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Norman Dello Joio

 
Oxford Grove Music Encyclopedia:

Norman Dello Joio

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(b New York, 24 Jan 1913). American composer. He studied with Wagenaar at the Juilliard School (1939-41) and with Hindemith (1941) and has taught at various institutions, in 1972 becoming professor of music at Boston University. His works, influenced by 19th-century Italian opera, Catholic church music and jazz, are in a bold style. Operas (including three on the story of StJoan), large-scale choral pieces and orchestral music predominate.


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Oxford Dictionary of Dance:

Norman Dello Joio

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Dello Joio, Norman (b New York, 24 Jan. 1913). US composer. Noted especially for his melodic gifts, he wrote the music for Loring's Prairie (1942), Kidd's On Stage! (1945), Graham's Diversion of Angels (1948), Seraphic Dialogue (orig. Triumph of St. Joan, 1951), and A Time of Snow (1968), and Limón's There is a Time (1956).

Gale Musician Profiles:

Norman Dello Joio

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Composer, pianist

American composer Norman Dello Joio bridged the gap between contemporary classical music and the musical public with his works during the mid-twentieth century, when many classical composers were pulling away from ordinary listeners and writing pieces that took special training to understand. One of the few contemporary composers who succeeded in making a living at his art with little support from academic or church sources, Dello Joio was a prolific composer who worked in all the major genres of classical music, including symphony, opera, keyboard music, chamber music, and ballet. He also wrote for television, films, and student ensembles. What mattered to Dello Joio was that his music be heard. In the words of his biographer, Thomas A. Bumgardner, Dello Joio "is people-oriented. He considers himself a working musician whose job is to write pleasurable music that communicates immediately with the listener."

The son of immigrants from southern Italy, Norman Dello Joio was born in New York City on January 24, 1913. Various sources have listed his original family name as DiGioio or Ioio, but Bumgardner's biography, Norman Dello Joio, written with the composer's cooperation, mentions no alternate spelling. Dello Joio's father, Casimiro, was descended from a long line of Italian village church organists and had studied music at the Naples Conservatory. Hoping that Norman would follow him into the progression of organ playing, he passed on his conservatory lessons and played through four-hand piano transcriptions of classical masterpieces with his son. Norman was intimidated to the point of dread, but by the time he was 12 he was playing organ and directing the choir at the Star of the Sea Church on City Island, off the New York borough of the Bronx.

Dello Joio's main connection to the other boys in his neighborhood came on the baseball diamond, where he became talented enough that he was once invited to try out for a New York Giants' farm club. Dello Joio attended the Bronx Catholic high school All Hallows Institute, graduating in 1930. His education was interrupted as the Great Depression deepened and he had to contribute to his family's income—which he did primarily by playing the piano in jazz and dance bands. In 1933 he returned to school after winning a scholarship from the Institute of Musical Art. At first he studied organ and music theory, and it was in his theory classes, writing exercises designed to teach the rules of harmony and part-writing, that he started to become fascinated with the idea of being a composer. In 1936 he decided to switch to composition, and eventually won another scholarship, this one at the Juilliard School. A song he wrote that year, "The Ballad of Thomas Jefferson," is his earliest surviving piece.

Enrolling at Juilliard in 1937, he won a prestigious prize, the Elizabeth Sprague Coolidge Award, for his Trio for piano, violin, and cello, during his first year. During this period the Juilliard School was in the process of merging with the Institute of Musical Art, and Dello Joio was able to continue working with his first composition instructor, Bernard Wagenaar. He received a composition degree from Juilliard in 1939 and moved on to the graduate program in composition at the same institution. The biggest influence on his style came from German-born composer Paul Hindemith, with whom Dello Joio worked in 1941 at the Berkshire Music Center in Massachusetts and during the 1941-42 academic year at Yale University. Hindemith's style drew on the musical techniques of eighteenth-century composer Johann Sebastian Bach, and this deepened Dello Joio's own lyrical style. In 1943 Dello Joio won another major prize, the Town Hall Composition Award, for his Magnificat for orchestra; the work reflected Hindemth's ways of using Gregorian chant in his works.

Dello Joio served as musical director for a ballet troupe, the Eugene Loring Dance Players, from 1941 to 1943. Dello Joio and his first wife, Grayce, married on June 5, 1942, partly because Dello Joio thought he was going to be drafted and sent to fight in World War II. He was rejected for service, however, because of a heart arrythmia. Dello Joio and his wife raised three children. The marriage ended in 1971, and in 1974 Dello Joio married his second wife, Barbara. Winning Guggenheim fellowships in 1944 and 1945, he continued to hone a personal style that merged an Italianate lyricism with impeccable technique and, often, a spiritual quality.

Dello Joio taught part-time at Sarah Lawrence College from 1945 to 1950, but composition, rather than teach- ing, remained his central focus. During this period, Dello Joio's compositions were performed repeatedly by major American symphony orchestras. One of the best known was the Variations, Chaconne, and Finale, which was performed by orchestras in Pittsburgh and New York and won the New York Music Critics Circle Award for the best new orchestral work of the 1948-49 season. Dello Joio never lost his affection for jazz, and jazz clarinetist Artie Shaw commissioned a new Dello Joio work, the Concertante for clarinet and orchestra, in 1949.

In 1950 Dello Joio completed a short opera, The Triumph of Joan, which he had originally conceived as a way of bringing students of music, dance, and theater together from their largely separate worlds at Sarah Lawrence. For most of his career he was vitally interested in music education issues, and he believed that the best way to promote contemporary music was to get it into the hands of student musicians. In the 1960s, as chairman of a National Music Council Committee and later of the Contemporary Music Project of the Music Educators National Conference, he worked to create composer residencies in school systems around the country.

Dello Joio resigned his post at Sarah Lawrence in 1950, partly because of demands on his time from organizations wanting to perform his new compositions. Between 1956 and 1972 he was on the faculty of the Mannes College of Music in New York. His level of public exposure in the 1950s rivaled that of well-established composers like Igor Stravinsky and Aaron Copland. The Triumph of Joan, about St. Joan of Arc, was revised and presented on NBC network television in 1956 under a new title, Trial at Rouen, and it was revised again (becoming The Triumph of Saint Joan) for a 1959 production at the New York City Opera. In 1957 Dello Joio won a Pulitzer Prize for his orchestral composition Meditations on Ecclesiastes, derived from a dance work of his own composition called There Is a Time. The following year he was featured on CBS television as part of a series called Profiles of a Composer. Dello Joio also composed music for plays, documentary films, and nonfiction television programs. His ability to keep up with this demanding schedule relied on his habit of waking up at dawn and putting in five hours of composing daily while the rest of the world was just beginning its day.

Dello Joio's opera Blood Moon received negative reviews after its first performances in 1961, and in general the composer's popularity began to decline. This may have had less to do with his own music than with the vogue for the atonal and mathematically oriented serialist system of composition that flowered during the 1960s. Dello Joio wrote a few serialist works but basically never renounced his more accessible idiom. In 1972 he returned to academe, becoming dean of Boston University's School of the Arts. He retired in 1978 but continued to compose into old age. In 2003, at age 90, he composed a new work, Passing Strangers, for the William Floyd High School Choir in Shirley, New York. Norman Dello Joio died at his home in East Hampton, New York, on July 24, 2008.

Selected works
Trio for piano, violin, and cello, 1937.

The Ballad of Thomas Jefferson for voice, published 1943.

Vigil Strange for mixed chorus and piano (four hands), 1943.

Magnificat for orchestra, 1944.

Sextet for three recorders and string trio, 1944.

Suite for piano, 1945.

The Mystic Trumpeter for mixed chorus and French horn, 1945.

Prelude: To a Young Musician for piano, 1945.

To a Lone Sentry for orchestra, 1945.

On Stage, ballet score for orchestra, 1945.

Prelude: To a Young Dancer for piano, 1946.

Concerto for harp and orchestra, 1946.

A Jubilant Song for mixed or women's chorus and piano, 1946.

Sonata 1 for piano, 1947.

A Fable for mixed chorus and piano, 1947.

Madrigal for mixed chorus and piano, 1947.



Sonata 3 for piano, 1948.

Mill Doors for voice, 1948.

Sonata 2 for piano, 1948.

Trio for flute, cello, and piano, 1948.

New Born, for voice, 1948.

There is a Lady Sweet and Kind, for voice, 1948.

Fantasia on a Gregorian Theme for violin and piano, 1949.

Concert Music for orchestra, 1949.

Duo Concertato for cello and piano, 1949.

The Assassination, for voice, 1949.

Lament for voice, 1949.

Diversion of Angels, ballet score for small orchestra, 1949.

Variations and Capriccio for violin and piano, 1949.

Nocturne in E for piano, 1950.

Nocturne in F-sharp for piano, 1950.

Variations, Chaconne, and Finale for orchestra, published 1950.

A Psalm of David, for mixed chorus, strings, brass, and percussion, 1951.

New York Profile for orchestra, 1952.

The Bluebird for mixed chorus and piano,1952.

The Triumph of Saint Joan Symphony, 1952.

Serenade for orchestra (based on "Diversion of Angels"), 1953.

Somebody's Coming for mixed chorus and piano, 1953.

Epigraph for orchestra, 1953.

Song of the Open Road for mixed chorus, trumpet, and piano, 1953.

Song of Affirmation for mixed chorus, soprano, narrator, and orchestra, 1953.

Sweet Sunny for mixed chorus and piano, 1954.

Six Love Songs for voice, 1954.

The Tall Kentuckian, incidental music for soloists, chorus, and orchestra, 1954.

Concertante for clarinet and orchestra, 1955.

Aria and Toccata for two pianos, 1955.

The Ruby, opera in one act, 1955.

Adieu, Mignonne, When You Are Gone for women's chorus and piano, 1955.

The Trial at Rouen, opera in two acts, 1955.

Meditations on Ecclesiastes for string orchestra, 1956.

Air Power, symphonic suite for orchestra, 1957.

To Saint Cecilia for mixed chorus and brass, 1958.

The Triumph of Saint Joan, opera in two acts, 1958.

O Sing unto the Lord for male chorus and organ, 1959.

The Listeners for voice, 1960.

Blood Moon, opera, 1961.

The Holy Infant's Lullaby for voice (also for mixed or women's chorus and piano), 1962.

Family Album for piano four hands, 1962.

Prayers of Cardinal Newman for mixed chorus and organ, 1962.

Three Songs of Adieu for voice, 1962.

Fantasy and Variations for piano and orchestra, 1963.

Variants on a Medieval Tune for band, 1963.

Un Sonetto di Petrarca for voice, 1964.

Colloquies for violin and piano, 1964.

Song's End for female chorus and piano, 1964.

The Louvre, television score, 1964.

Suite for the Young for piano, 1964.

Three Songs of Chopin for orchestra (also for two or four voice chorus with piano or orchestra), 1964.

From Every Horizon for band, 1965.

Laudation for organ, 1965.

Antiphonal Fantasy for organ, brass, and strings, 1966.

Scenes from the Louvre for band, 1966.

Songs of Walt Whitman for mixed chorus and orchestra or piano, 1966.

A Christmas Carol for voice (also for mixed or women's chorus and piano), 1967.

Five Images for piano four hands, 1967.

Air for Strings for string orchestra, 1967.

Five Images for orchestra, 1967.

Proud Music of the Storm for mixed chorus, brass, and organ, 1967.

Bright Star for voice (also for two voice or mixed chorus and piano), 1968.

Christmas Music for piano-four hands (also for mixed chorus and piano), 1968.

Fantasies on a Theme by Haydn for band, 1968.

Years of the Modern for mixed chorus, brass, and percussion, 1968.

Bagatelles for harp, 1969.

Capriccio on the Interval of a Second for piano, 1969.

Homage to Haydn for orchestra, 1969.

Mass for mixed chorus, brass, and organ, 1969.

Note Left on a Doorstep for voice, 1969.

Songs of Abelard for baritone solo and band, 1969.

The Lamentation of Saul for baritone, flute, oboe, clarinet, viola, and piano (also for full orchestra), 1970.

Evocations for mixed chorus and orchestra or piano, 1970.

Lyric Pieces for the Young for piano, 1971.

Choreography for string orchestra, 1972.

The Developing Flutist, suite for flute and piano, 1972.

Of Crows and Clusters for mixed chorus and piano, 1972.

Psalms of Peace for mixed chorus, trumpet, French horn, and organ, 1972.

Come to Me My Love for mixed chorus and piano, 1973.

Concertante for Wind Instruments for band, 1973.

The Poet's Song for mixed chorus and piano, 1974.

Three Essays for clarinet and piano, 1974.

Leisure for mixed chorus and piano, 1975.

Lyric Fantasies for viola and string orchestra (or string quintet), 1975.

Stage Parodies for piano-four hands, 1975.

Diversions for piano, 1975.

Five Lyric Pieces for the Young Organist, 1975.

Mass in Honor of the Blessed Virgin Mary for cantor, congregation, mixed choir and organ (or brass), 1975.

Mass in Honor of the Eucharist for cantor, congregation, mixed choir, and organ, 1975.

Notes from Tom Paine for mixed chorus a cappella, 1975.

Satiric Dances for a Comedy by Aristophanes for band, 1975.

Colonial Ballads for band, 1976.

Colonial Variants for orchestra, 1976.

Songs of Remembrance for baritone voice and orchestra, 1976.

Southern Echoes for orchestra, 1976.

Arietta for string orchestra, 1978.

Caccia for band, 1978.

Concertante for chamber orchestra, 1978.

As of a Dream for narrator, soloists, optional dancers, mixed chorus, and orchestra, 1979.

The Dancing Sergeant for band, 1979.

Salute to Scarlatti for piano or harpsichord, 1980.

Sonata for trumpet and piano, 1980.

Hymns Without Words for mixed chorus and orchestra, 1981.

The Psalmist's Meditation for mixed chorus and piano, 1981.

Concert Variants for piano, 1983.

Ballabili for orchestra, 1983.

Love Songs at Parting for mixed chorus and piano, 1984.



I Dreamed of an Invincible City, for chorus and piano or organ, 1984.

The Vigil, for chorus, brass, and percussion, 1985.

Nativity for soloists, chorus, and orchestra, 1987.

Passing Strangers for choir, 2003.

 Sources
Books
Bumgartner, Thomas A., Norman Dello Joio, Twayne, 1986.
Slonimsky, Nicolas, ed. emeritus, Baker's Biographical Dictionary of Musicians, centennial ed., Schirmer, 2001.

Periodicals
American Record Guide, November-December 1994, p. 99.
Guardian (London, England), November 5, 2008, p. 38.
New York Times, May 18, 2003, p. 42; July 27, 2008, p. A24.

Online
"Norman Dello Joio: Biography," Norman Dello Joio Official Web site, http://www.fp.enter.net/~debrat42/Default.htm (November 24, 2008).
"Norman Dello Joio (1913-2008)," NewMusicBox, http://www.newmusicbox.org/article.nmbx?id=5646 (November 28, 2008).
AMG AllMusic Guide to Classical Music:

Norman Dello Joio

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Norman Dello Joio
  • Genres: Band Music, Keyboard Music, Orchestral Music

Biography

First active as a professional musician in 1927, composer Norman Dello Joio remained a prominent figure on the American landscape at the turn of the next century. A delicate understanding of musical craft as well as an honest, accessible musical language earned him many critical successes and the gratitude of countless audiences, though at times he was rejected by the musical establishment (thinking him to be too accessible to be taken as a serious composer).

Dello Joio's father and godfather were both skilled organists who took it in hand to train the boy on the instrument. At 14, Dello Joio's skill had developed enough to earn him a position at the Star of the Sea Church in New York, where constant exposure to traditional Catholic liturgical music made a lasting impression on the young musician. After attending All Hallow's Institute from 1926 to 1930 and the College of the City of New York from 1932 to 1934 Dello Joio sought more serious musical training at the Institute of Musical Art (1936) and at the Juilliard School (1939-1941). Brief studies with Hindemith in 1941 (at Tanglewood and Yale University) were vital in shaping Dello Joio's compositional outlook.

Throughout his long career Dello Joio held numerous faculty appointments (including positions at Sarah Lawrence College, the Mannes College of Music, and Boston University) and was the recipient of many scholarly honors (including a Pulitzer Prize in 1957 for his string orchestra work Meditations on Ecclesiastes and two Guggenheim fellowships).

Encouraged by Hindemith to shape his compositional identity to suit those influences which compelled him in the most natural way, Dello Joio developed a musical language which effectively synthesizes the worlds of Italian opera, liturgical music, and jazz. While he was sometimes charged with being overly theatrical in his musical gestures, Dello Joio's music never resorts to garishness or overindulgence (as does the music of a great many other "accessible" composers), and it seems likely that a good number of his pieces (such as the Meditations or the second version of the opera The Triumph of St. Joan, 1959) will continue to occupy a place in the repertoire. ~ Blair Johnston, Rovi
Wikipedia on Answers.com:

Norman Dello Joio

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Norman Dello Joio (January 24, 1913 – July 24, 2008) was an American composer.

Contents

Life

He was born Nicodemo DeGioio in New York City to Italian immigrants. He began his musical career as organist and choir director at the Star of the Sea Church on City Island in New York at age 14. His father was an organist, pianist, and vocal coach and coached many opera stars from the Metropolitan Opera. He taught Norman piano starting at the age of four. In his teens, Norman began studying organ with his godfather, Pietro Yon, who was the organist at Saint Patrick's Cathedral. In 1939, he received a scholarship to the Juilliard School, where he studied composition with Bernard Wagenaar.

While he was a student, he worked as organist at St. Anne's Church, but he soon decided that he didn't want to make his living as an organist. In 1941, he began studying with Paul Hindemith, who encouraged him to follow his own lyrical bent, rather than sacrificing it to the atonal systems then popular.

By the late forties, he was considered one of the foremost American composers.[citation needed] He received numerous awards and much recognition. He was a prolific composer in a variety of genres, but is perhaps best known for his choral music. Perhaps Dello Joio's most famous work in the wind ensemble category is his Fantasies on a Theme by Haydn, which was composed for the Michigan State University Wind Ensemble and has since been performed thousands of times across the world. Dello Joio also wrote several pieces for high school and professional string orchestra, including the difficult piece Choreography: Three Dances for String Orchestra. In 1948 he became associated with the dancer Martha Graham, for whom he wrote several works, including Diversion of Angels and Seraphic Dialogue, a recomposition for chamber orchestra of his Symphony: The Triumph of Saint Joan.

He won the 1957 Pulitzer Prize for Music for his Meditations on Ecclesiastes; first performed at the Juilliard School on April 20, 1956. His Variations, Chaconne and Finale won the New York Critics Circle Award in 1948. It is an orchestral version of his Piano Sonata No. 1.

In 1965, Dello Joio received the Emmy Award for the "most outstanding music written for television in the 1964-1965 Season" for his score to the 1964 NBC television special "The Louvre." The composer created a five movement suite for wind band entitled 'Scenes from "The Louvre."' The suite was commissioned by Baldwin-Wallace College for their symphonic band, and was premiered in on March 13, 1966 with the composer conducting.

He taught at Sarah Lawrence College from 1944 to 1950, and at the Mannes College of Music. He also served as professor and dean at Boston University's College of Fine Arts. In 1978, he retired and moved to Long Island. He donated his personal archive of manuscripts and papers to the Music Division of The New York Public Library for the Performing Arts.

Despite infirmities, Dello Joio remained active as a composer until his final years, continuing to produce chamber, choral, and even orchestral music. He died in his sleep on July 24, 2008 at his home in East Hampton, New York.[1][2]

He was the father of American Olympic medalist (equestrian), Norman Dello Joio.[citation needed]

His music

Dello Joio's early works already reveal certain characteristics of his style. He likes to use traditional chants as a cantus firmus with richly contrapuntal settings. It is amusing, but not at all incongruous, to find Gregorian melodies and jazzy rhythms rubbing shoulders, for they are blended in a creatively spontaneous texture.

The Ruby (1953), which is based on a "thriller" and is genuine blood-and-thunder music, has more dramatic drive and impact than the other more subtle and refined works. Dello Joio is not slavishly imitative of classic forms, and often, in his sonatas, develops new procedures. But his design is always clear; he never wanders, even when he is a bit prolix. He is especially happy in his variation technique.[citation needed]

One of the most notable uses of his music is his score for choreographer Martha Graham's Diversion of Angels.

Catalogue of works

[3] [4]

  • Suite for piano, 1940
  • Ballad of Thomas Jefferson for voice, 1943
  • Vigil Strange for mixed chorus and piano (four hands), 1943
  • Magnificat for orchestra, 1944
  • Sextet for three recorders and string trio, 1944
  • The Mystic Trumpeter for mixed chorus, soprano, and French horn, 1944
  • Prelude: To a Young Musician for piano, 1945
  • To a Lone Sentry for orchestra, 1945
  • On Stage ballet score for orchestra, 1945
  • Suite from "On Stage" for two pianos, 1945
  • Prelude: To a Young Dancer for piano, 1946
  • Concerto for harp and orchestra, 1946
  • A Jubilant Song for mixed or women's chorus and piano, 1946
  • Sonata 1 for piano, 1947
  • A Fable for mixed chorus and piano, 1947
  • Madrigal for mixed chorus and piano, 1947
  • Sonata 2 for piano, 1948
  • Mill Doors for voice, 1948
  • Sonata 3 for piano, 1948
  • Trio for flute, cello, and piano, 1948
  • New Born for voice, 1948
  • There is a Lady Sweet and Kind for voice, 1948
  • Fantasia on a Gregorian Theme for violin and piano, 1949
  • Concert Music for orchestra, 1949
  • Duo Concertato for cello and piano, 1949
  • The Assassination for voice, 1949
  • Lament for voice, 1949
  • Diversion of Angels ballet score for small orchestra, 1949
  • Variations and Capriccio for violin and piano, 1949
  • Nocturne in E for piano, 1950
  • Nocturne in F-sharp for piano, 1950
  • Variations, Chaconne and Finale for orchestra, 1950
  • "The Triumph of St. Joan", opera in 3 Acts, 1950 (later adapted into The Trial at Rouen for television and into a one act opera)
  • A Psalm of David for mixed chorus, strings, brass, and percussion, 1951
  • New York Profiles for orchestra, 1952
  • The Bluebird for mixed chorus and piano, 1952
  • Serenade for orchestra (based on "Diversion of Angels"), 1953
  • Somebody's Coming for mixed chorus and piano, 1953
  • Epigraph for orchestra, 1953
  • Song of the Open Road for mixed chorus, trumpet, and piano, 1953
  • Song of Affirmation for mixed chorus, soprano, narrator, and orchestra, 1953
  • Sweet Sunny for mixed chorus and piano, 1954
  • Six Love Songs for voice, 1954
  • The Tall Kentuckian incidental music for soloists, chorus, and orchestra, 1954
  • Concertante for clarinet and orchestra, 1955
  • Aria and Toccata for two pianos, 1955
  • The Ruby opera in one act, 1955
  • Adieu, Mignonne, When You Are Gone for women's chorus and piano, 1955
  • Meditations on Ecclesiastes for string orchestra, 1956
  • Air Power symphonic suite for orchestra, 1957
  • To Saint Cecilia for mixed chorus and brass, 1958
  • O Sing unto the Lord for male chorus and organ, 1959
  • The Listeners for voice, 1960
  • The Holy Infant's Lullaby for voice (also for mixed or women's chorus and piano), 1962
  • Family Album for piano four hands, 1962
  • Prayers of Cardinal Newman for mixed chorus and organ, 1962
  • Three Songs of Adieu for voice, 1962
  • Fantasy and Variations for piano and orchestra, 1963
  • Fantasies on a Theme by Haydn, 1963
  • Variants on a Medieval Tune for band, 1963
  • Un Sonetto di Petrarca for voice, 1964
  • Colloquies for violin and piano, 1964
  • Song's End for female chorus and piano, 1964
  • The Louvre television score, 1964
  • Suite for the Young for piano, 1964
  • Three Songs of Chopin for orchestra (also for two or four voice chorus with piano or orchestra), 1964
  • From Every Horizon for band, 1965
  • Laudation for organ, 1965
  • Antiphonal Fantasy for organ, brass, and strings, 1966
  • Scenes from "The Louvre" for band, 1966
  • Songs of Walt Whitman for mixed chorus and orchestra or piano, 1966
  • A Christmas Carol for voice (also for mixed or women's chorus and piano), 1967
  • Five Images for piano four hands, 1967
  • Air for Strings for string orchestra, 1967
  • Five Images for orchestra, 1967
  • Proud Music of the Storm for mixed chorus, brass, and organ, 1967
  • Bright Star for voice (also for two voice or mixed chorus and piano), 1968
  • Christmas Music for piano-four hands (also for mixed chorus and piano), 1968
  • Fantasies on a Theme by Haydn for band, 1968
  • Years of the Modern for mixed chorus, brass, and percussion, 1968
  • Bagatelles for harp, 1969
  • Capriccio on the Interval of a Second for piano, 1969
  • Homage to Haydn for orchestra, 1969
  • Mass for mixed chorus, brass, and organ, 1969
  • Note Left on a Doorstep for voice, 1969
  • Songs of Abelard for baritone solo and band, 1969
  • The Lamentation of Saul for baritone, flute, oboe, clarinet, viola, and piano (also for full orchestra), 1970
  • Evocations for mixed chorus and orchestra or piano, 1970
  • Lyric Pieces for the Young for piano, 1971
  • Choreography for string orchestra, 1972
  • The Developing Flutist, suite for flute and piano, 1972
  • Of Crows and Clusters for mixed chorus and piano, 1972
  • Psalms of Peace for mixed chorus, trumpet, French horn, and organ, 1972
  • Come to Me My Love for mixed chorus and piano, 1973
  • Concertante for Wind Instruments for band, 1973
  • The Poet's Song for mixed chorus and piano, 1974
  • Three Essays for clarinet and piano, 1974
  • Leisure for mixed chorus and piano, 1975
  • Lyric Fantasies for viola and string orchestra (or string quintet), 1975
  • Stage Parodies for piano-four hands, 1975
  • Diversions for piano, 1975
  • Five Lyric Pieces for the Young Organist, 1975
  • Mass in Honor of the Blessed Virgin Mary for cantor, congregation, mixed choir, and organ (or brass), 1975
  • Mass in Honor of the Eucharist for cantor, congregation, mixed choir, and organ, 1975
  • Notes from Tom Paine for mixed chorus a cappella, 1975
  • Satiric Dances for a Comedy by Aristophanes for band, 1975
  • Colonial Ballads for band, 1976
  • Colonial Variants for orchestra, 1976
  • Songs of Remembrance for baritone voice and orchestra, 1976
  • Southern Echoes for orchestra, 1976
  • Arietta for string orchestra, 1978
  • Caccia for band, 1978
  • Concertante for chamber orchestra, 1978
  • As of a Dream for Narrator, Soloists, Optional Dancers, Mixed Chorus, and Orchestra, 1979
  • The Dancing Sergeant for Band, 1979
  • Salute to Scarlatti for Piano or Harpsichord, 1980
  • Sonata for Trumpet and Piano, 1980
  • Hymns Without Words for Mixed Chorus and Orchestra, 1981
  • The Psalmist's Meditation for Mixed Chorus and Piano, 1981
  • Concert Variants for Piano, 1983
  • Ballabili for Orchestra, 1983
  • Love Songs at Parting for Mixed Chorus and Piano, 1984
  • I Dreamed of an Invincible City for Chorus and Piano/Organ, 1984
  • The Vigil, for Chorus, Brass, and Percussion, 1985
  • Nativity for Soloists, Chorus, and Orchestra, 1987
  • Passing Strangers for Choir, 2003

References

  1. ^ Obituary in NewMusicBox, journal of The American Music Center
  2. ^ Daniel J. Wakin, Norman Dello Joio, Prolific and Popular Composer, Is Dead at 95 New York Times 27 July 2008
  3. ^ Enter.net, Norman Dello Joio's compositions
  4. ^ Answers.com, Norman Dello Joio's Works

External links

This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)

 
 

 

Copyrights:

Oxford Grove Music Encyclopedia. The Concise Grove Dictionary of Music. Copyright © 1994 by Oxford University Press, Inc.. All rights reserved.  Read more
Oxford Dictionary of Dance. The Oxford Dictionary of Dance. Copyright © 2000, 2004 by Oxford University Press. All rights reserved.  Read more
Gale Musician Profiles. Contemporary Musicians © 1989-2010 The Gale Group, Inc. All rights reserved.  Read more
AMG AllMusic Guide to Classical Music . Copyright © 2012 All Media Guide, LLC. Content provided by All Music Guide ®, a trademark of All Media Guide, LLC. All rights reserved.  Read more
Wikipedia on Answers.com. This article is licensed under the Creative Commons Attribution/Share-Alike License. It uses material from the Wikipedia article Norman Dello Joio.  Read more

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