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Books on the topic 'Virgil Thomson'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Virgil Thomson. New York: E.P. Dutton, 1985.

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2

1954-, Page Tim, and Page Vanessa Weeks, eds. Selected letters of Virgil Thomson. New York: Summit Books, 1988.

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3

Meckna, Michael. Virgil Thomson: A bio-bibliography. New York: Greenwood, 1986.

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4

Virgil Thomson: A bio-bibliography. New York: Greenwood Press, 1986.

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5

Virgil Thomson: Composer on the aisle. New York: W.W. Norton, 1997.

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6

Richard, Kostelanetz, ed. Virgil Thomson: A reader : selected writings, 1924-1984. New York: Routledge, 2002.

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7

Library, Yale University Music. The Virgil Thomson papers: Yale University Music Library, archival collection MSS 29. New Haven, Conn: The Library, 1985.

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8

Prepare for saints: Gertrude Stein, Virgil Thomson, and the mainstreaming of American modernism. New York: Random House, 1998.

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9

1935-, Shere Charles, and Tede Margery 1940-, eds. Everbest ever: Correspondence with Bay Area friends. Berkeley, Calif: Fallen Leaf Press, 1996.

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10

Morelli, Giovanni. Very well saints: A sum of deconstructions : illazioni su Gertrude Stein e Virgil Thomson (Paris 1928). Firenze: L. S. Olschki, 2000.

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11

Library, Yale University Music. The Virgil Thomson papers: Materials received after 1985 : Yale University Music Library, archival collection MSS 29A. New Haven, Conn: The Library, 1996.

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12

Virgil Thomson's musical portraits. New York: Pendragon Press, 1986.

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13

Goodman, Kevis. Georgic modernity and British romanticism: Poetry and the mediation of history. Cambridge: Cambridge University Press, 2004.

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14

Virgil Thomson. [U.S.]: Virgil Thomson Foundation, 1996.

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15

Koslelanetz. Virgil Thomson. Macmillan Publishing Company, 1998.

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16

Virgil Thomson. [U.S.]: Virgil Thomson Foundation, 1996.

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17

Kostelanetz, Richard. Virgil Thomson. Routledge, 2013. http://dx.doi.org/10.4324/9780203953327.

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18

Tim, Page. Virgil Thomson: Selected Letters. Simon & Schuster, 1988.

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19

Virgil Thomson Collected Songs. G. Schirmer, 2011.

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20

The Virgil Thomson Centenary 1896-1996. Metropolitan Life Foundation, 1996.

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21

Tim, Page. The Selected Letters of Virgil Thomson. Summit Books, 1989.

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22

editor, Page Tim 1954, ed. Virgil Thomson: Music chronicles, 1940-1954. Library of America, 2014.

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23

Kostelanetz, R. Virgil Thomson: A Reader: Selected Writings, 1924-1984. Routledge, 2002.

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24

Virgil Thomson : A Reader: Selected Writings, 1924-1984. Taylor & Francis Group, 2016.

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25

Tommasini, Anthony. Virgil Thompson: Composer on the Aisle. W. W. Norton & Company, 1998.

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26

Virgil Thompson: Composer on the Aisle. W. W. Norton & Company, 1998.

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27

4 Saints in 3 Acts: A Snapshot of the American Avant-Garde in The 1930s. Manchester University Press, 2017.

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28

1896-1989, Thomson Virgil, Dilworth Thomas, and Holbrook Susan, eds. The letters of Gertrude Stein and Virgil Thomson: Composition as conversation. New York: Oxford University Press, 2009.

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29

Ansari, Emily Abrams. The “Apolitical” Opportunist. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649692.003.0003.

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This chapter examines composer and music critic Virgil Thomson, a man who liked to present himself as apolitical but who had close ties to the federal government and the secretly CIA-funded Congress for Cultural Freedom. Thomson embraced the opportunities that the Cold War created. But unlike William Schuman and Howard Hanson, Thomson showed little interest in the politics motivating such programs. He willingly embraced and advanced the new interpretation of American exceptionalism, although he was not personally invested in it, because it created opportunities to gain greater status for American composers. Thomson’s various Cold War activities help us gain a fuller understanding of centrist American liberalism as it shaped musical life during the Cold War.

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30

Kirkpatrick, John. Twentieth-Century American Masters: Ives, Thomson, Sessions, Cowell, Gershwin, Copland, Carter, Barber, Cage, Bernstein (New Grove). W. W. Norton & Company, 1997.

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31

Kirkpatrick, John. Twentieth-Century American Masters: Ives, Thomson, Sessions, Cowell, Gershwin, Copland, Carter, Barber, Cage, Bernstein (New Grove). W. W. Norton & Company, 1997.

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32

Prepare for Saints: Gertrude Stein, Virgil Thomson, and the Mainstreaming of American Modernism. University of California Press, 1995.

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33

Watson, Steven. Prepare for Saints: Gertrude Stein, Virgil Thomson, and the Mainstreaming of American Modernism. Random House, 1999.

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34

Pollack, Howard. The Little Friends. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0004.

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Latouche had friendship with a circle dubbed by Virgil Thomson “The Little Friends,” which included Harry Dunham, Paul Bowles, Jane Bowles, and Latouche’s future wife Theodora Griffis, the scion of a distinguished and wealthy family. Latouche introduced Jane and Paul Bowles to each other. Latouche’s romantic relationship with Griffis led to marriage, although both were essentially homosexual. The Little Friends formed part of a larger group that included notable composers, such as Copland and Thomson, and artists, such as Kristians Tonny and Frederick Kiesler. Several of these artist friends drew Latouche’s portrait and photographed him. The social settings of these friends included the celebrated salon of Kirk Askew and his wife.

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35

1883-1969, Ansermet Ernest, and Tappolet Claude, eds. Ernest Ansermet, correspondances avec des compositeurs américains (1926-1966): D'Aaron Copland à Virgil Thomson, les grands maîtres du nouveau monde. Genève: Georg, 2006.

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36

Thomson, Virgil. Virgil Thompson. Random House, 2000.

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37

Wierzbicki, James. The Classical Music Mainstream. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040078.003.0008.

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This chapter looks at how the American Symphony Orchestra League reported that thirty million people in the U.S. are actively interested in concert music. This does not mean jazz, popular ditties, hillbilly dance-bands, hymn singing, or wedding marches, but classical music. Writer Virgil Thomson noted in his column that whereas during the previous year ticket buyers had spent $40 million on baseball, patrons of classical music had spent $45 million. This passion for what Thomson called “serious music” had been stirred even as World War II was in progress, and by the end of the Fifties it was still going strong. Never before has there been such an interest in music in America. The changed atmosphere had been apparent even just a few years after the war's end. For composers, this made the future seem very promising.

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38

The state of music & other writings. The Library of America, 2016.

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39

Steichen, James. 1937–1938 (II). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190607418.003.0010.

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After its debut season Ballet Caravan became an increasingly independent organization led by Lincoln Kirstein that pursued an aesthetic agenda more explicitly American than the productions of the American Ballet. Premiering works including Filling Station and Billy the Kid, the company toured from coast to coast and introduced audiences in both small towns and big cities to ballet. It provided choreographic experience for dancers Lew Christensen, Eugene Loring, and William Dollar and commissioned new music from composers Aaron Copland and Virgil Thomson. Through his work with Ballet Caravan, Kirstein hoped to broach the entertainment monopolies of CBS and NBC and displace the dominance of the Russian ballet companies active in the United States. Kirstein’s father Louis was an active advocate for the company, using his connections in corporate America to make introductions for his son.

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40

Walden, Joshua S. Musical Portraits. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653507.001.0001.

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This book explores the wide-ranging but underexamined genre of musical portraiture. It focuses in particular on contemporary and experimental music created between 1945 and the present day, an era in which conceptions of identity have changed alongside increasing innovation in musical composition as well as in the uses of abstraction, mixed media, and other novel techniques in the field of visual portraiture. In the absence of physical likeness, an element typical of portraiture that cannot be depicted in sound, composers have experimented with methods of constructing other attributes of identity in music, such as character, biography, and profession. By studying musical portraits of painters, authors, and modern celebrities, in addition to composers’ self-portraits, the book considers how representational and interpretive processes overlap and differ between music and other art forms, as well as how music is used in the depiction of human identities. With focus on a range of musical portraits by composers including Peter Ablinger, Pierre Boulez, Morton Feldman, Philip Glass, György Ligeti, and Virgil Thomson, and through studies of director Robert Wilson’s ongoing series of video portraits of modern-day celebrities and his “portrait opera” Einstein on the Beach, Musical Portraits offers to contribute to the study of music since 1945 through a detailed examination of contemporary understandings of music’s capacity to depict identity, and of the intersections between music, literature, theater, film, and the visual arts.

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41

Pollack, Howard. The Ballad of John Latouche. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.001.0001.

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Born into a poor Virginian family, John Treville Latouche (1914–1956), in his short life, made a profound mark on America’s musical theater as a lyricist and librettist. The wit and skill of his lyrics elicited comparisons with the likes of Ira Gershwin and Lorenz Hart, but he had too, as Stephen Sondheim noted, “a large vision of what musical theater could be,” and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater, including Cabin in the Sky (1940), Beggar’s Holiday (1946), The Golden Apple (1954), The Ballad of Baby Doe (1956), and Candide (1956). Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, and adapted plays. Meanwhile, as one of Manhattan’s most celebrated raconteurs and hosts, he established friendships with many notables, including Paul and Jane Bowles, Carson McCullers, Frank O’Hara, Dawn Powell, Ned Rorem, Virgil Thomson, and Gore Vidal—a dazzling constellation of diverse artists all attracted to Latouche’s brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche’s diaries and the papers of such collaborators as Leonard Bernstein, Duke Ellington, Douglas Moore, and Jerome Moross to tell for the first time the story of this fascinating man and his work.

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42

Walden, Joshua S. Musical and Literary Portraiture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653507.003.0002.

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The first chapter examines musical portraits of literary figures. It first explores Virgil Thomson’s multiple works in the genre including his portrait of Gertrude Stein, to interpret the influence of Stein’s modernist literary portraits on Thomson’s compositions. It then turns to Pierre Boulez’s orchestral portrait Pli selon pli: portrait de Mallarmé. Analyzing Boulez’s incorporation of elements of Stéphane Mallarmé’s poetry as well as the complex and idiosyncratic theories regarding the relationship between poetry and music that Mallarmé developed in his essays. Through the discussion of these portraits, the chapter addresses the crucial role of language in the musical representation of identity.

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