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Get A Day for Dancing: The Life and Music of Lloyd Pfautsch PDF

By Kenneth W. Hart

ISBN-10: 1574415670

ISBN-13: 9781574415674

After incomes his theology measure from Union Seminary in manhattan, Lloyd Pfautsch (1921–2003) discovered his real calling in church tune. He was once invited to Southern Methodist college in 1958 to begin their graduate software in sacred track and remained there for 34 years. open air the college, he shaped the Dallas Civic refrain and led it for 25 years. He was once nationally recognized for his undertaking and the standard of the musicians he produced in addition to for his compositions, lots of that are illustrated right here together with his handwritten notations.

this is often the 1st biography of this significant determine, and it really is instructed from the point of view of an established colleague and buddy. Aligned with the biography, Kenneth W. Hart analyzes a few of Pfautsch's countless numbers of compositions. this can be the definitive paintings on the most influential American choral musicians of the 20th century.

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Extra info for A Day for Dancing: The Life and Music of Lloyd Pfautsch

Example text

But the recalcitrant organist did it anyway. Predictably, on the top of the second page, as the texture changed, the organ dropped out. A slapping of pages followed as an alert tenor near the console realized the problem and took his score to the organ, opened it and held it in place for the organist. The organist rejoined the choir on the next page. ” And they didn’t. ” Although capable of both tact and grace, the emerging conductor was not always able to apply either under performance pressure.

They recorded the work and also sang it over NBC. But he sang with Stravinsky several times. He recorded Symphony of Psalms twice and also sang it live over CBS radio, all with the composer conducting. He found Stravinsky a “square” conductor, with an unexpressive beat pattern. Pfautsch recalled: “He knew what he wanted and he would usually get it, but not through his conducting technique. He got it through just being there and standing in front of you so you could sort of tell in his eyes what he wanted.

As Carlton Young observed: “Pfautsch has Shaw’s demeanor: if you will just stand in front of me and watch we can make music together. ”7 “At first,” Pfautsch noted, “I was a typical Shaw disciple. I used a lot of his rehearsal procedures. ” So he did attend when he could. The first six weeks consisted of Shaw and Julius Herford talking about the analysis of a Bach motet. Finally the students in class got together and told Robert they really wanted to conduct, that they appreciated the analysis but they really wanted to conduct for his comments and help.

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A Day for Dancing: The Life and Music of Lloyd Pfautsch by Kenneth W. Hart


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