OrganPiano | Organ | Harpsichord | Vocal | Choral | Opera | Chamber/Instrumental | Orchestra | Band | Discography
Publication numbers given are for Elkan-Vogel. All other works are available on rental unless designated "Manuscript.". Where not indicated, first performance is unknown. Manuscripts are held in the New York Public Library.
Appalachian Christmas Carols (after John Jacob Niles) for One Piano, Four
Hands — 7.5 min.
460-00066
Concertino for Piano and Orchestra, Op. 16 (1941) — 10 min.
see under Orchestra
Concerto for Piano and Orchestra, Op. 90 (1962) — 27 min.
see under Orchestra
Concerto for Piano Four Hands, OP. 56
— 18 min.
First performed by Vincent and Dorothea Persichetti at the Pittsburgh International
Contermporary Music Festival, November 29, 1952.
Published.
Four Arabesques, Op. 141 (1978) — 3.33 min.
160-00206
Little Mirror Book, Op. 139 (1978) — 4.5 min.
460-00077
Little Piano Book, Op. 60 (1953) — 9 min.
First performed by Lauren Persichetti, Philadelphia Conservatory, November 14, 1954.
460-00026
Mirror Etudes, Op. 143 (1979) 14'
First performed by Virginia Sircy, Lawton, OK, June 21, 1980.
160-00204
Organ Prelude and Fugue in A Minor by Johannes Brahms, arr. Persichetti.
160-00022
Parable XIX for Piano, Op. 134 (1975) — 10.5 min.
First performed by Daniel Pollack, MTNA National Convention, Dallas, TX, March 30, 1976.
160-00019
Parades, Op. 57 (1952) — 3 min.
First performed by Garth Persichetti, Philadelphia Conservatory, Philadelphia, PA,
February 5, 1956.
160-00097
Poems for Piano, Volume 1, Op. 4 (1939) — 9 min.
First performed by the composer, League of Composers (CBS), February 24, 1940.
460-00024
Volume 2, Op. 5 (1939) — 9 min.
First performed by the composer, WNYC Festival of American Music, February 13, 1945.
460-00025
Volume 3, Op. 14 (1941) — 10 min.
460-00071
Reflective Keyboard Studies, Op. 138 (1978)
160-00203
Serenade No. 2, Op. 2 (1929) 4'
First performed by the composer, Combs Conservatory, Philadelphia, PA, December 21, 1929.
160-00098
Serenade No. 7, Op. 55 (1952) 9'
160-00099
Serenade No. 8, Op. 62, for Piano, Four Hands (1954) — 3 min.
160-00154
Sonata for Two Pianos, Op. 13 (1940) — 11.17
First performed by Dorothea Flanagan and Vincent Persichetti, Town Hall, New York, April
2, 1941.
160-00186
Sonatas for Piano (Complete Edition)
460-00092
Also available separately:
First Sonata, Op. 3 (1939) — 16 min.
First performed by the composer, Philadelphia Conservatory, Philadelphia, PA, May 8,
1939.
460-00073
Second Sonata, Op. 6 (1939) — 11 min.
First performed by Dorothea Flanagan, El Dorado, KS, January 8, 1941.
160-00205
Third Sonata, Op. 22 (1943) — 12.5 min.
First performed by the composer, Colorado Springs Fine Arts Festival, August 13, 1943.
460-00027
Fourth Sonata, Op. 36 (1949) — 18.5 min.
First performed by the composer, League of Composers, NY, December 27, 1949.
460-00028
Fifth Sonata, Op. 37 (1949) — 8.5 min.
First performed by Jean Geis, Town Hall, NY, March 11, 1951.
460-00029
Sixth Sonata, Op. 39 (1950) — 12 min.
First performed by Joseph Bloch, Town Hall, NY, April 26, 1951.
460-00030, special order.
Seventh Sonata, Op. 40 (1950) — 7 min.
First performed by Robert Smith, Philadelphia Conservatory, Philadelphia, PA, May 21,
1956.
460-00031
Eighth Sonata, Op. 41 (1950) — 7 min.
First performed by Claire Shapiro, Philadelphia Conservatory, Philadelphia, PA, March 19,
1956.
460-00032
Ninth Sonata, Op. 58 (1952) — 12 min.
First performed by David Burge, Madison, WI, March 8, 1962.
460-00033
Tenth Sonata, Op. 67 (1955) — 22 min.
First performed by Josef Raieff, Juilliard School of Music, NY, February 20, 1956.
460-00034
Eleventh Sonata, Op. 101 (1965) — 19 min.
First performed by Dorothea Persichetti, Philadelphia Art Alliance, Philadelphia, PA,
December 16, 1965.
460-00092
Twelfth Sonata (Mirror Sonata), Op. 145 (1981) — 13 min.
First performed by Jeffrey Jacob, Notre Dame, IN, April 18, 1983.
460-00075
Sonatinas (Published in two volumes):
Volume 1:
No. 1, Op. 38 (1950) — 3 min.
No. 2, Op. 45 (1950) — 5 min.
First performed by Margaret Barthel, Town Hall, NY, December 13, 1951.
No. 3, Op. 47 (1950) — 4 min.
460-00036
Volume 2:
No. 4, Op. 63 (1954) — 3 min.
No. 5, Op. 64 (1954) — 3 min.
No. 6, Op. 65 (1954) — 3 min.
460-00136
Three Toccatinas, Op. 142 (1979) — 6 min.
First performed at the International Piano Festival and Competition, University of
Maryland, June 18, 1980.
160-00196
Variations for an Album, Op. 32 (1947) — 4 min.
First performed by John Kirkpatrick, Baldwin-Wallace College, October 17, 1947.
160-00189
Winter Solstice, Op. 165 (1986) — 11 min.
160-00214
OrganHarpsichordVocalChoralAgnus Dei from Mass, Op. 84 SATB, a cap.
362-01173
Amens from Hymns and Responses, Op. 68 SATB
362-03157
Celebrations, Op. 103 for Chorus and Wind Ensemble (1966) —
23 min.
Text by Walt Whitman
Complete: see under Band
See also under individual octavo titles: A Clear Midnight, I Celebrate Myself,
I Sing the Body Electric, Sing Me the Universal, Stranger, and There Is That In Me
A Clear Midnight from Celebrations, Op. 103 SATB & Pno. (1966)
362-03227
The Creation, Op. 111 for Soprano, Alto, Tenor, and Baritone
Soli, Chorus, and Orchestra (1969) — 70 min.
see under Orchestra
Four cummings Choruses, Op. 98 for 2-Pt. Mixed, Women’s, or
Men’s Voices and Piano (1964) — 6 min.
First performed by the Dartmouth Glee Club, Paul Zeller conducting, Hanover, NH, February
12, 1964.
Dominic has a doll
362-01222
|Maggie and Milly and Molly and May
362-01224
Nouns to nouns
362-01223
Uncles
362-01225
Flower Songs (Cantata No. 6), Op. 157 for Mixed Chorus and
String Orchestra (1983) — 21 min.
Text by e.e. cummings
See under Orchestra
Glad and Very (Five cummings Choruses, Cantata No. 5), Op. 129,
for 2-Pt. Mixed, Women’s or Men’s voices and Piano (1974) — 11 min.
Little man, I am so glad and very, Maybe god, Jake hates all the girls, A
politician
First performed by the Huntingdon Choir, Andrew E. Housholder conducting, Huntingdon, NY,
December 18, 1974.
462-00028
Gloria from Mass, Op. 84
362-01172
Hymns and Responses for the Church Year
Vol. 1, Op. 68 (1955)
First performed by the First Presbyterian Church Choir, Philadelphia, Alexander McCurdy
conducting, October 7, 1956.
462-00001
Vol. 2, Op. 166 (1987)
462-00030
I Celebrate Myself from Celebrations, Op. 103 SATB & Pno.
362-03342
I Sing the Body Electric from Celebrations, Op. 103 SATB &
Pno.
362-03229
Love, Op. 116 for Women’s chorus SSAA a cap. (1971) —
4 min.
Text from Corinthians. First performed by the Mount Holyoke Singers, Tamara Brooks
conducting, 30th Wedding Anniversary at composer’s home, June 3, 1971.
362-03333
Magnificat and Nunc Dimittis, Op. 8 for Mixed Chorus and Piano
(1940) — 7 min.
First performed by the Ithaca College Choir, Lawrence Doebler conducting, November 10,
1979.
362-03325
Mass, Op. 84 for Mixed Chorus a cap. (1960) — 17.85 min.
Latin text. First performed by the Collegiate Chorale, Mark Orton conducting,
Carnegie Hall, NY, April 20, 1961.
462-00012
Also available separately: Agnus Dei and Gloria
The Pleiades (Cantata No. 4), Op. 107 for Chorus, Trumpet and String
Orchestra (1967) — 23 min.
Text by Walt Whitman
See under Orchestra
Proverb, Op. 34 for Mixed Chorus — 2 min.
362-01102
Seek the Highest, Op. 78 for SAB Chorus and Piano (1957) —
4 min.
Text by Felix Adler. First performed by the Ethical Culture Society Chorus, John
DeWitt, conducting, NY, March 17, 1957.
362-00505
Sing Me the Universal from Celebrations, Op.
103. SATB & Pno.
362-03228
Song of Peace, Op. 82, for Male Chorus and Piano (1959) — 3
min.
First performed by the Colgate University Chapel Choir, William Skelton conducting,
Hamilton, NY, April 26, 1959.
362-00130
Song of Peace, Op. 82, Op. 82a, Version for SATB &
kbd. (1959) — 3 min.
362-03336
Spring Cantata (Cantata no. 1), Op. 94 for Women’s Chorus
and Piano (1963) — 6 min.
Trees, If the green, Spring is like a perhaps hand, In just-spring
Text by e.e. cummings. First performed by the Wheelock College Choir, Leo Collins
conducting, Boston, MA, April 1, 1964.
462-00010
Stabat Mater, Op. 92 for Chorus and Orchestra (1963) — 28
min.
See under Orchestra
Stranger from Celebrations, Op. 103, SA & Pno.
362-03341
Te Deum, Op. 93 for Chorus and Orchestra (1963) — 14 min.
See under Orchestra
There Is That In Me from Celebrations, Op.
103, SATB & Pno.
362-03226
Thou Child So Wise for Unison Chorus and Piano, arranged
from the vocal solo.
362-03403, in prep.
Three Canons for Voices, Op. 31 3-Pt. Women’s,
Men’s, or Mixed Voices — 3.25 min.
362-03268
Three Selections from Winter Cantata, for
Women’s Chorus, Flute and Marimba (1964)
So Deep, Gentlest Fall of Snow, Fallen Leaves
See also Winter Cantata
362-03126
Two cummings Choruses, Op. 33 for 2-Pt. Mixed, Women’s or
Men’s Voices and Piano (1948) — 6 min.
Sam was a man, Jimmie’s got a goil
G. Schirmer.
Two cummings Choruses, Op. 46 for Women’s Voices a cappella
(1950) — 5 min.
This is the garden, Hist whist
First performed by the SAI Chorus, Walter Hodgsen conducting, MTNA in Dallas, TX, February
27, 1952.
Carl Fischer.
Winter Cantata (cantata no. 2), Op. 97 for
Women’s Chorus, Flute, and Marimba (1964) — 19.33 min.
A Copper Pheasant, Winter’s First Drizzle, Winter Seclusion, The
Woodcutter, Gentlest Fall of Snow, One Umbrella, Of Crimson Ice, The Branch Is Black,
Fallen Leaves, So Deep, The Wind’s Whetstone, Epilogue
Haiku verse, translated by Harold Stewart. First performed by the Emma Willard Choir,
Russell Locke conducting, Troy, NY, April 9, 1965. See also Three
Selections from Winter Cantata
462-00013
OperaThe Sibyl (A Parable of Chicken Little), Parable XX, Op.
135, for Soprano, Mezzo-soprano, Alto, Tenor, Baritone, Bass, Mixed Chorus, and Orchestra.
Opera in one act (Libretto by the composer). 2-1-2-1/2-2-2-1; Timp., Perc., Pno.
(1976) — 70 min.
Commissioned and first performed by The Pennsylvania Opera Theater, Philadelphia, PA,
Barbara Silverstein conducting, April 13, 1985.
Scene I: Wishing
Scene II: Sky Spell
Scene III: Realization
Chamber
& Solo Instrumental MusicConcertato, Op. 12 for Piano and String Quartet (1940)
— 16 min.
Manuscript.
Fanfare for Two Trumpets, op. 164a — 1.17 min.
164-00199
Fantasy, Op. 15 for Violin and Piano (1941) — 10 min.
Manuscript.
The Hollow Men, Op. 25 for Trumpet and Piano or Organ (1944)
— 8 min.
See also under Orchestra
164-00166
Infanta Marina, Op. 83 for Viola and Piano (1960) — 9 min.
First performed by Walter Trampler and Lucy Greene, New York, NY, March 5, 1961.
164-00016
King Lear, Op. 35 Septet for Woodwind Quintet, Timpani and Piano
(1948) — 19 min.
First performed by the Martha Graham Company, under the title "The Eye of
Anguish," Montclair, NJ, January 31, 1949.
Complete — 164-00141, score — 164-00141S
Little Recorder Book, Op. 70 (1956) — 9 min.
First performed by Vincent and Lauren Persichetti, Philadelphia, PA, June, 1956.
464-00039
Masques, Op. 99, 10 Pieces for Violin and Piano (1965)
First performed by He-Kyong Kim and Joseph Kalickstein, Juilliard School of Music, NY,
December 18, 1965.
464-00005
Parable I for Solo Flute, Op. 100, Alto or C-flute (1965) —
7 min.
First performed by Sophie Sollberger, Philadelphia Art Alliance, Philadelphia, PA,
December 16, 1965.
164-00031
Parable II for Brass Quintet, Op. 108 (1968) — 13 min.
First performed by the New York Brass Quintet, Carnegie Recital Hall, NY, April 17, 1968.
164-00068
Parable III for Solo Oboe, Op. 109 (1968) — 5.5 min.
164-00094
Parable IV for Solo Bassoon, Op. 110 (1969) — 5.5 min.
164-00083
Parable V for Carillon, Op. 112 (1969) — 4 min.
First performed by Albert C. Gerken, Lawrence, KS, May 12, 1970.
164-00092
Parable VII for Solo Harp, Op. 119 (1971) — 17 min.
First performed by Beth Schwartz, San Diego, CA, June 23, 1972.
164-00095
Parable VIII for Solo Horn, Op. 120 (1972) — 6.75 min.
First performed by Priscilla McAfee, Alice Tully Hall, NYC, November 7, 1972.
164-00105
Parable X, Op. 122
See 4th String Quartet
Parable XI for Solo Alto Saxophone, Op. 123 (1972) — 4.5
min.
First performed by Brian Minor, Kalamazoo, MI, April 14, 1973.
164-00106
Parable XII for Solo Piccolo, Op. 125 (1973) — 2.67 min.
164-00110
Parable XIII for Solo Clarinet, Op. 126 (1973) — 5 min.
First performed by Esther Lamneck, Paris, France, October 4, 1974.
164-00111
Parable XIV for Solo Trumpet, Op. 127 (1973) — 4.33 min.
164-00117
Parable XV for Solo English Horn, Op. 128 (1973) — 2.5 min.
First performed by Paula Dublinski, Tempe, AZ, April 2, 1975.
164-00116
Parable XVI for Solo Viola, Op. 130 (1974) — 9 min.
First performed by Donald McInnes, International Viola Congress, Ypsilanti, MI, June 29,
1975.
164-00125
Parable XVII for Solo Doublebass, Op. 131 (1974) — 6 min.
First performed by Bertram Turetzky, Poland, October 1974.
164-00121
Parable XVIII for Solo Trombone, Op. 133 (1975) — 5 min.
First performed by Per Brevig, Nashville, TN, May 31, 1978.
164-00146
Parable XXI for Solo Guitar, Op. 140 (1978)
First performed by Peter Segal, Carnegie Recital Hall, NY, October 21, 1978.
164-00148
Parable XXII for Solo Tuba, Op. 147 (1981)
First performed by Harvey Phillips, Carnegie Recital Hall, NY, April 25, 1982.
164-00162
Parable XXIII for Violin, Cello & Piano, Op. 150 (1981)
First performed by Hamao Fujiwaro, James Kreger and composer, January 28, 1982.
464-00050
Parable XXIV for Harpsichord, op. 153 (1982)
First performed by Cathy Callis, Capital University, Columbus, OH, April 21, 1983.
160-00208
Parable XXV for Two Trumpets, op. 164 (1986)
164-00200
Pastoral for Woodwind Quintet, Op. 21 (1943) — 7 min.
First performed by the Curtis Quintet, Franklin Institute, Philadelphia (WCAU-FM
broadcast), April 20, 1945.
G. Schirmer.
1st String Quartet, Op. 7 (1939) — 17 min.
First performed by the Stuyvesant String Quartet, League of Composers, New York, NY, March
14, 1943.
164-00135
2nd String Quartet, Op. 24 (1944) — 18 min.
First performed by the Roth String Quartet, Colorado Springs Fine Arts Festival (Blue
Network), August 16, 1945.
164-00109
3rd String Quartet, Op. 81 (1959) — 20 min.
First performed by the Alabama String Quartet, Tuscaloosa, AL, April 19, 1959.
Score — 466-00010, parts — 466-00010P, special order.
4th String Quartet, Op. 122 (Parable X)
— 22 min.
First performed by The Alard String Quartet, Penn State University, February 28, 1973.
Score — 466-00024S, parts — 466-00024A, special order.
Quintet, Op. 66 for Piano and Strings (1954) — 23 min.
First performed by the Kroll String Quartet and the composer, Library of Congress,
Washington, DC, February 4, 1955.
164-00004
Serenade No. 1, Op. 1 for 10 Wind Instruments, Fl., Ob., Cl.,
Bsn., 2Hn., 2Tpt., Tbn., Tuba (1929) — 11 min.
First performed by the New York Wind Ensemble, San Angelo College, TX, April 21, 1952.
164-00054
Serenade No. 3, Op. 17 for Violin, Cello, and Piano (1941)
— 11 min.
First performed by the Philadelphia Conservatory Trio, April 7, 1943. Southern Music
Publishing Co.
Serenade No. 4, Op. 28 for Violin and Piano (1945) — 9 min.
First performed by Peter Oundjian and Charles Abramovic, Tully Hall, NY, November 12,
1981.
464-00049
Serenade No. 6, Op. 44 for Trombone, Viola, and Cello (1950)
— 12 min.
First performed by Davis Shuman, Aaron Chaifetz and Robert Jamieson, Groton, MA, January
27, 1951.
164-00058
Serenade No. 9, Op. 71 for Soprano and Alto Recorders (1956)
— 10 min.
164-00058
Serenade No. 10, Op. 79 for Flute and Harp (1957) — 20 min.
First performed by Lora and Vito, Istanbul, Turkey, September 21, 1957.
164-00032
Serenade No. 12, Op. 88 for Solo Tuba (1961) — 5 min.
First performed by Harvey Phillips, Elkhart, IN, November 14, 1962.
164-00062
Serenade No. 13, Op. 95 for 2 Clarinets (1963) — 6 min.
First performed by the Chapin School, NYC, May 7, 1964.
164-00041
Serenade No. 14, Op. 159 for Solo Oboe (1984) — 12 min.
First performed by Pamela Epple, Christ and St. Stephen’s Church, NY, May 17, 1984.
164-00171
Sonata for Solo Cello, Op. 54 (1952) — 23 min.
First performed by Elsa Hilger, Samaroff Foundation, Museum of Modern Art, NY, May 6,
1953.
164-00019
Sonata for Solo Violin, Op. 10 (1940) — 10 min.
First performed by Broadus Erle, Waldport, OR, November 17, 1945.
164-00006
Suite for Violin and Cello, Op. 9 (1940) — 10 min.
First performed by Gugala and Franosa, Philadelphia Conservatory, May 27, 1979.
Manuscript.
Vocalise, Op. 27 for Cello and Piano (1945) — 3 min.
First performed by Samuel Mayes, Tri-County Concerts, Wayne, PA, November 1, 1946.
164-00024
OrchestraConcertino for Piano and Orchestra, Op.
16 2-2-2-2/2-2-0-0; Timp., Str. (1941) — 9 min.
First performed by the composer, Eastman-Rochester Symposium Orchestra, Howard Hanson
conducting, October 23, 1945.
Pno. red. (2Pno., 4Hands) — 460-00051
Concerto for English Horn and String Orchestra, Op. 137 (1977)
— 19 min.
First performed by the New York Philharmonic, Thomas Stacy, English horn, Eric Leinsdorf
conducting, November 17, 1977.
Pno. red. — 466-00032
Concerto for Piano and Orchestra, Op.
90,3-2-3-2/4-3-3-1; Timp., Perc., Str.— 32 min.
First performed by Anthony di Bonaventura, Dartmouth Symphony, Mario di Bonaventura
conducting, Hanover, NH, August 2, 1964.
Pno. red. (2Pno., 4Hands) — 460-00037
Score — 466-00031, special order.
The Creation, Op. 111 for SATB Soli, Chorus
and Orchestra, 3-3-3-2/4-3-3-1; Timp., Perc., Str. — 70 min.
Text by the composer from mythological, scientific, poetic and Biblical sources.
First performed by the Juilliard Chorus and Orchestra, composer conducting, Tully Hall,
NY, April 17, 1970.
Vocal score — 462-00019
Dance Overture, Op. 20, 3-3-3-3/4-4-3-1; Timp., Perc, Pno., Str.
(1942) — 8 min
First performed by the Tokyo Symphony Orchestra, Konoye conducting, Japan, February 7,
1948.
Study score — 466-00005
Fables for Narrator and Orchestra, Op. 23 (1943) — 22 min.
First performed by Robert Grooters and the Philadelphia Orchestra, Ormandy conducting,
April 20, 1945.
Available on rental from Carl Fischer.
Fairy Tale, Op. 48 (1950) — 4 min.
First performed by the Philadelphia Orchestra Children’s Concert, Hilsberg
conducting, March 31, 1951.
Available on rental from Carl Fischer.
Flower Songs (Cantata No. 6), Op. 157, for
Mixed Chorus and String Orchestra (1983) — 21 min.
Flowers of stone, Sprouting violets, Early flowers, Is there a flower, A
yellow flower, The rose is dying, Lily has a rose
Text by e.e. cummings. First performed by The Philadelphia Singers with the Concerto
Soloists, Michael Korn conducting, Academy of Music, Philadelphia, April 20, 1984.
Vocal score — 362-03357
The Hollow Men, Op. 25 for Trumpet and
String Orchestra — 8 min.
First performed by the Germantown Symphony Orchestra, Arthur Lipkin conducting, December
12, 1946.
Complete — 166-00047, augmenting — 166-00047A, full score — 166-00047F,
pno. red. — 164-00166
Introit for Strings, Op. 96 (1964) — 3 min.
First performed by the Youth Symphony of Kansas City, Jack Herriman conducting, MO, May 1,
1965.
Complete — 166-00016, augmenting — 166-00016A, full score — 166-00016F
A Lincoln Address, Op. 124 for Narrator and Orchestra,
4-3-4-3/4-3-3-1; Timp., Perc., Str. (1972) — 12 min.
First performed by the St. Louis Symphony Orchestra, William Warfield, narrator, Walter
Susskind conducting, January 25, 1973.
466-40023
Night Dances, Op. 114, 3-3-2-2/4-3-3-1; Timp., Perc., Str.
(1970) — 22 min.
First performed by the NYSSMA Orchestra, Kiamesha Lake, New York, Frederick Fennell
conducting, December 9, 1970.
466-00022
The Pleiades (Cantata No. 4), Op. 107 for
Chorus, Trumpet and String Orchestra (1967) — 23 min.
Text by Walt Whitman. First performed by the New York State University College
Chorus and Orchestra, Potsdam, NY, composer conducting, May 10, 1968.
Piano-vocal score — 462-00014
Serenade No. 5, Op. 43, 2-2-2-2/4-2-3-1; Timp., Str.(1950)
— 11 min.
First performed by the Louisville Orchestra, Robert Whitney conducting, November 15, 1950.
Study score — 466-00008
Stabat Mater, Op. 92 for Chorus and
Orchestra, 2-2-2-2/4-2-3-1; Timp. Str.(1963) — 28 min.
First performed by the Collegiate Chorale, Abraham Kaplan conducting, Carnegie Hall, NY,
May 1, 1964.
Sinfonia: Janiculum (Symphony No. 9), Op.
113, 4-3-4-3/4-3-3-1; Timp., 2Perc., Hp., Str.— 23 min.
First performed by the Philadelphia Orchestra, Eugene Ormandy conducting, March 5, 1971.
First Symphony, Op. 18, 2-3-2-3/7-3-3-1; Timp., B.Dr., Str.
(1942) — 16 min.
First performed by the Eastman-Rochester Symposium Orchestra, Howard Hanson conducting,
October 21, 1947.
Withdrawn.
Second Symphony, Op. 19, 2-3-2-3/4-2-2-0; Timp., Pno., Str.
(1942) — 18 min.
Withdrawn.
Third Symphony, Op. 30, 3-3-3-3/7-3-3-1; Timp., Perc., Pno.,
Str. (1946) — 28 min.
First performed by the Philadelphia Orchestra, Eugene Ormandy conducting, November 21,
1947.
Fourth Symphony, Op. 51, 3-3-3-2/4-2-3-1; Timp., Perc., Str.
(1951) — 23 min.
First performed by the Philadelphia Orchestra, Eugene Ormandy conducting, December 17,
1954.
Study score — 466-00006, special order.
Symphony for Strings (Symphony No. 5), Op. 61 (1953) — 22
min.
First performed by the Louisville Orchestra, Whitney conducting, August 28, 1954.
Score — 466-00007, special order.
6th Symphony: See Band
7th Symphony (Liturgical), Op. 80, 4-3-4-3/4-3-3-1; Timp.,
Perc., Str. (1958) — 25 min.
First performed by the St. Louis Symphony, Remoortel conducting, October 24, 1959.
Study score — 466-00009
Symphony No. 8, Op. 106, 3-3-3-2/7-3-3-1; Timp., Perc., Hp.,
Str. (1967) — 29 min.
First performed by the Baldwin Wallace Conservatory Orchestra, George Poinar conducting,
October 29, 1967.
Study score — 466-00020
Symphony No. 9 See Sinfonia:
Janiculum
Te Deum, Op. 93 for Chorus and Orchestra,
2-2-2-2/4-2-3-1; Timp., Perc., Str.— 14 min.
First performed by the Pennsylvania All-State Chorus, Allen Flock conducting,
Philadelphia, PA, March 15, 1964.
Vocal score — 462-00026
BandBagatelles for Band, Op. 87 (1961) — 8 min.
First performed by the Dartmouth College Band, composer conducting, Hanover, NH, May 21,
1961.
E. F. Kalmus.
Celebrations, Op. 103 for Chorus and Wind
Ensemble (1966) — 23 min.
Text by Walt Whitman. First performed by the University of Wisconsin Choir, River
Falls, WI, Donald Nitz conducting, November 18, 1966.
Symphonic band set — 165-00083, full score — 165-00083F, extra parts —
165-00083P, choral-piano score — 462-00009
See individual octavos under Choral: A Clear Midnight, I Celebrate Myself, I
Sing the Body Electric, Sing Me the Universal, Stranger, and There Is That In Me
Chorale Prelude: O God Unseen, Op. 160 (1984) — 8.5 min.
First performed by the East Carolina University Wind Ensemble, Herbert Carter conducting,
Winston-Salem, NC, November 4, 1984.
Symphonic set — 165-00091, full score — 165-00091F, condensed score —
165-00091C
Chorale Prelude: So Pure the Star, Op. 91 (1962) — 4 min.
First performed by the Duke University Band, composer conducting, Durham, NC, December 11,
1962.
Symphonic set — 165-00038, full score — 165-00038F, condensed score —
165-00038C
Chorale Prelude: Turn Not Thy Face, Op. 105 — 4.5 min.
First performed by the Ithaca High School Band, Frank Battisti conducting, May 17, 1967.
Symphonic set — 165-00039, full score — 165-00039F
Divertimento for Band, Op. 42 (1950) — 11 min.
First performed by the Goldman Band, composer conducting, June 16, 1950.
Symphonic set — 135-41014, full score — 135-41014F, condensed score —
135-41014C
Oliver Ditson Co.(A division of Theodore Presser Company)
A Lincoln Address, Op. 124A for Narrator and Band (1973) —
12 min.
First performed by the Arkansas Tech Band, Tom Slater, narrator, Gene Witherspoon
conducting, February 1, 1974.
Symphonic set — 165-00070, full score — 165-00070F, narrator and pno. red.
— 165-00070N
Masquerade for Band, Op. 102 (1965) — 12 min.
First performed by the Baldwin-Wallace Conservatory Band, composer conducting, Berea, OH,
January 23, 1966.
Symphonic set — 165-00040, full score — 165-00040P
O Cool is the Valley (poem for band), Op. 118 (1971) — 6
min.
First performance by the Bowling Green Band, OMEA Convention, composer conducting,
Columbus, OH, February 5, 1972.
Symphonic set, — 165-00059, full score — 165-00059F, condensed score —
165-00059C
Pageant for band, Op. 59 (1953) — 7 min.
First performed by the University of Miami Band, composer conducting, March 7, 1953.
Carl Fischer.
Parable IX for Band, Op. 121 (1972) — 17 min.
First performed by The Drake University Band, Don R. Marcouiller conducting, Des Moines,
IA, April 6, 1973.
Symphonic set — 165-00066, full score — 165-00066F
Psalm for Band, Op. 53 (1952) — 8 min.
First performed by the University of Louisville Band, composer conducting, May 2, 1952.
Symphonic set — 165-00041, full score — 165-00041F, condensed score —
165-00041C
Serenade No. 11, Op. 85 for Band (1960) — 6 min.
First performed by the Ithaca High School Band, composer conducting, Ithaca, NY, April 19,
1961.
Symphonic set — 165-00042, full score — 165-00042F, condensed score —
165-00042C
Symphony for Band (Symphony No. 6), Op. 69
(1956) — 16 min.
First performed by the Washington University Band, Clark Mitze conducting, St. Louis, MO,
April 16, 1956.
Symphonic set — 165-00043, full score — 165-00043F
Selected
DiscographyCelebrations for Wind Ensemble and Chorus
IUP Chorus, Jack Stamp, cond. Keystone Wind Ensemble. Citadel CTD 88111
Choral Prelude for Organ, Op. 104, "Drop, Drop
Slow Tears"
H. Spillman, org. Titanic Ti 205
Choral Prelude: O God Unseen, Op. 160
David Amos and the Winds of the London Symphony Orchestra. Harmonia Mundi HMU
907092.
Choral Works: Love, Mass, Winter Cantata
Brooks and Mendelssohn Club of Philadelphia. New World 80316-2.
Concerto for English Horn and String Orchestra
Stacy and Composer: New York String Orchestra. New World 80489-2
Concerto for Piano, Four Hand
Malinova Sisters. Koch International Classics KIC 7213
Concerto for Piano and Orchestra
Robert Taub, piano, and Charles Dutoit and the Philadelphia Orchestra. New World NW
370-2
Divertimento for Band
David Amos and the Winds of the London Symphony Orchestra. Harmonia Mundi 907092
Divertimento, op. 42
McGinnis: Ohio State University Concert Band. Coronet S-1247.
David Amos and the Winds of the London Symphony Orchestra. Harmonia Mundi HMU
907092.
Eighth Symphony
Mester and Louisville Orchestra. Albany. TROY 024-2
The Hollow Men for trumpet and strings
Clark, cond. Koch International Classics KIC 7282
Hickman, tpt., and Russell, cond. D’Note Classics DND 1002
Infanta Marina for Viola and Piano
P. Cortese, vla., J. Klibonoff, pno. Cyrstal CD 636
Introit for Strings, op. 96
Amos and Israel Philharmonic Virtuosi. Crystal CD508
King Lear for Woodwind Quintet, Piano and Timpani
Albemarle Ensemble. AmCam ACR 10305CD
Masquerade for Band
McGinnis: Ohio State University Concert Band. Coronet S-1247.
David Amos and the Winds of the London Symphony Orchestra. Harmonia Mundi HMU 907092.
Night Dances for Orchestra
James DePreist, cond. Juilliard Orch. New World 80396-2
O Cool Is the Valley, Op. 118
McGinnis: Ohio State University Concert Band. Coronet S-1247.
David Amos and the Winds of the London Symphony Orchestra. Harmonia Mundi HMU
907092.
Parable for Band (Poem for Band), Op. 121
McGinnis: Ohio State University Concert Band. Coronet S-1247.
David Amos and the Winds of the London Symphony Orchestra. Harmonia Mundi HMU
907092.
Parable III for Solo Oboe
Peter Christ. Crystal C 321; CD 321
Parable XIII for Solo Clarinet
Jonathan Cohler. Ongaku 024-105
Parable XV for English Horn, op. 128
Carolyn Hove. Crystal CD 328
Parable XVI for Solo Viola
John Graham. CRI ACS 6016
P. Cortese. Crystal CD 636
Parable XXII for Tuba, op. 147
Mark Nelson. Crystal CD 691
Parable XXIII for Violin, Cello and Piano
Mirecourt Trio. Music & Arts CD686
Pastoral for Woodwind Quintet
Boehm Quintet. Premier PRCD 1006
Psalm for Band, Op. 53
McGinnis: Ohio State University Concert Band. Coronet S-1247.
David Amos and the Winds of the London Symphony Orchestra. Harmonia Mundi HMU
907092.
Second, Third, Fourth, and Fifth Harpsichord Sonatas
Elaine Comparone. Laurel LR 838CD
Serenade No. 8 for Piano, 4 Hands
Malinova Sisters. Koch International Classics KIC 7213
Serenade No. 10 for Flute and Harp
Di Tullio and McDonald. Klavier KCD 11019
Sonata for Two Pianos
Malinova Sisters. Koch International Classics KIC 7213
Symphony No. 5, Op. 61 (Symphony for Strings)
Riccardo Muti, cond. Philadelphia Orchestra. New World NW 370-2
Symphony No. 6, Op. 69 (Symphony for Band)
Eugene Corporon, cond. Cincinnati College Conservatory of Music Winds. Klavier KCD
11047
Symphony No. 8
Jorge Mester, cond. Louisville Orchestra. Albany Troy 024-2
"Persichetti has added huge chunks to the repertory of our
time. He has a conscious mastery of 20th-century materials as well as an intuitive feeling
for them. Virtually no medium…has not gained from Persichetti’s prolific pen. In
his piano writing he displays a technique for exploiting the keyboard that is unsurpassed,
if equaled, by any other contemporary composer." — William Schuman, Musical
Quarterly
"Persichetti enjoys the almost unique distinction of never having belonged to the
Right, or Left, or for that matter, the Middle of the Road, and as a consequence, the
extremes which one finds in his writing cannot be charged up as victories for any extant
musical camp. In a sense, he is without portfolio, and in another sense, he is a musical
Citizen of the World. He has deliberately exchanged the advantages of a single system for
the challenges imposed by the critical acceptance of several systems. In having done this,
he is one of the composers who, so far, has challenged the parochial narrowness of the
major segments of contemporary musical thought." — Robert Evett, The
Juilliard Review
"Persichetti has become one of America’s most prolific contemporary
composers, contributing major works in both the vocal and instrumental areas of music
literature. Remarkable for its compact organization and simplicity of ideas, his music
creates both warmth and brilliance uncommon to the contemporary music scene." —
Maurice Hinson, Clavier
"Persichetti has synthesized the several features of twentieth century music, but
has also retained a connection with the musical culture of the last 300 years. At the same
time his language is sufficiently advanced to allow further exploration of combinations
that may bring a new realm of values, not yet realized, into a general musical
speech." — Thomas Sherman, St. Louis Dispatch
"The extent of Mr. Persichetti’s knowledge, his ability to analyze and
evaluate factors in musical style, and to illustrate them with clarity to an audience
sprinkled with non-composers amount to virtuosity." — Frank C. Campbell, The
Washington Evening Star
"I’m pinning my hopes for new music on the amalgamation idea advanced, and
practiced, by Persichetti." — Wayne Johnson, Denver Post
"Each work in his large catalog of varied music is in perfect balance and
embraces the tonal emancipative doctrine and rhythmic non-symmetrical dogma of the
twentieth century." — Arthur Cohn, Philadelphia Art Alliance Bulletin
"Persichetti’s music is remarkable for its contrapuntal compactness, in a
synthetic style, amalgamating the seemingly incompatible idioms of different historical
epochs." — Nicholas Slonimsky, Baker’s Biographical Dictionary
"Solid in his craft, conscious of his heritage, easy in his manner, precise and
serious without being pedantic." — John Haskins, Washington Times-Herald
"Mr. Persichetti has no embarrassment of melodic riches. He has just the right
amount and very beautiful melody it is, too." — Edward Downes, New York Times
"Persichetti writes to express himself and to please the angels." —
Marjorie Eger, The Elkhart Truth
"There is no more honored and respected American composer than Vincent
Persichetti. His works, in virtually every form and for all media, are played throughout
the world. Lovers of band music are especially indebted to him because he — of all
the leading American composers — has most often turned his attention to the band,
bringing to his many compositions for band all the originality, skill, taste, and
spontaneity which mark his other works." — Ainslee Cox, The Guggenheim
Memorial Concerts
About Chorale Prelude: Give Peace, O God, "The climax of the
program…lyrical and poignant…a dramatic masterpiece." — Calvert Shenk,
American Organist
"The Concerto for Piano, Four Hands was for me one of the
most interesting stimulating American works of the Pittsburgh International Contemporary
Music Festival." — Colin Mason, Manchester Guardian
"Divertimento has unusual personality and expressive
power. Its tunes, its harmony and its instrumentation have all of them originality. It
makes a mood, sustains it, holds the interest. Neither its sense nor its sound is
familiar, and both have real sweetness." — Virgil Thomson, New York Herald
Tribune
"Persichetti has remained his own man through the years…the Fourth
String Quartet emerges as a strong, assured, meaningful piece of considerable
dignity." — Harold C. Schonberg, New York Times
"Harmonium is unquestionably a masterpiece —
Persichetti at his finest in what is by far the best song-cycle of its length by an
American composer." — Peter Chrisafides, Pennsylvania Traveler
"The [First Harpsichord Sonata] is real harpsichord
music; those pointed effects for which the instrument is most widely known are collected
and husbanded with a master’s hand. In sum, we have a new work in which to show
pride." — Jay Harrison, New York Herald Tribune
"So, start practicing, harpsichordists: composers ARE giving us lovely new music
for our instrument. Let us now reward them by learning these pieces [Second,
Third & Fourth Harpsichord Sonatas], playing them (both well and often),
and getting them established as the important addition to our repertoire which they surely
are." — The Diapason
About Hymns and Responses for the Church Year, "Painters and architects
have for years been giving a contemporary look to liturgy. Composers and poets, while
slower, have also produced some of their wares in church. A new example is a slim hymnal
by Philadelphia-born Persichetti…His tunes are fresh and singable; their lyrics
contain more surprises." — Time Magazine
"Persichetti’s Mass for mixed chorus, a cappella, is
music eminently suitable for the church, but also rewarding for a concert-hall
audience…It has a timeless quality which corresponds to that of the Mass
itself…The lucid and admirable balanced character of the choral scoring and its
gratefulness to the voices, along with the unobtrusive while impressive skill that marks
its structure, were convincingly realized by the Collegiate Chorale." — Francis
D. Perkins, The Musical Quarterly
"Parable for Band is certainly one of the finest works written
for the medium… It is destined to become a lasting work of the band repertoire."
— Don R. Marcouiller, Drake University Letter
"Parable for Solo Alto Saxophone is the most successful
realization to date of the saxophone in the unaccompanied dimension. The work will surely
find its place in the permanent repertory of our instrument." — Brian Minor,
World Saxophone Congress Newsletter
"Parable for Solo Horn is a musically stimulating, dramatically
varied work of art…Its immediate impact is simple here and now reality, the second
and more vital message being suggestive of a lasting inner quality." — Harwood
Simmons, School Music News
"Persichetti delivers his music superbly, for he is a marvelous pianist, and the
writing [Fourth Piano Sonata] is suited to the instrument better
than almost anything written in America today." — Virgil Thomson, Colorado
Springs Gazette Telegraph
"The Ninth Piano Sonata is made as lightly as the works
of a small watch. The tiny motif at the opening meshed with every note in the four
movements." — Daniel Webster, The Philadelphia Inquirer
"Their appearance [recordings of the Tenth and Twelfth
Piano Sonatas] continues to document the gradual recognition of
Persichetti’s contribution to this medium as one of the most comprehensive artistic
statements in contemporary piano music." — Walter Simmons, Fanfare
"The four-movement Sonata for Two Pianos is an absolute
delight. If you like contemporary music that speaks to the heart as well as to the
brain, this is for you." — Evelyn Garvey, American Music Teacher
About sinfonia: janiculum, "With seeming ease, Persichetti blends
the sensuous and ideational possibilities of that largest of all instruments, using
chromaticism, dissonance, and consonance in ways only a master can, convincing the
listener that these musical manifestations are not just sophisticated expertise, but
rather a way of postulating a sober philosophical statement." — Lester Trimble,
Stereo Review
"For me, the greatest surprise was in hearing Persichetti’s Third
Symphony. At the time I thought this to be the best American symphony I had
heard. The Copland Third, Harris Third, and the works of Barber paled in comparison, and
they are about the best we have." — David Ward-Steinman, The Florida Flambeau
"The publication of Vincent Persichetti’s Twentieth Century
Harmony, Creative Aspects, and Practice ... is an event of historic
importance. Surely, this volume will take its place as one of the great books on the
art of music … There have been a gratifying number of excellent publications produced
during this century by musicologists and composer-theorists, including some of our most
prominent Americans. And now with Persichetti’s contribution we have been given yet
another step to Parnassus — this one in the form of a jet-propelled leap."
— William Schuman, Musical Quarterly
Current as of
February, 2003