African American Music signed William Grant Still limited edition book RARE! a

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Seller: memorabilia111 ✉️ (807) 100%, Location: Ann Arbor, Michigan, US, Ships to: US & many other countries, Item: 176270374210 African American Music signed William Grant Still limited edition book RARE! a. Still, William Grant (2011). My Life My Words, a William Grant Still autobiography. From the Black Belt (1926). CD: Scott Piper, tenor; Richard Banks, baritone; Byron Burford, piano. Videmus (1998, Fare ye well). Author...... Still, William Grant and Robert Bartlett Haas Title....... William Grant Still And The Fusion Of Cultures In American Music Publisher... Black Sparrow Press, Los Angeles. 1972. First edition Limited to 1,100 ccopies. This is one of 1,000 hardbounds that were issued unsigned but this one is signed by Still on the first blank page WITH SKETCH. Very good or better in an intact but sun faded and scuffed dust wrapper which is in a protective mylar sleeve.

1 Birth 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.  He was the son of two teachers, Carrie Lena Fambro Still (1872-1927) and William Grant Still (1871-1895), who was also a partner in a grocery store.  2 Youth 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. Shepperson, a postal clerk.  He bought many 78 rpm records of opera, which the boy greatly enjoyed.  The two attended a number of performances by musicians on tour.  3 Instruments William started violin lessons at age 14.  Prof. 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. W. Gibbs High School in Little Rock.  4 Wilberforce University 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.  Prof. 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. Also played oboe and violin in the tours of the National Guard Band, 1915-1916. 5 Oberlin College Prof. De Lerma gives the details of Still's studies at Oberlin, which were interrupted by service in the U.S. Navy: 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.  Made band arrangements. 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).  His stay at Oberlin was interrupted when he enlisted service in the Navy (1918-1919). 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.S.S. Kroonland. 6 W.C. Handy We learn from the research file that Still returned to Oberlin only briefly before moving to New York City to work for W.C. Handy: Released from the Navy with the end of the war, he returned briefly to Oberlin and then in 1919 moved to New York, resuming his work with W.C. 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. 7 Musical Training 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. C. Handy in New York.  He earned his living playing the oboe in the pit band for the musical  Shuffle Along.  8 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.  Prof. 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 Carroll’s Vanities (1926). 9 Harlem Renaissance 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. E. B. 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. 10 Genres 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. 11 Classical Composer Still became a classical composer while working in the record business.  Black Swan Records was a label owned by African Americans.  Prof. De Lerma tells us that Still was the director of Black Swan's classical division from 1921-1922, and was the label's music director from 1922-1924.  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.    12 Darker America 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. 13 Arranger 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.  She continues: 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. P. 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. 14 John Alden Carpenter 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. Prof. De Lerma notes that Still also composed the music for Paul Whiteman's 1929 film The King of Jazz. 15 Artistic Maturity 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.  She elaborates: 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. 16 Deep River Hour Verna Arvey relates that the composer's concentration was interrupted by awareness that because of the Depression, he was unable to pay his bills.  Money was owed him, but he could not collect it, she writes.  A short time later, Don Voorhees asked him to do some arranging for the Maxwell House Coffee radio show he conducted.  The author continues: 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.” Still agreed.  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.” 17 Conductor We learn from the author that the program had trouble finding a suitable conductor, so the musicians suggested Still for the position.   She continues: 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. 18 Afro-American Symphony 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). 19 Symphonic Debut The first performances of the  Afro-American Symphony were given by the Rochester Philharmonic, with Howard Hanson conducting, on Oct. 28 and 29, 1931.  The liner notes explain the significance of the composer's symphonic debut: Howard Hanson [1896-1981], who conducted the premiere with the Rochester Philharmonic in 1931, was a noted exponent of contemporary American music.  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 Philadelphia Orchestra: 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. 20 Recognition 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. In the 1931-1932 season, Hanson also played the Afro-American Symphony and then repeated it at a subsequent concert, after which its composer was given a standing ovation by the audience.  21 Grace Bundy Still 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. 22 Europe 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. 23 La Guiablesse 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).  Fleming recounts: 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. 25 Guggenheim 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.  Dr. 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. 26 Los Angeles Dominique-René de Lerma provides an overview of Still's first 20 years in Los Angeles: He moved to Los Angeles in 1934, having won the first of two consecutive Guggenheim Fellowships (third in 1938), followed by two years on a Rosenwald Fellowship (1939-1940), soon after sound was introduced to the cinema, and was engaged in writing music for such early films as Lost Horizon (1935), Pennies From Heaven (1936), and Stormy Weather  (1943).  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. 27 Public Relations 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 paid me for all this, but not very much, since he was keeping only fifteen dollars a week for himself and sending the major part of his Guggenheim Fellowship money for the support of his family in the East. He also started writing piano works specifically for performance by Verna Arvey. 28 Columbia Pictures 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?" 29 Opera 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: Blue Steel Troubled Island A Bayou Legend Costaso From the Furnace of the Sun Highway 1, USA Minette Fontaine Mota The Pillar A Southern Interlude 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).  A companion website is    Highway 1, USA  is available on a CD by Phillip Brunelle and the Vocalessence Ensemble, Albany Records 734 (2005).   30 Kaintuck' 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. 31 Hollywood Bowl 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. 32 Lenox Avenue 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 of them were unfavorable. 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. 34 A New Family 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.  35 Dances 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.   Perna notes: 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. 36 Sunday Symphony Still's  Symphony No. 3 (Sunday Symphony)  (20:48) has been recorded by the North Arkansas Symphony Orchestra, led by Carlton R. Woods, Conductor.  The CD is Cambria 1060 (1996).  The liner notes explain: 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. 37 Africa 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.                      ... Still here draws the picture of an imaginary Africa - not much was known about it in those days - using the music material at hand: the work's fabric is woven with beautiful themes, often in the fashion of blues or spirituals yet very idiomatic and showing right from the first measure those iridescent polytonal juxtapositions that can be considered his trademark. A symphonic version of Africa (27:51) was recorded by the Fort Smith Symphony Orchestra under John Jeter, Conductor, on Naxos 8.559174 (2005). 38 In Memoriam 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. David Ciucevich, Jr. 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. 39 Poem for Orchestra 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... 40 Symphony No. 4 Symphony No. 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. 41 Symphony No. 5 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 liner notes continue: 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).  43 Piano Music 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. 44 Romance 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. Duration: 3:00. Library: Library of Congress. 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 45 Lyric Quartette The Toledo Clarinets is Cambria CD-1190 (2009). Greg Kostraba, D.M.A. 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. 46 Christmas Songs 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, Sing! Shout! Tell the Story! is an original William Grant Still song with text by Verna Arvey. 47 Death 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. 48 Legacy 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.  Prof. De Lerma notes: His materials are held by his daughter, Judith Anne Still, manager of William Grant Still Music, which moved to Flagstaff, Arizona. 49 Resources 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." Dr. 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." 50 Works Prof. Dominique-René de Lerma CD: William Brown, tenor; Ann Sears, piano. Albany TROY (1999; Fi-yer!; A century of African-American song). Orphans AC: Albert Dominguez, piano. WGMS CASM-1002 (1988). 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. by composer. CD: Koch 7602 CD: Northern Arizona University Wind Symphony; Patricia J. Hoy, conductor. NAUW 0001 (1994, From the delta). CD: Oral Moses, bass-baritone; George Morrison Bailey, piano. Albany TROY (2001; Amen!; African-American composers of the 20th century). CD?: Lois Adele Craft, harp; Annette Kaufman, piano; Kaufman String Quartet [Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello]. WGS MCA 1001 (1988). CD?: William Grant Still PAS [Performing Arts Society] of the National Association of Negro Musicians. WGMS M-1003 (1989; William Grant Still; Voices and piano). LP: Albert Dominguez, piano. WGMS MCA-1002 (1988). 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 (1941). Mission Viejo CA: WGS Music. Text: Verna Arvey. Dedication: John Barbirolli. 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. Library of Congress (184p. piano-vocal score). Duration: 120:00. == Telecast PBS 1981. VC: Cambria WGM BL-3003/ H1-3004 (2000). Includes Highway 1 USA. VC: Cambria WGSM4-3002-4 (2000). Includes A bayou legend; Highway 1, U.S.A.; Minette Fontaine; Troubled island. ----- Because faint whisperings of practices, for 2 tenors, baritone, bass & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 3. ----- Calm as the waters of the bayou, for soprano, tenor, SATB & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 3. ----- Children of the world, for tenor & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2. ----- In ages past, for soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1. ----- More lovely than my imagining, for tenor & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2. ----- Now they will be coming to the tree, for mezzo-soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1. A deserted plantation, for chamber orchestra (1933). New York: Robbins, 1934. 4p. 1. Spiritual; I want Jesus to walk with me; 2. Young Missy; 3. Dance. Première: 1933/XII/15; New York; Metropolitan Opera House; Paul Whiteman, conductor. Duration: 15:00 ----- for piano. New York: Robbins Music, 1936. Library: Spingarn. CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996). A look at jazz; songs, a medley, for instrumental ensemble (1922?). A psalm for the living, for SATB & orchestra (1954). New York: Bourne. Text: Verna Arvey. Dedication: Dr. Bessie Arvey. Duration: 10:00. ----- piano-vocal score. New York: Bourne, 1965 (#825). 20p. Library: Library of Congress (LC 66-40550/M). AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994). A song at dusk, for orchestra (1936). Dedication: Judith Anne Still[-Headlee] and Larry Headlee. Duration: 9:00. Original title: Beyond tomorrow. A song for the lonely, for medium voice & piano (1953). Los Angeles: WGS Music. Text: Verna Arvey. Duration: 3:48. ----- for medium voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000. AC: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-633. CD: CBS Symphony, the Standard Hour; Bay Cities BCD 1033 (1991). CD: Claudine Carlson, soprano; Georgia Akst, piano. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas. CD: Robert Honeysucker, baritone; Vivian Taylor, piano. New World Records NW 80399-2 (1990). LP: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-7278 (1972). LP: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-7152 (1972). ----- for flute & piano. CD: Alexa Still, flute; ==, piano. Koch 3-7192-2H1 (1994). ----- 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. ----- for violin & piano. 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). Text: Verna Arvey. Duration: 60:00. Withdrawn and absorbed by other works, particularly Highway 1 U.S.A. Library: Library of Congress (43-7632, piano-vocal score, 107p.). Adios, Mariquita linda. CD: [Artie Shaw and His Orchestra?]. Pavillon Records CD-9779 (1986?; Cream) After you’ve gone, by Turner Layton, Jr., arr. by William Grant Still. CD: Wade Woodward, baritone; Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling. LP: Unidentified performers; Publisher’s Central Bureau (1977). Africa; suite, for orchestra (1930). 1. Land of peace; 2. Land of romance; 3. Land of superstition. Instrumentation: 3233 (p) Eh bcl, 4331, timp, 3 perc, cel, harp, piano, strings. Première: 1930; New York; Little Symphony; Georges Barrère, conductor. Dedication: Georges Barrère. Duration: 23:00-30:00. Withdrawn. Library: Columbia (9p. lead sheet); Library of Congress (74-226251; holograph, 101p., gift of Irving. Schwerké, March 1966; 3p. 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. dated 1937); Robbins Music Corporation, manuscript copyright, 1934. ----- 1931 reorchestration. Première: 1930; Rochester; American Composers Concert, Eastman School of Music. ----- for piano (1928). Flagstaff: William Grant Still Music. with commentaries by Grant Venerable and Kay Pace. CD: Denver Oldham, piano. Koch International Classics 3-7084-2H1 (1991). CD: Marco Fumo, piano. Dynamic 351 (2000; Rhapsody in black and white).. CD: Mark Boozer, piano (2001/III). Interntional Consortium for the Music of Africa and its Diaspora. FESAAM 2001. 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. Library: Library of Congress. All that I am, for SATB & organ (1965). Mission Viejo CA: WGS Music. Text: Verna Arvey. Duration: 2:00. ----- for medium voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000. ----- for SATB & orchestra, arr. by Ray Anthony Delia Lomita CA: Cambria Publications. Première: 1984/X/22; cast of Minette Fontaine. ----- for SATB & organ. ----- for soprano, alto, tenor, baritone, SATB & orchestra. America; a vision, by Mabel Bean, orchestrated by William Grant Still (1953). Flagstaff: WGS Music. And they lynched him on a tree, for narrator, contralto, SATB (Black chorus), SATB (White chorus) & orchestra (1940). Mission Viejo CA: WGS Music: J. Fischer, 1941. 52p. Text: Katherine Garrison Chapin (Mrs. Biddle). 1. We’ve swung him higher; 2. Look dere; 3. Oh, sorrow; 4. He was her baby; 5. They took away his freedom; 6. They left him hanging. Première: 1940/VI/24; New York; Lewisohn Stadium; Schola Cantorum; Louise Burge, contralto; New York Philharmonic; Artur Rodzinski, conductor. Duration: 19:00. Instrumentation: 2222 (p Eh), 3331, perc, harp, strings. Dedication: Henry Allen Moe. 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. CMCA 11 LSSA. 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. 2). 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). Liner notes: Dominique-René de Lerma. ----- piano-vocal score. Glen Rock: J. Fischer & Bro., 1941. 46p. (#J.F.&B. 0409-46). Library: Library of Congress (45-25446). ----- 3. Oh, sorrow. AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994). 5 Animal sketches, for piano (1951). Morristown: Silver Burdett, 1952 (Music for early childhood; New music horizon series). 1. Camel; 2. Bear; 3. Horse; 4. Lamb; 5. Elephant. Manuscript contents: 1. 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. Mischievous monkey; 7. Elephant (or Pacing pachyderm). Archaic ritual, for orchestra (1946).  Los Angeles: Delkas, 1946; WGS Music.   1. Chant; 2. Dance before the altar; 3. Possession.  Duration: 20:00.  Instrumentation: 2111 (p cbsn) Eh bcl, 4331, timp, perc. bells, cel, harp, strings.  Première: 1949/VIII/25; Hollywood Bowl, Los Angeles; Los Angeles Philharmonic: Izler Solomon, conductor. Aria, for accordion (1960). New York: Sam Fox, 1960. 7p. Commission: American Accordionists Association, 1959. Première: 1960/V/15; New York; Town Hall; Myron Floren, accordion. Duration: 5:00. AT: Robert Young McMahon, accordion. Arkansas, for medium voice & piano (ca. 1945?). Mission Viejo CA: WGS Music. Text: Verna Arvey. Duration: 3:00. ----- . Flagstaff: Master-Player Library, 2000 (Song collection, ed. by Celeste Headlee). Bambelele e espin garda, for violin & piano. Duration: 2:21. CD: Zina Schiff, violin; Cameron Grant, piano. 4 Tay CD 4005 (1997). Bayou home, for medium voice & piano (1944). New York: Robbins Music, 1944. 4p. (#SH 2786-4). Text: Verna Arvey. Based on I'm pickin' my last row of cotton. Duration: 3:00. CD: Robert Honeysucker, baritone; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- Flagstaff: Master-Player Library, 2000 (Song collection, ed. by Celeste Headlee). ----- for flute & piano. CD: Alexa Still, flute; ==, piano. Koch 3-7192-2H1 (1994). CD: Carlyn Lloyd-Ford, flute; unidentified pianist. Ti-L-Comusic TLC-990002 (1995). 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. C. Handy, arr. by William Grant Still Bells, for piano (1940). New York: MCA Music; Delkas, 1944. 1. Phantom chapel [dedication: Dolores Calvin]; 2. Fairy knoll [dedication: Philippa Schuyler]. Duration: 6:00. CD: Denver Oldham, piano. Koch International Classics 3-7084-2H1 (1991). LP: Albert Dominguez, piano. WSGM 1002 (1987). LP: Richard Fields, piano. Orion ORS-82442 (1982). ----- for chamber orchestra. ----- for orchestra (1944). Los Angeles: Delkas, 1944. 21p. Instrumentation: 2222 (p cbsn) Eh bcl, 4331, timp, 3 perc, harp, piano, strings. Première: 1946/XI/29; St. Louis Symphony Orchestra; Vladimir Golschmann, conductor. Library: Library of Congress (44-47114). ----- 1. Phantom chapel. Duration: 6:40. CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene). Beyond tomorrow; poem, for orchestra (1936). Mission Viejo CA: WGS Music. 30p. Duration: 9:00. Library: Library of Congress. Black bottom, for chamber orchestra (1922). Manuscript (copyright, 1937, held by Robbins Music Corporation). Duration: 10:00. Withdrawn. Library: Columbia (1p. lead sheet) Blue steel, opera in 3 acts, in 3 scenes, for soprano, contralto, tenor, baritone & chorus (1934). Text: based by J. Bruce Forsythe on a story Carlton Moss. Instrumentation: 3243, Eh; 4331; timp; per, cel; harp; strings. Duration: 120:00. Withdrawn following performance of excerpts; music absorbed by later works. Library: Library of Congress (piano-vocal score, 59p.) ----- piano-vocal score. ----- 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. by Beverly Soll. . Flagstaff: Master-Player Library, 2003, vol. 1. ----- See the trees, for baritone & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. . Flagstaff: Master-Player Library, 2003, vol. 2. ----- The drums weave the spell of death, for soprano, contralto, baritone, SATB, percussion & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 3. Blues, arr. for jazz band by William Grant Still. 78rpm: Artie Shaw and His Orchestra (1940). His Master’s Voice B-9259. 78rpm: Artie Shaw and His Orchestra (1940). Victor 27411. Boston, by Ervin Schulhoff, arr. by William Grant Still. CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling. Breath of a rose, for voice & piano (1926). New York: G. Schirmer, 1928. Text: Langston Hughes. Première: 1927/IV/26; New York, School for Social Research; Jessie Zachary, soprano. Duration: 5:00. ----- New York: G. Schirmer, 1942 (A new anthology of Americanm songs). ----- New York: G. Schirmer (Romantic American art songs). CD: Louise Toppin, soprano; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. CD: William Brown, tenor; Ann Sears, piano. Albany (Fiyer!) ----- for saxophone & piano, arr. by Vivian Taylor. CD: Sam Strickland, saxophone; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. Brown baby, for medium voice & piano, by Willie M. Grant [pseud.] (1923). New York: Edward B. Marks, 1923 (#9111). 5p. Text: Paul Henry [pseud.]. Library: Spingarn. ----- Flagstaff: Master-Player Library, 2000 (Song collection, ed. by Celeste Headlee). 2 Cameos, for flute or violin & piano. Flagstaff: William Grant Still Music. 1. Picnic with Sheilah; 2. Procession of the ants. Reconstructed by Judith Anne Still. Can'tcha line 'em, for chamber orchestra (1940). Los Angeles: WGS Music. Duration: 5:00. Commission: CBS. Première: 1940/II/17; American School of the Air, CBS radio. Caribbean melodies, for medium voice & piano (1941). Philadelphia: Oliver Ditson, 1941. Based on melodies collected by Zora Neale Hurston. 1. Hand a' bowl; voodoo chant, from Jamaica; 2. Baintown; serenade, from Bahamas; 3. Two banana; jumping dance, from Bahamas; 4. Woman sweeter than man?, from Bahamas; 5. Peas and rice; jumping dance, from Bahamas; 6. Bellamina, from Bahamas; 7. Mama, I saw a sailboat, from Bahamas; 8. Ah, la sa wu, from Bahamas; 9. Evalina, from Bahamas; 10. 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. ----- 1. Hand a’ bowl, for contralto, baritone, piano & steel band, arr. by Vivian Taylor. CD: Ruth Hamilton, contralto; Robert Honeysucker, baritone; East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- 2. Baintown, for tenor, SATB & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17. ----- 3. Two banana, for voice & steel band, arr.by Vivian Taylor CD: Videmus; East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- 4. Woman sweeter than man?, for tenor & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17. ----- 5. Peas and rice, for soprano, contralto, baritone, percussion & piano, arr. by Vivian Taylor. CD: Videmus. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- 6. Bellamina, for contralto & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17. ----- for voice & piano, arr. by Vivian Taylor. CD: Videmus; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- 7. Mama, I saw a sailboat, for soprano, SSAA, dancers, tom-tom & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). ----- for soprano, steel band & piano, arr. by Vivian Taylor. CD: Vivian Taylor, soprano & piano; East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- 8. Ah, la sa wu, for piano & steel band, arr. by Vivian Taylor. CD: East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- 9. Evalina, for baritone & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17. ----- for baritone & piano, arr.by Vivian Taylor. CD: Robert Honeysucker, baritone; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- 10. Doo Ma, for soprano, contralto, baritone & steel band, arr. by Vivian Taylor. CD: Vivian Taylor, soprano; Ruth Hamilton, contralto; Robert Honeysucker, baritone; East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- 11. Héla, grand père, for soprano, baritone & piano. CD: Vivian Taylor, soprano & piano; Robert Honeysucker, baritone; East Carolina Steel Orchestra; Mark Ford, conductor . Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- 12. Going to my old home, for steel band, arr. by Vivian Taylor. CD: East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999). ----- 14. Ten poun' ten, for tenor, percussion & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17. ----- 15. Do an’ Nannie, for men's chorus, percussion & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17. ----- for contralto, steel band & piano, arr. by Vivian Taylor. CD: Ruth Hamilton, contralto; Vivian Taylor, piano; East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- 16. Eh, bi nango, for soprano or tenor & piano. ----- for SATB, piano & percussion. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17. ----- 17. Carry him along, for SATB. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17. ----- for soprano or tenor, dancers, percussion & piano. Carmela, for violin & piano (1949?). Duration: 2:08. Written for Louis Kaufman. AC: Louis Kaufman violin; Anette Kaufman, piano. Orion ORS-633. AC: Louis Kaufman, violin; Annette Kaufman, piano. WGS M-1001. CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman). CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas. CD: Louis Kaufman, violin; Annette Kaufman, piano. Ethnovibe Productions (1999; Ebony rhythm). CD: Zina Schiff, violin; Cameron Grant, piano (1994). 4-Tay CD 4005 (1997, Here’s one). LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7152 (1971). LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7278 (1971). ----- for flute & guitar, arr. by T. Smith. ----- for viola & piano. ----- for violin & orchestra, orchestrated by Marshall Fine (1991). Chantez-les bas. CD: [Artie Shaw and His Orchestra?]. Pavillon Records CD-9779 (1986?; Cream) Chloe, opera. Text: William Grant Still. Withdrawn. Choreographic prelude, for flute, piano & string orchestra (1970). Mission Viejo CA: WGS Music. Première: 1970/I/15; Los Angeles County Museaum, Exposition Park; William Grant Still, conductor. Duration: 5:00. Christmas in the Western World; las pascuas, for SATB & string orchestra and/or piano (1967). New York: Southern Music, 1967. 36p. Text: Christmas carols, in English, with narration. Text: Verna Arvey. 1. A maiden was adoring God; 2. Ven, niño divino; 3. Aguinaldo; 4. Jesous ahatonhia; 5. Tell me shepherdess; 6. De Virgin Mary had a baby; 7. Los reyes magos; 8. La piñata; 9. Glad Christmas bells; 10. Sing, shout, tell the story!. Duration: 20:00. Library: Library of Congress (piano-vocal score, 68-47273/M), Lucks (11514). ----- unidentified excerpts. AC: National Association of Negro Musicians [young adults]. 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. WGMS M-1003 (1989; William Grant Still; Voices and piano). CD?: William Grant Still PAS [Performing Arts Society?] of the National Association of Negro Musicians. WGMS (1989; William Grant Still; Voices and piano). ----- piano-vocal score. New York: Southern Music, 1967. 44p. (#1069) ----- 12. Sing! Shout! tell the story, for SATB, 2 violins & piano. Clouds, for orchestra by Arthur Lange, arr. by William Grant Still. Costaso, opera in 3 acts, for saoprno, mezzo-soprano; 4 tenors; 2 baritones; 3 basses; SATB, dancers & orchestra, in 4 scenes (1949). Mission Viejo CA: WGS Music. Text: Verna Arvey. Instrumentation: 2222, Eh (p); 3331’timp; perc; cel; harp; strings. Première: 1981/IV; Opera South. Duration: 120:00. Dedication: Donald Vorhees. ----- A wand’ring beggar came, for tenor & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2. ----- Ave Maria. ----- for tenor, baritone & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 3. CD: Scott Piper, tenor; Richard Banks, baritone; Byron Burford, piano. Videmus (1998, Fare ye well). ----- Dance, for piano. CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996). ----- Golden days. CD: Margaret Astrup, soprano; Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene). ----- for soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1. ----- for soprano, harp & strings. ----- On the highway. AT: Ben Holt, baritone; Cliff Jackson, piano (1984, Peabody Conservatory of Music). ----- piano-vocal score. 3 Dances, orchestra. Dances in the canebreaks, by Florence Price, arr. by William Grant Still. 1. Nimble feet; 2. Tropical noon; 3. Silk hat and walking cane. CD: Centennial Celebration Orchestra; John McLaughlin Williams, conductor (1998). Cambria A110 (The big broadcast). Liner note: Lance Bowling. Danse barbare from Congo sketches, by Will Donaldson, orchestrated by William Grant Still (1928). New York: Carl Fischer. Danzas de Panamà, for string quartet (1948). New York: Southern Music, 1953 (#197-31). 32p. 1. Tamborito; 2. Mejorana y sovacón; 3. Punto; 4. Cumbia y congo. After melodies collected by Elisabeth Waldo. Première: 1948/V/21; Los Angeles County Museum; Waldo Latin-American String Quartet. Duration: 15:00. Library: Library of Congress (also photocopy of manuscript, 57p., 48-39735), Lucks (11515). ----- New York: Southern Music, 1953. 26p. (236-24; miniature score). AC: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. WGS M-1001. AC:Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-633. CD: CBS Symphony, the Standard Hour; Bay Cities BCD 1033 (1991). CD: Die Odeion Strykkwartet. Janus JNSD-73 (1997). 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. Orion ORS-7152 (1972). LP: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-7278 (1972). Orion ORS-7152 (1972). ORPHAN ----- 2. Mejorano y sovacón. CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman). CD: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas. ----- 4. Cumbia y congo CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman). CD: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas. LP: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-7278 (1972). ----- for 3 guitars, arr. by Thomas Smith. Flagstaff: WGS Music. CD: Philadelphia Classical Guitar Trio [Marisol Rampolla, Thomas Smith, Michael Simmons]. Jackson Avenue Music JAMG 3001 (2000; Philadelphia classical guitar trio). Liner notes: unsigned. ----- for string orchestra. CD: Berliner Symphoniker; Isaiah Jackson, conductor. Koch International Classics 3-7154-2H1 (1993). Dark madonna, by Will Donaldson, orchestrated by William Grant Still (1928). New York: Carl Fischer. Darker America, for orchestra (1925). Boston: C. C. Birchard, for the Eastman School of Music, 1928. 4, 47p. Duration: 11:58. 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. Duration: 17:00. CD: Music for Westchester Symphony Orchestra; Siegfried Landau, conductor. Vox Box CSX 5157 (1996, The incredible flutist). Liner notes: Shirley Fleming. LP: Music for Westchester Symphony Orchestra; Siegfried Landau, conductor. Turnabout TVS-34546 (1971; The contemporary composer in the U.S.A.). Deep river, for orchestra (ca. 1930). Didn't ma Lawd deliver Daniel?, for medium voice & piano (by 1948). New York: Handy Brothers, 1948. CD: Robert Honeysucker, baritone; Sam Strickland, saxophone; Vivian Taylor, piano. Cambria CD-1112 (1999). 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. Duration: 15:00. Library: Library of Congress (A45-1269), Theodore Presser. CD: Richard Fields, piano; Cincinnati Philharmonia Orchestra; Jindong Cai, conductor. Centaur CRC 2331 (1997). Don’t fall asleep. CD: [Artie Shaw and His Orchestra?]. Pavillon Records CD-9779 (1986?; Cream) 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. Duration: 9:00. Withdrawn. Library: Library of Congress (lead sheet), Fleisher (2767). Elegy, for organ (1963). Los Angeles: Avant Music, Western International Music, 1963 (The California organist, 7; #A.V. 44). 4p. Written for the California chapters of the American Guild of Organists. Duration: 5:25. Library: Library of Congress (LC 66-86053/M) CD: Philip Brunelle, organ. Collins Classics 14542 (1996, Witness, vol. 2). Liner notes: Dominique-René de Lerma. CD: Philip Brunelle, organ. Clarion CL 8905 CD (2004, Witness, Skyward my people rose, Music of William Grant Still). Liner notes: Dominique-René de Lerma. 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). CD: Lucius Weathersby, organ (Father Willis organ, 1864; St. Michael and All Angels Church, Great Torrington, UK). Albany 440 (2001; Spiritual fantasy). Ennanga, for harp (or piano) & orchestra (1956). Los Angeles: WGS Music. 36p. 1. Moderately fast; 2. Slow [originally: Moderately slow]; 3. Majestically -- moderately fast. "Inspired by African folk melodies." Instrumentation: 2222 (p Eh), 3221, timp, perc, cel, strings. Dedication: Lois Adele Craft. Première: 1958/X/12; Los Angeles; Westside Jewish Community Center; Lois Adele Craft, harp; Verna Arvey, piano. Duration: 15:00. AC: Lois Adele Craft, harp; Annette Kaufman, piano; Kaufman String Quartet [Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello]. WGS MCA 1001 (1988). AC: Lois Adele Craft, harp; Annette Kaufman, piano; Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-633 (1972?). CD: Lois Adele Craft, harp; Annette Kaufman, piano; 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: Videmus [Ann Hobson Pilot, harp; 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). LP: Lois Adele Craft, harp; Annette Kaufman, piano; Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-7278 (1972). LP: Lois Adele Craft, harp; Annette Kaufman, piano; Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-7251 (1972). 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.M. 1724-2). 3p. Duration: 2:00. ----- for SATB. 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. Duration: 1:00. Written for the 99th Fighter Squadron. ----- for brass ensemble. ----- for piano. Library: Library of Congress (holograph). Fanfare for the 99th Fighter Squadron, for winds (1945). Mission Viejo CA: WGS Music. Duration: 1:00. Première: 1945/VII/22; Hollywood Bowl; Los Angeles Philharmonic: Leopold Stokowski, conductor. Festive overture, for orchestra (1944). Glen Rock: J. Fischer & Bro., 1949. 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. Duration: 10:00. Library: Library of Congress (45-19521, reproduction of manuscript). ----- New York: Carl Fischer. Fanfare for American war heroes, for orchestra (1943). Première: 1991/II/09; Columbus IN; Indiana Pro-Musica; David Bowden, conductor. Duration: 1:00. Written for the 99th Fighter Squadron. ----- for brass ensemble.[34] ----- for piano. Library: Library of Congress (holograph). Fanfare for the 99th Fighter Squadron, for winds (1945). Mission Viejo CA: WGS Music. Duration: 1:00. Première: 1945/VII/22; Hollywood Bowl; Los Angeles Philharmonic: Leopold Stokowski, conductor. Festive overture, for orchestra (1944). Glen Rock: J. Fischer & Bro., 1949. 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. Duration: 10:00. Library: Library of Congress (45-19521, reproduction of manuscript). AC: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASO CA 1001 (1994). AC: Charleston [WV] Symphony Orchestra; Leon Thompson, conductor (1976/II/22). AC: Royal Philharmonic Orchestra; Arthur Bennett Lipkin, conductor. CRI CA-259 (1970). CD: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). Cambria CD-1060 (1994). 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. CRI SD-259 (1970). Florida blues, for chamber orchestra, by William King Philips, arr. by William Grant Still (early 1920s). Flagstaff: WGSM-Handy Music. ----- for piano. Folk suite, no. 1, flute, piano & string quartet (1962). New York: Southern Music. 11p. 1. Bambalele e espin garda; 2. Sometimes I feel like a motherless child; 3. Two Hebraic songs. Duration: 8:52. Library: Library of Congress (also reproduction of holograph). CD: Alexa Still, flute; New Zealand String Quartet. Koch 3-7192-2H1 (1994). CD: Bridgehampypm Chamber. Bridgehampton 0. AMR index not specific. ----- 1. Bambelele e espin garda, for violin & piano.[37] CD: Zina Schiff, violin; Cameron Grant, piano (1994). 4-Tay CD 4005 (1997, Here’s one). ----- 2. Sometimes I feel like a motherless child. CD: NYC (1994). CD: Koch International Classics (1994). Folk suite, no. 2, flute, clarinet, violoncello (or bassoon) & piano (or harp) (1962). New York: Southern Music. 15p. 1. El zapatero; 2. Molé; 3. Mom'zelle Zizi; 4. Peruvian melody. Duration: 9:00. Library: Library of Congress (also reproduction of holograph). CD: Sierra Winds [Richard Soule, flute; Felix Viscuglia, clarinet; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994). CD: Sierra Winds [Richard Soule, flute; Felix Viscuglia, clarinet; Bernard Kolle, bassoon; Kim de Libero, harp]. Cambria CD 1083 (1995, Get on board!). Folk suite, no. 3, flute, oboe, bassoon & piano (1962). New York: Southern Music. 13p.: 1. An Inca dance; 2. An Inca song; 3. Bow and arrow dance song. Duration: 5:04. Library: Library of Congress (also reproduction of holograph). CD: Sierra Winds [Richard Soule, flute; Stephen Caplan, oboe; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994). CD: Sierra Winds [Richard Soule, flute; Stephen Caplan, oboe; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on board!). -----for flute, bass clarinet & strings. Folk suite, no. 4, flute, clarinet, violoncello (or bassoon) & piano (1962). 1. El monigote; 2. Anda buscando de rosa en rosa; 3. Tayeras. Duration: 5:30. CD: Leonard Harrison, flute; Robert Umiker, clarinet; Samuel Magill, violoncello; Arthur Tollefson, piano (1984). Cambria CD-1060 (1996; A festive Sunday with William Grant Still). CD: Sierra Winds [Richard Soule, flute; Felix Viscuglia, clarinet; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994). CD: Sierra Winds [Richard Soule, flute; Felix Viscuglia, clarinet; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on board!). ----- for orchestra AC: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASOCA 1001 (1996). CD: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). Cambria CD-1060 (1996). LP: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASOLP 1001 (1996). ----- for woodwind quintet. Richmond VA: International Opus (WW5-9551). ----- 2. Anda buscando de rosa en rosa, for string quartet. Folk suite, band (1963). New York: Bourne, 1966 (Bourne symphonic library). 44p. (condensed score, 5p.) 1. Get on board; 2. Deep river; 3. Medley: The old ak's a moverin', Sinner please don't let this harvest pass [see also single title]. Duration: 8:00. Première: 1963/VIII/18; Los Angeles Bureau of Music Symphonic Band; Dale Eymann, conductor. Library: Library of Congress (LC 66-92147). AC: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASO CA 1001 (1994). CD: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). Cambria CD-1060 (1994). LP: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor. NASO 1001 (1984). CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-001 (1994, From the Delta). ----- 1. Get on board, for flute, clarinet, bassoon, strings & piano. Frankie and Johnny, for orchestra Première: Deep River Hour Frenesi. CD: [Artie Shaw and His Orchestra?]. Pavillon Records CD-9779 (1986?; Cream) From a lost continent, for SATB & orchestra (1948). Los Angeles: WGS Music. 1. Song of worship; 2. Song for dancers; 3. Song of yearning; 4. Song of magic. Text: William Grant Still. 1. Song of worship; 2. Song for dancers; 3. Song of yearning; 4. Song of magic. Text: textless. Dedication: the Gordons of Berkeley. Duration: 15:00. Premiere (1, with piano): 1953/V/22; Choral Guild of San José; LeRoy V. Brant, conductor; (2, with orchestra): 1955/III/27; Bruxelles; I.N.R. Flemish Division. Library: Library of Congress (also holograph of lead sheet, M59-289). From the Black belt, for chamber orchestra (1926). New York: Carl Fischer, 1946. 15p. (piano score) 1. Li'l scamp; 2. Honeysuckle; 3. Dance; 4. Mah bones is creakin'; 5. Blue; 6. Brown girl; 7. Clap yo' han's. Instrumentation: 2222, 4321, timp, perc, harp, strings. Première: 1927/III/20; New York, Henry Miller Theatre; Little Symphony; Georges Barrère, conductor. Duration: 11:14. ----- for orchestra CD: Music for Westchester Symphony Orchestra; Siegfried Landau, conductor. Vox Box CDX 5157 (1996, The incredible flutist). Liner notes: Shirley Fleming. LP: Music for Westchester Symphony Orchestra; Siegfried Landau, conductor (1974). Turnabout TVS-34546 (1971; The contemporary composer in the U.S.A.). ----- 6. Brown girl, for harp, arr. by M. Portanova. From the Delta, for band (1945). New York: Leeds Music, 1947, 1945. (condensed score) (Moments in American music for band). 11p. 1. Work song; 2. Spiritual; 3. Dance. Duration: 5:00. Première: 1947/III/17; New York, Central Park Mall; Central Park Mall; Goldman Band; Richard Franco Goldman, conductor. CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-001 (1994; From the delta). ----- 1. Work song, for orchestra. 78rpm: Morton Gould and His Symphonic Band. Columbia 4519-M (1948). LP: Morton Gould and His Symphonic Band. Columbia ML-2029. From the furnace of the sun, opera. Text: Sherwood Frank. From the heart of a believer, for orchestra (1927). Duration: 10:00. Withdrawn. From the heart of a woman, for medium voice & piano (1961). Mission Viejo CA: WGS Music. 1. Little mother; 2. Midtide; 3. Coquette; 4. Bereft. Text: Verna Arvey. Also known as From the hearts of women. Duration: 9:00. ----- for soprano & string quartet. Mission Viejo CA: WGS Music. Première: 1962/II/19; Los Angeles; Los Angeles County Museum; Pearl Whitelow, soprano, with instrumental ensemble. CD: Margaret Astrup, soprano; Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene). ----- for soprano, flute, oboe, piano & string quartet. Mission Viejo CA: WGS Music. ----- for soprano, alto flute (or clarinet) & 2 harps, arr. by A. Griggs. Alternate title: La marée à midi. From the journal of a wanderer, for orchestra (1925). 1. Phantom’s trail; 2. Magic bells; 3. Valley of echoes; 4. Mystic moon; 5. Devil's hollow. Duration: 20:00. Première: 1926; North Shore Festival, Chicago; Chicago Symphony Orchestra; Frederick Stock, conductor. Withdrawn. Library: Eastman School of Music (holograph); Fleisher (2830). From the land of dreams, for SSA & chamber orchestra (1924). Textless. Duration: 8:00. Première: 1925/II/8; International Composers Guild; Vladimir Shavitz, conductor. Withdrawn. Get on board; The gospel train, for flute, oboe, bassoon, piano & string quartet (1927?). Duration: 1:26. 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]. Cambria CD 1084 (1994). 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]. Cambria CD 1083 (1995, Get on board!). Glory to that new born king, for SATB, strings & piano. Gloomy Sunday CD: [Artie Shaw and His Orchestra?]. Pavillon Records CD-9779 (1986?; Cream) 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. LP: Unidentified performers. Holt, Rinehart & Winston (1968). ----- for SAT & piano. Good news, for medium voice & piano. New York: Handy Brothers, 1948. Library: Library of Congress. Good night, for medium voice & piano (1917). Text: Paul Laurence Dunbar. Dedication: William Service Bell. Première: 1921/X/30; New York; St. Mark’s Hall; Revella Hughes, soprano. Grief, for high voice & piano (1953). Bryn Mawr: Oliver Ditson, Theodore Presser, 1955 (#Cl3l-4l053). 3p. Text: LeRoy V. Brant. Duration: 3:00. Library: Library of Congress. CD: Richard Heard, tenor; Pamela Howland, piano. HM Classics (1998; Ain’t a that good news?). ----- Melville: Edward B. Marks, 1977 (Anthology of art songs by Black American composers, ed. by Willis Patterson, p45-47). ----- New York: G. Schirmer (Romantic art songs). Duration: 3:00. CD: Fleur de Son Classics (2000). CD: Dina Cameryn Foy, soprano; Polly Brecht, piano. DCF Records DCF-001 (1996, Remembrance; African-American songs). AC: G. Carlton Hines, tenor; André Thomas, piano (1981/II/02, University of Illinois). CD: Robert Honeysucker, baritone; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. LP: Susan Matthews, mezzo-soprano, with unidentified pianist. University of Michigan SM-0015 (1980; Art songs by Black American composers). ----- for organ, arr. by A. Griggs. Gunsmoke, incidental music for television. Gwinter sing all along de way, for voice & piano. CD: Robert Honeysucker, baritone; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- for tenor, SATB & piano. Hard times, for SATB. New York: Bourne. (#B205310). Hard trials, for voice & piano, by D. McNair, arr. by William Grant Still. CD: Louise Toppin, soprano; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- for piano. ----- for voice & string quartet. Here's one, for soprano, SATB & piano (1941). Philadelphia: John Church, 1955, 1941 (American folksong choral series; #322-40037-7). 8p. Text: Talk about a child that do love Jesus. Duration: 3:55. Library: Library of Congress, Spingarn. ----- New York: Oxford University Press, 2002 (The Oxford book of spirituals, ed. by Moses Hogan, p). AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994 William Grant Still; Voices and piano). CD: Northern Arizona University Chorale.  CD NACCM 09 (1994). ----- for medium voice & piano. Philadelphia: John Church. 78rpm: Robert McFerrin, baritone, with unidentified pianist. Riverside 812 (c1956). 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. Word Records W-3061 (1963). ----- for contralto, saxophone & piano, arr. by Vivian Taylor. CD: Ruth Hamilton, contralto, Sam Strickland, saxophone; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston. ----- for flute & piano. CD: Keith Pettway, flute; Louis Hobbs, piano. Delta Classic Records DC 0191 (2000, Mississippi classic). CD: Alexa Still, flute;==, piano. Koch 3-7192-2H1 (1994). ----- for flute, strings & piano. ----- for soprano, SATB & piano. ----- for violin & piano, arr. by Louis Kaufman. 78rpm: Louis Kaufman, violin; Annette Kaufman, piano. Concert Hall H-1640 (1950; Contemporary American violin music). 78rpm: Louis Kaufman, violin; Annette Kaufman, piano. Vox 667-5 (1948). AC: Louis Kaufman, violin; Annette Kaufman, piano. WGS M-1001. AC:Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-633. CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman). CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas. CD: Zina Schiff, violin; Cameron Grant, piano (1994). 4-Tay CD 4005 (1997, Here’s one). LP: Louis Kaufman, violin [Annette Kaufman, piano?]. Discopedia MB 1032 (1986?; The Kaufman legacy; Masters of the bow, vol. 2). LP: Louis Kaufman, violin; Annette Kaufman, piano. Concert Hall Society CHS-1140 (1950) LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion MB-1032v2 (1971) LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7152 (1971). LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7278 (1971). ----- for voice & piano. CD: Inetta Harris, soprano; Scott Lippoldt, piano. My Heritage Sings (1998). CD: Joanne Stephenson, soprano; Karen Laubengayer, piano (2001/VIII). CD: Videmus [Robert Honeysucker, baritone; Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still). LP: Bill Mann, tenor; Paul Mickelson, organ. Word Records W-3061 (1963). LP: Robert McFerrin, baritone. Riverside 812 (c1964). ----- for voice & string quartet. Hesitating blues, for orchestra, by W. C. Handy, arr. by William Grant Still (1916). CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling. Hiking song. Not extant. Highway 1 USA, opera in 1 act, for 4 soloists, SATB & orchestra, in one scene (1962). Mission Viejo CA: WGS Music. Text: Verna Arvey. 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. Duration: 60:00. Absorbed sections of A Southern interlude. VC: Cambria WGM BL-3003/ H1-3004 (2000). Includes A bayou legend. VC: Cambria WGSM4-3002-4 (2000). Includes A bayou legend; Highway 1, U.S.A.; Minette Fontaine; Troubled island. ----- A dream wasted, for baritone & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2. ----- Once a little child, for mezzo-soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1. ----- What does he know of dreams? LP: William A. Brown, tenor; London Symphony Orchestra; Paul Freeman, conductor. Columbia M-32782 (1974; The Black composers series, vol. 2). LP: William A. Brown, tenor; London Symphony Orchestra; Paul Freeman, conductor.  P9-19424 (==; The Black composers series, vol. 2). ----- for tenor & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2. ----- You're wonderful, Mary. LP: William A. Brown, tenor; London Symphony Orchestra; Paul Freeman, conductor. Columbia M-32782 (1974; The Black composers series, vol. 2). LP: William A. Brown, tenor; London Symphony Orchestra; Paul Freeman, conductor. P9-19424 (==; The Black composers series, vol. 2). 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). Bryn Mawr: Theodore Presser, 1956 (#312-40304). 4p. Duration: 3:00. Library: Library of Congress. AC: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOCA 1001 (1996). CD: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-1060 (1996). LP: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOLP 1001 (1996). 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). Absorbed by Bayou home. Library: Library of Congress (4p., lead sheet, M59-290). In memoriam, the colored soldiers who died for democracy, for orchestra (1943). Los Angeles: Delkas Music, 1943. 16p. Instrumentation: 2111 (p) Eh bcl, 4331, timp, perc, harp, strings. Commision: League of Composers. Duration: 6:00. 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. by William Grant Still. CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling. Incantation and dance, oboe & piano (1942==1941?). New York: Carl Fischer, 1955 (#29843; W1687) 9p. & part. Duration: 4:24. Dedication: Betty and Loyd [sic] Rathbun. Première: 1942; Lloyd Rathburn. Library: Library of Congress (46-18613; also holograph). AC: Walter F. Lee, oboe; Patricia Springer, piano. AC: Walter F. Lee, oboe; Mellasenah Morris, piano (1978/X/29, Lois J. Wright Memorial Concert Series). AC: Janice Smith, oboe; Diane Marsha, piano (1957/XIX/12). CD: Sierra Winds [Stephen Caplan, oboe; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994). CD: Sierra Winds [Stephen Caplan, oboe; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on board!). CD: Videmus [Jean de Mart, flute; Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still). 4 Indigenous portraits, for flute & string quartet (1957). Mission Viejo CA: WGS Music. 1. North American Negro; 2. South American Negro; 3. South American Indian; 4. North American Indian. Duration: 10:00. Withdrawn. Is there anybody here?, for SATB & piano (1956). Bryn Mawr: Theodore Presser, 1956 (#312-40305). 4p. Duration: 3:00. Library: Library of Congress. AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994 William Grant Still; Voices and piano). Jungle drums, for chorus & orchestra (c1924). Piano-conductor score. Text: Phil Boutelse. Kaintuck'; Poem, for piano & orchestra (1935). Mission Viejo CA: WGS Music. 30p. Instrumentation: 3232 (p), 4331, timp, perc, strings. Commission: League of Composers. Duration: 14:00. Dedication: ´To my wife, Verna Arvey.” Library: Columbia (lead sheet, 1937), Lerma, Library of Congress (lead sheet, 1937), Yale (manuscript). ----- New York: Carl Fischer. CD: Richard Fields, piano; Cincinnati Philharmonia Orchestra; Jindong Cai, conductor. Centaur CRC 2331 (1997). ----- for 2 pianos (1935). Première: 1935/X/28; Los Angeles Pro Musica. Verna Arvey, piano. The second pianist is not identified. CD: Richard Fields, piano. Orion ORS-82442 (1982). Keep me from sinkin’ down, for SATB & piano. La guiablesse, ballet for dancers & orchestra, in one set (1927). New York: Carl Fischer. Scenario: Ruth Page, after Lafcadio Hearn. 1. Prelude; 2. Children’s dance; 3. Yzore’s waltz; 4. The bearers; 5. Pas de deux; 6. Gendarme; 7. Dance; 8. La guiablesse; 9. Final scene. 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. Dedication: Adrian Michaelis. Duration: 30:00. ----- for piano (1941). 38p. Library: Fisk (holograph); Library of Congress. ----- Suite. 27p. 1. First dance of the children; 2. Dance of Yzore and Adou; 3. Entrance of les porteuses. ---- 3. Yzore’s waltz. Première: 1933/V/05; Rochester; 3rd Annual Festival of American Music; Thelma Biracree, solo dancer; Howard Hanson, conductor. CD: Berliner Symphoniker; Isaiah Jackson, conductor. Koch International Classics 3-7154-2H1 (1993). ----- 3. Entrance of les porteuses. 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). ----- 4. The bearers. CD: Berliner Symphoniker; Isaiah Jackson, conductor. Koch International Classics 3-7154-2H1 (1993). ----- 5. Pas de deaux. CD: Berliner Symphoniker; Isaiah Jackson, conductor. Koch International Classics 3-7154-2H1 (1993). ----- [7.?] Dance of the porteuses. AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano). ----- for piano. CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996). 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). Text: Verna Arvey. Duration: 3:00. ----- for SSA & piano. Detroit: Board of Education, City of Detroit, 1971 (Afro-America sings). CD: Atlanta Young Singers of Callawolde. EM-30001 (1997). Legend, for orchestra [?] (1959). Lenox Avenue; Choreographic street scenes, dancers, narrator, SATB & orchestra (1937). New York: J. Fischer & Bro., 1938. piano-vocal score, 41p. Scenario: Verna Arvey. Instrumentation: 2231, Eh bcl 5 saxophones, 3320, timp, 2 perc, piano, strings. Commission: Columbia Broadcasting System. Première: 1937;V/23; CBS Radio; Howard Barlow, conductor. Duration: 23:00. Library: Library of Congress (43-21830), Schomburg. AC: Los Angeles WPA Orchestra and Chorus; Verna Arvey, piano; William Grant Still, conductor (1937). Glendale Legend GLCA-8011 (1984). AC: Los Angeles WPA Orchestra and Chorus; Verna Arvey, piano; William Grant Still, conductor (1937). Glendale Legend GLCA-8011 (1984; William Grant Still conducts William Grant Still). CD: CBS Symphony, the Standard Hour; Bay Cities BCD 1033 (1991). CD: Juano Hernandez, speaker; CBS Symphony Orchestra; Howard Barlow, conductor. Includes introduction by Deems Taylor. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas. CD: Marvin Hayes, narrator; Juano Hernandez, speaker; CBS Symphony Orchestra; Howard Barlow, conductor. Cambria CD-A11IA (2000; A centennial retrospective). LP: San Francisco Symphony Orchestra; William Grant Still, conductor (1940?==). Glendale Legend GLLP-8011 (1984; William Grant Still conducts William Grant Still). ----- for narrator, dancers, chorus, piano & chamber orchestra. ----- piano-vocal score. New York: J. Fischer & Bro., 1938. 41p. (#J.F.&B. 0379) Library: Library of Congress, Spingarn. ----- for piano. Library: Duke University. ----- Blues, for piano. ===+:Keyboard Jr. Publication [multimedia kit] (Pathways to music; From jazz to rock, ed. by N. Rossi, includes LP recording by Verna Arvey, piano, c1972. Duration: 3:03. 78rpm: Gordon Manley, piano. Belwin-Mills (1952). CD: Denver Oldham, piano. Koch International Classics 3-7084-2H1 (1991). LP: Albert Dominguez, piano. WSGM 1002 (1987). LP: Gordon Manley, piano. New Records NRLP-105. ----- for jazz band. 78rpm: Artie Shaw and His Orchestra. Victor 27411 (1941). CD: Artie Shaw and His Orchestra. Bluebird AMX2/AXK2-5572 (1982; The complete Artie Shaw, vol. 4). ----- for orchestra. CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling. ----- for string quartet. CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Issued as Lyric quartet. ----- for violin & orchestra (by 1944) CD: Louis Kaufman, violin; Columbia Symphony; Bernard Hermann, conductor (1946). Cambria CD-1078 (1996; Pan-Americana). ----- for violin & piano, arr. by Louis Kaufman (1941). 78rpm: Louis Kaufman, violin; Annette Kaufman, piano. Concert Hall H-1640 (1950; Contemporary American violin music). 78rpm: Louis Kaufman, violin; Annette Kaufman, piano. Vox 667-2 (1948). AC: Louis Kaufman, violin; Annette Kaufman, piano. WGS M-1001. AC:Louis Kaufman violin; Anette Kaufman, piano. Orion ORS-633. CD: Fritz Gearhart, violin; Victor Steinhardt, piano. Koch International 7546 (2002; Oregon festival of American music). CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman). CD: Louis Kaufman, violin; Annette Kaufman, piano. Bay Cities BCD 1019 (1991). CD: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS 7152. CD: Zina Schiff, violin; Cameron Grant, piano (1994). 4-Tay CD 4005 (1997, Here’s one). LP: Louis Kaufman, violin; Annette Kaufman, piano. Concert Hall Society CHS-58. LP: Louis Kaufman, violin; Annette Kaufman, piano. Discopedia MB 1032 (1986?; The Kaufman legacy; Masters of the bow, vol. 2). LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7152 (1971). LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7278 (1971). LP: Louis Kaufman, violin; Annette Kaufman, piano. Vox 667-2 LP: Louis Kaufman, violin; Annette Kaufman, piano. Vox MB-1032v2 (1971). LP: Louis Kaufman, violin; Annette Kaufman, piano. Concert Hall Society CHS-1140 ----- Choral episodes. Glen Rock: J. Fischer & Bro. ----- Flirtation. 78rpm: Hancock Ensemble; Loren Powell, conductor. Hancock Foundation, University of South Carolina 395 (1942). ----- I’m gonna tell, for SATB & piano. Levee land, for soprano & instrumental nonet (1925). Text: William Grant Still. Contents: 4 songs==. 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. Duration: 10:00. Alternate title: Levee song. 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. NAUWS-003 (1995). Lift every voice and sing, for voice, flute, piano & string orchestra, by J. Rosamond Johnson (1899); arr. by William Grant Still (early 1920s). Duration: 3:02. CD: Videmus [Robert Honeysucker, baritone; Lynn Chang, Lydia Forbes, violins; George Taylor, viola; Mark Churchill, cello, Prentice Pilot, double bass; Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still). Lilt, for accordion (1960). New York: Piero Diero, 1967. 6p. Duration: 4:00. AC: Robert Young McMahon, accordion. Listen to de lambs. AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano). CD: Joanne Stephenson, soprano; Karen Laubengayer, piano. == (2001). Little David, play on your harp, for SSATB & piano (c1945?). Written for Anne Fambro, the composer’s maternal grandmother. Little folk suite, no. 1, string quartet (1968). New York: Southern Music, 1968. 1. Salangadou; 2. El capotin. Duration: 3:45. ----- 1. Salangadou. ----- for string quartet.. CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music). Little folk suite, no. 2, string quartet. New York: Southern Music, 1968. 1. El nido; 2. Sweet Betsy from Pike. Duration: 4:00. Little folk suite, no. 3, string quartet. New York: Southern Music, 1968. 1. Aurore pradère [&] Tant sirop est doux; 2. Wade in the water. Duration: 3:00. CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music). CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music). Little folk suite, no. 4, string quartet. New York: Southern Music, 1968. 1. Los indios [&] Yaravi; 2. The crawdad song. Duration: 3:30. ----- 1. Los indios and Yaravi. CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music). Little folk suite, no. 5, string quartet. New York: Southern Music, 1968. 1. Tutu maramba; 2. La varsoviana. Duration: 4:00. Little folk suite from the Western Hemisphere, for brass quintet (1968). New York: Southern Music, 1968. 1. Where shall I be when the great trumpet sounds?; 2. En roulant ma boule. Instrumentation: 1211. Duration: 2:30. ----- 1. Where shall I be? AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano). ----- En roulant ma boule, for steel drums, arr. by A. Griggs. Little red schoolhouse, for orchestra (1956). 1. Little conqueror; 2. Egyptian princess; 3. Captain Kidd, Jr.; 4. Colleen Bawn; 5. Petey. Première: 1957/III/30; Redlands University; Edward Tritt, conductor. Duration: 15:00. RELATE TO PAGES FROM A MOTHER’S DIARY ----- for band, arr. by Bucky Steele. New York: Peer-Music. CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-001 (1994; From the delta). Log cabin ballads, for orchestra (1927). 1. Long to'ds night; 2. Beneaf de willers; 3. Miss Malindy. Duration: 10:00. Première: 1928/III/15; New York; Booth Theatre; Little Symphony; Georges Barrère, conductor. Withdrawn. ----- 3. Miss Malindy. CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Los alnados de España, for narrator & orchestra (1962). Mission Viejo CA: WGS Music. 1. Prólogo y narración; 2. El valle esondido; 3. Serenata; 4. Danza. Dedication: to the composer’s maternal grandfather and to the memory of Clarence Cameron White. Première: 1994/X/29; Sequehanna Symphony Orchestra; Sheldon Bair, conductor. Duration: 12:00. Library: Library of Congress (29p. condensed score). Lost horizon, incidental film music (1937). VHS: Ronald Coleman; Jane Wyatt; Frank Capra. Chicago: Facets Multimedia (S02919 [restored version]). Duration: 132:00. Lyric suite, string quartet (1960). Mission Viejo CA: WGS Music. 1. The sentimental one; Moderately; 2. The quiet one; Moderately slow; 3. The jovial one; Moderately fast. Dedication: Joachim Chassman. Duration: 9:00. Alternate title: Lyric quartette. Withdrawn. CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music). ----- for saxophone quartet, arr. by Rudy Volkmann. Mandy Lou, for voice & piano (c1926). Première: 1927/IV/26; New York, School for Social Research; Jessie Zachary, soprano. March-finale, for SATB & orchestra (1942). Library: Library of Congress (holograph). Marinella. CD: [Artie Shaw and His Orchestra?]. Pavillon Records CD-9779 (1986?; Cream) Marionette, for piano (1946). New York: MCA Music, 1946 (Compositions for piano by contemporary American composers, vl). 5p. Dedication: Adelaide and Kenneth Winstead. Duration: 1:00. AC: Hildred Roach, piano (1977/V/01). CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996). Memphis man, medium voice & piano, by Willy Grant [pseud.], (1923). New York: Edward B. Marks, 1923 (#8193). 5p. Text: Paul Henry [pseud.]. Library: Spingarn. ----- for medium voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000. ----- for organ, arr/ by H. Bert Coleman. Men of the army, for voice & piano (1952). Text: Verna Arvey. Based on Mississippi. Duration: 2:00. Minette Fontaine, opera in 3 acts, for 10 soloists, SATB & orchestra, in 5 scenes (1958). Mission Viejo CA: WGS Music. Text: Verna Arvey. Première: 1984/X/22; Baton Rouge; Centroplex Theater; Baton Rouge Opera Company; Donald Door, director. Dedication: Joan Palevsky. Duration: 120:00. Library: Library of Congress (piano-vocal score, 174p., 1959). VC: Cambia WGMS MF-3002 (2000). VC: Cambria WGSM4-3002-4 (2000). Includes A bayou legend; Highway 1, U.S.A.; Minette Fontaine; Troubled island. ----- Act II, scene 2 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. Videmus (1998, Fare ye well). ----- I have two loves, for soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1. ----- I knew why you were coming, for soprano, contralto, TTBB (or SATB) & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 3. ----- piano-vocal score. Miniature overture, for orchestra (1965). Mission Viejo CA: WGS Music. Première: 1965/X/17; Greater Miami Philharmonic Orchestra; Fabien Sevitsky, conductor. Duration: 2:00. Miniatures, for flute, oboe & piano (1948). London: Oxford University Press, 1963. 19p. & parts. 1. I ride old paint (USA); 2. Adolorido (Mexico); 3. Jesus is rock in the weary land (USA); 4. Yaravi (Peru); 5. 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.” Duration: 12:14. Library: Library of Congress (64-33197/M; holograph, 48-22855). AC: Peter Christ, oboe; Gretel Shanley, flute; Sharon Davis, piano. Crystal CRCA-321 (1979). CD: Peter Christ, oboe; Gretel Shanley, flute; Sharon Davis, piano. Crystal CRCD-321 (1979). 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 1983 (1994). CD: Sierra Winds [Richard Soule, flute; Stephen Caplan, oboe; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on board!). LP: Peter Christ, oboe; Gretel Shanley, flute; Sharon Davis, piano. Crystal CRLP-321 (1979). ----- for flute, oboe, bassoon & piano, arr. by Fred Thayer. Minorities and majorities, for SATB & piano 1971). New York: American Book Co. (ANC choral arts series, v1). Text: Verna Arvey. Originally to have been within 4 Octavo songs. Miss Sally's party, ballet for 7 solo dancers, ballet corps & orchestra, in one scene (1940). Mission Viejo CA: WGS Music. Scenario: Verna Arvey. 1. Introduction; 2, The square dance; 3. Tias’ dance; 4. Toby and Tip’s dance; 5. The country dance; 6. Miss Sally’s dance; 7. Jim Slick’s dance; 8. The cake walk contest. Première: 1941/V/02; Rochester; 11th Festival of American Music; Thelma Biracree, dancer; Howard Hanson, conductor. Dedication: Thelma Biracree. Duration: 19:42. Library: Library of Congress (piano-vocal score, 37p.). CD: The Orchestra of the Plymouth Music Series of Minnesota; Philip Brunelle, conductor. Collins Classics 14542 (1996, Witness, vol. 2). Liner notes: Dominique-René de Lerma. CD: VocalEssence Ensemble String Orchestra; Philip Brunelle, conductor. Clarion CL 8905 CD (2004, Witness, Skyward my people rose, Music of William Grant Still). Liner notes: Dominique-René de Lerma. ----- Boy’s dance ----- for flute, oboe, strings & piano. ----- for piano. Mississippi, for medium voice & piano (1942). Mission Viejo CA: WGS Music. Text: Verna Arvey. Written for Mark Warnow and the United States Army’s Sound off (ABC radio). Première: 1948/VII/26; ABC radio network, Sound off. Original title: Mississippi march; March-finale. Duration: 3:00. ----- for medium voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000. Mota, opera in 3 acts, 4 scenes, for 8 soloists, SATB & orchestra, in 2 scenes (1951). Mission Viejo CA: WGS Music. Text: Verna Arvey. Première [projected]: 1996; North Carolina A & T University; Clifford Watkins, conductor [?]. Duration: 129:00. Library: Library of Congress. ----- Must I die for my boldness?, for tenor & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2. ----- This strange awakening, for soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1. ----- Who can tell what fate?, for mezzo-soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1. ----- vocal score. My brother American, for medium voice & piano (1971). New York: American Book Co. (Sound, beat, and feeling; ed. by Choate, Kaplan & Standifer; New dimensions in music, 7th grade). Text: Verna Arvey. Duration: 2:00. My Lawd says he's goin' to rain down fiah, for medium voice & piano. New York: Handy Bros., 1948. Library: Library of Congress. CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04, Churchill College, University of Cambridge).== 3 Negro songs, for medium voice & chamber orchestra (1921). 1. Negro love song; 2. Death song; 3. Song of the backwoods. Duration: 10:00. Withdrawn. 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. Vol l: 1. *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. Great camp meeting; Vol. 2: 7. Great day; 8. Ah gotta home in-a dat rock; 9. Peter, go ring dem bells; 10. Good news; 11. Didn't ma Lawd deliver Daniel; 12. Ma Lawd gonna rain down fish. Duration: 25:00. Library: British Library; (1937 imprint); Library of Congress (37-22232); Schomberg, Spingarn (v1). ----- London: Francis, Day & Hunter, 1937. 2 vols. Contents (reordered): 8, 2, 6, 11, 10, 7, 1, 4, 3, 5, 12, 9. Library: Spingarn. ----- 1. Gwinter sing all along de way. CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04, Churchill College, University of Cambridge). ----- 4. Keep me f'om sinkin' down, for SATB (1937). New York: Handy Brothers. Duration: 5:00. ----- 5. Lawd, ah wants to be a Christian, for SATB. New York: Handy Brothers. ----- for voice & piano. Duration: 3:56. CD: Inetta Harris, soprano; Scott Lippoldt, piano. My Heritage Sings (199?). LP: John Patton, tenor; C. Edward Thomas, piano. Narthex Recording N-69085 (c1969; Black spirituals and art songs). ----- 8. Ah gotta home in dat rock. CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04, Churchill College, University of Cambridge). ----- 9. Peter go ring dem bells. CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04, Churchill College, University of Cambridge). ----- 11. Didn’t mah Lawd deliver Daniel? CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04; Churchill College, University of Cambridge). ----- 12. Mah Lawd says he’s doin’ to rain down fiah. CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04, Churchill College, University of Cambridge). No matter what you do, for medium voice & piano (1916). New York: Handy Brothers. Text: Grace Bundy. Withdrawn. 4 Octavo songs, for SATB (1971). New York: Gemini Press. 1. Ev'ry time I feel the spirit; 2. The blind man; 3. Toward distant shores [text: Judith Anne Still]; 4. Where shall I be? Duration: 10:00. ----- 2. The blind man. AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano). CD: Duke University Chorale. NC 27708-0065 (1997; In these delightful, pleasant groves). Old California, for orchestra (1941). New York: Carl Fischer, 1942. 1. Indian; 2. Spanish; 3. American. Instrumentation: 2222 (p Eh bcl cbsn), 4331, timp, 2 perc, harp, strings. Commission: Werner Janssen, for the 160th anniversary of Los Angeles. Dedication: George Fischer. Première: 1941/X/30; Los Angeles; Wilshire-Ebell Theatre; Janssen Symphony Orchestra; Werner Janssen, conductor. Duration: 10:00. 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. 1). ----- for band. 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. Duration: 14:30. 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]). (#29407-80; 03195) 1. Africa; 2. Slavery; 3. Emancipation. After a text by Verna Arvey. Dedication: Duncan Still. Première: 1944/III/17; Westminster MD; Western Maryland College Orchestra. Duration: 10:00. Instrumentation: 2222, 4221, timp, perc, harp, piano, strings. ----- 1. Africa. AT: NBC Concert Orchestra; Henri Nosco, conductor. (==) Parted, for medium voice & piano. Text: Paul Laurence Dunbar. Pastorela, for violin & piano (1946). New York: Witmark & Sons, 1947. 15p. & part. (#20603-19). The violin part edited by Louis Kaufman. Dedication: Louis and Annette Kaufman. Première: 1947/III/14’New York; Town Hall; Louis Kaufman, violin. Duration: 8:22. Library: Library of Congress. AC: Louis Kaufman, violin; Annette Kaufman, piano. WGS M-1001. AC:Louis Kaufman violin; Anette Kaufman, piano. Orion ORS-633. AT: Vincent Esposito, violin; Pablo Singer, piano. CD: Fritz Gearhart, violin; Victor Steinhardt, piano. Koch International 7546 (2002; Oregon festival of American music). CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman). Liner notes: Tony Thomas. WGMS Music 1001 LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7152 (1971). LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7278 (1971). ----- for flute & string quartet. CD: Alexa Still, flute; New Zealand String Quartet. Koch 3-7192-2H1 (1994). ----- for violin & orchestra. Instrumentation: 3222 (Eh) bcl, 4331, timp, harp, strings. Dedication: Samuel Marti. CD: CBS Symphony, the Standard Hour == Bay Cities BCD 1033 (1991). Path of glory, for bass-baritone & orchestra (1962). Los Angeles: WGS Music. Text: Verna Arvey. 1. Prologue; 2. Invocation; 3. Call to battle; 4. Judgment; 5. Elegy. Duration: 15:00. Library: Library of Congress (piano-vocal score). Patterns, for chamber orchestra (1960). Mission Viejo CA: WGS Music. 1. Magic crystal; 2. A lone teardrop; 3. Rain pearl; 4. Tranquil cove; 5. Moon gold. Première: 1961/IV/23; Inglewood Symphony Orchestra; Ernest Gebert, conductor. Duration: 15:00. Library: Library of Congress. 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. New York: Handy Bros., 1948. Library: Library of Congress. 7 Pieces, flute & piano == CD:Alexa Still, flute; Susan De Witt Smith, piano;. Koch 7192. Plain chant for America, for baritone & organ or orchestra (1941). New York: Carl Fischer, 1941(Fischer edition 7800). 34p. Text: Katherine Garrison Chapin. 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. Franklin Delano Roosevelt. Première: 1941/X/23; Wilbur Evans, baritone; New York Philharmonic: John Barbirolli, conductor. Duration: 8:30. Library: Library of Congress (58-1896; photocopy, 45-29593), Spingarn. LP: Paine College Choirs, Augusta GA (1972/IV/16). Century 40598 (1972). ----- piano-vocal score. New York: Carl Fischer, 1941. 14p. (J.F.&B. 7800-14) Library: Library of Congress. ----- for SATB & orchestra (c1965). Première: 1968/IV/16; Dillard University Choir; New Orleans Philharmonic Orchestra; Werner Torkanowsky, conductor. Poem, for orchestra (1944). Los Angeles: Delkas Music, 1945. 40p. Instrumentation: 3222, (cbsn) Eh bcl, timp, 3 perc, cel, harp, strings. Commission: Fynette H. Kulas American Composer's Fund for the Cleveland Orchestra. Dedication: Arthur Judson. Prefatory text: Verna Arvey. Première: 1944/XII/7; Cleveland Orchestra; Rudolph Ringwall, conductor. Duration: 12:30. Library: Library of Congress (45-22168; photocopy, 45-19520). Pompous march, for treble instruments & piano. Prelude, piano. New York: Scribner's (The new Scribner music library, v4). Preludes, flute, piano, & string orchestra (1962). 1. Moderately fast [Briskly]; 2. Moderately slow [Placidly]; 3. Delicately; 4. Moderately [Smooth and sustained]; 5. Energetically [Liltingly]. Première: 1968/V/26; Los Angeles; Georges Barrère, flute; Westchester String Symphony; George Berres, conductor. Dedication: Consuelo Pappy. Duration: 12:00. ----- for flute & piano. CD:Alexa Still, flute; Susan De Witt Smith, piano. Koch 3-7192-2H1 (1994). ----- for piano (1971). New York: Scribner's, 1972 (The new Scribner music library, v4, ed. by Howard Hanson). CD: Denver Oldham, piano. Koch International Classics 3-7084-2H1 (1991). CD: Roy Eaton, piano. Summitt DCD-318 (2002; Preludes of Chopin, Gershwin and Still). Preludes, piano & strings (1967). Promised land, cantata (early 1920s). Text: Frederick Martens. Unfinished. Puritan epic, for orchestra. Quit dat fool'nish, for piano (1935). New York: J. Fischer & Bro., 1938 (#J.F.&B. 7460-3). 5p. Dedication: “Shep, my mischievous dog.” Première [?]: 1935; Los Angeles; Verna Arvey, piano. Duration: 2:00. Library: Library of Congress (lead sheet), Spingarn. CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996). LP: Albert Dominguez, piano. WSGM 1002 (1987). LP: Richard Fields, piano. Orion ORS-82442 (1982) ----- for instrumental ensemble. CD: Alexa Still, flute; New Zealand String Quartet. Koch 3-7192-2H1 (1994). ----- for flute & piano. CD: Alexa Still, flute; Susan de Witt Smith, piano. Koch International Classics 3-7154-2H1 (1993). CD: Keith Pettway, flute; Louis Hobbs, piano. Delta Classic Records DC 0191 (2000, Mississippoi classic). ----- for saxophone & chamber ensemble. ----- for saxophone & piano. CD: Sierra Winds [Felix Viscuglia, saxophone; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994). CD: Sierra Winds [Felix Viscuglia, saxophone; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on board!). ----- for orchestra. ----- for violin & piano, arr. by Louis Kaufman. CD: Fritz Gearhart, violin; Victor Steinhardt, piano. Koch International 7546 (2002; Oregon festival of American music). CD: Zina Schiff, violin; Cameron Grant, piano (1994). 4-Tay CD 4005 (1997, Here’s one). Radiant night, == AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and 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. Duration: 117:00. Video: Filmakers Library, c2001. Reverie, for organ (1962). Los Angeles: Avant Music, Western International Music, 1962 (A.G.O prelude book). Première: 1962/III/12; Pasadena; Pasadena Presbyterian Church; Robert Pritchard, organ. Duration: 3:56. Library: Library of Congress (holograph). CD: Nancy Cooper, organ (Richard L. Bond Op. 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). International Society – African to American Music (2003). CD: Lucius Weathersby, organ (Father Willis organ, 1864; St. Michael and All Angels Church, Great Torrington, UK). Albany 440 (2001; Spiritual fantasy). CD: Philip Brunelle, organ. Collins Classics 14542 (1996, Witness, vol. 2). Liner notes: Dominique-René de Lerma. CD: Philip Brunelle, organ. Clarion CL 8905 CD (2004, Witness, Skyward my people rose, Music of William Grant Still). Liner notes: Dominique-René de Lerma. Rhapsody, soprano & orchestra (1955). Mission Viejo CA: WGS Music. 1. Pastorale; 2. Romance; 3. Lullaby; 4. Paen. Text: Verna Arvey. 1. Pastorale; 2. Romance; 3. Lullaby; 4. Paean. Duration: 15:00. Commission: Southside Conference, for Mattiwilda Dobbs. Dedication: Larry Allyn Headlee, in memoriam. AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano). 3 Rhythmic spirituals, for SATB & piano (1956). Duration: 9:00. ----- for voice & chamber orchestra. Flagstaff: WGS Music. ----- Lord, I looked down the road, for SATB & piano (1956). New York: Bourne, 1961. (807; #2951; B204886). 11p. AC: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOCA 1001 (1996). CD: Marvin Hayes, narrator; Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-A111 (2000, Centennial retrospective). CD: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-1060 (1996; A festive Sunday with William Grant Still). LP: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOLP 1001 (1996). ----- Hard trials for SATB & piano (1956). New York: Bourne, 1961 (808; #2952). 6p. AC: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOCA 1001 (1996). CD: Marvin Hayes, narrator; Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-A111 (2000, Centennial retrospective). CD: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-1060 (1996). LP: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOLP 1001 (1996). ----- Holy spirit, don't you leave me, for SATB & piano (1956). New York: Bourne, 1961 (809; #1953; 10566). 9p. AC: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOCA 1001 (1996). CD: Marvin Hayes, narrator; Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-A111 (2000, Centennial retrospective). CD: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-1060 (1996). LP: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOLP 1001 (1996). Ring play, for piano (1962). New York: J. Fischer & Bro., 1964 (Twentieth-century piano music, ed. by Bernice Frost). Duration: 1:00. Rising tide, for SSATTBB & piano (1939). Glen Rock: J. Fischer & Bro., 1951. (Fischer edition, 7809; #J.F.&B. 7809-7) 8p. Text: Albert Stillman. Commission: World’s Fair Committee. Selected as theme music for the New York World’s Fair, 1939. Duration: 3:00. 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 World’s Fair music). ----- for TTBB & piano. Glen Rock: J. Fischer & Bro., 1951. ----- for medium voice & piano. New York: J. Fischer & Bro., 1939. 5p. (#7525) ----- for medium voice (optional) & orchestra. New York: J. Fischer & Bro., 1939. 3p. & 20 parts. (#7526). Library: Spingarn. ----- for piano. CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996). Romance, for saxophone & piano (1954). New York: Bourne, 1966 (#B211193) Dedication: Sigurd Rascher. Originally intended to be a movement of a larger work. Duration: 3:00. Library: Library of Congress. AC: Robert Umiker, alto saxophone; Arthur Tollefson, piano (1984). NASOCA 1-1001 (1996); Roncorp EMS-007. CD: Bill Perconti, saxophone; James Marsh, piano. Centaur 2335. 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-1060 (1996; A festive Sunday with William Grant Still). CD: Sierra Winds [Felix Viscuglia, saxophone; Carol Urban-Silvers, piano]. Cambria CD 1983 (1995, Get on board!). CD: Sierra Winds [Felix Viscuglia, saxophone; Carol Urban-Silvers, piano]. Cambria CD 1083 (1994). LP: Robert Umiker, alto saxophone; Arthur Tollefson, piano (1984). NASO LP 1-1001 (1996). ----- for saxophone & chamber orchestra. New York: International Music. AC: Performer not identified. CANA 1001 (1984). CD: Kenneth Tse, saxophone; == (2002). CD: Lawrence Gwozdz, alto saxophone; Bohuslav Martinu Philharmonic; Kirk Trevor, conductor. Albany TROY 331 (1999). CD: Wildy Zumwalt, saxophone; Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling. LP: Performer not identified. NASO 1001 (1984). ----- for trombone & piano, arr. by Douglas Yeo. Sahdji, for dancers, bass, SATB & orchestra, in 1 scene (1930). New York: Carl Fischer. 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. Dedication: Howard Hanson. Duration: 45:00. 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. Mercury MG-50257 (1960). LP: Eastman School of Music Chorus; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. Mercury SR 90-50257 (1960). LP: Morgan State University Choir; London Symphony Orchestra, Paul Freeman, conductor. Columbia M-33433 (1975; The Black composers series, vol. 7). ----- Suite. Duration: 20:30. 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. Audio House AHS-30F75 (1975). ----- piano-vocal score. New York: Carl Fischer, 1941. 63p. Library: Library of Congress. ----- New York: Carl Fischer, 1961, 1941. 47p. (American composers edition). Library: Columbia (incomplete), Library of Congress (65-80155/M; also reproduction of holograph). ----- typescript scenario. Library: Columbia. ---- 4 Dances, for piano & strings. ----- Finale CD: Marvin Hayes, narrator; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor (1951). Cambria CD-A111 (2000, Centennial retrospective). ----- Suite. Duration: 20:30. LP: Eastman School of Music Chorus; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. Mercury MG-50257 (1960). LP: Eastman School of Music Chorus; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. Mercury SR-90257 (1960). Saint Louis blues, by W. C. Handy, arr. by William Grant Still (1919?). CD: Marvin Hayes, narrator; 369th Infantry Band; James Reese Europe, conductor (1984). Cambria CD-A111 (2000, Centennial retrospective). Sea pieces: Song, by Edward MacDowell, arr. by William Grant Still. CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling. Sentimental song, for orchestra (1953). Instrumentation: 2222, p Eh bcl, 4331, timp, cel, harp, strings. Duration: 10:00. Library: Library of Congress. Serenade, for flute, clarinet, harp & orchestra (1957). Mission Viejo CA: WGS Music. Duration: 8:00. 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. Duration: 7:16. CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene). ----- for flute, clarinet, harp, piano & strings. ----- for orchestra, arr.by George Berres [?] 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. by Peter W. Dykema). Duration: 3:00. See also Folk suite, band. ----- for medium voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000. AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano). Sipping cider through a straw, for SATB & piano (c1945?). ----- for SAT & piano. Song for the lonely, for medium voice & piano (1953). Los Angeles: WGS Music. Text: Verna Arvey. Duration: 3:48. Recorded: LP: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-7278 (1972). Song for the valiant, for low voice & piano (1952). Boston: Richard D. Row, 1952 (#R.D.R. 794-6). 7p. Text: Verna Arvey. Dedication: Jerome Hines. Première: Marie Powers. Duration: 3:00. Library: Library of Congress, Spingarn. ----- for low voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000. ----- for low voice & orchestra. Song of a city, for voice, SATB & orchestra (1938). New York: J. Fischer & Bro., 1939. Text: Albert Stillman. Instrumentation: 3222 Eh bcl, 4331, timp, 2 perc, harp, piano, strings. Based on Rising tide. Duration: 10:00. See also: Victory tide. ----- for medium voice & piano. ----- for piano. ----- for SSATBB & piano. ----- for TTBB & piano. Song of the hunter, for medium voice & piano (1968). New York: Holt, Rinehart & Winston (Exploring music, ed. by Beth Landis). Text: Verna Arvey. Duration: 1:00. Songs; A medley, for instrumental ensemble (1927?). Includes Song of the rivermen; Slave chant; Oh! Dem golden slippers; I’m goin’ where nobody knows my name; Medley of Ain’t misbehavin’and Sweet Georgia Brown; Some of these days; Love will find a way; St. Louis blues. Songs of separation, for medium voice & piano (1949). New York: Leeds, 1949 (#658-11). 12p. 1. 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. Duration: 7:16. Library: Columbia, Library of Congress, Spingarn (1949 imprint & manuscript of no. 5). ----- 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: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-633. AC: Bernadine Oliphint, soprano; Carl Henry, piano (1971/VI/28, Indiana University). CD: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas. CD: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Music & Arts OC 633 (1972). CD: Dina Cameryn Foy, soprano; Polly Brecht, piano. DCF Records DCF-001 (1996, Remembrance; African-American songs). CD: Oral Moses, bass; [Ann Sears, piano?]. Albany TROY-459 (2001; Amen!). CD: Videmus [Robert Honeysucker, baritone; Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still). LP: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-7152 (1972). LP: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-7278 (1972). ----- for medium voice, string quartet & piano. ----- for low voice & orchestra. Instrumentation: 2222, 4000, timp, perc, cel, harp, strings. LP: Cynthia Bedford, mezzo-soprano; Oakland Youth Orchestra; Robert Hughes, conductor. Desto DC-7107. CD: CBS Symphony, the Standard Hour == Bay Cities BCD 1033 (1991). ----- 1. Idolatry CD: Fleur de Son Classics (2000). -----. 2. Poème. CD: Fleur de Son Classics (2000). ----- 3. Parted. AT: Joan Forde, mezzo-soprano; Judy May, piano. CD: Fleur de Son Classics (2000). ----- 4. If you should go. AC: George Shirley, tenor; Christina Dahl, piano (1995/III/31, Lawrence University, Ben Holt Memorial Concert Series). AT: Joan Forde, mezzo-soprano; Judy May, piano. AC: George Shirley, tenor; Wayne Sanders, piano (1976/VI/23, Westminster Choir School). ----- for flute & piano. CD: Alexa Still, flute; ==, piano. Koch 3-7192-2H1 (1994). ----- 5. A Black Pierrot. AT: Joan Forde, mezzo-soprano; Judy May, piano. 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. 8p. -----for medium voice & orchestra. Instrumentation: 2222, 4000, timp, perc, cel, harp, strings. Dedication: Frieta Shaw, Hannah Bierhoff, Edyth and Eugene Pearson, Joyce Hansen and Muriel Rahn. LP: Cynthia Bedford, mezzo-soprano; Oakland Youth Orchestra; Robert Hughes, conductor. Desto DC-7107 (1970; The Black composer in America). ----- for violin & piano [?]. CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman). Spirituals; A medley (1927?). Perhaps the final version of The devotion of a people and/or From the heart of a believer. Withdrawn. AC: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASO CA 1001 (1994). QUESTIONABLE ENTRY CD: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). Cambria CD-1060 (1994). QUESTIONABLE ENTRY Steal away to Jesus, for soprano, SAT & piano (1945?). CD: Duke University Chorale. NC 27708-0065 (1997; In these delightful, pleasant groves). Stormy weather, incidental film music. ----- Stock sketches, or Short sketches. Suite, violin & piano (1943). Los Angeles: Delkas Music, 1945. 28p. & part (violin part ed. by Louis Kaufman). 1. African dancer, after the bronze sculpture by Richard Barthe; majestically; vigorously; 2. Mother and child, after the lithograph by Sargent Johnson; slowly and expressively; 3. Gamin, after the bronze sculpture by Augusta Savage; rhythmically and humorously. Dedication: Louis and Annette Kaufman. Première: 1944/IV/15; Boston; Jordan Hall; Louis Kaufman, violin. Duration: 11:22. AC: Louis Kaufman, violin; Annette Kaufman, piano. WGS M-1001. AC: Mary Louise Boehm, violin; unidentified pianist (1985; American Music Inaugural concert). Pantheon CA-PFN 2231 (1985). AC: Melissa White, violin; Michael Kim, piano (1997/X/04, Lawrence University, Ben Holt Memorial Concert Series). AC: Louis Kaufman violin; Anette Kaufman, piano. Orion ORS-633. CD: Fritz Gearhart, violin; Paul Tardif, piano. Koch 3-7268-2 (1996). CD: Linda Rosenthal, violin; Lincoln Mayorga, piano. Town Hall THCD-45 (c1999, Fiddle-de-bop). CD: Portia Hawkins, violin; Felix Farrar, piano. Wavetree (2001, African-American sampler). CD: Videmus [Lynn Chang, violin; Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still). LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7152 (1971). LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7278 (1971). VC: Melissa White, violin; Michael Kim, piano (1997/X/04, Lawrence University, Ben Holt Memorial Concert Series). ----- for violin & orchestra. New York: Leeds. 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-1121 (1999; The violin artistry of Louis Kaufman). CD: CBS Symphony, the Standard Hour == Bay Cities BCD 1033 (1991). CD: Louis Kaufman, violin; Standard Symphony Orchestra; Henry Svedrofsky, conductor (1947). Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas. ----- 2. Mother and child. CD: Louis Kaufman, violin; Standard Symphony Orchestra; Henry Svedrofsky, conductor (1947). Cambria CD-A111 (2000, A centennail retrospective). ----- for flute & piano. CD: Alexa Still, flute; Susan De Witt Smith, piano. Koch 7192. CD: Keith Pettway, flute; Louis Hobbs, piano. Delta Classic Records DC 0191 (2000, Mississippi classic). ----- for string orchestra. CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 1995; The American scene). ----- for violoncello [and piano?], arr. by T. Holley. ----- 1. African dancer. ----- for flute, piano & string orchestra. ----- 3. Gamin, for flute & piano. CD: Keith Pettway, flute; Louis Hobbs, piano. Delta Classic Records DC 0191 (2000, Mississippi classic). CD: Alexa Still, flute; Susan De Witt Smith, piano. Koch 3-7192-2H1 (1994). CD: Carlyn Lloyd-Ford, flute; unidentified pianist. Ti-L-Comusic TLC-990002 (1995). ----- for flute, piano and string orchestra. ----- for string orchestra. Swanee River; Old folks at home, for piano (1939). New York: Robbins, 1939. (29 modern piano interpretations of Swanee River). Duration: 2:56. CD: Denver Oldham, piano. Koch International Classics 3-7084-2H1 (1991). ----- for SATB; arr. by Dana Paul Pena. Aylesbury UK: Bardic Editions. CD: The Ensemble Singers of the Plymouth Music Series of Minnesota; Philip Brunelle, conductor. Collins Classics 14542 (1996, Witness, vol. 2). CD: VocalEssence Ensemble Singers; Philip Brunelle, conductor. Clarion CL 8905 CD (2004, Witness, Skyward my people rose, Music of William Grant Still). Liner notes: Dominique-René de Lerma. Swanee River, for piano (1939). New York: Robbins, 1939. (29 modern piano interpretations of Swannee River). Duration: 2:00. Symphony, no. 1 (1930, Afro-American symphony). New York: J. Fischer & Bro., 1935 (no. 0318). 88p. 1. Moderato assai; longing [7:15]; 2. Adagio; sorrow [5:14]; 3. Animato; humor [4:00]; 4. Lento con resoluzione; aspiration [7:15]. Dedication: Irving Schwerké. Première: 1931/X/29; Rochester; Eastman School of Music; American Composers’ Concert; Howard Hanson, conductor. Duration: 23:45. Instrumentation: 3222 (p) Eh bcl, 4331, 3 perc, cel, harp, tenor banjo, strings. Text: Paul Laurence Dunbar [prefaced]. Library of Congress (holograph, 101p. 74-226255). LP [?]: 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). ----- rev. 1969. 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. 1). CD: Cincinnati Philharmonia Orchestra; Jindong Cai, conductor. Centaur CRC 2331 (1997). CD: Detroit Symphony Orcestra; Neemi Järvi, conductor. Chandos CHAN 9154 (1993). CD: Royal Philharmonic Orchestra; Karl Krueger, conductor (1965). Bridge 9086 (1999). CD: Royal Philharmonic Orchestra; Karl Krueger, conductor (1965). Library of Congress CD 106 LP: London Symphony Orchestra; Paul Freeman, conductor. Columbia M-32782 (1974; The Black composers series, vol. 2). Liner notes: Dominique-René de Lerma. LP: London Symphony Orchestra; Paul Freeman, conductor. == P9-19424 (==; The Black composers series, vol. 2). Liner notes: Dominique-René de Lerma. ----- 1. Moderato assai, for band, arr. by Melvin Miles. Thesis (M.A., music education) Morgan State University, 1978 (A transcription for concert band of the first movement from William Grant Still's Afro-American Symphony). Library: Morgan State University. ----- 3. Animato; Humor. New York: W. W. Norton, == 78rpm: Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. Victor 20549-B (1941). 78rpm [?]: NBC Symphony Orchestra; Max Reiter, conductor.. 78rpm: All American Youth Orchestra; Leopold Stokowski, conductor (1940/XI/13). Columbia 11992 (1944). ----- for reduced orchestra. New York: J. Fischer, 1937 (#J.F.&B. 0366). 7p., piano score. Library: Spingarn. CD: Marvin Hayes, narrator; Detroit Symphony Orchestra; Neemi Järvi, conductor. Cambria CD-A111 (2000, Centennial retrospective). CD: Detroit Symphony Orchestra; Neemi Järvi, conductor. Sony Music A12 26638 (1996; Norton recorded anthology of Western music). LP: Vienna Symphony; Karl Kreuger, conductor. New Records NRLP-105. LP: All American Youth Orchestra; Leopold Stokowski, conductor (1940/XI/13). LSSA 6 LP: Unidentified performers. Keyboard Publications (1972?; Pathways to music; From jazz to rock). ----- for 2 pianos. Symphony, no. 2, G minor (1936; Of a new race). New York: J. Fischer & Bro., 1937. 105p. 1. Slowly, yearnings; 2. Slowly and deeply expressive, sorrow; 3. Moderately fast, humor; 4. Moderately slow, aspiration expressed through religious fervour. Première: 1937/XII/10; Philadelphia Orchestra; Leopold Stokowski, conductor. Dedication: Isabel Morse Jones. Duration: 25:00. 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). 19p. LP: San Francisco Symphony Orchestra; William Grant Still, conductor (1940?==). Glendale Legend GLLP-8011 (1984; William Grant Still conducts William Grant Still). ----- unidentified excerpt. AC: Los Angeles WPA Orchestra and Chorus; Verna Arvey, piano; William Grant Still, conductor (1937). Glendale Legend GLCA-8011 (1984; William Grant Still conducts William Grant Still). Symphony, no. 3 (1958; Sunday symphony). Mission Viejo CA: WGS Music. 1. Awakening; moderately; 2. Prayer; very slowly; 3. Relaxation; gaily; 4. Day’s end an a new beginning; resolutely. Instrumentation: 3222 (p) Eh bcl, 4331, timp, 3 perc, cel, harp, strings. Dedication: Christian Dupriez. Première: 1984/II/12; Harrison AK; North Arkansas Symphony; Carlton R. Woods, conductor. Duration: 28:00. The original third symphony, following revision, was numbered five. AC: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor. CANA 1001 (1984). AC: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASO CA 1001 (1994). CD: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). Cambria CD-1060 (1994). CD: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor. Cambria CD-1060 (1996; A festive Sunday with William Grant Still. LP: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor. NASO 1001 (1984). LP: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASO LP 1001 (1996). Symphony, no. 4 (1947; Autochthonous). Mission Viejo CA: WGS Music. 1. Moderato; 2. Slowly; 3. With a graceful lilt; 4. Slowly and reverently. Instrumentation: 3222 (p) Eh bcl, 4331, timp, 3 perc, cel, harp, strings. Dedication: Maurice Kessler. Première: 1951/III/18; Oklahoma City Symphony Orchestra; Victor Alessandro, conductor; Mutual Radio broadcast. Library: Library of Congress (reproduction of holograph, 73p.). Duration: 29:00. 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). Symphony, no. 5 (1945, 1958; Western Hemisphere). Mission Viejo CA: WGS Music. 1. 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. Dedication: Victoria Juarez Burke. Première: 1970/XI/09; Oberlin College; Robert Baustian, conductor. Prior to revision of 1958, this was regarded as the composer's third symphony. Duration: 25:00. Terrible trailer, for treble instruments & piano. Texas moaner blues, by Clarence Williams, arr. by William Grant Still (early 1920s). New York: MCA Music. The American scene: 5 suites for young Americans, for orchestra (1959). Mission Viejo CA: WGS Music. Duration: 50:00. ----- selections, arr. for band. 1. Tomb of the unknown soldier; 2. A New Orleans night; 3. Berkshire night; 4. Tribal dance; 5. Grand Teton. CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-003 (1995). The American scene, Suite I; The East, for orchestra (1957).  1. On the village green; 2. Berkshire night; 3. Manhattan skyline. Première: 1990/XI/18; Memphis; Rhodes Civic Orchestra; Jack Abel, conductor. CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene). ----- 2. Berkshire night. Première: 1964/X; Rochester Civis Symphony; Paul White, conductor. ----- for band. ----- for 2 oboes, 2 clarinets, 2 bassoons & piano. The American scene, Suite II; The South, for orchestra (1957). 1. Florida night; 2. Levee land; 3. A New Orleans street. Première: 1990/XI/18; Memphis; Rhodes Civic Orchestra; Jack Abel, conductor. ----- 1. Florida night. Première: 1960/III/31; Standard School Broadcast, NBC Radio Network. ----- 2. Levee land. Première: 1959/II/05; Standard School Broadcast, NBC Radio Network. ----- 3. A New Orleans street. Première: 1959/II/05; Standard School Broadcast, NBC Radio Network. ----- for band. The American scene, Suite III; The old West, for orchestra (1957). 1. Song of the plainsmen; 2. Sioux love song; 3. Tribal dance. Première: 1990/XI/18; Memphis; Rhodes Civic Orchestra; Jack Abel, conductor. ----- 1. Songs of the plainsmen. LP: All-State Group, National Music Camp, Interlochen (1971). ----- 2. Sioux love song. LP: All-State Group, National Music Camp, Interlochen (1971). ----- 3. Tribal dance. Première: 1964/X; Rochester Civic Symphony; Paul White, conductor. ----- for band. The American scene, Suite IV; The far West, for orchestra (1957). 1. The plaza; 2. Sundown land; 3. Navaho country. Première: 1990/XI/18; Memphis; Rhodes Civic Orchestra; Jack Abel, conductor. CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene). The American scene, Suite V; A mountain, a memorial, and a song, for orchestra (1957). 1. Grand Teton; 2. Tomb of the unknown soldier; 3. Song of the rivermen. Première: 1990/XI/18; Memphis; Rhodes Civic Orchestra; Jack Abel, conductor. CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene). ----- 1. Grand Teton. Première: 1960/III/31; Standard School Broadcast, NBC Radio Network. ----- for band. ----- 2. Tomb of the unknown soldier. Première: 1962/II/19; Bevery Hills Symphony Orchestra; Herbert Weiskopf, conductor. ----- for band. The Black man dances; Suite, for piano & orchestra (1935). 1. Moderato assai; 2. [no tempo indication]; 3. Moderato assai; 4. Allegro moderato. Duration: 10:00. Text: Bruce Forsythe. Commission: Paul Whiteman. Withdrawn. CD: Richard Fields, piano; Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling. The blind man, for SSA & piano. New York: American Book Co. (ABC choral art series, v3). ----- for tenor & piano. The breath of a rose, medium voice & piano (by 1928). New York: G. Schirmer, 1928 (#33804). 5p. Text: Langston Hughes. Library: Columbia, Library of Congress, Schomburg, Spingarn. ----- New York: G. Schirmer (A new anthology of American songs; 25 songs by native composers). AT: Helene Oatts, soprano; Robert L. Morris, piano. (1969, Indiana University). CD: == Cambria CD-1112 (1999). CD: Dina Cameryn Foy, soprano; Polly Brecht, piano. DCF Records DCF-001 (1996, Remembrance; African-American songs). The citadel, medium voice & piano (1956). Mission Viejo CA: WGS Music. Text: Virginia Brasier Perlee. Duration: 2:00. Withdrawn. ----- for medium voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000. ----- for medium voice & string orchestra. AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano). CD: Margaret Astrup, soprano; Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene). 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). The devotion of a people; Spirituals, medium voice & orchestra (1961). 33p. The dark madonna, for orchestra, by Will Donaldson, arr. by William Grant Still. The devotion of a people; Spirituals, for medium voice & orchestra (1961). 33p. Library: Library of Congress. The land of dreams, for 3 female sings & chamber orchestra. Première [?]: 1925/II/8; New York, Aeolian Hall; Vladimir Shavitch. The little red schoolhouse, for orchestra (1957). New York: Southern Music, 1977. 1. Little conqueror; 2. Egyptian princess; 3. Capt. Kidd, Jr; 4. Colleen Bawn; 5. Petey. 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. Duration: 15:30. Library: Library of Congress (also 1957 manuscript). ----- for band. New York: Southern Music, 1977. 43p. Library: Library of Congress (78-770094). CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-001. 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. (American composers' edition) 37p. Text: Verna Arvey. Instrumentation: 2222, 3220, timp, 2 perc, harp, strings. Duration: 19:00. Première: 1955/II/15; Jackson (MS) Symphony Orchestra; Theodore Russell, conductor. Library: Library of Congress (LC 74-228146). ----- piano-vocal score. New York: Carl Fischer, 1974. 26p. (American composers' edition). Library: Library of Congress (LC 74-228150) The path of glory, for bass-baritone & orchestra (1962). Duration: 15:00. 1. Prologue; 2. Evocation; 3. Interlude; 4. Call to battlke; 4. Interlude; 5. Judgment; 6. Interlude; 7. Elegy. Text: Verna Arvey. Written for Jerome Hines. Première: 1990/IV/22; Grand Forks ND; Holy Family Church; Herbert V. R. P. Jones, bass-baritone; Grand Forks Symphony; John Deal, conductor. ----- for voice & piano. The peaceful land, for orchestra (1960). 9p. New York:, Theodore Presser (American music edition). 9p. Instrumentation: 2222, 3221, harp, strings. Dedication: United Nations. Première: 1961/X/22; University of Miami Symphony Orchestra; Fabien Sevitsky, conductor. Won: National Federation of Music Clubs award, and Aeolian Music Foundation award. Duration: 9:00-10:00. Library: Library of Congress. The pillar, opera in 3 acts, for dancer, 10 soloists, SATB & orchestra (1955). Mission Viejo CA: WGS Music. Text: Verna Arvey. Duration: 120:00. Dedication: Leiland Atherton Irish. Library: Library of Congress (piano-vocal score, 200p., 1965) ----- Hear me, hear my plea!, for tenor & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2. The prince and the mermaid suite, incidental music to the play by Carol Stone, for soloists, chorus & chamber orchestra (1965). Mission Viejo CA: WGS Music. 1. Song of the flea; 2. Waltz; 3. Minuet; 4. Scherzo; 5. Summerland [see also 3 Visions]. Première: 1966/III/04; San Fernando Valley State College; Carol Stone, director. Duration: 20:00. CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music). ----- for chamber ensemble. ----- Song of the sea, for string quartet. The sorcerer, ballet (1933). Text: Bruce Forsythe. Withdrawn ----- for piano. The voice of the Lord; Mizmor Ledovid, for tenor, SATB & organ (1946). New York: M. Witmark, 1946 (#20552). 10p. Text: Psalm 29. Commission: Park Avenue Synagogue, New York. Dedication: Edwin R. Embree. Première: 1946/V/10; New York; Park Avenue Synagogue; David J. Patterman, cantor. Duration: 5:00. Library: Library of Congress, Schomburg. ----- New York: G. Schirmer (Synagogue music by contemporary composers). Threnody; In memory of Jan Sibelius, for orchestra (1965). Mission Viejo CA: WGS Music. 11p. Instrumentation: 2222 (p), 3221, timp, 2 perc, harp, strings. Commission: Fabien Sevitsky. Première: 1965/III/14; University of Miami Symphony Orchestra; Fabien Sevitsky, conductor. Duration: 4:00. Library: Library of Congress. Theodora goes wild, incidental film music for the Columbia Pictures production. Those who wait, for mezzo-soprano, baritone, SATB & orchestra (1942). Text: Verna Arvey. Duration: 9:00. Dedication: Nimrod Allen and Clara Allen. Première: 1992/XI/29; Milwaukee; St. Mark’s 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. 36p. Commission: U.S. Military Academy, West Point, for the its sesquicentennial. Dedication: Francis E. 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. Duration: 11:00. 78rpm: United States Military Academy Band; Francis E. Resta, conductor; Pittsburgh International Contemporary Music Festival. ASCAP CB-177 (1952). Library of Congress (also 16p. condensed score). LP: United States Military Academy Band; Francis E. Resta, conductor. Pittsburgh Festival of Contemporary Music ASCAP CB-177. Tomorrow's city, for narrator, SATB & orchestra. (1938). Library: Library of Congress (19p., condensed score; also 16p., condensed score, second 1938 revision). Toward distant shores, for SATB. New York: American Book Co. (ABC choral art series, v3). Text: Judith Anne Headlee [Still], 7 Traceries, for piano (1939). New York: J. Fischer & Bro., 1940 (Fischer edition, 7632; #7632-24). 24p. 1. 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]; 6. Wailing dawn [dedication: Militza and James]; 7. A bit of wit [dedication: Florence and James]. Duration: 17:00. 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 1900’s, 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 1900’s, 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 Still’s parents were talented teachers at Alabama A&M College in Huntsville, Alabama (Sewell and Dwight 285).  However, Still’s 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).  Still’s goals were high. Thinking only of music, Still set out to achieve his goal of becoming an accomplished African-American musician.  His mother supported her son’s decisions.  However, she knew African-Americans did not often succeed in the music industry.  Her good sense and determination strongly influenced Still’s life (Sewell and Dwight 286).  Taking his mother’s 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 Still’s 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 College’s Conservatory of Music.  He did not earn a degree at Oberlin.  Instead, he left and went to New York to work professionally (Brown 25).  Still’s 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, Still’s musical ambition never ceased.  After his release from the navy, he became an arranger and musician for W. C. Handy.  He created the band’s first arrangement of St. Louis Blues and Beale Street Blues (Verongos).  William’s 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 Still’s mother, Carrie Still, had a chance to witness her son’s 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).   Still’s 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 mother’s 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 Still’s 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. 1. U.S.A., and Bayou Legend (“Mississippi-Negroes” Section E). Verna Arvey Still and William Grant Still were married for thirty-nine years (“Mississippi-Negroes” Section E).  Still’s 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. Photo by Nancy Jacobs Still’s granddaughter accepts the award for the Mississippi Musicians Hall of Fame. Photo by Nancy Jacobs 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 World’s Fair (Brown 26).  A Guggenheim Fellowship and Governor’s Outstanding Mississippian Award were also given to him for his amazing talents.  William Grant Still’s work is appreciated throughout the United States.  A William Grant Still Symposium was held at St. Augustine’s 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., had on American music. 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. Timeline 1895 – William Grant Still is born in Woodville, Mississippi, on May 11. – William’s father dies three months after William is born. 1911 – Studies at Wilberforce College in Wilberforce, Ohio, until 1914. 1915 – He marries Grace Bundy. 1916 – Works for W.C. Handy as an arranger. 1917 – Attends Oberlin College in Oberlin, Ohio. 1918 – Serves in the United States Navy. 1919 – Rejoins Pace and Handy for a two- years. 1921 – Leaves the W. C. Handy organization. – Joins Harry Pace’s 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. 1925 – Composes Levee Land. 1926 – Writes the lively From the Black Belt. 1927 – Receives the second Harmon Award. – William’s mother dies. 1930 – Finishes poem, Africa. 1931 – October 29, Still’s Afro-American Symphony is performed, under Howard Hanson, by The Rochester Philharmonic Orchestra. 1932 – First marriage ends. 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. – William’s 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. 1949 – Costaso debut. – 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. – Composes Songs of Separation. 1952 – To You, America! is performed. 1953 – Receives Phi Beta Sigma George Washington Carver Award. – A Freedman’s 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.” 1956 – Composes Ennanga. 1961 – Receives the prize offered by the U.S. committee for U.N., the N.F.M.C. 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.P.P.A. in Washington D.C. 1972 – Awarded Richard Henry Lee Patriotism Award from Knott’s 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 Still’s Symposium is held at St. Augustine’s College. 1999–William 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.[2] 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.[3] 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.[4] Contents 1 Life 2 Career 3 Legacy and honors 4 Selected compositions 5 See also 6 Further reading 7 References 8 Sources 9 External links Life William Grant Still was born on May 11, 1895, in Woodville, Mississippi. He was the son of two teachers, Carrie Lena (Fambro) Still (1872–1927) and William Grant Still Sr. (1871–1895). His father was a partner in a grocery store and performed as a local bandleader. William Grant Still Sr. 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. Shepperson, who nurtured his stepson William's musical interests by taking him to operettas and buying Red Seal recordings of classical music, which the boy greatly enjoyed. The two attended a number of performances by musicians on tour. 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. W. 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, 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. [6] Career 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. C. Handy's band. 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. Johnson. 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.[7] 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.[7] 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".[7] Legacy and honors William Grant Still received three Guggenheim Fellowships.[8][citation needed] 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.[citation needed] He was posthumously awarded the 1982 Mississippi Institute of Arts and Letters award for music composition for his opera A Bayou Legend. Selected compositions William Grant Still From the Land of Dreams (1924, believed lost until 1997) Darker America (1924) Levee Land (1925) From the Black Belt (1926) La Guiablese, ballet (1927) Sahdji, ballet (1930) Africa (1930) Symphony No. 1 "Afro-American" (1930) A Deserted Plantation (1933) Blue Steel, opera (1934) Symphony No. 2 in G minor "Song of a New Race" (1937) Lenox Avenue, for radio announcer, chorus, & orchestra (1937) Seven Traceries (1939) 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) Old California, for orchestra (1941) Troubled Island, opera, produced 1949 (1937–39) 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) Festive Overture (1944) Poem for Orchestra (1944) Symphony No. 5, "Western Hemisphere" (1945, revised 1970)[9] Wailing Women, for soprano and chorus (1946) Symphony No. 4, "Autochthonous" (1947) 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) Little Red Schoolhouse (1957) The American Scene (1957) Ennanga (1958) Symphony No. 3, "Sunday Symphony" (1958)[10] Lyric Quartet (1960) Highway 1 U.S.A., opera (1963) See also Samuel Coleridge-Taylor, an earlier Black British composer whom Still greatly admired List of African-American firsts Black conductors List of African-American composers Further reading Janower, David, "The Choral Works of William Grant Still", in The Choral Journal, May 1995. Reef, Catherine (2003). William Grant Still: African American Composer. Morgan Reynolds. ISBN 1-931798-11-7 Sewell, George A., and Margaret L. Dwight (1984). William Grant Still: America's Greatest Black Composer. Jackson: University Press of Mississippi Soll, Beverly (2005). I Dream A World: The Operas of William Grant Still. Fayetteville: University of Arkansas Press. ISBN 1-55728-789-9 Southern, Eileen (1984). William Grant Still – Trailblazer. Fayetteville: University of Arkansas Press. Still, Verna Arvey (1984). In One Lifetime. Fayetteville: University of Arkansas Press. Still, Judith Anne, Michael J. Dabrishus, and Carolyn L. Quin (1996). William Grant Still: A Bio-Bibliography. Greenwood Press. Still, Judith Anne (2006). Just Tell the Story. The Master Player Library. Still, William Grant (2011). My Life My Words, a William Grant Still autobiography. The Master Player Library.
  • Topic: Music
  • Binding: Hardcover
  • Author: WILLIAM GRANT STILL
  • Subject: Biography & Autobiography
  • Language: English
  • Special Attributes: Limited Edition

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