1 Daijas

Clifton Williams Dramatic Essay Song

TitleComposerArranger
Festmusik Der Stadt WienRichard Straussarr. Banks
Nightflight to ParisKees Vlak 
Armenian Dances (Part 1)Alfred Reed 
John Williams: Fantasy of Flight arr. Robert W. Smith
In Storm and Sunshine MarchJohn Clifford Heed 
Satiric DancesNorman Dello Joio 
Allegro pesante  
Adagio mesto  
Allegro spumante  
Selections from The Phantom of the OperaAndrew Lloyd Weberarr. Barker
Legend of Bafe'John Fannin 
Down Longford WayPercy Aldridge Graingertrans. Osmon
Finale from Symphony No.4 in F MinorPeter Ilyich Tchaikovskyarr. Safranek
Suite from Hymn of the HighlandsPhilip Sparke 
I. Ardross Castle  
II. Alladale  
III. Dundonnell  
Gardes du CorpsRobert Browne Hall 
Rocky Point HolidayRon Nelson 
Commando MarchSamuel Barber 
Suspiros de EspañaAntonio Alvarezed. Wiley
Eternal Father, Strong to SaveClaude T. Smith 
La Forza Del Destino: OvertureGiuseppe Verdiarr. Lake/Kent
ExultateSamuel R. Hazo 
The Hounds of SpringAlfred Reed 
Serenade for Wind BandDerek Bourgeois 
The Symphonic GershwinGeorge Gershwinarr. Barker
Army of the NileKenneth J. Alforded. Fennell
Four Scottish DancesMalcolm Arnoldarr. Paynter
Pesante  
Vivace  
Allegretto  
Con Brio  
Russian Christmas MusicAlfred Reed 
The Battle of ShilohC.L. Barnhouseed. Paynter
A Rhapsody on Chrstmas CarolsClaude T. Smith 
White ChristmasIrving Berlinarr. Bennett
Sleigh RideLeroy Anderson 
Adestes FidelesMorton Gould 
Colonial SongPercy Aldridge Grainger 
Fantasia in GTimothy Mahr 
Variations on 'America'Charles Ivesarr. William Schuman
Americans WeHenry Fillmore 
The CowboysJohn Williamsarr. Curnow
A Movement for RosaMark Camphouse 
America the BeautifulSamuel Augustus Wardarr. Dragon
ChesterWilliam Schuman 
Suite of Old American DancesRobert Russell Bennett 
III. Western One-Step  
II. Schottische  
I. Cake Walk  
When the Saints Go Marching In arr. Naohiro Iwai
Festive OvertureDmitri Shostokovichtrans. Hunsberger
Second Prelude from "Three Preludes"George Gershwinarr. Krance
Symphony on Themes of John Philip Sousa - II. After the ThunderIra Hearshen 
La Mezquita de CórdobaJulie Giroux 
PasquinadeLouis Moreau Gottschalkarr. Leidzen
Africa: Ceremony, Song and RitualRobert W. Smith 
Duke Ellington! arr. Custer
The Hounds of SpringAlfred Reed 
Serenade for Wind BandDerek Bourgeois 
Festive OvertureDmitri Shostakovichtrans. Hunsberger
La Mezquita de CórdobaJulie Giroux 
Army of the NileKenneth J. Alforded. Fennell
PasquinadeLouis Moreau Gottschalkarr. Leidzen
Suite of Old American DancesRobert Russell Bennett 
III. Western One-Step  
II. Schottische  
I. Cake Walk  
Duke Ellington! arr. Custer
Lux AurumqueEric Whitacre 
First Suite in E-flatGustav Holsted. Matthews
Blue LakeJohn Barnes Chance 
America the BeautifulSamuel Augustus Wardarr. Dragon
The Boys of the Old BrigadeW. Paris Chambersed. Smith
1. Chaconne  
2. Intermezzo  
3. March  
Caccia and ChoraleClifton Williams 
National Emblem MarchE.E. Bagleyarr.Fennell
Country GardensPercy Aldridge Graingeras adapted by John Philip Sousa, arr. Brion-Schissel
Suite FrancaiseDarius Milhaud 
1. Normandie  
2. Bretagne  
3. Ile de Fance  
4. Alsace-Lorraine  
5. Provence  
Pineapple PollArthur Sullivanarr. Mackerras
1. Opening Number  
2. Jasper's Dance  
3. Poll's Dance  
4. Finale  
Dramatic Essay (Trumpet Solo with Band)Clifton Williams 
Flag of VictoryFranz von Bloned. Gore
Tam o’Shanter OvertureMalcolm Arnoldarr. Paynter
O Magnum MysteriumMorten Lauridsentrans. Reynolds
Symphony in B flatPaul Fauchet 
Immovable DoPercy Aldridge Grainger 
Symphony No. 1 For BandClaude T. Smith 
I. Flourish  
II. March  
III. Lyric Song  
IV. Toccata  
Hollywood! arr. Warren Barker
Gallop (mvt. 4) - 1st Suite for BandAlfred Reed 
Symphonic Dance No. 3, 'Fiesta'Clifton Williams 
ShenandoahFrank Ticheli 
Symphony No. 2, 'Romantic'Howard Hansonarr. McBeth
Vigils KeepJulie Giroux 
Barnum and Bailey's FavoriteKarl Kingarr. Bainum
Morning AlleluiasRon Nelson 
Incidental SuiteClaude T. Smith 
I. Taratella  
II. Nocturne  
III. Rondo  
Stille NachtFranz Grüberarr. Davis
Molly on the ShorePercy Aldridge Grainger 
KönigsmarschRichard Straussarr. Barrett
MetroplexRobert Sheldon 
Il GuaranyA. Carlo Gomezarr. Clarke
Overture on an Early American Folk HymnClaude T. Smith 
Mother EarthDavid Maslanka 
ValdresJohannes Hanssenarr. Bainum
Be Thou My Vision arr. David Gillingham
Tribute to Basie arr. Warren Barker
Poet and Peasant OvertureFranz von Suppe' 
Amparita RocaJamie Texidor 
Chorale and Shaker DanceJohn Zdechlik 
Mooon by NightJohnathan Newman 
"March" from Symphonic MetamorphosisPaul Hindemith 
Ride!Samuel R. Hazo 
Second Suite in FGustav Holstarr. Colin Matthews
1. March  
2. Song Without Words  
3, Song of the Blacksmith  
4. Fantasia on Dargason  
A Gershwin Portrait arr. John Higgins
Finale from "Sym. No. 3 in C# "Organ Concerto"Camille Saint-Saënsarr. Slocum
Ruy Blas OvertureFelix Mendelssohnarr. Roberts/Kent
The Vanished ArmyKenneth J. Alforded. Frederich Fennell
Symphonic Dance Music from West Side StoryLeonard Bernstein 
With Sword and LanceRoger G. Swift 
Celebration FanfareSteven Reineke 
The View from the Mountain TopTimothy Mahr 
Rondo FestivoJoseph Compello 
Pas Redouble'Camille Saint-Saënsarr. Arthur Frackenpohl
Rienzi OvertureRichard Wagnerarr. Meyrelles
Tribute to Irving BerlinIrving Berlinarr. Barker
Putsza - mvt 1Jan Van der Roost 
Putsza - mvt 2Jan Van der Roost 
Putsza - mvt 3Jan Van der Roost 
Putsza - mvt 4Jan Van der Roost 
Midnight SleighrideSauter & W.E. Finegan 
A Christmas FestivalLeroy Anderson 
Sleigh RideLeroy Anderson 
The Circus BeeHenry Fillmore 
The Pines of RomeOttorino Respighiarr, Duker
Invictus the UnconqueredPhilip Sparke  
SilveradoBruce Broughtonarr. Randol Bass
Blue ShadesFrank Ticheli 
Them BassesG.H. Huffine 
Casey at the BatRandol Alan BassPoem by Ernest Thayer
Lincolnshire PosyPercy Aldridge Graingerassembled by Fennell
I. Libson  
II. Horkstow Grange  
III. Rufford Park Poachers  
IV. The Brisk Young Sailor  
V. Lord Melbourne  
VI. Lost Lady Found  
Third Suite for BandRobert E. Jager 
I. March  
II. Waltz  
III. Rondo  
Cantique de Jean RacineGabriel Faurearr. Musgrave
Handel in the StrandPercy Aldridge Grainger 
Dance of the JestersPeter Ilyich Tchaikovskyarr. Ray Cramer
PunchinelloWilliam Rimmer  
Canticle of the CreaturesJames Curnow 
I. Prologue  
II. Brother Sun  
III. Sister Moon and Stars  
IV. Brother Fire  
V. Mother Earth  
Greensleeves arr. Claude T. Smith
JubilosoDavid Gorham 
Variations on a Korean Folk SongJohn Barnes Chance 
Francesca da RiminiPeter Ilyich Tchaikovskyarr.
Espirt de CorpsRobert E. Jager 
MasqueFrancis McBeth 
Fantasie (for Flute Solo and Band)Georges-Huesarr. Bourgeois
Manzoni RequiemGuiseppe Verdiarr. Mollenhauer
Gandalf The Wizard, Mvt. 1 (from Symphony No. 1 "The Lord of the Rings")Johan de Meij 
MangulinaPaul Basler 
Irish Tune from County DerryPercy Aldridge Grainger 
Year of the Dragon, mvts 1-3Philip Sparke 
Ringling Bros. Grand EntryAl Sweetarr. Glover
Short Ride HomeDana Wilson 
Prelude to Act I - La TraviataGuiseppe Verdiarr. Falcone
The Promise of LivingAaron Coplandtrans. Duffy
Simple Gifts (Shaker Song)Aaron Coplandtrans. Silvester
Canticle of FreedomAaron Coplandtrans. Duffy
An American HymnCecil Effinger 
Testament of FreedomRandall Thompson 
Cloudsplitter FanfareJack Stamp 
Mad Major MarchKenneth J. Alford 
Sonoran Desert HolidayRon Nelson 
The Bartered BrideBedrich Smetanaarr. Jack T. Kline
II. The Furiant  
III. Dance of the Comedians  
Armed Forces Salute arr. Bob Lowden
Dance PreludeClaude T. Smith 
Ave MariaFranz Bieblarr. William Ballenger
Sabre and SpursJohn Philip Sousaed. Federick Fennell
Russan and LumillaMichael Glinkatrans. William Hensley
Across the HalfpipeSamuel R. Hazo 
A Slavic FarewellVasily Agapkined. John Bourgeois
Morning, Noon, and Night (in Vienna)Franz von Suppearr. Henry Fillmore
Salvation is Created!Pavel Tschenokoffarr. Bruce Houseknecht
Selections from Les MiserabléClaude M. Schónbergarr. Warren Barker
Serendade for Alto Saxophone and BandFrank Bencriscutto 
Spoon RiverPercy Aldridge Graingerarr. Glenn Bainum
Über Berg, über TalFranz von Suppearr. John Bell
Wild Nights!Frank Ticheli 
Unter dem Doppeladler (Under the Double Eagle)Josef Franz Wagner 
Symphonisches PraeludiumGustav Mahler 
Concerto for ClarinetArtie Shaw 
VesuviusFrank Ticheli 
Grand Overture Pour Musique MilitaireGeorg Rauchenecker 
Symphonic SongsRobert Russell Bennett 
I. Serenade  
II. Spiritual  
III. Celebration  
Zacatecas MarchGenaro Codina 
MasqueKenneth Hesketh 
Sympohnic SuiteClifton Williams 
GloriaRandol Alan Bass 
Laughing All the Way arr. Larry MacTaggart
Roman Carnival Overture, TheHector Berlioz 
Contre Qui, RoseMorten Lauridsen 
Illaryan DancesGuy Woolfenden 
I. Aubade  
II. Gigue  
III. Rondeau  
RosymedreRalph Vaughan Williams 
Invercargil March??? 
Procession of the NoblesNicoli Rimsky-Korsakovarr. Erik W.G. Leidzen
Concerto in G for Flute (Flute Solo and Wind Ensemble)Johann Joachim Quantz 
MementoGavin Lendt 
Zenyatta (Galop)Frederick Speck 
Elsa's Procession to the Cathedral (from "Lohengrin")Richard Wagnerarr. Lucien Cailliet
VelocityRobert Sheldon 
English Folk Song SuiteRalph Vaughan Williams 
I. March "Seventeen Come Sunday"  
II. Intermezzo "My Bonnie Boy"  
III. March   
Danzon No. 2Arturo Marquez 
A Winter's DawnJohn Fannin 
Fackeltanz No. 1 in BbGiamcomo Meyerbeersc. Wilhelm Friedrich Wieprecht
Deck the Hallstraditional, Chip Davisarr. Robert Longfield
Ballet Music from "Faust"Charles GounodL. P. Laurendeau
Christmas in the Roundvariousarr. Robert W. Smith
Emmanuel VarientsRobert E. Foster 
In Shepherd's Sight...Gavin Lendt 
BoleroMaurice Ravelarr. Frank Erickson
Danza Final (from Estancia)Alberto Ginesteraarr. David John
Second Suite for Band (Latino-Mexicana)Alfred Reed 
Vilabella Kenneth Williamsed. Alfred Reed
La Fiesta MexicanaH. Owen Reed 
Danzas CubanasRobert Sheldon 
The Show Boy MarchWill Huff 
After a Gentle RainAnthony Iannaccone 
Imagine, If You Will…Timothy Mahr 
TrauersinfonieRichard Wagner 
UndertowJohn Mackey 
Carnival of VeniceHerbert L. Clarke 
Selections from "Wicked"Steven Schwartzarr. Jay Bocook
Children's March "Over the Hills and Far Away"Percy Aldridge Graingerrevised Frank Erickson
Nabucco OvertureGiuseppe Verdiarr. Lucien Cailliet
Lassus TromboneHenry Fillmore 
Them BassesGetty H. Huffine 
Kirkpatrick FanfareAndrew Boysen, Jr. 
Lohengrin - Introduction to Third ActRichard Wagnerarr. George Drumm
Overture to a Winter CelebrationJames Stephenson 
Aspen JubileeRon Nelson 
Toboggan RideStan Applebaum 
A Fireside Christmasvariousarr. Sammy Nestico
March of the ToysVictor HerbertMark Rogers
The Night Before ChristmasRandol Alan Bass 
Auld Lang SyneBurns/Davisarr. Robert Longfield
Sleigh RideLeroy Anderson

Clifton Williams

James Clifton Williams Jr. was born in Traskwood, Arkansas, in 1923. Despite the financial difficulties of the depression of the early 1930's, Williams fared well in school, learning the piano, mellophone, and french horn. In his senior class of 600, he was voted the most outstanding in artistry, talent, and versatility. In 1942, he joined the Army Air Corps as a bandsman, serving as drum major and composing works at every opportunity. After the war, he attended Louisiana State University and went on to earn his M. M. degree at the Eastman School of Music in 1949. He taught at the University of Texas at Austin for seventeen years. In the 10 years before his death in 1976, he served as chairman of the department of theory and composition at the University of Miami, where he was influenced by and became close friends with Frederick Fennell.

Most widely acclaimed as a composer of serious music for the concert wind band, he composed in many forms and his prizes, awards and honors were numerous. Williams won the first two Ostwald Composition Awards. Of particular import is the continuing impact of his work upon the standard of literature for school, college, and military concert bands. His compositions in this medium have become basic repertory for American, Canadian, European, and Japanese bands.

In addition to his many other honors, those most recently listed include election to membership in the American Bandmasters Association, appointment to the Ostwald Memorial Band Music Committee, appointment as Governor of Province 13, Phi Mu Alpha Sinfonia National Professional Music Fraternity, and the honorary degree of Doctor of Music conferred by the National Conservatory or Music at Lima, Peru in 1964. The musical idiom of Williams' music is conservative, and yet contemporary in concept. His use of modern instrumentation was skillful and delights those who perform and listen to it. He died in Miami on February 12, 1976 due to cancer. Sources: Band Music Notes The Heritage Band Encyclopedia

Education

He attended Louisiana State University (B.M., 1947) where he was a pupil of Helen Gunderson and the Eastman School of Music (M.M., 1949) where he studied with Bernard Rogers and Howard Hanson.

Tenure

In 1949 Williams joined the composition department at the University of Texas School of Music. He taught there until he was appointed Chair of the Theory and Composition Department at University of Miami in 1966. Williams retained this position until his death in 1976. His composition students included W. Francis McBeth and John Barnes Chance.

Compositions

Williams' early compositions were for orchestra and he would later achieve great success writing for concert band. He won the inaugural American Bandmasters Association's Ostwald Award for original band literature in 1956 for his first band composition, Fanfare and Allegro. Williams won the award again in 1957 for Symphonic Suite. The San Antonio Symphony commissioned Williams to compose a work for its 25th anniversary. He composed five symphonic dances which he would later arrange for concert band.

The following is a partial list of band compositions by Clifton Williams:

  1. Academic Processional
  2. Air Force Band of the West
  3. Arioso
  4. Border Festival
  5. Caccia and Chorale
  6. Castle Gap
  7. Dedicatory Overture
  8. Fanfare and Allegro
  9. Festival
  10. Henderson Festival
  11. Hermitage
  12. Killian
  13. Laredo
  14. March Lamar
  15. Patriots
  16. Ramparts
  17. Regal Procession
  18. The Sinfonians
  19. Solumn Fugue
  20. Sonata Allegro
  21. Strategic Air Command March
  22. Symphonic Dances
    1. No. 1 (Comanche)
    2. No. 2 (The Maskers)
    3. No. 3 (Fiesta)
    4. No. 4 (Square Dance)
    5. No. 5 (New Generation)
  23. Symphonic Essays
  24. Symphonic Suite
  25. Trilogy for Band
  26. Variation Overture

Fanfare and Allegro

In 1956, Fanfare and Allegro was the first composition to win the American Bandmasters Association's Ostwald Award for original band literature. It was the springboard to William�s national acclaim as the composer of serious music for concert band. The Fanfare begins with a dynamic brass and percussion statement. The woodwinds enter with an ostinato figure that gradually shifts pitch from high to low. There is a chordal development as a tympani roll leads directly to the Allegro movement, again introduced by the brass. A rhythmically complex interplay between the voices of the ensemble drives the movement forward to a dramatic climax.

Symphonic Dance No. 3, Fiesta

Fiesta was originally one of Clifton Williams' five Symphonic Dances, commissioned by the San Antonio Symphony Orchestra to celebrate their 25th anniversary in 1964. In the original suite, each of the five dances represented the spirit of a different time and place relative to the background of San Antonio, Texas. Fiesta is an evocation of the excitement and color of the city's numerous Mexican celebrations. The modal characteristics, rhythms, and finely woven melodies depict what Williams called "the pageantry of Latin-American celebration - street bands, bull fights, bright costumes, the colorful legacy of a proud people." The introduction features a brass fanfare that generates a dark, yet majestic atmosphere that is filled with the tension of the upcoming events. The soft tolling of bells herald an approaching festival with syncopated dance rhythms. Solo trumpet phrases and light flirtatious woodwind parts provide a side interest as the festival grows in force as it approaches the arena. The brass herald the arrival of the matador to the bullring and the ultimate, solemn moment of truth. The finale provides a joyous climax to the festivities.

The Sinfonians, Symphonic March

A symphonic march, "The Sinfonians" was commissioned by Phi Mu Alpha Sinfonia Fraternity of America, of which Williams held the high position of Province Governor. It is based on the theme song of the fraternity, "Hail Sinfonia," with words by Charles Lutton set to music of Arthur Sullivan. The words to the song are as follows:
Hail Sinfonia, come brothers Hail,
May Phi Mu Alpha ever reign,
Hearts, hands, and minds we pledge to thee,
All hail, all hail, all hail Sinfonia!

After an extended fanfare introduction in the march, the theme representing these words is introduced by the horns, continued by the trombones, and finished by the whole ensemble. Williams adds to and embellishes this song in his distinctive manner, finishing the piece with the final line, "All Hail Sinfonia," in a stately augmentation. The piece is dedicated to Archie N. Jones, former president of the fraternity and later director of that organization's foundation. Williams conducted the first performance at the fraternity's national convention in Cincinnati, Ohio, in July 1960.

Educational Aspects:

Key(s) Signature

  1. Concert Eflat Major
  2. Concert Bflat Major

Time Signature

  1. C
  2. 4/4

Tempo/Mood Markings

  1. Tempo di Marcia
  2. Maestoso
  3. Tempo I
  4. Lirico
  5. Cantando
  6. Gradioso

Musical Terms

  1. poco a poco
  2. Stringendo
  3. Trills
  4. Grace notes

Rhythmical Challenges

  1. 8th note triplet
  2. Triplet variations where two 16ths replace either the first, middle, or last 8th
  3. 8th note followed by a 16th note triplet
  4. 16th note triplet followed by 8th note
  5. Dotted 8th followed by 32nd note triplet

Thematic Analysis of The Sinfonians

  1. Introduction - Fanfare mm. 1-17
  2. Rehearsal #1: Theme A
  3. "Hail Sinfonia," introduced, broken by interlude material mm. 18 - 31

    1. mm 18-19 - First phrase in French Horns
    2. mm 20-21 - Interlude material in Full Band
    3. mm 22-23 - Second phrase in Trombones
    4. mm 24-25 - Interlude material in Full Band
    5. mm 26-27 - Third phrase in French Horns, Baritones, and Trombones
    6. mm 28-29 - Fourth phrase in Full Band
    7. mm 30-31 - Interlude material in Full Band
  4. Rehearsal # 2: Percussion Break mm. 32 - 39
  5. Rehearsal # 3: Theme B introduced mm. 40 - 47; Key Change
    1. mm 40-47 - Piccolo, Snare Drum Duet
    2. Colonial March - Fife and Drum style
  6. Rehearsal # 4: Themes A & B layered mm. 48 - 55
    1. Theme A returns in Trombones unbroken by interlude material for the first time
    2. Flutes join piccolo on B theme
  7. Rehearsal # 5: Percussion Break mm. 56 - 59
    1. Serves as closure for section
    2. Serves as introduction to C theme
    3. Helps to tie together all thematic material introduced
  8. Rehearsal # 6: Theme C introduced mm. 60 - 75; Key Change; pseudo Trio
    1. Adds flat
    2. Style Change
    3. Lyrical
  9. Rehearsal # 7: Theme C reduced and augmented mm. 76 - 87
    1. Introduction fanfare rhythms layered
    2. Countermelody introduced
  10. Rehearsal # 8: Theme C restated mm. 88 - 103; Continuation of layering
    1. Introduction fanfare rhythms
    2. Theme C augmentation with ornamentation
  11. Rehearsal # 9: Theme C augmentation restated mm. 104 - 115
    1. Woodwind Chorale with french horn and tuba; countermelody used
    2. Transition to Grandioso mm 112-115
  12. Rehearsal # 10: Partial Theme A restated mm. 116 - 125
    1. Augmentation of partial Theme A
    2. Return of interlude material
    3. Bass line Tonic to Dominant for extension to end

    Herbert L. Clarke

    b Woburn, MA, 12 Sept 1867; d Long Beach, CA, 30 Jan 1945

    American cornet player and bandmaster. He was the best-known cornetist of his time, associated as a soloist with Sousa�s Band (1893�1917, and making many recordings from 1899) and with Gilmore�s Band (1892, and in its reorganized form under Victor Herbert, 1893�8). He played second trumpet (on cornet) with the New York PO during December 1898, and first trumpet (on trumpet) with the Metropolitan Opera during the beginning of the following season. From 1913 to 1915 he was cornet tester for the C.G. Conn Co. In 1916 he developed a medium-length Holton-Clarke model cornet with the Holton Co., with which he was formally associated in 1917�18. He was later a bandmaster, in Huntsville, Ontario (1918�23), and with the Long Beach (California) Municipal Band (1923�43). In April of 1934, he was elected President of the American Bandmasters Association. From 1936 until his death in 1945, he developed a friendship with and gave private lessons to Claude Gordon. His ashes were interred at the Congressional Cemetery in Washington, D.C., near the gravesite of John Philip Sousa. His papers and memorabilia are held at the Sousa Archives and Center for American Music at the University of Illinois at Urbana-Champaign.

    Although Clarke was self-taught, he gained a considerable reputation as a teacher, beginning with the development of his own method of diaphragmatic breathing in 1906�7. Besides revising the Arban method, he issued Technical Studies for the Cornet (1912), based on breath control and finger�tongue coordination, which is still widely used.

    Solo cornet compositions

    Clarke composed over 50 solos for cornet, many of which have experienced several editions. Here are some of his most famous, with the date of the earliest publication included.

    • Bride of the Waves (1904)
    • Sounds from the Hudson (1904)
    • Caprice Brillante (1908)
    • Southern Cross (1911)
    • The Carnival of Venice (1912)
    • Sounds from the Hudson (Valse Brillante) (1914)
    • The Debutante (1917)
    • Stars in a Velvety Sky (1919)

    William Howard Schuman

    (http://www.williamschuman.org)

  13. Born August 4, 1910
  14. No plans of becoming a musician at a young age, Schuman enrolled in the NYU School of Commerce to earn a business degree while working in advertising. During this time he was writing simple popular songs for fun with his friends.
  15. April 1930 � Hears Toscanini conduct the New York Philharmonic Orchestra and that moment changes his life. He dropped out of NYU and began private harmony and counterpoint lessons.
  16. 1932-33 � Attends Julliard and begins composing serious music.
  17. 1935 � Becomes teacher and administrator at Sarah Lawrence College
  18. 1938 � Wins an American composition contest for his Second Symphony. This would be an important relationship.
  19. 1941 � Symphony #3 wins the New York Music Critics Circle Award
  20. 1943 � A Free Song wins the first Pulitzer Prize in music
  21. 1945 � Leaves a 3 year position as director of publications at G. Schirmer Publications to become president of Julliard. There he began an extensive reorganization of the School: he merged the Institute of Musical Art with the Juilliard Graduate School to form the Juilliard School of Music, founded the Juilliard String Quartet (which became the model for many quartets-in-residence at American colleges), revived the opera theatre, added a dance division, and, most importantly, instituted the �Literature and Materials of Music� curricular programme, which fused theory and history into a single coherent four-year course with the music itself as the basis for study. An exposition of his approach to music education appeared as The Juilliard Report (1953). Schuman also invited a number of distinguished composers to join the faculty, among them Bergsma, R.F. Goldman, Peter Mennin, Norman Lloyd, Vincent Persichetti, Robert Starer, Robert Ward and Hugo Weisgall.
  22. 1962 - Schuman was made president of the Lincoln Center for the Performing Arts, a position which gave him considerable influence in the administration of the arts and one which he exercised in a characteristically imaginative and forceful manner. He encouraged the commissioning and performing of American works, and the importance he placed on the centre�s service to urban communities led to the Lincoln Center Student Program, which instituted concerts in schools and opened the centre�s halls for young people�s concerts. He founded the Chamber Music Society of Lincoln Center, the Film Society and a summer series of special musical events. He fought a long and successful battle to have the Juilliard School housed in Lincoln Center and to add a drama division to its offerings. At the end of 1969 Schuman left his post at Lincoln Center to devote himself to composition, but he has continued to champion the cause of the arts as a public speaker and as an adviser to numerous organizations, including the Koussevitzky Foundation, the Naumburg Foundation and the Charles Ives Society. He was chairman of the MacDowell Colony (1974�7, 1980�83) and became honorary chairman in 1984; he was the founding chairman of the Norlin Foundation (1975�85). He received the Gold Baton Award of the American Symphony Orchestra League (1985), the National Medal of Arts (1987) and the Kennedy Center Honors (1989). Schuman continued to compose despite a painful inherited bone disease. He maintained his legendary personal charm and gifts as a public speaker to the end (died in 1992).

Band Works

  • Newsreel, in Five Shots,1941, arr. orch, 1942
  • George Washington Bridge, 1950
  • Chester Overture, 1956 [from New England Triptych]
  • When Jesus Wept, 1958 [from New England Triptych]
  • Philharmonic Fanfare, 1965, unpubd [withdrawn]
  • Dedication Fanfare, 1968
  • Anniversary Fanfare, (brass & perc only), 1969
  • Prelude for a Great Occasion, (brass & perc only), 1974
  • Be Glad then, America, 1975 [from New England Triptych]

How Chester came to be�
William Billings Overture � 1943 for orchestra (with drawn)
New England Triptych (for orchestra) - 1956

New England Triptych is a symphonic composition by William Schuman. The work lasts about 16 minutes, and is written for an orchestra of 3 flutes (3rd = piccolo), 2 oboes, English horn, E-flat clarinet, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, euphonium, tuba, timpani, percussion (bass drum, cymbals, snare drum, tenor drum), and strings.

Subtitled "Three Pieces for Orchestra After William Billings", New England Triptych is basically an expansion of Schuman's 1943 William Billings Overture (premiered by Artur Rodzinkski and the New York Philharmonic in 1944 but never published, and since withdrawn by the composer). New England Triptych was written in 1956 and premiered on October 28 of that year by the Orchestra of the University of Miami under the direction of Andre Kostelanetz, who had commissioned it.

Schuman prefaced his score with this note (and reprinted the pertinent texts for each hymn):
William Billings (1744�1800) is a major figure in the history of American music. His works capture the spirit of sinewy ruggedness, deep religiosity, and patriotic fervor that we associate with the Revolutionary period in American history. I am not alone among American composers who feel a sense of identity with Billings, which accounts for my use of his music as a departure point. These three pieces are not a "fantasy" nor "variations" on themes of Billings, but rather a fusion of styles and musical language.

He then transcribed Chester for band the same year. Two years later he transcribed When Jesus Wept and finally Be Glad then America in 1975.

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