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Virgil Thomson had already established himself as one of the nation's leading composers when he published The State of Music (1939), the book that made his name as a writer and won him a fourteen-year stint as chief music reviewer at the New York Herald Tribune. This feisty, often hilarious polemic, presented here in the extensively revised edition of 1962, surveys the challenges confronting the American composer in a hide-bound world where performance and broadcast outlets are controlled by institutions shocked by the new and suspicious of homegrown talent. For Aaron Copland, The State of Music was not just “the most original book on music that America has produced,” but “the wittiest, the most provocative, the best written.”
This essential reader includes Thomson's essays on making a living as a musician; his articles on classic composers; his relation to his contemporaries; his articles on newcomers in the music world, including John Cage and Pierre Boulez; his autobiographical writings and commentary on his own works.
A Pulitzer Prize–winning music critic presents an unprecedented collection of the writings of the great composer-critic and father of American classical music, Virgil Thomson Following on the critically acclaimed edition of Virgil Thomson’s collected newspaper music criticism, The Library of America and Pulitzer Prize–winning music critic Tim Page now present Thomson’s other literary and critical works, a body of writing that constitutes America’s musical declaration of independence from the European past. This volume opens with The State of Music (1939), the book that made Thomson’s name as a critic and won him his 14-year stint at the New York Herald Tribune. This no-holds-barred polemic—here presented in its revised edition of 1962—discusses the commissions, jobs, and other opportunities available to the American composer, a worker in a world of performance and broadcast institutions that, today as much as in Thomson’s time, are dominated by tin-eared, non-musical patrons of the arts who are shocked by the new and suspicious of native talent. Thomson’s autobiography, Virgil Thomson (1966), is more than just the story of the struggle of one such American composer, it is an intellectual, aesthetic, and personal chronicle of the twentieth century, from World War I–era Kansas City to Harvard in the age of straw boaters, from Paris in the Twenties and Thirties to Manhattan in the Forties and after. A classic American memoir, it is marked by a buoyant wit, a true gift for verbal portrait-making, and a cast of characters including Aaron Copland, Gertrude Stein, James Joyce, Paul Bowles, John Houseman, and Orson Welles. American Music Since 1910 (1971) is a series of incisive essays on the lives and works of Ives, Ruggles, Varèse, Copland, Cage, and others who helped define a national musical idiom. Music with Words (1989), Thomson’s final book, is a distillation of a subject he knew better than perhaps any other American composer: how to set English—especially American English—to music, in opera and art song. The volume is rounded out by a judicious selection of Thomson’s magazine journalism from 1957 to 1984—thirty-seven pieces, most of them previously uncollected, including many long-form review-essays written for The New York Review of Books. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.
A cultural history of a famous collaboration, Virgil Thomson's and Gertrude Stein's making of the modernist opera, Four Saints in Three Acts. Watson explores the transatlantic, commercial, racial, gay, and artistic aspects of this story (NewYork/Paris, with Kansas City thrown in for fun; Thomson's score echoes the very American rhythms of his youth). Juicy, smart, and sophisticated writing and analysis.
In Mary Lou Williams: Music for the Soul, Deanna Witkowski brings a fresh perspective to the life and music of the legendary jazz pianist-composer Mary Lou Williams (1910-81). As a fellow jazz pianist-composer, adult convert to Catholicism, and liturgical composer, Witkowski offers unique insight gleaned from a twenty-year journey with Williams as her chosen musical and spiritual mentor. Viewing Williams’s musical and corporal acts of mercy as part of a singular effort to create community no matter the context, Witkowski examines how Williams created networks of support and friendship through her decades long letter correspondence with various women religious, her charitable work, and her tireless efforts to perform jazz in churches, community centers, concert halls, and schools. Throughout this fascinating story told with equal amounts of deep love and scholarly research, Witkowski illumines Williams’s passionate mantra that “jazz is healing to the soul.”
Written with exclusive access to Virgil Thomson's papers, this first full-scale account of Thomson's experiences as a composer, influential critic, and gay man chronicles his relationships with Gertrude Stein, Aaron Copeland, and others in 1920's Paris. Photos.
New York Times Bestseller An NPR Best Book of the Year Winner of the Chicago Tribune Literary Award Finalist for the Marfield Prize, National Award for Arts Writing "Reads the way Mr. Glass's compositions sound at their best: propulsive, with a surreptitious emotional undertow." —Corinna da Fonseca-Wollheim, New York Times Philip Glass has, almost single-handedly, crafted the dominant sound of late-twentieth-century classical music. Yet in Words Without Music, his critically acclaimed memoir, he creates an entirely new and unexpected voice, that of a born storyteller and an acutely insightful chronicler, whose behind-the-scenes recollections allow readers to experience those moments of creative fusion when life so magically merged with art. From his childhood in Baltimore to his student days in Chicago and at Juilliard, to his first journey to Paris and a life-changing trip to India, Glass movingly recalls his early mentors, while reconstructing the places that helped shape his creative consciousness. Whether describing working as an unlicensed plumber in gritty 1970s New York or composing Satyagraha, Glass breaks across genres and re-creates, here in words, the thrill that results from artistic creation. Words Without Music ultimately affirms the power of music to change the world.
The timely, passionate, and humanely political work of America's greatest folk singer and songwriter is presented through his own words and art – curated by Woody's daughter – in this essential self-portrait, including never-before published lyrics and personal writing, and testimony from contemporary writers and musicians on his powerful relevance today. Woody Guthrie and his passionate social politics are as crucial today as they have ever been. A powerful voice for justice, and the author of more than 3,000 songs (including "This Land is Your Land"), he was also a poet, painter, illustrator, novelist, journal keeper, and profuse letter writer. Curated by his daughter Nora and award-winning music historian Robert Santelli, this fresh, intimate, and beautifully designed book thematically reveals Woody's story through his own personal writings, lyrics, and artwork, urgently bringing his voice to life. Featuring never-before-published lyrics to some of his greatest songs, personal diary entries, doodles, quips and jokes, and piercing insights on his politics and justice, this is an undeniable and important celebration of Woody's vibrant life's work. Created to be enjoyed by all – those interested in folk music or those interested in Woody's thoughts on Life in all its aspects, from Politics and Spirituality, to Love and Family – this book reflects Bob Dylan's thoughts on Woody Guthrie; "You can listen to his songs and learn how to live." ONE OF THE MOST INFLUENTIAL SONGWRITERS IN AMERICAN MUSIC HISTORY: Woody Guthrie has had a profound impact on American musicians, writers, politicians (and the everyman who found solace and kinship in Guthrie's writings and political beliefs), who have been shaped by his music and activism – namely the great founding father of songwriting himself, Bob Dylan, for whom he was a mentor. Others who have named Guthrie as a major influence include Bruce Springsteen, Johnny Cash, Pete Seeger, John Mellencamp, Billy Bragg, Joe Strummer, and Jerry Garcia, just to name a few. RARE ARCHIVAL MATERIAL: This is Woody's life told primarily in his own words, with never-before published handwritten lyrics, artwork, journals, and much more. WORDS OF WISDOM RELEVANT TODAY: Woody Guthrie's lyrics and writings carry pointed relevance to our world today – he wrote powerfully about economic inequality, immigration reform, fascism, war, corruption from capitalism gone wild, patriotism, and environmentalism – not to mention spirituality of all kinds, love, and family. EXCLUSIVE CONTRIBUTORS: Includes new writing about Woody and his music by Chuck D., Ani DiFranco, Douglas Brinkley, Jeff Daniels, Arlo Guthrie, and Rosanne Cash. Perfect for: • Music lovers • Musicians and artists • Political activists and historians • Fans of Americana
A Kirkus Reviews Best Nonfiction Book of 2021 A provocative interpretation of why classical music in America "stayed white"—how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvorák prophesied a “great and noble school” of American classical music based on the “negro melodies” he had excitedly discovered since arriving in the United States a year before. But while Black music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvorák’s lead. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to George Gershwin’s Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Aaron Copland and Leonard Bernstein, he looks back to literary figures—Emerson, Melville, and Twain—to ponder how American music can connect with a “usable past.” The result is a new paradigm that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Levi Dawson, and Florence Price, while giving increased prominence to Charles Ives and George Gershwin. Dvorák’s Prophecy arrives in the midst of an important conversation about race in America—a conversation that is taking place in music schools and concert halls as well as capitols and boardrooms. As George Shirley writes in his foreword to the book, “We have been left unprepared for the current cultural moment. [Joseph Horowitz] explains how we got there [and] proposes a bigger world of American classical music than what we have known before. It is more diverse and more equitable. And it is more truthful.”