Original Photos Stills

African American Music signed William Still + photo + manuscript + letters RARE

African American Music signed William Still + photo + manuscript + letters RARE
African American Music signed William Still + photo + manuscript + letters RARE
African American Music signed William Still + photo + manuscript + letters RARE
African American Music signed William Still + photo + manuscript + letters RARE
African American Music signed William Still + photo + manuscript + letters RARE
African American Music signed William Still + photo + manuscript + letters RARE
African American Music signed William Still + photo + manuscript + letters RARE
African American Music signed William Still + photo + manuscript + letters RARE
African American Music signed William Still + photo + manuscript + letters RARE

African American Music signed William Still + photo + manuscript + letters RARE   African American Music signed William Still + photo + manuscript + letters RARE
A collection of manuscripts, letters and autographs of African American Composer William Grant Still. (1) typed 10pp manuscript and hand corrected... Written july 1967 for Donald Deschners book on Opera for William Grant Stills opera Highway I. (2) envelope from William Grant Still from 29 Jan 1970 addressed to Mr.

Envelope from William Grant Still from 17 May 1966. (4) 8x10 inch vintage photo that belonged to William Grant Still.

(5) 8x10 inch vintage photo that belonged to William Grant Still. (6) Letter signed by Verna Arvey Still to Mr. Donald Deschner with attachment of additions to an article that he is going to publish 2pp. (8) 4 letters from Donald Deschner address to William Grant Still dated June 12, 1967 & May 6, 1966 & July 19, 1967 & July 7, 1967. Envelope from William Grant Still from 28 Jul 1967. (10) mARCH 4, 1984 HANDWRITREN note to Mr Dreshner. (11) William Grant Still and Verna Arvery Still letter to Mr. Dominique-René de Lerma, Professor of Music at Lawrence University, has specialized in African heritage in classical music for four decades.

He has kindly made his research file on William Grant Still available to this site. William Grant Still was born in Woodville, Mississippi on May 11, 1895. Young William was only three months old when his father died. Carrie Still then took him to Little Rock, Arkansas, where they lived with her mother.

She taught high school English there for 33 years. During William's childhood Carrie married Charles B.

He bought many 78 rpm records of opera, which the boy greatly enjoyed. The two attended a number of performances by musicians on tour. William started violin lessons at age 14. De Lerma notes that the youth also taught himself how to play the clarinet, saxophone, oboe, double bass, cello and viola, and showed a great interest in music. His maternal grandmother introduced him to African American spirituals by singing them to him.

At age 16 he graduated from M. Gibbs High School in Little Rock. His mother wanted him to go to medical school, so Still pursued a Bachelor of Science degree program at Wilberforce University in Ohio from 1911 to 1915. He then dropped out of school. On October 4, 1915 he married Grace Bundy, an acquaintance from Wilberforce. De Lerma explains Still's dissatisfaction with the school. He was unhappy at Wilberforce where he directed the band from 1911 to 1915 and made arrangements because there was no music in the curriculum. First recital of his music in 1913.

He moved to Oberlin in 1917, following two years of work in Columbus where in 1914 he began playing the oboe and cello professionally at the Athletic Club. De Lerma gives the details of Still's studies at Oberlin, which were interrupted by service in the U. He studied at Oberlin with Maurice P. Kessler (violin), George Whitfield Andrews (composition), Friedrich J.

Lehman (counterpoint and theory), and Charlotte Andrews Stevens, and played in the student string quartet. The lure of music was too strong. Further study, made possible by an inheritance from his father, was undertaken in 1917 and 1919 at Oberlin (where he first heard an orchestra). Black sailors were restricted to aspects of food service but, when it became known that Still was a trained musician, he was engaged to play the violin for the meals of officers on the U.

Handy as performer, arranger, and road manager and in Pace and Handy Music Company Band (he originally began working for Handy, who was then in Memphis, for the summer of 1916 as arranger and cellist). Then freelanced in Columbus for the fall of 1916. Still's Afro-American Symphony has been recorded by the Detroit Symphony Orchestra, under Neeme Jarvi, Conductor, on Chandos 9154 (1993). Michael Fleming writes of Still's musical training in the liner notes. His musical training was twofold, embracing the European tradition at Oberlin College, and the African-American in his work with W. He earned his living playing the oboe in the pit band for the musical Shuffle Along. Shuffle Along was produced by Noble Sissle and Eubie Blake. Some of its musical arrangements were done by Still. The show featured an African American cast and was so successful that it ran for 504 performances in New York City before going on tour. Still's studies with the composer George Chadwick were without charge. They took place at the New England Conservatory of Music, where Chadwick was Director, beginning in 1921.

A scholarship enabled him to study composition with the avant garde composer Edgar Varese in New York City for two years. He also received a Guggenheim and a Rosenwald fellowship. De Lerma explains that Still later turned away from the techniques of Varese. He subsequently abandoned the influence so that he could turn his attention to the folkloric.

He also played in the pit orchestra of Dixie to Broadway (1924 and the summer of 1926). Played in Leroy Smith Orchestra 1926, managed Earl Carrolls Vanities (1926).

The "Harlem Renaissance", also called the "New Negro Movement", began about the time of Still's arrival in New York City, and continued into the early 1930s. It proved that African Americans had a rich and vibrant culture which was fast becoming a prominent cultural feature of the United States and the world.

Two leading authors who influenced the movement were W. DuBois, who wrote The Souls of Black Folk, and Alain Locke, author of The New Negro. Still was a firm believer and an active participant in the "Harlem Renaissance", and his music showed its influence for the rest of his life. He also performed classical music as an oboist with the Harlem Orchestra. Aaron Myers is a contributor to Africana Encyclopedia.

He characterizes William Grant Still as an. American composer whose musical works included African American themes and spanned jazz, popular, opera, and classical genres. He created over 150 musical works including a series of five symphonies, four ballets, and nine operas. Still became a classical composer while working in the record business. Black Swan Records was a label owned by African Americans.

The first performance of a classical work by Still took place on February 8, 1925. The ensemble was the International Composer's Guild and the work was From the Land of Dreams. Still's Darker America was performed in both 1926 and 1927. Verna Arvey, Still's second wife, writes in her book, In One Lifetime, published by the University of Arkansas Press in 1984, that the composer had not yet settled on his own style of composing when he wrote Darker America. Yet Darker America won a publication prize at the Eastman School of Music in Rochester (which was to play an important part in Still's life) and was described as the high spot of its New York concert by the Musical Courier, which told its readers that there is no doubting the man's power.

The Eastman School of Music and its distinguished director, Dr. Howard Hanson, became increasingly important in Still's life. The author adds that William Grant Still asked the jazz singer Florence Mills if she would sing a work with a classical orchestra if he were to write one for her. When she agreed, he wrote Levee Land, with four songs for singer and orchestra.

Eugene Goosens conducted the International Composer's Guild in the premiere of the work on January 4, 1926. Still and the critics were very pleased, and the audience insisted that the performance be repeated on the spot.

Still had played a variety of instruments to make a living. When a conductor named Don Voorhees hired Still to do all the arranging for a radio program, Arvey writes, he no longer needed to take jobs as an instrumentalist. Don Voorhees and Still were linked through a couple of historic occasions. When the Columbia Broadcasting System network started, Voorhees broadcast an entire program of Still arrangements on the opening day.

And it was Voorhees who recorded (on a Columbia disc) Still's Fantasy on the St. Louis Blues, the first such arrangement of what is now an American classic ever to be recorded. He scored a number of shows, including Rain or Shine, one edition of J. McEvoy's Americana, and Runnin' Wild, the show that contained the first Charleston.

Jimmy Johnson and Cecil Mack wrote the tune; Still was the first to orchestrate it. Still's friendship with the prominent American composer John Alden Carpenter also furthered his career, Verna Arvey writes. Through him and his artistic friends in Chicago, Still also became acquainted with that famous dancer and ballet master, Adolph Bolm, and with the latter's pupil, Ruth Page. It was from this association that Still's La Guiablesse was born.

De Lerma notes that Still also composed the music for Paul Whiteman's 1929 film The King of Jazz. Still's successes in 1930 were evidence of his artistic maturity as a composer. In that year his African ballet Sahdji made use of a scenario by Alain Locke, Arvey relates.

Though the play lasted nearly an hour, the music was composed within a month. Sahdji, which Still dedicated to Howard Hanson, became the first ballet produced as a part of the American Music Festivals in Rochester, and starred Thelma Biracree as choreographer and soloist.

Its success paved the way for productions of other ballets by other American composers at the Eastman School. Buoyed by an October 24 (1930) performance of Africa, in Rochester, Still launched another ambitious venture, his now-famous Afro-American Symphony, which he constructed on an original theme in the blues idiom. He started work on this symphony on October 30, 1930. Ideas came to him so rapidly that he could hardly record them.

At the same time that Still found emotional fulfillment in composing, his relationship with his wife grew more strained. Verna Arvey relates that the composer's concentration was interrupted by awareness that because of the Depression, he was unable to pay his bills. A short time later, Don Voorhees asked him to do some arranging for the Maxwell House Coffee radio show he conducted.

The orchestrations so pleased Willard Robison, the guest soloist on the show, that he asked Still to orchestrate his new radio program, the Deep River Hour. The Deep River Hour gained an immediate and enthusiastic following among musicians, partly because of the unique orchestral effects. What few of them realized was that its orchestrator was using it as a musical training ground: trying out new tone combinations, experimenting with harmonies and rhythms, and in general bringing to it the freshness of his youth and his creative ideas. Still's work on the songs involved actual composing, and was far more than what is usually meant by arrangements.

We learn from the author that the program had trouble finding a suitable conductor, so the musicians suggested Still for the position. It seemed to Still to be a workable solution. So Still became the first Negro ever to conduct a white radio program.

Still had no formal training in conducting, therefore very little knowledge of baton technique. All he knew was what he wanted to hear from the orchestra, so the orchestra members became his teacher. Move by move, they showed him what they had to see him do in order to get the effects he wanted. Learning to conduct also helped him in composing; he had never before known how things look to a conductor.

It was an entirely different point of view. Eventually the Deep River moved from CBS to NBC, where the officials adamantly refused to have a Negro conduct the orchestra, so someone else was called to do it. Dominique-René de Lerma comments on Still's Afro-American Symphony in Africana Encyclopedia. A contemporary of Work and Dawson, William Grant Still based his first symphony, the Afro-American Symphony (1930), on the blues and his experience as a jazz arranger. Michael Fleming quotes the composer in the liner notes for Chandos 9154 (1993).

I knew I wanted to write a symphony; I knew that it had to be an American work; and I wanted to demonstrate how the blues, so often considered a lowly expression, could be elevated to the highest musical level. Other noteworthy recordings of the Afro-American Symphony include one by the Royal Philharmonic Orchestra, conducted by Karl Krueger, on Bridge 9086 (1999).

The first performances of the Afro-American Symphony were given by the Rochester Philharmonic, with Howard Hanson conducting, on Oct. The liner notes explain the significance of the composer's symphonic debut. Once he had paved the way, others moved quickly to take up Still's cause: the New York Philharmonic gave the New York premiere of the symphony in 1935 at Carnegie Hall.

Verna Arvey emphasizes the impact of a national tour of the. Possibly Still's symphonic music received its greatest North American publicity when Leopold Stokowski played the fourth movement of the Afro-American Symphony on his cross-country tour with the Philadelphia Orchestra, for this tour was advertised extensively.

By 1931, William Grant Still's music was being heard and appreciated in a growing number of venues, the author tells us. Thanks to Howard Hanson, Still didn't lack performances of his work, and the results were gratifying.

After the first rehearsal of Sahdji in May of 1931, Hanson wrote to say that the orchestra members put down their instruments and applauded, as the audience applauded after the performance. Verna Arvey writes that in 1932 Grace Bundy Still moved to Canada with their son and three daughters as well as her mother. Around this time (1932) Still's wife, obviously as discontented as he, took her four children and her mother and went to live in Canada.

She was going there, she said, to write for a magazine, though the job never materialized. Still never saw her again, but he did continue to see the children.

Arvey tells of two performances of Still's compositions in Europe in 1933. One movement of the Afro-American Symphony was played in Berlin, and a concert in Paris included Africa.

In January of 1933, Hanson played the Third (Scherzo) Movement of the Afro-American Symphony with the Berlin Philharmonic Orchestra, where the audience ignored tradition and refused to let the concert continue until the Scherzo was repeated. That same year, Africa was played to a thunderous ovation by Richard Lert and the Pasdeloup Orchestra in Paris.

We learn from Verna Arvey's biography that the American composer Randall Thompson was among those who remarked on the manner in which African American musical influences appeared in Still's music in an original form. She says the ballet La Guiablesse is an excellent example.

It was this way in the West Indian ballet, La Guiablesse, which Still had completed in the intervening months and for which, lacking material from Martinique, he developed his own idiom. He later found it to be completely true to the drama, characters and locale. Both Howard Hanson and Thelma Biracree in Rochester as well as Ruth Page in Chicago produced this ballet successfully in 1933, Ruth Page repeating it at the Chicago Grand Opera the following year, with Katherine Dunham as soloist - her first major opportunity. 24 Song of a New Race. For several years after his successful debut as a symphonist, Still continued to be regarded as primarily an arranger.

Michael Fleming has also written the liner notes for Still's Symphony No. 2 in G Minor (Song of a New Race) (29:22). It was recorded by the Detroit Symphony Orchestra and Neeme Jarvi, Conductor, on Chandos 9226 (1993). Yet he persisted, and on 10 December 1937, Leopold Stokowski conducted the Symphony in G Minor with the Philadelphia Orchestra. The composer provided subtitles for the four movements of the symphony: Yearnings, Sorrow, Humor and Aspiration.

We learn from Verna Arvey that Still had been frustrated in his attempts to compose opera, so he applied for a fellowship, but was unsuccessful at first. He had applied for a Guggenheim Fellowship so that he could have a year free in which to work on an opera, but he had been refused.

Hanson was visibly surprised to learn of the refusal, and suggested that he try again the following year. He did, and this time he was awarded one. On May 22, 1934, he did walk away from Robison and the "Deep River Hour, " drove to Los Angeles, and settled down to composing his new opera. Here we met and began to work together. Verna Arvey was a 24-year-old journalist and concert pianist with interests in dance, film music, and music of the Americas. Her articles were published in such magazines as Etude, Opera, Concert and Symphony, and American Dancer. Dominique-René de Lerma provides an overview of Still's first 20 years in Los Angeles. Later he served as composer for television, writing music for Gunsmoke and the original Perry Mason Show (1954). All the while, however, he gave serious attention to his symphonic, chamber, and operatic interests.

We learn from Verna Arvey that public relations tasks soon cut into the time Still had for composing. It seemed to me that my own talents might be of use here, so I volunteered to handle the public relations and promotional side of the work. Still (who by then was called Billy by his West Coast friends) agreed, so I started to work. In addition to the secretarial and literary aspects of my labors, I often played over what he had written when his day's composing was over, because, although he could find his notes and chords on the piano, he was still far from.

Being a performing artist on that instrument. I also included some of his music in my own piano recitals, often lecturing about him and his compositions in the process.

He also started writing piano works specifically for performance by Verna Arvey. Still's work with Columbia Pictures was short-lived, the author explains.

Publicity in the Los Angeles papers brought Still a contract with Columbia Pictures for six months, and an option which was never picked up, for understandable reasons. Billy was out of his element in the studios.

The man who brought him in (Howard Jackson, an old friend) soon lost his job as head of the studio music department. Time and time again during the six months, the new studio music director would ignore Still and call in outside composers to do the work. Verna Arvey adds that other studios were falsely told Still had been unable to do the work.

Also, she writes, a coworker loudly exclaimed in Still's presence, A n____ in this line of work? When Still completed his first opera, Blue Steel, he set it aside, Verna Arvey writes. His second was Troubled Island, set in Haiti, with text mainly by Langston Hughes and partly by Verna Arvey. It was the only opera for which she did not write most of the libretto. It was also the only one of Still's operas to have the honor of being staged by a major opera company, the New York City Opera. The website his operas, some of which were set aside or left incomplete. From the Furnace of the Sun.

Just Tell The Story: Troubled Island is a book about the historic performance by the New York City Opera. It is edited by Judith Anne Still and Lisa M. Headlee, and is published by The Master-Player Library (2006). Highway 1, USA is available on a CD by Phillip Brunelle and the Vocalessence Ensemble, Albany Records 734 (2005). After he wrote Blue Steel, Still received a commission for an instrumental work to be performed by the Cincinnati Symphony Orchestra under the direction of Eugene Goosens.

He responded by producing two works for piano and orchestra, Dismal Swamp and Kaintuck'. Goosens chose Kaintuck', and allowed Verna Arvey and another pianist to perform it first on two pianos at a Los Angeles Pro Musica concert. Howard Hanson conducted both works in Rochester. One of the proudest and most historic moments of Still's career took place on July 23, 1936, when he conducted the Los Angeles Philharmonic in a performance of his own compositions at the Hollywood Bowl. Verna Arvey writes that this was the first time an African American conductor led a major symphony orchestra in concert in the United States.

We learn the origin of the 1936 ballet Lenox Avenue from Verna Arvey, who wrote the script. A new kind of music was requested for Still's next composition when CBS, under Deems Taylor's guidance, decided to commission six leading American composers to write compositions especially for radio.

It was a relatively new medium for serious music, so the project was considered experimental. Still composed a series of pieces - actually a suite - for orchestra, piano soloist, chorus and narrator, inspired by street scenes in Harlem.

CBS opened the series of broadcasts with Lenox Avenue. Verna Arvey says Still subsequently received letters, postcards and telegrams from about 130 listeners, and fewer than half a dozen. 33 1939 World's Fair. Verna Arvey tells of another result of the commission for Lenox Avenue. Indirectly, this led to another commission, for when Kay Swift and the other members of the New York World's Fair in 1939-40 Theme Committee wanted to select a composer to write their theme music, they went to the CBS offices and there heard airchecks of all the serious American composers' work which CBS had in its files.

None of the composers were aware of this at the time. The Theme Committee itself did not know the names of the composers of any of the works. They found two (A Deserted Plantation and Lenox Avenue) and agreed that whoever wrote either one of them could be their composer. William Grant Still had written both. Still composed the theme and it was continuously played in the Fair Perisphere, the author notes. All the while (1939-40) the William Grant Still Theme Music was grinding away in the New York World Fair's Fair Perisphere, performance after performance daily, until at the Fair's end it was estimated to have been played about fifty or sixty thousand times. William Grant Still and Grace Bundy Still were divorced in 1939. Still and Verna Arvey married on February 8, 1939, according to In One Lifetime. The book also indicates that the couple's son Duncan Allan Still was born about a year later, and their daughter Judith Anne Still was born when her brother was two and a half. The African American Conductor Isaiah Jackson and the Berliner Symphoniker [Berlin Symphony Orchestra] have recorded two of Still's major dance works on Koch 3 7154 2H1 (1993).

The first is La Guiablesse (18:35), consisting of nine brief dances. The second major composition is Danzas de Panama [Dances of Panama] (14:00). The four dances are titled: Tamborito, Mejorana, Punto and Cumbia.

Still took these dance themes and cast them for string quartet, quintet or, as heard on this recording, for string orchestra. He made every effort to approximate the sounds of native instruments thereby giving this piece an arresting character. 3 (Sunday Symphony) (20:48) has been recorded by the North Arkansas Symphony Orchestra, led by Carlton R. The CD is Cambria 1060 (1996). It is the only symphony which was not performed during Still's lifetime. In fact the William Grant Still Festival performance in 1984 and this recording were world premieres. Rhapsody in Black and White is an Italian CD on which Marco Fumo, piano, performs Still's symphonic poem, Africa (22:49).

The disc is Dynamic CDS 351 (2000). The liner notes analyze the work and its form. Africa is a symphonic poem in three movements, a little in the fashion of the symphonic suites by Rimskji-Korsakov.

A symphonic version of Africa (27:51) was recorded by the Fort Smith Symphony Orchestra under John Jeter, Conductor, on Naxos 8.559174 (2005). The 2005 Naxos CD also includes Still's Afro-American Symphony (24:57) and another 1930 work, In Memoriam: The Colored Soldiers Who Died for Democracy (7:22). It had been commissioned by the League of Composers, and was premiered on Jan. 5, 1944 by the New York Philharmonic under Artur Rodzinski.

Writes in the liner notes. The New York Times critic Olin Downes remarked on its powerful'simplicity and feeling, without affectation or attitudinizing'. The wording of the title does carry an ironic aspect, reflecting the fact that African-Americans were fighting for world freedom and civilisation abroad while being denied those very freedoms at home. Poem for Orchestra (10:27) dates from 1944 and joins the 4th and 5th Symphonies on Naxos 8.559603 (2009), recorded by the Fort Smith Symphony and conducted by John Jeter.

The liner notes are by David Ciucevich, Jr. Poem for Orchestra was commissioned by the Kulas American Composers' Fund for the Cleveland Orchestra at the suggestion of then music director Erich Leinsdorf. The Poem,'one of Still's key works' in the words of Robert Bartlett Haas, is an extensive symphonic poem..

4 (Autochthonous) (26:15) is dated 1947. In contrast to his first two Symphonies, Afro-American and Song of a New Race, the Autochthonous Symphony is a work whose subject is all of the people of the United States The liner notes explain. Regarding the Fourth Symphony, Still remarked:'As the subtitle indicates, the Fourth Symphony has its roots in our own soil, but rather than being aboriginal or indigenous, it is intended to represent the spirit of the American people. The symphony is dedicated to one of the composer's early teachers, Maurice Kessler of Oberlin.

It was given its premiere by Victor Alessandro and the Oklahoma City Symphony Orchestra on 18th March, 1951. As its subtitle indicates, Symphony No. 5 (Western Hemisphere) (19:37) expresses the composer's thoughts on the natural and human resources of all of the countries of the Americas. The liner notes by David Ciucevich, Jr.

Tell us the work which became Still's Fifth Symphony was first conceived as his Third. It was completed as the Fifth Symphony in 1945, and was revised in 1970.

The revised work was given its premiere by the Oberlin College Orchestra under the direction of Robert Baustian at the celebration of the composer's 75th birthday on 9th November, 1970. 42 Skyward My People Rose. Skyward My People Rose: Music of William Grant Still, Clarion CLR 905 CD (2004) combines original vocal pieces with music adapted from Stephen Foster. Soloists include Hilda Harris, mezzo soprano, and Yolanda Williams, soprano.

The groups are the VocalEssence Ensemble and the VocalEssence Orchestra. Philip Brunelle is both organist and Conductor. The CD is one of four Clarion discs in a VocalEssence collection called Witness, devoted to music by African American composers. The works are: Wailing Woman (1946), Swanee River (Old Folks at Home), And They Lynched Him on a Tree (1940), Miss Sally's Party: A Ballet for string orchestra (1940), Reverie (1962) and Elegy (1963). William Grant Still Piano Music was recorded by the African American pianist Mark Boozer, who is an Associate Professor at Clark Atlanta University. He has made a specialty of the music of William Grant Still. The CD is Naxos 8.559210 (2005). It opens with Three Visions, continues with Seven Traceries, Lenox Avenue, The Blues, and A Deserted Plantation, before concluding with a piano arrangement of Africa. The Works list tells us William Grant Still wrote Romance, for saxophone and piano, in 1954.

It was published in New York by Bourne in 1966, with a dedication to Sigurd Rascher. Originally intended to be a movement of a larger work. Romance has been recorded many times. It is included in the CD. But Not Forgotten: Music by African-American Composers, by clarinetist Marcus Eley and pianist Lucerne DeSa, Sono Luminus DSL-92156 (2012).

The time is 5:13. Marcus Eley writes in the liner notes. This composition, originally composed for alto saxophone, has been arranged for clarinet and piano. It is essentially a love song without words.

The Toledo Clarinets is Cambria CD-1190 (2009). Is founder and pianist of the ensemble of the same name. The clarinetists on the works of William Grant Still on the CD are Shannon Ford, Georg Klaas, Jocelyn Langworthy and Kevin Schempf.

William Grant Still composed Lyric Quartette (15:18) in 1960, the liner notes by Greg Kostraba tell us. Dedicated to his friend Joachim Chassman, this string quartet shows the intimate side of the composer. The piece is subtitled Musical Portraits of Three Friends, and is comprised of The Sentimental One, The Quiet One (based on an Inca melody), and The Jovial One. Christmas in the Western World (Las Pascuas) (18:51) is described in the liner notes of The Toledo Clarinets, Cambria CD-1190, as follows. Composed in 1967, this set can be performed in a variety of combinations..

Nine of the songs in this compilation are adapted from authentic Christmas folk tunes from various countries in the Western Hemisphere, including. Jesous Ahatonia, the first Christmas carol composed in the Western Hemisphere. The climactic tenth song in the set.

Is an original William Grant Still song with text by Verna Arvey. The Epilogue of In One Lifetime tells us that William Grant Still was in a nursing home for the final three years of his long and productive life. The last three years of Billy's life were spent in a nursing home as a result of a series of strokes and heart attacks. Death came on December 3, 1978, at age 83. William Grant Still was so much more successful than other African American classical composers of his time that he was often referred to as the Dean of African American Composers.

He left a rich legacy of instrumental and vocal works of classical music, jazz, blues, and popular music. His works are available on a huge number of recordings. The compositions and CDs discussed on this page are only a fraction of those in the Works list below.

His materials are held by his daughter, Judith Anne Still, manager of William Grant Still Music, which moved to Flagstaff, Arizona. Interview - African American Music Center, University of Michigan School of Music. Interviewer Jim Standifer spoke with William Grant Still and Verna Arvey Still at their home in Los Angeles in 1974.

When asked about the racial situation in his early life, Still replied, in part: Oh, I have seen incidents that I abhorred. For instance, I saw a Negro being beaten up by a couple policemen. I saw the old Negro man, poor old fellow, he was coming out of a market, in Memphis, I'll never forget this, this deputy right behind him, shot him and killed him. Estrella's Incredibly Abridged Dictionary of Composers - Biographical data, recommended CDs, books and sheet music, bibliography, and links from Dr. Estella's Incredibly Abridged Dictionary of Composers.

Essay contributed by Celeste Anne Headlee, granddaughter of William Grant Still. Entry on William Grant Still in Wikipedia, the free encyclopedia. Life, career, compositions, bibliography and links.

Excerpt: He was the first African-American to conduct a major American orchestra, the first to have an opera performed by a major opera company, and the first to have an opera performed on national television. He is often referred to as the dean of African-American composers. CD: William Brown, tenor; Ann Sears, piano. A century of African-American song. AC: William Grant Still PAS [Performing Arts Society] of the National Association of Negro Musicians.

WGMS M-1003 (1989; William Grant Still; Voices and piano). CD: Fritz Gearhart, violin; Paul Tardif, piano. Koch International Classics 3-7268-2 (1996). Still work; Suite, violin & piano. A first mvt originally for flute & piano, arr. CD: Northern Arizona University Wind Symphony; Patricia J.

NAUW 0001 (1994, From the delta). CD: Oral Moses, bass-baritone; George Morrison Bailey, piano.

African-American composers of the 20th century. Lois Adele Craft, harp; Annette Kaufman, piano; Kaufman String Quartet [Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello]. William Grant Still PAS [Performing Arts Society] of the National Association of Negro Musicians. LP: New England Conservatory Jazz Repertory Orchestra; Gunther Schuller, conductor.

Golden Crest CRSQ 31043 (1976; Happy feet). LP: Westphalian Symphony Orchestra; Paul Freeman, conductor.

Turnabout TVS-34536 (1974, The contemporary Black composer in the USA). A bayou legend, opera in 3 acts for soprano, mezzo-soprano, 4 tenors, 2 baritones, 2 basses, chorus & orchestra, in 3 sets. Mission Viejo CA: WGS Music. Instrumentation: 3232, Eh (p); 3321; timp; perc; cel; harp; strings Première: 1974/XI/15; Jackson MS, Jackson State University; Opera South; Donald Door, director; Leonard dePaur, conductor. VC: Cambria WGM BL-3003/ H1-3004 (2000).

Includes A bayou legend; Highway 1, U. Because faint whisperings of practices, for 2 tenors, baritone, bass & piano, in Arias, duets, and scenes from the operas, ed. Flagstaff: Master-Player Library, 2003, vol.

Calm as the waters of the bayou, for soprano, tenor, SATB & piano, in Arias, duets, and scenes from the operas, ed. Children of the world, for tenor & piano, in Arias, duets, and scenes from the operas, ed. In ages past, for soprano & piano, in Arias, duets, and scenes from the operas, ed. More lovely than my imagining, for tenor & piano, in Arias, duets, and scenes from the operas, ed. Now they will be coming to the tree, for mezzo-soprano & piano, in Arias, duets, and scenes from the operas, ed. A deserted plantation, for chamber orchestra (1933). Spiritual; I want Jesus to walk with me; 2. Première: 1933/XII/15; New York; Metropolitan Opera House; Paul Whiteman, conductor. New York: Robbins Music, 1936. A look at jazz; songs, a medley, for instrumental ensemble 1922? A psalm for the living, for SATB & orchestra (1954). New York: Bourne, 1965 (#825). Library: Library of Congress (LC 66-40550/M). AC: National Association of Negro Musicians [young adults]. A song at dusk, for orchestra (1936). Dedication: Judith Anne Still[-Headlee] and Larry Headlee. A song for the lonely, for medium voice & piano (1953). For medium voice & piano, in Song collection, ed. AC: Claudine Carlson, mezzo-soprano; Georgia Akst, piano.

CD: CBS Symphony, the Standard Hour; Bay Cities BCD 1033 (1991). CD: Claudine Carlson, soprano; Georgia Akst, piano. Cambria CD-1121 (1999, Lenox Avenue). CD: Robert Honeysucker, baritone; Vivian Taylor, piano.

New World Records NW 80399-2 (1990). LP: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. CD: Alexa Still, flute; ==, piano. For medium voice & string quartet with piano. CD: Videmus [Robert Honeysucker, baritone; Lynn Chang, Lydia Forbes, violins; George Taylor, viola; Mark Churchill, cello, Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still).

For soprano & chamber orchestra. CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman). A Southern interlude, opera in 2 acts, for 4 soloists, SATB & orchestra, in one scene (1942).

Withdrawn and absorbed by other works, particularly Highway 1 U. Library: Library of Congress 43-7632, piano-vocal score, 107p. CD: Artie Shaw and His Orchestra? After youve gone, by Turner Layton, Jr. CD: Wade Woodward, baritone; Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998).

Cambria A110 (The big broadcast). LP: Unidentified performers; Publishers Central Bureau (1977). Africa; suite, for orchestra (1930). Instrumentation: 3233 (p) Eh bcl, 4331, timp, 3 perc, cel, harp, piano, strings.

Première: 1930; New York; Little Symphony; Georges Barrère, conductor. Lead sheet; Library of Congress 74-226251; holograph, 101p. Penciled note on stationery having monogram "RL" mentioning the composer's invention of finger-nail pizzicato, use of tom-toms and of Harmon and fibre mutes for trumpets and trombones; also manuscript of 9p. Dated 1934 and lead sheet of 5p. Première: 1930; Rochester; American Composers Concert, Eastman School of Music.

Flagstaff: William Grant Still Music. With commentaries by Grant Venerable and Kay Pace. Koch International Classics 3-7084-2H1 (1991).

Dynamic 351 (2000; Rhapsody in black and white). CD: Mark Boozer, piano (2001/III). Interntional Consortium for the Music of Africa and its Diaspora. African dancer, for violin & orchestra. The violin part was edited by Louis Kaufman.

For violin & string orchestra. Ah got a home in-a dat rock, for high voice & piano. New York: Handy Brothers, 1948. For SATB & orchestra, arr. By Ray Anthony Delia Lomita CA: Cambria Publications.

Première: 1984/X/22; cast of Minette Fontaine. For soprano, alto, tenor, baritone, SATB & orchestra. America; a vision, by Mabel Bean, orchestrated by William Grant Still (1953).

And they lynched him on a tree, for narrator, contralto, SATB (Black chorus), SATB (White chorus) & orchestra (1940). Mission Viejo CA: WGS Music: J. Text: Katherine Garrison Chapin Mrs.

Weve swung him higher; 2. He was her baby; 5. They took away his freedom; 6. Première: 1940/VI/24; New York; Lewisohn Stadium; Schola Cantorum; Louise Burge, contralto; New York Philharmonic; Artur Rodzinski, conductor.

Instrumentation: 2222 (p Eh), 3331, perc, harp, strings. 78rpm: Unidentified ensemble; Leopold Stokowski, conductor (broadcast).

Leopold Stokowski Society CA 11 LSSA (available from William Grant Still Music). AC: Eva Jessye Choir; Collegiate Choir; Leopold Stokowski, conductor. CD: Marvin Hayes, narrator; Louise Burge, contralto; Lawrence Winters, narrator; Eva Jessye Choir; Collegiate Choir; NBC Symphony Orchetra; Leopold Stokowski, conductor & announcer (1942). Cambria CD-A11IA (2000, A centennial retrospective). CD: Hilda Harris, mezzo-soprano; William Warfield, narrator; Leigh Morris Chorale; The Ensemble Singers, Chorus of the Plymouth Music Series of Minnesota; Philip Brunelle, conductor.

Collins Classics 14542 1996, Witness, vol. Liner notes: Dominique-René de Lerma. CD: Hilda Harris, mezzo-soprano; William Warfield, narrator; Leigh Morris Chorale; VocalEssence Ensemble Singers; Philip Brunelle, conductor. Clarion CL 8905 CD (2004, Witness, Skyward my people rose, Music of William Grant Still). Library: Library of Congress (45-25446).

5 Animal sketches, for piano (1951). Morristown: Silver Burdett, 1952 (Music for early childhood; New music horizon series). Swan (or Graceful swan); 2. Camel (or Bear, or Clumsy bear); 3.

Chipmunk (or Busy chipmunk); 4. Horse (or Galloping horse); 5. Lamb (or Gamboling lamb); 6.

Archaic ritual, for orchestra (1946). Los Angeles: Delkas, 1946; WGS Music. Dance before the altar; 3. Instrumentation: 2111 (p cbsn) Eh bcl, 4331, timp, perc. Première: 1949/VIII/25; Hollywood Bowl, Los Angeles; Los Angeles Philharmonic: Izler Solomon, conductor. New York: Sam Fox, 1960. Commission: American Accordionists Association, 1959. Première: 1960/V/15; New York; Town Hall; Myron Floren, accordion. AT: Robert Young McMahon, accordion. Arkansas, for medium voice & piano ca. Flagstaff: Master-Player Library, 2000 Song collection, ed. Bambelele e espin garda, for violin & piano. CD: Zina Schiff, violin; Cameron Grant, piano. 4 Tay CD 4005 (1997). Bayou home, for medium voice & piano (1944). New York: Robbins Music, 1944.

Based on I'm pickin' my last row of cotton. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. CD: Carlyn Lloyd-Ford, flute; unidentified pianist. CD: Donna Wissinger, flute; Jon Klibonoff, piano.

Eroica JDT 3031 (2000, Amazing grace, an American tapestry). CD: Keith Pettway, flute; Louis Hobbs, piano. Delta Classic Records DC 0191 (2000, Mississippi classic).

Beale Street blues, by W. New York: MCA Music; Delkas, 1944.

Phantom chapel [dedication: Dolores Calvin]; 2. Fairy knoll [dedication: Philippa Schuyler]. Instrumentation: 2222 (p cbsn) Eh bcl, 4331, timp, 3 perc, harp, piano, strings.

Louis Symphony Orchestra; Vladimir Golschmann, conductor. Library: Library of Congress (44-47114). CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor.

Newport Classic NPD 85596 (1995; The American scene). Beyond tomorrow; poem, for orchestra (1936).

Black bottom, for chamber orchestra (1922). Blue steel, opera in 3 acts, in 3 scenes, for soprano, contralto, tenor, baritone & chorus (1934). Bruce Forsythe on a story Carlton Moss. Instrumentation: 3243, Eh; 4331; timp; per, cel; harp; strings.

Withdrawn following performance of excerpts; music absorbed by later works. Library: Library of Congress piano-vocal score, 59p. Entrance of the priests and dance of the priestess. Première: 1935/IV/03; Rochester; Eastman School of Music Little Symphony; Karl van Hoesen, conductor.

Give me nobody without your soul, for soprano & piano, in Arias, duets, and scenes from the operas, ed. See the trees, for baritone & piano, in Arias, duets, and scenes from the operas, ed.

The drums weave the spell of death, for soprano, contralto, baritone, SATB, percussion & piano, in Arias, duets, and scenes from the operas, ed. For jazz band by William Grant Still. 78rpm: Artie Shaw and His Orchestra (1940). Boston, by Ervin Schulhoff, arr. CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998).

Breath of a rose, for voice & piano (1926). Première: 1927/IV/26; New York, School for Social Research; Jessie Zachary, soprano. Schirmer, 1942 (A new anthology of Americanm songs). Schirmer (Romantic American art songs). CD: Louise Toppin, soprano; Vivian Taylor, piano. For saxophone & piano, arr.

CD: Sam Strickland, saxophone; Vivian Taylor, piano. Brown baby, for medium voice & piano, by Willie M. 2 Cameos, for flute or violin & piano. Reconstructed by Judith Anne Still.

Can'tcha line'em, for chamber orchestra (1940). Première: 1940/II/17; American School of the Air, CBS radio. Caribbean melodies, for medium voice & piano (1941). Based on melodies collected by Zora Neale Hurston. Hand a' bowl; voodoo chant, from Jamaica; 2.

Baintown; serenade, from Bahamas; 3. Two banana; jumping dance, from Bahamas; 4. Peas and rice; jumping dance, from Bahamas; 6. Mama, I saw a sailboat, from Bahamas; 8. Ah, la sa wu, from Bahamas; 9.

Doo ma; jumping dance, from Bahamas; 11. Héla grand père; rada chant, from Haiti; 12. Going to my old home; dance song, from Bahamas; 13.

Mister Brown; ring play, from Bahamas; 14. Ten poun' ten; dance song, from Jamaica; 15. Do an' Nannie; jumping dance, from Bahamas; 16. Eh, bi nango, from Bahamas; 17. Carry him along, from Bahamas.

Hand a bowl, for contralto, baritone, piano & steel band, arr. CD: Ruth Hamilton, contralto; Robert Honeysucker, baritone; East Carolina University Steel Band; Mark Ford, conductor.

Baintown, for tenor, SATB & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 2, 4, 6, 9, 14, 15, 16, and 17. CD: Videmus; East Carolina University Steel Band; Mark Ford, conductor. Peas and rice, for soprano, contralto, baritone, percussion & piano, arr. Bellamina, for contralto & piano. For voice & piano, arr. CD: Videmus; Vivian Taylor, piano. Mama, I saw a sailboat, for soprano, SSAA, dancers, tom-tom & piano.

For soprano, steel band & piano, arr. CD: Vivian Taylor, soprano & piano; East Carolina University Steel Band; Mark Ford, conductor. Ah, la sa wu, for piano & steel band, arr. CD: East Carolina University Steel Band; Mark Ford, conductor.

Evalina, for baritone & piano. Doo Ma, for soprano, contralto, baritone & steel band, arr. CD: Vivian Taylor, soprano; Ruth Hamilton, contralto; Robert Honeysucker, baritone; East Carolina University Steel Band; Mark Ford, conductor. Héla, grand père, for soprano, baritone & piano. CD: Vivian Taylor, soprano & piano; Robert Honeysucker, baritone; East Carolina Steel Orchestra; Mark Ford, conductor.

Going to my old home, for steel band, arr. Ten poun' ten, for tenor, percussion & piano. Do an Nannie, for men's chorus, percussion & piano. For contralto, steel band & piano, arr. CD: Ruth Hamilton, contralto; Vivian Taylor, piano; East Carolina University Steel Band; Mark Ford, conductor. Eh, bi nango, for soprano or tenor & piano. For SATB, piano & percussion.

Carry him along, for SATB. For soprano or tenor, dancers, percussion & piano. Carmela, for violin & piano 1949? AC: Louis Kaufman violin; Anette Kaufman, piano.

AC: Louis Kaufman, violin; Annette Kaufman, piano. Ethnovibe Productions (1999; Ebony rhythm). CD: Zina Schiff, violin; Cameron Grant, piano (1994). 4-Tay CD 4005 (1997, Heres one).

LP: Louis Kaufman, violin; Annette Kaufman, piano. For flute & guitar, arr. For violin & orchestra, orchestrated by Marshall Fine (1991). Choreographic prelude, for flute, piano & string orchestra (1970). Première: 1970/I/15; Los Angeles County Museaum, Exposition Park; William Grant Still, conductor.

Christmas in the Western World; las pascuas, for SATB & string orchestra and/or piano (1967). New York: Southern Music, 1967. Text: Christmas carols, in English, with narration. A maiden was adoring God; 2. De Virgin Mary had a baby; 7. Sing, shout, tell the story! Library: Library of Congress (piano-vocal score, 68-47273/M), Lucks (11514). Cambria CA-1003 (1994; William Grant Still; Voices and piano). AC: William Grant Still PAS Performing Arts Society?

Of the National Association of Negro Musicians. William Grant Still PAS Performing Arts Society? WGMS (1989; William Grant Still; Voices and piano).

Tell the story, for SATB, 2 violins & piano. Clouds, for orchestra by Arthur Lange, arr.

Costaso, opera in 3 acts, for saoprno, mezzo-soprano; 4 tenors; 2 baritones; 3 basses; SATB, dancers & orchestra, in 4 scenes (1949). Instrumentation: 2222, Eh (p); 3331timp; perc; cel; harp; strings. A wandring beggar came, for tenor & piano, in Arias, duets, and scenes from the operas, ed. For tenor, baritone & piano, in Arias, duets, and scenes from the operas, ed.

CD: Scott Piper, tenor; Richard Banks, baritone; Byron Burford, piano. Videmus (1998, Fare ye well). CD: Margaret Astrup, soprano; Manhattan Chamber Orchestra; Richard Auldon Clark, conductor.

For soprano & piano, in Arias, duets, and scenes from the operas, ed. For soprano, harp & strings. AT: Ben Holt, baritone; Cliff Jackson, piano (1984, Peabody Conservatory of Music). Dances in the canebreaks, by Florence Price, arr. Silk hat and walking cane.

CD: Centennial Celebration Orchestra; John McLaughlin Williams, conductor (1998). Danse barbare from Congo sketches, by Will Donaldson, orchestrated by William Grant Still (1928).

Danzas de Panamà, for string quartet (1948). New York: Southern Music, 1953 (#197-31). After melodies collected by Elisabeth Waldo. Première: 1948/V/21; Los Angeles County Museum; Waldo Latin-American String Quartet.

Library: Library of Congress also photocopy of manuscript, 57p. New York: Southern Music, 1953.

AC: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. AC:Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. CD: Kaufman String Quartet [Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello].

Music & Arts CD 638 (1990, 1972, Louis Kaufman, violin; historic recordings of the 20th century). CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello].

Koch International 7546 (2002; Oregon festival of American music). LP: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. CD: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello.

CD: Philadelphia Classical Guitar Trio [Marisol Rampolla, Thomas Smith, Michael Simmons]. Jackson Avenue Music JAMG 3001 (2000; Philadelphia classical guitar trio). CD: Berliner Symphoniker; Isaiah Jackson, conductor. Koch International Classics 3-7154-2H1 (1993).

Dark madonna, by Will Donaldson, orchestrated by William Grant Still (1928). Darker America, for orchestra (1925).

Birchard, for the Eastman School of Music, 1928. Instrumentation: 2122 p, Eh, 1110, perc, piano, strings.

Première: 1926/XI/28; New York; Aeolian Hall; International Composers Guild; Eugène Goossens, conductor. Won award from the Eastman School of Music.

CD: Music for Westchester Symphony Orchestra; Siegfried Landau, conductor. Vox Box CSX 5157 (1996, The incredible flutist). LP: Music for Westchester Symphony Orchestra; Siegfried Landau, conductor. Turnabout TVS-34546 1971; The contemporary composer in the U. Deep river, for orchestra ca. Didn't ma Lawd deliver Daniel? For medium voice & piano (by 1948). CD: Robert Honeysucker, baritone; Sam Strickland, saxophone; Vivian Taylor, piano. Dismal swamp, for piano & orchestra (1936).

San Francisco: The New Music Society of California, 1937 (New music orchestra series, n2, January 1937) 32p. After the poem by Verna Arvey.

Instrumentation: 3232 Eh bcl cbsn, 4431, timp, vibraphones, piano, strings. Première: 1936/X/30; Rochester; Eastman Theatre; American Composers Concert; Howard Hanson, conductor. Library: Library of Congress (A45-1269), Theodore Presser. CD: Richard Fields, piano; Cincinnati Philharmonia Orchestra; Jindong Cai, conductor. Down the Carolina lane (1932).

CD: Marvin Hayes, narrator; Deep River Hour Orchestra; William Grant Still, conductor (1984). Cambria CD-A111 (2000, Centennial retrospective). Ebon chronicle, for orchestra (1933).

Première: 1936/XI/03; Fort Worth Symphony Orchestra; Paul Whiteman, conductor. Library: Library of Congress (lead sheet), Fleisher (2767). Los Angeles: Avant Music, Western International Music, 1963 The California organist, 7; #A.

Written for the California chapters of the American Guild of Organists. Library: Library of Congress (LC 66-86053/M).

CD: Lucius Weathersby, organ Father Willis organ, 1864; St. Michael and All Angels Church, Great Torrington, UK, 2003/IX/27. International Society African to American Music (2003). Michael and All Angels Church, Great Torrington, UK. Albany 440 (2001; Spiritual fantasy).

Ennanga, for harp (or piano) & orchestra (1956). Slow [originally: Moderately slow]; 3. Inspired by African folk melodies. Instrumentation: 2222 (p Eh), 3221, timp, perc, cel, strings. Première: 1958/X/12; Los Angeles; Westside Jewish Community Center; Lois Adele Craft, harp; Verna Arvey, piano. AC: Lois Adele Craft, harp; Annette Kaufman, piano; Kaufman String Quartet [Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello]. AC: Lois Adele Craft, harp; Annette Kaufman, piano; Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. CD: Lois Adele Craft, harp; Annette Kaufman, piano; Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. CD: Videmus [Ann Hobson Pilot, harp; Lynn Chang, Lydia Forbes, violins; George Taylor, viola; Mark Churchill, cello; Vivian Taylor, piano]. LP: Lois Adele Craft, harp; Annette Kaufman, piano; Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello.

Ev'ry time I feel the spirit, for medium voice & piano (1938). New York: Galaxy Music, 1948. Negro spirituals for voice with piano accompaniment; #G.

New York: American Book Co. (ABC choral art series, v2). Fanfare for American war heroes, for orchestra (1943). Première: 1991/II/09; Columbus IN; Indiana Pro-Musica; David Bowden, conductor.

Written for the 99th Fighter Squadron. Library: Library of Congress (holograph). Fanfare for the 99th Fighter Squadron, for winds (1945). Première: 1945/VII/22; Hollywood Bowl; Los Angeles Philharmonic: Leopold Stokowski, conductor. Festive overture, for orchestra (1944).

Instrumentation: 2111 (p) Eh bcl, 4331, timp, 4 perc, cel, harp, strings. Award: Jubilee Season Prize of the Cincinnati Symphony Orchestra, 1944 (Jury: Pierre Monteux, Deems Taylor, Eugene Goossens). Première: 1945/I/19; Cincinnati Symphony Orchestra; Eugene Gooseens, conductor. Library: Library of Congress (45-19521, reproduction of manuscript). AC: North Arkansas Symphony Orchestra; Carlton R. AC: Charleston [WV] Symphony Orchestra; Leon Thompson, conductor (1976/II/22). AC: Royal Philharmonic Orchestra; Arthur Bennett Lipkin, conductor. CD: North Arkansas Symphony Orchestra; Carlton R.

CD: Royal Philharmonic Orchestra Arthur Bennett Lipkin, conductor. Cambria CD-1060 (1996; A festive Sunday with William Grant Still). LP: Royal Philharmonic Orchestra; Arthur Bennett Lipkin, conductor. Florida blues, for chamber orchestra, by William King Philips, arr. By William Grant Still (early 1920s).

1, flute, piano & string quartet (1962). Bambalele e espin garda; 2.

Sometimes I feel like a motherless child; 3. Library: Library of Congress (also reproduction of holograph). CD: Alexa Still, flute; New Zealand String Quartet. Sometimes I feel like a motherless child. CD: Koch International Classics (1994).

2, flute, clarinet, violoncello (or bassoon) & piano (or harp) (1962). CD: Sierra Winds [Richard Soule, flute; Felix Viscuglia, clarinet; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. CD: Sierra Winds [Richard Soule, flute; Felix Viscuglia, clarinet; Bernard Kolle, bassoon; Kim de Libero, harp].

Cambria CD 1083 1995, Get on board! 3, flute, oboe, bassoon & piano (1962). Bow and arrow dance song. CD: Sierra Winds [Richard Soule, flute; Stephen Caplan, oboe; Bernard Kolle, bassoon; Carol Urban-Silvers, piano].

For flute, bass clarinet & strings. 4, flute, clarinet, violoncello (or bassoon) & piano (1962). Anda buscando de rosa en rosa; 3. CD: Leonard Harrison, flute; Robert Umiker, clarinet; Samuel Magill, violoncello; Arthur Tollefson, piano (1984).

LP: North Arkansas Symphony Orchestra; Carlton R. Richmond VA: International Opus (WW5-9551). Anda buscando de rosa en rosa, for string quartet. New York: Bourne, 1966 (Bourne symphonic library).

Medley: The old ak's a moverin', Sinner please don't let this harvest pass [see also single title]. Première: 1963/VIII/18; Los Angeles Bureau of Music Symphonic Band; Dale Eymann, conductor. Library: Library of Congress (LC 66-92147). CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor.

NAUWS-001 (1994, From the Delta). Get on board, for flute, clarinet, bassoon, strings & piano. Frankie and Johnny, for orchestra Première: Deep River Hour.

From a lost continent, for SATB & orchestra (1948). Dedication: the Gordons of Berkeley. Premiere (1, with piano): 1953/V/22; Choral Guild of San José; LeRoy V. Brant, conductor; (2, with orchestra): 1955/III/27; Bruxelles; I. Library: Library of Congress (also holograph of lead sheet, M59-289).

From the Black belt, for chamber orchestra (1926). New York: Carl Fischer, 1946. Mah bones is creakin'; 5. Instrumentation: 2222, 4321, timp, perc, harp, strings. Première: 1927/III/20; New York, Henry Miller Theatre; Little Symphony; Georges Barrère, conductor.

Vox Box CDX 5157 (1996, The incredible flutist). LP: Music for Westchester Symphony Orchestra; Siegfried Landau, conductor (1974).

Brown girl, for harp, arr. From the Delta, for band (1945). New York: Leeds Music, 1947, 1945. (condensed score) (Moments in American music for band). Première: 1947/III/17; New York, Central Park Mall; Central Park Mall; Goldman Band; Richard Franco Goldman, conductor.

NAUWS-001 (1994; From the delta). 78rpm: Morton Gould and His Symphonic Band.

LP: Morton Gould and His Symphonic Band. From the furnace of the sun, opera. From the heart of a believer, for orchestra (1927). From the heart of a woman, for medium voice & piano (1961). Also known as From the hearts of women.

For soprano & string quartet. Première: 1962/II/19; Los Angeles; Los Angeles County Museum; Pearl Whitelow, soprano, with instrumental ensemble. For soprano, flute, oboe, piano & string quartet. For soprano, alto flute (or clarinet) & 2 harps, arr. Alternate title: La marée à midi.

From the journal of a wanderer, for orchestra (1925). Première: 1926; North Shore Festival, Chicago; Chicago Symphony Orchestra; Frederick Stock, conductor. Library: Eastman School of Music (holograph); Fleisher (2830). From the land of dreams, for SSA & chamber orchestra (1924). Première: 1925/II/8; International Composers Guild; Vladimir Shavitz, conductor.

Get on board; The gospel train, for flute, oboe, bassoon, piano & string quartet 1927? CD: Sierra Winds [Richard Soule, flute; Stephen Caplan, oboe; Felix Viscuglia, clarinet; Bernard Kole, bassoon; Terea Ling, Rebecca Ramsey, violins; John Peskey, viola; Kelley Mikkelsen, cello; Carol Urban-Silvers, piano]. Glory to that new born king, for SATB, strings & piano. God's goin' to set this world on fire, for medium voice & piano (1968).

New York: Holt, Rinehart & Winston Exploring music, ed. By Beth Landis Duration: 1:00. Holt, Rinehart & Winston (1968). Good news, for medium voice & piano.

Good night, for medium voice & piano (1917). Première: 1921/X/30; New York; St. Marks Hall; Revella Hughes, soprano. Grief, for high voice & piano (1953).

Bryn Mawr: Oliver Ditson, Theodore Presser, 1955 (#Cl3l-4l053). CD: Richard Heard, tenor; Pamela Howland, piano. HM Classics 1998; Aint a that good news? Marks, 1977 Anthology of art songs by Black American composers, ed.

CD: Fleur de Son Classics (2000). CD: Dina Cameryn Foy, soprano; Polly Brecht, piano. DCF Records DCF-001 (1996, Remembrance; African-American songs). Carlton Hines, tenor; André Thomas, piano (1981/II/02, University of Illinois). LP: Susan Matthews, mezzo-soprano, with unidentified pianist.

University of Michigan SM-0015 (1980; Art songs by Black American composers). Gunsmoke, incidental music for television.

Gwinter sing all along de way, for voice & piano. For tenor, SATB & piano. Hard trials, for voice & piano, by D. For voice & string quartet. Here's one, for soprano, SATB & piano (1941).

Text: Talk about a child that do love Jesus. Library: Library of Congress, Spingarn.

New York: Oxford University Press, 2002 The Oxford book of spirituals, ed. Cambria CA-1003 (1994 William Grant Still; Voices and piano). CD: Northern Arizona University Chorale.

For medium voice & piano. 78rpm: Robert McFerrin, baritone, with unidentified pianist. AC: Edward Pierson, baritone; Donald Walker, piano. CD: Bridget Bazile, soprano; Moses Hogan Singers; Moses Hogan, conductor.

(2002; This little light of mine). CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04, Churchill College, University of Cambridge). LP: Bill Mann, tenor; Paul Mickelson, organ.

For contralto, saxophone & piano, arr. CD: Ruth Hamilton, contralto, Sam Strickland, saxophone; Vivian Taylor, piano. CD: Alexa Still, flute;==, piano. For flute, strings & piano. For soprano, SATB & piano.

For violin & piano, arr. 78rpm: Louis Kaufman, violin; Annette Kaufman, piano. Concert Hall H-1640 (1950; Contemporary American violin music).

AC:Louis Kaufman, violin; Annette Kaufman, piano. LP: Louis Kaufman, violin Annette Kaufman, piano? The Kaufman legacy; Masters of the bow, vol. Concert Hall Society CHS-1140 (1950).

CD: Inetta Harris, soprano; Scott Lippoldt, piano. CD: Joanne Stephenson, soprano; Karen Laubengayer, piano (2001/VIII). CD: Videmus [Robert Honeysucker, baritone; Vivian Taylor, piano].

Hesitating blues, for orchestra, by W. By William Grant Still (1916). Highway 1 USA, opera in 1 act, for 4 soloists, SATB & orchestra, in one scene (1962).

Première: 1963/V/11; Coral Gables, University of Miami; 4th Annual Festival of Contemporary Music; Fabien Sevitzky, conductor. Dedication: Judith Anne Still [Headlee], Larry Headlee; Daniel Still, Daniel Headlee; Lisa Headlee. Absorbed sections of A Southern interlude. A dream wasted, for baritone & piano, in Arias, duets, and scenes from the operas, ed. Once a little child, for mezzo-soprano & piano, in Arias, duets, and scenes from the operas, ed.

What does he know of dreams? Brown, tenor; London Symphony Orchestra; Paul Freeman, conductor. Columbia M-32782 1974; The Black composers series, vol. P9-19424 ==; The Black composers series, vol.

For tenor & piano, in Arias, duets, and scenes from the operas, ed. Home in-a dat rock, for voice & piano. CD: Joanne Stephenson, soprano; Karen Laubengayer, piano (August 2001). I feel like my time ain't long, for SSATB & piano (1956). AC: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). CD: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). LP: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). I'm on my way, for 2 equal voices. Detroit: Board of Education, City of Detroit, 1971 (Afro-America sings). I'm pickin' my last row of cotton; The cotton picker's song, for medium voice & piano (1941). Library: Library of Congress 4p. In memoriam, the colored soldiers who died for democracy, for orchestra (1943).

Los Angeles: Delkas Music, 1943. Instrumentation: 2111 (p) Eh bcl, 4331, timp, perc, harp, strings. Première: 1944/I/5; New York Philharmonic: Artur Rodzinski, conductor.

Library: Belwin-Mills, Library of Congress (LC 44-36836), Spingarn. AT: Boston Symphony Orchestra; George Szell, conductor (1945/I/20). In pastures green, by Willard Robinson, arr.

Incantation and dance, oboe & piano 1942==1941? New York: Carl Fischer, 1955 (#29843; W1687) 9p. Dedication: Betty and Loyd [sic] Rathbun.

Library: Library of Congress (46-18613; also holograph). Lee, oboe; Patricia Springer, piano. Lee, oboe; Mellasenah Morris, piano 1978/X/29, Lois J. AC: Janice Smith, oboe; Diane Marsha, piano (1957/XIX/12).

CD: Sierra Winds [Stephen Caplan, oboe; Carol Urban-Silvers, piano]. CD: Videmus [Jean de Mart, flute; Vivian Taylor, piano]. 4 Indigenous portraits, for flute & string quartet (1957).

For SATB & piano (1956). Jungle drums, for chorus & orchestra (c1924). Kaintuck'; Poem, for piano & orchestra (1935). Instrumentation: 3232 (p), 4331, timp, perc, strings.

Dedication: ´To my wife, Verna Arvey. Library: Columbia (lead sheet, 1937), Lerma, Library of Congress (lead sheet, 1937), Yale (manuscript). Première: 1935/X/28; Los Angeles Pro Musica. The second pianist is not identified. Keep me from sinkin down, for SATB & piano. La guiablesse, ballet for dancers & orchestra, in one set (1927).

Scenario: Ruth Page, after Lafcadio Hearn. Instrumentation: 3222 (p) Eh bcl, 4331, timp, perc, harp, strings. Written for the Adolph Bohm Ballet of New York. Première: c1933; Rochester, Eatman Theater; Howard Hanson, conductor. Library: Fisk (holograph); Library of Congress.

First dance of the children; 2. Dance of Yzore and Adou; 3. Première: 1933/V/05; Rochester; 3rd Annual Festival of American Music; Thelma Biracree, solo dancer; Howard Hanson, conductor.

AC: San Francisco Symphony Orchestra; William Grant Still, conductor (1937). Glendale Legend GLCA-8011 (1984; William Grant Still conducts William Grant Still). LP: San Francisco Symphony Orchestra; William Grant Still, conductor 1940?

Glendale GLLP-8011 (1984; William Grant Still conducts William Grant Still). Lady of secrets, incidental music for film (1936). Lament, for SSA & piano (1950). New York: Silver Burdett, 1951 American music horizons, ed.

By Osourne McConathy et alia, New music horizon series, p99-101. CD: Atlanta Young Singers of Callawolde. Lenox Avenue; Choreographic street scenes, dancers, narrator, SATB & orchestra (1937). Instrumentation: 2231, Eh bcl 5 saxophones, 3320, timp, 2 perc, piano, strings. Première: 1937;V/23; CBS Radio; Howard Barlow, conductor.

Library: Library of Congress (43-21830), Schomburg. AC: Los Angeles WPA Orchestra and Chorus; Verna Arvey, piano; William Grant Still, conductor (1937). CD: Juano Hernandez, speaker; CBS Symphony Orchestra; Howard Barlow, conductor.

Includes introduction by Deems Taylor. CD: Marvin Hayes, narrator; Juano Hernandez, speaker; CBS Symphony Orchestra; Howard Barlow, conductor.

Cambria CD-A11IA (2000; A centennial retrospective). Glendale Legend GLLP-8011 (1984; William Grant Still conducts William Grant Still). For narrator, dancers, chorus, piano & chamber orchestra. 0379 Library: Library of Congress, Spingarn. Publication [multimedia kit] Pathways to music; From jazz to rock, ed.

Rossi, includes LP recording by Verna Arvey, piano, c1972. 78rpm: Artie Shaw and His Orchestra.

CD: Artie Shaw and His Orchestra. Bluebird AMX2/AXK2-5572 1982; The complete Artie Shaw, vol.

For violin & orchestra (by 1944). CD: Louis Kaufman, violin; Columbia Symphony; Bernard Hermann, conductor (1946). AC:Louis Kaufman violin; Anette Kaufman, piano. CD: Fritz Gearhart, violin; Victor Steinhardt, piano. Bay Cities BCD 1019 (1991).

78rpm: Hancock Ensemble; Loren Powell, conductor. Hancock Foundation, University of South Carolina 395 (1942). Im gonna tell, for SATB & piano.

Levee land, for soprano & instrumental nonet (1925). Instrumentation: 2200, tenor banjo, piano, perc, 2 violins. Première: 1926/I/24; New York; Aeolian Hall; International Composers Guild Concert; Florence Mills, soprano; orchestra; Eugène Goossens, conductor.

For a different work bearing same title, see: The American scene, suite II. CD: Celeste Anne Headlee, soprano; Northern Arizona Wind Symphony; Patricia Hoy, conductor. Lift every voice and sing, for voice, flute, piano & string orchestra, by J. CD: Videmus [Robert Honeysucker, baritone; Lynn Chang, Lydia Forbes, violins; George Taylor, viola; Mark Churchill, cello, Prentice Pilot, double bass; Vivian Taylor, piano]. New York: Piero Diero, 1967.

AC: Robert Young McMahon, accordion. CD: Joanne Stephenson, soprano; Karen Laubengayer, piano.

Little David, play on your harp, for SSATB & piano c1945? Written for Anne Fambro, the composers maternal grandmother. New York: Southern Music, 1968. Aurore pradère [&] Tant sirop est doux; 2. Los indios [&] Yaravi; 2.

Little folk suite from the Western Hemisphere, for brass quintet (1968). Where shall I be when the great trumpet sounds?

En roulant ma boule, for steel drums, arr. Little red schoolhouse, for orchestra (1956). Première: 1957/III/30; Redlands University; Edward Tritt, conductor.

RELATE TO PAGES FROM A MOTHERS DIARY. Log cabin ballads, for orchestra (1927). Long to'ds night; 2. Première: 1928/III/15; New York; Booth Theatre; Little Symphony; Georges Barrère, conductor.

Los alnados de España, for narrator & orchestra (1962). Dedication: to the composers maternal grandfather and to the memory of Clarence Cameron White. Première: 1994/X/29; Sequehanna Symphony Orchestra; Sheldon Bair, conductor. Library: Library of Congress 29p.

Lost horizon, incidental film music (1937). VHS: Ronald Coleman; Jane Wyatt; Frank Capra.

Chicago: Facets Multimedia (S02919 [restored version]). Lyric suite, string quartet (1960). The sentimental one; Moderately; 2. The quiet one; Moderately slow; 3.

The jovial one; Moderately fast. Mandy Lou, for voice & piano (c1926). March-finale, for SATB & orchestra (1942). New York: MCA Music, 1946 (Compositions for piano by contemporary American composers, vl). Dedication: Adelaide and Kenneth Winstead.

AC: Hildred Roach, piano (1977/V/01). Memphis man, medium voice & piano, by Willy Grant pseud. For organ, arr/ by H. Men of the army, for voice & piano (1952).

Minette Fontaine, opera in 3 acts, for 10 soloists, SATB & orchestra, in 5 scenes (1958). Première: 1984/X/22; Baton Rouge; Centroplex Theater; Baton Rouge Opera Company; Donald Door, director. Library: Library of Congress piano-vocal score, 174p. VC: Cambia WGMS MF-3002 (2000).

CD: Tiffany Jackson, soprano (Minette Fontaine); Jean Reed, soprano (Clarice); Judith Ellis, mezzo-soprano (Felice); Kimberly Haynes, mezzo-soprano Mme. De Noyan; Scott Piper, tenor (Diron); Richard Banks, baritone (Claude); Jean Schneider, piano; David Morrow, conductor. I have two loves, for soprano & piano, in Arias, duets, and scenes from the operas, ed.

I knew why you were coming, for soprano, contralto, TTBB (or SATB) & piano, in Arias, duets, and scenes from the operas, ed. Miniature overture, for orchestra (1965). Première: 1965/X/17; Greater Miami Philharmonic Orchestra; Fabien Sevitsky, conductor.

Miniatures, for flute, oboe & piano (1948). London: Oxford University Press, 1963. I ride old paint (USA); 2. Jesus is rock in the weary land (USA); 4. A frog went a-courtin' (USA).

Dedication: Sir John and Lady Barbirolli. This suite is based on folk songs of the Americas, and is a souvenir of the visit to America of Sir John and Lady Barbiolli, and of the many friends made by them during their stay. Library: Library of Congress (64-33197/M; holograph, 48-22855).

AC: Peter Christ, oboe; Gretel Shanley, flute; Sharon Davis, piano. CD: Peter Christ, oboe; Gretel Shanley, flute; Sharon Davis, piano. CD: Stephen Capland, oboe; unidentified pianist. University of Nevada MA-104 (1999).

CD: Sierra Winds [Richard Soule, flute; Stephen Caplan, oboe; Carol Urban-Silvers, piano]. Cambria CD 1083 1995, Get on. LP: Peter Christ, oboe; Gretel Shanley, flute; Sharon Davis, piano.

For flute, oboe, bassoon & piano, arr. Minorities and majorities, for SATB & piano 1971.

(ANC choral arts series, v1). Originally to have been within 4 Octavo songs. Miss Sally's party, ballet for 7 solo dancers, ballet corps & orchestra, in one scene (1940).

Introduction; 2, The square dance; 3. Toby and Tips dance; 5.

Première: 1941/V/02; Rochester; 11th Festival of American Music; Thelma Biracree, dancer; Howard Hanson, conductor. Library: Library of Congress piano-vocal score, 37p. CD: The Orchestra of the Plymouth Music Series of Minnesota; Philip Brunelle, conductor. CD: VocalEssence Ensemble String Orchestra; Philip Brunelle, conductor.

For flute, oboe, strings & piano. Mississippi, for medium voice & piano (1942). Written for Mark Warnow and the United States Armys Sound off (ABC radio). Première: 1948/VII/26; ABC radio network, Sound off. Original title: Mississippi march; March-finale.

Mota, opera in 3 acts, 4 scenes, for 8 soloists, SATB & orchestra, in 2 scenes (1951). Première [projected]: 1996; North Carolina A & T University; Clifford Watkins, conductor? Must I die for my boldness? This strange awakening, for soprano & piano, in Arias, duets, and scenes from the operas, ed.

Who can tell what fate? For mezzo-soprano & piano, in Arias, duets, and scenes from the operas, ed. My brother American, for medium voice & piano (1971). Sound, beat, and feeling; ed. By Choate, Kaplan & Standifer; New dimensions in music, 7th grade.

My Lawd says he's goin' to rain down fiah, for medium voice & piano. 3 Negro songs, for medium voice & chamber orchestra (1921). 12 Negro spirituals, for medium voice & piano, arr.

By William Grant Still, preface by Wellington Adams, includes "William Grant Still, Afro-American composer" by Verna Arvey and "Literary treatments" for each song by Ruby Berkley Goodwin, illustrated by Albert Barbelle epicting Negro life at the timethey were inspired (1937). New York: Handy Brothers, 1937, 1948. 2 vols (6 spirituals in each, also published separately, for SATB if with asterisk): 61, 40p. Gwinter sing all along de way; 2. All God's chillun got shoes; 3. Lis'en to de lam's; 4. Keep me f'om sinking down; 5. Lord, ah wants to be a Christian; 6. Ah gotta home in-a dat rock; 9. Peter, go ring dem bells; 10. Didn't ma Lawd deliver Daniel; 12. Ma Lawd gonna rain down fish. Library: British Library; (1937 imprint); Library of Congress (37-22232); Schomberg, Spingarn (v1). London: Francis, Day & Hunter, 1937. Contents (reordered): 8, 2, 6, 11, 10, 7, 1, 4, 3, 5, 12, 9.

Gwinter sing all along de way. Keep me f'om sinkin' down, for SATB (1937). Lawd, ah wants to be a Christian, for SATB. LP: John Patton, tenor; C.

Narthex Recording N-69085 (c1969; Black spirituals and art songs). Ah gotta home in dat rock.

Peter go ring dem bells. Didnt mah Lawd deliver Daniel? CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04; Churchill College, University of Cambridge).

Mah Lawd says hes doin to rain down fiah. No matter what you do, for medium voice & piano (1916). 4 Octavo songs, for SATB (1971). Ev'ry time I feel the spirit; 2. Toward distant shores [text: Judith Anne Still]; 4. Old California, for orchestra (1941). New York: Carl Fischer, 1942.

Instrumentation: 2222 (p Eh bcl cbsn), 4331, timp, 2 perc, harp, strings. Commission: Werner Janssen, for the 160th anniversary of Los Angeles. Première: 1941/X/30; Los Angeles; Wilshire-Ebell Theatre; Janssen Symphony Orchestra; Werner Janssen, conductor.

Library: Library of Congress (holograph, M59-291). AT: New York Philharmonic: Pierre Monteux, conductor (1944/XI/05). CD: New York Philharmonic; ==, conductor. 1999, An American celebration, vol. Pages from a mother's diary, for orchestra. Instrumentation: 2222 (p bcl), 4330, timp, 2 perc, cel, harp, strings. Première: 1954/I/08; Santa Clara County Symphonette; Edward Azhderian, conductor.

Pages from Negro history, for orchestra (1943). Boston: Carl Fischer, 1943 Music of our time; 12 orchestral compositions by American contemporaries, ed. By Karl Duane van Hosen, p33-48 [reduced score].

After a text by Verna Arvey. Première: 1944/III/17; Westminster MD; Western Maryland College Orchestra. Instrumentation: 2222, 4221, timp, perc, harp, piano, strings. AT: NBC Concert Orchestra; Henri Nosco, conductor. Parted, for medium voice & piano.

Pastorela, for violin & piano (1946). New York: Witmark & Sons, 1947. The violin part edited by Louis Kaufman. Dedication: Louis and Annette Kaufman. Première: 1947/III/14New York; Town Hall; Louis Kaufman, violin.

AT: Vincent Esposito, violin; Pablo Singer, piano. For flute & string quartet. Instrumentation: 3222 (Eh) bcl, 4331, timp, harp, strings. CD: CBS Symphony, the Standard Hour == Bay Cities BCD 1033 (1991).

Path of glory, for bass-baritone & orchestra (1962). Library: Library of Congress (piano-vocal score). Patterns, for chamber orchestra (1960). Première: 1961/IV/23; Inglewood Symphony Orchestra; Ernest Gebert, conductor. Pennies from heaven, incidental film music for the Columbia Pictures production. Perry Mason, incidental music for the (original) television series. Peter go ring dem bells, for medium voice & piano. 7 Pieces, flute & piano ==. CD:Alexa Still, flute; Susan De Witt Smith, piano. Plain chant for America, for baritone & organ or orchestra (1941).

New York: Carl Fischer, 1941(Fischer edition 7800). Instrumentation: 3222 Eh bcl, 4331, timp, 2 perc, harp, organ, strings. Written for the centennial of the New York Philharmonic. Dedication: The President of the United States and Mrs. Première: 1941/X/23; Wilbur Evans, baritone; New York Philharmonic: John Barbirolli, conductor.

Library: Library of Congress (58-1896; photocopy, 45-29593), Spingarn. LP: Paine College Choirs, Augusta GA (1972/IV/16). New York: Carl Fischer, 1941. 7800-14 Library: Library of Congress. For SATB & orchestra (c1965).

Première: 1968/IV/16; Dillard University Choir; New Orleans Philharmonic Orchestra; Werner Torkanowsky, conductor. Los Angeles: Delkas Music, 1945.

Instrumentation: 3222, (cbsn) Eh bcl, timp, 3 perc, cel, harp, strings. Kulas American Composer's Fund for the Cleveland Orchestra. Première: 1944/XII/7; Cleveland Orchestra; Rudolph Ringwall, conductor. Library: Library of Congress (45-22168; photocopy, 45-19520). Pompous march, for treble instruments & piano.

New York: Scribner's (The new Scribner music library, v4). Preludes, flute, piano, & string orchestra (1962). Moderately [Smooth and sustained]; 5. Première: 1968/V/26; Los Angeles; Georges Barrère, flute; Westchester String Symphony; George Berres, conductor.

New York: Scribner's, 1972 The new Scribner music library, v4, ed. Summitt DCD-318 (2002; Preludes of Chopin, Gershwin and Still). Preludes, piano & strings (1967). Promised land, cantata (early 1920s).

Quit dat fool'nish, for piano (1935). Dedication: Shep, my mischievous dog. : 1935; Los Angeles; Verna Arvey, piano.

Library: Library of Congress (lead sheet), Spingarn. CD: Alexa Still, flute; Susan de Witt Smith, piano. Delta Classic Records DC 0191 (2000, Mississippoi classic). For saxophone & chamber ensemble. CD: Sierra Winds [Felix Viscuglia, saxophone; Carol Urban-Silvers, piano].

Ralph Bunche; An American odyssey, incidental film music. New York: Filmakers Library, c2001. Film by William Greaves; narrator: Sidney Poitier; based on the biography of Brian Urquhart; additional music by Kermit Moore. Los Angeles: Avant Music, Western International Music, 1962 A.

Première: 1962/III/12; Pasadena; Pasadena Presbyterian Church; Robert Pritchard, organ. CD: Nancy Cooper, organ Richard L.

27, Holy Spirit Episcopal Church, Missoula MT. Pro Organo CD 7139 (2001). CD: Lucius Weathersby, organ (Great Torrington Parish Church, Father Willis organ; 2003/IX/27). Rhapsody, soprano & orchestra (1955).

Commission: Southside Conference, for Mattiwilda Dobbs. Dedication: Larry Allyn Headlee, in memoriam.

3 Rhythmic spirituals, for SATB & piano (1956). For voice & chamber orchestra. Lord, I looked down the road, for SATB & piano (1956). CD: Marvin Hayes, narrator; Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984).

Hard trials for SATB & piano (1956). New York: Bourne, 1961 (808; #2952). Holy spirit, don't you leave me, for SATB & piano (1956). New York: Bourne, 1961 (809; #1953; 10566).

Ring play, for piano (1962). 1964 Twentieth-century piano music, ed. Rising tide, for SSATTBB & piano (1939).

Selected as theme music for the New York Worlds Fair, 1939. Also known as Victory tide and Song of a city. Performed on loudspeakers within the Perisphere Library: Library of Congress (also holograph).

For chorus & 2 pianos. CD: Marvin Hayes, narrator (1939).

Cambria CD-A11IA (2000, A centennial retrospective; New York Worlds Fair music). For medium voice (optional) & orchestra. Romance, for saxophone & piano (1954). New York: Bourne, 1966 (#B211193) Dedication: Sigurd Rascher. AC: Robert Umiker, alto saxophone; Arthur Tollefson, piano (1984). NASOCA 1-1001 (1996); Roncorp EMS-007. CD: Bill Perconti, saxophone; James Marsh, piano. CD: Lawrence Gwozdz, alto saxophone; Lois Leventhal, piano. Crystal Records CD 652 (1994, An American tribute to Sigurd Rascher).

CD: Robert Umiker, alto saxophone; Arthur Tollefson, piano (1984). Cambria CD 1983 1995, Get on board!

LP: Robert Umiker, alto saxophone; Arthur Tollefson, piano (1984). For saxophone & chamber orchestra. CD: Kenneth Tse, saxophone; == (2002). CD: Lawrence Gwozdz, alto saxophone; Bohuslav Martinu Philharmonic; Kirk Trevor, conductor. CD: Wildy Zumwalt, saxophone; Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998).

For trombone & piano, arr. Sahdji, for dancers, bass, SATB & orchestra, in 1 scene (1930).

Scenario: Richard Bruce Nugent pseud. Richard Bruce and Alain Locke. Instrumentation: 2222 (2p) Eh Ebcl bcl, 4221, timp, 3 perc, strings. Première: 1931/V/22; Rochester; Eastman Theatre; Thelma Biracree, solo dancer; Howard Hanson, conductor. Library: Columbia incomplete lead sheet, 2p.

, Library of Congress (LC 65-80155/M), Yale (manuscript). AC: Kenneth Billups Chorus; Indianapolis Symphony Orchestra; Everett Lee, conductor (1976/VIII/13).

AC: Morgan State University Choir; Baltimore Symphony Orchestra; Paul Freeman, conductor (1973/IX/30). CD: Eastman School of Music Chorus; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor (1960). Philips Classics Mercury Living Presence 434 324-2 (1992, Fiesta in hi-fi).

LP: Eastman School of Music Chorus; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. LP: Morgan State University Choir; London Symphony Orchestra, Paul Freeman, conductor. Columbia M-33433 1975; The Black composers series, vol.

AC: Morgan State University Choir; Nathan Carter, conductor (1976/IX, Carbondale IL). LP: Morgan State University Choir; Annette Houston, piano; George Gray, percussion; Nathan Carter, conductor. New York: Carl Fischer, 1961, 1941. Library: Columbia (incomplete), Library of Congress (65-80155/M; also reproduction of holograph).

4 Dances, for piano & strings. CD: Marvin Hayes, narrator; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor (1951). Saint Louis blues, by W. CD: Marvin Hayes, narrator; 369th Infantry Band; James Reese Europe, conductor (1984).

Sea pieces: Song, by Edward MacDowell, arr. Sentimental song, for orchestra (1953). Instrumentation: 2222, p Eh bcl, 4331, timp, cel, harp, strings.

Serenade, for flute, clarinet, harp & orchestra (1957). Originally to have been part of a cello concerto on the suggestion of Gregor Piatigorsky. Commission: Great Falls High School, MT. Première: 1958/V/07; Great Falls High School Orchestra; Paul Schull, conductor.

For flute, clarinet, harp, piano & strings. For the Westchester String Symphony. For treble instruments & piano. Sinner, please don't let this harvest pass, for SATB (1950). Sacramento: California State Department of Education Let music ring, ed.

See also Folk suite, band. Sipping cider through a straw, for SATB & piano c1945? Song for the lonely, for medium voice & piano (1953). Song for the valiant, for low voice & piano (1952).

For low voice & piano, in Song collection, ed. For low voice & orchestra. Song of a city, for voice, SATB & orchestra (1938). Instrumentation: 3222 Eh bcl, 4331, timp, 2 perc, harp, piano, strings.

Song of the hunter, for medium voice & piano (1968). Songs; A medley, for instrumental ensemble 1927?

Includes Song of the rivermen; Slave chant; Oh! Dem golden slippers; Im goin where nobody knows my name; Medley of Aint misbehavinand Sweet Georgia Brown; Some of these days; Love will find a way; St. Songs of separation, for medium voice & piano (1949). New York: Leeds, 1949 (#658-11). Idolatry [text: Arna Bontemps; dedication: Frieta Shaw]; 2. Poème [text: Philippe Thoby-Marcelin; dedication: Hannah Bierhoff]; 3. Parted [text: Paul Laurence Dunbar]; 4. If you should go text: Countee Cullen; dedication: Joyce Hansen; 5. A Black Pierrot [text: Langston Hughes; dedication: Muriel Rawn].

Première: 1946/II/19; Concert time (ABC broadcast); Herta Glaz, soprano. Library: Columbia, Library of Congress, Spingarn 1949 imprint & manuscript of no. Flagstaff: William Grant Still Music, ==. With an introduction by Darryl Taylor.

CD: JoAnne Stephenson, soprano; Lora Young-Wright, piano (2003/VIII/04; Churchill College, University of Cambridge). AC: Bernadine Oliphint, soprano; Carl Henry, piano (1971/VI/28, Indiana University). CD: Claudine Carlson, mezzo-soprano; Georgia Akst, piano.

Music & Arts OC 633 (1972). CD: Oral Moses, bass; Ann Sears, piano? For medium voice, string quartet & piano. Instrumentation: 2222, 4000, timp, perc, cel, harp, strings.

LP: Cynthia Bedford, mezzo-soprano; Oakland Youth Orchestra; Robert Hughes, conductor. AT: Joan Forde, mezzo-soprano; Judy May, piano. AC: George Shirley, tenor; Christina Dahl, piano (1995/III/31, Lawrence University, Ben Holt Memorial Concert Series). AC: George Shirley, tenor; Wayne Sanders, piano (1976/VI/23, Westminster Choir School).

CD: Darryl Taylor, tenor; Maria Corley, piano; William Warfield, narrator. Naxos 8.559136 (2002; Dreamer; A portrait of Langston Hughes). Liner notes: Langston Hughes and music by Arnold Rampersand (German translation: Tilo Kittel; French translation: Pierre-Martin Juban); Dominique-René de Lerma. For medium voice & orchestra. Dedication: Frieta Shaw, Hannah Bierhoff, Edyth and Eugene Pearson, Joyce Hansen and Muriel Rahn.

Desto DC-7107 (1970; The Black composer in America). Perhaps the final version of The devotion of a people and/or From the heart of a believer.

Steal away to Jesus, for soprano, SAT & piano 1945? Stormy weather, incidental film music.

Stock sketches, or Short sketches. Suite, violin & piano (1943).

& part violin part ed. African dancer, after the bronze sculpture by Richard Barthe; majestically; vigorously. Mother and child, after the lithograph by Sargent Johnson; slowly and expressively; 3.

Gamin, after the bronze sculpture by Augusta Savage; rhythmically and humorously. Première: 1944/IV/15; Boston; Jordan Hall; Louis Kaufman, violin. AC: Mary Louise Boehm, violin; unidentified pianist (1985; American Music Inaugural concert).

AC: Melissa White, violin; Michael Kim, piano (1997/X/04, Lawrence University, Ben Holt Memorial Concert Series). CD: Linda Rosenthal, violin; Lincoln Mayorga, piano. Town Hall THCD-45 (c1999, Fiddle-de-bop). CD: Portia Hawkins, violin; Felix Farrar, piano. CD: Videmus [Lynn Chang, violin; Vivian Taylor, piano].

VC: Melissa White, violin; Michael Kim, piano (1997/X/04, Lawrence University, Ben Holt Memorial Concert Series). Instrumentation: 1122 (p Eh) bcl, 3221, timp, perc, cel, harp, strings. Première: 1946/III/25; Louis Kaufman, violin; WOR Symphony; Emerson Buckley, conductor. CD: Louis Kaufman, violin; Standard Symphony Orchestra; Henry Svedrofsky, conductor (1947). Cambria CD-A111 (2000, A centennail retrospective). CD: Alexa Still, flute; Susan De Witt Smith, piano. Newport Classic NPD 85596 1995; The American scene. For flute, piano & string orchestra.

Gamin, for flute & piano. For flute, piano and string orchestra. Swanee River; Old folks at home, for piano (1939).

(29 modern piano interpretations of Swanee River). CD: The Ensemble Singers of the Plymouth Music Series of Minnesota; Philip Brunelle, conductor. CD: VocalEssence Ensemble Singers; Philip Brunelle, conductor. Swanee River, for piano (1939). (29 modern piano interpretations of Swannee River).

Moderato assai; longing [7:15]; 2. Adagio; sorrow [5:14]; 3. Lento con resoluzione; aspiration [7:15]. Première: 1931/X/29; Rochester; Eastman School of Music; American Composers Concert; Howard Hanson, conductor. Instrumentation: 3222 (p) Eh bcl, 4331, 3 perc, cel, harp, tenor banjo, strings.

Text: Paul Laurence Dunbar [prefaced]. Library of Congress holograph, 101p. : Vienna State Opera Orchestra; Karl Krueger, conductor. New Records NRLP 105 (1952).

LP: Royal Philharmonic Orchestra; Karl Krueger, conductor. Society for the Preservation of the American Musical Heritage MIA-118 (1965). London: Novello, 1970, 1962, 1935 (Novello orchestral scores) 71p. Instrumentation: 2232, p Eh bcl, 4331, timp, 2 perc, harp, tenor banjo, strings. Library: Library of Congress (70-263895).

AC: Royal Philharmonic Orchestra; Karl Krueger, conductor (1965). Library of Congress CA 106. AT: NBC Symphony Orchestra; Max Reiter, conductor. CD: Chicago Sinfonietta; Paul Freeman, conductor.

Cedille CDR 90000 055 2000, African heritage symphonic series, vol. CD: Cincinnati Philharmonia Orchestra; Jindong Cai, conductor.

CD: Detroit Symphony Orcestra; Neemi Järvi, conductor. CD: Royal Philharmonic Orchestra; Karl Krueger, conductor (1965). Library of Congress CD 106. LP: London Symphony Orchestra; Paul Freeman, conductor. == P9-19424 ==; The Black composers series, vol.

Moderato assai, for band, arr. Music education Morgan State University, 1978 (A transcription for concert band of the first movement from William Grant Still's Afro-American Symphony). 78rpm: Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor.

: NBC Symphony Orchestra; Max Reiter, conductor. 78rpm: All American Youth Orchestra; Leopold Stokowski, conductor (1940/XI/13). CD: Marvin Hayes, narrator; Detroit Symphony Orchestra; Neemi Järvi, conductor. CD: Detroit Symphony Orchestra; Neemi Järvi, conductor. Sony Music A12 26638 (1996; Norton recorded anthology of Western music). LP: Vienna Symphony; Karl Kreuger, conductor. LP: All American Youth Orchestra; Leopold Stokowski, conductor (1940/XI/13).

Pathways to music; From jazz to rock. 2, G minor (1936; Of a new race).

Slowly and deeply expressive, sorrow; 3. Moderately slow, aspiration expressed through religious fervour. Première: 1937/XII/10; Philadelphia Orchestra; Leopold Stokowski, conductor.

Library: Library of Congress (1941 imprint). CD: Detroit Symphony Orchestra; Neeme Järvi, conductor. Chandos CHAN 9226 (1993, American music series, v5). Liner notes: Michael Flemming (German translation: Inge Moore; French translation: Paulette Hutchinson).

Days end an a new beginning; resolutely. Instrumentation: 3222 (p) Eh bcl, 4331, timp, 3 perc, cel, harp, strings. Première: 1984/II/12; Harrison AK; North Arkansas Symphony; Carlton R. The original third symphony, following revision, was numbered five. Cambria CD-1060 1996; A festive Sunday with William Grant Still.

With a graceful lilt; 4. Première: 1951/III/18; Oklahoma City Symphony Orchestra; Victor Alessandro, conductor; Mutual Radio broadcast. Library: Library of Congress reproduction of holograph, 73p. AC: Denver; National Association of Educational Broadcasters (1959, UNESCO concert); William Grant Still, conductor.

Available from William Grant Still Music. LP: William Grant Still, conductor.

National Association of Educational Broadcasters UNESCO Concert, Denver (1959). 5 (1945, 1958; Western Hemisphere). Briskly - the vigorous, life-sustaining forces of the Hemisphere; 2.

Slowly with utmost grace the natural beautiful of the Hemisphere; 3. Energetically the nervous energy of the Hemisphere; 4. Moderately the overshadowing spirit of kindness and justice in the Hemisphere. Première: 1970/XI/09; Oberlin College; Robert Baustian, conductor. Prior to revision of 1958, this was regarded as the composer's third symphony.

Terrible trailer, for treble instruments & piano. Texas moaner blues, by Clarence Williams, arr. The American scene: 5 suites for young Americans, for orchestra (1959). Tomb of the unknown soldier.

A New Orleans night; 3. The American scene, Suite I; The East, for orchestra (1957). On the village green; 2.

Première: 1990/XI/18; Memphis; Rhodes Civic Orchestra; Jack Abel, conductor. Première: 1964/X; Rochester Civis Symphony; Paul White, conductor. For 2 oboes, 2 clarinets, 2 bassoons & piano. The American scene, Suite II; The South, for orchestra (1957).

Première: 1960/III/31; Standard School Broadcast, NBC Radio Network. Première: 1959/II/05; Standard School Broadcast, NBC Radio Network. The American scene, Suite III; The old West, for orchestra (1957). Song of the plainsmen; 2. LP: All-State Group, National Music Camp, Interlochen (1971). Première: 1964/X; Rochester Civic Symphony; Paul White, conductor. The American scene, Suite IV; The far West, for orchestra (1957). The American scene, Suite V; A mountain, a memorial, and a song, for orchestra (1957). Tomb of the unknown soldier; 3. Première: 1962/II/19; Bevery Hills Symphony Orchestra; Herbert Weiskopf, conductor. The Black man dances; Suite, for piano & orchestra (1935). CD: Richard Fields, piano; Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998).

The blind man, for SSA & piano. (ABC choral art series, v3).

The breath of a rose, medium voice & piano (by 1928). Library: Columbia, Library of Congress, Schomburg, Spingarn.

Schirmer (A new anthology of American songs; 25 songs by native composers). AT: Helene Oatts, soprano; Robert L. CD: == Cambria CD-1112 (1999). The citadel, medium voice & piano (1956). For medium voice & string orchestra. The devotion of a people; Spirituals, medium voice & orchestra (1961). The dark madonna, for orchestra, by Will Donaldson, arr. The devotion of a people; Spirituals, for medium voice & orchestra (1961). The land of dreams, for 3 female sings & chamber orchestra. : 1925/II/8; New York, Aeolian Hall; Vladimir Shavitch.

The little red schoolhouse, for orchestra (1957). New York: Southern Music, 1977. Instrumentation: 2222 (p Eh bcl), 3321, timp, 2 perc, cel, strings. Première: 1957/III/20; University of Redlands; Edward Tritt, conductor. Adapted from From a mother's diary.

Library: Library of Congress (also 1957 manuscript). Library: Library of Congress (78-770094). The little song that wanted to be a symphony, for male narrator, women's trio (or string quartet) & orchestra (1953). New York: Carl Fischer, 1974. Instrumentation: 2222, 3220, timp, 2 perc, harp, strings.

Première: 1955/II/15; Jackson (MS) Symphony Orchestra; Theodore Russell, conductor. Library: Library of Congress (LC 74-228146). Library: Library of Congress (LC 74-228150). The path of glory, for bass-baritone & orchestra (1962).

Première: 1990/IV/22; Grand Forks ND; Holy Family Church; Herbert V. Jones, bass-baritone; Grand Forks Symphony; John Deal, conductor.

The peaceful land, for orchestra (1960). New York:, Theodore Presser (American music edition). Instrumentation: 2222, 3221, harp, strings.

Première: 1961/X/22; University of Miami Symphony Orchestra; Fabien Sevitsky, conductor. Won: National Federation of Music Clubs award, and Aeolian Music Foundation award.

The pillar, opera in 3 acts, for dancer, 10 soloists, SATB & orchestra (1955). Library: Library of Congress piano-vocal score, 200p.

Hear me, hear my plea! The prince and the mermaid suite, incidental music to the play by Carol Stone, for soloists, chorus & chamber orchestra (1965). Song of the flea; 2. Summerland [see also 3 Visions].

Première: 1966/III/04; San Fernando Valley State College; Carol Stone, director. Song of the sea, for string quartet.

The voice of the Lord; Mizmor Ledovid, for tenor, SATB & organ (1946). Commission: Park Avenue Synagogue, New York.

Première: 1946/V/10; New York; Park Avenue Synagogue; David J. Library: Library of Congress, Schomburg. Schirmer (Synagogue music by contemporary composers). Threnody; In memory of Jan Sibelius, for orchestra (1965). Instrumentation: 2222 (p), 3221, timp, 2 perc, harp, strings. Première: 1965/III/14; University of Miami Symphony Orchestra; Fabien Sevitsky, conductor. Theodora goes wild, incidental film music for the Columbia Pictures production. Those who wait, for mezzo-soprano, baritone, SATB & orchestra (1942). Dedication: Nimrod Allen and Clara Allen. Marks Church; Evelyn Jones, mezzo-soprano; Byron Jones, baritone; Nathaniel Dett Chorus [Wallace Cheatham, conductor]; Wisconsin Civic Orchestra; Monte Perkins, conductor. Library: Library of Congress reproduction of holograph of piano-vocal score, 31p. To you, America, for band (1951). New York: Southern Music, 1956. Military Academy, West Point, for the its sesquicentennial.

Resta and the United States Military Academy Band. Première: 1952/II/17; United States Military Academy Band; William Grant Still, conductor.

Won: Freedom Foundation award, 1952. 78rpm: United States Military Academy Band; Francis E. Resta, conductor; Pittsburgh International Contemporary Music Festival.

Library of Congress also 16p. LP: United States Military Academy Band; Francis E. Pittsburgh Festival of Contemporary Music ASCAP CB-177. Tomorrow's city, for narrator, SATB & orchestra.

Library: Library of Congress 19p. Condensed score, second 1938 revision.

Toward distant shores, for SATB. Text: Judith Anne Headlee [Still]. 7 Traceries, for piano (1939).

1940 (Fischer edition, 7632; #7632-24). Cloud cradles [dedication: Helen and Allan]; 2. Mystic pool [dedication: Josephine Harreld Love]; 3. Muted laughter [dedication: Jessie, Marge, Adrian, and Charles]; 4.

Out of the silence [dedication: William Duncan Allen]; 5. Woven silver [dedication: Kay Swift]. Wailing dawn [dedication: Militza and James]; 7.

A bit of wit [dedication: Florence and James]. Library: Library of Congress (LC 53-43), Spin. On May 11, 1895, William Grant Still was born in Woodville, Mississippi. Still, a musical legend of the 1900s, created a beat of his own in the music world.

This musician, composer, and instrumentalist was blessed with more fame than any other African-American of his time. Although blacks were not prominent in the musical world in the 1900s, he overcame the discrimination and transcended many other obstacles in his own way to become an important composer of the twentieth century. William Grant Still was the only child of Carrie Frambo Still and William Grant Still, Senior.

Although Still was of African-American descent, his ancestry also consisted of Scotch-Irish, Spanish, and Cherokee. Both of Stills parents were talented teachers at Alabama A&M College in Huntsville, Alabama (Sewell and Dwight 285). However, Stills father died before Still was four months. Although this tragedy occurred, the Stills moved on. William was nine or ten years of age when his widowed mother married Charles B.

Shepperson, who was also a lover of music (Sewell and Dwight 286). Carrie Still knew her son had a musical gift after he began to make toy violins at a young age.

She then decided to pay for him to take violin lessons (Sewell and Dwight 286). Still began writing music at age sixteen (Verongos). He was very intelligent in high school, graduating as valedictorian in 1911 (Sewell and Dwight 287). Thinking only of music, Still set out to achieve his goal of becoming an accomplished African-American musician. His mother supported her sons decisions.

However, she knew African-Americans did not often succeed in the music industry. Her good sense and determination strongly influenced Stills life (Sewell and Dwight 286). Taking his mothers advice, William attended Wilberforce University in Ohio to major in science (Sewell and Dwight 287).

After years of completing courses as a science major, he realized this was not his destiny. His desire for music became stronger, and his determination became unbearable. As a result, Still joined the Wilberforce University String Quartet (The Digital Scriptorium). He began arranging and composing for the school band, and a concert was given for his works only.

As a bandleader, he had to learn to play different instruments so he could teach others how to play (Sewell and Dwight 287). By Stills senior year at Wilberforce, he was unwilling to give up his amateur musical career (Sewell and Dwight 288).

Therefore, in 1916, at twenty-one years of age, Still left Wilberforce University and enrolled at Oberlin Colleges Conservatory of Music. He did not earn a degree at Oberlin. Instead, he left and went to New York to work professionally (Brown 25). Stills pay was not nearly enough to provide for himself.

So, he worked as a waiter and a janitor to make ends meet (Sewell and Dwight 288). In 1918, Still joined the United States Navy and served in World War I (Sewell and Dwight 288). Yet, Stills musical ambition never ceased. After his release from the navy, he became an arranger and musician for W.

He created the bands first arrangement of St. Louis Blues and Beale Street Blues (Verongos). Williams experience working with Duke Ellington, Paul Whiteman, and WOR radio urged him on (Brown 25). Still wrote seven operas, eight symphonies, ballets, chamber music, chorus music, and orchestra work (Verongos). Still released a poem called Darker America in 1924 (Sewell and Dwight 290). This poem was such a success, he wrote From the Black Belt, which was based on short story sketches (The Digital Scriptorium). These lyrical poems were successful and only the beginnings of his career. William Grant Stills mother, Carrie Still, had a chance to witness her sons creative success to some extent, but Carrie Still died in 1927, a couple of years after his first works were released (Sewell and Dwight 286). His fame steadily rose as the years progressed. Still played in the pit for musical shows and even became the bandleader at the Plantation Club. He wrote arrangements for many entertainers, but his individual work did not halt. Sahdji, a two act ballet based on an African story, was released in 1930 (The Digital Scriptorium). Africa, a poem, was also a work of his in 1930 (Sewell and Dwight 290). In 1931, his most popular work was published, Afro-American Symphony (The Digital Scriptorium). It was the first major piece by an African American to be accepted by the American musical establishment (Akin 133). Stills music was called Negro-music by the public. He disliked this term because he felt that having a black person compose and write music on paper did not make it Negro-music (Mississippi-Negroes Section E). William Still then understood his mothers warnings of rejection. He experienced racism and discrimination but disagreed with the notion that blacks could not succeed in the music world (Brown 27). William Grant Still transcended the barriers and kept pursuing his dreams. In New York City, Still led a radio orchestra of white men. This event was a first for blacks (Sewell and Dwight 290). Still was also the first black to arrange and record (with Don Voorhes) a fantasy on St. Louis Blues (Sewell and Dwight 289). He soon released other works such as Kaintuck(1935), a concerto, and Lenox Avenue (1936), a ballet about life in Harlem (Sewell and Dwight 291). In 1936, Still was the first black conductor to lead a major American Orchestra, appearing with the Rochester Philharmonic at the Hollywood Bowl (Verongos). William Grant Still knew his work was his life. Yet, something else began taking his attention. In 1939, Verna Arvey, a Russian Jewish musician, turned Stills head away from the music charts (Sewell and Dwight 292). This journalist, pianist, and soloist with the Los Angeles Philharmonic was soon married to William Grant Still (Mississippi-Negroes Section E). Still had married Grace Bundy in 1915 and had four children (The Digital Scriptorium), but Bundy left Still in 1932, taking their children, and beginning a new life without him (Sewell and Dwight 291). Still then married Verna Arvey, and they had two children, Judith and Duncan Still (The Digital Scriptorium). Still never neglected his musical career. Many other works of Still include And They Lynched Him on a Tree (1940), A Bayou Legend (1940), Pastorela (1946), and To You America! (1952) (Sewell and Dwight 291). Still created many shows but the only ones produced were Troubled Island, Highway No. And Bayou Legend (Mississippi-Negroes Section E).

Verna Arvey Still and William Grant Still were married for thirty-nine years (Mississippi-Negroes Section E). Stills death on December 3, 1978, of heart failure, widowed Verna Still. This was definitely a tragedy, not only to the family of William Still, but to the world. The legend of William Grant Still lives on after his death.

In 1981, A Bayou Legend was produced for PBS, and in 1984 the premiere of Minette Fontaine was given by the Baton Rouge Opera Company (The Digital Scriptorium). Today Duke University has an exhibit of William Grant Still in their Special Collections Library (The Digital Scriptorium). Still's granddaughter accepts the award for the Mississippi Musicians Hall of Fame. Stills granddaughter accepts the award for the Mississippi Musicians Hall of Fame.

William Grant Still received many awards and citations during his lifetime. He received The Cincinnati Symphony Orchestra Prize and the Cleveland Symphony Prize (Brown 26). He received honorary degrees from colleges such as Howard University, Bates College, and Oberlin College. Wilberforce even awarded him a diploma of honor and an honorary Master of Music degree in 1936 (Sewell and Dwight 288). Still was awarded the National Federation of Music Clubs Prize and he also received a commission to write the theme music for the first New York Worlds Fair (Brown 26).

A Guggenheim Fellowship and Governors Outstanding Mississippian Award were also given to him for his amazing talents. William Grant Stills work is appreciated throughout the United States.

A William Grant Still Symposium was held at St. Augustines College in Raleigh, North Carolina, in 1995, almost twenty years after his death. This event is indicative of the effect a true musician, William Grant Still.

In 1999 William Grant Still was inducted into the Mississippi Musicians Hall of Fame for his work in classical music. The award was accepted for him posthumously by his granddaughter. 1895 William Grant Still is born in Woodville, Mississippi, on May 11. Williams father dies three months after William is born. 1911 Studies at Wilberforce College in Wilberforce, Ohio, until 1914.

1915 He marries Grace Bundy. 1917 Attends Oberlin College in Oberlin, Ohio. 1918 Serves in the United States Navy. 1919 Rejoins Pace and Handy for a two- years. Joins Harry Paces Phonograph Company to work as an arrange and recording manager.

Plays in the pit orchestra of Shuffle Along musicals. 1922 Studies composition with George Whitefield Chadwick. 1923 Begins to study privately with Edgar Varese. 1924 Symphonic poem Darker America is completed by William Grant Still. 1926 Writes the lively From the Black Belt. 1927 Receives the second Harmon Award. 1931 October 29, Stills Afro-American Symphony is performed, under Howard Hanson, by The Rochester Philharmonic Orchestra. 1933 Releases From a Deserted Plantation.

1934 Awarded a fellowship by the Guggenheim Foundation. 1935 Blue Steel opera is performed. 1936 Receives honorary degree as Master of Music from Wilberforce.

Ebon Chronicle, an orchestral work is released. Directs the Los Angeles Philharmonic Orchestra in his compositions at the Hollywood Bowl. 1937 Lenox Avenue, the ballet, is composed by Still. Williams New Symphony is G Minor subtitled, Song of a New Race. 1939 Marries his second wife, Verna Arvey.

1940 Composes And They Lynched Him on a Tree. 1941 Receives a degree as Doctor of Music from Howard University. Releases A Bayou Legend and Troubled Island. 1943 Composes The Colored Soldiers Who Died for Democracy. 1944 Wins Jubilee prize of the Cincinnati Symphony Orchestra for the Best Overture.

To celebrate its Jubilee season. 1947 Awarded an honorary doctorate by Oberlin College, Ohio. Opera Troubled Island is premiered in New York; it is the first opera by a black American to be performed by a major opera company. 1953 Receives Phi Beta Sigma George Washington Carver Award. A Freedmans Foundation Award comes to him for his To You, America!

1954 Awarded an honorary doctorate by Bates College. 1955 First black man to conduct a major symphony orchestra in the Deep South. 1961 Receives the prize offered by the U. And the Aeolian Music Foundation for his orchestral work.

1963 Receives citations from the Los Angeles City Council and Los Angeles Board of supervisors. 1965 League of Allied Arts in Los Angeles and National Association of Negro Musicians are two trophies awarded to Still. 1968 Receives a trophy from the A.

1972 Awarded Richard Henry Lee Patriotism Award from Knotts Berry Farm, California. Governor of Arkansas gives Still a citation.

1975 University of Southern California at Los Angeles awards Still with an honorary doctorate. Received the key to the State of Mississippi from governor William Waller. 1978 -William Grant Still dies of heart failure on the third of December in Los Angeles.

1981 A Bayou Legend produced for PBS. 1982 Third annual prize of the Mississippi Institute of Arts and Letters for his successful compositions. 1984 Premiere of Minette Fontaine by the Baton Rouge Opera company. 1995 In Raleigh, North Carolina, William Grant Stills Symposium is held at St. 1999William Grant Still was inducted into the Mississippi Musicians Hall of Fame. William Grant Still (May 11, 1895 December 3, 1978) was an American composer of more than 150 works, including five symphonies and eight operas.

Often referred to as "the Dean" of African-American composers, Still was the first American composer to have an opera produced by the New York City Opera. [1] Still is known most for his first symphony, the "Afro-American", which was until the 1950s the most widely performed symphony composed by an American.

Born in Mississippi, he grew up in Little Rock, Arkansas, attended Wilberforce University and Oberlin Conservatory of Music, and was a student of George Whitefield Chadwick and later Edgard Varèse. Of note, Still was the first African American to conduct a major American symphony orchestra, the first to have a symphony (his 1st Symphony) performed by a leading orchestra, the first to have an opera performed by a major opera company, and the first to have an opera performed on national television.

Due to his close association and collaboration with prominent Afro-American literary and cultural figures such as Alain Locke and Langston Hughes, William Grant Still is considered to be part of the Harlem Renaissance movement. William Grant Still was born on May 11, 1895, in Woodville, Mississippi. He was the son of two teachers, Carrie Lena (Fambro) Still (18721927) and William Grant Still Sr. His father was a partner in a grocery store and performed as a local bandleader. Died when his infant son was three months old. Still's mother moved with him to Little Rock, Arkansas, where she taught high school English for 33 years. She met and married Charles B. His maternal grandmother sang African-American spirituals to him. William Grant Still residence at 1262 South Victoria Avenue, 2012. Still started violin lessons in Little Rock at the age of 15.

He taught himself to play the clarinet, saxophone, oboe, double bass, cello and viola, and showed a great interest in music. At 16 he graduated from M. His mother wanted him to go to medical school, so Still pursued a Bachelor of Science degree program at Wilberforce University, a historically black college in Ohio.

[5] Still became a member of Kappa Alpha Psi fraternity. He conducted the university band, learned to play various instruments, and started to compose and to do orchestrations.

He was awarded scholarships to study at the Oberlin Conservatory of Music with Friedrick Lehmann and with George Whitefield Chadwick. He also studied with the modern French composer Edgard Varèse. Still married pianist Verna Arvey.

His daughter, Judith Anne Still, has preserved his legacy as the director and owner of William Grant Still Music. On December 1, 1976, his home was designated Los Angeles Historic-Cultural Monument #169. It is located at 1262 Victoria Avenue in Oxford Square, Los Angeles. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "William Grant Still" news · newspapers · books · scholar · JSTOR (December 2017) (Learn how and when to remove this template message). In 1918 Still joined the United States Navy to serve in World War I. Between 1919 and 1921, he worked as an arranger for W.

In 1921 he recorded with Fletcher Henderson's Dance Orchestra, and later played in the pit orchestra for Noble Sissle and Eubie Blake's musical, Shuffle Along. Later in the 1920s, Still served as the arranger of Yamekraw, a "Negro Rhapsody" composed by the noted Harlem stride pianist, James P. His initial hiring by Paul Whiteman took place in early November 1929. In the 1930s Still worked as an arranger of popular music, writing for Willard Robison's Deep River Hour and Paul Whiteman's Old Gold Show, both popular NBC Radio broadcasts. In 1936, Still conducted the Los Angeles Philharmonic Orchestra; he was the first African American to conduct a major American orchestra.

In 1934 Still received his first Guggenheim Fellowship; he started work on the first of his eight operas, Blue Steel. In 1949 his opera Troubled Island, originally completed in 1939, about Jean Jacques Dessalines and Haiti, was performed by the New York City Opera. It was the first opera by an African American to be performed by a major company. Still moved to Los Angeles in the 1930s, where he arranged music for films.

These included Pennies from Heaven (the 1936 film starring Bing Crosby and Madge Evans) and Lost Horizon (the 1937 film starring Ronald Colman, Jane Wyatt and Sam Jaffe). For Lost Horizon, he arranged the music of Dimitri Tiomkin.

Still was also hired to arrange the music for the 1943 film Stormy Weather, but left the assignment after a few weeks due to artistic disagreements. In 1955 he conducted the New Orleans Philharmonic Orchestra; he was the first African American to conduct a major orchestra in the Deep South. [7] Still's works were performed internationally by the Berlin Philharmonic Orchestra, the London Symphony Orchestra, the Tokyo Philharmonic Orchestra, and the BBC Orchestra.

Still was the recording manager of the Black Swan Phonograph Company. He was known as the "Dean of African-American Composers".

William Grant Still received three Guggenheim Fellowships. In 1976, his home in Los Angeles was designated a Historic-Cultural Monument. He was awarded honorary doctorates from Oberlin College, Wilberforce University, Howard University, Bates College, the University of Arkansas, Pepperdine University, the New England Conservatory of Music, the Peabody Conservatory in Baltimore, and the University of Southern California. He was posthumously awarded the 1982 Mississippi Institute of Arts and Letters award for music composition for his opera A Bayou Legend. From the Land of Dreams (1924, believed lost until 1997).

From the Black Belt (1926). 2 in G minor "Song of a New Race" (1937). Lenox Avenue, for radio announcer, chorus, & orchestra (1937). And They Lynched him on a Tree, for chorus, contralto, narrator, and small orchestra, libretto by Katherine Biddle (1940). Miss Sally's Party, ballet (1940).

Can'tcha line'em, for orchestra (1940). Troubled Island, opera, produced 1949 (193739). A Bayou Legend, opera (1941). A Southern Interlude, opera (1942). Incantation and Dance, for oboe & pf. In Memoriam: The Colored Soldiers Who Died for Democracy (1943). Suite for Violin & Piano, including the movement later arranged for String Orchestra as Mother and Child (1943). 5, "Western Hemisphere" (1945, revised 1970)[9]. Wailing Women, for soprano and chorus (1946). Grief, originally titled by Still as Weeping Angel (1953). Danzas de Panama (Dances of Panama) (1953). The Little Song That Wanted to Be a Symphony (1954). 3, "Sunday Symphony" (1958)[10]. Samuel Coleridge-Taylor, an earlier Black British composer whom Still greatly admired. Janower, David, "The Choral Works of William Grant Still", in The Choral Journal, May 1995. William Grant Still: African American Composer.

William Grant Still: America's Greatest Black Composer. Jackson: University Press of Mississippi.

I Dream A World: The Operas of William Grant Still. Fayetteville: University of Arkansas Press. Still, Judith Anne, Michael J. William Grant Still: A Bio-Bibliography.

My Life My Words, a William Grant Still autobiography. The item "African American Music signed William Still + photo + manuscript + letters RARE" is in sale since Monday, April 13, 2020. This item is in the category "Entertainment Memorabilia\Autographs-Original\Music\Classical, Opera & Ballet". The seller is "memorabilia111" and is located in Ann Arbor, Michigan. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Bahamas, Israel, Mexico, New Zealand, Singapore, Switzerland, Norway, Saudi arabia, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Malaysia, Brazil, Chile, Panama, Jamaica, Bangladesh, Bermuda, Brunei darussalam, Bolivia, Ecuador, Egypt, French guiana, Guernsey, Gibraltar, Guadeloupe, Iceland, Jersey, Jordan, Cambodia, Liechtenstein, Luxembourg, Monaco, Macao, Martinique, Maldives, Nicaragua, Peru, Pakistan, Paraguay, Reunion, Viet nam, Uruguay.

  • Original/Reproduction: Original
  • Industry: Music


African American Music signed William Still + photo + manuscript + letters RARE   African American Music signed William Still + photo + manuscript + letters RARE