American Music

[BFerrell]

Does anyone have a photo of Robert Sanders?

[eschiss1]

Maybe somewhere on the Indiana University website- I think he (Robert Sanders, 1906-74) was one of their past Deans? Not sure. (I'm not at my own computer and limited in my downloading abilities etc.)

[eschiss1]

I wonder how Whitney's recording of the Vincent compares with Ormandy's (which has been available on CD)? - will try to catch a listen to the latter at some point and look forward to downloading the former. (Unusual for works to be recorded- or, it sometimes seems, performed- twice. I seem to recall hearing the Vincent symphony on the radio and thinking quite well of it.)
Thanks! (Have generally enjoyed Ormandy's take on things anyway, as with his Harris 7/Schuman 6/Piston 4 recordings- now also on one CD - a very good one, I do think. And Whitney's too, and Mester's.)

[BFerrell]

Found it. Go to 1938 to grab pic of Robert Sanders.  Can it be posted on here? Thank you!

http://www.music.indiana.edu/about/timeline.shtml

[jowcol]

I'm currently in the act of uploading three American Organ Concerti from (drum roll please....) the collection of Karl Miller

The first is:

Leo Sowerby, Organ Concerto in C
E. Power Biggs, Organ
Philadelphia Orchestra
Eugene Ormandy, cond.
Academy of Music
September 29, 1963



There is an interesting story to this work-- E Power Biggs bascially sought out Sowerby to write the concerto--  I can't cut/paste form this site, so you may check it out here if you are interested.

http://tinyurl.com/87rp8pz


Biographical info from Wikipedia:

Leo Sowerby (May 1, 1895–July 7, 1968), American composer and church musician, was the winner of the Pulitzer Prize for music in 1946, and was often called the "Dean of American church music" in the early to mid 20th century.

Biography
Sowerby was born in Grand Rapids, Michigan, where he began to compose at the age of ten. Early recognition came when his violin concerto was premiered in 1913 by the Chicago Symphony Orchestra (Stalford & Meckna 2001). In 1921 he was awarded the Rome Prize (from the American Academy in Rome), the first composer to receive this. In addition he received the 1946 Pulitzer Prize for Music for his cantata, the Canticle of the Sun, written in 1944 (Stalford & Meckna 2001).

In 1927 he became organist-choirmaster at St James's Episcopal Church, Chicago, which was consecrated as a cathedral while he was there (1955). Previously, Sowerby was associate organist at Fourth Presbyterian Church of Chicago (1919).

In 1962, after his retirement from St James's, he was called to Washington National Cathedral to become the founding director of the College of Church Musicians, a position he held until his death in 1968 (Stalford & Meckna 2001). He died in Port Clinton, Ohio, while at Camp Wa-Li-Ro, in Put-in-Bay, Ohio, the summer choir camp where he had taught for many years.

His substantial output includes over 500 works in every genre but opera and ballet (Stalford & Meckna 2001). His later works, done at St James's, Chicago, and Washington Cathedral, are primarily church music for choir and organ. Sowerby's notable pupils included Robert Beadell, Miriam Clapp Duncan, William Ferris, Edwin Fissinger, Milan Kaderavek, Gail Kubik, Roland Leich, Darwin Leitz, Norman Luboff, Maylon Merrill (Jack Benny's longtime music director), Gerald Near, William Partridge, Florence Price, Ned Rorem, Ronald Stalford, Robert Stewart, and David Van Vactor.


Finally, a reminiscence of Sowerby by  Roger Petrich



This anthem by Leo Sowerby was the sufficient cause for my desire to study composition with him. The text itself [from Luke:24] is one of my favorites, and in Sowerby's music this Post-Easter narrative moves into a warmly expressive world, both touchingly human and transcendent.

In person he was somewhat gruff and pragmatic. "How about this?" as he would pencil in some suggestions on my manuscript compositions. "You've done this before, now do something more interesting here."

My tasks in technical comprehension were uncompromising. Sowerby assigned the Franck "Symphony" for harmonic analysis. And so, chord by chord, I penciled in at the bottom of the miniature score pages each chord with its Roman numeral, and inversion, along the way also identifying the non-harmonic notes. He took pleasure in pointing out notes I had missed because these were played by transposing instruments. Attention to detail was expected. And for counterpoint it was a measure by measure journey through the 24 Fugues of the "Wohltempierte Klavier" of Bach, followed by the 12 Fugues of the "Ludus Tonalis" of Hindemith.

There were stories from the Frederick Stock years with the Chicago Symphony, and in a casual moment I saw the complete score and parts of Sowerby's "Third Symphony" neatly tied up with string. A visual memory: Sowerby conducting with a yellow #2 pencil for a baton his "Classic Concerto" for organ and strings. A time to informally visit with John Browning over martinis about his recent performances of the Barber "Piano Concerto" - this was at Sowerby's home on the Washington Cathedral Close. [I was the one mixing the martinis]

[Dundonnell]

The John Vincent Symphony in D was uploaded yesterday by reiger. The exact same performance has been available here since 21 October 2011, when it was uploaded by shamokin88.

The whole point of compiling an Index of American Music Downloads was to avoid this sort of thing happening. I keep the index up to date on a daily basis.

[jowcol]

Organ Concerto by Robert Cundick
Composer, Organ
Utah Symphony Orchestra
Maurice Abravenel, conductor
Archival recording of live performance

From the collection of Karl Miller



I haven't been able to find out much about this work in general, but I've dug up a little on Cundick.  I'm enjoying this work a lot..


Robert M. Cundick -- Wikipedia Bio:

Robert Milton Cundick Sr. (born 1926) is a Latter-day Saint composer. He also served for many years as an organist at the Mormon Tabernacle. This included accompanying the Mormon Tabernacle Choir and playing organ solos on the weekly broadcast, Music and the Spoken Word.

Early Life
Cundick was born in Salt Lake City, Utah, in 1926. He spent his childhood in Sandy, Utah. His parents, Milton and Florence Pierson Cundick, were both faithful and devoted members of The Church of Jesus Christ of Latter-Day Saints, and the standards of the Church were a major influence on his life. His interest in music began early in life as he played in bands and orchestras, as well as served as the organist for weekly church services (by age 12 he had become organist for his congregation). As his organ skills progressed, he was privileged to become the student of Mormon Tabernacle Organist Alexander Schreiner.

Young Adulthood
After serving in the United States Merchant Marine during World War II, Cundick immediately enrolled at the University of Utah. Despite the fact that his Merchant Marine service was not covered by the G.I. Bill of Rights, Cundick worked hard to pay for his education, and received his BFA, MFA and eventual PhD in Music Composition from the University. He was privileged to study under the tutelage of internationally famous composer Leroy J. Robertson.

It was during his time as a university student that Cundick married his wife, Charlotte (Cholly) Clark. Clark was an organ student of Cundick's. The couple made their home in Salt Lake City, where Cundick was able to continue his university studies.

Life Experiences
Cundick joined the music faculty at BYU in 1957.

In 1962, LDS Church President David O. McKay called Cundick and his family (including five children ages 5-11) to go to London, England, to serve as the organist at the new Hyde Park Chapel. While in England, Cundick appeared in concert at St. Paul's Cathedral and King's College, Cambridge, in addition to his daily recitals at Hyde Park Chapel and a BBC broadcast.

After completing this two year mission, Cundick and his family returned to Provo, Utah, where he resumed his teaching and compositional activity at BYU. This was interrupted when Cundick was called to serve as an organist at the Mormon Tabernacle, located on Temple Square in Salt Lake City, Utah. He served for twenty-seven years.

Following his retirement in 1991, Cundick and his wife were called to serve as Directors of Hosting at the BYU Jerusalem Center in Jerusalem, Israel.
Since his retirement as Tabernacle Organist, Cundick has sought to publicize serious works of Utah and Mormon composers. In 2004 he won the Life Time achievement Pearl Award. Cundick continues to devote much of his time to composition and other music related activities, always making time to serve those around him. In 2007 he released a CD containing compositions from over 50 years of his creativity.

Compositions
The current English LDS hymnal has two hymns with music by Cundick: hymn number 198 "That Easter Morn" (words by Marion D. Hanks) and hymn number 279 "Thy Holy Word" (words by Marvin K. Gardner). Cundick has written many vocal works, such as the cantata The Song of Nephi, as well as The Redeemer (widely viewed has his most significant work), an oratorio with the text selected by Brigham Young University professor Ralph Woodward.[1] Cundick also provided music for the 2004 film Woman, The Pioneer, and he composed the music for The Brothers, a musical play based on the life of Karl G. Maeser, with text by Keith Engar.[2] Most recently, Cundick composed the music to God's Everlasting Love, [3] an oratorio with text by David A. Bednar, performed in the fall of 2009 by the BYU-Idaho choirs and orchestras.[4]

If you wish to hear audio of an  interview with Cundick, you may go here:

http://www.classical89.org/thinkingaloud/archive/episode/?id=5/7/2007

The oddest thing I found out is that he had an active role in coming up with a new Fight song  for the University of Utah's. (Their original sounded like Tom Lehrer's parody "Fight Fiercely Harvard").  Story follows:


'We'll fight to win again' — the U. is singing a new tune

Alumnus writes a feisty fight song to complement famed 'Utah Man'

By Rebecca Cline Deseret News music critic

Published: Sunday, Oct. 15 2000 12:00 a.m. MDT
"Yeah, fight songs are corny and their lyrics make no sense, but I love them all, except Nebraska's and Utah's." This quote, from writer Rick Reilly and published in a recent edition of Sports Illustrated, may stir some red University of Utah blood.

"I just love fight songs," Reilly elaborates. "I, however, hate Utah's: 'I'm a Utah man sir, and I live across the green. Our gang it is the jolliest that you have ever seen.' That stirs the ol' blood, eh? Can't you see the Utes' coach at halftime? 'Dadgummit, gang, we're losin' 51-7! Now get out there and get jolly!' "

On the other hand, however, there are probably many who would agree that it's time for a new fight song.

Accordingly, U. alumnus and Tabernacle organist emeritus Robert Cundick was set to the task of creating the music for a new University of Utah fight song.

"Robert Cutler, who is an avid long-time U. of U. booster and also was president of the Alumni Association, contacted me," Cundick said during an interview in his Salt Lake home. "He had for years wanted to get a real fight song for the U.

" 'Utah Man' was based on a Jewish drinking song, and he always felt it was inappropriate. Every time I'd see him over a period of years, he would try to get me to do this. And so, finally, I was out, working in the yard, and I put my mind to it. I quickly wrote ('Utah Fight Song.')"
The U.'s new fight song will have its premiere during halftime at the football game on Saturday, Oct. 21.

Cundick explained that "Utah Man" isn't a true fight song. "There are two different kinds of songs," he said. "The old song is something that is very nostalgic. It comes out of a time and place that is long gone. (I wanted) to make (the new song) contemporary and very topical; the fight song is a battle cry. My thought was to get a fight song that was in the same style as the Midwest fight songs and Southern California. It's simple and repetitious, and the range of the melody is only a seventh."

Cundick pointed out that the new song is not intended in any way to replace "Utah Man." He explained that since "Utah Man" is not a true fight song, the new "Utah Fight Song" simply fills a niche that had previously been void.

One unique aspect of the song is that it may be a first in the fight-song tradition for athletes of both sexes. "One thing that I feel very strongly about is that it's equally suited to men and women," Cundick said. "It's a very politically correct fight song. Every Ute woman should say, 'Finally, we're not just a token any more.' "

Written around the turn of the century, the exact origins of the "Utah Man" lyrics are unclear. Cundick said that one popular legend attributes them to the football team. "There was a retired English professor at the U. who said that they got the football team together around the campfire and collectively fashioned the words. Someone said, 'OK, what rhymes with that?' and that sort of thing.

"It came out of a macho tradition. However, the original lyric, 'We lift our stein and lager and smoke our big cigar,' didn't fly very long. I'm sure that every Ute woman was up in arms, saying, 'How do we figure into this?' Thus, the line, 'Our coeds are the fairest and each one a shining star,' was undoubtedly a reaction against that line."

While the new song itself was fairly simple to write, Cundick said that his real challenge was to have it approved by the various organizations at the U. "(The alumni association) was worried about it upsetting the old graduates," he noted. "We finally convinced them that this was not a threat to the status quo — it was just an addition."

While Cundick has been key to both writing and championing the new song, he is reticent to linger in the spotlight. "At the outset, I said, 'OK, I'll do this with a pseudonym. It's got to be anonymous. . . . I wanted to do something for the university. But (others) insisted that, 'Oh no, your name is known, you've got to put your name on the music.' People think you're trying to blow you're own horn, and that's not at all what I'm trying to do. I guess it's my character flaw that when I start a project, I see it through. I never let go." (The lyricist of the new song, however, remains anonymous.)
Cundick's persistence has paid off. The new fight song, in addition to "Utah Man" and a collection of other songs of that genre, has been published in a new "University of Utah Songbook."

[jowcol]

The John Vincent Symphony in D was uploaded yesterday by reiger. The exact same performance has been available here since 21 October 2011, when it was uploaded by shamokin88.

The whole point of compiling an Index of American Music Downloads was to avoid this sort of thing happening. I keep the index up to date on a daily basis.

Thanks for the reminder, Colin-- I was about to post Seth Bingham's Organ Concerto, but had noticed that Shamokin 88 has beaten me to the draw.

I would want to say that there are times we may want to have additional postings of the same performance-- an LP transfer may depend on the condition of the LP-- and tape recordings may vary in quality depending on how many generations they are removed from the source.

My recommendation is that the best way to use Indexes (when we are fortunate enough to have them-- thanks to those of you are are dedicated to keeping them up!), is first try to identify any holes or gaps we may have that can be filled from your collection, and avoid duplication.  But, if you've heard what is posted, and think you can provide a better version,  I'm sure your efforts will be welcome.

rieger-- I haven't had a chance to listen to everything you've posted, but I really appreciate you opening up your collection...

[reiger]

The John Vincent Symphony in D was uploaded yesterday by reiger. The exact same performance has been available here since 21 October 2011, when it was uploaded by shamokin88.

The whole point of compiling an Index of American Music Downloads was to avoid this sort of thing happening. I keep the index up to date on a daily basis.

Sorry... Please accept my sincere apology for the inadvertent duplication. I have deleted it. Below is the pic of the program notes for those interested...

[reiger]

jowcowl -- thanks for the upload tips - and for the tip o' the cap! 

[Dundonnell]

The John Vincent Symphony in D was uploaded yesterday by reiger. The exact same performance has been available here since 21 October 2011, when it was uploaded by shamokin88.

The whole point of compiling an Index of American Music Downloads was to avoid this sort of thing happening. I keep the index up to date on a daily basis.

Thanks for the reminder, Colin-- I was about to post Seth Bingham's Organ Concerto, but had noticed that Shamokin 88 has beaten me to the draw.

I would want to say that there are times we may want to have additional postings of the same performance-- an LP transfer may depend on the condition of the LP-- and tape recordings may vary in quality depending on how many generations they are removed from the source.

My recommendation is that the best way to use Indexes (when we are fortunate enough to have them-- thanks to those of you are are dedicated to keeping them up!), is first try to identify any holes or gaps we may have that can be filled from your collection, and avoid duplication.  But, if you've heard what is posted, and think you can provide a better version,  I'm sure your efforts will be welcome.

rieger-- I haven't had a chance to listen to everything you've posted, but I really appreciate you opening up your collection...

Of course you are absolutely correct It may well be that someone has a better quality recording of a piece already available and it would be an obvious advantage to have the better recording. If so, it would be helpful if the poster could add that info' so that there is no unnecessary duplication

reiger.....don't worry about it

[semloh]

reiger - thank you for the sweet suite by Wilder - one of my favourite confections! 

[cjvinthechair]

Jowcol - thanks so much for the wonderful organ concerti; truly uplifting music for a pretty soggy May.
Huge appreciation to you, and to all who upload for us here.

[jowcol]

Robert Kelly, Symphony # 2
1-3 Symphony #2
University of Michigan Symphony Orchestra
Wayne Dunlop, Conductor
Date unknown, Lo-Fi recording.

From the collection of Karl Miller

Info from the American Composer's Alliance.

America Composer's Alliance
Robert Kelly was born September 26, 1916, at Clarksburg, WV. He studied violin at an early age and later majored in violin at the Juilliard School of Music under Samuel Gardner. He studied composition with Rosario Scalero at The Curtis Institute of Music where he received his Bachelor of Music Degree in Composition. Much later he continued studies with Herbert Elwell at the Eastman School of Music where he received his Master of Music Degree in Composition.

From 1946-76 he was Professor of Composition and Theory at the University of Illinois School of Music, Urbana, Illinois. Many of his compositions were composed and performed in this period. Notable ones were: MINIATURE SYMPHONY (Symphony No. 1) premiered by the Austin Symphony, Ezra Rachlin, conductor, and later with Rafael Kubelik conducting this MINIATURE SYMPHONY on one of the University of Illinois Contemporary Arts Festivals. Later there was a memorable performance of the MINIATURE SYMPHONY by the Cleveland Orchestra, George Szell conducting. Kelly's SYMPHONY NO. 2 was premiered in Tokyo, Japan by the Japan Philharmonic Orchestra, Akeo Watanabe conducting. The EMANCIPATION SYMPHONY (Symphony No. 3) was premiered in Washington DC by the National Symphony in 1963, the 100th Anniversary Year of the Emancipation Proclamation. WALDEN POND, an Environmental Cantata for Mixed Choir, Percussion Ensemble, Flute, Soprano, and Narrator was premiered by the University of Illinois Concert Choir and Percussion Ensemble conducted by Harold Decker.

1) Kelly was appointed Associate Member of the University of Illinois Center for Advanced Study in 1963-65 with a grant to compose an opera, THE WHITE GODS, The Aztec Viewpoint of the Conquest of Mexico; 2) guest composer of the New York City Composers Forum in 1957 with the Walden String Quartet of the University of Illinois performing STRING QUARTET NO. 2, and Robert Swenson, cello, and Stanley Fletcher, piano performing SONATA No. 1 for Cello and Piano. 3) commissions by the University of Illinois were SYMPHONY NO. 2, and EMANCIPATION SYMPHONY; 4) National Endowment for the Arts commissions were - CONCERTO FOR VIOLIN AND ORCHESTRA, and CONCERTO FOR VIOLA AND ORCHESTRA.
SYMPHONY NO. 2, Japan Philharmonic, Akeo Watanabe conductor, by Composers Recordings, Inc. "Sunset Reflections" from ADIRONDACK SUITE, OP.1 with Leopold Stokowski and the NBC Symphony by RCA recordings (recently released on CD). SONATA FOR OBOE AND HARP, by Joseph Robinson, principal oboe of the New York Philharmonic, and Deborah Hoffman, harp, on CRS8424. Soon to be released - SONATA FOR OBOE AND HARP on a CD with James Gorton, principal oboe, and Gretchen Van Hoesen, principal harp, both of the Pittsburgh Symphony.

Publishers of Kelly's music are: American Composers Edition, Inc. NYC, and E.C. Schirmer of Boston. Professor Kelly retired from the University of Illinois in 1976; he has been a member of Broadcast Music, Inc. NYC, since the mid 50s.

[semloh]

reiger - Thank you for the  Trois Poemes Juifs by Bloch.  Fine pieces!