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Despite the Modernist search for new and innovative aesthetics and rejection of traditional tonality, several twentieth century composers have found their own voice while steadfastly relying on the aesthetics and techniques of Romanticism and 19th century composition principles. Musicological and reference texts have regarded these composers as isolated exceptions to modern thoughts of composition_exceptions of little importance, treated simplistically and superficially. Music critic and scholar Walter Simmons, however, believes these composers and their works should be taken seriously. They are worthy of more scholarly consideration, and deserve proper analysis, assessment, and discussion in their own regard. In Voices in the Wilderness, the first in a series of books celebrating the 'Twentieth-Century Traditionalist,' Simmons looks at six Neo-Romantic composers: Ernest Bloch Howard Hanson Vittorio Giannini Paul Creston Samuel Barber Nicolas Flagello Through biographical overviews and a comprehensive assessment of musical works, Simmons provides readers with a clear understanding of the significance of the composers, their bodies of work, and their placement in musicological history. The chapters delve deeply and objectively into each composer's oeuvre, addressing their origins, stylistic traits and consistencies, phases of development, strengths and weaknesses, and affinities with other composers. The composers' most representative works are identified, and each chapter concludes with a discography of essential recordings. Visit the author's website to read samples from the book and to listen to representative excerpts of each composer's work.
Walter Simmons has received the National Educational Film Festival Award and the ASCAP/Deems Taylor Award for music criticism. He has contributed articles to The New Grove Dictionary of American Music, American National Biography, Fanfare, Music Journal, and Musical America.
Part 1 AcknowledgmentsPart 2 1. IntroductionChapter 3 The American Neo-RomanticsChapter 4 Organization and Use of This BookChapter 5 NotesChapter 6 Selected BibliographyPart 7 2. Ernest BlochChapter 8 BiographyChapter 9 MusicChapter 10 Most Representative, Fully Realized WorksChapter 11 Early Works: First European Period (1901-1906)Chapter 12 Maturity: First European Period (1909-1916)Chapter 13 Maturity: New York Period (1916-1919)Chapter 14 Maturity: Cleveland Period (1920-1925)Chapter 15 Maturity: San Francisco Period (1925-1929)Chapter 16 Maturity: Second European Period (1930-1939)Chapter 17 Later Maturity: Oregon Period (1939-1959)Chapter 18 ConclusionChapter 19 NotesPart 20 3. Howard HansonChapter 21 BiographyChapter 22 MusicChapter 23 Most Representative, Fully Realized WorksChapter 24 Early Period (until 1920)Chapter 25 Early Maturity (1921-1946)Chapter 26 Later Maturity (after 1947)Chapter 27 ConclusionChapter 28 NotesChapter 29 Selected BibliographyChapter 30 Essential DiscographyPart 31 4. Vittorio GianniniChapter 32 BiographyChapter 33 MusicChapter 34 Most Representative, Fully Realized WorksChapter 35 First Phase (1920s through Early 1940s)Chapter 36 Second Phase (Early 1940s through 1960s)Chapter 37 Third Phase (1960-1966)Chapter 38 ConclusionChapter 39 NotesChapter 40 Selected BibliographyChapter 41 Essential DiscographyPart 42 5. Paul CrestonChapter 43 BiographyChapter 44 MusicChapter 45 Stylistic FeaturesChapter 46 Most Representative, Fully Realized WorksChapter 47 Discussion of WorksChapter 48 ConclusionChapter 49 NotesChapter 50 Selected BibliographyChapter 51 Essential DiscographyPart 52 6. Samuel BarberChapter 53 BiographyChapter 54 MusicChapter 55 Most Representative, Fully Realized WorksChapter 56 "Childhood": Early Period (until 1942)Chapter 57 "Adolescence": Period of Exploration and Experimentation (1942 through 1952)Chapter 58 "Adulthood": Music of Maturity (after 1952)Chapter 59 ConclusionChapter 60 NotesChapter 61 Selected BibliographyChapter 62 Essential DiscographyPart 63 7. Nicolas FlagelloChapter 64 BiographyChapter 65 MusicChapter 66 Most Representative, Fully Realized WorksChapter 67 Early Period (until 1958)Chapter 68 Transitional Period (1958-1959)Chapter 69 Mature Period (1959-1985)Chapter 70 ConclusionChapter 71 NotesChapter 72 Selected BibliographyChapter 73 Essential DiscographyPart 74 IndexPart 75 About the Author
Recommended. Upper-division undergraduates through faculty; professionals; general readers.