New York; NYA Symphony Orchestra at Brooklyn Academy of Music; Fritz Mahler, conductor.

W79b.

Other Selected Performances 1941 (May 25): Buffalo, New York; (Scherzo Movt.) - All American Youth Orchestra at KJeinhands Music Hall; Leopold Stokowski, conductor.

W79c.

1941 (June 11): New York, New York; (Scherzo Movement) All American Youth Orchestra; Leopold Stokowski, conductor.

W79d.

1941 (June 16): Kansas City, Missouri; (Scherzo Movt.) - All American Youth Orchestra; Leopold Stokowski, conductor.

W79e.

1941 (October 16): New York, New York; (Scherzo Movt.); New York Philharmonic Symphony; Leopold Stokowski, conductor.

W79f.

1943 (March 3&23): Philadelphia, Pennsylvania; Philadelphia Orchestra; Eugene Ormandy, conductor.

W79g.

1943 (May 5): Ann Arbor, Michigan; May Festival, Philadelphia Orchestra; Eugene Ormandy, conductor.

W79h.

1943 (November 18): Los Angeles, California; Los Angeles Philharmonic; Alfred Wallenstein, conductor.

W79i.

1943 (November 26): Cincinnati, Ohio; Cincinnati Symphony Orchestra; Eugene Goossens, conductor.

W79j.

1943 (December 5); San Diego, California; Philharmonic Orchestra of Southern California; Alfred Wallenstein, conductor.

W79k.

1943 (December 7): Santa Barbara, California; Los Angeles Philharmonic; Alfred Wallenstein, conductor.

W80.

Symphony No. 2, Op. 35 (1944; G. Schirmer; 25 min.) 4.3.3.3/4.3.3.1/perc./ piano/strings.

W80a.

Premiere 1945 (February 15): New York, New York; Philharmonic Symphony Or-

46 Paul Cerston chestra; Arthur Rodzinski, conductor. W80b.

1945 (March 23); Boston, Massachusetts; Boston Symphony Orchestra; Cyrus Durgin, conductor.

W80c.

Other Selected Performances 1947 (February 21): Philadelphia, Pennsylvania; Philadelphia Orchestra; Eugene Ormandy, conductor.

W80d.

1947 (July 21): Chicago, Illinois; Chicago Symphony Orchestra; Eugene Ormandy, conductor.

W80e.

1951 (August 13): Ithaca, New York; NBC Symphony Orchestra at Cornell University; Pierre Monteux, conductor.

W80f.

1952 (June 25): Chicago, Illinois; Grant Park Symphony; Nicolai Malko, conductor.

W80g.

1953 (January 10): Boston, Massachusetts; Boston Symphony Orchestra; Pierre Monteux, conductor.

W80h.

1953 (May 3): Los Angeles, California; Boston Symphony Orchestra; Pierre Monteux, conductor.

W80i.

1953 (October 19): New York, New York; Little Orchestra; Thomas Scherman, conductor.

W80j

1954 (March 4): Montreal; Orchestra Les Concerts Symphoniques; Pierre Monteux, conductor.

W80k.

1954 (November 26): Minneapolis, Minnesota; Minneapolis Symphony Orchestra; Antal Dorati, conductor.

W801.

1956 (January 19): New York, New York; New York Philharmonic Symphony; Pierre Monteux, conductor.

W80m. 1956 (February 25): San Francisco, California; Boston Symphony (also on a national and European tour); Pierre Monteux, conductor. W80n.

1957 (February 17): London; London Symphony Orchestra; Edward van Remoortel, conductor.

W80o.

1957 (February 26): Houston, Texas; Houston Symphony; Pierre Monteux, conductor.

W80p.

1957 (August 15): Los Angeles, California; Hollywood Bowl Pops Orchestra; Howard Mitchell, conductor.

W80q.

1957 (November 3): Buffalo, New York; Buffalo Philharmonic; Joseph Krips, conductor.

W80r.

1958 (January 2): Detroit, Michigan; Detroit Symphony Orchestra; Howard Mitchell, guest conductor.

W80s.

1958 (November 1): St. Louis, Missouri; St. Louis Sympyhoy Orchestra; Edward Van Remoortel, conductor.

Works and Performances 47 W80t.

1959 (April 7): New Jersey; Wynnefield Symphony Orchestra; Sidney Rothstein, conductor.

W80u.

1959 (June) Santiago, Chile; National Symphony at Teatro Astor; Howard Mitchell, conductor.

W80v.

1960 (March 29): Tel Aviv; Israel Philharmonic; Thomas Scherman, conductor.

W80w. 1960 (December 29-30): Chicago, Illinois; Chicago Symphony Orchestra; Pierre Monteux, conductor. W80x.

1963 (August 28): Los Angeles, California; Lost Angeles Philharmonic Orchestra; Walter Hendl, conductor.

W80y.

1965 (November 27): Cincinnati, Ohio; Cincinnati Symphony Orchestra; E. Kunzel, conductor.

W80z.

1966 (May 10): Brockton, Massachusetts; Brockton Orchestral Society; John Covelli, conductor.

W80aa. 1967 (April 5): Dayton, Ohio; Dayton Philharmonic Orchestra; Paul Creston, guest conductor. W81.

Symphony No. 3, Op. 48 (1960; G. Schirmer; 25 min.) 4.3.3.3/4.3.3.1/ timp./harp/strings.

W81a.

Premiere 1950 (October 27): Worcester, Massachusetts; Worcester Festival, Philadelphia Orchestra; Eugene Ormandy, conductor.

W81b.

Other Selected Performances 1951 (January 11): Chicago, Illinois; Chicago Symphony; Eugene Ormandy, conductor.

W81c.

1951 (May 6): Ann Arbor, Michigan; Cincinnati Symphony; Eugene Ormandy, conductor.

W81d.

1952 (January 20): Minneapolis, Minnesota; Minneapolis Symphony Orchestra; Antal Dorati, conductor.

W81e.

1952 (February 16-17): St. Louis, Missouri; St. Louis Symphony Orchestra; Vladimir Golschmann, conductor.

W81f.

1957 (February 21): Morgantown, West Virginia; West Virginia All-State College Symphony Orchestra at West Virginia University; Guy Fraser Harrison, conductor.

W81g.

1963 (April 9-10): Washington, D.C.; National Symphony Orchestra; Howard Mitchell, conductor.

W81h.

1965 (December 5): Utica, New York; Utica Symphony Orchestra; Joseph Henry, conductor.

W81i.

1966 (November 29): Odessa, Texas; Midland-Odessa Orchestra; Lara Haggard, conductor.

W81j.

1968 (August 18): Washington; Pacific Northwest Music Camp, operated by

Symphony

48 Paul Creston Seattle Youth Symphony; Vilem Sokol, conductor. W81k.

1979 (March 22): Tacoma, Washington; Seattle Symphony Orchestra; Milton Katims, conductor.

W811.

1978 (March 30): San Diego, California; San Diego Symphony; Peter Eros, conductor.

W81m.

1979 (March 21): Redlands, California; University of California Symphony Orchestra; James Jorgenson, conductor.

W82.

Symphony No. 4, Op. 52 (1951; Franco Colombo; 26 min.) 3.2.2.2/ 4.2.3. l/timp./strings.

W82a.

Premiere 1952 (January 30): Washington, D.C.; National Symphony Orchestra; Howard Mitchell, conductor.

W82b.

Other Selected Performances 1957 (March 26): Oakland, California; Oakland Symphony Orchestra; Orley See, conductor.

W82c.

1958 (February 11): Dallas, Texas; Dallas Symphony Orchestra; Walter Hendl, conductor.

W82d.

1958 (March 9): Atlanta, Georgia; Atlanta Symphony Orchestra; Henry Sopkin, conductor.

W82e.

1962 (November 18): Great Neck, New York; Great Neck Symphony Orchestra; Sylvan Shulman, conductor.

W82f.

1965 (May 6): New York, New York; Symphony of the New World; Benjamin Steinberg, conductor.

W82g.

1966 (December 10): Westchester, New York; Westchester Symphony Orchestra; Siegfried Landau, conductor.

W82h.

1971 (February 11): Mid-Columbia Symphony Orchestra; Theodore Pluti, conductor.

W83.

Symphony No. 5, Op. 64 (1955; Franco Colombo; 27 min.) 4.3.4.3/4.3.3.1/perc./strings.

W83a.

W84.

W84a. W85.

Premiere 1956 (April 4): Washington, D.C.; National Symphony Orchestra; Howard Mitchell, conductor. Symphony No. 6, Op. 118 (1981; G. Schirmer; 18:30) For organ and orchestra. Commissioned by the American Guild of Organists. Premiere 1982 (June 28): Washington, D.C.; National Symphony Orchestra; James Moeser, organist. Thanatopsis, Op. 101 (1971; Music Graphics Press; 12 min.) 2.2.2.2/4.2. l/O/timp./perc./harp/strings. Commissioned by Chappaqua Orcheschestral Association in memory of Boris Koutzer.

Works and Performances 49

W85a.

Premiere 1971 (December 4): Chappaqua, New York; Chappaqua Orchestral Association; Wolfgang Schanzer, conductor.

W86.

Threnody, Op. 16 (1936; G. Schirmer; 12 min.)

W86a.

Premiere 1938 (December 2): Pittsburgh, Pennsylvania; Pittsburgh Symphony; Fritz Reiner, conductor.

W86b.

Other Selected Performances 1939 (February 15): Boston, Massachusetts; New England Conservatory of Music; Conservatory Orchestra; Quincy Porter, conductor.

W86c.

1940 (January 18): Youngstown, Ohio.; Youngstown Symphony; Michael Ficocelli, conductor.

W86d.

1941 (January 3): Cincinnati, Ohio; Cincinnati Symphony Eugene Goossens, conductor.

W86e.

1941 (July 1-2): New York, New York; Stadium Concerts, Lewissohn Stadium; Philharmonic Symphony Orchestra; Eugene Goossens, conductor.

W86f.

1943 (March 5): New York, New York; Philharmonic Orchestra; Sir John Barbirolli, conductor.

W87.

Toccata for Orchestra, Op. 68 (1957; G. Schirmer; 10 min.) Commissioned by George Szell, Cleveland Orchestra. 4.3.4.3/4.3.3.1/perc./strings

Orchestra;

W87a.

Premiere 1957 (October 18): Cleveland, Ohio; Cleveland Orchestra; George Szell, conductor.

W87b.

Other Selected Performances 1958 (September 25): New York, New York; Contemporary Music Society; Leopold Stokowski, conductor.

W88.

Two Choric Dances, Op. 17A (1938; G. Schirmer; 12 min.) 1.1.1.1/1.0.O.O/perc./piano/strings. For chamber orchestra.

W88a.

Premiere 1938 (September): Saratoga Springs, New York; Yaddo Chamber Orchestra; Arthur Shepherd, conductor.

W88b.

Other Selected Performances 1939 (January): Boston, Massachusetts; Zighera Chamber Zighera, conductor.

Orchestra;

W88c.

1963 (November 22): Columbus, Ohio; Women's Club Orchestra at Battelle Memorial Auditorium; Paul Creston, conductor.

W88d.

1968 (March 30): Port Jefferson, New York; Orchestra Da Camera.

W88e.

1978 (September 15): Tucson, Arizona; University of Arizona; Arizona Chamber Orchestra; Robert Hull, conductor.

50 Paul Cerston W89.

Two Choric Dances, Op. 17B (1938; G. Schirmer; 12 min.) For full orchestra. 3.2.2.2/4.2.3.1/perc./piano/strings

W89a.

Premiere 1939 (November 20): Cleveland, Ohio; Cleveland Federal Orchestra; Arthur Shepherd, conductor.

W89b.

Other Selected Performances 1940 (March 3): Washington, D.C.; National Symphony Orchestra; Hans Kindler, conductor.

W89c.

1942 (November 1): New York, New York; NBC Symphony Orchestra (Dance No. 2); A. Toscanini, conductor.

W89d.

1943 (March 18): New York, New York (Dance No. 2); New York Philharmonic; Efrem Kurtz, conductor.

W89e.

1943 (December 1): Detroit, Michigan; Detroit Symphony; Karl Kreuger, conductor.

W89f.

1944 (February 22): Kansas City, Missouri; Kansas City Philharmonic.

W89g.

1944 (November 23-24): Los Angeles, Philharmonic; A. Wallenstein, conductor.

W89h.

1948 (July 12): New York, New York; Lewissohn Stadium Concert; Sir Adrian Boult, conductor.

W89i.

1951 (February 3-4): St. Louis, Missouri; St. Louis Symphony Orchestra; Vladimir Golschmann, conductor.

W89j.

1952 (January 29): Philadelphia Orchestra; Victor De Sabata, conductor.

W89k.

1953 (March 14): New York, New York; New York Philharmonic; Guido Cantelli, conductor.

W891.

1957 (March 14): Newark, Delaware; University of Delaware; Delaware Symphonette; J. Robert King, conductor.

W89m.

1959 (October 19): Kaiserslautern, Germany; Seventh U.S. Army Orchestra; John Canarina, conductor.

W89n.

1967 (April 5): Dayton, Ohio; Dayton Philharmonic; Paul Creston, conductor.

W89o.

1970 (February 16-17): Odessa, Texas; Midland-Odessa Symphony; Robert G. Mann, conductor.

W89p.

1976 (December 9): San Diego, California; San Diego Symphony; Peter Eros, conductor.

W89q.

1984 (October 9): Des Moines, Iowa; Drake Symphony Orchestra; John Canarina, conductor.

W90.

Violin Concerto, No. 1, Op. 65 (1956; Belwin Mills; 20 min.) Commissioned by Zlatko Balokovic. 3.2.2.2/4.2.3. l/timp./strings. Premiere

California;

Los

Angeles

Works and Performances 51 W90a.

1960 (January 14); Detroit, Michigan; Detroit Symphony Orchestra; Benno Rabinof, soloist; Paul Paray, conductor.

W91.

Violin Concerto, No. 2, Op. 78 (1960; Belwin Mills; 20 min.) Commissioned by Michael Rabin under a Ford Foundation Grant. 3.2.2.2/4.2.3.1/ timp./strings

W91a.

Premiere 1960 (November 17): Los Angeles, California; Los Angeles Philharmonic; Michael Rabin, soloist; G. Solti, conductor.

W91b.

Other Selected Performances 1961 (January 22): Atlanta, Georgia; Atlanta Symphony; Henry Sopkin, conductor.

W91c.

1962 (March 19): New York, New York; Little Orchestra Society; Michael Rabin, soloist; Thomas Scherman, conductor.

W92.

Walt Whitman, Op. 53 (1952; Belwin Mills; 12 min.) Commissioned by Thor Johnson. (4. also pice.) 4.3.4.3/4.3.3. l/timp./perc.(4)/glock/chimes/ xyl./eel/harp/ strings

W92a.

Premiere 1952 (March 28-9): Cincinnati, Ohio; Cincinnati SymphonyOrchestra; Thor Johnson, conductor.

W92b.

Other Selected Performances 1967 (April 5): Dayton, Ohio; Dayton Philharmonic; Paul Creston, conductor.

VII. CHAMBER AND SOLO INSTRUMENTAL MUSIC W93.

Ceremonial, Op. 103 (1972; G. Schirmer; 5 min.) For percussion (8 players and piano).

W93a.

Premiere 1972 (May 18): Ellensburg, Washington; Central Washington State College; Central Washington State Percussion Ensemble; John Moaward, conductor.

W93b.

Other Selected Performances 1974 (February 25): Columbus, Ohio; Ohio State University; Ohio State University Percussion Ensemble; James L. Moore, conductor.

W93c.

1974 (March 20): New York, New York; Manhattan School of Music; Manhattan Percussion Ensemble; David Aronson, piano.

W93d.

1974 (April 11): Rochester, New York; Eastman School of Music; John Beck, conductor.

W93e.

1975 (March 2): Bridgeport, Connecticut; University of Bridgeport; University of Bridgeport Percussion Ensemble; Howard Zwickler, conductor; Joseph LoCascio, piano.

W93f.

1977 (October 18, 20): Terre Haute, Indiana; Indiana State University; Indiana State University Percussion Ensemble; Neal Fluegel, conductor.

52 Paul Cerston W93g.

1981 (May 7): Appleton, Wisconsin; Lawrence University; Lawrence University Percussion Ensemble; Herbert Hardt, conductor.

W94.

Choreographic Suite, Op. 86A (1965; Belwin Mills; 25 min.) For chamber orchestra. Commissioned by the Harkness Foundation. 1.1.1.1/2.2.1.0/timp./ perc. (l)/xyl./piano/strings

W94a. W95.

Selected Performances 1970 (May 26): Ellensburg, Washington; Central Washington State College; Central Symphony Orchestra; Paul Creston, guest conductor. Concertino, Op. 99 (1969; E.C. Kerby, 15 min.) For piano and woodwind quintet. Commissioned by Rose d'Amore.

W95a.

Premiere 1972 (April 15); Brockport, New York; Hartwell Chamber Soloists; State University College, Brockport; Ascher Temkin, conductor.

W95b.

Other Selected Performances 1972 (April 25): Emporia, Kansas; Kansas State Teachers College; Kansas State College Woodwind Quintet; David Yeomans, piano.

W95c.

1975 (March 3): Bridgeport, Connecticut; University of Bridgeport; Contemporary Composers Festival; Harold Dart, piano; Roger McDonald, oboe; Kathy Volkmann, flute; Richard DeBaise, clarinet; Joel Winter, horn; Abby Rosenberg, bassoon.

W96.

Embryo Suite, (1968; Pietro Diero Publications; 6 min.) For accordion. Commissioned by the American Accordionists Association.

W96a.

Selected Performances 1975 (March 2): Bridgeport, Connecticut; University of Bridgeport Contemporary Composers Festival; Linda Soley Reed, accordion.

W97.

Fanfare for Brass

W97a.

Premiere 1956 (February 14): Philadelphia Orchestra.

W98.

Fantasy for Organ, Op. 74 (1958; Franco Colombo; 8 min.) Commissioned by the Cleveland Chapter of the American Guild of Organists.

W98a.

Premiere 1958 (November 9): Cleveland, Ohio; Dr. Henry Fusner, on program for the 50th anniversary of the American Organ Guild; Trinity Episcopal Church.

W98b.

Other Selected Performances 1959 (July 15): New York, New York; Columbia University; St. Paul's Chapel; Marilyn Mason.

W98c.

1966 (March 4): Berea, Ohio; Baldwin Wallace College Contemporary Music Festival; Sara Ritter, organ.

W99.

Five Dances for Piano, Op. 1 (1932; Shawnee Press; 14 min.) Written for Louise Creston to her choreography.

W99a.

Premiere 1935: New York, by Paul Creston.

Works and Performances 53

W99b.

Other Selected Performances 1935 (February 2): New York, New York; Municipal Auditorium, Washington Irving High School; Sophia Delza, in a program of dances (Tarantella); Paul Creston, piano.

W99c.

1936 (March 4): New York, New York; (Tarantella); WPA Music Project, held at Composers Forum; Richard Singer, piano.

W99d.

1936 (July): Paul Creston, on his tour with Cecil Leeson of the Central and Southwestern States.

W99e.

1965 (September 28): Stockton, California; University of the Pacific; Lynn Lewis, piano.

W99f.

1965 (October 1, 10): Lincoln, Nebraska; Sheldon Art Gallery, Lynn Lewis (Tarantella).

W100.

Five Little Dances, Op. 24 (1940; G. Schirmer; 7 min.)

Selected Performances WlOOa. 1951 (June 3): Brooklyn, New York; Stanley Baum, piano. WlOOb. 1963 (January 31): Tulsa, Oklahoma; Oklahoma College for Women, Patricia Gambel. W101.

Five Two Part Inventions,

W102.

Homage, Op. 41 (1947; G. Schirmer; 3 min.) For viola and piano or violoncello and piano; also arranged for string orchestra. Assigned to Shawnee.

Op. 14 (1937; G. Schirmer; 8 min.)

Premiere W102a. 1947 (March 28): New York, New York; Andor Toth and Paul Creston. W103.

Interlude, Op. 114 (1980; Music Graphics Press; 3 min.) For piano solo.

W104.

Lydian Song, Op. 55 (1952; Franco Colombo; 4 min.) For harp solo.

Premiere W104a. 1957 (March 16): New York, New York; Frances Corsi, Juilliard School. Other Selected Performances W104b. 1958 (May 23): Westchester, New York; Music Teachers Council of Central Westchester - Paul Creston in a lecture, "The Plight of the Creative Artist & Recital." W105.

Metamorphoses,

Op. 84 (1964; Mills Music; 18 min.)

Selected Performances W105a. 1969 (November 16): Tacoma, Washington; Pacific Lutheran University; Carolyn Harer Hoover. W105b. 1977 (March 31): San Francisco, California; San Francisco Ballet; Lew Christensen, director, Tomm Ruud, choreography; James Lees, piano to Metamorphoses by Creston. W106.

Offertory, Op. 113 (1980; Music Graphics Press) For piano solo. Dedicated to the memory of Stephen Barr. Commissioned by Howard Barr.

54 Paul Creston Premiere W106a. 1981: Fort Worth, Texas. Other Selected Performances W106b. 1980 (November): Texas Wesleyan College; American musicale, Karla Standridge. W106c. 1981 (April 7): Texas Wesleyan College; Karla Standridge, piano. W107.

Olympia, Op. 94 (1968; G. Schirmer; 6 min.) For harp solo. Commissioned by Hartt Musical College as a set piece for International Competition.

Premiere W107a. 1969: International Harp Competition. W108.

Partita for Flute, Violin and Strings, Op. 12 (1937; Leeds Music Corp.; 16 min.)

Premiere W108a. 1938 (September 18): Saratoga Springs, New York; Yaddo Chamber Orchestra; Paul Creston, conductor. Other Selected Performances W108b. 1938 (July 23): New York, New York; CBS Broadcast; Columbia Network Series; Howard Barlow, conductor; Columbia Broadcasting Symphony. W108c. 1938 (December 10): New York, New York; Columbia University Orchestra; Paul Creston, conductor; soloists, Vera Riecker, violin; Alfred Jones, flute. W108d. 1939 (February 3): New York, New York; Phil-Sym String Orchestra; soloists, Harald Kohon, violin; Murray Graitzer, flute. W108e. 1939 (February 4): New York, New York; Recording played at program, History of Music and Its Parallels in Visual Art, under direction of David Le Vita, at Brooklyn Museum; Federal Music Project. W108f.

1939 (May 1): New York, New York; Orchestrette Classique; Frederique Petrides; soloists, Ruth Freeman, flute; Hinda Barnett, violin.

W108g. 1939 (May 10): New York, New York; Phil-Sym String Orchestra at American Women's Association; Jettie J. Denmark, conductor; soloists, (Air) - Nicholas Tonhazy & Raphael Cramer, cello; Jacque Rubinstein, violinist; Eugene Orloff, violin; Murray Graitzer, flute. W108h, 1939 (May 14): Lincoln, Nebraska; University of Nebraska Symphony Orchestra; Don Lentz, conductor; Henry Brahinsky, Margaret Porter, violins, Don Hartman, flute. W108L

1941 (January 26): New York, New York; National Association for American Composers & Conductors; The Concerto Ensemble; Francis Buebendorf, conductor; Frances Bloisdell, Samuel Guckin, soloists.

W108j.

1953 (April 6): Ensemble at Hartt School of Music; Institute of Contemporary American Music; Paul Creston, conductor; Carl Bergner, flute; Martin Katahn, violin; and Hartt String Orchestra.

W108k. 1955 (July): Tonkunstlerorchestra; Saul Caston, conductor.

Works and Performances 55 W1081.

1957 (February 12): New York, New York; American Music Festival; Town Hall; Knickerbocker Chamber Players; Herman Neuman, conductor; Mildred Hunt Wummer, Nadia Koutzen, soloists.

W108m. 1957 (March 20): New York, New York; Orchestra da Camera, Inc.; Remus Tzincoca, conductor. W108n. 1959 (January 13): New York, New York Clarion Concerts, Town Hall; Newell Jenkins, conductor; Samuel Baron, flute; Gerald Tarack, violin. W108o. 1960 (May 14): Chappaqua, New York; Chappaqua Chamber Orchestra; Boris Koutzen, conductor; Sidney Polivnick, violin; Clifford Jackson, flute. W108p. 1963 (May 9): Miami, Florida; University of Miami; Annual Festival of American Music; Fabien Sevitzky, conductor; August Grillo, flute; Bogdan Chruzcz, violin. W108q. 1970 (February 27): Berkshire Symphony at Williams College; Julius Hegyi, conductor; Margaret Handford, flute; Daniel Grove, violin. W109.

Pavane Variations, Op. 89A (1966; G. Schirmer; 14 min.) For chamber orchestra. 2.2.2.2/2.2.0.0/timp./piano/strings. Commissioned by the La Jolla Musical Arts Society.

Premiere W109a. 1966 (Aug. 21): La Jolla, California; Milton Katims, conductor; La Jolla Musical Arts Society. WHO.

Piano Sonata, Op. 9 (1936; Shawnee Press; 15 min.) Orig. published by Templeton.

Premiere W l 10a. 1939 (November 22): New York, New York; Town Hall; Lolita Gainsborg. Other Selected Performances WllOb. 1939 (July 20): New York, New York; Paul Creston, at WNYC Broadcasting Station; Composers Forum Laboratory; WPA Federal Music Project. WllOc. 1958 (March 21): Detroit, Michigan; Paul Creston at Detroit Institute of Arts. WllOd. 1973 (November Hoffman. Will.

1): Fairfax,

Virginia; Mason

University;

Marjorie

Prelude and Dance for Accordion, Op. 69 (1957; Pietro Diero Publication, 4 min.) Commissioned by the American Accordionists Association.

Premiere W l l la. 1962 (May 6): New York, New York; Town Hall; Carmen Carrozza, accordion. Other Selected Performances W l l lb. 1962 (September 16): New York, New York; Carnegie Hall; Concert of Original Music for Accordion; Patricia Tregellas, accordion. Wlllc.

1963 (May 3): New York, New York; Elma Gluck Concert Hall; Mogens Ellegaard, accordion.

56 Paul Creston W l l Id. 1977; Toronto; University of Toronto; Joseph Macerollo, during 1977-78 season. W112.

Prelude and Dance for Piano, Op. 29, No. 1 (1942; Mercury; 3 min.) No. 2 (1942; Shawnee Press; 3 min.) Orig. published by Axelrod.

Premiere W l 12a. 1942 (June 28): New York, New York; Vera Brodsky. Other Selected Performances W l 12b. 1944 (June 25): Brooklyn, New York; Paul Creston in "Ask the Composer" at Brooklyn Museum. W l 12c. 1949 (April 14): Denton, Texas; North Texas State College; Boggs Ryan. W112d. 1958 (May 23): Westchester, New York; Paul Creston, in concert and lecture, "The Plight of the Creative Artist," presented under auspices of Music Teachers Council of Central Westchester. W112e. 1962 (October 12): New York, New York; Carnegie Hall; (No. 2) Robert Drumm. W l 12f.

1965 (October 7): (Prelude No. 1); Oklahoma College of Liberal Arts; Steve Conver.

W112g. 1973 (October 24): Ellensburg, Washington; Central Washington State College; Paul Creston, in Faculty Recital. W112h. 1974 (February 14): Ellensburg, Washington; (Prelude No. 2); Central Washington State College; Norma Lewis. W l 12i.

1974 (May 26): Ellensburg, Washington; Central Washington State College; Lynda Bylsma.

W l 12j. 1981 (May 7): Appleton, Wisconsin; (Prelude No. 2); Lawrence University; Anne Mishler. W l 12k. 1984 (March 25): St. Petersburg, Florida; Eckerd College; Gloria Bolivar. W113.

Prelude and Dance for Two Pianos, Op. 120 (1982; Ms.; Commissioned by the National Federation of Music Clubs.

8:45)

Premiere W113a. 1983 (April 24): Columbus, Ohio; National Federation of Music Clubs Convention, Columbus, Ohio. W114.

Rapsodia Breve, Op. 81 (1958; Franco Colombo; 8 min.) For organ pedals alone.

Selected Performances W l 14a. 1964 (August 9): Stockton, California; Haggin Museum of Art; Fred Tulan, organist. W114b. 1966 (March 4): Berea, Ohio; Baldwin Wallace College Contemporary Music Festival; Sara Ritter, organist.

Works and Performances 57 W114c. 1977 (October 18, 20): Terre Haute, Indiana; Indiana State University; Nancy Ibberson, organist. W115.

Rapsodie, Op. 108A (1976; Shawnee Press; 10 min.) For saxophone and organ. Commissioned by Jean-Marie Londeix.

Premiere W l 15a. 1976: London; World Saxophone Congress, Jean-Marie Londeix. W116.

Rapsodie, piano.

W117.

Rhythmicon (1977; Belwin Mills - 10 Bks.) For piano.

Op. 108B (1976; Shawnee Press; 10 min.) For saxophone and

Selected Performances W117a. 1972 (February 1): Ellensburg, Washington; Central Washington State College; Carla Kaatz; No. 78. W l 17b. 1973 (May 10): Ellensburg, Washington; Central Washington State College; Diana Chapin (Nos. 78, 82, 89). W117c. 1974 (May 7): Ellensburg, Washington; Central Washington State College; Diana Chapin; (Nos. 90-93, 98). W118.

Romanza, Op. 110 (1978; Music Graphics Press; 5 min.) For piano solo. Dedicated to the memory of Margaret Clark-Walter.

Premiere W l 18a. 1980 (April): Grinnell, Iowa; Grinnell College; John Jensen, piano. W119.

Rumba-Tarantella (1964; Belwin Mills; 4 min.) For two pianos. Also for piano solo; arr. for orchestra. (3.2.2.2/4.3.3.l/timp./perc. (3)/strings

Premiere W119a. 1973 (November 20): Ellensburg, Washington; Central Washington State College; Howard and Patricia Barr. W120.

Seven Theses, Op. 3 (1933; Shawnee Press; 10 min.) For piano. Orig. published by New Music, January 1935.

Premiere W120a. 1933 (October 24): New York, New York; Paul Creston, at the New School for Social Research. Other Selected Performances W120b. 1936 (March 4): New York, New York; WPA Federal Music Project; Composers Forum Laboratory; Paul Creston. W121.

Six Preludes for Piano, Op. 38 (1945; Leeds Music Corp.; 8 min.)

Premiere W121a. 1949: New York, New York; Carnegie Hall; Earl Wild. Other Selected Performances W121b. 1958 (March 21): Detroit, Michigan; Paul Creston, at Detroit Institute of Arts.

58 Paul Creston W121c. 1964 (April 3): New York, New York; Contemporary Composers Concert presented by North Shore Community Arts Center; Delia Calapai. W121d. 1965 (February 15): New York, New York; New York College of Music; WNYC Festival of American Music; Vladimir Padwa. W121e. 1967 (April 18): New York, New York; Carnegie Hall; Barbara Meister. W121f. 1971 (July 15): Ellensburg, Washington; Central Washington State College; Ginger Jensen. W121g. 1981 (May 7): Appleton, Wisconsin; Lawrence University; Tina Biese (Nos. Ill & IV) W122.

Sonata for Saxophone and Piano, Op. 19 (1939; Shawnee Press; 13 min.) Orig. pub. by Axelrod (1945); assigned to Shawnee.

Premiere W122a. 1940 (February 15): New York, New York; The New Music Group; Carnegie Chamber Hall; Paul Creston, piano; Cecil Leeson, saxophone. Other Selected Performances W122b. 1940 (April 21): Elkhart, Indiana; St. Vincent's Hall; Cecil Leeson, Josef Wagner, piano. W122c. 1940 (April 21): Bennington, Vermont; Bennington College; (Andante Movt.); Robert McBride; Gregory Tucker. W122d. 1940 (May 8): New York, New York; Cecil Leeson; Paul Creston, piano; at American Music Festival. W122e. 1953 (April 6): Hartford, Connecticut; Hartt School of Music; Institute of Contemporary American Music Series; Louis Soloway; Elizabeth Warner, piano. W122f.

1958 (March 14): New York, New York; Vincent F. Wright; Richard Doren, piano.

W122g. 1958 (November 9): New York, New York; Town Hall; Sigurd Rascher; David Tudor, piano. W122h. 1960 (May 22): Pittsburgh, Pennsylvania; Bernard Cerilli; Harry Franklin, piano. W122L

1961 (March 16): Wilkes-Barre, Pennsylvania; Vincent J. Abato; Wilkes College.

W122j.

1962 (November 18): Indiana, Pennsylvania; State College; Robert I. Lloyd; Alan K. Lomicka, piano.

W122L 1964 (April 19): Cincinnati, Ohio; Leslie Scott; Martha Wuntz, piano, at MTNA. W1221.

1965 (January 6): New York, New York; Carnegie Hall; Eugene Rousseau; Leonard Klein, piano.

W122m. 1965 (November 4): Latrobe, Pennsylvania; Saint Vincent College; Nestor Koval; Ignatius Aurta, piano.

Works and Performances 59 W122n. 1966 (October 22): Fredonia, New York; State University of New York; Frederick Wyman; Paul Creston, piano. W122o. 1966 (November 13): New York, New York; New York College of Music; Vincent J. Abato; Paul Creston, piano. W122p. 1968 (February 13): New York, New York; 29th Annual Festival (WNYC) of American Music; New York Public Library; Vincent Abato; Paul Creston, piano. W122q. 1970 (July 14): Ellensburg, Washington; Central Washington College; Tom Barber; Kay Roskam, piano. W122r.

State

1973 (November 4): Winchester, Virginia; Shenandoah College & Conservatory of Music; Miller Sigmond; Marjorie Hoffman, piano.

W122s. 1975 (May 1): Bridgeport, Connecticut; University of Bridgeport; Gerald Baum; Donald Johnston, piano. W122t.

1976 (July 26): West Chester, Pennsylvania; West Chester State College; Ted Hegvik; Ferde Malenke, piano.

W122u. 1977 (October 30); San Diego, California; San Diego Women's Club; Cory Homnick; Roberta Garten, piano. W122v. 1979 (April 26): Austin, Texas; University of Texas; Albert Regni; Jean Barr, piano. W122w. 1979 (December 2): Muncie, Indiana; Ball State University; Brian Minor; Mitchell Andrews, piano. W122x. 1983 (September 18-October 19): United States Tour; David Bilger; Dorinne Bilger, piano. W123.

String Quartet, Op. 8 (1936; Shawnee Press; 18 min.)

Premiere W123a. 1936 (September 12): Saratoga Springs, New York; Phil-Sym Quartet; Yaddo Festival. Other Selected Performances W123b. 1936 (March 4): New York, New York; (1st & 2nd movts.) - WPA Federal Music Project; held at Composers Forum Laboratory; Modern Art Quartet; Jacques Larner, Leon Kaplan, violins; John Howell, viola; Sandor Szatmary, cello. W123c. 1937 (February 10): New York, New York; WPA Federal Music Project; Composers Forum Laboratory held at Theatre of Music; New String Quartet; Walter Eisenberg, Milton Lang, violins; Sidney Cohen, viola; Ana Drittell, cello. W123d. 1937 (May 4-6): Princeton, New Jersey; Westminster College Choir; The Roth Quartet. W123e. 1939 (July 20): New York, New York; Broadcast over WNYC; Federal Music Project; Composers Forum Laboratory.

60 Paul Cerston W123f.

1939 (August 31): New York, New York; Federal Forum String Quartet; Walter Eisenberg, Samuel Weiss, violins; Sidney Cohen, viola; Herman Krapkoff, cello (WPA Music Project).

W123g. 1939 (December 12): Toledo, Ohio; Walden String Quartet; Toledo Museum of Art; Homer Schmitt, Bernard Goodman, violins; David Schwartz, viola; Robert Swenson, cello. W123h. 1940 (March 8): Cleveland, Ohio; Walden String Quartet; Cleveland Museum of Art. W123L

1944 (July 29): Washington, D.C.; Stuyvesant String Quartet; Sylvan Shulman, Leo Kahn, violins; Ralph Hersh, viola; Alan Shulman, cello.

W123j.

1948 (December 5): Los Angeles, California; Hollywood Quartet at the Assistance League Playhouse; Felix Slatkin, Paul Shure, violins; Paul Robyn, viola; Eleanor Alier, cello.

W123k. 1959 (January 25): New York, New York; Carnegie Hall; Claremont Quartet; Marc Gottlieb, Vladimir Weisman, violins; William Schoen, viola; Irving Klein, cello. W1231.

1959 (December 20-21): Indianapolis, Indiana; Gregorian Chant movt. performed by the Indianapolis Symphony; Izler Solomon, conductor.

W123m. 1960 (May 22): Pittsburgh, Pennsylvania; Carnegie Music Hall Composers Forum Concert; Musical Arts Quartet - Murray Feldman, Irving Becker, violins; Sidney Cohen, viola; Theo Salzman, cello. W123n. 1964 (May 2): Greensboro, North Carolina; University of North Carolina; University Sinfonia; George Dickieson, conductor (Gregorian Chant mo Vermont). W123o. 1967 (October 19): Ellensburg, Washington; Central Washington State University; Philadelphia String Quartet; Veda Reynolds, Irwin Eisenberg, violins; Alan Iglitzin, viola; Charles Brennand, cello. W123p. 1975 (March 3): Bridgeport, Connecticut; University of Bridgeport; Contemporary Composers Festival; Bernice Friedson, Miriam Oppelt, violins; Cynthia Prentice, viola; Rubi Wentzel, cello. W123q. 1977 (April 24): San Diego, California; San Diego Youth Symphony; The Immaculata, Alcala Park; Louis Campiglia, conductor. W123r.

1977 (November 10): Walla Walla, Washington; Chamber Orchestra; Jose Rambaldi, conductor.

Whitman

W124.

Suite for Flute, Viola and Piano, Op. 56 (1953; Ms.; 23 min.)

College

Premiere W124a. 1955: (January 31): Pasadena, California; Pasadena Playhouse; Coleman Chamber Music Group. Other Selected Performances W124b. 1957: New York, New York; Lenox Avenue Young Women's Hebrew Association; Philharmonic Chamber Ensemble; Paul Creston, piano; Paige Brook, flute; David Kates, violin.

Works and Performances 61 W124c. 1960 (May 22): Pittsburgh, Pennsylvania; Carnegie Music Hall; Composers Forum Concert; Bernard Goldberg, viola; Aaron Chaifetz, flute; Harry Franklin, piano. W124d. 1963 (April 17): New York, New York; Concert of American Chamber Music; Judson Hall; John Wummer, flute; David Sackson, viola; Louisa Talma, piano. W124e. 1963 (November 22): Columbus, Ohio; Women's Club of Columbus; Battelle Memorial Auditorium; Laura Ruth Titus, flute; Isabel Chandler, viola; Florence Cafege, piano. W124f.

1966 (October 21): Westchester, New York; Westchester Conservatory of Music; Susan Adler, flute; Harry Zaratzian, viola; Christine Berl, piano (in honor of Paul Creston's 60th Birthday).

W124g. 1967 (February 27): Kalamazoo, Michigan; Western Michigan University; Charles Osborne, flute; Joseph Work, viola; Phyllis Rappoport, piano. W124h. 1969 (November 16): Tacoma, Washington; Pacific Lutheran University; Mu Phi Epsilon Concert; Miri, flute; Inez Jackson, viola; Calvin Knapp, piano. W124L

1981 (May 7): Appleton, Wisconsin; Lawrence University; Ernestine Whitman, flute; Elayne Borndaege, viola; Martin Butorac, piano.

W125.

Suite for Organ, Op. 70 (1957; Franco Colombo; 13 min.) Commissioned by Marilyn Mason.

Premiere W125a. 1958 (July): New York, New York; St. Paul's Chapel; Marilyn Mason. Other Selected Performances W125b. 1958 (December 30): New York, New York; St. Paul's Chapel; Marilyn Mason. W125c. 1959 (January 25): Lansing, Michigan; St. Paul's Episcopal Church; Marilyn Mason. W125d. 1959 (July 15): New York, New York; St. Paul's Chapel, Marilyn Mason. W125e. 1963 (November 10): New York, New York; Society for Ethical Culture; Ashley Miller. W125f.

1964 (October 4): Boston, Massachusetts; Massachusetts Institute of Technology; (Prayer movt.); Jon Spong.

W125g. 1964 (November 17): American Guild of Organists; Spong.

(Prayer movt.); Jon

W125h. 1967 (February 27): Kalamazoo, Michigan; Western Michigan University; Jack Ellis. W125i.

1968 (Aug. 22): Dallas, Texas; Southern Methodist University; Barbara Gray (Toccata movt.)

W125j.

1969 (November 16): Tacoma, Washington; Pacific Lutheran University; Betti Mitchell Margelli; (1st two movts.).

62 Paul Creston W125k. 1973 (December 8): Ellensburg, Washington; First Presbyterian Church; Christian I. Schneider (Prayer movt.). W1251.

1976 (November 21): Oklahoma City, Oklahoma; Plymouth Congregational Church; Dr. Howard Barr.

W125m. 1976 (December 1): Oklahoma City, Oklahoma; Concert presented by MacDowell Club of Allied Arts; Nichols Hills, United Methodist Church. W125n. 1978 (July 6): Ellensburg, Washington; Bonifactinus Kloster Heinfeld; Prof. C. Immo Schneider (Prelude and Prayer). W125o. 1985 (May 19): La Crescenta, California; St. Luke's of The Mountains; Howard Barr. W126. Suite for Saxophone and Piano (1935; Shawnee Press; 8 min.) Dedicated to Cecil Leeson. First published by New Music, April, 1938. Premiere W126a. 1936 (March 4): New York, New York; Composers Forum Laboratory; Cecil Leeson; Paul Creston, piano. Other Selected Performances W126b. 1936 (July): Tour of Central and Southwestern States; Cecil Leeson; Paul Creston. W126c. 1937 (May 18): Bennington, Vermont; (Pastorale and Scherzoso movts.) Robert McBride; Paul Creston, piano. W126d. 1937 (September 19): Saratoga Springs, New York; (Pastorale Scherzoso movts.) - Robert McBride; Paul Creston, at Yaddo Festival.

and

W126e. 1939 (February 4): Brooklyn, New York; Brooklyn Museum; Federal Music Project; Cecil Leeson; Paul Creston, piano. W126f.

1941 (May 29): Argentina; Teatro Del Pueblo; Sam Liberman; J.C. Paz, piano.

W126g. 1962 (December 12): St. Petersburg, Fla.; First Congregational Church; Arthur Hegiuk; Louis Golding, piano. W126h. 1976 (February 8): Indianapolis, Indiana; Indianapolis Museum of Art; Nicholas Brightman; Steven Glover, piano. W126i.

1976 (March 16): Bloomington, Indiana; Indiana University; Nicholas Brightman; Steven Glover, piano.

W126j.

1976 (April 11); Alexandria, Indiana; First Christian Church; Nicholas Brightman; Steven Glover, piano.

W126k. 1976 (April 28): Ft. Wayne, Ind.; Concordia Senior College; Nicholas Brightman; Steven Glover, piano. W1261.

1978 (January 22): Muncie, Indiana; Ball State University; Brian Minor; Thomas Gerber, piano.

W126m. 1978 (March 2): Los Angeles, California; California State University; Brian Minor; Peggy Bailes, piano.

Works and Performances 63 W127.

Suite for Saxophone Quartet, Op. I l l (1979; Shawnee Press; 15 min.) Commissioned by Iwan Roth of Swiss Saxophone Quartet.

Premiere W127a. 1979 (June 24): Evanston, Illinois; Sixth World Saxophone Congress; Swiss Saxophone Quartet. Other Selected Performances W127b. 1980 (May 1): Long Beach, California; California State University; Phi Mu Alpha Sinfonia Fraternity Concert; Philip Sobel; Leo W. Potts; Christopher Bleth; Howard Petr Terry. W128.

Suite for Viola and Piano, Op. 13 (1937; Shawnee Press; 12 min.)

Premiere W128a. 1937 (February 13): National Association for American Composers and Conductors; Julius Shaier; Paul Creston, piano. Other Selected Performances W128b. 1937 (November 21): New York, New York; Neighborhood Music School; Julius Shaier; Paul Creston, piano. W128c. 1937 (November 27): New York, New York; Town Hall; Julius Shaier; Paul Creston. W128d. 1938 (April 29): New York, New York; Neighborhood Music School; Julius Shaier; Paul Creston, piano. W128e. 1939 (January 20): New York, New York; Steinway Hall; Alix Young Maruchess; Paul Creston, piano. W128f.

1939 (February 12): New York, New York; Strauss Auditorium of the Educational Alliance; Julius Shaier; Paul Creston, piano.

W128g. 1939 (July 20): New York, New York; WNYC; Composers Forum Laboratory; WPA Federal Music Project; Julius Shaier; Paul Creston, piano. W128h. 1941 (January 8): Honolulu, Hawaii; Morning Music Club; Punahou School; Emma Hardy Hill, viola; Pearl Fishbourne, piano (Air movt.). W128i.

1941 (April): Detroit, Michigan; Musicians Club of Detroit; Taras J. Hubicki; Bertram Bell, piano (Air and Tarantella movts.)

W128j.

1941 (April 15): Wayne, Nebraska; Nebraska State Teachers College; Julius Shaier; Leander Dellanno, piano.

W128k. 1958 (May 23): Westchester, New York; Paul Hersh; Music Teachers Council of Central Westchester, Paul Creston, piano. W1281.

1959 (February 10): New York, New York; Carnegie Hall; Claire Kroyt; Miron Kroyt, piano.

W128m. 1962 (October 28): New York, New York; Carnegie Hall; Melvin Berger; David Garvey, piano. W128n. 1966 (April 13): Greencastle, Indiana; De Pauw University; Herman Berg; Henry Rolling, piano.

64 Paul Creston W129.

Suite for Violin and Piano, Op. 18 (1939; G. Schirmer; 10 min.)

Premiere W129a. 1939 (October 18): New York, New York; Town Hall; Rachmael Weinstock; Paul Creston, piano. Other Selected Performances W129b. 1939 (July 20): New York, New York; WNYC Composers Laboratory; Rachmael Weinstock; Paul Creston, piano.

Forum

W129c. 1944 (June 25): Brooklyn, New York; Brooklyn Museum; Ask The Composer Series; Harry Glickman; Vivian Rivkin, piano. W129d. 1941 (April 17): Council Bluffs, Iowa; Abraham Lincoln H.S.; Julius Shaier; Leander Dellanno, piano. W129e. 1941 (April 19): Wichita, Kansas; Sat. Afternoon Musical Club; Julius Shaier; Leander Dellanno, piano. W129f.

1941 (April 23): Warrensburg, Missouri; Central Missouri State College; Julius Shaier; Leander Dellanno, piano.

W129g. 1947 (October 6): New York, New York; Town Hall; Berl Senofsky; Eugene Helmer, piano. W129h. 1948 (December 30): New York, New York; Ethical Culture Society; Melvin Berger; Robert Lilienfeld, piano. W129i.

1949 (April 7): Rochester, New York; Eastman School of Music; Melvin Berger; Carl Fuerstner, piano.

W129j.

1951 (November 25): Lancaster, Pennsylvania; Franklin T. Marshall College; Melvin Berger; James Mclnnes, piano.

W129k. 1952 (October 7): New York, New York; Town Hall; Diana Steiner; Paul Creston, piano. W1291.

1958 (November 21): New York, New York; Mary Gale Hafford; Juliette Arnold, piano.

W129m. 1959 (February 10): Pittsburgh, Pennsylvania; Musical Club; Dorothy Caplan; Miriam Johnson, piano. W129n. 1959 (February 14): New York, New York; National Arts Club; 20th Annual WNYC American Music Festival; Mary Gale Hafford; Juliette Arnold, piano. W129o. 1964 (April 3): New York, New York; Contemporary Composers Concert; presented by North Shore Community Arts Center; Julius Shaier; Frances Pincus, piano. W129p. 1966 (October 21): Westchester, New York; Westchester Conservatory of Music; Gabriel Banat; Salvador Ley, piano. W129q. 1969 (February 28): Del Mar College; Achille di Russo, violin; Paul Creston, piano.

Works and Performances 65 W129r.

1969 (May 22): Yakima, Washington; Yakima Valley College; Marvin Mutchnik, violin; Margaret Barshell, piano.

W129s. 1971 (February 3): Ellensburg, Washington; Central Washington State College; Herbert Bird; Paul Creston, piano. W129t.

1971 (March 15): Ellensburg, Washington; Ladies Musical Club; First Presbyterian Church; Herbert Bird; Paul Creston, piano.

W129u. 1983 (October 4): New York, New York; Merkin Concert Hall; Zina Schiff; Vladimir Sokoloff, piano. W130.

Suite for Violoncello and Piano, Op. 66 (1956; G. Schirmer; 16 min.) Commissioned by the Elizabeth Sprague Coolidge Foundation.

Premiere W130a. 1956 (October 20): Washington, D.C.; Coolidge Auditorium; Library of Congress; Raya Garbusova; Paul Creston, piano. Other Selected Performances W130b. 1957 (March 19): New York, New York; Composer Forum of New York City; Lillian Rehberg Goodman; Paul Creston, piano. W130c. 1958 (February 9): New York, New York; Carl Fischer Concert Hall; Violin Teachers Guild; Alex Goldfield; Doris Bolvig, piano. W130d. 1959 (February 19): New York, New York; 20th Annual WNYC American Music Festival; Lillian Rehberg; Salvador Ley, piano. W130e. 1959 (October 28): Germany; Haus Studio im Josefssaal; Marcia Francis; Grete Halbwidl, piano. W130f.

1961 (February 26): New York, New York; Kaufmann Art Gallery; Jules Eskin; Gilbert Kalish, piano.

W130g. 1963 (May 3): Greenville, North Carolina; East Carolina College; Donald Tracy; Charles Stevens, piano. W130h. 1965 (February 28): Westchester, New York; Westchester Conservatory of Music; Heinrich Joachim; Salvador Ley, piano. W130L

1965 (April 9): Yonkers, New York; St. Paul's Church; Heinrich Joachim; Salvador Ley, piano.

W130j.

1965 (June 24): Des Moines, Iowa; Drake University; John Ehrlich; Paul Creston, piano.

W130k. 1966 (February 1): New York, New York; Musicians Club of New York; Heinrich Joachim; Salvador Ley, piano. W1301.

1966 (March 4): Berea, Ohio; Baldwin Wallace College; Esther Pierce; Paul Creston, piano.

W130m. 1966 (October 21): Westchester, New York; Westchester Conservatory of Music; Heinrich Joachim; Salvador Ley, piano. W130n. 1969 (February 28): Corpus Christi, Texas; Del Mar College; Mary Mayhew; Paul Creston, piano.

66 Paul Creston W130o. 1969 (May 22): Yakima, Washington; Yakima Valley College; Robert Ashley; Paul Creston, piano. W130p. 1972 (December 8): Provo, Utah; Brigham Young University; Robert Ashley; Robert Smith, piano. W130q. 1975 (March 3): Bridgeport, Connecticut; University of Bridgeport; Rubi Wentzel; Harold Dart, piano. W130r.

1977 (October 18, 20): Terre Haute, Indiana; Indiana State University; Robert Montgomery; Martha Karsnican, piano.

W130s. 1981 (May 7): Appleton, Wisconsin; Lawrence University; Michael Allen; Steve Edmund, piano. W131.

Three Narratives for Piano, Op. 79 (1962; Mills Music; 24 min.) Dedicated to Earl Wild. 1978 Music Graphics Press.

Premiere W131a. 1967 (May 7): No. 1; White Plains, New York; Hebrew Institute; Mildred Victor. 1962 (April 18): No. 2; Columbus, Ohio; Ohio State University; Claudette Sorrel. Other Selected Performances W131b. 1963 (November 22): Columbus, Ohio; Women's Club of Columbus; Battelle Memorial Auditorium; Claudette Sorel. W131c. 1963 (November 26): Detroit, Michigan; Detroit Institute of Arts; Claudette Sorel. W131d. 1964 (April 3): New York, New York; North Shore Community Center; Delia Calapai (No. 2). W131e. 1966 (February 10): Laramie, Wyoming; University of Wyoming; Claudette Sorel. W131f.

1967 (March 11): New York, New York; Metropolitan Museum of Art; Claudette Sorel.

W13 lg. 1967 (April 23): New Jersey; MENC Annual dinner; Claudette Sorrel. W131h. 1974 (November 3): Ellensburg, Washington; Central Washington State College; Kathryn Darnielle Pratz (No. 1). W131i.

1979 (May 11): San Diego, California; Rancho Bernardo Escondido; Gustavo Romero (No. 2).

W132.

Three Poems from Walt Whitman, Op. 4 (1934; rev. 1979; Music Graphics Press; 12 min.) For violoncello and piano. Dedicated to Ana Drittell.

Premiere W132a. 1934 (November 20): New York, New York; Recital of the Music Guild Concert Series; Roerich Hall; Ana Drittell; Paul Creston, piano. Other Selected Performances W132b. 1937 (February 10): New York, New York; WPA Federal Music Project; Composers Forum Laboratory; Ana Drittell; Paul Creston, piano.

Works and Performances 67 W133.

Trio, Op. 112 (1979; Music Graphics Press; 18 min.) For piano, violin and violoncello. Commissioned by the Mirecourt Trio.

Premiere W133a. 1980 (April 15): Grinnell, Iowa; Mirecourt Trio; Herrick Chapel; Grinnell College; Kenneth Goldsmith, violin; Terry King, John Jensen, piano. Other Selected Performances W133b. 1980 (September 7): Madison, Wisconsin; University of Wisconsin; Mirecourt Trio. W133c. 1980 (September 10): Washington, D.C.; Elvehjen Museum; Mirecourt Trio. W133d. 1980 (October 26): New York, New York; Merkin Concert Hall; Mirecourt Trio. VIII. BALLETS W134. Metamorphoses (1977) Ballet by Tomm Ruud; music taken from Creston's work for solo piano. Premiere W134a. 1977 (March 31): San Francisco, California; San Francisco Ballet. W135. A Tale About the Land (1940; unpublished). WITHDRAWN Premiere W135a. 1940 (April 12): Philadelphia, Pennsylvania; Merle Hersch and Dance Group. Other Selected Performances W135b. 1941 (April 25): New York, New York; Merle Hersche and Dance Group; Paul Creston, piano. W136. Time Out of Mind (1967; published) Ballet by Brian McDonald; music by Paul Creston. Premiere W136a. 1964 (March 9): Robert Joffrey Ballet; Kleinhaus Music Hall; presented by Niagra Lutheran Home. Other Selected Performances W136b. 1967 (November 19): New York, New York; Harkness Ballet at Broadway Theater; Scenery Rouben Ter-Arutunian; dancers, Brumilda Ruiz, Lawrence Rhodes, Andrea Cagen, Lili Cockerville; Alexis Hoff, Miyoko Kato, Bonnie Mathis, Susan Whelan, Salvatore Aiello, Avin Harum, Dale Muchmore, Vicente Nebrada, Dennis Wayne, Gary Rambach. W136c. 1969 (January 17 and 22): New York, New York; Music Box Theater; Harkness Ballet; Choreography Brian McDonald; scenery Rouben Ter-Arutunian; Robert Rogers, conductor; Rebekah Harkness, producer. W136d. 1969 (October 15): New York, New York; Harkness Ballet; Royal Alexander Theater.

68 Paul Creston IX. INCIDENTAL MUSIC (all unpublished) W137. Incidental Music for Bastogne (1960) Music for film. W138. Incidental Music for Battle of Cassino (1961) Music for film. W139. Incidental Music for the Doolittle Raid (1960) Music for film. W140. Incidental Music for the Frozen War (1955) Music for film. W141. Incidental Music for In the American Grain (1964) CBS television; tribute to William Carlos Williams. W142. Incidental Music for Invasion of Sicily (1963). W143. Iron Flowers (1933; unpublished). WITHDRAWN Play by Cecil Lewis. Premiere W143a. 1933 (June 12): White Plains, New York; Westchester County Center; music played by Paul Creston; staged by Herbert J. Biberman; settings by Dean Dietrich. Players: (Joan Tenniel) Gale Sondergaard, (Simon Eayrles) John Buckler, (Robert Tenniel) Montagu Love, (Thornton Tabard) Edward Fielding, (Henry James Sinclair) Charles Jordan, Laura Eagles, Ann Mason, Florence Robinson. W144. Incidental Music for The Marine (1955) Music for film. W145. Incidental Music for Mussolini (1959?) Music for film. W146. Incidental Music for Revolt in Hungary (ca. 1960) Music for film. W147. Incidental Music for Riot in East Berlin (1960) Music for film. W148. Incidental Music for Russo-Finnish War (1969) Music for film. W149. Incidental Music for Strangle Air Power (1960) Music for film. W150. Incidental Music for Suicide Run to Murmansk (1959). X. MISCELLANEOUS W151. Fanfare for Paratroopers. In collaboration with twelve other composers, commisioned by Eugene Goossens, then conductor of the Cincinnati Symphony in honor of the war effort. W152. Kangaroo Kaper (193?). W153. Palermo in the Moonlight (1964; Mills Music). For piano. W154. Song of Sicily (1964; Mills Music) From the TV film score Invasion of Sicily.

Works and Performances 69 PUBLISHERS DIRECTORY Pietro Deiro Publications, 133 Seventh Avenue South, New York, New York 10014 E.C. Kerby Ltd. (Now Boosey & Hawkes, 52 Cooper Square, 10th Floor, New York, New York 10003-7102) Mills Music Inc., c/o Belwin-Mills Publishing Corp., 1776 Broadway, 11th Floor, New York, New York 10019 Music Graphics Press, 117 Washington Street, San Diego, California 92103 G. Schirmer, 866 Third Avenue, New York, New York 10022 Shawnee Press, Waring Drive, Delaware Water Gap, Pennsylvania 18327 Mercury Music Corp., c/o T. Presser, Presser Place, Bryn Mawr, Pennsylvania 19010

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Discography The "See:" references, e.g., See: B19, W57, D40, refer to citations found in the "Bibliography," "Works," and "Discography" sections. DI.

Anatolia (Op. 93) (1967) Golden Crest ATH 5075 (digital) rel. 1982 Lawrence University Wind Ensemble conducted by Robert Levy. With his Celebration Overture, Jubilee, Prelude and Dance, and Zanoni. See: W1,B366,B470

D2.

Bird of the Wilderness (Op. 2) (1933) Yaddo 26A; 10 in.; rel. 1937 Ethel Luening, soprano. See: W l l , B191, B512

D3.

Celebration Overture (Op. 61) (1954) Austin 6104; 33m; rel. 1961; del. 1971 North Texas State University Concert Band; Maurice McAdow, conductor. Album title: New Generations of Musicians, vol. 4. With: Overture to Fingal's Cave by Mendelssohn; Orb and Sceptre by Walter; January-February March by Gillis; Stars and Stripes Forever by Sousa; Cuba Fantasy by Kepner; The Sea by Kepner; Chorale Preludes 1, 3 by Lathan. Coronet S-1501; 33s; rel. 1969; del. 1978 Ohio State University Concert Band; Donald E. McGinnis, conductor. Album title: 1969 OMEA Contest Music, Vol. 1. With: Elegy and Fanfare by Nixon; Festivo by Nelhybel; LAmant Gretry; Symphony-Finale by Borodin; Medieval Fresco by Morrissey.

Jaloux by

72 Paul Creston Carillon 109; 33 m; rel. 1960; del. 1971 Yale University Band; Keith Wilson, conductor. Album title: Yale Songs, Marches, Concert Music With: First Suite for Band by Hoist; Dance (arr. Wilson) by Porter; Concert Medley of Yale Songs; King Cotton March by Sousa; Manhattan Beach March; Beguine for Band; Holiday for Winds; Here's To Good Old Yale - Glory for Yale, Boola; Good Night, Poor Harvard by Moore; Whoop It Up! Bingo, Bulldog; Down the Field; Bright College Years. Golden Crest ATH 5075. See: W2, DI, B66, B92, B124, B303, B318, B487, B499 D4 .

Chant of 1942 (Op. 33) (1943) Crystal S. 508; rel. 1984; produced by Peter Christ. Members of the Israel Philharmonic; David Amos, conductor. Recorded in Tel Aviv's Mann Auditorium. With: Air for Strings by Dello Joio, Celestial Fantasy (Op. 44) by Hovhannes; and Suite for String Orchestra. Also released as Crystal CD-50; rel. 1987; CD-509 1986 Digitally remastered analog Israel Philharmonic; David Amos, conductor. Also includes Celestial Fantasy (Op. 44) by Hovhannes; Armenian Rhapsody No. 2; Air for Strings by Dello Joio; Israel Melodies by Chajes; Introit For Strings by Persichetti. See: W44, B48, B89, B146, B148, B167, B213, B242, B257, B260, B313, B351, B407, B460, B463, B506, B509, B553, B636

D5.

Three Chorales

(Op. 11) (1936)

Here Is Thy Footstool Columbia 72349D (in set M-709); 78; rel. pre-1948 Columbia MM-709; 78; 3 discs; rel. pre-1948 Columbia ML-4144; 33m; rel. pre-1949; del. 1958 De Paur Infantry Chorus; Leonard De Paur, conductor. Album Title: A Choral Concert. Also includes: The Blessing of St. Francis by Da Silva; Bless The Lord by Ippolitov-Ivanof; Hospodi Pomilov by Lvovsky; The Lord's Prayer by Malotte; Two Motets; Adoremus Te Christi and O Bone Jesu by Palestrina; Traditional: Deep River & Latin American Songs; Three Calypso Songs; De Handsome Man; Ugly Woman; Mourning Song; Casinha Pequenina; Coco Do Norte; Vidalita; La Llona; Polga Nego. MGM E-3212; 33m.; rel. 1956; del. 1959 Notre Dame Glee Club, Daniel H. Pedtke, conductor. See: W41b-d, W41g, W41i, B95, B229, B468

Discography 73 D6.

Concertino for Marimba and Orchestra (Op. 21) (1940) Yaddo 11-7; 78; 2 discs; rel. 1940 Ruth Stuber, marimba; Yaddo Chamber Orchestra. Columbia ML-6377/MS-6977 (Stereo) ; 33m/s; rel. 1967; cip Charles Owen, marimba; Philadelphia Orchestra; Eugene Ormandy, conductor. Album Title: First-Chair Encores (Vol. 2) Also featuring: John de Lancie (oboe), Bernard Garfield (bassoon), Marilyn Costello (harp), McMurray Panitz (flute), Anthony Gigliotti (clarinet) Includes: Concerto in C Minor by Marcello, Hungarian Fantasy by Weber, Danses Sacree et Profane by Debussy, Suite Modale by Bloch; Rhapsody No. 1 by Debussy. Also 53576 (distributed by German News); 431. 1986 Wolfgang Pachla, marimba; Nuremberg Symphony; conducted by Erich Kloss; and Franz Allers (in Milhaud) Also includes: Concerto for Marimba, Vibraphone and Orchestra by Milhaud and Etudes for Marimba by Pachla. See: W47, B72, B245, B289, B295, B305, B339, B357, B382, B447, B466, B471, B485, B519, B571, B590, B625, B632

D7.

Concerto for Alto Saxophone and Band (Op. 26) (1941) Golden Crest CRS-4211 (3 discs); rel. 1982 University of Michigan Symphany Band; William Revelli, conductor. Album Title: The Revelli Years - Vol. 3 Also includes: Carnival of Venice arranged by Bell; Flower Song, from Carmen by Bizet; Denenuriana by Bloch (arr. by Hindsley); "When You and I Were Young, Maggie" by Butterfield; "My Man's Gone Now" (arr. Rhoades) & "Summertime" (arr. Summerfelt), both from Porgy and Bess by Gershwin; St. Louis Blues (arr. Heney by Handy; "Bolero Impromptu" by Heney; Trumpet Concerto by Hummel; "Somewhere My Love," from Dr. Zhivago, by Jarre; "Moto Perpetuo" by Paganini; "Flight of the Bumblebee," from A Tale for Tsar Sultan by Rimsky-Korsakov; Diptych by Schuller; Clarinet Concerto (arr. Werle) by Tomasi; Piccolo Concerto by Vivaldi; Concerto for Trumpet, Winds & Percussion by Werle. Performers: Mohler (in Bloch); Reyes, violin (Bruch); Severinson, trumpet (Gershwin & Werle); Heney, xylophone (Heney); Nagel, trumpet (Hummel); Bell, tuba (Paganini); Londeix, saxophone (Rimsky-Korsakov); New York Brass Quintet (Schuller); Anderson, piccolo (Vivaldi). See: W50, B79, B90, B277, B347, B411, B501, B587, B609, B618, B639

D8.

Corinthians XIII (Op. 82) (1963) LOU-65-5/LS-65-5; 33m/s Louisville Orchestra First Edition Records 1965 No. 5; rel. 1965; cip Louisville Orchestra; Robert Whitney, conductor. Also includes: Symphony No. 5 by Roy Harris. LC cards-SD R65-3554 & 3555. Koch CD 7036 Crakow Philharmonic, David Amos, conductor.

74 Paul Creston Also includes: Symphony No. 2 and Walt Whitman. See: D32, W53, B36, B40, B70, B92, B130, B190, B195, B269, B294, B304, B3348, B401, B402, B431, B457, B503, B539, B545, B560, B598 D9.

Dance Overture (Op. 62) (1954) Composers Recordings CRI-14; CRI-111; 33m/s; rel. 1957; cip. Oslo Philharmonic Orchestra; Alfredo Antonini, conductor. LC cards R57-588 to 591 Also includes: Square Set by Haufrecht; Summer Holiday (Rive gauche) by Hively; La Macumba (Ritual Symphony) by Sanjuan. See: W54, B32, B34, B37, B54, B69, B162, B203, B236, B250, B280, B314, B315, B325, B346, B358, B361, B370, B377, B380, B394, B418, B480, B502, B510, B523, B526, B537, B548, B591, B602, B603, B626, B630, B659, B662

D10.

Dedication (Op. 22) (1940) Pfeiffer 1; 33m; 431. 1966; del. 1968 Pfeiffer College Concert Choir; Richard Brewer, conductor. With: Motets by Bach; works by Copland and Scott. See: W19

D11.

Fanfare for Paratroopers (1942) Varese Sarabande VCDM-1000 240 (digital); produced by David Hubert. Album Title: Fanfares. Also includes: Anniversary Fanfare, Fanfare for JFK, Shivaree by Bernstein; Ceremonial Fanfare, Fanfare for the Common Man, Inaugural Fanfare by Copland; Fanfare to the Forces of the Latin-American Allies; Fanfare for the Medical Corps by Fuleihan; Fanfare for the Merchant Marine by Goossens; Columbian Fanfares, Fanfare for Freedom by Gould; Chorale and Fanfare, Fanfare for the Signal Corps by Hanson; Fanfare for the Forces by Harris; Ceremonial Fanfare, Fanfare for the Fighting French by Piston; Fanfare for Russia by Taylore; Fanfare for France by Thomson; Fanfare for Airmen by Wagenaar. See: W151,B239

D12.

Fantasy for Trombone and Orchestra (Op. 42) (1947) Crystal S386; rel. 1982 John Kitzman, trombone, and Janice Kay Hodges, piano. Also includes: Two Dances (1954) by Defaye; Sonata for Trombone and Piano (1941) by Hindemith; Air Varie (c. 1900) by Pryor. See: W60, B127, B259, B460, B576

D13.

Five Little Dances (Op. 24) (1932) Rustic Dance, Languid Dance, Toy Dance, Pastoral Dance, Festive Dance. Educo3110;33 Bob L. Bennett, piano. See: W100

D14.

Invocation and Dance (Op. 58) (1953) Louisville Commissioning Series LOU-545-1

Discography 75 Louisville Orchestra, Robert Whitney, conductor. With: Triskelion, by Stevens, and Dawn In a Tropical Forest by Villa-Lobos. Louisville Orchestra First Edition Records 1955 No. l;rel. 1959; del. 1975 Also released as Columbia ML-5039; 33m; rel. 1955; del. 1965. Louisville Orchestra; Robert Whitney, conductor. With: Symphony No. 1 (Seven Rituals of Music) by Henry Cowell; Louisville Concerto by Ibert. See: W64, D33, B31, B42, B62, B101, B112, B170, B173, B196, B206, B231, B251, B256, B359, B412, B422, B433, B490, B500, B508, B514, B557. D15.

Jubilee

(Op. 102) (1971)

Golden Crest ATH 5075; digital; rel. 1982. See DI, D5, W4. D16.

Legend

(Op. 31) (1942)

Columbia ML-4254; rel. 1950; del. 1956 Leeds Concert Band; Peter Todd, conductor. Album Title: Modern Band Festival Also includes: Hymn and Fuguing Tune No. 1 by Cowell; On Guard by Goldman; Walkin' the Road by Haufrecht; Doxology by Leidzen; Galop, from the Comedians by Kabalevsky: Lonely Landscape by McBride; Deep Blues by Singer; Carnival Suite by Tansman. See: W6, B107, B488. D17.

LydianOde

(Op. 67) (1956)

RCA Victor LM-2426; 33m; rel. 1960; del 1962 Academy Symphony Orchestra of Rome; Nicola Rescigno, conductor in Creston; Orchestre de la Radiodiffusion Francaise; Kubik, conductor in Kubik. Also includes:Walt Whitman Suite by Creston; and Symphony Kubik for trumpet, viola, piano and orchestra.

Concertante

by

See: W66, D36, B135, B360, B410, B456, B561. D18.

Metamorphoses

(Op. 84) (1964)

Rhythmicon R101; 33; rel. 1974 Candida Labrecque, piano. See:W105, W134, B86, B238, B646. D19.

Midnight in Mexico Columbia MG-33728; 33s; 2 discs; rel. 1976; del. 1979 Andre Kostelanetz and his Orchestra; Andre Kostelanetz; conductor; with Previn, conductor, in Gershwin. See: W67, B35, B178.

76 Paul Creston D20.

Partita for Flute, Violin and Strings (Op. 12) (1937) Yaddo 103-04; 78; 2-10"; rel. 1937 (1st, 2nd, 3rd & 4th movts.) Yaddo 7A-B; 78; 10" rel. 1937 (1st and 2nd movts.) Yaddo 120A; 78; 10"; rel. 1937 (1st movt.) Yaddo 105A; 78; 10"; rel. 1937 (5th movt.) Robert Silberberg, flute; Lois Porter, violin; Yaddo Orchestra; Paul Creston, conductor. Vienna Symphony Orchestra; Walter Hendl, conductor; conductor, in Rogers; Camille Wanausek, flute, in Griffes.

Max

Schoenherr,

Also includes: Poem for Flute and Orchestra by Griffes; Leaves from Pinocchio by Bernard Rogers. The American Composers Series. Also released as: American Recording Society ARS-23; 33m; 10"; rel. 1953. Also includes: Portrait of a Lady by Taylor and Rhapsody for Strings, Winds & Piano, Op. 14. See: W108, D33, Bl 13, B263, B275, B376, B474, B505, B515, B551, B627, B677. D21.

Prelude and Dance (Op. 76) (1959) Cornell CUWE-10; 33s; rel. 1973; cip. Cornell University Symphonic Band; Marice Stith, conductor. Also includes: Lads of Wampray March by Grainger; March Carillon, op. 19, No. 2 by Hanson; Chester Overture by Schuman; Royce Hall Suite by William Boyce. Austin 6226; 33m; rel. 1963; del. 1971 North Texas State University Concert Band; Maurice McAdow, conductor. Golden Crest ATH 5075 (digital); rel. 1982. See DI. Golden Crest CRS-4214 (6 discs); rel. 1982 University of Michigan Symphony Band conducted by William D. Revelli; produced by Clark Galehouse. Album Title: The Revelli Years, vol. IV. Also includes: Designs, Images and Texture by Bassett; Incantation and Dance by Chance; Variations on a Korean Folk Song by Chance; An Outdoor Overture by Copland; A Blessing by Cowell; Music for Brass and Sinfonietta. (movts. 1 & 3) by Dahl; Scenes from the Louvre by Dello Joio; Summer in Valley City by Finney; Symphony No. 3 by Gianini; Symphony No. 4 (West Point) by Gould; Lincolnshire Posy by Grainger; Symphony in B-flat by Hindemith; Symphony No. 4 by Hovhannes; Music for Prague 1968 by Husa; Music for a Festival by Jacob; Prelude and Fugue by Nelhybel; Trittico by Nelhybel; Rocky Point Holiday by Nelson; Reflections by Nixon; Festival Prelude by A. Reed; Theme and Variations by Schoenberg; Symphony for Brass and Percussion by Schuller; Newsreel in Five Shots by Schuman; and Dramatic Essay by C. Williams. See: W8, D1,B573.

D21a. Psalm XXIII (Op. 37) (1945) Gasparo, GSCD-287 Yolanda Maroulescou-Stern, soprano and Katja Phillabaum, piano. Also includes: Bird of the Wilderness, Two Songs from Op. 46 - Serenade and

Discography 77 Fountain Song by Creston; At the Well and Miranda by Richard Hageman; Night Songs, On the Seashores of Endless Worlds and Sleep that Flits on Baby's Eyes by John Alden Carpenter; and Scotch Lullaby by Charles Ives. See: W22, B191, B396. D22.

Quartet, Strings (Op. 8) (1936) Capitol P-8260; 33m; rel. 1954; del. 1958 Hollywood String Quartet. Also includes: La Oracion Del Torero by Turina; and Italian Serenade by Wolf. Also released as Capitol CTL-7063; 33m; rel. pre-1956. See: W123, B53, B105, B215, B223, B274, B320, B375, B475, B507, B521, B566, B610.

D23.

Rhythmicon, Book 5: Nos. 78 and 81-89 Rhythmicon R-101; 33; rel. 1971 Candida Labrecque, piano. See: W117,B633.

D24.

Rumor, A. (Op. 27) (1941) Argo ZRT-845; 33s; rel. 1976; cip. Academy of St. Martin-in-the-Fields; Neville Marriner, conductor. Also includes: Adagio for Strings by Barber; Symphony No. 3 by Ives; Quiet City by Copland; Hymn and Fuguing Tune No. 10 by Henry Cowell. Allegro ALG-3148; 33m; rel. 1955. Hamburg Philharmonia; Richard Korn, conductor. See: W74, B104, B147, B207, B285, B397, B413, B425, B486, B517, B588.

D25.

Sonata for Saxophone and Piano (Op. 19) (1939) Columbia ML-4989; 33m; rel. 1955; del. 1968 (Matrix XLP 32396) Vincent J. Abato, saxophone; Paul Creston, piano. Also includes: Concerto for Piano-Four Hands by Persichetti; V. & D. Persichetti, pf. (in latter). Modern American Music Series Also: Columbia CML-4989; 33m; rel. 1968; del. 1974 Columbia AML-4989; 33m; rel. Columbia AML-4989; 33m; rel. 1974; del. 1976 B15LP-159 Savijok, saxophone; Siirala, piano Album Title: The Virtuoso Saxophone With: Sonata by Hindemith; Fantasie-Impromptu by Maurice.

by Jolivet; Tableaux de Provence

See: W122, B61, B100, B232, B400, B421, B455, B564, B575, B584. D26.

Suite, Organ (Op. 70) (1957) Microsonic CM-7001; 33m; rel. 1959. Marilyn Mason, organ. Album Title: The Art of the Organ Builder.

78 Paul Creston Toccata Movement from Suite. Vista VPS-1046; 33s; rel. 1977 George Thalben-Ball, on the organ of All Souls Church, Langham Place, London. Also includes: Fanfare for Organ by Cook; In Paradisium by Monfred; Sonata C Minor (on Psalm 94) by Reubke; Tune in E by Thalben-Ball; Brief Encounters by Tredinnick. See:W125,B504,B664. D27.

Suite for Saxophone and Piano (Op. 6) (1935) Crystals-154; rel. 1981 Brian Minor, saxophone; Westwood Wind Quintet; Cola Heiden, piano. Also includes: Sextet for Alto Saxophone and Woodwind Quintet by Stein; Sonata for Alto Saxophone and Piano by Bernhard Heiden. New Music Quarterly Recordings 1313 (5-6); 78; rel. 1937 Cecil Leeson, saxophone; Paul Creston, piano. Also released as NMQR 1314 Also includes: Warm-up for English Horn Alone (Decidedly Alone) by McBride; Letdown for English Horn and Piano; played by Robert McBride & Paul Creston; coupled with Etude for Cello (unaccompanied) by Kerr; played by Margaret Arie. See: W126, B39, B139, B161, B181, B198, B296, B303, B429, B472, B522, B578, B610,B620.

D28.

Suite for Saxophone Quartet (Op. I l l ) (1979) Occupant WCSQ; rel. 1984 West Coast Saxophone Quartet Also includes: Salutations, Fugue, and Finale by Bruno; Lullabye for Teddy; Texture and Colors. Mark MES-20600, 198; produced by Vincent S. Morette Amherst Saxophone Quartet Also includes: Saxophone Quartet by Wilder; Enchainment by Mols; Introduction and Capriccio by Parisi. See: W127, B574.

D29.

Suite for String Orchestra (Op. 109) (1984) Crystal S508; rel. 1984 Members of the Israel Philharmonic; David Amos, conductor. Recorded in Tel Aviv's Mann Auditorium. Produced by Peter Christ. Also includes: Chant of 1942 by Creston; Air for Strings by Dello Joio; Celestial Fantasy (Op. 44) by Hovhannes. Also released as Crystal CD-50; rel. 1987 Israel Philharmonic; David Amos, conductor. Also includes: Celestial Fantasy (Op. 44); Armenian Rhapsody No. 2 by Hovhannes; Air for Strings by Dello Joio; Israeli Melodies by Chajes; Introit by Persichetti. Digitally remastered analog. See: W77, D4, B146, B177.

Discography 79 D30.

Suite, Violin and Piano (Op. 18) (1939) Orion ORS-74160; 33s; rel. 1975; cip. Diana Steiner, violin; David Berfield, piano. Also includes: Ukelele Serenade by Copland; Sea-Shell (Arr. Zimbalist): Adagio by Kodaly; Introduction et Tarantelle, op. 43 by Sarasate; Four Pieces, Op. 17 by Suk. LC 74-750304. See: W129, B330, B356, B426, B453, B469, B493, B513, B516, B528, B617, B621.

D31.

Symphony No. 1 (Op. 20) (1941): SCHERZO Columbia 11713D; 78; rel. pre-1942 All-American Orchestra; Leopold Stokowski, conductor. See: W79, B47, B49, B88, B102, B116, B128, B142, B150-B154, B156, B171, B183, B184, B187, B241, B267, B293, B335, B383, B388, B408, B415, B430, B442, B459, B461, B478, B494, B554, B558, B585, B589, B592, B593, B612, B640, B676.

D32.

Symphony No. 2 (Op. 35) (1944) Westminster XWN-18456; 33m; rel. 1957; del. 1961 National Symphony Orchestra; Howard Mitchell, conductor. Also includes: Symphony No. 3 by Creston. Also released as WL-5272; 33m; rel. 1954; del. 1956 Nixa WLP-5272; 33m; rel. pre-1956 Westminster W-9708; 33m; rel. 1964; del. 1971 Richardson RRS-11 (MD/SD) Album Title: National Symphony Orchestra,

1930-1980.

National Symphony Orchestra; Kindler (in Smetana); Mitchell (in Creston); Dorati (in Wagner); Rostropovich (in Tchaikovsky); Stern Koch CD 7036 Crakow Philharmonic; David Amos, conductor. Also includes: Corinthians XIII and Walt Whitman, by Creston. See: W80, D33, B28, B29, B44, B55, B57, B60, B63, B73, B74, B96, B123, B159, B172, B182, B192, B193, B201, B205, B206, B235, B249, B252, B301, B320, B329, B350, B352, B363, B367, B371, B372, B381, B416, B420, B437, B444, B446, B448, B451, B473, B476, B495, B511, B520, B538, B542, B547, B549, B568, B600, B604, B613, B642, B643, B468. D33.

B145, B253, B418, B532,

Symphony No. 3 (Op. 48) (1950) Westminster XWN-18456; 33m; rel. 1957; del. 1961 National Symphony Orchestra; Howard Mitchell, conductor. Also includes: Symphony No. 2 by Creston. Delos, DE3114 Seattle Symphony Orchestra; Gerard Schwartz, conductor. Also includes: Partita for Flute, Violin and Strings, Outof the Cradle, Invocation and Dance.

and

See: W81, D32, B28, B29, B60, B94, B96, B108, B144, B145, B160, B164, B176,

80 Paul Creston B206, B210, B262, B276, B291, B320, B363, B371, B378, B417, B420, B423, B451, B525, B542, B544, B569, B582, B623, B660, B662, B674. D34.

Trio for Violin, Cello and Piano (Op. 112) (1979) TR Records TRC-107 (distributed by AudioSource) Mirecourt Trio (Kenneth Goldsmith, violin; Terry King, cello; John Jensen, piano). Also includes: Four Seasons in Bellville by Sowash. See: W133, B281, B312, B464, B529, B577, B616.

D35.

Two Choric Dances (Op. 17 A) (1938) Laurel LR-110; 33s; rel. 1979; cip. Rec. 9/17/78 Arizona Chamber Orchestra; Robert Hull, conductor. Also includes: Four Episodes by Bloch; Dance Movements; Summer by Muczynski.

A Serenade

for

(Op. 17B) For Full Orchestra Capitol P-8245; 33m; rel. 1954; del. 1969 Concert Arts Orchestra; Vladimir Golschmann, conductor. Also includes: Adagio for Strings by Barber; Quiet City by Coplan; Rounds by Diamond. W. Glantz, trumpet (in Copland) and Wild, piano (in Creston). Also released as Capitol CTL-7056; 33m; rel. pre-1956 Concert Arts Orchestra; Vladimir Golschmann, conductor. Yaddo M-2-3; 78; 2-10"; rel. 1938 Yaddo Orchestra; Arthur Shepherd, conductor. See: W88, W89, B30, B76, B84, B114, B129, B155, B175, B185, B196, B202, B212, B216, B221, B270, B272, B278, B317, B319, B322, B374, B409, B462, B465, B541, B583, B635, B641, B672. D36.

Walt Whitman Suite (Op. 53) (1952) RCA Victor LM-2426; 33m; rel. 1960; del. 1962 Academy Symphony Orchestra of Rome; Nicola Rescigno, conductor. Also includes: Lydian Ode by Creston; and Symphony Concertante by Kubik. See: W92, D17, B56, B163, B324, B418, B456.

D37.

Zanoni (Op. 40) (1946) Golden Crest ATH 5075; digital; rel. 1982. See: W9, D I , B109, B470, B499.

Bibliography The "See:" references, e.g., See: B19, W57, D40, refer to citations found in the "Bibliography," "Works," and "Discography" sections. WRITINGS BY CRESTON: Bl.

Creston, Paul. Address on Copyright and Protection of American Music as Property, (unpublished article) U.S. Copyright law accomplishes too little for too short a period (for American music). Creston proposes suggestions for (1) the licensing and remunerating the composer and publisher for use of their music, (2) the extension of copyright period.

B2.

. "The Band's Future Concert Repertoire." (unpublished article) Expresses concern and importance of original music for concert band. It needs compositions of major proportions, which fully exploit the technical resources of each instrument and the tonal colors of combinations of instruments. It needs the presentation and development of vital and significant musical ideas in the framework of large and important forms.

B3.

. "Building Scale Technique." Etude Magazine, August 1929, p. 576. Creston describes the qualities of a good scale and the obstacles to acquiring these qualities. He offers exercises for achieving good scale techniques.

B4.

. "Common Errors in Italian." Music Journal, July 1971, p. 23-26. Creston considers various Italian musical terms which musicians often misinterpret.

B5.

. "A Composer's Creed." Music Educator's Journal 57 (March 1971): 36-39, 91-93. Creston presents his artistic creed.

82 Paul Creston B6.

. "Conductor's Workshops - A Triangular View." Newsletter of American Symphony Orchestra League, Inc. 10 (October 1959): 18. Creston gives his impressions as composer-consultant from several workshops from three aspects: composer, conductor and performer.

B7.

. "Contemporary Music in Today's Schools." October 10, 1969. (unpublished article) Our educational institutions must consider it their solemn duty to expose students to the best and most significant music, old and new. They must develop the most discriminating taste in, and the clearest understanding of that music.

B8.

. "The Creative Artist and the Arts of Today." Newsletter of American phony Orchestra League, Inc. 14 (July-August 1963): 10.

Sym-

Creston speaks on government subsidy of the arts, "...the U.S. government might at least consider the production of art works as a service to the nation and disregard the market value..." B9.

. "First and Last Performances." Music Publishers Journal 6 (September/ October 1944): 11. Creston discusses the problem of first and repeat performances. He says, "It is up to performing artists to realize their responsibility to the life and progress of musical art; to place this responsibility and this art before any personal spotlight or audience appeal; and to be concerned not with the first but with the best performance, not with the novelty but with the merit of a work."

BIO.

32.

. "The Importance of Being Rhythmic." Instrumentalist 17 (June 1963): 30-

Creston discusses the negligence in rhythmic matters and the causes of confusion in rhythmic theory and practice. He provides a workable definition of rhythm, with explanations of its constituent elements and discusses his five rhythmic structures. Bll.

. "The Interpretation of Bach's Keyboard Music." (Copyrighted article 1973 by the American Piano Teachers Associations, Inc.) Considers aspects of properly interpreting Bach's keyboard music. Offers general suggestions concerning the instrument involved, the edition used, tempo, dynamics, phrasing, fingering, ornaments, accents, and analyses in Prelude and Fugue VII in E-flat from WTC Bkl.

B12.

. "The Imperfect Language." Voice, Washington Music Educators (Address given at WMEA Conference, Vancouver, Washington, March 18, 1972.) Proposes the abolishment of imprecise terminology in metric terminology and harmony.

B13.

. "The Language of Music." (unpublished article) Purports to show that music is a language; considers the origin of languages, and the parallels in the origins of language and music.

B14.

. Letters of Composers: An Anthology, 1903-1945, compiled and edited by Gerturde Norman and Miriam Lubell. New York: Knopf, 1946, pp. 408-410.

Bibliography 83 Paul Creston's letter to Denton Rossel in which he describes his development as a composer. In terms of the practice of composing, he says, "Whatever creativity is attempted in any particular branch should stem from an original, personal, intuitive and sincere motivation." Creston includes remarks on harmony, from, and orchestration. B15.

. "Listening to the Composer's Music." Music Journal 14 (March 1956): 8,9. Creston accuses composers and musicologists of shrouding the art of music in deepest mystery, forcing listeners to direct their attention toward hidden meanings, biographical secrets...everything but the music itself and states that..."music is no greater a mystery than a foreign language; study and practice, attention and association, daily use and familiarity...all contribute to making music intelligible and enjoyable."

B16.

. "Music and Mass Media." Music Educators Journal 56 (April 1970): 35. Creston discusses mass media music and the exigencies of its production.

B17.

. "The Music Language." The Rosicrucian Digest, February, 1981, p. 24-25. Creston analyzes the elements of verbal language which reveal historical, structural, and functional parallels in music language.

B18.

. "The Neglected Lateral Finger Movement." Etude Magazine, April 1950, p. 52. Creston considers the sidewise movement of a finger from one key to another. Creston offers several exercises as examples, both single and double notes from his notebook.

B19.

. "On The Interpretation of Bach." Etude Magazine, (September 1931): 671. Creston makes brief mention of the gayer emotions which are incorporated in Bach's fugues and furnishes one example with suggestions for interpretation, a Prelude and Fugue in C minor.

B20.

. "Practical Notation In Complex Rhythms." APTA Magazine, v. 1, no. 1, (October 1973). Creston considers several problems of rhythmic notation of complex or irregular rhythms and offers practical solutions.

B21.

. "Pythagoras-The Musician's Philosopher." Sinfonian (February 1973): 8-9. Address given by Paul Creston to the Sinfonian's North Central Regional Convention in Madison, Wisconsin, November, 1972. Creston spoke about the many contributions that Pythagoras made to various disciplines. Creston purports to show that in Pythagorean wisdom the musician will find the key to the principles that should govern his musical and personal life.

B22.

. Rational Metric Notation: The Mathematical Basis of Meters, Symbols, and Note-Values (Hicksville, New York: Exposition Press), 1979, p. 113. Suggests the conversion to the author's rational metric system, meant to solve problems in the interpretation of metric notation. These problems are due to the ambiguous terminology of note values as well as misconceptions regarding the function of the bar line. While no new symbols of notation are proposed, a clear distinction between meter and rhythm is offered. (Robert Follet)

84 Paul Creston B23.

. "Reverence For The Text." Choral Journal 13 (March 1973): 7. Creston discusses the general principles involved in setting music to words, and considers several examples from choral literature.

B24.

. San Francisco A.S.O.L. Convention June 20, 1963. Merits of the American Composer. Address given on government subsidy of the arts. The artist's terms are being misinterpreted.

B25.

. "The Saxophone in Concert." (unpublished article) Discusses the use of the saxophone.

B26.

. "Security In Intermediate Notes." Etude Magazine, January 1929, p. 30. Discusses grouped-note passages where only one note in each set belongs to the melody; offers suggestions for learning accurately the subdued or intermediate notes.

B27.

. "The Structure of Rhythm." Clavier 10 (November 1971): 15-23. Creston discusses his definition of rhythm and his five rhythmic structures. Each structure is explained in conjunction with his Six Preludes For Piano, Op. 38, each of which are based on these structures successively and simultaneously. See: W121.

WRITINGS B28.

ABOUT

CRESTON:

A.C. American Record Guide 30 (August 1964): 1110. Review of Westminster recording W9708 of Symphonies Nos. 2 and 3, Howard Mitchell, Conductor. A review of Westminster W9708 recording of Symphonies No. 2 and 3 that speaks of the two works as erasing a lacuna in the Schwann catalog (previously issued as XWN-18456). The reviewer states, "Creston has continued to write, in a beneficial neoromantic manner, beautifully organized music-sensitively melodic, magnificently orchestrated, colorfully framed. Such delights of coherence are refreshing." The author points out that both works have stratified programmaticism: No. 2 deals with the two foundations of music, song and dance and No. 3 is "Three Mysteries" (Nativity, Crucifixion, Resurrection) without Straussian dictates. The ideas are long-run and organic while the variational material in the middle movement of the third symphony is masterful. See: W80, W81.

B29.

A.D. "Paul Creston, American Symphonist, Acclaimed!" Musical Courier 150 (September 1954): 45. The National Symphony's recording of the Second and Third Symphony of Creston conducted by Howard Mitchell and the National Symphony Orchestra (on Westminster WL-5272) is described as a premiere of significance. While the first work is spoken of as vital in its rhythmic earnestness, the latter work is referred to as the piece de resistance on the recording. It is not only thought to be a work of heroic proportions with ingenious use of Gregorian themes, but a kind of tonal painting of the life of Christ. See: W80, W81.

Bibliography 85 B30.

A.F. "Collections and Miscellany." High Fidelity

4 (May 1954): 57.

The performance and recording of Capitol P8245 of Creston's Two Choric Dances is described as excellent, and the reviewer suggests that the work could be adapted to an "ominous ceremonial in a Greek tragedy." See: W88, W89. B31.

. "Records." High Fidelity 4 (February 1955): 74. Review of Louisville recording (LOU-545), performed by the Louisville Orchestra, which describes Invocation and Dance as a study in rhythms, complex in its metric structure, however "less effective due to a commonplace quality in its themes." See: W64.

B32.

A.S. Music At Home, July and August 1957, p. 34. A review of the CRI-III recording of Dance Overture which points out that, although it is the only work on the recording that can make any claim to be serious music, Creston's materials "derive too much from the French impressionistic school and his writing lacks any individuality." See: W54.

B33.

ASCAP. Biographical Dictionary, 4th Ed. New York: Jacques Cattell Press: R.R. Bowker Co., p. 103, "Paul Creston." Summarizes the achievements of Creston's life; with selective work lists.

B34.

Accord, John, III. "Cellist Impressive In City Concert." Daily Oklahoman, February 8, 1967, p. 11. A review of a performance of Dance Overture by the Oklahoma Symphony with Dr. Guy Fraser Harrison, conductor, which speaks of the piece as a "melodious work in infectious rhythmic patterns, grandly orchestrated making much use of brass and French horns." See: W54.

B35.

"Afternoon in Montreal." New York Philharmonic Program Notes, June 20, 1968. Program notes to Afternoon in Montreal and Night in Mexico commissioned by Eastern Airlines which speak of the influence of folk and popular music in the works as well as a light and transparent texture of orchestral writing.

B36.

Agnew, Monica. "Symphony Preview." The Arizona Republic (Phoenix, Arizona), March 29, 1964, p. 16-C. Announces the world premiere of Corinthians XIII, Op. 82 by the Phoenix Symphony March 30-31, 1964, Guy Taylor, conducting. Creston says, of the work, "For many years I contemplated transcribing, in musical terms, the profound emotional experience engendered by this beautiful poem. Opus 82 is the fulfillment of that contemplation. This work, however, is neither an exegesis nor a painting but an emotional parallel of three manifestations of love, the love between mother and child, between man and woman, and between man and mankind,"

B37.

Alderman, Hugh. "Symphony Program Termed New High." Florida (Jacksonville, Florida) November 20, 1963, p. 28.

Times-Union

In this review of Creston's Dance Overture performed by the Jacksonville Symphony Orchestra (11/19/63), John Canarina, conductor, Alderman mentioned the exciting rhythms of the work.

86 Paul Creston B38.

Altman, Leonard. "Music Reviews." The Villager, (Greenwich Village, New York) October 2, 1958, p. 11. Review of Toccata performed by Leopold Stokowski and sponsored by the Contemporary Music Society, which describes the composition as "fascinating for its virtuosity," and for its "lack of an obvious modernity." Though complex, it was thought to be straightforward in appeal. See: W87.

B39.

American Music Lover May, 1938. Review of N.M.Q.R. recording No. 1314 of the Suite For Saxophone and Piano, Cecil Leeson, saxophone, which describes it as a "well made, unpretentious work needing a true understanding of and a feeling for the sax's tonal qualities and technique."

B40.

"American Symphony At Carnegie Hall." New York Herald Tribune, April 5, 1965, p. 12. Review of a performance by the American Symphony Orchestra, Leopold Stokowski, conductor, which describes Corinthians XIII as a work reflecting emotions inspired by the Pauline epistle; "it is quiet, lyric, and lucid." See: W53.

B41.

"Amity Is Voiced By Shostakovich." New York Times, October 25, 1959, p. 13. Shostakovich's views on U.S. musicians in his country...contemporary American works were frequently presented in Soviet concerts and radio programs. In general he noted that Russians play the works of George Gershwin, Samuel Barber, Roy Harris and Paul Creston.

B42.

Anderson, Dwight. "Invocation and Dance By Creston Is Premiered." Louisville Courier, May 16, 1954. Review of the premiere of Invocation and Dance performed by the Louisville Orchestra which describes the piece as music of our country that incorporates melodic fragments from other lands and stylized jazz. Though the composer had no programmatic intent, the music lends itself to scenic pictures. He says that the work has musical substance with vivid instrumentation and compelling rhythm. See: W64.

B43.

Anson, George. "Dallas Symphony's Concert Is Praised." The Fort Worth Press, February 12, 1958, p. 11, col. 1. Review of Symphony No. 4 performed by the Dallas Symphony Orchestra, Walter Hendl, conductor (2/11/58). The reviewer states, "Symphony No. 4 is a fascinating composition, brisk and gay throughout, and easily understandable at a first hearing. The dissonances are mild yet effective...the orchestration is masterly and colorful. Sly touches of humor abound, and the rhythmic drive is irresistible...."

B44.

Archer, Thomas. "Monteux Directs Second Program." (Montreal) Gazette, 3/9/54, p. 13. Review of Second Symphony, performed by Pierre Monteux and the Orchestra Concerts Symphoniques. The work is described as well written and sumptuously scored, but not highly original.

B45.

. "Music In Our Time." Musical America, 81 (May, 1961): 51. Review of Suite for Violoncello and Piano performed by Jules Eskin, cello,

Bibliography 87 Gilbert Kalish, piano. The reviewer speaks of the work as time-bound in its conventionality. B46.

Arvey, Verna. "Paul Creston - His Music Sings of America." Music Forum and Digest, October, 1949, p. 6. Biographical article summarizing the career achievements of Paul Creston to date; includes his views and attitudes toward critics and other contemporary composers.

B47.

Bagar, Robert. "Arrau Heard At Carnegie." New York World Telegram, March 24, 1943, p. 31. Bagar, in his review of a performance of Symphony No. 1 by the Philadelphia Orchestra, Eugene Ormandy, conductor, finds the work interesting in its rhythmic set-up, having much in terms of form and orchestration despite undistinguished melodic materials.

B48.

. "Orchestrette Celebrates Its 10th Year." New York World Telegram, May 4, 1943, p. 15. While the reviewer of this performance of Chant of 1942 by Frederique Petrides and the Orchestrette Classique finds the work intense and well written with good themes, it was thought to be not as compelling as its prototype the Ravel Bolero.

B49.

. "Stokowski Puts Novelty in Carnegie Hall Concert." New York World Telegram, October 17, 1941, p. 22. Review of the performance of the Scherzo from Symphony No. 1 by the New York Philharmonic Symphony which described the movement as bright, chatty and very pleasant. See: W79.

B50.

Baker's Biographical Dictionary of Musicians, 6th ed. Creston, Paul. p. 361. Biographical article summarizing achievements of Creston's life.

B51.

Balestrieri, Donald. "The Lydian Mode in Paul Creston's Works for Accordion." Accordion Quarterly, January, 1973, p. 41-48. Discussed the contributions of Paul Creston to the original literature of the accordion, specifically his use of the Lydian mode as part of his melodic and harmonic style. The three works for the accordion are discussed.

B52.

Barnes, Clive. "Dance: Harkness Ends First Season." New York Times, November 20, 1967, Section L, p. 60. Review of Time Out of Mind by Brian MacDonald performed by the Harkness Ballet in which Barnes calls the work a kind of rite of spring, set to explosive garulous music by Paul Creston. See: W136.

B53.

Baruch, David I. "Claremont Quartet." Musical America, 79 (March, 1959): 28. Review of the String Quartet, Op. 8, performed by the Claremont Quartet which describes the work as "skillfully written but conventional in its ideas, with a lyrical slow movement." See: W123.

B54.

. "Belgians Cheer a U.S. Orchestra." New York Times, May 9, 1957, p. 4.

88 Paul Creston Review of Dance Overture performed by the Cleveland Orchestra, George Szell, conductor, in Brussels in which the Antwerp critic praised the work as an approach to jazz. See: W54. B55.

Bell, Eleanor. "A Fervent Symphony Audience." The Cincinnati Post and TimesStar, November 28, 1965. Review of Symphony No. 2, performed by the Cincinnati Symphony Orchestra, Erich Kunzel, conductor, in which the critic reflected on dodecophonic devices the composer employed. While she felt the song was over-sweet, the Introduction, Interlude and Dance sections were powerful and ingeniously constructed. See: W80.

B56.

. "Soloist Impressive As Hans Sacks, Boris." Cincinnati Post, March 29, 1952, p. 4. Review of the premiere of Walt Whitman Suite, Thor Johnson, conductor, in which the reviewer praised Creston's craftsmanship as an orchestrator despite flimsy and formless material. See: W92.

B57.

Bell, H.P. "—" (Montreal) The Herald, March 15, 1954. Review of a performance of Symphony No. 2, Pierre Monteux, conductor, which described the work as attractive, but traditional in its style with tendencies to modern ways. See: W80.

B58.

Bennett, E.M. "An American Orchestral Composer Writes for the Modern Accordion." School Musician 32 (October 1960): 44-45. Writes about how Creston was commissioned to write for accordion; includes biographical notes.

B59.

Bequette, Neva. "Symphony In Fine Fettle." Tri-City Herald (Pasco, Washington), February 12, 1971. Review of Symphony No. 4 performed by the Mid-Columbia Symphony Orchestra with the composer conducting. "The music is modern, but filled with melody... The bursts of brass, the shimmering strings, and instrumental echoing of phrases created a pattern of excitement, through which lyric interludes, or changes in pace, were woven..." See: W82.

B60.

Berger, Arthur. "Spotlight on the Moderns." Saturday Review, July 31, 1954, p. 62. Review of Westminster recording WL5272 of Symphonies Nos. 2 and 3 in which the reviewer states that between the time of these works, Creston acquired more polish and taste. He says that climaxes still arise prematurely or resolve in Radio City cadences, but subtitled "Three Mysteries," "the Third Symphony can scarcely go wrong in its melodies, since they are drawn from the wonderful store of Gregorian chant."

B61.

. "Spotlight on the Moderns." Saturday Review of Literature, August 27, 1955, p. 38. Review of recording ML4989 in which the Sonata For Saxophone and Piano is described as "salon music of French genre flavored with American popular music of the 'sweet genre'."

Bibliography 89 B62.

. "Spotlight on the Moderns." Saturday Review of Literature, August 27, 1955, p. 38. Review of Columbia recording ML5039 in which Invocation and Dance is referred to as "another hyper-impressionist work with elements of the 'Bolero.' "

B63.

Bergholtz, Berna. "Buffalo Orchestra Offers Elektra in Concert Form." Musical America 78 (January 15, 1958): 6. Review of the Second Symphony performed by the Buffalo Symphony, Joseph Krips, conductor, December 15, 1957 which Bergholtz speaks of as a distinguished work that held interest.... "It is warm and rich in color, dramatic in style and fresh and lively in rhythmic interest."

B64.

Berliner, Milton. "New Creston Work An Immediate Hit." Washington Daily News, January 31, 1952, p. 36. The premiere of Symphony No. 4 performed by the National Symphony Orchestra, Howard Mitchell, conductor, is described as a work that assays more notes to the measure than any other musical creation (save the Flight of the Bumblebee). This profuseness not only holds the interest of listeners, but gives the symphony a raciness along with imaginative writing and expert orchestral coloring.

B65.

. "New Creston Work Finds Some Favor." Washington Daily News, April 5, 1956, p. 43. Review of the premiere of the Symphony No. 5 commissioned by and performed by the National Symphony Orchestra for its 25th anniversary season, Howard Mitchell, conductor. While the reviewer felt that the work aroused interest, it seemed much too discursive and contrived to arouse any excitement. The first and final movements have vigor and orchestral variety while the Largo movement rambles aimlessly....The symphony reflects all of Paul Creston's not inconsiderable craftsmanship.

B66.

Berman, Eric M. "Performance Tasks Encountered In Selected Twentieth-Century Band Excerpts For Tuba: Their Identification, Categorization and Analysis." Ph.D. - New York University, 1981, 187 pages. This study identified, categorized, and analyzed the performance tasks encountered in selected twentieth century band excerpts for tuba and offered suggestions for their execution. Creston's Celebration Overture was one of the eleven compositions chosen.

B67,

Biancolli, Louis. "Americana Takes Stadium Role." New York World July 14, 1942, p. 19.

Telegram,

Review of Pastorale and Tarantella, performed by the New York Philharmonic Symphony, Alexander Smallens, conducting. "Paul Creston started in a mild bucolic vein with a Pastorale but whooped it merrily in a swift-paced Tarantella that worked up to a smash finish." B68.

. "Biracial Group Plays Debut." New York World Telegram, May 7, 1965, p. 31.

Review of Symphony No. 4, performed by the Symphony of the New World, conducted by Benjamin Steinberg. "The spirit of Creston's new symphony light, transparent, unshowy, very American in its blithe and gracious stride. The scherzo was just possibly the best ever written in this country."

90 Paul Creston B69.

. "Cantelli Leads the Philharmonic." New York World Telegram, March 16, 1956, p. 22. Review of Dance Overture performed by Cantelli and the New York Philhamonic Symphony in which the reviewer points out that the dance is a favorite theme and study of Mr. Creston's which few contemporary composers are similarly equipped to keep an orchestra on its toes. "Spanish, French, English, and American motifs are woven here into a fast-moving web of bright and folksy rhythms."

B70.

. "Czechs Don't Use Conductor: Stokowski Leads Mahler." New York World Telegram, April 5, 1965, p. 12. Review of Corinthians X11I performed by the American Symphony Orchestra, Stokowski, conductor which speaks of the work as inspired by St. Paul's words about the quality of love. "It is an expressive and impassioned score enshrining the composer's love of his wife, Louise."

B71.

. "Korn Conducts at Carnegie." New York World Telegram, November 8, 1962, p. 29. Review of the Piano Concerto performed by Richard Korn and the Orchestra of America, Eugene List, soloist. The work was described as having bravura unlimited except for the poetic calm of the Andante.

B72.

20.

. "Marimba Joins the Classics." New York World Telegram, April 30, 1940, p.

Review of Concertino for Marimba performed by the Orchestrette Classique, F. Petrides, conductor and Ruth Stuber, soloist. The work is described as wellmade. "Simplicity itself, it goes into its lush, purling way in one or two veins, chiefly Ravel and Mr. Creston's mildly modernistic self..." B73.

. "Kapell Exhibits Wizardry With Prokofieff Concert." New York World Telegram, February 26, 1947, p. 33. Review of performance of Second Symphony by E. Ormandy and the Philadelphia Orchestra (2/25/41). "...Last night, this teeming web of Americana struck me as Creston's sturdiest score to date. Certainly the second movement ranks with the finest in recent symphonic striving."

B74.

. "Music: Monteux Gives Superb Reading of Creston 2nd." New York World Telegram, January 20, 1956, p. 19. Review of Second Symphony performed by the N. Y. Philharmonic, Pierre Monteux conducting which speaks of the work as strong and original stuff. "...The symphony was conceived as an 'apotheosis' of the two foundations of all music song and dance. The conception was a good one and its working out a marvel of arresting idiom and rhythmic diversity."

B75.

. "Music: National Symphony Cheered." New York World Telegram and Sun, April 9, 1956, p. 22. Review of Symphony No. 5, performed by National Symphony Orchestra, Howard Mitchell conductor, at Carnegie Hall (4/8/56). "...The New Fifth Symphony, commissioned by the National Symphony for its 25th anniversary season, is Mr. Creston's most emotionally powerful score to date. Its keynote is intensity; its conflict dramatic and spiritual.

Bibliography 91 The symphony, which builds up tension, momentum with Mr. Creston's usual rhythmic grip, was given a rousing performance." B76.

. "Philharmonic Plays Creston Choric Dance." New York World March 19, 1943, p. 20.

Telegram,

Review of the New York Philharmonic Symphony's March 18, 1943 performance of Choric Dance No. 2, Efrem Kurtz, conductor. The reviewer points out the work's adaptability to ballet use, though it is purely musical in content. "...The moving at mounting speed, the Choric Dance alters in rhythm, color and mood over a unifying metric base. The core is a kind of blunt, primitive rhythm, built up into gripping unity through shifting patterns. The steady rhythmic throb varying in intensity and breadth gives the scheme real go and direction..." B77.

. "Rabin Plays Concerto By Creston." New York World Telegram, March 20, 1962, p. 25. Review of Second Violin Concerto performed by Thomas Scherman and Little Orchestra Society, Rabin soloist. An outgrowth of a Ford Foundation grant in 1959, the concerto is described as a work of robust style and marched rhythmic impetus interlaced with breezy melodic line.

B78.

. "Rain Reduces Audience at Stadium to 4,000." New York World July 2, 1941, p. 13.

Telegram,

Review of Threnody performed by E. Goossens and the New York Philharmonic Symphony in which the reviewer points out that a personal experience is a motivic thought of the piece for Creston. "The score coheres into a solidly worked out piece of abstract music. The heart of the poem is an intense lament shrieking out with real anguish." B79.

. "Sax Goes Highbrow On New Concert." New York World Telegram, January 28, 1944, p. 23. Review of the premiere of the Saxophone Concerto, performed by the New York Philharmonic Symphony, Steinberg conducting and Abato soloist in which the score is described as brisk, sturdy, with snappy syncopation. The saxophone blends into the scheme as a part of the orchestra.

B80.

. "Soldier Plays Recital in Carnegie Hall." New York World Telegram, March 8, 1943, p. 12. Review of a performance of Threnody by the New York Philharmonic Orchestra in which the reviewer mentions that an undivulged personal tragedy is embedded in the scheme. "...Two themes, one spiritual, one human, contrast interestingly, a clever extension of interval being used to sharpen feeling."

B81.

. "Stadium and Minnie Launch 44th Season." New York World June 21, 1961, p. 29.

Telegram,

Review of world premiere of Dance Variations, performed by Pierre Monteux and Stadium Symphony Orchestra (6/20/61). "...The voice was especially pliant and free in a deftly scored set of Dance Variations for soprano and orchestra by Paul Creston." B82.

. "Stokowski Celebrates His 50 Years on Podium." New York World Telegram, September 26, 1958, p. 18.

92 Paul Creston Review of concert sponsored by Contemporary Music Society by Leopold Stokowski at Carnegie Hall (9/25/58). "...Equally searching treatment was given a rollicking Toccata by Paul Creston. Here was music of bouncing verve and rhythmic drive, slightly streaked by concessions to popular taste, but again the work of a master." B83.

. "Stokowski Takes Over At Carnegie For 2 Weeks." New York World Telegram, December 27, 1946, p. 24. Review of Frontiers performed by New York Philharmonic Symphony, Stokowski conducting, in which the work is described as having a sense of epic purpose. "...Pictures in Mr. Creston's music were the moods of vision, constancy and indomitable spirit that marked America's westward migration...." The music built up to terrific climaxes over a steady forward drive of rhythms....

B84.

. "Toscanini On Podium As Benny Goodman Toots." New York World Telegram, November 2, 1942, p. 36. Review of a performance of Choric Dance No. 2 by the NBC Symphony, Toscanini, conducting. "The Choric Dance No. 2 is a gripping criss-cross of stark barbaric rhythms...."

B85.

Binder, Daniel Ambrose. "A Formal and Stylistic Analysis tions for Solo Accordion With Accompanying Ensembles American Composers With Implications Of Their Impact cordion In The World of Serious Music." D.A. Thesis, 1981, 209 pages.

of Selected ComposiBy Twentieth-Century Upon the Place of AcBall State University,

This study examined a select group of works for solo accordion and various types of accompanying ensembles by 20th century American composers, analyzed and evaluated them in an attempt to see what impact such works have had on the world of serious music. Creston's Concerto for Accordion and Orchestra was one of the works analyzed. B86.

Bloomfield, Arthur. "An Excellent New San Francisco Ballet." San Francisco Examiner, April 1, 1977, p. 20. Review of the ballet Metamorphoses performed by the San Francisco Ballet by Tomm Ruud and music by Creston, James Lees, piano. The music is "a piece with an impressive evolutionary thrust. Its colors and harmonies may come in large part out of Debussy and Ravel via Prokofieff, but the score has its own spark and flavor and push.... Creston's variations have a dogged, neat chiseled quality as well as a grand power...."

B87.

Bloomingdale, Wayne. "Creston's Songs: The Art of Communication." The American Music Teacher, January 1979, p. 42-43. Discussion of the song repertoire of Paul Creston. "His collection of songs incorporate the broad spectrum of his unique sound. Two things in particular characterize Creston's songs: his relentless loyalty to the text, a result of his desire for a successful marriage of words and music, and his highly individual sense of harmonic structure."

B88.

Bohm, Jerome D. "Creston Work Performed by Philadelphians." New York HeraldTribune, March 24, 1943. Review of March 23, 1943 performance of Symphony No. 1 by the Philadelphia

Bibliography 93 Orchestra, Ormandy, conductor, in which the reviewer speaks of the symphony as revealing the composer's craftsmanship from the architectonic and orchestrational facets. The instrumentation owes much to Tchaikovsky, as both composrs pass themes from one choir of the orchestra to the other. While there is not a sufficient difference in mood between the movements, the composer delivers his message spontaneously. B89.

. "Orchestrette Concert Led by Miss Petrides: 10th Anniversary Program Contains Rare Old Music as Well as New Works." New York Herald Tribune, May 4, 1943, p. 17. In this review of the Chant of 1942 by Frederique Petrides and the Orchestrette Classique, Creston is revealed as an eclectic with considerable mastery of the technique of composition. However, the reviewer suggests that the rhythmic and orchestral devices that are derivative of Delius and Ravel are tiresome and less effective than his French predecessors.

B90.

. "Philharmonic is Conducted by Steinberg." New York Herald Tribune, January 28, 1944, p. 10. Review of the premiere of Concerto for Saxophone performed by the New York Philharmonic Symphony, Steinberg conductor, Abato soloist in which Creston is revealed as an "eclectic composer whose sources cover a wide field, from Liszt to Gershwin..."

B91.

Book Review - Music Educators Journal 67 (October, 1980): 25. Review of Rational Metric Notation. "Written with the hope of ending confusion over imprecise metric notation, this book discusses both avant-garde and traditional notation of rhythm, specifically meter. Citing the two major reasons for confusion as ambiguous terminology of note values and misconceptions regarding the function of the barline, the author draws upon works from such diverse composers as Bach, Chopin, Debussy and Bartok to illustrate his suggested solutions. Specific discussions include the principles of rhythm; meter; note values; rests; beams, and flags; and meter signatures."

B92.

Boros, Ethel "Creston Leads, Plays Own Works at B-W." The Plain Dealer (Cleveland, Ohio), March 6, 1966, p. 47. Reviews the opening performance of the festival of contemporary music at Baldwin-Wallace College. Several works are performed, the Suite, Op. 66, in which the composer played the piano, the Celebration Overture, Op. 61, conducted by Kenneth Snapp, Rapsodia Breve, Op. 81, Sara Ritter, organist, the Fantasie for Organ, Op. 74 and Corinthians XIII.

B93.

. "Paul Creston's Toccato Premiered by Orchestra." Cleveland News, October 18, 1957, p. 17. Review of the premiere of Toccata, Op. 68, performed by the Cleveland orchestra, George Szell, conductor, in which the reviewer speaks of the work as a study in rhythm and suggests a subtitle of 65 rhythms in 3/4 meter. She states, "Creston succeeds in being interesting and colorful in spite of his mathematical intentions. In a diligently abstract fashion, he shows off the sonorities of the orchestral blend and highlights the tone techniques of the various choirs of the orchestra..."

94 Paul Creston B94.

Borowski, Felix. "Ormandy Features Novel Work on Last Concert." Chicago Times, January 13, 1951, p. 3, Sec. 2. Review of Symphony No. 3 performed by the Chicago Symphony, Eugene Ormandy, conducting. While the reviewer points out that it was not intended as program music, the composer did attempt to give his emotional reactions in tone. While the music was described as interesting and striking, the emotional stimulation was superficial and bland.

B95.

Bowles, Paul. "20,000 Hear Robeson Sing at the Stadium." New York Herald Tribune, July 2, 1943, p. 10. Review of "Here Is Thy Footstool" from Three Chorales from Tagore performed by the Philharmonic Symphony Orchestra, Robert Shaw Collegiate Chorus, Alexander Smallens, conductor, as well as songs by Samuel Barber and William Schuman. "The unrhythmical and restrained treatment of the Barber and Crestons numbers automatically lessened their immediate appeal."

B96.

. "American Music." New York Times, July 4, 1954, Section 2, p. 6. Review of Westminster recording WL5272 of Symphonies No. 2 and 3 which are described as having integrity and intense seriousness of purpose. Creston is called an earnest musician with an evolving style and his symphonies are thoughtful works that deserve a hearing.

B97.

. "Elman Soloist At the Stadium." New York Post, July 2, 1941, p. 8. Review of Threnody performed by Goossens and the New York Philharmonic Symphony which refers to a well-knit, compact score, that is deftly orchestrated. While the reviewer says there is a flavor of Debussy in the orchestral treatment, he also acknowledges that "Creston has a genuine talent for melody writing."

B98.

44.

. "Rapsody in Blue Led by Toscanini." New York Post, November 2, 1942, p.

Review of performance at Studio 8-H performed by the NBC Symphony Orchestra in which the Creston score is mentioned for its striking rhythms and pleasant melody. B99.

. "Two New Pieces Heard at Stadium." New York Times, July 14, 1942, p. 23:6. Review of Pastorale and Tarantella performed by the New York Philharmonic Symphony, Alexander Smallens conducting at Lewissohn Stadium. The composition is "an ingratiating work with a high melodic content... On the whole, it is an agreeable work and might merit a re-hearing."

B100. Broder, Nathan. "Reviews of Records." Musical Quarterly, October 1955, p. 551. Review of Columbia recording ML4989 of the Sonata for Saxophone, a perfectly satisfactory piece which will be a pleasant addition to the repertory of the instrument. B10L

. "Reviews of Records." Musical Quarterly, October 1955, p. 551. The review of the Columbia ML5039 speaks of Invocation and Dance as more pretentious, with emphasis on rhythmic problems and orchestration. With regard to thematic material and instrumental effects, the reviewer feels the composer evinced more fastidiousness in other works.

Bibliography 95 B102. Bronson, Carl. "Orchestra Scores at Philharmonic." Los Angeles November 19, 1943.

Herald-Express,

Review of a performance of Symphony No. 1 by the Los Angeles Philharmonic, Wallenstein conductor. "The Creston Symphony No. 1 proved an ambitious and freely written score of a distinctly United States idiom. B103. Bronston, Levering. New Records, May 1976, p. 2. Review of Columbia recording MG-33728 of Midnight In Mexico in which the reviewer speaks of the piece as trite and inconsequential. B104.

. New Records, June, 1976, p. 5. Review of the Argo recording ZRG-845 of A Rumor. Geoffrey Crankshaw writes of this orchestral essay, "The whole affair is brilliantly worked out from a twittering theme first announced by the flute. It is a piece of pure comedy- gossip shared excitedly by an orchestra which gradually becomes fully involved."

B105. Brown, Ray C. B. "Postlude." The Washington Post, August 4, 1944. Review of performance of the String Quartet by the Stuyvesant String Quartet on August 3, 1944. Brown points out that this work encourages hope for the return of consonance and frank emotion to American contemporary music. He observes that it opposes what Copland has noted as a predisposition toward overcomplexity of texture and abstract thought. He says "Creston writes with warmth and imagination, with a keen appreciation of the value of melodic lines and with clarity of exposition. He is sparing with dissonance... The music has individuality, vitality and poetic tinctures." B106. Brozen, M. "Orchestras In New York." Musical America, 83: (January, 1963): 109. Review of the first New York performance of Eugene List, soloist, the Concerto for Piano, by the Orchestra of America, Richard Korn conducting. Brozen says it is a "work given to all the excesses of Warner Brothers at its wildest." B107. Buchman, Carol. "Composers Dedicate Works To The Band." Modern Music 20 (November/December, 1942): 48. Review of Legend in the silver jubilee concerts of the Goldman Band. The reviewer feels that with Creston's works, one is torn between annoyance at the anachronism and admiration for the composer's musical impulses. "Curiously uncontemporary, almost pre-Raphaelite, was Paul Creston's Legend." B108. Buckley, Charles. "Creston's 3 Mysteries Touched With Genius." Chicago Herald American, January 12, 1951, p. 12. In his review of Symphony No. 3 performed by Ormandy and the Chicago Symphony, Buckley says that this symphony is a work of genius in which the composer has drawn exclusively from Gregorian chants. He says, "...On this thematic foundation, the composer has imaginatively, though fleetingly, suggested through tone imagery, the spirituality aroused by meditation on this lofty theme..." B109. Burke, Alfred W. "N.E. Intercollegiate Band Closes Current Parker Lecture Series." The Lowell Sun, March 31, 1959. Review of Zanoni, performed in the current series of Moses Greeley Parker lee-

96 Paul Creston tures, by the New England Intercollegiate Band, the composer conducting. "It is a work demanding, interesting, clearly spoken in theme and rather intriguing in its form...." B110. Burke, Harry R. "Novelty Pleases At Symphony Concert." St. Louis Democrat, November 14, 1942, p. 60.

Globe-

Review of a performance of Pastorale and Tarantella by the St. Louis Symphony in which the reviewer calls the composition a masterpiece in miniature. Specifically, the Pastorale is called "an aquarelle, a dainty and delightful painting in color harmonies in traditional form." The reviewer also states that the orchestration is delightful. B i l l . Butler, Henry. "Symphony Menu Enriched By Plenty of Musical Vitamins." Indianapolis Times, December 31, 1945, p. 7. A favorable review of Frontiers performed by the Indianapolis Symphony, Fabian Sevitzky, conductor, December 30, 1945. The work's vigor and thematic and developmental material are mentioned. Also, the reviewer says that the composer writes with his audience in mind and doesn't write with mathematical calculation. Bl 12. C.B.N. "Power In His Artistry." Kansas City Times, February 29, 1956. Review of a performance of Invocation and Dance by the Kansas City Philharmonic, Hans Schwieger, conductor. Invocation and Dance... has "joyous rhythmic patterns and its gusty almost boisterous moods." Bl 13. C.G. New York Concert and Opera Beat: "Orchestra da Camera." Musical 155 (May, 1957): 20.

Courier

Review of Partita performed by the Orchestra da Camera, Remus Tzincoca, conductor, which speaks of the work as the high spot of the evening. "It is an absorbing work throughout, the Sarabande possessing a haunting loveliness, the Air, an exquisite lyricism...." Bl 14. C.H.T. "Orchestra in Straits." Kansas City Times, February 23, 1944. Review of Two Choric Dances, performed by Kansas City Philharmonic (2/22/ 44). "...Both the tone poem and the Choric Dance by Paul Creston which immediately followed were particularly well received, and both were first hearings." Bl 15. C.S.S. "New York Philharmonic." Musical America 84 (January, 1964): 42. Review of a New York Philharmonic performance of Frontiers, Kostelanetz, conductor. The work is described as a "lot of empty sentimental patriotism that doesn't ring true." B116. Callaghan, J. D. "Golden Jubilee Festival Opens in An Arbor." Detroit Free Press, May 6, 1943, p. 23. Review of a performance of Symphony No. 1 by the Philadelphia Orchestra, Ormandy conducting at the Golden Jubilee May Festival in Ann Arbor (5/5/43) which reveals "a composition of workmanlike content, carried along a flood of continuing melody." The reviewer also says it is a pleasant work with no conscious striving after-effect though in the modern idiom.

Bibliography 97 B117. Callaghan, J. Dorsey. "2 New Works At Concert: A Night of Nice Newness." Detroit Free Press, January 15, 1960, p. 38. Review of Concerto No. 1 for Violin, performed by the Detroit Symphony, Paul Paray, conductor, Benno Rabinof soloist, which describes the work as "amazingly impressive, filled with rhythmic ideas, conflicting cross-currents of polyrhythm and a wealth of tuneful ideas." The reviewer also says that the piece has a compelling vitality, and from the beginning is filled with drive and makes demands on the soloist, while sharing the melodic profusion of his other works. Bl 18. Calland, Fred. "Columbus Symphony Rates Raves In Vets Memorial Performance." Columbus Citizen-Journal, November 21, 1963, p. 38. Review of Janus performed by the Columbus Symphony Orchestra, Evan Whallen, conductor (11/21/63) in which the piece is depicted as a short work that gives little hint of its nature just as the "Jupiter" Symphony of Mozart. The title means duality reconciled and the reviewer points out that Creston's pairing off of brass and reeds together and strings and winds does hold true to this claim. He says that with the artistry of a master architect, "Creston has balanced, juxtaposed, welded and contrasted his musical materials and set them up in a structure breathing excitement and generating it." B119. "A Capital Convention! Washington, D.C., June 28-July 2, 1982. Composers and Their Commissions." American Organist 16 (May 1982): 4-5. Review of Symphony No. 6 for organ, commissioned for the AGO convention which speaks of the work meant to glorify the pipe organ and takes its suggestion from a work of Widor. The organ is used as a solo instrument and also as a second organ. B120. Cariaga, Daniel. "Moderation Works for Composer Creston, 74." San Diego Times, October 1, 1981, Pt. VI, p. 28. Biographical with emphasis on Creston's practice of moderation in his life; describes his most recent work Sadhana and Symphony No. 6; describes how he works on a piece of music. B121. Carr, Jay. "Ehrling Unveils Creston's 'Ode'." Detroit News, April 7, 1967. Review of the premiere of Chthonic Ode performed by the Detroit Symphony, Sixten Ehrling, conductor (A/6161). The reviewer points out that it is not program music. Rather, Creston has tried to give tangible form to shapes that form Henry Moore, the British sculptor's work. The reviewer was struck by the fact that despite its craftsmanship, it is conservative. He says, "...this work and Moore's sculptures part company... in the music's lack of that final vital spark, that little explosion in the imagination that enables any work of art to assert itself with self-contained certainty...." B122. Cassidy, Claudia. "Ganz Conducts American Music New to Chicago." Chicago Sun, May 26, 1942. p. 13. Review of a performance of Pastorale and Tarantella by the Illinois WPA Symphony, May 25, 1942, Rudolf Ganz, conductor, which speaks of the composition as a remarkable piece of work but too reminiscent of Debussy's Clouds and Festivals. B123. Cassidy, Claudia. "Ravinians Hail Paul Creston's 2nd Symphony." Chicago Sunday Tribune, July 13, 1947, Part 1, pg. 18 F.

98 Paul Creston Review of the Second Symphony performed by Ormandy and the Chicago Symphony (7/12/47) in which Cassidy singles out Creston's Italian background as easy to accept in the context of the work's pervading dark lyricism. She says the symphony "is a solid structure on the unorthodox base of a first movement called interlude and song and a second called introduction and dance." The first movement is predominantly based in a texture of strings and works up to that of flutes and clarinet; it builds to a climax and subsides while the second movement is syncopated. B124. "Celebration Overture." School Musician 27 (April 1956), p. 59. This notable work of Creston's is fresh and vital. It is rich in harmonic, contrapuntal and rhythmic resources. The work is a difficult one indeed and will challenge even the better college bands. The instrumentation call for the usual brass and woodwinds." B125. Charlesworth, Hector. "Notable Program Ends Official Promenade Season." Globe and Mail (Toronto), October 15, 1943, p. 19. Review of the world premiere of Frontiers by Andre Kostelanetz at the 10th season of the Promenade Symphony Concerto (10/14/43) in which the piece is described as a tone poem inspired by the Western immigration of the nineteenth century. The three sections of the work call to mind the vision, trek and achievements of the pioneers. The reviewer calls the music "intense in feeling, richly though transparently scored." B126. Chase, Gilbert. America's Music. New York: McGraw-Hill, 1955, p. 535-536. Biographical summary. B127. Chase, William W. New Records, December, 1981, p. 11. Review of the Crystal S-386 recording of Fantasy for Trombone in which Chase refers to the work as the most impressive on the disc, having strong rhythmic interest and thick textures in the outer movements, while the inner movement is high in the trombone's register and lyric. B128. "Choice of the Critics." News & Week, June 21, 1943, p. 82. Article announcing that Symphony No. 1 by Paul Creston was the recipient of the New York Music Critics Circle Award for the best American orchestral work heard during the 1942-1943 season. B129. "Choric Dances No. 1 and No. 2." New York Philharmonic Program Notes, March 14, 1953. Program notes of the New York Philharmonic's performance of Choric Dances Nos. 1 and 2 which state that Mr. Creston intended no programmatic or external inspiration to the works, but instead, an abstract conception suggesting movements of a group of dancers but adaptable to choreographic treatment. B130. Clark, Martin. "Noted Composer Hears His Work at Oregon Symphony First Night." (Portland, Oregon) Journal, October 7, 1969. Review of a performance of Corinthians XIII by the Oregon Symphony, Jacques Singer, conductor (10/6/69), which is described as one of the most moving compositions of this century. The reviewer feels that the music has a solidity and simplicity as well as delicacy and tenderness and concedes that the composer has

Bibliography 99 captured the essence of St. Paul's Epistle to the Corinthians. B131. "Claudette Sorel Lends Brilliant Piano Technique to Recital." Citizen-Journal lumbus, Ohio) April 19, 1963, p. 13.

(Co-

Review of the premiere of Narrative No. 2, performed by Claudette Sorel at Ohio State University, for whom it was written. The reviewer felt that the piece utilized the pianist's musical and lyric sensitivity as well as her keyboard technique. B132. Cleigh, Zenia. "Paul Creston: The Divine Giant." San Diego Magazine (4 Artists of North Country Series) June, 1978, p. 156-157. Based on an interview with Paul and Louise Creston. Zenia Cleigh recounts the sketch of his life and career. B133. Clendenin, William R. "Denver Symphony, Modern Choir Creston, Imig Offer Fine Concert." Camera (Boulder), March 15, 1961, p. 1-2. Clendenin, reviewing a performance of Symphony No. 5 by the Denver Symphony, composer conducting (3/14/61) said that, "The Fifth Symphony is richly scored for a large orchestra." The composer himself described the piece as intense and the reviewer agreed. He said, "It is such a continuous expansion of energy that the approximate 30 minutes of playing time may actually seem longer." B134. Clubertson, Jean. "Magnifico Is the Word: Symphony and Auditorium Score Resoundingly Here." Clarion Ledger (Jackson, Mississippi), April 2, 1968 (Jackson, Mississippi), p. 9. A favorable review of the premiere of From the Psalmist, op. 91, performed by the Jackson Symphony, Lewis Dalvit, conductor, Jean Madeira, soloist (4/1/68) in which the reviewer found the setting as enhancing the meaning of the words of the Psalms. In addition, Clubertson's preference for Baroque music added interest because Creston used conventional forms to say something in a modern way. She stated, "Its majestic depth reflected the tranquility of unshakable faith. In its joyous triumph, the Creston's sovereignly." B135. Clutler, Mark. '"Lydian Ode Highlights Stirring Symphony Concert." Wichita Beacon, February 25, 1957, p. 9. Review of the premiere of Lydian Ode, performed by the Wichita Symphony Orchestra, James Robertson, conductor, in which the reviewer says the work "emphasized a serene and exalted feeling based on the ancient Greek scale with great freedom." B136. Coleman, Robert. "Stadium Concerts In Exciting Opening." New York Mirror, June 22, 1961, p. 25. In the review of premiere of Dance Variations performed by P. Monteux and the Stadium Symphony Orchestra, Roberta Peters, soloist, Coleman says that unfortunately the work wasn't performed until last night. B137. "The Composer in Academia: Reflections on a theme of Stravinsky." College Music Symposium X (Fall 1970): 55-98. This article consists of twenty-two solicited responses by various practicing composers to statements made by Igor Stravinsky to Robert Craft. These statements were made in the form of "Advice to Young Composers." Creston authors

100 Paul Creston one of the responses. B138. "Composer Paul Creston, Wrote Symphonic Works." The Atlanta Constitution, August 27, 1985. Brief obituary of Paul Creston. B139. "Concert Records: Enter McBride-Variety In Instruments-Men Who Sing." New Yorker, February 10, 1938. A positive review of the N.M.Q.R. recording No. 1314 of the Suite For Saxophone and Piano, which speaks in particular of the second movement, a pastorale, as "the most attractive division of the suite." B140. Condon, Elmore. "Helen Jepson Guest Soloist In Second Program." St. Louis StarTimes, November 14, 1942, p. 10. Elmore Condon's review of a performance of Pastorale and Tarantella by the St. Louis Symphony, Vladimir Golschmann, conducting, which highlights the French impressionism and interesting material of the work. He says, "The modeling of very interesting material is extremely well done. The Tarantella is in the traditional triplet rhythm and is expanded with a headlong rush of aptly illustrative ideas." B141. Cone, Edward T. Notes 4 (March, 1947): p. 191-192. Review of the published score of Five Two Part Inventions which gives descriptive notes on the work and commentary on Creston's polyphonic writing. B142. Couper, Mildred. "Philharmonic Returns, Delights Local Audience." Santa Barbara, California News-Press, Decmeber 8, 1943. Review of a performance of Symphony No. I by the Philharmonic Orchestra of Los Angeles, Wallenstein conductor (12/7/43), which speaks of the work as expressive of a recent trend to more consonant harmony, and its spontaneity. The reviewer says, His music is an example of the backward swing of the pendulum to more consonant harmonies... There is a sparkle and zest to the music that captivates and enchants one... his humorous and gay passages flow with natural impulse and carry the conviction of spontaneous expression...." B143. Cowell, Henry. "Paul Creston." Musical Quarterly, 34 (October, 1948); 533-541. Biographical article summarizing Creston's career, achievements and his approach to musical composition. Cowell says, "Creston is a man who pursues his sincerely lofty ideals with all the vigor of a highly concentrated personality, capable of much more arduous study, preparation, and reflection than most composers exact of themselves." B144.

81.

. "Current Chronicle New York." Musical Quarterly , 37 (January, 1951): 78-

Favorable review of the New York performance of Symphony No. 3 presented by Eugene Ormandy and the Philadelphia Orchestra. Henry Cowell particularly mentions Creston's clear orchestral writing, his harmony and his use of Gregorian themes. He says, "... Hand in hand with the actual Gregorian melodies in his Third Symphony, rich 20th-century seventh and ninth chords abound, often following each other chromatically."

Bibliography 101 B145.

. "Reviews of Records. "Musical Quarterly 40 (October, 1945): 624. Review of the Westminster WL5272 recording of the Second and Third Symphony in which the latter work is thought to be his most serious effort, based on three dramatic moments in Christ's life. The reviewer mentions the composer's handling of the orchestra, his melodious style, rich harmonic textures and rhythmic variety. On the other hand, the Second Symphony is more widely performed and more successful due to the composer's use of the two fundamental kinds of music, song and dance, as his basis.

B146. Cranby, Edward Tatnall. Audio, March, 1985, p. 103. Review of Crystal recording S508 of the Suite For String Orchestra, Op. 109 and the Chant of 1942. Cranby says Creston has employed a "gentle neoclassicism" in the first work. He says, "His sound is unlike anybody else's in that, though the rhythms and counterpoints are 'Baroquey,' the harmonies are sweet and fruity in a good sense, with echoes of Grieg and Dvorak and others of Creston's contemporaries." B147. Crankshaw, Geoffrey. "Paul Creston." (Album notes for A Minor Argo ZRG 845). Album notes for Argo recording ZRG-845 of A Rumor. Crankshaw describes the piece as an orchestral essay for strings and winds. "It is a piece of pure comedy-gossip shared excitedly by an orchestra which gradually becomes fully involved. B148. "Creston and Taylor Works Given by NBC." New York Sun, December 17, 1943, p. 17. Review of a performance of Chant of 1942 by the NBC Symphony, Stokowski, conductor, before an invited audience at Radio City studio (12/26/43). It is "a skillfully built composition which depends for its effect more on the building of sonorities than on the interest or appeal of its thematic substance." B149. "Creston Gives Program For Parade of American Music." (Ellensburg) Daily Record, February 10, 1970, p. 2. Describes program presented by Paul Creston for the Ellensburg Music Study Club for their February meeting; also included some biographical material. Creston presented the program tracing his life as a composer as well as indicating many difficulties found in composing music. B150. "Creston, Noted Composer, Wins Critics' Music Award." Boston Post, June 27, 1943. Article which announces that Symphony No. 1, Op. 20 was selected as the outstanding symphonic composition played during the 1942-43 season. It was selected from among 5 works performed by the NBC Orchestra under Frank Black: includes biography of Creston. B151. "Creston Symphony Chosen for Conceit." Bronx Review Press, February 24, 1952. Article that announces that Paul Creston's Symphony No. 1 was chosen to represent the U.S. at a Referendum Concert sponsored by the Ministry of Foreign Affairs, performed by Pasdeloup Orchestra in Paris. B152. "Creston Symphony Gets Critics' Circle Award." PM, June 9, 1943.

102 Paul Creston Announces that by majority vote on the first ballot, the Music Critics Circle of New York chose Paul Creston's Symphony No. 1 as the best orchestral work by an American composer duirng the concert season of 1942-43. B153. "Creston Symphony Wins Awards." Democrat and Chronicle (Rochester, New York), June 27, 1943. Article announced that Paul Creston's Symphony No. 1 has been chosen by the New York Music Critics Circle as the best work by an American composer heard for the first time in the past season. B154. "Creston Symphony Wins Critics' Prize." New York Times, June 9, 1943, Section L, p. 16. Announces that "The annual award of the New York Music Critics Circle was voted yesterday to Paul Creston's Symphony No. 1, Opus 20, by a majority vote. The Creston score was selected as the best of the symphonic works by American composers which had their New York premieres in the course of the season just ended. B155. "Creston's Choric Dance Played by Philharmonic: Kurtz Also Conducts Schumann and Tschaikowsky Works." New York Herald Tribune, March 9, 1943, p. 17. Review of Choric Dance No. 2, performed by the New York Philharmonic Symphony, March 18, 1943, which speaks of the competent scoring, harmonies and precision bassi ostinati. "The Creston work called forth the greatest sonorous precision. The scoring was competent and grateful; its sound effects were calculated to help the impression of energy it wished to give. Noncommittal harmonies and percussive bassi ostinati were overlaid with quasi-primitive woodwind figures were important aids in keeping things going." B.156. "Creston's First Symphony Wins Top Honors In French Contest." Herald Statesman, (Yonkers, New York), February 28, 1952. Article that announces that Paul Creston's first Symphony was judged the best of the works submitted by four participating nations at the recent Referendum Concert in Paris, under the auspices of the French Ministry of Foreign Affairs; has some biographical notes. B157. "The Critics' Awards." Musical Courier, 128 (July, 1943): 16. An editor's response to a letter submitted by H. A. Banfield of Chicago, purporting the opinion that no American composition was worthy of the Critics Circle Award for the 1942-43 season. In his view, Creston's symphony was a fine, sincere and skillful composition. B158. Crutchfield, Will. "Paul Creston, 78, Lyrical Composr." New York Times, August 25, 1985, p. 44. Obituary of Paul Creston. Crutchfield described Creston's works as comprising "the most consistent embodiment of the affirmative, lyrical, melodic strain that dominated American music in the Depression years... Mr. Creston never wavered in his commitment to traditional concepts of melody and tonality, and was often criticized on that score..." B159. Cutler, B.J. "Reds Hail Boston Orchestra." New York Herald Tribune, September 23, 1956, Section 4, p. 7.

Bibliography 103 This performance of the Second Symphony of Creston and the Sixth of Piston by the Boston Symphony Orchestra, Charles Munch, conductor, evoked a polite response without much enthusiasm. B160. Cutler, Helen Miller. "Ann Arbor Celebrates Fifty-Eighth Anniversary of Its May Festival" Musical America 171 (June, 1951): 34. In this review of the 3rd Symphony performed by the Cincinnati Symphony in Ann Arbor, May 6, 1951, Eugene Ormandy, conductor, Cutler spoke of the depth and sincerity communicated by the work. While it possessed dissonance, it was never harsh, and rhythmic without being frenetic. B161. D.D.S. "Record Reviews." American Record Guide, November, 1984, p. 31. This reviewer of the Crystal recording S-154 of Suite for Saxophone and Piano found the work satisfying and spectacularly performed. B162. D.H.M. "Record Reviews." American Record Guide, July, 1957, p. 156. In this CRI-111 recording, Dance Overture was thought to be the most interesting work on the disc. "The Dance Overture is a cleverly constructed little piece, in which the three sections are connected quite skillfully without a break." B163. Darack, Arthur. "Words and Music: New Music and Fine Baritone at Concert." Cincinnati Enquirer, March 29, 1952, p. 26. In this review of the premiere of Walt Whitman, Op. 53 performed by the Cincinnati Orchestra, Thor Johnson, conductor (January 28-29, 1952), Arthur Darack expressed the view that the four programmatic sections corresponding to four attitudes found in Whitman's poetry, only suggested these abstractions rather than making them concrete. He said, "[Creston] has become too concerned to follow a program by musical means and has sometimes lost sight of purely musical demands." B164. Darden, Rita. "Young Pianist Holds Audience Spellbound." The Odessa American (Odessa, Texas), November 29, 1966, p. 5B. This review of Symphony No. 3 performed by the Midland-Odessa Symphony, Lara Haggard, conductor November 29, 1966, spoke about inspiration derived from events in Christ's life. B165. Davidson, Marie Hicks. "Daphnis Ballet Applauded Here." San Francisco CallBulletin, December 12, 1947. In this favorable review of the Poem for harp and orchestra performed by the San Francisco Symphony, Pierre Monteux, conductor and Virginia Morgan, soloist (12/11/47), Davidson described the work as "an abstract composition of lovely harp embroidery on an orchestral fabric." B166.

. San Francisco Call-Bulletin, February 2, 1944. Review of a concert performed by the San Francisco Symphony, Pierre Monteux, conductor (1/1/44), in which the reviewer cited particular interest in the last movement of Pastorale and Tarantella. She said, "The Pastorale, a continuous development of a single idea, was less interesting than the Tarantella, which, by its very energy and piled themes, was a tour de force for the musicians..."

B167. Davis, Richard S. "Ormandy Does Notable Work: Verve in Philadelphians." Milwaukee Journal, June 6, 1946, Section 2, p. 2.

104 Paul Creston Review of a performance of Chant of 1942 by the Philadelphia Orchestra, Eugene Ormandy, conductor (6/5/46), which was described as "one of the most impressive bits of modernism, American style." B168. Deane, James G. "Washington Reviews Conductors Parade." Musical Courier 145 (April 15, 1952): 9. James Deane, in reviewing the world premiere of Fourth Symphony (1/30/52) by the National Symphony, felt that the work had "vigor, plenty of melody and obviously from an expert hand, although not especially profound." B169. "Deaths Elsewhere." Sarasota Herald-Tribune, August 26, 1985. Brief obituary notes. B170. DeSchauenSee, Max. "Milstein Wins Ovation in Orchestra Program." (Philadelphia) Evening Bulletin, November 26, 1960, p. 8. DeSchauensee described the performance of Invocation and Dance by the Philadelphia Orchestra at the Academy of Music, Ormandy, conductor (11/25-26/60), as "full of originality, life, and expert scoring." B171. Detroit Michigan Free Press, June 27, 1943. Clipping that announces that Creston's Symphony No. 1 was selected as the best American symphonic work of 1942 by the Music Critics of New York. B172. Devries, Dosha. "The National Scene: Chicago Symphony Led by Guest Batonists.: Musical Courier, 163 (February, 1961): 17. Review of the 2nd Symphony, performed by Monteux and the Chicago Symphony, December 29-30, 1960, at the Ravinia Festival Concerts. Devries pointed out that the symphony typified the composer's song-dance theory with long lyric lines in the first part contrasted with rhythms in the dance-like finale. B173.

. "The National Scene: Chicago." Musical Courier 161 (August, 1959): 13. Unfavorable review of Invocation and Dance, performed by the Chicago Symphony, Robert Whitney, conductor (July 8 and 10, 1959) which spoke of the work as "less than impressive."

B174. Devries, Herman. "Music in Review." Chicago Herald American, May 26, 1942, p. 12. Review of a performance of Pastorale and Tarantella by Rudolph Ganz and the Illinois Symphony Orchestra (5/25/42) at the Eighth Street Theatre which described the work as having interest and originality. B175.

. "Creston Dances High Point of Concert." San Diego Union, December 13, 1976. Review of the San Diego Symphony's performance of Two Choric Dances, op. 17B, which describes the Dances as "more orchestrally idiomatic" than much contemporary music. "The Choric Dances are expertly orchestrated and draw from the ensemble a satisfyingly rich sonority. This is also music that moves with an infectious vitality on strongly rhythmic fee." See: W88, 89, D35.

Bibliography 105 B176.

. "Creston's Work Impressive, For the Most Part." The San Diego March 31, 1978, p. B-10.

Union,

The reviewer of the San Diego Symphony's performance of the Third Symphony (3/31/78) spoke of the composer's use of Gregorian themes as the basis of the work, the rhythmic freedom, expert orchestration and "modal piquancy that is logically derived from the chant melodies that are harmonized." B177.

. "New Creston Work Impressive." The San Diego Union, May 23, 1978, p. A70. In this world premiere of the Suite for Strings, op. 109, performed by the Jewish Community Center Chamber Orchestra, David Amos, conductor (5/21/78), the reviewer was struck with the work's "vitality, sense of forward momentum, and its beautiful counterpoint." The reviewer particularly appreciated the third movement, "a cantilena with a principal melody of grand dimension and beautiful arch."

B178.

. "Pleasant Evening With Kostelanetz Symphony." The San Diego Union, August 31, 1975, p. B-8. In this favorable review of Midnight In Mexico, an excerpt from Images in Flight performed by the San Diego Symphony (8/29/75), Kostelanetz, guest conductor, the work was thought to be enjoyable with strong rhythms. The reviewer felt that the composer captured "typical Mexican musical idiom in terms of melody as well as facile orchestration and more sophisticated harmonies."

B179.

. "Twin Treat: L.A. Chamber Orchestra and Sadhana." The San Diego Union, September 27, 1981, p. E-3. In this article, Creston spoke about his inspiration for Sadhana which was a book of philosophy by the Indian poet and writer Rabindranath Tagore. Each chapter prompted a different emotion for Creston and he utilized a different combination of instruments or a solo line in order to express the various moods of the piece.

B180. Doering, Vivian. "Creston: Composer of Music - And Stories." The San Diego Union, May 11, 1978, p. 6. Biographical article. B181. Donner, Jay M. New Records,

August, 1983, p. 4.

Review of Crystal recording S-154 of Suite for Saxophone. "...Creston's Suite is not as well crafted as his familiar Saxophone Sonata, but still outclasses his counterparts." B182. Downes, Olin. "Creston Is Lauded For 2D Symphony." New York Times, February 26, 1947, p. 35. A favorable review of the Second Symphony performed by the Philadelphia Orchestra, Ormandy, conductor, at Carnegie Hall (2/25/47), which highlighted its remarkable success. The reviewer spoke of the first section, the 'Song,' as having reminiscences of Tchaikovsky and the 'Dance' as more American in traces." B183.

. "Critics' Choice: Some Observations on Approach to Naming Creston Work for Award." New York Times, June 13, 1943, II, p. 5:1. Article that announced the selection of Creston's First Symphony by the New York Music Critics Circle for their annual award as the best American orchestral

106 Paul Creston composition of the 1942-43 season. Olin Downes spoke generally of the composer's intention to provide a soundly wrought, interesting work, and more specifically, the works "balance of lyrical, rhythmic and contrapuntal elements, the skillfulness of the orchestration, and the contrast and balance of the different movements." B184.

. "Ormandy Offers 2 Novelties Here: Philadelphia Orchestra Plays ScarlattiByrns Suite and Creston Symphony." New York Times, March 24, 1943, Section L, p. 20. Review of the March 23, 1943 performance of the Symphony No. 1 by the Philadelphia Orchestra in which the symphony is described as capably composed and clearly thought out. The work has no programmatic intention but rather "a matter of purely tonal relationships."

B185.

. "Kurtz Presents Creston's Music: Philharmonic-Symphony Plays Choric Dance No. 2 First Time at Carnegie Hall." New York Times, March 19, 1943, Section L, p. 14. Review of the New York Philharmonic Sympony's performance of Choric Dance No. 2 conducted by Efrem Kurtz (3/18/43) in which the reviewer suggested that the work would lend itself well to choreographic performance or equally well as music for a cinema. He spoke of Creston's work as written in a highly competent and effective manner."

B186.

. Stokowski Leads the Philharmonic." New York Times, December 27, 1946, Section L, p. 13. Review of Frontiers performed by the New York Philharmonic Symphony, Leopold Stokowski, conducting (12/26/46), in which the reviewer mentions that Creston's score suggests the vision, the trek and the achievement of the migration to America's West. Creston's workmanship is referred to as "fluent and brilliant, the orchestration obvious and telling in a Hollywood manner."

B187.

. "Stokowski Wins Audience Favor: He Conducts the Philharmonic Orchestra In Program that Reveals Players." New York Times, October 17, 1941, Section L., p. 26. Review of a performance of "Scherzo" from Symphony No. 1 by the New York Philharmonic Symphony, Leopold Stokowski, conductor (10/16-17/41), which the reviewer found to be "witty and well-composed with cross rhythms that set off the appearance of the lyrical theme."

B188. Dufour, Charles L. "Hilsberg Given Ovation On Return to Podium." New Orleans States, March 5, 1958, p. 10. Unfavorable review of the world premiere of Pre-Classic Suite by the New Orleans Philharmonic Symphony, Alexander Hilsberg, conductor (3/4/58), commissioned by Edward B. Benjamin, in which the reviewer mentioned that the work was taken in stride. B189. Dumm, R.W. "Boston Proud of Symphony's Success in Japan Tour." Musical Courier, 161 (June, 1960): 34. Review of the premiere of the Concerto for Accordion by the Boston Symphony, Arthur Fiedler, conductor, Carmen Carrozza, soloist. The reviewer felt that the work had rhythmic invention, but "went far toward counteracting the harmonic categories of the bass push buttons."

Bibliography 107 B190. Dumond, Mary. "Spivakovsky's Violin Enlivens Tchaikovsky." Arizona March 31, 1964, p. 10.

Republic,

In this review of the world premiere of Corinthians XIII, Op. 82, by the Phoenix Symphony, Guy Taylor, conductor (3/30/64), the reviewer was struck by several characteristics, the surging string tunes of the opening theme, solo passages of flute and bassoon, and the dying away surges of the closing theme, which she found reminiscent of Debussy's Engulfed Cathedral." B191. Dupin, Lynn B. "Concert of Creston Works Said Superb." Ellensburg Daily Record, November 19, 1974, p. 2. Review of a concert given by Paul Creston and Adele Blankenship, November 17, 1974 at Central Washington State College, of Creston songs, A Song of Joys, Op. 63, Three Songs, Op. 46, Psalm XXIII, Op. 37, Thanatopsis, Op. 7, Bird of the Wilderness, Op. 2, Three Sonnets, Op. 10, La Lettre, Op. 59, and French-Canadian Folk Songs. Dupin felt that this was an outstanding performance due to the proper marriage of text, musical setting and performance. The performance was enhanced by the composer's contribution as accompanist, and particularly noted Creston's taste for poetry of the highest merit. B192. Durgin, Cyrus. "Boston Symphony Orchestra - Monteux Plays Creston Music." Boston Globe, February 25, 1956, p. 20. Review of Symphony No. 2 performed by the Boston Symphony, Monteux conducting (2/24/56). The reviewer felt that in style the work borrowed from numerous other composers. However, the formal plans of Introduction and Song, Interlude and Dance made a novel two-movement architectural scheme. The composer's use of thematic material was thought to be distinctive. He said, "Charm and vitality are plentiful here... The music has motion, it is never glum or chunky or sodden and its orchestration makes a bright-colored facade..." B193.

. "Symphony Hall: Boston Symphony Orchestra." Boston Daily Globe, March 24, 1945, p. 10. Unfavorable review of the Second Symphony performed by the Boston Symphony Orchestra, Durgin, conductor (3/23/45), in which the work is described as unoriginal with hints of Roy Harris, Rachmaninoff and Hindemith. However, the reviewer found the "scoring able with tunes and lively rhythms."

B194. E.L. "National Symphony Gives Creston Premiere." Musical America 76 (May, 1956): 26. A disappointing review of the premiere of Symphony No. 5 given by the National Symphony, Howard Mitchell, conductor (4/8/56). Although the reviewer thought that the work was scored effectively, the composer's symphonic processes were thought to place importance on the use of inversion and telescoping, "the tone of the symphony is ultra serious, yet one would suggest that though it all sounds important, it is a lesser Opus from a distinguished American composer." B195. E.S. High Fidelity, March, 1966, p. 84. Unfavorable review of Louisville recording LOU 655 of Corinthians XIII. The reviewer found the work less profound or emotional than the Epistle engendered and in fact, noted it as "movie-music." B196. Easter, Stanley Eugene. "A Study Guide For the Performance of Twentieth Century Music From Selected Ballet Repertoires for Trombones and Tuba." Ed. D.

108 Paul Creston Columbia University, 1969. 139, p. UM 70-18, 135 DA XXXI 16, p. 2953-4-A. The author developed a body of educational materials that would provide trombone and tuba teachers with effective guidance in the study and performance of twentieth century ballet music. Creston's Choric Dance No. 2 and the Invocation and Dance were presented as excerpts with appropriate commentary. B197. Eaton, Quaintance. "Worcester Offers New Creston Work In September, 1951 Festival." Musical America 70 (November 15, 1950): 3. Review of Symphony No. 3 in the Music Festival in Worcester, September 1951. It was thought that the instrumental texture of the symphony was one of its appealing features. Also, the composer's use of Gregorian themes was thought to give the work an "archaic quality, rendered the more effective by being clothed in modern orchestral dress." B198. Eckers, Roger Bruce. "An Analysis of Paul Creston's Sonata For E-Flat Alto Saxophone and Piano." M.A. Eastman School of Music of the University of Rochester, 1966. Eckers analyzed the formal aspects, the harmonic structures, tonality, melody, contrapuntal features, and rhythm of the Sonata For Saxophone. He discovered that the composition was conservative. Normally, the first movement had a free Sonata Allegro form, the second a theme and variations, and the last a rondo form. The harmony was found to be tertian, with predominantly root position seventh chords and non-functional root movement. Rhythmically, the piece was found to have unifying figures, with overlapping patterns across the barlines. B199.

. "Meet the Composer: Paul Creston." Musical America, 7-25.

64 (October, 1944):

Detailed biographical sketch from the beginnings up to 1944. B200. Edge, Rebecca Jane. "The Solo Piano Sonata in the United States Since 1945: A Survey." M. Mus., North Texas State University, 1971, 64 pp. A discussion of the piano sonata in the United States prior to 1945; Chapter 3 consisted of brief analyses of eight piano sonatas written between 1945-70. Creston's was included. B201. "Editorial Notes." Strad 619 (April, 1957): 419. Review of the Symphony No. 2 performed by the London Symphony Orchestra at Festival Hall, February 17, 1957, Edouard von Remoortel, conductor. The reviewer felt that the scheme, two movements illustrating the twin origins of music in song and dance was original, and the idiom was intelligible. It was also thought that Creston showed resource in his use of the orchestra but used too many unison passages. B202. Effinger, Cecil. "Symphony Offers American Music." Denver Post, February 19, 1947, p. 12. Review of Choric Dance performed by Denver Symphony, Saul Caston conductor. (February 18, 1947). "...The Choric Dance' of Creston is quiet, plaintive, quite French, very enjoyable."

Bibliography 109 B203. Egge, Klaus. "American Festival Concert." Arbeiderbladet (Oslo) September 20, 1956. Review of Dance Overture, performed at an exchange concert (between U.S. and Norway) by the Philharmonic Society, Alfredo Antonini, conductor. The reviewer spoke of the dances that formed the basis for the rhythmic development of the piece where the main theme is shaped to suit the mood created by the various rhythms. They are the Spanish bolero, English country dance, French loure and American square dance. It was also thought that the rhapsodic form was fresh and original. B204. Elie, Rudolph, Jr. "Music" Boston Herald, March 25, 1944, p. 5. Favorable review of Frontiers, performed by the Boston Symphony Orchestra, March 24, 1944, Kostelanetz, conductor. The work was thought to be an eloquent tone poem that depicted the spirit of the westward movement. The reviewer specifically mentioned that the piece was "enjoyable, sincere, melodic and without a semblance of self-conscious striving." B205.

. "Symphony Concert." Boston Herald, April 11, 1953, p. 18. Review of the 2nd Symphony, performed by the Boston Symphony Orchestra, Pierre Monteux, conductor 1/10/53. The reviewer felt that it was one of the better American symphonies though the "American" elements are not too obvious.

B206. Ellsworth, R. "Americans on Microgroove." High Fidelity, a discography.

6 pt. V (August, 1956)

Review of several Creston recordings, Second and Third Symphonies (Westminster WL5272), String Quartet (Capitol P8260), Invocation and Dance (Columbia ML5039), and Sonata For Saxophone (Columbia ML 4989). Ellsworth described Creston's music as "modern without being harsh, emotional without being sticky, and informed generally by a sincerity that inspires respect." B207.

. "Oboist Kirchner Wins As Soloist." Cleveland Plain Dealer, December 18, 1942, p. 9. Review of A Rumor, performed by the Cleveland Orchestra, Artur Rodzinski, conductor, December 17, 1942. It was thought that the piece was well named becaue of the way it built a climax. The reviewer felt it "was almost a fugue that suggested a successful exercise in continuity, deftly orchestrated."

B208. Elwell, Herbert. "Orchestra's Skill Shows In Toccata." Cleveland Plain Dealer, October 18, 1957, p. 25. Favorable review of Toccata, Op. 68 performed by the Cleveland Symphony Orchestra, George Szell, conductor (10/17/57). Elwell spoke of the work's skill and fluency, its command of full sonorities and its shifting rhythmic patterns. The slow lyric position of the work was considered to be less distinguished, but generally the work was thought to be "first-class musical entertainment, expertly conceived and executed for a maximum of virtuosic effect..." B209210. Epstein, David M. "Review of Published Music." Notes 15 (September, 1958): 658. Review of the published scores to Dance Overture and Symphony No. 3. The reviewer spoke of Creston's stylistic features which are present in both works: Lush harmonies, rhythmic patterns and syncopations, opulent orchestration with solid doublings. However, he felt they were used without discretion in the first

110 Paul Creston work. In general, he thought Creston handled theme transformation skillfully. Of the Third Symphony, Epstein thought that the work was more refined. The scoring was less thick and more discriminating, particularly in the second and third movements. As a whole, he said, "the work develops in scope, and builds interest and complexity through contrapuntal textures." B211. Ericson, Raymond. "U.S. Music Stars at Last Promenade." New York Times, June 21, 1968 Sec. L, p. 44. Review of the New York premiere of Images in Flight, performed at the New York Philharmonic Promenades Concert, June 20-22, 1968, Kostelanetz, conductor. The reviewer described the work as a collection of musical travel posters. They were jointly composed by Creston and Henry Cowell. The reviewer mentioned the skill with which they were composed and the variety of styles of the program. B212. Eversman, Alice. "DeSabata Directs Philadelphia With Brilliant Musicianship." (Washington, D.C.) Evening Star, January 30, 1952, Section A, p. 26. Review of Two Choric Dances, performed by Philadelphia Orchestra, Victor DeSabata, conductor (January 29, 1952) at Constitution Hall. B213.

. "15-30 Series Is Opened With James Melton." Washington Star, November 28, 1943. This favorable review of the premiere of Chant of 1942 performed by the National Symphony 11/27/43, highlighted the decided impression the work made on the audience. The reviewer felt that the success of the work was justified because of the composer's sincere and deeply felt emotion. Specifically, he said, "While patterned in its tonality, harmonies and effects on the style adopted by Shostakovich, and built up to a climax similar to that of the first movement of the latter's Seventh Symphony... the truth of its expression bars any suggestion of imitation..."

B214.

. "News of Music: Edwin Davis displays Refinement of Artistry In Recital at Phillips." Evening Star (Washington, D.C.) May 28, 1951. Sec. A, p. 15. In this interesting review of the Fantasy for Piano and Orchestra, given by Richard Bales and the National Gallery Orchestra, Rose d'Amore, soloist, 11/27/51, the integration of the solo part and the orchestra is described. "Creston's compact Fantasy surrounds the solo part with an exuberant orchestration while giving to the piano glittering passages of more than ordinary complexities. The instrument is blended with the ensemble in the clean-cut, forthright way, yet its potentiabilities are exploited with true skill." While the reviewer noted that there were few passages of lyric character, the work's ingratiating quality was noted.

B215.

. "Stuyvesant Four Set Standard In Meridian Hill Park Concert." The Evening Star (Washington, D.C.) August 4, 1944. Sec. A, p. 10. This review of a performance of String Quartet by the Stuyvesant String Quartet, August 3, 1944, spoke of the work's esprit and originality. "The Quartet is delightfully changeful in mood, each movement presenting a particular objective which the composer reaches in clear, concise writing... The entire work has a fresh viewpoint expressed logically and with skill."

B216.

. "Symphony No. 4 Given Excellent World Premiere." (Washington) Evening Star, January 31, 1952.

Bibliography 111 In this review of the premiere of Symphony No. 4 performed by the National Symphony, Howard Mitchell, conductor January 30, 1952, the reviewer spoke of the instantaneous appeal of the symphony. "It is full-blooded, joyous, springing with vitality, racy in rhythm, and riotous in color. Melodies abound, darting in and out of syncopation, and great splashes of color are applied lavishly." The reviewer also spoke of the composer's secure writing, who invented new harmonies with some dissonance. B217. Ewen, David. American Composers: A Biographical Dictionary, New York: G.P. Putnam's Sons, 1982, p. 153-155. Good complete biographical sketch through 1975 with a list of principal works and bibliography (thorough). B218. Eyer, Ronald. "Music: Little Orchestra Society." New York Herald Tribune, March 20, 1962, p. 14. A hot and cold review of the premiere of the Second Violin Concerto performed by Thomas Scherman and the Little Orchestra Society, Michael Rabin, soloist (3/19/62), in which Eyer talked about the composer's borrowings from the late romantic and impressionistic periods. He also mentioned that the work had plausibility and simplicity, but yet possessed standard "fireworks for the soloist." B219.

. "Music: Orchestra of America." New York Herald Tribune, November 8, 1962, p. 20. The reviewer offers a description of the Piano Concerto, Richard Korn, conductor, Eugene List, soloist, as a "brilliant and facile keyboard showpiece in Creston's usual mellifluous style," yet points out that the work sometimes approaches salon music.

B220.

. "New York Philharmonic." New York Herald Tribune, March 20, 1961, p. 14. Basically sympathetic to Creston's musical style, the reviewer assesses Janus as " a nice, safe piece of pseudo-contemporary music... which reveals slick facility with rhythmic variations and shapely melodic ideas, however impressionistic in effect."

B221.

. "Record/Audio" Musical America 74 (June, 1954): 15. Review of Capitol recording P8246 of Two Choric Dances which calls the work a "classic," among the best-known works of the composer.

B222.

. "Stokowski 50th Anniversary Concert Offers Modern Music." Musical America 78 (October 1958): 7. This assessment of a performance of the Toccata by the Contemporary Music Society at Carnegie Hall, 9/25/58 praised the work as a "vigorous, ingenious piece of work with much more melodic invention than one has any right to expect in a toccata." The reviewer felt that it had something of the popular vernacular about it but should have ended sooner than it did.

B223. F.A.K. "Concert Notes." Globe-Democrat (St. Louis), May 30, 1954. A highly favorable review of the Capitol LP recording of the String Quartet, Op. 8, performed by the Hollywood String Quartet, which praises the work as "finely contrived, as modern as one could wish, without roughness or gaucheric." The reviewer specifically highlighted the work's propulsive rhythms, use of pizzica-

112 Paul Creston to, use of the higher ranges of the strings, and use of Gregorian chant style. B224. Finn, Robert. "Dedication Concert Is Pleasant." Cleveland Plain Dealer, June 22, 1966, p. 20. A review of a concert at John Carroll University that dedicated the new Kulas Auditorium, with the Cleveland Orchestra, conducted by Louis Lane (6/21/66) which featured the premiere of Introit. "The work turned out to be a brief, rhapsodic piece with nothing in it to offend even the most conservative ears." B225. "$5,000 Grant Given Creston, Concert Artist." Herald Statesman (Yonkers, N.Y.) March 1959. Article that announces that Paul Creston had received a Ford Foundation Grant of $5,000 - to compose for Michael Rabin (violinist). B226. Flanagan, William. "Orchestra of America Plays Bach at Carnegie." New Post, November 8, 1962, p. 53.

York

Unfavorable review of the Piano Concerto performed by Richard Korn and the Orchestra of America, Eugene List, soloist (11/7/62) in which Flanagan appraised the work as "in a stylistic ersatz out of Gershwin, Rachmaninoff and any one of several recognizable sources." He also found the work to be without passion. B227. Folkart, Burt A. "Paul Creston, Reknowned Classical Composer, Dies." Los Angeles Times, August 27, 1985. Obituary of Paul Creston in which Burt Folkart spoke of Creston's commitment to melodic themes and regular meters. B228. "Ford Unit Grants $130,000 For Music." New York Times, March 10, 1959, Section L, p. 41. Announced that Paul Creston received a Ford Foundation grant of $5,000 to compose a work for soloist with orchestra (Michael Rabin). B229. "Forecast and Review." Modern Music 19 (May-June, 1942): 255-56. Although this review of Three Chorales From Tagore and Pastorale and Tarantella praises the "harmonic invention" of the piece, it points out that the text is not apt for setting, nor is the contrapuntal, complex chordal style well-conceived for chorus." The Pastorale and Tarantella is also noted as quasi-impressionistic. B230. Frankenstein, Alfred. "Musical Events: Kostelanetz Program Features Works by American Composers." San Francisco Chronicle, December 6, 1943, p. 9. Review of performance of Frontiers by San Francisco Symphony, Kostelanetz conductor (December 5, 1943). In this review Frankenstein spoke of the work as well made but lacking the power the subject (people facing the unknown wilderness) demands. He mentioned Creston's handling of the thematic derivations from Stravinsky's Rite of Spring, which he says, condescendingly, result in a "super-duper piece of movie music." See:W61. B231.

. "Records." High Fidelity, September, 1955, p. 57.

Bibliography 113 Review of Columbia recording ML5039 of Invocation and Dance. Brief review which says that the work "goes down well but doesn't say much..." See: W64. B232.

. "Records." High Fidelity, September, 1956, p. 57. Review of Columbia recording ML4989 of Sonata For Saxophone, Op. 19. Although the reviewer highlighted the exceptional refinement of Abato's playing, the work was thought to be "essentially an academic piece in the nineteenth century tradition." See: W122, D25.

B233. Fried, Alexander. "Kostelanetz Event Hailed: Pop Concert Program Declared Success." San Francisco California Examiner, December 6, 1943, p. 8. Review of performance of Frontiers given by A. Kostelanetz and San Francisco Symphony, (December 4, 1943). Fried compared Frontiers by Creston and Showboat by Kern in this review of a performance by A. Kostelanetz and the San Francisco Symphony (12/3/32). He says that both composers could learn from each other. "From Creston, Kern can learn to be deeply serious and concise. From Kern, Creston can learn lessons about musical flavor and enchantment." See: W61. B234. G.W. "New York Concert and Opera Beat." Musical Courier 155 (November, 1958), p. 12-13. Review of the anniversary concert of Leopold Stokowski at Carnegie Hall, sponsored by the Contemporary Music Society (October 1, 1958). Although the reviewer called the Toccata a well built opus and a tour de force for orchestra, the reviewer found that musically it did not have much to say. See: W87. B235.

. "New York Philharmonic Symphony." Musical Courier 153 (February, 1956): 75-6. Review of performance of Symphony No. 2 by New York Philharmonic (January 19, 1956). A highly favorable review which praised the work as excellent. "There is melodic invention aplenty, and the form and construction show sound workmanship." See: W80, D32, D33.

B236. Galphin, Bruce. "Brockman Shows Why He Is A Frequent Guest." The Atlanta Constitution, December 6, 1957, p. 8. Review of Dance Overture, performed by Atlanta Symphony, Thomas Henry Brockman (December 5, 1957), conductor. A brief review which commented on the quality of the performance. (The quick attacks, exact pace, and well executed solo passages were mentioned.) See: W54, D9. B237. Gait, Martha. "New Music of Varied Character." Music Clubs Magazine 32 (January, 1953): 33.

114 Paul Creston Review of published music to Fantasy. The reviewer describes the Fantasy as being designed "for an advanced performed...combines virtuosity and brilliance...making quite a showpiece. The middle section, marked slower, has flowing melodic lines, which contrast the rhythmic brilliance. It is in the modern idiom." See: W59. B238. Gaye, Pamela. "Notes on Metamorphoses." San Francisco Ballet Program Notes April 1977. This review of the ballet Metamorphoses with music by Creston and choreography by Tomm Ruud observed how the music and choreography were interwoven together. "Juxtaposed with Paul Creston's Opus 84 for solo piano, which bears the same title, Tomm Ruud's choreography is a never-ending thread of continuously interweaving movement. Whereas the music, based on 28 tones, progresses from variation to variation, the dance brings to mind an equal number of physical forms..." See: W105, W134, D18. B239. Gaynes, Richard O. American Record Guide, July/August, 1982, p. 47-8. Review of the Varese Sarabande recording VCDM 1000.240 of Fanfare for Paratroopers which is described as beautifully written with musical proficiency. See: W151,D11. B240. Gee, Harry R. "A Visit with Paul Creston." The Saxophone Symposium, 1978, p. 17.

Winter,

Interview with Creston at a composer's festival at Indiana State University by Harry Gee. Among the topics discussed were: his works for the saxophone, the Sonata, Op. 19, The Suite, Op. 6, the Concerto, Op. 26, and the Rhapsodie, Op. 168, and his passages for the solo saxophone in the Prelude and Dance for Band. See: W8, DI, D21. B241. Gentry, Charles. "Ann Arbor Festival, A Jubilee." Detroit Evening Times, May 7, 1943. This review of a performance of Symphony No. 1 by the Philadelphia Orchestra (5/5/43) at the Golden Jubilee Festival, Ann Arbor, Eugene Ormandy, conductor, praises the symphony as a virile work fashioned with great skill. Gentry felt that the last two movements were the most imaginative. He said that Creston worked out his pattern with craftsmanship, although at times he felt Creston could have had more harmonic spontaneity. See: W79, D31. B242. Gentry, Charles. Detroit Times, May 5, 1945. Unfavorable review of the Chant of 1942 performed by Ormandy and the Philadelphia Orchestra which expressed the view that the piece, as the year it depicted, was violent and confused. Gentry said that it resembled a motion picture score without anything visual to accompany it. See: W44, D4. B243. George, Collins. "Three Stirring Works Conclude Symphony." Detroit Free Press, April 7, 1967, p. 7-D. In this review of Chthonic Ode performed by Sixteen Ehrling and the Detroit Symphony Orchestra (4/6- 8/67), George praised the work as basically tonal with the dissonances of modernsism, solid construction, and extremely rhythmic with every instrument reinforcing the rhythms.

Bibliography 115 B244. Gessler, Clifford. "(Challenging First): Symphony Plays Creston Work." Oakland Tribune, March 27, 1957, P.46. Favorable review of a performance of Symphony No. 4 by the Oakland Symphony (3/26/57), Orley See, conductor, which described the work as a "vital, vigorous work, moving forward with an insistent, driving rhythm, and intricately constructed, tossing thematic fragments from choir to choir of the orchestra until they are caught up together in unified form. Written in sufficient harmonic pugency to be interesting it avoids excessive harshness and remains fluently melodious." See:W82. B245. Giffin, Glen. "Fascinating Is Word For Orchestra Program." Denver Post March 18, 1971, p. 39. Upbeat review of the Concertino for Marimba, performed by Wesley Wicks and the Arapahoe Symphony (3/17/71) which described the piece as a jazzy, syncopated work that calls for constant and steady work from the soloist. While at times Giffin felt writing to have echoes of Piston and Bernstein, he essentially felt Creston was not an imitation. See: W47,06. B246. Gill, Frank P. "Ex-Detroiter Hailed: 2 Musical Firsts Please Audience." Detroit Times. January 15, 1960, p. 22. This review of the premiere of the Concerto No. 1 for Violin performed by Benno Rabinof, and the Detroit Symphony, Paul Paray, conductor (1/14/60), highlighted the virtuosity of the work. "The second world premiere was a showy work full of bravado, brilliance and brio." While Gill found it to be an exciting addition to violin literature, with rhythmic energy, he felt that at times it was thematically banal See: W90. B247.

. "Premiere Mania Is Rampant, Says Expert." Detroit Times, March 24, 1958, p.17. Article summarizing the views of Paul Creston in a lecture given at the Detroit Institute of Art concerning "premiere mania."

B248.

. "Russians-Red, White, Fill The Music Bill." Detroit Times, March 22, 1958, p.13. Review of a lecture and a performance honoring Paul Creston sponsored by the Pro Musica at the Detroit Institute of Arts, Marjorie McClung, soprano. Some of the composer's songs were performed and he performed several of his piano works which were favorably received.

B249. Ginzburg, L. "Notes On The Boston Orchestra." Sovetskaya Muzyka, November, 1956, no. 11, p. 110-112. Review of Pierre Monteux's execution of Symphony No. 2 with the Boston Symphony in their Soviet tour. The reviewer found the work difficult and felt that the dance finale gave the orchestra a chance to demonstrate its technical prowess. See: W80, D32, D33. B250. Glackin, William C. "Symphony Is Brilliant In First Concert." Sacramento Bee, October 23, 1966, Sec. A, P. 6. In this review of Dance Overture performed by the Sacramento Symphony (10/ 22-23/66), Harry Newstone, conductor, the work was thought to be "brilliant, abstracting the flavors of dance music from Spain, England, France, and America

116 Paul Creston with a lively imagination and a lot of attractive tunes and rhythms. Glackin highlighted the quality of the orchestra's performance. See: W54, D9. B251. Goerl, Sally. "Music For Westchester Presents Second Concert." Scarsdale Inquirer December 6, 1962. Highly favorable review of Invocation and Dance performed by the Westchester Symphony, Siegfried Landau, conductor (12/1-2/62) which spoke of the brilliant performance, alive with rhythm and energy. Goerl described the piece as a "short, virile, compact work with some dissonance, which was incidental to the tightly written, polyphonic score." See: W64. B252. Goldberg, Albert. "Boston Symphonists Uphold High Standard." Los Angeles Times, May 4, 1953, p.3, p. 10. This review of Symphony No. 2 performed by the Boston Symphony (5/3/53), Monteux conductor, found the work to be interesting without being extreme nor conservative, with some lyricism and a finale based on American rhythm. The reviewer also praised the orchestra's and the conductor's flair for contemporary idiom. See: W80, D32, D33. B253.

. "Bowl Demonstration for Israeli Soprano." Los Angeles Times, August 29, 1963. Part IV, p. 9. The reviewer of this performance of Symphony No. 2 by the Los Angeles Philharmonic, Hendl conductor, found the symphony to have clear ideas that have been presented with imagination as well as technical resources of development and orchestration. Hendl's enthusiam and conviction of performance was also mentioned. See: W80, D32, D33.

B254.

. "Creston Premiere At Los Angeles Chamber Orchestra Opener." Los Angeles Times, October 5, 1981. This review of the premiere of Sadhana by the Los Angeles Chamber Orchestra, Schwarz conductor (10/3/81), spoke of the composer's inspiration for the work. The piece was compared to a miniature cello concerto on the order of Tchaikovsky's Rococo variations.

B255.

. "Creston Violin Concerto Debuts." Los Angeles Times, November 19, 1960. Part III, p. 2. Highly favorable review of the premiere of the Violin Concerto No. 2, performed by the Los Angeles Philharmonic, George Solti, conductor, Michael Rabin, soloist (11/18/60) which spoke of the composer's idiomatic writing for the instrument that makes it sound with richness and resonance and makes the work so playable. The work was also thought to have musical substance, "The melodic ideas are graceful, the form is clear and succint, and the orchestration abounds in cleverly wrought effects and lively rhythms." See: W91.

B256.

. "Ehrling, Perlman Are Exciting Duo." Los Angeles Times, February 19, 1966, Part II, p. 13. A hot and cold review of a performance of Invocation and Dance by the Los Angeles Philharmonic Orchestra (2/17-18/66). The reviewer felt that although much better examples of native American composition existed, that there were not many compositions as skillfully contrived or orchestrated. See: W64.

Bibliography 117 B257.

. "Philharmonic Season On." Los Angeles Times, November 14, 1947, Part II: 1. Unfavorable review of Chant of 1942, performed by the Los Angeles Philharmonic (11/13/47) which told of the piece's depiction of the confusion of the war years. However, the work was not thought to be original, "if you had just stumbled in upon the performance at any one of a number of given moments, you might well have been deceived into thinking that Respighi's Pines of Rome or Ravel's Bolero was in progress in slightly distorted union." See: W44, D4.

B258.

. "Solti opens season." Musical America 81 (January, 1961): 154. Positive review of a performance of Violin Concerto No. 2 by the Los Angeles Philharmonic (11/17-18/61) which told of Creston's idiomatic writing that "abounds in graceful technical and melodic passages." Michael Rabin's virtuosity was also acknowledged. See: W91.

B259.

. "Two Soloists Divide Honors In Concert." Los Angeles Times, March 13, 1948, Part II, P. 15. This highly favorable review of the world premiere of the Fantasy For Trombome by the Los Angeles Philharmonic Orchestra, Alfred Wallenstein, conductor, (3/12/48) highlighted the virtuosity of the soloist, Robert Marsteller and the ingenuity of the composer's writing, feeling of a long jazz improvisation and the closeness of the orchestral accompaniment. See: W60, D12.

B260. Goodwin, Noel. "The International Scene." Musical Courier (June, 1958): 16. Review of Chant of 1942 performed by the Philadelphia Orchestra, Ormandy conductor, which Goodwin thought "disappointing as a specimen of native American music..." See: W44, D4. B261. Goss, Madeline. Modern Music Makers. New York: E. P. Dutton, 1952, p. 371-381. Biographical sketch, focusing on Creston's early career to 1942. Includes a list of principal works, short discography and bibliography. B262. Gowdy, Alma. "Symphony By Creston Impress At Concert." Los Angeles and Express, November 19, 1954, Section B, p. 12.

Herald

In this favorable review of Symphony No. 3 performed by the Los Angeles Philharmonic (11/18/54), Alfred Wallenstein, conductor, Gowdy expressed the view that Creston's use of Gregorian chants effected a powerful musical statement. "...Creston succeeded in getting an emotional depiction rather than dramatic, by a medieval tone-coloring which was at all times anchored by the ages-old Gregorian themes." B263. Graf, Max. "Caston Conducts Vienna Ensemble." Musical America 75 (July, 1955). Review of concert presented by Saul Caston, conductor of the Denver Symphony Orchestra which highlighted the slow movements of the Partita as particularly moving. See: W108, D20. B264. "Greatest Composer." Bronxville Review-Press, May 20, 1954. Article that described the introduction by Howard Mitchell of Paul Creston to President Eisenhower.

118 Paul Creston B265. "Greenburg Composer Gains In Recognition." The Master son Press, December 6, 1962, p. 10. Biographical article which described Creston's recent award, being elected a Fellow of the International Institute of Arts and Letters, and current local performances. B266. Greene, Patterson. "Creston Concerto Important." Los Angeles Examiner, November 18, 1960, Sec. 2, p. 4. Review of the premiere of Concerto No. 2 for Violin performed by George Solti and the Los Angeles Philharmonic, Michael Rabin, soloist, (11/17/68) which praised the concerto as a work of importance. The reviewer discussed the solo and orchestral portions of the score. The former were described as difficult, explaining the capabilities of soloist and orchestra, while the latter were described as individual, colorful and varied, making contrast with the solo portions. See: W91. B267. Gregory, Leonard S. "Baccaloni Sends Festival Off to Flying Start." Ann Arbor News, May 6, 1943, p. 19. Gregory was impressed with Creston's ability to sustain his themes in this performance of Symphony No. 1 at the Golden Jubilee Festival, Eugene Ormandy, conductor, and specifically mentioned the skill and organization of each movement. He also noted Creston's flair for contrast in mood, melody and color. The "Scherzo" movement was said to be "a gem of exquisite beauty." See W79, D31. B268. Gregson, David. "Los Angeles Chamber Orchestra Delight Is Hallmark." The San Diego Union, October 2, 1981. Hot and cold review of the premiere of Sadhana by the Los Angeles Chamber Orchestra (10/3/81), Gerard Schwarz, conductor. While the reviewer found it to be an unchallenging work harmonically, he found the melodies beautiful and on the whole felt the work was well crafted. See: W75. B269. Grondahl, Hilmar, "Vigorous, 'Ingenious Toccata' Opens New Symphony Season." The Oregonian, October 7, 1969. Highly favorable review of Corinthians XIII, performed by the Oregon Symphony, Jacques Singer, conductor, which described the piece as "melodically rich, rhythmically incisive, fluid and engrossing in its instrumental movement, fascinating in its counter themes and harmonic diversity." See: W53, D8. B270. Gross, Ben. "Listening In." New York Daily News, November 2, 1942, p. 38. Short review of a concert broadcast over WEAF-51NBC, by NBC Symphony, Toscanini, conductor, which described Choric Dance No. 2 as "dynamic and rhythmic music." See: W88, W89, D35. B271. Gunn, Glenn Dillard. "Creston Work is Given World Premiere Here." (Washington) Times Herald, January 31, 1952, p. 27. Review of the world priemere of Symphony No. 4 (1/30/52) by the National Symphony, Howard Mitchell, conductor. Glenn Gunn called it "great music" and was impressed with the work's urgency, its orchestral colors, and particularly with its rhythmic originality. See: W82. B272.

."Philadelphia Orchestra Led By DeSabata." Times Herald (Washington),

Bibliography 119 January 30, 1952, p. 10. Restrained enthusiam was expressed by the reviewer of this performance of the Choric Dances, who felt that Creston's orchestral colors were not any more impressive than those of Casella. See:W88, W89, D35. B273.

. "Pianist d'Amore, Orchestra Brilliant in Creston Fantasy." (Washington, D.C.) May 28, 1951, p. 9.

Times-Herald

Favorable review of the Fantasy for Piano (5/27/51) conducted by Richard Boles and the National Gallery Orchestra, which praised it as a "stimulating work." The reviewer thought that Creston created a "close knit score, expertly developed both for the solo instrument and the orchestra. It is colorful, imaginative, vigorous, and high spirited." See: W59. B274. Guthrie, Curt. "The Turntable: New and Old Compositions Put on Discs." (Greenville, North Carolina), May 18, 1954. Succinct review of the Capitol (P-8260) recording of the String Quartet, Op. 8, which expressed the view that the work was "unusual and good," with particular interest in the Gregorian manner of the third movement. See: W123,D22. B275. H.C.S. "Chamber Concert Opens WNYC Fete." New York Times, February 13, 1957, p. 27:2. Essentially a negative review of Partita for Flute, Violin and Strings, Op.8, presented at the first concert of the 18th annual American Music Festival by the Knickerbocker Chamber Players, which expressed the view that the work, though light-hearted and attractive, was too dependent on outdated formulas, had a thin content, and consequently "was in a musical minor league." See: W108, D20. B276. H.E.S. "Philadelphia Premiere." International Musician 49: (December, 1950): 10. Positive review of the Philadelphia premiere of Symphony No. 3 by the Philadelphia Orchestra (10/27/50), Eugene Ormandy, conductor. The work was thought to have beauty and at times grandeur. Likewise, the reviewer felt that it was not dated. "It might have been written at any time, anywhere. Just excellent, listenable music. Music that means something..." See: W81, D32, D33. B277. H.J. "The Sax Invades Philharmonic." New York Post, January 28, 1944, p. 31. This reviewer of the premiere of the Concerto for Saxophone (1/27/44) by the New York Philharmonic Symphony, Arthur Rodzinski, conductor, Abato, soloist, was struck by the vitality of the rhythms and the beauty of the melodies. See: W50, W51,D7. B278. H.S. "Toscanini Goes In For Jazz." PM, November, 1942, p. 22. Brief review of a radio broadcast of Choric Dance No. 2 by the NBC Symphony (11/1/42) which suggested that the work be adapted to dance, with its "ingenious rhythmic devices." See: W88, W89, D35. B279. H.T. "Concert: From the Capitol." New York Times, April 9, 1956, p.23. Positive review of the premiere of Symphony No. 5 (4/8/56), National Symphony Orchestra, Howard Mitchell, conductor, which described the work as strong, and Creston as a true symphonist. The reviewer was also impressed with Creston's

120 Paul Creston skills of thematic manipulation. See: W83. B280. HWL. "New York Philharmonic Symphony." Musical Courier 153 (April, 1956): 19. Review of the published score to Dance Overture. "The piece is the work of a gifted and inventive craftsman, an occasional composition, effective and well sounding, and a good curtain raiser." See: W54, D9. B281. Hagland, Mark. "Mirecourt Trio Works." The Daily Cardinal, Vol. XC, September 11, 1980 (University of Wisconsin-Madison). Hagland felt that this performance of the Trio, Op. 112 by the Mirecourt Trio was "brilliant, invigorating, and intellectually enjoyable," and that Creston's work was evocative of the writing of the Impressionists Debussy and Ravel He noted the demanding piano parts, the ensemble work, and the novel sonorities of the first two movements and the lyricism of the third. See: W133, D34. B282. Hague, Robert A. "Stokowski Leads Philharmonic And Makes It Sound Fine." PM, December 29, 1946, P. 19. Short review of a performance of Frontiers by the New York Philharmonic Symphony (12/26/46) which Hague felt expressed the spirit of the westward moving American pioneer. See: W61. B283. Haines, Edmund. "Detroit Symphony." (Ehrling) Hi Fi/Musical America 18: (January, 1968): MA 8-9. Hot and cold review of Chthonic Ode performed by the Detroit Symphony. Although Haines felt that Creston explored the orchestra thoroughly, he thought that the composer over used ostinatos and parallelisms, and noted a static quality of some lyrical sections. See: W46. B284.

. "On Stage: Just Like Going To A Concert: Symphony's Opening in New Hall." (Jackson Mississippi) Daily News, April 2, 1968, p. 20. Basically an unfavorable review of From the Psalmist, performed by the Jackson Symphony Orchestra (4/1-2/68), Jean Madeira, contralto, conducted by Lewis D. Dalvit. The work was described as "pleasant but not memorable." The reviewer felt that the work was too conventional and predictable, though it was thought to be readily understood and had enthusiastic reception.

B285.

Hall, Davis. "Classical Discs and Tapes." Stereo Review, 10-76 p. 123. Review of Argo recording ZRG-845. "...and Paul Creston's virtuosic and whitty A Rumor, appropriately built up in polyphonic texture with jazz overtones, makes for a fine closing piece."

B286.

Harris, Henry. "Music Review, New Publications In Review: For Voice." Musical Courier 62 (August, 1952), p. 30. Review of published scores to Serenade, Lullaby and Fountain Song, published by Leeds Music Corporation: "This is Op. 46 by an accomplished composer, and the three songs make a most satisfactory group. Each projects its poem well and provides a happy musical background for its thought." See: W16, W16a W16d, B191,B286.

B287.

Harrison, Jay S. "Natural Symphony Heard First Time Here Since 1941." New

Bibliography 121 York Herald Tribune, April 9, 1956, p. 10. Unfavorable review of a performance of Symphony No. 5 by the National Symphony (4/8/56), Howard Mitchell, conductor, which described the work as one of minor significance though it was pleasantly received. Harrison thought it to be neo-Romantic with conservative harmony. Though he described the scoring as ingenious, he felt that because it lacked "memorable tunes," it seemed discursive. B288.

Haworth, Frank. Subtle Artistry Is Displayed By Kostelanetz." Toronto Globe and Mail, November 9, 1958. Favorable review of Frontiers performed by the Toronto Symphony (11/8/58). Haworth felt that Creston's presentation with "it's big striding themes, string harmonies and broad sonorities" came across as a fine representation of it's subject. See:W61.

B289. Heck,Thomas. "Sasaki Excels With Marimba." San Diego Union, August 15, 1976, Sec. B-9. In this review of the Concertino for Marimba performed by the San Diego Symphony (8/13/76), Heck spoke of the piece as an example of intelligent collaboration between the composer and a performer who studied marimba and "made the notes his own." He said that the score "exploits the subtle rhythmic accents of which a well handled marimba is capable...". See:W47, D6. B290. Herman, Andrea. "—" San Diego Tribune, October 2, 1981, Sec. C-2. In this favorable review of the premiere of Sadhana by the Los Angeles Chamber Orchestra (10/1/81), Gerard Schwarz, conductor, Andrea Herman noted that the piece did not rely on any formula. She mentioned the dance like rhythms and the "colorful texture" of the orchestra. See: W75. B291.

. "Cellist Shafran, Symphony Score Hits With Traditional, Contemporary Works." San Diego Union, March 31, 1978. The reviewer of this performance of Symphony No. 3 by the San Diego Symphony (3/31/78), Peter Eros, conductor, referred to the work's foundation on the Nativity, Resurrection and Crucifixion of Christ. It was regarded as a thoughtful work which the orchestra expressed in spirit. See: W81, D32, D33.

B292. Herman, Kenneth. "Paul Creston At 78 Now Writing About His Music." Los Angeles Times, December 18, 1984, VI, J, p. 1. A feature story (series on San Diego based composers); biographical summary of his life. B292a. Herman, Justin. American Record Guide 54 (July/August, 1991): 49-50. Unfavorable review of Koch CD 7036 of Symphony No. 2, Corinthians XIII and Walt Whitman. The reviewer felt that this Polish orchestra had no conception of how Creston's music was constructed. He felt the version of the Symphony was dull and "wiped out." On the other hand, he felt less damage was done to the two tone poems which he said were elegiac. Lastly, he felt that Walt Whitman was lovely. B293. Hess, Howard W. "Remarkable Performance Given Shostakovich Symphony." Cincinnati Ohio Times-Star, November 27, 1943.

122 Paul Creston Basically an unfavorable review of the First Symphony performed by the Cincinnati Symphony Orchestra (11/26/43). While Hess mentioned the symphony's movements of lyricism, he said Creston had nothing to say. The work was thought to be energetic, but the rhythms were regarded as mechanical. The orchestral colors were thought to be displayed in solid blocks. Hess stated: "There was no suggestion of a program; sounds, their durations, pitches, intensities and colors were displayed without meaning." See: W79, D31. B294. Hinterberger, John. "Youth Symphony Concert Cheered." Seattle Times, Nov. 28, 1967, p. 47. Hinterberger's positive assessment of Corinthians XIII, Seattle Youth Orchestra, Vilem Sokol, conductor, found it "a subtle, moving piece of music that made demands on the interpretive skills of the strings...." See: W53, D8. B295. Hixson, Shirley. "An Interview With Ruth (Stuber) Jeanne." Percussive Notes 14 (1975): 22-23. An article discussing the circumstances behind the writing of Paul Creston's Concertino For Marimba and Orchestra; includes reviews of the first performance. B296. Holmberg, Michael. "Music of Creston Tranquil, Inventive." Pittsburg Press, May 22, 1960. Review of three works performed at the Carnegie Institute series: String Quartet, Suite for Saxophone and Suite for Viola, Flute, performed by the Musical Arts Quartet. The saxophone work demonstrated the capabilities of the instrument and almost gave the reviewer the sense that the instrument was legitimate. On the other hand, Holmberg found the Suite for Flute and Viola to be a work possessing "melodic sop" and "subtle twists in construction." But the String Quartet was found to be the most enjoyable with its rhythms, Gregorian chant and "mathematical fugue." See:W123, W128, D22. B297. Holtkamp, Rena C. "City's Guild of Organists Offers Inspiring Program." Cleveland Plain Dealer, November 10, 1958, p. 23. In this review of the Fantasia for Organ performed at a concert marking the 50th anniversary of the Cleveland Chapter of the AGO, Holtkamp gave a brief programmatic description of the work. The piece was described as comprising two parts, featuring a theme for an oboe stop, while the second theme was described as a "fiery toccata well adapted for the resources of the organ." See: W98. B298.

. "String Quartet Offers Well-Received Concert." Cleveland Plain Dealer, January 22, 1955, p. 24. The performance of the String Quartet, Op. 8 by the Claremont String Quartet (1/2/55) favorably impressed the reviewer as a work generating interest and exhibiting a genial mood. The contrasts between movements were also noted. See W123,D22.

B299. Horn, John. "Who Said Discussion Has To Be Dull?" New York Herald Tribune, February 12, 1964, p. 15. Review of the TV program, "In The American Grain," on WCBS-TV honoring William Carlos Williams (2/11/64) which mentioned that Creston's original

Bibliography 123 score "was a splendid accomplishment." See: W141. B300. Horton, Lew. Lecture On Rhythm Given By Creston." The Lexington Herald, January 13, 1961, p.16. Article which discussed a lecture given by Paul Creston at the University of Kentucky entitled "Rhythm in Contemporary Composition." The composer spoke about the elements of rhythm, its principles and their application. B301. Houk, Norman. "Music: 'U' Composer's Work Pleases Audience." Minneapolis Tribune November 27, 1954, p. 23. Sat. In this review of Symphony No. 2 performed by the Minneapolis Symphony (11/ 26/54), Antal Dorati, conductor, Norman Houk found the work to have a strong American flavor with the last movement featuring "insistent rhythm". See: W80, D32, D33. B302. Howard, John Tasker. Our American Music: Three Hundered Years of It. 4th edition, New York: T. Crowell Co., 1965, p. 492-3. Brief biographical notes; with a list of works completed through 1956. B303. Hruby, Mark. "BW Does Good Job on Music of Creston." Cleveland Press, March 5, 1966, p. 17. Hot and cold review of five works performed as part of the Contemporary Music Festival at Baldwin Wallace Conservatory (3/4/66) the Rhapsodie Breve and Fantasia for Organ, Suite for Saxophone and Piano, an orchestra piece, and Celebration Overture. Although Hruby felt that Creston won his listeners over utilizing musical elements "with a recognizable beat," he thought Creston's depth of expression was doubtful. The Celebration Overture was thought to be the work most easily understood by the audience. See: W98, W115, W116, W126, D27, W2, D1,D3. B304. Huff, Serge. "Creston Composition Premiered." The Phoenix Gazette, March, 31, 1964, p. 51. In this favorable review of the world premiere of Corinthians XIII (3/30/64) performed by the Phoenix Symphony Orchestra, Guy Taylor, conductor, the piece was praised for its immediate appeal for the audience. Huff spoke of Creston's utilization of a Gregorian melody for the basic theme. He felt that the opening exhortation of Pauline Epistle was reflected at the beginning of the piece and "was skillfully passed from one orchestral voice to another." Harmonically, the work was considered to be in the style of Vaughan Williams in the opening and closing and suggestive of Debussy in the dramatic moments. See: W53, D8. B305. Hughes, Allen. "American Works Offered by Korn." New York Times, March 23, 1961, p. 29. Basically an unfavorable review of a performance of Concertino for Marimba by the Orchestra of America (3/22/61) broadcast over WNYC. Although Hughes expressed the view that the work was trivial, he asserted that no composer could be expected to compose a fine work given this instrument. See: W47, D6. B306.

. "Stanger Conducts Philharmonic In the Premiere of 'Janus' Here." New York Times, March 23, 1961, p. 29. Unfavorable review of Janus, performed by the New York Philharmonic (3/18/

124 Paul Creston 61). Although the work was generally thought to be a colorful work that had both impressionistic techniques and modern rhythmic patterns, it was felt to be dated and filled with cliches. See: W65. B307. Hughes, Edwin. "Piano Music." Notes (December, 1951). Review of published music to Virtuoso Techniques for the Piano. Edwin Hughes asserted that it "was a valuable contribution" that presented exercises for advanced players with the purpose of developing the physical strength necessary to master difficult compositions. B308. Hume, Paul. "Concertmaster Lywen Heard as Soloist With Symphony." Washington Post, January 13, 1960, Sec. C, p.6. Negative review of Janus, performed by the National Symphony Orchestra, Mitchell conductor (1/12-30/60). Hume stated that the composition was an unsuccessful depiction of the Roman god, although the composer explained that the Roman god only suggested the bipartite form. Nevertheless, he regarded the prelude as a "reworking of outworn ideas" and the dance as possessing "a vulgarity in rhythm and melody." See: W65. B309.

. "Juilliard Unit Shines in Coolidge Program." Washington Post and Times Herald, October 21, 1956, Section C, p. 10. Basically an unfavorable review of the premiere of the Suite for Violoncello and Piano performed by Raya Garbusova and the composer at the Coolidge Festival (10/20/56). While the piece left an impression of having lush, romantic sounds, it was not found to add anything new to better understand Creston. Rather, in its various sections, it was thought to evoke boredom, banality, and have trite patterns. See: W130.

B310.

. "Mitchell Gives Symphony Carnegie Hall 'Workout'." Washington Post and Times Herald, April 5, 1956, p. 42. Review of the premiere of Symphony No. 5 by the National Symphony Orchestra conducted by Howard Mitchell (4/4/56) which praised Creston for his mature command of orchestral writing. However it was thought that the composer drew from Romantic sources, Rachmaninoff and Tchaikovsky specifically. The reviewer wondered about what happened to Creston's "American habits." See: W83.

B311.

. "Rhythmic Exactitude Returns With Mitchell." Washington Post, January 31, 1952, p.18. Positive review of the premiere of the Symphony No. 4, by the National Symphony Orchestra (1/30/52), Howard Mitchell, conductor. The work was thought to be "constructed with great skill, and orchestrated to sound convincingly appealing." While the work was thematically less appealing to the reviewer, hope was expressed that it would become successful because of "its length, appeal, and craftsmanship." See: W82.

B312. I. S. New Records November, 1982, p.8. This record review of the Trio For Piano, Violin and Cello (TR records, TRC107) described the piece as a "four-movement work, the 1st movement of which is a curious combination of Bachian counterpoint and late romantic harmony." See: W133,D34. B313. "The International Scene: Russia." Musical Courier 143 (July, 1958): 18.

Bibliography 125 Brief review of performance of Chant of 1942 by the Philadelphia Orchestra, Eugene Ormandy, conductor, in Kiev which stated "Creston's Song of 1942 profoundly moved and stirred the audience as it graphically conveyed the feelings of the ordinary American citizen during the war years." See: W44, D4. B314. Ireland, Edward. "New Overture Has Premiere." Miami Daily News, April 25, 1955, Sec. B, p.2. Favorable review of the premiere of Dance Overture, performed by the University of Miami Symphony Orchestra (April 24, 1955) at the convention of the National Federation of Music Clubs. Ireland considered the work "a cleverly contrived, skillfully scored work in four parts." He spoke of each section utilizing a single theme that was developed and transformed into the character of the country: the Spanish bolero, the English country dance, the French loure, and the American square dance. Ireland mentioned the enthusiastic response by the audience. See: W54, D9. B315. It was a glamorous convention. Music Clubs Magazine (June, 1955): 39. Positive review of a performance of Dance Overture at the convention of the National Federation of Music Clubs which declared that it had "gaiety and sparkle, with enough of a side swipe at dissonance to leave the audience in no doubt as to its position in the modern school." The reviewer expressed confidence that it would become popular as a light work on orchestral programs due to its clever dance rhythms. See: W54, D9. B316. J. "Chamber Music." New Records, August 1954, p.6. Review of Capitol recording P-8260 of the String Quartet, Op. 8. The work was favorably appraised as having four movements that reflect four aspects of the composer's personality. The reviewer felt that the composer's interest in rhythm could easily be inferred and recommended the work "as indicative of one school of American composers." See: W123, D22. B317. J. B. "Cantelli Conducts Concert for NBC." New York Times, November 30, 1952. Brief review of Two Choric Dances performed by Cantelli and NBC Symphony (11/29/52) which stated: "The Creston works, with incisive rhythms and rich, mellow orchestral texture, were good listening," See: W88, W89, D35. B318. J. B. "Music: Goldman Band." New York Times, June 18, 1955. In this review of Celebration Overture, performed by the Goldman Band (6/17/ 55), Creston was praised as an "unabashed melodist" and the work was called a pleasant, good-humored work that delighted the audience." See: W2, D I , D3. B319. J. L. "Record Notes and Reviews." American Record Guide, July 1954, p. 358. Brief review of Capitol recording (P8245) of Two Choric Dances. Of the work, the reviewer stated that The Creston items are long overdue and Capitol is due thanks for having included them here." See: W88, W89, D35. B320. "Record Notes and Reviews." American Record Guide, July 1954, p. 358. Positive review of Westminister recording LP WL-5272 of Symphonies Nos. 2 and 3 and Capitol recording LP P-8260 of String Quartet Op. 8. The Second Symphony was briefly and simply described as a song and dance. The Third Symphony's programmatic basis in religious folklore was mentioned, but the re-

126 Paul Creston viewer felt that the work did not sound insincere. The String Quartet was thought to have made a contribution to chamber literature when it was first performed and impressed the reviewer anew. See: W80, W81 D22, D32, D33, W123. B321. J.W.R. "Music." (Symphony Hall) Boston Post, January 25, 1944, p.4. In this review of Pastorale and Tarantella performed by the Boston Symphony Orchestra, Vladimir Golschmann conductor (1/23/44), the work was thought to be reliant for its coloristic effects on harmonic materials associated with Impressionism. However, the reviewer stated "it is lithe music of considerable freshness, and "hints of their ancestry in no way impair their pleasantness." See:W69. B322. James, Burnett. Gramophone, September, 1954, p. 547. Unfavorable review of Capitol Recording P8245 of Two Choric Dances. Burnett James felt that the work did not give the sense of a mature artistic personality. Rather, he felt that a spirit of eclecticism was predominant, and in sum, stated, "The exciting "Choric Dances of Paul Creston have not as much punch or brilliance as we would expect." See: W88, W89, D35. B323. Jenson, Ginger Anne. "The Performance Interpretation of Paul Creston's Six Preludes, Opus 38 For Piano." M.A. Thesis - Central Washington State College, 1971. Jenson provided an interpretation of the Six Preludes, Op.38 with the intent of making the best possible interpretation of the work. She devised alternate melodic, rhythmic and tempo interpretations as well as pedaling and consulted with the composer. See: W121. B324. Johnen, Louis John. "California Bass-Baritone Proves Fine 'Voice of America.' " Cincinnati Times-Star, March 29, 1952. Louis John Johnen found the premiere of Walt Whitman by the Cincinnati Symphony Orchestra (1/28-29/52), Thor Johnson, conductor, "an easily digested work, fertile in richly harmonized melody and masterfully orchestrated." See: W92,D17,D36. B325.

35.

. "The National Scene: Cincinnati." Musical Courier 179 (February, 1959):

Brief review of Dance Overture performed by the Cincinnati Symphony Orchestra (1/12-13/59), Max Rudolfi, conductor, which found "the rhythmical intricacies of the work to be most engaging. The work was thought to be piquant, full of bounce and joy." See: W54, D9. B326. Johnson, Charles E. "Common Musical Idioms in Selected Contemporary-WindBand Music." Ed. D. Florida State University 1969, 338 p. Johnson identified musical idioms and style characteristics in frequently performed contemporary wind band literature and determined if similiarities existed. Creston's Prelude and Dance was among the compositions chosen. See: W8, D1,D21. B327. Johnson, Harriett. "Monteux, Minnie Open at Stadium." New York Post, June 21, 1961, p. 66.

Bibliography 127 Brief review of the premiere of Dance Variations performed by the Monteux and the Stadium Symphony Orchestra, Roberta Peters, soloist (6/20/61) Johnson found the variations flavored with orientalism indicative of exoticism regardless of the dance patterns in the work. See: W18. B328.

. New York Post, Friday, December 27, 1946, p.32. Short, favorable review of Frontiers performed by the New York Philharmonic Symphony (12/26/46), Stokowski, conductor. The work's depiction of the vision, trek and achievement of the early pioneers was mentioned. The character of the work was described as "vigorous, with a luminous texture." See: W61.

B329.

. "Words and Music: Creston Symphony By Philharmonic." New York Post, January 20, 1956, p.59. Positive review of the Second Symphony, performed by Monteux and the New York Philharmonic Symphony (1/19/56). It was thought that the work was proof of creativity in contemporary music. The reviewer highlighted the differences in the movements and stated that "their differences give them an affinity which makes them fit together as a unit." See: W80, D32, D33.

B330.

. Words and Music: Diana Steiner Makes New York Debut." New York Post, October 8, 1952, p. 71. Brief favorable review of the Suite for Violin, Op. 18, performed by Diana Steiner (10/7/52) which stated that the first movement was "splendidly written" and performed well by the soloist. See: W80, D32, D33.

B331.

. Words and Music: National Symphony at Carnegie." New York Post, April 9, 1956, p. 37. Review of Symphony No. 5 by the National Symphony Orchestra (3/20/62), Howard Mitchell, conductor, was "performed with sensitivity and imaginative blending of timbres and colors" although the symphony itself was thought to be lyrical but uninspiring. See: W83.

B332.

. "Words and Music: Rabin Plays Creston Premiere." New York Post, March 20, 1962, p. 24. Unfavorable review of the Second Violin Concerto performed by Michael Rabin and the Little Orchestra Society (3/19/62), Thomas Scherman, conductor. It was thought that the music impinged on sentimentality and its neo-impressionistic derivations lacked vigor. Only the last movement was thought to be "arresting." See: W91.

B333. Johnson, Myrna Evelyn. "The Structure of Paul Creston's Narrative No. 2, op. 79 No. 2 For Piano." M.A. Thesis—Central Washington State College. An analytical discussion of the structure of Narrative No. 2. An explanation of his approach to composition is followed by a general description of freesectional form. Each section is investigated separately according to its rhythm, harmony and melody. See: W131. B334. Johnson, Wayne. "Composer Likes Eclecticism." Seattle Times, February 21, 1971, DI. Biographical article about Creston. B335. Jones, Isabel Morse. "Wallenstein Wins Ovation: Opening Concert of Philharmonic

128 Paul Creston Warmly Greeted." Los Angeles Times, November 19, 1943, Part II, p. 1. Generally a favorable review of a performance of Symphony No. 1 by the Los Angeles Philharmonic (11/18/43). Jones felt that the work had merit as a whole and found more beauty in the third movement. She stated that the first and last movements had "subsidiary ideas that took rehearsals and several hearings to familiarize oneself with." See: W79, D31. B336. Jones, Nina. "Interviewer Finds No Brooding Long Hair In Paul Creston." Reporter Dispatch (White Plains, New York) December 8, 1962, p. 4. Biographical article. B337. K.H. "New York Concert and Opera Beat: Composers Group of New York City." Musical Courier 11 (May, 1957): p. 23. This review praised the Suite For Violoncello And Piano as the most substantial music of the evening. The performer, Lillian Rehberg Goodman was commended for delivering the work's "excitement, lyricism, heat and light." See: W130. B338. Kammerer, Rafael. "New York Philharmonic." Musical America 81 (May, 1961): 40. In this succint review of Janus, Russell Stanger, conductor, Kammerer described it as "a mild, easily listenable, impressionistic piece despite its multimeters, polymeters, polyrhythms, and other rhythmic complexities." See: W65. B339.

. "Orchestras In New York." Musical America 81 (May, 1961): 42. In this brief review, the Concertino for Marimba was described as having "all prancing rhythms and ear-tickling melodies, it was, as played by Miss Chenoweth, Richard Korn, conductor, a delight from start to finish." See: W47, D6.

B340.

. "Rabinofs Discuss Premiere of Creston Work." Musical America 78 (April, 1958): 28. [Concerto for Violin, Op. 65] Discussion with the Rabinofs and Paul Creston about the violin concerto.

B341. Kastendieck, Miles. "A Debut Full Of Promise." New York Journal-American, 7, 1965, p.24.

May

Favorable review of Symphony No. 4 performed by the Symphony of the New World May 6, 1965, Benjamin Steinberg, conductor, which described the piece as "tonal and communicative." Kastendeick felt that two of the symphony's features were lyric writing and rhythmic vitality. He mentioned several possible audience reactions to the work, the work's affinity with tradition and its American style. See: W82. B342.

. "At Carnegie Hall: American Music Proves Interesting." New York JournalAmerican, November 8, 1962, p. 19. The reviewer of the Piano Concerto, performed by Eugene List and the Orchestra of America, November 7, 1962, Richard Korn, conductor, expressed reservation about the first movement of the work, but felt that the two good themes in the second movement and the rhythmic finale "proved equally attractive" to the recovery of the work. See: W49.

B343.

. "At Carnegie Hall: D.C. Offering Just Capitol." New American, April 9, 1956, p. 13.

York

Journal-

Bibliography 129 In this favorable review of Symphony No. 5 performed by the National Symphony (4/9/56), Howard Mitchell, conductor, the work was described thus: "a distinguished piece of symphonic writing, quite compelling though sounding somewhat diffuse." The reviewer felt that Creston not only fashioned his composition with skill but with emotional content as well. Particular moments of beauty were mentioned as well as the recommendation that the piece be heard again. See: W83. B344.

. "(At Town Hall): A Scherman Special." New York March 20 1962, p. 15.

Journal-American,

This assessment of Violin Concerto No. 2, Michael Rabin, soloist, contrasts the salient features of the work. While the reviewer mentions that the rhythmic features give the work an affinity with contemporary idiom and reveal Creston as American, the melodic and tonal features almost refute it. Overall, it was stated: "The combination makes interesting listening, generates a receptive mood and emerges as a reactionary novelty." See: W91. B345.

. "Claudette Sorel's Positive Approach." World Journal Tribune, March 13, 1967, p. 18. Favorable review of Narrative No. 2 which described the work succintly as "an unashamedly romantic inspiration with some appealing melody." See: W131.

B346.

. "Dance Overture Debut Cantelli Back in Guest Role." New York Journal American, March 16, 1956, p. 16. This review of Dance Overture performed by Guido Cantelli and the New York Philharmonic Symphony (3/15/56) gives background information on the circumstances of composition. The music itself was favorably received as "a lively, likable, solidly-composed score...." See: W54, D9.

B347.

. "Music of the Day." (Brooklyn, New York) Eagle, January 28, 1944, p.7. Hot and cold review of Concerto for Saxophone, performed by the New York Philharmonic Symphony, William Steinberg, conductor, Vincent Abato, soloist (1/27/44). The work was perceived as easily listenable by reason of its melody, clarity and rhythmic interest. The reviewer pointed out that the concerto succeeded in displaying the possibilities of the saxophone, but in spite of that, the instrument sounded "narrow in tonal coloring." See: W50, W51, D7.

B348.

. "No Maestro, But Rhythm." Journal-American p.13.

(New York), April 5, 1965,

Brief review of Corinthians XIII, performed by the American Symphony Orchestra (4/6/65), Stokowski, conductor, which was described thusly: "a meditative piece...it communicates the famous Bible passage in loving contemplation..." See: W53, D8. B349.

. "Old-World Feeling At Opening Concert." New York Journal, 1961, p.24.

June 21,

The review of the premiere of Dance Variations, performed by the Stadium Symphony Orchestra, Pierce Monteux, conductor (6/20/61) gives brief notes on the structure of the piece as theme and variations, and suggests that it looks to the 18th century, but has the power to charm with its "subtleties of color and style." See: W18.

130 Paul Creston B350.

. "Philharmonic: Creston Revived." New York Journal-American, 1956, p.18.

January 20,

Favorable review of Symphony No. 2, Pierre Monteux, conductor and the New York Philharmonic Symphony, in which the reviewer stated: "It sounded fresh and beautiful last night. It is a work of an innately musical mind and a composer that has something to say." The reviewer pointed out that though the work was not symphonic in form, that it was in feeling, and spoke about Creston's feeling for melody and syncopation. See: W80, D32, D33. B351.

. "Three Works Give Merit To American Concert." New York American, November 12, 1959, p.24.

Journal-

Brief review of a performance of Chant of 1942 by the Orchestra of America (11/11/59), Richard Korn, conductor. It was felt that it is a readily communicable work. The reviewer pointed out that the final pages resemble Ravel's Bolero. See: W44, D4. B352. Keiser, Tucker. "Music Review." Boston Post, February 25, 1956, p.7. Hot and cold review of Symphony No. 2, performed by the Boston Symphony Orchestra (2/24/56), Pierre Monteux, conductor. Keiser described it as an unpretentious work that borrowed from romantics and impressionists. He found it more vigorous than most impressionistic music and more sentimentally romantic in the beginning. However, though he mentions the fact that the program notes describe it as ingeniously constructed, he himself found the results "anything but cerebral." See: W80, D32, D33. B353. Kendall, Raymond. "Music In Review: Premiere By Philharmonic." Los Angeles Mirror, November 18, 1960, Part II, p.8. This assessment of the premiere of the Concerto for Violin and Orchestra, by Georg Solti and the Los Angeles Philharmonic, Michael Rabin soloist (11/17/60) found the concerto to be conventional with the individual movements to be stressing form, melody, and rhythm. Kendall found the last movement to have the most unique writing. See: W91. B354. Kenyon, Nicholas. "Further Events: Beginning." New Yorker, November 9, 1981, p. 169. Basically a negative review of the New York premiere of Sadhana by the Los Angeles Chamber Orchestra, Gerard Schwarz, conductor. Though Kenyon admitted that it was "affectionate in tone", he found the music to be not only oldfashioned, but weakly structured and unmemorable." See: W75. B355. Kerr, Russell. "New York: Concerts and Recitals." Musical Courier 83 (July, 1961): 18. Favorable review of Dance Variations performed by P. Monteux and the Lewissohn Stadium Symphony (6/20/61), Roberta Peters, soloist. Kerr found it to be a "light and virtuosic piece". He mentioned the various section titles and spoke positively of Miss Peters performance. See: W18. B356. Kitchell, Isabel. "A Review: Artists Thrill Musical Club." Ellensburg Daily Record, February 4, 1971. Though Kitchell found the Suite for Violin to be avant garde, she felt that the interpretation by the soloist, Herbert Bird, was skillful and Creston's accompanient

Bibliography 131 was fine support. See: W129, D30. B357. Kimball, George H. "Memorable Music Opens 21st Eastman Festival." (Rochester) Times-Union, May 3, 1951. Kimball found the Concertino for Marimba, performed by the Rochester Symphony, Richard Barnett, soloist, to have Gershwin influences. He felt that not only was it a showpiece for the instrument, but its most interesting features were the rhythmic changes. See: W47, D6. B358.

. "Rochester Performance Shows Sopkin Control." Atlanta Constitution, December 13, 1957, p. 33. Review of Dance Overture, performed by the Rochester Philharmonic Orchestra, conducted by Henry Sopkin. (December 12, 1957). "...Paul Creston's Dance Overture provided an exciting conclusion to the program with its folkish themes combined in a work of rhapsodic brilliance.

B359. Kistler, Bernard. "Orchestral Music." Notes 15 (March, 1958): 256 (G. Schirmer's Ed. of Study Scores of Orchestral Works and Chamber Music No. 77). Review of the score to Invocation and Dance: "Paul Creston makes ample use of such devices as polyrhythms and polymetrics, meter made up of unequal beats, ostinatos, and parallel dissonant chords." Kistler expressed the opinion that Creston achieved a balance in this work with the use of melodic themes and contrasting rhythmic sections. See: W64. B360.

. "Orchestral Music, Lydian Ode for Orchestra Op. 67." (Review of Music) Notes 15 (March, 1958): 256. Review of the score to Lydian Ode: "As its name implies, the same composer's Lydian Ode is based on the Lydian ecclesiastical mode whose decisive tritone dominate two freely developing melodic lines." The reviewer also noted harmonic affinities to Debussy. See: W66, D17.

B361. Klein, Francis A. "Symphony Introduces Two Works To St. Louis Patrons." St. Louis Globe-Democrat, November 12, 1955, Section B, p.7B. Favorable review of Dance Overture, performed by the St. Louis Symphony (1/ 11-12/55), Vladimir Golschmann, conductor, Francis Klein noted the fine performance, calling it "sparkling." He also mentioned Creston's use of a full orchestral complement. See: W54, D9. B362.

. "Symphony Opens Season In Form." St. Louis Globe-Democrat, November 2, 1958, p. 9A. Review of a performance of the Second Symphony by the St. Louis Symphony (11/1/58), Edouard van Remoortel, conductor. The reviewer spoke of the work loosely as a symphony, but always being melodic despite its "odd coloring and rhythm." See: W80, D32, D33.

B363.

. "Vibrant Symphony Program Sparked By Ljuba Welitch." St. Louis GlobeDemocrat, February 17, 1952, p. 8A. Positive review of a performance of Symphony No. 3 by the St. Louis Symphony (2/16-17/52), Vladimir Golschmann, conductor. The reviewer stated: "it's a fascinating combination of musical sounds, with all the devices of a full orchestra employed dextrously to produce emotional effects and colorations that are arrest-

132 Paul Creston ing in their unusual applications." The reviewer also commented on the stimulating performance of the orchestra and the sense of the mysterious which was thought to pervade the work. See: W81, D32, D33. B364. Klein, Howard. "Claudette Sorel Plays At Metropolitan Museum." New York Times, March 13, 1967, p. 47. Brief review of Narrative No. 2. The reviewer mentioned the borrowings from Ravel, Debussy, Griffes and the Spellbound Concerto of Miklos Rozsa. See: W131. B365.

. "Viola Debut Made By Melvin Berger." Columbus Dispatch, October 28, 1962, p . l l . Brief review of the Suite for Viola and Piano which described the performances as "strong and fervid." The reviewer mentioned that the composer was present to share the favorable reception. See: W128.

B366. Knight, John Wesley. "Graphic Analyses Of The Conducting Techniques For Irregular Meters And Nonmetrical Organizations Found In Selected Twentieth Century Band Literature." Thesis (Ph.D) Louisiana State University And Agricultural And Mechanical College, 1979, p. 255. Study developed a primary source for learning the necessary techniques for conducting irregular meters and nonmetrical organizations through the traditional method of imitating diagrams. Anatolia by Paul Creston was one of the compositions discussed." B367. Kolodin, Irving. "Kapell, Ormandy Play Prokofiev." New York Sun, February 26, 1947, p. 28. Hot and cold review of the Second Symphony, performed by Ormandy and the Philadelphia Orchestra (2/25/41). Kolodin described the work generally as having the model of symphonic form and Creston as a "sure-handed craftsman." However, the reviewer felt that the composer showed a twofold tendency toward romantic and impressionistic characteristics. He also pointed out that the symphony brought to his mind two affirmations about genius, and that Creston qualified for them, save "Edison's 1 percent." See: W80, D32, D33. B368.

. "(Music To My Ears) The Perennial, Stokowski, the Unaging Markova." Saturday Review, October 11, 1958, p. 57. Review of a performance of Toccata by Stokowski conducting the Contemporary Music Society Concert. (September 25, 1958) "...The Creston is typically competent orchestra creation, rather too much concerned, it seemed to me, with its sixty-five rhythm variations on the scheme 3/4, too little with a direct emotional communication." See: W87.

B369.

. New York Sun, December 27, 1946. Unfavorable review of Frontiers, performed by the New York Philharmonic Symphony, Stokowski conducting, (December 26, 1946). The work was thought to have no genuine musical value, despite being called a "three drum-power work with some conventional open-space atmosphere." See: W61.

B370.

50.

. "Recordings Reports I: Orchestral LP's" Saturday Review, May 25, 1957, p.

Bibliography 133 Review of CRI-III recording of Dance Overture which was thought to be best on the disc and a work of "quality and style." See: W54, D9. B371.

. "Recording Reports I: Orchestral LP's." Saturday Review, August 22, 1964, p.44. Review of Westminster recording W9708 of Symphonies Nos. 2 and 3 which expressed the view that the composer had not yet fully realized his talent. The third symphony was thought to be more the composer's own. The reviewer mentioned that the acoustics of the recording were not the best, emphasizing the lack of definition in the bass and the opaque instrumental timbre. See: W80, W81, D32, D33.

B372. Krebs, Betty Dietz. "Creston: Good, But Too Much." Dayton Daily News, April 6, 1967, p.37. Krebs found this performance of Symphony No. 2 by the Dayton Philharmonic favorable and called it a work of "profoundness." She felt that it would have a greater impact if it was played alone or in a relationship to other composers. See: W80, D32, D33. B373. Kreisberg, Louisa. "Westchester Music Thrills Westchester." The Reporter patch, (White Plains, New York) December 10, 1966.

Dis-

Positive review of Symphony No. 4 performed by the Westchester Symphony, Siegfried Landau, conductor, (January 10, 1966). Kriesberg found the work to have rhythmic energy, long melodic lines, capable orchestration and what she referred to as "sensory exultation." She gave a programmatic description of the work. See: W82. B374. Kupferman, Meyer. "County Orchestra Excels On Sibelius Symphony." Reporter Dispatch, March 2, 1964. In this review, Two Choric Dances, performed by the Westchester Symphony, were noted as conservative. Kupferman felt that the tone of the work was somber despite the title dances, and had sonorous orchestral color. See: W88, W89. B375. L.M.M. Critique - August, 1954, p.32. The reviewer of the Capitol recording P-8260 of the String Quartet found it interesting and likeable in spite of its eclecticism. The reviewer also noted that the transparent writing and purity of writing indicated French influences. See: W123,D22. B376.

L.T. "Concert and Recital." New York Herald Tribune, January 19, 1954, p. 18. Favorable review of th Partita, Robert Scholz, conductor which was thought to be a pleasing work with good ideas and convincing sense of form. The reviewer found the work to have Romantic proclivities. See: W108, D22.

B377. Lambers, Philip. "Miami." Musical Courier 151 (June, 1955):35. In this review of the world premiere of Dance Overture, performed by the University of Miami Symphony Orchestra, John Bitter, conductor, the composition's sectional derivation from four different national dance rhythms was described. Lambers felt that Creston displayed his skill in using polyrhythms and woodwinds and percussion. Lambers felt that the work had thematic interest, and

134 Paul Creston stated: "it contained a brilliant array of American variations that said something new and different in every phase." See: W54, D9. B378. Lambert, LaDoyce. "Pianist, Orchestra Lauded By Large Concert Crowd." Midland Reporter-Telegram (Odessa, Texas), November 30, 1966. In this review of Symphony No. 3 performed by the Midland-Odessa Symphony, Lara Haggard, conductor, the work was hailed as effective, despite its modern sounds. Lambert observed that it described the three important phases in the life of Christ. See: W81, D32, D33. B379. Lang, Paul Henry. "Contemporary Concert." New York Herald Tribune, September 26, 1958, p. 12. Hot and cold review of the Toccata, performed by the Contemporary Music Society, Stokowski, conductor. Whereas Land described the work as "enthusiastically modern," he expressed the opinion that Creston did not understand modernity. See: W87. B380.

. "Music: The Philharmonic." New York Herald Tribune, March 16, 1956, p.13. Although the reviewer of this performance of Dance Overture by the New York Philharmonic Symphony, Guido Cantelli, conductor, praised the work as a skillful one with competent orchestration, the composition was thought to lack personality. The reviewer compared it to a latter day version of Chabrier. See: W54, D9.

B381.

. "Music: The Philharmonic." New York Herald Tribune, January 20, 1956, p.15. Favorable review of Symphony No. 2, by the New York Philharmonic Symphony, Pierre Monteux, conductor. Though Lang felt that the work was not a masterpiece, he found it to be "honest, good music that is a pleasure to hear." He thought that Creston had interesting ideas, a good feeling for melody and used an interesting orchestral color. He found Creston's harmony and orchestration impressionistic and also commented on the fine performance of the New York Philharmonic. See W80, D32, D33.

B382. Larrick, Geary H. "Paul Creston: Concertino for Marimba and Orchestra, Op. 21." NACWPI Journal 32 (Spring, 1984): 4-18. Stylistic analysis of the Concertino for Marimba and Orchestra (study for the analysis was done for the piano reduction). See: W47, D6. B383. Lawrence, Florence. "Wallenstein Captivates Philharmonic Audience." Los Angeles Examiner, November 19, 1943. Favorable assessment of the first Los Angeles performance of Symphony No. 1 by the Los Angeles Philharmonic. Lawrence stated that it showed "variety, humor and gaiety." She particularly mentioned the composer's feeling for color and tonal quality in the orchestration and applauded the conductor and orchestra for its performance. See: W79, D31. B384. Lawton, Ralph. "Atlanta Music Lovers Play Part In Boasting American Composers." Atlanta Journal, March 9, 1958, p. 12E. Lawton found the Symphony No. 4, Henry Sopkin, conductor, performed at Emory University to be a work of real significance, and highlighted the composer's

Bibliography 135 skill in thematic development and the varied orchestral textures. He noted that the fine performance by the orchestra depicted the qualities of the work. See: W82. B385. Leech, Clyde. "Creston Violin Concerto In Brilliant Debut." Los Angeles Herald and Express, November 18, 1960, p. A-20. Although this assessment of the premiere of Concerto No. 2, Op. 73 for violin performed by the Los Angeles Philharmonic, George Solti, conductor, Michael Rabin, soloist, notes the beauty of the work, Leech focused on the work's technical difficulties. See: W91. B386. Leighton, Mary. "Symphony Concert." Cincinnati Enquirer, (November 27, 1943). Favorable review of a performance of Symphony No 1. by E. Goossens and the Cincinnati Orchestra. Leighton expressed the opinion that the symphony is important for the sake of American music. She described its qualities as "interesting and stimulating in an original style." Creston's use of rhythm and melodic skill were highlighted. She concluded that "the entire work makes its appeal on its sound and skillful craftsmanship." See: W79, D31. B387.

. "Symphony Concert." Cincinnati Enquirer, March 24, 1945, p. 10. Review of Jubilee Variations performed by E. Goossens and the Cincinnati Orchestra. Mr. Goossens provided his own theme as the basis to variations by 10 composers, Creston wrote the Tranquillo. "Creston's Tranquillo as Variation I shows clear musical patterning, admirable choice in sorting out choral statements and scholarly manipulation of material." See: W4, DI, D15.

B388.

. "Why Not Try Music Plan?" Cincinnati Ohio Enquirer, June 27, 1943, Sec. 3, p. 1. Article that announced that Paul Creston's First Symphony Op.20 won the New York Music Critics Circle Award and the possibility that the composer would be nominated as a beneficiary of the fund for creative musicians. See: W79, D31.

B389. Leonard, William. "Perry Essig Crafton Soloist with Rudolph Ganz and Illinois Symphony in Novel Program." Chicago Journal of Commerce, May 26, 1942, p. 14. Basically a negative review of Pastorale and Tarantella, which found the work to be composed within a traditional framework. The reviewer amusingly called its Spanish aura "a tantalizing thing that couldn't be picked out of the instrumentation but was there like the flavor in a salad." See: W69. B390. Lewis, Eugene. "Hendl Marshal Forces To Play Fourth of Creston, and The Ninth." Dallas Times Herald, February 11, 1958. In this review of Symphony No. 4 performed by the Dallas Symphony, Lewis expressed the opinion that the work's modernism was due to the scoring, with strings and winds sharing prominence. He found the work romantic in nature with few dissonances. His label of symphonic profundity was defined in terms of its skillful orchestration, melodic and rhythmic abilities. See: W82. B391.

. "Lewissohn Stadium Concerts." Musical America 81 (July 1961). Brief review of the world premiere of Dance Variations, Pierre Monteux, conductor and the New York Philharmonic Symphony, Roberta Peters, soloist,

136 Paul Creston which was described as using 18th century dance forms and an effective instrumental vocal line. See: W18. B392. "Lily Pons, Kostelanetz at Academy." Philadelphia Enquirer, January 12, 1944, p. 19. This review spoke of the inspiration of Frontiers as the American westward migration and found it to be "interesting and beautifully scored." See: W61. B393. Lindstrom, Carl E. "Music: New American Chamber Works." The Hartford Times, January 9, 1942, p.25. Review of a concert of American chamber music presented at the Hartt School of Music, the Suite for Viola and Piano included. Lindstrom gave a programmatic description of the work, but expressed the opinion that the rebelliousness and pessimism were prominent throughout. See: W128. B394. Little, Barbara. "Creston Glows With Symphony." (Lancaster, PA) April 20, 1970.

Intelligence,

Little felt that Dance Overture, performed by the Lancaster Symphony Orchestra, was reflective of a style that contrastingly caused Creston to be called radical by conservatives and conservative by radicals. She found the work to contain English country dance music, as well as pastoral melodies. See: W54, D9. B395. Livingston, Herbert. "Piano Music." Notes 1 (June, 1950): 449. Review of published score of Six Preludes for Piano, Op. 38. Livingston explained that the composer's intent was to illustrate his ideas about rhythm musically. He noted the style of the pieces as "refined and polished new-romantic chromaticism." He concluded: "The pieces are tastefully written and possess the merit, all too rare in music of this type, of material that is both meaningful and suited in brief treatment. They are a valuable addition to the repertoire of conservative modern piano literature." See W121. B396. Lock, William. "Interpretive Notes for Singers." Journal of Church Music 22 (March, 1980): 6-7. Notes on Paul Creston's setting of Psalm 23 (for high voice and piano or organ or orchestra - soprano solo, chorus and piano) from a performance standpoint with respect to text, form and vocal technique; examines some of its difficulties with suggestions for performance. See: W121. B397. Loesser, Arthur. "Kirchner Triumphs in Oboe Solo At Concert." Cleveland December 18, 1942, p. 42.

Press,

Brief review of A Rumor, performed by the Cleveland Symphony. It was dubbed a witty composition by Loesser and compared to a fugue. It was thought to be an interesting piece worth hearing again. See: W74, D24. B398. Lowens, Irving. "Creston's Cello Suite Gets Warm Welcome." New York Times, October 21, 1956, p. 84:1. Favorable review of the premiere of the Suite for Violoncello and Piano, performed by Raya Garbusova, cello, which Lowens felt was the highlight of the Festival of Chamber Music held under the auspices of the Elizabeth Sprague Coolidge Foundation. He felt it was suggestive of Ravel in the pizzicato scherzino, and had a profusion of dominant 9ths and llths in the slow movement. He

Bibliography 137 felt that in the last movement the piece "finally managed to achieve something like eloquence and drive." See: W130. B399.

. "Washington (first performance)." Musical Quarterly 43 (January, 1957): 98. Though the reviewer of the Suite for Violoncello and Piano felt that Creston made skillful use of the harmonic language of the 19th century the piece was thought to lack substance and originality. In fact, the reviewer felt that the piece was more old-fashioned than the Porter Quartet in the same program. See: W130.

B400. Lyons, James. "Americana From Columbia." American 1955, p. 385.

Record Guide, August

Unfavorable review of Columbia recording ML4989 of Sonata for Saxophone. Lyons felt that the piece was characterized by an abundance of notes. He also stated: "The fact is that Creston is not a facile composer; his light touch is likely to be leaden...one is tempted to conjecture that this score represents an attempt to formalize the sounds he would encounter en route to and from work." He also suggested that the saxophone's tone was oppressive and would perhaps be better with different accompaniment. See: W122, D25. B401. McCoy, W. U. "Alls Polished At Showcase." Daily Oklahoman, October 18, 1965, p.19. In this review of Gregorian Chant for string orchestra, performed by the Oklahoma Symphony, Guy Fraser Harrison, conductor, McCoy compared the composer's use of chant to his other works that employed chant, the Third Symphony and Corinthians XIII. The reviewer felt that the composer's treatment in this composition possessed more "lyric, exalted serenity" than the other works. He concluded that "At times pure Gregorian, at times Creston's feeling toward Gregorian, the beautifully executed and shaded composition turned auditorium into cathedral" See: W53, W81, D8, D32, D33. B402.

. "Pianist Janis Earns 'Great' Label" Daily Oklahoman, October 28, 1964, p.8. This assessment of Corinthians XIII, performed by the Oklahoma Symphony, Guy Fraser Harrison, conductor, pointed out the scriptural derivation as the basis for the piece. The reviewer colorfully described it in terms of having "Persian tapestry orchestration." The character of the work was thought to be exultant with ascending chord progressions contributing to "a theme of verities, basic in ideas, rich in execution." See: W53, D8.

B403.

. "Was My Family Musical? We Were Italian." Voice, November, 1975, p.6-7. Biographical sketch of Creston's life.

B404. McGiffin, Jim. "Music's Importance Aired." Daily Record (Ellensburg, Washington), November 11, 1967. Article that contains Paul Creston's views on composition, given in a lecture at Central Washington State College to educators. Creston expressed the view that musical composition is for everyone and also spoke of the parallels of music and language. B405. Mclntyre, Paul. "Musical Life Enriched by Kostelanetz, Berg." Toronto Daily Star, November 9, 1958. Mclntyre expressed the opinion that Creston used modern idioms in Frontiers,

138 Paul Creston performed by the Toronto Symphony, but in a way that is understandable to the listener. See: W61. B406. Mac Kay, Maxine. "World Premiere of Christmas Oratorio Presented by USF." The Tampa Times, December 10, 1962, p. 8. In this review of the world premiere of Isaiah's Prophecy performed by the University of South Florida, MacKay described the essence of the work as blending the old and the new, or, in other words, the composer created a new idiom using traditional large chorus and symphony. She highlighted the musical characteristics, the rhythm, the melody and individualism, and she suggested that it would share the perennial popularity of Handel's Messiah. MacKay concluded: "it is a carefully researched composition of unobtrusive craftsmanship and fine orchestration. It is, also, genuine Christmas music..." See: W21. B407. McLaughlin, Russell. "Levant Drops Madcap Role to Delight 5,000 as Pianist." Detroit News, May 5, 1945, p. 10. Russell McLaughlin described the circumstances of composition of the Chant of 1942 around the events of that year, and hailed the piece as "a handsome piece of composition." See: W44, D4. B408.

. "Music of First May Festival Is Heard at Golden Jubilee." Detroit May 6, 1943, p.22.

News,

The reviewer of this performance of Symphony No. 1 by Ormandy and the Philadelphia Orchestra was rather reluctant in praising the opening of the work, but felt that the latter portion of the symphony recovered the "strong, eloquent speech of a sound composer with something to say." The conductor was praised for his interpretation. See: W79, D31. B409.

. "The Symphony Presents Native American Music." Detroit News, December 2, 1943, p. 40. In this assessment of Two Choric Dances performed by the Detroit Symphony, Karl Kreuger, conductor, the reviewer was impressed by the composer's orchestral treatment of the two melodies, and commented that he "handles them with such instrumental richness that the listener is bathed in tone...." See: W88, W89, D35.

B410. M.B. '"Lydian Ode' Premiered by Symphony Orchestra." Wichita Eagle, February 25, 1957, p. 8. The consonance of Lydian Ode gave the impression of possessing "a certain refinement." The reviewer mentioned the obvious use of the Lydian mode, the sound construction of the work and that Creston was knowledgeable in the tools of his craft. See: W66, D17, D36. B411. M.B. Musical Leader. Chicago, III, February, 1944. Very brief review of the Saxophone Concerto, performed by the N.Y. Philharmonic Symphony, William Steinberg, conductor, in which the reviewer mentioned the composer's use of interesting rhythms and his use of a "blues-like" movement without considering the work composed in the jazz idiom. See: W50, W51,D7.

Bibliography 139 B412. M.C. "New York Concert And Opera Beat: The National Orchestral Association." Musical Courier 153 (March 1957): p. 12. The melody and lengthier phrases were the focus of this performance of Invocation and Dance, John Barnett, conductor, which, in the reviewer's opinion, gave a "new and sympathetic appeal" to the work. The conductor was given praise for his direct approach and secure beat. See: W64. B413. M.M. "Classical Record Reviews." Creston: A Rumor, Gramophone 7-76, p. 182. Review of Argo recording ZRG-845 of A Rumor, which was colorfully described as "a party piece for orchestra, rapidly taken up by the oboe and clarinet the shortcomings of the victim concerned then gradually become a matter for general bandroom chatter from the whole orchestra." The performance and recording were given excellent ratings. See: W74, D24. B414. Marsh, William J. "Choral Symphony Is Acclaimed Here." Dallas News, February 12, 1958, Pt, I, p. 10. William Marsh found this performance of Symphony No. 4 by the Dallas Symphony, Walter Hendl, conductor, enjoyable, possessing both brilliant as well as lyrical sections. See: W82. B415. Martin, Linton. "New Soloist Makes Bow At Acadamy." Philadelphia Inquirer, March 13, 1943, p. 12. Hot and cold review of the First Symphony performed by the Philadelphia Orchestra, Eugene Ormandy, conductor. Martin considered the first movement "unrewarding" and specifically described it as "acrid and angular in style and structure" while the three successive movements were thought to be individual with variety in mood. See W79, D31. B416.

. "Pianist Kapell Scores As Soloist At Academy." Philadelphia Inquirer, February 22, 1947, p. 16. This assessment of the Second Symphony performed by the Philadelphia Orchestra, Eugene Ormandy, conductor, viewed the work as energetic and skillful but lacking originality. The reviewer felt that Creston used other composers as models excluding scoring, where his sophistication and innate theatrical effects were exhibited. At best, the work was thought to be "synthetic though effective." See W80, D32, D33.

B417. Meahl, Mary Daniel. "The Third Symphony of Paul Creston." M.M., Eastman School of Music of the University of Rochester, 1962, 94 pp. illus. Analysis of the Third Symphony of Paul Creston; contains a list of Creston's compositions, p. 89-91. See: W81, D32, D33. B418. Meeker, Hubert. "Dayton Philharmonic Has Done Homework." (Dayton, OH) Journal Herald, April 5, 1967. Review of rehearsals by the Dayton Philharmonic under the baton of Paul Creston. In Walt Whitman, the reviewer felt that Creston used the orchestra in a similiar manner to Respighi in his tone poems. Meeker felt that as Creston achieved what he wanted, the individual voices became less noticeable. The Dance Overture was also thought to be expressive of Creston's orchestral writing with its drive and complex rhythms. But the Symphony No. 2 was said to be "a

140 Paul Creston musical statement of high purpose and enduring strength." See: W54. W92, D9, D17, D36. B419. Melson, Mark. "Concerto Outshines U.S. Works." Shreveport 1976, Sec. B-7.

Times, March 15,

In this review of Hyas Illahee by the Shreveport Symphony, Melson was reminded of Orff s Carmina Burana by reason of the orchestral color, abundance of percussion, and voices used instrumentally. Though he felt the chorus was tentative, he thought the work made a good impression. See: W20. B420.

. "Recorded Music." Library Journal, November 1, 1954, p. 2094. This review of Westminster recording 52-72 of Symphonies Nos. 2 and 3 gives fleeting mention of the fact that the Second is a song and dance formal pattern and the Third is based on Gregorian Chant. See: W80, W81, D32, D33.

B421.

. "Recorded Music." Library Journal, September 15, 1955, p. 1894. This review of Columbia recording ML4989 of the Sonata for Saxophone found the piece to have skillful construction with a classic form. Other noteworthy features mentioned were the work's brevity and energy. See: W122, D25.

B422.

. "Recorded Music." Library Journal, September 15, 1955, p.1896. Irving Kolodin used the word "muscular" to describe this Columbia ML5039 recording of Invocation and Dance. See: W64.

B422a. Miller, K. "Record Reviews." American Record Guide, September/October, 1991: 154. In this review of Harmonia Mundi recording 906011, Miller describes the work as delightful and also recommend's Amos all-Creston disc Koch 7036. B423. Miller, Stephanie. "Seattle Symphony Hits Heights." Seattle Post March 21, 1972, Sec. A, p. 10.

Intelligence,

Stephanie Miller's assessment of the Third Symphony, Milton Katims, conductor, focused on the poetic character of the work rather than the religious. She gave it a programmatic description of spring-winter-spring for most of the work but also mentioned that the mournful aspect of the inner movement was not as desolate as the event it portrayed. See: W81, D32, D33. B424.

. "Young Accordionist Displays Artistry." Seattle Post Intelligence, March 20, 1972, Sec. A , p . l 5 . An unfavorable review of the Concerto for Accordion, conducted by Milton Katims with the Seattle Symphony. In discussing Creston's writing for the instrument, Miller felt that Creston predominantly used block harmonies for the orchestra which moved the rhythms forward while the accordion presented thematic material. She also thought that the writing was best when the accordion and the accompaniment were used concurrently. Despite this, she felt that Creston's blend of instruments was often effective because it was similar to the organlike qualities of the accordion. Finally, the accordion's timbres were thought to be limited, and the shades of color were not felt to be adequate to carry the orchestra. The soloist, though, was noted for fine control of dynamics in the slow movement. See: W48.

Bibliography 141 B425. Mills, Charles. "Over The Air." Modern Music 19 (January-February, 1942): 135. Though his radio performance of A Rumor was described as frolicsome and interesting its excitement was not felt to be certain. See: W74, D24. B426.

. "Over The Air." Modern Music 19 (March-April, 1942): 204. Review of Pastorale and Tarantella and Suite for Violin and Piano performed by the NBC Symphony on the radio. The first work was thought to be treated in an interesting manner, and its orchestration was described as brilliant, despite the reviewer's comment that it imitated the French Impressionists. In contrast, the reviewer was left with the impression that Creston did not give meaning or purpose to the work. Citing an example from the second movement, the reviewer stated, "the long line was neither polished nor made distinctive in any way by the relationship to the harmony." See: W129, W69, D30.

B427. Mitchell, Howard. "The Hallmark of Greatness." Musical Courier 154 (November 15, 1956): 9-10. Howard Mitchell's personal and professional recollections of Paul Creston. Of his music, he said that it was characterized by a "hallmark of greatness" because it spoke with a universal message that surpassed national boundaries, yet still acknowledging the composer's own country. B428. "Modern Idioms Employed: Novelties by Americans In Contemporary Idioms." Musical America 63 (February 10, 1943). Review of pubished score to Prelude and Dance, Op. 29, no. 1, by Mercury Music Corp. as the most recent addition to the firm's American Music for Piano series edited by Gail Kubik. The piece was described as a stately choral prelude with a contemporary concert dance often used by dancers of abstract concepts. The reviewer felt that one needed to have some familiarity with it before discovering its meaning, but that it enticed the listener to do so. The composer used an idea throughout, and the reviewer stated, "...as the strangeness of the progressions abates the music emerges a symmetrically developed material strongly marked personality." See: Wl 12. B429. Modern Music, March-April 7, 1938. Review of N.M.Q.R. recording No. 1313 of Suite for Saxophone. While the reviewer felt that this work was proof of the ongoing development of American music, and was well recorded, the music was not thought to be as expressive as it should be. However, the slow "Pastorale" was thought to be one of the composer's best creations. See: W126, D27. B430. Montagu-Nathan, M. "Radio In Retrospect." Musical Opinion, June, 1955. Montagu-Nathan found the Symphony No. 1 to be composed in a variety of styles, with each one reflecting on sacred events. See: W79, D31. B431.

. "Monterey County Symphony Opens 20th Season." Carmel Valley Outlook, October 27, 1965. This assessment of Corinthians XIII, John Gosling, conductor, disclosed a modern but harmonious piece that was also liturgical. The reviewer thought the style to be restrained and ended with the use of Gregorian chant. See: W53, D8.

142 Paul Creston B432. Mooney, Paul. "Orchestra Wins Cheers For Fine Schubert Seventh." Press, October 18, 1957, p. 54.

Cleveland

Mooney colorfully and vividly described the Toccata, Op. 68, performed by the Cleveland Symphony, George Szell, conductor, as a "splashing panorama of the orchestral colors, stretched across 65 variations of 3/4 time." He felt that Creston was his best when he used full orchestra despite some lapses of virtuosic solowork. He added that the ending made up for what he called "lesser sins." See W87. B433. Morrison, Donald. "Music." Richmond Times-Dispatch, March 19, 1966, p. 31. Despite Morrison's opinion that Invocation and Dance is rhythmically complex, Freeman's performance, by the Hochstein Sinfonia, impressed him with its excitement and accurate interpretation. See: W64. B434. Morrow, Thomas J. "A Good Composer Never Retires." Rancho Bernardo zine, November, 1980, p. 5.

Maga-

General biographical article. B435.

. "Paul Creston: The Great Have Called Him 'Maestro.'" (San Diego) Times Advocate, September 14, 1980, p. 3-5. Biographical article based on an interview with Creston; emphasizes the famous conductors that have interpreted his work, his life as a composer and his recent activities including the TV documentary (Public TV) special.

B436.

. "Morto Creston Autore favorito di Toscanini." // Giornale degli August 27, 1985.

spettacoli,

Brief obituary notice. B437. Morton, Lawrence. "Music Reviews." Notes (June, 1955): 483-484. Unfavorable review of the published miniature score to Symphony No. 2. Morton points out the symphony's conception as song and dance but expressed the fact that drama was lacking. He expected to be reminded of the post-Romantic. symphonists who pursued expressiveness. He also stated that the work had a "kind of slickness". However, he did state that his viewpoint was in the minority. See: W80, D32, D33. B438. Mossman, Josef. "Chorus and Composer Drew Large Crowds." The Detroit News, March 22, 1958 (Sunday), p. 16. Review of an event honoring Paul Creston by the Pro Musica at the Detroit Institute of Arts. Creston discussed his composer's creed, played some of his piano works and accompanied Marjorie McClung. Of his piano music, Mossman felt that they were constructed soundly but were not on a level with the orchestral works, which he felt possessed variety in color and were more creative. B439.

. "Dvorak Added to 2 Premieres." Detroit News, January 15, 1960, 5B. Positive review of the Concerto No. 1 for Violin, performed by the Detroit Symphony, Paul Paray, conductor. The reviewer not only found it to be idiomatic to the violin, but also to possess the capability for one to discover a deeper musicality. The soloist, Benno Rabinof, was complimented for his tone in the melodies of the second movement. Finally, the reviewer expressed the opinion that the last movement demonstrated an equal participation of soloist and orchestra. See: W90.

Bibliography 143 B440. Murray, Bain. "Current Chronicle." Musical Quarterly 44 (January, 1958): 85-86. Highly favorable review of the Toccata. Bain Murray described it as "brilliant, jubilant music, superbly scored to display the virtuosity of a first-class orchestra." He also mentioned the five rhythmic plans Creston employed, and concluded that the interpretation of rhythm affected constant shifts of emphasis that gave the music "sparkling effervescence. "Murray also gave a programmatic account of the piece. He expressed the hope that Creston would be more interested in melodies and harmonic content rather than rhythmic, and shared his enthusiasm for the work. See: W87. B441.

. "Reports from Abroad: Cleveland Orchestra." Musical Times 99 (March, 1958): 150-151. The reviewer found the Toccata, Op. 68, performed by the Cleveland Orchestra to be abounding with rhythmic vitality as well as color. The principal features perceived by the reviewer that were highlighted were: the composer's use of sixty-five rhythmic patterns, a contrasting "arabesque-like tarantella" figure to the initial rhythmic subject, a melodic statement against counter rhythm doubled also by percussion, and a jazzy finale. See: W87.

B442. "Music: Critics' Choice." Times Magazine, June 21, 1943, p. 60. Article that announced that Paul Creston's Symphony was nominated for the New York Music Critics' Circle awarded for the best American symphonic work heard during the 1942-43 season. See: W79, D31. B443. Music Clubs Magazine, October, 1966, p. 39. Article that announced that Paul Creston was speaking at a session of ASCAP about the steps necessary to successful composing. B444. "Musical Roundups: A Model Concert By The Philadelphians." PM, February 28, 1947, p. 15. Favorable review of a performance of Symphony No. 2 by the Philadelphia Orchestra, Eugene Ormandy, conductor. The overall impression of the work was engrossing as well as stirring. The reviewer stated: "...the whole piece is adroit in workmanship, rich in substance and sincere in feeling, with many moments of deep inspiration and beauty." See: W80, D32, D33. B445. Myers, Sim. "Strauss Suite Charms Crowd." The Times-Picayune LA) March 5, 1958, p. 30.

(New Orleans,

Despite the fact that he felt the performance needed more range of dynamics, Sim Myers found the Pre-Classic Suite performed by the New Orleans Philharmonic Symphony, to be an agreeable and fascinating work. He found no particular harmonic patterns but noted some interplay of harmony between instruments and sections. He added that it was like theme music for a movie. See: W72. B446. N.G. "Van Remoortel, Edouard." Musical Times 98 (April, 1957): 213. In this London Symphony performance Creston's Second Symphony was thought to be the most outstanding work. Van Remoortel commented: "Creston's melodies are rich, his rhythmic structures vividly graded, and his harmony, whether tonal or not, is the servant of his inspiration and not its master." See: W80, D32, D33.

144 Paul Creston B447. Nairn, Norman. "Festival Opens Brilliantly In Kilbourn Hall." (Rochester) Democrat and Chronicle, May 3, 1951, p. 16. A short succient review of the Concertino for Marimba, performed by the Eastman Symphony, Howard Hanson, conductor. Nairn observed that the piece was rhythmic, appealing, as well as demonstrative of the instruments capability. See: W47, D6. B448. "The National Scene: Chicago Symphony Led By Guest Batonists." Musical Courier 83 (February, 1961): 17. The reviewer of this performance of Symphony No. 2 by Pierre Monteux and the Chicago Symphony found the work to embody the essential characteristics of Creston's music, with its song-dance formal pattern. Within this construction, the reviewer found it to possess long, lyric lines in the first part contrasted by accented rhythms and color in the second which the orchestra displayed with mastery under the skill of the conductor. See: W80, D32, D33. B449. "National Symphony Gives Creston Premiere." Musical America 76 (May, 1956): 26. A scathing review of the premiere of Symphony No. 5 by the National Symphony, Howard Mitchell, conductor. The reviewer observed that it was a lesser work and a disappointment even though it had a serious tone and was scored capably in the post-Romantic manner. Further, the reviewer felt that Creston's compositional methods relied too much on telescoping and inversion which showed influence of Liszt. See: W83. B450. Neibarger, Clyde. "A Festive Night For Orchestra." Kansas City Times, November 5, 1958, p. 4. Neibarger perceived this performance of Frontiers by the Kansas City Philharmonic as a pictorial representation of the westward trek by the early pioneers in musical terms. He said, "the music throbbed with the 'westward, ho!' spirit." See: W61. B451. Neuman, Herman. "Orchestral Music." Music at Home, 1954, p. 37.

November/December,

In this review of the Westminster recording of Symphonies Nos. 2 and 3, Neuman contrasted the two works in their mood and conception. He found the first one to be strong, energetic and American in spirit. The latter he perceived to be heavily dependent upon Gregorian melodies and displaying the religiosity of the composer. See: W80, D32, D33. B452. "New Publications in Review." Musical Courier 143 (May 1, 1951): 30. Review of the published music to Five Dances. "They are skillfully devised concert pieces that are grateful to play, lying well in hand." See: W99. B453. "New Publications In Review." Musical Courier 143 (January 15, 1951): 30. Review of published score to Suite for Violin and Piano. The reviewer highlights the main features of the work, some difficult double-stopping and bowing and piano accompaniment. The reviewer generally commented, "There is a rapid flow to the music, and a highly sophisticated and pleasant manner of presenting both instruments in their most idiomatic light." See: W129, D30.

Bibliography 145 B454. "New Works." Musical Journal 21 (January, 1963): 108. Disappointing review of the Concerto for Piano, Richard Korn, conductor, Eugene List, soloist. Though the concerto was thought to be agreeable and idiomatic, the overall impression was that it was imitative of other works, and was not as securely constructed as the composer's other works. See: W49. B455. Newlin, Dika. "Discs." Pan Pipes, January, 1956, p. 30. Dika Newlin described the Columbia ML4989 recording of Sonata for Saxophone as "a romp featuring disarmingly catchy rhythms." She also questioned the calibre of the piece but felt it was a novelty and was well played. See: W122, D25. B456.

. "Discs." Pan Pipes, January, 1961, p. 32. In this review of the RCA Victor LM2426 recording of Lydian Ode and Walt Whitman Suite, Newlin discerned that these works expressed aspects of the composer's musical style which she said was romanticism. See: W66, D17, D36, W92.

B457.

. "Discs." Pan Pipes, January, 1966, p. 42. Newlin expressed the fact that Creston relied on Gregorian material in the review of Louisville recording LS-655 of Corinthians XIII, but stated that "his manner some will find overlush in harmony." See: W53, D8.

B458. Norman, Gertrude and Shrifte, Miriam Lubell. Letters of Composers: An Anthology. New York: Grosset & Dunlap, 1946, p. 408-10. In this letter to Denton Rossel, Creston described his own development as a composer. "In my own development as a composer I have followed the evolutionary principle of from the simple to the complex, that is, from short pieces to larger works..." B459. Norton, Mildred. "Music Review." Los Angeles California News, November 19, 1943. Favorable review of Symphony No. 1, performed by the Los Angeles Philharmonic, Alfred Wallenstein, conductor. Norton found it short, energetic, and "evincing the technical skill and inventive resource of a composer thoroughly at home in the field of expanded structure." See: W79, D31. B460.

. "Music Review." Los Angeles Daily News, February 13, 1948, p. 26. Review of the premiere of Fantasy for Trombone performed by the Los Angeles Philharmonic, Wallenstein, conductor and Marstellar, soloist. The reviewer, in giving a blow-by-blow description of the work, expressed disappointment that the thematic material is not developed more thoroughly. See: W60, D12.

B461. O'Gorman, Edward. "Arrau Is Soloist With Ormandy." New York Post, March 24, 1943, p. 50. This review of Symphony No. 1, performed by the Philadelphia Orchestra, focused on Creston's skills as a melodist. O'Gorman observed that Creston always employed a finely crafted theme and develops it. He stated "his music is robustly melodic, and added "the symphony is full of interesting musical invention and is intelligently laid out and well orchestrated." See: W79, D31.

146 Paul Creston B462.

. "Kurtz Conducts Creston Dance." New York Post, March 18, 1943, p. 28. This brief assessment of Choric Dance No. 2 defined the dance in terms of abstract conception proposing movements, posessing the musical qualities of rhythmic energy, lyricism, apt scoring and continuity. See: W88, W89, D35.

B463.

. "Petrides Group Celebrates." New York Post, May 4, 1943, p. 22. Unfavorable review of the premiere of Chant of 1942 by F. Petrides and the Orchestra Classique. Though the work was thought to be skillfully constructed, it was not perceived as original. See: W44, D4.

B464. Olmstead, Andrea. "Mirecourt Trio" Creston, Cowell Premiere." Hi Fi/Musical America 31 (February 1981): MA 24. Basically a concise and positive review of the premiere of Trio, Op. 112. Olmstead stated that it was "unabashedly tonal, the work restricts itself to conventional nineteenth-century practice in its treatment of harmony, rhythm and use of instruments." She also mentioned that all movements use contrapuntal methods. See:W133,D34. B465. Otis, Arthur. "A Concert Review: Orchestra de Camera Wins Praise." The Three Village Herald (Long Island), April 5, 1968. In this review of Two Choric Dances, Otis detailed the compositional aspects which he found made the work interesting. These were: unusual combination of tones, rhythmic patterns, as well as those mixed with harmony, color and structure. Otis stated that "the effect was stunning." See: W88, W89, D35. B466. Owen, Charles. "Paul Creston's Concerto For Marimba: A Master Lesson." Percussive Notes 21 (1983): 62-64. Brief biographical notes; notes on the first performance of Concerto for Marimba from a performance standpoint, examining some of its difficulties with suggestions for performance. B467. P.J.F. Fanfare, (July/August, 1981): p. 232. Unfavorable review of Richardson Recording RRS-11, of "Interlude and Dance" from Symphony No. 2. It was said that the work was "so little for the composer's fans and too much for the rest of us." See: W80, D32, D33. B468. P.L.M. "Record Notes and Reviews." American Record Guide, December, 1947, p. 124. Favorable review of Columbia recording MM-709 of Three Chorales, Op. 11. It was thought to be interesting and the reviewer expressed hope that it would be played again. See: W41. B469. P.N.T. "Contemporary Program Given At Hartt School." Hartford Daily Courant, January 9, 1942, p. 6. Review of concert of contemporary American Music at the Hartt School where the Suite For Violin was performed. The reviewer felt that the composer primarily used modern harmony, but interjected some Gershwin-like harmony. See: W128. B470. P.S. Fanfare, January/February 1982.

Bibliography 147 Scathing review of Golden Crest digital recording ATH5075 of Zanoni, Anatolia and Jubilee. Zanzoni was condescendingly described as "stentorian and almost barbaric." Anatolia was thought to be appealing with elements of Turkish folk music. Finally, of Jubilee, the reviewer stated: "the overall contour of the piece is miscalculated because its lyrical midsection is much too bloated and devoid of tension." See: Wl, W4, W9, DI. B471. P.S. Fanfare, November/ December 1986, p. 132. Basically an unfavorable review of the Aulos recording 53576 of the Concertino for Marimba. The reviewer felt that this work lacked the energy of his other works, despite his use of the marimba in a traditional solo role. See: W47, D6. B472. Pakenhour, Compton. New York Times, May 15, 1938. Pakenhour found this New Music Quarterly Recording of the Suite for Alto Saxophone and Piano in which the composer accompanied Ceril Leeson "signifying most and being most pleasing." See: W126, D27. B473. Palmer, Louis. "Szell and Malko Open Chicago Open-Air Concerts." Musical American (July 1952): 18. In reviewing this outdoor performance of Symphony No. 2 by the Chicago Symphony, Nicolai Malko, conductor, Palmer perceived that much of the first movement was not audible outside, and concluded that the work was not well suited to outdoor performance. See: W80, D32, D33. B474. Parmenter, Ross. "Creston Partita On Program Here." New York Times, January 14, 1959, Secton L, p. 30. Parmenter, in reviewing Partita in the Clarion Concert Series, Newell Jenkens, conductor, compared Creston's work to other Baroque pieces performed and commented on how well Creston captured the spirit. He stated, "one could admire how well Mr. Creston captured their spirit, and at the same time appreciate how his own harmonic textures gave his partita individual piquancy." See: W108, D20. B475.

. "Music: Glowing Quartet." New York Times, January 26, 1959, p. 25. Positive review of String Quartet, Op. 8 by the Claremont Quartet. Though the variation in thematic material was questioned, the work's general pleasantness, its strong, formal structure and its confident adroitness were mentioned. See: W123, D22.

B476.

. "Music: Monteux Is Guest Conductor." New York Times, January 20, 1956, p. 20. Succint review of Symphony No. 2, performed by the New York Philharmonic Symphony, in which the factors that made the work pleasing were mentioned: the two movement formal structure, its resulting synthesis of material, and its honesty. See: W80, D32, D33.

B477.

. "Rabin Introduces Creston Concerto." New York Times, March 20, 1962, p. 44:3. Unfavorable review of Concerto No. 2 for Violin. Though the concerto had moments for the soloist to shine, it was thought to be unoriginal and trite. The reviewer stated: "certainly did not have much originality. In fact, the concerto

148 Paul Creston was downright commonplace much of the time." See: W91. B478.

. "The World of Music: Festivals in Europe Likely to Fill Entire Period Between May and September." New York Times, March 2, 1952, Sec. 2, p. 9. Article announced that Paul Creston's First Symphony was picked as the best work, submitted and included in a referendum concert, performed by the Pasledoup Orchestra conducted by Albert Wolff.

B479. Patrick, Corbin. "Milstein At Murat: Plays Brilliantly With Orchestra." Indianapolis Star, December 31, 1945, p. 6. Patrick found Frontiers to be an Impressionistic work that vividly depicted the trek of the pioneers musically. See: W61. B480. "Paul Creston." Music Club's Magazine 34 (April, 1955): 45-47. This review of Dance Overture mentions the source from which each of the four sections originates from: the music of four countries, Spain, England, France, and the United States. See: W54, D9. B481. "Paul Creston." San Francisco Chronicle, August 26, 1985. Brief obituary of Paul Creston. B482. "Paul Creston, Composer, Professor." Philadelphia Inquirer, August 27, 1985. Obituary of Paul Creston, summarizing his career briefly. B483. "Paul Creston Is Winner of Music Critics' Award." New York Herald Tribune, June 9, 1943, p. 19. Announcement that Paul Creston received the award of the Music Critics Circle of New York for the best American orchestral composition performed during the 1941-42 season. B484. "People of Note." Instrumentalist

17 (June, 1963): 73.

Brief biographical notes. B485. Perkins, Francis D. "Compositions of 1930s and 1940s Heard at Concert." New York Herald Tribune, March 23, 1961, p. 15. Unfavorable review of the Concertino for Marimba, performed by the Orchestrette Classique, Richard Korn, conductor. Though it demonstrated the capabilities of the instrument, Perkins did not find it a representative work of Creston. See: W47, D6. B486.

. "Concert Given By Orchestrette Classique Here: Frederique Petrides Leads Vaughan Williams and Paul Creston Novelties." New York Herald Tribune, February 3, 1942, p. 12. Positive review of the two Creston works, Prelude and Dance and A Rumor. The rhythmic energy, coupled with reciprocal predominance of the strings and woodwinds was thought to provide contrast. The latter work was thought to be "clever and often witty." See: W8, W74, DI, D24.

Bibliography 149 B487.

. "8,500 Hear Goldman Band Open 38th Season on Mall." New York Herald Tribune, June 18, 1955. Creston's skill and knowledge of scoring for band was observed in this New York performance of Celebration Overture. Specifically, the reviewer mentioned that the themes had contour and the scoring revealed the composer's knowledge of the medium. See: W2, D I , D3.

B488.

. "Goldman Plays Music Written Only for Bands." New York Herald Tribune, July 23, 1942, p. 10. Review of Legend, performed by the Goldman Band and conducted by Creston. The reviewer commented on Creston's skill in scoring for band suggested that more band literature in larger forms would be written. The work was hailed as "vigorous and colorfully and sonorously scored." See: W6, D16.

B489.

. "Lewisohn Stadium Season Opens 7,000 in Audience." New York Herald Tribune, June 21, 1961, p. 15. While Dance Variations, conducted by Pierre Monteux, Roberta Peters, soloist, was not considered to be a momentous work, it was thought to possess a balance of instrumental and vocal sounds as well as chances for display by the soloist. See: W18.

B490.

. "National Orchestra Group Has Kobayashi As Soloist." New York Herald Tribune, January 23, 1957, p. 14. The qualities observed in this performance of Invocation and Dance, conducted by John Barnett, were: "vividness of color, tonal merit, unity and spirit." The reviewer then gave a brief programmatic description of the piece and noted that there were some suggestions of derived material. See: W64.

B491.

. "Stokowski Opens Series, Leads Creston Work: The Philharmonic." New York Herald Tribune, December 27, 1946, p. 13. Favorable review of Frontiers by the New York Philharmonic Symphony. Perkins noted that the work was a musical depiction of the American migration, as well as having an American flavor and was scored effectively. He than gave his reasons for this view. The introduction, he felt gave a sense of spaciousness. The main section, he felt suggested the development of an industrial plant with its energy and drive. He said one was reminded of Honegger's locomotive. The close was said to be more lyric. See: W61.

B492.

. "3 New Yorkers' Work Heard At The Stadium: Music by Copland, Schuman, Creston Presented Under Smallen's Baton." New York Herald Tribune, July 15, 1942, p. 13. Brief review of Pastorale and Tarantella, performed by the Lewissohn Stadium Symphony Orchestra, Perkins stated that the opening Pastorale had "charm and imagination" while the Tarantella was "energetic and has atmosphere and runs a little too long." See: W69.

B493. Pisk, Paul A. "Chamber Music." Notes 8 (June, 1951): 568-9. Review of published score to the Suite for Violin and Piano. Pisk thought it was an easy but agreeable exercise that made few technical demands on the performer. He felt also that Creston used traditional harmony, primarily thirds and sixths, and other traditional devices such as the pedals and ostinatos as in his lat-

150 Paul Creston er works. See: W129, D30. B494. Plogstedt, Lilian T. "Today's Music." Cincinnati Post, November 27, 1943. Succint review of a performance of Symphony No. 1. Plogstedt found it short and well-written with well crafted melodies. See: W7, D31. B495. Pobyanovsky, Georgi. "Guest Performances of The Boston Symphony Orchestra In Moscow." (Press release fron the Embassy fo the USSR) September 24, 1956. The Symphony No. 2, conducted by Pierre Monteux, was considered to have a profound and emotional effect. See: W80, D32, D33. B496. Popov, Innokenty. "Boston Symphony's Soviet Concerts." News, October 20, 1956, p. 28. Review of the Boston Symphony Orchestra's tour of the Soviet Union, Charles Munch, conductor. Popov observed that Creston's Symphony was "rich in music." See: W80, D32, D33. B497. Pratz, Kathryn Darnielle. "Paul Creston's Narrative No. 1, Op. 79, No. 1 for Piano: A Rhythmic Analysis." M.A. Thesis, Central Washington State College, 1975. Surveys rhythm as a universal term, followed by discussion of rhythm in music and development of rhythm in the history of music of western civilization. Views Paul Creston's rhythmic theories and his composition Narrative No. 1. B498. Preuss, Lucile. "Modern Music Study Starts at Source." The Milwaukee April 5, 1959, p. 8.

Journal,

Description of a study conducted by freshman students at Alverno College (Milwaukee), "Survey of Music Literature," which was made through direct contact with American composers. Paul Creston was contacted, and responded with his Composer's Creed. B499. Prindl, Mark Joeseph. "A Study of Ten Original Compositions for Band Published in America Since 1946." Ed. D. Florida State University, 1956, 124 p. Two of Creston's works, Celebration Overture and Zanoni, were utilized for analysis in a study concerning trends in wind band literature since 1946. See: W2, D1,D3,D37. B500. Record Review. "Project In Work." Musical America 75 (April, 1955): 17. Hot and cold review of Invocation and Dance. Though the work was praised for its rhythmic energy and a skillful orchestration as well as having a spontaneous dance, the reviewer actually found the composer's materials ordinary. See: W64. B501. Quirk, David. "Steinberg in Bow at Carnegie With Balanced Concert." Daily News (New York City), January 28, 1944. Quirk found that the Concerto for Saxophone, performed by the New York Philharmonic Symphony, did really have a place in the serious literature for the instrument. See: W50, W51, D7. B502. Qvamme, Borre. "Marian Anderson In The Aula." Morgenbladet (Oslo), September 20, 1956.

Bibliography 151 Despite the fact that Qvamme commented on the American rhythms which he found novel, he felt that Dance Overture actually had so many ideas that it affected the coherence of the entire piece. See: W54, D9. B503. R. E. "Stokowski Leads Mahler Work: Weekend's Other Music Events." New York Times, April 5, 1965, p. 37. Although the reviewer felt that Corinthians XIII was quiet and much in the style of Respighi, he felt it was too emotional for the nature of the work since it was inspired by the Pauline epistle. But the quality of the performance was praised. See: W53, D8. B504. R. E. H. "Compositions Introduced At Organ Recital Here." The State Journal (Lansing, Michigan), January 26, 1959, p. 2. Brief review of Suite for Organ, performed by Marilyn Mason of the University of Michigan faculty at St. Paul's Church. The reviewer described it as "majestic and expansive." See: W125, D26. B505. R. K. "Clarion Concerts Introduces Boccherini Work." Musical America 79 (February 1959): 211. Review of Partita, Newell Jenkins, conductor, performed in the Clarion concert series. The reviewer felt that this piece was eighteenth century music with a modern touch, and fit in well with the other eighteenth century music performed. The reviewer also commented that it was well received. See: W108, D20. B506. R. L. "Novelties Played By Orchestrette: New Works by American Composers Heard Here For The First Time." New York Times, May 4, 1943, Section L, p. 19. The reviewer of this performance of Chant of 1942 agreed with the composer's commentary that the work was his emotional depiction of the events of the war year. See: W44, D4. B507. R. M. K. "Records/Audio: Novelties for String Quartet." Musical America 74 (August, 1954); 21. Review of Capitol recording P-8260 of the String Quartet. It was thought that this work was typical of the composer. Despite the fact that it was perceived to have been composed with originality, all the movements were not thought to be equal. The slow movement influenced by Gregorian modes, was the most outstanding. See: W123, D22. B508. R. P. "New Creston Work." New York Times, January 23, 1957, p. 25. Review of Invocation and Dance, performed by the National Orchestral Association, John Barnett, conductor at Carnegie Hall (1/22/57). Though the Invocation and Dance was thought to have hints of Debussy and Ravel, the reviewer felt it was a skillfully constructed work with color. See: W64. B509. R.R. "N.B.C. Symphony Plays Creston Chant of 1942." New York Herald Tribune, December 27, 1943, p. 8. Review of performance of Chant of 1942 by Leopold Stokowski and NBC

152 Paul Creston Symphony given in Studio 8-H at Radio City (12/26/43). Unfavorable review of Chant of 1942 broadcast by the NBC Symphony. The reviewer felt that the composer was concerned with sounds rather than the substance of his ideas. The reviewer made the point that ostinato was frequently employed to propel the piece forward and at times seemed derived from Stravinsky and Ravel. See: W44, D4. B510. R. S. "Backhaus Soloist with Philharmonic." Musical America 76 (April, 1956): 15. Review of Dance Overture, performed by the New York Philharmonic, Guido Cantelli, condcutor (3/15/56). Despite the energetic rhythms and skillful orchestration, Dance Overture was thought to be tedious and commonplace. See: W54, D9. B511. R. W. "Corigliano Soloist Under Baton of Monteux." Musical (February 1, 1956): 20.

America

76

Review of Second Symphony performed by New York Philharmonic, Monteux conducting at Carnegie Hall (1/19/56). Despite the reviewer's acknowledgment of Symphony No. 2's rich themes, harmony as well as rhythmic vigor and shape, the reviewer found the New York Philharmonic's performance infused with cliches and superficial effects. See: W80, D32, D33. B512. R. S. "New Music Reviews: American Songs Reveal Wide Variety of Styles." Musical America 71 (July, 1951): 30. Review of published score to Bird of the Wilderness. This work was thought to be youthful or immature. The reviewer felt that the composer set a machine-like voice part to a sensuous piano accompaniment. See: W11,D2. B513. R. S. "New Music Reviews: Violin and Piano Works by American Composers." Musical America 71 (March, 1951): 40. Review of published score to the Suite for Violin and Piano. The work was described as a likeable piece. The reviewer pointed out that though the harmony was modern, the piece sounded like a work in old style. He also noted the composer's use of chromaticism, the balance between the two instruments and some double stopping which gave the soloist opportunities. Despite these features, the reviewer found the material trite. See: W129, D3. B514. R. S. "New Recordings." Musical America 75 (April, 1955): 16. Review of Louisville recording LOU-545 of Invocation and Dance. Though the reviewer acknowledged the favorable aspects of this piece, such as the skillful orchestration and the rhythmic vitality, the sound was perceived as artificial and the materials banal. However, the reviewer admitted that it was an enjoyable work. See: W64.

Bibliography 153 B515. R. S. "Orchestras in New York: Zambiana Is Soloist With Orchestra da Camera." Musical America 11 (April, 1957): 25. Review of Partita, performed March 20, 1957 by the Orchestra da Camera, Remus Tzincora, conductor at Town Hall In this brief review, Partita was perceived as being a vehicle of showmanship which also possessed rhythmic energy and lyric melodies. The Sarabande movement was thought to be the best. See: W108, D20. B516. R. S. "Recitals: Diana Steiner, Violinist." Musical America 72 (November 1, 1952): 18. Review of performance of Suite, Op. 18 for violin, performed at Town Hall under the auspices of the Naumburg Musical Foundation (10/7/52). Brief review of Suite, Op. 18 for violin. Though the reviewer acknowledged that it was adeptly written, the piece was thought to be commonplace. The soloist, Diana Steiner, was commended for her performance. See: W129, D30. B517. R. S. B. High Fidelity, October, 1976, p. 132. Review of Argo recording ZRG-845 of A Rumor. "...Paul Creston's A Rumor is a perfect example of the rhythmic and instrumental vitality that pervades that composer's best works." B518. Rabb, Bernard P. "Little Orchestra Society." Musical America 82 (1962): 34. Review of New York premiere of Concerto No. 2, Op. 78 for violin, Michael Rabin, violin, Thomas Scherman, conductor. Unfavorable review of the N.Y. premiere of Concerto No. 2, Op. 78. Basically the reviewer felt that the work was lifeless and only an exhibition for the soloist. See: W91. B519. Raush, John Richard. "Four-mallet Technique and Its Use in Selected Examples of Training and Performance Literature for Solo Marimba." (DMA diss.: University of Texas, Austin, 1977) 376p. Study which traced the history and development of the marimba. Rausch examined four-mallet techniques from four categories and used Cretson's Concerto for Marimba as one of the examples for analysis. See: W47, D6. B520. Raven, Seymour S. "Stirring Music Heard In Ravinia Concert." Chicago Sun, July 14, 1947, p. 10. Review of Second Symphony, performed by Eugene Ormandy and the Chicago Symphony at Ravinia (7/13/47). Positive review of the Second Symphony performed by Eugene Ormandy and the Chicago Symphony at Ravinia (7/13/47). Raven felt that it was an effective work and expressed the hope that it would become popular. He characterized it as being lyric and skillfully scored. See: W80, D32, D33. B521. "Record Review." Christian Science Monitor, June 22, 1954.

154 Paul Creston Review of Capitol Recording (P-8260), of String Quartet, Op. 8. The reviewer of this recording of the String Quartet was favorably impressed with the work, and felt that it had creativity, was finely crafted, and was easy to listen to. The fugue movement was mentioned as being a masterpiece. See: W123, D22. B522. Record Supplement, March 1938. Review of NMQR recording No. 1313 of Suite For Saxophone. This assessment of NMQR recording No. 1313 of the Suite for Saxophone found it a welcome addition to the saxophone repertoire. The reviewer stated: "By no means extremist in idiom, it reveals a sound structural sense, felicitous feeling for the saxophone's technique and tone qualities, and the fact that the composer is endowed with both inventive and humorous powers." See: W126, D27. B523. Reno, Doris. "Federation Hears New Work: Young Pianist Gets Big Hand." Miami Herald, April 25, 1955, Sec. A, p. 19. Review of premiere of Dance Overture, performed by University of Miami Symphony Orchestra, John Bitter, conductor (4/24/55). Reno generally found Dance Overture a light work with adroit dance rhythms and some dissonance, and expressed a positive suggestion that it would become a popular work. See: W54, D9. B524. Renshaw, John C. "Symphony Concert: A Real Bicentennial Festival." Shreveport Journal (Bossier City, LA) March 15, 1976, Sec. B-5. Review of world premiere of Hyas Illahee by the Shreveport Symphony and Symphony Chorale augmented by choruses from Grambling State University and Kilgore Junior College (March 14, 1976). Renshaw found Hyas Illahee traditional, and asserted that much of it sounded like movie music. See: W20. B525. "Review of Published Music." Musical Courier 157 (January 1, 1958): 37-8. Review of published score of Symphony No. 3. Highly favorable review of Symphony No. 3 which spoke of the composer's use of Gregorian chant themes, and colorful scoring techniques. The reviewer stated: "It is a strong, sincere and eloquent work that has an immediate audience appeal and definitely deserves a high place in the standard symphonic repertoire." See: W80,W81,D32, D33. B526. Riefling, Reimar. "USA - Music In The Aula." Verdens Gang (Oslo), September 20, 1956. Review of Dance Overture performed by the Philharmonic Society, Alfredo Antonini, conductor (exchange concert between USA and Norway). Though Dance Overture was well received, Riefling felt that the music was not inventive, and was too repetitious with a homophonic accompaniment. See: W81,D32, D33.

Bibliography 155 B527. "Rock Music is Good, Says Composer." Tacoma News Tribune November 16, 1969; Sec. C, p. 22. Article that expresses Creston's views on rock music. Creston avowed that good music regardless of whether it is classical or contemporary, used the musical ideas of an area or people, and thus the basic principles of music still applied. B528. Rockwell, John. "Concert: Zina Schiff, Violinst." New York Times, 1983 S e c , C, p. 24.

October 6,

Review of Suite for Violin and Piano, performed by Zina Schiff and Vladimir Sokoloff, piano at Abraham Goodman House, New York. (October 4, 1983). "...Paul Creston's Suite for Violin and Piano was of a distinctly lower quality." See: W129,D30. B529.

. "Piano: The Mirecourt Trio from Grinnell College." New York Times, October 29, 1980. Review of Trio, Op. 112. performed by Mirecourt Trio at Abraham Goodman House (New York City) (October 26, 1980), Kenneth Goldsmith, violin; Terry King, cello John Jensen, piano. (New York premiere). Though the Trio was well performed, it was thought that it was neo-classic and romantic. The reviewer asserted that it was an inferior work with little to offer. See: W133, D34.

B530. Rogers, Emmy Brady. "Girl of the Golden West Opens Red Rocks Festival." Musical America 79 (September, 1959): 14. Review of performance given July 17, 1959 by San Francisco Ballet and a brief orchestra program featuring Janus commissioned by the Conference of Women's Committees for Symphony Orchestras. In this favorable review of Janus, Rogers noted that the work possessed drama and excitement and complex rhythmic juxtaposition. The composer was complimented for his conducting and the orchestra for its performance. See: W65. B531. Rogers, Harold. "Creston Premiere At Pops: Carmen Carrozza Soloist On Concerto for Accordion." Christian Science Monitor, May 11, 1960, p. 11. Review of premiere of Concerto for Accordion, Arthur Fiedler conductor, Boston Pops Orchestra (May 11, 1960) (performed May 11 and 13, 1960). In this favorable review of the premiere of the Concerto for Accordion, Harold Rogers referred to the work as a novelty, and pointed out that Creston utilized syncopation, as well as singing, lyric melodies. He observed that much of the harmony originated from Impressionism, and that the virtuosity of the accordion was exploited especially in the third movement. B532.

. "Dallas Acclaims Boston Symphony." Christian Science Monitor, May 4, 1953, p. 4. Review of Symphony No. 2, performed by Boston Symphony Orchestra, Monteux, guest conductor. (May 3, 1953). The reviewer expressed the conductor, Monteux's view that the Symphony No. 2

156 Paul Creston is a work of worth, having alluring colors and rhythms. The reviewer stated that this was "a certain test that work is built of true musical substance." See: W80, D32, D33. B533. Roosevelt, Oliver. "New Concerto Performed: Montevallo Honors Composer Creston." Birmingham News, November 19, 1968, p. 17. Review of premiere of Concerto for Two Pianos and Orchestra, performed by New Orleans Philharmonic Symphony Orchestra, Werner Torkanowsky, conductor, Joan Yarbrough, Robert Cowan, soloists. (November 18, 1968). Disappointing review of the Concerto for Two Pianos and Orchestra. Roosevelt expressed the fact that the musical ideas were not developed effectively and the texture was excessively thick. See: W52. B534. Rosenfield, John. "Dallas Symphony: Creston's Fourth And Beethoven No. 9." Dallas Morning News, February 11, 1958, Part 1, p. 12. Review of a performance of Symphony No. 4 by Dallas Symphony, conducted by Walter Hendl. (February 10, 1958). Positive review of Symphony No. 4 in which Rosenfield was impressed with the frolicsome nature of the work and its sound construction. In fact, he stated, "...is a work of clear-thinking and clear scorings." Some other characteristics of the work mentioned were the individuality of the melodies and the use of the orchestra as a quartet with opposing instrumental groups for contrast or variety. See: W82. B535.

. "Program Notes: Presence of Paul Creston." Dallas Morning News, January 26, 1958, Part 7, p. 3. Article containing biographical information about Creston and also announced that Paul Creston was to be the discussion moderator of the first composers' Forum arranged by the Dallas Public Library with the collaboration of the Dallas Symphony and Federation of Music Clubs.

B536. Rothstein, Edward. "Music: Y Chamber Symphony Gives Twist to the Past." New York Times, October 20, 1981, p. Cl 1. Very favorable review of the premiere of Sadhana, Gerard Schwarz, conductor. Rothstein was very impressed with the lush sonorities and fine craftsmanship. He stated: "...it was so original in voice, well wrought and compellingly sincere, that for brief moments, musical history seemed undone." See: W75. B537. Roussel, Hubert. "Music." The Houston Post, February 15, 1966, Sec. 1, p. 6. Review of performance of Dance Overture presented by the Houston Symphony Orchestra, Sir John Barbirolli, conductor. (February 14, 1966). Roussel perceived Dance Overture to be a work full of life, well scored, and containing combinations of rhythms associated with the folk music of Spain, England, France and the U.S. The Houston Symphony and conductor Sir John Barbirolli were commended for their performance. See: W54, D9. B538.

. "Tempered Musicianship: Symphony Under Sage and Paternal Monteux." Houston Post, February 27, 1957, Section 3, p. 3.

Bibliography 157 Favorable review of Second Symphony performed by Houston Symphony Orchestra, Pierre Monteux, conductor, in which the reviewer focused on the "Americanism" of the work. More specifically, he stated, "it is the kind of music to appeal to French taste full of fine logic, fine song and the most buoyant fanciful rhythms in its second movement." B539. Rummel, Larry. "Arizona." Musical America 84 (May, 1965): 16. Review of premiere performance of Corinthians XIII, Op. 82 by Guy Taylor and Phoenix Symphony. In this review of Corinthians XIII, Rummel discussed Creston's use of a Gregorian melody as the basis and the melodic development throughout. He spoke of the piece as a success. See: W53, D8. B540. Russel, Kathryn. "Self-taught Composer at Times-Advocate, August 22, 1976, p. 14-15.

Top

of

Scale."

San

Diego

Biographical article based on personal interview summarizing principal events and achievements of Creston's life through 1976. B541. S. New Records, May, 1954, p. 3. Review of Capital recording P8245 of Two Choric Dances. This review of Capitol recording P8245 of Two Choric Dances spoke of the work as being agreeable and admirably conducted. See: W88, W89, D35. B542. S. New Records, July, 1954, p. 2. Review of Westminster recording W52-72 of Symphonies Nos. 2 and 3. Positive review of Westminster W52-72 recording of Symphonies No. 2 and 3, Howard Mitchell, conductor, and National Symphony Orchestra, which spoke of the works as a necessity to hear of American symphonic repertoire. See: W80, W81,D32,D33. B543. Sabin, Robert. "Music in New York: Monteux Launches Stadium Season." Musical America 81 (June, 1960): 50. Scathing review of the world premiere of Dance Variations performed by Pierre Monteux, with Roberta Peters, soloist at the opening of the Lewisohn Stadium concerts. (June 20). Sabin found the work to be commonplace and lifeless. The soloist, Roberta Peters, was complimented for her performance, though he felt she could not bring the work to life. See: W18. B544. Sablosky, Irving. "Ormandy Works String Magic." Chicago Daily News, January 12, 1951, p. 24. In this review of the Third Symphony, performed by Ormandy and the Chicago Symphony, Sablosky referred to Creston's use of Gregorian themes as sounding like folk songs and to the work as a whole as "...a comely if somewhat slick work." See: W81,D32,D33. B545. Salzberg, Geraldine. "Orchestra, Chorus Receive Praise For Beethoven's 9th Performance." The Star (Tucson, AZ), November 23, 1966, Section A, p. 2.

158 Paul Creston Review of Corinthians XIII performed by Tucson Symphony Orchestra, Gregory Millar, conductor. (November 22, 1966) Salzburg praised the Tucson Symphony's performance and spoke in terms of this work as musically interpreting the 13th chapter of the Pauline epistle. The last section was mentioned as being particularly sensitive. See: W53, D8. B546. Sams, Vicki. "Renowned Composer Adds Television To His Credits." Rancho Bernardo Journal, May 8, 1980. Biographical article summarizing the main musical achievements of Creston's career; makes special mention of the Iowa Public Broadcasting network one-hour concert of his music. B547. Sargent, Winthrop. "Musical Events." New Yorker, October 31, 1953, p. 115-117. Winthrop Sargeant was impressed by the originality and modernity without adherence to a prescribed formula, the sincerity and feeling for symphonic structure of the Second Symphony. See: W80, D32, D33. B548. Sargeant, Winthrop. "Musical Events." New Yorker, March 24, 1956, p. 137. Review of Dance Overture, performed by the New York Philharmonic, Guido Cantelli, conductor (3/15/56). Sergeant identified Dance Overture as American in its enthusiasm and thematic content and noted Mr. Creston's sincere approach. "[Mr. Creston's] technique is simply a vehicle through which Mr. Creston communicates certain ideas." See: W54, D9. B549. Sargeant, Winthrop. "Musical Events." New Yorker, January 28, 1956, p. 91-93. Review of Symphony No. 2, performed by New York Philharmonic Symphony, Pierre Monteux, conductor (1/19/56). Sargeant compared Creston's Second Symphony to Barber's Symphony In One Movement in this review and observed that the symphonic technique utilized in both incorporated the manipulation of themes in relation to tonality. See: W80, D32, D33. B550. Sargeant, Winthrop. "Musical Events." New Yorker, April 21, 1956, p. 135-137. Review of Symphony No. 5, performed by Howard Mitchell, National Symphony at Carnegie Hall (4/20/56). Hot and cold review of Symphony No. 5. Though Sargeant found this performance by the National Symphony to be interesting, and possessing energy and a skillfully crafted formal structure, he did not find it as pleasing as the Second. See: W83. B551. Sargeant, Winthrop. "Musical Events: The Meritorious Mr. Creston." New Yorker, February 23, 1957, p. 116-117. Review of Partita, performed at Town Hall, for WNYC's Festival of American Music (2/12/57). Sargeant was impressed with the creativity and honesty of the work. He stated, "I found in it the sincerity, emotional meaning and intellectual interest that I have admired in his larger compositions." See: W108, D20.

Bibliography 159 B552. Sargeant, Winthrop. "Musical Events." New Yorker, October 4, 1958, p. 277-179. Review of Toccata, performed by the Contemporary Music Society, Stokowski conducting (10/25/58). In this brief review of the Toccata, Sargeant commented on the use of rhythm to drive the work forward and as well as what he called an "atmosphere of suspense." See: W87. B553. Sargeant, Winthrop. "Musical Events." New Yorker, November 21, 1959, p. 208. Review of Chant of 1942, performed by Orchestra of America, Richard Korn, conductor, at Carnegie Hall (11/20/59). In this assessment of the Chant of 1942 Sargeant noted that it was a vibrant composition which used musical means to achieve its effect. See: W44, D4. B554. Saunders, Richard D. "Philharmonic Citizen-News, November 19, 1943.

Orchestra

Is Acclaimed."

Hollywood

Review of performance of Symphony No. 1 by the Los Angeles Philharmonic, Wallenstein, conductor, November 18, 1943. The forthrightness and Americanism of this performance of the First Symphony by the Los Angeles Philharmonic were noted by Saunders. He stated: "...proved a frank, straightforward work that posed no technical problems but deftly used its material in a manner that seemed typically American in mood and delivery." See: W79, D31. B555. Schafer, Theodore. "Menotti's New Chamber Opera Given At Library of Congress." Musical America, 76 (November 15, 1956); 6. Review of first performance of Suite for Violoncello and Piano at the Twelfth Festival of Music at the Library of Congress, October 29-31, 1956. Unfavorable review of the premiere of the Suite for Violoncello, Raya Garbusova, cello. Though Schafer found a few interesting piano textures, he felt the work offered little. See: W130. B556. Schickele, Peter. "Composer Creston Discusses Background Music For Drama." The Swarthmore Phoenix, May 19, 1957. Article which reviewed Creston's lecture at Swarthmore College as part of the Cooper Foundation Lecture series. He spoke on music and the mass media, specifically, with the writing of background music for dramatic productions on radio, TV, and the movies. B557. Schloss, Edwin H. "Milstein's November 26, 1960, p. 7.

Virtuosity

Glitters." Philadelphia

Enquirer,

Review of Invocation and Dance, performed by Eugene Ormandy Philadelphia Orchestra (11/25 and 26/60) at the Academy of Music.

and

The rhythms and harmony of the opening "Invocation" movement gave Schloss the impression of being serene yet dramatic while the last movement was thought to be more exciting with jazz influences. See W64.

160 Paul Creston B558. Schloss, Edwin H. "Pianist Claudio Arrau In Concert Debut Here." Record, Marcg 14, 1943 (?).

Philadelphia

Review of performance of Symphony No. 1, 3/12 and 13/43 by the Philadelphia Orchestra, Ormandy, conductor. Though he condescendingly referred to this performance of Symphony No. 7 as a famously devised work with showiness and a "bright chromatic facade," he did note the skillful construction of the work. See: W79, D31. B559. Schloss, Edwin H. "25,000 Jam Dell For Miss Peters." Philadelphia Inquirer, June 23, 1961, p. 20. Review of Dance Variations, performed by Roberta Peters and Wilfrid Pelletier, conductor at Robin Hood Dell in Philadelphia (6/22/62). In this brief review of Dance Variations, Schloss thought the work to be pleasant and originating from early Italian dance forms. See: W18. B560. Schneider, Christian I. "Central Washington State College Symphony's Homage to Paul Creston." (Ellensburg, Washington) Daily Record, May 30, 1975, p. 3. Review of the Central Washington State College Symphony's homage to Paul Creston. Evening in Texas, Sunrise in Puerto Rico from Airborne Suite and Corinthians XIII, conducted by Creston, performed 5129115. In this review of the Central Washington State College Symphony's performance of Evening in Texas, Sunrise in Puerto Rico, from Airborne Suite and Corinthians XIII, Schneider observed Creston's skillful technique and knowledge of every instrument. See: W43, W53, D8. B561. Schonberg, Harold C. "5 Modern Works Heard At Concert." New York Times, April 15, 1959, p. 28:3. Schonberg found this performance of Lydian Ode, Emerson Buckley, conductor, presented at the Metropolitan Museum of Art and sponsored by the Contemporary Music Society to be pleasant and French derived. See: W66, D17, D36. B562. Schonberg, Harold C. "Music: A Vaughan Williams Premiere." New York Times, September 26, 1958, p. 22. Review of performance of Toccata by Contemporary Music Society, Stokowski, conductor, at Carnegie Hall (9/25/58). In this performance of Toccata, Schonberg noted that though the piece had vigorous rhythms, it did not have interesting ideas. See: W87. B563. Schonberg, Harold C. "5 Music: Orchestra of America Heard." New York Times, November 8, 1962, p. 51. Review of Piano Concerto, performed by Eugene List, soloist, Richard Korn, conductor, Orchestra of America (11/1/62). Scathing review in which Schonberg denounced the work as being derivative of Faure, D'Indy, Rachmaninoff, Shostakovich and jazz. He called it a pastiche and commented that one could not consider it seriously. See: W49.

Bibliography 161 B564. Schonberg, Harold C. "Records: Contemporary Americans." New York Times, July 10, 1955, p. 23. In this review of Columbia recording ML4989 of the Sonata for Saxophone, Schonberg observed the melodic attraction, but said that Creston used a "near-salon approach." See: W122, D25. B565. Schwarze, Richard. "70 Is No Time To Slow Down If You're A Composer Named Creston." Journal-Herald (Dayton, Ohio), September 18, 1976, p. 25. A recorded telephone interview with Paul Creston; includes his reflections on being in Dayton, Ohio, on music, and his books, and general comments. B566. Searle, Humphrey. Gramophone, September 1954, p. 544. Negative review of Capitol recording P-8260 of the String Quartet. Searle felt that the work lacked originality. He remarked that it was generally derivative of Hindemith but noted other influences as well, by Bartok, Debussy and Vaughan Williams. Despite this, he mentioned that the work was ingeniously composed. See: W123, D22. B567. Shan-Chen Hu, Janice. "The Structure of Paul Creston's Sonata Op. 9 For Piano." M.A. Thesis - Central Washington State College, 1975. Studied the structure of Paul Creston's Sonata, Op. 9 in terms of the basic structural elements: form, rhythm, melody and harmony. B568. Sherman John K. " 'Local Concerto Makes An Impressive Debut." Minneapolis Star, November 27, 1954, Section TAB, p. 9. Review of Symphony No. 2, performed by Minneapolis Symphony, Antal Dorati, conductor (11/26/54). In this favorable review, Sherman observed that it had an interesting two movement formal structure with convincing themes that were utilized throughout both movements. See: W80, D32, D33. B569. Sherman, John K. "What Miraculous Ease and Fluency In Milstein!" Minneapolis Star, November 21, 1952, p. 26. Hot and cold review of the Symphony No. 3, performed by the Minneapolis Symphony (Antal Dorati, conductor, 11/20/52). Sherman was of the opinion that the work should have been heard without the religious association. As such, he perceived it to be almost theatrical, whereas notwithstanding the program notes, he found it an effective work with clever scoring and even some unusual effects. See: W81,D32,D33. B570. Sherman, Thomas R. "Helen Jepson Soloist With The Symphony: Sings Three Mozart Arias and Three Songs, Gives Two Encores." St. Louis Post Dispatch, November 14, 1942, p. 5A. Review of performance by St. Louis Symphony Orchedtra, Vladimir Golschmann, conductor, of Pastorale and Tarantella by Creston (11/3/42). Sherman found this performance of the Pastorale and Tarantella to be an alluring commentary with respect to color, rhythm and mood. He observed that Creston used traditional harmony in his own unique way. Finally, he discerned predominant features in each section: the pleasing lyricism in the Pastorale and

162 Paul Creston the vitalizing rhythms of the latter section. See: W69. B571. Shupp, Enos, Jr. The New Records, 35 (February, 1968): 14. In this unfavorable review of the Columbia MS-6997 recording of the Concertino for Marimba, Shupp earmarked it as uncharacteristic for the instrument. See: W47, D6. B572. Sibbing, Robert Virgil. "An Analytical Study of the Published Sonatas For Saxophone By American Composers." Ed. D. University of Illinois. 1969, 184 p. Analyzed published sonatas for saxophone in terms of their formal structure, harmonic usage, rhythmic characteristics, contrapuntal technique and external influences. Biographical sketches of the composers were given; Paul Creston's Sonata for Saxophone was included for analysis. See: W122, D25. B573. Simmons, Walter. "Classical Recordings." Fanfare, November/December, 1982. p. 307. In this favorable review of the Golden Crest CRS-4214 recording of Prelude and Dance, Simmons observed that this work was one of Creston's best for the medium, encompassing a familiar formal structure for the composer which utilized his thematic development and rhythmic skills. B574. Simmons, Walter. "Classical Recordings." Fanfare, September/October, 1986, p. 133. Scathing review of Occupant recording WCSQ and Mark recording MES-20600 of the Suite for Saxophone. Quartet Simmons felt that the work represented a quiesence of the composer's style into a series of tired cliches in what he called a "Mench flavored neo-Baroque" scheme. (He compared it to several early works, the String Quartet and the Partita for Flute, Violin and Strings and concluded that this current work is lacking in vivacity. See: W126, D27. B575. Simmons, Walter. Fanfare, July/August, 1979, p. 45-46. In this review, Simmons pointed out various reasons for the popularity of this Crystal 5157 recording of the Sonata for Saxophone. First, he says, not only is the work an effective medium for typifying the performers' artistry, but is also an excellent piece of music largely because of the composers' stylistic traits, the energetic rhythmic patterns, lyric lines and classical formal structure. Although he says that a superficial hearing may hint at "Les Six," he assays that this work reflects Creston's traits and underlying sound construction that are present in his larger works. See: W122, D25. B576. Simmons, Walter. Fanfare, March/April, 1982, p. 317. The Crystal recording S-386 of the Fantasy for Trombone was perceived by Simmons to be an exemplary or classic work for the instrument just as the Sonata for Saxophone. He in fact stated that the improvisatory ingenuity of the work obscured the tight motivic structure, a trait of Creston's. See: W60, D12. B577. Simmons, Walter. Fanfare, July/August, 1984, p. 160-161. Favorable review of TR Records TRC-107 recording of the Trio for Violin, Cello and Piano. Simmons considered it to have lucid melodic and harmonic features analagous to Ravel in what he called a "neoclassical" structure. He concisely described Creston's chamber music as having warmth, exuberance, and a high

Bibliography 163 degree of technical proficiency. See: W133, D34. B578. Simmons, Walter. Fanfare, September/October, 1983, p. 171. Positive review of Crystal recording S-154 of the Suite for Saxophone. Though Simmons felt that this work had the characteristic rhythmic and melodic stylistic traits, he discerned a more tonally ambiguous melody, in addition to more dissonant counterpoint than in other more mature works. B579. Simmons, Walter. "Paul Creston." Vol. 5 of The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie. London: Macmillan, 1980-, pp. 33-34. General article with list of compositions and selected bibliography. B580. Simmons, Walter. "Paul Creston: A Genial Maverick." Ovation Magazine, October, 1981, pp. 29-31. A sketch of Creston's life and achievements; including discussion of his stylistic features, and his contributions to music theory and pedagogy. B581. Simmons, Walter. "Paul Creston - Maintaining a Middle Course." Music Journal 34 (December, 1976). Article focusing on Creston's philosophic approach to composition and his stylistic characteristics. B582. Simmons, Walter. "Classical Recordings." Fanfare, September/October, 1979, p. 72. In this Laurel recording LR-100 of Two Choric Dances, Simmons describes the piece in terms of Creston's personal compositional procedure, which he sees as utilizing syncopated accented rhythmic material in an additive manner but with the idea of abstract development. He finds this to have "a kinetic impact that is both infectious and exhilarating." See: W88, W89, D35. B583. Simmons, Walter. "Classical Recordings." Fanfare, May/June, 1981, p. 211. Simmons comments generally about the pleasing performance of the Golden Crest recording RE-7091 of the Sonata for Saxophone, and mentions that it is the most popular work in the saxophone repertoire. See: W122, D25 B584. Simon, Henry. "The Army Supplies the Philharmonic." PM, March 8, 1943, p. 19. Review of performance of Threnody by John Barbirolli, conductor (3/5/43). In this very brief review of Threnody, Simon found it to be as its premiere two years previously an unpretentious but powerful work. See: W86. B585.

. "Creston Symphony Makes A Hit." PM, March 24, 1943, p. 22. Review of 3/23/43 performance of Symphony No. 1 by Philadelphia Orchestra, Ormandy conducting. The reviewer of this performance of Symphony No. 1 by the Philharmonic Orchestra found it to be an unpretentious work, with the composer's labellings for each movement to be fairly accurate except for the first movement, which was not thought to be majestic enough. Mr. Creston was complimented for his effective rhythmic and orchestral devices. See: W79, D31.

164 Paul Creston B586.

. "Good Work on Short Notice." PM, January 28, 1944. Review of premiere of Concerto for Saxophone, by New York Philharmonic Symphony, William Steinberg, conductor, Abato, soloist (January 27, 1944). This review of the Concerto for Saxopone highlights the idiomatic nature of the work for the instrument and the skill of the soloist in exploiting those possibilities. The piece was generally felt to be an exemplification of skillful orchestration, though the reviewer perceived the melodies to be less alluring than those in the Concertino. See: W50, W51, D7.

B587.

. "ILGWU Sings the Song of Solomon." PM, February 3, 1942, p. 23. Review of February 1, 1942 performance by the Orchestrette of New York of Prelude and Dance and A Rumor, Frederique Petrides, conductor, at Carnegie Chamber Music Hall Favorable review of two works performed by the Orchestrette of New York, Prelude and Dance, and A Rumor. Generally, Creston was spoken of as employing likeable melodies, rhythmic effects and sincerity in his approach. The first work was perceived to be carefully constructed as well as compelling. The second work was spoken of in terms of the development of the opening small theme. See: W8, W47, D1, D21, D24.

B588.

. "Maybe They'll Play It Better On The Air." PM, October 17, 1961, p. 23. Positive review of the Scherzo movement of Symphony No. 1 performed by the Philharmonic Symphony, October 16-17, 1941, Stokowski, conductor, which the reviewer called an appealing and skillfully crafted work with syncopation, and suggested that it should be performed in conjunction with the other movements. See: W79, D31.

B589.

. "Music: Yaddo Shows How U.S. Music Grows." PM, September 15, 1940, 1940, p. 46. Review of Concertino for Marimba, (September 7-8, 1940).

performed at Yaddo Saratoga Springs

In this review of the Concertino for Marimba and Orchestra, performed at Yaddo by the New York Philharmonic Symphony, the idiomatic writing for the instrument, the long melodic lines in the slow movement and rhythmic contrasts of the third movement, and soloist Ruth Stuber's playing made the performance a success, though the reviewer thought it also had poor moments. See: W47, D6. B590. Simon, Richard. "Orchestra Performs Well." Sacramento Union, October 24, 1966, p. 6. Review of Dance Overture, performed by Sacramento Symphony, conducted by Harry Newstone (10/22/66). Simon perceived the performance of Dance Overture by the Sacramento Symphony to be a novelty that combined the four dance forms of four countries. He observed that Creston used the exotic or unusual in a more conceptual way than Rimsky-Korsakov or Albeniz. Despite the labelling as "an impressionistic postcard," with some harmonic interest and lively scoring, he found it to lack creativity."

Bibliography 165 B591. Simon, Robert A. "Musical Events." New Yorker, October 25, 1941, pp. 77-78. Review of October 16-17, 1941 performance of Scherzo from Symphony No. 1 by Paul Creston by Philharmonic Symphony under Stokowski. Simon found this performance of the "Scherzo" from the Symphoy No. 1 by the Philharmonic Symphony to be lively and inventive, in addition to having lyrical melodies, and expressed regret that the whole work wasn't performed. See: W79, D31. B592.

72.

. "Musical Events: Home Talent and Visitors." New Yorker, April 3, 1943, p.

Review of performances of Choric Dance No. 2, New York Philharmonic Symphony, Efrem Kurtz, conductor, and Symphony No. 1, Philadelphia Orchestra, Ormandy, conductor (3/3/43). Favorable review of performances of two works, Choric Dance No. 2 and the Symphony No. 1. Both works were thought to be straightforward and sincere works that make their point without display or abstract design. Though the reviewer says that though they were not important, they were enjoyable. See: W79, W88, D31.D35. B593.

. "Musical Events: Mostly Native Music." New Yorker, May 15, 1943, pp. 70-71. Review of premiere of Chant of 1942 by Orchestrette Classique, Frederique Petrides, conductor (5/3 and 4/43). Brief review of the Chant of 1942 which speaks of the work simply as succinct and skillfully written. See: W44, D4.

B594. "Six Preludes for Piano, Op. 38. " Musical Courier 142 (November 1, 1950): 29. Review of published score of Six Preludes. In this review of the published score of Six Preludes, the reviewer observes that they were composed as examples of the composer's rhythmic structures, each of which postulates a particular problem. The writing was thought to be artful within a framework of French Impressionism. See: W121. B595. Sloper, L.A. "Lily Pons Symphony Soloist With Kostelanetz to Conduct." Boston Christian Science Monitor, March 25, 1944, p. 4. Review of performance of Frontiers by the Boston Symphony, Kostelanetz, conductor, March 24, 1944. Sloper observed in Frontiers the composer's intent to musically depict the westward movement of the American pioneers within a traditional form and style and felt that the piece imparted both ambience as well as mood. See: W61. B596. Smith, Cecil. "Ganz Conducts Eight Novelties By Americans." Chicago May 26, 1942, p. 17.

Tribune,

Review of performance of Pastorale and Tarantella by Rudolph Ganz and the Illinois WPA Symphony (May 25, 1942).

166 Paul Creston Unfavorable review of a performance of Pastorale and Tarantella which Smith felt borrowed ideas from Dukas and Ravel. See: W69. B597. Smith, Miles A. "Composer Hails Phoenix Work." The Phoenix Gazette, March 27, 1964, p. 16. Composer Paul Creston spoke about the upcoming premiere of Corinthians XIII by the Phoenix Symphony, Guy Taylor, conductor, and included program notes about the piece. See: W53, D8. B598. Smith, Warren Storey. "Monday Symphony." Boston Post, January 25, 1944, p. 4. Smith found this performance of the Pastorale and Tarantella by the Boston Symphony Orchestra, Golschmann, conductor, to have more impact than the piece. Though he felt it was pleasant and lyrical, he felt it was reminiscent of Delius. See: W69. B599. Smith, Warren Storey. "Music in Review: Symphony Concert." Boston Daily Globe, April 11, 1953, p. 12. This reviewer of the Second Symphony, performed by the Boston Symphony Orchestra, Pierre Monteux conductor (4/10/53), focused on the formal concept of the work into song and dance. Smith, though, mentioned the melodic aspects, as well as the rhythmic aspects of the dance and the lush orchestration. See: W80, D32,D33. B600. Smith, Wilford Davis. "Stylistic Treatment of Gregorian Melody in Selected Works of Seventeen Composers." Ph.D. George Peabody College for Teachers, 1955, 2 Vols., 606 p. Study deals with the use of Gregorian melodies by selected Romantic and modern composers with the purpose of determining the composer's treatment of melody on the basis of rhythm, melody, harmony, form and color, the types of melodies preferred by composers, the modes most often used, and also the presence or absence of extra-musical implications. B601. Sorensen, Dag Winding. "A Great American Evening In the Aula." Aftenposten, (Oslo), September 20, 1956, p. 7. Sorensen, in describing this performance of Dance Overture, Alfredo Antonini, conductor, as an opener or an exchange concert given by the Philharmonic Society Orchestra, expressed the opinion that it prepared the way for a "primitive type of rhythm festival" within a traditional form. See: W54, D9. B602. Southgate, Harvey. "Sopkin, M'Ferrin Share Plaudits at Eastman." Democrat and Chronicle (Rochester, NY), December 13, 1957, p. 21. Southgate found this performance of Dance Overture by the Rochester Philharmonic to be a garish but agreeable work. See: W54, D9. B603. "Soviets Acclaim Boston Symphony." New York Times, September 22, 1956, p. 40:5. In this review of a concert by the Boston Symphony Orchestra in Moscow, Charles Munch, conductor, a Moscow critic remarked that Creston's Second Symphony had much beautiful music. See: W80, D32, D33.

Bibliography 167 B604. Spiller, Virginia. "Internationally Known Composer Paul Creston Is Dead at 78." San Diego Union, August 25, 1985. Obituary of Paul Creston which contained some quotations of the composer concerning his music. B605. "Stadium Opening Lists Creston 'Dance' Premiere." New York Post, June 1, 1961, p. 53. Article that announced the upcoming world premiere of Creston's Dance Variations, Roberta Peters, soloist, and which gave a brief description of the piece. See: W18. B606. Stamm, Milton. "Greenburgh Composer Tells Views: Music Super Tongue to Creston." Standard Star (New Rochelle, NY), January 5, 1959, p. 17. Article which presents Creston's views on the language of music. B607. Stamm, Milton. "Music Is Super Tongue When Words Fail: Greenburgh Composer Creston Says." Herald Statesman (Yonkers, NY), January 3, 1959, p. 13. Biographical article about Creston; also includes his views on the function of language in music. B608. "Steinberg Substitutes for Rodzinski." Musical Courier 136 (February 20, 1944): 22. The premiere of the Concerto for Saxophone, performed by the New York Philharmonic Symphony, Vincent Abato, soloist, was described by the reviewer as an intelligent work, that had a clear-cut form and innovative writing. In addition, the soloist, Vincent Abato, was complimented for his accomplished playing. Both these factors invoked a gracious response by the audience. See: W50,W51,D7. B609. Steinfirst, Donald. "Creston's Works Delight Music Hall." Pittsburgh-Post May 22, 1960, Sec. 2, p. 8.

Gazette,

Favorable review of three works played at the Composer's Forum in Pittsburgh, the String Quartet, Op.8, the Suite for Alto Saxophone and the Suite for Flute, Viola, and Piano, performed by the Musical Arts Quartet. Steinfirst commented on the composer's melodic gifts which pervaded all three works. He concluded: "Creston's singular quality of musical articulation, belief in the sacredness of melody and craftsmanlike writing were immediately available to the audience." See: W123, W124, W126, D22, D27. B610. Stiles, Richard. "L.A. Chamber Orchestra Opens 9-Concert Series at Ambassador." (Los Angeles) Star News, October 5, 1981, p. B-5. Very positive review of the world premiere of Sadhana by the Los Angeles Chamber Orchestra, conducted by Schwartz. Stiles expressed favorable sentiments about the work, calling it a "melodic miniature masterpiece." He found it to be like works of the English post-impressionists, Vaughan Williams and Delius. Though he expressed doubt the work met the Tagore doctrine of the subtitle, The Realization of Life, he felt it met the conductor's view of beautiful music. Finally, he expressed the opinion that this work belonged in the category of the younger Bach and Beethoven. See: W75. B611. Stine, Betty. "Claudio Arrau, Chilean Pianist Is Philadelphia Orchestra Soloist." Evening Bulletin (Philadelphia) March 13, 1943, p.4.

168 Paul Creston Scathing review of the Symphony No. 1 performed by the Philadelphia Orchestra conducted by Ormandy. The reviewer felt uncomfortable with the opening harsh brass, and stated that there was little ingenuity with respect to rhythm, but simply dissonances continually passed on until the last movement. Stine perceived the lyric theme in the third movement as out of place, and consequently found little originality in the work. See: W79, D31. B612. Stine, Elizabeth Emerson. "Orchestra Gives Creston Work First Academy Performance." Philadelphia Bulletin, February 22, 1947, Section B, p. 9. A complimentary review of the Second Symphony, performed by the Philharmonic Orchestra, Ormandy conducting. Stine perceived this work to be much more creative, as well as more forthright than his earlier works. She mentioned the use of the song and dance formal structure and observed that the work not only was poetic but had a sense of beauty and emotional appeal. Finally, she discerned that Creston used a more linear style of writing which was appealing. See: W80, D32, D33. B613.

. "Pons and Kostelanetz Stars of Second Pension Concert." (Inquirer) Philadelphia Bulletin, January 12, 1944, p. 8. In the second concert of the Pension Foundation of the Philadelphia Orchestra, Eugene Ormandy, conductor, the reviewer thought Frontiers to be a brilliant work with atmosphere and copious musical ideas. Kostelanetz was complimented for his interpretation and the reviewer expressed hope that it would become standard repertoire. See: W61.

B614. Stockholm, Gail. "Christmas Concert Puzzling Mixture." Cincinnati December 21, 1974, p. 32.

Enquirer,

In reviewing the Concerto for Accordion, performed by the Carmen Carrozza and the Cincinnati Symphony with Thomas Schippers conductor, Stockholm found that Creston used the accordion resourcefully in a finely crafted composition. She complimented the soloist though she felt the accordion lacked the ability for dynamic subtleties. See: W48. B615. Stockinger, Jacob. "Welcome Sights and Sounds." The Capital Times, September 11, 1980, p.8. (Wisconsin). In reviewing the Wisconsin premiere of the Trio, Op. 112 performed by the Mirecourt Trio, Stockinger noted the lyricism and energy as well as the modernity of the work and expressed hope for more performances. See: W133, D3. B616. Strad 61 (October, 1980): 210. In this adverse review of the published music to the Suite for Violin and Piano, the reviewer observed the composer's predilection for using many notes. Though the slow movement was perceived as beautiful, the reviewer felt that the chromatically descending harmonies were tedious. See: W129, D30. B617. Straus, Noel. "Steinberg Leads The Philharmonic." New York Times, January 28, 1944, Section L, p. 15. In this review of premiere performance of the Saxophone Concerto by the New York Philharmonic Symphony, Strauss observed a work that was derivative of other composers, utilizing various styles. The performer, Abato, and conductor, Steinberg, were complimented. See: W50, W51, D7.

Bibliography 169 B618. Strongin, Theodore. "Ehrling Conducts Carnegie Concert." New York November 3, 1967, Section L. p. 54.

Times,

Unfavorable review of the Chthonic Ode, performed by the Detroit Symphony, in which Strongin noted that the composer's unique use of harmonies gave the impression of "sounding chatty," and concluded that though the scoring was ingenious, that it lacked substance. See: W46. B619. "Suite for Saxophone." Fanfare, September/October, 1983, p. 171. Favorable review of the Crystal S-154 recording of the Suite for Saxophone which pointed out that the instrument's capability for lyricism and rhythmic movement was conducive to making the work a success and contributed to the saxophone literature. See: W126, D27. B620. "Suite for Violin and Piano, Op. 18." Violins (December, 1950): 366-7. Review of the published score to the Suite for Violin and Piano. The reviewer noted that despite constantly resolving harmonies, the work left an agreeable impression. The technical skills required of both instruments were also noted. See: W129, D30. B621. Swenson, Anton. "Application of Selected Analytical Techniques to Twentieth Century Works For Solo Clarinet and Their Implications For Interpretation and Performance." Ed.D. Columbia University 1969, p. 273. Included discussion of works by Bernstein, Creston, Martino, and Rochberg and analytical writings by Cone, Cooper, Forte, Meyer, Perle, Rochberg, and Smither. B622. "Symphony Program A Rare Treat." Tacoma News Tribune, March 23, 1972, B-7. This review of Symphony No. 3 performed by the Seattle Symphony Orchestra, Milton Katims, conductor, noted that the work described the composer's reflections on the three religious events in Christ's life, the Nativity, Crucifixion, and the Resurrection, and remarked on the audience's approval. See: W81, D32, D33. B623. Taubman, Howard. "Concert: From the Capital: The National Symphony at Carnegie Hall." New York Times, April 9, 1956, p. 23. In reviewing the Symphony No. 5 performed by the National Symphony, Howard Mitchell, conductor, Taubman observed the composer's use of three motives derived from the opening of the work, and their manipulation and development with competence and insistence. See: W83. B624.

. "Concert Offered By Orchestrette: Concertino for Marimba and Orchestra Featured At The Carnegie Chamber Hall." New York Times, April 30, 1940, Section L, p. 24. The reviewer of the premiere of the Concertino for Marimba noted that though the marimba had limitations, Creston wrote idiomatically for it, with the soloist, Ruth Stuber, having opportunities to exhibit technical prowess. Moreover, Mr. Creston's ingenuity, and melodic and rhythmic skills were noted. See: W47, D6.

170 Paul Creston B625.

19.

. "Music: Cantelli Is Guest Conductor." New York Times, March 16, 1956, p.

The use of folk dance derivations from Spain, England, France and the United States was observed in this review of Dance Overture which contributed to a readily listenable work. See: W54, D9. B626.

. "Scholz Conducts Y.M.H.A. Program." New York Times, January 19, 1954, 31:4. The reviewer noted the eighteenth century style of the Partita, in concerto grosso style, though in a modern context. The work was perceived to be one of quality, with two lyric sections contrasted by more spirited and effectively scored movements. See: W108, D20.

B627.

16.

. "Suite By Creston Played In Capital." New York Times, October 21, 1956, p.

In this review of the premiere of the Suite for Cello and Piano, performed at the Coolidge Festival at the Library of Congress by Raya Garbousova and the composer, the work was singled out among the rest. It was observed that Mr. Creston wrote in a traditional manner, much in the style of the eighteenth century Italians. However, the composer's personal touches were mentioned, such as the lyricism of the first and the third movement, and the contrasting rhythmic elements of the second and fourth. The performers were complimented also. See: W130. B628.

20.

. "3 Choir Festival Honors Toscanini." New York Times, March 29, 1947, p.

Review of the annual Three Choir Festival at Temple Emanu-El to celebrate Toscanini's birthday in which "Homage to an Apostle of Beauty" for the viola and organ was performed by Sandor Toch and the composer. The work was called a "long berated adagio," and was noted for its earnestness and simplicity. B629. Taylor, Sam. "Creston Feted As Composer Of Year." New Era (Lancaster, PA) April 20, 19701, p. 34. Taylor commented that Dance Overture, performed by the Lancaster Symphony, was a composition of sum and substance and was not pretentious but sincere in approach. He also commented on the composer's use of derivative folk dance material. See: W54, D9. B630. Thayer, Shirley. "World Renowned Composer Dies." (Rancho Bernardo) Times Advocate, August 26, 1985, B2. Obituary of Paul Creston, which included his thoughts on the enduring quality of his work. B631. Thibodeau, Ralph. "Creston's Music Shows Both Melody and Form." Corpus Christi Times, March 1, 1969. In reviewing the Festival of Contemporary Music at Del Mar College, Thibodeau highlighted some characteristics present in Creston's music that were performed, "The Song of Joy," P're-Classic Suite, and the Concertino for Marimba. He observed that though Creston is a contemporary composer, he is

Bibliography 171 also concerned with musical coherence and the interactions of melody, rhythm, harmony, counterpoint and form. See: W47, W72, D6. B632. Thompson, Geary Scott. "The Transcription of Paul Creston's Rhythmicon For Guitar." M.A. Thesis - Central Washington State College, 1972. Compared the idiomatic differences and technical capabilities of the piano and guitar; transcribed Paul Creston's Rhythmicon for guitar. See: W l 17, D23. B633. "Thompson, Maurice. "Creston Should Be Proud Of Work And Performance." Jackson Daily News, November 21, 1969, p. C-6. Brief review of the Missa Cum Jubilo performed by the Bellhaven College Concert Choir which mentioned the proliferation of dissonance throughout the piece, but Thompson noted that it was a challenging choral work. See: W39. B634. Thompson, Oscar. "Kurtz Contrasts Two Symphonies." New York Sun, May 4, 1943, p. 21. Oscar Thompson found that Creston's skillful use of the instruments in the Choric Dance No. 2 conveyed the cleverness and uniqueness of the work. See: W88, W89, D35. B635. Thompson, Oscar. "New Work Given By Orchestrette." New York Sun, May 4, 1943, p. 21. Though Thompson noted the technical accomplishments of the Chant of 1942, premiered by the Orchestrette Classique, F. Petrides, conductor, he perceived it as not one of Creston's better works. He found the use of several ground basses to be a structural rather than expressive device, and a suggestion of other composers music. He also mentioned the moods of the two sections, the first, tragic, and the second, hopeful of the war year, though the work was not programmatic. See: W44, D4. B636. Thompson, Oscar. "New Works Played: Smallens Leads American Works." New York Sun, July 14, 1942 p. 9. Thompson found the Philharmonic Symphony's performance of Pastorale and Tarantella to be an attractive work, though he noted that the Pastorale section had suggestions of Ravel and the Tarantella had hints of Debussy and Puccini. He also observed that the sections were rather repetitious which detracted from the pleasantness of the work. See: W69 B637. Thompson, Oscar. "Stadium Concert Led by Goossens." New York Sun, July 2, 1941, p. 13. Hot and cold review of Threnody. Though Thompson felt that this performance by the New York Philharmonic Symphony complied with its title and the composer used fine scoring, he expressed the opinion that many works of this title existed. See: W86. B638. Thompson, Oscar. "Steinberg Leads: Abato Is Soloist." New York Sun, January 28, 1944, p. 25. Hot and cold review of the premiere of the Concerto for Saxophone, performed by the New York Philharmonic Symphony. Though the soloist, Vincent Abato,

172 Paul Creston was commended for first rate playing, Thompson felt that the technical passages were not distinctive, the thematic material was trite, and the scoring thick. See: W50,W51,D7. B639. Thompson, Oscar. "Stokowski Leads In Dual Capacity." New York Sun, October 17, 1941, p. 21. In this brief review of the Scherzo from Symphony No. 1, performed by the New York Philharmonic Symphony, Thompson noted that the work was written in a classical, Mendelssohnian tradition and was well performed. See: W79, D31. B640. Thompson, Virgil "Music." New York Herald Tribune, November 2, 1942, p. 10. Favorable review of a concert given at Studio 8-H, Radio City by the NBC Symphony Orchestra, Toscanini, conductor, where Choric Dance No. 2 was performed. Virgil Thompson perceived it to have ambience and distinctiveness. He observed that Mr. Creston used stimulating material which he developed inventively, used interesting rhythms and rich orchestration. See: W88, W89, D35. B641. Thompson, Virgil. "Music: Little Orchestra Society." New York Herald October 20, 1953, p. 21.

Tribune,

Thompson found the Second Symphony performed by the Little Orchestra Society, Thomas Scherman, conductor, a serious work that was well scored. Specifically, he observed the use of ostinato figures which he found self-indulgent. All in all, he expressed the opinion that the work was easy-to-listen to, melodious, and richly scored. See: W80, D32, D33. B642. Thompson, Virgil. "Music." New York Herald Tribune, February 27, 1947, p. 19. Hot and cold review of Second Symphony, performed by the Philadelphia Symphony, Eugene Ormandy, conductor. Though Thompson perceived it to be a competent and mature work, he found it to be traditional in feeling and have rather dark orchestration, and not very original. See: W80, D32, D33. B643. Thorpe, Day. "New Yorkers To Hear Symphony At Its Best." Evening (Washington, D.C), April 5, 1956, Sec. B, p. 10.

Star

Mixed review of Symphony No. 5, performed by the National Symphony, Howard Mitchell, conductor. While Thorpe found the work to be well written and orchestrated, he also observed that as a whole the dynamic levels were high and striving for more, and the piece lacked restraint. Generally, he concluded that it was an agreeable piece that was popular in style. See: W83. B644.

. "3-Race Ensemble In Concert Debut." New York Times, May 7, 1965, p. 35. Unfavorable review of Symphony No. 4, performed by the Symphony of the New World, Steinberg, conductor. The work was thought to be passe. The reviewer compared it to the way a composer might score Broadway tunes symphonically, but nevertheless the reviewer acknowledged that the audience liked the work. See: W82.

B645. Tircuit, Heuwell. "Triumphant Evolution of the San Francisco Ballet." San Francisco Chronicle, April 2, 1977, p. 34. Unfavorable review of the ballet Metamorphoses,

by Tom Ruud and music by

Bibliography 173 Creston, performed by the San Francisco Ballet. Tircuit gave a programmatic description of the work. His impression was that the individual sections were too predictable and overall felt it was too simplistic. See: W104, W134, D18. B646. Tortolano, William. "The Mass and the Twentieth Century Composer." D.S.M. University of Montreal, 1964, 269 p. Studied contemporary compositional techniques of significant Masses against a background of liturgical legislation to determine significant trends, techniques, interesting rhythmic devices, melodies and unusual harmonic progressions. B647. Tortolano, William. "Melody in 20th-century Masses." Diapason 60 (April, 1969): 18-19. Discussed melody in 20th century Mass settings and included discussion of Creston's Mass, which utilized two Gregorian melodies, the Adoro Te and Jesu Dulcis Memoria. B648. Troostwyk, Arthur. "Music Clubs Gather in Miami for 28th Biennial Convention." Musical America 75 (May, 1955): 3. Discussion which took place at the National Federation of Music Clubs' 25th biennial convention. Creston spoke about the American composer, and of the little regard the public had for the amount of time and effort composers spent on their work. See: W29. B649. Tyron, Winthrop P. "Paul Creston Work Played By Symphony." Christian Science Monitor (Boston), January 25, 1944, p. 5. Though this performance of Pastorale and Tarantella by the Boston Symphony Orchestra was new to Boston, Tyron found it to be not newer than Rimsky-Korsakov or Debussy. However, he found the rhythms to be inventive and the piece to be pleasing. See: W69. B650. Tyron, Winthorp P. "Symphony Premiere: Novelties From Kostelanetz; Lily Pons in Three Numbers." Christian Science Monitor (Boston), March 23, 1944, p. 5. Tyron perceived a deeper significance to this performance of Frontiers by the Boston Symphony Orchestra. Not only does it tell the story of the westward trek of the pioneers, but it ponders on the meaning of distance, and of the dreams of people moving into new areas. See: W61. B651. Tuck, Lon. "Four Works at Organist's Guilds Concert." The Washington Post, June 29, 1982, B3. Hot and cold review of the premiere of Symphony No. 6 performed at the Kennedy Center Convention Hall, James Moeser, soloist. Though the symphony was well received by the audience, Tuck perceived it to be a well composed and gracious work that had nothing to say. See: W84. B652. Tull, Fisher A. "Paul Creston." Instrumentalist 26 (October, 1971): 42-44. Paul Creston was guest composer-lecturer at the tenth Annual Contemporary Festival at Sam Houston State University, Huntsville, Texas, March 11-13, 1971. Fisher Tull taped an interview with Creston which included remarks about his life as a composer, his band composition, compositions for the neglected instruments, the relationship between the composer and the performer and the

174 Paul Creston status of the composer in America. B653. Turok, R. "The Journal Reviews" Music Journal 34 (April, 1976): 32. Favorable review of Principles of Rhythm by Creston. Turok espoused that it was the best introduction to rhythm he had seen. He felt that there were abundant musical examples, charts and exercises. Some of the examples were criticized for their lack of their completeness, but the usefulness of the book was evident. B654. W.B. "Peters-Merrill Concert Hailed as Turning Point." Reporter Dispatch (White Plains, NY), December 11, 1961. In this favorable review, performed by the Westchester Orchestral Society, Dance Variations was perceived as a pleasurable work and the soloist Roberta Peters for making the piece sound like the effective work that it was. The reviewer expressed hope that it would be recorded. See: W18. B655. Waldgren, Carol. "Paul Creston: Solo Piano Music." The American Music Teacher, April/May, 1975, p. 6-9. Article discusses Paul Creston's piano music composed through 1975, and includes a selected bibliography and list of published piano music. B656. Waldgren, Carol L. "A Study of the Solo Piano Works of Paul Creston." M.A., Eastern Illinois University, 1967, 98 p. Analysis of the published piano music of Paul Creston. B657. Wallace, Dean. "Erica Morini In Brahms Concerto." The San Francisco April 7, 1961, p.32.

Chronicle,

In this review, Wallace compared Janus to Dance Overture and the Second Symphony and concluded that it had a greater effect. He observed that the two sections utilize a single theme for development, which he said, Creston handles like a genius. See: W54, W65, W80, D9, D32, D33 B658. Warner, A.J. "Atlanta Conductor, Soloist Impress." Rochester December 13, 1957.

Times-Union,

In this review of Dance Overture performed by the Rochester Philharmonic, Henry Sopkin, conductor, Warner pointed out Creston's use of four folk dance rhythms and remarked that this piece displayed the hand of a skillful composer. See: W54, D9. B659. Weber, Rev. Jerome F. "Utica Symphony Warmly Received By Oneidans." Oneida Daily Dispatch, December 6, 1965, p. 7. In this performance of Symphony No. 3 by the Utica Symphony, the reviewer noticed the programmatic nature of the work and the composer's use of Gregorian chant themes to suggest the three major events in Christ's life, the Nativity, the Crucifixion and the Resurrection. See: W81, D32, D33. B660. Welch, James. "American Music For Organ and Orchestra." Diapason (September, 1982): 15.

73

Although James Welch acknowledged the generous audience reception of the premiere of the Symphony No. 6 by the National Symphony, James Moeser, soloist, he felt it was a stereotyped series of seventh chords suggesting the

Bibliography 175 Impressionist composers. However, he acknowledged the soloist James Moeser for using the organ to best advantage. See: W84. B661. Werle, Frederick. "General Reviews: Orchestral Scores." Musical Courier 157 (January 1, 1958): 37-38. Review of the published scores to Symphony No. 3 and Dance Overture. Werle comments generally on the first work, calling it a powerful, yet honest work with inventive scoring, and utilizing Gregorian chant themes throughout. He expresses the opinion that it merits a high place in the symphonic repertoire. Of the latter work, he comments on the composer's use of one theme for each of the four sections based on a folk dance from each country which is transformed or developed. See: W54, W81, D9, D32, D33. B662. Werle, Frederick. "Publishers' Mart." Musical Courier 154 (October, 1956): 30. Favorable review of the published music to Five Dances and Sonata, Op. 9. Werle perceived it to be a strong and difficult work that is an important addition to contemporary piano literature. He also observed that Five Dances contained some striking rhythmic devices and novel chord structures. See: W99, Wl 10. B663.

46.

. "Publishers' Mart: Organ Compositions." Musical Courier 161 (May 1960):

This review of the published music to the Suite, Op. 70 and the Fantasia, Op. 74 found both to be excellent pieces that contributed to the literature. See: W98, W125. B664. White, Chappell. "Artistic Success: Symphony Concert Proves to be a Hit." The Alantic Journal, November 6, 1959, p. 48. Favorable review of Janus, performed by Henry Sopkin and the Atlanta Symphony. White described it as a modern, and expressed the opinion that Creston's position as an American composer is raised with each new work. See: W65. B665.

. "Creston Recognition Came Suddenly." Atlanta Journal, January 22, 1961, Sec. B, p. 3. Biographical article on Creston, written on occasion of the performance of his Violin Concerto No. 2, performed by the Atlanta Symphony, Henry Sopkin, conductor, Michael Rabin, soloist. It also includes excerpts from the composer's creed. See: W91.

B666. Whitlock, E. Clyde. "Creston and Beethoven Works Presented By Dallas Symphony." Fort Worth Star Telegram, Feburary 12, 1958, p. 9. Whitlock found this performance of Symphony No. 4 by the Dallas Symphony, Walter Hendl, conductor, to be a gratifying and stimulating work abounding with melodies and masterful orchestration. He also mentioned a predominant trait from each movement. See: W82. B667. Whitsworth, Walter. "Milstein Again Shows Artistry." Indianapolis News, December 31, 1945, p. 2, p. 6. While Whitsworth pointed out that in this performance of Frontiers by the Indianapolis Symphony, Fabian Sevitzky, conductor, one might not necessarily

176 Paul Creston perceive the force or color of the American migration to the west, nevertheless one could hear fine craftsmanship and orchestration. See: W61. B668. Widder, Rose. "The National Scene: Cleveland." Musical Courier 160 (November 15, 1957):24. In this positive review of Toccata, Op. 68 by the Cleveland Orchestra, Widder observed that the work was clever in displaying various orchestral choirs in 60 variations. See: W87. B669. Wilson, Sam. "Chapin Sonata Highlights Claudette Sorel Recital." Dispatch (Ohio), April 19, 1963, p. 29A.

Columbia

In this recital of Claudette Sorel, Wilson observed that the Narrative No. 2 was an interesting work and the playing displayed technical prowess. See: W131. B670.

. "On The Radio." Columbia Dispatch, November 21, 1963, p. 30, Section A. Brief review of Janus, performed in a radio concert by the Columbus Symphony. The work was thought to be engaging and brought the concert to a rhythmically exciting close. See: W65.

B671.

. (On the Radio - column) "Concert of Creston Music Presented by WMC Members." Columbus Dispatch, November 25, 1963, p. 25A. The review of a concert was presented by the Women's Club of Columbus, Ohio, and honored Creston as well as presented a sampling of his music, Four Songs to Death, Suite for Flute, Violin and Piano, A Song of Joy, and Narrative, sung by Louise McDonald, Hazel Nicklaus, Louise Yost, piano. Of the songs, the composer's writing for the piano was thought to be the most interesting feature. The Suite was not considered to be very original. See: W13, W85, W124, W131.

B672. Winick, Steven David. (DMA diss., Music: Eastman School of Music, University of Rochester, 1973) 242 p. Rhythmic difficulties in the performance repertory of the average high school instruments are analyzed, classified, and catalogued according to rhythmic structures, rhythmic patterns, and other rhythmic elements described by Paul Creston in his Principles of Rhythm (New York: Franco Colombo, 1964). Using the identified rhythmic difficulties as a basis, a set of criteria is established for the evaluation of the content, explanation, and presentation of material in methods of rhythmic instruction, and eight selected methods are evaluated using these criteria. Deficiencies found in the methods are discussed, and recommendations are made concerning the characteristics and qualities of instructional material which should be included in future rhythm methods. (Author) B673. Wolffers, Jules. "Worcester's Festival Shows Notable Gains." Musical Courier 142 (November 15, 1950): 6. Wolffers felt that this performance of Symphony No. 3 at the Worcester Music Festival by the Philadelphia Orchestra, Ormandy, conductor, was programmatic in an emotional sense. Overall, the work was considered to be powerful and sincere, and readily accessible to the audience. See: W81, D32, D33. B674. Wolter, Richard Arthur. "A Description and Analysis of Selected Music Written for

Bibliography 177 B674. Wolter, Richard Arthur. "A Description and Analysis of Selected Music Written for the Concert Band Performable by American High School Bands." M.A., Washington University, 1959. 130 pp. Composers discussed included: Samuel Barber, Robert Russell Bennett, Henry Cowell, Paul Creston, Frank Erickson, Howard Hanson, Roy Harris, Gerald Kechley, Dai-Keong Lee, William Schuman, and Clifton Williams. B675. "The World of Music." (Waterbury, Connecticut) Democrat, June 19, 1943. Clipping that announced that Paul Creston's Symphony No. 1 was chosen by the New York Music Critics Circle as the best work by an American composer heard in New York during the 1942-43 season. See: W79. B676. Young, Allen. "Talents of Symphony Wasted On Performing Bruckner Work." Denver Post, November 30, 1955, p. 48. In this positive review of the Partita by the Denver Symphony, Young felt it was a representative example of his well constructed works. He noted the jazzy syncopation present in each of the five movements, and the instrumentation which he referred to as having "a neo-classic ring." The performers were complimented for executing difficult writing. See: W108, D20.

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Appendix I: Alphabetical Listing of Compositions A Adoro Te Devote from Two Motets, Op. 45, W37 Afternoon in Montreal from Airborne Suite, W43 Airborne Suite, W43 Anatolia, Op. 93, Wl Assurances from Three Poems from Walt Whitman, Op. 4, W132 Ave Maria, Op. 57, W10

B Bastogne (Incidental Music), W137 Battle of Cassino (Incidental Music), W138 Bird of the Wilderness, Op. 2, Wl 1 Black and Tan America, Op. 51, W24

c Calamus, Op. 104, W25 Celebration Overture, Op. 61, W2 Celestial Vision, Op. 60, W38 Ceremonial, Op. 103, W93 Chant of 1942, Op. 33, W44 Choreographic Suite, Op. 86A, W94 Choreographic Suite, Op. 86B, W45 Chthonic Ode, Op. 90, W46 Concertino for Piano and Woodwind Quintet, Op. 99, W95 Concerto for Accordion, Op. 75, W48

Concerto for Piano and Orchestra, Op. 43, W49 Concerto for Saxophone and Orchestra, Op. 26, W50 Concerto for Two Pianos and Orchestra, Op. 50, W52 Concerto for Violin, No. 1, Op. 65, W90 Concerto for Violin, No. 2, Op. 78, W91 Corinthians XIII, Op. 82, W53

D Dance Overture, Op. 62, W54 Dance Variations, Op. 30, W18 Dawn Mood (Withdrawn), Op. 36, W55 Doolittle Raid (Incidental Music), W139

E Embryo Suite, W96 Evening in Texas, from Airborne Suite, W43

F Fanfare for Brass, W97 Fanfare for Paratroopers, W151 Fanfare 76, Op. 106, W57 Fantasy for Accordion and Orchestra, Op. 85,W58 Fantasy for Organ, Op. 74, W98 Fantasy for Piano and Orchestra, Op. 32, W59

180 Paul Creston Fantasy for Trombone and Orchestra, Op. 42, W60 Five Dances for Piano, Op. 1, W99 Five Little Dances, Op. 24, W100 Five Two Part Inventions, Op. 14, W101 Fountain Song from Three Songs, Op. 46, W16 Four Songs to Death (Thanatopses), Op. 7, W14 Frontiers, Op. 34, W61 Frozen War (Incidental Music), W140

G Gregorian Chant, W62

H Here is Thy Footstool, from Three Chorales from Tagore, Op. 11, W41 Homage, Op. 41, W102 Hyas Illahee (Great Land), Op. 98, W20

I I Believe, from Leaves of Grass, Op. 100, W27 Images in Flight, see Airborne Suite, W43 In The American Grain (Incidental Music), W141 Interlude, Op. 114,W103 Introit, Op. 87, W63 Invasion of Sicily (Incidential Music), W142 Invocation and Dance, Op. 58, W64 Iron Flowers (Withdrawn), W143 Isaiah's Prophecy, Op. 80, W21

J Janus, Op. 77, W65 Jubilee, Op. 102, W4

K Kalevala, Op. 95, W5 Kangaroo Kaper, W152

L Lamb to the Lamb, Op. 47, W26 Leaves of Grass, Op. 100, W27 Legend, Op. 31, W6 LaLettre,Op. 59,W12 Liberty Song, Op. 107, W7 Lilium Regis, Op. 73, W28

Lullaby from Three Songs, Op. 46, W16 Lydian Ode, Op. 67, W66 Lydian Song, Op. 55, W104

M

The Marine (Incidental Music), W144 Metamorphoses, Op. 84, W105 Metamorphoses (Ballet) (1977), W134 Missa Adoro Te, Op. 54, W29 Missa Cum Jubilo, Op. 97, W39 Missa Pro Defunctis, Op. 15, W30 Missa Solemnis, Op. 44, W31 The Most Jubilant Song, from Leaves of Grass, Op. 100, W27 Mussolini (Incidental Music), W145

N Night in Mexico, from Airborne Suite, W67 Nocturne, Op. 83, W32 None Lives Forever, Op. 92, W33 Now Thank We All Our God, Op. 88, W34

o O Come, Let Us Sing, Op. 119, W35 Offertory, Op. 113,W106 Olympia, Op. 94, W107 One's Self I Sing from Leaves of Grass, Op. 100, W27 Out of the Cradle, Op. 5, W68 P Palermo in the Moonlight (1964), W153 Partita for Flute, Violin and Strings, Op. 12,W108 Pastorale and Tarantella, Op. 28, W69 Pavane Variations, Op. 89A, W109 Pavane Variations, Op. 89B, W70 Piano Sonata, Op. 9, Wl 10 Poem for Harp and Orchestra, Op. 39, W71 Praise the Lord, Op. 72, W40 Pre-Classic Suite, Op. 71, W72 Prelude and Dance, Op. 25, W73 Prelude and Dance, Op. 76, W8 Prelude and Dance for Accordion, Op. 69, Will Prelude and Dance for Piano, Op. 29, no. 1,W112 Prelude and Dance for Two Pianos, Op. 120,W113 Prodigal, Op. 115,W36

Appendix I: Alphabetical Listing of Compositions Psalm XXIII, Op. 37, W22 The Psalmist, Op. 91, W23

R Rapsodie, Op. 108A,W115 Rapsodie, Op. 108B,W116 Rapsodia Breve, Op. 81, W l 14 Reconciliation, from Three Poems from Walt Whitman, Op. 4, W132 Revolt in Hungary (Incidental Music) (ca 1960), W146 Rhythmcon (1977), W117 Riot in East Berlin (1960), W147 Romanza, Op. 110, W118 Rumba-Tarantella (1964), W l 19 A Rumor, Op. 27, W74 Russo-Finnish War (Incidental Music) (1969), W148

S Sadhana, Op. 117.W75 Salve Regina, from Two Motets, Op. 45, W37 Serenade, from Three Songs, Op. 46, W16 Seven Theses, Op. 3, W120 Six Preludes for Piano, Op. 38, W121 Smile, O Voluptuous Earth from Leaves of Grass, Op. 100, W27 Sonata for Piano, see Piano Sonata, Op. 9, WHO Sonata for Saxophone and Piano, Op. 19, W122 Song of Joys, Op. 63, W13 Song of Joys, from Three Poems from Walt Whitman, Op. 4, W132 Song of Sicily (1964), W154 Square Dance-76, Op. 105, W76 Strangle Air Power (Incidental Music) (1960), W149 String Quartet, Op. 8, W123 Suicide Run to Murmansk (Incidental Music) (1959), W150 Suite, Op. 109, W77 Suite for Flute, Viola and Piano, Op. 56, W124 Suite for Organ, Op. 70, W125 Suite for Saxophone and Piano, Op. 6, W126 Suite for Saxophone Quartet, Op. I l l , W127

181

Suite for Viola and Piano, Op. 13, W128 Suite for Violin and Piano, Op. 18, W129 Suite for Violoncello and Piano, Op. 66, W130 Sunrise in Puerto Rico, (1966) see Airborne Suite, W78 Symphony No. 1, Op. 20, W79 Symphony No. 2, Op. 35, W80 Symphony No. 3, Op. 48, W81 Symphony No. 4, Op. 52, W82 Symphony No. 5, Op. 64, W83 Symphony No. 6, Op. 118, W84

T Tale About the Land (Withdrawn) (1940, W135 Thanatopses, Op. 7, W14 Thanatopses, Op. 101, W85 Thirteen French Canadian Folksongs, Op. 49,W15 Thou Hast Made Me Endless, see Three Chorales From Tagore, Op. I l l , W41 Three Chorales from Tagore, Op. 11, W41 Three Narratives for Piano, Op. 79, W131 Three Poems from Walt Whitman, Op. 4, W132 Three Songs (1950), Op. 46, W16 Three Sonnets (1936), Op. 10, W17 Threnody (1936), Op. 16, W86 Time Out of Mind (1967), W136 Toccata for Orchestra (1957), Op. 68, W87 Trio (1979), Op. 112,W133 Two Choric Dances (1938), Op. 17A, W88 Two Choric Dances (1938), Op. 17B, W89 Two Motets (1950) Op. 45, W37

V Violin Concerto No. 1 (1956), Op. 65, W90 Violin Concerto No. 2 (1960), Op. 78, W91

w Walt Whitman (1952), Op. 53, W92

Z Zanoni(1946), Op. 40, W9

182 Paul Creston Works Without Opus Numbers

A Airborne Suite (1966), W43

B

M Marine (Incidental Music) (1955), W144 Metamorphosis (Ballet) (1977), W134 Mussolini (Incidental Music) (1959?), W145

Bastogne (Incidental Music) (1960), W137 Battle of Cassino (Incidental Music) (1961), W138

Night in Mexico see Airborne Suite, W43

D

P

Doolittle Raid (1960), W139

E Evening in Texas (1966), W83 F Fanfare for Brass (1956), W97 Fanfare for Paratroopers (194?), W151 Frozen War (Incidental Music), (1955), WHO I Images in Flight see Airborne Suite, W43 In the American Grain (Incidental Music), W141 Invasion of Sicily (Incidental Music) (1963), W142 Iron Flowers (Withdrawn) (1933), W143

K Kangaroo Kaper (193?), W152

N

Palermo in the Moonlight (1964), W153

R Rumba-Tarantella (1964), Wl 19 Revolt in Hungary (Incidental Music) (ca 1960), W146 Riot in East Berlin (Incidental Music) (1960), W147 Russo-Finnish War (Incidental Music), (1969), W148

S Song of Sicily (1964), W154 Strangle Air Power (Incidental Music) (1960), W149 Suicide Run to Murmansk (Incidental Music), (1959), W150

T Tale About the Land (1940), W135 Time Out of Mind (1967), W136

Appendix II: Chronological Listing of Compositions Numbers following each title, e.g., WIO, refer to the "Works and Performances" section of this volume. 193?

Kangaroo Kaper, W152

1930

Lilium Regis, W28

1932

Five Dances for Piano, W99

1933

Bird of the Wilderness, Wl 1 Iron Flowers, W143 Seven Theses, W120

1934

Three Poems from Walt Whitman, W132 Out of the Cradle, W68 Three Poems from Walt Whitman, W132

1935

Four Songs to Death (Thanatopses), W14 Thanatopsis, W14

1936

Gregorian Chant, W62 Piano Sonata, WHO String Quartet, W123 Three Chorales from Tagore, W41 Three Sonnets, W17 Threnody, W86

1937

Five Two Part Inventions, W101 Partita for Flute, Violin and Strings, W108 Suite for Viola and Piano, W128

1938

Missa Pro Defunctis, W30 Two Choric Dances (Op. 17a), W88 Two Choric Dances (Op. 17b), W89

1939

Sonata for Saxophone, W122 Suite for Violin and Piano, W129

1940

Five Little Dances, W100 Symphony No. 1.W79 Tale About the Land (withdrawn), W135

1941

Concerto for Saxophone and Orchestra, W50 Pastorale and Tarantella, W69 Prelude and Dance, W73 Rumor, W74

1942

Chant of 1942, W44 Dance Variations, W18 Fantasy for Piano and Orchestra, W59 Legend, W6

184 Paul Creston 1943

Frontiers, W61

1957

1944

Dawn Mood (withdrawn), W55 Symphony No. 2, W80

1958

1945

Poem for Harp and Orchestra, W71 Psalm XXIII, W22 Six Preludes for Piano, W121

1946

Zanoni,W9

1947

Fantasy for Trombone and Orchestra, W60 Homage, W102

1949

Concerto for Piano and Orchestra, W49 Missa Solemnis, W31

1950

Lamb to the Lamb, W26 Thirteen French Canadian Folk Songs, W15 Three Songs, Wl6 Two Motets, W37

1951

Black and Tan America, W24 Concerto for Two Pianos and Orchestra, W52 Symphony No. 4, W82

1952

Lydian Song, W104 Missa Adoro Te, W29 Walt Whitman, W92

1953

Ave Maria, Op. 57, WIO Invocation and Dance, W64

1954

Celebration Overture, W2 Celestial Vision, W38 Dance Overture, W54 LaLettre,W12

1955

Frozen War (Incidental), WHO Marine (Incidental), W144 Song of Joys, Wl3 Symphony No. 5, W83

1956

Concerto for Violin, No. 1, W90 Fanfare for Brass, W97 Lydian Ode, W66 Suite for Violoncello and Piano, W130 Violin Concerto No. 1, W90

Toccata for Orchestra, W87 Prelude and Dance for Accordion, W i l l Concerto for Accordion, W48 Fantasy for Organ, W98 Praise the Lord, W40 Pre-Classic Suite, W72 Rapsodia Breve, Wl 14

1959

Janus, W65 Mussolini (Incidental), W145 Suicide Run to Murmansk, W150

1960

Bastogne, Incidental Music, W137 Concerto for Violin, No. 2, W91 Doolittle Raid (Incidental Music), W139 Revolt in Hungary (Incidental), W146 Riot in East Berlin, W147 Strangle Air Power, W149 Symphony No. 3, W81 Violin Concerto No. 2, W91

1961

Battle of Cassino, W138

1962

Isaiah's Prophecy, W21 Three Narratives for Piano, W131

1963

Corinthians XIII, W53 Invasion of Sicily, W142

1964

Fantasy for Accordion, W58 In the American Grain, W141 Metamorphoses, W105 Nocturne, W32 Palermo in the Moonlight, W153 Rumba-Tarantella, Wl 19 Song of Sicily, W154

1965

Choreographic Suite (Op. 86a), W94 Choreographic Suite (Op. 86b), W45

1966

Airborne Suite, W43 Chthonic Ode, W46 Introit, W63 Now Thank We All Our God, W34 Pavane Variations, W109

Appendix II: Chronological Listing of Compositions 1967

Anatolia, W l None Lives Forever, W33 Psalmist, W23 i mic wui ui ivnnu, vv u u

1968

Embryo Suite, W96 Kalevala, W5 Missa Cum Jubilo, W39 Olympia, W107

1969

Concertino for Piano and Woodwind, W95 Hyas Illahee, W20 Russo-Finnish War (Incidental), W148

1970 1971 1972 1975

1976

Leaves of Grass, W27 T,,K;I«^

1977

Metamorphoses (Ballet), W134 Rhythmicon, W117

1978

Romanza, W118

1979

Trio, W133

1980

Interlude, W103 Offertory, W106 Prodigal, W36

1981

Sadhana, W75

1982

0 Come, Let Us Sing, W35 Prelude and Dance for Two Pianos, Wll3

???

Fanfare for Paratroopers, W151

WIA

Thanatopsis, W85 Calamus, W25 Ceremonial, W93 Fanfare '76, W57 Liberty Song, W7 Square Dance 76, W76 Rapsodie (Op. 108a), Wl 15 Rapsodie (Op. 108b), Wl 16

185

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Index Aaron, Henry, W18g Abato, Vincent J., W50a, W50c, W50e, W50f, W50g, W51a, W122i, W122o, W122p; D25; B79, B90, B277, B347, B587,B609,B618,B639 ABC Orchestra, W55a, W71a Academy of St. Martin-in-the-Fields, D24 Academy Symphony Orchestra of Rome, D17,D36 Achilles, William, W17c Adler, Susan, W124f Adolphsen, Kristy,Wllf Afternoon in Montreal, W42; B35 Agostini, Gloria, W71a Aiello, Salvatore, W136b Airborne Suite, W43; B560; See also Afternoon in Montreal; Evening in Texas; Images In Flight; Midnight in Mexico; Sunrise in Puerto Rico Albagli, Richard, W47r Albany Symphony Orchestra, W43b Alice M. Ditson Award, p. 10 Alier, Eleanor, W123j All-American Youth Orchestra, W79b, W79c,W79d;D31 Allen, Michael, W 130s Allers, Franz, D6 Amato, Serafina, W13d American Accordionists Association, W48,W58,W96,W111

American Bandmasters Association, p. 12; W2, W3, W3a American Composers Series, D20 American Guild of Organists, W84, W98, W98a,W125g; B297American Music Festival, W1081; B275 American Society of Composers, Authors and Publishers, p. 12 American Symphony Orchestra, W53d, W53e; B40, B70, B348 American Wind Symphony Orchestra, W76 Amherst Saxophone Quartet, D28 Amherst Symphony Orchestra, W54s Amos, David, p. 13; W67d, W77a, W77b, W77c;D29;B177 Amyx, David, W32e Anatolia, Wl; DI; B366, B470 Anderson, Mark, W32c Andrews, Mitchell, W122w Antonini, Alfredo, W54m, W54n; D9; B203, B526, B601 Arapahoe Symphony, W47s; B245 Arizona Chamber Orchestra, W88e; D35 Arizona State University (Tempe) Symphony Orchestra, W471 Arnaud, Leo, W54p Arnold, Juliette, W1291, W129n Aronson, David, W93c Art of the Organ Builder (Album), D26

188 Paul Creston Asen, Simon, W18e Ashley, Robert, W130o, W130p Ask the Composer Series (Brooklyn Museum), W17b, Wl 12b, W129c Association of Women's Committees for Symphony Orchestras, W65 Atkins, Carl J., W2q Atlanta Symphony Orchestra, W54f, W65b, W82d, W91b; B236, B664, B665 Aurta, Ignatius, W122m Autori, Franco, W64h Ave Maria, WIO Bagar, Robert, B47-B49 Bailes, Peggy, W126m Bailey, Florence, W13b Baird, Genevieve, W32c Baker, Gilbert, W47x Baker's Biographical Dictionary of Musicians, B50 Baldwin Wallace College (Berea, Ohio) Contemporary Music Festival: W98c, W l 14b; B303; Symphony Orchestra: W2h, W6h, W53g; B92 Bales, Richard, W59b; B214, B273 Balokovic, Zlatko, W90 Baltimore Symphony Orchestra, W50c Banat, Gabriel, W129p Baptiste, Johnnie, W50d Barber, Tom, W122q Barbirolli, Sir John, W54t, W60b, W86f; B80, B537 Barlow, Harold, p.9; W73a, W74a, W108b Barnes, Clive, B52 Barnett, Hinda,W108f Barnett, John, W64c; B412, B490, B508 Barnett, Richard, W47f; B357 Baron, Samuel, W108n Barr, Howard, W26d, W106, W l 19a, W1251,W125o Barr, Jean, W122v Barr, Patricia, Wl 19a Barr, Stephen, W106 Barshell, Margaret, W129r Bastogne, p. 12; W137 Battle ofCassino, The, p. 12; W138 Baum, Gerald, W 122s Baum, Stanley, W 100a Beck, John, W93d Becker, Irving, W123m Beckman, Lynn, W13a Becque, Don Oscar, p.6

Beecher, A.A., W21a Belhaven College (Jackson, Miss) Concert Choir: W3 lb Bell, Bertram, W128i Benjamin, Edward B., W72; B188 Bennett, Bob L.,D13 Berfield, David, D30 Berg, Herman, W128n Berger, Melvin, W128m, W129h, W129i, W129j;B365 Bergner, Carl, W108j Berkshire Symphony, W108q Bed, Christine, W14g, W124f Biancolli, Louis, B67-B84 Biberman, Herbert J., W143a Biese, Tina, W121g Bilger, David, W122x Bilger, Dorinne, W122x Bird, Herbert, W129s, W129t; B356 Bird of the Wilderness, p.5; Wl 1; D2; B191,B512 Bitter, John, W54a; B314, B377, B523 Black and Tan America, W24 Blankenship, Adele, W l li, W12a, W13f, W14h, W15a, W16h, W17h, W22j; B191 Bleth, Christopher, W 127b Bloisdell, Frances, W108i Bloomfield, Arthur, B86 Bloomingdale, Wayne, B87 Bohm, Jerome D., B88-B90 Bolwar, Gloria, W 112k Bolvig, Doris, W 130c Books, Don, W14i, W17i, W27e Borgia, Cesare, W48b Borndaege, Elayne, W124i Boston College Glee Club, W28a Boston Pops Orchestra, W47b, W48a; B531 Boston Symphony Orchestra, W44d, W46c, W61d, W69e, W80b, W80g, W80h, W80m; B159, B189, B192, B193, B204, B205, B249, B252, B321, B352, B495, B496, B532, B595, B599, B603, B649, B650 Boudreau, Robert, W76a Boult, Sir Adrian, W89h Bowles, Paul, B95-B99 Braden,Paul,W21b Brahinsky, Henry, W108h Brennand, Charles, W123o Brevard Festival Orchestra, W541 Brewer, Richard, D10

Index 189 Bridgeport Civic Orchestra, W48b, W58b, W64n Brightman, Nicholas, W126h, W126i, W126j,W126k Brockman, Thomas Henry, W54f; B236 Brockton Orchestral Society, W80z Brodsky, Vera,W112a Brook, Paige, W 124b Brooklyn Academy of Music (New York), W64d, W79a Brooklyn Museum (New York). Ask the Composer Series. See: Ask the Composer Series (Brooklyn Museum) Brooklyn Philharmonica, W64d Brown, Stephen, W47n Brownlee, Nancy, W32e Brummett, Barbara, W16e Brummett, Bruce, W32d Brusilov, Anshel, W54y Buckley, Emerson, W45a, W66c; B561 Buebendorf, Francis, W108i Buffalo Philharmonic, W80q; B63 Burrier, James, W32b Burton, Daniel, W221, W22n, W22o Butorac, Martin, W124i Butterfield, Amanda, W32b Bylsma, Lynda, W112i Bynum, Joe, W32d Cafege, Florence, W124e Cagen, Andrea, W136b Calamus, W25 Calapai, Delia, W121c California Institute of Technology (Pasadena). Caltech Glee Club, W38b Campiglia, Louis, W44n, W44o, W75c, W123q Canarina, John, W89m, W89q; B37 Cantelli, Guido, W54c, W89k; B69, B317, B346, B380, B510, B548, B625 Caplan, Dorothy, W129m Carnegie Hall (New York), p. 8; W18b, W46b, W47d, W51c, W53d, W73b, Wl 1 lb, Wl 12e, W121e, W122a, W1221, W123k, W123m, W124c, W1281,W128m Carp, Ethel, W32d Carrozza, Carmen, W48a, W48b, W48d, W48e, W48g, Wl 1 la; B189, B614 Cassello, Theater (New York), p. 3 Caston, Saul, W48c, W65a, W108k; B263 Celebration Overture, p.l 1; W2; DI, D3; B66, B92, B124, B303, B318, B487,

B499 Celestial Vision, W38 Central Washington State College (Ellensburg), p. 12; Central Singers: W20, W20a, W22i, W22j, W27a, W27b, W27c; Chamber Band: W4b; Orchestra: W20a, W21c, W23b, W49c, W94a; Percussion Ensemble: W93a Ceremonial, W93 Cerilli, Bernard, W122h Chaifetz, Aaron, W124c Chandler, Isabel, W124e Chant of 1942, W44; D4; B48, B89, B146, B148, B167, B213, B242, B257, B260, B313, B351, B407, B463, B506, B509, B553, B635 Chapin, Diana, Wl 17b, Wl 17c Chappaqua Chamber Orchestra, W108o Chappaqua Orchestral Association, W85, W85a Chenoweth, Vida, W47h, W47i; B339 Chicago Symphony Orchestra, W54i, W69h, W80w, W81b; B94, B108, B123, B172, B173, B448, B473, B520, B544 Choral Concert, A (Album), D5 Choreographic Suite, W45, W94 Christ, Peter, D4, D29 Christensen, Lew, W105b Christianson, A. Bert, Wle, W4b, W32d Christopher Award, p. 12 Chruzcz, Bogdan, W108p Chthonic Ode, W46; B121, B243, B283, B618 Church Music Association of America, W34 Cincinnati Summer Symphonic Band, W6d Cincinnati Symphony Orchestra, W18f, W48g, W57a, W79i, W80y, W81c, W86d, W92a, W151, B55, B56, B160, B163, B293, B324, B325, B386, B387 Citation of Honor, p. 11 Claremont String Quartet, W123k; B53, B298, B475 Clarion Concerts, B474, B505 Clark-Walter, Margaret, Wl 18 Cleveland Federal Orchestra, p.7; W89a Cleveland Symphony Orchestra, W54d, W54e, W63a, W74c, W87, W87a; B54, B93, B207, B208, B224, B397, B432,B441,B668,B670

190 Paul Creston Cockerville, Lili,W136b Cohen, Sidney, W123c, W123f, W123m; Cole, Robert, W32a Coleman Chamber Music Group, W124a Collura, Carmela. See: Guttoveggio, Carmela Columbia Broadcasting Symphony, W108b Columbia Concert Orchestra, p. 9; W73a, W74a Columbia University (New York) Orchestra: W 108c Columbus Symphony Orchestra, W65g; B118 Composers Forum Laboratory, p.5; W14b, W99c, W l 10b, W120b, W123b, W123c, W123e, W123m, W124c, W126a, W128g, W129b, W130b, W132b;B535 Concert Arts Orchestra, D35 Concert of American Chamber Music, W124d Concertino for Marimba and Orchestra, p. 8; W47: D6: B72, B245, B289, B295, B305, B339, B357, B382, B447, B466, B471, B485, B519, B571, B589, B624, B631 Concertino, Op.99, W95 Concerto Ensemble, W108i Concerto for Accordion and Orchestra, W48; B51, B85, B189, B424, B531, B614 Concerto for Piano and Orchestra, W49; B71, B106, B219, B226, B342, B454, B563 Concerto for Saxophone, W51 Concerto for Saxophone and Orchestra, W50; D7; B79, B90, B277, B347, B411, B501, B586, B608, B617, B638 Concerto for Two Pianos and Orchestra, W52; B533 Concerto for Violin, No.l, W90; Bl 17, B246, B340, B439 Concerto for Violin, No.2, W91; B77, B218, B255, B258, B266, B332, B344, B353, B385, B477, B518, B665 Conference of Women's Committees for Symphony Orchestras, B530 Contemporary Music Society, W66c, W87b; B38, B82, B222, B234, B368, B379,B552,B562 Conver, Steve, W112f Coppola, Anton, W59d

Corinthians XIII, W53; D8; B36, B40, B70, B92, B130, B190, B195, B269, B294, B304, B348, B401, B402, B431, B457, B503, B539, B545, B560, B597 Corsi, Frances, W104a Cornell University (Ithaca, New York), Symphonic Band, D21 Costagliola, Patricia, W58a Covelli, John, W80z Cowan, Robert, W52a, W52b; B533 Cowell, Henry, p.5; B143-B145, B211 Cramer, Raphael, W108g Creative Harmony (unpublished book), p.10 Creeps by Night (Radio Program), p.9 Creston, Joel Anthony, p.7, 11 Creston, Louise, p.4; W53, W99; B132 Creston, Paul, pp. 1-13, W l la, W l If, W l li, W12a, W12b, W13f, W14a, W14d, W14h, W15a, W16f, W16h, W17d, W17h, W22j, W27a, W27b, W27c, W47o, W47z, W99a, W99b, W99c, W99d, W102a, W104b, Wl 10b, Wl 10c, W l 12b,Wl 12d, W l 12g,W 120a, W 120b, W121b, W122a, W122d, W122n, W122o, W122p, W124b, W124f, W126a, W126b, W126c, W126d, W126e, W128a, W128b, W128c, W128d, W128e,W128f, W128g, W128k, W129a W129b, W129k, W129q, W129t, W130a, W130b, W130j, W1301, W130n, W130o, W132a, W132b, W135b, W136, W143a; D17, D25, D27; B33, B41, B46, B58, B85, B87, B98, B120, B126, B132, B137, B143, B147, B149, B150, B152, B153,B154,B156,B157,B179, B180, B191, B199, B200, B206, B225, B228, B240, B247, B248, B261, B264, B265, B292, B300, B302, B334, B336, B366, B403, B404, B427, B435, B438, B443, B458, B483, B498, B528, B535, B540, B546, B556, B565, B572, B579-B582, B606, B607, B627, B646, B653, B656, B675; Author: B1-B27; Conductor: W l a , WId, WIf, W2a-W2p, W5a, W5c, W6e, W6i, W6j, W61, W7a, W8a, W8b, W8e, W8g, W81, W9a, W9b, W19a, W20a, W20b, W21b, W21c, W26c, W28b,

Index 191 W28d, W28e, W31a, W32d, W37a, W40b, W43d, W441, W44m, W50g, W53h, W53m, W54w, W54x, W59c, W71a, W73d, W80aa, W88c, W89n, W92b, W94a, W108a, W108c, W108j; D20; B59, B92, B109, B133, B372, B394, B418, B488, B560, B630, B677; Obituaries: B138, B158, B169, B227, B481,B482,B605,B631 Creston, Timothy, p.9, 11 Cummington School of the Arts (Mass.), p.8 Cunha, Clifford, W23b, W43c, W59e Cunningham, James, W51d Daggy, Joan, W32b Dallas Symphony Orchestra, W82c; B43, B390, B414, B534, B535, B666 Dalvit, Lewis D., W23a; B284 D'Amore, Rose, W59b, W95; B214 Dance Overture, p. 10; W54; D9; B32, B34, B37, B54, B69, B162, B203, B236, B250, B280, B314, B315, B325, B346, B358, B361, B370, B377, B380, B394, B418, B480, B502, B510, B523, B526, B537, B548, B590, B601, B602, B625,B629,B658,B661 Dance Variations, W18; B81, B136, B327, B349, B355, B391, B489, B543, B559, B605, B654 Daniel, Erno, W47j Dart, Harold, W95c, W130q Davidson, Marie Hicks, B165, B166 Davis, Charles, W17e Davis, Douglas, W75a Dawn Mood, W55 Dayton Philharmonic Orchestra, W54w, W54z, W69j, W80aa, W89n, W92b; B372,B418 DeBaise, Richard, W95c Dedication, W19; D13 DeFrank, Vincent, W54aa Dellanno, Leander, W128J, W129d, W129e,W129f Delza, Sophie, W99b Denmark, Jettie J., W108g Denver Symphony Orchestra, W48c, W65a;B133,B676 Denver Symphony Tonkunstler Orchestra, W108h;B263 De Paur Chorus, W41g; D5 De Paur, Leonard, W38, W38a, W41g; D5 De Pauw University (Greenville, Ind.),

Symphony Orchestra: W8e, W51b, W53h De Sabata, Victor, W89j; B212, B272 De Tar, Vernon, W22k Dethier, Gaston, p.3 Detroit Symphony Orchestra, W46, W46a, W46b, W60d, W80r, W89e, W90a; B121, B243, B246, B283, B409, B439, B618 Devries, Herman, B174-B179 Dickieson, George, W123n Dietrich, Dean W 143a Dimitriades, Peter, W32a Di Russo, Achille, W129q Ditson, Alice M., W71; See also: Alice M. Ditson Award Dodson, Glen, W60e Donovan, Richard, p. 7 Doolittle Raid, The, p. 12; W139 Dorati, Antal, W54h, W54j, W65c,W80k, W81d;B301,B568,B569 Doren, Richard, W122f Douglas, Ruth E., W26a Dow, Margaret Whitney, W22c Downs, Olin, B182-B187 Dragon, Carmen, W67a Drake, Symphony Orchestra, W89q Drittell, Ana, p. 5; W123c, W132, W132a, W132b Drumm, Robert, W l l 2 e Dundas, Michael, W 2 l b Dupin, Lynn B., W17e, W23b; B191 Durgin, Cyrus, W80b; B192, B193 Duvall, Phyllis, W22b Dvorak, Raymond, W2c East Carolina College (Greenville, N.C.). Choir: W28b; Symphony: W73d East Texas Symphony Orchestra, W44o Eastern Airlines, B35 Eastern Illinois University (Charleston) Band; W l a Eastman School of Music (Rochester, N.Y.), W93d, W129i; Festival of American Music: B357; Symphony Orchestra: B357, B447 Edison High School (Miami, Fla.) Band, W6c Edson, Randall S., W47n Edmund, Steve, W l lj, W22m, W130s Ehrich, Stephen, W2n, W2r Ehrlich,John,W130j Ehrling, Sixten, W46a, W46b, W46c,

192 Paul Creston W60d, W64k; B121, B256, B619 Eisenberg, Irwin, W123o Eisenberg, Walter, W123c, W123f Eisenhower, Dwight D., B264 Elizabeth Sprague Coolidge Foundation, W130;B398 Ellegaard, Mogens, W l 1 lc Ellensburg Comunity Symphony Orchestra, W59e Ellensburg Music Study Club, B149 Ellern, Tricia, W47j Ellis, Jack, W125h Embryo Suite, W96 Emelianoff, Andre, W75b Emmanuel College (Boston) Glee Club, W28a Emmy Award, p. 12 Emory University (Atlanta, Ga.) Symphony, B384 Eros, Peter, W47v, W811, W89p; B290 Eskin, Jules, W130f; B45 Ethical Culture Society, W129h Evans, William, W41h Evening in Texas, B560 Eversman, Alice, B212-B216 Fanfare for Brass, W97 Fanfare for Paratroopers, W151; D11; B239 Fanfare 76, W57 Fanfares (Album), DI 1 Fantasy for Accordion and Orchestra, W58;B51 Fantasy for Organ, W98; B92, B297, B303 Fantasy for Piano and Orchestra, p. 9; W59;B214,B237,B273 Fantasy for Trombone and Orchestra, W60; DI 1; B127, B259, B460 B576 Farr, Lowell, W22e Farver, Jill, W32c Federal Forum String Quartet, W123f Federal Music Project, W108e, W126e Federation of Music Clubs, B535 Feldbill, Victor, W60c Feldman, Murray, W123m; B610 Fern, Marilyn, W32c Ferrante, John, W l Id, W16c Festival of Twentieth Century Music, W21 Festive Overture, p. 12; W3 Ficocelli, Michael, W86c Fieldler, Arthur, W47b, W48a; B531 Fifth Symphony. See Symphony No. 5

Filpi, Rosario, p. 4 First-Chair Encores, Vol.2 (Album), D6 First Presbyterian Church (Athens, Ohio) Chancel Choir, W41h First Symphony. See: Symphony No. I Fishbourne, Pearl, W128h Fisher, Charles, W22c Five Dances for Piano, p. 6; W99; B452, B662 Five Little Dances, W100; D13 Five Two Part Inventions, W101;B141 Fjeld, Bonnie, W59e Flanders, Peter, W4If Flissler, Eileen, W32a Fluegel, Neal, W93f Fogelson, Florence, W16b Ford Foundation, W91; B225, B228 Ford, Henry Thomas, W31b, W39a Fort Lauderdale Orchestra, W45a Four Songs to Death, p. 5; B671. See also: Thanatopsis Fourth Symphony. See: Symphony No.4 Francis, Marcia, W130e Franklin, Harry, W122h, W124c Freccia, Massimo, W50c Freeman, Paul, W641, W64m; B433 Freeman, Ruth, W108t Frennch, David, W 2 l b Friedberg, Leon, W32b Friedson, Bernice, W123p Frodsham, 01afM.,W38b Frontiers, W61; B83, B i l l , B115, B125, B186, B204, B230, B233, B282, B288, B328, B369, B392, B405, B450, B491, B595, B613, B650, B667 Frozen War, p. 12; W140 Fuerstner, Carl, W129i Fuller, Charles, W32d, W49c Furlong, Judy W19a Fusner, Henry, W98a Fuszek, Rita, W13a Gambel, Patricia, WlOOb Ganz, Rudolph, W69b; B122, B174, B389, B596 Garbusova, Raya, p. 11; W130a; B309, B398, B555, B627 Garner, Erroll, W54d Garten, Roberta, W122u Garvey, David, W16b, W128m Gerber, Thomas, W1261 Germania Symphony, W50i Getti, Renato, W36

Index 193 Gibson, Lecil, W30a Gilkey, Sandra, W32b Glickman, Harry, W 129c Glover, Ernest N., W6d Glover, Steven, W126h, W126i, W126j, W126k Goldberg, Albert, B252-B259 Goldberg, Bernard, W124c Golden Jubilee Festival (Ann Arbor, Mich.), B267, B408 Goldfield, Alex, W 130c Golding, Louis, W126g Goldman Band, W l b , W2k, W6a, W6g, W6k, W8h; B318, B487, B488 Goldman, Richard F. See: Goldman Band Goldsmith, Kenneth, W133a; D34; B529, B615 Golschmann, Vladimir, W54b, W69d, W69e, W81e, W89i; D35; B140, B321, B361, B363, B570, B598, B649 Goodman, Bernard, W123g Goodman, Lillian Rehberg, W130b; B337 Goossens, Eugene, p.8, p.9; W79i, W86d, W86e, W151; B78, B97, B386, B387, B637 Gordon, Samuel, W27e Gosling, John, W53f; B431 Gottlieb, Marc, W123k Gotto, Joseph, p. 4 Gotto, Louise. See: Creston, Louise Graham Dance Company, p. 4, 6 Graitzer, Murray, W108d, W108g Grambling University (La.) Chorus, W20c; B524 Grant Park Symphony, W80f Gray, Barbara, W125i Grayson, Aram, W22g Great Land. See: Hyras Illahee Great Neck High School (New York) Band, W2g Gregorian Chant, W62; B401 Greve Birgitte, W32c Gner, Ed, W47aa Grossman, Julius, W58a Grove, Daniel, W108q Guckin, Samuel, W108i Guggenheim Fellowship, p. 7 Guggenheim Memorial Concerts (1965), W6g Guggenheim Memorial Concerts (1968), W l b , W2k, W6k, W8h Guttoveggio, Carmela, p. 1 Guttoveggio, Charles, p. 1-2

Guttoveggio, Gaspare, p. 1 Guttoveggio, Giuseppe. See: Creston, Paul Hafford, Mary Gale, W1291, W129n Hagen, Ernest, W32e Hagen, John, W32e Haggard, Lara, W81i; B164, B378 Halbwidl, Grete,W130e Hallenbeck, Candi, W32e Hamburg Philharmonia, D24 Hammock, Janet, W17g Handford, Margaret, W108q Hanna, Daniel, W5 lb Hanson, Howard, W68a; B447 Hardie, Thomas, W28c Hardt, Herbert, W93g Harkness Ballet, W136b, W136c, W136d Harkness Foundation, W45, W94 Harkness, Rebekah, W136c Harlem Philharmonic Society of New York, W22f Harrison, Guy Fraser, W53c, W54i, W54v, W62a, W81f; B34, B401, B402 Hartman, Don, W108h Hartt School of Music (Hartford, Conn.) W16c, W16d, W108j; B469; Institute of Contemporary American Music Series: W i l d , W16c,W122e; String Orchestra: W108j Hartwell Chamber Soloists, W95a Harum, Avin, W136b Hatte, Eileen, W l l g Haubrich, Karen, W32c Haus Studio (Josefssaal, Germany), W130e Havel, Tom, W32d Hazard, Melissa, W12b, W16f Heard, Lywen, B308 Heath, Margaret Ann, W47g Hegiuk, Arthur, W126g Hegvik,Ted, W122t Hegyi, Julius, W43b, W47r, W108q Heiden, Cola, D27 Heinz, William, W27h Helmer, Eugene, W129g Hendl, Walter, W80x, W82c; D20; B43, B253, B390, B414, B534, B666 Henry Street Settlement Music School (New York), W17d Herren, Donna, W28e Hersch, Merle. See Merle Hersch and Dance Group

194 Paul Creston Hersh, Paul, W 128k Hersh, Ralph, W123i Hertz, Wayne S., W20, W22i, W27a, W27b, W27f Highland Park Symphony Orchestra, w54p Hill, Emma Hardy, W128h Hill, Peter, W 5 l b Hills, Nichols, W 125m Hilsberg, Alexander, W72aHindsley, Mark,Wlc Hochstein Sinfonia, W641; B433 Hodges, Janice Kay, D12 Hoff, Alexis, W 136b Hoffman, Marjorie, W l lOd, W122r Hollywood Bowl (Calif.), W64e;Pops Orchestra: W80p Hollywood String Quartet, W123j; D22; B223 Holmes, Denise, W32b Homage, W102;B628 Homnick, Cory, W122u Honolulu Symphony Orchestra, W54y Hoover, Carolyn Harer, W105a Hoover, Lynn, W17f Houston Ballet, W47z Houston Symphony Orchestra, W22a, W54t, W80o; B537, B538 Howe, Wilma, W32e Howell, Joe, W32e,W 123b Hubicki,TarasJ.,W128i Hudson Valley Philharmonic Orchestra, W18h Huff, Serge, B304 Hull, Robert, W88e; D35 Hume, Paul, B308-B311 Huntington, John, W60c Hyas Illahee (Great Land), W20; B419, B524 Ibberson, Nancy, W l 14c Iglitzin, Alan, W123o Illinois Symphony Orchestra, B174, B389 Illinois WPA Symphony, W69b; B122, B596 Images In Flight, B211 In the American Grain (Television Program),p.l2;W141;B299 Incidental music, W137-W150 Indiana State University (Terre Haute) Concert Choir: W31c; Percussion Ensemble: W93f; Singers: W27g; Symphony: W31c; Wind Ensemble: W81

Indianapolis Symphony Orchestra, W61g, W61i,W1231;Blll,B667 Indo-American Society, W50d Interlude, W103 Interlude and Dance. See: Symphony No. 2 International Harp Competition, W107a Introduction and Song. See: Symphony No. 2 Introit, W63; B224 Invasion of Sicily, p. 12; W142, W154 Invocation and Dance, p. 12; W64; B31, B42, B62, B101, Bl 12, B170, B173, B196, B206, B231, B251, B256, B359, B412, B422, B433, B490, B500,B508, B514, B557 Iowa Public Broadcasting Network, B546 Iron Flowers, p. 5; W143 Isaiah's Prophecy, W21; B406 Israel Philharmonic, p. 12, 13; W80v; D4, D29 Ithaca College (New York), Festival of Contemporary Music: Wlf, W61; Symphonic Band: Wlf, W61, W7a; Walter Beeler Series: W7 Jackson, Clifford, W108o Jackson, Inez, W124h Jackson Memorial Symphonic Band, W5a Jackson Symphony Orchestra, W23, W23a; B284 Jacksonville Symphony Orchestra, W54q; B37 Jamison, Daniel, W47z Jamison, Roger, W47u Janssen Symphony Orchestra, W50b Janssen, Werner, W50b Janus, W65; B118, B220, B306, B308, B338, B530, B657, B664 Jenkins, Newell, W108n; B474, B505 Jensen, Ginger Anne, W121f; B323 Jensen, John, W118a; D34; B529, B615 Jepson, Helen, W22a;B 140 Jewish Community Center (San Diego, Calif.) Chamber Orchestra, W67d, W77, W77a-c;B177 Jimoni, Taijiro, W47m Joachim, Heinrich, W130h, W130i, W130k, W 130m Joffrey Ballet, W 136a Johnson, Harriet, B327-B332 Johnson, Miriam, W129m Johnson, Thor, W92, W92a; B56, B163,

Index 195 B324 Johnston, Donald, W122s Jones, Alfred, W 108c Jones, Nancy, W22n, W22o Jones, Ronald S., W47aa Jorda, Enrique, W54k, W65f Jorgenson, James, W81m Jubilee, W 4 ; D 1 , D 1 5 Juilliard School of Music (New York), W13, W16b, W104a Kaatz, Carla, W117a Kahn,Leo,W123i Kalevala, W5 Kalish, Gilbert, W130f; B45 Kangaroo Kaper, W152 Kansas City (Mo.) Philharmonic, W54o, W61j, W64b, W89f; Bl 12, Bl 14, B450 Kansas State Teachers College (Emporia) Combined Project Chorus: W28c, W40b; Project College Ensembles: W21; Woodwind Quintet: W95b; Symphonic Band: W51e Kapell, William, B416 Kaplan, Leon, W123p Karsnican, Martha, W130r Kastendieck, Miles, B341-B351 Katahn, Martin, W108j Kates, David, W 124b Katims, Milton, W48f, W81k, W109a; B423, B424, B622 Kato, Miyoko,W136b Katz, Paul, W54z Kennedy Performing Arts Center (Washington, D.C), W4a Kilgore Junior College (Texas) Chorus, B524 Kindler, Hans, W89b King, J.R., W22d, W30a, W50f, W891 King, Terry, W133a; D34; B529, B615 Kitzman, John, D12 Klein, Eugene, W47k Klein, Gerald, W 2 l b Klein, Irving, W 123k Klein, Leonard, W1221 Kloss, Erich, D6 Knapp, Calvin, W l le, W22h, W124h Knecht, Jerry, W32c Knickerbocker Chamber Players, W1081; B275 Kohon, Harald,W108d Kolling, Henry, W128n

Kolodin, Irving, B367-B371 Korn, Richard, W44k, W47i, W49b; D24; B71, B106, B219, B226, B305,B339, B342, B351, B454, B485, B553, B563 Koser, Brian, W50j Kostelanetz, Andre, W43a, W61a-e, W61k-m, W76c; D19; Bl 15, B125, B178, B204, B211, B230, B233, B288, B392, B405, B595, B613, B650 Koutzen, Boris, W85, W108o Koutzen, George, W32a Koutzen, Nadia, W1081; Koval, Nestor, W 122m Krapkoff, Herman, W123f Kreuger, Karl, W89e; B409 Krips, Joseph, W80q; B63 Kritz, Karl, W64i Kroyt, Claire, W1281 Kroyt, Miron,W 1281 Kuehne, Marguerite, W32a Kunzel, Erich, W80y; B55 Kurtz, Efrem, W89d; B76, B155, B185, B462, B634 Labrecque, Candida, D18, D23 La Jolla (Calif.) Musical Arts Society, W70,W109,W109a Lamb to the Lamb, W26 Lamott, Bruce, W17g Lancaster Symphony Orchestra, W54x; B394, B629 Landau, Siegfried, W64d, W64g, W82g; B251,B373 Lane, Louis, W63a; B224 Lang, Milton, W 123c LaPenne, Angelo, W32a Larner, Jacques, W123b Larson, Roberta Allen, W32c Latimer, James, W64o Lawrence University (Appleton, Wise.) Choir: W27h; Percussion Ensemble: W93g; Wind Ensemble: DI Leaves of Grass, W27 Leavitt, E. Gordon, W27d Lee, Ira D., W8i Leeds Concert Band, D16 Lees, James, W105b;B86 Leeson, Cecil, p. 6; W99d, W122a, W122b, W122d, W126, W126a, W126b, W126e; D27; B39, B472 Legend, W6; D16; B107, B488 Le Mon, Miriam, W l lb, W14b Lentz, Donald, W6b, W108h

196 Paul Creston Lettre, W12;B191 Le Vita, David, W108e Levy, Robert, DI Lewis, Cecil, W143 Lewis, Lynn, W99e-f Lewis, Norma, W l 12h Lewissohn Stadium Symphony Orchestra, W54n, W86e, W89h; B81, B136, B327, B349, B355, B489, B492 Ley, Salvadore, W13d, W129p, W130d, W130h, W130i, W130k, W130m Liberman, Sam,W126f Liberty Song, W7 Library of Congress (Washington, D.C). Coolidge Festival of Music, B309 Lilienfeld, Robert, W129h Lilium Regis, W28 Lindauer, Mona, W21b List, Eugene, W49b; B71, B106, B219, B226, B342, B454 Little Orchestra Society, W80i, W91c; B77, B218, B332, B344, B518, B641 Lloyd, Robert I., W122j Loboda, Samuel R., W4a LoCascio, Joseph, W93e Lockery, Glen,W41k Lombardi, Eugene P., W471 Lomicka,AlanK.,W122j Londeix, Jean Marie, W51c, W115, W115a London Symphony Orchestra, W60b, W80n;B201,B446 Long Island Philharmonic Orchestra, W64j Los Angeles Chamber Orchestra, p. 13; W75, W75a; B179, B254, B268, B290,B354,B610 Los Angeles Philharmonic Orchestra, W44h, W60a, W64k, W79h, W79k, W80x, W91a,; B102, B142, B253, B255-B259, B262, B266, B335, B353, B383, B385, B459, B460, B554 Louisville Orchestra, W64, W64a; D8, D14;B31,B42 Loyla, Andrew, W32a Luening, Ethel, D2 Lumpkin, Dale, W32e Luther College (Decorah, Iowa). Concert Band: W2i Lydall, E.J., W6f Lydian Ode, W66; D17, D36; B135, B360,B410,B456,B561 Lydian Song, W104

Lynnbrook Theater (New York), p .5 McAdow, Maurice, W8j; D3, D21 McBride, Robert, W122c, W126c-d; D27; B139 McCall, Fred, W8c McClung, Marjorie, W13c, W14d, W14f, W32a; B248, B438 McDonald, Brian, W136, W136c; B52 McDonald, Louise, W14e; B671 McDonald, Roger, W95a Macerollo, Joseph, W l 1 Id McGinnis, Donald E., W51a; D3 McKinley,Carl,W41d McManus, Mary, W32d McMillan, Anne, W221 Madeira, Jean, W23a; B284 Mahler, Fritz, p. 8; W79a Malenke, Ferde,W122t Malko, Nicolai, W80f; B473 Manacher, Zelda, W14i, W17i Manhattan Orchestra, W66c Mahattan School of Music, W47m; Percussion Ensemble: W93c Mann, Robert G., W89o Manslow, Sylvia, p. 6 Margelli, Betti Mitchell, W125j Marine, The, W144 Marks, James, W32e Marriner, Neville, D24 Marstellar, Robert, W60, W60a; B259, B460 Maruchess, Alix Young, W128e Mason, Marilyn, W98b, W125, W125a-d; D26; B504 Massachusetts Youth Wind Ensemble, W2q Mathis, Bonnie, W 136b Maxey, Linda, W47q, W47t May hew, Mary, W130n Mazur, Anne, W59d Meister, Barbara, W121e Memphis Symphony Orchestra, W54aa Merle Hersch and Dance Group, W135a-b Mernick, Lillian, W22f Metamorphoses, W105, W134; D18; B86, B238; B645 Metropolitan Opera Studio 650, W16a Meves, Janet, W32e Miami Symphony Orchestra, B523 Mid-Columbia Symphony Orchestra, W82h; B59 Midland-Odessa Symphony Orchestra,

Index 197 W81i,W89o;B164, B378 Midnight in Mexico, W67; D19; B35, B178 Millar, Gregory, W53i; B545 Miller, Ashley, W125e Miller, Gregory, W47m Mills, Dale, W21b Mills, Ralph, W5Id Miloradovich, Milo, W l lc Milstein, Nathan, B667 Minneapolis Symphony Orchestra, W54h, W54j, W65c, W80k, W81d; B301, B568, B569 Minor, Brian, W50i, W122w, W1261-m; D27 Mirecourt Trio, p.12; W133, W133a-d; D34;B281,B464,B529,B615 Miri,W124h Mishler, Anne, W l l 2 j Missa Adoro Te, W29; B647 Missa Cum Jubilo, W39; B633 Missa Pro Defunctis, W30 Missa Solemnis, W31 Mitchell, Anthony A., W48d Mitchell, Gilbert, W3a Mitchell, Howard, W49a, W65d, W70a, W80p, W80r, W80u, W81g, W82a, W83a; D32, D33; B28, B29, B64, B65, B75, B194, B216, B264, B271, B279, B287, B308, B310, B311, B331, B343, B427, B449, B542, B550, B623, B643 Moaward, John, W93a Modern Art Quartet, W123b Modern Band Festival (Album), D16 Moeser, James, W84a; B651, B661 Molley, John L., W40a Montana State Orchestra, W441 Monterey County Symphony, W53f; B431 Monteux, Claude, W18h Monteux, Pierre, W18a, W18c, W63, W69f-h, W71b, W80e-o, W80w; B44, B57, B74, B81, B136, B165, B166, B172, B192, B205, B249, B252, B327, B329, B349, B350, B352, B355, B381, B391, B448, B476, B489, B495, B511, B532, B538, B543, B549, B599 Montgomery, Robert, W130r Montlack, Sol, W32a Moody, Jacquelynne, W16d Moore, Bonita, W32b Moore, James L., W93b Morette, Vincent S., D28 Morgan, Virginia,W71b; B165

Morse, Jeffrey, W471 Mosier, Laurel, W32c Motley, John, W41j Mount Holyoke College (South Hadley, Mass.) Glee Club, W26a Mu Phi Epsilon Convention, W33, W124h Munch, Charles, B159, B495, B496, B603 Munchmore, Dale, W136b Music Guild Concert Series, W132a Music Library Association, p. 10 Music Teachers Council of Central Westchester, W 128k Musical Arts Quartet, W123m; B296, B609 Musicians Club of Detroit, W128i Musicians Club of New York, W130k Musicians Emergency Fund, p. 4 Mussolini, p. 12; W145 Mutchnik, Marvin, W129r Myers, Robert, W2o, W5b Myles, Margaret, W17f Narratives Nos. 1 and 2. See: Three Narratives for Piano Nashville Symphony Orchestra, W66b National Arts Club, W129n National Association of American Composers and Conductors, p. 9, 12 W108i, W128a National Catholic Music Educators Association, p. 11 National Federation of Music Clubs, pp.11-14; W52b, W54, Wl 13, W l 13a; B314, B648 National Gallery Orchestra, W59b; B214, B273 National Intercollegiate Band, W6e, W8a National Music Camp (Interlochen, Mich.), W i g National Orchestral Association, W64c; B412, B490, B508 National Symphony Orchestra, W44b, W49a, W65d, W70a, W80u, W81g, W82a, W83a, W84a, W89b; D32, D33; B29, B64, B65, B75, B168, B194, B213, B216, B271, B279, B287, B308, B310, B311, B331, B343, B449, B542, B550, B623, B643, B660; Young Soloists Competition: W47y National Symphony Orchestra, 1930-1980 (Album), D32 Naumburg Musical Foundation, B516

198 Paul Creston Nautilus Chamber Orchestra, W75c NBC Symphony Orchestra, W44c, W61f, W69a, W80e, W89c; B84, B98, B148, B270, B278, B317, B426, B509, B640 Nebrada, Vincente, W136b Neighborhood Music School (New York), W128b,W128d Nelson, Kristine, W32c Neuman, Herman, W1081; B451 New England Conservatory of Music (Mass.), W2q; Chamber Orchestra: W47e; Conservatory Orchestra: W86b New England Intercollegiate Band, W9a; B109 New Generations of Musicians, Vol.4 (Album), D3 New Music Group, W122a New Music Quarterly, p. 5 New Orleans Philharmonic Symphony, W52a, W72a; B188, B445, B533 New String Quartet, W123c New York City Project, p. 5 New York Coliseum Theater, p. 3 New York College of Music, p. 12; W121d; Chorus: W40a, W41j New York Infantry Chorus, W38a New York Municipal Arts Orchestra, W58a New York Music Critics Circle Award, p. 8; B128, B152-B154, B157, B171, B183, B388, B442, B483, B675 New York National Arts Club, W32, W32a New York Philharmonic Symphony Orchestra, p. 7, 10; W18a, W18b, W18c, W50a, W54c, W61h, W611, W61m, W65e, W69c, W79e, W80d, W801, W86g, W86f, W89d, W89k; B49, B67, B69, B74, B76, B78-B80, B83, B90, B97, B99, Bl 15, B129, B155, B185-B187, B211, B220, B235, B277, B280, B282, B306, B328, B329, B338, B346, B347, B350, B369,B380,B381,B391,B411, B476,B491,B501,B510, B511, B548, B549, B586, B589, B592, B608,B617,B637; Chamber Ensemble: W 124b New York Philharmonic Society, B601 New York. Town Hall, p. 6, 7; W17a, W17c, W1081, W108n, Wl 10a, W l l la, W122g, W128c, W129a, W129g,W129k

Newland, Blaine, W19a Newstone, Harry, W54u; B250, B590 Nicklaus, Hazel, W13b; B672 1969 OMEA Contest Music, Vol. 1 (Album), D3 Nixon, Melbern, W51e Noble, Weston H., W2i Nocturne, W32 None Lives Forever, W33 North Texas State University (Denton) Band: W8j;D3,D21 Northwest Music Educators Conference, W27c Notre Dame Glee Club, D5 Nott, Douglas, W32d Now Thank We All Our God, W34 Nuremberg Symphony, D6 NYA Symphony Orchestra, p. 8, W79a O Come, Let Us Sing, W35 Oakland Symphony Orchestra, W82b; B244 Offertory, W106 Ohio Music Education Association, W5 Ohio State University (Columbus) Band, W51a; D3; Percussion Ensemble: W93b Ohlsson, Garrick, W20, W59c Oklahoma Symphony Orchestra, W53c, W54v, W62a; B34, B401, B402 Olberg, Dalwyn, W32c Olsen, Janice, W22d Olympia, W107 Oppelt, Miriam, W123p Orchestra Da Camera, W88d, W108m; B113,B465,B515 Orchestra Les Concerts Symphoniques, W80j Orchestra of America, W44k, W47i, W49b; B71, B106, B219, B226, B305, B342, B351, B454, B485, B553, B563 Orchestrette Classique, p. 10; W47, W47a, W47d, W108f; B48, B72, B89, B463, B485, B506, B587, B624, B635 Orchestrette of New York, W44a, W73b, W74b Oregon Symphony Orchestra, W53k; B130, B269 Orenstein, Harriet, W32a Orloff, Eugene, W108g Ormandy, Eugene, W44e-g, W44j, W64f, W79f, W79g, W80c, W80d, W81a-c; D6; B47, B73, B88, B94, B108, Bl 16,

Index 199 B123,B160,B167,B170,B182, B184, B241, B242, B260, B267, B276, B313, B367, B408, B415, B416, B444, B461, B520, B544, B557, B558, B612, B613, B642, B673 Orpin, Florence, W41f Orquesta Filarmonica de Chile, W54m Osborne, Charles, W124g Oslo Philharmonica Orchestra, D9 Out of the Cradle, W68 Owen, Charles, D6; B466 Pachla, Wolfgang, D6 Pacific Lutheran University (Tacoma, Wash.) Mu Phi Epsilon Chorus, W33b Pacific Northwest Music Camp, W81 j Padwa, Vladimir, W12Id Palermo in the Moonlight, W153 Paray, Paul, Bl 17, B246. B439 Park, Carl Schuz, W47h Parker, Moses Greeley, B109 Partita for Flute, Violin and Strings, p. 6; W108; D20; Bl 13, B263, B275, B376, B474, B505, B515, B551, B626, B676 Pasdeloup Orchestra, B151, B478 Pastorale and Tarantella, W69; B67, B99, Bl 10, B122, B140, B166, B174, B229, B321, B389, B426, B492, B570, B596, B598, B649 Patterson, Bill, W47o Pavane Variations, Op.89A, W109 Pavane Variations, Op. 89B, W70 Payne, Dorothy Stolzenbach, W47p Paz,J.C,W126f Pedtke, Daniel H., D5 Peermine, Nelly, W 18b Pelletier, Wilfrid, W18d; B559 Peloquin, Alexander, W28, W40 Perkins, Francis D., B485-B492 Peters, Richard E.,W47x Peters, Roberta, W18a, W18c-h; B327, B355, B391, B489, B543, B559, B605, B654 Peterson, Floyd, W32b Petrides, Frederique, p. 8; W44a, W47, W47a, W47d, W47h, W74b, W108f; B48, B72, B89, B463, B486, B506, B587, B635 Pfautsh, Lloyd, W33a Pfeiffer College (Misenheimer, N . C ) Concert Choir, D10 Pfohl, James Christian, W541

Phi Mu Alpha Sinfonia, W25, W25a, W127b Philadelphia Orchestra, W44e-g, W44j, W60e, W61c, W61e, W64f, W79f, W79g, W80c, W81a, W89j, W97a; D6; B47, B73, B88, Bl 16, B167, B170,B182,B184,B212,B241, B242, B260, B272, B276, B313, B367, B392, B408, B415, B416, B444,B461,B557,B558, B585, B611-B613,B642,B673 Philadelphia String Quartet, W123o Philco Hall of Fame (Radio Program),

p.n

Philharmonic Orchestra of Indianapolis, W50h Philharmonic Orchestra of Southern California, W79j Philharmonic Promenades, W43a Philharmonic Society, B203, B526 Phil-Sym String Orchestra, W108d, W108g, W123a Phoenix Symphony Orchestra, W53, W53a, W54r; B36, B190, B304, B539, B597 Piano Sonata, Op.9, W l 10; B567, B662 Piano Trio. See: Trio, Op.l 12 Pierce, Esther, W1301 Pierce, Pauline, p. 4, 7; W17a, W17d Pincus, Frances, W129o Pirret, Bruce, W32d Pittsburgh Symphony Orchestra, p. 7; W86a Plank, Max, W51e "The Plight of the Creative Artist and Recital" (Lecture), W104b, Wl 12d Pluti, Theodore, W82h Poem for Harp and Orchestra, p. 11; W71;B165 Poinar, George, W53g Polivnick, Sidney, W108o Porter, Lois, D20 Porter, Margaret, W108h Porter, Quincy, p. 7; W86b Potts, Leo W . , W 127b Praise the Lord, W40 Pre-Classic Suite, W72; B188, B445, B631 Prelude and Dance, Op.25, p. 9; W73; B326, B486, B587 Prelude and Dance, Op.76, p. 10; W8; D I , D21;B573 Prelude and Dance for Accordion, W i l l ;

200 Paul Creston B51 Prelude and Dance for Piano, Wl 12; B428 Prelude and Dance for Two Pianos, p. 13;W113 Prentice, Cynthia, W123p Principles of Rhythm (Book), p. 10; B653, B672 Pro Musica, B438 Prodigal, W36 Promenade Symphony, B125 Promenades Concert, B211 Psalm XXIII, W22; B191, B396 Psalmist, The, W23; B284 Punahou School (Honolulu, HI) Morning Music Club, W128h Rabin, Michael, W91, W91a, W91c; B218, B225, B228, B255, B258, B266, B332, B344, B353, B385, B477, B518.B665 Rabinof, Benno, W90a; Bl 17, B246, B340, B439 Rachleff, Larry, W47bb Radio City Studio (New York), W44c Rambach, Gary, W 136b Rambaldi, Jose, W123r Randegger, G. Aldo, p. 3 Rappoport, Phyllis, W124g Rapsodia Breve, Wl 14; B92, B303 Rapsodie, Op. 108A, Wl 15 Rapsodie, Op.l08B,W116 Rascher, Sigurd, W122g Rational Metric Notation (Book), p. 10; B91 Rayburn, John, W22f Reed, Linda Soley, W96a Reese, William, W73c Reeves, George, W18b Referendum Concert, p. 11; B151, B156 Regier, Myrtle, W26a Regni, Albert, W122v Rehberg, Lillian, W130d Reiner, Fritz, p. 7; W86a Remoortel, Edouard von, W80n, W80s; B201.B362 Reno, Doris, B22 Reno, Susan, W32b Requiem Mass. See: Missa Pro Defunctis Rescigno, Nicola, D17, D36 Revelli, William, W8d, W8f, W51c; D7, D21 Revelli Years, Vol.3 (Album), D7

Revelli Years, Vol.4 (Album), D21 Revolt in Hungary, p. 12; W146 Reynold, J. Howard, W6c Reynolds, Veda, W123o Rhodes, Lawrence, W136b Rhythmicon, Wl 17; D23; B632 Richter, Alexander, W59a Riecker, Vera,W108c Ringham, Maisie, W60b Riot in East Berlin, p. 12; W147 Ritter, Sara, W98c, Wl 14b; B92 Rivkin, Vivian, W 129c Robert Shaw Collegiate Chorus, W41b; B95 Roberts, Nancy, W32c Robertson, James, W53b, W66a; B135 Robeson, Paul, B95 Robin Hood Dell Orchestra, W18d Robinson, Lavan, W30a Robyn, Paul, W123j Rochester Civic Symphony Orchestra, W68a Rochester Philharmonic, W54g; B358, B602, B658 Rock music, B527 Rodzinski, Artur, p. 10; W74c, W80a; B207, B277 Rogers, Robert, W 136c Romania, W118 Romero, Gustavo, W131 i Ronka, Alii, p. 4, 5; Wl la-b, W14a-c Rosen, Michael, W4k Rosenberg, Abby, W95c Roskam, Kay, W32d, W122q Ross, Carole, W47t Rossel, Denton, B458 Rostropovich, Mstislav, W47y Roth, Iwan, W127 Roth Quartet, W 123d Rothstein, Sidney, W80t Roussea, Eugene, W50h, W1221 Rowley, Vivienne, W16e Royal Canadian Mounted Police Band, W6f Rubinstein, Jacque, W108g Rudolf, Max, W18f;B325 Ruiz, Brumilda, W 136b Rumba-Tarantella, Wl 19 Rumor, A, W74; D24; B104, B147, B207, B285, B397, B413, B425, B486, B517, B587 Rusinak, William, W2m Russo-Finnish War, The, p. 12; W148

Index 201 Ruud, Tomm, W105b, W134; B86, B238, B645 Sackson, David, W124d Sacramento Symphony Orchestra, W54u; B250, B590 Sadhana, p. 13; W75; B120, B179, B254, B268, B290, B354, B536, B610 St. Catherine of Sienna Church (New York), p. 5 St. Dennis, Ruth, p. 4 St. Louis Symphony Orchestra, W54b, W69d, W80s, W81e, W89i; Bl 10, B140,B361-B363,B570 St. Malachy's Church (New York), p. 3, 5; W31a Salzmann, Theo, W123m Sam Houston State University (Huntsville, Texas) A Cappella Choir: W28d; Band: W l d San Diego Civic Youth Orchestra, W44m-n San Diego Symphony Orchestra, W47v, W67c, W811, W89p, W122u; B175, B176, B178, B289, B291 San Francisco Ballet, W105b, W 134a; B86, B238, B530, B645 San Francisco Symphony Orchestra, W54k, W61b, W64m, W65f, W69f, W69g,W71b; B165, B166, B230, B233 Sargeant, Winthrop, B547-B553 Sasaki, Tatsuo, W47v; B289 Schanzer, Wolfgang, W85a Scharzenbach, Robert, W4c, W8k Scherman, Thomas, W32a, W80i, W80v, W91c; B77, B218, B332, B344, B518, Schickele, Peter, p. 11; B556 Schiff, Zina, W129u;B528 Schilling, Kenneth E . , W 19a Schippers, Thomas, W48g, W57, W57a; B614 Schmidt, Diane, W48f; B424 Schmitt, Homer, W123g Schneider, Christian J., W125k, W125n; B560 Schoen, William, W 123k Scholz, Robert, B376, B626 Schuman, William, B95 Schwartz, W123g Schwarz, Gerard, p. 13; W75a, W75b; B254, B268, B290, B354, B536, B610

Schweiger, Hans, W54o; Bl 12 Schwomeyer, Dedee, W47w Scott, Leslie, W 122k Seattle Symphony Orchestra, W48f, W81k;B423,B424, B622 Seattle Youth Orchestra, W53j, W81j; B294 Second Symphony. See: Symphony No. 2 See, Orley, W82b; B244 Selee, Marion, W17b Senofsky, Bed, W129g Seven Theses, p. 5; W120 Seventh United States Army Orchestra, W89m Sevitzky, Fabien, W61g, W61i, W108p; B111,B667 Shackelford, Rudy, p. 6 Shaier, Julius, p. 6; W128a-j, W129e-f, W129o Shapiro, Wallace, W32a Shaw, Robert. See: Robert Shaw Collegiate Chorus Shawn, Ted, p. 4 Shenandoah (Va.) College and Conservatory of Music, W122r Shenaut, John, W20c Shepherd, Arthur, p. 7; W88a, W89a; D35 Sheridan, Thomas, p. 12 Shook, Persis Reynolds, W l le, W22h Shostakovich, Dmitry, p. 11; B41 Shreveport Symphony, W20c; B419, B524 Shrifte, Miriam Lubell, B458 Shulman, Alan, W123i Shulman, Sylvan, W82e, W123i Shure, Paul,W123j Sigmond, Miller, W122r Silberberg, Robert, D20 Simmons, Walter, B573-B583 Simon, Henry, B584-B589 Singer, Jacques, W53k; B130, B269 Singer, Richard, W99c Six Preludes for Piano, p. 10; W121, B27, B323,B395, B594 Sixth Symphony. See: Symphony No. 6 Sixth World Saxophone Congress, W127a Slater, James, W47z Slatkin, Felix, W123j Slomski, Monica, W58b Smallens, Alexander, W41b, W69c; B67, B95, B99, B492, B636 Smith, Dennis, W60d Smith, Donald King, W49c Smith, Edna Willington, W17b

202 Paul Creston Smith, Louie, W47z Smith, Robert, W130p Smith, William, W60e Snapp, Kenneth, W6h; B92 Snyder, Lucille, W22b Soames, Cynthia Elizabeth, W47b Sobel, Philip, W 127b Sokol, Vilem, W53j, W81j; B294 Sokoloff, Vladimir, W129u; B528 Solomon, Izler, W1231 Soloway, Louis, W122e Solti, Georg, W91a; B255, B266, B353, B385 Sonata for Saxophone and Piano, p. 8, W122; D25; B61, B100, B232, B400, B421, B455, B564, B575, B583 Song of Joys, W13; B191, B631, B671 Song of Sicily, VJ154 Sopkin, Henry, W54g, W65b, W88d, W91b; B358, B384, B602, B658, B664, B665 Sorel, Claudette, W131a-c,W131e-g; B131,B345,B364, B669 Southern Methodist University (Dallas, Texas) Choir, W33a Southwestern Symposium of Contemporary American Music, W2b Southwick, Janet, W16a Sperry, Gale L., W2d Spirit of'76 (Album), D19 Spong, Jon, W125f-g Square Dance '76, W76 Standridge, Karla, W106b-c Stanger, Russell, W65e; B220, B306, B338 Stea, Carlo, p. 3 Steinberg, Benjamin, W82f; B79, B90, B341,B644 Steinberg, William, W50a, W64e; B347, B411, B501, B586, B608, B617, B638 Steiner, Diana, W129k; D30; B330, B516 Stern, Charles, W24 Stevens, Charles, W130g Stienert, Dan, W50j Stith, Marice, D21 Stockstill, Linda, W32b Stokowski, Leopold, W44c, W53d-e, W61h, W79b-e, W87b; D31; B38, B40, B49, B70, B82, B83, B148, B186, B187, B222, B234, B282, B328, B348, B368, B369, B379, B491, B503, B509, B552, B562, B588, B591,B639

Story land Theater (Radio Program), p. 10 Stout, Gordon, W47bb Strangle-Air Power, p. 12; W149 Strickfaden, Charles, W50b String Quartet, p. 5, 6; W123; D22; B53, B105, B215, B223, B274, B320, B375, B475, B507, B521, B566, B609 Stuber, Ruth, p. 10; W47, W47a, W47c-d; D6, B72, B295, B589, B624 Stuyvesant String Quartet, W123i; B105, B215 Suicide Run to Murmansk, p. 12; W150 Suite for Flute, Viola and Piano, W124; B296;B609, B671 Suite for Organ, W125; D26; B504, B663 Suite for Saxophone and Piano, p. 5, 6; W126; D27; B39, B139, B161, B181, B296, B303, B429, B472, B522, B578, B609,B619 Suite for Saxophone Quartet, W127; D28; B574 Suite for String Orchestra, Op. 109, p. 13; W77;D4, D29; B146, B177 Suite for Viola and Piano, p. 6; W128; B365, B393 Suite for Violin and Piano, p. 7; W129; D30; B330, B356, B426, B453, B469, B493, B513, B516, B528, B616, B620 Suite for Violoncello and Piano, p. 11; W130; B45, B92, B309, B337, B398, B399, B555, B627 Sullivan, Jon, W32e Summers, Norman, W22e Sunrise in Puerto Rico, W78; B560 Swarthmore College (Penn.), p. 11; Symphony Orchestra: W73c Swenson, Robert, W123g Swiss Saxophone Quartet, W127, W127a Symphony No. I, p. 8, 11; W79; D31; B47, B49, B88, B102, Bl 16, B128, B142, B150-B154, B156, B171, B183, B184, B187, B241, B267, B293, B335, B383, B388, B408, B415, B430, B442, B459, B461, B478, B494, B554, B558, B585, B588, B591, B592, B611, B639, B675 Symphony No. 2, p. 10, 12; W80; D32, D33; B28, B29, B44, B55, B57, B60, B63, B73, B74, B96, B123, B145, B159, B172, B182, B192, B193, B201, B205, B206, B235, B249, B252, B253, B301, B320, B329, B350, B352, B363, B367, B371, B372, B381, B416, B418,

Index 203 B420, B437, B444, B446, B448, B451, B473, B476, B495, B511, B520, B532, B538, B542, B547, B549, B568, B599, B603, B612, B641.B642, Symphony No. 3, W81; D32, D33; B28, B29,B60, B94,B96, B108,B144, B145, B160, B164, B176, B206, B210, B262, B276, B291, B320, B363, B371, B378, B417, B420, B423, B451, B525, B542, B544, B569, B622, B659, B661, B673 Symphony No. 4, W82; B43, B59, B64, B68, B168, B216, B244, B271, B311, B341, B373, B384, B390, B414, B534, B644, B666 Symphony No. 5, W83; B65, B75, B133, B194, B279, B287, B310, B331, B343, B449, B550, B623, B643 Symphony No. 6, p. 13; W84; B120, B651,B660 Symphony of the New World, W82f; B68, B341,B644 Syracuse Symphony, W64i Syracuse University (New York) Symphonic Band, W8b Szatmary, Sandor, W123b Szell, George, W54e, W87, W87a; B54, B93, B208, B432, B668 Tacoma Youth Symphony, W531 Tagore, Rabindranath, p. 13; Wl 1, W14, W33, W41 Tale About the Land, A, W135 Talma, Louisa, W124d Taniguchi, Mari, Wl lj, W22m Tarack, Gerald, W108n Tashamira, Lils M., p.7 Tatlock, Stella, W47w Taylor, Guy, W53a, W54r, W66b; B36, B190, B304, B539, B597 Taylor, Sylvia, W l lg Teatro Astor (Santiago, Chile), W80u Teatro Del Pueblo, W126f Temkin, Ascher, W95a Ter-Arutunian, Rouben, W136b-c Terry, Howard Petr, W127b Texas Wesleyan College (Fort Worth) Wind Ensemble, W2n, W2r Thanatopsis, Op.7, p. 5; W14; B191 Thanatopsis, Op. 101, W85 Third Symphony. See: Symphony No. 3 Thirteen French Canadian Folksongs,

W15 Thomas Jefferson High School (Long Island, New York) Band, W4c, W8k Thompson, Bruce, W2g Thompson, Francis, W28 Thompson, Wilma, W17c Thorngate, Wendell, W21b Three Chorales from Tagore, W41; B229; B468; Here is Thy Footstool: W41b-d, W41g, W41i; D5; B95: Thou Hast Made Me Endless, W41 f Three Mysteries. See: Symphony No. 3 Three Narratives for Piano, W131; B131, B333, B345, B364, B497, B669, B671 Three Poems from Walt Whitman, p. 7; W132 Three Songs, W16; B191; Fountain Song: W16a, W16d; B286; Lullaby: W16d-e; B286; Serenade: W16c; B286 Three Sonnets, p. 7; W17; B191; Joy Like a Fawn: Wile, Wile Threnody, p. 7; W86; B78, B80, B97, B584, B637 Time Outof Mind, W136; B52 Tinterow, M., W66 Tintner, Kurt, W50i Titus, Laura Ruth, W124e Tobola,Diane, W32e Toccata for Orchestra, W87; B38, B82, B93, B208, B222, B234, B368, B379, B432, B440, B441, B552, B562, B668 Todd, Peter, D16 Tonhazy, Nicholas, W108g Torkanowsky, Werner, W52a; B533 Toronto Symphony Orchestra, W61, W61a, W 6 1 k ; B 2 8 8 , B405 Toscanini, Arturo, W61f, W89c; B84, B270, B278, B628, B640 Toth, Andor, W102a Tracey, Donald, W130g Tranquillo (Creston variation of Goossen theme), B387 Tregellas, Patricia, W48c, W l 1 lb Trio for Piano, Violin and Violoncello. See Trio, Op. 112 Trio, Op.l 12, p.14; W133; D34; B281, B312,B464,B529,B577,B615 Trusler, Ivan, W41e Tucker, Gregory, W122c Tucson Symphony Orchestra, W53i; B545 Tudor, David, W122g Tulan, Fred, Wl 14a

204 Paul Creston Tulsa Philharmonic Orchestra, W64h Turner, De Anna, W l lh, W13e, W16g Twentieth Century (Television Program), p. 12 Two Choric Dances, p. 6, 7, 10; W88, W89; D35; B30, B76, B84, Bl 14, B129,B155,B175,B185,B196, B202, B212, B221, B270, B272, B278, B317, B319, B322, B374, B409, B462, B465, B541, B582, B634, B640, Two Motets, p. 11; W37 Twyman, Virginia, W32b Typhoon in Okinawa, p. 12 Tzincoca, Remus, W108m; Bl 13, B515

University of Nebraska (Omaha) ROTC Symphonic Band, W6b University of North Carolina (Greensboro) University Sinfonia, W123n University of Oregon (Portland) Band, W8i University of South Florida (Tampa) Band, W2d; B406 University of Tennessee (Knoxville) Concert Band, W2f University of Texas (Arlington) Symphonic Band, W2b University of Wisconsin (Milwaukee) Band, W2c Utica Symphony Orchestra, W81h; B659

Unger, Heinz, W44i United Nations, W 13d United States. Army Band, p. 12; W3a, W4 United States. Marine Band, W2m United States. Military Academy Band, W48e United States. Navy Band, W48d University of Arizona (Tucson) Wind Ensemble, W47x University of Bridgeport (Conn.) Concert Choir: W27e; Contemporary Composers Festival: W2o, W5b, W95c, W96a, W123p; Orchestra: W67b; Percussion Ensemble: W93e; Symphonic Band: W2o University of California (Santa Barbara) Symphony Orchestra, W81m University of Delaware (Newark) Concert Choir, W41e; Contemporary Music Festival: W2e; Delaware Symphonette: W22d, W69i, W891; Symphonic Band: W9b; Symphonic Wind Ensemble: W50f University of Idaho (Moscow) Concert Choir, W4Ik University of Illinois (Urbana) Concert Band,Wlc University of Miami (Fla.) Annual Festival of American Music, W108p; Symphony Orchestra: W8c, W54a; B314, B377 University of Michigan (Ann Arbor) Symphonic Band: p. 11; W2a, W8d, W8f, W47b, W51b; D7, D21 University of Nebraska (Lincoln) Symphony Orchestra, W108h

Vacano, Wolfgang, W50h Valante, Harry, W58b W64n W67b Van Vactor, David, W2f Victor, Mildred, W13la Vienna Symphony Orchestra, D20 Violin Teachers Guild, W130c Virtuoso Saxophone (Album), D25 Virtuoso Technique for the Piano (Publication), B307 Volkmann, Kathy, W95c Votapek, Ralph, W47q Wagner, Joseph, W44d, W122b Walden String Quartet, W123g, W123h Wallenstein, Alfred, W44h, W60, W60a, W79h, W79j-k, W89g; B102, B142, B259, B262, B335, B383, B459, B460, B554 Walmer, Max, W13c, W14f Walt Whitman College (Berea, Ohio) Choir, W19a, W26c; Symphonic Band: W2p, W5c Walt Whitman Suite, p. 10; W92; D17, D36; B56, B163, B324, B418, B456 Warner, Elizabeth, W l Id, W16d, W122e Warner, Katherine, W32b Washington All-State Chorus, W27f Washington All-State MENC Performance, W8k Watson, Sally, W32e Wayne, Dennis, W136b Weinstock, Rachmael, p. 7; W129a-b Weisman, Vladimir, W123k Weiss, Samuel, W123f Wentzel, Rubi, W123p, W130q Werner, Jules, p. 9 Wessler, Carole, W32b

Index 205 West Coast Saxophone Quartet, D28 West Virginia All-State College Symphony Orchestra, W81f Westchester Conservatory of Music, W14g, W124f, W129q, W130h, W130m Westchester Mamaroneck Symphony, W64g Westchester Orchestral Society, W18e; B654 Westchester Symphony Orchestra, W59d, W82g; B251, B373, B374 Western Michigan University (Kalamazoo) Band, W6i, W8g; Choir; W21b,W28c,W41i; Orchestra: W 2 l b Westminster Choir College, W41a Westwood Wind Quartet, D27 Whallen, Evan, W65g;B 118 Wheeler, Raymond, W32d Wheeling Symphony Orchestra, W18g Whelan, Susan, W 136b White, Dorothy, W22g White, Lawrence, W47b, W47e Whiteman, Paul, W55a Whitman, Ernestine, W124i Whitman, Walt, W25, W27. See also Walt Whitman Suite Whitney, Robert, W64a; D8, D14; B173 Wichita Symphony Orchestra, W53b, W66a;B135 Wichita Symphony Society, W66 Wicks, Wesley, W47s; B245 Wild, Earl, W49a, W121a, W131 Williams, William Carlos, W141; B299 Wilshire Presbyterian Church (Los Angeles, Calif.) Choir, W26d Wilson, Barbara, W47u Wilson, George C , W i g Wilson, Keith, D3 Wincenc, Joseph, W54s Winnipeg Symphony Orchestra, W60c Winter, Joel, W95c Wisconsin Youth Symphony, W64o WJZ Hour of Faith (Radio Program), p. 10 WNYC American Music Festival, W41j,

W121d, W122p, W129n, W130d; B551 WNYC Broadcasting Station, W l 10b WNYC Masterworks Hours, p. 2 Wolff, Albert, B478 Women's Club of Columbus (Ohio) Orchestra: W13b, W14e, W88c, W124e, W131b Woodward, Helen, W14g Work, Joseph, W124g World Saxophone Congress, W l 15a Worthington, Floyd, W22k WPA Federal Music Project, W14b, W99c, W l 10b, W120b, W123b, W123c, W123e, W123f, W123g, W132b Wright, Irvin, W531 Wright, Vincent F.,W122f Wummer, John, W124d Wummer, Mildred Hunt, W1081 Wuntz, Martha, W 122k Wyman, Frederick, W122n Wynnefield Symphony Orchestra, W80t Y Chamber Orchestra, p. 14; W75b; B536 Yaddo Chamber Orchestra, W47c W88a, W108a;D6 Yaddo Festivals (Saratoga Springs, N.Y.), p. 6,7;W126d Yaddo Orchestra, D20, D35 Yale Songs, Marches, Concert Music (Album), D3 Yale University (New Haven, Conn.) Band, D3; School of Music: W47n Yarbrough, Joan, W52a, W52b; B532 Yeomans, David, W95b Yon, Pietro, p. 3 Yost, Louise, W14e; B672 Youngstown, Symphony, W86c Zadrikov, Jak, W64j Zamzow, Ternie, W l lh, W13e, W16g Zanoni, W9; DI, D37; B109, B470, B499 Zaratzian, Harry, W124f Zighera Chamber Orchestra, W88b Zwickler, Howard, W93e

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About the Compiler MONICA J. SLOMSKI is Head of Music Cataloging at the Hartt School of Music, University of Hartford. She represented the United States in the International Coupe Mondiale for accordion and was the recipient of two silver medals.

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Recent Titles in Bio-Bibliographies in Music Hans Rosbaud: A Bio-Bibliography Joan Evans Alec Wilder: A Bio-Bibliography David Demsey and Ronald Prather Alun Hoddinott: A Bio-Bibliography Stewart R. Craggs Elinor Remick Warren: A Bio-Bibliography Virginia Bortin Howard Hanson: A Bio-Bibliography James E. Perone Peter Sculthorpe: A Bio-Bibliography Deborah Hayes Germaine Tailleferre: A Bio-Bibliography Robert Shapiro Charles Wuorinen: A Bio-Bibliography Richard D. Burbank Elliott Carter: A Bio-Bibliography William T. Doering Leslie Bassett: A Bio-Bibliography Ellen S. Johnson Ulysses Kay: A Bio-Bibliography Constance Tibbs Hob son and Deborra A. Richardson, compilers John Alden Carpenter: A Bio-Bibliography Joan O'Connor, compiler