Hearing The Pulitzers

In this episode, Andrew and Dave discuss the second time the Pulitzer Board decided not to award a music prize. In fact, in 1964, they did not give awards in the categories of drama, music, and fiction. It was the first time since the Pulitzer Prizes began in 1917 that three separate categories did not have an awardee. To deepen the intrigue, the music board was split, and at least one member want...

In this episode, Dave and Andrew discuss the third person to win two Pulitzers, Samuel Barber. Barber's prize-winning opera Vanessa was a qualified hit in Episode 16, but how does his Piano Concerto stack up?   (Photo of Pianist John Browning, 1966)   If you'd like more information about Samuel Barber or his Piano Concerto No. 1, we recommend: Emily Lu's 1986 dissertation from the University of Wi...

In this episode, Dave and Andrew turn to the fifth opera to win a Pulitzer Prize, Robert Ward's The Crucible. The opera is based on Arthur Miller's award-winning play that even today is considered an American classic. Does the opera hold up as well? If you're interested in more information about Robert Ward or The Crucible, we recommend: Robert Kolt's book Robert Ward's The Crucible: Creating an A...

In this episode, Dave and Andrew return to Walter Piston, who first won the Pulitzer in 1948 for his Third Symphony. In 1961, not even a year into his retirement, Piston won again for his Seventh Symphony. Although Piston's music isn't performed much today, Carol Oja has argued that "From the perspective of the early 21st century, the music of Walter Piston sounds mighty appealing." Will Dave and...

In this episode, Dave and Andrew discuss the first Pulitzer winner of the 1960s, Elliott Carter for his Second String Quartet. Carter's work has been frequently performed, widely celebrated, and heavily analyzed, but will it be a hit or a miss for our hosts?     If you're interested in learning more about Carter or his Second String Quartet, we recommend: David Thurmaier's  "'A Disturbing Lack of...

In this episode, Dave and Andrew discuss John La Montaine's first piano concerto, a work that made a splash in the late 1950s only to disappear from the repertoire. Similarly, La Montaine has faded from view, so what made this work catch the Pulitzer committee's attention? If you'd like to learn more about John La Montaine, we recommend: Frank Oteri's 2003 interview " Rediscovering John La Montain...

In this episode, Dave and Andrew explore the fourth opera to win the Pulitzer Prize in the 1950s, Samuel Barber's Vanessa. In the mid-20th century United States, Samuel Barber was one of the most performed American composers, known especially for his beautiful vocal music that closely mirrored European models. But with the Pulitzer traditionally awarding works that are more "American" in sound, do...

Norman Dello Joio is one of those composers you might know depending on your background. Sing choral music? You might know him from A Jubilant Song. Play in band? You might have performed his Fantasies on a Theme by Haydn. He was accomplished and prolific composer, but we did not know his Pulitzer winning Meditations on Ecclesiastes before this episode. Join Dave and Andrew as they explore if it f...

Like Gian Carlo Menotti before him, Ernst Toch was a European composer who won an American prize. Unlike Menotti, Toch did not have the same success in the United States that he had in Europe and never fully identified as an "American" composer. Join us as we find out how his third symphony, inspired by his experience as a Jew fleeing the Nazis in the 1930s, might tell us something about Toch's pl...

In this episode, Dave and Andrew explore the first repeat winner of the Pulitzer Prize in Music. We covered Gian Carlo Menotti's The Consul in Episode 8 and now he's back again with The Saint of Bleecker Street. We were generally favorable toward The Consul, finding it an effective, if derivative opera. Will Menotti score another hit with this story of a young woman who displays the stigmata?   If...

Quincy Porter bridges many of the themes we've seen so far in the podcast: he was the last student of nineteenth-century American composer Horatio Parker (who also taught 1947 prize  winner Charles Ives), he taught composition at an Ivy League school (Yale, in this case) for many years, and he was celebrated for his orchestral music during his lifetime, but is virtually forgotten today. From that...

It might surprise you to learn that over the past 80 years, there have been a few years when the Pulitzer Board has elected not to award a prize, even when the music committee had a recommendation. In this episode we explore the first of these "no prize" years, discuss what pieces were considered, and make a guess as to why the Pulitzer Board chose to not award a winner.

As we move further into the 1950s, we're entering the doldrums of the Pulitzer Prizes, where few winners have entered the repertoire. Gail Kubik was a phenomenon in his day, writing equally well for the concert hall and the movie theatre. His Symphony Concertante began life as a film score before he extracted themes to craft this work featuring viola, trumpet, and piano. So why have you never hear...

Douglas Moore is a name we've encountered before on Hearing the Pulitzers because he was instrumental in helping establish the Pulitzer Prizes. A decade later, he finally won his own Pulitzer for an opera based on Ole Edvart Rølvaag's novel Giants in the Earth. The opera follows the triumphs and tragedies of Norwegian settlers in the Dakota Territories of 1873, but there isn't even a recording tod...

In this episode, Dave and Andrew explore the winner of the eighth Pulitzer Prize in Music, Gian Carlo Menotti for his opera The Consul. In the middle part of the 20th century, Menotti was one of the most famous composers in America, particularly after his perennial Christmas favorite Amahl and the Night Visitors premiered on December 24, 1951, as the first opera composed for television. The Consul...

In this episode, Dave and Andrew explore the winner of the seventh Pulitzer Prize in Music, Virgil Thomson for his score to the film Louisiana Story.   Virgil Thomson is perhaps best known for his operas like Four Saints in Three Acts or his precise and incisive music criticism at the New York Herald Tribune. But he was also a pioneer in film scoring, particularly documentary film scoring during t...

In this episode, Dave and Andrew explore the winner of the sixth Pulitzer Prize in Music, Walter Piston for his Symphony No. 3.     Walter Piston was a long-time teacher at Harvard University (Leonard Bernstein and Elliott Carter count among his students) and author of several influential textbooks, including Principles of Harmonic Analysis (1933) and Orchestration (1955). He was also, according t...

In this episode, Dave and Andrew explore the winner of the fifth Pulitzer Prize in Music, Charles E. Ives for his Symphony No. 3, "The Camp Meeting." This piece, largely scored/written between 1908-11, features many of Ives's favorite techniques, including musical borrowing, cumulative form, and mixtures of harmonic techniques all wrapped up in a short and compact chamber symphony. Ives himself ha...

In this episode, Dave and Andrew explore the winner of the fourth Pulitzer Prize in Music, Leo Sowerby for Canticle of the Sun. You might not have heard of Sowerby unless you regularly perform church music, but in the mid-20th century he was a powerhouse, especially in the Chicago musical scene. See what we think about Sowerby's setting of Francis of Assisi's hymn and why we think Sowerby might be...

In this episode, Dave and Andrew explore the winner of the third Pulitzer Prize in Music, Aaron Copland for Appalachian Spring. Copland is among the most important and well-known American composers, and his style defined "America" in music for generations. Join us as we explore why Appalachian Spring has become a classic in American music and its reverberations down to today. If you'd like more in...

In this episode, Dave and Andrew explore the winner of the second Pulitzer Prize in Music, Howard Hanson and his Symphony No. 4 ("Requiem"). Hanson is known today for his impact on how we teach and train musicians in colleges and universities, but his music has fallen a bit out of favor. Join us as we see if his exclusion from concert halls is justified.   If you'd like to know more about Howard H...

In this episode, Dave and Andrew explore the winner of the first Pulitzer Prize in Music, William Schuman and his Secular Cantata No. 2, "A Free Song." The work was William Schuman's contribution to the American war effort during World War II, but remains more of a curiosity than a mainstay in the choral/orchestral repertoire. If you'd like to know more about William Schuman and how he won the pri...

Welcome to "Hearing the Pulitzers," a new podcast that examines and analyzes each winning Pulitzer Prize in Music composition and composer! In the first episode, Andrew and Dave discuss the impetus behind starting the podcast, how each episode will be organized, and some opening thoughts on the history of the music prize and the whole concept and meaning of the Pulitzer Prize. Please subscribe to...