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Cover 800_NEWDACOCD 769 1+8 03/09/18 18.52 Side 1

DACOCD 800 Anthology of American Piano Music Vol. 3 American Landscapes

Copland · Mason · MacDowell · Grant Still · Farwell · Ornstein Cecile Licad piano Anthology of American Piano Music Vol. 3 AMERICAN LANDSCAPES Cecile Licad, piano

[ 1 ] Down a country lane 2:30

[ 2 ] Anthony Philip Heinrich The Minstrel's March or The Road to Kentucky 3:57

[ 3 ] Spoon River 2:38

[ 4 ] William Mason Silver Spring, Op. 6 5:48

Edward MacDowell Woodland Sketches, Op. 51 23:55 [ 5 ] I. To a Wild Rose 1:41 [ 6 ] II. Will o'the Wisp 1:26 [ 7 ] III. At an Old Trysting Place 2:01 [ 8 ] IV. In Autumn 1:45 [ 9 ] V. From an Indian Lodge 3:29 [10] VI. To a Water Lily 3:03 [11] VII. From Uncle Remus 1:22 [12] VIII. A Deserted Farm 3:21 [13] IX. By a Meadow Brook 1:03 [14] X. Told at Sunset 4:44

[15] Arthur Farwell Sourwood Mountain, Op. 78 No. 3 4:28

[16] A Morning in the Woods, SO 106 6:53

2 William Grant Still A Deserted Plantation 13:06 [17] Spiritual 4:17 [18] Young Missy 6:00 [19] Dance 2:48

Arthur Farwell From Mesa and Plain, Op. 20 8:22 [20] Navajo War Dance 1:52 [21] Pawnee Horses 1:07 [22] Prairie Miniature 1:46 [23] Wa-Wan Choral 2:04 [24] Plantation Melody 1:33

[25] Streets of Laredo 2:10

[26] Charles Wakefield Cadman From the Land of the Sky-blue Water, Op. 54, No. 2 2:43

Produced and engineered by Judith Sherman Engineering and editing assistant: Jeanne Velonis Recorded June 5 - 7, 2018, at the American Academy of Arts and Letters, New York. Executive producer: Thomas Nickelsen Work selection: Thomas Nickelsen and David Dubal New York Steinway D concert grand (CD 89) supplied by Steinway & Sons, New York Technician: Li Li Dong Booklet editor: Jeremy Nicholas Photographs of Ms. Licad by Natalie Nesser Back booklet illustrations: Frederick Childe Hassam (1859-1935), 1.Bornero Hill, Old Lyme, Connecticut. 2. Harney Desert 1 Courtesy of www.frederickhassam.org

3 Walking down a country lane to the land of pieces for the piano are deeply rooted in New the sky-blue water England. It can be hypothesized that the woods of his Woodland Sketches were not very distant American landscapes vary widely, and so does geographically from those where Leo Ornstein the music that originates from them. When you would wander, spending A Morning in the start walking Down a country lane somewhere Woods, perhaps to find William Mason's in the northeast and continue going southwest ominous Silver Spring that had been bubbling you may find quite a few of the places portrayed there for more than a century of oblivion. in music on this CD. They are spread out all over mainland USA, from New England to the By contrast, William Grant Still, who was born in Old South and from the Midwest to the West. the state of Mississippi and who was to become And your travel guides, the composers, use the first widely recognized Afro-American very different means of locomotion, depending composer, didn’t have to leave the Old South in on the period when they lived and on the search of A deserted plantation to get a glimpse amount of money in their pocket. of daily life there after the end of the Civil War. It sufficed to visit Uncle Josh, its sole occupant, In 1817, Anthony Philip Heinrich traveled a ‘who delights in dreaming of the [plantation’s] substantial part of his Road to Kentucky from past glory’. Philadelphia on foot. Having gone bankrupt twice, first as businessman and then as a music With few exceptions (Silver Spring, A Morning in director, he composed his musical travel diary the Woods, Down a Country Lane) all works in a log-cabin near Lexington where he fell in recorded here are partly or entirely inspired by, love with the (still) untamed nature of the or thematically based on, folklore such as surrounding landscape and its Native American American Indian themes, popular songs, inhabitants who would later inspire his poems, and dances. A collection of the poems orchestral works and make him the early is provided in the booklet. Many of them tell precursor of the American Indianist movement tragic stories, reaching their culmination in the of the late 19th century. sad fate of the captive maiden From the Land of the Sky-blue Water and the lonely cowboy's By the time when Arthur Farwell and Charles premature death in The Streets of Laredo. Wakefield Cadman followed his footsteps and were prominent members of the Indianist group, however, the frontier between the Thomas Nickelsen 2018 and Indian territories had moved way out west, to Mesa and Plain. Which didn't hinder Edward MacDowell to sometimes use Native American themes, although his late cycles of character

4 American Piano Music, Vol. 3 years later and without any knowledge of harmony, he began to compose music. Cecile Licad In 1820, Heinrich’s ‘Opera Prima’ appeared entitled The Dawning of Music in Kentucky, or The Pleasures of Harmony in the Aaron Copland (1900-90) Solitudes of Nature. The same year saw the Down a Country Lane publication of his ‘Opera Seconda’: The Copland’s output for piano is comparatively Western Minstrel, A Collection of Original, small. Though by one of America’s most Moral, Patriotic, & Sentimental Songs, for the significant composers, it is a body of work Voice & Piano Forte, Interspersed with Airs, generally overlooked by today’s pianists (Cecile Waltzes, &c. The Minstrel’s March features Licad included his 1972 Night Thoughts: towards the end of the collection. Every four Homage to Ives on Vol. 2 of this series). bars or so of the score identifies a different part This charming miniature with its of the trip thus: Tempo giusto (da Filadelfia) [sic] stepwise progression of even crotchets (quarter / Post Horn – Market Street Hill – Toll Gate – notes) is marked ‘Gently flowing, in a pastoral Schuylkill Bridge – Turnpike – Lancaster – mood’. It was a commission from Life magazine Alleghanies – Fort Pitt – Embarcation [sic] – who asked Copland for a short piece for piano Passage on the Ohio – The Rapids – Standing students and published it in the issue of 19 in for Port – Casting Anchors – Landing and June 1962. ‘This composition is a bigger cheers. It ends with an arpeggiated chord of the challenge than it looks,’ warned Copland in an much-repeated tonic (E major) marked ‘Sign of introduction, ‘and even third year students will the Harp’. have to practice before trying it in public.’ Not by any stretch of the imagination can The Minstrel’s March be called great music (and, on this showing, comparisons of Heinrich with Haydn and Beethoven by some of his Anthony Philip Heinrich (1781-1861) contemporaries are risible) but it is an important The Minstrel’s March or Road to Kentucky piece in the history and development of Born Anton Philipp Heinrich, the Bohemian-born American keyboard music. Heinrich was the composer emigrated to America in 1810 and first composer to use American Indian themes began his professional life in Philadelphia as a in large scale works in which can be seen hints wholesale merchant and banker. The Minstrel’s of nascent nationalism. Heinrich died in abject March is a kind of autobiographical keyboard poverty in New York. travelogue that charts the journey from Philadelphia to Kentucky. It was one made by Heinrich in 1817 after business failures led him to move there. Established in Lexington, two

5 Percy Grainger (1882-1961) William Mason (1829-1908) Spoon River Silver Spring, Op. 6 Spoon River is an American folk-dance. In the William Mason was born into an eminent family preface to his keyboard setting, Grainger not of American musicians, studied in Leipzig under only reproduces the music for the solo fiddle Moscheles (1846), then Dreyschock in Prague tune ‘as heard in 1857 at a dance at Bradford, and finally with Liszt in Weimar. Returning to his Illinois, U.S.A. by Capt. Charles H. Robinson’, native country in 1855, he established himself but also includes a note by Edgar Lee Masters as one of America’s most celebrated pianists on the tune’s provenance. and teachers. Masters (1868-1950) was an American Silver Spring was Mason’s signature lawyer, poet, novelist, biographer and dramatist. piece, very much a product of his European Among his books is Spoon River Anthology studies and the sort of top end salon music that (1915) a collection of poems that tells the was then fashionable in America. Though stories of the former inhabitants of Spoon River, simple in structure (most of Mason’s works a fictional town named after the real Spoon have an ABA pattern), it is an expertly-wrought River that ran near Master’s home town of virtuoso piece evoking Liszt and Raff in its Lewiston, Illinois. ‘The fiddle tune,’ wrote delicate bravura figuration and cadenza-like Masters (11 February 1922), ‘was sent me by flourishes. More specifically, it recalls Capt. Charles H. Robinson in the summer of whose speciality (not 1915, at my request, after he had written me in invented by him but developed to the highest regard to Spoon River Anthology that he had degree) was to play a central melody using the heard the old fiddlers play this tune when he thumb of either hand and surround it with lived in Stark County, Illinois, in 1857.’ brilliant passagework and arpeggios to give the Grainger – Australian-born but who impression of three hands playing. lived most of his life in the U.S. – dedicated his setting to ‘Edgar Lee Masters, poet of pioneers’. The score tells us this was composed in March 1919 () and January 1922 (White Plains, N.Y.), and that it was ‘written out in a train, Canadian Rockies, March 24, 1922’. Grainger himself recorded Spoon River just over four months later for the Columbia Graphophone Company, U.S.A.

6 Edward (Alexander) MacDowell (1860-1908) It is often claimed, without much Woodland Sketches, Op.51 evidence, that this set of ten short works is 1. To a Wild Rose MacDowell’s best-known work. What is 2. Will-o'-the-Wisp unquestionably true, however, is that the first 3. At an Old Trysting Place number of the set is by far MacDowell’s best- 4. In Autumn known composition. ‘To a Wild Rose’, though 5. From an Indian Lodge heard less frequently these days, was once 6. To a Water-lily ubiquitous, its simple melody founded on a tune 7. From Uncle Remus sung by the native Brotherton Indians. 8. A Deserted Farm Next in popularity is ‘To a Water-lily’, a 9. By a Meadow Brook succinct little tone picture in F sharp major, 10. Told at Sunset much of it on three staves, with some mildly When, in 1896, MacDowell was offered the impressionist harmonies. None of the remaining position as the first head of the newly-established eight pieces have held a similar appeal for music department of New York’s Columbia pianists. Many are profoundly solemn and almost University, he was cited as ‘the greatest musical disconcertingly austere – ‘From an Indian Lodge’ genius America has produced’. It is a moot point, (to be played ‘sternly, with great emphasis’), ‘A for though he was American-born (New York), Deserted Farm’, ‘Told at Sunset’ (themes from America had nothing to do with the development earlier in the set, with its grave final bars his musical talent. That took place in Europe concluding on a triple forte F minor chord) – from the age of 16 until MacDowell chose to with ‘Will o’ the Wisp’, ‘In Autumn’ and ‘From return to his native country in 1888, already Uncle Remus’ (marked ‘with much humour; celebrated there as a pianist and composer. joyously’) providing a lighter note; ‘By a Meadow 1896 was also the year in which his Brook’ is the most technically demanding of the Woodland Sketches were published. These are set, the water enchantingly bubbling on its way to MacDowell what the Lyric Pieces are to until it vanishes out of musical sight. Grieg: brief, epigrammatic tone poems as MacDowell was only 47 when he died concerned with mood and atmosphere as they (in the same year as William Mason) by which are with reflecting the actual subject of their time he had lapsed into total insanity, ascribed titles. By this time in his career, MacDowell had to general paresis, also known as paralytic immersed himself in native Indian music. His dementia. The eminent musicologist Gilbert Second (Indian) Suite, Op. 48 for , Chase averred that until the second decade of composed a few years earlier, makes much use the twentieth century, MacDowell was of the tunes of the North American Indians. considered the pre-eminent American What we are hearing in Woodland Sketches are composer. ‘However,’ wrote Chase, ‘he does indigenous folk tunes with a European inflection not mark the beginning of a new epoch in and American titles. American music, but the closing of a fading era.’

7 Arthur Farwell (1872-1952) Leo Ornstein (1892-2002) Sourwood Mountain, Op.78 No. 3 A Morning in the Woods The tune of this folk song almost certainly Those who associate the long-lived Russian- originated in the British Isles, Sourwood born composer with music of dissonant Mountain is, apparently, a place name in harmonies and percussive sonorities - Suicide Massachusetts (though the present writer has in an Airplane (1913), Impressions of the been unable to locate it) from where the song is Thames (1914), Danse sauvage (1915) through said to have come. Other sources cite it as a to the Piano Sonata No.7 (1988) – will be traditional Appalachian folk song; still others surprised by the comparative lyricism of place it in New England. There are at least A Morning in the Woods. Indeed, for most of its three other Sourwood Mountains in the U.S. - in duration, Ornstein’s arboreal perambulation is Jefferson County, Tennessee; near Teges, tonal and impressionistic – though there are Kentucky; and Summers County, West Virginia. clearly threatening dangers lurking along the Such vague, unproven and often contradictory way if the central section is anything to go by. claims go hand in hand with the genre of folk The music is in five flats and presents music. (Sourwood itself is a North American multiple problems for the pianist with its tree with thick, fissured bark, small white plethora of irregular note groupings and flowers and sour-tasting leaves.) changes of metre (ostensibly in 6/8). It was The authoritative The Fiddlers’ composed in 1971, long after Ornstein and his Companion tells us that the song was ‘one of wife had retired from teaching at their the first truly American ballads, and the tale of a eponymous School of Music in Philadelphia. young man fatally bit by a snake made its way Though he never ceased composing into folk traditions throughout the country’. It is a throughout his exceptionally long life, he never standard tune in the square dance fiddlers’ sought to publicise his work. The composer’s repertoire but has also been found in settings computer scientist son Severo Ornstein has for the banjo. Farwell’s arrangement, reminis- written that ‘once a work was complete in [my cent of Percy Grainger’s exuberant folk music father’s] mind, he promptly lost interest in it and settings, was published in 1930 by Schirmer. began work on an ensuing project’. It was not He himself described it as ‘a rip-snorting until 1987 that A Morning in the Woods was development of a good old American tune’. And published along with many other Ornstein so it is, requiring strong octaves and a powerful works, thanks to his son. technique to bring it off.

8 William Grant Still (1895-1978) Arthur Farwell (1872-1952) A Deserted Plantation From Mesa and Plain 1. Spiritual 1. Navajo War Dance 2. Young Missy 2. Pawnee Horses 3. Dance 3. Prairie Miniature Known today as ‘The Dean of Afro-American 4. Wa-Wan Choral Composers’, Still was commissioned by Paul 5. Plantation Melody Whiteman, the so-called ‘King of ’, to write Farwell, born in St. Paul, Minnesota., was an a piece for his ‘Sixth Experiment in American industrious composer, tireless music educator Music’ concert in 1933. By then, Still’s studies and champion of national ideas in art. From had made him thoroughly familiar with classical, 1901-11, having been unsuccessful in finding a modern and syncopated music – as well as publisher for his own music, he founded the being imbued with the Negro spirituals his Wa-Wan Press in Newton, Massachusetts, a grandmother had sung to him. periodical that printed the music of like-minded A Deserted Plantation, originally for American composers, the emphasis being on orchestra and in five movements, was inspired works that used indigenous musical material by a wonderfully atmospheric poem of the same (‘Wa-Wan’ means ‘to sing to someone’). His aim name by the short-lived African American poet, was to instigate a revolution in novelist and playwright Paul Laurence Dunbar that would rid his nation’s music of what he (1872-1906) whose parents had¯been slaves in perceived as German domination and put an Kentucky before the American Civil War. Like end to the American public seeing ‘everything many of his poems, it was written in ‘Negro through German glasses’. (See also Volume 2 dialect’. Still presents, in his own words, ‘a of this series.) musical picture of the meditations of Uncle From Mesa and Plain (Mesa being a Josh, an old Colored [sic] man who is the sole flat-topped mountain) appeared in 1905 in occupant of the dying plantation, and who Volume 1V No.28 of Farwell’s periodical, delights in dreaming of the past glory.’ subtitled ‘Indian, Cowboy and Negro Sketches Only three of the five movements, all for Pianoforte’. For those without access to a of them using African and Caribbean colours score, some of Farwell’s instructions are and rhythms, were arranged for piano solo. noteworthy: ‘Navajo War Dance’ is to be played ‘Spiritual’ is based on the Negro spiritual I Want ‘With severe precision of rhythm throughout, Jesus to Walk With Me. By contrast, ‘Young and savagely accented’. There is much use of a Missy’ is lyrical and bluesy. ‘Dance’ is strongly C natural pedal point at the lowest end of the rhythmical, animated and jazzy. keyboard. Later, the music is to be executed ‘with savage abandon’, rising at one point to a chord marked sfffz; ‘Pawnee Horses’ has these unattributed words beneath the title - ‘There go

9 the Pawnee horses. I do not want them, - I have Having crossed the Atlantic, it taken enough’ - while we are told that the music acquired new lyrics and became a cowboy song is ‘based on an Omaha melody sung by Francis entitled Streets of Laredo or The Cowboy’s La Flesche and transcribed by Edwin S. Tracy’; Lament (Laredo is a city in Texas). It was first ‘Prairie Miniature’, on the other hand, is ‘based published in 1910 in Cowboy Songs and Other upon the melodies of two [unidentified] Cowboy Frontier Ballads collected by the musicologist folk songs’; ‘Wa-Wan Choral’ also has a quote John Lomax. Roy Harris’s three-verse version beneath the title - ‘The clear sky, the peaceful of the tune was published in 1947. earth is good, but peace among men is better’; harmonised by Farwell, the melody is ‘from “A Study of Omaha Indian Music” by Alice C. Fletcher, holder of Thaw Fellowship, Peabody Charles (Wakefield) Cadman (1881-1946) Museum, Cambridge’; the final number, From the Land of Sky-Blue Water, Op. 54 No. 2 ‘Plantation Melody’, a single page in length, is This is the second of four numbers in a again harmonised by Farwell and ‘Recorded by collection bearing the prosaic title of Idealized Alice Haskell’. Indian Themes published in 1912 by the White- Smith Music Publishing Company (the first of these, incidentally, ‘The Pleasant Moon of Strawberries’ is dedicated to Arthur Farwell). The dedicatee of ‘From the Land of Sky-Blue Water’ is Alice Cunningham Fletcher (see ‘Wa-Wan Choral, above), the pioneering American ethnologist, anthropologist and Roy Harris (1898-1979) collector of Indian music. The piano solo is a Streets of Laredo transcription of a song Cadman wrote in 1909. Harris, one of whose early teachers was Arthur The melody is based on an Omaha Indian love Farwell (see above), is among the most song obtained by Alice Fletcher and with lyrics important American symphonists of the 20th by Cadman’s frequent collaborator Nelle century, but he also wrote a significant body of Richmond Eberhart (the two would work solo piano music. Among this is his ‘wrong together for the next forty years). It became harmony’ treatment of the traditional song hugely popular shortly after its publication when Streets of Laredo. There are several conflicting it was taken up by the celebrated American claims as to the song’s authorship and origins soprano . Blanche DuBois can be but most agree that it is an Irish folk melody heard offstage singing the first two lines of the with lyrics descended from a ballad of the late song in Scene 2 (‘the bathroom scene’) of 18th century entitled The Unfortunate Rake Tennessee Williams’s A Streetcar Named about the fate of a British soldier. Desire.

10 Regarded as one of the foremost Sourwood Mountain* experts on Native American Indian music, Cadman began presenting lecture recitals on Traditional the subject, often in the company of the Creek- mezzo-soprano Tsianina Redfeather Chickens a-crowin' on Sourwood Mountain Blackstone (1882-1985) who made ‘From the Hey, ho, diddle-um day Land of Sky-Blue Water’ her own. He continued So many pretty girls I can't count 'em giving his ‘Indian Talk’ for the next 25 years Hey ho, diddle-um day throughout the U.S. and Europe before moving to Los Angeles in the 1920s where he helped My true love's a blue-eyed daisy found the Hollywood Bowl Orchestra and wrote She won't come and I'm too lazy several film scores. Big dog bark and little one bite you ©Jeremy Nicholas 2018 Big girl court and little one spite you

My true love's a blue-eyed daisy If I don't get her, I'll go crazy

My true love lives at the head of the holler She won't come and I won't foller

My true love lives over the river A few more jumps and I'll be with her

Ducks in the pond, geese in the ocean Devil's in the women if they take a notion

11 The Deserted Plantation Dey have lef’ de ole plantation to de swallers, But it hol’s in me a lover till de las’; Paul Laurence Dunbar Fu’ I fin’ hyeah in de memory dat follers All dat loved me an’ dat I loved in de pas’. Oh, de grubbin’–hoe’s a–rustin’ in de co’nah, An’ de plow’s a–tumblin’ down in de fiel’, So I’ll stay an’ watch de deah ole place an’ tend it While de whippo’will’s a–wailin’ lak a mou’nah Ez I used to in de happy days gone by. When his stubbo’n hea’t is tryin’ ha’d to yiel’. ‘Twell de othah Mastah thinks it’s time to end it, An’ calls me to my qua’ters in de sky. In de furrers whah de co’n was allus wavin’, Now de weeds is growin’ green an’ rank an’ tall; An’ de swallers roun’ de whole place is a–bravin’ Lak dey thought deir folks had allus owned it all.

An’ de big house stan’s all quiet lak an’ solemn, Not a blessed soul in pa’lor, po’ch, er lawn; Not a guest, ner not a ca’iage lef’ to haul ‘em, Fu’ de ones dat tu’ned de latch–string out air gone. Streets of Laredo*

An’ de banjo’s voice is silent in de qua’ters, Traditional D’ ain’t a hymn ner co’n–song ringin’ in de air; But de murmur of a branch’s passin’ waters As I walked out on the streets of Laredo. Is de only soun’ dat breks de stillness dere. As I walked out on Laredo one day, I spied a poor cowboy wrapped in white linen, Whah’s de da’kies, dem dat used to be a–dancin’ Wrapped in white linen as cold as the clay. Evry night befo’ de ole cabin do’? Whah’s de chillun, dem dat used to be a–prancin’ "I can see by your outfit that you are a cowboy." Er a–rollin’ in de san’ er on de flo’? These words he did say as I boldly walked by. "Come an' sit down beside me an' hear my sad Whah’s ole Uncle Mordecai an’ Uncle Aaron? story. Whah’s Aunt Doshy, Sam, an’ Kit, an’ all de res’? I'm shot in the breast an' I know I must die. Whah’s ole Tom de da’ky fiddlah, how ’s he farin’? Whah’s de gals dat used to sing an’ dance de bes’? It was once in the saddle, I used to go dashing. Once in the saddle, I used to go gay. Gone! not one o’ dem is lef’ to tell de story; First to the card-house and then down to Dey have lef’ de deah ole place to fall away. Rose's. Couldn’t one o’ dem dat seed it in its glory But I'm shot in the breast and I'm dying today. Stay to watch it in de hour of decay? 12 Get six jolly cowboys to carry my coffin. From the Land of the Sky-blue Water** Six dance-hall maidens to bear up my pall. Throw bunches of roses all over my coffin. Nelle Richmond Eberhart Roses to deaden the clods as they fall."

Then beat the drum slowly, play the Fife lowly. From the land of the sky-blue water Play the dead march as you carry me along. They brought a captive maid, Take me to the green valley, lay the sod o'er me, And her eyes, they are lit with lightnings; I'm a young cowboy and I know I've done wrong." Her heart is not afraid!

Then go write a letter to my gray-haired mother, But I steal to her lodge at dawning, An' tell her the cowboy that she loved has gone. I woo her with my flute. But please not one word of the man who had She is sick for the sky-blue water, killed me. The captive maid is mute. Don't mention his name and his name will pass on."

When thus he had spoken, the hot sun was setting. Note The streets of Laredo grew cold as the clay. We took the young cowboy down to the green *The lyrics of these traditional songs exist in valley, multiple similar versions. And there stands his marker, we made, to this day. ** Alternative version: "And he steals to her lodge at dawning, He woos her with his flute..." We beat the drum slowly and played the Fife lowly, Played the dead march as we carried him along. Down in the green valley, laid the sod o'er him. He was a young cowboy and he said he'd done wrong.

13 Cecile Licad chamber in North America and Europe. Her solo repertoire ranges from the Cecile Licad's unique natural pianistic talent early classical to the contemporary period. Ms. was recognized early. She began her piano Licad's discography includes piano concertos studies at the age of 3 and made her debut as a by Chopin (Grand Prix du Disque Frédéric soloist with the Philharmonic Orchestra of the Chopin 1985), Saint-Saëns, and Rachmaninoff; Philippines in her native at 7. When she chamber music by Beethoven, Tchaikovsky, was 12 she auditioned for Rudolf Serkin and Brahms, Franck, Korngold, and Fauré; and solo was admitted to the Curtis Institute in piano music by Schumann, Chopin, Ravel and Philadelphia. Ms. Licad's international career Gottschalk. The late Rudolf Serkin said about was launched in 1981 after she had been Ms. Licad: "She has an incredible instinct for all awarded with the prestigious Leventritt Gold kinds of music and seems equally at home in Medal. any style."

Since then Ms. Licad has appeared throughout More recently Ms. Licad has developed a keen the world, with orchestras such as the Chicago interest in the piano music of American , Boston Symphony, New York composers that resulted in a series of live Philharmonic, Philadelphia Orchestra, London recitals (Miami, Portland, Philadelphia, Symphony and London Philharmonic (UK), Germany) and in her collaboration with the Orchestre de la Suisse Romande (Switzerland), Wynton Marsalis Septet performing music of Orchester des Bayerischen Rundfunks to accompany Dan (Germany), Moscow State Academy Symphony Pritzker's film Louis, a silent, b/w film homage to (Russia), NHK Symphony Orchestra Tokyo Louis Armstrong. (Japan), Hong Kong Philharmonic (China), and many others, in collaboration with conductors Andrew Davis, Charles Dutoit, Kurt Masur, Sir Neville Marriner, Zubin Mehta, Seiji Ozawa, André Previn, Michael Tilson Thomas, David Zinman, as well as the late , Sir Georg Solti, Eugene Ormandy and others.

Ms. Licad is also a highly valued chamber musician who has performed regularly with pianists Murray Perahia and Peter Serkin, violinist Nadja Salerno-Sonnenberg, cellists Mstislav Rostropovich and , the Guarneri and Takacs Quartets, and numerous

14 15 Cover 800_NEWDACOCD 769 1+8 03/09/18 18.52 Side 1

DACOCD 800 Anthology of American Piano Music Vol. 3 American Landscapes

Copland · Mason · MacDowell · Grant Still · Farwell · Ornstein Cecile Licad piano Inlaycard DACOCD 800 01/01/11 8:41 Side 1

The Anthology of American Piano Music is designed to show the stylistic breadth, high DIGITAL musical American Landscapes · Cecile Licad piano DACOCD 800 quality and great originality of the best American piano works. The series contains underrated, neglected or forgotten masterworks of the American literature for solo piano from the 18th to the 21st century that have been selected primarily for their musical worth and originality. The com- positions are assembled in a series of themed CDs, their programs being connected by one common theme or overarching idea. Vol. 1, "American First Sonatas", comprises the first piano sonatas by four American composers from different periods, including the very first sonata ever composed in North America. Vol. 2, ‘Music of the Night’, a 2 CD album, assembles a selection of American nocturnes and other piano works related to the theme of Night. Vol. 3, 'American Landscapes', includes three complete cycles of character pieces and eight stand-alone works featuring musical impressions from North American landscapes.

[ 1 ] Aaron Copland Down a country lane 2:30 Leo Ornstein DACOCD 800 [16] A Morning in the Woods, SO 106 6:53 [ 2 ] Anthony Philip Heinrich The Minstrel's DIGITAL DDD March or The Road to Kentucky 3:57 William Grant Still A Deserted Plantation 13:06 Total playing time 76:30 [17] Spiritual 4:17 [ 3 ] Percy Grainger Spoon River 2:38 [18] Young Missy 6:00 Recorded June 5-7, 2018 at the American [19] Dance 2:48 Academy of Arts and [ 4 ] William Mason Silver Spring, Op. 6 5:48 Letters, NYC. Arthur Farwell From Mesa and Plain, Op. 20 8:22 Produced and Edward MacDowell [20] Navajo War Dance 1:52 engineered by Woodland Sketches, Op. 51 23:55 [21] Pawnee Horses 1:07 Judith Sherman Editing assistant: [ 5 ] I. To a Wild Rose 1:41 [22] Prairie Miniature 1:46 Jeanne Velonis [ 6 ] II. Will o'the Wisp 1:26 [23] Wa-Wan Choral 2:04 Executive producer: [ 7 ] III. At an Old Trysting Place 2:01 [24] Plantation Melody 1:33 Thomas Nickelsen [ 8 ] IV. In Autumn 1:45 Piano: Steinway D [ 9 ] V. From an Indian Lodge 3:29 [25] Roy Harris Streets of Laredo 2:10 Concert Grand [10] VI. To a Water Lily 3:03 (New York CD 89) [11] VII. From Uncle Remus 1:22 Charles Wakefield Cadman supplied by Steinway & Sons, New York. [12] VIII. A Deserted Farm 3:21 [26] From the Land of the Sky-blue Water 2:43 ©DANACORD 2018 [13] IX. By a Meadow Brook 1:03 www.danacord.dk [14] X. Told at Sunset 4:44 Cecile Licad piano Arthur Farwell [15] Sourwood Mountain, Op. 78 No. 3 4:28 LC 07075 DACOCD 800 American Landscapes · Cecile Licad piano DIGITAL