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Opera and lyrical music
Sheet music for Ernst Bacon
Piano Accompaniment,Baritone Voice — Score — Romantic Period,Funeral
Composed by Frederic Bacon-Shone. Romantic Period, Funeral. Score. 4 pages. Published by Heather Bacon-Shone (S0.136245).
Choral, Chorus, Piano — Octavo — Classical, Contemporary
Composed by D. Bacon. Arranged by Denise Bacon. BH Mary Goetze. Classical, Contemporary. Octavo. 4 pages. Boosey & Hawkes #M051462544. Published by Boosey & Hawkes (HL.48004066).
Flute,Fife — — Baroque Period,Folk
Composed by Greg R. Bacon. Arranged by John Ciaglia. Baroque Period, Folk. 3 pages. Published by Greg R. Bacon (S0.608469).
Organ,Trumpet,Choir,SATB — Score,Solo Part — Renaissance,Christian,Sacred,General Worship,Easter
Composed by Frederic Bacon-Shone. Renaissance, Christian, Sacred, General Worship, Easter. Score, Solo Part. 9 pages. Published by Heather Bacon-Shone (S0.136457).
cello, piano — Sheet Music — Modern
Composed by Ernst Bacon (1898-1990). Piano(s) & Other Instruments. Modern. Sheet Music. Duration 00:22:00. Edition Peters #EP66758. Published by Edition Peters (PE.EP66758).
Choral, Chorus, Flute, Percussion, Piano, Recorder, Violin, Bells — Octavo — American, Classical, Contemporary
Composed by Ernst Bacon (1898-1990). BH Secular Choral. American, Classical, Contemporary. Octavo. 8 pages. Boosey & Hawkes #M051459445. Published by Boosey & Hawkes (HL.48003811).
Piano, 2 Pianos, 4 Hands — — Blues, Classical, Duet, Jazz
Piano Duet. Composed by Ernst Bacon (1898-1990). Edited by Otto Luenin. Piano Duet. Blues, Classical, Duet, Jazz. 50 pages. G. Schirmer #AMP194332-19. Published by G. Schirmer (HL.50236200).
Musik in der Residenzstadt Weimar — Herzogin Anna Amalia; Johann Ernst Bach; Adam Drese; Prinz Johann Ernst; Johann Pfeiffer; Georg Quitschreiber; Nicolaus Rosthius; Johann Caspar Vogler; Melchior Vulpius; Johann Gottfried Walther; Ernst Wilhelm Wolf
— Book —
Composed by Herzogin Anna Amalia; Johann Ernst Bach; Adam Drese; Prinz Johann Ernst; Johann Pfeiffer; Georg Quitschreiber; Nicolaus Rosthius; Johann Caspar Vogler; Melchior Vulpius; Johann Gottfried Walther; Ernst Wilhelm Wolf. Edited by Klaus Hortschansky. Denkmaler Mitteldeutscher Barockmusik, Volume I/1. Book. Friedrich Hofmeister Musikverlag #FH 8351. Published by Friedrich Hofmeister Musikverlag (HF.FH-8351).
Cello, Double Bass — instrumental solo book — Baroque
Schirmer Library of Classics Volume 1898 Score and Parts. Composed by Bernadetto Marcello and Benedetto Marcello (1686-1739). Edited by Analee Bacon, Lucas Drew, Lucas Drew, and Analee Bacon. String Solo. Baroque. Instrumental solo book. With solo part, standard notation, fingerings and piano accompaniment. 66 pages. G. Schirmer #LB1898. Published by G. Schirmer (HL.50262690).
Voice — — Classical
First Steps in A Cappella Singing. Composed by Bacon. Edition Schott. Classical. 52 pages. Schott Music #EA1. Published by Schott Music (HL.49012491).
(This is not a comprehensive list) 2 symphonies; 2 piano concertos; 4 orchestral suites; over 250 art songs set to Dickenson, Whitman, Blake, Brontë, Teasdale, Sandburg, Housman, and Shakespeare; numerous choral works, various chamber music, including sonatas and suites for violin, viola, cello, and wind instruments; various piano works including solos, 2-piano and 4-hand pieces.
Among the awards he received, was the Pulitzer Award in 1932 for the First Symphony.
(contributed by Sam Farrell <email@example.com>
As you can tell from his dates, this year (1998) is the centennial of the birth of Ernst Bacon! The Ernst Bacon Society was formed in January 1996 to promote the awareness of his music and other works. The society has been working hard to plan performances around the country. If anyone is interested in a list of centennial concerts, obtaining scores or any other information please contact: Sam Farrell, 6 Malverna Road, Roslindale, MA 02131 (e-mail at firstname.lastname@example.org), or Ellen Bacon at 8 Drovers Lane, De Witt, NY 13214, USA.
Born in Chicago 100 years ago on May 26, 1988, Bacon’s Austrian mother gave him a love of song and an early start on the piano. Although his varied career included appearances as pianist and conductor, along with teaching and directing positions, his deepest preoccupation was always composing. His musical awards included a Pulitzer Fellowship in 1932 for his symphony in D minor and 3 Guggenheim Fellowships.
From his first job as opera coach at the Eastman School in the early ‘20s, he went on to receive a Masters Degree from the University of California at Berkeley and to teach at the San Francisco Conservatory of Music under Ernest Bloch. During the ‘30s he was director of the WPA Federal Music Project and Orchestra in San Francisco and founded the Carmel Bach Festival. At Syracuse University he was director of the School of Music from 1945 to 1947 and composer in residence and professor of piano until his retirement in 1963.
In 1964 he returned to the West, settling in the small town of Orinda, east of the Berkeley hills. Here, as everywhere else, he drew his greatest inspiration from nature, jotting down notes as he explored local trails. His fertile imagination and constant creative efforts left little time for self-promotion, and although nearly blind in old age, he continued to compose until the very end of his 91 years.
At the age of 19, while majoring in math at Northwestern University, Bacon wrote a complex treatise exploring all possible harmonies. However, when he began to compose music in his 20s, he rejected a purely cerebral approach. He took the position that music is an art, not a science, an that its source should be human and imaginative, rather than abstract and analytical.
Ernst Bacon was self taught in composition, except for two years of study with Karl Weigl in Vienna. Experiencing the depression of post-war Europe at first hand, he understood that the avant-garde movement reflected the pessimism of its origins and set out instead to write music that expressed the vitality and affirmation of our own country. Sometimes compared with Bartok, he incorporated into his music the history and folklore, as well as the indigenous music, poetry, folksongs, jazz rhythms, and the very landscape of America. These elements come through in the piano and violin selections on today’s program.
As with Schubert, a large body of more than 250 art songs is at the heart of an oeuvre that also includes numerous chamber, orchestral, and choral works. According to Marshall Bialosky, Ernst Bacon was "one of the first composers to discover Emily Dickinson... and set a great number of her poems into some of the finest art song music, if not actually the very finest, of any American composer in our history." He was deeply drawn by Walt Whitman’s amplitude of vision, as well as by the poignant, economy of Dickinson. Other poets with whom he felt an affinity included Sandburg (who was a personal friend), Blake, Brontë, Teasdale and Housman.
(contributed by Sam Farrell <email@example.com>