Hubbry Logo
Vincent PersichettiVincent PersichettiMain
Open search
Vincent Persichetti
Community hub
Vincent Persichetti
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Vincent Persichetti
Vincent Persichetti
Vincent Persichetti
View on Wikipedia
from Wikipedia

Vincent Ludwig Persichetti (June 6, 1915 – August 14, 1987) was an American composer, teacher, and pianist. An important musical educator and writer, he was known for his integration of various new ideas in musical composition into his own work and teaching, as well as for training many noted composers in composition at the Juilliard School.

Key Information

His students at Juilliard included Philip Glass, Steve Reich, Larry Thomas Bell, Bruce Adolphe, Louis Calabro, Moshe Cotel, Michael Jeffrey Shapiro, Laurie Spiegel, Kenneth Fuchs, Richard Danielpour, Lawrence Dillon, Peter Schickele, Lowell Liebermann, Robert Witt, Elena Ruehr, William Schimmel, Leonardo Balada, Gitta Steiner, Hank Beebe, Roland Wiggins, Thomas Pasatieri,[1] Randell Croley and Leo Brouwer. He also taught composition to Joseph Willcox Jenkins and conductor James DePreist at the Philadelphia Conservatory.

Life

[edit]

Persichetti was born in Philadelphia, Pennsylvania, in 1915. Though neither of his parents was a musician, his musical education began early. Persichetti enrolled in the Combs College of Music at the age of five, where he studied piano, organ, double bass and later music theory and composition with Russel King Miller, whom he considered a great influence.

He first performed his original works publicly at the age of 14. By the time he reached his teens, Persichetti was paying for his own education by accompanying and performing. He continued to do so throughout high school, adding church organist, orchestral player and radio staff pianist to his experience. In addition to developing his musical talents, he attended art school and remained an avid sculptor until his death. He attended Combs for his undergraduate education as well. After receiving a bachelor's degree in 1936, he was immediately offered a teaching position.

By the age of 20, Persichetti was simultaneously head of the theory and composition department at Combs, a conducting major with Fritz Reiner at the Curtis Institute, and a student of piano (with Olga Samaroff) and composition at the Philadelphia Conservatory of Music. He earned a master's degree in 1941 and a doctorate in 1945 from the Conservatory, as well as a conducting diploma from Curtis. In 1941, while still a student, Persichetti headed the theory and composition department as well as the department of postgraduate study at the Philadelphia Conservatory of Music, where he taught from 1939–1962.

In 1941 Persichetti married Dorothea Flanagan who was a composer as well.[2] They had a daughter Lauren, a dancer,[3] and Garth, an actor.[4][5]

From 1932 to 1948 he was organist and eventually choirmaster of the Arch Street Presbyterian Church.[6] In 1947, William Schuman offered him a professorship at the Juilliard School. While at Juilliard, Persichetti was devoted to the wind band movement and encouraged William Schuman and Peter Mennin to compose pieces for wind band. He was on staff at Juilliard for over forty years.[7] Persichetti's students included Einojuhani Rautavaara, Leonardo Balada, Steven Gellman, Peter Schickele (P.D.Q. Bach), Michael Jeffrey Shapiro, Claire Polin, Toshi Ichiyanagi, Robert Witt (who also studied with Persichetti at the Philadelphia Conservatory), Randell Croley and Philip Glass. He became editorial director of the Elkan-Vogel publishing house in 1952.

Music

[edit]

Persichetti is one of the major figures in American music of the 20th century,[citation needed] both as a teacher and a composer. Notably, his Hymns and Responses for the Church Year has become a standard setting for church choirs. His numerous compositions for wind ensemble are often introductions to contemporary music for high school and college students. His early style was marked by the influences of Stravinsky, Bartók, Hindemith, and Copland before he developed his distinct voice in the 1950s.

Persichetti's music draws on a wide variety of thought in 20th-century contemporary composition as well as Big Band music. His own style was marked by use of two elements he refers to as "graceful" and "gritty": the former being more lyrical and melodic, the latter being sharp and intensely rhythmic. Especially true of his early compositions, Persichetti said he "liked bumpy melodic lines and was crazy about music that moved along a zigzag path."[8] He frequently used polytonality and pandiatonicism in his writing, and his music could be marked by sharp rhythmic interjections, but his embracing of diverse strands of musical thought makes characterizing his body of work difficult. This trend continued throughout his compositional career. His music lacked sharp changes in style over time. He frequently composed while driving in his car, sometimes taping staff paper to the steering wheel.

His piano music forms the bulk of his creative output, with a concerto, a concertino, twelve sonatas, and a variety of other pieces written for the instrument. These were virtuosic pieces as well as pedagogical and amateur-level compositions. Persichetti was an accomplished pianist. He wrote many pieces suitable for less mature performers, considering them to have serious artistic merit.

Persichetti is also one of the major composers for the concert wind band repertoire, with his 14 works for the ensemble. In 1950, Persichetti composed his first work for band, which was the Divertimento for Band.[7] The Symphony No. 6 for band is of particular note as a standard larger work. This piece boasts complex percussion lines crucial to the work's thematic material as well as utilizes the full spectrum of colors and timbres of the wind band.[9] He wrote one opera, entitled The Sibyl. The music was noted by critics for its color, but the dramatic and vocal aspects of the work were found by some to be lacking.

He wrote nine symphonies, of which the first two were withdrawn, and four string quartets.

Many of his other works are organized into series. One of these, a collection of primarily instrumental works entitled Parables, contains 25 works, many for unaccompanied wind instruments (complete listing below). His 15 Serenades include such unconventional combinations as a trio for trombone, viola, and cello, as well as selections for orchestra, for band, and for duo piano.

During the 1950s, Persichetti was perceived to "truly achieve his own distinctive voice," in the words of Walter G. Simmons. One of Persichetti's most revered compositions is his Concerto for Piano, Four Hands. This duet was first performed at the Pittsburgh International Contemporary Music Festival on November 29, 1952. The piece itself gives the listener the illusion that the two pianists are having a pleasant conversation, without using words, but just musical notes. The duet featured both Vincent and Dorothea Persichetti as the performers. In his review in the Manchester Guardian, Colin Mason stated, "The Concierto (sic) for Piano, Four Hands was for me one of the most interesting stimulating American works of the Pittsburgh International Contemporary Music Festival."[10]

Persichetti's esthetic was essentially conservative, a distinctive blend of Classical, Romantic and Modernist elements, contrapuntal, rhythmically charged and expertly scored. His musical imagination was multifaceted and highly virtuosic. "Following the lineage of Mozart, Mendelssohn and Ravel, Persichetti's music suggests the innocence and childlike joy of pure musical creativity", Walter Simmons wrote in the New Grove Dictionary of American Music. "Hence many works for beginners stand, with neither condescension nor apology, alongside more difficult compositions."

Persichetti frequently appeared as a lecturer on college campuses, for which he was noted for his witty and engaging manner. He wrote the noted music theory textbook, Twentieth Century Harmony: Creative Aspects and Practice. He and Flora Rheta Schreiber wrote a monograph on William Schuman.

Persichetti was a big fan of collaboration between music and dance. He encouraged his students at Juilliard to work with the dance program to create compositions for the dancers choreography. Persichetti also collaborated with choreographers professionally. He worked with Martha Graham. He admired her seriousness and her commitment to movement. Persichetti believed that music has to stand on its own and can not be married to dance, one can not depend on the other. He once said, "There isn't such thing as dance music. Music is dance, it's motion."[11]

Persichetti performed many concerts consisting of improvisation. He believed any composer/artist must improvise to create.[11]

Works

[edit]

Selected works

[edit]
  • Celebrations, for Chorus and Wind Ensemble, Op. 103
  • Chorale Prelude: So Pure the Star, Op. 91
  • Chorale Prelude: Turn Not Thy Face, Op. 105
  • Divertimento for Band, Op. 42
  • Masquerade for Band, Op. 102
  • Masques for violin and piano Op. 99
  • Mass for a capella mixed chorus, Op. 84
  • Pageant, Op. 59
  • Parable IX for Band, Op. 121
  • Pastoral for Wind Quintet, Op. 21
  • Psalm for Band, Op. 53
  • Symphony No. 6 for Band (1956)
  • The Hollow Men, for trumpet and string orchestra, Op. 25
  • The Sibyl: A Parable of Chicken Little (Parable XX): An Opera in One Act, Op. 135
  • Winter Cantata, Op. 97 for Women's Chorus, Flute, and Marimba

Complete listing of parables

[edit]
  • Parable [I] for Flute, Op. 100 (1965)
  • Parable II for Brass Quintet, Op. 108 (1968)
  • Parable III for Oboe, Op. 109 (1968)
  • Parable IV for Bassoon, Op. 110 (1969)
  • Parable V for Carillon, Op. 112 (1969)
  • Parable VI for Organ, Op. 117 (1971)
  • Parable VII for Harp, Op. 119 (1971)
  • Parable VIII for Horn, Op. 120 (1972)
  • Parable IX for Band, Op. 121 (1972)
  • String Quartet No. 4 (Parable X), Op. 122 (1972)
  • Parable XI for Alto Saxophone, Op. 123 (1972)
  • Parable XII for Piccolo, Op. 125 (1973)
  • Parable XIII for Clarinet, Op. 126 (1973)
  • Parable XIV for Trumpet, Op. 127 (1975)
  • Parable XV for English Horn, Op. 128 (1973)
  • Parable XVI for Viola, Op. 130 (1974)
  • Parable XVII for Double Bass, Op. 131 (1974)
  • Parable XVIII for Trombone, Op. 133 (1975)
  • Parable XIX for Piano, Op. 134 (1975)
  • The Sibyl: A Parable of Chicken Little (Parable XX): An Opera in One Act, Op. 135
  • Parable XXI for Guitar, Op. 140 (1978)
  • Parable XXII for Tuba, Op. 147 (1981)
  • Parable XXIII for Violin, Cello, and Piano, Op. 150 (1981)
  • Parable XXIV for Harpsichord, Op. 153 (1982)
  • Parable XXV for Two Trumpets, Op. 164 (1986)

Poems for piano

[edit]
  • Volume 1, Op. 4:
  1. Unroll the flicker's rousing drum (Louis Untermeyer First Words Before Spring)
  2. Soft is the collied night (James Elroy Flecker Fountains)
  3. Gather for festival bright weed and purple shell (William Watson Songs from Cyprus)
  4. Wake subtler dreams, and touch me nigh to tears (William Watson The Frontier)
  5. Ravished lute, sing to her virgin ears (Robert Fitzgerald Song after Campion)
  6. Whose thin fraud I wink at privily (William Watson The Mock Self)
  • Volume 2, Op. 5:
  1. And warm winds spilled fragrance into her solitudes (Edmond Kowalewski Change)
  2. To whose more clear than crystal voice the frost had joined a crystal spell (Léonie Adams Home Coming)
  3. Sleep, weary mind; dream, heart's desire (Edna St. Vincent Millay There are no islands any more)
  4. Dust in sunlight, and memory in corners (T. S. Eliot A Song for Simeon)
  5. Make me drunken with deep red torrents of joy (John Gould Fletcher Autumnal Clouds)
  • Volume 3, Op. 14:
  1. Rear its frondings sighing in aetherial folds (Hart Crane Royal Palm)
  2. Listen! Can you hear the antic melody of fear those two anxious feet are playing? (Walter Prude)
  3. Puffed out and marching upon a blue sky (Amy Lowell Lilacs)
  4. And hunged like those top jewels of the night (Léonie Adams Twilit Revelation)
  5. Each gay dunce shall lend a hand (John Trumbull The Country Clown)

List of selected works

[edit]
  • Concertino for Piano, op.16, 1941
  • Symphony no.1, op.18, 1942
  • Symphony no.2, op.19, 1942
  • Dance Overture, op.20, 1942
  • Fables, op.23, 1943
  • The Hollow Men, op.25, 1944
  • Symphony no.3, op.30, 1946
  • Serenade no.5, op.43, 1950
  • Fairy Tale, op.48, 195
  • Symphony no.4, op.51, 1951
  • Symphony for Strings (Sym. no.5), op.61, 1953
  • Symphony no.7 'Liturgical', op.80, 1958
  • Piano Concerto, op.90, 1962
  • Introit, op.96, 1964
  • Symphony no.8, op.106, 1967
  • Symphony no.9 'Sinfonia janiculum', op.113, 1970
  • Night Dances, op.114, 1970
  • A Lincoln Address, op.124, 1972, originally written for Nixon's 2nd inauguration, incorporating text from Lincoln's 2nd inaugural address, but pulled from the program. Later premiered January 25, 1973 by Walter Susskind and the St. Louis Symphony with narration by William Warfield.[12]
  • Concerto for English Horn and Strings, op.137, 1977
  • Band:
    • Divertimento, op.42, 1950
    • Psalm, op.53, 1952
    • Pageant, op.59, 1953
    • Symphony for Band (Sym. no.6), op.69, 1956
    • Serenade no.11, op.85, 1960
    • Bagatelles, op.87, 1961
    • So Pure the Star, chorale prelude, op.91, 1962
    • Masquerade, op.102, 1965
    • Turn not thy Face, chorale prelude, op.105, 1966
    • O Cool is the Valley (Poem for Band), op.118, 1971
    • A Lincoln Address, op.124a, nar, band, 1973
    • O God Unseen, chorale prelude, op.160, 1984
  • Vocal
    • Choral:
      • Magnificat and Nunc Dimittis, op.8, SATB, pf, 1940
      • Canons, op.31, SSAA/TTBB/SATB, 1947
      • 2 Cummings Choruses (e.e. cummings), op.33, 2vv, pf, 1948
        • I. jimmie's got a goil
        • II. sam was a man
      • Proverb, op.34, SATB, 1948
      • 2 Cummings Choruses, op.46, SSAA, 1950
        • I. hist whist
        • II. this is the garden
      • Hymns and Responses for the Church Year (W.H. Auden, Dickinson, Milton, Shakespeare, Psalms, Shelley, and others), op.68, 1955, originally a commission for a single hymn by Carleton Sprague Smith for Smith's collection American Hymns.[6]
      • Seek the Highest (F. Adler), op.78, SAB, pf, 1957
      • Song of Peace (anon.), op.82, TTBB/SATB, pf, 1959
      • Mass, op.84, SATB, 1960
      • Stabat mater, op.92, SATB, orch, 1963
      • Te Deum, op.93, SATB, orch, 1963
      • Spring Cantata (Cummings), op.94, SSAA, pf, 1963
      • Winter Cantata (11 Haiku), op.97, SSAA, fl, mar, 1964
      • 4 Cummings Choruses, op.98, 2vv, pf, 1964
        • I. dominic has a doll
        • II. nouns to nouns
        • III. maggie and millie and molly and may
        • IV. uncles
      • Celebrations (cant., W. Whitman), op.103, SATB, wind ens, 1966
      • The Pleiades (cant., Whitman), op.107, SATB, tpt, str, 1967
      • The Creation (Persichetti), op.111, S, A, T, Bar, SATB, orch, 1969;
      • Love (Bible: Corinthians), op.116, SSAA, 1971
      • Glad and Very (Cummings), op.129, 2vv, 1974
      • Flower Songs (Cant. no.6) (Cummings), op.157, SATB, str, 1983
      • Hymns and Responses for the Church Year, vol. 2, op.166, 1987
    • Solo:
      • e.e. cummings Songs, op.26, 1945, unpublished
      • 2 Chinese Songs, op.29, 1945
      • 3 English Songs (17th century), op.49, 1951, unpublished
      • Harmonium (W. Stevens), song cycle, op.50, S, pf, 1951
      • Sara Teasdale Songs, op.72, 1957, unpublished
      • Carl Sandburg Songs, op.73, 1957, unpublished
      • James Joyce Songs, op.74, 1957
      • Hilaire Belloc Songs, op.75, 1957
      • Robert Frost Songs, op.76, 1957, unpublished
      • Emily Dickinson Songs, op.77, 1957
      • A Net of Fireflies (Jap., trans. H. Steward), song cycle, op.115, 1970
  • Chamber and Solo Instrumental
    • 3 or more instruments:
      • Serenade no.1, op.1, 10 wind, 1929
      • Str Qt no.1, op.7, 1939
      • Concertato, op.12, piano quintet, 1940
      • Serenade no.3, op.17, violin, cello, piano, 1941
      • Pastoral, op.21, woodwind quintet, 1943
      • String Quartet no.2, op.24, 1944
      • King Lear, op.35, woodwind quintet, timpani, piano, 1948
      • Serenade no.6, op.44, trombone, viola, cello, 1950
      • Piano Quintet, op.66, 1954
      • String Quartet no.3, op.81, 1959
    • 1–2 instruments:
      • Suite, op.9, violin, cello, 1940, unpublished
      • Sonata, op.10, violin, 1940
      • Fantasy, op.15, violin, piano, 1941, unpublished
      • Vocalise, op.27, cello, piano, 1945
      • Serenade no.4, op.28, violin, piano, 1945
      • Sonata, op.54, cello, 1952
      • Little Recorder Book, op.70, 1956
      • Serenade no.9, op.71, 2 recorder, 1956
      • Serenade no.10, op.79, flute, harp, 1957
      • Infanta marina, op.83, viola, piano, 1960
      • Serenade no.12, op.88, tuba, 1961
      • Serenade no.13, op.95, 2 clarinets, 1963
      • Masques, op.99, violin, piano, 1965
      • Serenade no.14, op.159, oboe, 1984
  • Keyboard
    • Piano:
      • Serenade no.2, op.2, 1929
      • Sonata no.1, op.3, 1939
      • Poems, vols.1–2, opp.4–5, 1939
      • Sonata no.2, op.6, 1939
      • Sonata, op.13, 2 pianos, 1940
      • Poems, vol. 3, op.14, 1941
      • Sonata no.3, op.22, 1943
      • Variations for an Album, op.32, 1947
      • Sonata no.4, op.36, 1949
      • Sonata no.5, op.37, 1949
      • Sonatina no.1, op.38, 1950
      • Sonata no.6, op.39, 1950
      • Sonata no.7, op.40, 1950
      • Sonata no.8, op.41, 1950
      • Sonatina no.2, op.45, 1950
      • Sonatina no.3, op.47, 1950
      • Serenade no.7, op.55, 1952
      • Concerto, op.56, 4 hands, 1952
      • Parades, op.57, 1952
      • Sonata no.9, op.58, 1952;
      • Little Piano Book, op.60, 1953
      • Serenade no.8, op.62, 4 hands, 1954
      • Sonatina no.4, op.63, 1954
      • Sonatina no.5, op.64, 1954
      • Sonatina no.6, op.65, 1954
      • Sonata no.10, op.67, 1955
      • Sonata no.11, op.101, 1965
      • Little Mirror Book, op.139, 1978
      • Reflective Studies, op.138, 1978
      • 4 Arabesques, op.141, 1978
      • 3 Toccatinas, op.142, 1979
      • Mirror Etudes, op.143, 1979
      • Sonata no.12, op.145, 1980
      • Winter Solstice, op.165, 1986
    • Other:
      • Sonatine, op.11, organ pedals, 1940
      • Harpsichord Sonata no.1, op.52, 1951
      • Sonata for Organ, op.86, 1960, commissioned by the St. Louis chapter of the AGO, premiered by Rudolph Kremer at the AGO chapter's 50th anniversary concert.[6]
      • Shimah b'koli, op.89, organ, 1962
      • Drop, Drop Slow Tears, chorale prelude, op.104, organ, 1966
      • Do Not Go Gentle, op.132, organ pedals, 1974
      • Auden Variations, op.136, organ, 1977, commissioned by the Hartt College of Music for organist Leonard Raver, premiered by Raver at Hartt's International Contemporary Organ Music Festival on July 14, 1978.[6]
      • Dryden Liturgical Suite, op.144, organ, 1979, commissioned by the University of Michigan's Marilyn Mason Commissioning Fund, dedicated to Marilyn Mason, premiered by Mason in June 1980 at the AGO's national convention in Minneapolis.[13]
      • Harpsichord Sonata no.2, op.146, 1981
      • Song of David, op.148, org, 1981
      • Harpsichord Sonata no.3, op.149, 1981
      • Harpsichord Sonata no.4, op.151, 1982
      • Harpsichord Sonata no.5, op.152, 1982
      • Harpsichord Sonata no.6, op.154, 1982
      • Little Harpsichord Book, op.155, 1983
      • Harpsichord Sonata no.7, op.156, 1983
      • Harpsichord Sonata no.8, op.158, 1984
      • Serenade no.15, op.161, harpsichord, 1984
      • Give Peace, O God, chorale prelude, op.162, organ, 1985
      • Harpsichord Sonata no.9, op.163, 1985

Awards and honors

[edit]
  • In honor of Persichetti's influence on American music, on May 19, 1984, he was awarded the University of Pennsylvania Glee Club Award of Merit.[14] Beginning in 1964, this award "established to bring a declaration of appreciation to an individual each year that has made a significant contribution to the world of music and helped to create a climate in which our talents may find valid expression."
  • Persichetti was an honorary brother of the Delta Eta chapter of Phi Mu Alpha Sinfonia at Youngstown State University. He was initiated into the fraternity on April 1, 1961.
  • Persichetti was an honorary brother of the Omicron chapter of Kappa Kappa Psi at West Virginia University. He was initiated into the fraternity on November 17, 1967.

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Vincent Persichetti

View on Grokipedia
from Grokipedia
Vincent Persichetti (June 6, 1915 – August 14, 1987) was an American composer, educator, pianist, and author renowned for his extensive contributions to across diverse genres, including orchestral, chamber, band, choral, and works, as well as his pivotal role in at the . Born in , he began studying music at age five, initially focusing on before expanding to organ, , , , and composition, which laid the foundation for his versatile career. Persichetti's formal education included a degree from the Combs College of Music in , followed by and Doctor of Music degrees from the Philadelphia Conservatory of Music, as well as a diploma in conducting from the . In 1941, he joined the faculty of the Philadelphia Conservatory as head of the theory and composition departments, and in 1947, he became a professor at the , where he became chairman of the Composition Department in 1963 and of the Literature and Materials Department in 1970, holding the latter position until his death in 1987. A prolific with over 120 works, he blended classical forms with modernist techniques, producing notable pieces such as his nine , the band works Masquerade (Op. 102) and Symphony for Band (Op. 69), the series of 25 Parables for solo instruments, and numerous piano sonatas. Beyond composition, Persichetti's influence extended through his writings, most prominently Twentieth-Century Harmony: Creative Aspects and Practice (1961), a seminal that introduced innovative techniques to students and professionals alike. He also served as editor at Elkan-Vogel (later acquired by Theodore Presser Company) from 1952, promoting contemporary American music, and performed as a and conductor, often championing his own and others' works. His music, characterized by rhythmic vitality, contrapuntal mastery, and accessibility, played a key role in bringing modern composition to educational ensembles, particularly bands and choruses, ensuring his enduring legacy in American .

Early Life and Education

Childhood and Family

Vincent Persichetti was born on June 6, 1915, in , , to Vincent Roger Persichetti and Martha Catherine Buch. His father, Vincenzo Ruggero Persichetti, was an Italian immigrant who emigrated from Torricella Peligna in the region of to the at the age of twelve. His mother was of German descent, born in , . Neither parent was a , though they supported their son's emerging talent. Persichetti was the eldest of three children; his younger brother, Karl, was born in 1917, followed by a sister. From the age of two, Persichetti showed an early fascination with , frequently requesting instruments from his parents. His formal musical training began at age five with lessons, after which he quickly expanded to study organ, , , theory, and composition. By age eight, he was engaged in theory studies, and at eleven, he began supporting his own education through professional engagements as a , accompanist, and church in . In 1941, Persichetti married Dorothea Flanagan, a fellow musician he met during his studies; the couple had two children, daughter Lauren in 1944 and son Garth in 1946. The family resided in throughout his life, where Persichetti balanced his early professional commitments with family responsibilities.

Musical Studies

Persichetti began his formal musical training at the age of five, enrolling at the Combs College of Music in , where he studied , organ, , theory, and composition. By age 11, he was self-supporting through professional engagements as an accompanist, radio staff pianist, orchestra member, and church organist, which allowed him to continue his education independently. At 16, he was appointed organist and choirmaster at the Arch Street Presbyterian Church in , a position he held for nearly two decades while advancing his studies. In 1935, Persichetti earned a degree from the Combs College of Music, with Russell King Miller serving as his primary composition teacher during this period. Following this, he pursued conducting studies at the , obtaining a in 1938 under the guidance of . These early experiences at Combs and Curtis laid a foundational breadth in performance, theory, and ensemble direction that characterized his versatile approach to music. From 1941 to 1945, Persichetti advanced his graduate education at the Conservatory of Music, focusing on with Olga Samaroff and composition with Paul Nordoff. He completed a degree in 1941 and a Doctor of Music degree in 1945 from the institution, marking the culmination of his formal academic training. This phase emphasized advanced technical proficiency and creative development, influencing his later compositional output and pedagogical methods.

Professional Career

Teaching Roles

Vincent Persichetti began his teaching career at the age of 20, when he was appointed head of the theory and composition departments at the Combs College of Music in , a position he held while completing his Mus.B. degree there in 1935. In 1941, he joined the faculty of the Philadelphia Conservatory of Music as an instructor in theory and composition, becoming chairman of the theory and composition department the following year, a role he maintained into the early 1950s. During this period, Persichetti also pursued advanced studies at the Conservatory, earning his Mus.M. in 1945 and Mus.D. in 1950, while balancing teaching with his growing reputation as a and performer. In 1947, Persichetti joined the faculty of in , where he taught composition for the next four decades until his death in 1987. He was appointed chairman of the Composition Department in 1963, serving in that capacity until 1973, during which time he mentored a diverse array of emerging composers, emphasizing creative freedom and technical rigor in modern music. In 1970, he additionally assumed the chairmanship of Juilliard's Literature and Materials of Music Department, a position that allowed him to shape the school's curriculum on , analysis, and , influencing generations of musicians through his innovative approaches and seminal textbook Twentieth-Century Harmony: Creative Aspects and Practice (1961), widely adopted in academic settings. Throughout his Juilliard tenure, Persichetti commuted from , dedicating two full days weekly to teaching while continuing his work at the Philadelphia Conservatory until the early 1950s and engaging in guest lectures and clinics at over 200 institutions nationwide.

Composition and Performance

Vincent Persichetti maintained a prolific compositional career, producing over 120 published works across diverse genres, including nine symphonies, three concertos, fifteen serenades, twelve piano sonatas, and numerous pieces for band, chamber ensembles, and solo instruments. His output emphasized accessibility and innovation, with approximately one-third of his compositions dedicated to , such as the Poems for Piano (Op. 91) and the Little Piano Book (Op. 108), which blend traditional forms with modern techniques. Persichetti received over 50 commissions from major ensembles, including the and , reflecting his prominence in American music during the mid-20th century. In the realm of wind band music, Persichetti's contributions were particularly influential, with fourteen works for the medium, including the Symphony for Band (Symphony No. 6, Op. 69, 1956), a four-movement piece known for its thematic unity and economical orchestration. Other notable band compositions include Masquerade (Op. 102, 1965), a suite drawing on American folk elements, and Psalm for Band (Op. 53, 1952), which he frequently guest-conducted. His band works, totaling fourteen pieces, established him as a leading voice in the genre, with the Symphony for Band alone featured in over 197 recordings worldwide from 1958 to 2013. As a performer, Persichetti was a and , debuting publicly on radio at age six and accumulating extensive experience through church engagements, recitals, and broadcasts in his youth. He performed his own compositions, such as the ten sonatas (Ops. 52, 146, 149, 151, 152, 154, 156, 158, 163, 167, 1951–1987), often premiered by collaborators like Fernando Valenti and Elaine Comparone, and appeared as a in noncommercial recordings of his works preserved in archival collections. Throughout his career, he made over 200 appearances as a performer, , and , showcasing his versatility across keyboards and ensembles. Persichetti also actively conducted, beginning with the Combs College Orchestra (1936–1938) and later directing premieres of his own pieces, such as the public debut of the Symphony for Band with the Goldman Band on August 2, 1956. He guest-conducted his band and orchestral works with groups like the Eastman Wind Ensemble and , contributing to their widespread performance and recording. His dual role as composer and performer underscored his commitment to bridging creation and interpretation, influencing generations through live presentations and educational outreach.

Musical Style

Influences

Vincent Persichetti's musical influences were diverse, stemming from both his pedagogical mentors and a wide array of composers whose works he encountered during his formative years. His primary composition teacher, Russell King Miller at the Combs College of Music, guided him from childhood through his Mus.B. in 1935, instilling a strong foundation in traditional forms and . Later, brief studies with exposed him to American modernism, while Paul Nordoff, under whom he earned his D.Mus. in 1945 at the Conservatory, emphasized expressive depth and structural innovation. Piano instruction from Olga Samaroff refined his interpretive skills, and conducting lessons with at the Institute honed his orchestral sensibilities. These teachers collectively shaped Persichetti's technical proficiency and eclectic approach, enabling him to navigate between classical rigor and contemporary experimentation. Among 20th-century composers, Persichetti was particularly drawn to the neoclassical and modernist strains evident in the works of , , , and . Stravinsky's rhythmic complexity and innovative orchestration influenced Persichetti's early band and orchestral pieces, such as the Divertimento for Band, Op. 42, where playful vitality mirrors . Bartók's integration of folk modalities and percussive textures appears in Persichetti's modal harmonies and driving rhythms, as seen in his woodwind quintet . Hindemith's contrapuntal techniques and functional informed Persichetti's harmonic language, while Copland's spacious American vernacular and open textures contributed to the lyrical, idiomatic quality of his wind music. These influences are distilled in his early output, blending European modernism with indigenous elements to create a distinctly American voice. Persichetti's style also incorporated atonal and elements, particularly in his piano sonatas from 1939 to 1950, where voices of and improvisational swing rhythms intermingle with diatonic structures. He admired Claude Debussy's impressionistic colors and Anton Webern's sparse intensity, which encouraged his exploration of and textural economy. Classical precedents further enriched his palette: Joseph Haydn's structural wit, Robert Schumann's emotional lyricism, and even operatic flair from and , tied to his Italian heritage, inspired creative reinterpretations. Arthur Honegger's material inversion techniques sparked Persichetti's own innovations in thematic development. Post-World War II, Darmstadt serialism subtly affected his later works, promoting concise forms and integrated movements, as in Sonata No. 10 for (1955). This multifaceted synthesis—rooted in tradition yet forward-looking—underpinned Persichetti's pedagogical writings, like Twentieth-Century Harmony (1961), and his prolific output across genres.

Techniques and Innovations

Vincent Persichetti's compositional techniques blended traditional structures with twentieth-century innovations, creating a style characterized by succinct , forceful rhythms, and diatonic yet expansive harmonies. He frequently employed interwoven melodic lines in polyphonic textures, as seen in the Little Piano Book, Op. 60, where pieces like the "Fugue" utilize two-voice in the to develop contrapuntal independence, enhancing both technical and aural demands on performers. In larger works such as the Piano Sonata No. 9, Op. 58, Persichetti integrated homophonic elements with inner-voice melodies supported by quartal harmonies, demonstrating his ability to layer textures without overwhelming clarity. Rhythmically, Persichetti innovated through irregular meters, syncopation, and unmeasured passages, drawing from influences while maintaining structural coherence. For instance, in the Piano Sonata No. 9, jazzy syncopated patterns appear in measures 28–30, contributing to a driving momentum, while the Little Piano Book's "Arietta" employs an alla recitativo style with free rhythms to evoke improvisatory freedom. His rhythmic vitality extended to orchestral writing, as in King Lear, Op. 35, where long-short patterns and accelerations with eighth and sixteenth notes link thematic material across movements, heightening dramatic tension. Harmonically, Persichetti expanded diatonic frameworks with polychords, modal mixtures, and , often juxtaposing tonal and atonal elements without fully embracing . In , the opening fanfare in features dissonant sevenths and sixths, shifting abruptly between tonalities like and through quartal and compound chords. Similarly, the Parable for Solo Flute, Op. 100 begins with a twelve-tone row but incorporates traditional cadences, blending chromatic lines with large intervals like major sevenths and extended techniques such as . This eclectic approach, as Persichetti described, prioritized "the idea rather than style," allowing combinations of sound materials to suit expressive purposes. One of Persichetti's key innovations was the Parables series (1965–1986), comprising 25 unaccompanied works for diverse instruments, each exploring a single germinal motif through narrative-like development. These pieces, such as Parable XIII for Solo , Op. 126, innovated by emphasizing improvisatory freedom and motivic evolution in solo contexts, fusing lyricism with technical virtuosity. In , he balanced ensembles with chamber-like subgroups, as in 's polyphonic wind trios and percussive enhancements, creating varied timbral colors while preserving polyphonic clarity. Overall, Persichetti's techniques reflected an amalgamator's , integrating influences from Haydn and Schumann with modern dissonance to produce accessible yet sophisticated music.

Compositions

Orchestral and Band Works

Vincent Persichetti's contributions to orchestral and band music represent a significant portion of his oeuvre, blending neoclassical clarity with modal harmonies, rhythmic drive, and an emphasis on wind sonorities. He composed nine symphonies, several concertos, and over a dozen works for band, many of which highlight his affinity for and woodwind colors derived from his experience as a conductor and educator. His orchestral pieces often explore structural elegance and lyrical expression, while his band works demonstrate innovative approaches to wind ensemble writing, treating the medium as equal to full in expressive potential. Among his orchestral works, the symphonies form the core, spanning from the compact Little Symphony No. 1, Op. 18 (1942), a three-movement piece noted for its energetic motifs and chamber-like transparency, to the expansive Symphony No. 9 "Janiculum", Op. 117 (1967), which draws inspiration from the Roman landscape and employs expansive brass chorales and subtle percussion effects to evoke timeless serenity. Other notable orchestral compositions include the Concerto for Piano, Op. 90 (1962), characterized by its virtuosic demands and fusion of jazz-inflected rhythms with classical forms, and Fables, Op. 23 (1943), a suite for narrator and orchestra setting Aesop's tales with whimsical orchestration and narrative drive. These works exemplify Persichetti's technique of integrating American folk elements and twentieth-century dissonance within accessible, balanced structures. Persichetti's band compositions, totaling fourteen published works, elevated the wind ensemble repertoire through their sophistication and playability, often commissioned by leading ensembles. The Symphony for Band ( No. 6), Op. 69 (1956), stands as a landmark, a four-movement structure lasting about 17 minutes that balances introspective adagios with vibrant allegros, utilizing the full sonic palette of concert band without strings. Other major pieces include Masquerade, Op. 102 (1965), a set of variations on a twelve-tone row that unfolds as a lively carnival procession; Divertimento for Band, Op. 42 (1950), a neoclassical suite evoking pastoral scenes with crisp contrapuntal writing; and Psalm, Op. 53 (1952), a contemplative drawing on biblical imagery through sustained wind harmonies and dynamic contrasts. Later works like Parable IX for Band, Op. 121 (1972), and A Lincoln Address, Op. 124 (1973), incorporate speech-like rhythms and rhetorical gestures, reflecting Persichetti's interest in oratorical forms. These compositions not only expanded the band's artistic scope but also influenced generations of wind conductors and composers.

Chamber and Vocal Works

Vincent Persichetti composed a significant body of chamber music, characterized by his neoclassical influences, rhythmic vitality, and integration of modal harmonies with contemporary techniques. His chamber output includes four string quartets spanning from his early career to later maturity, as well as sonatas, serenades, and works for mixed ensembles. The String Quartet No. 1, Op. 7 (1939), reflects his developing style with clear formal structures and lyrical melodies, while the String Quartet No. 2, Op. 24 (1944), incorporates more polyphonic textures and dynamic contrasts inspired by his wartime experiences. Later works like the String Quartet No. 3, Op. 81 (1959), and No. 4, Op. 122 (1972), demonstrate greater harmonic freedom, with the latter featuring experimental timbres and expansive forms that showcase his evolution toward a more personal, introspective voice. Other notable chamber pieces include the No. 5, Op. 41 (1949), for and , which blends playful rhythms with lyrical , and the No. 6, Op. 44 (1950), for , viola, and , emphasizing timbral interplay and concise movements. Persichetti's Parables series, the 25 works for solo instruments and small ensembles, extends into chamber realms with works like Parable X, Op. 122 (1972), his No. 4, highlighting his interest in idiomatic writing and emotional depth. Additionally, the woodwind quintet , Op. 35 (1949), draws on Shakespearean through vivid programmatic elements, and the Infanta , Op. 30 (1947), for the same ensemble, evokes ' poetry with delicate, impressionistic textures. These compositions underscore Persichetti's versatility in small ensembles, prioritizing balance and expressive clarity over avant-garde experimentation. In vocal music, Persichetti excelled in setting English-language to music that enhances textual nuance through melodic contour and harmonic subtlety. His most ambitious solo vocal work is Harmonium, Op. 50 (1951), a cycle of 20 songs for and based on ' 1923 collection of the same name. This piece interweaves the poems thematically, using recurring motifs to create unity, with the vocal line demanding wide ranges and precise diction to capture Stevens' abstract imagery; the piano part provides atmospheric support, often evoking natural scenes through modal shifts and ostinati. Harmonium stands as a pinnacle of mid-20th-century American , blending accessibility with sophistication. Persichetti's song cycles extend to other poets, including settings of in Six Irish Songs, Op. 74 (1960), which employ folk-like melodies to reflect the texts' lyricism, and selections from , , and in various lieder-style pieces that prioritize vocal agility and emotional resonance. His choral output includes the Mass, Op. 18 (1942), a concise, orthodox setting rooted in traditional yet infused with modern dissonances for expressive tension. Cantatas such as , Op. 14 (1941), for women's voices and piano to texts, and Flower Songs (), Op. 157 (1983), for chorus and strings, exemplify his skill in choral writing, combining rhythmic drive with poetic sensitivity. The one-act The Sibyl (Parable XX, Op. 135, 1986), for , , and chamber ensemble, serves as a late testament to his vocal craft, using parable-like narrative to explore mythological themes through sparse, evocative scoring. These works highlight Persichetti's commitment to as a vehicle for literary interpretation, often performed in educational and settings.

Keyboard and Pedagogical Works

Vincent Persichetti composed extensively for keyboard instruments, producing over 40 works for , ten for organ, and ten for , reflecting his virtuosic background as a and . His keyboard output spans his from the late to the 1980s, blending neoclassical clarity with modernist techniques such as modalism, , and rhythmic vitality. These pieces often emphasize structural elegance and idiomatic writing, making them staples in 20th-century American keyboard literature. Persichetti's piano compositions form the largest category, including twelve sonatas composed between 1939 and 1984, which demonstrate his evolving style from lyrical, multi-movement forms in the early works to more concise, single-movement structures in later ones. Representative examples include the Sonata No. 1, Op. 3 (1939), a four-movement piece with a finale, and the Sonata No. 12 (1984), known for its introspective, fragmented motifs. Other notable series are the three volumes of Poems for Piano (Opp. 4, 5, and 75; 1939–1964), which explore poetic, evocative miniatures, and the Little Piano Book, Op. 60 (1952), a pedagogical collection of eight short character pieces like "Berceuse" and "Humoreske" designed for intermediate students. Additional piano works, such as the Reflective Keyboard Studies (1980s) and various serenades, highlight his interest in accessible yet sophisticated expression. For organ, Persichetti wrote nine works, including the Sonatina for Organ, Pedals Alone, Op. 55 (1952) and the Sonata for Organ, Op. 86 (1964), which incorporate chorale preludes and toccata-like movements to suit the instrument's liturgical and concert roles. His organ music often draws on hymnody and modal harmonies, as seen in Hymns and Responses for the Church Year, Op. 68 (1955–1959), a set providing practical service music. These pieces balance technical demands with expressive depth, contributing to the mid-20th-century organ repertoire. Persichetti's ten harpsichord sonatas (1951–1984) represent a distinctive revival of the instrument in modern composition, with the Harpsichord Sonata No. 1 (1951) initiating a series that combines contrapuntal rigor with 20th-century dissonance and asymmetry. Later works, such as Sonata No. 10, Op. 167 (1984), feature angular rhythms and expanded tonalities, performed widely by harpsichordists for their idiomatic challenges. This cycle stands out for its concentration and innovation, unmatched by contemporaries in volume and stylistic range. In addition to compositions, Persichetti authored influential pedagogical texts, most prominently Twentieth-Century Harmony: Creative Aspects and Practice (1961), a comprehensive guide to modern harmonic techniques including , quartal harmony, and non-functional progressions, with exercises for composers. Published by W.W. Norton, the book remains a standard reference for its systematic analysis of early-to-mid-20th-century practices, drawn from Persichetti's teaching at the . His pedagogical intent also permeates works like the Little Piano Book, intended to foster musical imagination in young players through varied forms and textures.

Legacy

Awards and Honors

Throughout his career, Vincent Persichetti received numerous accolades recognizing his contributions to American music as a composer, educator, and performer. He was awarded three Guggenheim Fellowships, which supported his compositional work during key periods of his development. Additionally, he obtained two grants from the and one from the National Institute of Arts and Letters, of which he was a member, further affirming his standing in the artistic community. These fellowships and grants highlighted his innovative approaches to and pedagogy, enabling projects that influenced generations of musicians. Persichetti earned several prestigious awards for specific achievements, including the first Kennedy Center Friedheim Award for his contributions to contemporary music. He also received the Creative Arts Award, the Governor’s Award for excellence in the arts, the Juilliard Publication Award for his influential writings on composition, and the Chamber Music Award. Other honors included the Blue Network Chamber Music Award, the Symphony League Award, the Philadelphia Art Alliance Medal for Distinguished Achievement, and the from the Italian Government. In 1985, his Winter Cantata earned a Grammy nomination for Best New Classical Composition at the . Persichetti was conferred multiple honorary Doctor of Music degrees from institutions such as , , , Combs College of Music, Baldwin-Wallace College, and the Peabody Conservatory, reflecting his profound impact on . He also received citations from the American Bandmasters Association and the National Catholic Music Educators Association, along with honorary memberships in various musical fraternities. These recognitions underscored his role in advancing wind ensemble literature and choral , areas where he received over 100 commissions from major orchestras and s.

Students and Influence

Vincent Persichetti joined the faculty of the in 1947, where he taught composition until his death in 1987, becoming chairman of the Composition Department from 1963 to 1973. During his tenure, he mentored a diverse array of composers, emphasizing the development of a personal voice through rigorous study of musical traditions and innovative techniques. His approach encouraged students to connect with a "living tradition," avoiding mere imitation of past masters like Mozart or Haydn while fostering solitude and hard labor to cultivate unique expression. Among Persichetti's notable students at Juilliard were , known for his minimalist operas and symphonies; , a pioneer of and phasing techniques; Jacob Druckman, a Pulitzer Prize-winning composer of orchestral and chamber works; and , creator of the satirical persona. Other pupils included Richard Danielpour, whose neoclassical style draws on American idioms; Kenneth Fuchs, a composer of symphonies and film scores; , blending mysticism with modernism; and , an electronic music innovator. These students spanned genres from to , reflecting Persichetti's broad pedagogical reach. Persichetti's influence extended beyond individual mentorship through his seminal textbook Twentieth-Century Harmony: Creative Aspects and Practice (1961), which integrated dissonant and modal elements into traditional training and became a standard resource in music education worldwide. His methods promoted stylistic and the blending of old and new ideas, impacting generations of composers and educators by enriching the American musical canon with accessible yet sophisticated works for schools, ensembles, and professionals. Tributes describe his teaching legacy as immeasurable, shaping the landscape of 20th-century American composition through thousands of students and performers.

Posthumous Recognition

Following Persichetti's death on August 14, 1987, from , several memorial events honored his contributions to American music. A notable tribute was the "Vincent Persichetti - A Celebration" concert held on November 1, 1987, at Trinity Cathedral in , featuring performances of his works by local musicians and choral groups. Additionally, composer Jacob Druckman created In Memoriam Vincent Persichetti in 1987, a short orchestral work based on a from Persichetti's Symphony for Strings, Op. 61, premiered as a direct homage to his colleague and mentor. In the years that followed, Persichetti's influence continued through dedicated performances and scholarly efforts. A 1992 memorial concert titled "Persichetti Remembered" took place at the Auditorium in New York, presented by the League of Composers-ISCM and featuring his chamber and vocal works performed by Juilliard alumni, underscoring his enduring impact as a teacher at the school where he had served as head of composition from 1963 to 1973. The also preserves recordings of a Juilliard memorial concert from shortly after his death, capturing live performances of his compositions. The centennial of Persichetti's birth in 2015 sparked widespread recognition, including special editions of his scores, such as the 2015 Centennial Edition of Psalm for Band, Op. 53, published by Elkan-Vogel to commemorate his wind ensemble legacy. Organizations like Network for New Music hosted "Persichetti @ 100," a 2015 concert at Philadelphia's Curtis Institute featuring his alongside works by his students, supported by a grant from The Presser Foundation. Other events included a recital by Lance Wiseman at the University of Science and Technology, dedicated to Persichetti's keyboard oeuvre. These celebrations highlighted his role in shaping 20th-century American composition. Ongoing efforts include The Vincent Persichetti Society, an organization dedicated to promoting his life and music through performances, publications, and education; it was reactivated in 2015 during the centennial year under the leadership of figures like Larry Alan Smith and Andrew Mast, who have contributed scholarly articles to journals such as The Instrumentalist and Journal of Band Research. A comprehensive , Vincent Persichetti: Grazioso, Grit, and Gold by Andrea Olmstead, published in 2022 by Rowman & Littlefield, further solidified his posthumous stature by drawing on archival materials to analyze his stylistic innovations and pedagogical influence. In 2025, Theodore Presser Company published a transcription of his No. 7 for band, extending his legacy in educational wind ensembles.

References

  1. https://www.nytimes.com/1987/08/15/obituaries/vincent-persichetti-dies-at-72-composer-of-wide-repertory.html
  2. https://www.esm.rochester.edu/uploads/EWO_3-27-23_consecutive.pdf
  3. https://archives.nypl.org/mus/20325
  4. https://www.windrep.org/Vincent_Persichetti
  5. https://www.nypl.org/sites/default/files/archivalcollections/pdf/muspersi.pdf
  6. http://www.bruceduffie.com/persichetti.html
  7. http://www.associazionevincentpersichetti.com/pagine.web/inglese/associazione.htm
  8. https://www.pcmsconcerts.org/composer/vincent-persichetti/
  9. https://obits.oregonlive.com/us/obituaries/oregon/name/karl-persichetti-obituary?id=19518615
  10. https://ancestors.familysearch.org/en/992W-PBW/vincent-roger-persichetti-1885-1963
  11. https://blogs.loc.gov/nls-music-notes/2020/03/american-composers-and-musicians-from-a-to-z-p-part-1-persichetti-vincent/
  12. https://www.ideals.illinois.edu/items/47130/bitstreams/138383/data.pdf
  13. https://kuscholarworks.ku.edu/server/api/core/bitstreams/4ff0bd52-91ab-4ac2-842f-b1a5af3f3661/content
  14. https://cardinalscholar.bsu.edu/bitstreams/e5f4081d-c5da-4855-95df-29942317093d/download
  15. https://www.dramonline.org/albums/vincent-persichetti-complete-piano-sonatas/notes
  16. https://www.windrep.org/Pastoral
  17. https://oasis.library.unlv.edu/cgi/viewcontent.cgi?article=1004&context=music_wind_ensemble
  18. https://www.yourclassical.org/story/2019/08/26/10-band-composers-you-should-know
  19. https://mountainscholar.org/bitstreams/19cabb4e-5fdb-4b62-a2ea-c196a6b5b816/download
  20. https://digital.library.unt.edu/ark:/67531/metadc277610/m2/1/high_res_d/1002720499-zoloth.pdf
  21. https://www.naxos.com/person/Vincent_Persichetti/16088.htm
  22. https://www.presser.com/vincent-persichetti
  23. https://www.newworldrecords.org/products/vincent-persichetti-symphony-no-5-piano-concerto
  24. https://www.windrep.org/Symphony_for_Band_%28Persichetti%29
  25. https://www.windrep.org/Masquerade_for_Band_%28Persichetti%29
  26. https://www.windrep.org/Divertimento_for_Band_%28Persichetti%29
  27. https://www.windrep.org/Parable_IX
  28. https://www.lydianquartet.com/recordings/vincent-persichetti-the-four-string-quartets
  29. https://www.classiccat.net/persichetti_v/biography.php
  30. https://walter-simmons.com/writings/1800
  31. https://www.msrcd.com/cd/persichetti-harmonium/
  32. https://www.presser.com/462-00010-spring-cantata-2c-no-1.html
  33. http://www.associazionevincentpersichetti.com/pagine.web/inglese/persichetti.htm
  34. https://www.newworldrecords.org/products/vincent-persichetti-complete-piano-sonatas
  35. https://juilliardstore.com/products/persichetti-little-piano-book-460-00026
  36. https://ead.lib.virginia.edu/vivaxtf/view?docId=oai/LONG/repositories_2_resources_7.xml
  37. https://urresearch.rochester.edu/fileDownloadForInstitutionalItem.action?itemId=3014&itemFileId=4266
  38. https://www.naxos.com/catalogue/item.asp?item_code=8.559887
  39. https://www.discogs.com/master/2428582-Vincent-Persichetti-Iain-Quinn-Organ-Works
  40. https://www.naxos.com/catalogue/item.asp?item_code=8.559843
  41. https://www.ficksmusic.com/products/persichetti-harpsichord-sonata-no-10-op-167-elkin
  42. https://wwnorton.com/books/9780393095395
  43. https://www.philadelphiamusicalliance.org/walk-of-fame/vincent-persichetti-2/
  44. https://www.grammy.com/artists/vincent-persichetti/5782
  45. https://repositories.lib.utexas.edu/items/09263350-1c95-4dee-a381-dc36de554852
  46. https://www.nytimes.com/1987/10/25/nyregion/music-trentons-trinity-cathedral-sponsoring-a-persichetti-memorial.html
  47. https://www.boosey.com/cr/music/Jacob-Druckman-In-Memoriam-Vincent-Persichetti/4077
  48. https://www.nytimes.com/1992/10/21/arts/classical-music-in-review-839592.html
  49. https://archives.nypl.org/rha/20461
  50. https://www.sheetmusicplus.com/en/product/psalm-for-band-1827518.html
  51. https://www.networkfornewmusic.org/persichetti
  52. https://presserfoundation.org/75th-anniversary-grants/
  53. https://video.ust.hk/Watch?video=AB1BD13743C21929
  54. https://vincentpersichetti.org/the-board-of-directors/
  55. https://www.bloomsbury.com/us/vincent-persichetti-9781538118085/
  56. https://www.facebook.com/TheodorePresserCompany/posts/coming-soon-vincent-persichettis-awe-inspiring-7th-symphony-expertly-transcribed/1354040546301369/
Add your contribution
Related Hubs
User Avatar
No comments yet.