Stony Hollow for orchestra. Op. 47. Musical manuscript in condensed score for the complete work, most probably autograph. Ca. 1946. Norman CAZDEN.

Stony Hollow for orchestra. Op. 47. Musical manuscript in condensed score for the complete work, most probably autograph. Ca. 1946.

Folio. Unbound. 10 pp. 234 measures in total. Notated in pencil on 12-stave music manuscript paper. Marked "Piano-Conductor" at upper left corner of first page of music. With corrections and occasional markings in red pencil, possibly by an editor.

Together with a proof of the full score with corrections in multi-coloured pencil, 35 pp., and a proof of a version for two pianos, op. 47a, dated September 1944, with some markings in pencil and cut and pasted sections, 9 pp.

Slightly worn and browned; proof of full score taped into stiff pressboard pamphlet binder; spine to proof of version for two pianos reinforced with tape; central fold to manuscript.

Born to Yiddish-speaking Russian immigrant parents, Cazden studied at Juilliard, City College, and later at Harvard under Aaron Copland and Walter Piston. He composed for dance companies and also performed as a concert pianist. "Cazden also taught at the Peabody Conservatory, the University of Michigan, and since 1950 at the University of Illinois in Springfield. After being investigated by the House Un-American Activities Committee, he lost this position in 1953 and received no academic position for the next 16 years. He gave private piano lessons during this time and worked on research on folk music. Beginning in 1969 he taught at the University of Maine." Wikipedia.

"Among... [his] works in the folk vein, the most distinctive is Stony Hollow for orchestra, Op. 47. It is like a montage of the music at a square dance. One of its features is the treatment of the trumpet as the voice of the caller... Sometimes the calls are announced in a regular patter, elsewhere merely as interjections or as addenda to a phrase. The country fiddler is audible as is also the concertina-accordion player with his in-and-out tonic and dominant harmony (measures 146-151). The sudden shifts of tonality and meter (measures 93-94) within the framework of the basic beat, the varied themes unified with the main motif, the skillful combining of themes (measures 152-160) where six independent melodic lines occur simultaneously including Yankee Doodle in the bass - all these make Stony Hollow an outstanding work deserving a place in regular orchestra repertoire." normancazden.com. Item #29730

Price: $550.00  other currencies

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