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Other recordings in this series: AMERICAN CLASSICS WILLIAM SCHUMAN Symphony No. 6 Prayer in a Time of War • New England Triptych Seattle Symphony • Gerard Schwarz
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William Schuman (1910-1992): Symphony No. 6 Seattle Symphony 2008-2009 Season Prayer in a Time of War • New England Triptych: Three Pieces for Orchestra after William Billings First Violin Viola Piccolo Trumpet Few people have had a greater impact on the performing of melodic, rhythmic, and harmonic complexity, with Maria Larionoff, Susan Gulkis Assadi Zartouhi Dombourian-Eby David Gordon arts in America than William Schuman. He made up for musical material rarely-repeated. Its single movement is Concertmaster Arie Schachter Richard Pressley the late start in his musical studies by becoming one of composed of six interconnected parts — Largo, John Weller Timothy Hale Oboe Geoffrey Bergler the most distinguished composers of the twentieth Moderato con moto, Leggieramente, Adagio, Allegro Simon James Vincent Comer Ben Hausmann century, as well as president of The Juilliard School and risoluto–Presto, and Larghissimo. Doráti commented in Evan Anderson Penelope Crane Stefan Farkas Trombone then Lincoln Center. He composed over one hundred a program note for the première that “the first and last works for various genres, although his great love was parts … provide a frame for the work; or … have a Jennifer Bai Wesley Anderson Dyring Ko-ichiro Yamamoto writing for orchestra. Schuman saw his music as an similar function as the two piers of a bridge — to hold Mariel Bailey Mara Gearman English Horn David Lawrence Ritt integral part of his persona, saying, “Whatever meaning and support the span of the whole structure.” Cecilia Poellein Buss Sayaka Kokubo Stefan Farkas my life has is to be found in the music itself.” William The opening Largo at the very slow tempo of half Jun Liang Du Rachel Swerdlow Bass Trombone Schuman’s extraordinary life as composer and arts leader note = 40 juxtaposes somber brass and woodwind Ayako Gamo Clarinet Stephen Fissel reflects his role as an artistic catalyst within the fertile chords against an extended muted first violin line with Timothy Garland Cello Christopher Sereque and evolving environment of twentieth-century America. dissonant chordal accompaniments in the winds. Peter Kaman Susan Williams Laura DeLuca Tuba Schuman breaks up this somberness by soon Leonid Keylin Theresa Benshoof Larey McDaniel Christopher Olka Symphony No. 6 introducing a frenetic, almost eccentric piccolo and then Mikhail Shmidt Bruce Bailey flute passage of rapid sixteenth and thirty-second notes. After the psychologically arduous process of creating Solo violin, woodwind, and brass lines add piquancy to Clark Story Meeka Quan DiLorenzo E-Flat Clarinet Timpani dance music for the renowned choreographers Antony the glacial pace of this introductory section. The ensuing Jeannie Wells Yablonsky Roberta Hansen Downey Laura DeLuca Michael Crusoe Tudor in Undertow (1945) and Martha Graham in Night Moderato con moto, at the quicker tempo of quarter note Arthur Zadinsky Walter Gray Journey (1947), Schuman returned to his first = c. 96, features brassy, bass-heavy lines that position Vivian Gu Bass Clarinet Percussion compositional love with the creation of his Sixth the brass and strings in counterpoint of considerable Second Violin David Sabee Larey McDaniel Michael A. Werner Symphony. Its somber quality is doubtless influenced by complexity. Using all the instruments in intricate Elisa Barston Michael Clark the “darkness” of the Tudor and Graham works. The juxtapositions, Schuman weaves a unique aural texture Michael Miropolsky Bass Bassoon Ron Johnson Sixth Symphony has been called craggy, dark, and both abstract and intense, combining skittish syncopated Kathleen Stern Jordan Anderson Seth Krimsky emotionally impenetrable, but it stands as one of rhythms with excited brass chords. A long timpani solo Gennady Filimonov Joseph Kaufman Paul Rafanelli Harp Schuman’s finest works for its structural cohesion and then segues into the Leggieramente section (half note = musical intensity. It also represents a new maturity in 96), where the intensity continues in syncopated string Stephen Bryant Jonathan Burnstein Mike Gamburg Valerie Muzzolini Gordon Schuman’s compositional approach. figures driving to frenetic solo woodwind lines. Once Linda Cole Jennifer Godfrey Commissioned by the Dallas Symphony Orchestra again Schuman introduces his familiar brass chords, but Xiao-po Fei Travis Gore Contrabassoon Keyboards League, the symphony was given its première by the this time with meter and accent changes that add a Sande Gillette Jonathan Green Mike Gamburg Kimberly Russ Dallas Symphony Orchestra, Antal Doráti conducting, jagged quality to the line. With intricate rhythmic Artur Girsky Nancy Page Griffin Joseph Adam on 27th February, 1949. Schuman was not pleased with accompaniments in the strings and complex Mae Lin Ronald Simon Horn the first performance, saying that the Dallas audience contrapuntal writing, Schuman creates a compositional Virginia Hunt Luce John Cerminaro “found the Symphony utterly without appeal. In fact, tour de force of enormous intensity. Eric Scott Flute Mark Robbins some were so incensed with the work that they The next section, Adagio (quarter note = c. 48), Andrew Yeung Scott Goff Jeffrey Fair The revolving members questioned whether they should even complete payment introduces a calm atmosphere, although the intricate of the commission.” counterpoint heard earlier in the woodwinds and strings Judy Kriewall Adam Iascone of the string section are The symphony is distinctive for its masterly continues the complex texture of earlier sections. A solo Zartouhi Dombourian-Eby Susan Carroll listed alphabetically. integration of the orchestra choirs in a 28–minute work violin against solo clarinet provides a soulful duo as Scott Wilson
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Seattle Symphony pizzicato strings develop a pulse-like accompaniment. Prayer, 1943) was given its première by Fritz Reiner Ensuing intertwining melodies in the oboe and horn add and the Pittsburgh Symphony on 26th February, 1943. Photo courtesy of Yuen Lui Studio Seattle Symphony, founded in 1903, has been under the to the serene quality of this section. It is here that one Prayer begins at the slow tempo of quarter note = artistic leadership of Music Director Gerard Schwarz since encounters the only obvious repetition of a musical 60 with a bell-like forte chord in woodwinds and strings 1985. In 1998, the Orchestra began performing in the motive, when trumpets and trombones play the chords that quickly decreases in volume to piano. Schuman acoustically superb Benaroya Hall in downtown Seattle. The heard at the very beginning of the work. skillfully meshes a consistent pulse in a pianissimo viola Symphony is internationally recognized for its adventurous This calm is broken by a series of accelerandi line with a slowly-evolving melody for solo French programming of contemporary works, its devotion to the moving to the Allegro risoluto–Presto section horn, foreshadowing his 1947 work Night Journey. This classics, and its extensive recording history. Seattle characterized by intense and, as Schuman instructs, somber atmosphere continues as a long solo oboe Symphony has made more than 100 recordings, garnered 12 “wild” and “strident” passages of offbeat eighth notes, melody is supported with a rhythmic pulse in the violas Grammy nominations and received two Emmy Awards. snare drum rim shots, sharply accented notes in the and cellos, eventually moving to a Più animato… From September through July, the Symphony is heard live by strings and triple forte chords in the brass that create section with a newly-introduced brassy quality. more than 315,000 people. For more information on Seattle multiple instrumental lines intertwining in a whirl of Intensely accented passages in strings and brass move Symphony, visit www.seattlesymphony.org. dense aural power. Finally an insistent timpani part the composition to its central, more hopeful mood with against brass and lower woodwind chords slows the an energetic “con moto, half note = 120-132” section. pace considerably, leading to the final Larghissimo Schuman marks the fluid cello line at the beginning section, in which astringent and sustained string lines “smooth, even, like plain chant,” underpinning the Gerard Schwarz are punctuated by unison rhythmically complex parts in prayer-like quality of the overall piece, and he continues the brass. The mood turns contemplative as the strings to indicate “chant like” as each new instrumental group One of the leading conductors of his generation, Gerard Schwarz has a vast repertoire play an unbroken line of triple piano chords through enters with the melody. that includes a major commitment to American music. Schwarz has been Music divisi bowing. As bells toll in the final measures, the This central part moves seamlessly to a section of Director of the Seattle Symphony since 1985, and also serves as Music Director of the Symphony comes to a solemnly hushed ending through triumphant brass lines that is a mixture of fanfares and Eastern Music Festival. Previously, he has been Music Director of New York’s Mostly a morendo triple piano passage in the lower strings. agitated string parts playing animated eighth-note Mozart Festival, Royal Liverpool Philharmonic Orchestra, Los Angeles Chamber triplets. This in turn accelerates to a new section at the Orchestra and New York Chamber Symphony, as well as Artistic Advisor to Tokyu Prayer in a Time of War faster tempo of “half note = c. 144 marcato,” where Bunkamura with the Tokyo Philharmonic. Schwarz’s considerable discography of some Schuman energizes the work with accented chords and 260 releases showcases his collaborations with some of the world’s greatest orchestras, Schuman was a patriotic citizen, reflecting the values of his distinctive “flourishes” (bursts of rapid sixteenth including The Philadelphia Orchestra, The Czech Philharmonic, The London his father, Sam, a veteran of the Spanish-American War. notes irregularly interrupted by sixteenth rests) in the
Photo courtesy of Yuen Lui Studio Symphony, Berlin Radio Symphony, Orchestra National de France, Tokyo With America’s entry into World War II after the violins, violas, and cellos. Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and the December 7, 1941, attack on Pearl Harbor, Schuman Ultimately Schuman returns to the somber nature of Seattle Symphony, among others. Born to Viennese parents, Schwarz has served on the attempted to enlist in the armed forces but was the beginning through ominous-sounding passages National Council on the Arts. He has received two Emmy Awards, 13 Grammy ultimately rejected owing to a lifelong muscular played by timpani, snare drum, and tam-tam, then nominations, six ASCAP Awards, and numerous Stereo Review and Ovation awards. In addition, he holds the deficiency. The rejection was a crushing personal blow, moves to a solo trumpet line accompanied by snare Ditson Conductor’s Award from Columbia University, was the first American named Conductor of the Year by but Schuman received timely and wise advice from Carl drum and pizzicato lower strings and a mellifluous Musical America, and has received numerous honorary doctorates, including from his alma mater, The Juilliard Engel, his publisher at G. Schirmer, who said, “Write a obbligato first violin melody. This final section brings School. In 2002, the American Society of Composers, Authors and Publishers honored Schwarz with its Concert piece of music. Take it out in music.” to mind commemorative battlefield music commonly Music Award, and, in 2003, the Pacific Northwest Branch of the National Academy of Recording Arts & Sciences The resulting work reflects the many emotions that associated with the trumpet and snare drum. Prayer gave Schwarz its first “IMPACT” lifetime achievement award. Schuman surely felt at the time, from somber to heroic ends quietly and soulfully on the same chord that began to soulful, although the overall aura of the composition the work, with a diminuendo in the strings reflecting the is solemn. Prayer in a Time of War (originally entitled prayerful quality of the overall piece.
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famous for his pops concerts. Kostelanetz requested that II. When Jesus Wept Schuman then introduces his distinctive the work “be in a light vein with a ready appeal for “flourishes” as melodic material for only the many people, and should run about eight to ten minutes The use of a low-pitched tenor drum and the woodwinds, with the strings eventually taking up the in length. I would like to suggest that the work might be juxtaposition of the bassoon and oboe lines at the theme on tremolo eighth notes. A quasi-fanfare in flutes of a programmatic nature, with an American beginning of the movement introduce the hymn tune in and piccolo, horns, and trumpets further adds to the background.” a somber texture. Schuman then transforms the tune to movement’s playful vivacity. The military quality of New England Triptych had its première in Miami on develop a much more contemporary harmonic setting. this Revolutionary War marching song played by a 28th October, 1956, with Andre Kostelanetz conducting Schuman writes only for one oboe, one bassoon, brass choir is enhanced by the addition of a stately snare the University of Miami Symphony Orchestra; this was tenor drum, and strings in this movement. The string and bass drum figure. Schuman then positions the music followed by a performance on 3rd November by the section is primarily responsible for the various for its conclusion by introducing first the brass, then the New York Philharmonic, again conducted by treatments of the theme, often written divisi and always woodwind and string choirs with eighth-note triplets Kostelanetz. muted. that drive the composition to a new level of energy. Schuman recalled being asked: “‘Why don’t you The reintroduction of the bassoon and oboe with Flourishes, snare drum solos, triumphant brass chords, write another New England Triptych? Don’t you want dotted whole-note string accompaniment once again and a roaring timpani part bring the work to a close on a another success?’ I always say I would love another changes the texture of the movement and eventually triple-forte E-flat major chord. success, but I didn’t write the piece to make it a success, brings it to a somber end with a diminuendo in the tenor it just happened to turn out to be successful.” drum. Joseph W. Polisi The composer provided his own program note for New England Triptych (reproduced below for the first III. Chester Joseph W. Polisi is currently the sixth president of The movement). He explained that William Billings (1746- Juilliard School. Excerpts from his most recent book, 1800) was a major figure in the history of American The dignified presentation of the hymn theme at the American Muse: The Life and Times of William music and that his works “capture the spirit of sinewy movement’s beginning is quickly transformed at the Schuman, appear in these notes. ruggedness, deep religiosity and patriotic fervor that we Allegro vivo (quarter note = 160), where the melody is associate with the Revolutionary period ... These pieces played at twice the earlier tempo by flutes, oboes, and do not constitute a ‘fantasy’ on themes of Billings, nor clarinets, with militant and incessant downbeats played William Schuman (photo by Carl Mydans) ‘variations’ on his themes, but rather a fusion of styles by brass and strings. and musical language.” New England Triptych: Three Pieces for Schuman continued: Orchestra after William Billings I. Be Glad Then, America New England Triptych is perhaps the most beloved work in Schuman’s œuvre, as well as his most “A timpani solo begins the short introduction which is frequently performed original composition. Based on developed predominantly in the strings. Trombones and hymns of the Revolutionary War era by William trumpets begin the main section, a free and varied Billings, it is an audience favorite thanks to its setting of the words “Be Glad Then, America, Shout and accessibility and energy. Here Schuman allowed his Rejoice.” The timpani, again solo, leads to a middle exuberance, patriotism, and joie de vivre to come fugal section stemming from the words “And Ye Shall forward, as if he had consciously thrown off the highly Be Satisfied.” The music gains momentum and intellectual and compositionally erudite style of combined themes lead to a climax. There follows a free previous works. adaptation of the “Hallelujah” music with which The piece came to life through a commission from Billings concludes his original choral piece and a final Andre Kostelanetz, a mid-twentieth–century conductor reference to the “Shout and Rejoice” music.”
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famous for his pops concerts. Kostelanetz requested that II. When Jesus Wept Schuman then introduces his distinctive the work “be in a light vein with a ready appeal for “flourishes” as melodic material for only the many people, and should run about eight to ten minutes The use of a low-pitched tenor drum and the woodwinds, with the strings eventually taking up the in length. I would like to suggest that the work might be juxtaposition of the bassoon and oboe lines at the theme on tremolo eighth notes. A quasi-fanfare in flutes of a programmatic nature, with an American beginning of the movement introduce the hymn tune in and piccolo, horns, and trumpets further adds to the background.” a somber texture. Schuman then transforms the tune to movement’s playful vivacity. The military quality of New England Triptych had its première in Miami on develop a much more contemporary harmonic setting. this Revolutionary War marching song played by a 28th October, 1956, with Andre Kostelanetz conducting Schuman writes only for one oboe, one bassoon, brass choir is enhanced by the addition of a stately snare the University of Miami Symphony Orchestra; this was tenor drum, and strings in this movement. The string and bass drum figure. Schuman then positions the music followed by a performance on 3rd November by the section is primarily responsible for the various for its conclusion by introducing first the brass, then the New York Philharmonic, again conducted by treatments of the theme, often written divisi and always woodwind and string choirs with eighth-note triplets Kostelanetz. muted. that drive the composition to a new level of energy. Schuman recalled being asked: “‘Why don’t you The reintroduction of the bassoon and oboe with Flourishes, snare drum solos, triumphant brass chords, write another New England Triptych? Don’t you want dotted whole-note string accompaniment once again and a roaring timpani part bring the work to a close on a another success?’ I always say I would love another changes the texture of the movement and eventually triple-forte E-flat major chord. success, but I didn’t write the piece to make it a success, brings it to a somber end with a diminuendo in the tenor it just happened to turn out to be successful.” drum. Joseph W. Polisi The composer provided his own program note for New England Triptych (reproduced below for the first III. Chester Joseph W. Polisi is currently the sixth president of The movement). He explained that William Billings (1746- Juilliard School. Excerpts from his most recent book, 1800) was a major figure in the history of American The dignified presentation of the hymn theme at the American Muse: The Life and Times of William music and that his works “capture the spirit of sinewy movement’s beginning is quickly transformed at the Schuman, appear in these notes. ruggedness, deep religiosity and patriotic fervor that we Allegro vivo (quarter note = 160), where the melody is associate with the Revolutionary period ... These pieces played at twice the earlier tempo by flutes, oboes, and do not constitute a ‘fantasy’ on themes of Billings, nor clarinets, with militant and incessant downbeats played William Schuman (photo by Carl Mydans) ‘variations’ on his themes, but rather a fusion of styles by brass and strings. and musical language.” New England Triptych: Three Pieces for Schuman continued: Orchestra after William Billings I. Be Glad Then, America New England Triptych is perhaps the most beloved work in Schuman’s œuvre, as well as his most “A timpani solo begins the short introduction which is frequently performed original composition. Based on developed predominantly in the strings. Trombones and hymns of the Revolutionary War era by William trumpets begin the main section, a free and varied Billings, it is an audience favorite thanks to its setting of the words “Be Glad Then, America, Shout and accessibility and energy. Here Schuman allowed his Rejoice.” The timpani, again solo, leads to a middle exuberance, patriotism, and joie de vivre to come fugal section stemming from the words “And Ye Shall forward, as if he had consciously thrown off the highly Be Satisfied.” The music gains momentum and intellectual and compositionally erudite style of combined themes lead to a climax. There follows a free previous works. adaptation of the “Hallelujah” music with which The piece came to life through a commission from Billings concludes his original choral piece and a final Andre Kostelanetz, a mid-twentieth–century conductor reference to the “Shout and Rejoice” music.”
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Seattle Symphony pizzicato strings develop a pulse-like accompaniment. Prayer, 1943) was given its première by Fritz Reiner Ensuing intertwining melodies in the oboe and horn add and the Pittsburgh Symphony on 26th February, 1943. Photo courtesy of Yuen Lui Studio Seattle Symphony, founded in 1903, has been under the to the serene quality of this section. It is here that one Prayer begins at the slow tempo of quarter note = artistic leadership of Music Director Gerard Schwarz since encounters the only obvious repetition of a musical 60 with a bell-like forte chord in woodwinds and strings 1985. In 1998, the Orchestra began performing in the motive, when trumpets and trombones play the chords that quickly decreases in volume to piano. Schuman acoustically superb Benaroya Hall in downtown Seattle. The heard at the very beginning of the work. skillfully meshes a consistent pulse in a pianissimo viola Symphony is internationally recognized for its adventurous This calm is broken by a series of accelerandi line with a slowly-evolving melody for solo French programming of contemporary works, its devotion to the moving to the Allegro risoluto–Presto section horn, foreshadowing his 1947 work Night Journey. This classics, and its extensive recording history. Seattle characterized by intense and, as Schuman instructs, somber atmosphere continues as a long solo oboe Symphony has made more than 100 recordings, garnered 12 “wild” and “strident” passages of offbeat eighth notes, melody is supported with a rhythmic pulse in the violas Grammy nominations and received two Emmy Awards. snare drum rim shots, sharply accented notes in the and cellos, eventually moving to a Più animato… From September through July, the Symphony is heard live by strings and triple forte chords in the brass that create section with a newly-introduced brassy quality. more than 315,000 people. For more information on Seattle multiple instrumental lines intertwining in a whirl of Intensely accented passages in strings and brass move Symphony, visit www.seattlesymphony.org. dense aural power. Finally an insistent timpani part the composition to its central, more hopeful mood with against brass and lower woodwind chords slows the an energetic “con moto, half note = 120-132” section. pace considerably, leading to the final Larghissimo Schuman marks the fluid cello line at the beginning section, in which astringent and sustained string lines “smooth, even, like plain chant,” underpinning the Gerard Schwarz are punctuated by unison rhythmically complex parts in prayer-like quality of the overall piece, and he continues the brass. The mood turns contemplative as the strings to indicate “chant like” as each new instrumental group One of the leading conductors of his generation, Gerard Schwarz has a vast repertoire play an unbroken line of triple piano chords through enters with the melody. that includes a major commitment to American music. Schwarz has been Music divisi bowing. As bells toll in the final measures, the This central part moves seamlessly to a section of Director of the Seattle Symphony since 1985, and also serves as Music Director of the Symphony comes to a solemnly hushed ending through triumphant brass lines that is a mixture of fanfares and Eastern Music Festival. Previously, he has been Music Director of New York’s Mostly a morendo triple piano passage in the lower strings. agitated string parts playing animated eighth-note Mozart Festival, Royal Liverpool Philharmonic Orchestra, Los Angeles Chamber triplets. This in turn accelerates to a new section at the Orchestra and New York Chamber Symphony, as well as Artistic Advisor to Tokyu Prayer in a Time of War faster tempo of “half note = c. 144 marcato,” where Bunkamura with the Tokyo Philharmonic. Schwarz’s considerable discography of some Schuman energizes the work with accented chords and 260 releases showcases his collaborations with some of the world’s greatest orchestras, Schuman was a patriotic citizen, reflecting the values of his distinctive “flourishes” (bursts of rapid sixteenth including The Philadelphia Orchestra, The Czech Philharmonic, The London his father, Sam, a veteran of the Spanish-American War. notes irregularly interrupted by sixteenth rests) in the
Photo courtesy of Yuen Lui Studio Symphony, Berlin Radio Symphony, Orchestra National de France, Tokyo With America’s entry into World War II after the violins, violas, and cellos. Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and the December 7, 1941, attack on Pearl Harbor, Schuman Ultimately Schuman returns to the somber nature of Seattle Symphony, among others. Born to Viennese parents, Schwarz has served on the attempted to enlist in the armed forces but was the beginning through ominous-sounding passages National Council on the Arts. He has received two Emmy Awards, 13 Grammy ultimately rejected owing to a lifelong muscular played by timpani, snare drum, and tam-tam, then nominations, six ASCAP Awards, and numerous Stereo Review and Ovation awards. In addition, he holds the deficiency. The rejection was a crushing personal blow, moves to a solo trumpet line accompanied by snare Ditson Conductor’s Award from Columbia University, was the first American named Conductor of the Year by but Schuman received timely and wise advice from Carl drum and pizzicato lower strings and a mellifluous Musical America, and has received numerous honorary doctorates, including from his alma mater, The Juilliard Engel, his publisher at G. Schirmer, who said, “Write a obbligato first violin melody. This final section brings School. In 2002, the American Society of Composers, Authors and Publishers honored Schwarz with its Concert piece of music. Take it out in music.” to mind commemorative battlefield music commonly Music Award, and, in 2003, the Pacific Northwest Branch of the National Academy of Recording Arts & Sciences The resulting work reflects the many emotions that associated with the trumpet and snare drum. Prayer gave Schwarz its first “IMPACT” lifetime achievement award. Schuman surely felt at the time, from somber to heroic ends quietly and soulfully on the same chord that began to soulful, although the overall aura of the composition the work, with a diminuendo in the strings reflecting the is solemn. Prayer in a Time of War (originally entitled prayerful quality of the overall piece.
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William Schuman (1910-1992): Symphony No. 6 Seattle Symphony 2008-2009 Season Prayer in a Time of War • New England Triptych: Three Pieces for Orchestra after William Billings First Violin Viola Piccolo Trumpet Few people have had a greater impact on the performing of melodic, rhythmic, and harmonic complexity, with Maria Larionoff, Susan Gulkis Assadi Zartouhi Dombourian-Eby David Gordon arts in America than William Schuman. He made up for musical material rarely-repeated. Its single movement is Concertmaster Arie Schachter Richard Pressley the late start in his musical studies by becoming one of composed of six interconnected parts — Largo, John Weller Timothy Hale Oboe Geoffrey Bergler the most distinguished composers of the twentieth Moderato con moto, Leggieramente, Adagio, Allegro Simon James Vincent Comer Ben Hausmann century, as well as president of The Juilliard School and risoluto–Presto, and Larghissimo. Doráti commented in Evan Anderson Penelope Crane Stefan Farkas Trombone then Lincoln Center. He composed over one hundred a program note for the première that “the first and last works for various genres, although his great love was parts … provide a frame for the work; or … have a Jennifer Bai Wesley Anderson Dyring Ko-ichiro Yamamoto writing for orchestra. Schuman saw his music as an similar function as the two piers of a bridge — to hold Mariel Bailey Mara Gearman English Horn David Lawrence Ritt integral part of his persona, saying, “Whatever meaning and support the span of the whole structure.” Cecilia Poellein Buss Sayaka Kokubo Stefan Farkas my life has is to be found in the music itself.” William The opening Largo at the very slow tempo of half Jun Liang Du Rachel Swerdlow Bass Trombone Schuman’s extraordinary life as composer and arts leader note = 40 juxtaposes somber brass and woodwind Ayako Gamo Clarinet Stephen Fissel reflects his role as an artistic catalyst within the fertile chords against an extended muted first violin line with Timothy Garland Cello Christopher Sereque and evolving environment of twentieth-century America. dissonant chordal accompaniments in the winds. Peter Kaman Susan Williams Laura DeLuca Tuba Schuman breaks up this somberness by soon Leonid Keylin Theresa Benshoof Larey McDaniel Christopher Olka Symphony No. 6 introducing a frenetic, almost eccentric piccolo and then Mikhail Shmidt Bruce Bailey flute passage of rapid sixteenth and thirty-second notes. After the psychologically arduous process of creating Solo violin, woodwind, and brass lines add piquancy to Clark Story Meeka Quan DiLorenzo E-Flat Clarinet Timpani dance music for the renowned choreographers Antony the glacial pace of this introductory section. The ensuing Jeannie Wells Yablonsky Roberta Hansen Downey Laura DeLuca Michael Crusoe Tudor in Undertow (1945) and Martha Graham in Night Moderato con moto, at the quicker tempo of quarter note Arthur Zadinsky Walter Gray Journey (1947), Schuman returned to his first = c. 96, features brassy, bass-heavy lines that position Vivian Gu Bass Clarinet Percussion compositional love with the creation of his Sixth the brass and strings in counterpoint of considerable Second Violin David Sabee Larey McDaniel Michael A. Werner Symphony. Its somber quality is doubtless influenced by complexity. Using all the instruments in intricate Elisa Barston Michael Clark the “darkness” of the Tudor and Graham works. The juxtapositions, Schuman weaves a unique aural texture Michael Miropolsky Bass Bassoon Ron Johnson Sixth Symphony has been called craggy, dark, and both abstract and intense, combining skittish syncopated Kathleen Stern Jordan Anderson Seth Krimsky emotionally impenetrable, but it stands as one of rhythms with excited brass chords. A long timpani solo Gennady Filimonov Joseph Kaufman Paul Rafanelli Harp Schuman’s finest works for its structural cohesion and then segues into the Leggieramente section (half note = musical intensity. It also represents a new maturity in 96), where the intensity continues in syncopated string Stephen Bryant Jonathan Burnstein Mike Gamburg Valerie Muzzolini Gordon Schuman’s compositional approach. figures driving to frenetic solo woodwind lines. Once Linda Cole Jennifer Godfrey Commissioned by the Dallas Symphony Orchestra again Schuman introduces his familiar brass chords, but Xiao-po Fei Travis Gore Contrabassoon Keyboards League, the symphony was given its première by the this time with meter and accent changes that add a Sande Gillette Jonathan Green Mike Gamburg Kimberly Russ Dallas Symphony Orchestra, Antal Doráti conducting, jagged quality to the line. With intricate rhythmic Artur Girsky Nancy Page Griffin Joseph Adam on 27th February, 1949. Schuman was not pleased with accompaniments in the strings and complex Mae Lin Ronald Simon Horn the first performance, saying that the Dallas audience contrapuntal writing, Schuman creates a compositional Virginia Hunt Luce John Cerminaro “found the Symphony utterly without appeal. In fact, tour de force of enormous intensity. Eric Scott Flute Mark Robbins some were so incensed with the work that they The next section, Adagio (quarter note = c. 48), Andrew Yeung Scott Goff Jeffrey Fair The revolving members questioned whether they should even complete payment introduces a calm atmosphere, although the intricate of the commission.” counterpoint heard earlier in the woodwinds and strings Judy Kriewall Adam Iascone of the string section are The symphony is distinctive for its masterly continues the complex texture of earlier sections. A solo Zartouhi Dombourian-Eby Susan Carroll listed alphabetically. integration of the orchestra choirs in a 28–minute work violin against solo clarinet provides a soulful duo as Scott Wilson
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Other recordings in this series: AMERICAN CLASSICS WILLIAM SCHUMAN Symphony No. 6 Prayer in a Time of War • New England Triptych Seattle Symphony • Gerard Schwarz
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8.559317
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CMYK CMYK NAXOS Playing William Time: SCHUMAN 60:51 (1910-1992) Disc made in Canada. Printed and assembled USA. compact disc prohibited. Unauthorised public performance, broadcasting and copying of this All rights in this sound recording, artwork, texts and translations reserved. 8.559625 1 Symphony No. 6 (1948) 29:10 AMERICAN CLASSICS 2 Prayer in a Time of War (1943) 15:35 ‘Whatever meaning my life has is to New England Triptych: be found in the music itself’, declared Three Pieces for Orchestra William Schuman of his extraordinary
after William Billings (1956) 16:06 career as a composer and artistic SCHUMAN: 3 I. Be Glad Then, America 5:05 catalyst in the fertile and evolving 4 II. When Jesus Wept 7:53 environment of 20th-century America.
& 5 III. Chester 3:08
His single-movement Symphony No. 6
2009 Naxos Rights International Ltd. stands as one of his most intense and Seattle Symphony integrated, its somberness enlivened with intricate rhythms and startling Gerard Schwarz counterpoint. Prayer in a Time of War Symphony No. 6 and New England Triptych highlight Symphony No. 6 Schuman’s abiding sense of patriotism, This recording was made possible with generous support the former written soon after America’s from the National Endowment for the Arts. entry into World War II, the latter Recorded at the S. Mark Taper Foundation Auditorium, Benaroya Hall, Seattle, WA, on 10th and 16th September, based on hymns from the time of the 2008 (track 1), 7th September, 2005 (track 2), and at Seattle American Revolution. Opera House on 24th and 25th September, 1990 (tracks 3-5)
SCHUMAN: Publishers: G. Schirmer, Inc. / Associated Music Publishers This disc is the fourth release in a Executive Producer: Thomas Philion series devoted to Schuman’s DDD Producers: Carolyn Kuan and Dmitriy Lipay (track 1); Albert G. Swanson (tracks 2-5); Adam Stern (tracks 3-5) complete published symphonies. Engineers: Dmitriy Lipay (track 1); Albert G. Swanson (track 2); John Eagle (tracks 3-5) Editor: Dmitriy Lipay • Booklet notes: Joseph W. Polisi www.naxos.com 8.559625 8.559625 Technical services provided by: SeattleMusic Cover picture: New England Seascape by Yarnall Abbott (1870-1938) (David David Gallery, Philadelphia / The Bridgeman Art Library) NAXOS