Marion Bauer - Works

Works

(From the list of Bauer's works in New Grove unless otherwise indicated)

Orchestral Works:

  • Lament on an African Theme, Op. 20a, strings (1927)
  • Sun Splendor (?1936)
  • Symphonic Suite, Op. 34, strings (1940)
  • Piano Concerto “American Youth,” Op. 36, (1943) (arranged for 2 pianos 1946)
  • Symphony No. 1, Op. 45, (1947–1950)
  • Prelude and Fugue, Op. 43, flute and strings (1948 rev. 1949)

Chamber works:

  • Up the Ocklawaha, Op. 6, violin and piano (1913)
  • Sonata No. 1, Op. 14, violin and piano (1921 rev. 1922)
  • String Quartet, Op. 20 (1925)
  • Fantasia Quasi una Sonata, Op. 18, violin and piano (1925)
  • Suite (Duo), Op. 25, oboe and clarinet (1932)
  • Sonata, Op. 22, viola or clarinet and piano (1932)
  • Concertino, Op. 32b, oboe, clarinet, and string quartet or orchestra (1939 rev. 1943)
  • Trio Sonata No. 1, Op. 40, flue, cello, piano (1944)
  • Five Pieces (Patterns) Op. 41, string quartet (1946–1949, no. 2 arranged for double woodwind quintet and double bass—1948)
  • Aquarelle, Op. 39/2a, double woodwind quintet, 2 double basses (1948)
  • Trio sonata No. 2, Op. 47, flute, cello, piano (1951)
  • Woodwind Quintet, Op. 48, flue, oboe, clarinet, bassoon, horn (1956)

Keyboard works (for piano unless otherwise noted):

  • Three Impressions, Op. 10 (1918)
  • From the New Hampshire Woods, Op. 12 (1922)
  • Three Preludettes (1921)
  • Six Preludes, op. 15 (1922)
  • Turbulence, op. 17/2 (1924)
  • A Fancy (1927)
  • Sun Splendor, (?1929, arranged for 2 pianos ?1930)
  • Four Piano Pieces, op. 21 (1930)
  • Dance Sonata, op. 24 (1932)
  • Moods (Three Moods for Dance), op. 46 (1950/4)
  • Anagrams, op. 48 (1950)
  • Meditation and Toccata, organ (1951)

Choral works:

  • Wenn ich rufe an dich, Herr, mein Gott (Ps xxviii), op. 3, Soprano, women's chorus, organ/piano (1903)
  • Fair Daffodils (R. Herrick), women's chorus, keyboard (1914)
  • Orientale (E. Arnold), soprano, orchestra (1914, orchestrated 1932, rev. 1934)
  • The Lay of the Four Winds (C.Y. Rice), Op. 8, male chorus, piano (1915)
  • Three Noëls (L.I. Guiney, trad.), Op. 22, Nos. 1–3, women's chorus, piano (1930)
  • Here at High Morning (M. Lewis), Op. 27, male chorus (1931)
  • The Thinker, Op. 35, mixed chorus (1938)
  • China (B. Todrin), Op. 38, mixed chorus, orchestra/piano (1943)
  • At the New Year (K. Patchen), Op. 42, mixed chorus, piano (1947)
  • Death Spreads his Gentle Wings (E.P. Crain), mixed chorus (1949 rev. 1951)
  • A Foreigner Comes to Earth on Boston Common (H. Gregory), Op. 49, soprano, tenor, mixed chorus, piano (1953)

Other vocal works:

  • "Coyote Song" (J.S. Reed), baritone, piano (1912)
  • "Send Me a Dream" (Intuition) (E.F. Bauer), solo voice, piano (1912)
  • "Phillis" (C.R. Defresny), medium voice, piano (1914)
  • "By the Indus" (Rice), solo voice, piano (1917)
  • "My Faun" (O. Wilde), solo voice, piano (1919)
  • "Night in the Woods" (E.R. Sill), medium voice, piano (1921)
  • "The Epitaph of a Butterfly" (T. Walsh), solo voice, piano (1921)
  • "A Parable" (The Blade of Grass) (S. Crane), solo voice, piano (1922)
  • "Four Poems" (J.G. Fletcher), Op. 16, high voice, piano (1924)
  • "Faun Song," alto, chamber orchestra (1934)
  • "Four Songs (Suite)," soprano, string quartet (1935 rev. 1936)
  • "Songs in the Night" (M.M.H. Ayers), solo voice, piano (1943)
  • "The Harp" (E.C. Bailey), solo voice, piano (1947)
  • "Swan" (Bailey), solo voice, piano (1947)

Read more about this topic:  Marion Bauer

Famous quotes containing the word works:

    “I know no subject more elevating, more amazing, more ready to the poetical enthusiasm, the philosophical reflection, and the moral sentiment than the works of nature. Where can we meet such variety, such beauty, such magnificence?”
    —James Thomson (1700–1748)

    “His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.”
    —Henry David Thoreau (1817–1862)

    “Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
    —Thomas Mann (1875–1955)