By Kenneth W. Hart
this is often the 1st biography of this significant determine, and it truly 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 hundreds and hundreds of compositions. this is often the definitive paintings on some of the most influential American choral musicians of the 20 th century.
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Extra info for A Day for Dancing: The Life and Music of Lloyd Pfautsch
He felt that he was a conductor who wrote arrangements for his choir when he needed them. Even though much of his music is based on original composition, rather than settings of existing ones, only late in life did he acknowledge that perhaps he could be considered a composer as well as an arranger and a conductor. He used to feel that one had to make a living by composing in order to assume that mantel. But his publisher and friends often pointed out to him that very, very few composers have not also taught, conducted, and/or performed to round out their careers and pay the bills.
Lloyd dismissed her comment as kind and generous but unlikely to materialize in any significant way. Soon after that he received a telegram from K. C. Lutton saying that he thought Pfautsch was to be offered the James Millican position. That very afternoon he also received a conference call from the president and the dean at Illinois Wesleyan. They offered him their position but wanted an answer that very day. He agreed to accept their offer. The next day, however, James Millican sent a telegram offering him their position at $100 more in annual salary.
After an hour or so Foss had to leave. Afterwards Shaw said to him, “You know, I’m doing some recordings next month. ” And that was his audition for Robert Shaw. 5 Doing the recordings paid $10 per side of a 78-rpm disc. In 1947 that was a significant sum, especially since the Pfautsches’ first baby, Deborah, was born that summer at New York City’s Presbyterian Hospital. The group recorded Shaw’s first Christmas carol album, Bach’s Cantata 4: Christ lag in todesbonden and his Magnificat as well as Sigmund Romberg favorites, favorite opera choruses and the Liebeslieder Waltze of Brahms.
A Day for Dancing: The Life and Music of Lloyd Pfautsch by Kenneth W. Hart