Vous voulez voir cette page en français ? Cliquez ici.


or
Sign in to turn on 1-Click ordering.
or
Amazon Prime Free Trial required. Sign up when you check out. Learn More
More Buying Choices
Have one to sell? Sell yours here
Tell the Publisher!
I'd like to read this book on Kindle

Don't have a Kindle? Get your Kindle here, or download a FREE Kindle Reading App.

The Music of William Schuman, Vincent Persichetti, and Peter Mennin: Voices of Stone and Steel [Hardcover]

Walter Simmons

List Price: CDN$ 76.95
Price: CDN$ 72.82 & FREE Shipping. Details
You Save: CDN$ 4.13 (5%)
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
Only 3 left in stock (more on the way).
Ships from and sold by Amazon.ca. Gift-wrap available.
Want it delivered Friday, August 29? Choose One-Day Shipping at checkout.
Save Up to 90% on Textbooks
Hit the books in Amazon.ca's Textbook Store and save up to 90% on used textbooks and 35% on new textbooks. Learn more.
Join Amazon Student in Canada


Book Description

Dec 16 2010 0810857480 978-0810857483 Har/Com
William Schuman, Vincent Persichetti, and Peter Mennin were three of the most significant American composers of the 20th century, yet their music has largely disappeared from view since their respective deaths. Because they each spent the majority of their careers working at the Juilliard School and Lincoln Center, their music is often viewed as "interchangeable." In The Music of William Schuman, Vincent Persichetti, and Peter Mennin: Voices of Stone and Steel, Walter Simmons provides a thorough examination of the lives and work of these artists, clarifying their considerable individuality both as composers and as human beings. The book begins with a comprehensive introduction summarizing the conventional view of the history of American music, while noting the marginalization of traditionalist composers—those who preferred to work with the musical forms and developmental principles on which the body of Western classical music is based. In the chapters that follow, each composer is presented through a brief overview and a biographical essay, followed by a general description of his style. Extensively researched and including detailed discussions and insights, the sections include lists of the composer's "most representative, fully realized works" and then provide systematic overviews of most or all of their compositions, giving the reader a general understanding of the artist and his work. The overviews contain a description of each composition, information concerning first performance and first recording, excerpts from reviews as well as Simmons' own critical assessment of each, and a statement of its place within the composer's output as a whole. A selected bibliography and essential discography follows at the end of each chapter. With a photo of each composer and a representative sampling of their music on the enclosed CD, readers will find this book a valuable resource.

Customers Who Bought This Item Also Bought


Product Details

  • Hardcover: 438 pages
  • Publisher: Scarecrow Press; Har/Com edition (Dec 16 2010)
  • Language: English
  • ISBN-10: 0810857480
  • ISBN-13: 978-0810857483
  • Product Dimensions: 23 x 16 x 3 cm
  • Shipping Weight: 839 g
  • Amazon Bestsellers Rank: #1,127,812 in Books (See Top 100 in Books)

Product Description

Review

The most immediately striking characteristics of this volume are its comprehensiveness, thoroughness, and scholarship. Simmons seems to have read everything ever written by and about these composers. He has researched everything concerning each work from its genesis to the score to the premiere and the reactions, pro and con, of the public and the critics, repeat performances and reactions to them, recordings, critical reactions to them, and their current availability, all carefully documented in the end notes, and generally maintaining a scholarly distance and objectivity. He gives a detailed and penetrating analysis of each with a cogent evaluation of its merits at the end. I was repeatedly impressed with his obvious professional integrity, with one phrase jumping off the page at me, when he wrote: '. . . for reasons unknown to me' rather than its common form without the final two words; after all, someone might know the reason. The breadth and depth of his information are impressive. The chapter may not constitute the definitive study of the composer but it is surely the definitive summary of him, his work, and his importance. Simmons' writing is succinct, precise, and incisive; every sentence is packed with information with next to no excessive verbiage, and often in felicitously excessive phrasing. Each work is described blow-by-blow from beginning to end. He quotes heavily from critics as well as summarizing their evaluations. He describes objectively but also evaluates astutely himself both the works and the critics' writings about them, aiming for a synthesis viewpoint. His style is straightforward, eminently readable, and pleasant; no pomposity comes with his scholarship and erudition. (Cvnc: An Online Arts Journal In North Carolina)

Each chapter in Simmons’s new book offers a detailed biographical sketch, a description of individual stylistic features of each composer, an assessment of the important and representative works that identifies both strengths and weaknesses, and a depiction of the larger social and cultural context out of which the music arose. There are many and extensive quotations from critical opinions (often at some variance with each other) and hundreds of citations in the notes for each chapter, as well as bibliographies and discographies for each composer—and even a compact disc with works by all three of them....Simmons’s extraordinary ability to advocate for these composers yet see them whole, with all their virtues, difficulties, and failings, is a triumph of sensitivity and a lifetime spent in thoughtful listening, research, and adjudication. He loves these men and their music yet makes careful, nuanced discriminations about them, raises questions about their accomplishments (sometimes unanswerable), and gives full credit to the intricate and unfathomable workings of personality and circumstance that bring forth artistic creation. Together with the many detailed and perceptive analyses of individual works (strictly verbal—there are no music examples) it is this celestial balance of judgment and mercy, knowledge and enigma, light and dark, that makes Voices of Stone and Steel indispensable for anyone studying or simply curious about the achievement of these three distinguished and emblematic “modern traditionalist” American composers. (American Record Guide 2011-09-14)

In his epochal study Voices in the Wilderness (2008), musicologist Walter Simmons charts the careers and assesses the achievement of six American “Neo-Romantic” composers…. Perhaps the important unstated thesis in Voices in Stone and Steel—a thoroughly readable, fascinating, and necessary book—is the de-vivifying effect of professionalization on all creative and visionary endeavors in the American world since World War II. What would Schuman, Persichetti, and Mennin have achieved composition-wise had they been as independent, both in their careers and their worldviews, as the great eccentrics who pioneered a genuine American art-music, such as Charles Ives, Carl Ruggles, and Henry Cowell? Or what, simply, might the three men have achieved had they lived in a more human age than the Age of Ideologies? (The University Bookman)

Describing music with words is something every critic struggles with. Despite denying in his introduction that it can be done, Simons is a master at it. His analyses are consistently revealing, never too esoteric for the untrained reader (no scores, mere hints at harmonic analysis), nor too simplistic for the knowledgeable one. He advises us to listen as we read, yet-if one knows the music at all-it comes alive with only his descriptions. He devotes three dense pages to Schuman's Third Symphony, and every phrase, every note sounds and breathes. A well-loved symphony becomes all the more meaningful on next hearing. . . . One fervently hopes that Simmons' series will continue, and that he will champion neglected composers across the entire spectrum of American music. (Fanfare Magazine)

This book. . . has been a labour of love for the author. Walter Simmons starts from the premise that the high watermark of American symphonic music in the years following the Second World War passed relatively unnoticed and undocumented, and that the vast contributions to American musical literature of three major figures during that period have largely been eclipsed by their other important, but less enduring, lifetime achievements… In this most interesting and absorbing book Simmons emerges as a persuasive advocate for those, myself included, who feel that the past few decades have witnessed unprecedented growth in American musical culture, the effects of which are only now starting to be assimilated. (Bret Johnson Tempo)

Through careful analysis of their music and insightful appraisal of their achievements, interspersed with enough biographical information to humanize his subjects, Simmons makes a solid case for their work and provides an enjoyable read in the process. . . . Overall the balance between biography and analysis is well judged. Simmons shows us enough of his subjects' feet of clay to remind us that composers are people, too, in a book that is primarily about absolute music. . . . With enticing recent recordings readily available. . . . there surely exists a new audience for this period of American music-an audience with open ears and fewer preconceptions. For them Simmons' book will be a godsend. (Fanfare Magazine)

A valuable book....What is of great value here is: first, the brilliant summaries of the style and substance of the considerable musical output of these composers; second, the many detailed descriptive analyses of individual compositions; third, historical reports of the critical and popular reactions to these musical works when first performed; fifth, information about the recording history of many of these works; and, finally, Simmons' highly informed evaluations of the strengths and weakness of the many works he writes about. . . . Highly recommended. (Classical Net)

At a time when these composers were all active, Stanley Cavell observed in a famous essay called “Music Discomposed” that “the task of the modern artist . . . is to find something he can be sincere and serious in; something he can mean” (“Music Discomposed,” in Must We Mean What We Say? [New York: Scribner, 1969], p. 212). Schuman, Persichetti, and Mennin succeeded admirably in this task. Simmons's book is a wonderful invitation to these composers and helps reclaim their reputations for a contemporary audience. (Journal Of Aesthetics & Art Criticism)

There is sufficient material here on all three composers to form an insightful view of their lives and work – both administrative and musical – and one would have to seek far and wide for greater insights into the legacies of all three men, who – together with Copland, Bernstein, Harris, Piston, Thomson and Ives – constituted the bulk of important American music in the 20th-century up to, say, 1960, by which time their most valuable works had appeared. (Musical Opinion 2011-07-01)

There is much in this book that will be of distinctive value to either laymen or scholars, and indeed any work that tries to walk the line in this way will be certain to frustrate both groups to some extent. Regardless, Simmons’ work is crucially important to filling out the canon of American music history, and he has produced a well-conceived and thoughtfully organized reference that will hopefully provoke further scholarly research. (Notes: Quarterly Journal of the Music Library Association)

In The Music of William Schuman, Vincent Persichetti, and Peter Mennin: Voices of Stone and Steel the insightful critic and musicologist Walter Simmons has taken on the cause of three remarkable but neglected mid-20th-century American composers—William Schuman, Peter Mennin and Vincent Persichetti. This ambitious book provides a detailed study of their music, along with incisive summaries of their lives and careers; it also reveals the personal and professional links between the three men and places their various accomplishments in context of their era. In careful, clear prose, the author presents deft, scholarly analyses of most of his subjects' works, ranging through the genres-from symphonies to songs. He assumes the role of counsel for the defense, but doesn't hesitate to note the occasions when his composers fell down on the job. As Edmund Wilson once did with literature, here Simmons provokes a desire in the reader to hear the music about which he writes so compellingly. I can think of only one adjective that adequately describes this important book: magnificent. (Phillip Ramey, Composer, Former Annotator and Program Editor of the New York Philharmonic, author of the award-winning biography Irving Fine: An American)

About the Author

Walter Simmons has received the National Educational Film Festival Award and the ASCAP/Deems Taylor Award for music criticism. He has contributed articles to The New Grove Dictionary of American Music, American National Biography, Fanfare, Music Journal, and Musical America. He is the author of Voices in the Wilderness: Six American Neo-Romantic Composers (Scarecrow, 2004).

Sell a Digital Version of This Book in the Kindle Store

If you are a publisher or author and hold the digital rights to a book, you can sell a digital version of it in our Kindle Store. Learn more

Customer Reviews

There are no customer reviews yet on Amazon.ca
5 star
4 star
3 star
2 star
1 star
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 5.0 out of 5 stars  4 reviews
14 of 14 people found the following review helpful
5.0 out of 5 stars Terrific. May 16 2011
By Steven Schwartz - Published on Amazon.com
Format:Hardcover
I got interested in Modern American music as a teenager and well remember me and my high-school musical buddies gathering over the latest LPs of Schuman, Gershwin, Copland, and Foss. I read all I could, bought all the LPs I could, borrowed stuff from the public library, and peered at scores. Sometime in the 60s or 70s, I came across the writings of Walter Simmons, who had obviously heard much more than even a headbanger like me and had a conceptual framework I lacked. I learned a lot from him at a distance.

This is the second volume of Simmons's alternative history of Modern American music. His first volume, Voices in the Wilderness, discussed six neo-Romantic composers -- Bloch, Barber, Hanson, Flagello, Creston, and Giannini -- most of whom hadn't earned that much ink in decades. Many musicologists and critics had written these men out of serious discussions, mainly because they didn't fit the narrative the fraternities had established. Simmons proposes a convincing revision of standard history -- convincing, because he doesn't just simply sound off. He has heard in detail a ton of music -- both that of his subjects and that of the mainstream histories -- and has the ability both to make sense of it and to communicate with a general reader. He built strong cases for all these composers. As a record producer and advocate, he has, importantly, disseminated their music on CDs.

The second volume in the series keeps to the successful general organization of the first. Its hierarchy contains the sprawl that easily could overtake such a work. Each chapter focuses on one composer -- Schuman, Persichetti, and Mennin. Each chapter begins with life and career, provides a list of "most realized" works, moves to detailed discussion of individual pieces, and then sums up the composer's significance. New to this volume is the inclusion of a CD containing works by all the composers, a canny bonus. It offers the reader a taste of each man's work and affords the opportunity for more exploration. How he persuaded Scarecrow Press to do this, I can't think.

Unless you're a super-fan like me, you probably won't read this book straight through, but dip into it here and there, as you wish. The book's modularity makes it easy.

One of the scandals the book raises comes from the critical commentary at the time. It pigeonholed each of these men and then griped when their works didn't fit the slots that had been set up. Furthermore, this consensus has frozen, to a large extent. So William Schuman, for example, becomes an administrator who lacked the soul to compose, a laughable statement to anybody who's heard the Violin Concerto, the Ninth Symphony, or even the semi-popular New England Triptych. This points strongly in the direction of people repeating what they've read. Significantly, most of the favorable criticism comes from recent CD reviewers including, in the interests of full disclosure, me. Simmons cites not just me, but other CD reviewers, as well as various critics and musicologists who stand at some remove from the composers themselves.

What we get from this book is a view that sees American music not as three strands, but as the product of many more. Furthermore, Simmons emphasizes the individual composer. Much of the critical difficulty Schuman, Persichetti, and Mennin suffered from critics stemmed from the insistence on viewing them as neoclassicists. Of the three, Persichetti fits that label best, but only in some works. After all, he mastered whatever technique interested him, and his compositional outlook strives to include and assimilate everything he can. However, the label never fit Schuman or Mennin at all. None of these men moved in a crowd. Schuman led. Persichetti persuaded through his teaching and writing. Mennin remained idiosyncratic, unconcerned with how he fit in or what his influence was.

I disagree with Simmons here and there, both on individual works and on various points, but that's inevitable in a study of this size. I probably rate Schuman's music more highly than he does, for example. I do get annoyed by his use of the word "atonal," when he simply means "highly dissonant." However, I have a hard time hearing atonality, even in music avowedly atonal. I seem to almost always hear a tonic. It upsets me to encounter the word "atonal" in print, because many take it as a license to simply not listen to the work itself. Take it from me: There's atonality and there's atonality. Some atonal works have actually become mini-hits, even pop hits, but not because they proclaimed their atonality. You can write a boring piece of tonal music just as easily as an atonal one. Tonality or its lack is beside the point.

Simmons wonders about the viability of music as complex as serious Modernist scores. On the other hand, I wonder about the viability of all "high" art. It seems to me the same problem in general as in the special case. Serious art requires an actively-engaged audience. The general audience has become increasingly passive (decline in general music education hasn't helped), aided by technology. If you can download whatever, why would you download Sessions's Second Symphony when you could download (to really skew the comparison) Justin Bieber? For that matter, why would you download Mahler or Brahms or even Beethoven?

My disagreements are really just the equivalent of speed bumps and rise from a naturally argumentative nature. The series so far, however, I consider a major achievement. Merely to have heard all the music Simmons has in order to write the thing is a staggering, years-long job -- without taking into account all the time he has spent thinking about what he's heard. Furthermore, the details never drown the larger views. It's geared for people who have some acquaintance with the composers and would like to learn more. Simmons has the gift of being able to write intelligently about music without resorting to technical jargon. Recommended.
12 of 12 people found the following review helpful
5.0 out of 5 stars An accessible, engaging, and important study of three significant American compositional voices Feb. 10 2011
By C. P. Cooman - Published on Amazon.com
Format:Hardcover
Simmons's superb first book (Voices in the Wilderness: Six American Neo-Romantic Composers) was a seminal study of American neo-romanticism in its treatment of five composers, ranging from the very familiar (Samuel Barber) to the largely unfamiliar (Nicolas Flagello). This book (his second) deals with three American composers he terms "modern traditionalists" (a term that is very carefully defined in the introduction): William Schuman, Vincent Persichetti, and Peter Mennin. After a lifetime devoted to the study of this repertoire, Simmons presents a carefully-considered, thoroughly-researched, and extremely accessible overview of the life and output of these three important American voices.

Perhaps one of the strongest properties of Simmons's writing (notable because it is so rarely present in music writing) is a willingness to engage with the catalogs of these composers in a detailed and hierarchical way, by providing a map through the stronger and weaker works. Most books on composers treat every composition as if it were equally great (or important) -- which is not only untrue, but supremely unhelpful when trying to get a handle on a body of work.

I had the privilege of reading this marvelous book in its final draft, and I strongly recommend it to anybody interested in American music or in discovering (or simply learning more) about these three fine composers. Unlike "Voices in the Wilderness," this book comes with a CD recording, providing a very convenient aural introduction to the music right in the back pocket of the book itself.
8 of 8 people found the following review helpful
5.0 out of 5 stars A Superb and Elegantly-Written Work on Three Great American Composers Feb. 9 2011
By J Scott Morrison - Published on Amazon.com
Format:Hardcover
Walter Simmons has written some of the most instructive, as well as elegantly written, articles and books on twentieth century American music. This book -- The Music of William Schuman, Vincent Persichetti, and Peter Mennin: Voices of Stone and Steel -- is the second in a projected series of books on American composers. The first of these -- Voices in the Wilderness: Six American Neo-Romantic Composers -- focused on Bloch, Hanson, Giannini, Creston, Barber, and Flagello and was a model of its kind: graceful and clear writing in the service of exhaustive scholarship. Voices in the Wilderness: Six American Neo-Romantic Composers. The present book is very much in the same mold. Simmons seems to have read everything extant about these three composers and clearly he has closely studied their scores. (He also wrote the Grove Dictionary bios for Persichetti and Mennin.) He calls them 'Modern Traditionalists' whom he describes as 'not primarily concerned with the expression of personal moods, feelings, and emotions, nor with the representation of narratives, nor was their musical language a direct outgrowth of Late Romantic harmonic and tonal practice; unlike the Neo-Classicists, these composers did not represent a return to eighteenth-century musical values, such as conceptual simplicity, textural clarity, formal symmetry, or expressive restraint ...' Nor are they like the National Populists, who used jazz, folk or popular music in their works. But they are also not serialists or avant-gardists. They did not reject tonality although they often stretch its bounds. And they hewed often to traditional forms -- symphony, sonata, concerto and the like.

Simmons follows the same pattern as in the earlier book. Each composer has a long section devoted to him and his music. First there is a biography, then an extensive review of the pertinent aspects of each composer's individual works that includes beautifully clear analytic descriptions in language perfectly understandable to the non-professional. He uses quotes from critical assessments of each work from both newspapers or magazines and from scholarly publications, followed by extensive references to available recordings. The book includes a CD with performances from the following works:

Schuman: Judith
Gerard Schwarz, Seattle Symphony

Persichetti: Concerto for Piano Four, Hands
Georgia and Louise Mangos, duo pianists

Persichetti: Serenade No. 10 (six excerpts)
Samuel Baron, flute; Ruth Maayani, harp

Mennin: Symphony No. 6
David Alan Miller, conductor; Albany Symphony Orchestra

It is hard to imagine that anyone reading this book won't feel the need to go out and buy recordings of unfamiliar works herein extolled. I found myself making a wish list.

In conclusion, I will say that I learned more in reading this book than I could have imagined possible. I found my respect and admiration for Schuman and Mennin had grown, and that I had fallen in love with Vincent Persichetti all over again.

Scott Morrison
4 of 4 people found the following review helpful
5.0 out of 5 stars Excellent! Dec 25 2012
By Lauren Persichetti - Published on Amazon.com
Format:Hardcover|Verified Purchase
I was quite moved by this book, especially the section devoted to my father, Vincent Persichetti.
Thank you, Mr. Simmons!
Lauren Persichetti

Look for similar items by category


Feedback