Product Description: This is the first substantial collection ever published of songs by Virgil Thomson (1896-1989) composer of the operas ÊThe Mother of Us AllÊ and ÊFour Saints in Three Acts.Ê Thomson's musical style was based in Americana but he was attracted to abstract poetry...read more

Product Description: This is the first substantial collection ever published of songs by Virgil Thomson (1896-1989) composer of the operas ÊThe Mother of Us AllÊ and ÊFour Saints in Three Acts.Ê Thomson's musical style was based in Americana but he was attracted to abstract poetry...read more

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Product Description: (Vocal Large Works). Available for the first time as a set, this joyful cycle of five religious songs illustrates Thompson's extraordinary skill at matching music to text. (Various religious texts.) Contents: Before Sleeping * From the Canticle of the Sun * Jerusalem, My Happy Home * My Master Hath a Garden * Sung by the Shepherds...read more

Spanning two decades, from 1968 to 1989, the letters―written as jeux d'espirit and presented in the same spirit―touch on Thomson's life, compositions, and writings; Gertrude Stein and Marcel Duchamp; music criticism; travel, food and wine; the local musical scene; and plans (sometimes fulfilled, sometimes not) for concerts and recordings. The record Thomson's correspondence with composer and writer Charles Shere, soprano Margery Tede, and other San Francisco friends. Editorial annotations place the letters in context.

Product Description: (Brass Solo). Based on the Pervigilium Veneris Anonymous Latin Stanzas of the 2nd or 4th century A.D. and is translated by Thompson for baritone and orchestra.

Product Description: Virgil Thomson reveals how he learned to compose music for English poetry and prose.

The American composer and music critic recounts events and acquaintances from his Missouri childhood, his sojourns in Paris between the wars and his eventual rise to world fame

Product Description: This is fascinating book about music criticism. The evolved first as an essay delivered as an address in Sanders Theater, Cambridge, Mass. in 1947 at the Harvard Symposium on Music Criticism.